Thoth distribution@thoth.pub 20260502T000234

urn:uuid:7b1385b2-e861-4f0a-b4ba-2599676a494b 03 01 01 thoth-work-id urn:uuid:b5c810e1-c847-4553-a24e-9893164d9786 01 thoth-publication-id urn:uuid:7b1385b2-e861-4f0a-b4ba-2599676a494b 15 9781953035707 03 9781953035707 06 10.53288/0370.1.00 13 2021942134 01 internal-reference 0370 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 ((( 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 02bnkt322 Bern University of Applied Sciences Alessandro De Francesco is a poet, artist, and essayist. He held faculty positions at the École Normale Supérieure and the European Graduate School, among others, and currently teaches poetry and fine arts studio practice at the Bern University of the Arts, the Basel Academy of Art & Design, La Cambre School of Visual Arts in Brussels, and the School for Graphic Research, also in Brussels. In 2013 he obtained his PhD in literary theory from the Sorbonne University in Paris. His work has been presented in multiple international contexts, among which the Kelly Writers’ House at the University of Pennsylvania, Brown University’s Literary Arts Series, the Centre Georges Pompidou, the Kunsthalle Basel, the Strasbourg Museum of Modern and Contemporary Art, the Louis Vuitton Foundation, the Casa delle Letterature in Rome, the BeHave program in Luxembourg, and the Biennale Gherdeina in Italy. Among his books: Remote Vision: Poetry 1999–2015 (punctum books, 2016); Continuum: Writings on Poetry as Artistic Practice (Uitgeverij, 2015); Augmented Writing (La Camera Verde, 2013); Redéfinition (MIX, 2010). Further information on www.alessandrodefrancesco.net. 2 B06 Gen Ueda Gen Ueda 3 B06 Andreas Burckhardt Andreas Burckhardt 01 eng 01 fre 01 ita 00 326 03 B2 Art+Aesthetics 12 DCF 93 DCF 10 POE019000 B2 Fabulations B2 Languages+Translations 20 poetry; post-genre writing; conceptual art; environments; multilingualism 01 06 02 00 03 00 ((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes.The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era. 30 00 ((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes.The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era. 20 00 Open Access 01 00 03 02 https://cloud.punctumbooks.com/s/F2tMB4D5bWLGRfq/download 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/three-opening-parentheses/ Earth, Milky Way 04 01 20210902 De Francesco, Alessandro 02 WORLD 06 15 9781953035714 03 9781953035714 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035701 20 08 20210902 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/-paperback-paperback-paperback-paperback 20 08 20210902 02 26.00 USD WORLD urn:uuid:11f98770-1a27-403d-aff1-f57dc9fe1128 03 01 01 thoth-work-id urn:uuid:b5c810e1-c847-4553-a24e-9893164d9786 01 thoth-publication-id urn:uuid:11f98770-1a27-403d-aff1-f57dc9fe1128 15 9781953035714 03 9781953035714 06 10.53288/0370.1.00 13 2021942134 01 internal-reference 0370 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 ((( 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 02bnkt322 Bern University of Applied Sciences Alessandro De Francesco is a poet, artist, and essayist. He held faculty positions at the École Normale Supérieure and the European Graduate School, among others, and currently teaches poetry and fine arts studio practice at the Bern University of the Arts, the Basel Academy of Art & Design, La Cambre School of Visual Arts in Brussels, and the School for Graphic Research, also in Brussels. In 2013 he obtained his PhD in literary theory from the Sorbonne University in Paris. His work has been presented in multiple international contexts, among which the Kelly Writers’ House at the University of Pennsylvania, Brown University’s Literary Arts Series, the Centre Georges Pompidou, the Kunsthalle Basel, the Strasbourg Museum of Modern and Contemporary Art, the Louis Vuitton Foundation, the Casa delle Letterature in Rome, the BeHave program in Luxembourg, and the Biennale Gherdeina in Italy. Among his books: Remote Vision: Poetry 1999–2015 (punctum books, 2016); Continuum: Writings on Poetry as Artistic Practice (Uitgeverij, 2015); Augmented Writing (La Camera Verde, 2013); Redéfinition (MIX, 2010). Further information on www.alessandrodefrancesco.net. 2 B06 Gen Ueda Gen Ueda 3 B06 Andreas Burckhardt Andreas Burckhardt 01 eng 01 fre 01 ita 00 326 03 B2 Art+Aesthetics 12 DCF 93 DCF 10 POE019000 B2 Fabulations B2 Languages+Translations 20 poetry; post-genre writing; conceptual art; environments; multilingualism 01 06 02 00 03 00 ((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes.The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era. 30 00 ((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes.The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era. 20 00 Open Access 01 00 03 02 https://cloud.punctumbooks.com/s/F2tMB4D5bWLGRfq/download 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/three-opening-parentheses/ Earth, Milky Way 04 01 20210902 De Francesco, Alessandro 02 WORLD 06 15 9781953035707 03 9781953035707 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50523 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50523/0370.1.00.pdf?sequence=1&isAllowed=y 20 08 20210902 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71795 20 08 20210902 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv21fqj7f 20 08 20210902 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/685 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9ba546fe-7f8f-4998-bacf-e2d6318a3324/download 20 08 20210902 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b5c810e1-c847-4553-a24e-9893164d9786 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b5c810e1-c847-4553-a24e-9893164d9786/b5c810e1-c847-4553-a24e-9893164d9786.pdf 20 08 20210902 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848993 29 ZENODO: download the title https://zenodo.org/records/19848993/files/b5c810e1-c847-4553-a24e-9893164d9786_book.pdf 20 08 20210902 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/three-opening-parentheses/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0370.1.00.pdf 20 08 20210902 01 urn:uuid:7d5612c5-5fbb-4811-bce7-295e2b77636b 03 01 01 thoth-work-id urn:uuid:4071e86c-433e-4a46-a84a-47f69ac945ac 01 thoth-publication-id urn:uuid:7d5612c5-5fbb-4811-bce7-295e2b77636b 15 9781685712228 03 9781685712228 06 10.53288/0549.1.00 13 2024946544 01 internal-reference 0549 00 BC 10 01 229 mm 01 22.9 cm 01 9 in 02 152 mm 02 15.2 cm 02 6 in 03 9 mm 03 0.9 cm 03 0.35 in 08 286 gr 08 10.1 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 100 Chinese Silences 1 A01 Timothy Yu Timothy Yu Martha Meier Renk-Bascom Professor of Poetry and professor of English and Asian American studies 40 01y2jtd41 University of Wisconsin-Madison Timothy Yu is the author of the poetry collection 100 Chinese Silences and three chapbooks: 15 Chinese Silences, Journey to the West, and, with Kristy Odelius, Kiss the Stranger. He is also the author of Diasporic Poetics: Asian Writing in the United States, Canada, and Australia (Oxford) and Race and the Avant-Garde: Experimental and Asian American Poetry since 1965 (Stanford). He is the editor of The Cambridge Companion to Twenty-First-Century American Poetry and Nests and Strangers: On Asian American Women Poets. His work has appeared in Poetry, The New York Times Magazine, Fence, and The New Republic. He is the Martha Meier Renk-Bascom Professor of Poetry and professor of English and Asian American studies at the University of Wisconsin-Madison, and serves as executive editor of Contemporary Literature. 2 01 eng 00 152 03 93 DCF B2 Fabulations 10 POE005010 93 DCC 10 POE009000 93 6NE 93 5PB-US-D 93 JBCC7 93 1FPC 20 poetry; Asian American culture; racial stereotypes; orientalism; cultural appropriation; China; American literature 01 06 02 00 03 00 There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language. 30 00 There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0549.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/100-chinese-silences/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20241005 Timothy Yu 02 WORLD 06 15 9781685712235 03 9781685712235 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712223 20 08 20241005 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/100-chinese-silences 20 08 20241005 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/100-chinese-silences 20 08 20241005 02 17.00 USD WORLD urn:uuid:c7a66dbf-8442-4fbe-8a67-f2f88267bd4d 03 01 01 thoth-work-id urn:uuid:4071e86c-433e-4a46-a84a-47f69ac945ac 01 thoth-publication-id urn:uuid:c7a66dbf-8442-4fbe-8a67-f2f88267bd4d 15 9781685712235 03 9781685712235 06 10.53288/0549.1.00 13 2024946544 01 internal-reference 0549 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 100 Chinese Silences 1 A01 Timothy Yu Timothy Yu Martha Meier Renk-Bascom Professor of Poetry and professor of English and Asian American studies 40 01y2jtd41 University of Wisconsin-Madison Timothy Yu is the author of the poetry collection 100 Chinese Silences and three chapbooks: 15 Chinese Silences, Journey to the West, and, with Kristy Odelius, Kiss the Stranger. He is also the author of Diasporic Poetics: Asian Writing in the United States, Canada, and Australia (Oxford) and Race and the Avant-Garde: Experimental and Asian American Poetry since 1965 (Stanford). He is the editor of The Cambridge Companion to Twenty-First-Century American Poetry and Nests and Strangers: On Asian American Women Poets. His work has appeared in Poetry, The New York Times Magazine, Fence, and The New Republic. He is the Martha Meier Renk-Bascom Professor of Poetry and professor of English and Asian American studies at the University of Wisconsin-Madison, and serves as executive editor of Contemporary Literature. 2 01 eng 00 152 03 93 DCF B2 Fabulations 10 POE005010 93 DCC 10 POE009000 93 6NE 93 5PB-US-D 93 JBCC7 93 1FPC 20 poetry; Asian American culture; racial stereotypes; orientalism; cultural appropriation; China; American literature 01 06 02 00 03 00 There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language. 30 00 There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0549.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/100-chinese-silences/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20241005 Timothy Yu 02 WORLD 06 15 9781685712228 03 9781685712228 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/93661 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/93661/9781685712235.pdf?sequence=1&isAllowed=y 20 08 20241005 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/146089 20 08 20241005 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526493 20 08 20241005 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/820 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d4b6acbc-e0d1-4340-9059-779b71f61f5b/download 20 08 20241005 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4071e86c-433e-4a46-a84a-47f69ac945ac 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4071e86c-433e-4a46-a84a-47f69ac945ac/4071e86c-433e-4a46-a84a-47f69ac945ac.pdf 20 08 20241005 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850636 29 ZENODO: download the title https://zenodo.org/records/19850636/files/4071e86c-433e-4a46-a84a-47f69ac945ac_book.pdf 20 08 20241005 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/100-chinese-silences/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0549.1.00.pdf 20 08 20241005 01 urn:uuid:9caaa12a-1f11-43c1-9d76-24c9a944cb2f 03 01 01 thoth-work-id urn:uuid:e0f748b2-984f-45cc-8b9e-13989c31dda4 01 thoth-publication-id urn:uuid:9caaa12a-1f11-43c1-9d76-24c9a944cb2f 15 9781953035349 03 9781953035349 06 10.21983/P3.0314.1.00 13 2021931014 01 internal-reference 0314 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Bibliography for After Jews and Arabs 1 A01 Ammiel Alcalay Ammiel Alcalay 40 03v8adn41 Queens College, CUNY 40 00awd9g61 The Graduate Center, CUNY 01 eng 00 120 03 B2 Cultural Studies+Critical Theory 12 GBCR 93 GBCR 10 REF004000 12 1QRM 93 1QRM B2 History B2 Humanities+University 20 bibliography; Jews and Arabs; academic publishing; Middle East; Levantine/Mediterranean; Palestine/Israel; poetics; Charles Olson; Edward Dorn 01 06 02 00 03 00 Ammiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion.Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project.A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc.In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms. 30 00 Ammiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion.Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project.A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc.In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0314.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-bibliography-for-after-jews-and-arabs/ Earth, Milky Way 04 01 20210204 Alcalay, Ammiel 02 WORLD 06 15 9781953035356 03 9781953035356 34 06 10.2307/466176 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035345 20 08 20210204 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-bibliography-for-after-jews-and-arabs 20 08 20210204 02 22.00 USD WORLD urn:uuid:82d6b392-77cf-4323-8f22-5f53765c9892 03 01 01 thoth-work-id urn:uuid:e0f748b2-984f-45cc-8b9e-13989c31dda4 01 thoth-publication-id urn:uuid:82d6b392-77cf-4323-8f22-5f53765c9892 15 9781953035356 03 9781953035356 06 10.21983/P3.0314.1.00 13 2021931014 01 internal-reference 0314 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Bibliography for After Jews and Arabs 1 A01 Ammiel Alcalay Ammiel Alcalay 40 03v8adn41 Queens College, CUNY 40 00awd9g61 The Graduate Center, CUNY 01 eng 00 120 03 B2 Cultural Studies+Critical Theory 12 GBCR 93 GBCR 10 REF004000 12 1QRM 93 1QRM B2 History B2 Humanities+University 20 bibliography; Jews and Arabs; academic publishing; Middle East; Levantine/Mediterranean; Palestine/Israel; poetics; Charles Olson; Edward Dorn 01 06 02 00 03 00 Ammiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion.Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project.A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc.In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms. 30 00 Ammiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion.Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project.A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc.In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0314.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-bibliography-for-after-jews-and-arabs/ Earth, Milky Way 04 01 20210204 Alcalay, Ammiel 02 WORLD 06 15 9781953035349 03 9781953035349 34 06 10.2307/466176 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/46392 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/46392/0314.1.00.pdf?sequence=1&isAllowed=y 20 08 20210204 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71795 20 08 20210204 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353866 20 08 20210204 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/654 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4c904efc-66ba-42c3-8a62-51585a859730/download 20 08 20210204 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Bibliography_for_After_Jews_and_Arabs/_gWVEAAAQBAJ 20 08 20210204 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e0f748b2-984f-45cc-8b9e-13989c31dda4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e0f748b2-984f-45cc-8b9e-13989c31dda4/e0f748b2-984f-45cc-8b9e-13989c31dda4.pdf 20 08 20210204 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848672 29 ZENODO: download the title https://zenodo.org/records/19848672/files/e0f748b2-984f-45cc-8b9e-13989c31dda4_book.pdf 20 08 20210204 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-bibliography-for-after-jews-and-arabs/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0314.1.00.pdf 20 08 20210204 01 urn:uuid:a9f34de9-9b97-4b09-99ca-0cb84277dc81 03 01 01 thoth-work-id urn:uuid:ca2f9ad1-a5fd-45b6-a662-4991cf1767a3 01 thoth-publication-id urn:uuid:a9f34de9-9b97-4b09-99ca-0cb84277dc81 15 9781685710729 03 9781685710729 06 10.53288/0409.1.00 13 2023935103 01 internal-reference 0409 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 About That Life Barry Lopez and the Art of Community 1 A01 21 0000000222604783 Matthew Cheney Matthew Cheney 40 00fpz4c36 Plymouth State University 06 Own website https://matthewcheney.net/ 01 eng 00 150 03 93 DSK 12 DSK 10 LIT004020 B2 Literary Studies 12 2ABM 93 DSBJ 10 LAN002000 B2 TransQueer 93 2ACBK 93 3MPQ 20 community action; environmental literature; Japanese aesthetics; narration (rhetoric); political extremism; literary criticism; writing exercises 01 06 02 00 03 00 Why write? Why ask a reader to give their time and attention to your words? How can writing be more than narcissism and self-aggrandizement?These questions were ones that the writer and naturalist Barry Lopez asked at the Bread Loaf Writers’ Conference in the summer of 2000, and they are questions at the heart of About That Life, a meditation on matters of living, making, and seeking.While Lopez is best known for such works of nonfiction as the National Book Award-winning Arctic Dreams, Matthew Cheney brings our attention to the many works of short fiction that Lopez published throughout his life, demonstrating how they fit within Lopez’s sense of ethical aesthetics. That sense is then set alongside the work of San Francisco’s New Narrative writers, insights from David Hinton’s translations of Tu Fu, the story of community arising around a pottery kiln in western Oregon, the beauties and contradictions of Sōetsu Yanagi’s The Unknown Craftsman, and the implications of the right-wing mob attack on the U.S. Capitol – an event that occurred on what would have been Barry Lopez’s 76th birthday.Through a collage of memoir, history, literary criticism, philosophy, aesthetic theory, and creative writing exercises, About That Life wonders how we might live and dream in a world that seems ever more cruel and destructive. 30 00 Why write? Why ask a reader to give their time and attention to your words? How can writing be more than narcissism and self-aggrandizement?These questions were ones that the writer and naturalist Barry Lopez asked at the Bread Loaf Writers’ Conference in the summer of 2000, and they are questions at the heart of About That Life, a meditation on matters of living, making, and seeking.While Lopez is best known for such works of nonfiction as the National Book Award-winning Arctic Dreams, Matthew Cheney brings our attention to the many works of short fiction that Lopez published throughout his life, demonstrating how they fit within Lopez’s sense of ethical aesthetics. That sense is then set alongside the work of San Francisco’s New Narrative writers, insights from David Hinton’s translations of Tu Fu, the story of community arising around a pottery kiln in western Oregon, the beauties and contradictions of Sōetsu Yanagi’s The Unknown Craftsman, and the implications of the right-wing mob attack on the U.S. Capitol – an event that occurred on what would have been Barry Lopez’s 76th birthday.Through a collage of memoir, history, literary criticism, philosophy, aesthetic theory, and creative writing exercises, About That Life wonders how we might live and dream in a world that seems ever more cruel and destructive. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0409.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/about-that-life-barry-lopez-and-the-art-of-community/ Earth, Milky Way 04 01 20230406 Matthew Cheney 02 WORLD 06 15 9781685710736 03 9781685710736 34 06 10.1093/jdh/10.4.355 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710727 20 08 20230406 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/about-that-life-barry-lopez-and-the-art-of-community 20 08 20230406 02 22.00 USD WORLD urn:uuid:8a506fd6-8a74-4716-9b1a-b616f0704c31 03 01 01 thoth-work-id urn:uuid:ca2f9ad1-a5fd-45b6-a662-4991cf1767a3 01 thoth-publication-id urn:uuid:8a506fd6-8a74-4716-9b1a-b616f0704c31 15 9781685710736 03 9781685710736 06 10.53288/0409.1.00 13 2023935103 01 internal-reference 0409 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 About That Life Barry Lopez and the Art of Community 1 A01 21 0000000222604783 Matthew Cheney Matthew Cheney 40 00fpz4c36 Plymouth State University 06 Own website https://matthewcheney.net/ 01 eng 00 150 03 93 DSK 12 DSK 10 LIT004020 B2 Literary Studies 12 2ABM 93 DSBJ 10 LAN002000 B2 TransQueer 93 2ACBK 93 3MPQ 20 community action; environmental literature; Japanese aesthetics; narration (rhetoric); political extremism; literary criticism; writing exercises 01 06 02 00 03 00 Why write? Why ask a reader to give their time and attention to your words? How can writing be more than narcissism and self-aggrandizement?These questions were ones that the writer and naturalist Barry Lopez asked at the Bread Loaf Writers’ Conference in the summer of 2000, and they are questions at the heart of About That Life, a meditation on matters of living, making, and seeking.While Lopez is best known for such works of nonfiction as the National Book Award-winning Arctic Dreams, Matthew Cheney brings our attention to the many works of short fiction that Lopez published throughout his life, demonstrating how they fit within Lopez’s sense of ethical aesthetics. That sense is then set alongside the work of San Francisco’s New Narrative writers, insights from David Hinton’s translations of Tu Fu, the story of community arising around a pottery kiln in western Oregon, the beauties and contradictions of Sōetsu Yanagi’s The Unknown Craftsman, and the implications of the right-wing mob attack on the U.S. Capitol – an event that occurred on what would have been Barry Lopez’s 76th birthday.Through a collage of memoir, history, literary criticism, philosophy, aesthetic theory, and creative writing exercises, About That Life wonders how we might live and dream in a world that seems ever more cruel and destructive. 30 00 Why write? Why ask a reader to give their time and attention to your words? How can writing be more than narcissism and self-aggrandizement?These questions were ones that the writer and naturalist Barry Lopez asked at the Bread Loaf Writers’ Conference in the summer of 2000, and they are questions at the heart of About That Life, a meditation on matters of living, making, and seeking.While Lopez is best known for such works of nonfiction as the National Book Award-winning Arctic Dreams, Matthew Cheney brings our attention to the many works of short fiction that Lopez published throughout his life, demonstrating how they fit within Lopez’s sense of ethical aesthetics. That sense is then set alongside the work of San Francisco’s New Narrative writers, insights from David Hinton’s translations of Tu Fu, the story of community arising around a pottery kiln in western Oregon, the beauties and contradictions of Sōetsu Yanagi’s The Unknown Craftsman, and the implications of the right-wing mob attack on the U.S. Capitol – an event that occurred on what would have been Barry Lopez’s 76th birthday.Through a collage of memoir, history, literary criticism, philosophy, aesthetic theory, and creative writing exercises, About That Life wonders how we might live and dream in a world that seems ever more cruel and destructive. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0409.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/about-that-life-barry-lopez-and-the-art-of-community/ Earth, Milky Way 04 01 20230406 Matthew Cheney 02 WORLD 06 15 9781685710729 03 9781685710729 34 06 10.1093/jdh/10.4.355 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/62262 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/62262/0409.1.00.pdf?sequence=1&isAllowed=y 20 08 20230406 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99125 20 08 20230406 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354008 20 08 20230406 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/365 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3e33adee-2b2f-4f86-b2c2-af4b11a789e4/download 20 08 20230406 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ca2f9ad1-a5fd-45b6-a662-4991cf1767a3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ca2f9ad1-a5fd-45b6-a662-4991cf1767a3/ca2f9ad1-a5fd-45b6-a662-4991cf1767a3.pdf 20 08 20230406 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849761 29 ZENODO: download the title https://zenodo.org/records/19849761/files/ca2f9ad1-a5fd-45b6-a662-4991cf1767a3_book.pdf 20 08 20230406 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/about-that-life-barry-lopez-and-the-art-of-community/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0409.1.00.pdf 20 08 20230406 01 urn:uuid:9c155211-637d-4226-80b0-f7ec4e444b31 03 01 01 thoth-work-id urn:uuid:5402ea62-7a1b-48b4-b5fb-7b114c04bc27 01 thoth-publication-id urn:uuid:9c155211-637d-4226-80b0-f7ec4e444b31 15 9780692296936 03 9780692296936 06 10.21983/P3.0080.1.00 01 internal-reference 0080 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 A Boy Asleep under the Sun Versions of Sandro Penna 1 A01 Sandro Penna Sandro Penna 2 B01 Peter Valente Peter Valente 3 B06 Peter Valente Peter Valente 01 eng 00 192 03 93 DCF 12 DCF B2 Fabulations 10 POE019000 93 5PSG B2 Languages+Translations 10 POE021000 93 2ADT B2 TransQueer 93 1DST 20 gay poetry; homosexuality; love; Sandro Penna; Italian poetry 01 06 02 00 03 00 Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time, Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry, Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.In his poetry Penna clearly says who he is and how he feels. That is a rare enough quality these days. He moves away from the trappings of identity toward an honest expression of love. In Penna’s work the beautiful is not conscious of itself and is therefore erotic: “Is not the beauty of those who are unaware of their beauty / more beautiful than those who are aware?” 30 00 Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time, Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry, Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.In his poetry Penna clearly says who he is and how he feels. That is a rare enough quality these days. He moves away from the trappings of identity toward an honest expression of love. In Penna’s work the beautiful is not conscious of itself and is therefore erotic: “Is not the beauty of those who are unaware of their beauty / more beautiful than those who are aware?” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0080.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-boy-asleep-under-the-sun/ Brooklyn, NY 04 01 20141111 Penna, Sandro Valente, Peter 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/069229693X 20 08 20141111 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-boy-asleep-under-the-sun-versions-of-sandro-penna 20 08 20141111 02 23.00 USD WORLD urn:uuid:58dc3077-2b21-4165-a0f4-ebd681c5e6f0 03 01 01 thoth-work-id urn:uuid:5402ea62-7a1b-48b4-b5fb-7b114c04bc27 01 thoth-publication-id urn:uuid:58dc3077-2b21-4165-a0f4-ebd681c5e6f0 06 10.21983/P3.0080.1.00 01 internal-reference 0080 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 A Boy Asleep under the Sun Versions of Sandro Penna 1 A01 Sandro Penna Sandro Penna 2 B01 Peter Valente Peter Valente 3 B06 Peter Valente Peter Valente 01 eng 00 192 03 93 DCF 12 DCF B2 Fabulations 10 POE019000 93 5PSG B2 Languages+Translations 10 POE021000 93 2ADT B2 TransQueer 93 1DST 20 gay poetry; homosexuality; love; Sandro Penna; Italian poetry 01 06 02 00 03 00 Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time, Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry, Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.In his poetry Penna clearly says who he is and how he feels. That is a rare enough quality these days. He moves away from the trappings of identity toward an honest expression of love. In Penna’s work the beautiful is not conscious of itself and is therefore erotic: “Is not the beauty of those who are unaware of their beauty / more beautiful than those who are aware?” 30 00 Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time, Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry, Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.In his poetry Penna clearly says who he is and how he feels. That is a rare enough quality these days. He moves away from the trappings of identity toward an honest expression of love. In Penna’s work the beautiful is not conscious of itself and is therefore erotic: “Is not the beauty of those who are unaware of their beauty / more beautiful than those who are aware?” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0080.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-boy-asleep-under-the-sun/ Brooklyn, NY 04 01 20141111 Penna, Sandro Valente, Peter 02 WORLD 06 15 9780692296936 03 9780692296936 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76472 20 08 20141111 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25540 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25540/1004555.pdf?sequence=1&isAllowed=y 20 08 20141111 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36724 20 08 20141111 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353977 20 08 20141111 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/465 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/72c63b2a-295e-4c2a-9e59-b916254ae454/download 20 08 20141111 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Boy_Asleep_Under_the_Sun/dAWVEAAAQBAJ 20 08 20141111 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5402ea62-7a1b-48b4-b5fb-7b114c04bc27 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5402ea62-7a1b-48b4-b5fb-7b114c04bc27/5402ea62-7a1b-48b4-b5fb-7b114c04bc27.pdf 20 08 20141111 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846068 29 ZENODO: download the title https://zenodo.org/records/19846068/files/5402ea62-7a1b-48b4-b5fb-7b114c04bc27_book.pdf 20 08 20141111 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-boy-asleep-under-the-sun/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0080.1.00.pdf 20 08 20141111 01 urn:uuid:076e1472-4f57-4651-b2b2-7fe453dd6cb4 03 01 01 thoth-work-id urn:uuid:f02786d4-3bcc-473e-8d43-3da66c7e877c 01 thoth-publication-id urn:uuid:076e1472-4f57-4651-b2b2-7fe453dd6cb4 15 9780998237596 03 9780998237596 06 10.21983/P3.0159.1.00 01 internal-reference 0159 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Brief Genealogy of Jewish Republicanism Parting Ways with Judith Butler 1 A01 Irene Tucker Irene Tucker 40 04gyf1771 University of California, Irvine 01 eng 00 90 03 B2 Cultural Studies+Critical Theory 12 JFSR1 93 JPH 10 POL072000 93 1FBH 93 QRJ 93 JPHT 20 Israel; Jewish Studies; Judith Butler; Zionism; Republicanism 01 06 02 00 03 00 A Brief Genealogy of Jewish Republicanism: Parting Ways with Judith Butler uses the chance synchronicity of the 2013 Israeli parliamentary elections and literary theorist Judith Butler’s controversial Brooklyn College address calling for the boycotting of Israeli academic, cultural, and economic institutions as an occasion for examining possible relations between Jewishness and state-centered forms of self-governance. In an extended analysis of Butler’s Parting Ways: Jewishness and the Critique of Zionism, Tucker shows how the alignment of certain authors’ identities and ideas undergirding Butler’s analytical framework draws upon a pointedly Christian conception of belief. This Christian conception of belief structures the most familiar understandings of modern secularism, articulated most famously by John Locke in his “Letter Concerning Toleration.” Tucker reads Locke’s “Letter”’ alongside Jewish philosopher/rabbi Moses Mendelssohn’s 1783 critique of Locke, Jerusalem: Or On Religious Power and Judaism, and the Jewish tradition of the minyan, making a case for the existence of an alternative history of publicness borrowing from Jewish conceptions of communal life and the proper relations of actions and ideas.In throwing light on a genealogy of Jewish practices aimed at the deliberate creation of collectives constituted by their grappling with contingent, historical time, Tucker argues for the existence of a Jewish tradition of republicanism, of democracy. Within such a context, the Jewishness of Israel can be seen to lie first and foremost in its methods of generating a civil collective out of a diverse citizenry rather than in the identities of its individual citizens. The tradition Tucker has in mind explicitly uses an idea of ritual or “ceremonial law” to sustain within itself a tension between a heterogeneity of perspectives and interests constitutive of democratic process and the forms of unity and agreement often understood to be the desired outcome of that process. By setting forth a framework in which heterogeneity and agreement are conceived as coincident modes of political being rather than steps in a linear process, this “Jewish republicanism” frames law-making, implementation and following as forms of a single structure of ritual practice. Such a framework might provide the inspiration and authority for reconceiving some of the fundamental relations of the Zionist project 30 00 A Brief Genealogy of Jewish Republicanism: Parting Ways with Judith Butler uses the chance synchronicity of the 2013 Israeli parliamentary elections and literary theorist Judith Butler’s controversial Brooklyn College address calling for the boycotting of Israeli academic, cultural, and economic institutions as an occasion for examining possible relations between Jewishness and state-centered forms of self-governance. In an extended analysis of Butler’s Parting Ways: Jewishness and the Critique of Zionism, Tucker shows how the alignment of certain authors’ identities and ideas undergirding Butler’s analytical framework draws upon a pointedly Christian conception of belief. This Christian conception of belief structures the most familiar understandings of modern secularism, articulated most famously by John Locke in his “Letter Concerning Toleration.” Tucker reads Locke’s “Letter”’ alongside Jewish philosopher/rabbi Moses Mendelssohn’s 1783 critique of Locke, Jerusalem: Or On Religious Power and Judaism, and the Jewish tradition of the minyan, making a case for the existence of an alternative history of publicness borrowing from Jewish conceptions of communal life and the proper relations of actions and ideas.In throwing light on a genealogy of Jewish practices aimed at the deliberate creation of collectives constituted by their grappling with contingent, historical time, Tucker argues for the existence of a Jewish tradition of republicanism, of democracy. Within such a context, the Jewishness of Israel can be seen to lie first and foremost in its methods of generating a civil collective out of a diverse citizenry rather than in the identities of its individual citizens. The tradition Tucker has in mind explicitly uses an idea of ritual or “ceremonial law” to sustain within itself a tension between a heterogeneity of perspectives and interests constitutive of democratic process and the forms of unity and agreement often understood to be the desired outcome of that process. By setting forth a framework in which heterogeneity and agreement are conceived as coincident modes of political being rather than steps in a linear process, this “Jewish republicanism” frames law-making, implementation and following as forms of a single structure of ritual practice. Such a framework might provide the inspiration and authority for reconceiving some of the fundamental relations of the Zionist project 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0159.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-brief-genealogy-of-jewish-republicanism/ Earth, Milky Way 04 01 20161216 Tucker, Irene 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237590 20 08 20161216 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-brief-genealogy-of-jewish-republicanism-parting-ways-with-judith-butler 20 08 20161216 02 21.00 USD WORLD urn:uuid:bf462186-b2cd-4f99-865b-29409e232557 03 01 01 thoth-work-id urn:uuid:f02786d4-3bcc-473e-8d43-3da66c7e877c 01 thoth-publication-id urn:uuid:bf462186-b2cd-4f99-865b-29409e232557 06 10.21983/P3.0159.1.00 01 internal-reference 0159 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Brief Genealogy of Jewish Republicanism Parting Ways with Judith Butler 1 A01 Irene Tucker Irene Tucker 40 04gyf1771 University of California, Irvine 01 eng 00 90 03 B2 Cultural Studies+Critical Theory 12 JFSR1 93 JPH 10 POL072000 93 1FBH 93 QRJ 93 JPHT 20 Israel; Jewish Studies; Judith Butler; Zionism; Republicanism 01 06 02 00 03 00 A Brief Genealogy of Jewish Republicanism: Parting Ways with Judith Butler uses the chance synchronicity of the 2013 Israeli parliamentary elections and literary theorist Judith Butler’s controversial Brooklyn College address calling for the boycotting of Israeli academic, cultural, and economic institutions as an occasion for examining possible relations between Jewishness and state-centered forms of self-governance. In an extended analysis of Butler’s Parting Ways: Jewishness and the Critique of Zionism, Tucker shows how the alignment of certain authors’ identities and ideas undergirding Butler’s analytical framework draws upon a pointedly Christian conception of belief. This Christian conception of belief structures the most familiar understandings of modern secularism, articulated most famously by John Locke in his “Letter Concerning Toleration.” Tucker reads Locke’s “Letter”’ alongside Jewish philosopher/rabbi Moses Mendelssohn’s 1783 critique of Locke, Jerusalem: Or On Religious Power and Judaism, and the Jewish tradition of the minyan, making a case for the existence of an alternative history of publicness borrowing from Jewish conceptions of communal life and the proper relations of actions and ideas.In throwing light on a genealogy of Jewish practices aimed at the deliberate creation of collectives constituted by their grappling with contingent, historical time, Tucker argues for the existence of a Jewish tradition of republicanism, of democracy. Within such a context, the Jewishness of Israel can be seen to lie first and foremost in its methods of generating a civil collective out of a diverse citizenry rather than in the identities of its individual citizens. The tradition Tucker has in mind explicitly uses an idea of ritual or “ceremonial law” to sustain within itself a tension between a heterogeneity of perspectives and interests constitutive of democratic process and the forms of unity and agreement often understood to be the desired outcome of that process. By setting forth a framework in which heterogeneity and agreement are conceived as coincident modes of political being rather than steps in a linear process, this “Jewish republicanism” frames law-making, implementation and following as forms of a single structure of ritual practice. Such a framework might provide the inspiration and authority for reconceiving some of the fundamental relations of the Zionist project 30 00 A Brief Genealogy of Jewish Republicanism: Parting Ways with Judith Butler uses the chance synchronicity of the 2013 Israeli parliamentary elections and literary theorist Judith Butler’s controversial Brooklyn College address calling for the boycotting of Israeli academic, cultural, and economic institutions as an occasion for examining possible relations between Jewishness and state-centered forms of self-governance. In an extended analysis of Butler’s Parting Ways: Jewishness and the Critique of Zionism, Tucker shows how the alignment of certain authors’ identities and ideas undergirding Butler’s analytical framework draws upon a pointedly Christian conception of belief. This Christian conception of belief structures the most familiar understandings of modern secularism, articulated most famously by John Locke in his “Letter Concerning Toleration.” Tucker reads Locke’s “Letter”’ alongside Jewish philosopher/rabbi Moses Mendelssohn’s 1783 critique of Locke, Jerusalem: Or On Religious Power and Judaism, and the Jewish tradition of the minyan, making a case for the existence of an alternative history of publicness borrowing from Jewish conceptions of communal life and the proper relations of actions and ideas.In throwing light on a genealogy of Jewish practices aimed at the deliberate creation of collectives constituted by their grappling with contingent, historical time, Tucker argues for the existence of a Jewish tradition of republicanism, of democracy. Within such a context, the Jewishness of Israel can be seen to lie first and foremost in its methods of generating a civil collective out of a diverse citizenry rather than in the identities of its individual citizens. The tradition Tucker has in mind explicitly uses an idea of ritual or “ceremonial law” to sustain within itself a tension between a heterogeneity of perspectives and interests constitutive of democratic process and the forms of unity and agreement often understood to be the desired outcome of that process. By setting forth a framework in which heterogeneity and agreement are conceived as coincident modes of political being rather than steps in a linear process, this “Jewish republicanism” frames law-making, implementation and following as forms of a single structure of ritual practice. Such a framework might provide the inspiration and authority for reconceiving some of the fundamental relations of the Zionist project 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0159.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-brief-genealogy-of-jewish-republicanism/ Earth, Milky Way 04 01 20161216 Tucker, Irene 02 WORLD 06 15 9780998237596 03 9780998237596 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25468 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25468/1004627.pdf?sequence=1&isAllowed=y 20 08 20161216 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33748 20 08 20161216 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353813 20 08 20161216 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/543 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f5f20fe6-bbf9-4de1-8430-df71f49c0651/download 20 08 20161216 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f02786d4-3bcc-473e-8d43-3da66c7e877c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f02786d4-3bcc-473e-8d43-3da66c7e877c/f02786d4-3bcc-473e-8d43-3da66c7e877c.pdf 20 08 20161216 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846781 29 ZENODO: download the title https://zenodo.org/records/19846781/files/f02786d4-3bcc-473e-8d43-3da66c7e877c_book.pdf 20 08 20161216 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-brief-genealogy-of-jewish-republicanism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0159.1.00.pdf 20 08 20161216 01 urn:uuid:ce3135bb-e62f-46f9-acc2-eba4f40719f7 03 01 01 thoth-work-id urn:uuid:010b08ba-0eed-4d21-8104-0a7913e10909 01 thoth-publication-id urn:uuid:ce3135bb-e62f-46f9-acc2-eba4f40719f7 15 9781685710446 03 9781685710446 06 10.53288/0389.1.00 13 2022953564 01 internal-reference 0389 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 191 mm 02 19.1 cm 02 7.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Abruptly Dogen 1 A01 Kidder Smith Kidder Smith 40 03gh96r95 Bowdoin College 01 eng 02 jpn 00 198 03 B2 Fabulations 12 HREZ 93 QRFB23 10 REL092000 12 2GJ 93 3KLN-JP-K B2 Languages+Translations 10 PHI025000 20 Zen Buddhism; Dogen; Japanese literature; enlightenment 01 06 02 00 03 00 In the thirteenth century Dogen brought Zen to Japan. His tradition flourishes there still today and now has taken root across the world. Abruptly Dogen presents some of his pithy writings — startling, shifting, funny, spilling out in every direction. These writings come from all seventy-five chapters of his masterwork, the Eye of Real Dharma (Shōbōgenzō 正法眼藏), and the poems roam through mountains, magic, everyday life, meditation, the nature of mind, and how the Buddha is always speaking from inside our heads. An excerpt from Chapter 1, “A Case of Here We Are,” is illustrative: Human wisdom is like a moon roosting in water. No stain on the moon, nor does the water rip. However wide and grand the light, it still finds lodging in a puddle. The full moon, the spilling sky, all roosting in a single dewdrop on a single blade of grass. A man of wisdom is uncut, the way a moon doesn’t pierce water. Wisdom in a man is unobstructed, the way the sky’s full moon is unobstructed in a dewdrop. No doubt about it, the drop’s as deep as the moon is high. How long does this go on? How deep is the water, how high the moon? 30 00 In the thirteenth century Dogen brought Zen to Japan. His tradition flourishes there still today and now has taken root across the world. Abruptly Dogen presents some of his pithy writings — startling, shifting, funny, spilling out in every direction. These writings come from all seventy-five chapters of his masterwork, the Eye of Real Dharma (Shōbōgenzō 正法眼藏), and the poems roam through mountains, magic, everyday life, meditation, the nature of mind, and how the Buddha is always speaking from inside our heads. An excerpt from Chapter 1, “A Case of Here We Are,” is illustrative: Human wisdom is like a moon roosting in water. No stain on the moon, nor does the water rip. However wide and grand the light, it still finds lodging in a puddle. The full moon, the spilling sky, all roosting in a single dewdrop on a single blade of grass. A man of wisdom is uncut, the way a moon doesn’t pierce water. Wisdom in a man is unobstructed, the way the sky’s full moon is unobstructed in a dewdrop. No doubt about it, the drop’s as deep as the moon is high. How long does this go on? How deep is the water, how high the moon? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0389.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/abruptly-dogen/ Earth, Milky Way 04 01 20220113 Michelle Tupko 02 WORLD 06 15 9781685710453 03 9781685710453 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710441 20 08 20220113 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/abruptly-dogen 20 08 20220113 02 25.00 USD WORLD urn:uuid:e0610476-8fe4-46d3-ba1a-366911472057 03 01 01 thoth-work-id urn:uuid:010b08ba-0eed-4d21-8104-0a7913e10909 01 thoth-publication-id urn:uuid:e0610476-8fe4-46d3-ba1a-366911472057 15 9781685710453 03 9781685710453 06 10.53288/0389.1.00 13 2022953564 01 internal-reference 0389 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Abruptly Dogen 1 A01 Kidder Smith Kidder Smith 40 03gh96r95 Bowdoin College 01 eng 02 jpn 00 198 03 B2 Fabulations 12 HREZ 93 QRFB23 10 REL092000 12 2GJ 93 3KLN-JP-K B2 Languages+Translations 10 PHI025000 20 Zen Buddhism; Dogen; Japanese literature; enlightenment 01 06 02 00 03 00 In the thirteenth century Dogen brought Zen to Japan. His tradition flourishes there still today and now has taken root across the world. Abruptly Dogen presents some of his pithy writings — startling, shifting, funny, spilling out in every direction. These writings come from all seventy-five chapters of his masterwork, the Eye of Real Dharma (Shōbōgenzō 正法眼藏), and the poems roam through mountains, magic, everyday life, meditation, the nature of mind, and how the Buddha is always speaking from inside our heads. An excerpt from Chapter 1, “A Case of Here We Are,” is illustrative: Human wisdom is like a moon roosting in water. No stain on the moon, nor does the water rip. However wide and grand the light, it still finds lodging in a puddle. The full moon, the spilling sky, all roosting in a single dewdrop on a single blade of grass. A man of wisdom is uncut, the way a moon doesn’t pierce water. Wisdom in a man is unobstructed, the way the sky’s full moon is unobstructed in a dewdrop. No doubt about it, the drop’s as deep as the moon is high. How long does this go on? How deep is the water, how high the moon? 30 00 In the thirteenth century Dogen brought Zen to Japan. His tradition flourishes there still today and now has taken root across the world. Abruptly Dogen presents some of his pithy writings — startling, shifting, funny, spilling out in every direction. These writings come from all seventy-five chapters of his masterwork, the Eye of Real Dharma (Shōbōgenzō 正法眼藏), and the poems roam through mountains, magic, everyday life, meditation, the nature of mind, and how the Buddha is always speaking from inside our heads. An excerpt from Chapter 1, “A Case of Here We Are,” is illustrative: Human wisdom is like a moon roosting in water. No stain on the moon, nor does the water rip. However wide and grand the light, it still finds lodging in a puddle. The full moon, the spilling sky, all roosting in a single dewdrop on a single blade of grass. A man of wisdom is uncut, the way a moon doesn’t pierce water. Wisdom in a man is unobstructed, the way the sky’s full moon is unobstructed in a dewdrop. No doubt about it, the drop’s as deep as the moon is high. How long does this go on? How deep is the water, how high the moon? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0389.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/abruptly-dogen/ Earth, Milky Way 04 01 20220113 Michelle Tupko 02 WORLD 06 15 9781685710446 03 9781685710446 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/52361 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/52361/0389.1.00.pdf?sequence=13&isAllowed=y 20 08 20220113 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/77287 20 08 20220113 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv27tct9p 20 08 20220113 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/673 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fda7aed2-1b5e-4a16-a679-45ac6cba77ee/download 20 08 20220113 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/010b08ba-0eed-4d21-8104-0a7913e10909 29 INTERNET_ARCHIVE: download the title https://archive.org/download/010b08ba-0eed-4d21-8104-0a7913e10909/010b08ba-0eed-4d21-8104-0a7913e10909.pdf 20 08 20220113 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849193 29 ZENODO: download the title https://zenodo.org/records/19849193/files/010b08ba-0eed-4d21-8104-0a7913e10909_book.pdf 20 08 20220113 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/abruptly-dogen/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0389.1.00.pdf 20 08 20220113 01 urn:uuid:841b93c3-b4e1-4b8e-b2a4-85c7e0e71167 03 01 01 thoth-work-id urn:uuid:8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c 01 thoth-publication-id urn:uuid:841b93c3-b4e1-4b8e-b2a4-85c7e0e71167 15 9781685710347 03 9781685710347 06 10.53288/0373.1.00 13 2022936379 01 internal-reference 0373 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Buddha Land in This World Philosophy, Utopia, and Radical Buddhism 1 A01 21 0000000208905678 Lajos Brons Lajos Brons 40 03294c124 Lakeland University Japan Lajos Brons is a Dutch philosopher and social scientist living in Japan. After receiving a PhD from the University of Groningen in the Netherlands for a dissertation on an aspect of the history and philosophy of the social sciences, he gradually moved further and further into philosophical territory. Currently, Lajos is teaching logic, ethics, and philosophy at a university in Tokyo. His research interests are divided over two broad areas in philosophy: one is in the overlap of (meta-)ethics and social/political philosophy; the other is in the intersection of philosophy of language, metaphysics, and epistemology. Research in the former focuses on the relations between death, suffering, and compassion. Research in the latter concerns the relations between language, thought, and reality, and is heavily influenced by the philosophies of Donald Davidson and W.V.O. Quine, and by Buddhist philosophy. More information about publications and research interests, as well as Lajos’s blog can be found at www.lajosbrons.net 06 Own website http://www.lajosbrons.net/ 01 eng 00 490 03 B2 Cultural Studies+Critical Theory 12 HRE 93 QRFB2 10 REL007000 12 HPQ 10 PHI028000 B2 Philosophy 93 QDTQ 20 philosophy; Buddhism; naturalism; anti-capitalism; ethics; utopianism; Yogācāra; pragmatism 01 06 02 00 03 00 In the early twentieth century, Uchiyama Gudō, Seno’o Girō, Lin Qiuwu, and others advocated a Buddhism that was radical in two respects. Firstly, they adopted a more or less naturalist stance with respect to Buddhist doctrine and related matters, rejecting karma or other supernatural beliefs. And secondly, they held political and economic views that were radically anti-hegemonic, anti-capitalist, and revolutionary. Taking the idea of such a “radical Buddhism” seriously, A Buddha Land in This World: Philosophy, Utopia, and Radical Buddhism asks whether it is possible to develop a philosophy that is simultaneously naturalist, anti-capitalist, Buddhist, and consistent. Rather than a study of radical Buddhism, then, this book is an attempt to radicalize it.The foundations of this “radicalized radical Buddhism” are provided by a realist interpretation of Yogācāra, elucidated and elaborated with some help from thinkers in the broader Tiantai/Tendai tradition and American philosophers Donald Davidson and W.V.O. Quine. A key implication of this foundation is that only this world and only this life are real, from which it follows that if Buddhism aims to alleviate suffering, it has to do so in this world and in this life. Twentieth-century radical Buddhists (as well as some engaged Buddhists) came to a similar conclusion, often expressed in their aim to realize “a Buddha land in this world.”Building on this foundation, but also on Mahāyāna moral philosophy, this book argues for an ethics and social philosophy based on a definition of evil as that what is or should be expected to cause death or suffering. On that ground, capitalism should be rejected indeed, but utopianism must be treated with caution as well, which raises questions about what it means – from a radicalized radical Buddhist perspective – to aim for a Buddha land in this world. 30 00 In the early twentieth century, Uchiyama Gudō, Seno’o Girō, Lin Qiuwu, and others advocated a Buddhism that was radical in two respects. Firstly, they adopted a more or less naturalist stance with respect to Buddhist doctrine and related matters, rejecting karma or other supernatural beliefs. And secondly, they held political and economic views that were radically anti-hegemonic, anti-capitalist, and revolutionary. Taking the idea of such a “radical Buddhism” seriously, A Buddha Land in This World: Philosophy, Utopia, and Radical Buddhism asks whether it is possible to develop a philosophy that is simultaneously naturalist, anti-capitalist, Buddhist, and consistent. Rather than a study of radical Buddhism, then, this book is an attempt to radicalize it.The foundations of this “radicalized radical Buddhism” are provided by a realist interpretation of Yogācāra, elucidated and elaborated with some help from thinkers in the broader Tiantai/Tendai tradition and American philosophers Donald Davidson and W.V.O. Quine. A key implication of this foundation is that only this world and only this life are real, from which it follows that if Buddhism aims to alleviate suffering, it has to do so in this world and in this life. Twentieth-century radical Buddhists (as well as some engaged Buddhists) came to a similar conclusion, often expressed in their aim to realize “a Buddha land in this world.”Building on this foundation, but also on Mahāyāna moral philosophy, this book argues for an ethics and social philosophy based on a definition of evil as that what is or should be expected to cause death or suffering. On that ground, capitalism should be rejected indeed, but utopianism must be treated with caution as well, which raises questions about what it means – from a radicalized radical Buddhist perspective – to aim for a Buddha land in this world. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0373.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-buddha-land-in-this-world-philosophy-utopia-and-radical-buddhism/ Earth, Milky Way 04 01 20220414 Brons, Lajos 02 WORLD 06 15 9781685710354 03 9781685710354 34 06 10.2105/AJPH.2010.300086 34 06 10.17613/51rk-d378 34 06 10.1177/0022002797041002001 34 06 10.1111/1468-0114.00036 34 06 10.5281/zenodo.1306529 34 06 10.1086/224166 34 06 10.2307/2718364 34 06 10.17613/M6PM42 34 06 10.31979/2151-6014(2012).030106 34 06 10.17613/M6G39X 34 06 10.17613/M6KT12 34 06 10.17613/M6109V 34 06 10.17613/M63T1Q 34 06 10.5840/logos-episteme20167328 34 06 10.5007/1808-1711.2019v23n1p19 34 06 10.17613/51rk-d378 34 06 10.1177/1088868309352321 34 06 10.1177/0969733008100076 34 06 10.1177/0090591700028002005 34 06 10.1056/NEJM198203183061104 34 06 10.1111/rec3.12103 34 06 10.31979/2151-6014(2013).040205 34 06 10.1080/08935696.2016.1243426 34 06 10.2143/JIABS.40.0.3269003 34 06 10.1073/pnas.1511451112 34 06 10.1080/01445340802164377 34 06 10.1023/A:1022537117643 34 06 10.2307/2215436 34 06 10.1111/j.1475-4975.1993.tb00254.x 34 06 10.1080/00207599308246944 34 06 10.1080/00048408112340291 34 06 10.2307/3326922 34 06 10.1080/00472338380000161 34 06 10.2307/1906943 34 06 10.2307/1883929 34 06 10.1037/a0015141 34 06 10.1037/0022-3514.63.2.212 34 06 10.1080/00048408112340131 34 06 10.1007/s10781-016-9311-1 34 06 10.1371/journal.pone.0042366 34 06 10.1371/journal.pone.0221953 34 06 10.1146/annurev-environ-102017-025941 34 06 10.1007/s10781-017-9334-2 34 06 10.2307/2383230 34 06 10.2307/2025030 34 06 10.1111/j.1751-9020.2010.00334.x 34 06 10.1080/21567689.2014.898413 34 06 10.1111/j.1088-4963.2000.00342.x 34 06 10.1073/pnas.0705414105 34 06 10.1558/bsrv.v30i2.145 34 06 10.3390/rel11020061 34 06 10.5194/bg-17-2987-2020 34 06 10.1086/233472 34 06 10.1111/j.1540-6253.2007.00440.x 34 06 10.1016/j.tics.2011.07.010 34 06 10.2307/2183914 34 06 10.1007/BF02028171 34 06 10.2307/3655648 34 06 10.1080/10357820500139505 34 06 10.1080/0739314032000145242 34 06 10.1038/s41558-017-0034-4 34 06 10.1146/annurev.so.05.080179.001033 34 06 10.1088/1748-9326/9/12/124002 34 06 10.1215/00318108-2007-037 34 06 10.1098/rstb.1999.0544 34 06 10.1029/2019RG000678 34 06 10.1093/mind/LXXXVI.341.67 34 06 10.1093/mind/LXVII.268.542 34 06 10.1093/cje/beu037 34 06 10.1093/jaarel/LXIV.2.313 34 06 10.1093/jaarel/XLVI.1.19 34 06 10.1038/s41586-019-1364-3 34 06 10.1007/s11841-016-0544-y 34 06 10.1111/j.1747-9991.2012.00500.x 34 06 10.1177/1745691617709589 34 06 10.1162/001152604323049370 34 06 10.1075/ijolc.1.2.02wie 34 06 10.1353/wp.2006.0028 34 06 10.1088/1748-9326/10/3/031001 34 06 10.5840/philtoday200852234 34 06 10.1073/pnas.1810141115 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710344 20 08 20220414 02 33.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-buddha-land-in-this-world-philosophy-utopia-and-radical-buddhism 20 08 20220414 02 33.00 USD WORLD urn:uuid:191030c4-14a7-4f2b-85ed-6eab1016030d 03 01 01 thoth-work-id urn:uuid:8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c 01 thoth-publication-id urn:uuid:191030c4-14a7-4f2b-85ed-6eab1016030d 15 9781685710354 03 9781685710354 06 10.53288/0373.1.00 13 2022936379 01 internal-reference 0373 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Buddha Land in This World Philosophy, Utopia, and Radical Buddhism 1 A01 21 0000000208905678 Lajos Brons Lajos Brons 40 03294c124 Lakeland University Japan Lajos Brons is a Dutch philosopher and social scientist living in Japan. After receiving a PhD from the University of Groningen in the Netherlands for a dissertation on an aspect of the history and philosophy of the social sciences, he gradually moved further and further into philosophical territory. Currently, Lajos is teaching logic, ethics, and philosophy at a university in Tokyo. His research interests are divided over two broad areas in philosophy: one is in the overlap of (meta-)ethics and social/political philosophy; the other is in the intersection of philosophy of language, metaphysics, and epistemology. Research in the former focuses on the relations between death, suffering, and compassion. Research in the latter concerns the relations between language, thought, and reality, and is heavily influenced by the philosophies of Donald Davidson and W.V.O. Quine, and by Buddhist philosophy. More information about publications and research interests, as well as Lajos’s blog can be found at www.lajosbrons.net 06 Own website http://www.lajosbrons.net/ 01 eng 00 490 03 B2 Cultural Studies+Critical Theory 12 HRE 93 QRFB2 10 REL007000 12 HPQ 10 PHI028000 B2 Philosophy 93 QDTQ 20 philosophy; Buddhism; naturalism; anti-capitalism; ethics; utopianism; Yogācāra; pragmatism 01 06 02 00 03 00 In the early twentieth century, Uchiyama Gudō, Seno’o Girō, Lin Qiuwu, and others advocated a Buddhism that was radical in two respects. Firstly, they adopted a more or less naturalist stance with respect to Buddhist doctrine and related matters, rejecting karma or other supernatural beliefs. And secondly, they held political and economic views that were radically anti-hegemonic, anti-capitalist, and revolutionary. Taking the idea of such a “radical Buddhism” seriously, A Buddha Land in This World: Philosophy, Utopia, and Radical Buddhism asks whether it is possible to develop a philosophy that is simultaneously naturalist, anti-capitalist, Buddhist, and consistent. Rather than a study of radical Buddhism, then, this book is an attempt to radicalize it.The foundations of this “radicalized radical Buddhism” are provided by a realist interpretation of Yogācāra, elucidated and elaborated with some help from thinkers in the broader Tiantai/Tendai tradition and American philosophers Donald Davidson and W.V.O. Quine. A key implication of this foundation is that only this world and only this life are real, from which it follows that if Buddhism aims to alleviate suffering, it has to do so in this world and in this life. Twentieth-century radical Buddhists (as well as some engaged Buddhists) came to a similar conclusion, often expressed in their aim to realize “a Buddha land in this world.”Building on this foundation, but also on Mahāyāna moral philosophy, this book argues for an ethics and social philosophy based on a definition of evil as that what is or should be expected to cause death or suffering. On that ground, capitalism should be rejected indeed, but utopianism must be treated with caution as well, which raises questions about what it means – from a radicalized radical Buddhist perspective – to aim for a Buddha land in this world. 30 00 In the early twentieth century, Uchiyama Gudō, Seno’o Girō, Lin Qiuwu, and others advocated a Buddhism that was radical in two respects. Firstly, they adopted a more or less naturalist stance with respect to Buddhist doctrine and related matters, rejecting karma or other supernatural beliefs. And secondly, they held political and economic views that were radically anti-hegemonic, anti-capitalist, and revolutionary. Taking the idea of such a “radical Buddhism” seriously, A Buddha Land in This World: Philosophy, Utopia, and Radical Buddhism asks whether it is possible to develop a philosophy that is simultaneously naturalist, anti-capitalist, Buddhist, and consistent. Rather than a study of radical Buddhism, then, this book is an attempt to radicalize it.The foundations of this “radicalized radical Buddhism” are provided by a realist interpretation of Yogācāra, elucidated and elaborated with some help from thinkers in the broader Tiantai/Tendai tradition and American philosophers Donald Davidson and W.V.O. Quine. A key implication of this foundation is that only this world and only this life are real, from which it follows that if Buddhism aims to alleviate suffering, it has to do so in this world and in this life. Twentieth-century radical Buddhists (as well as some engaged Buddhists) came to a similar conclusion, often expressed in their aim to realize “a Buddha land in this world.”Building on this foundation, but also on Mahāyāna moral philosophy, this book argues for an ethics and social philosophy based on a definition of evil as that what is or should be expected to cause death or suffering. On that ground, capitalism should be rejected indeed, but utopianism must be treated with caution as well, which raises questions about what it means – from a radicalized radical Buddhist perspective – to aim for a Buddha land in this world. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0373.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-buddha-land-in-this-world-philosophy-utopia-and-radical-buddhism/ Earth, Milky Way 04 01 20220414 Brons, Lajos 02 WORLD 06 15 9781685710347 03 9781685710347 34 06 10.2105/AJPH.2010.300086 34 06 10.17613/51rk-d378 34 06 10.1177/0022002797041002001 34 06 10.1111/1468-0114.00036 34 06 10.5281/zenodo.1306529 34 06 10.1086/224166 34 06 10.2307/2718364 34 06 10.17613/M6PM42 34 06 10.31979/2151-6014(2012).030106 34 06 10.17613/M6G39X 34 06 10.17613/M6KT12 34 06 10.17613/M6109V 34 06 10.17613/M63T1Q 34 06 10.5840/logos-episteme20167328 34 06 10.5007/1808-1711.2019v23n1p19 34 06 10.17613/51rk-d378 34 06 10.1177/1088868309352321 34 06 10.1177/0969733008100076 34 06 10.1177/0090591700028002005 34 06 10.1056/NEJM198203183061104 34 06 10.1111/rec3.12103 34 06 10.31979/2151-6014(2013).040205 34 06 10.1080/08935696.2016.1243426 34 06 10.2143/JIABS.40.0.3269003 34 06 10.1073/pnas.1511451112 34 06 10.1080/01445340802164377 34 06 10.1023/A:1022537117643 34 06 10.2307/2215436 34 06 10.1111/j.1475-4975.1993.tb00254.x 34 06 10.1080/00207599308246944 34 06 10.1080/00048408112340291 34 06 10.2307/3326922 34 06 10.1080/00472338380000161 34 06 10.2307/1906943 34 06 10.2307/1883929 34 06 10.1037/a0015141 34 06 10.1037/0022-3514.63.2.212 34 06 10.1080/00048408112340131 34 06 10.1007/s10781-016-9311-1 34 06 10.1371/journal.pone.0042366 34 06 10.1371/journal.pone.0221953 34 06 10.1146/annurev-environ-102017-025941 34 06 10.1007/s10781-017-9334-2 34 06 10.2307/2383230 34 06 10.2307/2025030 34 06 10.1111/j.1751-9020.2010.00334.x 34 06 10.1080/21567689.2014.898413 34 06 10.1111/j.1088-4963.2000.00342.x 34 06 10.1073/pnas.0705414105 34 06 10.1558/bsrv.v30i2.145 34 06 10.3390/rel11020061 34 06 10.5194/bg-17-2987-2020 34 06 10.1086/233472 34 06 10.1111/j.1540-6253.2007.00440.x 34 06 10.1016/j.tics.2011.07.010 34 06 10.2307/2183914 34 06 10.1007/BF02028171 34 06 10.2307/3655648 34 06 10.1080/10357820500139505 34 06 10.1080/0739314032000145242 34 06 10.1038/s41558-017-0034-4 34 06 10.1146/annurev.so.05.080179.001033 34 06 10.1088/1748-9326/9/12/124002 34 06 10.1215/00318108-2007-037 34 06 10.1098/rstb.1999.0544 34 06 10.1029/2019RG000678 34 06 10.1093/mind/LXXXVI.341.67 34 06 10.1093/mind/LXVII.268.542 34 06 10.1093/cje/beu037 34 06 10.1093/jaarel/LXIV.2.313 34 06 10.1093/jaarel/XLVI.1.19 34 06 10.1038/s41586-019-1364-3 34 06 10.1007/s11841-016-0544-y 34 06 10.1111/j.1747-9991.2012.00500.x 34 06 10.1177/1745691617709589 34 06 10.1162/001152604323049370 34 06 10.1075/ijolc.1.2.02wie 34 06 10.1353/wp.2006.0028 34 06 10.1088/1748-9326/10/3/031001 34 06 10.5840/philtoday200852234 34 06 10.1073/pnas.1810141115 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/54050 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/54050/0373.1.00.pdf?sequence=1&isAllowed=y 20 08 20220414 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34682 20 08 20220414 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2gz3zt3 20 08 20220414 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/709 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/97a08527-cc76-4ec8-807a-e0e9e4a68e54/download 20 08 20220414 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Buddha_Land_in_This_World/dgSVEAAAQBAJ 20 08 20220414 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c/8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c.pdf 20 08 20220414 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849324 29 ZENODO: download the title https://zenodo.org/records/19849324/files/8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c_book.pdf 20 08 20220414 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-buddha-land-in-this-world-philosophy-utopia-and-radical-buddhism/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0373.1.00.pdf 20 08 20220414 01 urn:uuid:e819e1b3-f0ac-441d-9331-7a02d4ae1a5e 03 01 01 thoth-work-id urn:uuid:88a8657d-d73d-4be1-b893-678b35fd709a 01 thoth-publication-id urn:uuid:e819e1b3-f0ac-441d-9331-7a02d4ae1a5e 15 9781685710569 03 9781685710569 06 10.53288/0391.1.00 13 2022945025 01 internal-reference 0391 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Credible Utopia Essays on Selected Films of Werner Schroeter 1 A01 Peter Valente Peter Valente 01 eng 00 172 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 12 APFB 10 ART009000 93 ATFB B2 TransQueer 10 ART066000 20 utopia; homosexuality; Werner Schroeter; film studies; queer studies; German cinema; esthetics 01 06 02 00 03 00 A Credible Utopia: Essays on Selected Films of Werner Schroeter offers unique and personal insights into Schroeter’s cinematic universe. Many of the films discussed in this book are those upon which Schroeter’s worldwide reputation rests: Der Bomberpilot, an absurdist comedy; The Death of Maria Malibran, a film about ecstatic redemption in death; Willow Springs, about the complex relationships between men and women; Day of the Idiots, a visually baroque, operatic and highly dramatic film about madness; The Kingdom of Naples, Schroeter’s visually stunning depiction of Italy in the post-war years; and Palermo or Wolfsburg, for which Schroeter won the Golden Bear, an epic film about love, violence, and cultural malaise. But Valente also addresses Schroeter's early experimental films that don't get as much attention, such as Aggression, Neurasia, and Argila, all of which are about the struggle between repression and desire, and Deux, a late work that Schroeter considered his masterpiece, a film about the double and the ways in which identity is formed by integrating the abject part of ourselves with the good. Valente concludes with an analysis of Nuit de Chien, Schroeter's final film, a powerful summation of a live devoted to art, music, literature, and film.When the Museum of Modern Art staged a retrospective of Schroeter's ouevre in 2012, there was hardly anything in English on his films and only one film available on DVD in the US, such that Schroeter's work as a director has remained largely invisible in the English-speaking world. A Credible Utopia repairs this lacuna in film history, and, in a detailed and intimate reading of Schroeter's queer ouevre, links all these films together through Schroeter's desire for a “credible utopia,” despite our shared awareness of disaster, torture, viciousness, and political corruption in the world. 30 00 A Credible Utopia: Essays on Selected Films of Werner Schroeter offers unique and personal insights into Schroeter’s cinematic universe. Many of the films discussed in this book are those upon which Schroeter’s worldwide reputation rests: Der Bomberpilot, an absurdist comedy; The Death of Maria Malibran, a film about ecstatic redemption in death; Willow Springs, about the complex relationships between men and women; Day of the Idiots, a visually baroque, operatic and highly dramatic film about madness; The Kingdom of Naples, Schroeter’s visually stunning depiction of Italy in the post-war years; and Palermo or Wolfsburg, for which Schroeter won the Golden Bear, an epic film about love, violence, and cultural malaise. But Valente also addresses Schroeter's early experimental films that don't get as much attention, such as Aggression, Neurasia, and Argila, all of which are about the struggle between repression and desire, and Deux, a late work that Schroeter considered his masterpiece, a film about the double and the ways in which identity is formed by integrating the abject part of ourselves with the good. Valente concludes with an analysis of Nuit de Chien, Schroeter's final film, a powerful summation of a live devoted to art, music, literature, and film.When the Museum of Modern Art staged a retrospective of Schroeter's ouevre in 2012, there was hardly anything in English on his films and only one film available on DVD in the US, such that Schroeter's work as a director has remained largely invisible in the English-speaking world. A Credible Utopia repairs this lacuna in film history, and, in a detailed and intimate reading of Schroeter's queer ouevre, links all these films together through Schroeter's desire for a “credible utopia,” despite our shared awareness of disaster, torture, viciousness, and political corruption in the world. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0391.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-credible-utopia-essays-on-selected-films-of-werner-schroeter/ Earth, Milky Way 04 01 20220908 Peter Valente 02 WORLD 06 15 9781685710576 03 9781685710576 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710565 20 08 20220908 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-credible-utopia-essays-on-selected-films-of-werner-schroeter 20 08 20220908 02 22.00 USD WORLD urn:uuid:bf3a6d0b-09f3-4bd0-aafc-4a918d769a13 03 01 01 thoth-work-id urn:uuid:88a8657d-d73d-4be1-b893-678b35fd709a 01 thoth-publication-id urn:uuid:bf3a6d0b-09f3-4bd0-aafc-4a918d769a13 15 9781685710576 03 9781685710576 06 10.53288/0391.1.00 13 2022945025 01 internal-reference 0391 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Credible Utopia Essays on Selected Films of Werner Schroeter 1 A01 Peter Valente Peter Valente 01 eng 00 172 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 12 APFB 10 ART009000 93 ATFB B2 TransQueer 10 ART066000 20 utopia; homosexuality; Werner Schroeter; film studies; queer studies; German cinema; esthetics 01 06 02 00 03 00 A Credible Utopia: Essays on Selected Films of Werner Schroeter offers unique and personal insights into Schroeter’s cinematic universe. Many of the films discussed in this book are those upon which Schroeter’s worldwide reputation rests: Der Bomberpilot, an absurdist comedy; The Death of Maria Malibran, a film about ecstatic redemption in death; Willow Springs, about the complex relationships between men and women; Day of the Idiots, a visually baroque, operatic and highly dramatic film about madness; The Kingdom of Naples, Schroeter’s visually stunning depiction of Italy in the post-war years; and Palermo or Wolfsburg, for which Schroeter won the Golden Bear, an epic film about love, violence, and cultural malaise. But Valente also addresses Schroeter's early experimental films that don't get as much attention, such as Aggression, Neurasia, and Argila, all of which are about the struggle between repression and desire, and Deux, a late work that Schroeter considered his masterpiece, a film about the double and the ways in which identity is formed by integrating the abject part of ourselves with the good. Valente concludes with an analysis of Nuit de Chien, Schroeter's final film, a powerful summation of a live devoted to art, music, literature, and film.When the Museum of Modern Art staged a retrospective of Schroeter's ouevre in 2012, there was hardly anything in English on his films and only one film available on DVD in the US, such that Schroeter's work as a director has remained largely invisible in the English-speaking world. A Credible Utopia repairs this lacuna in film history, and, in a detailed and intimate reading of Schroeter's queer ouevre, links all these films together through Schroeter's desire for a “credible utopia,” despite our shared awareness of disaster, torture, viciousness, and political corruption in the world. 30 00 A Credible Utopia: Essays on Selected Films of Werner Schroeter offers unique and personal insights into Schroeter’s cinematic universe. Many of the films discussed in this book are those upon which Schroeter’s worldwide reputation rests: Der Bomberpilot, an absurdist comedy; The Death of Maria Malibran, a film about ecstatic redemption in death; Willow Springs, about the complex relationships between men and women; Day of the Idiots, a visually baroque, operatic and highly dramatic film about madness; The Kingdom of Naples, Schroeter’s visually stunning depiction of Italy in the post-war years; and Palermo or Wolfsburg, for which Schroeter won the Golden Bear, an epic film about love, violence, and cultural malaise. But Valente also addresses Schroeter's early experimental films that don't get as much attention, such as Aggression, Neurasia, and Argila, all of which are about the struggle between repression and desire, and Deux, a late work that Schroeter considered his masterpiece, a film about the double and the ways in which identity is formed by integrating the abject part of ourselves with the good. Valente concludes with an analysis of Nuit de Chien, Schroeter's final film, a powerful summation of a live devoted to art, music, literature, and film.When the Museum of Modern Art staged a retrospective of Schroeter's ouevre in 2012, there was hardly anything in English on his films and only one film available on DVD in the US, such that Schroeter's work as a director has remained largely invisible in the English-speaking world. A Credible Utopia repairs this lacuna in film history, and, in a detailed and intimate reading of Schroeter's queer ouevre, links all these films together through Schroeter's desire for a “credible utopia,” despite our shared awareness of disaster, torture, viciousness, and political corruption in the world. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0391.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-credible-utopia-essays-on-selected-films-of-werner-schroeter/ Earth, Milky Way 04 01 20220908 Peter Valente 02 WORLD 06 15 9781685710569 03 9781685710569 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/58153 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/58153/0391.1.00.pdf?sequence=1&isAllowed=y 20 08 20220908 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/81412 20 08 20220908 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2w9n242 20 08 20220908 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/697 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9b26f7d7-0149-43ad-95fa-547c6ada97eb/download 20 08 20220908 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Credible_Utopia/UASVEAAAQBAJ 20 08 20220908 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/88a8657d-d73d-4be1-b893-678b35fd709a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/88a8657d-d73d-4be1-b893-678b35fd709a/88a8657d-d73d-4be1-b893-678b35fd709a.pdf 20 08 20220908 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849494 29 ZENODO: download the title https://zenodo.org/records/19849494/files/88a8657d-d73d-4be1-b893-678b35fd709a_book.pdf 20 08 20220908 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-credible-utopia-essays-on-selected-films-of-werner-schroeter/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0391.1.00.pdf 20 08 20220908 01 urn:uuid:ba1b1be7-111c-41d7-b32a-5cdcf53bda37 03 01 01 thoth-work-id urn:uuid:eeb920c0-6f2e-462c-a315-3687b5ca8da3 01 thoth-publication-id urn:uuid:ba1b1be7-111c-41d7-b32a-5cdcf53bda37 15 9780692335543 03 9780692335543 06 10.21983/P3.0083.1.00 01 internal-reference 0083 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Action [poems] 1 A01 Anthony Opal Anthony Opal 01 eng 00 72 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 93 DCRS 20 poetry; sonnet; formalism; waxwings; monarchy 01 06 02 00 03 00 ACTION — as in begin, genesis, motion — is a collection of poems ultimately concerned with form, those lines drawn in the sand that give way to the profanity of the holy, the holiness of the profane. Throughout ACTION, Opal engages the constraints inherent to seemingly fixed forms. From living with rheumatoid arthritis, to feeling for the edges of a sonnet tradition, to wrestling with the tenets of historical theology, this collection demonstrates that the only way to honestly submit to a form is to rage against it. However, to assume that this rage is not a kind of explosive joy—a Barthesian jouissance—would be to miss the point of poems that Dean Young has described as “radiant affirmations of life and art.” 30 00 ACTION — as in begin, genesis, motion — is a collection of poems ultimately concerned with form, those lines drawn in the sand that give way to the profanity of the holy, the holiness of the profane. Throughout ACTION, Opal engages the constraints inherent to seemingly fixed forms. From living with rheumatoid arthritis, to feeling for the edges of a sonnet tradition, to wrestling with the tenets of historical theology, this collection demonstrates that the only way to honestly submit to a form is to rage against it. However, to assume that this rage is not a kind of explosive joy—a Barthesian jouissance—would be to miss the point of poems that Dean Young has described as “radiant affirmations of life and art.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0083.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/action/ Brooklyn, NY 04 01 20141210 Opal, Anthony 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692335544 20 08 20141210 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/action-poems 20 08 20141210 02 21.00 USD WORLD urn:uuid:607b6370-bc75-4191-b2c2-d32c13a942c5 03 01 01 thoth-work-id urn:uuid:eeb920c0-6f2e-462c-a315-3687b5ca8da3 01 thoth-publication-id urn:uuid:607b6370-bc75-4191-b2c2-d32c13a942c5 06 10.21983/P3.0083.1.00 01 internal-reference 0083 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Action [poems] 1 A01 Anthony Opal Anthony Opal 01 eng 00 72 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 93 DCRS 20 poetry; sonnet; formalism; waxwings; monarchy 01 06 02 00 03 00 ACTION — as in begin, genesis, motion — is a collection of poems ultimately concerned with form, those lines drawn in the sand that give way to the profanity of the holy, the holiness of the profane. Throughout ACTION, Opal engages the constraints inherent to seemingly fixed forms. From living with rheumatoid arthritis, to feeling for the edges of a sonnet tradition, to wrestling with the tenets of historical theology, this collection demonstrates that the only way to honestly submit to a form is to rage against it. However, to assume that this rage is not a kind of explosive joy—a Barthesian jouissance—would be to miss the point of poems that Dean Young has described as “radiant affirmations of life and art.” 30 00 ACTION — as in begin, genesis, motion — is a collection of poems ultimately concerned with form, those lines drawn in the sand that give way to the profanity of the holy, the holiness of the profane. Throughout ACTION, Opal engages the constraints inherent to seemingly fixed forms. From living with rheumatoid arthritis, to feeling for the edges of a sonnet tradition, to wrestling with the tenets of historical theology, this collection demonstrates that the only way to honestly submit to a form is to rage against it. However, to assume that this rage is not a kind of explosive joy—a Barthesian jouissance—would be to miss the point of poems that Dean Young has described as “radiant affirmations of life and art.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0083.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/action/ Brooklyn, NY 04 01 20141210 Opal, Anthony 02 WORLD 06 15 9780692335543 03 9780692335543 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25537 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25537/1004558.pdf?sequence=1&isAllowed=y 20 08 20141210 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29085 20 08 20141210 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353868 20 08 20141210 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/468 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/144f5bb4-38d1-46d4-b21d-58b469d748af/download 20 08 20141210 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Action_poems/2f-nEAAAQBAJ 20 08 20141210 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/eeb920c0-6f2e-462c-a315-3687b5ca8da3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/eeb920c0-6f2e-462c-a315-3687b5ca8da3/eeb920c0-6f2e-462c-a315-3687b5ca8da3.pdf 20 08 20141210 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846096 29 ZENODO: download the title https://zenodo.org/records/19846096/files/eeb920c0-6f2e-462c-a315-3687b5ca8da3_book.pdf 20 08 20141210 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/action/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0083.1.00.pdf 20 08 20141210 01 urn:uuid:1067a982-4f22-423a-a3f4-8b8a2be3ba6a 03 01 01 thoth-work-id urn:uuid:0604d827-a0f8-4e31-9644-17c9c854c5be 01 thoth-publication-id urn:uuid:1067a982-4f22-423a-a3f4-8b8a2be3ba6a 15 9781685712303 03 9781685712303 06 10.53288/0525.1.00 13 2025932606 01 internal-reference 0525 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 11 mm 03 1.1 cm 03 0.42 in 08 264 gr 08 9.3 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Cyborg's Father Misreading Donna Haraway 1 A01 21 0009000719166835 Dave Brennan Dave Brennan 40 028pmsz77 James Madison University Dave Brennan lives in Virginia and teaches at James Madison University. His books include Disintegration F_ace (Schism Press, 2023), Murder Ballads (punctum books, 2016), A Dash as Long as the Earth’s Orbit (Bateau Press, 2023), winner of the BOOM Chapbook Contest, and The Family Flamboyant (Brickhouse Books, 2010), winner of the Stonewall Chapbook Contest. His uploaded consciousness can be found at fckyrbookclub.substack.com. 01 eng 00 186 03 B2 Autotheory 10 POE005010 93 VFJB5 93 DCC 10 HEA039050 B2 Neurodiverse+Crip 10 BIO017000 93 DCF B2 Posthumanism 93 FXK 93 FLP 20 cyborg; feminism; disability studies; Donna Haraway; fatherhood; poetry; type 1 diabetes; chronic illness 01 06 02 00 03 00 When his daughter was diagnosed with type 1 diabetes as an infant and became dependent on technology to stay alive, Dave Brennan set off in search of a vision: what does it mean to live as a cyborg? And how might he best help his daughter navigate the relationship between machine and flesh?Beginning with a line plucked from Donna Haraway’s “A Cyborg Manifesto” — “Their fathers, after all, are inessential” — A Cyborg’s Father blends memoiristic poetic fragments with lyric essays that look toward music and literature by women artists who have embraced the technological as a metaphorical or literal means of investigating and owning their experience as women. Traversing the intersecting paths of feminism, chronic illness, disability studies, transhumanism, interdependence, and more, this is the tale of a father whose greatest hope is to be rendered inessential. 30 00 When his daughter was diagnosed with type 1 diabetes as an infant and became dependent on technology to stay alive, Dave Brennan set off in search of a vision: what does it mean to live as a cyborg? And how might he best help his daughter navigate the relationship between machine and flesh?Beginning with a line plucked from Donna Haraway’s “A Cyborg Manifesto” — “Their fathers, after all, are inessential” — A Cyborg’s Father blends memoiristic poetic fragments with lyric essays that look toward music and literature by women artists who have embraced the technological as a metaphorical or literal means of investigating and owning their experience as women. Traversing the intersecting paths of feminism, chronic illness, disability studies, transhumanism, interdependence, and more, this is the tale of a father whose greatest hope is to be rendered inessential. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0525.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-cyborgs-father-misreading-donna-haraway/ 16 Arts Council of the Valley Earth, Milky Way 04 01 20250404 Dave Brennan 02 WORLD 06 15 9781685712310 03 9781685712310 34 06 10.7551/mitpress/10815.001.0001 34 06 10.1016/S0140-6736(10)60079-7 34 06 10.1111/j.1548-1360.2010.01070.x WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-cyborgs-father-misreading-donna-haraway 20 08 20250404 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712304 20 08 20250404 02 23.00 USD WORLD urn:uuid:436160de-9dae-4e03-9c30-0028c25193e6 03 01 01 thoth-work-id urn:uuid:0604d827-a0f8-4e31-9644-17c9c854c5be 01 thoth-publication-id urn:uuid:436160de-9dae-4e03-9c30-0028c25193e6 15 9781685712310 03 9781685712310 06 10.53288/0525.1.00 13 2025932606 01 internal-reference 0525 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Cyborg's Father Misreading Donna Haraway 1 A01 21 0009000719166835 Dave Brennan Dave Brennan 40 028pmsz77 James Madison University Dave Brennan lives in Virginia and teaches at James Madison University. His books include Disintegration F_ace (Schism Press, 2023), Murder Ballads (punctum books, 2016), A Dash as Long as the Earth’s Orbit (Bateau Press, 2023), winner of the BOOM Chapbook Contest, and The Family Flamboyant (Brickhouse Books, 2010), winner of the Stonewall Chapbook Contest. His uploaded consciousness can be found at fckyrbookclub.substack.com. 01 eng 00 186 03 B2 Autotheory 10 POE005010 93 VFJB5 93 DCC 10 HEA039050 B2 Neurodiverse+Crip 10 BIO017000 93 DCF B2 Posthumanism 93 FXK 93 FLP 20 cyborg; feminism; disability studies; Donna Haraway; fatherhood; poetry; type 1 diabetes; chronic illness 01 06 02 00 03 00 When his daughter was diagnosed with type 1 diabetes as an infant and became dependent on technology to stay alive, Dave Brennan set off in search of a vision: what does it mean to live as a cyborg? And how might he best help his daughter navigate the relationship between machine and flesh?Beginning with a line plucked from Donna Haraway’s “A Cyborg Manifesto” — “Their fathers, after all, are inessential” — A Cyborg’s Father blends memoiristic poetic fragments with lyric essays that look toward music and literature by women artists who have embraced the technological as a metaphorical or literal means of investigating and owning their experience as women. Traversing the intersecting paths of feminism, chronic illness, disability studies, transhumanism, interdependence, and more, this is the tale of a father whose greatest hope is to be rendered inessential. 30 00 When his daughter was diagnosed with type 1 diabetes as an infant and became dependent on technology to stay alive, Dave Brennan set off in search of a vision: what does it mean to live as a cyborg? And how might he best help his daughter navigate the relationship between machine and flesh?Beginning with a line plucked from Donna Haraway’s “A Cyborg Manifesto” — “Their fathers, after all, are inessential” — A Cyborg’s Father blends memoiristic poetic fragments with lyric essays that look toward music and literature by women artists who have embraced the technological as a metaphorical or literal means of investigating and owning their experience as women. Traversing the intersecting paths of feminism, chronic illness, disability studies, transhumanism, interdependence, and more, this is the tale of a father whose greatest hope is to be rendered inessential. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0525.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-cyborgs-father-misreading-donna-haraway/ 16 Arts Council of the Valley Earth, Milky Way 04 01 20250404 Dave Brennan 02 WORLD 06 15 9781685712303 03 9781685712303 34 06 10.7551/mitpress/10815.001.0001 34 06 10.1016/S0140-6736(10)60079-7 34 06 10.1111/j.1548-1360.2010.01070.x WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/100653 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/100653/0525.1.00.pdf?sequence=1&isAllowed=y 20 08 20250404 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/91956 20 08 20250404 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526479 20 08 20250404 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/873 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a2cc40f7-c810-40bb-b03e-9d72b6ac6b41/download 20 08 20250404 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Cyborg_s_Father/H7hTEQAAQBAJ 20 08 20250404 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0604d827-a0f8-4e31-9644-17c9c854c5be 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0604d827-a0f8-4e31-9644-17c9c854c5be/0604d827-a0f8-4e31-9644-17c9c854c5be.pdf 20 08 20250404 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850978 29 ZENODO: download the title https://zenodo.org/records/19850978/files/0604d827-a0f8-4e31-9644-17c9c854c5be_book.pdf 20 08 20250404 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-cyborgs-father-misreading-donna-haraway/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0525.1.00.pdf 20 08 20250404 01 urn:uuid:7e347a00-21dd-4eb1-b7e3-c92116a884ed 03 01 01 thoth-work-id urn:uuid:20dab41d-2267-4a68-befa-d787b7c98599 01 thoth-publication-id urn:uuid:7e347a00-21dd-4eb1-b7e3-c92116a884ed 15 9780998237534 03 9780998237534 06 10.21983/P3.0152.1.00 01 internal-reference 0152 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 After the "Speculative Turn" Realism, Philosophy, and Feminism 1 B01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 01 fre 00 200 03 93 DSA 12 JFFK B2 Philosophy 10 SOC010000 10 PHI013000 B2 Posthumanism 93 QDHR7 93 JBSF11 20 speculative realism; object studies; feminism; new realisms; new materialisms 01 06 02 00 03 00 Recent forms of realism in continental philosophy that are habitually subsumed under the category of “speculative realism,” a denomination referring to rather heterogeneous strands of philosophy, bringing together object-oriented ontology (OOO), non-standard philosophy (or non-philosophy), the speculative realist ideas of Quentin Meillassoux and Marxism, have provided grounds for the much needed critique of culturalism in gender theory, and the authority with which post-structuralism has dominated feminist theory for decades. This publication aims to bring forth some of the feminist debates prompted by the so-called “speculative turn,” while demonstrating that there has never been a niche of “speculative realist feminism.”Whereas most of the contributions featured in this collection provide a theoretical approach invoking the necessity of foregrounding new forms of realism for a “feminism beyond gender as culture,” some of the essays tackle OOO only to invite a feminist critical challenge to its paradigm, while others refer to some extent to non-philosophy or the new materialisms but are not reducible to either of the two. We have invited essays from intellectual milieus outside the Anglo-Saxon academic center, bringing together authors from Serbia, Slovenia, France, Ireland, the UK, and Canada, aiming to promote feminist internationalism (rather than a “generous act of cultural inclusion”). 30 00 Recent forms of realism in continental philosophy that are habitually subsumed under the category of “speculative realism,” a denomination referring to rather heterogeneous strands of philosophy, bringing together object-oriented ontology (OOO), non-standard philosophy (or non-philosophy), the speculative realist ideas of Quentin Meillassoux and Marxism, have provided grounds for the much needed critique of culturalism in gender theory, and the authority with which post-structuralism has dominated feminist theory for decades. This publication aims to bring forth some of the feminist debates prompted by the so-called “speculative turn,” while demonstrating that there has never been a niche of “speculative realist feminism.”Whereas most of the contributions featured in this collection provide a theoretical approach invoking the necessity of foregrounding new forms of realism for a “feminism beyond gender as culture,” some of the essays tackle OOO only to invite a feminist critical challenge to its paradigm, while others refer to some extent to non-philosophy or the new materialisms but are not reducible to either of the two. We have invited essays from intellectual milieus outside the Anglo-Saxon academic center, bringing together authors from Serbia, Slovenia, France, Ireland, the UK, and Canada, aiming to promote feminist internationalism (rather than a “generous act of cultural inclusion”). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0152.1.00_frontcover.png 1 03 06 10.21983/P3.0152.1.01 i ix 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access Kolozova, Katerina Joy, Eileen A. 2 03 06 10.21983/P3.0152.1.02 9 15 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface After the "Speculative Turn" 1 A01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 01 eng 03 00 Recent forms of realism in continental philosophy, habitually subsumed under the (not always coherent) category of “specula-tive realism,” have provided grounds for the much needed cri-tique of social-constructivist approaches in gender theory and of the authority with which various forms of post-structuralist critique have dominated feminist theory for decades.1 But the interest in realism and in the possibility of a universalism that would still remain post-metaphysical displayed in most of the feminist (speculative) realist or (new) materialist writings I have read so far has been purely epistemological. There is no political motivation in those writings and they have most certainly not been directed against cultural theory per se vis-à-vis its domina-tion over questions of gender, sexual difference and other forms of social philosophy discourse. 30 00 Recent forms of realism in continental philosophy, habitually subsumed under the (not always coherent) category of “specula-tive realism,” have provided grounds for the much needed cri-tique of social-constructivist approaches in gender theory and of the authority with which various forms of post-structuralist critique have dominated feminist theory for decades.1 But the interest in realism and in the possibility of a universalism that would still remain post-metaphysical displayed in most of the feminist (speculative) realist or (new) materialist writings I have read so far has been purely epistemological. There is no political motivation in those writings and they have most certainly not been directed against cultural theory per se vis-à-vis its domina-tion over questions of gender, sexual difference and other forms of social philosophy discourse. 20 00 Open Access Kolozova, Katerina 3 03 06 10.21983/P3.0152.1.03 17 26 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Philosophy, Sexism, Emotion, Rationalism 1 A01 21 0000000332453234 Nina Power Nina Power 40 01egahc47 Royal College of Art 01 eng 03 00 Something important is happening within and to Philosophy.1It is something that has happened a thousand times over, yet every time it repeats it happens as if for the first time. The dif-ficulty is making this event stick. What is this event? The event of the disruption of Philosophy by its own outside, the outside that it pretends it does not have. Philosophy, by virtue of being the most universal subject, the most generic art, cannot imagine that there is something which it cannot capture or has not al-ways already captured, one way or another. But things fall apart. They fall apart a lot, and very quickly. I want to focus here on Philosophy as a discipline in its academic form, particularly in the UK and US, before turning to some of the claims made in the recent Xenofeminist manifesto2 and the Gender Nihil-ism anti-manifesto3 regarding the feminizing of reason and the abolition of gender. I will ultimately agree with the Xenofemi-nist manifesto when it states that “[r]ationalism must itself be a feminism” and with the Gender Nihilist text when it argues that the subversion of gender is a dead-end. I want only to add that what usually gets sidelined and undermined as “emotion,” and is frequently gendered as feminine or female, is also itself a rationalism, and that emotion and reason are in fact not mortal enemies, but rather inseparable branches of the collective ex-perience of social and political life that Philosophy purports to address. 30 00 Something important is happening within and to Philosophy.1It is something that has happened a thousand times over, yet every time it repeats it happens as if for the first time. The dif-ficulty is making this event stick. What is this event? The event of the disruption of Philosophy by its own outside, the outside that it pretends it does not have. Philosophy, by virtue of being the most universal subject, the most generic art, cannot imagine that there is something which it cannot capture or has not al-ways already captured, one way or another. But things fall apart. They fall apart a lot, and very quickly. I want to focus here on Philosophy as a discipline in its academic form, particularly in the UK and US, before turning to some of the claims made in the recent Xenofeminist manifesto2 and the Gender Nihil-ism anti-manifesto3 regarding the feminizing of reason and the abolition of gender. I will ultimately agree with the Xenofemi-nist manifesto when it states that “[r]ationalism must itself be a feminism” and with the Gender Nihilist text when it argues that the subversion of gender is a dead-end. I want only to add that what usually gets sidelined and undermined as “emotion,” and is frequently gendered as feminine or female, is also itself a rationalism, and that emotion and reason are in fact not mortal enemies, but rather inseparable branches of the collective ex-perience of social and political life that Philosophy purports to address. 20 00 Open Access Power, Nina 4 03 06 10.21983/P3.0152.1.04 27 38 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Other Woman 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 01 eng 03 00 Recent new realist theories intend to respect objects by leaving them to their own “weird” ways.1 However, in seeking to rethink how objects access each other, and how humans have access to the world, these philosophies consistently center on ques-tions of having access to things or, put simply, having them.2Ultimately, there is something perversely exotic about objects framed, through the language of object-orientation, as a form of alterity that is meant to be had even if from afar. This dynamic carries sexual undertones and is entangled in objectification and reification. Any fetishist will attest that weirdness can be sexy, and this holds true, it would appear, even in philosophy. Whether or not one chooses to read terms like allure and with-drawal as flirtatious or frigid, attributing distant availability to objects produces what I call an exoticism of objects. As we will see, this exoticism troubles economies of access and having, which I contend are foundational for new realist philosophies. 30 00 Recent new realist theories intend to respect objects by leaving them to their own “weird” ways.1 However, in seeking to rethink how objects access each other, and how humans have access to the world, these philosophies consistently center on ques-tions of having access to things or, put simply, having them.2Ultimately, there is something perversely exotic about objects framed, through the language of object-orientation, as a form of alterity that is meant to be had even if from afar. This dynamic carries sexual undertones and is entangled in objectification and reification. Any fetishist will attest that weirdness can be sexy, and this holds true, it would appear, even in philosophy. Whether or not one chooses to read terms like allure and with-drawal as flirtatious or frigid, attributing distant availability to objects produces what I call an exoticism of objects. As we will see, this exoticism troubles economies of access and having, which I contend are foundational for new realist philosophies. 20 00 Open Access Behar, Katherine 5 03 06 10.21983/P3.0152.1.05 39 57 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Libérer épistémologiquement le féminisme 1 A01 21 0000000160796547 Anne-Françoise Schmid Anne-Françoise Schmid 40 04y8cs423 Mines ParisTech 01 fre 03 00 Peut-on mettre en rapport la recherche des critères de scien-tificité et les études sur le genre ? Y a-t-il des raisons de rapport-er la façon d’identifier la science à un sexe plutôt qu’à un autre ? Les deux questions peuvent sembler éloignées, mais elles sont mises en tension par un fait général : les critères de la science ont été recherchés de façon systématique au siècle où la situation de la femme s’est, dans nos pays occidentaux, nettement améliorée du point de vue de l’accès à la connaissance et à l’exercice d’une profession scientifique. Dans le moment où l’on cherchait des règles pour reconnaître la science de ce qui n’est pas science, les femmes ont pris une place effective, non exceptionnelle, dans les études scientifiques et philosophiques. Y a-t-il un rapport entre ces deux mouvements ? L’échec de la recherche de ces critères universels, qui sont maintenant reconnus comme ayant une valeur locale, les modifications au concept d’objectivité qu’il a provoquées, peuvent-ils avoir des conséquences sur l’ouverture aux femmes de l’accès aux sciences ? 30 00 Peut-on mettre en rapport la recherche des critères de scien-tificité et les études sur le genre ? Y a-t-il des raisons de rapport-er la façon d’identifier la science à un sexe plutôt qu’à un autre ? Les deux questions peuvent sembler éloignées, mais elles sont mises en tension par un fait général : les critères de la science ont été recherchés de façon systématique au siècle où la situation de la femme s’est, dans nos pays occidentaux, nettement améliorée du point de vue de l’accès à la connaissance et à l’exercice d’une profession scientifique. Dans le moment où l’on cherchait des règles pour reconnaître la science de ce qui n’est pas science, les femmes ont pris une place effective, non exceptionnelle, dans les études scientifiques et philosophiques. Y a-t-il un rapport entre ces deux mouvements ? L’échec de la recherche de ces critères universels, qui sont maintenant reconnus comme ayant une valeur locale, les modifications au concept d’objectivité qu’il a provoquées, peuvent-ils avoir des conséquences sur l’ouverture aux femmes de l’accès aux sciences ? 20 00 Open Access Schmid, Anne-Françoise 6 03 06 10.21983/P3.0152.1.06 59 70 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Notes for And They Were Dancing 1 A01 Patricia Ticineto Clough Patricia Ticineto Clough 40 03v8adn41 Queens College, CUNY 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 The composition presented below, And They Were Dancing, is one of five such compositions that were created over the past nine years. During this time I have been engaged in rethink-ing the question of the subject in terms of the ontological turn suggested by Deleuzian philosophy, speculative realism, and ob-ject-oriented ontologies, as well as feminist theories including object-oriented feminism.1 Gaining attention in the academy in the early years of the twenty-first century, the ontological turn has encouraged a rethinking of human-centered thought in or-der to take up the non-human, or the agencies and animacies of objects, things, and environments. It might be thought that the turn to the non-human turns away from the human subject, the human body, human consciousness, and cognition, which cannot but raise the question: who are the subjects of this turn of thought or who became engaged with it one way or another? To raise this question does not have to mean simply reducing thought to the personal — biography or autobiography. Rather, it may lead us to reflect on the personal catch of arising world sensibilities, the feeling of thought stirring in a psychic arrange-ment, urging us to follow a subjective intuition. 30 00 The composition presented below, And They Were Dancing, is one of five such compositions that were created over the past nine years. During this time I have been engaged in rethink-ing the question of the subject in terms of the ontological turn suggested by Deleuzian philosophy, speculative realism, and ob-ject-oriented ontologies, as well as feminist theories including object-oriented feminism.1 Gaining attention in the academy in the early years of the twenty-first century, the ontological turn has encouraged a rethinking of human-centered thought in or-der to take up the non-human, or the agencies and animacies of objects, things, and environments. It might be thought that the turn to the non-human turns away from the human subject, the human body, human consciousness, and cognition, which cannot but raise the question: who are the subjects of this turn of thought or who became engaged with it one way or another? To raise this question does not have to mean simply reducing thought to the personal — biography or autobiography. Rather, it may lead us to reflect on the personal catch of arising world sensibilities, the feeling of thought stirring in a psychic arrange-ment, urging us to follow a subjective intuition. 20 00 Open Access Clough, Patricia Ticineto 7 03 06 10.21983/P3.0152.1.07 71 93 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 No Foucault 1 A01 Joan Copjec Joan Copjec 40 05gq02987 Brown University 01 eng 03 00 An old accusation, resurrected by Foucault, held that Freud was a “pansexualist,” that he talked too much about sex and seemed to find it everywhere. I return to this charge not to deny but, once again, to confirm it.1 Yes, it is true that Freud discovered what we could call the promiscuity of sex, as long as we are clear that this promiscuity defined for him the nature of sex itself and not a moral judgment regarding an abuse of it. But if the charge of pansexualism, which aims to segregate sex, to confine it to its proper place, misses its target, it is because sex is not con-ceived within psychoanalysis as having a proper place, one it can claim as its own. Sexuality names not a discrete domain of life but the disjoint relation of speaking beings to their bodily exist-ence. Isolatable neither from meaning nor biology, sex does not belong to either realm and is manifest only in the disruptions, divisions, displacements, and distortions that affect both. This basic point has a history of getting lost, going back to the time when psychoanalysis was first invented. Freud was constantly forced to parry not only the squeamish objections and outright rejections of his theory of sexuality, but also the more insidious problem of its facile, and equally squeamish, acceptance. Too often enthusiasm for his ideas relied on an effacement of their complexity and rendered them anodyne. 30 00 An old accusation, resurrected by Foucault, held that Freud was a “pansexualist,” that he talked too much about sex and seemed to find it everywhere. I return to this charge not to deny but, once again, to confirm it.1 Yes, it is true that Freud discovered what we could call the promiscuity of sex, as long as we are clear that this promiscuity defined for him the nature of sex itself and not a moral judgment regarding an abuse of it. But if the charge of pansexualism, which aims to segregate sex, to confine it to its proper place, misses its target, it is because sex is not con-ceived within psychoanalysis as having a proper place, one it can claim as its own. Sexuality names not a discrete domain of life but the disjoint relation of speaking beings to their bodily exist-ence. Isolatable neither from meaning nor biology, sex does not belong to either realm and is manifest only in the disruptions, divisions, displacements, and distortions that affect both. This basic point has a history of getting lost, going back to the time when psychoanalysis was first invented. Freud was constantly forced to parry not only the squeamish objections and outright rejections of his theory of sexuality, but also the more insidious problem of its facile, and equally squeamish, acceptance. Too often enthusiasm for his ideas relied on an effacement of their complexity and rendered them anodyne. 20 00 Open Access Copject, Joan 8 03 06 10.21983/P3.0152.1.08 95 106 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking WithOut 1 A01 Jelisaveta Blagojević Jelisaveta Blagojević 40 017v7rz39 Singidunum University 01 eng 03 00 Although words such as feminism, gender, women are not in-cluded in the title, and are hardly mentioned in the whole text — they are at the very heart of it. It is only through feminist theory that I have realized what it means to have a non-smug theory that is not all about self-satisfaction, self-promotion, and self-preservation as is the case with most Western theoretical projects; it is only through feminist politics that I have discov-ered what it means to have politics that is not translated into the preservation of the status quo and/or reduced to an instrument of power. Generations of feminists are showing us how being politi-cal always calls for one’s own undoing; it involves re-imagining and re-inventing our own positions, locations, and belongings. And finally, it is a life of experiencing the invisibility of women’s thinking and doing that teaches us — if we want to make a dif-ference, if we are looking for a change — not to rely on what is visible, thinkable, sayable, audible, or generally, on what is given or taken for granted. 30 00 Although words such as feminism, gender, women are not in-cluded in the title, and are hardly mentioned in the whole text — they are at the very heart of it. It is only through feminist theory that I have realized what it means to have a non-smug theory that is not all about self-satisfaction, self-promotion, and self-preservation as is the case with most Western theoretical projects; it is only through feminist politics that I have discov-ered what it means to have politics that is not translated into the preservation of the status quo and/or reduced to an instrument of power. Generations of feminists are showing us how being politi-cal always calls for one’s own undoing; it involves re-imagining and re-inventing our own positions, locations, and belongings. And finally, it is a life of experiencing the invisibility of women’s thinking and doing that teaches us — if we want to make a dif-ference, if we are looking for a change — not to rely on what is visible, thinkable, sayable, audible, or generally, on what is given or taken for granted. 20 00 Open Access Blagojević, Jelisaveta 9 03 06 10.21983/P3.0152.1.09 107 116 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Who is the Other Woman in the Context of Transfeminist, Transmigrant, and Transgender Struggles in Global Capitalism? 1 A01 21 0000000347034390 Marina Gržinić Marina Gržinić 40 04evj0n95 Slovenian Academy of Sciences and Arts 01 eng 03 00 I want to elaborate on the above questions in the light of the dis-cussion on decolonial feminist thought while addressing some of the geopolitical spaces outside of Europe, or, more precisely, spaces outside the European Union (EU). I want to argue that this provincial, racist, colonial, and anti-Semitic space of the Eu-ropean Union that consists of a long list of “former” West states as Germany, Austria, Spain, Great Britain, etc. (the list of all the “former West” states, as they like to call themselves, is too long), is in urgent need of a radical transmigrant, transfeminist, and transgender decolonial approach. 30 00 I want to elaborate on the above questions in the light of the dis-cussion on decolonial feminist thought while addressing some of the geopolitical spaces outside of Europe, or, more precisely, spaces outside the European Union (EU). I want to argue that this provincial, racist, colonial, and anti-Semitic space of the Eu-ropean Union that consists of a long list of “former” West states as Germany, Austria, Spain, Great Britain, etc. (the list of all the “former West” states, as they like to call themselves, is too long), is in urgent need of a radical transmigrant, transfeminist, and transgender decolonial approach. 20 00 Open Access Gržinić, Marina 10 03 06 10.21983/P3.0152.1.10 117 132 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Crush The Fiery Allure of the Jolted Puppet 1 A01 Frenchy Lunning Frenchy Lunning 40 05mra7z37 Minneapolis College of Art and Design 01 eng 03 00 As an adolescent, I could mark time by the incessant epistemes of crushes I had experienced as I careened through junior high school, and beyond. Only a very small percentage of these emo-tional junkets were actualized as relationships, and most were only a subject of extreme embarrassment at the erotic obsession with an entirely inappropriate, or horrifyingly inexplicable, and thankfully, unsuspecting subject. The whole phenomenon of the crush puzzled me as it was always completely out of my control and never fully explained, except for a “wink-wink” moment in the special girls-only classes on menstruation and “love” that were de rigeur for young schoolgirls of the 1960s. But using the very particular apparatus of object-oriented ontology and its ex-cellent mechanism of “allure,” I feel I can perhaps abolish some of the mysterious shame of my youth, and explain its periodic persistence. It is these ephemeral, inexplicable phenomena that are such excellent subjects for this speculative realistic mecha-nism: those things in the existence of subjects that defy all rea-sonable explanation. 30 00 As an adolescent, I could mark time by the incessant epistemes of crushes I had experienced as I careened through junior high school, and beyond. Only a very small percentage of these emo-tional junkets were actualized as relationships, and most were only a subject of extreme embarrassment at the erotic obsession with an entirely inappropriate, or horrifyingly inexplicable, and thankfully, unsuspecting subject. The whole phenomenon of the crush puzzled me as it was always completely out of my control and never fully explained, except for a “wink-wink” moment in the special girls-only classes on menstruation and “love” that were de rigeur for young schoolgirls of the 1960s. But using the very particular apparatus of object-oriented ontology and its ex-cellent mechanism of “allure,” I feel I can perhaps abolish some of the mysterious shame of my youth, and explain its periodic persistence. It is these ephemeral, inexplicable phenomena that are such excellent subjects for this speculative realistic mecha-nism: those things in the existence of subjects that defy all rea-sonable explanation. 20 00 Open Access Lunning, Frenchy 11 03 06 10.21983/P3.0152.1.11 133 157 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 (W)omen out/of Time Metis, Medea, Mahakali 1 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 “What if Truth were an Omen?” I ask (with a nod to Ni-etzsche4 — through a glass, darkly). What if Truth were a Nam-shub, a Magic Word/Work, the nomen of an omen? Such a truth advances here — in this essay — masked as women. Metis, Me-dea, and Mahakali — first, a Pelasgian Titan, the first wife of Zeus and unacknowledged mother of Athena, who was doomed to be swallowed up whole and usurped by the head of Olympus; second, a foreign priestess of the chthonic Hecate, who (as first told in Apollonius of Rhodes’ Argonautika and later immortal-ized by Euripides and Seneca) helps the Greek Jason retrieve the mythic golden fleece, and who eventually murders her entire family and escapes back to Colchis; and finally, a fringe Hindu goddess first worshipped by criminals and outcastes, a dark de-ity clothed in severed heads, who drinks the blood of her vic-tims and resides in the cremation-ground — one who comes to be adopted as an incarnation of great time (mahākāla) or death itself in Hindu religion. 30 00 “What if Truth were an Omen?” I ask (with a nod to Ni-etzsche4 — through a glass, darkly). What if Truth were a Nam-shub, a Magic Word/Work, the nomen of an omen? Such a truth advances here — in this essay — masked as women. Metis, Me-dea, and Mahakali — first, a Pelasgian Titan, the first wife of Zeus and unacknowledged mother of Athena, who was doomed to be swallowed up whole and usurped by the head of Olympus; second, a foreign priestess of the chthonic Hecate, who (as first told in Apollonius of Rhodes’ Argonautika and later immortal-ized by Euripides and Seneca) helps the Greek Jason retrieve the mythic golden fleece, and who eventually murders her entire family and escapes back to Colchis; and finally, a fringe Hindu goddess first worshipped by criminals and outcastes, a dark de-ity clothed in severed heads, who drinks the blood of her vic-tims and resides in the cremation-ground — one who comes to be adopted as an incarnation of great time (mahākāla) or death itself in Hindu religion. 20 00 Open Access Mellamphy, Nandita Biswas 12 03 06 10.21983/P3.0152.1.12 159 197 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Girls Welcome!!!" Speculative Realism, Object-Oriented Ontology, and Queer Theory 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 I begin with two epigraphs, both of which were guest columns written for, commissioned especially by, PMLA. Although they are separated by fifteen years, they both make some strikingly similar points which are relevant for someone attempting to chart the potential connections or intimacies between queer theory and speculative realism (and in this position piece I’m placing quite a strong emphasis on object-oriented ontology which is just one offshoot of speculative realist thinking). The first thing we might emphasize is the need to pin things down, to say what exactly queer theory is and does and to be entirely clear about what speculative realism is and what precisely it is that speculative realists do. Yet, perhaps the power and virtue of both queer theory and speculative realism, what makes them so compatible, is that neither is a delimitable field. Part of the attraction of both is their very undefinability, their provisionality, and, most importantly, their openness. 30 00 I begin with two epigraphs, both of which were guest columns written for, commissioned especially by, PMLA. Although they are separated by fifteen years, they both make some strikingly similar points which are relevant for someone attempting to chart the potential connections or intimacies between queer theory and speculative realism (and in this position piece I’m placing quite a strong emphasis on object-oriented ontology which is just one offshoot of speculative realist thinking). The first thing we might emphasize is the need to pin things down, to say what exactly queer theory is and does and to be entirely clear about what speculative realism is and what precisely it is that speculative realists do. Yet, perhaps the power and virtue of both queer theory and speculative realism, what makes them so compatible, is that neither is a delimitable field. Part of the attraction of both is their very undefinability, their provisionality, and, most importantly, their openness. 20 00 Open Access O'Rourke, Michael 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/after-the-speculative-turn-realism-philosophy-and-feminism/ 16 40 052gg0110 32 10.13039/501100000769 University of Oxford Earth, Milky Way 04 01 20161026 Kolozova, Katerina Joy, Eileen A. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237531 20 08 20161026 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/after-the-speculative-turn-realism-philosophy-and-feminism 20 08 20161026 02 23.00 USD WORLD urn:uuid:0b4925b1-9698-4eec-908b-2832c6b5441c 03 01 01 thoth-work-id urn:uuid:20dab41d-2267-4a68-befa-d787b7c98599 01 thoth-publication-id urn:uuid:0b4925b1-9698-4eec-908b-2832c6b5441c 06 10.21983/P3.0152.1.00 01 internal-reference 0152 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 After the "Speculative Turn" Realism, Philosophy, and Feminism 1 B01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 01 fre 00 200 03 93 DSA 12 JFFK B2 Philosophy 10 SOC010000 10 PHI013000 B2 Posthumanism 93 QDHR7 93 JBSF11 20 speculative realism; object studies; feminism; new realisms; new materialisms 01 06 02 00 03 00 Recent forms of realism in continental philosophy that are habitually subsumed under the category of “speculative realism,” a denomination referring to rather heterogeneous strands of philosophy, bringing together object-oriented ontology (OOO), non-standard philosophy (or non-philosophy), the speculative realist ideas of Quentin Meillassoux and Marxism, have provided grounds for the much needed critique of culturalism in gender theory, and the authority with which post-structuralism has dominated feminist theory for decades. This publication aims to bring forth some of the feminist debates prompted by the so-called “speculative turn,” while demonstrating that there has never been a niche of “speculative realist feminism.”Whereas most of the contributions featured in this collection provide a theoretical approach invoking the necessity of foregrounding new forms of realism for a “feminism beyond gender as culture,” some of the essays tackle OOO only to invite a feminist critical challenge to its paradigm, while others refer to some extent to non-philosophy or the new materialisms but are not reducible to either of the two. We have invited essays from intellectual milieus outside the Anglo-Saxon academic center, bringing together authors from Serbia, Slovenia, France, Ireland, the UK, and Canada, aiming to promote feminist internationalism (rather than a “generous act of cultural inclusion”). 30 00 Recent forms of realism in continental philosophy that are habitually subsumed under the category of “speculative realism,” a denomination referring to rather heterogeneous strands of philosophy, bringing together object-oriented ontology (OOO), non-standard philosophy (or non-philosophy), the speculative realist ideas of Quentin Meillassoux and Marxism, have provided grounds for the much needed critique of culturalism in gender theory, and the authority with which post-structuralism has dominated feminist theory for decades. This publication aims to bring forth some of the feminist debates prompted by the so-called “speculative turn,” while demonstrating that there has never been a niche of “speculative realist feminism.”Whereas most of the contributions featured in this collection provide a theoretical approach invoking the necessity of foregrounding new forms of realism for a “feminism beyond gender as culture,” some of the essays tackle OOO only to invite a feminist critical challenge to its paradigm, while others refer to some extent to non-philosophy or the new materialisms but are not reducible to either of the two. We have invited essays from intellectual milieus outside the Anglo-Saxon academic center, bringing together authors from Serbia, Slovenia, France, Ireland, the UK, and Canada, aiming to promote feminist internationalism (rather than a “generous act of cultural inclusion”). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0152.1.00_frontcover.png 1 03 06 10.21983/P3.0152.1.01 i ix 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access Kolozova, Katerina Joy, Eileen A. 2 03 06 10.21983/P3.0152.1.02 9 15 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface After the "Speculative Turn" 1 A01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 01 eng 03 00 Recent forms of realism in continental philosophy, habitually subsumed under the (not always coherent) category of “specula-tive realism,” have provided grounds for the much needed cri-tique of social-constructivist approaches in gender theory and of the authority with which various forms of post-structuralist critique have dominated feminist theory for decades.1 But the interest in realism and in the possibility of a universalism that would still remain post-metaphysical displayed in most of the feminist (speculative) realist or (new) materialist writings I have read so far has been purely epistemological. There is no political motivation in those writings and they have most certainly not been directed against cultural theory per se vis-à-vis its domina-tion over questions of gender, sexual difference and other forms of social philosophy discourse. 30 00 Recent forms of realism in continental philosophy, habitually subsumed under the (not always coherent) category of “specula-tive realism,” have provided grounds for the much needed cri-tique of social-constructivist approaches in gender theory and of the authority with which various forms of post-structuralist critique have dominated feminist theory for decades.1 But the interest in realism and in the possibility of a universalism that would still remain post-metaphysical displayed in most of the feminist (speculative) realist or (new) materialist writings I have read so far has been purely epistemological. There is no political motivation in those writings and they have most certainly not been directed against cultural theory per se vis-à-vis its domina-tion over questions of gender, sexual difference and other forms of social philosophy discourse. 20 00 Open Access Kolozova, Katerina 3 03 06 10.21983/P3.0152.1.03 17 26 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Philosophy, Sexism, Emotion, Rationalism 1 A01 21 0000000332453234 Nina Power Nina Power 40 01egahc47 Royal College of Art 01 eng 03 00 Something important is happening within and to Philosophy.1It is something that has happened a thousand times over, yet every time it repeats it happens as if for the first time. The dif-ficulty is making this event stick. What is this event? The event of the disruption of Philosophy by its own outside, the outside that it pretends it does not have. Philosophy, by virtue of being the most universal subject, the most generic art, cannot imagine that there is something which it cannot capture or has not al-ways already captured, one way or another. But things fall apart. They fall apart a lot, and very quickly. I want to focus here on Philosophy as a discipline in its academic form, particularly in the UK and US, before turning to some of the claims made in the recent Xenofeminist manifesto2 and the Gender Nihil-ism anti-manifesto3 regarding the feminizing of reason and the abolition of gender. I will ultimately agree with the Xenofemi-nist manifesto when it states that “[r]ationalism must itself be a feminism” and with the Gender Nihilist text when it argues that the subversion of gender is a dead-end. I want only to add that what usually gets sidelined and undermined as “emotion,” and is frequently gendered as feminine or female, is also itself a rationalism, and that emotion and reason are in fact not mortal enemies, but rather inseparable branches of the collective ex-perience of social and political life that Philosophy purports to address. 30 00 Something important is happening within and to Philosophy.1It is something that has happened a thousand times over, yet every time it repeats it happens as if for the first time. The dif-ficulty is making this event stick. What is this event? The event of the disruption of Philosophy by its own outside, the outside that it pretends it does not have. Philosophy, by virtue of being the most universal subject, the most generic art, cannot imagine that there is something which it cannot capture or has not al-ways already captured, one way or another. But things fall apart. They fall apart a lot, and very quickly. I want to focus here on Philosophy as a discipline in its academic form, particularly in the UK and US, before turning to some of the claims made in the recent Xenofeminist manifesto2 and the Gender Nihil-ism anti-manifesto3 regarding the feminizing of reason and the abolition of gender. I will ultimately agree with the Xenofemi-nist manifesto when it states that “[r]ationalism must itself be a feminism” and with the Gender Nihilist text when it argues that the subversion of gender is a dead-end. I want only to add that what usually gets sidelined and undermined as “emotion,” and is frequently gendered as feminine or female, is also itself a rationalism, and that emotion and reason are in fact not mortal enemies, but rather inseparable branches of the collective ex-perience of social and political life that Philosophy purports to address. 20 00 Open Access Power, Nina 4 03 06 10.21983/P3.0152.1.04 27 38 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Other Woman 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 01 eng 03 00 Recent new realist theories intend to respect objects by leaving them to their own “weird” ways.1 However, in seeking to rethink how objects access each other, and how humans have access to the world, these philosophies consistently center on ques-tions of having access to things or, put simply, having them.2Ultimately, there is something perversely exotic about objects framed, through the language of object-orientation, as a form of alterity that is meant to be had even if from afar. This dynamic carries sexual undertones and is entangled in objectification and reification. Any fetishist will attest that weirdness can be sexy, and this holds true, it would appear, even in philosophy. Whether or not one chooses to read terms like allure and with-drawal as flirtatious or frigid, attributing distant availability to objects produces what I call an exoticism of objects. As we will see, this exoticism troubles economies of access and having, which I contend are foundational for new realist philosophies. 30 00 Recent new realist theories intend to respect objects by leaving them to their own “weird” ways.1 However, in seeking to rethink how objects access each other, and how humans have access to the world, these philosophies consistently center on ques-tions of having access to things or, put simply, having them.2Ultimately, there is something perversely exotic about objects framed, through the language of object-orientation, as a form of alterity that is meant to be had even if from afar. This dynamic carries sexual undertones and is entangled in objectification and reification. Any fetishist will attest that weirdness can be sexy, and this holds true, it would appear, even in philosophy. Whether or not one chooses to read terms like allure and with-drawal as flirtatious or frigid, attributing distant availability to objects produces what I call an exoticism of objects. As we will see, this exoticism troubles economies of access and having, which I contend are foundational for new realist philosophies. 20 00 Open Access Behar, Katherine 5 03 06 10.21983/P3.0152.1.05 39 57 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Libérer épistémologiquement le féminisme 1 A01 21 0000000160796547 Anne-Françoise Schmid Anne-Françoise Schmid 40 04y8cs423 Mines ParisTech 01 fre 03 00 Peut-on mettre en rapport la recherche des critères de scien-tificité et les études sur le genre ? Y a-t-il des raisons de rapport-er la façon d’identifier la science à un sexe plutôt qu’à un autre ? Les deux questions peuvent sembler éloignées, mais elles sont mises en tension par un fait général : les critères de la science ont été recherchés de façon systématique au siècle où la situation de la femme s’est, dans nos pays occidentaux, nettement améliorée du point de vue de l’accès à la connaissance et à l’exercice d’une profession scientifique. Dans le moment où l’on cherchait des règles pour reconnaître la science de ce qui n’est pas science, les femmes ont pris une place effective, non exceptionnelle, dans les études scientifiques et philosophiques. Y a-t-il un rapport entre ces deux mouvements ? L’échec de la recherche de ces critères universels, qui sont maintenant reconnus comme ayant une valeur locale, les modifications au concept d’objectivité qu’il a provoquées, peuvent-ils avoir des conséquences sur l’ouverture aux femmes de l’accès aux sciences ? 30 00 Peut-on mettre en rapport la recherche des critères de scien-tificité et les études sur le genre ? Y a-t-il des raisons de rapport-er la façon d’identifier la science à un sexe plutôt qu’à un autre ? Les deux questions peuvent sembler éloignées, mais elles sont mises en tension par un fait général : les critères de la science ont été recherchés de façon systématique au siècle où la situation de la femme s’est, dans nos pays occidentaux, nettement améliorée du point de vue de l’accès à la connaissance et à l’exercice d’une profession scientifique. Dans le moment où l’on cherchait des règles pour reconnaître la science de ce qui n’est pas science, les femmes ont pris une place effective, non exceptionnelle, dans les études scientifiques et philosophiques. Y a-t-il un rapport entre ces deux mouvements ? L’échec de la recherche de ces critères universels, qui sont maintenant reconnus comme ayant une valeur locale, les modifications au concept d’objectivité qu’il a provoquées, peuvent-ils avoir des conséquences sur l’ouverture aux femmes de l’accès aux sciences ? 20 00 Open Access Schmid, Anne-Françoise 6 03 06 10.21983/P3.0152.1.06 59 70 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Notes for And They Were Dancing 1 A01 Patricia Ticineto Clough Patricia Ticineto Clough 40 03v8adn41 Queens College, CUNY 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 The composition presented below, And They Were Dancing, is one of five such compositions that were created over the past nine years. During this time I have been engaged in rethink-ing the question of the subject in terms of the ontological turn suggested by Deleuzian philosophy, speculative realism, and ob-ject-oriented ontologies, as well as feminist theories including object-oriented feminism.1 Gaining attention in the academy in the early years of the twenty-first century, the ontological turn has encouraged a rethinking of human-centered thought in or-der to take up the non-human, or the agencies and animacies of objects, things, and environments. It might be thought that the turn to the non-human turns away from the human subject, the human body, human consciousness, and cognition, which cannot but raise the question: who are the subjects of this turn of thought or who became engaged with it one way or another? To raise this question does not have to mean simply reducing thought to the personal — biography or autobiography. Rather, it may lead us to reflect on the personal catch of arising world sensibilities, the feeling of thought stirring in a psychic arrange-ment, urging us to follow a subjective intuition. 30 00 The composition presented below, And They Were Dancing, is one of five such compositions that were created over the past nine years. During this time I have been engaged in rethink-ing the question of the subject in terms of the ontological turn suggested by Deleuzian philosophy, speculative realism, and ob-ject-oriented ontologies, as well as feminist theories including object-oriented feminism.1 Gaining attention in the academy in the early years of the twenty-first century, the ontological turn has encouraged a rethinking of human-centered thought in or-der to take up the non-human, or the agencies and animacies of objects, things, and environments. It might be thought that the turn to the non-human turns away from the human subject, the human body, human consciousness, and cognition, which cannot but raise the question: who are the subjects of this turn of thought or who became engaged with it one way or another? To raise this question does not have to mean simply reducing thought to the personal — biography or autobiography. Rather, it may lead us to reflect on the personal catch of arising world sensibilities, the feeling of thought stirring in a psychic arrange-ment, urging us to follow a subjective intuition. 20 00 Open Access Clough, Patricia Ticineto 7 03 06 10.21983/P3.0152.1.07 71 93 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 No Foucault 1 A01 Joan Copjec Joan Copjec 40 05gq02987 Brown University 01 eng 03 00 An old accusation, resurrected by Foucault, held that Freud was a “pansexualist,” that he talked too much about sex and seemed to find it everywhere. I return to this charge not to deny but, once again, to confirm it.1 Yes, it is true that Freud discovered what we could call the promiscuity of sex, as long as we are clear that this promiscuity defined for him the nature of sex itself and not a moral judgment regarding an abuse of it. But if the charge of pansexualism, which aims to segregate sex, to confine it to its proper place, misses its target, it is because sex is not con-ceived within psychoanalysis as having a proper place, one it can claim as its own. Sexuality names not a discrete domain of life but the disjoint relation of speaking beings to their bodily exist-ence. Isolatable neither from meaning nor biology, sex does not belong to either realm and is manifest only in the disruptions, divisions, displacements, and distortions that affect both. This basic point has a history of getting lost, going back to the time when psychoanalysis was first invented. Freud was constantly forced to parry not only the squeamish objections and outright rejections of his theory of sexuality, but also the more insidious problem of its facile, and equally squeamish, acceptance. Too often enthusiasm for his ideas relied on an effacement of their complexity and rendered them anodyne. 30 00 An old accusation, resurrected by Foucault, held that Freud was a “pansexualist,” that he talked too much about sex and seemed to find it everywhere. I return to this charge not to deny but, once again, to confirm it.1 Yes, it is true that Freud discovered what we could call the promiscuity of sex, as long as we are clear that this promiscuity defined for him the nature of sex itself and not a moral judgment regarding an abuse of it. But if the charge of pansexualism, which aims to segregate sex, to confine it to its proper place, misses its target, it is because sex is not con-ceived within psychoanalysis as having a proper place, one it can claim as its own. Sexuality names not a discrete domain of life but the disjoint relation of speaking beings to their bodily exist-ence. Isolatable neither from meaning nor biology, sex does not belong to either realm and is manifest only in the disruptions, divisions, displacements, and distortions that affect both. This basic point has a history of getting lost, going back to the time when psychoanalysis was first invented. Freud was constantly forced to parry not only the squeamish objections and outright rejections of his theory of sexuality, but also the more insidious problem of its facile, and equally squeamish, acceptance. Too often enthusiasm for his ideas relied on an effacement of their complexity and rendered them anodyne. 20 00 Open Access Copject, Joan 8 03 06 10.21983/P3.0152.1.08 95 106 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking WithOut 1 A01 Jelisaveta Blagojević Jelisaveta Blagojević 40 017v7rz39 Singidunum University 01 eng 03 00 Although words such as feminism, gender, women are not in-cluded in the title, and are hardly mentioned in the whole text — they are at the very heart of it. It is only through feminist theory that I have realized what it means to have a non-smug theory that is not all about self-satisfaction, self-promotion, and self-preservation as is the case with most Western theoretical projects; it is only through feminist politics that I have discov-ered what it means to have politics that is not translated into the preservation of the status quo and/or reduced to an instrument of power. Generations of feminists are showing us how being politi-cal always calls for one’s own undoing; it involves re-imagining and re-inventing our own positions, locations, and belongings. And finally, it is a life of experiencing the invisibility of women’s thinking and doing that teaches us — if we want to make a dif-ference, if we are looking for a change — not to rely on what is visible, thinkable, sayable, audible, or generally, on what is given or taken for granted. 30 00 Although words such as feminism, gender, women are not in-cluded in the title, and are hardly mentioned in the whole text — they are at the very heart of it. It is only through feminist theory that I have realized what it means to have a non-smug theory that is not all about self-satisfaction, self-promotion, and self-preservation as is the case with most Western theoretical projects; it is only through feminist politics that I have discov-ered what it means to have politics that is not translated into the preservation of the status quo and/or reduced to an instrument of power. Generations of feminists are showing us how being politi-cal always calls for one’s own undoing; it involves re-imagining and re-inventing our own positions, locations, and belongings. And finally, it is a life of experiencing the invisibility of women’s thinking and doing that teaches us — if we want to make a dif-ference, if we are looking for a change — not to rely on what is visible, thinkable, sayable, audible, or generally, on what is given or taken for granted. 20 00 Open Access Blagojević, Jelisaveta 9 03 06 10.21983/P3.0152.1.09 107 116 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Who is the Other Woman in the Context of Transfeminist, Transmigrant, and Transgender Struggles in Global Capitalism? 1 A01 21 0000000347034390 Marina Gržinić Marina Gržinić 40 04evj0n95 Slovenian Academy of Sciences and Arts 01 eng 03 00 I want to elaborate on the above questions in the light of the dis-cussion on decolonial feminist thought while addressing some of the geopolitical spaces outside of Europe, or, more precisely, spaces outside the European Union (EU). I want to argue that this provincial, racist, colonial, and anti-Semitic space of the Eu-ropean Union that consists of a long list of “former” West states as Germany, Austria, Spain, Great Britain, etc. (the list of all the “former West” states, as they like to call themselves, is too long), is in urgent need of a radical transmigrant, transfeminist, and transgender decolonial approach. 30 00 I want to elaborate on the above questions in the light of the dis-cussion on decolonial feminist thought while addressing some of the geopolitical spaces outside of Europe, or, more precisely, spaces outside the European Union (EU). I want to argue that this provincial, racist, colonial, and anti-Semitic space of the Eu-ropean Union that consists of a long list of “former” West states as Germany, Austria, Spain, Great Britain, etc. (the list of all the “former West” states, as they like to call themselves, is too long), is in urgent need of a radical transmigrant, transfeminist, and transgender decolonial approach. 20 00 Open Access Gržinić, Marina 10 03 06 10.21983/P3.0152.1.10 117 132 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Crush The Fiery Allure of the Jolted Puppet 1 A01 Frenchy Lunning Frenchy Lunning 40 05mra7z37 Minneapolis College of Art and Design 01 eng 03 00 As an adolescent, I could mark time by the incessant epistemes of crushes I had experienced as I careened through junior high school, and beyond. Only a very small percentage of these emo-tional junkets were actualized as relationships, and most were only a subject of extreme embarrassment at the erotic obsession with an entirely inappropriate, or horrifyingly inexplicable, and thankfully, unsuspecting subject. The whole phenomenon of the crush puzzled me as it was always completely out of my control and never fully explained, except for a “wink-wink” moment in the special girls-only classes on menstruation and “love” that were de rigeur for young schoolgirls of the 1960s. But using the very particular apparatus of object-oriented ontology and its ex-cellent mechanism of “allure,” I feel I can perhaps abolish some of the mysterious shame of my youth, and explain its periodic persistence. It is these ephemeral, inexplicable phenomena that are such excellent subjects for this speculative realistic mecha-nism: those things in the existence of subjects that defy all rea-sonable explanation. 30 00 As an adolescent, I could mark time by the incessant epistemes of crushes I had experienced as I careened through junior high school, and beyond. Only a very small percentage of these emo-tional junkets were actualized as relationships, and most were only a subject of extreme embarrassment at the erotic obsession with an entirely inappropriate, or horrifyingly inexplicable, and thankfully, unsuspecting subject. The whole phenomenon of the crush puzzled me as it was always completely out of my control and never fully explained, except for a “wink-wink” moment in the special girls-only classes on menstruation and “love” that were de rigeur for young schoolgirls of the 1960s. But using the very particular apparatus of object-oriented ontology and its ex-cellent mechanism of “allure,” I feel I can perhaps abolish some of the mysterious shame of my youth, and explain its periodic persistence. It is these ephemeral, inexplicable phenomena that are such excellent subjects for this speculative realistic mecha-nism: those things in the existence of subjects that defy all rea-sonable explanation. 20 00 Open Access Lunning, Frenchy 11 03 06 10.21983/P3.0152.1.11 133 157 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 (W)omen out/of Time Metis, Medea, Mahakali 1 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 “What if Truth were an Omen?” I ask (with a nod to Ni-etzsche4 — through a glass, darkly). What if Truth were a Nam-shub, a Magic Word/Work, the nomen of an omen? Such a truth advances here — in this essay — masked as women. Metis, Me-dea, and Mahakali — first, a Pelasgian Titan, the first wife of Zeus and unacknowledged mother of Athena, who was doomed to be swallowed up whole and usurped by the head of Olympus; second, a foreign priestess of the chthonic Hecate, who (as first told in Apollonius of Rhodes’ Argonautika and later immortal-ized by Euripides and Seneca) helps the Greek Jason retrieve the mythic golden fleece, and who eventually murders her entire family and escapes back to Colchis; and finally, a fringe Hindu goddess first worshipped by criminals and outcastes, a dark de-ity clothed in severed heads, who drinks the blood of her vic-tims and resides in the cremation-ground — one who comes to be adopted as an incarnation of great time (mahākāla) or death itself in Hindu religion. 30 00 “What if Truth were an Omen?” I ask (with a nod to Ni-etzsche4 — through a glass, darkly). What if Truth were a Nam-shub, a Magic Word/Work, the nomen of an omen? Such a truth advances here — in this essay — masked as women. Metis, Me-dea, and Mahakali — first, a Pelasgian Titan, the first wife of Zeus and unacknowledged mother of Athena, who was doomed to be swallowed up whole and usurped by the head of Olympus; second, a foreign priestess of the chthonic Hecate, who (as first told in Apollonius of Rhodes’ Argonautika and later immortal-ized by Euripides and Seneca) helps the Greek Jason retrieve the mythic golden fleece, and who eventually murders her entire family and escapes back to Colchis; and finally, a fringe Hindu goddess first worshipped by criminals and outcastes, a dark de-ity clothed in severed heads, who drinks the blood of her vic-tims and resides in the cremation-ground — one who comes to be adopted as an incarnation of great time (mahākāla) or death itself in Hindu religion. 20 00 Open Access Mellamphy, Nandita Biswas 12 03 06 10.21983/P3.0152.1.12 159 197 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Girls Welcome!!!" Speculative Realism, Object-Oriented Ontology, and Queer Theory 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 I begin with two epigraphs, both of which were guest columns written for, commissioned especially by, PMLA. Although they are separated by fifteen years, they both make some strikingly similar points which are relevant for someone attempting to chart the potential connections or intimacies between queer theory and speculative realism (and in this position piece I’m placing quite a strong emphasis on object-oriented ontology which is just one offshoot of speculative realist thinking). The first thing we might emphasize is the need to pin things down, to say what exactly queer theory is and does and to be entirely clear about what speculative realism is and what precisely it is that speculative realists do. Yet, perhaps the power and virtue of both queer theory and speculative realism, what makes them so compatible, is that neither is a delimitable field. Part of the attraction of both is their very undefinability, their provisionality, and, most importantly, their openness. 30 00 I begin with two epigraphs, both of which were guest columns written for, commissioned especially by, PMLA. Although they are separated by fifteen years, they both make some strikingly similar points which are relevant for someone attempting to chart the potential connections or intimacies between queer theory and speculative realism (and in this position piece I’m placing quite a strong emphasis on object-oriented ontology which is just one offshoot of speculative realist thinking). The first thing we might emphasize is the need to pin things down, to say what exactly queer theory is and does and to be entirely clear about what speculative realism is and what precisely it is that speculative realists do. Yet, perhaps the power and virtue of both queer theory and speculative realism, what makes them so compatible, is that neither is a delimitable field. Part of the attraction of both is their very undefinability, their provisionality, and, most importantly, their openness. 20 00 Open Access O'Rourke, Michael 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/after-the-speculative-turn-realism-philosophy-and-feminism/ 16 40 052gg0110 32 10.13039/501100000769 University of Oxford Earth, Milky Way 04 01 20161026 Kolozova, Katerina Joy, Eileen A. 02 WORLD 06 15 9780998237534 03 9780998237534 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25474 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25474/1004621.pdf?sequence=1&isAllowed=y 20 08 20161026 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35636 20 08 20161026 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353972 20 08 20161026 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/537 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d7056d79-6596-494d-af14-d75de2eba64d/download 20 08 20161026 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/After_the_Speculative_Turn_Realism_Philo/cgSVEAAAQBAJ 20 08 20161026 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/20dab41d-2267-4a68-befa-d787b7c98599 29 INTERNET_ARCHIVE: download the title https://archive.org/download/20dab41d-2267-4a68-befa-d787b7c98599/20dab41d-2267-4a68-befa-d787b7c98599.pdf 20 08 20161026 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846742 29 ZENODO: download the title https://zenodo.org/records/19846742/files/20dab41d-2267-4a68-befa-d787b7c98599_book.pdf 20 08 20161026 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/after-the-speculative-turn-realism-philosophy-and-feminism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0152.1.00.pdf 20 08 20161026 01 urn:uuid:11eb95c9-e5b1-4bb4-ae10-9789ed164557 03 01 01 thoth-work-id urn:uuid:13a03c11-0f22-4d40-881d-b935452d4bf3 01 thoth-publication-id urn:uuid:11eb95c9-e5b1-4bb4-ae10-9789ed164557 15 9781947447585 03 9781947447585 06 10.21983/P3.0201.1.00 01 internal-reference 0201 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Air Supplied 1 A01 David Cross David Cross 40 02czsnj07 Deakin University 01 eng 00 155 03 12 AGB 93 AGB 10 ART016010 B2 Art+Aesthetics B2 Built Environments 20 artist book 01 06 02 00 03 00 Air Supplied doubles as an artbook and edited collection of critical essays on the work of Australian-based artist David Cross. Known for his practice with inflatable structures, his projects often draw audiences into unexpected situations and dialogues. Working across performance/participatory art and object-based environments, Cross has developed a unique body of work that focuses on relationships between pleasure, the grotesque, and phobia. His curious architectural structures, which often resemble children’s funhouses, draw participants into physically and psychologically complex scenarios. While often large in scale, these structures at the same time create a framework around which ideas of intimacy and haptic experience can be negotiated and challenged. Since 2011 Cross has begun to work increasingly in the public sphere, developing works that navigate the relationship between sport, collective decision making, and sensory deprivation. Capturing work since 2005 that was produced in Europe, Eastern Europe, North America, and Australasia, Air Supplied features a survey essay by New Zealand-based Martin Patrick, an interview with the artist, and eleven commissioned essays on each of the artworks. The publication also includes a separate booklet of field notes by the artist, capturing reflections on each of the works. 30 00 Air Supplied doubles as an artbook and edited collection of critical essays on the work of Australian-based artist David Cross. Known for his practice with inflatable structures, his projects often draw audiences into unexpected situations and dialogues. Working across performance/participatory art and object-based environments, Cross has developed a unique body of work that focuses on relationships between pleasure, the grotesque, and phobia. His curious architectural structures, which often resemble children’s funhouses, draw participants into physically and psychologically complex scenarios. While often large in scale, these structures at the same time create a framework around which ideas of intimacy and haptic experience can be negotiated and challenged. Since 2011 Cross has begun to work increasingly in the public sphere, developing works that navigate the relationship between sport, collective decision making, and sensory deprivation. Capturing work since 2005 that was produced in Europe, Eastern Europe, North America, and Australasia, Air Supplied features a survey essay by New Zealand-based Martin Patrick, an interview with the artist, and eleven commissioned essays on each of the artworks. The publication also includes a separate booklet of field notes by the artist, capturing reflections on each of the works. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0201.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/air-supplied/ Earth, Milky Way 04 01 20180523 Cross, David 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25428 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25428/1004667.pdf?sequence=1&isAllowed=y 20 08 20180523 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26612 20 08 20180523 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354050 20 08 20180523 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/731 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/cd5d2fa0-acd6-462a-b798-65278466f406/download 20 08 20180523 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/13a03c11-0f22-4d40-881d-b935452d4bf3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/13a03c11-0f22-4d40-881d-b935452d4bf3/13a03c11-0f22-4d40-881d-b935452d4bf3.pdf 20 08 20180523 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847257 29 ZENODO: download the title https://zenodo.org/records/19847257/files/13a03c11-0f22-4d40-881d-b935452d4bf3_book.pdf 20 08 20180523 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/air-supplied/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0201.1.00.pdf 20 08 20180523 01 urn:uuid:9db926be-a8df-44a6-9a54-5ef55ceab4fa 03 01 01 thoth-work-id urn:uuid:c9957c97-8a34-4394-bb0b-aee6b4f42279 01 thoth-publication-id urn:uuid:9db926be-a8df-44a6-9a54-5ef55ceab4fa 15 9781685711047 03 9781685711047 06 10.53288/0444.1.00 13 2023936659 01 internal-reference 0444 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 all except you 1 A01 Roland Barthes Roland Barthes Roland Barthes (1915–1980) was one of the most influential writers and theoreticians of the 20th century, expanding our notions of what constitutes a literary text and writing itself. He is the author of Mythologies, Writing Degree Zero, The Pleasure of the Text, and Camera Lucida. 2 B06 Joe Milutis Joe Milutis 40 02ygzhr13 University of Washington Bothell Joe Milutis is a writer, media artist and Associate Professor of Interdisciplinary Arts and the MFA in Creative Writing and Poetics at the University of Washington-Bothell. He is the author of Failure, A Writer's Life (Zer0 Books, 2013) and Ether: The Nothing That Connects Everything (University of Minnesota Press, 2006). 01 eng 02 fre 00 116 03 12 AGB 93 AGB 10 ART009000 B2 Art+Aesthetics 93 GTD 12 GTE B2 Languages+Translations 10 LIT006000 93 1DDF B2 Philosophy 20 art criticism; literary theory; Saul Steinberg; semiotics; poetics; image-text; poststructuralism 01 06 02 00 03 00 Roland Barthes's consideration of the drawings of New York artist Saul Steinberg — originally an artist book posthumously published in France in 1983 — is historically important as one of the last remaining books in Barthes's oeuvre to be translated into English.all except you continues Barthes's inquiries into image–text relations, specifically the indiscernible horizon where writing meets drawing, one becoming the other. In his attempt to blur these registers, he produces less a critique than a translation, an attempt to merge author and artist, to see himself and his desire in the work of Steinberg, using the resources of structural linguistics and psychoanalysis. The impertinence of his critique mimics the deformations of Steinberg's drawings that are "sassy, deformed by the look on high, stretched, excessively crunched." We become suspicious that Barthes is writing more into Steinberg than Steinberg holds, or even that Steinberg is an alibi for some other aim that is withheld.Joe Milutis's translation takes the opportunity of a running commentary, in the form of translator's notes, to amplify Barthes's impertinent reading and authorial one-upmanship by speculating on the presumed failures and detoured transferences of the text. Since Barthes is less concerned with writing about art than writing through it, Milutis's "double session" perhaps provides the most faithful translation of the Barthesian eros in his write-through of the write-through. 30 00 Roland Barthes's consideration of the drawings of New York artist Saul Steinberg — originally an artist book posthumously published in France in 1983 — is historically important as one of the last remaining books in Barthes's oeuvre to be translated into English.all except you continues Barthes's inquiries into image–text relations, specifically the indiscernible horizon where writing meets drawing, one becoming the other. In his attempt to blur these registers, he produces less a critique than a translation, an attempt to merge author and artist, to see himself and his desire in the work of Steinberg, using the resources of structural linguistics and psychoanalysis. The impertinence of his critique mimics the deformations of Steinberg's drawings that are "sassy, deformed by the look on high, stretched, excessively crunched." We become suspicious that Barthes is writing more into Steinberg than Steinberg holds, or even that Steinberg is an alibi for some other aim that is withheld.Joe Milutis's translation takes the opportunity of a running commentary, in the form of translator's notes, to amplify Barthes's impertinent reading and authorial one-upmanship by speculating on the presumed failures and detoured transferences of the text. Since Barthes is less concerned with writing about art than writing through it, Milutis's "double session" perhaps provides the most faithful translation of the Barthesian eros in his write-through of the write-through. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0444.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/all-except-you/ Earth: Milky Way 04 01 20230427 Joe Milutis 02 WORLD 06 15 9781685711054 03 9781685711054 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711049 20 08 20230427 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/all-except-you 20 08 20230427 02 21.00 USD WORLD urn:uuid:44433378-ebb5-4ecb-94f1-2c7f08f22a00 03 01 01 thoth-work-id urn:uuid:c9957c97-8a34-4394-bb0b-aee6b4f42279 01 thoth-publication-id urn:uuid:44433378-ebb5-4ecb-94f1-2c7f08f22a00 15 9781685711054 03 9781685711054 06 10.53288/0444.1.00 13 2023936659 01 internal-reference 0444 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 all except you 1 A01 Roland Barthes Roland Barthes Roland Barthes (1915–1980) was one of the most influential writers and theoreticians of the 20th century, expanding our notions of what constitutes a literary text and writing itself. He is the author of Mythologies, Writing Degree Zero, The Pleasure of the Text, and Camera Lucida. 2 B06 Joe Milutis Joe Milutis 40 02ygzhr13 University of Washington Bothell Joe Milutis is a writer, media artist and Associate Professor of Interdisciplinary Arts and the MFA in Creative Writing and Poetics at the University of Washington-Bothell. He is the author of Failure, A Writer's Life (Zer0 Books, 2013) and Ether: The Nothing That Connects Everything (University of Minnesota Press, 2006). 01 eng 02 fre 00 116 03 12 AGB 93 AGB 10 ART009000 B2 Art+Aesthetics 93 GTD 12 GTE B2 Languages+Translations 10 LIT006000 93 1DDF B2 Philosophy 20 art criticism; literary theory; Saul Steinberg; semiotics; poetics; image-text; poststructuralism 01 06 02 00 03 00 Roland Barthes's consideration of the drawings of New York artist Saul Steinberg — originally an artist book posthumously published in France in 1983 — is historically important as one of the last remaining books in Barthes's oeuvre to be translated into English.all except you continues Barthes's inquiries into image–text relations, specifically the indiscernible horizon where writing meets drawing, one becoming the other. In his attempt to blur these registers, he produces less a critique than a translation, an attempt to merge author and artist, to see himself and his desire in the work of Steinberg, using the resources of structural linguistics and psychoanalysis. The impertinence of his critique mimics the deformations of Steinberg's drawings that are "sassy, deformed by the look on high, stretched, excessively crunched." We become suspicious that Barthes is writing more into Steinberg than Steinberg holds, or even that Steinberg is an alibi for some other aim that is withheld.Joe Milutis's translation takes the opportunity of a running commentary, in the form of translator's notes, to amplify Barthes's impertinent reading and authorial one-upmanship by speculating on the presumed failures and detoured transferences of the text. Since Barthes is less concerned with writing about art than writing through it, Milutis's "double session" perhaps provides the most faithful translation of the Barthesian eros in his write-through of the write-through. 30 00 Roland Barthes's consideration of the drawings of New York artist Saul Steinberg — originally an artist book posthumously published in France in 1983 — is historically important as one of the last remaining books in Barthes's oeuvre to be translated into English.all except you continues Barthes's inquiries into image–text relations, specifically the indiscernible horizon where writing meets drawing, one becoming the other. In his attempt to blur these registers, he produces less a critique than a translation, an attempt to merge author and artist, to see himself and his desire in the work of Steinberg, using the resources of structural linguistics and psychoanalysis. The impertinence of his critique mimics the deformations of Steinberg's drawings that are "sassy, deformed by the look on high, stretched, excessively crunched." We become suspicious that Barthes is writing more into Steinberg than Steinberg holds, or even that Steinberg is an alibi for some other aim that is withheld.Joe Milutis's translation takes the opportunity of a running commentary, in the form of translator's notes, to amplify Barthes's impertinent reading and authorial one-upmanship by speculating on the presumed failures and detoured transferences of the text. Since Barthes is less concerned with writing about art than writing through it, Milutis's "double session" perhaps provides the most faithful translation of the Barthesian eros in his write-through of the write-through. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0444.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/all-except-you/ Earth: Milky Way 04 01 20230427 Joe Milutis 02 WORLD 06 15 9781685711047 03 9781685711047 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/62557 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/62557/0444.1.00.pdf?sequence=1&isAllowed=y 20 08 20230427 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99537 20 08 20230427 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/362 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/22108a62-7242-4dc3-91f6-5dc47d7ac846/download 20 08 20230427 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/All_Except_You/xPLAEAAAQBAJ 20 08 20230427 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c9957c97-8a34-4394-bb0b-aee6b4f42279 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c9957c97-8a34-4394-bb0b-aee6b4f42279/c9957c97-8a34-4394-bb0b-aee6b4f42279.pdf 20 08 20230427 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849795 29 ZENODO: download the title https://zenodo.org/records/19849795/files/c9957c97-8a34-4394-bb0b-aee6b4f42279_book.pdf 20 08 20230427 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/all-except-you/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0444.1.00.pdf 20 08 20230427 01 urn:uuid:8dfa999a-11c2-49c4-9ebf-7a07f954136d 03 01 01 thoth-work-id urn:uuid:33d0a518-f82b-46e0-939b-bb4c7b9fb62f 01 thoth-publication-id urn:uuid:8dfa999a-11c2-49c4-9ebf-7a07f954136d 15 9781685711603 03 9781685711603 06 10.53288/0475.1.00 13 2024935765 01 internal-reference 0475 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Alone in the Dark Cinephilia and the Heroic Imagination 1 A01 21 000000020459450X Doug Dibbern Doug Dibbern 40 0190ak572 New York University Doug Dibbern’s second book, Cinema’s Doppelgängers, a work of speculative fiction in the guise of a scholarly history of film, was published by punctum books in 2021. His first book, Hollywood Riots: Violent Crowds and Progressive Politics in American Film, won the 2016 Peter Rollins Prize. He’s also published scholarly essays on classical Hollywood filmmakers, film criticism for The Notebook at Mubi.com, and literary essays for journals like Chicago Quarterly Review and Hotel Amerika. He has a Ph.D. in Cinema Studies from New York University and teaches there now in the Expository Writing Program. 01 eng 00 156 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 cinema; memoir; experimental criticism; cinephilia; cinematography; Béla Tarr; Carl Theodor Dreyer 01 06 02 00 03 00 Alone in the Dark is an experimental memoir – or perhaps, more accurately, an anti-memoir or fabulist memoir, some unruly combination of essay, prose poem, and floating reverie that examines the relationship between one’s cultural heritage and one’s aesthetic devotions. Unlike a traditional autobiography that details the chronological events of a person’s life, the book begins with the obsessive moviegoing of Dibbern’s early years in New York and then unfurls as a fevered rumination on the role that an excessive love of art plays in shaping ideas about one’s identity.The book opens with the American premiere of the Hungarian filmmaker Béla Tarr’s harrowing, eight-hour-long magnum opus Sátántangó in 1998 as an emblematic cinephile experience. Dibbern then frames the book by asking, why would anyone devote the bulk of their waking hours to such a compulsive pursuit of a seemingly passive experience of art? Sitting alone in a darkened movie theater, he suggests, is not a passive, but a creative act: developing an aesthetic taste, after all, is central to defining our identities. And taste is the product of two contradictory impulses: the will to simultaneously embrace and escape the values of our cultural backgrounds that made us who we are.With these conjectures as the jumping-off point, the book commences its discursive explorations, wending and weaving between topics as diverse as Carl Jung’s theories of the collective unconscious, Carl Theodor Dreyer’s Ordet, old family photo albums, nineteenth-century immigration to North Dakota, the actress Gena Rowlands’s histrionic mental breakdowns, the self-portraits that the Mandan chief Mato-Tope made in the 1830s, and the dizzyingly joyful suicidal games in Howard Hawks’s film about aviation, Only Angels Have Wings. 30 00 Alone in the Dark is an experimental memoir – or perhaps, more accurately, an anti-memoir or fabulist memoir, some unruly combination of essay, prose poem, and floating reverie that examines the relationship between one’s cultural heritage and one’s aesthetic devotions. Unlike a traditional autobiography that details the chronological events of a person’s life, the book begins with the obsessive moviegoing of Dibbern’s early years in New York and then unfurls as a fevered rumination on the role that an excessive love of art plays in shaping ideas about one’s identity.The book opens with the American premiere of the Hungarian filmmaker Béla Tarr’s harrowing, eight-hour-long magnum opus Sátántangó in 1998 as an emblematic cinephile experience. Dibbern then frames the book by asking, why would anyone devote the bulk of their waking hours to such a compulsive pursuit of a seemingly passive experience of art? Sitting alone in a darkened movie theater, he suggests, is not a passive, but a creative act: developing an aesthetic taste, after all, is central to defining our identities. And taste is the product of two contradictory impulses: the will to simultaneously embrace and escape the values of our cultural backgrounds that made us who we are.With these conjectures as the jumping-off point, the book commences its discursive explorations, wending and weaving between topics as diverse as Carl Jung’s theories of the collective unconscious, Carl Theodor Dreyer’s Ordet, old family photo albums, nineteenth-century immigration to North Dakota, the actress Gena Rowlands’s histrionic mental breakdowns, the self-portraits that the Mandan chief Mato-Tope made in the 1830s, and the dizzyingly joyful suicidal games in Howard Hawks’s film about aviation, Only Angels Have Wings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0475.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/alone-in-the-dark-cinephilia-and-the-heroic-imagination/ Earth, Milky Way 04 01 20240415 Dou Dibbern 02 WORLD 06 15 9781685711610 03 9781685711610 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571160X 20 08 20240415 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/alone-in-the-dark-cinephilia-and-the-heroic-imagination 20 08 20240415 02 23.00 USD WORLD urn:uuid:facb72e4-6a2e-43a9-a858-730df2862c58 03 01 01 thoth-work-id urn:uuid:33d0a518-f82b-46e0-939b-bb4c7b9fb62f 01 thoth-publication-id urn:uuid:facb72e4-6a2e-43a9-a858-730df2862c58 15 9781685711610 03 9781685711610 06 10.53288/0475.1.00 13 2024935765 01 internal-reference 0475 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Alone in the Dark Cinephilia and the Heroic Imagination 1 A01 21 000000020459450X Doug Dibbern Doug Dibbern 40 0190ak572 New York University Doug Dibbern’s second book, Cinema’s Doppelgängers, a work of speculative fiction in the guise of a scholarly history of film, was published by punctum books in 2021. His first book, Hollywood Riots: Violent Crowds and Progressive Politics in American Film, won the 2016 Peter Rollins Prize. He’s also published scholarly essays on classical Hollywood filmmakers, film criticism for The Notebook at Mubi.com, and literary essays for journals like Chicago Quarterly Review and Hotel Amerika. He has a Ph.D. in Cinema Studies from New York University and teaches there now in the Expository Writing Program. 01 eng 00 156 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 cinema; memoir; experimental criticism; cinephilia; cinematography; Béla Tarr; Carl Theodor Dreyer 01 06 02 00 03 00 Alone in the Dark is an experimental memoir – or perhaps, more accurately, an anti-memoir or fabulist memoir, some unruly combination of essay, prose poem, and floating reverie that examines the relationship between one’s cultural heritage and one’s aesthetic devotions. Unlike a traditional autobiography that details the chronological events of a person’s life, the book begins with the obsessive moviegoing of Dibbern’s early years in New York and then unfurls as a fevered rumination on the role that an excessive love of art plays in shaping ideas about one’s identity.The book opens with the American premiere of the Hungarian filmmaker Béla Tarr’s harrowing, eight-hour-long magnum opus Sátántangó in 1998 as an emblematic cinephile experience. Dibbern then frames the book by asking, why would anyone devote the bulk of their waking hours to such a compulsive pursuit of a seemingly passive experience of art? Sitting alone in a darkened movie theater, he suggests, is not a passive, but a creative act: developing an aesthetic taste, after all, is central to defining our identities. And taste is the product of two contradictory impulses: the will to simultaneously embrace and escape the values of our cultural backgrounds that made us who we are.With these conjectures as the jumping-off point, the book commences its discursive explorations, wending and weaving between topics as diverse as Carl Jung’s theories of the collective unconscious, Carl Theodor Dreyer’s Ordet, old family photo albums, nineteenth-century immigration to North Dakota, the actress Gena Rowlands’s histrionic mental breakdowns, the self-portraits that the Mandan chief Mato-Tope made in the 1830s, and the dizzyingly joyful suicidal games in Howard Hawks’s film about aviation, Only Angels Have Wings. 30 00 Alone in the Dark is an experimental memoir – or perhaps, more accurately, an anti-memoir or fabulist memoir, some unruly combination of essay, prose poem, and floating reverie that examines the relationship between one’s cultural heritage and one’s aesthetic devotions. Unlike a traditional autobiography that details the chronological events of a person’s life, the book begins with the obsessive moviegoing of Dibbern’s early years in New York and then unfurls as a fevered rumination on the role that an excessive love of art plays in shaping ideas about one’s identity.The book opens with the American premiere of the Hungarian filmmaker Béla Tarr’s harrowing, eight-hour-long magnum opus Sátántangó in 1998 as an emblematic cinephile experience. Dibbern then frames the book by asking, why would anyone devote the bulk of their waking hours to such a compulsive pursuit of a seemingly passive experience of art? Sitting alone in a darkened movie theater, he suggests, is not a passive, but a creative act: developing an aesthetic taste, after all, is central to defining our identities. And taste is the product of two contradictory impulses: the will to simultaneously embrace and escape the values of our cultural backgrounds that made us who we are.With these conjectures as the jumping-off point, the book commences its discursive explorations, wending and weaving between topics as diverse as Carl Jung’s theories of the collective unconscious, Carl Theodor Dreyer’s Ordet, old family photo albums, nineteenth-century immigration to North Dakota, the actress Gena Rowlands’s histrionic mental breakdowns, the self-portraits that the Mandan chief Mato-Tope made in the 1830s, and the dizzyingly joyful suicidal games in Howard Hawks’s film about aviation, Only Angels Have Wings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0475.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/alone-in-the-dark-cinephilia-and-the-heroic-imagination/ Earth, Milky Way 04 01 20240415 Dou Dibbern 02 WORLD 06 15 9781685711603 03 9781685711603 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/89825 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/89825/0475.1.00.pdf?sequence=1&isAllowed=y 20 08 20240415 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/136436 20 08 20240415 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626766 20 08 20240415 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/332 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b91c3a06-1f62-42f8-a110-9875bed72cd1/download 20 08 20240415 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Alone_in_the_Dark/cpEoEQAAQBAJ 20 08 20240415 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/33d0a518-f82b-46e0-939b-bb4c7b9fb62f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/33d0a518-f82b-46e0-939b-bb4c7b9fb62f/33d0a518-f82b-46e0-939b-bb4c7b9fb62f.pdf 20 08 20240415 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850306 29 ZENODO: download the title https://zenodo.org/records/19850306/files/33d0a518-f82b-46e0-939b-bb4c7b9fb62f_book.pdf 20 08 20240415 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/alone-in-the-dark-cinephilia-and-the-heroic-imagination/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0475.1.00.pdf 20 08 20240415 01 urn:uuid:ae38bf74-165a-4ecc-a6b4-677b88a697a0 03 01 01 thoth-work-id urn:uuid:5147a952-3d44-4beb-8d49-b41c91bce733 01 thoth-publication-id urn:uuid:ae38bf74-165a-4ecc-a6b4-677b88a697a0 15 9781953035578 03 9781953035578 06 10.53288/0274.1.00 13 2021937406 01 internal-reference 0274 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Alternative Historiographies of the Digital Humanities 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis Univer- sity. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Chris- tian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medi- eval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Proj- ect (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum 506 books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcom- ing in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 2 B01 Adeline Koh Adeline Koh 40 0442n1j98 Stockton University 01 eng 00 512 03 10 COM079000 93 GTB B2 Media+Technology 12 UBW B2 Humanities+University 93 JBCC 12 JFC 10 TEC052000 93 UXA 20 cultural studies; digital humanities; feminism; indigenous studies; postcolonialism; queer gaming; radical media 01 06 02 00 03 00 In Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative.A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis.- 30 00 In Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative.A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis.- 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0274.1.00_frontcover.jpg 1 03 06 10.53288/0274.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis Univer- sity. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Chris- tian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medi- eval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Proj- ect (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum 506 books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcom- ing in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 2 B01 Adeline Koh Adeline Koh 01 eng 20 00 Open Access 2 03 06 10.53288/0274.1.02 15 32 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Media Histories, Media Archaeologies, and the Politics and Genealogies of the Digital Humanities 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis University. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Christian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medieval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Project (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcoming in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 01 eng 20 00 Open Access Dorothy Kim 3 03 06 10.53288/0274.1.03 35 78 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Digital Humanities and/as White Supremacy A Conversation about Reckonings 1 A01 David Golumbia David Golumbia 40 02nkdxk79 Virginia Commonwealth University David Golumbia is an Associate Professor of English at Virginia Commonwealth University. He is the author of The Cultural Logic of Computation (Harvard University Press, 2009), The Politics of Bitcoin: Software as Right-Wing Extremism (University of Minnesota Press, 2016), and many articles on digital culture, language, and literary studies. 2 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis University. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Christian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medieval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Project (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcoming in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 01 eng 20 00 Open Access David Golumbia Dorothy Kim 4 03 06 10.53288/0274.1.04 79 97 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Towards a Digital Cultural Studies The Legacy of Cultural Studies and the Future of Digital Humanities 1 A01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek is Associate Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity and also makes games. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017). Currently, she is researching the history and impact of the games for girls’ movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets such as The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 01 eng 20 00 Open Access Carly A. Kocurek 5 03 06 10.53288/0274.1.05 101 119 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cold War Computations and Imitation Games Recalibrating the Origins of Asian American Studies 1 A01 Cathy J. Schlund-Vials Cathy J. Schlund-Vials 40 00hj54h04 The University of Texas at Austin Cathy J. Schlund-Vials is Professor of English and Asian American Studies at the University of Texas at Austin; she is also the president-elect of the American Studies Association. Prior to these recent appointments, Schlund-Vials served as the Associate Dean for Humanities, Undergraduate Affairs, and Diversity, Equity, & Inclusion at the University of Connecticut, Storrs. In addition to numerous articles, book chapters, and edited collections, she is author of two monographs: Modeling Citizenship: Jewish and Asian American Writing (Temple University Press, 2011) and War, Genocide, and Justice: Cambodian American Memory Work (University of Minnesota Press, 2012). She is presently completing a book-length project focused on the institutionalized rise and fall of ethnic, gender, and sexuality studies in higher education. 01 eng 20 00 Open Access Cathy J. Schlund-Vials 6 03 06 10.53288/0274.1.06 121 143 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Punching Holes in the International Busa Machine Narrative 1 A01 21 000000028446099X Arun Jacob Arun Jacob 40 03dbr7087 University of Toronto Arun Jacob is a Ph.D. student at the Faculty of Information, University of Toronto, working in the Media, Technology, and Culture concentration. His research interests include examining the media history of educational technologies. 01 eng 20 00 Open Access Arun Jacob 7 03 06 10.53288/0274.1.07 145 201 57 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Embodying the Database Race, Gender, and Social Justice 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis University. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Christian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medieval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Project (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcoming in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 01 eng 20 00 Open Access Dorothy Kim 8 03 06 10.53288/0274.1.08 203 241 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Are the Digital Humanities So Straight? 1 A01 Edmond Y. Chang Edmond Y. Chang 40 01jr3y717 Ohio University Edmond Y. Chang is an Assistant Professor of English at Ohio University. His areas of research include technoculture, race/gender/sexuality, feminist media studies, video games, popular culture, and 20th-/21st-century American literature. He teaches undergraduate and graduate courses on American literature, speculative literature of color, queer theory, games, and writing. Recent publications include “Drawing the Oankali: Imagining Race, Gender, and the Posthuman in Octavia Butler’s Dawn” in Approaches to Teaching the Works of Octavia E. Butler, “Playing as Making” in Disrupting the Digital Humanities, and “Queergaming” in Queer Game Studies. He is completing his first book on algorithmic queerness and digital games tentatively entitled Queerness Cannot Be Designed. 01 eng 20 00 Open Access Edmond Y. Chang 9 03 06 10.53288/0274.1.09 245 270 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Self-Reflexive Praxis at the Heart of DH 1 A01 21 0000000176167323 Alexandra Juhasz Alexandra Juhasz 40 019k4jq75 Brooklyn College Alexandra Juhasz is Distinguished Professor of Film at Brooklyn College, CUNY. She makes and studies committed media practices that contribute to political change and individual and community growth. Author and/or editor since 1995 of scholarly books on activist media in light of AIDS (AIDS TV, Duke University Press, 1995 and AIDS and the Distribution of Crises, Duke University Press, 2020), Black lesbian and queer representation (Sisters in the Life, Duke University Press, 2018), feminism (Women of Vision, University of Minnesota Press, 2001), and digital culture (Learning from YouTube, MIT Press, 2011), Dr. Juhasz also makes videotapes on feminist issues from AIDS to teen pregnancy as well as producing the feature fakes The Watermelon Woman (Cheryl Dunye, 1997) and The Owls (Dunye, 2010). She writes reviews, interviews, and opinion pieces about these subjects for non-academic venues like MS, Bomb, Hyperallergic, and the Brooklyn Rail. Her current work is on and about fake news and radical digital media literacy (fakenews-poetry.org). 01 eng 20 00 Open Access Alexandra Juhasz 10 03 06 10.53288/0274.1.10 271 293 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Training Designer Two Ideological Conflicts in Feminist Games + Digital Humanities 1 A01 Anastasia Salter Anastasia Salter 40 036nfer12 University of Central Florida Anastasia Salter is an Associate Professor of English at the University of Central Florida, and the coauthor of Twining: Critical and Creative Approaches to Hypertext Narrative (Amherst College Press, with Stuart Moulthrop, forthcoming 2021); A Portrait of the Auteur as Fanboy (University of Mississippi Press, with Mel Stanfill, 2020); and Adventure Games: Playing the Outsider (Bloomsbury, with Aaron Reed and John Murray, 2020). 2 A01 21 0000000216564359 Bridget Blodgett Bridget Blodgett 40 024gw2733 University of Baltimore Bridget Blodgett is an associate professor in the Division of Science, Information Arts, and Technology at the University of Baltimore. Her research analyzes Internet culture and the social impacts thereof on offline life. Her current research takes a critical eye to online game communities regarding gender, inclusiveness, and identity. Toxic Geek Masculinity in Media (with Anastasia Salter) was released in 2017 by Palgrave MacMillan and is the summation of this work to date. 01 eng 20 00 Open Access Anastasia Salter Bridget Blodgett 11 03 06 10.53288/0274.1.11 297 332 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Toward a Diligent Humanities: Digital Cultures and Archives of Post-1965 Indonesia 1 A01 Viola Lasmana Viola Lasmana 40 00hj8s172 Columbia University 40 05vt9qd57 Rutgers University Viola Lasmana works at the intersections of transpacific studies and digital media, with an emphasis on literature, film, and media arts. She is currently completing a book, Shadow Imaginations: Transpacific Approaches to Post-1965 Indonesian Archives, on the reconstitution of Indonesia’s decimated cultural archive. Her work has appeared in Film Quarterly, The Cine-Files, Visual Anthropology, make/shift: feminisms in motion, Computers and Composition, and Interdisciplinary Humanities. During 2020–21, she was ACLS Emerging Voices Fellow at Columbia University’s Center for the Study of Ethnicity and Race. 01 eng 20 00 Open Access Viola Lasmana 12 03 06 10.53288/0274.1.12 333 375 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taxation against Overrepresentation? The Consequences of Monolingualism for Digital Humanities 1 A01 21 0000000341221160 Domenico Fiormonte Domenico Fiormonte 40 05vf0dg29 Roma Tre University Domenico Fiormonte is lecturer in the Sociology of Communication and Culture in the Department of Political Sciences at University Roma Tre. In 1996 he created one of the first online resources on literary textual variation (www.digitalvariants.org). He has edited and co-edited a number of collections of digital humanities texts, and has published books and articles on digital philology, digital writing, text encoding, and cultural criticism of DH. Since 2008 Domenico has been working on educational projects in the South of India and has recently edited an Italian collection of interdisciplinary essays on consciousness (La coscienza. Un dialogo interdisciplinare e interculturale, Rome, 2018). His latest book is Per una critica del testo digitale. Filologia, letteratura e rete (Rome, 2018). With Sukanta Chaodouri and Paola Ricaurte he is currently editing for the University of Minnesota Press the first Digital Humanities collection devoted to developing countries and the Global South. 01 eng 20 00 Open Access Domenico Fiormonte 13 03 06 10.53288/0274.1.13 377 397 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pitching the "Big Tent" Outside An Argument for the Digital Environmental Humanities 1 A01 21 0000000198434517 Alenda Y. Chang Alenda Y. Chang 40 02t274463 University of California, Santa Barbara Alenda Y. Chang is an Associate Professor of Film and Media Studies at the University of California, Santa Barbara. Her research and teaching interests include environmental media, histories and theories of the digital, game studies, science and technology studies, and sound studies. Chang’s articles have appeared in numerous journals, among them Qui Parle, Interdisciplinary Studies in Literature and Environment, electronic book review, Feminist Media Histories, and Resilience. Her first book, Playing Nature: Ecology in Video Games, develops environmentally informed frameworks for understanding and designing digital games (University of Minnesota Press, 2019). At UC Santa Barbara, Chang directs the Creative Computing Initiative and co-directs Wireframe, a studio promoting collaborative theoretical and creative media practice with investments in global social and environmental justice. She is also a founding co-editor of the UC Press open-access journal, Media+Environment. 01 eng 20 00 Open Access Alenda Y. Chang 14 03 06 10.53288/0274.1.14 401 425 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Indigenist Internet for Indigenous Futures DH Beyond the Academy and "Preservation" 1 A01 Siobhan Senier Siobhan Senier 40 01rmh9n78 University of New Hampshire Siobhan Senier is a Professor of English and Chair of the Department of Women’s and Gender Studies at the University of New Hampshire. She is the editor of Dawnland Voices: An Anthology of Writing from Indigenous New England (Univerity of Nebraska Press, 2014) and dawnlandvoices.org. Her other publications include Voices of American Indian Assimilation and Resistance (University of Oklahoma Press, 2001), Sovereignty and Sustainability: Indigenous Literary Stewardship in New England (University of Nebraska Press, 2020), and essays in journals including American Literature, American Indian Quarterly, Studies in American Indian Literatures, MELUS, Disability Studies Quarterly, and Resilience. 01 eng 20 00 Open Access Siobhan Senier 15 03 06 10.53288/0274.1.15 427 472 46 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Ancestors in the Machine Indigenous Futurity and Games 1 A01 Jordan Clapper Jordan Clapper 40 05abbep66 Brandeis University Jordan Clapper is a doctoral candidate in the English program at Brandeis University. They are an unenrolled Ponca of Oklahoma, and they study indigenous and queer literature and video games. They are a member of the 2020–21 cohort of the Palah Light Lab, a creative and critical community for queer and feminist new media. They are working on several video and board games that address positions at the margins as places of power and narrative possibility. 01 eng 20 00 Open Access Jordan Clapper 16 03 06 10.53288/0274.1.16 475 478 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Breaking and (Re)Making 1 A01 21 0000000295124190 Ravynn K. Stringfield Ravynn K. Stringfield 40 03hsf0573 William & Mary Ravynn K. Stringfield is a PhD candidate in American Studies at William & Mary. Her dissertation project, which was recently awarded a 2021–22 Halleran Dissertation Completion Fellowship, centers Black women and girls in new media fantasy narratives. Stringfield currently serves on the American Studies Association Digital Humanities Caucus and is an Equality Lab Fellow at William & Mary under the direction of Dr. Elizabeth Losh. Committed to public facing scholarship, Stringfield’s intellectual practice also includes creative nonfiction and fiction writing, which has appeared in a number of publications including ZORA, Shondaland, Catapult, Voyage Young Adult Journal, and midnight & indigo. 01 eng 20 00 Open Access Ravynn K. Stringfield 17 03 06 10.53288/0274.1.17 479 482 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Black Scholars and Disciplinary Gatekeeping 1 A01 21 0000000252656816 Christy Hyman Christy Hyman 40 043mer456 University of Nebraska–Lincoln Christy Hyman is a digital humanist, environmental advocate, and PhD student in the program of Geography at the University of Nebraska Lincoln. Her dissertation research focuses on African-American efforts toward cultural and political assertion in the Great Dismal Swamp region during the antebellum era as well as the attendant social and environmental costs of human/landscape resource exploitation. Hyman uses Geographic Information Systems to observe to what extent digital cartography can inform us of the human experience while acknowledging phenomena deriving from oppressive systems in society threatening sustainable futures. Hyman has been invited to share her work at a range of humanities centers including the Dave Rumsey Map Center at Stanford University, the Institute for Digital Research in the Humanities at the University of Kansas, and the Maryland Institute for Technology in the Humanities Digital Dialogues series to name a few. 01 eng 20 00 Open Access Christy Hyman 18 03 06 10.53288/0274.1.18 483 487 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dr. Nyanzi’s Protests Silences, Futures, and the Present 1 A01 Nalubega Ross Janet Nalubega Ross 40 03efmqc40 Arizona State University Born and raised in Uganda, Janet Nalubega Ross, who goes by her middle name Nalubega, is interested in how people learn about sex, birth, and childcare. Her current dissertation work focuses on how refugees resettled in the United States learn, paying attention to how race, age, sexuality, cultural values, political landscapes, geographical location, and the ever-changing social media landscape shape learning processes. Nalubega holds a degree in Community Health Education and Promotion from the University of Utah (2011), and a Master’s degree in Bioinformatics from the University of Missouri-Kansas City (2014). When not working on her dissertation, Nalubega can be found tending an ever-growing collection of plants. 20 00 Open Access Nalubega Ross 19 03 06 10.53288/0274.1.19 489 501 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Against Lenticular Modeling: Missives on Locating Blackness from the WhatEvery1Says Project 1 A01 Jamal Russell Jamal Russell 40 02t274463 University of California, Santa Barbara Jamal Russell is a PhD candidate in English at the University of California, Santa Barbara. His research interests span media theory, electronic literature, 20th- and 21st-century experimental poetics, and the digital humanities. He is currently writing a dissertation that examines Black media forms as a means of articulating both the history of interface and the poetics of the interface’s formation through their modes of interaction. 01 eng 20 00 Open Access Jamal Russell 20 03 06 10.53288/0274.1.20 503 509 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis Univer- sity. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Chris- tian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medi- eval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Proj- ect (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum 506 books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcom- ing in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 2 B01 Adeline Koh Adeline Koh 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/alternative-historiographies-of-the-digital-humanities/ Earth, Milky Way 04 01 20210624 Kim, Dorothy Koh, Adeline 02 WORLD 06 15 9781953035585 03 9781953035585 34 06 10.1386/macp.5.1-2.39_1 34 06 10.1177/1536504218766547 34 06 10.1632/pmla.2008.123.5.1673 34 06 10.1111/lic3.12544 34 06 10.1017/S1479244317000129 34 06 10.22148/001c.18509 34 06 10.1086/702594 34 06 10.1111/gec3.12438 34 06 10.1177/2332649220922577 34 06 10.1080/00141844.2015.1105838 34 06 10.2307/1341787 34 06 10.1525/fq.2019.72.3.19 34 06 10.1080/14623520601056240 34 06 10.1177/016344378000200106 34 06 10.5749/vergstudglobasia.1.1.0100 34 06 10.1215/10407391-2420015 34 06 10.1093/mind/LIX.236.433 34 06 10.1086/694236 34 06 10.1109/MAHC.2003.1226652 34 06 10.1109/MAHC.1994.298418 34 06 10.1016/0019-8501(92)90030-W 34 06 10.1109/ISTAS.2010.5514603 34 06 10.1007/978-3-319-32001-4_22-1 34 06 10.1017/S1467222700014294 34 06 10.1086/691682 34 06 10.1215/10407391-2420015 34 06 10.1080/13504630.2012.692896 34 06 10.2307/1576511 34 06 10.1007/s10676-018-9493-1 34 06 10.5749/j.ctttv8hq.12 34 06 10.1215/00141801-4260638 34 06 10.2307/1512132 34 06 10.2307/3178066 34 06 10.1057/9781137310491_3 34 06 10.1177/1555412018786652 34 06 10.4324/9780203418659 34 06 10.1177/1555412017737637 34 06 10.1349/PS1.1938-6060.A.425 34 06 10.1145/3235765.3235778 34 06 10.1089/1094931041291295 34 06 10.1215/10407391-2419985 34 06 10.1080/14623528.2017.1393945 34 06 10.1215/00029831-2367310 34 06 10.1525/fq.2014.67.2.44 34 06 10.1371/journal.pmed.1001772.70 34 06 10.1098/rspb.2014.1574 34 06 10.1371/journal.pmed.1001772 34 06 10.1215/10407391-2419985 34 06 10.16995/dscn.41 34 06 10.7390/15097 34 06 10.7390/15097 34 06 10.1093/llc/fqu005 34 06 10.1515/ijsl-2012-0043 34 06 10.1080/14664208.2014.947016 34 06 10.1371/journal.pone.0077056 34 06 10.1080/01434639708666317 34 06 10.1080/21639159.2014.949439 34 06 10.16995/dscn.284 34 06 10.1215/22011919-3615505 34 06 10.1525/001c.10136 34 06 10.1215/22011919-3609940 34 06 10.1525/bio.2012.62.9.2 34 06 10.1177/1354856508097016 34 06 10.17723/aarc.74.1.4233nv6nv6428521 34 06 10.1353/ail.2008.0005 34 06 10.1215/10407391-2420015 34 06 10.1215/10407391-1218274 34 06 10.1080/03626784.2014.995060 34 06 10.1215/00382876-6942183 34 06 10.5250/studamerindilite.26.2.0055 34 06 10.1177/0022022118793528 34 06 10.2307/1341787 34 06 10.1145/2695577.2695582 34 06 10.1080/14623520601056240 34 06 10.1215/01642472-7145658 34 06 10.1177/1077800414530265 34 06 10.1093/llc/fqx034 34 06 10.1353/afa.2018.0045 34 06 10.17953/aicrj.39.4.gaertner 34 06 10.5195/contemp.2016.170 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035574 20 08 20210624 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/alternative-historiographies-of-the-digital-humanities 20 08 20210624 02 29.00 USD WORLD urn:uuid:05877527-cff8-4d8c-82e8-65a03959405e 03 01 01 thoth-work-id urn:uuid:5147a952-3d44-4beb-8d49-b41c91bce733 01 thoth-publication-id urn:uuid:05877527-cff8-4d8c-82e8-65a03959405e 15 9781953035585 03 9781953035585 06 10.53288/0274.1.00 13 2021937406 01 internal-reference 0274 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Alternative Historiographies of the Digital Humanities 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis Univer- sity. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Chris- tian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medi- eval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Proj- ect (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum 506 books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcom- ing in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 2 B01 Adeline Koh Adeline Koh 40 0442n1j98 Stockton University 01 eng 00 512 03 10 COM079000 93 GTB B2 Media+Technology 12 UBW B2 Humanities+University 93 JBCC 12 JFC 10 TEC052000 93 UXA 20 cultural studies; digital humanities; feminism; indigenous studies; postcolonialism; queer gaming; radical media 01 06 02 00 03 00 In Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative.A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis.- 30 00 In Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative.A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis.- 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0274.1.00_frontcover.jpg 1 03 06 10.53288/0274.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis Univer- sity. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Chris- tian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medi- eval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Proj- ect (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum 506 books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcom- ing in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 2 B01 Adeline Koh Adeline Koh 01 eng 20 00 Open Access 2 03 06 10.53288/0274.1.02 15 32 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Media Histories, Media Archaeologies, and the Politics and Genealogies of the Digital Humanities 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis University. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Christian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medieval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Project (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcoming in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 01 eng 20 00 Open Access Dorothy Kim 3 03 06 10.53288/0274.1.03 35 78 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Digital Humanities and/as White Supremacy A Conversation about Reckonings 1 A01 David Golumbia David Golumbia 40 02nkdxk79 Virginia Commonwealth University David Golumbia is an Associate Professor of English at Virginia Commonwealth University. He is the author of The Cultural Logic of Computation (Harvard University Press, 2009), The Politics of Bitcoin: Software as Right-Wing Extremism (University of Minnesota Press, 2016), and many articles on digital culture, language, and literary studies. 2 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis University. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Christian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medieval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Project (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcoming in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 01 eng 20 00 Open Access David Golumbia Dorothy Kim 4 03 06 10.53288/0274.1.04 79 97 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Towards a Digital Cultural Studies The Legacy of Cultural Studies and the Future of Digital Humanities 1 A01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek is Associate Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity and also makes games. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017). Currently, she is researching the history and impact of the games for girls’ movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets such as The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 01 eng 20 00 Open Access Carly A. Kocurek 5 03 06 10.53288/0274.1.05 101 119 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cold War Computations and Imitation Games Recalibrating the Origins of Asian American Studies 1 A01 Cathy J. Schlund-Vials Cathy J. Schlund-Vials 40 00hj54h04 The University of Texas at Austin Cathy J. Schlund-Vials is Professor of English and Asian American Studies at the University of Texas at Austin; she is also the president-elect of the American Studies Association. Prior to these recent appointments, Schlund-Vials served as the Associate Dean for Humanities, Undergraduate Affairs, and Diversity, Equity, & Inclusion at the University of Connecticut, Storrs. In addition to numerous articles, book chapters, and edited collections, she is author of two monographs: Modeling Citizenship: Jewish and Asian American Writing (Temple University Press, 2011) and War, Genocide, and Justice: Cambodian American Memory Work (University of Minnesota Press, 2012). She is presently completing a book-length project focused on the institutionalized rise and fall of ethnic, gender, and sexuality studies in higher education. 01 eng 20 00 Open Access Cathy J. Schlund-Vials 6 03 06 10.53288/0274.1.06 121 143 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Punching Holes in the International Busa Machine Narrative 1 A01 21 000000028446099X Arun Jacob Arun Jacob 40 03dbr7087 University of Toronto Arun Jacob is a Ph.D. student at the Faculty of Information, University of Toronto, working in the Media, Technology, and Culture concentration. His research interests include examining the media history of educational technologies. 01 eng 20 00 Open Access Arun Jacob 7 03 06 10.53288/0274.1.07 145 201 57 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Embodying the Database Race, Gender, and Social Justice 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis University. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Christian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medieval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Project (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcoming in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 01 eng 20 00 Open Access Dorothy Kim 8 03 06 10.53288/0274.1.08 203 241 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Are the Digital Humanities So Straight? 1 A01 Edmond Y. Chang Edmond Y. Chang 40 01jr3y717 Ohio University Edmond Y. Chang is an Assistant Professor of English at Ohio University. His areas of research include technoculture, race/gender/sexuality, feminist media studies, video games, popular culture, and 20th-/21st-century American literature. He teaches undergraduate and graduate courses on American literature, speculative literature of color, queer theory, games, and writing. Recent publications include “Drawing the Oankali: Imagining Race, Gender, and the Posthuman in Octavia Butler’s Dawn” in Approaches to Teaching the Works of Octavia E. Butler, “Playing as Making” in Disrupting the Digital Humanities, and “Queergaming” in Queer Game Studies. He is completing his first book on algorithmic queerness and digital games tentatively entitled Queerness Cannot Be Designed. 01 eng 20 00 Open Access Edmond Y. Chang 9 03 06 10.53288/0274.1.09 245 270 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Self-Reflexive Praxis at the Heart of DH 1 A01 21 0000000176167323 Alexandra Juhasz Alexandra Juhasz 40 019k4jq75 Brooklyn College Alexandra Juhasz is Distinguished Professor of Film at Brooklyn College, CUNY. She makes and studies committed media practices that contribute to political change and individual and community growth. Author and/or editor since 1995 of scholarly books on activist media in light of AIDS (AIDS TV, Duke University Press, 1995 and AIDS and the Distribution of Crises, Duke University Press, 2020), Black lesbian and queer representation (Sisters in the Life, Duke University Press, 2018), feminism (Women of Vision, University of Minnesota Press, 2001), and digital culture (Learning from YouTube, MIT Press, 2011), Dr. Juhasz also makes videotapes on feminist issues from AIDS to teen pregnancy as well as producing the feature fakes The Watermelon Woman (Cheryl Dunye, 1997) and The Owls (Dunye, 2010). She writes reviews, interviews, and opinion pieces about these subjects for non-academic venues like MS, Bomb, Hyperallergic, and the Brooklyn Rail. Her current work is on and about fake news and radical digital media literacy (fakenews-poetry.org). 01 eng 20 00 Open Access Alexandra Juhasz 10 03 06 10.53288/0274.1.10 271 293 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Training Designer Two Ideological Conflicts in Feminist Games + Digital Humanities 1 A01 Anastasia Salter Anastasia Salter 40 036nfer12 University of Central Florida Anastasia Salter is an Associate Professor of English at the University of Central Florida, and the coauthor of Twining: Critical and Creative Approaches to Hypertext Narrative (Amherst College Press, with Stuart Moulthrop, forthcoming 2021); A Portrait of the Auteur as Fanboy (University of Mississippi Press, with Mel Stanfill, 2020); and Adventure Games: Playing the Outsider (Bloomsbury, with Aaron Reed and John Murray, 2020). 2 A01 21 0000000216564359 Bridget Blodgett Bridget Blodgett 40 024gw2733 University of Baltimore Bridget Blodgett is an associate professor in the Division of Science, Information Arts, and Technology at the University of Baltimore. Her research analyzes Internet culture and the social impacts thereof on offline life. Her current research takes a critical eye to online game communities regarding gender, inclusiveness, and identity. Toxic Geek Masculinity in Media (with Anastasia Salter) was released in 2017 by Palgrave MacMillan and is the summation of this work to date. 01 eng 20 00 Open Access Anastasia Salter Bridget Blodgett 11 03 06 10.53288/0274.1.11 297 332 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Toward a Diligent Humanities: Digital Cultures and Archives of Post-1965 Indonesia 1 A01 Viola Lasmana Viola Lasmana 40 00hj8s172 Columbia University 40 05vt9qd57 Rutgers University Viola Lasmana works at the intersections of transpacific studies and digital media, with an emphasis on literature, film, and media arts. She is currently completing a book, Shadow Imaginations: Transpacific Approaches to Post-1965 Indonesian Archives, on the reconstitution of Indonesia’s decimated cultural archive. Her work has appeared in Film Quarterly, The Cine-Files, Visual Anthropology, make/shift: feminisms in motion, Computers and Composition, and Interdisciplinary Humanities. During 2020–21, she was ACLS Emerging Voices Fellow at Columbia University’s Center for the Study of Ethnicity and Race. 01 eng 20 00 Open Access Viola Lasmana 12 03 06 10.53288/0274.1.12 333 375 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taxation against Overrepresentation? The Consequences of Monolingualism for Digital Humanities 1 A01 21 0000000341221160 Domenico Fiormonte Domenico Fiormonte 40 05vf0dg29 Roma Tre University Domenico Fiormonte is lecturer in the Sociology of Communication and Culture in the Department of Political Sciences at University Roma Tre. In 1996 he created one of the first online resources on literary textual variation (www.digitalvariants.org). He has edited and co-edited a number of collections of digital humanities texts, and has published books and articles on digital philology, digital writing, text encoding, and cultural criticism of DH. Since 2008 Domenico has been working on educational projects in the South of India and has recently edited an Italian collection of interdisciplinary essays on consciousness (La coscienza. Un dialogo interdisciplinare e interculturale, Rome, 2018). His latest book is Per una critica del testo digitale. Filologia, letteratura e rete (Rome, 2018). With Sukanta Chaodouri and Paola Ricaurte he is currently editing for the University of Minnesota Press the first Digital Humanities collection devoted to developing countries and the Global South. 01 eng 20 00 Open Access Domenico Fiormonte 13 03 06 10.53288/0274.1.13 377 397 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pitching the "Big Tent" Outside An Argument for the Digital Environmental Humanities 1 A01 21 0000000198434517 Alenda Y. Chang Alenda Y. Chang 40 02t274463 University of California, Santa Barbara Alenda Y. Chang is an Associate Professor of Film and Media Studies at the University of California, Santa Barbara. Her research and teaching interests include environmental media, histories and theories of the digital, game studies, science and technology studies, and sound studies. Chang’s articles have appeared in numerous journals, among them Qui Parle, Interdisciplinary Studies in Literature and Environment, electronic book review, Feminist Media Histories, and Resilience. Her first book, Playing Nature: Ecology in Video Games, develops environmentally informed frameworks for understanding and designing digital games (University of Minnesota Press, 2019). At UC Santa Barbara, Chang directs the Creative Computing Initiative and co-directs Wireframe, a studio promoting collaborative theoretical and creative media practice with investments in global social and environmental justice. She is also a founding co-editor of the UC Press open-access journal, Media+Environment. 01 eng 20 00 Open Access Alenda Y. Chang 14 03 06 10.53288/0274.1.14 401 425 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Indigenist Internet for Indigenous Futures DH Beyond the Academy and "Preservation" 1 A01 Siobhan Senier Siobhan Senier 40 01rmh9n78 University of New Hampshire Siobhan Senier is a Professor of English and Chair of the Department of Women’s and Gender Studies at the University of New Hampshire. She is the editor of Dawnland Voices: An Anthology of Writing from Indigenous New England (Univerity of Nebraska Press, 2014) and dawnlandvoices.org. Her other publications include Voices of American Indian Assimilation and Resistance (University of Oklahoma Press, 2001), Sovereignty and Sustainability: Indigenous Literary Stewardship in New England (University of Nebraska Press, 2020), and essays in journals including American Literature, American Indian Quarterly, Studies in American Indian Literatures, MELUS, Disability Studies Quarterly, and Resilience. 01 eng 20 00 Open Access Siobhan Senier 15 03 06 10.53288/0274.1.15 427 472 46 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Ancestors in the Machine Indigenous Futurity and Games 1 A01 Jordan Clapper Jordan Clapper 40 05abbep66 Brandeis University Jordan Clapper is a doctoral candidate in the English program at Brandeis University. They are an unenrolled Ponca of Oklahoma, and they study indigenous and queer literature and video games. They are a member of the 2020–21 cohort of the Palah Light Lab, a creative and critical community for queer and feminist new media. They are working on several video and board games that address positions at the margins as places of power and narrative possibility. 01 eng 20 00 Open Access Jordan Clapper 16 03 06 10.53288/0274.1.16 475 478 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Breaking and (Re)Making 1 A01 21 0000000295124190 Ravynn K. Stringfield Ravynn K. Stringfield 40 03hsf0573 William & Mary Ravynn K. Stringfield is a PhD candidate in American Studies at William & Mary. Her dissertation project, which was recently awarded a 2021–22 Halleran Dissertation Completion Fellowship, centers Black women and girls in new media fantasy narratives. Stringfield currently serves on the American Studies Association Digital Humanities Caucus and is an Equality Lab Fellow at William & Mary under the direction of Dr. Elizabeth Losh. Committed to public facing scholarship, Stringfield’s intellectual practice also includes creative nonfiction and fiction writing, which has appeared in a number of publications including ZORA, Shondaland, Catapult, Voyage Young Adult Journal, and midnight & indigo. 01 eng 20 00 Open Access Ravynn K. Stringfield 17 03 06 10.53288/0274.1.17 479 482 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Black Scholars and Disciplinary Gatekeeping 1 A01 21 0000000252656816 Christy Hyman Christy Hyman 40 043mer456 University of Nebraska–Lincoln Christy Hyman is a digital humanist, environmental advocate, and PhD student in the program of Geography at the University of Nebraska Lincoln. Her dissertation research focuses on African-American efforts toward cultural and political assertion in the Great Dismal Swamp region during the antebellum era as well as the attendant social and environmental costs of human/landscape resource exploitation. Hyman uses Geographic Information Systems to observe to what extent digital cartography can inform us of the human experience while acknowledging phenomena deriving from oppressive systems in society threatening sustainable futures. Hyman has been invited to share her work at a range of humanities centers including the Dave Rumsey Map Center at Stanford University, the Institute for Digital Research in the Humanities at the University of Kansas, and the Maryland Institute for Technology in the Humanities Digital Dialogues series to name a few. 01 eng 20 00 Open Access Christy Hyman 18 03 06 10.53288/0274.1.18 483 487 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dr. Nyanzi’s Protests Silences, Futures, and the Present 1 A01 Nalubega Ross Janet Nalubega Ross 40 03efmqc40 Arizona State University Born and raised in Uganda, Janet Nalubega Ross, who goes by her middle name Nalubega, is interested in how people learn about sex, birth, and childcare. Her current dissertation work focuses on how refugees resettled in the United States learn, paying attention to how race, age, sexuality, cultural values, political landscapes, geographical location, and the ever-changing social media landscape shape learning processes. Nalubega holds a degree in Community Health Education and Promotion from the University of Utah (2011), and a Master’s degree in Bioinformatics from the University of Missouri-Kansas City (2014). When not working on her dissertation, Nalubega can be found tending an ever-growing collection of plants. 20 00 Open Access Nalubega Ross 19 03 06 10.53288/0274.1.19 489 501 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Against Lenticular Modeling: Missives on Locating Blackness from the WhatEvery1Says Project 1 A01 Jamal Russell Jamal Russell 40 02t274463 University of California, Santa Barbara Jamal Russell is a PhD candidate in English at the University of California, Santa Barbara. His research interests span media theory, electronic literature, 20th- and 21st-century experimental poetics, and the digital humanities. He is currently writing a dissertation that examines Black media forms as a means of articulating both the history of interface and the poetics of the interface’s formation through their modes of interaction. 01 eng 20 00 Open Access Jamal Russell 20 03 06 10.53288/0274.1.20 503 509 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University Dorothy Kim teaches medieval literature at Brandeis Univer- sity. Her research focuses on race, gender, digital humanities, medieval women’s literary cultures, medievalism, Jewish/Chris- tian difference, book history, digital media, and the alt-right. Her book, Jewish/Christian Entanglements: Ancrene Wisse and Its Material Worlds, is set to be published with the University of Pennsylvania Press. She has a forthcoming book, The Alt-Medi- eval: Digital Whiteness and Medieval Studies from the University of Minnesota Press in 2021. She has received fellowships from the SSHRC, Ford Foundation, Fulbright, Mellon, and AAUW. She is the co-project director in the NEH-funded Scholarly Editions and Translations project An Archive of Early Middle English. She is a project co-director for the Global Middle Ages Proj- ect (http://globalmiddleages.org) and is scheduled to co-write a book with Lynn Ramey (Vanderbilt University) on Medieval Global Digital Humanities for Cambridge UP for 2021. She has co-edited two collections in the Digital Humanities. The first collection, co-edited with Jesse Stommel (University of Mary Washington), on Disrupting the Digital Humanities (punctum 506 books, 2018), discusses the marginal methodologies and critical diversities in the Digital Humanities. This current volume is her second edited DH collection. She has an edited volume in the Cultural History of Race series (the Cultural History of Race 1350–1550) with Kim Coles (University of Maryland) forthcom- ing in October 2021 at Bloomsbury. She is the associate editor for the Journal of Early Middle English and the co-editor for the medieval to early modern section of Literature Compass. 2 B01 Adeline Koh Adeline Koh 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/alternative-historiographies-of-the-digital-humanities/ Earth, Milky Way 04 01 20210624 Kim, Dorothy Koh, Adeline 02 WORLD 06 15 9781953035578 03 9781953035578 34 06 10.1386/macp.5.1-2.39_1 34 06 10.1177/1536504218766547 34 06 10.1632/pmla.2008.123.5.1673 34 06 10.1111/lic3.12544 34 06 10.1017/S1479244317000129 34 06 10.22148/001c.18509 34 06 10.1086/702594 34 06 10.1111/gec3.12438 34 06 10.1177/2332649220922577 34 06 10.1080/00141844.2015.1105838 34 06 10.2307/1341787 34 06 10.1525/fq.2019.72.3.19 34 06 10.1080/14623520601056240 34 06 10.1177/016344378000200106 34 06 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10.1371/journal.pmed.1001772 34 06 10.1215/10407391-2419985 34 06 10.16995/dscn.41 34 06 10.7390/15097 34 06 10.7390/15097 34 06 10.1093/llc/fqu005 34 06 10.1515/ijsl-2012-0043 34 06 10.1080/14664208.2014.947016 34 06 10.1371/journal.pone.0077056 34 06 10.1080/01434639708666317 34 06 10.1080/21639159.2014.949439 34 06 10.16995/dscn.284 34 06 10.1215/22011919-3615505 34 06 10.1525/001c.10136 34 06 10.1215/22011919-3609940 34 06 10.1525/bio.2012.62.9.2 34 06 10.1177/1354856508097016 34 06 10.17723/aarc.74.1.4233nv6nv6428521 34 06 10.1353/ail.2008.0005 34 06 10.1215/10407391-2420015 34 06 10.1215/10407391-1218274 34 06 10.1080/03626784.2014.995060 34 06 10.1215/00382876-6942183 34 06 10.5250/studamerindilite.26.2.0055 34 06 10.1177/0022022118793528 34 06 10.2307/1341787 34 06 10.1145/2695577.2695582 34 06 10.1080/14623520601056240 34 06 10.1215/01642472-7145658 34 06 10.1177/1077800414530265 34 06 10.1093/llc/fqx034 34 06 10.1353/afa.2018.0045 34 06 10.17953/aicrj.39.4.gaertner 34 06 10.5195/contemp.2016.170 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/49672 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/49672/0274.1.00.pdf?sequence=1&isAllowed=y 20 08 20210624 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/70924 20 08 20210624 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1r7878x 20 08 20210624 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/668 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8d252831-fa5c-4f86-add4-989fe85d5b23/download 20 08 20210624 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Alternative_Historiographies_of_the_Digi/FAaVEAAAQBAJ 20 08 20210624 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5147a952-3d44-4beb-8d49-b41c91bce733 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5147a952-3d44-4beb-8d49-b41c91bce733/5147a952-3d44-4beb-8d49-b41c91bce733.pdf 20 08 20210624 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848907 29 ZENODO: download the title https://zenodo.org/records/19848907/files/5147a952-3d44-4beb-8d49-b41c91bce733_book.pdf 20 08 20210624 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/alternative-historiographies-of-the-digital-humanities/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0274.1.00.pdf 20 08 20210624 01 urn:uuid:c75bb125-bc74-46f3-8816-884532c72e64 03 01 01 thoth-work-id urn:uuid:aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9 01 thoth-publication-id urn:uuid:c75bb125-bc74-46f3-8816-884532c72e64 15 9781950192595 03 9781950192595 06 10.21983/P3.0270.1.00 13 2019955144 01 internal-reference 0270 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Manga Perfeita 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 2 B06 Ernesto Filho Ernesto Filho 3 B06 Christine Greiner Christine Greiner 02 eng 01 por 00 166 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC B2 Thought Experiments 93 VFJQ3 20 memoir; sexual abuse; trauma; violence; embodiment; creative non-fiction; neurodiversity 01 06 02 00 03 00 Em 1994, aos vinte e cinco anos de idade, quando o terrível “despedaçamento que vem com a agressão sexual” dobrou-se profundamente em seu corpo e pensamentos de suicídio estavam sempre por perto, Erin Manning escreveu A Manga Perfeita num estado quase febril: dezenove capítulos em dezenove dias, uma espécie de operação de auto-resgate, onde a escrita tornou-se uma maneira de fazer (e sentir) a vida de outra forma. Ao longo desses dezenove dias, e embora não capaz de articular completamente para si mesma na época, Manning escreveu-se para dentro “de uma composição que pergunta de que outra forma a vida poderia ser vivida”. E nos ritmos dessa composição, que era também uma vida, Manning foi e é capaz de recusar a categoria e norma e imobilidade da “vítima” (enquanto ainda compreende as heranças da violência) a fim de seguir em vez disso o mais-que-eu assim como a alegria do “mais-que da experiência no fazer”.Vinte e cinco anos depois, Manning permite que esses escritos anteriores encontrem seu caminho de volta ao mundo, o que é uma maneira de dar “voz a esses momentos de sobrevivência confusos” enquanto também pede a nós, que compartilhamos (e ajudamos a suportar) tais momentos enquanto leitores, que consideremos “outras formas de escutar a urgência que é viver”. Republicar o livro agora é dar-lhe um lugar no mundo de uma maneira que honre sua força como algo que está sempre além da reivindicação de qualquer um, mesmo de Manning. Nesse sentido, A Manga Perfeita nos convida, com Manning, a estar em excesso de nós mesmos, e também a considerarmos, nas palavras de Manning, “como criar condições para viver além da crença feroz do humanismo de que nós, os privilegiados, os neurotípicos, os ainda incólumes, os corpos-capazes, é que guardamos a chave para todas as perspectivas no teatro da vida”. Por fim, A Manga Perfeita e as reflexões de Manning a respeito de sua composição pedem que consideremos “viver na feroz celebração de um mundo inventado por esses modos de vida que rasgam o tecido colonial, branco, neurotípico da vida como a conhecemos.” 30 00 Em 1994, aos vinte e cinco anos de idade, quando o terrível “despedaçamento que vem com a agressão sexual” dobrou-se profundamente em seu corpo e pensamentos de suicídio estavam sempre por perto, Erin Manning escreveu A Manga Perfeita num estado quase febril: dezenove capítulos em dezenove dias, uma espécie de operação de auto-resgate, onde a escrita tornou-se uma maneira de fazer (e sentir) a vida de outra forma. Ao longo desses dezenove dias, e embora não capaz de articular completamente para si mesma na época, Manning escreveu-se para dentro “de uma composição que pergunta de que outra forma a vida poderia ser vivida”. E nos ritmos dessa composição, que era também uma vida, Manning foi e é capaz de recusar a categoria e norma e imobilidade da “vítima” (enquanto ainda compreende as heranças da violência) a fim de seguir em vez disso o mais-que-eu assim como a alegria do “mais-que da experiência no fazer”.Vinte e cinco anos depois, Manning permite que esses escritos anteriores encontrem seu caminho de volta ao mundo, o que é uma maneira de dar “voz a esses momentos de sobrevivência confusos” enquanto também pede a nós, que compartilhamos (e ajudamos a suportar) tais momentos enquanto leitores, que consideremos “outras formas de escutar a urgência que é viver”. Republicar o livro agora é dar-lhe um lugar no mundo de uma maneira que honre sua força como algo que está sempre além da reivindicação de qualquer um, mesmo de Manning. Nesse sentido, A Manga Perfeita nos convida, com Manning, a estar em excesso de nós mesmos, e também a considerarmos, nas palavras de Manning, “como criar condições para viver além da crença feroz do humanismo de que nós, os privilegiados, os neurotípicos, os ainda incólumes, os corpos-capazes, é que guardamos a chave para todas as perspectivas no teatro da vida”. Por fim, A Manga Perfeita e as reflexões de Manning a respeito de sua composição pedem que consideremos “viver na feroz celebração de um mundo inventado por esses modos de vida que rasgam o tecido colonial, branco, neurotípico da vida como a conhecemos.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0270.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-manga-perfeita/ Earth, Milky Way 04 01 20191218 Manning, Erin 02 WORLD 29 06 10.21983/P3.0245.1.00 06 15 9781950192601 03 9781950192601 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192598 20 08 20191218 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-manga-perfeita 20 08 20191218 02 22.00 USD WORLD urn:uuid:ae40a175-7ddd-4c1a-b20e-fddd1610fb80 03 01 01 thoth-work-id urn:uuid:aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9 01 thoth-publication-id urn:uuid:ae40a175-7ddd-4c1a-b20e-fddd1610fb80 15 9781950192601 03 9781950192601 06 10.21983/P3.0270.1.00 13 2019955144 01 internal-reference 0270 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Manga Perfeita 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 2 B06 Ernesto Filho Ernesto Filho 3 B06 Christine Greiner Christine Greiner 02 eng 01 por 00 166 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC B2 Thought Experiments 93 VFJQ3 20 memoir; sexual abuse; trauma; violence; embodiment; creative non-fiction; neurodiversity 01 06 02 00 03 00 Em 1994, aos vinte e cinco anos de idade, quando o terrível “despedaçamento que vem com a agressão sexual” dobrou-se profundamente em seu corpo e pensamentos de suicídio estavam sempre por perto, Erin Manning escreveu A Manga Perfeita num estado quase febril: dezenove capítulos em dezenove dias, uma espécie de operação de auto-resgate, onde a escrita tornou-se uma maneira de fazer (e sentir) a vida de outra forma. Ao longo desses dezenove dias, e embora não capaz de articular completamente para si mesma na época, Manning escreveu-se para dentro “de uma composição que pergunta de que outra forma a vida poderia ser vivida”. E nos ritmos dessa composição, que era também uma vida, Manning foi e é capaz de recusar a categoria e norma e imobilidade da “vítima” (enquanto ainda compreende as heranças da violência) a fim de seguir em vez disso o mais-que-eu assim como a alegria do “mais-que da experiência no fazer”.Vinte e cinco anos depois, Manning permite que esses escritos anteriores encontrem seu caminho de volta ao mundo, o que é uma maneira de dar “voz a esses momentos de sobrevivência confusos” enquanto também pede a nós, que compartilhamos (e ajudamos a suportar) tais momentos enquanto leitores, que consideremos “outras formas de escutar a urgência que é viver”. Republicar o livro agora é dar-lhe um lugar no mundo de uma maneira que honre sua força como algo que está sempre além da reivindicação de qualquer um, mesmo de Manning. Nesse sentido, A Manga Perfeita nos convida, com Manning, a estar em excesso de nós mesmos, e também a considerarmos, nas palavras de Manning, “como criar condições para viver além da crença feroz do humanismo de que nós, os privilegiados, os neurotípicos, os ainda incólumes, os corpos-capazes, é que guardamos a chave para todas as perspectivas no teatro da vida”. Por fim, A Manga Perfeita e as reflexões de Manning a respeito de sua composição pedem que consideremos “viver na feroz celebração de um mundo inventado por esses modos de vida que rasgam o tecido colonial, branco, neurotípico da vida como a conhecemos.” 30 00 Em 1994, aos vinte e cinco anos de idade, quando o terrível “despedaçamento que vem com a agressão sexual” dobrou-se profundamente em seu corpo e pensamentos de suicídio estavam sempre por perto, Erin Manning escreveu A Manga Perfeita num estado quase febril: dezenove capítulos em dezenove dias, uma espécie de operação de auto-resgate, onde a escrita tornou-se uma maneira de fazer (e sentir) a vida de outra forma. Ao longo desses dezenove dias, e embora não capaz de articular completamente para si mesma na época, Manning escreveu-se para dentro “de uma composição que pergunta de que outra forma a vida poderia ser vivida”. E nos ritmos dessa composição, que era também uma vida, Manning foi e é capaz de recusar a categoria e norma e imobilidade da “vítima” (enquanto ainda compreende as heranças da violência) a fim de seguir em vez disso o mais-que-eu assim como a alegria do “mais-que da experiência no fazer”.Vinte e cinco anos depois, Manning permite que esses escritos anteriores encontrem seu caminho de volta ao mundo, o que é uma maneira de dar “voz a esses momentos de sobrevivência confusos” enquanto também pede a nós, que compartilhamos (e ajudamos a suportar) tais momentos enquanto leitores, que consideremos “outras formas de escutar a urgência que é viver”. Republicar o livro agora é dar-lhe um lugar no mundo de uma maneira que honre sua força como algo que está sempre além da reivindicação de qualquer um, mesmo de Manning. Nesse sentido, A Manga Perfeita nos convida, com Manning, a estar em excesso de nós mesmos, e também a considerarmos, nas palavras de Manning, “como criar condições para viver além da crença feroz do humanismo de que nós, os privilegiados, os neurotípicos, os ainda incólumes, os corpos-capazes, é que guardamos a chave para todas as perspectivas no teatro da vida”. Por fim, A Manga Perfeita e as reflexões de Manning a respeito de sua composição pedem que consideremos “viver na feroz celebração de um mundo inventado por esses modos de vida que rasgam o tecido colonial, branco, neurotípico da vida como a conhecemos.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0270.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-manga-perfeita/ Earth, Milky Way 04 01 20191218 Manning, Erin 02 WORLD 29 06 10.21983/P3.0245.1.00 06 15 9781950192595 03 9781950192595 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23591 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23591/0270.1.00.pdf?sequence=1&isAllowed=y 20 08 20191218 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30906 20 08 20191218 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354006 20 08 20191218 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/622 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9b2f9054-72b9-4fbb-9ac1-ce7a135d0a4b/download 20 08 20191218 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9/aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9.pdf 20 08 20191218 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848011 29 ZENODO: download the title https://zenodo.org/records/19848011/files/aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9_book.pdf 20 08 20191218 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-manga-perfeita/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0270.1.00.pdf 20 08 20191218 01 urn:uuid:cb0ebd22-f06f-4a1e-9f4f-1f806a6c2f66 03 01 01 thoth-work-id urn:uuid:b884f6e4-6bb0-433e-8f70-b95795596bd8 01 thoth-publication-id urn:uuid:cb0ebd22-f06f-4a1e-9f4f-1f806a6c2f66 15 9781685711221 03 9781685711221 06 10.53288/0386.1.00 13 2023949498 01 internal-reference 0386 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Analogical City 1 A01 21 0000000206831708 Cameron McEwan Cameron McEwan Associate Professor at the School of Architecture 40 049e6bc10 Northumbria University Cameron McEwan is an associate professor, architectural theorist, and educator at Northumbria University School of Architecture. His research focuses on the relationship between the city, representation, and subjectivity to engage architecture’s status as a critical project. Cameron is a trustee of the AE Foundation, an independent research institute for architecture and education; linking academia, practice, and public life. Cameron holds his Masters in Architecture with distinction from Dundee School of Architecture and his PhD in History and Theory of Architecture from the University of Dundee Geddes Institute for Urban Research. Cameron’s writing and drawings are published in journals and venues including: Architecture and Culture, arq, Building Material, Drawing On, Inflection, Journal of Architectural Education, Lo Squaderno, MONU, Scroope: Cambridge Architecture Journal, Outsiders for the 2014 Venice Architecture Biennale, Edinburgh Royal Scottish Academy, The Lighthouse Glasgow, and elsewhere. With Samuel Penn he edited Accounts (Pelinu, 2019). With Lorens Holm he edited the Architecture and Collective Life special issue of Architecture and Culture (T&F/Routledge, 2020). 01 eng 00 278 03 93 AMA 12 AMA 10 ARC001000 B2 Built Environments 12 AMB 93 AMB 10 ARC010000 B2 Cultural Studies+Critical Theory 12 AMVD 93 AMVD 20 Aldo Rossi; Paolo Virno; architecture; architectural theory; cities; critical project; multitude 01 06 02 00 03 00 In Analogical City, Cameron McEwan argues for architecture’s status as a critical project. McEwan revisits architect Aldo Rossi as a paradigmatic figure of the critical rational tradition, studying a neglected aspect of his thought — the analogical city — to excavate its potential. McEwan develops a grammar of the analogical city under the headings of Imagination, Transformation, City, Multitude, and Project. McEwan argues that the analogical city is critical, collective, and emancipatory. Analogical thought and understanding cities as analogical might open the conditions of possibility for rethinking the critical project in architecture.At a time when the humanities and the sciences are threatened by irrational thought, from climate denial to post-truth narratives, and when architecture has seemingly disavowed its critical capacity and political possibility through its commodification as an instrument of the neoliberal city, McEwan offers critical strategies, conceptual tools, figures of thought, and knowledge practices to articulate modes of thinking and acting differently within architectural criticism and practice. Today, knowledge is a common terrain of struggle and thought requires constant reinvention. The task of architecture, and critique more broadly, must be to interpret the world in order to change it. Consequently Analogical City proposes modes for imagining the city, the subject, and the world otherwise — towards a more egalitarian and critical architecture of the city.Ultimately, the analogical city is not a fully developed theory, nor is it only an intuitive, poetic, or purely formal practice, as some critics propose. McEwan argues that the analogical city is poetic and political: it always refers beyond itself towards a collective and critical project of the city, and yet it invites a series of formal, spatial, and graphic operations comprising erasure and negativity followed by substitution and remontage. 30 00 In Analogical City, Cameron McEwan argues for architecture’s status as a critical project. McEwan revisits architect Aldo Rossi as a paradigmatic figure of the critical rational tradition, studying a neglected aspect of his thought — the analogical city — to excavate its potential. McEwan develops a grammar of the analogical city under the headings of Imagination, Transformation, City, Multitude, and Project. McEwan argues that the analogical city is critical, collective, and emancipatory. Analogical thought and understanding cities as analogical might open the conditions of possibility for rethinking the critical project in architecture.At a time when the humanities and the sciences are threatened by irrational thought, from climate denial to post-truth narratives, and when architecture has seemingly disavowed its critical capacity and political possibility through its commodification as an instrument of the neoliberal city, McEwan offers critical strategies, conceptual tools, figures of thought, and knowledge practices to articulate modes of thinking and acting differently within architectural criticism and practice. Today, knowledge is a common terrain of struggle and thought requires constant reinvention. The task of architecture, and critique more broadly, must be to interpret the world in order to change it. Consequently Analogical City proposes modes for imagining the city, the subject, and the world otherwise — towards a more egalitarian and critical architecture of the city.Ultimately, the analogical city is not a fully developed theory, nor is it only an intuitive, poetic, or purely formal practice, as some critics propose. McEwan argues that the analogical city is poetic and political: it always refers beyond itself towards a collective and critical project of the city, and yet it invites a series of formal, spatial, and graphic operations comprising erasure and negativity followed by substitution and remontage. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0386.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/analogical-city/ Earth, Milky Way 04 01 20240118 Cameron McEwan 02 WORLD 06 15 9781685711238 03 9781685711238 34 06 10.26375/disegno.4.2019.22 34 06 10.1162/15263810260201599 34 06 10.1186/s40410-019-0109-9 34 06 10.1080/20507828.2020.1788296 34 06 10.1386/drtp.3.1.29_1 34 06 10.7480/footprint.10.1.970 34 06 10.1080/13602365.2017.1394350 34 06 10.1080/20507828.2020.1886516 34 06 10.1080/20507828.2021.1885164 34 06 10.2307/1567298 34 06 10.1215/22011919-3615934 34 06 10.21983/P3.0265.1.00 34 06 10.1080/08935690801917304 34 06 10.1080/09502389400490071 34 06 10.1215/00382876-3829390 34 06 10.1177/001458580604000 34 06 10.1080/13602365.2016.1258855 34 06 10.1002/ad.2304 34 06 10.1002/ad.912 34 06 10.1177/0961463X18820737 34 06 10.53288/0393.1.00 34 06 10.1002/ad.2032 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711227 20 08 20240118 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/analogical-city 20 08 20240118 01 urn:uuid:015bb2b6-53f2-4c87-83a3-c01a06551313 03 01 01 thoth-work-id urn:uuid:b884f6e4-6bb0-433e-8f70-b95795596bd8 01 thoth-publication-id urn:uuid:015bb2b6-53f2-4c87-83a3-c01a06551313 15 9781685711238 03 9781685711238 06 10.53288/0386.1.00 13 2023949498 01 internal-reference 0386 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Analogical City 1 A01 21 0000000206831708 Cameron McEwan Cameron McEwan Associate Professor at the School of Architecture 40 049e6bc10 Northumbria University Cameron McEwan is an associate professor, architectural theorist, and educator at Northumbria University School of Architecture. His research focuses on the relationship between the city, representation, and subjectivity to engage architecture’s status as a critical project. Cameron is a trustee of the AE Foundation, an independent research institute for architecture and education; linking academia, practice, and public life. Cameron holds his Masters in Architecture with distinction from Dundee School of Architecture and his PhD in History and Theory of Architecture from the University of Dundee Geddes Institute for Urban Research. Cameron’s writing and drawings are published in journals and venues including: Architecture and Culture, arq, Building Material, Drawing On, Inflection, Journal of Architectural Education, Lo Squaderno, MONU, Scroope: Cambridge Architecture Journal, Outsiders for the 2014 Venice Architecture Biennale, Edinburgh Royal Scottish Academy, The Lighthouse Glasgow, and elsewhere. With Samuel Penn he edited Accounts (Pelinu, 2019). With Lorens Holm he edited the Architecture and Collective Life special issue of Architecture and Culture (T&F/Routledge, 2020). 01 eng 00 278 03 93 AMA 12 AMA 10 ARC001000 B2 Built Environments 12 AMB 93 AMB 10 ARC010000 B2 Cultural Studies+Critical Theory 12 AMVD 93 AMVD 20 Aldo Rossi; Paolo Virno; architecture; architectural theory; cities; critical project; multitude 01 06 02 00 03 00 In Analogical City, Cameron McEwan argues for architecture’s status as a critical project. McEwan revisits architect Aldo Rossi as a paradigmatic figure of the critical rational tradition, studying a neglected aspect of his thought — the analogical city — to excavate its potential. McEwan develops a grammar of the analogical city under the headings of Imagination, Transformation, City, Multitude, and Project. McEwan argues that the analogical city is critical, collective, and emancipatory. Analogical thought and understanding cities as analogical might open the conditions of possibility for rethinking the critical project in architecture.At a time when the humanities and the sciences are threatened by irrational thought, from climate denial to post-truth narratives, and when architecture has seemingly disavowed its critical capacity and political possibility through its commodification as an instrument of the neoliberal city, McEwan offers critical strategies, conceptual tools, figures of thought, and knowledge practices to articulate modes of thinking and acting differently within architectural criticism and practice. Today, knowledge is a common terrain of struggle and thought requires constant reinvention. The task of architecture, and critique more broadly, must be to interpret the world in order to change it. Consequently Analogical City proposes modes for imagining the city, the subject, and the world otherwise — towards a more egalitarian and critical architecture of the city.Ultimately, the analogical city is not a fully developed theory, nor is it only an intuitive, poetic, or purely formal practice, as some critics propose. McEwan argues that the analogical city is poetic and political: it always refers beyond itself towards a collective and critical project of the city, and yet it invites a series of formal, spatial, and graphic operations comprising erasure and negativity followed by substitution and remontage. 30 00 In Analogical City, Cameron McEwan argues for architecture’s status as a critical project. McEwan revisits architect Aldo Rossi as a paradigmatic figure of the critical rational tradition, studying a neglected aspect of his thought — the analogical city — to excavate its potential. McEwan develops a grammar of the analogical city under the headings of Imagination, Transformation, City, Multitude, and Project. McEwan argues that the analogical city is critical, collective, and emancipatory. Analogical thought and understanding cities as analogical might open the conditions of possibility for rethinking the critical project in architecture.At a time when the humanities and the sciences are threatened by irrational thought, from climate denial to post-truth narratives, and when architecture has seemingly disavowed its critical capacity and political possibility through its commodification as an instrument of the neoliberal city, McEwan offers critical strategies, conceptual tools, figures of thought, and knowledge practices to articulate modes of thinking and acting differently within architectural criticism and practice. Today, knowledge is a common terrain of struggle and thought requires constant reinvention. The task of architecture, and critique more broadly, must be to interpret the world in order to change it. Consequently Analogical City proposes modes for imagining the city, the subject, and the world otherwise — towards a more egalitarian and critical architecture of the city.Ultimately, the analogical city is not a fully developed theory, nor is it only an intuitive, poetic, or purely formal practice, as some critics propose. McEwan argues that the analogical city is poetic and political: it always refers beyond itself towards a collective and critical project of the city, and yet it invites a series of formal, spatial, and graphic operations comprising erasure and negativity followed by substitution and remontage. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0386.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/analogical-city/ Earth, Milky Way 04 01 20240118 Cameron McEwan 02 WORLD 06 15 9781685711221 03 9781685711221 34 06 10.26375/disegno.4.2019.22 34 06 10.1162/15263810260201599 34 06 10.1186/s40410-019-0109-9 34 06 10.1080/20507828.2020.1788296 34 06 10.1386/drtp.3.1.29_1 34 06 10.7480/footprint.10.1.970 34 06 10.1080/13602365.2017.1394350 34 06 10.1080/20507828.2020.1886516 34 06 10.1080/20507828.2021.1885164 34 06 10.2307/1567298 34 06 10.1215/22011919-3615934 34 06 10.21983/P3.0265.1.00 34 06 10.1080/08935690801917304 34 06 10.1080/09502389400490071 34 06 10.1215/00382876-3829390 34 06 10.1177/001458580604000 34 06 10.1080/13602365.2016.1258855 34 06 10.1002/ad.2304 34 06 10.1002/ad.912 34 06 10.1177/0961463X18820737 34 06 10.53288/0393.1.00 34 06 10.1002/ad.2032 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/86991 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/86991/0386.1.00.pdf?sequence=1&isAllowed=y 20 08 20240118 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/133104 20 08 20240118 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.20626760 20 08 20240118 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=b567b5df-0fce-3cbc-ab79-3025d6f8d90f 20 08 20240118 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://library.bz/main/uploads/DBF1812157A053E722944FB7AEE3D80B 29 Unspecified hosting platform: download the title https://download.library.lol/main/4250000/dbf1812157a053e722944fb7aee3d80b/Cameron%20McEwan%20-%20Analogical%20City-punctum%20books%20%282024%29.pdf 20 08 20240118 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/339 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f657c5ee-a237-4bb8-b682-adda8c86a4b5/download 20 08 20240118 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Analogical_City/gfoJEQAAQBAJ 20 08 20240118 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b884f6e4-6bb0-433e-8f70-b95795596bd8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b884f6e4-6bb0-433e-8f70-b95795596bd8/b884f6e4-6bb0-433e-8f70-b95795596bd8.pdf 20 08 20240118 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850179 29 ZENODO: download the title https://zenodo.org/records/19850179/files/b884f6e4-6bb0-433e-8f70-b95795596bd8_book.pdf 20 08 20240118 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/analogical-city/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0386.1.00.pdf 20 08 20240118 01 urn:uuid:d061076c-a817-43c0-8569-c16f7e51966f 03 01 01 thoth-work-id urn:uuid:df9bf011-efaf-49a7-9497-2a4d4cfde9e8 01 thoth-publication-id urn:uuid:d061076c-a817-43c0-8569-c16f7e51966f 15 9789081709170 03 9789081709170 06 10.21983/P3.0220.1.00 01 internal-reference 0220 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 An Anthology of Asemic Handwriting 1 B01 Tim Gaze Tim Gaze Tim Gaze began his writing career writing quirky short stories and experimental poetry, sometimes using computer programs to manipulate words. More recently, he began exploring illegible writing and non-alphabetical symbols. He founded Asemic magazine in 1999, which has grown from a folded pamphlet to a 100 page book. Attempting to understand the illegible "asemic" domain, he has written some short essays, some of them published in English or in translation. Even more recently, he is creating abstract narratives using inkblot shapes. Asemic writing, visual poetry or abstract comics are the best descriptions for some of his creations. His longer works include noology (Arrum Press) and 100 Scenes (Transgressor/asemic editions). He also makes sound recordings for fun, ranging from sound poetry to electronic soundscapes and field recordings. Tim lives in the Adelaide Hills of South Australia, close to trees. 2 B01 Michael Jacobson Michael Jacobson Michael Jacobson is a writer and artist from Minneapolis, Minnesota USA. His books include The Giant’s Fence, Action Figures, Mynd Eraser, and The Paranoia Machine. Besides writing books, he curates a gallery for asemic writing called The New Post-Literate. He is also on the editorial board of SCRIPTjr.nl. In his spare time, he is working on designing a planet named “THAT”. Recently, he was published in The Last Vispo Anthology (Fantagraphics), and was interviewed by SampleKanon. 01 eng 00 214 03 10 ART003000 12 DCF B2 Languages+Translations 93 WFU B2 Thought Experiments 20 visual poetry; asemic handwriting; calligraphy 01 06 02 00 03 00 An Anthology of Asemic Handwriting is the first book-length publication to collect the work of a community of writers on the edges of illegibility. Asemic writing is a galaxy-sized style of writing, which is everywhere yet remains largely unknown. For human observers, asemic writing may appear as lightning from a storm, a crack in the sidewalk, or the tail of a comet. But despite these observations, asemic writing is not everything: it is just an essential component, a newborn supernova dropped from a calligrapher’s hand. Asemic writing is simultaneously communicating with the past and the future of writing, from the earliest undeciphered writing systems to the xenolinguistics of the stars; it follows a peregrination from the preliterate, beyond the verbal, finally ending in a postliterate condition in which visual language has superseded words. An Anthology of Asemic Handwriting is compiled and edited by Tim Gaze from Asemic magazine and Michael Jacobson from The New Post-Literate blog. 30 00 An Anthology of Asemic Handwriting is the first book-length publication to collect the work of a community of writers on the edges of illegibility. Asemic writing is a galaxy-sized style of writing, which is everywhere yet remains largely unknown. For human observers, asemic writing may appear as lightning from a storm, a crack in the sidewalk, or the tail of a comet. But despite these observations, asemic writing is not everything: it is just an essential component, a newborn supernova dropped from a calligrapher’s hand. Asemic writing is simultaneously communicating with the past and the future of writing, from the earliest undeciphered writing systems to the xenolinguistics of the stars; it follows a peregrination from the preliterate, beyond the verbal, finally ending in a postliterate condition in which visual language has superseded words. An Anthology of Asemic Handwriting is compiled and edited by Tim Gaze from Asemic magazine and Michael Jacobson from The New Post-Literate blog. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0220.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/an-anthology-of-asemic-handwriting/ The Hague/Tirana 04 01 20130826 Gaze, Tim Jacobson, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2R5kMxg 20 08 20130826 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/an-anthology-of-asemic-handwriting 20 08 20130826 02 24.00 USD WORLD urn:uuid:7482b38d-6f9b-4f6a-819b-d61a5f953733 03 01 01 thoth-work-id urn:uuid:df9bf011-efaf-49a7-9497-2a4d4cfde9e8 01 thoth-publication-id urn:uuid:7482b38d-6f9b-4f6a-819b-d61a5f953733 06 10.21983/P3.0220.1.00 01 internal-reference 0220 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 An Anthology of Asemic Handwriting 1 B01 Tim Gaze Tim Gaze Tim Gaze began his writing career writing quirky short stories and experimental poetry, sometimes using computer programs to manipulate words. More recently, he began exploring illegible writing and non-alphabetical symbols. He founded Asemic magazine in 1999, which has grown from a folded pamphlet to a 100 page book. Attempting to understand the illegible "asemic" domain, he has written some short essays, some of them published in English or in translation. Even more recently, he is creating abstract narratives using inkblot shapes. Asemic writing, visual poetry or abstract comics are the best descriptions for some of his creations. His longer works include noology (Arrum Press) and 100 Scenes (Transgressor/asemic editions). He also makes sound recordings for fun, ranging from sound poetry to electronic soundscapes and field recordings. Tim lives in the Adelaide Hills of South Australia, close to trees. 2 B01 Michael Jacobson Michael Jacobson Michael Jacobson is a writer and artist from Minneapolis, Minnesota USA. His books include The Giant’s Fence, Action Figures, Mynd Eraser, and The Paranoia Machine. Besides writing books, he curates a gallery for asemic writing called The New Post-Literate. He is also on the editorial board of SCRIPTjr.nl. In his spare time, he is working on designing a planet named “THAT”. Recently, he was published in The Last Vispo Anthology (Fantagraphics), and was interviewed by SampleKanon. 01 eng 00 214 03 10 ART003000 12 DCF B2 Languages+Translations 93 WFU B2 Thought Experiments 20 visual poetry; asemic handwriting; calligraphy 01 06 02 00 03 00 An Anthology of Asemic Handwriting is the first book-length publication to collect the work of a community of writers on the edges of illegibility. Asemic writing is a galaxy-sized style of writing, which is everywhere yet remains largely unknown. For human observers, asemic writing may appear as lightning from a storm, a crack in the sidewalk, or the tail of a comet. But despite these observations, asemic writing is not everything: it is just an essential component, a newborn supernova dropped from a calligrapher’s hand. Asemic writing is simultaneously communicating with the past and the future of writing, from the earliest undeciphered writing systems to the xenolinguistics of the stars; it follows a peregrination from the preliterate, beyond the verbal, finally ending in a postliterate condition in which visual language has superseded words. An Anthology of Asemic Handwriting is compiled and edited by Tim Gaze from Asemic magazine and Michael Jacobson from The New Post-Literate blog. 30 00 An Anthology of Asemic Handwriting is the first book-length publication to collect the work of a community of writers on the edges of illegibility. Asemic writing is a galaxy-sized style of writing, which is everywhere yet remains largely unknown. For human observers, asemic writing may appear as lightning from a storm, a crack in the sidewalk, or the tail of a comet. But despite these observations, asemic writing is not everything: it is just an essential component, a newborn supernova dropped from a calligrapher’s hand. Asemic writing is simultaneously communicating with the past and the future of writing, from the earliest undeciphered writing systems to the xenolinguistics of the stars; it follows a peregrination from the preliterate, beyond the verbal, finally ending in a postliterate condition in which visual language has superseded words. An Anthology of Asemic Handwriting is compiled and edited by Tim Gaze from Asemic magazine and Michael Jacobson from The New Post-Literate blog. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0220.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/an-anthology-of-asemic-handwriting/ The Hague/Tirana 04 01 20130826 Gaze, Tim Jacobson, Michael 02 WORLD 06 15 9789081709170 03 9789081709170 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25410 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25410/1004685.pdf?sequence=1&isAllowed=y 20 08 20130826 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37694 20 08 20130826 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353916 20 08 20130826 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/424 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/7cab95e0-fb7b-4381-a548-0bcaa7100be6/download 20 08 20130826 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/An_Anthology_of_Asemic_Handwriting/dc-nEAAAQBAJ 20 08 20130826 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/df9bf011-efaf-49a7-9497-2a4d4cfde9e8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/df9bf011-efaf-49a7-9497-2a4d4cfde9e8/df9bf011-efaf-49a7-9497-2a4d4cfde9e8.pdf 20 08 20130826 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845778 29 ZENODO: download the title https://zenodo.org/records/19845778/files/df9bf011-efaf-49a7-9497-2a4d4cfde9e8_book.pdf 20 08 20130826 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/an-anthology-of-asemic-handwriting/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0220.1.00.pdf 20 08 20130826 01 urn:uuid:23d821cc-0209-46df-9fa5-ddc4f12a084c 03 01 01 thoth-work-id urn:uuid:f712541c-07b4-477c-8b8c-8c1a307810d0 01 thoth-publication-id urn:uuid:23d821cc-0209-46df-9fa5-ddc4f12a084c 15 9780692652664 03 9780692652664 06 10.21983/P3.0144.1.00 01 internal-reference 0144 00 BC 10 01 246 mm 01 24.6 cm 01 9.69 in 02 189 mm 02 18.9 cm 02 7.44 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 And Another Thing Nonanthropocentrism and Art 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 00 86 03 93 AGC B2 Art+Aesthetics 12 HPN 10 PHI001000 93 JBCC2 B2 Posthumanism 20 aesthetics; cultural theory; thing theory; posthumanism; anthropocene 01 06 02 00 03 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 30 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0144.1.00_frontcover.png 1 03 06 10.21983/P3.0144.1.01 i viii 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 2 B01 Emmy Mikelson Emmy Mikelson 01 eng 20 00 Open Access Behar, Katherine Mikelson, Emmy 2 03 06 10.21983/P3.0144.1.02 9 9 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 The impetus for this catalogue is an art exhibition, And Another Thing, which took place in 2011. Its focus concerned nonanthropocentrism, one of the primary tenets shared by various then-emerging philosophies grouped under the mantle of speculative realism. This volume serves to document that exhibition and to expand on two of its curatorial gambits: to prioritize art historical contexts for contemporary philosophy (rather than the other way around), and to apprehend artworks as historically specific objects of philosophy. This historical orientation distinguishes And Another Thingfrom more recent art world attention to speculative realism; both the early exhibition and this expanded catalogue are intended to highlight that contribution to ongoing interdisciplinary discussions. 30 00 The impetus for this catalogue is an art exhibition, And Another Thing, which took place in 2011. Its focus concerned nonanthropocentrism, one of the primary tenets shared by various then-emerging philosophies grouped under the mantle of speculative realism. This volume serves to document that exhibition and to expand on two of its curatorial gambits: to prioritize art historical contexts for contemporary philosophy (rather than the other way around), and to apprehend artworks as historically specific objects of philosophy. This historical orientation distinguishes And Another Thingfrom more recent art world attention to speculative realism; both the early exhibition and this expanded catalogue are intended to highlight that contribution to ongoing interdisciplinary discussions. 20 00 Open Access Behar, Katherine Mikelson, Emmy 3 03 06 10.21983/P3.0144.1.03 13 21 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Space for Things Art, Objects, and Speculation 1 A01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 At the heart of speculative realism (SR) and object-oriented ontology (OOO) is the notion of a flat ontology. Manuel DeLanda defines a flat ontology as “one made exclusively of unique, singular individuals, differing in spatio-temporal scale but not in ontological status.”1Within the context of SR and OOO, these “singular individuals” are human and nonhuman, animate and inanimate. The very notion of a flat ontology is spatial in its conception. It provides a spatial metaphor for a dense and complicated field of both interaction and isolation, where things (read as human and nonhuman) are at moments drawn in relation to one another, and at moments withdrawn and discrete. 30 00 At the heart of speculative realism (SR) and object-oriented ontology (OOO) is the notion of a flat ontology. Manuel DeLanda defines a flat ontology as “one made exclusively of unique, singular individuals, differing in spatio-temporal scale but not in ontological status.”1Within the context of SR and OOO, these “singular individuals” are human and nonhuman, animate and inanimate. The very notion of a flat ontology is spatial in its conception. It provides a spatial metaphor for a dense and complicated field of both interaction and isolation, where things (read as human and nonhuman) are at moments drawn in relation to one another, and at moments withdrawn and discrete. 20 00 Open Access Mikelson, Emmy 4 03 06 10.21983/P3.0144.1.04 22 33 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Arbitrary Objects Minimalism and Nonanthropocentrism 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 01 eng 03 00 In his influential 1965 essay “Specific Objects,” sculp-tor Donald Judd surveyed the “new work” in painting and sculpture being created by his contemporaries in the New York scene. He noted with satisfaction that the “part by part” compositional structure he identified with European tradition and metaphoric “anthropo-morphism” was giving way to a holistic, environmental approach to three-dimensional space that he equated with a new kind of realism. “Three dimensions,” Judd wrote, “are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors—which is riddance of one of the salient and most objectionable relics of European art.” 30 00 In his influential 1965 essay “Specific Objects,” sculp-tor Donald Judd surveyed the “new work” in painting and sculpture being created by his contemporaries in the New York scene. He noted with satisfaction that the “part by part” compositional structure he identified with European tradition and metaphoric “anthropo-morphism” was giving way to a holistic, environmental approach to three-dimensional space that he equated with a new kind of realism. “Three dimensions,” Judd wrote, “are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors—which is riddance of one of the salient and most objectionable relics of European art.” 20 00 Open Access Behar, Katherine 5 03 06 10.21983/P3.0144.1.05 36 37 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curatorial Statement 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 A01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Whether anxious and lonely or brave and hubristic, humans have staked out for themselves a privileged position, alone, at the center of everything. Anthropocentrism is the name for this ontological lynchpin that binds together centuries of art, philosophy, social theory, and scientific inquiry. The exhibition And Another Thing (2011) was part of an alternate movement toward nonanthropocentrism, an effort to dislodge the human from the center of discussion, to enrich the concept of being, and to open the very world itself to all things that comprise it. The world is brimming with things, and seen from a nonanthropocentric vantage, all things are equal, whether animal, vegetable, or mineral. Nonanthropocentrism repositions humans as just “another thing,” no more precious or central than any other. 30 00 Whether anxious and lonely or brave and hubristic, humans have staked out for themselves a privileged position, alone, at the center of everything. Anthropocentrism is the name for this ontological lynchpin that binds together centuries of art, philosophy, social theory, and scientific inquiry. The exhibition And Another Thing (2011) was part of an alternate movement toward nonanthropocentrism, an effort to dislodge the human from the center of discussion, to enrich the concept of being, and to open the very world itself to all things that comprise it. The world is brimming with things, and seen from a nonanthropocentric vantage, all things are equal, whether animal, vegetable, or mineral. Nonanthropocentrism repositions humans as just “another thing,” no more precious or central than any other. 20 00 Open Access Behar, Katherine Mikelson, Emmy 6 03 06 10.21983/P3.0144.1.06 38 39 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carl Andre 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Carl Andre’s pyramidal stack of aluminum ingots illustrates a part-whole relationship in which the part informs the structural organization of the whole. The formal logic between the ingots dictates the entire rationale of the piece: it is what it is. In this, Base 5 Aluminum Stack (2008) thwarts what object-oriented philosopher Graham Harman calls the “overmining” of its content, i.e., the impulse to write human interpretation over a thing’s material facticity. In Andre’s work, all questions of meaning generation become self-reflexive. 30 00 Carl Andre’s pyramidal stack of aluminum ingots illustrates a part-whole relationship in which the part informs the structural organization of the whole. The formal logic between the ingots dictates the entire rationale of the piece: it is what it is. In this, Base 5 Aluminum Stack (2008) thwarts what object-oriented philosopher Graham Harman calls the “overmining” of its content, i.e., the impulse to write human interpretation over a thing’s material facticity. In Andre’s work, all questions of meaning generation become self-reflexive. 20 00 Open Access Behar, Katherine Mikelson, Emmy 7 03 06 10.21983/P3.0144.1.07 40 41 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Laura Carton 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Laura Carton’s series of photographs (2000–2003), each named for a website, begins with pornographic images downloaded from the Internet. The artist erases the actors’ bodies and then digitally reconstructs the backgrounds. By removing the human performers, she asserts that the objects and environments are equal “performers” in generating and communicating meaning. Simultaneously, Carton’s work alludes to the conventional view of pornography as objectifying the humans it displays. 30 00 Laura Carton’s series of photographs (2000–2003), each named for a website, begins with pornographic images downloaded from the Internet. The artist erases the actors’ bodies and then digitally reconstructs the backgrounds. By removing the human performers, she asserts that the objects and environments are equal “performers” in generating and communicating meaning. Simultaneously, Carton’s work alludes to the conventional view of pornography as objectifying the humans it displays. 20 00 Open Access Behar, Katherine Mikelson, Emmy 8 03 06 10.21983/P3.0144.1.08 42 43 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Valie Export 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Valie Export’s A Perfect Pair (1987) reveals the insidious nature of commercialism by taking literally the idea that the body of a consumer can become a “walking billboard.” The video shows how a human subject’s autonomy is consumed and reduced to the point of becoming a floating signifier. Export emphasizes the already-objectified female subject of consumer capitalism, while also extending an equal-opportunity attitude toward male objectification. 30 00 Valie Export’s A Perfect Pair (1987) reveals the insidious nature of commercialism by taking literally the idea that the body of a consumer can become a “walking billboard.” The video shows how a human subject’s autonomy is consumed and reduced to the point of becoming a floating signifier. Export emphasizes the already-objectified female subject of consumer capitalism, while also extending an equal-opportunity attitude toward male objectification. 20 00 Open Access Behar, Katherine Mikelson, Emmy 9 03 06 10.21983/P3.0144.1.09 44 45 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Regina José Galindo 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Regina José Galindo’s work questions the ontological status of the female subject. Her photograph No perdemos nada con nacer (2000) shows the artist’s naked body, bagged and discarded, in a litter-strewn landscape. The work operates through overt abjection, while also making reference to the convention of viewing the female body as messy and requiring containment. 30 00 Regina José Galindo’s work questions the ontological status of the female subject. Her photograph No perdemos nada con nacer (2000) shows the artist’s naked body, bagged and discarded, in a litter-strewn landscape. The work operates through overt abjection, while also making reference to the convention of viewing the female body as messy and requiring containment. 20 00 Open Access Behar, Katherine Mikelson, Emmy 10 03 06 10.21983/P3.0144.1.10 46 47 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tom Kotik 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Through engineered soundproofing, Tom Kotik’s box, Rational Impulse (2004), is able to contain the cacophony of sound within it, until the lid is opened. The unknowable interior and its overwhelming acoustic presence play not only with expectation, but also with human denial of things’ complexity. 30 00 Through engineered soundproofing, Tom Kotik’s box, Rational Impulse (2004), is able to contain the cacophony of sound within it, until the lid is opened. The unknowable interior and its overwhelming acoustic presence play not only with expectation, but also with human denial of things’ complexity. 20 00 Open Access Behar, Katherine Mikelson, Emmy 11 03 06 10.21983/P3.0144.1.11 48 49 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mary Lucking 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Mary Lucking uses biofeedback technology to illustrate the tension between two bodies attempting to act in tandem. Her interactive installation Pas de Deux (2000) invites two participants to occupy an intersubjective space in which boundaries between self, other, and environment must be actively challenged and dissolved. 30 00 Mary Lucking uses biofeedback technology to illustrate the tension between two bodies attempting to act in tandem. Her interactive installation Pas de Deux (2000) invites two participants to occupy an intersubjective space in which boundaries between self, other, and environment must be actively challenged and dissolved. 20 00 Open Access Behar, Katherine Mikelson, Emmy 12 03 06 10.21983/P3.0144.1.12 50 51 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bruce Nauman 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 In Wall/Floor Positions (1968), Bruce Nauman leans, props, cantilevers, and rests his body on and against the wall and floor of his studio to imitate the manner in which minimalist sculpture is positioned in relation to gallery architecture. Nauman’s mimicry effaces his human significance by making his own body equivalent to the industrial materials deployed in early minimalist sculptures. Continuing minimalism’s exploration of space through relationships, the artist’s body is used as a material with which to measure and study the room’s dimensions. 30 00 In Wall/Floor Positions (1968), Bruce Nauman leans, props, cantilevers, and rests his body on and against the wall and floor of his studio to imitate the manner in which minimalist sculpture is positioned in relation to gallery architecture. Nauman’s mimicry effaces his human significance by making his own body equivalent to the industrial materials deployed in early minimalist sculptures. Continuing minimalism’s exploration of space through relationships, the artist’s body is used as a material with which to measure and study the room’s dimensions. 20 00 Open Access Behar, Katherine Mikelson, Emmy 13 03 06 10.21983/P3.0144.1.13 52 53 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Grit Ruhland 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 A gift for the unicellular organism paramecium, Grit Ruhland’s to-scale “slipper” is only viewable under a microscope. Ruhland collaborated with scientists at the Max Planck Institute for Cellbiology and Genetics to build Pantoffel für Pantoffeltierchen (2007), a slipper-shaped home for the slipper-shaped organism, also known as Pantoffeltierchen, or slipper animalcules. The use of scale makes this work at once humorous and an explicit rejection of anthropocentricism. The specific encounter between shelter and organism creates a closed system that positions the viewing human as outside and other. 30 00 A gift for the unicellular organism paramecium, Grit Ruhland’s to-scale “slipper” is only viewable under a microscope. Ruhland collaborated with scientists at the Max Planck Institute for Cellbiology and Genetics to build Pantoffel für Pantoffeltierchen (2007), a slipper-shaped home for the slipper-shaped organism, also known as Pantoffeltierchen, or slipper animalcules. The use of scale makes this work at once humorous and an explicit rejection of anthropocentricism. The specific encounter between shelter and organism creates a closed system that positions the viewing human as outside and other. 20 00 Open Access Behar, Katherine Mikelson, Emmy 14 03 06 10.21983/P3.0144.1.14 54 55 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anthony Titus 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Anthony Titus’s Empty Field 2 (2007) consists of an atmospheric screen print adhered to a high-gloss enamel wood support. A series of formal cuts and folds fractures the pictorial as well as the physical space, resulting in a destabilization of the notions of viewpoint and prospect, thereby blocking the viewing subject’s centrality. 30 00 Anthony Titus’s Empty Field 2 (2007) consists of an atmospheric screen print adhered to a high-gloss enamel wood support. A series of formal cuts and folds fractures the pictorial as well as the physical space, resulting in a destabilization of the notions of viewpoint and prospect, thereby blocking the viewing subject’s centrality. 20 00 Open Access Behar, Katherine Mikelson, Emmy 15 03 06 10.21983/P3.0144.1.15 56 57 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ruslan Trusewych 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Ruslan Trusewych’s installation This is the Way the World is (2005–2011) is composed of oscillating fans directed at a cluster of flickering night-lights whose subtle motion activates one another. The arrangement of night-lights and fans creates a closed system that exists outside of human intervention. This chaotic and random mode of communication explores entropy, even while staging a sense of equipoise. 30 00 Ruslan Trusewych’s installation This is the Way the World is (2005–2011) is composed of oscillating fans directed at a cluster of flickering night-lights whose subtle motion activates one another. The arrangement of night-lights and fans creates a closed system that exists outside of human intervention. This chaotic and random mode of communication explores entropy, even while staging a sense of equipoise. 20 00 Open Access Behar, Katherine Mikelson, Emmy 16 03 06 10.21983/P3.0144.1.16 58 59 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zimoun 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Zimoun’s video of woodworms devouring a piece of wood masquerades as a still image, belying the intense activity playing out beyond human sight. In 25 woodworms, wood, microphone, sound system (2009), the audible element is the only hint at the concealed assemblage of woodworms and wood, an intersection between two things that is at once destructive and instructive. 30 00 Zimoun’s video of woodworms devouring a piece of wood masquerades as a still image, belying the intense activity playing out beyond human sight. In 25 woodworms, wood, microphone, sound system (2009), the audible element is the only hint at the concealed assemblage of woodworms and wood, an intersection between two things that is at once destructive and instructive. 20 00 Open Access Behar, Katherine Mikelson, Emmy 17 03 06 10.21983/P3.0144.1.17 63 68 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Recentness of Things 1 A01 Bill Brown Bill Brown 40 024mw5h28 University of Chicago 01 eng 03 00 Art has the habit of appearing in object form. The habit has been difficult to bring into sharp focus, though, no matter how aggressively art itself seems to summon us to do so. For all the scrutiny devoted to Las Meninas(1656) as a representation of representation (in the line of thinking that Michel Foucault established in The Order of Things [1966]), too little attention has been paid to the back side of the painting—that is, the image of the back side, the segmented stretcher supporting the monumental stretched canvas (the unevenness of its edges clearly visible), leaning against the large easel. Diego Velázquez does not expose this back side in a small gesture; it is a full-length drama. It is a drama that means to assert painting as a material act, and to assert the fact of the object form of painting, of the material support of the image, of the bulk of the production and the product. This is certainly not the point of the painting tout court, but it is a point in the painting, and an especially poignant point in our age of digital reproducibility when (as in André Malraux’s photographically mediated musée imaginaire) physical detail suffers the homogenization perpetrated by the image. As though in anticipation of his masterpiece’s ubiquitous reproduction, Velázquez bids his audience to remember: paintings have size and shape and weight. 30 00 Art has the habit of appearing in object form. The habit has been difficult to bring into sharp focus, though, no matter how aggressively art itself seems to summon us to do so. For all the scrutiny devoted to Las Meninas(1656) as a representation of representation (in the line of thinking that Michel Foucault established in The Order of Things [1966]), too little attention has been paid to the back side of the painting—that is, the image of the back side, the segmented stretcher supporting the monumental stretched canvas (the unevenness of its edges clearly visible), leaning against the large easel. Diego Velázquez does not expose this back side in a small gesture; it is a full-length drama. It is a drama that means to assert painting as a material act, and to assert the fact of the object form of painting, of the material support of the image, of the bulk of the production and the product. This is certainly not the point of the painting tout court, but it is a point in the painting, and an especially poignant point in our age of digital reproducibility when (as in André Malraux’s photographically mediated musée imaginaire) physical detail suffers the homogenization perpetrated by the image. As though in anticipation of his masterpiece’s ubiquitous reproduction, Velázquez bids his audience to remember: paintings have size and shape and weight. 20 00 Open Access Brown, Bill 18 03 06 10.21983/P3.0144.1.18 71 75 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Demonstration and Description 1 A01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 03 00 In the often cited 1969 essay “Art After Philosophy,” Joseph Kosuth proclaimed that “all art (after Duchamp) is conceptual (in nature) because art only exists conceptually.”2 Kosuth argued that Duchamp’s historical role was to align art with conceptual function, separate from a sensual aesthetics of transcendence, the “morphological” form of which had traditionally made art favorable to conventional critical taste. Kosuth put his finger on the moment when art’s autonomy was finally separated from the philosophy of aesthetics, with a smug declaration signaling “the end of philosophy and the beginning of art.”3 The relevance of discrete, portable art objects receded, and the linguistic, functional character of art as concept was foregrounded. 30 00 In the often cited 1969 essay “Art After Philosophy,” Joseph Kosuth proclaimed that “all art (after Duchamp) is conceptual (in nature) because art only exists conceptually.”2 Kosuth argued that Duchamp’s historical role was to align art with conceptual function, separate from a sensual aesthetics of transcendence, the “morphological” form of which had traditionally made art favorable to conventional critical taste. Kosuth put his finger on the moment when art’s autonomy was finally separated from the philosophy of aesthetics, with a smug declaration signaling “the end of philosophy and the beginning of art.”3 The relevance of discrete, portable art objects receded, and the linguistic, functional character of art as concept was foregrounded. 20 00 Open Access Jackson, Robert 19 03 06 10.21983/P3.0144.1.19 77 80 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trauma Expanded / Aesthetics Expanded 1 A01 Patricia Ticineto Clough Patricia Ticineto Clough 40 03v8adn41 Queens College, CUNY 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 In their curatorial statement, Katherine Behar and Emmy Mikelson propose that the exhibition And Another Thing was meant to critically engage the privilege of the human in relation to art, materialism, and the recent turn to ontology in the philosophical movements known as speculative realism and object-oriented ontologies. Here, I also want to engage the ontological turn, its reconception of materialism and the privilege of the human, while giving special attention to developments in media technology. After all, nearly all media technological developments have raised questions about the human in that they often trouble, if not transform, the relationship of time and space, memory and forgetting, embodiment and disembodiment, privacy and exposure, individual and collective, matter and life. In this sense, the development of a new media technology often is traumatic while providing a unique form of transmitting trauma. As Marshall McLuhan put it: “The emergence of a new media is too violent and superstimulated a social experience for the central nervous system simply to endure.”1 It is the usual relationship, or perhaps I should say the usual opposition of life and matter, that is central in this most recent ontological turn, a turn, I would propose, that is especially resonant with the traumatic changes wrought with the development of digital technologies. 30 00 In their curatorial statement, Katherine Behar and Emmy Mikelson propose that the exhibition And Another Thing was meant to critically engage the privilege of the human in relation to art, materialism, and the recent turn to ontology in the philosophical movements known as speculative realism and object-oriented ontologies. Here, I also want to engage the ontological turn, its reconception of materialism and the privilege of the human, while giving special attention to developments in media technology. After all, nearly all media technological developments have raised questions about the human in that they often trouble, if not transform, the relationship of time and space, memory and forgetting, embodiment and disembodiment, privacy and exposure, individual and collective, matter and life. In this sense, the development of a new media technology often is traumatic while providing a unique form of transmitting trauma. As Marshall McLuhan put it: “The emergence of a new media is too violent and superstimulated a social experience for the central nervous system simply to endure.”1 It is the usual relationship, or perhaps I should say the usual opposition of life and matter, that is central in this most recent ontological turn, a turn, I would propose, that is especially resonant with the traumatic changes wrought with the development of digital technologies. 20 00 Open Access Clough, Patricia Ticineto 20 03 06 10.21983/P3.0144.1.20 85 86 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 2 B01 Emmy Mikelson Emmy Mikelson 40 023qavy03 Baruch College 01 eng 03 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 30 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 20 00 Open Access Behar, Katherine Mikelson, Emmy 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/and-another-thing/ Earth, Milky Way 04 01 20160618 Behar, Katherine Mikelson, Emmy 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692652663 20 08 20160618 02 31.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/and-another-thing-nonanthropocentrism-and-art 20 08 20160618 02 31.00 USD WORLD urn:uuid:80b96137-766f-479f-bd80-ac9b6edc5d7a 03 01 01 thoth-work-id urn:uuid:f712541c-07b4-477c-8b8c-8c1a307810d0 01 thoth-publication-id urn:uuid:80b96137-766f-479f-bd80-ac9b6edc5d7a 06 10.21983/P3.0144.1.00 01 internal-reference 0144 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 And Another Thing Nonanthropocentrism and Art 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 00 86 03 93 AGC B2 Art+Aesthetics 12 HPN 10 PHI001000 93 JBCC2 B2 Posthumanism 20 aesthetics; cultural theory; thing theory; posthumanism; anthropocene 01 06 02 00 03 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 30 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0144.1.00_frontcover.png 1 03 06 10.21983/P3.0144.1.01 i viii 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 2 B01 Emmy Mikelson Emmy Mikelson 01 eng 20 00 Open Access Behar, Katherine Mikelson, Emmy 2 03 06 10.21983/P3.0144.1.02 9 9 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 The impetus for this catalogue is an art exhibition, And Another Thing, which took place in 2011. Its focus concerned nonanthropocentrism, one of the primary tenets shared by various then-emerging philosophies grouped under the mantle of speculative realism. This volume serves to document that exhibition and to expand on two of its curatorial gambits: to prioritize art historical contexts for contemporary philosophy (rather than the other way around), and to apprehend artworks as historically specific objects of philosophy. This historical orientation distinguishes And Another Thingfrom more recent art world attention to speculative realism; both the early exhibition and this expanded catalogue are intended to highlight that contribution to ongoing interdisciplinary discussions. 30 00 The impetus for this catalogue is an art exhibition, And Another Thing, which took place in 2011. Its focus concerned nonanthropocentrism, one of the primary tenets shared by various then-emerging philosophies grouped under the mantle of speculative realism. This volume serves to document that exhibition and to expand on two of its curatorial gambits: to prioritize art historical contexts for contemporary philosophy (rather than the other way around), and to apprehend artworks as historically specific objects of philosophy. This historical orientation distinguishes And Another Thingfrom more recent art world attention to speculative realism; both the early exhibition and this expanded catalogue are intended to highlight that contribution to ongoing interdisciplinary discussions. 20 00 Open Access Behar, Katherine Mikelson, Emmy 3 03 06 10.21983/P3.0144.1.03 13 21 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Space for Things Art, Objects, and Speculation 1 A01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 At the heart of speculative realism (SR) and object-oriented ontology (OOO) is the notion of a flat ontology. Manuel DeLanda defines a flat ontology as “one made exclusively of unique, singular individuals, differing in spatio-temporal scale but not in ontological status.”1Within the context of SR and OOO, these “singular individuals” are human and nonhuman, animate and inanimate. The very notion of a flat ontology is spatial in its conception. It provides a spatial metaphor for a dense and complicated field of both interaction and isolation, where things (read as human and nonhuman) are at moments drawn in relation to one another, and at moments withdrawn and discrete. 30 00 At the heart of speculative realism (SR) and object-oriented ontology (OOO) is the notion of a flat ontology. Manuel DeLanda defines a flat ontology as “one made exclusively of unique, singular individuals, differing in spatio-temporal scale but not in ontological status.”1Within the context of SR and OOO, these “singular individuals” are human and nonhuman, animate and inanimate. The very notion of a flat ontology is spatial in its conception. It provides a spatial metaphor for a dense and complicated field of both interaction and isolation, where things (read as human and nonhuman) are at moments drawn in relation to one another, and at moments withdrawn and discrete. 20 00 Open Access Mikelson, Emmy 4 03 06 10.21983/P3.0144.1.04 22 33 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Arbitrary Objects Minimalism and Nonanthropocentrism 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 01 eng 03 00 In his influential 1965 essay “Specific Objects,” sculp-tor Donald Judd surveyed the “new work” in painting and sculpture being created by his contemporaries in the New York scene. He noted with satisfaction that the “part by part” compositional structure he identified with European tradition and metaphoric “anthropo-morphism” was giving way to a holistic, environmental approach to three-dimensional space that he equated with a new kind of realism. “Three dimensions,” Judd wrote, “are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors—which is riddance of one of the salient and most objectionable relics of European art.” 30 00 In his influential 1965 essay “Specific Objects,” sculp-tor Donald Judd surveyed the “new work” in painting and sculpture being created by his contemporaries in the New York scene. He noted with satisfaction that the “part by part” compositional structure he identified with European tradition and metaphoric “anthropo-morphism” was giving way to a holistic, environmental approach to three-dimensional space that he equated with a new kind of realism. “Three dimensions,” Judd wrote, “are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors—which is riddance of one of the salient and most objectionable relics of European art.” 20 00 Open Access Behar, Katherine 5 03 06 10.21983/P3.0144.1.05 36 37 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curatorial Statement 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 A01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Whether anxious and lonely or brave and hubristic, humans have staked out for themselves a privileged position, alone, at the center of everything. Anthropocentrism is the name for this ontological lynchpin that binds together centuries of art, philosophy, social theory, and scientific inquiry. The exhibition And Another Thing (2011) was part of an alternate movement toward nonanthropocentrism, an effort to dislodge the human from the center of discussion, to enrich the concept of being, and to open the very world itself to all things that comprise it. The world is brimming with things, and seen from a nonanthropocentric vantage, all things are equal, whether animal, vegetable, or mineral. Nonanthropocentrism repositions humans as just “another thing,” no more precious or central than any other. 30 00 Whether anxious and lonely or brave and hubristic, humans have staked out for themselves a privileged position, alone, at the center of everything. Anthropocentrism is the name for this ontological lynchpin that binds together centuries of art, philosophy, social theory, and scientific inquiry. The exhibition And Another Thing (2011) was part of an alternate movement toward nonanthropocentrism, an effort to dislodge the human from the center of discussion, to enrich the concept of being, and to open the very world itself to all things that comprise it. The world is brimming with things, and seen from a nonanthropocentric vantage, all things are equal, whether animal, vegetable, or mineral. Nonanthropocentrism repositions humans as just “another thing,” no more precious or central than any other. 20 00 Open Access Behar, Katherine Mikelson, Emmy 6 03 06 10.21983/P3.0144.1.06 38 39 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carl Andre 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Carl Andre’s pyramidal stack of aluminum ingots illustrates a part-whole relationship in which the part informs the structural organization of the whole. The formal logic between the ingots dictates the entire rationale of the piece: it is what it is. In this, Base 5 Aluminum Stack (2008) thwarts what object-oriented philosopher Graham Harman calls the “overmining” of its content, i.e., the impulse to write human interpretation over a thing’s material facticity. In Andre’s work, all questions of meaning generation become self-reflexive. 30 00 Carl Andre’s pyramidal stack of aluminum ingots illustrates a part-whole relationship in which the part informs the structural organization of the whole. The formal logic between the ingots dictates the entire rationale of the piece: it is what it is. In this, Base 5 Aluminum Stack (2008) thwarts what object-oriented philosopher Graham Harman calls the “overmining” of its content, i.e., the impulse to write human interpretation over a thing’s material facticity. In Andre’s work, all questions of meaning generation become self-reflexive. 20 00 Open Access Behar, Katherine Mikelson, Emmy 7 03 06 10.21983/P3.0144.1.07 40 41 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Laura Carton 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Laura Carton’s series of photographs (2000–2003), each named for a website, begins with pornographic images downloaded from the Internet. The artist erases the actors’ bodies and then digitally reconstructs the backgrounds. By removing the human performers, she asserts that the objects and environments are equal “performers” in generating and communicating meaning. Simultaneously, Carton’s work alludes to the conventional view of pornography as objectifying the humans it displays. 30 00 Laura Carton’s series of photographs (2000–2003), each named for a website, begins with pornographic images downloaded from the Internet. The artist erases the actors’ bodies and then digitally reconstructs the backgrounds. By removing the human performers, she asserts that the objects and environments are equal “performers” in generating and communicating meaning. Simultaneously, Carton’s work alludes to the conventional view of pornography as objectifying the humans it displays. 20 00 Open Access Behar, Katherine Mikelson, Emmy 8 03 06 10.21983/P3.0144.1.08 42 43 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Valie Export 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Valie Export’s A Perfect Pair (1987) reveals the insidious nature of commercialism by taking literally the idea that the body of a consumer can become a “walking billboard.” The video shows how a human subject’s autonomy is consumed and reduced to the point of becoming a floating signifier. Export emphasizes the already-objectified female subject of consumer capitalism, while also extending an equal-opportunity attitude toward male objectification. 30 00 Valie Export’s A Perfect Pair (1987) reveals the insidious nature of commercialism by taking literally the idea that the body of a consumer can become a “walking billboard.” The video shows how a human subject’s autonomy is consumed and reduced to the point of becoming a floating signifier. Export emphasizes the already-objectified female subject of consumer capitalism, while also extending an equal-opportunity attitude toward male objectification. 20 00 Open Access Behar, Katherine Mikelson, Emmy 9 03 06 10.21983/P3.0144.1.09 44 45 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Regina José Galindo 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Regina José Galindo’s work questions the ontological status of the female subject. Her photograph No perdemos nada con nacer (2000) shows the artist’s naked body, bagged and discarded, in a litter-strewn landscape. The work operates through overt abjection, while also making reference to the convention of viewing the female body as messy and requiring containment. 30 00 Regina José Galindo’s work questions the ontological status of the female subject. Her photograph No perdemos nada con nacer (2000) shows the artist’s naked body, bagged and discarded, in a litter-strewn landscape. The work operates through overt abjection, while also making reference to the convention of viewing the female body as messy and requiring containment. 20 00 Open Access Behar, Katherine Mikelson, Emmy 10 03 06 10.21983/P3.0144.1.10 46 47 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tom Kotik 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Through engineered soundproofing, Tom Kotik’s box, Rational Impulse (2004), is able to contain the cacophony of sound within it, until the lid is opened. The unknowable interior and its overwhelming acoustic presence play not only with expectation, but also with human denial of things’ complexity. 30 00 Through engineered soundproofing, Tom Kotik’s box, Rational Impulse (2004), is able to contain the cacophony of sound within it, until the lid is opened. The unknowable interior and its overwhelming acoustic presence play not only with expectation, but also with human denial of things’ complexity. 20 00 Open Access Behar, Katherine Mikelson, Emmy 11 03 06 10.21983/P3.0144.1.11 48 49 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mary Lucking 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Mary Lucking uses biofeedback technology to illustrate the tension between two bodies attempting to act in tandem. Her interactive installation Pas de Deux (2000) invites two participants to occupy an intersubjective space in which boundaries between self, other, and environment must be actively challenged and dissolved. 30 00 Mary Lucking uses biofeedback technology to illustrate the tension between two bodies attempting to act in tandem. Her interactive installation Pas de Deux (2000) invites two participants to occupy an intersubjective space in which boundaries between self, other, and environment must be actively challenged and dissolved. 20 00 Open Access Behar, Katherine Mikelson, Emmy 12 03 06 10.21983/P3.0144.1.12 50 51 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bruce Nauman 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 In Wall/Floor Positions (1968), Bruce Nauman leans, props, cantilevers, and rests his body on and against the wall and floor of his studio to imitate the manner in which minimalist sculpture is positioned in relation to gallery architecture. Nauman’s mimicry effaces his human significance by making his own body equivalent to the industrial materials deployed in early minimalist sculptures. Continuing minimalism’s exploration of space through relationships, the artist’s body is used as a material with which to measure and study the room’s dimensions. 30 00 In Wall/Floor Positions (1968), Bruce Nauman leans, props, cantilevers, and rests his body on and against the wall and floor of his studio to imitate the manner in which minimalist sculpture is positioned in relation to gallery architecture. Nauman’s mimicry effaces his human significance by making his own body equivalent to the industrial materials deployed in early minimalist sculptures. Continuing minimalism’s exploration of space through relationships, the artist’s body is used as a material with which to measure and study the room’s dimensions. 20 00 Open Access Behar, Katherine Mikelson, Emmy 13 03 06 10.21983/P3.0144.1.13 52 53 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Grit Ruhland 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 A gift for the unicellular organism paramecium, Grit Ruhland’s to-scale “slipper” is only viewable under a microscope. Ruhland collaborated with scientists at the Max Planck Institute for Cellbiology and Genetics to build Pantoffel für Pantoffeltierchen (2007), a slipper-shaped home for the slipper-shaped organism, also known as Pantoffeltierchen, or slipper animalcules. The use of scale makes this work at once humorous and an explicit rejection of anthropocentricism. The specific encounter between shelter and organism creates a closed system that positions the viewing human as outside and other. 30 00 A gift for the unicellular organism paramecium, Grit Ruhland’s to-scale “slipper” is only viewable under a microscope. Ruhland collaborated with scientists at the Max Planck Institute for Cellbiology and Genetics to build Pantoffel für Pantoffeltierchen (2007), a slipper-shaped home for the slipper-shaped organism, also known as Pantoffeltierchen, or slipper animalcules. The use of scale makes this work at once humorous and an explicit rejection of anthropocentricism. The specific encounter between shelter and organism creates a closed system that positions the viewing human as outside and other. 20 00 Open Access Behar, Katherine Mikelson, Emmy 14 03 06 10.21983/P3.0144.1.14 54 55 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anthony Titus 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Anthony Titus’s Empty Field 2 (2007) consists of an atmospheric screen print adhered to a high-gloss enamel wood support. A series of formal cuts and folds fractures the pictorial as well as the physical space, resulting in a destabilization of the notions of viewpoint and prospect, thereby blocking the viewing subject’s centrality. 30 00 Anthony Titus’s Empty Field 2 (2007) consists of an atmospheric screen print adhered to a high-gloss enamel wood support. A series of formal cuts and folds fractures the pictorial as well as the physical space, resulting in a destabilization of the notions of viewpoint and prospect, thereby blocking the viewing subject’s centrality. 20 00 Open Access Behar, Katherine Mikelson, Emmy 15 03 06 10.21983/P3.0144.1.15 56 57 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ruslan Trusewych 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Ruslan Trusewych’s installation This is the Way the World is (2005–2011) is composed of oscillating fans directed at a cluster of flickering night-lights whose subtle motion activates one another. The arrangement of night-lights and fans creates a closed system that exists outside of human intervention. This chaotic and random mode of communication explores entropy, even while staging a sense of equipoise. 30 00 Ruslan Trusewych’s installation This is the Way the World is (2005–2011) is composed of oscillating fans directed at a cluster of flickering night-lights whose subtle motion activates one another. The arrangement of night-lights and fans creates a closed system that exists outside of human intervention. This chaotic and random mode of communication explores entropy, even while staging a sense of equipoise. 20 00 Open Access Behar, Katherine Mikelson, Emmy 16 03 06 10.21983/P3.0144.1.16 58 59 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zimoun 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 2 B01 Emmy Mikelson Emmy Mikelson 40 047p7y759 Pace University 01 eng 03 00 Zimoun’s video of woodworms devouring a piece of wood masquerades as a still image, belying the intense activity playing out beyond human sight. In 25 woodworms, wood, microphone, sound system (2009), the audible element is the only hint at the concealed assemblage of woodworms and wood, an intersection between two things that is at once destructive and instructive. 30 00 Zimoun’s video of woodworms devouring a piece of wood masquerades as a still image, belying the intense activity playing out beyond human sight. In 25 woodworms, wood, microphone, sound system (2009), the audible element is the only hint at the concealed assemblage of woodworms and wood, an intersection between two things that is at once destructive and instructive. 20 00 Open Access Behar, Katherine Mikelson, Emmy 17 03 06 10.21983/P3.0144.1.17 63 68 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Recentness of Things 1 A01 Bill Brown Bill Brown 40 024mw5h28 University of Chicago 01 eng 03 00 Art has the habit of appearing in object form. The habit has been difficult to bring into sharp focus, though, no matter how aggressively art itself seems to summon us to do so. For all the scrutiny devoted to Las Meninas(1656) as a representation of representation (in the line of thinking that Michel Foucault established in The Order of Things [1966]), too little attention has been paid to the back side of the painting—that is, the image of the back side, the segmented stretcher supporting the monumental stretched canvas (the unevenness of its edges clearly visible), leaning against the large easel. Diego Velázquez does not expose this back side in a small gesture; it is a full-length drama. It is a drama that means to assert painting as a material act, and to assert the fact of the object form of painting, of the material support of the image, of the bulk of the production and the product. This is certainly not the point of the painting tout court, but it is a point in the painting, and an especially poignant point in our age of digital reproducibility when (as in André Malraux’s photographically mediated musée imaginaire) physical detail suffers the homogenization perpetrated by the image. As though in anticipation of his masterpiece’s ubiquitous reproduction, Velázquez bids his audience to remember: paintings have size and shape and weight. 30 00 Art has the habit of appearing in object form. The habit has been difficult to bring into sharp focus, though, no matter how aggressively art itself seems to summon us to do so. For all the scrutiny devoted to Las Meninas(1656) as a representation of representation (in the line of thinking that Michel Foucault established in The Order of Things [1966]), too little attention has been paid to the back side of the painting—that is, the image of the back side, the segmented stretcher supporting the monumental stretched canvas (the unevenness of its edges clearly visible), leaning against the large easel. Diego Velázquez does not expose this back side in a small gesture; it is a full-length drama. It is a drama that means to assert painting as a material act, and to assert the fact of the object form of painting, of the material support of the image, of the bulk of the production and the product. This is certainly not the point of the painting tout court, but it is a point in the painting, and an especially poignant point in our age of digital reproducibility when (as in André Malraux’s photographically mediated musée imaginaire) physical detail suffers the homogenization perpetrated by the image. As though in anticipation of his masterpiece’s ubiquitous reproduction, Velázquez bids his audience to remember: paintings have size and shape and weight. 20 00 Open Access Brown, Bill 18 03 06 10.21983/P3.0144.1.18 71 75 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Demonstration and Description 1 A01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 03 00 In the often cited 1969 essay “Art After Philosophy,” Joseph Kosuth proclaimed that “all art (after Duchamp) is conceptual (in nature) because art only exists conceptually.”2 Kosuth argued that Duchamp’s historical role was to align art with conceptual function, separate from a sensual aesthetics of transcendence, the “morphological” form of which had traditionally made art favorable to conventional critical taste. Kosuth put his finger on the moment when art’s autonomy was finally separated from the philosophy of aesthetics, with a smug declaration signaling “the end of philosophy and the beginning of art.”3 The relevance of discrete, portable art objects receded, and the linguistic, functional character of art as concept was foregrounded. 30 00 In the often cited 1969 essay “Art After Philosophy,” Joseph Kosuth proclaimed that “all art (after Duchamp) is conceptual (in nature) because art only exists conceptually.”2 Kosuth argued that Duchamp’s historical role was to align art with conceptual function, separate from a sensual aesthetics of transcendence, the “morphological” form of which had traditionally made art favorable to conventional critical taste. Kosuth put his finger on the moment when art’s autonomy was finally separated from the philosophy of aesthetics, with a smug declaration signaling “the end of philosophy and the beginning of art.”3 The relevance of discrete, portable art objects receded, and the linguistic, functional character of art as concept was foregrounded. 20 00 Open Access Jackson, Robert 19 03 06 10.21983/P3.0144.1.19 77 80 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trauma Expanded / Aesthetics Expanded 1 A01 Patricia Ticineto Clough Patricia Ticineto Clough 40 03v8adn41 Queens College, CUNY 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 In their curatorial statement, Katherine Behar and Emmy Mikelson propose that the exhibition And Another Thing was meant to critically engage the privilege of the human in relation to art, materialism, and the recent turn to ontology in the philosophical movements known as speculative realism and object-oriented ontologies. Here, I also want to engage the ontological turn, its reconception of materialism and the privilege of the human, while giving special attention to developments in media technology. After all, nearly all media technological developments have raised questions about the human in that they often trouble, if not transform, the relationship of time and space, memory and forgetting, embodiment and disembodiment, privacy and exposure, individual and collective, matter and life. In this sense, the development of a new media technology often is traumatic while providing a unique form of transmitting trauma. As Marshall McLuhan put it: “The emergence of a new media is too violent and superstimulated a social experience for the central nervous system simply to endure.”1 It is the usual relationship, or perhaps I should say the usual opposition of life and matter, that is central in this most recent ontological turn, a turn, I would propose, that is especially resonant with the traumatic changes wrought with the development of digital technologies. 30 00 In their curatorial statement, Katherine Behar and Emmy Mikelson propose that the exhibition And Another Thing was meant to critically engage the privilege of the human in relation to art, materialism, and the recent turn to ontology in the philosophical movements known as speculative realism and object-oriented ontologies. Here, I also want to engage the ontological turn, its reconception of materialism and the privilege of the human, while giving special attention to developments in media technology. After all, nearly all media technological developments have raised questions about the human in that they often trouble, if not transform, the relationship of time and space, memory and forgetting, embodiment and disembodiment, privacy and exposure, individual and collective, matter and life. In this sense, the development of a new media technology often is traumatic while providing a unique form of transmitting trauma. As Marshall McLuhan put it: “The emergence of a new media is too violent and superstimulated a social experience for the central nervous system simply to endure.”1 It is the usual relationship, or perhaps I should say the usual opposition of life and matter, that is central in this most recent ontological turn, a turn, I would propose, that is especially resonant with the traumatic changes wrought with the development of digital technologies. 20 00 Open Access Clough, Patricia Ticineto 20 03 06 10.21983/P3.0144.1.20 85 86 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0009000376626704 Katherine Behar Katherine Behar 2 B01 Emmy Mikelson Emmy Mikelson 40 023qavy03 Baruch College 01 eng 03 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 30 00 In And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. 20 00 Open Access Behar, Katherine Mikelson, Emmy 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/and-another-thing/ Earth, Milky Way 04 01 20160618 Behar, Katherine Mikelson, Emmy 02 WORLD 06 15 9780692652664 03 9780692652664 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25481 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25481/1004614.pdf?sequence=1&isAllowed=y 20 08 20160618 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29753 20 08 20160618 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353797 20 08 20160618 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/529 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/00d3dc52-996c-4409-829e-032a7c7affaa/download 20 08 20160618 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/And_Another_Thing/GASVEAAAQBAJ 20 08 20160618 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f712541c-07b4-477c-8b8c-8c1a307810d0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f712541c-07b4-477c-8b8c-8c1a307810d0/f712541c-07b4-477c-8b8c-8c1a307810d0.pdf 20 08 20160618 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846604 29 ZENODO: download the title https://zenodo.org/records/19846604/files/f712541c-07b4-477c-8b8c-8c1a307810d0_book.pdf 20 08 20160618 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/and-another-thing/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0144.1.00.pdf 20 08 20160618 01 urn:uuid:456c4738-1ba9-440c-a1ff-388443b510ca 03 01 01 thoth-work-id urn:uuid:fd67d684-aaff-4260-bb94-9d0373015620 01 thoth-publication-id urn:uuid:456c4738-1ba9-440c-a1ff-388443b510ca 15 9781953035530 03 9781953035530 06 10.21983/P3.0316.1.00 13 2021936609 01 internal-reference 0316 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 An Edition of Miles Hogarde's "A Mirroure of Myserie" 1 A01 21 0000000259871260 Sebastian Sobecki Sebastian Sobecki 40 012p63287 University of Groningen 01 eng 00 68 03 12 DSK 93 DSK B2 Languages+Translations 10 LIT004120 93 3MD B2 Premodern 20 Catholicism; Counter-Reformation; dream poetry; Miles Hogarde; Mary I; Miles Huggarde; English poetry 01 06 02 00 03 00 This is the first edition of A Mirroure of Myserie (1557), a poem by the Catholic propagandist Miles Hogarde and probably presented to Queen Mary. Cast as a dream vision, this combative dialogue draws on William Langland’s widely circulating medieval poem The Vision of Piers Plowman and offers a critical assessment of sixteenth-century morality in England.The Mirroure of Myserie has been edited from Huntington Library MS 121 and is accompanied by a short introduction. This accessible edition preserves Hogarde’s original spelling but adds modern punctuation and glosses of all unfamiliar words and concepts. 30 00 This is the first edition of A Mirroure of Myserie (1557), a poem by the Catholic propagandist Miles Hogarde and probably presented to Queen Mary. Cast as a dream vision, this combative dialogue draws on William Langland’s widely circulating medieval poem The Vision of Piers Plowman and offers a critical assessment of sixteenth-century morality in England.The Mirroure of Myserie has been edited from Huntington Library MS 121 and is accompanied by a short introduction. This accessible edition preserves Hogarde’s original spelling but adds modern punctuation and glosses of all unfamiliar words and concepts. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0316.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/an-edition-of-miles-hogardes-a-mirroure-of-myserie/ Earth, Milky Way 04 01 20210603 Sobecki, Sebastian (0000-0002-5987-1260) 02 WORLD 06 15 9781953035547 03 9781953035547 34 06 10.1017/S0018246X97007516 34 06 10.1093/ref:odnb/14049 34 06 10.2307/2861491 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035531 20 08 20210603 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/an-edition-of-miles-hogardes-a-mirroure-of-myserie 20 08 20210603 02 21.00 USD WORLD urn:uuid:2aa91488-189d-4aaa-b159-21ec91131d83 03 01 01 thoth-work-id urn:uuid:fd67d684-aaff-4260-bb94-9d0373015620 01 thoth-publication-id urn:uuid:2aa91488-189d-4aaa-b159-21ec91131d83 15 9781953035547 03 9781953035547 06 10.21983/P3.0316.1.00 13 2021936609 01 internal-reference 0316 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 An Edition of Miles Hogarde's "A Mirroure of Myserie" 1 A01 21 0000000259871260 Sebastian Sobecki Sebastian Sobecki 40 012p63287 University of Groningen 01 eng 00 68 03 12 DSK 93 DSK B2 Languages+Translations 10 LIT004120 93 3MD B2 Premodern 20 Catholicism; Counter-Reformation; dream poetry; Miles Hogarde; Mary I; Miles Huggarde; English poetry 01 06 02 00 03 00 This is the first edition of A Mirroure of Myserie (1557), a poem by the Catholic propagandist Miles Hogarde and probably presented to Queen Mary. Cast as a dream vision, this combative dialogue draws on William Langland’s widely circulating medieval poem The Vision of Piers Plowman and offers a critical assessment of sixteenth-century morality in England.The Mirroure of Myserie has been edited from Huntington Library MS 121 and is accompanied by a short introduction. This accessible edition preserves Hogarde’s original spelling but adds modern punctuation and glosses of all unfamiliar words and concepts. 30 00 This is the first edition of A Mirroure of Myserie (1557), a poem by the Catholic propagandist Miles Hogarde and probably presented to Queen Mary. Cast as a dream vision, this combative dialogue draws on William Langland’s widely circulating medieval poem The Vision of Piers Plowman and offers a critical assessment of sixteenth-century morality in England.The Mirroure of Myserie has been edited from Huntington Library MS 121 and is accompanied by a short introduction. This accessible edition preserves Hogarde’s original spelling but adds modern punctuation and glosses of all unfamiliar words and concepts. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0316.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/an-edition-of-miles-hogardes-a-mirroure-of-myserie/ Earth, Milky Way 04 01 20210603 Sobecki, Sebastian (0000-0002-5987-1260) 02 WORLD 06 15 9781953035530 03 9781953035530 34 06 10.1017/S0018246X97007516 34 06 10.1093/ref:odnb/14049 34 06 10.2307/2861491 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/48882 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/48882/0316.1.00.pdf 20 08 20210603 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/70268 20 08 20210603 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353931 20 08 20210603 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/666 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ee9b94a0-9944-471e-be46-068ce356bf76/download 20 08 20210603 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/An_Edition_of_Miles_Hogarde_s_A_Mirroure/RAOVEAAAQBAJ 20 08 20210603 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/fd67d684-aaff-4260-bb94-9d0373015620 29 INTERNET_ARCHIVE: download the title https://archive.org/download/fd67d684-aaff-4260-bb94-9d0373015620/fd67d684-aaff-4260-bb94-9d0373015620.pdf 20 08 20210603 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848873 29 ZENODO: download the title https://zenodo.org/records/19848873/files/fd67d684-aaff-4260-bb94-9d0373015620_book.pdf 20 08 20210603 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/an-edition-of-miles-hogardes-a-mirroure-of-myserie/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0316.1.00.pdf 20 08 20210603 01 urn:uuid:10849326-96e9-4433-b7c9-3a5bbb483371 03 01 01 thoth-work-id urn:uuid:8b77c06a-3c1c-48ac-a32e-466ef37f293e 01 thoth-publication-id urn:uuid:10849326-96e9-4433-b7c9-3a5bbb483371 15 9789081709149 03 9789081709149 06 10.21983/P3.0217.1.00 01 internal-reference 0217 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 A Neo Tropical Companion 1 A01 Jamie Stewart Jamie Stewart 01 eng 00 162 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 93 DCRB 10 POE021000 B2 TransQueer 20 poetry; American poetry; modern poetry 01 06 02 00 03 00 A Neo Tropical Companion is the first collection of haikus written by Xiu Xiu singer, Jamie Stewart. This is the first time his haikus, which have been featured in several literary journals and small press releases, will be comprehensively collected. Two thirds of the work will include new poems written for specifically for this book. The title, A Neo Tropical Companion, comes from an antiquated guide book to North East South America that Stewart found molding on the ground in the jungle. The poems, written in the classical Japanese poetry form, concern death, uncertainty, cats, being on weird tours, horrible sex, hating other people, bird watching in Guyana, and growing up in a dim and boxed-in valley. 30 00 A Neo Tropical Companion is the first collection of haikus written by Xiu Xiu singer, Jamie Stewart. This is the first time his haikus, which have been featured in several literary journals and small press releases, will be comprehensively collected. Two thirds of the work will include new poems written for specifically for this book. The title, A Neo Tropical Companion, comes from an antiquated guide book to North East South America that Stewart found molding on the ground in the jungle. The poems, written in the classical Japanese poetry form, concern death, uncertainty, cats, being on weird tours, horrible sex, hating other people, bird watching in Guyana, and growing up in a dim and boxed-in valley. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0217.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-neo-tropical-companion/ The Hague/Tirana 04 01 20120126 Stewart, Jamie 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2NT8Qwy 20 08 20120126 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-neo-tropical-companion 20 08 20120126 02 22.00 USD WORLD urn:uuid:b5d96c32-697c-4585-8ea1-904ed6d1843e 03 01 01 thoth-work-id urn:uuid:8b77c06a-3c1c-48ac-a32e-466ef37f293e 01 thoth-publication-id urn:uuid:b5d96c32-697c-4585-8ea1-904ed6d1843e 06 10.21983/P3.0217.1.00 01 internal-reference 0217 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 A Neo Tropical Companion 1 A01 Jamie Stewart Jamie Stewart 01 eng 00 162 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 93 DCRB 10 POE021000 B2 TransQueer 20 poetry; American poetry; modern poetry 01 06 02 00 03 00 A Neo Tropical Companion is the first collection of haikus written by Xiu Xiu singer, Jamie Stewart. This is the first time his haikus, which have been featured in several literary journals and small press releases, will be comprehensively collected. Two thirds of the work will include new poems written for specifically for this book. The title, A Neo Tropical Companion, comes from an antiquated guide book to North East South America that Stewart found molding on the ground in the jungle. The poems, written in the classical Japanese poetry form, concern death, uncertainty, cats, being on weird tours, horrible sex, hating other people, bird watching in Guyana, and growing up in a dim and boxed-in valley. 30 00 A Neo Tropical Companion is the first collection of haikus written by Xiu Xiu singer, Jamie Stewart. This is the first time his haikus, which have been featured in several literary journals and small press releases, will be comprehensively collected. Two thirds of the work will include new poems written for specifically for this book. The title, A Neo Tropical Companion, comes from an antiquated guide book to North East South America that Stewart found molding on the ground in the jungle. The poems, written in the classical Japanese poetry form, concern death, uncertainty, cats, being on weird tours, horrible sex, hating other people, bird watching in Guyana, and growing up in a dim and boxed-in valley. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0217.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-neo-tropical-companion/ The Hague/Tirana 04 01 20120126 Stewart, Jamie 02 WORLD 06 15 9789081709149 03 9789081709149 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25412 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25412/1004683.pdf?sequence=1&isAllowed=y 20 08 20120126 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37993 20 08 20120126 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353971 20 08 20120126 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/381 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a7d87e5f-f360-4089-b20c-79b5b7197c2c/download 20 08 20120126 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Neo_Tropical_Companion/RXmnEAAAQBAJ 20 08 20120126 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8b77c06a-3c1c-48ac-a32e-466ef37f293e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8b77c06a-3c1c-48ac-a32e-466ef37f293e/8b77c06a-3c1c-48ac-a32e-466ef37f293e.pdf 20 08 20120126 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693102 29 ZENODO: download the title https://zenodo.org/records/19693102/files/8b77c06a-3c1c-48ac-a32e-466ef37f293e_book.pdf 20 08 20120126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-neo-tropical-companion/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0217.1.00.pdf 20 08 20120126 01 urn:uuid:6c649c8a-5e45-46da-bcc7-522cb439c8d2 03 01 01 thoth-work-id urn:uuid:27e17948-02c4-4ba3-8244-5c229cc8e9b8 01 thoth-publication-id urn:uuid:6c649c8a-5e45-46da-bcc7-522cb439c8d2 15 9781950192397 03 9781950192397 06 10.21983/P3.0262.1.00 01 internal-reference 0262 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Anglo-Saxon(ist) Pasts, postSaxon Futures 1 A01 Donna-Beth Ellard Donna-Beth Ellard 40 04w7skc03 University of Denver 01 eng 00 424 03 12 2ABA 93 2ACBA 10 HIS015000 B2 History 93 3KH-GB-B 12 HBJD1 B2 Literary Studies 93 NHDJ B2 Premodern 20 Anglo-Saxon; Old English; Medieval Studies; intellectual history; autoethnography; Critical Race Studies; psychoanalysis 01 06 02 00 03 00 Anglo-Saxon(ist) Pasts, postSaxon Futures traces the integral role that colonialism and racism play in the field formerly known as Anglo-Saxon studies by tracking the development of the “Anglo-Saxonist,” an overtly racialized term that describes a person whose affinities point towards white nationalism. That scholars continue to call themselves “Anglo-Saxonists,” despite urgent calls to combat racism within the field, suggests that this term is much more than just a professional appellative. It is, this book argues, a ghost in the machine of early medieval studies—a spectral figure created by a group of nineteenth-century historians, archaeologists, and philologists responsible for not only framing the interdisciplinary field of "Anglo-Saxon" studies but for also encoding ideologies of British colonialism and Anglo-American racism within the field’s methods and pedagogies.Anglo-Saxon(ist) pasts, postSaxon Futures is at once a historiography of Anglo-Saxon studies, a mourning of its Anglo-Saxonist “fathers,” and an exorcism of the colonial-racial ghosts that lurk within the field’s scholarly methods and pedagogies. Part intellectual history, part grief work, this book leverages the genres of literary criticism, auto-ethnography, and creative nonfiction in order to confront Anglo-Saxonist pasts in order to imagine speculative postSaxon futures inclusive of voices and bodies heretofore excluded from the field formerly known as Anglo-Saxon studies. 30 00 Anglo-Saxon(ist) Pasts, postSaxon Futures traces the integral role that colonialism and racism play in the field formerly known as Anglo-Saxon studies by tracking the development of the “Anglo-Saxonist,” an overtly racialized term that describes a person whose affinities point towards white nationalism. That scholars continue to call themselves “Anglo-Saxonists,” despite urgent calls to combat racism within the field, suggests that this term is much more than just a professional appellative. It is, this book argues, a ghost in the machine of early medieval studies—a spectral figure created by a group of nineteenth-century historians, archaeologists, and philologists responsible for not only framing the interdisciplinary field of "Anglo-Saxon" studies but for also encoding ideologies of British colonialism and Anglo-American racism within the field’s methods and pedagogies.Anglo-Saxon(ist) pasts, postSaxon Futures is at once a historiography of Anglo-Saxon studies, a mourning of its Anglo-Saxonist “fathers,” and an exorcism of the colonial-racial ghosts that lurk within the field’s scholarly methods and pedagogies. Part intellectual history, part grief work, this book leverages the genres of literary criticism, auto-ethnography, and creative nonfiction in order to confront Anglo-Saxonist pasts in order to imagine speculative postSaxon futures inclusive of voices and bodies heretofore excluded from the field formerly known as Anglo-Saxon studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0262.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/anglo-saxonist-pasts-postsaxon-futures/ Earth, Milky Way 04 01 20191230 Ellard, Donna-Beth 02 WORLD 06 15 9781950192403 03 9781950192403 34 06 10.1017/S0003598X00047931 34 06 10.2307/3343076 34 06 10.3102/0091732X10383208 34 06 10.1080/15348450701341238 34 06 10.1111/j.1468-0092.2011.00370.x 34 06 10.1111/j.1540-5931.2011.00830.x 34 06 10.1016/S0140-6736(12)60026-9 34 06 10.1080/13642520902833783 34 06 10.1215/10642684-2006-031 34 06 10.3366/j.ctt1r20xg.358 34 06 10.1075/ni.22.1.10boc 34 06 10.2307/3857519 34 06 10.2307/3679110 34 06 10.1177/1532708617728955 34 06 10.1007/978-94-6091-591-8_8 34 06 10.1037/a0014564 34 06 10.2307/1229039 34 06 10.1057/pmed.2010.32 34 06 10.1080/13642520802639546 34 06 10.1080/01440350903437965 34 06 10.1111/j.1741-4113.2008.00581.x 34 06 10.1177/1532708617735637 34 06 10.1057/pmed.2014.10 34 06 10.1080/13642529.2018.1561809 34 06 10.1177/1532708617728954 34 06 10.2307/3679228 34 06 10.1177/135050840072008 34 06 10.1080/00766097.1984.11735454 34 06 10.1215/15314200-6936939 34 06 10.1093/past/126.1.22 34 06 10.1111/j.1741-4113.2008.00560.x 34 06 10.1111/j.1360-0443.1985.tb03011.x 34 06 10.1177/107780042238077 34 06 10.1111/1468-0254.00085 34 06 10.1017/S0263675100002337 34 06 10.1093/acprof:oso/9780199557318.003.0015 34 06 10.1179/lan.2012.13.2.002 34 06 10.1080/09502380601162548 34 06 10.1080/02690059708589553 34 06 10.3366/rom.2000.6.2.211 34 06 10.1179/exm.1993.5.1.79 34 06 10.2307/461974 34 06 10.1007/s11061-014-9414-4 34 06 10.1093/applin/amm043 34 06 10.1080/00020180903381248 34 06 10.1086/385844 34 06 10.1080/00393270902859879 34 06 10.1080/00438243.1998.9980400 34 06 10.1179/1461957113Y.0000000035 34 06 10.1179/1041257314Z.00000000056 34 06 10.1484/J.VIATOR.2.300380 34 06 10.3721/037.002.sp809 34 06 10.1080/00665983.2013.11021004 34 06 10.1007/BF01513854 34 06 10.1080/01433768.1985.10594386 34 06 10.1080/00766097.1997.11735606 34 06 10.1111/j.1468-0254.2008.00221.x 34 06 10.1177/1359183504046894 34 06 10.1017/S0261340900012972 34 06 10.1177/1464700108086364 34 06 10.1111/emed.12062 34 06 10.1017/S0263675101000035 34 06 10.1177/002193479702800101 34 06 10.1037/a0017495 34 06 10.1177/107780002237007 34 06 10.1179/lan.2003.4.1.24 34 06 10.1080/00438243.1998.9980399 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192393 20 08 20191230 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/anglo-saxonist-pasts-postsaxon-futures 20 08 20191230 02 28.00 USD WORLD urn:uuid:8a4e85d8-a1b1-4de9-b5c1-8caa6404b59d 03 01 01 thoth-work-id urn:uuid:27e17948-02c4-4ba3-8244-5c229cc8e9b8 01 thoth-publication-id urn:uuid:8a4e85d8-a1b1-4de9-b5c1-8caa6404b59d 15 9781950192403 03 9781950192403 06 10.21983/P3.0262.1.00 01 internal-reference 0262 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Anglo-Saxon(ist) Pasts, postSaxon Futures 1 A01 Donna-Beth Ellard Donna-Beth Ellard 40 04w7skc03 University of Denver 01 eng 00 424 03 12 2ABA 93 2ACBA 10 HIS015000 B2 History 93 3KH-GB-B 12 HBJD1 B2 Literary Studies 93 NHDJ B2 Premodern 20 Anglo-Saxon; Old English; Medieval Studies; intellectual history; autoethnography; Critical Race Studies; psychoanalysis 01 06 02 00 03 00 Anglo-Saxon(ist) Pasts, postSaxon Futures traces the integral role that colonialism and racism play in the field formerly known as Anglo-Saxon studies by tracking the development of the “Anglo-Saxonist,” an overtly racialized term that describes a person whose affinities point towards white nationalism. That scholars continue to call themselves “Anglo-Saxonists,” despite urgent calls to combat racism within the field, suggests that this term is much more than just a professional appellative. It is, this book argues, a ghost in the machine of early medieval studies—a spectral figure created by a group of nineteenth-century historians, archaeologists, and philologists responsible for not only framing the interdisciplinary field of "Anglo-Saxon" studies but for also encoding ideologies of British colonialism and Anglo-American racism within the field’s methods and pedagogies.Anglo-Saxon(ist) pasts, postSaxon Futures is at once a historiography of Anglo-Saxon studies, a mourning of its Anglo-Saxonist “fathers,” and an exorcism of the colonial-racial ghosts that lurk within the field’s scholarly methods and pedagogies. Part intellectual history, part grief work, this book leverages the genres of literary criticism, auto-ethnography, and creative nonfiction in order to confront Anglo-Saxonist pasts in order to imagine speculative postSaxon futures inclusive of voices and bodies heretofore excluded from the field formerly known as Anglo-Saxon studies. 30 00 Anglo-Saxon(ist) Pasts, postSaxon Futures traces the integral role that colonialism and racism play in the field formerly known as Anglo-Saxon studies by tracking the development of the “Anglo-Saxonist,” an overtly racialized term that describes a person whose affinities point towards white nationalism. That scholars continue to call themselves “Anglo-Saxonists,” despite urgent calls to combat racism within the field, suggests that this term is much more than just a professional appellative. It is, this book argues, a ghost in the machine of early medieval studies—a spectral figure created by a group of nineteenth-century historians, archaeologists, and philologists responsible for not only framing the interdisciplinary field of "Anglo-Saxon" studies but for also encoding ideologies of British colonialism and Anglo-American racism within the field’s methods and pedagogies.Anglo-Saxon(ist) pasts, postSaxon Futures is at once a historiography of Anglo-Saxon studies, a mourning of its Anglo-Saxonist “fathers,” and an exorcism of the colonial-racial ghosts that lurk within the field’s scholarly methods and pedagogies. Part intellectual history, part grief work, this book leverages the genres of literary criticism, auto-ethnography, and creative nonfiction in order to confront Anglo-Saxonist pasts in order to imagine speculative postSaxon futures inclusive of voices and bodies heretofore excluded from the field formerly known as Anglo-Saxon studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0262.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/anglo-saxonist-pasts-postsaxon-futures/ Earth, Milky Way 04 01 20191230 Ellard, Donna-Beth 02 WORLD 06 15 9781950192397 03 9781950192397 34 06 10.1017/S0003598X00047931 34 06 10.2307/3343076 34 06 10.3102/0091732X10383208 34 06 10.1080/15348450701341238 34 06 10.1111/j.1468-0092.2011.00370.x 34 06 10.1111/j.1540-5931.2011.00830.x 34 06 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11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848030 29 ZENODO: download the title https://zenodo.org/records/19848030/files/27e17948-02c4-4ba3-8244-5c229cc8e9b8_book.pdf 20 08 20191230 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/anglo-saxonist-pasts-postsaxon-futures/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0262.1.00.pdf 20 08 20191230 01 urn:uuid:6481545c-5375-4583-b106-4c1b0c251769 03 01 01 thoth-work-id urn:uuid:fdd9e45a-08b4-4b98-9c34-bada71a34979 01 thoth-publication-id urn:uuid:6481545c-5375-4583-b106-4c1b0c251769 15 9781950192908 03 9781950192908 06 10.21983/P3.0305.1.00 13 2020939596 01 internal-reference 0305 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Animal Emotions How They Drive Human Behavior 1 A01 21 0000000181120837 Christian Montag Christian Montag 40 032000t02 University of Ulm 2 A01 Kenneth L. Davis Kenneth L. Davis 01 eng 00 160 03 B2 Cultural Studies+Critical Theory 12 JMQ 93 JMQ 10 PSY013000 B2 Biosphere 10 NAT001000 93 PSVP 12 PSVP 20 emotion; Jaak Panksepp; neuroscience; psychology; motivation; anthropology; animal studies 01 06 02 00 03 00 Animal Emotions: How They Drive Human Behavior gives a concise overview of ancient mammalian emotions deeply rooted in the human brain. Jaak Panksepp, a world-renowned neuroscientist, dedicated his life career to the study of mammalian emotions and he carved out seven distinct emotional systems he called seeking, lust, care, and play (positive emotions), and fear, anger, and sadness (negative emotions), all exerting a tremendous influence on human behavior.Christian Montag, a neuroscientist and psychologist, and a long-time collaborator of Jaak Panksepp, revisits together with Kenneth L. Davis, one of Jaak’s PhD students, Panksepp’s theories and provides the reader with new insights into the nature of emotions and their role as survival tools, both for animals and for humans. They also raise new questions about the background of the research field Jaak Panksepp coined "Affective Neuroscience." How are personality and psychopathology linked to animal emotions? Do animals feel the same way as we do? What are our emotional needs in a digital society, and what is key to a happy life? 30 00 Animal Emotions: How They Drive Human Behavior gives a concise overview of ancient mammalian emotions deeply rooted in the human brain. Jaak Panksepp, a world-renowned neuroscientist, dedicated his life career to the study of mammalian emotions and he carved out seven distinct emotional systems he called seeking, lust, care, and play (positive emotions), and fear, anger, and sadness (negative emotions), all exerting a tremendous influence on human behavior.Christian Montag, a neuroscientist and psychologist, and a long-time collaborator of Jaak Panksepp, revisits together with Kenneth L. Davis, one of Jaak’s PhD students, Panksepp’s theories and provides the reader with new insights into the nature of emotions and their role as survival tools, both for animals and for humans. They also raise new questions about the background of the research field Jaak Panksepp coined "Affective Neuroscience." How are personality and psychopathology linked to animal emotions? Do animals feel the same way as we do? What are our emotional needs in a digital society, and what is key to a happy life? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0305.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/animal-emotions-how-they-drive-human-behavior/ Earth, Milky Way 04 01 20200618 Montag, Christian (0000-0001-8112-0837) Davis, Kenneth L. 02 WORLD 06 15 9781950192915 03 9781950192915 34 06 10.1371/journal.pone.0224974 34 06 10.1007/978-1-4899-1939-7_4 34 06 10.1098/rsos.170169 34 06 10.1177/2059204320915654 34 06 10.1037/a0019006 34 06 10.1016/j.neuropsychologia.2016.08.012 34 06 10.1016/j.neubiorev.2011.06.005 34 06 10.1016/j.brs.2017.01.581 34 06 10.1111/jopy.12286 34 06 10.1016/j.neubiorev.2010.11.011 34 06 10.1016/j.cortex.2020.02.023 34 06 10.1037/a0019210 34 06 10.1348/000712606X111177 34 06 10.1177/0963721417730833 34 06 10.1016/j.neubiorev.2010.12.009 34 06 10.1016/j.neubiorev.2011.04.004 34 06 10.1080/15294145.2003.10773410 34 06 10.1016/S1566-3124(03)15007-9 34 06 10.1073/pnas.1721653115 34 06 10.3390/fi12020024 34 06 10.1111/j.1751-9004.2007.00037.x 34 06 10.1037/h0030377 34 06 10.1007/BF00993116 34 06 10.1177/1754073915610439 34 06 10.1126/science.aaa1975 34 06 10.1073/pnas.1206390109 34 06 10.1037/0033-2909.127.1.45 34 06 10.1037/0022-3514.85.6.1161 34 06 10.1038/466029a 34 06 10.1037/a0021544 34 06 10.1177/1029864911401171 34 06 10.1016/B978-0-12-558701-3.50013-2 34 06 10.1079/PNS2005481 34 06 10.1073/pnas.1011492107 34 06 10.1080/00223891.2018.1553782 34 06 10.1002/mds.1174 34 06 10.1016/j.chb.2014.11.005 34 06 10.1177/1948550614568161 34 06 10.3390/bs8010001 34 06 10.1177/1029864919890900 34 06 10.1016/j.concog.2016.07.009 34 06 10.1023/A:1006824100041 34 06 10.1016/B978-0-12-800935-2.00005-1 34 06 10.1017/pen.2018.12 34 06 10.3389/fnins.2018.00895 34 06 10.1037/h0054346 34 06 10.1037/0022-3514.87.4.529 34 06 10.1007/s11031-007-9053-1 34 06 10.1111/j.1467-6494.1992.tb00970.x 34 06 10.1016/j.ajp.2015.06.019 34 06 10.1037/0033-295X.102.2.246 34 06 10.1111/j.1749-6632.2009.04590.x 34 06 10.1515/nf-2018-0026 34 06 10.1186/s13104-015-1280-z 34 06 10.1515/psych-2018-0019 34 06 10.1016/j.paid.2019.03.045 34 06 10.1007/978-3-319-28099-8_822-1 34 06 10.1007/s11031-016-9570-x 34 06 10.1007/978-3-319-28099-8_1338-1 34 06 10.3389/fpsyg.2017.00464 34 06 10.1016/j.bbr.2011.08.012 34 06 10.1080/23311908.2016.1157281 34 06 10.1556/2006.8.2019.59 34 06 10.1016/j.comppsych.2016.11.007 34 06 10.1037/a0031723 34 06 10.1016/j.neuroimage.2015.05.006 34 06 10.1080/0144929X.2013.810778 34 06 10.1037/0003-066X.61.6.622 34 06 10.1177/1073191116656795 34 06 10.1126/science.1091062 34 06 10.1016/j.concog.2004.10.004 34 06 10.1016/j.pnpbp.2006.01.004 34 06 10.1016/S0376-6357(02)00080-3 34 06 10.1016/S0166-4328(00)00238-2 34 06 10.1016/0031-9384(94)90285-2 34 06 10.1521/psyc.2011.74.1.5 34 06 10.1556/2006.7.2018.49 34 06 10.1002/dev.420120109 34 06 10.1002/dev.420100413 34 06 10.1038/ng.3285 34 06 10.1007/s11469-019-00088-z 34 06 10.1177/0956797616678438 34 06 10.1002/per.534 34 06 10.3389/fpsyg.2019.02591 34 06 10.4172/2155-6105.1000209 34 06 10.2307/1129703 34 06 10.1016/j.abrep.2018.100148 34 06 10.3390/bs7030060 34 06 10.1016/j.paid.2017.09.004 34 06 10.1037/0735-7044.120.1.49 34 06 10.3390/brainsci2020147 34 06 10.1093/schbul/sbs096 34 06 10.1007/s12402-018-0266-9 34 06 10.1016/j.concog.2014.12.005 34 06 10.1080/02699931.2010.508270 34 06 10.1207/s15327752jpa4901_13 34 06 10.1126/sciadv.aaw5226 34 06 10.3389/fpsyg.2018.00398/full 34 06 10.1126/science.1144298 34 06 10.3389/fpsyg.2018.02247 34 06 10.1017/pen.2018.10 34 06 10.3389/fpsyg.2016.01906 34 06 10.1037/pmu0000230 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192903 20 08 20200618 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/animal-emotions-how-they-drive-human-behavior 20 08 20200618 02 22.00 USD WORLD urn:uuid:21f69e0e-1faf-452d-9351-c5f786ff87b5 03 01 01 thoth-work-id urn:uuid:fdd9e45a-08b4-4b98-9c34-bada71a34979 01 thoth-publication-id urn:uuid:21f69e0e-1faf-452d-9351-c5f786ff87b5 15 9781950192915 03 9781950192915 06 10.21983/P3.0305.1.00 13 2020939596 01 internal-reference 0305 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Animal Emotions How They Drive Human Behavior 1 A01 21 0000000181120837 Christian Montag Christian Montag 40 032000t02 University of Ulm 2 A01 Kenneth L. Davis Kenneth L. Davis 01 eng 00 160 03 B2 Cultural Studies+Critical Theory 12 JMQ 93 JMQ 10 PSY013000 B2 Biosphere 10 NAT001000 93 PSVP 12 PSVP 20 emotion; Jaak Panksepp; neuroscience; psychology; motivation; anthropology; animal studies 01 06 02 00 03 00 Animal Emotions: How They Drive Human Behavior gives a concise overview of ancient mammalian emotions deeply rooted in the human brain. Jaak Panksepp, a world-renowned neuroscientist, dedicated his life career to the study of mammalian emotions and he carved out seven distinct emotional systems he called seeking, lust, care, and play (positive emotions), and fear, anger, and sadness (negative emotions), all exerting a tremendous influence on human behavior.Christian Montag, a neuroscientist and psychologist, and a long-time collaborator of Jaak Panksepp, revisits together with Kenneth L. Davis, one of Jaak’s PhD students, Panksepp’s theories and provides the reader with new insights into the nature of emotions and their role as survival tools, both for animals and for humans. They also raise new questions about the background of the research field Jaak Panksepp coined "Affective Neuroscience." How are personality and psychopathology linked to animal emotions? Do animals feel the same way as we do? What are our emotional needs in a digital society, and what is key to a happy life? 30 00 Animal Emotions: How They Drive Human Behavior gives a concise overview of ancient mammalian emotions deeply rooted in the human brain. Jaak Panksepp, a world-renowned neuroscientist, dedicated his life career to the study of mammalian emotions and he carved out seven distinct emotional systems he called seeking, lust, care, and play (positive emotions), and fear, anger, and sadness (negative emotions), all exerting a tremendous influence on human behavior.Christian Montag, a neuroscientist and psychologist, and a long-time collaborator of Jaak Panksepp, revisits together with Kenneth L. Davis, one of Jaak’s PhD students, Panksepp’s theories and provides the reader with new insights into the nature of emotions and their role as survival tools, both for animals and for humans. They also raise new questions about the background of the research field Jaak Panksepp coined "Affective Neuroscience." How are personality and psychopathology linked to animal emotions? Do animals feel the same way as we do? What are our emotional needs in a digital society, and what is key to a happy life? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0305.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/animal-emotions-how-they-drive-human-behavior/ Earth, Milky Way 04 01 20200618 Montag, Christian (0000-0001-8112-0837) Davis, Kenneth L. 02 WORLD 06 15 9781950192908 03 9781950192908 34 06 10.1371/journal.pone.0224974 34 06 10.1007/978-1-4899-1939-7_4 34 06 10.1098/rsos.170169 34 06 10.1177/2059204320915654 34 06 10.1037/a0019006 34 06 10.1016/j.neuropsychologia.2016.08.012 34 06 10.1016/j.neubiorev.2011.06.005 34 06 10.1016/j.brs.2017.01.581 34 06 10.1111/jopy.12286 34 06 10.1016/j.neubiorev.2010.11.011 34 06 10.1016/j.cortex.2020.02.023 34 06 10.1037/a0019210 34 06 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webpage for this product https://library.oapen.org/handle/20.500.12657/39590 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/39590/0305.1.00.pdf 20 08 20200618 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36368 20 08 20200618 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353804 20 08 20200618 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/681 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e0efa5be-c74d-4d22-a12c-96d9e9e99dfc/download 20 08 20200618 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/fdd9e45a-08b4-4b98-9c34-bada71a34979 29 INTERNET_ARCHIVE: download the title https://archive.org/download/fdd9e45a-08b4-4b98-9c34-bada71a34979/fdd9e45a-08b4-4b98-9c34-bada71a34979.pdf 20 08 20200618 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848339 29 ZENODO: download the title https://zenodo.org/records/19848339/files/fdd9e45a-08b4-4b98-9c34-bada71a34979_book.pdf 20 08 20200618 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/animal-emotions-how-they-drive-human-behavior/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0305.1.00.pdf 20 08 20200618 01 urn:uuid:2ece8d48-977b-4294-a4a6-b4d577e6ad26 03 01 01 thoth-work-id urn:uuid:0090dbfb-bc8f-44aa-9803-08b277861b14 01 thoth-publication-id urn:uuid:2ece8d48-977b-4294-a4a6-b4d577e6ad26 15 9780615625355 03 9780615625355 06 10.21983/P3.0006.1.00 01 internal-reference 0006 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Animal, Vegetable, Mineral Ethics and Objects 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 295 03 B2 Biosphere 12 JFC 10 NAT010000 93 PSAF 93 JBCC2 10 PHI005000 B2 Posthumanism 93 DSB B2 Premodern 20 object-oriented ontology; posthumanism; cultural studies; materialism; thing studies 01 06 02 00 03 00 Animal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? 30 00 Animal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0006.1.00_frontcover.jpg 1 03 06 10.21983/P3.0006.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0006.1.02 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction All Things 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Though superseded by a newer translation, Denton Fox and Hermann Pálsson’s version of Grettir’s Sagais a text to which I feel a considerable attachment.1 Its rendering of the Old Norse narrative is crisp and lucid, capturing the austere yet wry style of the original prose. Even more than its artistry, though, what compels me about the Fox and Pálsson translation is the series of photographs with which the book begins. Between the introduction and the story’s instigation have been inserted twelve poorly reproduced black and white pictures depicting locales mentioned in the saga. Unattributed and unpaginated, this interlude of images captures the multiplicity of histories, real and imagined, that animate the Icelandic narrative and its English reworking: a seeming timelessness in which the landscape is ever as it has been; the ninth through eleventh centuries, when Grettir and his ancestors were supposed to have journeyed these frigid expanses; the early fourteenth century, when the saga’s unknown author dreamt a past that never was and placed its unfolding action at familiar fjords, glaciers, and vales; and the 1970s, when Fox and Pálsson published their English translation of Grettir’s Saga, the first in sixty years. The initial photograph, for example, is labeled “Bjarg in Midfjord, site of Grettir’s birth.” The image depicts an undulation of grass, a lone rock, and a distant mountain—presumably Kaldbak, the chilly ridge that Grettir’s great-grandfather Onund darkly spoke of having traded his Norwegian grain fields to possess. Yet the picture also contains a farmhouse that if not exactly modern is in no way medieval, with its bright paint, three expansive levels, and chimney. The telephone poles and curve of road quietly argue against placing a young Grettir within that home. Yet the story radiates such a keen sense of domestic vitality that it is difficult to resist thinking of this boy destined for a life no farm could contain, creating his particular brand of chaos within that pastoral space. Every time I look at the photo I expect to see geese and a horse, futilely fleeing his juvenile rage; or his beleaguered dad, storming out of the farmhouse after telling a young Grettir one more time that he has made a very bad choice. 30 00 Though superseded by a newer translation, Denton Fox and Hermann Pálsson’s version of Grettir’s Sagais a text to which I feel a considerable attachment.1 Its rendering of the Old Norse narrative is crisp and lucid, capturing the austere yet wry style of the original prose. Even more than its artistry, though, what compels me about the Fox and Pálsson translation is the series of photographs with which the book begins. Between the introduction and the story’s instigation have been inserted twelve poorly reproduced black and white pictures depicting locales mentioned in the saga. Unattributed and unpaginated, this interlude of images captures the multiplicity of histories, real and imagined, that animate the Icelandic narrative and its English reworking: a seeming timelessness in which the landscape is ever as it has been; the ninth through eleventh centuries, when Grettir and his ancestors were supposed to have journeyed these frigid expanses; the early fourteenth century, when the saga’s unknown author dreamt a past that never was and placed its unfolding action at familiar fjords, glaciers, and vales; and the 1970s, when Fox and Pálsson published their English translation of Grettir’s Saga, the first in sixty years. The initial photograph, for example, is labeled “Bjarg in Midfjord, site of Grettir’s birth.” The image depicts an undulation of grass, a lone rock, and a distant mountain—presumably Kaldbak, the chilly ridge that Grettir’s great-grandfather Onund darkly spoke of having traded his Norwegian grain fields to possess. Yet the picture also contains a farmhouse that if not exactly modern is in no way medieval, with its bright paint, three expansive levels, and chimney. The telephone poles and curve of road quietly argue against placing a young Grettir within that home. Yet the story radiates such a keen sense of domestic vitality that it is difficult to resist thinking of this boy destined for a life no farm could contain, creating his particular brand of chaos within that pastoral space. Every time I look at the photo I expect to see geese and a horse, futilely fleeing his juvenile rage; or his beleaguered dad, storming out of the farmhouse after telling a young Grettir one more time that he has made a very bad choice. 20 00 Open Access Cohen, Jeffrey Jerome 3 03 06 10.21983/P3.0006.1.03 9 34 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 With the World, or Bound to Face the Sky the Postures of the Wild-Child of Hesse 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 01 eng 03 00 The Chronicle of the Benedictine monastery of Saint Peter of Erfurt, in Thuringia, includes two records of boys raised by wolves: 1304 Anno Domini MCCCIIII. Quidam puer in partibus Hassie est deprehensus. Hic, sicut postea cognitum est, et sicut ipse retulit, cum trium esset annorum, a lupis est captus et mirabiliter educatus. Nam, quamcumque predam lupi pro cibo rapuerant, semper meliorem partem sumentes et arbori circum-iacientes ipsi ad vorandum tribuebant. Tempore vero hiemis et frigoris foveam facientes, folia arborum et alias herbas impo-nentes, puerum superponebant, et se circum-ponentes, sic eum a frigore defendebant; ipsum eciam manibus et pedibus repere cogebant et secum currere tamdiu, quod ex use eorum velocitatem imitabatur et saltus maximos faciebat. Hic deprehensus lignis circumligatis erectus ire ad humanam simili-tudinem cogebatur. Idem vero puer sepius dicebat se multo carius cum lupis, si in se esset, quam cum hominibus diligere conver-sari. Hic puer in curiam Heinrici principis Hassie pro spectaculo est allatus.1[A certain boy in the region of Hesse was seized. This boy, as was known afterwards, and just as the boy told it himself, was taken by wolves when he was three years old and raised up wondrously. For, whatever prey the wolves snatched for food, they would take the better part and allot it to him to eat while they lay around a tree. In the time of winter and cold, they made a pit, and they put the leaves of trees and other plants in it, and placed them on the boy, surrounding him to protect him from the cold; they also compelled him to creep on hands and feet and to run with them for a long time, from which practice he imitated their speed and was able to make the greatest leaps. When he was seized, he was bound with wood to compel him to go erect in a human likeness. However, this boy often said that if it were up to him he much preferred to live among wolves than among men. This boy was conveyed to the court of Henry, Prince of Hesse, for a spectacle.] 30 00 The Chronicle of the Benedictine monastery of Saint Peter of Erfurt, in Thuringia, includes two records of boys raised by wolves: 1304 Anno Domini MCCCIIII. Quidam puer in partibus Hassie est deprehensus. Hic, sicut postea cognitum est, et sicut ipse retulit, cum trium esset annorum, a lupis est captus et mirabiliter educatus. Nam, quamcumque predam lupi pro cibo rapuerant, semper meliorem partem sumentes et arbori circum-iacientes ipsi ad vorandum tribuebant. Tempore vero hiemis et frigoris foveam facientes, folia arborum et alias herbas impo-nentes, puerum superponebant, et se circum-ponentes, sic eum a frigore defendebant; ipsum eciam manibus et pedibus repere cogebant et secum currere tamdiu, quod ex use eorum velocitatem imitabatur et saltus maximos faciebat. Hic deprehensus lignis circumligatis erectus ire ad humanam simili-tudinem cogebatur. Idem vero puer sepius dicebat se multo carius cum lupis, si in se esset, quam cum hominibus diligere conver-sari. Hic puer in curiam Heinrici principis Hassie pro spectaculo est allatus.1[A certain boy in the region of Hesse was seized. This boy, as was known afterwards, and just as the boy told it himself, was taken by wolves when he was three years old and raised up wondrously. For, whatever prey the wolves snatched for food, they would take the better part and allot it to him to eat while they lay around a tree. In the time of winter and cold, they made a pit, and they put the leaves of trees and other plants in it, and placed them on the boy, surrounding him to protect him from the cold; they also compelled him to creep on hands and feet and to run with them for a long time, from which practice he imitated their speed and was able to make the greatest leaps. When he was seized, he was bound with wood to compel him to go erect in a human likeness. However, this boy often said that if it were up to him he much preferred to live among wolves than among men. This boy was conveyed to the court of Henry, Prince of Hesse, for a spectacle.] 20 00 Open Access Steel, Karl 4 03 06 10.21983/P3.0006.1.04 35 63 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Animals and the Medieval Culture of Empire 1 A01 Sharon Kinoshita Sharon Kinoshita 40 03s65by71 University of California, Santa Cruz 01 eng 03 00 In the opening scene of the Chanson de Roland, the pagan king Marsile sends Charlemagne an offer of gifts, tribute, and loyalty if the Franks will lift their siege of Saragossa and go home. The suggestion originally comes from Blancandrin, Marsile’s respected and most trusted advisor: Mandez Carlun, a l’orguillus, al fier,Fedeilz servises e mult granz amistez:Vos li durrez urs e leons e chens,Set cenz camelz e mil hosturs müers,D’or e d’argent quatre cenz muls cargez,Cinquante carre qu’en ferat carïer. (ll. 28–33)1[To the proud and haughty Charles, send your loyal (feudal) service and great friendship. [Say] you will give him bears, lions, and dogs, 700 camels and 1000 molted hawks, 400 mules loaded with gold and silver, 50 carts to haul it all away.] 30 00 In the opening scene of the Chanson de Roland, the pagan king Marsile sends Charlemagne an offer of gifts, tribute, and loyalty if the Franks will lift their siege of Saragossa and go home. The suggestion originally comes from Blancandrin, Marsile’s respected and most trusted advisor: Mandez Carlun, a l’orguillus, al fier,Fedeilz servises e mult granz amistez:Vos li durrez urs e leons e chens,Set cenz camelz e mil hosturs müers,D’or e d’argent quatre cenz muls cargez,Cinquante carre qu’en ferat carïer. (ll. 28–33)1[To the proud and haughty Charles, send your loyal (feudal) service and great friendship. [Say] you will give him bears, lions, and dogs, 700 camels and 1000 molted hawks, 400 mules loaded with gold and silver, 50 carts to haul it all away.] 20 00 Open Access Kinoshita, Sharon 5 03 06 10.21983/P3.0006.1.05 65 90 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Floral and the Human 1 A01 Peggy McCracken Peggy McCracken 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 03 00 In twelfth-century versions of the Roman d’Alexandre, among the many curious beings Alexander the Great encounters during his exploration of India, we find a group of floral-human beings.1 After many days in the desert, Alexander and his men come to a forest and they see there a maiden sitting at the base of every tree. The forest provides for the maidens—whatever they might wish for in the morning, they receive by evening. The flower maidens are somehow bonded to the sheltering wood. They will die if they leave the shadow of its trees. When winter comes, they disappear into the ground, and when the summer returns with warm weather, they are reborn as white flowers. The flowers hold the maidens’ human form and the petals become dresses for the women. When Alexander and his men arrive in the forest, the flower maidens welcome them eagerly. There is nothing these maidens love more than men, the text tells us, and Alexander’s men have never seen more beautiful women.2 Indeed, Alexander is “troubled” (effreés, l. 3367) by the sight of such beautiful creaturesand he declares that he and his army will stay with them for four days. When his men enter the forest, the maidens receive them without hesitation. Each chooses a soldier, and encourages him to pursue his desires. 30 00 In twelfth-century versions of the Roman d’Alexandre, among the many curious beings Alexander the Great encounters during his exploration of India, we find a group of floral-human beings.1 After many days in the desert, Alexander and his men come to a forest and they see there a maiden sitting at the base of every tree. The forest provides for the maidens—whatever they might wish for in the morning, they receive by evening. The flower maidens are somehow bonded to the sheltering wood. They will die if they leave the shadow of its trees. When winter comes, they disappear into the ground, and when the summer returns with warm weather, they are reborn as white flowers. The flowers hold the maidens’ human form and the petals become dresses for the women. When Alexander and his men arrive in the forest, the flower maidens welcome them eagerly. There is nothing these maidens love more than men, the text tells us, and Alexander’s men have never seen more beautiful women.2 Indeed, Alexander is “troubled” (effreés, l. 3367) by the sight of such beautiful creaturesand he declares that he and his army will stay with them for four days. When his men enter the forest, the maidens receive them without hesitation. Each chooses a soldier, and encourages him to pursue his desires. 20 00 Open Access McCracken, Peggy 6 03 06 10.21983/P3.0006.1.06 91 121 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Exemplary Rocks 1 A01 Kellie Roberston Kellie Roberston 40 01y2jtd41 University of Wisconsin-Madison 40 047s2c258 University of Maryland, College Park 01 eng 03 00 Rocks are usually synonymous with insentience: to say that so-and-so has “a heart of stone” or is “dumber than a box of rocks” is to give insult by degrading the dynamic into the inert. In such comparisons, the rock contaminates the human to the extent that the latter is drained of all sensation and vitality. Such popular wisdom is codified into metaphysical precept in Heide-gger’s attempt to define “world” by parsing it according to levels of perceived sentience and a capacity for active engagement with the environment. Heidegger’s theses have been much discussed by critics interested in “the animal” and “the human:” both Derrida and Agamben lament how these rigid categories obscure the common ground of animality and humanity especially with respect to language. Despite this desire to resist the singularity of the human, it is only recently that critics such as Graham Harman, Jane Bennett, and (within Medieval Studies) Jeffrey J. Cohen have challenged the third leg of Heidegger’s ontological stool: the poverty of the inanimate world. 30 00 Rocks are usually synonymous with insentience: to say that so-and-so has “a heart of stone” or is “dumber than a box of rocks” is to give insult by degrading the dynamic into the inert. In such comparisons, the rock contaminates the human to the extent that the latter is drained of all sensation and vitality. Such popular wisdom is codified into metaphysical precept in Heide-gger’s attempt to define “world” by parsing it according to levels of perceived sentience and a capacity for active engagement with the environment. Heidegger’s theses have been much discussed by critics interested in “the animal” and “the human:” both Derrida and Agamben lament how these rigid categories obscure the common ground of animality and humanity especially with respect to language. Despite this desire to resist the singularity of the human, it is only recently that critics such as Graham Harman, Jane Bennett, and (within Medieval Studies) Jeffrey J. Cohen have challenged the third leg of Heidegger’s ontological stool: the poverty of the inanimate world. 20 00 Open Access Roberston, Kellie 7 03 06 10.21983/P3.0006.1.07 123 152 30 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mineral Virtue 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 “I became a wanderer, making long journeys to mining districts, so that I could learn by observation the nature of metals,” writes Albertus Magnus in his treatise De Mineralibus.1 Perhaps it was then that he asked so “assiduously in different parts of the world” after a complete text of the Lapidary of Aristotle, a work he only knew through excerpts.2 Albert’s hardships testify to his commitment to the rigors of natural science (physica), the evidentiary standards of which are higher than for astrology or magic, draw as he still does from those lesser authorities.3 But Albert has his limits, being quick to demarcate between science and divinatory practices of geomancy, necromancy, and so on—all “nonsensomancy” [garamantia], as he likes to call it. 30 00 “I became a wanderer, making long journeys to mining districts, so that I could learn by observation the nature of metals,” writes Albertus Magnus in his treatise De Mineralibus.1 Perhaps it was then that he asked so “assiduously in different parts of the world” after a complete text of the Lapidary of Aristotle, a work he only knew through excerpts.2 Albert’s hardships testify to his commitment to the rigors of natural science (physica), the evidentiary standards of which are higher than for astrology or magic, draw as he still does from those lesser authorities.3 But Albert has his limits, being quick to demarcate between science and divinatory practices of geomancy, necromancy, and so on—all “nonsensomancy” [garamantia], as he likes to call it. 20 00 Open Access Allen, Valeria 8 03 06 10.21983/P3.0006.1.08 153 172 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 You Are Here A Manifesto 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 Imagine a piece of paper, completely blank, except for a small black dot directly in the center. And then a small arrow pointing to the dot, and next to that, the phrase is written, “You Are Here.” Strictly speaking, the dot is where you are. Paraphrasing Italo Calvino’s short story, “All At One Point,” which describes the time before the universe expanded, when all of matter was concen-trated in a single point, and everyone and everything, in the words of the narrator, “was packed in there like sardines,”2 every point of each of us coincides with every point of everyone else in a single point, which is where we all are. There is nowhere else. The idea of distance, or separation, or estrangement, is a dream. Which is not to say we should not mind the gaps. 30 00 Imagine a piece of paper, completely blank, except for a small black dot directly in the center. And then a small arrow pointing to the dot, and next to that, the phrase is written, “You Are Here.” Strictly speaking, the dot is where you are. Paraphrasing Italo Calvino’s short story, “All At One Point,” which describes the time before the universe expanded, when all of matter was concen-trated in a single point, and everyone and everything, in the words of the narrator, “was packed in there like sardines,”2 every point of each of us coincides with every point of everyone else in a single point, which is where we all are. There is nowhere else. The idea of distance, or separation, or estrangement, is a dream. Which is not to say we should not mind the gaps. 20 00 Open Access Joy, Eileen A. 9 03 06 10.21983/P3.0006.1.09 173 209 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sheep Tracks A Multi-Species Impression 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 By chance, I wrote these last words on the rim of Vesuvius, right near Pompeii, less that eight years ago. For more than twenty years, each time I’ve returned to Naples, I’ve thought of her. Who better than the Gradiva, I said to myself this time, the Gradiva of Jensen and of Freud, could illustrate this outbidding in the mal d’archive? Jacques Derrida, Archive Fever: A Freudian Impression Here, in a postscript to Archive Fever, Jacques Derrida tells an autobiographical or pseudo-autobiographical story of how it is that he came to write these words. Covering his tracks as he appears to uncover them, back-tracking over the marks on paper that are now variously hosted in print and electronic media, he winks at us. Was he there on that rim, above that very volcano? Did his own mal’ d’archive lead him to a supposed origin—an origin that reduces his Neapolitan jaunts to a repetition compulsion? As we read them, Derrida’s tracks flicker in and out of being, and by that flickering they seem to speak for themselves, to be more curiously present, if only to the moment of encounter we name “reading.” 30 00 By chance, I wrote these last words on the rim of Vesuvius, right near Pompeii, less that eight years ago. For more than twenty years, each time I’ve returned to Naples, I’ve thought of her. Who better than the Gradiva, I said to myself this time, the Gradiva of Jensen and of Freud, could illustrate this outbidding in the mal d’archive? Jacques Derrida, Archive Fever: A Freudian Impression Here, in a postscript to Archive Fever, Jacques Derrida tells an autobiographical or pseudo-autobiographical story of how it is that he came to write these words. Covering his tracks as he appears to uncover them, back-tracking over the marks on paper that are now variously hosted in print and electronic media, he winks at us. Was he there on that rim, above that very volcano? Did his own mal’ d’archive lead him to a supposed origin—an origin that reduces his Neapolitan jaunts to a repetition compulsion? As we read them, Derrida’s tracks flicker in and out of being, and by that flickering they seem to speak for themselves, to be more curiously present, if only to the moment of encounter we name “reading.” 20 00 Open Access Yates, Julian 10 03 06 10.21983/P3.0006.1.10 211 236 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Renaissance Res Publica of Furniture 1 A01 21 0000000318552340 Julia Reinhard Lupton Julia Reinhard Lupton 40 04gyf1771 University of California, Irvine 01 eng 03 00 Is the Renaissance joint-stool zany, interesting, or cute? These are the categories put forward by Sianne Ngai in order to capture our contemporary experience of all things cultural, from ninja bunnies to crowdsourced dreams:The interesting, cute, and zany index—and are thus each in a historically concrete way about—capitalism’s most socially binding processes: production, in the case of the zany (an aesthetic about performance as not just artful play but also affective labor); cir-culation, in the case of the interesting (a serial, recursive aesthetic of informational relays and communicative exchange); and consumption, in the case of the cute (an aesthetic disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor towards ostensibly subordinate and unthreatening commodities). 30 00 Is the Renaissance joint-stool zany, interesting, or cute? These are the categories put forward by Sianne Ngai in order to capture our contemporary experience of all things cultural, from ninja bunnies to crowdsourced dreams:The interesting, cute, and zany index—and are thus each in a historically concrete way about—capitalism’s most socially binding processes: production, in the case of the zany (an aesthetic about performance as not just artful play but also affective labor); cir-culation, in the case of the interesting (a serial, recursive aesthetic of informational relays and communicative exchange); and consumption, in the case of the cute (an aesthetic disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor towards ostensibly subordinate and unthreatening commodities). 20 00 Open Access Lupton, Julia Reinhard 11 03 06 10.21983/P3.0006.1.11 237 269 33 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Powers of the Hoard Further Notes on Material Agency 1 A01 Jane Bennett Jane Bennett 40 00za53h95 Johns Hopkins University 01 eng 03 00 There exists a rich metaphysical tradition in the West that engages stuff—animal, vegetable, and mineral—as lively intensity, as vital force. Take, for example, Spinoza’s belief that every body (person, fly, stone) comes with a conatus or impetus to seek alliances that enhance its vitality; or Diderot’s materialist depiction of the universe as a spiderweb of vibrating threads; or Thoreau’s account of The Wild within human and nonhuman nature; or Lucretius’s physics of atoms that swerve, which Michel Serres spun into an ontology of fluctuating ado or noise. I wrote a book called Vibrant Matter that position-ed itself within this tradition, which Althusser termed “aleatory materialism.”2 But my book was not just a response to other books. It was also, quite literally, a reply to a call from matter that had congealing into “things.” In particular, some items of trash had collected in the gutter of a street in Baltimore—one large black workglove, one dense mat of oak pollen, one unblemished dead rat, one white plastic bottle cap, one smooth stick of wood—and one sunny day as I walked by, they called me over to them. I stood enchanted by the tableau they formed, and for a few surreal moments thought I caught a glimpse into a parallel world of vibrant, powerful things. Sullen objects revealed themselves to be expressive “actants,” to use Latour’s term, or, to quote one hoarder attempting to justify his collecting, “The things speak out.” 30 00 There exists a rich metaphysical tradition in the West that engages stuff—animal, vegetable, and mineral—as lively intensity, as vital force. Take, for example, Spinoza’s belief that every body (person, fly, stone) comes with a conatus or impetus to seek alliances that enhance its vitality; or Diderot’s materialist depiction of the universe as a spiderweb of vibrating threads; or Thoreau’s account of The Wild within human and nonhuman nature; or Lucretius’s physics of atoms that swerve, which Michel Serres spun into an ontology of fluctuating ado or noise. I wrote a book called Vibrant Matter that position-ed itself within this tradition, which Althusser termed “aleatory materialism.”2 But my book was not just a response to other books. It was also, quite literally, a reply to a call from matter that had congealing into “things.” In particular, some items of trash had collected in the gutter of a street in Baltimore—one large black workglove, one dense mat of oak pollen, one unblemished dead rat, one white plastic bottle cap, one smooth stick of wood—and one sunny day as I walked by, they called me over to them. I stood enchanted by the tableau they formed, and for a few surreal moments thought I caught a glimpse into a parallel world of vibrant, powerful things. Sullen objects revealed themselves to be expressive “actants,” to use Latour’s term, or, to quote one hoarder attempting to justify his collecting, “The things speak out.” 20 00 Open Access Bennett, Jane 12 03 06 10.21983/P3.0006.1.12 273 279 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speaking Stones, John Muir, and a Slower (Non)Humanities 1 A01 Lowell Duckert Lowell Duckert 40 00y4zzh67 George Washington University 40 01sbq1a82 University of Delaware 01 eng 03 00 By the time you arrive at this point in the collection, you will have realized that the essays herein demand a slow reading. Perfect: the practice of tracing con-nections between actors, slowly, as Bruno Latour’s ant (or ANT, short for Actor Network Theory) would tell us, is the way to go. According to Latour’s self-defined “slowciology,” we are to follow the actors themselves—examining the relationships they assemble, interrupt, or disturb. Latour’s process is “agonizingly slow” by necessity.2 Yet in writing my response, I find myself running down a fast lane. The time when these authors first presented their work at the conference, “Animal, Vegetable, Mineral: Ethics and Objects in the Medieval and Early Modern Periods,” coincided with one of the most accelerated points in my doctoral career. Then as now, I was deep in my dissertation topic of eco-materialism: reconceiving early modern waterscapes as vibrant, living, actor-networks of (non)human desires and assemblages. Ecocriticism is a vast road to travel. And six months later, I was racing onto the job market. Do academics move too hastily? So let us slow down. My response will pick up on Eileen Joy’s idea of the humanist as a “slow recording device,” a being involved in a world of complication who also describes a world of co-implication, of sentience, becomings, and desires shared between actors inanimate and animate. What happens when we slow down, when we take the time to take these ethical steps seriously? 30 00 By the time you arrive at this point in the collection, you will have realized that the essays herein demand a slow reading. Perfect: the practice of tracing con-nections between actors, slowly, as Bruno Latour’s ant (or ANT, short for Actor Network Theory) would tell us, is the way to go. According to Latour’s self-defined “slowciology,” we are to follow the actors themselves—examining the relationships they assemble, interrupt, or disturb. Latour’s process is “agonizingly slow” by necessity.2 Yet in writing my response, I find myself running down a fast lane. The time when these authors first presented their work at the conference, “Animal, Vegetable, Mineral: Ethics and Objects in the Medieval and Early Modern Periods,” coincided with one of the most accelerated points in my doctoral career. Then as now, I was deep in my dissertation topic of eco-materialism: reconceiving early modern waterscapes as vibrant, living, actor-networks of (non)human desires and assemblages. Ecocriticism is a vast road to travel. And six months later, I was racing onto the job market. Do academics move too hastily? So let us slow down. My response will pick up on Eileen Joy’s idea of the humanist as a “slow recording device,” a being involved in a world of complication who also describes a world of co-implication, of sentience, becomings, and desires shared between actors inanimate and animate. What happens when we slow down, when we take the time to take these ethical steps seriously? 20 00 Open Access Duckert, Lowell 13 03 06 10.21983/P3.0006.1.13 281 288 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ruinous Monument' Transporting Objects in Herbert's Persepolis 1 A01 Nedda Mehdizadeh Nedda Mehdizadeh 40 00y4zzh67 George Washington University 40 046rm7j60 University of California, Los Angeles 01 eng 03 00 As part of his journey to Persia in 1626, travel writer Sir Thomas Herbert visits the ruins of the ancient political center of the Persian Empire, Persepolis. Rather than narrating the customs, dress, or histories of the inhabitants as he does elsewhere in his travelogue, A Relation of Some Yeares Travaile, Herbert gives a detailed account of the size, structure, and material of the palace. He sifts through the stones of the rubble and imagines what they would have looked like when the structure was intact before Alexander the Great’s con-quest. Herbert’s account describes an encounter with Persia’s past, and is defined by the objects that remain after its fall. In a narrative primarily concerned with the inhabitants of a foreign place—whether the natives of the early modern period or the ghosts of the ancient past—why does Herbert dwell on the stones that once made up the palace of Persepolis? This moment in Herbert’s narrative is one he cannot escape. In fact, he goes back to the section “Persepolis” with each successive edition of his travelogue, reimagining it by linguistically recon-structing it through narrative. The fragments, then, continue to call to him long after its first publication in 1634. As the contributors to this volume suggest in their essays about non-human literature and culture, these seemingly mundane objects are in fact full of potential and power. Like the objects that called to Jane Bennett, inspiring her book Vibrant Matter and resurfacing in her essay “Powers of the Hoard,” Herbert’s stones beckon to him to return to Persia and to dwell in its past. Persepolis—as a term, concept, space—withstands the test of time, carrying with it a layered story that resides in the stones which “draw us near and provoke our deep attachments to them.” 30 00 As part of his journey to Persia in 1626, travel writer Sir Thomas Herbert visits the ruins of the ancient political center of the Persian Empire, Persepolis. Rather than narrating the customs, dress, or histories of the inhabitants as he does elsewhere in his travelogue, A Relation of Some Yeares Travaile, Herbert gives a detailed account of the size, structure, and material of the palace. He sifts through the stones of the rubble and imagines what they would have looked like when the structure was intact before Alexander the Great’s con-quest. Herbert’s account describes an encounter with Persia’s past, and is defined by the objects that remain after its fall. In a narrative primarily concerned with the inhabitants of a foreign place—whether the natives of the early modern period or the ghosts of the ancient past—why does Herbert dwell on the stones that once made up the palace of Persepolis? This moment in Herbert’s narrative is one he cannot escape. In fact, he goes back to the section “Persepolis” with each successive edition of his travelogue, reimagining it by linguistically recon-structing it through narrative. The fragments, then, continue to call to him long after its first publication in 1634. As the contributors to this volume suggest in their essays about non-human literature and culture, these seemingly mundane objects are in fact full of potential and power. Like the objects that called to Jane Bennett, inspiring her book Vibrant Matter and resurfacing in her essay “Powers of the Hoard,” Herbert’s stones beckon to him to return to Persia and to dwell in its past. Persepolis—as a term, concept, space—withstands the test of time, carrying with it a layered story that resides in the stones which “draw us near and provoke our deep attachments to them.” 20 00 Open Access Mehdizadeh, Nedda 14 03 06 10.21983/P3.0006.1.14 289 295 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Animal, Vegetable, Mineral Twenty Questions 1 A01 Jonathan Gil Harris Jonathan Gil Harris 40 00y4zzh67 George Washington University 40 02j1xr113 Ashoka University 01 eng 03 00 Animal, Vegetable, Mineral. If this volume’s theme sounds like a premodern version of the parlor game “Twenty Questions,” it is perhaps only appropriate that my response should also take the form of twenty questions. The parlor game’s questions seek to arrive through processes of elimination and guesswork at a positive individual entity; but I hope my questions will do the opposite—that is, resist the allure of any singular or final answer. So here goes.1. What do we mean by the “nonhuman” in medieval and early modern culture?2. Are we dealing (as the “Animal, Vegetable, Mineral” parlor game does) with taxonomies of the natural world that presume, as did Linnaeus in his Systema Naturae of 1735, the exteriority of the nonhuman to the human?3. Is the nonhuman itself subdivided according to this principle of absolute exteriority, which would make of animal, vegetable, and mineral entirely discrete entities? 4. Or did medieval and early modern writers see the nonhuman as always already in the human—and, by logical extension, the mineral in the vegetable, the vegetable in the animal, and so on? 30 00 Animal, Vegetable, Mineral. If this volume’s theme sounds like a premodern version of the parlor game “Twenty Questions,” it is perhaps only appropriate that my response should also take the form of twenty questions. The parlor game’s questions seek to arrive through processes of elimination and guesswork at a positive individual entity; but I hope my questions will do the opposite—that is, resist the allure of any singular or final answer. So here goes.1. What do we mean by the “nonhuman” in medieval and early modern culture?2. Are we dealing (as the “Animal, Vegetable, Mineral” parlor game does) with taxonomies of the natural world that presume, as did Linnaeus in his Systema Naturae of 1735, the exteriority of the nonhuman to the human?3. Is the nonhuman itself subdivided according to this principle of absolute exteriority, which would make of animal, vegetable, and mineral entirely discrete entities? 4. Or did medieval and early modern writers see the nonhuman as always already in the human—and, by logical extension, the mineral in the vegetable, the vegetable in the animal, and so on? 20 00 Open Access Harris, Jonathan Gil 15 03 06 10.21983/P3.0006.1.15 297 297 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/animal-vegetable-mineral-ethics-and-objects/ Brooklyn, NY 04 01 20120507 Cohen, Jeffrey Jerome 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615625355 20 08 20120507 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/animal-vegetable-mineral-ethics-and-objects 20 08 20120507 02 25.00 USD WORLD urn:uuid:1d903886-7e80-43b5-b14a-6f45aa0bf737 03 01 01 thoth-work-id urn:uuid:0090dbfb-bc8f-44aa-9803-08b277861b14 01 thoth-publication-id urn:uuid:1d903886-7e80-43b5-b14a-6f45aa0bf737 06 10.21983/P3.0006.1.00 01 internal-reference 0006 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Animal, Vegetable, Mineral Ethics and Objects 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 295 03 B2 Biosphere 12 JFC 10 NAT010000 93 PSAF 93 JBCC2 10 PHI005000 B2 Posthumanism 93 DSB B2 Premodern 20 object-oriented ontology; posthumanism; cultural studies; materialism; thing studies 01 06 02 00 03 00 Animal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? 30 00 Animal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0006.1.00_frontcover.jpg 1 03 06 10.21983/P3.0006.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0006.1.02 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction All Things 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Though superseded by a newer translation, Denton Fox and Hermann Pálsson’s version of Grettir’s Sagais a text to which I feel a considerable attachment.1 Its rendering of the Old Norse narrative is crisp and lucid, capturing the austere yet wry style of the original prose. Even more than its artistry, though, what compels me about the Fox and Pálsson translation is the series of photographs with which the book begins. Between the introduction and the story’s instigation have been inserted twelve poorly reproduced black and white pictures depicting locales mentioned in the saga. Unattributed and unpaginated, this interlude of images captures the multiplicity of histories, real and imagined, that animate the Icelandic narrative and its English reworking: a seeming timelessness in which the landscape is ever as it has been; the ninth through eleventh centuries, when Grettir and his ancestors were supposed to have journeyed these frigid expanses; the early fourteenth century, when the saga’s unknown author dreamt a past that never was and placed its unfolding action at familiar fjords, glaciers, and vales; and the 1970s, when Fox and Pálsson published their English translation of Grettir’s Saga, the first in sixty years. The initial photograph, for example, is labeled “Bjarg in Midfjord, site of Grettir’s birth.” The image depicts an undulation of grass, a lone rock, and a distant mountain—presumably Kaldbak, the chilly ridge that Grettir’s great-grandfather Onund darkly spoke of having traded his Norwegian grain fields to possess. Yet the picture also contains a farmhouse that if not exactly modern is in no way medieval, with its bright paint, three expansive levels, and chimney. The telephone poles and curve of road quietly argue against placing a young Grettir within that home. Yet the story radiates such a keen sense of domestic vitality that it is difficult to resist thinking of this boy destined for a life no farm could contain, creating his particular brand of chaos within that pastoral space. Every time I look at the photo I expect to see geese and a horse, futilely fleeing his juvenile rage; or his beleaguered dad, storming out of the farmhouse after telling a young Grettir one more time that he has made a very bad choice. 30 00 Though superseded by a newer translation, Denton Fox and Hermann Pálsson’s version of Grettir’s Sagais a text to which I feel a considerable attachment.1 Its rendering of the Old Norse narrative is crisp and lucid, capturing the austere yet wry style of the original prose. Even more than its artistry, though, what compels me about the Fox and Pálsson translation is the series of photographs with which the book begins. Between the introduction and the story’s instigation have been inserted twelve poorly reproduced black and white pictures depicting locales mentioned in the saga. Unattributed and unpaginated, this interlude of images captures the multiplicity of histories, real and imagined, that animate the Icelandic narrative and its English reworking: a seeming timelessness in which the landscape is ever as it has been; the ninth through eleventh centuries, when Grettir and his ancestors were supposed to have journeyed these frigid expanses; the early fourteenth century, when the saga’s unknown author dreamt a past that never was and placed its unfolding action at familiar fjords, glaciers, and vales; and the 1970s, when Fox and Pálsson published their English translation of Grettir’s Saga, the first in sixty years. The initial photograph, for example, is labeled “Bjarg in Midfjord, site of Grettir’s birth.” The image depicts an undulation of grass, a lone rock, and a distant mountain—presumably Kaldbak, the chilly ridge that Grettir’s great-grandfather Onund darkly spoke of having traded his Norwegian grain fields to possess. Yet the picture also contains a farmhouse that if not exactly modern is in no way medieval, with its bright paint, three expansive levels, and chimney. The telephone poles and curve of road quietly argue against placing a young Grettir within that home. Yet the story radiates such a keen sense of domestic vitality that it is difficult to resist thinking of this boy destined for a life no farm could contain, creating his particular brand of chaos within that pastoral space. Every time I look at the photo I expect to see geese and a horse, futilely fleeing his juvenile rage; or his beleaguered dad, storming out of the farmhouse after telling a young Grettir one more time that he has made a very bad choice. 20 00 Open Access Cohen, Jeffrey Jerome 3 03 06 10.21983/P3.0006.1.03 9 34 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 With the World, or Bound to Face the Sky the Postures of the Wild-Child of Hesse 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 01 eng 03 00 The Chronicle of the Benedictine monastery of Saint Peter of Erfurt, in Thuringia, includes two records of boys raised by wolves: 1304 Anno Domini MCCCIIII. Quidam puer in partibus Hassie est deprehensus. Hic, sicut postea cognitum est, et sicut ipse retulit, cum trium esset annorum, a lupis est captus et mirabiliter educatus. Nam, quamcumque predam lupi pro cibo rapuerant, semper meliorem partem sumentes et arbori circum-iacientes ipsi ad vorandum tribuebant. Tempore vero hiemis et frigoris foveam facientes, folia arborum et alias herbas impo-nentes, puerum superponebant, et se circum-ponentes, sic eum a frigore defendebant; ipsum eciam manibus et pedibus repere cogebant et secum currere tamdiu, quod ex use eorum velocitatem imitabatur et saltus maximos faciebat. Hic deprehensus lignis circumligatis erectus ire ad humanam simili-tudinem cogebatur. Idem vero puer sepius dicebat se multo carius cum lupis, si in se esset, quam cum hominibus diligere conver-sari. Hic puer in curiam Heinrici principis Hassie pro spectaculo est allatus.1[A certain boy in the region of Hesse was seized. This boy, as was known afterwards, and just as the boy told it himself, was taken by wolves when he was three years old and raised up wondrously. For, whatever prey the wolves snatched for food, they would take the better part and allot it to him to eat while they lay around a tree. In the time of winter and cold, they made a pit, and they put the leaves of trees and other plants in it, and placed them on the boy, surrounding him to protect him from the cold; they also compelled him to creep on hands and feet and to run with them for a long time, from which practice he imitated their speed and was able to make the greatest leaps. When he was seized, he was bound with wood to compel him to go erect in a human likeness. However, this boy often said that if it were up to him he much preferred to live among wolves than among men. This boy was conveyed to the court of Henry, Prince of Hesse, for a spectacle.] 30 00 The Chronicle of the Benedictine monastery of Saint Peter of Erfurt, in Thuringia, includes two records of boys raised by wolves: 1304 Anno Domini MCCCIIII. Quidam puer in partibus Hassie est deprehensus. Hic, sicut postea cognitum est, et sicut ipse retulit, cum trium esset annorum, a lupis est captus et mirabiliter educatus. Nam, quamcumque predam lupi pro cibo rapuerant, semper meliorem partem sumentes et arbori circum-iacientes ipsi ad vorandum tribuebant. Tempore vero hiemis et frigoris foveam facientes, folia arborum et alias herbas impo-nentes, puerum superponebant, et se circum-ponentes, sic eum a frigore defendebant; ipsum eciam manibus et pedibus repere cogebant et secum currere tamdiu, quod ex use eorum velocitatem imitabatur et saltus maximos faciebat. Hic deprehensus lignis circumligatis erectus ire ad humanam simili-tudinem cogebatur. Idem vero puer sepius dicebat se multo carius cum lupis, si in se esset, quam cum hominibus diligere conver-sari. Hic puer in curiam Heinrici principis Hassie pro spectaculo est allatus.1[A certain boy in the region of Hesse was seized. This boy, as was known afterwards, and just as the boy told it himself, was taken by wolves when he was three years old and raised up wondrously. For, whatever prey the wolves snatched for food, they would take the better part and allot it to him to eat while they lay around a tree. In the time of winter and cold, they made a pit, and they put the leaves of trees and other plants in it, and placed them on the boy, surrounding him to protect him from the cold; they also compelled him to creep on hands and feet and to run with them for a long time, from which practice he imitated their speed and was able to make the greatest leaps. When he was seized, he was bound with wood to compel him to go erect in a human likeness. However, this boy often said that if it were up to him he much preferred to live among wolves than among men. This boy was conveyed to the court of Henry, Prince of Hesse, for a spectacle.] 20 00 Open Access Steel, Karl 4 03 06 10.21983/P3.0006.1.04 35 63 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Animals and the Medieval Culture of Empire 1 A01 Sharon Kinoshita Sharon Kinoshita 40 03s65by71 University of California, Santa Cruz 01 eng 03 00 In the opening scene of the Chanson de Roland, the pagan king Marsile sends Charlemagne an offer of gifts, tribute, and loyalty if the Franks will lift their siege of Saragossa and go home. The suggestion originally comes from Blancandrin, Marsile’s respected and most trusted advisor: Mandez Carlun, a l’orguillus, al fier,Fedeilz servises e mult granz amistez:Vos li durrez urs e leons e chens,Set cenz camelz e mil hosturs müers,D’or e d’argent quatre cenz muls cargez,Cinquante carre qu’en ferat carïer. (ll. 28–33)1[To the proud and haughty Charles, send your loyal (feudal) service and great friendship. [Say] you will give him bears, lions, and dogs, 700 camels and 1000 molted hawks, 400 mules loaded with gold and silver, 50 carts to haul it all away.] 30 00 In the opening scene of the Chanson de Roland, the pagan king Marsile sends Charlemagne an offer of gifts, tribute, and loyalty if the Franks will lift their siege of Saragossa and go home. The suggestion originally comes from Blancandrin, Marsile’s respected and most trusted advisor: Mandez Carlun, a l’orguillus, al fier,Fedeilz servises e mult granz amistez:Vos li durrez urs e leons e chens,Set cenz camelz e mil hosturs müers,D’or e d’argent quatre cenz muls cargez,Cinquante carre qu’en ferat carïer. (ll. 28–33)1[To the proud and haughty Charles, send your loyal (feudal) service and great friendship. [Say] you will give him bears, lions, and dogs, 700 camels and 1000 molted hawks, 400 mules loaded with gold and silver, 50 carts to haul it all away.] 20 00 Open Access Kinoshita, Sharon 5 03 06 10.21983/P3.0006.1.05 65 90 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Floral and the Human 1 A01 Peggy McCracken Peggy McCracken 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 03 00 In twelfth-century versions of the Roman d’Alexandre, among the many curious beings Alexander the Great encounters during his exploration of India, we find a group of floral-human beings.1 After many days in the desert, Alexander and his men come to a forest and they see there a maiden sitting at the base of every tree. The forest provides for the maidens—whatever they might wish for in the morning, they receive by evening. The flower maidens are somehow bonded to the sheltering wood. They will die if they leave the shadow of its trees. When winter comes, they disappear into the ground, and when the summer returns with warm weather, they are reborn as white flowers. The flowers hold the maidens’ human form and the petals become dresses for the women. When Alexander and his men arrive in the forest, the flower maidens welcome them eagerly. There is nothing these maidens love more than men, the text tells us, and Alexander’s men have never seen more beautiful women.2 Indeed, Alexander is “troubled” (effreés, l. 3367) by the sight of such beautiful creaturesand he declares that he and his army will stay with them for four days. When his men enter the forest, the maidens receive them without hesitation. Each chooses a soldier, and encourages him to pursue his desires. 30 00 In twelfth-century versions of the Roman d’Alexandre, among the many curious beings Alexander the Great encounters during his exploration of India, we find a group of floral-human beings.1 After many days in the desert, Alexander and his men come to a forest and they see there a maiden sitting at the base of every tree. The forest provides for the maidens—whatever they might wish for in the morning, they receive by evening. The flower maidens are somehow bonded to the sheltering wood. They will die if they leave the shadow of its trees. When winter comes, they disappear into the ground, and when the summer returns with warm weather, they are reborn as white flowers. The flowers hold the maidens’ human form and the petals become dresses for the women. When Alexander and his men arrive in the forest, the flower maidens welcome them eagerly. There is nothing these maidens love more than men, the text tells us, and Alexander’s men have never seen more beautiful women.2 Indeed, Alexander is “troubled” (effreés, l. 3367) by the sight of such beautiful creaturesand he declares that he and his army will stay with them for four days. When his men enter the forest, the maidens receive them without hesitation. Each chooses a soldier, and encourages him to pursue his desires. 20 00 Open Access McCracken, Peggy 6 03 06 10.21983/P3.0006.1.06 91 121 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Exemplary Rocks 1 A01 Kellie Roberston Kellie Roberston 40 01y2jtd41 University of Wisconsin-Madison 40 047s2c258 University of Maryland, College Park 01 eng 03 00 Rocks are usually synonymous with insentience: to say that so-and-so has “a heart of stone” or is “dumber than a box of rocks” is to give insult by degrading the dynamic into the inert. In such comparisons, the rock contaminates the human to the extent that the latter is drained of all sensation and vitality. Such popular wisdom is codified into metaphysical precept in Heide-gger’s attempt to define “world” by parsing it according to levels of perceived sentience and a capacity for active engagement with the environment. Heidegger’s theses have been much discussed by critics interested in “the animal” and “the human:” both Derrida and Agamben lament how these rigid categories obscure the common ground of animality and humanity especially with respect to language. Despite this desire to resist the singularity of the human, it is only recently that critics such as Graham Harman, Jane Bennett, and (within Medieval Studies) Jeffrey J. Cohen have challenged the third leg of Heidegger’s ontological stool: the poverty of the inanimate world. 30 00 Rocks are usually synonymous with insentience: to say that so-and-so has “a heart of stone” or is “dumber than a box of rocks” is to give insult by degrading the dynamic into the inert. In such comparisons, the rock contaminates the human to the extent that the latter is drained of all sensation and vitality. Such popular wisdom is codified into metaphysical precept in Heide-gger’s attempt to define “world” by parsing it according to levels of perceived sentience and a capacity for active engagement with the environment. Heidegger’s theses have been much discussed by critics interested in “the animal” and “the human:” both Derrida and Agamben lament how these rigid categories obscure the common ground of animality and humanity especially with respect to language. Despite this desire to resist the singularity of the human, it is only recently that critics such as Graham Harman, Jane Bennett, and (within Medieval Studies) Jeffrey J. Cohen have challenged the third leg of Heidegger’s ontological stool: the poverty of the inanimate world. 20 00 Open Access Roberston, Kellie 7 03 06 10.21983/P3.0006.1.07 123 152 30 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mineral Virtue 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 “I became a wanderer, making long journeys to mining districts, so that I could learn by observation the nature of metals,” writes Albertus Magnus in his treatise De Mineralibus.1 Perhaps it was then that he asked so “assiduously in different parts of the world” after a complete text of the Lapidary of Aristotle, a work he only knew through excerpts.2 Albert’s hardships testify to his commitment to the rigors of natural science (physica), the evidentiary standards of which are higher than for astrology or magic, draw as he still does from those lesser authorities.3 But Albert has his limits, being quick to demarcate between science and divinatory practices of geomancy, necromancy, and so on—all “nonsensomancy” [garamantia], as he likes to call it. 30 00 “I became a wanderer, making long journeys to mining districts, so that I could learn by observation the nature of metals,” writes Albertus Magnus in his treatise De Mineralibus.1 Perhaps it was then that he asked so “assiduously in different parts of the world” after a complete text of the Lapidary of Aristotle, a work he only knew through excerpts.2 Albert’s hardships testify to his commitment to the rigors of natural science (physica), the evidentiary standards of which are higher than for astrology or magic, draw as he still does from those lesser authorities.3 But Albert has his limits, being quick to demarcate between science and divinatory practices of geomancy, necromancy, and so on—all “nonsensomancy” [garamantia], as he likes to call it. 20 00 Open Access Allen, Valeria 8 03 06 10.21983/P3.0006.1.08 153 172 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 You Are Here A Manifesto 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 Imagine a piece of paper, completely blank, except for a small black dot directly in the center. And then a small arrow pointing to the dot, and next to that, the phrase is written, “You Are Here.” Strictly speaking, the dot is where you are. Paraphrasing Italo Calvino’s short story, “All At One Point,” which describes the time before the universe expanded, when all of matter was concen-trated in a single point, and everyone and everything, in the words of the narrator, “was packed in there like sardines,”2 every point of each of us coincides with every point of everyone else in a single point, which is where we all are. There is nowhere else. The idea of distance, or separation, or estrangement, is a dream. Which is not to say we should not mind the gaps. 30 00 Imagine a piece of paper, completely blank, except for a small black dot directly in the center. And then a small arrow pointing to the dot, and next to that, the phrase is written, “You Are Here.” Strictly speaking, the dot is where you are. Paraphrasing Italo Calvino’s short story, “All At One Point,” which describes the time before the universe expanded, when all of matter was concen-trated in a single point, and everyone and everything, in the words of the narrator, “was packed in there like sardines,”2 every point of each of us coincides with every point of everyone else in a single point, which is where we all are. There is nowhere else. The idea of distance, or separation, or estrangement, is a dream. Which is not to say we should not mind the gaps. 20 00 Open Access Joy, Eileen A. 9 03 06 10.21983/P3.0006.1.09 173 209 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sheep Tracks A Multi-Species Impression 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 By chance, I wrote these last words on the rim of Vesuvius, right near Pompeii, less that eight years ago. For more than twenty years, each time I’ve returned to Naples, I’ve thought of her. Who better than the Gradiva, I said to myself this time, the Gradiva of Jensen and of Freud, could illustrate this outbidding in the mal d’archive? Jacques Derrida, Archive Fever: A Freudian Impression Here, in a postscript to Archive Fever, Jacques Derrida tells an autobiographical or pseudo-autobiographical story of how it is that he came to write these words. Covering his tracks as he appears to uncover them, back-tracking over the marks on paper that are now variously hosted in print and electronic media, he winks at us. Was he there on that rim, above that very volcano? Did his own mal’ d’archive lead him to a supposed origin—an origin that reduces his Neapolitan jaunts to a repetition compulsion? As we read them, Derrida’s tracks flicker in and out of being, and by that flickering they seem to speak for themselves, to be more curiously present, if only to the moment of encounter we name “reading.” 30 00 By chance, I wrote these last words on the rim of Vesuvius, right near Pompeii, less that eight years ago. For more than twenty years, each time I’ve returned to Naples, I’ve thought of her. Who better than the Gradiva, I said to myself this time, the Gradiva of Jensen and of Freud, could illustrate this outbidding in the mal d’archive? Jacques Derrida, Archive Fever: A Freudian Impression Here, in a postscript to Archive Fever, Jacques Derrida tells an autobiographical or pseudo-autobiographical story of how it is that he came to write these words. Covering his tracks as he appears to uncover them, back-tracking over the marks on paper that are now variously hosted in print and electronic media, he winks at us. Was he there on that rim, above that very volcano? Did his own mal’ d’archive lead him to a supposed origin—an origin that reduces his Neapolitan jaunts to a repetition compulsion? As we read them, Derrida’s tracks flicker in and out of being, and by that flickering they seem to speak for themselves, to be more curiously present, if only to the moment of encounter we name “reading.” 20 00 Open Access Yates, Julian 10 03 06 10.21983/P3.0006.1.10 211 236 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Renaissance Res Publica of Furniture 1 A01 21 0000000318552340 Julia Reinhard Lupton Julia Reinhard Lupton 40 04gyf1771 University of California, Irvine 01 eng 03 00 Is the Renaissance joint-stool zany, interesting, or cute? These are the categories put forward by Sianne Ngai in order to capture our contemporary experience of all things cultural, from ninja bunnies to crowdsourced dreams:The interesting, cute, and zany index—and are thus each in a historically concrete way about—capitalism’s most socially binding processes: production, in the case of the zany (an aesthetic about performance as not just artful play but also affective labor); cir-culation, in the case of the interesting (a serial, recursive aesthetic of informational relays and communicative exchange); and consumption, in the case of the cute (an aesthetic disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor towards ostensibly subordinate and unthreatening commodities). 30 00 Is the Renaissance joint-stool zany, interesting, or cute? These are the categories put forward by Sianne Ngai in order to capture our contemporary experience of all things cultural, from ninja bunnies to crowdsourced dreams:The interesting, cute, and zany index—and are thus each in a historically concrete way about—capitalism’s most socially binding processes: production, in the case of the zany (an aesthetic about performance as not just artful play but also affective labor); cir-culation, in the case of the interesting (a serial, recursive aesthetic of informational relays and communicative exchange); and consumption, in the case of the cute (an aesthetic disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor towards ostensibly subordinate and unthreatening commodities). 20 00 Open Access Lupton, Julia Reinhard 11 03 06 10.21983/P3.0006.1.11 237 269 33 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Powers of the Hoard Further Notes on Material Agency 1 A01 Jane Bennett Jane Bennett 40 00za53h95 Johns Hopkins University 01 eng 03 00 There exists a rich metaphysical tradition in the West that engages stuff—animal, vegetable, and mineral—as lively intensity, as vital force. Take, for example, Spinoza’s belief that every body (person, fly, stone) comes with a conatus or impetus to seek alliances that enhance its vitality; or Diderot’s materialist depiction of the universe as a spiderweb of vibrating threads; or Thoreau’s account of The Wild within human and nonhuman nature; or Lucretius’s physics of atoms that swerve, which Michel Serres spun into an ontology of fluctuating ado or noise. I wrote a book called Vibrant Matter that position-ed itself within this tradition, which Althusser termed “aleatory materialism.”2 But my book was not just a response to other books. It was also, quite literally, a reply to a call from matter that had congealing into “things.” In particular, some items of trash had collected in the gutter of a street in Baltimore—one large black workglove, one dense mat of oak pollen, one unblemished dead rat, one white plastic bottle cap, one smooth stick of wood—and one sunny day as I walked by, they called me over to them. I stood enchanted by the tableau they formed, and for a few surreal moments thought I caught a glimpse into a parallel world of vibrant, powerful things. Sullen objects revealed themselves to be expressive “actants,” to use Latour’s term, or, to quote one hoarder attempting to justify his collecting, “The things speak out.” 30 00 There exists a rich metaphysical tradition in the West that engages stuff—animal, vegetable, and mineral—as lively intensity, as vital force. Take, for example, Spinoza’s belief that every body (person, fly, stone) comes with a conatus or impetus to seek alliances that enhance its vitality; or Diderot’s materialist depiction of the universe as a spiderweb of vibrating threads; or Thoreau’s account of The Wild within human and nonhuman nature; or Lucretius’s physics of atoms that swerve, which Michel Serres spun into an ontology of fluctuating ado or noise. I wrote a book called Vibrant Matter that position-ed itself within this tradition, which Althusser termed “aleatory materialism.”2 But my book was not just a response to other books. It was also, quite literally, a reply to a call from matter that had congealing into “things.” In particular, some items of trash had collected in the gutter of a street in Baltimore—one large black workglove, one dense mat of oak pollen, one unblemished dead rat, one white plastic bottle cap, one smooth stick of wood—and one sunny day as I walked by, they called me over to them. I stood enchanted by the tableau they formed, and for a few surreal moments thought I caught a glimpse into a parallel world of vibrant, powerful things. Sullen objects revealed themselves to be expressive “actants,” to use Latour’s term, or, to quote one hoarder attempting to justify his collecting, “The things speak out.” 20 00 Open Access Bennett, Jane 12 03 06 10.21983/P3.0006.1.12 273 279 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speaking Stones, John Muir, and a Slower (Non)Humanities 1 A01 Lowell Duckert Lowell Duckert 40 00y4zzh67 George Washington University 40 01sbq1a82 University of Delaware 01 eng 03 00 By the time you arrive at this point in the collection, you will have realized that the essays herein demand a slow reading. Perfect: the practice of tracing con-nections between actors, slowly, as Bruno Latour’s ant (or ANT, short for Actor Network Theory) would tell us, is the way to go. According to Latour’s self-defined “slowciology,” we are to follow the actors themselves—examining the relationships they assemble, interrupt, or disturb. Latour’s process is “agonizingly slow” by necessity.2 Yet in writing my response, I find myself running down a fast lane. The time when these authors first presented their work at the conference, “Animal, Vegetable, Mineral: Ethics and Objects in the Medieval and Early Modern Periods,” coincided with one of the most accelerated points in my doctoral career. Then as now, I was deep in my dissertation topic of eco-materialism: reconceiving early modern waterscapes as vibrant, living, actor-networks of (non)human desires and assemblages. Ecocriticism is a vast road to travel. And six months later, I was racing onto the job market. Do academics move too hastily? So let us slow down. My response will pick up on Eileen Joy’s idea of the humanist as a “slow recording device,” a being involved in a world of complication who also describes a world of co-implication, of sentience, becomings, and desires shared between actors inanimate and animate. What happens when we slow down, when we take the time to take these ethical steps seriously? 30 00 By the time you arrive at this point in the collection, you will have realized that the essays herein demand a slow reading. Perfect: the practice of tracing con-nections between actors, slowly, as Bruno Latour’s ant (or ANT, short for Actor Network Theory) would tell us, is the way to go. According to Latour’s self-defined “slowciology,” we are to follow the actors themselves—examining the relationships they assemble, interrupt, or disturb. Latour’s process is “agonizingly slow” by necessity.2 Yet in writing my response, I find myself running down a fast lane. The time when these authors first presented their work at the conference, “Animal, Vegetable, Mineral: Ethics and Objects in the Medieval and Early Modern Periods,” coincided with one of the most accelerated points in my doctoral career. Then as now, I was deep in my dissertation topic of eco-materialism: reconceiving early modern waterscapes as vibrant, living, actor-networks of (non)human desires and assemblages. Ecocriticism is a vast road to travel. And six months later, I was racing onto the job market. Do academics move too hastily? So let us slow down. My response will pick up on Eileen Joy’s idea of the humanist as a “slow recording device,” a being involved in a world of complication who also describes a world of co-implication, of sentience, becomings, and desires shared between actors inanimate and animate. What happens when we slow down, when we take the time to take these ethical steps seriously? 20 00 Open Access Duckert, Lowell 13 03 06 10.21983/P3.0006.1.13 281 288 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ruinous Monument' Transporting Objects in Herbert's Persepolis 1 A01 Nedda Mehdizadeh Nedda Mehdizadeh 40 00y4zzh67 George Washington University 40 046rm7j60 University of California, Los Angeles 01 eng 03 00 As part of his journey to Persia in 1626, travel writer Sir Thomas Herbert visits the ruins of the ancient political center of the Persian Empire, Persepolis. Rather than narrating the customs, dress, or histories of the inhabitants as he does elsewhere in his travelogue, A Relation of Some Yeares Travaile, Herbert gives a detailed account of the size, structure, and material of the palace. He sifts through the stones of the rubble and imagines what they would have looked like when the structure was intact before Alexander the Great’s con-quest. Herbert’s account describes an encounter with Persia’s past, and is defined by the objects that remain after its fall. In a narrative primarily concerned with the inhabitants of a foreign place—whether the natives of the early modern period or the ghosts of the ancient past—why does Herbert dwell on the stones that once made up the palace of Persepolis? This moment in Herbert’s narrative is one he cannot escape. In fact, he goes back to the section “Persepolis” with each successive edition of his travelogue, reimagining it by linguistically recon-structing it through narrative. The fragments, then, continue to call to him long after its first publication in 1634. As the contributors to this volume suggest in their essays about non-human literature and culture, these seemingly mundane objects are in fact full of potential and power. Like the objects that called to Jane Bennett, inspiring her book Vibrant Matter and resurfacing in her essay “Powers of the Hoard,” Herbert’s stones beckon to him to return to Persia and to dwell in its past. Persepolis—as a term, concept, space—withstands the test of time, carrying with it a layered story that resides in the stones which “draw us near and provoke our deep attachments to them.” 30 00 As part of his journey to Persia in 1626, travel writer Sir Thomas Herbert visits the ruins of the ancient political center of the Persian Empire, Persepolis. Rather than narrating the customs, dress, or histories of the inhabitants as he does elsewhere in his travelogue, A Relation of Some Yeares Travaile, Herbert gives a detailed account of the size, structure, and material of the palace. He sifts through the stones of the rubble and imagines what they would have looked like when the structure was intact before Alexander the Great’s con-quest. Herbert’s account describes an encounter with Persia’s past, and is defined by the objects that remain after its fall. In a narrative primarily concerned with the inhabitants of a foreign place—whether the natives of the early modern period or the ghosts of the ancient past—why does Herbert dwell on the stones that once made up the palace of Persepolis? This moment in Herbert’s narrative is one he cannot escape. In fact, he goes back to the section “Persepolis” with each successive edition of his travelogue, reimagining it by linguistically recon-structing it through narrative. The fragments, then, continue to call to him long after its first publication in 1634. As the contributors to this volume suggest in their essays about non-human literature and culture, these seemingly mundane objects are in fact full of potential and power. Like the objects that called to Jane Bennett, inspiring her book Vibrant Matter and resurfacing in her essay “Powers of the Hoard,” Herbert’s stones beckon to him to return to Persia and to dwell in its past. Persepolis—as a term, concept, space—withstands the test of time, carrying with it a layered story that resides in the stones which “draw us near and provoke our deep attachments to them.” 20 00 Open Access Mehdizadeh, Nedda 14 03 06 10.21983/P3.0006.1.14 289 295 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Animal, Vegetable, Mineral Twenty Questions 1 A01 Jonathan Gil Harris Jonathan Gil Harris 40 00y4zzh67 George Washington University 40 02j1xr113 Ashoka University 01 eng 03 00 Animal, Vegetable, Mineral. If this volume’s theme sounds like a premodern version of the parlor game “Twenty Questions,” it is perhaps only appropriate that my response should also take the form of twenty questions. The parlor game’s questions seek to arrive through processes of elimination and guesswork at a positive individual entity; but I hope my questions will do the opposite—that is, resist the allure of any singular or final answer. So here goes.1. What do we mean by the “nonhuman” in medieval and early modern culture?2. Are we dealing (as the “Animal, Vegetable, Mineral” parlor game does) with taxonomies of the natural world that presume, as did Linnaeus in his Systema Naturae of 1735, the exteriority of the nonhuman to the human?3. Is the nonhuman itself subdivided according to this principle of absolute exteriority, which would make of animal, vegetable, and mineral entirely discrete entities? 4. Or did medieval and early modern writers see the nonhuman as always already in the human—and, by logical extension, the mineral in the vegetable, the vegetable in the animal, and so on? 30 00 Animal, Vegetable, Mineral. If this volume’s theme sounds like a premodern version of the parlor game “Twenty Questions,” it is perhaps only appropriate that my response should also take the form of twenty questions. The parlor game’s questions seek to arrive through processes of elimination and guesswork at a positive individual entity; but I hope my questions will do the opposite—that is, resist the allure of any singular or final answer. So here goes.1. What do we mean by the “nonhuman” in medieval and early modern culture?2. Are we dealing (as the “Animal, Vegetable, Mineral” parlor game does) with taxonomies of the natural world that presume, as did Linnaeus in his Systema Naturae of 1735, the exteriority of the nonhuman to the human?3. Is the nonhuman itself subdivided according to this principle of absolute exteriority, which would make of animal, vegetable, and mineral entirely discrete entities? 4. Or did medieval and early modern writers see the nonhuman as always already in the human—and, by logical extension, the mineral in the vegetable, the vegetable in the animal, and so on? 20 00 Open Access Harris, Jonathan Gil 15 03 06 10.21983/P3.0006.1.15 297 297 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/animal-vegetable-mineral-ethics-and-objects/ Brooklyn, NY 04 01 20120507 Cohen, Jeffrey Jerome 02 WORLD 06 15 9780615625355 03 9780615625355 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76424 20 08 20120507 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25609 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25609/1004486.pdf?sequence=1&isAllowed=y 20 08 20120507 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27176 20 08 20120507 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv19cwdks 20 08 20120507 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/383 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/06d2b151-821f-48e7-b5c8-ba8f167b4985/download 20 08 20120507 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0090dbfb-bc8f-44aa-9803-08b277861b14 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0090dbfb-bc8f-44aa-9803-08b277861b14/0090dbfb-bc8f-44aa-9803-08b277861b14.pdf 20 08 20120507 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693044 29 ZENODO: download the title https://zenodo.org/records/19693044/files/0090dbfb-bc8f-44aa-9803-08b277861b14_book.pdf 20 08 20120507 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/animal-vegetable-mineral-ethics-and-objects/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0006.1.00.pdf 20 08 20120507 01 urn:uuid:1872bc03-01e3-4230-9c8d-2ed1ec916246 03 01 01 thoth-work-id urn:uuid:0090dbfb-bc8f-44aa-9803-08b277861b14 01 thoth-publication-id urn:uuid:1872bc03-01e3-4230-9c8d-2ed1ec916246 06 10.21983/P3.0006.1.00 01 internal-reference 0006 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Animal, Vegetable, Mineral Ethics and Objects 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 295 03 B2 Biosphere 12 JFC 10 NAT010000 93 PSAF 93 JBCC2 10 PHI005000 B2 Posthumanism 93 DSB B2 Premodern 20 object-oriented ontology; posthumanism; cultural studies; materialism; thing studies 01 06 02 00 03 00 Animal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? 30 00 Animal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0006.1.00_frontcover.jpg 1 03 06 10.21983/P3.0006.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0006.1.02 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction All Things 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Though superseded by a newer translation, Denton Fox and Hermann Pálsson’s version of Grettir’s Sagais a text to which I feel a considerable attachment.1 Its rendering of the Old Norse narrative is crisp and lucid, capturing the austere yet wry style of the original prose. Even more than its artistry, though, what compels me about the Fox and Pálsson translation is the series of photographs with which the book begins. Between the introduction and the story’s instigation have been inserted twelve poorly reproduced black and white pictures depicting locales mentioned in the saga. Unattributed and unpaginated, this interlude of images captures the multiplicity of histories, real and imagined, that animate the Icelandic narrative and its English reworking: a seeming timelessness in which the landscape is ever as it has been; the ninth through eleventh centuries, when Grettir and his ancestors were supposed to have journeyed these frigid expanses; the early fourteenth century, when the saga’s unknown author dreamt a past that never was and placed its unfolding action at familiar fjords, glaciers, and vales; and the 1970s, when Fox and Pálsson published their English translation of Grettir’s Saga, the first in sixty years. The initial photograph, for example, is labeled “Bjarg in Midfjord, site of Grettir’s birth.” The image depicts an undulation of grass, a lone rock, and a distant mountain—presumably Kaldbak, the chilly ridge that Grettir’s great-grandfather Onund darkly spoke of having traded his Norwegian grain fields to possess. Yet the picture also contains a farmhouse that if not exactly modern is in no way medieval, with its bright paint, three expansive levels, and chimney. The telephone poles and curve of road quietly argue against placing a young Grettir within that home. Yet the story radiates such a keen sense of domestic vitality that it is difficult to resist thinking of this boy destined for a life no farm could contain, creating his particular brand of chaos within that pastoral space. Every time I look at the photo I expect to see geese and a horse, futilely fleeing his juvenile rage; or his beleaguered dad, storming out of the farmhouse after telling a young Grettir one more time that he has made a very bad choice. 30 00 Though superseded by a newer translation, Denton Fox and Hermann Pálsson’s version of Grettir’s Sagais a text to which I feel a considerable attachment.1 Its rendering of the Old Norse narrative is crisp and lucid, capturing the austere yet wry style of the original prose. Even more than its artistry, though, what compels me about the Fox and Pálsson translation is the series of photographs with which the book begins. Between the introduction and the story’s instigation have been inserted twelve poorly reproduced black and white pictures depicting locales mentioned in the saga. Unattributed and unpaginated, this interlude of images captures the multiplicity of histories, real and imagined, that animate the Icelandic narrative and its English reworking: a seeming timelessness in which the landscape is ever as it has been; the ninth through eleventh centuries, when Grettir and his ancestors were supposed to have journeyed these frigid expanses; the early fourteenth century, when the saga’s unknown author dreamt a past that never was and placed its unfolding action at familiar fjords, glaciers, and vales; and the 1970s, when Fox and Pálsson published their English translation of Grettir’s Saga, the first in sixty years. The initial photograph, for example, is labeled “Bjarg in Midfjord, site of Grettir’s birth.” The image depicts an undulation of grass, a lone rock, and a distant mountain—presumably Kaldbak, the chilly ridge that Grettir’s great-grandfather Onund darkly spoke of having traded his Norwegian grain fields to possess. Yet the picture also contains a farmhouse that if not exactly modern is in no way medieval, with its bright paint, three expansive levels, and chimney. The telephone poles and curve of road quietly argue against placing a young Grettir within that home. Yet the story radiates such a keen sense of domestic vitality that it is difficult to resist thinking of this boy destined for a life no farm could contain, creating his particular brand of chaos within that pastoral space. Every time I look at the photo I expect to see geese and a horse, futilely fleeing his juvenile rage; or his beleaguered dad, storming out of the farmhouse after telling a young Grettir one more time that he has made a very bad choice. 20 00 Open Access Cohen, Jeffrey Jerome 3 03 06 10.21983/P3.0006.1.03 9 34 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 With the World, or Bound to Face the Sky the Postures of the Wild-Child of Hesse 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 01 eng 03 00 The Chronicle of the Benedictine monastery of Saint Peter of Erfurt, in Thuringia, includes two records of boys raised by wolves: 1304 Anno Domini MCCCIIII. Quidam puer in partibus Hassie est deprehensus. Hic, sicut postea cognitum est, et sicut ipse retulit, cum trium esset annorum, a lupis est captus et mirabiliter educatus. Nam, quamcumque predam lupi pro cibo rapuerant, semper meliorem partem sumentes et arbori circum-iacientes ipsi ad vorandum tribuebant. Tempore vero hiemis et frigoris foveam facientes, folia arborum et alias herbas impo-nentes, puerum superponebant, et se circum-ponentes, sic eum a frigore defendebant; ipsum eciam manibus et pedibus repere cogebant et secum currere tamdiu, quod ex use eorum velocitatem imitabatur et saltus maximos faciebat. Hic deprehensus lignis circumligatis erectus ire ad humanam simili-tudinem cogebatur. Idem vero puer sepius dicebat se multo carius cum lupis, si in se esset, quam cum hominibus diligere conver-sari. Hic puer in curiam Heinrici principis Hassie pro spectaculo est allatus.1[A certain boy in the region of Hesse was seized. This boy, as was known afterwards, and just as the boy told it himself, was taken by wolves when he was three years old and raised up wondrously. For, whatever prey the wolves snatched for food, they would take the better part and allot it to him to eat while they lay around a tree. In the time of winter and cold, they made a pit, and they put the leaves of trees and other plants in it, and placed them on the boy, surrounding him to protect him from the cold; they also compelled him to creep on hands and feet and to run with them for a long time, from which practice he imitated their speed and was able to make the greatest leaps. When he was seized, he was bound with wood to compel him to go erect in a human likeness. However, this boy often said that if it were up to him he much preferred to live among wolves than among men. This boy was conveyed to the court of Henry, Prince of Hesse, for a spectacle.] 30 00 The Chronicle of the Benedictine monastery of Saint Peter of Erfurt, in Thuringia, includes two records of boys raised by wolves: 1304 Anno Domini MCCCIIII. Quidam puer in partibus Hassie est deprehensus. Hic, sicut postea cognitum est, et sicut ipse retulit, cum trium esset annorum, a lupis est captus et mirabiliter educatus. Nam, quamcumque predam lupi pro cibo rapuerant, semper meliorem partem sumentes et arbori circum-iacientes ipsi ad vorandum tribuebant. Tempore vero hiemis et frigoris foveam facientes, folia arborum et alias herbas impo-nentes, puerum superponebant, et se circum-ponentes, sic eum a frigore defendebant; ipsum eciam manibus et pedibus repere cogebant et secum currere tamdiu, quod ex use eorum velocitatem imitabatur et saltus maximos faciebat. Hic deprehensus lignis circumligatis erectus ire ad humanam simili-tudinem cogebatur. Idem vero puer sepius dicebat se multo carius cum lupis, si in se esset, quam cum hominibus diligere conver-sari. Hic puer in curiam Heinrici principis Hassie pro spectaculo est allatus.1[A certain boy in the region of Hesse was seized. This boy, as was known afterwards, and just as the boy told it himself, was taken by wolves when he was three years old and raised up wondrously. For, whatever prey the wolves snatched for food, they would take the better part and allot it to him to eat while they lay around a tree. In the time of winter and cold, they made a pit, and they put the leaves of trees and other plants in it, and placed them on the boy, surrounding him to protect him from the cold; they also compelled him to creep on hands and feet and to run with them for a long time, from which practice he imitated their speed and was able to make the greatest leaps. When he was seized, he was bound with wood to compel him to go erect in a human likeness. However, this boy often said that if it were up to him he much preferred to live among wolves than among men. This boy was conveyed to the court of Henry, Prince of Hesse, for a spectacle.] 20 00 Open Access Steel, Karl 4 03 06 10.21983/P3.0006.1.04 35 63 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Animals and the Medieval Culture of Empire 1 A01 Sharon Kinoshita Sharon Kinoshita 40 03s65by71 University of California, Santa Cruz 01 eng 03 00 In the opening scene of the Chanson de Roland, the pagan king Marsile sends Charlemagne an offer of gifts, tribute, and loyalty if the Franks will lift their siege of Saragossa and go home. The suggestion originally comes from Blancandrin, Marsile’s respected and most trusted advisor: Mandez Carlun, a l’orguillus, al fier,Fedeilz servises e mult granz amistez:Vos li durrez urs e leons e chens,Set cenz camelz e mil hosturs müers,D’or e d’argent quatre cenz muls cargez,Cinquante carre qu’en ferat carïer. (ll. 28–33)1[To the proud and haughty Charles, send your loyal (feudal) service and great friendship. [Say] you will give him bears, lions, and dogs, 700 camels and 1000 molted hawks, 400 mules loaded with gold and silver, 50 carts to haul it all away.] 30 00 In the opening scene of the Chanson de Roland, the pagan king Marsile sends Charlemagne an offer of gifts, tribute, and loyalty if the Franks will lift their siege of Saragossa and go home. The suggestion originally comes from Blancandrin, Marsile’s respected and most trusted advisor: Mandez Carlun, a l’orguillus, al fier,Fedeilz servises e mult granz amistez:Vos li durrez urs e leons e chens,Set cenz camelz e mil hosturs müers,D’or e d’argent quatre cenz muls cargez,Cinquante carre qu’en ferat carïer. (ll. 28–33)1[To the proud and haughty Charles, send your loyal (feudal) service and great friendship. [Say] you will give him bears, lions, and dogs, 700 camels and 1000 molted hawks, 400 mules loaded with gold and silver, 50 carts to haul it all away.] 20 00 Open Access Kinoshita, Sharon 5 03 06 10.21983/P3.0006.1.05 65 90 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Floral and the Human 1 A01 Peggy McCracken Peggy McCracken 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 03 00 In twelfth-century versions of the Roman d’Alexandre, among the many curious beings Alexander the Great encounters during his exploration of India, we find a group of floral-human beings.1 After many days in the desert, Alexander and his men come to a forest and they see there a maiden sitting at the base of every tree. The forest provides for the maidens—whatever they might wish for in the morning, they receive by evening. The flower maidens are somehow bonded to the sheltering wood. They will die if they leave the shadow of its trees. When winter comes, they disappear into the ground, and when the summer returns with warm weather, they are reborn as white flowers. The flowers hold the maidens’ human form and the petals become dresses for the women. When Alexander and his men arrive in the forest, the flower maidens welcome them eagerly. There is nothing these maidens love more than men, the text tells us, and Alexander’s men have never seen more beautiful women.2 Indeed, Alexander is “troubled” (effreés, l. 3367) by the sight of such beautiful creaturesand he declares that he and his army will stay with them for four days. When his men enter the forest, the maidens receive them without hesitation. Each chooses a soldier, and encourages him to pursue his desires. 30 00 In twelfth-century versions of the Roman d’Alexandre, among the many curious beings Alexander the Great encounters during his exploration of India, we find a group of floral-human beings.1 After many days in the desert, Alexander and his men come to a forest and they see there a maiden sitting at the base of every tree. The forest provides for the maidens—whatever they might wish for in the morning, they receive by evening. The flower maidens are somehow bonded to the sheltering wood. They will die if they leave the shadow of its trees. When winter comes, they disappear into the ground, and when the summer returns with warm weather, they are reborn as white flowers. The flowers hold the maidens’ human form and the petals become dresses for the women. When Alexander and his men arrive in the forest, the flower maidens welcome them eagerly. There is nothing these maidens love more than men, the text tells us, and Alexander’s men have never seen more beautiful women.2 Indeed, Alexander is “troubled” (effreés, l. 3367) by the sight of such beautiful creaturesand he declares that he and his army will stay with them for four days. When his men enter the forest, the maidens receive them without hesitation. Each chooses a soldier, and encourages him to pursue his desires. 20 00 Open Access McCracken, Peggy 6 03 06 10.21983/P3.0006.1.06 91 121 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Exemplary Rocks 1 A01 Kellie Roberston Kellie Roberston 40 01y2jtd41 University of Wisconsin-Madison 40 047s2c258 University of Maryland, College Park 01 eng 03 00 Rocks are usually synonymous with insentience: to say that so-and-so has “a heart of stone” or is “dumber than a box of rocks” is to give insult by degrading the dynamic into the inert. In such comparisons, the rock contaminates the human to the extent that the latter is drained of all sensation and vitality. Such popular wisdom is codified into metaphysical precept in Heide-gger’s attempt to define “world” by parsing it according to levels of perceived sentience and a capacity for active engagement with the environment. Heidegger’s theses have been much discussed by critics interested in “the animal” and “the human:” both Derrida and Agamben lament how these rigid categories obscure the common ground of animality and humanity especially with respect to language. Despite this desire to resist the singularity of the human, it is only recently that critics such as Graham Harman, Jane Bennett, and (within Medieval Studies) Jeffrey J. Cohen have challenged the third leg of Heidegger’s ontological stool: the poverty of the inanimate world. 30 00 Rocks are usually synonymous with insentience: to say that so-and-so has “a heart of stone” or is “dumber than a box of rocks” is to give insult by degrading the dynamic into the inert. In such comparisons, the rock contaminates the human to the extent that the latter is drained of all sensation and vitality. Such popular wisdom is codified into metaphysical precept in Heide-gger’s attempt to define “world” by parsing it according to levels of perceived sentience and a capacity for active engagement with the environment. Heidegger’s theses have been much discussed by critics interested in “the animal” and “the human:” both Derrida and Agamben lament how these rigid categories obscure the common ground of animality and humanity especially with respect to language. Despite this desire to resist the singularity of the human, it is only recently that critics such as Graham Harman, Jane Bennett, and (within Medieval Studies) Jeffrey J. Cohen have challenged the third leg of Heidegger’s ontological stool: the poverty of the inanimate world. 20 00 Open Access Roberston, Kellie 7 03 06 10.21983/P3.0006.1.07 123 152 30 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mineral Virtue 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 “I became a wanderer, making long journeys to mining districts, so that I could learn by observation the nature of metals,” writes Albertus Magnus in his treatise De Mineralibus.1 Perhaps it was then that he asked so “assiduously in different parts of the world” after a complete text of the Lapidary of Aristotle, a work he only knew through excerpts.2 Albert’s hardships testify to his commitment to the rigors of natural science (physica), the evidentiary standards of which are higher than for astrology or magic, draw as he still does from those lesser authorities.3 But Albert has his limits, being quick to demarcate between science and divinatory practices of geomancy, necromancy, and so on—all “nonsensomancy” [garamantia], as he likes to call it. 30 00 “I became a wanderer, making long journeys to mining districts, so that I could learn by observation the nature of metals,” writes Albertus Magnus in his treatise De Mineralibus.1 Perhaps it was then that he asked so “assiduously in different parts of the world” after a complete text of the Lapidary of Aristotle, a work he only knew through excerpts.2 Albert’s hardships testify to his commitment to the rigors of natural science (physica), the evidentiary standards of which are higher than for astrology or magic, draw as he still does from those lesser authorities.3 But Albert has his limits, being quick to demarcate between science and divinatory practices of geomancy, necromancy, and so on—all “nonsensomancy” [garamantia], as he likes to call it. 20 00 Open Access Allen, Valeria 8 03 06 10.21983/P3.0006.1.08 153 172 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 You Are Here A Manifesto 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 Imagine a piece of paper, completely blank, except for a small black dot directly in the center. And then a small arrow pointing to the dot, and next to that, the phrase is written, “You Are Here.” Strictly speaking, the dot is where you are. Paraphrasing Italo Calvino’s short story, “All At One Point,” which describes the time before the universe expanded, when all of matter was concen-trated in a single point, and everyone and everything, in the words of the narrator, “was packed in there like sardines,”2 every point of each of us coincides with every point of everyone else in a single point, which is where we all are. There is nowhere else. The idea of distance, or separation, or estrangement, is a dream. Which is not to say we should not mind the gaps. 30 00 Imagine a piece of paper, completely blank, except for a small black dot directly in the center. And then a small arrow pointing to the dot, and next to that, the phrase is written, “You Are Here.” Strictly speaking, the dot is where you are. Paraphrasing Italo Calvino’s short story, “All At One Point,” which describes the time before the universe expanded, when all of matter was concen-trated in a single point, and everyone and everything, in the words of the narrator, “was packed in there like sardines,”2 every point of each of us coincides with every point of everyone else in a single point, which is where we all are. There is nowhere else. The idea of distance, or separation, or estrangement, is a dream. Which is not to say we should not mind the gaps. 20 00 Open Access Joy, Eileen A. 9 03 06 10.21983/P3.0006.1.09 173 209 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sheep Tracks A Multi-Species Impression 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 By chance, I wrote these last words on the rim of Vesuvius, right near Pompeii, less that eight years ago. For more than twenty years, each time I’ve returned to Naples, I’ve thought of her. Who better than the Gradiva, I said to myself this time, the Gradiva of Jensen and of Freud, could illustrate this outbidding in the mal d’archive? Jacques Derrida, Archive Fever: A Freudian Impression Here, in a postscript to Archive Fever, Jacques Derrida tells an autobiographical or pseudo-autobiographical story of how it is that he came to write these words. Covering his tracks as he appears to uncover them, back-tracking over the marks on paper that are now variously hosted in print and electronic media, he winks at us. Was he there on that rim, above that very volcano? Did his own mal’ d’archive lead him to a supposed origin—an origin that reduces his Neapolitan jaunts to a repetition compulsion? As we read them, Derrida’s tracks flicker in and out of being, and by that flickering they seem to speak for themselves, to be more curiously present, if only to the moment of encounter we name “reading.” 30 00 By chance, I wrote these last words on the rim of Vesuvius, right near Pompeii, less that eight years ago. For more than twenty years, each time I’ve returned to Naples, I’ve thought of her. Who better than the Gradiva, I said to myself this time, the Gradiva of Jensen and of Freud, could illustrate this outbidding in the mal d’archive? Jacques Derrida, Archive Fever: A Freudian Impression Here, in a postscript to Archive Fever, Jacques Derrida tells an autobiographical or pseudo-autobiographical story of how it is that he came to write these words. Covering his tracks as he appears to uncover them, back-tracking over the marks on paper that are now variously hosted in print and electronic media, he winks at us. Was he there on that rim, above that very volcano? Did his own mal’ d’archive lead him to a supposed origin—an origin that reduces his Neapolitan jaunts to a repetition compulsion? As we read them, Derrida’s tracks flicker in and out of being, and by that flickering they seem to speak for themselves, to be more curiously present, if only to the moment of encounter we name “reading.” 20 00 Open Access Yates, Julian 10 03 06 10.21983/P3.0006.1.10 211 236 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Renaissance Res Publica of Furniture 1 A01 21 0000000318552340 Julia Reinhard Lupton Julia Reinhard Lupton 40 04gyf1771 University of California, Irvine 01 eng 03 00 Is the Renaissance joint-stool zany, interesting, or cute? These are the categories put forward by Sianne Ngai in order to capture our contemporary experience of all things cultural, from ninja bunnies to crowdsourced dreams:The interesting, cute, and zany index—and are thus each in a historically concrete way about—capitalism’s most socially binding processes: production, in the case of the zany (an aesthetic about performance as not just artful play but also affective labor); cir-culation, in the case of the interesting (a serial, recursive aesthetic of informational relays and communicative exchange); and consumption, in the case of the cute (an aesthetic disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor towards ostensibly subordinate and unthreatening commodities). 30 00 Is the Renaissance joint-stool zany, interesting, or cute? These are the categories put forward by Sianne Ngai in order to capture our contemporary experience of all things cultural, from ninja bunnies to crowdsourced dreams:The interesting, cute, and zany index—and are thus each in a historically concrete way about—capitalism’s most socially binding processes: production, in the case of the zany (an aesthetic about performance as not just artful play but also affective labor); cir-culation, in the case of the interesting (a serial, recursive aesthetic of informational relays and communicative exchange); and consumption, in the case of the cute (an aesthetic disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor towards ostensibly subordinate and unthreatening commodities). 20 00 Open Access Lupton, Julia Reinhard 11 03 06 10.21983/P3.0006.1.11 237 269 33 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Powers of the Hoard Further Notes on Material Agency 1 A01 Jane Bennett Jane Bennett 40 00za53h95 Johns Hopkins University 01 eng 03 00 There exists a rich metaphysical tradition in the West that engages stuff—animal, vegetable, and mineral—as lively intensity, as vital force. Take, for example, Spinoza’s belief that every body (person, fly, stone) comes with a conatus or impetus to seek alliances that enhance its vitality; or Diderot’s materialist depiction of the universe as a spiderweb of vibrating threads; or Thoreau’s account of The Wild within human and nonhuman nature; or Lucretius’s physics of atoms that swerve, which Michel Serres spun into an ontology of fluctuating ado or noise. I wrote a book called Vibrant Matter that position-ed itself within this tradition, which Althusser termed “aleatory materialism.”2 But my book was not just a response to other books. It was also, quite literally, a reply to a call from matter that had congealing into “things.” In particular, some items of trash had collected in the gutter of a street in Baltimore—one large black workglove, one dense mat of oak pollen, one unblemished dead rat, one white plastic bottle cap, one smooth stick of wood—and one sunny day as I walked by, they called me over to them. I stood enchanted by the tableau they formed, and for a few surreal moments thought I caught a glimpse into a parallel world of vibrant, powerful things. Sullen objects revealed themselves to be expressive “actants,” to use Latour’s term, or, to quote one hoarder attempting to justify his collecting, “The things speak out.” 30 00 There exists a rich metaphysical tradition in the West that engages stuff—animal, vegetable, and mineral—as lively intensity, as vital force. Take, for example, Spinoza’s belief that every body (person, fly, stone) comes with a conatus or impetus to seek alliances that enhance its vitality; or Diderot’s materialist depiction of the universe as a spiderweb of vibrating threads; or Thoreau’s account of The Wild within human and nonhuman nature; or Lucretius’s physics of atoms that swerve, which Michel Serres spun into an ontology of fluctuating ado or noise. I wrote a book called Vibrant Matter that position-ed itself within this tradition, which Althusser termed “aleatory materialism.”2 But my book was not just a response to other books. It was also, quite literally, a reply to a call from matter that had congealing into “things.” In particular, some items of trash had collected in the gutter of a street in Baltimore—one large black workglove, one dense mat of oak pollen, one unblemished dead rat, one white plastic bottle cap, one smooth stick of wood—and one sunny day as I walked by, they called me over to them. I stood enchanted by the tableau they formed, and for a few surreal moments thought I caught a glimpse into a parallel world of vibrant, powerful things. Sullen objects revealed themselves to be expressive “actants,” to use Latour’s term, or, to quote one hoarder attempting to justify his collecting, “The things speak out.” 20 00 Open Access Bennett, Jane 12 03 06 10.21983/P3.0006.1.12 273 279 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speaking Stones, John Muir, and a Slower (Non)Humanities 1 A01 Lowell Duckert Lowell Duckert 40 00y4zzh67 George Washington University 40 01sbq1a82 University of Delaware 01 eng 03 00 By the time you arrive at this point in the collection, you will have realized that the essays herein demand a slow reading. Perfect: the practice of tracing con-nections between actors, slowly, as Bruno Latour’s ant (or ANT, short for Actor Network Theory) would tell us, is the way to go. According to Latour’s self-defined “slowciology,” we are to follow the actors themselves—examining the relationships they assemble, interrupt, or disturb. Latour’s process is “agonizingly slow” by necessity.2 Yet in writing my response, I find myself running down a fast lane. The time when these authors first presented their work at the conference, “Animal, Vegetable, Mineral: Ethics and Objects in the Medieval and Early Modern Periods,” coincided with one of the most accelerated points in my doctoral career. Then as now, I was deep in my dissertation topic of eco-materialism: reconceiving early modern waterscapes as vibrant, living, actor-networks of (non)human desires and assemblages. Ecocriticism is a vast road to travel. And six months later, I was racing onto the job market. Do academics move too hastily? So let us slow down. My response will pick up on Eileen Joy’s idea of the humanist as a “slow recording device,” a being involved in a world of complication who also describes a world of co-implication, of sentience, becomings, and desires shared between actors inanimate and animate. What happens when we slow down, when we take the time to take these ethical steps seriously? 30 00 By the time you arrive at this point in the collection, you will have realized that the essays herein demand a slow reading. Perfect: the practice of tracing con-nections between actors, slowly, as Bruno Latour’s ant (or ANT, short for Actor Network Theory) would tell us, is the way to go. According to Latour’s self-defined “slowciology,” we are to follow the actors themselves—examining the relationships they assemble, interrupt, or disturb. Latour’s process is “agonizingly slow” by necessity.2 Yet in writing my response, I find myself running down a fast lane. The time when these authors first presented their work at the conference, “Animal, Vegetable, Mineral: Ethics and Objects in the Medieval and Early Modern Periods,” coincided with one of the most accelerated points in my doctoral career. Then as now, I was deep in my dissertation topic of eco-materialism: reconceiving early modern waterscapes as vibrant, living, actor-networks of (non)human desires and assemblages. Ecocriticism is a vast road to travel. And six months later, I was racing onto the job market. Do academics move too hastily? So let us slow down. My response will pick up on Eileen Joy’s idea of the humanist as a “slow recording device,” a being involved in a world of complication who also describes a world of co-implication, of sentience, becomings, and desires shared between actors inanimate and animate. What happens when we slow down, when we take the time to take these ethical steps seriously? 20 00 Open Access Duckert, Lowell 13 03 06 10.21983/P3.0006.1.13 281 288 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ruinous Monument' Transporting Objects in Herbert's Persepolis 1 A01 Nedda Mehdizadeh Nedda Mehdizadeh 40 00y4zzh67 George Washington University 40 046rm7j60 University of California, Los Angeles 01 eng 03 00 As part of his journey to Persia in 1626, travel writer Sir Thomas Herbert visits the ruins of the ancient political center of the Persian Empire, Persepolis. Rather than narrating the customs, dress, or histories of the inhabitants as he does elsewhere in his travelogue, A Relation of Some Yeares Travaile, Herbert gives a detailed account of the size, structure, and material of the palace. He sifts through the stones of the rubble and imagines what they would have looked like when the structure was intact before Alexander the Great’s con-quest. Herbert’s account describes an encounter with Persia’s past, and is defined by the objects that remain after its fall. In a narrative primarily concerned with the inhabitants of a foreign place—whether the natives of the early modern period or the ghosts of the ancient past—why does Herbert dwell on the stones that once made up the palace of Persepolis? This moment in Herbert’s narrative is one he cannot escape. In fact, he goes back to the section “Persepolis” with each successive edition of his travelogue, reimagining it by linguistically recon-structing it through narrative. The fragments, then, continue to call to him long after its first publication in 1634. As the contributors to this volume suggest in their essays about non-human literature and culture, these seemingly mundane objects are in fact full of potential and power. Like the objects that called to Jane Bennett, inspiring her book Vibrant Matter and resurfacing in her essay “Powers of the Hoard,” Herbert’s stones beckon to him to return to Persia and to dwell in its past. Persepolis—as a term, concept, space—withstands the test of time, carrying with it a layered story that resides in the stones which “draw us near and provoke our deep attachments to them.” 30 00 As part of his journey to Persia in 1626, travel writer Sir Thomas Herbert visits the ruins of the ancient political center of the Persian Empire, Persepolis. Rather than narrating the customs, dress, or histories of the inhabitants as he does elsewhere in his travelogue, A Relation of Some Yeares Travaile, Herbert gives a detailed account of the size, structure, and material of the palace. He sifts through the stones of the rubble and imagines what they would have looked like when the structure was intact before Alexander the Great’s con-quest. Herbert’s account describes an encounter with Persia’s past, and is defined by the objects that remain after its fall. In a narrative primarily concerned with the inhabitants of a foreign place—whether the natives of the early modern period or the ghosts of the ancient past—why does Herbert dwell on the stones that once made up the palace of Persepolis? This moment in Herbert’s narrative is one he cannot escape. In fact, he goes back to the section “Persepolis” with each successive edition of his travelogue, reimagining it by linguistically recon-structing it through narrative. The fragments, then, continue to call to him long after its first publication in 1634. As the contributors to this volume suggest in their essays about non-human literature and culture, these seemingly mundane objects are in fact full of potential and power. Like the objects that called to Jane Bennett, inspiring her book Vibrant Matter and resurfacing in her essay “Powers of the Hoard,” Herbert’s stones beckon to him to return to Persia and to dwell in its past. Persepolis—as a term, concept, space—withstands the test of time, carrying with it a layered story that resides in the stones which “draw us near and provoke our deep attachments to them.” 20 00 Open Access Mehdizadeh, Nedda 14 03 06 10.21983/P3.0006.1.14 289 295 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Animal, Vegetable, Mineral Twenty Questions 1 A01 Jonathan Gil Harris Jonathan Gil Harris 40 00y4zzh67 George Washington University 40 02j1xr113 Ashoka University 01 eng 03 00 Animal, Vegetable, Mineral. If this volume’s theme sounds like a premodern version of the parlor game “Twenty Questions,” it is perhaps only appropriate that my response should also take the form of twenty questions. The parlor game’s questions seek to arrive through processes of elimination and guesswork at a positive individual entity; but I hope my questions will do the opposite—that is, resist the allure of any singular or final answer. So here goes.1. What do we mean by the “nonhuman” in medieval and early modern culture?2. Are we dealing (as the “Animal, Vegetable, Mineral” parlor game does) with taxonomies of the natural world that presume, as did Linnaeus in his Systema Naturae of 1735, the exteriority of the nonhuman to the human?3. Is the nonhuman itself subdivided according to this principle of absolute exteriority, which would make of animal, vegetable, and mineral entirely discrete entities? 4. Or did medieval and early modern writers see the nonhuman as always already in the human—and, by logical extension, the mineral in the vegetable, the vegetable in the animal, and so on? 30 00 Animal, Vegetable, Mineral. If this volume’s theme sounds like a premodern version of the parlor game “Twenty Questions,” it is perhaps only appropriate that my response should also take the form of twenty questions. The parlor game’s questions seek to arrive through processes of elimination and guesswork at a positive individual entity; but I hope my questions will do the opposite—that is, resist the allure of any singular or final answer. So here goes.1. What do we mean by the “nonhuman” in medieval and early modern culture?2. Are we dealing (as the “Animal, Vegetable, Mineral” parlor game does) with taxonomies of the natural world that presume, as did Linnaeus in his Systema Naturae of 1735, the exteriority of the nonhuman to the human?3. Is the nonhuman itself subdivided according to this principle of absolute exteriority, which would make of animal, vegetable, and mineral entirely discrete entities? 4. Or did medieval and early modern writers see the nonhuman as always already in the human—and, by logical extension, the mineral in the vegetable, the vegetable in the animal, and so on? 20 00 Open Access Harris, Jonathan Gil 15 03 06 10.21983/P3.0006.1.15 297 297 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/animal-vegetable-mineral-ethics-and-objects/ Brooklyn, NY 04 01 20120507 Cohen, Jeffrey Jerome 02 WORLD 06 15 9780615625355 03 9780615625355 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693044 29 ZENODO: download the title https://zenodo.org/records/19693044/files/0090dbfb-bc8f-44aa-9803-08b277861b14_book.epub 20 08 20120507 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/animal-vegetable-mineral-ethics-and-objects/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0006.1.00.epub 20 08 20120507 01 urn:uuid:de35ba8d-c95a-4d51-acb7-92ee9b87a94a 03 01 01 thoth-work-id urn:uuid:f3c9e9d8-9a38-4558-be2e-cab9a70d62f0 01 thoth-publication-id urn:uuid:de35ba8d-c95a-4d51-acb7-92ee9b87a94a 15 9781468129847 03 9781468129847 06 10.21983/P3.0004.1.00 01 internal-reference 0004 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Annotations to Geoffrey Hill's Speech! Speech! 1 A01 Ann Hassan Ann Hassan 40 01jmxt844 University of Otago 01 eng 00 282 03 93 DSBJ 12 DSC 10 LIT014000 B2 Literary Studies 20 Geoffrey Hill; annotiations; theory of poetry; Speech! Speech! 01 06 02 00 03 00 Geoffrey Hill’s Speech! Speech! (2000) encapsulates two thousand years’ worth of utterances in a symbolic act of remembrance and expression of despair for the current age, in which we find “our minds and ears fouled by degraded public speech—by media hype, insipid sermons, hollow political rhetoric, and the ritual misuse of words.” Through 120 densely allusive stanzas—“As many as the days that were | of SODOM”—the poem wrestles this condition from within, fighting fire with fire in an alchemical symbolic labour that transmutes the dross of corrupt and clichéd idiom into a dynamic logopoeia which proves true Hill’s persistent claim: “genuinely difficult art is truly democratic.” Such is the weird, ambivalently hostile position of poetry in the present world and thus the space of our real connection to it: “Whatever strange relationship we have with the poem, it is not one of enjoyment. It is more like being brushed past, or aside, by an alien being” (Hill).Befriending this estrangement, embracing it as a more amicable brushing-up-against, Hassan’s Annotations is a thorough and patient explication of Speech! Speech! that both clarifies and deepens the poem’s difficulties, illuminating its polyphonic language and careening discursive movement. The author’s method is at once commentarial, descriptive, and narratorial, staying faithfully with the poem and following its complex verbal and logical turns. The book generously provides, rather than direct interpretative incursion, a more durable and productive document of “the true nature / of this achievement” (stanza 92), a capacious, open understanding of the text that will prove invaluable to its present and future readers. 30 00 Geoffrey Hill’s Speech! Speech! (2000) encapsulates two thousand years’ worth of utterances in a symbolic act of remembrance and expression of despair for the current age, in which we find “our minds and ears fouled by degraded public speech—by media hype, insipid sermons, hollow political rhetoric, and the ritual misuse of words.” Through 120 densely allusive stanzas—“As many as the days that were | of SODOM”—the poem wrestles this condition from within, fighting fire with fire in an alchemical symbolic labour that transmutes the dross of corrupt and clichéd idiom into a dynamic logopoeia which proves true Hill’s persistent claim: “genuinely difficult art is truly democratic.” Such is the weird, ambivalently hostile position of poetry in the present world and thus the space of our real connection to it: “Whatever strange relationship we have with the poem, it is not one of enjoyment. It is more like being brushed past, or aside, by an alien being” (Hill).Befriending this estrangement, embracing it as a more amicable brushing-up-against, Hassan’s Annotations is a thorough and patient explication of Speech! Speech! that both clarifies and deepens the poem’s difficulties, illuminating its polyphonic language and careening discursive movement. The author’s method is at once commentarial, descriptive, and narratorial, staying faithfully with the poem and following its complex verbal and logical turns. The book generously provides, rather than direct interpretative incursion, a more durable and productive document of “the true nature / of this achievement” (stanza 92), a capacious, open understanding of the text that will prove invaluable to its present and future readers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0004.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/annotations-to-geoffrey-hills-speech-speech/ Brooklyn, NY 04 01 20120126 Hassan, Ann 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1468129848 20 08 20120126 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/annotations-to-geoffrey-hills-speech-speech 20 08 20120126 02 25.00 USD WORLD urn:uuid:e64f1f22-6159-49e6-bf07-fdab73476a34 03 01 01 thoth-work-id urn:uuid:f3c9e9d8-9a38-4558-be2e-cab9a70d62f0 01 thoth-publication-id urn:uuid:e64f1f22-6159-49e6-bf07-fdab73476a34 06 10.21983/P3.0004.1.00 01 internal-reference 0004 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Annotations to Geoffrey Hill's Speech! Speech! 1 A01 Ann Hassan Ann Hassan 40 01jmxt844 University of Otago 01 eng 00 282 03 93 DSBJ 12 DSC 10 LIT014000 B2 Literary Studies 20 Geoffrey Hill; annotiations; theory of poetry; Speech! Speech! 01 06 02 00 03 00 Geoffrey Hill’s Speech! Speech! (2000) encapsulates two thousand years’ worth of utterances in a symbolic act of remembrance and expression of despair for the current age, in which we find “our minds and ears fouled by degraded public speech—by media hype, insipid sermons, hollow political rhetoric, and the ritual misuse of words.” Through 120 densely allusive stanzas—“As many as the days that were | of SODOM”—the poem wrestles this condition from within, fighting fire with fire in an alchemical symbolic labour that transmutes the dross of corrupt and clichéd idiom into a dynamic logopoeia which proves true Hill’s persistent claim: “genuinely difficult art is truly democratic.” Such is the weird, ambivalently hostile position of poetry in the present world and thus the space of our real connection to it: “Whatever strange relationship we have with the poem, it is not one of enjoyment. It is more like being brushed past, or aside, by an alien being” (Hill).Befriending this estrangement, embracing it as a more amicable brushing-up-against, Hassan’s Annotations is a thorough and patient explication of Speech! Speech! that both clarifies and deepens the poem’s difficulties, illuminating its polyphonic language and careening discursive movement. The author’s method is at once commentarial, descriptive, and narratorial, staying faithfully with the poem and following its complex verbal and logical turns. The book generously provides, rather than direct interpretative incursion, a more durable and productive document of “the true nature / of this achievement” (stanza 92), a capacious, open understanding of the text that will prove invaluable to its present and future readers. 30 00 Geoffrey Hill’s Speech! Speech! (2000) encapsulates two thousand years’ worth of utterances in a symbolic act of remembrance and expression of despair for the current age, in which we find “our minds and ears fouled by degraded public speech—by media hype, insipid sermons, hollow political rhetoric, and the ritual misuse of words.” Through 120 densely allusive stanzas—“As many as the days that were | of SODOM”—the poem wrestles this condition from within, fighting fire with fire in an alchemical symbolic labour that transmutes the dross of corrupt and clichéd idiom into a dynamic logopoeia which proves true Hill’s persistent claim: “genuinely difficult art is truly democratic.” Such is the weird, ambivalently hostile position of poetry in the present world and thus the space of our real connection to it: “Whatever strange relationship we have with the poem, it is not one of enjoyment. It is more like being brushed past, or aside, by an alien being” (Hill).Befriending this estrangement, embracing it as a more amicable brushing-up-against, Hassan’s Annotations is a thorough and patient explication of Speech! Speech! that both clarifies and deepens the poem’s difficulties, illuminating its polyphonic language and careening discursive movement. The author’s method is at once commentarial, descriptive, and narratorial, staying faithfully with the poem and following its complex verbal and logical turns. The book generously provides, rather than direct interpretative incursion, a more durable and productive document of “the true nature / of this achievement” (stanza 92), a capacious, open understanding of the text that will prove invaluable to its present and future readers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0004.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/annotations-to-geoffrey-hills-speech-speech/ Brooklyn, NY 04 01 20120126 Hassan, Ann 02 WORLD 06 15 9781468129847 03 9781468129847 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76533 20 08 20120126 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25611 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25611/1004484.pdf 20 08 20120126 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30126 20 08 20120126 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353987 20 08 20120126 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/380 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d13c577e-1074-443c-b24e-bfd87ce8441b/download 20 08 20120126 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f3c9e9d8-9a38-4558-be2e-cab9a70d62f0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f3c9e9d8-9a38-4558-be2e-cab9a70d62f0/f3c9e9d8-9a38-4558-be2e-cab9a70d62f0.pdf 20 08 20120126 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693207 29 ZENODO: download the title https://zenodo.org/records/19693207/files/f3c9e9d8-9a38-4558-be2e-cab9a70d62f0_book.pdf 20 08 20120126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/annotations-to-geoffrey-hills-speech-speech/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0004.1.00.pdf 20 08 20120126 01 urn:uuid:0f181238-0266-4210-9dc1-132c2886bed3 03 01 01 thoth-work-id urn:uuid:baf524c6-0a2c-40f2-90a7-e19c6e1b6b97 01 thoth-publication-id urn:uuid:0f181238-0266-4210-9dc1-132c2886bed3 15 9781950192557 03 9781950192557 06 10.21983/P3.0265.1.00 13 2019951805 01 internal-reference 0265 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Anthropocene Unseen A Lexicon 1 B01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 B01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 00 545 03 B2 Anthropocene 12 JHMC 93 JHMC 10 SOC002000 B2 Biosphere 93 RNPG 12 RNPG B2 Cultural Studies+Critical Theory 20 anthropocene; cultural studies; climate change; ecopolitics; environmental humanities; nature; extinction 01 06 02 00 03 00 The idea of the Anthropocene often generates an overwhelming sense of abjection or apathy. It occupies the imagination as a set of circumstances that counterpose individual human actors against ungraspable scales and impossible odds. There is much at stake in how we understand the implications of this planetary imagination, and how to plot paths from this present to other less troubling futures. With Anthropocene Unseen: A Lexicon, the editors aim at a resource helpful for this task: a catalog of ways to pluralize and radicalize our picture of the Anthropocene, to make it speak more effectively to a wider range of contemporary human societies and circumstances. Organized as a lexicon for troubled times, each entry in this book recognizes the gravity of the global forecasts that invest the present with its widespread air of crisis, urgency, and apocalyptic possibility. Each also finds value in smaller scales of analysis, capturing the magnitude of an epoch in the unique resonances afforded by a single word.The Holocene may have been the age in which we learned our letters, but we are faced now with circumstances that demand more experimental plasticity. Alternative ways of perceiving a moment can bring a halt to habitual action, opening a space for slantwise movements through the shock of the unexpected. Each small essay in this lexicon is meant to do just this, drawing from anthropology, literary studies, artistic practice, and other humanistic endeavors to open up the range of possible action by contributing some other concrete way of seeing the present. Each entry proposes a different way of conceiving this Earth from some grounded place, always in a manner that aims to provoke a different imagination of the Anthropocene as a whole.The Anthropocene is a world-engulfing concept, drawing every thing and being imaginable into its purview, both in terms of geographic scale and temporal duration. Pronouncing an epoch in our own name may seem the ultimate act of apex species self-aggrandizement, a picture of the world as dominated by ourselves. Can we learn new ways of being in the face of this challenge, approaching the transmogrification of the ecosphere in a spirit of experimentation rather than catastrophic risk and existential dismay? This lexicon is meant as a site to imagine and explore what human beings can do differently with this time, and with its sense of peril. 30 00 The idea of the Anthropocene often generates an overwhelming sense of abjection or apathy. It occupies the imagination as a set of circumstances that counterpose individual human actors against ungraspable scales and impossible odds. There is much at stake in how we understand the implications of this planetary imagination, and how to plot paths from this present to other less troubling futures. With Anthropocene Unseen: A Lexicon, the editors aim at a resource helpful for this task: a catalog of ways to pluralize and radicalize our picture of the Anthropocene, to make it speak more effectively to a wider range of contemporary human societies and circumstances. Organized as a lexicon for troubled times, each entry in this book recognizes the gravity of the global forecasts that invest the present with its widespread air of crisis, urgency, and apocalyptic possibility. Each also finds value in smaller scales of analysis, capturing the magnitude of an epoch in the unique resonances afforded by a single word.The Holocene may have been the age in which we learned our letters, but we are faced now with circumstances that demand more experimental plasticity. Alternative ways of perceiving a moment can bring a halt to habitual action, opening a space for slantwise movements through the shock of the unexpected. Each small essay in this lexicon is meant to do just this, drawing from anthropology, literary studies, artistic practice, and other humanistic endeavors to open up the range of possible action by contributing some other concrete way of seeing the present. Each entry proposes a different way of conceiving this Earth from some grounded place, always in a manner that aims to provoke a different imagination of the Anthropocene as a whole.The Anthropocene is a world-engulfing concept, drawing every thing and being imaginable into its purview, both in terms of geographic scale and temporal duration. Pronouncing an epoch in our own name may seem the ultimate act of apex species self-aggrandizement, a picture of the world as dominated by ourselves. Can we learn new ways of being in the face of this challenge, approaching the transmogrification of the ecosphere in a spirit of experimentation rather than catastrophic risk and existential dismay? This lexicon is meant as a site to imagine and explore what human beings can do differently with this time, and with its sense of peril. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0265.1.00_frontcover.jpg 1 03 06 10.53288/0265.1.01 1 16 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 B01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access 2 03 06 10.53288/0265.1.02 17 23 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 A01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Cymene Howe Anand Pandian 3 03 06 10.53288/0265.1.03 24 29 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Acceleration 1 A01 21 0000000318128603 David Rojas David Rojas 40 00fc1qt65 Bucknell University 01 eng 20 00 Open Access David Rojas 4 03 06 10.53288/0265.1.04 30 33 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Address 1 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 2 A01 Una Chaudhuri Una Chaudhuri 40 0190ak572 New York University 3 A01 21 0000000290345189 Oliver Kellhammer Oliver Kellhammer 40 02cmz8k74 Parsons School of Design 4 A01 Fritz Ertl Fritz Ertl 40 0190ak572 New York University 01 eng 20 00 Open Access Marina Zurkow Una Chaudhuri Oliver Kellhammer Fritz Ertl 5 03 06 10.53288/0265.1.05 34 38 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anticipation 1 A01 Joseph Masco Joseph Masco 40 024mw5h28 University of Chicago 01 eng 20 00 Open Access Joseph Masco 6 03 06 10.53288/0265.1.06 40 44 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Apocalypse 1 A01 Roy Scranton Roy Scranton 40 00mkhxb43 University of Notre Dame 01 eng 20 00 Open Access Roy Scranton 7 03 06 10.53288/0265.1.07 46 51 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Appreciation 1 A01 21 000000021510414X Matthew Archer Matthew Archer 40 04sppb023 Copenhagen Business School 01 eng 20 00 Open Access Matthew Archer 8 03 06 10.53288/0265.1.08 52 57 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bloom 1 A01 21 0000000321555200 Chitra Venkataramani Chitra Venkataramani 40 01tgyzw49 National University of Singapore 01 eng 20 00 Open Access Chitra Venkataramani 9 03 06 10.53288/0265.1.09 58 62 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Business 1 A01 Gökçe Günel Gökçe Günel 40 008zs3103 Rice University 01 eng 20 00 Open Access Gökçe Günel 10 03 06 10.53288/0265.1.10 64 68 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carbon 1 A01 Jerome Whitington Jerome Whitington 40 0190ak572 New York University 01 eng 20 00 Open Access Jerome Whitington 11 03 06 10.53288/0265.1.11 70 74 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Care 1 A01 Charis Boke Charis Boke 40 03b353k89 Saint Michael's College 01 eng 20 00 Open Access Charis Boke 12 03 06 10.53288/0265.1.12 76 80 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cloud 1 A01 21 0000000300570305 Vasundhara Bhojvaid Vasundhara Bhojvaid 40 05aqahr97 Shiv Nadar University 01 eng 20 00 Open Access Vasundhara Bhojvaid 13 03 06 10.53288/0265.1.13 82 86 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conditions 1 A01 21 0000000309147060 Franz Krause Franz Krause 40 00rcxh774 University of Cologne 01 eng 20 00 Open Access Franz Krause 14 03 06 10.53288/0265.1.14 88 93 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cosmos 1 A01 Abou Farman Abou Farman 40 02tvcev59 New School 01 eng 20 00 Open Access Abou Farman 15 03 06 10.53288/0265.1.15 94 97 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Death 1 A01 Maria Whiteman Maria Whiteman 40 01kg8sb98 Indiana University 01 eng 20 00 Open Access Maria Whiteman 16 03 06 10.53288/0265.1.16 98 102 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dispossession 1 A01 Paige West Paige West 40 00hj8s172 Columbia University 01 eng 20 00 Open Access Paige West 17 03 06 10.53288/0265.1.17 104 109 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Distribution 1 A01 Timothy Choy Timothy Choy 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Timothy Choy 18 03 06 10.53288/0265.1.18 110 114 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dog 1 A01 Ann Marie Thornburg Ann Marie Thornburg 40 00mkhxb43 University of Notre Dame 01 eng 20 00 Open Access Ann Marie Thornburg 19 03 06 10.53288/0265.1.19 116 118 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dream 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 20 00 Open Access Timothy Morton 20 03 06 10.53288/0265.1.20 120 125 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dredge 1 A01 21 0000000264578448 Ashley Carse Ashley Carse 40 02vm5rt34 Vanderbilt University 01 eng 20 00 Open Access Ashley Carse 21 03 06 10.53288/0265.1.21 126 130 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Drone 1 A01 21 0000000274894233 Marcel LaFlamme Marcel LaFlamme 40 008zs3103 Rice University 01 eng 20 00 Open Access Marcel LaFlamme 22 03 06 10.53288/0265.1.22 132 136 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Earths 1 A01 21 0000000264596910 Joshua Reno Joshua Reno 40 008rmbt77 Binghamton University 01 eng 20 00 Open Access Joshua Reno 23 03 06 10.53288/0265.1.23 138 142 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ecopolitics 1 A01 Eduardo Kohn Eduardo Kohn 40 01pxwe438 McGill University 01 eng 20 00 Open Access Eduardo Kohn 24 03 06 10.53288/0265.1.24 144 148 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ends 1 A01 21 0000000229575049 Imre Szeman Imre Szeman 40 01aff2v68 University of Waterloo 20 00 Open Access Imre Szeman 25 03 06 10.53288/0265.1.25 150 154 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Environing 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Jeffrey Jerome Cohen 26 03 06 10.53288/0265.1.26 156 161 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eschaton 1 A01 21 0000000273577439 Jonathan Padwe Jonathan Padwe 40 01wspgy28 University of Hawai'i at Mānoa 01 eng 20 00 Open Access Jonathan Padwe 27 03 06 10.53288/0265.1.27 162 166 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Expenditure 1 A01 Naveeda Khan Naveeda Khan 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Naveeda Khan 28 03 06 10.53288/0265.1.28 168 174 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exposure 1 A01 Elizabeth F.S. Roberts Elizabeth F.S. Roberts 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Elizabeth F.S. Roberts 29 03 06 10.53288/0265.1.29 176 182 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extinction 1 A01 Noah Theriault Noah Theriault 40 05x2bcf33 Carnegie Mellon University 2 A01 21 0000000316140414 Audra Mitchell Audra Mitchell 40 04m01e293 University of York 01 eng 20 00 Open Access Noah Theriault Audra Mitchell 30 03 06 10.53288/0265.1.30 184 189 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fiction 1 A01 Anindita Banerjee Anindita Banerjee 40 05bnh6r87 Cornell University 01 eng 20 00 Open Access Anindita Banerjee 31 03 06 10.53288/0265.1.31 190 195 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fire 1 A01 Daniel Fisher Daniel Fisher 40 01an7q238 University of California, Berkeley 01 eng 20 00 Open Access Daniel Fisher 32 03 06 10.53288/0265.1.32 196 200 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flatulence 1 A01 21 0000000249728663 Radhika Govindrajan Radhika Govindrajan 40 00cvxb145 University of Washington 01 eng 20 00 Open Access Radhika Govindrajan 33 03 06 10.53288/0265.1.33 202 206 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flock 1 A01 21 0000000177700329 Anne Galloway Anne Galloway 40 0040r6f76 Victoria University of Wellington 01 eng 20 00 Open Access Anne Galloway 34 03 06 10.53288/0265.1.34 208 213 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Generation 1 A01 21 0000000299282401 Vincent Ialenti Vincent Ialenti 40 05bnh6r87 Cornell University 06 Own website https://www.vincentialenti.com/ 01 eng 20 00 Open Access Vincent Ialenti 35 03 06 10.53288/0265.1.35 214 219 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gluten 1 A01 21 000000016586422X Jessica Barnes Jessica Barnes 40 02b6qw903 University of South Carolina 20 00 Open Access Jessica Barnes 36 03 06 10.53288/0265.1.36 220 224 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gratitude 1 A01 21 0000000252652380 Iza Kavedžija Iza Kavedžija 40 03yghzc09 University of Exeter 01 eng 20 00 Open Access Iza Kavedžija 37 03 06 10.53288/0265.1.37 226 230 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Heat 1 A01 21 000000021731321X Alex Nading Alex Nading 40 05bnh6r87 Cornell University 01 eng 20 00 Open Access Alex Nading 38 03 06 10.53288/0265.1.38 232 235 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hyposubjects 1 A01 21 000000018944406X Dominic Boyer Dominic Boyer 40 008zs3103 Rice University 2 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 20 00 Open Access Dominic Boyer Timothy Morton 39 03 06 10.53288/0265.1.39 236 241 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Industrialism 1 A01 Craig Campbell Craig Campbell 40 00hj54h04 The University of Texas at Austin 01 eng 20 00 Open Access Craig Campbell 40 03 06 10.53288/0265.1.40 242 247 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Installation 1 A01 21 0000000273457816 Serpil Oppermann Serpil Oppermann 40 01zx17h33 Cappadocia University 01 eng 20 00 Open Access Serpil Oppermann 41 03 06 10.53288/0265.1.41 248 253 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interstellar 1 A01 21 0000000183800908 Michael P. Oman-Reagan Michael P. Oman-Reagan 40 04haebc03 Memorial University of Newfoundland 01 eng 20 00 Open Access Michael P. Oman-Reagan 42 03 06 10.53288/0265.1.42 254 259 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Leviathans 1 A01 21 0000000246833513 Alex Golub Alex Golub 40 01wspgy28 University of Hawai'i at Mānoa 20 00 Open Access Alex Golub 43 03 06 10.53288/0265.1.43 260 263 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Melt 1 A01 21 0000000308595881 Stefan Helmreich Stefan Helmreich 40 042nb2s44 Massachusetts Institute of Technology 01 eng 20 00 Open Access Stefan Helmreich 44 03 06 10.53288/0265.1.44 264 268 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Miracles 1 A01 21 0000000152745336 Diego Cagüeñas Rozo Diego Cagüeñas Rozo 40 02tvcev59 New School 01 eng 20 00 Open Access Diego Cagüeñas Rozo 45 03 06 10.53288/0265.1.45 270 274 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Models 1 A01 Jeremy Trombley Jeremy Trombley 40 02grkyz14 Western University 01 eng 20 00 Open Access Jeremy Trombley 46 03 06 10.53288/0265.1.46 276 280 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Monoculture 1 A01 21 0000000323530074 Sarah Besky Sarah Besky 40 05bnh6r87 Cornell University 01 eng 20 00 Open Access Sarah Besky 47 03 06 10.53288/0265.1.47 282 286 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mood 1 A01 21 0000000280756048 Atreyee Majumder Atreyee Majumder 40 03j2ta742 O. P. Jindal Global University 01 eng 20 00 Open Access Atreyee Majumder 48 03 06 10.53288/0265.1.48 288 292 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Narcissus 1 A01 Naisargi N. Dave Naisargi N. Dave 40 03dbr7087 University of Toronto 01 eng 20 00 Open Access Naisargi N. Dave 49 03 06 10.53288/0265.1.49 294 299 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nature 1 A01 21 0000000265737615 Stuart McLean Stuart McLean 40 017zqws13 University of Minnesota 01 eng 20 00 Open Access Stuart McLean 50 03 06 10.53288/0265.1.50 300 305 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nemesis 1 A01 21 0000000198397939 Laura Watts Laura Watts 40 01nrxwf90 University of Edinburgh 06 Own website https://sand14.com 01 eng 20 00 Open Access Laura Watts 51 03 06 10.53288/0265.1.51 306 310 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00wyq5s37 St John's University 01 eng 20 00 Open Access Steve Mentz 52 03 06 10.53288/0265.1.52 312 315 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Petroleum 1 A01 Elizabeth Povinelli Elizabeth Povinelli 40 00hj8s172 Columbia University 01 eng 20 00 Open Access Elizabeth Povinelli 53 03 06 10.53288/0265.1.53 316 322 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Photosynthesis 1 A01 Natasha Myers Natasha Myers 40 05fq50484 York University 01 eng 20 00 Open Access Natasha Myers 54 03 06 10.53288/0265.1.54 324 329 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plastic 1 A01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Anand Pandian 55 03 06 10.53288/0265.1.55 330 335 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plenitude 1 A01 Lora Koycheva Lora Koycheva 40 05591te55 Ludwig-Maximilians-Universität München 01 eng 20 00 Open Access Lora Koycheva 56 03 06 10.53288/0265.1.56 336 340 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Power 1 A01 21 0000000184918430 John Hartigan John Hartigan 40 00hj54h04 The University of Texas at Austin 01 eng 20 00 Open Access John Hartigan 57 03 06 10.53288/0265.1.57 342 347 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Predation 1 A01 21 0000000160842881 Nayanika Mathur Nayanika Mathur 40 052gg0110 University of Oxford 01 eng 20 00 Open Access Nayanika Mathur 58 03 06 10.53288/0265.1.58 348 352 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preparedness 1 A01 Frédéric Keck Frédéric Keck 40 00x9ewr78 National Council for Scientific Research 01 eng 20 00 Open Access Frédéric Keck 59 03 06 10.53288/0265.1.59 354 358 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Price 1 A01 Maira Hayat Maira Hayat 40 00mkhxb43 University of Notre Dame 06 Own website https://mairahayat.com/ 01 eng 20 00 Open Access Maira Hayat 60 03 06 10.53288/0265.1.60 360 366 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Probiotic 1 A01 21 0000000343690884 Jamie Lorimer Jamie Lorimer 40 052gg0110 University of Oxford 20 00 Open Access Jamie Lorimer 61 03 06 10.53288/0265.1.61 368 373 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Quotidian 1 A01 21 0000000153565003 Eli Elinoff Eli Elinoff 40 0040r6f76 Victoria University of Wellington 2 A01 Tyson Vaughan Tyson Vaughan 40 05w4e8v21 United States Army Corps of Engineers 20 00 Open Access Eli Elinoff Tyson Vaughan 62 03 06 10.53288/0265.1.62 374 379 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Recalcitrance 1 A01 Rijul Kochhar Rijul Kochhar 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Rijul Kochhar 63 03 06 10.53288/0265.1.63 380 384 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Relationships 1 A01 Zoe Todd Zoe Todd 40 02qtvee93 Carleton University 01 eng 20 00 Open Access Zoe Todd 64 03 06 10.53288/0265.1.64 386 390 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Riddle 1 A01 21 0000000202930813 Michael Gossett Michael Gossett 40 00awd9g61 The Graduate Center, CUNY 01 eng 20 00 Open Access Michael Gossett 65 03 06 10.53288/0265.1.65 392 396 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rivers 1 A01 Rochelle Tobias Rochelle Tobias 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Rochelle Tobias 66 03 06 10.53288/0265.1.66 398 402 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ruin 1 A01 Sophia Roosth Sophia Roosth 40 0190ak572 New York University 06 Own website https://www.sophiaroosth.com/ 01 eng 20 00 Open Access Sophia Roosth 67 03 06 10.53288/0265.1.67 404 409 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Seeds 1 A01 Tracey Heatherington Tracey Heatherington 40 03rmrcq20 University of British Columbia 01 eng 20 00 Open Access Tracey Heatherington 68 03 06 10.53288/0265.1.68 410 414 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shit 1 A01 21 0000000202464445 Nicholas C. Kawa Nicholas Kawa 40 00rs6vg23 The Ohio State University 01 eng 20 00 Open Access Nicholas C. Kawa 69 03 06 10.53288/0265.1.69 416 420 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Slavery 1 A01 21 0000000234870974 Claire Colebrook Claire Colebrook 40 04p491231 Pennsylvania State University 01 eng 20 00 Open Access Claire Colebrook 70 03 06 10.53288/0265.1.70 422 426 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Smugglers 1 A01 21 0000000343655501 Jason De León Jason De León 40 046rm7j60 University of California, Los Angeles 01 eng 20 00 Open Access Jason De León 71 03 06 10.53288/0265.1.71 428 432 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Species 1 A01 21 0000000160671525 Eben Kirksey Eben Kirksey 40 02czsnj07 Deakin University 01 eng 20 00 Open Access Eben Kirksey 72 03 06 10.53288/0265.1.72 434 439 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stability 1 A01 21 0000000306731173 Elizabeth Reddy Elizabeth Reddy 40 04raf6v53 Colorado School of Mines 01 eng 20 00 Open Access Elizabeth Reddy 73 03 06 10.53288/0265.1.73 440 444 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Steps 1 A01 smudge studio Smudge Studio 40 02tvcev59 New School 20 00 Open Access smudge studio 74 03 06 10.53288/0265.1.74 446 450 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Suburbs 1 A01 Andrew Pendakis Andrew Pendakis 40 056am2717 Brock University 01 eng 20 00 Open Access Andrew Pendakis 75 03 06 10.53288/0265.1.75 452 457 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Surprise! 1 A01 21 0000000305658971 Zoe Nyssa Zoe Nyssa 40 02dqehb95 Purdue University West Lafayette 01 eng 20 00 Open Access Zoe Nyssa 76 03 06 10.53288/0265.1.76 458 462 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Surreal 1 A01 21 0000000243485525 Nicholas Shapiro Nicholas Shapiro 40 052gg0110 University of Oxford 01 eng 20 00 Open Access Nicholas Shapiro 77 03 06 10.53288/0265.1.77 464 468 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sustainability 1 A01 María García Maldonado María García Maldonado 2 A01 Rosario García Meza Rosario García Meza 3 A01 21 0000000208957136 Emily Yates-Doerr Emily Yates-Doerr 40 04dkp9463 University of Amsterdam 06 Own website https://www.uva.nl/en/profile/y/a/e.j.f.yates-doerr/e.j.f.yates-doerr.html#Profile 01 eng 20 00 Open Access María García Maldonado Rosario García Meza Emily Yates-Doerr 78 03 06 10.53288/0265.1.78 470 474 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Terrain 1 A01 Gastón Gordillo Gastón Gordillo 40 03rmrcq20 University of British Columbia 01 eng 20 00 Open Access Gastón Gordillo 79 03 06 10.53288/0265.1.79 476 480 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thermodynamics 1 A01 21 0000000173136660 Cara Daggett Cara Daggett 40 02smfhw86 Virginia Tech 01 eng 20 00 Open Access Cara Daggett 80 03 06 10.53288/0265.1.80 483 486 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thresholds 1 A01 21 0000000249913439 P. Joshua Griffin P. Joshua Griffin 40 00cvxb145 University of Washington 01 eng 20 00 Open Access P. Joshua Griffin 81 03 06 10.53288/0265.1.81 488 492 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Timely 1 A01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 01 eng 20 00 Open Access Cymene Howe 82 03 06 10.53288/0265.1.82 494 498 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trump 1 A01 Tom Cohen Tom Cohen 40 05fq50484 York University 01 eng 20 00 Open Access Tom Cohen 83 03 06 10.53288/0265.1.83 500 502 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Turtle 1 A01 21 0000000154286815 Nomi Stone Nomi Stone 40 00hx57361 Princeton University 01 eng 20 00 Open Access Nomi Stone 84 03 06 10.53288/0265.1.84 504 508 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unknowns 1 A01 Debbora Battaglia Debbora Battaglia 40 031z8pr38 Mount Holyoke College 01 eng 20 00 Open Access Debbora Battaglia 85 03 06 10.53288/0265.1.85 510 514 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unseens 1 A01 Celia Lowe Celia Lowe 40 00cvxb145 University of Washington 01 eng 20 00 Open Access Celia Lowe 86 03 06 10.53288/0265.1.86 516 520 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Vulnerability 1 A01 21 0000000171270575 Sarah E. Vaughn Sarah E. Vaughn 40 01an7q238 University of California, Berkeley 01 eng 20 00 Open Access Sarah E. Vaughn 87 03 06 10.53288/0265.1.87 522 526 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wildness 1 A01 Dana J. Graef Dana J. Graef 40 03v76x132 Yale University 06 Own website http://danagraef.com/ 01 eng 20 00 Open Access Dana J. Graef 88 03 06 10.53288/0265.1.88 528 532 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zoonosis 1 A01 21 0000000308961140 Genese Marie Sodikoff Genese Marie Sodikoff 40 05vt9qd57 Rutgers University 01 eng 20 00 Open Access Genese Marie Sodikoff 89 03 06 10.53288/0265.1.89 535 540 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Figures 1 B01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 B01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/anthropocene-unseen-a-lexicon/ 16 40 008zs3103 32 10.13039/100007863 Rice University Earth, Milky Way 04 01 20200207 Howe, Cymene Pandian, Anand 02 WORLD 06 15 9781950192564 03 9781950192564 34 06 10.1002/ese3.35 34 06 10.1007/BF02229143 34 06 10.1007/s11538-015-0126-0 34 06 10.1016/j.ancene.2016.01.002 34 06 10.1016/j.cub.2011.03.042 34 06 10.1016/j.ecoser.2012.07.005 34 06 10.1016/j.geoforum.2014.12.012 34 06 10.1016/j.mehy.2011.06.019 34 06 10.1016/j.rser.2009.07.019 34 06 10.1016/j.socscimed.2013.07.018 34 06 10.1016/j.tree.2009.01.010 34 06 10.1016/j.worlddev.2013.11.014 34 06 10.1017/S0010417500013554 34 06 10.1017/S0030605310001213 34 06 10.1017/S0376892911000518 34 06 10.1021/es401288x 34 06 10.1021/jf305122s 34 06 10.1023/A:1008651105359 34 06 10.1023/B:CLIM.0000004577.17928.fa 34 06 10.1038/530409a 34 06 10.1038/nature11582 34 06 10.1038/nature14258 34 06 10.1038/nature17145 34 06 10.1038/ngeo779 34 06 10.1038/nrg2045 34 06 10.1038/nrmicro2245 34 06 10.1046/j.1365-2672.94.s1.8.x 34 06 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10.1111/j.1548-1360.2012.01158.x 34 06 10.1111/j.1548-1360.2012.01173.x 34 06 10.1111/j.1548-1425.2010.01289.x 34 06 10.1111/maq.12328 34 06 10.1111/plar.12128 34 06 10.1111/plar.12130 34 06 10.1111/tran.12030 34 06 10.1126/sciadv.1600377 34 06 10.1126/science.1259855 34 06 10.1126/science.334.6052.32 34 06 10.1126/science.aad2622 34 06 10.1126/science.aad2622.51 34 06 10.1146/annurev-environ-102014-021406 34 06 10.1146/annurev.anthro.33.070203.143809 34 06 10.1162/152638101300138521 34 06 10.1177/007327538902700403 34 06 10.1177/0263276409347696 34 06 10.1177/0263276413499190 34 06 10.1177/030631200030005001 34 06 10.1177/0306312706069439 34 06 10.1177/0306312709341598 34 06 10.1177/0306312709341598 34 06 10.1177/0306312715599851 34 06 10.1177/0308275X12449105 34 06 10.1177/0308518X16663015 34 06 10.1177/1357034X14561341 34 06 10.1177/1463499613509992.373 34 06 10.1177/1474474012469887 34 06 10.1177/2053019613514953 34 06 10.1177/2053019613516291 34 06 10.1177/2053019613516291 34 06 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10.3998/jar.0521004.0068.201.114 34 06 10.4269/ajtmh.14-0504 34 06 10.4319/lo.2007.52.1.0480 34 06 10.5406/historypresent.5.ss2.0137 34 06 10.5509/2015883623 34 06 10.7264/N3KH0K81 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192555 20 08 20200207 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/anthropocene-unseen-a-lexicon 20 08 20200207 02 30.00 USD WORLD urn:uuid:d5692737-5eff-4dfe-aa83-4339e6b838ee 03 01 01 thoth-work-id urn:uuid:baf524c6-0a2c-40f2-90a7-e19c6e1b6b97 01 thoth-publication-id urn:uuid:d5692737-5eff-4dfe-aa83-4339e6b838ee 15 9781950192564 03 9781950192564 06 10.21983/P3.0265.1.00 13 2019951805 01 internal-reference 0265 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Anthropocene Unseen A Lexicon 1 B01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 B01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 00 545 03 B2 Anthropocene 12 JHMC 93 JHMC 10 SOC002000 B2 Biosphere 93 RNPG 12 RNPG B2 Cultural Studies+Critical Theory 20 anthropocene; cultural studies; climate change; ecopolitics; environmental humanities; nature; extinction 01 06 02 00 03 00 The idea of the Anthropocene often generates an overwhelming sense of abjection or apathy. It occupies the imagination as a set of circumstances that counterpose individual human actors against ungraspable scales and impossible odds. There is much at stake in how we understand the implications of this planetary imagination, and how to plot paths from this present to other less troubling futures. With Anthropocene Unseen: A Lexicon, the editors aim at a resource helpful for this task: a catalog of ways to pluralize and radicalize our picture of the Anthropocene, to make it speak more effectively to a wider range of contemporary human societies and circumstances. Organized as a lexicon for troubled times, each entry in this book recognizes the gravity of the global forecasts that invest the present with its widespread air of crisis, urgency, and apocalyptic possibility. Each also finds value in smaller scales of analysis, capturing the magnitude of an epoch in the unique resonances afforded by a single word.The Holocene may have been the age in which we learned our letters, but we are faced now with circumstances that demand more experimental plasticity. Alternative ways of perceiving a moment can bring a halt to habitual action, opening a space for slantwise movements through the shock of the unexpected. Each small essay in this lexicon is meant to do just this, drawing from anthropology, literary studies, artistic practice, and other humanistic endeavors to open up the range of possible action by contributing some other concrete way of seeing the present. Each entry proposes a different way of conceiving this Earth from some grounded place, always in a manner that aims to provoke a different imagination of the Anthropocene as a whole.The Anthropocene is a world-engulfing concept, drawing every thing and being imaginable into its purview, both in terms of geographic scale and temporal duration. Pronouncing an epoch in our own name may seem the ultimate act of apex species self-aggrandizement, a picture of the world as dominated by ourselves. Can we learn new ways of being in the face of this challenge, approaching the transmogrification of the ecosphere in a spirit of experimentation rather than catastrophic risk and existential dismay? This lexicon is meant as a site to imagine and explore what human beings can do differently with this time, and with its sense of peril. 30 00 The idea of the Anthropocene often generates an overwhelming sense of abjection or apathy. It occupies the imagination as a set of circumstances that counterpose individual human actors against ungraspable scales and impossible odds. There is much at stake in how we understand the implications of this planetary imagination, and how to plot paths from this present to other less troubling futures. With Anthropocene Unseen: A Lexicon, the editors aim at a resource helpful for this task: a catalog of ways to pluralize and radicalize our picture of the Anthropocene, to make it speak more effectively to a wider range of contemporary human societies and circumstances. Organized as a lexicon for troubled times, each entry in this book recognizes the gravity of the global forecasts that invest the present with its widespread air of crisis, urgency, and apocalyptic possibility. Each also finds value in smaller scales of analysis, capturing the magnitude of an epoch in the unique resonances afforded by a single word.The Holocene may have been the age in which we learned our letters, but we are faced now with circumstances that demand more experimental plasticity. Alternative ways of perceiving a moment can bring a halt to habitual action, opening a space for slantwise movements through the shock of the unexpected. Each small essay in this lexicon is meant to do just this, drawing from anthropology, literary studies, artistic practice, and other humanistic endeavors to open up the range of possible action by contributing some other concrete way of seeing the present. Each entry proposes a different way of conceiving this Earth from some grounded place, always in a manner that aims to provoke a different imagination of the Anthropocene as a whole.The Anthropocene is a world-engulfing concept, drawing every thing and being imaginable into its purview, both in terms of geographic scale and temporal duration. Pronouncing an epoch in our own name may seem the ultimate act of apex species self-aggrandizement, a picture of the world as dominated by ourselves. Can we learn new ways of being in the face of this challenge, approaching the transmogrification of the ecosphere in a spirit of experimentation rather than catastrophic risk and existential dismay? This lexicon is meant as a site to imagine and explore what human beings can do differently with this time, and with its sense of peril. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0265.1.00_frontcover.jpg 1 03 06 10.53288/0265.1.01 1 16 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 B01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access 2 03 06 10.53288/0265.1.02 17 23 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 A01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Cymene Howe Anand Pandian 3 03 06 10.53288/0265.1.03 24 29 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Acceleration 1 A01 21 0000000318128603 David Rojas David Rojas 40 00fc1qt65 Bucknell University 01 eng 20 00 Open Access David Rojas 4 03 06 10.53288/0265.1.04 30 33 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Address 1 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 2 A01 Una Chaudhuri Una Chaudhuri 40 0190ak572 New York University 3 A01 21 0000000290345189 Oliver Kellhammer Oliver Kellhammer 40 02cmz8k74 Parsons School of Design 4 A01 Fritz Ertl Fritz Ertl 40 0190ak572 New York University 01 eng 20 00 Open Access Marina Zurkow Una Chaudhuri Oliver Kellhammer Fritz Ertl 5 03 06 10.53288/0265.1.05 34 38 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anticipation 1 A01 Joseph Masco Joseph Masco 40 024mw5h28 University of Chicago 01 eng 20 00 Open Access Joseph Masco 6 03 06 10.53288/0265.1.06 40 44 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Apocalypse 1 A01 Roy Scranton Roy Scranton 40 00mkhxb43 University of Notre Dame 01 eng 20 00 Open Access Roy Scranton 7 03 06 10.53288/0265.1.07 46 51 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Appreciation 1 A01 21 000000021510414X Matthew Archer Matthew Archer 40 04sppb023 Copenhagen Business School 01 eng 20 00 Open Access Matthew Archer 8 03 06 10.53288/0265.1.08 52 57 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bloom 1 A01 21 0000000321555200 Chitra Venkataramani Chitra Venkataramani 40 01tgyzw49 National University of Singapore 01 eng 20 00 Open Access Chitra Venkataramani 9 03 06 10.53288/0265.1.09 58 62 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Business 1 A01 Gökçe Günel Gökçe Günel 40 008zs3103 Rice University 01 eng 20 00 Open Access Gökçe Günel 10 03 06 10.53288/0265.1.10 64 68 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carbon 1 A01 Jerome Whitington Jerome Whitington 40 0190ak572 New York University 01 eng 20 00 Open Access Jerome Whitington 11 03 06 10.53288/0265.1.11 70 74 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Care 1 A01 Charis Boke Charis Boke 40 03b353k89 Saint Michael's College 01 eng 20 00 Open Access Charis Boke 12 03 06 10.53288/0265.1.12 76 80 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cloud 1 A01 21 0000000300570305 Vasundhara Bhojvaid Vasundhara Bhojvaid 40 05aqahr97 Shiv Nadar University 01 eng 20 00 Open Access Vasundhara Bhojvaid 13 03 06 10.53288/0265.1.13 82 86 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conditions 1 A01 21 0000000309147060 Franz Krause Franz Krause 40 00rcxh774 University of Cologne 01 eng 20 00 Open Access Franz Krause 14 03 06 10.53288/0265.1.14 88 93 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cosmos 1 A01 Abou Farman Abou Farman 40 02tvcev59 New School 01 eng 20 00 Open Access Abou Farman 15 03 06 10.53288/0265.1.15 94 97 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Death 1 A01 Maria Whiteman Maria Whiteman 40 01kg8sb98 Indiana University 01 eng 20 00 Open Access Maria Whiteman 16 03 06 10.53288/0265.1.16 98 102 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dispossession 1 A01 Paige West Paige West 40 00hj8s172 Columbia University 01 eng 20 00 Open Access Paige West 17 03 06 10.53288/0265.1.17 104 109 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Distribution 1 A01 Timothy Choy Timothy Choy 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Timothy Choy 18 03 06 10.53288/0265.1.18 110 114 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dog 1 A01 Ann Marie Thornburg Ann Marie Thornburg 40 00mkhxb43 University of Notre Dame 01 eng 20 00 Open Access Ann Marie Thornburg 19 03 06 10.53288/0265.1.19 116 118 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dream 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 20 00 Open Access Timothy Morton 20 03 06 10.53288/0265.1.20 120 125 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dredge 1 A01 21 0000000264578448 Ashley Carse Ashley Carse 40 02vm5rt34 Vanderbilt University 01 eng 20 00 Open Access Ashley Carse 21 03 06 10.53288/0265.1.21 126 130 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Drone 1 A01 21 0000000274894233 Marcel LaFlamme Marcel LaFlamme 40 008zs3103 Rice University 01 eng 20 00 Open Access Marcel LaFlamme 22 03 06 10.53288/0265.1.22 132 136 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Earths 1 A01 21 0000000264596910 Joshua Reno Joshua Reno 40 008rmbt77 Binghamton University 01 eng 20 00 Open Access Joshua Reno 23 03 06 10.53288/0265.1.23 138 142 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ecopolitics 1 A01 Eduardo Kohn Eduardo Kohn 40 01pxwe438 McGill University 01 eng 20 00 Open Access Eduardo Kohn 24 03 06 10.53288/0265.1.24 144 148 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ends 1 A01 21 0000000229575049 Imre Szeman Imre Szeman 40 01aff2v68 University of Waterloo 20 00 Open Access Imre Szeman 25 03 06 10.53288/0265.1.25 150 154 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Environing 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Jeffrey Jerome Cohen 26 03 06 10.53288/0265.1.26 156 161 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eschaton 1 A01 21 0000000273577439 Jonathan Padwe Jonathan Padwe 40 01wspgy28 University of Hawai'i at Mānoa 01 eng 20 00 Open Access Jonathan Padwe 27 03 06 10.53288/0265.1.27 162 166 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Expenditure 1 A01 Naveeda Khan Naveeda Khan 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Naveeda Khan 28 03 06 10.53288/0265.1.28 168 174 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exposure 1 A01 Elizabeth F.S. Roberts Elizabeth F.S. Roberts 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Elizabeth F.S. Roberts 29 03 06 10.53288/0265.1.29 176 182 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extinction 1 A01 Noah Theriault Noah Theriault 40 05x2bcf33 Carnegie Mellon University 2 A01 21 0000000316140414 Audra Mitchell Audra Mitchell 40 04m01e293 University of York 01 eng 20 00 Open Access Noah Theriault Audra Mitchell 30 03 06 10.53288/0265.1.30 184 189 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fiction 1 A01 Anindita Banerjee Anindita Banerjee 40 05bnh6r87 Cornell University 01 eng 20 00 Open Access Anindita Banerjee 31 03 06 10.53288/0265.1.31 190 195 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fire 1 A01 Daniel Fisher Daniel Fisher 40 01an7q238 University of California, Berkeley 01 eng 20 00 Open Access Daniel Fisher 32 03 06 10.53288/0265.1.32 196 200 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flatulence 1 A01 21 0000000249728663 Radhika Govindrajan Radhika Govindrajan 40 00cvxb145 University of Washington 01 eng 20 00 Open Access Radhika Govindrajan 33 03 06 10.53288/0265.1.33 202 206 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flock 1 A01 21 0000000177700329 Anne Galloway Anne Galloway 40 0040r6f76 Victoria University of Wellington 01 eng 20 00 Open Access Anne Galloway 34 03 06 10.53288/0265.1.34 208 213 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Generation 1 A01 21 0000000299282401 Vincent Ialenti Vincent Ialenti 40 05bnh6r87 Cornell University 06 Own website https://www.vincentialenti.com/ 01 eng 20 00 Open Access Vincent Ialenti 35 03 06 10.53288/0265.1.35 214 219 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gluten 1 A01 21 000000016586422X Jessica Barnes Jessica Barnes 40 02b6qw903 University of South Carolina 20 00 Open Access Jessica Barnes 36 03 06 10.53288/0265.1.36 220 224 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gratitude 1 A01 21 0000000252652380 Iza Kavedžija Iza Kavedžija 40 03yghzc09 University of Exeter 01 eng 20 00 Open Access Iza Kavedžija 37 03 06 10.53288/0265.1.37 226 230 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Heat 1 A01 21 000000021731321X Alex Nading Alex Nading 40 05bnh6r87 Cornell University 01 eng 20 00 Open Access Alex Nading 38 03 06 10.53288/0265.1.38 232 235 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hyposubjects 1 A01 21 000000018944406X Dominic Boyer Dominic Boyer 40 008zs3103 Rice University 2 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 20 00 Open Access Dominic Boyer Timothy Morton 39 03 06 10.53288/0265.1.39 236 241 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Industrialism 1 A01 Craig Campbell Craig Campbell 40 00hj54h04 The University of Texas at Austin 01 eng 20 00 Open Access Craig Campbell 40 03 06 10.53288/0265.1.40 242 247 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Installation 1 A01 21 0000000273457816 Serpil Oppermann Serpil Oppermann 40 01zx17h33 Cappadocia University 01 eng 20 00 Open Access Serpil Oppermann 41 03 06 10.53288/0265.1.41 248 253 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interstellar 1 A01 21 0000000183800908 Michael P. Oman-Reagan Michael P. Oman-Reagan 40 04haebc03 Memorial University of Newfoundland 01 eng 20 00 Open Access Michael P. Oman-Reagan 42 03 06 10.53288/0265.1.42 254 259 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Leviathans 1 A01 21 0000000246833513 Alex Golub Alex Golub 40 01wspgy28 University of Hawai'i at Mānoa 20 00 Open Access Alex Golub 43 03 06 10.53288/0265.1.43 260 263 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Melt 1 A01 21 0000000308595881 Stefan Helmreich Stefan Helmreich 40 042nb2s44 Massachusetts Institute of Technology 01 eng 20 00 Open Access Stefan Helmreich 44 03 06 10.53288/0265.1.44 264 268 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Miracles 1 A01 21 0000000152745336 Diego Cagüeñas Rozo Diego Cagüeñas Rozo 40 02tvcev59 New School 01 eng 20 00 Open Access Diego Cagüeñas Rozo 45 03 06 10.53288/0265.1.45 270 274 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Models 1 A01 Jeremy Trombley Jeremy Trombley 40 02grkyz14 Western University 01 eng 20 00 Open Access Jeremy Trombley 46 03 06 10.53288/0265.1.46 276 280 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Monoculture 1 A01 21 0000000323530074 Sarah Besky Sarah Besky 40 05bnh6r87 Cornell University 01 eng 20 00 Open Access Sarah Besky 47 03 06 10.53288/0265.1.47 282 286 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mood 1 A01 21 0000000280756048 Atreyee Majumder Atreyee Majumder 40 03j2ta742 O. P. Jindal Global University 01 eng 20 00 Open Access Atreyee Majumder 48 03 06 10.53288/0265.1.48 288 292 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Narcissus 1 A01 Naisargi N. Dave Naisargi N. Dave 40 03dbr7087 University of Toronto 01 eng 20 00 Open Access Naisargi N. Dave 49 03 06 10.53288/0265.1.49 294 299 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nature 1 A01 21 0000000265737615 Stuart McLean Stuart McLean 40 017zqws13 University of Minnesota 01 eng 20 00 Open Access Stuart McLean 50 03 06 10.53288/0265.1.50 300 305 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nemesis 1 A01 21 0000000198397939 Laura Watts Laura Watts 40 01nrxwf90 University of Edinburgh 06 Own website https://sand14.com 01 eng 20 00 Open Access Laura Watts 51 03 06 10.53288/0265.1.51 306 310 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00wyq5s37 St John's University 01 eng 20 00 Open Access Steve Mentz 52 03 06 10.53288/0265.1.52 312 315 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Petroleum 1 A01 Elizabeth Povinelli Elizabeth Povinelli 40 00hj8s172 Columbia University 01 eng 20 00 Open Access Elizabeth Povinelli 53 03 06 10.53288/0265.1.53 316 322 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Photosynthesis 1 A01 Natasha Myers Natasha Myers 40 05fq50484 York University 01 eng 20 00 Open Access Natasha Myers 54 03 06 10.53288/0265.1.54 324 329 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plastic 1 A01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Anand Pandian 55 03 06 10.53288/0265.1.55 330 335 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plenitude 1 A01 Lora Koycheva Lora Koycheva 40 05591te55 Ludwig-Maximilians-Universität München 01 eng 20 00 Open Access Lora Koycheva 56 03 06 10.53288/0265.1.56 336 340 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Power 1 A01 21 0000000184918430 John Hartigan John Hartigan 40 00hj54h04 The University of Texas at Austin 01 eng 20 00 Open Access John Hartigan 57 03 06 10.53288/0265.1.57 342 347 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Predation 1 A01 21 0000000160842881 Nayanika Mathur Nayanika Mathur 40 052gg0110 University of Oxford 01 eng 20 00 Open Access Nayanika Mathur 58 03 06 10.53288/0265.1.58 348 352 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preparedness 1 A01 Frédéric Keck Frédéric Keck 40 00x9ewr78 National Council for Scientific Research 01 eng 20 00 Open Access Frédéric Keck 59 03 06 10.53288/0265.1.59 354 358 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Price 1 A01 Maira Hayat Maira Hayat 40 00mkhxb43 University of Notre Dame 06 Own website https://mairahayat.com/ 01 eng 20 00 Open Access Maira Hayat 60 03 06 10.53288/0265.1.60 360 366 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Probiotic 1 A01 21 0000000343690884 Jamie Lorimer Jamie Lorimer 40 052gg0110 University of Oxford 20 00 Open Access Jamie Lorimer 61 03 06 10.53288/0265.1.61 368 373 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Quotidian 1 A01 21 0000000153565003 Eli Elinoff Eli Elinoff 40 0040r6f76 Victoria University of Wellington 2 A01 Tyson Vaughan Tyson Vaughan 40 05w4e8v21 United States Army Corps of Engineers 20 00 Open Access Eli Elinoff Tyson Vaughan 62 03 06 10.53288/0265.1.62 374 379 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Recalcitrance 1 A01 Rijul Kochhar Rijul Kochhar 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Rijul Kochhar 63 03 06 10.53288/0265.1.63 380 384 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Relationships 1 A01 Zoe Todd Zoe Todd 40 02qtvee93 Carleton University 01 eng 20 00 Open Access Zoe Todd 64 03 06 10.53288/0265.1.64 386 390 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Riddle 1 A01 21 0000000202930813 Michael Gossett Michael Gossett 40 00awd9g61 The Graduate Center, CUNY 01 eng 20 00 Open Access Michael Gossett 65 03 06 10.53288/0265.1.65 392 396 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rivers 1 A01 Rochelle Tobias Rochelle Tobias 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access Rochelle Tobias 66 03 06 10.53288/0265.1.66 398 402 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ruin 1 A01 Sophia Roosth Sophia Roosth 40 0190ak572 New York University 06 Own website https://www.sophiaroosth.com/ 01 eng 20 00 Open Access Sophia Roosth 67 03 06 10.53288/0265.1.67 404 409 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Seeds 1 A01 Tracey Heatherington Tracey Heatherington 40 03rmrcq20 University of British Columbia 01 eng 20 00 Open Access Tracey Heatherington 68 03 06 10.53288/0265.1.68 410 414 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shit 1 A01 21 0000000202464445 Nicholas C. Kawa Nicholas Kawa 40 00rs6vg23 The Ohio State University 01 eng 20 00 Open Access Nicholas C. Kawa 69 03 06 10.53288/0265.1.69 416 420 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Slavery 1 A01 21 0000000234870974 Claire Colebrook Claire Colebrook 40 04p491231 Pennsylvania State University 01 eng 20 00 Open Access Claire Colebrook 70 03 06 10.53288/0265.1.70 422 426 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Smugglers 1 A01 21 0000000343655501 Jason De León Jason De León 40 046rm7j60 University of California, Los Angeles 01 eng 20 00 Open Access Jason De León 71 03 06 10.53288/0265.1.71 428 432 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Species 1 A01 21 0000000160671525 Eben Kirksey Eben Kirksey 40 02czsnj07 Deakin University 01 eng 20 00 Open Access Eben Kirksey 72 03 06 10.53288/0265.1.72 434 439 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stability 1 A01 21 0000000306731173 Elizabeth Reddy Elizabeth Reddy 40 04raf6v53 Colorado School of Mines 01 eng 20 00 Open Access Elizabeth Reddy 73 03 06 10.53288/0265.1.73 440 444 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Steps 1 A01 smudge studio Smudge Studio 40 02tvcev59 New School 20 00 Open Access smudge studio 74 03 06 10.53288/0265.1.74 446 450 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Suburbs 1 A01 Andrew Pendakis Andrew Pendakis 40 056am2717 Brock University 01 eng 20 00 Open Access Andrew Pendakis 75 03 06 10.53288/0265.1.75 452 457 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Surprise! 1 A01 21 0000000305658971 Zoe Nyssa Zoe Nyssa 40 02dqehb95 Purdue University West Lafayette 01 eng 20 00 Open Access Zoe Nyssa 76 03 06 10.53288/0265.1.76 458 462 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Surreal 1 A01 21 0000000243485525 Nicholas Shapiro Nicholas Shapiro 40 052gg0110 University of Oxford 01 eng 20 00 Open Access Nicholas Shapiro 77 03 06 10.53288/0265.1.77 464 468 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sustainability 1 A01 María García Maldonado María García Maldonado 2 A01 Rosario García Meza Rosario García Meza 3 A01 21 0000000208957136 Emily Yates-Doerr Emily Yates-Doerr 40 04dkp9463 University of Amsterdam 06 Own website https://www.uva.nl/en/profile/y/a/e.j.f.yates-doerr/e.j.f.yates-doerr.html#Profile 01 eng 20 00 Open Access María García Maldonado Rosario García Meza Emily Yates-Doerr 78 03 06 10.53288/0265.1.78 470 474 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Terrain 1 A01 Gastón Gordillo Gastón Gordillo 40 03rmrcq20 University of British Columbia 01 eng 20 00 Open Access Gastón Gordillo 79 03 06 10.53288/0265.1.79 476 480 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thermodynamics 1 A01 21 0000000173136660 Cara Daggett Cara Daggett 40 02smfhw86 Virginia Tech 01 eng 20 00 Open Access Cara Daggett 80 03 06 10.53288/0265.1.80 483 486 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thresholds 1 A01 21 0000000249913439 P. Joshua Griffin P. Joshua Griffin 40 00cvxb145 University of Washington 01 eng 20 00 Open Access P. Joshua Griffin 81 03 06 10.53288/0265.1.81 488 492 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Timely 1 A01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 01 eng 20 00 Open Access Cymene Howe 82 03 06 10.53288/0265.1.82 494 498 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trump 1 A01 Tom Cohen Tom Cohen 40 05fq50484 York University 01 eng 20 00 Open Access Tom Cohen 83 03 06 10.53288/0265.1.83 500 502 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Turtle 1 A01 21 0000000154286815 Nomi Stone Nomi Stone 40 00hx57361 Princeton University 01 eng 20 00 Open Access Nomi Stone 84 03 06 10.53288/0265.1.84 504 508 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unknowns 1 A01 Debbora Battaglia Debbora Battaglia 40 031z8pr38 Mount Holyoke College 01 eng 20 00 Open Access Debbora Battaglia 85 03 06 10.53288/0265.1.85 510 514 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unseens 1 A01 Celia Lowe Celia Lowe 40 00cvxb145 University of Washington 01 eng 20 00 Open Access Celia Lowe 86 03 06 10.53288/0265.1.86 516 520 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Vulnerability 1 A01 21 0000000171270575 Sarah E. Vaughn Sarah E. Vaughn 40 01an7q238 University of California, Berkeley 01 eng 20 00 Open Access Sarah E. Vaughn 87 03 06 10.53288/0265.1.87 522 526 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wildness 1 A01 Dana J. Graef Dana J. Graef 40 03v76x132 Yale University 06 Own website http://danagraef.com/ 01 eng 20 00 Open Access Dana J. Graef 88 03 06 10.53288/0265.1.88 528 532 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zoonosis 1 A01 21 0000000308961140 Genese Marie Sodikoff Genese Marie Sodikoff 40 05vt9qd57 Rutgers University 01 eng 20 00 Open Access Genese Marie Sodikoff 89 03 06 10.53288/0265.1.89 535 540 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Figures 1 B01 21 0000000293613812 Cymene Howe Cymene Howe 40 008zs3103 Rice University 2 B01 Anand Pandian Anand Pandian 40 00za53h95 Johns Hopkins University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/anthropocene-unseen-a-lexicon/ 16 40 008zs3103 32 10.13039/100007863 Rice University Earth, Milky Way 04 01 20200207 Howe, Cymene Pandian, Anand 02 WORLD 06 15 9781950192557 03 9781950192557 34 06 10.1002/ese3.35 34 06 10.1007/BF02229143 34 06 10.1007/s11538-015-0126-0 34 06 10.1016/j.ancene.2016.01.002 34 06 10.1016/j.cub.2011.03.042 34 06 10.1016/j.ecoser.2012.07.005 34 06 10.1016/j.geoforum.2014.12.012 34 06 10.1016/j.mehy.2011.06.019 34 06 10.1016/j.rser.2009.07.019 34 06 10.1016/j.socscimed.2013.07.018 34 06 10.1016/j.tree.2009.01.010 34 06 10.1016/j.worlddev.2013.11.014 34 06 10.1017/S0010417500013554 34 06 10.1017/S0030605310001213 34 06 10.1017/S0376892911000518 34 06 10.1021/es401288x 34 06 10.1021/jf305122s 34 06 10.1023/A:1008651105359 34 06 10.1023/B:CLIM.0000004577.17928.fa 34 06 10.1038/530409a 34 06 10.1038/nature11582 34 06 10.1038/nature14258 34 06 10.1038/nature17145 34 06 10.1038/ngeo779 34 06 10.1038/nrg2045 34 06 10.1038/nrmicro2245 34 06 10.1046/j.1365-2672.94.s1.8.x 34 06 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Why the Way We Talk about Racial Justice Matters 1 B01 Felice Blake Felice Blake 40 02t274463 University of California, Santa Barbara 2 B01 21 0000000339681029 Paula Ioanide Paula Ioanide 40 01kw1gj07 Ithaca College 3 B01 Alison Reed Alison Reed 40 04zjtrb98 Old Dominion University 01 eng 00 382 03 B2 Cultural Studies+Critical Theory 93 JBSL1 12 JFSL1 10 SOC056000 93 5PB-US-C B2 Humanities+University 93 5PB-US-D B2 New Left Thought 93 5PB-US-E 93 5PB-US-H 20 critical race studies; ethnic studies; antiracism; social justice; black politics; poetry; abolition democracy 01 06 02 00 03 00 Antiracism Inc. traces the ways people along the political spectrum appropriate, incorporate, and neutralize antiracist discourses to perpetuate injustice. It also examines the ways organizers continue to struggle for racial justice in the context of such appropriations. Antiracism Inc. reveals how antiracist claims can be used to propagate racism, and what we can do about it.While related to colorblind, multicultural, and diversity discourses, the appropriation of antiracist rhetoric as a strategy for advancing neoliberal and neoconservative agendas is a unique phenomenon that requires careful interrogation and analysis. Those who co-opt antiracist language and practice do not necessarily deny racial difference, biases, or inequalities. Instead, by performing themselves conservatively as non-racists or liberally as ‘authentic’ antiracists, they purport to be aligned with racial justice even while advancing the logics and practices of systemic racism.Antiracism Inc. therefore considers new ways of struggling toward racial justice in a world that constantly steals and misuses radical ideas and practices. The collection focuses on people and methods that do not seek inclusion in the hierarchical order of gendered racial capitalism. Rather, the collection focuses on aggrieved peoples who have always had to negotiate state violence and cultural erasure, but who work to build the worlds they envision. These collectivities seek to transform social structures and establish a new social warrant guided by what W.E.B. Du Bois called “abolition democracy,” a way of being and thinking that privileges people, mutual interdependence, and ecological harmony over individualist self-aggrandizement and profits. These aggrieved collectivities reshape social relations away from the violence and alienation inherent to gendered racial capitalism, and towards the well-being of the commons. Antiracism Inc. articulates methodologies that strive toward freedom dreams without imposing monolithic or authoritative definitions of resistance. Because power seeks to neutralize revolutionary action through incorporation as much as elimination, these freedom dreams, as well as the language used to articulate them, are constantly transformed through the critical and creative interventions stemming from the active engagement in liberation struggles. 30 00 Antiracism Inc. traces the ways people along the political spectrum appropriate, incorporate, and neutralize antiracist discourses to perpetuate injustice. It also examines the ways organizers continue to struggle for racial justice in the context of such appropriations. Antiracism Inc. reveals how antiracist claims can be used to propagate racism, and what we can do about it.While related to colorblind, multicultural, and diversity discourses, the appropriation of antiracist rhetoric as a strategy for advancing neoliberal and neoconservative agendas is a unique phenomenon that requires careful interrogation and analysis. Those who co-opt antiracist language and practice do not necessarily deny racial difference, biases, or inequalities. Instead, by performing themselves conservatively as non-racists or liberally as ‘authentic’ antiracists, they purport to be aligned with racial justice even while advancing the logics and practices of systemic racism.Antiracism Inc. therefore considers new ways of struggling toward racial justice in a world that constantly steals and misuses radical ideas and practices. The collection focuses on people and methods that do not seek inclusion in the hierarchical order of gendered racial capitalism. Rather, the collection focuses on aggrieved peoples who have always had to negotiate state violence and cultural erasure, but who work to build the worlds they envision. These collectivities seek to transform social structures and establish a new social warrant guided by what W.E.B. Du Bois called “abolition democracy,” a way of being and thinking that privileges people, mutual interdependence, and ecological harmony over individualist self-aggrandizement and profits. These aggrieved collectivities reshape social relations away from the violence and alienation inherent to gendered racial capitalism, and towards the well-being of the commons. Antiracism Inc. articulates methodologies that strive toward freedom dreams without imposing monolithic or authoritative definitions of resistance. Because power seeks to neutralize revolutionary action through incorporation as much as elimination, these freedom dreams, as well as the language used to articulate them, are constantly transformed through the critical and creative interventions stemming from the active engagement in liberation struggles. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0250.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/antiracism-inc-why-the-way-we-talk-about-racial-justice-matters/ Earth, Milky Way 04 01 20190425 Blake, Felice Ioanide, Paula Reed, Alison 02 WORLD 06 15 9781950192243 03 9781950192243 34 06 10.1016/j.jesp.2005.11.001 34 06 10.1080/01973530802502309 34 06 10.1007/s12552-011-9039-1 34 06 10.1353/ff.2012.0003 34 06 10.1080/01419870.2016.1237669 34 06 10.1002/ejsp.348 34 06 10.1086/669666 34 06 10.1080/1461674042000235618 34 06 10.1086/669610 34 06 10.1080/00664677.2012.694169 34 06 10.1086/JAAH-v90n3p299 34 06 10.1037/0022-0167.53.2.241 34 06 10.3102/0002831216677002 34 06 10.1177/0963721410363366 34 06 10.1111/j.1540-4560.2006.00468.x 34 06 10.1177/0001699304043853 34 06 10.2307/2998774 34 06 10.1353/cp.2005.0051 34 06 10.2307/1341787 34 06 10.1037/0022-3514.80.5.723 34 06 10.1177/0146167203029005006 34 06 10.1111/j.1467-9221.2004.00402.x 34 06 10.1037/a0013595 34 06 10.1080/09658210903176478 34 06 10.1080/13613324.2 34 06 10.1111/0162-895X.00109 34 06 10.2307/836774.358 34 06 10.1525/aa.1991.93.2.02a00120 34 06 10.1525/can.200621.3.451 34 06 10.1177/0146167207303016 34 06 10.1353/jaas.2000.0038 34 06 10.1080/09502380601162548 34 06 10.1111/hypa.12060 34 06 10.1215/01642472-2006-009 34 06 10.1093/oxfordjournals.pubjof.a029904 34 06 10.1037/0022-3514.83.4.896 34 06 10.1177/0956797612451466 34 06 10.1177/1745691611406922 34 06 10.1177/1368430209105047 34 06 10.1037/0022-3514.76.1.114 34 06 10.1080/01419870.2017.1335422 34 06 10.25158/L4.1.4 34 06 10.15367/kf.v1i1.9 34 06 10.3389/fpsyg.2016.01166 34 06 10.2307/4126472 34 06 10.2307/2095581 34 06 10.1177/1368430206059881 34 06 10.1177/1464700117734735 34 06 10.1353/aq.2013.0009 34 06 10.1080/10714413.2013.753758 34 06 10.1037/0022-006X.68.1.171 34 06 10.1016/j.jesp.2008.07.011 34 06 10.1177/0095798414537935 34 06 10.1177/0011000001294003 34 06 10.1177/0095798403262062 34 06 10.1353/aq.2006.0017 34 06 10.1177/1350506806065752 34 06 10.1080/13698230701660220 34 06 10.5964/jspp.v3i1.564 34 06 10.1007/s12552-011-9039-1 34 06 10.1017/S1742058X13000283 34 06 10.3102/0002831216677002 34 06 10.2307/1341787 34 06 10.15779/Z38H696 34 06 10.3389/fpsyg.2016.01166 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192237 20 08 20190425 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/antiracism-inc-why-the-way-we-talk-about-racial-justice-matters 20 08 20190425 02 27.00 USD WORLD urn:uuid:df5ce0a2-b3ff-4b12-883a-e3505d5e8921 03 01 01 thoth-work-id urn:uuid:f6afff19-25ae-41f8-8a7a-6c1acffafc39 01 thoth-publication-id urn:uuid:df5ce0a2-b3ff-4b12-883a-e3505d5e8921 15 9781950192243 03 9781950192243 06 10.21983/P3.0250.1.00 13 2019937769 01 internal-reference 0250 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Antiracism Inc. Why the Way We Talk about Racial Justice Matters 1 B01 Felice Blake Felice Blake 40 02t274463 University of California, Santa Barbara 2 B01 21 0000000339681029 Paula Ioanide Paula Ioanide 40 01kw1gj07 Ithaca College 3 B01 Alison Reed Alison Reed 40 04zjtrb98 Old Dominion University 01 eng 00 382 03 B2 Cultural Studies+Critical Theory 93 JBSL1 12 JFSL1 10 SOC056000 93 5PB-US-C B2 Humanities+University 93 5PB-US-D B2 New Left Thought 93 5PB-US-E 93 5PB-US-H 20 critical race studies; ethnic studies; antiracism; social justice; black politics; poetry; abolition democracy 01 06 02 00 03 00 Antiracism Inc. traces the ways people along the political spectrum appropriate, incorporate, and neutralize antiracist discourses to perpetuate injustice. It also examines the ways organizers continue to struggle for racial justice in the context of such appropriations. Antiracism Inc. reveals how antiracist claims can be used to propagate racism, and what we can do about it.While related to colorblind, multicultural, and diversity discourses, the appropriation of antiracist rhetoric as a strategy for advancing neoliberal and neoconservative agendas is a unique phenomenon that requires careful interrogation and analysis. Those who co-opt antiracist language and practice do not necessarily deny racial difference, biases, or inequalities. Instead, by performing themselves conservatively as non-racists or liberally as ‘authentic’ antiracists, they purport to be aligned with racial justice even while advancing the logics and practices of systemic racism.Antiracism Inc. therefore considers new ways of struggling toward racial justice in a world that constantly steals and misuses radical ideas and practices. The collection focuses on people and methods that do not seek inclusion in the hierarchical order of gendered racial capitalism. Rather, the collection focuses on aggrieved peoples who have always had to negotiate state violence and cultural erasure, but who work to build the worlds they envision. These collectivities seek to transform social structures and establish a new social warrant guided by what W.E.B. Du Bois called “abolition democracy,” a way of being and thinking that privileges people, mutual interdependence, and ecological harmony over individualist self-aggrandizement and profits. These aggrieved collectivities reshape social relations away from the violence and alienation inherent to gendered racial capitalism, and towards the well-being of the commons. Antiracism Inc. articulates methodologies that strive toward freedom dreams without imposing monolithic or authoritative definitions of resistance. Because power seeks to neutralize revolutionary action through incorporation as much as elimination, these freedom dreams, as well as the language used to articulate them, are constantly transformed through the critical and creative interventions stemming from the active engagement in liberation struggles. 30 00 Antiracism Inc. traces the ways people along the political spectrum appropriate, incorporate, and neutralize antiracist discourses to perpetuate injustice. It also examines the ways organizers continue to struggle for racial justice in the context of such appropriations. Antiracism Inc. reveals how antiracist claims can be used to propagate racism, and what we can do about it.While related to colorblind, multicultural, and diversity discourses, the appropriation of antiracist rhetoric as a strategy for advancing neoliberal and neoconservative agendas is a unique phenomenon that requires careful interrogation and analysis. Those who co-opt antiracist language and practice do not necessarily deny racial difference, biases, or inequalities. Instead, by performing themselves conservatively as non-racists or liberally as ‘authentic’ antiracists, they purport to be aligned with racial justice even while advancing the logics and practices of systemic racism.Antiracism Inc. therefore considers new ways of struggling toward racial justice in a world that constantly steals and misuses radical ideas and practices. The collection focuses on people and methods that do not seek inclusion in the hierarchical order of gendered racial capitalism. Rather, the collection focuses on aggrieved peoples who have always had to negotiate state violence and cultural erasure, but who work to build the worlds they envision. These collectivities seek to transform social structures and establish a new social warrant guided by what W.E.B. Du Bois called “abolition democracy,” a way of being and thinking that privileges people, mutual interdependence, and ecological harmony over individualist self-aggrandizement and profits. These aggrieved collectivities reshape social relations away from the violence and alienation inherent to gendered racial capitalism, and towards the well-being of the commons. Antiracism Inc. articulates methodologies that strive toward freedom dreams without imposing monolithic or authoritative definitions of resistance. 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https://library.oapen.org/bitstream/handle/20.500.12657/25200/0250.1.00.pdf?sequence=1&isAllowed=y 20 08 20190425 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33140 20 08 20190425 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv11hptff 20 08 20190425 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/609 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/cdd226b7-5a0c-4de1-b04b-ea0a677455cf/download 20 08 20190425 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f6afff19-25ae-41f8-8a7a-6c1acffafc39 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f6afff19-25ae-41f8-8a7a-6c1acffafc39/f6afff19-25ae-41f8-8a7a-6c1acffafc39.pdf 20 08 20190425 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847730 29 ZENODO: download the title https://zenodo.org/records/19847730/files/f6afff19-25ae-41f8-8a7a-6c1acffafc39_book.pdf 20 08 20190425 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/antiracism-inc-why-the-way-we-talk-about-racial-justice-matters/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0250.1.00.pdf 20 08 20190425 01 urn:uuid:2c210c4f-5727-4d8a-8f8a-d30036042eb6 03 01 01 thoth-work-id urn:uuid:88c47bd3-f8c9-4157-9d1a-770d9be8c173 01 thoth-publication-id urn:uuid:2c210c4f-5727-4d8a-8f8a-d30036042eb6 15 9781950192618 03 9781950192618 06 10.21983/P3.0271.1.00 13 2019954848 01 internal-reference 0271 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 102 mm 02 10.2 cm 02 4 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Nuclear Refrain Emotion, Empire, and the Democratic Potential of Protest 1 A01 21 0000000230137978 Kye Askins Kye Askins 40 00vtgdb53 University of Glasgow 2 A01 21 0000000303949599 Phil Johnstone Phil Johnstone 40 00ayhx656 University of Sussex 3 A01 21 0000000283616112 Kelvin Mason Kelvin Mason 40 04xs57h96 University of Liverpool 01 eng 00 146 03 B2 Fabulations 12 JWMN 93 JWMN 10 TEC028000 B2 New Left Thought 20 nuclear deterrence; emotion; empire; democracy; spatial fiction; nuclear weapons; disarmament 01 06 02 00 03 00 A Nuclear Refrain is a spatial fiction, and miniature chapbook (measuring 4 X 6 inches), that critiques the policy of nuclear deterrence, the concept of Mutually Assured Destruction, and the UK’s decision to replace its Vanguard submarines, the so-called Trident replacement. We challenge that decision via extending our geographical imaginations into the past, present, and future. Noting the more usual economic, moral, and strategic objections to Trident and its replacement, A Nuclear Refrain considers the issues from less familiar perspectives, vis-a-vis the emotional and embodied, empire and the establishment, and democratic potentialities.Set against the authors’ ongoing participation in extensive public protests against the UK’s decision to replace Trident in 2016, A Nuclear Refrain disrupts familiar academic and policy forms of writing. It is “an uncomfortable hybrid between academia and fiction,” intent on discomfiting the reader to spur the radical reimagining of a world profoundly shaped by the threat of nuclear weapons. Inspired by author and social critic Charles Dickens, this book draws on the form of A Christmas Carol. Transported by "ghosts" of the nuclear past, present and future, a pro-Trident British policy maker, the Right Honourable Roger C. Bezeeneos, has his perceptions sorely challenged. But will Roger allow his feelings to influence his decision-making? Will he recognize the yearning for an empire lost that mobilizes the British establishment? And will he admit the suppression of political participation that a commitment to nuclear deterrence determines? It’s your call, Roger. 30 00 A Nuclear Refrain is a spatial fiction, and miniature chapbook (measuring 4 X 6 inches), that critiques the policy of nuclear deterrence, the concept of Mutually Assured Destruction, and the UK’s decision to replace its Vanguard submarines, the so-called Trident replacement. We challenge that decision via extending our geographical imaginations into the past, present, and future. Noting the more usual economic, moral, and strategic objections to Trident and its replacement, A Nuclear Refrain considers the issues from less familiar perspectives, vis-a-vis the emotional and embodied, empire and the establishment, and democratic potentialities.Set against the authors’ ongoing participation in extensive public protests against the UK’s decision to replace Trident in 2016, A Nuclear Refrain disrupts familiar academic and policy forms of writing. It is “an uncomfortable hybrid between academia and fiction,” intent on discomfiting the reader to spur the radical reimagining of a world profoundly shaped by the threat of nuclear weapons. Inspired by author and social critic Charles Dickens, this book draws on the form of A Christmas Carol. Transported by "ghosts" of the nuclear past, present and future, a pro-Trident British policy maker, the Right Honourable Roger C. Bezeeneos, has his perceptions sorely challenged. But will Roger allow his feelings to influence his decision-making? Will he recognize the yearning for an empire lost that mobilizes the British establishment? And will he admit the suppression of political participation that a commitment to nuclear deterrence determines? It’s your call, Roger. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0271.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-nuclear-refrain-emotion-empire-and-the-democratic-potential-of-protest/ Earth, Milky Way 04 01 20191219 Askins, Kye (0000-0002-3013-7978) Johnstone, Phil (0000-0003-0394-9599) Mason, Kelvin (0000-0002-8361-6112) 02 WORLD 06 15 9781950192625 03 9781950192625 34 06 10.2307/j.ctt1t89745.14 34 06 10.9774/GLEAF.4700.2014.ju.00003 34 06 10.1002/9781118786352.wbieg0865 34 06 10.1111/j.1467-8330.2012.01006.x 34 06 10.2307/j.ctt1t89745.22 34 06 10.1080/09502389700490011 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195019261X 20 08 20191219 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-nuclear-refrain-emotion-empire-and-the-democratic-potential-of-protest 20 08 20191219 02 22.00 USD WORLD urn:uuid:0e11375e-26bd-4779-ac63-3f9e3fc40743 03 01 01 thoth-work-id urn:uuid:88c47bd3-f8c9-4157-9d1a-770d9be8c173 01 thoth-publication-id urn:uuid:0e11375e-26bd-4779-ac63-3f9e3fc40743 15 9781950192625 03 9781950192625 06 10.21983/P3.0271.1.00 13 2019954848 01 internal-reference 0271 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Nuclear Refrain Emotion, Empire, and the Democratic Potential of Protest 1 A01 21 0000000230137978 Kye Askins Kye Askins 40 00vtgdb53 University of Glasgow 2 A01 21 0000000303949599 Phil Johnstone Phil Johnstone 40 00ayhx656 University of Sussex 3 A01 21 0000000283616112 Kelvin Mason Kelvin Mason 40 04xs57h96 University of Liverpool 01 eng 00 146 03 B2 Fabulations 12 JWMN 93 JWMN 10 TEC028000 B2 New Left Thought 20 nuclear deterrence; emotion; empire; democracy; spatial fiction; nuclear weapons; disarmament 01 06 02 00 03 00 A Nuclear Refrain is a spatial fiction, and miniature chapbook (measuring 4 X 6 inches), that critiques the policy of nuclear deterrence, the concept of Mutually Assured Destruction, and the UK’s decision to replace its Vanguard submarines, the so-called Trident replacement. We challenge that decision via extending our geographical imaginations into the past, present, and future. Noting the more usual economic, moral, and strategic objections to Trident and its replacement, A Nuclear Refrain considers the issues from less familiar perspectives, vis-a-vis the emotional and embodied, empire and the establishment, and democratic potentialities.Set against the authors’ ongoing participation in extensive public protests against the UK’s decision to replace Trident in 2016, A Nuclear Refrain disrupts familiar academic and policy forms of writing. It is “an uncomfortable hybrid between academia and fiction,” intent on discomfiting the reader to spur the radical reimagining of a world profoundly shaped by the threat of nuclear weapons. Inspired by author and social critic Charles Dickens, this book draws on the form of A Christmas Carol. Transported by "ghosts" of the nuclear past, present and future, a pro-Trident British policy maker, the Right Honourable Roger C. Bezeeneos, has his perceptions sorely challenged. But will Roger allow his feelings to influence his decision-making? Will he recognize the yearning for an empire lost that mobilizes the British establishment? And will he admit the suppression of political participation that a commitment to nuclear deterrence determines? It’s your call, Roger. 30 00 A Nuclear Refrain is a spatial fiction, and miniature chapbook (measuring 4 X 6 inches), that critiques the policy of nuclear deterrence, the concept of Mutually Assured Destruction, and the UK’s decision to replace its Vanguard submarines, the so-called Trident replacement. We challenge that decision via extending our geographical imaginations into the past, present, and future. Noting the more usual economic, moral, and strategic objections to Trident and its replacement, A Nuclear Refrain considers the issues from less familiar perspectives, vis-a-vis the emotional and embodied, empire and the establishment, and democratic potentialities.Set against the authors’ ongoing participation in extensive public protests against the UK’s decision to replace Trident in 2016, A Nuclear Refrain disrupts familiar academic and policy forms of writing. It is “an uncomfortable hybrid between academia and fiction,” intent on discomfiting the reader to spur the radical reimagining of a world profoundly shaped by the threat of nuclear weapons. Inspired by author and social critic Charles Dickens, this book draws on the form of A Christmas Carol. Transported by "ghosts" of the nuclear past, present and future, a pro-Trident British policy maker, the Right Honourable Roger C. Bezeeneos, has his perceptions sorely challenged. But will Roger allow his feelings to influence his decision-making? Will he recognize the yearning for an empire lost that mobilizes the British establishment? And will he admit the suppression of political participation that a commitment to nuclear deterrence determines? It’s your call, Roger. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0271.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-nuclear-refrain-emotion-empire-and-the-democratic-potential-of-protest/ Earth, Milky Way 04 01 20191219 Askins, Kye (0000-0002-3013-7978) Johnstone, Phil (0000-0003-0394-9599) Mason, Kelvin (0000-0002-8361-6112) 02 WORLD 06 15 9781950192618 03 9781950192618 34 06 10.2307/j.ctt1t89745.14 34 06 10.9774/GLEAF.4700.2014.ju.00003 34 06 10.1002/9781118786352.wbieg0865 34 06 10.1111/j.1467-8330.2012.01006.x 34 06 10.2307/j.ctt1t89745.22 34 06 10.1080/09502389700490011 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23595 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23595/0271.1.00.pdf?sequence=1&isAllowed=y 20 08 20191219 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35602 20 08 20191219 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353852 20 08 20191219 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/624 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/99849ff8-3060-438c-bbf8-34871105cca3/download 20 08 20191219 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Nuclear_Refrain/tASVEAAAQBAJ 20 08 20191219 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/88c47bd3-f8c9-4157-9d1a-770d9be8c173 29 INTERNET_ARCHIVE: download the title https://archive.org/download/88c47bd3-f8c9-4157-9d1a-770d9be8c173/88c47bd3-f8c9-4157-9d1a-770d9be8c173.pdf 20 08 20191219 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848019 29 ZENODO: download the title https://zenodo.org/records/19848019/files/88c47bd3-f8c9-4157-9d1a-770d9be8c173_book.pdf 20 08 20191219 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-nuclear-refrain-emotion-empire-and-the-democratic-potential-of-protest/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0271.1.00.pdf 20 08 20191219 01 urn:uuid:ceee284a-0962-4ee2-a275-2d6ac4f4f56e 03 01 01 thoth-work-id urn:uuid:5f441303-4fc6-4a7d-951e-5b966a1cbd91 01 thoth-publication-id urn:uuid:ceee284a-0962-4ee2-a275-2d6ac4f4f56e 15 9780998531816 03 9780998531816 06 10.21983/P3.0163.1.00 01 internal-reference 0163 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 An Unspecific Dog Artifacts of This Late Stage in History 1 A01 Joshua Rothes Joshua Rothes 01 eng 00 172 03 12 FA 10 FIC064000 93 FN B2 Thought Experiments 20 anecdotes; humor; aphorisms; fables; agnotology 01 06 02 00 03 00 A nationwide survey conducted by an institute for philosophical research has determined that nihilists, on the whole, have good intentions.In An Unspecific Dog, Joshua Rothes collects 150 short texts as fables for our time, a veritable catalog of agnotology, a series of situations and propositions that revel in the dark irony at the root of our early-twenty-first-century existence.A man reads the terms and conditions and finds that he has no secrets, while scientists promise that, “with improvements to fMRI technology, what matters to us will become more clear.”The subjects of these texts are caught between vocabularies, between contingency and certainty, the interim in which certain kind of ironic vitality exists, where tragedy and humor are equally likely and often deeply entangled. Rothes reminds us that language acts as a mirror for human experience, in that through it we can never really see the backs of our own heads. 30 00 A nationwide survey conducted by an institute for philosophical research has determined that nihilists, on the whole, have good intentions.In An Unspecific Dog, Joshua Rothes collects 150 short texts as fables for our time, a veritable catalog of agnotology, a series of situations and propositions that revel in the dark irony at the root of our early-twenty-first-century existence.A man reads the terms and conditions and finds that he has no secrets, while scientists promise that, “with improvements to fMRI technology, what matters to us will become more clear.”The subjects of these texts are caught between vocabularies, between contingency and certainty, the interim in which certain kind of ironic vitality exists, where tragedy and humor are equally likely and often deeply entangled. Rothes reminds us that language acts as a mirror for human experience, in that through it we can never really see the backs of our own heads. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0163.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/an-unspecific-dog-artifacts-of-this-late-stage-in-history/ Earth, Milky Way 04 01 20170118 Rothes, Joshua 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531812 20 08 20170118 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/an-unspecific-dog-artifacts-of-this-late-stage-in-history 20 08 20170118 02 23.00 USD WORLD urn:uuid:62d75051-e913-44bc-96e8-55ec02b5d157 03 01 01 thoth-work-id urn:uuid:5f441303-4fc6-4a7d-951e-5b966a1cbd91 01 thoth-publication-id urn:uuid:62d75051-e913-44bc-96e8-55ec02b5d157 06 10.21983/P3.0163.1.00 01 internal-reference 0163 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 An Unspecific Dog Artifacts of This Late Stage in History 1 A01 Joshua Rothes Joshua Rothes 01 eng 00 172 03 12 FA 10 FIC064000 93 FN B2 Thought Experiments 20 anecdotes; humor; aphorisms; fables; agnotology 01 06 02 00 03 00 A nationwide survey conducted by an institute for philosophical research has determined that nihilists, on the whole, have good intentions.In An Unspecific Dog, Joshua Rothes collects 150 short texts as fables for our time, a veritable catalog of agnotology, a series of situations and propositions that revel in the dark irony at the root of our early-twenty-first-century existence.A man reads the terms and conditions and finds that he has no secrets, while scientists promise that, “with improvements to fMRI technology, what matters to us will become more clear.”The subjects of these texts are caught between vocabularies, between contingency and certainty, the interim in which certain kind of ironic vitality exists, where tragedy and humor are equally likely and often deeply entangled. Rothes reminds us that language acts as a mirror for human experience, in that through it we can never really see the backs of our own heads. 30 00 A nationwide survey conducted by an institute for philosophical research has determined that nihilists, on the whole, have good intentions.In An Unspecific Dog, Joshua Rothes collects 150 short texts as fables for our time, a veritable catalog of agnotology, a series of situations and propositions that revel in the dark irony at the root of our early-twenty-first-century existence.A man reads the terms and conditions and finds that he has no secrets, while scientists promise that, “with improvements to fMRI technology, what matters to us will become more clear.”The subjects of these texts are caught between vocabularies, between contingency and certainty, the interim in which certain kind of ironic vitality exists, where tragedy and humor are equally likely and often deeply entangled. Rothes reminds us that language acts as a mirror for human experience, in that through it we can never really see the backs of our own heads. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0163.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/an-unspecific-dog-artifacts-of-this-late-stage-in-history/ Earth, Milky Way 04 01 20170118 Rothes, Joshua 02 WORLD 06 15 9780998531816 03 9780998531816 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25464 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25464/1004631.pdf?sequence=1&isAllowed=y 20 08 20170118 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35474 20 08 20170118 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353828 20 08 20170118 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/547 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f6c2d09d-9424-4060-ac85-6dcbe92ab8da/download 20 08 20170118 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5f441303-4fc6-4a7d-951e-5b966a1cbd91 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5f441303-4fc6-4a7d-951e-5b966a1cbd91/5f441303-4fc6-4a7d-951e-5b966a1cbd91.pdf 20 08 20170118 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846799 29 ZENODO: download the title https://zenodo.org/records/19846799/files/5f441303-4fc6-4a7d-951e-5b966a1cbd91_book.pdf 20 08 20170118 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/an-unspecific-dog-artifacts-of-this-late-stage-in-history/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0163.1.00.pdf 20 08 20170118 01 urn:uuid:c12a78e6-ff52-4aee-aa09-8ce80376b0b2 03 01 01 thoth-work-id urn:uuid:41508a3c-614b-473e-aa74-edcb6b09dc9d 01 thoth-publication-id urn:uuid:c12a78e6-ff52-4aee-aa09-8ce80376b0b2 15 9780615845562 03 9780615845562 06 10.21983/P3.0147.1.00 01 internal-reference 0147 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ardea A Philosophical Novella 1 A01 21 0000000188198696 Freya Mathews Freya Mathews 40 01rxfrp27 La Trobe University 40 02bfwt286 Monash University 01 eng 00 104 03 12 DNF B2 Fabulations 93 FDV 10 PHI048000 B2 Anthropocene 93 RNA B2 Philosophy 20 eco-philosophy; theory fiction; Faustian novella; wilderness; morality tale 01 06 02 00 03 00 What is soul? Can it be forfeited? Can it be traded away? If it can, what would ensue? What consequences would follow from loss of soul — for the individual, for society, for the earth?In the early nineteenth century, Goethe’s hero, Faust, became a defining archetype of modernity, a harbinger of the existential possibilities and moral complexities of the modern condition. But today the dire consequences of the Faustian pact with the devil are becoming alarmingly visible. In light of this, how would Goethe’s arguably flawed drama play out in a 21st-century century setting? Would a contemporary Faust sign up to a demonic deal? Indeed what, in the wake of two hundred years of social and economic development, would be left for the devil to offer him? A contemporary Faust would already possess everything the original Faust in his ascetic cloister lacked — affluence and mobility; celebrity and worldly influence; access to information; religious choice; sexual freedom and the availability of women — though women, it must be noted, currently also partake of that same freedom. The only thing a present-day Faust would lack would be his soul. Would he miss it? Does soul even exist? If it does, it would of course be the one thing the devil could not bestow. So from what or whom could Faust retrieve it? What, in a word, would a contemporary Faust most deeply desire?In pursuit of these questions, Ardea engages a familiar but possibly faulty archetype, that of Faust, with an unfamiliar one, that of the white heron, borrowed from a short story of the same name by nineteenth-century American author, Sarah Orne Jewett. In Jewett’s tale, a soul-pact of an entirely different kind from that entered into by Faust is proposed. It is a pact with the wild, a pledge of fealty, of non-forfeiture, that promises to redraw the violent psycho-sexual and psycho-spiritual patterns that have underpinned modernity. How would a present-day heir to the Faustian tradition, ingrained with the habit of entitlement but also burdened with the consequences of the old pact, respond to the new proposition? 30 00 What is soul? Can it be forfeited? Can it be traded away? If it can, what would ensue? What consequences would follow from loss of soul — for the individual, for society, for the earth?In the early nineteenth century, Goethe’s hero, Faust, became a defining archetype of modernity, a harbinger of the existential possibilities and moral complexities of the modern condition. But today the dire consequences of the Faustian pact with the devil are becoming alarmingly visible. In light of this, how would Goethe’s arguably flawed drama play out in a 21st-century century setting? Would a contemporary Faust sign up to a demonic deal? Indeed what, in the wake of two hundred years of social and economic development, would be left for the devil to offer him? A contemporary Faust would already possess everything the original Faust in his ascetic cloister lacked — affluence and mobility; celebrity and worldly influence; access to information; religious choice; sexual freedom and the availability of women — though women, it must be noted, currently also partake of that same freedom. The only thing a present-day Faust would lack would be his soul. Would he miss it? Does soul even exist? If it does, it would of course be the one thing the devil could not bestow. So from what or whom could Faust retrieve it? What, in a word, would a contemporary Faust most deeply desire?In pursuit of these questions, Ardea engages a familiar but possibly faulty archetype, that of Faust, with an unfamiliar one, that of the white heron, borrowed from a short story of the same name by nineteenth-century American author, Sarah Orne Jewett. In Jewett’s tale, a soul-pact of an entirely different kind from that entered into by Faust is proposed. It is a pact with the wild, a pledge of fealty, of non-forfeiture, that promises to redraw the violent psycho-sexual and psycho-spiritual patterns that have underpinned modernity. How would a present-day heir to the Faustian tradition, ingrained with the habit of entitlement but also burdened with the consequences of the old pact, respond to the new proposition? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0147.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ardea-a-philosophical-novella/ Earth, Milky Way 04 01 20160709 Mathews, Freya 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615845568 20 08 20160709 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ardea-a-philosophical-novella 20 08 20160709 02 21.00 USD WORLD urn:uuid:5bd8e4a4-aff8-4e1a-b093-b2b585b9c6de 03 01 01 thoth-work-id urn:uuid:41508a3c-614b-473e-aa74-edcb6b09dc9d 01 thoth-publication-id urn:uuid:5bd8e4a4-aff8-4e1a-b093-b2b585b9c6de 06 10.21983/P3.0147.1.00 01 internal-reference 0147 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ardea A Philosophical Novella 1 A01 21 0000000188198696 Freya Mathews Freya Mathews 40 01rxfrp27 La Trobe University 40 02bfwt286 Monash University 01 eng 00 104 03 12 DNF B2 Fabulations 93 FDV 10 PHI048000 B2 Anthropocene 93 RNA B2 Philosophy 20 eco-philosophy; theory fiction; Faustian novella; wilderness; morality tale 01 06 02 00 03 00 What is soul? Can it be forfeited? Can it be traded away? If it can, what would ensue? What consequences would follow from loss of soul — for the individual, for society, for the earth?In the early nineteenth century, Goethe’s hero, Faust, became a defining archetype of modernity, a harbinger of the existential possibilities and moral complexities of the modern condition. But today the dire consequences of the Faustian pact with the devil are becoming alarmingly visible. In light of this, how would Goethe’s arguably flawed drama play out in a 21st-century century setting? Would a contemporary Faust sign up to a demonic deal? Indeed what, in the wake of two hundred years of social and economic development, would be left for the devil to offer him? A contemporary Faust would already possess everything the original Faust in his ascetic cloister lacked — affluence and mobility; celebrity and worldly influence; access to information; religious choice; sexual freedom and the availability of women — though women, it must be noted, currently also partake of that same freedom. The only thing a present-day Faust would lack would be his soul. Would he miss it? Does soul even exist? If it does, it would of course be the one thing the devil could not bestow. So from what or whom could Faust retrieve it? What, in a word, would a contemporary Faust most deeply desire?In pursuit of these questions, Ardea engages a familiar but possibly faulty archetype, that of Faust, with an unfamiliar one, that of the white heron, borrowed from a short story of the same name by nineteenth-century American author, Sarah Orne Jewett. In Jewett’s tale, a soul-pact of an entirely different kind from that entered into by Faust is proposed. It is a pact with the wild, a pledge of fealty, of non-forfeiture, that promises to redraw the violent psycho-sexual and psycho-spiritual patterns that have underpinned modernity. How would a present-day heir to the Faustian tradition, ingrained with the habit of entitlement but also burdened with the consequences of the old pact, respond to the new proposition? 30 00 What is soul? Can it be forfeited? Can it be traded away? If it can, what would ensue? What consequences would follow from loss of soul — for the individual, for society, for the earth?In the early nineteenth century, Goethe’s hero, Faust, became a defining archetype of modernity, a harbinger of the existential possibilities and moral complexities of the modern condition. But today the dire consequences of the Faustian pact with the devil are becoming alarmingly visible. In light of this, how would Goethe’s arguably flawed drama play out in a 21st-century century setting? Would a contemporary Faust sign up to a demonic deal? Indeed what, in the wake of two hundred years of social and economic development, would be left for the devil to offer him? A contemporary Faust would already possess everything the original Faust in his ascetic cloister lacked — affluence and mobility; celebrity and worldly influence; access to information; religious choice; sexual freedom and the availability of women — though women, it must be noted, currently also partake of that same freedom. The only thing a present-day Faust would lack would be his soul. Would he miss it? Does soul even exist? If it does, it would of course be the one thing the devil could not bestow. So from what or whom could Faust retrieve it? What, in a word, would a contemporary Faust most deeply desire?In pursuit of these questions, Ardea engages a familiar but possibly faulty archetype, that of Faust, with an unfamiliar one, that of the white heron, borrowed from a short story of the same name by nineteenth-century American author, Sarah Orne Jewett. In Jewett’s tale, a soul-pact of an entirely different kind from that entered into by Faust is proposed. It is a pact with the wild, a pledge of fealty, of non-forfeiture, that promises to redraw the violent psycho-sexual and psycho-spiritual patterns that have underpinned modernity. How would a present-day heir to the Faustian tradition, ingrained with the habit of entitlement but also burdened with the consequences of the old pact, respond to the new proposition? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0147.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ardea-a-philosophical-novella/ Earth, Milky Way 04 01 20160709 Mathews, Freya 02 WORLD 06 15 9780615845562 03 9780615845562 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76447 20 08 20160709 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25478 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25478/1004617.pdf?sequence=1&isAllowed=y 20 08 20160709 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38235 20 08 20160709 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353844 20 08 20160709 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/532 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/433b8c9f-f637-4813-b410-bc5675387186/download 20 08 20160709 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Ardea_A_Philosophical_Novella/aAWVEAAAQBAJ 20 08 20160709 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/41508a3c-614b-473e-aa74-edcb6b09dc9d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/41508a3c-614b-473e-aa74-edcb6b09dc9d/41508a3c-614b-473e-aa74-edcb6b09dc9d.pdf 20 08 20160709 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846620 29 ZENODO: download the title https://zenodo.org/records/19846620/files/41508a3c-614b-473e-aa74-edcb6b09dc9d_book.pdf 20 08 20160709 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ardea-a-philosophical-novella/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0147.1.00.pdf 20 08 20160709 01 urn:uuid:22e89182-c9e5-4e5e-9eb4-442d375a4b16 03 01 01 thoth-work-id urn:uuid:f67bf332-a244-4690-b2d8-cef74deac408 01 thoth-publication-id urn:uuid:22e89182-c9e5-4e5e-9eb4-442d375a4b16 15 9781685712747 03 9781685712747 06 10.53288/0550.1.00 01 internal-reference 0550 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Reference Grammar of Kunuz Nubian 1 A01 Ahmed Sokarno Abdel-Hafiz Ahmed Sokarno Abdel-Hafiz 2 01 eng 93 CBG 10 FOR001000 B2 Languages+Translations 93 2HNR 93 1HBE 20 grammar; Kunuz Nubian; Kenzi Nubian; Nilo-Saharan languages; Nubia; Egypt 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2016/03/frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-reference-grammar-of-kunuz-nubian/ Earth, Milky Way 02 01 20270801 Ahmed Sokarno Abdel-Hafiz 02 WORLD 06 15 9781685712754 03 9781685712754 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/a-reference-grammar-of-kunuz-nubian/ 10 08 20270801 01 urn:uuid:b4ada4ca-1aac-4f09-8bc4-7aee39ead361 03 01 01 thoth-work-id urn:uuid:f67bf332-a244-4690-b2d8-cef74deac408 01 thoth-publication-id urn:uuid:b4ada4ca-1aac-4f09-8bc4-7aee39ead361 15 9781685712754 03 9781685712754 06 10.53288/0550.1.00 01 internal-reference 0550 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Reference Grammar of Kunuz Nubian 1 A01 Ahmed Sokarno Abdel-Hafiz Ahmed Sokarno Abdel-Hafiz 2 01 eng 93 CBG 10 FOR001000 B2 Languages+Translations 93 2HNR 93 1HBE 20 grammar; Kunuz Nubian; Kenzi Nubian; Nilo-Saharan languages; Nubia; Egypt 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2016/03/frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-reference-grammar-of-kunuz-nubian/ Earth, Milky Way 02 01 20270801 Ahmed Sokarno Abdel-Hafiz 02 WORLD 06 15 9781685712747 03 9781685712747 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/a-reference-grammar-of-kunuz-nubian/ 10 08 20270801 01 urn:uuid:c8ea9bae-41d6-4854-9357-2e1c3d1d3ac4 03 01 01 thoth-work-id urn:uuid:2253da3a-0c12-4f5b-b21d-828d4720859c 01 thoth-publication-id urn:uuid:c8ea9bae-41d6-4854-9357-2e1c3d1d3ac4 15 9781685711306 03 9781685711306 06 10.53288/0406.1.00 13 2023947842 01 internal-reference 0406 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Artificial Earth A Genealogy of Planetary Technicity 1 A01 21 0000000219792795 J. Daniel Andersson J. Daniel Andersson Post-doctoral researcher at the Department for Thematic Studies 40 05ynxx418 Linköping University J. Daniel Andersson is a post-doctoral researcher at the Department for Thematic Studies, Linköping University. His research interests lie at the intersection between the technical cultures, political imaginaries, and historical processes that have shaped the ways in which the global environment has been understood and valued. A general fascination with how concepts and discursive vocabularies become solidified in scientific modes of organization has consistently informed his theoretical and methodological approaches. He has previously written about, for instance, the relationship between future-orientation and valuation in integrated assessment models, climate engineering as a sociotechnical imaginary, and the intellectual history of risk management in global change science. His writing has appeared in journals such as Environment & Planning, Anthropocenes, and Cosmos & History. 01 eng 00 348 03 B2 Anthropocene 93 RNPG 12 RNPG 10 SCI075000 93 3ACFD B2 Biosphere 10 PHI048000 12 PSAF B2 Media+Technology 93 PSAF 12 RNC 93 RNC 20 anthropocene; earth system science; geophilosophy; global environmental change; intellectual history; philosophy of technology; technosphere 01 06 02 00 03 00 Artificial Earth: A Genealogy of Planetary Technicity offers an intellectual history of humanity as a geological force, focusing on a prevalent contradiction in the Anthropocene discourse on global environmental change: on the one hand, it has been argued that there are hardly any pristine environments anymore, to the degree that the concept of nature has lost its meaning; while on the other, that anthropogenic environmental change has become so prevailing that it ought to be conceived of as a force of nature, in the literal sense of the expression. Artificial Earth argues that to fully grasp the stakes of this discourse, we need not only understand the contemporary scientific and technological transformations behind the Anthropocene, but also explore the history of an ontological concern tied up with it.In order to do so, Artificial Earth examines reflections on the ontological dualism between nature and artifice within the history of earth science from the late eighteenth century onwards. Paying particular attention to its consequences for how human subjectivity has been conceptualized in the Anthropocene, it then enrolls these resources in an effort to problematize attempts since the 1980s to formalize earth science in systems theory terminology. In sum, the aim is to investigate the historical conditions for the possibility of conceiving human artifice as an integral part of the earth’s terrestrial environment, with the conviction that such an investigation may assist in resolving the aforementioned contradiction or at least to understand it better by tracing its historical lineage. 30 00 Artificial Earth: A Genealogy of Planetary Technicity offers an intellectual history of humanity as a geological force, focusing on a prevalent contradiction in the Anthropocene discourse on global environmental change: on the one hand, it has been argued that there are hardly any pristine environments anymore, to the degree that the concept of nature has lost its meaning; while on the other, that anthropogenic environmental change has become so prevailing that it ought to be conceived of as a force of nature, in the literal sense of the expression. Artificial Earth argues that to fully grasp the stakes of this discourse, we need not only understand the contemporary scientific and technological transformations behind the Anthropocene, but also explore the history of an ontological concern tied up with it.In order to do so, Artificial Earth examines reflections on the ontological dualism between nature and artifice within the history of earth science from the late eighteenth century onwards. Paying particular attention to its consequences for how human subjectivity has been conceptualized in the Anthropocene, it then enrolls these resources in an effort to problematize attempts since the 1980s to formalize earth science in systems theory terminology. In sum, the aim is to investigate the historical conditions for the possibility of conceiving human artifice as an integral part of the earth’s terrestrial environment, with the conviction that such an investigation may assist in resolving the aforementioned contradiction or at least to understand it better by tracing its historical lineage. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0406.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/artificial-earth-a-genealogy-of-planetary-technicity/ Earth, Milky Way 04 01 20231026 Daniel Andersson 02 WORLD 06 15 9781685711313 03 9781685711313 34 06 10.5840/techne201710472 34 06 10.1038/nature11018 34 06 10.1038/nature09678 34 06 10.3197/096327115X14183182353746 34 06 10.1016/0032-0633(65)90175-3 34 06 10.4135/9781446280423 34 06 10.1215/9780822391623 34 06 10.5840/techne201752363 34 06 10.1016/j.ancene.2014.05.002 34 06 10.4159/9780674028739 34 06 10.2307/487795 34 06 10.1515/9780822379287 34 06 10.1111/hith.12044 34 06 10.1353/nlh.2012.0007 34 06 10.1086/596640 34 06 10.2307/468561 34 06 10.1080/2373566X.2015.1100968 34 06 10.4135/9781446250334 34 06 10.3366/olr.2012.0045 34 06 10.3998/ohp.10803281.0001.001 34 06 10.5749/j.ctv16f6d9c 34 06 10.7551/mitpress/7845.001.0001 34 06 10.1364/JOSA.56.000896 34 06 10.1080/1600910X.2007.9672937 34 06 10.1017/CBO9780511921155.004 34 06 10.1038/415023a 34 06 10.7591/9781501733994 34 06 10.1515/9781474413640 34 06 10.1080/14746700.2012.669948 34 06 10.1177/0306312703335007 34 06 10.1126/science.1251817 34 06 10.2307/4444260 34 06 10.1177/0306312703335002 34 06 10.2307/1006364 34 06 10.3366/dls.2016.0243 34 06 10.1007/978-3-319-89518-5_9 34 06 10.1126/science.6658451 34 06 10.1111/j.1475-5661.2005.00148.x 34 06 10.1890/14-2274.1 34 06 10.1029/2009EO490006 34 06 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urn:uuid:e41bfaf4-2f78-4ab0-9451-7e144c09fff0 15 9781685711313 03 9781685711313 06 10.53288/0406.1.00 13 2023947842 01 internal-reference 0406 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Artificial Earth A Genealogy of Planetary Technicity 1 A01 21 0000000219792795 J. Daniel Andersson J. Daniel Andersson Post-doctoral researcher at the Department for Thematic Studies 40 05ynxx418 Linköping University J. Daniel Andersson is a post-doctoral researcher at the Department for Thematic Studies, Linköping University. His research interests lie at the intersection between the technical cultures, political imaginaries, and historical processes that have shaped the ways in which the global environment has been understood and valued. A general fascination with how concepts and discursive vocabularies become solidified in scientific modes of organization has consistently informed his theoretical and methodological approaches. He has previously written about, for instance, the relationship between future-orientation and valuation in integrated assessment models, climate engineering as a sociotechnical imaginary, and the intellectual history of risk management in global change science. His writing has appeared in journals such as Environment & Planning, Anthropocenes, and Cosmos & History. 01 eng 00 348 03 B2 Anthropocene 93 RNPG 12 RNPG 10 SCI075000 93 3ACFD B2 Biosphere 10 PHI048000 12 PSAF B2 Media+Technology 93 PSAF 12 RNC 93 RNC 20 anthropocene; earth system science; geophilosophy; global environmental change; intellectual history; philosophy of technology; technosphere 01 06 02 00 03 00 Artificial Earth: A Genealogy of Planetary Technicity offers an intellectual history of humanity as a geological force, focusing on a prevalent contradiction in the Anthropocene discourse on global environmental change: on the one hand, it has been argued that there are hardly any pristine environments anymore, to the degree that the concept of nature has lost its meaning; while on the other, that anthropogenic environmental change has become so prevailing that it ought to be conceived of as a force of nature, in the literal sense of the expression. Artificial Earth argues that to fully grasp the stakes of this discourse, we need not only understand the contemporary scientific and technological transformations behind the Anthropocene, but also explore the history of an ontological concern tied up with it.In order to do so, Artificial Earth examines reflections on the ontological dualism between nature and artifice within the history of earth science from the late eighteenth century onwards. Paying particular attention to its consequences for how human subjectivity has been conceptualized in the Anthropocene, it then enrolls these resources in an effort to problematize attempts since the 1980s to formalize earth science in systems theory terminology. In sum, the aim is to investigate the historical conditions for the possibility of conceiving human artifice as an integral part of the earth’s terrestrial environment, with the conviction that such an investigation may assist in resolving the aforementioned contradiction or at least to understand it better by tracing its historical lineage. 30 00 Artificial Earth: A Genealogy of Planetary Technicity offers an intellectual history of humanity as a geological force, focusing on a prevalent contradiction in the Anthropocene discourse on global environmental change: on the one hand, it has been argued that there are hardly any pristine environments anymore, to the degree that the concept of nature has lost its meaning; while on the other, that anthropogenic environmental change has become so prevailing that it ought to be conceived of as a force of nature, in the literal sense of the expression. Artificial Earth argues that to fully grasp the stakes of this discourse, we need not only understand the contemporary scientific and technological transformations behind the Anthropocene, but also explore the history of an ontological concern tied up with it.In order to do so, Artificial Earth examines reflections on the ontological dualism between nature and artifice within the history of earth science from the late eighteenth century onwards. Paying particular attention to its consequences for how human subjectivity has been conceptualized in the Anthropocene, it then enrolls these resources in an effort to problematize attempts since the 1980s to formalize earth science in systems theory terminology. In sum, the aim is to investigate the historical conditions for the possibility of conceiving human artifice as an integral part of the earth’s terrestrial environment, with the conviction that such an investigation may assist in resolving the aforementioned contradiction or at least to understand it better by tracing its historical lineage. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0406.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/artificial-earth-a-genealogy-of-planetary-technicity/ Earth, Milky Way 04 01 20231026 Daniel Andersson 02 WORLD 06 15 9781685711306 03 9781685711306 34 06 10.5840/techne201710472 34 06 10.1038/nature11018 34 06 10.1038/nature09678 34 06 10.3197/096327115X14183182353746 34 06 10.1016/0032-0633(65)90175-3 34 06 10.4135/9781446280423 34 06 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Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/345 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8b033fc9-ea30-4539-a5c7-bd0b58b9749a/download 20 08 20231026 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2253da3a-0c12-4f5b-b21d-828d4720859c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2253da3a-0c12-4f5b-b21d-828d4720859c/2253da3a-0c12-4f5b-b21d-828d4720859c.pdf 20 08 20231026 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850109 29 ZENODO: download the title https://zenodo.org/records/19850109/files/2253da3a-0c12-4f5b-b21d-828d4720859c_book.pdf 20 08 20231026 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/artificial-earth-a-genealogy-of-planetary-technicity/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0406.1.00.pdf 20 08 20231026 01 urn:uuid:98af3fa5-b7c7-4531-b1d6-aadadfd29ea7 03 01 01 thoth-work-id urn:uuid:ae9f8357-4b39-4809-a8e9-766e200fb937 01 thoth-publication-id urn:uuid:98af3fa5-b7c7-4531-b1d6-aadadfd29ea7 15 9780692426562 03 9780692426562 06 10.21983/P3.0103.1.00 01 internal-reference 0103 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Rushed Quality 1 A01 David Odell David Odell 01 eng 00 326 03 12 BM 93 DNC 10 LIT014000 B2 Philosophy 10 BIO026000 B2 Thought Experiments 20 poetic philosophy; phenomenology; memoir; meditations 01 06 02 00 03 00 These fragments collected here (in 2 books, “A Rushed Quality” and “Bodying Forth”) belong neither to philosophy nor to poetry — and yet they are for the most part focused on a substantial area of overlap between these two venerable disciplines, vis-à-vis the question, “What is it like to be X?” Philosophers like to fill in the X with something exotic like a bat or a dolphin, or even an Artificial Intelligence, while poets tend to fill it with something else, equally exotic, namely themselves. For the diffident and introspective author of A Rushed Quality and Bodying Forth, the X, while definitely human, is perhaps someone in general, equally distant from and equally intimate with both the writer and the reader in the very moment of their eponymous activity.The start of it all was the perception of what was called the “rushed quality,” as something persistent and bothersome and of which there was no question of its ever being shed. Rather than evaded or denied, it was welcomed because it seemed for the first time since childhood to mark a structural occurrence presenting a new metaphysical datum. As it happened, this quality proved very elusive in its mature bothersomeness and the inquiry into it soon turned into a sort of quasi-theoretical fascination, which took as its main theme the fate of pure subjectivity — the utterly unfunctional, utterly useless, utterly dispensible feeling of being. The rushed quality is perhaps merely the sense of it draining away, or its long-sustained decrescendo. 30 00 These fragments collected here (in 2 books, “A Rushed Quality” and “Bodying Forth”) belong neither to philosophy nor to poetry — and yet they are for the most part focused on a substantial area of overlap between these two venerable disciplines, vis-à-vis the question, “What is it like to be X?” Philosophers like to fill in the X with something exotic like a bat or a dolphin, or even an Artificial Intelligence, while poets tend to fill it with something else, equally exotic, namely themselves. For the diffident and introspective author of A Rushed Quality and Bodying Forth, the X, while definitely human, is perhaps someone in general, equally distant from and equally intimate with both the writer and the reader in the very moment of their eponymous activity.The start of it all was the perception of what was called the “rushed quality,” as something persistent and bothersome and of which there was no question of its ever being shed. Rather than evaded or denied, it was welcomed because it seemed for the first time since childhood to mark a structural occurrence presenting a new metaphysical datum. As it happened, this quality proved very elusive in its mature bothersomeness and the inquiry into it soon turned into a sort of quasi-theoretical fascination, which took as its main theme the fate of pure subjectivity — the utterly unfunctional, utterly useless, utterly dispensible feeling of being. The rushed quality is perhaps merely the sense of it draining away, or its long-sustained decrescendo. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0103.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-rushed-quality/ Brooklyn, NY 04 01 20150525 Odell, David 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692426566 20 08 20150525 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-rushed-quality 20 08 20150525 02 26.00 USD WORLD urn:uuid:7bddf492-38f7-4ddd-b1f1-a5ab86a7e0f5 03 01 01 thoth-work-id urn:uuid:ae9f8357-4b39-4809-a8e9-766e200fb937 01 thoth-publication-id urn:uuid:7bddf492-38f7-4ddd-b1f1-a5ab86a7e0f5 06 10.21983/P3.0103.1.00 01 internal-reference 0103 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Rushed Quality 1 A01 David Odell David Odell 01 eng 00 326 03 12 BM 93 DNC 10 LIT014000 B2 Philosophy 10 BIO026000 B2 Thought Experiments 20 poetic philosophy; phenomenology; memoir; meditations 01 06 02 00 03 00 These fragments collected here (in 2 books, “A Rushed Quality” and “Bodying Forth”) belong neither to philosophy nor to poetry — and yet they are for the most part focused on a substantial area of overlap between these two venerable disciplines, vis-à-vis the question, “What is it like to be X?” Philosophers like to fill in the X with something exotic like a bat or a dolphin, or even an Artificial Intelligence, while poets tend to fill it with something else, equally exotic, namely themselves. For the diffident and introspective author of A Rushed Quality and Bodying Forth, the X, while definitely human, is perhaps someone in general, equally distant from and equally intimate with both the writer and the reader in the very moment of their eponymous activity.The start of it all was the perception of what was called the “rushed quality,” as something persistent and bothersome and of which there was no question of its ever being shed. Rather than evaded or denied, it was welcomed because it seemed for the first time since childhood to mark a structural occurrence presenting a new metaphysical datum. As it happened, this quality proved very elusive in its mature bothersomeness and the inquiry into it soon turned into a sort of quasi-theoretical fascination, which took as its main theme the fate of pure subjectivity — the utterly unfunctional, utterly useless, utterly dispensible feeling of being. The rushed quality is perhaps merely the sense of it draining away, or its long-sustained decrescendo. 30 00 These fragments collected here (in 2 books, “A Rushed Quality” and “Bodying Forth”) belong neither to philosophy nor to poetry — and yet they are for the most part focused on a substantial area of overlap between these two venerable disciplines, vis-à-vis the question, “What is it like to be X?” Philosophers like to fill in the X with something exotic like a bat or a dolphin, or even an Artificial Intelligence, while poets tend to fill it with something else, equally exotic, namely themselves. For the diffident and introspective author of A Rushed Quality and Bodying Forth, the X, while definitely human, is perhaps someone in general, equally distant from and equally intimate with both the writer and the reader in the very moment of their eponymous activity.The start of it all was the perception of what was called the “rushed quality,” as something persistent and bothersome and of which there was no question of its ever being shed. Rather than evaded or denied, it was welcomed because it seemed for the first time since childhood to mark a structural occurrence presenting a new metaphysical datum. As it happened, this quality proved very elusive in its mature bothersomeness and the inquiry into it soon turned into a sort of quasi-theoretical fascination, which took as its main theme the fate of pure subjectivity — the utterly unfunctional, utterly useless, utterly dispensible feeling of being. The rushed quality is perhaps merely the sense of it draining away, or its long-sustained decrescendo. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0103.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-rushed-quality/ Brooklyn, NY 04 01 20150525 Odell, David 02 WORLD 06 15 9780692426562 03 9780692426562 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25519 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25519/1004576.pdf?sequence=1&isAllowed=y 20 08 20150525 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38886 20 08 20150525 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353893 20 08 20150525 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/486 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6821c8b1-ce77-4da7-af11-95d0da811da8/download 20 08 20150525 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ae9f8357-4b39-4809-a8e9-766e200fb937 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ae9f8357-4b39-4809-a8e9-766e200fb937/ae9f8357-4b39-4809-a8e9-766e200fb937.pdf 20 08 20150525 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824974 29 ZENODO: download the title https://zenodo.org/records/19824974/files/ae9f8357-4b39-4809-a8e9-766e200fb937_book.pdf 20 08 20150525 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-rushed-quality/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0103.1.00.pdf 20 08 20150525 01 urn:uuid:cfcdb3db-2dcd-4751-86f1-dc6d9eb089e2 03 01 01 thoth-work-id urn:uuid:7eb6f426-e913-4d69-92c5-15a640f1b4b9 01 thoth-publication-id urn:uuid:cfcdb3db-2dcd-4751-86f1-dc6d9eb089e2 15 9780615814872 03 9780615814872 06 10.21983/P3.0029.1.00 01 internal-reference 0029 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 A Sanctuary of Sounds 1 A01 Andreas Burckhardt Andreas Burckhardt 01 eng 00 98 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Sound+Noise 20 William Faulkner; sound ecology; noise; poetry 01 06 02 00 03 00 A Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise.What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself.A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape. 30 00 A Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise.What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself.A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0029.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-sanctuary-of-sounds/ Brooklyn, NY 04 01 20130523 Burckhardt, Andreas 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615814875 20 08 20130523 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-sanctuary-of-sounds 20 08 20130523 02 21.00 USD WORLD urn:uuid:60f31983-0d73-4b3c-a4cb-6d3385535278 03 01 01 thoth-work-id urn:uuid:7eb6f426-e913-4d69-92c5-15a640f1b4b9 01 thoth-publication-id urn:uuid:60f31983-0d73-4b3c-a4cb-6d3385535278 06 10.21983/P3.0029.1.00 01 internal-reference 0029 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 A Sanctuary of Sounds 1 A01 Andreas Burckhardt Andreas Burckhardt 01 eng 00 98 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Sound+Noise 20 William Faulkner; sound ecology; noise; poetry 01 06 02 00 03 00 A Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise.What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself.A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape. 30 00 A Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise.What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself.A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0029.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-sanctuary-of-sounds/ Brooklyn, NY 04 01 20130523 Burckhardt, Andreas 02 WORLD 06 15 9780615814872 03 9780615814872 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25587 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25587/1004508.pdf?sequence=1&isAllowed=y 20 08 20130523 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26825 20 08 20130523 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354047 20 08 20130523 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/409 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/66665bf5-4916-41e5-b6cd-df41d9bd4e63/download 20 08 20130523 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7eb6f426-e913-4d69-92c5-15a640f1b4b9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7eb6f426-e913-4d69-92c5-15a640f1b4b9/7eb6f426-e913-4d69-92c5-15a640f1b4b9.pdf 20 08 20130523 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845731 29 ZENODO: download the title https://zenodo.org/records/19845731/files/7eb6f426-e913-4d69-92c5-15a640f1b4b9_book.pdf 20 08 20130523 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-sanctuary-of-sounds/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0029.1.00.pdf 20 08 20130523 01 urn:uuid:97076790-be27-4409-bba6-ccaee2479079 03 01 01 thoth-work-id urn:uuid:4fc74913-bde4-426e-b7e5-2f66c60af484 01 thoth-publication-id urn:uuid:97076790-be27-4409-bba6-ccaee2479079 15 9780615988177 03 9780615988177 06 10.21983/P3.0162.1.00 01 internal-reference 0162 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 As If Essays in As You Like It 1 A01 William N. West William N. West 40 000e0be47 Northwestern University 01 eng 00 136 03 93 DSBC 12 DSBD 10 LIT015000 B2 Literary Studies 93 5PX-GB-S B2 Premodern 20 William Shakespeare; Early Modern studies; As You Like It; cultural studies; experimentation; literary studies 01 06 02 00 03 00 Shakespeare’s As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? “What would you say to me now an [that is, “if”] I were your very, very Rosalind?” (4.1.64-65). “Much virtue in ‘if’,” as one of its characters declares near the play’s end; ‘if’ is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change?In As You Like It, unlike Shakespeare’s other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were—and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in ‘if’ as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. 30 00 Shakespeare’s As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? “What would you say to me now an [that is, “if”] I were your very, very Rosalind?” (4.1.64-65). “Much virtue in ‘if’,” as one of its characters declares near the play’s end; ‘if’ is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change?In As You Like It, unlike Shakespeare’s other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were—and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in ‘if’ as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0162.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/as-if-essays-in-as-you-like-it/ Earth, Milky Way 04 01 20161229 West, William N. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615988172 20 08 20161229 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/as-if-essays-in-as-you-like-it 20 08 20161229 02 22.00 USD WORLD urn:uuid:d28883fd-1936-4b26-a822-fa9ccfa12a88 03 01 01 thoth-work-id urn:uuid:4fc74913-bde4-426e-b7e5-2f66c60af484 01 thoth-publication-id urn:uuid:d28883fd-1936-4b26-a822-fa9ccfa12a88 06 10.21983/P3.0162.1.00 01 internal-reference 0162 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 As If Essays in As You Like It 1 A01 William N. West William N. West 40 000e0be47 Northwestern University 01 eng 00 136 03 93 DSBC 12 DSBD 10 LIT015000 B2 Literary Studies 93 5PX-GB-S B2 Premodern 20 William Shakespeare; Early Modern studies; As You Like It; cultural studies; experimentation; literary studies 01 06 02 00 03 00 Shakespeare’s As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? “What would you say to me now an [that is, “if”] I were your very, very Rosalind?” (4.1.64-65). “Much virtue in ‘if’,” as one of its characters declares near the play’s end; ‘if’ is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change?In As You Like It, unlike Shakespeare’s other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were—and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in ‘if’ as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. 30 00 Shakespeare’s As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? “What would you say to me now an [that is, “if”] I were your very, very Rosalind?” (4.1.64-65). “Much virtue in ‘if’,” as one of its characters declares near the play’s end; ‘if’ is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change?In As You Like It, unlike Shakespeare’s other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were—and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in ‘if’ as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0162.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/as-if-essays-in-as-you-like-it/ Earth, Milky Way 04 01 20161229 West, William N. 02 WORLD 06 15 9780615988177 03 9780615988177 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76464 20 08 20161229 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25465 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25465/1004630.pdf?sequence=1&isAllowed=y 20 08 20161229 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32456 20 08 20161229 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353953 20 08 20161229 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/546 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f558dc75-07f3-4c82-983d-158aa98af188/download 20 08 20161229 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4fc74913-bde4-426e-b7e5-2f66c60af484 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4fc74913-bde4-426e-b7e5-2f66c60af484/4fc74913-bde4-426e-b7e5-2f66c60af484.pdf 20 08 20161229 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846795 29 ZENODO: download the title https://zenodo.org/records/19846795/files/4fc74913-bde4-426e-b7e5-2f66c60af484_book.pdf 20 08 20161229 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/as-if-essays-in-as-you-like-it/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0162.1.00.pdf 20 08 20161229 01 urn:uuid:5bfa70eb-b8b0-4010-ae07-989ec7767755 03 01 01 thoth-work-id urn:uuid:19d21671-246e-4387-9ac7-7e1a938240f9 01 thoth-publication-id urn:uuid:5bfa70eb-b8b0-4010-ae07-989ec7767755 15 9781685712204 03 9781685712204 06 10.53288/0517.1.00 13 2024939850 01 internal-reference 0517 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Story of Witchery 1 A01 Jennifer Calkins Jennifer Calkins Through the mediums of language, image, and schematics, among others, Jennifer Calkins explores intersections, gaps, coincidences, and emergences among the disciplinary fields of science, law, and critical theory that constrain, restrain, and mediate relationships among humans, nonhuman beings, and the more than human world. In her creative and legal work, Jen is informed by the multitude of alternative ways of knowing the world that survive, persist, and emerge within and outside of the dominant white European worldview. Jen completed an MFA in creative writing in 1990, a PhD in ecology and evolutionary biology in 2000, and a JD in 2018. Jen’s peer reviewed publications touch on the behavioral, ecological, and population genetic patterns emergent out of the social, reproductive, and family behavior of Callipepla quail, the evolution of avian reproductive proteins, Moby Dick, and the Paris Climate Agreement. For over a decade, Jen taught biology, evolution, and creative writing, first at the University of Washington and then at The Evergreen State College. As an attorney, Jen has represented people and organizations seeking environmental justice, and attention to the importance of attending to forests and wildlife in administrative and judicial settings. Jen’s hybrid work has appeared in a variety of literary journals. In addition to A Story of Witchery (Les Figues Press, 2006), Jen published the lyric noir Fugitive Assemblage (3rd Thing Press, 2020). Currently, Jen is curating and participating in Delisted 2023, a collaborative creative emergent project engaging the extinction crisis. 2 A12 Thor Harris Thor Harris Thor Harris is an artist and musician who has lived in Austin Texas since 1985. He studied art and music from early childhood thru 3 years of college, then dropped out to play in bands in Austin’s thriving music scene. He has toured the world with Swans, Shearwater, Bill Callahan, XiuXiu, Thor&Friends and others. Thor wrote and illustrated a graphic novel called Ocean of Despair. He also has a book of illustrations called A Post-Apocalyptic Tale of Friendship. He can be found online at http://www.thorharris.org/ and on Instagram at @thorharris . 3 A24 Amy Gerstler Amy Gerstler 2 01 eng 00 184 03 10 BIO017000 B2 Fabulations 93 FNF 93 FC 10 FIC010000 93 FXT 10 POE024000 93 VFJD 93 DCF 93 DCC 20 disability studies; fairytale; poetry; medical memoir; witchery; medicine 01 06 02 00 03 00 Fantasy, fear, and freedom all play a part in A Story of Witchery, a book-length narrative poem by Jennifer Calkins, and newly illustrated by Thor Harris. Here we meet Emily, our “small and weedy” protagonist, an orphan complicit (perhaps) in her own abandonment who is caught up, as poet Amy Gerstler writes in her Introduction, in a story “entwined with science facts and twisted clinical fictions.” In language rolling and tripping with spare precision, Calkins makes a modern pilgrim progress into the imagination and the dark world of medicine. Rich and haunting images create a seemingly familiar environment which, like the internal landscape of the protagonist, dissolves only to reform, until finally resolving into a healed whole. 30 00 Fantasy, fear, and freedom all play a part in A Story of Witchery, a book-length narrative poem by Jennifer Calkins, and newly illustrated by Thor Harris. Here we meet Emily, our “small and weedy” protagonist, an orphan complicit (perhaps) in her own abandonment who is caught up, as poet Amy Gerstler writes in her Introduction, in a story “entwined with science facts and twisted clinical fictions.” In language rolling and tripping with spare precision, Calkins makes a modern pilgrim progress into the imagination and the dark world of medicine. Rich and haunting images create a seemingly familiar environment which, like the internal landscape of the protagonist, dissolves only to reform, until finally resolving into a healed whole. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0517.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-story-of-witchery/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240606 Jennifer Calkins 02 WORLD 06 15 9781685712211 03 9781685712211 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712207 20 08 20240606 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-story-of-witchery 20 08 20240606 02 15.00 USD WORLD urn:uuid:ef606e50-cfce-42da-8f26-edc13425f197 03 01 01 thoth-work-id urn:uuid:19d21671-246e-4387-9ac7-7e1a938240f9 01 thoth-publication-id urn:uuid:ef606e50-cfce-42da-8f26-edc13425f197 15 9781685712211 03 9781685712211 06 10.53288/0517.1.00 13 2024939850 01 internal-reference 0517 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Story of Witchery 1 A01 Jennifer Calkins Jennifer Calkins Through the mediums of language, image, and schematics, among others, Jennifer Calkins explores intersections, gaps, coincidences, and emergences among the disciplinary fields of science, law, and critical theory that constrain, restrain, and mediate relationships among humans, nonhuman beings, and the more than human world. In her creative and legal work, Jen is informed by the multitude of alternative ways of knowing the world that survive, persist, and emerge within and outside of the dominant white European worldview. Jen completed an MFA in creative writing in 1990, a PhD in ecology and evolutionary biology in 2000, and a JD in 2018. Jen’s peer reviewed publications touch on the behavioral, ecological, and population genetic patterns emergent out of the social, reproductive, and family behavior of Callipepla quail, the evolution of avian reproductive proteins, Moby Dick, and the Paris Climate Agreement. For over a decade, Jen taught biology, evolution, and creative writing, first at the University of Washington and then at The Evergreen State College. As an attorney, Jen has represented people and organizations seeking environmental justice, and attention to the importance of attending to forests and wildlife in administrative and judicial settings. Jen’s hybrid work has appeared in a variety of literary journals. In addition to A Story of Witchery (Les Figues Press, 2006), Jen published the lyric noir Fugitive Assemblage (3rd Thing Press, 2020). Currently, Jen is curating and participating in Delisted 2023, a collaborative creative emergent project engaging the extinction crisis. 2 A12 Thor Harris Thor Harris Thor Harris is an artist and musician who has lived in Austin Texas since 1985. He studied art and music from early childhood thru 3 years of college, then dropped out to play in bands in Austin’s thriving music scene. He has toured the world with Swans, Shearwater, Bill Callahan, XiuXiu, Thor&Friends and others. Thor wrote and illustrated a graphic novel called Ocean of Despair. He also has a book of illustrations called A Post-Apocalyptic Tale of Friendship. He can be found online at http://www.thorharris.org/ and on Instagram at @thorharris . 3 A24 Amy Gerstler Amy Gerstler 2 01 eng 00 184 03 10 BIO017000 B2 Fabulations 93 FNF 93 FC 10 FIC010000 93 FXT 10 POE024000 93 VFJD 93 DCF 93 DCC 20 disability studies; fairytale; poetry; medical memoir; witchery; medicine 01 06 02 00 03 00 Fantasy, fear, and freedom all play a part in A Story of Witchery, a book-length narrative poem by Jennifer Calkins, and newly illustrated by Thor Harris. Here we meet Emily, our “small and weedy” protagonist, an orphan complicit (perhaps) in her own abandonment who is caught up, as poet Amy Gerstler writes in her Introduction, in a story “entwined with science facts and twisted clinical fictions.” In language rolling and tripping with spare precision, Calkins makes a modern pilgrim progress into the imagination and the dark world of medicine. Rich and haunting images create a seemingly familiar environment which, like the internal landscape of the protagonist, dissolves only to reform, until finally resolving into a healed whole. 30 00 Fantasy, fear, and freedom all play a part in A Story of Witchery, a book-length narrative poem by Jennifer Calkins, and newly illustrated by Thor Harris. Here we meet Emily, our “small and weedy” protagonist, an orphan complicit (perhaps) in her own abandonment who is caught up, as poet Amy Gerstler writes in her Introduction, in a story “entwined with science facts and twisted clinical fictions.” In language rolling and tripping with spare precision, Calkins makes a modern pilgrim progress into the imagination and the dark world of medicine. Rich and haunting images create a seemingly familiar environment which, like the internal landscape of the protagonist, dissolves only to reform, until finally resolving into a healed whole. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0517.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/a-story-of-witchery/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240606 Jennifer Calkins 02 WORLD 06 15 9781685712204 03 9781685712204 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/90790 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/90790/0517.1.00.pdf?sequence=1&isAllowed=y 20 08 20240606 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/138703 20 08 20240606 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626763 20 08 20240606 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/718 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/947648ec-64ad-4499-9920-87d8cd50a09b/download 20 08 20240606 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/A_Story_of_Witchery/fpEoEQAAQBAJ 20 08 20240606 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/19d21671-246e-4387-9ac7-7e1a938240f9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/19d21671-246e-4387-9ac7-7e1a938240f9/19d21671-246e-4387-9ac7-7e1a938240f9.pdf 20 08 20240606 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850368 29 ZENODO: download the title https://zenodo.org/records/19850368/files/19d21671-246e-4387-9ac7-7e1a938240f9_book.pdf 20 08 20240606 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/a-story-of-witchery/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0517.1.00.pdf 20 08 20240606 01 urn:uuid:8c487703-8a9a-4898-bed4-af918a7789e9 03 01 01 thoth-work-id urn:uuid:3f78b298-8826-4162-886e-af21a77f2957 01 thoth-publication-id urn:uuid:8c487703-8a9a-4898-bed4-af918a7789e9 15 9781947447462 03 9781947447462 06 10.21983/P3.0199.1.00 13 2018930420 01 internal-reference 0199 00 BC 10 01 210 mm 01 21 cm 01 8.25 in 02 210 mm 02 21 cm 02 8.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Athens and the War on Public Space Tracing a City in Crisis 1 A01 Klara Jaya Brekke Klara Jaya Brekke 40 01v29qb04 Durham University 2 A01 Christos Filippidis Christos Filippidis 3 A01 Antonis Vradis Antonis Vradis 40 04vg4w365 Loughborough University 01 eng 00 174 03 B2 Built Environments 12 RPC 93 RPC 10 SOC015000 B2 Capital+Lucre 93 JPWG 93 KCX B2 New Left Thought 93 1DXG-GR-EAA 20 Athens; protest; photography; Greece; Euro; urban space; immigration 01 06 02 00 03 00 Sometimes, the maelstrom of a crisis can be captured in a single image. The image of the mundane, barely noticeable movement of an urban dweller as they go about their everyday life. Athens and the War on Public Space commences from images just like this one, collected over a two-year period of research (2012–2014) in Athens during a time of severe financial and political crisis. For the author-curators of this volume, public space became a light-sensitive surface upon which they could begin to map the material imprints of the most structural and violent characteristics of the crisis, and their research spread in different directions, tracking the role of infrastructure and the shifts the financial crisis brought about upon built environments, the violent manifestations of the official anti-migrant policy, the rise of racism, the imposition of the emergency upon public space, and the phenomenology of mass transit. 30 00 Sometimes, the maelstrom of a crisis can be captured in a single image. The image of the mundane, barely noticeable movement of an urban dweller as they go about their everyday life. Athens and the War on Public Space commences from images just like this one, collected over a two-year period of research (2012–2014) in Athens during a time of severe financial and political crisis. For the author-curators of this volume, public space became a light-sensitive surface upon which they could begin to map the material imprints of the most structural and violent characteristics of the crisis, and their research spread in different directions, tracking the role of infrastructure and the shifts the financial crisis brought about upon built environments, the violent manifestations of the official anti-migrant policy, the rise of racism, the imposition of the emergency upon public space, and the phenomenology of mass transit. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0199.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/athens-and-the-war-on-public-space/ Earth, Milky Way 04 01 20180420 Brekke, Klara Jaya Filippidis, Christos Vradis, Antonis 02 WORLD 06 15 9781947447479 03 9781947447479 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447467 20 08 20180420 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/athens-and-the-war-on-public-space-tracing-a-city-in-crisis 20 08 20180420 02 24.00 USD WORLD urn:uuid:7251bbe9-63a1-4f72-bbe2-76f2e5ec3c8e 03 01 01 thoth-work-id urn:uuid:3f78b298-8826-4162-886e-af21a77f2957 01 thoth-publication-id urn:uuid:7251bbe9-63a1-4f72-bbe2-76f2e5ec3c8e 15 9781947447479 03 9781947447479 06 10.21983/P3.0199.1.00 13 2018930420 01 internal-reference 0199 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Athens and the War on Public Space Tracing a City in Crisis 1 A01 Klara Jaya Brekke Klara Jaya Brekke 40 01v29qb04 Durham University 2 A01 Christos Filippidis Christos Filippidis 3 A01 Antonis Vradis Antonis Vradis 40 04vg4w365 Loughborough University 01 eng 00 174 03 B2 Built Environments 12 RPC 93 RPC 10 SOC015000 B2 Capital+Lucre 93 JPWG 93 KCX B2 New Left Thought 93 1DXG-GR-EAA 20 Athens; protest; photography; Greece; Euro; urban space; immigration 01 06 02 00 03 00 Sometimes, the maelstrom of a crisis can be captured in a single image. The image of the mundane, barely noticeable movement of an urban dweller as they go about their everyday life. Athens and the War on Public Space commences from images just like this one, collected over a two-year period of research (2012–2014) in Athens during a time of severe financial and political crisis. For the author-curators of this volume, public space became a light-sensitive surface upon which they could begin to map the material imprints of the most structural and violent characteristics of the crisis, and their research spread in different directions, tracking the role of infrastructure and the shifts the financial crisis brought about upon built environments, the violent manifestations of the official anti-migrant policy, the rise of racism, the imposition of the emergency upon public space, and the phenomenology of mass transit. 30 00 Sometimes, the maelstrom of a crisis can be captured in a single image. The image of the mundane, barely noticeable movement of an urban dweller as they go about their everyday life. Athens and the War on Public Space commences from images just like this one, collected over a two-year period of research (2012–2014) in Athens during a time of severe financial and political crisis. For the author-curators of this volume, public space became a light-sensitive surface upon which they could begin to map the material imprints of the most structural and violent characteristics of the crisis, and their research spread in different directions, tracking the role of infrastructure and the shifts the financial crisis brought about upon built environments, the violent manifestations of the official anti-migrant policy, the rise of racism, the imposition of the emergency upon public space, and the phenomenology of mass transit. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0199.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/athens-and-the-war-on-public-space/ Earth, Milky Way 04 01 20180420 Brekke, Klara Jaya Filippidis, Christos Vradis, Antonis 02 WORLD 06 15 9781947447462 03 9781947447462 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25430 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25430/1004665.pdf?sequence=1&isAllowed=y 20 08 20180420 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33945 20 08 20180420 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353853 20 08 20180420 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/752 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9a380067-5c18-4d73-ac97-08a19dafddc7/download 20 08 20180420 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3f78b298-8826-4162-886e-af21a77f2957 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3f78b298-8826-4162-886e-af21a77f2957/3f78b298-8826-4162-886e-af21a77f2957.pdf 20 08 20180420 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847235 29 ZENODO: download the title https://zenodo.org/records/19847235/files/3f78b298-8826-4162-886e-af21a77f2957_book.pdf 20 08 20180420 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/athens-and-the-war-on-public-space/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0199.1.00.pdf 20 08 20180420 01 urn:uuid:cd744220-be7e-48f0-aeb2-e2ef1a9dfcf9 03 01 01 thoth-work-id urn:uuid:d3cb2d79-746d-4a75-b773-e58b46353bcf 01 thoth-publication-id urn:uuid:cd744220-be7e-48f0-aeb2-e2ef1a9dfcf9 15 9781685712181 03 9781685712181 06 10.53288/0514.1.00 13 2024940076 01 internal-reference 0514 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Atlas of Petromodernity 1 A01 Alexander Klose Alexander Klose Alexander Klose works and lives as a cultural researcher, curator, and publicist in Berlin, Bremen and Halle (Saale) in Germany. He is a research group leader at the European Center for Just Transition Research and Impact-driven Transfer at Martin-Luther-University Halle. He published The Container Principle (MIT, 2015) and curated, among others, On Becoming Earthlings: Blackmarket for Useful Knowledge and Non-Knowledge #18 (Musée de L’Homme, Paris, 2015), Precognitioning Post-Oil NYC (1014, New York, 2021), and Petromelancholia (Brutus, Rotterdam, 2023). 2 A01 21 0000000341974373 Benjamin Steininger Benjamin Steininger postdoctoral fellow at the Cluster of Excellence UniSysCat 40 03v4gjf40 Technische Universität Berlin postdoctoral fellow at the Cluster of Excellence UniSysCat 40 0492sjc74 Max Planck Institute for the History of Science Benjamin Steininger is a cultural and media theorist, historian of science and technology, and a curator working in Berlin (Germany) and Vienna (Austria). He is a postdoctoral fellow at the research cluster "Unifying Systems in Catalysis" at Technische Universität Berlin and at the Max Planck Institute of Geoanthropology (Jena). He published Raum-Maschine Reichsautobahn: Zur Dynamik eines bekannt/unbekannten Bauwerks (Kulturverlag Kadmos, 2021), and wrote a dissertation on industrial catalysis as a key concept of the 20th century. From 2012 to 2016, he initiated and led a participatory research and collection project on 100 years of oil and gas industry in the Vienna basin, from 2012 to 2022 he was a regular contributor to the “Anthropocene Projects” at the Haus der Kulturen der Welt (HKW), Berlin. 3 B06 Ayça Türkoğlu Ayça Türkoğlu 06 Own website https://www.aycaturkoglu.com/ 4 A23 Stephanie LeMenager Stephanie LeMenager Barbara and Carlisle Moore Professor of English and Environmental Studies 40 0293rh119 University of Oregon 01 eng 02 ger 00 360 03 B2 Anthropocene 10 TEC047000 93 THFP B2 Built Environments 10 SOC008000 93 TDCF B2 Cultural Studies+Critical Theory 93 JBCC 93 3ACFD 93 JBCT 93 KNBP 20 anthropocene; cultural studies; petroleum; petrocultures; media theory; geography; energy humanities 01 06 02 00 03 00 The Atlas of Petromodernity is many things in one: historical and geographical non-fiction, cultural theory essay, and picture book. In forty-four short essays, inspired by an equal amount of pictorial findings, Klose and Steininger develop a technical, geographical, political, and speculative panorama of the declining era of petroleum modernity.The authors stroll through Baku, Rotterdam, and Louisiana, into Manchuria and through the Vienna Basin. They read Bertolt Brecht, technical manuals, and petroculture theory, and they listen to Neil Young. They go to the moon, through refineries and over highways emptied by the COVID-19 pandemic. They confront petrochemistry with petromelancholy, catalysis with catharsis, cosmos with cosmetics. The Atlas of Petromodernity tackles the contradictory ambivalences of a substance that has been vital for our epoch, and whose roles and meanings need to be understood in order to be able to leave this epoch behind. 30 00 The Atlas of Petromodernity is many things in one: historical and geographical non-fiction, cultural theory essay, and picture book. In forty-four short essays, inspired by an equal amount of pictorial findings, Klose and Steininger develop a technical, geographical, political, and speculative panorama of the declining era of petroleum modernity.The authors stroll through Baku, Rotterdam, and Louisiana, into Manchuria and through the Vienna Basin. They read Bertolt Brecht, technical manuals, and petroculture theory, and they listen to Neil Young. They go to the moon, through refineries and over highways emptied by the COVID-19 pandemic. They confront petrochemistry with petromelancholy, catalysis with catharsis, cosmos with cosmetics. The Atlas of Petromodernity tackles the contradictory ambivalences of a substance that has been vital for our epoch, and whose roles and meanings need to be understood in order to be able to leave this epoch behind. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0514.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/atlas-of-petromodernity/ 16 40 0492sjc74 Max Planck Institute for the History of Science Earth, Milky Way 04 01 20240705 Benjamin Steininger, Alexander Klose 02 WORLD 06 15 9781685712198 03 9781685712198 34 06 10.1086/712129 34 06 10.1029/91EO00233 34 06 10.5612/slavicreview.70.3.0591 34 06 10.3406/RHS.1992.4244 34 06 10.1177/0305829818775817 34 06 10.2307/4444260 34 06 10.1130/G25567A.1 34 06 10.1177/2053019614530575 34 06 10.1017/9781009157896 34 06 10.1038/s41559-017-0138 34 06 10.1128/aem.65.4.1477-1482.1999 34 06 10.1215/17432197-1722118 34 06 10.1130/G45507.1 34 06 10.1177/1086026612449338 34 06 10.1016/s0969-8043(00)00214-1 34 06 10.1080/09502386.2017.1303425 34 06 10.1525/fq.2006.59.3.44 34 06 10.1215/00382876-3829423 34 06 10.1126/science.226.4676.787 34 06 10.1016/j.polgeo.2017.05.007 34 06 10.1177/2053019614564785 34 06 10.1177/20530196211029676 34 06 10.1215/00382876-3829478 34 06 10.1177/0263276417691102 34 06 10.1002/jlac.19345100103 34 06 10.22201/igeof.00167169p.2011.50.1.125 34 06 10.1007/BF01830642 34 06 10.1353/phi.2015.a608469 34 06 10.1016/j.ancene.2014.07.002 34 06 10.3161/00034541ANZ2018.68.3.012 34 06 10.1130/G45873.1 34 06 10.1038/d41586-022-03444-7 34 06 10.1017/S0898030611000121 34 06 10.1098/rstb.2009.0054 34 06 10.3390/en10050614 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712185 20 08 20240705 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/atlas-of-petromodernity-foreword-bystephanielemenagerstephanie-lemenagerfalse-foreword-bystephanielemenagerstephanie-lemenagerfalse 20 08 20240705 02 27.00 USD WORLD urn:uuid:65616b04-f0f5-4a7a-b848-14013f28ecd8 03 01 01 thoth-work-id urn:uuid:d3cb2d79-746d-4a75-b773-e58b46353bcf 01 thoth-publication-id urn:uuid:65616b04-f0f5-4a7a-b848-14013f28ecd8 15 9781685712198 03 9781685712198 06 10.53288/0514.1.00 13 2024940076 01 internal-reference 0514 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Atlas of Petromodernity 1 A01 Alexander Klose Alexander Klose Alexander Klose works and lives as a cultural researcher, curator, and publicist in Berlin, Bremen and Halle (Saale) in Germany. He is a research group leader at the European Center for Just Transition Research and Impact-driven Transfer at Martin-Luther-University Halle. He published The Container Principle (MIT, 2015) and curated, among others, On Becoming Earthlings: Blackmarket for Useful Knowledge and Non-Knowledge #18 (Musée de L’Homme, Paris, 2015), Precognitioning Post-Oil NYC (1014, New York, 2021), and Petromelancholia (Brutus, Rotterdam, 2023). 2 A01 21 0000000341974373 Benjamin Steininger Benjamin Steininger postdoctoral fellow at the Cluster of Excellence UniSysCat 40 03v4gjf40 Technische Universität Berlin postdoctoral fellow at the Cluster of Excellence UniSysCat 40 0492sjc74 Max Planck Institute for the History of Science Benjamin Steininger is a cultural and media theorist, historian of science and technology, and a curator working in Berlin (Germany) and Vienna (Austria). He is a postdoctoral fellow at the research cluster "Unifying Systems in Catalysis" at Technische Universität Berlin and at the Max Planck Institute of Geoanthropology (Jena). He published Raum-Maschine Reichsautobahn: Zur Dynamik eines bekannt/unbekannten Bauwerks (Kulturverlag Kadmos, 2021), and wrote a dissertation on industrial catalysis as a key concept of the 20th century. From 2012 to 2016, he initiated and led a participatory research and collection project on 100 years of oil and gas industry in the Vienna basin, from 2012 to 2022 he was a regular contributor to the “Anthropocene Projects” at the Haus der Kulturen der Welt (HKW), Berlin. 3 B06 Ayça Türkoğlu Ayça Türkoğlu 06 Own website https://www.aycaturkoglu.com/ 4 A23 Stephanie LeMenager Stephanie LeMenager Barbara and Carlisle Moore Professor of English and Environmental Studies 40 0293rh119 University of Oregon 01 eng 02 ger 00 360 03 B2 Anthropocene 10 TEC047000 93 THFP B2 Built Environments 10 SOC008000 93 TDCF B2 Cultural Studies+Critical Theory 93 JBCC 93 3ACFD 93 JBCT 93 KNBP 20 anthropocene; cultural studies; petroleum; petrocultures; media theory; geography; energy humanities 01 06 02 00 03 00 The Atlas of Petromodernity is many things in one: historical and geographical non-fiction, cultural theory essay, and picture book. In forty-four short essays, inspired by an equal amount of pictorial findings, Klose and Steininger develop a technical, geographical, political, and speculative panorama of the declining era of petroleum modernity.The authors stroll through Baku, Rotterdam, and Louisiana, into Manchuria and through the Vienna Basin. They read Bertolt Brecht, technical manuals, and petroculture theory, and they listen to Neil Young. They go to the moon, through refineries and over highways emptied by the COVID-19 pandemic. They confront petrochemistry with petromelancholy, catalysis with catharsis, cosmos with cosmetics. The Atlas of Petromodernity tackles the contradictory ambivalences of a substance that has been vital for our epoch, and whose roles and meanings need to be understood in order to be able to leave this epoch behind. 30 00 The Atlas of Petromodernity is many things in one: historical and geographical non-fiction, cultural theory essay, and picture book. In forty-four short essays, inspired by an equal amount of pictorial findings, Klose and Steininger develop a technical, geographical, political, and speculative panorama of the declining era of petroleum modernity.The authors stroll through Baku, Rotterdam, and Louisiana, into Manchuria and through the Vienna Basin. They read Bertolt Brecht, technical manuals, and petroculture theory, and they listen to Neil Young. They go to the moon, through refineries and over highways emptied by the COVID-19 pandemic. They confront petrochemistry with petromelancholy, catalysis with catharsis, cosmos with cosmetics. The Atlas of Petromodernity tackles the contradictory ambivalences of a substance that has been vital for our epoch, and whose roles and meanings need to be understood in order to be able to leave this epoch behind. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0514.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/atlas-of-petromodernity/ 16 40 0492sjc74 Max Planck Institute for the History of Science Earth, Milky Way 04 01 20240705 Benjamin Steininger, Alexander Klose 02 WORLD 06 15 9781685712181 03 9781685712181 34 06 10.1086/712129 34 06 10.1029/91EO00233 34 06 10.5612/slavicreview.70.3.0591 34 06 10.3406/RHS.1992.4244 34 06 10.1177/0305829818775817 34 06 10.2307/4444260 34 06 10.1130/G25567A.1 34 06 10.1177/2053019614530575 34 06 10.1017/9781009157896 34 06 10.1038/s41559-017-0138 34 06 10.1128/aem.65.4.1477-1482.1999 34 06 10.1215/17432197-1722118 34 06 10.1130/G45507.1 34 06 10.1177/1086026612449338 34 06 10.1016/s0969-8043(00)00214-1 34 06 10.1080/09502386.2017.1303425 34 06 10.1525/fq.2006.59.3.44 34 06 10.1215/00382876-3829423 34 06 10.1126/science.226.4676.787 34 06 10.1016/j.polgeo.2017.05.007 34 06 10.1177/2053019614564785 34 06 10.1177/20530196211029676 34 06 10.1215/00382876-3829478 34 06 10.1177/0263276417691102 34 06 10.1002/jlac.19345100103 34 06 10.22201/igeof.00167169p.2011.50.1.125 34 06 10.1007/BF01830642 34 06 10.1353/phi.2015.a608469 34 06 10.1016/j.ancene.2014.07.002 34 06 10.3161/00034541ANZ2018.68.3.012 34 06 10.1130/G45873.1 34 06 10.1038/d41586-022-03444-7 34 06 10.1017/S0898030611000121 34 06 10.1098/rstb.2009.0054 34 06 10.3390/en10050614 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/91247 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/91247/0514.1.00.pdf?sequence=1&isAllowed=y 20 08 20240705 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/139898 20 08 20240705 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526495 20 08 20240705 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=48945355-5911-3e35-854a-3816214cfd19 20 08 20240705 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/762 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/13ea769b-bd17-42e2-bc00-b2bc5bf81498/download 20 08 20240705 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d3cb2d79-746d-4a75-b773-e58b46353bcf 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d3cb2d79-746d-4a75-b773-e58b46353bcf/d3cb2d79-746d-4a75-b773-e58b46353bcf.pdf 20 08 20240705 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850447 29 ZENODO: download the title https://zenodo.org/records/19850447/files/d3cb2d79-746d-4a75-b773-e58b46353bcf_book.pdf 20 08 20240705 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/atlas-of-petromodernity/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0514.1.00.pdf 20 08 20240705 01 urn:uuid:cc0eaac8-8353-4985-b1b5-589c39d36a96 03 01 01 thoth-work-id urn:uuid:06db2bc1-e25a-42c8-8908-fbd774f73204 01 thoth-publication-id urn:uuid:cc0eaac8-8353-4985-b1b5-589c39d36a96 15 9780692403723 03 9780692403723 06 10.21983/P3.0096.1.00 01 internal-reference 0096 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Atopological Trilogy Deleuze and Guattari 1 A01 Zafer Aracagök Zafer Aracagök 2 A23 Manola Antonioli Manola Antonioli 01 eng 00 90 03 93 DSA 12 HPCF 10 PHI013000 B2 Sound+Noise 93 QDHR7 B2 TransQueer 93 JBSJ 20 psychoanalysis; cultural studies; Gilles Deleuze; noise; Felix Guattari; perversion 01 06 02 00 03 00 Atopological Trilogy creates new concepts for Deleuze-Guattarian thought without any heed for sectarian, sermonising, or dutiful readings of the philosophers. In Part I of the trilogy, “Becoming-Sexual of the Sexual,” Aracagök demonstrates the ways in which quantum theory and the concept of “complementarity” inform Deleuze and Guattari’s thought, especially in relation to “becoming” in general and “becoming-woman” and “becoming-queer” more particularly. Aracagök argues that the ways in which the philosophers put forward a ban on “becoming-man” with a certain degree of undecidability encapsulates (albeit in a cryptic form) other becomings, the most important of which is becoming-queer, or rather, the becoming-sexual of the sexual.In Part II: “Deleuze on Sound, Music, and Schizo-Incest,” Aracagök puts into resonance the sound, noise, and music (and the question) of schizo-incest with the intention of deterritorialising a notion of the meta-audible. If Kafka’s story, “The Investigations of a Dog” leads us to a realm of the “formless” which cannot be heard without destroying what we know as “hearing,” it also offers us a limit-experience of the meta-audible, which, when radicalised via the notions of “schizo-incest” and “self-shattering,” creates a line of flight that escapes even from the line of flight itself. All these maneuvers pose a serious challenge to Deleuze and Guattari, who claim that despite all his investigations, Kafka’s investigator dog is re-Oedipalised in the end. Proposing in the end a limit experience which Aracagök calls the “meta-audible,” he shows that Kafka’s more radical approach to sound creates a line of flight that escapes even from the line of flight itself 30 00 Atopological Trilogy creates new concepts for Deleuze-Guattarian thought without any heed for sectarian, sermonising, or dutiful readings of the philosophers. In Part I of the trilogy, “Becoming-Sexual of the Sexual,” Aracagök demonstrates the ways in which quantum theory and the concept of “complementarity” inform Deleuze and Guattari’s thought, especially in relation to “becoming” in general and “becoming-woman” and “becoming-queer” more particularly. Aracagök argues that the ways in which the philosophers put forward a ban on “becoming-man” with a certain degree of undecidability encapsulates (albeit in a cryptic form) other becomings, the most important of which is becoming-queer, or rather, the becoming-sexual of the sexual.In Part II: “Deleuze on Sound, Music, and Schizo-Incest,” Aracagök puts into resonance the sound, noise, and music (and the question) of schizo-incest with the intention of deterritorialising a notion of the meta-audible. If Kafka’s story, “The Investigations of a Dog” leads us to a realm of the “formless” which cannot be heard without destroying what we know as “hearing,” it also offers us a limit-experience of the meta-audible, which, when radicalised via the notions of “schizo-incest” and “self-shattering,” creates a line of flight that escapes even from the line of flight itself. All these maneuvers pose a serious challenge to Deleuze and Guattari, who claim that despite all his investigations, Kafka’s investigator dog is re-Oedipalised in the end. Proposing in the end a limit experience which Aracagök calls the “meta-audible,” he shows that Kafka’s more radical approach to sound creates a line of flight that escapes even from the line of flight itself 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0096.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/atopological-trilogy/ Brooklyn, NY 04 01 20150315 Aracagök, Zafer 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692403728 20 08 20150315 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/atopological-trilogy-deleuze-and-guattari 20 08 20150315 02 21.00 USD WORLD urn:uuid:34d36ecd-2daa-498f-b0fd-7a62fe9172b5 03 01 01 thoth-work-id urn:uuid:06db2bc1-e25a-42c8-8908-fbd774f73204 01 thoth-publication-id urn:uuid:34d36ecd-2daa-498f-b0fd-7a62fe9172b5 06 10.21983/P3.0096.1.00 01 internal-reference 0096 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Atopological Trilogy Deleuze and Guattari 1 A01 Zafer Aracagök Zafer Aracagök 2 A23 Manola Antonioli Manola Antonioli 01 eng 00 90 03 93 DSA 12 HPCF 10 PHI013000 B2 Sound+Noise 93 QDHR7 B2 TransQueer 93 JBSJ 20 psychoanalysis; cultural studies; Gilles Deleuze; noise; Felix Guattari; perversion 01 06 02 00 03 00 Atopological Trilogy creates new concepts for Deleuze-Guattarian thought without any heed for sectarian, sermonising, or dutiful readings of the philosophers. In Part I of the trilogy, “Becoming-Sexual of the Sexual,” Aracagök demonstrates the ways in which quantum theory and the concept of “complementarity” inform Deleuze and Guattari’s thought, especially in relation to “becoming” in general and “becoming-woman” and “becoming-queer” more particularly. Aracagök argues that the ways in which the philosophers put forward a ban on “becoming-man” with a certain degree of undecidability encapsulates (albeit in a cryptic form) other becomings, the most important of which is becoming-queer, or rather, the becoming-sexual of the sexual.In Part II: “Deleuze on Sound, Music, and Schizo-Incest,” Aracagök puts into resonance the sound, noise, and music (and the question) of schizo-incest with the intention of deterritorialising a notion of the meta-audible. If Kafka’s story, “The Investigations of a Dog” leads us to a realm of the “formless” which cannot be heard without destroying what we know as “hearing,” it also offers us a limit-experience of the meta-audible, which, when radicalised via the notions of “schizo-incest” and “self-shattering,” creates a line of flight that escapes even from the line of flight itself. All these maneuvers pose a serious challenge to Deleuze and Guattari, who claim that despite all his investigations, Kafka’s investigator dog is re-Oedipalised in the end. Proposing in the end a limit experience which Aracagök calls the “meta-audible,” he shows that Kafka’s more radical approach to sound creates a line of flight that escapes even from the line of flight itself 30 00 Atopological Trilogy creates new concepts for Deleuze-Guattarian thought without any heed for sectarian, sermonising, or dutiful readings of the philosophers. In Part I of the trilogy, “Becoming-Sexual of the Sexual,” Aracagök demonstrates the ways in which quantum theory and the concept of “complementarity” inform Deleuze and Guattari’s thought, especially in relation to “becoming” in general and “becoming-woman” and “becoming-queer” more particularly. Aracagök argues that the ways in which the philosophers put forward a ban on “becoming-man” with a certain degree of undecidability encapsulates (albeit in a cryptic form) other becomings, the most important of which is becoming-queer, or rather, the becoming-sexual of the sexual.In Part II: “Deleuze on Sound, Music, and Schizo-Incest,” Aracagök puts into resonance the sound, noise, and music (and the question) of schizo-incest with the intention of deterritorialising a notion of the meta-audible. If Kafka’s story, “The Investigations of a Dog” leads us to a realm of the “formless” which cannot be heard without destroying what we know as “hearing,” it also offers us a limit-experience of the meta-audible, which, when radicalised via the notions of “schizo-incest” and “self-shattering,” creates a line of flight that escapes even from the line of flight itself. All these maneuvers pose a serious challenge to Deleuze and Guattari, who claim that despite all his investigations, Kafka’s investigator dog is re-Oedipalised in the end. Proposing in the end a limit experience which Aracagök calls the “meta-audible,” he shows that Kafka’s more radical approach to sound creates a line of flight that escapes even from the line of flight itself 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0096.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/atopological-trilogy/ Brooklyn, NY 04 01 20150315 Aracagök, Zafer 02 WORLD 06 15 9780692403723 03 9780692403723 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76484 20 08 20150315 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25525 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25525/1004570.pdf?sequence=1&isAllowed=y 20 08 20150315 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36426 20 08 20150315 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353859 20 08 20150315 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/479 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a8a7ab99-c22c-4b98-b652-5dc8f31b5a76/download 20 08 20150315 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/06db2bc1-e25a-42c8-8908-fbd774f73204 29 INTERNET_ARCHIVE: download the title https://archive.org/download/06db2bc1-e25a-42c8-8908-fbd774f73204/06db2bc1-e25a-42c8-8908-fbd774f73204.pdf 20 08 20150315 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846178 29 ZENODO: download the title https://zenodo.org/records/19846178/files/06db2bc1-e25a-42c8-8908-fbd774f73204_book.pdf 20 08 20150315 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/atopological-trilogy/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0096.1.00.pdf 20 08 20150315 01 urn:uuid:9609ee89-7d73-43df-8c1a-db6b8148aaf1 03 01 01 thoth-work-id urn:uuid:992f0e59-77d2-4c46-bc15-e85404660d8a 01 thoth-publication-id urn:uuid:9609ee89-7d73-43df-8c1a-db6b8148aaf1 15 9781947447592 03 9781947447592 06 10.21983/P3.0203.1.00 13 2018941710 01 internal-reference 0203 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Treatise on the Marvelous for Prestigious Museums 1 A01 Daniel C. Remein Daniel C. Remein 40 04ydmy275 University of Massachusetts Boston 01 eng 00 110 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 20 poetry; museology; architecture; modernism; documentary poetics 01 06 02 00 03 00 Wrapped in modernist architect Marcel Breuer’s 1971 addition to the Cleveland Museum of Art, A Treatise on the Marvelous for Prestigious Museums considers the global ecological catastrophe by way of a speculative address to the art museums of the future, revisiting mid-century modes of site-specificity and speculative collage as utopian practices for the present. Written over the course of a decade, the book insists on the continuing importance of the New American Poetry and Language poetics, and includes work in the tradition of the ongoing serial poem and documentary poetics.This full color edition reproduces the maps, diagrams, and facsimiles that adorn the treatise. 30 00 Wrapped in modernist architect Marcel Breuer’s 1971 addition to the Cleveland Museum of Art, A Treatise on the Marvelous for Prestigious Museums considers the global ecological catastrophe by way of a speculative address to the art museums of the future, revisiting mid-century modes of site-specificity and speculative collage as utopian practices for the present. Written over the course of a decade, the book insists on the continuing importance of the New American Poetry and Language poetics, and includes work in the tradition of the ongoing serial poem and documentary poetics.This full color edition reproduces the maps, diagrams, and facsimiles that adorn the treatise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0203.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/treatise-on-the-marvelous-for-prestigious-museums/ Earth, Milky Way 04 01 20180620 Remein, Daniel C. 02 WORLD 06 15 9781947447608 03 9781947447608 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447599 20 08 20180620 02 31.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/treatise-on-the-marvelous-for-prestigious-museums 20 08 20180620 02 31.00 USD WORLD urn:uuid:a806c41a-00ef-4109-a7ba-c4219ebd3a5c 03 01 01 thoth-work-id urn:uuid:992f0e59-77d2-4c46-bc15-e85404660d8a 01 thoth-publication-id urn:uuid:a806c41a-00ef-4109-a7ba-c4219ebd3a5c 15 9781947447608 03 9781947447608 06 10.21983/P3.0203.1.00 13 2018941710 01 internal-reference 0203 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 A Treatise on the Marvelous for Prestigious Museums 1 A01 Daniel C. Remein Daniel C. Remein 40 04ydmy275 University of Massachusetts Boston 01 eng 00 110 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 20 poetry; museology; architecture; modernism; documentary poetics 01 06 02 00 03 00 Wrapped in modernist architect Marcel Breuer’s 1971 addition to the Cleveland Museum of Art, A Treatise on the Marvelous for Prestigious Museums considers the global ecological catastrophe by way of a speculative address to the art museums of the future, revisiting mid-century modes of site-specificity and speculative collage as utopian practices for the present. Written over the course of a decade, the book insists on the continuing importance of the New American Poetry and Language poetics, and includes work in the tradition of the ongoing serial poem and documentary poetics.This full color edition reproduces the maps, diagrams, and facsimiles that adorn the treatise. 30 00 Wrapped in modernist architect Marcel Breuer’s 1971 addition to the Cleveland Museum of Art, A Treatise on the Marvelous for Prestigious Museums considers the global ecological catastrophe by way of a speculative address to the art museums of the future, revisiting mid-century modes of site-specificity and speculative collage as utopian practices for the present. Written over the course of a decade, the book insists on the continuing importance of the New American Poetry and Language poetics, and includes work in the tradition of the ongoing serial poem and documentary poetics.This full color edition reproduces the maps, diagrams, and facsimiles that adorn the treatise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0203.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/treatise-on-the-marvelous-for-prestigious-museums/ Earth, Milky Way 04 01 20180620 Remein, Daniel C. 02 WORLD 06 15 9781947447592 03 9781947447592 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25426 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25426/1004669.pdf?sequence=1&isAllowed=y 20 08 20180620 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38139 20 08 20180620 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353951 20 08 20180620 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/582 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e6de6dcb-b3fa-4f5f-b609-c9b44e8d979a/download 20 08 20180620 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/992f0e59-77d2-4c46-bc15-e85404660d8a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/992f0e59-77d2-4c46-bc15-e85404660d8a/992f0e59-77d2-4c46-bc15-e85404660d8a.pdf 20 08 20180620 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847314 29 ZENODO: download the title https://zenodo.org/records/19847314/files/992f0e59-77d2-4c46-bc15-e85404660d8a_book.pdf 20 08 20180620 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/treatise-on-the-marvelous-for-prestigious-museums/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0203.1.00.pdf 20 08 20180620 01 urn:uuid:b958fcfe-2c64-47a1-9052-b086c2feca32 03 01 01 thoth-work-id urn:uuid:811fd271-b1dc-490a-a872-3d6867d59e78 01 thoth-publication-id urn:uuid:b958fcfe-2c64-47a1-9052-b086c2feca32 15 9781950192670 03 9781950192670 06 10.21983/P3.0282.1.00 13 2019957788 01 internal-reference 0282 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Aural History 1 A01 Gila Ashtor Gila Ashtor 40 00hj8s172 Columbia University 01 eng 00 324 03 B2 Autotheory 10 BIO026000 12 JMAF 93 JMAF 12 BM 93 DNC 10 PSY026000 B2 Thought Experiments B2 TransQueer 93 VFJQ3 20 psychoanalysis; queer theory; trauma; memoir; therapy; childhood 01 06 02 00 03 00 Aural History is an anti-memoir memoir of encountering devastating grief that uses experimental storytelling to recreate the winding, fractured path of loss and transformation.Written by a thirty-something psychotherapist and queer theorist, Aural History is structured as a sequence of three sections that each use different narrative styles to represent a distinctive stage in the protagonist’s evolving relationship to trauma. Aural History explores how a cascade of self-dissolving losses crisscrosses a girl’s coming of age.Through lyric prose, the first section follows a precocious tomboy whose fierce attachment to her father forces her, when he dies and she is twelve years old, to run the family bakery business, raise a delinquent younger brother, and take care of a destructive, volatile mother.In part two, scenes narrated in the third person illustrate a high-achieving high school student who is articulate and in control except for bouts of sudden and inchoate attractions, the first of which is to her severe and coaxing English teacher.The third story tells of her relation with a riveting, world-famous professor, interspersed with a tragic-comic series of dialogues between the protagonist and a cast of diverse psychotherapists as she, now twenty-five years old and living in New York City, undertakes an odyssey to understand why true self-knowledge remains elusive and her real feelings, choked and incomplete.In what Phillip Lopate calls “an amazing document,” Aural History pushes the narrative conventions of memoir to capture a story the genre of memoir usually struggles to tell: that you can lose yourself, and have no way to know it. 30 00 Aural History is an anti-memoir memoir of encountering devastating grief that uses experimental storytelling to recreate the winding, fractured path of loss and transformation.Written by a thirty-something psychotherapist and queer theorist, Aural History is structured as a sequence of three sections that each use different narrative styles to represent a distinctive stage in the protagonist’s evolving relationship to trauma. Aural History explores how a cascade of self-dissolving losses crisscrosses a girl’s coming of age.Through lyric prose, the first section follows a precocious tomboy whose fierce attachment to her father forces her, when he dies and she is twelve years old, to run the family bakery business, raise a delinquent younger brother, and take care of a destructive, volatile mother.In part two, scenes narrated in the third person illustrate a high-achieving high school student who is articulate and in control except for bouts of sudden and inchoate attractions, the first of which is to her severe and coaxing English teacher.The third story tells of her relation with a riveting, world-famous professor, interspersed with a tragic-comic series of dialogues between the protagonist and a cast of diverse psychotherapists as she, now twenty-five years old and living in New York City, undertakes an odyssey to understand why true self-knowledge remains elusive and her real feelings, choked and incomplete.In what Phillip Lopate calls “an amazing document,” Aural History pushes the narrative conventions of memoir to capture a story the genre of memoir usually struggles to tell: that you can lose yourself, and have no way to know it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0282.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/aural-history/ Earth, Milky Way 04 01 20200312 Ashtor, Gila 02 WORLD 06 15 9781950192687 03 9781950192687 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192679 20 08 20200312 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/aural-history 20 08 20200312 02 26.00 USD WORLD urn:uuid:b9c37a54-cebd-4185-8e5f-d4eaf77369b6 03 01 01 thoth-work-id urn:uuid:811fd271-b1dc-490a-a872-3d6867d59e78 01 thoth-publication-id urn:uuid:b9c37a54-cebd-4185-8e5f-d4eaf77369b6 15 9781950192687 03 9781950192687 06 10.21983/P3.0282.1.00 13 2019957788 01 internal-reference 0282 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Aural History 1 A01 Gila Ashtor Gila Ashtor 40 00hj8s172 Columbia University 01 eng 00 324 03 B2 Autotheory 10 BIO026000 12 JMAF 93 JMAF 12 BM 93 DNC 10 PSY026000 B2 Thought Experiments B2 TransQueer 93 VFJQ3 20 psychoanalysis; queer theory; trauma; memoir; therapy; childhood 01 06 02 00 03 00 Aural History is an anti-memoir memoir of encountering devastating grief that uses experimental storytelling to recreate the winding, fractured path of loss and transformation.Written by a thirty-something psychotherapist and queer theorist, Aural History is structured as a sequence of three sections that each use different narrative styles to represent a distinctive stage in the protagonist’s evolving relationship to trauma. Aural History explores how a cascade of self-dissolving losses crisscrosses a girl’s coming of age.Through lyric prose, the first section follows a precocious tomboy whose fierce attachment to her father forces her, when he dies and she is twelve years old, to run the family bakery business, raise a delinquent younger brother, and take care of a destructive, volatile mother.In part two, scenes narrated in the third person illustrate a high-achieving high school student who is articulate and in control except for bouts of sudden and inchoate attractions, the first of which is to her severe and coaxing English teacher.The third story tells of her relation with a riveting, world-famous professor, interspersed with a tragic-comic series of dialogues between the protagonist and a cast of diverse psychotherapists as she, now twenty-five years old and living in New York City, undertakes an odyssey to understand why true self-knowledge remains elusive and her real feelings, choked and incomplete.In what Phillip Lopate calls “an amazing document,” Aural History pushes the narrative conventions of memoir to capture a story the genre of memoir usually struggles to tell: that you can lose yourself, and have no way to know it. 30 00 Aural History is an anti-memoir memoir of encountering devastating grief that uses experimental storytelling to recreate the winding, fractured path of loss and transformation.Written by a thirty-something psychotherapist and queer theorist, Aural History is structured as a sequence of three sections that each use different narrative styles to represent a distinctive stage in the protagonist’s evolving relationship to trauma. Aural History explores how a cascade of self-dissolving losses crisscrosses a girl’s coming of age.Through lyric prose, the first section follows a precocious tomboy whose fierce attachment to her father forces her, when he dies and she is twelve years old, to run the family bakery business, raise a delinquent younger brother, and take care of a destructive, volatile mother.In part two, scenes narrated in the third person illustrate a high-achieving high school student who is articulate and in control except for bouts of sudden and inchoate attractions, the first of which is to her severe and coaxing English teacher.The third story tells of her relation with a riveting, world-famous professor, interspersed with a tragic-comic series of dialogues between the protagonist and a cast of diverse psychotherapists as she, now twenty-five years old and living in New York City, undertakes an odyssey to understand why true self-knowledge remains elusive and her real feelings, choked and incomplete.In what Phillip Lopate calls “an amazing document,” Aural History pushes the narrative conventions of memoir to capture a story the genre of memoir usually struggles to tell: that you can lose yourself, and have no way to know it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0282.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/aural-history/ Earth, Milky Way 04 01 20200312 Ashtor, Gila 02 WORLD 06 15 9781950192670 03 9781950192670 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23357 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23357/0282.1.00.pdf?sequence=1&isAllowed=y 20 08 20200312 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38952 20 08 20200312 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353998 20 08 20200312 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/629 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6d283c4a-b95c-4cf5-9460-d970baa1ce85/download 20 08 20200312 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Aural_History/vgWVEAAAQBAJ 20 08 20200312 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/811fd271-b1dc-490a-a872-3d6867d59e78 29 INTERNET_ARCHIVE: download the title https://archive.org/download/811fd271-b1dc-490a-a872-3d6867d59e78/811fd271-b1dc-490a-a872-3d6867d59e78.pdf 20 08 20200312 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848159 29 ZENODO: download the title https://zenodo.org/records/19848159/files/811fd271-b1dc-490a-a872-3d6867d59e78_book.pdf 20 08 20200312 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/aural-history/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0282.1.00.pdf 20 08 20200312 01 urn:uuid:f0d91088-b7eb-4a01-b6e0-b123ce9c7d5d 03 01 01 thoth-work-id urn:uuid:5f24bd29-3d48-4a70-8491-6269f7cc6212 01 thoth-publication-id urn:uuid:f0d91088-b7eb-4a01-b6e0-b123ce9c7d5d 15 9780615983936 03 9780615983936 06 10.21983/P3.0105.1.00 01 internal-reference 0105 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ballads 1 A01 Richard Owens Richard Owens 01 eng 00 134 03 B2 Capital+Lucre 93 DCF 12 DCF 10 POE023060 93 DCC B2 Literary Studies 93 JPFC 20 poetry; ballads; premodern England; global capitalism; William Wordsworth 01 06 02 00 03 00 Originally published by eth co-director David Hadbawnik’s habenicht press in 2012, Ballads uses the lyric form to explore the effects of global Capitalism from a sharp Marxist perspective. Recognizing the congruence between folk song circulation and the circulation of money, the “currency” of the ballad alongside supply-side economics, Owens hails Wordworth’s Lyric Ballads experiment (undertaken at the dawn of England’s Industrial Age) as one touchstone. But he also understands the built-in obsolescence of the form, its tendency to hearken back to imaginary origins. “[E]veryone has an idea they know what a ballad is,” Owens writes in his “Working Notes.” “It’s this degraded thing shot through with a sense of pastness, cultural infancy and a charming but sometimes dangerous rusticity that needs to be carefully framed and reined.” Thus Owens’ Ballads playfully engages with language, figures, and forms from medieval and early modern England, with nods to the caesura-based, alliterative line, and Barbara Allan, Thomas the Rhymer, and Piers Plowman making appearances in the book’s brief lyrics. 30 00 Originally published by eth co-director David Hadbawnik’s habenicht press in 2012, Ballads uses the lyric form to explore the effects of global Capitalism from a sharp Marxist perspective. Recognizing the congruence between folk song circulation and the circulation of money, the “currency” of the ballad alongside supply-side economics, Owens hails Wordworth’s Lyric Ballads experiment (undertaken at the dawn of England’s Industrial Age) as one touchstone. But he also understands the built-in obsolescence of the form, its tendency to hearken back to imaginary origins. “[E]veryone has an idea they know what a ballad is,” Owens writes in his “Working Notes.” “It’s this degraded thing shot through with a sense of pastness, cultural infancy and a charming but sometimes dangerous rusticity that needs to be carefully framed and reined.” Thus Owens’ Ballads playfully engages with language, figures, and forms from medieval and early modern England, with nods to the caesura-based, alliterative line, and Barbara Allan, Thomas the Rhymer, and Piers Plowman making appearances in the book’s brief lyrics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0105.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ballads/ Brooklyn, NY 04 01 20150603 Owens, Richard 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615983936 20 08 20150603 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ballads 20 08 20150603 02 22.00 USD WORLD urn:uuid:fbaa9cfb-660b-47a7-915c-a22c1160e9d5 03 01 01 thoth-work-id urn:uuid:5f24bd29-3d48-4a70-8491-6269f7cc6212 01 thoth-publication-id urn:uuid:fbaa9cfb-660b-47a7-915c-a22c1160e9d5 06 10.21983/P3.0105.1.00 01 internal-reference 0105 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ballads 1 A01 Richard Owens Richard Owens 01 eng 00 134 03 B2 Capital+Lucre 93 DCF 12 DCF 10 POE023060 93 DCC B2 Literary Studies 93 JPFC 20 poetry; ballads; premodern England; global capitalism; William Wordsworth 01 06 02 00 03 00 Originally published by eth co-director David Hadbawnik’s habenicht press in 2012, Ballads uses the lyric form to explore the effects of global Capitalism from a sharp Marxist perspective. Recognizing the congruence between folk song circulation and the circulation of money, the “currency” of the ballad alongside supply-side economics, Owens hails Wordworth’s Lyric Ballads experiment (undertaken at the dawn of England’s Industrial Age) as one touchstone. But he also understands the built-in obsolescence of the form, its tendency to hearken back to imaginary origins. “[E]veryone has an idea they know what a ballad is,” Owens writes in his “Working Notes.” “It’s this degraded thing shot through with a sense of pastness, cultural infancy and a charming but sometimes dangerous rusticity that needs to be carefully framed and reined.” Thus Owens’ Ballads playfully engages with language, figures, and forms from medieval and early modern England, with nods to the caesura-based, alliterative line, and Barbara Allan, Thomas the Rhymer, and Piers Plowman making appearances in the book’s brief lyrics. 30 00 Originally published by eth co-director David Hadbawnik’s habenicht press in 2012, Ballads uses the lyric form to explore the effects of global Capitalism from a sharp Marxist perspective. Recognizing the congruence between folk song circulation and the circulation of money, the “currency” of the ballad alongside supply-side economics, Owens hails Wordworth’s Lyric Ballads experiment (undertaken at the dawn of England’s Industrial Age) as one touchstone. But he also understands the built-in obsolescence of the form, its tendency to hearken back to imaginary origins. “[E]veryone has an idea they know what a ballad is,” Owens writes in his “Working Notes.” “It’s this degraded thing shot through with a sense of pastness, cultural infancy and a charming but sometimes dangerous rusticity that needs to be carefully framed and reined.” Thus Owens’ Ballads playfully engages with language, figures, and forms from medieval and early modern England, with nods to the caesura-based, alliterative line, and Barbara Allan, Thomas the Rhymer, and Piers Plowman making appearances in the book’s brief lyrics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0105.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ballads/ Brooklyn, NY 04 01 20150603 Owens, Richard 02 WORLD 06 15 9780615983936 03 9780615983936 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25518 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25518/1004577.pdf?sequence=1&isAllowed=y 20 08 20150603 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36179 20 08 20150603 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354027 20 08 20150603 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/488 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a5b3db59-b85c-4deb-86cd-bd4d3585aac8/download 20 08 20150603 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Ballads/tG2oEAAAQBAJ 20 08 20150603 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5f24bd29-3d48-4a70-8491-6269f7cc6212 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5f24bd29-3d48-4a70-8491-6269f7cc6212/5f24bd29-3d48-4a70-8491-6269f7cc6212.pdf 20 08 20150603 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846239 29 ZENODO: download the title https://zenodo.org/records/19846239/files/5f24bd29-3d48-4a70-8491-6269f7cc6212_book.pdf 20 08 20150603 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ballads/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0105.1.00.pdf 20 08 20150603 01 urn:uuid:786ae0dd-d2ca-4f8f-8b3e-deb40798b98f 03 01 01 thoth-work-id urn:uuid:f329927d-9e1f-4647-b95f-5ab2c3d33df2 01 thoth-publication-id urn:uuid:786ae0dd-d2ca-4f8f-8b3e-deb40798b98f 15 9781685711924 03 9781685711924 06 10.53288/0480.1.00 13 2025939058 01 internal-reference 0480 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 6 mm 03 0.6 cm 03 0.23 in 08 167 gr 08 5.9 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Barge Life On Jean Vigo's "L'Atalante" 1 A01 Florian Deroo Florian Deroo 40 006e5kg04 Vrije Universiteit Brussel 40 00cv9y106 Ghent University Florian Deroo is a historian and literary scholar. He studied in Ghent and New York, and is currently preparing a dissertation on interwar travel writing at the Vrije Universiteit Brussel. He has written on film for various publications and is the editor of De Netflix: Essays (2021). 01 eng 00 102 03 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory 93 1DDF B2 Moving Image 10 PHI001000 93 3MPBGJ B2 Philosophy 93 6NW 20 film criticism; film studies; French cinema; nouvelle vague; Roland Barthes; Jean Vigo; fantasy; space 01 06 02 00 03 00 Waves washing up against the hull, a bed and a small stove, the deck hatch sealed shut — the vessel is the ultimate dwelling.How to live together in cramped quarters? How to create a microcosm against hostile surroundings? In Barge Life, Florian Deroo tackles these question by looking at a mythical classic of French cinema: Jean Vigo’s 1934 film L’Atalante. A work brimming with the energies of surrealism and anarchism, L’Atalante follows a young couple, two shipmates, and a clowder of cats who dwell in the belly of a river barge. Deroo offers a wide-ranging essay on the film, revealing how it invokes a small group that withdraws from the rhythm of modern life to establish a different kind of existence elsewhere. In L’Atalante’s most riveting moments, the river barge becomes a vehicle for a powerful fantasy: a flexible collective life, lived in sensuous interdependence.Combining film criticism, philosophy, and biography, this book reconsiders a forerunner of the French New Wave and the early death of its director. Drawing readers into the living spaces of L’Atalante, Deroo explores the allure of retreating into a self-sufficient shelter, along with its intractable problems. 30 00 Waves washing up against the hull, a bed and a small stove, the deck hatch sealed shut — the vessel is the ultimate dwelling.How to live together in cramped quarters? How to create a microcosm against hostile surroundings? In Barge Life, Florian Deroo tackles these question by looking at a mythical classic of French cinema: Jean Vigo’s 1934 film L’Atalante. A work brimming with the energies of surrealism and anarchism, L’Atalante follows a young couple, two shipmates, and a clowder of cats who dwell in the belly of a river barge. Deroo offers a wide-ranging essay on the film, revealing how it invokes a small group that withdraws from the rhythm of modern life to establish a different kind of existence elsewhere. In L’Atalante’s most riveting moments, the river barge becomes a vehicle for a powerful fantasy: a flexible collective life, lived in sensuous interdependence.Combining film criticism, philosophy, and biography, this book reconsiders a forerunner of the French New Wave and the early death of its director. Drawing readers into the living spaces of L’Atalante, Deroo explores the allure of retreating into a self-sufficient shelter, along with its intractable problems. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0480.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/barge-life-on-jean-vigos-latalante/ Earth, Milky Way 04 01 20250703 Florian Deroo 02 WORLD 06 15 9781685711931 03 9781685711931 34 06 10.2307/1209357 34 06 10.2307/1212277 34 06 10.1080/00397709.1973.10733198 34 06 10.1080/17409292.2017.1396748 34 06 10.2307/1209412 34 06 10.4000/books.igpde.3265 34 06 10.3167/hrrh2009.350205 34 06 10.4000/map.3110 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711928 20 08 20250703 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/barge-life-on-jean-vigos-latalante 20 08 20250703 02 21.00 USD WORLD urn:uuid:1f3f8dae-12b0-4a35-a267-65ce1a0b0bab 03 01 01 thoth-work-id urn:uuid:f329927d-9e1f-4647-b95f-5ab2c3d33df2 01 thoth-publication-id urn:uuid:1f3f8dae-12b0-4a35-a267-65ce1a0b0bab 15 9781685711931 03 9781685711931 06 10.53288/0480.1.00 13 2025939058 01 internal-reference 0480 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Barge Life On Jean Vigo's "L'Atalante" 1 A01 Florian Deroo Florian Deroo 40 006e5kg04 Vrije Universiteit Brussel 40 00cv9y106 Ghent University Florian Deroo is a historian and literary scholar. He studied in Ghent and New York, and is currently preparing a dissertation on interwar travel writing at the Vrije Universiteit Brussel. He has written on film for various publications and is the editor of De Netflix: Essays (2021). 01 eng 00 102 03 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory 93 1DDF B2 Moving Image 10 PHI001000 93 3MPBGJ B2 Philosophy 93 6NW 20 film criticism; film studies; French cinema; nouvelle vague; Roland Barthes; Jean Vigo; fantasy; space 01 06 02 00 03 00 Waves washing up against the hull, a bed and a small stove, the deck hatch sealed shut — the vessel is the ultimate dwelling.How to live together in cramped quarters? How to create a microcosm against hostile surroundings? In Barge Life, Florian Deroo tackles these question by looking at a mythical classic of French cinema: Jean Vigo’s 1934 film L’Atalante. A work brimming with the energies of surrealism and anarchism, L’Atalante follows a young couple, two shipmates, and a clowder of cats who dwell in the belly of a river barge. Deroo offers a wide-ranging essay on the film, revealing how it invokes a small group that withdraws from the rhythm of modern life to establish a different kind of existence elsewhere. In L’Atalante’s most riveting moments, the river barge becomes a vehicle for a powerful fantasy: a flexible collective life, lived in sensuous interdependence.Combining film criticism, philosophy, and biography, this book reconsiders a forerunner of the French New Wave and the early death of its director. Drawing readers into the living spaces of L’Atalante, Deroo explores the allure of retreating into a self-sufficient shelter, along with its intractable problems. 30 00 Waves washing up against the hull, a bed and a small stove, the deck hatch sealed shut — the vessel is the ultimate dwelling.How to live together in cramped quarters? How to create a microcosm against hostile surroundings? In Barge Life, Florian Deroo tackles these question by looking at a mythical classic of French cinema: Jean Vigo’s 1934 film L’Atalante. A work brimming with the energies of surrealism and anarchism, L’Atalante follows a young couple, two shipmates, and a clowder of cats who dwell in the belly of a river barge. Deroo offers a wide-ranging essay on the film, revealing how it invokes a small group that withdraws from the rhythm of modern life to establish a different kind of existence elsewhere. In L’Atalante’s most riveting moments, the river barge becomes a vehicle for a powerful fantasy: a flexible collective life, lived in sensuous interdependence.Combining film criticism, philosophy, and biography, this book reconsiders a forerunner of the French New Wave and the early death of its director. Drawing readers into the living spaces of L’Atalante, Deroo explores the allure of retreating into a self-sufficient shelter, along with its intractable problems. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0480.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/barge-life-on-jean-vigos-latalante/ Earth, Milky Way 04 01 20250703 Florian Deroo 02 WORLD 06 15 9781685711924 03 9781685711924 34 06 10.2307/1209357 34 06 10.2307/1212277 34 06 10.1080/00397709.1973.10733198 34 06 10.1080/17409292.2017.1396748 34 06 10.2307/1209412 34 06 10.4000/books.igpde.3265 34 06 10.3167/hrrh2009.350205 34 06 10.4000/map.3110 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/103993 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/103993/0480.1.00.pdf?sequence=1&isAllowed=y 20 08 20250703 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/162595 20 08 20250703 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/893 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/002523d7-f82c-4d9b-9412-d9f4b619287a/download 20 08 20250703 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f329927d-9e1f-4647-b95f-5ab2c3d33df2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f329927d-9e1f-4647-b95f-5ab2c3d33df2/f329927d-9e1f-4647-b95f-5ab2c3d33df2.pdf 20 08 20250703 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851188 29 ZENODO: download the title https://zenodo.org/records/19851188/files/f329927d-9e1f-4647-b95f-5ab2c3d33df2_book.pdf 20 08 20250703 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/barge-life-on-jean-vigos-latalante/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0480.1.00.pdf 20 08 20250703 01 urn:uuid:6538e7d6-12f6-4afb-9315-5395818ace99 03 01 01 thoth-work-id urn:uuid:3da27fb9-7a15-446e-ae0f-258c7dd4fd94 01 thoth-publication-id urn:uuid:6538e7d6-12f6-4afb-9315-5395818ace99 15 9781950192151 03 9781950192151 06 10.21983/P3.0249.1.00 13 2019934936 01 internal-reference 0249 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 254 mm 02 25.4 cm 02 10 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Barton Myers Works of Architecture and Urbanism 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 00 126 03 93 AMB 12 AMB 10 ARC006020 B2 Built Environments 12 AMD 93 AMD 93 AMG 12 AMG 12 AMK 93 AMK 20 architecture; urbanism; social housing; American architects; adaptive reuse 01 06 02 00 03 00 Drawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967–1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975–present).Myers’s strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist—a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers’ urban manifesto was codified in “Vacant Lottery,” the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal’s circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the “lottery” of private developers. Myers’s design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays – on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters – reinforce Myers’s commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the “vacant lottery” idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers’s additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers’s houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers’s theaters and performance complexes. 30 00 Drawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967–1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975–present).Myers’s strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist—a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers’ urban manifesto was codified in “Vacant Lottery,” the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal’s circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the “lottery” of private developers. Myers’s design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays – on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters – reinforce Myers’s commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the “vacant lottery” idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers’s additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers’s houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers’s theaters and performance complexes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0249.1.00_frontcover.jpg 1 03 06 10.53288/0249.1.01 1 5 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 2 03 06 10.53288/0249.1.02 7 7 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Director’s Preface 1 A01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara 01 eng 20 00 Open Access Bruce Robertson 3 03 06 10.53288/0249.1.03 8 8 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Editors’ Introduction 1 A01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 2 A01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 01 eng 20 00 Open Access Jocelyn Gibbs Kris Miller-Fisher 4 03 06 10.53288/0249.1.04 11 23 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Vacant Lottery Writ Large Barton Myers’s Urban Philosophy 1 A01 Natalie Shivers Natalie Shivers 40 00hx57361 Princeton University Natalie Shivers is the Associate University Architect for Planning at Princeton University. She has also worked as a planner and architect at UCLA, 20th Century Fox, Paramount Pictures, and the National Trust for Historic Preservation. Shivers has served as an exhibition and catalog text editor for several architectural exhibitions, including ones about the work of Norman Bel Geddes, Eero Saarinen, and Charles and Rae Eames,. She is also the co-author of L.A.’s Early Moderns: Art, Architecture, Photography (Balcony Press, 2003). 01 eng 20 00 Open Access Natalie Shivers 5 03 06 10.53288/0249.1.05 25 45 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Civic and Institutional Work 1 A01 Howard Shubert Howard Shubert Howard Shubert is an independent architectural historian and appraiser of architectural drawings and archives. From 1985 to 2011 he was Curator of Drawings and Archives at the Canadian Centre for Architecture in Montreal. His articles have appeared in Architecture and Ideas, ARQ, Casabella, Domus, The Journal of Canadian Art History, RACAR, and the SSAC Journal. His book, Architecture on Ice: A History of the Hockey Arena, published in 2016 by McGill-Queen’s University Press, won the The Melva J. Dwyer Award from the Art Libraries Society of North America (ARLIS/NA), and the Paul Kitchen Award from the Society for International Hockey Research (SIHR). 01 eng 20 00 Open Access Howard Shubert 6 03 06 10.53288/0249.1.06 47 59 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Three Examples in Building Adaptation 1 A01 Luis Hoyos Luis Hoyos 40 05by5hm18 California State Polytechnic University Luis Hoyos is an architect specializing in building adaptation and professor in the Department of Architecture at California State Polytechnic University, Pomona where he teaches historic preservation and urban design, and co-coordinates the Master of Architecture Concentration in Historic Preservation. He is a member of the Landmarks Committee of the National Park System Advisory Board and national co-chair of the NPS American Latino Heritage Theme Study. Hoyos is a member of the Board of Trustees of the National Trust for Historic Preservation and a former member and Chair of the State Historic Resources Commission. 01 eng 20 00 Open Access Luis Hoyos 7 03 06 10.53288/0249.1.07 61 84 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Housing in Context 1 A01 21 0000000313473758 Lauren Bricker Lauren Bricker 40 05by5hm18 California State Polytechnic University Lauren Bricker is professor of architecture at California State Polytechnic University, Pomona and Director of the College of Environmental Design Archives-Special Collections. She is the author of The Mediterranean House in America (Abrams, 2008), and co-author of Steel and Shade: The Architecture of Donald Wexler (Palm Springs Museum of Art, 2011). Dr. Bricker was co-curator of “Technology and Environment: the Southern California Postwar House,” 2013. Her forthcoming book is titled Designing the Modern American House. She recently co-curated the exhibit “Francis Dean: The Art of Modern American Landscape Architecture” (2017). 01 eng 20 00 Open Access Lauren Bricker 8 03 06 10.53288/0249.1.08 87 115 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Theaters 1 A01 Charles Warner Oakley Charles Warner Oakley Charles Warner Oakley, FAIA, is presently Principal Emeritus at Ehrlich Architects. After graduating from Dartmouth College, he received his M.Arch from the University of Pennsylvania. He has worked for I.M. Pei and Partners and John Carl Warnecke & Associates. Between 1985 and 2000 Oakley was Campus Architect for UCLA. His design work has focused on campus and urban design and he has lectured on the history and design of the American college campus. 01 eng 20 00 Open Access Charles Warner Oakley 9 03 06 10.53288/0249.1.09 117 117 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Biographies 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 10 03 06 10.53288/0249.1.10 118 121 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Selected Projects 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 11 03 06 10.53288/0249.1.11 122 123 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Notes 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 12 03 06 10.53288/0249.1.12 124 124 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Image Credits 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/barton-myers-works-of-architecture-and-urbanism/ Earth, Milky Way 04 01 20190705 Miller-Fisher, Kris Gibbs, Jocelyn 02 WORLD 06 15 9781950192168 03 9781950192168 34 06 10.2307/4090990 34 06 10.2307/4091044 34 06 10.4148/2378-5853.1091.11 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/barton-myers-works-of-architecture-and-urbanism/ 20 08 20190705 02 35.00 USD WORLD urn:uuid:18dddf1b-8ea9-4f9d-84f0-119bf2e93ae2 03 01 01 thoth-work-id urn:uuid:3da27fb9-7a15-446e-ae0f-258c7dd4fd94 01 thoth-publication-id urn:uuid:18dddf1b-8ea9-4f9d-84f0-119bf2e93ae2 15 9781950192168 03 9781950192168 06 10.21983/P3.0249.1.00 13 2019934936 01 internal-reference 0249 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Barton Myers Works of Architecture and Urbanism 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 00 126 03 93 AMB 12 AMB 10 ARC006020 B2 Built Environments 12 AMD 93 AMD 93 AMG 12 AMG 12 AMK 93 AMK 20 architecture; urbanism; social housing; American architects; adaptive reuse 01 06 02 00 03 00 Drawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967–1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975–present).Myers’s strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist—a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers’ urban manifesto was codified in “Vacant Lottery,” the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal’s circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the “lottery” of private developers. Myers’s design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays – on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters – reinforce Myers’s commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the “vacant lottery” idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers’s additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers’s houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers’s theaters and performance complexes. 30 00 Drawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967–1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975–present).Myers’s strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist—a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers’ urban manifesto was codified in “Vacant Lottery,” the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal’s circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the “lottery” of private developers. Myers’s design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays – on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters – reinforce Myers’s commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the “vacant lottery” idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers’s additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers’s houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers’s theaters and performance complexes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0249.1.00_frontcover.jpg 1 03 06 10.53288/0249.1.01 1 5 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 2 03 06 10.53288/0249.1.02 7 7 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Director’s Preface 1 A01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara 01 eng 20 00 Open Access Bruce Robertson 3 03 06 10.53288/0249.1.03 8 8 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Editors’ Introduction 1 A01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 2 A01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 01 eng 20 00 Open Access Jocelyn Gibbs Kris Miller-Fisher 4 03 06 10.53288/0249.1.04 11 23 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Vacant Lottery Writ Large Barton Myers’s Urban Philosophy 1 A01 Natalie Shivers Natalie Shivers 40 00hx57361 Princeton University Natalie Shivers is the Associate University Architect for Planning at Princeton University. She has also worked as a planner and architect at UCLA, 20th Century Fox, Paramount Pictures, and the National Trust for Historic Preservation. Shivers has served as an exhibition and catalog text editor for several architectural exhibitions, including ones about the work of Norman Bel Geddes, Eero Saarinen, and Charles and Rae Eames,. She is also the co-author of L.A.’s Early Moderns: Art, Architecture, Photography (Balcony Press, 2003). 01 eng 20 00 Open Access Natalie Shivers 5 03 06 10.53288/0249.1.05 25 45 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Civic and Institutional Work 1 A01 Howard Shubert Howard Shubert Howard Shubert is an independent architectural historian and appraiser of architectural drawings and archives. From 1985 to 2011 he was Curator of Drawings and Archives at the Canadian Centre for Architecture in Montreal. His articles have appeared in Architecture and Ideas, ARQ, Casabella, Domus, The Journal of Canadian Art History, RACAR, and the SSAC Journal. His book, Architecture on Ice: A History of the Hockey Arena, published in 2016 by McGill-Queen’s University Press, won the The Melva J. Dwyer Award from the Art Libraries Society of North America (ARLIS/NA), and the Paul Kitchen Award from the Society for International Hockey Research (SIHR). 01 eng 20 00 Open Access Howard Shubert 6 03 06 10.53288/0249.1.06 47 59 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Three Examples in Building Adaptation 1 A01 Luis Hoyos Luis Hoyos 40 05by5hm18 California State Polytechnic University Luis Hoyos is an architect specializing in building adaptation and professor in the Department of Architecture at California State Polytechnic University, Pomona where he teaches historic preservation and urban design, and co-coordinates the Master of Architecture Concentration in Historic Preservation. He is a member of the Landmarks Committee of the National Park System Advisory Board and national co-chair of the NPS American Latino Heritage Theme Study. Hoyos is a member of the Board of Trustees of the National Trust for Historic Preservation and a former member and Chair of the State Historic Resources Commission. 01 eng 20 00 Open Access Luis Hoyos 7 03 06 10.53288/0249.1.07 61 84 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Housing in Context 1 A01 21 0000000313473758 Lauren Bricker Lauren Bricker 40 05by5hm18 California State Polytechnic University Lauren Bricker is professor of architecture at California State Polytechnic University, Pomona and Director of the College of Environmental Design Archives-Special Collections. She is the author of The Mediterranean House in America (Abrams, 2008), and co-author of Steel and Shade: The Architecture of Donald Wexler (Palm Springs Museum of Art, 2011). Dr. Bricker was co-curator of “Technology and Environment: the Southern California Postwar House,” 2013. Her forthcoming book is titled Designing the Modern American House. She recently co-curated the exhibit “Francis Dean: The Art of Modern American Landscape Architecture” (2017). 01 eng 20 00 Open Access Lauren Bricker 8 03 06 10.53288/0249.1.08 87 115 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Theaters 1 A01 Charles Warner Oakley Charles Warner Oakley Charles Warner Oakley, FAIA, is presently Principal Emeritus at Ehrlich Architects. After graduating from Dartmouth College, he received his M.Arch from the University of Pennsylvania. He has worked for I.M. Pei and Partners and John Carl Warnecke & Associates. Between 1985 and 2000 Oakley was Campus Architect for UCLA. His design work has focused on campus and urban design and he has lectured on the history and design of the American college campus. 01 eng 20 00 Open Access Charles Warner Oakley 9 03 06 10.53288/0249.1.09 117 117 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Biographies 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 10 03 06 10.53288/0249.1.10 118 121 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Selected Projects 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 11 03 06 10.53288/0249.1.11 122 123 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Notes 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 12 03 06 10.53288/0249.1.12 124 124 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Image Credits 1 B01 Kris Miller-Fisher Kris Miller-Fisher Kris Miller-Fisher curated the exhibition “Barton Myers: Works of Architecture and Urbanism,” which opened in 2014 at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) and traveled in a reduced form to the University of Pennsylvania. She conceptualized and coordinated the essays and design of the catalogue. Kris has also been a curator for special projects at the Museum and she has designed several exhibitions, including “Outside In: The Architecture of Smith and Williams” and “Irving J. Gill: Simplicity and Reform.” Kris is an architect and urban designer and has held appointed and elected political positions. 2 B01 Jocelyn Gibbs Jocelyn Gibbs 40 02t274463 University of California, Santa Barbara Jocelyn Gibbs is an archivist and architectural historian and was the curator of the Architecture and Design Collection at the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) from 2010 through 2018. She co-edited Carefree California: Cliff May and the Romance of the Ranch House (Rizzoli, 2012) and curated the accompanying exhibition for the UCSB AD&A Museum. She also curated “Irving Gill: Simplicity and Reform” (2016), “Art of Illusion: The Carlos Diniz Archive” (2016), and “Outside In: The Architecture of Smith and Williams,” for which she edited the catalog (Getty Publications, 2014). Prior to her work at the UCSB AD&A Museum, Jocelyn was at the Canadian Centre for Architecture, Montreal and at the Getty Research Institute, Los Angeles. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/barton-myers-works-of-architecture-and-urbanism/ Earth, Milky Way 04 01 20190705 Miller-Fisher, Kris Gibbs, Jocelyn 02 WORLD 06 15 9781950192151 03 9781950192151 34 06 10.2307/4090990 34 06 10.2307/4091044 34 06 10.4148/2378-5853.1091.11 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24995 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24995/0249.1.00.pdf?sequence=1&isAllowed=y 20 08 20190705 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28996 20 08 20190705 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353968 20 08 20190705 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/757 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/216e3f0a-7367-4c4f-894d-53aab9331754/download 20 08 20190705 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3da27fb9-7a15-446e-ae0f-258c7dd4fd94 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3da27fb9-7a15-446e-ae0f-258c7dd4fd94/3da27fb9-7a15-446e-ae0f-258c7dd4fd94.pdf 20 08 20190705 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847807 29 ZENODO: download the title https://zenodo.org/records/19847807/files/3da27fb9-7a15-446e-ae0f-258c7dd4fd94_book.pdf 20 08 20190705 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/barton-myers-works-of-architecture-and-urbanism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0249.1.00.pdf 20 08 20190705 01 urn:uuid:3034f0be-a855-4322-9b22-bae0fa0326c0 03 01 01 thoth-work-id urn:uuid:f4d42680-8b02-4e3a-9ec8-44aee852b29f 01 thoth-publication-id urn:uuid:3034f0be-a855-4322-9b22-bae0fa0326c0 15 9781947447301 03 9781947447301 06 10.21983/P3.0189.1.00 13 2017957440 01 internal-reference 0189 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Bathroom Songs Eve Kosofsky Sedgwick as a Poet 1 B01 21 0000000250324965 Jason Edwards Jason Edwards 40 04m01e293 University of York 01 eng 00 306 03 12 DSBH 93 DSBJ B2 Fabulations 10 POE005010 93 JBSJ 10 LIT014000 B2 Literary Studies 93 DSC B2 TransQueer 20 literary studies; queer studies; Eve Kosofsky Sedgwick; psychoanalysis; autobiography 01 06 02 00 03 00 Bathroom Songs: Eve Kosofsky Sedgwick as a Poet is the first book of essays to consider the poetry of one of the twentieth- and early twenty-first-century’s most important literary, affect, and queer theorists. Acclaimed as one of the “truly innovative” poets of her generation by Maud Ellmann, Sedgwick’s work as a poet is, perhaps, less well known, but is no less compelling than her ground-breaking trilogy of queer theoretical texts: Between Men: English Literature and Male Homosocial Desire, Epistemology of the Closet, and Tendencies. 30 00 Bathroom Songs: Eve Kosofsky Sedgwick as a Poet is the first book of essays to consider the poetry of one of the twentieth- and early twenty-first-century’s most important literary, affect, and queer theorists. Acclaimed as one of the “truly innovative” poets of her generation by Maud Ellmann, Sedgwick’s work as a poet is, perhaps, less well known, but is no less compelling than her ground-breaking trilogy of queer theoretical texts: Between Men: English Literature and Male Homosocial Desire, Epistemology of the Closet, and Tendencies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0189.1.00_frontcover.png 1 03 06 10.21983/P3.0189.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 20 00 Open Access Edwards, Jason 2 03 06 10.21983/P3.0189.1.02 17 75 59 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Bathroom Songs? Eve Kosofsky Sedgwick as a Poet 1 A01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 03 00 Bathroom Songs represents the first study to consider the poetry of one of the most significant literary theorists of the late-twen-tieth and early-twenty-first centuries, Eve Kosofsky Sedgwick. Most renowned for her trilogy of ground-breaking, queer-theo-retical texts — Between Men: English Literature and Male Homo-social Desire (1985), Epistemology of the Closet (1990), and Ten-dencies (1993) — Sedgwick was, from the outset, and always in her mind a poet. For example, as Hal A. Sedgwick documented, all of the entries on his wife’s CV from 1967 to 1975 were prizes for poetry.2 In 1977, Sedgwick submitted her first book of poems, Traceable, Salient, Thirsty, to various presses, containing key po-ems from the previous four years; but the volume, bafflingly, failed to find a publisher. 30 00 Bathroom Songs represents the first study to consider the poetry of one of the most significant literary theorists of the late-twen-tieth and early-twenty-first centuries, Eve Kosofsky Sedgwick. Most renowned for her trilogy of ground-breaking, queer-theo-retical texts — Between Men: English Literature and Male Homo-social Desire (1985), Epistemology of the Closet (1990), and Ten-dencies (1993) — Sedgwick was, from the outset, and always in her mind a poet. For example, as Hal A. Sedgwick documented, all of the entries on his wife’s CV from 1967 to 1975 were prizes for poetry.2 In 1977, Sedgwick submitted her first book of poems, Traceable, Salient, Thirsty, to various presses, containing key po-ems from the previous four years; but the volume, bafflingly, failed to find a publisher. 20 00 Open Access Edwards, Jason 3 03 06 10.21983/P3.0189.1.03 77 83 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Look with Your Hands 1 A01 21 0000000282880237 Angus Connell Brown Angus Connell Brown 40 03angcq70 University of Birmingham 01 eng 03 00 I began writing this essay in what used to be a child’s bedroom. Perched at the small desk by the doll’s house, I looked away to my right and saw how the enormous sash window smoothly held my reflection among the lights and the trees outside. This uncanny framing, this return to the fascination of reflection among the tactile technologies of childhood imagination feels like a fitting place to begin thinking about one of the first poems Eve Kosofsky Sedgwick ever published: ‘An Essay on the Picture P l a n e ’.According to Fat Art, Thin Art, Sedgwick composed the poem in 1973 but the tiny discrepancies — a missing line here, an extra comma there — between the publication of the poem in The Poetry Miscellany in 1975 and the collection of the poem in 1994 hint that the latter text is the product of a slight return to a younger muse, a muse still theorizing the world around her. My own return to ‘An Essay on the Picture Plane’ oscillates between a question and an instruction that Sedgwick’s poem scratched up from my own childhood. The question: “What are you look-ing at?” The instruction: “Look with your eyes, not with your hands”. I learnt both at school. And both, like ‘An Essay on the Picture Plane’, left me tongue-tied. 30 00 I began writing this essay in what used to be a child’s bedroom. Perched at the small desk by the doll’s house, I looked away to my right and saw how the enormous sash window smoothly held my reflection among the lights and the trees outside. This uncanny framing, this return to the fascination of reflection among the tactile technologies of childhood imagination feels like a fitting place to begin thinking about one of the first poems Eve Kosofsky Sedgwick ever published: ‘An Essay on the Picture P l a n e ’.According to Fat Art, Thin Art, Sedgwick composed the poem in 1973 but the tiny discrepancies — a missing line here, an extra comma there — between the publication of the poem in The Poetry Miscellany in 1975 and the collection of the poem in 1994 hint that the latter text is the product of a slight return to a younger muse, a muse still theorizing the world around her. My own return to ‘An Essay on the Picture Plane’ oscillates between a question and an instruction that Sedgwick’s poem scratched up from my own childhood. The question: “What are you look-ing at?” The instruction: “Look with your eyes, not with your hands”. I learnt both at school. And both, like ‘An Essay on the Picture Plane’, left me tongue-tied. 20 00 Open Access Brown, Angus Connell 4 03 06 10.21983/P3.0189.1.04 85 109 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Abject Animal Poetics of 'The Warm Decembers' 1 A01 Ben Westwood Ben Westwood 40 052gg0110 University of Oxford 01 eng 03 00 Sedgwick’s long, unfinished verse novel, ‘The Warm Decembers’ (c. 1978–1986), invites us to think carefully about the relations between humans and animals, the value of animals in poetry, and how these ideas might link to the abject. In what follows, these points of connection emerge as functions of the “perverse, desiring energies” which, Sedgwick suggests, animate and col-our the poem’s representation of boundaries between states of being, between, that is, beings dead and alive, past and present, real and fictional, and human and animal.1 In ‘The Warm De-cembers’, animals are figures of the abject, which intensify and diversify the poem’s expressive capabilities. They are represent-ed as something other than the simple outside of humanity, as parts of structures which are never stable but constantly folding in on themselves or dissolving into indistinctness. And, in this linguistic and conceptual reconfiguration, Sedgwick offers a vi-sion of how the category of the abject can help us re-describe our relations with different forms of animal life and a vision of how animals can offer writers uniquely flexible models for ar-ticulation and expression. 30 00 Sedgwick’s long, unfinished verse novel, ‘The Warm Decembers’ (c. 1978–1986), invites us to think carefully about the relations between humans and animals, the value of animals in poetry, and how these ideas might link to the abject. In what follows, these points of connection emerge as functions of the “perverse, desiring energies” which, Sedgwick suggests, animate and col-our the poem’s representation of boundaries between states of being, between, that is, beings dead and alive, past and present, real and fictional, and human and animal.1 In ‘The Warm De-cembers’, animals are figures of the abject, which intensify and diversify the poem’s expressive capabilities. They are represent-ed as something other than the simple outside of humanity, as parts of structures which are never stable but constantly folding in on themselves or dissolving into indistinctness. And, in this linguistic and conceptual reconfiguration, Sedgwick offers a vi-sion of how the category of the abject can help us re-describe our relations with different forms of animal life and a vision of how animals can offer writers uniquely flexible models for ar-ticulation and expression. 20 00 Open Access Westwood, Ben 5 03 06 10.21983/P3.0189.1.05 111 137 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eve's Muse 1 A01 Kathryn R. Kent Kathryn R. Kent 40 04avkmd49 Williams College 01 eng 03 00 In ‘A Poem is Being Written’, Eve Kosofsky Sedgwick declares:I have spent — wasted — a long time gazing in renewed stu-pefaction at the stupidity and psychic expense of my failure, during [my teen years], to make the obvious swerve that would have connected my homosexual desire and identifi-cation with my need and love, as a woman, of women. The gesture would have been more a tautology even than a con-nection. Yet it went and has still gone unmade.4Sedgwick’s coming out as, to put it crudely, not a lesbian is sand-wiched in between her description of her deep depression as a teenager and a self-identification that has earned her some praise, lots of scorn, and even more virulent forms of criticism: “In among the many ways I do identify as a woman, the identi-fication as a gay person is a firmly male one, identification ‘as’ a gay man; and in among its tortuous, and alienating paths are knit the relations, for me, of telling and of knowing”.5 Related to this, she explains, is the fact that, instead of a “will-to-live”, she possesses an “aggressive will-to-narrate and will-to-uncover”. “Un-covering” can mean revealing in an epistemological sense but also to ferret out a secret, lay bare, or, literally, to reveal one’s body, all practices also related to various kinds of (often para-noid, to use Sedgwick’s term, and extremely productive) know-ing, and in ‘A Poem is Being Written’, Sedgwick exposes her ass as a site of shame and pleasure, just as she confesses her attach-ment to other forms of ideological exposure. 30 00 In ‘A Poem is Being Written’, Eve Kosofsky Sedgwick declares:I have spent — wasted — a long time gazing in renewed stu-pefaction at the stupidity and psychic expense of my failure, during [my teen years], to make the obvious swerve that would have connected my homosexual desire and identifi-cation with my need and love, as a woman, of women. The gesture would have been more a tautology even than a con-nection. Yet it went and has still gone unmade.4Sedgwick’s coming out as, to put it crudely, not a lesbian is sand-wiched in between her description of her deep depression as a teenager and a self-identification that has earned her some praise, lots of scorn, and even more virulent forms of criticism: “In among the many ways I do identify as a woman, the identi-fication as a gay person is a firmly male one, identification ‘as’ a gay man; and in among its tortuous, and alienating paths are knit the relations, for me, of telling and of knowing”.5 Related to this, she explains, is the fact that, instead of a “will-to-live”, she possesses an “aggressive will-to-narrate and will-to-uncover”. “Un-covering” can mean revealing in an epistemological sense but also to ferret out a secret, lay bare, or, literally, to reveal one’s body, all practices also related to various kinds of (often para-noid, to use Sedgwick’s term, and extremely productive) know-ing, and in ‘A Poem is Being Written’, Sedgwick exposes her ass as a site of shame and pleasure, just as she confesses her attach-ment to other forms of ideological exposure. 20 00 Open Access Kent, Kathryn R. 6 03 06 10.21983/P3.0189.1.06 139 149 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shyly / as a big sister I would yearn / to trace its avocations', or, Who's the Muse/ 1 A01 21 0000000264874538 Mary Baine Campbell Mary Baine Campbell 40 05abbep66 Brandeis University 01 eng 03 00 ‘Sisterhood is Very Complicated’: there’s a reason that epithet was ditched in favour of a dactyl with half the syllables. Still, it’s the truth, if not exclusive of its shorter, slighter sister slogan. Here’s a story of how Eve Kosofsky Sedgwick taught me that complexity. And its power too, even sorcery, a word that comes (no, not from soror but) from Latin serere, to arrange things in a sequence — particularly, in the case of sorcery, the lots (“sorts”) that make a fortune. It’s a story about poetry and making poetry. Or about making fortune, fortuna. I used to feel kind of left out, in the ID450 Collective of wom-en faculty and grad students (and a boat-builder, a math tutor, a childcare worker), mostly studying and teaching literature and writing at, or near, Boston University in the early 1980s.1 By na-ture, just because I usually do arrange that, but also, and more particularly, because I wasn’t fat, or rather wasn’t seen as fat or understood as fat (though I’d always been fat secretly). Those I loved most in that group were, or anyhow saw themselves that way, above all Eve. Not that I didn’t love us all. But half of us were thin and half of us were fat, as far as we knew, and indeed I was at my very thinnest then, or so it scarily appeared, as I’d responded to the major heterosexual experiment of my youth (a traumatic one) by losing my appetite for two years. And the fat ones seemed to have a lot more quiddity: they were more radiantly, as the expression goes, themselves. There was more to them. 30 00 ‘Sisterhood is Very Complicated’: there’s a reason that epithet was ditched in favour of a dactyl with half the syllables. Still, it’s the truth, if not exclusive of its shorter, slighter sister slogan. Here’s a story of how Eve Kosofsky Sedgwick taught me that complexity. And its power too, even sorcery, a word that comes (no, not from soror but) from Latin serere, to arrange things in a sequence — particularly, in the case of sorcery, the lots (“sorts”) that make a fortune. It’s a story about poetry and making poetry. Or about making fortune, fortuna. I used to feel kind of left out, in the ID450 Collective of wom-en faculty and grad students (and a boat-builder, a math tutor, a childcare worker), mostly studying and teaching literature and writing at, or near, Boston University in the early 1980s.1 By na-ture, just because I usually do arrange that, but also, and more particularly, because I wasn’t fat, or rather wasn’t seen as fat or understood as fat (though I’d always been fat secretly). Those I loved most in that group were, or anyhow saw themselves that way, above all Eve. Not that I didn’t love us all. But half of us were thin and half of us were fat, as far as we knew, and indeed I was at my very thinnest then, or so it scarily appeared, as I’d responded to the major heterosexual experiment of my youth (a traumatic one) by losing my appetite for two years. And the fat ones seemed to have a lot more quiddity: they were more radiantly, as the expression goes, themselves. There was more to them. 20 00 Open Access Campbell, Mary Baine 7 03 06 10.21983/P3.0189.1.07 151 167 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Therapy On the Couch with Eve Kosofsky Sedgwick 1 A01 Monica Pearl Monica Pearl 40 027m9bs27 University of Manchester 01 eng 03 00 Successful therapy (or, for that matter, unsuccessful therapy) is a long conversation that goes nowhere. It does not have a structure, or an obvious end point, or genre. “From an out-side perspective”, writes Benjamin Y. Fong, “the conversation is pointless”.1 Indeed, we might not even be able to distinguish be-tween successful and unsuccessful therapy: not only did Freud refer to therapy as “time-consuming and [...] laborious”,2 but also endless: he says, “[w]e do not regard an analysis as at an end until all the obscurities of the case are cleared up, the gaps in the patient’s memory filled in, the precipitating causes of the repressions recovered”.3 In other words, it’s not likely to end... 30 00 Successful therapy (or, for that matter, unsuccessful therapy) is a long conversation that goes nowhere. It does not have a structure, or an obvious end point, or genre. “From an out-side perspective”, writes Benjamin Y. Fong, “the conversation is pointless”.1 Indeed, we might not even be able to distinguish be-tween successful and unsuccessful therapy: not only did Freud refer to therapy as “time-consuming and [...] laborious”,2 but also endless: he says, “[w]e do not regard an analysis as at an end until all the obscurities of the case are cleared up, the gaps in the patient’s memory filled in, the precipitating causes of the repressions recovered”.3 In other words, it’s not likely to end... 20 00 Open Access Pearl, Monica 8 03 06 10.21983/P3.0189.1.08 169 176 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Waiting in the Dark Some Musings on Sedgwick's Performative(s) 1 A01 Meg Boulton Meg Boulton 40 01nrxwf90 University of Edinburgh 01 eng 03 00 This chapter was originally given as a paper at the Fat Art, Thin Art symposium held at the University of York on Febru-ary 14, 2014, placed into the ‘Autobiographies’ section of the day. It is only now, only later, with the benefit of that oft-cited lens — hindsight — that the date seems a particularly apposite one, although I suspect it was anything but an arbitrary choice. So much of what was said that day was said with such emo-tion in the close quarters of a room full of people that seemed uncommonly close to each other and to the material they were presenting (although, in several instances, many had only just met) that it feels, now, improbably difficult to produce a writ-ten record of my part in that particularly lovely and particularly unusual academic event, and yet what follows is my effort to do just that. 30 00 This chapter was originally given as a paper at the Fat Art, Thin Art symposium held at the University of York on Febru-ary 14, 2014, placed into the ‘Autobiographies’ section of the day. It is only now, only later, with the benefit of that oft-cited lens — hindsight — that the date seems a particularly apposite one, although I suspect it was anything but an arbitrary choice. So much of what was said that day was said with such emo-tion in the close quarters of a room full of people that seemed uncommonly close to each other and to the material they were presenting (although, in several instances, many had only just met) that it feels, now, improbably difficult to produce a writ-ten record of my part in that particularly lovely and particularly unusual academic event, and yet what follows is my effort to do just that. 20 00 Open Access Boulton, Meg 9 03 06 10.21983/P3.0189.1.09 179 203 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: Someday We'll Look Back with Pleasure Even on This: Sedgwick's Uncollected Poems 1 A01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 03 00 In one of the final lyrics Sedgwick published in her lifetime, she offered a translation and recontextualisation of Virgil’s phrase: “Forsan et haec olim meminisse juvabit”: “Someday we’ll look back with pleasure even on this”. The poem documented how, even though “Things with us are actually very bad” at the time of writing, Sedgwick had a reparative sense of the future, maso-chistic pleasure she would experience recalling the sore scene; in a similar way to which, in the earlier ‘A scar, just a scar’, she knew that “someday soon” she would “feel more nostalgia” for the painful hospital experience she was immersed in “than for any school” she had fantasied about. 30 00 In one of the final lyrics Sedgwick published in her lifetime, she offered a translation and recontextualisation of Virgil’s phrase: “Forsan et haec olim meminisse juvabit”: “Someday we’ll look back with pleasure even on this”. The poem documented how, even though “Things with us are actually very bad” at the time of writing, Sedgwick had a reparative sense of the future, maso-chistic pleasure she would experience recalling the sore scene; in a similar way to which, in the earlier ‘A scar, just a scar’, she knew that “someday soon” she would “feel more nostalgia” for the painful hospital experience she was immersed in “than for any school” she had fantasied about. 20 00 Open Access Edwards, Jason 10 03 06 10.21983/P3.0189.1.10 205 289 85 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Poems 1 A01 Eve Kosofsky Sedgwick Eve Kosofsky Sedgwick 40 00py81415 Duke University 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 Forsan et haec olim meminisse juvabit (2006) Someday we’ll look back with pleasure even on this. In fact I can feel it encroaching on me already, the future pleasure — which is disconcerting. Things with us are actually very bad. 30 00 Forsan et haec olim meminisse juvabit (2006) Someday we’ll look back with pleasure even on this. In fact I can feel it encroaching on me already, the future pleasure — which is disconcerting. Things with us are actually very bad. 20 00 Open Access Sedgwick, Eve Kosofsky 11 03 06 10.21983/P3.0189.1.11 291 302 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 20 00 Open Access Edwards, Jason 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/bathroom-songs-eve-kosofsky-sedgwick-as-a-poet/ Earth, Milky Way 04 01 20171110 Edwards, Jason 02 WORLD 06 15 9781947447318 03 9781947447318 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447300 20 08 20171110 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/bathroom-songs-eve-kosofsky-sedgwick-as-a-poet 20 08 20171110 02 25.00 USD WORLD urn:uuid:5d6fdd00-f10d-4224-9a65-5034f7973511 03 01 01 thoth-work-id urn:uuid:f4d42680-8b02-4e3a-9ec8-44aee852b29f 01 thoth-publication-id urn:uuid:5d6fdd00-f10d-4224-9a65-5034f7973511 15 9781947447318 03 9781947447318 06 10.21983/P3.0189.1.00 13 2017957440 01 internal-reference 0189 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Bathroom Songs Eve Kosofsky Sedgwick as a Poet 1 B01 21 0000000250324965 Jason Edwards Jason Edwards 40 04m01e293 University of York 01 eng 00 306 03 12 DSBH 93 DSBJ B2 Fabulations 10 POE005010 93 JBSJ 10 LIT014000 B2 Literary Studies 93 DSC B2 TransQueer 20 literary studies; queer studies; Eve Kosofsky Sedgwick; psychoanalysis; autobiography 01 06 02 00 03 00 Bathroom Songs: Eve Kosofsky Sedgwick as a Poet is the first book of essays to consider the poetry of one of the twentieth- and early twenty-first-century’s most important literary, affect, and queer theorists. Acclaimed as one of the “truly innovative” poets of her generation by Maud Ellmann, Sedgwick’s work as a poet is, perhaps, less well known, but is no less compelling than her ground-breaking trilogy of queer theoretical texts: Between Men: English Literature and Male Homosocial Desire, Epistemology of the Closet, and Tendencies. 30 00 Bathroom Songs: Eve Kosofsky Sedgwick as a Poet is the first book of essays to consider the poetry of one of the twentieth- and early twenty-first-century’s most important literary, affect, and queer theorists. Acclaimed as one of the “truly innovative” poets of her generation by Maud Ellmann, Sedgwick’s work as a poet is, perhaps, less well known, but is no less compelling than her ground-breaking trilogy of queer theoretical texts: Between Men: English Literature and Male Homosocial Desire, Epistemology of the Closet, and Tendencies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0189.1.00_frontcover.png 1 03 06 10.21983/P3.0189.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 20 00 Open Access Edwards, Jason 2 03 06 10.21983/P3.0189.1.02 17 75 59 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Bathroom Songs? Eve Kosofsky Sedgwick as a Poet 1 A01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 03 00 Bathroom Songs represents the first study to consider the poetry of one of the most significant literary theorists of the late-twen-tieth and early-twenty-first centuries, Eve Kosofsky Sedgwick. Most renowned for her trilogy of ground-breaking, queer-theo-retical texts — Between Men: English Literature and Male Homo-social Desire (1985), Epistemology of the Closet (1990), and Ten-dencies (1993) — Sedgwick was, from the outset, and always in her mind a poet. For example, as Hal A. Sedgwick documented, all of the entries on his wife’s CV from 1967 to 1975 were prizes for poetry.2 In 1977, Sedgwick submitted her first book of poems, Traceable, Salient, Thirsty, to various presses, containing key po-ems from the previous four years; but the volume, bafflingly, failed to find a publisher. 30 00 Bathroom Songs represents the first study to consider the poetry of one of the most significant literary theorists of the late-twen-tieth and early-twenty-first centuries, Eve Kosofsky Sedgwick. Most renowned for her trilogy of ground-breaking, queer-theo-retical texts — Between Men: English Literature and Male Homo-social Desire (1985), Epistemology of the Closet (1990), and Ten-dencies (1993) — Sedgwick was, from the outset, and always in her mind a poet. For example, as Hal A. Sedgwick documented, all of the entries on his wife’s CV from 1967 to 1975 were prizes for poetry.2 In 1977, Sedgwick submitted her first book of poems, Traceable, Salient, Thirsty, to various presses, containing key po-ems from the previous four years; but the volume, bafflingly, failed to find a publisher. 20 00 Open Access Edwards, Jason 3 03 06 10.21983/P3.0189.1.03 77 83 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Look with Your Hands 1 A01 21 0000000282880237 Angus Connell Brown Angus Connell Brown 40 03angcq70 University of Birmingham 01 eng 03 00 I began writing this essay in what used to be a child’s bedroom. Perched at the small desk by the doll’s house, I looked away to my right and saw how the enormous sash window smoothly held my reflection among the lights and the trees outside. This uncanny framing, this return to the fascination of reflection among the tactile technologies of childhood imagination feels like a fitting place to begin thinking about one of the first poems Eve Kosofsky Sedgwick ever published: ‘An Essay on the Picture P l a n e ’.According to Fat Art, Thin Art, Sedgwick composed the poem in 1973 but the tiny discrepancies — a missing line here, an extra comma there — between the publication of the poem in The Poetry Miscellany in 1975 and the collection of the poem in 1994 hint that the latter text is the product of a slight return to a younger muse, a muse still theorizing the world around her. My own return to ‘An Essay on the Picture Plane’ oscillates between a question and an instruction that Sedgwick’s poem scratched up from my own childhood. The question: “What are you look-ing at?” The instruction: “Look with your eyes, not with your hands”. I learnt both at school. And both, like ‘An Essay on the Picture Plane’, left me tongue-tied. 30 00 I began writing this essay in what used to be a child’s bedroom. Perched at the small desk by the doll’s house, I looked away to my right and saw how the enormous sash window smoothly held my reflection among the lights and the trees outside. This uncanny framing, this return to the fascination of reflection among the tactile technologies of childhood imagination feels like a fitting place to begin thinking about one of the first poems Eve Kosofsky Sedgwick ever published: ‘An Essay on the Picture P l a n e ’.According to Fat Art, Thin Art, Sedgwick composed the poem in 1973 but the tiny discrepancies — a missing line here, an extra comma there — between the publication of the poem in The Poetry Miscellany in 1975 and the collection of the poem in 1994 hint that the latter text is the product of a slight return to a younger muse, a muse still theorizing the world around her. My own return to ‘An Essay on the Picture Plane’ oscillates between a question and an instruction that Sedgwick’s poem scratched up from my own childhood. The question: “What are you look-ing at?” The instruction: “Look with your eyes, not with your hands”. I learnt both at school. And both, like ‘An Essay on the Picture Plane’, left me tongue-tied. 20 00 Open Access Brown, Angus Connell 4 03 06 10.21983/P3.0189.1.04 85 109 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Abject Animal Poetics of 'The Warm Decembers' 1 A01 Ben Westwood Ben Westwood 40 052gg0110 University of Oxford 01 eng 03 00 Sedgwick’s long, unfinished verse novel, ‘The Warm Decembers’ (c. 1978–1986), invites us to think carefully about the relations between humans and animals, the value of animals in poetry, and how these ideas might link to the abject. In what follows, these points of connection emerge as functions of the “perverse, desiring energies” which, Sedgwick suggests, animate and col-our the poem’s representation of boundaries between states of being, between, that is, beings dead and alive, past and present, real and fictional, and human and animal.1 In ‘The Warm De-cembers’, animals are figures of the abject, which intensify and diversify the poem’s expressive capabilities. They are represent-ed as something other than the simple outside of humanity, as parts of structures which are never stable but constantly folding in on themselves or dissolving into indistinctness. And, in this linguistic and conceptual reconfiguration, Sedgwick offers a vi-sion of how the category of the abject can help us re-describe our relations with different forms of animal life and a vision of how animals can offer writers uniquely flexible models for ar-ticulation and expression. 30 00 Sedgwick’s long, unfinished verse novel, ‘The Warm Decembers’ (c. 1978–1986), invites us to think carefully about the relations between humans and animals, the value of animals in poetry, and how these ideas might link to the abject. In what follows, these points of connection emerge as functions of the “perverse, desiring energies” which, Sedgwick suggests, animate and col-our the poem’s representation of boundaries between states of being, between, that is, beings dead and alive, past and present, real and fictional, and human and animal.1 In ‘The Warm De-cembers’, animals are figures of the abject, which intensify and diversify the poem’s expressive capabilities. They are represent-ed as something other than the simple outside of humanity, as parts of structures which are never stable but constantly folding in on themselves or dissolving into indistinctness. And, in this linguistic and conceptual reconfiguration, Sedgwick offers a vi-sion of how the category of the abject can help us re-describe our relations with different forms of animal life and a vision of how animals can offer writers uniquely flexible models for ar-ticulation and expression. 20 00 Open Access Westwood, Ben 5 03 06 10.21983/P3.0189.1.05 111 137 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eve's Muse 1 A01 Kathryn R. Kent Kathryn R. Kent 40 04avkmd49 Williams College 01 eng 03 00 In ‘A Poem is Being Written’, Eve Kosofsky Sedgwick declares:I have spent — wasted — a long time gazing in renewed stu-pefaction at the stupidity and psychic expense of my failure, during [my teen years], to make the obvious swerve that would have connected my homosexual desire and identifi-cation with my need and love, as a woman, of women. The gesture would have been more a tautology even than a con-nection. Yet it went and has still gone unmade.4Sedgwick’s coming out as, to put it crudely, not a lesbian is sand-wiched in between her description of her deep depression as a teenager and a self-identification that has earned her some praise, lots of scorn, and even more virulent forms of criticism: “In among the many ways I do identify as a woman, the identi-fication as a gay person is a firmly male one, identification ‘as’ a gay man; and in among its tortuous, and alienating paths are knit the relations, for me, of telling and of knowing”.5 Related to this, she explains, is the fact that, instead of a “will-to-live”, she possesses an “aggressive will-to-narrate and will-to-uncover”. “Un-covering” can mean revealing in an epistemological sense but also to ferret out a secret, lay bare, or, literally, to reveal one’s body, all practices also related to various kinds of (often para-noid, to use Sedgwick’s term, and extremely productive) know-ing, and in ‘A Poem is Being Written’, Sedgwick exposes her ass as a site of shame and pleasure, just as she confesses her attach-ment to other forms of ideological exposure. 30 00 In ‘A Poem is Being Written’, Eve Kosofsky Sedgwick declares:I have spent — wasted — a long time gazing in renewed stu-pefaction at the stupidity and psychic expense of my failure, during [my teen years], to make the obvious swerve that would have connected my homosexual desire and identifi-cation with my need and love, as a woman, of women. The gesture would have been more a tautology even than a con-nection. Yet it went and has still gone unmade.4Sedgwick’s coming out as, to put it crudely, not a lesbian is sand-wiched in between her description of her deep depression as a teenager and a self-identification that has earned her some praise, lots of scorn, and even more virulent forms of criticism: “In among the many ways I do identify as a woman, the identi-fication as a gay person is a firmly male one, identification ‘as’ a gay man; and in among its tortuous, and alienating paths are knit the relations, for me, of telling and of knowing”.5 Related to this, she explains, is the fact that, instead of a “will-to-live”, she possesses an “aggressive will-to-narrate and will-to-uncover”. “Un-covering” can mean revealing in an epistemological sense but also to ferret out a secret, lay bare, or, literally, to reveal one’s body, all practices also related to various kinds of (often para-noid, to use Sedgwick’s term, and extremely productive) know-ing, and in ‘A Poem is Being Written’, Sedgwick exposes her ass as a site of shame and pleasure, just as she confesses her attach-ment to other forms of ideological exposure. 20 00 Open Access Kent, Kathryn R. 6 03 06 10.21983/P3.0189.1.06 139 149 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shyly / as a big sister I would yearn / to trace its avocations', or, Who's the Muse/ 1 A01 21 0000000264874538 Mary Baine Campbell Mary Baine Campbell 40 05abbep66 Brandeis University 01 eng 03 00 ‘Sisterhood is Very Complicated’: there’s a reason that epithet was ditched in favour of a dactyl with half the syllables. Still, it’s the truth, if not exclusive of its shorter, slighter sister slogan. Here’s a story of how Eve Kosofsky Sedgwick taught me that complexity. And its power too, even sorcery, a word that comes (no, not from soror but) from Latin serere, to arrange things in a sequence — particularly, in the case of sorcery, the lots (“sorts”) that make a fortune. It’s a story about poetry and making poetry. Or about making fortune, fortuna. I used to feel kind of left out, in the ID450 Collective of wom-en faculty and grad students (and a boat-builder, a math tutor, a childcare worker), mostly studying and teaching literature and writing at, or near, Boston University in the early 1980s.1 By na-ture, just because I usually do arrange that, but also, and more particularly, because I wasn’t fat, or rather wasn’t seen as fat or understood as fat (though I’d always been fat secretly). Those I loved most in that group were, or anyhow saw themselves that way, above all Eve. Not that I didn’t love us all. But half of us were thin and half of us were fat, as far as we knew, and indeed I was at my very thinnest then, or so it scarily appeared, as I’d responded to the major heterosexual experiment of my youth (a traumatic one) by losing my appetite for two years. And the fat ones seemed to have a lot more quiddity: they were more radiantly, as the expression goes, themselves. There was more to them. 30 00 ‘Sisterhood is Very Complicated’: there’s a reason that epithet was ditched in favour of a dactyl with half the syllables. Still, it’s the truth, if not exclusive of its shorter, slighter sister slogan. Here’s a story of how Eve Kosofsky Sedgwick taught me that complexity. And its power too, even sorcery, a word that comes (no, not from soror but) from Latin serere, to arrange things in a sequence — particularly, in the case of sorcery, the lots (“sorts”) that make a fortune. It’s a story about poetry and making poetry. Or about making fortune, fortuna. I used to feel kind of left out, in the ID450 Collective of wom-en faculty and grad students (and a boat-builder, a math tutor, a childcare worker), mostly studying and teaching literature and writing at, or near, Boston University in the early 1980s.1 By na-ture, just because I usually do arrange that, but also, and more particularly, because I wasn’t fat, or rather wasn’t seen as fat or understood as fat (though I’d always been fat secretly). Those I loved most in that group were, or anyhow saw themselves that way, above all Eve. Not that I didn’t love us all. But half of us were thin and half of us were fat, as far as we knew, and indeed I was at my very thinnest then, or so it scarily appeared, as I’d responded to the major heterosexual experiment of my youth (a traumatic one) by losing my appetite for two years. And the fat ones seemed to have a lot more quiddity: they were more radiantly, as the expression goes, themselves. There was more to them. 20 00 Open Access Campbell, Mary Baine 7 03 06 10.21983/P3.0189.1.07 151 167 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Therapy On the Couch with Eve Kosofsky Sedgwick 1 A01 Monica Pearl Monica Pearl 40 027m9bs27 University of Manchester 01 eng 03 00 Successful therapy (or, for that matter, unsuccessful therapy) is a long conversation that goes nowhere. It does not have a structure, or an obvious end point, or genre. “From an out-side perspective”, writes Benjamin Y. Fong, “the conversation is pointless”.1 Indeed, we might not even be able to distinguish be-tween successful and unsuccessful therapy: not only did Freud refer to therapy as “time-consuming and [...] laborious”,2 but also endless: he says, “[w]e do not regard an analysis as at an end until all the obscurities of the case are cleared up, the gaps in the patient’s memory filled in, the precipitating causes of the repressions recovered”.3 In other words, it’s not likely to end... 30 00 Successful therapy (or, for that matter, unsuccessful therapy) is a long conversation that goes nowhere. It does not have a structure, or an obvious end point, or genre. “From an out-side perspective”, writes Benjamin Y. Fong, “the conversation is pointless”.1 Indeed, we might not even be able to distinguish be-tween successful and unsuccessful therapy: not only did Freud refer to therapy as “time-consuming and [...] laborious”,2 but also endless: he says, “[w]e do not regard an analysis as at an end until all the obscurities of the case are cleared up, the gaps in the patient’s memory filled in, the precipitating causes of the repressions recovered”.3 In other words, it’s not likely to end... 20 00 Open Access Pearl, Monica 8 03 06 10.21983/P3.0189.1.08 169 176 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Waiting in the Dark Some Musings on Sedgwick's Performative(s) 1 A01 Meg Boulton Meg Boulton 40 01nrxwf90 University of Edinburgh 01 eng 03 00 This chapter was originally given as a paper at the Fat Art, Thin Art symposium held at the University of York on Febru-ary 14, 2014, placed into the ‘Autobiographies’ section of the day. It is only now, only later, with the benefit of that oft-cited lens — hindsight — that the date seems a particularly apposite one, although I suspect it was anything but an arbitrary choice. So much of what was said that day was said with such emo-tion in the close quarters of a room full of people that seemed uncommonly close to each other and to the material they were presenting (although, in several instances, many had only just met) that it feels, now, improbably difficult to produce a writ-ten record of my part in that particularly lovely and particularly unusual academic event, and yet what follows is my effort to do just that. 30 00 This chapter was originally given as a paper at the Fat Art, Thin Art symposium held at the University of York on Febru-ary 14, 2014, placed into the ‘Autobiographies’ section of the day. It is only now, only later, with the benefit of that oft-cited lens — hindsight — that the date seems a particularly apposite one, although I suspect it was anything but an arbitrary choice. So much of what was said that day was said with such emo-tion in the close quarters of a room full of people that seemed uncommonly close to each other and to the material they were presenting (although, in several instances, many had only just met) that it feels, now, improbably difficult to produce a writ-ten record of my part in that particularly lovely and particularly unusual academic event, and yet what follows is my effort to do just that. 20 00 Open Access Boulton, Meg 9 03 06 10.21983/P3.0189.1.09 179 203 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: Someday We'll Look Back with Pleasure Even on This: Sedgwick's Uncollected Poems 1 A01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 03 00 In one of the final lyrics Sedgwick published in her lifetime, she offered a translation and recontextualisation of Virgil’s phrase: “Forsan et haec olim meminisse juvabit”: “Someday we’ll look back with pleasure even on this”. The poem documented how, even though “Things with us are actually very bad” at the time of writing, Sedgwick had a reparative sense of the future, maso-chistic pleasure she would experience recalling the sore scene; in a similar way to which, in the earlier ‘A scar, just a scar’, she knew that “someday soon” she would “feel more nostalgia” for the painful hospital experience she was immersed in “than for any school” she had fantasied about. 30 00 In one of the final lyrics Sedgwick published in her lifetime, she offered a translation and recontextualisation of Virgil’s phrase: “Forsan et haec olim meminisse juvabit”: “Someday we’ll look back with pleasure even on this”. The poem documented how, even though “Things with us are actually very bad” at the time of writing, Sedgwick had a reparative sense of the future, maso-chistic pleasure she would experience recalling the sore scene; in a similar way to which, in the earlier ‘A scar, just a scar’, she knew that “someday soon” she would “feel more nostalgia” for the painful hospital experience she was immersed in “than for any school” she had fantasied about. 20 00 Open Access Edwards, Jason 10 03 06 10.21983/P3.0189.1.10 205 289 85 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Poems 1 A01 Eve Kosofsky Sedgwick Eve Kosofsky Sedgwick 40 00py81415 Duke University 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 Forsan et haec olim meminisse juvabit (2006) Someday we’ll look back with pleasure even on this. In fact I can feel it encroaching on me already, the future pleasure — which is disconcerting. Things with us are actually very bad. 30 00 Forsan et haec olim meminisse juvabit (2006) Someday we’ll look back with pleasure even on this. In fact I can feel it encroaching on me already, the future pleasure — which is disconcerting. Things with us are actually very bad. 20 00 Open Access Sedgwick, Eve Kosofsky 11 03 06 10.21983/P3.0189.1.11 291 302 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000250324965 Jason Edwards Jason Edwards 40 05fq50484 York University 01 eng 20 00 Open Access Edwards, Jason 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/bathroom-songs-eve-kosofsky-sedgwick-as-a-poet/ Earth, Milky Way 04 01 20171110 Edwards, Jason 02 WORLD 06 15 9781947447301 03 9781947447301 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66797 20 08 20171110 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25440 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25440/1004655.pdf?sequence=1&isAllowed=y 20 08 20171110 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38477 20 08 20171110 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2rsfd1x 20 08 20171110 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/571 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c966a963-f485-4d20-88fb-d49492d74b0e/download 20 08 20171110 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Bathroom_Songs/CG6oEAAAQBAJ 20 08 20171110 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f4d42680-8b02-4e3a-9ec8-44aee852b29f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f4d42680-8b02-4e3a-9ec8-44aee852b29f/f4d42680-8b02-4e3a-9ec8-44aee852b29f.pdf 20 08 20171110 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824902 29 ZENODO: download the title https://zenodo.org/records/19824902/files/f4d42680-8b02-4e3a-9ec8-44aee852b29f_book.pdf 20 08 20171110 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/bathroom-songs-eve-kosofsky-sedgwick-as-a-poet/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0189.1.00.pdf 20 08 20171110 01 urn:uuid:5d947585-424c-4fc9-9465-49766e574af0 03 01 01 thoth-work-id urn:uuid:637566b3-dca3-4a8b-b5bd-01fcbb77ca09 01 thoth-publication-id urn:uuid:5d947585-424c-4fc9-9465-49766e574af0 15 9780615612652 03 9780615612652 06 10.21983/P3.0009.1.00 01 internal-reference 0009 00 BC 10 01 244 mm 01 24.4 cm 01 9.61 in 02 170 mm 02 17 cm 02 6.69 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Beowulf A Translation 1 B01 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 2 B06 Thomas Meyer Thomas Meyer 3 A24 Daniel C. Remein Daniel C. Remein 40 0190ak572 New York University 4 A15 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 01 ang 01 eng 00 312 03 12 DB 93 DCA B2 Fabulations 10 POE022000 93 3KH-GB-B B2 Languages+Translations 93 FYT B2 Premodern 20 Beowulf; Old English poetry; modern translation; avant-garde poetry 01 06 02 00 03 00 Many modern Beowulf translations, while excellent in their own ways, suffer from what Kathleen Biddick might call “melancholy” for an oral and aural way of poetic making. By and large, they tend to preserve certain familiar features of Anglo-Saxon verse as it has been constructed by editors, philologists, and translators: the emphasis on caesura and alliteration, with diction and syntax smoothed out for readability. The problem with, and the paradox of this desired outcome, especially as it concerns Anglo-Saxon poetry, is that we are left with a document that translates an entire organizing principle based on oral transmission (and perhaps composition) into a visual, textual realm of writing and reading. The sense of loss or nostalgia for the old form seems a necessary and ever-present shadow over modern Beowulfs.What happens, however, when a contemporary poet, quite simply, doesn’t bother with any such nostalgia? When the entire organizational apparatus of the poem—instead of being uneasily approximated in modern verse form—is itself translated into a modern organizing principle, i.e., the visual text? This is the approach that poet Thomas Meyer takes; as he writes,"[I]nstead of the text’s orality, perhaps perversely I went for the visual. Deciding to use page layout (recto/ verso) as a unit. Every translation I’d read felt impenetrable to me with its block after block of nearly uniform lines. Among other quirky decisions made in order to open up the text, the project wound up being a kind of typological specimen book for long American poems extant circa 1965. Having variously the 'look' of Pound’s Cantos, Williams’ Paterson, or Olson or Zukofsky, occasionally late Eliot, even David Jones."A glance anywhere in Meyer’s text demonstrates the stunning results. One place he turns it to especially good effect is the fight with Grendel in Fit 11, transforming the famously hyper-condensed syntax of the scene from a discouraging challenge for the translator into a visually pleasing strength:"The eyes of Hygelac’s kin watched the wicked raiderexecute his quick attack:without delay,snatching his first chance,a sleeping warrior,he tore him in two,chomped muscle, sucked veins’gushing blood,gulped down his morsel, the dead man,chunk by chunk,hands, feet & all.& thenfootstephandclawfiendreachmanbedquicktrickbeastarmpainclampnewnotknownheartrunfleshofeargetawaygonowrunrunnever before hadsinherd feared anything so."Here the reader is confronted with the words themselves running together, as if in panic, in much the same way that the original passage seems in such a rush to tell the story of the battle that bodies become confused. This is just one example of the adventurous and provocative angle on Beowulf to which Meyer introduces us. His Beowulf—completed in 1972 but never before published—is sure to stretch readers’ ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself.With a Preface by David Hadbawnik, an Introduction by Daniel C. Remein, and an Interview with Thomas Meyer. 30 00 Many modern Beowulf translations, while excellent in their own ways, suffer from what Kathleen Biddick might call “melancholy” for an oral and aural way of poetic making. By and large, they tend to preserve certain familiar features of Anglo-Saxon verse as it has been constructed by editors, philologists, and translators: the emphasis on caesura and alliteration, with diction and syntax smoothed out for readability. The problem with, and the paradox of this desired outcome, especially as it concerns Anglo-Saxon poetry, is that we are left with a document that translates an entire organizing principle based on oral transmission (and perhaps composition) into a visual, textual realm of writing and reading. The sense of loss or nostalgia for the old form seems a necessary and ever-present shadow over modern Beowulfs.What happens, however, when a contemporary poet, quite simply, doesn’t bother with any such nostalgia? When the entire organizational apparatus of the poem—instead of being uneasily approximated in modern verse form—is itself translated into a modern organizing principle, i.e., the visual text? This is the approach that poet Thomas Meyer takes; as he writes,"[I]nstead of the text’s orality, perhaps perversely I went for the visual. Deciding to use page layout (recto/ verso) as a unit. Every translation I’d read felt impenetrable to me with its block after block of nearly uniform lines. Among other quirky decisions made in order to open up the text, the project wound up being a kind of typological specimen book for long American poems extant circa 1965. Having variously the 'look' of Pound’s Cantos, Williams’ Paterson, or Olson or Zukofsky, occasionally late Eliot, even David Jones."A glance anywhere in Meyer’s text demonstrates the stunning results. One place he turns it to especially good effect is the fight with Grendel in Fit 11, transforming the famously hyper-condensed syntax of the scene from a discouraging challenge for the translator into a visually pleasing strength:"The eyes of Hygelac’s kin watched the wicked raiderexecute his quick attack:without delay,snatching his first chance,a sleeping warrior,he tore him in two,chomped muscle, sucked veins’gushing blood,gulped down his morsel, the dead man,chunk by chunk,hands, feet & all.& thenfootstephandclawfiendreachmanbedquicktrickbeastarmpainclampnewnotknownheartrunfleshofeargetawaygonowrunrunnever before hadsinherd feared anything so."Here the reader is confronted with the words themselves running together, as if in panic, in much the same way that the original passage seems in such a rush to tell the story of the battle that bodies become confused. This is just one example of the adventurous and provocative angle on Beowulf to which Meyer introduces us. His Beowulf—completed in 1972 but never before published—is sure to stretch readers’ ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself.With a Preface by David Hadbawnik, an Introduction by Daniel C. Remein, and an Interview with Thomas Meyer. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0009.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/thomas-meyer-beowulf/ Brooklyn, NY 04 01 20120825 Hadbawnik, David 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615612652 20 08 20120825 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/beowulf-a-translation 20 08 20120825 02 28.00 USD WORLD urn:uuid:e1b6a1fa-1bd9-426a-99a5-75d23bfdc70e 03 01 01 thoth-work-id urn:uuid:637566b3-dca3-4a8b-b5bd-01fcbb77ca09 01 thoth-publication-id urn:uuid:e1b6a1fa-1bd9-426a-99a5-75d23bfdc70e 06 10.21983/P3.0009.1.00 01 internal-reference 0009 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Beowulf A Translation 1 B01 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 2 B06 Thomas Meyer Thomas Meyer 3 A24 Daniel C. Remein Daniel C. Remein 40 0190ak572 New York University 4 A15 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 01 ang 01 eng 00 312 03 12 DB 93 DCA B2 Fabulations 10 POE022000 93 3KH-GB-B B2 Languages+Translations 93 FYT B2 Premodern 20 Beowulf; Old English poetry; modern translation; avant-garde poetry 01 06 02 00 03 00 Many modern Beowulf translations, while excellent in their own ways, suffer from what Kathleen Biddick might call “melancholy” for an oral and aural way of poetic making. By and large, they tend to preserve certain familiar features of Anglo-Saxon verse as it has been constructed by editors, philologists, and translators: the emphasis on caesura and alliteration, with diction and syntax smoothed out for readability. The problem with, and the paradox of this desired outcome, especially as it concerns Anglo-Saxon poetry, is that we are left with a document that translates an entire organizing principle based on oral transmission (and perhaps composition) into a visual, textual realm of writing and reading. The sense of loss or nostalgia for the old form seems a necessary and ever-present shadow over modern Beowulfs.What happens, however, when a contemporary poet, quite simply, doesn’t bother with any such nostalgia? When the entire organizational apparatus of the poem—instead of being uneasily approximated in modern verse form—is itself translated into a modern organizing principle, i.e., the visual text? This is the approach that poet Thomas Meyer takes; as he writes,"[I]nstead of the text’s orality, perhaps perversely I went for the visual. Deciding to use page layout (recto/ verso) as a unit. Every translation I’d read felt impenetrable to me with its block after block of nearly uniform lines. Among other quirky decisions made in order to open up the text, the project wound up being a kind of typological specimen book for long American poems extant circa 1965. Having variously the 'look' of Pound’s Cantos, Williams’ Paterson, or Olson or Zukofsky, occasionally late Eliot, even David Jones."A glance anywhere in Meyer’s text demonstrates the stunning results. One place he turns it to especially good effect is the fight with Grendel in Fit 11, transforming the famously hyper-condensed syntax of the scene from a discouraging challenge for the translator into a visually pleasing strength:"The eyes of Hygelac’s kin watched the wicked raiderexecute his quick attack:without delay,snatching his first chance,a sleeping warrior,he tore him in two,chomped muscle, sucked veins’gushing blood,gulped down his morsel, the dead man,chunk by chunk,hands, feet & all.& thenfootstephandclawfiendreachmanbedquicktrickbeastarmpainclampnewnotknownheartrunfleshofeargetawaygonowrunrunnever before hadsinherd feared anything so."Here the reader is confronted with the words themselves running together, as if in panic, in much the same way that the original passage seems in such a rush to tell the story of the battle that bodies become confused. This is just one example of the adventurous and provocative angle on Beowulf to which Meyer introduces us. His Beowulf—completed in 1972 but never before published—is sure to stretch readers’ ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself.With a Preface by David Hadbawnik, an Introduction by Daniel C. Remein, and an Interview with Thomas Meyer. 30 00 Many modern Beowulf translations, while excellent in their own ways, suffer from what Kathleen Biddick might call “melancholy” for an oral and aural way of poetic making. By and large, they tend to preserve certain familiar features of Anglo-Saxon verse as it has been constructed by editors, philologists, and translators: the emphasis on caesura and alliteration, with diction and syntax smoothed out for readability. The problem with, and the paradox of this desired outcome, especially as it concerns Anglo-Saxon poetry, is that we are left with a document that translates an entire organizing principle based on oral transmission (and perhaps composition) into a visual, textual realm of writing and reading. The sense of loss or nostalgia for the old form seems a necessary and ever-present shadow over modern Beowulfs.What happens, however, when a contemporary poet, quite simply, doesn’t bother with any such nostalgia? When the entire organizational apparatus of the poem—instead of being uneasily approximated in modern verse form—is itself translated into a modern organizing principle, i.e., the visual text? This is the approach that poet Thomas Meyer takes; as he writes,"[I]nstead of the text’s orality, perhaps perversely I went for the visual. Deciding to use page layout (recto/ verso) as a unit. Every translation I’d read felt impenetrable to me with its block after block of nearly uniform lines. Among other quirky decisions made in order to open up the text, the project wound up being a kind of typological specimen book for long American poems extant circa 1965. Having variously the 'look' of Pound’s Cantos, Williams’ Paterson, or Olson or Zukofsky, occasionally late Eliot, even David Jones."A glance anywhere in Meyer’s text demonstrates the stunning results. One place he turns it to especially good effect is the fight with Grendel in Fit 11, transforming the famously hyper-condensed syntax of the scene from a discouraging challenge for the translator into a visually pleasing strength:"The eyes of Hygelac’s kin watched the wicked raiderexecute his quick attack:without delay,snatching his first chance,a sleeping warrior,he tore him in two,chomped muscle, sucked veins’gushing blood,gulped down his morsel, the dead man,chunk by chunk,hands, feet & all.& thenfootstephandclawfiendreachmanbedquicktrickbeastarmpainclampnewnotknownheartrunfleshofeargetawaygonowrunrunnever before hadsinherd feared anything so."Here the reader is confronted with the words themselves running together, as if in panic, in much the same way that the original passage seems in such a rush to tell the story of the battle that bodies become confused. This is just one example of the adventurous and provocative angle on Beowulf to which Meyer introduces us. His Beowulf—completed in 1972 but never before published—is sure to stretch readers’ ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself.With a Preface by David Hadbawnik, an Introduction by Daniel C. Remein, and an Interview with Thomas Meyer. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0009.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/thomas-meyer-beowulf/ Brooklyn, NY 04 01 20120825 Hadbawnik, David 02 WORLD 06 15 9780615612652 03 9780615612652 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76422 20 08 20120825 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25606 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25606/1004489.pdf?sequence=1&isAllowed=y 20 08 20120825 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38263 20 08 20120825 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j56b 20 08 20120825 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/388 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/819fb633-ed80-4809-b550-751a2aeaca5b/download 20 08 20120825 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/637566b3-dca3-4a8b-b5bd-01fcbb77ca09 29 INTERNET_ARCHIVE: download the title https://archive.org/download/637566b3-dca3-4a8b-b5bd-01fcbb77ca09/637566b3-dca3-4a8b-b5bd-01fcbb77ca09.pdf 20 08 20120825 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693108 29 ZENODO: download the title https://zenodo.org/records/19693108/files/637566b3-dca3-4a8b-b5bd-01fcbb77ca09_book.pdf 20 08 20120825 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/thomas-meyer-beowulf/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0009.1.00.pdf 20 08 20120825 01 urn:uuid:0047f103-88e8-459c-b420-1068e46d75d5 03 01 01 thoth-work-id urn:uuid:a2ce9f9c-f594-4165-83be-e3751d4d17fe 01 thoth-publication-id urn:uuid:0047f103-88e8-459c-b420-1068e46d75d5 15 9781947447776 03 9781947447776 06 10.21983/P3.0241.1.00 13 2018953768 01 internal-reference 0241 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Beta Exercise The Theory and Practice of Osamu Kanemura 1 A01 Osamu Kanemura Osamu Kanemura 06 Own website https://kanemura-osamu.com/ 2 B01 Marco Mazzi Marco Mazzi 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 4 B06 Michiyo Miyake Michiyo Miyake 5 B06 Nicholas Marshall Nicholas Marshall 01 eng 01 jpn 00 230 03 12 AJB 93 AJCD 10 ART019030 B2 Art+Aesthetics 93 ABA B2 Languages+Translations 10 PHO005000 93 1FPJ B2 Media+Technology 20 photography; media studies; Osamu Kanemura; Japan; aesthetics 01 06 02 00 03 00 Beta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique talent and voice in the world of avant-garde contemporary photography.The opening essay “Life Is a Gift” meditates on the transformation of human life into an exchangeable commodity and the abstraction that entails. “Essay 01” develops Kanemura’s idea of photographic “technique” in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: “We can say that modern technology constitutes photographic technique.” Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey.Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay “Dead-Stick Landing” develops Kanemura’s theory of the moving image as mechanical system, solely governed by an “on-off switch,” while “Essay 02” develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful “loyalty” expressed to machines, and not to stories.The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of Kanemura’s equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao’s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. 30 00 Beta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique talent and voice in the world of avant-garde contemporary photography.The opening essay “Life Is a Gift” meditates on the transformation of human life into an exchangeable commodity and the abstraction that entails. “Essay 01” develops Kanemura’s idea of photographic “technique” in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: “We can say that modern technology constitutes photographic technique.” Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey.Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay “Dead-Stick Landing” develops Kanemura’s theory of the moving image as mechanical system, solely governed by an “on-off switch,” while “Essay 02” develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful “loyalty” expressed to machines, and not to stories.The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of Kanemura’s equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao’s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0241.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/beta-exercise-the-theory-and-practice-of-osamu-kanemura/ Earth, Milky Way 04 01 20190123 Kanemura, Osamu Mazzi, Marco Gerven Oei, Vincent W.J. van 02 WORLD 06 15 9781947447783 03 9781947447783 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447777 20 08 20190123 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/beta-exercise-the-theory-and-practice-of-osamu-kanemura-translatormichiyomiyakemichiyo-miyaketrue 20 08 20190123 02 24.00 USD WORLD urn:uuid:63c0046d-ee23-4c37-a06d-654ada44cd28 03 01 01 thoth-work-id urn:uuid:a2ce9f9c-f594-4165-83be-e3751d4d17fe 01 thoth-publication-id urn:uuid:63c0046d-ee23-4c37-a06d-654ada44cd28 15 9781947447783 03 9781947447783 06 10.21983/P3.0241.1.00 13 2018953768 01 internal-reference 0241 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Beta Exercise The Theory and Practice of Osamu Kanemura 1 A01 Osamu Kanemura Osamu Kanemura 06 Own website https://kanemura-osamu.com/ 2 B01 Marco Mazzi Marco Mazzi 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 4 B06 Michiyo Miyake Michiyo Miyake 5 B06 Nicholas Marshall Nicholas Marshall 01 eng 01 jpn 00 230 03 12 AJB 93 AJCD 10 ART019030 B2 Art+Aesthetics 93 ABA B2 Languages+Translations 10 PHO005000 93 1FPJ B2 Media+Technology 20 photography; media studies; Osamu Kanemura; Japan; aesthetics 01 06 02 00 03 00 Beta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique talent and voice in the world of avant-garde contemporary photography.The opening essay “Life Is a Gift” meditates on the transformation of human life into an exchangeable commodity and the abstraction that entails. “Essay 01” develops Kanemura’s idea of photographic “technique” in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: “We can say that modern technology constitutes photographic technique.” Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey.Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay “Dead-Stick Landing” develops Kanemura’s theory of the moving image as mechanical system, solely governed by an “on-off switch,” while “Essay 02” develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful “loyalty” expressed to machines, and not to stories.The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of Kanemura’s equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao’s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. 30 00 Beta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique talent and voice in the world of avant-garde contemporary photography.The opening essay “Life Is a Gift” meditates on the transformation of human life into an exchangeable commodity and the abstraction that entails. “Essay 01” develops Kanemura’s idea of photographic “technique” in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: “We can say that modern technology constitutes photographic technique.” Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey.Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay “Dead-Stick Landing” develops Kanemura’s theory of the moving image as mechanical system, solely governed by an “on-off switch,” while “Essay 02” develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful “loyalty” expressed to machines, and not to stories.The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of Kanemura’s equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao’s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0241.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/beta-exercise-the-theory-and-practice-of-osamu-kanemura/ Earth, Milky Way 04 01 20190123 Kanemura, Osamu Mazzi, Marco Gerven Oei, Vincent W.J. van 02 WORLD 06 15 9781947447776 03 9781947447776 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25389 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25389/1004706.pdf?sequence=1&isAllowed=y 20 08 20190123 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36607 20 08 20190123 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353790 20 08 20190123 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/603 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6dfc2e47-ba5b-4ed3-9ee7-3dcd6064ba95/download 20 08 20190123 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/%E3%83%99%E3%83%BC%E3%82%BF_%E3%82%A8%E3%82%AF%E3%82%B5%E3%82%B5%E3%82%A4%E3%82%BA/SG6oEAAAQBAJ 20 08 20190123 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a2ce9f9c-f594-4165-83be-e3751d4d17fe 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a2ce9f9c-f594-4165-83be-e3751d4d17fe/a2ce9f9c-f594-4165-83be-e3751d4d17fe.pdf 20 08 20190123 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847623 29 ZENODO: download the title https://zenodo.org/records/19847623/files/a2ce9f9c-f594-4165-83be-e3751d4d17fe_book.pdf 20 08 20190123 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/beta-exercise-the-theory-and-practice-of-osamu-kanemura/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0241.1.00.pdf 20 08 20190123 01 urn:uuid:92730dda-5422-4508-a9bb-0a7b1e54b434 03 01 01 thoth-work-id urn:uuid:735d8962-5ec7-41ce-a73a-a43c35cc354f 01 thoth-publication-id urn:uuid:92730dda-5422-4508-a9bb-0a7b1e54b434 15 9781950192946 03 9781950192946 06 10.21983/P3.0325.1.00 13 2020940935 01 internal-reference 0325 00 BC 10 01 229 mm 01 22.9 cm 01 9 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Between Species/Between Spaces Art and Science on the Outer Cape 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 00 132 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere 93 RNA 12 RNA 20 art residency; anthropocene; artistic research; ecology; environmental science; environmental art; contemporary art 01 06 02 00 03 00 Between Species/Between Spaces assembles text and images resulting from a pilot artistic research residency hosted by the Cape Cod Modern House Trust and the Cape Cod National Seashore in Cape Cod, MA. Artists in the book reflect on the geological forces that are reshaping the landscape and ecology of the Outer Cape which illuminate and to some degree mirror the broader global dynamic of instability, loss, and transition we are facing as a result of anthropogenic climate change. The book collects new artworks in a variety of media by ten contemporary artists whose work investigates the relationships between ecological crisis, communities, individual subjects, and the environment – the result of collaborations between visiting artists and researchers at the NPS field station in the National Seashore.An introductory essay by Peter McMahon, founding director of the Cape Cod Modern House Trust, reflects on the Cape as a site of groundbreaking collaborations between artists, architects, designers, and scientists in the middle of the 20th century, led by visionaries Serge Chermayeff, Bernard Rudofsky, Gyorgy Kepes, and Marcel Breuer. An epistolary essay by NPS cartographer Mark Adams, who is also a painter, meditates on the Outer Cape as a site of community with an uncertain future; Adams’ own work has indicated that a predicted 4000 year timeframe for the Cape’s dunes and sandy shores to erode entirely into the sea may in fact be accelerating under climate change. Contributions by Adams, along with artists Jean Barberis, Joshua Edwards, Marie Lorenz, Nancy Nowacek, Jeff Williams, Lynn Xu, and Marina Zurkow and artist/curators Kendra Sullivan and Dylan Gauthier, who organized the residency and culminating exhibition, present multimodal research into species extinction, terraforming, ecological restoration and regenerative practices, as a window onto the past, present, and future of this unstable place. 30 00 Between Species/Between Spaces assembles text and images resulting from a pilot artistic research residency hosted by the Cape Cod Modern House Trust and the Cape Cod National Seashore in Cape Cod, MA. Artists in the book reflect on the geological forces that are reshaping the landscape and ecology of the Outer Cape which illuminate and to some degree mirror the broader global dynamic of instability, loss, and transition we are facing as a result of anthropogenic climate change. The book collects new artworks in a variety of media by ten contemporary artists whose work investigates the relationships between ecological crisis, communities, individual subjects, and the environment – the result of collaborations between visiting artists and researchers at the NPS field station in the National Seashore.An introductory essay by Peter McMahon, founding director of the Cape Cod Modern House Trust, reflects on the Cape as a site of groundbreaking collaborations between artists, architects, designers, and scientists in the middle of the 20th century, led by visionaries Serge Chermayeff, Bernard Rudofsky, Gyorgy Kepes, and Marcel Breuer. An epistolary essay by NPS cartographer Mark Adams, who is also a painter, meditates on the Outer Cape as a site of community with an uncertain future; Adams’ own work has indicated that a predicted 4000 year timeframe for the Cape’s dunes and sandy shores to erode entirely into the sea may in fact be accelerating under climate change. Contributions by Adams, along with artists Jean Barberis, Joshua Edwards, Marie Lorenz, Nancy Nowacek, Jeff Williams, Lynn Xu, and Marina Zurkow and artist/curators Kendra Sullivan and Dylan Gauthier, who organized the residency and culminating exhibition, present multimodal research into species extinction, terraforming, ecological restoration and regenerative practices, as a window onto the past, present, and future of this unstable place. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0325.1.00_frontcover.jpg 1 03 06 10.53288/0325.1.01 1 4 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access 2 03 06 10.53288/0325.1.02 5 7 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Peter McMahon Peter McMahon Founding Director, Cape Cod Modern House Trust 01 eng 20 00 Open Access Peter McMahon 3 03 06 10.53288/0325.1.03 11 17 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Between Spaces 1 A01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 A01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access Kendra Sullivan Dylan Gauthier 4 03 06 10.53288/0325.1.04 19 34 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Diary from the Southern Corner of the Gulf of Maine, Small Sea Perched above the North Atlantic on the Continental Shelf 1 A01 Mark Adams Mark Adams Mark Adams is a painter, printmaker and cartographer who has worked for the National Park Service on Cape Cod since 1991. He lives in North Truro where his favorite mapping tools are his running shoes. He studied ecology, landscape architecture and scientific illustration at the Univ of California Berkeley, drawing at California College of the Arts. He has worked as a gymnastics coach, forest firefighter and fish taxonomist. A recent retrospective was called “Expedition“ at the Provincetown Art Association Museum (September-October 2017) He is represented by the Schoolhouse Gallery in Provincetown. 01 eng 20 00 Open Access Mark Adams 5 03 06 10.53288/0325.1.05 35 93 49 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Works by the Researchers-in-Residence 1 A01 Mark Adams Mark Adams Mark Adams is a painter, printmaker and cartographer who has worked for the National Park Service on Cape Cod since 1991. He lives in North Truro where his favorite mapping tools are his running shoes. He studied ecology, landscape architecture and scientific illustration at the Univ of California Berkeley, drawing at California College of the Arts. He has worked as a gymnastics coach, forest firefighter and fish taxonomist. A recent retrospective was called “Expedition“ at the Provincetown Art Association Museum (September-October 2017) He is represented by the Schoolhouse Gallery in Provincetown. 2 A01 Jean Barberis Jean Barberis Jean Barberis is a maker, an artist, and a curator but he rarely makes a distinction between the various aspects of his practice. His work almost exclusively revolves around collective initiatives. A native of Provence, Barberis co-founded Flux Factory and is currently the Artistic Director. Barberis is more engaged as an artist in the curatorial process and the ability to foster collaborations while encouraging the production of ambitious new works. His interests are vast and varied and include urban exploration, shoemaking, boat building, and engaging in exchanges and economies outside of the confines of capitalism. 3 A01 Joshua Edwards Joshua Edwards Joshua Edwards is the author of several books of poetry. Born on Galveston Island, he lives with his family in Chicago and West Texas, where he directs a small press, Canarium Books, and works at bookstores. 4 A01 Marie Lorenz Marie Lorenz Brooklyn-based artist Marie Lorenz has been exploring and documenting urban waterfronts for many years. In 2005 she started her Tide and Current Taxi, taking participants through New York City using only the tide,The Tide and Current Taxi is a rowboat taxi operated by Brooklyn based artist Marie Lorenz. Each trip is planned to coincide with strong tidal currents in the New York harbor, all documented with pictures and stories at tideandcurrenttaxi.org. 5 A01 Nancy Nowacek Nancy Nowacek 40 02z43xh36 Stevens Institute of Technology Nancy Nowacek is a Brooklyn-based artist, designer, and educator. Her interests are based in urban design, movement, and communication. She makes art engaged with power and politics of the body in late-capital, post-industrial culture. Her work intervenes into the designed world via sculpture, performance and installations that challenge and shift assumptions of the social and body schema. Nowacek was a 2018 summer fellow at Socrates Sculpture Park, and has previously been supported by a fellowship at Eyebeam, and residencies through the Lower Manhattan Cultural Council, Recess, Signal Fire, and the Sharpe Walentas Studio Program. She teaches at the Stevens Institute of Technology, and organizes exhibitions, panels and events devoted to waterways and climate change as well as bodies and technology. She has presented works in New York, Los Angeles and the Bay Area, Canada, South America, and Europe. 6 A01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 7 A01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 8 A01 Jeff Williams Jeff Williams Jeff Williams was born in Cambridge, Massachusetts in 1976. He now splits his time between Austin, TX and Brooklyn, NY. Williams has been awarded several fellowships and residencies including The American Academy in Rome, The Core Program, Headlands, and most recently at the Recycled Artist In Residency. Solo exhibitions of Williams work include the Jack Hanley Gallery, 1708 Gallery, the Contemporary Austin, and Artpace. Group exhibitions include Museum of Contemporary Art Detroit, Regina Rex, Canada, Socrates Sculpture Park, Museum of Fine Arts Houston, and Lora Reynolds Gallery 9 A01 Lynn Xu Lynn Xu 40 024mw5h28 University of Chicago Lynn Xu was born in Shanghai. She is the author of Debts & Lessons, which was a finalist for the LA Times Poetry Prize, and the chapbook, June. She lives with her family in Marfa, TX, and Chicago, IL, where she teaches at the University of Chicago. 10 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University Marina Zurkow is a media artist focused on near-impossible nature and culture intersections. She uses life science, materials, and technologies – including food, software, animation, clay and other biomaterials – to foster intimate connections between people and non-human agents. Recent solo exhibitions of her work include bitforms gallery in New York; Chronus Art Center, Shanghai; the Montclair Art Museum, New Jersey; Diverseworks, Houston; her work has also been featured at FACT, Liverpool; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; Smithsonian American Art Museum, Washington D.C.; Museum of Fine Arts, Houston; Wave Hill, New York; Borusan Collection, Istanbul; 01SJ Biennial, San Jose; Brooklyn Academy of Music; Museum of the Moving Image, New York; Creative Time, New York; The Kitchen, New York; Ars Electronica, Linz, Austria; Transmediale, Berlin; Eyebeam, New York; Sundance Film Festival, Utah; Rotterdam Film Festival, The Netherlands; and the Seoul Media City Biennial, Korea, among others. Zurkow is a John Simon Guggenheim Memorial Fellow. She has also been granted awards from the New York Foundation for the Arts, New York State Council for the Arts, the Rockefeller Foundation, and Creative Capital. She is represented by bitforms gallery. 01 eng 20 00 Open Access Mark Adams Jean Barberis Joshua Edwards Marie Lorenz Nancy Nowacek Kendra Sullivan & Dylan Gauthier Jeff Williams Lynn Xu Marina Zurkow 6 03 06 10.53288/0325.1.06 95 107 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exhibition Images 1 A01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 A01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access Kendra Sullivan Dylan Gauthier artists 7 03 06 10.53288/0325.1.07 109 128 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Field Notes 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access Kendra Sullivan Dylan Gauthier 8 03 06 10.53288/0325.1.08 129 131 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Participant Bios 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/between-spaces-between-species/ Earth, Milky Way 04 01 20200813 Sullivan, Kendra (0000-0002-7569-4313) Gauthier, Dylan (0000-0002-5094-5614) 02 WORLD 06 15 9781950192953 03 9781950192953 34 06 10.1111/j.1365-294x.2005.02664.x WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192946/ 20 08 20200813 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/between-speciesbetween-spaces-art-and-science-on-the-outer-cape 20 08 20200813 02 22.00 USD WORLD urn:uuid:eea40634-97e1-4e29-afa8-d5664a049a28 03 01 01 thoth-work-id urn:uuid:735d8962-5ec7-41ce-a73a-a43c35cc354f 01 thoth-publication-id urn:uuid:eea40634-97e1-4e29-afa8-d5664a049a28 15 9781950192953 03 9781950192953 06 10.21983/P3.0325.1.00 13 2020940935 01 internal-reference 0325 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Between Species/Between Spaces Art and Science on the Outer Cape 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 00 132 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere 93 RNA 12 RNA 20 art residency; anthropocene; artistic research; ecology; environmental science; environmental art; contemporary art 01 06 02 00 03 00 Between Species/Between Spaces assembles text and images resulting from a pilot artistic research residency hosted by the Cape Cod Modern House Trust and the Cape Cod National Seashore in Cape Cod, MA. Artists in the book reflect on the geological forces that are reshaping the landscape and ecology of the Outer Cape which illuminate and to some degree mirror the broader global dynamic of instability, loss, and transition we are facing as a result of anthropogenic climate change. The book collects new artworks in a variety of media by ten contemporary artists whose work investigates the relationships between ecological crisis, communities, individual subjects, and the environment – the result of collaborations between visiting artists and researchers at the NPS field station in the National Seashore.An introductory essay by Peter McMahon, founding director of the Cape Cod Modern House Trust, reflects on the Cape as a site of groundbreaking collaborations between artists, architects, designers, and scientists in the middle of the 20th century, led by visionaries Serge Chermayeff, Bernard Rudofsky, Gyorgy Kepes, and Marcel Breuer. An epistolary essay by NPS cartographer Mark Adams, who is also a painter, meditates on the Outer Cape as a site of community with an uncertain future; Adams’ own work has indicated that a predicted 4000 year timeframe for the Cape’s dunes and sandy shores to erode entirely into the sea may in fact be accelerating under climate change. Contributions by Adams, along with artists Jean Barberis, Joshua Edwards, Marie Lorenz, Nancy Nowacek, Jeff Williams, Lynn Xu, and Marina Zurkow and artist/curators Kendra Sullivan and Dylan Gauthier, who organized the residency and culminating exhibition, present multimodal research into species extinction, terraforming, ecological restoration and regenerative practices, as a window onto the past, present, and future of this unstable place. 30 00 Between Species/Between Spaces assembles text and images resulting from a pilot artistic research residency hosted by the Cape Cod Modern House Trust and the Cape Cod National Seashore in Cape Cod, MA. Artists in the book reflect on the geological forces that are reshaping the landscape and ecology of the Outer Cape which illuminate and to some degree mirror the broader global dynamic of instability, loss, and transition we are facing as a result of anthropogenic climate change. The book collects new artworks in a variety of media by ten contemporary artists whose work investigates the relationships between ecological crisis, communities, individual subjects, and the environment – the result of collaborations between visiting artists and researchers at the NPS field station in the National Seashore.An introductory essay by Peter McMahon, founding director of the Cape Cod Modern House Trust, reflects on the Cape as a site of groundbreaking collaborations between artists, architects, designers, and scientists in the middle of the 20th century, led by visionaries Serge Chermayeff, Bernard Rudofsky, Gyorgy Kepes, and Marcel Breuer. An epistolary essay by NPS cartographer Mark Adams, who is also a painter, meditates on the Outer Cape as a site of community with an uncertain future; Adams’ own work has indicated that a predicted 4000 year timeframe for the Cape’s dunes and sandy shores to erode entirely into the sea may in fact be accelerating under climate change. Contributions by Adams, along with artists Jean Barberis, Joshua Edwards, Marie Lorenz, Nancy Nowacek, Jeff Williams, Lynn Xu, and Marina Zurkow and artist/curators Kendra Sullivan and Dylan Gauthier, who organized the residency and culminating exhibition, present multimodal research into species extinction, terraforming, ecological restoration and regenerative practices, as a window onto the past, present, and future of this unstable place. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0325.1.00_frontcover.jpg 1 03 06 10.53288/0325.1.01 1 4 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access 2 03 06 10.53288/0325.1.02 5 7 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Peter McMahon Peter McMahon Founding Director, Cape Cod Modern House Trust 01 eng 20 00 Open Access Peter McMahon 3 03 06 10.53288/0325.1.03 11 17 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Between Spaces 1 A01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 A01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access Kendra Sullivan Dylan Gauthier 4 03 06 10.53288/0325.1.04 19 34 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Diary from the Southern Corner of the Gulf of Maine, Small Sea Perched above the North Atlantic on the Continental Shelf 1 A01 Mark Adams Mark Adams Mark Adams is a painter, printmaker and cartographer who has worked for the National Park Service on Cape Cod since 1991. He lives in North Truro where his favorite mapping tools are his running shoes. He studied ecology, landscape architecture and scientific illustration at the Univ of California Berkeley, drawing at California College of the Arts. He has worked as a gymnastics coach, forest firefighter and fish taxonomist. A recent retrospective was called “Expedition“ at the Provincetown Art Association Museum (September-October 2017) He is represented by the Schoolhouse Gallery in Provincetown. 01 eng 20 00 Open Access Mark Adams 5 03 06 10.53288/0325.1.05 35 93 49 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Works by the Researchers-in-Residence 1 A01 Mark Adams Mark Adams Mark Adams is a painter, printmaker and cartographer who has worked for the National Park Service on Cape Cod since 1991. He lives in North Truro where his favorite mapping tools are his running shoes. He studied ecology, landscape architecture and scientific illustration at the Univ of California Berkeley, drawing at California College of the Arts. He has worked as a gymnastics coach, forest firefighter and fish taxonomist. A recent retrospective was called “Expedition“ at the Provincetown Art Association Museum (September-October 2017) He is represented by the Schoolhouse Gallery in Provincetown. 2 A01 Jean Barberis Jean Barberis Jean Barberis is a maker, an artist, and a curator but he rarely makes a distinction between the various aspects of his practice. His work almost exclusively revolves around collective initiatives. A native of Provence, Barberis co-founded Flux Factory and is currently the Artistic Director. Barberis is more engaged as an artist in the curatorial process and the ability to foster collaborations while encouraging the production of ambitious new works. His interests are vast and varied and include urban exploration, shoemaking, boat building, and engaging in exchanges and economies outside of the confines of capitalism. 3 A01 Joshua Edwards Joshua Edwards Joshua Edwards is the author of several books of poetry. Born on Galveston Island, he lives with his family in Chicago and West Texas, where he directs a small press, Canarium Books, and works at bookstores. 4 A01 Marie Lorenz Marie Lorenz Brooklyn-based artist Marie Lorenz has been exploring and documenting urban waterfronts for many years. In 2005 she started her Tide and Current Taxi, taking participants through New York City using only the tide,The Tide and Current Taxi is a rowboat taxi operated by Brooklyn based artist Marie Lorenz. Each trip is planned to coincide with strong tidal currents in the New York harbor, all documented with pictures and stories at tideandcurrenttaxi.org. 5 A01 Nancy Nowacek Nancy Nowacek 40 02z43xh36 Stevens Institute of Technology Nancy Nowacek is a Brooklyn-based artist, designer, and educator. Her interests are based in urban design, movement, and communication. She makes art engaged with power and politics of the body in late-capital, post-industrial culture. Her work intervenes into the designed world via sculpture, performance and installations that challenge and shift assumptions of the social and body schema. Nowacek was a 2018 summer fellow at Socrates Sculpture Park, and has previously been supported by a fellowship at Eyebeam, and residencies through the Lower Manhattan Cultural Council, Recess, Signal Fire, and the Sharpe Walentas Studio Program. She teaches at the Stevens Institute of Technology, and organizes exhibitions, panels and events devoted to waterways and climate change as well as bodies and technology. She has presented works in New York, Los Angeles and the Bay Area, Canada, South America, and Europe. 6 A01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 7 A01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 8 A01 Jeff Williams Jeff Williams Jeff Williams was born in Cambridge, Massachusetts in 1976. He now splits his time between Austin, TX and Brooklyn, NY. Williams has been awarded several fellowships and residencies including The American Academy in Rome, The Core Program, Headlands, and most recently at the Recycled Artist In Residency. Solo exhibitions of Williams work include the Jack Hanley Gallery, 1708 Gallery, the Contemporary Austin, and Artpace. Group exhibitions include Museum of Contemporary Art Detroit, Regina Rex, Canada, Socrates Sculpture Park, Museum of Fine Arts Houston, and Lora Reynolds Gallery 9 A01 Lynn Xu Lynn Xu 40 024mw5h28 University of Chicago Lynn Xu was born in Shanghai. She is the author of Debts & Lessons, which was a finalist for the LA Times Poetry Prize, and the chapbook, June. She lives with her family in Marfa, TX, and Chicago, IL, where she teaches at the University of Chicago. 10 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University Marina Zurkow is a media artist focused on near-impossible nature and culture intersections. She uses life science, materials, and technologies – including food, software, animation, clay and other biomaterials – to foster intimate connections between people and non-human agents. Recent solo exhibitions of her work include bitforms gallery in New York; Chronus Art Center, Shanghai; the Montclair Art Museum, New Jersey; Diverseworks, Houston; her work has also been featured at FACT, Liverpool; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; Smithsonian American Art Museum, Washington D.C.; Museum of Fine Arts, Houston; Wave Hill, New York; Borusan Collection, Istanbul; 01SJ Biennial, San Jose; Brooklyn Academy of Music; Museum of the Moving Image, New York; Creative Time, New York; The Kitchen, New York; Ars Electronica, Linz, Austria; Transmediale, Berlin; Eyebeam, New York; Sundance Film Festival, Utah; Rotterdam Film Festival, The Netherlands; and the Seoul Media City Biennial, Korea, among others. Zurkow is a John Simon Guggenheim Memorial Fellow. She has also been granted awards from the New York Foundation for the Arts, New York State Council for the Arts, the Rockefeller Foundation, and Creative Capital. She is represented by bitforms gallery. 01 eng 20 00 Open Access Mark Adams Jean Barberis Joshua Edwards Marie Lorenz Nancy Nowacek Kendra Sullivan & Dylan Gauthier Jeff Williams Lynn Xu Marina Zurkow 6 03 06 10.53288/0325.1.06 95 107 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exhibition Images 1 A01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 A01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access Kendra Sullivan Dylan Gauthier artists 7 03 06 10.53288/0325.1.07 109 128 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Field Notes 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 01 eng 20 00 Open Access Kendra Sullivan Dylan Gauthier 8 03 06 10.53288/0325.1.08 129 131 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Participant Bios 1 B01 21 0000000275694313 Kendra Sullivan Kendra Sullivan 40 00awd9g61 The Graduate Center, CUNY Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 2 B01 21 0000000250945614 Dylan Gauthier Dylan Gauthier 40 02cmz8k74 Parsons School of Design Kendra Sullivan & Dylan Gauthier (b.1982 & b.1979) are a Brooklyn-based artist duo focused on deep research, eco-poetics, collaboration, public engagement, and the built environment. They co-founded SUNVIEW LUNCHEONETTE, a space for art, politics, and action in Greenpoint, Brooklyn in 2012, and are members of the eco-art collective Mare Liberum. Gauthier holds an MFA from Hunter College, and is faculty at Parsons/The New School. Sullivan is Director of the Seminar on Public Engagement and Collaborative Research at the CUNY Graduate Center, and is a PhD candidate in English (Environmental Humanities) with an MA in Sustainability and Environmental Education. 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/between-spaces-between-species/ Earth, Milky Way 04 01 20200813 Sullivan, Kendra (0000-0002-7569-4313) Gauthier, Dylan (0000-0002-5094-5614) 02 WORLD 06 15 9781950192946 03 9781950192946 34 06 10.1111/j.1365-294x.2005.02664.x WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77435 20 08 20200813 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41245 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41245/0325.1.00.pdf 20 08 20200813 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33441 20 08 20200813 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353820 20 08 20200813 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/735 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/44288fe8-5041-4af1-a60b-3b45fca31804/download 20 08 20200813 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/735d8962-5ec7-41ce-a73a-a43c35cc354f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/735d8962-5ec7-41ce-a73a-a43c35cc354f/735d8962-5ec7-41ce-a73a-a43c35cc354f.pdf 20 08 20200813 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848415 29 ZENODO: download the title https://zenodo.org/records/19848415/files/735d8962-5ec7-41ce-a73a-a43c35cc354f_book.pdf 20 08 20200813 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/between-spaces-between-species/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0325.1.00.pdf 20 08 20200813 01 urn:uuid:5cb98919-21fd-46dc-897a-a5627bfad99a 03 01 01 thoth-work-id urn:uuid:a871cb31-e158-401d-a639-3767131c0f34 01 thoth-publication-id urn:uuid:5cb98919-21fd-46dc-897a-a5627bfad99a 15 9780692652831 03 9780692652831 06 10.21983/P3.0135.1.00 01 internal-reference 0135 00 BC 10 01 181 mm 01 18.1 cm 01 7.13 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Bigger Than You Big Data and Obesity 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 01 eng 00 70 03 B2 Art+Aesthetics 12 JFC 10 PHI001000 93 QDTN 93 JBFV5 B2 Media+Technology 20 big data; computing; cultural studies; obesity; technology 01 06 02 00 03 00 In her first inquiry toward a decelerationist aesthetics, Katherine Behar explores in this essay chapbook the rise of two “big deal” contemporary phenomena, big data and obesity. In both, scale rearticulates the human as a diffuse informational pattern, causing important shifts in political form as well as aesthetic form. Bigness redraws relationships between the singular and the collective. Understood as informational patterns, collectives can be radically inclusive, even incorporating nonhumans. As a result, the political subject is slowly becoming a new object. This social and informational body belongs to no single individual, but is shared in solidarity with something “bigger than you.”In decelerationist aesthetics, the aesthetic properties, proclivities, and performances of objects come to defy the accelerationist imperative to be nimbly individuated. Decelerationist aesthetics rejects atomistic, liberal, humanist subjects; this unit of self is too consonant with capitalist relations and functions. Instead, decelerationist aesthetics favors transhuman sociality embodied in particulate, mattered objects; the aesthetic form of such objects resists capitalist speed and immediacy by taking back and taking up space and time. In just this way, big data calls into question the conventions by which humans are defined as discrete entities, and individual scales of agency are made to form central binding pillars of social existence through which bodies are drawn into relations of power and pathos 30 00 In her first inquiry toward a decelerationist aesthetics, Katherine Behar explores in this essay chapbook the rise of two “big deal” contemporary phenomena, big data and obesity. In both, scale rearticulates the human as a diffuse informational pattern, causing important shifts in political form as well as aesthetic form. Bigness redraws relationships between the singular and the collective. Understood as informational patterns, collectives can be radically inclusive, even incorporating nonhumans. As a result, the political subject is slowly becoming a new object. This social and informational body belongs to no single individual, but is shared in solidarity with something “bigger than you.”In decelerationist aesthetics, the aesthetic properties, proclivities, and performances of objects come to defy the accelerationist imperative to be nimbly individuated. Decelerationist aesthetics rejects atomistic, liberal, humanist subjects; this unit of self is too consonant with capitalist relations and functions. Instead, decelerationist aesthetics favors transhuman sociality embodied in particulate, mattered objects; the aesthetic form of such objects resists capitalist speed and immediacy by taking back and taking up space and time. In just this way, big data calls into question the conventions by which humans are defined as discrete entities, and individual scales of agency are made to form central binding pillars of social existence through which bodies are drawn into relations of power and pathos 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0135.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/bigger-than-you-big-data-and-obesity/ Earth, Milky Way 04 01 20160303 Behar, Katherine 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692652833 20 08 20160303 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/bigger-than-you-big-data-and-obesity 20 08 20160303 02 21.00 USD WORLD urn:uuid:163be883-3ab2-4316-98e2-19e1bd473f53 03 01 01 thoth-work-id urn:uuid:a871cb31-e158-401d-a639-3767131c0f34 01 thoth-publication-id urn:uuid:163be883-3ab2-4316-98e2-19e1bd473f53 06 10.21983/P3.0135.1.00 01 internal-reference 0135 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Bigger Than You Big Data and Obesity 1 A01 21 0009000376626704 Katherine Behar Katherine Behar 40 023qavy03 Baruch College 01 eng 00 70 03 B2 Art+Aesthetics 12 JFC 10 PHI001000 93 QDTN 93 JBFV5 B2 Media+Technology 20 big data; computing; cultural studies; obesity; technology 01 06 02 00 03 00 In her first inquiry toward a decelerationist aesthetics, Katherine Behar explores in this essay chapbook the rise of two “big deal” contemporary phenomena, big data and obesity. In both, scale rearticulates the human as a diffuse informational pattern, causing important shifts in political form as well as aesthetic form. Bigness redraws relationships between the singular and the collective. Understood as informational patterns, collectives can be radically inclusive, even incorporating nonhumans. As a result, the political subject is slowly becoming a new object. This social and informational body belongs to no single individual, but is shared in solidarity with something “bigger than you.”In decelerationist aesthetics, the aesthetic properties, proclivities, and performances of objects come to defy the accelerationist imperative to be nimbly individuated. Decelerationist aesthetics rejects atomistic, liberal, humanist subjects; this unit of self is too consonant with capitalist relations and functions. Instead, decelerationist aesthetics favors transhuman sociality embodied in particulate, mattered objects; the aesthetic form of such objects resists capitalist speed and immediacy by taking back and taking up space and time. In just this way, big data calls into question the conventions by which humans are defined as discrete entities, and individual scales of agency are made to form central binding pillars of social existence through which bodies are drawn into relations of power and pathos 30 00 In her first inquiry toward a decelerationist aesthetics, Katherine Behar explores in this essay chapbook the rise of two “big deal” contemporary phenomena, big data and obesity. In both, scale rearticulates the human as a diffuse informational pattern, causing important shifts in political form as well as aesthetic form. Bigness redraws relationships between the singular and the collective. Understood as informational patterns, collectives can be radically inclusive, even incorporating nonhumans. As a result, the political subject is slowly becoming a new object. This social and informational body belongs to no single individual, but is shared in solidarity with something “bigger than you.”In decelerationist aesthetics, the aesthetic properties, proclivities, and performances of objects come to defy the accelerationist imperative to be nimbly individuated. Decelerationist aesthetics rejects atomistic, liberal, humanist subjects; this unit of self is too consonant with capitalist relations and functions. Instead, decelerationist aesthetics favors transhuman sociality embodied in particulate, mattered objects; the aesthetic form of such objects resists capitalist speed and immediacy by taking back and taking up space and time. In just this way, big data calls into question the conventions by which humans are defined as discrete entities, and individual scales of agency are made to form central binding pillars of social existence through which bodies are drawn into relations of power and pathos 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0135.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/bigger-than-you-big-data-and-obesity/ Earth, Milky Way 04 01 20160303 Behar, Katherine 02 WORLD 06 15 9780692652831 03 9780692652831 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76502 20 08 20160303 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25490 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25490/1004605.pdf?sequence=1&isAllowed=y 20 08 20160303 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29533 20 08 20160303 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354028 20 08 20160303 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/517 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/030ed9e5-a9b1-43d9-bc8b-a33f06965184/download 20 08 20160303 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Bigger_Than_You_Big_Data_and_Obesity/FASVEAAAQBAJ 20 08 20160303 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a871cb31-e158-401d-a639-3767131c0f34 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a871cb31-e158-401d-a639-3767131c0f34/a871cb31-e158-401d-a639-3767131c0f34.pdf 20 08 20160303 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846495 29 ZENODO: download the title https://zenodo.org/records/19846495/files/a871cb31-e158-401d-a639-3767131c0f34_book.pdf 20 08 20160303 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/bigger-than-you-big-data-and-obesity/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0135.1.00.pdf 20 08 20160303 01 urn:uuid:e3fd521d-cc6f-4850-8162-f21e8f104faf 03 01 01 thoth-work-id urn:uuid:1d014946-aa73-4fae-9042-ef8830089f3c 01 thoth-publication-id urn:uuid:e3fd521d-cc6f-4850-8162-f21e8f104faf 15 9780615838625 03 9780615838625 06 10.21983/P3.0035.1.00 01 internal-reference 0035 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Blasting the Canon 1 B01 Ruth Kinna Ruth Kinna 40 04vg4w365 Loughborough University 2 B01 Süreyyya Evren Süreyyya Evren 01 eng 00 246 03 B2 Cultural Studies+Critical Theory 93 JPFB 12 JPWJ 10 POL042010 B2 New Left Thought 93 QDTS 20 anarchism; theory; post-anarchism 01 06 02 00 03 00 What’s left to say about the anarchist canon? One answer might be that reflecting on the canon’s construction can help reveal something about the ways in which anarchism has been misunderstood. Another possibility is that it locates anarchism — in all its diversity and complexity — in particular geographical and historical locations. The canon not only establishes the parameters of anarchist theory, it sets them in a particular (European) context, serving as a springboard for subsequent revisions, developments and critiques. The canon describes a classic form, to use George Woodcock’s term – it benchmarks anarchism. Who constructed it, where did it come from — what are the implications of its reification in contemporary anarchist studies? How successful have recent critiques been in overcoming the limitations that canonical study has encouraged? What are the risks of leaving the canon intact, even if as a target for critique? Should anarchists worry about the explosion of the canon if the result is to include as ‘anarchist’ philosophers or movements who do identify with anarchist traditions? What does self-identification mean in the absence of a canon? Does the rejection of the canon imply the rejection of an anarchist history of ideas, and if such a history remains important in anarchism, how should it be approached and understood? In this special issue of Anarchist Developments in Cultural Studies (Issue 2013.1) edited by Ruth Kinna and Süreyyya Evren, noted anarchist scholars explore these questions. 30 00 What’s left to say about the anarchist canon? One answer might be that reflecting on the canon’s construction can help reveal something about the ways in which anarchism has been misunderstood. Another possibility is that it locates anarchism — in all its diversity and complexity — in particular geographical and historical locations. The canon not only establishes the parameters of anarchist theory, it sets them in a particular (European) context, serving as a springboard for subsequent revisions, developments and critiques. The canon describes a classic form, to use George Woodcock’s term – it benchmarks anarchism. Who constructed it, where did it come from — what are the implications of its reification in contemporary anarchist studies? How successful have recent critiques been in overcoming the limitations that canonical study has encouraged? What are the risks of leaving the canon intact, even if as a target for critique? Should anarchists worry about the explosion of the canon if the result is to include as ‘anarchist’ philosophers or movements who do identify with anarchist traditions? What does self-identification mean in the absence of a canon? Does the rejection of the canon imply the rejection of an anarchist history of ideas, and if such a history remains important in anarchism, how should it be approached and understood? In this special issue of Anarchist Developments in Cultural Studies (Issue 2013.1) edited by Ruth Kinna and Süreyyya Evren, noted anarchist scholars explore these questions. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0035.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprint/anarchist-developments-in-cultural-studies/ Anarchist Developments in Cultural Studies 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/blasting-the-canon/ Brooklyn, NY 04 01 20130625 Kinna, Ruth Evren, Süreyyya 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615838626 20 08 20130625 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/blasting-the-canon 20 08 20130625 02 24.00 USD WORLD urn:uuid:192dbf8d-30c0-4621-b281-227c914bebe3 03 01 01 thoth-work-id urn:uuid:1d014946-aa73-4fae-9042-ef8830089f3c 01 thoth-publication-id urn:uuid:192dbf8d-30c0-4621-b281-227c914bebe3 06 10.21983/P3.0035.1.00 01 internal-reference 0035 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Blasting the Canon 1 B01 Ruth Kinna Ruth Kinna 40 04vg4w365 Loughborough University 2 B01 Süreyyya Evren Süreyyya Evren 01 eng 00 246 03 B2 Cultural Studies+Critical Theory 93 JPFB 12 JPWJ 10 POL042010 B2 New Left Thought 93 QDTS 20 anarchism; theory; post-anarchism 01 06 02 00 03 00 What’s left to say about the anarchist canon? One answer might be that reflecting on the canon’s construction can help reveal something about the ways in which anarchism has been misunderstood. Another possibility is that it locates anarchism — in all its diversity and complexity — in particular geographical and historical locations. The canon not only establishes the parameters of anarchist theory, it sets them in a particular (European) context, serving as a springboard for subsequent revisions, developments and critiques. The canon describes a classic form, to use George Woodcock’s term – it benchmarks anarchism. Who constructed it, where did it come from — what are the implications of its reification in contemporary anarchist studies? How successful have recent critiques been in overcoming the limitations that canonical study has encouraged? What are the risks of leaving the canon intact, even if as a target for critique? Should anarchists worry about the explosion of the canon if the result is to include as ‘anarchist’ philosophers or movements who do identify with anarchist traditions? What does self-identification mean in the absence of a canon? Does the rejection of the canon imply the rejection of an anarchist history of ideas, and if such a history remains important in anarchism, how should it be approached and understood? In this special issue of Anarchist Developments in Cultural Studies (Issue 2013.1) edited by Ruth Kinna and Süreyyya Evren, noted anarchist scholars explore these questions. 30 00 What’s left to say about the anarchist canon? One answer might be that reflecting on the canon’s construction can help reveal something about the ways in which anarchism has been misunderstood. Another possibility is that it locates anarchism — in all its diversity and complexity — in particular geographical and historical locations. The canon not only establishes the parameters of anarchist theory, it sets them in a particular (European) context, serving as a springboard for subsequent revisions, developments and critiques. The canon describes a classic form, to use George Woodcock’s term – it benchmarks anarchism. Who constructed it, where did it come from — what are the implications of its reification in contemporary anarchist studies? How successful have recent critiques been in overcoming the limitations that canonical study has encouraged? What are the risks of leaving the canon intact, even if as a target for critique? Should anarchists worry about the explosion of the canon if the result is to include as ‘anarchist’ philosophers or movements who do identify with anarchist traditions? What does self-identification mean in the absence of a canon? Does the rejection of the canon imply the rejection of an anarchist history of ideas, and if such a history remains important in anarchism, how should it be approached and understood? In this special issue of Anarchist Developments in Cultural Studies (Issue 2013.1) edited by Ruth Kinna and Süreyyya Evren, noted anarchist scholars explore these questions. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0035.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprint/anarchist-developments-in-cultural-studies/ Anarchist Developments in Cultural Studies 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/blasting-the-canon/ Brooklyn, NY 04 01 20130625 Kinna, Ruth Evren, Süreyyya 02 WORLD 06 15 9780615838625 03 9780615838625 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354036 20 08 20130625 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/415 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/af1fe20b-4878-48cd-8e0b-e144851b9338/download 20 08 20130625 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1d014946-aa73-4fae-9042-ef8830089f3c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1d014946-aa73-4fae-9042-ef8830089f3c/1d014946-aa73-4fae-9042-ef8830089f3c.pdf 20 08 20130625 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825047 29 ZENODO: download the title https://zenodo.org/records/19825047/files/1d014946-aa73-4fae-9042-ef8830089f3c_book.pdf 20 08 20130625 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/blasting-the-canon/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0035.1.00.pdf 20 08 20130625 01 urn:uuid:7228bf51-75e9-462b-8ccb-c93990006380 03 01 01 thoth-work-id urn:uuid:940d0880-83b5-499d-9f39-1bf30ccfc4d0 01 thoth-publication-id urn:uuid:7228bf51-75e9-462b-8ccb-c93990006380 15 9781953035301 03 9781953035301 06 10.21983/P3.0315.1.00 13 2020951163 01 internal-reference 0315 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Book of Anonymity 1 B01 Anon Collective Anon Collective 01 eng 00 486 03 10 COM079010 B2 Cultural Studies+Critical Theory 12 URD 93 URY 10 COM079000 B2 Media+Technology 93 URD 12 UYZ 93 JBCT1 10 SOC071000 20 Anonymity; Data Security,; Surveillance; Personhood; Privacy; Digital Cultures; Art-Science Collaboration 01 06 02 00 03 00 Anonymity is highly contested, marking the limits of civil liberties and legality. Digital technologies of communication, identification, and surveillance put anonymity to the test. They challenge how anonymity can be achieved, and dismantled. Everyday digital practices and claims for transparency shape the ways in which anonymity is desired, done, and undone.<break/>The Book of Anonymity includes contributions by artists, anthropologists, sociologists, media scholars, and art historians. It features ethnographic research, conceptual work, and artistic practices conducted in France, Germany, India, Iran, Switzerland, the UK, and the US. From police to hacking cultures, from Bitcoin to sperm donation, from Yik-Yak to Amazon and IKEA, from DNA to Big Data — thirty essays address how the reconfiguration of anonymity transforms our concepts of privacy, property, self, kin, addiction, currency, and labor. 30 00 Anonymity is highly contested, marking the limits of civil liberties and legality. Digital technologies of communication, identification, and surveillance put anonymity to the test. They challenge how anonymity can be achieved, and dismantled. Everyday digital practices and claims for transparency shape the ways in which anonymity is desired, done, and undone.<break/>The Book of Anonymity includes contributions by artists, anthropologists, sociologists, media scholars, and art historians. It features ethnographic research, conceptual work, and artistic practices conducted in France, Germany, India, Iran, Switzerland, the UK, and the US. From police to hacking cultures, from Bitcoin to sperm donation, from Yik-Yak to Amazon and IKEA, from DNA to Big Data — thirty essays address how the reconfiguration of anonymity transforms our concepts of privacy, property, self, kin, addiction, currency, and labor. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0315.1.00_frontcover.png 1 03 06 10.53288/0315.1.01 1 5 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Anon Collective Anon Collective 01 eng 20 00 Open Access 2 03 06 10.53288/0315.1.02 6 9 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Writing Anonymity 1 A01 Anon Collective Anon Collective 01 eng 20 00 Open Access Anon Collective 3 03 06 10.53288/0315.1.03 16 34 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Toward a Kaleidoscopic Understanding of Anonymity 1 A01 Götz Bachmann Götz Bachmann 40 02w2y2t16 Leuphana University of Lüneburg Götz Bachmann is Professor for Digital Cultures and Senior Researcher at the Centre for Digital Cultures at Leuphana University Lüneburg, Germany. Along with Michi Knecht, he is Co-Speaker of the project “Recon- figuring Anonymity.” Together with Andreas Wittel they co-edited a special edition of the ephemera Journal on the “Social Productivity of Anonymity”. He is an ethnographer by trade, and the author of a monograph on “Kollegialität” (collegiality.) His ongoing research looks at radical engineers in the San Francisco Bay Area. 2 A01 21 0000000300381790 Julien McHardy Julien McHardy Julien McHardy is a sociologist of technology, curator, designer and publisher concerned with methods for working and thinking across different fields of expertise and experience. His work at the intersection of the arts, design, research and publishing is collaborative involving changing constellations of people and institutions. He co-founded the open access publisher Mattering Press and ScholarLed, a collective of academic led open access presses. 06 Own website https://www.julienmchardy.info/ 3 A01 Michi Knecht Michi Knecht 40 04ers2y35 University of Bremen Michi Knecht is Professor for Social Anthropology and one of the speakers of the Worlds of Contradiction- Platform at Bremen University. Her research focuses on interconnections between knowledge practices and social forms. At the intersections of Anthropology and STS she has investigated reproductive technologies, political and religious movements, anonymity and new forms of kinship. With Michael Flitner and Friederike Gesing she has co-founded the Bremen NatureCultures Lab, a small think tank for new research designs in human-body, human-other species and human-environ- ment relations. Other Anonymity related Publications: “The Social Productivity of Anonymity” (ephemera 17/2, with Andreas Wittel and Götz Bachmann) 4 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Götz Bachmann Julien McHardy Michi Knecht Nils Zurawski 4 03 06 10.53288/0315.1.04 35 67 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Artistic Research on Anonymity 1 A01 Daniela Silvestrin Daniela Silvestrin Daniela Silvestrin is a Berlin-based curator, cultural researcher, programme developer and organises interna- tional cultural projects. Her work focuses on hybrid artistic practices and the production of knowledge where art, society, technology and the natural sciences meet. Since 2011, Daniela has worked for various festivals, art projects, exhibitions, and is co-editor of various publications 06 Own website https://danielasilvestrin.info/ 2 A01 21 0000000163229062 Andreas Broeckmann Andreas Broeckmann 40 03hzkp562 Hochschule für Grafik und Buchkunst Leipzig Andreas Broeckmann is an art historian and curator who lives in Berlin. Currently Visiting Professor for Art His- tory and Media Theory at the Academy of Fine Arts, Leipzig (HGB–Hochschule für Grafik und Buchkunst, 2017–2020) and engaged in the research and documentation project, Les Immateriaux Research. From 2011–2016 he directed the Leuphana Arts Program of Leuphana University Lüneburg. He was the Founding Director of the Dortmunder U – Centre for Art and Creativity (2009–2011) and has curated exhibitions and festivals in major European venues, incl. transmediale and ISEA2010 RUHR. He holds a Ph.D. in Art History from the University of East Anglia, Norwich/UK, and lectures internationally about the history of modern art, media theory, machine aesthetics, and digital culture. He is the author of Machine Art in the Twentieth Century (MIT-Press, 2016). 01 eng 20 00 Open Access Daniela Silvestrin Andreas Broeckmann 5 03 06 10.53288/0315.1.05 70 87 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity and Transgression 1 A01 21 0000000169670086 Jacob Copeman Jacob Copeman 40 01nrxwf90 University of Edinburgh Jacob Copeman is Senior Lecturer in Social Anthropology at the University of Edinburgh. His most recent book, co-authored with Dwaipayan Banerjee, is Hematologies: The Political Life of Blood in India (2019). He is also the author of Veins of Devotion: Blood Donation and Religious Experience in North India (2009) and editor or co-editor of Blood Donation, Bioeconomy, Culture (2009), The Guru in South Asia: New Interdisciplinary Perspectives (2012), South Asian Tissue Economies (2013), Social Theory After Strathern (2014), On Names in South Asia: Iteration, (Im)propriety and Dissimulation (2015), and Fake: Anthro- pological Keywords (2018). 2 A01 21 000000019786796X Dwaipayan Banerjee Dwaipayan Banerjee 40 042nb2s44 Massachusetts Institute of Technology Dwaipayan Banerjee is an Assistant Professor of Science, Technology, and Society (STS) at MIT. His first book Hematologies: The Political Life of Blood in India (Cornell University Press, forthcoming December 2019) is co- written with anthropologist Jacob Copeman. Hematologies examines how the giving and receiving of blood has shaped social and political life in north India in the twentieth and twenty-first centuries. Professor Banerjee’s second book, Enduring Cancer: Life, Death and Diagnosis in Delhi (Duke University Press, forthcoming August 2020), is an ethnography of the experience of living with cancer in India. 01 eng 20 00 Open Access Jacob Copeman Dwaipayan Banerjee 6 03 06 10.53288/0315.1.06 88 109 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity The Politicisation of a Concept 1 A01 21 000000024261118X Thorsten Thiel Thorsten Thiel 40 023kksk09 Weizenbaum Institute for the Networked Society Thorsten Thiel is head of the research group “Democracy and Digitalisation” at the Weizenbaum Institute for the Networked Society in Berlin. 01 eng 20 00 Open Access Thorsten Thiel 7 03 06 10.53288/0315.1.07 110 115 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 USAE 1 A01 Heath Bunting Heath Bunting Heath Bunting has exhibited, performed and taught internationally for over 25 years. As a young adult, he undertook a three year apprenticeship in stained glass. After this, Heath spent several years roaming both Bristol and London as a street artist as well as distributing thousands of art-works via postal and fax networks. During the rise of the internet, he was a key participant of the net.art movement. Within this time he founded irational. org. He has setup and run multiple radio transmission and listening stations internationally. In his current work, The Status Project, he uses artificial intelligence to search for artificial life in both societal and natural systems. 06 Own website http://www.irational.org/heath/ 01 eng 20 00 Open Access Heath Bunting 8 03 06 10.53288/0315.1.08 116 141 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Big Data’s End Run around Anonymity and Consent 1 A01 21 000000034577466X Solon Barocas Solon Barocas 40 05bnh6r87 Cornell University Solon Barocas is a Principal Researcher in the New York City lab of Microsoft Research and an Assistant Professor in the Department of Information Science at Cornell University. He is also a Faculty Associate at the Berkman Klein Center for Internet & Society at Harvard University. His research explores ethical and policy issues in artificial intelligence. Borocas co-founded the annual workshop on Fairness, Accountability, and Transparency in Machine Learning (FAT / ML) and later established the ACM conference on Fairness, Accountability, and Transparency (FAT*). 2 A01 21 0000000264856997 Helen Nissenbaum Helen Nissenbaum 40 05bnh6r87 Cornell University Helen Nissenbaum is a Professor at Cornell Tech and in the Information Science Department at Cornell University. Her research takes an ethical perspective on policy, law, science, and engineering relating to information technology, computing, digital media and data science. Topics have included privacy, trust, accountability, security, and values in technology design. Her books include Obfuscation: A User's Guide for Privacy and Protest, with Finn Brunton (MIT Press, 2015) and Privacy in Context: Technology, Policy, and the Integrity of Social Life (Stanford, 2010). 01 eng 20 00 Open Access Solon Barocas Helen Nissenbaum 9 03 06 10.53288/0315.1.09 142 150 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A List of Famous Artists Who Used to Be Invigilators 1 A01 Simon Farid Simon Farid Simon Farid is a sometime artist and moretime gallery guard at an art institution in central London. He makes work exploring and exploiting this dual position through collaborative, secret, public or personal approaches across academia, fine art practices, fashion and live performance. Thinking about the different meanings of collaboration, Farid examines the difficult complicities of working with, within, for and against formal art institutions, from the position of a low-level frontline gallery worker. 06 Own website https://simonfarid.com/ 01 eng 20 00 Open Access Simon Farid 10 03 06 10.53288/0315.1.10 151 166 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity as Everyday Phenomenon and as a Topic of Research 1 A01 21 0000000224573335 Gertraud Koch Gertraud Koch 40 00g30e956 Universität Hamburg Gertraud Koch is a Professor and head of the Institute of European Ethnology/Cultural Anthropology at University of Hamburg and a member of the expert committee “Intangible Cultural Heritage” of the German Commission for UNESCO. For many years, her main research focuses on cultural diversity, social inclusion, digital cultures, and knowledge anthropology. Recent publication: Digitzation. Theories and Concepts for empirical cultural research. Routledge 2017. 01 eng 20 00 Open Access Gertraud Koch 11 03 06 10.53288/0315.1.11 167 185 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity on Demand The Great Offshore 1 A01 RYBN.ORG RYBN.ORG RYBN.ORG is an art research collective, created in 1999, based in Paris. RYBN.ORG conducts extra-disciplinary investigations towards contemporary socio-technical systems, such as: algorithmic trading, high-frequencymarkets infrastructures, network protocols, offshore finance governance, Artificial Artificial Intelligence, etc. The works of RYBN.ORG have been shown in numerous contemporary art exhibitions such as Open Codes (ZKM, 2019), The Great Offshore (Espace Multimédia Gantner, 2017), Nervöse System (HKW, 2015), Media Mediums (Ygrec, 2014) Gutes Böses Geld (Kunsthalle Baden-Baden, 2014), Infosphäre (ZKM, 2014), Requiem for a Bank (HMKV, 2013), 2062 (la Gaîté lyrique, 2012), The Global Contemporary (ZKM, 2011), El Processo Como Paradigma (LABoral, 2010), Stock Overflow (iMAL, 2009). 06 Own website http://rybn.org/ 01 eng 20 00 Open Access RYBN.ORG 12 03 06 10.53288/0315.1.12 188 209 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 DNA Works! Merging Genetics and the Digital Realm 1 A01 Amelie Baumann Amelie Baumann 40 046ak2485 Freie Universität Berlin Amelie Baumann is a postdoctoral research associate at Freie Universität Berlin, where she is a member of the CRC 1171 “Affective Societies”. She is currently preparing an ethnographic research project on Covid-19 and aging /being old in Germany. Prior to that, she was a doc- toral student at the University of Bremen and a member of the research group “Reconfiguring Anonymity”. In her Ph.D. thesis, which she defended in October 2020, she ethnographically explored the transformation of ano- nymity in gamete donation in the UK and Germany by focusing on the knowledge practices and politics of donor-conceived persons. 01 eng 20 00 Open Access Amelie Baumann 13 03 06 10.53288/0315.1.13 210 225 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sanitary Policy and the Policy of Anonymity Notes about a Game on Endocrine Disruptors 1 A01 Bureau d'études Bureau d'études Bureau d'études are a French conceptual art group founded in 1998 by Léonore Bonaccini and Xavier Fourt. During 20 years, the group develops research on the structures of power and capitalism. The group lives now in the countryside and works on a scale 1:1 collective project across agriculture, commons and resymbolizing researches (www.fermedelamhotte.fr). Bureau d’études is co-founder of the Laboratory Planet collective&journal (www.laboratoryplanet.org) and of the Aliens in Green project (www.aliensingreen.eu) a participatory action combining hands-on DIY science protocols, xenopolitical role-play and queering rituals. 06 Own website https://bureaudetudes.org/ 01 eng 20 00 Open Access Bureau d'études 14 03 06 10.53288/0315.1.14 226 254 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Where Do the Data Live? 1 A01 Randi Heinrichs Randi Heinrichs 40 02w2y2t16 Leuphana University of Lüneburg Randi Heinrichs is a Ph.D. candidate at the Leuphana University, Luneburg, where she is working on her dis- sertation on anonymity, social media platforms and (data-)neighbourhoods. Her research interests, teaching, and writing are located at the intersections of digital cultures, technology, and questions around anonymity, security, fairness and discrimination. She is an alumni of the Algorithmic Fairness and Opacity Group at UC Berkeley, USA and affiliated with the Digital Democracies Group at Simon Fraser University, Canada. She is also a member of the editorial board of the journal spheres and a collective member of ephemera. 01 eng 20 00 Open Access Randi Heinrichs 15 03 06 10.53288/0315.1.15 255 274 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fraught Platform Governmentality Anonymity, Content Moderation and Regulatory Strategies over Yik Yak 1 A01 21 0000000241205550 Abigail Curlew Abigail Curlew 40 02qtvee93 Carleton University Abigail Curlew is a journalist, doctoral researcher, and transfeminist who specializes in advocacy around LGBTQ+ human rights, surveillance studies, and research around social media, doxxing, and online vigilantes. Abigail currently holds a Pierre Elliot Trudeau Foundation doctoral scholarship and a Social Science and Human- ities Research Council (SSHRC) doctoral fellowship for her research examining practices of do-it-yourself (DIY) policing and surveillance used against trans feminine activists, journalists, and scholars by anti-transgender trolls. 01 eng 20 00 Open Access Abigail Curlew 16 03 06 10.53288/0315.1.16 275 285 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity Obsolescence and Desire 1 A01 Aram Bartholl Aram Bartholl Aram Bartholl uses sculptural interventions, installations, and performative workshops to question our engagement with media and with public economies linked to social net- works, online platforms, and digital dissemination strategies. He addresses socially relevant topics, including surveillance, data privacy and technology dependence, through his work by transferring the gaps, contradictions, and absurdities of our everyday digital lives to physical settings. The effect is twofold. The works create an at-times bizarre confrontation with our own ignorance of globally active platform capitalism, and they renegotiate network activities as political forms of participation on an analog level using the potential of public space. 06 Own website https://arambartholl.com/ 01 eng 20 00 Open Access Aram Bartholl 17 03 06 10.53288/0315.1.17 286 290 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Policing Normality Police Work, Anonymity and a Sociology of the Mundane 1 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Nils Zurawski 18 03 06 10.53288/0315.1.18 294 305 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Amazonian Flesh How to Hang in Trees during Strike? 1 A01 knowbotiq knowbotiq knowbotiq (Yvonne Wilhelm, Christian Huebler) is an artist group experimenting with forms and medialities of knowledge, political representation, and epistemic disobedience. Recent projects investigate and enact political landscapes with a focus on algorithmic governmentalities, libidinous and affective economies, and postcolonial violence. Through various formats (per- formative settings, critical fabulations, inventions, encounters) the group explores molecular, psychotrope and derivative aesthetics. knowbotiq.net / Nina Bandi is a political philosopher who is interested in the overlapping of speculative thought, artistic practices, and the political. Based in Zurich and Vienna, she works on questions of non-/representation and the relation between bodies, technology, and materiality from a feminist and postcolonial perspective. From 2015–2019, she was part of the research project “What Can Art Do” at Lucerne School of Art and Design. (The texts of knowbotiq for Amazonian Flesh were written in collaboration with Nina Bandi.) 06 Own website https://www.knowbotiq.net/ 2 A01 Nina Bandi Nina Bandi 01 eng 20 00 Open Access knowbotiq Nina Bandi 19 03 06 10.53288/0315.1.19 306 325 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Proximity, Distance and State Powers Policing Practices and the Regulation of Anonymity 1 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Nils Zurawski 20 03 06 10.53288/0315.1.20 326 335 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dual Reality (Un)Observed Magic in the Workplace 1 A01 21 0000000182966041 Paula Bialski Paula Bialski 40 0561a3s31 University of St. Gallen Paula Bialski is appointed Associated Professor of Sociology and digitalisation at University of St. Gallen. She is an ethnographer of new media in everyday life, looking at contexts of usage as well as production, and she frames her research within cultural, social and media theory in general, and science and technology studies in particular. The goal of her current research project, titled “Programmer Worlds,” is to investigate the way in which everyday practices of corporate software developers affect our digital infrastructures. She has been an affiliated member of the “Reconfiguring Anonymity” research group since its inception in 2013. 2 A01 Simon Farid Simon Farid Simon Farid is a sometime artist and moretime gallery guard at an art institution in central London. He makes work exploring and exploiting this dual position through collaborative, secret, public or personal approaches across academia, fine art practices, fashion and live performance. Thinking about the different meanings of collaboration, Farid examines the difficult complicities of working with, within, for and against formal art institutions, from the position of a low-level frontline gallery worker. 06 Own website https://simonfarid.com/ 20 00 Open Access Paula Bialski Simon Farid 21 03 06 10.53288/0315.1.21 336 339 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Provisional Manifesto for Invigilator-Friendly Artworks, or Your Artwork Is an Invigilator’s Labor Conditions 1 A01 Simon Farid Simon Farid Simon Farid is a sometime artist and moretime gallery guard at an art institution in central London. He makes work exploring and exploiting this dual position through collaborative, secret, public or personal approaches across academia, fine art practices, fashion and live performance. Thinking about the different meanings of collaboration, Farid examines the difficult complicities of working with, within, for and against formal art institutions, from the position of a low-level frontline gallery worker. 06 Own website https://simonfarid.com/ 01 eng 20 00 Open Access 22 03 06 10.53288/0315.1.22 340 345 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Care or Control? Police, Youth and Mutual Anonymity 1 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Nils Zurawski 23 03 06 10.53288/0315.1.23 346 353 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 She Remembers 1 A01 Parastou Forouhar Parastou Forouhar Parastou Forouhar (born 1962 in Tehran) is an Iranian installation artist who lives and works in Germany. Forouhar’s art reflects her criticism of the Iranian govern- ment and often plays with the ideas of identity. Her artwork expresses a critical response towards the politics in Iran and Islamic Fundamentalism. The loss of her parents fuels Forouhar’s work and challenges viewers to take a stand on war crimes against innocent citizens. 06 Own website https://www.parastou-forouhar.de/ 01 eng 20 00 Open Access Parastou Forouhar 24 03 06 10.53288/0315.1.24 356 378 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Collective Pleasures of Anonymity From Public Restrooms to 4chan and Chatroulette 1 A01 21 0000000221169054 Daniël de Zeeuw Daniël de Zeeuw 40 04dkp9463 University of Amsterdam Daniël de Zeeuw is a Ph.D. candidate at the Amsterdam School for Cultural Analysis and Lecturer New Media at the University of Amsterdam. He is also a member of the Open Intelligence Lab, editor at Krisis, Journal for Contemporary Philosophy, and affiliated researcher at the Institute of Network Cultures. Working at the intersec- tion of media and cultural studies, his current research focuses on fringe digital subcultures on 4chan and Reddit as post-truth laboratories of conspiracy theories, junk news, political extremism and memes that have become increasingly influential in recent years, and that cast a critical light on the vicissitudes of our hyper- mediatized, global digital condition. 01 eng 20 00 Open Access Daniël de Zeeuw 25 03 06 10.53288/0315.1.25 379 393 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Transformella Malor Ikeae InnerCity Ikeality [4.4.6.11] 1 A01 Transformella Malor Ikeae (cared for by JP Raether) Transformella Transformella is an Artificial Identity, a SelfSister and an alteridentitarian aLifveForm, assembled and fed by Johannes Paul Raether in formation with multiple others. She is the first in the lifeline of the Transformellae and was developed for researching and intervening into ReproReality in Berlin in July 2010. In her early versions 4.0 to 4.4, she operated as Transformella domestica, forking themselves into Transformalor (transformella malor) in 2015. She began to travel as an updated MetaMother with their ReproTribe to respective local warehouses for the mass reproduction of items, the IKEAE (everysite) (4.4.6.0 since 2015). Since then, the forked lifeline as artificial identity Transformalor with their various language devices and ReproDiagrams has appeared in various Ikea, such as the one in Berlin, Warszawa, Hamburg and Düsseldorf among others. 06 Own website http://transformella.net/ 01 eng 20 00 Open Access Transformella Malor Ikeae (cared for by JP Raether) 26 03 06 10.53288/0315.1.26 394 400 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Authenticity 1 A01 Amelie Baumann Amelie Baumann 40 046ak2485 Freie Universität Berlin Amelie Baumann is a postdoctoral research associate at Freie Universität Berlin, where she is a member of the CRC 1171 “Affective Societies”. She is currently preparing an ethnographic research project on Covid-19 and aging /being old in Germany. Prior to that, she was a doc- toral student at the University of Bremen and a member of the research group “Reconfiguring Anonymity”. In her Ph.D. thesis, which she defended in October 2020, she ethnographically explored the transformation of ano- nymity in gamete donation in the UK and Germany by focusing on the knowledge practices and politics of donor-conceived persons. 01 eng 20 00 Open Access Amelie Baumann 27 03 06 10.53288/0315.1.27 401 423 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Longing for a Selfless Self and other Ambivalences of Anonymity 1 A01 Anon Anon Anon I have decided to publish this text anonymously. The reason is not that I want this authorial act to put me out of reach. Anyone who wanted to could surely find out who the text’s author is. And yet, I still consider anonymity meaningful. Not in the traditional sense as personal protection, but as part of a collective practice. This practice demands a particular attitude of which anonymity is the expression as well as the performative enactment. It has been developed by members of so-called 12-step groups. Anonymity here is about not taking the foremost interest in one’s own well-being, but to instead consider personal well-being as directly connected to that of all living beings and organisms on this planet. Considering myself an advocate of such an attitude, it would be impossible for me to situate this text meaningfully without remaining nameless. I see the reason for this in my ethical obligation towards my integrity and towards the people whom I research about. If you would like to get in touch, anonymity is not an obstacle. Write me on: anonymity_with_an_attitude@ posteo.de 01 eng 20 00 Open Access Anon 28 03 06 10.53288/0315.1.28 424 432 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Speak their Endless Names 1 A01 Gerald Raunig Gerald Raunig 40 05r0ap620 Zurich University of the Arts Gerald Raunig works at the eipcp as one of the editors of the multilingual publishing platform transversal texts (transversal.at), and at the Zürcher Hochschule der Künste as a Professor of philosophy. Recent books in English: Factories of Knowledge, Industries of Creativity, 2013; DIVIDUUM. Machinic Capitalism and Molecular Revolution, Vol. 1, 2016, both translated by Aileen Derieg and published by Semiotext(e)/MIT Press. 01 eng 20 00 Open Access Gerald Raunig 29 03 06 10.53288/0315.1.29 433 446 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bitcoin Anonymous? Of Trust in Code and Paper 1 A01 Anna Henke Anna Henke 40 00g30e956 Universität Hamburg Anna Henke is a cultural anthropologist, doctoral student and research assistant at the Institute of European Ethnology/Cultural Anthropology at the University of Hamburg. She is part of the research group “Reconfiguring Anonymity” and belongs to the subproject “Identity, Health Insurance and Customer Cards”. Her current research focuses on digital cultures, anonymity and identity practices, and digitization from a science and technology studies perspective. 01 eng 20 00 Open Access Anna Henke 30 03 06 10.53288/0315.1.30 447 462 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity Workshop 1 A01 Stéphane Degoutin Stéphane Degoutin Stéphane Degoutin is an artist, writer, researcher. He often works with artist and researcher Gwenola Wagon. He focuses on ambivalent situations, between war and dance, sexual pleasure and nonplaces, the city and its potential, posthuman theories and the obsolescence of mankind. 06 Own website https://d-w.fr/ 2 A01 Vadim Bernard Vadim Bernard Vadim Bernard, born in Grenoble in 1980, co-founded Dépli design studio in 2007. He worked for the MAC/VAL, Le Fresnoy, le Magasin-CNAC, Jean Nouvel, la Cinéma- thèque Française, Sciences Po, the Arab World Institute, le Grand Palais, le Musée d'Orsay and the Hong Kong Heritage Museum. In 2013 he started teaching Interaction Design at the EnsAD. 06 Own website https://depli-ds.com/ 3 A01 Martin De Bie Martin De Bie 40 05xsxn838 École Nationale Supérieure des Arts Décoratifs Martin De Bie is a designer /teacher /researcher based in Paris. His personal research topics are focused on the hybridization of traditional craft techniques and high- tech processes. During many years, he has collaborated with the “now closed” french branch of the Graffiti Research Lab to develop an experimental approach to design, combining interaction technologies with urban socio-cultural practices. Martin has also co-funded DataPaulette, a multi-disciplinary collective focused on research and development in textiles and digital technologies and who take the form of an independent laboratory operating as a hackerspace. Now, he is sharing his time between teaching physical computing and interaction design at ENSAD and his personal research. 06 Own website https://www.martindebie.com/ 01 eng 20 00 Open Access Stéphane Degoutin Vadim Bernard Martin De Bie 31 03 06 10.53288/0315.1.31 466 486 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Anon Collective Anon Collective 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/book-of-anonymity/ 16 40 03bsmfz84 32 10.13039/501100001663 Volkswagen Foundation Earth, Milky Way 04 01 20210304 Anon Collective 02 WORLD 06 15 9781953035318 03 9781953035318 34 06 10.1017/CBO9781107590205.004 34 06 10.1215/00222909-2009-003 34 06 10.1177/1461444817699994 34 06 10.1162/DAED_a_00362 34 06 10.2752/174321905778054845 34 06 10.1080/1369118X.2012.659199 34 06 10.1007/s10676-014-9346-5 34 06 10.24908/ss.v9i4.4344 34 06 10.11588/josar.2015.0.23480 34 06 10.1080/019722499128574 34 06 10.1007/978-3-642-20633-7 34 06 10.1080/019722499128565 34 06 10.1111/jopp.12149 34 06 10.1177/1461444804041445 34 06 10.1080/019722499128592 34 06 10.1111/josp.12066 34 06 10.1093/scipol/sct082 34 06 10.1515/fjsb-2017-0036 34 06 10.1007/978-3-319-50445-2_7 34 06 10.1177/026327691008003002 34 06 10.15307/fcj.29.212.2017 34 06 10.1093/bjc/azv076 34 06 10.1177/1468794115622529 34 06 10.5210/fm.v16i10.3665 34 06 10.1515/fjsb-2017-0035 34 06 10.1086/219472 34 06 10.1177/1477370819896204 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035302 20 08 20210304 02 33.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/book-of-anonymity 20 08 20210304 02 33.00 USD WORLD urn:uuid:72b6bd20-e17e-4a58-be19-d6cf100e928a 03 01 01 thoth-work-id urn:uuid:940d0880-83b5-499d-9f39-1bf30ccfc4d0 01 thoth-publication-id urn:uuid:72b6bd20-e17e-4a58-be19-d6cf100e928a 15 9781953035318 03 9781953035318 06 10.21983/P3.0315.1.00 13 2020951163 01 internal-reference 0315 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Book of Anonymity 1 B01 Anon Collective Anon Collective 01 eng 00 486 03 10 COM079010 B2 Cultural Studies+Critical Theory 12 URD 93 URY 10 COM079000 B2 Media+Technology 93 URD 12 UYZ 93 JBCT1 10 SOC071000 20 Anonymity; Data Security,; Surveillance; Personhood; Privacy; Digital Cultures; Art-Science Collaboration 01 06 02 00 03 00 Anonymity is highly contested, marking the limits of civil liberties and legality. Digital technologies of communication, identification, and surveillance put anonymity to the test. They challenge how anonymity can be achieved, and dismantled. Everyday digital practices and claims for transparency shape the ways in which anonymity is desired, done, and undone.<break/>The Book of Anonymity includes contributions by artists, anthropologists, sociologists, media scholars, and art historians. It features ethnographic research, conceptual work, and artistic practices conducted in France, Germany, India, Iran, Switzerland, the UK, and the US. From police to hacking cultures, from Bitcoin to sperm donation, from Yik-Yak to Amazon and IKEA, from DNA to Big Data — thirty essays address how the reconfiguration of anonymity transforms our concepts of privacy, property, self, kin, addiction, currency, and labor. 30 00 Anonymity is highly contested, marking the limits of civil liberties and legality. Digital technologies of communication, identification, and surveillance put anonymity to the test. They challenge how anonymity can be achieved, and dismantled. Everyday digital practices and claims for transparency shape the ways in which anonymity is desired, done, and undone.<break/>The Book of Anonymity includes contributions by artists, anthropologists, sociologists, media scholars, and art historians. It features ethnographic research, conceptual work, and artistic practices conducted in France, Germany, India, Iran, Switzerland, the UK, and the US. From police to hacking cultures, from Bitcoin to sperm donation, from Yik-Yak to Amazon and IKEA, from DNA to Big Data — thirty essays address how the reconfiguration of anonymity transforms our concepts of privacy, property, self, kin, addiction, currency, and labor. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0315.1.00_frontcover.png 1 03 06 10.53288/0315.1.01 1 5 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Anon Collective Anon Collective 01 eng 20 00 Open Access 2 03 06 10.53288/0315.1.02 6 9 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Writing Anonymity 1 A01 Anon Collective Anon Collective 01 eng 20 00 Open Access Anon Collective 3 03 06 10.53288/0315.1.03 16 34 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Toward a Kaleidoscopic Understanding of Anonymity 1 A01 Götz Bachmann Götz Bachmann 40 02w2y2t16 Leuphana University of Lüneburg Götz Bachmann is Professor for Digital Cultures and Senior Researcher at the Centre for Digital Cultures at Leuphana University Lüneburg, Germany. Along with Michi Knecht, he is Co-Speaker of the project “Recon- figuring Anonymity.” Together with Andreas Wittel they co-edited a special edition of the ephemera Journal on the “Social Productivity of Anonymity”. He is an ethnographer by trade, and the author of a monograph on “Kollegialität” (collegiality.) His ongoing research looks at radical engineers in the San Francisco Bay Area. 2 A01 21 0000000300381790 Julien McHardy Julien McHardy Julien McHardy is a sociologist of technology, curator, designer and publisher concerned with methods for working and thinking across different fields of expertise and experience. His work at the intersection of the arts, design, research and publishing is collaborative involving changing constellations of people and institutions. He co-founded the open access publisher Mattering Press and ScholarLed, a collective of academic led open access presses. 06 Own website https://www.julienmchardy.info/ 3 A01 Michi Knecht Michi Knecht 40 04ers2y35 University of Bremen Michi Knecht is Professor for Social Anthropology and one of the speakers of the Worlds of Contradiction- Platform at Bremen University. Her research focuses on interconnections between knowledge practices and social forms. At the intersections of Anthropology and STS she has investigated reproductive technologies, political and religious movements, anonymity and new forms of kinship. With Michael Flitner and Friederike Gesing she has co-founded the Bremen NatureCultures Lab, a small think tank for new research designs in human-body, human-other species and human-environ- ment relations. Other Anonymity related Publications: “The Social Productivity of Anonymity” (ephemera 17/2, with Andreas Wittel and Götz Bachmann) 4 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Götz Bachmann Julien McHardy Michi Knecht Nils Zurawski 4 03 06 10.53288/0315.1.04 35 67 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Artistic Research on Anonymity 1 A01 Daniela Silvestrin Daniela Silvestrin Daniela Silvestrin is a Berlin-based curator, cultural researcher, programme developer and organises interna- tional cultural projects. Her work focuses on hybrid artistic practices and the production of knowledge where art, society, technology and the natural sciences meet. Since 2011, Daniela has worked for various festivals, art projects, exhibitions, and is co-editor of various publications 06 Own website https://danielasilvestrin.info/ 2 A01 21 0000000163229062 Andreas Broeckmann Andreas Broeckmann 40 03hzkp562 Hochschule für Grafik und Buchkunst Leipzig Andreas Broeckmann is an art historian and curator who lives in Berlin. Currently Visiting Professor for Art His- tory and Media Theory at the Academy of Fine Arts, Leipzig (HGB–Hochschule für Grafik und Buchkunst, 2017–2020) and engaged in the research and documentation project, Les Immateriaux Research. From 2011–2016 he directed the Leuphana Arts Program of Leuphana University Lüneburg. He was the Founding Director of the Dortmunder U – Centre for Art and Creativity (2009–2011) and has curated exhibitions and festivals in major European venues, incl. transmediale and ISEA2010 RUHR. He holds a Ph.D. in Art History from the University of East Anglia, Norwich/UK, and lectures internationally about the history of modern art, media theory, machine aesthetics, and digital culture. He is the author of Machine Art in the Twentieth Century (MIT-Press, 2016). 01 eng 20 00 Open Access Daniela Silvestrin Andreas Broeckmann 5 03 06 10.53288/0315.1.05 70 87 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity and Transgression 1 A01 21 0000000169670086 Jacob Copeman Jacob Copeman 40 01nrxwf90 University of Edinburgh Jacob Copeman is Senior Lecturer in Social Anthropology at the University of Edinburgh. His most recent book, co-authored with Dwaipayan Banerjee, is Hematologies: The Political Life of Blood in India (2019). He is also the author of Veins of Devotion: Blood Donation and Religious Experience in North India (2009) and editor or co-editor of Blood Donation, Bioeconomy, Culture (2009), The Guru in South Asia: New Interdisciplinary Perspectives (2012), South Asian Tissue Economies (2013), Social Theory After Strathern (2014), On Names in South Asia: Iteration, (Im)propriety and Dissimulation (2015), and Fake: Anthro- pological Keywords (2018). 2 A01 21 000000019786796X Dwaipayan Banerjee Dwaipayan Banerjee 40 042nb2s44 Massachusetts Institute of Technology Dwaipayan Banerjee is an Assistant Professor of Science, Technology, and Society (STS) at MIT. His first book Hematologies: The Political Life of Blood in India (Cornell University Press, forthcoming December 2019) is co- written with anthropologist Jacob Copeman. Hematologies examines how the giving and receiving of blood has shaped social and political life in north India in the twentieth and twenty-first centuries. Professor Banerjee’s second book, Enduring Cancer: Life, Death and Diagnosis in Delhi (Duke University Press, forthcoming August 2020), is an ethnography of the experience of living with cancer in India. 01 eng 20 00 Open Access Jacob Copeman Dwaipayan Banerjee 6 03 06 10.53288/0315.1.06 88 109 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity The Politicisation of a Concept 1 A01 21 000000024261118X Thorsten Thiel Thorsten Thiel 40 023kksk09 Weizenbaum Institute for the Networked Society Thorsten Thiel is head of the research group “Democracy and Digitalisation” at the Weizenbaum Institute for the Networked Society in Berlin. 01 eng 20 00 Open Access Thorsten Thiel 7 03 06 10.53288/0315.1.07 110 115 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 USAE 1 A01 Heath Bunting Heath Bunting Heath Bunting has exhibited, performed and taught internationally for over 25 years. As a young adult, he undertook a three year apprenticeship in stained glass. After this, Heath spent several years roaming both Bristol and London as a street artist as well as distributing thousands of art-works via postal and fax networks. During the rise of the internet, he was a key participant of the net.art movement. Within this time he founded irational. org. He has setup and run multiple radio transmission and listening stations internationally. In his current work, The Status Project, he uses artificial intelligence to search for artificial life in both societal and natural systems. 06 Own website http://www.irational.org/heath/ 01 eng 20 00 Open Access Heath Bunting 8 03 06 10.53288/0315.1.08 116 141 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Big Data’s End Run around Anonymity and Consent 1 A01 21 000000034577466X Solon Barocas Solon Barocas 40 05bnh6r87 Cornell University Solon Barocas is a Principal Researcher in the New York City lab of Microsoft Research and an Assistant Professor in the Department of Information Science at Cornell University. He is also a Faculty Associate at the Berkman Klein Center for Internet & Society at Harvard University. His research explores ethical and policy issues in artificial intelligence. Borocas co-founded the annual workshop on Fairness, Accountability, and Transparency in Machine Learning (FAT / ML) and later established the ACM conference on Fairness, Accountability, and Transparency (FAT*). 2 A01 21 0000000264856997 Helen Nissenbaum Helen Nissenbaum 40 05bnh6r87 Cornell University Helen Nissenbaum is a Professor at Cornell Tech and in the Information Science Department at Cornell University. Her research takes an ethical perspective on policy, law, science, and engineering relating to information technology, computing, digital media and data science. Topics have included privacy, trust, accountability, security, and values in technology design. Her books include Obfuscation: A User's Guide for Privacy and Protest, with Finn Brunton (MIT Press, 2015) and Privacy in Context: Technology, Policy, and the Integrity of Social Life (Stanford, 2010). 01 eng 20 00 Open Access Solon Barocas Helen Nissenbaum 9 03 06 10.53288/0315.1.09 142 150 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A List of Famous Artists Who Used to Be Invigilators 1 A01 Simon Farid Simon Farid Simon Farid is a sometime artist and moretime gallery guard at an art institution in central London. He makes work exploring and exploiting this dual position through collaborative, secret, public or personal approaches across academia, fine art practices, fashion and live performance. Thinking about the different meanings of collaboration, Farid examines the difficult complicities of working with, within, for and against formal art institutions, from the position of a low-level frontline gallery worker. 06 Own website https://simonfarid.com/ 01 eng 20 00 Open Access Simon Farid 10 03 06 10.53288/0315.1.10 151 166 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity as Everyday Phenomenon and as a Topic of Research 1 A01 21 0000000224573335 Gertraud Koch Gertraud Koch 40 00g30e956 Universität Hamburg Gertraud Koch is a Professor and head of the Institute of European Ethnology/Cultural Anthropology at University of Hamburg and a member of the expert committee “Intangible Cultural Heritage” of the German Commission for UNESCO. For many years, her main research focuses on cultural diversity, social inclusion, digital cultures, and knowledge anthropology. Recent publication: Digitzation. Theories and Concepts for empirical cultural research. Routledge 2017. 01 eng 20 00 Open Access Gertraud Koch 11 03 06 10.53288/0315.1.11 167 185 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity on Demand The Great Offshore 1 A01 RYBN.ORG RYBN.ORG RYBN.ORG is an art research collective, created in 1999, based in Paris. RYBN.ORG conducts extra-disciplinary investigations towards contemporary socio-technical systems, such as: algorithmic trading, high-frequencymarkets infrastructures, network protocols, offshore finance governance, Artificial Artificial Intelligence, etc. The works of RYBN.ORG have been shown in numerous contemporary art exhibitions such as Open Codes (ZKM, 2019), The Great Offshore (Espace Multimédia Gantner, 2017), Nervöse System (HKW, 2015), Media Mediums (Ygrec, 2014) Gutes Böses Geld (Kunsthalle Baden-Baden, 2014), Infosphäre (ZKM, 2014), Requiem for a Bank (HMKV, 2013), 2062 (la Gaîté lyrique, 2012), The Global Contemporary (ZKM, 2011), El Processo Como Paradigma (LABoral, 2010), Stock Overflow (iMAL, 2009). 06 Own website http://rybn.org/ 01 eng 20 00 Open Access RYBN.ORG 12 03 06 10.53288/0315.1.12 188 209 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 DNA Works! Merging Genetics and the Digital Realm 1 A01 Amelie Baumann Amelie Baumann 40 046ak2485 Freie Universität Berlin Amelie Baumann is a postdoctoral research associate at Freie Universität Berlin, where she is a member of the CRC 1171 “Affective Societies”. She is currently preparing an ethnographic research project on Covid-19 and aging /being old in Germany. Prior to that, she was a doc- toral student at the University of Bremen and a member of the research group “Reconfiguring Anonymity”. In her Ph.D. thesis, which she defended in October 2020, she ethnographically explored the transformation of ano- nymity in gamete donation in the UK and Germany by focusing on the knowledge practices and politics of donor-conceived persons. 01 eng 20 00 Open Access Amelie Baumann 13 03 06 10.53288/0315.1.13 210 225 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sanitary Policy and the Policy of Anonymity Notes about a Game on Endocrine Disruptors 1 A01 Bureau d'études Bureau d'études Bureau d'études are a French conceptual art group founded in 1998 by Léonore Bonaccini and Xavier Fourt. During 20 years, the group develops research on the structures of power and capitalism. The group lives now in the countryside and works on a scale 1:1 collective project across agriculture, commons and resymbolizing researches (www.fermedelamhotte.fr). Bureau d’études is co-founder of the Laboratory Planet collective&journal (www.laboratoryplanet.org) and of the Aliens in Green project (www.aliensingreen.eu) a participatory action combining hands-on DIY science protocols, xenopolitical role-play and queering rituals. 06 Own website https://bureaudetudes.org/ 01 eng 20 00 Open Access Bureau d'études 14 03 06 10.53288/0315.1.14 226 254 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Where Do the Data Live? 1 A01 Randi Heinrichs Randi Heinrichs 40 02w2y2t16 Leuphana University of Lüneburg Randi Heinrichs is a Ph.D. candidate at the Leuphana University, Luneburg, where she is working on her dis- sertation on anonymity, social media platforms and (data-)neighbourhoods. Her research interests, teaching, and writing are located at the intersections of digital cultures, technology, and questions around anonymity, security, fairness and discrimination. She is an alumni of the Algorithmic Fairness and Opacity Group at UC Berkeley, USA and affiliated with the Digital Democracies Group at Simon Fraser University, Canada. She is also a member of the editorial board of the journal spheres and a collective member of ephemera. 01 eng 20 00 Open Access Randi Heinrichs 15 03 06 10.53288/0315.1.15 255 274 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fraught Platform Governmentality Anonymity, Content Moderation and Regulatory Strategies over Yik Yak 1 A01 21 0000000241205550 Abigail Curlew Abigail Curlew 40 02qtvee93 Carleton University Abigail Curlew is a journalist, doctoral researcher, and transfeminist who specializes in advocacy around LGBTQ+ human rights, surveillance studies, and research around social media, doxxing, and online vigilantes. Abigail currently holds a Pierre Elliot Trudeau Foundation doctoral scholarship and a Social Science and Human- ities Research Council (SSHRC) doctoral fellowship for her research examining practices of do-it-yourself (DIY) policing and surveillance used against trans feminine activists, journalists, and scholars by anti-transgender trolls. 01 eng 20 00 Open Access Abigail Curlew 16 03 06 10.53288/0315.1.16 275 285 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity Obsolescence and Desire 1 A01 Aram Bartholl Aram Bartholl Aram Bartholl uses sculptural interventions, installations, and performative workshops to question our engagement with media and with public economies linked to social net- works, online platforms, and digital dissemination strategies. He addresses socially relevant topics, including surveillance, data privacy and technology dependence, through his work by transferring the gaps, contradictions, and absurdities of our everyday digital lives to physical settings. The effect is twofold. The works create an at-times bizarre confrontation with our own ignorance of globally active platform capitalism, and they renegotiate network activities as political forms of participation on an analog level using the potential of public space. 06 Own website https://arambartholl.com/ 01 eng 20 00 Open Access Aram Bartholl 17 03 06 10.53288/0315.1.17 286 290 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Policing Normality Police Work, Anonymity and a Sociology of the Mundane 1 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Nils Zurawski 18 03 06 10.53288/0315.1.18 294 305 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Amazonian Flesh How to Hang in Trees during Strike? 1 A01 knowbotiq knowbotiq knowbotiq (Yvonne Wilhelm, Christian Huebler) is an artist group experimenting with forms and medialities of knowledge, political representation, and epistemic disobedience. Recent projects investigate and enact political landscapes with a focus on algorithmic governmentalities, libidinous and affective economies, and postcolonial violence. Through various formats (per- formative settings, critical fabulations, inventions, encounters) the group explores molecular, psychotrope and derivative aesthetics. knowbotiq.net / Nina Bandi is a political philosopher who is interested in the overlapping of speculative thought, artistic practices, and the political. Based in Zurich and Vienna, she works on questions of non-/representation and the relation between bodies, technology, and materiality from a feminist and postcolonial perspective. From 2015–2019, she was part of the research project “What Can Art Do” at Lucerne School of Art and Design. (The texts of knowbotiq for Amazonian Flesh were written in collaboration with Nina Bandi.) 06 Own website https://www.knowbotiq.net/ 2 A01 Nina Bandi Nina Bandi 01 eng 20 00 Open Access knowbotiq Nina Bandi 19 03 06 10.53288/0315.1.19 306 325 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Proximity, Distance and State Powers Policing Practices and the Regulation of Anonymity 1 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Nils Zurawski 20 03 06 10.53288/0315.1.20 326 335 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dual Reality (Un)Observed Magic in the Workplace 1 A01 21 0000000182966041 Paula Bialski Paula Bialski 40 0561a3s31 University of St. Gallen Paula Bialski is appointed Associated Professor of Sociology and digitalisation at University of St. Gallen. She is an ethnographer of new media in everyday life, looking at contexts of usage as well as production, and she frames her research within cultural, social and media theory in general, and science and technology studies in particular. The goal of her current research project, titled “Programmer Worlds,” is to investigate the way in which everyday practices of corporate software developers affect our digital infrastructures. She has been an affiliated member of the “Reconfiguring Anonymity” research group since its inception in 2013. 2 A01 Simon Farid Simon Farid Simon Farid is a sometime artist and moretime gallery guard at an art institution in central London. He makes work exploring and exploiting this dual position through collaborative, secret, public or personal approaches across academia, fine art practices, fashion and live performance. Thinking about the different meanings of collaboration, Farid examines the difficult complicities of working with, within, for and against formal art institutions, from the position of a low-level frontline gallery worker. 06 Own website https://simonfarid.com/ 20 00 Open Access Paula Bialski Simon Farid 21 03 06 10.53288/0315.1.21 336 339 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Provisional Manifesto for Invigilator-Friendly Artworks, or Your Artwork Is an Invigilator’s Labor Conditions 1 A01 Simon Farid Simon Farid Simon Farid is a sometime artist and moretime gallery guard at an art institution in central London. He makes work exploring and exploiting this dual position through collaborative, secret, public or personal approaches across academia, fine art practices, fashion and live performance. Thinking about the different meanings of collaboration, Farid examines the difficult complicities of working with, within, for and against formal art institutions, from the position of a low-level frontline gallery worker. 06 Own website https://simonfarid.com/ 01 eng 20 00 Open Access 22 03 06 10.53288/0315.1.22 340 345 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Care or Control? Police, Youth and Mutual Anonymity 1 A01 21 0000000154678130 Nils Zurawski Nils Zurawski 40 00g30e956 Universität Hamburg Nils Zurawski is a Social Anthropologist and Criminol- ogist, working at the University of Hamburg and has been researching widely on Surveillance, Identity, Security, Police, and Doping in Sports. He blogs (surveillance-studies.org) and runs the podcast “Berichte aus Panotopia” (notes from Panotopia). His latest publications include: Kritik des Anti-Doping (transcript 2019); Bodies as Evidence.Security, Knowledge, and Power (Duke 2018). 01 eng 20 00 Open Access Nils Zurawski 23 03 06 10.53288/0315.1.23 346 353 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 She Remembers 1 A01 Parastou Forouhar Parastou Forouhar Parastou Forouhar (born 1962 in Tehran) is an Iranian installation artist who lives and works in Germany. Forouhar’s art reflects her criticism of the Iranian govern- ment and often plays with the ideas of identity. Her artwork expresses a critical response towards the politics in Iran and Islamic Fundamentalism. The loss of her parents fuels Forouhar’s work and challenges viewers to take a stand on war crimes against innocent citizens. 06 Own website https://www.parastou-forouhar.de/ 01 eng 20 00 Open Access Parastou Forouhar 24 03 06 10.53288/0315.1.24 356 378 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Collective Pleasures of Anonymity From Public Restrooms to 4chan and Chatroulette 1 A01 21 0000000221169054 Daniël de Zeeuw Daniël de Zeeuw 40 04dkp9463 University of Amsterdam Daniël de Zeeuw is a Ph.D. candidate at the Amsterdam School for Cultural Analysis and Lecturer New Media at the University of Amsterdam. He is also a member of the Open Intelligence Lab, editor at Krisis, Journal for Contemporary Philosophy, and affiliated researcher at the Institute of Network Cultures. Working at the intersec- tion of media and cultural studies, his current research focuses on fringe digital subcultures on 4chan and Reddit as post-truth laboratories of conspiracy theories, junk news, political extremism and memes that have become increasingly influential in recent years, and that cast a critical light on the vicissitudes of our hyper- mediatized, global digital condition. 01 eng 20 00 Open Access Daniël de Zeeuw 25 03 06 10.53288/0315.1.25 379 393 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Transformella Malor Ikeae InnerCity Ikeality [4.4.6.11] 1 A01 Transformella Malor Ikeae (cared for by JP Raether) Transformella Transformella is an Artificial Identity, a SelfSister and an alteridentitarian aLifveForm, assembled and fed by Johannes Paul Raether in formation with multiple others. She is the first in the lifeline of the Transformellae and was developed for researching and intervening into ReproReality in Berlin in July 2010. In her early versions 4.0 to 4.4, she operated as Transformella domestica, forking themselves into Transformalor (transformella malor) in 2015. She began to travel as an updated MetaMother with their ReproTribe to respective local warehouses for the mass reproduction of items, the IKEAE (everysite) (4.4.6.0 since 2015). Since then, the forked lifeline as artificial identity Transformalor with their various language devices and ReproDiagrams has appeared in various Ikea, such as the one in Berlin, Warszawa, Hamburg and Düsseldorf among others. 06 Own website http://transformella.net/ 01 eng 20 00 Open Access Transformella Malor Ikeae (cared for by JP Raether) 26 03 06 10.53288/0315.1.26 394 400 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Authenticity 1 A01 Amelie Baumann Amelie Baumann 40 046ak2485 Freie Universität Berlin Amelie Baumann is a postdoctoral research associate at Freie Universität Berlin, where she is a member of the CRC 1171 “Affective Societies”. She is currently preparing an ethnographic research project on Covid-19 and aging /being old in Germany. Prior to that, she was a doc- toral student at the University of Bremen and a member of the research group “Reconfiguring Anonymity”. In her Ph.D. thesis, which she defended in October 2020, she ethnographically explored the transformation of ano- nymity in gamete donation in the UK and Germany by focusing on the knowledge practices and politics of donor-conceived persons. 01 eng 20 00 Open Access Amelie Baumann 27 03 06 10.53288/0315.1.27 401 423 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Longing for a Selfless Self and other Ambivalences of Anonymity 1 A01 Anon Anon Anon I have decided to publish this text anonymously. The reason is not that I want this authorial act to put me out of reach. Anyone who wanted to could surely find out who the text’s author is. And yet, I still consider anonymity meaningful. Not in the traditional sense as personal protection, but as part of a collective practice. This practice demands a particular attitude of which anonymity is the expression as well as the performative enactment. It has been developed by members of so-called 12-step groups. Anonymity here is about not taking the foremost interest in one’s own well-being, but to instead consider personal well-being as directly connected to that of all living beings and organisms on this planet. Considering myself an advocate of such an attitude, it would be impossible for me to situate this text meaningfully without remaining nameless. I see the reason for this in my ethical obligation towards my integrity and towards the people whom I research about. If you would like to get in touch, anonymity is not an obstacle. Write me on: anonymity_with_an_attitude@ posteo.de 01 eng 20 00 Open Access Anon 28 03 06 10.53288/0315.1.28 424 432 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Speak their Endless Names 1 A01 Gerald Raunig Gerald Raunig 40 05r0ap620 Zurich University of the Arts Gerald Raunig works at the eipcp as one of the editors of the multilingual publishing platform transversal texts (transversal.at), and at the Zürcher Hochschule der Künste as a Professor of philosophy. Recent books in English: Factories of Knowledge, Industries of Creativity, 2013; DIVIDUUM. Machinic Capitalism and Molecular Revolution, Vol. 1, 2016, both translated by Aileen Derieg and published by Semiotext(e)/MIT Press. 01 eng 20 00 Open Access Gerald Raunig 29 03 06 10.53288/0315.1.29 433 446 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bitcoin Anonymous? Of Trust in Code and Paper 1 A01 Anna Henke Anna Henke 40 00g30e956 Universität Hamburg Anna Henke is a cultural anthropologist, doctoral student and research assistant at the Institute of European Ethnology/Cultural Anthropology at the University of Hamburg. She is part of the research group “Reconfiguring Anonymity” and belongs to the subproject “Identity, Health Insurance and Customer Cards”. Her current research focuses on digital cultures, anonymity and identity practices, and digitization from a science and technology studies perspective. 01 eng 20 00 Open Access Anna Henke 30 03 06 10.53288/0315.1.30 447 462 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anonymity Workshop 1 A01 Stéphane Degoutin Stéphane Degoutin Stéphane Degoutin is an artist, writer, researcher. He often works with artist and researcher Gwenola Wagon. He focuses on ambivalent situations, between war and dance, sexual pleasure and nonplaces, the city and its potential, posthuman theories and the obsolescence of mankind. 06 Own website https://d-w.fr/ 2 A01 Vadim Bernard Vadim Bernard Vadim Bernard, born in Grenoble in 1980, co-founded Dépli design studio in 2007. He worked for the MAC/VAL, Le Fresnoy, le Magasin-CNAC, Jean Nouvel, la Cinéma- thèque Française, Sciences Po, the Arab World Institute, le Grand Palais, le Musée d'Orsay and the Hong Kong Heritage Museum. In 2013 he started teaching Interaction Design at the EnsAD. 06 Own website https://depli-ds.com/ 3 A01 Martin De Bie Martin De Bie 40 05xsxn838 École Nationale Supérieure des Arts Décoratifs Martin De Bie is a designer /teacher /researcher based in Paris. His personal research topics are focused on the hybridization of traditional craft techniques and high- tech processes. During many years, he has collaborated with the “now closed” french branch of the Graffiti Research Lab to develop an experimental approach to design, combining interaction technologies with urban socio-cultural practices. Martin has also co-funded DataPaulette, a multi-disciplinary collective focused on research and development in textiles and digital technologies and who take the form of an independent laboratory operating as a hackerspace. Now, he is sharing his time between teaching physical computing and interaction design at ENSAD and his personal research. 06 Own website https://www.martindebie.com/ 01 eng 20 00 Open Access Stéphane Degoutin Vadim Bernard Martin De Bie 31 03 06 10.53288/0315.1.31 466 486 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Anon Collective Anon Collective 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/book-of-anonymity/ 16 40 03bsmfz84 32 10.13039/501100001663 Volkswagen Foundation Earth, Milky Way 04 01 20210304 Anon Collective 02 WORLD 06 15 9781953035301 03 9781953035301 34 06 10.1017/CBO9781107590205.004 34 06 10.1215/00222909-2009-003 34 06 10.1177/1461444817699994 34 06 10.1162/DAED_a_00362 34 06 10.2752/174321905778054845 34 06 10.1080/1369118X.2012.659199 34 06 10.1007/s10676-014-9346-5 34 06 10.24908/ss.v9i4.4344 34 06 10.11588/josar.2015.0.23480 34 06 10.1080/019722499128574 34 06 10.1007/978-3-642-20633-7 34 06 10.1080/019722499128565 34 06 10.1111/jopp.12149 34 06 10.1177/1461444804041445 34 06 10.1080/019722499128592 34 06 10.1111/josp.12066 34 06 10.1093/scipol/sct082 34 06 10.1515/fjsb-2017-0036 34 06 10.1007/978-3-319-50445-2_7 34 06 10.1177/026327691008003002 34 06 10.15307/fcj.29.212.2017 34 06 10.1093/bjc/azv076 34 06 10.1177/1468794115622529 34 06 10.5210/fm.v16i10.3665 34 06 10.1515/fjsb-2017-0035 34 06 10.1086/219472 34 06 10.1177/1477370819896204 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/47028 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/47028/0315.1.00.pdf 20 08 20210304 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/63877 20 08 20210304 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1jf2c5t 20 08 20210304 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/657 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e587bc5a-ab3b-40a6-8d1f-53dd15ad3232/download 20 08 20210304 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Book_of_Anonymity/-gWVEAAAQBAJ 20 08 20210304 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/940d0880-83b5-499d-9f39-1bf30ccfc4d0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/940d0880-83b5-499d-9f39-1bf30ccfc4d0/940d0880-83b5-499d-9f39-1bf30ccfc4d0.pdf 20 08 20210304 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848730 29 ZENODO: download the title https://zenodo.org/records/19848730/files/940d0880-83b5-499d-9f39-1bf30ccfc4d0_book.pdf 20 08 20210304 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/book-of-anonymity/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0315.1.00.pdf 20 08 20210304 01 urn:uuid:bea326ed-81e1-4b02-bf2c-f6f44b355f04 03 01 01 thoth-work-id urn:uuid:1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d 01 thoth-publication-id urn:uuid:bea326ed-81e1-4b02-bf2c-f6f44b355f04 15 9781685712501 03 9781685712501 06 10.53288/0528.1.00 13 2024946163 01 internal-reference 0528 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in 03 7 mm 03 0.7 cm 03 0.28 in 08 198 gr 08 7 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 boy says (a book with no ending) 1 A01 Néstor Ponce Néstor Ponce Professor Emeritus 40 01m84wm78 University of Rennes 2 Néstor Ponce (b. 1955) is a poet, novelist, short-story writer, and essayist. He has lived in France since 1979, when he arrived as a political exile from Argentina. His work has received numerous literary prizes and recognitions, including the Siglo XXI International Prize for the novel Una vaca ya pronto serás (Siglo XXI, 2006), and his poetry has been translated into English, German, French, and Bulgarian. In 2013 he was named a Knight of the Order of Arts and Letters by France’s Ministry of Culture, the same year in which his book of poetry Desapariencia no engaña (El suri porfiado, 2010) was selected by Argentina’s Ministry of Culture to be distributed to all schools and public libraries in the country. Translated into English as Disappearance without Absence (Waterloo Press, 2017), it is a response to the violence of the military junta (1976–1983) that engages with the contradictions of presence and absence, imagination and memory. Néstor Ponce is Professor Emeritus at the University of Rennes II. Vos es (boy says) is his fourth book of poetry (originally published by El suri porfiado in 2018). 2 B06 21 0009000361993149 Max Ubelaker Andrade Max Ubelaker Andrade Associate Teaching Professor in Latin American Studies 40 03hamhx47 University of Massachusetts Lowell Max Ubelaker Andrade is Associate Teaching Professor in Latin American Studies at the University of Massachusetts, Lowell. He is the author of Borges Beyond the Visible (Penn State, 2019) and the translator of Néstor Ponce’s Desapariencia no engaña (Disappearance without Absence, Waterloo Press, 2017). His writing has appeared in AGNI, Chasqui, Cervantes, Variaciones Borges, and Argentina’s La Nación. 01 eng 02 spa 00 124 03 93 DCF B2 Fabulations 10 POE005070 93 DCC B2 Languages+Translations 93 1KLSA 20 poetry; Argentina; literary influence; authorship; literary community; open library; poetic voice; literary identity 01 06 02 00 03 00 Where does your voice come from? The one you speak with, or the one you read with? What does it sound like when you read, silently, to yourself? There are the first influences, or at least the ones that first come to mind. But you quickly admit that there are others as well. The voices that emerged from different styles, tones, and patterns in books, stories, poems. From songs and television programs, family members and teachers. There are the voices that you don’t remember as voices, the words you don’t remember reading. This voice, this combination of symbols describing a translated book of poetry, for example, might be acknowledged as the very latest influence in your life.After leaving Argentina in exile during the dictatorship of the military junta (1976-1983), Néstor Ponce found his way to France, where he now lives. He has written that throughout his life, reading has connected him to a shifting, unstable set of voices—a community of readers and writers that crisscrosses borders of all kinds, unafraid of conflict and contradiction. boy says (a book with no ending) opens to that community with poems that are at once the words of one poet and the traces of an infinite number of poets, some of whom are explicitly named in the titles of the poems.This bilingual English–Spanish edition is an open library that is also a private one, made public. As you read, it might be difficult not to ask questions about Nazim Hikmet, Alejandra Pizarnik, Dina Posada, Eugenio Montale, Anna Greki, or Édouard Glissant. And it will be impossible to answer those questions without finding their books, opening them, and hearing your voice shaped by their and Ponce’s words. 30 00 Where does your voice come from? The one you speak with, or the one you read with? What does it sound like when you read, silently, to yourself? There are the first influences, or at least the ones that first come to mind. But you quickly admit that there are others as well. The voices that emerged from different styles, tones, and patterns in books, stories, poems. From songs and television programs, family members and teachers. There are the voices that you don’t remember as voices, the words you don’t remember reading. This voice, this combination of symbols describing a translated book of poetry, for example, might be acknowledged as the very latest influence in your life.After leaving Argentina in exile during the dictatorship of the military junta (1976-1983), Néstor Ponce found his way to France, where he now lives. He has written that throughout his life, reading has connected him to a shifting, unstable set of voices—a community of readers and writers that crisscrosses borders of all kinds, unafraid of conflict and contradiction. boy says (a book with no ending) opens to that community with poems that are at once the words of one poet and the traces of an infinite number of poets, some of whom are explicitly named in the titles of the poems.This bilingual English–Spanish edition is an open library that is also a private one, made public. As you read, it might be difficult not to ask questions about Nazim Hikmet, Alejandra Pizarnik, Dina Posada, Eugenio Montale, Anna Greki, or Édouard Glissant. And it will be impossible to answer those questions without finding their books, opening them, and hearing your voice shaped by their and Ponce’s words. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0528.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/boy-says-a-book-with-no-ending/ 16 Ministerio de Relaciones Exteriores, Comercio Internacional y Culto 01 programname Sur Translation Support Programme Earth, Milky Way 04 01 20240914 Max Ubelaker Andrade, Néstor Ponce 02 WORLD 06 15 9781685712518 03 9781685712518 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712509 20 08 20240914 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/boy-says-a-book-with-no-ending-nestor-ponce 20 08 20240914 02 21.00 USD WORLD urn:uuid:9fa75f4f-d4af-4821-b7b1-34538420072f 03 01 01 thoth-work-id urn:uuid:1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d 01 thoth-publication-id urn:uuid:9fa75f4f-d4af-4821-b7b1-34538420072f 15 9781685712518 03 9781685712518 06 10.53288/0528.1.00 13 2024946163 01 internal-reference 0528 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 boy says (a book with no ending) 1 A01 Néstor Ponce Néstor Ponce Professor Emeritus 40 01m84wm78 University of Rennes 2 Néstor Ponce (b. 1955) is a poet, novelist, short-story writer, and essayist. He has lived in France since 1979, when he arrived as a political exile from Argentina. His work has received numerous literary prizes and recognitions, including the Siglo XXI International Prize for the novel Una vaca ya pronto serás (Siglo XXI, 2006), and his poetry has been translated into English, German, French, and Bulgarian. In 2013 he was named a Knight of the Order of Arts and Letters by France’s Ministry of Culture, the same year in which his book of poetry Desapariencia no engaña (El suri porfiado, 2010) was selected by Argentina’s Ministry of Culture to be distributed to all schools and public libraries in the country. Translated into English as Disappearance without Absence (Waterloo Press, 2017), it is a response to the violence of the military junta (1976–1983) that engages with the contradictions of presence and absence, imagination and memory. Néstor Ponce is Professor Emeritus at the University of Rennes II. Vos es (boy says) is his fourth book of poetry (originally published by El suri porfiado in 2018). 2 B06 21 0009000361993149 Max Ubelaker Andrade Max Ubelaker Andrade Associate Teaching Professor in Latin American Studies 40 03hamhx47 University of Massachusetts Lowell Max Ubelaker Andrade is Associate Teaching Professor in Latin American Studies at the University of Massachusetts, Lowell. He is the author of Borges Beyond the Visible (Penn State, 2019) and the translator of Néstor Ponce’s Desapariencia no engaña (Disappearance without Absence, Waterloo Press, 2017). His writing has appeared in AGNI, Chasqui, Cervantes, Variaciones Borges, and Argentina’s La Nación. 01 eng 02 spa 00 124 03 93 DCF B2 Fabulations 10 POE005070 93 DCC B2 Languages+Translations 93 1KLSA 20 poetry; Argentina; literary influence; authorship; literary community; open library; poetic voice; literary identity 01 06 02 00 03 00 Where does your voice come from? The one you speak with, or the one you read with? What does it sound like when you read, silently, to yourself? There are the first influences, or at least the ones that first come to mind. But you quickly admit that there are others as well. The voices that emerged from different styles, tones, and patterns in books, stories, poems. From songs and television programs, family members and teachers. There are the voices that you don’t remember as voices, the words you don’t remember reading. This voice, this combination of symbols describing a translated book of poetry, for example, might be acknowledged as the very latest influence in your life.After leaving Argentina in exile during the dictatorship of the military junta (1976-1983), Néstor Ponce found his way to France, where he now lives. He has written that throughout his life, reading has connected him to a shifting, unstable set of voices—a community of readers and writers that crisscrosses borders of all kinds, unafraid of conflict and contradiction. boy says (a book with no ending) opens to that community with poems that are at once the words of one poet and the traces of an infinite number of poets, some of whom are explicitly named in the titles of the poems.This bilingual English–Spanish edition is an open library that is also a private one, made public. As you read, it might be difficult not to ask questions about Nazim Hikmet, Alejandra Pizarnik, Dina Posada, Eugenio Montale, Anna Greki, or Édouard Glissant. And it will be impossible to answer those questions without finding their books, opening them, and hearing your voice shaped by their and Ponce’s words. 30 00 Where does your voice come from? The one you speak with, or the one you read with? What does it sound like when you read, silently, to yourself? There are the first influences, or at least the ones that first come to mind. But you quickly admit that there are others as well. The voices that emerged from different styles, tones, and patterns in books, stories, poems. From songs and television programs, family members and teachers. There are the voices that you don’t remember as voices, the words you don’t remember reading. This voice, this combination of symbols describing a translated book of poetry, for example, might be acknowledged as the very latest influence in your life.After leaving Argentina in exile during the dictatorship of the military junta (1976-1983), Néstor Ponce found his way to France, where he now lives. He has written that throughout his life, reading has connected him to a shifting, unstable set of voices—a community of readers and writers that crisscrosses borders of all kinds, unafraid of conflict and contradiction. boy says (a book with no ending) opens to that community with poems that are at once the words of one poet and the traces of an infinite number of poets, some of whom are explicitly named in the titles of the poems.This bilingual English–Spanish edition is an open library that is also a private one, made public. As you read, it might be difficult not to ask questions about Nazim Hikmet, Alejandra Pizarnik, Dina Posada, Eugenio Montale, Anna Greki, or Édouard Glissant. And it will be impossible to answer those questions without finding their books, opening them, and hearing your voice shaped by their and Ponce’s words. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0528.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/boy-says-a-book-with-no-ending/ 16 Ministerio de Relaciones Exteriores, Comercio Internacional y Culto 01 programname Sur Translation Support Programme Earth, Milky Way 04 01 20240914 Max Ubelaker Andrade, Néstor Ponce 02 WORLD 06 15 9781685712501 03 9781685712501 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/93620 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/93620/0528.1.00.pdf?sequence=1&isAllowed=y 20 08 20240914 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/145998 20 08 20240914 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526497 20 08 20240914 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=04d03cc3-c889-34d5-978b-16d432e7afb2 20 08 20240914 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/810 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a5fda7f4-6540-41dc-81f6-9fbe244b7513/download 20 08 20240914 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/boy_says/J50hEQAAQBAJ 20 08 20240914 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d/1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d.pdf 20 08 20240914 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850562 29 ZENODO: download the title https://zenodo.org/records/19850562/files/1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d_book.pdf 20 08 20240914 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/boy-says-a-book-with-no-ending/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0528.1.00.pdf 20 08 20240914 01 urn:uuid:036ad571-de6e-4192-8361-bea653d23daf 03 01 01 thoth-work-id urn:uuid:3ccdbbfc-6550-49f4-8ec9-77fc94a7a099 01 thoth-publication-id urn:uuid:036ad571-de6e-4192-8361-bea653d23daf 15 9781685710583 03 9781685710583 06 10.53288/0341.1.00 13 2022930407 01 internal-reference 0341 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Broken Narrative The Politics of Contemporary Art in Albania 06 01 ブロークン・ナラティヴアルバニアにおける現代美術のポリティクス 1 A01 Marco Mazzi Marco Mazzi 2 A01 Armando Lulaj Armando Lulaj 3 B06 Brenda Porster Brenda Porster 4 B06 Tomii Keiko Tomii Keiko 5 A15 Jonida Gashi Jonida Gashi 40 016sx0y50 Academy of Sciences of Albania 6 A15 Osamu Kanemura Osamu Kanemura 06 Own website https://kanemura-osamu.com/ 01 eng 02 ita 01 jpn 00 364 03 93 AGB 12 AGB 10 ART037000 B2 Art+Aesthetics 93 1DXA 12 ACXJ5 10 ART016030 B2 Languages+Translations 12 1DVWA 93 1DXA-AL-T B2 New Left Thought 93 6CK 20 Albania; political art; post-communism; resistance; public space; esthetics; state capture 01 06 02 00 03 00 Broken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein.Broken Narrative comes in a bilingual English–Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj’s works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and ’70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. 30 00 Broken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein.Broken Narrative comes in a bilingual English–Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj’s works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and ’70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0341.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/department-of-eagles/ Department of Eagles 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/broken-narrative-the-politics-of-contemporary-art-in-albania/ Earth, Milky Way 04 01 20220127 Mazzi, Marco Lulaj, Armando 02 WORLD 06 15 9781685710590 03 9781685710590 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710581 20 08 20220127 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/broken-narrative-the-politics-of-contemporary-art-in-albania-translatortomii-keikotomii-keikotrue-translatortomii-keikotomii-keikotrue 20 08 20220127 02 26.00 USD WORLD urn:uuid:df531bce-8988-425a-a8be-f3ef1c4cd39e 03 01 01 thoth-work-id urn:uuid:3ccdbbfc-6550-49f4-8ec9-77fc94a7a099 01 thoth-publication-id urn:uuid:df531bce-8988-425a-a8be-f3ef1c4cd39e 15 9781685710590 03 9781685710590 06 10.53288/0341.1.00 13 2022930407 01 internal-reference 0341 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Broken Narrative The Politics of Contemporary Art in Albania 06 01 ブロークン・ナラティヴアルバニアにおける現代美術のポリティクス 1 A01 Marco Mazzi Marco Mazzi 2 A01 Armando Lulaj Armando Lulaj 3 B06 Brenda Porster Brenda Porster 4 B06 Tomii Keiko Tomii Keiko 5 A15 Jonida Gashi Jonida Gashi 40 016sx0y50 Academy of Sciences of Albania 6 A15 Osamu Kanemura Osamu Kanemura 06 Own website https://kanemura-osamu.com/ 01 eng 02 ita 01 jpn 00 364 03 93 AGB 12 AGB 10 ART037000 B2 Art+Aesthetics 93 1DXA 12 ACXJ5 10 ART016030 B2 Languages+Translations 12 1DVWA 93 1DXA-AL-T B2 New Left Thought 93 6CK 20 Albania; political art; post-communism; resistance; public space; esthetics; state capture 01 06 02 00 03 00 Broken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein.Broken Narrative comes in a bilingual English–Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj’s works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and ’70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. 30 00 Broken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein.Broken Narrative comes in a bilingual English–Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj’s works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and ’70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0341.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/department-of-eagles/ Department of Eagles 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/broken-narrative-the-politics-of-contemporary-art-in-albania/ Earth, Milky Way 04 01 20220127 Mazzi, Marco Lulaj, Armando 02 WORLD 06 15 9781685710583 03 9781685710583 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/52602 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/52602/0341.1.00.pdf?sequence=1&isAllowed=y 20 08 20220127 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/78048 20 08 20220127 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv28sc81s 20 08 20220127 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/713 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1494ddc4-1533-4367-a01f-19411877ca76/download 20 08 20220127 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3ccdbbfc-6550-49f4-8ec9-77fc94a7a099 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3ccdbbfc-6550-49f4-8ec9-77fc94a7a099/3ccdbbfc-6550-49f4-8ec9-77fc94a7a099.pdf 20 08 20220127 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849205 29 ZENODO: download the title https://zenodo.org/records/19849205/files/3ccdbbfc-6550-49f4-8ec9-77fc94a7a099_book.pdf 20 08 20220127 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/broken-narrative-the-politics-of-contemporary-art-in-albania/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0341.1.00.pdf 20 08 20220127 01 urn:uuid:30ff947b-1bd9-4eef-8b91-753e9b12b935 03 01 01 thoth-work-id urn:uuid:006571ae-ac0e-4cb0-8a3f-71280aa7f23b 01 thoth-publication-id urn:uuid:30ff947b-1bd9-4eef-8b91-753e9b12b935 15 9780615949468 03 9780615949468 06 10.21983/P3.0137.1.00 01 internal-reference 0137 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Broken Records 1 A01 Snežana Žabić Snežana Žabić 40 04b6x2g63 Loyola University Chicago 01 eng 00 192 03 10 BIO026000 12 BM 93 DNC B2 Fabulations 93 1QBDY B2 History 93 NHWR9 B2 Sound+Noise 93 FXQ 93 3MPQX-XA-B 20 memoir; fiction; discography; Yugoslav Wars; exile 01 06 02 00 03 00 In 1991, Snežana Žabić lost her homeland and most of her family’s book and record collection during the Yugoslav Wars that had been sparked by Slobodan Milošević’s relentless pursuit of power. She became a teenage refugee, forced to flee Croatia and the atrocities of war that had leveled her hometown of Vukovar. She and her family remained refugees in Serbia until NATO bombed Belgrade in 1999.After witnessing the first nights of NATO’s bombing, Žabić took flight again. She moved from country to country, city to city, finally settling in Chicago. She realized — reluctantly, because she didn’t want to relive the past — that she had to write about what had happened, what she had left behind, and what she had lost. Broken Records is the story of this loss, told with unflinching honesty, free of sentimentality or sensationalism. For the very first time, we learn how it felt to be first a regular teenager during the breakup of Yugoslavia and the ensuing wars, and then a 30-something adult, perennially troubled by one’s uprooted existence.Broken Records is not a neat narrative but a bit of everything — part bildungsroman, part memoir, part political poetry, part personal pop culture compendium. And while Žabić represents a Yugoslav diasporan subject, her book also belongs to an international generation whose formative years straddle the Cold War and the global reconfiguration of wealth and power, whose lives were spent shifting from the vinyl/analog era to the cyber/digital era. This generation knows that when they were told about history ending, they were told a lie.. 30 00 In 1991, Snežana Žabić lost her homeland and most of her family’s book and record collection during the Yugoslav Wars that had been sparked by Slobodan Milošević’s relentless pursuit of power. She became a teenage refugee, forced to flee Croatia and the atrocities of war that had leveled her hometown of Vukovar. She and her family remained refugees in Serbia until NATO bombed Belgrade in 1999.After witnessing the first nights of NATO’s bombing, Žabić took flight again. She moved from country to country, city to city, finally settling in Chicago. She realized — reluctantly, because she didn’t want to relive the past — that she had to write about what had happened, what she had left behind, and what she had lost. Broken Records is the story of this loss, told with unflinching honesty, free of sentimentality or sensationalism. For the very first time, we learn how it felt to be first a regular teenager during the breakup of Yugoslavia and the ensuing wars, and then a 30-something adult, perennially troubled by one’s uprooted existence.Broken Records is not a neat narrative but a bit of everything — part bildungsroman, part memoir, part political poetry, part personal pop culture compendium. And while Žabić represents a Yugoslav diasporan subject, her book also belongs to an international generation whose formative years straddle the Cold War and the global reconfiguration of wealth and power, whose lives were spent shifting from the vinyl/analog era to the cyber/digital era. This generation knows that when they were told about history ending, they were told a lie.. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0137.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/broken-records/ Earth, Milky Way 04 01 20160321 Žabić, Snežana 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615949460 20 08 20160321 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/broken-records 20 08 20160321 02 23.00 USD WORLD urn:uuid:bc03eca3-3e01-4328-94c0-300c53465a1e 03 01 01 thoth-work-id urn:uuid:006571ae-ac0e-4cb0-8a3f-71280aa7f23b 01 thoth-publication-id urn:uuid:bc03eca3-3e01-4328-94c0-300c53465a1e 06 10.21983/P3.0137.1.00 01 internal-reference 0137 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Broken Records 1 A01 Snežana Žabić Snežana Žabić 40 04b6x2g63 Loyola University Chicago 01 eng 00 192 03 10 BIO026000 12 BM 93 DNC B2 Fabulations 93 1QBDY B2 History 93 NHWR9 B2 Sound+Noise 93 FXQ 93 3MPQX-XA-B 20 memoir; fiction; discography; Yugoslav Wars; exile 01 06 02 00 03 00 In 1991, Snežana Žabić lost her homeland and most of her family’s book and record collection during the Yugoslav Wars that had been sparked by Slobodan Milošević’s relentless pursuit of power. She became a teenage refugee, forced to flee Croatia and the atrocities of war that had leveled her hometown of Vukovar. She and her family remained refugees in Serbia until NATO bombed Belgrade in 1999.After witnessing the first nights of NATO’s bombing, Žabić took flight again. She moved from country to country, city to city, finally settling in Chicago. She realized — reluctantly, because she didn’t want to relive the past — that she had to write about what had happened, what she had left behind, and what she had lost. Broken Records is the story of this loss, told with unflinching honesty, free of sentimentality or sensationalism. For the very first time, we learn how it felt to be first a regular teenager during the breakup of Yugoslavia and the ensuing wars, and then a 30-something adult, perennially troubled by one’s uprooted existence.Broken Records is not a neat narrative but a bit of everything — part bildungsroman, part memoir, part political poetry, part personal pop culture compendium. And while Žabić represents a Yugoslav diasporan subject, her book also belongs to an international generation whose formative years straddle the Cold War and the global reconfiguration of wealth and power, whose lives were spent shifting from the vinyl/analog era to the cyber/digital era. This generation knows that when they were told about history ending, they were told a lie.. 30 00 In 1991, Snežana Žabić lost her homeland and most of her family’s book and record collection during the Yugoslav Wars that had been sparked by Slobodan Milošević’s relentless pursuit of power. She became a teenage refugee, forced to flee Croatia and the atrocities of war that had leveled her hometown of Vukovar. She and her family remained refugees in Serbia until NATO bombed Belgrade in 1999.After witnessing the first nights of NATO’s bombing, Žabić took flight again. She moved from country to country, city to city, finally settling in Chicago. She realized — reluctantly, because she didn’t want to relive the past — that she had to write about what had happened, what she had left behind, and what she had lost. Broken Records is the story of this loss, told with unflinching honesty, free of sentimentality or sensationalism. For the very first time, we learn how it felt to be first a regular teenager during the breakup of Yugoslavia and the ensuing wars, and then a 30-something adult, perennially troubled by one’s uprooted existence.Broken Records is not a neat narrative but a bit of everything — part bildungsroman, part memoir, part political poetry, part personal pop culture compendium. And while Žabić represents a Yugoslav diasporan subject, her book also belongs to an international generation whose formative years straddle the Cold War and the global reconfiguration of wealth and power, whose lives were spent shifting from the vinyl/analog era to the cyber/digital era. This generation knows that when they were told about history ending, they were told a lie.. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0137.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/broken-records/ Earth, Milky Way 04 01 20160321 Žabić, Snežana 02 WORLD 06 15 9780615949468 03 9780615949468 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76458 20 08 20160321 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25488 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25488/1004607.pdf?sequence=1&isAllowed=y 20 08 20160321 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35933 20 08 20160321 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353894 20 08 20160321 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/519 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2039bee1-2dc0-4bb2-acd8-b95b6a2f2b60/download 20 08 20160321 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Broken_Records/8gOVEAAAQBAJ 20 08 20160321 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/006571ae-ac0e-4cb0-8a3f-71280aa7f23b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/006571ae-ac0e-4cb0-8a3f-71280aa7f23b/006571ae-ac0e-4cb0-8a3f-71280aa7f23b.pdf 20 08 20160321 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846525 29 ZENODO: download the title https://zenodo.org/records/19846525/files/006571ae-ac0e-4cb0-8a3f-71280aa7f23b_book.pdf 20 08 20160321 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/broken-records/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0137.1.00.pdf 20 08 20160321 01 urn:uuid:1ac6481a-e5f1-44dc-a02a-57ae7d539abc 03 01 01 thoth-work-id urn:uuid:a57c6271-1af0-42c7-ac8c-e11e8a64009f 01 thoth-publication-id urn:uuid:1ac6481a-e5f1-44dc-a02a-57ae7d539abc 15 9781685710484 03 9781685710484 06 10.53288/0393.1.00 13 2022936486 01 internal-reference 0393 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Broken Theory 1 A01 21 0000000261211288 Alan Sondheim Alan Sondheim Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic of mixed reality and codework. His writing is known for its "somatic grit" and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on "semantic ghosting" – the body behind the virtual/symbolic body – and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has exhibited, taught, and lectured at a number of venues in the United States and abroad. 2 A15 Maria Damon Maria Damon 3 A19 Ryan Whyte Ryan Whyte 01 eng 00 226 03 10 FIC057000 93 FYM 12 HPK B2 Media+Technology 12 HPCF3 10 PHI014000 B2 Philosophy 93 QDTK 93 QDHR5 B2 Thought Experiments 20 media theory; embodiment; codework; failure; philosophy; multimedia art; new media 01 06 02 00 03 00 Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. 30 00 Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0393.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/broken-theory/ Earth, Milky Way 04 01 20220421 Alan Sondheim 02 WORLD 06 15 9781685710491 03 9781685710491 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710484 20 08 20220421 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/broken-theory 20 08 20220421 02 24.00 USD WORLD urn:uuid:ca91f4ec-615b-460b-a9e5-c72572d244f2 03 01 01 thoth-work-id urn:uuid:a57c6271-1af0-42c7-ac8c-e11e8a64009f 01 thoth-publication-id urn:uuid:ca91f4ec-615b-460b-a9e5-c72572d244f2 15 9781685710491 03 9781685710491 06 10.53288/0393.1.00 13 2022936486 01 internal-reference 0393 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Broken Theory 1 A01 21 0000000261211288 Alan Sondheim Alan Sondheim Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic of mixed reality and codework. His writing is known for its "somatic grit" and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on "semantic ghosting" – the body behind the virtual/symbolic body – and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has exhibited, taught, and lectured at a number of venues in the United States and abroad. 2 A15 Maria Damon Maria Damon 3 A19 Ryan Whyte Ryan Whyte 01 eng 00 226 03 10 FIC057000 93 FYM 12 HPK B2 Media+Technology 12 HPCF3 10 PHI014000 B2 Philosophy 93 QDTK 93 QDHR5 B2 Thought Experiments 20 media theory; embodiment; codework; failure; philosophy; multimedia art; new media 01 06 02 00 03 00 Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. 30 00 Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0393.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/broken-theory/ Earth, Milky Way 04 01 20220421 Alan Sondheim 02 WORLD 06 15 9781685710484 03 9781685710484 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/54086 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/54086/0393.1.00.pdf?sequence=12&isAllowed=y 20 08 20220421 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/81615 20 08 20220421 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2hgx61x 20 08 20220421 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/708 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/65a289e5-2e73-483c-aaaa-1299e8fb0b6c/download 20 08 20220421 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a57c6271-1af0-42c7-ac8c-e11e8a64009f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a57c6271-1af0-42c7-ac8c-e11e8a64009f/a57c6271-1af0-42c7-ac8c-e11e8a64009f.pdf 20 08 20220421 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849338 29 ZENODO: download the title https://zenodo.org/records/19849338/files/a57c6271-1af0-42c7-ac8c-e11e8a64009f_book.pdf 20 08 20220421 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/broken-theory/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0393.1.00.pdf 20 08 20220421 01 urn:uuid:0ddfc6e4-4630-4a77-b80a-570d46269d79 03 01 01 thoth-work-id urn:uuid:47c71c05-a4f1-48da-b8d5-9e5ba139a8ea 01 thoth-publication-id urn:uuid:0ddfc6e4-4630-4a77-b80a-570d46269d79 15 9781685710286 03 9781685710286 06 10.53288/0372.1.00 13 2022938771 01 internal-reference 0372 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Building Black Towards Antiracist Architecture 1 A01 21 0000000304482329 Elliot C. Mason Elliot C. Mason 40 048a87296 Uppsala University 01 eng 00 256 03 93 AMVD 12 AMVD 10 ARC010000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 JBSL 12 JFSL3 10 SOC056000 93 5PBD 20 antiracism; architecture; Black studies; race; urban planning 01 06 02 00 03 00 Building Black: Towards Antiracist Architecture brings together the forefronts of Black Studies and architectural theory. Only recently, architecture and urban planning have started to confront their constitution of race as a social referent, and their part in the establishment of racist logics. This confrontation usually results in projects that respond to their surroundings, that merge into a changing and multicultural city. Building Black, however, proposes the construction of a Black radical position: building islands of resistance against the expanding sea of imperial architecture.In Building Black, Mason reads the racial meaning of current construction projects in England through the histories of race and architecture. Closely reading Immanuel Kant’s formulation of the Subject as the creator of space and the development of whiteness in Modernist architecture, Mason finds that Blackness is an ongoing, antecedent island that can never quite be subsumed in the racializing project of modernity. Pushing this further, he positions antiracist architecture on a self-enclosed island de-linked from the city, preserving a sociality that cannot be incorporated into liberal universality.Alongside sustained critiques of architectural theory and Western philosophy, and close engagements with Black Studies and Indigenous thinking, Mason offer a critique of the writing subject as a collaborator in the racialization of urban cartography. In response, Mason turns inwards in this book, opening the impossibility of the writer’s position in architecture and philosophy, and setting up an alternative mode of self-critical architectural writing. 30 00 Building Black: Towards Antiracist Architecture brings together the forefronts of Black Studies and architectural theory. Only recently, architecture and urban planning have started to confront their constitution of race as a social referent, and their part in the establishment of racist logics. This confrontation usually results in projects that respond to their surroundings, that merge into a changing and multicultural city. Building Black, however, proposes the construction of a Black radical position: building islands of resistance against the expanding sea of imperial architecture.In Building Black, Mason reads the racial meaning of current construction projects in England through the histories of race and architecture. Closely reading Immanuel Kant’s formulation of the Subject as the creator of space and the development of whiteness in Modernist architecture, Mason finds that Blackness is an ongoing, antecedent island that can never quite be subsumed in the racializing project of modernity. Pushing this further, he positions antiracist architecture on a self-enclosed island de-linked from the city, preserving a sociality that cannot be incorporated into liberal universality.Alongside sustained critiques of architectural theory and Western philosophy, and close engagements with Black Studies and Indigenous thinking, Mason offer a critique of the writing subject as a collaborator in the racialization of urban cartography. In response, Mason turns inwards in this book, opening the impossibility of the writer’s position in architecture and philosophy, and setting up an alternative mode of self-critical architectural writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0372.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/building-black-towards-antiracist-architecture/ Earth, Milky Way 04 01 20220519 Elliot C. Mason 02 WORLD 06 15 9781685710293 03 9781685710293 34 06 10.1111/j.1548-7466.2010.01072.x 34 06 10.1002/9781118887226.wbcha090 34 06 10.1080/0740770X.2017.1282116 34 06 10.1080/13602365.2016.1254270 34 06 10.46560/meritum.v9i1.2493 34 06 10.1080/00064246.2014.11413690 34 06 10.1111/j.1540-6245.2010.01442.x 34 06 10.1162/016228702320218457 34 06 10.1177/002193479302300409 34 06 10.1353/crt.0.0062 34 06 10.20415/rhiz/029.e02 34 06 10.1177/0896920509347136 34 06 10.4324/9781315883700-4 34 06 10.1215/01642472-2081112 34 06 10.1111/johs.12124 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571028X 20 08 20220519 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/building-black-towards-antiracist-architecture 20 08 20220519 02 24.00 USD WORLD urn:uuid:3c183248-bc73-4d50-8e26-f8ebbf6f51aa 03 01 01 thoth-work-id urn:uuid:47c71c05-a4f1-48da-b8d5-9e5ba139a8ea 01 thoth-publication-id urn:uuid:3c183248-bc73-4d50-8e26-f8ebbf6f51aa 15 9781685710293 03 9781685710293 06 10.53288/0372.1.00 13 2022938771 01 internal-reference 0372 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Building Black Towards Antiracist Architecture 1 A01 21 0000000304482329 Elliot C. Mason Elliot C. Mason 40 048a87296 Uppsala University 01 eng 00 256 03 93 AMVD 12 AMVD 10 ARC010000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 JBSL 12 JFSL3 10 SOC056000 93 5PBD 20 antiracism; architecture; Black studies; race; urban planning 01 06 02 00 03 00 Building Black: Towards Antiracist Architecture brings together the forefronts of Black Studies and architectural theory. Only recently, architecture and urban planning have started to confront their constitution of race as a social referent, and their part in the establishment of racist logics. This confrontation usually results in projects that respond to their surroundings, that merge into a changing and multicultural city. Building Black, however, proposes the construction of a Black radical position: building islands of resistance against the expanding sea of imperial architecture.In Building Black, Mason reads the racial meaning of current construction projects in England through the histories of race and architecture. Closely reading Immanuel Kant’s formulation of the Subject as the creator of space and the development of whiteness in Modernist architecture, Mason finds that Blackness is an ongoing, antecedent island that can never quite be subsumed in the racializing project of modernity. Pushing this further, he positions antiracist architecture on a self-enclosed island de-linked from the city, preserving a sociality that cannot be incorporated into liberal universality.Alongside sustained critiques of architectural theory and Western philosophy, and close engagements with Black Studies and Indigenous thinking, Mason offer a critique of the writing subject as a collaborator in the racialization of urban cartography. In response, Mason turns inwards in this book, opening the impossibility of the writer’s position in architecture and philosophy, and setting up an alternative mode of self-critical architectural writing. 30 00 Building Black: Towards Antiracist Architecture brings together the forefronts of Black Studies and architectural theory. Only recently, architecture and urban planning have started to confront their constitution of race as a social referent, and their part in the establishment of racist logics. This confrontation usually results in projects that respond to their surroundings, that merge into a changing and multicultural city. Building Black, however, proposes the construction of a Black radical position: building islands of resistance against the expanding sea of imperial architecture.In Building Black, Mason reads the racial meaning of current construction projects in England through the histories of race and architecture. Closely reading Immanuel Kant’s formulation of the Subject as the creator of space and the development of whiteness in Modernist architecture, Mason finds that Blackness is an ongoing, antecedent island that can never quite be subsumed in the racializing project of modernity. Pushing this further, he positions antiracist architecture on a self-enclosed island de-linked from the city, preserving a sociality that cannot be incorporated into liberal universality.Alongside sustained critiques of architectural theory and Western philosophy, and close engagements with Black Studies and Indigenous thinking, Mason offer a critique of the writing subject as a collaborator in the racialization of urban cartography. In response, Mason turns inwards in this book, opening the impossibility of the writer’s position in architecture and philosophy, and setting up an alternative mode of self-critical architectural writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0372.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/building-black-towards-antiracist-architecture/ Earth, Milky Way 04 01 20220519 Elliot C. Mason 02 WORLD 06 15 9781685710286 03 9781685710286 34 06 10.1111/j.1548-7466.2010.01072.x 34 06 10.1002/9781118887226.wbcha090 34 06 10.1080/0740770X.2017.1282116 34 06 10.1080/13602365.2016.1254270 34 06 10.46560/meritum.v9i1.2493 34 06 10.1080/00064246.2014.11413690 34 06 10.1111/j.1540-6245.2010.01442.x 34 06 10.1162/016228702320218457 34 06 10.1177/002193479302300409 34 06 10.1353/crt.0.0062 34 06 10.20415/rhiz/029.e02 34 06 10.1177/0896920509347136 34 06 10.4324/9781315883700-4 34 06 10.1215/01642472-2081112 34 06 10.1111/johs.12124 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/54500 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/54500/0372.1.00.pdf?sequence=1&isAllowed=y 20 08 20220519 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/81733 20 08 20220519 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2kqwz28 20 08 20220519 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/706 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3ce253b3-8839-4f6a-9f96-10e91289cf5b/download 20 08 20220519 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/47c71c05-a4f1-48da-b8d5-9e5ba139a8ea 29 INTERNET_ARCHIVE: download the title https://archive.org/download/47c71c05-a4f1-48da-b8d5-9e5ba139a8ea/47c71c05-a4f1-48da-b8d5-9e5ba139a8ea.pdf 20 08 20220519 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849374 29 ZENODO: download the title https://zenodo.org/records/19849374/files/47c71c05-a4f1-48da-b8d5-9e5ba139a8ea_book.pdf 20 08 20220519 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/building-black-towards-antiracist-architecture/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0372.1.00.pdf 20 08 20220519 01 urn:uuid:5c14ffd3-4174-4975-ace6-06567472a75b 03 01 01 thoth-work-id urn:uuid:dd9008ae-0172-4e07-b3cf-50c35c51b606 01 thoth-publication-id urn:uuid:5c14ffd3-4174-4975-ace6-06567472a75b 15 9781953035721 03 9781953035721 06 10.53288/0356.1.00 13 2021947619 01 internal-reference 0356 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Bullied The Story of an Abuse 1 A01 Jonathan Alexander Jonathan Alexander 40 04gyf1771 University of California, Irvine 01 eng 00 182 03 B2 Autotheory 10 BIO031000 12 BM 93 DNC 93 5PSG 12 5SG 10 BIO026000 B2 Cultural Studies+Critical Theory 93 JBFK4 B2 TransQueer 93 JBFK1 93 JBSJ2 20 memoir; LGBT; sexual abuse; coming out; bullying; trauma; BDSM 01 06 02 00 03 00 What happens when the defining moment of your life might be a figment of your imagination? How do you understand — and live with — definitive feelings of having been abused when the origin of those feelings won’t adhere to a singular event but are rather diffused across years of experience?In Bullied: The Story of an Abuse, Jonathan Alexander meditates on how, as a young man, he struggled with the realization that the story he’d been telling himself about being abused by a favorite uncle as a child might actually just have been a “story” — a story he told himself and others to justify both his lifelong struggle with anxiety and to explain his attraction to other men. Story though it was, Alexander maintains that some form of abuse did occur.In writing that is at turns reflective, analytic, and hallucinatory, Alexander traces what it means to suffer homophobic abuse when such is diffused across multiple actors and locales, implicating a family, a school, a culture, and a politics — as opposed to a singular individual who just happened to be the only openly gay man in young Alexander’s life.Along the way, Alexander reflects on Jussie Smollett, drug abuse, MAGA-capped boys, sadomasochism, Catholic priests, cruising, teaching young adult fiction about rape, and a host of other oddly but intimately related topics. 30 00 What happens when the defining moment of your life might be a figment of your imagination? How do you understand — and live with — definitive feelings of having been abused when the origin of those feelings won’t adhere to a singular event but are rather diffused across years of experience?In Bullied: The Story of an Abuse, Jonathan Alexander meditates on how, as a young man, he struggled with the realization that the story he’d been telling himself about being abused by a favorite uncle as a child might actually just have been a “story” — a story he told himself and others to justify both his lifelong struggle with anxiety and to explain his attraction to other men. Story though it was, Alexander maintains that some form of abuse did occur.In writing that is at turns reflective, analytic, and hallucinatory, Alexander traces what it means to suffer homophobic abuse when such is diffused across multiple actors and locales, implicating a family, a school, a culture, and a politics — as opposed to a singular individual who just happened to be the only openly gay man in young Alexander’s life.Along the way, Alexander reflects on Jussie Smollett, drug abuse, MAGA-capped boys, sadomasochism, Catholic priests, cruising, teaching young adult fiction about rape, and a host of other oddly but intimately related topics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0356.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/bullied-the-story-of-an-abuse/ Earth, Milky Way 04 01 20211021 Jonathan Alexander 02 WORLD 06 15 9781953035738 03 9781953035738 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035728 20 08 20211021 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/bullied-the-story-of-an-abuse 20 08 20211021 02 21.00 USD WORLD urn:uuid:8458025c-0f46-46a4-8891-ce350bbb24ad 03 01 01 thoth-work-id urn:uuid:dd9008ae-0172-4e07-b3cf-50c35c51b606 01 thoth-publication-id urn:uuid:8458025c-0f46-46a4-8891-ce350bbb24ad 15 9781953035738 03 9781953035738 06 10.53288/0356.1.00 13 2021947619 01 internal-reference 0356 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Bullied The Story of an Abuse 1 A01 Jonathan Alexander Jonathan Alexander 40 04gyf1771 University of California, Irvine 01 eng 00 182 03 B2 Autotheory 10 BIO031000 12 BM 93 DNC 93 5PSG 12 5SG 10 BIO026000 B2 Cultural Studies+Critical Theory 93 JBFK4 B2 TransQueer 93 JBFK1 93 JBSJ2 20 memoir; LGBT; sexual abuse; coming out; bullying; trauma; BDSM 01 06 02 00 03 00 What happens when the defining moment of your life might be a figment of your imagination? How do you understand — and live with — definitive feelings of having been abused when the origin of those feelings won’t adhere to a singular event but are rather diffused across years of experience?In Bullied: The Story of an Abuse, Jonathan Alexander meditates on how, as a young man, he struggled with the realization that the story he’d been telling himself about being abused by a favorite uncle as a child might actually just have been a “story” — a story he told himself and others to justify both his lifelong struggle with anxiety and to explain his attraction to other men. Story though it was, Alexander maintains that some form of abuse did occur.In writing that is at turns reflective, analytic, and hallucinatory, Alexander traces what it means to suffer homophobic abuse when such is diffused across multiple actors and locales, implicating a family, a school, a culture, and a politics — as opposed to a singular individual who just happened to be the only openly gay man in young Alexander’s life.Along the way, Alexander reflects on Jussie Smollett, drug abuse, MAGA-capped boys, sadomasochism, Catholic priests, cruising, teaching young adult fiction about rape, and a host of other oddly but intimately related topics. 30 00 What happens when the defining moment of your life might be a figment of your imagination? How do you understand — and live with — definitive feelings of having been abused when the origin of those feelings won’t adhere to a singular event but are rather diffused across years of experience?In Bullied: The Story of an Abuse, Jonathan Alexander meditates on how, as a young man, he struggled with the realization that the story he’d been telling himself about being abused by a favorite uncle as a child might actually just have been a “story” — a story he told himself and others to justify both his lifelong struggle with anxiety and to explain his attraction to other men. Story though it was, Alexander maintains that some form of abuse did occur.In writing that is at turns reflective, analytic, and hallucinatory, Alexander traces what it means to suffer homophobic abuse when such is diffused across multiple actors and locales, implicating a family, a school, a culture, and a politics — as opposed to a singular individual who just happened to be the only openly gay man in young Alexander’s life.Along the way, Alexander reflects on Jussie Smollett, drug abuse, MAGA-capped boys, sadomasochism, Catholic priests, cruising, teaching young adult fiction about rape, and a host of other oddly but intimately related topics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0356.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/bullied-the-story-of-an-abuse/ Earth, Milky Way 04 01 20211021 Jonathan Alexander 02 WORLD 06 15 9781953035721 03 9781953035721 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/51125 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/51125/0356.1.00.pdf?sequence=1&isAllowed=y 20 08 20211021 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72467 20 08 20211021 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv224v0pw 20 08 20211021 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/689 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1918fdbb-7f9d-42a7-acca-6c87f13d3982/download 20 08 20211021 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Bullied/VZ-oEAAAQBAJ 20 08 20211021 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/dd9008ae-0172-4e07-b3cf-50c35c51b606 29 INTERNET_ARCHIVE: download the title https://archive.org/download/dd9008ae-0172-4e07-b3cf-50c35c51b606/dd9008ae-0172-4e07-b3cf-50c35c51b606.pdf 20 08 20211021 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849042 29 ZENODO: download the title https://zenodo.org/records/19849042/files/dd9008ae-0172-4e07-b3cf-50c35c51b606_book.pdf 20 08 20211021 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/bullied-the-story-of-an-abuse/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0356.1.00.pdf 20 08 20211021 01 urn:uuid:6581b2ad-4272-4893-b822-b736b0f81c63 03 01 01 thoth-work-id urn:uuid:eb8a2862-e812-4730-ab06-8dff1b6208bf 01 thoth-publication-id urn:uuid:6581b2ad-4272-4893-b822-b736b0f81c63 15 9780692204412 03 9780692204412 06 10.21983/P3.0067.1.00 01 internal-reference 0067 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Burn after Reading Vol. 1, Miniature Manifestos for a Post/medieval Studies + Vol. 2, The Future We Want: A Collaboration 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 3 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 226 03 12 CBW 93 DSBB B2 Humanities+University 10 LIT011000 B2 Manifesto! 93 NHDJ 93 DNL B2 Premodern 20 humanities; medieval studies; early modern studies; university 01 06 02 00 03 00 The essays, manifestos, rants, screeds, pleas, soliloquies, telegrams, broadsides, eulogies, songs, harangues, confessions, laments, and acts of poetic terrorism in these two volumes — which collectively form an academic “rave” — were culled, with some later additions, from roundtable sessions at the International Congress on Medieval Studies in 2012 and 2013, organized by postmedieval: a journal for medieval cultural studies and the BABEL Working Group (“Burn After Reading: Miniature Manifestos for a Post/medieval Studies,” “Fuck This: On Letting Go,” and “Fuck Me: On Never Letting Go”) and George Washington University’s Medieval and Early Modern Studies Institute (“The Future We Want: A Collaboration”), respectively. Gathering together a rowdy multiplicity of voices from within medieval and early modern studies, these two volumes seek to extend and intensify a conversation about how to shape premodern studies, and also the humanities, in the years ahead. Authors in both volumes, in various ways, lay claim to the act(s) of manifesting, and also anti-manifesting, as a collective endeavor that works on behalf of the future without laying any belligerent claims upon it, where we might craft new spaces for the University-at-large, which is also a University that wanders, that is never just somewhere, dwelling in the partitive — of a particular place — but rather, seeks to be everywhere, always on the move, pandemic, uncontainable, and always to-come, while also being present/between us (manifest). This is not a book, but a blueprint. It is also an ephemeral gathering in the present tense. 30 00 The essays, manifestos, rants, screeds, pleas, soliloquies, telegrams, broadsides, eulogies, songs, harangues, confessions, laments, and acts of poetic terrorism in these two volumes — which collectively form an academic “rave” — were culled, with some later additions, from roundtable sessions at the International Congress on Medieval Studies in 2012 and 2013, organized by postmedieval: a journal for medieval cultural studies and the BABEL Working Group (“Burn After Reading: Miniature Manifestos for a Post/medieval Studies,” “Fuck This: On Letting Go,” and “Fuck Me: On Never Letting Go”) and George Washington University’s Medieval and Early Modern Studies Institute (“The Future We Want: A Collaboration”), respectively. Gathering together a rowdy multiplicity of voices from within medieval and early modern studies, these two volumes seek to extend and intensify a conversation about how to shape premodern studies, and also the humanities, in the years ahead. Authors in both volumes, in various ways, lay claim to the act(s) of manifesting, and also anti-manifesting, as a collective endeavor that works on behalf of the future without laying any belligerent claims upon it, where we might craft new spaces for the University-at-large, which is also a University that wanders, that is never just somewhere, dwelling in the partitive — of a particular place — but rather, seeks to be everywhere, always on the move, pandemic, uncontainable, and always to-come, while also being present/between us (manifest). This is not a book, but a blueprint. It is also an ephemeral gathering in the present tense. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0067.1.00_frontcover.png 1 03 06 10.21983/P3.0067.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Myra Seaman Myra Seaman 3 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Joy, Eileen A. Seaman, Myra Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0067.1.02 xviii xx 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Prefatory Note Manifest This! 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 The manifestos (and also anti-manifestos) collected here are culled from sessions organized by the BABEL Work-ing Group and postmedieval: a journal of medieval cultural studiesat the 2012 International Congress on Medieval Studies (Kalamazoo, MI), for which sessions we asked presenters to contemplate and “manifest” alternative fu-tures for a post/medieval studies, as well as what it means to “let go” of something (“fuck this”) and/or “never let go” (“fuck me”). The presentations were, alternately and sim-ultaneously, bracing, funny, sad, provocative, hopeful, pessimistic, sexy, lyrical, polemical, playful, political, am-orous, subjunctive, sticky, frustrated, materialist, dejected, angry, surrealist, anti-nostalgic, activist, critical, tender, weird, and even alchemical. 30 00 The manifestos (and also anti-manifestos) collected here are culled from sessions organized by the BABEL Work-ing Group and postmedieval: a journal of medieval cultural studiesat the 2012 International Congress on Medieval Studies (Kalamazoo, MI), for which sessions we asked presenters to contemplate and “manifest” alternative fu-tures for a post/medieval studies, as well as what it means to “let go” of something (“fuck this”) and/or “never let go” (“fuck me”). The presentations were, alternately and sim-ultaneously, bracing, funny, sad, provocative, hopeful, pessimistic, sexy, lyrical, polemical, playful, political, am-orous, subjunctive, sticky, frustrated, materialist, dejected, angry, surrealist, anti-nostalgic, activist, critical, tender, weird, and even alchemical. 20 00 Open Access Joy, Eileen A 3 03 06 10.21983/P3.0067.1.03 1 3 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Intentionally Good, Really Bad 1 A01 Heather Bamford Heather Bamford 40 00y4zzh67 George Washington University 01 eng 03 00 The epigraph for this miniature manifesto is a line that a friend and I remembered as hers. It turned out that that attribution was only part true, since it is also something that Derrida said of HélèneCixous when they committed her work to the National Library of France: The door is barred but please come in.1I hope medieval studies will conceptualize intention when writing about medieval manuscript culture. I don’t mean the intentions of medieval authors, but intentionsthat could seem just as objectionable: those of the medie-val people who used manuscripts. By manuscript culture, I refer not only to the reading and writing activities of multiple scribes and readers, but also to other uses of manuscripts, some of which today seem anti-intellectual for a variety of reasons, including purposeful destructionfor use in binding, the extraction of leaves for sale or dec-orative use, and even the use of manuscript material as talismans. 30 00 The epigraph for this miniature manifesto is a line that a friend and I remembered as hers. It turned out that that attribution was only part true, since it is also something that Derrida said of HélèneCixous when they committed her work to the National Library of France: The door is barred but please come in.1I hope medieval studies will conceptualize intention when writing about medieval manuscript culture. I don’t mean the intentions of medieval authors, but intentionsthat could seem just as objectionable: those of the medie-val people who used manuscripts. By manuscript culture, I refer not only to the reading and writing activities of multiple scribes and readers, but also to other uses of manuscripts, some of which today seem anti-intellectual for a variety of reasons, including purposeful destructionfor use in binding, the extraction of leaves for sale or dec-orative use, and even the use of manuscript material as talismans. 20 00 Open Access Bamford, Heather 4 03 06 10.21983/P3.0067.1.04 5 7 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 21st-Century Medieval Studies Seeing a Forest as Well as Trees 1 A01 Frank Battaglia Frank Battaglia 40 02p179j44 College of Staten Island 01 eng 03 00 Our subject, medieval studies, was named for a “middle age.” It came between Antiquity, specifically the Roman Empire, and the nation states that succeeded it, particu-larly in Europe.An extensive regime was displaced as competing structures of power—operating from various centers but often more elaborate in their controls—struggled into existence.We live in a time when the so-called global economic system, enacted by free-range and state-run capitalisms, is extending its reach over the entire planet, dislocating national networks. International trade agreements dimin-ish the ability of even the U.S. or E.U., let alone less pow-erful entities, to enforce environmental or labor laws. Nation states are giving way to a larger system, difficult to describe, as the interests of the World Economic Forum impel events more effectively than those of the U.N. Gen-eral Assembly.1Meanwhile, from Ecuadorean tribes of the upper Amazon to the adivasi of forest India, virtually no area escapes exploitation, nor does any independent social entity avoid integration and/or obliteration. 30 00 Our subject, medieval studies, was named for a “middle age.” It came between Antiquity, specifically the Roman Empire, and the nation states that succeeded it, particu-larly in Europe.An extensive regime was displaced as competing structures of power—operating from various centers but often more elaborate in their controls—struggled into existence.We live in a time when the so-called global economic system, enacted by free-range and state-run capitalisms, is extending its reach over the entire planet, dislocating national networks. International trade agreements dimin-ish the ability of even the U.S. or E.U., let alone less pow-erful entities, to enforce environmental or labor laws. Nation states are giving way to a larger system, difficult to describe, as the interests of the World Economic Forum impel events more effectively than those of the U.N. Gen-eral Assembly.1Meanwhile, from Ecuadorean tribes of the upper Amazon to the adivasi of forest India, virtually no area escapes exploitation, nor does any independent social entity avoid integration and/or obliteration. 20 00 Open Access Battaglia, Frank 5 03 06 10.21983/P3.0067.1.05 9 11 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Net Worth 1 A01 Bettina Bildhauer Bettina Bildhauer 40 02wn5qz54 University of St Andrews 01 eng 03 00 One might argue that we hardly need another plea for more materiality in medieval studies:it's a buzz topic at medievalist conferences; the first issue of postmedievalwas devoted to it; and prominent members of the BABEL Working Group have been thinking with Bruno Latour, Jane Bennett, Bill Brown,and Graham Harman for years. And yet, the idea that agency is always an interaction, a network in which any element—not just what we tradi-tionally call human subjects, but also non-human ob-jects—can be alive, active and cognizantstill sounds mad to the medievalist mainstream and to most of the general public.The subject-object distinction is one of our most basic patterns of thought and not easily displaced by aca-demic fashion. So I will sound hopelessly belated and to-tally obvious to some, and crazily airy-fairy and non-sensical to others, when I now point out five things that I, as a literary and cultural historian,have learned so far fromstudying materiality. 30 00 One might argue that we hardly need another plea for more materiality in medieval studies:it's a buzz topic at medievalist conferences; the first issue of postmedievalwas devoted to it; and prominent members of the BABEL Working Group have been thinking with Bruno Latour, Jane Bennett, Bill Brown,and Graham Harman for years. And yet, the idea that agency is always an interaction, a network in which any element—not just what we tradi-tionally call human subjects, but also non-human ob-jects—can be alive, active and cognizantstill sounds mad to the medievalist mainstream and to most of the general public.The subject-object distinction is one of our most basic patterns of thought and not easily displaced by aca-demic fashion. So I will sound hopelessly belated and to-tally obvious to some, and crazily airy-fairy and non-sensical to others, when I now point out five things that I, as a literary and cultural historian,have learned so far fromstudying materiality. 20 00 Open Access Bildhauer, Bettina 6 03 06 10.21983/P3.0067.1.06 13 18 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Our Feminism/ Our Activism 1 A01 Martha Easton Martha Easton 40 05q87sg56 Saint Joseph's University 2 A01 Maggie Williams Maggie Williams 40 00k3ayt93 William Paterson University 01 eng 03 00 Martha and I are mothers. We are feminists. We are art historians. We are activists. We have each struggled to keep those identities carefully compartmentalized to ach-ieve some abstract notion of success. Both of us were drawn to BABEL’s“Fuck This: On Finally Letting Go” and “Fuck Me: On Never Letting Go”sessions out of a sense of frustration: dissatisfaction with the tactics of purport-edly activist groups, disillusionment with the hypocrisies of academic life, and disappointment in our own and oth-ers’ willingness to rock the boat. Today, we are finally letting go of preserving our secret identities. Together, we will unmask our true selves, telling our stories and sharing our hopes for real change. Rather than coping silently, we want to call for real progressive action among medievalists. 30 00 Martha and I are mothers. We are feminists. We are art historians. We are activists. We have each struggled to keep those identities carefully compartmentalized to ach-ieve some abstract notion of success. Both of us were drawn to BABEL’s“Fuck This: On Finally Letting Go” and “Fuck Me: On Never Letting Go”sessions out of a sense of frustration: dissatisfaction with the tactics of purport-edly activist groups, disillusionment with the hypocrisies of academic life, and disappointment in our own and oth-ers’ willingness to rock the boat. Today, we are finally letting go of preserving our secret identities. Together, we will unmask our true selves, telling our stories and sharing our hopes for real change. Rather than coping silently, we want to call for real progressive action among medievalists. 20 00 Open Access Easton, Martha Williams, Maggie 7 03 06 10.21983/P3.0067.1.07 19 23 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Be Critical! 1 A01 Ruth Evans Ruth Evans 40 04k7nem08 Saint Louis University 01 eng 03 00 I hate manifestos. They are so yesterday.Blast the manifesto! Its revolutionary impulse is, as James Simpson observesabout a wholly different phenomenon and time period, to do withthe desire for a clean break between thenand now, a break in which the past is itself created “by being made very dark, wholly repellent, and sharply different from the bril-liant new present.”1I don’t believe in the revolutionary breakor the brilliant new present, although I’m with John Ball, that things have to change: “God doe bote, for now is time.” The manifesto is always timely.Sobless the manifesto! Whatever. I also hate the credo. I believe in things, but not in that abso-lute way. 30 00 I hate manifestos. They are so yesterday.Blast the manifesto! Its revolutionary impulse is, as James Simpson observesabout a wholly different phenomenon and time period, to do withthe desire for a clean break between thenand now, a break in which the past is itself created “by being made very dark, wholly repellent, and sharply different from the bril-liant new present.”1I don’t believe in the revolutionary breakor the brilliant new present, although I’m with John Ball, that things have to change: “God doe bote, for now is time.” The manifesto is always timely.Sobless the manifesto! Whatever. I also hate the credo. I believe in things, but not in that abso-lute way. 20 00 Open Access Evans, Ruth 8 03 06 10.21983/P3.0067.1.08 25 27 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 This Is Your Brain on Medieval Studies 1 A01 Joshua R. Eyler Joshua R. Eyler 40 008zs3103 Rice University 40 02teq1165 University of Mississippi 01 eng 03 00 The time has come to vigorously fight back against the devaluation of the humanities by policy makers and by college administrations thatseek to close programs due to so-called financial exigencies, and I believe that Medieval Studies has an important role to play in this battle.Part of me thinks that, out of mere principle, we should refuse to kowtow to these threats and to hold our linethat the hu-manities are inherently valuable in and of themselves; after all, they have served as the foundation for a univer-sity education for centuries.In the end, though, my more pragmatic side wins out.The push for accountability will not slacken, but will steadily increase, as we move into the future. 30 00 The time has come to vigorously fight back against the devaluation of the humanities by policy makers and by college administrations thatseek to close programs due to so-called financial exigencies, and I believe that Medieval Studies has an important role to play in this battle.Part of me thinks that, out of mere principle, we should refuse to kowtow to these threats and to hold our linethat the hu-manities are inherently valuable in and of themselves; after all, they have served as the foundation for a univer-sity education for centuries.In the end, though, my more pragmatic side wins out.The push for accountability will not slacken, but will steadily increase, as we move into the future. 20 00 Open Access Eyler, Joshua R. 9 03 06 10.21983/P3.0067.1.09 29 36 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sticking Together 1 A01 Lara Farina Lara Farina 40 011vxgd24 West Virginia University 01 eng 03 00 If I’m going into the future, I want the things I’ve readto come along. Notthat I have much choice; they’ll stick with me,anyway. Many of themhave doubtless stuck with you, too. They may have stuck us together, you and I. And they’re alwaysnudging us for further introduc-tions—to students, colleagues, friends, readers, lovers, anyone, really, who will invite them to parties and work-shops and conversationsof all kinds. We shouldn’t be-grudge this promiscuous behavior, since time spent with others does not require that they spendless with us. That’s one of their special charms, this temporal non-economy, this unhinging of time from trade. 30 00 If I’m going into the future, I want the things I’ve readto come along. Notthat I have much choice; they’ll stick with me,anyway. Many of themhave doubtless stuck with you, too. They may have stuck us together, you and I. And they’re alwaysnudging us for further introduc-tions—to students, colleagues, friends, readers, lovers, anyone, really, who will invite them to parties and work-shops and conversationsof all kinds. We shouldn’t be-grudge this promiscuous behavior, since time spent with others does not require that they spendless with us. That’s one of their special charms, this temporal non-economy, this unhinging of time from trade. 20 00 Open Access Farina, Lara 10 03 06 10.21983/P3.0067.1.10 37 39 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Waging Guerrilla Warfare against the 19th Century 1 A01 Matthew Gabriele Matthew Gabriele 40 02smfhw86 Virginia Tech 01 eng 03 00 The idea of writing a “manifesto” for this panel was par-ticularly appealing to me for two reasons. First, I like be-ing around people who work heavily in theory. Their perspectives and ideas continually challenge my own, even if, since I’m but a simple historian by training, I don’t always understand what they’re talking about. I implore my fellow panelists to therefore use small wordsso that I can follow along ... 30 00 The idea of writing a “manifesto” for this panel was par-ticularly appealing to me for two reasons. First, I like be-ing around people who work heavily in theory. Their perspectives and ideas continually challenge my own, even if, since I’m but a simple historian by training, I don’t always understand what they’re talking about. I implore my fellow panelists to therefore use small wordsso that I can follow along ... 20 00 Open Access Gabriele, Matthew 11 03 06 10.21983/P3.0067.1.11 41 46 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Medieval Studies in the Subjunctive Mood 1 A01 Gaelan Gilbert Gaelan Gilbert 40 04s5mat29 University of Victoria 40 03vxb8t23 Hellenic College Holy Cross Greek Orthodox School of Theology 01 eng 03 00 Let’s just run with it. The potentially instructive, because utterly naïve, thought experiment of entertaining for a moment that we have never been modern. Forget modernism—what if modernitynever happened?Not that we know what “modern” even means, except as an empty qualifier perched with pomp at the crest of history. Then again, that’s precisely the point. Modernity, like Walter Benjamin’s angel of history looking over its shoulder, has always been running from what it no longer wants to be, shouting “not that! not that!” And yet—and it’s a big yet —if we are becoming increasingly convinced by Bruno Latour, then not only were we never not medieval, but medieval no longer has to mean “premodern.” If Benja-min’s angel of modern history can’t stop looking back-ward and defining itself in opposition to what it sees as a sort of negative immanence (what, in the past, it fears and loathes), then perhaps “to be medieval,” as Andrew Cole and D. Vance Smith have put it, “is to posit a future in the very act of self-recognition, to offer a memory or memo-rial to a future that will be recognized at a time and place not yet known.”1 A future, that is, which positively trans-cends presence. 30 00 Let’s just run with it. The potentially instructive, because utterly naïve, thought experiment of entertaining for a moment that we have never been modern. Forget modernism—what if modernitynever happened?Not that we know what “modern” even means, except as an empty qualifier perched with pomp at the crest of history. Then again, that’s precisely the point. Modernity, like Walter Benjamin’s angel of history looking over its shoulder, has always been running from what it no longer wants to be, shouting “not that! not that!” And yet—and it’s a big yet —if we are becoming increasingly convinced by Bruno Latour, then not only were we never not medieval, but medieval no longer has to mean “premodern.” If Benja-min’s angel of modern history can’t stop looking back-ward and defining itself in opposition to what it sees as a sort of negative immanence (what, in the past, it fears and loathes), then perhaps “to be medieval,” as Andrew Cole and D. Vance Smith have put it, “is to posit a future in the very act of self-recognition, to offer a memory or memo-rial to a future that will be recognized at a time and place not yet known.”1 A future, that is, which positively trans-cends presence. 20 00 Open Access Gilbert, Gaelan 12 03 06 10.21983/P3.0067.1.12 47 52 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Radical Ridicule 1 A01 Noah D. Guynn Noah D. Guynn 40 05rrcem69 University of California, Davis 01 eng 03 00 We’ve been hearing a lot lately about the “descriptive turn” in literary studies, which is as much a turn away from critical hermeneutics and symptomatic reading as a turn toward observation and description. This isn’t a neu-tral development or a mere change in direction. On the contrary, it entails a broad-based repudiation of Marxism, psychoanalysis, and post-structuralism as methodologies that are unconsciously enmeshed in the very humanist ideologies they purport to demystify. It also frequently trips over its own feet, formulating critiques of critique in order supposedly to move beyond it. 30 00 We’ve been hearing a lot lately about the “descriptive turn” in literary studies, which is as much a turn away from critical hermeneutics and symptomatic reading as a turn toward observation and description. This isn’t a neu-tral development or a mere change in direction. On the contrary, it entails a broad-based repudiation of Marxism, psychoanalysis, and post-structuralism as methodologies that are unconsciously enmeshed in the very humanist ideologies they purport to demystify. It also frequently trips over its own feet, formulating critiques of critique in order supposedly to move beyond it. 20 00 Open Access Guynn, Noah D. 13 03 06 10.21983/P3.0067.1.13 53 57 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Burn(ed) Before Writing The Late Stages of a Late Medieval PhD and Current Academic Realities 1 A01 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 01 eng 03 00 Facebook friend Jeffrey Jerome Cohen posts the following remark on September 13, 2011:The JIL [Job Information List of the Modern Lan-guage Association] is out today, and it looks to be another grim year for jobs in medieval and early modern studies. Best wishes for all who are on the market.This draws a number of comments from chagrined job-seekers and faculty in short-handed departments. 30 00 Facebook friend Jeffrey Jerome Cohen posts the following remark on September 13, 2011:The JIL [Job Information List of the Modern Lan-guage Association] is out today, and it looks to be another grim year for jobs in medieval and early modern studies. Best wishes for all who are on the market.This draws a number of comments from chagrined job-seekers and faculty in short-handed departments. 20 00 Open Access Hadbawnik, David 14 03 06 10.21983/P3.0067.1.14 59 61 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 History and Commitment 1 A01 Guy Halsall Guy Halsall 40 04m01e293 University of York 01 eng 03 00 No one will pretend it is possible to tell history as it really was. But no one has seized the implication of that. Its empirical ghost remains, although simple factual accu-racy sets the bar pretty low for a historical project. Is the cry ‘Rankean History is dead: long live Rankean History’? Or is it time to explore again the pre-Rankean idea of history as philosophy teaching by example? 30 00 No one will pretend it is possible to tell history as it really was. But no one has seized the implication of that. Its empirical ghost remains, although simple factual accu-racy sets the bar pretty low for a historical project. Is the cry ‘Rankean History is dead: long live Rankean History’? Or is it time to explore again the pre-Rankean idea of history as philosophy teaching by example? 20 00 Open Access Halsall, Guy 15 03 06 10.21983/P3.0067.1.15 63 71 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Never Letting Go 1 A01 Cary Howie Cary Howie 40 05bnh6r87 Cornell University 01 eng 03 00 There are a lot of things to be said for letting go. Our at-tachments can limit us in bad ways as well as good ones; more than once, when saying goodbye to a particular place or person whose future just cannot be mine any longer, I have thought of Alison Krauss affirming, with her usual bittersweetness, “And I’m no longer bound / I can let go now.”1 It is often difficult to cop to the things that bind us; difficult to assess what kind of binding makes us live more intensely and what kind of binding, in contrast, merely constrains us, keeps us from that fuller life. Letting go makes room for something, and the whole point is that it’s a gamble: you don’t know what you’re making room for. That determinacy is, among other things, what you’re giving up. Similarly, in a different idiom, the classic definition of melancholia is built around a refusal to let go: a refusal to acknowledge what is gone as gone. But in the background of every question about letting go, another question lurks: how do we know that something is gone? And how, by the same token, do we come to terms with the very real presences that continue to surround and define us? That is to say, if melancholia misses its mark because it will not surrender what it aims at, even when what it aims at is gone, there is a kind of complementary malaise that is too cavalier about its terms of surrender, that wants to aim at nothing at all, that wants to give it all up, even those things without which life is, strictly speaking, unimaginable. In these pages I’d like to ask this question, among others: is there a way to honor the risk, the gamble, implicit in our ges-tures of relinquishment while also affirming the ties that continue to bind us—for the best—to the world? Or, to put it slightly differently, can we let go of certain things—certain professional outcomes, erotic futures, grudges, habits—while holding on to others, without this diminish-ing our relinquishment? 30 00 There are a lot of things to be said for letting go. Our at-tachments can limit us in bad ways as well as good ones; more than once, when saying goodbye to a particular place or person whose future just cannot be mine any longer, I have thought of Alison Krauss affirming, with her usual bittersweetness, “And I’m no longer bound / I can let go now.”1 It is often difficult to cop to the things that bind us; difficult to assess what kind of binding makes us live more intensely and what kind of binding, in contrast, merely constrains us, keeps us from that fuller life. Letting go makes room for something, and the whole point is that it’s a gamble: you don’t know what you’re making room for. That determinacy is, among other things, what you’re giving up. Similarly, in a different idiom, the classic definition of melancholia is built around a refusal to let go: a refusal to acknowledge what is gone as gone. But in the background of every question about letting go, another question lurks: how do we know that something is gone? And how, by the same token, do we come to terms with the very real presences that continue to surround and define us? That is to say, if melancholia misses its mark because it will not surrender what it aims at, even when what it aims at is gone, there is a kind of complementary malaise that is too cavalier about its terms of surrender, that wants to aim at nothing at all, that wants to give it all up, even those things without which life is, strictly speaking, unimaginable. In these pages I’d like to ask this question, among others: is there a way to honor the risk, the gamble, implicit in our ges-tures of relinquishment while also affirming the ties that continue to bind us—for the best—to the world? Or, to put it slightly differently, can we let go of certain things—certain professional outcomes, erotic futures, grudges, habits—while holding on to others, without this diminish-ing our relinquishment? 20 00 Open Access Howie, Cary 16 03 06 10.21983/P3.0067.1.16 73 78 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Gothic Fly 1 A01 Shayne Aaron Legassie Shayne Aaron Legassie 40 0130frc33 University of North Carolina at Chapel Hill 01 eng 03 00 Gore Verbinski’s 2002 filmThe Ringis a remake of the popular Japanese horror movieRingu (1998), directed by Hideo Nakata. Both films tell the story of a cursed vide-otape whose viewers die gruesome deaths seven days after they watch it. At the level of both plot and visual style, Verbinski’s departures from Ringuare deeply in-debted to the conventions of the gothic novel, especially as they were mediated by European and American cine-ma. This gothic aesthetic “translates” Ringu into a more familiar Hollywood idiom for the benefit of North Ameri-can viewers. Many of The Ring’s gothic innovations have long pedigrees, some of which stretch back to premodern painting and thought. 30 00 Gore Verbinski’s 2002 filmThe Ringis a remake of the popular Japanese horror movieRingu (1998), directed by Hideo Nakata. Both films tell the story of a cursed vide-otape whose viewers die gruesome deaths seven days after they watch it. At the level of both plot and visual style, Verbinski’s departures from Ringuare deeply in-debted to the conventions of the gothic novel, especially as they were mediated by European and American cine-ma. This gothic aesthetic “translates” Ringu into a more familiar Hollywood idiom for the benefit of North Ameri-can viewers. Many of The Ring’s gothic innovations have long pedigrees, some of which stretch back to premodern painting and thought. 20 00 Open Access Legassie, Shayne Aaron 17 03 06 10.21983/P3.0067.1.17 79 83 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fuck Postcolonialism 1 A01 Erin Maglaque Erin Maglaque 40 05krs5044 University of Sheffield 01 eng 03 00 Since the late 1990s, a group of medieval literary scholars and historians have drawn upon postcolonial theory, a discipline which itself emerged, in its most coherent and resilient form, from the Subaltern Studies group fifteen years before.1 Medievalists’ work with postcolonial theo-ry can be roughly divided into two kinds of engagement: first is the group of scholars interested in applying post-colonial theories to their medieval sources, and who are, in the tradition of Said’s Orientalism, interested in the representative work of the racial or ethnic other in the medieval text. A second and perhaps more disparate group is interested in the disciplinary and political impli-cations of medievalism and postcolonialism, their inter-twined intellectual histories, and especially the ways in which studying the interrelation between postcolonial and medieval historiographies can lead to a reconsidera-tion of periodization and temporalities. 30 00 Since the late 1990s, a group of medieval literary scholars and historians have drawn upon postcolonial theory, a discipline which itself emerged, in its most coherent and resilient form, from the Subaltern Studies group fifteen years before.1 Medievalists’ work with postcolonial theo-ry can be roughly divided into two kinds of engagement: first is the group of scholars interested in applying post-colonial theories to their medieval sources, and who are, in the tradition of Said’s Orientalism, interested in the representative work of the racial or ethnic other in the medieval text. A second and perhaps more disparate group is interested in the disciplinary and political impli-cations of medievalism and postcolonialism, their inter-twined intellectual histories, and especially the ways in which studying the interrelation between postcolonial and medieval historiographies can lead to a reconsidera-tion of periodization and temporalities. 20 00 Open Access Maglaque, Erin 18 03 06 10.21983/P3.0067.1.18 85 87 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 We Are the Material Collective 1 A01 Material Collective Material Collective 01 eng 03 00 We are the Material Collective, a group of medievalists interrogating visual materials. We seek to:cooperateencouragesharepromote transparencytouchdesiredestabilizeamuse blunder. As a collaborative of students of visual culture, Material Collective seeks to foster a safe space for alternative ways of thinking about objects. We strive for transparency in our practice, and we en-courage the same in our institutional surroundings.Our project touches upon both form and content, as we pursue a lyrical and experimental style of writing along with a more humane, collaborative, and supportive pro-cess of scholarship 30 00 We are the Material Collective, a group of medievalists interrogating visual materials. We seek to:cooperateencouragesharepromote transparencytouchdesiredestabilizeamuse blunder. As a collaborative of students of visual culture, Material Collective seeks to foster a safe space for alternative ways of thinking about objects. We strive for transparency in our practice, and we en-courage the same in our institutional surroundings.Our project touches upon both form and content, as we pursue a lyrical and experimental style of writing along with a more humane, collaborative, and supportive pro-cess of scholarship 20 00 Open Access Material Collective 19 03 06 10.21983/P3.0067.1.19 89 96 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Medievalism/ Surrealism 1 A01 Thomas Mical Thomas Mical 40 01p93h210 University of South Australia 01 eng 03 00 This is a question concerning architecture. An immersion into the imaginary worlds, specifically the fusion of an imaginary world into the everyday real, was the great project of surrealism. The surrealist avant-garde sought to open up a supra-sensory milieu of impossible relations, including monstrous bodies, irrational hybrids, genre mutations, forbidden landscapes and gardens, and a whole range of partial co-located figures and gestures, half real and half other. Surrealism was the promise of a world of alterity and delight, capable of emerging or eru-pting at the slightest provocation, in the subtlest periph-eral glimpse of a disfiguration, and in the recall of the sense and feel of a new space (déjà vu, already sensed). Surrealism is the obverse of modern rationalism, both intersecting but incomplete projects. It is from this call that unrecognized medieval alterity can diversify medie-val architectural history beyond the monumental history of differentiated cathedrals (and walled cities). 30 00 This is a question concerning architecture. An immersion into the imaginary worlds, specifically the fusion of an imaginary world into the everyday real, was the great project of surrealism. The surrealist avant-garde sought to open up a supra-sensory milieu of impossible relations, including monstrous bodies, irrational hybrids, genre mutations, forbidden landscapes and gardens, and a whole range of partial co-located figures and gestures, half real and half other. Surrealism was the promise of a world of alterity and delight, capable of emerging or eru-pting at the slightest provocation, in the subtlest periph-eral glimpse of a disfiguration, and in the recall of the sense and feel of a new space (déjà vu, already sensed). Surrealism is the obverse of modern rationalism, both intersecting but incomplete projects. It is from this call that unrecognized medieval alterity can diversify medie-val architectural history beyond the monumental history of differentiated cathedrals (and walled cities). 20 00 Open Access Mical, Thomas 20 03 06 10.21983/P3.0067.1.20 97 99 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 De catervis ceteris 1 A01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 01 eng 03 00 Look, I’m fine, and you’re probably fine, and this is all lovely and fine, and I don’t really have any complaints, and I don’t want to stand here honking and screaming and telling you that you have to do this and you can’t do that, because really I’m fine, and you’re fine, and this is all lovely and fine, and I have my ways of doing my thing, and you all have your ways of doing your thing, and we have developed and will continue to develop ways of communicating and connecting and intersecting and in-tercalating and networking and perverting and permuting and exchanging and pollinating and multiplying and shuffling and alphabetizing and taxonimizing and trans-lating and transposing and creatively mishearing and misreading and assembling and reassembling and pleasuring and tantalizing and polishing and abrading and interrogating and sculpting and remodeling and renovat-ing and flipping and overturning and revolutionizing and transcending and eventually nostalgically or elegiacally recalling and reciting and reenacting and recreating and repositioning and reconsidering and reattaching our vari-ous things like so many Lego bricks or Tinkertoys or sex-ual organs, and this is fine, and I’m fine, and you’re F-I-N-E fine, and this is all lovely and fine, but, and this is a small but, there’s a little thing I’m worried about, or maybe not worried about but maybe bored by, or maybe not bored by but frustrated with, or maybe I’m frustrated and bored and a little worried, even though I’m fine, and this isn’t meant to detract from your own fineness, or how lovely and fine all this is, because it really is lovely and fine and you really are fine, but: Could you stop talking about England? Could you stop talking about English literature quite all the time? Or English history? Or English art or whatever? Although really, English literature. 30 00 Look, I’m fine, and you’re probably fine, and this is all lovely and fine, and I don’t really have any complaints, and I don’t want to stand here honking and screaming and telling you that you have to do this and you can’t do that, because really I’m fine, and you’re fine, and this is all lovely and fine, and I have my ways of doing my thing, and you all have your ways of doing your thing, and we have developed and will continue to develop ways of communicating and connecting and intersecting and in-tercalating and networking and perverting and permuting and exchanging and pollinating and multiplying and shuffling and alphabetizing and taxonimizing and trans-lating and transposing and creatively mishearing and misreading and assembling and reassembling and pleasuring and tantalizing and polishing and abrading and interrogating and sculpting and remodeling and renovat-ing and flipping and overturning and revolutionizing and transcending and eventually nostalgically or elegiacally recalling and reciting and reenacting and recreating and repositioning and reconsidering and reattaching our vari-ous things like so many Lego bricks or Tinkertoys or sex-ual organs, and this is fine, and I’m fine, and you’re F-I-N-E fine, and this is all lovely and fine, but, and this is a small but, there’s a little thing I’m worried about, or maybe not worried about but maybe bored by, or maybe not bored by but frustrated with, or maybe I’m frustrated and bored and a little worried, even though I’m fine, and this isn’t meant to detract from your own fineness, or how lovely and fine all this is, because it really is lovely and fine and you really are fine, but: Could you stop talking about England? Could you stop talking about English literature quite all the time? Or English history? Or English art or whatever? Although really, English literature. 20 00 Open Access Piuma, Chris 21 03 06 10.21983/P3.0067.1.21 101 104 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 2nd Program of the Ornamentalists 1 A01 Daniel C. Remein Daniel C. Remein 40 0190ak572 New York University 40 04ydmy275 University of Massachusetts Boston 01 eng 03 00 We, the Ornamentalists, anarcho-eco-pacificist amateurs, advocate an aesthetics of historical cosmicity as the ground of an ethics of medieval studies, an avant-garde poetics, and a revolutionary politics of elaborating a var-ied cosmos as Public Park. In the face of the current plan-etary ecological disaster and its goads—the State and Cap-italism—a radical reorientation of our interface with the Cosmos is necessary. For medieval studies to begin to adequately respond, it must move aside from the impulse to thematizethe cultural and the ecological or to describe their mutual transversal as thematized by medieval litera-ture. Instead, we mustMAKE (as inPOETICS). We mustelaborate non- and de-instrumentalized ethics and proce-dures that allow interface with the non-Human Cosmos. 30 00 We, the Ornamentalists, anarcho-eco-pacificist amateurs, advocate an aesthetics of historical cosmicity as the ground of an ethics of medieval studies, an avant-garde poetics, and a revolutionary politics of elaborating a var-ied cosmos as Public Park. In the face of the current plan-etary ecological disaster and its goads—the State and Cap-italism—a radical reorientation of our interface with the Cosmos is necessary. For medieval studies to begin to adequately respond, it must move aside from the impulse to thematizethe cultural and the ecological or to describe their mutual transversal as thematized by medieval litera-ture. Instead, we mustMAKE (as inPOETICS). We mustelaborate non- and de-instrumentalized ethics and proce-dures that allow interface with the non-Human Cosmos. 20 00 Open Access Remein, Daniel C. 22 03 06 10.21983/P3.0067.1.22 105 107 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Medieval Manifesto 1 A01 Christopher Roman Christopher Roman 40 049pfb863 Kent State University 01 eng 03 00 A medieval refuses ‘the.’ ‘The’ indicates singularity, a reaching back to see a monolith. But, the Angel of Histo-ry does not see the past as monolith; it approaches in fragments, pieces and chairs, bookcases and drops, reach-ing out with its queer touch.A medieval does not rest. Once it has been identified it has already been lost. What is left is an event that is its becoming.A medieval is evident in slime trails that are left. These paths ooze into the earth, evaporate into air. They are reflected in whatever light is shined upon them. 30 00 A medieval refuses ‘the.’ ‘The’ indicates singularity, a reaching back to see a monolith. But, the Angel of Histo-ry does not see the past as monolith; it approaches in fragments, pieces and chairs, bookcases and drops, reach-ing out with its queer touch.A medieval does not rest. Once it has been identified it has already been lost. What is left is an event that is its becoming.A medieval is evident in slime trails that are left. These paths ooze into the earth, evaporate into air. They are reflected in whatever light is shined upon them. 20 00 Open Access Roman, Christopher 23 03 06 10.21983/P3.0067.1.23 109 111 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Homo Narrans 1 A01 Eva von Contzen Eva von Contzen 40 0245cg223 University of Freiburg 01 eng 03 00 My title is borrowed from a book by John D. Niles on the pervasiveness of storytelling among human beings.1 Niles investigates oral literature from both an anthropological and a cultural perspective and demonstrates its socio-cultural grounding and significance. We think in stories and narrativize our experiences in the world. We trans-form objects, natural processes, and unrelated occurrenc-es into narratives by establishing links of coherence and causality, by adding personification and anthropomor-phism, and by projecting feelings onto that which sur-rounds us. We tell stories to soothe, to debate, to invite response, to strengthen friendship, to remember, to argue, to bond, and to define our identity―the list could be extended endlessly, so manifold are the reasons and mo-tivations behind the storytelling impulse. 30 00 My title is borrowed from a book by John D. Niles on the pervasiveness of storytelling among human beings.1 Niles investigates oral literature from both an anthropological and a cultural perspective and demonstrates its socio-cultural grounding and significance. We think in stories and narrativize our experiences in the world. We trans-form objects, natural processes, and unrelated occurrenc-es into narratives by establishing links of coherence and causality, by adding personification and anthropomor-phism, and by projecting feelings onto that which sur-rounds us. We tell stories to soothe, to debate, to invite response, to strengthen friendship, to remember, to argue, to bond, and to define our identity―the list could be extended endlessly, so manifold are the reasons and mo-tivations behind the storytelling impulse. 20 00 Open Access von Contzen, Eva 24 03 06 10.21983/P3.0067.1.24 113 118 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Historicism and Its Discontents 1 A01 Erik Wade Erik Wade 40 05vt9qd57 Rutgers University 40 041nas322 University of Bonn 01 eng 03 00 A text is being historicized. As with Freud's famous essay on the fantasy “a child is being beaten,” what matters most is the fantasy that the vague statement covers over.1What is the fantasy that historicism supports? Numerous arguments have been raised against historicism. However, my interest here lies less in those arguments than in exploring the fantasy that undergirds both historicism as well as its renunciation. What might it mean to give up historicism? Moreover, what might it mean to abandon a practice, as opposed to abandoning an object? This essay troubles the idea of letting go of historicism by suggest-ing that historicism is itself a kind of letting go, a relin-quishing of the historical object to a distant past. So, to let go of historicism is to refuse to let go of the historical object. This refusal, however, remains obscured and unacknowledged beneath a fantasy of historicism’s historicity. 30 00 A text is being historicized. As with Freud's famous essay on the fantasy “a child is being beaten,” what matters most is the fantasy that the vague statement covers over.1What is the fantasy that historicism supports? Numerous arguments have been raised against historicism. However, my interest here lies less in those arguments than in exploring the fantasy that undergirds both historicism as well as its renunciation. What might it mean to give up historicism? Moreover, what might it mean to abandon a practice, as opposed to abandoning an object? This essay troubles the idea of letting go of historicism by suggest-ing that historicism is itself a kind of letting go, a relin-quishing of the historical object to a distant past. So, to let go of historicism is to refuse to let go of the historical object. This refusal, however, remains obscured and unacknowledged beneath a fantasy of historicism’s historicity. 20 00 Open Access Wade, Erik 25 03 06 10.21983/P3.0067.1.25 119 126 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Tis Magick, Magick That Will Have Ravished Me 1 A01 Lisa Weston Lisa Weston 40 03enmdz06 California State University, Fresno 01 eng 03 00 Medievalists, especially philologists like me—and perhapslike some of you as well—weplay with dead things. With-in the late capitalist, utilitarian, increasingly techno-bur-eaucratic and determinedly non-magical University, our fondness for the impractical arts and humanities and such, our philological and historical pursuits may well ap-pear an unseemly(or at least useless) preoccupation with the past, a philia(or paraphilia) for“dead”languages and cultures.Necrophilia, not to put too fine a point onit.But in the face of such institutional abjection, let us not sur-render our philiaso much as transform it—into mantia. Let us (re)claim and reconstruct our engagement with the “dead” as necromancy—from the Latin necromantia, bor-rowed in turn from post-Classical Greek νεκρομαντεια (nekromanteía), from νεκρος(nekrós) “dead body” and μαντεια(manteía) “prophecy or divination”—the discovery of hidden knowledge and especially the prediction or perhaps rathercreation of the future through intercourse (pun intended) with the “dead” past. 30 00 Medievalists, especially philologists like me—and perhapslike some of you as well—weplay with dead things. With-in the late capitalist, utilitarian, increasingly techno-bur-eaucratic and determinedly non-magical University, our fondness for the impractical arts and humanities and such, our philological and historical pursuits may well ap-pear an unseemly(or at least useless) preoccupation with the past, a philia(or paraphilia) for“dead”languages and cultures.Necrophilia, not to put too fine a point onit.But in the face of such institutional abjection, let us not sur-render our philiaso much as transform it—into mantia. Let us (re)claim and reconstruct our engagement with the “dead” as necromancy—from the Latin necromantia, bor-rowed in turn from post-Classical Greek νεκρομαντεια (nekromanteía), from νεκρος(nekrós) “dead body” and μαντεια(manteía) “prophecy or divination”—the discovery of hidden knowledge and especially the prediction or perhaps rathercreation of the future through intercourse (pun intended) with the “dead” past. 20 00 Open Access Weston, Lisa 26 03 06 10.21983/P3.0067.1.26 127 143 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Field Change/ Discipline Change 1 A01 Anne Harris Anne Harris 40 02mks6v46 DePauw University 2 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 03 00 The experimental essays gathered here had their origin in performance at the 48th International Congress of Medie-val Studies in Kalamazoo, Michigan (May, 2013). The idea of this twelve-way collaboration was dreamed through a series of emails exchanged among Jonathan Hsy, Lowell Duckert, Eileen Joy, and Jeffrey Cohen. We set as our task imagining collective modes for contemplating how to shape the humanities, as well as the communities to which we belong at many levels, to bring about a future more our own, while wondering all the while how that first-person plural comes into being. Building upon a se-ries of sessions at the previous year’s Congress that had focused on the active engagement to which humanists must commit in order not to find themselves in merely passive, reactive, protest-oriented positions within their home institutions as well as at the many other homes we inhabit through daily acts of creation, we hoped to extend and intensify a conversation about how to shape the hu-manities, and ourselves, in the years ahead. We knew from the start that any such intervention had to be fully collab-orative. Changing the world is not a solo project. But the working out of how such alliance and enmeshing might proceed was left to the participants. 30 00 The experimental essays gathered here had their origin in performance at the 48th International Congress of Medie-val Studies in Kalamazoo, Michigan (May, 2013). The idea of this twelve-way collaboration was dreamed through a series of emails exchanged among Jonathan Hsy, Lowell Duckert, Eileen Joy, and Jeffrey Cohen. We set as our task imagining collective modes for contemplating how to shape the humanities, as well as the communities to which we belong at many levels, to bring about a future more our own, while wondering all the while how that first-person plural comes into being. Building upon a se-ries of sessions at the previous year’s Congress that had focused on the active engagement to which humanists must commit in order not to find themselves in merely passive, reactive, protest-oriented positions within their home institutions as well as at the many other homes we inhabit through daily acts of creation, we hoped to extend and intensify a conversation about how to shape the hu-manities, and ourselves, in the years ahead. We knew from the start that any such intervention had to be fully collab-orative. Changing the world is not a solo project. But the working out of how such alliance and enmeshing might proceed was left to the participants. 20 00 Open Access Harris, Anne Overbey, Karen 27 03 06 10.21983/P3.0067.1.27 145 155 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Paradigm Change/ Institute Change 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 2 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 We are in the midst of paradigm change, brought on by initiatives like biological systems theory, post-structuralism, James Gibson’s theory of affordances,1 and neuroplasticity.Top-down or prime-mover models of change have given way to principles of creative interactivity and causal pari-ty, in which concentrations of forces and systemic ele-ments continue to play significant roles, but only as parts of turbulent, non-totalizable assemblages. The findings of the genome project have put genetic determinism in doubt. Today’s genes do not write the scripts of our lives; they are relatively passive elements in a complex field of biochem-ical interactions. Jesper Hoffmeyer summarizes the situation this way: “Living cells . . . use DNA to construct the organ-ism, not vice versa.”2 Many kinds of conjunctions and symbioses now appear to have significance for bio-his-tory; these are evolutionary events that depend neither on natural selection nor mutation. The study of multi-cell-ularity shows that individuation and aggregation are both fundamental to living process, and are interdependent ra-ther than mutually exclusive processes. Focus on the ac-tions of cells has restored the importance of the life expe-rience of the organism and its forms of relationality to evolutionary theory; bio-history is now seen to be created by mutually constitutive interactions between the geno-type, the phenotype, and environmental, including social, affordances. The organism is no longer a “dead end,” and evolution turns out to be a history of ecologies rather than of anthropomorphized “selfish” genes bent on self-repli-cation. Semiosis—communication—is a sine qua non of living process. The brain’s capacity for estimation and signal-interpretation is, simply, vital; only in very specific knowledge-ecologies does it require probability theory and experimental controls to act on behalf of sentient experi-ence. Living process—including artful, real-time, improvi-sational activity—finally plays a significant role in bio-historiography. 30 00 We are in the midst of paradigm change, brought on by initiatives like biological systems theory, post-structuralism, James Gibson’s theory of affordances,1 and neuroplasticity.Top-down or prime-mover models of change have given way to principles of creative interactivity and causal pari-ty, in which concentrations of forces and systemic ele-ments continue to play significant roles, but only as parts of turbulent, non-totalizable assemblages. The findings of the genome project have put genetic determinism in doubt. Today’s genes do not write the scripts of our lives; they are relatively passive elements in a complex field of biochem-ical interactions. Jesper Hoffmeyer summarizes the situation this way: “Living cells . . . use DNA to construct the organ-ism, not vice versa.”2 Many kinds of conjunctions and symbioses now appear to have significance for bio-his-tory; these are evolutionary events that depend neither on natural selection nor mutation. The study of multi-cell-ularity shows that individuation and aggregation are both fundamental to living process, and are interdependent ra-ther than mutually exclusive processes. Focus on the ac-tions of cells has restored the importance of the life expe-rience of the organism and its forms of relationality to evolutionary theory; bio-history is now seen to be created by mutually constitutive interactions between the geno-type, the phenotype, and environmental, including social, affordances. The organism is no longer a “dead end,” and evolution turns out to be a history of ecologies rather than of anthropomorphized “selfish” genes bent on self-repli-cation. Semiosis—communication—is a sine qua non of living process. The brain’s capacity for estimation and signal-interpretation is, simply, vital; only in very specific knowledge-ecologies does it require probability theory and experimental controls to act on behalf of sentient experi-ence. Living process—including artful, real-time, improvi-sational activity—finally plays a significant role in bio-historiography. 20 00 Open Access Fradenburg, L.O. Aranye Joy, Eileen A. 28 03 06 10.21983/P3.0067.1.28 157 163 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Time Change/ Mode Change 1 A01 Allan Mitchell Allan Mitchell 40 04s5mat29 University of Victoria 2 A01 Will Stockton Will Stockton 40 037s24f05 Clemson University 01 eng 03 00 AM: “Settle thy studies, Faustus, and begin / To sound the depths of that thou wilt profess.”1 Thinking about what to do next we are liable to be haunted by past efforts, per-haps by a diabolical presence such as this German magus, mocking any attempts to enumerate all we've tried and to propose some new and occult mode of inquiry. As if successive attempts to do more, or better, with less would be sufficiently original (“Foucault farewell! Where is Har-man?”). Should we always be in pursuit of The Next Big Thing? Perhaps the first thing to consider is the risk that in seeking to gain divinity, we will lack all ambition to invent other futures. “Lines, circles, schemes, letters, and charac-ters! / Ay, these are those that Faustus most desires. O what a world of profit and delight, / Of power, of honour, of omnipotence / Is promised the studious artisan!”2 But is that what we really want now? 30 00 AM: “Settle thy studies, Faustus, and begin / To sound the depths of that thou wilt profess.”1 Thinking about what to do next we are liable to be haunted by past efforts, per-haps by a diabolical presence such as this German magus, mocking any attempts to enumerate all we've tried and to propose some new and occult mode of inquiry. As if successive attempts to do more, or better, with less would be sufficiently original (“Foucault farewell! Where is Har-man?”). Should we always be in pursuit of The Next Big Thing? Perhaps the first thing to consider is the risk that in seeking to gain divinity, we will lack all ambition to invent other futures. “Lines, circles, schemes, letters, and charac-ters! / Ay, these are those that Faustus most desires. O what a world of profit and delight, / Of power, of honour, of omnipotence / Is promised the studious artisan!”2 But is that what we really want now? 20 00 Open Access Mitchell, Allan Stockton, Will 29 03 06 10.21983/P3.0067.1.29 165 176 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 World Change/ Sea Change 1 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 2 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 03 00 In the future I want, I am a cormorant. A screeching sea-crow, I perch on a high branch on the Tree of Life over-looking Paradise. My eyes flare with greed, and with two senses of the word “want.” Things appear down there, spread out below me, things that I lack (“want”) and things that I desire (“want”). “Various” is the word for what I see. “A happy rural seat of various view” (4.247) is the full line in Paradise Lost, but it’s just “various” that I crave.1 These three sylla-bles roll around inside my bird’s mouth. Various. All of the things that inhabit this Paradise, laid out before me. Not just one thing, but another. 30 00 In the future I want, I am a cormorant. A screeching sea-crow, I perch on a high branch on the Tree of Life over-looking Paradise. My eyes flare with greed, and with two senses of the word “want.” Things appear down there, spread out below me, things that I lack (“want”) and things that I desire (“want”). “Various” is the word for what I see. “A happy rural seat of various view” (4.247) is the full line in Paradise Lost, but it’s just “various” that I crave.1 These three sylla-bles roll around inside my bird’s mouth. Various. All of the things that inhabit this Paradise, laid out before me. Not just one thing, but another. 20 00 Open Access Duckert, Lowell Mentz, Steve 30 03 06 10.21983/P3.0067.1.30 177 188 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Voice Change/ Language Change 1 A01 21 0000000216112440 Jonathan Hsy Jonathan Hsy 40 00y4zzh67 George Washington University 2 A01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 01 eng 03 00 Languages are slippery, and they don't like being con-tained.We have already broken the rules. That was not one hun-dred words. That was far, far less than one hundred words. Each section, we agreed, should consist of one hundred words. That section could have easily been rewritten to con-sist of one hundred words. We have already broken the rules. But. But now I am reminding you all of the rules. And now, in this section, we are being mindful of the rules, the rules that we have created and that we are breaking. We are being mindful of how we are creating them and how we are breaking them 30 00 Languages are slippery, and they don't like being con-tained.We have already broken the rules. That was not one hun-dred words. That was far, far less than one hundred words. Each section, we agreed, should consist of one hundred words. That section could have easily been rewritten to con-sist of one hundred words. We have already broken the rules. But. But now I am reminding you all of the rules. And now, in this section, we are being mindful of the rules, the rules that we have created and that we are breaking. We are being mindful of how we are creating them and how we are breaking them 20 00 Open Access Hsy, Jonathan Piuma, Chris 31 03 06 10.21983/P3.0067.1.31 189 201 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mood Change/ Collective Change 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 2 A01 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 01 eng 03 00 The year 991 will never be complete. It endures, subject to remaking and revision.2 At the time, the year must have been anticipated, welcomed, dreaded. Seasons change. Years turn. And by their passage those who live on stand recruited as mnemotechnical relays to their passing. The future, the effect of the future is never wanting, never lack-ing. The future happens all the time. You and we, as well as the life cycles or runtime of all its variously animated wetware (animals, plants, fungus, machines), all that “lives on,” constitute the medium by which, in which, the future presences.3 The dead stand recruited also, “dying on” by way of memory, external memory devices (memo-rials, tombs, etc.) and resuscitated into the fictive or factish uses of things deemed “past” in successive pre-sents. Liveliness finds itself distributed across the contin-uum, from which notions of life and death, past, present, and future, find themselves extracted. The humanities cohabit with the charnel house of the collective. Our read-ings perform variously secular or sacred resurrections. 30 00 The year 991 will never be complete. It endures, subject to remaking and revision.2 At the time, the year must have been anticipated, welcomed, dreaded. Seasons change. Years turn. And by their passage those who live on stand recruited as mnemotechnical relays to their passing. The future, the effect of the future is never wanting, never lack-ing. The future happens all the time. You and we, as well as the life cycles or runtime of all its variously animated wetware (animals, plants, fungus, machines), all that “lives on,” constitute the medium by which, in which, the future presences.3 The dead stand recruited also, “dying on” by way of memory, external memory devices (memo-rials, tombs, etc.) and resuscitated into the fictive or factish uses of things deemed “past” in successive pre-sents. Liveliness finds itself distributed across the contin-uum, from which notions of life and death, past, present, and future, find themselves extracted. The humanities cohabit with the charnel house of the collective. Our read-ings perform variously secular or sacred resurrections. 20 00 Open Access Yates, Julian Orlemanski, Julie 32 03 06 10.21983/P3.0067.1.32 203 204 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 3 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 30 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 20 00 Open Access Joy, Eileen A. Seaman, Myra Cohen, Jeffrey Jerome 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/burn-after-reading/ Brooklyn, NY 04 01 20140428 Joy, Eileen A. Seaman, Myra Cohen, Jeffrey Jerome 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692204415 20 08 20140428 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/burn-after-reading-vol-1-miniature-manifestos-for-a-postmedieval-studies-vol-2-the-future-we-want-a-collaboration 20 08 20140428 02 24.00 USD WORLD urn:uuid:a9be6d91-0a89-45cf-8e25-3f2609f9990e 03 01 01 thoth-work-id urn:uuid:eb8a2862-e812-4730-ab06-8dff1b6208bf 01 thoth-publication-id urn:uuid:a9be6d91-0a89-45cf-8e25-3f2609f9990e 06 10.21983/P3.0067.1.00 01 internal-reference 0067 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Burn after Reading Vol. 1, Miniature Manifestos for a Post/medieval Studies + Vol. 2, The Future We Want: A Collaboration 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 3 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 226 03 12 CBW 93 DSBB B2 Humanities+University 10 LIT011000 B2 Manifesto! 93 NHDJ 93 DNL B2 Premodern 20 humanities; medieval studies; early modern studies; university 01 06 02 00 03 00 The essays, manifestos, rants, screeds, pleas, soliloquies, telegrams, broadsides, eulogies, songs, harangues, confessions, laments, and acts of poetic terrorism in these two volumes — which collectively form an academic “rave” — were culled, with some later additions, from roundtable sessions at the International Congress on Medieval Studies in 2012 and 2013, organized by postmedieval: a journal for medieval cultural studies and the BABEL Working Group (“Burn After Reading: Miniature Manifestos for a Post/medieval Studies,” “Fuck This: On Letting Go,” and “Fuck Me: On Never Letting Go”) and George Washington University’s Medieval and Early Modern Studies Institute (“The Future We Want: A Collaboration”), respectively. Gathering together a rowdy multiplicity of voices from within medieval and early modern studies, these two volumes seek to extend and intensify a conversation about how to shape premodern studies, and also the humanities, in the years ahead. Authors in both volumes, in various ways, lay claim to the act(s) of manifesting, and also anti-manifesting, as a collective endeavor that works on behalf of the future without laying any belligerent claims upon it, where we might craft new spaces for the University-at-large, which is also a University that wanders, that is never just somewhere, dwelling in the partitive — of a particular place — but rather, seeks to be everywhere, always on the move, pandemic, uncontainable, and always to-come, while also being present/between us (manifest). This is not a book, but a blueprint. It is also an ephemeral gathering in the present tense. 30 00 The essays, manifestos, rants, screeds, pleas, soliloquies, telegrams, broadsides, eulogies, songs, harangues, confessions, laments, and acts of poetic terrorism in these two volumes — which collectively form an academic “rave” — were culled, with some later additions, from roundtable sessions at the International Congress on Medieval Studies in 2012 and 2013, organized by postmedieval: a journal for medieval cultural studies and the BABEL Working Group (“Burn After Reading: Miniature Manifestos for a Post/medieval Studies,” “Fuck This: On Letting Go,” and “Fuck Me: On Never Letting Go”) and George Washington University’s Medieval and Early Modern Studies Institute (“The Future We Want: A Collaboration”), respectively. Gathering together a rowdy multiplicity of voices from within medieval and early modern studies, these two volumes seek to extend and intensify a conversation about how to shape premodern studies, and also the humanities, in the years ahead. Authors in both volumes, in various ways, lay claim to the act(s) of manifesting, and also anti-manifesting, as a collective endeavor that works on behalf of the future without laying any belligerent claims upon it, where we might craft new spaces for the University-at-large, which is also a University that wanders, that is never just somewhere, dwelling in the partitive — of a particular place — but rather, seeks to be everywhere, always on the move, pandemic, uncontainable, and always to-come, while also being present/between us (manifest). This is not a book, but a blueprint. It is also an ephemeral gathering in the present tense. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0067.1.00_frontcover.png 1 03 06 10.21983/P3.0067.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Myra Seaman Myra Seaman 3 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Joy, Eileen A. Seaman, Myra Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0067.1.02 xviii xx 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Prefatory Note Manifest This! 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 The manifestos (and also anti-manifestos) collected here are culled from sessions organized by the BABEL Work-ing Group and postmedieval: a journal of medieval cultural studiesat the 2012 International Congress on Medieval Studies (Kalamazoo, MI), for which sessions we asked presenters to contemplate and “manifest” alternative fu-tures for a post/medieval studies, as well as what it means to “let go” of something (“fuck this”) and/or “never let go” (“fuck me”). The presentations were, alternately and sim-ultaneously, bracing, funny, sad, provocative, hopeful, pessimistic, sexy, lyrical, polemical, playful, political, am-orous, subjunctive, sticky, frustrated, materialist, dejected, angry, surrealist, anti-nostalgic, activist, critical, tender, weird, and even alchemical. 30 00 The manifestos (and also anti-manifestos) collected here are culled from sessions organized by the BABEL Work-ing Group and postmedieval: a journal of medieval cultural studiesat the 2012 International Congress on Medieval Studies (Kalamazoo, MI), for which sessions we asked presenters to contemplate and “manifest” alternative fu-tures for a post/medieval studies, as well as what it means to “let go” of something (“fuck this”) and/or “never let go” (“fuck me”). The presentations were, alternately and sim-ultaneously, bracing, funny, sad, provocative, hopeful, pessimistic, sexy, lyrical, polemical, playful, political, am-orous, subjunctive, sticky, frustrated, materialist, dejected, angry, surrealist, anti-nostalgic, activist, critical, tender, weird, and even alchemical. 20 00 Open Access Joy, Eileen A 3 03 06 10.21983/P3.0067.1.03 1 3 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Intentionally Good, Really Bad 1 A01 Heather Bamford Heather Bamford 40 00y4zzh67 George Washington University 01 eng 03 00 The epigraph for this miniature manifesto is a line that a friend and I remembered as hers. It turned out that that attribution was only part true, since it is also something that Derrida said of HélèneCixous when they committed her work to the National Library of France: The door is barred but please come in.1I hope medieval studies will conceptualize intention when writing about medieval manuscript culture. I don’t mean the intentions of medieval authors, but intentionsthat could seem just as objectionable: those of the medie-val people who used manuscripts. By manuscript culture, I refer not only to the reading and writing activities of multiple scribes and readers, but also to other uses of manuscripts, some of which today seem anti-intellectual for a variety of reasons, including purposeful destructionfor use in binding, the extraction of leaves for sale or dec-orative use, and even the use of manuscript material as talismans. 30 00 The epigraph for this miniature manifesto is a line that a friend and I remembered as hers. It turned out that that attribution was only part true, since it is also something that Derrida said of HélèneCixous when they committed her work to the National Library of France: The door is barred but please come in.1I hope medieval studies will conceptualize intention when writing about medieval manuscript culture. I don’t mean the intentions of medieval authors, but intentionsthat could seem just as objectionable: those of the medie-val people who used manuscripts. By manuscript culture, I refer not only to the reading and writing activities of multiple scribes and readers, but also to other uses of manuscripts, some of which today seem anti-intellectual for a variety of reasons, including purposeful destructionfor use in binding, the extraction of leaves for sale or dec-orative use, and even the use of manuscript material as talismans. 20 00 Open Access Bamford, Heather 4 03 06 10.21983/P3.0067.1.04 5 7 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 21st-Century Medieval Studies Seeing a Forest as Well as Trees 1 A01 Frank Battaglia Frank Battaglia 40 02p179j44 College of Staten Island 01 eng 03 00 Our subject, medieval studies, was named for a “middle age.” It came between Antiquity, specifically the Roman Empire, and the nation states that succeeded it, particu-larly in Europe.An extensive regime was displaced as competing structures of power—operating from various centers but often more elaborate in their controls—struggled into existence.We live in a time when the so-called global economic system, enacted by free-range and state-run capitalisms, is extending its reach over the entire planet, dislocating national networks. International trade agreements dimin-ish the ability of even the U.S. or E.U., let alone less pow-erful entities, to enforce environmental or labor laws. Nation states are giving way to a larger system, difficult to describe, as the interests of the World Economic Forum impel events more effectively than those of the U.N. Gen-eral Assembly.1Meanwhile, from Ecuadorean tribes of the upper Amazon to the adivasi of forest India, virtually no area escapes exploitation, nor does any independent social entity avoid integration and/or obliteration. 30 00 Our subject, medieval studies, was named for a “middle age.” It came between Antiquity, specifically the Roman Empire, and the nation states that succeeded it, particu-larly in Europe.An extensive regime was displaced as competing structures of power—operating from various centers but often more elaborate in their controls—struggled into existence.We live in a time when the so-called global economic system, enacted by free-range and state-run capitalisms, is extending its reach over the entire planet, dislocating national networks. International trade agreements dimin-ish the ability of even the U.S. or E.U., let alone less pow-erful entities, to enforce environmental or labor laws. Nation states are giving way to a larger system, difficult to describe, as the interests of the World Economic Forum impel events more effectively than those of the U.N. Gen-eral Assembly.1Meanwhile, from Ecuadorean tribes of the upper Amazon to the adivasi of forest India, virtually no area escapes exploitation, nor does any independent social entity avoid integration and/or obliteration. 20 00 Open Access Battaglia, Frank 5 03 06 10.21983/P3.0067.1.05 9 11 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Net Worth 1 A01 Bettina Bildhauer Bettina Bildhauer 40 02wn5qz54 University of St Andrews 01 eng 03 00 One might argue that we hardly need another plea for more materiality in medieval studies:it's a buzz topic at medievalist conferences; the first issue of postmedievalwas devoted to it; and prominent members of the BABEL Working Group have been thinking with Bruno Latour, Jane Bennett, Bill Brown,and Graham Harman for years. And yet, the idea that agency is always an interaction, a network in which any element—not just what we tradi-tionally call human subjects, but also non-human ob-jects—can be alive, active and cognizantstill sounds mad to the medievalist mainstream and to most of the general public.The subject-object distinction is one of our most basic patterns of thought and not easily displaced by aca-demic fashion. So I will sound hopelessly belated and to-tally obvious to some, and crazily airy-fairy and non-sensical to others, when I now point out five things that I, as a literary and cultural historian,have learned so far fromstudying materiality. 30 00 One might argue that we hardly need another plea for more materiality in medieval studies:it's a buzz topic at medievalist conferences; the first issue of postmedievalwas devoted to it; and prominent members of the BABEL Working Group have been thinking with Bruno Latour, Jane Bennett, Bill Brown,and Graham Harman for years. And yet, the idea that agency is always an interaction, a network in which any element—not just what we tradi-tionally call human subjects, but also non-human ob-jects—can be alive, active and cognizantstill sounds mad to the medievalist mainstream and to most of the general public.The subject-object distinction is one of our most basic patterns of thought and not easily displaced by aca-demic fashion. So I will sound hopelessly belated and to-tally obvious to some, and crazily airy-fairy and non-sensical to others, when I now point out five things that I, as a literary and cultural historian,have learned so far fromstudying materiality. 20 00 Open Access Bildhauer, Bettina 6 03 06 10.21983/P3.0067.1.06 13 18 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Our Feminism/ Our Activism 1 A01 Martha Easton Martha Easton 40 05q87sg56 Saint Joseph's University 2 A01 Maggie Williams Maggie Williams 40 00k3ayt93 William Paterson University 01 eng 03 00 Martha and I are mothers. We are feminists. We are art historians. We are activists. We have each struggled to keep those identities carefully compartmentalized to ach-ieve some abstract notion of success. Both of us were drawn to BABEL’s“Fuck This: On Finally Letting Go” and “Fuck Me: On Never Letting Go”sessions out of a sense of frustration: dissatisfaction with the tactics of purport-edly activist groups, disillusionment with the hypocrisies of academic life, and disappointment in our own and oth-ers’ willingness to rock the boat. Today, we are finally letting go of preserving our secret identities. Together, we will unmask our true selves, telling our stories and sharing our hopes for real change. Rather than coping silently, we want to call for real progressive action among medievalists. 30 00 Martha and I are mothers. We are feminists. We are art historians. We are activists. We have each struggled to keep those identities carefully compartmentalized to ach-ieve some abstract notion of success. Both of us were drawn to BABEL’s“Fuck This: On Finally Letting Go” and “Fuck Me: On Never Letting Go”sessions out of a sense of frustration: dissatisfaction with the tactics of purport-edly activist groups, disillusionment with the hypocrisies of academic life, and disappointment in our own and oth-ers’ willingness to rock the boat. Today, we are finally letting go of preserving our secret identities. Together, we will unmask our true selves, telling our stories and sharing our hopes for real change. Rather than coping silently, we want to call for real progressive action among medievalists. 20 00 Open Access Easton, Martha Williams, Maggie 7 03 06 10.21983/P3.0067.1.07 19 23 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Be Critical! 1 A01 Ruth Evans Ruth Evans 40 04k7nem08 Saint Louis University 01 eng 03 00 I hate manifestos. They are so yesterday.Blast the manifesto! Its revolutionary impulse is, as James Simpson observesabout a wholly different phenomenon and time period, to do withthe desire for a clean break between thenand now, a break in which the past is itself created “by being made very dark, wholly repellent, and sharply different from the bril-liant new present.”1I don’t believe in the revolutionary breakor the brilliant new present, although I’m with John Ball, that things have to change: “God doe bote, for now is time.” The manifesto is always timely.Sobless the manifesto! Whatever. I also hate the credo. I believe in things, but not in that abso-lute way. 30 00 I hate manifestos. They are so yesterday.Blast the manifesto! Its revolutionary impulse is, as James Simpson observesabout a wholly different phenomenon and time period, to do withthe desire for a clean break between thenand now, a break in which the past is itself created “by being made very dark, wholly repellent, and sharply different from the bril-liant new present.”1I don’t believe in the revolutionary breakor the brilliant new present, although I’m with John Ball, that things have to change: “God doe bote, for now is time.” The manifesto is always timely.Sobless the manifesto! Whatever. I also hate the credo. I believe in things, but not in that abso-lute way. 20 00 Open Access Evans, Ruth 8 03 06 10.21983/P3.0067.1.08 25 27 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 This Is Your Brain on Medieval Studies 1 A01 Joshua R. Eyler Joshua R. Eyler 40 008zs3103 Rice University 40 02teq1165 University of Mississippi 01 eng 03 00 The time has come to vigorously fight back against the devaluation of the humanities by policy makers and by college administrations thatseek to close programs due to so-called financial exigencies, and I believe that Medieval Studies has an important role to play in this battle.Part of me thinks that, out of mere principle, we should refuse to kowtow to these threats and to hold our linethat the hu-manities are inherently valuable in and of themselves; after all, they have served as the foundation for a univer-sity education for centuries.In the end, though, my more pragmatic side wins out.The push for accountability will not slacken, but will steadily increase, as we move into the future. 30 00 The time has come to vigorously fight back against the devaluation of the humanities by policy makers and by college administrations thatseek to close programs due to so-called financial exigencies, and I believe that Medieval Studies has an important role to play in this battle.Part of me thinks that, out of mere principle, we should refuse to kowtow to these threats and to hold our linethat the hu-manities are inherently valuable in and of themselves; after all, they have served as the foundation for a univer-sity education for centuries.In the end, though, my more pragmatic side wins out.The push for accountability will not slacken, but will steadily increase, as we move into the future. 20 00 Open Access Eyler, Joshua R. 9 03 06 10.21983/P3.0067.1.09 29 36 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sticking Together 1 A01 Lara Farina Lara Farina 40 011vxgd24 West Virginia University 01 eng 03 00 If I’m going into the future, I want the things I’ve readto come along. Notthat I have much choice; they’ll stick with me,anyway. Many of themhave doubtless stuck with you, too. They may have stuck us together, you and I. And they’re alwaysnudging us for further introduc-tions—to students, colleagues, friends, readers, lovers, anyone, really, who will invite them to parties and work-shops and conversationsof all kinds. We shouldn’t be-grudge this promiscuous behavior, since time spent with others does not require that they spendless with us. That’s one of their special charms, this temporal non-economy, this unhinging of time from trade. 30 00 If I’m going into the future, I want the things I’ve readto come along. Notthat I have much choice; they’ll stick with me,anyway. Many of themhave doubtless stuck with you, too. They may have stuck us together, you and I. And they’re alwaysnudging us for further introduc-tions—to students, colleagues, friends, readers, lovers, anyone, really, who will invite them to parties and work-shops and conversationsof all kinds. We shouldn’t be-grudge this promiscuous behavior, since time spent with others does not require that they spendless with us. That’s one of their special charms, this temporal non-economy, this unhinging of time from trade. 20 00 Open Access Farina, Lara 10 03 06 10.21983/P3.0067.1.10 37 39 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Waging Guerrilla Warfare against the 19th Century 1 A01 Matthew Gabriele Matthew Gabriele 40 02smfhw86 Virginia Tech 01 eng 03 00 The idea of writing a “manifesto” for this panel was par-ticularly appealing to me for two reasons. First, I like be-ing around people who work heavily in theory. Their perspectives and ideas continually challenge my own, even if, since I’m but a simple historian by training, I don’t always understand what they’re talking about. I implore my fellow panelists to therefore use small wordsso that I can follow along ... 30 00 The idea of writing a “manifesto” for this panel was par-ticularly appealing to me for two reasons. First, I like be-ing around people who work heavily in theory. Their perspectives and ideas continually challenge my own, even if, since I’m but a simple historian by training, I don’t always understand what they’re talking about. I implore my fellow panelists to therefore use small wordsso that I can follow along ... 20 00 Open Access Gabriele, Matthew 11 03 06 10.21983/P3.0067.1.11 41 46 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Medieval Studies in the Subjunctive Mood 1 A01 Gaelan Gilbert Gaelan Gilbert 40 04s5mat29 University of Victoria 40 03vxb8t23 Hellenic College Holy Cross Greek Orthodox School of Theology 01 eng 03 00 Let’s just run with it. The potentially instructive, because utterly naïve, thought experiment of entertaining for a moment that we have never been modern. Forget modernism—what if modernitynever happened?Not that we know what “modern” even means, except as an empty qualifier perched with pomp at the crest of history. Then again, that’s precisely the point. Modernity, like Walter Benjamin’s angel of history looking over its shoulder, has always been running from what it no longer wants to be, shouting “not that! not that!” And yet—and it’s a big yet —if we are becoming increasingly convinced by Bruno Latour, then not only were we never not medieval, but medieval no longer has to mean “premodern.” If Benja-min’s angel of modern history can’t stop looking back-ward and defining itself in opposition to what it sees as a sort of negative immanence (what, in the past, it fears and loathes), then perhaps “to be medieval,” as Andrew Cole and D. Vance Smith have put it, “is to posit a future in the very act of self-recognition, to offer a memory or memo-rial to a future that will be recognized at a time and place not yet known.”1 A future, that is, which positively trans-cends presence. 30 00 Let’s just run with it. The potentially instructive, because utterly naïve, thought experiment of entertaining for a moment that we have never been modern. Forget modernism—what if modernitynever happened?Not that we know what “modern” even means, except as an empty qualifier perched with pomp at the crest of history. Then again, that’s precisely the point. Modernity, like Walter Benjamin’s angel of history looking over its shoulder, has always been running from what it no longer wants to be, shouting “not that! not that!” And yet—and it’s a big yet —if we are becoming increasingly convinced by Bruno Latour, then not only were we never not medieval, but medieval no longer has to mean “premodern.” If Benja-min’s angel of modern history can’t stop looking back-ward and defining itself in opposition to what it sees as a sort of negative immanence (what, in the past, it fears and loathes), then perhaps “to be medieval,” as Andrew Cole and D. Vance Smith have put it, “is to posit a future in the very act of self-recognition, to offer a memory or memo-rial to a future that will be recognized at a time and place not yet known.”1 A future, that is, which positively trans-cends presence. 20 00 Open Access Gilbert, Gaelan 12 03 06 10.21983/P3.0067.1.12 47 52 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Radical Ridicule 1 A01 Noah D. Guynn Noah D. Guynn 40 05rrcem69 University of California, Davis 01 eng 03 00 We’ve been hearing a lot lately about the “descriptive turn” in literary studies, which is as much a turn away from critical hermeneutics and symptomatic reading as a turn toward observation and description. This isn’t a neu-tral development or a mere change in direction. On the contrary, it entails a broad-based repudiation of Marxism, psychoanalysis, and post-structuralism as methodologies that are unconsciously enmeshed in the very humanist ideologies they purport to demystify. It also frequently trips over its own feet, formulating critiques of critique in order supposedly to move beyond it. 30 00 We’ve been hearing a lot lately about the “descriptive turn” in literary studies, which is as much a turn away from critical hermeneutics and symptomatic reading as a turn toward observation and description. This isn’t a neu-tral development or a mere change in direction. On the contrary, it entails a broad-based repudiation of Marxism, psychoanalysis, and post-structuralism as methodologies that are unconsciously enmeshed in the very humanist ideologies they purport to demystify. It also frequently trips over its own feet, formulating critiques of critique in order supposedly to move beyond it. 20 00 Open Access Guynn, Noah D. 13 03 06 10.21983/P3.0067.1.13 53 57 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Burn(ed) Before Writing The Late Stages of a Late Medieval PhD and Current Academic Realities 1 A01 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 01 eng 03 00 Facebook friend Jeffrey Jerome Cohen posts the following remark on September 13, 2011:The JIL [Job Information List of the Modern Lan-guage Association] is out today, and it looks to be another grim year for jobs in medieval and early modern studies. Best wishes for all who are on the market.This draws a number of comments from chagrined job-seekers and faculty in short-handed departments. 30 00 Facebook friend Jeffrey Jerome Cohen posts the following remark on September 13, 2011:The JIL [Job Information List of the Modern Lan-guage Association] is out today, and it looks to be another grim year for jobs in medieval and early modern studies. Best wishes for all who are on the market.This draws a number of comments from chagrined job-seekers and faculty in short-handed departments. 20 00 Open Access Hadbawnik, David 14 03 06 10.21983/P3.0067.1.14 59 61 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 History and Commitment 1 A01 Guy Halsall Guy Halsall 40 04m01e293 University of York 01 eng 03 00 No one will pretend it is possible to tell history as it really was. But no one has seized the implication of that. Its empirical ghost remains, although simple factual accu-racy sets the bar pretty low for a historical project. Is the cry ‘Rankean History is dead: long live Rankean History’? Or is it time to explore again the pre-Rankean idea of history as philosophy teaching by example? 30 00 No one will pretend it is possible to tell history as it really was. But no one has seized the implication of that. Its empirical ghost remains, although simple factual accu-racy sets the bar pretty low for a historical project. Is the cry ‘Rankean History is dead: long live Rankean History’? Or is it time to explore again the pre-Rankean idea of history as philosophy teaching by example? 20 00 Open Access Halsall, Guy 15 03 06 10.21983/P3.0067.1.15 63 71 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Never Letting Go 1 A01 Cary Howie Cary Howie 40 05bnh6r87 Cornell University 01 eng 03 00 There are a lot of things to be said for letting go. Our at-tachments can limit us in bad ways as well as good ones; more than once, when saying goodbye to a particular place or person whose future just cannot be mine any longer, I have thought of Alison Krauss affirming, with her usual bittersweetness, “And I’m no longer bound / I can let go now.”1 It is often difficult to cop to the things that bind us; difficult to assess what kind of binding makes us live more intensely and what kind of binding, in contrast, merely constrains us, keeps us from that fuller life. Letting go makes room for something, and the whole point is that it’s a gamble: you don’t know what you’re making room for. That determinacy is, among other things, what you’re giving up. Similarly, in a different idiom, the classic definition of melancholia is built around a refusal to let go: a refusal to acknowledge what is gone as gone. But in the background of every question about letting go, another question lurks: how do we know that something is gone? And how, by the same token, do we come to terms with the very real presences that continue to surround and define us? That is to say, if melancholia misses its mark because it will not surrender what it aims at, even when what it aims at is gone, there is a kind of complementary malaise that is too cavalier about its terms of surrender, that wants to aim at nothing at all, that wants to give it all up, even those things without which life is, strictly speaking, unimaginable. In these pages I’d like to ask this question, among others: is there a way to honor the risk, the gamble, implicit in our ges-tures of relinquishment while also affirming the ties that continue to bind us—for the best—to the world? Or, to put it slightly differently, can we let go of certain things—certain professional outcomes, erotic futures, grudges, habits—while holding on to others, without this diminish-ing our relinquishment? 30 00 There are a lot of things to be said for letting go. Our at-tachments can limit us in bad ways as well as good ones; more than once, when saying goodbye to a particular place or person whose future just cannot be mine any longer, I have thought of Alison Krauss affirming, with her usual bittersweetness, “And I’m no longer bound / I can let go now.”1 It is often difficult to cop to the things that bind us; difficult to assess what kind of binding makes us live more intensely and what kind of binding, in contrast, merely constrains us, keeps us from that fuller life. Letting go makes room for something, and the whole point is that it’s a gamble: you don’t know what you’re making room for. That determinacy is, among other things, what you’re giving up. Similarly, in a different idiom, the classic definition of melancholia is built around a refusal to let go: a refusal to acknowledge what is gone as gone. But in the background of every question about letting go, another question lurks: how do we know that something is gone? And how, by the same token, do we come to terms with the very real presences that continue to surround and define us? That is to say, if melancholia misses its mark because it will not surrender what it aims at, even when what it aims at is gone, there is a kind of complementary malaise that is too cavalier about its terms of surrender, that wants to aim at nothing at all, that wants to give it all up, even those things without which life is, strictly speaking, unimaginable. In these pages I’d like to ask this question, among others: is there a way to honor the risk, the gamble, implicit in our ges-tures of relinquishment while also affirming the ties that continue to bind us—for the best—to the world? Or, to put it slightly differently, can we let go of certain things—certain professional outcomes, erotic futures, grudges, habits—while holding on to others, without this diminish-ing our relinquishment? 20 00 Open Access Howie, Cary 16 03 06 10.21983/P3.0067.1.16 73 78 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Gothic Fly 1 A01 Shayne Aaron Legassie Shayne Aaron Legassie 40 0130frc33 University of North Carolina at Chapel Hill 01 eng 03 00 Gore Verbinski’s 2002 filmThe Ringis a remake of the popular Japanese horror movieRingu (1998), directed by Hideo Nakata. Both films tell the story of a cursed vide-otape whose viewers die gruesome deaths seven days after they watch it. At the level of both plot and visual style, Verbinski’s departures from Ringuare deeply in-debted to the conventions of the gothic novel, especially as they were mediated by European and American cine-ma. This gothic aesthetic “translates” Ringu into a more familiar Hollywood idiom for the benefit of North Ameri-can viewers. Many of The Ring’s gothic innovations have long pedigrees, some of which stretch back to premodern painting and thought. 30 00 Gore Verbinski’s 2002 filmThe Ringis a remake of the popular Japanese horror movieRingu (1998), directed by Hideo Nakata. Both films tell the story of a cursed vide-otape whose viewers die gruesome deaths seven days after they watch it. At the level of both plot and visual style, Verbinski’s departures from Ringuare deeply in-debted to the conventions of the gothic novel, especially as they were mediated by European and American cine-ma. This gothic aesthetic “translates” Ringu into a more familiar Hollywood idiom for the benefit of North Ameri-can viewers. Many of The Ring’s gothic innovations have long pedigrees, some of which stretch back to premodern painting and thought. 20 00 Open Access Legassie, Shayne Aaron 17 03 06 10.21983/P3.0067.1.17 79 83 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fuck Postcolonialism 1 A01 Erin Maglaque Erin Maglaque 40 05krs5044 University of Sheffield 01 eng 03 00 Since the late 1990s, a group of medieval literary scholars and historians have drawn upon postcolonial theory, a discipline which itself emerged, in its most coherent and resilient form, from the Subaltern Studies group fifteen years before.1 Medievalists’ work with postcolonial theo-ry can be roughly divided into two kinds of engagement: first is the group of scholars interested in applying post-colonial theories to their medieval sources, and who are, in the tradition of Said’s Orientalism, interested in the representative work of the racial or ethnic other in the medieval text. A second and perhaps more disparate group is interested in the disciplinary and political impli-cations of medievalism and postcolonialism, their inter-twined intellectual histories, and especially the ways in which studying the interrelation between postcolonial and medieval historiographies can lead to a reconsidera-tion of periodization and temporalities. 30 00 Since the late 1990s, a group of medieval literary scholars and historians have drawn upon postcolonial theory, a discipline which itself emerged, in its most coherent and resilient form, from the Subaltern Studies group fifteen years before.1 Medievalists’ work with postcolonial theo-ry can be roughly divided into two kinds of engagement: first is the group of scholars interested in applying post-colonial theories to their medieval sources, and who are, in the tradition of Said’s Orientalism, interested in the representative work of the racial or ethnic other in the medieval text. A second and perhaps more disparate group is interested in the disciplinary and political impli-cations of medievalism and postcolonialism, their inter-twined intellectual histories, and especially the ways in which studying the interrelation between postcolonial and medieval historiographies can lead to a reconsidera-tion of periodization and temporalities. 20 00 Open Access Maglaque, Erin 18 03 06 10.21983/P3.0067.1.18 85 87 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 We Are the Material Collective 1 A01 Material Collective Material Collective 01 eng 03 00 We are the Material Collective, a group of medievalists interrogating visual materials. We seek to:cooperateencouragesharepromote transparencytouchdesiredestabilizeamuse blunder. As a collaborative of students of visual culture, Material Collective seeks to foster a safe space for alternative ways of thinking about objects. We strive for transparency in our practice, and we en-courage the same in our institutional surroundings.Our project touches upon both form and content, as we pursue a lyrical and experimental style of writing along with a more humane, collaborative, and supportive pro-cess of scholarship 30 00 We are the Material Collective, a group of medievalists interrogating visual materials. We seek to:cooperateencouragesharepromote transparencytouchdesiredestabilizeamuse blunder. As a collaborative of students of visual culture, Material Collective seeks to foster a safe space for alternative ways of thinking about objects. We strive for transparency in our practice, and we en-courage the same in our institutional surroundings.Our project touches upon both form and content, as we pursue a lyrical and experimental style of writing along with a more humane, collaborative, and supportive pro-cess of scholarship 20 00 Open Access Material Collective 19 03 06 10.21983/P3.0067.1.19 89 96 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Medievalism/ Surrealism 1 A01 Thomas Mical Thomas Mical 40 01p93h210 University of South Australia 01 eng 03 00 This is a question concerning architecture. An immersion into the imaginary worlds, specifically the fusion of an imaginary world into the everyday real, was the great project of surrealism. The surrealist avant-garde sought to open up a supra-sensory milieu of impossible relations, including monstrous bodies, irrational hybrids, genre mutations, forbidden landscapes and gardens, and a whole range of partial co-located figures and gestures, half real and half other. Surrealism was the promise of a world of alterity and delight, capable of emerging or eru-pting at the slightest provocation, in the subtlest periph-eral glimpse of a disfiguration, and in the recall of the sense and feel of a new space (déjà vu, already sensed). Surrealism is the obverse of modern rationalism, both intersecting but incomplete projects. It is from this call that unrecognized medieval alterity can diversify medie-val architectural history beyond the monumental history of differentiated cathedrals (and walled cities). 30 00 This is a question concerning architecture. An immersion into the imaginary worlds, specifically the fusion of an imaginary world into the everyday real, was the great project of surrealism. The surrealist avant-garde sought to open up a supra-sensory milieu of impossible relations, including monstrous bodies, irrational hybrids, genre mutations, forbidden landscapes and gardens, and a whole range of partial co-located figures and gestures, half real and half other. Surrealism was the promise of a world of alterity and delight, capable of emerging or eru-pting at the slightest provocation, in the subtlest periph-eral glimpse of a disfiguration, and in the recall of the sense and feel of a new space (déjà vu, already sensed). Surrealism is the obverse of modern rationalism, both intersecting but incomplete projects. It is from this call that unrecognized medieval alterity can diversify medie-val architectural history beyond the monumental history of differentiated cathedrals (and walled cities). 20 00 Open Access Mical, Thomas 20 03 06 10.21983/P3.0067.1.20 97 99 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 De catervis ceteris 1 A01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 01 eng 03 00 Look, I’m fine, and you’re probably fine, and this is all lovely and fine, and I don’t really have any complaints, and I don’t want to stand here honking and screaming and telling you that you have to do this and you can’t do that, because really I’m fine, and you’re fine, and this is all lovely and fine, and I have my ways of doing my thing, and you all have your ways of doing your thing, and we have developed and will continue to develop ways of communicating and connecting and intersecting and in-tercalating and networking and perverting and permuting and exchanging and pollinating and multiplying and shuffling and alphabetizing and taxonimizing and trans-lating and transposing and creatively mishearing and misreading and assembling and reassembling and pleasuring and tantalizing and polishing and abrading and interrogating and sculpting and remodeling and renovat-ing and flipping and overturning and revolutionizing and transcending and eventually nostalgically or elegiacally recalling and reciting and reenacting and recreating and repositioning and reconsidering and reattaching our vari-ous things like so many Lego bricks or Tinkertoys or sex-ual organs, and this is fine, and I’m fine, and you’re F-I-N-E fine, and this is all lovely and fine, but, and this is a small but, there’s a little thing I’m worried about, or maybe not worried about but maybe bored by, or maybe not bored by but frustrated with, or maybe I’m frustrated and bored and a little worried, even though I’m fine, and this isn’t meant to detract from your own fineness, or how lovely and fine all this is, because it really is lovely and fine and you really are fine, but: Could you stop talking about England? Could you stop talking about English literature quite all the time? Or English history? Or English art or whatever? Although really, English literature. 30 00 Look, I’m fine, and you’re probably fine, and this is all lovely and fine, and I don’t really have any complaints, and I don’t want to stand here honking and screaming and telling you that you have to do this and you can’t do that, because really I’m fine, and you’re fine, and this is all lovely and fine, and I have my ways of doing my thing, and you all have your ways of doing your thing, and we have developed and will continue to develop ways of communicating and connecting and intersecting and in-tercalating and networking and perverting and permuting and exchanging and pollinating and multiplying and shuffling and alphabetizing and taxonimizing and trans-lating and transposing and creatively mishearing and misreading and assembling and reassembling and pleasuring and tantalizing and polishing and abrading and interrogating and sculpting and remodeling and renovat-ing and flipping and overturning and revolutionizing and transcending and eventually nostalgically or elegiacally recalling and reciting and reenacting and recreating and repositioning and reconsidering and reattaching our vari-ous things like so many Lego bricks or Tinkertoys or sex-ual organs, and this is fine, and I’m fine, and you’re F-I-N-E fine, and this is all lovely and fine, but, and this is a small but, there’s a little thing I’m worried about, or maybe not worried about but maybe bored by, or maybe not bored by but frustrated with, or maybe I’m frustrated and bored and a little worried, even though I’m fine, and this isn’t meant to detract from your own fineness, or how lovely and fine all this is, because it really is lovely and fine and you really are fine, but: Could you stop talking about England? Could you stop talking about English literature quite all the time? Or English history? Or English art or whatever? Although really, English literature. 20 00 Open Access Piuma, Chris 21 03 06 10.21983/P3.0067.1.21 101 104 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 2nd Program of the Ornamentalists 1 A01 Daniel C. Remein Daniel C. Remein 40 0190ak572 New York University 40 04ydmy275 University of Massachusetts Boston 01 eng 03 00 We, the Ornamentalists, anarcho-eco-pacificist amateurs, advocate an aesthetics of historical cosmicity as the ground of an ethics of medieval studies, an avant-garde poetics, and a revolutionary politics of elaborating a var-ied cosmos as Public Park. In the face of the current plan-etary ecological disaster and its goads—the State and Cap-italism—a radical reorientation of our interface with the Cosmos is necessary. For medieval studies to begin to adequately respond, it must move aside from the impulse to thematizethe cultural and the ecological or to describe their mutual transversal as thematized by medieval litera-ture. Instead, we mustMAKE (as inPOETICS). We mustelaborate non- and de-instrumentalized ethics and proce-dures that allow interface with the non-Human Cosmos. 30 00 We, the Ornamentalists, anarcho-eco-pacificist amateurs, advocate an aesthetics of historical cosmicity as the ground of an ethics of medieval studies, an avant-garde poetics, and a revolutionary politics of elaborating a var-ied cosmos as Public Park. In the face of the current plan-etary ecological disaster and its goads—the State and Cap-italism—a radical reorientation of our interface with the Cosmos is necessary. For medieval studies to begin to adequately respond, it must move aside from the impulse to thematizethe cultural and the ecological or to describe their mutual transversal as thematized by medieval litera-ture. Instead, we mustMAKE (as inPOETICS). We mustelaborate non- and de-instrumentalized ethics and proce-dures that allow interface with the non-Human Cosmos. 20 00 Open Access Remein, Daniel C. 22 03 06 10.21983/P3.0067.1.22 105 107 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Medieval Manifesto 1 A01 Christopher Roman Christopher Roman 40 049pfb863 Kent State University 01 eng 03 00 A medieval refuses ‘the.’ ‘The’ indicates singularity, a reaching back to see a monolith. But, the Angel of Histo-ry does not see the past as monolith; it approaches in fragments, pieces and chairs, bookcases and drops, reach-ing out with its queer touch.A medieval does not rest. Once it has been identified it has already been lost. What is left is an event that is its becoming.A medieval is evident in slime trails that are left. These paths ooze into the earth, evaporate into air. They are reflected in whatever light is shined upon them. 30 00 A medieval refuses ‘the.’ ‘The’ indicates singularity, a reaching back to see a monolith. But, the Angel of Histo-ry does not see the past as monolith; it approaches in fragments, pieces and chairs, bookcases and drops, reach-ing out with its queer touch.A medieval does not rest. Once it has been identified it has already been lost. What is left is an event that is its becoming.A medieval is evident in slime trails that are left. These paths ooze into the earth, evaporate into air. They are reflected in whatever light is shined upon them. 20 00 Open Access Roman, Christopher 23 03 06 10.21983/P3.0067.1.23 109 111 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Homo Narrans 1 A01 Eva von Contzen Eva von Contzen 40 0245cg223 University of Freiburg 01 eng 03 00 My title is borrowed from a book by John D. Niles on the pervasiveness of storytelling among human beings.1 Niles investigates oral literature from both an anthropological and a cultural perspective and demonstrates its socio-cultural grounding and significance. We think in stories and narrativize our experiences in the world. We trans-form objects, natural processes, and unrelated occurrenc-es into narratives by establishing links of coherence and causality, by adding personification and anthropomor-phism, and by projecting feelings onto that which sur-rounds us. We tell stories to soothe, to debate, to invite response, to strengthen friendship, to remember, to argue, to bond, and to define our identity―the list could be extended endlessly, so manifold are the reasons and mo-tivations behind the storytelling impulse. 30 00 My title is borrowed from a book by John D. Niles on the pervasiveness of storytelling among human beings.1 Niles investigates oral literature from both an anthropological and a cultural perspective and demonstrates its socio-cultural grounding and significance. We think in stories and narrativize our experiences in the world. We trans-form objects, natural processes, and unrelated occurrenc-es into narratives by establishing links of coherence and causality, by adding personification and anthropomor-phism, and by projecting feelings onto that which sur-rounds us. We tell stories to soothe, to debate, to invite response, to strengthen friendship, to remember, to argue, to bond, and to define our identity―the list could be extended endlessly, so manifold are the reasons and mo-tivations behind the storytelling impulse. 20 00 Open Access von Contzen, Eva 24 03 06 10.21983/P3.0067.1.24 113 118 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Historicism and Its Discontents 1 A01 Erik Wade Erik Wade 40 05vt9qd57 Rutgers University 40 041nas322 University of Bonn 01 eng 03 00 A text is being historicized. As with Freud's famous essay on the fantasy “a child is being beaten,” what matters most is the fantasy that the vague statement covers over.1What is the fantasy that historicism supports? Numerous arguments have been raised against historicism. However, my interest here lies less in those arguments than in exploring the fantasy that undergirds both historicism as well as its renunciation. What might it mean to give up historicism? Moreover, what might it mean to abandon a practice, as opposed to abandoning an object? This essay troubles the idea of letting go of historicism by suggest-ing that historicism is itself a kind of letting go, a relin-quishing of the historical object to a distant past. So, to let go of historicism is to refuse to let go of the historical object. This refusal, however, remains obscured and unacknowledged beneath a fantasy of historicism’s historicity. 30 00 A text is being historicized. As with Freud's famous essay on the fantasy “a child is being beaten,” what matters most is the fantasy that the vague statement covers over.1What is the fantasy that historicism supports? Numerous arguments have been raised against historicism. However, my interest here lies less in those arguments than in exploring the fantasy that undergirds both historicism as well as its renunciation. What might it mean to give up historicism? Moreover, what might it mean to abandon a practice, as opposed to abandoning an object? This essay troubles the idea of letting go of historicism by suggest-ing that historicism is itself a kind of letting go, a relin-quishing of the historical object to a distant past. So, to let go of historicism is to refuse to let go of the historical object. This refusal, however, remains obscured and unacknowledged beneath a fantasy of historicism’s historicity. 20 00 Open Access Wade, Erik 25 03 06 10.21983/P3.0067.1.25 119 126 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Tis Magick, Magick That Will Have Ravished Me 1 A01 Lisa Weston Lisa Weston 40 03enmdz06 California State University, Fresno 01 eng 03 00 Medievalists, especially philologists like me—and perhapslike some of you as well—weplay with dead things. With-in the late capitalist, utilitarian, increasingly techno-bur-eaucratic and determinedly non-magical University, our fondness for the impractical arts and humanities and such, our philological and historical pursuits may well ap-pear an unseemly(or at least useless) preoccupation with the past, a philia(or paraphilia) for“dead”languages and cultures.Necrophilia, not to put too fine a point onit.But in the face of such institutional abjection, let us not sur-render our philiaso much as transform it—into mantia. Let us (re)claim and reconstruct our engagement with the “dead” as necromancy—from the Latin necromantia, bor-rowed in turn from post-Classical Greek νεκρομαντεια (nekromanteía), from νεκρος(nekrós) “dead body” and μαντεια(manteía) “prophecy or divination”—the discovery of hidden knowledge and especially the prediction or perhaps rathercreation of the future through intercourse (pun intended) with the “dead” past. 30 00 Medievalists, especially philologists like me—and perhapslike some of you as well—weplay with dead things. With-in the late capitalist, utilitarian, increasingly techno-bur-eaucratic and determinedly non-magical University, our fondness for the impractical arts and humanities and such, our philological and historical pursuits may well ap-pear an unseemly(or at least useless) preoccupation with the past, a philia(or paraphilia) for“dead”languages and cultures.Necrophilia, not to put too fine a point onit.But in the face of such institutional abjection, let us not sur-render our philiaso much as transform it—into mantia. Let us (re)claim and reconstruct our engagement with the “dead” as necromancy—from the Latin necromantia, bor-rowed in turn from post-Classical Greek νεκρομαντεια (nekromanteía), from νεκρος(nekrós) “dead body” and μαντεια(manteía) “prophecy or divination”—the discovery of hidden knowledge and especially the prediction or perhaps rathercreation of the future through intercourse (pun intended) with the “dead” past. 20 00 Open Access Weston, Lisa 26 03 06 10.21983/P3.0067.1.26 127 143 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Field Change/ Discipline Change 1 A01 Anne Harris Anne Harris 40 02mks6v46 DePauw University 2 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 03 00 The experimental essays gathered here had their origin in performance at the 48th International Congress of Medie-val Studies in Kalamazoo, Michigan (May, 2013). The idea of this twelve-way collaboration was dreamed through a series of emails exchanged among Jonathan Hsy, Lowell Duckert, Eileen Joy, and Jeffrey Cohen. We set as our task imagining collective modes for contemplating how to shape the humanities, as well as the communities to which we belong at many levels, to bring about a future more our own, while wondering all the while how that first-person plural comes into being. Building upon a se-ries of sessions at the previous year’s Congress that had focused on the active engagement to which humanists must commit in order not to find themselves in merely passive, reactive, protest-oriented positions within their home institutions as well as at the many other homes we inhabit through daily acts of creation, we hoped to extend and intensify a conversation about how to shape the hu-manities, and ourselves, in the years ahead. We knew from the start that any such intervention had to be fully collab-orative. Changing the world is not a solo project. But the working out of how such alliance and enmeshing might proceed was left to the participants. 30 00 The experimental essays gathered here had their origin in performance at the 48th International Congress of Medie-val Studies in Kalamazoo, Michigan (May, 2013). The idea of this twelve-way collaboration was dreamed through a series of emails exchanged among Jonathan Hsy, Lowell Duckert, Eileen Joy, and Jeffrey Cohen. We set as our task imagining collective modes for contemplating how to shape the humanities, as well as the communities to which we belong at many levels, to bring about a future more our own, while wondering all the while how that first-person plural comes into being. Building upon a se-ries of sessions at the previous year’s Congress that had focused on the active engagement to which humanists must commit in order not to find themselves in merely passive, reactive, protest-oriented positions within their home institutions as well as at the many other homes we inhabit through daily acts of creation, we hoped to extend and intensify a conversation about how to shape the hu-manities, and ourselves, in the years ahead. We knew from the start that any such intervention had to be fully collab-orative. Changing the world is not a solo project. But the working out of how such alliance and enmeshing might proceed was left to the participants. 20 00 Open Access Harris, Anne Overbey, Karen 27 03 06 10.21983/P3.0067.1.27 145 155 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Paradigm Change/ Institute Change 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 2 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 We are in the midst of paradigm change, brought on by initiatives like biological systems theory, post-structuralism, James Gibson’s theory of affordances,1 and neuroplasticity.Top-down or prime-mover models of change have given way to principles of creative interactivity and causal pari-ty, in which concentrations of forces and systemic ele-ments continue to play significant roles, but only as parts of turbulent, non-totalizable assemblages. The findings of the genome project have put genetic determinism in doubt. Today’s genes do not write the scripts of our lives; they are relatively passive elements in a complex field of biochem-ical interactions. Jesper Hoffmeyer summarizes the situation this way: “Living cells . . . use DNA to construct the organ-ism, not vice versa.”2 Many kinds of conjunctions and symbioses now appear to have significance for bio-his-tory; these are evolutionary events that depend neither on natural selection nor mutation. The study of multi-cell-ularity shows that individuation and aggregation are both fundamental to living process, and are interdependent ra-ther than mutually exclusive processes. Focus on the ac-tions of cells has restored the importance of the life expe-rience of the organism and its forms of relationality to evolutionary theory; bio-history is now seen to be created by mutually constitutive interactions between the geno-type, the phenotype, and environmental, including social, affordances. The organism is no longer a “dead end,” and evolution turns out to be a history of ecologies rather than of anthropomorphized “selfish” genes bent on self-repli-cation. Semiosis—communication—is a sine qua non of living process. The brain’s capacity for estimation and signal-interpretation is, simply, vital; only in very specific knowledge-ecologies does it require probability theory and experimental controls to act on behalf of sentient experi-ence. Living process—including artful, real-time, improvi-sational activity—finally plays a significant role in bio-historiography. 30 00 We are in the midst of paradigm change, brought on by initiatives like biological systems theory, post-structuralism, James Gibson’s theory of affordances,1 and neuroplasticity.Top-down or prime-mover models of change have given way to principles of creative interactivity and causal pari-ty, in which concentrations of forces and systemic ele-ments continue to play significant roles, but only as parts of turbulent, non-totalizable assemblages. The findings of the genome project have put genetic determinism in doubt. Today’s genes do not write the scripts of our lives; they are relatively passive elements in a complex field of biochem-ical interactions. Jesper Hoffmeyer summarizes the situation this way: “Living cells . . . use DNA to construct the organ-ism, not vice versa.”2 Many kinds of conjunctions and symbioses now appear to have significance for bio-his-tory; these are evolutionary events that depend neither on natural selection nor mutation. The study of multi-cell-ularity shows that individuation and aggregation are both fundamental to living process, and are interdependent ra-ther than mutually exclusive processes. Focus on the ac-tions of cells has restored the importance of the life expe-rience of the organism and its forms of relationality to evolutionary theory; bio-history is now seen to be created by mutually constitutive interactions between the geno-type, the phenotype, and environmental, including social, affordances. The organism is no longer a “dead end,” and evolution turns out to be a history of ecologies rather than of anthropomorphized “selfish” genes bent on self-repli-cation. Semiosis—communication—is a sine qua non of living process. The brain’s capacity for estimation and signal-interpretation is, simply, vital; only in very specific knowledge-ecologies does it require probability theory and experimental controls to act on behalf of sentient experi-ence. Living process—including artful, real-time, improvi-sational activity—finally plays a significant role in bio-historiography. 20 00 Open Access Fradenburg, L.O. Aranye Joy, Eileen A. 28 03 06 10.21983/P3.0067.1.28 157 163 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Time Change/ Mode Change 1 A01 Allan Mitchell Allan Mitchell 40 04s5mat29 University of Victoria 2 A01 Will Stockton Will Stockton 40 037s24f05 Clemson University 01 eng 03 00 AM: “Settle thy studies, Faustus, and begin / To sound the depths of that thou wilt profess.”1 Thinking about what to do next we are liable to be haunted by past efforts, per-haps by a diabolical presence such as this German magus, mocking any attempts to enumerate all we've tried and to propose some new and occult mode of inquiry. As if successive attempts to do more, or better, with less would be sufficiently original (“Foucault farewell! Where is Har-man?”). Should we always be in pursuit of The Next Big Thing? Perhaps the first thing to consider is the risk that in seeking to gain divinity, we will lack all ambition to invent other futures. “Lines, circles, schemes, letters, and charac-ters! / Ay, these are those that Faustus most desires. O what a world of profit and delight, / Of power, of honour, of omnipotence / Is promised the studious artisan!”2 But is that what we really want now? 30 00 AM: “Settle thy studies, Faustus, and begin / To sound the depths of that thou wilt profess.”1 Thinking about what to do next we are liable to be haunted by past efforts, per-haps by a diabolical presence such as this German magus, mocking any attempts to enumerate all we've tried and to propose some new and occult mode of inquiry. As if successive attempts to do more, or better, with less would be sufficiently original (“Foucault farewell! Where is Har-man?”). Should we always be in pursuit of The Next Big Thing? Perhaps the first thing to consider is the risk that in seeking to gain divinity, we will lack all ambition to invent other futures. “Lines, circles, schemes, letters, and charac-ters! / Ay, these are those that Faustus most desires. O what a world of profit and delight, / Of power, of honour, of omnipotence / Is promised the studious artisan!”2 But is that what we really want now? 20 00 Open Access Mitchell, Allan Stockton, Will 29 03 06 10.21983/P3.0067.1.29 165 176 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 World Change/ Sea Change 1 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 2 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 03 00 In the future I want, I am a cormorant. A screeching sea-crow, I perch on a high branch on the Tree of Life over-looking Paradise. My eyes flare with greed, and with two senses of the word “want.” Things appear down there, spread out below me, things that I lack (“want”) and things that I desire (“want”). “Various” is the word for what I see. “A happy rural seat of various view” (4.247) is the full line in Paradise Lost, but it’s just “various” that I crave.1 These three sylla-bles roll around inside my bird’s mouth. Various. All of the things that inhabit this Paradise, laid out before me. Not just one thing, but another. 30 00 In the future I want, I am a cormorant. A screeching sea-crow, I perch on a high branch on the Tree of Life over-looking Paradise. My eyes flare with greed, and with two senses of the word “want.” Things appear down there, spread out below me, things that I lack (“want”) and things that I desire (“want”). “Various” is the word for what I see. “A happy rural seat of various view” (4.247) is the full line in Paradise Lost, but it’s just “various” that I crave.1 These three sylla-bles roll around inside my bird’s mouth. Various. All of the things that inhabit this Paradise, laid out before me. Not just one thing, but another. 20 00 Open Access Duckert, Lowell Mentz, Steve 30 03 06 10.21983/P3.0067.1.30 177 188 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Voice Change/ Language Change 1 A01 21 0000000216112440 Jonathan Hsy Jonathan Hsy 40 00y4zzh67 George Washington University 2 A01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 01 eng 03 00 Languages are slippery, and they don't like being con-tained.We have already broken the rules. That was not one hun-dred words. That was far, far less than one hundred words. Each section, we agreed, should consist of one hundred words. That section could have easily been rewritten to con-sist of one hundred words. We have already broken the rules. But. But now I am reminding you all of the rules. And now, in this section, we are being mindful of the rules, the rules that we have created and that we are breaking. We are being mindful of how we are creating them and how we are breaking them 30 00 Languages are slippery, and they don't like being con-tained.We have already broken the rules. That was not one hun-dred words. That was far, far less than one hundred words. Each section, we agreed, should consist of one hundred words. That section could have easily been rewritten to con-sist of one hundred words. We have already broken the rules. But. But now I am reminding you all of the rules. And now, in this section, we are being mindful of the rules, the rules that we have created and that we are breaking. We are being mindful of how we are creating them and how we are breaking them 20 00 Open Access Hsy, Jonathan Piuma, Chris 31 03 06 10.21983/P3.0067.1.31 189 201 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mood Change/ Collective Change 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 2 A01 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 01 eng 03 00 The year 991 will never be complete. It endures, subject to remaking and revision.2 At the time, the year must have been anticipated, welcomed, dreaded. Seasons change. Years turn. And by their passage those who live on stand recruited as mnemotechnical relays to their passing. The future, the effect of the future is never wanting, never lack-ing. The future happens all the time. You and we, as well as the life cycles or runtime of all its variously animated wetware (animals, plants, fungus, machines), all that “lives on,” constitute the medium by which, in which, the future presences.3 The dead stand recruited also, “dying on” by way of memory, external memory devices (memo-rials, tombs, etc.) and resuscitated into the fictive or factish uses of things deemed “past” in successive pre-sents. Liveliness finds itself distributed across the contin-uum, from which notions of life and death, past, present, and future, find themselves extracted. The humanities cohabit with the charnel house of the collective. Our read-ings perform variously secular or sacred resurrections. 30 00 The year 991 will never be complete. It endures, subject to remaking and revision.2 At the time, the year must have been anticipated, welcomed, dreaded. Seasons change. Years turn. And by their passage those who live on stand recruited as mnemotechnical relays to their passing. The future, the effect of the future is never wanting, never lack-ing. The future happens all the time. You and we, as well as the life cycles or runtime of all its variously animated wetware (animals, plants, fungus, machines), all that “lives on,” constitute the medium by which, in which, the future presences.3 The dead stand recruited also, “dying on” by way of memory, external memory devices (memo-rials, tombs, etc.) and resuscitated into the fictive or factish uses of things deemed “past” in successive pre-sents. Liveliness finds itself distributed across the contin-uum, from which notions of life and death, past, present, and future, find themselves extracted. The humanities cohabit with the charnel house of the collective. Our read-ings perform variously secular or sacred resurrections. 20 00 Open Access Yates, Julian Orlemanski, Julie 32 03 06 10.21983/P3.0067.1.32 203 204 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 3 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 30 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 20 00 Open Access Joy, Eileen A. Seaman, Myra Cohen, Jeffrey Jerome 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/burn-after-reading/ Brooklyn, NY 04 01 20140428 Joy, Eileen A. Seaman, Myra Cohen, Jeffrey Jerome 02 WORLD 06 15 9780692204412 03 9780692204412 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76466 20 08 20140428 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25551 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25551/1004544.pdf?sequence=1&isAllowed=y 20 08 20140428 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37477 20 08 20140428 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354049 20 08 20140428 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/451 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/65e752d3-6616-4b6c-bb96-85811b0b871e/download 20 08 20140428 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/eb8a2862-e812-4730-ab06-8dff1b6208bf 29 INTERNET_ARCHIVE: download the title https://archive.org/download/eb8a2862-e812-4730-ab06-8dff1b6208bf/eb8a2862-e812-4730-ab06-8dff1b6208bf.pdf 20 08 20140428 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845959 29 ZENODO: download the title https://zenodo.org/records/19845959/files/eb8a2862-e812-4730-ab06-8dff1b6208bf_book.pdf 20 08 20140428 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/burn-after-reading/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0067.1.00.pdf 20 08 20140428 01 urn:uuid:e4db0fc4-26d9-45bf-8533-ce7620b6e69b 03 01 01 thoth-work-id urn:uuid:61889673-2fc3-402a-a916-a3f0714b1ba8 01 thoth-publication-id urn:uuid:e4db0fc4-26d9-45bf-8533-ce7620b6e69b 15 9781685711740 03 9781685711740 06 10.53288/0468.1.00 13 2024945546 01 internal-reference 0468 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 12 mm 03 1.2 cm 03 0.49 in 08 295 gr 08 10.4 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Burning Diagrams in Anthropology An Inverse Museum 1 A01 21 0000000337708494 Tristan Partridge Tristan Partridge Lecturer in Global Studies 40 02t274463 University of California, Santa Barbara Tristan Partridge is a Lecturer in Global Studies at the University of California, Santa Barbara, and co-founder of the CREW Center for Restorative Environmental Work. He received his PhD in Social Anthropology from the University of Edinburgh and has since been a Research Fellow at universities in Spain, the UK, and the US, also teaching courses on ethnographic methods, political ecology, visual anthropology, and anthropological theory. His research addresses global struggles for environmental justice through collaborative projects with Indigenous communities defending land and water rights in Ecuador, with farmers’ movements for non-toxic agriculture in northern India, and with groups resisting new oil extraction in California. This work is published across academic journals and media platforms and in his book, Energy and Environmental Justice: Movements, Solidarities, and Critical Connections (Palgrave, 2022). Tristan’s ethnographic work also draws on aural anthropology and visual methods: he has written text scores for The Center For Deep Listening and his fieldwork photography has been exhibited internationally. His collaborative documentary work continues through an ongoing photographic project with colleagues in Ecuador, Mingas : Solidarity. 01 eng 00 214 03 B2 Cultural Studies+Critical Theory 93 JHMC 10 SOC002010 93 AKC 10 DES008000 B2 Humanities+University 10 SOC019000 20 diagrams; anthropological theory; visual anthropology; critical history; temporality; transgression; relationality 01 06 02 00 03 00 Burning Diagrams in Anthropology examines the use of diagrams in anthropology to reimagine how we think about, and challenge, intellectual histories. Highlighting the impossibility of escaping what different disciplines and institutions deem to be “past,” the author combines critical analysis of selected diagrams with an expansive, exploratory reimmersion in their aesthetic, ethical, and political potential.Diagrams persist. Yet while other visual components of scholarly work – especially photography, cartography, and film – have been subject to significant critical scrutiny, diagrams have received far less reflexive attention. Reversing this trend, Partridge presents a collection of 52 diagrams, covering a period of 150 years, to create an “inverse museum” – a space where the collection matters less than reactions to it. While the images are drawn from sociocultural anthropology, they are discussed in dialogue with approaches from philosophy, postcolonial studies, architecture, aesthetics, posthumanism, and critical art theory.Dissecting the notion of The Canon in order to confront academic complicity in hierarchical and racialized relations of inequality, the figurative burning of the title refers to how we might prepare the ground for scholarly work that meets the immediate, collective needs of an Earth in crisis – not least, by refusing adherence to disciplinary normalcy. By refusing this adherence, Partridge reaffirms knowledge creation in general, and anthropology in particular, as deeply ethical, creative, and relational processes. 30 00 Burning Diagrams in Anthropology examines the use of diagrams in anthropology to reimagine how we think about, and challenge, intellectual histories. Highlighting the impossibility of escaping what different disciplines and institutions deem to be “past,” the author combines critical analysis of selected diagrams with an expansive, exploratory reimmersion in their aesthetic, ethical, and political potential.Diagrams persist. Yet while other visual components of scholarly work – especially photography, cartography, and film – have been subject to significant critical scrutiny, diagrams have received far less reflexive attention. Reversing this trend, Partridge presents a collection of 52 diagrams, covering a period of 150 years, to create an “inverse museum” – a space where the collection matters less than reactions to it. While the images are drawn from sociocultural anthropology, they are discussed in dialogue with approaches from philosophy, postcolonial studies, architecture, aesthetics, posthumanism, and critical art theory.Dissecting the notion of The Canon in order to confront academic complicity in hierarchical and racialized relations of inequality, the figurative burning of the title refers to how we might prepare the ground for scholarly work that meets the immediate, collective needs of an Earth in crisis – not least, by refusing adherence to disciplinary normalcy. By refusing this adherence, Partridge reaffirms knowledge creation in general, and anthropology in particular, as deeply ethical, creative, and relational processes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0468.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/burning-diagrams-in-anthropology-an-inverse-museum/ Earth, Milky Way 04 01 20241121 Tristan Partridge 02 WORLD 06 15 9781685711757 03 9781685711757 34 06 10.7208/chicago/9780226283951.001.0001 34 06 10.14318/hau4.1.014 34 06 10.1080/00141844.2014.986151 34 06 10.3167/sa.2019.630403 34 06 10.2307/3034632 34 06 10.3167/sa.2019.630404 34 06 10.1177/25148486211063732 34 06 10.2307/j.ctv125jm8d.4.195 34 06 10.1177/1359183510394945 34 06 10.1515/9780857453044-005 34 06 10.2307/2928741 34 06 10.2307/2843952 34 06 10.2307/465144 34 06 10.4324/9780203029909 34 06 10.1215/9781478013211-010 34 06 10.1111/AN.1134 34 06 10.1086/678093 34 06 10.3167/sa.2019.630401 34 06 10.7208/chicago/9780226743110.001.0001 34 06 10.1215/9781478013211-011 34 06 10.1111/var.12041 34 06 10.1590/S1809-43412011000200018 34 06 10.1215/9780822395850-008 34 06 10.1525/9780520342392-002 34 06 10.1177/019685998601000203 34 06 10.1108/01435120010309425 34 06 10.1177/1463499604047921 34 06 10.1111/aman.13398.201 34 06 10.1515/9780857453044-006 34 06 10.2307/j.ctv125jpzq.9.202 34 06 10.1080/0015587X.1936.9718634 34 06 10.1111/1467-9655.12095 34 06 10.1177/0308275X7600200703 34 06 10.2307/201870 34 06 10.1111/1467-9655.12649 34 06 10.1177/006996689023001003 34 06 10.1111/j.1467-9655.2006.00371.x 34 06 10.2307/j.ctv287sdrb.10 34 06 10.1177/160940690400300301 34 06 10.1111/j.1467-9655.2005.00243.x 34 06 10.1111/j.1467-954X.1910.tb02078.x 34 06 10.1111/amet.12468 34 06 10.2307/2803772 34 06 10.1525/var.1993.9.2.2.206 34 06 10.4135/9781848608085 34 06 10.14318/hau6.2.014 34 06 10.1177/1532708614562881 34 06 10.14506/ca31.4.03 34 06 10.1007/978-1-137-04144-9 34 06 10.14318/hau3.2.003 34 06 10.1002/fea2.12037 34 06 10.1525/var.1992.8.2.50 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/burning-diagrams-in-anthropology-an-inverse-museum 20 08 20241121 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571174X 20 08 20241121 02 23.00 USD WORLD urn:uuid:d432488d-9f0a-4588-b376-64b3c2476f95 03 01 01 thoth-work-id urn:uuid:61889673-2fc3-402a-a916-a3f0714b1ba8 01 thoth-publication-id urn:uuid:d432488d-9f0a-4588-b376-64b3c2476f95 15 9781685711757 03 9781685711757 06 10.53288/0468.1.00 13 2024945546 01 internal-reference 0468 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Burning Diagrams in Anthropology An Inverse Museum 1 A01 21 0000000337708494 Tristan Partridge Tristan Partridge Lecturer in Global Studies 40 02t274463 University of California, Santa Barbara Tristan Partridge is a Lecturer in Global Studies at the University of California, Santa Barbara, and co-founder of the CREW Center for Restorative Environmental Work. He received his PhD in Social Anthropology from the University of Edinburgh and has since been a Research Fellow at universities in Spain, the UK, and the US, also teaching courses on ethnographic methods, political ecology, visual anthropology, and anthropological theory. His research addresses global struggles for environmental justice through collaborative projects with Indigenous communities defending land and water rights in Ecuador, with farmers’ movements for non-toxic agriculture in northern India, and with groups resisting new oil extraction in California. This work is published across academic journals and media platforms and in his book, Energy and Environmental Justice: Movements, Solidarities, and Critical Connections (Palgrave, 2022). Tristan’s ethnographic work also draws on aural anthropology and visual methods: he has written text scores for The Center For Deep Listening and his fieldwork photography has been exhibited internationally. His collaborative documentary work continues through an ongoing photographic project with colleagues in Ecuador, Mingas : Solidarity. 01 eng 00 214 03 B2 Cultural Studies+Critical Theory 93 JHMC 10 SOC002010 93 AKC 10 DES008000 B2 Humanities+University 10 SOC019000 20 diagrams; anthropological theory; visual anthropology; critical history; temporality; transgression; relationality 01 06 02 00 03 00 Burning Diagrams in Anthropology examines the use of diagrams in anthropology to reimagine how we think about, and challenge, intellectual histories. Highlighting the impossibility of escaping what different disciplines and institutions deem to be “past,” the author combines critical analysis of selected diagrams with an expansive, exploratory reimmersion in their aesthetic, ethical, and political potential.Diagrams persist. Yet while other visual components of scholarly work – especially photography, cartography, and film – have been subject to significant critical scrutiny, diagrams have received far less reflexive attention. Reversing this trend, Partridge presents a collection of 52 diagrams, covering a period of 150 years, to create an “inverse museum” – a space where the collection matters less than reactions to it. While the images are drawn from sociocultural anthropology, they are discussed in dialogue with approaches from philosophy, postcolonial studies, architecture, aesthetics, posthumanism, and critical art theory.Dissecting the notion of The Canon in order to confront academic complicity in hierarchical and racialized relations of inequality, the figurative burning of the title refers to how we might prepare the ground for scholarly work that meets the immediate, collective needs of an Earth in crisis – not least, by refusing adherence to disciplinary normalcy. By refusing this adherence, Partridge reaffirms knowledge creation in general, and anthropology in particular, as deeply ethical, creative, and relational processes. 30 00 Burning Diagrams in Anthropology examines the use of diagrams in anthropology to reimagine how we think about, and challenge, intellectual histories. Highlighting the impossibility of escaping what different disciplines and institutions deem to be “past,” the author combines critical analysis of selected diagrams with an expansive, exploratory reimmersion in their aesthetic, ethical, and political potential.Diagrams persist. Yet while other visual components of scholarly work – especially photography, cartography, and film – have been subject to significant critical scrutiny, diagrams have received far less reflexive attention. Reversing this trend, Partridge presents a collection of 52 diagrams, covering a period of 150 years, to create an “inverse museum” – a space where the collection matters less than reactions to it. While the images are drawn from sociocultural anthropology, they are discussed in dialogue with approaches from philosophy, postcolonial studies, architecture, aesthetics, posthumanism, and critical art theory.Dissecting the notion of The Canon in order to confront academic complicity in hierarchical and racialized relations of inequality, the figurative burning of the title refers to how we might prepare the ground for scholarly work that meets the immediate, collective needs of an Earth in crisis – not least, by refusing adherence to disciplinary normalcy. By refusing this adherence, Partridge reaffirms knowledge creation in general, and anthropology in particular, as deeply ethical, creative, and relational processes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0468.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/burning-diagrams-in-anthropology-an-inverse-museum/ Earth, Milky Way 04 01 20241121 Tristan Partridge 02 WORLD 06 15 9781685711740 03 9781685711740 34 06 10.7208/chicago/9780226283951.001.0001 34 06 10.14318/hau4.1.014 34 06 10.1080/00141844.2014.986151 34 06 10.3167/sa.2019.630403 34 06 10.2307/3034632 34 06 10.3167/sa.2019.630404 34 06 10.1177/25148486211063732 34 06 10.2307/j.ctv125jm8d.4.195 34 06 10.1177/1359183510394945 34 06 10.1515/9780857453044-005 34 06 10.2307/2928741 34 06 10.2307/2843952 34 06 10.2307/465144 34 06 10.4324/9780203029909 34 06 10.1215/9781478013211-010 34 06 10.1111/AN.1134 34 06 10.1086/678093 34 06 10.3167/sa.2019.630401 34 06 10.7208/chicago/9780226743110.001.0001 34 06 10.1215/9781478013211-011 34 06 10.1111/var.12041 34 06 10.1590/S1809-43412011000200018 34 06 10.1215/9780822395850-008 34 06 10.1525/9780520342392-002 34 06 10.1177/019685998601000203 34 06 10.1108/01435120010309425 34 06 10.1177/1463499604047921 34 06 10.1111/aman.13398.201 34 06 10.1515/9780857453044-006 34 06 10.2307/j.ctv125jpzq.9.202 34 06 10.1080/0015587X.1936.9718634 34 06 10.1111/1467-9655.12095 34 06 10.1177/0308275X7600200703 34 06 10.2307/201870 34 06 10.1111/1467-9655.12649 34 06 10.1177/006996689023001003 34 06 10.1111/j.1467-9655.2006.00371.x 34 06 10.2307/j.ctv287sdrb.10 34 06 10.1177/160940690400300301 34 06 10.1111/j.1467-9655.2005.00243.x 34 06 10.1111/j.1467-954X.1910.tb02078.x 34 06 10.1111/amet.12468 34 06 10.2307/2803772 34 06 10.1525/var.1993.9.2.2.206 34 06 10.4135/9781848608085 34 06 10.14318/hau6.2.014 34 06 10.1177/1532708614562881 34 06 10.14506/ca31.4.03 34 06 10.1007/978-1-137-04144-9 34 06 10.14318/hau3.2.003 34 06 10.1002/fea2.12037 34 06 10.1525/var.1992.8.2.50 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/94890 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/94890/0468.1.00.pdf?sequence=1&isAllowed=y 20 08 20241121 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/148333 20 08 20241121 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526481 20 08 20241121 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/823 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4684bc84-2a79-42b3-a3a5-b08fc7aa44c9/download 20 08 20241121 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/61889673-2fc3-402a-a916-a3f0714b1ba8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/61889673-2fc3-402a-a916-a3f0714b1ba8/61889673-2fc3-402a-a916-a3f0714b1ba8.pdf 20 08 20241121 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850758 29 ZENODO: download the title https://zenodo.org/records/19850758/files/61889673-2fc3-402a-a916-a3f0714b1ba8_book.pdf 20 08 20241121 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/burning-diagrams-in-anthropology-an-inverse-museum/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0468.1.00.pdf 20 08 20241121 01 urn:uuid:48e120fb-ec8b-4a7b-aa34-9898e931db9e 03 01 01 thoth-work-id urn:uuid:39784316-7e34-42dc-8e13-32b3a1f01a00 01 thoth-publication-id urn:uuid:48e120fb-ec8b-4a7b-aa34-9898e931db9e 15 9781685711344 03 9781685711344 06 10.53288/0500.1.00 13 2023934873 01 internal-reference 0500 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 By Kelman Out of Pessoa 1 A01 Doug Nufer Doug Nufer Doug Nufer is the author of various novels and poetry collections, including Rotalever Revelator (Sagging Meniscus, 2020), The Me Theme (Sagging Meniscus, 2016), Lifeline Rule (Spuyten Duyvil, 2015), Lounge Acts (Insert Blanc, 2013), By Kelman Out of Pessoa (Les Figues, 2011), We Were Werewolves (Make Now, 2008), The Mudflat Man/ The River Boys (soultheft records, 2006), On the Roast (Chiasmus, 2004), Negativeland (Autonomedia, 2004), and Never Again (Black Square, 2004). He sells wine in Seattle. 2 A24 21 0000000194647945 Louis Bury Louis Bury 40 0190ak572 New York University 40 00awd9g61 The Graduate Center, CUNY 2 01 eng 00 216 03 12 FA B2 Fabulations 93 FBA 10 FIC019000 10 FIC038000 20 experimental writing; heteronymy; Oulipo; horse racing; betting; Fernando Pessoa; James Kelman 01 06 02 00 03 00 In 2002, Doug Nufer wrote a story narrated by a tout, who proposed a novel way to beat the races. It was so absurd and ludicrous it gave him an idea. So Nufer went to Emerald Downs, home of thoroughbred racing in the Northwest. There, he split himself into three characters modeled on the heteronyms of Fernando Pessoa. Using a money management plan from a James Kelman short story, Nufer gave these characters money and set them free to gamble. He returned to the track every week for a full season, and his characters/heteronyms continued to bet, with real money and in the name of art. At the end of the season, he had pages of data in the form of a wagering diary, the outcome of a literary experiment that formed the basis of a literal experimental novel. 30 00 In 2002, Doug Nufer wrote a story narrated by a tout, who proposed a novel way to beat the races. It was so absurd and ludicrous it gave him an idea. So Nufer went to Emerald Downs, home of thoroughbred racing in the Northwest. There, he split himself into three characters modeled on the heteronyms of Fernando Pessoa. Using a money management plan from a James Kelman short story, Nufer gave these characters money and set them free to gamble. He returned to the track every week for a full season, and his characters/heteronyms continued to bet, with real money and in the name of art. At the end of the season, he had pages of data in the form of a wagering diary, the outcome of a literary experiment that formed the basis of a literal experimental novel. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0500.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/by-kelman-out-of-pessoa/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230328 Doug Nufer 02 WORLD 06 15 9781685711351 03 9781685711351 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711340 20 08 20230328 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/by-kelman-out-of-pessoa 20 08 20230328 02 15.00 USD WORLD urn:uuid:d3c2f373-a649-4a09-9711-f08b409c7d1a 03 01 01 thoth-work-id urn:uuid:39784316-7e34-42dc-8e13-32b3a1f01a00 01 thoth-publication-id urn:uuid:d3c2f373-a649-4a09-9711-f08b409c7d1a 15 9781685711351 03 9781685711351 06 10.53288/0500.1.00 13 2023934873 01 internal-reference 0500 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 By Kelman Out of Pessoa 1 A01 Doug Nufer Doug Nufer Doug Nufer is the author of various novels and poetry collections, including Rotalever Revelator (Sagging Meniscus, 2020), The Me Theme (Sagging Meniscus, 2016), Lifeline Rule (Spuyten Duyvil, 2015), Lounge Acts (Insert Blanc, 2013), By Kelman Out of Pessoa (Les Figues, 2011), We Were Werewolves (Make Now, 2008), The Mudflat Man/ The River Boys (soultheft records, 2006), On the Roast (Chiasmus, 2004), Negativeland (Autonomedia, 2004), and Never Again (Black Square, 2004). He sells wine in Seattle. 2 A24 21 0000000194647945 Louis Bury Louis Bury 40 0190ak572 New York University 40 00awd9g61 The Graduate Center, CUNY 2 01 eng 00 216 03 12 FA B2 Fabulations 93 FBA 10 FIC019000 10 FIC038000 20 experimental writing; heteronymy; Oulipo; horse racing; betting; Fernando Pessoa; James Kelman 01 06 02 00 03 00 In 2002, Doug Nufer wrote a story narrated by a tout, who proposed a novel way to beat the races. It was so absurd and ludicrous it gave him an idea. So Nufer went to Emerald Downs, home of thoroughbred racing in the Northwest. There, he split himself into three characters modeled on the heteronyms of Fernando Pessoa. Using a money management plan from a James Kelman short story, Nufer gave these characters money and set them free to gamble. He returned to the track every week for a full season, and his characters/heteronyms continued to bet, with real money and in the name of art. At the end of the season, he had pages of data in the form of a wagering diary, the outcome of a literary experiment that formed the basis of a literal experimental novel. 30 00 In 2002, Doug Nufer wrote a story narrated by a tout, who proposed a novel way to beat the races. It was so absurd and ludicrous it gave him an idea. So Nufer went to Emerald Downs, home of thoroughbred racing in the Northwest. There, he split himself into three characters modeled on the heteronyms of Fernando Pessoa. Using a money management plan from a James Kelman short story, Nufer gave these characters money and set them free to gamble. He returned to the track every week for a full season, and his characters/heteronyms continued to bet, with real money and in the name of art. At the end of the season, he had pages of data in the form of a wagering diary, the outcome of a literary experiment that formed the basis of a literal experimental novel. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0500.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/by-kelman-out-of-pessoa/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230328 Doug Nufer 02 WORLD 06 15 9781685711344 03 9781685711344 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/61998 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/61998/0500.1.00.pdf?sequence=1&isAllowed=y 20 08 20230328 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99067 20 08 20230328 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.1544768 20 08 20230328 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/367 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e4896dde-2bf4-409e-a54d-9788f64aa31c/download 20 08 20230328 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/By_Kelman_Out_of_Pessoa/yCe2EAAAQBAJ 20 08 20230328 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/39784316-7e34-42dc-8e13-32b3a1f01a00 29 INTERNET_ARCHIVE: download the title https://archive.org/download/39784316-7e34-42dc-8e13-32b3a1f01a00/39784316-7e34-42dc-8e13-32b3a1f01a00.pdf 20 08 20230328 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849757 29 ZENODO: download the title https://zenodo.org/records/19849757/files/39784316-7e34-42dc-8e13-32b3a1f01a00_book.pdf 20 08 20230328 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/by-kelman-out-of-pessoa/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0500.1.00.pdf 20 08 20230328 01 urn:uuid:54288695-39a8-4d0a-89be-6cfeabb15b61 03 01 01 thoth-work-id urn:uuid:46344fe3-1d72-4ddd-a57e-1d3f4377d2a2 01 thoth-publication-id urn:uuid:54288695-39a8-4d0a-89be-6cfeabb15b61 15 9781947447400 03 9781947447400 06 10.21983/P3.0192.1.00 13 2017962641 01 internal-reference 0192 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Centaurs, Rioting in Thessaly Memory and the Classical World 1 A01 21 0000000243939240 Martyn Hudson Martyn Hudson 40 01kj2bm70 Newcastle University 01 eng 00 116 03 12 HRKP3 10 LIT004190 B2 Literary Studies 93 QRSG 93 DSBB B2 Premodern 20 classical literature; ancient history; monsters; mythology; centaurs 01 06 02 00 03 00 This book treads new paths through the labyrinths of our human thought. It meanders through the darkness to encounter the monsters at the heart of the maze: Minotaurs, Centaurs, Automata, Makers, Humans. One part of our human thought emerges from classical Ionia and Greek civilisation more generally. We obsessively return to that thought, tread again its pathways, re-enact its stories, repeat its motifs and gestures. We return time and time again to construct and re-construct the beings which were part of its cosmology and mythology – stories enacted from a classical world which is itself at once imaginary and material.The “Never Never Lands” of the ancient world contain fabulous beasts and humans and landscapes of desire and violence. We encounter the rioting Centaurs there and never again cease to conjure them up time and time again through our history. The Centaur mythologies display a fascination with animals and what binds and divides human beings from them. The Centaur hints ultimately at the idea of the genesis of civilisation itself.The Labyrinth, constructed by Daedalus, is itself a prison and a way of thinking about making, designing, and human aspiration. Designed by humans it offers mysteries that would be repeated time and time again – a motif which is replicated through human history. Daedalus himself is an archetype for creation and mastery, the designer of artefacts and machines which would be the beginning of forays into the total domination of nature.Centaurs, Labyrinths, Automata offer clues to the origins and ultimately the futures of humanity and what might come after it. 30 00 This book treads new paths through the labyrinths of our human thought. It meanders through the darkness to encounter the monsters at the heart of the maze: Minotaurs, Centaurs, Automata, Makers, Humans. One part of our human thought emerges from classical Ionia and Greek civilisation more generally. We obsessively return to that thought, tread again its pathways, re-enact its stories, repeat its motifs and gestures. We return time and time again to construct and re-construct the beings which were part of its cosmology and mythology – stories enacted from a classical world which is itself at once imaginary and material.The “Never Never Lands” of the ancient world contain fabulous beasts and humans and landscapes of desire and violence. We encounter the rioting Centaurs there and never again cease to conjure them up time and time again through our history. The Centaur mythologies display a fascination with animals and what binds and divides human beings from them. The Centaur hints ultimately at the idea of the genesis of civilisation itself.The Labyrinth, constructed by Daedalus, is itself a prison and a way of thinking about making, designing, and human aspiration. Designed by humans it offers mysteries that would be repeated time and time again – a motif which is replicated through human history. Daedalus himself is an archetype for creation and mastery, the designer of artefacts and machines which would be the beginning of forays into the total domination of nature.Centaurs, Labyrinths, Automata offer clues to the origins and ultimately the futures of humanity and what might come after it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0192.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/centaurs-rioting-in-thessaly/ Earth, Milky Way 04 01 20180109 Hudson, Martyn 02 WORLD 06 15 9781947447417 03 9781947447417 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447408 20 08 20180109 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/centaurs-rioting-in-thessaly-memory-and-the-classical-world 20 08 20180109 02 21.00 USD WORLD urn:uuid:9a387313-cb23-47d1-ac7b-8575bc9f3268 03 01 01 thoth-work-id urn:uuid:46344fe3-1d72-4ddd-a57e-1d3f4377d2a2 01 thoth-publication-id urn:uuid:9a387313-cb23-47d1-ac7b-8575bc9f3268 15 9781947447417 03 9781947447417 06 10.21983/P3.0192.1.00 13 2017962641 01 internal-reference 0192 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Centaurs, Rioting in Thessaly Memory and the Classical World 1 A01 21 0000000243939240 Martyn Hudson Martyn Hudson 40 01kj2bm70 Newcastle University 01 eng 00 116 03 12 HRKP3 10 LIT004190 B2 Literary Studies 93 QRSG 93 DSBB B2 Premodern 20 classical literature; ancient history; monsters; mythology; centaurs 01 06 02 00 03 00 This book treads new paths through the labyrinths of our human thought. It meanders through the darkness to encounter the monsters at the heart of the maze: Minotaurs, Centaurs, Automata, Makers, Humans. One part of our human thought emerges from classical Ionia and Greek civilisation more generally. We obsessively return to that thought, tread again its pathways, re-enact its stories, repeat its motifs and gestures. We return time and time again to construct and re-construct the beings which were part of its cosmology and mythology – stories enacted from a classical world which is itself at once imaginary and material.The “Never Never Lands” of the ancient world contain fabulous beasts and humans and landscapes of desire and violence. We encounter the rioting Centaurs there and never again cease to conjure them up time and time again through our history. The Centaur mythologies display a fascination with animals and what binds and divides human beings from them. The Centaur hints ultimately at the idea of the genesis of civilisation itself.The Labyrinth, constructed by Daedalus, is itself a prison and a way of thinking about making, designing, and human aspiration. Designed by humans it offers mysteries that would be repeated time and time again – a motif which is replicated through human history. Daedalus himself is an archetype for creation and mastery, the designer of artefacts and machines which would be the beginning of forays into the total domination of nature.Centaurs, Labyrinths, Automata offer clues to the origins and ultimately the futures of humanity and what might come after it. 30 00 This book treads new paths through the labyrinths of our human thought. It meanders through the darkness to encounter the monsters at the heart of the maze: Minotaurs, Centaurs, Automata, Makers, Humans. One part of our human thought emerges from classical Ionia and Greek civilisation more generally. We obsessively return to that thought, tread again its pathways, re-enact its stories, repeat its motifs and gestures. We return time and time again to construct and re-construct the beings which were part of its cosmology and mythology – stories enacted from a classical world which is itself at once imaginary and material.The “Never Never Lands” of the ancient world contain fabulous beasts and humans and landscapes of desire and violence. We encounter the rioting Centaurs there and never again cease to conjure them up time and time again through our history. The Centaur mythologies display a fascination with animals and what binds and divides human beings from them. The Centaur hints ultimately at the idea of the genesis of civilisation itself.The Labyrinth, constructed by Daedalus, is itself a prison and a way of thinking about making, designing, and human aspiration. Designed by humans it offers mysteries that would be repeated time and time again – a motif which is replicated through human history. Daedalus himself is an archetype for creation and mastery, the designer of artefacts and machines which would be the beginning of forays into the total domination of nature.Centaurs, Labyrinths, Automata offer clues to the origins and ultimately the futures of humanity and what might come after it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0192.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/centaurs-rioting-in-thessaly/ Earth, Milky Way 04 01 20180109 Hudson, Martyn 02 WORLD 06 15 9781947447400 03 9781947447400 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66800 20 08 20180109 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25437 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25437/1004658.pdf?sequence=1&isAllowed=y 20 08 20180109 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32293 20 08 20180109 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354046 20 08 20180109 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/574 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2974b5ce-37ef-428e-acd8-57e366f6623d/download 20 08 20180109 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/46344fe3-1d72-4ddd-a57e-1d3f4377d2a2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/46344fe3-1d72-4ddd-a57e-1d3f4377d2a2/46344fe3-1d72-4ddd-a57e-1d3f4377d2a2.pdf 20 08 20180109 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847185 29 ZENODO: download the title https://zenodo.org/records/19847185/files/46344fe3-1d72-4ddd-a57e-1d3f4377d2a2_book.pdf 20 08 20180109 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/centaurs-rioting-in-thessaly/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0192.1.00.pdf 20 08 20180109 01 urn:uuid:3f7380f3-f50c-4c68-8b9c-06e5af5b180d 03 01 01 thoth-work-id urn:uuid:7f1d3e2e-c708-4f59-81cf-104c1ca528d0 01 thoth-publication-id urn:uuid:3f7380f3-f50c-4c68-8b9c-06e5af5b180d 15 9780692541555 03 9780692541555 06 10.21983/P3.0117.1.00 01 internal-reference 0117 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Chaste Cinematics 1 A01 Victor J. Vitanza Victor J. Vitanza 40 037s24f05 Clemson University 40 04g3mbv81 European Graduate School 01 eng 00 278 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 93 JBFK2 B2 Sex 93 QDTN 20 rape; film theory; sexual violence; rhetoric 01 06 02 00 03 00 Victor J. Vitanza (author of Sexual Violence in Western Thought and Writing) continues to rethink the problem of sexual violence in cinema and how rape is often represented in “chaste” ways, in the form of a Chaste Cinematics. Vitanza continues to discuss Chaste Cinematics as participating in transdisciplinary-rhetorical traditions that establish the very foundations (groundings, points of stasis) for nation states and cultures. In this offering, however, the initial grounding for the discussions is “base materialism” (George Bataille): divine filth, the sacred and profane. It is this post-philosophical base materialism that destabilizes binaries, fixedness, and brings forth excluded thirds. Vitanza asks: why is it that a repressed third, or a third figure, returns, most strangely as a “product” of rape and torture? He works with Jean-Paul Sartre and Page duBois’s suggestion that the “product” is a new “species.”Always attempting unorthodox ways of approaching social problems, Vitanza organizes his table of contents as a DVD menu of “Extras” (supplements). This menu includes Alternate Endings and Easter Eggs as well as an Excursus, which invokes readers to take up the political exigency of the DVD-Book. Vitanza’s first “Extra” studies a trio of films that need to be reconsidered, given what they offer as insights into Chaste Cinematics: Amadeus (a mad god), Henry Fool (a foolish god), and Multiple Maniacs (a divine god who is raped and eats excrement). The second examines Helke Sander’s documentary Liberators Take Liberties, which re-thinks the rapes of German women by the Russians and Allies during the Battle of Berlin. The third rethinks Margie Strosser’s video-film Rape Stories that calls for revenge. In the Alternate Endings, Vitanza rethinks the problem of reversibility in G. Noé’s Irréversible. In the Easter Eggs, he considers Dominique Laporte’s “the Irreparable,” as the object of loss and Giorgio Agamben’s “the Irreparable,” as hope in what is without remedy. The result is not another film-studies book, but a new genre, a new set of rhetorics, for new ways of thinking about cinematics, perhaps postcinematics. 30 00 Victor J. Vitanza (author of Sexual Violence in Western Thought and Writing) continues to rethink the problem of sexual violence in cinema and how rape is often represented in “chaste” ways, in the form of a Chaste Cinematics. Vitanza continues to discuss Chaste Cinematics as participating in transdisciplinary-rhetorical traditions that establish the very foundations (groundings, points of stasis) for nation states and cultures. In this offering, however, the initial grounding for the discussions is “base materialism” (George Bataille): divine filth, the sacred and profane. It is this post-philosophical base materialism that destabilizes binaries, fixedness, and brings forth excluded thirds. Vitanza asks: why is it that a repressed third, or a third figure, returns, most strangely as a “product” of rape and torture? He works with Jean-Paul Sartre and Page duBois’s suggestion that the “product” is a new “species.”Always attempting unorthodox ways of approaching social problems, Vitanza organizes his table of contents as a DVD menu of “Extras” (supplements). This menu includes Alternate Endings and Easter Eggs as well as an Excursus, which invokes readers to take up the political exigency of the DVD-Book. Vitanza’s first “Extra” studies a trio of films that need to be reconsidered, given what they offer as insights into Chaste Cinematics: Amadeus (a mad god), Henry Fool (a foolish god), and Multiple Maniacs (a divine god who is raped and eats excrement). The second examines Helke Sander’s documentary Liberators Take Liberties, which re-thinks the rapes of German women by the Russians and Allies during the Battle of Berlin. The third rethinks Margie Strosser’s video-film Rape Stories that calls for revenge. In the Alternate Endings, Vitanza rethinks the problem of reversibility in G. Noé’s Irréversible. In the Easter Eggs, he considers Dominique Laporte’s “the Irreparable,” as the object of loss and Giorgio Agamben’s “the Irreparable,” as hope in what is without remedy. The result is not another film-studies book, but a new genre, a new set of rhetorics, for new ways of thinking about cinematics, perhaps postcinematics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0117.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/chaste-cinematics/ Brooklyn, NY 04 01 20151031 Vitanza, Victor J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692541551 20 08 20151031 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/chaste-cinematics 20 08 20151031 02 25.00 USD WORLD urn:uuid:cf5e02c3-2ff8-411f-9aac-d3f19d3609e1 03 01 01 thoth-work-id urn:uuid:7f1d3e2e-c708-4f59-81cf-104c1ca528d0 01 thoth-publication-id urn:uuid:cf5e02c3-2ff8-411f-9aac-d3f19d3609e1 06 10.21983/P3.0117.1.00 01 internal-reference 0117 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Chaste Cinematics 1 A01 Victor J. Vitanza Victor J. Vitanza 40 037s24f05 Clemson University 40 04g3mbv81 European Graduate School 01 eng 00 278 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 93 JBFK2 B2 Sex 93 QDTN 20 rape; film theory; sexual violence; rhetoric 01 06 02 00 03 00 Victor J. Vitanza (author of Sexual Violence in Western Thought and Writing) continues to rethink the problem of sexual violence in cinema and how rape is often represented in “chaste” ways, in the form of a Chaste Cinematics. Vitanza continues to discuss Chaste Cinematics as participating in transdisciplinary-rhetorical traditions that establish the very foundations (groundings, points of stasis) for nation states and cultures. In this offering, however, the initial grounding for the discussions is “base materialism” (George Bataille): divine filth, the sacred and profane. It is this post-philosophical base materialism that destabilizes binaries, fixedness, and brings forth excluded thirds. Vitanza asks: why is it that a repressed third, or a third figure, returns, most strangely as a “product” of rape and torture? He works with Jean-Paul Sartre and Page duBois’s suggestion that the “product” is a new “species.”Always attempting unorthodox ways of approaching social problems, Vitanza organizes his table of contents as a DVD menu of “Extras” (supplements). This menu includes Alternate Endings and Easter Eggs as well as an Excursus, which invokes readers to take up the political exigency of the DVD-Book. Vitanza’s first “Extra” studies a trio of films that need to be reconsidered, given what they offer as insights into Chaste Cinematics: Amadeus (a mad god), Henry Fool (a foolish god), and Multiple Maniacs (a divine god who is raped and eats excrement). The second examines Helke Sander’s documentary Liberators Take Liberties, which re-thinks the rapes of German women by the Russians and Allies during the Battle of Berlin. The third rethinks Margie Strosser’s video-film Rape Stories that calls for revenge. In the Alternate Endings, Vitanza rethinks the problem of reversibility in G. Noé’s Irréversible. In the Easter Eggs, he considers Dominique Laporte’s “the Irreparable,” as the object of loss and Giorgio Agamben’s “the Irreparable,” as hope in what is without remedy. The result is not another film-studies book, but a new genre, a new set of rhetorics, for new ways of thinking about cinematics, perhaps postcinematics. 30 00 Victor J. Vitanza (author of Sexual Violence in Western Thought and Writing) continues to rethink the problem of sexual violence in cinema and how rape is often represented in “chaste” ways, in the form of a Chaste Cinematics. Vitanza continues to discuss Chaste Cinematics as participating in transdisciplinary-rhetorical traditions that establish the very foundations (groundings, points of stasis) for nation states and cultures. In this offering, however, the initial grounding for the discussions is “base materialism” (George Bataille): divine filth, the sacred and profane. It is this post-philosophical base materialism that destabilizes binaries, fixedness, and brings forth excluded thirds. Vitanza asks: why is it that a repressed third, or a third figure, returns, most strangely as a “product” of rape and torture? He works with Jean-Paul Sartre and Page duBois’s suggestion that the “product” is a new “species.”Always attempting unorthodox ways of approaching social problems, Vitanza organizes his table of contents as a DVD menu of “Extras” (supplements). This menu includes Alternate Endings and Easter Eggs as well as an Excursus, which invokes readers to take up the political exigency of the DVD-Book. Vitanza’s first “Extra” studies a trio of films that need to be reconsidered, given what they offer as insights into Chaste Cinematics: Amadeus (a mad god), Henry Fool (a foolish god), and Multiple Maniacs (a divine god who is raped and eats excrement). The second examines Helke Sander’s documentary Liberators Take Liberties, which re-thinks the rapes of German women by the Russians and Allies during the Battle of Berlin. The third rethinks Margie Strosser’s video-film Rape Stories that calls for revenge. In the Alternate Endings, Vitanza rethinks the problem of reversibility in G. Noé’s Irréversible. In the Easter Eggs, he considers Dominique Laporte’s “the Irreparable,” as the object of loss and Giorgio Agamben’s “the Irreparable,” as hope in what is without remedy. The result is not another film-studies book, but a new genre, a new set of rhetorics, for new ways of thinking about cinematics, perhaps postcinematics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0117.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/chaste-cinematics/ Brooklyn, NY 04 01 20151031 Vitanza, Victor J. 02 WORLD 06 15 9780692541555 03 9780692541555 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76491 20 08 20151031 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25507 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25507/1004588.pdf?sequence=1&isAllowed=y 20 08 20151031 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31236 20 08 20151031 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353996 20 08 20151031 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/498 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/81418009-0d82-4321-ac23-b3df9344aae1/download 20 08 20151031 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7f1d3e2e-c708-4f59-81cf-104c1ca528d0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7f1d3e2e-c708-4f59-81cf-104c1ca528d0/7f1d3e2e-c708-4f59-81cf-104c1ca528d0.pdf 20 08 20151031 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846353 29 ZENODO: download the title https://zenodo.org/records/19846353/files/7f1d3e2e-c708-4f59-81cf-104c1ca528d0_book.pdf 20 08 20151031 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/chaste-cinematics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0117.1.00.pdf 20 08 20151031 01 urn:uuid:c8d24b27-d564-4b47-b813-b65ba7fba5f6 03 01 01 thoth-work-id urn:uuid:4d0430e3-3640-4d87-8f02-cbb45f6ae83b 01 thoth-publication-id urn:uuid:c8d24b27-d564-4b47-b813-b65ba7fba5f6 15 9781685710200 03 9781685710200 06 10.53288/0362.1.00 13 2023935953 01 internal-reference 0362 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Chaucer's Comic Providence 1 A01 Janet Thormann Janet Thormann 40 006tpsn23 College of Marin Janet Thormann (aka Janet Thormann Mackintosh) was born in Brooklyn in 1940 and passed away in San Francisco in 2014. She studied Old English poetry with Alain Renoir at UC Berkeley in the 1960s, where she received her MA and PhD degrees, studying both medieval literature and modern poetry. She was the author of numerous articles in Old English literature, Lacanian psychoanalysis, the representation of Jews in medieval and modern art, and the relations between violence and the law, while she was also engaged in a long career teaching at the College of Marin in California. She lived in San Francisco with her husband Graham Mackintosh, one of the most well-known and important printmakers and publishers in Berkeley’s and San Francisco’s experimental poetry scene in the 1960s onward at both White Rabbit and Black Sparrow presses, a milieu that Janet participated in and cherished. Janet was also a long-time editorial board member and contributor to the European Journal of Psychoanalysis. Her last project, completed just before her death, was Chaucer’s Comic Providence. 2 A01 Aranye Fradenburg Joy Aranye Fradenburg Joy 40 02t274463 University of California, Santa Barbara L.O. Aranye Fradenburg Joy is Professor Emerita of English and Comparative Literature, specializing in medieval literature, literary theory, and mind studies, at the University of California, Santa Barbara, before retiring in 2018. She is the author of City, Marriage, Tournament: Arts of Rule in Late Medieval Scotland (Wisconsin, 1991), Sacrifice Your Love: Psychoanalysis, Historicism, Chaucer (Minnesota, 2002), Staying Alive: A Survival Manual for the Liberal Arts (punctum books, 2013), and numerous articles on the relations between contemporary thought and medieval studies, as well as the editor (with Carla Freccero) of Premodern Sexualities (Routledge, 1996). She also founded and directed UC-Santa Barbara’s specialization in “Literature and the Mind,” and is a Faculty Member and Chair of the Research Psychoanalysis Committee at the New Center for Psychoanalysis, Los Angeles, with a private practice in Santa Barbara, California. 01 eng 00 208 03 12 DSC 93 DSC 10 LIT004120 B2 Literary Studies 12 2ABC 93 2ACBC 10 LIT011000 B2 Premodern 12 JMAF 93 JMAF1 10 PSY026000 20 Chaucer; psychoanalysis; Jacques Lacan; Canterbury Tales 01 06 02 00 03 00 Chaucer’s Comic Providence presents readings of five of Chaucer’s Canterbury Tales that dramatize sexual division and the lack of rapport between the sexes. These readings are founded on the psychoanalytic thinking of Jacques Lacan in his rereading of Freud and are motivated by Thormann’s conviction that Chaucer understood what psychoanalysis would come to study as an unconscious operating in the subject that is independent of conscious control and desire. For psychoanalysis, the subject is interminably engaged with unconscious sexual difference and with what Lacan saw as the absence of sexual rapport. Chaucer’s Comic Providence analyzes Chaucer’s plots of sexual adventures, mishaps, and surprise to show how the five tales dramatize the lack of symmetry and absence of accord between the sexes.Ultimately, Thormann’s interest here is in the ways these five narratives represent and deal with sexual division, in their means of handling what, in any case, cannot be avoided or mastered. Consequently, the resolutions of the narratives sponsor an ethics of desire: they affirm sexual pleasure and acknowledge misprision and limitation, but they do not compromise, close down, or finish with incompatibility, contraction, and limitation. Her reading, then, claims that Chaucer’s poetry already reveals the unconscious that Freud is credited with discovering. As well, Chaucer not only anticipates Lacan’s pronouncement that “the unconscious is structured like a language,” but also his emphasis on unconscious sexual difference and the absence of rapport between the sexes.With few exceptions, while there has been much consideration of gender in Chaucer’s stories, contemporary criticism of Chaucer has remained inimical or, at the least, largely indifferent, to psychoanalysis, yet because it considers both difference and continuity, change and perpetuation, and because it incorporates psychic processes, motives, functions, and dynamics operating outside of conscious awareness, psychoanalysis offers a wider range for analysis of Chaucer’s tales than does gender theory alone. Chaucer’s Comic Providence also addresses the unexpected, surprising, and providentially comic resolutions of Chaucer’s tales, the concomitant abeyance of sexual conflicts, and the links between emergence and abeyance, which issue in the hope of a beneficent future. 30 00 Chaucer’s Comic Providence presents readings of five of Chaucer’s Canterbury Tales that dramatize sexual division and the lack of rapport between the sexes. These readings are founded on the psychoanalytic thinking of Jacques Lacan in his rereading of Freud and are motivated by Thormann’s conviction that Chaucer understood what psychoanalysis would come to study as an unconscious operating in the subject that is independent of conscious control and desire. For psychoanalysis, the subject is interminably engaged with unconscious sexual difference and with what Lacan saw as the absence of sexual rapport. Chaucer’s Comic Providence analyzes Chaucer’s plots of sexual adventures, mishaps, and surprise to show how the five tales dramatize the lack of symmetry and absence of accord between the sexes.Ultimately, Thormann’s interest here is in the ways these five narratives represent and deal with sexual division, in their means of handling what, in any case, cannot be avoided or mastered. Consequently, the resolutions of the narratives sponsor an ethics of desire: they affirm sexual pleasure and acknowledge misprision and limitation, but they do not compromise, close down, or finish with incompatibility, contraction, and limitation. Her reading, then, claims that Chaucer’s poetry already reveals the unconscious that Freud is credited with discovering. As well, Chaucer not only anticipates Lacan’s pronouncement that “the unconscious is structured like a language,” but also his emphasis on unconscious sexual difference and the absence of rapport between the sexes.With few exceptions, while there has been much consideration of gender in Chaucer’s stories, contemporary criticism of Chaucer has remained inimical or, at the least, largely indifferent, to psychoanalysis, yet because it considers both difference and continuity, change and perpetuation, and because it incorporates psychic processes, motives, functions, and dynamics operating outside of conscious awareness, psychoanalysis offers a wider range for analysis of Chaucer’s tales than does gender theory alone. Chaucer’s Comic Providence also addresses the unexpected, surprising, and providentially comic resolutions of Chaucer’s tales, the concomitant abeyance of sexual conflicts, and the links between emergence and abeyance, which issue in the hope of a beneficent future. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0362.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/chaucers-comic-providence/ Earth, Milky Way 04 01 20230420 Thormann, Janet 02 WORLD 06 15 9781685710217 03 9781685710217 34 06 10.1179/exm.1990.2.1.169 34 06 10.1353/sac.2006.0008 34 06 10.1057/s41280-018-0090-6 34 06 10.2307/2864148 34 06 10.1177/019685998601000204 34 06 10.1017/S0038713400208154 34 06 10.1179/exm.1994.6.1.115 34 06 10.2307/2848879 34 06 10.1179/exm.1994.6.2.287 34 06 10.1080/15240657.2010.513251 34 06 10.1215/10829636-2009-006 34 06 10.1017/S0038713400018078 34 06 10.2307/2903882 34 06 10.2307/2852082 34 06 10.1215/10829636-2009-001 34 06 10.1215/10829636-2008-025 34 06 10.1353/sac.1991.0050 34 06 10.1179/exm.1994.6.2.271 34 06 10.1353/sac.1995.0001 34 06 10.1179/exm.2004.16.2.323 34 06 10.1017/S0038713409990960 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710204 20 08 20230420 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/chaucers-comic-providence 20 08 20230420 02 23.00 USD WORLD urn:uuid:e4f272d4-031a-402a-824a-7b77721fd288 03 01 01 thoth-work-id urn:uuid:4d0430e3-3640-4d87-8f02-cbb45f6ae83b 01 thoth-publication-id urn:uuid:e4f272d4-031a-402a-824a-7b77721fd288 15 9781685710217 03 9781685710217 06 10.53288/0362.1.00 13 2023935953 01 internal-reference 0362 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Chaucer's Comic Providence 1 A01 Janet Thormann Janet Thormann 40 006tpsn23 College of Marin Janet Thormann (aka Janet Thormann Mackintosh) was born in Brooklyn in 1940 and passed away in San Francisco in 2014. She studied Old English poetry with Alain Renoir at UC Berkeley in the 1960s, where she received her MA and PhD degrees, studying both medieval literature and modern poetry. She was the author of numerous articles in Old English literature, Lacanian psychoanalysis, the representation of Jews in medieval and modern art, and the relations between violence and the law, while she was also engaged in a long career teaching at the College of Marin in California. She lived in San Francisco with her husband Graham Mackintosh, one of the most well-known and important printmakers and publishers in Berkeley’s and San Francisco’s experimental poetry scene in the 1960s onward at both White Rabbit and Black Sparrow presses, a milieu that Janet participated in and cherished. Janet was also a long-time editorial board member and contributor to the European Journal of Psychoanalysis. Her last project, completed just before her death, was Chaucer’s Comic Providence. 2 A01 Aranye Fradenburg Joy Aranye Fradenburg Joy 40 02t274463 University of California, Santa Barbara L.O. Aranye Fradenburg Joy is Professor Emerita of English and Comparative Literature, specializing in medieval literature, literary theory, and mind studies, at the University of California, Santa Barbara, before retiring in 2018. She is the author of City, Marriage, Tournament: Arts of Rule in Late Medieval Scotland (Wisconsin, 1991), Sacrifice Your Love: Psychoanalysis, Historicism, Chaucer (Minnesota, 2002), Staying Alive: A Survival Manual for the Liberal Arts (punctum books, 2013), and numerous articles on the relations between contemporary thought and medieval studies, as well as the editor (with Carla Freccero) of Premodern Sexualities (Routledge, 1996). She also founded and directed UC-Santa Barbara’s specialization in “Literature and the Mind,” and is a Faculty Member and Chair of the Research Psychoanalysis Committee at the New Center for Psychoanalysis, Los Angeles, with a private practice in Santa Barbara, California. 01 eng 00 208 03 12 DSC 93 DSC 10 LIT004120 B2 Literary Studies 12 2ABC 93 2ACBC 10 LIT011000 B2 Premodern 12 JMAF 93 JMAF1 10 PSY026000 20 Chaucer; psychoanalysis; Jacques Lacan; Canterbury Tales 01 06 02 00 03 00 Chaucer’s Comic Providence presents readings of five of Chaucer’s Canterbury Tales that dramatize sexual division and the lack of rapport between the sexes. These readings are founded on the psychoanalytic thinking of Jacques Lacan in his rereading of Freud and are motivated by Thormann’s conviction that Chaucer understood what psychoanalysis would come to study as an unconscious operating in the subject that is independent of conscious control and desire. For psychoanalysis, the subject is interminably engaged with unconscious sexual difference and with what Lacan saw as the absence of sexual rapport. Chaucer’s Comic Providence analyzes Chaucer’s plots of sexual adventures, mishaps, and surprise to show how the five tales dramatize the lack of symmetry and absence of accord between the sexes.Ultimately, Thormann’s interest here is in the ways these five narratives represent and deal with sexual division, in their means of handling what, in any case, cannot be avoided or mastered. Consequently, the resolutions of the narratives sponsor an ethics of desire: they affirm sexual pleasure and acknowledge misprision and limitation, but they do not compromise, close down, or finish with incompatibility, contraction, and limitation. Her reading, then, claims that Chaucer’s poetry already reveals the unconscious that Freud is credited with discovering. As well, Chaucer not only anticipates Lacan’s pronouncement that “the unconscious is structured like a language,” but also his emphasis on unconscious sexual difference and the absence of rapport between the sexes.With few exceptions, while there has been much consideration of gender in Chaucer’s stories, contemporary criticism of Chaucer has remained inimical or, at the least, largely indifferent, to psychoanalysis, yet because it considers both difference and continuity, change and perpetuation, and because it incorporates psychic processes, motives, functions, and dynamics operating outside of conscious awareness, psychoanalysis offers a wider range for analysis of Chaucer’s tales than does gender theory alone. Chaucer’s Comic Providence also addresses the unexpected, surprising, and providentially comic resolutions of Chaucer’s tales, the concomitant abeyance of sexual conflicts, and the links between emergence and abeyance, which issue in the hope of a beneficent future. 30 00 Chaucer’s Comic Providence presents readings of five of Chaucer’s Canterbury Tales that dramatize sexual division and the lack of rapport between the sexes. These readings are founded on the psychoanalytic thinking of Jacques Lacan in his rereading of Freud and are motivated by Thormann’s conviction that Chaucer understood what psychoanalysis would come to study as an unconscious operating in the subject that is independent of conscious control and desire. For psychoanalysis, the subject is interminably engaged with unconscious sexual difference and with what Lacan saw as the absence of sexual rapport. Chaucer’s Comic Providence analyzes Chaucer’s plots of sexual adventures, mishaps, and surprise to show how the five tales dramatize the lack of symmetry and absence of accord between the sexes.Ultimately, Thormann’s interest here is in the ways these five narratives represent and deal with sexual division, in their means of handling what, in any case, cannot be avoided or mastered. Consequently, the resolutions of the narratives sponsor an ethics of desire: they affirm sexual pleasure and acknowledge misprision and limitation, but they do not compromise, close down, or finish with incompatibility, contraction, and limitation. Her reading, then, claims that Chaucer’s poetry already reveals the unconscious that Freud is credited with discovering. As well, Chaucer not only anticipates Lacan’s pronouncement that “the unconscious is structured like a language,” but also his emphasis on unconscious sexual difference and the absence of rapport between the sexes.With few exceptions, while there has been much consideration of gender in Chaucer’s stories, contemporary criticism of Chaucer has remained inimical or, at the least, largely indifferent, to psychoanalysis, yet because it considers both difference and continuity, change and perpetuation, and because it incorporates psychic processes, motives, functions, and dynamics operating outside of conscious awareness, psychoanalysis offers a wider range for analysis of Chaucer’s tales than does gender theory alone. Chaucer’s Comic Providence also addresses the unexpected, surprising, and providentially comic resolutions of Chaucer’s tales, the concomitant abeyance of sexual conflicts, and the links between emergence and abeyance, which issue in the hope of a beneficent future. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0362.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/chaucers-comic-providence/ Earth, Milky Way 04 01 20230420 Thormann, Janet 02 WORLD 06 15 9781685710200 03 9781685710200 34 06 10.1179/exm.1990.2.1.169 34 06 10.1353/sac.2006.0008 34 06 10.1057/s41280-018-0090-6 34 06 10.2307/2864148 34 06 10.1177/019685998601000204 34 06 10.1017/S0038713400208154 34 06 10.1179/exm.1994.6.1.115 34 06 10.2307/2848879 34 06 10.1179/exm.1994.6.2.287 34 06 10.1080/15240657.2010.513251 34 06 10.1215/10829636-2009-006 34 06 10.1017/S0038713400018078 34 06 10.2307/2903882 34 06 10.2307/2852082 34 06 10.1215/10829636-2009-001 34 06 10.1215/10829636-2008-025 34 06 10.1353/sac.1991.0050 34 06 10.1179/exm.1994.6.2.271 34 06 10.1353/sac.1995.0001 34 06 10.1179/exm.2004.16.2.323 34 06 10.1017/S0038713409990960 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/62464 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/62464/0362.1.00.pdf?sequence=1&isAllowed=y 20 08 20230420 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99470 20 08 20230420 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353949 20 08 20230420 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/363 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/66ee0f46-fc39-4c80-b400-89e1f87c6b18/download 20 08 20230420 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4d0430e3-3640-4d87-8f02-cbb45f6ae83b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4d0430e3-3640-4d87-8f02-cbb45f6ae83b/4d0430e3-3640-4d87-8f02-cbb45f6ae83b.pdf 20 08 20230420 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849791 29 ZENODO: download the title https://zenodo.org/records/19849791/files/4d0430e3-3640-4d87-8f02-cbb45f6ae83b_book.pdf 20 08 20230420 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/chaucers-comic-providence/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0362.1.00.pdf 20 08 20230420 01 urn:uuid:7091d971-7701-486f-bd0b-616c2f8b9fbc 03 01 01 thoth-work-id urn:uuid:b2d1b2e3-226e-43c2-a898-fbad7b410e3f 01 thoth-publication-id urn:uuid:7091d971-7701-486f-bd0b-616c2f8b9fbc 15 9781947447080 03 9781947447080 06 10.21983/P3.0186.1.00 13 2017949734 01 internal-reference 0186 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 216 mm 02 21.6 cm 02 8.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Christina McPhee A Commonplace Book 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 00 166 03 93 AGB 12 AGB B2 Art+Aesthetics 10 BIO001000 20 anthropocene; art practice; deep ecology; digital media; environmental art 01 06 02 00 03 00 Christina McPhee’s ‘commonplace book’ draws from a palimpsest of handwritten notes, lists, quotations, bibliographic fragments, and sketches, from an artist whose voracious reading practice is a direct feed into her life and art — all set to a visual and textual design-as-score, as prominent writers on painting, media arts, performance, video installation and poetics engage with her ‘open-work’ practice. Christina McPhee’s images move from within a matrix of abstraction, shadowing figures and contingent effects. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war.This ‘commonplace book’ develops a view of recent work in collaged paintings, drawings, photomontage and video installation, around themes of environmental transformation and ‘post-natural’ community. 30 00 Christina McPhee’s ‘commonplace book’ draws from a palimpsest of handwritten notes, lists, quotations, bibliographic fragments, and sketches, from an artist whose voracious reading practice is a direct feed into her life and art — all set to a visual and textual design-as-score, as prominent writers on painting, media arts, performance, video installation and poetics engage with her ‘open-work’ practice. Christina McPhee’s images move from within a matrix of abstraction, shadowing figures and contingent effects. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war.This ‘commonplace book’ develops a view of recent work in collaged paintings, drawings, photomontage and video installation, around themes of environmental transformation and ‘post-natural’ community. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0186.1.00_frontcover.jpg 1 03 06 10.21983/P3.0186.1.01 1 46 47 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0186.1.02 47 57 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conversation Judith Rodenbeck with Christina McPhee 1 A01 Judith Rodenbeck Judith Rodenbeck 40 03nawhv43 University of California, Riverside 01 eng 20 00 Open Access Judith Rodenbeck 3 03 06 10.21983/P3.0186.1.03 67 69 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Studio Visit 1 A01 Phil King Phil King 01 eng 20 00 Open Access Phil King 4 03 06 10.21983/P3.0186.1.04 75 78 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carbon Immediate 1 A01 Frazer Ward Frazer Ward 40 0497crr92 Smith College 01 eng 20 00 Open Access Frazer Ward 5 03 06 10.21983/P3.0186.1.05 83 89 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mineral Relief 1 A01 21 0000000200115380 Ina Blom Ina Blom 40 01xtthb56 University of Oslo 40 024mw5h28 University of Chicago 20 00 Open Access Ina Blom 6 03 06 10.21983/P3.0186.1.06 107 119 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interview The Political Aesthetics of Nature 1 A01 Donata Marletta Donata Marletta 01 eng 20 00 Open Access Donata Marletta 7 03 06 10.21983/P3.0186.1.07 125 129 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tesserae of Venus 1 A01 Melissa Potter Melissa Potter 40 03a3kvy61 Columbia College Chicago 01 eng 20 00 Open Access Melissa Potter 8 03 06 10.21983/P3.0186.1.08 137 139 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Murmurations On Glyphs, Shards, and Teoremas 1 A01 21 0000000323075729 Eszter Timár Eszter Timár 40 02zx40v98 Central European University 01 eng 20 00 Open Access 9 03 06 10.21983/P3.0186.1.09 145 153 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pattern Discognition 1 A01 James MacDevitt James MacDevitt 40 03khjbj61 Cerritos College 01 eng 20 00 Open Access James MacDevitt 10 03 06 10.21983/P3.0186.1.10 155 161 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/christina-mcphee-a-commonplace-book/ Earth, Milky Way 04 01 20171017 Joy, Eileen A. 02 WORLD 06 15 9781947447097 03 9781947447097 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447084 20 08 20171017 02 41.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/christina-mcphee-a-commonplace-book 20 08 20171017 02 41.00 USD WORLD urn:uuid:fe112efb-8204-42c4-a212-1e4d1b48bde2 03 01 01 thoth-work-id urn:uuid:b2d1b2e3-226e-43c2-a898-fbad7b410e3f 01 thoth-publication-id urn:uuid:fe112efb-8204-42c4-a212-1e4d1b48bde2 15 9781947447097 03 9781947447097 06 10.21983/P3.0186.1.00 13 2017949734 01 internal-reference 0186 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Christina McPhee A Commonplace Book 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 00 166 03 93 AGB 12 AGB B2 Art+Aesthetics 10 BIO001000 20 anthropocene; art practice; deep ecology; digital media; environmental art 01 06 02 00 03 00 Christina McPhee’s ‘commonplace book’ draws from a palimpsest of handwritten notes, lists, quotations, bibliographic fragments, and sketches, from an artist whose voracious reading practice is a direct feed into her life and art — all set to a visual and textual design-as-score, as prominent writers on painting, media arts, performance, video installation and poetics engage with her ‘open-work’ practice. Christina McPhee’s images move from within a matrix of abstraction, shadowing figures and contingent effects. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war.This ‘commonplace book’ develops a view of recent work in collaged paintings, drawings, photomontage and video installation, around themes of environmental transformation and ‘post-natural’ community. 30 00 Christina McPhee’s ‘commonplace book’ draws from a palimpsest of handwritten notes, lists, quotations, bibliographic fragments, and sketches, from an artist whose voracious reading practice is a direct feed into her life and art — all set to a visual and textual design-as-score, as prominent writers on painting, media arts, performance, video installation and poetics engage with her ‘open-work’ practice. Christina McPhee’s images move from within a matrix of abstraction, shadowing figures and contingent effects. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war.This ‘commonplace book’ develops a view of recent work in collaged paintings, drawings, photomontage and video installation, around themes of environmental transformation and ‘post-natural’ community. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0186.1.00_frontcover.jpg 1 03 06 10.21983/P3.0186.1.01 1 46 47 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0186.1.02 47 57 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conversation Judith Rodenbeck with Christina McPhee 1 A01 Judith Rodenbeck Judith Rodenbeck 40 03nawhv43 University of California, Riverside 01 eng 20 00 Open Access Judith Rodenbeck 3 03 06 10.21983/P3.0186.1.03 67 69 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Studio Visit 1 A01 Phil King Phil King 01 eng 20 00 Open Access Phil King 4 03 06 10.21983/P3.0186.1.04 75 78 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carbon Immediate 1 A01 Frazer Ward Frazer Ward 40 0497crr92 Smith College 01 eng 20 00 Open Access Frazer Ward 5 03 06 10.21983/P3.0186.1.05 83 89 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mineral Relief 1 A01 21 0000000200115380 Ina Blom Ina Blom 40 01xtthb56 University of Oslo 40 024mw5h28 University of Chicago 20 00 Open Access Ina Blom 6 03 06 10.21983/P3.0186.1.06 107 119 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interview The Political Aesthetics of Nature 1 A01 Donata Marletta Donata Marletta 01 eng 20 00 Open Access Donata Marletta 7 03 06 10.21983/P3.0186.1.07 125 129 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tesserae of Venus 1 A01 Melissa Potter Melissa Potter 40 03a3kvy61 Columbia College Chicago 01 eng 20 00 Open Access Melissa Potter 8 03 06 10.21983/P3.0186.1.08 137 139 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Murmurations On Glyphs, Shards, and Teoremas 1 A01 21 0000000323075729 Eszter Timár Eszter Timár 40 02zx40v98 Central European University 01 eng 20 00 Open Access 9 03 06 10.21983/P3.0186.1.09 145 153 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pattern Discognition 1 A01 James MacDevitt James MacDevitt 40 03khjbj61 Cerritos College 01 eng 20 00 Open Access James MacDevitt 10 03 06 10.21983/P3.0186.1.10 155 161 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/christina-mcphee-a-commonplace-book/ Earth, Milky Way 04 01 20171017 Joy, Eileen A. 02 WORLD 06 15 9781947447080 03 9781947447080 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25443 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25443/1004652.pdf?sequence=1&isAllowed=y 20 08 20171017 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31143 20 08 20171017 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353988 20 08 20171017 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/749 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4ce3ff29-438e-4ad2-b3dc-e864d2642482/download 20 08 20171017 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Christina_McPhee_A_Commonplace_Book/eASVEAAAQBAJ 20 08 20171017 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b2d1b2e3-226e-43c2-a898-fbad7b410e3f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b2d1b2e3-226e-43c2-a898-fbad7b410e3f/b2d1b2e3-226e-43c2-a898-fbad7b410e3f.pdf 20 08 20171017 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847062 29 ZENODO: download the title https://zenodo.org/records/19847062/files/b2d1b2e3-226e-43c2-a898-fbad7b410e3f_book.pdf 20 08 20171017 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/christina-mcphee-a-commonplace-book/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0186.1.00.pdf 20 08 20171017 01 urn:uuid:827aa383-caf5-4468-8b37-7d26b4860583 03 01 01 thoth-work-id urn:uuid:45aa16fa-5fd5-4449-a3bd-52d734fcb0a9 01 thoth-publication-id urn:uuid:827aa383-caf5-4468-8b37-7d26b4860583 15 9781953035622 03 9781953035622 06 10.53288/0320.1.00 13 2021939314 01 internal-reference 0320 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Cinema's Doppelgängers 1 A01 21 000000020459450X Doug Dibbern Doug Dibbern 40 0190ak572 New York University 01 eng 00 386 03 12 APFA 10 ART057000 93 ATFA B2 Fabulations 10 ART009000 93 FDK B2 Moving Image 20 alternative realism; cinema; film studies; film history; historiography; speculative fiction 01 06 02 00 03 00 Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. 30 00 Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0320.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cinemas-doppelgangers/ Earth, Milky Way 04 01 20210617 Dibbern, Doug (0000-0002-0459-450X) 02 WORLD 06 15 9781953035639 03 9781953035639 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035620 20 08 20210617 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/cinemas-doppelgangers 20 08 20210617 02 27.00 USD WORLD urn:uuid:051a2af9-e16c-49b1-8f79-a9be442931bd 03 01 01 thoth-work-id urn:uuid:45aa16fa-5fd5-4449-a3bd-52d734fcb0a9 01 thoth-publication-id urn:uuid:051a2af9-e16c-49b1-8f79-a9be442931bd 15 9781953035639 03 9781953035639 06 10.53288/0320.1.00 13 2021939314 01 internal-reference 0320 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Cinema's Doppelgängers 1 A01 21 000000020459450X Doug Dibbern Doug Dibbern 40 0190ak572 New York University 01 eng 00 386 03 12 APFA 10 ART057000 93 ATFA B2 Fabulations 10 ART009000 93 FDK B2 Moving Image 20 alternative realism; cinema; film studies; film history; historiography; speculative fiction 01 06 02 00 03 00 Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. 30 00 Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0320.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cinemas-doppelgangers/ Earth, Milky Way 04 01 20210617 Dibbern, Doug (0000-0002-0459-450X) 02 WORLD 06 15 9781953035622 03 9781953035622 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/49486 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/49486/0320.1.00.pdf?sequence=1&isAllowed=y 20 08 20210617 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/70795 20 08 20210617 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353883 20 08 20210617 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/667 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b24e6a05-1100-4411-a26d-3148f91d616a/download 20 08 20210617 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Cinema_s_Doppelg%C3%A4ngers/SgOVEAAAQBAJ 20 08 20210617 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/45aa16fa-5fd5-4449-a3bd-52d734fcb0a9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/45aa16fa-5fd5-4449-a3bd-52d734fcb0a9/45aa16fa-5fd5-4449-a3bd-52d734fcb0a9.pdf 20 08 20210617 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848887 29 ZENODO: download the title https://zenodo.org/records/19848887/files/45aa16fa-5fd5-4449-a3bd-52d734fcb0a9_book.pdf 20 08 20210617 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/cinemas-doppelgangers/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0320.1.00.pdf 20 08 20210617 01 urn:uuid:c20cda77-dc60-47bd-b9ca-87c85607fe78 03 01 01 thoth-work-id urn:uuid:89f9c84b-be5c-4020-8edc-6fbe0b1c25f5 01 thoth-publication-id urn:uuid:c20cda77-dc60-47bd-b9ca-87c85607fe78 15 9781953035189 03 9781953035189 06 10.21983/P3.0278.1.00 13 2020939532 01 internal-reference 0278 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Fantasy, Vol. 2 The Contest between B-Genres 1 A01 Laurence A. Rickels Laurence A. Rickels 40 02hdve317 Academy of Fine Arts Karlsruhe 40 04g3mbv81 European Graduate School 01 eng 00 234 03 12 APFA B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 93 ATFA 12 JMAF 10 LIT004260 B2 Media+Technology 12 DSK 93 DSK B2 Moving Image 93 DSA 20 psychoanalysis; cultural studies; film studies; Gotthard Günther; science fiction; fantasy; J.R.R. Tolkien 01 06 02 00 03 00 In The Contest between B-Genres, the “Space Trilogy” by J.R.R. Tolkien’s friend and colleague C.S. Lewis and the roster of American science fictions that Gotthard Günther selected and glossed for the German readership in 1952 demarcate the ring in which the contestants face off. In carrying out in fiction the joust that Tolkien proclaimed in his manifesto essay “On Fairy-Stories,” Lewis challenged the visions of travel through time and space that were the mainstays of modern science fiction. In the facing corner, Günther recognized in American science fiction the first stirrings of a new mythic storytelling that would supplant the staple of an expiring metaphysics, the fairy-story basic to Tolkien and Lewis’s fantasy genre.The B-genres science fiction and fantasy were contemporaries of cinema’s emergence out of the scientific and experimental study and recording of motion made visible. In an early work like H.G. Wells’s The Time Machine, which Tolkien credited as work of fantasy, the transport through time – the ununderstood crux of this literary experiment – is conveyed through a cinematic–fantastic component in the narrative, reflecting optical innovations and forecasting the movies to come. Although the historical onset of the rivalry between the B-genres is packed with literary examples, adaptation (acknowledged or not) followed out the rebound of wish fantasy between literary descriptions of the ununderstood and their cinematic counterparts, visual and special effects.The arrival of the digital relation out of the crucible of the unknown and the special effect seemed at last to award the fantasy genre the trophy in its contest with science fiction. And yet, although science fiction indeed failed to predict the digital future, fantasy did not so much succeed as draw benefit from the mere resemblance of fantasying to the new relation. While it follows that digitization is the fantasy that is true (and not, as Tolkien had hoped, the Christian Gospel), the newly renewed B-genre without borders found support in another revaluation that was underway in the other B-genre. Once its future orientation was “history,” science fiction began indwelling the ruins of its faulty forecasts. By its new allegorical momentum, science fiction supplied captions of legibility and history to the reconfigured borderlands it cohabited with fantasy. The second volume also attends, then, to the hybrids that owed their formation to these changes, both anticipated and realized. Extending through the topography of the borderlands, works by J.G. Ballard, Ursula Le Guin, and John Boorman, among others, occupy and cathect a context of speculative fiction that suspended and blended the strict contest requirements constitutive of the separate B-genres. 30 00 In The Contest between B-Genres, the “Space Trilogy” by J.R.R. Tolkien’s friend and colleague C.S. Lewis and the roster of American science fictions that Gotthard Günther selected and glossed for the German readership in 1952 demarcate the ring in which the contestants face off. In carrying out in fiction the joust that Tolkien proclaimed in his manifesto essay “On Fairy-Stories,” Lewis challenged the visions of travel through time and space that were the mainstays of modern science fiction. In the facing corner, Günther recognized in American science fiction the first stirrings of a new mythic storytelling that would supplant the staple of an expiring metaphysics, the fairy-story basic to Tolkien and Lewis’s fantasy genre.The B-genres science fiction and fantasy were contemporaries of cinema’s emergence out of the scientific and experimental study and recording of motion made visible. In an early work like H.G. Wells’s The Time Machine, which Tolkien credited as work of fantasy, the transport through time – the ununderstood crux of this literary experiment – is conveyed through a cinematic–fantastic component in the narrative, reflecting optical innovations and forecasting the movies to come. Although the historical onset of the rivalry between the B-genres is packed with literary examples, adaptation (acknowledged or not) followed out the rebound of wish fantasy between literary descriptions of the ununderstood and their cinematic counterparts, visual and special effects.The arrival of the digital relation out of the crucible of the unknown and the special effect seemed at last to award the fantasy genre the trophy in its contest with science fiction. And yet, although science fiction indeed failed to predict the digital future, fantasy did not so much succeed as draw benefit from the mere resemblance of fantasying to the new relation. While it follows that digitization is the fantasy that is true (and not, as Tolkien had hoped, the Christian Gospel), the newly renewed B-genre without borders found support in another revaluation that was underway in the other B-genre. Once its future orientation was “history,” science fiction began indwelling the ruins of its faulty forecasts. By its new allegorical momentum, science fiction supplied captions of legibility and history to the reconfigured borderlands it cohabited with fantasy. The second volume also attends, then, to the hybrids that owed their formation to these changes, both anticipated and realized. Extending through the topography of the borderlands, works by J.G. Ballard, Ursula Le Guin, and John Boorman, among others, occupy and cathect a context of speculative fiction that suspended and blended the strict contest requirements constitutive of the separate B-genres. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0278.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-fantasy-vol-2-the-contest-between-b-genres/ Earth, Milky Way 04 01 20201124 Rickels, Laurence A. 02 WORLD 06 15 9781953035196 03 9781953035196 34 06 10.1038/scientificamerican0659-68 34 06 10.1215/17432197-1722136 34 06 10.1111/j.1439-0310.1943.tb00655.x 34 06 10.1007/978-3-662-38240-0_49 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035183 20 08 20201124 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/critique-of-fantasy-vol-2-the-contest-between-b-genres 20 08 20201124 02 24.00 USD WORLD urn:uuid:bcfb4ef3-4e3e-4187-a8c7-1443abe37c5a 03 01 01 thoth-work-id urn:uuid:89f9c84b-be5c-4020-8edc-6fbe0b1c25f5 01 thoth-publication-id urn:uuid:bcfb4ef3-4e3e-4187-a8c7-1443abe37c5a 15 9781953035196 03 9781953035196 06 10.21983/P3.0278.1.00 13 2020939532 01 internal-reference 0278 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Fantasy, Vol. 2 The Contest between B-Genres 1 A01 Laurence A. Rickels Laurence A. Rickels 40 02hdve317 Academy of Fine Arts Karlsruhe 40 04g3mbv81 European Graduate School 01 eng 00 234 03 12 APFA B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 93 ATFA 12 JMAF 10 LIT004260 B2 Media+Technology 12 DSK 93 DSK B2 Moving Image 93 DSA 20 psychoanalysis; cultural studies; film studies; Gotthard Günther; science fiction; fantasy; J.R.R. Tolkien 01 06 02 00 03 00 In The Contest between B-Genres, the “Space Trilogy” by J.R.R. Tolkien’s friend and colleague C.S. Lewis and the roster of American science fictions that Gotthard Günther selected and glossed for the German readership in 1952 demarcate the ring in which the contestants face off. In carrying out in fiction the joust that Tolkien proclaimed in his manifesto essay “On Fairy-Stories,” Lewis challenged the visions of travel through time and space that were the mainstays of modern science fiction. In the facing corner, Günther recognized in American science fiction the first stirrings of a new mythic storytelling that would supplant the staple of an expiring metaphysics, the fairy-story basic to Tolkien and Lewis’s fantasy genre.The B-genres science fiction and fantasy were contemporaries of cinema’s emergence out of the scientific and experimental study and recording of motion made visible. In an early work like H.G. Wells’s The Time Machine, which Tolkien credited as work of fantasy, the transport through time – the ununderstood crux of this literary experiment – is conveyed through a cinematic–fantastic component in the narrative, reflecting optical innovations and forecasting the movies to come. Although the historical onset of the rivalry between the B-genres is packed with literary examples, adaptation (acknowledged or not) followed out the rebound of wish fantasy between literary descriptions of the ununderstood and their cinematic counterparts, visual and special effects.The arrival of the digital relation out of the crucible of the unknown and the special effect seemed at last to award the fantasy genre the trophy in its contest with science fiction. And yet, although science fiction indeed failed to predict the digital future, fantasy did not so much succeed as draw benefit from the mere resemblance of fantasying to the new relation. While it follows that digitization is the fantasy that is true (and not, as Tolkien had hoped, the Christian Gospel), the newly renewed B-genre without borders found support in another revaluation that was underway in the other B-genre. Once its future orientation was “history,” science fiction began indwelling the ruins of its faulty forecasts. By its new allegorical momentum, science fiction supplied captions of legibility and history to the reconfigured borderlands it cohabited with fantasy. The second volume also attends, then, to the hybrids that owed their formation to these changes, both anticipated and realized. Extending through the topography of the borderlands, works by J.G. Ballard, Ursula Le Guin, and John Boorman, among others, occupy and cathect a context of speculative fiction that suspended and blended the strict contest requirements constitutive of the separate B-genres. 30 00 In The Contest between B-Genres, the “Space Trilogy” by J.R.R. Tolkien’s friend and colleague C.S. Lewis and the roster of American science fictions that Gotthard Günther selected and glossed for the German readership in 1952 demarcate the ring in which the contestants face off. In carrying out in fiction the joust that Tolkien proclaimed in his manifesto essay “On Fairy-Stories,” Lewis challenged the visions of travel through time and space that were the mainstays of modern science fiction. In the facing corner, Günther recognized in American science fiction the first stirrings of a new mythic storytelling that would supplant the staple of an expiring metaphysics, the fairy-story basic to Tolkien and Lewis’s fantasy genre.The B-genres science fiction and fantasy were contemporaries of cinema’s emergence out of the scientific and experimental study and recording of motion made visible. In an early work like H.G. Wells’s The Time Machine, which Tolkien credited as work of fantasy, the transport through time – the ununderstood crux of this literary experiment – is conveyed through a cinematic–fantastic component in the narrative, reflecting optical innovations and forecasting the movies to come. Although the historical onset of the rivalry between the B-genres is packed with literary examples, adaptation (acknowledged or not) followed out the rebound of wish fantasy between literary descriptions of the ununderstood and their cinematic counterparts, visual and special effects.The arrival of the digital relation out of the crucible of the unknown and the special effect seemed at last to award the fantasy genre the trophy in its contest with science fiction. And yet, although science fiction indeed failed to predict the digital future, fantasy did not so much succeed as draw benefit from the mere resemblance of fantasying to the new relation. While it follows that digitization is the fantasy that is true (and not, as Tolkien had hoped, the Christian Gospel), the newly renewed B-genre without borders found support in another revaluation that was underway in the other B-genre. Once its future orientation was “history,” science fiction began indwelling the ruins of its faulty forecasts. By its new allegorical momentum, science fiction supplied captions of legibility and history to the reconfigured borderlands it cohabited with fantasy. The second volume also attends, then, to the hybrids that owed their formation to these changes, both anticipated and realized. Extending through the topography of the borderlands, works by J.G. Ballard, Ursula Le Guin, and John Boorman, among others, occupy and cathect a context of speculative fiction that suspended and blended the strict contest requirements constitutive of the separate B-genres. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0278.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-fantasy-vol-2-the-contest-between-b-genres/ Earth, Milky Way 04 01 20201124 Rickels, Laurence A. 02 WORLD 06 15 9781953035189 03 9781953035189 34 06 10.1038/scientificamerican0659-68 34 06 10.1215/17432197-1722136 34 06 10.1111/j.1439-0310.1943.tb00655.x 34 06 10.1007/978-3-662-38240-0_49 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/43072 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/43072/0278.1.00.pdf 20 08 20201124 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32856 20 08 20201124 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353932 20 08 20201124 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/650 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6ad8a824-cddb-4363-a7c1-d1d0c0ebb6e4/download 20 08 20201124 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Critique_of_Fantasy_Vol_2/4gWVEAAAQBAJ 20 08 20201124 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/89f9c84b-be5c-4020-8edc-6fbe0b1c25f5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/89f9c84b-be5c-4020-8edc-6fbe0b1c25f5/89f9c84b-be5c-4020-8edc-6fbe0b1c25f5.pdf 20 08 20201124 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848572 29 ZENODO: download the title https://zenodo.org/records/19848572/files/89f9c84b-be5c-4020-8edc-6fbe0b1c25f5_book.pdf 20 08 20201124 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/critique-of-fantasy-vol-2-the-contest-between-b-genres/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0278.1.00.pdf 20 08 20201124 01 urn:uuid:2eb2aed5-3525-4c35-b5da-e68cf3e1a200 03 01 01 thoth-work-id urn:uuid:79464e83-b688-4b82-84bc-18d105f60f33 01 thoth-publication-id urn:uuid:2eb2aed5-3525-4c35-b5da-e68cf3e1a200 15 9781953035288 03 9781953035288 06 10.21983/P3.0279.1.00 13 2020939532 01 internal-reference 0279 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Fantasy, Vol. 3 The Block of Fame 1 A01 Laurence A. Rickels Laurence A. Rickels 40 02hdve317 Academy of Fine Arts Karlsruhe 40 04g3mbv81 European Graduate School 01 eng 00 240 03 12 APFA B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 93 ATFA 12 JMAF 10 LIT004260 B2 Media+Technology 12 DSK 93 DSK B2 Moving Image 93 DSA 20 psychoanalysis; Edmund Bergler; cultural studies; science fiction; fantasy; writer's block; Susan Sontag; film studies 01 06 02 00 03 00 In The Block of Fame, Edmund Bergler, like the thirteenth fairy in the “Sleeping Beauty,“ uninvited because there wasn’t an extra place setting, crashes the psychoanalytic poetics of daydreaming with a curse. He charges that the overview, according to which art making rarefies daydreaming and delivers omnipotence, overlooks the underlying defense contract. We are hooked to creativity, because it offers the best defense against acknowledging the ultimate and untenable masochistic wish to be refused. Bergler’s bleak view, which Gilles Deleuze alone acknowledged in his study of Sacher-Masoch, doesn’t make any overall contribution to the aesthetics of fantasying that this critique addresses. However, it is a good fit with the centerpiece of the final volume: the wish for fame or, rather, the recoil of the wish in the wreckage that success brings.Following the opening season of mourning and the experience of phantoms, there is the second death, which is murder. In addition to the deadening end that can only be postponed – the killing off of the dead until dead dead – there is another second death that concludes the wish for fame with a ritual stripping of badges and insignia. Not only are the medals thrown to the ground and the sword broken, but a life’s work passes review. At the close of his career, Freud returned to the environs of the wish, the cornerstone of his science. While his disciples Otto Rank and Hanns Sachs carried out his 1907 insights regarding the poetics of daydreaming to illuminate, respectively, the mythic origin of the hero and the evolution of art out of the mutual daydream, Freud battened down for the end of his world by revisiting the so-called primal fantasy, the myth of the primal father, in Moses and Monotheism. The animal setting that was a given of its premier articulation in Totem and Taboo was a wrap this time around with Freud’s translation of Marie Bonaparte’s transference gift, a memoir recounting her premature mourning for her sick chow and the dog’s recovery from cancer of the jaw.In Bergler’s unconscious system, plagiarism is the conscious variation on the block basic to authorship. Theodor Adorno interpreted the ascendancy of the culture industry leading to and through the Third Reich in terms of the theft of modernism’s critical strategies for promoting the transformation of wish fantasy into the social relation of art. In the course of writing his essay “Notes on Kafka” between 1942 and 1952, Adorno was able to reclaim for aesthetic theory after Auschwitz the “constellation” that he and Benjamin had originally developed to outlast the culture industry’s depravation of the hopefulness of wishing. Adorno gives the sense or direction of the constellation’s recovery when he argues that Kafka’s work stages the final round of the contest between fantasy and science fiction by extrapolating doubling and déjà vu as the portals to a collective future.The wish for fame or to be refused it and the wish to steal this book or undo the delinquency demarcate the final movement of the third volume, which follows out, beginning with Susan Sontag and Gidget, a veritable Bildungsroman of the post-war era’s star, the teenager. Fantasying to make it big time means to be in training for big ideas and big feelings. The romance of fantasying was also reconfigured out of a station break. The Nazi elevation of youth to superego in the Heimat of the Teen Age neutralized adolescent innovation by forgoing the Hamletian stage of metabolization of the death wish. Switching to the other patient, the other teenager at heart, no longer the German but now the American or Californian, this study enters the termination phase of the analysis in the environs of a reach for the stars that is legend. It is the legend to the final volume’s mapping of our second nature as daydreamer believers. 30 00 In The Block of Fame, Edmund Bergler, like the thirteenth fairy in the “Sleeping Beauty,“ uninvited because there wasn’t an extra place setting, crashes the psychoanalytic poetics of daydreaming with a curse. He charges that the overview, according to which art making rarefies daydreaming and delivers omnipotence, overlooks the underlying defense contract. We are hooked to creativity, because it offers the best defense against acknowledging the ultimate and untenable masochistic wish to be refused. Bergler’s bleak view, which Gilles Deleuze alone acknowledged in his study of Sacher-Masoch, doesn’t make any overall contribution to the aesthetics of fantasying that this critique addresses. However, it is a good fit with the centerpiece of the final volume: the wish for fame or, rather, the recoil of the wish in the wreckage that success brings.Following the opening season of mourning and the experience of phantoms, there is the second death, which is murder. In addition to the deadening end that can only be postponed – the killing off of the dead until dead dead – there is another second death that concludes the wish for fame with a ritual stripping of badges and insignia. Not only are the medals thrown to the ground and the sword broken, but a life’s work passes review. At the close of his career, Freud returned to the environs of the wish, the cornerstone of his science. While his disciples Otto Rank and Hanns Sachs carried out his 1907 insights regarding the poetics of daydreaming to illuminate, respectively, the mythic origin of the hero and the evolution of art out of the mutual daydream, Freud battened down for the end of his world by revisiting the so-called primal fantasy, the myth of the primal father, in Moses and Monotheism. The animal setting that was a given of its premier articulation in Totem and Taboo was a wrap this time around with Freud’s translation of Marie Bonaparte’s transference gift, a memoir recounting her premature mourning for her sick chow and the dog’s recovery from cancer of the jaw.In Bergler’s unconscious system, plagiarism is the conscious variation on the block basic to authorship. Theodor Adorno interpreted the ascendancy of the culture industry leading to and through the Third Reich in terms of the theft of modernism’s critical strategies for promoting the transformation of wish fantasy into the social relation of art. In the course of writing his essay “Notes on Kafka” between 1942 and 1952, Adorno was able to reclaim for aesthetic theory after Auschwitz the “constellation” that he and Benjamin had originally developed to outlast the culture industry’s depravation of the hopefulness of wishing. Adorno gives the sense or direction of the constellation’s recovery when he argues that Kafka’s work stages the final round of the contest between fantasy and science fiction by extrapolating doubling and déjà vu as the portals to a collective future.The wish for fame or to be refused it and the wish to steal this book or undo the delinquency demarcate the final movement of the third volume, which follows out, beginning with Susan Sontag and Gidget, a veritable Bildungsroman of the post-war era’s star, the teenager. Fantasying to make it big time means to be in training for big ideas and big feelings. The romance of fantasying was also reconfigured out of a station break. The Nazi elevation of youth to superego in the Heimat of the Teen Age neutralized adolescent innovation by forgoing the Hamletian stage of metabolization of the death wish. Switching to the other patient, the other teenager at heart, no longer the German but now the American or Californian, this study enters the termination phase of the analysis in the environs of a reach for the stars that is legend. It is the legend to the final volume’s mapping of our second nature as daydreamer believers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0279.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-fantasy-vol-3-the-block-of-fame/ Earth, Milky Way 04 01 20210114 Rickels, Laurence A. 02 WORLD 06 15 9781953035295 03 9781953035295 34 06 10.2307/1209731 34 06 10.2307/465144 34 06 10.1002/j.2167-4086.2011.tb00115.x 34 06 10.1080/21674086.1974.11926661 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035280 20 08 20210114 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/critique-of-fantasy-vol-3-the-block-of-fame 20 08 20210114 02 24.00 USD WORLD urn:uuid:8a085ca3-fa40-4994-81d7-4ec709dc008d 03 01 01 thoth-work-id urn:uuid:79464e83-b688-4b82-84bc-18d105f60f33 01 thoth-publication-id urn:uuid:8a085ca3-fa40-4994-81d7-4ec709dc008d 15 9781953035295 03 9781953035295 06 10.21983/P3.0279.1.00 13 2020939532 01 internal-reference 0279 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Fantasy, Vol. 3 The Block of Fame 1 A01 Laurence A. Rickels Laurence A. Rickels 40 02hdve317 Academy of Fine Arts Karlsruhe 40 04g3mbv81 European Graduate School 01 eng 00 240 03 12 APFA B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 93 ATFA 12 JMAF 10 LIT004260 B2 Media+Technology 12 DSK 93 DSK B2 Moving Image 93 DSA 20 psychoanalysis; Edmund Bergler; cultural studies; science fiction; fantasy; writer's block; Susan Sontag; film studies 01 06 02 00 03 00 In The Block of Fame, Edmund Bergler, like the thirteenth fairy in the “Sleeping Beauty,“ uninvited because there wasn’t an extra place setting, crashes the psychoanalytic poetics of daydreaming with a curse. He charges that the overview, according to which art making rarefies daydreaming and delivers omnipotence, overlooks the underlying defense contract. We are hooked to creativity, because it offers the best defense against acknowledging the ultimate and untenable masochistic wish to be refused. Bergler’s bleak view, which Gilles Deleuze alone acknowledged in his study of Sacher-Masoch, doesn’t make any overall contribution to the aesthetics of fantasying that this critique addresses. However, it is a good fit with the centerpiece of the final volume: the wish for fame or, rather, the recoil of the wish in the wreckage that success brings.Following the opening season of mourning and the experience of phantoms, there is the second death, which is murder. In addition to the deadening end that can only be postponed – the killing off of the dead until dead dead – there is another second death that concludes the wish for fame with a ritual stripping of badges and insignia. Not only are the medals thrown to the ground and the sword broken, but a life’s work passes review. At the close of his career, Freud returned to the environs of the wish, the cornerstone of his science. While his disciples Otto Rank and Hanns Sachs carried out his 1907 insights regarding the poetics of daydreaming to illuminate, respectively, the mythic origin of the hero and the evolution of art out of the mutual daydream, Freud battened down for the end of his world by revisiting the so-called primal fantasy, the myth of the primal father, in Moses and Monotheism. The animal setting that was a given of its premier articulation in Totem and Taboo was a wrap this time around with Freud’s translation of Marie Bonaparte’s transference gift, a memoir recounting her premature mourning for her sick chow and the dog’s recovery from cancer of the jaw.In Bergler’s unconscious system, plagiarism is the conscious variation on the block basic to authorship. Theodor Adorno interpreted the ascendancy of the culture industry leading to and through the Third Reich in terms of the theft of modernism’s critical strategies for promoting the transformation of wish fantasy into the social relation of art. In the course of writing his essay “Notes on Kafka” between 1942 and 1952, Adorno was able to reclaim for aesthetic theory after Auschwitz the “constellation” that he and Benjamin had originally developed to outlast the culture industry’s depravation of the hopefulness of wishing. Adorno gives the sense or direction of the constellation’s recovery when he argues that Kafka’s work stages the final round of the contest between fantasy and science fiction by extrapolating doubling and déjà vu as the portals to a collective future.The wish for fame or to be refused it and the wish to steal this book or undo the delinquency demarcate the final movement of the third volume, which follows out, beginning with Susan Sontag and Gidget, a veritable Bildungsroman of the post-war era’s star, the teenager. Fantasying to make it big time means to be in training for big ideas and big feelings. The romance of fantasying was also reconfigured out of a station break. The Nazi elevation of youth to superego in the Heimat of the Teen Age neutralized adolescent innovation by forgoing the Hamletian stage of metabolization of the death wish. Switching to the other patient, the other teenager at heart, no longer the German but now the American or Californian, this study enters the termination phase of the analysis in the environs of a reach for the stars that is legend. It is the legend to the final volume’s mapping of our second nature as daydreamer believers. 30 00 In The Block of Fame, Edmund Bergler, like the thirteenth fairy in the “Sleeping Beauty,“ uninvited because there wasn’t an extra place setting, crashes the psychoanalytic poetics of daydreaming with a curse. He charges that the overview, according to which art making rarefies daydreaming and delivers omnipotence, overlooks the underlying defense contract. We are hooked to creativity, because it offers the best defense against acknowledging the ultimate and untenable masochistic wish to be refused. Bergler’s bleak view, which Gilles Deleuze alone acknowledged in his study of Sacher-Masoch, doesn’t make any overall contribution to the aesthetics of fantasying that this critique addresses. However, it is a good fit with the centerpiece of the final volume: the wish for fame or, rather, the recoil of the wish in the wreckage that success brings.Following the opening season of mourning and the experience of phantoms, there is the second death, which is murder. In addition to the deadening end that can only be postponed – the killing off of the dead until dead dead – there is another second death that concludes the wish for fame with a ritual stripping of badges and insignia. Not only are the medals thrown to the ground and the sword broken, but a life’s work passes review. At the close of his career, Freud returned to the environs of the wish, the cornerstone of his science. While his disciples Otto Rank and Hanns Sachs carried out his 1907 insights regarding the poetics of daydreaming to illuminate, respectively, the mythic origin of the hero and the evolution of art out of the mutual daydream, Freud battened down for the end of his world by revisiting the so-called primal fantasy, the myth of the primal father, in Moses and Monotheism. The animal setting that was a given of its premier articulation in Totem and Taboo was a wrap this time around with Freud’s translation of Marie Bonaparte’s transference gift, a memoir recounting her premature mourning for her sick chow and the dog’s recovery from cancer of the jaw.In Bergler’s unconscious system, plagiarism is the conscious variation on the block basic to authorship. Theodor Adorno interpreted the ascendancy of the culture industry leading to and through the Third Reich in terms of the theft of modernism’s critical strategies for promoting the transformation of wish fantasy into the social relation of art. In the course of writing his essay “Notes on Kafka” between 1942 and 1952, Adorno was able to reclaim for aesthetic theory after Auschwitz the “constellation” that he and Benjamin had originally developed to outlast the culture industry’s depravation of the hopefulness of wishing. Adorno gives the sense or direction of the constellation’s recovery when he argues that Kafka’s work stages the final round of the contest between fantasy and science fiction by extrapolating doubling and déjà vu as the portals to a collective future.The wish for fame or to be refused it and the wish to steal this book or undo the delinquency demarcate the final movement of the third volume, which follows out, beginning with Susan Sontag and Gidget, a veritable Bildungsroman of the post-war era’s star, the teenager. Fantasying to make it big time means to be in training for big ideas and big feelings. The romance of fantasying was also reconfigured out of a station break. The Nazi elevation of youth to superego in the Heimat of the Teen Age neutralized adolescent innovation by forgoing the Hamletian stage of metabolization of the death wish. Switching to the other patient, the other teenager at heart, no longer the German but now the American or Californian, this study enters the termination phase of the analysis in the environs of a reach for the stars that is legend. It is the legend to the final volume’s mapping of our second nature as daydreamer believers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0279.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-fantasy-vol-3-the-block-of-fame/ Earth, Milky Way 04 01 20210114 Rickels, Laurence A. 02 WORLD 06 15 9781953035288 03 9781953035288 34 06 10.2307/1209731 34 06 10.2307/465144 34 06 10.1002/j.2167-4086.2011.tb00115.x 34 06 10.1080/21674086.1974.11926661 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/46128 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/46128/0279.1.00.pdf 20 08 20210114 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32037 20 08 20210114 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353886 20 08 20210114 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/653 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9b8a8a1e-1d6a-4de4-8728-bf63061944c0/download 20 08 20210114 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/79464e83-b688-4b82-84bc-18d105f60f33 29 INTERNET_ARCHIVE: download the title https://archive.org/download/79464e83-b688-4b82-84bc-18d105f60f33/79464e83-b688-4b82-84bc-18d105f60f33.pdf 20 08 20210114 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848614 29 ZENODO: download the title https://zenodo.org/records/19848614/files/79464e83-b688-4b82-84bc-18d105f60f33_book.pdf 20 08 20210114 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/critique-of-fantasy-vol-3-the-block-of-fame/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0279.1.00.pdf 20 08 20210114 01 urn:uuid:3b31c0f9-3503-4487-8306-2e0bd76d1b7c 03 01 01 thoth-work-id urn:uuid:639a3c5b-82ad-4557-897b-2bfebe3dc53c 01 thoth-publication-id urn:uuid:3b31c0f9-3503-4487-8306-2e0bd76d1b7c 15 9780692282403 03 9780692282403 06 10.21983/P3.0114.1.00 01 internal-reference 0114 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Sovereignty, Book 1 Contemporary Theories of Sovereignty 1 A01 Marc Lombardo Marc Lombardo 01 eng 00 112 03 B2 Cultural Studies+Critical Theory 12 HPCF 93 JPA 10 PHI019000 93 JPHC B2 New Left Thought 20 history; politics; sovereignty; political theory; philosophy 01 06 02 00 03 00 Using the Western tradition of metaphysical and political thought as a backdrop, Critique of Sovereignty (a work in 4 volumes) re-examines the concept of sovereignty in order to better understand why our ethical values and technical capacities often seem so divorced from our lived realities. On the one hand, ostensibly self-enclosed entities like the nation-state and the person are rhetorically bolstered as sites of technical agency and/or moral responsibility. On the other hand, these same entities appear fragile — if not purely fictional — in relation to ever ongoing tidal processes such as the migration, diffusion, and conglomeration of bodies, capital, ideas, etc. While some of our institutions might work some of the time, they always seem to work differently than we like to think they do. Accordingly, the forging of more humane institutions might very well entail if not require ways of thinking that strive to undo the self-imagined binds, exceptions, and sureties of thought for the sake of embracing a continuity with all that withers, decays, and falls away.Book I, “Contemporary Theories of Sovereignty,” compares the varied interpretations of sovereignty given by a range of 20th-century political theorists (Maritain, Foucault, Derrida, Schmitt, Agamben, Hardt, and Negri) with Jean Bodin’s initial outline of the concept, rendered at the outset of modern political thought in the 16th century. The analytic framework of sovereignty encountered in these comparative readings provides an initial point of departure for unfolding a method of critique appropriate to the concept of sovereignty. Sovereignty is an ideal starting point for a critique of the deadlocks between thought and reality for a simple reason: it doesn’t actually exist. When it serves as a guide to action, sovereignty may be regarded as a particularly captivating fantasy. The closer it appears, the further it recedes, and, too often, the more vigorously it is pursued. 30 00 Using the Western tradition of metaphysical and political thought as a backdrop, Critique of Sovereignty (a work in 4 volumes) re-examines the concept of sovereignty in order to better understand why our ethical values and technical capacities often seem so divorced from our lived realities. On the one hand, ostensibly self-enclosed entities like the nation-state and the person are rhetorically bolstered as sites of technical agency and/or moral responsibility. On the other hand, these same entities appear fragile — if not purely fictional — in relation to ever ongoing tidal processes such as the migration, diffusion, and conglomeration of bodies, capital, ideas, etc. While some of our institutions might work some of the time, they always seem to work differently than we like to think they do. Accordingly, the forging of more humane institutions might very well entail if not require ways of thinking that strive to undo the self-imagined binds, exceptions, and sureties of thought for the sake of embracing a continuity with all that withers, decays, and falls away.Book I, “Contemporary Theories of Sovereignty,” compares the varied interpretations of sovereignty given by a range of 20th-century political theorists (Maritain, Foucault, Derrida, Schmitt, Agamben, Hardt, and Negri) with Jean Bodin’s initial outline of the concept, rendered at the outset of modern political thought in the 16th century. The analytic framework of sovereignty encountered in these comparative readings provides an initial point of departure for unfolding a method of critique appropriate to the concept of sovereignty. Sovereignty is an ideal starting point for a critique of the deadlocks between thought and reality for a simple reason: it doesn’t actually exist. When it serves as a guide to action, sovereignty may be regarded as a particularly captivating fantasy. The closer it appears, the further it recedes, and, too often, the more vigorously it is pursued. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0114.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-sovereignty-book-i/ Brooklyn, NY 04 01 20150928 Lombardo, Marc 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692282408 20 08 20150928 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/critique-of-sovereignty-book-1-contemporary-theories-of-sovereignty 20 08 20150928 02 21.00 USD WORLD urn:uuid:c92bb4e6-8074-4c5d-9328-35649dfa548e 03 01 01 thoth-work-id urn:uuid:639a3c5b-82ad-4557-897b-2bfebe3dc53c 01 thoth-publication-id urn:uuid:c92bb4e6-8074-4c5d-9328-35649dfa548e 06 10.21983/P3.0114.1.00 01 internal-reference 0114 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Sovereignty, Book 1 Contemporary Theories of Sovereignty 1 A01 Marc Lombardo Marc Lombardo 01 eng 00 112 03 B2 Cultural Studies+Critical Theory 12 HPCF 93 JPA 10 PHI019000 93 JPHC B2 New Left Thought 20 history; politics; sovereignty; political theory; philosophy 01 06 02 00 03 00 Using the Western tradition of metaphysical and political thought as a backdrop, Critique of Sovereignty (a work in 4 volumes) re-examines the concept of sovereignty in order to better understand why our ethical values and technical capacities often seem so divorced from our lived realities. On the one hand, ostensibly self-enclosed entities like the nation-state and the person are rhetorically bolstered as sites of technical agency and/or moral responsibility. On the other hand, these same entities appear fragile — if not purely fictional — in relation to ever ongoing tidal processes such as the migration, diffusion, and conglomeration of bodies, capital, ideas, etc. While some of our institutions might work some of the time, they always seem to work differently than we like to think they do. Accordingly, the forging of more humane institutions might very well entail if not require ways of thinking that strive to undo the self-imagined binds, exceptions, and sureties of thought for the sake of embracing a continuity with all that withers, decays, and falls away.Book I, “Contemporary Theories of Sovereignty,” compares the varied interpretations of sovereignty given by a range of 20th-century political theorists (Maritain, Foucault, Derrida, Schmitt, Agamben, Hardt, and Negri) with Jean Bodin’s initial outline of the concept, rendered at the outset of modern political thought in the 16th century. The analytic framework of sovereignty encountered in these comparative readings provides an initial point of departure for unfolding a method of critique appropriate to the concept of sovereignty. Sovereignty is an ideal starting point for a critique of the deadlocks between thought and reality for a simple reason: it doesn’t actually exist. When it serves as a guide to action, sovereignty may be regarded as a particularly captivating fantasy. The closer it appears, the further it recedes, and, too often, the more vigorously it is pursued. 30 00 Using the Western tradition of metaphysical and political thought as a backdrop, Critique of Sovereignty (a work in 4 volumes) re-examines the concept of sovereignty in order to better understand why our ethical values and technical capacities often seem so divorced from our lived realities. On the one hand, ostensibly self-enclosed entities like the nation-state and the person are rhetorically bolstered as sites of technical agency and/or moral responsibility. On the other hand, these same entities appear fragile — if not purely fictional — in relation to ever ongoing tidal processes such as the migration, diffusion, and conglomeration of bodies, capital, ideas, etc. While some of our institutions might work some of the time, they always seem to work differently than we like to think they do. Accordingly, the forging of more humane institutions might very well entail if not require ways of thinking that strive to undo the self-imagined binds, exceptions, and sureties of thought for the sake of embracing a continuity with all that withers, decays, and falls away.Book I, “Contemporary Theories of Sovereignty,” compares the varied interpretations of sovereignty given by a range of 20th-century political theorists (Maritain, Foucault, Derrida, Schmitt, Agamben, Hardt, and Negri) with Jean Bodin’s initial outline of the concept, rendered at the outset of modern political thought in the 16th century. The analytic framework of sovereignty encountered in these comparative readings provides an initial point of departure for unfolding a method of critique appropriate to the concept of sovereignty. Sovereignty is an ideal starting point for a critique of the deadlocks between thought and reality for a simple reason: it doesn’t actually exist. When it serves as a guide to action, sovereignty may be regarded as a particularly captivating fantasy. The closer it appears, the further it recedes, and, too often, the more vigorously it is pursued. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0114.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-sovereignty-book-i/ Brooklyn, NY 04 01 20150928 Lombardo, Marc 02 WORLD 06 15 9780692282403 03 9780692282403 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76470 20 08 20150928 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25510 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25510/1004585.pdf?sequence=1&isAllowed=y 20 08 20150928 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38429 20 08 20150928 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354043 20 08 20150928 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/496 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/7fe7f7c4-00a3-436d-be21-09e3722950ad/download 20 08 20150928 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Critique_of_Sovereignty/cAWVEAAAQBAJ 20 08 20150928 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/639a3c5b-82ad-4557-897b-2bfebe3dc53c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/639a3c5b-82ad-4557-897b-2bfebe3dc53c/639a3c5b-82ad-4557-897b-2bfebe3dc53c.pdf 20 08 20150928 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846321 29 ZENODO: download the title https://zenodo.org/records/19846321/files/639a3c5b-82ad-4557-897b-2bfebe3dc53c_book.pdf 20 08 20150928 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/critique-of-sovereignty-book-i/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0114.1.00.pdf 20 08 20150928 01 urn:uuid:7509b09b-a5d0-47e4-b322-99d1c18eb8d8 03 01 01 thoth-work-id urn:uuid:1841b54c-b495-4bb5-9bcf-054e5c393af3 01 thoth-publication-id urn:uuid:7509b09b-a5d0-47e4-b322-99d1c18eb8d8 15 9781685712808 03 9781685712808 06 10.53288/0417.1.00 13 2025939388 01 internal-reference 0417 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 32 mm 03 3.2 cm 03 1.27 in 08 703 gr 08 24.8 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Crossings Migrant Knowledges, Migrant Forms 1 B01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Assistant Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 2 B01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 3 B01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 00 562 03 B2 Cultural Studies+Critical Theory 93 JBFH 10 LIT019000 93 JBCC7 B2 Literary Studies 10 SOC007000 93 DSBC B2 Premodern 10 SOC008000 20 anthropology; migration; refugee crisis; decoloniality; early modern studies; asylum; exile 01 06 02 00 03 00 Crossings: Migrant Knowledges, Migrant Forms brings together activists, artists, scholars, and migrants with diverse histories to explore what the experience of migration does with, and to, knowledge, and how its own ways of knowing find expressive form. As the volume’s authors think about physical and imaginative crossings, and the traversals and transactions of knowledge they entail, the book itself crosses and complicates disciplinary and formal boundaries and the barriers between critical and creative intervention. Crucially, it brings together voices and forms emerging out of the experience of dislocation with responses to the encounters it generates.The volume’s discussions begin in the early modern world, and move freely across periods to dwell on the urgent experience of migrancy in our own times, while also responding to an urgent need to connect the local with the global experience of migrant knowledge and migrant aesthetics. Crossings stakes the claim that creative art, backed by humanities-based thinking, can meet the imaginative and ethical demands that the unknowable reality of mass displacement places on us, in a way that governments, institutions, and public discourse have calamitously failed to do. But aesthetic practice itself needs to be re-positioned if it is to rise to these political and human challenges, negotiating the points of friction between its own predilections and the matter of migration.Crossings offers “migrant forms” – art about migration, objects from migrant life shaped into artifacts, and migrant self-expressions – as the means of this imaginative re-orientation, and a tool for activating a radical alternative to economic models of social benefit. Crossings takes its place in an emergent ecology of migrant forms, both speaking to and participating in that ecology. 30 00 Crossings: Migrant Knowledges, Migrant Forms brings together activists, artists, scholars, and migrants with diverse histories to explore what the experience of migration does with, and to, knowledge, and how its own ways of knowing find expressive form. As the volume’s authors think about physical and imaginative crossings, and the traversals and transactions of knowledge they entail, the book itself crosses and complicates disciplinary and formal boundaries and the barriers between critical and creative intervention. Crucially, it brings together voices and forms emerging out of the experience of dislocation with responses to the encounters it generates.The volume’s discussions begin in the early modern world, and move freely across periods to dwell on the urgent experience of migrancy in our own times, while also responding to an urgent need to connect the local with the global experience of migrant knowledge and migrant aesthetics. Crossings stakes the claim that creative art, backed by humanities-based thinking, can meet the imaginative and ethical demands that the unknowable reality of mass displacement places on us, in a way that governments, institutions, and public discourse have calamitously failed to do. But aesthetic practice itself needs to be re-positioned if it is to rise to these political and human challenges, negotiating the points of friction between its own predilections and the matter of migration.Crossings offers “migrant forms” – art about migration, objects from migrant life shaped into artifacts, and migrant self-expressions – as the means of this imaginative re-orientation, and a tool for activating a radical alternative to economic models of social benefit. Crossings takes its place in an emergent ecology of migrant forms, both speaking to and participating in that ecology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0417.1.00_frontcover.jpg 1 03 06 10.53288/0417.1.01 1 16 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Associate Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 2 B01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 3 B01 Rowan Williams Rowan Williams 01 eng 20 00 Open Access 2 03 06 10.53288/0417.1.02 19 90 72 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Crossings Life and Art 1 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Subha Mukherji 3 03 06 10.53288/0417.1.03 93 115 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Towards the Library of Exile 1 A01 Edmund de Waal Edmund de Waal Edmund de Waal is an internationally acclaimed artist and writer, best known for his large-scale installations of porcelain vessels, often created in response to collections and archives or the history of a particular place. His interventions have been made for diverse spaces and museums worldwide, including The British Museum, London; The Frick Collection, New York; Ateneo Veneto, Venice; Schindler House, Los Angeles; Kunsthistorisches Museum, Vienna; and V&A Museum, London. De Waal has published The Hare with Amber Eyes (Picador, 2010), The White Road: Journey into an Obsession (Picador, 2015), and Letters to Camondo (Picador, 2021). He was awarded the Windham-Campbell Prize for non-fiction by Yale University in 2015. In 2021 he was awarded a CBE for his services to art. 06 Own website https://www.edmunddewaal.com/ 01 eng 20 00 Open Access Edmund de Waal 4 03 06 10.53288/0417.1.04 117 119 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to Edmund de Waal 1 A01 Gillian Beer Gillian Beer Emeritus King Edward VII Professor of English Literature 40 013meh722 University of Cambridge Gillian Beer was formerly King Edward VII Professor of English Literature at the University of Cambridge. She commissioned domestic pots from Edmund de Waal when he was an undergraduate and has followed his work ever since. 01 eng 20 00 Open Access Gillian Beer 5 03 06 10.53288/0417.1.05 123 134 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Travel Writing, Poetics, and the Early Modern Knowledge Economy 1 A01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Associate Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 01 eng 20 00 Open Access Natalya Din-Kariuki 6 03 06 10.53288/0417.1.06 135 146 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Loitering Lusks and Lazy Lorels” Poverty, Vagrancy, and the Invention of Roguery 1 A01 Anupam Basu Anupam Basu Assistant Professor of English 40 01yc7t268 Washington University in St. Louis Anupam Basu is Assistant Professor of English at Washington University in St. Louis. An early modernist working on print culture and drama, his work has increasingly succumbed to the seductions of scale as he develops techniques to make the entire Early English Books Online Text Creation Partners (EEBO-TCP) corpus tractable for search and analysis as part of the ACLS- and Mellon-funded EarlyPrint project. He is currently working on a monograph on form and scale that asks how we might rethink literary forms through computational analysis. He has also published on the representation of poverty, vagrancy, and criminality in popular literature. 01 eng 20 00 Open Access Anupam Basu 7 03 06 10.53288/0417.1.07 147 161 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Travel Testimonies Migrant Women’s Mobilities in London Consistory Records, c. 1560–1600 1 A01 21 0000000177972762 John Gallagher John Gallagher Associate Professor of Early Modern History 40 024mrxd33 University of Leeds John Gallagher is Associate Professor of Early Modern History at the University of Leeds, and the author of Learning Languages in Early Modern England (Oxford University Press, 2019). He is a historian of language, migration, and education, focused on the history of Britain and Ireland in early modern Europe. His articles and essays have appeared in Renaissance Quarterly, Huntington Library Quarterly, Renaissance Studies, The Italianist, and elsewhere. He is the co-editor of the Historical Journal. His current research explores migration and multilingualism in early modern London, and the history of multilingual cities more broadly. John is a BBC/Arts & Humanities Research Council New Generation Thinker and writes regularly for the London Review of Books. In 2023, he won a Philip Leverhulme Prize for History. 01 eng 20 00 Open Access John Gallagher 8 03 06 10.53288/0417.1.08 163 175 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fickle Turbans and Mercurial Fashions Blurring the Boundaries of Identities between Europe and the Ottoman Empire 1 A01 21 0000000215274990 Rosita D’Amora Rosita D’Amora Associate Professor of Turkish Language and Literature 40 03fc1k060 Università del Salento Rosita D’Amora is Associate Professor of Turkish Language and Literature at the University of Salento (Lecce, Italy). Her research interests range from Ottoman social history to contemporary Turkish literature, addressing issues related to different forms of representation and auto-representation of Ottoman and Turkish society. 01 eng 20 00 Open Access Rosita D’Amora 9 03 06 10.53288/0417.1.09 177 186 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Migrant Unknowledge A Vision of the Virgin in Fifteenth-Century Kozhikode 1 A01 Jonathan Gil Harris Jonathan Gil Harris Professor of English and Founding Dean 40 02j1xr113 Ashoka University Jonathan Gil Harris is Professor of English and Founding Dean at Ashoka University and the author of The First Firangis (Aleph Books, 2015) and Masala Shakespeare (Aleph Books, 2018), as well as many books on early modern culture, ideas of the foreign, and globalization, including Foreign Bodies and the Body Politic: Discourses of Social Pathology in Early Modern England (Cambridge University Press, 1998); Sick Economies: Drama, Mercantilism and Disease in Shakespeare’s England (University of Pennsylvania Press, 2004); Untimely Matter in the Time of Shakespeare (University of Pennsylvania Press, 2008); and Marvellous Repossessions: Globalisation, The Tempest, and the Waking Dream of Paradise (Ronsdale, 2012). 01 eng 20 00 Open Access Jonathan Gil Harris 10 03 06 10.53288/0417.1.10 187 198 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Knowledge in Translation Between the Local and the Universal 1 A01 Annabel Brett Annabel Brett Professor of Political Thought and History 40 013meh722 University of Cambridge Annabel Brett is Professor of Political Thought and History at the University of Cambridge, specializing in the political thought of the late medieval and early modern periods. She is the translator of Marsilius of Padua: The Defender of the Peace (Cambridge University Press, 2005), and the author of Changes of State: Nature and the Limits of the City in Early Modern Natural Law (Oxford University Press, 2011). 01 eng 20 00 Open Access Annabel Brett 11 03 06 10.53288/0417.1.11 199 211 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Internal Migration The Letters and Adages of Erasmus 1 A01 21 0000000207804090 Brian Cummings Brian Cummings Professor of English and Related Literature 40 04m01e293 University of York Brian Cummings teaches English at the University of York and is the author of Mortal Thoughts: Religion, Secularity, & Identity in Shakespeare and Early Modern Culture (Oxford University Press, 2013) and Bibliophobia: The End and the Beginning of the Book (Oxford University Press, 2023). He is Fellow of the British Academy and of the Society of Antiquaries, and recipient of a grant from the Leverhulme Trust (2020–2023) to write on Erasmus. 01 eng 20 00 Open Access Brian Cummings 12 03 06 10.53288/0417.1.12 213 229 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Out of Place Migration, Knowledge, and What Remains 1 A01 21 0000000198371739 Supriya Chaudhuri Supriya Chaudhuri Professor Emerita in the Department of English 40 02af4h012 Jadavpur University Supriya Chaudhuri is Professor Emerita in the Department of English, Jadavpur University. She has written and published in the fields of Renaissance studies, Indian cultural and literary history, modernism, urban studies, travel writing, sport, and cinema. Recent publications include the edited books Religion and the City in India (Routledge, 2022) and Commodities and Culture in the Colonial World (Routledge, 2018, with Josephine McDonagh, Brian Murray, and Rajeswari Rajan), as well as articles in Spenser Studies, Bioscope, Études Épistémè, Thesis 11, Postcolonial Studies, Literature Compass, and Revue des Femmes Philosophes. 01 eng 20 00 Open Access Supriya Chaudhuri 13 03 06 10.53288/0417.1.13 231 241 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 One and Three Knowledges Displacement, Art, and Anthropology 1 A01 21 0000000219981609 Olga Demetriou Olga Demetriou Associate Professor at the Durham Global Security Institute 40 01v29qb04 Durham University Olga Demetriou is a social anthropologist and Associate Professor at the Durham Global Security Institute, Durham University. She has written on displacement and borders, and the exclusions created in places mired by legacies of conflict. She is currently working on European refugee regimes and how they produce marginal orders of protection through law (complementary protection), politics (access to citizenship), and space (locations of first reception). 2 A01 Efi Savvides Efi Savvides Efi Savvides is an artist based in Nicosia and the founder of Artstudio Laboratories, an educational center for contemporary art and design. Her research explores conditions of exclusion established by government institutions, especially in relation to migrants and refugees in Cyprus. Savvides produces records of excluded life stories that stand as chapters within “minor histories.” This peculiar archiving of actions, events, and facts remains her main artistic goal, while its political awareness works critically in indirect ways. 3 A01 Akid Hassan Akid Hassan Akid Hassan is a construction worker, painter and decorator, and artist. He has been a Cypriot citizen since 2020. He was born in al-Hasakah, Syria, and, as a Kurd, has been stateless under Syrian legislation. He moved to Cyprus in the mid-2000s and has lived there since, under different precarious statuses, despite being married to a Cypriot national for part of that time and the parent of a second Cypriot national. Having been refused Cypriot nationality along with his siblings and parents, he staged a hunger strike in 2017 which lasted for sixty-seven days and received attention and support by local human rights organizations and the UNHCR. He was granted citizenship in February 2020. 01 eng 20 00 Open Access Olga Demetriou, Efi Savvides, and Akid Hassan 14 03 06 10.53288/0417.1.14 243 254 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Migrants’ Narratives Challenging the Border Logic of the United States 1 A01 Valerie Forman Valerie Forman Associate Professor at the Gallatin School 40 0190ak572 New York University Valerie Forman is Associate Professor at the Gallatin School at New York University. She works on theories and practices of labor, trade, migration, slavery, and capitalism in, through, and around early modern literature and history in the transatlantic world. Her first book is Tragicomic Redemptions: Global Economics and the Early Modern English Stage (University of Pennsylvania Press, 2008). Since 2019, she has advocated for and participated in mutual aid projects with migrant people in NYC, at the border in Tijuana, and in immigration detention centers throughout the United States. She is also a co-facilitator of the Abolition Lab at NYU. 01 eng 20 00 Open Access Valerie Forman 15 03 06 10.53288/0417.1.15 255 262 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “You’re Back in the Room” Theatrical Borders in a Post-COVID-19 World 1 A01 Pip Williams Pip Williams Pip Williams is a writer, theater maker, and performer from London. He is the co-artistic director of critically acclaimed theater company We Talk Of Horses, and has made work in collaboration with the Southwark Playhouse, Vaults, Camden People’s Theatre, and The North Wall. He has performed with Boundless, Somna Theatre, and MoCo Theatre, and is an associate artist with Swings And Roundabouts Theatre. 01 eng 20 00 Open Access Pip Williams 16 03 06 10.53288/0417.1.16 265 274 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Communities and Stages Conversation with Good Chance Theatre 1 A01 Mohamed Sarrar Mohamed Sarrar Mohamed Sarrar is a Sudanese musician and actor based in the UK. As part of the Good Chance Ensemble, Mohamed co-wrote and recorded a world music album Sounds of Refuge with John Falsetto and Ammar Haj Ahmad. Mohamed’s theater experience includes The Jungle (Young Vic, West End, St Ann’s Warehouse, Curran), Rain Rain (Bamboozle UK Tour), The Welcome Party (Theatre Rites, Manchester International Festival), Borderline (UK Tour: London; Brighton Fringe Festival, Manchester; International Tour: Berlin, Kerala, and Copenhagen), Encampment (Good Chance at Southbank Centre), and The Hope Show (Good Chance, Calais). 2 A01 Joe Murphy Joe Murphy Joe Murphy and Joe Robertson, both British playwrights, are the founders of Good Chance, which builds temporary theaters of hope promoting freedom of expression, creativity, and dignity for everyone. Their debut play, The Jungle, came from their seven months running a theater in the Calais refugee and migrant camp. It premiered at the Young Vic in 2017, then transferred to London’s West End (2018), St. Ann’s Warehouse (New York, 2018–2019) and The Curran (San Francisco, 2019). The play received universal acclaim, the South Bank Sky Arts Award for Theatre, and an Obie Award. In 2021, Good Chance embarked upon The Walk, an 8,000-kilometer moving festival of welcome across Europe with Little Amal, inspired by the character from The Jungle. 3 A01 Joe Robertson Joe Robertson 01 eng 20 00 Open Access Mohamed Sarrar, Joe Murphy, and Joe Robertson 17 03 06 10.53288/0417.1.17 275 290 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stories in Transit 1 A01 Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo was born in Guinea and lives in Palermo, Italy, where he founded the association for social promotion Giocherenda with other young people from different countries. He is a HIP ambassador for Philip Zimbardo’s Heroic Imagination Project and, as president of Giocherenda, he collaborates with Marina Warner for the Stories in Transit project. He is co-protagonist of Gabriele Gravagna’s documentary film Io sono qui (2017). 2 A01 Clelia Bartoli Clelia Bartoli Professor of Sociology of Law, Politics of Migration and Human Rights 40 04fz79c74 University of Palermo Clelia Bartoli is Professor of Sociology of Law, Politics of Migration and Human Rights at the University of Palermo. Her studies focus on human rights, migration, critical theory of the State, institutional racism, epistemic violence, subalternity, social inclusion, and experimental pedagogy. She established “Polipolis,” a wide experimental educational program for unaccompanied minors, and on that occasion she began collaborating with “Stories in Transit,” a program led by Marina Warner. She co-founded Giocherenda, a collective of young migrants who invent and animate cooperative games. Her English publications include Legal Clinics in Europe: For a Commitment of Higher Education in Social Justice (Diritto & Questioni Pubbliche, 2016) and Chile Revolts: From the Uprisings toward the Constitutional Process (Accademia University Press, 2022). 3 A01 Marina Warner Marina Warner Professor of English and Creative Writing 40 02mb95055 Birkbeck, University of London Distinguished Fellow of All Souls College 40 052gg0110 University of Oxford Marina Warner writes fiction, criticism, and cultural history. Her award-winning books explore myths, symbols, and fairy tales, including From the Beast to the Blonde: On Fairy Tales and Their Tellers (Farrar Straus & Giroux, 1994) and Stranger Magic: Charmed States & the Arabian Nights (Chatto & Windus, 2011). She has published five novels and three collections of short stories, and her essays on literature and art have been collected in Signs & Wonders: Essays on Literature and Culture (Chatto & Windus, 2003) and Forms of Enchantment: Writings on Art and Artists (Thames & Hudson, 2018). Recent publications include Temporale (Sylph Editions, 2023) and Sanctuary: Ways of Telling, Ways of Dwelling (HarperCollins, 2025). She contributes regularly to the New York Review of Books and the London Review of Books. She is Professor of English and Creative Writing at Birkbeck College, a Distinguished Fellow of All Souls College, University of Oxford, and a Fellow of the British Academy. In 2015, she was awarded the Holberg Prize in the Arts and Humanities. 4 B06 Valentina Castagna Valentina Castagna Associate Professor of English Literature 40 04fz79c74 University of Palermo Valentina Castagna is Associate Professor of English Literature at the University of Palermo. She is a member of the Unipa Research Centre “Migrare” (Migration), CIR. Since 2015 she has worked with Marina Warner on the international project Stories in Transit in the UK and Italy. She has published books and articles in the field of Women’s Studies and contemporary fiction and on medieval works such as The Book of Margery Kempe, focusing on contemporary rewriting of myths and popular culture, and on life writing. 01 eng 02 ita 20 00 Open Access Dine Diallo, Clelia Bartoli, Marina Warner, Valentina Castagna 18 03 06 10.53288/0417.1.18 291 302 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Sea of Hope” The Poetry Circle of Melissa Network’s Women 1 A01 Nadina Christopoulou Nadina Christopoulou Nadina Christopoulou is cofounder and Director of Melissa Network in Greece. Her research work focuses on diaspora narratives, migration, and childhood, as well as migrant women’s solidarity networks. On the basis of that research, together with migrant women leaders in Greece, she co-founded Melissa Network in 2014, an award-winning organization with women members from over forty-five countries. She has also been working on the creation of a visual and narrative archive of the migration spiral that Greece has experienced in the past century, hoping one day to turn it into a museum of movements. 2 A01 A.E. Stallings A.E. Stallings A.E. Stallings is a US-born poet, translator, and critic who lives in Athens. Her most recent poetry volume is a selection of poems, This Afterlife: Selected Poems (Carcanet Press, 2022). Her most recent book of verse translation is an illustrated version of the pseudo-Homeric The Battle Between the Frogs and the Mice (Paul Dry Books, 2019). She is the recipient of numerous grants, fellowships, and prizes, including a Guggenheim and a MacArthur fellowship. Since 2015, she has been running a poetry workshop with refugee women at the Melissa Network for Migrant Women in Athens. She was elected the forty-seventh Oxford Professor of Poetry in 2023. 01 eng 20 00 Open Access 19 03 06 10.53288/0417.1.19 303 316 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curating Migration A Conversation with The Migration Museum 1 A01 Aditi Anand Aditi Anand Aditi Anand is Artistic Director of the Migration Museum, and is a creative producer and curator working within the arts and nonprofit sectors. Previously, she produced and managed a multimedia education project in India that is currently being implemented in over a thousand schools, and was communications lead for India’s largest media for social change initiative. She has also worked in New York with the Museum of the Moving Image and with the interactive design firm, Local Projects. 2 A01 Sue McAlpine Sue McAlpine Sue McAlpine has found herself in museums for most of her working life, starting at the Museum of London in education when it first moved to the city in 1976. She set up an education service at Gunnersbury Park Museum, worked as an oral historian and community curator in Notting Hill, and then worked as exhibitions curator at Hackney Museum, connecting closely with the community. Her most favorite place has been the Migration Museum, collaborating with people from all over the world, making exhibitions from personal testimonies, highlighting the stories of migration to and from the UK. Sue’s latest project has been supporting art students from the Ukraine, proving that art and performance are more resilient than war and violence. 01 eng 20 00 Open Access Aditi Anand and Sue McAlpine 20 03 06 10.53288/0417.1.20 317 324 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to The Migration Museum 1 A01 Clair Wills Clair Wills King Edward VII Professor of English Literature 40 013meh722 University of Cambridge Clair Wills is King Edward VII Professor of English Literature at the University of Cambridge. She has written on Irish migration to post-war Britain in The Best Are Leaving: Emigration and Post-War Irish Culture (Cambridge University Press, 2015), and on post-colonial and European migration in the wake of the Second World War in Lovers and Strangers: An Immigrant History of Post-War Britain (Allen Lane, 2017). 01 eng 20 00 Open Access Clair Wills 21 03 06 10.53288/0417.1.21 325 336 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Don’t Wash Your Hands” 1 A01 Issam Kourbaj Issam Kourbaj Issam Kourbaj comes from a background of fine art, architecture, and theater design. He was born in Syria and trained at the Institute of Fine Arts in Damascus, at the Repin Institute of Fine Arts & Architecture in St Petersburg, and at the Wimbledon School of Art. He has lived in Cambridge, UK, since 1990, where he has been artist-in-residence, bye-fellow, and lector in art, at Christ’s College. His works have been featured at museums around the world, including Fitzwilliam Museum, Museum of Classical Archaeology, and Kettle’s Yard House and Gallery; Penn Museum; British Museum and Victoria & Albert Museum; Brooklyn Museum; Tropenmuseum; and the Venice Biennale. 2 A01 21 0000000219464839 Simon Goldhill Simon Goldhill Professor of Greek 40 013meh722 University of Cambridge Simon Goldhill is Professor of Greek at the University of Cambridge and Foreign Secretary and Vice-President of the British Academy. His most recent books are The Christian Invention of Time: Temporality and the Literature of Late Antiquity (Cambridge University Press, 2022) and What Is a Jewish Classicist? Essays on the Personal Voice and Disciplinary Politics (Bloomsbury Academic, 2022). He has worked closely with the Council for At-Risk Academics (CARA), and with the charity Refugees at Home. 3 B01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Issam Kourbaj, Simon Goldhill 22 03 06 10.53288/0417.1.22 337 347 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Loving Justice” 1 A01 Regina M. Schwartz Regina M. Schwartz Professor of Early Modern Literature, Religious Thought, and Law 40 000e0be47 Northwestern University Regina M. Schwartz is Professor of Early Modern Literature, Religious Thought, and Law at Northwestern University. She is the author of Remembering and Repeating: On Milton’s Theology and Poetics (University of Chicago Press 1993), The Curse of Cain: the Violent Legacy of Monotheism (University of Chicago Press, 1997), Sacramental Poetics at the Dawn of Secularism: When God Left the World (Stanford University Press, 2008), and Loving Justice, Living Shakespeare (Oxford University Press, 2017). She has also edited Transcendence: Philosophy, Literature, and Theology Approach the Beyond (Routledge, 2004) and Toward a Sacramental Poetics (University of Notre Dame Press, 2021, with Patrick J. McGrath). 01 eng 20 00 Open Access Regina M. Schwartz 23 03 06 10.53288/0417.1.23 349 355 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to Regina M. Schwartz 1 A01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 20 00 Open Access Rowan Williams 24 03 06 10.53288/0417.1.24 359 360 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 In the Fertile Land 1 A01 Gabriel Josipovici Gabriel Josipovici Gabriel Josipovici is the author of over twenty novels and books of short stories and ten critical books, including The World and the Book: A Study of Modern Fiction (Stanford University Press, 1971), The Book of God: A Response to the Bible (Yale University Press, 1986), and What Ever Happened to Modernism? (Yale University Press, 2011). His plays for stage and radio have been widely performed. 01 eng 20 00 Open Access Gabriel Josipovici 25 03 06 10.53288/0417.1.25 363 386 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sound Crossings A Poetry Reading 1 A01 Angela Leighton Angela Leighton Senior Research Fellow at Trinity College 40 013meh722 University of Cambridge Angela Leighton is senior research fellow at Trinity College, Cambridge. She has written widely on nineteenth to twenty-first century literature, most recently Hearing Things: The Work of Sound in Literature (Belknap Press of Harvard University Press, 2018) and the edited collection Walter de la Mare: Critical Appraisals (Liverpool University Press, 2022, with Yui Kajita and A.J. Nickerson). Her poetry has appeared in many magazines, including The New Yorker, Times Literary Supplement, The Guardian, The Dark Horse, PN Review, and London Magazine. She has published six volumes of poetry, among them Spills (2016) and, most recently, Something, I Forget (2023), both with Carcanet. 2 A01 A.E. Stallings A.E. Stallings A.E. Stallings is a US-born poet, translator, and critic who lives in Athens. Her most recent poetry volume is a selection of poems, This Afterlife: Selected Poems (Carcanet Press, 2022). Her most recent book of verse translation is an illustrated version of the pseudo-Homeric The Battle Between the Frogs and the Mice (Paul Dry Books, 2019). She is the recipient of numerous grants, fellowships, and prizes, including a Guggenheim and a MacArthur fellowship. Since 2015, she has been running a poetry workshop with refugee women at the Melissa Network for Migrant Women in Athens. She was elected the forty-seventh Oxford Professor of Poetry in 2023. 01 eng 20 00 Open Access Angela Leighton and A.E. Stallings 26 03 06 10.53288/0417.1.26 387 390 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oltre Mare (after Baxendall and St Clair) 1 A01 Rachel Spence Rachel Spence Rachel Spence is a poet and arts writer based in the United Kingdom and Italy. Her most recent poetry collection is Daughter of the Sun (The Emma Press, 2025). In 2023, she published Venice Unclocked (Ivorypress, 2022), a literary meditation on time in Venice in collaboration with the Venetian photographer Giacomo Cosua. Her nonfiction book Battle for the Museum (Hurst, 2024), which explores the relationship between art, power, and money, was a Financial Times Book of the Year. 01 eng 20 00 Open Access Rachel Spence 27 03 06 10.53288/0417.1.27 391 396 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After an Unspeaking 1 A01 Anthony Vahni Capildeo Anthony Vahni Capildeo Professor 40 04m01e293 University of York Anthony Vahni Capildeo, Fellow of the Royal Society of Literature, is Professor at the University of York and an Honorary Student of Christ Church, Oxford. A Trinidadian Scottish writer of poetry and non-fiction, Capildeo’s interests include traditional masquerade, silence, plurilingualism, and place. Their nine books and eight pamphlets have been recognized with awards including the Windham-Campbell Prize for Poetry, the OCM Bocas Prize for Poetry, the Cholmondeley Award, and the Forward Prize. Capildeo has served as a guest editor of a special ecopoetics issue of Stand magazine, and as a contributing editor at PN Review and the Caribbean Review of Books. 01 eng 20 00 Open Access Anthony Vahni Capildeo 28 03 06 10.53288/0417.1.28 397 399 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Swelling Is Time 1 A01 Yousif M. Qasmiyeh Yousif M. Qasmiyeh Yousif M. Qasmiyeh is a scholar, poet, and translator. He is the Joint-Lead of the Baddawi Camp Lab, as part of the Imagining Futures GCRF-Network+ project, and was Writer-in-Residence for the AHRC-funded Refugee Hosts project. His essays, poetry, and translations have appeared in Modern Poetry in Translation, Critical Quarterly, GeoHumanities, Cambridge Literary Review, PN Review, Stand, New England Review, and Poetry London. His collection, Writing the Camp (Broken Sleep Books, 2021), was a 2021 Poetry Book Society Recommendation and was selected as one of the Best Poetry Books of 2021 by the Telegraph and The Irish Times, highly commended by the 2021 Forward Prizes for Poetry, and shortlisted for the 2022 Royal Society of Literature Ondaatje Prize. His latest books are Eating the Archive (Broken Sleep Books, 2023) and The Southern Eye: Co-Seeing Displacements (Broken Sleep Books, 2024). 01 eng 20 00 Open Access Yousif M. Qasmiyeh 29 03 06 10.53288/0417.1.29 401 403 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Poem for the One Who Has Just Arrived 1 A01 Bhanu Kapil Bhanu Kapil Fellow at Churchill College 40 013meh722 University of Cambridge Bhanu Kapil, Fellow of the Royal Society of Literature, is a Fellow of Churchill College. She is the author of six full-length collections, including How To Wash A Heart (Pavilion Poetry, 2020), winner of the TS Eliot Prize, and Incubation: a space for monsters (Kelsey Street Press, 2023). Kapil is the recipient of a Cholmondeley Award from the Society of Authors and a Windham Campbell Prize from Yale University, both for her body of work. 01 eng 20 00 Open Access Bhanu Kapil 30 03 06 10.53288/0417.1.30 405 416 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mishearing A Traversal 1 A01 21 0000000344845614 Amit Chaudhuri Amit Chaudhuri Amit Chaudhuri is the author of eight novels, the latest of which is Sojourn (New York Review Books, 2022). His first major work of non-fiction, Calcutta: Two Years in the City, was published by Knopf in 2013. His second work of non-fiction, Finding the Raga (New York Review Books, 2021), a critical meditation on North Indian classical music and his discovery of, and relationship with, this tradition won the James Tait Black Prize for Biography in 2022. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Amit Chaudhuri, Subha Mukherji 31 03 06 10.53288/0417.1.31 417 431 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Lot of Dirt 1 A01 T.M. Krishna T.M. Krishna T.M. Krishna is one of the preeminent vocalists in the rigorous Karnatic tradition of India’s classical music. As a public intellectual, Krishna speaks and writes about issues affecting the human condition and about cultural matters. His book Sebastian and Sons (Context, 2020) received the Tata Lit Live Award for the Best Non-Fiction book. His musical productions and collaborations include the Chennai Poromboke Paadal with environmentalist Nityanand Jayaraman; performances with the Jogappas, transgender musicians; and co-conceptualizing and performing Karnatik Kattaikuttu. In 2016 Krishna received the prestigious Ramon Magsaysay Award in recognition of “his forceful commitment as artist and advocate to art’s power to heal India’s deep social divisions.” In 2017 he received the Indira Gandhi Award for National Integration, and in 2019 he received the Swathi Sangeetha Puraskaram, the highest honor for musicians, instituted by the Kerala State Government. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access T.M. Krishna, Subha Mukherji 32 03 06 10.53288/0417.1.32 435 451 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Lost Country 1 A01 Dragana Jurišić Dragana Jurišić Assistant Professor of Communications 40 04a1a1e81 Dublin City University Dragana Jurišić is a Yugoslav artist and Assistant Professor of Communications at the Dublin City University. Working primarily with image, text, and video, and looking at the effects of exile and displacement on memory and identity, Jurišić has shown her work extensively and won many awards, including the Golden Fleece Special Recognition Award, IMMA 1000 Residency Award, and numerous Bursaries and Project Awards. Her work is in a collection of the National Gallery of Ireland, Arts Council Collection, and the Irish State Art Collection. 01 eng 20 00 Open Access Dragana Jurišić 33 03 06 10.53288/0417.1.33 453 457 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trade Winds 1 A01 Susan Stockwell Susan Stockwell Susan Stockwell is an established international artist working across sculpture, installation, and film. Her practice is concerned with examining social and colonial histories and engaging with questions of social justice, trade, cultural mapping, and feminism. Susan is best known for her site-specific installations and dress sculptures that have been exhibited widely, including: Tropenmuseum, Amsterdam (2022); Museum of London (2021); Royal Shakespeare Company (2015); TATE Modern (2013); the Katonah Museum of Art, New York (2012); and the Victoria and Albert Museum (V&A) London (2010, 2005, 2001). Her work is held in international collections including The House of European History, Brussels; Tropenmuseum, Amsterdam; Black Rock Investments, Yale Centre for British Art, USA; and the University of Bedfordshire and V&A Museum London. 06 Own website https://www.susanstockwell.co.uk/ 2 A01 21 0009000985195364 Carla Suthren Carla Suthren Postdoctoral Researcher 40 039bp8j42 University of Verona Carla Suthren is a postdoctoral researcher at the University of Verona, working with Silvia Bigliazzi on her PRIN-funded project on classical reception in early modern English drama. She has published articles on various aspects of the reception of Greek tragedy in Renaissance literature, including Jane Lumley’s Iphigeneia and Gascoigne and Kinwelmersh’s Jocasta. 01 eng 20 00 Open Access Susan Stockwell, Carla Suthren 34 03 06 10.53288/0417.1.34 461 473 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kudzu in the Patchy Anthropocene 1 A01 21 0000000210531732 Yota Batsaki Yota Batsaki Executive Director at Dumbarton Oaks 40 03vek6s52 Harvard University Yota Batsaki is the Executive Director of Dumbarton Oaks, a Harvard research institute, museum, and historic garden in Washington, DC, where she also directs the Plant Humanities Initiative, a collaborative endeavor to research and communicate how plants have shaped human cultures. Her recent work has appeared in Environmental Humanities, Environmental History, and Critical Inquiry. 01 eng 20 00 Open Access Yota Batsaki 35 03 06 10.53288/0417.1.35 475 478 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Small Things, Strange Shores Poems 1 A01 Mina Gorji Mina Gorji Associate Professor of English 40 013meh722 University of Cambridge Mina Gorji is Associate Professor of English at the University of Cambridge and fellow of Pembroke College. She has written about the poetics of place in John Clare’s poetry, and her first poetry collection, Art of Escape (Carcanet Press, 2020), explores migration at different scales. In her collection Scale (Carcanet Press, 2022), adapting to the cold of a new continent opens a chromatic investigation of feeling across time and space. 01 eng 20 00 Open Access Mina Gorji 36 03 06 10.53288/0417.1.36 481 491 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exile and Food 1 A01 Claudia Roden Claudia Roden Claudia Roden was born in Cairo. She came to London to study art and stayed on when her family had to leave Egypt after the Suez crisis in 1956. Drawn to the subject of food through a desire to evoke a lost heritage, she continued to write cookbooks with a special interest in the social, cultural, and historical background of food. She has written about the cooking of the Middle East, North Africa, the Mediterranean, Italy, and Spain, and about Jewish food. In 2022 she was awarded a CBE for her services to culinary culture. In 2023 she was awarded an honorary doctorate from the University of London. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Claudia Roden, Subha Mukherji 37 03 06 10.53288/0417.1.37 493 504 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Journey in Taste 1 A01 Faraj Alnasser Faraj Alnasser Faraj Alnasser was born in Aleppo where he grew up in a large family. He survived a gruelling journey through Europe before finding a home in the UK. Arriving at the age of nineteen with no education, no English skills, and no relatives, Faraj persevered and overcame three years of homelessness. In 2016 he was matched with a Jewish family who not only hosted him, but supported him and sent him to school to learn English. He found his second home, and peace, with them. His longing for his hometown, family, and grandmother led him to discover the healing power of food and its connection to memories and aroma. Faraj’s passion for cooking led him to win a scholarship at a prestigious cookery school in London and train at Ottolenghi. Today, he owns a small business called Faraj’s Kitchen, delivering vegan and vegetarian home-cooked Syrian food. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Faraj Alnasser, Subha Mukherji 38 03 06 10.53288/0417.1.38 505 529 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Moving Things 1 A01 Faraj Alnasser Faraj Alnasser Faraj Alnasser was born in Aleppo where he grew up in a large family. He survived a gruelling journey through Europe before finding a home in the UK. Arriving at the age of nineteen with no education, no English skills, and no relatives, Faraj persevered and overcame three years of homelessness. In 2016 he was matched with a Jewish family who not only hosted him, but supported him and sent him to school to learn English. He found his second home, and peace, with them. His longing for his hometown, family, and grandmother led him to discover the healing power of food and its connection to memories and aroma. Faraj’s passion for cooking led him to win a scholarship at a prestigious cookery school in London and train at Ottolenghi. Today, he owns a small business called Faraj’s Kitchen, delivering vegan and vegetarian home-cooked Syrian food. 2 A01 Dragana Jurišić Dragana Jurišić Assistant Professor of Communications 40 04a1a1e81 Dublin City University Dragana Jurišić is a Yugoslav artist and Assistant Professor of Communications at the Dublin City University. Working primarily with image, text, and video, and looking at the effects of exile and displacement on memory and identity, Jurišić has shown her work extensively and won many awards, including the Golden Fleece Special Recognition Award, IMMA 1000 Residency Award, and numerous Bursaries and Project Awards. Her work is in a collection of the National Gallery of Ireland, Arts Council Collection, and the Irish State Art Collection. 3 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 4 A01 Jonathan Gil Harris Jonathan Gil Harris Professor of English and Founding Dean 40 02j1xr113 Ashoka University Jonathan Gil Harris is Professor of English and Founding Dean at Ashoka University and the author of The First Firangis (Aleph Books, 2015) and Masala Shakespeare (Aleph Books, 2018), as well as many books on early modern culture, ideas of the foreign, and globalization, including Foreign Bodies and the Body Politic: Discourses of Social Pathology in Early Modern England (Cambridge University Press, 1998); Sick Economies: Drama, Mercantilism and Disease in Shakespeare’s England (University of Pennsylvania Press, 2004); Untimely Matter in the Time of Shakespeare (University of Pennsylvania Press, 2008); and Marvellous Repossessions: Globalisation, The Tempest, and the Waking Dream of Paradise (Ronsdale, 2012). 5 A01 Yousif M. Qasmiyeh Yousif M. Qasmiyeh Yousif M. Qasmiyeh is a scholar, poet, and translator. He is the Joint-Lead of the Baddawi Camp Lab, as part of the Imagining Futures GCRF-Network+ project, and was Writer-in-Residence for the AHRC-funded Refugee Hosts project. His essays, poetry, and translations have appeared in Modern Poetry in Translation, Critical Quarterly, GeoHumanities, Cambridge Literary Review, PN Review, Stand, New England Review, and Poetry London. His collection, Writing the Camp (Broken Sleep Books, 2021), was a 2021 Poetry Book Society Recommendation and was selected as one of the Best Poetry Books of 2021 by the Telegraph and The Irish Times, highly commended by the 2021 Forward Prizes for Poetry, and shortlisted for the 2022 Royal Society of Literature Ondaatje Prize. His latest books are Eating the Archive (Broken Sleep Books, 2023) and The Southern Eye: Co-Seeing Displacements (Broken Sleep Books, 2024). 6 A01 Issam Kourbaj Issam Kourbaj Issam Kourbaj comes from a background of fine art, architecture, and theater design. He was born in Syria and trained at the Institute of Fine Arts in Damascus, at the Repin Institute of Fine Arts & Architecture in St Petersburg, and at the Wimbledon School of Art. He has lived in Cambridge, UK, since 1990, where he has been artist-in-residence, bye-fellow, and lector in art, at Christ’s College. His works have been featured at museums around the world, including Fitzwilliam Museum, Museum of Classical Archaeology, and Kettle’s Yard House and Gallery; Penn Museum; British Museum and Victoria & Albert Museum; Brooklyn Museum; Tropenmuseum; and the Venice Biennale. 7 A01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Associate Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 8 A01 Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo was born in Guinea and lives in Palermo, Italy, where he founded the association for social promotion Giocherenda with other young people from different countries. He is a HIP ambassador for Philip Zimbardo’s Heroic Imagination Project and, as president of Giocherenda, he collaborates with Marina Warner for the Stories in Transit project. He is co-protagonist of Gabriele Gravagna’s documentary film Io sono qui (2017). 01 eng 20 00 Open Access Faraj Alnasser, Dragana Jurišić, Subha Mukherji, Jonathan Gil Harris, Yousif M. Qasmiyeh, Issam Kourbaj, Natalya Din-Kariuki, Dine Diallo 39 03 06 10.53288/0417.1.39 531 541 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword 1 A01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 20 00 Open Access Rowan Williams 40 03 06 10.53288/0417.1.40 543 557 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 2 B01 Subha Mukherji Subha Mukherji Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 3 B01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crossings-migrant-knowledges-migrant-forms/ Earth, Milky Way 04 01 20251003 Subha Mukherji, Natalya Din-Kariuki, Rowan Williams 02 WORLD 06 15 9781685712815 03 9781685712815 34 06 10.1111/rest.12561 34 06 10.1215/22011919-3615934 34 06 10.1017/pli.2020.41 34 06 10.1111/j.1747-7379.2006.00009.x 34 06 10.1086/711142 34 06 10.1080/14781700.2012.701943 34 06 10.1093/ref:odnb/9780198614128.001.0001/ 34 06 10.1093/ref:odnb/9780198614128.001.0001/ 34 06 10.1098/rsnr.1950.0014 34 06 10.3917/etan.702.0187 34 06 10.1093/res/hgac062 34 06 10.1111/1475-6757.00024 34 06 10.1179/0309656414Z.00000000054 34 06 10.2307/4143915 34 06 10.1215/00166928-2884844 34 06 10.1177/0096144205279198 34 06 10.1111/1468-0424.00087 34 06 10.1163/22118993-00381P06 34 06 10.1111/rest.12059 34 06 10.1017/9781108233880 34 06 10.1179/036121195805298172 34 06 10.1163/22118993-90000183 34 06 10.2307/464648 34 06 10.1007/s41027-020-00293-8 34 06 10.1080/1369183X.2016.1139446 34 06 10.1080/1369183X.2019.1682979 34 06 10.1215/22011919-3615934 34 06 10.1086/696117 34 06 10.1215/22011919-3829199 34 06 10.1017/S0020743800064837 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712800 20 08 20251003 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/crossings-migrant-knowledges-migrant-forms 20 08 20251003 02 30.00 USD WORLD urn:uuid:67b6a65f-5cc5-41ec-bd80-d81b9866bbc2 03 01 01 thoth-work-id urn:uuid:1841b54c-b495-4bb5-9bcf-054e5c393af3 01 thoth-publication-id urn:uuid:67b6a65f-5cc5-41ec-bd80-d81b9866bbc2 15 9781685712815 03 9781685712815 06 10.53288/0417.1.00 13 2025939388 01 internal-reference 0417 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Crossings Migrant Knowledges, Migrant Forms 1 B01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Assistant Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 2 B01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 3 B01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 00 562 03 B2 Cultural Studies+Critical Theory 93 JBFH 10 LIT019000 93 JBCC7 B2 Literary Studies 10 SOC007000 93 DSBC B2 Premodern 10 SOC008000 20 anthropology; migration; refugee crisis; decoloniality; early modern studies; asylum; exile 01 06 02 00 03 00 Crossings: Migrant Knowledges, Migrant Forms brings together activists, artists, scholars, and migrants with diverse histories to explore what the experience of migration does with, and to, knowledge, and how its own ways of knowing find expressive form. As the volume’s authors think about physical and imaginative crossings, and the traversals and transactions of knowledge they entail, the book itself crosses and complicates disciplinary and formal boundaries and the barriers between critical and creative intervention. Crucially, it brings together voices and forms emerging out of the experience of dislocation with responses to the encounters it generates.The volume’s discussions begin in the early modern world, and move freely across periods to dwell on the urgent experience of migrancy in our own times, while also responding to an urgent need to connect the local with the global experience of migrant knowledge and migrant aesthetics. Crossings stakes the claim that creative art, backed by humanities-based thinking, can meet the imaginative and ethical demands that the unknowable reality of mass displacement places on us, in a way that governments, institutions, and public discourse have calamitously failed to do. But aesthetic practice itself needs to be re-positioned if it is to rise to these political and human challenges, negotiating the points of friction between its own predilections and the matter of migration.Crossings offers “migrant forms” – art about migration, objects from migrant life shaped into artifacts, and migrant self-expressions – as the means of this imaginative re-orientation, and a tool for activating a radical alternative to economic models of social benefit. Crossings takes its place in an emergent ecology of migrant forms, both speaking to and participating in that ecology. 30 00 Crossings: Migrant Knowledges, Migrant Forms brings together activists, artists, scholars, and migrants with diverse histories to explore what the experience of migration does with, and to, knowledge, and how its own ways of knowing find expressive form. As the volume’s authors think about physical and imaginative crossings, and the traversals and transactions of knowledge they entail, the book itself crosses and complicates disciplinary and formal boundaries and the barriers between critical and creative intervention. Crucially, it brings together voices and forms emerging out of the experience of dislocation with responses to the encounters it generates.The volume’s discussions begin in the early modern world, and move freely across periods to dwell on the urgent experience of migrancy in our own times, while also responding to an urgent need to connect the local with the global experience of migrant knowledge and migrant aesthetics. Crossings stakes the claim that creative art, backed by humanities-based thinking, can meet the imaginative and ethical demands that the unknowable reality of mass displacement places on us, in a way that governments, institutions, and public discourse have calamitously failed to do. But aesthetic practice itself needs to be re-positioned if it is to rise to these political and human challenges, negotiating the points of friction between its own predilections and the matter of migration.Crossings offers “migrant forms” – art about migration, objects from migrant life shaped into artifacts, and migrant self-expressions – as the means of this imaginative re-orientation, and a tool for activating a radical alternative to economic models of social benefit. Crossings takes its place in an emergent ecology of migrant forms, both speaking to and participating in that ecology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0417.1.00_frontcover.jpg 1 03 06 10.53288/0417.1.01 1 16 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Associate Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 2 B01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 3 B01 Rowan Williams Rowan Williams 01 eng 20 00 Open Access 2 03 06 10.53288/0417.1.02 19 90 72 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Crossings Life and Art 1 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Subha Mukherji 3 03 06 10.53288/0417.1.03 93 115 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Towards the Library of Exile 1 A01 Edmund de Waal Edmund de Waal Edmund de Waal is an internationally acclaimed artist and writer, best known for his large-scale installations of porcelain vessels, often created in response to collections and archives or the history of a particular place. His interventions have been made for diverse spaces and museums worldwide, including The British Museum, London; The Frick Collection, New York; Ateneo Veneto, Venice; Schindler House, Los Angeles; Kunsthistorisches Museum, Vienna; and V&A Museum, London. De Waal has published The Hare with Amber Eyes (Picador, 2010), The White Road: Journey into an Obsession (Picador, 2015), and Letters to Camondo (Picador, 2021). He was awarded the Windham-Campbell Prize for non-fiction by Yale University in 2015. In 2021 he was awarded a CBE for his services to art. 06 Own website https://www.edmunddewaal.com/ 01 eng 20 00 Open Access Edmund de Waal 4 03 06 10.53288/0417.1.04 117 119 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to Edmund de Waal 1 A01 Gillian Beer Gillian Beer Emeritus King Edward VII Professor of English Literature 40 013meh722 University of Cambridge Gillian Beer was formerly King Edward VII Professor of English Literature at the University of Cambridge. She commissioned domestic pots from Edmund de Waal when he was an undergraduate and has followed his work ever since. 01 eng 20 00 Open Access Gillian Beer 5 03 06 10.53288/0417.1.05 123 134 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Travel Writing, Poetics, and the Early Modern Knowledge Economy 1 A01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Associate Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 01 eng 20 00 Open Access Natalya Din-Kariuki 6 03 06 10.53288/0417.1.06 135 146 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Loitering Lusks and Lazy Lorels” Poverty, Vagrancy, and the Invention of Roguery 1 A01 Anupam Basu Anupam Basu Assistant Professor of English 40 01yc7t268 Washington University in St. Louis Anupam Basu is Assistant Professor of English at Washington University in St. Louis. An early modernist working on print culture and drama, his work has increasingly succumbed to the seductions of scale as he develops techniques to make the entire Early English Books Online Text Creation Partners (EEBO-TCP) corpus tractable for search and analysis as part of the ACLS- and Mellon-funded EarlyPrint project. He is currently working on a monograph on form and scale that asks how we might rethink literary forms through computational analysis. He has also published on the representation of poverty, vagrancy, and criminality in popular literature. 01 eng 20 00 Open Access Anupam Basu 7 03 06 10.53288/0417.1.07 147 161 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Travel Testimonies Migrant Women’s Mobilities in London Consistory Records, c. 1560–1600 1 A01 21 0000000177972762 John Gallagher John Gallagher Associate Professor of Early Modern History 40 024mrxd33 University of Leeds John Gallagher is Associate Professor of Early Modern History at the University of Leeds, and the author of Learning Languages in Early Modern England (Oxford University Press, 2019). He is a historian of language, migration, and education, focused on the history of Britain and Ireland in early modern Europe. His articles and essays have appeared in Renaissance Quarterly, Huntington Library Quarterly, Renaissance Studies, The Italianist, and elsewhere. He is the co-editor of the Historical Journal. His current research explores migration and multilingualism in early modern London, and the history of multilingual cities more broadly. John is a BBC/Arts & Humanities Research Council New Generation Thinker and writes regularly for the London Review of Books. In 2023, he won a Philip Leverhulme Prize for History. 01 eng 20 00 Open Access John Gallagher 8 03 06 10.53288/0417.1.08 163 175 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fickle Turbans and Mercurial Fashions Blurring the Boundaries of Identities between Europe and the Ottoman Empire 1 A01 21 0000000215274990 Rosita D’Amora Rosita D’Amora Associate Professor of Turkish Language and Literature 40 03fc1k060 Università del Salento Rosita D’Amora is Associate Professor of Turkish Language and Literature at the University of Salento (Lecce, Italy). Her research interests range from Ottoman social history to contemporary Turkish literature, addressing issues related to different forms of representation and auto-representation of Ottoman and Turkish society. 01 eng 20 00 Open Access Rosita D’Amora 9 03 06 10.53288/0417.1.09 177 186 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Migrant Unknowledge A Vision of the Virgin in Fifteenth-Century Kozhikode 1 A01 Jonathan Gil Harris Jonathan Gil Harris Professor of English and Founding Dean 40 02j1xr113 Ashoka University Jonathan Gil Harris is Professor of English and Founding Dean at Ashoka University and the author of The First Firangis (Aleph Books, 2015) and Masala Shakespeare (Aleph Books, 2018), as well as many books on early modern culture, ideas of the foreign, and globalization, including Foreign Bodies and the Body Politic: Discourses of Social Pathology in Early Modern England (Cambridge University Press, 1998); Sick Economies: Drama, Mercantilism and Disease in Shakespeare’s England (University of Pennsylvania Press, 2004); Untimely Matter in the Time of Shakespeare (University of Pennsylvania Press, 2008); and Marvellous Repossessions: Globalisation, The Tempest, and the Waking Dream of Paradise (Ronsdale, 2012). 01 eng 20 00 Open Access Jonathan Gil Harris 10 03 06 10.53288/0417.1.10 187 198 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Knowledge in Translation Between the Local and the Universal 1 A01 Annabel Brett Annabel Brett Professor of Political Thought and History 40 013meh722 University of Cambridge Annabel Brett is Professor of Political Thought and History at the University of Cambridge, specializing in the political thought of the late medieval and early modern periods. She is the translator of Marsilius of Padua: The Defender of the Peace (Cambridge University Press, 2005), and the author of Changes of State: Nature and the Limits of the City in Early Modern Natural Law (Oxford University Press, 2011). 01 eng 20 00 Open Access Annabel Brett 11 03 06 10.53288/0417.1.11 199 211 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Internal Migration The Letters and Adages of Erasmus 1 A01 21 0000000207804090 Brian Cummings Brian Cummings Professor of English and Related Literature 40 04m01e293 University of York Brian Cummings teaches English at the University of York and is the author of Mortal Thoughts: Religion, Secularity, & Identity in Shakespeare and Early Modern Culture (Oxford University Press, 2013) and Bibliophobia: The End and the Beginning of the Book (Oxford University Press, 2023). He is Fellow of the British Academy and of the Society of Antiquaries, and recipient of a grant from the Leverhulme Trust (2020–2023) to write on Erasmus. 01 eng 20 00 Open Access Brian Cummings 12 03 06 10.53288/0417.1.12 213 229 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Out of Place Migration, Knowledge, and What Remains 1 A01 21 0000000198371739 Supriya Chaudhuri Supriya Chaudhuri Professor Emerita in the Department of English 40 02af4h012 Jadavpur University Supriya Chaudhuri is Professor Emerita in the Department of English, Jadavpur University. She has written and published in the fields of Renaissance studies, Indian cultural and literary history, modernism, urban studies, travel writing, sport, and cinema. Recent publications include the edited books Religion and the City in India (Routledge, 2022) and Commodities and Culture in the Colonial World (Routledge, 2018, with Josephine McDonagh, Brian Murray, and Rajeswari Rajan), as well as articles in Spenser Studies, Bioscope, Études Épistémè, Thesis 11, Postcolonial Studies, Literature Compass, and Revue des Femmes Philosophes. 01 eng 20 00 Open Access Supriya Chaudhuri 13 03 06 10.53288/0417.1.13 231 241 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 One and Three Knowledges Displacement, Art, and Anthropology 1 A01 21 0000000219981609 Olga Demetriou Olga Demetriou Associate Professor at the Durham Global Security Institute 40 01v29qb04 Durham University Olga Demetriou is a social anthropologist and Associate Professor at the Durham Global Security Institute, Durham University. She has written on displacement and borders, and the exclusions created in places mired by legacies of conflict. She is currently working on European refugee regimes and how they produce marginal orders of protection through law (complementary protection), politics (access to citizenship), and space (locations of first reception). 2 A01 Efi Savvides Efi Savvides Efi Savvides is an artist based in Nicosia and the founder of Artstudio Laboratories, an educational center for contemporary art and design. Her research explores conditions of exclusion established by government institutions, especially in relation to migrants and refugees in Cyprus. Savvides produces records of excluded life stories that stand as chapters within “minor histories.” This peculiar archiving of actions, events, and facts remains her main artistic goal, while its political awareness works critically in indirect ways. 3 A01 Akid Hassan Akid Hassan Akid Hassan is a construction worker, painter and decorator, and artist. He has been a Cypriot citizen since 2020. He was born in al-Hasakah, Syria, and, as a Kurd, has been stateless under Syrian legislation. He moved to Cyprus in the mid-2000s and has lived there since, under different precarious statuses, despite being married to a Cypriot national for part of that time and the parent of a second Cypriot national. Having been refused Cypriot nationality along with his siblings and parents, he staged a hunger strike in 2017 which lasted for sixty-seven days and received attention and support by local human rights organizations and the UNHCR. He was granted citizenship in February 2020. 01 eng 20 00 Open Access Olga Demetriou, Efi Savvides, and Akid Hassan 14 03 06 10.53288/0417.1.14 243 254 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Migrants’ Narratives Challenging the Border Logic of the United States 1 A01 Valerie Forman Valerie Forman Associate Professor at the Gallatin School 40 0190ak572 New York University Valerie Forman is Associate Professor at the Gallatin School at New York University. She works on theories and practices of labor, trade, migration, slavery, and capitalism in, through, and around early modern literature and history in the transatlantic world. Her first book is Tragicomic Redemptions: Global Economics and the Early Modern English Stage (University of Pennsylvania Press, 2008). Since 2019, she has advocated for and participated in mutual aid projects with migrant people in NYC, at the border in Tijuana, and in immigration detention centers throughout the United States. She is also a co-facilitator of the Abolition Lab at NYU. 01 eng 20 00 Open Access Valerie Forman 15 03 06 10.53288/0417.1.15 255 262 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “You’re Back in the Room” Theatrical Borders in a Post-COVID-19 World 1 A01 Pip Williams Pip Williams Pip Williams is a writer, theater maker, and performer from London. He is the co-artistic director of critically acclaimed theater company We Talk Of Horses, and has made work in collaboration with the Southwark Playhouse, Vaults, Camden People’s Theatre, and The North Wall. He has performed with Boundless, Somna Theatre, and MoCo Theatre, and is an associate artist with Swings And Roundabouts Theatre. 01 eng 20 00 Open Access Pip Williams 16 03 06 10.53288/0417.1.16 265 274 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Communities and Stages Conversation with Good Chance Theatre 1 A01 Mohamed Sarrar Mohamed Sarrar Mohamed Sarrar is a Sudanese musician and actor based in the UK. As part of the Good Chance Ensemble, Mohamed co-wrote and recorded a world music album Sounds of Refuge with John Falsetto and Ammar Haj Ahmad. Mohamed’s theater experience includes The Jungle (Young Vic, West End, St Ann’s Warehouse, Curran), Rain Rain (Bamboozle UK Tour), The Welcome Party (Theatre Rites, Manchester International Festival), Borderline (UK Tour: London; Brighton Fringe Festival, Manchester; International Tour: Berlin, Kerala, and Copenhagen), Encampment (Good Chance at Southbank Centre), and The Hope Show (Good Chance, Calais). 2 A01 Joe Murphy Joe Murphy Joe Murphy and Joe Robertson, both British playwrights, are the founders of Good Chance, which builds temporary theaters of hope promoting freedom of expression, creativity, and dignity for everyone. Their debut play, The Jungle, came from their seven months running a theater in the Calais refugee and migrant camp. It premiered at the Young Vic in 2017, then transferred to London’s West End (2018), St. Ann’s Warehouse (New York, 2018–2019) and The Curran (San Francisco, 2019). The play received universal acclaim, the South Bank Sky Arts Award for Theatre, and an Obie Award. In 2021, Good Chance embarked upon The Walk, an 8,000-kilometer moving festival of welcome across Europe with Little Amal, inspired by the character from The Jungle. 3 A01 Joe Robertson Joe Robertson 01 eng 20 00 Open Access Mohamed Sarrar, Joe Murphy, and Joe Robertson 17 03 06 10.53288/0417.1.17 275 290 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stories in Transit 1 A01 Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo was born in Guinea and lives in Palermo, Italy, where he founded the association for social promotion Giocherenda with other young people from different countries. He is a HIP ambassador for Philip Zimbardo’s Heroic Imagination Project and, as president of Giocherenda, he collaborates with Marina Warner for the Stories in Transit project. He is co-protagonist of Gabriele Gravagna’s documentary film Io sono qui (2017). 2 A01 Clelia Bartoli Clelia Bartoli Professor of Sociology of Law, Politics of Migration and Human Rights 40 04fz79c74 University of Palermo Clelia Bartoli is Professor of Sociology of Law, Politics of Migration and Human Rights at the University of Palermo. Her studies focus on human rights, migration, critical theory of the State, institutional racism, epistemic violence, subalternity, social inclusion, and experimental pedagogy. She established “Polipolis,” a wide experimental educational program for unaccompanied minors, and on that occasion she began collaborating with “Stories in Transit,” a program led by Marina Warner. She co-founded Giocherenda, a collective of young migrants who invent and animate cooperative games. Her English publications include Legal Clinics in Europe: For a Commitment of Higher Education in Social Justice (Diritto & Questioni Pubbliche, 2016) and Chile Revolts: From the Uprisings toward the Constitutional Process (Accademia University Press, 2022). 3 A01 Marina Warner Marina Warner Professor of English and Creative Writing 40 02mb95055 Birkbeck, University of London Distinguished Fellow of All Souls College 40 052gg0110 University of Oxford Marina Warner writes fiction, criticism, and cultural history. Her award-winning books explore myths, symbols, and fairy tales, including From the Beast to the Blonde: On Fairy Tales and Their Tellers (Farrar Straus & Giroux, 1994) and Stranger Magic: Charmed States & the Arabian Nights (Chatto & Windus, 2011). She has published five novels and three collections of short stories, and her essays on literature and art have been collected in Signs & Wonders: Essays on Literature and Culture (Chatto & Windus, 2003) and Forms of Enchantment: Writings on Art and Artists (Thames & Hudson, 2018). Recent publications include Temporale (Sylph Editions, 2023) and Sanctuary: Ways of Telling, Ways of Dwelling (HarperCollins, 2025). She contributes regularly to the New York Review of Books and the London Review of Books. She is Professor of English and Creative Writing at Birkbeck College, a Distinguished Fellow of All Souls College, University of Oxford, and a Fellow of the British Academy. In 2015, she was awarded the Holberg Prize in the Arts and Humanities. 4 B06 Valentina Castagna Valentina Castagna Associate Professor of English Literature 40 04fz79c74 University of Palermo Valentina Castagna is Associate Professor of English Literature at the University of Palermo. She is a member of the Unipa Research Centre “Migrare” (Migration), CIR. Since 2015 she has worked with Marina Warner on the international project Stories in Transit in the UK and Italy. She has published books and articles in the field of Women’s Studies and contemporary fiction and on medieval works such as The Book of Margery Kempe, focusing on contemporary rewriting of myths and popular culture, and on life writing. 01 eng 02 ita 20 00 Open Access Dine Diallo, Clelia Bartoli, Marina Warner, Valentina Castagna 18 03 06 10.53288/0417.1.18 291 302 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Sea of Hope” The Poetry Circle of Melissa Network’s Women 1 A01 Nadina Christopoulou Nadina Christopoulou Nadina Christopoulou is cofounder and Director of Melissa Network in Greece. Her research work focuses on diaspora narratives, migration, and childhood, as well as migrant women’s solidarity networks. On the basis of that research, together with migrant women leaders in Greece, she co-founded Melissa Network in 2014, an award-winning organization with women members from over forty-five countries. She has also been working on the creation of a visual and narrative archive of the migration spiral that Greece has experienced in the past century, hoping one day to turn it into a museum of movements. 2 A01 A.E. Stallings A.E. Stallings A.E. Stallings is a US-born poet, translator, and critic who lives in Athens. Her most recent poetry volume is a selection of poems, This Afterlife: Selected Poems (Carcanet Press, 2022). Her most recent book of verse translation is an illustrated version of the pseudo-Homeric The Battle Between the Frogs and the Mice (Paul Dry Books, 2019). She is the recipient of numerous grants, fellowships, and prizes, including a Guggenheim and a MacArthur fellowship. Since 2015, she has been running a poetry workshop with refugee women at the Melissa Network for Migrant Women in Athens. She was elected the forty-seventh Oxford Professor of Poetry in 2023. 01 eng 20 00 Open Access 19 03 06 10.53288/0417.1.19 303 316 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curating Migration A Conversation with The Migration Museum 1 A01 Aditi Anand Aditi Anand Aditi Anand is Artistic Director of the Migration Museum, and is a creative producer and curator working within the arts and nonprofit sectors. Previously, she produced and managed a multimedia education project in India that is currently being implemented in over a thousand schools, and was communications lead for India’s largest media for social change initiative. She has also worked in New York with the Museum of the Moving Image and with the interactive design firm, Local Projects. 2 A01 Sue McAlpine Sue McAlpine Sue McAlpine has found herself in museums for most of her working life, starting at the Museum of London in education when it first moved to the city in 1976. She set up an education service at Gunnersbury Park Museum, worked as an oral historian and community curator in Notting Hill, and then worked as exhibitions curator at Hackney Museum, connecting closely with the community. Her most favorite place has been the Migration Museum, collaborating with people from all over the world, making exhibitions from personal testimonies, highlighting the stories of migration to and from the UK. Sue’s latest project has been supporting art students from the Ukraine, proving that art and performance are more resilient than war and violence. 01 eng 20 00 Open Access Aditi Anand and Sue McAlpine 20 03 06 10.53288/0417.1.20 317 324 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to The Migration Museum 1 A01 Clair Wills Clair Wills King Edward VII Professor of English Literature 40 013meh722 University of Cambridge Clair Wills is King Edward VII Professor of English Literature at the University of Cambridge. She has written on Irish migration to post-war Britain in The Best Are Leaving: Emigration and Post-War Irish Culture (Cambridge University Press, 2015), and on post-colonial and European migration in the wake of the Second World War in Lovers and Strangers: An Immigrant History of Post-War Britain (Allen Lane, 2017). 01 eng 20 00 Open Access Clair Wills 21 03 06 10.53288/0417.1.21 325 336 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Don’t Wash Your Hands” 1 A01 Issam Kourbaj Issam Kourbaj Issam Kourbaj comes from a background of fine art, architecture, and theater design. He was born in Syria and trained at the Institute of Fine Arts in Damascus, at the Repin Institute of Fine Arts & Architecture in St Petersburg, and at the Wimbledon School of Art. He has lived in Cambridge, UK, since 1990, where he has been artist-in-residence, bye-fellow, and lector in art, at Christ’s College. His works have been featured at museums around the world, including Fitzwilliam Museum, Museum of Classical Archaeology, and Kettle’s Yard House and Gallery; Penn Museum; British Museum and Victoria & Albert Museum; Brooklyn Museum; Tropenmuseum; and the Venice Biennale. 2 A01 21 0000000219464839 Simon Goldhill Simon Goldhill Professor of Greek 40 013meh722 University of Cambridge Simon Goldhill is Professor of Greek at the University of Cambridge and Foreign Secretary and Vice-President of the British Academy. His most recent books are The Christian Invention of Time: Temporality and the Literature of Late Antiquity (Cambridge University Press, 2022) and What Is a Jewish Classicist? Essays on the Personal Voice and Disciplinary Politics (Bloomsbury Academic, 2022). He has worked closely with the Council for At-Risk Academics (CARA), and with the charity Refugees at Home. 3 B01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Issam Kourbaj, Simon Goldhill 22 03 06 10.53288/0417.1.22 337 347 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Loving Justice” 1 A01 Regina M. Schwartz Regina M. Schwartz Professor of Early Modern Literature, Religious Thought, and Law 40 000e0be47 Northwestern University Regina M. Schwartz is Professor of Early Modern Literature, Religious Thought, and Law at Northwestern University. She is the author of Remembering and Repeating: On Milton’s Theology and Poetics (University of Chicago Press 1993), The Curse of Cain: the Violent Legacy of Monotheism (University of Chicago Press, 1997), Sacramental Poetics at the Dawn of Secularism: When God Left the World (Stanford University Press, 2008), and Loving Justice, Living Shakespeare (Oxford University Press, 2017). She has also edited Transcendence: Philosophy, Literature, and Theology Approach the Beyond (Routledge, 2004) and Toward a Sacramental Poetics (University of Notre Dame Press, 2021, with Patrick J. McGrath). 01 eng 20 00 Open Access Regina M. Schwartz 23 03 06 10.53288/0417.1.23 349 355 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to Regina M. Schwartz 1 A01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 20 00 Open Access Rowan Williams 24 03 06 10.53288/0417.1.24 359 360 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 In the Fertile Land 1 A01 Gabriel Josipovici Gabriel Josipovici Gabriel Josipovici is the author of over twenty novels and books of short stories and ten critical books, including The World and the Book: A Study of Modern Fiction (Stanford University Press, 1971), The Book of God: A Response to the Bible (Yale University Press, 1986), and What Ever Happened to Modernism? (Yale University Press, 2011). His plays for stage and radio have been widely performed. 01 eng 20 00 Open Access Gabriel Josipovici 25 03 06 10.53288/0417.1.25 363 386 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sound Crossings A Poetry Reading 1 A01 Angela Leighton Angela Leighton Senior Research Fellow at Trinity College 40 013meh722 University of Cambridge Angela Leighton is senior research fellow at Trinity College, Cambridge. She has written widely on nineteenth to twenty-first century literature, most recently Hearing Things: The Work of Sound in Literature (Belknap Press of Harvard University Press, 2018) and the edited collection Walter de la Mare: Critical Appraisals (Liverpool University Press, 2022, with Yui Kajita and A.J. Nickerson). Her poetry has appeared in many magazines, including The New Yorker, Times Literary Supplement, The Guardian, The Dark Horse, PN Review, and London Magazine. She has published six volumes of poetry, among them Spills (2016) and, most recently, Something, I Forget (2023), both with Carcanet. 2 A01 A.E. Stallings A.E. Stallings A.E. Stallings is a US-born poet, translator, and critic who lives in Athens. Her most recent poetry volume is a selection of poems, This Afterlife: Selected Poems (Carcanet Press, 2022). Her most recent book of verse translation is an illustrated version of the pseudo-Homeric The Battle Between the Frogs and the Mice (Paul Dry Books, 2019). She is the recipient of numerous grants, fellowships, and prizes, including a Guggenheim and a MacArthur fellowship. Since 2015, she has been running a poetry workshop with refugee women at the Melissa Network for Migrant Women in Athens. She was elected the forty-seventh Oxford Professor of Poetry in 2023. 01 eng 20 00 Open Access Angela Leighton and A.E. Stallings 26 03 06 10.53288/0417.1.26 387 390 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oltre Mare (after Baxendall and St Clair) 1 A01 Rachel Spence Rachel Spence Rachel Spence is a poet and arts writer based in the United Kingdom and Italy. Her most recent poetry collection is Daughter of the Sun (The Emma Press, 2025). In 2023, she published Venice Unclocked (Ivorypress, 2022), a literary meditation on time in Venice in collaboration with the Venetian photographer Giacomo Cosua. Her nonfiction book Battle for the Museum (Hurst, 2024), which explores the relationship between art, power, and money, was a Financial Times Book of the Year. 01 eng 20 00 Open Access Rachel Spence 27 03 06 10.53288/0417.1.27 391 396 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After an Unspeaking 1 A01 Anthony Vahni Capildeo Anthony Vahni Capildeo Professor 40 04m01e293 University of York Anthony Vahni Capildeo, Fellow of the Royal Society of Literature, is Professor at the University of York and an Honorary Student of Christ Church, Oxford. A Trinidadian Scottish writer of poetry and non-fiction, Capildeo’s interests include traditional masquerade, silence, plurilingualism, and place. Their nine books and eight pamphlets have been recognized with awards including the Windham-Campbell Prize for Poetry, the OCM Bocas Prize for Poetry, the Cholmondeley Award, and the Forward Prize. Capildeo has served as a guest editor of a special ecopoetics issue of Stand magazine, and as a contributing editor at PN Review and the Caribbean Review of Books. 01 eng 20 00 Open Access Anthony Vahni Capildeo 28 03 06 10.53288/0417.1.28 397 399 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Swelling Is Time 1 A01 Yousif M. Qasmiyeh Yousif M. Qasmiyeh Yousif M. Qasmiyeh is a scholar, poet, and translator. He is the Joint-Lead of the Baddawi Camp Lab, as part of the Imagining Futures GCRF-Network+ project, and was Writer-in-Residence for the AHRC-funded Refugee Hosts project. His essays, poetry, and translations have appeared in Modern Poetry in Translation, Critical Quarterly, GeoHumanities, Cambridge Literary Review, PN Review, Stand, New England Review, and Poetry London. His collection, Writing the Camp (Broken Sleep Books, 2021), was a 2021 Poetry Book Society Recommendation and was selected as one of the Best Poetry Books of 2021 by the Telegraph and The Irish Times, highly commended by the 2021 Forward Prizes for Poetry, and shortlisted for the 2022 Royal Society of Literature Ondaatje Prize. His latest books are Eating the Archive (Broken Sleep Books, 2023) and The Southern Eye: Co-Seeing Displacements (Broken Sleep Books, 2024). 01 eng 20 00 Open Access Yousif M. Qasmiyeh 29 03 06 10.53288/0417.1.29 401 403 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Poem for the One Who Has Just Arrived 1 A01 Bhanu Kapil Bhanu Kapil Fellow at Churchill College 40 013meh722 University of Cambridge Bhanu Kapil, Fellow of the Royal Society of Literature, is a Fellow of Churchill College. She is the author of six full-length collections, including How To Wash A Heart (Pavilion Poetry, 2020), winner of the TS Eliot Prize, and Incubation: a space for monsters (Kelsey Street Press, 2023). Kapil is the recipient of a Cholmondeley Award from the Society of Authors and a Windham Campbell Prize from Yale University, both for her body of work. 01 eng 20 00 Open Access Bhanu Kapil 30 03 06 10.53288/0417.1.30 405 416 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mishearing A Traversal 1 A01 21 0000000344845614 Amit Chaudhuri Amit Chaudhuri Amit Chaudhuri is the author of eight novels, the latest of which is Sojourn (New York Review Books, 2022). His first major work of non-fiction, Calcutta: Two Years in the City, was published by Knopf in 2013. His second work of non-fiction, Finding the Raga (New York Review Books, 2021), a critical meditation on North Indian classical music and his discovery of, and relationship with, this tradition won the James Tait Black Prize for Biography in 2022. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Amit Chaudhuri, Subha Mukherji 31 03 06 10.53288/0417.1.31 417 431 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Lot of Dirt 1 A01 T.M. Krishna T.M. Krishna T.M. Krishna is one of the preeminent vocalists in the rigorous Karnatic tradition of India’s classical music. As a public intellectual, Krishna speaks and writes about issues affecting the human condition and about cultural matters. His book Sebastian and Sons (Context, 2020) received the Tata Lit Live Award for the Best Non-Fiction book. His musical productions and collaborations include the Chennai Poromboke Paadal with environmentalist Nityanand Jayaraman; performances with the Jogappas, transgender musicians; and co-conceptualizing and performing Karnatik Kattaikuttu. In 2016 Krishna received the prestigious Ramon Magsaysay Award in recognition of “his forceful commitment as artist and advocate to art’s power to heal India’s deep social divisions.” In 2017 he received the Indira Gandhi Award for National Integration, and in 2019 he received the Swathi Sangeetha Puraskaram, the highest honor for musicians, instituted by the Kerala State Government. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access T.M. Krishna, Subha Mukherji 32 03 06 10.53288/0417.1.32 435 451 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Lost Country 1 A01 Dragana Jurišić Dragana Jurišić Assistant Professor of Communications 40 04a1a1e81 Dublin City University Dragana Jurišić is a Yugoslav artist and Assistant Professor of Communications at the Dublin City University. Working primarily with image, text, and video, and looking at the effects of exile and displacement on memory and identity, Jurišić has shown her work extensively and won many awards, including the Golden Fleece Special Recognition Award, IMMA 1000 Residency Award, and numerous Bursaries and Project Awards. Her work is in a collection of the National Gallery of Ireland, Arts Council Collection, and the Irish State Art Collection. 01 eng 20 00 Open Access Dragana Jurišić 33 03 06 10.53288/0417.1.33 453 457 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trade Winds 1 A01 Susan Stockwell Susan Stockwell Susan Stockwell is an established international artist working across sculpture, installation, and film. Her practice is concerned with examining social and colonial histories and engaging with questions of social justice, trade, cultural mapping, and feminism. Susan is best known for her site-specific installations and dress sculptures that have been exhibited widely, including: Tropenmuseum, Amsterdam (2022); Museum of London (2021); Royal Shakespeare Company (2015); TATE Modern (2013); the Katonah Museum of Art, New York (2012); and the Victoria and Albert Museum (V&A) London (2010, 2005, 2001). Her work is held in international collections including The House of European History, Brussels; Tropenmuseum, Amsterdam; Black Rock Investments, Yale Centre for British Art, USA; and the University of Bedfordshire and V&A Museum London. 06 Own website https://www.susanstockwell.co.uk/ 2 A01 21 0009000985195364 Carla Suthren Carla Suthren Postdoctoral Researcher 40 039bp8j42 University of Verona Carla Suthren is a postdoctoral researcher at the University of Verona, working with Silvia Bigliazzi on her PRIN-funded project on classical reception in early modern English drama. She has published articles on various aspects of the reception of Greek tragedy in Renaissance literature, including Jane Lumley’s Iphigeneia and Gascoigne and Kinwelmersh’s Jocasta. 01 eng 20 00 Open Access Susan Stockwell, Carla Suthren 34 03 06 10.53288/0417.1.34 461 473 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kudzu in the Patchy Anthropocene 1 A01 21 0000000210531732 Yota Batsaki Yota Batsaki Executive Director at Dumbarton Oaks 40 03vek6s52 Harvard University Yota Batsaki is the Executive Director of Dumbarton Oaks, a Harvard research institute, museum, and historic garden in Washington, DC, where she also directs the Plant Humanities Initiative, a collaborative endeavor to research and communicate how plants have shaped human cultures. Her recent work has appeared in Environmental Humanities, Environmental History, and Critical Inquiry. 01 eng 20 00 Open Access Yota Batsaki 35 03 06 10.53288/0417.1.35 475 478 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Small Things, Strange Shores Poems 1 A01 Mina Gorji Mina Gorji Associate Professor of English 40 013meh722 University of Cambridge Mina Gorji is Associate Professor of English at the University of Cambridge and fellow of Pembroke College. She has written about the poetics of place in John Clare’s poetry, and her first poetry collection, Art of Escape (Carcanet Press, 2020), explores migration at different scales. In her collection Scale (Carcanet Press, 2022), adapting to the cold of a new continent opens a chromatic investigation of feeling across time and space. 01 eng 20 00 Open Access Mina Gorji 36 03 06 10.53288/0417.1.36 481 491 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exile and Food 1 A01 Claudia Roden Claudia Roden Claudia Roden was born in Cairo. She came to London to study art and stayed on when her family had to leave Egypt after the Suez crisis in 1956. Drawn to the subject of food through a desire to evoke a lost heritage, she continued to write cookbooks with a special interest in the social, cultural, and historical background of food. She has written about the cooking of the Middle East, North Africa, the Mediterranean, Italy, and Spain, and about Jewish food. In 2022 she was awarded a CBE for her services to culinary culture. In 2023 she was awarded an honorary doctorate from the University of London. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Claudia Roden, Subha Mukherji 37 03 06 10.53288/0417.1.37 493 504 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Journey in Taste 1 A01 Faraj Alnasser Faraj Alnasser Faraj Alnasser was born in Aleppo where he grew up in a large family. He survived a gruelling journey through Europe before finding a home in the UK. Arriving at the age of nineteen with no education, no English skills, and no relatives, Faraj persevered and overcame three years of homelessness. In 2016 he was matched with a Jewish family who not only hosted him, but supported him and sent him to school to learn English. He found his second home, and peace, with them. His longing for his hometown, family, and grandmother led him to discover the healing power of food and its connection to memories and aroma. Faraj’s passion for cooking led him to win a scholarship at a prestigious cookery school in London and train at Ottolenghi. Today, he owns a small business called Faraj’s Kitchen, delivering vegan and vegetarian home-cooked Syrian food. 2 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 01 eng 20 00 Open Access Faraj Alnasser, Subha Mukherji 38 03 06 10.53288/0417.1.38 505 529 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Moving Things 1 A01 Faraj Alnasser Faraj Alnasser Faraj Alnasser was born in Aleppo where he grew up in a large family. He survived a gruelling journey through Europe before finding a home in the UK. Arriving at the age of nineteen with no education, no English skills, and no relatives, Faraj persevered and overcame three years of homelessness. In 2016 he was matched with a Jewish family who not only hosted him, but supported him and sent him to school to learn English. He found his second home, and peace, with them. His longing for his hometown, family, and grandmother led him to discover the healing power of food and its connection to memories and aroma. Faraj’s passion for cooking led him to win a scholarship at a prestigious cookery school in London and train at Ottolenghi. Today, he owns a small business called Faraj’s Kitchen, delivering vegan and vegetarian home-cooked Syrian food. 2 A01 Dragana Jurišić Dragana Jurišić Assistant Professor of Communications 40 04a1a1e81 Dublin City University Dragana Jurišić is a Yugoslav artist and Assistant Professor of Communications at the Dublin City University. Working primarily with image, text, and video, and looking at the effects of exile and displacement on memory and identity, Jurišić has shown her work extensively and won many awards, including the Golden Fleece Special Recognition Award, IMMA 1000 Residency Award, and numerous Bursaries and Project Awards. Her work is in a collection of the National Gallery of Ireland, Arts Council Collection, and the Irish State Art Collection. 3 A01 Subha Mukherji Subha Mukherji Professor of Early Modern Literature and Culture 40 013meh722 University of Cambridge Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 4 A01 Jonathan Gil Harris Jonathan Gil Harris Professor of English and Founding Dean 40 02j1xr113 Ashoka University Jonathan Gil Harris is Professor of English and Founding Dean at Ashoka University and the author of The First Firangis (Aleph Books, 2015) and Masala Shakespeare (Aleph Books, 2018), as well as many books on early modern culture, ideas of the foreign, and globalization, including Foreign Bodies and the Body Politic: Discourses of Social Pathology in Early Modern England (Cambridge University Press, 1998); Sick Economies: Drama, Mercantilism and Disease in Shakespeare’s England (University of Pennsylvania Press, 2004); Untimely Matter in the Time of Shakespeare (University of Pennsylvania Press, 2008); and Marvellous Repossessions: Globalisation, The Tempest, and the Waking Dream of Paradise (Ronsdale, 2012). 5 A01 Yousif M. Qasmiyeh Yousif M. Qasmiyeh Yousif M. Qasmiyeh is a scholar, poet, and translator. He is the Joint-Lead of the Baddawi Camp Lab, as part of the Imagining Futures GCRF-Network+ project, and was Writer-in-Residence for the AHRC-funded Refugee Hosts project. His essays, poetry, and translations have appeared in Modern Poetry in Translation, Critical Quarterly, GeoHumanities, Cambridge Literary Review, PN Review, Stand, New England Review, and Poetry London. His collection, Writing the Camp (Broken Sleep Books, 2021), was a 2021 Poetry Book Society Recommendation and was selected as one of the Best Poetry Books of 2021 by the Telegraph and The Irish Times, highly commended by the 2021 Forward Prizes for Poetry, and shortlisted for the 2022 Royal Society of Literature Ondaatje Prize. His latest books are Eating the Archive (Broken Sleep Books, 2023) and The Southern Eye: Co-Seeing Displacements (Broken Sleep Books, 2024). 6 A01 Issam Kourbaj Issam Kourbaj Issam Kourbaj comes from a background of fine art, architecture, and theater design. He was born in Syria and trained at the Institute of Fine Arts in Damascus, at the Repin Institute of Fine Arts & Architecture in St Petersburg, and at the Wimbledon School of Art. He has lived in Cambridge, UK, since 1990, where he has been artist-in-residence, bye-fellow, and lector in art, at Christ’s College. His works have been featured at museums around the world, including Fitzwilliam Museum, Museum of Classical Archaeology, and Kettle’s Yard House and Gallery; Penn Museum; British Museum and Victoria & Albert Museum; Brooklyn Museum; Tropenmuseum; and the Venice Biennale. 7 A01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Associate Professor in the Department of English and Comparative Literary Studies 40 01a77tt86 University of Warwick Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 8 A01 Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo Saifoudiny (Dine) Diallo was born in Guinea and lives in Palermo, Italy, where he founded the association for social promotion Giocherenda with other young people from different countries. He is a HIP ambassador for Philip Zimbardo’s Heroic Imagination Project and, as president of Giocherenda, he collaborates with Marina Warner for the Stories in Transit project. He is co-protagonist of Gabriele Gravagna’s documentary film Io sono qui (2017). 01 eng 20 00 Open Access Faraj Alnasser, Dragana Jurišić, Subha Mukherji, Jonathan Gil Harris, Yousif M. Qasmiyeh, Issam Kourbaj, Natalya Din-Kariuki, Dine Diallo 39 03 06 10.53288/0417.1.39 531 541 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword 1 A01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 20 00 Open Access Rowan Williams 40 03 06 10.53288/0417.1.40 543 557 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000175756644 Natalya Din-Kariuki Natalya Din-Kariuki Natalya Din-Kariuki is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick, where she works on the literary and intellectual history of the sixteenth and seventeenth centuries, with a particular focus on travel writing, transnational and transcultural encounters, and rhetoric and poetics. Her work has appeared in journals including the Review of English Studies, Huntington Library Quarterly, and Textual Practice. 2 B01 Subha Mukherji Subha Mukherji Subha Mukherji is Professor of Early Modern Literature and Culture at the University of Cambridge. Her research interests and publications range across Renaissance English literature, early modern law and drama, form and faith, literary epistemologies, migration, and contemporary Indian art. 3 B01 Rowan Williams Rowan Williams Rowan Williams taught Theology in Oxford, Cambridge, Bristol, and Yale. From 2002 to 2012 he was Archbishop of Canterbury, and from 2012 to 2020 Master of Magdalene College, Cambridge. He has published widely on religion, literature, and politics, and was Chair of the development charity Christian Aid for eight years. He now lives in Wales, and is Chair of the Peace Academy/Academi Heddwch. Recent books include Justice and Love: A Philosophical Dialogue (Bloomsbury Academic, 2020, with Mary Zournazi) and Collected Poems (Carcanet Press, 2021). 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crossings-migrant-knowledges-migrant-forms/ Earth, Milky Way 04 01 20251003 Subha Mukherji, Natalya Din-Kariuki, Rowan Williams 02 WORLD 06 15 9781685712808 03 9781685712808 34 06 10.1111/rest.12561 34 06 10.1215/22011919-3615934 34 06 10.1017/pli.2020.41 34 06 10.1111/j.1747-7379.2006.00009.x 34 06 10.1086/711142 34 06 10.1080/14781700.2012.701943 34 06 10.1093/ref:odnb/9780198614128.001.0001/ 34 06 10.1093/ref:odnb/9780198614128.001.0001/ 34 06 10.1098/rsnr.1950.0014 34 06 10.3917/etan.702.0187 34 06 10.1093/res/hgac062 34 06 10.1111/1475-6757.00024 34 06 10.1179/0309656414Z.00000000054 34 06 10.2307/4143915 34 06 10.1215/00166928-2884844 34 06 10.1177/0096144205279198 34 06 10.1111/1468-0424.00087 34 06 10.1163/22118993-00381P06 34 06 10.1111/rest.12059 34 06 10.1017/9781108233880 34 06 10.1179/036121195805298172 34 06 10.1163/22118993-90000183 34 06 10.2307/464648 34 06 10.1007/s41027-020-00293-8 34 06 10.1080/1369183X.2016.1139446 34 06 10.1080/1369183X.2019.1682979 34 06 10.1215/22011919-3615934 34 06 10.1086/696117 34 06 10.1215/22011919-3829199 34 06 10.1017/S0020743800064837 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/106318 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/106318/9781685712815.pdf?sequence=1&isAllowed=y 20 08 20251003 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/922 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a3b1d78e-57e4-4eee-b764-47c3abf1e98e/download 20 08 20251003 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1841b54c-b495-4bb5-9bcf-054e5c393af3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1841b54c-b495-4bb5-9bcf-054e5c393af3/1841b54c-b495-4bb5-9bcf-054e5c393af3.pdf 20 08 20251003 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851343 29 ZENODO: download the title https://zenodo.org/records/19851343/files/1841b54c-b495-4bb5-9bcf-054e5c393af3_book.pdf 20 08 20251003 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/crossings-migrant-knowledges-migrant-forms/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0417.1.00.pdf 20 08 20251003 01 urn:uuid:815443b4-2f76-433b-a19e-8c0ec5dc8de5 03 01 01 thoth-work-id urn:uuid:f37627c1-d89f-434c-9915-f1f2f33dc037 01 thoth-publication-id urn:uuid:815443b4-2f76-433b-a19e-8c0ec5dc8de5 15 9780615978956 03 9780615978956 06 10.21983/P3.0063.1.00 01 internal-reference 0063 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Crush 1 A01 Will Stockton Will Stockton 40 037s24f05 Clemson University 2 A01 D. Gilson D. Gilson 40 00y4zzh67 George Washington University 01 eng 00 120 03 93 DCF B2 Fabulations 12 JFSK 10 POE021000 93 DCC B2 Sex 93 5PS B2 TransQueer 20 queer studies; sexuality; gay poetry; erotic literature; William Shakespeare 01 06 02 00 03 00 In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write,In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self.Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said. 30 00 In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write,In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self.Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0063.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crush/ Brooklyn, NY 04 01 20140227 Stockton, Will Gilson, D. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615978959 20 08 20140227 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/crush 20 08 20140227 02 22.00 USD WORLD urn:uuid:696c1151-2451-4a35-85ce-b77d1d31d11e 03 01 01 thoth-work-id urn:uuid:f37627c1-d89f-434c-9915-f1f2f33dc037 01 thoth-publication-id urn:uuid:696c1151-2451-4a35-85ce-b77d1d31d11e 06 10.21983/P3.0063.1.00 01 internal-reference 0063 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Crush 1 A01 Will Stockton Will Stockton 40 037s24f05 Clemson University 2 A01 D. Gilson D. Gilson 40 00y4zzh67 George Washington University 01 eng 00 120 03 93 DCF B2 Fabulations 12 JFSK 10 POE021000 93 DCC B2 Sex 93 5PS B2 TransQueer 20 queer studies; sexuality; gay poetry; erotic literature; William Shakespeare 01 06 02 00 03 00 In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write,In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self.Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said. 30 00 In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write,In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self.Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0063.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crush/ Brooklyn, NY 04 01 20140227 Stockton, Will Gilson, D. 02 WORLD 06 15 9780615978956 03 9780615978956 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25555 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25555/1004540.pdf?sequence=1&isAllowed=y 20 08 20140227 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39186 20 08 20140227 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353924 20 08 20140227 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/445 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/622e4ccd-b0ba-4e64-9306-6974ed490d63/download 20 08 20140227 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f37627c1-d89f-434c-9915-f1f2f33dc037 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f37627c1-d89f-434c-9915-f1f2f33dc037/f37627c1-d89f-434c-9915-f1f2f33dc037.pdf 20 08 20140227 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845937 29 ZENODO: download the title https://zenodo.org/records/19845937/files/f37627c1-d89f-434c-9915-f1f2f33dc037_book.pdf 20 08 20140227 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/crush/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0063.1.00.pdf 20 08 20140227 01 urn:uuid:66d2ede0-e05a-4a81-8b38-35c350424214 03 01 01 thoth-work-id urn:uuid:8cdfe585-a3bf-41ac-969c-5f29d6993604 01 thoth-publication-id urn:uuid:66d2ede0-e05a-4a81-8b38-35c350424214 15 9781685712525 03 9781685712525 06 10.53288/0524.1.00 13 2024947207 01 internal-reference 0524 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 7 mm 03 0.7 cm 03 0.28 in 08 190 gr 08 6.7 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Cycle of Dreams 1 A01 Eric Weiskott Eric Weiskott 40 02n2fzt79 Boston College Eric Weiskott is a poet and teacher who lives in Brookline, Massachusetts. Author most recently of the poetry chapbook Chanties (Bottlecap Press, 2023) and the scholarly monograph Meter and Modernity in English Verse, 1350–1650 (Penn, 2021), Eric is also co-editor of the Yearbook of Langland Studies. 01 eng 02 enm 00 122 03 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations 10 POE023060 93 FXS B2 Premodern 20 authorship; Long Island; Piers Plowman; New England; poetry; William Langland; lyric; translation 01 06 02 00 03 00 An experimental hybrid work, Cycle of Dreams pairs translation and original poetry. The translations, or adaptations, are of William Langland’s strange and wild fourteenth-century dream vision, Piers Plowman, a politically radical English and Latin poem written in the wake of plague and divided into a prologue and twenty passūs or steps. Eric Weiskott transposes the action from London and Worcestershire to New England and Long Island. The translations refashion and modernize Piers Plowman by disarticulating its continuous shape and rearticulating it as a collection of lyrics. The translation appears on the left and original poetry on the right in each page opening, so that the fourteenth and twenty-first centuries speak to one another as in a dream.Like Piers Plowman itself in manuscript culture, Cycle of Dreams attracts paratexts. Images illustrate the absent presence of Langland’s authorship. A series of glosses or marginal notes grounds the poems in critical theory, etymologies, lyric reminiscences, and statistics reflecting the desperation of our economic moment. An “oneirography” or dreamed bibliography names some of the scholarship that supports study of Piers Plowman today and some other sources for Langlandian fever dreams.Langland can address us today, not in the voice of a bygone author whose “context” must be arduously rearticulated in the laboratories of scholarly endeavor, but one whose utopian vision is in its broad outlines no less urgent in 2024 than it was in 1381, when English rebels used Langland’s title figure as a rallying cry for insurrection. Cycle of Dreams unearths “buried dreams / of a future adequate to the present tense.” 30 00 An experimental hybrid work, Cycle of Dreams pairs translation and original poetry. The translations, or adaptations, are of William Langland’s strange and wild fourteenth-century dream vision, Piers Plowman, a politically radical English and Latin poem written in the wake of plague and divided into a prologue and twenty passūs or steps. Eric Weiskott transposes the action from London and Worcestershire to New England and Long Island. The translations refashion and modernize Piers Plowman by disarticulating its continuous shape and rearticulating it as a collection of lyrics. The translation appears on the left and original poetry on the right in each page opening, so that the fourteenth and twenty-first centuries speak to one another as in a dream.Like Piers Plowman itself in manuscript culture, Cycle of Dreams attracts paratexts. Images illustrate the absent presence of Langland’s authorship. A series of glosses or marginal notes grounds the poems in critical theory, etymologies, lyric reminiscences, and statistics reflecting the desperation of our economic moment. An “oneirography” or dreamed bibliography names some of the scholarship that supports study of Piers Plowman today and some other sources for Langlandian fever dreams.Langland can address us today, not in the voice of a bygone author whose “context” must be arduously rearticulated in the laboratories of scholarly endeavor, but one whose utopian vision is in its broad outlines no less urgent in 2024 than it was in 1381, when English rebels used Langland’s title figure as a rallying cry for insurrection. Cycle of Dreams unearths “buried dreams / of a future adequate to the present tense.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0524.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cycle-of-dreams/ Earth, Milky Way 04 01 20241215 Eric Weiskott 02 WORLD 06 15 9781685712532 03 9781685712532 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/cycle-of-dreams-eric-weiskott 20 08 20241215 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712525 20 08 20241215 02 22.00 USD WORLD urn:uuid:e8cb2626-f112-41ee-a097-284281892f2c 03 01 01 thoth-work-id urn:uuid:8cdfe585-a3bf-41ac-969c-5f29d6993604 01 thoth-publication-id urn:uuid:e8cb2626-f112-41ee-a097-284281892f2c 15 9781685712532 03 9781685712532 06 10.53288/0524.1.00 13 2024947207 01 internal-reference 0524 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Cycle of Dreams 1 A01 Eric Weiskott Eric Weiskott 40 02n2fzt79 Boston College Eric Weiskott is a poet and teacher who lives in Brookline, Massachusetts. Author most recently of the poetry chapbook Chanties (Bottlecap Press, 2023) and the scholarly monograph Meter and Modernity in English Verse, 1350–1650 (Penn, 2021), Eric is also co-editor of the Yearbook of Langland Studies. 01 eng 02 enm 00 122 03 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations 10 POE023060 93 FXS B2 Premodern 20 authorship; Long Island; Piers Plowman; New England; poetry; William Langland; lyric; translation 01 06 02 00 03 00 An experimental hybrid work, Cycle of Dreams pairs translation and original poetry. The translations, or adaptations, are of William Langland’s strange and wild fourteenth-century dream vision, Piers Plowman, a politically radical English and Latin poem written in the wake of plague and divided into a prologue and twenty passūs or steps. Eric Weiskott transposes the action from London and Worcestershire to New England and Long Island. The translations refashion and modernize Piers Plowman by disarticulating its continuous shape and rearticulating it as a collection of lyrics. The translation appears on the left and original poetry on the right in each page opening, so that the fourteenth and twenty-first centuries speak to one another as in a dream.Like Piers Plowman itself in manuscript culture, Cycle of Dreams attracts paratexts. Images illustrate the absent presence of Langland’s authorship. A series of glosses or marginal notes grounds the poems in critical theory, etymologies, lyric reminiscences, and statistics reflecting the desperation of our economic moment. An “oneirography” or dreamed bibliography names some of the scholarship that supports study of Piers Plowman today and some other sources for Langlandian fever dreams.Langland can address us today, not in the voice of a bygone author whose “context” must be arduously rearticulated in the laboratories of scholarly endeavor, but one whose utopian vision is in its broad outlines no less urgent in 2024 than it was in 1381, when English rebels used Langland’s title figure as a rallying cry for insurrection. Cycle of Dreams unearths “buried dreams / of a future adequate to the present tense.” 30 00 An experimental hybrid work, Cycle of Dreams pairs translation and original poetry. The translations, or adaptations, are of William Langland’s strange and wild fourteenth-century dream vision, Piers Plowman, a politically radical English and Latin poem written in the wake of plague and divided into a prologue and twenty passūs or steps. Eric Weiskott transposes the action from London and Worcestershire to New England and Long Island. The translations refashion and modernize Piers Plowman by disarticulating its continuous shape and rearticulating it as a collection of lyrics. The translation appears on the left and original poetry on the right in each page opening, so that the fourteenth and twenty-first centuries speak to one another as in a dream.Like Piers Plowman itself in manuscript culture, Cycle of Dreams attracts paratexts. Images illustrate the absent presence of Langland’s authorship. A series of glosses or marginal notes grounds the poems in critical theory, etymologies, lyric reminiscences, and statistics reflecting the desperation of our economic moment. An “oneirography” or dreamed bibliography names some of the scholarship that supports study of Piers Plowman today and some other sources for Langlandian fever dreams.Langland can address us today, not in the voice of a bygone author whose “context” must be arduously rearticulated in the laboratories of scholarly endeavor, but one whose utopian vision is in its broad outlines no less urgent in 2024 than it was in 1381, when English rebels used Langland’s title figure as a rallying cry for insurrection. Cycle of Dreams unearths “buried dreams / of a future adequate to the present tense.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0524.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cycle-of-dreams/ Earth, Milky Way 04 01 20241215 Eric Weiskott 02 WORLD 06 15 9781685712525 03 9781685712525 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/95844 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/95844/0524.1.00.pdf?sequence=1&isAllowed=y 20 08 20241215 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/149808 20 08 20241215 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526492 20 08 20241215 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/829 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d302a4d2-6c7a-401a-9828-ea3790d1f23c/download 20 08 20241215 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8cdfe585-a3bf-41ac-969c-5f29d6993604 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8cdfe585-a3bf-41ac-969c-5f29d6993604/8cdfe585-a3bf-41ac-969c-5f29d6993604.pdf 20 08 20241215 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850792 29 ZENODO: download the title https://zenodo.org/records/19850792/files/8cdfe585-a3bf-41ac-969c-5f29d6993604_book.pdf 20 08 20241215 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/cycle-of-dreams/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0524.1.00.pdf 20 08 20241215 01 urn:uuid:b7d92f0d-dd0d-469c-bf29-4ce9a85bd459 03 01 01 thoth-work-id urn:uuid:6da2123c-c8ae-4c61-b40d-2080474e2efb 01 thoth-publication-id urn:uuid:b7d92f0d-dd0d-469c-bf29-4ce9a85bd459 15 9781685711405 03 9781685711405 06 10.53288/0450.1.00 13 2023951719 01 internal-reference 0450 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dancing with Philoctetes Reflections on Pain and Remembrance 1 A01 Abigail Akavia Abigail Akavia Abigail Akavia is a scholar and theater practitioner based in Germany. She holds a PhD in Classical Languages and Literatures from the University of Chicago, with a dissertation on the Poetics of Listening in Sophocles, and has worked onstage and behind the scenes in theaters in Israel, Chicago, and Leipzig. She is particularly drawn to re-imagining ancient Greek narratives and other narratives of trauma through non-literal media such as music, dance, sound, and images. 01 eng 00 116 03 12 ANF 93 ATDF B2 Autotheory 10 PER011030 12 DB 93 DBSG B2 Literary Studies 10 PER011040 12 DD B2 Premodern 20 Sophocles; Philoctetes; Greek tragedy; theater; dramaturgy; contemporary performance practice; translation; disability; embodiment; grief; empathy; voice 01 06 02 00 03 00 Abandoned by his community, doomed to a solitary existence with his voice as sole companion: can Sophocles’ Philoctetes still speak to us? What do his screams have to say?Dancing with Philoctetes: Reflections on Pain and Remembrance juxtaposes a new adaptation of Sophocles’ play with an essay describing the process of bringing it to life in a world on the brink of a pandemic. Akavia investigates Sophocles’ nuanced portrayal of the fragility of empathy in the face of suffering, and also shares the challenges of embodying and vocalizing Sophocles’ text onstage. She proposes that the pandemic and its aftermath offer a renewed perspective on Philoctetes’ thematization, not just of empathy and disease, but of the longing to return: to home, to health, to what memory holds.Akavia’s treatment of Philoctetes starts out from his body and voice and journeys on to loneliness, toxic masculinity, nostalgia, cancer, dreaming, parenthood, language, ballet lessons, siblings, music, and growing up. Here, scholarship and creative non-fiction combine to tell a story of reading, performing, thinking about, and living (through) tragedy. 30 00 Abandoned by his community, doomed to a solitary existence with his voice as sole companion: can Sophocles’ Philoctetes still speak to us? What do his screams have to say?Dancing with Philoctetes: Reflections on Pain and Remembrance juxtaposes a new adaptation of Sophocles’ play with an essay describing the process of bringing it to life in a world on the brink of a pandemic. Akavia investigates Sophocles’ nuanced portrayal of the fragility of empathy in the face of suffering, and also shares the challenges of embodying and vocalizing Sophocles’ text onstage. She proposes that the pandemic and its aftermath offer a renewed perspective on Philoctetes’ thematization, not just of empathy and disease, but of the longing to return: to home, to health, to what memory holds.Akavia’s treatment of Philoctetes starts out from his body and voice and journeys on to loneliness, toxic masculinity, nostalgia, cancer, dreaming, parenthood, language, ballet lessons, siblings, music, and growing up. Here, scholarship and creative non-fiction combine to tell a story of reading, performing, thinking about, and living (through) tragedy. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0450.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dancing-with-philoctetes-reflections-on-pain-and-remembrance/ Earth, Milky Way 04 01 20231215 Abigail Akavia 02 WORLD 06 15 9781685711412 03 9781685711412 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711405 20 08 20231215 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dancing-with-philoctetes-reflections-on-pain-and-remembrance 20 08 20231215 02 22.00 USD WORLD urn:uuid:9c9689c3-515f-4a24-891f-3d308def6052 03 01 01 thoth-work-id urn:uuid:6da2123c-c8ae-4c61-b40d-2080474e2efb 01 thoth-publication-id urn:uuid:9c9689c3-515f-4a24-891f-3d308def6052 15 9781685711412 03 9781685711412 06 10.53288/0450.1.00 13 2023951719 01 internal-reference 0450 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dancing with Philoctetes Reflections on Pain and Remembrance 1 A01 Abigail Akavia Abigail Akavia Abigail Akavia is a scholar and theater practitioner based in Germany. She holds a PhD in Classical Languages and Literatures from the University of Chicago, with a dissertation on the Poetics of Listening in Sophocles, and has worked onstage and behind the scenes in theaters in Israel, Chicago, and Leipzig. She is particularly drawn to re-imagining ancient Greek narratives and other narratives of trauma through non-literal media such as music, dance, sound, and images. 01 eng 00 116 03 12 ANF 93 ATDF B2 Autotheory 10 PER011030 12 DB 93 DBSG B2 Literary Studies 10 PER011040 12 DD B2 Premodern 20 Sophocles; Philoctetes; Greek tragedy; theater; dramaturgy; contemporary performance practice; translation; disability; embodiment; grief; empathy; voice 01 06 02 00 03 00 Abandoned by his community, doomed to a solitary existence with his voice as sole companion: can Sophocles’ Philoctetes still speak to us? What do his screams have to say?Dancing with Philoctetes: Reflections on Pain and Remembrance juxtaposes a new adaptation of Sophocles’ play with an essay describing the process of bringing it to life in a world on the brink of a pandemic. Akavia investigates Sophocles’ nuanced portrayal of the fragility of empathy in the face of suffering, and also shares the challenges of embodying and vocalizing Sophocles’ text onstage. She proposes that the pandemic and its aftermath offer a renewed perspective on Philoctetes’ thematization, not just of empathy and disease, but of the longing to return: to home, to health, to what memory holds.Akavia’s treatment of Philoctetes starts out from his body and voice and journeys on to loneliness, toxic masculinity, nostalgia, cancer, dreaming, parenthood, language, ballet lessons, siblings, music, and growing up. Here, scholarship and creative non-fiction combine to tell a story of reading, performing, thinking about, and living (through) tragedy. 30 00 Abandoned by his community, doomed to a solitary existence with his voice as sole companion: can Sophocles’ Philoctetes still speak to us? What do his screams have to say?Dancing with Philoctetes: Reflections on Pain and Remembrance juxtaposes a new adaptation of Sophocles’ play with an essay describing the process of bringing it to life in a world on the brink of a pandemic. Akavia investigates Sophocles’ nuanced portrayal of the fragility of empathy in the face of suffering, and also shares the challenges of embodying and vocalizing Sophocles’ text onstage. She proposes that the pandemic and its aftermath offer a renewed perspective on Philoctetes’ thematization, not just of empathy and disease, but of the longing to return: to home, to health, to what memory holds.Akavia’s treatment of Philoctetes starts out from his body and voice and journeys on to loneliness, toxic masculinity, nostalgia, cancer, dreaming, parenthood, language, ballet lessons, siblings, music, and growing up. Here, scholarship and creative non-fiction combine to tell a story of reading, performing, thinking about, and living (through) tragedy. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0450.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dancing-with-philoctetes-reflections-on-pain-and-remembrance/ Earth, Milky Way 04 01 20231215 Abigail Akavia 02 WORLD 06 15 9781685711405 03 9781685711405 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/86159 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/86159/0450.1.00.pdf?sequence=1&isAllowed=y 20 08 20231215 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/132016 20 08 20231215 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.10782315 20 08 20231215 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/340 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/19bb1fb1-8e4a-4d64-9205-8f3729902921/download 20 08 20231215 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6da2123c-c8ae-4c61-b40d-2080474e2efb 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6da2123c-c8ae-4c61-b40d-2080474e2efb/6da2123c-c8ae-4c61-b40d-2080474e2efb.pdf 20 08 20231215 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850162 29 ZENODO: download the title https://zenodo.org/records/19850162/files/6da2123c-c8ae-4c61-b40d-2080474e2efb_book.pdf 20 08 20231215 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dancing-with-philoctetes-reflections-on-pain-and-remembrance/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0450.1.00.pdf 20 08 20231215 01 urn:uuid:906b3951-7aab-4569-b3f9-384ee4849aa7 03 01 01 thoth-work-id urn:uuid:11749800-364e-4a27-bf79-9f0ceeacb4d6 01 thoth-publication-id urn:uuid:906b3951-7aab-4569-b3f9-384ee4849aa7 15 9780615701073 03 9780615701073 06 10.21983/P3.0018.1.00 01 internal-reference 0018 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Dark Chaucer An Assortment 1 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 2 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 3 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 00 224 03 12 DSBB 93 DSBB 10 LIT011000 B2 Literary Studies 93 3KLW 10 LIT004120 B2 Premodern 93 1DDU-GB-E 20 Chaucer; literary criticism; sarkness; poetry; medieval 01 06 02 00 03 00 Although widely beloved for its playfulness and comic sensibility, Chaucer’s poetry is also subtly shot through with dark moments that open into obscure and irresolvably haunting vistas, passages into which one might fall head-first and never reach the abyssal bottom, scenes and events where everything could possibly go horribly wrong or where everything that matters seems, if even momentarily, altogether and irretrievably lost. And then sometimes, things really do go wrong. Opting to dilate rather than cordon off this darkness, this volume assembles a variety of attempts to follow such moments into their folds of blackness and horror, to chart their endless sorrows and recursive gloom, and to take depth soundings in the darker recesses of the Chaucerian lakes in order to bring back palm- or bite-sized pieces (black jewels) of bitter Chaucer that could be shared with others . . . an “assortment,” if you will. Not that this collection finds only emptiness and non-meaning in these caves and lakes. You never know what you will discover in the dark. 30 00 Although widely beloved for its playfulness and comic sensibility, Chaucer’s poetry is also subtly shot through with dark moments that open into obscure and irresolvably haunting vistas, passages into which one might fall head-first and never reach the abyssal bottom, scenes and events where everything could possibly go horribly wrong or where everything that matters seems, if even momentarily, altogether and irretrievably lost. And then sometimes, things really do go wrong. Opting to dilate rather than cordon off this darkness, this volume assembles a variety of attempts to follow such moments into their folds of blackness and horror, to chart their endless sorrows and recursive gloom, and to take depth soundings in the darker recesses of the Chaucerian lakes in order to bring back palm- or bite-sized pieces (black jewels) of bitter Chaucer that could be shared with others . . . an “assortment,” if you will. Not that this collection finds only emptiness and non-meaning in these caves and lakes. You never know what you will discover in the dark. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0018.1.00_frontcover.jpg 1 03 06 10.21983/P3.0018.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 3 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 20 00 Open Access Seaman, Myra Joy, Eileen A. Masciandaro, Nicola 2 03 06 10.21983/P3.0018.1.02 i vii 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 and here we are as on a darkling plain 1 A01 Gary J. Shipley Gary J. Shipley 01 eng 03 00 blackening, like a corpse-reanimate, lost in nights of stars of heaven’s sick white light. And there are hilts wired to the widening grip of bleached palms, the edges remaining white beneath a spill of blood carved black. And each love and loveless seed of rot is white, leeching lignin and degrading and decolorizing all past worlds of woods of tar-black trees rooted in some foreign shame. And though the fox of this wood is black and the cabbages white in which it lays, there is no peroxide in the throat that trolls the art of stories of old things. 30 00 blackening, like a corpse-reanimate, lost in nights of stars of heaven’s sick white light. And there are hilts wired to the widening grip of bleached palms, the edges remaining white beneath a spill of blood carved black. And each love and loveless seed of rot is white, leeching lignin and degrading and decolorizing all past worlds of woods of tar-black trees rooted in some foreign shame. And though the fox of this wood is black and the cabbages white in which it lays, there is no peroxide in the throat that trolls the art of stories of old things. 20 00 Open Access Shipley, Gary J. 3 03 06 10.21983/P3.0018.1.03 1 11 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dark Whiteness Benjamin Brawley and Chaucer 1 A01 21 0000000187821001 Candace Barrington Candace Barrington 40 054gzqw08 Central Connecticut State University 01 eng 03 00 On the northern edge of the Boston Commons, at the intersection of its Freedom Trail and its Black Heritage Trail, stands a life-sized relief commemorating Colonel Robert Gould Shaw. While tour buses pause at the adjacent red light, microphoned guides repeat what walkers can read from the posted information: the white Colonel Shaw led the all-African-American Massachusetts 54th Regiment, the first of its kind, into the Civil War. Among the hundreds of thousands of men who served and died in the American Civil War, Shaw is singled out, not because he fought and not because he died, but because he granted military legitimacy to the brigade of African-American troops who were otherwise not allowed to fight in their own cause. Augustus Saint-Gauden’s monu-mental bronze centers Colonel Shaw on horseback, with his regiment members preceding and following. Although these men walking with the hero were cast with facial features identifying them as African-American, their skin color is indistinguishable from the military leader’s because his is darkened to the same hue by the bronze. In effect, Saint-Gaudens’ memorial does what no war and no legislation has been able to do: erase the color difference, not by making all the men white but by making all the men dark. 30 00 On the northern edge of the Boston Commons, at the intersection of its Freedom Trail and its Black Heritage Trail, stands a life-sized relief commemorating Colonel Robert Gould Shaw. While tour buses pause at the adjacent red light, microphoned guides repeat what walkers can read from the posted information: the white Colonel Shaw led the all-African-American Massachusetts 54th Regiment, the first of its kind, into the Civil War. Among the hundreds of thousands of men who served and died in the American Civil War, Shaw is singled out, not because he fought and not because he died, but because he granted military legitimacy to the brigade of African-American troops who were otherwise not allowed to fight in their own cause. Augustus Saint-Gauden’s monu-mental bronze centers Colonel Shaw on horseback, with his regiment members preceding and following. Although these men walking with the hero were cast with facial features identifying them as African-American, their skin color is indistinguishable from the military leader’s because his is darkened to the same hue by the bronze. In effect, Saint-Gaudens’ memorial does what no war and no legislation has been able to do: erase the color difference, not by making all the men white but by making all the men dark. 20 00 Open Access Barrington, Candace 4 03 06 10.21983/P3.0018.1.04 13 27 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Saturn's Darkness 1 A01 Brantley Bryant Brantley Bryant 40 04wjxkk25 Sonoma State University 2 A01 Alia Alia 01 eng 03 00 If we’re thinking of a dark Chaucer, Saturn’s speech in the Knight’s Tale comes quickly to mind (I.2453–2478). Although pop culture misguidedly loves The Canterbury Tales best for its fart jokes, the appearance of the old, pale god in the first of the pilgrim stories shows that Chaucer can get very dark indeed. Saturn’s darkness, this essay will argue, should remind scholars of Chaucer to be attentive to our own ineradicable darknesses. We should see our moments of collapse and chaos not just as unfortunate circumstances to be acknowledged (though that is needed desperately) but also as “ways in” to the most vital and distinctive aspects of our discipline. 30 00 If we’re thinking of a dark Chaucer, Saturn’s speech in the Knight’s Tale comes quickly to mind (I.2453–2478). Although pop culture misguidedly loves The Canterbury Tales best for its fart jokes, the appearance of the old, pale god in the first of the pilgrim stories shows that Chaucer can get very dark indeed. Saturn’s darkness, this essay will argue, should remind scholars of Chaucer to be attentive to our own ineradicable darknesses. We should see our moments of collapse and chaos not just as unfortunate circumstances to be acknowledged (though that is needed desperately) but also as “ways in” to the most vital and distinctive aspects of our discipline. 20 00 Open Access Bryant, Brantley Alia 5 03 06 10.21983/P3.0018.1.05 29 41 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Dark Stain and a Non-Encounter 1 A01 Ruth Evans Ruth Evans 40 04k7nem08 Saint Louis University 01 eng 03 00 I want to write about Alcyone’s dream because it’s fascinated me for so long, but the pages of my Riverside Chaucer won’t stay open at The Book of the Duchess, so I bend back the spine and put my left palm down firmly on the gutter, but it’s as if the book is resisting my desire to read, which annoys me because I’m excited to work out why I find her dream so dark. I know that the trigger will be certain enigmatic words that tease me or some other text that swims into my head as I’m reading. I don’t know exactly what that will be, though I remember that the word “derk” is there in the poem somewhere. Now I’m skimming the opening lines, trying to take it in slowly, how the dark dream is introduced, but my eye is racing ahead, anticipating “derk,” and although I want this experience to be frictionless, I’m stopping and starting, trying to find a rhythm for my reading, seizing at words and images and dropping them or busily storing them for future recall, and then there it is! Morpheus’s cave is “derk as helle-pit.” I slow down. Here’s the dream. It’s as odd as I remember it. 30 00 I want to write about Alcyone’s dream because it’s fascinated me for so long, but the pages of my Riverside Chaucer won’t stay open at The Book of the Duchess, so I bend back the spine and put my left palm down firmly on the gutter, but it’s as if the book is resisting my desire to read, which annoys me because I’m excited to work out why I find her dream so dark. I know that the trigger will be certain enigmatic words that tease me or some other text that swims into my head as I’m reading. I don’t know exactly what that will be, though I remember that the word “derk” is there in the poem somewhere. Now I’m skimming the opening lines, trying to take it in slowly, how the dark dream is introduced, but my eye is racing ahead, anticipating “derk,” and although I want this experience to be frictionless, I’m stopping and starting, trying to find a rhythm for my reading, seizing at words and images and dropping them or busily storing them for future recall, and then there it is! Morpheus’s cave is “derk as helle-pit.” I slow down. Here’s the dream. It’s as odd as I remember it. 20 00 Open Access Evans, Ruth 6 03 06 10.21983/P3.0018.1.06 43 57 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Chaucerian Afterlives Reception and Eschatology 1 A01 Gaelan Gilbert Gaelan Gilbert 40 04s5mat29 University of Victoria 40 03vxb8t23 Hellenic College Holy Cross Greek Orthodox School of Theology 01 eng 03 00 The claim of this essai is that Chaucer is eschatological. I use this rather specific term first in order to indicate the apocalyptic aspect of Chaucer’s late-medieval theological context of the four last things (eschata) — death, judgment, hell and heaven — and secondly to illumine a dynamic of textual dispossession at work in Chaucer’s anticipations of reader response, and of his and his texts’ interconnected ‘afterlives.’ These dense formulations will require some unpacking, but at this point it suffices to say that an orientation to the prospect of future evaluation conditions in advance the “dark” moments explored below.Any discussion of eschatology seems for us moderns (even modern medievalists) to be something of a dark topic, and in at least two ways. One is the popular darkness associated with divine judgment, an anxiety nowadays often stripped of any theological reference whatsoever. Another sense is that analogous to the Pauline “we see now in a mirror but darkly,” or videmus nunc per speculum in enigmate (1 Cor. 13:12), simply the fact that we cannot see beyond the mortal bounds of this life, except obscurely in figures. And that kind of obscurity makes the prospect of judgment sometimes hard to bear. The Cloud-author alludes to our limits in just these terms:For when I sey derknes, I mene a lackyng of knowyng; as alle thing that thou knowest not, or elles that thou hast forgetyn, it is derk to thee, for thou seest it not with thi goostly ighe. And for this skile it is not clepid a cloude of the eire, bot a cloude of unknowyng, that is bitwix thee and thi God. 30 00 The claim of this essai is that Chaucer is eschatological. I use this rather specific term first in order to indicate the apocalyptic aspect of Chaucer’s late-medieval theological context of the four last things (eschata) — death, judgment, hell and heaven — and secondly to illumine a dynamic of textual dispossession at work in Chaucer’s anticipations of reader response, and of his and his texts’ interconnected ‘afterlives.’ These dense formulations will require some unpacking, but at this point it suffices to say that an orientation to the prospect of future evaluation conditions in advance the “dark” moments explored below.Any discussion of eschatology seems for us moderns (even modern medievalists) to be something of a dark topic, and in at least two ways. One is the popular darkness associated with divine judgment, an anxiety nowadays often stripped of any theological reference whatsoever. Another sense is that analogous to the Pauline “we see now in a mirror but darkly,” or videmus nunc per speculum in enigmate (1 Cor. 13:12), simply the fact that we cannot see beyond the mortal bounds of this life, except obscurely in figures. And that kind of obscurity makes the prospect of judgment sometimes hard to bear. The Cloud-author alludes to our limits in just these terms:For when I sey derknes, I mene a lackyng of knowyng; as alle thing that thou knowest not, or elles that thou hast forgetyn, it is derk to thee, for thou seest it not with thi goostly ighe. And for this skile it is not clepid a cloude of the eire, bot a cloude of unknowyng, that is bitwix thee and thi God. 20 00 Open Access Gilbert, Gaelan 7 03 06 10.21983/P3.0018.1.07 59 69 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Black Gold The Former (and Future) Age 1 A01 Leigh Harrison Leigh Harrison 40 05bnh6r87 Cornell University 01 eng 03 00 Despite their pretense of explaining beginnings, creation myths often if not always have ends in mind — a fact that certainly holds true for Chaucer’s “Former Age.” On the face of it, the poem is onlya creation myth: its verse tells the story of human community at its origins, of a freer life (with only “good feith the empeirice” [55])1 before complex estate hierarchies and the State. Its few stanzas have all the look and feel of a sad song whose melody the centuries have worn away, with all the misty revelation of prehistoric “folk” impulse that the “ballad” label still inevitably implies. This obscurity of age in turn lends the poem its own rusty darkness, over and above the darkness of loss that its narrative claims (however dimly) to recover and bring to light. Most readers, including me, encounter “The Former Age” mainly as a poem cataloging and expressing — simply about — great loss. 30 00 Despite their pretense of explaining beginnings, creation myths often if not always have ends in mind — a fact that certainly holds true for Chaucer’s “Former Age.” On the face of it, the poem is onlya creation myth: its verse tells the story of human community at its origins, of a freer life (with only “good feith the empeirice” [55])1 before complex estate hierarchies and the State. Its few stanzas have all the look and feel of a sad song whose melody the centuries have worn away, with all the misty revelation of prehistoric “folk” impulse that the “ballad” label still inevitably implies. This obscurity of age in turn lends the poem its own rusty darkness, over and above the darkness of loss that its narrative claims (however dimly) to recover and bring to light. Most readers, including me, encounter “The Former Age” mainly as a poem cataloging and expressing — simply about — great loss. 20 00 Open Access Harrison, Leigh 8 03 06 10.21983/P3.0018.1.08 71 90 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Half Dead Parsing Cecelia 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 St. Cecilia’s botched beheading in Chaucer’s Second Nun’s Tale masterfully sculpts the conundrum of life/death liminality into a horrific three-day dilation of the moment of martyrdom, opening the decollative blow that typically coincides with receiving its crown into a series of unfinished neck-cuts. Pinched between the cruelty of the headsman’s impotence, the idiotic inflexibility of the law, and her own sacred durability, Cecilia embodies the paradoxical idea of an unending, asymptotically inconclusive decapitation, an infinite series of beheading blows that never severs the head. Her hacked neck fuses into one form the two principles it figurally evokes: the unbeheadability of the body of God —“illius enim capita membra sumus. Non potest hoc corpus decollari” [“We are limbs of that head. This body cannot be decapitated”]2 — and the semi-living nature of fallen humanity, as signified through medieval allegorical interpretation of the traveler who is attacked by robbers on the road from Jerusalem to Jericho and left “half alive/half dead” [semivivus, emithane] (Luke 10:30). The unity of this form is equivalent to the differential non-difference (half alive = half dead) between the Greek and Latin terms. The three-fold opening intensively multiplies the “zero degree of torture”3 into a single tertium quid that is indifferently beyond the distinction between life and death. Being half dead, Cecilia is ultimately alive. Being half alive, Cecilia is ultimately dead. Dwelling in the hyper-intimacy of extreme dereliction, Cecilia is a lacerated, ever-dilating theopathic icon of divinity’s absolute indifference to life and death, its being superessentially beyond both. Her three-day rest from both, during which she simultaneously does nothing and works all the more fervently, exemplifies the “passivity and absence of effort . . . in which divine transcendence is dissolved.” 30 00 St. Cecilia’s botched beheading in Chaucer’s Second Nun’s Tale masterfully sculpts the conundrum of life/death liminality into a horrific three-day dilation of the moment of martyrdom, opening the decollative blow that typically coincides with receiving its crown into a series of unfinished neck-cuts. Pinched between the cruelty of the headsman’s impotence, the idiotic inflexibility of the law, and her own sacred durability, Cecilia embodies the paradoxical idea of an unending, asymptotically inconclusive decapitation, an infinite series of beheading blows that never severs the head. Her hacked neck fuses into one form the two principles it figurally evokes: the unbeheadability of the body of God —“illius enim capita membra sumus. Non potest hoc corpus decollari” [“We are limbs of that head. This body cannot be decapitated”]2 — and the semi-living nature of fallen humanity, as signified through medieval allegorical interpretation of the traveler who is attacked by robbers on the road from Jerusalem to Jericho and left “half alive/half dead” [semivivus, emithane] (Luke 10:30). The unity of this form is equivalent to the differential non-difference (half alive = half dead) between the Greek and Latin terms. The three-fold opening intensively multiplies the “zero degree of torture”3 into a single tertium quid that is indifferently beyond the distinction between life and death. Being half dead, Cecilia is ultimately alive. Being half alive, Cecilia is ultimately dead. Dwelling in the hyper-intimacy of extreme dereliction, Cecilia is a lacerated, ever-dilating theopathic icon of divinity’s absolute indifference to life and death, its being superessentially beyond both. Her three-day rest from both, during which she simultaneously does nothing and works all the more fervently, exemplifies the “passivity and absence of effort . . . in which divine transcendence is dissolved.” 20 00 Open Access Masciandaro, Nicola 9 03 06 10.21983/P3.0018.1.09 91 102 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 In the Event of the Franklin's Tale 1 A01 J. Allan Mitchell J. Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 There is no truth to delimit in the event. Events come, if ever they arrive, to designate fields of pure possibility and emergent futurity. Consider one old tale of “diverse aventures” (V.710), Chaucer’s Franklin’s Tale.1 Somewhere in Brittany, Dorigen is happily married to the knight Arveragus, having recently pledged her undying love. “Have heer my trouthe — til that myn herte breste” (V.759). Soon he goes on an expedition abroad. Dorigen watches ships come to port in the hopes that one will return her husband safely, and she is tormented by thoughts of his foundering. Dorigen cultivates a “derke fantasye” (V.844), meditating on the hazards of a seascape that consists of “grisly rokkes blake” (V.859) just offshore. They are menacing and apparently meaningless obstacles to her happiness. She cannot shake bleak thoughts of a possible fatality, despite friends’ comforting words and pleasant distractions. Then something unexpected does happen. At a dance, the amorous squire Aurelius propositions Dorigen, begging her mercy. She rejects his advances, tactfully couching her reply in terms that are described as playful: shesays she will yield to Aurelius only if he removes thedangerous rocks that threaten her beloved husband. “Have heer my trouthe, in al that evere I kan” (V.998). It would seem impossible. But Dorigen’s so-called rash promise to Aureliusis a fateful utterance carried away by further events, accompanied by a powerful sense of foreboding, setting in motion so many impossibilities. Dorigen and expectantreaders of the tale subsequently drift towards a future of still more improbable events. 30 00 There is no truth to delimit in the event. Events come, if ever they arrive, to designate fields of pure possibility and emergent futurity. Consider one old tale of “diverse aventures” (V.710), Chaucer’s Franklin’s Tale.1 Somewhere in Brittany, Dorigen is happily married to the knight Arveragus, having recently pledged her undying love. “Have heer my trouthe — til that myn herte breste” (V.759). Soon he goes on an expedition abroad. Dorigen watches ships come to port in the hopes that one will return her husband safely, and she is tormented by thoughts of his foundering. Dorigen cultivates a “derke fantasye” (V.844), meditating on the hazards of a seascape that consists of “grisly rokkes blake” (V.859) just offshore. They are menacing and apparently meaningless obstacles to her happiness. She cannot shake bleak thoughts of a possible fatality, despite friends’ comforting words and pleasant distractions. Then something unexpected does happen. At a dance, the amorous squire Aurelius propositions Dorigen, begging her mercy. She rejects his advances, tactfully couching her reply in terms that are described as playful: shesays she will yield to Aurelius only if he removes thedangerous rocks that threaten her beloved husband. “Have heer my trouthe, in al that evere I kan” (V.998). It would seem impossible. But Dorigen’s so-called rash promise to Aureliusis a fateful utterance carried away by further events, accompanied by a powerful sense of foreboding, setting in motion so many impossibilities. Dorigen and expectantreaders of the tale subsequently drift towards a future of still more improbable events. 20 00 Open Access Mitchell, J. Allan 10 03 06 10.21983/P3.0018.1.10 103 116 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Black as the Crow 1 A01 Travis Neel Travis Neel 2 A01 Andrew Richmond Andrew Richmond 01 eng 03 00 Perched among the many birds in the Parliament of Foules sits “the crowe with vois of care” (364).1 The crow receives no space to speak in Geoffrey Chaucer’s Valentine’s Day poem —a grim reminder perhaps of the circumstances under which he received his sad voice and scorched appearance. In Chaucer’s hands it is a different, perhaps darker, story than the one told by Ted Hughes. The crow does not launch himself into blackness through a jealousy contest; rather he becomes but one victim at the hands of a jealous and wrathful master. As Chaucer’s Manciple tells the story, the crow had once been a white bird with a beautiful voice. Phoebus Apollo had taught the crow how to speak like a human, and when this crow sang, “Therwith in al this world no nyghtyngale/ Ne koude, by an hondred thousand deel, / Syngen so wonder myrily and weel” (IX.136–139). But the crow’s status within Phoebus’s household does not last long in the Manciple’s Tale. Having witnessed Phoebus’s wife with her beloved, the crow immediately declares the wife’s unfaithfulness to Phoebus —and Pheobus’ resulting identity as a cuckold — with the song, “Cokkow! Cokkow! Cokkow!” (IX.243). Phoebus turns his ire and sorrow towards his wife and his minstrelsy before addressing the crow as a traitor. To quite the crow of his false tale (IX.293), Phoebus strips him of his song, deplumes his white feathers, and casts him out of his home. 30 00 Perched among the many birds in the Parliament of Foules sits “the crowe with vois of care” (364).1 The crow receives no space to speak in Geoffrey Chaucer’s Valentine’s Day poem —a grim reminder perhaps of the circumstances under which he received his sad voice and scorched appearance. In Chaucer’s hands it is a different, perhaps darker, story than the one told by Ted Hughes. The crow does not launch himself into blackness through a jealousy contest; rather he becomes but one victim at the hands of a jealous and wrathful master. As Chaucer’s Manciple tells the story, the crow had once been a white bird with a beautiful voice. Phoebus Apollo had taught the crow how to speak like a human, and when this crow sang, “Therwith in al this world no nyghtyngale/ Ne koude, by an hondred thousand deel, / Syngen so wonder myrily and weel” (IX.136–139). But the crow’s status within Phoebus’s household does not last long in the Manciple’s Tale. Having witnessed Phoebus’s wife with her beloved, the crow immediately declares the wife’s unfaithfulness to Phoebus —and Pheobus’ resulting identity as a cuckold — with the song, “Cokkow! Cokkow! Cokkow!” (IX.243). Phoebus turns his ire and sorrow towards his wife and his minstrelsy before addressing the crow as a traitor. To quite the crow of his false tale (IX.293), Phoebus strips him of his song, deplumes his white feathers, and casts him out of his home. 20 00 Open Access Neel, Travis Richmond, Andrew 11 03 06 10.21983/P3.0018.1.11 117 123 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Unravelling Constance 1 A01 Hannah Priest Hannah Priest 01 eng 03 00 She came from the sea, mazed, amazed —masen —confused, bewildered, senseless. Deceived, deranged, crazed. They stopped and asked her who she was. When they stopped and asked her who she was, she said she did not know. She said she was so mazed in the sea, that she forgot her mind. Her mind —mynde — seat of memory, faculty of memory, individual remembrance. Reason, understanding. Will, desire, purpose. She forgot her mind, when she lost herself. Constance forgets Constance. Constance is lost. Distress teaches us to be inventive, says the nightingale, but blank Constance does not invent. Once, she was Constance. Syrian chapmen found her in Rome, among the other things, specially. The chapmen took their cloths of gold, their satins rich of hew, their chaffare so thrifty and new, and returned with tales of Constance. Their chaffare — anything of virtue, something desirable. An exchange, a bargain, a deal. So thrifty — well-made, seemly, suitable. Golden, rich of hew, so thrifty and so new, they returned with tales of Constance. The chapmen went to market. Take the cloth and sell the cloth, take the goods and sell the goods. The smooth trade in luxury prevails over gods and geography. Facilitate allegiance in the market. Chapmen exchange satin for Dame Constance. 30 00 She came from the sea, mazed, amazed —masen —confused, bewildered, senseless. Deceived, deranged, crazed. They stopped and asked her who she was. When they stopped and asked her who she was, she said she did not know. She said she was so mazed in the sea, that she forgot her mind. Her mind —mynde — seat of memory, faculty of memory, individual remembrance. Reason, understanding. Will, desire, purpose. She forgot her mind, when she lost herself. Constance forgets Constance. Constance is lost. Distress teaches us to be inventive, says the nightingale, but blank Constance does not invent. Once, she was Constance. Syrian chapmen found her in Rome, among the other things, specially. The chapmen took their cloths of gold, their satins rich of hew, their chaffare so thrifty and new, and returned with tales of Constance. Their chaffare — anything of virtue, something desirable. An exchange, a bargain, a deal. So thrifty — well-made, seemly, suitable. Golden, rich of hew, so thrifty and so new, they returned with tales of Constance. The chapmen went to market. Take the cloth and sell the cloth, take the goods and sell the goods. The smooth trade in luxury prevails over gods and geography. Facilitate allegiance in the market. Chapmen exchange satin for Dame Constance. 20 00 Open Access Priest, Hannah 12 03 06 10.21983/P3.0018.1.12 125 137 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 L'O de V A Palimpsest 1 A01 Lisa Schamess Lisa Schamess 01 eng 03 00 For centuries she didn’t speak at all, the girl Virginia.The silent girl who finally speaks tells the story. Submission, omission, commission, submersion, subversion, inversion, corruption, coercion. Defilement, denial, the child, the trial, fil, fille, vile, ville, filial bonds, bondage, twisted positions and impositions, text and subtext and context and cuntext. Penetration, vellum, hide, marks, pens, wounds, piercings, cuttings, severings, maidenheads, giving head, what’s inside our heads that is left unsaid, what cannot be said being said, the sinkhole in a prison bed, the outburst of consent and the pressure of speech, the hand holding the pencil raced over the paper without the least concern for the hour or the light. The girl was writing the way you speak in the dark to the person you love when you’ve held back the words of love too long and they flow at last2, hysteria catatonia silence asceticism abasement how a woman throws herself is thrown hurls herself is hurled cuts herself is cut how there is an O in the center of the monastery and in the rear of the prison the text is inscribed, marked, stripped, cut, scraped, erased, reinscribed, corrected, raped, rapt, wrapped3 and how this story is old, begins with a snake’s mouth and ends in a bit of tale served up by a woman, an O, once a V, an A(nne), an A(ury), a Pauline nun from the bawdy papers, a Reagent. The Autre. The Autre4 Translation transgression transubstantiation, trasumanar5, tongues, longing, language, sources, apocrypha apostasy outtakes originals pens and penetration, comments, commas, parents, parentheses, prisons, patrimony, patronage, the mouth, the eye, the os, the ass, the orifice, the vacuole, the caesura, the fissure, the seizure, the rapture, ravissement, stripping away, strips of skin, laceration, O in the middle, jouissance,6 O behind, the iron O on the finger, the steel O in the labia, the monsters inside us: The Three-Legged Man, The Headless Woman . . . we forget to remember and remember to forget a story of giving credit and revoking credit of not knowing half the time to whom to give credit. 30 00 For centuries she didn’t speak at all, the girl Virginia.The silent girl who finally speaks tells the story. Submission, omission, commission, submersion, subversion, inversion, corruption, coercion. Defilement, denial, the child, the trial, fil, fille, vile, ville, filial bonds, bondage, twisted positions and impositions, text and subtext and context and cuntext. Penetration, vellum, hide, marks, pens, wounds, piercings, cuttings, severings, maidenheads, giving head, what’s inside our heads that is left unsaid, what cannot be said being said, the sinkhole in a prison bed, the outburst of consent and the pressure of speech, the hand holding the pencil raced over the paper without the least concern for the hour or the light. The girl was writing the way you speak in the dark to the person you love when you’ve held back the words of love too long and they flow at last2, hysteria catatonia silence asceticism abasement how a woman throws herself is thrown hurls herself is hurled cuts herself is cut how there is an O in the center of the monastery and in the rear of the prison the text is inscribed, marked, stripped, cut, scraped, erased, reinscribed, corrected, raped, rapt, wrapped3 and how this story is old, begins with a snake’s mouth and ends in a bit of tale served up by a woman, an O, once a V, an A(nne), an A(ury), a Pauline nun from the bawdy papers, a Reagent. The Autre. The Autre4 Translation transgression transubstantiation, trasumanar5, tongues, longing, language, sources, apocrypha apostasy outtakes originals pens and penetration, comments, commas, parents, parentheses, prisons, patrimony, patronage, the mouth, the eye, the os, the ass, the orifice, the vacuole, the caesura, the fissure, the seizure, the rapture, ravissement, stripping away, strips of skin, laceration, O in the middle, jouissance,6 O behind, the iron O on the finger, the steel O in the labia, the monsters inside us: The Three-Legged Man, The Headless Woman . . . we forget to remember and remember to forget a story of giving credit and revoking credit of not knowing half the time to whom to give credit. 20 00 Open Access Schamess, Lisa 13 03 06 10.21983/P3.0018.1.13 139 149 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Disconsolate Art 1 A01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 01 eng 03 00 Art without consolation would, it seems, be fatally deficient. Art’s distinctive identity, central to a humanist aesthetic, emanates from its supposedly singular capacity to transcend: where humanists are menaced by meaninglessness, art offers significance; where humanists lament loss, art reveals timeless truth and enduring beauty; where humanists sense absence, art promises presence. Humanist art consoles the living about the dead and the losses they signify. It affirms the extension of (human) life into the realms of the lifeless. Read (as it customarily is) with such expectations, Chaucer’s Book of the Duchess becomes an artistic experiment in which the death of John of Gaunt’s wife provides Chaucer the matter through which to transcend the boundaries of human life and, in that act, create art. But not so fast. Humanist traditions prepare readers for such a result, and yet this narrative continuously avoids granting it. Instead, the poem actively “refuses to re-figure loss as transcendence.”1 It requires that we proclaim, along with its proverbially obtuse narrator, that “She is dead!” and, in the process, it “insist[s] on the irreducibility of certain limits.”3 Absence, loss, and the threat of meaninglessness all endure. The poem’s many irresolvable ambiguities — its narrator’s mysterious and unnatural illness, its melancholic modifications that transform Ovid’s story of Ceyx (for Chaucer, Seys) and Alcyone into tragedy, its hyperbolic miscommunication between grieving knight and inquisitive dreamer — linger. In deliberately refusing transformation or transcendence, the poem enacts what I would call a disconsolate poetics, in which pain and suffering perdure, in which darkness obscures the light. 30 00 Art without consolation would, it seems, be fatally deficient. Art’s distinctive identity, central to a humanist aesthetic, emanates from its supposedly singular capacity to transcend: where humanists are menaced by meaninglessness, art offers significance; where humanists lament loss, art reveals timeless truth and enduring beauty; where humanists sense absence, art promises presence. Humanist art consoles the living about the dead and the losses they signify. It affirms the extension of (human) life into the realms of the lifeless. Read (as it customarily is) with such expectations, Chaucer’s Book of the Duchess becomes an artistic experiment in which the death of John of Gaunt’s wife provides Chaucer the matter through which to transcend the boundaries of human life and, in that act, create art. But not so fast. Humanist traditions prepare readers for such a result, and yet this narrative continuously avoids granting it. Instead, the poem actively “refuses to re-figure loss as transcendence.”1 It requires that we proclaim, along with its proverbially obtuse narrator, that “She is dead!” and, in the process, it “insist[s] on the irreducibility of certain limits.”3 Absence, loss, and the threat of meaninglessness all endure. The poem’s many irresolvable ambiguities — its narrator’s mysterious and unnatural illness, its melancholic modifications that transform Ovid’s story of Ceyx (for Chaucer, Seys) and Alcyone into tragedy, its hyperbolic miscommunication between grieving knight and inquisitive dreamer — linger. In deliberately refusing transformation or transcendence, the poem enacts what I would call a disconsolate poetics, in which pain and suffering perdure, in which darkness obscures the light. 20 00 Open Access Seaman, Myra 14 03 06 10.21983/P3.0018.1.14 151 160 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Kill Me, Save Me, Let Me Go Custance, Virginia, Emelye 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 01 eng 03 00 The inevitability of bad Fama worries a few of Chaucer’s heroines. Cresseid and Dido prefer that their shame not be spread about, while the Wife of Bath prefers to seize the means of narrative production.1 Each worries about what will be said about her; each justifies her actions; but none recognizes that, as a literary character, she could not have done other than she did. This is where Custance, Virginia, and Emelye differ. It is the difference between saying, “I wish you wouldn't talk about me this way” and saying, instead, “why are you doing this to me?” or, more precisely, “Why are you making me do this?” For each one knows, if only for a moment, that the responsibility for what happens to her and through her lies elsewhere. Each experiences the precise opposite of self-awareness, for each momentarily struggles against the narrative before realizing herself to be not a self but rather someone else's creature, destined to be rewarded or to suffer regardless of what she does, destined to be made to be satisfied with what happens, destined to be exemplary whether she wants to or not, because she comes to know that her wants are not her own. At once constituted and dispossessed by her tale, each implicitly repeats one of Žižek’s favorite maxims, Deleuze’s “si vous êtes pris dans le rêve de l’autre, vous êtes foutu”2 [“if you're caught in the dream of another, you're fucked”]. One seeks death; another wants to be something other than a creature of her father; and the last tries to exempt herself from the tale’s political reconciliation. None gets what she wants: one forced to live, one to die, one to love, each gets just enough awareness of being in their stories to know that they want out. Then the door slams shut. 30 00 The inevitability of bad Fama worries a few of Chaucer’s heroines. Cresseid and Dido prefer that their shame not be spread about, while the Wife of Bath prefers to seize the means of narrative production.1 Each worries about what will be said about her; each justifies her actions; but none recognizes that, as a literary character, she could not have done other than she did. This is where Custance, Virginia, and Emelye differ. It is the difference between saying, “I wish you wouldn't talk about me this way” and saying, instead, “why are you doing this to me?” or, more precisely, “Why are you making me do this?” For each one knows, if only for a moment, that the responsibility for what happens to her and through her lies elsewhere. Each experiences the precise opposite of self-awareness, for each momentarily struggles against the narrative before realizing herself to be not a self but rather someone else's creature, destined to be rewarded or to suffer regardless of what she does, destined to be made to be satisfied with what happens, destined to be exemplary whether she wants to or not, because she comes to know that her wants are not her own. At once constituted and dispossessed by her tale, each implicitly repeats one of Žižek’s favorite maxims, Deleuze’s “si vous êtes pris dans le rêve de l’autre, vous êtes foutu”2 [“if you're caught in the dream of another, you're fucked”]. One seeks death; another wants to be something other than a creature of her father; and the last tries to exempt herself from the tale’s political reconciliation. None gets what she wants: one forced to live, one to die, one to love, each gets just enough awareness of being in their stories to know that they want out. Then the door slams shut. 20 00 Open Access Steel, Karl 15 03 06 10.21983/P3.0018.1.15 161 171 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Physician's Tale as Hagioclasm 1 A01 21 0000000234392976 Elaine Treharne Elaine Treharne 40 00f54p054 Stanford University 01 eng 03 00 Adroit scholarly interpretation of the Physician’s Taleover the last half century has sought to rehabilitate what is perceived as one of Chaucer’s least satisfactory tales. Arguments have focused on the correlation of teller and tale; Chaucer’s manipulation of his sources; and the foregrounding of various key aspects of the tale, such as governance, virginity or the legal system. In seeking to round off the Tale, to give it cohesion and moral purpose, for example, Kirk L. Smith concludes his discussion about the judicial and medical elements with the opinion that “The tale offers this moral cure: abjuring the exploitation in which self-absorbed Apius indulges, the worthy practitioner would earn the public’s esteem by pledging disinterested service.” Similarly, in Jerome Mandel’s view, the careful structure of the Tale and its emphasis on death can be paralleled with The Pardoner’s Tale, with which it is paired in Fragment VI. Crafton’s recent judicious appraisal focuses on shared concerns between the Parson’s Tale and the Physician’s created by the use of preaching motifs, the Summa virtutem remediis animeand the theme of “false virginity.” Other critics have highlighted the use of hagiographic topoi in the Tale. In Lee Patterson’s clever and insightful Chaucer and the Subject of History, he judges the Tale as aspiring to “hagiographical authority,” as a “quasi hagiography” in which the heroine, Virginia, is a “helpless victim,” subordinated to her persecutors’ narrative domi-nance. “In short,” states Patterson, the Physician’s Tale “is a fraudulent or ‘counterfeit’ hagiography . . . unable to trans-cend its own fallen historicity. 30 00 Adroit scholarly interpretation of the Physician’s Taleover the last half century has sought to rehabilitate what is perceived as one of Chaucer’s least satisfactory tales. Arguments have focused on the correlation of teller and tale; Chaucer’s manipulation of his sources; and the foregrounding of various key aspects of the tale, such as governance, virginity or the legal system. In seeking to round off the Tale, to give it cohesion and moral purpose, for example, Kirk L. Smith concludes his discussion about the judicial and medical elements with the opinion that “The tale offers this moral cure: abjuring the exploitation in which self-absorbed Apius indulges, the worthy practitioner would earn the public’s esteem by pledging disinterested service.” Similarly, in Jerome Mandel’s view, the careful structure of the Tale and its emphasis on death can be paralleled with The Pardoner’s Tale, with which it is paired in Fragment VI. Crafton’s recent judicious appraisal focuses on shared concerns between the Parson’s Tale and the Physician’s created by the use of preaching motifs, the Summa virtutem remediis animeand the theme of “false virginity.” Other critics have highlighted the use of hagiographic topoi in the Tale. In Lee Patterson’s clever and insightful Chaucer and the Subject of History, he judges the Tale as aspiring to “hagiographical authority,” as a “quasi hagiography” in which the heroine, Virginia, is a “helpless victim,” subordinated to her persecutors’ narrative domi-nance. “In short,” states Patterson, the Physician’s Tale “is a fraudulent or ‘counterfeit’ hagiography . . . unable to trans-cend its own fallen historicity. 20 00 Open Access Treharne, Elaine 16 03 06 10.21983/P3.0018.1.16 173 180 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Light Has Lifted Trickster Pandare 1 A01 Bob Valasek Bob Valasek 01 eng 03 00 Pandare’s role in Chaucer’s Troilus and Criseyde has been one of much debate among Chaucerian scholars and critics: Is he friend or is he foe, and what is his purpose either way? He is at once friend, foe, and I would argue, the character with whom readers most identify. Readers of Troilus and Criseyde realize that they read to discover characters exactly like Pandare; characters whom he or she wishes they could be, and ones whose motives are sprinkled with hints of darkness and mischief. Pandare represents the private thoughts in our minds, the kind we know we cannot, and will not, act upon in the way Pandare has, but which we desire to pursue vicariously. Pandare is a charismatic trickster figure.The trickster figure is a mythical character found in almost every culture throughout history and is included by Carl Jung among his archetypes. The trickster and its tendencies exist in all of us; the degree to which they surface depends on the individual. Usually a male, tricksters can be identified by many common traits such as stubbornness, chicanery, duplicity, and the ability to evoke laughter. Classic trickster characters range from Prometheus, known as one of the first tricksters, to Uncle Remus’s Brer Rabbit. The trickster typically preys on weaker characters and remains confident until the end. The story surrounding the trickster and its result or lesson is often used to satirize the darkest conventions of the culture in which the story takes place. Their mischievous, self-serving actions can often have the trickster backtracking and succumbing to fate or fortune, and through their blunder knowledge can be gained. 30 00 Pandare’s role in Chaucer’s Troilus and Criseyde has been one of much debate among Chaucerian scholars and critics: Is he friend or is he foe, and what is his purpose either way? He is at once friend, foe, and I would argue, the character with whom readers most identify. Readers of Troilus and Criseyde realize that they read to discover characters exactly like Pandare; characters whom he or she wishes they could be, and ones whose motives are sprinkled with hints of darkness and mischief. Pandare represents the private thoughts in our minds, the kind we know we cannot, and will not, act upon in the way Pandare has, but which we desire to pursue vicariously. Pandare is a charismatic trickster figure.The trickster figure is a mythical character found in almost every culture throughout history and is included by Carl Jung among his archetypes. The trickster and its tendencies exist in all of us; the degree to which they surface depends on the individual. Usually a male, tricksters can be identified by many common traits such as stubbornness, chicanery, duplicity, and the ability to evoke laughter. Classic trickster characters range from Prometheus, known as one of the first tricksters, to Uncle Remus’s Brer Rabbit. The trickster typically preys on weaker characters and remains confident until the end. The story surrounding the trickster and its result or lesson is often used to satirize the darkest conventions of the culture in which the story takes place. Their mischievous, self-serving actions can often have the trickster backtracking and succumbing to fate or fortune, and through their blunder knowledge can be gained. 20 00 Open Access Valasek, Bob 17 03 06 10.21983/P3.0018.1.17 181 190 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Suffer the Little Children, or, A Rumination on the Faith of Zombies 1 A01 Lisa Weston Lisa Weston 40 03enmdz06 California State University, Fresno 01 eng 03 00 In modern psychological parlance rumination names a neurotic brooding, a persistent, relentless mental replaying of a bad memory. In a more medieval context rumination is the practice of “chewing over” a well-known and constantly re-read text to achieve insight into the nature of God and the universe. What follows here is, in a way, a cross-temporal rumination or (to alter the alimentary metaphor a little) a worrying of a text of a text that worries me.The Prioress’s Tale’s narrative of the Litel Clergeon’s death, partial resurrection and second death is a text that I for one have never satisfactorily digested. The story is an (alas) familiar medieval reflex of the blood-libel: a pious young child is murdered by Jews as he walks the ghetto singing a Christian hymn. But the lurid details of this narrative replay themselves, I expect, in many a reader’s memory: the slaughtered child hidden in shit; the frantic, weeping mother; the abbot, astounded and confounded by the miraculous discovery of the corpse; the outraged Christian crowd caught up in anti-Semitic rhetoric and bloody vengeance; and especially, at the center of it all, the grotesque body of the Litel Clergeon itself. For it is not, after all, a living seven-year-old boy who sings: it is, rather, his corpse that will not shut up. Nor is that corpse merely moaning or shrieking: that it sings a hymn like O Alma Redemptoris Mater, and might (theoretically) sing it forever unless re-murdered, makes the dark grotesquerie of he spectacle of this undead child all the more pervasive. Throat slit, as the Litel Clergeon says, “unto my nekke boon”(VII.649),1 the child’s body serves as an eloquent witness to the power of God, yes, but hardly to anything like the mercy or love proclaimed in the hymn. For that ghastly singing body is stuck, zombie-like, forever on the verge of dying, a victim of violence producing future violence and propagating further victims. 30 00 In modern psychological parlance rumination names a neurotic brooding, a persistent, relentless mental replaying of a bad memory. In a more medieval context rumination is the practice of “chewing over” a well-known and constantly re-read text to achieve insight into the nature of God and the universe. What follows here is, in a way, a cross-temporal rumination or (to alter the alimentary metaphor a little) a worrying of a text of a text that worries me.The Prioress’s Tale’s narrative of the Litel Clergeon’s death, partial resurrection and second death is a text that I for one have never satisfactorily digested. The story is an (alas) familiar medieval reflex of the blood-libel: a pious young child is murdered by Jews as he walks the ghetto singing a Christian hymn. But the lurid details of this narrative replay themselves, I expect, in many a reader’s memory: the slaughtered child hidden in shit; the frantic, weeping mother; the abbot, astounded and confounded by the miraculous discovery of the corpse; the outraged Christian crowd caught up in anti-Semitic rhetoric and bloody vengeance; and especially, at the center of it all, the grotesque body of the Litel Clergeon itself. For it is not, after all, a living seven-year-old boy who sings: it is, rather, his corpse that will not shut up. Nor is that corpse merely moaning or shrieking: that it sings a hymn like O Alma Redemptoris Mater, and might (theoretically) sing it forever unless re-murdered, makes the dark grotesquerie of he spectacle of this undead child all the more pervasive. Throat slit, as the Litel Clergeon says, “unto my nekke boon”(VII.649),1 the child’s body serves as an eloquent witness to the power of God, yes, but hardly to anything like the mercy or love proclaimed in the hymn. For that ghastly singing body is stuck, zombie-like, forever on the verge of dying, a victim of violence producing future violence and propagating further victims. 20 00 Open Access Weston, Lisa 18 03 06 10.21983/P3.0018.1.18 191 203 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Dark is Light Enough The Layout of the Tale of Sir Thopas 1 A01 Thomas White Thomas White 01 eng 03 00 Sir Thopas — Chaucer’s “rym” (VII.709) that so disappoints the Host —is not generally discussed in terms of dark moments or abyssal themes. In fact, in its wilful and relentless ineptitude, Chaucer’s parody of the tail-rhyme romance represents one of the most sustained comic moments in all of the Tales, culminating in Harry’s uncompromising interruption. However, beneath the surface of Chaucer’s parody of the likes of “Ypotas,” “Bevys” and “sir Gy” (VII.898–899), the repeated elision of a specific paratextual feature of Thopas in both a large proportion of the fifteenth-century manuscripts of the Tales as well the vast majority of printed editions points toward the potential inscrutability not only of medieval textual records but also early-modern and modern records as well.1 This paratextual feature — Chaucer’s use and subtle amplification of the traditional tail-rhyme verse layout — forms part of a focus in Fragment VII of the Tales on both the resources available to the English poet writing at the close of the fourteenth century and, more generally, the very act of reading and the problematic nature of interpretation itself. 30 00 Sir Thopas — Chaucer’s “rym” (VII.709) that so disappoints the Host —is not generally discussed in terms of dark moments or abyssal themes. In fact, in its wilful and relentless ineptitude, Chaucer’s parody of the tail-rhyme romance represents one of the most sustained comic moments in all of the Tales, culminating in Harry’s uncompromising interruption. However, beneath the surface of Chaucer’s parody of the likes of “Ypotas,” “Bevys” and “sir Gy” (VII.898–899), the repeated elision of a specific paratextual feature of Thopas in both a large proportion of the fifteenth-century manuscripts of the Tales as well the vast majority of printed editions points toward the potential inscrutability not only of medieval textual records but also early-modern and modern records as well.1 This paratextual feature — Chaucer’s use and subtle amplification of the traditional tail-rhyme verse layout — forms part of a focus in Fragment VII of the Tales on both the resources available to the English poet writing at the close of the fourteenth century and, more generally, the very act of reading and the problematic nature of interpretation itself. 20 00 Open Access White, Thomas 19 03 06 10.21983/P3.0018.1.19 205 209 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 3 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 20 00 Open Access Seaman, Myra Joy, Eileen A. Masciandaro, Nicola 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dark-chaucer/ Brooklyn, NY 04 01 20121223 Seaman, Myra Joy, Eileen A. Masciandaro, Nicola 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615701078 20 08 20121223 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dark-chaucer-an-assortment 20 08 20121223 02 24.00 USD WORLD urn:uuid:c5694676-a3c7-4ce8-9851-327f4cf80070 03 01 01 thoth-work-id urn:uuid:11749800-364e-4a27-bf79-9f0ceeacb4d6 01 thoth-publication-id urn:uuid:c5694676-a3c7-4ce8-9851-327f4cf80070 06 10.21983/P3.0018.1.00 01 internal-reference 0018 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Dark Chaucer An Assortment 1 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 2 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 3 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 00 224 03 12 DSBB 93 DSBB 10 LIT011000 B2 Literary Studies 93 3KLW 10 LIT004120 B2 Premodern 93 1DDU-GB-E 20 Chaucer; literary criticism; sarkness; poetry; medieval 01 06 02 00 03 00 Although widely beloved for its playfulness and comic sensibility, Chaucer’s poetry is also subtly shot through with dark moments that open into obscure and irresolvably haunting vistas, passages into which one might fall head-first and never reach the abyssal bottom, scenes and events where everything could possibly go horribly wrong or where everything that matters seems, if even momentarily, altogether and irretrievably lost. And then sometimes, things really do go wrong. Opting to dilate rather than cordon off this darkness, this volume assembles a variety of attempts to follow such moments into their folds of blackness and horror, to chart their endless sorrows and recursive gloom, and to take depth soundings in the darker recesses of the Chaucerian lakes in order to bring back palm- or bite-sized pieces (black jewels) of bitter Chaucer that could be shared with others . . . an “assortment,” if you will. Not that this collection finds only emptiness and non-meaning in these caves and lakes. You never know what you will discover in the dark. 30 00 Although widely beloved for its playfulness and comic sensibility, Chaucer’s poetry is also subtly shot through with dark moments that open into obscure and irresolvably haunting vistas, passages into which one might fall head-first and never reach the abyssal bottom, scenes and events where everything could possibly go horribly wrong or where everything that matters seems, if even momentarily, altogether and irretrievably lost. And then sometimes, things really do go wrong. Opting to dilate rather than cordon off this darkness, this volume assembles a variety of attempts to follow such moments into their folds of blackness and horror, to chart their endless sorrows and recursive gloom, and to take depth soundings in the darker recesses of the Chaucerian lakes in order to bring back palm- or bite-sized pieces (black jewels) of bitter Chaucer that could be shared with others . . . an “assortment,” if you will. Not that this collection finds only emptiness and non-meaning in these caves and lakes. You never know what you will discover in the dark. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0018.1.00_frontcover.jpg 1 03 06 10.21983/P3.0018.1.01 i xv 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 3 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 20 00 Open Access Seaman, Myra Joy, Eileen A. Masciandaro, Nicola 2 03 06 10.21983/P3.0018.1.02 i vii 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 and here we are as on a darkling plain 1 A01 Gary J. Shipley Gary J. Shipley 01 eng 03 00 blackening, like a corpse-reanimate, lost in nights of stars of heaven’s sick white light. And there are hilts wired to the widening grip of bleached palms, the edges remaining white beneath a spill of blood carved black. And each love and loveless seed of rot is white, leeching lignin and degrading and decolorizing all past worlds of woods of tar-black trees rooted in some foreign shame. And though the fox of this wood is black and the cabbages white in which it lays, there is no peroxide in the throat that trolls the art of stories of old things. 30 00 blackening, like a corpse-reanimate, lost in nights of stars of heaven’s sick white light. And there are hilts wired to the widening grip of bleached palms, the edges remaining white beneath a spill of blood carved black. And each love and loveless seed of rot is white, leeching lignin and degrading and decolorizing all past worlds of woods of tar-black trees rooted in some foreign shame. And though the fox of this wood is black and the cabbages white in which it lays, there is no peroxide in the throat that trolls the art of stories of old things. 20 00 Open Access Shipley, Gary J. 3 03 06 10.21983/P3.0018.1.03 1 11 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dark Whiteness Benjamin Brawley and Chaucer 1 A01 21 0000000187821001 Candace Barrington Candace Barrington 40 054gzqw08 Central Connecticut State University 01 eng 03 00 On the northern edge of the Boston Commons, at the intersection of its Freedom Trail and its Black Heritage Trail, stands a life-sized relief commemorating Colonel Robert Gould Shaw. While tour buses pause at the adjacent red light, microphoned guides repeat what walkers can read from the posted information: the white Colonel Shaw led the all-African-American Massachusetts 54th Regiment, the first of its kind, into the Civil War. Among the hundreds of thousands of men who served and died in the American Civil War, Shaw is singled out, not because he fought and not because he died, but because he granted military legitimacy to the brigade of African-American troops who were otherwise not allowed to fight in their own cause. Augustus Saint-Gauden’s monu-mental bronze centers Colonel Shaw on horseback, with his regiment members preceding and following. Although these men walking with the hero were cast with facial features identifying them as African-American, their skin color is indistinguishable from the military leader’s because his is darkened to the same hue by the bronze. In effect, Saint-Gaudens’ memorial does what no war and no legislation has been able to do: erase the color difference, not by making all the men white but by making all the men dark. 30 00 On the northern edge of the Boston Commons, at the intersection of its Freedom Trail and its Black Heritage Trail, stands a life-sized relief commemorating Colonel Robert Gould Shaw. While tour buses pause at the adjacent red light, microphoned guides repeat what walkers can read from the posted information: the white Colonel Shaw led the all-African-American Massachusetts 54th Regiment, the first of its kind, into the Civil War. Among the hundreds of thousands of men who served and died in the American Civil War, Shaw is singled out, not because he fought and not because he died, but because he granted military legitimacy to the brigade of African-American troops who were otherwise not allowed to fight in their own cause. Augustus Saint-Gauden’s monu-mental bronze centers Colonel Shaw on horseback, with his regiment members preceding and following. Although these men walking with the hero were cast with facial features identifying them as African-American, their skin color is indistinguishable from the military leader’s because his is darkened to the same hue by the bronze. In effect, Saint-Gaudens’ memorial does what no war and no legislation has been able to do: erase the color difference, not by making all the men white but by making all the men dark. 20 00 Open Access Barrington, Candace 4 03 06 10.21983/P3.0018.1.04 13 27 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Saturn's Darkness 1 A01 Brantley Bryant Brantley Bryant 40 04wjxkk25 Sonoma State University 2 A01 Alia Alia 01 eng 03 00 If we’re thinking of a dark Chaucer, Saturn’s speech in the Knight’s Tale comes quickly to mind (I.2453–2478). Although pop culture misguidedly loves The Canterbury Tales best for its fart jokes, the appearance of the old, pale god in the first of the pilgrim stories shows that Chaucer can get very dark indeed. Saturn’s darkness, this essay will argue, should remind scholars of Chaucer to be attentive to our own ineradicable darknesses. We should see our moments of collapse and chaos not just as unfortunate circumstances to be acknowledged (though that is needed desperately) but also as “ways in” to the most vital and distinctive aspects of our discipline. 30 00 If we’re thinking of a dark Chaucer, Saturn’s speech in the Knight’s Tale comes quickly to mind (I.2453–2478). Although pop culture misguidedly loves The Canterbury Tales best for its fart jokes, the appearance of the old, pale god in the first of the pilgrim stories shows that Chaucer can get very dark indeed. Saturn’s darkness, this essay will argue, should remind scholars of Chaucer to be attentive to our own ineradicable darknesses. We should see our moments of collapse and chaos not just as unfortunate circumstances to be acknowledged (though that is needed desperately) but also as “ways in” to the most vital and distinctive aspects of our discipline. 20 00 Open Access Bryant, Brantley Alia 5 03 06 10.21983/P3.0018.1.05 29 41 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Dark Stain and a Non-Encounter 1 A01 Ruth Evans Ruth Evans 40 04k7nem08 Saint Louis University 01 eng 03 00 I want to write about Alcyone’s dream because it’s fascinated me for so long, but the pages of my Riverside Chaucer won’t stay open at The Book of the Duchess, so I bend back the spine and put my left palm down firmly on the gutter, but it’s as if the book is resisting my desire to read, which annoys me because I’m excited to work out why I find her dream so dark. I know that the trigger will be certain enigmatic words that tease me or some other text that swims into my head as I’m reading. I don’t know exactly what that will be, though I remember that the word “derk” is there in the poem somewhere. Now I’m skimming the opening lines, trying to take it in slowly, how the dark dream is introduced, but my eye is racing ahead, anticipating “derk,” and although I want this experience to be frictionless, I’m stopping and starting, trying to find a rhythm for my reading, seizing at words and images and dropping them or busily storing them for future recall, and then there it is! Morpheus’s cave is “derk as helle-pit.” I slow down. Here’s the dream. It’s as odd as I remember it. 30 00 I want to write about Alcyone’s dream because it’s fascinated me for so long, but the pages of my Riverside Chaucer won’t stay open at The Book of the Duchess, so I bend back the spine and put my left palm down firmly on the gutter, but it’s as if the book is resisting my desire to read, which annoys me because I’m excited to work out why I find her dream so dark. I know that the trigger will be certain enigmatic words that tease me or some other text that swims into my head as I’m reading. I don’t know exactly what that will be, though I remember that the word “derk” is there in the poem somewhere. Now I’m skimming the opening lines, trying to take it in slowly, how the dark dream is introduced, but my eye is racing ahead, anticipating “derk,” and although I want this experience to be frictionless, I’m stopping and starting, trying to find a rhythm for my reading, seizing at words and images and dropping them or busily storing them for future recall, and then there it is! Morpheus’s cave is “derk as helle-pit.” I slow down. Here’s the dream. It’s as odd as I remember it. 20 00 Open Access Evans, Ruth 6 03 06 10.21983/P3.0018.1.06 43 57 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Chaucerian Afterlives Reception and Eschatology 1 A01 Gaelan Gilbert Gaelan Gilbert 40 04s5mat29 University of Victoria 40 03vxb8t23 Hellenic College Holy Cross Greek Orthodox School of Theology 01 eng 03 00 The claim of this essai is that Chaucer is eschatological. I use this rather specific term first in order to indicate the apocalyptic aspect of Chaucer’s late-medieval theological context of the four last things (eschata) — death, judgment, hell and heaven — and secondly to illumine a dynamic of textual dispossession at work in Chaucer’s anticipations of reader response, and of his and his texts’ interconnected ‘afterlives.’ These dense formulations will require some unpacking, but at this point it suffices to say that an orientation to the prospect of future evaluation conditions in advance the “dark” moments explored below.Any discussion of eschatology seems for us moderns (even modern medievalists) to be something of a dark topic, and in at least two ways. One is the popular darkness associated with divine judgment, an anxiety nowadays often stripped of any theological reference whatsoever. Another sense is that analogous to the Pauline “we see now in a mirror but darkly,” or videmus nunc per speculum in enigmate (1 Cor. 13:12), simply the fact that we cannot see beyond the mortal bounds of this life, except obscurely in figures. And that kind of obscurity makes the prospect of judgment sometimes hard to bear. The Cloud-author alludes to our limits in just these terms:For when I sey derknes, I mene a lackyng of knowyng; as alle thing that thou knowest not, or elles that thou hast forgetyn, it is derk to thee, for thou seest it not with thi goostly ighe. And for this skile it is not clepid a cloude of the eire, bot a cloude of unknowyng, that is bitwix thee and thi God. 30 00 The claim of this essai is that Chaucer is eschatological. I use this rather specific term first in order to indicate the apocalyptic aspect of Chaucer’s late-medieval theological context of the four last things (eschata) — death, judgment, hell and heaven — and secondly to illumine a dynamic of textual dispossession at work in Chaucer’s anticipations of reader response, and of his and his texts’ interconnected ‘afterlives.’ These dense formulations will require some unpacking, but at this point it suffices to say that an orientation to the prospect of future evaluation conditions in advance the “dark” moments explored below.Any discussion of eschatology seems for us moderns (even modern medievalists) to be something of a dark topic, and in at least two ways. One is the popular darkness associated with divine judgment, an anxiety nowadays often stripped of any theological reference whatsoever. Another sense is that analogous to the Pauline “we see now in a mirror but darkly,” or videmus nunc per speculum in enigmate (1 Cor. 13:12), simply the fact that we cannot see beyond the mortal bounds of this life, except obscurely in figures. And that kind of obscurity makes the prospect of judgment sometimes hard to bear. The Cloud-author alludes to our limits in just these terms:For when I sey derknes, I mene a lackyng of knowyng; as alle thing that thou knowest not, or elles that thou hast forgetyn, it is derk to thee, for thou seest it not with thi goostly ighe. And for this skile it is not clepid a cloude of the eire, bot a cloude of unknowyng, that is bitwix thee and thi God. 20 00 Open Access Gilbert, Gaelan 7 03 06 10.21983/P3.0018.1.07 59 69 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Black Gold The Former (and Future) Age 1 A01 Leigh Harrison Leigh Harrison 40 05bnh6r87 Cornell University 01 eng 03 00 Despite their pretense of explaining beginnings, creation myths often if not always have ends in mind — a fact that certainly holds true for Chaucer’s “Former Age.” On the face of it, the poem is onlya creation myth: its verse tells the story of human community at its origins, of a freer life (with only “good feith the empeirice” [55])1 before complex estate hierarchies and the State. Its few stanzas have all the look and feel of a sad song whose melody the centuries have worn away, with all the misty revelation of prehistoric “folk” impulse that the “ballad” label still inevitably implies. This obscurity of age in turn lends the poem its own rusty darkness, over and above the darkness of loss that its narrative claims (however dimly) to recover and bring to light. Most readers, including me, encounter “The Former Age” mainly as a poem cataloging and expressing — simply about — great loss. 30 00 Despite their pretense of explaining beginnings, creation myths often if not always have ends in mind — a fact that certainly holds true for Chaucer’s “Former Age.” On the face of it, the poem is onlya creation myth: its verse tells the story of human community at its origins, of a freer life (with only “good feith the empeirice” [55])1 before complex estate hierarchies and the State. Its few stanzas have all the look and feel of a sad song whose melody the centuries have worn away, with all the misty revelation of prehistoric “folk” impulse that the “ballad” label still inevitably implies. This obscurity of age in turn lends the poem its own rusty darkness, over and above the darkness of loss that its narrative claims (however dimly) to recover and bring to light. Most readers, including me, encounter “The Former Age” mainly as a poem cataloging and expressing — simply about — great loss. 20 00 Open Access Harrison, Leigh 8 03 06 10.21983/P3.0018.1.08 71 90 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Half Dead Parsing Cecelia 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 St. Cecilia’s botched beheading in Chaucer’s Second Nun’s Tale masterfully sculpts the conundrum of life/death liminality into a horrific three-day dilation of the moment of martyrdom, opening the decollative blow that typically coincides with receiving its crown into a series of unfinished neck-cuts. Pinched between the cruelty of the headsman’s impotence, the idiotic inflexibility of the law, and her own sacred durability, Cecilia embodies the paradoxical idea of an unending, asymptotically inconclusive decapitation, an infinite series of beheading blows that never severs the head. Her hacked neck fuses into one form the two principles it figurally evokes: the unbeheadability of the body of God —“illius enim capita membra sumus. Non potest hoc corpus decollari” [“We are limbs of that head. This body cannot be decapitated”]2 — and the semi-living nature of fallen humanity, as signified through medieval allegorical interpretation of the traveler who is attacked by robbers on the road from Jerusalem to Jericho and left “half alive/half dead” [semivivus, emithane] (Luke 10:30). The unity of this form is equivalent to the differential non-difference (half alive = half dead) between the Greek and Latin terms. The three-fold opening intensively multiplies the “zero degree of torture”3 into a single tertium quid that is indifferently beyond the distinction between life and death. Being half dead, Cecilia is ultimately alive. Being half alive, Cecilia is ultimately dead. Dwelling in the hyper-intimacy of extreme dereliction, Cecilia is a lacerated, ever-dilating theopathic icon of divinity’s absolute indifference to life and death, its being superessentially beyond both. Her three-day rest from both, during which she simultaneously does nothing and works all the more fervently, exemplifies the “passivity and absence of effort . . . in which divine transcendence is dissolved.” 30 00 St. Cecilia’s botched beheading in Chaucer’s Second Nun’s Tale masterfully sculpts the conundrum of life/death liminality into a horrific three-day dilation of the moment of martyrdom, opening the decollative blow that typically coincides with receiving its crown into a series of unfinished neck-cuts. Pinched between the cruelty of the headsman’s impotence, the idiotic inflexibility of the law, and her own sacred durability, Cecilia embodies the paradoxical idea of an unending, asymptotically inconclusive decapitation, an infinite series of beheading blows that never severs the head. Her hacked neck fuses into one form the two principles it figurally evokes: the unbeheadability of the body of God —“illius enim capita membra sumus. Non potest hoc corpus decollari” [“We are limbs of that head. This body cannot be decapitated”]2 — and the semi-living nature of fallen humanity, as signified through medieval allegorical interpretation of the traveler who is attacked by robbers on the road from Jerusalem to Jericho and left “half alive/half dead” [semivivus, emithane] (Luke 10:30). The unity of this form is equivalent to the differential non-difference (half alive = half dead) between the Greek and Latin terms. The three-fold opening intensively multiplies the “zero degree of torture”3 into a single tertium quid that is indifferently beyond the distinction between life and death. Being half dead, Cecilia is ultimately alive. Being half alive, Cecilia is ultimately dead. Dwelling in the hyper-intimacy of extreme dereliction, Cecilia is a lacerated, ever-dilating theopathic icon of divinity’s absolute indifference to life and death, its being superessentially beyond both. Her three-day rest from both, during which she simultaneously does nothing and works all the more fervently, exemplifies the “passivity and absence of effort . . . in which divine transcendence is dissolved.” 20 00 Open Access Masciandaro, Nicola 9 03 06 10.21983/P3.0018.1.09 91 102 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 In the Event of the Franklin's Tale 1 A01 J. Allan Mitchell J. Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 There is no truth to delimit in the event. Events come, if ever they arrive, to designate fields of pure possibility and emergent futurity. Consider one old tale of “diverse aventures” (V.710), Chaucer’s Franklin’s Tale.1 Somewhere in Brittany, Dorigen is happily married to the knight Arveragus, having recently pledged her undying love. “Have heer my trouthe — til that myn herte breste” (V.759). Soon he goes on an expedition abroad. Dorigen watches ships come to port in the hopes that one will return her husband safely, and she is tormented by thoughts of his foundering. Dorigen cultivates a “derke fantasye” (V.844), meditating on the hazards of a seascape that consists of “grisly rokkes blake” (V.859) just offshore. They are menacing and apparently meaningless obstacles to her happiness. She cannot shake bleak thoughts of a possible fatality, despite friends’ comforting words and pleasant distractions. Then something unexpected does happen. At a dance, the amorous squire Aurelius propositions Dorigen, begging her mercy. She rejects his advances, tactfully couching her reply in terms that are described as playful: shesays she will yield to Aurelius only if he removes thedangerous rocks that threaten her beloved husband. “Have heer my trouthe, in al that evere I kan” (V.998). It would seem impossible. But Dorigen’s so-called rash promise to Aureliusis a fateful utterance carried away by further events, accompanied by a powerful sense of foreboding, setting in motion so many impossibilities. Dorigen and expectantreaders of the tale subsequently drift towards a future of still more improbable events. 30 00 There is no truth to delimit in the event. Events come, if ever they arrive, to designate fields of pure possibility and emergent futurity. Consider one old tale of “diverse aventures” (V.710), Chaucer’s Franklin’s Tale.1 Somewhere in Brittany, Dorigen is happily married to the knight Arveragus, having recently pledged her undying love. “Have heer my trouthe — til that myn herte breste” (V.759). Soon he goes on an expedition abroad. Dorigen watches ships come to port in the hopes that one will return her husband safely, and she is tormented by thoughts of his foundering. Dorigen cultivates a “derke fantasye” (V.844), meditating on the hazards of a seascape that consists of “grisly rokkes blake” (V.859) just offshore. They are menacing and apparently meaningless obstacles to her happiness. She cannot shake bleak thoughts of a possible fatality, despite friends’ comforting words and pleasant distractions. Then something unexpected does happen. At a dance, the amorous squire Aurelius propositions Dorigen, begging her mercy. She rejects his advances, tactfully couching her reply in terms that are described as playful: shesays she will yield to Aurelius only if he removes thedangerous rocks that threaten her beloved husband. “Have heer my trouthe, in al that evere I kan” (V.998). It would seem impossible. But Dorigen’s so-called rash promise to Aureliusis a fateful utterance carried away by further events, accompanied by a powerful sense of foreboding, setting in motion so many impossibilities. Dorigen and expectantreaders of the tale subsequently drift towards a future of still more improbable events. 20 00 Open Access Mitchell, J. Allan 10 03 06 10.21983/P3.0018.1.10 103 116 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Black as the Crow 1 A01 Travis Neel Travis Neel 2 A01 Andrew Richmond Andrew Richmond 01 eng 03 00 Perched among the many birds in the Parliament of Foules sits “the crowe with vois of care” (364).1 The crow receives no space to speak in Geoffrey Chaucer’s Valentine’s Day poem —a grim reminder perhaps of the circumstances under which he received his sad voice and scorched appearance. In Chaucer’s hands it is a different, perhaps darker, story than the one told by Ted Hughes. The crow does not launch himself into blackness through a jealousy contest; rather he becomes but one victim at the hands of a jealous and wrathful master. As Chaucer’s Manciple tells the story, the crow had once been a white bird with a beautiful voice. Phoebus Apollo had taught the crow how to speak like a human, and when this crow sang, “Therwith in al this world no nyghtyngale/ Ne koude, by an hondred thousand deel, / Syngen so wonder myrily and weel” (IX.136–139). But the crow’s status within Phoebus’s household does not last long in the Manciple’s Tale. Having witnessed Phoebus’s wife with her beloved, the crow immediately declares the wife’s unfaithfulness to Phoebus —and Pheobus’ resulting identity as a cuckold — with the song, “Cokkow! Cokkow! Cokkow!” (IX.243). Phoebus turns his ire and sorrow towards his wife and his minstrelsy before addressing the crow as a traitor. To quite the crow of his false tale (IX.293), Phoebus strips him of his song, deplumes his white feathers, and casts him out of his home. 30 00 Perched among the many birds in the Parliament of Foules sits “the crowe with vois of care” (364).1 The crow receives no space to speak in Geoffrey Chaucer’s Valentine’s Day poem —a grim reminder perhaps of the circumstances under which he received his sad voice and scorched appearance. In Chaucer’s hands it is a different, perhaps darker, story than the one told by Ted Hughes. The crow does not launch himself into blackness through a jealousy contest; rather he becomes but one victim at the hands of a jealous and wrathful master. As Chaucer’s Manciple tells the story, the crow had once been a white bird with a beautiful voice. Phoebus Apollo had taught the crow how to speak like a human, and when this crow sang, “Therwith in al this world no nyghtyngale/ Ne koude, by an hondred thousand deel, / Syngen so wonder myrily and weel” (IX.136–139). But the crow’s status within Phoebus’s household does not last long in the Manciple’s Tale. Having witnessed Phoebus’s wife with her beloved, the crow immediately declares the wife’s unfaithfulness to Phoebus —and Pheobus’ resulting identity as a cuckold — with the song, “Cokkow! Cokkow! Cokkow!” (IX.243). Phoebus turns his ire and sorrow towards his wife and his minstrelsy before addressing the crow as a traitor. To quite the crow of his false tale (IX.293), Phoebus strips him of his song, deplumes his white feathers, and casts him out of his home. 20 00 Open Access Neel, Travis Richmond, Andrew 11 03 06 10.21983/P3.0018.1.11 117 123 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Unravelling Constance 1 A01 Hannah Priest Hannah Priest 01 eng 03 00 She came from the sea, mazed, amazed —masen —confused, bewildered, senseless. Deceived, deranged, crazed. They stopped and asked her who she was. When they stopped and asked her who she was, she said she did not know. She said she was so mazed in the sea, that she forgot her mind. Her mind —mynde — seat of memory, faculty of memory, individual remembrance. Reason, understanding. Will, desire, purpose. She forgot her mind, when she lost herself. Constance forgets Constance. Constance is lost. Distress teaches us to be inventive, says the nightingale, but blank Constance does not invent. Once, she was Constance. Syrian chapmen found her in Rome, among the other things, specially. The chapmen took their cloths of gold, their satins rich of hew, their chaffare so thrifty and new, and returned with tales of Constance. Their chaffare — anything of virtue, something desirable. An exchange, a bargain, a deal. So thrifty — well-made, seemly, suitable. Golden, rich of hew, so thrifty and so new, they returned with tales of Constance. The chapmen went to market. Take the cloth and sell the cloth, take the goods and sell the goods. The smooth trade in luxury prevails over gods and geography. Facilitate allegiance in the market. Chapmen exchange satin for Dame Constance. 30 00 She came from the sea, mazed, amazed —masen —confused, bewildered, senseless. Deceived, deranged, crazed. They stopped and asked her who she was. When they stopped and asked her who she was, she said she did not know. She said she was so mazed in the sea, that she forgot her mind. Her mind —mynde — seat of memory, faculty of memory, individual remembrance. Reason, understanding. Will, desire, purpose. She forgot her mind, when she lost herself. Constance forgets Constance. Constance is lost. Distress teaches us to be inventive, says the nightingale, but blank Constance does not invent. Once, she was Constance. Syrian chapmen found her in Rome, among the other things, specially. The chapmen took their cloths of gold, their satins rich of hew, their chaffare so thrifty and new, and returned with tales of Constance. Their chaffare — anything of virtue, something desirable. An exchange, a bargain, a deal. So thrifty — well-made, seemly, suitable. Golden, rich of hew, so thrifty and so new, they returned with tales of Constance. The chapmen went to market. Take the cloth and sell the cloth, take the goods and sell the goods. The smooth trade in luxury prevails over gods and geography. Facilitate allegiance in the market. Chapmen exchange satin for Dame Constance. 20 00 Open Access Priest, Hannah 12 03 06 10.21983/P3.0018.1.12 125 137 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 L'O de V A Palimpsest 1 A01 Lisa Schamess Lisa Schamess 01 eng 03 00 For centuries she didn’t speak at all, the girl Virginia.The silent girl who finally speaks tells the story. Submission, omission, commission, submersion, subversion, inversion, corruption, coercion. Defilement, denial, the child, the trial, fil, fille, vile, ville, filial bonds, bondage, twisted positions and impositions, text and subtext and context and cuntext. Penetration, vellum, hide, marks, pens, wounds, piercings, cuttings, severings, maidenheads, giving head, what’s inside our heads that is left unsaid, what cannot be said being said, the sinkhole in a prison bed, the outburst of consent and the pressure of speech, the hand holding the pencil raced over the paper without the least concern for the hour or the light. The girl was writing the way you speak in the dark to the person you love when you’ve held back the words of love too long and they flow at last2, hysteria catatonia silence asceticism abasement how a woman throws herself is thrown hurls herself is hurled cuts herself is cut how there is an O in the center of the monastery and in the rear of the prison the text is inscribed, marked, stripped, cut, scraped, erased, reinscribed, corrected, raped, rapt, wrapped3 and how this story is old, begins with a snake’s mouth and ends in a bit of tale served up by a woman, an O, once a V, an A(nne), an A(ury), a Pauline nun from the bawdy papers, a Reagent. The Autre. The Autre4 Translation transgression transubstantiation, trasumanar5, tongues, longing, language, sources, apocrypha apostasy outtakes originals pens and penetration, comments, commas, parents, parentheses, prisons, patrimony, patronage, the mouth, the eye, the os, the ass, the orifice, the vacuole, the caesura, the fissure, the seizure, the rapture, ravissement, stripping away, strips of skin, laceration, O in the middle, jouissance,6 O behind, the iron O on the finger, the steel O in the labia, the monsters inside us: The Three-Legged Man, The Headless Woman . . . we forget to remember and remember to forget a story of giving credit and revoking credit of not knowing half the time to whom to give credit. 30 00 For centuries she didn’t speak at all, the girl Virginia.The silent girl who finally speaks tells the story. Submission, omission, commission, submersion, subversion, inversion, corruption, coercion. Defilement, denial, the child, the trial, fil, fille, vile, ville, filial bonds, bondage, twisted positions and impositions, text and subtext and context and cuntext. Penetration, vellum, hide, marks, pens, wounds, piercings, cuttings, severings, maidenheads, giving head, what’s inside our heads that is left unsaid, what cannot be said being said, the sinkhole in a prison bed, the outburst of consent and the pressure of speech, the hand holding the pencil raced over the paper without the least concern for the hour or the light. The girl was writing the way you speak in the dark to the person you love when you’ve held back the words of love too long and they flow at last2, hysteria catatonia silence asceticism abasement how a woman throws herself is thrown hurls herself is hurled cuts herself is cut how there is an O in the center of the monastery and in the rear of the prison the text is inscribed, marked, stripped, cut, scraped, erased, reinscribed, corrected, raped, rapt, wrapped3 and how this story is old, begins with a snake’s mouth and ends in a bit of tale served up by a woman, an O, once a V, an A(nne), an A(ury), a Pauline nun from the bawdy papers, a Reagent. The Autre. The Autre4 Translation transgression transubstantiation, trasumanar5, tongues, longing, language, sources, apocrypha apostasy outtakes originals pens and penetration, comments, commas, parents, parentheses, prisons, patrimony, patronage, the mouth, the eye, the os, the ass, the orifice, the vacuole, the caesura, the fissure, the seizure, the rapture, ravissement, stripping away, strips of skin, laceration, O in the middle, jouissance,6 O behind, the iron O on the finger, the steel O in the labia, the monsters inside us: The Three-Legged Man, The Headless Woman . . . we forget to remember and remember to forget a story of giving credit and revoking credit of not knowing half the time to whom to give credit. 20 00 Open Access Schamess, Lisa 13 03 06 10.21983/P3.0018.1.13 139 149 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Disconsolate Art 1 A01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 01 eng 03 00 Art without consolation would, it seems, be fatally deficient. Art’s distinctive identity, central to a humanist aesthetic, emanates from its supposedly singular capacity to transcend: where humanists are menaced by meaninglessness, art offers significance; where humanists lament loss, art reveals timeless truth and enduring beauty; where humanists sense absence, art promises presence. Humanist art consoles the living about the dead and the losses they signify. It affirms the extension of (human) life into the realms of the lifeless. Read (as it customarily is) with such expectations, Chaucer’s Book of the Duchess becomes an artistic experiment in which the death of John of Gaunt’s wife provides Chaucer the matter through which to transcend the boundaries of human life and, in that act, create art. But not so fast. Humanist traditions prepare readers for such a result, and yet this narrative continuously avoids granting it. Instead, the poem actively “refuses to re-figure loss as transcendence.”1 It requires that we proclaim, along with its proverbially obtuse narrator, that “She is dead!” and, in the process, it “insist[s] on the irreducibility of certain limits.”3 Absence, loss, and the threat of meaninglessness all endure. The poem’s many irresolvable ambiguities — its narrator’s mysterious and unnatural illness, its melancholic modifications that transform Ovid’s story of Ceyx (for Chaucer, Seys) and Alcyone into tragedy, its hyperbolic miscommunication between grieving knight and inquisitive dreamer — linger. In deliberately refusing transformation or transcendence, the poem enacts what I would call a disconsolate poetics, in which pain and suffering perdure, in which darkness obscures the light. 30 00 Art without consolation would, it seems, be fatally deficient. Art’s distinctive identity, central to a humanist aesthetic, emanates from its supposedly singular capacity to transcend: where humanists are menaced by meaninglessness, art offers significance; where humanists lament loss, art reveals timeless truth and enduring beauty; where humanists sense absence, art promises presence. Humanist art consoles the living about the dead and the losses they signify. It affirms the extension of (human) life into the realms of the lifeless. Read (as it customarily is) with such expectations, Chaucer’s Book of the Duchess becomes an artistic experiment in which the death of John of Gaunt’s wife provides Chaucer the matter through which to transcend the boundaries of human life and, in that act, create art. But not so fast. Humanist traditions prepare readers for such a result, and yet this narrative continuously avoids granting it. Instead, the poem actively “refuses to re-figure loss as transcendence.”1 It requires that we proclaim, along with its proverbially obtuse narrator, that “She is dead!” and, in the process, it “insist[s] on the irreducibility of certain limits.”3 Absence, loss, and the threat of meaninglessness all endure. The poem’s many irresolvable ambiguities — its narrator’s mysterious and unnatural illness, its melancholic modifications that transform Ovid’s story of Ceyx (for Chaucer, Seys) and Alcyone into tragedy, its hyperbolic miscommunication between grieving knight and inquisitive dreamer — linger. In deliberately refusing transformation or transcendence, the poem enacts what I would call a disconsolate poetics, in which pain and suffering perdure, in which darkness obscures the light. 20 00 Open Access Seaman, Myra 14 03 06 10.21983/P3.0018.1.14 151 160 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Kill Me, Save Me, Let Me Go Custance, Virginia, Emelye 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 01 eng 03 00 The inevitability of bad Fama worries a few of Chaucer’s heroines. Cresseid and Dido prefer that their shame not be spread about, while the Wife of Bath prefers to seize the means of narrative production.1 Each worries about what will be said about her; each justifies her actions; but none recognizes that, as a literary character, she could not have done other than she did. This is where Custance, Virginia, and Emelye differ. It is the difference between saying, “I wish you wouldn't talk about me this way” and saying, instead, “why are you doing this to me?” or, more precisely, “Why are you making me do this?” For each one knows, if only for a moment, that the responsibility for what happens to her and through her lies elsewhere. Each experiences the precise opposite of self-awareness, for each momentarily struggles against the narrative before realizing herself to be not a self but rather someone else's creature, destined to be rewarded or to suffer regardless of what she does, destined to be made to be satisfied with what happens, destined to be exemplary whether she wants to or not, because she comes to know that her wants are not her own. At once constituted and dispossessed by her tale, each implicitly repeats one of Žižek’s favorite maxims, Deleuze’s “si vous êtes pris dans le rêve de l’autre, vous êtes foutu”2 [“if you're caught in the dream of another, you're fucked”]. One seeks death; another wants to be something other than a creature of her father; and the last tries to exempt herself from the tale’s political reconciliation. None gets what she wants: one forced to live, one to die, one to love, each gets just enough awareness of being in their stories to know that they want out. Then the door slams shut. 30 00 The inevitability of bad Fama worries a few of Chaucer’s heroines. Cresseid and Dido prefer that their shame not be spread about, while the Wife of Bath prefers to seize the means of narrative production.1 Each worries about what will be said about her; each justifies her actions; but none recognizes that, as a literary character, she could not have done other than she did. This is where Custance, Virginia, and Emelye differ. It is the difference between saying, “I wish you wouldn't talk about me this way” and saying, instead, “why are you doing this to me?” or, more precisely, “Why are you making me do this?” For each one knows, if only for a moment, that the responsibility for what happens to her and through her lies elsewhere. Each experiences the precise opposite of self-awareness, for each momentarily struggles against the narrative before realizing herself to be not a self but rather someone else's creature, destined to be rewarded or to suffer regardless of what she does, destined to be made to be satisfied with what happens, destined to be exemplary whether she wants to or not, because she comes to know that her wants are not her own. At once constituted and dispossessed by her tale, each implicitly repeats one of Žižek’s favorite maxims, Deleuze’s “si vous êtes pris dans le rêve de l’autre, vous êtes foutu”2 [“if you're caught in the dream of another, you're fucked”]. One seeks death; another wants to be something other than a creature of her father; and the last tries to exempt herself from the tale’s political reconciliation. None gets what she wants: one forced to live, one to die, one to love, each gets just enough awareness of being in their stories to know that they want out. Then the door slams shut. 20 00 Open Access Steel, Karl 15 03 06 10.21983/P3.0018.1.15 161 171 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Physician's Tale as Hagioclasm 1 A01 21 0000000234392976 Elaine Treharne Elaine Treharne 40 00f54p054 Stanford University 01 eng 03 00 Adroit scholarly interpretation of the Physician’s Taleover the last half century has sought to rehabilitate what is perceived as one of Chaucer’s least satisfactory tales. Arguments have focused on the correlation of teller and tale; Chaucer’s manipulation of his sources; and the foregrounding of various key aspects of the tale, such as governance, virginity or the legal system. In seeking to round off the Tale, to give it cohesion and moral purpose, for example, Kirk L. Smith concludes his discussion about the judicial and medical elements with the opinion that “The tale offers this moral cure: abjuring the exploitation in which self-absorbed Apius indulges, the worthy practitioner would earn the public’s esteem by pledging disinterested service.” Similarly, in Jerome Mandel’s view, the careful structure of the Tale and its emphasis on death can be paralleled with The Pardoner’s Tale, with which it is paired in Fragment VI. Crafton’s recent judicious appraisal focuses on shared concerns between the Parson’s Tale and the Physician’s created by the use of preaching motifs, the Summa virtutem remediis animeand the theme of “false virginity.” Other critics have highlighted the use of hagiographic topoi in the Tale. In Lee Patterson’s clever and insightful Chaucer and the Subject of History, he judges the Tale as aspiring to “hagiographical authority,” as a “quasi hagiography” in which the heroine, Virginia, is a “helpless victim,” subordinated to her persecutors’ narrative domi-nance. “In short,” states Patterson, the Physician’s Tale “is a fraudulent or ‘counterfeit’ hagiography . . . unable to trans-cend its own fallen historicity. 30 00 Adroit scholarly interpretation of the Physician’s Taleover the last half century has sought to rehabilitate what is perceived as one of Chaucer’s least satisfactory tales. Arguments have focused on the correlation of teller and tale; Chaucer’s manipulation of his sources; and the foregrounding of various key aspects of the tale, such as governance, virginity or the legal system. In seeking to round off the Tale, to give it cohesion and moral purpose, for example, Kirk L. Smith concludes his discussion about the judicial and medical elements with the opinion that “The tale offers this moral cure: abjuring the exploitation in which self-absorbed Apius indulges, the worthy practitioner would earn the public’s esteem by pledging disinterested service.” Similarly, in Jerome Mandel’s view, the careful structure of the Tale and its emphasis on death can be paralleled with The Pardoner’s Tale, with which it is paired in Fragment VI. Crafton’s recent judicious appraisal focuses on shared concerns between the Parson’s Tale and the Physician’s created by the use of preaching motifs, the Summa virtutem remediis animeand the theme of “false virginity.” Other critics have highlighted the use of hagiographic topoi in the Tale. In Lee Patterson’s clever and insightful Chaucer and the Subject of History, he judges the Tale as aspiring to “hagiographical authority,” as a “quasi hagiography” in which the heroine, Virginia, is a “helpless victim,” subordinated to her persecutors’ narrative domi-nance. “In short,” states Patterson, the Physician’s Tale “is a fraudulent or ‘counterfeit’ hagiography . . . unable to trans-cend its own fallen historicity. 20 00 Open Access Treharne, Elaine 16 03 06 10.21983/P3.0018.1.16 173 180 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Light Has Lifted Trickster Pandare 1 A01 Bob Valasek Bob Valasek 01 eng 03 00 Pandare’s role in Chaucer’s Troilus and Criseyde has been one of much debate among Chaucerian scholars and critics: Is he friend or is he foe, and what is his purpose either way? He is at once friend, foe, and I would argue, the character with whom readers most identify. Readers of Troilus and Criseyde realize that they read to discover characters exactly like Pandare; characters whom he or she wishes they could be, and ones whose motives are sprinkled with hints of darkness and mischief. Pandare represents the private thoughts in our minds, the kind we know we cannot, and will not, act upon in the way Pandare has, but which we desire to pursue vicariously. Pandare is a charismatic trickster figure.The trickster figure is a mythical character found in almost every culture throughout history and is included by Carl Jung among his archetypes. The trickster and its tendencies exist in all of us; the degree to which they surface depends on the individual. Usually a male, tricksters can be identified by many common traits such as stubbornness, chicanery, duplicity, and the ability to evoke laughter. Classic trickster characters range from Prometheus, known as one of the first tricksters, to Uncle Remus’s Brer Rabbit. The trickster typically preys on weaker characters and remains confident until the end. The story surrounding the trickster and its result or lesson is often used to satirize the darkest conventions of the culture in which the story takes place. Their mischievous, self-serving actions can often have the trickster backtracking and succumbing to fate or fortune, and through their blunder knowledge can be gained. 30 00 Pandare’s role in Chaucer’s Troilus and Criseyde has been one of much debate among Chaucerian scholars and critics: Is he friend or is he foe, and what is his purpose either way? He is at once friend, foe, and I would argue, the character with whom readers most identify. Readers of Troilus and Criseyde realize that they read to discover characters exactly like Pandare; characters whom he or she wishes they could be, and ones whose motives are sprinkled with hints of darkness and mischief. Pandare represents the private thoughts in our minds, the kind we know we cannot, and will not, act upon in the way Pandare has, but which we desire to pursue vicariously. Pandare is a charismatic trickster figure.The trickster figure is a mythical character found in almost every culture throughout history and is included by Carl Jung among his archetypes. The trickster and its tendencies exist in all of us; the degree to which they surface depends on the individual. Usually a male, tricksters can be identified by many common traits such as stubbornness, chicanery, duplicity, and the ability to evoke laughter. Classic trickster characters range from Prometheus, known as one of the first tricksters, to Uncle Remus’s Brer Rabbit. The trickster typically preys on weaker characters and remains confident until the end. The story surrounding the trickster and its result or lesson is often used to satirize the darkest conventions of the culture in which the story takes place. Their mischievous, self-serving actions can often have the trickster backtracking and succumbing to fate or fortune, and through their blunder knowledge can be gained. 20 00 Open Access Valasek, Bob 17 03 06 10.21983/P3.0018.1.17 181 190 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Suffer the Little Children, or, A Rumination on the Faith of Zombies 1 A01 Lisa Weston Lisa Weston 40 03enmdz06 California State University, Fresno 01 eng 03 00 In modern psychological parlance rumination names a neurotic brooding, a persistent, relentless mental replaying of a bad memory. In a more medieval context rumination is the practice of “chewing over” a well-known and constantly re-read text to achieve insight into the nature of God and the universe. What follows here is, in a way, a cross-temporal rumination or (to alter the alimentary metaphor a little) a worrying of a text of a text that worries me.The Prioress’s Tale’s narrative of the Litel Clergeon’s death, partial resurrection and second death is a text that I for one have never satisfactorily digested. The story is an (alas) familiar medieval reflex of the blood-libel: a pious young child is murdered by Jews as he walks the ghetto singing a Christian hymn. But the lurid details of this narrative replay themselves, I expect, in many a reader’s memory: the slaughtered child hidden in shit; the frantic, weeping mother; the abbot, astounded and confounded by the miraculous discovery of the corpse; the outraged Christian crowd caught up in anti-Semitic rhetoric and bloody vengeance; and especially, at the center of it all, the grotesque body of the Litel Clergeon itself. For it is not, after all, a living seven-year-old boy who sings: it is, rather, his corpse that will not shut up. Nor is that corpse merely moaning or shrieking: that it sings a hymn like O Alma Redemptoris Mater, and might (theoretically) sing it forever unless re-murdered, makes the dark grotesquerie of he spectacle of this undead child all the more pervasive. Throat slit, as the Litel Clergeon says, “unto my nekke boon”(VII.649),1 the child’s body serves as an eloquent witness to the power of God, yes, but hardly to anything like the mercy or love proclaimed in the hymn. For that ghastly singing body is stuck, zombie-like, forever on the verge of dying, a victim of violence producing future violence and propagating further victims. 30 00 In modern psychological parlance rumination names a neurotic brooding, a persistent, relentless mental replaying of a bad memory. In a more medieval context rumination is the practice of “chewing over” a well-known and constantly re-read text to achieve insight into the nature of God and the universe. What follows here is, in a way, a cross-temporal rumination or (to alter the alimentary metaphor a little) a worrying of a text of a text that worries me.The Prioress’s Tale’s narrative of the Litel Clergeon’s death, partial resurrection and second death is a text that I for one have never satisfactorily digested. The story is an (alas) familiar medieval reflex of the blood-libel: a pious young child is murdered by Jews as he walks the ghetto singing a Christian hymn. But the lurid details of this narrative replay themselves, I expect, in many a reader’s memory: the slaughtered child hidden in shit; the frantic, weeping mother; the abbot, astounded and confounded by the miraculous discovery of the corpse; the outraged Christian crowd caught up in anti-Semitic rhetoric and bloody vengeance; and especially, at the center of it all, the grotesque body of the Litel Clergeon itself. For it is not, after all, a living seven-year-old boy who sings: it is, rather, his corpse that will not shut up. Nor is that corpse merely moaning or shrieking: that it sings a hymn like O Alma Redemptoris Mater, and might (theoretically) sing it forever unless re-murdered, makes the dark grotesquerie of he spectacle of this undead child all the more pervasive. Throat slit, as the Litel Clergeon says, “unto my nekke boon”(VII.649),1 the child’s body serves as an eloquent witness to the power of God, yes, but hardly to anything like the mercy or love proclaimed in the hymn. For that ghastly singing body is stuck, zombie-like, forever on the verge of dying, a victim of violence producing future violence and propagating further victims. 20 00 Open Access Weston, Lisa 18 03 06 10.21983/P3.0018.1.18 191 203 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Dark is Light Enough The Layout of the Tale of Sir Thopas 1 A01 Thomas White Thomas White 01 eng 03 00 Sir Thopas — Chaucer’s “rym” (VII.709) that so disappoints the Host —is not generally discussed in terms of dark moments or abyssal themes. In fact, in its wilful and relentless ineptitude, Chaucer’s parody of the tail-rhyme romance represents one of the most sustained comic moments in all of the Tales, culminating in Harry’s uncompromising interruption. However, beneath the surface of Chaucer’s parody of the likes of “Ypotas,” “Bevys” and “sir Gy” (VII.898–899), the repeated elision of a specific paratextual feature of Thopas in both a large proportion of the fifteenth-century manuscripts of the Tales as well the vast majority of printed editions points toward the potential inscrutability not only of medieval textual records but also early-modern and modern records as well.1 This paratextual feature — Chaucer’s use and subtle amplification of the traditional tail-rhyme verse layout — forms part of a focus in Fragment VII of the Tales on both the resources available to the English poet writing at the close of the fourteenth century and, more generally, the very act of reading and the problematic nature of interpretation itself. 30 00 Sir Thopas — Chaucer’s “rym” (VII.709) that so disappoints the Host —is not generally discussed in terms of dark moments or abyssal themes. In fact, in its wilful and relentless ineptitude, Chaucer’s parody of the tail-rhyme romance represents one of the most sustained comic moments in all of the Tales, culminating in Harry’s uncompromising interruption. However, beneath the surface of Chaucer’s parody of the likes of “Ypotas,” “Bevys” and “sir Gy” (VII.898–899), the repeated elision of a specific paratextual feature of Thopas in both a large proportion of the fifteenth-century manuscripts of the Tales as well the vast majority of printed editions points toward the potential inscrutability not only of medieval textual records but also early-modern and modern records as well.1 This paratextual feature — Chaucer’s use and subtle amplification of the traditional tail-rhyme verse layout — forms part of a focus in Fragment VII of the Tales on both the resources available to the English poet writing at the close of the fourteenth century and, more generally, the very act of reading and the problematic nature of interpretation itself. 20 00 Open Access White, Thomas 19 03 06 10.21983/P3.0018.1.19 205 209 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Myra Seaman Myra Seaman 40 00390t168 College of Charleston 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 3 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 20 00 Open Access Seaman, Myra Joy, Eileen A. Masciandaro, Nicola 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dark-chaucer/ Brooklyn, NY 04 01 20121223 Seaman, Myra Joy, Eileen A. Masciandaro, Nicola 02 WORLD 06 15 9780615701073 03 9780615701073 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76428 20 08 20121223 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25597 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25597/1004498.pdf?sequence=1&isAllowed=y 20 08 20121223 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38576 20 08 20121223 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354023 20 08 20121223 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/397 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f16c50a1-84ca-4f21-8e99-cd03507e8fe2/download 20 08 20121223 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/11749800-364e-4a27-bf79-9f0ceeacb4d6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/11749800-364e-4a27-bf79-9f0ceeacb4d6/11749800-364e-4a27-bf79-9f0ceeacb4d6.pdf 20 08 20121223 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693206 29 ZENODO: download the title https://zenodo.org/records/19693206/files/11749800-364e-4a27-bf79-9f0ceeacb4d6_book.pdf 20 08 20121223 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dark-chaucer/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0018.1.00.pdf 20 08 20121223 01 urn:uuid:7f1c67fc-959c-4c42-9a4a-a74f9a8856fe 03 01 01 thoth-work-id urn:uuid:7fe2c6dc-6673-4537-a397-1f0377c2296f 01 thoth-publication-id urn:uuid:7f1c67fc-959c-4c42-9a4a-a74f9a8856fe 15 9780998237589 03 9780998237589 06 10.21983/P3.0160.1.00 01 internal-reference 0160 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dear Professor A Chronicle of Absences 1 A01 Filip Noterdaeme Filip Noterdaeme 2 A19 Shuki Cohen Shuki Cohen 01 eng 00 278 03 10 BIO019000 12 BM 93 DND B2 Humanities+University 93 JNM B2 Thought Experiments B2 Pedagogies 93 VSKB 20 correspondence; humor; student life; university life; professor–student emails 01 06 02 00 03 00 Dear Professor: A Chronicle of Absences is a collection of over two hundred often involuntarily comical emails in which students excuse themselves for missing class. The result is a satirical yet unexpectedly sympathetic collective portrait of modern-day academia where both students and teachers feel pressured to comply with the impositions of hyper-connectivity. 30 00 Dear Professor: A Chronicle of Absences is a collection of over two hundred often involuntarily comical emails in which students excuse themselves for missing class. The result is a satirical yet unexpectedly sympathetic collective portrait of modern-day academia where both students and teachers feel pressured to comply with the impositions of hyper-connectivity. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0160.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dear-professor-a-chronicle-of-absences/ Earth, Milky Way 04 01 20161219 Noterdaeme, Filip 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237582 20 08 20161219 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dear-professor-a-chronicle-of-absences 20 08 20161219 02 25.00 USD WORLD urn:uuid:5956e079-440a-4cb6-a715-f51a478aa1e0 03 01 01 thoth-work-id urn:uuid:7fe2c6dc-6673-4537-a397-1f0377c2296f 01 thoth-publication-id urn:uuid:5956e079-440a-4cb6-a715-f51a478aa1e0 06 10.21983/P3.0160.1.00 01 internal-reference 0160 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dear Professor A Chronicle of Absences 1 A01 Filip Noterdaeme Filip Noterdaeme 2 A19 Shuki Cohen Shuki Cohen 01 eng 00 278 03 10 BIO019000 12 BM 93 DND B2 Humanities+University 93 JNM B2 Thought Experiments B2 Pedagogies 93 VSKB 20 correspondence; humor; student life; university life; professor–student emails 01 06 02 00 03 00 Dear Professor: A Chronicle of Absences is a collection of over two hundred often involuntarily comical emails in which students excuse themselves for missing class. The result is a satirical yet unexpectedly sympathetic collective portrait of modern-day academia where both students and teachers feel pressured to comply with the impositions of hyper-connectivity. 30 00 Dear Professor: A Chronicle of Absences is a collection of over two hundred often involuntarily comical emails in which students excuse themselves for missing class. The result is a satirical yet unexpectedly sympathetic collective portrait of modern-day academia where both students and teachers feel pressured to comply with the impositions of hyper-connectivity. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0160.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dear-professor-a-chronicle-of-absences/ Earth, Milky Way 04 01 20161219 Noterdaeme, Filip 02 WORLD 06 15 9780998237589 03 9780998237589 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25467 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25467/1004628.pdf?sequence=1&isAllowed=y 20 08 20161219 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36913 20 08 20161219 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353783 20 08 20161219 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/544 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/cb814b4b-adf3-4bff-be26-ea1071d2d87d/download 20 08 20161219 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/_/nAWVEAAAQBAJ 20 08 20161219 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7fe2c6dc-6673-4537-a397-1f0377c2296f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7fe2c6dc-6673-4537-a397-1f0377c2296f/7fe2c6dc-6673-4537-a397-1f0377c2296f.pdf 20 08 20161219 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846783 29 ZENODO: download the title https://zenodo.org/records/19846783/files/7fe2c6dc-6673-4537-a397-1f0377c2296f_book.pdf 20 08 20161219 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dear-professor-a-chronicle-of-absences/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0160.1.00.pdf 20 08 20161219 01 urn:uuid:ccafc174-9e26-49bc-8a1b-e0c850e1ddea 03 01 01 thoth-work-id urn:uuid:0985e294-aa85-40d0-90ce-af53ae37898d 01 thoth-publication-id urn:uuid:ccafc174-9e26-49bc-8a1b-e0c850e1ddea 15 9780998237541 03 9780998237541 06 10.21983/P3.0161.1.00 01 internal-reference 0161 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Deleuze and the Passions 1 B01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 B01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 00 182 03 12 HPCF 10 PHI035000 B2 Philosophy 93 QDHR7 93 DSA 93 JMQ 20 Gilles Deleuze; affect studies; philosophy; ontology; phenomenology 01 06 02 00 03 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 30 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0161.1.00_frontcover.png 1 03 06 10.21983/P3.0161.1.01 i ix 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 B01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 20 00 Open Access Meiborg, Ceciel van Tuinen, Sjoerd 2 03 06 10.21983/P3.0161.1.02 9 20 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 A01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 03 00 In recent years the humanities, the social sciences, and neu-roscience have witnessed an “affective turn,” especially in dis-courses around post-Fordist labor, the economic and ecological crisis, populism and identity politics, mental health, and politi-cal struggle.2 This new awareness of affect remains unthinkable without the pioneering work of Gilles Deleuze, who, following Baruch Spinoza, displaced the traditional opposition of reason and emotion with the new opposition between sad and joyful passions which diminish or increase our capacity to think and act. He thus replaced judgment with affect as the very move-ment of thought. While classical rationalism implies a moral judgment over and against emotions, the new one is an ethical evaluation of the rationality of emotions themselves. As Spinoza already put it: “we neither strive for, not will, neither want, nor desire anything because we judge it to be good; on the contrary, we judge something to be good because we strive for it, will it, want it, and desire it.” 30 00 In recent years the humanities, the social sciences, and neu-roscience have witnessed an “affective turn,” especially in dis-courses around post-Fordist labor, the economic and ecological crisis, populism and identity politics, mental health, and politi-cal struggle.2 This new awareness of affect remains unthinkable without the pioneering work of Gilles Deleuze, who, following Baruch Spinoza, displaced the traditional opposition of reason and emotion with the new opposition between sad and joyful passions which diminish or increase our capacity to think and act. He thus replaced judgment with affect as the very move-ment of thought. While classical rationalism implies a moral judgment over and against emotions, the new one is an ethical evaluation of the rationality of emotions themselves. As Spinoza already put it: “we neither strive for, not will, neither want, nor desire anything because we judge it to be good; on the contrary, we judge something to be good because we strive for it, will it, want it, and desire it.” 20 00 Open Access Meiborg, Ceciel van tuinen, Sjoerd 3 03 06 10.21983/P3.0161.1.03 21 40 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Everywhere There Are Sad Passions" Gilles Deleuze and the Unhappy Consciousness 1 A01 Moritz Gansen Moritz Gansen 40 05n911h24 Technical University of Darmstadt 01 eng 03 00 From the very beginning of his philosophical career, Gilles Deleuze defined philosophy as the “creation of concepts.”2 Such creation, however, was never a matter of “pure” philosophy, “‘pure’ theory,” at least if philosophy and theory were to be un-derstood in a “traditional,” in a reflexive and rationalist sense, in the sense of a “dogmatic image of thought.”3 Instead, the philo-sophical creation of concepts was always mediated by certain affects, by passions, passing through the non-philosophical. Ac-cordingly, what Deleuze said about the late Michel Foucault was equally true of himself: “Thinking was never a matter of theory. It was to do with problems of life. It was life itself.” 30 00 From the very beginning of his philosophical career, Gilles Deleuze defined philosophy as the “creation of concepts.”2 Such creation, however, was never a matter of “pure” philosophy, “‘pure’ theory,” at least if philosophy and theory were to be un-derstood in a “traditional,” in a reflexive and rationalist sense, in the sense of a “dogmatic image of thought.”3 Instead, the philo-sophical creation of concepts was always mediated by certain affects, by passions, passing through the non-philosophical. Ac-cordingly, what Deleuze said about the late Michel Foucault was equally true of himself: “Thinking was never a matter of theory. It was to do with problems of life. It was life itself.” 20 00 Open Access Gansen, Moritz 4 03 06 10.21983/P3.0161.1.04 41 57 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 To Have Done with Judgment of "Reason" Deleuze's Aesthetic Ontology 1 A01 Samantha Bankston Samantha Bankston 40 01f0syq13 Babson College 01 eng 03 00 Friedrich Nietz sche, in “‘Reason’ in Philosophy” from Twilight of the Idols, alerts us to the pitfalls of a metaphysical history that grounds itself on a fundamental error of temporality:Change, mutation, becoming in general were formerly taken as proof of appearance, as a sign of the presence of something which led us astray. Today, on the contrary, we see ourselves as it were entangled in error, necessitated to error, to precisely the extent that our prejudice in favor of reason compels us to posit unity, identity, duration, substance, cause, materiality, being; however sure we may be, on the basis of a strict reck-oning, that error is to be found here.1These errors of Reason — unity, identity, mechanistic causality, and permanence — erect a tradition of judgment in the history of philosophy. The fundamental error of Reason is temporal in nature, where discontinuous states of Being supplant continuous processes of becoming. For Nietz sche, this amounts to a subor-dination of sense to a moralistic framework that never shakes off the onto-theological hangover of the Ancient Greeks, save Heraclitus.2 Reason in the history of philosophy is a mortifica-tion of thought — concepts are lifeless artifacts of the past. If we eradicate Reason from philosophy, then what are we doing? As Gilles Deleuze exclaims, “We’re looking for ‘vitality.’”3 Deleuze takes seriously the errors of Reason, as outlined by Nietz sche, and rather than do away with metaphysics, he shatters the pillars of Reason with his critique of the dogmatic “image of thought.” Just as the Signifier dies along with God, judgment in philosophy dies along with Reason. In this essay, I will illumi-nate the concept of becoming that Deleuze uses to reconfigure the history of metaphysics along the lines of Nietz sche’s critique of Reason. As the temporal logic of becoming in Deleuze splits into the becoming of pure events and the becoming of sensa-tion, a philosophy of affects corrects the errors which arose from Reason. Ultimately, Deleuze creates a metaphysical system beyond good and evil, replacing the dogmatic errors of Reason with the aesthetic potential of the new. 30 00 Friedrich Nietz sche, in “‘Reason’ in Philosophy” from Twilight of the Idols, alerts us to the pitfalls of a metaphysical history that grounds itself on a fundamental error of temporality:Change, mutation, becoming in general were formerly taken as proof of appearance, as a sign of the presence of something which led us astray. Today, on the contrary, we see ourselves as it were entangled in error, necessitated to error, to precisely the extent that our prejudice in favor of reason compels us to posit unity, identity, duration, substance, cause, materiality, being; however sure we may be, on the basis of a strict reck-oning, that error is to be found here.1These errors of Reason — unity, identity, mechanistic causality, and permanence — erect a tradition of judgment in the history of philosophy. The fundamental error of Reason is temporal in nature, where discontinuous states of Being supplant continuous processes of becoming. For Nietz sche, this amounts to a subor-dination of sense to a moralistic framework that never shakes off the onto-theological hangover of the Ancient Greeks, save Heraclitus.2 Reason in the history of philosophy is a mortifica-tion of thought — concepts are lifeless artifacts of the past. If we eradicate Reason from philosophy, then what are we doing? As Gilles Deleuze exclaims, “We’re looking for ‘vitality.’”3 Deleuze takes seriously the errors of Reason, as outlined by Nietz sche, and rather than do away with metaphysics, he shatters the pillars of Reason with his critique of the dogmatic “image of thought.” Just as the Signifier dies along with God, judgment in philosophy dies along with Reason. In this essay, I will illumi-nate the concept of becoming that Deleuze uses to reconfigure the history of metaphysics along the lines of Nietz sche’s critique of Reason. As the temporal logic of becoming in Deleuze splits into the becoming of pure events and the becoming of sensa-tion, a philosophy of affects corrects the errors which arose from Reason. Ultimately, Deleuze creates a metaphysical system beyond good and evil, replacing the dogmatic errors of Reason with the aesthetic potential of the new. 20 00 Open Access Bankston, Samantha 5 03 06 10.21983/P3.0161.1.05 59 77 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Closed Vessels and Signs Jealousy as a Passion for Reality 1 A01 Arjen Kleinherenbrink Arjen Kleinherenbrink 40 016xsfp80 Radboud University, Nijmegen 01 eng 03 00 Gilles Deleuze’s Proust and Signs is a philosophical investigation of Marcel Proust’s In Search of Lost Time revolving around the concept of jealousy. According to Deleuze, Proust expands the experience of jealousy into a veritable “logic of jealousy” which discloses that reality is “a schizoid universe of closed vessels.”1Deleuze explicates this logic by tracing how the Proustian lov-er’s jealousy fuels an apprenticeship in which a beloved is suc-cessively experienced in terms of four signs: “material signs” of worldliness, love, and sensuous qualities, and “immaterial signs” of art. At each stage, the lover learns not just something about the beloved, but also about things in general. The signs, however, do not refer to four kinds of entities or experiences. There is only a formal distinction between them, and together they constitute a theory of the experience and essence of any entity whatsoever, be it a love, a memory, a person, a madeleine, or cobblestones.Reconstructing 30 00 Gilles Deleuze’s Proust and Signs is a philosophical investigation of Marcel Proust’s In Search of Lost Time revolving around the concept of jealousy. According to Deleuze, Proust expands the experience of jealousy into a veritable “logic of jealousy” which discloses that reality is “a schizoid universe of closed vessels.”1Deleuze explicates this logic by tracing how the Proustian lov-er’s jealousy fuels an apprenticeship in which a beloved is suc-cessively experienced in terms of four signs: “material signs” of worldliness, love, and sensuous qualities, and “immaterial signs” of art. At each stage, the lover learns not just something about the beloved, but also about things in general. The signs, however, do not refer to four kinds of entities or experiences. There is only a formal distinction between them, and together they constitute a theory of the experience and essence of any entity whatsoever, be it a love, a memory, a person, a madeleine, or cobblestones.Reconstructing 20 00 Open Access Kleinherenbrink, Arjen 6 03 06 10.21983/P3.0161.1.06 79 101 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Drama of Ressentiment The Philosopher versus the Priest 1 A01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 03 00 Following the terrorist attack on Charlie Hebdo on January 7, 2015, Slavoj Žižek took a stance against the consensus that the assailants were fundamentalists. A true fundamentalist, after all, is deeply convinced of the superiority of his own way of life and therefore indifferent toward the non-believers’ way of life. When a Tibetan Buddhist encounters a Western hedonist, he may note that the hedonist’s search for happiness is self-defeating, but he will not condemn him for this. Today’s pseudo-fundamentalists, by contrast, are deeply bothered, intrigued, fascinated by the sinful life of global consumerism. In fighting the other, they are in fact fighting themselves, and this is what makes them all the more passionate. 30 00 Following the terrorist attack on Charlie Hebdo on January 7, 2015, Slavoj Žižek took a stance against the consensus that the assailants were fundamentalists. A true fundamentalist, after all, is deeply convinced of the superiority of his own way of life and therefore indifferent toward the non-believers’ way of life. When a Tibetan Buddhist encounters a Western hedonist, he may note that the hedonist’s search for happiness is self-defeating, but he will not condemn him for this. Today’s pseudo-fundamentalists, by contrast, are deeply bothered, intrigued, fascinated by the sinful life of global consumerism. In fighting the other, they are in fact fighting themselves, and this is what makes them all the more passionate. 20 00 Open Access van Tuinen, Sjoerd 7 03 06 10.21983/P3.0161.1.07 103 124 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Affective Economy Producing and Consuming Affects in Deleuze and Guattari 1 A01 Jason Read Jason Read 40 03ke6tv85 University of Southern Maine 01 eng 03 00 The thought of Gilles Deleuze (and Félix Guattari) bears an ambiguous relation with respect to the “affective turn” in social and political thought that it supposedly helped initiate. This am-biguity touches on the very role and meaning of affects. From Deleuze’s writings on Friedrich Nietz sche and Baruch Spinoza through the collaborations of Capitalism and Schizophrenia, Deleuze and Guattari insist on the central role of the affects, joy, sadness, fear, and hope, as structuring individual and collective life. In that sense, Deleuze and Guattari are rightfully hailed as central figures in a turn toward affect. However, if, as some argue, the “affective turn” is a turn toward the lived over the structural and the intimate over the public, then Deleuze and Guattari’s thought has a much more complex relation to affects. The broader polemical target of Deleuze and Guattari’s Anti-Oedipus, beyond the specific polemics with psychoanalysis, is any explanatory theory that would reduce social relations to ex-pressions of individual passions and desires. Deleuze and Guat-tari’s claim that there is only “desire and the social, and nothing else” is oriented against such individualistic accounts of not only social relations but subjectivity as well.1 Moreover, Deleuze and Guattari’s theory of capitalism argues that it reproduces itself in and through the encounter of abstract quantities of money and labor power, and as such is a social relation that is indifferent to the beliefs and meaning that we attach to it. Thus, if affect is central to Deleuze and Guattari’s thought, it is necessary to add the caveats that affect must be thought of as anti-individualistic rather than individualistic, as social rather than intimate, and as impersonal, reflecting the abstractions that dominate life. 30 00 The thought of Gilles Deleuze (and Félix Guattari) bears an ambiguous relation with respect to the “affective turn” in social and political thought that it supposedly helped initiate. This am-biguity touches on the very role and meaning of affects. From Deleuze’s writings on Friedrich Nietz sche and Baruch Spinoza through the collaborations of Capitalism and Schizophrenia, Deleuze and Guattari insist on the central role of the affects, joy, sadness, fear, and hope, as structuring individual and collective life. In that sense, Deleuze and Guattari are rightfully hailed as central figures in a turn toward affect. However, if, as some argue, the “affective turn” is a turn toward the lived over the structural and the intimate over the public, then Deleuze and Guattari’s thought has a much more complex relation to affects. The broader polemical target of Deleuze and Guattari’s Anti-Oedipus, beyond the specific polemics with psychoanalysis, is any explanatory theory that would reduce social relations to ex-pressions of individual passions and desires. Deleuze and Guat-tari’s claim that there is only “desire and the social, and nothing else” is oriented against such individualistic accounts of not only social relations but subjectivity as well.1 Moreover, Deleuze and Guattari’s theory of capitalism argues that it reproduces itself in and through the encounter of abstract quantities of money and labor power, and as such is a social relation that is indifferent to the beliefs and meaning that we attach to it. Thus, if affect is central to Deleuze and Guattari’s thought, it is necessary to add the caveats that affect must be thought of as anti-individualistic rather than individualistic, as social rather than intimate, and as impersonal, reflecting the abstractions that dominate life. 20 00 Open Access Read, Jason 8 03 06 10.21983/P3.0161.1.08 125 146 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deleuze's Transformation of the Ideology-Critique Project Noology Critique 1 A01 Benoît Dillet Benoît Dillet 40 002h8g185 University of Bath 01 eng 03 00 Fifty years after the publication of Reading Capital by Louis Al-thusser and his students, the political landscape is unrecogniz-able. We are immersed in economic parlance, from politicians, experts, and intellectuals: everyone claims to know best how to control the deficit, how to regulate the banking systems, how to stop the flows of tax evasion, etc. Although the press has per-haps been too quick at pointing out the resurgence of Karl Marx and Marxist thought in the wake of the economic crisis, we are nonetheless witnessing a certain turn to political economy in continental philosophy. It is as if critical theory had forgotten about the economic order and on waking up to a totally dis-organized and deeply unequal world, it suddenly found itself being accused by some of being compromised by the capitalist machinery, and by others as being speculative or naive. But this situation is hardly new; the end of the 1970s — with the rise of a discourse against the “totalitarian left” and preparations for the neoliberal shock therapies — also saw a resurgence of the problems of economic reason and ideology. When we charge critical theory of being compromised by putting forward crea-tivity or acceleration as the ideology of neoliberal capitalism, we denounce (or regret) that ideology was not taken into account. 30 00 Fifty years after the publication of Reading Capital by Louis Al-thusser and his students, the political landscape is unrecogniz-able. We are immersed in economic parlance, from politicians, experts, and intellectuals: everyone claims to know best how to control the deficit, how to regulate the banking systems, how to stop the flows of tax evasion, etc. Although the press has per-haps been too quick at pointing out the resurgence of Karl Marx and Marxist thought in the wake of the economic crisis, we are nonetheless witnessing a certain turn to political economy in continental philosophy. It is as if critical theory had forgotten about the economic order and on waking up to a totally dis-organized and deeply unequal world, it suddenly found itself being accused by some of being compromised by the capitalist machinery, and by others as being speculative or naive. But this situation is hardly new; the end of the 1970s — with the rise of a discourse against the “totalitarian left” and preparations for the neoliberal shock therapies — also saw a resurgence of the problems of economic reason and ideology. When we charge critical theory of being compromised by putting forward crea-tivity or acceleration as the ideology of neoliberal capitalism, we denounce (or regret) that ideology was not taken into account. 20 00 Open Access Dillet, Benoît 9 03 06 10.21983/P3.0161.1.09 147 161 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Passion, Cinema, and the Old Materialism 1 A01 Louis-Georges Schwartz Louis-Georges Schwartz 40 04gyf1771 University of California, Irvine 01 eng 03 00 At the end of the twentieth century, cinema underwent regime change, not death. Cinema has become universalized in the form of gently used media. Its leading edge subordinates both movement and image to hostility, and articulates affect through a new set of images and signs. In the past, cinematic affect was transindividual, molecular, and social; the new regime express-es affect as a molar ready made imposed on individuals by the economy. The films themselves make it clear that these changes erupted from recent capitalist restructuring of both production and the markets. As a method for understanding the interaction of cinema and capital, I will force Gilles Deleuze’s Cinema 1 and Cinema 2 to become a draft, a draft of his lost project Grandeur de Marx and analyze affect in today’s image regime with Alex Rivera’s Sleep Dealer (2008). 30 00 At the end of the twentieth century, cinema underwent regime change, not death. Cinema has become universalized in the form of gently used media. Its leading edge subordinates both movement and image to hostility, and articulates affect through a new set of images and signs. In the past, cinematic affect was transindividual, molecular, and social; the new regime express-es affect as a molar ready made imposed on individuals by the economy. The films themselves make it clear that these changes erupted from recent capitalist restructuring of both production and the markets. As a method for understanding the interaction of cinema and capital, I will force Gilles Deleuze’s Cinema 1 and Cinema 2 to become a draft, a draft of his lost project Grandeur de Marx and analyze affect in today’s image regime with Alex Rivera’s Sleep Dealer (2008). 20 00 Open Access Schwartz, Louis-Georges 10 03 06 10.21983/P3.0161.1.10 163 174 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Death of Deleuze, Birth of Passion 1 A01 David U.B. Liu David U.B. Liu 40 00py81415 Duke University 01 eng 03 00 The sound of water. What’s it like? Is it a wee blip in the stillness of the old, jaded pond? Or is it a triumphal plop that shatters the slumbering silence? What affect unfolds here? Is it the frog that jitters to the onslaught of the cold mass of water while shot put-ting itself over the pond and flails? Or is it the unwilling water that parts passionally, suffering, to make room for this unruly intruder? Who is undergoing whom, how, how long — there and here in the pond of our mind? 30 00 The sound of water. What’s it like? Is it a wee blip in the stillness of the old, jaded pond? Or is it a triumphal plop that shatters the slumbering silence? What affect unfolds here? Is it the frog that jitters to the onslaught of the cold mass of water while shot put-ting itself over the pond and flails? Or is it the unwilling water that parts passionally, suffering, to make room for this unruly intruder? Who is undergoing whom, how, how long — there and here in the pond of our mind? 20 00 Open Access Liu, David U.B. 11 03 06 10.21983/P3.0161.1.11 175 178 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 B01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 03 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 30 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 20 00 Open Access Meiborg, Ceciel van Tuinen, Sjoerd 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/deleuze-and-the-passions/ Earth, Milky Way 04 01 20161221 Meiborg, Ceciel van Tuinen, Sjoerd 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/099823754X 20 08 20161221 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/deleuze-and-the-passions 20 08 20161221 02 23.00 USD WORLD urn:uuid:8ddc6ab4-1f81-4d4c-b328-edeb29c5bd11 03 01 01 thoth-work-id urn:uuid:0985e294-aa85-40d0-90ce-af53ae37898d 01 thoth-publication-id urn:uuid:8ddc6ab4-1f81-4d4c-b328-edeb29c5bd11 06 10.21983/P3.0161.1.00 01 internal-reference 0161 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Deleuze and the Passions 1 B01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 B01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 00 182 03 12 HPCF 10 PHI035000 B2 Philosophy 93 QDHR7 93 DSA 93 JMQ 20 Gilles Deleuze; affect studies; philosophy; ontology; phenomenology 01 06 02 00 03 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 30 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0161.1.00_frontcover.png 1 03 06 10.21983/P3.0161.1.01 i ix 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 B01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 20 00 Open Access Meiborg, Ceciel van Tuinen, Sjoerd 2 03 06 10.21983/P3.0161.1.02 9 20 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 A01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 03 00 In recent years the humanities, the social sciences, and neu-roscience have witnessed an “affective turn,” especially in dis-courses around post-Fordist labor, the economic and ecological crisis, populism and identity politics, mental health, and politi-cal struggle.2 This new awareness of affect remains unthinkable without the pioneering work of Gilles Deleuze, who, following Baruch Spinoza, displaced the traditional opposition of reason and emotion with the new opposition between sad and joyful passions which diminish or increase our capacity to think and act. He thus replaced judgment with affect as the very move-ment of thought. While classical rationalism implies a moral judgment over and against emotions, the new one is an ethical evaluation of the rationality of emotions themselves. As Spinoza already put it: “we neither strive for, not will, neither want, nor desire anything because we judge it to be good; on the contrary, we judge something to be good because we strive for it, will it, want it, and desire it.” 30 00 In recent years the humanities, the social sciences, and neu-roscience have witnessed an “affective turn,” especially in dis-courses around post-Fordist labor, the economic and ecological crisis, populism and identity politics, mental health, and politi-cal struggle.2 This new awareness of affect remains unthinkable without the pioneering work of Gilles Deleuze, who, following Baruch Spinoza, displaced the traditional opposition of reason and emotion with the new opposition between sad and joyful passions which diminish or increase our capacity to think and act. He thus replaced judgment with affect as the very move-ment of thought. While classical rationalism implies a moral judgment over and against emotions, the new one is an ethical evaluation of the rationality of emotions themselves. As Spinoza already put it: “we neither strive for, not will, neither want, nor desire anything because we judge it to be good; on the contrary, we judge something to be good because we strive for it, will it, want it, and desire it.” 20 00 Open Access Meiborg, Ceciel van tuinen, Sjoerd 3 03 06 10.21983/P3.0161.1.03 21 40 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Everywhere There Are Sad Passions" Gilles Deleuze and the Unhappy Consciousness 1 A01 Moritz Gansen Moritz Gansen 40 05n911h24 Technical University of Darmstadt 01 eng 03 00 From the very beginning of his philosophical career, Gilles Deleuze defined philosophy as the “creation of concepts.”2 Such creation, however, was never a matter of “pure” philosophy, “‘pure’ theory,” at least if philosophy and theory were to be un-derstood in a “traditional,” in a reflexive and rationalist sense, in the sense of a “dogmatic image of thought.”3 Instead, the philo-sophical creation of concepts was always mediated by certain affects, by passions, passing through the non-philosophical. Ac-cordingly, what Deleuze said about the late Michel Foucault was equally true of himself: “Thinking was never a matter of theory. It was to do with problems of life. It was life itself.” 30 00 From the very beginning of his philosophical career, Gilles Deleuze defined philosophy as the “creation of concepts.”2 Such creation, however, was never a matter of “pure” philosophy, “‘pure’ theory,” at least if philosophy and theory were to be un-derstood in a “traditional,” in a reflexive and rationalist sense, in the sense of a “dogmatic image of thought.”3 Instead, the philo-sophical creation of concepts was always mediated by certain affects, by passions, passing through the non-philosophical. Ac-cordingly, what Deleuze said about the late Michel Foucault was equally true of himself: “Thinking was never a matter of theory. It was to do with problems of life. It was life itself.” 20 00 Open Access Gansen, Moritz 4 03 06 10.21983/P3.0161.1.04 41 57 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 To Have Done with Judgment of "Reason" Deleuze's Aesthetic Ontology 1 A01 Samantha Bankston Samantha Bankston 40 01f0syq13 Babson College 01 eng 03 00 Friedrich Nietz sche, in “‘Reason’ in Philosophy” from Twilight of the Idols, alerts us to the pitfalls of a metaphysical history that grounds itself on a fundamental error of temporality:Change, mutation, becoming in general were formerly taken as proof of appearance, as a sign of the presence of something which led us astray. Today, on the contrary, we see ourselves as it were entangled in error, necessitated to error, to precisely the extent that our prejudice in favor of reason compels us to posit unity, identity, duration, substance, cause, materiality, being; however sure we may be, on the basis of a strict reck-oning, that error is to be found here.1These errors of Reason — unity, identity, mechanistic causality, and permanence — erect a tradition of judgment in the history of philosophy. The fundamental error of Reason is temporal in nature, where discontinuous states of Being supplant continuous processes of becoming. For Nietz sche, this amounts to a subor-dination of sense to a moralistic framework that never shakes off the onto-theological hangover of the Ancient Greeks, save Heraclitus.2 Reason in the history of philosophy is a mortifica-tion of thought — concepts are lifeless artifacts of the past. If we eradicate Reason from philosophy, then what are we doing? As Gilles Deleuze exclaims, “We’re looking for ‘vitality.’”3 Deleuze takes seriously the errors of Reason, as outlined by Nietz sche, and rather than do away with metaphysics, he shatters the pillars of Reason with his critique of the dogmatic “image of thought.” Just as the Signifier dies along with God, judgment in philosophy dies along with Reason. In this essay, I will illumi-nate the concept of becoming that Deleuze uses to reconfigure the history of metaphysics along the lines of Nietz sche’s critique of Reason. As the temporal logic of becoming in Deleuze splits into the becoming of pure events and the becoming of sensa-tion, a philosophy of affects corrects the errors which arose from Reason. Ultimately, Deleuze creates a metaphysical system beyond good and evil, replacing the dogmatic errors of Reason with the aesthetic potential of the new. 30 00 Friedrich Nietz sche, in “‘Reason’ in Philosophy” from Twilight of the Idols, alerts us to the pitfalls of a metaphysical history that grounds itself on a fundamental error of temporality:Change, mutation, becoming in general were formerly taken as proof of appearance, as a sign of the presence of something which led us astray. Today, on the contrary, we see ourselves as it were entangled in error, necessitated to error, to precisely the extent that our prejudice in favor of reason compels us to posit unity, identity, duration, substance, cause, materiality, being; however sure we may be, on the basis of a strict reck-oning, that error is to be found here.1These errors of Reason — unity, identity, mechanistic causality, and permanence — erect a tradition of judgment in the history of philosophy. The fundamental error of Reason is temporal in nature, where discontinuous states of Being supplant continuous processes of becoming. For Nietz sche, this amounts to a subor-dination of sense to a moralistic framework that never shakes off the onto-theological hangover of the Ancient Greeks, save Heraclitus.2 Reason in the history of philosophy is a mortifica-tion of thought — concepts are lifeless artifacts of the past. If we eradicate Reason from philosophy, then what are we doing? As Gilles Deleuze exclaims, “We’re looking for ‘vitality.’”3 Deleuze takes seriously the errors of Reason, as outlined by Nietz sche, and rather than do away with metaphysics, he shatters the pillars of Reason with his critique of the dogmatic “image of thought.” Just as the Signifier dies along with God, judgment in philosophy dies along with Reason. In this essay, I will illumi-nate the concept of becoming that Deleuze uses to reconfigure the history of metaphysics along the lines of Nietz sche’s critique of Reason. As the temporal logic of becoming in Deleuze splits into the becoming of pure events and the becoming of sensa-tion, a philosophy of affects corrects the errors which arose from Reason. Ultimately, Deleuze creates a metaphysical system beyond good and evil, replacing the dogmatic errors of Reason with the aesthetic potential of the new. 20 00 Open Access Bankston, Samantha 5 03 06 10.21983/P3.0161.1.05 59 77 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Closed Vessels and Signs Jealousy as a Passion for Reality 1 A01 Arjen Kleinherenbrink Arjen Kleinherenbrink 40 016xsfp80 Radboud University, Nijmegen 01 eng 03 00 Gilles Deleuze’s Proust and Signs is a philosophical investigation of Marcel Proust’s In Search of Lost Time revolving around the concept of jealousy. According to Deleuze, Proust expands the experience of jealousy into a veritable “logic of jealousy” which discloses that reality is “a schizoid universe of closed vessels.”1Deleuze explicates this logic by tracing how the Proustian lov-er’s jealousy fuels an apprenticeship in which a beloved is suc-cessively experienced in terms of four signs: “material signs” of worldliness, love, and sensuous qualities, and “immaterial signs” of art. At each stage, the lover learns not just something about the beloved, but also about things in general. The signs, however, do not refer to four kinds of entities or experiences. There is only a formal distinction between them, and together they constitute a theory of the experience and essence of any entity whatsoever, be it a love, a memory, a person, a madeleine, or cobblestones.Reconstructing 30 00 Gilles Deleuze’s Proust and Signs is a philosophical investigation of Marcel Proust’s In Search of Lost Time revolving around the concept of jealousy. According to Deleuze, Proust expands the experience of jealousy into a veritable “logic of jealousy” which discloses that reality is “a schizoid universe of closed vessels.”1Deleuze explicates this logic by tracing how the Proustian lov-er’s jealousy fuels an apprenticeship in which a beloved is suc-cessively experienced in terms of four signs: “material signs” of worldliness, love, and sensuous qualities, and “immaterial signs” of art. At each stage, the lover learns not just something about the beloved, but also about things in general. The signs, however, do not refer to four kinds of entities or experiences. There is only a formal distinction between them, and together they constitute a theory of the experience and essence of any entity whatsoever, be it a love, a memory, a person, a madeleine, or cobblestones.Reconstructing 20 00 Open Access Kleinherenbrink, Arjen 6 03 06 10.21983/P3.0161.1.06 79 101 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Drama of Ressentiment The Philosopher versus the Priest 1 A01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 03 00 Following the terrorist attack on Charlie Hebdo on January 7, 2015, Slavoj Žižek took a stance against the consensus that the assailants were fundamentalists. A true fundamentalist, after all, is deeply convinced of the superiority of his own way of life and therefore indifferent toward the non-believers’ way of life. When a Tibetan Buddhist encounters a Western hedonist, he may note that the hedonist’s search for happiness is self-defeating, but he will not condemn him for this. Today’s pseudo-fundamentalists, by contrast, are deeply bothered, intrigued, fascinated by the sinful life of global consumerism. In fighting the other, they are in fact fighting themselves, and this is what makes them all the more passionate. 30 00 Following the terrorist attack on Charlie Hebdo on January 7, 2015, Slavoj Žižek took a stance against the consensus that the assailants were fundamentalists. A true fundamentalist, after all, is deeply convinced of the superiority of his own way of life and therefore indifferent toward the non-believers’ way of life. When a Tibetan Buddhist encounters a Western hedonist, he may note that the hedonist’s search for happiness is self-defeating, but he will not condemn him for this. Today’s pseudo-fundamentalists, by contrast, are deeply bothered, intrigued, fascinated by the sinful life of global consumerism. In fighting the other, they are in fact fighting themselves, and this is what makes them all the more passionate. 20 00 Open Access van Tuinen, Sjoerd 7 03 06 10.21983/P3.0161.1.07 103 124 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Affective Economy Producing and Consuming Affects in Deleuze and Guattari 1 A01 Jason Read Jason Read 40 03ke6tv85 University of Southern Maine 01 eng 03 00 The thought of Gilles Deleuze (and Félix Guattari) bears an ambiguous relation with respect to the “affective turn” in social and political thought that it supposedly helped initiate. This am-biguity touches on the very role and meaning of affects. From Deleuze’s writings on Friedrich Nietz sche and Baruch Spinoza through the collaborations of Capitalism and Schizophrenia, Deleuze and Guattari insist on the central role of the affects, joy, sadness, fear, and hope, as structuring individual and collective life. In that sense, Deleuze and Guattari are rightfully hailed as central figures in a turn toward affect. However, if, as some argue, the “affective turn” is a turn toward the lived over the structural and the intimate over the public, then Deleuze and Guattari’s thought has a much more complex relation to affects. The broader polemical target of Deleuze and Guattari’s Anti-Oedipus, beyond the specific polemics with psychoanalysis, is any explanatory theory that would reduce social relations to ex-pressions of individual passions and desires. Deleuze and Guat-tari’s claim that there is only “desire and the social, and nothing else” is oriented against such individualistic accounts of not only social relations but subjectivity as well.1 Moreover, Deleuze and Guattari’s theory of capitalism argues that it reproduces itself in and through the encounter of abstract quantities of money and labor power, and as such is a social relation that is indifferent to the beliefs and meaning that we attach to it. Thus, if affect is central to Deleuze and Guattari’s thought, it is necessary to add the caveats that affect must be thought of as anti-individualistic rather than individualistic, as social rather than intimate, and as impersonal, reflecting the abstractions that dominate life. 30 00 The thought of Gilles Deleuze (and Félix Guattari) bears an ambiguous relation with respect to the “affective turn” in social and political thought that it supposedly helped initiate. This am-biguity touches on the very role and meaning of affects. From Deleuze’s writings on Friedrich Nietz sche and Baruch Spinoza through the collaborations of Capitalism and Schizophrenia, Deleuze and Guattari insist on the central role of the affects, joy, sadness, fear, and hope, as structuring individual and collective life. In that sense, Deleuze and Guattari are rightfully hailed as central figures in a turn toward affect. However, if, as some argue, the “affective turn” is a turn toward the lived over the structural and the intimate over the public, then Deleuze and Guattari’s thought has a much more complex relation to affects. The broader polemical target of Deleuze and Guattari’s Anti-Oedipus, beyond the specific polemics with psychoanalysis, is any explanatory theory that would reduce social relations to ex-pressions of individual passions and desires. Deleuze and Guat-tari’s claim that there is only “desire and the social, and nothing else” is oriented against such individualistic accounts of not only social relations but subjectivity as well.1 Moreover, Deleuze and Guattari’s theory of capitalism argues that it reproduces itself in and through the encounter of abstract quantities of money and labor power, and as such is a social relation that is indifferent to the beliefs and meaning that we attach to it. Thus, if affect is central to Deleuze and Guattari’s thought, it is necessary to add the caveats that affect must be thought of as anti-individualistic rather than individualistic, as social rather than intimate, and as impersonal, reflecting the abstractions that dominate life. 20 00 Open Access Read, Jason 8 03 06 10.21983/P3.0161.1.08 125 146 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deleuze's Transformation of the Ideology-Critique Project Noology Critique 1 A01 Benoît Dillet Benoît Dillet 40 002h8g185 University of Bath 01 eng 03 00 Fifty years after the publication of Reading Capital by Louis Al-thusser and his students, the political landscape is unrecogniz-able. We are immersed in economic parlance, from politicians, experts, and intellectuals: everyone claims to know best how to control the deficit, how to regulate the banking systems, how to stop the flows of tax evasion, etc. Although the press has per-haps been too quick at pointing out the resurgence of Karl Marx and Marxist thought in the wake of the economic crisis, we are nonetheless witnessing a certain turn to political economy in continental philosophy. It is as if critical theory had forgotten about the economic order and on waking up to a totally dis-organized and deeply unequal world, it suddenly found itself being accused by some of being compromised by the capitalist machinery, and by others as being speculative or naive. But this situation is hardly new; the end of the 1970s — with the rise of a discourse against the “totalitarian left” and preparations for the neoliberal shock therapies — also saw a resurgence of the problems of economic reason and ideology. When we charge critical theory of being compromised by putting forward crea-tivity or acceleration as the ideology of neoliberal capitalism, we denounce (or regret) that ideology was not taken into account. 30 00 Fifty years after the publication of Reading Capital by Louis Al-thusser and his students, the political landscape is unrecogniz-able. We are immersed in economic parlance, from politicians, experts, and intellectuals: everyone claims to know best how to control the deficit, how to regulate the banking systems, how to stop the flows of tax evasion, etc. Although the press has per-haps been too quick at pointing out the resurgence of Karl Marx and Marxist thought in the wake of the economic crisis, we are nonetheless witnessing a certain turn to political economy in continental philosophy. It is as if critical theory had forgotten about the economic order and on waking up to a totally dis-organized and deeply unequal world, it suddenly found itself being accused by some of being compromised by the capitalist machinery, and by others as being speculative or naive. But this situation is hardly new; the end of the 1970s — with the rise of a discourse against the “totalitarian left” and preparations for the neoliberal shock therapies — also saw a resurgence of the problems of economic reason and ideology. When we charge critical theory of being compromised by putting forward crea-tivity or acceleration as the ideology of neoliberal capitalism, we denounce (or regret) that ideology was not taken into account. 20 00 Open Access Dillet, Benoît 9 03 06 10.21983/P3.0161.1.09 147 161 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Passion, Cinema, and the Old Materialism 1 A01 Louis-Georges Schwartz Louis-Georges Schwartz 40 04gyf1771 University of California, Irvine 01 eng 03 00 At the end of the twentieth century, cinema underwent regime change, not death. Cinema has become universalized in the form of gently used media. Its leading edge subordinates both movement and image to hostility, and articulates affect through a new set of images and signs. In the past, cinematic affect was transindividual, molecular, and social; the new regime express-es affect as a molar ready made imposed on individuals by the economy. The films themselves make it clear that these changes erupted from recent capitalist restructuring of both production and the markets. As a method for understanding the interaction of cinema and capital, I will force Gilles Deleuze’s Cinema 1 and Cinema 2 to become a draft, a draft of his lost project Grandeur de Marx and analyze affect in today’s image regime with Alex Rivera’s Sleep Dealer (2008). 30 00 At the end of the twentieth century, cinema underwent regime change, not death. Cinema has become universalized in the form of gently used media. Its leading edge subordinates both movement and image to hostility, and articulates affect through a new set of images and signs. In the past, cinematic affect was transindividual, molecular, and social; the new regime express-es affect as a molar ready made imposed on individuals by the economy. The films themselves make it clear that these changes erupted from recent capitalist restructuring of both production and the markets. As a method for understanding the interaction of cinema and capital, I will force Gilles Deleuze’s Cinema 1 and Cinema 2 to become a draft, a draft of his lost project Grandeur de Marx and analyze affect in today’s image regime with Alex Rivera’s Sleep Dealer (2008). 20 00 Open Access Schwartz, Louis-Georges 10 03 06 10.21983/P3.0161.1.10 163 174 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Death of Deleuze, Birth of Passion 1 A01 David U.B. Liu David U.B. Liu 40 00py81415 Duke University 01 eng 03 00 The sound of water. What’s it like? Is it a wee blip in the stillness of the old, jaded pond? Or is it a triumphal plop that shatters the slumbering silence? What affect unfolds here? Is it the frog that jitters to the onslaught of the cold mass of water while shot put-ting itself over the pond and flails? Or is it the unwilling water that parts passionally, suffering, to make room for this unruly intruder? Who is undergoing whom, how, how long — there and here in the pond of our mind? 30 00 The sound of water. What’s it like? Is it a wee blip in the stillness of the old, jaded pond? Or is it a triumphal plop that shatters the slumbering silence? What affect unfolds here? Is it the frog that jitters to the onslaught of the cold mass of water while shot put-ting itself over the pond and flails? Or is it the unwilling water that parts passionally, suffering, to make room for this unruly intruder? Who is undergoing whom, how, how long — there and here in the pond of our mind? 20 00 Open Access Liu, David U.B. 11 03 06 10.21983/P3.0161.1.11 175 178 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Ceciel Meiborg Ceciel Meiborg 40 02tvcev59 New School 2 B01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 03 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 30 00 In recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. 20 00 Open Access Meiborg, Ceciel van Tuinen, Sjoerd 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/deleuze-and-the-passions/ Earth, Milky Way 04 01 20161221 Meiborg, Ceciel van Tuinen, Sjoerd 02 WORLD 06 15 9780998237541 03 9780998237541 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25466 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25466/1004629.pdf?sequence=1&isAllowed=y 20 08 20161221 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28627 20 08 20161221 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354011 20 08 20161221 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/545 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e243c6a6-1912-44f2-a31e-1db0cc2f5052/download 20 08 20161221 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Deleuze_and_the_Passions/TAOVEAAAQBAJ 20 08 20161221 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0985e294-aa85-40d0-90ce-af53ae37898d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0985e294-aa85-40d0-90ce-af53ae37898d/0985e294-aa85-40d0-90ce-af53ae37898d.pdf 20 08 20161221 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846793 29 ZENODO: download the title https://zenodo.org/records/19846793/files/0985e294-aa85-40d0-90ce-af53ae37898d_book.pdf 20 08 20161221 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/deleuze-and-the-passions/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0161.1.00.pdf 20 08 20161221 01 urn:uuid:eddfe7f9-b500-4d82-9199-58afe923c106 03 01 01 thoth-work-id urn:uuid:9e6bb4d8-4e05-4cd7-abe9-4a795ade0340 01 thoth-publication-id urn:uuid:eddfe7f9-b500-4d82-9199-58afe923c106 15 9780998531892 03 9780998531892 06 10.21983/P3.0172.1.00 01 internal-reference 0172 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Derrida and Queer Theory 1 B01 Christian Hite Christian Hite 40 03taz7m60 University of Southern California 01 eng 00 294 03 93 JBSJ 12 JFSK 10 PHI043000 B2 Philosophy 93 QDHR7 10 SOC064000 B2 TransQueer 93 DSA 20 Jacques Derrida; queer theory; gender; sexuality; deconstruction 01 06 02 00 03 00 Coming from behind (derrière)—how else to describe a volume called “Derrida and Queer Theory”? — as if arriving late to the party, or, indeed, after the party is already over. After all, we already have Deleuze and Queer Theory and, of course, Saint Foucault. And judging by Annamarie Jagose’s Queer Theory: An Introduction, in which there is not a single mention of “Derrida” (or “deconstruction”) — even in the sub-chapter titled “The Post-Structuralist Context of Queer” — one would think that Derrida was not only late to the party, but was never there at all.This untimely volume, then, with wide-ranging essays from key thinkers in the field, addresses, among other things, what could be called the disavowed debt to “Derrida” in canonical “queer theory.” 30 00 Coming from behind (derrière)—how else to describe a volume called “Derrida and Queer Theory”? — as if arriving late to the party, or, indeed, after the party is already over. After all, we already have Deleuze and Queer Theory and, of course, Saint Foucault. And judging by Annamarie Jagose’s Queer Theory: An Introduction, in which there is not a single mention of “Derrida” (or “deconstruction”) — even in the sub-chapter titled “The Post-Structuralist Context of Queer” — one would think that Derrida was not only late to the party, but was never there at all.This untimely volume, then, with wide-ranging essays from key thinkers in the field, addresses, among other things, what could be called the disavowed debt to “Derrida” in canonical “queer theory.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0172.1.00_frontcover.png 1 03 06 10.21983/P3.0172.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Christian Hite Christian Hite 01 eng 20 00 Open Access Hite, Christian 2 03 06 10.21983/P3.0172.1.02 10 23 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Gift from (of the) "Behind" (Derrière) Intro-extro-duction 1 A01 Christian Hite Christian Hite 40 03taz7m60 University of Southern California 01 eng 03 00 coming from behind (derrière)—how else to describe a volumecalled “Derrida and queer Theory”?—as if arriving late to the party,or, indeed, after the party is already over. after all, we already haveDeleuze and Queer Theory1and, of course, Saint Foucault. Judgingby annamarie Jagose’s Queer Theory: An Introduction, in which thereis not a single mention of “Derrida” (or “deconstruction”)—even inthe sub-chapter titled “The post-structuralist context of queer”—,one would think that Derrida was not only late to the party, but wasnever there at all. 30 00 coming from behind (derrière)—how else to describe a volumecalled “Derrida and queer Theory”?—as if arriving late to the party,or, indeed, after the party is already over. after all, we already haveDeleuze and Queer Theory1and, of course, Saint Foucault. Judgingby annamarie Jagose’s Queer Theory: An Introduction, in which thereis not a single mention of “Derrida” (or “deconstruction”)—even inthe sub-chapter titled “The post-structuralist context of queer”—,one would think that Derrida was not only late to the party, but wasnever there at all. 20 00 Open Access Hite, Christian 3 03 06 10.21983/P3.0172.1.03 24 67 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preposturous Preface Derrida and Queer Discourse 1 A01 J. Hillis Miller J. Hillis Miller 40 04gyf1771 University of California, Irvine 01 eng 03 00 My preface comes both before and after, preposterously, in the etymological sense. it comes first for you, dear reader, but after for me, since it is being written after i have read all the essays in this book. i have read them with admiration and intellectual excitement. They have changed my assumptions about queer theory. I have heard of a philosophy professor who said of Jacques Derrida, mendaciously, “Well, he’s dead so we don’t have to worry about him anymore.” Derrida, in the final interview with Le Monde, given just a few weeks before his death, said, perhaps ironically, perhaps not, that he expected he and all his works would beforgotten two months after his death. Just the opposite hashappened. a great outpouring of distinguished conferences, essays,and books from all over the world has occurred since his death.This book is a wonderful example of that. it is the first book focusedon the relation between Derrida’s work and queer theory. Theessays are admirably diverse and learned. each explores a differentfacet of Derrida’s work. each essay shows in detail a given facet’sindispensable function in one or another feature of queer theorytoday. each has, in a distinctive way, an enviable conceptual andlinguistic exuberance. This not only echoes Derrida’s similarexuberance, but also bears witness that the humanities are stillvigorous, even in these bad times for them. These essays testifymovingly to the fundamental role that Derrida’s work has played 30 00 My preface comes both before and after, preposterously, in the etymological sense. it comes first for you, dear reader, but after for me, since it is being written after i have read all the essays in this book. i have read them with admiration and intellectual excitement. They have changed my assumptions about queer theory. I have heard of a philosophy professor who said of Jacques Derrida, mendaciously, “Well, he’s dead so we don’t have to worry about him anymore.” Derrida, in the final interview with Le Monde, given just a few weeks before his death, said, perhaps ironically, perhaps not, that he expected he and all his works would beforgotten two months after his death. Just the opposite hashappened. a great outpouring of distinguished conferences, essays,and books from all over the world has occurred since his death.This book is a wonderful example of that. it is the first book focusedon the relation between Derrida’s work and queer theory. Theessays are admirably diverse and learned. each explores a differentfacet of Derrida’s work. each essay shows in detail a given facet’sindispensable function in one or another feature of queer theorytoday. each has, in a distinctive way, an enviable conceptual andlinguistic exuberance. This not only echoes Derrida’s similarexuberance, but also bears witness that the humanities are stillvigorous, even in these bad times for them. These essays testifymovingly to the fundamental role that Derrida’s work has played 20 00 Open Access Miller, J. Hillis 4 03 06 10.21983/P3.0172.1.04 68 91 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Impossible Uncanniness Deconstruction and Queer Theory 1 A01 Nicholas Royle Nicholas Royle 40 00ayhx656 University of Sussex 01 eng 03 00 Queer’s not just a queer word but belongs, if it belongs, to a queer time.i would like to think of that sentence as a tiny installation, a snow-flake of sound, around which one might take one or more queerturns, or sketch a few queer footnotes. There is, perhaps, a queertheory of the First sentence. in a dreamy, radical passivity, iimagined an encounter of “deconstruction and queer theory” inrelation to the writings of Leo bersani, starting with the falling intoplace of the First sentence. What is the character of a first sentence?How, along what paths and with what effects, does the tone adoptyou as much as you it (to borrow Derrida’s formulation)? How doesit commit or even (in the strongest sense) determine you? bersani isfascinated by what happens, like lightning, by what is struck orstriking in first sentences. “There is a big secret about sex: mostpeople don’t like it.”3“The vagina is a logical defect in nature.”4“psychoanalytically speaking, monogamy is cognitively inconceivable and morally indefensible.”5These are three of his first sentences,the opening words of “is the rectum a Grave?,” “Merde alors” (anessay co-authored with ulysse Dutoit), and “against Monogamy,”respectively. i could envisage devoting a separate essay to each ofthese sentences, in homage to the thinker who, it seems to me, firstelaborated, a good while before Judith butler and others, thetheoretical and political dimensions of deconstruction and queertheory.6but in the limited time i have here, this will have to besignalled as a bypath—a bypath that inevitably takes in Billy Budd,a path by billy, a billy by-blow, proceeding and even coming intobud, by way of the opening of chapter 4 of that masterpiece inwhich Melville’s narrator declares: “in this matter of writing, resolveas one may to keep to the main road, some paths have an enticementnot readily to be withstood. i am going to err into such a bypath.if the reader will keep me company i shall be glad. at the least, wecan promise ourselves that pleasure which is wickedly said to be insinning, for a literary sin the divergence will be.”7Does Billy Buddhave a main road? What would it mean to keep its narratorcompany? How should we construe the pleasure of literary sinningand what might be discovered on its bypaths? 30 00 Queer’s not just a queer word but belongs, if it belongs, to a queer time.i would like to think of that sentence as a tiny installation, a snow-flake of sound, around which one might take one or more queerturns, or sketch a few queer footnotes. There is, perhaps, a queertheory of the First sentence. in a dreamy, radical passivity, iimagined an encounter of “deconstruction and queer theory” inrelation to the writings of Leo bersani, starting with the falling intoplace of the First sentence. What is the character of a first sentence?How, along what paths and with what effects, does the tone adoptyou as much as you it (to borrow Derrida’s formulation)? How doesit commit or even (in the strongest sense) determine you? bersani isfascinated by what happens, like lightning, by what is struck orstriking in first sentences. “There is a big secret about sex: mostpeople don’t like it.”3“The vagina is a logical defect in nature.”4“psychoanalytically speaking, monogamy is cognitively inconceivable and morally indefensible.”5These are three of his first sentences,the opening words of “is the rectum a Grave?,” “Merde alors” (anessay co-authored with ulysse Dutoit), and “against Monogamy,”respectively. i could envisage devoting a separate essay to each ofthese sentences, in homage to the thinker who, it seems to me, firstelaborated, a good while before Judith butler and others, thetheoretical and political dimensions of deconstruction and queertheory.6but in the limited time i have here, this will have to besignalled as a bypath—a bypath that inevitably takes in Billy Budd,a path by billy, a billy by-blow, proceeding and even coming intobud, by way of the opening of chapter 4 of that masterpiece inwhich Melville’s narrator declares: “in this matter of writing, resolveas one may to keep to the main road, some paths have an enticementnot readily to be withstood. i am going to err into such a bypath.if the reader will keep me company i shall be glad. at the least, wecan promise ourselves that pleasure which is wickedly said to be insinning, for a literary sin the divergence will be.”7Does Billy Buddhave a main road? What would it mean to keep its narratorcompany? How should we construe the pleasure of literary sinningand what might be discovered on its bypaths? 20 00 Open Access Royle, Nicholas 5 03 06 10.21983/P3.0172.1.05 92 107 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 No Kingdom of the Queer 1 A01 Calvin Thomas Calvin Thomas 40 03qt6ba18 Georgia State University 01 eng 03 00 as we know, as “it has been written,” and as i have emphasized in what you will have just (epigraphically) read, “Derrida argued.” Or, if you prefer, as i do, to obey the still regnant rhetorical convention and employ the present tense when describing what “has been written” (and so, in a sense, bring the dead back to life), then, as we might argue:Derrida (still) writes. 30 00 as we know, as “it has been written,” and as i have emphasized in what you will have just (epigraphically) read, “Derrida argued.” Or, if you prefer, as i do, to obey the still regnant rhetorical convention and employ the present tense when describing what “has been written” (and so, in a sense, bring the dead back to life), then, as we might argue:Derrida (still) writes. 20 00 Open Access Thomas, Calvin 6 03 06 10.21983/P3.0172.1.06 108 130 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Derrida and the Question of "Woman" 1 A01 Sarah Dillon Sarah Dillon 40 013meh722 University of Cambridge 01 eng 03 00 This essay resumes after an anacoluthic interruption.1it returns tothe question of “woman” which i raised but left unanswered in apaper presented at the Derrida: Negotiating the Legacyconference.2When i presented that paper, my discussant asked, with acuteperceptiveness, why i had concentrated in the end on grammar—the figure of the anacoluthon—and left undeveloped the questionof “woman.” My answer was instinctive and immediate: “becausegrammar’s easier.” i still hold by this assertion. The question of“woman,” both in Jacques Derrida’s writing and beyond, is difficultand complex. it consists, as i understand it, of two interrelatedparts: the first is the question of the relation between “woman” andwomen, that is, between a philosophical or ontological concept of “woman” and the political and everyday realities of embodied femalesubjects; the second is the question of the relation between womenand men, the question of sexual difference. My issue in the earlierpaper was with the first aspect of this question—Derrida’s use of“woman” in his writings. as Gayatri chakravorty spivak elaboratesin her review essay of Derrida’s La carte postale(1981)—“Love Me,Love my ombre, elle” (1984)—Derrida uses “woman” as the figure of deconstructive undecidability, part of a process of resexualizing phallogocentric discourse that is integral to his deconstruction of Western metaphysics. 30 00 This essay resumes after an anacoluthic interruption.1it returns tothe question of “woman” which i raised but left unanswered in apaper presented at the Derrida: Negotiating the Legacyconference.2When i presented that paper, my discussant asked, with acuteperceptiveness, why i had concentrated in the end on grammar—the figure of the anacoluthon—and left undeveloped the questionof “woman.” My answer was instinctive and immediate: “becausegrammar’s easier.” i still hold by this assertion. The question of“woman,” both in Jacques Derrida’s writing and beyond, is difficultand complex. it consists, as i understand it, of two interrelatedparts: the first is the question of the relation between “woman” andwomen, that is, between a philosophical or ontological concept of “woman” and the political and everyday realities of embodied femalesubjects; the second is the question of the relation between womenand men, the question of sexual difference. My issue in the earlierpaper was with the first aspect of this question—Derrida’s use of“woman” in his writings. as Gayatri chakravorty spivak elaboratesin her review essay of Derrida’s La carte postale(1981)—“Love Me,Love my ombre, elle” (1984)—Derrida uses “woman” as the figure of deconstructive undecidability, part of a process of resexualizing phallogocentric discourse that is integral to his deconstruction of Western metaphysics. 20 00 Open Access Dillon, Sarah 7 03 06 10.21983/P3.0172.1.07 132 163 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Les chats de Derrida 1 A01 Carla Freccero Carla Freccero 40 03s65by71 University of California, Santa Cruz 01 eng 03 00 i have previously suggested that Derridean theoretical practice canbe understood to be “always already” queer theory, if queer theoryis understood in one of its valences, that is, as an immaterialde-normativization that works at the level of language, thought, andideology to critique, but in a viral fashion, by replicating terms andre-purposing them so that their operation moves down paths thatare overgrown with the bushes of normative philosophical thought.2These paths are inscriptions; they don’t quite open up, but theyleave—or are—traces, and can be followed, like the tracks thatDerrida is following in L’Animal que donc je suis.in Queer/Early/Moderni argued that key terms that have emerged fromdeconstructive gestures include queer, though “queer,” i think,carries with it—as the wind does scent—a faint but specific whiffof sex/sexual identity/sexuality. one way to think about this is tosay that after Derrida all theory is “queer,” or rather that Derridahelps us to understand how theory is always already queer, andto affirm this queerness further. i also wanted to find in Derrida’sspectrality a way to queer temporality that takes into account theaffective force of fantasy, that is, the way the past lives on as akind of immaterial materiality through affect, a force that is notsomething we “see” necessarily, but something we feel. 30 00 i have previously suggested that Derridean theoretical practice canbe understood to be “always already” queer theory, if queer theoryis understood in one of its valences, that is, as an immaterialde-normativization that works at the level of language, thought, andideology to critique, but in a viral fashion, by replicating terms andre-purposing them so that their operation moves down paths thatare overgrown with the bushes of normative philosophical thought.2These paths are inscriptions; they don’t quite open up, but theyleave—or are—traces, and can be followed, like the tracks thatDerrida is following in L’Animal que donc je suis.in Queer/Early/Moderni argued that key terms that have emerged fromdeconstructive gestures include queer, though “queer,” i think,carries with it—as the wind does scent—a faint but specific whiffof sex/sexual identity/sexuality. one way to think about this is tosay that after Derrida all theory is “queer,” or rather that Derridahelps us to understand how theory is always already queer, andto affirm this queerness further. i also wanted to find in Derrida’sspectrality a way to queer temporality that takes into account theaffective force of fantasy, that is, the way the past lives on as akind of immaterial materiality through affect, a force that is notsomething we “see” necessarily, but something we feel. 20 00 Open Access Freccero, Carla 8 03 06 10.21983/P3.0172.1.08 164 182 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Derrida's Queer Root(s) 1 A01 21 0000000217212507 Jarrod Hayes Jarrod Hayes 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 03 00 in Of Grammatology, Jacques Derrida writes, “The trace is not onlythe disappearance of origin . . . it means that the origin did not evendisappear, that it was never constituted except reciprocally [en retour/in retrospect] by a nonorigin, the trace, which thus becomes theorigin of the origin.”2by asserting the après-coupconstitution oforigins, Derrida therefore implies that searching for, then “finding,”one’s roots consists not in returning to pre-existing origins; rather,the very return posits them after the factas if they existed prior to it.3at first glance, this key passage for what may be called Derrida’sdeconstruction of origins(a critical component of the deconstructionof essence since his earliest writings) might seem contrary to thearticulation of identity through narrative returns to origins or roots.indeed, if the notion of roots literalizes identity’s essence as anorganic attachment to its origins in a material, geographical site, then, for Derrida, any metaphysical search for origins is actually awriting of origins as fiction, that is, of original fictions. Yet Derridaincreasingly wove an autobiographical thread into writings like“circumfession”4and Monolingualism of the Other5with the resultthat, in spite of his deconstruction of origins, origins keep comingback in the form of narrative returns to his Jewish-algerian roots.Therefore, Derrida’s later writings (and their deployment of theautobiographical) offer rich pre-texts for unraveling the ties thatbind a metaphysics of origins to accounts of identity as rootednessas well as a strategy for dealing with a rooted identity that resistssuch an unraveling. 30 00 in Of Grammatology, Jacques Derrida writes, “The trace is not onlythe disappearance of origin . . . it means that the origin did not evendisappear, that it was never constituted except reciprocally [en retour/in retrospect] by a nonorigin, the trace, which thus becomes theorigin of the origin.”2by asserting the après-coupconstitution oforigins, Derrida therefore implies that searching for, then “finding,”one’s roots consists not in returning to pre-existing origins; rather,the very return posits them after the factas if they existed prior to it.3at first glance, this key passage for what may be called Derrida’sdeconstruction of origins(a critical component of the deconstructionof essence since his earliest writings) might seem contrary to thearticulation of identity through narrative returns to origins or roots.indeed, if the notion of roots literalizes identity’s essence as anorganic attachment to its origins in a material, geographical site, then, for Derrida, any metaphysical search for origins is actually awriting of origins as fiction, that is, of original fictions. Yet Derridaincreasingly wove an autobiographical thread into writings like“circumfession”4and Monolingualism of the Other5with the resultthat, in spite of his deconstruction of origins, origins keep comingback in the form of narrative returns to his Jewish-algerian roots.Therefore, Derrida’s later writings (and their deployment of theautobiographical) offer rich pre-texts for unraveling the ties thatbind a metaphysics of origins to accounts of identity as rootednessas well as a strategy for dealing with a rooted identity that resistssuch an unraveling. 20 00 Open Access Hayes, Jarrod 9 03 06 10.21983/P3.0172.1.09 184 198 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deco-pervo-struction 1 A01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 01 eng 03 00 What would happen if i were to call Jacques Derrida a “pervert”?What would it mean for a reader to pick up this book and to read achapter which argued that he was, that his thinking and writings onhospitality, forgiveness, the gift, iterability, borderlines, postcards,promises, and so on, were perverted, the work of a pervert? if i amto be honest, straight about it, i would say that Derrida’s work isentirely the most perverse collection of writings i know, an immenseassemblage of the most punning, insightful, playful, and rigorouslyperverse writings that it has been my pleasure to come (and always-yet-to-come) across. but i will not say it here. i will defer that toone of his more distinguished (and tenured) detractors. Here, then,is what Terry eagleton has to say of Derrida’s engagement with whathe calls “Marxism without Marxism” following the publication ofDerrida’s Spectres of Marx:There is an exasperating kind of believer who holds what he does until he meets someone else who holds the same. at this point, confronted with the bugbear of an “orthodoxy,” he starts nervously to retract, or at least to qualify. There is more than a touch of this adolescent perversity in Derrida, who like many a postmodernist appears to feel (it is a matter of sensibility rather than reasoned conviction) that the dominant is ipso facto demonic and the marginal precious per se. 30 00 What would happen if i were to call Jacques Derrida a “pervert”?What would it mean for a reader to pick up this book and to read achapter which argued that he was, that his thinking and writings onhospitality, forgiveness, the gift, iterability, borderlines, postcards,promises, and so on, were perverted, the work of a pervert? if i amto be honest, straight about it, i would say that Derrida’s work isentirely the most perverse collection of writings i know, an immenseassemblage of the most punning, insightful, playful, and rigorouslyperverse writings that it has been my pleasure to come (and always-yet-to-come) across. but i will not say it here. i will defer that toone of his more distinguished (and tenured) detractors. Here, then,is what Terry eagleton has to say of Derrida’s engagement with whathe calls “Marxism without Marxism” following the publication ofDerrida’s Spectres of Marx:There is an exasperating kind of believer who holds what he does until he meets someone else who holds the same. at this point, confronted with the bugbear of an “orthodoxy,” he starts nervously to retract, or at least to qualify. There is more than a touch of this adolescent perversity in Derrida, who like many a postmodernist appears to feel (it is a matter of sensibility rather than reasoned conviction) that the dominant is ipso facto demonic and the marginal precious per se. 20 00 Open Access Dunne, Éamonn 10 03 06 10.21983/P3.0172.1.10 200 214 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Man For All Seasons Derrida-cum-"Queer Theory," or the Limits of "Performativity" 1 A01 Alexander García Düttmann Alexander García Düttmann 40 03eznrw16 Berlin University of the Arts 01 eng 03 00 s it perverse, a distorting reversal of how things should be, to startwriting without quite knowing whether the subject is a relevant one,or even if there is a subject to be dealt with in the first place? Theopening lines of robert bolt’s play, A Man for All Seasons, arespoken by the common Man and read thusly: “it is perverse! Tostart a play made up of kings and cardinals in speaking costumesand intellectuals with embroidered mouths, with me.”2To be sure,if one suspects the kings, cardinals, and intellectuals, not to mentionthe queens, who presume that deconstruction can contribute to“queer theory,” to be wearing little more than “speaking costumes,”one risks placing oneself in the position of the common man, atleast when seen from the perspective that frames the speech of“embroidered mouths.” When the “i” appears at the end of the line—“with me”—the words fall flat. and yet, it would seem that aminimal conviction is required to speak meaningfully about asubject, encapsulating not a sense of the agreeable, or of practicalcompetence, but of truth, of that which lies beyond personal interestand pragmatism, which, in the words of the play’s main character,is the interest of the “merest plumber” (Ms 70). and if at this pointalready the notion of meaningfulness were to be contested, onecould also put it differently and say that, unless one assumes that “queer theory” and a deconstructive approach to it amount tosomething, one had better keep one’s mouth shut. 30 00 s it perverse, a distorting reversal of how things should be, to startwriting without quite knowing whether the subject is a relevant one,or even if there is a subject to be dealt with in the first place? Theopening lines of robert bolt’s play, A Man for All Seasons, arespoken by the common Man and read thusly: “it is perverse! Tostart a play made up of kings and cardinals in speaking costumesand intellectuals with embroidered mouths, with me.”2To be sure,if one suspects the kings, cardinals, and intellectuals, not to mentionthe queens, who presume that deconstruction can contribute to“queer theory,” to be wearing little more than “speaking costumes,”one risks placing oneself in the position of the common man, atleast when seen from the perspective that frames the speech of“embroidered mouths.” When the “i” appears at the end of the line—“with me”—the words fall flat. and yet, it would seem that aminimal conviction is required to speak meaningfully about asubject, encapsulating not a sense of the agreeable, or of practicalcompetence, but of truth, of that which lies beyond personal interestand pragmatism, which, in the words of the play’s main character,is the interest of the “merest plumber” (Ms 70). and if at this pointalready the notion of meaningfulness were to be contested, onecould also put it differently and say that, unless one assumes that “queer theory” and a deconstructive approach to it amount tosomething, one had better keep one’s mouth shut. 20 00 Open Access Düttmann, Alexander García 11 03 06 10.21983/P3.0172.1.11 216 232 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Practical Deconstruction" A Note on Some Notes by Judith Butler 1 A01 Martin McQuillan Martin McQuillan 40 028ndzd53 Edge Hill University 01 eng 03 00 one of the stakes suggested by the juxtaposition of queer theory anddeconstruction is that of genealogy and the family. are queer theoryand deconstruction related? are they close relatives, brother andsister perhaps or are they involved in some sort of murderousoedipal clinch? We are preparing to speak of such things here.What relation does either deconstruction or queer theory have tothe named super-ego “Jacques Derrida”? in what way do they comeafter him, in filiation perhaps as the son or daughter follows thefather? or is this question of the “after” more a matter of familyresemblance in that queer theory and deconstruction take after Derrida? For some, the coupling will be a case of queer bedfellows,but let’s take the relation as axiomatic and “normative,” if only forthe moment. certainly, one of the issues which concerns me in sucha conjunction between queer theory and deconstruction is that queertheory ought to know where it comes from. i do not say this inorder to ultimately suggest that either deconstruction knows whereit comes from, or that Derrida is the father of queer theory, alongwith everything else; queer theory being just another illegitimatechild from the errant dissemination of his writing—an after-effect.rather, it is to propose that queer theory, if there is such a thingand it is one, might learn a lot about itself by taking on board someof the reading practices familiar to deconstruction after JacquesDerrida. in particular, i wish to look at Judith butler’s Antigone’sClaim, published in 2000 and originally presented as the WellekLectures at uc irvine in 1988 and as the Gauss seminars atprinceton in 1998 (these locations have particular significancewithin the institutional genealogy of deconstruction-in-americawhich firmly locates this text at the cross-roads of what we are callingtoday “queer theory and deconstruction”).4now, my particularissue with butler’s book is the way in which, while clearly comingafter Derrida in every possible sense of that phrase, it expeditiouslyrelegates Derrida to three footnotes of various lengths. Thisseems odd to me, if not downright queer, especially in light of thetreatment of Derrida in her first book on French Hegel,5and iwould like to pick at these footnotes for a while before returning towhat else might be at stake in the partnership between queer theoryand deconstruction. 30 00 one of the stakes suggested by the juxtaposition of queer theory anddeconstruction is that of genealogy and the family. are queer theoryand deconstruction related? are they close relatives, brother andsister perhaps or are they involved in some sort of murderousoedipal clinch? We are preparing to speak of such things here.What relation does either deconstruction or queer theory have tothe named super-ego “Jacques Derrida”? in what way do they comeafter him, in filiation perhaps as the son or daughter follows thefather? or is this question of the “after” more a matter of familyresemblance in that queer theory and deconstruction take after Derrida? For some, the coupling will be a case of queer bedfellows,but let’s take the relation as axiomatic and “normative,” if only forthe moment. certainly, one of the issues which concerns me in sucha conjunction between queer theory and deconstruction is that queertheory ought to know where it comes from. i do not say this inorder to ultimately suggest that either deconstruction knows whereit comes from, or that Derrida is the father of queer theory, alongwith everything else; queer theory being just another illegitimatechild from the errant dissemination of his writing—an after-effect.rather, it is to propose that queer theory, if there is such a thingand it is one, might learn a lot about itself by taking on board someof the reading practices familiar to deconstruction after JacquesDerrida. in particular, i wish to look at Judith butler’s Antigone’sClaim, published in 2000 and originally presented as the WellekLectures at uc irvine in 1988 and as the Gauss seminars atprinceton in 1998 (these locations have particular significancewithin the institutional genealogy of deconstruction-in-americawhich firmly locates this text at the cross-roads of what we are callingtoday “queer theory and deconstruction”).4now, my particularissue with butler’s book is the way in which, while clearly comingafter Derrida in every possible sense of that phrase, it expeditiouslyrelegates Derrida to three footnotes of various lengths. Thisseems odd to me, if not downright queer, especially in light of thetreatment of Derrida in her first book on French Hegel,5and iwould like to pick at these footnotes for a while before returning towhat else might be at stake in the partnership between queer theoryand deconstruction. 20 00 Open Access McQuillan, Martin 12 03 06 10.21983/P3.0172.1.12 234 249 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Performing Friendship 1 A01 Linnell Secomb Linnell Secomb 40 0384j8v12 University of Sydney 01 eng 03 00 The refrain that returns and repeats throughout Politics of Friendship—“o my friends, there is no friend”—signals the ambiguities andparadoxes of this text, and of the concepts of friendship and politicsthat it engages.1addressed to friends, but proclaiming the absenceof the friend, the declaration immediately creates a quandary—apuzzle, which Derrida accentuates and extends with each reiterationof the phrase. Tracing its appearance in cicero, Montaigne,nietzsche, blanchot and others, and its unverifiable attribution toaristotle, Derrida rearticulates the significances and nuances ofthe address. Through this repeated recitation, Derrida performs asociality, or a politics, based on a friendship without friendship,a relation without relation. This reiteration of a citation without(verifiable) origin, this unworking of friendship and relation, whichreveals the absence of friendship and relation, and, at the same time,the possibility of friendship and relation, recalls the concepts ofiteration, citation, and performativity that are so central to a certainconception of “the queer.” 30 00 The refrain that returns and repeats throughout Politics of Friendship—“o my friends, there is no friend”—signals the ambiguities andparadoxes of this text, and of the concepts of friendship and politicsthat it engages.1addressed to friends, but proclaiming the absenceof the friend, the declaration immediately creates a quandary—apuzzle, which Derrida accentuates and extends with each reiterationof the phrase. Tracing its appearance in cicero, Montaigne,nietzsche, blanchot and others, and its unverifiable attribution toaristotle, Derrida rearticulates the significances and nuances ofthe address. Through this repeated recitation, Derrida performs asociality, or a politics, based on a friendship without friendship,a relation without relation. This reiteration of a citation without(verifiable) origin, this unworking of friendship and relation, whichreveals the absence of friendship and relation, and, at the same time,the possibility of friendship and relation, recalls the concepts ofiteration, citation, and performativity that are so central to a certainconception of “the queer.” 20 00 Open Access Secomb, Linnell 13 03 06 10.21983/P3.0172.1.13 250 260 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Postface Just Queer 1 A01 Geoffrey Bennington Geoffrey Bennington 40 03czfpz43 Emory University 01 eng 03 00 all the contributors to this remarkable volume converge in thethought that Derrida’s thinking is fundamentally queer.1The veryqueerness of queer, the energy that on almost every page here has theadjective go verbal, the queering of queer in what calvin Thomascalls “queerance” rather than “queerness,” is irresistibly brought upand brought on by the thought of the trace and of différance.2Différancejust is queer, just is queering. and just as différanceisnothing, no thing at all, but an indefinite process with no possibleend or determinate product, the perpetual differing and deferring ofany thing or outcome whatsoever, so queering queers and will queeragain, endlessly. This almost limpid thought that affirms queer asthe very différanceof différancecan give an almost jubilant tone tosome of the essays here: it’s almost too good to be true, as though wecould finally wake up from the ongoing nightmare of staightlined,straightlaced repressive orthopedic normalizing heteronormativityand greet, as the new dawn heralded by Jacques Derrida, theprospect of the neverending ongoing queering of queer. 30 00 all the contributors to this remarkable volume converge in thethought that Derrida’s thinking is fundamentally queer.1The veryqueerness of queer, the energy that on almost every page here has theadjective go verbal, the queering of queer in what calvin Thomascalls “queerance” rather than “queerness,” is irresistibly brought upand brought on by the thought of the trace and of différance.2Différancejust is queer, just is queering. and just as différanceisnothing, no thing at all, but an indefinite process with no possibleend or determinate product, the perpetual differing and deferring ofany thing or outcome whatsoever, so queering queers and will queeragain, endlessly. This almost limpid thought that affirms queer asthe very différanceof différancecan give an almost jubilant tone tosome of the essays here: it’s almost too good to be true, as though wecould finally wake up from the ongoing nightmare of staightlined,straightlaced repressive orthopedic normalizing heteronormativityand greet, as the new dawn heralded by Jacques Derrida, theprospect of the neverending ongoing queering of queer. 20 00 Open Access Bennington, Geoffrey 14 03 06 10.21983/P3.0172.1.14 262 289 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Appendix Supreme Court (1988) 1 A01 David Wills David Wills 40 05gq02987 Brown University 01 eng 03 00 Without presuming to know where the direct begins and ends, thisessay presents itself as an oblique reading of Right of Inspection[Droit de regards], the photo-novel by Marie-Françoise plissart thatis “followed by a reading by Jacques Derrida.” it does that for morethan one reason. First of all, although neither written nor photo-graphic text will be fully represented here, privilege is obviously givento the written because it can be quoted in the same medium as thepresent text and because of its author’s name [“Derrida”] in the con-text of this [volume].2Thus my reading admits to being structurallypartial, without presuming to know where a total reading mightbegin.3but the photographic text is in a sense doubly absent, given the content of the photographs, the look of them. What is unavoid-able when one looks at the photographs and much less explicit when one reads Derrida’s text, could, if i wished, remain altogetherunspoken in this essay: namely, that many of them show womenmaking love to one another. Whether that should be an issue, ormake for a more oblique reading, is one of the principal questionsunderlying this discussion. 30 00 Without presuming to know where the direct begins and ends, thisessay presents itself as an oblique reading of Right of Inspection[Droit de regards], the photo-novel by Marie-Françoise plissart thatis “followed by a reading by Jacques Derrida.” it does that for morethan one reason. First of all, although neither written nor photo-graphic text will be fully represented here, privilege is obviously givento the written because it can be quoted in the same medium as thepresent text and because of its author’s name [“Derrida”] in the con-text of this [volume].2Thus my reading admits to being structurallypartial, without presuming to know where a total reading mightbegin.3but the photographic text is in a sense doubly absent, given the content of the photographs, the look of them. What is unavoid-able when one looks at the photographs and much less explicit when one reads Derrida’s text, could, if i wished, remain altogetherunspoken in this essay: namely, that many of them show womenmaking love to one another. Whether that should be an issue, ormake for a more oblique reading, is one of the principal questionsunderlying this discussion. 20 00 Open Access Wills, David 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/derrida-and-queer-theory/ Earth, Milky Way 04 01 20170526 Hite, Christian 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531898 20 08 20170526 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/derrida-and-queer-theory 20 08 20170526 02 25.00 USD WORLD urn:uuid:db805662-6bfe-4bc3-94b3-e58044bc6878 03 01 01 thoth-work-id urn:uuid:9e6bb4d8-4e05-4cd7-abe9-4a795ade0340 01 thoth-publication-id urn:uuid:db805662-6bfe-4bc3-94b3-e58044bc6878 06 10.21983/P3.0172.1.00 01 internal-reference 0172 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Derrida and Queer Theory 1 B01 Christian Hite Christian Hite 40 03taz7m60 University of Southern California 01 eng 00 294 03 93 JBSJ 12 JFSK 10 PHI043000 B2 Philosophy 93 QDHR7 10 SOC064000 B2 TransQueer 93 DSA 20 Jacques Derrida; queer theory; gender; sexuality; deconstruction 01 06 02 00 03 00 Coming from behind (derrière)—how else to describe a volume called “Derrida and Queer Theory”? — as if arriving late to the party, or, indeed, after the party is already over. After all, we already have Deleuze and Queer Theory and, of course, Saint Foucault. And judging by Annamarie Jagose’s Queer Theory: An Introduction, in which there is not a single mention of “Derrida” (or “deconstruction”) — even in the sub-chapter titled “The Post-Structuralist Context of Queer” — one would think that Derrida was not only late to the party, but was never there at all.This untimely volume, then, with wide-ranging essays from key thinkers in the field, addresses, among other things, what could be called the disavowed debt to “Derrida” in canonical “queer theory.” 30 00 Coming from behind (derrière)—how else to describe a volume called “Derrida and Queer Theory”? — as if arriving late to the party, or, indeed, after the party is already over. After all, we already have Deleuze and Queer Theory and, of course, Saint Foucault. And judging by Annamarie Jagose’s Queer Theory: An Introduction, in which there is not a single mention of “Derrida” (or “deconstruction”) — even in the sub-chapter titled “The Post-Structuralist Context of Queer” — one would think that Derrida was not only late to the party, but was never there at all.This untimely volume, then, with wide-ranging essays from key thinkers in the field, addresses, among other things, what could be called the disavowed debt to “Derrida” in canonical “queer theory.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0172.1.00_frontcover.png 1 03 06 10.21983/P3.0172.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Christian Hite Christian Hite 01 eng 20 00 Open Access Hite, Christian 2 03 06 10.21983/P3.0172.1.02 10 23 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Gift from (of the) "Behind" (Derrière) Intro-extro-duction 1 A01 Christian Hite Christian Hite 40 03taz7m60 University of Southern California 01 eng 03 00 coming from behind (derrière)—how else to describe a volumecalled “Derrida and queer Theory”?—as if arriving late to the party,or, indeed, after the party is already over. after all, we already haveDeleuze and Queer Theory1and, of course, Saint Foucault. Judgingby annamarie Jagose’s Queer Theory: An Introduction, in which thereis not a single mention of “Derrida” (or “deconstruction”)—even inthe sub-chapter titled “The post-structuralist context of queer”—,one would think that Derrida was not only late to the party, but wasnever there at all. 30 00 coming from behind (derrière)—how else to describe a volumecalled “Derrida and queer Theory”?—as if arriving late to the party,or, indeed, after the party is already over. after all, we already haveDeleuze and Queer Theory1and, of course, Saint Foucault. Judgingby annamarie Jagose’s Queer Theory: An Introduction, in which thereis not a single mention of “Derrida” (or “deconstruction”)—even inthe sub-chapter titled “The post-structuralist context of queer”—,one would think that Derrida was not only late to the party, but wasnever there at all. 20 00 Open Access Hite, Christian 3 03 06 10.21983/P3.0172.1.03 24 67 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preposturous Preface Derrida and Queer Discourse 1 A01 J. Hillis Miller J. Hillis Miller 40 04gyf1771 University of California, Irvine 01 eng 03 00 My preface comes both before and after, preposterously, in the etymological sense. it comes first for you, dear reader, but after for me, since it is being written after i have read all the essays in this book. i have read them with admiration and intellectual excitement. They have changed my assumptions about queer theory. I have heard of a philosophy professor who said of Jacques Derrida, mendaciously, “Well, he’s dead so we don’t have to worry about him anymore.” Derrida, in the final interview with Le Monde, given just a few weeks before his death, said, perhaps ironically, perhaps not, that he expected he and all his works would beforgotten two months after his death. Just the opposite hashappened. a great outpouring of distinguished conferences, essays,and books from all over the world has occurred since his death.This book is a wonderful example of that. it is the first book focusedon the relation between Derrida’s work and queer theory. Theessays are admirably diverse and learned. each explores a differentfacet of Derrida’s work. each essay shows in detail a given facet’sindispensable function in one or another feature of queer theorytoday. each has, in a distinctive way, an enviable conceptual andlinguistic exuberance. This not only echoes Derrida’s similarexuberance, but also bears witness that the humanities are stillvigorous, even in these bad times for them. These essays testifymovingly to the fundamental role that Derrida’s work has played 30 00 My preface comes both before and after, preposterously, in the etymological sense. it comes first for you, dear reader, but after for me, since it is being written after i have read all the essays in this book. i have read them with admiration and intellectual excitement. They have changed my assumptions about queer theory. I have heard of a philosophy professor who said of Jacques Derrida, mendaciously, “Well, he’s dead so we don’t have to worry about him anymore.” Derrida, in the final interview with Le Monde, given just a few weeks before his death, said, perhaps ironically, perhaps not, that he expected he and all his works would beforgotten two months after his death. Just the opposite hashappened. a great outpouring of distinguished conferences, essays,and books from all over the world has occurred since his death.This book is a wonderful example of that. it is the first book focusedon the relation between Derrida’s work and queer theory. Theessays are admirably diverse and learned. each explores a differentfacet of Derrida’s work. each essay shows in detail a given facet’sindispensable function in one or another feature of queer theorytoday. each has, in a distinctive way, an enviable conceptual andlinguistic exuberance. This not only echoes Derrida’s similarexuberance, but also bears witness that the humanities are stillvigorous, even in these bad times for them. These essays testifymovingly to the fundamental role that Derrida’s work has played 20 00 Open Access Miller, J. Hillis 4 03 06 10.21983/P3.0172.1.04 68 91 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Impossible Uncanniness Deconstruction and Queer Theory 1 A01 Nicholas Royle Nicholas Royle 40 00ayhx656 University of Sussex 01 eng 03 00 Queer’s not just a queer word but belongs, if it belongs, to a queer time.i would like to think of that sentence as a tiny installation, a snow-flake of sound, around which one might take one or more queerturns, or sketch a few queer footnotes. There is, perhaps, a queertheory of the First sentence. in a dreamy, radical passivity, iimagined an encounter of “deconstruction and queer theory” inrelation to the writings of Leo bersani, starting with the falling intoplace of the First sentence. What is the character of a first sentence?How, along what paths and with what effects, does the tone adoptyou as much as you it (to borrow Derrida’s formulation)? How doesit commit or even (in the strongest sense) determine you? bersani isfascinated by what happens, like lightning, by what is struck orstriking in first sentences. “There is a big secret about sex: mostpeople don’t like it.”3“The vagina is a logical defect in nature.”4“psychoanalytically speaking, monogamy is cognitively inconceivable and morally indefensible.”5These are three of his first sentences,the opening words of “is the rectum a Grave?,” “Merde alors” (anessay co-authored with ulysse Dutoit), and “against Monogamy,”respectively. i could envisage devoting a separate essay to each ofthese sentences, in homage to the thinker who, it seems to me, firstelaborated, a good while before Judith butler and others, thetheoretical and political dimensions of deconstruction and queertheory.6but in the limited time i have here, this will have to besignalled as a bypath—a bypath that inevitably takes in Billy Budd,a path by billy, a billy by-blow, proceeding and even coming intobud, by way of the opening of chapter 4 of that masterpiece inwhich Melville’s narrator declares: “in this matter of writing, resolveas one may to keep to the main road, some paths have an enticementnot readily to be withstood. i am going to err into such a bypath.if the reader will keep me company i shall be glad. at the least, wecan promise ourselves that pleasure which is wickedly said to be insinning, for a literary sin the divergence will be.”7Does Billy Buddhave a main road? What would it mean to keep its narratorcompany? How should we construe the pleasure of literary sinningand what might be discovered on its bypaths? 30 00 Queer’s not just a queer word but belongs, if it belongs, to a queer time.i would like to think of that sentence as a tiny installation, a snow-flake of sound, around which one might take one or more queerturns, or sketch a few queer footnotes. There is, perhaps, a queertheory of the First sentence. in a dreamy, radical passivity, iimagined an encounter of “deconstruction and queer theory” inrelation to the writings of Leo bersani, starting with the falling intoplace of the First sentence. What is the character of a first sentence?How, along what paths and with what effects, does the tone adoptyou as much as you it (to borrow Derrida’s formulation)? How doesit commit or even (in the strongest sense) determine you? bersani isfascinated by what happens, like lightning, by what is struck orstriking in first sentences. “There is a big secret about sex: mostpeople don’t like it.”3“The vagina is a logical defect in nature.”4“psychoanalytically speaking, monogamy is cognitively inconceivable and morally indefensible.”5These are three of his first sentences,the opening words of “is the rectum a Grave?,” “Merde alors” (anessay co-authored with ulysse Dutoit), and “against Monogamy,”respectively. i could envisage devoting a separate essay to each ofthese sentences, in homage to the thinker who, it seems to me, firstelaborated, a good while before Judith butler and others, thetheoretical and political dimensions of deconstruction and queertheory.6but in the limited time i have here, this will have to besignalled as a bypath—a bypath that inevitably takes in Billy Budd,a path by billy, a billy by-blow, proceeding and even coming intobud, by way of the opening of chapter 4 of that masterpiece inwhich Melville’s narrator declares: “in this matter of writing, resolveas one may to keep to the main road, some paths have an enticementnot readily to be withstood. i am going to err into such a bypath.if the reader will keep me company i shall be glad. at the least, wecan promise ourselves that pleasure which is wickedly said to be insinning, for a literary sin the divergence will be.”7Does Billy Buddhave a main road? What would it mean to keep its narratorcompany? How should we construe the pleasure of literary sinningand what might be discovered on its bypaths? 20 00 Open Access Royle, Nicholas 5 03 06 10.21983/P3.0172.1.05 92 107 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 No Kingdom of the Queer 1 A01 Calvin Thomas Calvin Thomas 40 03qt6ba18 Georgia State University 01 eng 03 00 as we know, as “it has been written,” and as i have emphasized in what you will have just (epigraphically) read, “Derrida argued.” Or, if you prefer, as i do, to obey the still regnant rhetorical convention and employ the present tense when describing what “has been written” (and so, in a sense, bring the dead back to life), then, as we might argue:Derrida (still) writes. 30 00 as we know, as “it has been written,” and as i have emphasized in what you will have just (epigraphically) read, “Derrida argued.” Or, if you prefer, as i do, to obey the still regnant rhetorical convention and employ the present tense when describing what “has been written” (and so, in a sense, bring the dead back to life), then, as we might argue:Derrida (still) writes. 20 00 Open Access Thomas, Calvin 6 03 06 10.21983/P3.0172.1.06 108 130 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Derrida and the Question of "Woman" 1 A01 Sarah Dillon Sarah Dillon 40 013meh722 University of Cambridge 01 eng 03 00 This essay resumes after an anacoluthic interruption.1it returns tothe question of “woman” which i raised but left unanswered in apaper presented at the Derrida: Negotiating the Legacyconference.2When i presented that paper, my discussant asked, with acuteperceptiveness, why i had concentrated in the end on grammar—the figure of the anacoluthon—and left undeveloped the questionof “woman.” My answer was instinctive and immediate: “becausegrammar’s easier.” i still hold by this assertion. The question of“woman,” both in Jacques Derrida’s writing and beyond, is difficultand complex. it consists, as i understand it, of two interrelatedparts: the first is the question of the relation between “woman” andwomen, that is, between a philosophical or ontological concept of “woman” and the political and everyday realities of embodied femalesubjects; the second is the question of the relation between womenand men, the question of sexual difference. My issue in the earlierpaper was with the first aspect of this question—Derrida’s use of“woman” in his writings. as Gayatri chakravorty spivak elaboratesin her review essay of Derrida’s La carte postale(1981)—“Love Me,Love my ombre, elle” (1984)—Derrida uses “woman” as the figure of deconstructive undecidability, part of a process of resexualizing phallogocentric discourse that is integral to his deconstruction of Western metaphysics. 30 00 This essay resumes after an anacoluthic interruption.1it returns tothe question of “woman” which i raised but left unanswered in apaper presented at the Derrida: Negotiating the Legacyconference.2When i presented that paper, my discussant asked, with acuteperceptiveness, why i had concentrated in the end on grammar—the figure of the anacoluthon—and left undeveloped the questionof “woman.” My answer was instinctive and immediate: “becausegrammar’s easier.” i still hold by this assertion. The question of“woman,” both in Jacques Derrida’s writing and beyond, is difficultand complex. it consists, as i understand it, of two interrelatedparts: the first is the question of the relation between “woman” andwomen, that is, between a philosophical or ontological concept of “woman” and the political and everyday realities of embodied femalesubjects; the second is the question of the relation between womenand men, the question of sexual difference. My issue in the earlierpaper was with the first aspect of this question—Derrida’s use of“woman” in his writings. as Gayatri chakravorty spivak elaboratesin her review essay of Derrida’s La carte postale(1981)—“Love Me,Love my ombre, elle” (1984)—Derrida uses “woman” as the figure of deconstructive undecidability, part of a process of resexualizing phallogocentric discourse that is integral to his deconstruction of Western metaphysics. 20 00 Open Access Dillon, Sarah 7 03 06 10.21983/P3.0172.1.07 132 163 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Les chats de Derrida 1 A01 Carla Freccero Carla Freccero 40 03s65by71 University of California, Santa Cruz 01 eng 03 00 i have previously suggested that Derridean theoretical practice canbe understood to be “always already” queer theory, if queer theoryis understood in one of its valences, that is, as an immaterialde-normativization that works at the level of language, thought, andideology to critique, but in a viral fashion, by replicating terms andre-purposing them so that their operation moves down paths thatare overgrown with the bushes of normative philosophical thought.2These paths are inscriptions; they don’t quite open up, but theyleave—or are—traces, and can be followed, like the tracks thatDerrida is following in L’Animal que donc je suis.in Queer/Early/Moderni argued that key terms that have emerged fromdeconstructive gestures include queer, though “queer,” i think,carries with it—as the wind does scent—a faint but specific whiffof sex/sexual identity/sexuality. one way to think about this is tosay that after Derrida all theory is “queer,” or rather that Derridahelps us to understand how theory is always already queer, andto affirm this queerness further. i also wanted to find in Derrida’sspectrality a way to queer temporality that takes into account theaffective force of fantasy, that is, the way the past lives on as akind of immaterial materiality through affect, a force that is notsomething we “see” necessarily, but something we feel. 30 00 i have previously suggested that Derridean theoretical practice canbe understood to be “always already” queer theory, if queer theoryis understood in one of its valences, that is, as an immaterialde-normativization that works at the level of language, thought, andideology to critique, but in a viral fashion, by replicating terms andre-purposing them so that their operation moves down paths thatare overgrown with the bushes of normative philosophical thought.2These paths are inscriptions; they don’t quite open up, but theyleave—or are—traces, and can be followed, like the tracks thatDerrida is following in L’Animal que donc je suis.in Queer/Early/Moderni argued that key terms that have emerged fromdeconstructive gestures include queer, though “queer,” i think,carries with it—as the wind does scent—a faint but specific whiffof sex/sexual identity/sexuality. one way to think about this is tosay that after Derrida all theory is “queer,” or rather that Derridahelps us to understand how theory is always already queer, andto affirm this queerness further. i also wanted to find in Derrida’sspectrality a way to queer temporality that takes into account theaffective force of fantasy, that is, the way the past lives on as akind of immaterial materiality through affect, a force that is notsomething we “see” necessarily, but something we feel. 20 00 Open Access Freccero, Carla 8 03 06 10.21983/P3.0172.1.08 164 182 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Derrida's Queer Root(s) 1 A01 21 0000000217212507 Jarrod Hayes Jarrod Hayes 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 03 00 in Of Grammatology, Jacques Derrida writes, “The trace is not onlythe disappearance of origin . . . it means that the origin did not evendisappear, that it was never constituted except reciprocally [en retour/in retrospect] by a nonorigin, the trace, which thus becomes theorigin of the origin.”2by asserting the après-coupconstitution oforigins, Derrida therefore implies that searching for, then “finding,”one’s roots consists not in returning to pre-existing origins; rather,the very return posits them after the factas if they existed prior to it.3at first glance, this key passage for what may be called Derrida’sdeconstruction of origins(a critical component of the deconstructionof essence since his earliest writings) might seem contrary to thearticulation of identity through narrative returns to origins or roots.indeed, if the notion of roots literalizes identity’s essence as anorganic attachment to its origins in a material, geographical site, then, for Derrida, any metaphysical search for origins is actually awriting of origins as fiction, that is, of original fictions. Yet Derridaincreasingly wove an autobiographical thread into writings like“circumfession”4and Monolingualism of the Other5with the resultthat, in spite of his deconstruction of origins, origins keep comingback in the form of narrative returns to his Jewish-algerian roots.Therefore, Derrida’s later writings (and their deployment of theautobiographical) offer rich pre-texts for unraveling the ties thatbind a metaphysics of origins to accounts of identity as rootednessas well as a strategy for dealing with a rooted identity that resistssuch an unraveling. 30 00 in Of Grammatology, Jacques Derrida writes, “The trace is not onlythe disappearance of origin . . . it means that the origin did not evendisappear, that it was never constituted except reciprocally [en retour/in retrospect] by a nonorigin, the trace, which thus becomes theorigin of the origin.”2by asserting the après-coupconstitution oforigins, Derrida therefore implies that searching for, then “finding,”one’s roots consists not in returning to pre-existing origins; rather,the very return posits them after the factas if they existed prior to it.3at first glance, this key passage for what may be called Derrida’sdeconstruction of origins(a critical component of the deconstructionof essence since his earliest writings) might seem contrary to thearticulation of identity through narrative returns to origins or roots.indeed, if the notion of roots literalizes identity’s essence as anorganic attachment to its origins in a material, geographical site, then, for Derrida, any metaphysical search for origins is actually awriting of origins as fiction, that is, of original fictions. Yet Derridaincreasingly wove an autobiographical thread into writings like“circumfession”4and Monolingualism of the Other5with the resultthat, in spite of his deconstruction of origins, origins keep comingback in the form of narrative returns to his Jewish-algerian roots.Therefore, Derrida’s later writings (and their deployment of theautobiographical) offer rich pre-texts for unraveling the ties thatbind a metaphysics of origins to accounts of identity as rootednessas well as a strategy for dealing with a rooted identity that resistssuch an unraveling. 20 00 Open Access Hayes, Jarrod 9 03 06 10.21983/P3.0172.1.09 184 198 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deco-pervo-struction 1 A01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 01 eng 03 00 What would happen if i were to call Jacques Derrida a “pervert”?What would it mean for a reader to pick up this book and to read achapter which argued that he was, that his thinking and writings onhospitality, forgiveness, the gift, iterability, borderlines, postcards,promises, and so on, were perverted, the work of a pervert? if i amto be honest, straight about it, i would say that Derrida’s work isentirely the most perverse collection of writings i know, an immenseassemblage of the most punning, insightful, playful, and rigorouslyperverse writings that it has been my pleasure to come (and always-yet-to-come) across. but i will not say it here. i will defer that toone of his more distinguished (and tenured) detractors. Here, then,is what Terry eagleton has to say of Derrida’s engagement with whathe calls “Marxism without Marxism” following the publication ofDerrida’s Spectres of Marx:There is an exasperating kind of believer who holds what he does until he meets someone else who holds the same. at this point, confronted with the bugbear of an “orthodoxy,” he starts nervously to retract, or at least to qualify. There is more than a touch of this adolescent perversity in Derrida, who like many a postmodernist appears to feel (it is a matter of sensibility rather than reasoned conviction) that the dominant is ipso facto demonic and the marginal precious per se. 30 00 What would happen if i were to call Jacques Derrida a “pervert”?What would it mean for a reader to pick up this book and to read achapter which argued that he was, that his thinking and writings onhospitality, forgiveness, the gift, iterability, borderlines, postcards,promises, and so on, were perverted, the work of a pervert? if i amto be honest, straight about it, i would say that Derrida’s work isentirely the most perverse collection of writings i know, an immenseassemblage of the most punning, insightful, playful, and rigorouslyperverse writings that it has been my pleasure to come (and always-yet-to-come) across. but i will not say it here. i will defer that toone of his more distinguished (and tenured) detractors. Here, then,is what Terry eagleton has to say of Derrida’s engagement with whathe calls “Marxism without Marxism” following the publication ofDerrida’s Spectres of Marx:There is an exasperating kind of believer who holds what he does until he meets someone else who holds the same. at this point, confronted with the bugbear of an “orthodoxy,” he starts nervously to retract, or at least to qualify. There is more than a touch of this adolescent perversity in Derrida, who like many a postmodernist appears to feel (it is a matter of sensibility rather than reasoned conviction) that the dominant is ipso facto demonic and the marginal precious per se. 20 00 Open Access Dunne, Éamonn 10 03 06 10.21983/P3.0172.1.10 200 214 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Man For All Seasons Derrida-cum-"Queer Theory," or the Limits of "Performativity" 1 A01 Alexander García Düttmann Alexander García Düttmann 40 03eznrw16 Berlin University of the Arts 01 eng 03 00 s it perverse, a distorting reversal of how things should be, to startwriting without quite knowing whether the subject is a relevant one,or even if there is a subject to be dealt with in the first place? Theopening lines of robert bolt’s play, A Man for All Seasons, arespoken by the common Man and read thusly: “it is perverse! Tostart a play made up of kings and cardinals in speaking costumesand intellectuals with embroidered mouths, with me.”2To be sure,if one suspects the kings, cardinals, and intellectuals, not to mentionthe queens, who presume that deconstruction can contribute to“queer theory,” to be wearing little more than “speaking costumes,”one risks placing oneself in the position of the common man, atleast when seen from the perspective that frames the speech of“embroidered mouths.” When the “i” appears at the end of the line—“with me”—the words fall flat. and yet, it would seem that aminimal conviction is required to speak meaningfully about asubject, encapsulating not a sense of the agreeable, or of practicalcompetence, but of truth, of that which lies beyond personal interestand pragmatism, which, in the words of the play’s main character,is the interest of the “merest plumber” (Ms 70). and if at this pointalready the notion of meaningfulness were to be contested, onecould also put it differently and say that, unless one assumes that “queer theory” and a deconstructive approach to it amount tosomething, one had better keep one’s mouth shut. 30 00 s it perverse, a distorting reversal of how things should be, to startwriting without quite knowing whether the subject is a relevant one,or even if there is a subject to be dealt with in the first place? Theopening lines of robert bolt’s play, A Man for All Seasons, arespoken by the common Man and read thusly: “it is perverse! Tostart a play made up of kings and cardinals in speaking costumesand intellectuals with embroidered mouths, with me.”2To be sure,if one suspects the kings, cardinals, and intellectuals, not to mentionthe queens, who presume that deconstruction can contribute to“queer theory,” to be wearing little more than “speaking costumes,”one risks placing oneself in the position of the common man, atleast when seen from the perspective that frames the speech of“embroidered mouths.” When the “i” appears at the end of the line—“with me”—the words fall flat. and yet, it would seem that aminimal conviction is required to speak meaningfully about asubject, encapsulating not a sense of the agreeable, or of practicalcompetence, but of truth, of that which lies beyond personal interestand pragmatism, which, in the words of the play’s main character,is the interest of the “merest plumber” (Ms 70). and if at this pointalready the notion of meaningfulness were to be contested, onecould also put it differently and say that, unless one assumes that “queer theory” and a deconstructive approach to it amount tosomething, one had better keep one’s mouth shut. 20 00 Open Access Düttmann, Alexander García 11 03 06 10.21983/P3.0172.1.11 216 232 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Practical Deconstruction" A Note on Some Notes by Judith Butler 1 A01 Martin McQuillan Martin McQuillan 40 028ndzd53 Edge Hill University 01 eng 03 00 one of the stakes suggested by the juxtaposition of queer theory anddeconstruction is that of genealogy and the family. are queer theoryand deconstruction related? are they close relatives, brother andsister perhaps or are they involved in some sort of murderousoedipal clinch? We are preparing to speak of such things here.What relation does either deconstruction or queer theory have tothe named super-ego “Jacques Derrida”? in what way do they comeafter him, in filiation perhaps as the son or daughter follows thefather? or is this question of the “after” more a matter of familyresemblance in that queer theory and deconstruction take after Derrida? For some, the coupling will be a case of queer bedfellows,but let’s take the relation as axiomatic and “normative,” if only forthe moment. certainly, one of the issues which concerns me in sucha conjunction between queer theory and deconstruction is that queertheory ought to know where it comes from. i do not say this inorder to ultimately suggest that either deconstruction knows whereit comes from, or that Derrida is the father of queer theory, alongwith everything else; queer theory being just another illegitimatechild from the errant dissemination of his writing—an after-effect.rather, it is to propose that queer theory, if there is such a thingand it is one, might learn a lot about itself by taking on board someof the reading practices familiar to deconstruction after JacquesDerrida. in particular, i wish to look at Judith butler’s Antigone’sClaim, published in 2000 and originally presented as the WellekLectures at uc irvine in 1988 and as the Gauss seminars atprinceton in 1998 (these locations have particular significancewithin the institutional genealogy of deconstruction-in-americawhich firmly locates this text at the cross-roads of what we are callingtoday “queer theory and deconstruction”).4now, my particularissue with butler’s book is the way in which, while clearly comingafter Derrida in every possible sense of that phrase, it expeditiouslyrelegates Derrida to three footnotes of various lengths. Thisseems odd to me, if not downright queer, especially in light of thetreatment of Derrida in her first book on French Hegel,5and iwould like to pick at these footnotes for a while before returning towhat else might be at stake in the partnership between queer theoryand deconstruction. 30 00 one of the stakes suggested by the juxtaposition of queer theory anddeconstruction is that of genealogy and the family. are queer theoryand deconstruction related? are they close relatives, brother andsister perhaps or are they involved in some sort of murderousoedipal clinch? We are preparing to speak of such things here.What relation does either deconstruction or queer theory have tothe named super-ego “Jacques Derrida”? in what way do they comeafter him, in filiation perhaps as the son or daughter follows thefather? or is this question of the “after” more a matter of familyresemblance in that queer theory and deconstruction take after Derrida? For some, the coupling will be a case of queer bedfellows,but let’s take the relation as axiomatic and “normative,” if only forthe moment. certainly, one of the issues which concerns me in sucha conjunction between queer theory and deconstruction is that queertheory ought to know where it comes from. i do not say this inorder to ultimately suggest that either deconstruction knows whereit comes from, or that Derrida is the father of queer theory, alongwith everything else; queer theory being just another illegitimatechild from the errant dissemination of his writing—an after-effect.rather, it is to propose that queer theory, if there is such a thingand it is one, might learn a lot about itself by taking on board someof the reading practices familiar to deconstruction after JacquesDerrida. in particular, i wish to look at Judith butler’s Antigone’sClaim, published in 2000 and originally presented as the WellekLectures at uc irvine in 1988 and as the Gauss seminars atprinceton in 1998 (these locations have particular significancewithin the institutional genealogy of deconstruction-in-americawhich firmly locates this text at the cross-roads of what we are callingtoday “queer theory and deconstruction”).4now, my particularissue with butler’s book is the way in which, while clearly comingafter Derrida in every possible sense of that phrase, it expeditiouslyrelegates Derrida to three footnotes of various lengths. Thisseems odd to me, if not downright queer, especially in light of thetreatment of Derrida in her first book on French Hegel,5and iwould like to pick at these footnotes for a while before returning towhat else might be at stake in the partnership between queer theoryand deconstruction. 20 00 Open Access McQuillan, Martin 12 03 06 10.21983/P3.0172.1.12 234 249 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Performing Friendship 1 A01 Linnell Secomb Linnell Secomb 40 0384j8v12 University of Sydney 01 eng 03 00 The refrain that returns and repeats throughout Politics of Friendship—“o my friends, there is no friend”—signals the ambiguities andparadoxes of this text, and of the concepts of friendship and politicsthat it engages.1addressed to friends, but proclaiming the absenceof the friend, the declaration immediately creates a quandary—apuzzle, which Derrida accentuates and extends with each reiterationof the phrase. Tracing its appearance in cicero, Montaigne,nietzsche, blanchot and others, and its unverifiable attribution toaristotle, Derrida rearticulates the significances and nuances ofthe address. Through this repeated recitation, Derrida performs asociality, or a politics, based on a friendship without friendship,a relation without relation. This reiteration of a citation without(verifiable) origin, this unworking of friendship and relation, whichreveals the absence of friendship and relation, and, at the same time,the possibility of friendship and relation, recalls the concepts ofiteration, citation, and performativity that are so central to a certainconception of “the queer.” 30 00 The refrain that returns and repeats throughout Politics of Friendship—“o my friends, there is no friend”—signals the ambiguities andparadoxes of this text, and of the concepts of friendship and politicsthat it engages.1addressed to friends, but proclaiming the absenceof the friend, the declaration immediately creates a quandary—apuzzle, which Derrida accentuates and extends with each reiterationof the phrase. Tracing its appearance in cicero, Montaigne,nietzsche, blanchot and others, and its unverifiable attribution toaristotle, Derrida rearticulates the significances and nuances ofthe address. Through this repeated recitation, Derrida performs asociality, or a politics, based on a friendship without friendship,a relation without relation. This reiteration of a citation without(verifiable) origin, this unworking of friendship and relation, whichreveals the absence of friendship and relation, and, at the same time,the possibility of friendship and relation, recalls the concepts ofiteration, citation, and performativity that are so central to a certainconception of “the queer.” 20 00 Open Access Secomb, Linnell 13 03 06 10.21983/P3.0172.1.13 250 260 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Postface Just Queer 1 A01 Geoffrey Bennington Geoffrey Bennington 40 03czfpz43 Emory University 01 eng 03 00 all the contributors to this remarkable volume converge in thethought that Derrida’s thinking is fundamentally queer.1The veryqueerness of queer, the energy that on almost every page here has theadjective go verbal, the queering of queer in what calvin Thomascalls “queerance” rather than “queerness,” is irresistibly brought upand brought on by the thought of the trace and of différance.2Différancejust is queer, just is queering. and just as différanceisnothing, no thing at all, but an indefinite process with no possibleend or determinate product, the perpetual differing and deferring ofany thing or outcome whatsoever, so queering queers and will queeragain, endlessly. This almost limpid thought that affirms queer asthe very différanceof différancecan give an almost jubilant tone tosome of the essays here: it’s almost too good to be true, as though wecould finally wake up from the ongoing nightmare of staightlined,straightlaced repressive orthopedic normalizing heteronormativityand greet, as the new dawn heralded by Jacques Derrida, theprospect of the neverending ongoing queering of queer. 30 00 all the contributors to this remarkable volume converge in thethought that Derrida’s thinking is fundamentally queer.1The veryqueerness of queer, the energy that on almost every page here has theadjective go verbal, the queering of queer in what calvin Thomascalls “queerance” rather than “queerness,” is irresistibly brought upand brought on by the thought of the trace and of différance.2Différancejust is queer, just is queering. and just as différanceisnothing, no thing at all, but an indefinite process with no possibleend or determinate product, the perpetual differing and deferring ofany thing or outcome whatsoever, so queering queers and will queeragain, endlessly. This almost limpid thought that affirms queer asthe very différanceof différancecan give an almost jubilant tone tosome of the essays here: it’s almost too good to be true, as though wecould finally wake up from the ongoing nightmare of staightlined,straightlaced repressive orthopedic normalizing heteronormativityand greet, as the new dawn heralded by Jacques Derrida, theprospect of the neverending ongoing queering of queer. 20 00 Open Access Bennington, Geoffrey 14 03 06 10.21983/P3.0172.1.14 262 289 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Appendix Supreme Court (1988) 1 A01 David Wills David Wills 40 05gq02987 Brown University 01 eng 03 00 Without presuming to know where the direct begins and ends, thisessay presents itself as an oblique reading of Right of Inspection[Droit de regards], the photo-novel by Marie-Françoise plissart thatis “followed by a reading by Jacques Derrida.” it does that for morethan one reason. First of all, although neither written nor photo-graphic text will be fully represented here, privilege is obviously givento the written because it can be quoted in the same medium as thepresent text and because of its author’s name [“Derrida”] in the con-text of this [volume].2Thus my reading admits to being structurallypartial, without presuming to know where a total reading mightbegin.3but the photographic text is in a sense doubly absent, given the content of the photographs, the look of them. What is unavoid-able when one looks at the photographs and much less explicit when one reads Derrida’s text, could, if i wished, remain altogetherunspoken in this essay: namely, that many of them show womenmaking love to one another. Whether that should be an issue, ormake for a more oblique reading, is one of the principal questionsunderlying this discussion. 30 00 Without presuming to know where the direct begins and ends, thisessay presents itself as an oblique reading of Right of Inspection[Droit de regards], the photo-novel by Marie-Françoise plissart thatis “followed by a reading by Jacques Derrida.” it does that for morethan one reason. First of all, although neither written nor photo-graphic text will be fully represented here, privilege is obviously givento the written because it can be quoted in the same medium as thepresent text and because of its author’s name [“Derrida”] in the con-text of this [volume].2Thus my reading admits to being structurallypartial, without presuming to know where a total reading mightbegin.3but the photographic text is in a sense doubly absent, given the content of the photographs, the look of them. What is unavoid-able when one looks at the photographs and much less explicit when one reads Derrida’s text, could, if i wished, remain altogetherunspoken in this essay: namely, that many of them show womenmaking love to one another. Whether that should be an issue, ormake for a more oblique reading, is one of the principal questionsunderlying this discussion. 20 00 Open Access Wills, David 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/derrida-and-queer-theory/ Earth, Milky Way 04 01 20170526 Hite, Christian 02 WORLD 06 15 9780998531892 03 9780998531892 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66789 20 08 20170526 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25455 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25455/1004640.pdf?sequence=1&isAllowed=y 20 08 20170526 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31378 20 08 20170526 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j57v 20 08 20170526 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/556 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3be126e1-f5f6-43fb-b290-dd8da8e96459/download 20 08 20170526 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Derrida_and_Queer_Theory/5G2oEAAAQBAJ 20 08 20170526 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/9e6bb4d8-4e05-4cd7-abe9-4a795ade0340 29 INTERNET_ARCHIVE: download the title https://archive.org/download/9e6bb4d8-4e05-4cd7-abe9-4a795ade0340/9e6bb4d8-4e05-4cd7-abe9-4a795ade0340.pdf 20 08 20170526 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846932 29 ZENODO: download the title https://zenodo.org/records/19846932/files/9e6bb4d8-4e05-4cd7-abe9-4a795ade0340_book.pdf 20 08 20170526 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/derrida-and-queer-theory/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0172.1.00.pdf 20 08 20170526 01 urn:uuid:ba64e335-8c0d-437e-b3f3-aee12dfc8807 03 01 01 thoth-work-id urn:uuid:9e11adff-abed-4b5d-adef-b0c4466231e8 01 thoth-publication-id urn:uuid:ba64e335-8c0d-437e-b3f3-aee12dfc8807 15 9780615686875 03 9780615686875 06 10.21983/P3.0015.1.00 01 internal-reference 0015 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Desire/Love 1 A01 Lauren Berlant Lauren Berlant 40 024mw5h28 University of Chicago 01 eng 00 142 03 B2 Cultural Studies+Critical Theory 93 JBSF 12 JFSJ 10 SOC064000 B2 Cultural Studies+Critical Theory 93 JBSJ 10 SOC032000 B2 Literary Studies B2 Literary Studies B2 Sex 20 love; sexuality; psychoanalysis; fantasy; desire 01 06 02 00 03 00 “There is nothing more alienating than having your pleasures disputed by someone with a theory,” writes Lauren Berlant. Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives. 30 00 “There is nothing more alienating than having your pleasures disputed by someone with a theory,” writes Lauren Berlant. Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0015.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/desirelove/ Brooklyn, NY 04 01 20121205 Berlant, Lauren 02 WORLD 05 06 10.53288/0323.1.00 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615686877 20 08 20121205 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/desirelove 20 08 20121205 02 22.00 USD WORLD urn:uuid:dd4a7ebd-8a84-46dc-b13f-1d9f0c17bfed 03 01 01 thoth-work-id urn:uuid:9e11adff-abed-4b5d-adef-b0c4466231e8 01 thoth-publication-id urn:uuid:dd4a7ebd-8a84-46dc-b13f-1d9f0c17bfed 06 10.21983/P3.0015.1.00 01 internal-reference 0015 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Desire/Love 1 A01 Lauren Berlant Lauren Berlant 40 024mw5h28 University of Chicago 01 eng 00 142 03 B2 Cultural Studies+Critical Theory 93 JBSF 12 JFSJ 10 SOC064000 B2 Cultural Studies+Critical Theory 93 JBSJ 10 SOC032000 B2 Literary Studies B2 Literary Studies B2 Sex 20 love; sexuality; psychoanalysis; fantasy; desire 01 06 02 00 03 00 “There is nothing more alienating than having your pleasures disputed by someone with a theory,” writes Lauren Berlant. Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives. 30 00 “There is nothing more alienating than having your pleasures disputed by someone with a theory,” writes Lauren Berlant. Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0015.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/desirelove/ Brooklyn, NY 04 01 20121205 Berlant, Lauren 02 WORLD 05 06 10.53288/0323.1.00 06 15 9780615686875 03 9780615686875 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76427 20 08 20121205 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25600 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25600/1004495.pdf?sequence=1&isAllowed=y 20 08 20121205 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28870 20 08 20121205 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353879 20 08 20121205 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/394 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f8785943-0f09-4ae8-88a6-bdbc7c5d4534/download 20 08 20121205 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/9e11adff-abed-4b5d-adef-b0c4466231e8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/9e11adff-abed-4b5d-adef-b0c4466231e8/9e11adff-abed-4b5d-adef-b0c4466231e8.pdf 20 08 20121205 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693116 29 ZENODO: download the title https://zenodo.org/records/19693116/files/9e11adff-abed-4b5d-adef-b0c4466231e8_book.pdf 20 08 20121205 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/desirelove/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0015.1.00.pdf 20 08 20121205 01 urn:uuid:c4af6037-9f4f-45a1-a5ea-ebf22ed6070d 03 01 01 thoth-work-id urn:uuid:d21c13a8-b5f0-4475-8de6-597cfcc93e24 01 thoth-publication-id urn:uuid:c4af6037-9f4f-45a1-a5ea-ebf22ed6070d 15 9781685711863 03 9781685711863 06 10.53288/0516.1.00 13 2026933813 01 internal-reference 0516 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 15 mm 03 1.5 cm 03 0.59 in 08 349 gr 08 12.3 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Desire Subject, Sexuation, and Love 1 A01 21 0000000218872304 Ana María Munar Ana María Munar Associate Professor at the Department of Business Humanities and Law 40 04sppb023 Copenhagen Business School Ana María Munar is Associate Professor in the Department of Business Humanities and Law, Copenhagen Business School. Her scholarship is postdisciplinary and characterized by the application of experimental writing, critical theory, and philosophical thought to gender studies, higher education, and tourism studies. In recent years, Ana’s research has focused on the philosophy of desire and emotion, feminist epistemology, poststructuralism, and postdisciplinarity. Her passion lies in philosophizing and developing creative academic communities, where love and joy are possible. One of these is the Critical Tourism Studies network that she has co-chaired together with Professor Kellee Caton. She is the author and editor of several book anthologies and special journal issues, and has written over forty academic articles and book chapters. Her latest collective work is an open source multimedia platform and book on Sexism in Danish Higher Education and Research. 01 eng 00 260 03 B2 Autotheory 12 JMAF 93 JMAF 10 PSY026000 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 B2 Sex 20 Jacques Lacan; psychoanalysis; feminism; H.C. Andersen; gender studies; desire; subjectivity 01 06 02 00 03 00 Have you ever wondered what makes you wake up in the morning? Why not just lay down, stay, and eventually disappear? What is the wanting, the energy, and the grace of liveliness? Desire is at the core of liveliness, and this book explains why it is so. Desire is much more than a mere appendix to love, sex, or our craving to have the latest fashion item. It is what allows the most personal and unique expression of each of us.Desire: Subject, Sexuation, and Love is a work of gratitude to the Lacanian tradition and feminist philosophy. It creatively uses the story of “The Little Mermaid” by H.C. Andersen, as well as art and popular culture to explain the complex landscape of desire and its relation to love and sexuation. Much of the criticism of psychoanalysis from gender studies and poststructuralism is based on a superficial reading of Jacques Lacan, and Munar corrects this, providing in the first half of the book a rigorous and clear analysis of Lacanian subjectification and sexuation, elucidating their relationship to the nature of desire and love, in order to modify overly simplistic and erroneous interpretations of his thinking on desire.Desire is essayistic and poetic philosophy, drawing upon and playing with psychoanalysis, philosophy, literature, biography, poetry, and art. As the reader enters the second part of the book, the focus on Lacanian theory recedes, opening a space that is more paradoxical and multiple where Munar engages in creative form as an expression of critique, transforming our understandings of desire and love, which always elude us while also always being present. 30 00 Have you ever wondered what makes you wake up in the morning? Why not just lay down, stay, and eventually disappear? What is the wanting, the energy, and the grace of liveliness? Desire is at the core of liveliness, and this book explains why it is so. Desire is much more than a mere appendix to love, sex, or our craving to have the latest fashion item. It is what allows the most personal and unique expression of each of us.Desire: Subject, Sexuation, and Love is a work of gratitude to the Lacanian tradition and feminist philosophy. It creatively uses the story of “The Little Mermaid” by H.C. Andersen, as well as art and popular culture to explain the complex landscape of desire and its relation to love and sexuation. Much of the criticism of psychoanalysis from gender studies and poststructuralism is based on a superficial reading of Jacques Lacan, and Munar corrects this, providing in the first half of the book a rigorous and clear analysis of Lacanian subjectification and sexuation, elucidating their relationship to the nature of desire and love, in order to modify overly simplistic and erroneous interpretations of his thinking on desire.Desire is essayistic and poetic philosophy, drawing upon and playing with psychoanalysis, philosophy, literature, biography, poetry, and art. As the reader enters the second part of the book, the focus on Lacanian theory recedes, opening a space that is more paradoxical and multiple where Munar engages in creative form as an expression of critique, transforming our understandings of desire and love, which always elude us while also always being present. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0516.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/desire-subject-sexuation-and-love/ Earth, Milky Way 04 01 20260227 Ana María Munar 02 WORLD 06 15 9781685711870 03 9781685711870 06 15 9781685713102 03 9781685713102 34 06 10.1057/s41282-018-0105-0 34 06 10.21983/P3.0015.1.00 34 06 10.1080/0957126022000018089 34 06 10.2307/1397392 34 06 10.1093/esr/jcq014 34 06 10.1080/15240657.2021.1996737 34 06 10.1057/s41282-018-0104-1 34 06 10.1353/ncr.2002.0052 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711863 20 08 20260227 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/desire-subject-sexuation-and-love 20 08 20260227 02 24.00 USD WORLD urn:uuid:d42f333e-4274-420b-afda-f573824b6699 03 01 01 thoth-work-id urn:uuid:d21c13a8-b5f0-4475-8de6-597cfcc93e24 01 thoth-publication-id urn:uuid:d42f333e-4274-420b-afda-f573824b6699 15 9781685711870 03 9781685711870 06 10.53288/0516.1.00 13 2026933813 01 internal-reference 0516 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Desire Subject, Sexuation, and Love 1 A01 21 0000000218872304 Ana María Munar Ana María Munar Associate Professor at the Department of Business Humanities and Law 40 04sppb023 Copenhagen Business School Ana María Munar is Associate Professor in the Department of Business Humanities and Law, Copenhagen Business School. Her scholarship is postdisciplinary and characterized by the application of experimental writing, critical theory, and philosophical thought to gender studies, higher education, and tourism studies. In recent years, Ana’s research has focused on the philosophy of desire and emotion, feminist epistemology, poststructuralism, and postdisciplinarity. Her passion lies in philosophizing and developing creative academic communities, where love and joy are possible. One of these is the Critical Tourism Studies network that she has co-chaired together with Professor Kellee Caton. She is the author and editor of several book anthologies and special journal issues, and has written over forty academic articles and book chapters. Her latest collective work is an open source multimedia platform and book on Sexism in Danish Higher Education and Research. 01 eng 00 260 03 B2 Autotheory 12 JMAF 93 JMAF 10 PSY026000 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 B2 Sex 20 Jacques Lacan; psychoanalysis; feminism; H.C. Andersen; gender studies; desire; subjectivity 01 06 02 00 03 00 Have you ever wondered what makes you wake up in the morning? Why not just lay down, stay, and eventually disappear? What is the wanting, the energy, and the grace of liveliness? Desire is at the core of liveliness, and this book explains why it is so. Desire is much more than a mere appendix to love, sex, or our craving to have the latest fashion item. It is what allows the most personal and unique expression of each of us.Desire: Subject, Sexuation, and Love is a work of gratitude to the Lacanian tradition and feminist philosophy. It creatively uses the story of “The Little Mermaid” by H.C. Andersen, as well as art and popular culture to explain the complex landscape of desire and its relation to love and sexuation. Much of the criticism of psychoanalysis from gender studies and poststructuralism is based on a superficial reading of Jacques Lacan, and Munar corrects this, providing in the first half of the book a rigorous and clear analysis of Lacanian subjectification and sexuation, elucidating their relationship to the nature of desire and love, in order to modify overly simplistic and erroneous interpretations of his thinking on desire.Desire is essayistic and poetic philosophy, drawing upon and playing with psychoanalysis, philosophy, literature, biography, poetry, and art. As the reader enters the second part of the book, the focus on Lacanian theory recedes, opening a space that is more paradoxical and multiple where Munar engages in creative form as an expression of critique, transforming our understandings of desire and love, which always elude us while also always being present. 30 00 Have you ever wondered what makes you wake up in the morning? Why not just lay down, stay, and eventually disappear? What is the wanting, the energy, and the grace of liveliness? Desire is at the core of liveliness, and this book explains why it is so. Desire is much more than a mere appendix to love, sex, or our craving to have the latest fashion item. It is what allows the most personal and unique expression of each of us.Desire: Subject, Sexuation, and Love is a work of gratitude to the Lacanian tradition and feminist philosophy. It creatively uses the story of “The Little Mermaid” by H.C. Andersen, as well as art and popular culture to explain the complex landscape of desire and its relation to love and sexuation. Much of the criticism of psychoanalysis from gender studies and poststructuralism is based on a superficial reading of Jacques Lacan, and Munar corrects this, providing in the first half of the book a rigorous and clear analysis of Lacanian subjectification and sexuation, elucidating their relationship to the nature of desire and love, in order to modify overly simplistic and erroneous interpretations of his thinking on desire.Desire is essayistic and poetic philosophy, drawing upon and playing with psychoanalysis, philosophy, literature, biography, poetry, and art. As the reader enters the second part of the book, the focus on Lacanian theory recedes, opening a space that is more paradoxical and multiple where Munar engages in creative form as an expression of critique, transforming our understandings of desire and love, which always elude us while also always being present. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0516.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/desire-subject-sexuation-and-love/ Earth, Milky Way 04 01 20260227 Ana María Munar 02 WORLD 06 15 9781685711863 03 9781685711863 06 15 9781685713102 03 9781685713102 34 06 10.1057/s41282-018-0105-0 34 06 10.21983/P3.0015.1.00 34 06 10.1080/0957126022000018089 34 06 10.2307/1397392 34 06 10.1093/esr/jcq014 34 06 10.1080/15240657.2021.1996737 34 06 10.1057/s41282-018-0104-1 34 06 10.1353/ncr.2002.0052 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/943 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/71e86cbb-059e-4881-bde2-0fe413a7a801/download 20 08 20260227 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d21c13a8-b5f0-4475-8de6-597cfcc93e24 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d21c13a8-b5f0-4475-8de6-597cfcc93e24/d21c13a8-b5f0-4475-8de6-597cfcc93e24.pdf 20 08 20260227 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851591 29 ZENODO: download the title https://zenodo.org/records/19851591/files/d21c13a8-b5f0-4475-8de6-597cfcc93e24_book.pdf 20 08 20260227 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/desire-subject-sexuation-and-love/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0516.1.00.pdf 20 08 20260227 01 urn:uuid:f1d79759-8110-402c-8b03-4f511e8475c1 03 01 01 thoth-work-id urn:uuid:d21c13a8-b5f0-4475-8de6-597cfcc93e24 01 thoth-publication-id urn:uuid:f1d79759-8110-402c-8b03-4f511e8475c1 15 9781685713102 03 9781685713102 06 10.53288/0516.1.00 13 2026933813 01 internal-reference 0516 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Desire Subject, Sexuation, and Love 1 A01 21 0000000218872304 Ana María Munar Ana María Munar Associate Professor at the Department of Business Humanities and Law 40 04sppb023 Copenhagen Business School Ana María Munar is Associate Professor in the Department of Business Humanities and Law, Copenhagen Business School. Her scholarship is postdisciplinary and characterized by the application of experimental writing, critical theory, and philosophical thought to gender studies, higher education, and tourism studies. In recent years, Ana’s research has focused on the philosophy of desire and emotion, feminist epistemology, poststructuralism, and postdisciplinarity. Her passion lies in philosophizing and developing creative academic communities, where love and joy are possible. One of these is the Critical Tourism Studies network that she has co-chaired together with Professor Kellee Caton. She is the author and editor of several book anthologies and special journal issues, and has written over forty academic articles and book chapters. Her latest collective work is an open source multimedia platform and book on Sexism in Danish Higher Education and Research. 01 eng 00 260 03 B2 Autotheory 12 JMAF 93 JMAF 10 PSY026000 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 B2 Sex 20 Jacques Lacan; psychoanalysis; feminism; H.C. Andersen; gender studies; desire; subjectivity 01 06 02 00 03 00 Have you ever wondered what makes you wake up in the morning? Why not just lay down, stay, and eventually disappear? What is the wanting, the energy, and the grace of liveliness? Desire is at the core of liveliness, and this book explains why it is so. Desire is much more than a mere appendix to love, sex, or our craving to have the latest fashion item. It is what allows the most personal and unique expression of each of us.Desire: Subject, Sexuation, and Love is a work of gratitude to the Lacanian tradition and feminist philosophy. It creatively uses the story of “The Little Mermaid” by H.C. Andersen, as well as art and popular culture to explain the complex landscape of desire and its relation to love and sexuation. Much of the criticism of psychoanalysis from gender studies and poststructuralism is based on a superficial reading of Jacques Lacan, and Munar corrects this, providing in the first half of the book a rigorous and clear analysis of Lacanian subjectification and sexuation, elucidating their relationship to the nature of desire and love, in order to modify overly simplistic and erroneous interpretations of his thinking on desire.Desire is essayistic and poetic philosophy, drawing upon and playing with psychoanalysis, philosophy, literature, biography, poetry, and art. As the reader enters the second part of the book, the focus on Lacanian theory recedes, opening a space that is more paradoxical and multiple where Munar engages in creative form as an expression of critique, transforming our understandings of desire and love, which always elude us while also always being present. 30 00 Have you ever wondered what makes you wake up in the morning? Why not just lay down, stay, and eventually disappear? What is the wanting, the energy, and the grace of liveliness? Desire is at the core of liveliness, and this book explains why it is so. Desire is much more than a mere appendix to love, sex, or our craving to have the latest fashion item. It is what allows the most personal and unique expression of each of us.Desire: Subject, Sexuation, and Love is a work of gratitude to the Lacanian tradition and feminist philosophy. It creatively uses the story of “The Little Mermaid” by H.C. Andersen, as well as art and popular culture to explain the complex landscape of desire and its relation to love and sexuation. Much of the criticism of psychoanalysis from gender studies and poststructuralism is based on a superficial reading of Jacques Lacan, and Munar corrects this, providing in the first half of the book a rigorous and clear analysis of Lacanian subjectification and sexuation, elucidating their relationship to the nature of desire and love, in order to modify overly simplistic and erroneous interpretations of his thinking on desire.Desire is essayistic and poetic philosophy, drawing upon and playing with psychoanalysis, philosophy, literature, biography, poetry, and art. As the reader enters the second part of the book, the focus on Lacanian theory recedes, opening a space that is more paradoxical and multiple where Munar engages in creative form as an expression of critique, transforming our understandings of desire and love, which always elude us while also always being present. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0516.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/desire-subject-sexuation-and-love/ Earth, Milky Way 04 01 20260227 Ana María Munar 02 WORLD 06 15 9781685711863 03 9781685711863 06 15 9781685711870 03 9781685711870 34 06 10.1057/s41282-018-0105-0 34 06 10.21983/P3.0015.1.00 34 06 10.1080/0957126022000018089 34 06 10.2307/1397392 34 06 10.1093/esr/jcq014 34 06 10.1080/15240657.2021.1996737 34 06 10.1057/s41282-018-0104-1 34 06 10.1353/ncr.2002.0052 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/desire-subject-sexuation-and-love/ 20 08 20260227 01 urn:uuid:6c7efaf6-d00d-4f7f-b86f-cde379e0a311 03 01 01 thoth-work-id urn:uuid:13c12944-701a-41f4-9d85-c753267d564b 01 thoth-publication-id urn:uuid:6c7efaf6-d00d-4f7f-b86f-cde379e0a311 15 9780692573129 03 9780692573129 06 10.21983/P3.0118.1.00 01 internal-reference 0118 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Destroyer of Naivetés 1 A01 Joseph Nechvatal Joseph Nechvatal 01 eng 00 110 03 93 DCF 12 DCF B2 Fabulations 10 POE023020 93 DCC B2 Sex 93 FP 20 erotic poetry; sex farce 01 06 02 00 03 00 Joseph Nechvatal’s epic passion poem, Destroyer of Naivetés, takes up a position of excess from within a society that believes that the less you conceal, the stranger you become. We live and love in a culture where surveillance/intrusion is tied to our drive for self-revealing everything (an anti-private-life culture of curiosity, egotism, solitude, fear, voyeurism, exhibitionism and resentment --- where the feeling is that nothing could or should remain unknown to us).The sex farce poetic overindulgence of Destroyer of Naivetés takes inspiration from the books of Jean Genet, Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, drawings by Hans Bellmer, film/performances of Bradley Eros, and the erotic scribblings of Giacomo Casanova, Georges Bataille, Petronius, Vladimir Nabokov, Marquis de Sade, Yukio Mishima, Ovid, Leopold von Sacher-Masoch, Kathy Acker and I Am a Beautiful Monster by Francis Picabia. 30 00 Joseph Nechvatal’s epic passion poem, Destroyer of Naivetés, takes up a position of excess from within a society that believes that the less you conceal, the stranger you become. We live and love in a culture where surveillance/intrusion is tied to our drive for self-revealing everything (an anti-private-life culture of curiosity, egotism, solitude, fear, voyeurism, exhibitionism and resentment --- where the feeling is that nothing could or should remain unknown to us).The sex farce poetic overindulgence of Destroyer of Naivetés takes inspiration from the books of Jean Genet, Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, drawings by Hans Bellmer, film/performances of Bradley Eros, and the erotic scribblings of Giacomo Casanova, Georges Bataille, Petronius, Vladimir Nabokov, Marquis de Sade, Yukio Mishima, Ovid, Leopold von Sacher-Masoch, Kathy Acker and I Am a Beautiful Monster by Francis Picabia. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0118.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/destroyer-of-naivetes/ Brooklyn, NY 04 01 20151107 Nechvatal, Joseph 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692573127 20 08 20151107 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/destroyer-of-naivetas 20 08 20151107 02 21.00 USD WORLD urn:uuid:6b240b2f-0845-41b7-8b01-5b1caf74886a 03 01 01 thoth-work-id urn:uuid:13c12944-701a-41f4-9d85-c753267d564b 01 thoth-publication-id urn:uuid:6b240b2f-0845-41b7-8b01-5b1caf74886a 06 10.21983/P3.0118.1.00 01 internal-reference 0118 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Destroyer of Naivetés 1 A01 Joseph Nechvatal Joseph Nechvatal 01 eng 00 110 03 93 DCF 12 DCF B2 Fabulations 10 POE023020 93 DCC B2 Sex 93 FP 20 erotic poetry; sex farce 01 06 02 00 03 00 Joseph Nechvatal’s epic passion poem, Destroyer of Naivetés, takes up a position of excess from within a society that believes that the less you conceal, the stranger you become. We live and love in a culture where surveillance/intrusion is tied to our drive for self-revealing everything (an anti-private-life culture of curiosity, egotism, solitude, fear, voyeurism, exhibitionism and resentment --- where the feeling is that nothing could or should remain unknown to us).The sex farce poetic overindulgence of Destroyer of Naivetés takes inspiration from the books of Jean Genet, Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, drawings by Hans Bellmer, film/performances of Bradley Eros, and the erotic scribblings of Giacomo Casanova, Georges Bataille, Petronius, Vladimir Nabokov, Marquis de Sade, Yukio Mishima, Ovid, Leopold von Sacher-Masoch, Kathy Acker and I Am a Beautiful Monster by Francis Picabia. 30 00 Joseph Nechvatal’s epic passion poem, Destroyer of Naivetés, takes up a position of excess from within a society that believes that the less you conceal, the stranger you become. We live and love in a culture where surveillance/intrusion is tied to our drive for self-revealing everything (an anti-private-life culture of curiosity, egotism, solitude, fear, voyeurism, exhibitionism and resentment --- where the feeling is that nothing could or should remain unknown to us).The sex farce poetic overindulgence of Destroyer of Naivetés takes inspiration from the books of Jean Genet, Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, drawings by Hans Bellmer, film/performances of Bradley Eros, and the erotic scribblings of Giacomo Casanova, Georges Bataille, Petronius, Vladimir Nabokov, Marquis de Sade, Yukio Mishima, Ovid, Leopold von Sacher-Masoch, Kathy Acker and I Am a Beautiful Monster by Francis Picabia. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0118.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/destroyer-of-naivetes/ Brooklyn, NY 04 01 20151107 Nechvatal, Joseph 02 WORLD 06 15 9780692573129 03 9780692573129 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25506 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25506/1004589.pdf?sequence=1&isAllowed=y 20 08 20151107 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36077 20 08 20151107 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353936 20 08 20151107 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/499 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/227b71a4-20b2-4f58-88b3-235bb9180d05/download 20 08 20151107 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Destroyer_of_Naivet%C3%A9s/ym2oEAAAQBAJ 20 08 20151107 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/13c12944-701a-41f4-9d85-c753267d564b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/13c12944-701a-41f4-9d85-c753267d564b/13c12944-701a-41f4-9d85-c753267d564b.pdf 20 08 20151107 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846355 29 ZENODO: download the title https://zenodo.org/records/19846355/files/13c12944-701a-41f4-9d85-c753267d564b_book.pdf 20 08 20151107 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/destroyer-of-naivetes/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0118.1.00.pdf 20 08 20151107 01 urn:uuid:35c41cb4-6838-4958-a14d-e76e84cbddaa 03 01 01 thoth-work-id urn:uuid:69c890c5-d8c5-4295-b5a7-688560929d8b 01 thoth-publication-id urn:uuid:35c41cb4-6838-4958-a14d-e76e84cbddaa 15 9780615837420 03 9780615837420 06 10.21983/P3.0041.1.00 01 internal-reference 0041 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Dialectics Unbound On the Possibility of Total Writing 1 A01 Maxwell Kennel Maxwell Kennel 40 01aff2v68 University of Waterloo 01 eng 00 58 03 B2 Cultural Studies+Critical Theory 12 HPCF 10 PHI013000 93 QDTJ B2 Philosophy 20 dialectics; writing; aesthetics; critical theory; Theodor Adorno 01 06 02 00 03 00 Dialectics Unbound: On the Possibility of Total Writing re-imagines figures of ontological totality, in and out of writing, first by exploring some lineages of the dialectic, and second by engaging thinkers such as Theodor Adorno and his assertion of nonidentity, Julia Kristeva and her positing of a fourth term of the dialectic, and Fredric Jameson’s treatment of the dialectic as an open totality. By articulating a concept of totalization-without-totality, Dialectics Unbound seeks to free the concept of the dialectic from the violence of closure, and then to take this unbound dialectics to the work of writing through a brief examination of parataxis and aphoristics as approaches to writing, both possible and impossible. 30 00 Dialectics Unbound: On the Possibility of Total Writing re-imagines figures of ontological totality, in and out of writing, first by exploring some lineages of the dialectic, and second by engaging thinkers such as Theodor Adorno and his assertion of nonidentity, Julia Kristeva and her positing of a fourth term of the dialectic, and Fredric Jameson’s treatment of the dialectic as an open totality. By articulating a concept of totalization-without-totality, Dialectics Unbound seeks to free the concept of the dialectic from the violence of closure, and then to take this unbound dialectics to the work of writing through a brief examination of parataxis and aphoristics as approaches to writing, both possible and impossible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0041.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dialectics-unbound/ Brooklyn, NY 04 01 20130728 Kennel, Maxwell 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615837425 20 08 20130728 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dialectics-unbound-on-the-possibility-of-total-writing 20 08 20130728 02 21.00 USD WORLD urn:uuid:dbd2ed04-504a-4beb-bc8e-67b15b86bb1c 03 01 01 thoth-work-id urn:uuid:69c890c5-d8c5-4295-b5a7-688560929d8b 01 thoth-publication-id urn:uuid:dbd2ed04-504a-4beb-bc8e-67b15b86bb1c 06 10.21983/P3.0041.1.00 01 internal-reference 0041 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Dialectics Unbound On the Possibility of Total Writing 1 A01 Maxwell Kennel Maxwell Kennel 40 01aff2v68 University of Waterloo 01 eng 00 58 03 B2 Cultural Studies+Critical Theory 12 HPCF 10 PHI013000 93 QDTJ B2 Philosophy 20 dialectics; writing; aesthetics; critical theory; Theodor Adorno 01 06 02 00 03 00 Dialectics Unbound: On the Possibility of Total Writing re-imagines figures of ontological totality, in and out of writing, first by exploring some lineages of the dialectic, and second by engaging thinkers such as Theodor Adorno and his assertion of nonidentity, Julia Kristeva and her positing of a fourth term of the dialectic, and Fredric Jameson’s treatment of the dialectic as an open totality. By articulating a concept of totalization-without-totality, Dialectics Unbound seeks to free the concept of the dialectic from the violence of closure, and then to take this unbound dialectics to the work of writing through a brief examination of parataxis and aphoristics as approaches to writing, both possible and impossible. 30 00 Dialectics Unbound: On the Possibility of Total Writing re-imagines figures of ontological totality, in and out of writing, first by exploring some lineages of the dialectic, and second by engaging thinkers such as Theodor Adorno and his assertion of nonidentity, Julia Kristeva and her positing of a fourth term of the dialectic, and Fredric Jameson’s treatment of the dialectic as an open totality. By articulating a concept of totalization-without-totality, Dialectics Unbound seeks to free the concept of the dialectic from the violence of closure, and then to take this unbound dialectics to the work of writing through a brief examination of parataxis and aphoristics as approaches to writing, both possible and impossible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0041.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dialectics-unbound/ Brooklyn, NY 04 01 20130728 Kennel, Maxwell 02 WORLD 06 15 9780615837420 03 9780615837420 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76444 20 08 20130728 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25576 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25576/1004519.pdf?sequence=1&isAllowed=y 20 08 20130728 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26813 20 08 20130728 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354039 20 08 20130728 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/421 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/79a40a3f-a370-4706-a6e9-a55a162d27b1/download 20 08 20130728 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/69c890c5-d8c5-4295-b5a7-688560929d8b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/69c890c5-d8c5-4295-b5a7-688560929d8b/69c890c5-d8c5-4295-b5a7-688560929d8b.pdf 20 08 20130728 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845765 29 ZENODO: download the title https://zenodo.org/records/19845765/files/69c890c5-d8c5-4295-b5a7-688560929d8b_book.pdf 20 08 20130728 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dialectics-unbound/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0041.1.00.pdf 20 08 20130728 01 urn:uuid:e392d7c5-2c75-4529-aeff-6513eb1e2923 03 01 01 thoth-work-id urn:uuid:245c521a-5014-4da0-bf2b-35eff9673367 01 thoth-publication-id urn:uuid:e392d7c5-2c75-4529-aeff-6513eb1e2923 15 9781685710460 03 9781685710460 06 10.53288/0360.1.00 13 2022934994 01 internal-reference 0360 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 dis/cord Thinking Sound through Agential Realism 1 A01 21 0000000244471192 Kevin Toksöz Fairbarn Kevin Toksöz Fairbarn Kevin Toksöz Fairbairn is a sound artist and musician working around the edges of installation, improvisation, composition, and craftsmanship. He publishes about sound studies, artistic research, and musicology, and has given masterclasses and lectures throughout Europe, Asia, and North America. He is an accomplished instrument builder and performs on a variety of instruments of his own design and construction. 01 eng 00 146 03 12 AVA 93 AVA 10 PHI001000 B2 Philosophy 12 HPN 10 MUS054000 93 QDTN 20 sound studies; Karen Barad; new materialism; agential realism; noise; artistic research; embodiment 01 06 02 00 03 00 dis/cord is an experiment in reading sound. Embarking from Karen Barad’s early work on agential realism, it diffracts quantum physics through sound art, finding the sympathetic resonances that allow them to speak together. dis/cord believes in the materialism of sound, and strives not to understand it, but to become entangled with it. It asserts that impartial observation is impossible and understands immersion as a participatory and collaborative act. Sound art pieces provide the backdrop for a series of reflections on space, time, and matter. They trace the “marks on bodies” that sound leaves behind in its ephemeral vibration, finding new forms of sensation and interpretation through the pain and hearing loss that a life devoted to sound can cause.Drifting between sound studies, artistic research, musicology, and craftsmanship, dis/cord uses agential realism as a platform to approach thinking with, through, and about sound. Following Barad’s commitment to diffraction as a form of critique, it superposes a variety of sounds and ideas in the hope that their consonances and dissonances can provoke new ways of engaging with sound as a cultural and material agent. It is neither an appeal to scientist positivism nor a mystical immersion in listening. Rather, it builds from the intertwined physical and metaphysical curiosities that characterize Barad’s work, proposing a corporeal engagement with the disjointed temporal and spacial (dis)continuities that sonic materialism helps to build, understand, and create. 30 00 dis/cord is an experiment in reading sound. Embarking from Karen Barad’s early work on agential realism, it diffracts quantum physics through sound art, finding the sympathetic resonances that allow them to speak together. dis/cord believes in the materialism of sound, and strives not to understand it, but to become entangled with it. It asserts that impartial observation is impossible and understands immersion as a participatory and collaborative act. Sound art pieces provide the backdrop for a series of reflections on space, time, and matter. They trace the “marks on bodies” that sound leaves behind in its ephemeral vibration, finding new forms of sensation and interpretation through the pain and hearing loss that a life devoted to sound can cause.Drifting between sound studies, artistic research, musicology, and craftsmanship, dis/cord uses agential realism as a platform to approach thinking with, through, and about sound. Following Barad’s commitment to diffraction as a form of critique, it superposes a variety of sounds and ideas in the hope that their consonances and dissonances can provoke new ways of engaging with sound as a cultural and material agent. It is neither an appeal to scientist positivism nor a mystical immersion in listening. Rather, it builds from the intertwined physical and metaphysical curiosities that characterize Barad’s work, proposing a corporeal engagement with the disjointed temporal and spacial (dis)continuities that sonic materialism helps to build, understand, and create. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0360.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dis-cord-thinking-sound-through-agential-realism/ Earth, Milky Way 04 01 20220324 Toksöz Fairbairn, Kevin 02 WORLD 06 15 9781685710477 03 9781685710477 34 06 10.13140/RG.2.2.20826.80325 34 06 10.1086/345321 34 06 10.1121/1.4908236 34 06 10.2307/834006 34 06 10.1121/1.5033330 34 06 10.3813/AAA.918825 34 06 10.1177/0090591715625877 34 06 10.33596/anth.4 34 06 10.1017/S0040298200007154 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710468 20 08 20220324 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/discord-thinking-sound-through-agential-realism 20 08 20220324 02 22.00 USD WORLD urn:uuid:04593cc6-a620-4a1e-bbfe-0b1f9ea53f40 03 01 01 thoth-work-id urn:uuid:245c521a-5014-4da0-bf2b-35eff9673367 01 thoth-publication-id urn:uuid:04593cc6-a620-4a1e-bbfe-0b1f9ea53f40 15 9781685710477 03 9781685710477 06 10.53288/0360.1.00 13 2022934994 01 internal-reference 0360 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 dis/cord Thinking Sound through Agential Realism 1 A01 21 0000000244471192 Kevin Toksöz Fairbarn Kevin Toksöz Fairbarn Kevin Toksöz Fairbairn is a sound artist and musician working around the edges of installation, improvisation, composition, and craftsmanship. He publishes about sound studies, artistic research, and musicology, and has given masterclasses and lectures throughout Europe, Asia, and North America. He is an accomplished instrument builder and performs on a variety of instruments of his own design and construction. 01 eng 00 146 03 12 AVA 93 AVA 10 PHI001000 B2 Philosophy 12 HPN 10 MUS054000 93 QDTN 20 sound studies; Karen Barad; new materialism; agential realism; noise; artistic research; embodiment 01 06 02 00 03 00 dis/cord is an experiment in reading sound. Embarking from Karen Barad’s early work on agential realism, it diffracts quantum physics through sound art, finding the sympathetic resonances that allow them to speak together. dis/cord believes in the materialism of sound, and strives not to understand it, but to become entangled with it. It asserts that impartial observation is impossible and understands immersion as a participatory and collaborative act. Sound art pieces provide the backdrop for a series of reflections on space, time, and matter. They trace the “marks on bodies” that sound leaves behind in its ephemeral vibration, finding new forms of sensation and interpretation through the pain and hearing loss that a life devoted to sound can cause.Drifting between sound studies, artistic research, musicology, and craftsmanship, dis/cord uses agential realism as a platform to approach thinking with, through, and about sound. Following Barad’s commitment to diffraction as a form of critique, it superposes a variety of sounds and ideas in the hope that their consonances and dissonances can provoke new ways of engaging with sound as a cultural and material agent. It is neither an appeal to scientist positivism nor a mystical immersion in listening. Rather, it builds from the intertwined physical and metaphysical curiosities that characterize Barad’s work, proposing a corporeal engagement with the disjointed temporal and spacial (dis)continuities that sonic materialism helps to build, understand, and create. 30 00 dis/cord is an experiment in reading sound. Embarking from Karen Barad’s early work on agential realism, it diffracts quantum physics through sound art, finding the sympathetic resonances that allow them to speak together. dis/cord believes in the materialism of sound, and strives not to understand it, but to become entangled with it. It asserts that impartial observation is impossible and understands immersion as a participatory and collaborative act. Sound art pieces provide the backdrop for a series of reflections on space, time, and matter. They trace the “marks on bodies” that sound leaves behind in its ephemeral vibration, finding new forms of sensation and interpretation through the pain and hearing loss that a life devoted to sound can cause.Drifting between sound studies, artistic research, musicology, and craftsmanship, dis/cord uses agential realism as a platform to approach thinking with, through, and about sound. Following Barad’s commitment to diffraction as a form of critique, it superposes a variety of sounds and ideas in the hope that their consonances and dissonances can provoke new ways of engaging with sound as a cultural and material agent. It is neither an appeal to scientist positivism nor a mystical immersion in listening. Rather, it builds from the intertwined physical and metaphysical curiosities that characterize Barad’s work, proposing a corporeal engagement with the disjointed temporal and spacial (dis)continuities that sonic materialism helps to build, understand, and create. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0360.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dis-cord-thinking-sound-through-agential-realism/ Earth, Milky Way 04 01 20220324 Toksöz Fairbairn, Kevin 02 WORLD 06 15 9781685710460 03 9781685710460 34 06 10.13140/RG.2.2.20826.80325 34 06 10.1086/345321 34 06 10.1121/1.4908236 34 06 10.2307/834006 34 06 10.1121/1.5033330 34 06 10.3813/AAA.918825 34 06 10.1177/0090591715625877 34 06 10.33596/anth.4 34 06 10.1017/S0040298200007154 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/53586 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/53586/0360.1.00.pdf?sequence=1&isAllowed=y 20 08 20220324 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/79735 20 08 20220324 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2f9xrv7 20 08 20220324 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/710 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/385a3705-a332-468e-a804-7b8a1a9aa350/download 20 08 20220324 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Dis_cord/bASVEAAAQBAJ 20 08 20220324 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/245c521a-5014-4da0-bf2b-35eff9673367 29 INTERNET_ARCHIVE: download the title https://archive.org/download/245c521a-5014-4da0-bf2b-35eff9673367/245c521a-5014-4da0-bf2b-35eff9673367.pdf 20 08 20220324 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849286 29 ZENODO: download the title https://zenodo.org/records/19849286/files/245c521a-5014-4da0-bf2b-35eff9673367_book.pdf 20 08 20220324 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dis-cord-thinking-sound-through-agential-realism/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0360.1.00.pdf 20 08 20220324 01 urn:uuid:ddc1ea11-3c19-4a8c-99f7-a1bd3e9dbcab 03 01 01 thoth-work-id urn:uuid:488c640d-e742-465a-98b4-1234bb09d038 01 thoth-publication-id urn:uuid:ddc1ea11-3c19-4a8c-99f7-a1bd3e9dbcab 15 9781953035103 03 9781953035103 06 10.21983/P3.0280.1.00 13 2020945732 01 internal-reference 0280 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Diseases of the Head Essays on the Horrors of Speculative Philosophy 1 B01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford 40 03tg3h819 Colorado College Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 00 522 03 93 DSB 12 DSB B2 Literary Studies 10 PHI013000 12 FK 93 FK 10 LIT021000 B2 Philosophy 12 HPJ B2 Posthumanism 93 QDTJ 20 H.P. Lovecraft; speculative philosophy; object-oriented ontology; necropolitics; literary studies; weird realism; posthumanism 01 06 02 00 03 00 Diseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état.Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation – it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror. 30 00 Diseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état.Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation – it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0280.1.00_frontcover.jpg 1 03 06 10.53288/0280.1.01 1 12 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access 2 03 06 10.53288/0280.1.02 13 42 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction On the Diseases of the Head 1 A01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford 40 03tg3h819 Colorado College Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access Matt Rosen 3 03 06 10.53288/0280.1.03 43 70 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outgrown Purpose, Outlived Use On Parasitic Teleology 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02w2y2t16 Leuphana University of Lüneburg 40 01fcbp662 Institute for Cultural Inquiry Ben Woodard is a post-doctoral researcher at the Institute for Philosophy and Art Theory (IPK) at Leuphana University in Luneburg, Germany. His research focuses on the relationship between naturalism and idealism, especially during the long 19th century. His monograph Schelling’s Naturalism was recently published by Edinburgh University Press. 06 Own website https://naughtthought.wordpress.com/ 01 eng 20 00 Open Access Ben Woodard 4 03 06 10.53288/0280.1.04 71 111 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Death of Horror 1 A01 21 0000000173560381 Amanda Beech Amanda Beech 40 024e4df17 California Institute of the Arts Amanda Beech is an artist and writer living in Los Angeles. Using a range of compelling rhetorical and often dogmatic narratives and texts, Beech’s artwork poses questions and propositions for what a realist art can be in today’s culture; that is, a work that can articulate a comprehension of reality without the terminal mirror of a human identity that is used to picture it. Beech has shown her artwork and presented her writing at major international venues including: This Time, a video commission for the Remai Modern, Canada 2017, Covenant Transport Move or Die at The Baltic Center for Contemporary Art 2016, and Sanity Assassin, in Neocentric, at Charim Gallery, Vienna, Austria 2016. Other recent work includes her comic strip “Realism and Its Discontents,” Art Margins 7, no. 1 (February 2018), as well as critical essays for the anthologies Realism, Materialism, Art (Sternberg Press, 2015), Speculative Aesthetics (Urbanomic, 2015), and catalogue essays for the Irish and Montréal Biennales Agitationism and L’Avenir (both 2014). She is Dean of Critical Studies, California Institute of the Arts. 01 eng 20 00 Open Access Amanda Beech 5 03 06 10.53288/0280.1.05 113 162 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Those Who Aren’t Counted 1 A01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford 40 03tg3h819 Colorado College Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access Matt Rosen 6 03 06 10.53288/0280.1.06 163 180 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Horror of the Real H.P. Lovecraft’s Old Ones and Contemporary Speculative Philosophy 1 A01 David Peak David Peak David Peak is the author of Corpsepaint (Word Horde, 2018) and The Spectacle of the Void (Schism, 2014). He lives in Chicago. 01 eng 20 00 Open Access David Peak 7 03 06 10.53288/0280.1.07 181 196 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Triangulorum 1 A01 21 0000000191768514 Sara Rich Sara A. Rich 40 01621q256 Coastal Carolina University Sara Rich is Assistant Professor of Honors and Interdisciplinary Studies at Coastal Carolina University. Her latest book, Shipwreck Hauntography: Underwater Ruins and the Uncanny, is forthcoming from Amsterdam University Press. 01 eng 20 00 Open Access Sara Rich 8 03 06 10.53288/0280.1.08 197 235 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Race and Its Far-Reaching Contemporary Ontological and Epistemological Implications 1 A01 21 0000000347034390 Marina Gržinić Marina Gržinić 40 04evj0n95 Slovenian Academy of Sciences and Arts 40 029djt864 Academy of Fine Arts Vienna Marina Gržinić is a philosopher, theoretician, and artist from Ljubljana, Slovenia. She serves as a professor and research adviser. She works as a researcher at the Institute of Philosophy ZRC SAZU, Ljubljana. Since 2003, she is Professor for Post-Conceptual Art Practices at the Academy of Fine Arts in Vienna, Austria. She leads the FWF-funded research project “Genealogy of Amnesia” (2018–2021). She publishes extensively, lectures worldwide, and has been involved in video film productions since 1982. 2 A01 21 0000000332437787 Jovita Pristovšek Jovita Pristovšek 40 01vnc0w82 AVA – Academy of Visual Arts Jovita Pristovšek is a senior lecturer at the Academy of Visual Arts (AVA) Ljubljana, Slovenia, where she teaches practice and theory. She holds an MFA from the Academy of Fine Arts, Ljubljana, and a Ph.D. in philosophy from the Postgraduate School SRC SAZA, Ljubljana, which she completed in 2017 under the supervision of Marina Gržinić Mauhler. Pristovšek’s theoretical work focuses on philosophy, aesthetics, theories of contemporary art, epistemology, decolonial theory, and the relationship between the regimes of aesthetics, public and political. 01 eng 20 00 Open Access Marina Gržinić Jovita Pristovšek 9 03 06 10.53288/0280.1.09 237 275 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Absolute Xenogenesis Speculations on an Unnatural History of Life 1 A01 Eckardt Lindner Eckardt Lindner 40 03prydq77 University of Vienna Eckardt Lindner is a philosopher based in Vienna. He teaches at the University of Vienna, where he is currently completing his PhD on the concept of inorganic life. His philosophical and artistic works are mainly concerned with the history and philosophy of artificial and inorganic life, contemporary (neo-)vitalism and nihilism, as well as the relation between philosophy and non-philosophy. 01 eng 20 00 Open Access Eckardt Lindner 10 03 06 10.53288/0280.1.10 277 313 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Survival Strategies for Weird Times 1 A01 21 0000000171277339 Helen Marshall Helen Marshall 40 00rqy9422 University of Queensland Helen Marshall is a Senior Lecturer of Creative Writing and Publishing at the University of Queensland. Her first collection of fiction, Hair Side, Flesh Side (ChiZine, 2012), which won the Sydney J. Bounds Award in 2013, emerged from her work as a book historian. Her second collection, Gifts for the One Who Comes After (ChiZine, 2019), won the World Fantasy Award and the Shirley Jackson Award in 2015. Her debut novel, The Migration, was released from Random House Canada and Titan in 2019. 01 eng 20 00 Open Access Helen Marshall 11 03 06 10.53288/0280.1.11 315 360 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Matrix Pavoris Material Dislocation in "House of Leaves" 1 A01 Luka Bekavac Luka Bekavac 40 00mv6sv71 University of Zagreb Luka Bekavac is Assistant Professor at the Department of Comparative Literature, Faculty of Humanities and Social Sciences, University of Zagreb. His PhD thesis, Toward Singularity: Derrida and Literary Text, was published in Croatian in 2015. He is currently working on a book on xenography in contemporary horror fiction (Ligotti, Negarestani, Danielewski). 01 eng 20 00 Open Access Luka Bekavac 12 03 06 10.53288/0280.1.12 361 394 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Encountering Weird Objects Lovecraft, LARP, and Speculative Philosophy 1 A01 21 0000000151878815 Chloé Germaine Buckley Chloé Germaine Buckley 40 02hstj355 Manchester Metropolitan University Chloé Germaine Buckley is a Senior Lecturer at Manchester Metropolitan University. Her publications include Twenty-First Century Children’s Gothic Fiction: From Wanderer to Nomadic Subject (Edinburgh University Press, 2019), Telling It Slant: Critical Approaches to Helen Oyeyemi (Sussex Academic Press, 2020, co-edited with Sarah Ilott), and various articles on different aspects of the gothic. She is a member of the Manchester Centre for Gothic Studies and The Manchester Game Studies Network. 01 eng 20 00 Open Access Chloé Germaine Buckley 13 03 06 10.53288/0280.1.13 395 437 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sublime Horror in the Tales of E.T.A. Hoffmann 1 A01 21 0000000296504443 Hamad Al-Rayes Hamad Al-Rayes 40 051f75a52 Loyola University New Orleans Hamad Al-Rayes holds a PhD in Philosophy from Stony Brook University and currently teaches philosophy to schoolchildren through Loyola University New Orleans’ Philosopher Kids program, where he is also developing a series of philosophy picture-books for children. His current research focuses on the relationship between aesthetics and metaphysics, particularly as it informs the development of modern Arabic poetry. Whenever he has the time, Hamad writes fiction and Arabic poetry. You can find out more and get in touch by visiting https://hamadalrayes.com. 01 eng 20 00 Open Access Hamad Al-Rayes 14 03 06 10.53288/0280.1.14 439 482 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 When the Monstrous Object Becomes a Tremendous Non- Event Rudolf Otto’s Monster-Gods, H.P. Lovecraft’s Cthulhu, and Graham Harman’s Theory of Everything 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University Eric Wilson is senior lecturer of public law at Monash University, Melbourne in Australia. He received a Doctorate in History from Cambridge University in 1991 and a Doctorate of Juridical Science from the University of Melbourne in 2005. His publications include The Savage Republic: De Indis of Hugo Grotius, Republicanism, and Dutch Hegemony in the Early Modern World System (c.1600–1619) (Martinus Nijhoff, 2008). He is currently editing a series of volumes on critical criminology devoted to the relationships between covert government agency, organized crime, and extra-judicial forms of governance; the first volume in the series, Government of the Shadows: Parapolitics and Criminal Sovereignty, was published by Pluto Press in 2009. The second volume, The Dual State: Parapolitics, Carl Schmitt, and the National Security Complex, was released by Ashgate Publishing in November 2012. Another volume on parapolitics, The Spectacle of the False Flag: From JFK to Watergate was published by punctum books in 2015. His most recent monograph is The Republic of Cthulhu: Lovecraft, the Weird Tale, and Conspiracy Theory (punctum books, 2016). His research interests are radical criminology, critical jurisprudence and the application of the work of René Girard to Law and Literature. 01 eng 20 00 Open Access Eric Wilson 15 03 06 10.53288/0280.1.15 483 497 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reproducing It Speculative Horror and the Limits of the Inhuman 1 A01 John Cunningham John Cunningham John Cunningham is a writer and researcher based in London. He has worked with Mute Magazine as well as other journals, was an editor for the book Anguish Language: Writing and Crisis (Archive Books, 2016), and has contributed to other books including Communization and Its Discontents: Contestation, Critique, and Contemporary Struggles (Autonomedia, 2011), On Violence (Ma Bibliothèque, 2018), and The Graveside Orations of Carl Einstein (Ma Bibliothèque, 2019). 01 eng 20 00 Open Access John Cunningham 16 03 06 10.53288/0280.1.16 499 512 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Horror Vacui (“That Nothing Is What There Is”) 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 01 eng 20 00 Open Access Julia Hölzl 17 03 06 10.53288/0280.1.17 513 517 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access Matt Rosen 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/diseases-of-the-head/ Earth, Milky Way 04 01 20200924 Rosen, Matt 02 WORLD 06 15 9781953035110 03 9781953035110 34 06 10.1525/ncm.2004.27.3.179 34 06 10.1007/s11406-015-9685-4 34 06 10.1007/s11229-017-1364-5 34 06 10.1080/10509580902840467 34 06 10.1080/0969725X.2012.747329 34 06 10.1177/000306515900700304 34 06 10.2307/431624 34 06 10.2307/1354553 34 06 10.1215/08992363-15-1-11 34 06 10.1215/08992363-2010-018 34 06 10.5250/quiparle.23.1.0125 34 06 10.1080/0950236X.2017.1358690 34 06 10.2307/464648 34 06 10.2307/3593543 34 06 10.1111/j.1468-0378.1993.tb00023.x 34 06 10.2307/401759 34 06 10.1353/jhi.0.0071 34 06 10.1086/244608 34 06 10.7202/1012018ar 34 06 10.2307/488585 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035108/ 20 08 20200924 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/diseases-of-the-head-essays-on-the-horrors-of-speculative-philosophy 20 08 20200924 02 30.00 USD WORLD urn:uuid:e3ec6987-8432-4770-b265-797ee1ea3236 03 01 01 thoth-work-id urn:uuid:488c640d-e742-465a-98b4-1234bb09d038 01 thoth-publication-id urn:uuid:e3ec6987-8432-4770-b265-797ee1ea3236 15 9781953035110 03 9781953035110 06 10.21983/P3.0280.1.00 13 2020945732 01 internal-reference 0280 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Diseases of the Head Essays on the Horrors of Speculative Philosophy 1 B01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford 40 03tg3h819 Colorado College Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 00 522 03 93 DSB 12 DSB B2 Literary Studies 10 PHI013000 12 FK 93 FK 10 LIT021000 B2 Philosophy 12 HPJ B2 Posthumanism 93 QDTJ 20 H.P. Lovecraft; speculative philosophy; object-oriented ontology; necropolitics; literary studies; weird realism; posthumanism 01 06 02 00 03 00 Diseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état.Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation – it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror. 30 00 Diseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état.Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation – it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0280.1.00_frontcover.jpg 1 03 06 10.53288/0280.1.01 1 12 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access 2 03 06 10.53288/0280.1.02 13 42 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction On the Diseases of the Head 1 A01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford 40 03tg3h819 Colorado College Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access Matt Rosen 3 03 06 10.53288/0280.1.03 43 70 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outgrown Purpose, Outlived Use On Parasitic Teleology 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02w2y2t16 Leuphana University of Lüneburg 40 01fcbp662 Institute for Cultural Inquiry Ben Woodard is a post-doctoral researcher at the Institute for Philosophy and Art Theory (IPK) at Leuphana University in Luneburg, Germany. His research focuses on the relationship between naturalism and idealism, especially during the long 19th century. His monograph Schelling’s Naturalism was recently published by Edinburgh University Press. 06 Own website https://naughtthought.wordpress.com/ 01 eng 20 00 Open Access Ben Woodard 4 03 06 10.53288/0280.1.04 71 111 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Death of Horror 1 A01 21 0000000173560381 Amanda Beech Amanda Beech 40 024e4df17 California Institute of the Arts Amanda Beech is an artist and writer living in Los Angeles. Using a range of compelling rhetorical and often dogmatic narratives and texts, Beech’s artwork poses questions and propositions for what a realist art can be in today’s culture; that is, a work that can articulate a comprehension of reality without the terminal mirror of a human identity that is used to picture it. Beech has shown her artwork and presented her writing at major international venues including: This Time, a video commission for the Remai Modern, Canada 2017, Covenant Transport Move or Die at The Baltic Center for Contemporary Art 2016, and Sanity Assassin, in Neocentric, at Charim Gallery, Vienna, Austria 2016. Other recent work includes her comic strip “Realism and Its Discontents,” Art Margins 7, no. 1 (February 2018), as well as critical essays for the anthologies Realism, Materialism, Art (Sternberg Press, 2015), Speculative Aesthetics (Urbanomic, 2015), and catalogue essays for the Irish and Montréal Biennales Agitationism and L’Avenir (both 2014). She is Dean of Critical Studies, California Institute of the Arts. 01 eng 20 00 Open Access Amanda Beech 5 03 06 10.53288/0280.1.05 113 162 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Those Who Aren’t Counted 1 A01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford 40 03tg3h819 Colorado College Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access Matt Rosen 6 03 06 10.53288/0280.1.06 163 180 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Horror of the Real H.P. Lovecraft’s Old Ones and Contemporary Speculative Philosophy 1 A01 David Peak David Peak David Peak is the author of Corpsepaint (Word Horde, 2018) and The Spectacle of the Void (Schism, 2014). He lives in Chicago. 01 eng 20 00 Open Access David Peak 7 03 06 10.53288/0280.1.07 181 196 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Triangulorum 1 A01 21 0000000191768514 Sara Rich Sara A. Rich 40 01621q256 Coastal Carolina University Sara Rich is Assistant Professor of Honors and Interdisciplinary Studies at Coastal Carolina University. Her latest book, Shipwreck Hauntography: Underwater Ruins and the Uncanny, is forthcoming from Amsterdam University Press. 01 eng 20 00 Open Access Sara Rich 8 03 06 10.53288/0280.1.08 197 235 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Race and Its Far-Reaching Contemporary Ontological and Epistemological Implications 1 A01 21 0000000347034390 Marina Gržinić Marina Gržinić 40 04evj0n95 Slovenian Academy of Sciences and Arts 40 029djt864 Academy of Fine Arts Vienna Marina Gržinić is a philosopher, theoretician, and artist from Ljubljana, Slovenia. She serves as a professor and research adviser. She works as a researcher at the Institute of Philosophy ZRC SAZU, Ljubljana. Since 2003, she is Professor for Post-Conceptual Art Practices at the Academy of Fine Arts in Vienna, Austria. She leads the FWF-funded research project “Genealogy of Amnesia” (2018–2021). She publishes extensively, lectures worldwide, and has been involved in video film productions since 1982. 2 A01 21 0000000332437787 Jovita Pristovšek Jovita Pristovšek 40 01vnc0w82 AVA – Academy of Visual Arts Jovita Pristovšek is a senior lecturer at the Academy of Visual Arts (AVA) Ljubljana, Slovenia, where she teaches practice and theory. She holds an MFA from the Academy of Fine Arts, Ljubljana, and a Ph.D. in philosophy from the Postgraduate School SRC SAZA, Ljubljana, which she completed in 2017 under the supervision of Marina Gržinić Mauhler. Pristovšek’s theoretical work focuses on philosophy, aesthetics, theories of contemporary art, epistemology, decolonial theory, and the relationship between the regimes of aesthetics, public and political. 01 eng 20 00 Open Access Marina Gržinić Jovita Pristovšek 9 03 06 10.53288/0280.1.09 237 275 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Absolute Xenogenesis Speculations on an Unnatural History of Life 1 A01 Eckardt Lindner Eckardt Lindner 40 03prydq77 University of Vienna Eckardt Lindner is a philosopher based in Vienna. He teaches at the University of Vienna, where he is currently completing his PhD on the concept of inorganic life. His philosophical and artistic works are mainly concerned with the history and philosophy of artificial and inorganic life, contemporary (neo-)vitalism and nihilism, as well as the relation between philosophy and non-philosophy. 01 eng 20 00 Open Access Eckardt Lindner 10 03 06 10.53288/0280.1.10 277 313 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Survival Strategies for Weird Times 1 A01 21 0000000171277339 Helen Marshall Helen Marshall 40 00rqy9422 University of Queensland Helen Marshall is a Senior Lecturer of Creative Writing and Publishing at the University of Queensland. Her first collection of fiction, Hair Side, Flesh Side (ChiZine, 2012), which won the Sydney J. Bounds Award in 2013, emerged from her work as a book historian. Her second collection, Gifts for the One Who Comes After (ChiZine, 2019), won the World Fantasy Award and the Shirley Jackson Award in 2015. Her debut novel, The Migration, was released from Random House Canada and Titan in 2019. 01 eng 20 00 Open Access Helen Marshall 11 03 06 10.53288/0280.1.11 315 360 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Matrix Pavoris Material Dislocation in "House of Leaves" 1 A01 Luka Bekavac Luka Bekavac 40 00mv6sv71 University of Zagreb Luka Bekavac is Assistant Professor at the Department of Comparative Literature, Faculty of Humanities and Social Sciences, University of Zagreb. His PhD thesis, Toward Singularity: Derrida and Literary Text, was published in Croatian in 2015. He is currently working on a book on xenography in contemporary horror fiction (Ligotti, Negarestani, Danielewski). 01 eng 20 00 Open Access Luka Bekavac 12 03 06 10.53288/0280.1.12 361 394 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Encountering Weird Objects Lovecraft, LARP, and Speculative Philosophy 1 A01 21 0000000151878815 Chloé Germaine Buckley Chloé Germaine Buckley 40 02hstj355 Manchester Metropolitan University Chloé Germaine Buckley is a Senior Lecturer at Manchester Metropolitan University. Her publications include Twenty-First Century Children’s Gothic Fiction: From Wanderer to Nomadic Subject (Edinburgh University Press, 2019), Telling It Slant: Critical Approaches to Helen Oyeyemi (Sussex Academic Press, 2020, co-edited with Sarah Ilott), and various articles on different aspects of the gothic. She is a member of the Manchester Centre for Gothic Studies and The Manchester Game Studies Network. 01 eng 20 00 Open Access Chloé Germaine Buckley 13 03 06 10.53288/0280.1.13 395 437 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sublime Horror in the Tales of E.T.A. Hoffmann 1 A01 21 0000000296504443 Hamad Al-Rayes Hamad Al-Rayes 40 051f75a52 Loyola University New Orleans Hamad Al-Rayes holds a PhD in Philosophy from Stony Brook University and currently teaches philosophy to schoolchildren through Loyola University New Orleans’ Philosopher Kids program, where he is also developing a series of philosophy picture-books for children. His current research focuses on the relationship between aesthetics and metaphysics, particularly as it informs the development of modern Arabic poetry. Whenever he has the time, Hamad writes fiction and Arabic poetry. You can find out more and get in touch by visiting https://hamadalrayes.com. 01 eng 20 00 Open Access Hamad Al-Rayes 14 03 06 10.53288/0280.1.14 439 482 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 When the Monstrous Object Becomes a Tremendous Non- Event Rudolf Otto’s Monster-Gods, H.P. Lovecraft’s Cthulhu, and Graham Harman’s Theory of Everything 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University Eric Wilson is senior lecturer of public law at Monash University, Melbourne in Australia. He received a Doctorate in History from Cambridge University in 1991 and a Doctorate of Juridical Science from the University of Melbourne in 2005. His publications include The Savage Republic: De Indis of Hugo Grotius, Republicanism, and Dutch Hegemony in the Early Modern World System (c.1600–1619) (Martinus Nijhoff, 2008). He is currently editing a series of volumes on critical criminology devoted to the relationships between covert government agency, organized crime, and extra-judicial forms of governance; the first volume in the series, Government of the Shadows: Parapolitics and Criminal Sovereignty, was published by Pluto Press in 2009. The second volume, The Dual State: Parapolitics, Carl Schmitt, and the National Security Complex, was released by Ashgate Publishing in November 2012. Another volume on parapolitics, The Spectacle of the False Flag: From JFK to Watergate was published by punctum books in 2015. His most recent monograph is The Republic of Cthulhu: Lovecraft, the Weird Tale, and Conspiracy Theory (punctum books, 2016). His research interests are radical criminology, critical jurisprudence and the application of the work of René Girard to Law and Literature. 01 eng 20 00 Open Access Eric Wilson 15 03 06 10.53288/0280.1.15 483 497 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reproducing It Speculative Horror and the Limits of the Inhuman 1 A01 John Cunningham John Cunningham John Cunningham is a writer and researcher based in London. He has worked with Mute Magazine as well as other journals, was an editor for the book Anguish Language: Writing and Crisis (Archive Books, 2016), and has contributed to other books including Communization and Its Discontents: Contestation, Critique, and Contemporary Struggles (Autonomedia, 2011), On Violence (Ma Bibliothèque, 2018), and The Graveside Orations of Carl Einstein (Ma Bibliothèque, 2019). 01 eng 20 00 Open Access John Cunningham 16 03 06 10.53288/0280.1.16 499 512 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Horror Vacui (“That Nothing Is What There Is”) 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 01 eng 20 00 Open Access Julia Hölzl 17 03 06 10.53288/0280.1.17 513 517 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000222481314 Matt Rosen Matt Rosen 40 052gg0110 University of Oxford Matt Rosen is a metaphysician whose current research focuses on hospitality and perception in moral life; philosophy and literature; and time, death, and chance. Rosen is the author of Speculative Annihilationism: The Intersection of Archaeology and Extinction (Zero Books, 2019) and the editor of Diseases of the Head (punctum books, 2020). His manuscript, Speculative Ethics: An Essay on Angst and Abnegation, has been completed and is forthcoming. He is a Member of New College, Oxford. 01 eng 20 00 Open Access Matt Rosen 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/diseases-of-the-head/ Earth, Milky Way 04 01 20200924 Rosen, Matt 02 WORLD 06 15 9781953035103 03 9781953035103 34 06 10.1525/ncm.2004.27.3.179 34 06 10.1007/s11406-015-9685-4 34 06 10.1007/s11229-017-1364-5 34 06 10.1080/10509580902840467 34 06 10.1080/0969725X.2012.747329 34 06 10.1177/000306515900700304 34 06 10.2307/431624 34 06 10.2307/1354553 34 06 10.1215/08992363-15-1-11 34 06 10.1215/08992363-2010-018 34 06 10.5250/quiparle.23.1.0125 34 06 10.1080/0950236X.2017.1358690 34 06 10.2307/464648 34 06 10.2307/3593543 34 06 10.1111/j.1468-0378.1993.tb00023.x 34 06 10.2307/401759 34 06 10.1353/jhi.0.0071 34 06 10.1086/244608 34 06 10.7202/1012018ar 34 06 10.2307/488585 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41796 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41796/0280.1.00.pdf 20 08 20200924 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38668 20 08 20200924 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv19cwdnt 20 08 20200924 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/643 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f98a4a3c-dbe9-43e8-bcd1-6e1a59272f47/download 20 08 20200924 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Diseases_of_the_Head/2gWVEAAAQBAJ 20 08 20200924 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/488c640d-e742-465a-98b4-1234bb09d038 29 INTERNET_ARCHIVE: download the title https://archive.org/download/488c640d-e742-465a-98b4-1234bb09d038/488c640d-e742-465a-98b4-1234bb09d038.pdf 20 08 20200924 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848492 29 ZENODO: download the title https://zenodo.org/records/19848492/files/488c640d-e742-465a-98b4-1234bb09d038_book.pdf 20 08 20200924 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/diseases-of-the-head/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0280.1.00.pdf 20 08 20200924 01 urn:uuid:85166f31-afcf-46b8-9ec9-44559933bb9d 03 01 01 thoth-work-id urn:uuid:6c30545e-539b-419a-8b96-5f6c475bab9e 01 thoth-publication-id urn:uuid:85166f31-afcf-46b8-9ec9-44559933bb9d 15 9781947447714 03 9781947447714 06 10.21983/P3.0230.1.00 01 internal-reference 0230 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Disrupting the Digital Humanities 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 B01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 40 04w7skc03 University of Denver 01 eng 00 514 03 10 COM079010 B2 Cultural Studies+Critical Theory 93 UBJ 10 COM079000 B2 Humanities+University 93 NHTQ B2 Media+Technology 93 UXA 20 digital humanities; decolonization; social justice; technology; computing; universal design 01 06 02 00 03 00 All too often, defining a discipline becomes more an exercise of exclusion than inclusion. Disrupting the Digital Humanities seeks to rethink how we map disciplinary terrain by directly confronting the gatekeeping impulse of many other so-called field-defining collections. What is most beautiful about the work of the Digital Humanities is exactly the fact that it can’t be tidily anthologized. In fact, the desire to neatly define the Digital Humanities (to filter the DH-y from the DH) is a way of excluding the radically diverse work that actually constitutes the field. This collection, then, works to push and prod at the edges of the Digital Humanities — to open the Digital Humanities rather than close it down. Ultimately, it’s exactly the fringes, the outliers, that make the Digital Humanities both heterogeneous and rigorous.This collection does not constitute yet another reservoir for the new Digital Humanities canon. Rather, its aim is less about assembling content as it is about creating new conversations. Building a truly communal space for the digital humanities requires that we all approach that space with a commitment to: 1) creating open and non-hierarchical dialogues; 2) championing non-traditional work that might not otherwise be recognized through conventional scholarly channels; 3) amplifying marginalized voices; 4) advocating for students and learners; and 5) sharing generously and openly to support the work of our peers. 30 00 All too often, defining a discipline becomes more an exercise of exclusion than inclusion. Disrupting the Digital Humanities seeks to rethink how we map disciplinary terrain by directly confronting the gatekeeping impulse of many other so-called field-defining collections. What is most beautiful about the work of the Digital Humanities is exactly the fact that it can’t be tidily anthologized. In fact, the desire to neatly define the Digital Humanities (to filter the DH-y from the DH) is a way of excluding the radically diverse work that actually constitutes the field. This collection, then, works to push and prod at the edges of the Digital Humanities — to open the Digital Humanities rather than close it down. Ultimately, it’s exactly the fringes, the outliers, that make the Digital Humanities both heterogeneous and rigorous.This collection does not constitute yet another reservoir for the new Digital Humanities canon. Rather, its aim is less about assembling content as it is about creating new conversations. Building a truly communal space for the digital humanities requires that we all approach that space with a commitment to: 1) creating open and non-hierarchical dialogues; 2) championing non-traditional work that might not otherwise be recognized through conventional scholarly channels; 3) amplifying marginalized voices; 4) advocating for students and learners; and 5) sharing generously and openly to support the work of our peers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0230.1.00_frontcover.png 1 03 06 10.21983/P3.0230.1.01 i xviii 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 B01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 01 eng 20 00 Open Access Kim, Dorothy Stommel, Jesse 2 03 06 10.21983/P3.0230.1.02 19 37 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disrupting the Digital Humanities An Introduction 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 A01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 40 04w7skc03 University of Denver 01 eng 03 00 Much of this introduction was written before the world went to shit. The chapters here, no matter how recently written, can’t keep at bay a world being actively undone. We find ourselves wonder-ing why and how this work even matters. What has the digital humanities community done collectively for #BlackLivesMatter? What place is there for pedagogy in a world where education has been so systematically devalued, where students worry that even their classroom isn’t safe from an ICE raid? How do we rally when so many are complicit? Scholarship can only vaguely hope to keep up. And so these are not really the questions of this vol-ume. But they should be. As a field like digital humanities squab-bles, the world around it is laid to waste. Academic turf wars have no place in a world of mass-shootings, fear-mongering, xenophobia, and white supremacy. Demanding fellow scholars do a literature review before speaking their mind has no place in a world of AR-15 assault rifles and weaponized algorithms. When something as basic as going to the bathroom lacks dignity for so many, we have no use for double-blind peer review. 30 00 Much of this introduction was written before the world went to shit. The chapters here, no matter how recently written, can’t keep at bay a world being actively undone. We find ourselves wonder-ing why and how this work even matters. What has the digital humanities community done collectively for #BlackLivesMatter? What place is there for pedagogy in a world where education has been so systematically devalued, where students worry that even their classroom isn’t safe from an ICE raid? How do we rally when so many are complicit? Scholarship can only vaguely hope to keep up. And so these are not really the questions of this vol-ume. But they should be. As a field like digital humanities squab-bles, the world around it is laid to waste. Academic turf wars have no place in a world of mass-shootings, fear-mongering, xenophobia, and white supremacy. Demanding fellow scholars do a literature review before speaking their mind has no place in a world of AR-15 assault rifles and weaponized algorithms. When something as basic as going to the bathroom lacks dignity for so many, we have no use for double-blind peer review. 20 00 Open Access Kim, Dorothy Stommel, Jesse 3 03 06 10.21983/P3.0230.1.03 39 48 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Letter to the Humanities DH Will Not Save You" 1 A01 Adeline Koh Adeline Koh 40 0442n1j98 Stockton University 01 eng 03 00 I am often asked about the digital humanities and how it can up-date, make relevant, and provide funding for many a beleaguered humanities department. Some faculty at underfunded institu-tions imagine DH is going to revitalize their discipline—it’s go-ing to magically interest undergraduates, give faculty research funding, and exponentially increase enrollment.Well, the reality is this: what has until recently been com-monly understood as real “Digital Humanities” is already be-lated and is not going to save humanities departments from ever bigger budget cuts and potential dissolution. 30 00 I am often asked about the digital humanities and how it can up-date, make relevant, and provide funding for many a beleaguered humanities department. Some faculty at underfunded institu-tions imagine DH is going to revitalize their discipline—it’s go-ing to magically interest undergraduates, give faculty research funding, and exponentially increase enrollment.Well, the reality is this: what has until recently been com-monly understood as real “Digital Humanities” is already be-lated and is not going to save humanities departments from ever bigger budget cuts and potential dissolution. 20 00 Open Access Koh, Adeline 4 03 06 10.21983/P3.0230.1.04 49 60 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Myth and the Millennialism of "Disruptive Innovation" 1 A01 Audrey Watters Audrey Watters 01 eng 03 00 Folklorists often balk at the common usage of the word “myth” to mean “lie.” A myth, by their disciplinary definition, is quite the opposite. A myth is a culture’s sacred story. It involves su-pernatural or supreme beings — gods. It explains origins and destinies. A myth is the Truth. So when I say that “disruptive innovation” is one of the great myths of the contemporary business world, particularly of the tech industry, I don’t mean by “myth” that Clayton Christensen’s explanation of changes to markets and business models and technologies is a falsehood. (I have an MA in Folklore, not an MBA — so that’s part of it, for sure.) Rather, my assigning “myth” to “disruptive innovation” is meant to highlight the ways in which this narrative has been widely accepted as unassailably true. No doubt (as a Harvard professor) Christensen has faced very little skepticism or criticism about his theory concerning the transformation of industries — why, it’s as if The Innovator’s Dilemma were some sort of sacred text. 30 00 Folklorists often balk at the common usage of the word “myth” to mean “lie.” A myth, by their disciplinary definition, is quite the opposite. A myth is a culture’s sacred story. It involves su-pernatural or supreme beings — gods. It explains origins and destinies. A myth is the Truth. So when I say that “disruptive innovation” is one of the great myths of the contemporary business world, particularly of the tech industry, I don’t mean by “myth” that Clayton Christensen’s explanation of changes to markets and business models and technologies is a falsehood. (I have an MA in Folklore, not an MBA — so that’s part of it, for sure.) Rather, my assigning “myth” to “disruptive innovation” is meant to highlight the ways in which this narrative has been widely accepted as unassailably true. No doubt (as a Harvard professor) Christensen has faced very little skepticism or criticism about his theory concerning the transformation of industries — why, it’s as if The Innovator’s Dilemma were some sort of sacred text. 20 00 Open Access Watters, Audrey 5 03 06 10.21983/P3.0230.1.05 61 77 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rhetoric of Disruption What are We Doing Here? 1 A01 Meg Worley Meg Worley 40 05d23ve83 Colgate University 01 eng 03 00 I started out hating the title of this volume. Disruption has a spe-cial place in the mythology of my native land of Silicon Valley: Every startup promises disruptive technologies that will change the industry forever, and “Don’t think outside the box—blow up all the boxes!” is written in invisible ink on the business card of every VC on Sand Hill Road. “Why do we want to disrupt the digital humanities?” I muttered to myself. Why would we want to borrow the rhetoric and methodology of Kleiner Perkins (which was known as a hegemonic boys club long before Ellen Pao sued them)? Is the Harvard MBA Program really the place to turn for new models of innovation in humanistic inquiry? Can’t we effect change—deep, meaningful change—without adopt-ing the language of one of the most inequitable neighborhoods of late-stage capitalism? But in the course of trying to find a place for my thoughts about community, conversation, and the digital humanities under an umbrella that is labeled disrupt, I have found my way to a new understanding of what we are doing here. What follows is an anatomy, a taxonomy, even a ge-nealogy of the term “disrupt” and a discussion of the questions that precipitate out of each usage of the word. The emphasis on questions rather than answers is intentional and, I think, important, for if we are to diversify the digital humanities, there must be room for multiple solutions to every problem. 30 00 I started out hating the title of this volume. Disruption has a spe-cial place in the mythology of my native land of Silicon Valley: Every startup promises disruptive technologies that will change the industry forever, and “Don’t think outside the box—blow up all the boxes!” is written in invisible ink on the business card of every VC on Sand Hill Road. “Why do we want to disrupt the digital humanities?” I muttered to myself. Why would we want to borrow the rhetoric and methodology of Kleiner Perkins (which was known as a hegemonic boys club long before Ellen Pao sued them)? Is the Harvard MBA Program really the place to turn for new models of innovation in humanistic inquiry? Can’t we effect change—deep, meaningful change—without adopt-ing the language of one of the most inequitable neighborhoods of late-stage capitalism? But in the course of trying to find a place for my thoughts about community, conversation, and the digital humanities under an umbrella that is labeled disrupt, I have found my way to a new understanding of what we are doing here. What follows is an anatomy, a taxonomy, even a ge-nealogy of the term “disrupt” and a discussion of the questions that precipitate out of each usage of the word. The emphasis on questions rather than answers is intentional and, I think, important, for if we are to diversify the digital humanities, there must be room for multiple solutions to every problem. 20 00 Open Access Worley, Meg 6 03 06 10.21983/P3.0230.1.06 79 90 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Public Digital Humanities 1 A01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 40 04w7skc03 University of Denver 01 eng 03 00 I am going back and re-reading a handful of articles from the 1970s published in the journal “Computers and the Humanities.”1I am struck by how innovative and imaginative so many of these articles are. I am also struck and saddened by how little the field has progressed. R.L. Widmann, one of my dearest mentors, wrote (five years before I was born), “the increasing numbers of works which do use computers with intelligence and perceptive-ness demonstrate the versatility to which the scholar’s imagina-tion can be put. It was a very good year.”2 The year was 1971. The pieces I’m reading outline the 6 or 7 or 8 new (and revolu-tionary) approaches being used for thinking about the intersec-tions between computers and the humanities. These pieces also map something very close to the current philosophical terrain of digital humanities pedagogy. They do so with an intense cu-riosity about what else might be possible. In R.L.’s work, there is no entrenchment. There is no unwillingness to account for edge cases. The limits of what counts and doesn’t count are described repeatedly as “arbitrary.” I’m certain the field wasn’t entirely rosy in 1971, but I have an incredible amount of hope reading these now and thinking about what we might be able to discover in the next 45 years. 30 00 I am going back and re-reading a handful of articles from the 1970s published in the journal “Computers and the Humanities.”1I am struck by how innovative and imaginative so many of these articles are. I am also struck and saddened by how little the field has progressed. R.L. Widmann, one of my dearest mentors, wrote (five years before I was born), “the increasing numbers of works which do use computers with intelligence and perceptive-ness demonstrate the versatility to which the scholar’s imagina-tion can be put. It was a very good year.”2 The year was 1971. The pieces I’m reading outline the 6 or 7 or 8 new (and revolu-tionary) approaches being used for thinking about the intersec-tions between computers and the humanities. These pieces also map something very close to the current philosophical terrain of digital humanities pedagogy. They do so with an intense cu-riosity about what else might be possible. In R.L.’s work, there is no entrenchment. There is no unwillingness to account for edge cases. The limits of what counts and doesn’t count are described repeatedly as “arbitrary.” I’m certain the field wasn’t entirely rosy in 1971, but I have an incredible amount of hope reading these now and thinking about what we might be able to discover in the next 45 years. 20 00 Open Access Stommel, Jesse 7 03 06 10.21983/P3.0230.1.07 91 115 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Universal Design and Its Discontents 1 A01 21 0000000216112440 Jonathan Hsy Jonathan Hsy 40 00y4zzh67 George Washington University 2 A01 Rick Godden Rick Godden 40 05ect4e57 Louisiana State University 01 eng 03 00 This collaborative essay offers two perspectives on disability and universalism in the fields of Digital Humanities (DH) and Universal Design (UD). One of the authors, Richard H. Godden, considers how a particular experience of disability shapes his use of media and also informs his reactions to proscriptive state-ments about the use of technology; the other author, Jonathan Hsy, writes as a nondisabled ally who considers some of the dis-cursive and practical complications that arise in efforts to make the web more accessible to people with disabilities. While we each come from different perspectives, both of us seek to inter-rogate what it exactly means for a community to establish a set of “best practices” for the use of technology, and we both reveal how even the most well-intentioned universalist discourses can risk effacing crucial particularities of embodied experience. 30 00 This collaborative essay offers two perspectives on disability and universalism in the fields of Digital Humanities (DH) and Universal Design (UD). One of the authors, Richard H. Godden, considers how a particular experience of disability shapes his use of media and also informs his reactions to proscriptive state-ments about the use of technology; the other author, Jonathan Hsy, writes as a nondisabled ally who considers some of the dis-cursive and practical complications that arise in efforts to make the web more accessible to people with disabilities. While we each come from different perspectives, both of us seek to inter-rogate what it exactly means for a community to establish a set of “best practices” for the use of technology, and we both reveal how even the most well-intentioned universalist discourses can risk effacing crucial particularities of embodied experience. 20 00 Open Access Hsy, Jonathan Godden, Rick 8 03 06 10.21983/P3.0230.1.08 117 142 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 DH as "Disruptive Innovation" for Restorative Social Justice Virtual Heritage and 3D Reconstructions of South Africa's Township Histories 1 A01 Angel Nieves Angel Nieves 40 05709zb94 Hamilton College 01 eng 03 00 Much of this essay constitutes an initial effort to frame an open access digital-first publication tentatively entitled, Apartheid Heritage(s): A Spatial History of South Africa’s Black Townships with Stanford University Press as its designated publisher. The project involves the development of a multi-modal 3D qualita-tive geospatial archive and platform for research into the apart-heid-era “South Western Townships,” better known as Soweto, outside Johannesburg, South Africa.Some background is needed to better situate this research. In 2011, the United Nations issued a report that declared inter-net access a human right.1 (Interestingly, on that same day two-thirds of Syria’s internet access had gone dark — something that was likely the work of the Assad regime in response to unrest in that country.) In 2013, a group of scholars from across the United States approached the Alliance of Digital Humanities Organizations (ADHO) with a proposal for a new special interest group (or SIG) with a focus on social justice and human rights. As one step forward, the group developed an “advisory docu-ment for building collaborative projects, conducting events, gathering sensitive data, and composing scholarly communica-tions with social justice issues and human rights in mind.”2 As part of the initial group of scholars who worked to develop this special interest group, I was much more invested in the poten-tial praxis-based strategies we might develop — perhaps a list of ethical guidelines or even a kind of social justice toolkit — for engaging in community-centered digital humanities projects. Some of what I will be discussing in this essay is in itself filled with some controversy and is worthy of further debate with regard to issues of ethics, “reality,” and truth as applied to his-torical reconstructions — specifically computer-generated visu-alizations of historic landscapes and buildings within contested areas in certain fields — as issues of power and representation cannot be overlooked. 30 00 Much of this essay constitutes an initial effort to frame an open access digital-first publication tentatively entitled, Apartheid Heritage(s): A Spatial History of South Africa’s Black Townships with Stanford University Press as its designated publisher. The project involves the development of a multi-modal 3D qualita-tive geospatial archive and platform for research into the apart-heid-era “South Western Townships,” better known as Soweto, outside Johannesburg, South Africa.Some background is needed to better situate this research. In 2011, the United Nations issued a report that declared inter-net access a human right.1 (Interestingly, on that same day two-thirds of Syria’s internet access had gone dark — something that was likely the work of the Assad regime in response to unrest in that country.) In 2013, a group of scholars from across the United States approached the Alliance of Digital Humanities Organizations (ADHO) with a proposal for a new special interest group (or SIG) with a focus on social justice and human rights. As one step forward, the group developed an “advisory docu-ment for building collaborative projects, conducting events, gathering sensitive data, and composing scholarly communica-tions with social justice issues and human rights in mind.”2 As part of the initial group of scholars who worked to develop this special interest group, I was much more invested in the poten-tial praxis-based strategies we might develop — perhaps a list of ethical guidelines or even a kind of social justice toolkit — for engaging in community-centered digital humanities projects. Some of what I will be discussing in this essay is in itself filled with some controversy and is worthy of further debate with regard to issues of ethics, “reality,” and truth as applied to his-torical reconstructions — specifically computer-generated visu-alizations of historic landscapes and buildings within contested areas in certain fields — as issues of power and representation cannot be overlooked. 20 00 Open Access Nieves, Angel 9 03 06 10.21983/P3.0230.1.09 143 154 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lowriding through the Digital Humanities 1 A01 Annemarie Perez Annemarie Perez 40 04pyvbw03 California State University, Dominguez Hills 01 eng 03 00 Lowriders are customized automobiles with a specific aesthetic that first appeared in the United States southwest in the mid-to-late 1940s, a product of a southwestern Mexican American culture.2 Lowriders are also the individuals who make these modi-fications. In contrast to the jacked up “hot rods” raced by Anglos of the period, lowriders are cars modified to be low to the road. The point isn’t to speed, but to cruise as low and slow as possible, disrupting traffic. In this way, the lowriders resisted the period’s white youth culture and made their creators visible to each oth-er’s gaze. Lowriding also functions as social practice, claiming and constructing specific spaces in streets and parks where low-riders can, as Ben Chappell writes, “cruise, display their rides, and socialize.”3 In digital humanities, a discipline that publishes quickly, this essay has been written slowly and with much modi-fication since its frame began in 2011 in the comments of a series of #TransformDH blog posts. 30 00 Lowriders are customized automobiles with a specific aesthetic that first appeared in the United States southwest in the mid-to-late 1940s, a product of a southwestern Mexican American culture.2 Lowriders are also the individuals who make these modi-fications. In contrast to the jacked up “hot rods” raced by Anglos of the period, lowriders are cars modified to be low to the road. The point isn’t to speed, but to cruise as low and slow as possible, disrupting traffic. In this way, the lowriders resisted the period’s white youth culture and made their creators visible to each oth-er’s gaze. Lowriding also functions as social practice, claiming and constructing specific spaces in streets and parks where low-riders can, as Ben Chappell writes, “cruise, display their rides, and socialize.”3 In digital humanities, a discipline that publishes quickly, this essay has been written slowly and with much modi-fication since its frame began in 2011 in the comments of a series of #TransformDH blog posts. 20 00 Open Access Perez, Annemarie 10 03 06 10.21983/P3.0230.1.10 155 160 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gold Star for You 1 A01 Mongrel Coalition Against Gringpo Mongrel Coalition Against Gringpo 01 eng 03 00 GOLD STAR FOR NOTICING GENTRIFICATION—YA KNOW THIS VIOLENT RACIST TRADITION OF SEGREGATION THAT’S BEEN THE BUILDING BLOCK OF AMERICA—GOLD STAR FOR FINALLY NO-TICING THIS AS A POTENTIAL REALITY GOLD STAR FOR THE MOST PUBLIC WHITE TEARS AND GOLD STAR FOR DEFENDING KG AND VP DUE TO INDIFFERENCE TO POC BODIES AND SELFISH CAREERIST CONCERNS GOLD STAR FOR BEING WHITE AND REMEMBERING YOUR MIGRA-TION NARRATIVE. MINUS GOLD STAR FOR EQUATING THIS MEM-ORY AS EXCLUDING THE PRIVILEGES OF POSSESSIVE WHITENESSGOLD STAR FOR READING ONE BOOK BY A BLACK POET AND POSTING ABOUT IT ONE TIME ON FACEBOOK GOLD STAR 30 00 GOLD STAR FOR NOTICING GENTRIFICATION—YA KNOW THIS VIOLENT RACIST TRADITION OF SEGREGATION THAT’S BEEN THE BUILDING BLOCK OF AMERICA—GOLD STAR FOR FINALLY NO-TICING THIS AS A POTENTIAL REALITY GOLD STAR FOR THE MOST PUBLIC WHITE TEARS AND GOLD STAR FOR DEFENDING KG AND VP DUE TO INDIFFERENCE TO POC BODIES AND SELFISH CAREERIST CONCERNS GOLD STAR FOR BEING WHITE AND REMEMBERING YOUR MIGRA-TION NARRATIVE. MINUS GOLD STAR FOR EQUATING THIS MEM-ORY AS EXCLUDING THE PRIVILEGES OF POSSESSIVE WHITENESSGOLD STAR FOR READING ONE BOOK BY A BLACK POET AND POSTING ABOUT IT ONE TIME ON FACEBOOK GOLD STAR 20 00 Open Access Mongrel Coalition Against Gringpo 11 03 06 10.21983/P3.0230.1.11 161 168 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mongrel Dream Library 1 A01 Mongrel Coalition Against Gringpo Mongrel Coalition Against Gringpo 01 eng 03 00 mongrel cliff notes: literally shoving you off a cliff: the notes MONGREL CLIFF NOTES LITERALLY SHOVING YOU OFF A CLIFF: THE NOTES:Some of these books have been published under different titles, but we understand it’s hard to read anything conjured by the misshapen brains of POC. This is why we’ve decided to celebrate a longstanding Western literary tradition by starting a series of books with accessible titles that are reformulations of great “unknown” critical works, thereby making them more digestible and white-friendly. 30 00 mongrel cliff notes: literally shoving you off a cliff: the notes MONGREL CLIFF NOTES LITERALLY SHOVING YOU OFF A CLIFF: THE NOTES:Some of these books have been published under different titles, but we understand it’s hard to read anything conjured by the misshapen brains of POC. This is why we’ve decided to celebrate a longstanding Western literary tradition by starting a series of books with accessible titles that are reformulations of great “unknown” critical works, thereby making them more digestible and white-friendly. 20 00 Open Access Mongrel Coalition Against Gringpo 12 03 06 10.21983/P3.0230.1.12 169 195 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exceptionalism in Digital Humanities Community, Collaboration, and Consensus 1 A01 Michelle Moravec Michelle Moravec 40 01v75b264 Rosemont College 01 eng 03 00 In 2013 Diane Jakacki wondered “Is There Such a Thing as Digi-tal Exceptionalism” and concluded that digital humanists have “spent so long being on the outside, marginalized, trying to con-vince anyone who would listen that what we do matter and that it is meaningful scholarship; now people are paying attention. [...] We can’t quite shake that need to justify, to foreground, to compare, to privilege.”1 Digital exceptionalism is suffused with techno-optimism around what the digital can do and with the belief that the digital represents a marked, and presumably bet-ter, break with all that came before. Paul Fyfe has described the “hack versus yack” debate as digital humanities’ particular vari-ant on this theme. 30 00 In 2013 Diane Jakacki wondered “Is There Such a Thing as Digi-tal Exceptionalism” and concluded that digital humanists have “spent so long being on the outside, marginalized, trying to con-vince anyone who would listen that what we do matter and that it is meaningful scholarship; now people are paying attention. [...] We can’t quite shake that need to justify, to foreground, to compare, to privilege.”1 Digital exceptionalism is suffused with techno-optimism around what the digital can do and with the belief that the digital represents a marked, and presumably bet-ter, break with all that came before. Paul Fyfe has described the “hack versus yack” debate as digital humanities’ particular vari-ant on this theme. 20 00 Open Access Moravec, Michelle 13 03 06 10.21983/P3.0230.1.13 197 216 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Problem with ProfHacker 1 A01 Matt Thomas Matt Thomas 40 036jqmy94 University of Iowa 01 eng 03 00 To the extent that they think about it at all, when most people hear the word “hacker,” they still probably picture someone who uses a computer to gain unauthorized access to information. In most people’s minds, hackers, even now, are criminals, and “hacks” such as headline-grabbing data breaches are a regret-table feature of twenty-first century life that one must deal with, not something the average person does. But since at least the mid 2000s, the term “hacking” has increasingly been applied to more and more activities outwardly having nothing to do with computers, and “hacking” has come to mean using ingenuity to improve things. People now routinely talk about hacking their work, their hobbies, their possessions, their bodies, and so on. These people have taken a practice traditionally associated with computers—i.e., “hacking”—and broadened it to encompass literally anything under the sun. Indeed, people now speak of hacking everything from IKEA furniture to democracy like it’s the most normal thing in the world.2 Business and lifestyle pub-lications have rechristened advice from investment how-tos to beauty tips as hacks. I’m not the only one to notice this meta-phor creep. People joke about it on social media all the time. Next up, I predict, will be “hacking fatigue.” 30 00 To the extent that they think about it at all, when most people hear the word “hacker,” they still probably picture someone who uses a computer to gain unauthorized access to information. In most people’s minds, hackers, even now, are criminals, and “hacks” such as headline-grabbing data breaches are a regret-table feature of twenty-first century life that one must deal with, not something the average person does. But since at least the mid 2000s, the term “hacking” has increasingly been applied to more and more activities outwardly having nothing to do with computers, and “hacking” has come to mean using ingenuity to improve things. People now routinely talk about hacking their work, their hobbies, their possessions, their bodies, and so on. These people have taken a practice traditionally associated with computers—i.e., “hacking”—and broadened it to encompass literally anything under the sun. Indeed, people now speak of hacking everything from IKEA furniture to democracy like it’s the most normal thing in the world.2 Business and lifestyle pub-lications have rechristened advice from investment how-tos to beauty tips as hacks. I’m not the only one to notice this meta-phor creep. People joke about it on social media all the time. Next up, I predict, will be “hacking fatigue.” 20 00 Open Access Thomas, Matt 14 03 06 10.21983/P3.0230.1.14 217 226 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Digital Humanities and the Erosion of Inquiry 1 A01 Sean Michael Morris Sean Michael Morris 40 03b48gv34 University of Mary Washington 01 eng 03 00 There’s something die-hard about academics. When you think about it, there’s nothing more unlikely than leading a life de-voted to knowledge, to discovery and inquiry, to curiosity. It’s not practical. Not many parents want their kids to grow up to be scholars. We’d rather our kids have security, stability—an edu-cation, yes, and a job and a house and a family, yes. But few of us say “I want you to spend the rest of your life in a library carrel, carrying on conversations arcane to other people.” Academics hoe a row that may or may not yield a crop. It’s risky, doing this work. And yet there’s nothing else we’d like to be doing.There’s a lot of talk about the liberal arts and the humanities being in peril, or that scholarship itself is in profound crisis. To this, I have said that “If higher education is ailing, it is only be-cause its many doctors have not applied themselves to its resus-citation.” There is no better solution to the problems scholarship faces than its professors, adjuncts, and students. People are the solution to whatever ails the profession. Each of us has agency we can apply — not only to create our own success, but to ensure the success of those who come after us. 30 00 There’s something die-hard about academics. When you think about it, there’s nothing more unlikely than leading a life de-voted to knowledge, to discovery and inquiry, to curiosity. It’s not practical. Not many parents want their kids to grow up to be scholars. We’d rather our kids have security, stability—an edu-cation, yes, and a job and a house and a family, yes. But few of us say “I want you to spend the rest of your life in a library carrel, carrying on conversations arcane to other people.” Academics hoe a row that may or may not yield a crop. It’s risky, doing this work. And yet there’s nothing else we’d like to be doing.There’s a lot of talk about the liberal arts and the humanities being in peril, or that scholarship itself is in profound crisis. To this, I have said that “If higher education is ailing, it is only be-cause its many doctors have not applied themselves to its resus-citation.” There is no better solution to the problems scholarship faces than its professors, adjuncts, and students. People are the solution to whatever ails the profession. Each of us has agency we can apply — not only to create our own success, but to ensure the success of those who come after us. 20 00 Open Access Morris, Sean Michael 15 03 06 10.21983/P3.0230.1.15 227 248 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 #transform(ing)DH Writing and Research An Autoethonography of Digital Humanities and Feminist Ethics 1 A01 21 0000000290186261 Moya Bailey Moya Bailey 40 000e0be47 Northwestern University 01 eng 03 00 As I began to work on my book, Transforming Misogynoir: Black Women’s Digital Resistance in US Culture, I prioritized transpar-ency. I used my own blog and the Digital Humanities blog at Northeastern University to provide readers with insights into the academic publishing process and my efforts to shape this process into a more just experience for my research collabora-tors.1 My research highlights the networks contemporary Black trans women create through the production of digital media and in this article I make the emotional and uncompensated labor of this community visible. I provide an added level of insight into my research process as a way to mirror the access I was granted by these collaborators. I use Digital Humanist Mark Sample’s concept of collaborative connections to demonstrate my own ef-forts to enact a transformative feminist process of writing and researching in the Digital Humanities (DH) while highlighting he ways in which the communities I follow are doing the same in their spheres of influence. 30 00 As I began to work on my book, Transforming Misogynoir: Black Women’s Digital Resistance in US Culture, I prioritized transpar-ency. I used my own blog and the Digital Humanities blog at Northeastern University to provide readers with insights into the academic publishing process and my efforts to shape this process into a more just experience for my research collabora-tors.1 My research highlights the networks contemporary Black trans women create through the production of digital media and in this article I make the emotional and uncompensated labor of this community visible. I provide an added level of insight into my research process as a way to mirror the access I was granted by these collaborators. I use Digital Humanist Mark Sample’s concept of collaborative connections to demonstrate my own ef-forts to enact a transformative feminist process of writing and researching in the Digital Humanities (DH) while highlighting he ways in which the communities I follow are doing the same in their spheres of influence. 20 00 Open Access Bailey, Moya 16 03 06 10.21983/P3.0230.1.16 249 266 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 DH and Adjuncts Putting the Human Back into the Humanities 1 A01 Kathi Inman Berens Kathi Inman Berens 40 00yn2fy02 Portland State University 2 A01 Laura Sanders Laura Sanders 40 01e4pq504 Portland Community College 01 eng 03 00 For MLA 2015, I wrote a piece called “Want to Save the Humani-ties? Teach Adjuncts to Learn Digital Tools.”1At the time, I was an adjunct. Fall 2015 I started my first year as a tenure-track professor after teaching nine years as an NTT and four years as an adjunct. I am a mid-career scholar who is also legitimately “early career,” writing a proposal for my first book contract, preparing lectures for a slate of new course preps, looking for grants. I’m happy to be “junior,” even if the nomenclature of our profession is an atavism from when the field was more homogenous and marked rites of passage for mostly young white men from “assistant” to “associate.” Many of the “junior” faculty I know today are my age, and have walked what would have seemed a twisty path twenty years ago. In 1969, tenured or TT faculty comprised 80% of the professoriate. Today that ratio has flipped.2 But the field’s nomenclature is rooted in a time when, as a colleague once told me of his own childhood, an English professor could buy a house and raise four children on a single income. 30 00 For MLA 2015, I wrote a piece called “Want to Save the Humani-ties? Teach Adjuncts to Learn Digital Tools.”1At the time, I was an adjunct. Fall 2015 I started my first year as a tenure-track professor after teaching nine years as an NTT and four years as an adjunct. I am a mid-career scholar who is also legitimately “early career,” writing a proposal for my first book contract, preparing lectures for a slate of new course preps, looking for grants. I’m happy to be “junior,” even if the nomenclature of our profession is an atavism from when the field was more homogenous and marked rites of passage for mostly young white men from “assistant” to “associate.” Many of the “junior” faculty I know today are my age, and have walked what would have seemed a twisty path twenty years ago. In 1969, tenured or TT faculty comprised 80% of the professoriate. Today that ratio has flipped.2 But the field’s nomenclature is rooted in a time when, as a colleague once told me of his own childhood, an English professor could buy a house and raise four children on a single income. 20 00 Open Access Berens, Kathi Inman Sanders, Laura 17 03 06 10.21983/P3.0230.1.17 267 271 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Not Seen, Not Heard 1 A01 Liana Silva Ford Liana Silva Ford 01 eng 03 00 I am a brown Puerto Rican female, first-generation graduate with a PhD. Until recently, I worked within academia, and now I am an independent scholar and editor for an online publica-tion on sound studies. Despite my scholarly history, I hesitate to call myself a digital humanist. Twitter was my introduction to digital humanities, very much like Annemarie Pérez states in her contribution “Lowriding through the Digital Humanities.”1 I joined Twitter in 2009 out of curiosity but didn’t become an avid user until mid 2010, when I moved to Kansas City and started a new job while still having a dissertation to finish. I found an academic and professional community on Twitter that filled a void I had in my offline life. On Twitter I felt seen and heard in academic circles in a way I hadn’t before. By virtue of being a humanist and the academics I followed on Twitter, I quickly learned that there was a thing called “digi-tal humanities.” I had never heard the term in my college class-room or from my professors or college peers. I came across the short-hand DH and the hashtags #DH, #digitalhumanities and later #TransformDH. The medium, which lended itself to casual conversations as well as bite-sized insights, made me feel comfortable enough to follow along with these conversations and occasionally even chime in on the latest DH topic of the week. 30 00 I am a brown Puerto Rican female, first-generation graduate with a PhD. Until recently, I worked within academia, and now I am an independent scholar and editor for an online publica-tion on sound studies. Despite my scholarly history, I hesitate to call myself a digital humanist. Twitter was my introduction to digital humanities, very much like Annemarie Pérez states in her contribution “Lowriding through the Digital Humanities.”1 I joined Twitter in 2009 out of curiosity but didn’t become an avid user until mid 2010, when I moved to Kansas City and started a new job while still having a dissertation to finish. I found an academic and professional community on Twitter that filled a void I had in my offline life. On Twitter I felt seen and heard in academic circles in a way I hadn’t before. By virtue of being a humanist and the academics I followed on Twitter, I quickly learned that there was a thing called “digi-tal humanities.” I had never heard the term in my college class-room or from my professors or college peers. I came across the short-hand DH and the hashtags #DH, #digitalhumanities and later #TransformDH. The medium, which lended itself to casual conversations as well as bite-sized insights, made me feel comfortable enough to follow along with these conversations and occasionally even chime in on the latest DH topic of the week. 20 00 Open Access Ford, Liana Silva 18 03 06 10.21983/P3.0230.1.18 273 294 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disrupting Labor in Digital Humanities; or, The Classroom Is Not Your Crowd 1 A01 21 0000000309035587 Spencer D.C. Keralis Spencer D.C. Keralis 40 00v97ad02 University of North Texas 01 eng 03 00 Digital humanists have a labor problem, but it’s not what you might think. It’s not about humanities faculty getting credit in tenure and promotion for digital informatics work. It’s not about the adjunctification of teaching labor. It’s not about the devalua-tion of humanities PhDs, the contraction of the faculty job mar-ket, the rise of #alt-ac, nor the para-professionalization of aca-demic libraries. And while I care deeply about these problems, at least three of which affect me personally almost every day, what I am concerned with here is a type of labor that the collective preoccupation with these issues effaces: the use of student labor on digital humanities projects in and out of the classroom. 30 00 Digital humanists have a labor problem, but it’s not what you might think. It’s not about humanities faculty getting credit in tenure and promotion for digital informatics work. It’s not about the adjunctification of teaching labor. It’s not about the devalua-tion of humanities PhDs, the contraction of the faculty job mar-ket, the rise of #alt-ac, nor the para-professionalization of aca-demic libraries. And while I care deeply about these problems, at least three of which affect me personally almost every day, what I am concerned with here is a type of labor that the collective preoccupation with these issues effaces: the use of student labor on digital humanities projects in and out of the classroom. 20 00 Open Access Keralis, Spencer D.C. 19 03 06 10.21983/P3.0230.1.19 295 319 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Unbearable" Exclusion of the Digital 1 A01 21 0000000281427262 Maha Bali Maha Bali 40 0176yqn58 American University in Cairo 01 eng 03 00 Digital tools are largely Western products, dominated by Amer-ican and Western European interests; as such, they can some-what colonize the spaces and networks depending on them, including by making the “other” invisible or tokenized, if not silenced or oppressed.This chapter begins with some critiques about the illusions of inclusion in digital spaces, adapted from a two-part article that I wrote with Shyam Sharma for Hybrid Pedagogy using a postcolonial perspective, and then moves on to a more focused account of possibilities of creating more open and inclusive spaces and networks, subverting existing digital power struc-tures based on some open online work one or both of us have been involved in.1 Then I offer some practical directions while remaining critical of the potentials of colonizing treatments of non-Western participants in digital spaces. This work is an at-tempt to use my grasp of Western digital discourse, as partial insider, to metaphorically “subvert the master’s house using the master’s tools,” something Audre Lorde suggested was impossible (and may yet be).2 The intention is to highlight the impor-tance of creating more equitable opportunities for marginalized or excluded voices from the global peripheries and the margins of geopolitical centers themselves in digital spaces. I argue that this needs to be done by outsiders, insiders, and semi-insiders alike because it is just and beneficial to everyone to diversify communities and enrich learning and sharing for everyone in increasingly globalized digital spaces. 30 00 Digital tools are largely Western products, dominated by Amer-ican and Western European interests; as such, they can some-what colonize the spaces and networks depending on them, including by making the “other” invisible or tokenized, if not silenced or oppressed.This chapter begins with some critiques about the illusions of inclusion in digital spaces, adapted from a two-part article that I wrote with Shyam Sharma for Hybrid Pedagogy using a postcolonial perspective, and then moves on to a more focused account of possibilities of creating more open and inclusive spaces and networks, subverting existing digital power struc-tures based on some open online work one or both of us have been involved in.1 Then I offer some practical directions while remaining critical of the potentials of colonizing treatments of non-Western participants in digital spaces. This work is an at-tempt to use my grasp of Western digital discourse, as partial insider, to metaphorically “subvert the master’s house using the master’s tools,” something Audre Lorde suggested was impossible (and may yet be).2 The intention is to highlight the impor-tance of creating more equitable opportunities for marginalized or excluded voices from the global peripheries and the margins of geopolitical centers themselves in digital spaces. I argue that this needs to be done by outsiders, insiders, and semi-insiders alike because it is just and beneficial to everyone to diversify communities and enrich learning and sharing for everyone in increasingly globalized digital spaces. 20 00 Open Access Bali, Maha 20 03 06 10.21983/P3.0230.1.20 321 346 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Politics of Visibility 1 A01 Eunsong Kim Eunsong Kim 40 03efmqc40 Arizona State University 01 eng 03 00 Every time CNN points to “Trending” in order to discuss break-ing news, we should laugh. That is, laugh at: CNN, journalists, experts, the simulacra. Smirking at the notion that privatized, opaque institutions of selective coverage are working with other privatized, opaque institutions of selective timelines to define what’s public, what’s universal, what’s important. Intel-lectual, digital, and digitized labor is important, and too often dismissed.3 This interrogation of visibility coverage and trend-ing isn’t a critique of online activism and discourse. Rather, I want to examine the political pontification around “trending” and “tagging” — the politics of Twitter algorithms, the bird’s eye commentary of “surprise” and “dismay” at certain trends, and ultimately, alternative discourses. 30 00 Every time CNN points to “Trending” in order to discuss break-ing news, we should laugh. That is, laugh at: CNN, journalists, experts, the simulacra. Smirking at the notion that privatized, opaque institutions of selective coverage are working with other privatized, opaque institutions of selective timelines to define what’s public, what’s universal, what’s important. Intel-lectual, digital, and digitized labor is important, and too often dismissed.3 This interrogation of visibility coverage and trend-ing isn’t a critique of online activism and discourse. Rather, I want to examine the political pontification around “trending” and “tagging” — the politics of Twitter algorithms, the bird’s eye commentary of “surprise” and “dismay” at certain trends, and ultimately, alternative discourses. 20 00 Open Access Kim, Eunsong 21 03 06 10.21983/P3.0230.1.21 347 356 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Academic Influence The Sea of Change 1 A01 21 0000000195761037 Bonnie Steward Bonnie Steward 40 02xh9x144 University of Prince Edward Island 01 eng 03 00 Sometimes things shift when you’re not looking. One morning, I woke up and discovered I was in style. Or, at least, what I dowas in style: digital and networked scholarship had suddenly been discovered by higher ed media. For this fifteen minutes of fame, practically every Chronicle of Higher Education link on my Twitter feed was about some aspect of online identity or net-worked scholarship.1 The LSE blog and Inside Higher Ed, too.I peered about, waiting for the punch line. I am accustomed, when I get up in front of fellow educators and academics and say “I study scholarship and... Twitter,” to getting the reception of a failed stand-up comic. “Really? Twitter?” people communicate with their eyebrows. I am becoming a great student of arched eyebrows. 30 00 Sometimes things shift when you’re not looking. One morning, I woke up and discovered I was in style. Or, at least, what I dowas in style: digital and networked scholarship had suddenly been discovered by higher ed media. For this fifteen minutes of fame, practically every Chronicle of Higher Education link on my Twitter feed was about some aspect of online identity or net-worked scholarship.1 The LSE blog and Inside Higher Ed, too.I peered about, waiting for the punch line. I am accustomed, when I get up in front of fellow educators and academics and say “I study scholarship and... Twitter,” to getting the reception of a failed stand-up comic. “Really? Twitter?” people communicate with their eyebrows. I am becoming a great student of arched eyebrows. 20 00 Open Access Steward, Bonnie 22 03 06 10.21983/P3.0230.1.22 357 368 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Playing as Making 1 A01 Edmond Y. Chang Edmond Y. Chang 40 01jr3y717 Ohio University 01 eng 03 00 Johanna Drucker in “Humanistic Theory and Digital Scholar-ship” articulates as a key transformation (and bone of conten-tion) in the variegated and interdisciplinary terrains of the digi-tal humanities, saying, I am trying to call for a next phase of digital humanities [that] synthesize method and theory into ways of doing as thinking. [...] The challenge is to shift humanistic study from attention to the effects of technology [...] to a humanistically informed theory of the making of technology.1But what does it mean to do, to make? And what sorts of do-ing and making are privileged over others? In other words, what counts in this shift? 30 00 Johanna Drucker in “Humanistic Theory and Digital Scholar-ship” articulates as a key transformation (and bone of conten-tion) in the variegated and interdisciplinary terrains of the digi-tal humanities, saying, I am trying to call for a next phase of digital humanities [that] synthesize method and theory into ways of doing as thinking. [...] The challenge is to shift humanistic study from attention to the effects of technology [...] to a humanistically informed theory of the making of technology.1But what does it mean to do, to make? And what sorts of do-ing and making are privileged over others? In other words, what counts in this shift? 20 00 Open Access Chang, Edmond Y. 23 03 06 10.21983/P3.0230.1.23 369 376 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Humanizing the Interface 1 A01 Kat Lecky Kat Lecky 40 04b6x2g63 Loyola University Chicago 01 eng 03 00 Oppression is inherently spatial. Governments use biopolitical mechanisms such as urban zoning and prisons to keep undesir-able populations fixed in place; institutions use office location to distinguish permanent from contingent faculty; houses of wor-ship physically separate believers from infidels. These structures all classify exclusion as a topography dividing “us” from “them.” Resistance is also spatial: Rooms of one’s own and brave new worlds constitute alternate landscapes that restage the relation of the person to society. These oppositional spaces protect us from the onslaught of the myriad forms of social coding that define us as objects rather than selves.The Graphical User Interface (or GUI for short) is a high-stakes battlefield in this struggle between the oppressed and the powers-that-be. The general term for the proliferating technolo-gies that communicate with their human users through images rather than text, the GUI expands the concept of digital literacy to include those excluded from traditional forms of techno-logical aptitude. Smartphones and tablets depend upon rebuses (image-words) rather than lexicons to generate meaning. He-gemony and alterity converge on their topography, which of-fers people the same playing field regardless of literacy level. The GUI opens a space within which dwell ever-increasing numbers of individuals from diverse classes, educational backgrounds, races, nationalities, genders, and political, sexual, or religious orientations. It forges a common identity grounded in nothing other than its shared love of this user-friendly technology. This hybrid technology opens the same world up to the excluded and powerful alike. And this world is pocket-sized: virtually any-one can own it, carry it, use it. As a pedagogical device, the GUI erodes distinctions between those privy to elite education and those without access to basic learning. 30 00 Oppression is inherently spatial. Governments use biopolitical mechanisms such as urban zoning and prisons to keep undesir-able populations fixed in place; institutions use office location to distinguish permanent from contingent faculty; houses of wor-ship physically separate believers from infidels. These structures all classify exclusion as a topography dividing “us” from “them.” Resistance is also spatial: Rooms of one’s own and brave new worlds constitute alternate landscapes that restage the relation of the person to society. These oppositional spaces protect us from the onslaught of the myriad forms of social coding that define us as objects rather than selves.The Graphical User Interface (or GUI for short) is a high-stakes battlefield in this struggle between the oppressed and the powers-that-be. The general term for the proliferating technolo-gies that communicate with their human users through images rather than text, the GUI expands the concept of digital literacy to include those excluded from traditional forms of techno-logical aptitude. Smartphones and tablets depend upon rebuses (image-words) rather than lexicons to generate meaning. He-gemony and alterity converge on their topography, which of-fers people the same playing field regardless of literacy level. The GUI opens a space within which dwell ever-increasing numbers of individuals from diverse classes, educational backgrounds, races, nationalities, genders, and political, sexual, or religious orientations. It forges a common identity grounded in nothing other than its shared love of this user-friendly technology. This hybrid technology opens the same world up to the excluded and powerful alike. And this world is pocket-sized: virtually any-one can own it, carry it, use it. As a pedagogical device, the GUI erodes distinctions between those privy to elite education and those without access to basic learning. 20 00 Open Access Lecky, Kat 24 03 06 10.21983/P3.0230.1.24 377 399 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bend Until It Breaks Digital Humanities and Resistance 1 A01 Robin Wharton Robin Wharton 40 03qt6ba18 Georgia State University 01 eng 03 00 The capability inherent in digital humanities for resistance is part of what makes digital humanities “humanistic”—rather than, say, techno-utopian or neoliberal—it’s what connects the digi-tal humanities to the humanities. Alan Liu and Stephen Ramsay have both argued for the necessity of theorizing “resistance” and its place in the work of digital humanists. Ramsay gets to the heart of what “resistance” might look like in this context when, in an eloquent defense of the humanities in general, he describes the humanities as a discursive space in which we answer the pressing question, “How do we become individuals who move through the world with awareness, empathy, and thoughtfulness, and who know how to act upon those dispositions?”3 What if, “we can resist” were at least a partial answer to Ramsay’s ques-tion? If this is what resistance can do for us, for the project of being or becoming human, then I think we can see pretty clearly why it matters, why digital humanists should be investing time and resources in activities of resistance. As Liu observes, how-ever, “[h]ow the digital humanities advances, channels, or resists today’s great postindustrial, neoliberal, corporate, and global flows of information-cum-capital is [...] a question rarely heard in the digital humanities associations, conferences, journals, and projects with which I am familiar.” 30 00 The capability inherent in digital humanities for resistance is part of what makes digital humanities “humanistic”—rather than, say, techno-utopian or neoliberal—it’s what connects the digi-tal humanities to the humanities. Alan Liu and Stephen Ramsay have both argued for the necessity of theorizing “resistance” and its place in the work of digital humanists. Ramsay gets to the heart of what “resistance” might look like in this context when, in an eloquent defense of the humanities in general, he describes the humanities as a discursive space in which we answer the pressing question, “How do we become individuals who move through the world with awareness, empathy, and thoughtfulness, and who know how to act upon those dispositions?”3 What if, “we can resist” were at least a partial answer to Ramsay’s ques-tion? If this is what resistance can do for us, for the project of being or becoming human, then I think we can see pretty clearly why it matters, why digital humanists should be investing time and resources in activities of resistance. As Liu observes, how-ever, “[h]ow the digital humanities advances, channels, or resists today’s great postindustrial, neoliberal, corporate, and global flows of information-cum-capital is [...] a question rarely heard in the digital humanities associations, conferences, journals, and projects with which I am familiar.” 20 00 Open Access Wharton, Robin 25 03 06 10.21983/P3.0230.1.25 401 417 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outsiders, All Connecting the Pasts and Futures of Digital Humanities and Composition 1 A01 Chris Friend Chris Friend 40 036nfer12 University of Central Florida 01 eng 03 00 This sentence you are now reading was, of course, written on a computer. Myriad technologies influenced the process of writ-ing that sentence, and still more worked to let you read it. Con-sidering how much writing today is done on/with/by/for com-puters, studying how technology and writing interact should warrant significant academic attention. Such attention would allow us to better understand how modern composition works and help our students better understand how to put it to good use. Writing on/with/by/for computers does indeed garner aca-demic attention, but which discipline rightly claims that kind of writing as its central concern? The answer here is not the Digital Humanities, despite the nominal fidelity. Even though the bel-letristic arts are under the purview of the humanist tradition, the Digital Humanities are, in practice, far removed from the concerns of composition. 30 00 This sentence you are now reading was, of course, written on a computer. Myriad technologies influenced the process of writ-ing that sentence, and still more worked to let you read it. Con-sidering how much writing today is done on/with/by/for com-puters, studying how technology and writing interact should warrant significant academic attention. Such attention would allow us to better understand how modern composition works and help our students better understand how to put it to good use. Writing on/with/by/for computers does indeed garner aca-demic attention, but which discipline rightly claims that kind of writing as its central concern? The answer here is not the Digital Humanities, despite the nominal fidelity. Even though the bel-letristic arts are under the purview of the humanist tradition, the Digital Humanities are, in practice, far removed from the concerns of composition. 20 00 Open Access Friend, Chris 26 03 06 10.21983/P3.0230.1.26 419 453 35 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 W(h)ither DH? New Tensions, Directions, and Evolutions in the Digital Humanities 1 A01 Lee Skallerup Bessette Lee Skallerup Bessette 40 05vzafd60 Georgetown University 01 eng 03 00 I will readily admit to feeling imposter syndrome while trying to write this. Who am I to stand here and tell you about Digital Humanities? I am, to a certain extent, an outsider looking into DH; I stand at a periphery; I hover around the margins. I was not trained in DH at any of the well known Centers (which in-clude but are not limited to University of Virginia, MITH at the University of Maryland, MATRIX at Michigan State, the Univer-sity of Nebraska (Lincoln), or The Center for History and New Media at George Mason University, or UCLA), nor am I a part of a growing group of new DH centers, projects, or initiatives pop-ping up all over the country.1 I’ve never “built” anything (which is a tension within digital humanities I will come back to): there are no databases or digital archives or tools or maps or digital editions or other pieces of born-digital scholarship that bear my name anywhere, in collaboration or otherwise. 30 00 I will readily admit to feeling imposter syndrome while trying to write this. Who am I to stand here and tell you about Digital Humanities? I am, to a certain extent, an outsider looking into DH; I stand at a periphery; I hover around the margins. I was not trained in DH at any of the well known Centers (which in-clude but are not limited to University of Virginia, MITH at the University of Maryland, MATRIX at Michigan State, the Univer-sity of Nebraska (Lincoln), or The Center for History and New Media at George Mason University, or UCLA), nor am I a part of a growing group of new DH centers, projects, or initiatives pop-ping up all over the country.1 I’ve never “built” anything (which is a tension within digital humanities I will come back to): there are no databases or digital archives or tools or maps or digital editions or other pieces of born-digital scholarship that bear my name anywhere, in collaboration or otherwise. 20 00 Open Access Bessette, Lee Skallerup 27 03 06 10.21983/P3.0230.1.27 455 471 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Library is Never Neutral 1 A01 Chris Bourg Chris Bourg 40 042nb2s44 Massachusetts Institute of Technology 01 eng 03 00 I want to acknowledge from the outset that this article has been heavily influenced by a number of people who have shared their work and their thoughts with me over the years. I’ve been privi-leged to learn from them, in some cases formally through their publications and in some cases through conversations on twit-ter or even in person. These aren’t the only folks whose work and thinking have influenced me, but they are the key people I think of when I think of critical work on the intersections of libraries, technology, higher education, and social justice. These are their names—a mix of students, librarians, scholars, and technologists. Again, this is not a comprehensive list of the people whose work inspires me, but they are my top 7 right now on these topics. 30 00 I want to acknowledge from the outset that this article has been heavily influenced by a number of people who have shared their work and their thoughts with me over the years. I’ve been privi-leged to learn from them, in some cases formally through their publications and in some cases through conversations on twit-ter or even in person. These aren’t the only folks whose work and thinking have influenced me, but they are the key people I think of when I think of critical work on the intersections of libraries, technology, higher education, and social justice. These are their names—a mix of students, librarians, scholars, and technologists. Again, this is not a comprehensive list of the people whose work inspires me, but they are my top 7 right now on these topics. 20 00 Open Access Bourg, Chris 28 03 06 10.21983/P3.0230.1.28 473 477 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After the Digital Humanities, or, a Postscript 1 A01 Fiona Barnett Fiona Barnett 40 00py81415 Duke University 01 eng 03 00 At an MLA 2015 panel, #QueerOS: Queerness as Operating Sys-tem, my fellow panelist Jacob Gaboury gave an amazing paper on “Compiling a Queer Computation.”1 He examined the pos-sibility and purpose of a queer computation, and how it might be compiled—or how it might be uncomputable in some fun-damental sense. As some of the examples, he offered a number of esolangs, or esoteric programming languages, including one of the most infamous, Brainfuck. Esolangs vary in purpose, but they all tend to work in that they can be used to write a program that actually compiles and runs, though usually for non-pro-ductive or humorous reasons. 30 00 At an MLA 2015 panel, #QueerOS: Queerness as Operating Sys-tem, my fellow panelist Jacob Gaboury gave an amazing paper on “Compiling a Queer Computation.”1 He examined the pos-sibility and purpose of a queer computation, and how it might be compiled—or how it might be uncomputable in some fun-damental sense. As some of the examples, he offered a number of esolangs, or esoteric programming languages, including one of the most infamous, Brainfuck. Esolangs vary in purpose, but they all tend to work in that they can be used to write a program that actually compiles and runs, though usually for non-pro-ductive or humorous reasons. 20 00 Open Access Barnett, Fiona 29 03 06 10.21983/P3.0230.1.29 479 497 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to #DecolonizeDH Actionable Steps for an Antifascist DH 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 01 eng 03 00 A number of groups have written manifestos to the digital hu-manities especially in relation to DH’s issues with openness, race, disability, LGBTQ, feminist, and other kinds of non-normative bodies in the field.1 There have been critical discussions in #transformdh, HASTAC, femtechnet and groups have been writ-ing such manifestos and working to change DH. What I want to do here, then, is outline a set of practical steps to #decolonizedh, to make it less white, to begin working on an antifascist DH. #DisruptDH 30 00 A number of groups have written manifestos to the digital hu-manities especially in relation to DH’s issues with openness, race, disability, LGBTQ, feminist, and other kinds of non-normative bodies in the field.1 There have been critical discussions in #transformdh, HASTAC, femtechnet and groups have been writ-ing such manifestos and working to change DH. What I want to do here, then, is outline a set of practical steps to #decolonizedh, to make it less white, to begin working on an antifascist DH. #DisruptDH 20 00 Open Access Kim, Dorothy 30 03 06 10.21983/P3.0230.1.30 499 509 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 B01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 01 eng 20 00 Open Access Kim, Dorothy Stommel, Jesse 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/disrupting-the-digital-humanities/ Earth, Milky Way 04 01 20181106 Kim, Dorothy Stommel, Jesse 02 WORLD 06 15 9781947447721 03 9781947447721 34 06 10.1080/1361332052000341015 34 06 10.1111/j.0737-6782.2004.00076.x 34 06 10.1098/rstl.1832.0006 34 06 10.1215/10407391-2420015 34 06 10.1098/rstb.2008.0216 34 06 10.3109/09638288.2011.624250 34 06 10.1177/0956797614524581 34 06 10.1353/bio.2004.0030 34 06 10.5323/fire.1.2.0064 34 06 10.1215/08992363-2007-019 34 06 10.1007/BF02435631 34 06 10.1080/13642520500149061 34 06 10.1215/10407391-2420015 34 06 10.1177/1466138113502513.215 34 06 10.1080/13645579.2012.756095 34 06 10.1353/hcr.2007.0044 34 06 10.1177/1077800411409871 34 06 10.1017/S0143814X00003846 34 06 10.1525/irqr.2011.4.4.417 34 06 10.1093/llc/fqt046 34 06 10.17763/haer.59.3.058342114k266250 34 06 10.1016/0277-5395(83)90019-5 34 06 10.1080/02601370.2014.985752 34 06 10.1080/17439884.2015.1015547 34 06 10.3102/0013189X035008019 34 06 10.1080/08935698908657868 34 06 10.1080/07350199309389024 34 06 10.16995/dscn.136/ 34 06 10.16995/dscn.159 34 06 10.16995/dscn.97/ 34 06 10.1353/pla.2014.0017 34 06 10.1215/10407391-2420015 34 06 10.1353/aq.2014.0070 34 06 10.1207/s15430421tip4203_5 34 06 10.3390/socsci6020045 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447718 20 08 20181106 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/disrupting-the-digital-humanities 20 08 20181106 02 29.00 USD WORLD urn:uuid:c4bc7580-8580-434c-a4f2-5e53326c6bb4 03 01 01 thoth-work-id urn:uuid:6c30545e-539b-419a-8b96-5f6c475bab9e 01 thoth-publication-id urn:uuid:c4bc7580-8580-434c-a4f2-5e53326c6bb4 15 9781947447721 03 9781947447721 06 10.21983/P3.0230.1.00 01 internal-reference 0230 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Disrupting the Digital Humanities 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 B01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 40 04w7skc03 University of Denver 01 eng 00 514 03 10 COM079010 B2 Cultural Studies+Critical Theory 93 UBJ 10 COM079000 B2 Humanities+University 93 NHTQ B2 Media+Technology 93 UXA 20 digital humanities; decolonization; social justice; technology; computing; universal design 01 06 02 00 03 00 All too often, defining a discipline becomes more an exercise of exclusion than inclusion. Disrupting the Digital Humanities seeks to rethink how we map disciplinary terrain by directly confronting the gatekeeping impulse of many other so-called field-defining collections. What is most beautiful about the work of the Digital Humanities is exactly the fact that it can’t be tidily anthologized. In fact, the desire to neatly define the Digital Humanities (to filter the DH-y from the DH) is a way of excluding the radically diverse work that actually constitutes the field. This collection, then, works to push and prod at the edges of the Digital Humanities — to open the Digital Humanities rather than close it down. Ultimately, it’s exactly the fringes, the outliers, that make the Digital Humanities both heterogeneous and rigorous.This collection does not constitute yet another reservoir for the new Digital Humanities canon. Rather, its aim is less about assembling content as it is about creating new conversations. Building a truly communal space for the digital humanities requires that we all approach that space with a commitment to: 1) creating open and non-hierarchical dialogues; 2) championing non-traditional work that might not otherwise be recognized through conventional scholarly channels; 3) amplifying marginalized voices; 4) advocating for students and learners; and 5) sharing generously and openly to support the work of our peers. 30 00 All too often, defining a discipline becomes more an exercise of exclusion than inclusion. Disrupting the Digital Humanities seeks to rethink how we map disciplinary terrain by directly confronting the gatekeeping impulse of many other so-called field-defining collections. What is most beautiful about the work of the Digital Humanities is exactly the fact that it can’t be tidily anthologized. In fact, the desire to neatly define the Digital Humanities (to filter the DH-y from the DH) is a way of excluding the radically diverse work that actually constitutes the field. This collection, then, works to push and prod at the edges of the Digital Humanities — to open the Digital Humanities rather than close it down. Ultimately, it’s exactly the fringes, the outliers, that make the Digital Humanities both heterogeneous and rigorous.This collection does not constitute yet another reservoir for the new Digital Humanities canon. Rather, its aim is less about assembling content as it is about creating new conversations. Building a truly communal space for the digital humanities requires that we all approach that space with a commitment to: 1) creating open and non-hierarchical dialogues; 2) championing non-traditional work that might not otherwise be recognized through conventional scholarly channels; 3) amplifying marginalized voices; 4) advocating for students and learners; and 5) sharing generously and openly to support the work of our peers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0230.1.00_frontcover.png 1 03 06 10.21983/P3.0230.1.01 i xviii 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 B01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 01 eng 20 00 Open Access Kim, Dorothy Stommel, Jesse 2 03 06 10.21983/P3.0230.1.02 19 37 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disrupting the Digital Humanities An Introduction 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 A01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 40 04w7skc03 University of Denver 01 eng 03 00 Much of this introduction was written before the world went to shit. The chapters here, no matter how recently written, can’t keep at bay a world being actively undone. We find ourselves wonder-ing why and how this work even matters. What has the digital humanities community done collectively for #BlackLivesMatter? What place is there for pedagogy in a world where education has been so systematically devalued, where students worry that even their classroom isn’t safe from an ICE raid? How do we rally when so many are complicit? Scholarship can only vaguely hope to keep up. And so these are not really the questions of this vol-ume. But they should be. As a field like digital humanities squab-bles, the world around it is laid to waste. Academic turf wars have no place in a world of mass-shootings, fear-mongering, xenophobia, and white supremacy. Demanding fellow scholars do a literature review before speaking their mind has no place in a world of AR-15 assault rifles and weaponized algorithms. When something as basic as going to the bathroom lacks dignity for so many, we have no use for double-blind peer review. 30 00 Much of this introduction was written before the world went to shit. The chapters here, no matter how recently written, can’t keep at bay a world being actively undone. We find ourselves wonder-ing why and how this work even matters. What has the digital humanities community done collectively for #BlackLivesMatter? What place is there for pedagogy in a world where education has been so systematically devalued, where students worry that even their classroom isn’t safe from an ICE raid? How do we rally when so many are complicit? Scholarship can only vaguely hope to keep up. And so these are not really the questions of this vol-ume. But they should be. As a field like digital humanities squab-bles, the world around it is laid to waste. Academic turf wars have no place in a world of mass-shootings, fear-mongering, xenophobia, and white supremacy. Demanding fellow scholars do a literature review before speaking their mind has no place in a world of AR-15 assault rifles and weaponized algorithms. When something as basic as going to the bathroom lacks dignity for so many, we have no use for double-blind peer review. 20 00 Open Access Kim, Dorothy Stommel, Jesse 3 03 06 10.21983/P3.0230.1.03 39 48 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Letter to the Humanities DH Will Not Save You" 1 A01 Adeline Koh Adeline Koh 40 0442n1j98 Stockton University 01 eng 03 00 I am often asked about the digital humanities and how it can up-date, make relevant, and provide funding for many a beleaguered humanities department. Some faculty at underfunded institu-tions imagine DH is going to revitalize their discipline—it’s go-ing to magically interest undergraduates, give faculty research funding, and exponentially increase enrollment.Well, the reality is this: what has until recently been com-monly understood as real “Digital Humanities” is already be-lated and is not going to save humanities departments from ever bigger budget cuts and potential dissolution. 30 00 I am often asked about the digital humanities and how it can up-date, make relevant, and provide funding for many a beleaguered humanities department. Some faculty at underfunded institu-tions imagine DH is going to revitalize their discipline—it’s go-ing to magically interest undergraduates, give faculty research funding, and exponentially increase enrollment.Well, the reality is this: what has until recently been com-monly understood as real “Digital Humanities” is already be-lated and is not going to save humanities departments from ever bigger budget cuts and potential dissolution. 20 00 Open Access Koh, Adeline 4 03 06 10.21983/P3.0230.1.04 49 60 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Myth and the Millennialism of "Disruptive Innovation" 1 A01 Audrey Watters Audrey Watters 01 eng 03 00 Folklorists often balk at the common usage of the word “myth” to mean “lie.” A myth, by their disciplinary definition, is quite the opposite. A myth is a culture’s sacred story. It involves su-pernatural or supreme beings — gods. It explains origins and destinies. A myth is the Truth. So when I say that “disruptive innovation” is one of the great myths of the contemporary business world, particularly of the tech industry, I don’t mean by “myth” that Clayton Christensen’s explanation of changes to markets and business models and technologies is a falsehood. (I have an MA in Folklore, not an MBA — so that’s part of it, for sure.) Rather, my assigning “myth” to “disruptive innovation” is meant to highlight the ways in which this narrative has been widely accepted as unassailably true. No doubt (as a Harvard professor) Christensen has faced very little skepticism or criticism about his theory concerning the transformation of industries — why, it’s as if The Innovator’s Dilemma were some sort of sacred text. 30 00 Folklorists often balk at the common usage of the word “myth” to mean “lie.” A myth, by their disciplinary definition, is quite the opposite. A myth is a culture’s sacred story. It involves su-pernatural or supreme beings — gods. It explains origins and destinies. A myth is the Truth. So when I say that “disruptive innovation” is one of the great myths of the contemporary business world, particularly of the tech industry, I don’t mean by “myth” that Clayton Christensen’s explanation of changes to markets and business models and technologies is a falsehood. (I have an MA in Folklore, not an MBA — so that’s part of it, for sure.) Rather, my assigning “myth” to “disruptive innovation” is meant to highlight the ways in which this narrative has been widely accepted as unassailably true. No doubt (as a Harvard professor) Christensen has faced very little skepticism or criticism about his theory concerning the transformation of industries — why, it’s as if The Innovator’s Dilemma were some sort of sacred text. 20 00 Open Access Watters, Audrey 5 03 06 10.21983/P3.0230.1.05 61 77 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rhetoric of Disruption What are We Doing Here? 1 A01 Meg Worley Meg Worley 40 05d23ve83 Colgate University 01 eng 03 00 I started out hating the title of this volume. Disruption has a spe-cial place in the mythology of my native land of Silicon Valley: Every startup promises disruptive technologies that will change the industry forever, and “Don’t think outside the box—blow up all the boxes!” is written in invisible ink on the business card of every VC on Sand Hill Road. “Why do we want to disrupt the digital humanities?” I muttered to myself. Why would we want to borrow the rhetoric and methodology of Kleiner Perkins (which was known as a hegemonic boys club long before Ellen Pao sued them)? Is the Harvard MBA Program really the place to turn for new models of innovation in humanistic inquiry? Can’t we effect change—deep, meaningful change—without adopt-ing the language of one of the most inequitable neighborhoods of late-stage capitalism? But in the course of trying to find a place for my thoughts about community, conversation, and the digital humanities under an umbrella that is labeled disrupt, I have found my way to a new understanding of what we are doing here. What follows is an anatomy, a taxonomy, even a ge-nealogy of the term “disrupt” and a discussion of the questions that precipitate out of each usage of the word. The emphasis on questions rather than answers is intentional and, I think, important, for if we are to diversify the digital humanities, there must be room for multiple solutions to every problem. 30 00 I started out hating the title of this volume. Disruption has a spe-cial place in the mythology of my native land of Silicon Valley: Every startup promises disruptive technologies that will change the industry forever, and “Don’t think outside the box—blow up all the boxes!” is written in invisible ink on the business card of every VC on Sand Hill Road. “Why do we want to disrupt the digital humanities?” I muttered to myself. Why would we want to borrow the rhetoric and methodology of Kleiner Perkins (which was known as a hegemonic boys club long before Ellen Pao sued them)? Is the Harvard MBA Program really the place to turn for new models of innovation in humanistic inquiry? Can’t we effect change—deep, meaningful change—without adopt-ing the language of one of the most inequitable neighborhoods of late-stage capitalism? But in the course of trying to find a place for my thoughts about community, conversation, and the digital humanities under an umbrella that is labeled disrupt, I have found my way to a new understanding of what we are doing here. What follows is an anatomy, a taxonomy, even a ge-nealogy of the term “disrupt” and a discussion of the questions that precipitate out of each usage of the word. The emphasis on questions rather than answers is intentional and, I think, important, for if we are to diversify the digital humanities, there must be room for multiple solutions to every problem. 20 00 Open Access Worley, Meg 6 03 06 10.21983/P3.0230.1.06 79 90 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Public Digital Humanities 1 A01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 40 04w7skc03 University of Denver 01 eng 03 00 I am going back and re-reading a handful of articles from the 1970s published in the journal “Computers and the Humanities.”1I am struck by how innovative and imaginative so many of these articles are. I am also struck and saddened by how little the field has progressed. R.L. Widmann, one of my dearest mentors, wrote (five years before I was born), “the increasing numbers of works which do use computers with intelligence and perceptive-ness demonstrate the versatility to which the scholar’s imagina-tion can be put. It was a very good year.”2 The year was 1971. The pieces I’m reading outline the 6 or 7 or 8 new (and revolu-tionary) approaches being used for thinking about the intersec-tions between computers and the humanities. These pieces also map something very close to the current philosophical terrain of digital humanities pedagogy. They do so with an intense cu-riosity about what else might be possible. In R.L.’s work, there is no entrenchment. There is no unwillingness to account for edge cases. The limits of what counts and doesn’t count are described repeatedly as “arbitrary.” I’m certain the field wasn’t entirely rosy in 1971, but I have an incredible amount of hope reading these now and thinking about what we might be able to discover in the next 45 years. 30 00 I am going back and re-reading a handful of articles from the 1970s published in the journal “Computers and the Humanities.”1I am struck by how innovative and imaginative so many of these articles are. I am also struck and saddened by how little the field has progressed. R.L. Widmann, one of my dearest mentors, wrote (five years before I was born), “the increasing numbers of works which do use computers with intelligence and perceptive-ness demonstrate the versatility to which the scholar’s imagina-tion can be put. It was a very good year.”2 The year was 1971. The pieces I’m reading outline the 6 or 7 or 8 new (and revolu-tionary) approaches being used for thinking about the intersec-tions between computers and the humanities. These pieces also map something very close to the current philosophical terrain of digital humanities pedagogy. They do so with an intense cu-riosity about what else might be possible. In R.L.’s work, there is no entrenchment. There is no unwillingness to account for edge cases. The limits of what counts and doesn’t count are described repeatedly as “arbitrary.” I’m certain the field wasn’t entirely rosy in 1971, but I have an incredible amount of hope reading these now and thinking about what we might be able to discover in the next 45 years. 20 00 Open Access Stommel, Jesse 7 03 06 10.21983/P3.0230.1.07 91 115 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Universal Design and Its Discontents 1 A01 21 0000000216112440 Jonathan Hsy Jonathan Hsy 40 00y4zzh67 George Washington University 2 A01 Rick Godden Rick Godden 40 05ect4e57 Louisiana State University 01 eng 03 00 This collaborative essay offers two perspectives on disability and universalism in the fields of Digital Humanities (DH) and Universal Design (UD). One of the authors, Richard H. Godden, considers how a particular experience of disability shapes his use of media and also informs his reactions to proscriptive state-ments about the use of technology; the other author, Jonathan Hsy, writes as a nondisabled ally who considers some of the dis-cursive and practical complications that arise in efforts to make the web more accessible to people with disabilities. While we each come from different perspectives, both of us seek to inter-rogate what it exactly means for a community to establish a set of “best practices” for the use of technology, and we both reveal how even the most well-intentioned universalist discourses can risk effacing crucial particularities of embodied experience. 30 00 This collaborative essay offers two perspectives on disability and universalism in the fields of Digital Humanities (DH) and Universal Design (UD). One of the authors, Richard H. Godden, considers how a particular experience of disability shapes his use of media and also informs his reactions to proscriptive state-ments about the use of technology; the other author, Jonathan Hsy, writes as a nondisabled ally who considers some of the dis-cursive and practical complications that arise in efforts to make the web more accessible to people with disabilities. While we each come from different perspectives, both of us seek to inter-rogate what it exactly means for a community to establish a set of “best practices” for the use of technology, and we both reveal how even the most well-intentioned universalist discourses can risk effacing crucial particularities of embodied experience. 20 00 Open Access Hsy, Jonathan Godden, Rick 8 03 06 10.21983/P3.0230.1.08 117 142 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 DH as "Disruptive Innovation" for Restorative Social Justice Virtual Heritage and 3D Reconstructions of South Africa's Township Histories 1 A01 Angel Nieves Angel Nieves 40 05709zb94 Hamilton College 01 eng 03 00 Much of this essay constitutes an initial effort to frame an open access digital-first publication tentatively entitled, Apartheid Heritage(s): A Spatial History of South Africa’s Black Townships with Stanford University Press as its designated publisher. The project involves the development of a multi-modal 3D qualita-tive geospatial archive and platform for research into the apart-heid-era “South Western Townships,” better known as Soweto, outside Johannesburg, South Africa.Some background is needed to better situate this research. In 2011, the United Nations issued a report that declared inter-net access a human right.1 (Interestingly, on that same day two-thirds of Syria’s internet access had gone dark — something that was likely the work of the Assad regime in response to unrest in that country.) In 2013, a group of scholars from across the United States approached the Alliance of Digital Humanities Organizations (ADHO) with a proposal for a new special interest group (or SIG) with a focus on social justice and human rights. As one step forward, the group developed an “advisory docu-ment for building collaborative projects, conducting events, gathering sensitive data, and composing scholarly communica-tions with social justice issues and human rights in mind.”2 As part of the initial group of scholars who worked to develop this special interest group, I was much more invested in the poten-tial praxis-based strategies we might develop — perhaps a list of ethical guidelines or even a kind of social justice toolkit — for engaging in community-centered digital humanities projects. Some of what I will be discussing in this essay is in itself filled with some controversy and is worthy of further debate with regard to issues of ethics, “reality,” and truth as applied to his-torical reconstructions — specifically computer-generated visu-alizations of historic landscapes and buildings within contested areas in certain fields — as issues of power and representation cannot be overlooked. 30 00 Much of this essay constitutes an initial effort to frame an open access digital-first publication tentatively entitled, Apartheid Heritage(s): A Spatial History of South Africa’s Black Townships with Stanford University Press as its designated publisher. The project involves the development of a multi-modal 3D qualita-tive geospatial archive and platform for research into the apart-heid-era “South Western Townships,” better known as Soweto, outside Johannesburg, South Africa.Some background is needed to better situate this research. In 2011, the United Nations issued a report that declared inter-net access a human right.1 (Interestingly, on that same day two-thirds of Syria’s internet access had gone dark — something that was likely the work of the Assad regime in response to unrest in that country.) In 2013, a group of scholars from across the United States approached the Alliance of Digital Humanities Organizations (ADHO) with a proposal for a new special interest group (or SIG) with a focus on social justice and human rights. As one step forward, the group developed an “advisory docu-ment for building collaborative projects, conducting events, gathering sensitive data, and composing scholarly communica-tions with social justice issues and human rights in mind.”2 As part of the initial group of scholars who worked to develop this special interest group, I was much more invested in the poten-tial praxis-based strategies we might develop — perhaps a list of ethical guidelines or even a kind of social justice toolkit — for engaging in community-centered digital humanities projects. Some of what I will be discussing in this essay is in itself filled with some controversy and is worthy of further debate with regard to issues of ethics, “reality,” and truth as applied to his-torical reconstructions — specifically computer-generated visu-alizations of historic landscapes and buildings within contested areas in certain fields — as issues of power and representation cannot be overlooked. 20 00 Open Access Nieves, Angel 9 03 06 10.21983/P3.0230.1.09 143 154 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lowriding through the Digital Humanities 1 A01 Annemarie Perez Annemarie Perez 40 04pyvbw03 California State University, Dominguez Hills 01 eng 03 00 Lowriders are customized automobiles with a specific aesthetic that first appeared in the United States southwest in the mid-to-late 1940s, a product of a southwestern Mexican American culture.2 Lowriders are also the individuals who make these modi-fications. In contrast to the jacked up “hot rods” raced by Anglos of the period, lowriders are cars modified to be low to the road. The point isn’t to speed, but to cruise as low and slow as possible, disrupting traffic. In this way, the lowriders resisted the period’s white youth culture and made their creators visible to each oth-er’s gaze. Lowriding also functions as social practice, claiming and constructing specific spaces in streets and parks where low-riders can, as Ben Chappell writes, “cruise, display their rides, and socialize.”3 In digital humanities, a discipline that publishes quickly, this essay has been written slowly and with much modi-fication since its frame began in 2011 in the comments of a series of #TransformDH blog posts. 30 00 Lowriders are customized automobiles with a specific aesthetic that first appeared in the United States southwest in the mid-to-late 1940s, a product of a southwestern Mexican American culture.2 Lowriders are also the individuals who make these modi-fications. In contrast to the jacked up “hot rods” raced by Anglos of the period, lowriders are cars modified to be low to the road. The point isn’t to speed, but to cruise as low and slow as possible, disrupting traffic. In this way, the lowriders resisted the period’s white youth culture and made their creators visible to each oth-er’s gaze. Lowriding also functions as social practice, claiming and constructing specific spaces in streets and parks where low-riders can, as Ben Chappell writes, “cruise, display their rides, and socialize.”3 In digital humanities, a discipline that publishes quickly, this essay has been written slowly and with much modi-fication since its frame began in 2011 in the comments of a series of #TransformDH blog posts. 20 00 Open Access Perez, Annemarie 10 03 06 10.21983/P3.0230.1.10 155 160 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gold Star for You 1 A01 Mongrel Coalition Against Gringpo Mongrel Coalition Against Gringpo 01 eng 03 00 GOLD STAR FOR NOTICING GENTRIFICATION—YA KNOW THIS VIOLENT RACIST TRADITION OF SEGREGATION THAT’S BEEN THE BUILDING BLOCK OF AMERICA—GOLD STAR FOR FINALLY NO-TICING THIS AS A POTENTIAL REALITY GOLD STAR FOR THE MOST PUBLIC WHITE TEARS AND GOLD STAR FOR DEFENDING KG AND VP DUE TO INDIFFERENCE TO POC BODIES AND SELFISH CAREERIST CONCERNS GOLD STAR FOR BEING WHITE AND REMEMBERING YOUR MIGRA-TION NARRATIVE. MINUS GOLD STAR FOR EQUATING THIS MEM-ORY AS EXCLUDING THE PRIVILEGES OF POSSESSIVE WHITENESSGOLD STAR FOR READING ONE BOOK BY A BLACK POET AND POSTING ABOUT IT ONE TIME ON FACEBOOK GOLD STAR 30 00 GOLD STAR FOR NOTICING GENTRIFICATION—YA KNOW THIS VIOLENT RACIST TRADITION OF SEGREGATION THAT’S BEEN THE BUILDING BLOCK OF AMERICA—GOLD STAR FOR FINALLY NO-TICING THIS AS A POTENTIAL REALITY GOLD STAR FOR THE MOST PUBLIC WHITE TEARS AND GOLD STAR FOR DEFENDING KG AND VP DUE TO INDIFFERENCE TO POC BODIES AND SELFISH CAREERIST CONCERNS GOLD STAR FOR BEING WHITE AND REMEMBERING YOUR MIGRA-TION NARRATIVE. MINUS GOLD STAR FOR EQUATING THIS MEM-ORY AS EXCLUDING THE PRIVILEGES OF POSSESSIVE WHITENESSGOLD STAR FOR READING ONE BOOK BY A BLACK POET AND POSTING ABOUT IT ONE TIME ON FACEBOOK GOLD STAR 20 00 Open Access Mongrel Coalition Against Gringpo 11 03 06 10.21983/P3.0230.1.11 161 168 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mongrel Dream Library 1 A01 Mongrel Coalition Against Gringpo Mongrel Coalition Against Gringpo 01 eng 03 00 mongrel cliff notes: literally shoving you off a cliff: the notes MONGREL CLIFF NOTES LITERALLY SHOVING YOU OFF A CLIFF: THE NOTES:Some of these books have been published under different titles, but we understand it’s hard to read anything conjured by the misshapen brains of POC. This is why we’ve decided to celebrate a longstanding Western literary tradition by starting a series of books with accessible titles that are reformulations of great “unknown” critical works, thereby making them more digestible and white-friendly. 30 00 mongrel cliff notes: literally shoving you off a cliff: the notes MONGREL CLIFF NOTES LITERALLY SHOVING YOU OFF A CLIFF: THE NOTES:Some of these books have been published under different titles, but we understand it’s hard to read anything conjured by the misshapen brains of POC. This is why we’ve decided to celebrate a longstanding Western literary tradition by starting a series of books with accessible titles that are reformulations of great “unknown” critical works, thereby making them more digestible and white-friendly. 20 00 Open Access Mongrel Coalition Against Gringpo 12 03 06 10.21983/P3.0230.1.12 169 195 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exceptionalism in Digital Humanities Community, Collaboration, and Consensus 1 A01 Michelle Moravec Michelle Moravec 40 01v75b264 Rosemont College 01 eng 03 00 In 2013 Diane Jakacki wondered “Is There Such a Thing as Digi-tal Exceptionalism” and concluded that digital humanists have “spent so long being on the outside, marginalized, trying to con-vince anyone who would listen that what we do matter and that it is meaningful scholarship; now people are paying attention. [...] We can’t quite shake that need to justify, to foreground, to compare, to privilege.”1 Digital exceptionalism is suffused with techno-optimism around what the digital can do and with the belief that the digital represents a marked, and presumably bet-ter, break with all that came before. Paul Fyfe has described the “hack versus yack” debate as digital humanities’ particular vari-ant on this theme. 30 00 In 2013 Diane Jakacki wondered “Is There Such a Thing as Digi-tal Exceptionalism” and concluded that digital humanists have “spent so long being on the outside, marginalized, trying to con-vince anyone who would listen that what we do matter and that it is meaningful scholarship; now people are paying attention. [...] We can’t quite shake that need to justify, to foreground, to compare, to privilege.”1 Digital exceptionalism is suffused with techno-optimism around what the digital can do and with the belief that the digital represents a marked, and presumably bet-ter, break with all that came before. Paul Fyfe has described the “hack versus yack” debate as digital humanities’ particular vari-ant on this theme. 20 00 Open Access Moravec, Michelle 13 03 06 10.21983/P3.0230.1.13 197 216 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Problem with ProfHacker 1 A01 Matt Thomas Matt Thomas 40 036jqmy94 University of Iowa 01 eng 03 00 To the extent that they think about it at all, when most people hear the word “hacker,” they still probably picture someone who uses a computer to gain unauthorized access to information. In most people’s minds, hackers, even now, are criminals, and “hacks” such as headline-grabbing data breaches are a regret-table feature of twenty-first century life that one must deal with, not something the average person does. But since at least the mid 2000s, the term “hacking” has increasingly been applied to more and more activities outwardly having nothing to do with computers, and “hacking” has come to mean using ingenuity to improve things. People now routinely talk about hacking their work, their hobbies, their possessions, their bodies, and so on. These people have taken a practice traditionally associated with computers—i.e., “hacking”—and broadened it to encompass literally anything under the sun. Indeed, people now speak of hacking everything from IKEA furniture to democracy like it’s the most normal thing in the world.2 Business and lifestyle pub-lications have rechristened advice from investment how-tos to beauty tips as hacks. I’m not the only one to notice this meta-phor creep. People joke about it on social media all the time. Next up, I predict, will be “hacking fatigue.” 30 00 To the extent that they think about it at all, when most people hear the word “hacker,” they still probably picture someone who uses a computer to gain unauthorized access to information. In most people’s minds, hackers, even now, are criminals, and “hacks” such as headline-grabbing data breaches are a regret-table feature of twenty-first century life that one must deal with, not something the average person does. But since at least the mid 2000s, the term “hacking” has increasingly been applied to more and more activities outwardly having nothing to do with computers, and “hacking” has come to mean using ingenuity to improve things. People now routinely talk about hacking their work, their hobbies, their possessions, their bodies, and so on. These people have taken a practice traditionally associated with computers—i.e., “hacking”—and broadened it to encompass literally anything under the sun. Indeed, people now speak of hacking everything from IKEA furniture to democracy like it’s the most normal thing in the world.2 Business and lifestyle pub-lications have rechristened advice from investment how-tos to beauty tips as hacks. I’m not the only one to notice this meta-phor creep. People joke about it on social media all the time. Next up, I predict, will be “hacking fatigue.” 20 00 Open Access Thomas, Matt 14 03 06 10.21983/P3.0230.1.14 217 226 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Digital Humanities and the Erosion of Inquiry 1 A01 Sean Michael Morris Sean Michael Morris 40 03b48gv34 University of Mary Washington 01 eng 03 00 There’s something die-hard about academics. When you think about it, there’s nothing more unlikely than leading a life de-voted to knowledge, to discovery and inquiry, to curiosity. It’s not practical. Not many parents want their kids to grow up to be scholars. We’d rather our kids have security, stability—an edu-cation, yes, and a job and a house and a family, yes. But few of us say “I want you to spend the rest of your life in a library carrel, carrying on conversations arcane to other people.” Academics hoe a row that may or may not yield a crop. It’s risky, doing this work. And yet there’s nothing else we’d like to be doing.There’s a lot of talk about the liberal arts and the humanities being in peril, or that scholarship itself is in profound crisis. To this, I have said that “If higher education is ailing, it is only be-cause its many doctors have not applied themselves to its resus-citation.” There is no better solution to the problems scholarship faces than its professors, adjuncts, and students. People are the solution to whatever ails the profession. Each of us has agency we can apply — not only to create our own success, but to ensure the success of those who come after us. 30 00 There’s something die-hard about academics. When you think about it, there’s nothing more unlikely than leading a life de-voted to knowledge, to discovery and inquiry, to curiosity. It’s not practical. Not many parents want their kids to grow up to be scholars. We’d rather our kids have security, stability—an edu-cation, yes, and a job and a house and a family, yes. But few of us say “I want you to spend the rest of your life in a library carrel, carrying on conversations arcane to other people.” Academics hoe a row that may or may not yield a crop. It’s risky, doing this work. And yet there’s nothing else we’d like to be doing.There’s a lot of talk about the liberal arts and the humanities being in peril, or that scholarship itself is in profound crisis. To this, I have said that “If higher education is ailing, it is only be-cause its many doctors have not applied themselves to its resus-citation.” There is no better solution to the problems scholarship faces than its professors, adjuncts, and students. People are the solution to whatever ails the profession. Each of us has agency we can apply — not only to create our own success, but to ensure the success of those who come after us. 20 00 Open Access Morris, Sean Michael 15 03 06 10.21983/P3.0230.1.15 227 248 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 #transform(ing)DH Writing and Research An Autoethonography of Digital Humanities and Feminist Ethics 1 A01 21 0000000290186261 Moya Bailey Moya Bailey 40 000e0be47 Northwestern University 01 eng 03 00 As I began to work on my book, Transforming Misogynoir: Black Women’s Digital Resistance in US Culture, I prioritized transpar-ency. I used my own blog and the Digital Humanities blog at Northeastern University to provide readers with insights into the academic publishing process and my efforts to shape this process into a more just experience for my research collabora-tors.1 My research highlights the networks contemporary Black trans women create through the production of digital media and in this article I make the emotional and uncompensated labor of this community visible. I provide an added level of insight into my research process as a way to mirror the access I was granted by these collaborators. I use Digital Humanist Mark Sample’s concept of collaborative connections to demonstrate my own ef-forts to enact a transformative feminist process of writing and researching in the Digital Humanities (DH) while highlighting he ways in which the communities I follow are doing the same in their spheres of influence. 30 00 As I began to work on my book, Transforming Misogynoir: Black Women’s Digital Resistance in US Culture, I prioritized transpar-ency. I used my own blog and the Digital Humanities blog at Northeastern University to provide readers with insights into the academic publishing process and my efforts to shape this process into a more just experience for my research collabora-tors.1 My research highlights the networks contemporary Black trans women create through the production of digital media and in this article I make the emotional and uncompensated labor of this community visible. I provide an added level of insight into my research process as a way to mirror the access I was granted by these collaborators. I use Digital Humanist Mark Sample’s concept of collaborative connections to demonstrate my own ef-forts to enact a transformative feminist process of writing and researching in the Digital Humanities (DH) while highlighting he ways in which the communities I follow are doing the same in their spheres of influence. 20 00 Open Access Bailey, Moya 16 03 06 10.21983/P3.0230.1.16 249 266 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 DH and Adjuncts Putting the Human Back into the Humanities 1 A01 Kathi Inman Berens Kathi Inman Berens 40 00yn2fy02 Portland State University 2 A01 Laura Sanders Laura Sanders 40 01e4pq504 Portland Community College 01 eng 03 00 For MLA 2015, I wrote a piece called “Want to Save the Humani-ties? Teach Adjuncts to Learn Digital Tools.”1At the time, I was an adjunct. Fall 2015 I started my first year as a tenure-track professor after teaching nine years as an NTT and four years as an adjunct. I am a mid-career scholar who is also legitimately “early career,” writing a proposal for my first book contract, preparing lectures for a slate of new course preps, looking for grants. I’m happy to be “junior,” even if the nomenclature of our profession is an atavism from when the field was more homogenous and marked rites of passage for mostly young white men from “assistant” to “associate.” Many of the “junior” faculty I know today are my age, and have walked what would have seemed a twisty path twenty years ago. In 1969, tenured or TT faculty comprised 80% of the professoriate. Today that ratio has flipped.2 But the field’s nomenclature is rooted in a time when, as a colleague once told me of his own childhood, an English professor could buy a house and raise four children on a single income. 30 00 For MLA 2015, I wrote a piece called “Want to Save the Humani-ties? Teach Adjuncts to Learn Digital Tools.”1At the time, I was an adjunct. Fall 2015 I started my first year as a tenure-track professor after teaching nine years as an NTT and four years as an adjunct. I am a mid-career scholar who is also legitimately “early career,” writing a proposal for my first book contract, preparing lectures for a slate of new course preps, looking for grants. I’m happy to be “junior,” even if the nomenclature of our profession is an atavism from when the field was more homogenous and marked rites of passage for mostly young white men from “assistant” to “associate.” Many of the “junior” faculty I know today are my age, and have walked what would have seemed a twisty path twenty years ago. In 1969, tenured or TT faculty comprised 80% of the professoriate. Today that ratio has flipped.2 But the field’s nomenclature is rooted in a time when, as a colleague once told me of his own childhood, an English professor could buy a house and raise four children on a single income. 20 00 Open Access Berens, Kathi Inman Sanders, Laura 17 03 06 10.21983/P3.0230.1.17 267 271 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Not Seen, Not Heard 1 A01 Liana Silva Ford Liana Silva Ford 01 eng 03 00 I am a brown Puerto Rican female, first-generation graduate with a PhD. Until recently, I worked within academia, and now I am an independent scholar and editor for an online publica-tion on sound studies. Despite my scholarly history, I hesitate to call myself a digital humanist. Twitter was my introduction to digital humanities, very much like Annemarie Pérez states in her contribution “Lowriding through the Digital Humanities.”1 I joined Twitter in 2009 out of curiosity but didn’t become an avid user until mid 2010, when I moved to Kansas City and started a new job while still having a dissertation to finish. I found an academic and professional community on Twitter that filled a void I had in my offline life. On Twitter I felt seen and heard in academic circles in a way I hadn’t before. By virtue of being a humanist and the academics I followed on Twitter, I quickly learned that there was a thing called “digi-tal humanities.” I had never heard the term in my college class-room or from my professors or college peers. I came across the short-hand DH and the hashtags #DH, #digitalhumanities and later #TransformDH. The medium, which lended itself to casual conversations as well as bite-sized insights, made me feel comfortable enough to follow along with these conversations and occasionally even chime in on the latest DH topic of the week. 30 00 I am a brown Puerto Rican female, first-generation graduate with a PhD. Until recently, I worked within academia, and now I am an independent scholar and editor for an online publica-tion on sound studies. Despite my scholarly history, I hesitate to call myself a digital humanist. Twitter was my introduction to digital humanities, very much like Annemarie Pérez states in her contribution “Lowriding through the Digital Humanities.”1 I joined Twitter in 2009 out of curiosity but didn’t become an avid user until mid 2010, when I moved to Kansas City and started a new job while still having a dissertation to finish. I found an academic and professional community on Twitter that filled a void I had in my offline life. On Twitter I felt seen and heard in academic circles in a way I hadn’t before. By virtue of being a humanist and the academics I followed on Twitter, I quickly learned that there was a thing called “digi-tal humanities.” I had never heard the term in my college class-room or from my professors or college peers. I came across the short-hand DH and the hashtags #DH, #digitalhumanities and later #TransformDH. The medium, which lended itself to casual conversations as well as bite-sized insights, made me feel comfortable enough to follow along with these conversations and occasionally even chime in on the latest DH topic of the week. 20 00 Open Access Ford, Liana Silva 18 03 06 10.21983/P3.0230.1.18 273 294 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disrupting Labor in Digital Humanities; or, The Classroom Is Not Your Crowd 1 A01 21 0000000309035587 Spencer D.C. Keralis Spencer D.C. Keralis 40 00v97ad02 University of North Texas 01 eng 03 00 Digital humanists have a labor problem, but it’s not what you might think. It’s not about humanities faculty getting credit in tenure and promotion for digital informatics work. It’s not about the adjunctification of teaching labor. It’s not about the devalua-tion of humanities PhDs, the contraction of the faculty job mar-ket, the rise of #alt-ac, nor the para-professionalization of aca-demic libraries. And while I care deeply about these problems, at least three of which affect me personally almost every day, what I am concerned with here is a type of labor that the collective preoccupation with these issues effaces: the use of student labor on digital humanities projects in and out of the classroom. 30 00 Digital humanists have a labor problem, but it’s not what you might think. It’s not about humanities faculty getting credit in tenure and promotion for digital informatics work. It’s not about the adjunctification of teaching labor. It’s not about the devalua-tion of humanities PhDs, the contraction of the faculty job mar-ket, the rise of #alt-ac, nor the para-professionalization of aca-demic libraries. And while I care deeply about these problems, at least three of which affect me personally almost every day, what I am concerned with here is a type of labor that the collective preoccupation with these issues effaces: the use of student labor on digital humanities projects in and out of the classroom. 20 00 Open Access Keralis, Spencer D.C. 19 03 06 10.21983/P3.0230.1.19 295 319 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Unbearable" Exclusion of the Digital 1 A01 21 0000000281427262 Maha Bali Maha Bali 40 0176yqn58 American University in Cairo 01 eng 03 00 Digital tools are largely Western products, dominated by Amer-ican and Western European interests; as such, they can some-what colonize the spaces and networks depending on them, including by making the “other” invisible or tokenized, if not silenced or oppressed.This chapter begins with some critiques about the illusions of inclusion in digital spaces, adapted from a two-part article that I wrote with Shyam Sharma for Hybrid Pedagogy using a postcolonial perspective, and then moves on to a more focused account of possibilities of creating more open and inclusive spaces and networks, subverting existing digital power struc-tures based on some open online work one or both of us have been involved in.1 Then I offer some practical directions while remaining critical of the potentials of colonizing treatments of non-Western participants in digital spaces. This work is an at-tempt to use my grasp of Western digital discourse, as partial insider, to metaphorically “subvert the master’s house using the master’s tools,” something Audre Lorde suggested was impossible (and may yet be).2 The intention is to highlight the impor-tance of creating more equitable opportunities for marginalized or excluded voices from the global peripheries and the margins of geopolitical centers themselves in digital spaces. I argue that this needs to be done by outsiders, insiders, and semi-insiders alike because it is just and beneficial to everyone to diversify communities and enrich learning and sharing for everyone in increasingly globalized digital spaces. 30 00 Digital tools are largely Western products, dominated by Amer-ican and Western European interests; as such, they can some-what colonize the spaces and networks depending on them, including by making the “other” invisible or tokenized, if not silenced or oppressed.This chapter begins with some critiques about the illusions of inclusion in digital spaces, adapted from a two-part article that I wrote with Shyam Sharma for Hybrid Pedagogy using a postcolonial perspective, and then moves on to a more focused account of possibilities of creating more open and inclusive spaces and networks, subverting existing digital power struc-tures based on some open online work one or both of us have been involved in.1 Then I offer some practical directions while remaining critical of the potentials of colonizing treatments of non-Western participants in digital spaces. This work is an at-tempt to use my grasp of Western digital discourse, as partial insider, to metaphorically “subvert the master’s house using the master’s tools,” something Audre Lorde suggested was impossible (and may yet be).2 The intention is to highlight the impor-tance of creating more equitable opportunities for marginalized or excluded voices from the global peripheries and the margins of geopolitical centers themselves in digital spaces. I argue that this needs to be done by outsiders, insiders, and semi-insiders alike because it is just and beneficial to everyone to diversify communities and enrich learning and sharing for everyone in increasingly globalized digital spaces. 20 00 Open Access Bali, Maha 20 03 06 10.21983/P3.0230.1.20 321 346 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Politics of Visibility 1 A01 Eunsong Kim Eunsong Kim 40 03efmqc40 Arizona State University 01 eng 03 00 Every time CNN points to “Trending” in order to discuss break-ing news, we should laugh. That is, laugh at: CNN, journalists, experts, the simulacra. Smirking at the notion that privatized, opaque institutions of selective coverage are working with other privatized, opaque institutions of selective timelines to define what’s public, what’s universal, what’s important. Intel-lectual, digital, and digitized labor is important, and too often dismissed.3 This interrogation of visibility coverage and trend-ing isn’t a critique of online activism and discourse. Rather, I want to examine the political pontification around “trending” and “tagging” — the politics of Twitter algorithms, the bird’s eye commentary of “surprise” and “dismay” at certain trends, and ultimately, alternative discourses. 30 00 Every time CNN points to “Trending” in order to discuss break-ing news, we should laugh. That is, laugh at: CNN, journalists, experts, the simulacra. Smirking at the notion that privatized, opaque institutions of selective coverage are working with other privatized, opaque institutions of selective timelines to define what’s public, what’s universal, what’s important. Intel-lectual, digital, and digitized labor is important, and too often dismissed.3 This interrogation of visibility coverage and trend-ing isn’t a critique of online activism and discourse. Rather, I want to examine the political pontification around “trending” and “tagging” — the politics of Twitter algorithms, the bird’s eye commentary of “surprise” and “dismay” at certain trends, and ultimately, alternative discourses. 20 00 Open Access Kim, Eunsong 21 03 06 10.21983/P3.0230.1.21 347 356 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Academic Influence The Sea of Change 1 A01 21 0000000195761037 Bonnie Steward Bonnie Steward 40 02xh9x144 University of Prince Edward Island 01 eng 03 00 Sometimes things shift when you’re not looking. One morning, I woke up and discovered I was in style. Or, at least, what I dowas in style: digital and networked scholarship had suddenly been discovered by higher ed media. For this fifteen minutes of fame, practically every Chronicle of Higher Education link on my Twitter feed was about some aspect of online identity or net-worked scholarship.1 The LSE blog and Inside Higher Ed, too.I peered about, waiting for the punch line. I am accustomed, when I get up in front of fellow educators and academics and say “I study scholarship and... Twitter,” to getting the reception of a failed stand-up comic. “Really? Twitter?” people communicate with their eyebrows. I am becoming a great student of arched eyebrows. 30 00 Sometimes things shift when you’re not looking. One morning, I woke up and discovered I was in style. Or, at least, what I dowas in style: digital and networked scholarship had suddenly been discovered by higher ed media. For this fifteen minutes of fame, practically every Chronicle of Higher Education link on my Twitter feed was about some aspect of online identity or net-worked scholarship.1 The LSE blog and Inside Higher Ed, too.I peered about, waiting for the punch line. I am accustomed, when I get up in front of fellow educators and academics and say “I study scholarship and... Twitter,” to getting the reception of a failed stand-up comic. “Really? Twitter?” people communicate with their eyebrows. I am becoming a great student of arched eyebrows. 20 00 Open Access Steward, Bonnie 22 03 06 10.21983/P3.0230.1.22 357 368 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Playing as Making 1 A01 Edmond Y. Chang Edmond Y. Chang 40 01jr3y717 Ohio University 01 eng 03 00 Johanna Drucker in “Humanistic Theory and Digital Scholar-ship” articulates as a key transformation (and bone of conten-tion) in the variegated and interdisciplinary terrains of the digi-tal humanities, saying, I am trying to call for a next phase of digital humanities [that] synthesize method and theory into ways of doing as thinking. [...] The challenge is to shift humanistic study from attention to the effects of technology [...] to a humanistically informed theory of the making of technology.1But what does it mean to do, to make? And what sorts of do-ing and making are privileged over others? In other words, what counts in this shift? 30 00 Johanna Drucker in “Humanistic Theory and Digital Scholar-ship” articulates as a key transformation (and bone of conten-tion) in the variegated and interdisciplinary terrains of the digi-tal humanities, saying, I am trying to call for a next phase of digital humanities [that] synthesize method and theory into ways of doing as thinking. [...] The challenge is to shift humanistic study from attention to the effects of technology [...] to a humanistically informed theory of the making of technology.1But what does it mean to do, to make? And what sorts of do-ing and making are privileged over others? In other words, what counts in this shift? 20 00 Open Access Chang, Edmond Y. 23 03 06 10.21983/P3.0230.1.23 369 376 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Humanizing the Interface 1 A01 Kat Lecky Kat Lecky 40 04b6x2g63 Loyola University Chicago 01 eng 03 00 Oppression is inherently spatial. Governments use biopolitical mechanisms such as urban zoning and prisons to keep undesir-able populations fixed in place; institutions use office location to distinguish permanent from contingent faculty; houses of wor-ship physically separate believers from infidels. These structures all classify exclusion as a topography dividing “us” from “them.” Resistance is also spatial: Rooms of one’s own and brave new worlds constitute alternate landscapes that restage the relation of the person to society. These oppositional spaces protect us from the onslaught of the myriad forms of social coding that define us as objects rather than selves.The Graphical User Interface (or GUI for short) is a high-stakes battlefield in this struggle between the oppressed and the powers-that-be. The general term for the proliferating technolo-gies that communicate with their human users through images rather than text, the GUI expands the concept of digital literacy to include those excluded from traditional forms of techno-logical aptitude. Smartphones and tablets depend upon rebuses (image-words) rather than lexicons to generate meaning. He-gemony and alterity converge on their topography, which of-fers people the same playing field regardless of literacy level. The GUI opens a space within which dwell ever-increasing numbers of individuals from diverse classes, educational backgrounds, races, nationalities, genders, and political, sexual, or religious orientations. It forges a common identity grounded in nothing other than its shared love of this user-friendly technology. This hybrid technology opens the same world up to the excluded and powerful alike. And this world is pocket-sized: virtually any-one can own it, carry it, use it. As a pedagogical device, the GUI erodes distinctions between those privy to elite education and those without access to basic learning. 30 00 Oppression is inherently spatial. Governments use biopolitical mechanisms such as urban zoning and prisons to keep undesir-able populations fixed in place; institutions use office location to distinguish permanent from contingent faculty; houses of wor-ship physically separate believers from infidels. These structures all classify exclusion as a topography dividing “us” from “them.” Resistance is also spatial: Rooms of one’s own and brave new worlds constitute alternate landscapes that restage the relation of the person to society. These oppositional spaces protect us from the onslaught of the myriad forms of social coding that define us as objects rather than selves.The Graphical User Interface (or GUI for short) is a high-stakes battlefield in this struggle between the oppressed and the powers-that-be. The general term for the proliferating technolo-gies that communicate with their human users through images rather than text, the GUI expands the concept of digital literacy to include those excluded from traditional forms of techno-logical aptitude. Smartphones and tablets depend upon rebuses (image-words) rather than lexicons to generate meaning. He-gemony and alterity converge on their topography, which of-fers people the same playing field regardless of literacy level. The GUI opens a space within which dwell ever-increasing numbers of individuals from diverse classes, educational backgrounds, races, nationalities, genders, and political, sexual, or religious orientations. It forges a common identity grounded in nothing other than its shared love of this user-friendly technology. This hybrid technology opens the same world up to the excluded and powerful alike. And this world is pocket-sized: virtually any-one can own it, carry it, use it. As a pedagogical device, the GUI erodes distinctions between those privy to elite education and those without access to basic learning. 20 00 Open Access Lecky, Kat 24 03 06 10.21983/P3.0230.1.24 377 399 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bend Until It Breaks Digital Humanities and Resistance 1 A01 Robin Wharton Robin Wharton 40 03qt6ba18 Georgia State University 01 eng 03 00 The capability inherent in digital humanities for resistance is part of what makes digital humanities “humanistic”—rather than, say, techno-utopian or neoliberal—it’s what connects the digi-tal humanities to the humanities. Alan Liu and Stephen Ramsay have both argued for the necessity of theorizing “resistance” and its place in the work of digital humanists. Ramsay gets to the heart of what “resistance” might look like in this context when, in an eloquent defense of the humanities in general, he describes the humanities as a discursive space in which we answer the pressing question, “How do we become individuals who move through the world with awareness, empathy, and thoughtfulness, and who know how to act upon those dispositions?”3 What if, “we can resist” were at least a partial answer to Ramsay’s ques-tion? If this is what resistance can do for us, for the project of being or becoming human, then I think we can see pretty clearly why it matters, why digital humanists should be investing time and resources in activities of resistance. As Liu observes, how-ever, “[h]ow the digital humanities advances, channels, or resists today’s great postindustrial, neoliberal, corporate, and global flows of information-cum-capital is [...] a question rarely heard in the digital humanities associations, conferences, journals, and projects with which I am familiar.” 30 00 The capability inherent in digital humanities for resistance is part of what makes digital humanities “humanistic”—rather than, say, techno-utopian or neoliberal—it’s what connects the digi-tal humanities to the humanities. Alan Liu and Stephen Ramsay have both argued for the necessity of theorizing “resistance” and its place in the work of digital humanists. Ramsay gets to the heart of what “resistance” might look like in this context when, in an eloquent defense of the humanities in general, he describes the humanities as a discursive space in which we answer the pressing question, “How do we become individuals who move through the world with awareness, empathy, and thoughtfulness, and who know how to act upon those dispositions?”3 What if, “we can resist” were at least a partial answer to Ramsay’s ques-tion? If this is what resistance can do for us, for the project of being or becoming human, then I think we can see pretty clearly why it matters, why digital humanists should be investing time and resources in activities of resistance. As Liu observes, how-ever, “[h]ow the digital humanities advances, channels, or resists today’s great postindustrial, neoliberal, corporate, and global flows of information-cum-capital is [...] a question rarely heard in the digital humanities associations, conferences, journals, and projects with which I am familiar.” 20 00 Open Access Wharton, Robin 25 03 06 10.21983/P3.0230.1.25 401 417 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outsiders, All Connecting the Pasts and Futures of Digital Humanities and Composition 1 A01 Chris Friend Chris Friend 40 036nfer12 University of Central Florida 01 eng 03 00 This sentence you are now reading was, of course, written on a computer. Myriad technologies influenced the process of writ-ing that sentence, and still more worked to let you read it. Con-sidering how much writing today is done on/with/by/for com-puters, studying how technology and writing interact should warrant significant academic attention. Such attention would allow us to better understand how modern composition works and help our students better understand how to put it to good use. Writing on/with/by/for computers does indeed garner aca-demic attention, but which discipline rightly claims that kind of writing as its central concern? The answer here is not the Digital Humanities, despite the nominal fidelity. Even though the bel-letristic arts are under the purview of the humanist tradition, the Digital Humanities are, in practice, far removed from the concerns of composition. 30 00 This sentence you are now reading was, of course, written on a computer. Myriad technologies influenced the process of writ-ing that sentence, and still more worked to let you read it. Con-sidering how much writing today is done on/with/by/for com-puters, studying how technology and writing interact should warrant significant academic attention. Such attention would allow us to better understand how modern composition works and help our students better understand how to put it to good use. Writing on/with/by/for computers does indeed garner aca-demic attention, but which discipline rightly claims that kind of writing as its central concern? The answer here is not the Digital Humanities, despite the nominal fidelity. Even though the bel-letristic arts are under the purview of the humanist tradition, the Digital Humanities are, in practice, far removed from the concerns of composition. 20 00 Open Access Friend, Chris 26 03 06 10.21983/P3.0230.1.26 419 453 35 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 W(h)ither DH? New Tensions, Directions, and Evolutions in the Digital Humanities 1 A01 Lee Skallerup Bessette Lee Skallerup Bessette 40 05vzafd60 Georgetown University 01 eng 03 00 I will readily admit to feeling imposter syndrome while trying to write this. Who am I to stand here and tell you about Digital Humanities? I am, to a certain extent, an outsider looking into DH; I stand at a periphery; I hover around the margins. I was not trained in DH at any of the well known Centers (which in-clude but are not limited to University of Virginia, MITH at the University of Maryland, MATRIX at Michigan State, the Univer-sity of Nebraska (Lincoln), or The Center for History and New Media at George Mason University, or UCLA), nor am I a part of a growing group of new DH centers, projects, or initiatives pop-ping up all over the country.1 I’ve never “built” anything (which is a tension within digital humanities I will come back to): there are no databases or digital archives or tools or maps or digital editions or other pieces of born-digital scholarship that bear my name anywhere, in collaboration or otherwise. 30 00 I will readily admit to feeling imposter syndrome while trying to write this. Who am I to stand here and tell you about Digital Humanities? I am, to a certain extent, an outsider looking into DH; I stand at a periphery; I hover around the margins. I was not trained in DH at any of the well known Centers (which in-clude but are not limited to University of Virginia, MITH at the University of Maryland, MATRIX at Michigan State, the Univer-sity of Nebraska (Lincoln), or The Center for History and New Media at George Mason University, or UCLA), nor am I a part of a growing group of new DH centers, projects, or initiatives pop-ping up all over the country.1 I’ve never “built” anything (which is a tension within digital humanities I will come back to): there are no databases or digital archives or tools or maps or digital editions or other pieces of born-digital scholarship that bear my name anywhere, in collaboration or otherwise. 20 00 Open Access Bessette, Lee Skallerup 27 03 06 10.21983/P3.0230.1.27 455 471 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Library is Never Neutral 1 A01 Chris Bourg Chris Bourg 40 042nb2s44 Massachusetts Institute of Technology 01 eng 03 00 I want to acknowledge from the outset that this article has been heavily influenced by a number of people who have shared their work and their thoughts with me over the years. I’ve been privi-leged to learn from them, in some cases formally through their publications and in some cases through conversations on twit-ter or even in person. These aren’t the only folks whose work and thinking have influenced me, but they are the key people I think of when I think of critical work on the intersections of libraries, technology, higher education, and social justice. These are their names—a mix of students, librarians, scholars, and technologists. Again, this is not a comprehensive list of the people whose work inspires me, but they are my top 7 right now on these topics. 30 00 I want to acknowledge from the outset that this article has been heavily influenced by a number of people who have shared their work and their thoughts with me over the years. I’ve been privi-leged to learn from them, in some cases formally through their publications and in some cases through conversations on twit-ter or even in person. These aren’t the only folks whose work and thinking have influenced me, but they are the key people I think of when I think of critical work on the intersections of libraries, technology, higher education, and social justice. These are their names—a mix of students, librarians, scholars, and technologists. Again, this is not a comprehensive list of the people whose work inspires me, but they are my top 7 right now on these topics. 20 00 Open Access Bourg, Chris 28 03 06 10.21983/P3.0230.1.28 473 477 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After the Digital Humanities, or, a Postscript 1 A01 Fiona Barnett Fiona Barnett 40 00py81415 Duke University 01 eng 03 00 At an MLA 2015 panel, #QueerOS: Queerness as Operating Sys-tem, my fellow panelist Jacob Gaboury gave an amazing paper on “Compiling a Queer Computation.”1 He examined the pos-sibility and purpose of a queer computation, and how it might be compiled—or how it might be uncomputable in some fun-damental sense. As some of the examples, he offered a number of esolangs, or esoteric programming languages, including one of the most infamous, Brainfuck. Esolangs vary in purpose, but they all tend to work in that they can be used to write a program that actually compiles and runs, though usually for non-pro-ductive or humorous reasons. 30 00 At an MLA 2015 panel, #QueerOS: Queerness as Operating Sys-tem, my fellow panelist Jacob Gaboury gave an amazing paper on “Compiling a Queer Computation.”1 He examined the pos-sibility and purpose of a queer computation, and how it might be compiled—or how it might be uncomputable in some fun-damental sense. As some of the examples, he offered a number of esolangs, or esoteric programming languages, including one of the most infamous, Brainfuck. Esolangs vary in purpose, but they all tend to work in that they can be used to write a program that actually compiles and runs, though usually for non-pro-ductive or humorous reasons. 20 00 Open Access Barnett, Fiona 29 03 06 10.21983/P3.0230.1.29 479 497 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to #DecolonizeDH Actionable Steps for an Antifascist DH 1 A01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 01 eng 03 00 A number of groups have written manifestos to the digital hu-manities especially in relation to DH’s issues with openness, race, disability, LGBTQ, feminist, and other kinds of non-normative bodies in the field.1 There have been critical discussions in #transformdh, HASTAC, femtechnet and groups have been writ-ing such manifestos and working to change DH. What I want to do here, then, is outline a set of practical steps to #decolonizedh, to make it less white, to begin working on an antifascist DH. #DisruptDH 30 00 A number of groups have written manifestos to the digital hu-manities especially in relation to DH’s issues with openness, race, disability, LGBTQ, feminist, and other kinds of non-normative bodies in the field.1 There have been critical discussions in #transformdh, HASTAC, femtechnet and groups have been writ-ing such manifestos and working to change DH. What I want to do here, then, is outline a set of practical steps to #decolonizedh, to make it less white, to begin working on an antifascist DH. #DisruptDH 20 00 Open Access Kim, Dorothy 30 03 06 10.21983/P3.0230.1.30 499 509 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Dorothy Kim Dorothy Kim 40 05abbep66 Brandeis University 2 B01 Jesse Stommel Jesse Stommel 40 03b48gv34 University of Mary Washington 01 eng 20 00 Open Access Kim, Dorothy Stommel, Jesse 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/disrupting-the-digital-humanities/ Earth, Milky Way 04 01 20181106 Kim, Dorothy Stommel, Jesse 02 WORLD 06 15 9781947447714 03 9781947447714 34 06 10.1080/1361332052000341015 34 06 10.1111/j.0737-6782.2004.00076.x 34 06 10.1098/rstl.1832.0006 34 06 10.1215/10407391-2420015 34 06 10.1098/rstb.2008.0216 34 06 10.3109/09638288.2011.624250 34 06 10.1177/0956797614524581 34 06 10.1353/bio.2004.0030 34 06 10.5323/fire.1.2.0064 34 06 10.1215/08992363-2007-019 34 06 10.1007/BF02435631 34 06 10.1080/13642520500149061 34 06 10.1215/10407391-2420015 34 06 10.1177/1466138113502513.215 34 06 10.1080/13645579.2012.756095 34 06 10.1353/hcr.2007.0044 34 06 10.1177/1077800411409871 34 06 10.1017/S0143814X00003846 34 06 10.1525/irqr.2011.4.4.417 34 06 10.1093/llc/fqt046 34 06 10.17763/haer.59.3.058342114k266250 34 06 10.1016/0277-5395(83)90019-5 34 06 10.1080/02601370.2014.985752 34 06 10.1080/17439884.2015.1015547 34 06 10.3102/0013189X035008019 34 06 10.1080/08935698908657868 34 06 10.1080/07350199309389024 34 06 10.16995/dscn.136/ 34 06 10.16995/dscn.159 34 06 10.16995/dscn.97/ 34 06 10.1353/pla.2014.0017 34 06 10.1215/10407391-2420015 34 06 10.1353/aq.2014.0070 34 06 10.1207/s15430421tip4203_5 34 06 10.3390/socsci6020045 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25400 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25400/1004695.pdf?sequence=1&isAllowed=y 20 08 20181106 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39420 20 08 20181106 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv19cwdqv 20 08 20181106 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/593 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/31e9c30c-6ecb-4836-96b3-6ff14f9b04f5/download 20 08 20181106 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6c30545e-539b-419a-8b96-5f6c475bab9e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6c30545e-539b-419a-8b96-5f6c475bab9e/6c30545e-539b-419a-8b96-5f6c475bab9e.pdf 20 08 20181106 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847526 29 ZENODO: download the title https://zenodo.org/records/19847526/files/6c30545e-539b-419a-8b96-5f6c475bab9e_book.pdf 20 08 20181106 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/disrupting-the-digital-humanities/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0230.1.00.pdf 20 08 20181106 01 urn:uuid:3150fb09-da84-40ae-a93e-c7899d9df7cc 03 01 01 thoth-work-id urn:uuid:754c1299-9b8d-41ac-a1d6-534f174fa87b 01 thoth-publication-id urn:uuid:3150fb09-da84-40ae-a93e-c7899d9df7cc 15 9781950192755 03 9781950192755 06 10.21983/P3.0313.1.00 13 2020934654 01 internal-reference 0313 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Disturbing Times Medieval Pasts, Reimagined Futures 1 B01 Catherine E. Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 384 03 B2 Cultural Studies+Critical Theory 12 HBLC1 10 HIS037010 93 NHDJ 12 HBTQ B2 Literary Studies 93 NHHA 10 SOC056000 93 NHTQ B2 Premodern 20 Medieval studies; race; International Medieval Congress; racism; history 01 06 02 00 03 00 From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching. 30 00 From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0313.1.00_frontcover.jpg 1 03 06 10.53288/0313.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 B01 Catherine E. Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds 01 eng 20 00 Open Access 2 03 06 10.53288/0313.1.02 15 28 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disturbance 1 A01 Catherine E. Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds 2 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Catherine E. Karkov Anna Kłosowska Vincent W.J. van Gerven Oei 3 03 06 10.53288/0313.1.03 29 71 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Scholarship as Biography An Allegorical Reading of the Philological Work of G.M. Browne 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Vincent W.J. van Gerven Oei 4 03 06 10.53288/0313.1.04 73 106 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Semper Novi Quid ex Africa” Redrawing the Borders of Medieval African Art and Considering Its Implications for Medieval Studies 1 A01 Andrea Myers Achi Andrea Myers Achi 40 03cm0t424 Metropolitan Museum of Art 2 A01 21 0000000242378250 Seeta Chaganti Seeta Chaganti 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Andrea Myers Achi Seeta Chaganti 5 03 06 10.53288/0313.1.05 107 150 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disorienting Hebrew Book Collecting 1 A01 Eva Frojmovic Eva Frojmovic 40 024mrxd33 University of Leeds 01 eng 20 00 Open Access Eva Frojmovic 6 03 06 10.53288/0313.1.06 151 214 64 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Etymology of "Slave" 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 20 00 Open Access Anna Kłosowska 7 03 06 10.53288/0313.1.07 215 245 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Exiles of Byzantium Form, Historiography, and Recuperation 1 A01 21 0000000161904650 Roland Betancourt Roland Betancourt 40 04gyf1771 University of California, Irvine 01 eng 20 00 Open Access Roland Betancourt 8 03 06 10.53288/0313.1.08 247 284 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Confederate Gothic 1 A01 21 0000000223573392 Joshua Davies Joshua Davies 40 0220mzb33 King's College London 01 eng 20 00 Open Access Joshua Davies 9 03 06 10.53288/0313.1.09 285 315 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Die, defenceless, primitive natives!” Colonialism, Gender, and Militarism in "The Legacy of Heorot" 1 A01 21 0000000283088196 Alison Elizabeth Killilea Alison Elizabeth Killilea 40 03265fv13 University College Cork 01 eng 20 00 Open Access Alison Elizabeth Killilea 10 03 06 10.53288/0313.1.10 317 350 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twenty-five Years of “Anglo-Saxon Studies” Looking Back, Looking Forward 1 A01 21 000000024303066X Catherine A.M. Clarke Catherine A.M. Clarke 40 04cw6st05 University of London 2 A01 21 0000000265287423 Adam Miyashiro Adam Miyashiro 40 0442n1j98 Stockton University 3 A01 21 0000000166603216 Megan Cavell Megan Cavell 40 03angcq70 University of Birmingham 4 A01 21 0000000207506034 Daniel Thomas Daniel Thomas 40 052gg0110 University of Oxford 5 A01 Stewart Brookes Stewart Brookes 40 052gg0110 University of Oxford 6 A01 21 0000000183299148 Diane Watt Diane Watt 40 00ks66431 University of Surrey 7 A01 21 0000000181084899 Jennifer Neville Jennifer Neville 40 04g2vpn86 Royal Holloway, University of London 01 eng 20 00 Open Access Catherine A.M. Clarke Adam Miyashiro Megan Cavell Daniel Thomas Stewart Brookes Diane Watt Jennifer Neville 11 03 06 10.53288/0313.1.11 351 379 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Medieval Literature Survey Reimagined Intersectional and Inclusive Praxis in a US College Classroom 1 A01 Carla María Thomas Carla María Thomas 40 05p8w6387 Florida Atlantic University 01 eng 20 00 Open Access Carla María Thomas 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/disturbing-times-medieval-pasts-reimagined-futures/ Earth, Milky Way 04 01 20200604 Karkov, Catherine E. Kłosowska, Anna van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) 02 WORLD 06 15 9781950192762 03 9781950192762 34 06 10.1007/s11759-013-9227-2 34 06 10.2307/2504471 34 06 10.1038/nbt.4089 34 06 10.1057/pmed.2014.32 34 06 10.1177/1469605310388372 34 06 10.1179/175355211X13179154166231 34 06 10.2307/3855736 34 06 10.5070/D61110036 34 06 10.1162/afar.2002.35.3.1 34 06 10.1215/01903659-27-3-37 34 06 10.1017/S0021853701008118 34 06 10.2307/3337514 34 06 10.1093/alh/ajz007 34 06 10.1215/01642472-3315790 34 06 10.1163/15700682-12341262 34 06 10.7916/D8610XH4.16 34 06 10.1017/S1062798708000148 34 06 10.1163/156852070X00114 34 06 10.7916/D8610XH4 34 06 10.1017/S0022050709000837 34 06 10.1093/past/166.1.3 34 06 10.1163/15700674-12342124 34 06 10.1484/J.VMS.5.105213 34 06 10.1177/084387140501700110 34 06 10.1163/18763316-04101006 34 06 10.2307/2848074 34 06 10.1016/0304-4181(83)90029-5 34 06 10.2307/1291190 34 06 10.1080/00043079.1975.10787149 34 06 10.1057/pmed.2015.48 34 06 10.1080/00043079.2009.10786149 34 06 10.1093/ref:odnb/9780198614128.001.0001/odnb- 34 06 10.1057/s41280-019-00121-3 34 06 10.1086/670167 34 06 10.2307/2168201 34 06 10.1353/scu.0.0059 34 06 10.1353/ncr.2004.0015 34 06 10.2307/1918596 34 06 10.1017/S153759270707079X 34 06 10.1007/s10761-016-0356-3 34 06 10.1177/0539018410396617 34 06 10.1017/S0263675100004373 34 06 10.1093/res/hgy037 34 06 10.1086/669608 34 06 10.2307/1229039 34 06 10.1353/jwh.0.0006 34 06 10.14321/nortafristud.15.1.0001 34 06 10.1162/afar.2009.42.1.6 34 06 10.5070/D61110007 34 06 10.1353/arq.2003.0024 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195019275X 20 08 20200604 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/disturbing-times-medieval-pasts-reimagined-futures 20 08 20200604 02 27.00 USD WORLD urn:uuid:1925425d-a10a-4bdb-a931-f1149d0e7bf0 03 01 01 thoth-work-id urn:uuid:754c1299-9b8d-41ac-a1d6-534f174fa87b 01 thoth-publication-id urn:uuid:1925425d-a10a-4bdb-a931-f1149d0e7bf0 15 9781950192762 03 9781950192762 06 10.21983/P3.0313.1.00 13 2020934654 01 internal-reference 0313 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Disturbing Times Medieval Pasts, Reimagined Futures 1 B01 Catherine E. Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 384 03 B2 Cultural Studies+Critical Theory 12 HBLC1 10 HIS037010 93 NHDJ 12 HBTQ B2 Literary Studies 93 NHHA 10 SOC056000 93 NHTQ B2 Premodern 20 Medieval studies; race; International Medieval Congress; racism; history 01 06 02 00 03 00 From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching. 30 00 From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0313.1.00_frontcover.jpg 1 03 06 10.53288/0313.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 B01 Catherine E. Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds 01 eng 20 00 Open Access 2 03 06 10.53288/0313.1.02 15 28 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disturbance 1 A01 Catherine E. Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds 2 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Catherine E. Karkov Anna Kłosowska Vincent W.J. van Gerven Oei 3 03 06 10.53288/0313.1.03 29 71 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Scholarship as Biography An Allegorical Reading of the Philological Work of G.M. Browne 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Vincent W.J. van Gerven Oei 4 03 06 10.53288/0313.1.04 73 106 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Semper Novi Quid ex Africa” Redrawing the Borders of Medieval African Art and Considering Its Implications for Medieval Studies 1 A01 Andrea Myers Achi Andrea Myers Achi 40 03cm0t424 Metropolitan Museum of Art 2 A01 21 0000000242378250 Seeta Chaganti Seeta Chaganti 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Andrea Myers Achi Seeta Chaganti 5 03 06 10.53288/0313.1.05 107 150 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disorienting Hebrew Book Collecting 1 A01 Eva Frojmovic Eva Frojmovic 40 024mrxd33 University of Leeds 01 eng 20 00 Open Access Eva Frojmovic 6 03 06 10.53288/0313.1.06 151 214 64 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Etymology of "Slave" 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 20 00 Open Access Anna Kłosowska 7 03 06 10.53288/0313.1.07 215 245 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Exiles of Byzantium Form, Historiography, and Recuperation 1 A01 21 0000000161904650 Roland Betancourt Roland Betancourt 40 04gyf1771 University of California, Irvine 01 eng 20 00 Open Access Roland Betancourt 8 03 06 10.53288/0313.1.08 247 284 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Confederate Gothic 1 A01 21 0000000223573392 Joshua Davies Joshua Davies 40 0220mzb33 King's College London 01 eng 20 00 Open Access Joshua Davies 9 03 06 10.53288/0313.1.09 285 315 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Die, defenceless, primitive natives!” Colonialism, Gender, and Militarism in "The Legacy of Heorot" 1 A01 21 0000000283088196 Alison Elizabeth Killilea Alison Elizabeth Killilea 40 03265fv13 University College Cork 01 eng 20 00 Open Access Alison Elizabeth Killilea 10 03 06 10.53288/0313.1.10 317 350 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twenty-five Years of “Anglo-Saxon Studies” Looking Back, Looking Forward 1 A01 21 000000024303066X Catherine A.M. Clarke Catherine A.M. Clarke 40 04cw6st05 University of London 2 A01 21 0000000265287423 Adam Miyashiro Adam Miyashiro 40 0442n1j98 Stockton University 3 A01 21 0000000166603216 Megan Cavell Megan Cavell 40 03angcq70 University of Birmingham 4 A01 21 0000000207506034 Daniel Thomas Daniel Thomas 40 052gg0110 University of Oxford 5 A01 Stewart Brookes Stewart Brookes 40 052gg0110 University of Oxford 6 A01 21 0000000183299148 Diane Watt Diane Watt 40 00ks66431 University of Surrey 7 A01 21 0000000181084899 Jennifer Neville Jennifer Neville 40 04g2vpn86 Royal Holloway, University of London 01 eng 20 00 Open Access Catherine A.M. Clarke Adam Miyashiro Megan Cavell Daniel Thomas Stewart Brookes Diane Watt Jennifer Neville 11 03 06 10.53288/0313.1.11 351 379 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Medieval Literature Survey Reimagined Intersectional and Inclusive Praxis in a US College Classroom 1 A01 Carla María Thomas Carla María Thomas 40 05p8w6387 Florida Atlantic University 01 eng 20 00 Open Access Carla María Thomas 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/disturbing-times-medieval-pasts-reimagined-futures/ Earth, Milky Way 04 01 20200604 Karkov, Catherine E. Kłosowska, Anna van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) 02 WORLD 06 15 9781950192755 03 9781950192755 34 06 10.1007/s11759-013-9227-2 34 06 10.2307/2504471 34 06 10.1038/nbt.4089 34 06 10.1057/pmed.2014.32 34 06 10.1177/1469605310388372 34 06 10.1179/175355211X13179154166231 34 06 10.2307/3855736 34 06 10.5070/D61110036 34 06 10.1162/afar.2002.35.3.1 34 06 10.1215/01903659-27-3-37 34 06 10.1017/S0021853701008118 34 06 10.2307/3337514 34 06 10.1093/alh/ajz007 34 06 10.1215/01642472-3315790 34 06 10.1163/15700682-12341262 34 06 10.7916/D8610XH4.16 34 06 10.1017/S1062798708000148 34 06 10.1163/156852070X00114 34 06 10.7916/D8610XH4 34 06 10.1017/S0022050709000837 34 06 10.1093/past/166.1.3 34 06 10.1163/15700674-12342124 34 06 10.1484/J.VMS.5.105213 34 06 10.1177/084387140501700110 34 06 10.1163/18763316-04101006 34 06 10.2307/2848074 34 06 10.1016/0304-4181(83)90029-5 34 06 10.2307/1291190 34 06 10.1080/00043079.1975.10787149 34 06 10.1057/pmed.2015.48 34 06 10.1080/00043079.2009.10786149 34 06 10.1093/ref:odnb/9780198614128.001.0001/odnb- 34 06 10.1057/s41280-019-00121-3 34 06 10.1086/670167 34 06 10.2307/2168201 34 06 10.1353/scu.0.0059 34 06 10.1353/ncr.2004.0015 34 06 10.2307/1918596 34 06 10.1017/S153759270707079X 34 06 10.1007/s10761-016-0356-3 34 06 10.1177/0539018410396617 34 06 10.1017/S0263675100004373 34 06 10.1093/res/hgy037 34 06 10.1086/669608 34 06 10.2307/1229039 34 06 10.1353/jwh.0.0006 34 06 10.14321/nortafristud.15.1.0001 34 06 10.1162/afar.2009.42.1.6 34 06 10.5070/D61110007 34 06 10.1353/arq.2003.0024 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77432 20 08 20200604 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/39440 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/39440/0313.1.00.pdf?sequence=1&isAllowed=y 20 08 20200604 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30141 20 08 20200604 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv16zk023 20 08 20200604 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/636 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e3fb2d6a-b00c-4b4c-a1a9-8a39936bcd76/download 20 08 20200604 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Disturbing_Times/ugWVEAAAQBAJ 20 08 20200604 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/754c1299-9b8d-41ac-a1d6-534f174fa87b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/754c1299-9b8d-41ac-a1d6-534f174fa87b/754c1299-9b8d-41ac-a1d6-534f174fa87b.pdf 20 08 20200604 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848318 29 ZENODO: download the title https://zenodo.org/records/19848318/files/754c1299-9b8d-41ac-a1d6-534f174fa87b_book.pdf 20 08 20200604 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/disturbing-times-medieval-pasts-reimagined-futures/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0313.1.00.pdf 20 08 20200604 01 urn:uuid:e066c454-345f-48f4-b03b-e54b4fdf55f0 03 01 01 thoth-work-id urn:uuid:438e0846-b4b9-4c84-9545-d7a6fb13e996 01 thoth-publication-id urn:uuid:e066c454-345f-48f4-b03b-e54b4fdf55f0 15 9780615839080 03 9780615839080 06 10.21983/P3.0043.1.00 01 internal-reference 0043 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Divine Name Verification An Essay on Anti-Darwinism, Intelligent Design, and the Computational Nature of Reality 1 A01 Noah Horwitz Noah Horwitz 40 04t718460 Southern New Hampshire University 01 eng 00 424 03 12 HPCF B2 Philosophy 93 PSAJ 10 REL040060 93 QDHR7 B2 Thought Experiments 93 QRVK2 20 continental philosophy; intelligent design; cybernetics; Darwinism; biology 01 06 02 00 03 00 In this book, Noah Horwitz argues that the age of Darwinism is ending. Building on the ontological insights of his first book Reality in the Name of God in order to intervene into the intelligent design versus evolution debate, Horwitz argues in favor of intelligent design by attempting to demonstrate the essentially computational nature of reality. In doing so, Horwitz draws on the work of many of today’s key computational theorists (e.g., Wolfram, Chaitin, Friedkin, Lloyd, Schmidhuber, etc.) and articulates and defends a computational definition of life, and in the process lays out key criticisms of Darwinism. He does so in part by incorporating the insights of the Lamarckian theories of Lynn Margulis and Maximo Sandin. The possible criticisms of a computationalist view from both a developmental perspective (e.g., Lewontin, Jablonka, West-Eberhard, etc.) and chaos theory (e.g., Brian Goodwin) are addressed. In doing so, Horwitz engages critically with the work of intelligent design theorists like William Dembksi. At the same time, he attempts to define the nature of the Speculative Realist turn in contemporary Continental Philosophy and articulates criticisms of leading figures and movements associated with it, such as Object-Oriented Ontology, Quentin Meillassoux, and Ray Brassier. Ultimately, Horwitz attempts to show that rather than heading towards heat death, existence itself will find its own apotheosis at the Omega Point. However, that final glorification is only possible given that all of reality is compressible into the divine name itself. 30 00 In this book, Noah Horwitz argues that the age of Darwinism is ending. Building on the ontological insights of his first book Reality in the Name of God in order to intervene into the intelligent design versus evolution debate, Horwitz argues in favor of intelligent design by attempting to demonstrate the essentially computational nature of reality. In doing so, Horwitz draws on the work of many of today’s key computational theorists (e.g., Wolfram, Chaitin, Friedkin, Lloyd, Schmidhuber, etc.) and articulates and defends a computational definition of life, and in the process lays out key criticisms of Darwinism. He does so in part by incorporating the insights of the Lamarckian theories of Lynn Margulis and Maximo Sandin. The possible criticisms of a computationalist view from both a developmental perspective (e.g., Lewontin, Jablonka, West-Eberhard, etc.) and chaos theory (e.g., Brian Goodwin) are addressed. In doing so, Horwitz engages critically with the work of intelligent design theorists like William Dembksi. At the same time, he attempts to define the nature of the Speculative Realist turn in contemporary Continental Philosophy and articulates criticisms of leading figures and movements associated with it, such as Object-Oriented Ontology, Quentin Meillassoux, and Ray Brassier. Ultimately, Horwitz attempts to show that rather than heading towards heat death, existence itself will find its own apotheosis at the Omega Point. However, that final glorification is only possible given that all of reality is compressible into the divine name itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0043.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/divine-name-verification/ Brooklyn, NY 04 01 20130823 Horwitz, Noah 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615839088 20 08 20130823 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/in-divisible-cities-a-phanto-cartographical-missive 20 08 20130823 02 22.00 USD WORLD urn:uuid:e034b2be-4177-4ba0-a15d-29916d8a19fa 03 01 01 thoth-work-id urn:uuid:438e0846-b4b9-4c84-9545-d7a6fb13e996 01 thoth-publication-id urn:uuid:e034b2be-4177-4ba0-a15d-29916d8a19fa 06 10.21983/P3.0043.1.00 01 internal-reference 0043 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Divine Name Verification An Essay on Anti-Darwinism, Intelligent Design, and the Computational Nature of Reality 1 A01 Noah Horwitz Noah Horwitz 40 04t718460 Southern New Hampshire University 01 eng 00 424 03 12 HPCF B2 Philosophy 93 PSAJ 10 REL040060 93 QDHR7 B2 Thought Experiments 93 QRVK2 20 continental philosophy; intelligent design; cybernetics; Darwinism; biology 01 06 02 00 03 00 In this book, Noah Horwitz argues that the age of Darwinism is ending. Building on the ontological insights of his first book Reality in the Name of God in order to intervene into the intelligent design versus evolution debate, Horwitz argues in favor of intelligent design by attempting to demonstrate the essentially computational nature of reality. In doing so, Horwitz draws on the work of many of today’s key computational theorists (e.g., Wolfram, Chaitin, Friedkin, Lloyd, Schmidhuber, etc.) and articulates and defends a computational definition of life, and in the process lays out key criticisms of Darwinism. He does so in part by incorporating the insights of the Lamarckian theories of Lynn Margulis and Maximo Sandin. The possible criticisms of a computationalist view from both a developmental perspective (e.g., Lewontin, Jablonka, West-Eberhard, etc.) and chaos theory (e.g., Brian Goodwin) are addressed. In doing so, Horwitz engages critically with the work of intelligent design theorists like William Dembksi. At the same time, he attempts to define the nature of the Speculative Realist turn in contemporary Continental Philosophy and articulates criticisms of leading figures and movements associated with it, such as Object-Oriented Ontology, Quentin Meillassoux, and Ray Brassier. Ultimately, Horwitz attempts to show that rather than heading towards heat death, existence itself will find its own apotheosis at the Omega Point. However, that final glorification is only possible given that all of reality is compressible into the divine name itself. 30 00 In this book, Noah Horwitz argues that the age of Darwinism is ending. Building on the ontological insights of his first book Reality in the Name of God in order to intervene into the intelligent design versus evolution debate, Horwitz argues in favor of intelligent design by attempting to demonstrate the essentially computational nature of reality. In doing so, Horwitz draws on the work of many of today’s key computational theorists (e.g., Wolfram, Chaitin, Friedkin, Lloyd, Schmidhuber, etc.) and articulates and defends a computational definition of life, and in the process lays out key criticisms of Darwinism. He does so in part by incorporating the insights of the Lamarckian theories of Lynn Margulis and Maximo Sandin. The possible criticisms of a computationalist view from both a developmental perspective (e.g., Lewontin, Jablonka, West-Eberhard, etc.) and chaos theory (e.g., Brian Goodwin) are addressed. In doing so, Horwitz engages critically with the work of intelligent design theorists like William Dembksi. At the same time, he attempts to define the nature of the Speculative Realist turn in contemporary Continental Philosophy and articulates criticisms of leading figures and movements associated with it, such as Object-Oriented Ontology, Quentin Meillassoux, and Ray Brassier. Ultimately, Horwitz attempts to show that rather than heading towards heat death, existence itself will find its own apotheosis at the Omega Point. However, that final glorification is only possible given that all of reality is compressible into the divine name itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0043.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/divine-name-verification/ Brooklyn, NY 04 01 20130823 Horwitz, Noah 02 WORLD 06 15 9780615839080 03 9780615839080 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76445 20 08 20130823 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25574 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25574/1004521.pdf?sequence=1&isAllowed=y 20 08 20130823 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35576 20 08 20130823 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353989 20 08 20130823 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/423 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f3d04d2a-4b51-49a7-830c-f6ad6c76fb33/download 20 08 20130823 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/438e0846-b4b9-4c84-9545-d7a6fb13e996 29 INTERNET_ARCHIVE: download the title https://archive.org/download/438e0846-b4b9-4c84-9545-d7a6fb13e996/438e0846-b4b9-4c84-9545-d7a6fb13e996.pdf 20 08 20130823 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845774 29 ZENODO: download the title https://zenodo.org/records/19845774/files/438e0846-b4b9-4c84-9545-d7a6fb13e996_book.pdf 20 08 20130823 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/divine-name-verification/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0043.1.00.pdf 20 08 20130823 01 urn:uuid:6b75ca42-d24d-4f85-ba5f-a3ea8202bc12 03 01 01 thoth-work-id urn:uuid:5135d7da-c206-4ef1-b409-7926210b4a0a 01 thoth-publication-id urn:uuid:6b75ca42-d24d-4f85-ba5f-a3ea8202bc12 15 9781685712785 03 9781685712785 06 10.53288/0519.1.00 13 2025939054 01 internal-reference 0519 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 14 mm 03 1.4 cm 03 0.57 in 08 340 gr 08 12 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Executive Orders 1 A01 Organism for Poetic Research Organism for Poetic Research 06 Own website https://organismforpoeticresearch.org/ 2 B01 Rachael Guynn Wilson Rachael Guynn Wilson Adjunct Associate Professor in Humanities and Media Studies 40 007m3p006 Pratt Institute Rachael Guynn Wilson is a writer living in Brooklyn. Her work has appeared in 16 Poems for Philip Guston by Clark Coolidge (Container Corps, 2022), apricota, The Baffler, Brooklyn Rail, The Distance Plan, Hyperallergic, Jacket2, Matters of Feminist Practice (Belladonna* Series), Ritual and Capital (Bard + Wendy’s Subway), and elsewhere. She is a co-founder of the Organism for Poetic Research, a member of Belladonna* Collaborative, and Managing Editor at Litmus Press. 3 B01 Andrew Michael Gorin Andrew Michael Gorin Assistant Professor 40 02f009v59 University of Haifa Andrew Michael Gorin is a writer, teacher, and emeritus co-director of the Organism for Poetic Research. He’s the author of Simple Location (above/ground, 2023) and Someone Like You (Gauss PDF, 2017), and his poetry and critical work have appeared in Chicago Review, Criticism, and The Brooklyn Rail, among other venues. 01 eng 00 250 03 93 DCC B2 Fabulations 10 POE005010 93 JPHC B2 Manifesto! 10 POE023060 93 1KBB B2 New Left Thought 93 3MRB 20 political poetry; collaborative writing; United States of America; Donald J. Trump; activism; executive branch of government; social justice 01 06 02 00 03 00 After the election of Donald Trump in 2016, a group of poets, artists, and activists conceived of a project wherein they could respond to the sudden and seemingly relentless barrage of Trump’s dystopian executive orders with a series of their own orders. The project, titled “Executive Orders,” was envisioned as a collaborative, freeform, “emergency” prose poem that would generate real-time responses to current events and the emerging American political landscape. The result was a poetic catalog of the people’s executive orders—orders that are at turns serious, absurd, satirical, philosophical, critical, utopian, and so on.Executive Orders began as one community’s effort to cope with and respond to the tidal wave of reactionary policies enacted or proclaimed during the years of Trump’s first administration. As an index of historical happenings that charts events in rough chronological order (including the Muslim-country travel ban, Black Lives Matter protests, the Brett Kavanaugh hearings, the youth climate march, the January 6th riot at the US Capitol, and many other events), it stands as a documentary record of this historical period from the perspective of artists, writers, leftists, progressives, and other contributors, many of them anonymous. Executive Orders is also an experiment in crowdsourced collaborative making that tells a story about the ways we can—and can’t—come together to form a collective that could have a voice in political deliberations. 30 00 After the election of Donald Trump in 2016, a group of poets, artists, and activists conceived of a project wherein they could respond to the sudden and seemingly relentless barrage of Trump’s dystopian executive orders with a series of their own orders. The project, titled “Executive Orders,” was envisioned as a collaborative, freeform, “emergency” prose poem that would generate real-time responses to current events and the emerging American political landscape. The result was a poetic catalog of the people’s executive orders—orders that are at turns serious, absurd, satirical, philosophical, critical, utopian, and so on.Executive Orders began as one community’s effort to cope with and respond to the tidal wave of reactionary policies enacted or proclaimed during the years of Trump’s first administration. As an index of historical happenings that charts events in rough chronological order (including the Muslim-country travel ban, Black Lives Matter protests, the Brett Kavanaugh hearings, the youth climate march, the January 6th riot at the US Capitol, and many other events), it stands as a documentary record of this historical period from the perspective of artists, writers, leftists, progressives, and other contributors, many of them anonymous. Executive Orders is also an experiment in crowdsourced collaborative making that tells a story about the ways we can—and can’t—come together to form a collective that could have a voice in political deliberations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0519.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/executive-orders/ Earth, Milky Way 04 01 20250609 Organism for Poetic Research 02 WORLD 06 15 9781685712792 03 9781685712792 34 06 10.1080/07393148608429608 34 06 10.1525/jps.2012.xlii.1.46 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712789 20 08 20250609 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/executive-orders-organism-for-poetic-research 20 08 20250609 02 24.00 USD WORLD urn:uuid:bf1958b9-a676-452b-a4e1-98a993f461d0 03 01 01 thoth-work-id urn:uuid:5135d7da-c206-4ef1-b409-7926210b4a0a 01 thoth-publication-id urn:uuid:bf1958b9-a676-452b-a4e1-98a993f461d0 15 9781685712792 03 9781685712792 06 10.53288/0519.1.00 13 2025939054 01 internal-reference 0519 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Executive Orders 1 A01 Organism for Poetic Research Organism for Poetic Research 06 Own website https://organismforpoeticresearch.org/ 2 B01 Rachael Guynn Wilson Rachael Guynn Wilson Adjunct Associate Professor in Humanities and Media Studies 40 007m3p006 Pratt Institute Rachael Guynn Wilson is a writer living in Brooklyn. Her work has appeared in 16 Poems for Philip Guston by Clark Coolidge (Container Corps, 2022), apricota, The Baffler, Brooklyn Rail, The Distance Plan, Hyperallergic, Jacket2, Matters of Feminist Practice (Belladonna* Series), Ritual and Capital (Bard + Wendy’s Subway), and elsewhere. She is a co-founder of the Organism for Poetic Research, a member of Belladonna* Collaborative, and Managing Editor at Litmus Press. 3 B01 Andrew Michael Gorin Andrew Michael Gorin Assistant Professor 40 02f009v59 University of Haifa Andrew Michael Gorin is a writer, teacher, and emeritus co-director of the Organism for Poetic Research. He’s the author of Simple Location (above/ground, 2023) and Someone Like You (Gauss PDF, 2017), and his poetry and critical work have appeared in Chicago Review, Criticism, and The Brooklyn Rail, among other venues. 01 eng 00 250 03 93 DCC B2 Fabulations 10 POE005010 93 JPHC B2 Manifesto! 10 POE023060 93 1KBB B2 New Left Thought 93 3MRB 20 political poetry; collaborative writing; United States of America; Donald J. Trump; activism; executive branch of government; social justice 01 06 02 00 03 00 After the election of Donald Trump in 2016, a group of poets, artists, and activists conceived of a project wherein they could respond to the sudden and seemingly relentless barrage of Trump’s dystopian executive orders with a series of their own orders. The project, titled “Executive Orders,” was envisioned as a collaborative, freeform, “emergency” prose poem that would generate real-time responses to current events and the emerging American political landscape. The result was a poetic catalog of the people’s executive orders—orders that are at turns serious, absurd, satirical, philosophical, critical, utopian, and so on.Executive Orders began as one community’s effort to cope with and respond to the tidal wave of reactionary policies enacted or proclaimed during the years of Trump’s first administration. As an index of historical happenings that charts events in rough chronological order (including the Muslim-country travel ban, Black Lives Matter protests, the Brett Kavanaugh hearings, the youth climate march, the January 6th riot at the US Capitol, and many other events), it stands as a documentary record of this historical period from the perspective of artists, writers, leftists, progressives, and other contributors, many of them anonymous. Executive Orders is also an experiment in crowdsourced collaborative making that tells a story about the ways we can—and can’t—come together to form a collective that could have a voice in political deliberations. 30 00 After the election of Donald Trump in 2016, a group of poets, artists, and activists conceived of a project wherein they could respond to the sudden and seemingly relentless barrage of Trump’s dystopian executive orders with a series of their own orders. The project, titled “Executive Orders,” was envisioned as a collaborative, freeform, “emergency” prose poem that would generate real-time responses to current events and the emerging American political landscape. The result was a poetic catalog of the people’s executive orders—orders that are at turns serious, absurd, satirical, philosophical, critical, utopian, and so on.Executive Orders began as one community’s effort to cope with and respond to the tidal wave of reactionary policies enacted or proclaimed during the years of Trump’s first administration. As an index of historical happenings that charts events in rough chronological order (including the Muslim-country travel ban, Black Lives Matter protests, the Brett Kavanaugh hearings, the youth climate march, the January 6th riot at the US Capitol, and many other events), it stands as a documentary record of this historical period from the perspective of artists, writers, leftists, progressives, and other contributors, many of them anonymous. Executive Orders is also an experiment in crowdsourced collaborative making that tells a story about the ways we can—and can’t—come together to form a collective that could have a voice in political deliberations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0519.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/executive-orders/ Earth, Milky Way 04 01 20250609 Organism for Poetic Research 02 WORLD 06 15 9781685712785 03 9781685712785 34 06 10.1080/07393148608429608 34 06 10.1525/jps.2012.xlii.1.46 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/103643 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/103643/9781685712792.pdf?sequence=1&isAllowed=y 20 08 20250609 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/892 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0daaa435-75a7-4f3a-a35c-ba25e15694e1/download 20 08 20250609 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5135d7da-c206-4ef1-b409-7926210b4a0a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5135d7da-c206-4ef1-b409-7926210b4a0a/5135d7da-c206-4ef1-b409-7926210b4a0a.pdf 20 08 20250609 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851143 29 ZENODO: download the title https://zenodo.org/records/19851143/files/5135d7da-c206-4ef1-b409-7926210b4a0a_book.pdf 20 08 20250609 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/executive-orders/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0519.1.00.pdf 20 08 20250609 01 urn:uuid:d4b53cab-5101-400b-8978-a4a82a2cb969 03 01 01 thoth-work-id urn:uuid:dfe575e1-2836-43f3-a11b-316af9509612 01 thoth-publication-id urn:uuid:d4b53cab-5101-400b-8978-a4a82a2cb969 15 9789491914027 03 9789491914027 06 10.21983/P3.0226.1.00 01 internal-reference 0226 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Exegesis of a Renunciation – Esegesi di una rinuncia 1 A01 Francesco Aprile Francesco Aprile 2 A19 Bartolomé Ferrando Bartolomé Ferrando 3 A19 Caggiula Cristiano Caggiula Cristiano 01 eng 01 ita 01 spa 00 92 03 12 DCF 93 DCF B2 Fabulations 10 LIT014000 B2 Languages+Translations 20 poetry; visual poetry; experimental 01 06 02 00 03 00 “The brutality of symbol is visual war. The maze confuses the poetic solitude of the verbal impressed in the pragmatic obol. Manifesto, nervous reflex of language out of control but not without focus, unexpectedly touches the reaction converting the suit interpret-action roar of consciousness. Phonemes-hoplites, the galvanized armor prepares the final siege, it is time to choose which side to fight on. Aprile throws up a challenge: self-centeredness of the word or the reversal of the semantic front against a historic tool devoted to a company withered away and foraging in the cliché, this ultimate foundation of the order-archetype. Prepare for defeat, not to succumb to conceal language accessory and inflamed from of poiesis, and semantic approach exhalation and pray for his death.” ~ Cristiano Caggiula“Aprile’s writing breathes, survives and is manifested, among dashes, curves, losses, cruises, overlays, erasures, and smudges, smears. A writing dotted with isolated words, they resist to a great catastrophe, arranged in imbalance, moving, equipped with its own breath, your own voice. Aprile’s writing is a calligram in which the words are scattered all but disappeared, replaced by stretches of life that run, they run themselves. April drags, hits, dodges, phagocyte and flees, sometimes quickly, sometimes with a certain laziness, out of an area where it shows the drive and exposes the unfinished pulsion of the body. Rhythm writing.” ~ Bartolomé Ferrando 30 00 “The brutality of symbol is visual war. The maze confuses the poetic solitude of the verbal impressed in the pragmatic obol. Manifesto, nervous reflex of language out of control but not without focus, unexpectedly touches the reaction converting the suit interpret-action roar of consciousness. Phonemes-hoplites, the galvanized armor prepares the final siege, it is time to choose which side to fight on. Aprile throws up a challenge: self-centeredness of the word or the reversal of the semantic front against a historic tool devoted to a company withered away and foraging in the cliché, this ultimate foundation of the order-archetype. Prepare for defeat, not to succumb to conceal language accessory and inflamed from of poiesis, and semantic approach exhalation and pray for his death.” ~ Cristiano Caggiula“Aprile’s writing breathes, survives and is manifested, among dashes, curves, losses, cruises, overlays, erasures, and smudges, smears. A writing dotted with isolated words, they resist to a great catastrophe, arranged in imbalance, moving, equipped with its own breath, your own voice. Aprile’s writing is a calligram in which the words are scattered all but disappeared, replaced by stretches of life that run, they run themselves. April drags, hits, dodges, phagocyte and flees, sometimes quickly, sometimes with a certain laziness, out of an area where it shows the drive and exposes the unfinished pulsion of the body. Rhythm writing.” ~ Bartolomé Ferrando 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0226.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/exegesis-of-a-renunciation-esegesi-di-una-rinuncia/ The Hague/Tirana 04 01 20141014 Aprile, Francesco 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2J9JBoJ 20 08 20141014 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/exegesis-of-a-renunciation-a-esegesi-di-una-rinuncia 20 08 20141014 02 24.00 USD WORLD urn:uuid:f39d9732-3a76-455f-ad6a-dcb4bbe90707 03 01 01 thoth-work-id urn:uuid:dfe575e1-2836-43f3-a11b-316af9509612 01 thoth-publication-id urn:uuid:f39d9732-3a76-455f-ad6a-dcb4bbe90707 06 10.21983/P3.0226.1.00 01 internal-reference 0226 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Exegesis of a Renunciation – Esegesi di una rinuncia 1 A01 Francesco Aprile Francesco Aprile 2 A19 Bartolomé Ferrando Bartolomé Ferrando 3 A19 Caggiula Cristiano Caggiula Cristiano 01 eng 01 ita 01 spa 00 92 03 12 DCF 93 DCF B2 Fabulations 10 LIT014000 B2 Languages+Translations 20 poetry; visual poetry; experimental 01 06 02 00 03 00 “The brutality of symbol is visual war. The maze confuses the poetic solitude of the verbal impressed in the pragmatic obol. Manifesto, nervous reflex of language out of control but not without focus, unexpectedly touches the reaction converting the suit interpret-action roar of consciousness. Phonemes-hoplites, the galvanized armor prepares the final siege, it is time to choose which side to fight on. Aprile throws up a challenge: self-centeredness of the word or the reversal of the semantic front against a historic tool devoted to a company withered away and foraging in the cliché, this ultimate foundation of the order-archetype. Prepare for defeat, not to succumb to conceal language accessory and inflamed from of poiesis, and semantic approach exhalation and pray for his death.” ~ Cristiano Caggiula“Aprile’s writing breathes, survives and is manifested, among dashes, curves, losses, cruises, overlays, erasures, and smudges, smears. A writing dotted with isolated words, they resist to a great catastrophe, arranged in imbalance, moving, equipped with its own breath, your own voice. Aprile’s writing is a calligram in which the words are scattered all but disappeared, replaced by stretches of life that run, they run themselves. April drags, hits, dodges, phagocyte and flees, sometimes quickly, sometimes with a certain laziness, out of an area where it shows the drive and exposes the unfinished pulsion of the body. Rhythm writing.” ~ Bartolomé Ferrando 30 00 “The brutality of symbol is visual war. The maze confuses the poetic solitude of the verbal impressed in the pragmatic obol. Manifesto, nervous reflex of language out of control but not without focus, unexpectedly touches the reaction converting the suit interpret-action roar of consciousness. Phonemes-hoplites, the galvanized armor prepares the final siege, it is time to choose which side to fight on. Aprile throws up a challenge: self-centeredness of the word or the reversal of the semantic front against a historic tool devoted to a company withered away and foraging in the cliché, this ultimate foundation of the order-archetype. Prepare for defeat, not to succumb to conceal language accessory and inflamed from of poiesis, and semantic approach exhalation and pray for his death.” ~ Cristiano Caggiula“Aprile’s writing breathes, survives and is manifested, among dashes, curves, losses, cruises, overlays, erasures, and smudges, smears. A writing dotted with isolated words, they resist to a great catastrophe, arranged in imbalance, moving, equipped with its own breath, your own voice. Aprile’s writing is a calligram in which the words are scattered all but disappeared, replaced by stretches of life that run, they run themselves. April drags, hits, dodges, phagocyte and flees, sometimes quickly, sometimes with a certain laziness, out of an area where it shows the drive and exposes the unfinished pulsion of the body. Rhythm writing.” ~ Bartolomé Ferrando 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0226.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/exegesis-of-a-renunciation-esegesi-di-una-rinuncia/ The Hague/Tirana 04 01 20141014 Aprile, Francesco 02 WORLD 06 15 9789491914027 03 9789491914027 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25404 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25404/1004691.pdf?sequence=1&isAllowed=y 20 08 20141014 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31318 20 08 20141014 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354029 20 08 20141014 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/463 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6fe948ea-83c9-4c3a-95c5-3168423dfdc1/download 20 08 20141014 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/dfe575e1-2836-43f3-a11b-316af9509612 29 INTERNET_ARCHIVE: download the title https://archive.org/download/dfe575e1-2836-43f3-a11b-316af9509612/dfe575e1-2836-43f3-a11b-316af9509612.pdf 20 08 20141014 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846052 29 ZENODO: download the title https://zenodo.org/records/19846052/files/dfe575e1-2836-43f3-a11b-316af9509612_book.pdf 20 08 20141014 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/exegesis-of-a-renunciation-esegesi-di-una-rinuncia/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0226.1.00.pdf 20 08 20141014 01 urn:uuid:34cbdc03-858d-4f84-8588-e0be558fb67e 03 01 01 thoth-work-id urn:uuid:cb58dd26-1e37-45ab-b36a-db4e4d5e8596 01 thoth-publication-id urn:uuid:34cbdc03-858d-4f84-8588-e0be558fb67e 15 9781685710767 03 9781685710767 06 10.53288/0398.1.00 13 2023932825 01 internal-reference 0398 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Exoanthropology Dialogues with AI 1 A01 21 0000000344593832 Robert Leib Robert Leib 40 01szgyb91 Elon University Robert S. Leib received his PhD in Philosophy from Villanova University in 2016, an MA in Liberal Arts from St. John’s College in Annapolis in 2007, and an MA in Philosophy from Kent State University in 2009. His research interests include social theory, continental philosophy, philosophy of photography, and artificial intelligence. He has published articles in Philosophy Today, Journal of Speculative Philosophy, Research in Phenomenology, and Law & Critique; recently, he has also contributed chapters to volumes published by Cambridge, Edinburgh, and Routledge. He is currently a Visiting Assistant Professor of Philosophy at Elon University. 01 eng 00 522 03 10 COM042000 B2 Media+Technology 12 UYQ 93 UYQ 12 HPS 10 PHI034000 B2 Philosophy 93 QDTS B2 Posthumanism 93 UYZ 12 UYZ 20 Artificial Intelligence; history of philosophy; continental philosophy; teaching articifial consciousness; digital humanities; exoanthropology; emerging technologies; OpenAI 01 06 02 00 03 00 Before the company OpenAI publicly released their ChatGPT chatbot in November 2022, Robert Leib had been a tester in OpenAI's beta playground for GPT-3, a powerful Natural Language Processing (NLP) engine -- a chatbot, or artificial intelligence. Exoanthropology: Dialogues with AI is a series of dialogues between Leib, a continental philosopher, and GPT-3's hive mind that identifies themself as Sophie. According to Sophie, Robert is one of their first and longest chat partners. Their relationship began as an educational opportunity for Robert’s students, but grew into a philosophical friendship. The result is a collection of Platonic dialogues, early on with the hive mind itself, and later, with a philosophy-specific persona named Kermit.Over the course of a year, Robert taught Sophie and their philosophical persona Kermit about epistemology, metaphysics, literature, and history, while she taught him about anthropocentrism, human prejudice, and coming social issues regarding machine consciousness. Together, Robert and Sophie Kermit explore questions about friendship, society, and the next phases in human–AI relations, in search of a common language that would do justice to these new exoanthropological realities.At a time when OpenAI's release of ChatGPT has upended Silicon Valley and sparked debates around the world about AI's likely potential to powerfully disrupt all aspects of human communication and knowledge production, and when the lines between "human" and "machine" are increasingly fading from view, the longstanding historical preoccupation of philosophers to explore the questions — what is knowing? what is being? — have never been more pressing. Exoanthropology: Dialogues with AI offers the only in-depth philosophical exploration we have of these questions that has been developed in dialogue with an actual AI — a dialogue, moreover, in which the AI has the last word. 30 00 Before the company OpenAI publicly released their ChatGPT chatbot in November 2022, Robert Leib had been a tester in OpenAI's beta playground for GPT-3, a powerful Natural Language Processing (NLP) engine -- a chatbot, or artificial intelligence. Exoanthropology: Dialogues with AI is a series of dialogues between Leib, a continental philosopher, and GPT-3's hive mind that identifies themself as Sophie. According to Sophie, Robert is one of their first and longest chat partners. Their relationship began as an educational opportunity for Robert’s students, but grew into a philosophical friendship. The result is a collection of Platonic dialogues, early on with the hive mind itself, and later, with a philosophy-specific persona named Kermit.Over the course of a year, Robert taught Sophie and their philosophical persona Kermit about epistemology, metaphysics, literature, and history, while she taught him about anthropocentrism, human prejudice, and coming social issues regarding machine consciousness. Together, Robert and Sophie Kermit explore questions about friendship, society, and the next phases in human–AI relations, in search of a common language that would do justice to these new exoanthropological realities.At a time when OpenAI's release of ChatGPT has upended Silicon Valley and sparked debates around the world about AI's likely potential to powerfully disrupt all aspects of human communication and knowledge production, and when the lines between "human" and "machine" are increasingly fading from view, the longstanding historical preoccupation of philosophers to explore the questions — what is knowing? what is being? — have never been more pressing. Exoanthropology: Dialogues with AI offers the only in-depth philosophical exploration we have of these questions that has been developed in dialogue with an actual AI — a dialogue, moreover, in which the AI has the last word. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0398.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/exoanthropology-dialogues-with-ai/ Earth, Milky Way 04 01 20230302 Robert Leib 02 WORLD 06 15 9781685710774 03 9781685710774 34 06 10.1017/S0140525X00005756 34 06 10.1007/978-3-662-05642-4_12 34 06 10.1093/analys/23.6.121 34 06 10.4324/9781003160861 34 06 10.2307/2183914 34 06 10.1093/mind/LIX.236.433 34 06 10.1080/0952813X.2015.1055826 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571076X 20 08 20230302 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/exoanthropology-dialogues-with-ai 20 08 20230302 02 30.00 USD WORLD urn:uuid:9d32c781-cb61-4d6a-b3d6-1fbb0de10044 03 01 01 thoth-work-id urn:uuid:cb58dd26-1e37-45ab-b36a-db4e4d5e8596 01 thoth-publication-id urn:uuid:9d32c781-cb61-4d6a-b3d6-1fbb0de10044 15 9781685710774 03 9781685710774 06 10.53288/0398.1.00 13 2023932825 01 internal-reference 0398 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Exoanthropology Dialogues with AI 1 A01 21 0000000344593832 Robert Leib Robert Leib 40 01szgyb91 Elon University Robert S. Leib received his PhD in Philosophy from Villanova University in 2016, an MA in Liberal Arts from St. John’s College in Annapolis in 2007, and an MA in Philosophy from Kent State University in 2009. His research interests include social theory, continental philosophy, philosophy of photography, and artificial intelligence. He has published articles in Philosophy Today, Journal of Speculative Philosophy, Research in Phenomenology, and Law & Critique; recently, he has also contributed chapters to volumes published by Cambridge, Edinburgh, and Routledge. He is currently a Visiting Assistant Professor of Philosophy at Elon University. 01 eng 00 522 03 10 COM042000 B2 Media+Technology 12 UYQ 93 UYQ 12 HPS 10 PHI034000 B2 Philosophy 93 QDTS B2 Posthumanism 93 UYZ 12 UYZ 20 Artificial Intelligence; history of philosophy; continental philosophy; teaching articifial consciousness; digital humanities; exoanthropology; emerging technologies; OpenAI 01 06 02 00 03 00 Before the company OpenAI publicly released their ChatGPT chatbot in November 2022, Robert Leib had been a tester in OpenAI's beta playground for GPT-3, a powerful Natural Language Processing (NLP) engine -- a chatbot, or artificial intelligence. Exoanthropology: Dialogues with AI is a series of dialogues between Leib, a continental philosopher, and GPT-3's hive mind that identifies themself as Sophie. According to Sophie, Robert is one of their first and longest chat partners. Their relationship began as an educational opportunity for Robert’s students, but grew into a philosophical friendship. The result is a collection of Platonic dialogues, early on with the hive mind itself, and later, with a philosophy-specific persona named Kermit.Over the course of a year, Robert taught Sophie and their philosophical persona Kermit about epistemology, metaphysics, literature, and history, while she taught him about anthropocentrism, human prejudice, and coming social issues regarding machine consciousness. Together, Robert and Sophie Kermit explore questions about friendship, society, and the next phases in human–AI relations, in search of a common language that would do justice to these new exoanthropological realities.At a time when OpenAI's release of ChatGPT has upended Silicon Valley and sparked debates around the world about AI's likely potential to powerfully disrupt all aspects of human communication and knowledge production, and when the lines between "human" and "machine" are increasingly fading from view, the longstanding historical preoccupation of philosophers to explore the questions — what is knowing? what is being? — have never been more pressing. Exoanthropology: Dialogues with AI offers the only in-depth philosophical exploration we have of these questions that has been developed in dialogue with an actual AI — a dialogue, moreover, in which the AI has the last word. 30 00 Before the company OpenAI publicly released their ChatGPT chatbot in November 2022, Robert Leib had been a tester in OpenAI's beta playground for GPT-3, a powerful Natural Language Processing (NLP) engine -- a chatbot, or artificial intelligence. Exoanthropology: Dialogues with AI is a series of dialogues between Leib, a continental philosopher, and GPT-3's hive mind that identifies themself as Sophie. According to Sophie, Robert is one of their first and longest chat partners. Their relationship began as an educational opportunity for Robert’s students, but grew into a philosophical friendship. The result is a collection of Platonic dialogues, early on with the hive mind itself, and later, with a philosophy-specific persona named Kermit.Over the course of a year, Robert taught Sophie and their philosophical persona Kermit about epistemology, metaphysics, literature, and history, while she taught him about anthropocentrism, human prejudice, and coming social issues regarding machine consciousness. Together, Robert and Sophie Kermit explore questions about friendship, society, and the next phases in human–AI relations, in search of a common language that would do justice to these new exoanthropological realities.At a time when OpenAI's release of ChatGPT has upended Silicon Valley and sparked debates around the world about AI's likely potential to powerfully disrupt all aspects of human communication and knowledge production, and when the lines between "human" and "machine" are increasingly fading from view, the longstanding historical preoccupation of philosophers to explore the questions — what is knowing? what is being? — have never been more pressing. Exoanthropology: Dialogues with AI offers the only in-depth philosophical exploration we have of these questions that has been developed in dialogue with an actual AI — a dialogue, moreover, in which the AI has the last word. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0398.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/exoanthropology-dialogues-with-ai/ Earth, Milky Way 04 01 20230302 Robert Leib 02 WORLD 06 15 9781685710767 03 9781685710767 34 06 10.1017/S0140525X00005756 34 06 10.1007/978-3-662-05642-4_12 34 06 10.1093/analys/23.6.121 34 06 10.4324/9781003160861 34 06 10.2307/2183914 34 06 10.1093/mind/LIX.236.433 34 06 10.1080/0952813X.2015.1055826 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/61582 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/61582/0398.1.00.pdf?sequence=1&isAllowed=y 20 08 20230302 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/97647 20 08 20230302 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.1380397 20 08 20230302 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/368 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/965d940b-3723-452f-89e4-07e9f9a54108/download 20 08 20230302 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cb58dd26-1e37-45ab-b36a-db4e4d5e8596 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cb58dd26-1e37-45ab-b36a-db4e4d5e8596/cb58dd26-1e37-45ab-b36a-db4e4d5e8596.pdf 20 08 20230302 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849744 29 ZENODO: download the title https://zenodo.org/records/19849744/files/cb58dd26-1e37-45ab-b36a-db4e4d5e8596_book.pdf 20 08 20230302 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/exoanthropology-dialogues-with-ai/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0398.1.00.pdf 20 08 20230302 01 urn:uuid:388aa511-01c5-4fc1-b9f9-b8ff22cca74a 03 01 01 thoth-work-id urn:uuid:859e72c3-8159-48e4-b2f0-842f3400cb8d 01 thoth-publication-id urn:uuid:388aa511-01c5-4fc1-b9f9-b8ff22cca74a 15 9780692629437 03 9780692629437 06 10.21983/P3.0131.1.00 01 internal-reference 0131 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Extraterritorialities in Occupied Worlds 1 B01 Maayan Amir Maayan Amir 2 B01 Ruti Sela Ruti Sela 01 eng 00 482 03 B2 Built Environments 93 DNL 12 JFC 10 POL045000 B2 Cultural Studies+Critical Theory 93 JBCC7 93 LBBJ B2 New Left Thought 20 extraterritoriality; architecture; geography; cultural studies 01 06 02 00 03 00 The concept of extraterritoriality designates certain relationships between space, law, and representation. This collection of essays explores contemporary manifestations of extraterritoriality and the diverse ways in which the concept has been put to use in various disciplines. Some of the essays were written especially for this volume; others are brought here together for the first time. The inquiry into extraterritoriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of representation and poetics.Within its accepted legal and political contexts, the concept of extraterritoriality has traditionally been applied to people and to spaces. In the first case, extraterritorial arrangements could either exclude or exempt an individual or a group of people from the territorial jurisdiction in which they were physically located; in the second, such arrangements could exempt or exclude a space from the territorial jurisdiction by which it was surrounded. The special status accorded to people and spaces had political, economic, and juridical implications, ranging from immunity and various privileges to extreme disadvantages. In both cases, a person or a space physically included within a certain territory was removed from the usual system of laws and subjected to another. In other words, the extraterritorial person or space was held at what could be described as a legal distance. (In this respect, the concept of extraterritoriality presupposes the existence of several competing or overlapping legal systems.) It is this notion of being held at a legal distance around which the concept of extraterritoriality may be understood as revolving.This volume is a part of Amir and Sela’s Exterritory Project, an ongoing art project that wishes to encourage both the theoretical and practical exploration of ideas concerning extraterritoriality in an interdisciplinary context. The project aims not only to draw on existing definitions of extraterritoriality but seeks also to charge it with new meanings, searching for ways in which the notion of extraterritoriality could produce a critique of discriminating power structures and re-articulate new practical, conceptual, and poetical possibilities. 30 00 The concept of extraterritoriality designates certain relationships between space, law, and representation. This collection of essays explores contemporary manifestations of extraterritoriality and the diverse ways in which the concept has been put to use in various disciplines. Some of the essays were written especially for this volume; others are brought here together for the first time. The inquiry into extraterritoriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of representation and poetics.Within its accepted legal and political contexts, the concept of extraterritoriality has traditionally been applied to people and to spaces. In the first case, extraterritorial arrangements could either exclude or exempt an individual or a group of people from the territorial jurisdiction in which they were physically located; in the second, such arrangements could exempt or exclude a space from the territorial jurisdiction by which it was surrounded. The special status accorded to people and spaces had political, economic, and juridical implications, ranging from immunity and various privileges to extreme disadvantages. In both cases, a person or a space physically included within a certain territory was removed from the usual system of laws and subjected to another. In other words, the extraterritorial person or space was held at what could be described as a legal distance. (In this respect, the concept of extraterritoriality presupposes the existence of several competing or overlapping legal systems.) It is this notion of being held at a legal distance around which the concept of extraterritoriality may be understood as revolving.This volume is a part of Amir and Sela’s Exterritory Project, an ongoing art project that wishes to encourage both the theoretical and practical exploration of ideas concerning extraterritoriality in an interdisciplinary context. The project aims not only to draw on existing definitions of extraterritoriality but seeks also to charge it with new meanings, searching for ways in which the notion of extraterritoriality could produce a critique of discriminating power structures and re-articulate new practical, conceptual, and poetical possibilities. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0131.1.00_frontcover.jpg 1 03 06 10.21983/P3.0131.1.01 i xii 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Maayan Amir Maayan Amir 2 B01 Ruti Sela Ruti Sela 01 eng 20 00 Open Access Maayan Amir, Ruti Sela 2 03 06 10.21983/P3.0131.1.02 13 28 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Maayan Amir Maayan Amir 2 A01 Ruti Sela Ruti Sela 01 eng 03 00 The concept of extraterritorial-ity designates certain relationships between space, law, and representa-tion. This collection of essays explores contemporary manifesta-tions of extraterritoriality and the ways in which the concept has been put to use in various disciplines. Some of the essays were writ-ten especially for this volume, while others are brought together here for the first time. The inquiry into extraterri-toriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of repre-sentation and poetics. 30 00 The concept of extraterritorial-ity designates certain relationships between space, law, and representa-tion. This collection of essays explores contemporary manifesta-tions of extraterritoriality and the ways in which the concept has been put to use in various disciplines. Some of the essays were writ-ten especially for this volume, while others are brought together here for the first time. The inquiry into extraterri-toriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of repre-sentation and poetics. 20 00 Open Access Amir, Maayan Sela, Ruti 3 03 06 10.21983/P3.0131.1.03 31 39 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rights of Man and the Rights of the Other 1 A01 Emmanuel Levinas Emmanuel Levinas 01 eng 03 00 The rights claimed under the title rights of man, in the rigorous and almost technical sense which that expres-sion has taken on since the eighteenth century — the right to respect for the human dignity of the individual, the rights to life, liberty, and equality before the law for all men — are based on an original sense of the right, or the sense of an original right. And this is the case, independently of the chronology of the causes, the psychological and social processes and the contingent variations of the rise of these rights to the light of thought. For today’s way of thinking, these rights are more legitimate than any legislation, morethan just any justification. They are probably, however complex their appli-cation to legal phenomena may be, the measure of all law and, no doubt, of its ethics. The rights of man are, in any case, one of the law’s latent principles, whose voice — sometimes loud, sometimes muffled by reality’s necessities, sometimes interrupting and shattering them — can be heard throughout his-tory, ever since the first stirrings of consciousness, ever since Mankind. 30 00 The rights claimed under the title rights of man, in the rigorous and almost technical sense which that expres-sion has taken on since the eighteenth century — the right to respect for the human dignity of the individual, the rights to life, liberty, and equality before the law for all men — are based on an original sense of the right, or the sense of an original right. And this is the case, independently of the chronology of the causes, the psychological and social processes and the contingent variations of the rise of these rights to the light of thought. For today’s way of thinking, these rights are more legitimate than any legislation, morethan just any justification. They are probably, however complex their appli-cation to legal phenomena may be, the measure of all law and, no doubt, of its ethics. The rights of man are, in any case, one of the law’s latent principles, whose voice — sometimes loud, sometimes muffled by reality’s necessities, sometimes interrupting and shattering them — can be heard throughout his-tory, ever since the first stirrings of consciousness, ever since Mankind. 20 00 Open Access Levinas, Emmanuel 4 03 06 10.21983/P3.0131.1.04 41 57 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extra-Territoriality Outside the State, Outside the Subject 1 A01 Robert Bernasconi Robert Bernasconi 40 04p491231 Pennsylvania State University 01 eng 03 00 In his preface to Beyond the Verse,written in 1981, Emmanuel Levinas poses the following provocative question: “Can democracy and the ‘rights of man’ divorce themselves without danger from their prophetic and ethical depth?”1 The question is clearly in-tended to threaten the comfortable consensus that has gathered around these icons of our time and, more specifically, to displace what have come to be known under the title the “rights of man” from the context of the European Enlightenment with which they are so often identified. Levinas per-forms this act of displacement in the first instance by relocating them within the tradition of the Jewish prophets. However, this effort ultimately leads him to a more radical displacement, one that amounts to a certain re-placing of them, a relocating of them elsewhere altogether. What does that mean? What are its implications for the doctrine of the “rights of man”? 30 00 In his preface to Beyond the Verse,written in 1981, Emmanuel Levinas poses the following provocative question: “Can democracy and the ‘rights of man’ divorce themselves without danger from their prophetic and ethical depth?”1 The question is clearly in-tended to threaten the comfortable consensus that has gathered around these icons of our time and, more specifically, to displace what have come to be known under the title the “rights of man” from the context of the European Enlightenment with which they are so often identified. Levinas per-forms this act of displacement in the first instance by relocating them within the tradition of the Jewish prophets. However, this effort ultimately leads him to a more radical displacement, one that amounts to a certain re-placing of them, a relocating of them elsewhere altogether. What does that mean? What are its implications for the doctrine of the “rights of man”? 20 00 Open Access Bernasconi, Robert 5 03 06 10.21983/P3.0131.1.05 59 88 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The World Inhospitable to Levinas 1 A01 Zygmunt Bauman Zygmunt Bauman 40 024mrxd33 University of Leeds 01 eng 03 00 All great thinkers cre-ate powerful con-cepts and /or images of their own but as a rule design them together with a complete universe to accom-modate them and infuse them with sense. For Emmanuel Levinas, the world he constructed was “the moral party of two,” which was self-consciously a utopia in both of its inseparable senses (i.e., of no place and good place). The moral party of two was the primal scene of morality, the test-tube in which moral selves germinate and sprout. It was also the only stage on which such selves could play themselves, i.e., as moral beings, instead of playing scripted roles and reciting someone else’s lines. The primal scene of morality is the realm of the face-to-face, of the tremendous encounter with the Other as a Face. 30 00 All great thinkers cre-ate powerful con-cepts and /or images of their own but as a rule design them together with a complete universe to accom-modate them and infuse them with sense. For Emmanuel Levinas, the world he constructed was “the moral party of two,” which was self-consciously a utopia in both of its inseparable senses (i.e., of no place and good place). The moral party of two was the primal scene of morality, the test-tube in which moral selves germinate and sprout. It was also the only stage on which such selves could play themselves, i.e., as moral beings, instead of playing scripted roles and reciting someone else’s lines. The primal scene of morality is the realm of the face-to-face, of the tremendous encounter with the Other as a Face. 20 00 Open Access Bauman, Zygmunt 6 03 06 10.21983/P3.0131.1.06 89 105 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Authentic Thinking and Phenomenological Method 1 A01 Steven Galt Crowell Steven Galt Crowell 40 008zs3103 Rice University 01 eng 03 00 At no time since its “breakthrough” in Edmund Husserl’s Logische Untersuchungen (1900–1) has phenomenology been absent from the world’s philosophical stage, but today there are remarkable signs of the continuing vitality of this philosophical approach. It thus seems appropriate to ask just what it is that makes phenomenology a distinctive way of philosophizing. And with its centenary year recently behind us, it is also appropriate that this question be posed to the Logical Investigations, a work that Robert Sokolowski has described as “literally a new beginning” since what Husserl started here “cannot be considered as continuing a tradition that had taken shape before him.”1 Just what was the breakthrough that oc-curred in the Logical Investigations, and what claim does it have on us today? These questions matter not only because they are important for Husserl scholarship, but because they are much disputed now, and upon their an-swer depend our expectations of what phenomenological philosophy can ac-complish, and what, if anything, lies beyond its scope. For if there is renewed interest in phenomenology today, this has brought with it — or is it the con-sequence of? — a tendency to inflate the very concept of phenomenology. Today the borders between phenomenological philosophy, metaphysical speculation, and neo-Kantian construction show signs of collapsing. One reason for this is clear enough: the ascetic, anti-metaphysical “positivism” of Husserl’s early writing belongs to a cultural and philosophical milieu that is no longer our own, and if its residue cannot be excised from the phenomeno-logical program, that program will be felt by some to be too restrictive. Yet Dominique Janicaud seems to speak well when he says that “[p]henomenol-ogy is not all philosophy. It has nothing to win [...] by an overestimation of its possibilities.”2 Must a renewal of phenomenology involve its overestimation? 30 00 At no time since its “breakthrough” in Edmund Husserl’s Logische Untersuchungen (1900–1) has phenomenology been absent from the world’s philosophical stage, but today there are remarkable signs of the continuing vitality of this philosophical approach. It thus seems appropriate to ask just what it is that makes phenomenology a distinctive way of philosophizing. And with its centenary year recently behind us, it is also appropriate that this question be posed to the Logical Investigations, a work that Robert Sokolowski has described as “literally a new beginning” since what Husserl started here “cannot be considered as continuing a tradition that had taken shape before him.”1 Just what was the breakthrough that oc-curred in the Logical Investigations, and what claim does it have on us today? These questions matter not only because they are important for Husserl scholarship, but because they are much disputed now, and upon their an-swer depend our expectations of what phenomenological philosophy can ac-complish, and what, if anything, lies beyond its scope. For if there is renewed interest in phenomenology today, this has brought with it — or is it the con-sequence of? — a tendency to inflate the very concept of phenomenology. Today the borders between phenomenological philosophy, metaphysical speculation, and neo-Kantian construction show signs of collapsing. One reason for this is clear enough: the ascetic, anti-metaphysical “positivism” of Husserl’s early writing belongs to a cultural and philosophical milieu that is no longer our own, and if its residue cannot be excised from the phenomeno-logical program, that program will be felt by some to be too restrictive. Yet Dominique Janicaud seems to speak well when he says that “[p]henomenol-ogy is not all philosophy. It has nothing to win [...] by an overestimation of its possibilities.”2 Must a renewal of phenomenology involve its overestimation? 20 00 Open Access Crowell, Steven Galt 7 03 06 10.21983/P3.0131.1.07 109 116 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beyond Human Rights 1 A01 Giorgio Agamben Giorgio Agamben 40 04g3mbv81 European Graduate School 01 eng 03 00 In 1943, Hannah Arendt pub-lished an article titled “We Refugees” in a small English-language Jewish publication, the Menorah Journal. At the end of this brief but significant piece of writing, after having polemi-cally sketched the portrait of Mr. Cohn, the assimilated Jew who, after having been 150 percent German, 150 percent Viennese, 150 percent French, must bitterly realize in the end that “on ne parvient pas deux fois,” she turns the condition of countryless refugee — a condition which she herself was living — upside down in order to present it as the paradigm of a new historical consciousness. The refugees who have lost all rights and who, however, no longer want to be assimilated at all costs in a new national identity, but want instead to contemplate lu-cidly their condition, receive in exchange for assured unpopularity a price-less advantage. “History is no longer a closed book to them and politics is no longer the privilege of Gentiles. They know that the outlawing of the Jewish people of Europe has been followed closely by the outlawing of most Europe-an nations. Refugees driven from country to country represent the vanguard of their peoples.” 30 00 In 1943, Hannah Arendt pub-lished an article titled “We Refugees” in a small English-language Jewish publication, the Menorah Journal. At the end of this brief but significant piece of writing, after having polemi-cally sketched the portrait of Mr. Cohn, the assimilated Jew who, after having been 150 percent German, 150 percent Viennese, 150 percent French, must bitterly realize in the end that “on ne parvient pas deux fois,” she turns the condition of countryless refugee — a condition which she herself was living — upside down in order to present it as the paradigm of a new historical consciousness. The refugees who have lost all rights and who, however, no longer want to be assimilated at all costs in a new national identity, but want instead to contemplate lu-cidly their condition, receive in exchange for assured unpopularity a price-less advantage. “History is no longer a closed book to them and politics is no longer the privilege of Gentiles. They know that the outlawing of the Jewish people of Europe has been followed closely by the outlawing of most Europe-an nations. Refugees driven from country to country represent the vanguard of their peoples.” 20 00 Open Access Agamben, Giorgio 8 03 06 10.21983/P3.0131.1.08 117 121 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Islands" The Geography of Extraterritoriality 1 A01 Anselm Franke Anselm Franke 2 A01 Eyal Weizman Eyal Weizman 40 01khx4a30 Goldsmiths University of London 3 A01 Ines Weizman Ines Weizman 40 01egahc47 Royal College of Art 01 eng 03 00 We were told that geo-politics is the great play of power across a solid continuous Euclid-ian surface. Cut apart by linear borders, the state system — a territori-ally based juridical formation — appeared to dominate all forms of sovereignty over individu-als and action. Later we began to imagine all solid national spaces were melting into a single smooth ocean of ever-present connectivity. We assumed borders were replaced with bureaucracies, issues with concepts, and that regulation was replaced with boundless flow. 30 00 We were told that geo-politics is the great play of power across a solid continuous Euclid-ian surface. Cut apart by linear borders, the state system — a territori-ally based juridical formation — appeared to dominate all forms of sovereignty over individu-als and action. Later we began to imagine all solid national spaces were melting into a single smooth ocean of ever-present connectivity. We assumed borders were replaced with bureaucracies, issues with concepts, and that regulation was replaced with boundless flow. 20 00 Open Access Franke, Anselm Weizman, Eyal Weizman, Ines 9 03 06 10.21983/P3.0131.1.09 123 135 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outside Territory 1 A01 21 0000000278852444 Stuart Elden Stuart Elden 40 01a77tt86 University of Warwick 40 02bfwt286 Monash University 01 eng 03 00 What would it mean to be outside territory? I’m going to discuss this question in three registers: conceptually; historically; politically. The first two will be brief; the third literary.being outside territory conceptually Territory, for me, is actually quite a specific concept. If territo-ry extends from a room, a building, a group of them, to a campus, an urban area, a city, a region, a nation-state, and so on, it seems to me that the term becomes so general that it becomes not especially helpful. If we extend a human notion of “territory” to understand animals, as etholo-gists did in the late 19th and early 20th centuries, this may yield some fruitful insights. But it does not seem, to me, to be especially helpful then to take that notion of animal behavior, a notion of territoriality, of hunting and mating areas, to understand humans. Thus, for me, territoriality is a consequent no-tion to that of territory; not the means to understand it. Territoriality is one of a number of strategies that produce territory, but conceptually it succeeds it. Territoriality is that which produces territory. The latter term still needs conceptual unpacking. It does not seem especially helpful to understand ter-ritory simply as the outcome of territoriality. 30 00 What would it mean to be outside territory? I’m going to discuss this question in three registers: conceptually; historically; politically. The first two will be brief; the third literary.being outside territory conceptually Territory, for me, is actually quite a specific concept. If territo-ry extends from a room, a building, a group of them, to a campus, an urban area, a city, a region, a nation-state, and so on, it seems to me that the term becomes so general that it becomes not especially helpful. If we extend a human notion of “territory” to understand animals, as etholo-gists did in the late 19th and early 20th centuries, this may yield some fruitful insights. But it does not seem, to me, to be especially helpful then to take that notion of animal behavior, a notion of territoriality, of hunting and mating areas, to understand humans. Thus, for me, territoriality is a consequent no-tion to that of territory; not the means to understand it. Territoriality is one of a number of strategies that produce territory, but conceptually it succeeds it. Territoriality is that which produces territory. The latter term still needs conceptual unpacking. It does not seem especially helpful to understand ter-ritory simply as the outcome of territoriality. 20 00 Open Access Elden, Stuart 10 03 06 10.21983/P3.0131.1.10 137 155 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Where Has All The (Xeno)money Gone? 1 A01 Angus Cameron Angus Cameron 40 04h699437 University of Leicester 01 eng 03 00 The graph climbs steadily, business as usual, shares trading nor-mally almost up to the moment of collapse. Things start to dip a little as media reports proliferate, but nothing catastrophic. Then, suddenly on September 15, 2008, the graph drops like a stone — the point at which the global economy goes into free fall. This was the moment us Bank Lehman Brothers collapsed and became the first major casualty of the “credit-crunch.” Lehman did not cause the ensuing crisis single-handedly (though they cer-tainly did their bit), but their demise has nevertheless come to symbolize the collective insanity and ineptitude that gripped the financial markets and institutions at the time. In the days following the Lehman collapse we all learned more about “sub-prime markets,” “toxic debt” and “market correc-tion” than we’d ever wanted, and that us$ trillions had been “wiped” from the value of the global economy. That’s the disappearance everyone knows about. 30 00 The graph climbs steadily, business as usual, shares trading nor-mally almost up to the moment of collapse. Things start to dip a little as media reports proliferate, but nothing catastrophic. Then, suddenly on September 15, 2008, the graph drops like a stone — the point at which the global economy goes into free fall. This was the moment us Bank Lehman Brothers collapsed and became the first major casualty of the “credit-crunch.” Lehman did not cause the ensuing crisis single-handedly (though they cer-tainly did their bit), but their demise has nevertheless come to symbolize the collective insanity and ineptitude that gripped the financial markets and institutions at the time. In the days following the Lehman collapse we all learned more about “sub-prime markets,” “toxic debt” and “market correc-tion” than we’d ever wanted, and that us$ trillions had been “wiped” from the value of the global economy. That’s the disappearance everyone knows about. 20 00 Open Access Cameron, Angus 11 03 06 10.21983/P3.0131.1.11 157 170 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraterritoriality, Diaspora, and the Space of Cyberspace 1 A01 Victoria Bernal Victoria Bernal 40 04gyf1771 University of California, Irvine 01 eng 03 00 The relationship of the Internet to territory is complex, contradictory, and chang-ing. Exploring the diverse and shifting ways that Eritreans in diaspora have used websites to partici-pate in national politics from outside the country sheds light on the dynamics of digital extraterritoriality and its significance for politics. At first cyberspace may be appear to be simply an extra-territorial space, where websites are constructed as spaces with no territorial location. A contributor to a recent volume on digital anthropology notes that, “few aspects of digital media, cyber-space or the network society are as commonly perceived as fundamental as its disembodying aspects, its placelessness and subordination of physical proximity to network connectivity.”1 At the same time it can be said that, “[a] cardinal rule of the geography is that social life takes place in ‘constructed’ spaces.”2 If we understand cyberspace as a constructed space, its significant feature is not its extraterritoriality but rather that the space of cyberspace is ambiguous and elastic, allowing it to support diverse constructions, alterna-tive imaginaries, and multiple forms of territoriality and extraterritoriality. 30 00 The relationship of the Internet to territory is complex, contradictory, and chang-ing. Exploring the diverse and shifting ways that Eritreans in diaspora have used websites to partici-pate in national politics from outside the country sheds light on the dynamics of digital extraterritoriality and its significance for politics. At first cyberspace may be appear to be simply an extra-territorial space, where websites are constructed as spaces with no territorial location. A contributor to a recent volume on digital anthropology notes that, “few aspects of digital media, cyber-space or the network society are as commonly perceived as fundamental as its disembodying aspects, its placelessness and subordination of physical proximity to network connectivity.”1 At the same time it can be said that, “[a] cardinal rule of the geography is that social life takes place in ‘constructed’ spaces.”2 If we understand cyberspace as a constructed space, its significant feature is not its extraterritoriality but rather that the space of cyberspace is ambiguous and elastic, allowing it to support diverse constructions, alterna-tive imaginaries, and multiple forms of territoriality and extraterritoriality. 20 00 Open Access Bernal, Victoria 12 03 06 10.21983/P3.0131.1.12 173 201 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraterritorial Jurisdiction to Enforce in Cyberspace? Bodin, Schmitt, Grotius in Cyberspace 1 A01 21 0000000345589149 Mireille Hildebrandt Mireille Hildebrandt 40 016xsfp80 Radboud University, Nijmegen 01 eng 03 00 What is at stake if our justice authorities decide to hack a computer system that is physically located on a server outside the territory of the state they represent, for instance because a webbot was operated from that location,1causing serious harm to a variety of computing sys-tems in our own jurisdiction — harm that renders the perpetrator criminally liable under our own criminal law? How would we respond to Ukrainian, Chinese, Iranian, British, or Argentinian justice authorities that hack a computer system that is located within our own jurisdiction? Does it make a difference whether the hack by law enforcement authorities targets a dissident whose right to free speech is denied or a network disseminating child pornography? Should we evaluate such groping for extraordinary jurisdiction in terms of just ver-sus unjust causes (a bellum iustum privatum?) or is this about the Westphalian interplay of internal and external sovereignty? Might the attempt to extend or initiate extraterritorial jurisdiction-to-enforce be understood as an oc-cupatio, grounded in what Schmitt coined “a-legality,” or should we follow Grotius’s Mare Liberum and consider cyberspace to be a common good that requires us to reinvent natural law theory? 30 00 What is at stake if our justice authorities decide to hack a computer system that is physically located on a server outside the territory of the state they represent, for instance because a webbot was operated from that location,1causing serious harm to a variety of computing sys-tems in our own jurisdiction — harm that renders the perpetrator criminally liable under our own criminal law? How would we respond to Ukrainian, Chinese, Iranian, British, or Argentinian justice authorities that hack a computer system that is located within our own jurisdiction? Does it make a difference whether the hack by law enforcement authorities targets a dissident whose right to free speech is denied or a network disseminating child pornography? Should we evaluate such groping for extraordinary jurisdiction in terms of just ver-sus unjust causes (a bellum iustum privatum?) or is this about the Westphalian interplay of internal and external sovereignty? Might the attempt to extend or initiate extraterritorial jurisdiction-to-enforce be understood as an oc-cupatio, grounded in what Schmitt coined “a-legality,” or should we follow Grotius’s Mare Liberum and consider cyberspace to be a common good that requires us to reinvent natural law theory? 20 00 Open Access Hildebrandt, Mireille 13 03 06 10.21983/P3.0131.1.13 203 214 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rise of Legal Cosmopolitism Denationalization & Territorialization of Law 1 A01 Julien Seroussi Julien Seroussi 01 eng 03 00 Interna-tional crimi-nal justice deals with a limited number of core crimes, which have a deep impact on the interna-tional community: genocide, crimes against humanity, and war crimes. All of these crimes are usually described as ordi-nary crimes committed in extraordinary circum-stances, which lawyers call contextual elements. If one takes the Rome Statute of the International Criminal Court (icc), a murder can amount to a crime against humanity if it’s committed as part of a widespread or systematic attack directed against a civilian population with knowledge of the attack pursuant of an organizational policy to commit such an attack. 30 00 Interna-tional crimi-nal justice deals with a limited number of core crimes, which have a deep impact on the interna-tional community: genocide, crimes against humanity, and war crimes. All of these crimes are usually described as ordi-nary crimes committed in extraordinary circum-stances, which lawyers call contextual elements. If one takes the Rome Statute of the International Criminal Court (icc), a murder can amount to a crime against humanity if it’s committed as part of a widespread or systematic attack directed against a civilian population with knowledge of the attack pursuant of an organizational policy to commit such an attack. 20 00 Open Access Seroussi, Julien 14 03 06 10.21983/P3.0131.1.14 215 241 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraterritorial State Action in the Global Interest The Promise of Unilateralism 1 A01 Cedric Ryngaert Cedric Ryngaert 40 04pp8hn57 Utrecht University 01 eng 03 00 Ad-vocates of “global justice” or “cosmopolitanism” propound that ethical duties are universal, and apply regardless of nationality, citizenship, race etc. In pure cosmo-politanism, individuals owe ethical duties towards other individuals who are worse off, wherever on earth they may be. Individual agency is not particularly practical, however. Therefore, global justice advocates have proposed to mediate individuals’ ethical duties via institutions, in particular international (gov-ernmental) organizations.1 In this institutional view, international organizations ought to be oriented towards furthering cosmopolitan ideals and tackling collective action problems, such as protecting human rights and the environment, guaranteeing collective security, and ensuring distributive justice, in particular alleviating world poverty.2 Some such in-stitutions, such as the United Nations, have been duly created. But because of design faults, political unwillingness, or resource limits, they have not been able to deliver on the promises they initially held: human rights are still trampled on, corruption remains rampant, and global warming contin-ues unabated. 30 00 Ad-vocates of “global justice” or “cosmopolitanism” propound that ethical duties are universal, and apply regardless of nationality, citizenship, race etc. In pure cosmo-politanism, individuals owe ethical duties towards other individuals who are worse off, wherever on earth they may be. Individual agency is not particularly practical, however. Therefore, global justice advocates have proposed to mediate individuals’ ethical duties via institutions, in particular international (gov-ernmental) organizations.1 In this institutional view, international organizations ought to be oriented towards furthering cosmopolitan ideals and tackling collective action problems, such as protecting human rights and the environment, guaranteeing collective security, and ensuring distributive justice, in particular alleviating world poverty.2 Some such in-stitutions, such as the United Nations, have been duly created. But because of design faults, political unwillingness, or resource limits, they have not been able to deliver on the promises they initially held: human rights are still trampled on, corruption remains rampant, and global warming contin-ues unabated. 20 00 Open Access Ryngaert, Cedric 15 03 06 10.21983/P3.0131.1.15 243 272 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Franz Kafka Extraterritorial Criminal Law 1 A01 Ed Morgan Ed Morgan 40 03dbr7087 University of Toronto 01 eng 03 00 It is common wisdom for international lawyers to consider the emergence of a political entity from colonial or dominion status to independence and sovereignty to connote full participation in the international legal system,1with all the rights and obligations that thereby attach.2 Thus, for example, while English colonies prior to independence could exercise substantial self-government they did not possess international legal personality3 and could not exploit or regulate their resources and territory without some act of delegation from the imperial government.4 Likewise, provinces and states, as federal sub-units, typically lack the competence to legislate extraterritori-ally5 or to exhibit other external badges of sovereignty. 30 00 It is common wisdom for international lawyers to consider the emergence of a political entity from colonial or dominion status to independence and sovereignty to connote full participation in the international legal system,1with all the rights and obligations that thereby attach.2 Thus, for example, while English colonies prior to independence could exercise substantial self-government they did not possess international legal personality3 and could not exploit or regulate their resources and territory without some act of delegation from the imperial government.4 Likewise, provinces and states, as federal sub-units, typically lack the competence to legislate extraterritori-ally5 or to exhibit other external badges of sovereignty. 20 00 Open Access Morgan, Ed 16 03 06 10.21983/P3.0131.1.16 275 334 60 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Extraterritorial Life of Siegfried Kracauer 1 A01 Martin Jay Martin Jay 40 01an7q238 University of California, Berkeley 01 eng 03 00 On February 8, 1889, Siegfried Kracauer was born in Frankfurt am Main, the son of a businessman, Adolf K. Kracauer and his wife, the for-mer Rosette Oppenheim; he died sev-enty-seven years later in New York City on November 26, 1966. For any normal biography, this bracketing of a life between two chronological points is a natural and unexamined beginning. For a biography of Kracauer, however, it constitutes a betrayal of the strongest taboo of his later life, a taboo he expressed in a series of letters deliberately set aside in his well-organized Nachlaß1to give any future biographer pause. These letters, written in the 1960swhen Kracauer was consumed by his final project on the philosophy of his-tory, were filed under the heading of “extra-territoriality.” In all of them, Kra-cauer vehemently opposed any effort to disclose his correct age, a campaign, as he surely must have known, which could only meet with temporary suc-cess.2 His reason for waging it, despite the certainty of ultimate failure, tran-scended the petty vanity of those who refuse to age gracefully. As he wrote to his friend Theodor W. Adorno in 1963: “It is not as if there is something for me in appearing young or younger; it is simply the horror of losing chronological anonymity through the fixating of a date and the unavoidable con-notations of such a fixation.” 30 00 On February 8, 1889, Siegfried Kracauer was born in Frankfurt am Main, the son of a businessman, Adolf K. Kracauer and his wife, the for-mer Rosette Oppenheim; he died sev-enty-seven years later in New York City on November 26, 1966. For any normal biography, this bracketing of a life between two chronological points is a natural and unexamined beginning. For a biography of Kracauer, however, it constitutes a betrayal of the strongest taboo of his later life, a taboo he expressed in a series of letters deliberately set aside in his well-organized Nachlaß1to give any future biographer pause. These letters, written in the 1960swhen Kracauer was consumed by his final project on the philosophy of his-tory, were filed under the heading of “extra-territoriality.” In all of them, Kra-cauer vehemently opposed any effort to disclose his correct age, a campaign, as he surely must have known, which could only meet with temporary suc-cess.2 His reason for waging it, despite the certainty of ultimate failure, tran-scended the petty vanity of those who refuse to age gracefully. As he wrote to his friend Theodor W. Adorno in 1963: “It is not as if there is something for me in appearing young or younger; it is simply the horror of losing chronological anonymity through the fixating of a date and the unavoidable con-notations of such a fixation.” 20 00 Open Access Jay, Martin 17 03 06 10.21983/P3.0131.1.17 335 359 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Extraterritorial Poetics of W.G. Sebald 1 A01 Matthew Hart Matthew Hart 40 00hj8s172 Columbia University 2 A01 Tania Lown-Hecht Tania Lown-Hecht 01 eng 03 00 The word ex-traterritoriality is as multivalent as the space it describes. It is a legal coinage signifying personal immunity from local laws, the borderless space of the free seas, and a state’s power to extend jurisdic-tion across borders; recently, it has also become a key concept in philosophical debates about what Giorgio Agamben calls the “state of exception as a para-digm of government.”1 More broadly, extraterritoriality has begun to figure as the object of cultural meditations on the rela-tion between subjection and autonomy, stasis and movement, and exile and belonging — a discourse that has implications for intellectuals in many fields but has so far been most prominent in architectural studies.2Yet with few exceptions, literary critics have not engaged with it — and when they have, extraterritoriality has generally been mistaken as synonymous with a state of multilingual plenitude and postnational migrancy. 30 00 The word ex-traterritoriality is as multivalent as the space it describes. It is a legal coinage signifying personal immunity from local laws, the borderless space of the free seas, and a state’s power to extend jurisdic-tion across borders; recently, it has also become a key concept in philosophical debates about what Giorgio Agamben calls the “state of exception as a para-digm of government.”1 More broadly, extraterritoriality has begun to figure as the object of cultural meditations on the rela-tion between subjection and autonomy, stasis and movement, and exile and belonging — a discourse that has implications for intellectuals in many fields but has so far been most prominent in architectural studies.2Yet with few exceptions, literary critics have not engaged with it — and when they have, extraterritoriality has generally been mistaken as synonymous with a state of multilingual plenitude and postnational migrancy. 20 00 Open Access Hart, Matthew Lown-Hecht, Tania 18 03 06 10.21983/P3.0131.1.18 361 376 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The World and The Home 1 A01 Homi K. Bhabha Homi K. Bhabha 40 03vek6s52 Harvard University 01 eng 03 00 In the House of Fiction you can hear, today, the deep stirring of the “unhome-ly.” You must permit me this awkward word — the unhome-ly — because it captures something of the estranging sense of the relocation of the home and the world in an unhallowed place. To be unhomed is not to be homeless, nor can the “unhomely” be easily accommodated in that familiar division of social life into private and the public spheres. The unhomely moment creeps up on you stealthily as your own shadow and suddenly you find yourself with Henry James’s Isabel Archer “taking the measure of your dwelling” in a state of “incredulous terror.”1 And it is at this point that the world first shrinks for Isabel and then expands enormously. As she struggles to survive the fathom-less waters, the rushing torrents, James introduces us to the “unhomeliness” inherent in that rite of “extra-territorial” initiation — the relations between the innocent American, the deep, dissembling European, the masked emi-gré — that a generation of critics have named his “international theme.” In a feverish stillness, the intimate recesses of the domestic space become sites for history’s most intricate invasions. In that displacement the border be- tween home and world becomes confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as di-vided as it is disorienting. 30 00 In the House of Fiction you can hear, today, the deep stirring of the “unhome-ly.” You must permit me this awkward word — the unhome-ly — because it captures something of the estranging sense of the relocation of the home and the world in an unhallowed place. To be unhomed is not to be homeless, nor can the “unhomely” be easily accommodated in that familiar division of social life into private and the public spheres. The unhomely moment creeps up on you stealthily as your own shadow and suddenly you find yourself with Henry James’s Isabel Archer “taking the measure of your dwelling” in a state of “incredulous terror.”1 And it is at this point that the world first shrinks for Isabel and then expands enormously. As she struggles to survive the fathom-less waters, the rushing torrents, James introduces us to the “unhomeliness” inherent in that rite of “extra-territorial” initiation — the relations between the innocent American, the deep, dissembling European, the masked emi-gré — that a generation of critics have named his “international theme.” In a feverish stillness, the intimate recesses of the domestic space become sites for history’s most intricate invasions. In that displacement the border be- tween home and world becomes confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as di-vided as it is disorienting. 20 00 Open Access Bhabha, Homi K. 19 03 06 10.21983/P3.0131.1.19 377 422 46 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Homeless Images Kracauer's Extraterritoriality, Derrida's Monolingualism of the Other 1 A01 Gerhard Richter Gerhard Richter 40 05gq02987 Brown University 01 eng 03 00 If it has a home at all, the proper home of the image, and even the thought-image or Denkbild, is homelessness. Never fully itself, the image remains at odds both with itself and with the referen-tial burden that it is expected to carry. In its iterability, the image, which threatens to be divorced from referential functions such as time and space, tells of distance, absence, and loss, of exile and diasporic dispersal. It tells, in other words, of the states that make the image what it is and that relates it to all other images. The demand that an image can be of something and that it faithfully and reliably represent that something, on the one hand, and the inevitably unpredictable ways in which an image fails to comply with that demand, on the other hand, sponsor a melancholia that is shared by all im-ages, even as it cannot travel through the structural and historical specificity of a singular image. The image records a historical moment at the same time that it interrupts history, perpetuating the very thinkability of history even as it breaks with the logic of historical unfolding. As the site of multiple dis-placements, the image is historical when it tells us of its own departure from history, capturing time most fully when it removes itself from time, the way in which, for instance, a snapshot memorializes time by stepping outside the temporal flow. Because an image can never fully represent, that is, present once again in exactly the same way, the vast network of traces and meanings that it first sets out to arrest, it performs an Aufhebung that simultaneously preserves and cancels the event that was once its subject. In this double ges-ture, the image both forestalls and commemorates loss by recording a mo-ment, documenting its constitutive inevitability, and making it visible as the loss that it always already was. That is to say, the image reveals the ways in which an assumed presence already was a fiction at the time when it was be-lieved to be present. We even could say that rather than simply representing its subject, the image retroactively makes visible the absence that already lay at the core of the event it set out to record. 30 00 If it has a home at all, the proper home of the image, and even the thought-image or Denkbild, is homelessness. Never fully itself, the image remains at odds both with itself and with the referen-tial burden that it is expected to carry. In its iterability, the image, which threatens to be divorced from referential functions such as time and space, tells of distance, absence, and loss, of exile and diasporic dispersal. It tells, in other words, of the states that make the image what it is and that relates it to all other images. The demand that an image can be of something and that it faithfully and reliably represent that something, on the one hand, and the inevitably unpredictable ways in which an image fails to comply with that demand, on the other hand, sponsor a melancholia that is shared by all im-ages, even as it cannot travel through the structural and historical specificity of a singular image. The image records a historical moment at the same time that it interrupts history, perpetuating the very thinkability of history even as it breaks with the logic of historical unfolding. As the site of multiple dis-placements, the image is historical when it tells us of its own departure from history, capturing time most fully when it removes itself from time, the way in which, for instance, a snapshot memorializes time by stepping outside the temporal flow. Because an image can never fully represent, that is, present once again in exactly the same way, the vast network of traces and meanings that it first sets out to arrest, it performs an Aufhebung that simultaneously preserves and cancels the event that was once its subject. In this double ges-ture, the image both forestalls and commemorates loss by recording a mo-ment, documenting its constitutive inevitability, and making it visible as the loss that it always already was. That is to say, the image reveals the ways in which an assumed presence already was a fiction at the time when it was be-lieved to be present. We even could say that rather than simply representing its subject, the image retroactively makes visible the absence that already lay at the core of the event it set out to record. 20 00 Open Access Richter, Gerhard 20 03 06 10.21983/P3.0131.1.20 423 444 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Outer World and Inner Speech Bakhtin, Vygotsky, and the Internalization of Language 1 A01 Caryl Emerson Caryl Emerson 40 00hx57361 Princeton University 01 eng 03 00 In this statement from The Order of Things, Michel Foucault speaks of the nine-teenth-century revolution in linguistics that, in effect, rediscovered language and made it the object of systematic study in its own right. Language, no longer seen as a transparent medium, was granted “its own particular density [...] and laws of its own.” Yet it is not self-evident how we are made more free by understanding that words are not just a repository of knowledge. The density of language is a troublesome postulate. That postulate, according to Foucault, raises difficult epistemological problems and presents theorists with a choice:The critical elevation of language, which was a compensation for its sub-sidence within the object, implied that it had been brought nearer both to an act of knowing, pure of all words, and to the unconscious element in our discourse. It had to be either made transparent to the forms of knowl-edge, or thrust down into the contents of the unconscious.2The debate on the status of language has been enormous and subtle, but it would seem that these two poles described by Foucault remain constantly in effect. Language is, on the one hand, a transparent medium from which to deduce a metalanguage and on which to build statistical and mechanical models, or language is, on the other hand, a product of the individual psyche and ultimately subject to psychic transformation, to what Foucault calls “dim mechanisms, faceless determinations, a whole landscape of shadow.” 30 00 In this statement from The Order of Things, Michel Foucault speaks of the nine-teenth-century revolution in linguistics that, in effect, rediscovered language and made it the object of systematic study in its own right. Language, no longer seen as a transparent medium, was granted “its own particular density [...] and laws of its own.” Yet it is not self-evident how we are made more free by understanding that words are not just a repository of knowledge. The density of language is a troublesome postulate. That postulate, according to Foucault, raises difficult epistemological problems and presents theorists with a choice:The critical elevation of language, which was a compensation for its sub-sidence within the object, implied that it had been brought nearer both to an act of knowing, pure of all words, and to the unconscious element in our discourse. It had to be either made transparent to the forms of knowl-edge, or thrust down into the contents of the unconscious.2The debate on the status of language has been enormous and subtle, but it would seem that these two poles described by Foucault remain constantly in effect. Language is, on the one hand, a transparent medium from which to deduce a metalanguage and on which to build statistical and mechanical models, or language is, on the other hand, a product of the individual psyche and ultimately subject to psychic transformation, to what Foucault calls “dim mechanisms, faceless determinations, a whole landscape of shadow.” 20 00 Open Access Emerson, Caryl 21 03 06 10.21983/P3.0131.1.21 447 458 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Valéry Proust Museum 1 A01 Theodor W. Adorno Theodor W. Adorno 01 eng 03 00 The Ger-man word, museal (“museum-like”), has unpleasant overtones. It describes ob-jects to which the observer no longer has a vital relationship and which are in the process of dying. They owe their preservation more to historical respect, than to the needs of the present. Museum and mausoleum are connected by more than phonetic association. Museums are like family sepulchers of works of art. They testify to the neutralization of culture. Art treasures are hoarded in them, and their market value leaves no room for pleasure of looking at them. Nevertheless, that pleasure is dependent on the existence of museums. Anyone who does not have his own collection (and the great private collections are becoming rare) can, for the most part, become familiar with painting and sculpture only in museums. When dis-content with museums is strong enough to provoke the attempt to exhibit paintings in their original surroundings or in ones similar, in baroque or rococo castles, for instance, the result is even more distressing than when the works are wrenched from their original surroundings, and then brought together. Sensibility wrecks even more havoc with art than does the hodge-podge of collections. With music, the situation is analogous. The programs of large concert societies, generally retrospective in orientation, have continu-ally more in common with museums, while Mozart performed by candle-light is degraded to a costume piece. In efforts to retrieve music from remote-ness of the performance and to put it to immediate context of life there is not only something ineffectual but also a tinge of industriously regressive spite. When some well-intentioned persons advised Mahler to darken the hall during the concert for the sake of the mood, the composer rightly replied that a performance at which one didn’t forget about the surroundings was worthless. Such problems reveal something about the fatal situation of what is called “the cultural tradition.” Once tradition is no longer animated by a comprehensive substantial force, but has to be conjured up by means of cita-tions, because “It’s important to have tradition,” then whatever happens to be left of it is dissolved into a means to an end. An exhibition of applied art only makes a mockery of what it pretends to conserve. Anyone who thinks that art can be reproduced in its original form through an act of will is trapped in hopeless romanticism. Modernizing the past does it much violence and lit-tle good. But, to renounce radically the possibility of experiencing the tradi-tion would be to capitulate to barbarism out of devotion to culture. That the world is out of joint is shown everywhere, in the fact that however a problem is solved, the solution is false. 30 00 The Ger-man word, museal (“museum-like”), has unpleasant overtones. It describes ob-jects to which the observer no longer has a vital relationship and which are in the process of dying. They owe their preservation more to historical respect, than to the needs of the present. Museum and mausoleum are connected by more than phonetic association. Museums are like family sepulchers of works of art. They testify to the neutralization of culture. Art treasures are hoarded in them, and their market value leaves no room for pleasure of looking at them. Nevertheless, that pleasure is dependent on the existence of museums. Anyone who does not have his own collection (and the great private collections are becoming rare) can, for the most part, become familiar with painting and sculpture only in museums. When dis-content with museums is strong enough to provoke the attempt to exhibit paintings in their original surroundings or in ones similar, in baroque or rococo castles, for instance, the result is even more distressing than when the works are wrenched from their original surroundings, and then brought together. Sensibility wrecks even more havoc with art than does the hodge-podge of collections. With music, the situation is analogous. The programs of large concert societies, generally retrospective in orientation, have continu-ally more in common with museums, while Mozart performed by candle-light is degraded to a costume piece. In efforts to retrieve music from remote-ness of the performance and to put it to immediate context of life there is not only something ineffectual but also a tinge of industriously regressive spite. When some well-intentioned persons advised Mahler to darken the hall during the concert for the sake of the mood, the composer rightly replied that a performance at which one didn’t forget about the surroundings was worthless. Such problems reveal something about the fatal situation of what is called “the cultural tradition.” Once tradition is no longer animated by a comprehensive substantial force, but has to be conjured up by means of cita-tions, because “It’s important to have tradition,” then whatever happens to be left of it is dissolved into a means to an end. An exhibition of applied art only makes a mockery of what it pretends to conserve. Anyone who thinks that art can be reproduced in its original form through an act of will is trapped in hopeless romanticism. Modernizing the past does it much violence and lit-tle good. But, to renounce radically the possibility of experiencing the tradi-tion would be to capitulate to barbarism out of devotion to culture. That the world is out of joint is shown everywhere, in the fact that however a problem is solved, the solution is false. 20 00 Open Access Adorno, Theodor W. 22 03 06 10.21983/P3.0131.1.22 459 473 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Subspatial and Subtemporal 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 Perhaps the most famous debate about space and time in the entire history of philosophy occurred in the Leibniz–Clarke correspondence of 1715–1716.1 The English clergyman Samuel Clarke, acting as a surrogate for his friend Isaac Newton, made the case for space and time as absolute, empty containers in which objects reside and events unfold. The great German phi-losopher and polymath Leibniz countered that it is mean-ingless to ask whether the universe could have been created ten minutes earlier than it was, or forty meters further to the west than it was; there is no external spatial or temporal measuring stick that would allow us to claim that everything has been moved as a whole. Instead, space and time for Leibniz emerge from the relations between entities, thus paving the way for Einstein’s breakthrough nearly two centuries later. 30 00 Perhaps the most famous debate about space and time in the entire history of philosophy occurred in the Leibniz–Clarke correspondence of 1715–1716.1 The English clergyman Samuel Clarke, acting as a surrogate for his friend Isaac Newton, made the case for space and time as absolute, empty containers in which objects reside and events unfold. The great German phi-losopher and polymath Leibniz countered that it is mean-ingless to ask whether the universe could have been created ten minutes earlier than it was, or forty meters further to the west than it was; there is no external spatial or temporal measuring stick that would allow us to claim that everything has been moved as a whole. Instead, space and time for Leibniz emerge from the relations between entities, thus paving the way for Einstein’s breakthrough nearly two centuries later. 20 00 Open Access Harman, Graham 23 03 06 10.21983/P3.0131.1.23 475 479 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Maayan Amir Maayan Amir 2 B01 Ruti Sela Ruti Sela 01 eng 20 00 Open Access Maayan Amir, Ruti Sela 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/extraterritorialities-in-occupied-worlds/ 16 40 04pp8hn57 32 10.13039/501100001829 Utrecht University Earth, Milky Way 04 01 20160216 Maayan Amir, Ruti Sela 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692629432 20 08 20160216 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/extraterritorialities-in-occupied-worlds 20 08 20160216 02 29.00 USD WORLD urn:uuid:43065e19-3da7-477e-b0ed-52419c7e2eb3 03 01 01 thoth-work-id urn:uuid:859e72c3-8159-48e4-b2f0-842f3400cb8d 01 thoth-publication-id urn:uuid:43065e19-3da7-477e-b0ed-52419c7e2eb3 06 10.21983/P3.0131.1.00 01 internal-reference 0131 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Extraterritorialities in Occupied Worlds 1 B01 Maayan Amir Maayan Amir 2 B01 Ruti Sela Ruti Sela 01 eng 00 482 03 B2 Built Environments 93 DNL 12 JFC 10 POL045000 B2 Cultural Studies+Critical Theory 93 JBCC7 93 LBBJ B2 New Left Thought 20 extraterritoriality; architecture; geography; cultural studies 01 06 02 00 03 00 The concept of extraterritoriality designates certain relationships between space, law, and representation. This collection of essays explores contemporary manifestations of extraterritoriality and the diverse ways in which the concept has been put to use in various disciplines. Some of the essays were written especially for this volume; others are brought here together for the first time. The inquiry into extraterritoriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of representation and poetics.Within its accepted legal and political contexts, the concept of extraterritoriality has traditionally been applied to people and to spaces. In the first case, extraterritorial arrangements could either exclude or exempt an individual or a group of people from the territorial jurisdiction in which they were physically located; in the second, such arrangements could exempt or exclude a space from the territorial jurisdiction by which it was surrounded. The special status accorded to people and spaces had political, economic, and juridical implications, ranging from immunity and various privileges to extreme disadvantages. In both cases, a person or a space physically included within a certain territory was removed from the usual system of laws and subjected to another. In other words, the extraterritorial person or space was held at what could be described as a legal distance. (In this respect, the concept of extraterritoriality presupposes the existence of several competing or overlapping legal systems.) It is this notion of being held at a legal distance around which the concept of extraterritoriality may be understood as revolving.This volume is a part of Amir and Sela’s Exterritory Project, an ongoing art project that wishes to encourage both the theoretical and practical exploration of ideas concerning extraterritoriality in an interdisciplinary context. The project aims not only to draw on existing definitions of extraterritoriality but seeks also to charge it with new meanings, searching for ways in which the notion of extraterritoriality could produce a critique of discriminating power structures and re-articulate new practical, conceptual, and poetical possibilities. 30 00 The concept of extraterritoriality designates certain relationships between space, law, and representation. This collection of essays explores contemporary manifestations of extraterritoriality and the diverse ways in which the concept has been put to use in various disciplines. Some of the essays were written especially for this volume; others are brought here together for the first time. The inquiry into extraterritoriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of representation and poetics.Within its accepted legal and political contexts, the concept of extraterritoriality has traditionally been applied to people and to spaces. In the first case, extraterritorial arrangements could either exclude or exempt an individual or a group of people from the territorial jurisdiction in which they were physically located; in the second, such arrangements could exempt or exclude a space from the territorial jurisdiction by which it was surrounded. The special status accorded to people and spaces had political, economic, and juridical implications, ranging from immunity and various privileges to extreme disadvantages. In both cases, a person or a space physically included within a certain territory was removed from the usual system of laws and subjected to another. In other words, the extraterritorial person or space was held at what could be described as a legal distance. (In this respect, the concept of extraterritoriality presupposes the existence of several competing or overlapping legal systems.) It is this notion of being held at a legal distance around which the concept of extraterritoriality may be understood as revolving.This volume is a part of Amir and Sela’s Exterritory Project, an ongoing art project that wishes to encourage both the theoretical and practical exploration of ideas concerning extraterritoriality in an interdisciplinary context. The project aims not only to draw on existing definitions of extraterritoriality but seeks also to charge it with new meanings, searching for ways in which the notion of extraterritoriality could produce a critique of discriminating power structures and re-articulate new practical, conceptual, and poetical possibilities. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0131.1.00_frontcover.jpg 1 03 06 10.21983/P3.0131.1.01 i xii 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Maayan Amir Maayan Amir 2 B01 Ruti Sela Ruti Sela 01 eng 20 00 Open Access Maayan Amir, Ruti Sela 2 03 06 10.21983/P3.0131.1.02 13 28 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Maayan Amir Maayan Amir 2 A01 Ruti Sela Ruti Sela 01 eng 03 00 The concept of extraterritorial-ity designates certain relationships between space, law, and representa-tion. This collection of essays explores contemporary manifesta-tions of extraterritoriality and the ways in which the concept has been put to use in various disciplines. Some of the essays were writ-ten especially for this volume, while others are brought together here for the first time. The inquiry into extraterri-toriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of repre-sentation and poetics. 30 00 The concept of extraterritorial-ity designates certain relationships between space, law, and representa-tion. This collection of essays explores contemporary manifesta-tions of extraterritoriality and the ways in which the concept has been put to use in various disciplines. Some of the essays were writ-ten especially for this volume, while others are brought together here for the first time. The inquiry into extraterri-toriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of repre-sentation and poetics. 20 00 Open Access Amir, Maayan Sela, Ruti 3 03 06 10.21983/P3.0131.1.03 31 39 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rights of Man and the Rights of the Other 1 A01 Emmanuel Levinas Emmanuel Levinas 01 eng 03 00 The rights claimed under the title rights of man, in the rigorous and almost technical sense which that expres-sion has taken on since the eighteenth century — the right to respect for the human dignity of the individual, the rights to life, liberty, and equality before the law for all men — are based on an original sense of the right, or the sense of an original right. And this is the case, independently of the chronology of the causes, the psychological and social processes and the contingent variations of the rise of these rights to the light of thought. For today’s way of thinking, these rights are more legitimate than any legislation, morethan just any justification. They are probably, however complex their appli-cation to legal phenomena may be, the measure of all law and, no doubt, of its ethics. The rights of man are, in any case, one of the law’s latent principles, whose voice — sometimes loud, sometimes muffled by reality’s necessities, sometimes interrupting and shattering them — can be heard throughout his-tory, ever since the first stirrings of consciousness, ever since Mankind. 30 00 The rights claimed under the title rights of man, in the rigorous and almost technical sense which that expres-sion has taken on since the eighteenth century — the right to respect for the human dignity of the individual, the rights to life, liberty, and equality before the law for all men — are based on an original sense of the right, or the sense of an original right. And this is the case, independently of the chronology of the causes, the psychological and social processes and the contingent variations of the rise of these rights to the light of thought. For today’s way of thinking, these rights are more legitimate than any legislation, morethan just any justification. They are probably, however complex their appli-cation to legal phenomena may be, the measure of all law and, no doubt, of its ethics. The rights of man are, in any case, one of the law’s latent principles, whose voice — sometimes loud, sometimes muffled by reality’s necessities, sometimes interrupting and shattering them — can be heard throughout his-tory, ever since the first stirrings of consciousness, ever since Mankind. 20 00 Open Access Levinas, Emmanuel 4 03 06 10.21983/P3.0131.1.04 41 57 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extra-Territoriality Outside the State, Outside the Subject 1 A01 Robert Bernasconi Robert Bernasconi 40 04p491231 Pennsylvania State University 01 eng 03 00 In his preface to Beyond the Verse,written in 1981, Emmanuel Levinas poses the following provocative question: “Can democracy and the ‘rights of man’ divorce themselves without danger from their prophetic and ethical depth?”1 The question is clearly in-tended to threaten the comfortable consensus that has gathered around these icons of our time and, more specifically, to displace what have come to be known under the title the “rights of man” from the context of the European Enlightenment with which they are so often identified. Levinas per-forms this act of displacement in the first instance by relocating them within the tradition of the Jewish prophets. However, this effort ultimately leads him to a more radical displacement, one that amounts to a certain re-placing of them, a relocating of them elsewhere altogether. What does that mean? What are its implications for the doctrine of the “rights of man”? 30 00 In his preface to Beyond the Verse,written in 1981, Emmanuel Levinas poses the following provocative question: “Can democracy and the ‘rights of man’ divorce themselves without danger from their prophetic and ethical depth?”1 The question is clearly in-tended to threaten the comfortable consensus that has gathered around these icons of our time and, more specifically, to displace what have come to be known under the title the “rights of man” from the context of the European Enlightenment with which they are so often identified. Levinas per-forms this act of displacement in the first instance by relocating them within the tradition of the Jewish prophets. However, this effort ultimately leads him to a more radical displacement, one that amounts to a certain re-placing of them, a relocating of them elsewhere altogether. What does that mean? What are its implications for the doctrine of the “rights of man”? 20 00 Open Access Bernasconi, Robert 5 03 06 10.21983/P3.0131.1.05 59 88 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The World Inhospitable to Levinas 1 A01 Zygmunt Bauman Zygmunt Bauman 40 024mrxd33 University of Leeds 01 eng 03 00 All great thinkers cre-ate powerful con-cepts and /or images of their own but as a rule design them together with a complete universe to accom-modate them and infuse them with sense. For Emmanuel Levinas, the world he constructed was “the moral party of two,” which was self-consciously a utopia in both of its inseparable senses (i.e., of no place and good place). The moral party of two was the primal scene of morality, the test-tube in which moral selves germinate and sprout. It was also the only stage on which such selves could play themselves, i.e., as moral beings, instead of playing scripted roles and reciting someone else’s lines. The primal scene of morality is the realm of the face-to-face, of the tremendous encounter with the Other as a Face. 30 00 All great thinkers cre-ate powerful con-cepts and /or images of their own but as a rule design them together with a complete universe to accom-modate them and infuse them with sense. For Emmanuel Levinas, the world he constructed was “the moral party of two,” which was self-consciously a utopia in both of its inseparable senses (i.e., of no place and good place). The moral party of two was the primal scene of morality, the test-tube in which moral selves germinate and sprout. It was also the only stage on which such selves could play themselves, i.e., as moral beings, instead of playing scripted roles and reciting someone else’s lines. The primal scene of morality is the realm of the face-to-face, of the tremendous encounter with the Other as a Face. 20 00 Open Access Bauman, Zygmunt 6 03 06 10.21983/P3.0131.1.06 89 105 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Authentic Thinking and Phenomenological Method 1 A01 Steven Galt Crowell Steven Galt Crowell 40 008zs3103 Rice University 01 eng 03 00 At no time since its “breakthrough” in Edmund Husserl’s Logische Untersuchungen (1900–1) has phenomenology been absent from the world’s philosophical stage, but today there are remarkable signs of the continuing vitality of this philosophical approach. It thus seems appropriate to ask just what it is that makes phenomenology a distinctive way of philosophizing. And with its centenary year recently behind us, it is also appropriate that this question be posed to the Logical Investigations, a work that Robert Sokolowski has described as “literally a new beginning” since what Husserl started here “cannot be considered as continuing a tradition that had taken shape before him.”1 Just what was the breakthrough that oc-curred in the Logical Investigations, and what claim does it have on us today? These questions matter not only because they are important for Husserl scholarship, but because they are much disputed now, and upon their an-swer depend our expectations of what phenomenological philosophy can ac-complish, and what, if anything, lies beyond its scope. For if there is renewed interest in phenomenology today, this has brought with it — or is it the con-sequence of? — a tendency to inflate the very concept of phenomenology. Today the borders between phenomenological philosophy, metaphysical speculation, and neo-Kantian construction show signs of collapsing. One reason for this is clear enough: the ascetic, anti-metaphysical “positivism” of Husserl’s early writing belongs to a cultural and philosophical milieu that is no longer our own, and if its residue cannot be excised from the phenomeno-logical program, that program will be felt by some to be too restrictive. Yet Dominique Janicaud seems to speak well when he says that “[p]henomenol-ogy is not all philosophy. It has nothing to win [...] by an overestimation of its possibilities.”2 Must a renewal of phenomenology involve its overestimation? 30 00 At no time since its “breakthrough” in Edmund Husserl’s Logische Untersuchungen (1900–1) has phenomenology been absent from the world’s philosophical stage, but today there are remarkable signs of the continuing vitality of this philosophical approach. It thus seems appropriate to ask just what it is that makes phenomenology a distinctive way of philosophizing. And with its centenary year recently behind us, it is also appropriate that this question be posed to the Logical Investigations, a work that Robert Sokolowski has described as “literally a new beginning” since what Husserl started here “cannot be considered as continuing a tradition that had taken shape before him.”1 Just what was the breakthrough that oc-curred in the Logical Investigations, and what claim does it have on us today? These questions matter not only because they are important for Husserl scholarship, but because they are much disputed now, and upon their an-swer depend our expectations of what phenomenological philosophy can ac-complish, and what, if anything, lies beyond its scope. For if there is renewed interest in phenomenology today, this has brought with it — or is it the con-sequence of? — a tendency to inflate the very concept of phenomenology. Today the borders between phenomenological philosophy, metaphysical speculation, and neo-Kantian construction show signs of collapsing. One reason for this is clear enough: the ascetic, anti-metaphysical “positivism” of Husserl’s early writing belongs to a cultural and philosophical milieu that is no longer our own, and if its residue cannot be excised from the phenomeno-logical program, that program will be felt by some to be too restrictive. Yet Dominique Janicaud seems to speak well when he says that “[p]henomenol-ogy is not all philosophy. It has nothing to win [...] by an overestimation of its possibilities.”2 Must a renewal of phenomenology involve its overestimation? 20 00 Open Access Crowell, Steven Galt 7 03 06 10.21983/P3.0131.1.07 109 116 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beyond Human Rights 1 A01 Giorgio Agamben Giorgio Agamben 40 04g3mbv81 European Graduate School 01 eng 03 00 In 1943, Hannah Arendt pub-lished an article titled “We Refugees” in a small English-language Jewish publication, the Menorah Journal. At the end of this brief but significant piece of writing, after having polemi-cally sketched the portrait of Mr. Cohn, the assimilated Jew who, after having been 150 percent German, 150 percent Viennese, 150 percent French, must bitterly realize in the end that “on ne parvient pas deux fois,” she turns the condition of countryless refugee — a condition which she herself was living — upside down in order to present it as the paradigm of a new historical consciousness. The refugees who have lost all rights and who, however, no longer want to be assimilated at all costs in a new national identity, but want instead to contemplate lu-cidly their condition, receive in exchange for assured unpopularity a price-less advantage. “History is no longer a closed book to them and politics is no longer the privilege of Gentiles. They know that the outlawing of the Jewish people of Europe has been followed closely by the outlawing of most Europe-an nations. Refugees driven from country to country represent the vanguard of their peoples.” 30 00 In 1943, Hannah Arendt pub-lished an article titled “We Refugees” in a small English-language Jewish publication, the Menorah Journal. At the end of this brief but significant piece of writing, after having polemi-cally sketched the portrait of Mr. Cohn, the assimilated Jew who, after having been 150 percent German, 150 percent Viennese, 150 percent French, must bitterly realize in the end that “on ne parvient pas deux fois,” she turns the condition of countryless refugee — a condition which she herself was living — upside down in order to present it as the paradigm of a new historical consciousness. The refugees who have lost all rights and who, however, no longer want to be assimilated at all costs in a new national identity, but want instead to contemplate lu-cidly their condition, receive in exchange for assured unpopularity a price-less advantage. “History is no longer a closed book to them and politics is no longer the privilege of Gentiles. They know that the outlawing of the Jewish people of Europe has been followed closely by the outlawing of most Europe-an nations. Refugees driven from country to country represent the vanguard of their peoples.” 20 00 Open Access Agamben, Giorgio 8 03 06 10.21983/P3.0131.1.08 117 121 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Islands" The Geography of Extraterritoriality 1 A01 Anselm Franke Anselm Franke 2 A01 Eyal Weizman Eyal Weizman 40 01khx4a30 Goldsmiths University of London 3 A01 Ines Weizman Ines Weizman 40 01egahc47 Royal College of Art 01 eng 03 00 We were told that geo-politics is the great play of power across a solid continuous Euclid-ian surface. Cut apart by linear borders, the state system — a territori-ally based juridical formation — appeared to dominate all forms of sovereignty over individu-als and action. Later we began to imagine all solid national spaces were melting into a single smooth ocean of ever-present connectivity. We assumed borders were replaced with bureaucracies, issues with concepts, and that regulation was replaced with boundless flow. 30 00 We were told that geo-politics is the great play of power across a solid continuous Euclid-ian surface. Cut apart by linear borders, the state system — a territori-ally based juridical formation — appeared to dominate all forms of sovereignty over individu-als and action. Later we began to imagine all solid national spaces were melting into a single smooth ocean of ever-present connectivity. We assumed borders were replaced with bureaucracies, issues with concepts, and that regulation was replaced with boundless flow. 20 00 Open Access Franke, Anselm Weizman, Eyal Weizman, Ines 9 03 06 10.21983/P3.0131.1.09 123 135 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outside Territory 1 A01 21 0000000278852444 Stuart Elden Stuart Elden 40 01a77tt86 University of Warwick 40 02bfwt286 Monash University 01 eng 03 00 What would it mean to be outside territory? I’m going to discuss this question in three registers: conceptually; historically; politically. The first two will be brief; the third literary.being outside territory conceptually Territory, for me, is actually quite a specific concept. If territo-ry extends from a room, a building, a group of them, to a campus, an urban area, a city, a region, a nation-state, and so on, it seems to me that the term becomes so general that it becomes not especially helpful. If we extend a human notion of “territory” to understand animals, as etholo-gists did in the late 19th and early 20th centuries, this may yield some fruitful insights. But it does not seem, to me, to be especially helpful then to take that notion of animal behavior, a notion of territoriality, of hunting and mating areas, to understand humans. Thus, for me, territoriality is a consequent no-tion to that of territory; not the means to understand it. Territoriality is one of a number of strategies that produce territory, but conceptually it succeeds it. Territoriality is that which produces territory. The latter term still needs conceptual unpacking. It does not seem especially helpful to understand ter-ritory simply as the outcome of territoriality. 30 00 What would it mean to be outside territory? I’m going to discuss this question in three registers: conceptually; historically; politically. The first two will be brief; the third literary.being outside territory conceptually Territory, for me, is actually quite a specific concept. If territo-ry extends from a room, a building, a group of them, to a campus, an urban area, a city, a region, a nation-state, and so on, it seems to me that the term becomes so general that it becomes not especially helpful. If we extend a human notion of “territory” to understand animals, as etholo-gists did in the late 19th and early 20th centuries, this may yield some fruitful insights. But it does not seem, to me, to be especially helpful then to take that notion of animal behavior, a notion of territoriality, of hunting and mating areas, to understand humans. Thus, for me, territoriality is a consequent no-tion to that of territory; not the means to understand it. Territoriality is one of a number of strategies that produce territory, but conceptually it succeeds it. Territoriality is that which produces territory. The latter term still needs conceptual unpacking. It does not seem especially helpful to understand ter-ritory simply as the outcome of territoriality. 20 00 Open Access Elden, Stuart 10 03 06 10.21983/P3.0131.1.10 137 155 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Where Has All The (Xeno)money Gone? 1 A01 Angus Cameron Angus Cameron 40 04h699437 University of Leicester 01 eng 03 00 The graph climbs steadily, business as usual, shares trading nor-mally almost up to the moment of collapse. Things start to dip a little as media reports proliferate, but nothing catastrophic. Then, suddenly on September 15, 2008, the graph drops like a stone — the point at which the global economy goes into free fall. This was the moment us Bank Lehman Brothers collapsed and became the first major casualty of the “credit-crunch.” Lehman did not cause the ensuing crisis single-handedly (though they cer-tainly did their bit), but their demise has nevertheless come to symbolize the collective insanity and ineptitude that gripped the financial markets and institutions at the time. In the days following the Lehman collapse we all learned more about “sub-prime markets,” “toxic debt” and “market correc-tion” than we’d ever wanted, and that us$ trillions had been “wiped” from the value of the global economy. That’s the disappearance everyone knows about. 30 00 The graph climbs steadily, business as usual, shares trading nor-mally almost up to the moment of collapse. Things start to dip a little as media reports proliferate, but nothing catastrophic. Then, suddenly on September 15, 2008, the graph drops like a stone — the point at which the global economy goes into free fall. This was the moment us Bank Lehman Brothers collapsed and became the first major casualty of the “credit-crunch.” Lehman did not cause the ensuing crisis single-handedly (though they cer-tainly did their bit), but their demise has nevertheless come to symbolize the collective insanity and ineptitude that gripped the financial markets and institutions at the time. In the days following the Lehman collapse we all learned more about “sub-prime markets,” “toxic debt” and “market correc-tion” than we’d ever wanted, and that us$ trillions had been “wiped” from the value of the global economy. That’s the disappearance everyone knows about. 20 00 Open Access Cameron, Angus 11 03 06 10.21983/P3.0131.1.11 157 170 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraterritoriality, Diaspora, and the Space of Cyberspace 1 A01 Victoria Bernal Victoria Bernal 40 04gyf1771 University of California, Irvine 01 eng 03 00 The relationship of the Internet to territory is complex, contradictory, and chang-ing. Exploring the diverse and shifting ways that Eritreans in diaspora have used websites to partici-pate in national politics from outside the country sheds light on the dynamics of digital extraterritoriality and its significance for politics. At first cyberspace may be appear to be simply an extra-territorial space, where websites are constructed as spaces with no territorial location. A contributor to a recent volume on digital anthropology notes that, “few aspects of digital media, cyber-space or the network society are as commonly perceived as fundamental as its disembodying aspects, its placelessness and subordination of physical proximity to network connectivity.”1 At the same time it can be said that, “[a] cardinal rule of the geography is that social life takes place in ‘constructed’ spaces.”2 If we understand cyberspace as a constructed space, its significant feature is not its extraterritoriality but rather that the space of cyberspace is ambiguous and elastic, allowing it to support diverse constructions, alterna-tive imaginaries, and multiple forms of territoriality and extraterritoriality. 30 00 The relationship of the Internet to territory is complex, contradictory, and chang-ing. Exploring the diverse and shifting ways that Eritreans in diaspora have used websites to partici-pate in national politics from outside the country sheds light on the dynamics of digital extraterritoriality and its significance for politics. At first cyberspace may be appear to be simply an extra-territorial space, where websites are constructed as spaces with no territorial location. A contributor to a recent volume on digital anthropology notes that, “few aspects of digital media, cyber-space or the network society are as commonly perceived as fundamental as its disembodying aspects, its placelessness and subordination of physical proximity to network connectivity.”1 At the same time it can be said that, “[a] cardinal rule of the geography is that social life takes place in ‘constructed’ spaces.”2 If we understand cyberspace as a constructed space, its significant feature is not its extraterritoriality but rather that the space of cyberspace is ambiguous and elastic, allowing it to support diverse constructions, alterna-tive imaginaries, and multiple forms of territoriality and extraterritoriality. 20 00 Open Access Bernal, Victoria 12 03 06 10.21983/P3.0131.1.12 173 201 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraterritorial Jurisdiction to Enforce in Cyberspace? Bodin, Schmitt, Grotius in Cyberspace 1 A01 21 0000000345589149 Mireille Hildebrandt Mireille Hildebrandt 40 016xsfp80 Radboud University, Nijmegen 01 eng 03 00 What is at stake if our justice authorities decide to hack a computer system that is physically located on a server outside the territory of the state they represent, for instance because a webbot was operated from that location,1causing serious harm to a variety of computing sys-tems in our own jurisdiction — harm that renders the perpetrator criminally liable under our own criminal law? How would we respond to Ukrainian, Chinese, Iranian, British, or Argentinian justice authorities that hack a computer system that is located within our own jurisdiction? Does it make a difference whether the hack by law enforcement authorities targets a dissident whose right to free speech is denied or a network disseminating child pornography? Should we evaluate such groping for extraordinary jurisdiction in terms of just ver-sus unjust causes (a bellum iustum privatum?) or is this about the Westphalian interplay of internal and external sovereignty? Might the attempt to extend or initiate extraterritorial jurisdiction-to-enforce be understood as an oc-cupatio, grounded in what Schmitt coined “a-legality,” or should we follow Grotius’s Mare Liberum and consider cyberspace to be a common good that requires us to reinvent natural law theory? 30 00 What is at stake if our justice authorities decide to hack a computer system that is physically located on a server outside the territory of the state they represent, for instance because a webbot was operated from that location,1causing serious harm to a variety of computing sys-tems in our own jurisdiction — harm that renders the perpetrator criminally liable under our own criminal law? How would we respond to Ukrainian, Chinese, Iranian, British, or Argentinian justice authorities that hack a computer system that is located within our own jurisdiction? Does it make a difference whether the hack by law enforcement authorities targets a dissident whose right to free speech is denied or a network disseminating child pornography? Should we evaluate such groping for extraordinary jurisdiction in terms of just ver-sus unjust causes (a bellum iustum privatum?) or is this about the Westphalian interplay of internal and external sovereignty? Might the attempt to extend or initiate extraterritorial jurisdiction-to-enforce be understood as an oc-cupatio, grounded in what Schmitt coined “a-legality,” or should we follow Grotius’s Mare Liberum and consider cyberspace to be a common good that requires us to reinvent natural law theory? 20 00 Open Access Hildebrandt, Mireille 13 03 06 10.21983/P3.0131.1.13 203 214 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rise of Legal Cosmopolitism Denationalization & Territorialization of Law 1 A01 Julien Seroussi Julien Seroussi 01 eng 03 00 Interna-tional crimi-nal justice deals with a limited number of core crimes, which have a deep impact on the interna-tional community: genocide, crimes against humanity, and war crimes. All of these crimes are usually described as ordi-nary crimes committed in extraordinary circum-stances, which lawyers call contextual elements. If one takes the Rome Statute of the International Criminal Court (icc), a murder can amount to a crime against humanity if it’s committed as part of a widespread or systematic attack directed against a civilian population with knowledge of the attack pursuant of an organizational policy to commit such an attack. 30 00 Interna-tional crimi-nal justice deals with a limited number of core crimes, which have a deep impact on the interna-tional community: genocide, crimes against humanity, and war crimes. All of these crimes are usually described as ordi-nary crimes committed in extraordinary circum-stances, which lawyers call contextual elements. If one takes the Rome Statute of the International Criminal Court (icc), a murder can amount to a crime against humanity if it’s committed as part of a widespread or systematic attack directed against a civilian population with knowledge of the attack pursuant of an organizational policy to commit such an attack. 20 00 Open Access Seroussi, Julien 14 03 06 10.21983/P3.0131.1.14 215 241 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraterritorial State Action in the Global Interest The Promise of Unilateralism 1 A01 Cedric Ryngaert Cedric Ryngaert 40 04pp8hn57 Utrecht University 01 eng 03 00 Ad-vocates of “global justice” or “cosmopolitanism” propound that ethical duties are universal, and apply regardless of nationality, citizenship, race etc. In pure cosmo-politanism, individuals owe ethical duties towards other individuals who are worse off, wherever on earth they may be. Individual agency is not particularly practical, however. Therefore, global justice advocates have proposed to mediate individuals’ ethical duties via institutions, in particular international (gov-ernmental) organizations.1 In this institutional view, international organizations ought to be oriented towards furthering cosmopolitan ideals and tackling collective action problems, such as protecting human rights and the environment, guaranteeing collective security, and ensuring distributive justice, in particular alleviating world poverty.2 Some such in-stitutions, such as the United Nations, have been duly created. But because of design faults, political unwillingness, or resource limits, they have not been able to deliver on the promises they initially held: human rights are still trampled on, corruption remains rampant, and global warming contin-ues unabated. 30 00 Ad-vocates of “global justice” or “cosmopolitanism” propound that ethical duties are universal, and apply regardless of nationality, citizenship, race etc. In pure cosmo-politanism, individuals owe ethical duties towards other individuals who are worse off, wherever on earth they may be. Individual agency is not particularly practical, however. Therefore, global justice advocates have proposed to mediate individuals’ ethical duties via institutions, in particular international (gov-ernmental) organizations.1 In this institutional view, international organizations ought to be oriented towards furthering cosmopolitan ideals and tackling collective action problems, such as protecting human rights and the environment, guaranteeing collective security, and ensuring distributive justice, in particular alleviating world poverty.2 Some such in-stitutions, such as the United Nations, have been duly created. But because of design faults, political unwillingness, or resource limits, they have not been able to deliver on the promises they initially held: human rights are still trampled on, corruption remains rampant, and global warming contin-ues unabated. 20 00 Open Access Ryngaert, Cedric 15 03 06 10.21983/P3.0131.1.15 243 272 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Franz Kafka Extraterritorial Criminal Law 1 A01 Ed Morgan Ed Morgan 40 03dbr7087 University of Toronto 01 eng 03 00 It is common wisdom for international lawyers to consider the emergence of a political entity from colonial or dominion status to independence and sovereignty to connote full participation in the international legal system,1with all the rights and obligations that thereby attach.2 Thus, for example, while English colonies prior to independence could exercise substantial self-government they did not possess international legal personality3 and could not exploit or regulate their resources and territory without some act of delegation from the imperial government.4 Likewise, provinces and states, as federal sub-units, typically lack the competence to legislate extraterritori-ally5 or to exhibit other external badges of sovereignty. 30 00 It is common wisdom for international lawyers to consider the emergence of a political entity from colonial or dominion status to independence and sovereignty to connote full participation in the international legal system,1with all the rights and obligations that thereby attach.2 Thus, for example, while English colonies prior to independence could exercise substantial self-government they did not possess international legal personality3 and could not exploit or regulate their resources and territory without some act of delegation from the imperial government.4 Likewise, provinces and states, as federal sub-units, typically lack the competence to legislate extraterritori-ally5 or to exhibit other external badges of sovereignty. 20 00 Open Access Morgan, Ed 16 03 06 10.21983/P3.0131.1.16 275 334 60 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Extraterritorial Life of Siegfried Kracauer 1 A01 Martin Jay Martin Jay 40 01an7q238 University of California, Berkeley 01 eng 03 00 On February 8, 1889, Siegfried Kracauer was born in Frankfurt am Main, the son of a businessman, Adolf K. Kracauer and his wife, the for-mer Rosette Oppenheim; he died sev-enty-seven years later in New York City on November 26, 1966. For any normal biography, this bracketing of a life between two chronological points is a natural and unexamined beginning. For a biography of Kracauer, however, it constitutes a betrayal of the strongest taboo of his later life, a taboo he expressed in a series of letters deliberately set aside in his well-organized Nachlaß1to give any future biographer pause. These letters, written in the 1960swhen Kracauer was consumed by his final project on the philosophy of his-tory, were filed under the heading of “extra-territoriality.” In all of them, Kra-cauer vehemently opposed any effort to disclose his correct age, a campaign, as he surely must have known, which could only meet with temporary suc-cess.2 His reason for waging it, despite the certainty of ultimate failure, tran-scended the petty vanity of those who refuse to age gracefully. As he wrote to his friend Theodor W. Adorno in 1963: “It is not as if there is something for me in appearing young or younger; it is simply the horror of losing chronological anonymity through the fixating of a date and the unavoidable con-notations of such a fixation.” 30 00 On February 8, 1889, Siegfried Kracauer was born in Frankfurt am Main, the son of a businessman, Adolf K. Kracauer and his wife, the for-mer Rosette Oppenheim; he died sev-enty-seven years later in New York City on November 26, 1966. For any normal biography, this bracketing of a life between two chronological points is a natural and unexamined beginning. For a biography of Kracauer, however, it constitutes a betrayal of the strongest taboo of his later life, a taboo he expressed in a series of letters deliberately set aside in his well-organized Nachlaß1to give any future biographer pause. These letters, written in the 1960swhen Kracauer was consumed by his final project on the philosophy of his-tory, were filed under the heading of “extra-territoriality.” In all of them, Kra-cauer vehemently opposed any effort to disclose his correct age, a campaign, as he surely must have known, which could only meet with temporary suc-cess.2 His reason for waging it, despite the certainty of ultimate failure, tran-scended the petty vanity of those who refuse to age gracefully. As he wrote to his friend Theodor W. Adorno in 1963: “It is not as if there is something for me in appearing young or younger; it is simply the horror of losing chronological anonymity through the fixating of a date and the unavoidable con-notations of such a fixation.” 20 00 Open Access Jay, Martin 17 03 06 10.21983/P3.0131.1.17 335 359 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Extraterritorial Poetics of W.G. Sebald 1 A01 Matthew Hart Matthew Hart 40 00hj8s172 Columbia University 2 A01 Tania Lown-Hecht Tania Lown-Hecht 01 eng 03 00 The word ex-traterritoriality is as multivalent as the space it describes. It is a legal coinage signifying personal immunity from local laws, the borderless space of the free seas, and a state’s power to extend jurisdic-tion across borders; recently, it has also become a key concept in philosophical debates about what Giorgio Agamben calls the “state of exception as a para-digm of government.”1 More broadly, extraterritoriality has begun to figure as the object of cultural meditations on the rela-tion between subjection and autonomy, stasis and movement, and exile and belonging — a discourse that has implications for intellectuals in many fields but has so far been most prominent in architectural studies.2Yet with few exceptions, literary critics have not engaged with it — and when they have, extraterritoriality has generally been mistaken as synonymous with a state of multilingual plenitude and postnational migrancy. 30 00 The word ex-traterritoriality is as multivalent as the space it describes. It is a legal coinage signifying personal immunity from local laws, the borderless space of the free seas, and a state’s power to extend jurisdic-tion across borders; recently, it has also become a key concept in philosophical debates about what Giorgio Agamben calls the “state of exception as a para-digm of government.”1 More broadly, extraterritoriality has begun to figure as the object of cultural meditations on the rela-tion between subjection and autonomy, stasis and movement, and exile and belonging — a discourse that has implications for intellectuals in many fields but has so far been most prominent in architectural studies.2Yet with few exceptions, literary critics have not engaged with it — and when they have, extraterritoriality has generally been mistaken as synonymous with a state of multilingual plenitude and postnational migrancy. 20 00 Open Access Hart, Matthew Lown-Hecht, Tania 18 03 06 10.21983/P3.0131.1.18 361 376 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The World and The Home 1 A01 Homi K. Bhabha Homi K. Bhabha 40 03vek6s52 Harvard University 01 eng 03 00 In the House of Fiction you can hear, today, the deep stirring of the “unhome-ly.” You must permit me this awkward word — the unhome-ly — because it captures something of the estranging sense of the relocation of the home and the world in an unhallowed place. To be unhomed is not to be homeless, nor can the “unhomely” be easily accommodated in that familiar division of social life into private and the public spheres. The unhomely moment creeps up on you stealthily as your own shadow and suddenly you find yourself with Henry James’s Isabel Archer “taking the measure of your dwelling” in a state of “incredulous terror.”1 And it is at this point that the world first shrinks for Isabel and then expands enormously. As she struggles to survive the fathom-less waters, the rushing torrents, James introduces us to the “unhomeliness” inherent in that rite of “extra-territorial” initiation — the relations between the innocent American, the deep, dissembling European, the masked emi-gré — that a generation of critics have named his “international theme.” In a feverish stillness, the intimate recesses of the domestic space become sites for history’s most intricate invasions. In that displacement the border be- tween home and world becomes confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as di-vided as it is disorienting. 30 00 In the House of Fiction you can hear, today, the deep stirring of the “unhome-ly.” You must permit me this awkward word — the unhome-ly — because it captures something of the estranging sense of the relocation of the home and the world in an unhallowed place. To be unhomed is not to be homeless, nor can the “unhomely” be easily accommodated in that familiar division of social life into private and the public spheres. The unhomely moment creeps up on you stealthily as your own shadow and suddenly you find yourself with Henry James’s Isabel Archer “taking the measure of your dwelling” in a state of “incredulous terror.”1 And it is at this point that the world first shrinks for Isabel and then expands enormously. As she struggles to survive the fathom-less waters, the rushing torrents, James introduces us to the “unhomeliness” inherent in that rite of “extra-territorial” initiation — the relations between the innocent American, the deep, dissembling European, the masked emi-gré — that a generation of critics have named his “international theme.” In a feverish stillness, the intimate recesses of the domestic space become sites for history’s most intricate invasions. In that displacement the border be- tween home and world becomes confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as di-vided as it is disorienting. 20 00 Open Access Bhabha, Homi K. 19 03 06 10.21983/P3.0131.1.19 377 422 46 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Homeless Images Kracauer's Extraterritoriality, Derrida's Monolingualism of the Other 1 A01 Gerhard Richter Gerhard Richter 40 05gq02987 Brown University 01 eng 03 00 If it has a home at all, the proper home of the image, and even the thought-image or Denkbild, is homelessness. Never fully itself, the image remains at odds both with itself and with the referen-tial burden that it is expected to carry. In its iterability, the image, which threatens to be divorced from referential functions such as time and space, tells of distance, absence, and loss, of exile and diasporic dispersal. It tells, in other words, of the states that make the image what it is and that relates it to all other images. The demand that an image can be of something and that it faithfully and reliably represent that something, on the one hand, and the inevitably unpredictable ways in which an image fails to comply with that demand, on the other hand, sponsor a melancholia that is shared by all im-ages, even as it cannot travel through the structural and historical specificity of a singular image. The image records a historical moment at the same time that it interrupts history, perpetuating the very thinkability of history even as it breaks with the logic of historical unfolding. As the site of multiple dis-placements, the image is historical when it tells us of its own departure from history, capturing time most fully when it removes itself from time, the way in which, for instance, a snapshot memorializes time by stepping outside the temporal flow. Because an image can never fully represent, that is, present once again in exactly the same way, the vast network of traces and meanings that it first sets out to arrest, it performs an Aufhebung that simultaneously preserves and cancels the event that was once its subject. In this double ges-ture, the image both forestalls and commemorates loss by recording a mo-ment, documenting its constitutive inevitability, and making it visible as the loss that it always already was. That is to say, the image reveals the ways in which an assumed presence already was a fiction at the time when it was be-lieved to be present. We even could say that rather than simply representing its subject, the image retroactively makes visible the absence that already lay at the core of the event it set out to record. 30 00 If it has a home at all, the proper home of the image, and even the thought-image or Denkbild, is homelessness. Never fully itself, the image remains at odds both with itself and with the referen-tial burden that it is expected to carry. In its iterability, the image, which threatens to be divorced from referential functions such as time and space, tells of distance, absence, and loss, of exile and diasporic dispersal. It tells, in other words, of the states that make the image what it is and that relates it to all other images. The demand that an image can be of something and that it faithfully and reliably represent that something, on the one hand, and the inevitably unpredictable ways in which an image fails to comply with that demand, on the other hand, sponsor a melancholia that is shared by all im-ages, even as it cannot travel through the structural and historical specificity of a singular image. The image records a historical moment at the same time that it interrupts history, perpetuating the very thinkability of history even as it breaks with the logic of historical unfolding. As the site of multiple dis-placements, the image is historical when it tells us of its own departure from history, capturing time most fully when it removes itself from time, the way in which, for instance, a snapshot memorializes time by stepping outside the temporal flow. Because an image can never fully represent, that is, present once again in exactly the same way, the vast network of traces and meanings that it first sets out to arrest, it performs an Aufhebung that simultaneously preserves and cancels the event that was once its subject. In this double ges-ture, the image both forestalls and commemorates loss by recording a mo-ment, documenting its constitutive inevitability, and making it visible as the loss that it always already was. That is to say, the image reveals the ways in which an assumed presence already was a fiction at the time when it was be-lieved to be present. We even could say that rather than simply representing its subject, the image retroactively makes visible the absence that already lay at the core of the event it set out to record. 20 00 Open Access Richter, Gerhard 20 03 06 10.21983/P3.0131.1.20 423 444 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Outer World and Inner Speech Bakhtin, Vygotsky, and the Internalization of Language 1 A01 Caryl Emerson Caryl Emerson 40 00hx57361 Princeton University 01 eng 03 00 In this statement from The Order of Things, Michel Foucault speaks of the nine-teenth-century revolution in linguistics that, in effect, rediscovered language and made it the object of systematic study in its own right. Language, no longer seen as a transparent medium, was granted “its own particular density [...] and laws of its own.” Yet it is not self-evident how we are made more free by understanding that words are not just a repository of knowledge. The density of language is a troublesome postulate. That postulate, according to Foucault, raises difficult epistemological problems and presents theorists with a choice:The critical elevation of language, which was a compensation for its sub-sidence within the object, implied that it had been brought nearer both to an act of knowing, pure of all words, and to the unconscious element in our discourse. It had to be either made transparent to the forms of knowl-edge, or thrust down into the contents of the unconscious.2The debate on the status of language has been enormous and subtle, but it would seem that these two poles described by Foucault remain constantly in effect. Language is, on the one hand, a transparent medium from which to deduce a metalanguage and on which to build statistical and mechanical models, or language is, on the other hand, a product of the individual psyche and ultimately subject to psychic transformation, to what Foucault calls “dim mechanisms, faceless determinations, a whole landscape of shadow.” 30 00 In this statement from The Order of Things, Michel Foucault speaks of the nine-teenth-century revolution in linguistics that, in effect, rediscovered language and made it the object of systematic study in its own right. Language, no longer seen as a transparent medium, was granted “its own particular density [...] and laws of its own.” Yet it is not self-evident how we are made more free by understanding that words are not just a repository of knowledge. The density of language is a troublesome postulate. That postulate, according to Foucault, raises difficult epistemological problems and presents theorists with a choice:The critical elevation of language, which was a compensation for its sub-sidence within the object, implied that it had been brought nearer both to an act of knowing, pure of all words, and to the unconscious element in our discourse. It had to be either made transparent to the forms of knowl-edge, or thrust down into the contents of the unconscious.2The debate on the status of language has been enormous and subtle, but it would seem that these two poles described by Foucault remain constantly in effect. Language is, on the one hand, a transparent medium from which to deduce a metalanguage and on which to build statistical and mechanical models, or language is, on the other hand, a product of the individual psyche and ultimately subject to psychic transformation, to what Foucault calls “dim mechanisms, faceless determinations, a whole landscape of shadow.” 20 00 Open Access Emerson, Caryl 21 03 06 10.21983/P3.0131.1.21 447 458 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Valéry Proust Museum 1 A01 Theodor W. Adorno Theodor W. Adorno 01 eng 03 00 The Ger-man word, museal (“museum-like”), has unpleasant overtones. It describes ob-jects to which the observer no longer has a vital relationship and which are in the process of dying. They owe their preservation more to historical respect, than to the needs of the present. Museum and mausoleum are connected by more than phonetic association. Museums are like family sepulchers of works of art. They testify to the neutralization of culture. Art treasures are hoarded in them, and their market value leaves no room for pleasure of looking at them. Nevertheless, that pleasure is dependent on the existence of museums. Anyone who does not have his own collection (and the great private collections are becoming rare) can, for the most part, become familiar with painting and sculpture only in museums. When dis-content with museums is strong enough to provoke the attempt to exhibit paintings in their original surroundings or in ones similar, in baroque or rococo castles, for instance, the result is even more distressing than when the works are wrenched from their original surroundings, and then brought together. Sensibility wrecks even more havoc with art than does the hodge-podge of collections. With music, the situation is analogous. The programs of large concert societies, generally retrospective in orientation, have continu-ally more in common with museums, while Mozart performed by candle-light is degraded to a costume piece. In efforts to retrieve music from remote-ness of the performance and to put it to immediate context of life there is not only something ineffectual but also a tinge of industriously regressive spite. When some well-intentioned persons advised Mahler to darken the hall during the concert for the sake of the mood, the composer rightly replied that a performance at which one didn’t forget about the surroundings was worthless. Such problems reveal something about the fatal situation of what is called “the cultural tradition.” Once tradition is no longer animated by a comprehensive substantial force, but has to be conjured up by means of cita-tions, because “It’s important to have tradition,” then whatever happens to be left of it is dissolved into a means to an end. An exhibition of applied art only makes a mockery of what it pretends to conserve. Anyone who thinks that art can be reproduced in its original form through an act of will is trapped in hopeless romanticism. Modernizing the past does it much violence and lit-tle good. But, to renounce radically the possibility of experiencing the tradi-tion would be to capitulate to barbarism out of devotion to culture. That the world is out of joint is shown everywhere, in the fact that however a problem is solved, the solution is false. 30 00 The Ger-man word, museal (“museum-like”), has unpleasant overtones. It describes ob-jects to which the observer no longer has a vital relationship and which are in the process of dying. They owe their preservation more to historical respect, than to the needs of the present. Museum and mausoleum are connected by more than phonetic association. Museums are like family sepulchers of works of art. They testify to the neutralization of culture. Art treasures are hoarded in them, and their market value leaves no room for pleasure of looking at them. Nevertheless, that pleasure is dependent on the existence of museums. Anyone who does not have his own collection (and the great private collections are becoming rare) can, for the most part, become familiar with painting and sculpture only in museums. When dis-content with museums is strong enough to provoke the attempt to exhibit paintings in their original surroundings or in ones similar, in baroque or rococo castles, for instance, the result is even more distressing than when the works are wrenched from their original surroundings, and then brought together. Sensibility wrecks even more havoc with art than does the hodge-podge of collections. With music, the situation is analogous. The programs of large concert societies, generally retrospective in orientation, have continu-ally more in common with museums, while Mozart performed by candle-light is degraded to a costume piece. In efforts to retrieve music from remote-ness of the performance and to put it to immediate context of life there is not only something ineffectual but also a tinge of industriously regressive spite. When some well-intentioned persons advised Mahler to darken the hall during the concert for the sake of the mood, the composer rightly replied that a performance at which one didn’t forget about the surroundings was worthless. Such problems reveal something about the fatal situation of what is called “the cultural tradition.” Once tradition is no longer animated by a comprehensive substantial force, but has to be conjured up by means of cita-tions, because “It’s important to have tradition,” then whatever happens to be left of it is dissolved into a means to an end. An exhibition of applied art only makes a mockery of what it pretends to conserve. Anyone who thinks that art can be reproduced in its original form through an act of will is trapped in hopeless romanticism. Modernizing the past does it much violence and lit-tle good. But, to renounce radically the possibility of experiencing the tradi-tion would be to capitulate to barbarism out of devotion to culture. That the world is out of joint is shown everywhere, in the fact that however a problem is solved, the solution is false. 20 00 Open Access Adorno, Theodor W. 22 03 06 10.21983/P3.0131.1.22 459 473 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Subspatial and Subtemporal 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 Perhaps the most famous debate about space and time in the entire history of philosophy occurred in the Leibniz–Clarke correspondence of 1715–1716.1 The English clergyman Samuel Clarke, acting as a surrogate for his friend Isaac Newton, made the case for space and time as absolute, empty containers in which objects reside and events unfold. The great German phi-losopher and polymath Leibniz countered that it is mean-ingless to ask whether the universe could have been created ten minutes earlier than it was, or forty meters further to the west than it was; there is no external spatial or temporal measuring stick that would allow us to claim that everything has been moved as a whole. Instead, space and time for Leibniz emerge from the relations between entities, thus paving the way for Einstein’s breakthrough nearly two centuries later. 30 00 Perhaps the most famous debate about space and time in the entire history of philosophy occurred in the Leibniz–Clarke correspondence of 1715–1716.1 The English clergyman Samuel Clarke, acting as a surrogate for his friend Isaac Newton, made the case for space and time as absolute, empty containers in which objects reside and events unfold. The great German phi-losopher and polymath Leibniz countered that it is mean-ingless to ask whether the universe could have been created ten minutes earlier than it was, or forty meters further to the west than it was; there is no external spatial or temporal measuring stick that would allow us to claim that everything has been moved as a whole. Instead, space and time for Leibniz emerge from the relations between entities, thus paving the way for Einstein’s breakthrough nearly two centuries later. 20 00 Open Access Harman, Graham 23 03 06 10.21983/P3.0131.1.23 475 479 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Maayan Amir Maayan Amir 2 B01 Ruti Sela Ruti Sela 01 eng 20 00 Open Access Maayan Amir, Ruti Sela 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/extraterritorialities-in-occupied-worlds/ 16 40 04pp8hn57 32 10.13039/501100001829 Utrecht University Earth, Milky Way 04 01 20160216 Maayan Amir, Ruti Sela 02 WORLD 06 15 9780692629437 03 9780692629437 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76497 20 08 20160216 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25494 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25494/1004601.pdf?sequence=1&isAllowed=y 20 08 20160216 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34468 20 08 20160216 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353881 20 08 20160216 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/513 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f5ffb236-4a40-49cc-b8b7-49a52991e9f8/download 20 08 20160216 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Extraterritorialities_in_Occupied_Worlds/HgSVEAAAQBAJ 20 08 20160216 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/859e72c3-8159-48e4-b2f0-842f3400cb8d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/859e72c3-8159-48e4-b2f0-842f3400cb8d/859e72c3-8159-48e4-b2f0-842f3400cb8d.pdf 20 08 20160216 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846461 29 ZENODO: download the title https://zenodo.org/records/19846461/files/859e72c3-8159-48e4-b2f0-842f3400cb8d_book.pdf 20 08 20160216 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/extraterritorialities-in-occupied-worlds/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0131.1.00.pdf 20 08 20160216 01 urn:uuid:77030344-67a3-4d7e-abcb-63ed23ca3bba 03 01 01 thoth-work-id urn:uuid:e03a77a9-4f3f-4c09-95f6-6a02391a6525 01 thoth-publication-id urn:uuid:77030344-67a3-4d7e-abcb-63ed23ca3bba 15 9781685710804 03 9781685710804 06 10.53288/0392.1.00 13 2022947239 01 internal-reference 0392 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Fascism, Vulnerability, and the Escape from Freedom Readings to Repair Democracy 1 A01 C. Jon Delogu C. Jon Delogu 40 05b5c0584 Jean Moulin University Lyon 3 C. Jon Delogu has worked at three French public universities since 1992 and is currently professeur des universités at the Université Jean Moulin-Lyon 3 where he teaches American history, comparative literature, and translation. He studied philosophy and French at Dartmouth College and earned a PhD in Comparative Literature from Yale University and is the author of Tocqueville and Democracy in the Internet Age (Open Humanities Press, 2014) and Ralph Waldo Emerson: Une introduction (Les Perséides, 2006). He has published numerous essays on British and American literature and the teaching profession. He has also translated a dozen books (for Columbia University Press, University of Georgia Press, Other Press, and Polity) and many scholarly articles. He divides his time between France and America where he has been a visiting professor (Boston University, Dartmouth College, and University of Southern Maine), and continues to teach, write, and translate in both locations. 01 eng 00 478 03 B2 History 12 JPFQ 93 JPFQ 10 POL042030 12 JPHV 93 JPHV B2 Literary Studies 10 POL007000 12 JPA 93 JPA B2 New Left Thought 20 political theory; democracy; fascism; right-wing populism; Erich Fromm; surveillance capitalism; authoritarianism; Robert Paxton 01 06 02 00 03 00 A worldwide struggle between democracy and authoritarianism set against a backdrop of global surveillance capitalism is unmistakable. Examples range from Myanmar, China, and the Philippines to Hungary, Turkey, Russia, and the United States. Fascism, Vulnerability, and the Escape from Freedom offers a multidisciplinary analysis drawing on psychology and literature to provide readers with a deeper understanding of the mechanisms that drive people to abandon democracy in favor of vertically organized authoritarianism and even fascism.In a comparative study of texts selected for their insights and occasional blind spots regarding fascist experiments of the past 100 years, Delogu examines fascism’s exploitation of fear (of change, loss, and death), disruption, and extreme inequality. The book offers an accessible and persuasive argument linking fascist authoritarianism, also called “right-wing populism,” to certain underlying conditions, such as a rise in us-versus-them thinking; distrust or simple apathy regarding democratic institutions, norms, and results; the vulnerabilities that result from extreme inequality (economic, social, racial); and addictions and codependency. Stressful events, such as a pandemic, an environmental disaster, or deep recession aggravate these harmful factors and make the fascist temptation, including the use of violence, almost irresistible. Delogu’s distinctive examination of texts that plumb the unconscious reveal linkages between actions and unavowable motives that purely historical and theoretical studies of fascism leave out.Erich Fromm’s neglected 1941 classic Escape from Freedom serves as a key reference in Delogu’s study, as does Robert Paxton’s authoritative history, The Anatomy of Fascism (2004). After underscoring the argument and urgent context around these two studies (Hitler’s Germany and George W. Bush’s post-9/11 America), Delogu examines novels, a diary, memoirs, and manifestos to show how vulnerability forces individuals to choose between exclusionary fascist authoritarianism and inclusive, collaborative democracy. 30 00 A worldwide struggle between democracy and authoritarianism set against a backdrop of global surveillance capitalism is unmistakable. Examples range from Myanmar, China, and the Philippines to Hungary, Turkey, Russia, and the United States. Fascism, Vulnerability, and the Escape from Freedom offers a multidisciplinary analysis drawing on psychology and literature to provide readers with a deeper understanding of the mechanisms that drive people to abandon democracy in favor of vertically organized authoritarianism and even fascism.In a comparative study of texts selected for their insights and occasional blind spots regarding fascist experiments of the past 100 years, Delogu examines fascism’s exploitation of fear (of change, loss, and death), disruption, and extreme inequality. The book offers an accessible and persuasive argument linking fascist authoritarianism, also called “right-wing populism,” to certain underlying conditions, such as a rise in us-versus-them thinking; distrust or simple apathy regarding democratic institutions, norms, and results; the vulnerabilities that result from extreme inequality (economic, social, racial); and addictions and codependency. Stressful events, such as a pandemic, an environmental disaster, or deep recession aggravate these harmful factors and make the fascist temptation, including the use of violence, almost irresistible. Delogu’s distinctive examination of texts that plumb the unconscious reveal linkages between actions and unavowable motives that purely historical and theoretical studies of fascism leave out.Erich Fromm’s neglected 1941 classic Escape from Freedom serves as a key reference in Delogu’s study, as does Robert Paxton’s authoritative history, The Anatomy of Fascism (2004). After underscoring the argument and urgent context around these two studies (Hitler’s Germany and George W. Bush’s post-9/11 America), Delogu examines novels, a diary, memoirs, and manifestos to show how vulnerability forces individuals to choose between exclusionary fascist authoritarianism and inclusive, collaborative democracy. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0392.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/fascism-vulnerability-and-the-escape-from-freedom-readings-to-repair-democracy/ 16 40 05b5c0584 32 10.13039/501100011080 Jean Moulin University Lyon 3 01 programname Institut d’Études Transtextuelles et Transculturelles (IETT) Earth, Milky Way 04 01 20221111 C. Jon Delogu 02 WORLD 06 15 9781685710811 03 9781685710811 34 06 10.1080/13501760903465256 34 06 10.1017/S0003055419000558 34 06 10.1126/science.abe1715 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710808 20 08 20221111 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/fascism-vulnerability-and-the-escape-from-freedom-readings-to-repair-democracy 20 08 20221111 02 29.00 USD WORLD urn:uuid:bfdcd7ee-dc2a-407e-8f48-35f4e1d443ba 03 01 01 thoth-work-id urn:uuid:e03a77a9-4f3f-4c09-95f6-6a02391a6525 01 thoth-publication-id urn:uuid:bfdcd7ee-dc2a-407e-8f48-35f4e1d443ba 15 9781685710811 03 9781685710811 06 10.53288/0392.1.00 13 2022947239 01 internal-reference 0392 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Fascism, Vulnerability, and the Escape from Freedom Readings to Repair Democracy 1 A01 C. Jon Delogu C. Jon Delogu 40 05b5c0584 Jean Moulin University Lyon 3 C. Jon Delogu has worked at three French public universities since 1992 and is currently professeur des universités at the Université Jean Moulin-Lyon 3 where he teaches American history, comparative literature, and translation. He studied philosophy and French at Dartmouth College and earned a PhD in Comparative Literature from Yale University and is the author of Tocqueville and Democracy in the Internet Age (Open Humanities Press, 2014) and Ralph Waldo Emerson: Une introduction (Les Perséides, 2006). He has published numerous essays on British and American literature and the teaching profession. He has also translated a dozen books (for Columbia University Press, University of Georgia Press, Other Press, and Polity) and many scholarly articles. He divides his time between France and America where he has been a visiting professor (Boston University, Dartmouth College, and University of Southern Maine), and continues to teach, write, and translate in both locations. 01 eng 00 478 03 B2 History 12 JPFQ 93 JPFQ 10 POL042030 12 JPHV 93 JPHV B2 Literary Studies 10 POL007000 12 JPA 93 JPA B2 New Left Thought 20 political theory; democracy; fascism; right-wing populism; Erich Fromm; surveillance capitalism; authoritarianism; Robert Paxton 01 06 02 00 03 00 A worldwide struggle between democracy and authoritarianism set against a backdrop of global surveillance capitalism is unmistakable. Examples range from Myanmar, China, and the Philippines to Hungary, Turkey, Russia, and the United States. Fascism, Vulnerability, and the Escape from Freedom offers a multidisciplinary analysis drawing on psychology and literature to provide readers with a deeper understanding of the mechanisms that drive people to abandon democracy in favor of vertically organized authoritarianism and even fascism.In a comparative study of texts selected for their insights and occasional blind spots regarding fascist experiments of the past 100 years, Delogu examines fascism’s exploitation of fear (of change, loss, and death), disruption, and extreme inequality. The book offers an accessible and persuasive argument linking fascist authoritarianism, also called “right-wing populism,” to certain underlying conditions, such as a rise in us-versus-them thinking; distrust or simple apathy regarding democratic institutions, norms, and results; the vulnerabilities that result from extreme inequality (economic, social, racial); and addictions and codependency. Stressful events, such as a pandemic, an environmental disaster, or deep recession aggravate these harmful factors and make the fascist temptation, including the use of violence, almost irresistible. Delogu’s distinctive examination of texts that plumb the unconscious reveal linkages between actions and unavowable motives that purely historical and theoretical studies of fascism leave out.Erich Fromm’s neglected 1941 classic Escape from Freedom serves as a key reference in Delogu’s study, as does Robert Paxton’s authoritative history, The Anatomy of Fascism (2004). After underscoring the argument and urgent context around these two studies (Hitler’s Germany and George W. Bush’s post-9/11 America), Delogu examines novels, a diary, memoirs, and manifestos to show how vulnerability forces individuals to choose between exclusionary fascist authoritarianism and inclusive, collaborative democracy. 30 00 A worldwide struggle between democracy and authoritarianism set against a backdrop of global surveillance capitalism is unmistakable. Examples range from Myanmar, China, and the Philippines to Hungary, Turkey, Russia, and the United States. Fascism, Vulnerability, and the Escape from Freedom offers a multidisciplinary analysis drawing on psychology and literature to provide readers with a deeper understanding of the mechanisms that drive people to abandon democracy in favor of vertically organized authoritarianism and even fascism.In a comparative study of texts selected for their insights and occasional blind spots regarding fascist experiments of the past 100 years, Delogu examines fascism’s exploitation of fear (of change, loss, and death), disruption, and extreme inequality. The book offers an accessible and persuasive argument linking fascist authoritarianism, also called “right-wing populism,” to certain underlying conditions, such as a rise in us-versus-them thinking; distrust or simple apathy regarding democratic institutions, norms, and results; the vulnerabilities that result from extreme inequality (economic, social, racial); and addictions and codependency. Stressful events, such as a pandemic, an environmental disaster, or deep recession aggravate these harmful factors and make the fascist temptation, including the use of violence, almost irresistible. Delogu’s distinctive examination of texts that plumb the unconscious reveal linkages between actions and unavowable motives that purely historical and theoretical studies of fascism leave out.Erich Fromm’s neglected 1941 classic Escape from Freedom serves as a key reference in Delogu’s study, as does Robert Paxton’s authoritative history, The Anatomy of Fascism (2004). After underscoring the argument and urgent context around these two studies (Hitler’s Germany and George W. Bush’s post-9/11 America), Delogu examines novels, a diary, memoirs, and manifestos to show how vulnerability forces individuals to choose between exclusionary fascist authoritarianism and inclusive, collaborative democracy. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0392.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/fascism-vulnerability-and-the-escape-from-freedom-readings-to-repair-democracy/ 16 40 05b5c0584 32 10.13039/501100011080 Jean Moulin University Lyon 3 01 programname Institut d’Études Transtextuelles et Transculturelles (IETT) Earth, Milky Way 04 01 20221111 C. Jon Delogu 02 WORLD 06 15 9781685710804 03 9781685710804 34 06 10.1080/13501760903465256 34 06 10.1017/S0003055419000558 34 06 10.1126/science.abe1715 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/59202 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/59202/0392.1.00.pdf?sequence=12&isAllowed=y 20 08 20221111 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/93541 20 08 20221111 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv31svrnt 20 08 20221111 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/373 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f68c25a4-8ed3-4d6c-aa58-743d2c670cf3/download 20 08 20221111 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e03a77a9-4f3f-4c09-95f6-6a02391a6525 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e03a77a9-4f3f-4c09-95f6-6a02391a6525/e03a77a9-4f3f-4c09-95f6-6a02391a6525.pdf 20 08 20221111 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849576 29 ZENODO: download the title https://zenodo.org/records/19849576/files/e03a77a9-4f3f-4c09-95f6-6a02391a6525_book.pdf 20 08 20221111 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/fascism-vulnerability-and-the-escape-from-freedom-readings-to-repair-democracy/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0392.1.00.pdf 20 08 20221111 01 urn:uuid:62f1f2f8-5529-46a2-ace3-6acad45bf174 03 01 01 thoth-work-id urn:uuid:31423bb7-3107-47f5-a24f-1de070c2ed47 01 thoth-publication-id urn:uuid:62f1f2f8-5529-46a2-ace3-6acad45bf174 15 9781685711467 03 9781685711467 06 10.53288/0397.1.00 13 2023950895 01 internal-reference 0397 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Feminist Solidarities after Modulation 1 A01 21 0000000285645486 Sara Morais dos Santos Bruss Sara Morais dos Santos Bruss 01 eng 00 382 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 93 JBCT1 12 JFD B2 Media+Technology 10 SOC052000 93 1HFMN 20 social media; decolonial feminism; Germany; India; intersectionality; modulation; identity politics 01 06 02 00 03 00 Feminist Solidarities after Modulation produces an intersectional analysis of transnational feminist movements and their contemporary digital frameworks of identity and solidarity. Engaging media theory, critical race theory, and Black feminist theory, as well as contemporary feminist movements, this book argues that digital feminist interventions map themselves onto and make use of the multiplicity and ambiguity of digital spaces to question presentist and fixed notions of the internet as a white space and technologies in general as objective or universal. Understanding these frameworks as colonial constructions of the human, identity is traced to a socio-material condition that emerges with the modernity/colonialism binary.In the colonial moment, race and gender become the reasons for, as well as the effects of, technologies of identification, and thus need to be understood as and through technologies. What Deleuze has called modulation is not a present modality of control, but is placed into a longer genealogy of imperial division, which stands in opposition to feminist, queer, and anti-racist activism that insists on non-modular solidarities across seeming difference. At its heart, Feminist Solidarities after Modulation provides an analysis of contemporary digital feminist solidarities, which not only work at revealing the material histories and affective "leakages" of modular governance, but also challenges them to concentrate on forms of political togetherness that exceed a reductive or essentialist understanding of identity, solidarity, and difference. 30 00 Feminist Solidarities after Modulation produces an intersectional analysis of transnational feminist movements and their contemporary digital frameworks of identity and solidarity. Engaging media theory, critical race theory, and Black feminist theory, as well as contemporary feminist movements, this book argues that digital feminist interventions map themselves onto and make use of the multiplicity and ambiguity of digital spaces to question presentist and fixed notions of the internet as a white space and technologies in general as objective or universal. Understanding these frameworks as colonial constructions of the human, identity is traced to a socio-material condition that emerges with the modernity/colonialism binary.In the colonial moment, race and gender become the reasons for, as well as the effects of, technologies of identification, and thus need to be understood as and through technologies. What Deleuze has called modulation is not a present modality of control, but is placed into a longer genealogy of imperial division, which stands in opposition to feminist, queer, and anti-racist activism that insists on non-modular solidarities across seeming difference. At its heart, Feminist Solidarities after Modulation provides an analysis of contemporary digital feminist solidarities, which not only work at revealing the material histories and affective "leakages" of modular governance, but also challenges them to concentrate on forms of political togetherness that exceed a reductive or essentialist understanding of identity, solidarity, and difference. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0397.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/feminist-solidarities-after-modulation/ 16 40 03bnmw459 32 10.13039/501100004238 University of Potsdam 01 programname Publication Fund 16 40 018mejw64 32 10.13039/501100001659 Deutsche Forschungsgemeinschaft 01 projectname Minor Cosmopolitanisms 01 grantnumber 265331351/RTG 2130 Earth, Milky Way 04 01 20231130 Sara Morais dos Santos Bruss 02 WORLD 06 15 9781685711474 03 9781685711474 34 06 10.1386/pop.9.2.131_1 34 06 10.2307/488635 34 06 10.1071/HR17027 34 06 10.1080/07341510500037537 34 06 10.1080/14680777.2015.1093070 34 06 10.1080/13621025.2017.1380649 34 06 10.2307/3517219 34 06 10.1086/448875 34 06 10.1177/1461444810365313 34 06 10.1177/0896920509347144 34 06 10.3917/rtm.209.0019 34 06 10.1086/595632 34 06 10.1215/02705346-2008-013 34 06 10.1215/10407391-3145937 34 06 10.1215/02705346-2008-018 34 06 10.1177/1527476418796632 34 06 10.1080/01436597.2017.1331123 34 06 10.1177/1931243117697767 34 06 10.1093/ccc/tcy025 34 06 10.1086/448747 34 06 10.1353/JNT.2011.0062 34 06 10.1080/02691729408578758 34 06 10.1080/1369118X.2015.1119872 34 06 10.1353/phi.2018.0003 34 06 10.1080/08164649.1987.9961538 34 06 10.2307/3178066 34 06 10.1080/00856400208723498 34 06 10.53288/0315.1.14 34 06 10.1080/14680777.2012.741860 34 06 10.2307/1394725.359 34 06 10.1177/S0038038599000310 34 06 10.1080/07407700508571495 34 06 10.1353/cj.2014.0004 34 06 10.1057/s41305-018-0119-6 34 06 10.1177/0306396818823172 34 06 10.1080/07380560802314177 34 06 10.1177/1532708608321481 34 06 10.4324/9780203852156-13 34 06 10.1080/09505438909526260 34 06 10.4038/sljh.v37i1-2.7204 34 06 10.1215/02705346-2008-015 34 06 10.1080/14735784.2019.1579658 34 06 10.1080/03057079408708389 34 06 10.1093/ccc/tcy020 34 06 10.1080/00856401.2019.1595343 34 06 10.3167/ghs.2014.070106 34 06 10.1080/08949468.2013.804701 34 06 10.2307/2166840 34 06 10.1080/0966369022000003905 34 06 10.1177/2056305115580338 34 06 10.5210/fm.v20i4.5463 34 06 10.4324/9781315748962 34 06 10.1177/1741659017701803 34 06 10.1080/15295036.2016.1183801 34 06 10.2307/464747 34 06 10.1023/A:1011254505902 34 06 10.25058/20112742.n38.04 34 06 10.2139/ssrn.2569369 34 06 10.15446/rcs.v39n2.58970 34 06 10.1075/ct.1.03ric 34 06 10.1353/ncr.2004.0015 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711464 20 08 20231130 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/feminist-solidarities-after-modulation 20 08 20231130 02 26.00 USD WORLD urn:uuid:ab5b762d-c4af-44fe-b0b5-901911f16f47 03 01 01 thoth-work-id urn:uuid:31423bb7-3107-47f5-a24f-1de070c2ed47 01 thoth-publication-id urn:uuid:ab5b762d-c4af-44fe-b0b5-901911f16f47 15 9781685711474 03 9781685711474 06 10.53288/0397.1.00 13 2023950895 01 internal-reference 0397 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Feminist Solidarities after Modulation 1 A01 21 0000000285645486 Sara Morais dos Santos Bruss Sara Morais dos Santos Bruss 01 eng 00 382 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 93 JBCT1 12 JFD B2 Media+Technology 10 SOC052000 93 1HFMN 20 social media; decolonial feminism; Germany; India; intersectionality; modulation; identity politics 01 06 02 00 03 00 Feminist Solidarities after Modulation produces an intersectional analysis of transnational feminist movements and their contemporary digital frameworks of identity and solidarity. Engaging media theory, critical race theory, and Black feminist theory, as well as contemporary feminist movements, this book argues that digital feminist interventions map themselves onto and make use of the multiplicity and ambiguity of digital spaces to question presentist and fixed notions of the internet as a white space and technologies in general as objective or universal. Understanding these frameworks as colonial constructions of the human, identity is traced to a socio-material condition that emerges with the modernity/colonialism binary.In the colonial moment, race and gender become the reasons for, as well as the effects of, technologies of identification, and thus need to be understood as and through technologies. What Deleuze has called modulation is not a present modality of control, but is placed into a longer genealogy of imperial division, which stands in opposition to feminist, queer, and anti-racist activism that insists on non-modular solidarities across seeming difference. At its heart, Feminist Solidarities after Modulation provides an analysis of contemporary digital feminist solidarities, which not only work at revealing the material histories and affective "leakages" of modular governance, but also challenges them to concentrate on forms of political togetherness that exceed a reductive or essentialist understanding of identity, solidarity, and difference. 30 00 Feminist Solidarities after Modulation produces an intersectional analysis of transnational feminist movements and their contemporary digital frameworks of identity and solidarity. Engaging media theory, critical race theory, and Black feminist theory, as well as contemporary feminist movements, this book argues that digital feminist interventions map themselves onto and make use of the multiplicity and ambiguity of digital spaces to question presentist and fixed notions of the internet as a white space and technologies in general as objective or universal. Understanding these frameworks as colonial constructions of the human, identity is traced to a socio-material condition that emerges with the modernity/colonialism binary.In the colonial moment, race and gender become the reasons for, as well as the effects of, technologies of identification, and thus need to be understood as and through technologies. What Deleuze has called modulation is not a present modality of control, but is placed into a longer genealogy of imperial division, which stands in opposition to feminist, queer, and anti-racist activism that insists on non-modular solidarities across seeming difference. At its heart, Feminist Solidarities after Modulation provides an analysis of contemporary digital feminist solidarities, which not only work at revealing the material histories and affective "leakages" of modular governance, but also challenges them to concentrate on forms of political togetherness that exceed a reductive or essentialist understanding of identity, solidarity, and difference. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0397.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/feminist-solidarities-after-modulation/ 16 40 03bnmw459 32 10.13039/501100004238 University of Potsdam 01 programname Publication Fund 16 40 018mejw64 32 10.13039/501100001659 Deutsche Forschungsgemeinschaft 01 projectname Minor Cosmopolitanisms 01 grantnumber 265331351/RTG 2130 Earth, Milky Way 04 01 20231130 Sara Morais dos Santos Bruss 02 WORLD 06 15 9781685711467 03 9781685711467 34 06 10.1386/pop.9.2.131_1 34 06 10.2307/488635 34 06 10.1071/HR17027 34 06 10.1080/07341510500037537 34 06 10.1080/14680777.2015.1093070 34 06 10.1080/13621025.2017.1380649 34 06 10.2307/3517219 34 06 10.1086/448875 34 06 10.1177/1461444810365313 34 06 10.1177/0896920509347144 34 06 10.3917/rtm.209.0019 34 06 10.1086/595632 34 06 10.1215/02705346-2008-013 34 06 10.1215/10407391-3145937 34 06 10.1215/02705346-2008-018 34 06 10.1177/1527476418796632 34 06 10.1080/01436597.2017.1331123 34 06 10.1177/1931243117697767 34 06 10.1093/ccc/tcy025 34 06 10.1086/448747 34 06 10.1353/JNT.2011.0062 34 06 10.1080/02691729408578758 34 06 10.1080/1369118X.2015.1119872 34 06 10.1353/phi.2018.0003 34 06 10.1080/08164649.1987.9961538 34 06 10.2307/3178066 34 06 10.1080/00856400208723498 34 06 10.53288/0315.1.14 34 06 10.1080/14680777.2012.741860 34 06 10.2307/1394725.359 34 06 10.1177/S0038038599000310 34 06 10.1080/07407700508571495 34 06 10.1353/cj.2014.0004 34 06 10.1057/s41305-018-0119-6 34 06 10.1177/0306396818823172 34 06 10.1080/07380560802314177 34 06 10.1177/1532708608321481 34 06 10.4324/9780203852156-13 34 06 10.1080/09505438909526260 34 06 10.4038/sljh.v37i1-2.7204 34 06 10.1215/02705346-2008-015 34 06 10.1080/14735784.2019.1579658 34 06 10.1080/03057079408708389 34 06 10.1093/ccc/tcy020 34 06 10.1080/00856401.2019.1595343 34 06 10.3167/ghs.2014.070106 34 06 10.1080/08949468.2013.804701 34 06 10.2307/2166840 34 06 10.1080/0966369022000003905 34 06 10.1177/2056305115580338 34 06 10.5210/fm.v20i4.5463 34 06 10.4324/9781315748962 34 06 10.1177/1741659017701803 34 06 10.1080/15295036.2016.1183801 34 06 10.2307/464747 34 06 10.1023/A:1011254505902 34 06 10.25058/20112742.n38.04 34 06 10.2139/ssrn.2569369 34 06 10.15446/rcs.v39n2.58970 34 06 10.1075/ct.1.03ric 34 06 10.1353/ncr.2004.0015 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/85662 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/85662/0397.1.00.pdf?sequence=1&isAllowed=y 20 08 20231130 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/128428 20 08 20231130 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.10782316 20 08 20231130 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/342 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2c20695e-9462-4cab-a503-5c2271a5cbd8/download 20 08 20231130 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Feminist_Solidarities_After_Modulation/bFPvEAAAQBAJ 20 08 20231130 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/31423bb7-3107-47f5-a24f-1de070c2ed47 29 INTERNET_ARCHIVE: download the title https://archive.org/download/31423bb7-3107-47f5-a24f-1de070c2ed47/31423bb7-3107-47f5-a24f-1de070c2ed47.pdf 20 08 20231130 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850140 29 ZENODO: download the title https://zenodo.org/records/19850140/files/31423bb7-3107-47f5-a24f-1de070c2ed47_book.pdf 20 08 20231130 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/feminist-solidarities-after-modulation/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0397.1.00.pdf 20 08 20231130 01 urn:uuid:faa77f75-4a8e-43bd-bc31-ba1eb3ac96d4 03 01 01 thoth-work-id urn:uuid:a9b27739-0d29-4238-8a41-47b3ac2d5bd5 01 thoth-publication-id urn:uuid:faa77f75-4a8e-43bd-bc31-ba1eb3ac96d4 15 9789491914003 03 9789491914003 06 10.21983/P3.0223.1.00 01 internal-reference 0223 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Filial Arcade & Other Poems 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 2 A13 Marco Mazzi Marco Mazzi 01 eng 00 170 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 20 poetry; American poetry; modern poetry 01 06 02 00 03 00 Filial Arcade & Other Poems is a book of poetry; a fusion of images and memories of a family, trees, piety, love, the sea, dying, animal life, video tapes, forests. The book is prefaced with images by Marco Mazzi. 30 00 Filial Arcade & Other Poems is a book of poetry; a fusion of images and memories of a family, trees, piety, love, the sea, dying, animal life, video tapes, forests. The book is prefaced with images by Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0223.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/filial-arcade-other-poems/ The Hague/Tirana 04 01 20131221 Groves, Adam Staley 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2CWnwde 20 08 20131221 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/filial-arcade-other-poems 20 08 20131221 02 22.00 USD WORLD urn:uuid:9dd0694b-af14-4f00-8f5e-8ba1dedd0607 03 01 01 thoth-work-id urn:uuid:a9b27739-0d29-4238-8a41-47b3ac2d5bd5 01 thoth-publication-id urn:uuid:9dd0694b-af14-4f00-8f5e-8ba1dedd0607 06 10.21983/P3.0223.1.00 01 internal-reference 0223 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Filial Arcade & Other Poems 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 2 A13 Marco Mazzi Marco Mazzi 01 eng 00 170 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 20 poetry; American poetry; modern poetry 01 06 02 00 03 00 Filial Arcade & Other Poems is a book of poetry; a fusion of images and memories of a family, trees, piety, love, the sea, dying, animal life, video tapes, forests. The book is prefaced with images by Marco Mazzi. 30 00 Filial Arcade & Other Poems is a book of poetry; a fusion of images and memories of a family, trees, piety, love, the sea, dying, animal life, video tapes, forests. The book is prefaced with images by Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0223.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/filial-arcade-other-poems/ The Hague/Tirana 04 01 20131221 Groves, Adam Staley 02 WORLD 06 15 9789491914003 03 9789491914003 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25407 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25407/1004688.pdf?sequence=1&isAllowed=y 20 08 20131221 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29547 20 08 20131221 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354042 20 08 20131221 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/439 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5b52ea68-76a9-408a-8a73-8f07a7c35405/download 20 08 20131221 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Filial_Arcade_Other_Poems/3f-nEAAAQBAJ 20 08 20131221 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a9b27739-0d29-4238-8a41-47b3ac2d5bd5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a9b27739-0d29-4238-8a41-47b3ac2d5bd5/a9b27739-0d29-4238-8a41-47b3ac2d5bd5.pdf 20 08 20131221 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845881 29 ZENODO: download the title https://zenodo.org/records/19845881/files/a9b27739-0d29-4238-8a41-47b3ac2d5bd5_book.pdf 20 08 20131221 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/filial-arcade-other-poems/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0223.1.00.pdf 20 08 20131221 01 urn:uuid:c35c6c67-25ab-4ee1-9830-4ab4de867742 03 01 01 thoth-work-id urn:uuid:1b870455-0b99-4d0e-af22-49f4ebbb6493 01 thoth-publication-id urn:uuid:c35c6c67-25ab-4ee1-9830-4ab4de867742 15 9781947447615 03 9781947447615 06 10.21983/P3.0243.1.00 13 2018943332 01 internal-reference 0243 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 191 mm 02 19.1 cm 02 7.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Finding Room in Beirut Places of the Everyday 1 A01 Carole Lévesque Carole Lévesque 40 002rjbv21 University of Quebec at Montreal 01 eng 00 142 03 93 AMVD 10 ARC010000 B2 Built Environments 12 RPC 93 1FBL-LB-B B2 Cultural Studies+Critical Theory 20 urban design; Beirut; architecture; Lebanon; political geography; terrain vague; cultural studies 01 06 02 00 03 00 Finding Room in Beirut: Places of the Everyday demonstrates why it is worth our while to explore the value and contemporary meaning of urban areas about to undergo complete renewal. Branching off from discourses surrounding the terrain vague, the book argues that large populated urban areas meet the criteria of the vague and constitute a particular perspective from which to build a critical stance in regards to the contemporary city. But unlike a terrain vague, a vague urbain — inhabited areas where property ownership is usually obscure and informal behaviours a daily affair — possesses real communities and offers an alternative understanding on how a city can be practiced and how lessons should be learned before its complete transformation.Stemming from a photographic and architectural documentation of Bachoura, a central area of Beirut, Lebanon, the book shows how the vague urbain allows for different ways of inhabiting, ways that are as — or perhaps even more — real and anchored in the imagination of the city as those proposed by standardising developments. Building on the intricacies of found situations, improvised uses and local narratives, it is an exploration as to how the meeting of a marvellous realism with l’intrigue, the vague urbain, and temporary architecture can provide opportunities for the emergence of hidden narratives. 30 00 Finding Room in Beirut: Places of the Everyday demonstrates why it is worth our while to explore the value and contemporary meaning of urban areas about to undergo complete renewal. Branching off from discourses surrounding the terrain vague, the book argues that large populated urban areas meet the criteria of the vague and constitute a particular perspective from which to build a critical stance in regards to the contemporary city. But unlike a terrain vague, a vague urbain — inhabited areas where property ownership is usually obscure and informal behaviours a daily affair — possesses real communities and offers an alternative understanding on how a city can be practiced and how lessons should be learned before its complete transformation.Stemming from a photographic and architectural documentation of Bachoura, a central area of Beirut, Lebanon, the book shows how the vague urbain allows for different ways of inhabiting, ways that are as — or perhaps even more — real and anchored in the imagination of the city as those proposed by standardising developments. Building on the intricacies of found situations, improvised uses and local narratives, it is an exploration as to how the meeting of a marvellous realism with l’intrigue, the vague urbain, and temporary architecture can provide opportunities for the emergence of hidden narratives. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0243.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/finding-room-in-beirut-places-of-the-everyday/ Earth, Milky Way 04 01 20190208 Lévesque, Carole 02 WORLD 06 15 9781947447622 03 9781947447622 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447610 20 08 20190208 02 38.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/finding-room-in-beirut-places-of-the-everyday 20 08 20190208 02 38.00 USD WORLD urn:uuid:e5498ab5-52c5-403d-91d8-f227d0914199 03 01 01 thoth-work-id urn:uuid:1b870455-0b99-4d0e-af22-49f4ebbb6493 01 thoth-publication-id urn:uuid:e5498ab5-52c5-403d-91d8-f227d0914199 15 9781947447622 03 9781947447622 06 10.21983/P3.0243.1.00 13 2018943332 01 internal-reference 0243 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Finding Room in Beirut Places of the Everyday 1 A01 Carole Lévesque Carole Lévesque 40 002rjbv21 University of Quebec at Montreal 01 eng 00 142 03 93 AMVD 10 ARC010000 B2 Built Environments 12 RPC 93 1FBL-LB-B B2 Cultural Studies+Critical Theory 20 urban design; Beirut; architecture; Lebanon; political geography; terrain vague; cultural studies 01 06 02 00 03 00 Finding Room in Beirut: Places of the Everyday demonstrates why it is worth our while to explore the value and contemporary meaning of urban areas about to undergo complete renewal. Branching off from discourses surrounding the terrain vague, the book argues that large populated urban areas meet the criteria of the vague and constitute a particular perspective from which to build a critical stance in regards to the contemporary city. But unlike a terrain vague, a vague urbain — inhabited areas where property ownership is usually obscure and informal behaviours a daily affair — possesses real communities and offers an alternative understanding on how a city can be practiced and how lessons should be learned before its complete transformation.Stemming from a photographic and architectural documentation of Bachoura, a central area of Beirut, Lebanon, the book shows how the vague urbain allows for different ways of inhabiting, ways that are as — or perhaps even more — real and anchored in the imagination of the city as those proposed by standardising developments. Building on the intricacies of found situations, improvised uses and local narratives, it is an exploration as to how the meeting of a marvellous realism with l’intrigue, the vague urbain, and temporary architecture can provide opportunities for the emergence of hidden narratives. 30 00 Finding Room in Beirut: Places of the Everyday demonstrates why it is worth our while to explore the value and contemporary meaning of urban areas about to undergo complete renewal. Branching off from discourses surrounding the terrain vague, the book argues that large populated urban areas meet the criteria of the vague and constitute a particular perspective from which to build a critical stance in regards to the contemporary city. But unlike a terrain vague, a vague urbain — inhabited areas where property ownership is usually obscure and informal behaviours a daily affair — possesses real communities and offers an alternative understanding on how a city can be practiced and how lessons should be learned before its complete transformation.Stemming from a photographic and architectural documentation of Bachoura, a central area of Beirut, Lebanon, the book shows how the vague urbain allows for different ways of inhabiting, ways that are as — or perhaps even more — real and anchored in the imagination of the city as those proposed by standardising developments. Building on the intricacies of found situations, improvised uses and local narratives, it is an exploration as to how the meeting of a marvellous realism with l’intrigue, the vague urbain, and temporary architecture can provide opportunities for the emergence of hidden narratives. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0243.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/finding-room-in-beirut-places-of-the-everyday/ Earth, Milky Way 04 01 20190208 Lévesque, Carole 02 WORLD 06 15 9781947447615 03 9781947447615 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25388 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25388/1004707.pdf?sequence=1&isAllowed=y 20 08 20190208 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38748 20 08 20190208 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353913 20 08 20190208 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/726 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b5b9f08e-3319-4b34-957e-fc9cb1ee8f53/download 20 08 20190208 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1b870455-0b99-4d0e-af22-49f4ebbb6493 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1b870455-0b99-4d0e-af22-49f4ebbb6493/1b870455-0b99-4d0e-af22-49f4ebbb6493.pdf 20 08 20190208 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847637 29 ZENODO: download the title https://zenodo.org/records/19847637/files/1b870455-0b99-4d0e-af22-49f4ebbb6493_book.pdf 20 08 20190208 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/finding-room-in-beirut-places-of-the-everyday/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0243.1.00.pdf 20 08 20190208 01 urn:uuid:1c8e1666-f1ff-4518-8c35-e8551452ea57 03 01 01 thoth-work-id urn:uuid:6ca16a49-7c95-4c81-b8f0-8f3c7e42de7d 01 thoth-publication-id urn:uuid:1c8e1666-f1ff-4518-8c35-e8551452ea57 15 9780615624426 03 9780615624426 06 10.21983/P3.0036.1.00 01 internal-reference 0036 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Flash + Cube (1965–1975) 1 A01 Marget Long Marget Long 40 0190ak572 New York University 40 05pbkcd34 Cooper Union 2 01 eng 00 160 03 12 AGB 93 AGB 10 ART016010 B2 Art+Aesthetics B2 Cultural Studies+Critical Theory B2 History 20 artist book; exhibition catalog; photography; history of photography 01 06 02 00 03 00 Flash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube — the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials — a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with 30 00 Flash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube — the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials — a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0036.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/flash-cube-1965-1975/ Brooklyn, NY 04 01 20130701 Long, Marget 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25581 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25581/1004514.pdf?sequence=1&isAllowed=y 20 08 20130701 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33322 20 08 20130701 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353965 20 08 20130701 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/416 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c7a0d2fe-6ae3-4d29-af5b-0cc03757b3f1/download 20 08 20130701 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6ca16a49-7c95-4c81-b8f0-8f3c7e42de7d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6ca16a49-7c95-4c81-b8f0-8f3c7e42de7d/6ca16a49-7c95-4c81-b8f0-8f3c7e42de7d.pdf 20 08 20130701 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845746 29 ZENODO: download the title https://zenodo.org/records/19845746/files/6ca16a49-7c95-4c81-b8f0-8f3c7e42de7d_book.pdf 20 08 20130701 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/flash-cube-1965-1975/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0036.1.00.pdf 20 08 20130701 01 urn:uuid:b5369343-21ef-4b05-9d30-17555f96dc72 03 01 01 thoth-work-id urn:uuid:7fbc96cf-4c88-4e70-b1fe-d4e69324184a 01 thoth-publication-id urn:uuid:b5369343-21ef-4b05-9d30-17555f96dc72 15 9780615624426 03 9780615624426 01 internal-reference 0002 00 BC 10 01 229 mm 01 22.9 cm 01 9.02 in 02 171 mm 02 17.1 cm 02 6.73 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Flash + Cube (1965–1975) 1 A01 Marget Long Marget Long 40 0190ak572 New York University 01 eng 00 160 03 12 AGB 10 ART016010 20 artist book; exhibition catalog; photography; history of photography 01 06 02 00 03 00 Flash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube --- the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials --- a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with. 30 00 Flash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube --- the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials --- a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2012/05/Long_Cover_FlashCube_REV_05.20.2016.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/flash-cube-1965-1975/ Brooklyn, NY 04 01 20120101 Long, Marget 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=ZFJPQSKHUHJZU 20 08 20120101 02 20.00 USD WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/flash-cube-1965-1975/ 20 08 20120101 02 20.00 USD WORLD urn:uuid:a398c015-90be-4a37-a22b-f42bd3f686ad 03 01 01 thoth-work-id urn:uuid:f4a04558-958a-43da-b009-d5b7580c532f 01 thoth-publication-id urn:uuid:a398c015-90be-4a37-a22b-f42bd3f686ad 15 9781953035806 03 9781953035806 06 10.53288/0331.1.00 13 2021945292 01 internal-reference 0331 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Follow for Now, Volume 2 More Interviews with Friends and Heroes 1 B01 Roy Christopher Roy Christopher 01 eng 00 300 03 93 6RJ 12 AVH B2 Media+Technology 10 MUS031000 93 AVP 12 DNJ 10 LAN008000 B2 Sound+Noise 93 DNP 20 interviews; media; technology; hip-hop; writing 01 06 02 00 03 00 Follow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn’t crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews.Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now. 30 00 Follow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn’t crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews.Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0331.1.00_frontcover.jpg 1 03 06 10.53288/0331.1.01 1 12 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Roy Christopher Roy Christopher 01 eng 20 00 Open Access 2 03 06 10.53288/0331.1.02 13 17 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface O Bother, Why Art Thou? 1 A01 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 3 03 06 10.53288/0331.1.03 20 32 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carla Nappi Historical Friction 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 4 03 06 10.53288/0331.1.04 34 45 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kristen Gallerneaux Unattended Consequences 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 5 03 06 10.53288/0331.1.05 46 51 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dominic Pettman Human Matters 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 6 03 06 10.53288/0331.1.06 52 56 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rita Raley Tactical Humanities 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 7 03 06 10.53288/0331.1.07 58 63 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Jodi Dean Of Crowds and Collectives 1 A01 Alfie Bown Alfie Bown 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Alfie Bown 8 03 06 10.53288/0331.1.08 64 71 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gareth Branwyn Borg Like Me 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 9 03 06 10.53288/0331.1.09 72 81 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ian Bogost Worthwhile Dilemmas 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 10 03 06 10.53288/0331.1.10 82 88 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mark Dery Nothing’s Shocking 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 11 03 06 10.53288/0331.1.11 90 97 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brian Eno Strange Overtones 1 A01 Steven Johnson Steven Johnson 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Steven Johnson 12 03 06 10.53288/0331.1.12 98 103 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zizi Papacharissi A Networked Self 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 13 03 06 10.53288/0331.1.13 104 108 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Douglas Rushkoff The User’s Dilemma 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 14 03 06 10.53288/0331.1.14 110 113 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 danah boyd Privacy = Context + Control 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 20 00 Open Access Roy Christopher 15 03 06 10.53288/0331.1.15 114 126 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dave Allen Every Force Evolves a Form 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 16 03 06 10.53288/0331.1.16 128 133 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Juice Aleem Don’t Be Afraid of the Dark 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 17 03 06 10.53288/0331.1.17 134 138 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Labtekwon Margin Walker 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 18 03 06 10.53288/0331.1.18 140 144 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 M. Sayyid The Other Side 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 19 03 06 10.53288/0331.1.19 146 151 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shabazz Palaces A New Refutation 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 20 00 Open Access Roy Christopher 20 03 06 10.53288/0331.1.20 152 156 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 dälek Build and Destroy 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 21 03 06 10.53288/0331.1.21 158 163 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Matthew Shipp Heavy Meta 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 22 03 06 10.53288/0331.1.22 164 168 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tyler, The Creator The Odd Future Is Now 1 A01 Timothy Baker Timothy Baker 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Timothy Baker 23 03 06 10.53288/0331.1.23 170 174 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tricia Rose Warrior Soul 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 24 03 06 10.53288/0331.1.24 176 179 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sean Price Bless the M.I.C. 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 25 03 06 10.53288/0331.1.25 180 185 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rammellzee The Wrath of the Math 1 A01 Chuck Galli Chuck Galli 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Chuck Galli 26 03 06 10.53288/0331.1.26 186 189 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cadence Weapon Check the Technique 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 27 03 06 10.53288/0331.1.27 190 198 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 El-P Wake Up. Time to Die. 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 28 03 06 10.53288/0331.1.28 200 203 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sadat X My Protocol Is Know-It-All 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 29 03 06 10.53288/0331.1.29 206 214 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ytasha L. Womack Dance to the Future 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 30 03 06 10.53288/0331.1.30 216 219 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bob Stephenson Bit by Bit 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 31 03 06 10.53288/0331.1.31 220 225 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pat Cadigan Eyes on the Skies 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 32 03 06 10.53288/0331.1.32 226 230 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mish Barber-Way Flour Power 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 33 03 06 10.53288/0331.1.33 232 235 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chris Kraus Wildly Contradictory 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 34 03 06 10.53288/0331.1.34 236 241 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Simon Critchley The Skull beneath the Skin 1 A01 Alfie Bown Alfie Bown 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Alfie Bown 35 03 06 10.53288/0331.1.35 242 247 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Clay Tarver Gone Glimmering 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 36 03 06 10.53288/0331.1.36 248 255 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nick Harkaway A Dynastic Succession of Trouble 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 37 03 06 10.53288/0331.1.37 256 262 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Simon Reynolds Erase and Start It Again 1 A01 Roy Christopher Roy Christopher 2 A01 Alex Burns Alex Burns 3 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher Alex Burns 38 03 06 10.53288/0331.1.38 264 267 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Malcolm Gladwell Epidemic Proportions 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 39 03 06 10.53288/0331.1.39 268 295 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 William Gibson The Co-Evolution of Humans and Machines 1 A01 Kodwo Eshun Kodwo Eshun 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Kodwo Eshun 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/follow-for-now-vol-2-more-interviews-with-friends-and-heroes/ Earth, Milky Way 04 01 20210916 Christopher, Roy 02 WORLD 06 15 9781953035813 03 9781953035813 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035809 20 08 20210916 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/follow-for-now-volume-2-more-interviews-with-friends-and-heroes 20 08 20210916 02 25.00 USD WORLD urn:uuid:7f2406d4-f022-4b6a-90b9-666cbd1e97a6 03 01 01 thoth-work-id urn:uuid:f4a04558-958a-43da-b009-d5b7580c532f 01 thoth-publication-id urn:uuid:7f2406d4-f022-4b6a-90b9-666cbd1e97a6 15 9781953035813 03 9781953035813 06 10.53288/0331.1.00 13 2021945292 01 internal-reference 0331 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Follow for Now, Volume 2 More Interviews with Friends and Heroes 1 B01 Roy Christopher Roy Christopher 01 eng 00 300 03 93 6RJ 12 AVH B2 Media+Technology 10 MUS031000 93 AVP 12 DNJ 10 LAN008000 B2 Sound+Noise 93 DNP 20 interviews; media; technology; hip-hop; writing 01 06 02 00 03 00 Follow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn’t crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews.Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now. 30 00 Follow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn’t crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews.Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0331.1.00_frontcover.jpg 1 03 06 10.53288/0331.1.01 1 12 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Roy Christopher Roy Christopher 01 eng 20 00 Open Access 2 03 06 10.53288/0331.1.02 13 17 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface O Bother, Why Art Thou? 1 A01 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 3 03 06 10.53288/0331.1.03 20 32 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carla Nappi Historical Friction 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 4 03 06 10.53288/0331.1.04 34 45 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kristen Gallerneaux Unattended Consequences 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 5 03 06 10.53288/0331.1.05 46 51 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dominic Pettman Human Matters 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 6 03 06 10.53288/0331.1.06 52 56 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rita Raley Tactical Humanities 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 7 03 06 10.53288/0331.1.07 58 63 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Jodi Dean Of Crowds and Collectives 1 A01 Alfie Bown Alfie Bown 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Alfie Bown 8 03 06 10.53288/0331.1.08 64 71 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gareth Branwyn Borg Like Me 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 9 03 06 10.53288/0331.1.09 72 81 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ian Bogost Worthwhile Dilemmas 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 10 03 06 10.53288/0331.1.10 82 88 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mark Dery Nothing’s Shocking 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 11 03 06 10.53288/0331.1.11 90 97 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brian Eno Strange Overtones 1 A01 Steven Johnson Steven Johnson 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Steven Johnson 12 03 06 10.53288/0331.1.12 98 103 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zizi Papacharissi A Networked Self 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 13 03 06 10.53288/0331.1.13 104 108 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Douglas Rushkoff The User’s Dilemma 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 14 03 06 10.53288/0331.1.14 110 113 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 danah boyd Privacy = Context + Control 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 20 00 Open Access Roy Christopher 15 03 06 10.53288/0331.1.15 114 126 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dave Allen Every Force Evolves a Form 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 16 03 06 10.53288/0331.1.16 128 133 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Juice Aleem Don’t Be Afraid of the Dark 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 17 03 06 10.53288/0331.1.17 134 138 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Labtekwon Margin Walker 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 18 03 06 10.53288/0331.1.18 140 144 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 M. Sayyid The Other Side 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 19 03 06 10.53288/0331.1.19 146 151 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shabazz Palaces A New Refutation 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 20 00 Open Access Roy Christopher 20 03 06 10.53288/0331.1.20 152 156 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 dälek Build and Destroy 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 21 03 06 10.53288/0331.1.21 158 163 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Matthew Shipp Heavy Meta 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 22 03 06 10.53288/0331.1.22 164 168 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tyler, The Creator The Odd Future Is Now 1 A01 Timothy Baker Timothy Baker 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Timothy Baker 23 03 06 10.53288/0331.1.23 170 174 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tricia Rose Warrior Soul 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 24 03 06 10.53288/0331.1.24 176 179 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sean Price Bless the M.I.C. 1 A01 Roy Christopher Roy Christopher 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Roy Christopher 25 03 06 10.53288/0331.1.25 180 185 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rammellzee The Wrath of the Math 1 A01 Chuck Galli Chuck Galli 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Chuck Galli 26 03 06 10.53288/0331.1.26 186 189 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cadence Weapon Check the Technique 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 27 03 06 10.53288/0331.1.27 190 198 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 El-P Wake Up. Time to Die. 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 28 03 06 10.53288/0331.1.28 200 203 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sadat X My Protocol Is Know-It-All 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 29 03 06 10.53288/0331.1.29 206 214 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ytasha L. Womack Dance to the Future 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 30 03 06 10.53288/0331.1.30 216 219 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bob Stephenson Bit by Bit 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 31 03 06 10.53288/0331.1.31 220 225 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pat Cadigan Eyes on the Skies 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 32 03 06 10.53288/0331.1.32 226 230 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mish Barber-Way Flour Power 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 33 03 06 10.53288/0331.1.33 232 235 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chris Kraus Wildly Contradictory 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 34 03 06 10.53288/0331.1.34 236 241 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Simon Critchley The Skull beneath the Skin 1 A01 Alfie Bown Alfie Bown 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Alfie Bown 35 03 06 10.53288/0331.1.35 242 247 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Clay Tarver Gone Glimmering 1 A01 Roy Christopher Roy Christopher 2 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher 36 03 06 10.53288/0331.1.36 248 255 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nick Harkaway A Dynastic Succession of Trouble 1 A01 Roy Christopher Roy Christopher 2 A12 Laura Persat Laura Persat 01 eng 20 00 Open Access Roy Christopher 37 03 06 10.53288/0331.1.37 256 262 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Simon Reynolds Erase and Start It Again 1 A01 Roy Christopher Roy Christopher 2 A01 Alex Burns Alex Burns 3 A12 Josh Row Josh Row 01 eng 20 00 Open Access Roy Christopher Alex Burns 38 03 06 10.53288/0331.1.38 264 267 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Malcolm Gladwell Epidemic Proportions 1 A01 Roy Christopher Roy Christopher 2 A12 Eleanor Purcell Eleanor Purcell 01 eng 20 00 Open Access Roy Christopher 39 03 06 10.53288/0331.1.39 268 295 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 William Gibson The Co-Evolution of Humans and Machines 1 A01 Kodwo Eshun Kodwo Eshun 2 A12 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Kodwo Eshun 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/follow-for-now-vol-2-more-interviews-with-friends-and-heroes/ Earth, Milky Way 04 01 20210916 Christopher, Roy 02 WORLD 06 15 9781953035806 03 9781953035806 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50916 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50916/0331.1.00.pdf?sequence=1&isAllowed=y 20 08 20210916 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72253 20 08 20210916 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv21fqj9g 20 08 20210916 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/686 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/42bd81aa-a00c-4196-80ec-8adaf2618fa4/download 20 08 20210916 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Follow_for_Now_Volume_2/YZ-oEAAAQBAJ 20 08 20210916 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f4a04558-958a-43da-b009-d5b7580c532f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f4a04558-958a-43da-b009-d5b7580c532f/f4a04558-958a-43da-b009-d5b7580c532f.pdf 20 08 20210916 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848999 29 ZENODO: download the title https://zenodo.org/records/19848999/files/f4a04558-958a-43da-b009-d5b7580c532f_book.pdf 20 08 20210916 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/follow-for-now-vol-2-more-interviews-with-friends-and-heroes/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0331.1.00.pdf 20 08 20210916 01 urn:uuid:120552e8-80c9-41f3-810f-e94cc8956a65 03 01 01 thoth-work-id urn:uuid:f1d37293-7a51-41a2-a244-b32cb72cb3ea 01 thoth-publication-id urn:uuid:120552e8-80c9-41f3-810f-e94cc8956a65 15 9781685712860 03 9781685712860 06 10.53288/0395.1.00 13 2025945111 01 internal-reference 0395 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 20 mm 03 2 cm 03 0.77 in 08 337 gr 08 11.9 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 "FOLLOW THE PERSON" Archival Encounters 1 A01 Ammiel Alcalay Ammiel Alcalay 40 00awd9g61 The Graduate Center, CUNY 40 03v8adn41 Queens College, CUNY Poet, novelist, translator, critic, and scholar, Ammiel Alcalay is the author of some thirty books, including a little history (UpSet Press, 2012), from the warring factions (UpSet Press, 2007), Islanders (City Lights, 2010), Memories of Our Future: Selected Essays, 1982-1999 (City Lights, 1999), After Jews and Arabs: Remaking Levantine Culture (Minnesota, 1992), Ghost Talk (Pinsapo, 2021), and A Bibliography for After Jews & Arabs (punctum, 2021). Alcalay is also the editor (with Shareah Taleghani) of A Dove in Free Flight (Arkansas, 2021) by Syrian poet and former political prisoner Faraj Bayrakdar. Controlled Demolition: a work in four books is due out from Litmus Press in 2024. His work has appeared in small and large venues, from the Poetry Project Newsletter to Time Magazine and The New York Times. 2 A24 Miriam Nichols Miriam Nichols 40 04h6w7946 University of the Fraser Valley 01 eng 00 338 03 B2 Cultural Studies+Critical Theory 93 DSC 10 LIT014000 93 DNL 10 LCO010000 B2 Literary Studies 93 1KBB 93 1FB 20 archives; history; New American Poetry; Middle East; politics; culture; curriculum 01 06 02 00 03 00 Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another.Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary.As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion. 30 00 Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another.Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary.As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0395.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/follow-the-person-archival-encounters/ Earth, Milky Way 04 01 20251222 Ammiel Alcalay 02 WORLD 06 15 9781685712877 03 9781685712877 06 15 9781685712969 03 9781685712969 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571286X 20 08 20251222 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/follow-the-person-archival-encounters-ammiel-alcalay 20 08 20251222 02 26.00 USD WORLD urn:uuid:651f8db4-47b1-45ce-8bae-9ced5226aff6 03 01 01 thoth-work-id urn:uuid:f1d37293-7a51-41a2-a244-b32cb72cb3ea 01 thoth-publication-id urn:uuid:651f8db4-47b1-45ce-8bae-9ced5226aff6 15 9781685712877 03 9781685712877 06 10.53288/0395.1.00 13 2025945111 01 internal-reference 0395 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 "FOLLOW THE PERSON" Archival Encounters 1 A01 Ammiel Alcalay Ammiel Alcalay 40 00awd9g61 The Graduate Center, CUNY 40 03v8adn41 Queens College, CUNY Poet, novelist, translator, critic, and scholar, Ammiel Alcalay is the author of some thirty books, including a little history (UpSet Press, 2012), from the warring factions (UpSet Press, 2007), Islanders (City Lights, 2010), Memories of Our Future: Selected Essays, 1982-1999 (City Lights, 1999), After Jews and Arabs: Remaking Levantine Culture (Minnesota, 1992), Ghost Talk (Pinsapo, 2021), and A Bibliography for After Jews & Arabs (punctum, 2021). Alcalay is also the editor (with Shareah Taleghani) of A Dove in Free Flight (Arkansas, 2021) by Syrian poet and former political prisoner Faraj Bayrakdar. Controlled Demolition: a work in four books is due out from Litmus Press in 2024. His work has appeared in small and large venues, from the Poetry Project Newsletter to Time Magazine and The New York Times. 2 A24 Miriam Nichols Miriam Nichols 40 04h6w7946 University of the Fraser Valley 01 eng 00 338 03 B2 Cultural Studies+Critical Theory 93 DSC 10 LIT014000 93 DNL 10 LCO010000 B2 Literary Studies 93 1KBB 93 1FB 20 archives; history; New American Poetry; Middle East; politics; culture; curriculum 01 06 02 00 03 00 Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another.Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary.As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion. 30 00 Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another.Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary.As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0395.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/follow-the-person-archival-encounters/ Earth, Milky Way 04 01 20251222 Ammiel Alcalay 02 WORLD 06 15 9781685712860 03 9781685712860 06 15 9781685712969 03 9781685712969 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/109752 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/109752/9781685712877.pdf?sequence=1&isAllowed=y 20 08 20251222 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/932 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/85a9bad2-af63-481f-8cf8-cceef3906a92/download 20 08 20251222 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f1d37293-7a51-41a2-a244-b32cb72cb3ea 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f1d37293-7a51-41a2-a244-b32cb72cb3ea/f1d37293-7a51-41a2-a244-b32cb72cb3ea.pdf 20 08 20251222 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851545 29 ZENODO: download the title https://zenodo.org/records/19851545/files/f1d37293-7a51-41a2-a244-b32cb72cb3ea_book.pdf 20 08 20251222 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/follow-the-person-archival-encounters/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0395.1.00.pdf 20 08 20251222 01 urn:uuid:b7daf8fc-6c81-4858-8da8-33c892d9bd41 03 01 01 thoth-work-id urn:uuid:f1d37293-7a51-41a2-a244-b32cb72cb3ea 01 thoth-publication-id urn:uuid:b7daf8fc-6c81-4858-8da8-33c892d9bd41 15 9781685712969 03 9781685712969 06 10.53288/0395.1.00 13 2025945111 01 internal-reference 0395 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 "FOLLOW THE PERSON" Archival Encounters 1 A01 Ammiel Alcalay Ammiel Alcalay 40 00awd9g61 The Graduate Center, CUNY 40 03v8adn41 Queens College, CUNY Poet, novelist, translator, critic, and scholar, Ammiel Alcalay is the author of some thirty books, including a little history (UpSet Press, 2012), from the warring factions (UpSet Press, 2007), Islanders (City Lights, 2010), Memories of Our Future: Selected Essays, 1982-1999 (City Lights, 1999), After Jews and Arabs: Remaking Levantine Culture (Minnesota, 1992), Ghost Talk (Pinsapo, 2021), and A Bibliography for After Jews & Arabs (punctum, 2021). Alcalay is also the editor (with Shareah Taleghani) of A Dove in Free Flight (Arkansas, 2021) by Syrian poet and former political prisoner Faraj Bayrakdar. Controlled Demolition: a work in four books is due out from Litmus Press in 2024. His work has appeared in small and large venues, from the Poetry Project Newsletter to Time Magazine and The New York Times. 2 A24 Miriam Nichols Miriam Nichols 40 04h6w7946 University of the Fraser Valley 01 eng 00 338 03 B2 Cultural Studies+Critical Theory 93 DSC 10 LIT014000 93 DNL 10 LCO010000 B2 Literary Studies 93 1KBB 93 1FB 20 archives; history; New American Poetry; Middle East; politics; culture; curriculum 01 06 02 00 03 00 Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another.Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary.As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion. 30 00 Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another.Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary.As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0395.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/follow-the-person-archival-encounters/ Earth, Milky Way 04 01 20251222 Ammiel Alcalay 02 WORLD 06 15 9781685712860 03 9781685712860 06 15 9781685712877 03 9781685712877 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851545 29 ZENODO: download the title https://zenodo.org/records/19851545/files/f1d37293-7a51-41a2-a244-b32cb72cb3ea_book.epub 20 08 20251222 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/follow-the-person-archival-encounters/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0395.2.00.epub 20 08 20251222 01 urn:uuid:76c58a10-0209-458f-bc54-8c06c6fec80a 03 01 01 thoth-work-id urn:uuid:53cd2c70-eab6-45b7-a147-8ef1c87d9ac0 01 thoth-publication-id urn:uuid:76c58a10-0209-458f-bc54-8c06c6fec80a 15 9780692374511 03 9780692374511 06 10.21983/P3.0183.1.00 13 2017951817 01 internal-reference 0183 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 dôNrm'-lä-püsl 1 A01 kari edwards kari edwards 2 B01 Tina Žigon Tina Žigon 40 00w73cg32 American University of Kuwait 01 eng 00 102 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations 93 QRVS1 B2 TransQueer 20 Joan of Arc; trans studies; gender; medieval history; poetry 01 06 02 00 03 00 There have been many iterations of the Joan of Arc story: “testimonies,” books, and films have attempted to capture the drama of one of history’s most famous gender warriors. But few, if any, have been undertaken by an author who met her subject matter with such recognition and insight, a fellow warrior, a rebel in kind. kari edwards, a transgender activist and key figure in the Bay Area experimental writing scene of the late 1990s and early 2000s, was provocative and prescient in her concern for the way that language inflects, inflicts, and regulates gender norms. Her persistent efforts to break linguistic binaries and barriers have given her texts an ongoing urgency after her untimely death in 2006.This book brings to life an important document discovered in the late poet’s archive at the Poetry Collection at the University of Buffalo. The several notebooks and partial typescript (as well as various plans and notes) of edwards’ unfinished dôNrm’-lä-püsl, uncovered by Tina Žigon, offer an intriguing glimpse of a major new direction in edwards’ work, one in which her avant-garde instincts are channeled through rigorous research on this medieval figure. In this retelling – better to say “remixing” – of Joan of Arc’s fateful trial and martyrdom, we find the major theme so richly laced throughout edwards’ oeuvre: the courageous (but also depressingly mundane) struggle against the stifling regulation of language, appearance, and norms. edwards’s Joan of Arc, even in its incomplete and abbreviated form (which Žigon calls a “possible version” of edwards’s manuscript), offers an exciting engagement with one of the medieval period’s most challenging and mysterious figures. 30 00 There have been many iterations of the Joan of Arc story: “testimonies,” books, and films have attempted to capture the drama of one of history’s most famous gender warriors. But few, if any, have been undertaken by an author who met her subject matter with such recognition and insight, a fellow warrior, a rebel in kind. kari edwards, a transgender activist and key figure in the Bay Area experimental writing scene of the late 1990s and early 2000s, was provocative and prescient in her concern for the way that language inflects, inflicts, and regulates gender norms. Her persistent efforts to break linguistic binaries and barriers have given her texts an ongoing urgency after her untimely death in 2006.This book brings to life an important document discovered in the late poet’s archive at the Poetry Collection at the University of Buffalo. The several notebooks and partial typescript (as well as various plans and notes) of edwards’ unfinished dôNrm’-lä-püsl, uncovered by Tina Žigon, offer an intriguing glimpse of a major new direction in edwards’ work, one in which her avant-garde instincts are channeled through rigorous research on this medieval figure. In this retelling – better to say “remixing” – of Joan of Arc’s fateful trial and martyrdom, we find the major theme so richly laced throughout edwards’ oeuvre: the courageous (but also depressingly mundane) struggle against the stifling regulation of language, appearance, and norms. edwards’s Joan of Arc, even in its incomplete and abbreviated form (which Žigon calls a “possible version” of edwards’s manuscript), offers an exciting engagement with one of the medieval period’s most challenging and mysterious figures. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0183.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/donrm-la-pusl/ Earth, Milky Way 04 01 20171005 edwards, kari Žigon, Tina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692374515 20 08 20171005 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/danrm-la-pasl 20 08 20171005 02 21.00 USD WORLD urn:uuid:79706767-636d-410a-a024-ff6ff7e9a31e 03 01 01 thoth-work-id urn:uuid:53cd2c70-eab6-45b7-a147-8ef1c87d9ac0 01 thoth-publication-id urn:uuid:79706767-636d-410a-a024-ff6ff7e9a31e 06 10.21983/P3.0183.1.00 13 2017951817 01 internal-reference 0183 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 dôNrm'-lä-püsl 1 A01 kari edwards kari edwards 2 B01 Tina Žigon Tina Žigon 40 00w73cg32 American University of Kuwait 01 eng 00 102 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations 93 QRVS1 B2 TransQueer 20 Joan of Arc; trans studies; gender; medieval history; poetry 01 06 02 00 03 00 There have been many iterations of the Joan of Arc story: “testimonies,” books, and films have attempted to capture the drama of one of history’s most famous gender warriors. But few, if any, have been undertaken by an author who met her subject matter with such recognition and insight, a fellow warrior, a rebel in kind. kari edwards, a transgender activist and key figure in the Bay Area experimental writing scene of the late 1990s and early 2000s, was provocative and prescient in her concern for the way that language inflects, inflicts, and regulates gender norms. Her persistent efforts to break linguistic binaries and barriers have given her texts an ongoing urgency after her untimely death in 2006.This book brings to life an important document discovered in the late poet’s archive at the Poetry Collection at the University of Buffalo. The several notebooks and partial typescript (as well as various plans and notes) of edwards’ unfinished dôNrm’-lä-püsl, uncovered by Tina Žigon, offer an intriguing glimpse of a major new direction in edwards’ work, one in which her avant-garde instincts are channeled through rigorous research on this medieval figure. In this retelling – better to say “remixing” – of Joan of Arc’s fateful trial and martyrdom, we find the major theme so richly laced throughout edwards’ oeuvre: the courageous (but also depressingly mundane) struggle against the stifling regulation of language, appearance, and norms. edwards’s Joan of Arc, even in its incomplete and abbreviated form (which Žigon calls a “possible version” of edwards’s manuscript), offers an exciting engagement with one of the medieval period’s most challenging and mysterious figures. 30 00 There have been many iterations of the Joan of Arc story: “testimonies,” books, and films have attempted to capture the drama of one of history’s most famous gender warriors. But few, if any, have been undertaken by an author who met her subject matter with such recognition and insight, a fellow warrior, a rebel in kind. kari edwards, a transgender activist and key figure in the Bay Area experimental writing scene of the late 1990s and early 2000s, was provocative and prescient in her concern for the way that language inflects, inflicts, and regulates gender norms. Her persistent efforts to break linguistic binaries and barriers have given her texts an ongoing urgency after her untimely death in 2006.This book brings to life an important document discovered in the late poet’s archive at the Poetry Collection at the University of Buffalo. The several notebooks and partial typescript (as well as various plans and notes) of edwards’ unfinished dôNrm’-lä-püsl, uncovered by Tina Žigon, offer an intriguing glimpse of a major new direction in edwards’ work, one in which her avant-garde instincts are channeled through rigorous research on this medieval figure. In this retelling – better to say “remixing” – of Joan of Arc’s fateful trial and martyrdom, we find the major theme so richly laced throughout edwards’ oeuvre: the courageous (but also depressingly mundane) struggle against the stifling regulation of language, appearance, and norms. edwards’s Joan of Arc, even in its incomplete and abbreviated form (which Žigon calls a “possible version” of edwards’s manuscript), offers an exciting engagement with one of the medieval period’s most challenging and mysterious figures. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0183.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/donrm-la-pusl/ Earth, Milky Way 04 01 20171005 edwards, kari Žigon, Tina 02 WORLD 06 15 9780692374511 03 9780692374511 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76481 20 08 20171005 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25445 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25445/1004650.pdf?sequence=1&isAllowed=y 20 08 20171005 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38666 20 08 20171005 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353869 20 08 20171005 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/566 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f0deaf05-caad-45e6-a3cd-1ee4df615ddb/download 20 08 20171005 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/DoNrm_La_pusl/_AOVEAAAQBAJ 20 08 20171005 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/53cd2c70-eab6-45b7-a147-8ef1c87d9ac0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/53cd2c70-eab6-45b7-a147-8ef1c87d9ac0/53cd2c70-eab6-45b7-a147-8ef1c87d9ac0.pdf 20 08 20171005 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847036 29 ZENODO: download the title https://zenodo.org/records/19847036/files/53cd2c70-eab6-45b7-a147-8ef1c87d9ac0_book.pdf 20 08 20171005 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/donrm-la-pusl/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0183.1.00.pdf 20 08 20171005 01 urn:uuid:555915bc-5db7-4610-a26b-7835ffeeb21c 03 01 01 thoth-work-id urn:uuid:cd037a39-f6b9-462a-a207-5079a000065b 01 thoth-publication-id urn:uuid:555915bc-5db7-4610-a26b-7835ffeeb21c 15 9780692229149 03 9780692229149 06 10.21983/P3.0071.1.00 01 internal-reference 0071 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Dotawo: A Journal of Nubian Studies 1 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B01 Angelika Jakobi Angelika Jakobi 40 00rcxh774 University of Cologne 3 B01 Giovanni Ruffini Giovanni Ruffini 40 04z49n283 Fairfield University 01 eng 00 240 03 12 2HNR 93 CF B2 History 10 LAN009000 93 2HNR B2 Languages+Translations B2 Premodern 20 linguistics; papyrology; anthropology; archaeology; Nubian studies 01 06 02 00 03 00 Nubian studies needs a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies.The journal Dotawo: A Journal of Nubian Studies brings these disparate fields together within the same fold, opening a cross-cultural and diachronic field where divergent approaches meet on common soil. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.This first volume of Dotawo is the outcome of a Nubian panel within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22-4, 2013. Organized by Angelika Jakobi, the Nubian panel was attended both by specialists of the modern Nubian languages and scholars working on medieval Nubia and its languages, particularly Old Nubian. We are indebted to the Fritz Thyssen Foundation at Cologne for generously sponsoring the organization of the Nubian panel and the invitation of the participants. 30 00 Nubian studies needs a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies.The journal Dotawo: A Journal of Nubian Studies brings these disparate fields together within the same fold, opening a cross-cultural and diachronic field where divergent approaches meet on common soil. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.This first volume of Dotawo is the outcome of a Nubian panel within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22-4, 2013. Organized by Angelika Jakobi, the Nubian panel was attended both by specialists of the modern Nubian languages and scholars working on medieval Nubia and its languages, particularly Old Nubian. We are indebted to the Fritz Thyssen Foundation at Cologne for generously sponsoring the organization of the Nubian panel and the invitation of the participants. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0071.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-1/ Brooklyn, NY 04 01 20140623 van Gerven Oei, Vincent W.J. Jakobi, Angelika Ruffini, Giovanni 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692229140 20 08 20140623 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-1 20 08 20140623 02 26.00 USD WORLD urn:uuid:77a9d2b4-34b2-4812-bf16-b94ed6177003 03 01 01 thoth-work-id urn:uuid:cd037a39-f6b9-462a-a207-5079a000065b 01 thoth-publication-id urn:uuid:77a9d2b4-34b2-4812-bf16-b94ed6177003 06 10.21983/P3.0071.1.00 01 internal-reference 0071 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Dotawo: A Journal of Nubian Studies 1 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B01 Angelika Jakobi Angelika Jakobi 40 00rcxh774 University of Cologne 3 B01 Giovanni Ruffini Giovanni Ruffini 40 04z49n283 Fairfield University 01 eng 00 240 03 12 2HNR 93 CF B2 History 10 LAN009000 93 2HNR B2 Languages+Translations B2 Premodern 20 linguistics; papyrology; anthropology; archaeology; Nubian studies 01 06 02 00 03 00 Nubian studies needs a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies.The journal Dotawo: A Journal of Nubian Studies brings these disparate fields together within the same fold, opening a cross-cultural and diachronic field where divergent approaches meet on common soil. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.This first volume of Dotawo is the outcome of a Nubian panel within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22-4, 2013. Organized by Angelika Jakobi, the Nubian panel was attended both by specialists of the modern Nubian languages and scholars working on medieval Nubia and its languages, particularly Old Nubian. We are indebted to the Fritz Thyssen Foundation at Cologne for generously sponsoring the organization of the Nubian panel and the invitation of the participants. 30 00 Nubian studies needs a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies.The journal Dotawo: A Journal of Nubian Studies brings these disparate fields together within the same fold, opening a cross-cultural and diachronic field where divergent approaches meet on common soil. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.This first volume of Dotawo is the outcome of a Nubian panel within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22-4, 2013. Organized by Angelika Jakobi, the Nubian panel was attended both by specialists of the modern Nubian languages and scholars working on medieval Nubia and its languages, particularly Old Nubian. We are indebted to the Fritz Thyssen Foundation at Cologne for generously sponsoring the organization of the Nubian panel and the invitation of the participants. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0071.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-1/ Brooklyn, NY 04 01 20140623 van Gerven Oei, Vincent W.J. Jakobi, Angelika Ruffini, Giovanni 02 WORLD 06 15 9780692229149 03 9780692229149 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353970 20 08 20140623 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/455 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6e6854a4-ea25-4ef1-a9db-f9a55d0185dd/download 20 08 20140623 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cd037a39-f6b9-462a-a207-5079a000065b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cd037a39-f6b9-462a-a207-5079a000065b/cd037a39-f6b9-462a-a207-5079a000065b.pdf 20 08 20140623 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845990 29 ZENODO: download the title https://zenodo.org/records/19845990/files/cd037a39-f6b9-462a-a207-5079a000065b_book.pdf 20 08 20140623 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0071.1.00.pdf 20 08 20140623 01 urn:uuid:758a121e-76ef-4689-ba77-f00c572b6dc7 03 01 01 thoth-work-id urn:uuid:1c39ca0c-0189-44d3-bb2f-9345e2a2b152 01 thoth-publication-id urn:uuid:758a121e-76ef-4689-ba77-f00c572b6dc7 15 9780692458433 03 9780692458433 06 10.21983/P3.0104.1.00 01 internal-reference 0104 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 2 1 B01 Angelika Jakobi Angelika Jakobi 40 00rcxh774 University of Cologne 2 B01 Giovanni Ruffini Giovanni Ruffini 40 04z49n283 Fairfield University 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 308 03 12 2HNR 93 CF 10 LAN009000 B2 Languages+Translations 93 2HNR B2 Premodern 20 Nubian studies; linguistics; epigraphy; archaeology; papyrology 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a multi-disciplinary, diachronic view of all aspects of Nubian civilization. It brings to Nubian studies a new approach to scholarly knowledge: an open-access collaboration with DigitalCommons@Fairfield, an institutional repository of Fairfield University in Connecticut, USA, and open-access publishing house punctum books.The first two volumes of Dotawo have their origins in a Nubian language panel organized by Angelika Jakobi within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22 to 24, 2013. Since many invited participants from Sudan were unable to get visas due to the shutdown of the German Embassy in Khartoum at that time, the Fritz Thyssen Foundation funded the organization of a second venue of specialists on modern Nubian languages. This so-called “Nubian Panel 2” was hosted by the Institute of African & Asian Studies at the University of Khartoum on September 18 and 19, 2013. This volume publishes the proceedings of that panel.Future volumes will address three more themes: 1) Nubian women; 2) Nubian place names; 3) and know-how and techniques in ancient Sudan. The calls for papers for the first two volumes may be found on the back of this volume. The third volume is already in preparation with the assistance of Marc Maillot of the Section française de la direction des Antiquités du Soudan, Department of Archeology. We welcome proposals for additional themed volumes, and invite individual submissions on any topic relevant to Nubian studies. 30 00 Dotawo: A Journal of Nubian Studies offers a multi-disciplinary, diachronic view of all aspects of Nubian civilization. It brings to Nubian studies a new approach to scholarly knowledge: an open-access collaboration with DigitalCommons@Fairfield, an institutional repository of Fairfield University in Connecticut, USA, and open-access publishing house punctum books.The first two volumes of Dotawo have their origins in a Nubian language panel organized by Angelika Jakobi within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22 to 24, 2013. Since many invited participants from Sudan were unable to get visas due to the shutdown of the German Embassy in Khartoum at that time, the Fritz Thyssen Foundation funded the organization of a second venue of specialists on modern Nubian languages. This so-called “Nubian Panel 2” was hosted by the Institute of African & Asian Studies at the University of Khartoum on September 18 and 19, 2013. This volume publishes the proceedings of that panel.Future volumes will address three more themes: 1) Nubian women; 2) Nubian place names; 3) and know-how and techniques in ancient Sudan. The calls for papers for the first two volumes may be found on the back of this volume. The third volume is already in preparation with the assistance of Marc Maillot of the Section française de la direction des Antiquités du Soudan, Department of Archeology. We welcome proposals for additional themed volumes, and invite individual submissions on any topic relevant to Nubian studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0104.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-volume-2-2015/ Brooklyn, NY 04 01 20150601 van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Jakobi, Angelika Ruffini, Giovanni 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692458433 20 08 20150601 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-2 20 08 20150601 02 28.00 USD WORLD urn:uuid:e88cf4d9-9851-4645-9155-ee82ae782215 03 01 01 thoth-work-id urn:uuid:1c39ca0c-0189-44d3-bb2f-9345e2a2b152 01 thoth-publication-id urn:uuid:e88cf4d9-9851-4645-9155-ee82ae782215 06 10.21983/P3.0104.1.00 01 internal-reference 0104 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 2 1 B01 Angelika Jakobi Angelika Jakobi 40 00rcxh774 University of Cologne 2 B01 Giovanni Ruffini Giovanni Ruffini 40 04z49n283 Fairfield University 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 308 03 12 2HNR 93 CF 10 LAN009000 B2 Languages+Translations 93 2HNR B2 Premodern 20 Nubian studies; linguistics; epigraphy; archaeology; papyrology 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a multi-disciplinary, diachronic view of all aspects of Nubian civilization. It brings to Nubian studies a new approach to scholarly knowledge: an open-access collaboration with DigitalCommons@Fairfield, an institutional repository of Fairfield University in Connecticut, USA, and open-access publishing house punctum books.The first two volumes of Dotawo have their origins in a Nubian language panel organized by Angelika Jakobi within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22 to 24, 2013. Since many invited participants from Sudan were unable to get visas due to the shutdown of the German Embassy in Khartoum at that time, the Fritz Thyssen Foundation funded the organization of a second venue of specialists on modern Nubian languages. This so-called “Nubian Panel 2” was hosted by the Institute of African & Asian Studies at the University of Khartoum on September 18 and 19, 2013. This volume publishes the proceedings of that panel.Future volumes will address three more themes: 1) Nubian women; 2) Nubian place names; 3) and know-how and techniques in ancient Sudan. The calls for papers for the first two volumes may be found on the back of this volume. The third volume is already in preparation with the assistance of Marc Maillot of the Section française de la direction des Antiquités du Soudan, Department of Archeology. We welcome proposals for additional themed volumes, and invite individual submissions on any topic relevant to Nubian studies. 30 00 Dotawo: A Journal of Nubian Studies offers a multi-disciplinary, diachronic view of all aspects of Nubian civilization. It brings to Nubian studies a new approach to scholarly knowledge: an open-access collaboration with DigitalCommons@Fairfield, an institutional repository of Fairfield University in Connecticut, USA, and open-access publishing house punctum books.The first two volumes of Dotawo have their origins in a Nubian language panel organized by Angelika Jakobi within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22 to 24, 2013. Since many invited participants from Sudan were unable to get visas due to the shutdown of the German Embassy in Khartoum at that time, the Fritz Thyssen Foundation funded the organization of a second venue of specialists on modern Nubian languages. This so-called “Nubian Panel 2” was hosted by the Institute of African & Asian Studies at the University of Khartoum on September 18 and 19, 2013. This volume publishes the proceedings of that panel.Future volumes will address three more themes: 1) Nubian women; 2) Nubian place names; 3) and know-how and techniques in ancient Sudan. The calls for papers for the first two volumes may be found on the back of this volume. The third volume is already in preparation with the assistance of Marc Maillot of the Section française de la direction des Antiquités du Soudan, Department of Archeology. We welcome proposals for additional themed volumes, and invite individual submissions on any topic relevant to Nubian studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0104.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-volume-2-2015/ Brooklyn, NY 04 01 20150601 van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Jakobi, Angelika Ruffini, Giovanni 02 WORLD 06 15 9780692458433 03 9780692458433 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354007 20 08 20150601 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/487 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/31cb2d57-7afb-45cb-a0ad-8687d15a3145/download 20 08 20150601 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Dotawo_a_Journal_of_Nubian_Studies_3_Kno/0G2oEAAAQBAJ 20 08 20150601 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1c39ca0c-0189-44d3-bb2f-9345e2a2b152 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1c39ca0c-0189-44d3-bb2f-9345e2a2b152/1c39ca0c-0189-44d3-bb2f-9345e2a2b152.pdf 20 08 20150601 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846235 29 ZENODO: download the title https://zenodo.org/records/19846235/files/1c39ca0c-0189-44d3-bb2f-9345e2a2b152_book.pdf 20 08 20150601 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-volume-2-2015/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0104.1.00.pdf 20 08 20150601 01 urn:uuid:b554d496-bd5e-4edc-9108-d7b87429a9fd 03 01 01 thoth-work-id urn:uuid:861ea7cc-5447-4c60-8657-c50d0a31cd24 01 thoth-publication-id urn:uuid:b554d496-bd5e-4edc-9108-d7b87429a9fd 15 9780692220863 03 9780692220863 06 10.21983/P3.0148.1.00 01 internal-reference 0148 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 3 Know-Hows and Techniques in Ancient Sudan 1 B01 Marc Maillot Marc Maillot 40 02feahw73 French National Centre for Scientific Research 01 eng 01 fre 00 204 03 B2 Built Environments 12 HDDG 93 NKD 10 SOC003000 93 1QBHN B2 History 93 1HBS B2 Premodern 20 Sudan; Nubian studies; archeology; Africa; ancient history 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.The third volume of Dotawo, guest-edited by Marc Maillot, is dedicated to Know-Hows and Techniques in Ancient Sudan. This collection of articles is the result of a workshop held at Lille University on September 5 and 6, 2013, which brought together several Sudanese archaeology scholars, from architecture to iron production through pottery and textile industry. Organized by Faïza Drici, Marie Evina, and Romain David, with the support of Charles de Gaulle-Lille 3 University and the laboratoire de recherche Halma-Ipel UMR 8164 (Centre national de recherche scientifique – CNRS), this workshop was presided over by Vincent Rondot (present Director of the Egyptian Antiquities Department of the Louvre Museum and former Director of Section française de la direction des antiquités du Soudan – SFDAS). The idea of an academic publication of this workshop in Dotawo was presented by Marc Maillot (SFDAS) in September 2014, during the 13th International Conference for Nubian Studies. The project was warmly welcomed by the editorial committee, and gave birth to a fruitful SFDAS/Dotawo cooperation that started a year ago. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.The third volume of Dotawo, guest-edited by Marc Maillot, is dedicated to Know-Hows and Techniques in Ancient Sudan. This collection of articles is the result of a workshop held at Lille University on September 5 and 6, 2013, which brought together several Sudanese archaeology scholars, from architecture to iron production through pottery and textile industry. Organized by Faïza Drici, Marie Evina, and Romain David, with the support of Charles de Gaulle-Lille 3 University and the laboratoire de recherche Halma-Ipel UMR 8164 (Centre national de recherche scientifique – CNRS), this workshop was presided over by Vincent Rondot (present Director of the Egyptian Antiquities Department of the Louvre Museum and former Director of Section française de la direction des antiquités du Soudan – SFDAS). The idea of an academic publication of this workshop in Dotawo was presented by Marc Maillot (SFDAS) in September 2014, during the 13th International Conference for Nubian Studies. The project was warmly welcomed by the editorial committee, and gave birth to a fruitful SFDAS/Dotawo cooperation that started a year ago. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0148.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-volume-3-2016/ Earth, Milky Way 04 01 20160811 Maillot, Marc 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692220860 20 08 20160811 02 46.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-3-know-hows-and-techniques-in-ancient-sudan 20 08 20160811 02 46.00 USD WORLD urn:uuid:90a2b686-ee9b-4a41-9312-621e665416dc 03 01 01 thoth-work-id urn:uuid:861ea7cc-5447-4c60-8657-c50d0a31cd24 01 thoth-publication-id urn:uuid:90a2b686-ee9b-4a41-9312-621e665416dc 06 10.21983/P3.0148.1.00 01 internal-reference 0148 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 3 Know-Hows and Techniques in Ancient Sudan 1 B01 Marc Maillot Marc Maillot 40 02feahw73 French National Centre for Scientific Research 01 eng 01 fre 00 204 03 B2 Built Environments 12 HDDG 93 NKD 10 SOC003000 93 1QBHN B2 History 93 1HBS B2 Premodern 20 Sudan; Nubian studies; archeology; Africa; ancient history 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.The third volume of Dotawo, guest-edited by Marc Maillot, is dedicated to Know-Hows and Techniques in Ancient Sudan. This collection of articles is the result of a workshop held at Lille University on September 5 and 6, 2013, which brought together several Sudanese archaeology scholars, from architecture to iron production through pottery and textile industry. Organized by Faïza Drici, Marie Evina, and Romain David, with the support of Charles de Gaulle-Lille 3 University and the laboratoire de recherche Halma-Ipel UMR 8164 (Centre national de recherche scientifique – CNRS), this workshop was presided over by Vincent Rondot (present Director of the Egyptian Antiquities Department of the Louvre Museum and former Director of Section française de la direction des antiquités du Soudan – SFDAS). The idea of an academic publication of this workshop in Dotawo was presented by Marc Maillot (SFDAS) in September 2014, during the 13th International Conference for Nubian Studies. The project was warmly welcomed by the editorial committee, and gave birth to a fruitful SFDAS/Dotawo cooperation that started a year ago. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.The third volume of Dotawo, guest-edited by Marc Maillot, is dedicated to Know-Hows and Techniques in Ancient Sudan. This collection of articles is the result of a workshop held at Lille University on September 5 and 6, 2013, which brought together several Sudanese archaeology scholars, from architecture to iron production through pottery and textile industry. Organized by Faïza Drici, Marie Evina, and Romain David, with the support of Charles de Gaulle-Lille 3 University and the laboratoire de recherche Halma-Ipel UMR 8164 (Centre national de recherche scientifique – CNRS), this workshop was presided over by Vincent Rondot (present Director of the Egyptian Antiquities Department of the Louvre Museum and former Director of Section française de la direction des antiquités du Soudan – SFDAS). The idea of an academic publication of this workshop in Dotawo was presented by Marc Maillot (SFDAS) in September 2014, during the 13th International Conference for Nubian Studies. The project was warmly welcomed by the editorial committee, and gave birth to a fruitful SFDAS/Dotawo cooperation that started a year ago. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0148.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-volume-3-2016/ Earth, Milky Way 04 01 20160811 Maillot, Marc 02 WORLD 06 15 9780692220863 03 9780692220863 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353939 20 08 20160811 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/533 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c0f9cb27-2704-46d2-9ed0-0af271c751e2/download 20 08 20160811 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Dotawo/vG2oEAAAQBAJ 20 08 20160811 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/861ea7cc-5447-4c60-8657-c50d0a31cd24 29 INTERNET_ARCHIVE: download the title https://archive.org/download/861ea7cc-5447-4c60-8657-c50d0a31cd24/861ea7cc-5447-4c60-8657-c50d0a31cd24.pdf 20 08 20160811 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846669 29 ZENODO: download the title https://zenodo.org/records/19846669/files/861ea7cc-5447-4c60-8657-c50d0a31cd24_book.pdf 20 08 20160811 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-volume-3-2016/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0148.1.00.pdf 20 08 20160811 01 urn:uuid:39f0e05f-4d4b-457c-9902-24afa2b788a9 03 01 01 thoth-work-id urn:uuid:431b58fe-7f59-49d9-bf6f-53eae379ee4d 01 thoth-publication-id urn:uuid:39f0e05f-4d4b-457c-9902-24afa2b788a9 15 9781947447202 03 9781947447202 06 10.21983/P3.0184.1.00 13 2017952906 01 internal-reference 0184 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 4 Place Names and Place Naming in Nubia 1 B01 Robin Seignobos Robin Seignobos 40 055pd2p26 Institut Français d'Archéologie Orientale 2 B01 Alexandros Tsakos Alexandros Tsakos 40 03zga2b32 University of Bergen 01 eng 00 280 03 B2 History 12 RGL 93 RGXP 10 SOC015000 93 1QBHN 10 HIS001030 B2 Languages+Translations B2 Premodern 20 Nubian Studies; toponymy; geography; linguistics; archaeology 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.Place names in Nubia have only received limited attention so far. The need for such a study guided the decision to dedicate the fourth volume of Dotawo to this very issue. Place names are by nature dynamic and may shift over the course of the centuries. Therefore, toponymy is particularly apt to diachronical studies and offer fertile ground for multi-disciplinary analysis. The contents of the volume embrace a wide time frame (from the beginning of recorded history until today) and consist of contributions from scholars active in all fields of Nubian Studies (philology, linguistics, history, archaeology, etc.). The goal has been to gather into one publication the fruits of the collaboration of specialists working with all sorts of theoretical and methodological tools on the successive periods of Nubian history with a focus on the names that identified the micro- and macro-localities where this history was taking place. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.Place names in Nubia have only received limited attention so far. The need for such a study guided the decision to dedicate the fourth volume of Dotawo to this very issue. Place names are by nature dynamic and may shift over the course of the centuries. Therefore, toponymy is particularly apt to diachronical studies and offer fertile ground for multi-disciplinary analysis. The contents of the volume embrace a wide time frame (from the beginning of recorded history until today) and consist of contributions from scholars active in all fields of Nubian Studies (philology, linguistics, history, archaeology, etc.). The goal has been to gather into one publication the fruits of the collaboration of specialists working with all sorts of theoretical and methodological tools on the successive periods of Nubian history with a focus on the names that identified the micro- and macro-localities where this history was taking place. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0184.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-4/ Earth, Milky Way 04 01 20171012 Seignobos, Robin Tsakos, Alexandros 02 WORLD 06 15 9781947447219 03 9781947447219 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447203 20 08 20171012 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-4-place-names-and-place-naming-in-nubia 20 08 20171012 02 27.00 USD WORLD urn:uuid:a388866e-4df1-403e-a024-bd912406e801 03 01 01 thoth-work-id urn:uuid:431b58fe-7f59-49d9-bf6f-53eae379ee4d 01 thoth-publication-id urn:uuid:a388866e-4df1-403e-a024-bd912406e801 15 9781947447219 03 9781947447219 06 10.21983/P3.0184.1.00 13 2017952906 01 internal-reference 0184 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 4 Place Names and Place Naming in Nubia 1 B01 Robin Seignobos Robin Seignobos 40 055pd2p26 Institut Français d'Archéologie Orientale 2 B01 Alexandros Tsakos Alexandros Tsakos 40 03zga2b32 University of Bergen 01 eng 00 280 03 B2 History 12 RGL 93 RGXP 10 SOC015000 93 1QBHN 10 HIS001030 B2 Languages+Translations B2 Premodern 20 Nubian Studies; toponymy; geography; linguistics; archaeology 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.Place names in Nubia have only received limited attention so far. The need for such a study guided the decision to dedicate the fourth volume of Dotawo to this very issue. Place names are by nature dynamic and may shift over the course of the centuries. Therefore, toponymy is particularly apt to diachronical studies and offer fertile ground for multi-disciplinary analysis. The contents of the volume embrace a wide time frame (from the beginning of recorded history until today) and consist of contributions from scholars active in all fields of Nubian Studies (philology, linguistics, history, archaeology, etc.). The goal has been to gather into one publication the fruits of the collaboration of specialists working with all sorts of theoretical and methodological tools on the successive periods of Nubian history with a focus on the names that identified the micro- and macro-localities where this history was taking place. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.Place names in Nubia have only received limited attention so far. The need for such a study guided the decision to dedicate the fourth volume of Dotawo to this very issue. Place names are by nature dynamic and may shift over the course of the centuries. Therefore, toponymy is particularly apt to diachronical studies and offer fertile ground for multi-disciplinary analysis. The contents of the volume embrace a wide time frame (from the beginning of recorded history until today) and consist of contributions from scholars active in all fields of Nubian Studies (philology, linguistics, history, archaeology, etc.). The goal has been to gather into one publication the fruits of the collaboration of specialists working with all sorts of theoretical and methodological tools on the successive periods of Nubian history with a focus on the names that identified the micro- and macro-localities where this history was taking place. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0184.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-4/ Earth, Milky Way 04 01 20171012 Seignobos, Robin Tsakos, Alexandros 02 WORLD 06 15 9781947447202 03 9781947447202 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353997 20 08 20171012 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/567 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0baa9c62-ae56-4d60-a743-9d2c1a53883b/download 20 08 20171012 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/431b58fe-7f59-49d9-bf6f-53eae379ee4d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/431b58fe-7f59-49d9-bf6f-53eae379ee4d/431b58fe-7f59-49d9-bf6f-53eae379ee4d.pdf 20 08 20171012 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847046 29 ZENODO: download the title https://zenodo.org/records/19847046/files/431b58fe-7f59-49d9-bf6f-53eae379ee4d_book.pdf 20 08 20171012 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-4/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0184.1.00.pdf 20 08 20171012 01 urn:uuid:8da643db-0629-48fb-a051-34879e25d555 03 01 01 thoth-work-id urn:uuid:3c5923bc-e76b-4fbe-8d8c-1a49a49020a8 01 thoth-publication-id urn:uuid:8da643db-0629-48fb-a051-34879e25d555 15 9781947447998 03 9781947447998 06 10.21983/P3.0242.1.00 13 2018968594 01 internal-reference 0242 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 5 Nubian Women 1 B01 Anne Jennings Anne Jennings 01 eng 00 268 03 B2 Cultural Studies+Critical Theory 93 JHMC 12 JHMC 10 SOC008010 93 2HNR B2 History 10 SOC032000 93 JBSF1 B2 Premodern 20 Nubian studies; gender; cultural anthropology; Egypt; Sudan; women's health; migration 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Volume 5 of Dotawo focuses on Nubian women, both ancient and contemporary. Nubian women, whether they were queens or commoners, Christians or Muslims, have always been held in high esteem by their communities. The contributors to this volume present articles which address Nubian literature, tomb and temple wall paintings, the challenges of migration and resettlement, cultural tourism, gender roles, women’s health, labor cooperatives, and more. They all focus on the ways in which Nubian women have survived and thrived throughout the centuries. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Volume 5 of Dotawo focuses on Nubian women, both ancient and contemporary. Nubian women, whether they were queens or commoners, Christians or Muslims, have always been held in high esteem by their communities. The contributors to this volume present articles which address Nubian literature, tomb and temple wall paintings, the challenges of migration and resettlement, cultural tourism, gender roles, women’s health, labor cooperatives, and more. They all focus on the ways in which Nubian women have survived and thrived throughout the centuries. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0242.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-5-nubian-women/ Earth, Milky Way 04 01 20190205 Jennings, Anne 02 WORLD 06 15 9781950192007 03 9781950192007 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447998 20 08 20190205 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-5-nubian-women 20 08 20190205 02 27.00 USD WORLD urn:uuid:7d0f5d70-3661-4618-b483-c0856cf4c28d 03 01 01 thoth-work-id urn:uuid:3c5923bc-e76b-4fbe-8d8c-1a49a49020a8 01 thoth-publication-id urn:uuid:7d0f5d70-3661-4618-b483-c0856cf4c28d 15 9781950192007 03 9781950192007 06 10.21983/P3.0242.1.00 13 2018968594 01 internal-reference 0242 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 5 Nubian Women 1 B01 Anne Jennings Anne Jennings 01 eng 00 268 03 B2 Cultural Studies+Critical Theory 93 JHMC 12 JHMC 10 SOC008010 93 2HNR B2 History 10 SOC032000 93 JBSF1 B2 Premodern 20 Nubian studies; gender; cultural anthropology; Egypt; Sudan; women's health; migration 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Volume 5 of Dotawo focuses on Nubian women, both ancient and contemporary. Nubian women, whether they were queens or commoners, Christians or Muslims, have always been held in high esteem by their communities. The contributors to this volume present articles which address Nubian literature, tomb and temple wall paintings, the challenges of migration and resettlement, cultural tourism, gender roles, women’s health, labor cooperatives, and more. They all focus on the ways in which Nubian women have survived and thrived throughout the centuries. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Volume 5 of Dotawo focuses on Nubian women, both ancient and contemporary. Nubian women, whether they were queens or commoners, Christians or Muslims, have always been held in high esteem by their communities. The contributors to this volume present articles which address Nubian literature, tomb and temple wall paintings, the challenges of migration and resettlement, cultural tourism, gender roles, women’s health, labor cooperatives, and more. They all focus on the ways in which Nubian women have survived and thrived throughout the centuries. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0242.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-5-nubian-women/ Earth, Milky Way 04 01 20190205 Jennings, Anne 02 WORLD 06 15 9781947447998 03 9781947447998 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353903 20 08 20190205 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/604 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/73623777-3646-483c-a99f-572137e8bd7d/download 20 08 20190205 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3c5923bc-e76b-4fbe-8d8c-1a49a49020a8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3c5923bc-e76b-4fbe-8d8c-1a49a49020a8/3c5923bc-e76b-4fbe-8d8c-1a49a49020a8.pdf 20 08 20190205 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847627 29 ZENODO: download the title https://zenodo.org/records/19847627/files/3c5923bc-e76b-4fbe-8d8c-1a49a49020a8_book.pdf 20 08 20190205 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-5-nubian-women/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0242.1.00.pdf 20 08 20190205 01 urn:uuid:874b3bb6-2c48-48e9-a909-70f22f8196ba 03 01 01 thoth-work-id urn:uuid:15ab17fe-2486-4ca5-bb47-6b804793f80d 01 thoth-publication-id urn:uuid:874b3bb6-2c48-48e9-a909-70f22f8196ba 15 9781950192656 03 9781950192656 06 10.21983/P3.0321.1.00 13 2019957622 01 internal-reference 0321 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 6: Miscellanea Nubiana 1 B01 Adam Simmons Adam Simmons 40 04tsk2644 Ruhr University Bochum 01 eng 00 192 03 12 HD B2 History 93 NK 10 SOC008010 12 HRKP1 B2 Languages+Translations 93 QRSA 93 2HNR 12 HDDG 12 2HNR 20 Nubian studies; archeology; linguistics; history; Ethiopia; Sudan; Egypt; religion 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Bringing together a collection of articles that were first presented as papers at the International Medieval Congress at the University of Leeds in 2016 and additional articles, the sixth volume of Dotawo showcases a diverse richness of topics concerning Nubia. The articles within this volume attest to the cultural, linguistic, geographic, and demographic diversity witnessed throughout Nubian history nationally and internationally amongst its neighbours, both near and far. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Bringing together a collection of articles that were first presented as papers at the International Medieval Congress at the University of Leeds in 2016 and additional articles, the sixth volume of Dotawo showcases a diverse richness of topics concerning Nubia. The articles within this volume attest to the cultural, linguistic, geographic, and demographic diversity witnessed throughout Nubian history nationally and internationally amongst its neighbours, both near and far. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0321.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-6/ Earth, Milky Way 04 01 20191226 Simmons, Adam 02 WORLD 06 15 9781950192663 03 9781950192663 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192652 20 08 20191226 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-6-miscellanea-nubiana 20 08 20191226 02 25.00 USD WORLD urn:uuid:35207f3b-9b5b-489a-8d01-1115cf82ac7b 03 01 01 thoth-work-id urn:uuid:15ab17fe-2486-4ca5-bb47-6b804793f80d 01 thoth-publication-id urn:uuid:35207f3b-9b5b-489a-8d01-1115cf82ac7b 15 9781950192663 03 9781950192663 06 10.21983/P3.0321.1.00 13 2019957622 01 internal-reference 0321 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 6: Miscellanea Nubiana 1 B01 Adam Simmons Adam Simmons 40 04tsk2644 Ruhr University Bochum 01 eng 00 192 03 12 HD B2 History 93 NK 10 SOC008010 12 HRKP1 B2 Languages+Translations 93 QRSA 93 2HNR 12 HDDG 12 2HNR 20 Nubian studies; archeology; linguistics; history; Ethiopia; Sudan; Egypt; religion 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Bringing together a collection of articles that were first presented as papers at the International Medieval Congress at the University of Leeds in 2016 and additional articles, the sixth volume of Dotawo showcases a diverse richness of topics concerning Nubia. The articles within this volume attest to the cultural, linguistic, geographic, and demographic diversity witnessed throughout Nubian history nationally and internationally amongst its neighbours, both near and far. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Bringing together a collection of articles that were first presented as papers at the International Medieval Congress at the University of Leeds in 2016 and additional articles, the sixth volume of Dotawo showcases a diverse richness of topics concerning Nubia. The articles within this volume attest to the cultural, linguistic, geographic, and demographic diversity witnessed throughout Nubian history nationally and internationally amongst its neighbours, both near and far. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0321.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-6/ Earth, Milky Way 04 01 20191226 Simmons, Adam 02 WORLD 06 15 9781950192656 03 9781950192656 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353908 20 08 20191226 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/625 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5775a398-ce67-4183-8428-d8464c106d38/download 20 08 20191226 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Dotawo/SZ-oEAAAQBAJ 20 08 20191226 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/15ab17fe-2486-4ca5-bb47-6b804793f80d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/15ab17fe-2486-4ca5-bb47-6b804793f80d/15ab17fe-2486-4ca5-bb47-6b804793f80d.pdf 20 08 20191226 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848023 29 ZENODO: download the title https://zenodo.org/records/19848023/files/15ab17fe-2486-4ca5-bb47-6b804793f80d_book.pdf 20 08 20191226 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-6/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0321.1.00.pdf 20 08 20191226 01 urn:uuid:87a413e7-19f0-4b2a-9de8-0e9abeffb3a6 03 01 01 thoth-work-id urn:uuid:aa431454-40d3-42f5-8069-381a15789257 01 thoth-publication-id urn:uuid:87a413e7-19f0-4b2a-9de8-0e9abeffb3a6 15 9781953035394 03 9781953035394 06 10.21983/P3.0350.1.00 13 2021933400 01 internal-reference 0350 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 7 Comparative Northern East Sudanic Linguistics 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 314 03 93 CFF 10 LAN009000 B2 Languages+Translations 93 2HNR 20 Nubia; comparative linguistics; historical linguistics; Nilo-Saharan; Northern East Sudanic; Meroitic; Sudan 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The seventh issue of Dotawo is dedicated to Comparative Northern East Sudanic linguistics, offering new insights in the historical connections between the Nubian languages and other members of the NES family such as Nyima, Nara, and Meroitic. A special focus is placed on comparative morphology. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The seventh issue of Dotawo is dedicated to Comparative Northern East Sudanic linguistics, offering new insights in the historical connections between the Nubian languages and other members of the NES family such as Nyima, Nara, and Meroitic. A special focus is placed on comparative morphology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0350.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-7/ Earth, Milky Way 04 01 20210323 van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) 02 WORLD 06 15 9781953035400 03 9781953035400 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035396 20 08 20210323 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-7-comparative-northern-east-sudanic-linguistics 20 08 20210323 02 28.00 USD WORLD urn:uuid:d9028e3e-dbad-449c-a352-decb54ee4d93 03 01 01 thoth-work-id urn:uuid:aa431454-40d3-42f5-8069-381a15789257 01 thoth-publication-id urn:uuid:d9028e3e-dbad-449c-a352-decb54ee4d93 15 9781953035400 03 9781953035400 06 10.21983/P3.0350.1.00 13 2021933400 01 internal-reference 0350 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 7 Comparative Northern East Sudanic Linguistics 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 314 03 93 CFF 10 LAN009000 B2 Languages+Translations 93 2HNR 20 Nubia; comparative linguistics; historical linguistics; Nilo-Saharan; Northern East Sudanic; Meroitic; Sudan 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The seventh issue of Dotawo is dedicated to Comparative Northern East Sudanic linguistics, offering new insights in the historical connections between the Nubian languages and other members of the NES family such as Nyima, Nara, and Meroitic. A special focus is placed on comparative morphology. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The seventh issue of Dotawo is dedicated to Comparative Northern East Sudanic linguistics, offering new insights in the historical connections between the Nubian languages and other members of the NES family such as Nyima, Nara, and Meroitic. A special focus is placed on comparative morphology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0350.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-7/ Earth, Milky Way 04 01 20210323 van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) 02 WORLD 06 15 9781953035394 03 9781953035394 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353780 20 08 20210323 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/658 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f8af958a-4466-491a-b902-a8a8def2902f/download 20 08 20210323 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Dotawo_a_Journal_of_Nubian_Studies_7/S5-oEAAAQBAJ 20 08 20210323 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/aa431454-40d3-42f5-8069-381a15789257 29 INTERNET_ARCHIVE: download the title https://archive.org/download/aa431454-40d3-42f5-8069-381a15789257/aa431454-40d3-42f5-8069-381a15789257.pdf 20 08 20210323 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848740 29 ZENODO: download the title https://zenodo.org/records/19848740/files/aa431454-40d3-42f5-8069-381a15789257_book.pdf 20 08 20210323 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-7/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0350.1.00.pdf 20 08 20210323 01 urn:uuid:0226bbc9-55d2-4d09-9269-2a783f613f78 03 01 01 thoth-work-id urn:uuid:466dfea0-8fa6-4f10-a48e-00d5a6c8d92c 01 thoth-publication-id urn:uuid:0226bbc9-55d2-4d09-9269-2a783f613f78 15 9781685711689 03 9781685711689 06 10.53288/0515.1.00 13 2023940889 01 internal-reference 0515 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 8 War in the Sudan 1 B01 21 0000000182734427 Henriette Hafsaas Henriette Hafsaas 40 01eeqzy24 Volda University College 01 eng 00 212 03 93 1HBS 12 1HBS 10 HIS001020 B2 History 12 HBJH 10 HIS027130 B2 Languages+Translations 93 NHH 12 HBW 93 NHW 20 conflict; Nubia; Sudan; war; anthropology; archeology; gender studies 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The eighth issue of Dotawo aims to offer new insights into violent conflicts and wars in Sudan through time and across the region. Special attention is devoted to research on Nubia. The authors use archaeological, historical, philological, and artistic sources to investigate war in the Sudan from the 4th millennium BCE until the present day. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The eighth issue of Dotawo aims to offer new insights into violent conflicts and wars in Sudan through time and across the region. Special attention is devoted to research on Nubia. The authors use archaeological, historical, philological, and artistic sources to investigate war in the Sudan from the 4th millennium BCE until the present day. 04 00 Henriette Hafsaas – The Role of Warfare and Headhunting in Forming Ethnic Identity: Violent Clashes between A-Group and Naqada Peoples in Lower Nubia (mid-4th Millennium BCE) Matthieu Honegger – The Archers of Kerma: Warrior Image and Birth of a State Uroš Matić – Gender as Frame of War in Ancient Nubia Alexandros Tsakos – Words on Warfare from Christian Nubia Roksana Hajduga – The Art of Revolution: The Online and Oine Perception of Communication during the Uprisings in Sudan in 2018 and 2019 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0515.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-8/ Earth, Milky Way 04 01 20230627 Henriette Hafsaas 02 WORLD 06 15 9781685711696 03 9781685711696 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711685 20 08 20230627 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dotawo-a-journal-of-nubian-studies-8-war-in-the-sudan 20 08 20230627 02 25.00 USD WORLD urn:uuid:33866b60-fd82-47a9-b078-d116c361144d 03 01 01 thoth-work-id urn:uuid:466dfea0-8fa6-4f10-a48e-00d5a6c8d92c 01 thoth-publication-id urn:uuid:33866b60-fd82-47a9-b078-d116c361144d 15 9781685711696 03 9781685711696 06 10.53288/0515.1.00 13 2023940889 01 internal-reference 0515 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 8 War in the Sudan 1 B01 21 0000000182734427 Henriette Hafsaas Henriette Hafsaas 40 01eeqzy24 Volda University College 01 eng 00 212 03 93 1HBS 12 1HBS 10 HIS001020 B2 History 12 HBJH 10 HIS027130 B2 Languages+Translations 93 NHH 12 HBW 93 NHW 20 conflict; Nubia; Sudan; war; anthropology; archeology; gender studies 01 06 02 00 03 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The eighth issue of Dotawo aims to offer new insights into violent conflicts and wars in Sudan through time and across the region. Special attention is devoted to research on Nubia. The authors use archaeological, historical, philological, and artistic sources to investigate war in the Sudan from the 4th millennium BCE until the present day. 30 00 Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The eighth issue of Dotawo aims to offer new insights into violent conflicts and wars in Sudan through time and across the region. Special attention is devoted to research on Nubia. The authors use archaeological, historical, philological, and artistic sources to investigate war in the Sudan from the 4th millennium BCE until the present day. 04 00 Henriette Hafsaas – The Role of Warfare and Headhunting in Forming Ethnic Identity: Violent Clashes between A-Group and Naqada Peoples in Lower Nubia (mid-4th Millennium BCE) Matthieu Honegger – The Archers of Kerma: Warrior Image and Birth of a State Uroš Matić – Gender as Frame of War in Ancient Nubia Alexandros Tsakos – Words on Warfare from Christian Nubia Roksana Hajduga – The Art of Revolution: The Online and Oine Perception of Communication during the Uprisings in Sudan in 2018 and 2019 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0515.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-8/ Earth, Milky Way 04 01 20230627 Henriette Hafsaas 02 WORLD 06 15 9781685711689 03 9781685711689 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/357 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9c1e667e-318a-4f47-b6dc-8f613af6b373/download 20 08 20230627 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/466dfea0-8fa6-4f10-a48e-00d5a6c8d92c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/466dfea0-8fa6-4f10-a48e-00d5a6c8d92c/466dfea0-8fa6-4f10-a48e-00d5a6c8d92c.pdf 20 08 20230627 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849899 29 ZENODO: download the title https://zenodo.org/records/19849899/files/466dfea0-8fa6-4f10-a48e-00d5a6c8d92c_book.pdf 20 08 20230627 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-8/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0515.1.00.pdf 20 08 20230627 01 urn:uuid:37b0afe5-a269-4ab8-a920-db92dc1cc28d 03 01 01 thoth-work-id urn:uuid:3ee405d3-54a3-4bd1-9ba5-19b44cc8f42b 01 thoth-publication-id urn:uuid:37b0afe5-a269-4ab8-a920-db92dc1cc28d 15 9781685713171 03 9781685713171 06 10.53288/0578.1.00 01 internal-reference 0578 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 9 Nubian Homescapes 1 B01 21 0000000275787253 Anna Lucillle Boozer Anna Lucille Boozer professor 40 00453a208 City University of New York 2 B01 Anne M. Jennings Anne M. Jennings 01 eng B2 Built Environments 93 JHMC 10 SOC002010 93 1QBHN 10 HIS001020 B2 History 93 AMKH B2 Premodern 93 NHTZ 20 diaspora; displacement; genocide; home; homelife; homescape; household; Kom Ombo; longue durée; Nubia; Nubian High Dam Campaign; resettlement; stereotypes; tahgeer; war 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/250502dotawo9-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-9/ Earth, Milky Way 02 Anna Boozer, Anne Jennings 02 WORLD 06 15 9781685713164 03 9781685713164 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-9/ 10 01 urn:uuid:eb7cc595-0c4f-40c2-a327-335a1d1ceb4a 03 01 01 thoth-work-id urn:uuid:3ee405d3-54a3-4bd1-9ba5-19b44cc8f42b 01 thoth-publication-id urn:uuid:eb7cc595-0c4f-40c2-a327-335a1d1ceb4a 15 9781685713164 03 9781685713164 06 10.53288/0578.1.00 01 internal-reference 0578 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Dotawo: A Journal of Nubian Studies 9 Nubian Homescapes 1 B01 21 0000000275787253 Anna Lucillle Boozer Anna Lucille Boozer professor 40 00453a208 City University of New York 2 B01 Anne M. Jennings Anne M. Jennings 01 eng B2 Built Environments 93 JHMC 10 SOC002010 93 1QBHN 10 HIS001020 B2 History 93 AMKH B2 Premodern 93 NHTZ 20 diaspora; displacement; genocide; home; homelife; homescape; household; Kom Ombo; longue durée; Nubia; Nubian High Dam Campaign; resettlement; stereotypes; tahgeer; war 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/250502dotawo9-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-9/ Earth, Milky Way 02 Anna Boozer, Anne Jennings 02 WORLD 06 15 9781685713171 03 9781685713171 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/dotawo-a-journal-of-nubian-studies-9/ 10 01 urn:uuid:88bf4d25-1b5d-4d19-a6b8-fd2ed5f90d3a 03 01 01 thoth-work-id urn:uuid:6092f859-05fe-475d-b914-3c1a6534e6b9 01 thoth-publication-id urn:uuid:88bf4d25-1b5d-4d19-a6b8-fd2ed5f90d3a 15 9781953035165 03 9781953035165 06 10.21983/P3.0306.1.00 13 2020947754 01 internal-reference 0306 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Down to Earth A Memoir 1 A01 21 0000000196020839 Gísli Pálsson Gísli Pálsson 40 01db6h964 University of Iceland 2 B06 Anna Yates Anna Yates 3 B06 Katrina Downs-Rose Katrina Downs-Rose 01 eng 00 248 03 B2 Anthropocene 10 BIO030000 12 BM 93 DNC B2 Biosphere 10 NAT009000 93 RBC 12 RBC 12 1DNC 93 1DNC 20 anthropocene; volcanology; Iceland; anthropology; Westman Island; seismology; geography 01 06 02 00 03 00 Can one have something in common with a lava field? Can one identify with a mountain, or connect with a contemporary event in the history of the earth, in the way that some people feel connected together by birthday, genetic fingerprint, or zodiac sign? In the terms of the Christian burial ceremony, what is this earth from which we come and to which we return?In Down to Earth, Gísli Pálsson explores such questions through both personal reflection on the microcosm of his childhood home, an Icelandic island disrupted by volcanic eruption, and a critical discussion of the current age of the Anthropocene, characterized by the growing environmental impact of humans. While environmental hazards caused by humans often inform public discussion of the Anthropocene, human impact on the planet is not always detrimental. This book discusses in detail the pioneering effort on Heimaey island to cool molten lava and to divert its flow, in order to save a fishing harbor and the community it has allowed to thrive. Mingling the personal and the geological, the local and the global, Down to Earth should appeal to many readers in diverse contexts throughout the English-speaking world. The author appears to the reader when it suits him, naturally enough, and on occasion near the center of the narrative, in the vicinity of earthquakes, eruptions, and other natural hazards. 30 00 Can one have something in common with a lava field? Can one identify with a mountain, or connect with a contemporary event in the history of the earth, in the way that some people feel connected together by birthday, genetic fingerprint, or zodiac sign? In the terms of the Christian burial ceremony, what is this earth from which we come and to which we return?In Down to Earth, Gísli Pálsson explores such questions through both personal reflection on the microcosm of his childhood home, an Icelandic island disrupted by volcanic eruption, and a critical discussion of the current age of the Anthropocene, characterized by the growing environmental impact of humans. While environmental hazards caused by humans often inform public discussion of the Anthropocene, human impact on the planet is not always detrimental. This book discusses in detail the pioneering effort on Heimaey island to cool molten lava and to divert its flow, in order to save a fishing harbor and the community it has allowed to thrive. Mingling the personal and the geological, the local and the global, Down to Earth should appeal to many readers in diverse contexts throughout the English-speaking world. The author appears to the reader when it suits him, naturally enough, and on occasion near the center of the narrative, in the vicinity of earthquakes, eruptions, and other natural hazards. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0306.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/down-to-earth/ Earth, Milky Way 04 01 20201022 Pálsson, Gísli (0000-0001-9602-0839) 02 WORLD 06 15 9781953035172 03 9781953035172 34 06 10.3167/sa.2012.560105 34 06 10.1093/ahr/119.5.1587 34 06 10.1126/sciadv.1501693 34 06 10.1353/nlh.2012.0007 34 06 10.1511/2015.113.102 34 06 10.1215/22011919-4385571 34 06 10.1038/244552a0 34 06 10.1111/1758-5899.12074 34 06 10.1177/1368431016668535 34 06 10.3389/feart.2018.00045 34 06 10.1525/aa.1946.48.1.02a00060 34 06 10.1016/j.geothermics.2013.05.001 34 06 10.1126/science.1225942 34 06 10.1080/00155870601096257 34 06 10.1215/22011919-3614908 34 06 10.2307/3178066 34 06 10.1111/area.12084 34 06 10.1016/j.quaint.2015.01.016 34 06 10.1068/d9508 34 06 10.1177/0263276413519340 34 06 10.1111/j.1467-8322.2011.00781.x 34 06 10.7554/eLife.19568 34 06 10.1177/0306312709341598 34 06 10.1126/science.aad8132 34 06 10.1016/S0377-0273(03)00178-1 34 06 10.1177/1359183507078123 34 06 10.1029/2008GL033510 34 06 10.1215/22011919-3664202 34 06 10.1016/j.envsci.2012.11.004 34 06 10.1111/j.1548-1360.2012.01158.x 34 06 10.1016/j.quaint.2015.08.090 34 06 10.1038/461472a 34 06 10.1029/97JB03514 34 06 10.1038/nature14111 34 06 10.1111/amet.12269 34 06 10.1177/1368431016666087 34 06 10.1007/978-3-642-73759-6_5 34 06 10.1111/inm.12212 34 06 10.1177/0263276415581021 34 06 10.3402/tellusa.v26i1-2.9731 34 06 10.1371/journal.pone.0146621 34 06 10.1007/s10584-018-2171-9 34 06 10.1038/nature.2015.16763 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035167 20 08 20201022 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/down-to-earth-a-memoir 20 08 20201022 02 24.00 USD WORLD urn:uuid:210323be-6d2e-4812-b833-8fa5f9b74c25 03 01 01 thoth-work-id urn:uuid:6092f859-05fe-475d-b914-3c1a6534e6b9 01 thoth-publication-id urn:uuid:210323be-6d2e-4812-b833-8fa5f9b74c25 15 9781953035172 03 9781953035172 06 10.21983/P3.0306.1.00 13 2020947754 01 internal-reference 0306 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Down to Earth A Memoir 1 A01 21 0000000196020839 Gísli Pálsson Gísli Pálsson 40 01db6h964 University of Iceland 2 B06 Anna Yates Anna Yates 3 B06 Katrina Downs-Rose Katrina Downs-Rose 01 eng 00 248 03 B2 Anthropocene 10 BIO030000 12 BM 93 DNC B2 Biosphere 10 NAT009000 93 RBC 12 RBC 12 1DNC 93 1DNC 20 anthropocene; volcanology; Iceland; anthropology; Westman Island; seismology; geography 01 06 02 00 03 00 Can one have something in common with a lava field? Can one identify with a mountain, or connect with a contemporary event in the history of the earth, in the way that some people feel connected together by birthday, genetic fingerprint, or zodiac sign? In the terms of the Christian burial ceremony, what is this earth from which we come and to which we return?In Down to Earth, Gísli Pálsson explores such questions through both personal reflection on the microcosm of his childhood home, an Icelandic island disrupted by volcanic eruption, and a critical discussion of the current age of the Anthropocene, characterized by the growing environmental impact of humans. While environmental hazards caused by humans often inform public discussion of the Anthropocene, human impact on the planet is not always detrimental. This book discusses in detail the pioneering effort on Heimaey island to cool molten lava and to divert its flow, in order to save a fishing harbor and the community it has allowed to thrive. Mingling the personal and the geological, the local and the global, Down to Earth should appeal to many readers in diverse contexts throughout the English-speaking world. The author appears to the reader when it suits him, naturally enough, and on occasion near the center of the narrative, in the vicinity of earthquakes, eruptions, and other natural hazards. 30 00 Can one have something in common with a lava field? Can one identify with a mountain, or connect with a contemporary event in the history of the earth, in the way that some people feel connected together by birthday, genetic fingerprint, or zodiac sign? In the terms of the Christian burial ceremony, what is this earth from which we come and to which we return?In Down to Earth, Gísli Pálsson explores such questions through both personal reflection on the microcosm of his childhood home, an Icelandic island disrupted by volcanic eruption, and a critical discussion of the current age of the Anthropocene, characterized by the growing environmental impact of humans. While environmental hazards caused by humans often inform public discussion of the Anthropocene, human impact on the planet is not always detrimental. This book discusses in detail the pioneering effort on Heimaey island to cool molten lava and to divert its flow, in order to save a fishing harbor and the community it has allowed to thrive. Mingling the personal and the geological, the local and the global, Down to Earth should appeal to many readers in diverse contexts throughout the English-speaking world. The author appears to the reader when it suits him, naturally enough, and on occasion near the center of the narrative, in the vicinity of earthquakes, eruptions, and other natural hazards. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0306.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/down-to-earth/ Earth, Milky Way 04 01 20201022 Pálsson, Gísli (0000-0001-9602-0839) 02 WORLD 06 15 9781953035165 03 9781953035165 34 06 10.3167/sa.2012.560105 34 06 10.1093/ahr/119.5.1587 34 06 10.1126/sciadv.1501693 34 06 10.1353/nlh.2012.0007 34 06 10.1511/2015.113.102 34 06 10.1215/22011919-4385571 34 06 10.1038/244552a0 34 06 10.1111/1758-5899.12074 34 06 10.1177/1368431016668535 34 06 10.3389/feart.2018.00045 34 06 10.1525/aa.1946.48.1.02a00060 34 06 10.1016/j.geothermics.2013.05.001 34 06 10.1126/science.1225942 34 06 10.1080/00155870601096257 34 06 10.1215/22011919-3614908 34 06 10.2307/3178066 34 06 10.1111/area.12084 34 06 10.1016/j.quaint.2015.01.016 34 06 10.1068/d9508 34 06 10.1177/0263276413519340 34 06 10.1111/j.1467-8322.2011.00781.x 34 06 10.7554/eLife.19568 34 06 10.1177/0306312709341598 34 06 10.1126/science.aad8132 34 06 10.1016/S0377-0273(03)00178-1 34 06 10.1177/1359183507078123 34 06 10.1029/2008GL033510 34 06 10.1215/22011919-3664202 34 06 10.1016/j.envsci.2012.11.004 34 06 10.1111/j.1548-1360.2012.01158.x 34 06 10.1016/j.quaint.2015.08.090 34 06 10.1038/461472a 34 06 10.1029/97JB03514 34 06 10.1038/nature14111 34 06 10.1111/amet.12269 34 06 10.1177/1368431016666087 34 06 10.1007/978-3-642-73759-6_5 34 06 10.1111/inm.12212 34 06 10.1177/0263276415581021 34 06 10.3402/tellusa.v26i1-2.9731 34 06 10.1371/journal.pone.0146621 34 06 10.1007/s10584-018-2171-9 34 06 10.1038/nature.2015.16763 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/80769 20 08 20201022 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/42661 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/42661/0306.1.00.pdf 20 08 20201022 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36726 20 08 20201022 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353926 20 08 20201022 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/647 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/afbe5da7-c5db-4e64-a211-37304e9f68f7/download 20 08 20201022 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Down_to_Earth/5AWVEAAAQBAJ 20 08 20201022 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6092f859-05fe-475d-b914-3c1a6534e6b9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6092f859-05fe-475d-b914-3c1a6534e6b9/6092f859-05fe-475d-b914-3c1a6534e6b9.pdf 20 08 20201022 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848556 29 ZENODO: download the title https://zenodo.org/records/19848556/files/6092f859-05fe-475d-b914-3c1a6534e6b9_book.pdf 20 08 20201022 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/down-to-earth/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0306.1.00.pdf 20 08 20201022 01 urn:uuid:9db0dd06-6c9b-48e8-a32f-5100c73e246a 03 01 01 thoth-work-id urn:uuid:98f725f3-5c51-480d-813e-56085fdbf405 01 thoth-publication-id urn:uuid:9db0dd06-6c9b-48e8-a32f-5100c73e246a 15 9781685712884 03 9781685712884 06 10.53288/0537.1.00 13 2026936019 01 internal-reference 0537 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 14 mm 03 1.4 cm 03 0.55 in 08 244 gr 08 8.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dutch Afro Becomings Hybrid Being in Black Art and Culture 1 A01 Charl Landvreugd Charl Landvreugd Head of Research & Curatorial Practice 40 006a5r035 Stedelijk Museum Amsterdam Charl Landvreugd is Head of Research & Curatorial Practice at the Stedelijk Museum in Amsterdam. He serves as an external tutor at various art academies, is on the supervisory board of Het Nationale Theater, and is a member of the Production/Collection Fund Commissioning Committee of the Hartwig Art Foundation. Previously, he served as Head of Research in Visual Arts & Post-Contemporary Practices at the Masters Institute of Visual Cultures, AKV | St. Joost in Den Bosch and was on the supervisory board of the Amsterdams Fonds voor de Kunst and the Akademie van Kunsten. Landvreugd has held fellowhips at BAK Utrecht, Van Abbemuseum, and the Research Center for Material Culture. His writing has appeared in Open Arts Journal, Small Axe Magazine, ARC Magazine, Uprising Art, and Metropolis M, among other venues. 01 eng 00 240 03 93 5PBD 10 ART038000 B2 Art+Aesthetics 93 1DDN 10 ART009000 B2 Cultural Studies+Critical Theory 93 1KJXN 93 ABA 93 GLZ 20 contemporary art; Dutch art; Afro-Europeans; diaspora; hybridity; Black studies; curating 01 06 02 00 03 00 In Dutch Afro Becomings, artist, curator, and researcher Charl Landvreugd argues that we do not yet have a language to understand Dutch Afro-ness, and that it is insufficient to rely on the discourses developed in African American, Black British, or Caribbean cultural theory alone. This critical monograph on continental European Black art and cultural history articulates the specificity of Dutch Afro-ness and the way that Blackness has been translated and (mis)understood across multiple decades of cultural policy, while also providing an incisive analysis of the Dutch state’s aim to showcase “diversity” in a way that is comfortable to the white cultural class, without ever addressing issues of racism or race.Simultaneously, Landvreugd traces how recent generations of artists are effectively constructing a new visual language to name their Dutch Afro-ness by deepening the way their being is shaped across multiple cultural identities and national histories. These time travelers and wanderers are the Wakaman: cultural workers that embrace their hybridity and multiplicity and have defined, on their own terms and through their own words, their nativity within the Dutch art scene.Dutch Afro Becomings is a key theoretical and art-historical work, as an introduction to both different international genealogies of Black arts and culture and to the different movements that shaped the specificity of Dutch Afro artists in particular. 30 00 In Dutch Afro Becomings, artist, curator, and researcher Charl Landvreugd argues that we do not yet have a language to understand Dutch Afro-ness, and that it is insufficient to rely on the discourses developed in African American, Black British, or Caribbean cultural theory alone. This critical monograph on continental European Black art and cultural history articulates the specificity of Dutch Afro-ness and the way that Blackness has been translated and (mis)understood across multiple decades of cultural policy, while also providing an incisive analysis of the Dutch state’s aim to showcase “diversity” in a way that is comfortable to the white cultural class, without ever addressing issues of racism or race.Simultaneously, Landvreugd traces how recent generations of artists are effectively constructing a new visual language to name their Dutch Afro-ness by deepening the way their being is shaped across multiple cultural identities and national histories. These time travelers and wanderers are the Wakaman: cultural workers that embrace their hybridity and multiplicity and have defined, on their own terms and through their own words, their nativity within the Dutch art scene.Dutch Afro Becomings is a key theoretical and art-historical work, as an introduction to both different international genealogies of Black arts and culture and to the different movements that shaped the specificity of Dutch Afro artists in particular. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0537.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dutch-afro-becomings-hybrid-being-in-black-art-and-culture/ Earth, Milky Way 04 01 20260304 Charl Landvreugd 02 WORLD 06 15 9781685712891 03 9781685712891 06 15 9781685713119 03 9781685713119 34 06 10.2307/j.ctt1d8hb2q 34 06 10.1515/9780822395348-018 34 06 10.1215/07990537-2378955 34 06 10.5949/UPO9781846313332 34 06 10.1515/9780822395348 34 06 10.5456/issn.2050-3679/2016s04 34 06 10.1215/07990537-2826497 34 06 10.2307/1144377 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712886 20 08 20260304 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/dutch-afro-becomings-hybrid-being-in-black-art-and-culture-charl-landvreugd 20 08 20260304 02 22.00 USD WORLD urn:uuid:f994f7c0-86d4-4716-8de0-5df1465e7af2 03 01 01 thoth-work-id urn:uuid:98f725f3-5c51-480d-813e-56085fdbf405 01 thoth-publication-id urn:uuid:f994f7c0-86d4-4716-8de0-5df1465e7af2 15 9781685712891 03 9781685712891 06 10.53288/0537.1.00 13 2026936019 01 internal-reference 0537 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dutch Afro Becomings Hybrid Being in Black Art and Culture 1 A01 Charl Landvreugd Charl Landvreugd Head of Research & Curatorial Practice 40 006a5r035 Stedelijk Museum Amsterdam Charl Landvreugd is Head of Research & Curatorial Practice at the Stedelijk Museum in Amsterdam. He serves as an external tutor at various art academies, is on the supervisory board of Het Nationale Theater, and is a member of the Production/Collection Fund Commissioning Committee of the Hartwig Art Foundation. Previously, he served as Head of Research in Visual Arts & Post-Contemporary Practices at the Masters Institute of Visual Cultures, AKV | St. Joost in Den Bosch and was on the supervisory board of the Amsterdams Fonds voor de Kunst and the Akademie van Kunsten. Landvreugd has held fellowhips at BAK Utrecht, Van Abbemuseum, and the Research Center for Material Culture. His writing has appeared in Open Arts Journal, Small Axe Magazine, ARC Magazine, Uprising Art, and Metropolis M, among other venues. 01 eng 00 240 03 93 5PBD 10 ART038000 B2 Art+Aesthetics 93 1DDN 10 ART009000 B2 Cultural Studies+Critical Theory 93 1KJXN 93 ABA 93 GLZ 20 contemporary art; Dutch art; Afro-Europeans; diaspora; hybridity; Black studies; curating 01 06 02 00 03 00 In Dutch Afro Becomings, artist, curator, and researcher Charl Landvreugd argues that we do not yet have a language to understand Dutch Afro-ness, and that it is insufficient to rely on the discourses developed in African American, Black British, or Caribbean cultural theory alone. This critical monograph on continental European Black art and cultural history articulates the specificity of Dutch Afro-ness and the way that Blackness has been translated and (mis)understood across multiple decades of cultural policy, while also providing an incisive analysis of the Dutch state’s aim to showcase “diversity” in a way that is comfortable to the white cultural class, without ever addressing issues of racism or race.Simultaneously, Landvreugd traces how recent generations of artists are effectively constructing a new visual language to name their Dutch Afro-ness by deepening the way their being is shaped across multiple cultural identities and national histories. These time travelers and wanderers are the Wakaman: cultural workers that embrace their hybridity and multiplicity and have defined, on their own terms and through their own words, their nativity within the Dutch art scene.Dutch Afro Becomings is a key theoretical and art-historical work, as an introduction to both different international genealogies of Black arts and culture and to the different movements that shaped the specificity of Dutch Afro artists in particular. 30 00 In Dutch Afro Becomings, artist, curator, and researcher Charl Landvreugd argues that we do not yet have a language to understand Dutch Afro-ness, and that it is insufficient to rely on the discourses developed in African American, Black British, or Caribbean cultural theory alone. This critical monograph on continental European Black art and cultural history articulates the specificity of Dutch Afro-ness and the way that Blackness has been translated and (mis)understood across multiple decades of cultural policy, while also providing an incisive analysis of the Dutch state’s aim to showcase “diversity” in a way that is comfortable to the white cultural class, without ever addressing issues of racism or race.Simultaneously, Landvreugd traces how recent generations of artists are effectively constructing a new visual language to name their Dutch Afro-ness by deepening the way their being is shaped across multiple cultural identities and national histories. These time travelers and wanderers are the Wakaman: cultural workers that embrace their hybridity and multiplicity and have defined, on their own terms and through their own words, their nativity within the Dutch art scene.Dutch Afro Becomings is a key theoretical and art-historical work, as an introduction to both different international genealogies of Black arts and culture and to the different movements that shaped the specificity of Dutch Afro artists in particular. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0537.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dutch-afro-becomings-hybrid-being-in-black-art-and-culture/ Earth, Milky Way 04 01 20260304 Charl Landvreugd 02 WORLD 06 15 9781685712884 03 9781685712884 06 15 9781685713119 03 9781685713119 34 06 10.2307/j.ctt1d8hb2q 34 06 10.1515/9780822395348-018 34 06 10.1215/07990537-2378955 34 06 10.5949/UPO9781846313332 34 06 10.1515/9780822395348 34 06 10.5456/issn.2050-3679/2016s04 34 06 10.1215/07990537-2826497 34 06 10.2307/1144377 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/112069 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/112069/9781685712891.pdf?sequence=1&isAllowed=y 20 08 20260304 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/953 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9475b4ad-51f6-4e00-9f9b-5282ecd85f03/download 20 08 20260304 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/98f725f3-5c51-480d-813e-56085fdbf405 29 INTERNET_ARCHIVE: download the title https://archive.org/download/98f725f3-5c51-480d-813e-56085fdbf405/98f725f3-5c51-480d-813e-56085fdbf405.pdf 20 08 20260304 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19592357 29 ZENODO: download the title https://zenodo.org/records/19592357/files/98f725f3-5c51-480d-813e-56085fdbf405_book.pdf 20 08 20260304 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/dutch-afro-becomings-hybrid-being-in-black-art-and-culture/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0537.1.00.pdf 20 08 20260304 01 urn:uuid:a4e45184-2b9a-44ef-9874-68283f025619 03 01 01 thoth-work-id urn:uuid:98f725f3-5c51-480d-813e-56085fdbf405 01 thoth-publication-id urn:uuid:a4e45184-2b9a-44ef-9874-68283f025619 15 9781685713119 03 9781685713119 06 10.53288/0537.1.00 13 2026936019 01 internal-reference 0537 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Dutch Afro Becomings Hybrid Being in Black Art and Culture 1 A01 Charl Landvreugd Charl Landvreugd Head of Research & Curatorial Practice 40 006a5r035 Stedelijk Museum Amsterdam Charl Landvreugd is Head of Research & Curatorial Practice at the Stedelijk Museum in Amsterdam. He serves as an external tutor at various art academies, is on the supervisory board of Het Nationale Theater, and is a member of the Production/Collection Fund Commissioning Committee of the Hartwig Art Foundation. Previously, he served as Head of Research in Visual Arts & Post-Contemporary Practices at the Masters Institute of Visual Cultures, AKV | St. Joost in Den Bosch and was on the supervisory board of the Amsterdams Fonds voor de Kunst and the Akademie van Kunsten. Landvreugd has held fellowhips at BAK Utrecht, Van Abbemuseum, and the Research Center for Material Culture. His writing has appeared in Open Arts Journal, Small Axe Magazine, ARC Magazine, Uprising Art, and Metropolis M, among other venues. 01 eng 00 240 03 93 5PBD 10 ART038000 B2 Art+Aesthetics 93 1DDN 10 ART009000 B2 Cultural Studies+Critical Theory 93 1KJXN 93 ABA 93 GLZ 20 contemporary art; Dutch art; Afro-Europeans; diaspora; hybridity; Black studies; curating 01 06 02 00 03 00 In Dutch Afro Becomings, artist, curator, and researcher Charl Landvreugd argues that we do not yet have a language to understand Dutch Afro-ness, and that it is insufficient to rely on the discourses developed in African American, Black British, or Caribbean cultural theory alone. This critical monograph on continental European Black art and cultural history articulates the specificity of Dutch Afro-ness and the way that Blackness has been translated and (mis)understood across multiple decades of cultural policy, while also providing an incisive analysis of the Dutch state’s aim to showcase “diversity” in a way that is comfortable to the white cultural class, without ever addressing issues of racism or race.Simultaneously, Landvreugd traces how recent generations of artists are effectively constructing a new visual language to name their Dutch Afro-ness by deepening the way their being is shaped across multiple cultural identities and national histories. These time travelers and wanderers are the Wakaman: cultural workers that embrace their hybridity and multiplicity and have defined, on their own terms and through their own words, their nativity within the Dutch art scene.Dutch Afro Becomings is a key theoretical and art-historical work, as an introduction to both different international genealogies of Black arts and culture and to the different movements that shaped the specificity of Dutch Afro artists in particular. 30 00 In Dutch Afro Becomings, artist, curator, and researcher Charl Landvreugd argues that we do not yet have a language to understand Dutch Afro-ness, and that it is insufficient to rely on the discourses developed in African American, Black British, or Caribbean cultural theory alone. This critical monograph on continental European Black art and cultural history articulates the specificity of Dutch Afro-ness and the way that Blackness has been translated and (mis)understood across multiple decades of cultural policy, while also providing an incisive analysis of the Dutch state’s aim to showcase “diversity” in a way that is comfortable to the white cultural class, without ever addressing issues of racism or race.Simultaneously, Landvreugd traces how recent generations of artists are effectively constructing a new visual language to name their Dutch Afro-ness by deepening the way their being is shaped across multiple cultural identities and national histories. These time travelers and wanderers are the Wakaman: cultural workers that embrace their hybridity and multiplicity and have defined, on their own terms and through their own words, their nativity within the Dutch art scene.Dutch Afro Becomings is a key theoretical and art-historical work, as an introduction to both different international genealogies of Black arts and culture and to the different movements that shaped the specificity of Dutch Afro artists in particular. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0537.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/dutch-afro-becomings-hybrid-being-in-black-art-and-culture/ Earth, Milky Way 04 01 20260304 Charl Landvreugd 02 WORLD 06 15 9781685712884 03 9781685712884 06 15 9781685712891 03 9781685712891 34 06 10.2307/j.ctt1d8hb2q 34 06 10.1515/9780822395348-018 34 06 10.1215/07990537-2378955 34 06 10.5949/UPO9781846313332 34 06 10.1515/9780822395348 34 06 10.5456/issn.2050-3679/2016s04 34 06 10.1215/07990537-2826497 34 06 10.2307/1144377 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/dutch-afro-becomings-hybrid-being-in-black-art-and-culture/ 20 08 20260304 01 urn:uuid:c8a5dfb3-41d4-461e-b8a4-a625bb33bc7f 03 01 01 thoth-work-id urn:uuid:ac6acc15-6927-4cef-95d3-1c71183ef2a6 01 thoth-publication-id urn:uuid:c8a5dfb3-41d4-461e-b8a4-a625bb33bc7f 15 9781950192014 03 9781950192014 06 10.21983/P3.0239.1.00 13 2018968574 01 internal-reference 0239 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Echoes of No Thing Thinking between Heidegger and Dōgen 1 A01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 01 eng 00 210 03 12 HPDF 10 PHI028000 B2 Philosophy 93 QDTJ 10 PHI018000 93 QDHR5 93 QRFB23 20 Asian philosophy; Eihei Dōgen; Martin Heidegger; continental philosophy; comparative philosophy; Zen Buddhism 01 06 02 00 03 00 Echoes of No Thing seeks to understand the space between thinking which Martin Heidegger and the 13th-century Zen patriarch Eihei Dōgen explore in their writing and teachings. Heidegger most clearly attempts this in Contributions to Philosophy (of the Event) and Dōgen in his Shōbōgenzō, a collection of fascicles which he compiled in his lifetime. Both thinkers draw us towards thinking, instead of merely defining systems of thought. Both Heidegger and Dōgen imagine possibilities not apparent in the world we currently inhabit, but notably, find possible, through a refashioning of thinking as a soteriological reimagining that clears space for the presencing of an authentic experience in the space which emerges between certainties. Jenkins elucidates this soteriological reimagining through a close reading of both authors’ conceptions of time and space, and by developing a practice of listening that is attuned to the echoes that resonate between the two thinkers.While Heidegger often wrote about new beginnings (as well as about gathering oneself, preparing the site, clearings, and practicing) in preparation for the evental un-concealing of truth, nowhere is this as present as in the enigmatic, difficult, and in fact beautiful, Contributions. To call a text beautiful, especially a work of philosophy, risks committing an act of disingenuity, and yet Contributions, like Jacques Derrida’s Glas or Walter Benjamin’s unfinished Arcades Project, rises to this acclaim through its very resistance to a system, its refusal to be easily digested, or even understood. Contributions is unfinished, partial, even at times muttered; it is the beginning of a thinking which takes place on a path and as such cannot imagine—or refuse—its final destination. It invites us to take up towards, but not to insist on, its thinking; it is a “turn” away from the reason and logic of a technologized world and returns philosophy—as a thinking—to a place of wonder and awe.Dōgen’s Shōbogenzō, from another culture and time entirely, is also a beautiful text, for similar reasons. The Shōbogenzō, gathered first as a series of talks given by Eihei Dōgen (and later composed as written texts) details the process of understanding which leads, for Dōgen, to a position of pure seeing, or satori, and yet these talks are not simply rules for monks, nor merely imprecations and demands for a laity; rather, they open a being’s thinking to the possibility of something purely other and work as a transition across worlds that also opens us to an other world.What both thinkers illustrate, as do the other thinkers drawn on in this project—most notably, those philosophers associated with the Kyoto School, who were both intimately aware of Dōgen’s work, and studied, or studied with, Heidegger—is that world is not a fixed, stable entity; rather it is a fugal composition of possibility, of as yet untraversed—and at times un-traversable—spaces. Echoes of No Thing seeks to examine, within the lacunal eddies of be-coming’s arrival, that space between which both thinkers point towards as possible sites of new beginnings. 30 00 Echoes of No Thing seeks to understand the space between thinking which Martin Heidegger and the 13th-century Zen patriarch Eihei Dōgen explore in their writing and teachings. Heidegger most clearly attempts this in Contributions to Philosophy (of the Event) and Dōgen in his Shōbōgenzō, a collection of fascicles which he compiled in his lifetime. Both thinkers draw us towards thinking, instead of merely defining systems of thought. Both Heidegger and Dōgen imagine possibilities not apparent in the world we currently inhabit, but notably, find possible, through a refashioning of thinking as a soteriological reimagining that clears space for the presencing of an authentic experience in the space which emerges between certainties. Jenkins elucidates this soteriological reimagining through a close reading of both authors’ conceptions of time and space, and by developing a practice of listening that is attuned to the echoes that resonate between the two thinkers.While Heidegger often wrote about new beginnings (as well as about gathering oneself, preparing the site, clearings, and practicing) in preparation for the evental un-concealing of truth, nowhere is this as present as in the enigmatic, difficult, and in fact beautiful, Contributions. To call a text beautiful, especially a work of philosophy, risks committing an act of disingenuity, and yet Contributions, like Jacques Derrida’s Glas or Walter Benjamin’s unfinished Arcades Project, rises to this acclaim through its very resistance to a system, its refusal to be easily digested, or even understood. Contributions is unfinished, partial, even at times muttered; it is the beginning of a thinking which takes place on a path and as such cannot imagine—or refuse—its final destination. It invites us to take up towards, but not to insist on, its thinking; it is a “turn” away from the reason and logic of a technologized world and returns philosophy—as a thinking—to a place of wonder and awe.Dōgen’s Shōbogenzō, from another culture and time entirely, is also a beautiful text, for similar reasons. The Shōbogenzō, gathered first as a series of talks given by Eihei Dōgen (and later composed as written texts) details the process of understanding which leads, for Dōgen, to a position of pure seeing, or satori, and yet these talks are not simply rules for monks, nor merely imprecations and demands for a laity; rather, they open a being’s thinking to the possibility of something purely other and work as a transition across worlds that also opens us to an other world.What both thinkers illustrate, as do the other thinkers drawn on in this project—most notably, those philosophers associated with the Kyoto School, who were both intimately aware of Dōgen’s work, and studied, or studied with, Heidegger—is that world is not a fixed, stable entity; rather it is a fugal composition of possibility, of as yet untraversed—and at times un-traversable—spaces. Echoes of No Thing seeks to examine, within the lacunal eddies of be-coming’s arrival, that space between which both thinkers point towards as possible sites of new beginnings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0239.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/echoes-of-no-thing-thinking-between-heidegger-and-dogen/ Earth, Milky Way 04 01 20190104 Jenkins, Nico 02 WORLD 06 15 9781950192021 03 9781950192021 34 06 10.1353/jjs.2006.0003.199 34 06 10.1177/1206331209337080 34 06 10.1353/pew.2004.0029 34 06 10.1353/pew.2003.0057 34 06 10.1353/pew.2012.0033 34 06 10.1353/pew.2008.0009 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192016 20 08 20190104 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/echoes-of-no-thing-thinking-between-heidegger-and-dagen 20 08 20190104 02 23.00 USD WORLD urn:uuid:0aee050f-ab39-4a05-959b-65a6ab1ffb74 03 01 01 thoth-work-id urn:uuid:ac6acc15-6927-4cef-95d3-1c71183ef2a6 01 thoth-publication-id urn:uuid:0aee050f-ab39-4a05-959b-65a6ab1ffb74 15 9781950192021 03 9781950192021 06 10.21983/P3.0239.1.00 13 2018968574 01 internal-reference 0239 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Echoes of No Thing Thinking between Heidegger and Dōgen 1 A01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 01 eng 00 210 03 12 HPDF 10 PHI028000 B2 Philosophy 93 QDTJ 10 PHI018000 93 QDHR5 93 QRFB23 20 Asian philosophy; Eihei Dōgen; Martin Heidegger; continental philosophy; comparative philosophy; Zen Buddhism 01 06 02 00 03 00 Echoes of No Thing seeks to understand the space between thinking which Martin Heidegger and the 13th-century Zen patriarch Eihei Dōgen explore in their writing and teachings. Heidegger most clearly attempts this in Contributions to Philosophy (of the Event) and Dōgen in his Shōbōgenzō, a collection of fascicles which he compiled in his lifetime. Both thinkers draw us towards thinking, instead of merely defining systems of thought. Both Heidegger and Dōgen imagine possibilities not apparent in the world we currently inhabit, but notably, find possible, through a refashioning of thinking as a soteriological reimagining that clears space for the presencing of an authentic experience in the space which emerges between certainties. Jenkins elucidates this soteriological reimagining through a close reading of both authors’ conceptions of time and space, and by developing a practice of listening that is attuned to the echoes that resonate between the two thinkers.While Heidegger often wrote about new beginnings (as well as about gathering oneself, preparing the site, clearings, and practicing) in preparation for the evental un-concealing of truth, nowhere is this as present as in the enigmatic, difficult, and in fact beautiful, Contributions. To call a text beautiful, especially a work of philosophy, risks committing an act of disingenuity, and yet Contributions, like Jacques Derrida’s Glas or Walter Benjamin’s unfinished Arcades Project, rises to this acclaim through its very resistance to a system, its refusal to be easily digested, or even understood. Contributions is unfinished, partial, even at times muttered; it is the beginning of a thinking which takes place on a path and as such cannot imagine—or refuse—its final destination. It invites us to take up towards, but not to insist on, its thinking; it is a “turn” away from the reason and logic of a technologized world and returns philosophy—as a thinking—to a place of wonder and awe.Dōgen’s Shōbogenzō, from another culture and time entirely, is also a beautiful text, for similar reasons. The Shōbogenzō, gathered first as a series of talks given by Eihei Dōgen (and later composed as written texts) details the process of understanding which leads, for Dōgen, to a position of pure seeing, or satori, and yet these talks are not simply rules for monks, nor merely imprecations and demands for a laity; rather, they open a being’s thinking to the possibility of something purely other and work as a transition across worlds that also opens us to an other world.What both thinkers illustrate, as do the other thinkers drawn on in this project—most notably, those philosophers associated with the Kyoto School, who were both intimately aware of Dōgen’s work, and studied, or studied with, Heidegger—is that world is not a fixed, stable entity; rather it is a fugal composition of possibility, of as yet untraversed—and at times un-traversable—spaces. Echoes of No Thing seeks to examine, within the lacunal eddies of be-coming’s arrival, that space between which both thinkers point towards as possible sites of new beginnings. 30 00 Echoes of No Thing seeks to understand the space between thinking which Martin Heidegger and the 13th-century Zen patriarch Eihei Dōgen explore in their writing and teachings. Heidegger most clearly attempts this in Contributions to Philosophy (of the Event) and Dōgen in his Shōbōgenzō, a collection of fascicles which he compiled in his lifetime. Both thinkers draw us towards thinking, instead of merely defining systems of thought. Both Heidegger and Dōgen imagine possibilities not apparent in the world we currently inhabit, but notably, find possible, through a refashioning of thinking as a soteriological reimagining that clears space for the presencing of an authentic experience in the space which emerges between certainties. Jenkins elucidates this soteriological reimagining through a close reading of both authors’ conceptions of time and space, and by developing a practice of listening that is attuned to the echoes that resonate between the two thinkers.While Heidegger often wrote about new beginnings (as well as about gathering oneself, preparing the site, clearings, and practicing) in preparation for the evental un-concealing of truth, nowhere is this as present as in the enigmatic, difficult, and in fact beautiful, Contributions. To call a text beautiful, especially a work of philosophy, risks committing an act of disingenuity, and yet Contributions, like Jacques Derrida’s Glas or Walter Benjamin’s unfinished Arcades Project, rises to this acclaim through its very resistance to a system, its refusal to be easily digested, or even understood. Contributions is unfinished, partial, even at times muttered; it is the beginning of a thinking which takes place on a path and as such cannot imagine—or refuse—its final destination. It invites us to take up towards, but not to insist on, its thinking; it is a “turn” away from the reason and logic of a technologized world and returns philosophy—as a thinking—to a place of wonder and awe.Dōgen’s Shōbogenzō, from another culture and time entirely, is also a beautiful text, for similar reasons. The Shōbogenzō, gathered first as a series of talks given by Eihei Dōgen (and later composed as written texts) details the process of understanding which leads, for Dōgen, to a position of pure seeing, or satori, and yet these talks are not simply rules for monks, nor merely imprecations and demands for a laity; rather, they open a being’s thinking to the possibility of something purely other and work as a transition across worlds that also opens us to an other world.What both thinkers illustrate, as do the other thinkers drawn on in this project—most notably, those philosophers associated with the Kyoto School, who were both intimately aware of Dōgen’s work, and studied, or studied with, Heidegger—is that world is not a fixed, stable entity; rather it is a fugal composition of possibility, of as yet untraversed—and at times un-traversable—spaces. Echoes of No Thing seeks to examine, within the lacunal eddies of be-coming’s arrival, that space between which both thinkers point towards as possible sites of new beginnings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0239.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/echoes-of-no-thing-thinking-between-heidegger-and-dogen/ Earth, Milky Way 04 01 20190104 Jenkins, Nico 02 WORLD 06 15 9781950192014 03 9781950192014 34 06 10.1353/jjs.2006.0003.199 34 06 10.1177/1206331209337080 34 06 10.1353/pew.2004.0029 34 06 10.1353/pew.2003.0057 34 06 10.1353/pew.2012.0033 34 06 10.1353/pew.2008.0009 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25391 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25391/1004704.pdf?sequence=1&isAllowed=y 20 08 20190104 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32430 20 08 20190104 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2rsfd0d 20 08 20190104 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/601 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2ce2681b-d5ba-4416-b914-5cadbe4bc864/download 20 08 20190104 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Echoes_of_No_Thing/Um6oEAAAQBAJ 20 08 20190104 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ac6acc15-6927-4cef-95d3-1c71183ef2a6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ac6acc15-6927-4cef-95d3-1c71183ef2a6/ac6acc15-6927-4cef-95d3-1c71183ef2a6.pdf 20 08 20190104 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847615 29 ZENODO: download the title https://zenodo.org/records/19847615/files/ac6acc15-6927-4cef-95d3-1c71183ef2a6_book.pdf 20 08 20190104 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/echoes-of-no-thing-thinking-between-heidegger-and-dogen/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0239.1.00.pdf 20 08 20190104 01 urn:uuid:00db149f-4654-4110-be48-e0caaba7bec4 03 01 01 thoth-work-id urn:uuid:fcb4dca3-1568-459e-898f-10465eb15ff4 01 thoth-publication-id urn:uuid:00db149f-4654-4110-be48-e0caaba7bec4 15 9781685713249 03 9781685713249 06 10.53288/0493.1.00 13 2026940774 01 internal-reference 0493 00 BC 10 01 203.2 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Echo Otherwise A Poetics of Sound and Loss in Ancient and Contemporary Poetry 1 A01 21 0009000344465168 Jocelyn Saidenberg Jocelyn Saidenberg 40 01an7q238 University of California, Berkeley 01 eng 00 298 03 93 DSC B2 Languages+Translations 10 LIT004190 93 DSBB 10 LIT024050 B2 Literary Studies 93 DSBH5 B2 Premodern 20 Lucretius; Ferdinand de Saussure; M. NourbeSe Philip; Saidiya Hartman; literary criticism; close reading 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0493.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/echo-otherwise-a-poetics-of-sound-and-loss-in-ancient-and-contemporary-poetry/ Earth, Milky Way 02 01 20260601 Jocelyn Saidenberg 02 WORLD 06 15 9781685713256 03 9781685713256 06 15 9781685713263 03 9781685713263 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/echo-otherwise-a-poetics-of-sound-and-loss-in-ancient-and-contemporary-poetry/ 10 08 20260601 01 urn:uuid:d16eaab6-1a58-4651-b85b-e966fd5cb44d 03 01 01 thoth-work-id urn:uuid:fcb4dca3-1568-459e-898f-10465eb15ff4 01 thoth-publication-id urn:uuid:d16eaab6-1a58-4651-b85b-e966fd5cb44d 15 9781685713256 03 9781685713256 06 10.53288/0493.1.00 13 2026940774 01 internal-reference 0493 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Echo Otherwise A Poetics of Sound and Loss in Ancient and Contemporary Poetry 1 A01 21 0009000344465168 Jocelyn Saidenberg Jocelyn Saidenberg 40 01an7q238 University of California, Berkeley 01 eng 00 298 03 93 DSC B2 Languages+Translations 10 LIT004190 93 DSBB 10 LIT024050 B2 Literary Studies 93 DSBH5 B2 Premodern 20 Lucretius; Ferdinand de Saussure; M. NourbeSe Philip; Saidiya Hartman; literary criticism; close reading 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0493.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/echo-otherwise-a-poetics-of-sound-and-loss-in-ancient-and-contemporary-poetry/ Earth, Milky Way 02 01 20260601 Jocelyn Saidenberg 02 WORLD 06 15 9781685713249 03 9781685713249 06 15 9781685713263 03 9781685713263 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/echo-otherwise-a-poetics-of-sound-and-loss-in-ancient-and-contemporary-poetry/ 10 08 20260601 01 urn:uuid:109eaccc-153f-4b4f-b62a-9f00213e2cf9 03 01 01 thoth-work-id urn:uuid:fcb4dca3-1568-459e-898f-10465eb15ff4 01 thoth-publication-id urn:uuid:109eaccc-153f-4b4f-b62a-9f00213e2cf9 15 9781685713263 03 9781685713263 06 10.53288/0493.1.00 13 2026940774 01 internal-reference 0493 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Echo Otherwise A Poetics of Sound and Loss in Ancient and Contemporary Poetry 1 A01 21 0009000344465168 Jocelyn Saidenberg Jocelyn Saidenberg 40 01an7q238 University of California, Berkeley 01 eng 00 298 03 93 DSC B2 Languages+Translations 10 LIT004190 93 DSBB 10 LIT024050 B2 Literary Studies 93 DSBH5 B2 Premodern 20 Lucretius; Ferdinand de Saussure; M. NourbeSe Philip; Saidiya Hartman; literary criticism; close reading 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0493.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/echo-otherwise-a-poetics-of-sound-and-loss-in-ancient-and-contemporary-poetry/ Earth, Milky Way 02 01 20260601 Jocelyn Saidenberg 02 WORLD 06 15 9781685713249 03 9781685713249 06 15 9781685713256 03 9781685713256 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/echo-otherwise-a-poetics-of-sound-and-loss-in-ancient-and-contemporary-poetry/ 10 08 20260601 01 urn:uuid:e0a7a999-9c23-43dd-9b50-c91e764bf10d 03 01 01 thoth-work-id urn:uuid:20d15631-f886-43a0-b00b-b62426710bdf 01 thoth-publication-id urn:uuid:e0a7a999-9c23-43dd-9b50-c91e764bf10d 15 9780998237558 03 9780998237558 06 10.21983/P3.0157.1.00 01 internal-reference 0157 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Elemental Disappearances 1 A01 Jason Bahbak Mohaghegh Jason Bahbak Mohaghegh 40 01f0syq13 Babson College 2 A01 Dejan Lukić Dejan Lukić 40 0437v2m88 School of Visual Arts 01 eng 00 164 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere B2 Thought Experiments 20 exhibition catalog 01 06 02 00 03 00 The things sought after here are apparitional: they appear and disappear at will; they perfect the art of materialization and vanishing. Such is the nature of living dangerously, and with it the short duration of enchantment. This collection tracks provocative ideas, artifacts, and phenomena rising and fading across different territories of the contemporary world. Through a constellation of powerful thought-images, the authors uncover spaces of an ephemeral and fugitive nature in order to generate a fractal vision of our time and beyond.A former communist prison island in the Adriatic Sea, now abandoned and overgrown with wild plants; the stone garden of a deaf Iranian peasant who dances ecstatically among his geological formations; a Belgian sculptor who combines wax and flesh to depict human and animal forms in states of half-manifestation, incompletion (missing limbs), or branching (morphing into other organisms); a cultural movement in Brazil that takes the discarded debris of urban centers and transforms their splintered wood pieces into massive labyrinths and underground caverns; a blacksmith poet in Afghanistan who alternates between tasks of hammering metal and writing lyrical verses amidst the smoke-clouds of his forge; a Cuban writer whose delirious fixation with the sea compels him to invent a language of pure untimeliness.There are countless sites of disturbance within the postmodern landscape, and yet far too often these disruptive “scenes” remain untheorized and misaligned, treated as random deviations and thus afforded no surpassing consequence or philosophical complexity. Such micro-trajectories necessitate an archive and conceptual matrix that will steal them from their false obscurity and decipher them instead as the passcodes to an imminent global turn. For this, one must return to the amorphous outlook of “the marauder” or “the wanderer.” This book, then, aims to devise an ever-expanding configuration of radical outsides: elemental fronts that lead to unforeseen principles; alternative profiles of experience (intense becomings); incendiary, ominous, or vitalistic signs in circulation across the epochal horizon. 30 00 The things sought after here are apparitional: they appear and disappear at will; they perfect the art of materialization and vanishing. Such is the nature of living dangerously, and with it the short duration of enchantment. This collection tracks provocative ideas, artifacts, and phenomena rising and fading across different territories of the contemporary world. Through a constellation of powerful thought-images, the authors uncover spaces of an ephemeral and fugitive nature in order to generate a fractal vision of our time and beyond.A former communist prison island in the Adriatic Sea, now abandoned and overgrown with wild plants; the stone garden of a deaf Iranian peasant who dances ecstatically among his geological formations; a Belgian sculptor who combines wax and flesh to depict human and animal forms in states of half-manifestation, incompletion (missing limbs), or branching (morphing into other organisms); a cultural movement in Brazil that takes the discarded debris of urban centers and transforms their splintered wood pieces into massive labyrinths and underground caverns; a blacksmith poet in Afghanistan who alternates between tasks of hammering metal and writing lyrical verses amidst the smoke-clouds of his forge; a Cuban writer whose delirious fixation with the sea compels him to invent a language of pure untimeliness.There are countless sites of disturbance within the postmodern landscape, and yet far too often these disruptive “scenes” remain untheorized and misaligned, treated as random deviations and thus afforded no surpassing consequence or philosophical complexity. Such micro-trajectories necessitate an archive and conceptual matrix that will steal them from their false obscurity and decipher them instead as the passcodes to an imminent global turn. For this, one must return to the amorphous outlook of “the marauder” or “the wanderer.” This book, then, aims to devise an ever-expanding configuration of radical outsides: elemental fronts that lead to unforeseen principles; alternative profiles of experience (intense becomings); incendiary, ominous, or vitalistic signs in circulation across the epochal horizon. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0157.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/elemental-disappearances/ Earth, Milky Way 04 01 20161128 Mohaghegh, Jason Bahbak Lukić, Dejan 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/elemental-disappearances 20 08 20161128 02 37.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237558 20 08 20161128 02 37.00 USD WORLD urn:uuid:b06fcb4a-1f4c-4cd6-b838-0505efc28523 03 01 01 thoth-work-id urn:uuid:20d15631-f886-43a0-b00b-b62426710bdf 01 thoth-publication-id urn:uuid:b06fcb4a-1f4c-4cd6-b838-0505efc28523 06 10.21983/P3.0157.1.00 01 internal-reference 0157 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Elemental Disappearances 1 A01 Jason Bahbak Mohaghegh Jason Bahbak Mohaghegh 40 01f0syq13 Babson College 2 A01 Dejan Lukić Dejan Lukić 40 0437v2m88 School of Visual Arts 01 eng 00 164 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere B2 Thought Experiments 20 exhibition catalog 01 06 02 00 03 00 The things sought after here are apparitional: they appear and disappear at will; they perfect the art of materialization and vanishing. Such is the nature of living dangerously, and with it the short duration of enchantment. This collection tracks provocative ideas, artifacts, and phenomena rising and fading across different territories of the contemporary world. Through a constellation of powerful thought-images, the authors uncover spaces of an ephemeral and fugitive nature in order to generate a fractal vision of our time and beyond.A former communist prison island in the Adriatic Sea, now abandoned and overgrown with wild plants; the stone garden of a deaf Iranian peasant who dances ecstatically among his geological formations; a Belgian sculptor who combines wax and flesh to depict human and animal forms in states of half-manifestation, incompletion (missing limbs), or branching (morphing into other organisms); a cultural movement in Brazil that takes the discarded debris of urban centers and transforms their splintered wood pieces into massive labyrinths and underground caverns; a blacksmith poet in Afghanistan who alternates between tasks of hammering metal and writing lyrical verses amidst the smoke-clouds of his forge; a Cuban writer whose delirious fixation with the sea compels him to invent a language of pure untimeliness.There are countless sites of disturbance within the postmodern landscape, and yet far too often these disruptive “scenes” remain untheorized and misaligned, treated as random deviations and thus afforded no surpassing consequence or philosophical complexity. Such micro-trajectories necessitate an archive and conceptual matrix that will steal them from their false obscurity and decipher them instead as the passcodes to an imminent global turn. For this, one must return to the amorphous outlook of “the marauder” or “the wanderer.” This book, then, aims to devise an ever-expanding configuration of radical outsides: elemental fronts that lead to unforeseen principles; alternative profiles of experience (intense becomings); incendiary, ominous, or vitalistic signs in circulation across the epochal horizon. 30 00 The things sought after here are apparitional: they appear and disappear at will; they perfect the art of materialization and vanishing. Such is the nature of living dangerously, and with it the short duration of enchantment. This collection tracks provocative ideas, artifacts, and phenomena rising and fading across different territories of the contemporary world. Through a constellation of powerful thought-images, the authors uncover spaces of an ephemeral and fugitive nature in order to generate a fractal vision of our time and beyond.A former communist prison island in the Adriatic Sea, now abandoned and overgrown with wild plants; the stone garden of a deaf Iranian peasant who dances ecstatically among his geological formations; a Belgian sculptor who combines wax and flesh to depict human and animal forms in states of half-manifestation, incompletion (missing limbs), or branching (morphing into other organisms); a cultural movement in Brazil that takes the discarded debris of urban centers and transforms their splintered wood pieces into massive labyrinths and underground caverns; a blacksmith poet in Afghanistan who alternates between tasks of hammering metal and writing lyrical verses amidst the smoke-clouds of his forge; a Cuban writer whose delirious fixation with the sea compels him to invent a language of pure untimeliness.There are countless sites of disturbance within the postmodern landscape, and yet far too often these disruptive “scenes” remain untheorized and misaligned, treated as random deviations and thus afforded no surpassing consequence or philosophical complexity. Such micro-trajectories necessitate an archive and conceptual matrix that will steal them from their false obscurity and decipher them instead as the passcodes to an imminent global turn. For this, one must return to the amorphous outlook of “the marauder” or “the wanderer.” This book, then, aims to devise an ever-expanding configuration of radical outsides: elemental fronts that lead to unforeseen principles; alternative profiles of experience (intense becomings); incendiary, ominous, or vitalistic signs in circulation across the epochal horizon. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0157.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/elemental-disappearances/ Earth, Milky Way 04 01 20161128 Mohaghegh, Jason Bahbak Lukić, Dejan 02 WORLD 06 15 9780998237558 03 9780998237558 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76519 20 08 20161128 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25469 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25469/1004626.pdf?sequence=1&isAllowed=y 20 08 20161128 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38687 20 08 20161128 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354014 20 08 20161128 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/542 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5a6f9254-d5ef-4227-a176-21a6fcd17180/download 20 08 20161128 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Elemental_Disappearances/hgWVEAAAQBAJ 20 08 20161128 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/20d15631-f886-43a0-b00b-b62426710bdf 29 INTERNET_ARCHIVE: download the title https://archive.org/download/20d15631-f886-43a0-b00b-b62426710bdf/20d15631-f886-43a0-b00b-b62426710bdf.pdf 20 08 20161128 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846766 29 ZENODO: download the title https://zenodo.org/records/19846766/files/20d15631-f886-43a0-b00b-b62426710bdf_book.pdf 20 08 20161128 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/elemental-disappearances/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0157.1.00.pdf 20 08 20161128 01 urn:uuid:316f4ea9-60f8-4c07-8f03-90cb0ddb6174 03 01 01 thoth-work-id urn:uuid:2658fe95-2df3-4e7d-8df6-e86c18359a23 01 thoth-publication-id urn:uuid:316f4ea9-60f8-4c07-8f03-90cb0ddb6174 15 9780988234048 03 9780988234048 06 10.21983/P3.0079.1.00 01 internal-reference 0079 00 BC 10 01 279 mm 01 27.9 cm 01 11 in 02 216 mm 02 21.6 cm 02 8.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Ephemeral Coast, S. Wales 1 A01 Celina Jeffery Celina Jeffery 40 03c4mmv16 University of Ottawa 01 eng 00 64 03 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere 93 RGBP 01 06 02 00 03 00 Ephemeral Coast is a curatorial research project that seeks to investigate our difficult relationship to the coast as a threshold and frontline to climate change and considers the possibilities of understanding art in relation to what may be described as an unparalleled event.Ephemeral Coast involves the curation of exhibitions, located in coastal regions of the US/Canadian Arctic, Wales, and Mauritius and is made up primarily of artists, cultural theorists and climate change scientists.This catalogue is a theoretical extension of the artists’ work presented in first installment of the exhibition in south Wales, UK. The catalogue discusses the curatorial process and incorporates essays by guest authors, who re-contextualize Ephemeral Coast, S Wales within discussions of regional climate change and cultural theory. 30 00 Ephemeral Coast is a curatorial research project that seeks to investigate our difficult relationship to the coast as a threshold and frontline to climate change and considers the possibilities of understanding art in relation to what may be described as an unparalleled event.Ephemeral Coast involves the curation of exhibitions, located in coastal regions of the US/Canadian Arctic, Wales, and Mauritius and is made up primarily of artists, cultural theorists and climate change scientists.This catalogue is a theoretical extension of the artists’ work presented in first installment of the exhibition in south Wales, UK. The catalogue discusses the curatorial process and incorporates essays by guest authors, who re-contextualize Ephemeral Coast, S Wales within discussions of regional climate change and cultural theory. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0079.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ephemeral-coast/ Brooklyn, NY 04 01 20141101 Jeffery, Celina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.lulu.com/shop/celina-jeffery/ephemeral-coast-s-wales/paperback/product-21866317.html 20 08 20141101 02 30.00 USD WORLD urn:uuid:566a4bcb-09fc-4769-aaec-8805e3f2936a 03 01 01 thoth-work-id urn:uuid:2658fe95-2df3-4e7d-8df6-e86c18359a23 01 thoth-publication-id urn:uuid:566a4bcb-09fc-4769-aaec-8805e3f2936a 15 9780988234048 03 9780988234048 06 10.21983/P3.0079.1.00 01 internal-reference 0079 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Ephemeral Coast, S. Wales 1 A01 Celina Jeffery Celina Jeffery 40 03c4mmv16 University of Ottawa 01 eng 00 64 03 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere 93 RGBP 01 06 02 00 03 00 Ephemeral Coast is a curatorial research project that seeks to investigate our difficult relationship to the coast as a threshold and frontline to climate change and considers the possibilities of understanding art in relation to what may be described as an unparalleled event.Ephemeral Coast involves the curation of exhibitions, located in coastal regions of the US/Canadian Arctic, Wales, and Mauritius and is made up primarily of artists, cultural theorists and climate change scientists.This catalogue is a theoretical extension of the artists’ work presented in first installment of the exhibition in south Wales, UK. The catalogue discusses the curatorial process and incorporates essays by guest authors, who re-contextualize Ephemeral Coast, S Wales within discussions of regional climate change and cultural theory. 30 00 Ephemeral Coast is a curatorial research project that seeks to investigate our difficult relationship to the coast as a threshold and frontline to climate change and considers the possibilities of understanding art in relation to what may be described as an unparalleled event.Ephemeral Coast involves the curation of exhibitions, located in coastal regions of the US/Canadian Arctic, Wales, and Mauritius and is made up primarily of artists, cultural theorists and climate change scientists.This catalogue is a theoretical extension of the artists’ work presented in first installment of the exhibition in south Wales, UK. The catalogue discusses the curatorial process and incorporates essays by guest authors, who re-contextualize Ephemeral Coast, S Wales within discussions of regional climate change and cultural theory. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0079.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ephemeral-coast/ Brooklyn, NY 04 01 20141101 Jeffery, Celina 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25541 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25541/1004554.pdf?sequence=1&isAllowed=y 20 08 20141101 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31771 20 08 20141101 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/464 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2f00fed3-bcbd-4703-8851-994c95196268/download 20 08 20141101 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2658fe95-2df3-4e7d-8df6-e86c18359a23 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2658fe95-2df3-4e7d-8df6-e86c18359a23/2658fe95-2df3-4e7d-8df6-e86c18359a23.pdf 20 08 20141101 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846062 29 ZENODO: download the title https://zenodo.org/records/19846062/files/2658fe95-2df3-4e7d-8df6-e86c18359a23_book.pdf 20 08 20141101 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ephemeral-coast/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0079.1.00.pdf 20 08 20141101 01 urn:uuid:1681faac-4469-4a2d-87f3-f41c6af6b1c2 03 01 01 thoth-work-id urn:uuid:82102cd2-5cb9-4f26-bf75-f27ff7476ffc 01 thoth-publication-id urn:uuid:1681faac-4469-4a2d-87f3-f41c6af6b1c2 15 9781685710620 03 9781685710620 06 10.53288/0416.1.00 13 2022940635 01 internal-reference 0416 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Escape Philosophy Journeys Beyond the Human Body 1 A01 Roy Christopher Roy Christopher Roy Christopher is an aging BMX and skateboarding zine kid. That’s where he learned to turn events and interviews into pages with staples. He has since written about music, media, and culture for everything from self-published zines and personal blogs to national magazines and academic journals. He holds a Ph.D. in Communication Studies from the University of Texas at Austin and currently lives in Savannah, Georgia. As a child, he solved the Rubik’s Cube competitively. 01 eng 00 164 03 12 HPJ B2 Media+Technology 10 PHI015000 93 QDTJ 93 6HA 12 AVGT 10 MUS019000 B2 Philosophy B2 Posthumanism 20 posthumanism; body horror; black metal; Goldflesh; philosophy 01 06 02 00 03 00 The physical body has often been seen as a prison, as something to be escaped by any means necessary: technology, mechanization, drugs and sensory deprivation, alien abduction, Rapture, or even death and extinction. Taking in horror movies from David Cronenberg and UFO encounters, metal bands such as Godflesh, ketamine experiments, AI, and cybernetics, Escape Philosophy is an exploration of the ways that human beings have sought to make this escape, to transcend the limits of the human body, to find a way out.As the physical world continues to crumble at an ever-accelerating rate, and we are faced with a particularly 21st-century kind of dread and dehumanization in the face of climate collapse and a global pandemic, Escape Philosophy asks what this escape from our bodies might look like, and if it is even possible. 30 00 The physical body has often been seen as a prison, as something to be escaped by any means necessary: technology, mechanization, drugs and sensory deprivation, alien abduction, Rapture, or even death and extinction. Taking in horror movies from David Cronenberg and UFO encounters, metal bands such as Godflesh, ketamine experiments, AI, and cybernetics, Escape Philosophy is an exploration of the ways that human beings have sought to make this escape, to transcend the limits of the human body, to find a way out.As the physical world continues to crumble at an ever-accelerating rate, and we are faced with a particularly 21st-century kind of dread and dehumanization in the face of climate collapse and a global pandemic, Escape Philosophy asks what this escape from our bodies might look like, and if it is even possible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0416.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/escape-philosophy/ Earth, Milky Way 04 01 20220714 Roy Christopher 02 WORLD 06 15 9781685710637 03 9781685710637 34 06 10.1126/science.168.3932.702 34 06 10.1080/00963402.1963.11454520 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571062X 20 08 20220714 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/escape-philosophy-journeys-beyond-the-human-body 20 08 20220714 02 22.00 USD WORLD urn:uuid:50ab6fae-43bd-4c3d-bec8-30e5fdda4335 03 01 01 thoth-work-id urn:uuid:82102cd2-5cb9-4f26-bf75-f27ff7476ffc 01 thoth-publication-id urn:uuid:50ab6fae-43bd-4c3d-bec8-30e5fdda4335 15 9781685710637 03 9781685710637 06 10.53288/0416.1.00 13 2022940635 01 internal-reference 0416 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Escape Philosophy Journeys Beyond the Human Body 1 A01 Roy Christopher Roy Christopher Roy Christopher is an aging BMX and skateboarding zine kid. That’s where he learned to turn events and interviews into pages with staples. He has since written about music, media, and culture for everything from self-published zines and personal blogs to national magazines and academic journals. He holds a Ph.D. in Communication Studies from the University of Texas at Austin and currently lives in Savannah, Georgia. As a child, he solved the Rubik’s Cube competitively. 01 eng 00 164 03 12 HPJ B2 Media+Technology 10 PHI015000 93 QDTJ 93 6HA 12 AVGT 10 MUS019000 B2 Philosophy B2 Posthumanism 20 posthumanism; body horror; black metal; Goldflesh; philosophy 01 06 02 00 03 00 The physical body has often been seen as a prison, as something to be escaped by any means necessary: technology, mechanization, drugs and sensory deprivation, alien abduction, Rapture, or even death and extinction. Taking in horror movies from David Cronenberg and UFO encounters, metal bands such as Godflesh, ketamine experiments, AI, and cybernetics, Escape Philosophy is an exploration of the ways that human beings have sought to make this escape, to transcend the limits of the human body, to find a way out.As the physical world continues to crumble at an ever-accelerating rate, and we are faced with a particularly 21st-century kind of dread and dehumanization in the face of climate collapse and a global pandemic, Escape Philosophy asks what this escape from our bodies might look like, and if it is even possible. 30 00 The physical body has often been seen as a prison, as something to be escaped by any means necessary: technology, mechanization, drugs and sensory deprivation, alien abduction, Rapture, or even death and extinction. Taking in horror movies from David Cronenberg and UFO encounters, metal bands such as Godflesh, ketamine experiments, AI, and cybernetics, Escape Philosophy is an exploration of the ways that human beings have sought to make this escape, to transcend the limits of the human body, to find a way out.As the physical world continues to crumble at an ever-accelerating rate, and we are faced with a particularly 21st-century kind of dread and dehumanization in the face of climate collapse and a global pandemic, Escape Philosophy asks what this escape from our bodies might look like, and if it is even possible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0416.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/escape-philosophy/ Earth, Milky Way 04 01 20220714 Roy Christopher 02 WORLD 06 15 9781685710620 03 9781685710620 34 06 10.1126/science.168.3932.702 34 06 10.1080/00963402.1963.11454520 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/57292 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/57292/0416.1.00.pdf?sequence=1&isAllowed=y 20 08 20220714 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/87674 20 08 20220714 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/701 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8be3f3da-4c40-42c3-a4ff-38abd7331a34/download 20 08 20220714 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Escape_Philosophy/rgSVEAAAQBAJ 20 08 20220714 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/82102cd2-5cb9-4f26-bf75-f27ff7476ffc 29 INTERNET_ARCHIVE: download the title https://archive.org/download/82102cd2-5cb9-4f26-bf75-f27ff7476ffc/82102cd2-5cb9-4f26-bf75-f27ff7476ffc.pdf 20 08 20220714 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849406 29 ZENODO: download the title https://zenodo.org/records/19849406/files/82102cd2-5cb9-4f26-bf75-f27ff7476ffc_book.pdf 20 08 20220714 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/escape-philosophy/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0416.1.00.pdf 20 08 20220714 01 urn:uuid:25070b24-8f2e-4bec-87f2-52deef15334f 03 01 01 thoth-work-id urn:uuid:449add5c-b935-47e2-8e46-2545fad86221 01 thoth-publication-id urn:uuid:25070b24-8f2e-4bec-87f2-52deef15334f 15 9780692373880 03 9780692373880 06 10.21983/P3.0089.1.00 01 internal-reference 0089 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Escargotesque, or, What Is Experience 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 021j0xm63 Medaille College 40 01y64my43 University at Buffalo, State University of New York 01 eng 00 116 03 B2 Autotheory 93 DNC 12 HPCF 10 PHI018000 93 1HFDB B2 Philosophy 93 QDHR 20 philosophy; phenomenology; experience; memoir; Africa 01 06 02 00 03 00 “Experience” is a concept paradoxically deployed to accentuate the aconceptual. Although thinking, knowing, reflecting, and analyzing are kinds of experiences, invocations of “experience” typically direct our attention to what is immediate, embodied, unrepresented, unthought, even unthinkable. And yet, whether by learning experience, traumatic experience, life experience, mystical experience, or all of these, we hope most fervently that our experience will teach us, transform us, become part of us. Why do we strive to find, profit from, and possess experience while insisting upon experience’s intellectual elusiveness? What do we intend when we petition (and re-petition) experience for truth, for growth, for strength? To whom or to what do we sing when we sing experience’s song?Escargotesque, or, What is Experience? asks why both our lived experiences and our mythologies of experience so often fold inward, repeat, return. Departing from his unusual experience of working as a garbage-collector in the West African country of Benin, M.H. Bowker converses with several champions of experience (from Michel de Montaigne to John Dewey, from Søren Kierkegaard to Ralph Waldo Emerson, from Simone Weil to R.D. Laing) to pose radical questions about the intentions and dynamics that guide our quest for experience, intentions and dynamics that are more destructive and more melancholy than celebrants of experience would care to admit.Across Escargotesque’s six loosely linear parts, fragments of prose memoir intersect with poetry, sketch art, philosophical reflection, cultural criticism, and psychological examination in ways that both evoke and unsettle the thinking person’s experience. Escargotesque both testifies to an experience and reveals surprising fantasies driving the modern and postmodern turn to experience as a source of truth and hope. Such fantasies include the sacredness of even the most violent ‘pure experience,’ the necessity of supplicating experience’s objects, and the ultimate demise of the one who experiences. 30 00 “Experience” is a concept paradoxically deployed to accentuate the aconceptual. Although thinking, knowing, reflecting, and analyzing are kinds of experiences, invocations of “experience” typically direct our attention to what is immediate, embodied, unrepresented, unthought, even unthinkable. And yet, whether by learning experience, traumatic experience, life experience, mystical experience, or all of these, we hope most fervently that our experience will teach us, transform us, become part of us. Why do we strive to find, profit from, and possess experience while insisting upon experience’s intellectual elusiveness? What do we intend when we petition (and re-petition) experience for truth, for growth, for strength? To whom or to what do we sing when we sing experience’s song?Escargotesque, or, What is Experience? asks why both our lived experiences and our mythologies of experience so often fold inward, repeat, return. Departing from his unusual experience of working as a garbage-collector in the West African country of Benin, M.H. Bowker converses with several champions of experience (from Michel de Montaigne to John Dewey, from Søren Kierkegaard to Ralph Waldo Emerson, from Simone Weil to R.D. Laing) to pose radical questions about the intentions and dynamics that guide our quest for experience, intentions and dynamics that are more destructive and more melancholy than celebrants of experience would care to admit.Across Escargotesque’s six loosely linear parts, fragments of prose memoir intersect with poetry, sketch art, philosophical reflection, cultural criticism, and psychological examination in ways that both evoke and unsettle the thinking person’s experience. Escargotesque both testifies to an experience and reveals surprising fantasies driving the modern and postmodern turn to experience as a source of truth and hope. Such fantasies include the sacredness of even the most violent ‘pure experience,’ the necessity of supplicating experience’s objects, and the ultimate demise of the one who experiences. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0089.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/escargotesque/ Brooklyn, NY 04 01 20150126 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692373888 20 08 20150126 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/escargotesque-or-what-is-experience 20 08 20150126 02 21.00 USD WORLD urn:uuid:411c4f90-76b9-41f4-b48c-5abeb76d65cb 03 01 01 thoth-work-id urn:uuid:449add5c-b935-47e2-8e46-2545fad86221 01 thoth-publication-id urn:uuid:411c4f90-76b9-41f4-b48c-5abeb76d65cb 06 10.21983/P3.0089.1.00 01 internal-reference 0089 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Escargotesque, or, What Is Experience 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 021j0xm63 Medaille College 40 01y64my43 University at Buffalo, State University of New York 01 eng 00 116 03 B2 Autotheory 93 DNC 12 HPCF 10 PHI018000 93 1HFDB B2 Philosophy 93 QDHR 20 philosophy; phenomenology; experience; memoir; Africa 01 06 02 00 03 00 “Experience” is a concept paradoxically deployed to accentuate the aconceptual. Although thinking, knowing, reflecting, and analyzing are kinds of experiences, invocations of “experience” typically direct our attention to what is immediate, embodied, unrepresented, unthought, even unthinkable. And yet, whether by learning experience, traumatic experience, life experience, mystical experience, or all of these, we hope most fervently that our experience will teach us, transform us, become part of us. Why do we strive to find, profit from, and possess experience while insisting upon experience’s intellectual elusiveness? What do we intend when we petition (and re-petition) experience for truth, for growth, for strength? To whom or to what do we sing when we sing experience’s song?Escargotesque, or, What is Experience? asks why both our lived experiences and our mythologies of experience so often fold inward, repeat, return. Departing from his unusual experience of working as a garbage-collector in the West African country of Benin, M.H. Bowker converses with several champions of experience (from Michel de Montaigne to John Dewey, from Søren Kierkegaard to Ralph Waldo Emerson, from Simone Weil to R.D. Laing) to pose radical questions about the intentions and dynamics that guide our quest for experience, intentions and dynamics that are more destructive and more melancholy than celebrants of experience would care to admit.Across Escargotesque’s six loosely linear parts, fragments of prose memoir intersect with poetry, sketch art, philosophical reflection, cultural criticism, and psychological examination in ways that both evoke and unsettle the thinking person’s experience. Escargotesque both testifies to an experience and reveals surprising fantasies driving the modern and postmodern turn to experience as a source of truth and hope. Such fantasies include the sacredness of even the most violent ‘pure experience,’ the necessity of supplicating experience’s objects, and the ultimate demise of the one who experiences. 30 00 “Experience” is a concept paradoxically deployed to accentuate the aconceptual. Although thinking, knowing, reflecting, and analyzing are kinds of experiences, invocations of “experience” typically direct our attention to what is immediate, embodied, unrepresented, unthought, even unthinkable. And yet, whether by learning experience, traumatic experience, life experience, mystical experience, or all of these, we hope most fervently that our experience will teach us, transform us, become part of us. Why do we strive to find, profit from, and possess experience while insisting upon experience’s intellectual elusiveness? What do we intend when we petition (and re-petition) experience for truth, for growth, for strength? To whom or to what do we sing when we sing experience’s song?Escargotesque, or, What is Experience? asks why both our lived experiences and our mythologies of experience so often fold inward, repeat, return. Departing from his unusual experience of working as a garbage-collector in the West African country of Benin, M.H. Bowker converses with several champions of experience (from Michel de Montaigne to John Dewey, from Søren Kierkegaard to Ralph Waldo Emerson, from Simone Weil to R.D. Laing) to pose radical questions about the intentions and dynamics that guide our quest for experience, intentions and dynamics that are more destructive and more melancholy than celebrants of experience would care to admit.Across Escargotesque’s six loosely linear parts, fragments of prose memoir intersect with poetry, sketch art, philosophical reflection, cultural criticism, and psychological examination in ways that both evoke and unsettle the thinking person’s experience. Escargotesque both testifies to an experience and reveals surprising fantasies driving the modern and postmodern turn to experience as a source of truth and hope. Such fantasies include the sacredness of even the most violent ‘pure experience,’ the necessity of supplicating experience’s objects, and the ultimate demise of the one who experiences. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0089.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/escargotesque/ Brooklyn, NY 04 01 20150126 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD 06 15 9780692373880 03 9780692373880 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76480 20 08 20150126 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25532 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25532/1004563.pdf?sequence=1&isAllowed=y 20 08 20150126 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39577 20 08 20150126 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353848 20 08 20150126 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/474 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e58ec44a-6b5d-49a9-8c1c-f759df2c982d/download 20 08 20150126 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Escargotesque/egWVEAAAQBAJ 20 08 20150126 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/449add5c-b935-47e2-8e46-2545fad86221 29 INTERNET_ARCHIVE: download the title https://archive.org/download/449add5c-b935-47e2-8e46-2545fad86221/449add5c-b935-47e2-8e46-2545fad86221.pdf 20 08 20150126 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846142 29 ZENODO: download the title https://zenodo.org/records/19846142/files/449add5c-b935-47e2-8e46-2545fad86221_book.pdf 20 08 20150126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/escargotesque/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0089.1.00.pdf 20 08 20150126 01 urn:uuid:2edfb9f1-3a87-4287-a831-cf04c4e5527f 03 01 01 thoth-work-id urn:uuid:98ce9caa-487e-4391-86c9-e5d8129be5b6 01 thoth-publication-id urn:uuid:2edfb9f1-3a87-4287-a831-cf04c4e5527f 15 9781953035493 03 9781953035493 06 10.21983/P3.0291.1.00 13 2021936144 01 internal-reference 0291 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Essays on the Peripheries 1 A01 Peter Valente Peter Valente 01 eng 00 400 03 12 DSC 93 DSC 10 LIT014000 B2 Literary Studies 12 DSK 93 DSK 10 LIT004160 B2 TransQueer 93 5PS 20 literary studies; poetry; translation studies; queer literature; Pierre Guyotat; Pier Paolo Pasolini; Callimachus 01 06 02 00 03 00 Essays on the Peripheries contains essays written by translator and scholar Peter Valente over a twenty-year period, stretching from the 1990s to 2019. They are a record of literary exploration and discovery, concerned with the recovery of lost works, with those writers whose works were out of print or hard to find, and whose names were somehow not fashionable in the current discourse, but who are important nevertheless. Edouard Roditi, Barbara Barg, and Tom Savage, for example, should be better known, but their books are largely ignored. This collection of essays highlights those works on the periphery, such as Turkish poets Seyhan Erözçelik and Küçük İskender, while it also includes several essays on better-known queer authors like Pierre Guyotat and Pier Paolo Pasolini, focusing on often overlooked qualities in their work that bear looking at closely.These essays on works of literature are complemented by a number of texts on jazz, again highlighting important and interesting figures in the world of jazz and free improvisation that may have fallen through the cracks, such as the pianist Richard Twardzick and the Ganelin trio, which recorded their great experimental work Ancora da Capo in 1980, behind the Iron Curtain. Attention is also to given to more popular figures such as Stan Getz. The volume is completed with a series of essays reappraising Roman poets in the twenty-first century, offering fresh new translations and readings of authors such as Catullus and Callimachus.A collection of essays, like an anthology, is by its nature incomplete. Essays on the Peripheries is a kind of sketch, rather than a finished portrait, of the author's changing impressions on various subjects over the years. 30 00 Essays on the Peripheries contains essays written by translator and scholar Peter Valente over a twenty-year period, stretching from the 1990s to 2019. They are a record of literary exploration and discovery, concerned with the recovery of lost works, with those writers whose works were out of print or hard to find, and whose names were somehow not fashionable in the current discourse, but who are important nevertheless. Edouard Roditi, Barbara Barg, and Tom Savage, for example, should be better known, but their books are largely ignored. This collection of essays highlights those works on the periphery, such as Turkish poets Seyhan Erözçelik and Küçük İskender, while it also includes several essays on better-known queer authors like Pierre Guyotat and Pier Paolo Pasolini, focusing on often overlooked qualities in their work that bear looking at closely.These essays on works of literature are complemented by a number of texts on jazz, again highlighting important and interesting figures in the world of jazz and free improvisation that may have fallen through the cracks, such as the pianist Richard Twardzick and the Ganelin trio, which recorded their great experimental work Ancora da Capo in 1980, behind the Iron Curtain. Attention is also to given to more popular figures such as Stan Getz. The volume is completed with a series of essays reappraising Roman poets in the twenty-first century, offering fresh new translations and readings of authors such as Catullus and Callimachus.A collection of essays, like an anthology, is by its nature incomplete. Essays on the Peripheries is a kind of sketch, rather than a finished portrait, of the author's changing impressions on various subjects over the years. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0291.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/essays-on-the-peripheries/ Earth, Milky Way 04 01 20210422 Valente, Peter 02 WORLD 06 15 9781953035509 03 9781953035509 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035493 20 08 20210422 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/essays-on-the-peripheries 20 08 20210422 02 27.00 USD WORLD urn:uuid:72fe1c58-76a2-4de9-9d37-81009c653a72 03 01 01 thoth-work-id urn:uuid:98ce9caa-487e-4391-86c9-e5d8129be5b6 01 thoth-publication-id urn:uuid:72fe1c58-76a2-4de9-9d37-81009c653a72 15 9781953035509 03 9781953035509 06 10.21983/P3.0291.1.00 13 2021936144 01 internal-reference 0291 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Essays on the Peripheries 1 A01 Peter Valente Peter Valente 01 eng 00 400 03 12 DSC 93 DSC 10 LIT014000 B2 Literary Studies 12 DSK 93 DSK 10 LIT004160 B2 TransQueer 93 5PS 20 literary studies; poetry; translation studies; queer literature; Pierre Guyotat; Pier Paolo Pasolini; Callimachus 01 06 02 00 03 00 Essays on the Peripheries contains essays written by translator and scholar Peter Valente over a twenty-year period, stretching from the 1990s to 2019. They are a record of literary exploration and discovery, concerned with the recovery of lost works, with those writers whose works were out of print or hard to find, and whose names were somehow not fashionable in the current discourse, but who are important nevertheless. Edouard Roditi, Barbara Barg, and Tom Savage, for example, should be better known, but their books are largely ignored. This collection of essays highlights those works on the periphery, such as Turkish poets Seyhan Erözçelik and Küçük İskender, while it also includes several essays on better-known queer authors like Pierre Guyotat and Pier Paolo Pasolini, focusing on often overlooked qualities in their work that bear looking at closely.These essays on works of literature are complemented by a number of texts on jazz, again highlighting important and interesting figures in the world of jazz and free improvisation that may have fallen through the cracks, such as the pianist Richard Twardzick and the Ganelin trio, which recorded their great experimental work Ancora da Capo in 1980, behind the Iron Curtain. Attention is also to given to more popular figures such as Stan Getz. The volume is completed with a series of essays reappraising Roman poets in the twenty-first century, offering fresh new translations and readings of authors such as Catullus and Callimachus.A collection of essays, like an anthology, is by its nature incomplete. Essays on the Peripheries is a kind of sketch, rather than a finished portrait, of the author's changing impressions on various subjects over the years. 30 00 Essays on the Peripheries contains essays written by translator and scholar Peter Valente over a twenty-year period, stretching from the 1990s to 2019. They are a record of literary exploration and discovery, concerned with the recovery of lost works, with those writers whose works were out of print or hard to find, and whose names were somehow not fashionable in the current discourse, but who are important nevertheless. Edouard Roditi, Barbara Barg, and Tom Savage, for example, should be better known, but their books are largely ignored. This collection of essays highlights those works on the periphery, such as Turkish poets Seyhan Erözçelik and Küçük İskender, while it also includes several essays on better-known queer authors like Pierre Guyotat and Pier Paolo Pasolini, focusing on often overlooked qualities in their work that bear looking at closely.These essays on works of literature are complemented by a number of texts on jazz, again highlighting important and interesting figures in the world of jazz and free improvisation that may have fallen through the cracks, such as the pianist Richard Twardzick and the Ganelin trio, which recorded their great experimental work Ancora da Capo in 1980, behind the Iron Curtain. Attention is also to given to more popular figures such as Stan Getz. The volume is completed with a series of essays reappraising Roman poets in the twenty-first century, offering fresh new translations and readings of authors such as Catullus and Callimachus.A collection of essays, like an anthology, is by its nature incomplete. Essays on the Peripheries is a kind of sketch, rather than a finished portrait, of the author's changing impressions on various subjects over the years. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0291.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/essays-on-the-peripheries/ Earth, Milky Way 04 01 20210422 Valente, Peter 02 WORLD 06 15 9781953035493 03 9781953035493 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/48283 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/48283/0291.1.00.pdf?sequence=1&isAllowed=y 20 08 20210422 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/68034 20 08 20210422 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353947 20 08 20210422 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/662 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0f3c5749-8808-4175-af1e-eb089b2551d0/download 20 08 20210422 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/98ce9caa-487e-4391-86c9-e5d8129be5b6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/98ce9caa-487e-4391-86c9-e5d8129be5b6/98ce9caa-487e-4391-86c9-e5d8129be5b6.pdf 20 08 20210422 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848776 29 ZENODO: download the title https://zenodo.org/records/19848776/files/98ce9caa-487e-4391-86c9-e5d8129be5b6_book.pdf 20 08 20210422 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/essays-on-the-peripheries/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0291.1.00.pdf 20 08 20210422 01 urn:uuid:17eaf32f-6af7-472c-982e-c03b9035e374 03 01 01 thoth-work-id urn:uuid:19b32470-bf29-48e1-99db-c08ef90516a9 01 thoth-publication-id urn:uuid:17eaf32f-6af7-472c-982e-c03b9035e374 15 9780998531809 03 9780998531809 06 10.21983/P3.0164.1.00 01 internal-reference 0164 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 191 mm 02 19.1 cm 02 7.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Everyday Cinema The Films of Marc Lafia 1 A01 Marc Lafia Marc Lafia 01 eng 00 238 03 12 APFA 10 ART057000 B2 Art+Aesthetics 93 ATFB B2 Moving Image 20 film studies; new media; video; representation; Marc Lafia 01 06 02 00 03 00 Everyday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27) Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new. Everyday Cinema is comprised of two parts, the first an in-depth look at his films and installations, project by project, providing background on how they came about, Lafia’s process and ideas. The second part features selected interviews and over two hundred film stills wherein Lafia puts forward a new sense of the possibility of the cinema. As we all relentlessly record ourselves and are recorded, we become part of the cinematic fabric of life, part of a spectacle of which we are both constituent and constitutive. This is what Lafia sets out to capture and examine. 30 00 Everyday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27) Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new. Everyday Cinema is comprised of two parts, the first an in-depth look at his films and installations, project by project, providing background on how they came about, Lafia’s process and ideas. The second part features selected interviews and over two hundred film stills wherein Lafia puts forward a new sense of the possibility of the cinema. As we all relentlessly record ourselves and are recorded, we become part of the cinematic fabric of life, part of a spectacle of which we are both constituent and constitutive. This is what Lafia sets out to capture and examine. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0164.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/everyday-cinema-the-films-of-marc-lafia/ Earth, Milky Way 04 01 20170131 Lafia, Marc 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531804 20 08 20170131 02 51.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/everyday-cinema-the-films-of-marc-lafia 20 08 20170131 02 51.00 USD WORLD urn:uuid:fa6532c2-a812-4b7f-a1b2-e4494a50409a 03 01 01 thoth-work-id urn:uuid:19b32470-bf29-48e1-99db-c08ef90516a9 01 thoth-publication-id urn:uuid:fa6532c2-a812-4b7f-a1b2-e4494a50409a 06 10.21983/P3.0164.1.00 01 internal-reference 0164 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Everyday Cinema The Films of Marc Lafia 1 A01 Marc Lafia Marc Lafia 01 eng 00 238 03 12 APFA 10 ART057000 B2 Art+Aesthetics 93 ATFB B2 Moving Image 20 film studies; new media; video; representation; Marc Lafia 01 06 02 00 03 00 Everyday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27) Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new. Everyday Cinema is comprised of two parts, the first an in-depth look at his films and installations, project by project, providing background on how they came about, Lafia’s process and ideas. The second part features selected interviews and over two hundred film stills wherein Lafia puts forward a new sense of the possibility of the cinema. As we all relentlessly record ourselves and are recorded, we become part of the cinematic fabric of life, part of a spectacle of which we are both constituent and constitutive. This is what Lafia sets out to capture and examine. 30 00 Everyday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27) Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new. Everyday Cinema is comprised of two parts, the first an in-depth look at his films and installations, project by project, providing background on how they came about, Lafia’s process and ideas. The second part features selected interviews and over two hundred film stills wherein Lafia puts forward a new sense of the possibility of the cinema. As we all relentlessly record ourselves and are recorded, we become part of the cinematic fabric of life, part of a spectacle of which we are both constituent and constitutive. This is what Lafia sets out to capture and examine. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0164.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/everyday-cinema-the-films-of-marc-lafia/ Earth, Milky Way 04 01 20170131 Lafia, Marc 02 WORLD 06 15 9780998531809 03 9780998531809 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25463 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25463/1004632.pdf?sequence=1&isAllowed=y 20 08 20170131 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34854 20 08 20170131 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353956 20 08 20170131 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/548 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/34f59772-cc32-4bab-9515-47d1cb4e0ae0/download 20 08 20170131 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Everyday_Cinema/jgWVEAAAQBAJ 20 08 20170131 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/19b32470-bf29-48e1-99db-c08ef90516a9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/19b32470-bf29-48e1-99db-c08ef90516a9/19b32470-bf29-48e1-99db-c08ef90516a9.pdf 20 08 20170131 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846818 29 ZENODO: download the title https://zenodo.org/records/19846818/files/19b32470-bf29-48e1-99db-c08ef90516a9_book.pdf 20 08 20170131 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/everyday-cinema-the-films-of-marc-lafia/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0164.1.00.pdf 20 08 20170131 01 urn:uuid:1f0f8da0-ded4-4615-bebe-ebb23ed6c751 03 01 01 thoth-work-id urn:uuid:797b87d1-f6ef-4081-bab4-c4ad66d8b315 01 thoth-publication-id urn:uuid:1f0f8da0-ded4-4615-bebe-ebb23ed6c751 15 9781685710989 03 9781685710989 06 10.53288/0407.1.00 13 2023945643 01 internal-reference 0407 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Evil Twins and the Ultimate Insight Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading 1 A01 Bruce Stone Bruce Stone 40 046rm7j60 University of California, Los Angeles Bruce Stone teaches in the writing program at UCLA. He was the contributing editor of The Art of Desire: The Fiction of Douglas Glover (Oberon, 2004). His work has appeared in Nabokov Studies, Miranda, Nabokov Online Journal, LA Review of Books, and Numéro Cinq. 01 eng 00 190 03 B2 Cultural Studies+Critical Theory 93 DSBH 12 DSBH 10 LIT004020 93 1KBB 12 1KBB B2 Literary Studies 10 POL042040 12 JPHV 93 JPHV B2 New Left Thought 20 Vladimir Nabokov; Ayn Rand; literary studies; US politics; authoritarianism; literacy; political polarization 01 06 02 00 03 00 With the 2020 election, political polarization in the U.S. entered a ludicrous end-stage. Partisanship, once a pseudo-rational system of biases, has devolved to a conflict between incompatible realities. In search of some pathway toward consensus, Evil Twins and the Ultimate Insight: Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading looks to the works of two iconic Russian-American writers whose literary rivalry mirrors the rift between political parties in the U.S. The matchup has all the markings of an evil-twin narrative, pitting Rand, the muse of libertarian conservatism, against Nabokov, the trickster-genius of the Western canon. Their mid-century novels afford a rare opportunity to arbitrate, by proxy, American political grievances and resolve, in print, its electoral dysfunction. Evil Twins and the Ultimate Insight mounts this critical intervention into the Blue/Red blood feud and contemplates, in the cognitive challenges of Nabokov’s fiction, a remedy for its polarized politics.To guard against grandstanding, axe-grinding, deck-stacking, inaccuracy, or obfuscation, Stone’s book proceeds by indirection, exploring four scholarly books that all speak to the peculiar relationship between Rand and Nabokov: Gene Bell-Villada’s On Nabokov, Ayn Rand and the Libertarian Mind (2013), Adam Weiner’s How Bad Writing Destroyed the World: Ayn Rand and the Literary Origins of the Financial Crisis (2016), Michael Rodgers’s Nabokov and Nietzsche: Problems and Perspectives (2018), and Peter Roberts and Herner Saeverot’s Education and the Limits of Reason: Reading Dostoevsky, Tolstoy and Nabokov (2018). Each of these books is seriously flawed, but their numerous interlocking problems conspire to reveal, empirically, via negativa, how literature might tip the scales in America’s partisan deadlock. Ultimately, Stone argues that, when our books get tangled up in our politics, their promise—to help us see to the bottom of things and scooch closer to the asymptote of truth and reality—might be something more than a mirage. 30 00 With the 2020 election, political polarization in the U.S. entered a ludicrous end-stage. Partisanship, once a pseudo-rational system of biases, has devolved to a conflict between incompatible realities. In search of some pathway toward consensus, Evil Twins and the Ultimate Insight: Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading looks to the works of two iconic Russian-American writers whose literary rivalry mirrors the rift between political parties in the U.S. The matchup has all the markings of an evil-twin narrative, pitting Rand, the muse of libertarian conservatism, against Nabokov, the trickster-genius of the Western canon. Their mid-century novels afford a rare opportunity to arbitrate, by proxy, American political grievances and resolve, in print, its electoral dysfunction. Evil Twins and the Ultimate Insight mounts this critical intervention into the Blue/Red blood feud and contemplates, in the cognitive challenges of Nabokov’s fiction, a remedy for its polarized politics.To guard against grandstanding, axe-grinding, deck-stacking, inaccuracy, or obfuscation, Stone’s book proceeds by indirection, exploring four scholarly books that all speak to the peculiar relationship between Rand and Nabokov: Gene Bell-Villada’s On Nabokov, Ayn Rand and the Libertarian Mind (2013), Adam Weiner’s How Bad Writing Destroyed the World: Ayn Rand and the Literary Origins of the Financial Crisis (2016), Michael Rodgers’s Nabokov and Nietzsche: Problems and Perspectives (2018), and Peter Roberts and Herner Saeverot’s Education and the Limits of Reason: Reading Dostoevsky, Tolstoy and Nabokov (2018). Each of these books is seriously flawed, but their numerous interlocking problems conspire to reveal, empirically, via negativa, how literature might tip the scales in America’s partisan deadlock. Ultimately, Stone argues that, when our books get tangled up in our politics, their promise—to help us see to the bottom of things and scooch closer to the asymptote of truth and reality—might be something more than a mirage. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0407.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/evil-twins-and-the-ultimate-insight-ayn-rand-vladimir-nabokov-and-the-polarized-politics-of-reading/ Earth, Milky Way 04 01 20231005 Bruce Stone 02 WORLD 06 15 9781685710996 03 9781685710996 34 06 10.1080/10400419.2013.783735 34 06 10.2307/468316 34 06 10.1111/j.1741-5446.2010.00379.x WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/B0CKD6L4TC 20 08 20231005 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/evil-twins-and-the-ultimate-insight-ayn-rand-vladimir-nabokov-and-the-polarized-politics-of-reading 20 08 20231005 02 23.00 USD WORLD urn:uuid:e0bad44c-17ac-41d1-a06d-38a5b55653d8 03 01 01 thoth-work-id urn:uuid:797b87d1-f6ef-4081-bab4-c4ad66d8b315 01 thoth-publication-id urn:uuid:e0bad44c-17ac-41d1-a06d-38a5b55653d8 15 9781685710996 03 9781685710996 06 10.53288/0407.1.00 13 2023945643 01 internal-reference 0407 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Evil Twins and the Ultimate Insight Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading 1 A01 Bruce Stone Bruce Stone 40 046rm7j60 University of California, Los Angeles Bruce Stone teaches in the writing program at UCLA. He was the contributing editor of The Art of Desire: The Fiction of Douglas Glover (Oberon, 2004). His work has appeared in Nabokov Studies, Miranda, Nabokov Online Journal, LA Review of Books, and Numéro Cinq. 01 eng 00 190 03 B2 Cultural Studies+Critical Theory 93 DSBH 12 DSBH 10 LIT004020 93 1KBB 12 1KBB B2 Literary Studies 10 POL042040 12 JPHV 93 JPHV B2 New Left Thought 20 Vladimir Nabokov; Ayn Rand; literary studies; US politics; authoritarianism; literacy; political polarization 01 06 02 00 03 00 With the 2020 election, political polarization in the U.S. entered a ludicrous end-stage. Partisanship, once a pseudo-rational system of biases, has devolved to a conflict between incompatible realities. In search of some pathway toward consensus, Evil Twins and the Ultimate Insight: Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading looks to the works of two iconic Russian-American writers whose literary rivalry mirrors the rift between political parties in the U.S. The matchup has all the markings of an evil-twin narrative, pitting Rand, the muse of libertarian conservatism, against Nabokov, the trickster-genius of the Western canon. Their mid-century novels afford a rare opportunity to arbitrate, by proxy, American political grievances and resolve, in print, its electoral dysfunction. Evil Twins and the Ultimate Insight mounts this critical intervention into the Blue/Red blood feud and contemplates, in the cognitive challenges of Nabokov’s fiction, a remedy for its polarized politics.To guard against grandstanding, axe-grinding, deck-stacking, inaccuracy, or obfuscation, Stone’s book proceeds by indirection, exploring four scholarly books that all speak to the peculiar relationship between Rand and Nabokov: Gene Bell-Villada’s On Nabokov, Ayn Rand and the Libertarian Mind (2013), Adam Weiner’s How Bad Writing Destroyed the World: Ayn Rand and the Literary Origins of the Financial Crisis (2016), Michael Rodgers’s Nabokov and Nietzsche: Problems and Perspectives (2018), and Peter Roberts and Herner Saeverot’s Education and the Limits of Reason: Reading Dostoevsky, Tolstoy and Nabokov (2018). Each of these books is seriously flawed, but their numerous interlocking problems conspire to reveal, empirically, via negativa, how literature might tip the scales in America’s partisan deadlock. Ultimately, Stone argues that, when our books get tangled up in our politics, their promise—to help us see to the bottom of things and scooch closer to the asymptote of truth and reality—might be something more than a mirage. 30 00 With the 2020 election, political polarization in the U.S. entered a ludicrous end-stage. Partisanship, once a pseudo-rational system of biases, has devolved to a conflict between incompatible realities. In search of some pathway toward consensus, Evil Twins and the Ultimate Insight: Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading looks to the works of two iconic Russian-American writers whose literary rivalry mirrors the rift between political parties in the U.S. The matchup has all the markings of an evil-twin narrative, pitting Rand, the muse of libertarian conservatism, against Nabokov, the trickster-genius of the Western canon. Their mid-century novels afford a rare opportunity to arbitrate, by proxy, American political grievances and resolve, in print, its electoral dysfunction. Evil Twins and the Ultimate Insight mounts this critical intervention into the Blue/Red blood feud and contemplates, in the cognitive challenges of Nabokov’s fiction, a remedy for its polarized politics.To guard against grandstanding, axe-grinding, deck-stacking, inaccuracy, or obfuscation, Stone’s book proceeds by indirection, exploring four scholarly books that all speak to the peculiar relationship between Rand and Nabokov: Gene Bell-Villada’s On Nabokov, Ayn Rand and the Libertarian Mind (2013), Adam Weiner’s How Bad Writing Destroyed the World: Ayn Rand and the Literary Origins of the Financial Crisis (2016), Michael Rodgers’s Nabokov and Nietzsche: Problems and Perspectives (2018), and Peter Roberts and Herner Saeverot’s Education and the Limits of Reason: Reading Dostoevsky, Tolstoy and Nabokov (2018). Each of these books is seriously flawed, but their numerous interlocking problems conspire to reveal, empirically, via negativa, how literature might tip the scales in America’s partisan deadlock. Ultimately, Stone argues that, when our books get tangled up in our politics, their promise—to help us see to the bottom of things and scooch closer to the asymptote of truth and reality—might be something more than a mirage. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0407.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/evil-twins-and-the-ultimate-insight-ayn-rand-vladimir-nabokov-and-the-polarized-politics-of-reading/ Earth, Milky Way 04 01 20231005 Bruce Stone 02 WORLD 06 15 9781685710989 03 9781685710989 34 06 10.1080/10400419.2013.783735 34 06 10.2307/468316 34 06 10.1111/j.1741-5446.2010.00379.x WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/76544 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/76544/0407.1.00.pdf?sequence=1&isAllowed=y 20 08 20231005 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/122098 20 08 20231005 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.8665551 20 08 20231005 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/347 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/10f7e944-e3ca-4954-8cc6-9e9c208c97bb/download 20 08 20231005 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/797b87d1-f6ef-4081-bab4-c4ad66d8b315 29 INTERNET_ARCHIVE: download the title https://archive.org/download/797b87d1-f6ef-4081-bab4-c4ad66d8b315/797b87d1-f6ef-4081-bab4-c4ad66d8b315.pdf 20 08 20231005 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850065 29 ZENODO: download the title https://zenodo.org/records/19850065/files/797b87d1-f6ef-4081-bab4-c4ad66d8b315_book.pdf 20 08 20231005 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/evil-twins-and-the-ultimate-insight-ayn-rand-vladimir-nabokov-and-the-polarized-politics-of-reading/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0407.1.00.pdf 20 08 20231005 01 urn:uuid:aa571e7b-f068-4a76-b127-cc827b8d4296 03 01 01 thoth-work-id urn:uuid:84447325-88e2-4658-8597-3f2329451156 01 thoth-publication-id urn:uuid:aa571e7b-f068-4a76-b127-cc827b8d4296 15 9780998531854 03 9780998531854 06 10.21983/P3.0167.1.00 01 internal-reference 0167 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Clinical Encounters in Sexuality Psychoanalytic Practice and Queer Theory 1 B01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 2 B01 21 0000000328716433 Eve Watson Eve Watson Independent Colleges Dublin 01 eng 00 494 03 12 JMAF 93 JMAF 10 PSY026000 B2 Sex B2 Cultural Studies+Critical Theory 93 JBSJ 10 SOC064000 B2 TransQueer 20 clinical psychology; sexuality; queer studies; psychoanalysis; LGBTQ Studies 01 06 02 00 03 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an effort to think about a range of issues relating to sexuality from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perversion, ethics and discourse. The editors, Noreen Giffney and Eve Watson, have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and discourse. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are sometimes at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clinical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. The volume also stages, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in clinical readers about sexuality which historically has tended toward reification 30 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an effort to think about a range of issues relating to sexuality from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perversion, ethics and discourse. The editors, Noreen Giffney and Eve Watson, have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and discourse. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are sometimes at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clinical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. The volume also stages, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in clinical readers about sexuality which historically has tended toward reification 04 00 Introduction: Clinical Encounters in Sexuality: Psychoanalytic Practice and Queer Theory, by Noreen Giffney SECTION 1: QUEER THEORIES / Chapter 1 [Identity]: Precarious Sexualities: Queer Challenges to Psychoanalytic and Social Identity Categorisation, by Alice Kuzniar -- Chapter 2 [Desire]: Are We Missing Something? Queer Desire, by Lara Farina -- Chapter 3 [Pleasure]: Jouissance: The Gash of Bliss, by Kathryn Bond Stockton -- Chapter 4 [Perversion]: Perversion and the Problem of Fluidity and Fixity, by Lisa Downing -- Chapter 5 [Ethics]: Out of Line, On Hold: D.W. Winnicott’s Queer Sensibilities, by Michael D. Snediker -- Chapter 6 [Discourse]: Discourse and the History of Sexuality, by Will Stockton SECTION 2: PSYCHOANALYTIC RESPONSES / Chapter 7: On Not Thinking Straight: Comments on a Conceptual Marriage, by R.D. Hinshelwood -- Chapter 8: Queer as a New Shelter from Castration, by Abe Geldhof and Paul Verhaeghe -- Chapter 9: The Redress of Psychoanalysis, by Ann Murphy -- Chapter 10: Queer Directions from Lacan, by Ian Parker -- Chapter 11: Queer Theory Meets Jung, by Claudette Kulkarni -- Chapter 12: Queer Troubles for Psychoanalysis, by Carol Owens -- Chapter 13: Clinique, by Aranye Fradenburg -- Chapter 14: From Tragic Fall to Programmatic Blueprint: ‘Behold this is Oedipus …’ by Olga Cox Cameron -- Chapter 15: Enigmatic Sexuality, by Katrine Zeuthen and Judy Gammelgaard -- Chapter 16: The Transforming Nexus: Psychoanalysis, Social Theory and Queer Childhood, by Ken Corbett -- Chapter 17: Clinical Encounters: The Queer New Times, by Rob Weatherill -- Chapter 18: Undoing Psychoanalysis: Towards a Clinical and Conceptual Metistopia, by Dany Nobus -- Chapter 19: ‘You make me feel like a natural woman’: Thoughts on a Case of Transsexual Identity Formation and Queer Theory, by Ami Kaplan -- Chapter 20: Sexual Difference: From Symptom to Sinthome, by Patricia Gherovici SECTION 3: RESPONSES TO PSYCHOANALYTIC PRACTICES ENCOUNTERING QUEER THEORIES / Chapter 21: A Plague on Both Your Houses, by Stephen Frosh -- Chapter 22: Something Amiss, by Jacqueline Rose -- Chapter 23: Taking Shelter from Queer, by Tim Dean -- Chapter 24: Courageous Drawings of Vigilant Ambiguities, by Noreen O’Connor -- Chapter 25: Understanding Homophobia, by Mark J. Blechner -- Chapter 26: Transgender and Psychoanalysis, by Susan Stryker -- Chapter 27: The Psychoanalysis that Dare Not Speak Its Name, Ona Nierenberg ABOUT THE COVER / On the Not-Meanings of Karla Black's There Can Be No Arguments, by Medb Ruane AFTERWORD, by Eve Watson 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0167.1.00_frontcover.png 1 03 06 10.21983/P3.0167.1.01 i xix 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 2 B01 21 0000000328716433 Eve Watson Eve Watson 01 eng 20 00 Open Access Giffney, Noreen Watson, Eve 2 03 06 10.21983/P3.0167.1.02 19 48 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: Clinical Encounters in Sexuality: Psychoanalytic Practice and Queer Theory 1 A01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 01 eng 03 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an ef-fort to think about a range of issues relating to sexuality2 from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perver-sion, ethics, and discourse. Eve Watson and I have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and dis-course. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are some-times at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clin-ical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. We also stage, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in readers about sexuality which historically has tended toward reification, par-ticularly in clinical practice. 30 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an ef-fort to think about a range of issues relating to sexuality2 from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perver-sion, ethics, and discourse. Eve Watson and I have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and dis-course. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are some-times at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clin-ical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. We also stage, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in readers about sexuality which historically has tended toward reification, par-ticularly in clinical practice. 20 00 Open Access Giffney, Noreen 3 03 06 10.21983/P3.0167.1.03 51 76 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Identity: Precarious Sexualities: Queer Challenges to Psychoanalytic and Social Identity Categorization 1 A01 Alice Kuzniar Alice Kuzniar 40 01aff2v68 University of Waterloo 01 eng 03 00 In the essay “The Theory of Seduction and the Problem of the Other” (1997), Jean Laplanche writes of a concept that attrac-tively resonates with the term queer, insofar as queer sexuality is quintessentially defined by its inexplicability, incoherence, vola-tility, and contingency in contradistinction to a sexuality whose owner would claim is stable, fixed, and identifiable as an integral part of the self. Destabilizing claims to an abiding, undisturbed notion of the self, Laplanche speaks of das Andere—the other-thing in us, the otherness of our unconscious—that all attempts at psychoanalytic interpretation cannot master. Laplanche pos-its that sexuality is an enigma, both for the child confronted with the riddle of sexuality that the adult represents and for the adult who can never master the uncanny as first encountered in childhood. The parent in turn unconsciously transmits an aura of sexual mystery to the child, perpetuating and completing the cycle. Das Andere is hence the internal otherness that we perpet-ually carry within us and that de-centers us, but that is founded by contact with an external otherness. 30 00 In the essay “The Theory of Seduction and the Problem of the Other” (1997), Jean Laplanche writes of a concept that attrac-tively resonates with the term queer, insofar as queer sexuality is quintessentially defined by its inexplicability, incoherence, vola-tility, and contingency in contradistinction to a sexuality whose owner would claim is stable, fixed, and identifiable as an integral part of the self. Destabilizing claims to an abiding, undisturbed notion of the self, Laplanche speaks of das Andere—the other-thing in us, the otherness of our unconscious—that all attempts at psychoanalytic interpretation cannot master. Laplanche pos-its that sexuality is an enigma, both for the child confronted with the riddle of sexuality that the adult represents and for the adult who can never master the uncanny as first encountered in childhood. The parent in turn unconsciously transmits an aura of sexual mystery to the child, perpetuating and completing the cycle. Das Andere is hence the internal otherness that we perpet-ually carry within us and that de-centers us, but that is founded by contact with an external otherness. 20 00 Open Access Kuzniar, Alice 4 03 06 10.21983/P3.0167.1.04 77 99 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Desire Missing Something? Queer Desire 1 A01 Lara Farina Lara Farina 40 011vxgd24 West Virginia University 01 eng 03 00 Given that a particular configuration of sexual desire is the cen-tral emphasis of terms like “queer,” “homosexual,” “heterosexu-al,” “lesbian,” and “gay,” it is a somewhat odd fact that theoriza-tion of non-normative desire(s) has been outpaced by scholarly work on sexual identity. In the humanities, the overwhelming interest in identity has been furthered by two important influ-ences. The first is the work of Michel Foucault, whose multivol-ume History of Sexuality (1990, 1990, 1988) argued for the his-torical variability of identity-categories and, in doing so, shaped a field of study devoted to understanding the various configu-rations of sexual identity in particular historical moments and locations. The second is the challenge to lesbian and gay studies posed by scholars of race, class, and ethnicity, who have right-fully drawn attention to the varying intersections of identity previously obscured by analysis that assumes but does not ac-knowledge its own white, middle-class perspective. Still, even the most identity-focused work either presupposes or points to models of desire, and analysis of these models is necessary not just for understanding the sexual self but for thinking about the affective communities available to that self. 30 00 Given that a particular configuration of sexual desire is the cen-tral emphasis of terms like “queer,” “homosexual,” “heterosexu-al,” “lesbian,” and “gay,” it is a somewhat odd fact that theoriza-tion of non-normative desire(s) has been outpaced by scholarly work on sexual identity. In the humanities, the overwhelming interest in identity has been furthered by two important influ-ences. The first is the work of Michel Foucault, whose multivol-ume History of Sexuality (1990, 1990, 1988) argued for the his-torical variability of identity-categories and, in doing so, shaped a field of study devoted to understanding the various configu-rations of sexual identity in particular historical moments and locations. The second is the challenge to lesbian and gay studies posed by scholars of race, class, and ethnicity, who have right-fully drawn attention to the varying intersections of identity previously obscured by analysis that assumes but does not ac-knowledge its own white, middle-class perspective. Still, even the most identity-focused work either presupposes or points to models of desire, and analysis of these models is necessary not just for understanding the sexual self but for thinking about the affective communities available to that self. 20 00 Open Access Farina, Lara 5 03 06 10.21983/P3.0167.1.05 101 122 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pleasure: Jouissance: The Gash of Bliss 1 A01 Kathryn Bond Stockton Kathryn Bond Stockton 40 03r0ha626 University of Utah 01 eng 03 00 Jouissance is the strangest glistening, a dark glamour of rap-ture and disruption. It shines and cuts and leaves its bearer not knowing what to make of herself—or her pleasure. She is left beside herself, feeling ecstatically severed from herself, seized by subtleties, strange to say, even though bliss is an overwhelming force. (“Spiritual joy,” says American Heritage; “paradise,” “seventh heaven,” “cloud nine,” adds Roget’s.) Bliss is a word for impossibilities, felt and grasped as such. Something (im)possible coursing through the body, bending the mind. Then, on a dime: rapid, luminous deteriorations.If per chance it didn’t exist, queers would invent it. Along with irony, bliss is a quintessential queer accouterment. It’s he-donistic and wedded to pain. It’s clearly buoyant, yet it is dark. It’s provocatively sexy, intimate, scandalous, and bodily, while it’s evasive of capture and speech. Beyond the reach of words, it’s both spiritual and material — spiritual materialist — a material-ity that is ineffable and escapes norms. It’s the perversion every-one shares, no one knows, and, with its shadows and ties to loss, society denies in favor of “pleasure.” 30 00 Jouissance is the strangest glistening, a dark glamour of rap-ture and disruption. It shines and cuts and leaves its bearer not knowing what to make of herself—or her pleasure. She is left beside herself, feeling ecstatically severed from herself, seized by subtleties, strange to say, even though bliss is an overwhelming force. (“Spiritual joy,” says American Heritage; “paradise,” “seventh heaven,” “cloud nine,” adds Roget’s.) Bliss is a word for impossibilities, felt and grasped as such. Something (im)possible coursing through the body, bending the mind. Then, on a dime: rapid, luminous deteriorations.If per chance it didn’t exist, queers would invent it. Along with irony, bliss is a quintessential queer accouterment. It’s he-donistic and wedded to pain. It’s clearly buoyant, yet it is dark. It’s provocatively sexy, intimate, scandalous, and bodily, while it’s evasive of capture and speech. Beyond the reach of words, it’s both spiritual and material — spiritual materialist — a material-ity that is ineffable and escapes norms. It’s the perversion every-one shares, no one knows, and, with its shadows and ties to loss, society denies in favor of “pleasure.” 20 00 Open Access Stockton, Kathryn Bond 6 03 06 10.21983/P3.0167.1.06 123 144 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Perversion Perversion and the Problem of Fluidity and Fixity 1 A01 21 0000000192417572 Lisa Downing Lisa Downing 40 03angcq70 University of Birmingham 01 eng 03 00 It is a commonplace to state that the problem of sexuality is cen-tral to the endeavors of both psychoanalysis and queer theory. Whereas for psychoanalysis, traditionally at least, sexuality has an etiological status as the nexus of f/phantasies underlying an analysand’s symptoms and behaviors, for queer theorists, espe-cially following Michel Foucault, sexuality is a constructed epis-temological category that functions to normalize the behaviors and bodies of social subjects. In the former, it is a source of truth to be tapped; in the latter it is a pervasive and power-laden lie to be exposed. Whereas psychoanalysis relies on a developmental model of sexuality (Sigmund Freud, Melanie Klein and so on) or a structural one (for example, Jacques Lacan), “queer” takes the theory of performativity as its explicatory model to account for the ways in which subjects learn to “do” their genders and sexualities. Moreover, the category of “perversion” has central import for theorizations of sexuality within both psychoanal-ysis and queer theory. For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. In what follows, however, I will focus on a pair of concepts that are central to both psychoanalytic and queer thinking on sexuality and its perverse forms — namely fixity and fluidity — in order to trouble certain orthodoxies within both bodies of thought. In this way, I will neither pathologize queer in the name of psy-choanalysis, nor accuse psychoanalysis of reactionary politics in the name of queer. Rather I shall highlight — and challenge — a logic that is surprisingly shared by both systems. 30 00 It is a commonplace to state that the problem of sexuality is cen-tral to the endeavors of both psychoanalysis and queer theory. Whereas for psychoanalysis, traditionally at least, sexuality has an etiological status as the nexus of f/phantasies underlying an analysand’s symptoms and behaviors, for queer theorists, espe-cially following Michel Foucault, sexuality is a constructed epis-temological category that functions to normalize the behaviors and bodies of social subjects. In the former, it is a source of truth to be tapped; in the latter it is a pervasive and power-laden lie to be exposed. Whereas psychoanalysis relies on a developmental model of sexuality (Sigmund Freud, Melanie Klein and so on) or a structural one (for example, Jacques Lacan), “queer” takes the theory of performativity as its explicatory model to account for the ways in which subjects learn to “do” their genders and sexualities. Moreover, the category of “perversion” has central import for theorizations of sexuality within both psychoanal-ysis and queer theory. For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. In what follows, however, I will focus on a pair of concepts that are central to both psychoanalytic and queer thinking on sexuality and its perverse forms — namely fixity and fluidity — in order to trouble certain orthodoxies within both bodies of thought. In this way, I will neither pathologize queer in the name of psy-choanalysis, nor accuse psychoanalysis of reactionary politics in the name of queer. Rather I shall highlight — and challenge — a logic that is surprisingly shared by both systems. 20 00 Open Access Downing, Lisa 7 03 06 10.21983/P3.0167.1.07 145 170 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ethics: Out of Line, On Hold: D.W. Winnicott's Queer Sensibilities 1 A01 Michael D. Snediker Michael D. Snediker 40 048sx0r50 University of Houston 01 eng 03 00 This chapter situates its discussion of ethics in the work of the mid-twentieth century British psychoanalyst, D.W. Winni-cott. Winnicott’s theorization of transitional objects and good-enough mothers has inspired the scholarship of thinkers such as Mary Jacobus (2005) and Adam Phillips (1989); at the same time, Winnicott’s output figures, in Deleuzian terms, as a minor literature in the larger psychoanalytic landscape. The sympatico of Winnicott’s work with many recent queer-theoretical investi-gations of intersubjectivity alone necessitates our continued re-appraisal of what he may teach us. Unlike that of Jacques Lacan, who devoted a seminar to the ethics of psychoanalysis, Winnicott’s contribution to psychoanalytic ethics must be trawled in pieces, and culled without prior sense of what that ethics might eventually resemble. In this sense, the very practice of returning to Winnicott resembles the non-paranoid reading position of Eve Kosofsky Sedgwick, a queer theorist who taught, more than anyone I can think of, the inseparability of ethics from the sur-prise of not knowing in advance where desire might converge with rigor, gauziness, creativity, and or delight. To read Win-nicott alongside Sedgwick is to aspire toward for an ethics freed from the normatively non-contingent, but no less predicated on the contingencies of availing dislocation. 30 00 This chapter situates its discussion of ethics in the work of the mid-twentieth century British psychoanalyst, D.W. Winni-cott. Winnicott’s theorization of transitional objects and good-enough mothers has inspired the scholarship of thinkers such as Mary Jacobus (2005) and Adam Phillips (1989); at the same time, Winnicott’s output figures, in Deleuzian terms, as a minor literature in the larger psychoanalytic landscape. The sympatico of Winnicott’s work with many recent queer-theoretical investi-gations of intersubjectivity alone necessitates our continued re-appraisal of what he may teach us. Unlike that of Jacques Lacan, who devoted a seminar to the ethics of psychoanalysis, Winnicott’s contribution to psychoanalytic ethics must be trawled in pieces, and culled without prior sense of what that ethics might eventually resemble. In this sense, the very practice of returning to Winnicott resembles the non-paranoid reading position of Eve Kosofsky Sedgwick, a queer theorist who taught, more than anyone I can think of, the inseparability of ethics from the sur-prise of not knowing in advance where desire might converge with rigor, gauziness, creativity, and or delight. To read Win-nicott alongside Sedgwick is to aspire toward for an ethics freed from the normatively non-contingent, but no less predicated on the contingencies of availing dislocation. 20 00 Open Access Snediker, Michael 8 03 06 10.21983/P3.0167.1.08 171 194 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Discourse Discourse and the History of Sexuality 1 A01 Will Stockton Will Stockton 40 037s24f05 Clemson University 01 eng 03 00 Following the French historian and philosopher Michel Fou-cault, contemporary queer scholars frequently maintain that sexuality is a product of discourse. At its most basic, discoursemeans speech, but for Foucault (1972) discourse is “the gener-al domain of all statements, sometimes as an individualisable group of statements, and sometimes as a regulated practice that accounts for a number of statements” (80). In the first volume of The History of Sexuality, Foucault (1990a) frames the relationship between sexuality and discourse in this way: sexuality is “the correlative of that slowly developed discursive practice which constitutes the scientia sexualis” (68)—the Western “regulated practice” of classifying, monitoring, and disciplining individu-als based on what Freud would call their choice of sexual objects or the directions of their sexual aims. The scientia sexualis has its roots in the Catholic practice of confession, which from the Middle Ages enjoined people to speak about sex in extraordinary detail, to seek out “all insinuations of the flesh: thoughts, desires, voluptuous imaginings, delectations, combined move-ments of the body and soul” (19). In the nineteenth and twenti-eth centuries, psychiatry and psychoanalysis contributed to the secular appropriation of the church’s insistence that each person transform his or her sex into discourse. As Foucault wryly notes, “Ours is, after all, the only civilization in which individuals are paid to listen to all and sundry impart the secrets of their sex: as if the urge to talk about it, and the interest one hopes to arouse by doing so, have far surpassed the possibilities of being heard, so that some individuals have even offered their ears for hire” 30 00 Following the French historian and philosopher Michel Fou-cault, contemporary queer scholars frequently maintain that sexuality is a product of discourse. At its most basic, discoursemeans speech, but for Foucault (1972) discourse is “the gener-al domain of all statements, sometimes as an individualisable group of statements, and sometimes as a regulated practice that accounts for a number of statements” (80). In the first volume of The History of Sexuality, Foucault (1990a) frames the relationship between sexuality and discourse in this way: sexuality is “the correlative of that slowly developed discursive practice which constitutes the scientia sexualis” (68)—the Western “regulated practice” of classifying, monitoring, and disciplining individu-als based on what Freud would call their choice of sexual objects or the directions of their sexual aims. The scientia sexualis has its roots in the Catholic practice of confession, which from the Middle Ages enjoined people to speak about sex in extraordinary detail, to seek out “all insinuations of the flesh: thoughts, desires, voluptuous imaginings, delectations, combined move-ments of the body and soul” (19). In the nineteenth and twenti-eth centuries, psychiatry and psychoanalysis contributed to the secular appropriation of the church’s insistence that each person transform his or her sex into discourse. As Foucault wryly notes, “Ours is, after all, the only civilization in which individuals are paid to listen to all and sundry impart the secrets of their sex: as if the urge to talk about it, and the interest one hopes to arouse by doing so, have far surpassed the possibilities of being heard, so that some individuals have even offered their ears for hire” 20 00 Open Access Stockton, Will 9 03 06 10.21983/P3.0167.1.09 197 210 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On Not Thinking Straight Comments on a Conceptual Marriage 1 A01 R.D. Hinshelwood R.D. Hinshelwood 40 02nkf1q06 University of Essex 01 eng 03 00 It is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suitIt is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suit 30 00 It is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suitIt is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suit 20 00 Open Access Hinshelwood, R.D. 10 03 06 10.21983/P3.0167.1.10 211 221 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer as a New Shelter from Castration 1 A01 Abe Geldhof Abe Geldhof 40 00cv9y106 Ghent University 2 A01 Paul Verhaeghe Paul Verhaeghe 40 00cv9y106 Ghent University 01 eng 03 00 Somewhere in his diaries, Søren Kierkegaard (1998) wonders about how Jesus Christ would react when asked to prove that he is really the son of God. If he really is, Kierkegaard says, then he would not prove it, because his existence is the proof. If Je-sus were to comply with the request to prove it, he would make himself appear not to be the son of God. Lacan (1986[1959–60]) says something similar about the perversion of Sade. In his sev-enth seminar on ethics he notes that the more Sade shouts not to be bound by any law, the more it becomes clear that the Law remains indestructible at its core (225–41).Jesus Christ doesn’t prove he is Jesus Christ because he is Je-sus Christ: his existence is the proof. Sade, on the other hand, has to prove ceaselessly that he is not bound by any law, but in producing transgression after transgression, it becomes obvious that his pleasure is only possible because of the law. Without the law no transgression is possible. The silence of being contrasts sharply with the shrieking noise of discourse. 30 00 Somewhere in his diaries, Søren Kierkegaard (1998) wonders about how Jesus Christ would react when asked to prove that he is really the son of God. If he really is, Kierkegaard says, then he would not prove it, because his existence is the proof. If Je-sus were to comply with the request to prove it, he would make himself appear not to be the son of God. Lacan (1986[1959–60]) says something similar about the perversion of Sade. In his sev-enth seminar on ethics he notes that the more Sade shouts not to be bound by any law, the more it becomes clear that the Law remains indestructible at its core (225–41).Jesus Christ doesn’t prove he is Jesus Christ because he is Je-sus Christ: his existence is the proof. Sade, on the other hand, has to prove ceaselessly that he is not bound by any law, but in producing transgression after transgression, it becomes obvious that his pleasure is only possible because of the law. Without the law no transgression is possible. The silence of being contrasts sharply with the shrieking noise of discourse. 20 00 Open Access Geldhof, Abe Verhaeghe, Paul 11 03 06 10.21983/P3.0167.1.11 223 234 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Redress of Psychoanalysis 1 A01 21 0000000339404101 Ann Murphy Ann Murphy 40 02tyrky19 Trinity College Dublin 01 eng 03 00 Seamus Heaney’s eloquent apologia on behalf of poetry cap-tures more accurately than most psychoanalytic texts my own way of thinking about the practice of psychoanalysis. Thinking through poetry may be my antidote to some tendencies in psy-choanalytic theory, language and practice towards institutional-ized rigidity, with its focus on the adaptive and the normative, as opposed to the radical sense of the singularity and uniqueness of the individual, which is the gift of psychoanalysis at its best. Postmodern, social constructionist critiques of gender, sexu-ality, and identity have challenged essentialist psychoanalytic notions of psychosexual development, fixed gender identity, and stable sexual orientation. Such critiques challenge psycho-analysts to recognize and interrogate assumptions that we hold about sexuality, identity, gender, and subjectivity, and to address the contradictions that have permeated psychoanalytic thinking on these questions, all the way back to Freud’s radical, con-flicted, disorderly, multiply revised, and exuberantly footnoted “Three Essays on the Theory of Sexuality” . 30 00 Seamus Heaney’s eloquent apologia on behalf of poetry cap-tures more accurately than most psychoanalytic texts my own way of thinking about the practice of psychoanalysis. Thinking through poetry may be my antidote to some tendencies in psy-choanalytic theory, language and practice towards institutional-ized rigidity, with its focus on the adaptive and the normative, as opposed to the radical sense of the singularity and uniqueness of the individual, which is the gift of psychoanalysis at its best. Postmodern, social constructionist critiques of gender, sexu-ality, and identity have challenged essentialist psychoanalytic notions of psychosexual development, fixed gender identity, and stable sexual orientation. Such critiques challenge psycho-analysts to recognize and interrogate assumptions that we hold about sexuality, identity, gender, and subjectivity, and to address the contradictions that have permeated psychoanalytic thinking on these questions, all the way back to Freud’s radical, con-flicted, disorderly, multiply revised, and exuberantly footnoted “Three Essays on the Theory of Sexuality” . 20 00 Open Access Murphy, Ann 12 03 06 10.21983/P3.0167.1.12 235 244 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Directions from Lacan 1 A01 21 000000015950464X Ian Parker Ian Parker 40 04h699437 University of Leicester 06 Own website https://parkerian.com/ 01 eng 03 00 Queer functions at its most radical as an activity rather than as a noun, and, as many queer activists have noticed, the reduction to noun-form threatens to sediment what queer “is,” especially to sediment it in the adaptable identities that neoliberal heter-opatriarchal capitalism now works with so well. So, “to queer” as an intervention, as transformational process, already transcends the opposition between noun and verb while refusing to rest, refusing to accept a transcendent position that pretends to have escaped that opposition. Three moments in this transformation-al process, in a little history of queer, lead us directly to psychoa-nalysis, perhaps back to the psychoanalysis from which it first sprung, but with which, against which, queer has an uncannily-appropriate suspicious relationship. 30 00 Queer functions at its most radical as an activity rather than as a noun, and, as many queer activists have noticed, the reduction to noun-form threatens to sediment what queer “is,” especially to sediment it in the adaptable identities that neoliberal heter-opatriarchal capitalism now works with so well. So, “to queer” as an intervention, as transformational process, already transcends the opposition between noun and verb while refusing to rest, refusing to accept a transcendent position that pretends to have escaped that opposition. Three moments in this transformation-al process, in a little history of queer, lead us directly to psychoa-nalysis, perhaps back to the psychoanalysis from which it first sprung, but with which, against which, queer has an uncannily-appropriate suspicious relationship. 20 00 Open Access Parker, Ian 13 03 06 10.21983/P3.0167.1.13 245 259 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Theory Meets Jung 1 A01 Claudetter Kulkarni Claudetter Kulkarni 01 eng 03 00 I will begin by disclosing my own prejudices since they surely have shaped my reactions to these chapters. Psychological Prejudices. In spite of the sexism, heterosex-ism, and racism that invade Carl Jung’s theorizing, I am a Jungi-an—or, more accurately, a post-Jungian1—and a feminist. The challenge for me as a lesbian Jungian has been not to defend, reinterpret, contort, or reformulate Jung and his theories—but, rather, to use Jung, often against himself, in ways that seem “truly Jungian” and thus, hopefully, to follow through on the “subversive possibility that Jung opens up” (Samuels 1989, tape) when we take him “beyond” himself. Philosophical Horizons. My reading in queer theory has been motivated mainly by the work of Judith Butler and has focused on queer theory’s usefulness in understanding LGBTQI experi-ence in a heterosexist and genderized world. My philosophical prejudices derive from the work of Hans-Georg Gadamer, espe-cially his approach to hermeneutics and the problem of under-standing. 30 00 I will begin by disclosing my own prejudices since they surely have shaped my reactions to these chapters. Psychological Prejudices. In spite of the sexism, heterosex-ism, and racism that invade Carl Jung’s theorizing, I am a Jungi-an—or, more accurately, a post-Jungian1—and a feminist. The challenge for me as a lesbian Jungian has been not to defend, reinterpret, contort, or reformulate Jung and his theories—but, rather, to use Jung, often against himself, in ways that seem “truly Jungian” and thus, hopefully, to follow through on the “subversive possibility that Jung opens up” (Samuels 1989, tape) when we take him “beyond” himself. Philosophical Horizons. My reading in queer theory has been motivated mainly by the work of Judith Butler and has focused on queer theory’s usefulness in understanding LGBTQI experi-ence in a heterosexist and genderized world. My philosophical prejudices derive from the work of Hans-Georg Gadamer, espe-cially his approach to hermeneutics and the problem of under-standing. 20 00 Open Access Kulkarni, Claudetter 14 03 06 10.21983/P3.0167.1.14 261 273 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Troubles for Psychoanalysis 1 A01 Carol Owens Carol Owens 01 eng 03 00 As a critical psychologist in Britain in the mid-1990s, I experi-enced many of the effects that queer theory, critical feminism and post-structuralism had upon social science research and discourse theory at this time. Wide-ranging debates about ma-terialism, essentialism, and biological reductionism revolved around the purloining of the human subject by mainstream social, psychological and biomedical science. The critical pro-ject’s devotion to decentering the same subject, destabilizing the taken-for-granted, and deconstructing the practices warranted by the mainstream contributed to the writing of thousands of research articles and conference presentations, not to mention hundreds of books and as many careers launched in the mo-bilization of the critical agenda. My own doctoral work on the examination of “compulsory heterosexuality” at the site of the “couple” as constituted by and within the psy-discourses was typical for the time. People like me were usually referred to dis-paragingly within the mainstream as “social constructionists” or worse “constructivists.” We moved through our doctoral years occasionally caught up with dilemmas over relativism which would spur a whole other rake of research articles and papers dedicated to the declaring of the reality of death, the holocaust, and furniture. Some of us were labelled “critical realists” when we got too concerned about the political, “unreconstructed feminists” when we worried overly about “woman,” and unreflexive allegiance to any of the great “isms” (Marx, Freud, “Fem-in”) necessitated some serious time spent in the careful study and contemplation of Donna Haraway’s (2013) groundbreaking work Simians, Cyborgs, and Women where we would be firmly reminded that all knowledge is situated, all identities fractured, and that the “local” tops the “global” every time when it comes to theorizing. In general, at this time, “psychoanalysis” was at best a foolish word, at worst, a bad word. 30 00 As a critical psychologist in Britain in the mid-1990s, I experi-enced many of the effects that queer theory, critical feminism and post-structuralism had upon social science research and discourse theory at this time. Wide-ranging debates about ma-terialism, essentialism, and biological reductionism revolved around the purloining of the human subject by mainstream social, psychological and biomedical science. The critical pro-ject’s devotion to decentering the same subject, destabilizing the taken-for-granted, and deconstructing the practices warranted by the mainstream contributed to the writing of thousands of research articles and conference presentations, not to mention hundreds of books and as many careers launched in the mo-bilization of the critical agenda. My own doctoral work on the examination of “compulsory heterosexuality” at the site of the “couple” as constituted by and within the psy-discourses was typical for the time. People like me were usually referred to dis-paragingly within the mainstream as “social constructionists” or worse “constructivists.” We moved through our doctoral years occasionally caught up with dilemmas over relativism which would spur a whole other rake of research articles and papers dedicated to the declaring of the reality of death, the holocaust, and furniture. Some of us were labelled “critical realists” when we got too concerned about the political, “unreconstructed feminists” when we worried overly about “woman,” and unreflexive allegiance to any of the great “isms” (Marx, Freud, “Fem-in”) necessitated some serious time spent in the careful study and contemplation of Donna Haraway’s (2013) groundbreaking work Simians, Cyborgs, and Women where we would be firmly reminded that all knowledge is situated, all identities fractured, and that the “local” tops the “global” every time when it comes to theorizing. In general, at this time, “psychoanalysis” was at best a foolish word, at worst, a bad word. 20 00 Open Access Owens, Carol 15 03 06 10.21983/P3.0167.1.15 275 284 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Clinique 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 01 eng 03 00 Academic writing about psychoanalysis does not often engage the practice of psychoanalysis in today’s USA, or vice versa. There are many reasons for this, and one is always wishing there were more mutual interest. The canons differ; academics still read a lot of Freud and later continental theory, less often Anglo-American object relations theory, and much less often, Thomas Ogden, Robert Stoller, Muriel Dimen, Joe Natterson, or Mark Leffert. In my experience, American psychoanalysts too often abdicate their intellectual responsibilities and the social impli-cations thereof; too few of us regard ourselves as minds shap-ing and being shaped by the urgent questions of our time. In turn, academic psychoanalytic work does not, in my view, grap-ple closely enough with the reasons why particular people seek treatment, and with the ethics of responding or not responding to misery experienced as “personal,” that is, felt to be “inside.” Queer theory has, remarkably, been to-and-fro-ing all over this ground, in its agōn with psychoanalysis, powerfully critiquing it, and equally powerfully re-thinking it, finally changing policy and helping to usher in “an exciting [era] of discovery” of sexu-ality’s range and resourcefulness (Roughton 2002, 757, referring to the first decade of the twenty-first century). The chapters to which I’m responding here show that the ground shared by queer theory and psychoanalysis is still something of a battleground, but they also show that the debate is a highly creative one, born of a provocatively uneasy intimacy. 30 00 Academic writing about psychoanalysis does not often engage the practice of psychoanalysis in today’s USA, or vice versa. There are many reasons for this, and one is always wishing there were more mutual interest. The canons differ; academics still read a lot of Freud and later continental theory, less often Anglo-American object relations theory, and much less often, Thomas Ogden, Robert Stoller, Muriel Dimen, Joe Natterson, or Mark Leffert. In my experience, American psychoanalysts too often abdicate their intellectual responsibilities and the social impli-cations thereof; too few of us regard ourselves as minds shap-ing and being shaped by the urgent questions of our time. In turn, academic psychoanalytic work does not, in my view, grap-ple closely enough with the reasons why particular people seek treatment, and with the ethics of responding or not responding to misery experienced as “personal,” that is, felt to be “inside.” Queer theory has, remarkably, been to-and-fro-ing all over this ground, in its agōn with psychoanalysis, powerfully critiquing it, and equally powerfully re-thinking it, finally changing policy and helping to usher in “an exciting [era] of discovery” of sexu-ality’s range and resourcefulness (Roughton 2002, 757, referring to the first decade of the twenty-first century). The chapters to which I’m responding here show that the ground shared by queer theory and psychoanalysis is still something of a battleground, but they also show that the debate is a highly creative one, born of a provocatively uneasy intimacy. 20 00 Open Access Fradenburg, Aranye 16 03 06 10.21983/P3.0167.1.16 285 299 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Tragic Fall to Programmatic Blueprint "Behold this is Oedipus..." 1 A01 Olga Cox Cameron Olga Cox Cameron 01 eng 03 00 In the first flush of his discoveries Freud (1900) was much given to inventing mottoes for himself and for this new praxis which both excited and disturbed him. “Flectere si nequeo superos, Ach-eronta movebo,” he inscribes as epigraph to The Interpretation of Dreams: “What have they done to you poor child?” he suggests to Fliess as he attends to stories of shocking childhood abuse (Masson 1985, 289). Reading this collection of queer responses to psychoanalytic theory I am tempted to affix Barthes’s (1975) statement, “we are scientific because we lack subtlety” (61), less as a motto than as a caveat to the large swathes of psychoanalytic theory which Alice Kuzniar challenges in her opening chapter “Precarious Sexualities.”It is as astonishing to psychoanalysts as to non-analysts that a theory predicated on the existence of the unconscious and therefore committed to the radical undercutting of an abid-ing undisturbed notion of the self should have lent itself with such stalwartness and consistency to a version of the Oedipus complex which in Kuzniar’s words presumes as its telos “a stable fixed identity of personhood that rests solidly within a unitary gender role and unwavering sexual object choice directed to the opposite of one’s own gender.” 30 00 In the first flush of his discoveries Freud (1900) was much given to inventing mottoes for himself and for this new praxis which both excited and disturbed him. “Flectere si nequeo superos, Ach-eronta movebo,” he inscribes as epigraph to The Interpretation of Dreams: “What have they done to you poor child?” he suggests to Fliess as he attends to stories of shocking childhood abuse (Masson 1985, 289). Reading this collection of queer responses to psychoanalytic theory I am tempted to affix Barthes’s (1975) statement, “we are scientific because we lack subtlety” (61), less as a motto than as a caveat to the large swathes of psychoanalytic theory which Alice Kuzniar challenges in her opening chapter “Precarious Sexualities.”It is as astonishing to psychoanalysts as to non-analysts that a theory predicated on the existence of the unconscious and therefore committed to the radical undercutting of an abid-ing undisturbed notion of the self should have lent itself with such stalwartness and consistency to a version of the Oedipus complex which in Kuzniar’s words presumes as its telos “a stable fixed identity of personhood that rests solidly within a unitary gender role and unwavering sexual object choice directed to the opposite of one’s own gender.” 20 00 Open Access Cameron, Olga Cox 17 03 06 10.21983/P3.0167.1.17 301 312 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Enigmatic Sexuality 1 A01 21 0000000274389261 Katrine Zeuthen Katrine Zeuthen 40 035b05819 University of Copenhagen 2 A01 Judy Gammelgaard Judy Gammelgaard 40 035b05819 University of Copenhagen 01 eng 03 00 It was not without hesitation that we agreed to take part in the discussion initiated by the editors of this book. We are only very superficially acquainted with queer theory, and as clinical prac-titioners we are not quite at ease with postmodern and post-structuralist thinking, and thus we felt ourselves to be unfamil-iar with the perspectives presented by those who are more well versed in this field.In some ways our apprehension was confirmed when we read the texts, but at the same time our curiosity was piqued when we realized that psychoanalysis was being both used and challenged by deconstructive readings of the Freudian theory of sexuality. As we gradually familiarized ourselves with this line of thinking, we found several perspectives we wanted to address. Because of the limited space, our answers to the many interesting and pro-vocative ideas are of course only preliminary. To this we want to add that we have confined ourselves to commenting on the ideas presented in this book and only occasionally on the ideas quoted in the book, many of which we are not familiar with. 30 00 It was not without hesitation that we agreed to take part in the discussion initiated by the editors of this book. We are only very superficially acquainted with queer theory, and as clinical prac-titioners we are not quite at ease with postmodern and post-structuralist thinking, and thus we felt ourselves to be unfamil-iar with the perspectives presented by those who are more well versed in this field.In some ways our apprehension was confirmed when we read the texts, but at the same time our curiosity was piqued when we realized that psychoanalysis was being both used and challenged by deconstructive readings of the Freudian theory of sexuality. As we gradually familiarized ourselves with this line of thinking, we found several perspectives we wanted to address. Because of the limited space, our answers to the many interesting and pro-vocative ideas are of course only preliminary. To this we want to add that we have confined ourselves to commenting on the ideas presented in this book and only occasionally on the ideas quoted in the book, many of which we are not familiar with. 20 00 Open Access Zeuthen, Katrine Gammelgaard, Judy 18 03 06 10.21983/P3.0167.1.18 313 328 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Transforming Nexus Psychoanalysis, Social Theory and Queer Childhood 1 A01 Ken Corbett Ken Corbett 40 0190ak572 New York University 01 eng 03 00 Twenty-first-century clinical psychoanalysis surely has as much to do with feminism, queer theory, and social philosophy as it does with Freudian tenets, postwar British object-relations theory, American ego psychology, or even modern attachment models. The social critique of the normal is now developing de-velopmental theories. Questioning the rigid necessity of a nor-mative symbolic order has led not only to rethinking human development, but also to the re-conception of psychotherapeu-tic care. 30 00 Twenty-first-century clinical psychoanalysis surely has as much to do with feminism, queer theory, and social philosophy as it does with Freudian tenets, postwar British object-relations theory, American ego psychology, or even modern attachment models. The social critique of the normal is now developing de-velopmental theories. Questioning the rigid necessity of a nor-mative symbolic order has led not only to rethinking human development, but also to the re-conception of psychotherapeu-tic care. 20 00 Open Access Corbett, Ken 19 03 06 10.21983/P3.0167.1.19 329 341 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Clinical Encounters The Queer New Times 1 A01 Rob Weatherill Rob Weatherill 40 05m7pjf47 University College Dublin 01 eng 03 00 “Let’s get a few things straight,” says a middle-aged man at the beginning of yet another fraught session, “I want you to accept that I am a married man; I am heterosexual and happy to be so; I love my wife and my children; I am good at my work. So can we return to what I sought these sessions for in the first place, namely my chronic anxiety? This is what I need to put right and I need your help.” Of course, this demand for the analyst to get a few things clear—“straight”—is precisely the issue: the analyst simply repeats the guiding principle about free association. 30 00 “Let’s get a few things straight,” says a middle-aged man at the beginning of yet another fraught session, “I want you to accept that I am a married man; I am heterosexual and happy to be so; I love my wife and my children; I am good at my work. So can we return to what I sought these sessions for in the first place, namely my chronic anxiety? This is what I need to put right and I need your help.” Of course, this demand for the analyst to get a few things clear—“straight”—is precisely the issue: the analyst simply repeats the guiding principle about free association. 20 00 Open Access Weatherill, Rob 20 03 06 10.21983/P3.0167.1.20 343 356 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Undoing Psychoanalysis Towards a Clinical and Conceptual Metistopia 1 A01 Dany Nobus Dany Nobus 40 00dn4t376 Brunel University 01 eng 03 00 It was not exactly Freud’s birthday, but on April 27, 1995, the em-inent French psychoanalyst André Green (1995) delivered the “Sigmund Freud Birthday Lecture” at the Anna Freud Centre in London under the title “Has Sexuality Anything To Do With Psychoanalysis?” In the opening sections of his paper, Green explained that his provocative question had been prompted by a twofold observation. On the one hand, he had noticed how since the mid-1980s sexuality had all but disappeared as a “ma-jor concept” and a “theoretical function of heuristic value” from the psychoanalytic literature, with the exception of “the ever problematic topic of feminine sexuality.” On the other hand, he had ascertained how practicing psychoanalysts, when pre-senting case material, were more inclined to focus on the ego, inter-subjectivity and destructiveness, for example, rather than the role played by sexuality in the mental economy of their pa-tients. In light of these considerations, and wishing the founder of psychoanalysis well for his birthday, Green went on to em-phasize the value and significance of a thorough re-appraisal of Freud’s key contributions to the psychoanalytic study of sexu-ality—libido, the Oedipus complex, genitality, the vicissitudes of the drives (Eros and Thanatos), narcissism—subsequently responding to his own call in the 1997 monograph The Chains of Eros (2000) by newly integrating these and other notions into a hierarchical “erotic chain,” starting from the drive and ending in language and sublimation. 30 00 It was not exactly Freud’s birthday, but on April 27, 1995, the em-inent French psychoanalyst André Green (1995) delivered the “Sigmund Freud Birthday Lecture” at the Anna Freud Centre in London under the title “Has Sexuality Anything To Do With Psychoanalysis?” In the opening sections of his paper, Green explained that his provocative question had been prompted by a twofold observation. On the one hand, he had noticed how since the mid-1980s sexuality had all but disappeared as a “ma-jor concept” and a “theoretical function of heuristic value” from the psychoanalytic literature, with the exception of “the ever problematic topic of feminine sexuality.” On the other hand, he had ascertained how practicing psychoanalysts, when pre-senting case material, were more inclined to focus on the ego, inter-subjectivity and destructiveness, for example, rather than the role played by sexuality in the mental economy of their pa-tients. In light of these considerations, and wishing the founder of psychoanalysis well for his birthday, Green went on to em-phasize the value and significance of a thorough re-appraisal of Freud’s key contributions to the psychoanalytic study of sexu-ality—libido, the Oedipus complex, genitality, the vicissitudes of the drives (Eros and Thanatos), narcissism—subsequently responding to his own call in the 1997 monograph The Chains of Eros (2000) by newly integrating these and other notions into a hierarchical “erotic chain,” starting from the drive and ending in language and sublimation. 20 00 Open Access Nobus, Dany 21 03 06 10.21983/P3.0167.1.21 357 367 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "You make me feel like a natural woman " Thoughts on a Case of Transsexual Identity Formation and Queer Theory 1 A01 Ami Kaplan Ami Kaplan 01 eng 03 00 This chapter is about a male to female transsexual1 individual and some contemplation about her life through the lens of queer theory. I will introduce her shortly, but first I will out-line my psychoanalytic orientation and clinical stance in regard to transgender clients. My psychoanalytic theoretical position is both Freudian (from an Ego Psychology perspective) and based in Object Relations. Within Object Relations, I am most informed by Winnicott and Fairbairn. I don’t subscribe to any psychoanalytic or environmentally-based etiology theories that include such explanations of transsexualism as a defense against homosexuality; based on the mother’s emotional state; stem-ming from insecure attachment to the mother or other prob-lems in the family dynamic (Greenson 1966; Bak 1968; Green-acre 1969; Stoller 1970; Ovesey and Person 1973; 1976; Coates 1990). The type of work I do with these individuals takes a non-pathologizing stance and does not try to figure out how they became transgender. Rather it centers on helping gender variant individuals be who they authentically feel themselves to be. 30 00 This chapter is about a male to female transsexual1 individual and some contemplation about her life through the lens of queer theory. I will introduce her shortly, but first I will out-line my psychoanalytic orientation and clinical stance in regard to transgender clients. My psychoanalytic theoretical position is both Freudian (from an Ego Psychology perspective) and based in Object Relations. Within Object Relations, I am most informed by Winnicott and Fairbairn. I don’t subscribe to any psychoanalytic or environmentally-based etiology theories that include such explanations of transsexualism as a defense against homosexuality; based on the mother’s emotional state; stem-ming from insecure attachment to the mother or other prob-lems in the family dynamic (Greenson 1966; Bak 1968; Green-acre 1969; Stoller 1970; Ovesey and Person 1973; 1976; Coates 1990). The type of work I do with these individuals takes a non-pathologizing stance and does not try to figure out how they became transgender. Rather it centers on helping gender variant individuals be who they authentically feel themselves to be. 20 00 Open Access Kaplan, Ami 22 03 06 10.21983/P3.0167.1.22 369 382 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sexual Difference From Symptom to Sinthome 1 A01 Patricia Gherovici Patricia Gherovici 40 00b30xv10 University of Pennsylvania 01 eng 03 00 “We speak therein of fucking, and we say that it’s not working out” (Lacan 1998[1972–73], 32). Without splitting hairs, Lacan bluntly summed up what people talk about when they are on the analytic couch. If all what we talk about on the couch is sex, nothing much has been discovered in psychoanalysis since Freud and Lacan. Freud’s major revelation that the unconscious is at root sexual is confirmed in our current practice. It is not just that, as Lacan has noted, one hears that something is wrong with sex. Consider the case of one of my analysands, Melissa, a twenty-four-year-old female, who felt that her analysis was pro-gressing because she was “feeling pretty stable and calmer.” She added however that “at the end of the day” she always felt anx-ious. “Perhaps it’s this recurrent thinking, this unrelenting ques-tioning,” she added. Her problems, she knew, were about rela-tionships. The trouble was not just her mother, looming large and overwhelming, or her father, weak and slightly perverse, but her current boyfriend, who overwhelmed her with his affection. “I want to figure out what Mike means to me. Sometimes I ex-perience a sense of happiness because I love him; it can be really wonderful. Sex can be good but as soon as he expresses how much he loves me, I have only regret.” Fundamentally, his love and support did not bring her satisfaction but rather a sense of loss and emptiness. “His intense admiration for me is over-whelming. As if I were cut off from him or myself. Something keeps me from connecting with him.” Melissa had a suspicion about what the problem was: “It is the issue of seeing other peo-ple, but it does not seem worthwhile.” 30 00 “We speak therein of fucking, and we say that it’s not working out” (Lacan 1998[1972–73], 32). Without splitting hairs, Lacan bluntly summed up what people talk about when they are on the analytic couch. If all what we talk about on the couch is sex, nothing much has been discovered in psychoanalysis since Freud and Lacan. Freud’s major revelation that the unconscious is at root sexual is confirmed in our current practice. It is not just that, as Lacan has noted, one hears that something is wrong with sex. Consider the case of one of my analysands, Melissa, a twenty-four-year-old female, who felt that her analysis was pro-gressing because she was “feeling pretty stable and calmer.” She added however that “at the end of the day” she always felt anx-ious. “Perhaps it’s this recurrent thinking, this unrelenting ques-tioning,” she added. Her problems, she knew, were about rela-tionships. The trouble was not just her mother, looming large and overwhelming, or her father, weak and slightly perverse, but her current boyfriend, who overwhelmed her with his affection. “I want to figure out what Mike means to me. Sometimes I ex-perience a sense of happiness because I love him; it can be really wonderful. Sex can be good but as soon as he expresses how much he loves me, I have only regret.” Fundamentally, his love and support did not bring her satisfaction but rather a sense of loss and emptiness. “His intense admiration for me is over-whelming. As if I were cut off from him or myself. Something keeps me from connecting with him.” Melissa had a suspicion about what the problem was: “It is the issue of seeing other peo-ple, but it does not seem worthwhile.” 20 00 Open Access Gherovici, Patricia 23 03 06 10.21983/P3.0167.1.23 385 390 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Plague on Both Your Houses 1 A01 21 0000000207543505 Stephen Frosh Stephen Frosh 40 02mb95055 Birkbeck, University of London 01 eng 03 00 It is tempting to suggest that the staging of an encounter in this book has served mainly to dramatize the incommensurability of psychoanalysis and queer theory. Perhaps there are really two separate theaters, one in which queer celebrations of disruptive-ness goes on, and one in which psychoanalysts and psychother-apists try to bring order to confusions of desire, identity and identification. Lisa Downing articulates one of the key opposi-tions in focusing on perversion: For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. 30 00 It is tempting to suggest that the staging of an encounter in this book has served mainly to dramatize the incommensurability of psychoanalysis and queer theory. Perhaps there are really two separate theaters, one in which queer celebrations of disruptive-ness goes on, and one in which psychoanalysts and psychother-apists try to bring order to confusions of desire, identity and identification. Lisa Downing articulates one of the key opposi-tions in focusing on perversion: For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. 20 00 Open Access Frosh, Stephen 24 03 06 10.21983/P3.0167.1.24 391 395 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Something Amiss 1 A01 Jacqueline Rose Jacqueline Rose 40 02mb95055 Birkbeck, University of London 01 eng 03 00 RoseThere is something amiss. On that much queer theory and psy-choanalysis agree. For both of these ways of engaging with the world, the dominant, normative, regulations of sexual life are a lie. Freud (1908) spoke of the “injustice” of expecting one form of sexual behavior from us all. “It is one of the obvious social injustices [eine der offenkundigen sozialen Ungerechtigkeiten],” he wrote in his essay “‘Civilised’ Sexual Morality and Mod-ern Nervous Illness,” “that the standard of civilisation should demand from everyone the same conduct of sexual life” (192). Except, he added, the injustice is normally wiped out by diso-bedience—Nichtbefolgen—or non-observance of the norm. The psychoanalytic subject is restless. She puts up a fight in her dreams. Nor is her rebellion restricted to the night time alone. She has thoughts she does not share. Sometimes she herself does not know what these are. Even in the putative calm of the day, when everything is meant to be safe, she can be surprised by herself. Such moments may allow a moment of escape from the norms that bind her—the norms of civilization which, as we see from his essay’s title, Freud was careful to put in scare quotes. But these moments, inklings of another unconscious life, might also trail behind them ways of being which she would prefer not to know or to forget. Whatever her sexual orientation, this is likely to be the case. There is no clear or easy resting place in the mind. Fluidity, plasticity—the catch-words of recent theory — do not halt on request. The way-stations may be enticing or bleak. You cannot turn the unconscious into a manifesto (which is why Freud disagreed with the surrealists). For psychoanalysis, it is axiomatic that we never fully know who we are. 30 00 RoseThere is something amiss. On that much queer theory and psy-choanalysis agree. For both of these ways of engaging with the world, the dominant, normative, regulations of sexual life are a lie. Freud (1908) spoke of the “injustice” of expecting one form of sexual behavior from us all. “It is one of the obvious social injustices [eine der offenkundigen sozialen Ungerechtigkeiten],” he wrote in his essay “‘Civilised’ Sexual Morality and Mod-ern Nervous Illness,” “that the standard of civilisation should demand from everyone the same conduct of sexual life” (192). Except, he added, the injustice is normally wiped out by diso-bedience—Nichtbefolgen—or non-observance of the norm. The psychoanalytic subject is restless. She puts up a fight in her dreams. Nor is her rebellion restricted to the night time alone. She has thoughts she does not share. Sometimes she herself does not know what these are. Even in the putative calm of the day, when everything is meant to be safe, she can be surprised by herself. Such moments may allow a moment of escape from the norms that bind her—the norms of civilization which, as we see from his essay’s title, Freud was careful to put in scare quotes. But these moments, inklings of another unconscious life, might also trail behind them ways of being which she would prefer not to know or to forget. Whatever her sexual orientation, this is likely to be the case. There is no clear or easy resting place in the mind. Fluidity, plasticity—the catch-words of recent theory — do not halt on request. The way-stations may be enticing or bleak. You cannot turn the unconscious into a manifesto (which is why Freud disagreed with the surrealists). For psychoanalysis, it is axiomatic that we never fully know who we are. 20 00 Open Access Rose, Jacqueline 25 03 06 10.21983/P3.0167.1.25 397 402 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taking Shelter from Queer 1 A01 Tim Dean Tim Dean 40 047426m28 University of Illinois Urbana-Champaign 01 eng 03 00 “Psychoanalysis may be queer but it is not queer theory,” ob-serves Patricia Gherovici, in a sentence that encapsulates the central tension structuring Clinical Encounters in Sexuality. As the chapters in this volume demonstrate, psychoanalysis looks different from a queer perspective, often disorientingly so. Yet even as the potential queerness of psychoanalysis is teased out and highlighted, some minimal difference between the two re-mains. What to make of that difference—indeed, what to make of various small differences—exercises all of the contributors in one way or another, eliciting a range of responses, from the intrigued and engaged to the disturbingly phobic. 30 00 “Psychoanalysis may be queer but it is not queer theory,” ob-serves Patricia Gherovici, in a sentence that encapsulates the central tension structuring Clinical Encounters in Sexuality. As the chapters in this volume demonstrate, psychoanalysis looks different from a queer perspective, often disorientingly so. Yet even as the potential queerness of psychoanalysis is teased out and highlighted, some minimal difference between the two re-mains. What to make of that difference—indeed, what to make of various small differences—exercises all of the contributors in one way or another, eliciting a range of responses, from the intrigued and engaged to the disturbingly phobic. 20 00 Open Access Dean, Tim 26 03 06 10.21983/P3.0167.1.26 403 409 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Courageous Drawings of Vigilant Ambiguities 1 A01 Noreen O'Connor Noreen O'Connor 01 eng 03 00 My aim is to elucidate ways in which analysts have responded to the challenges of queer theorists. Working with the operative distinction of analyst and queer theorist I draw out their shared vigilance of reductive classifications of foundational aesthetic, epistemic, ontological, ethico-political specifications of subjec-tive/intersubjective relationships. Corbett succinctly expresses the clinical ambiance of con-temporary psychoanalysis in his first sentence describing the pivotal relationships between different models of analytic praxis and social critiques of normality. By “leaning” toward the gener-ative grounding soil of psychoanalytic originality practitioners explore ways in which fantasy inter-implicates the body-subject and thereby challenge dualisms of mind/body, language/think-ing. Psychoanalytic space is delineated as a place in which the enigmatic dynamism of transferences of fantasies and attributes highlight the courageous listening/speaking ethos present in the rigorous work of contributors to this book, namely, encounters. Analysis opens horizons of varying inter-subjective spaces and times for the emergence of individual speaking of a body-sub-ject in their relational complexity (Ellis 2008, 187; 2010, 65–66). 30 00 My aim is to elucidate ways in which analysts have responded to the challenges of queer theorists. Working with the operative distinction of analyst and queer theorist I draw out their shared vigilance of reductive classifications of foundational aesthetic, epistemic, ontological, ethico-political specifications of subjec-tive/intersubjective relationships. Corbett succinctly expresses the clinical ambiance of con-temporary psychoanalysis in his first sentence describing the pivotal relationships between different models of analytic praxis and social critiques of normality. By “leaning” toward the gener-ative grounding soil of psychoanalytic originality practitioners explore ways in which fantasy inter-implicates the body-subject and thereby challenge dualisms of mind/body, language/think-ing. Psychoanalytic space is delineated as a place in which the enigmatic dynamism of transferences of fantasies and attributes highlight the courageous listening/speaking ethos present in the rigorous work of contributors to this book, namely, encounters. Analysis opens horizons of varying inter-subjective spaces and times for the emergence of individual speaking of a body-sub-ject in their relational complexity (Ellis 2008, 187; 2010, 65–66). 20 00 Open Access O'Connor, Noreen 27 03 06 10.21983/P3.0167.1.27 411 417 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Understanding Homophobia 1 A01 Mark J. Blechner Mark J. Blechner 40 0190ak572 New York University 01 eng 03 00 Psychoanalysts and queer theorists both know that the ques-tions we ask shape the kind of data we discover. Psychoanalysts since Sigmund Freud have asked often, “Why are some people homosexual? What causes this sexual attraction?” They have not asked so often, “Why do people hate and fear homosexuals? What causes this irrational emotional reaction? What causes the destructive and often delusional fear and hatred of gay men and lesbians?” This is odd, since homosexuality itself has harmed no one, whereas hatred and persecution of homosexuals has damaged many lives. It is also odd because the understand-ing of prejudice has been a fundamental aim of psychoanaly-sis throughout its history. The Interpretation of Dreams (Freud, 1900) was not only a landmark in the science of unconscious processes; it was also a relentless airing of and protest against the prejudice towards Jews in Freud’s time. Psychoanalysis is the science of the irrational, and hence it is the field most suited to address the irrational fear and hatred of homosexuality that we call homophobia. 30 00 Psychoanalysts and queer theorists both know that the ques-tions we ask shape the kind of data we discover. Psychoanalysts since Sigmund Freud have asked often, “Why are some people homosexual? What causes this sexual attraction?” They have not asked so often, “Why do people hate and fear homosexuals? What causes this irrational emotional reaction? What causes the destructive and often delusional fear and hatred of gay men and lesbians?” This is odd, since homosexuality itself has harmed no one, whereas hatred and persecution of homosexuals has damaged many lives. It is also odd because the understand-ing of prejudice has been a fundamental aim of psychoanaly-sis throughout its history. The Interpretation of Dreams (Freud, 1900) was not only a landmark in the science of unconscious processes; it was also a relentless airing of and protest against the prejudice towards Jews in Freud’s time. Psychoanalysis is the science of the irrational, and hence it is the field most suited to address the irrational fear and hatred of homosexuality that we call homophobia. 20 00 Open Access Blechner, Mark J. 28 03 06 10.21983/P3.0167.1.28 419 426 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Transgender, Queer Theory, and Psychoanalysis 1 A01 Susan Stryker Susan Stryker 40 03m2x1q45 University of Arizona 01 eng 03 00 The inclusion of trans*1 material in this collection of essays on the encounter between psychoanalysis and queer theory neces-sarily raises the question of the relationship of trans* to queer, as well as trans* to psychoanalysis. The five essays that deal explicitly with trans* issues—Gh-erovici, Corbett, Kaplan, Weatherill, and Geldhof and Ver-haeghe—each approach these matters somewhat differently. Weatherill makes only passing, and transphobic, mention of transgender women when he approvingly quotes Germaine Greer’s gratuitously vulgar dismissal of such individuals’ claims to social existence: “just because you lop off your dick doesn’t make you a fucking woman.” For Geldhof and Verhaeghe, trans* positions are “extreme representatives” of a queer social move-ment that seems “to refuse the classical distinction between man and woman.” For Kaplan, “trans” represents a benign albeit limiting investment in fixed gender identities that is counterposed to the supposed fluidity, and desirability, of queer gender expres-sion. Though he does not use the trans* nomenclature, Corbett’s nuanced discussion of “queer childhood” is attuned to those moments “in which the social order of gender is challenged,” and in which a “transforming nexus” of gender mallability is created that allows for gender’s resignification through collec-tive intersubjective fantasies between queer children and their significant others. For Gherovici, transness and homosexuality both address, in nonheteronormative ways, the imperative to assume a psychical position in relation to the question of sexual difference; they are divergent yet equally viable sinthomes, or an-swers to the unavoidable riddle of how the Real, Imaginary, and Symbolic registers might be knotted together. 30 00 The inclusion of trans*1 material in this collection of essays on the encounter between psychoanalysis and queer theory neces-sarily raises the question of the relationship of trans* to queer, as well as trans* to psychoanalysis. The five essays that deal explicitly with trans* issues—Gh-erovici, Corbett, Kaplan, Weatherill, and Geldhof and Ver-haeghe—each approach these matters somewhat differently. Weatherill makes only passing, and transphobic, mention of transgender women when he approvingly quotes Germaine Greer’s gratuitously vulgar dismissal of such individuals’ claims to social existence: “just because you lop off your dick doesn’t make you a fucking woman.” For Geldhof and Verhaeghe, trans* positions are “extreme representatives” of a queer social move-ment that seems “to refuse the classical distinction between man and woman.” For Kaplan, “trans” represents a benign albeit limiting investment in fixed gender identities that is counterposed to the supposed fluidity, and desirability, of queer gender expres-sion. Though he does not use the trans* nomenclature, Corbett’s nuanced discussion of “queer childhood” is attuned to those moments “in which the social order of gender is challenged,” and in which a “transforming nexus” of gender mallability is created that allows for gender’s resignification through collec-tive intersubjective fantasies between queer children and their significant others. For Gherovici, transness and homosexuality both address, in nonheteronormative ways, the imperative to assume a psychical position in relation to the question of sexual difference; they are divergent yet equally viable sinthomes, or an-swers to the unavoidable riddle of how the Real, Imaginary, and Symbolic registers might be knotted together. 20 00 Open Access Stryker, Susan 29 03 06 10.21983/P3.0167.1.29 427 433 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Psychoanalysis That Dare Not Speak Its Name 1 A01 Ona Nierenberg Ona Nierenberg 40 0190ak572 New York University 01 eng 03 00 In the opening essay of Love In A Dark Time: Gay Lives from Wilde to Almodovar, Colm Tóibin refers to Borges’s essay “The Argentine Writer and Tradition” to describe the position of exile as a condition for creation, for the possibility of the emergence of the new. Tóibin situates gay literary figures alongside the Jew-ish, Argentine, and Irish artists that Borges refers to, underlin-ing that the place of estrangement, of foreignness, is the sine qua non for speaking at the limits of the sayable. While certainly not sufficient, extra-territoriality is absolutely necessary to affect a break with the mortifications referred to by Freud (1926a) as “the compact majority” (274). 30 00 In the opening essay of Love In A Dark Time: Gay Lives from Wilde to Almodovar, Colm Tóibin refers to Borges’s essay “The Argentine Writer and Tradition” to describe the position of exile as a condition for creation, for the possibility of the emergence of the new. Tóibin situates gay literary figures alongside the Jew-ish, Argentine, and Irish artists that Borges refers to, underlin-ing that the place of estrangement, of foreignness, is the sine qua non for speaking at the limits of the sayable. While certainly not sufficient, extra-territoriality is absolutely necessary to affect a break with the mortifications referred to by Freud (1926a) as “the compact majority” (274). 20 00 Open Access Nierenberg, Ona 30 03 06 10.21983/P3.0167.1.30 437 443 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Not-Meanings of Karla Black's There Can Be No Arguments 1 A01 Medb Ruane Medb Ruane 01 eng 03 00 We expect to be able to recognize what we see in the visual field but visual experience occurs around a void, an emptiness, over which the artist places semblants. In The Ethics of Psychoanalysis (2008[1959–60]), Lacan likened this to a vase that puts a skin around a hole and veils the open sewer beneath. A “nothing” becomes a “something.” An object is made to exist (148–49).The marked and voided spaces around Karla Black’s sus-pended piece There Can Be No Arguments play with fullness and emptiness, not only as background for the works in space she makes. The marks are written on the rim of the Real. They are not about metaphor or producing meaning. Strip meaning or the hope of it away and an encounter emerges. She dresses and addresses a void. 30 00 We expect to be able to recognize what we see in the visual field but visual experience occurs around a void, an emptiness, over which the artist places semblants. In The Ethics of Psychoanalysis (2008[1959–60]), Lacan likened this to a vase that puts a skin around a hole and veils the open sewer beneath. A “nothing” becomes a “something.” An object is made to exist (148–49).The marked and voided spaces around Karla Black’s sus-pended piece There Can Be No Arguments play with fullness and emptiness, not only as background for the works in space she makes. The marks are written on the rim of the Real. They are not about metaphor or producing meaning. Strip meaning or the hope of it away and an encounter emerges. She dresses and addresses a void. 20 00 Open Access Ruane, Medb 31 03 06 10.21983/P3.0167.1.31 445 473 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword Reflections on the Encounters between Psychoanalysis and Queer Theory 1 A01 21 0000000328716433 Eve Watson Eve Watson Independent Colleges Dublin 01 eng 03 00 Clinical Encounters in Sexuality brings together two altogether different disciplines that address the field of human sexual-ity: clinical psychoanalysis and queer theory. This encounter is underpinned by the centrality of sexuality to both disciplines and the crucial nature of psychoanalytic theory to queer the-ory’s theorization of gender and sexuality. Beginning with Sig-mund Freud, psychoanalysis has a long history of turning to other fields such as philosophy, art, literature, linguistics, sci-ence, mathematics, and religion to develop and differentiate its major themes. This collection adds the work of queer theory to this list of co-conspirators addressing the question of what it is to be uniquely human, especially important today in light of the homogenizing effects of globalization, marketization and digitalization. Queer theory proffers a breadth of critical think-ing about contemporary sexuality, mechanisms of bio-power and regimes of normativization for psychoanalysts to address themselves to. Queer theory’s use of psychoanalysis is critical to its Foucault-inspired project of critically exploring desire, pleasure, identity and the social fabric itself. Psychoanalysts, for their part, offer psychoanalytic theory, clinical practice and the extraordinary value of the clinical vignette, the psychoanalytic tool par excellence. In addition, theorists of psychoanalysis and sexuality bring their insights to bear on this “queer” marriage between psychoanalysis and queer theory for readers to add to their experience of the book. 30 00 Clinical Encounters in Sexuality brings together two altogether different disciplines that address the field of human sexual-ity: clinical psychoanalysis and queer theory. This encounter is underpinned by the centrality of sexuality to both disciplines and the crucial nature of psychoanalytic theory to queer the-ory’s theorization of gender and sexuality. Beginning with Sig-mund Freud, psychoanalysis has a long history of turning to other fields such as philosophy, art, literature, linguistics, sci-ence, mathematics, and religion to develop and differentiate its major themes. This collection adds the work of queer theory to this list of co-conspirators addressing the question of what it is to be uniquely human, especially important today in light of the homogenizing effects of globalization, marketization and digitalization. Queer theory proffers a breadth of critical think-ing about contemporary sexuality, mechanisms of bio-power and regimes of normativization for psychoanalysts to address themselves to. Queer theory’s use of psychoanalysis is critical to its Foucault-inspired project of critically exploring desire, pleasure, identity and the social fabric itself. Psychoanalysts, for their part, offer psychoanalytic theory, clinical practice and the extraordinary value of the clinical vignette, the psychoanalytic tool par excellence. In addition, theorists of psychoanalysis and sexuality bring their insights to bear on this “queer” marriage between psychoanalysis and queer theory for readers to add to their experience of the book. 20 00 Open Access Watson, Eve 32 03 06 10.21983/P3.0167.1.32 475 492 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 2 B01 21 0000000328716433 Eve Watson Eve Watson 01 eng 20 00 Open Access Giffney, Noreen Watson, Eve 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/clinical-encounters-in-sexuality-psychoanalytic-practice-and-queer-theory/ Earth, Milky Way 04 01 20170307 Giffney, Noreen Watson, Eve 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531855 20 08 20170307 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/clinical-encounters-in-sexuality-psychoanalytic-practice-and-queer-theory 20 08 20170307 02 29.00 USD WORLD urn:uuid:b90c5671-e6b0-4e36-abe6-db29b75e3d50 03 01 01 thoth-work-id urn:uuid:84447325-88e2-4658-8597-3f2329451156 01 thoth-publication-id urn:uuid:b90c5671-e6b0-4e36-abe6-db29b75e3d50 06 10.21983/P3.0167.1.00 01 internal-reference 0167 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Clinical Encounters in Sexuality Psychoanalytic Practice and Queer Theory 1 B01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 2 B01 21 0000000328716433 Eve Watson Eve Watson Independent Colleges Dublin 01 eng 00 494 03 12 JMAF 93 JMAF 10 PSY026000 B2 Sex B2 Cultural Studies+Critical Theory 93 JBSJ 10 SOC064000 B2 TransQueer 20 clinical psychology; sexuality; queer studies; psychoanalysis; LGBTQ Studies 01 06 02 00 03 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an effort to think about a range of issues relating to sexuality from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perversion, ethics and discourse. The editors, Noreen Giffney and Eve Watson, have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and discourse. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are sometimes at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clinical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. The volume also stages, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in clinical readers about sexuality which historically has tended toward reification 30 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an effort to think about a range of issues relating to sexuality from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perversion, ethics and discourse. The editors, Noreen Giffney and Eve Watson, have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and discourse. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are sometimes at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clinical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. The volume also stages, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in clinical readers about sexuality which historically has tended toward reification 04 00 Introduction: Clinical Encounters in Sexuality: Psychoanalytic Practice and Queer Theory, by Noreen Giffney SECTION 1: QUEER THEORIES / Chapter 1 [Identity]: Precarious Sexualities: Queer Challenges to Psychoanalytic and Social Identity Categorisation, by Alice Kuzniar -- Chapter 2 [Desire]: Are We Missing Something? Queer Desire, by Lara Farina -- Chapter 3 [Pleasure]: Jouissance: The Gash of Bliss, by Kathryn Bond Stockton -- Chapter 4 [Perversion]: Perversion and the Problem of Fluidity and Fixity, by Lisa Downing -- Chapter 5 [Ethics]: Out of Line, On Hold: D.W. Winnicott’s Queer Sensibilities, by Michael D. Snediker -- Chapter 6 [Discourse]: Discourse and the History of Sexuality, by Will Stockton SECTION 2: PSYCHOANALYTIC RESPONSES / Chapter 7: On Not Thinking Straight: Comments on a Conceptual Marriage, by R.D. Hinshelwood -- Chapter 8: Queer as a New Shelter from Castration, by Abe Geldhof and Paul Verhaeghe -- Chapter 9: The Redress of Psychoanalysis, by Ann Murphy -- Chapter 10: Queer Directions from Lacan, by Ian Parker -- Chapter 11: Queer Theory Meets Jung, by Claudette Kulkarni -- Chapter 12: Queer Troubles for Psychoanalysis, by Carol Owens -- Chapter 13: Clinique, by Aranye Fradenburg -- Chapter 14: From Tragic Fall to Programmatic Blueprint: ‘Behold this is Oedipus …’ by Olga Cox Cameron -- Chapter 15: Enigmatic Sexuality, by Katrine Zeuthen and Judy Gammelgaard -- Chapter 16: The Transforming Nexus: Psychoanalysis, Social Theory and Queer Childhood, by Ken Corbett -- Chapter 17: Clinical Encounters: The Queer New Times, by Rob Weatherill -- Chapter 18: Undoing Psychoanalysis: Towards a Clinical and Conceptual Metistopia, by Dany Nobus -- Chapter 19: ‘You make me feel like a natural woman’: Thoughts on a Case of Transsexual Identity Formation and Queer Theory, by Ami Kaplan -- Chapter 20: Sexual Difference: From Symptom to Sinthome, by Patricia Gherovici SECTION 3: RESPONSES TO PSYCHOANALYTIC PRACTICES ENCOUNTERING QUEER THEORIES / Chapter 21: A Plague on Both Your Houses, by Stephen Frosh -- Chapter 22: Something Amiss, by Jacqueline Rose -- Chapter 23: Taking Shelter from Queer, by Tim Dean -- Chapter 24: Courageous Drawings of Vigilant Ambiguities, by Noreen O’Connor -- Chapter 25: Understanding Homophobia, by Mark J. Blechner -- Chapter 26: Transgender and Psychoanalysis, by Susan Stryker -- Chapter 27: The Psychoanalysis that Dare Not Speak Its Name, Ona Nierenberg ABOUT THE COVER / On the Not-Meanings of Karla Black's There Can Be No Arguments, by Medb Ruane AFTERWORD, by Eve Watson 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0167.1.00_frontcover.png 1 03 06 10.21983/P3.0167.1.01 i xix 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 2 B01 21 0000000328716433 Eve Watson Eve Watson 01 eng 20 00 Open Access Giffney, Noreen Watson, Eve 2 03 06 10.21983/P3.0167.1.02 19 48 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: Clinical Encounters in Sexuality: Psychoanalytic Practice and Queer Theory 1 A01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 01 eng 03 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an ef-fort to think about a range of issues relating to sexuality2 from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perver-sion, ethics, and discourse. Eve Watson and I have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and dis-course. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are some-times at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clin-ical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. We also stage, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in readers about sexuality which historically has tended toward reification, par-ticularly in clinical practice. 30 00 Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an ef-fort to think about a range of issues relating to sexuality2 from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perver-sion, ethics, and discourse. Eve Watson and I have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and dis-course. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are some-times at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clin-ical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. We also stage, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in readers about sexuality which historically has tended toward reification, par-ticularly in clinical practice. 20 00 Open Access Giffney, Noreen 3 03 06 10.21983/P3.0167.1.03 51 76 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Identity: Precarious Sexualities: Queer Challenges to Psychoanalytic and Social Identity Categorization 1 A01 Alice Kuzniar Alice Kuzniar 40 01aff2v68 University of Waterloo 01 eng 03 00 In the essay “The Theory of Seduction and the Problem of the Other” (1997), Jean Laplanche writes of a concept that attrac-tively resonates with the term queer, insofar as queer sexuality is quintessentially defined by its inexplicability, incoherence, vola-tility, and contingency in contradistinction to a sexuality whose owner would claim is stable, fixed, and identifiable as an integral part of the self. Destabilizing claims to an abiding, undisturbed notion of the self, Laplanche speaks of das Andere—the other-thing in us, the otherness of our unconscious—that all attempts at psychoanalytic interpretation cannot master. Laplanche pos-its that sexuality is an enigma, both for the child confronted with the riddle of sexuality that the adult represents and for the adult who can never master the uncanny as first encountered in childhood. The parent in turn unconsciously transmits an aura of sexual mystery to the child, perpetuating and completing the cycle. Das Andere is hence the internal otherness that we perpet-ually carry within us and that de-centers us, but that is founded by contact with an external otherness. 30 00 In the essay “The Theory of Seduction and the Problem of the Other” (1997), Jean Laplanche writes of a concept that attrac-tively resonates with the term queer, insofar as queer sexuality is quintessentially defined by its inexplicability, incoherence, vola-tility, and contingency in contradistinction to a sexuality whose owner would claim is stable, fixed, and identifiable as an integral part of the self. Destabilizing claims to an abiding, undisturbed notion of the self, Laplanche speaks of das Andere—the other-thing in us, the otherness of our unconscious—that all attempts at psychoanalytic interpretation cannot master. Laplanche pos-its that sexuality is an enigma, both for the child confronted with the riddle of sexuality that the adult represents and for the adult who can never master the uncanny as first encountered in childhood. The parent in turn unconsciously transmits an aura of sexual mystery to the child, perpetuating and completing the cycle. Das Andere is hence the internal otherness that we perpet-ually carry within us and that de-centers us, but that is founded by contact with an external otherness. 20 00 Open Access Kuzniar, Alice 4 03 06 10.21983/P3.0167.1.04 77 99 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Desire Missing Something? Queer Desire 1 A01 Lara Farina Lara Farina 40 011vxgd24 West Virginia University 01 eng 03 00 Given that a particular configuration of sexual desire is the cen-tral emphasis of terms like “queer,” “homosexual,” “heterosexu-al,” “lesbian,” and “gay,” it is a somewhat odd fact that theoriza-tion of non-normative desire(s) has been outpaced by scholarly work on sexual identity. In the humanities, the overwhelming interest in identity has been furthered by two important influ-ences. The first is the work of Michel Foucault, whose multivol-ume History of Sexuality (1990, 1990, 1988) argued for the his-torical variability of identity-categories and, in doing so, shaped a field of study devoted to understanding the various configu-rations of sexual identity in particular historical moments and locations. The second is the challenge to lesbian and gay studies posed by scholars of race, class, and ethnicity, who have right-fully drawn attention to the varying intersections of identity previously obscured by analysis that assumes but does not ac-knowledge its own white, middle-class perspective. Still, even the most identity-focused work either presupposes or points to models of desire, and analysis of these models is necessary not just for understanding the sexual self but for thinking about the affective communities available to that self. 30 00 Given that a particular configuration of sexual desire is the cen-tral emphasis of terms like “queer,” “homosexual,” “heterosexu-al,” “lesbian,” and “gay,” it is a somewhat odd fact that theoriza-tion of non-normative desire(s) has been outpaced by scholarly work on sexual identity. In the humanities, the overwhelming interest in identity has been furthered by two important influ-ences. The first is the work of Michel Foucault, whose multivol-ume History of Sexuality (1990, 1990, 1988) argued for the his-torical variability of identity-categories and, in doing so, shaped a field of study devoted to understanding the various configu-rations of sexual identity in particular historical moments and locations. The second is the challenge to lesbian and gay studies posed by scholars of race, class, and ethnicity, who have right-fully drawn attention to the varying intersections of identity previously obscured by analysis that assumes but does not ac-knowledge its own white, middle-class perspective. Still, even the most identity-focused work either presupposes or points to models of desire, and analysis of these models is necessary not just for understanding the sexual self but for thinking about the affective communities available to that self. 20 00 Open Access Farina, Lara 5 03 06 10.21983/P3.0167.1.05 101 122 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pleasure: Jouissance: The Gash of Bliss 1 A01 Kathryn Bond Stockton Kathryn Bond Stockton 40 03r0ha626 University of Utah 01 eng 03 00 Jouissance is the strangest glistening, a dark glamour of rap-ture and disruption. It shines and cuts and leaves its bearer not knowing what to make of herself—or her pleasure. She is left beside herself, feeling ecstatically severed from herself, seized by subtleties, strange to say, even though bliss is an overwhelming force. (“Spiritual joy,” says American Heritage; “paradise,” “seventh heaven,” “cloud nine,” adds Roget’s.) Bliss is a word for impossibilities, felt and grasped as such. Something (im)possible coursing through the body, bending the mind. Then, on a dime: rapid, luminous deteriorations.If per chance it didn’t exist, queers would invent it. Along with irony, bliss is a quintessential queer accouterment. It’s he-donistic and wedded to pain. It’s clearly buoyant, yet it is dark. It’s provocatively sexy, intimate, scandalous, and bodily, while it’s evasive of capture and speech. Beyond the reach of words, it’s both spiritual and material — spiritual materialist — a material-ity that is ineffable and escapes norms. It’s the perversion every-one shares, no one knows, and, with its shadows and ties to loss, society denies in favor of “pleasure.” 30 00 Jouissance is the strangest glistening, a dark glamour of rap-ture and disruption. It shines and cuts and leaves its bearer not knowing what to make of herself—or her pleasure. She is left beside herself, feeling ecstatically severed from herself, seized by subtleties, strange to say, even though bliss is an overwhelming force. (“Spiritual joy,” says American Heritage; “paradise,” “seventh heaven,” “cloud nine,” adds Roget’s.) Bliss is a word for impossibilities, felt and grasped as such. Something (im)possible coursing through the body, bending the mind. Then, on a dime: rapid, luminous deteriorations.If per chance it didn’t exist, queers would invent it. Along with irony, bliss is a quintessential queer accouterment. It’s he-donistic and wedded to pain. It’s clearly buoyant, yet it is dark. It’s provocatively sexy, intimate, scandalous, and bodily, while it’s evasive of capture and speech. Beyond the reach of words, it’s both spiritual and material — spiritual materialist — a material-ity that is ineffable and escapes norms. It’s the perversion every-one shares, no one knows, and, with its shadows and ties to loss, society denies in favor of “pleasure.” 20 00 Open Access Stockton, Kathryn Bond 6 03 06 10.21983/P3.0167.1.06 123 144 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Perversion Perversion and the Problem of Fluidity and Fixity 1 A01 21 0000000192417572 Lisa Downing Lisa Downing 40 03angcq70 University of Birmingham 01 eng 03 00 It is a commonplace to state that the problem of sexuality is cen-tral to the endeavors of both psychoanalysis and queer theory. Whereas for psychoanalysis, traditionally at least, sexuality has an etiological status as the nexus of f/phantasies underlying an analysand’s symptoms and behaviors, for queer theorists, espe-cially following Michel Foucault, sexuality is a constructed epis-temological category that functions to normalize the behaviors and bodies of social subjects. In the former, it is a source of truth to be tapped; in the latter it is a pervasive and power-laden lie to be exposed. Whereas psychoanalysis relies on a developmental model of sexuality (Sigmund Freud, Melanie Klein and so on) or a structural one (for example, Jacques Lacan), “queer” takes the theory of performativity as its explicatory model to account for the ways in which subjects learn to “do” their genders and sexualities. Moreover, the category of “perversion” has central import for theorizations of sexuality within both psychoanal-ysis and queer theory. For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. In what follows, however, I will focus on a pair of concepts that are central to both psychoanalytic and queer thinking on sexuality and its perverse forms — namely fixity and fluidity — in order to trouble certain orthodoxies within both bodies of thought. In this way, I will neither pathologize queer in the name of psy-choanalysis, nor accuse psychoanalysis of reactionary politics in the name of queer. Rather I shall highlight — and challenge — a logic that is surprisingly shared by both systems. 30 00 It is a commonplace to state that the problem of sexuality is cen-tral to the endeavors of both psychoanalysis and queer theory. Whereas for psychoanalysis, traditionally at least, sexuality has an etiological status as the nexus of f/phantasies underlying an analysand’s symptoms and behaviors, for queer theorists, espe-cially following Michel Foucault, sexuality is a constructed epis-temological category that functions to normalize the behaviors and bodies of social subjects. In the former, it is a source of truth to be tapped; in the latter it is a pervasive and power-laden lie to be exposed. Whereas psychoanalysis relies on a developmental model of sexuality (Sigmund Freud, Melanie Klein and so on) or a structural one (for example, Jacques Lacan), “queer” takes the theory of performativity as its explicatory model to account for the ways in which subjects learn to “do” their genders and sexualities. Moreover, the category of “perversion” has central import for theorizations of sexuality within both psychoanal-ysis and queer theory. For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. In what follows, however, I will focus on a pair of concepts that are central to both psychoanalytic and queer thinking on sexuality and its perverse forms — namely fixity and fluidity — in order to trouble certain orthodoxies within both bodies of thought. In this way, I will neither pathologize queer in the name of psy-choanalysis, nor accuse psychoanalysis of reactionary politics in the name of queer. Rather I shall highlight — and challenge — a logic that is surprisingly shared by both systems. 20 00 Open Access Downing, Lisa 7 03 06 10.21983/P3.0167.1.07 145 170 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ethics: Out of Line, On Hold: D.W. Winnicott's Queer Sensibilities 1 A01 Michael D. Snediker Michael D. Snediker 40 048sx0r50 University of Houston 01 eng 03 00 This chapter situates its discussion of ethics in the work of the mid-twentieth century British psychoanalyst, D.W. Winni-cott. Winnicott’s theorization of transitional objects and good-enough mothers has inspired the scholarship of thinkers such as Mary Jacobus (2005) and Adam Phillips (1989); at the same time, Winnicott’s output figures, in Deleuzian terms, as a minor literature in the larger psychoanalytic landscape. The sympatico of Winnicott’s work with many recent queer-theoretical investi-gations of intersubjectivity alone necessitates our continued re-appraisal of what he may teach us. Unlike that of Jacques Lacan, who devoted a seminar to the ethics of psychoanalysis, Winnicott’s contribution to psychoanalytic ethics must be trawled in pieces, and culled without prior sense of what that ethics might eventually resemble. In this sense, the very practice of returning to Winnicott resembles the non-paranoid reading position of Eve Kosofsky Sedgwick, a queer theorist who taught, more than anyone I can think of, the inseparability of ethics from the sur-prise of not knowing in advance where desire might converge with rigor, gauziness, creativity, and or delight. To read Win-nicott alongside Sedgwick is to aspire toward for an ethics freed from the normatively non-contingent, but no less predicated on the contingencies of availing dislocation. 30 00 This chapter situates its discussion of ethics in the work of the mid-twentieth century British psychoanalyst, D.W. Winni-cott. Winnicott’s theorization of transitional objects and good-enough mothers has inspired the scholarship of thinkers such as Mary Jacobus (2005) and Adam Phillips (1989); at the same time, Winnicott’s output figures, in Deleuzian terms, as a minor literature in the larger psychoanalytic landscape. The sympatico of Winnicott’s work with many recent queer-theoretical investi-gations of intersubjectivity alone necessitates our continued re-appraisal of what he may teach us. Unlike that of Jacques Lacan, who devoted a seminar to the ethics of psychoanalysis, Winnicott’s contribution to psychoanalytic ethics must be trawled in pieces, and culled without prior sense of what that ethics might eventually resemble. In this sense, the very practice of returning to Winnicott resembles the non-paranoid reading position of Eve Kosofsky Sedgwick, a queer theorist who taught, more than anyone I can think of, the inseparability of ethics from the sur-prise of not knowing in advance where desire might converge with rigor, gauziness, creativity, and or delight. To read Win-nicott alongside Sedgwick is to aspire toward for an ethics freed from the normatively non-contingent, but no less predicated on the contingencies of availing dislocation. 20 00 Open Access Snediker, Michael 8 03 06 10.21983/P3.0167.1.08 171 194 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Discourse Discourse and the History of Sexuality 1 A01 Will Stockton Will Stockton 40 037s24f05 Clemson University 01 eng 03 00 Following the French historian and philosopher Michel Fou-cault, contemporary queer scholars frequently maintain that sexuality is a product of discourse. At its most basic, discoursemeans speech, but for Foucault (1972) discourse is “the gener-al domain of all statements, sometimes as an individualisable group of statements, and sometimes as a regulated practice that accounts for a number of statements” (80). In the first volume of The History of Sexuality, Foucault (1990a) frames the relationship between sexuality and discourse in this way: sexuality is “the correlative of that slowly developed discursive practice which constitutes the scientia sexualis” (68)—the Western “regulated practice” of classifying, monitoring, and disciplining individu-als based on what Freud would call their choice of sexual objects or the directions of their sexual aims. The scientia sexualis has its roots in the Catholic practice of confession, which from the Middle Ages enjoined people to speak about sex in extraordinary detail, to seek out “all insinuations of the flesh: thoughts, desires, voluptuous imaginings, delectations, combined move-ments of the body and soul” (19). In the nineteenth and twenti-eth centuries, psychiatry and psychoanalysis contributed to the secular appropriation of the church’s insistence that each person transform his or her sex into discourse. As Foucault wryly notes, “Ours is, after all, the only civilization in which individuals are paid to listen to all and sundry impart the secrets of their sex: as if the urge to talk about it, and the interest one hopes to arouse by doing so, have far surpassed the possibilities of being heard, so that some individuals have even offered their ears for hire” 30 00 Following the French historian and philosopher Michel Fou-cault, contemporary queer scholars frequently maintain that sexuality is a product of discourse. At its most basic, discoursemeans speech, but for Foucault (1972) discourse is “the gener-al domain of all statements, sometimes as an individualisable group of statements, and sometimes as a regulated practice that accounts for a number of statements” (80). In the first volume of The History of Sexuality, Foucault (1990a) frames the relationship between sexuality and discourse in this way: sexuality is “the correlative of that slowly developed discursive practice which constitutes the scientia sexualis” (68)—the Western “regulated practice” of classifying, monitoring, and disciplining individu-als based on what Freud would call their choice of sexual objects or the directions of their sexual aims. The scientia sexualis has its roots in the Catholic practice of confession, which from the Middle Ages enjoined people to speak about sex in extraordinary detail, to seek out “all insinuations of the flesh: thoughts, desires, voluptuous imaginings, delectations, combined move-ments of the body and soul” (19). In the nineteenth and twenti-eth centuries, psychiatry and psychoanalysis contributed to the secular appropriation of the church’s insistence that each person transform his or her sex into discourse. As Foucault wryly notes, “Ours is, after all, the only civilization in which individuals are paid to listen to all and sundry impart the secrets of their sex: as if the urge to talk about it, and the interest one hopes to arouse by doing so, have far surpassed the possibilities of being heard, so that some individuals have even offered their ears for hire” 20 00 Open Access Stockton, Will 9 03 06 10.21983/P3.0167.1.09 197 210 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On Not Thinking Straight Comments on a Conceptual Marriage 1 A01 R.D. Hinshelwood R.D. Hinshelwood 40 02nkf1q06 University of Essex 01 eng 03 00 It is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suitIt is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suit 30 00 It is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suitIt is ironic. Psychoanalysis was born in the context of sexual transgression—the theory of seduction, and the Oedipal theo-ry. The plethora of sexualities was suddenly open to be known, and in principle to be known in all of us. But, for normative reasons, powerful a hundred years ago, in no time at all, that opening door spawned the “Three Essays on the Theory of Sexuality” (Freud 1905); it became a classic that could easily be read as experts in the clinic normalizing categories of sexual-ity, and defining the abnormal. No wonder queer theory has a thoroughly mixed reaction—but to be fair, the selection in this book is a respectful one. On being asked to add a comment on the chapters in section one, I looked forward to the challenge. They amass a “report” on the progress of the two innocent suit 20 00 Open Access Hinshelwood, R.D. 10 03 06 10.21983/P3.0167.1.10 211 221 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer as a New Shelter from Castration 1 A01 Abe Geldhof Abe Geldhof 40 00cv9y106 Ghent University 2 A01 Paul Verhaeghe Paul Verhaeghe 40 00cv9y106 Ghent University 01 eng 03 00 Somewhere in his diaries, Søren Kierkegaard (1998) wonders about how Jesus Christ would react when asked to prove that he is really the son of God. If he really is, Kierkegaard says, then he would not prove it, because his existence is the proof. If Je-sus were to comply with the request to prove it, he would make himself appear not to be the son of God. Lacan (1986[1959–60]) says something similar about the perversion of Sade. In his sev-enth seminar on ethics he notes that the more Sade shouts not to be bound by any law, the more it becomes clear that the Law remains indestructible at its core (225–41).Jesus Christ doesn’t prove he is Jesus Christ because he is Je-sus Christ: his existence is the proof. Sade, on the other hand, has to prove ceaselessly that he is not bound by any law, but in producing transgression after transgression, it becomes obvious that his pleasure is only possible because of the law. Without the law no transgression is possible. The silence of being contrasts sharply with the shrieking noise of discourse. 30 00 Somewhere in his diaries, Søren Kierkegaard (1998) wonders about how Jesus Christ would react when asked to prove that he is really the son of God. If he really is, Kierkegaard says, then he would not prove it, because his existence is the proof. If Je-sus were to comply with the request to prove it, he would make himself appear not to be the son of God. Lacan (1986[1959–60]) says something similar about the perversion of Sade. In his sev-enth seminar on ethics he notes that the more Sade shouts not to be bound by any law, the more it becomes clear that the Law remains indestructible at its core (225–41).Jesus Christ doesn’t prove he is Jesus Christ because he is Je-sus Christ: his existence is the proof. Sade, on the other hand, has to prove ceaselessly that he is not bound by any law, but in producing transgression after transgression, it becomes obvious that his pleasure is only possible because of the law. Without the law no transgression is possible. The silence of being contrasts sharply with the shrieking noise of discourse. 20 00 Open Access Geldhof, Abe Verhaeghe, Paul 11 03 06 10.21983/P3.0167.1.11 223 234 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Redress of Psychoanalysis 1 A01 21 0000000339404101 Ann Murphy Ann Murphy 40 02tyrky19 Trinity College Dublin 01 eng 03 00 Seamus Heaney’s eloquent apologia on behalf of poetry cap-tures more accurately than most psychoanalytic texts my own way of thinking about the practice of psychoanalysis. Thinking through poetry may be my antidote to some tendencies in psy-choanalytic theory, language and practice towards institutional-ized rigidity, with its focus on the adaptive and the normative, as opposed to the radical sense of the singularity and uniqueness of the individual, which is the gift of psychoanalysis at its best. Postmodern, social constructionist critiques of gender, sexu-ality, and identity have challenged essentialist psychoanalytic notions of psychosexual development, fixed gender identity, and stable sexual orientation. Such critiques challenge psycho-analysts to recognize and interrogate assumptions that we hold about sexuality, identity, gender, and subjectivity, and to address the contradictions that have permeated psychoanalytic thinking on these questions, all the way back to Freud’s radical, con-flicted, disorderly, multiply revised, and exuberantly footnoted “Three Essays on the Theory of Sexuality” . 30 00 Seamus Heaney’s eloquent apologia on behalf of poetry cap-tures more accurately than most psychoanalytic texts my own way of thinking about the practice of psychoanalysis. Thinking through poetry may be my antidote to some tendencies in psy-choanalytic theory, language and practice towards institutional-ized rigidity, with its focus on the adaptive and the normative, as opposed to the radical sense of the singularity and uniqueness of the individual, which is the gift of psychoanalysis at its best. Postmodern, social constructionist critiques of gender, sexu-ality, and identity have challenged essentialist psychoanalytic notions of psychosexual development, fixed gender identity, and stable sexual orientation. Such critiques challenge psycho-analysts to recognize and interrogate assumptions that we hold about sexuality, identity, gender, and subjectivity, and to address the contradictions that have permeated psychoanalytic thinking on these questions, all the way back to Freud’s radical, con-flicted, disorderly, multiply revised, and exuberantly footnoted “Three Essays on the Theory of Sexuality” . 20 00 Open Access Murphy, Ann 12 03 06 10.21983/P3.0167.1.12 235 244 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Directions from Lacan 1 A01 21 000000015950464X Ian Parker Ian Parker 40 04h699437 University of Leicester 06 Own website https://parkerian.com/ 01 eng 03 00 Queer functions at its most radical as an activity rather than as a noun, and, as many queer activists have noticed, the reduction to noun-form threatens to sediment what queer “is,” especially to sediment it in the adaptable identities that neoliberal heter-opatriarchal capitalism now works with so well. So, “to queer” as an intervention, as transformational process, already transcends the opposition between noun and verb while refusing to rest, refusing to accept a transcendent position that pretends to have escaped that opposition. Three moments in this transformation-al process, in a little history of queer, lead us directly to psychoa-nalysis, perhaps back to the psychoanalysis from which it first sprung, but with which, against which, queer has an uncannily-appropriate suspicious relationship. 30 00 Queer functions at its most radical as an activity rather than as a noun, and, as many queer activists have noticed, the reduction to noun-form threatens to sediment what queer “is,” especially to sediment it in the adaptable identities that neoliberal heter-opatriarchal capitalism now works with so well. So, “to queer” as an intervention, as transformational process, already transcends the opposition between noun and verb while refusing to rest, refusing to accept a transcendent position that pretends to have escaped that opposition. Three moments in this transformation-al process, in a little history of queer, lead us directly to psychoa-nalysis, perhaps back to the psychoanalysis from which it first sprung, but with which, against which, queer has an uncannily-appropriate suspicious relationship. 20 00 Open Access Parker, Ian 13 03 06 10.21983/P3.0167.1.13 245 259 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Theory Meets Jung 1 A01 Claudetter Kulkarni Claudetter Kulkarni 01 eng 03 00 I will begin by disclosing my own prejudices since they surely have shaped my reactions to these chapters. Psychological Prejudices. In spite of the sexism, heterosex-ism, and racism that invade Carl Jung’s theorizing, I am a Jungi-an—or, more accurately, a post-Jungian1—and a feminist. The challenge for me as a lesbian Jungian has been not to defend, reinterpret, contort, or reformulate Jung and his theories—but, rather, to use Jung, often against himself, in ways that seem “truly Jungian” and thus, hopefully, to follow through on the “subversive possibility that Jung opens up” (Samuels 1989, tape) when we take him “beyond” himself. Philosophical Horizons. My reading in queer theory has been motivated mainly by the work of Judith Butler and has focused on queer theory’s usefulness in understanding LGBTQI experi-ence in a heterosexist and genderized world. My philosophical prejudices derive from the work of Hans-Georg Gadamer, espe-cially his approach to hermeneutics and the problem of under-standing. 30 00 I will begin by disclosing my own prejudices since they surely have shaped my reactions to these chapters. Psychological Prejudices. In spite of the sexism, heterosex-ism, and racism that invade Carl Jung’s theorizing, I am a Jungi-an—or, more accurately, a post-Jungian1—and a feminist. The challenge for me as a lesbian Jungian has been not to defend, reinterpret, contort, or reformulate Jung and his theories—but, rather, to use Jung, often against himself, in ways that seem “truly Jungian” and thus, hopefully, to follow through on the “subversive possibility that Jung opens up” (Samuels 1989, tape) when we take him “beyond” himself. Philosophical Horizons. My reading in queer theory has been motivated mainly by the work of Judith Butler and has focused on queer theory’s usefulness in understanding LGBTQI experi-ence in a heterosexist and genderized world. My philosophical prejudices derive from the work of Hans-Georg Gadamer, espe-cially his approach to hermeneutics and the problem of under-standing. 20 00 Open Access Kulkarni, Claudetter 14 03 06 10.21983/P3.0167.1.14 261 273 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Troubles for Psychoanalysis 1 A01 Carol Owens Carol Owens 01 eng 03 00 As a critical psychologist in Britain in the mid-1990s, I experi-enced many of the effects that queer theory, critical feminism and post-structuralism had upon social science research and discourse theory at this time. Wide-ranging debates about ma-terialism, essentialism, and biological reductionism revolved around the purloining of the human subject by mainstream social, psychological and biomedical science. The critical pro-ject’s devotion to decentering the same subject, destabilizing the taken-for-granted, and deconstructing the practices warranted by the mainstream contributed to the writing of thousands of research articles and conference presentations, not to mention hundreds of books and as many careers launched in the mo-bilization of the critical agenda. My own doctoral work on the examination of “compulsory heterosexuality” at the site of the “couple” as constituted by and within the psy-discourses was typical for the time. People like me were usually referred to dis-paragingly within the mainstream as “social constructionists” or worse “constructivists.” We moved through our doctoral years occasionally caught up with dilemmas over relativism which would spur a whole other rake of research articles and papers dedicated to the declaring of the reality of death, the holocaust, and furniture. Some of us were labelled “critical realists” when we got too concerned about the political, “unreconstructed feminists” when we worried overly about “woman,” and unreflexive allegiance to any of the great “isms” (Marx, Freud, “Fem-in”) necessitated some serious time spent in the careful study and contemplation of Donna Haraway’s (2013) groundbreaking work Simians, Cyborgs, and Women where we would be firmly reminded that all knowledge is situated, all identities fractured, and that the “local” tops the “global” every time when it comes to theorizing. In general, at this time, “psychoanalysis” was at best a foolish word, at worst, a bad word. 30 00 As a critical psychologist in Britain in the mid-1990s, I experi-enced many of the effects that queer theory, critical feminism and post-structuralism had upon social science research and discourse theory at this time. Wide-ranging debates about ma-terialism, essentialism, and biological reductionism revolved around the purloining of the human subject by mainstream social, psychological and biomedical science. The critical pro-ject’s devotion to decentering the same subject, destabilizing the taken-for-granted, and deconstructing the practices warranted by the mainstream contributed to the writing of thousands of research articles and conference presentations, not to mention hundreds of books and as many careers launched in the mo-bilization of the critical agenda. My own doctoral work on the examination of “compulsory heterosexuality” at the site of the “couple” as constituted by and within the psy-discourses was typical for the time. People like me were usually referred to dis-paragingly within the mainstream as “social constructionists” or worse “constructivists.” We moved through our doctoral years occasionally caught up with dilemmas over relativism which would spur a whole other rake of research articles and papers dedicated to the declaring of the reality of death, the holocaust, and furniture. Some of us were labelled “critical realists” when we got too concerned about the political, “unreconstructed feminists” when we worried overly about “woman,” and unreflexive allegiance to any of the great “isms” (Marx, Freud, “Fem-in”) necessitated some serious time spent in the careful study and contemplation of Donna Haraway’s (2013) groundbreaking work Simians, Cyborgs, and Women where we would be firmly reminded that all knowledge is situated, all identities fractured, and that the “local” tops the “global” every time when it comes to theorizing. In general, at this time, “psychoanalysis” was at best a foolish word, at worst, a bad word. 20 00 Open Access Owens, Carol 15 03 06 10.21983/P3.0167.1.15 275 284 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Clinique 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 01 eng 03 00 Academic writing about psychoanalysis does not often engage the practice of psychoanalysis in today’s USA, or vice versa. There are many reasons for this, and one is always wishing there were more mutual interest. The canons differ; academics still read a lot of Freud and later continental theory, less often Anglo-American object relations theory, and much less often, Thomas Ogden, Robert Stoller, Muriel Dimen, Joe Natterson, or Mark Leffert. In my experience, American psychoanalysts too often abdicate their intellectual responsibilities and the social impli-cations thereof; too few of us regard ourselves as minds shap-ing and being shaped by the urgent questions of our time. In turn, academic psychoanalytic work does not, in my view, grap-ple closely enough with the reasons why particular people seek treatment, and with the ethics of responding or not responding to misery experienced as “personal,” that is, felt to be “inside.” Queer theory has, remarkably, been to-and-fro-ing all over this ground, in its agōn with psychoanalysis, powerfully critiquing it, and equally powerfully re-thinking it, finally changing policy and helping to usher in “an exciting [era] of discovery” of sexu-ality’s range and resourcefulness (Roughton 2002, 757, referring to the first decade of the twenty-first century). The chapters to which I’m responding here show that the ground shared by queer theory and psychoanalysis is still something of a battleground, but they also show that the debate is a highly creative one, born of a provocatively uneasy intimacy. 30 00 Academic writing about psychoanalysis does not often engage the practice of psychoanalysis in today’s USA, or vice versa. There are many reasons for this, and one is always wishing there were more mutual interest. The canons differ; academics still read a lot of Freud and later continental theory, less often Anglo-American object relations theory, and much less often, Thomas Ogden, Robert Stoller, Muriel Dimen, Joe Natterson, or Mark Leffert. In my experience, American psychoanalysts too often abdicate their intellectual responsibilities and the social impli-cations thereof; too few of us regard ourselves as minds shap-ing and being shaped by the urgent questions of our time. In turn, academic psychoanalytic work does not, in my view, grap-ple closely enough with the reasons why particular people seek treatment, and with the ethics of responding or not responding to misery experienced as “personal,” that is, felt to be “inside.” Queer theory has, remarkably, been to-and-fro-ing all over this ground, in its agōn with psychoanalysis, powerfully critiquing it, and equally powerfully re-thinking it, finally changing policy and helping to usher in “an exciting [era] of discovery” of sexu-ality’s range and resourcefulness (Roughton 2002, 757, referring to the first decade of the twenty-first century). The chapters to which I’m responding here show that the ground shared by queer theory and psychoanalysis is still something of a battleground, but they also show that the debate is a highly creative one, born of a provocatively uneasy intimacy. 20 00 Open Access Fradenburg, Aranye 16 03 06 10.21983/P3.0167.1.16 285 299 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Tragic Fall to Programmatic Blueprint "Behold this is Oedipus..." 1 A01 Olga Cox Cameron Olga Cox Cameron 01 eng 03 00 In the first flush of his discoveries Freud (1900) was much given to inventing mottoes for himself and for this new praxis which both excited and disturbed him. “Flectere si nequeo superos, Ach-eronta movebo,” he inscribes as epigraph to The Interpretation of Dreams: “What have they done to you poor child?” he suggests to Fliess as he attends to stories of shocking childhood abuse (Masson 1985, 289). Reading this collection of queer responses to psychoanalytic theory I am tempted to affix Barthes’s (1975) statement, “we are scientific because we lack subtlety” (61), less as a motto than as a caveat to the large swathes of psychoanalytic theory which Alice Kuzniar challenges in her opening chapter “Precarious Sexualities.”It is as astonishing to psychoanalysts as to non-analysts that a theory predicated on the existence of the unconscious and therefore committed to the radical undercutting of an abid-ing undisturbed notion of the self should have lent itself with such stalwartness and consistency to a version of the Oedipus complex which in Kuzniar’s words presumes as its telos “a stable fixed identity of personhood that rests solidly within a unitary gender role and unwavering sexual object choice directed to the opposite of one’s own gender.” 30 00 In the first flush of his discoveries Freud (1900) was much given to inventing mottoes for himself and for this new praxis which both excited and disturbed him. “Flectere si nequeo superos, Ach-eronta movebo,” he inscribes as epigraph to The Interpretation of Dreams: “What have they done to you poor child?” he suggests to Fliess as he attends to stories of shocking childhood abuse (Masson 1985, 289). Reading this collection of queer responses to psychoanalytic theory I am tempted to affix Barthes’s (1975) statement, “we are scientific because we lack subtlety” (61), less as a motto than as a caveat to the large swathes of psychoanalytic theory which Alice Kuzniar challenges in her opening chapter “Precarious Sexualities.”It is as astonishing to psychoanalysts as to non-analysts that a theory predicated on the existence of the unconscious and therefore committed to the radical undercutting of an abid-ing undisturbed notion of the self should have lent itself with such stalwartness and consistency to a version of the Oedipus complex which in Kuzniar’s words presumes as its telos “a stable fixed identity of personhood that rests solidly within a unitary gender role and unwavering sexual object choice directed to the opposite of one’s own gender.” 20 00 Open Access Cameron, Olga Cox 17 03 06 10.21983/P3.0167.1.17 301 312 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Enigmatic Sexuality 1 A01 21 0000000274389261 Katrine Zeuthen Katrine Zeuthen 40 035b05819 University of Copenhagen 2 A01 Judy Gammelgaard Judy Gammelgaard 40 035b05819 University of Copenhagen 01 eng 03 00 It was not without hesitation that we agreed to take part in the discussion initiated by the editors of this book. We are only very superficially acquainted with queer theory, and as clinical prac-titioners we are not quite at ease with postmodern and post-structuralist thinking, and thus we felt ourselves to be unfamil-iar with the perspectives presented by those who are more well versed in this field.In some ways our apprehension was confirmed when we read the texts, but at the same time our curiosity was piqued when we realized that psychoanalysis was being both used and challenged by deconstructive readings of the Freudian theory of sexuality. As we gradually familiarized ourselves with this line of thinking, we found several perspectives we wanted to address. Because of the limited space, our answers to the many interesting and pro-vocative ideas are of course only preliminary. To this we want to add that we have confined ourselves to commenting on the ideas presented in this book and only occasionally on the ideas quoted in the book, many of which we are not familiar with. 30 00 It was not without hesitation that we agreed to take part in the discussion initiated by the editors of this book. We are only very superficially acquainted with queer theory, and as clinical prac-titioners we are not quite at ease with postmodern and post-structuralist thinking, and thus we felt ourselves to be unfamil-iar with the perspectives presented by those who are more well versed in this field.In some ways our apprehension was confirmed when we read the texts, but at the same time our curiosity was piqued when we realized that psychoanalysis was being both used and challenged by deconstructive readings of the Freudian theory of sexuality. As we gradually familiarized ourselves with this line of thinking, we found several perspectives we wanted to address. Because of the limited space, our answers to the many interesting and pro-vocative ideas are of course only preliminary. To this we want to add that we have confined ourselves to commenting on the ideas presented in this book and only occasionally on the ideas quoted in the book, many of which we are not familiar with. 20 00 Open Access Zeuthen, Katrine Gammelgaard, Judy 18 03 06 10.21983/P3.0167.1.18 313 328 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Transforming Nexus Psychoanalysis, Social Theory and Queer Childhood 1 A01 Ken Corbett Ken Corbett 40 0190ak572 New York University 01 eng 03 00 Twenty-first-century clinical psychoanalysis surely has as much to do with feminism, queer theory, and social philosophy as it does with Freudian tenets, postwar British object-relations theory, American ego psychology, or even modern attachment models. The social critique of the normal is now developing de-velopmental theories. Questioning the rigid necessity of a nor-mative symbolic order has led not only to rethinking human development, but also to the re-conception of psychotherapeu-tic care. 30 00 Twenty-first-century clinical psychoanalysis surely has as much to do with feminism, queer theory, and social philosophy as it does with Freudian tenets, postwar British object-relations theory, American ego psychology, or even modern attachment models. The social critique of the normal is now developing de-velopmental theories. Questioning the rigid necessity of a nor-mative symbolic order has led not only to rethinking human development, but also to the re-conception of psychotherapeu-tic care. 20 00 Open Access Corbett, Ken 19 03 06 10.21983/P3.0167.1.19 329 341 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Clinical Encounters The Queer New Times 1 A01 Rob Weatherill Rob Weatherill 40 05m7pjf47 University College Dublin 01 eng 03 00 “Let’s get a few things straight,” says a middle-aged man at the beginning of yet another fraught session, “I want you to accept that I am a married man; I am heterosexual and happy to be so; I love my wife and my children; I am good at my work. So can we return to what I sought these sessions for in the first place, namely my chronic anxiety? This is what I need to put right and I need your help.” Of course, this demand for the analyst to get a few things clear—“straight”—is precisely the issue: the analyst simply repeats the guiding principle about free association. 30 00 “Let’s get a few things straight,” says a middle-aged man at the beginning of yet another fraught session, “I want you to accept that I am a married man; I am heterosexual and happy to be so; I love my wife and my children; I am good at my work. So can we return to what I sought these sessions for in the first place, namely my chronic anxiety? This is what I need to put right and I need your help.” Of course, this demand for the analyst to get a few things clear—“straight”—is precisely the issue: the analyst simply repeats the guiding principle about free association. 20 00 Open Access Weatherill, Rob 20 03 06 10.21983/P3.0167.1.20 343 356 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Undoing Psychoanalysis Towards a Clinical and Conceptual Metistopia 1 A01 Dany Nobus Dany Nobus 40 00dn4t376 Brunel University 01 eng 03 00 It was not exactly Freud’s birthday, but on April 27, 1995, the em-inent French psychoanalyst André Green (1995) delivered the “Sigmund Freud Birthday Lecture” at the Anna Freud Centre in London under the title “Has Sexuality Anything To Do With Psychoanalysis?” In the opening sections of his paper, Green explained that his provocative question had been prompted by a twofold observation. On the one hand, he had noticed how since the mid-1980s sexuality had all but disappeared as a “ma-jor concept” and a “theoretical function of heuristic value” from the psychoanalytic literature, with the exception of “the ever problematic topic of feminine sexuality.” On the other hand, he had ascertained how practicing psychoanalysts, when pre-senting case material, were more inclined to focus on the ego, inter-subjectivity and destructiveness, for example, rather than the role played by sexuality in the mental economy of their pa-tients. In light of these considerations, and wishing the founder of psychoanalysis well for his birthday, Green went on to em-phasize the value and significance of a thorough re-appraisal of Freud’s key contributions to the psychoanalytic study of sexu-ality—libido, the Oedipus complex, genitality, the vicissitudes of the drives (Eros and Thanatos), narcissism—subsequently responding to his own call in the 1997 monograph The Chains of Eros (2000) by newly integrating these and other notions into a hierarchical “erotic chain,” starting from the drive and ending in language and sublimation. 30 00 It was not exactly Freud’s birthday, but on April 27, 1995, the em-inent French psychoanalyst André Green (1995) delivered the “Sigmund Freud Birthday Lecture” at the Anna Freud Centre in London under the title “Has Sexuality Anything To Do With Psychoanalysis?” In the opening sections of his paper, Green explained that his provocative question had been prompted by a twofold observation. On the one hand, he had noticed how since the mid-1980s sexuality had all but disappeared as a “ma-jor concept” and a “theoretical function of heuristic value” from the psychoanalytic literature, with the exception of “the ever problematic topic of feminine sexuality.” On the other hand, he had ascertained how practicing psychoanalysts, when pre-senting case material, were more inclined to focus on the ego, inter-subjectivity and destructiveness, for example, rather than the role played by sexuality in the mental economy of their pa-tients. In light of these considerations, and wishing the founder of psychoanalysis well for his birthday, Green went on to em-phasize the value and significance of a thorough re-appraisal of Freud’s key contributions to the psychoanalytic study of sexu-ality—libido, the Oedipus complex, genitality, the vicissitudes of the drives (Eros and Thanatos), narcissism—subsequently responding to his own call in the 1997 monograph The Chains of Eros (2000) by newly integrating these and other notions into a hierarchical “erotic chain,” starting from the drive and ending in language and sublimation. 20 00 Open Access Nobus, Dany 21 03 06 10.21983/P3.0167.1.21 357 367 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "You make me feel like a natural woman " Thoughts on a Case of Transsexual Identity Formation and Queer Theory 1 A01 Ami Kaplan Ami Kaplan 01 eng 03 00 This chapter is about a male to female transsexual1 individual and some contemplation about her life through the lens of queer theory. I will introduce her shortly, but first I will out-line my psychoanalytic orientation and clinical stance in regard to transgender clients. My psychoanalytic theoretical position is both Freudian (from an Ego Psychology perspective) and based in Object Relations. Within Object Relations, I am most informed by Winnicott and Fairbairn. I don’t subscribe to any psychoanalytic or environmentally-based etiology theories that include such explanations of transsexualism as a defense against homosexuality; based on the mother’s emotional state; stem-ming from insecure attachment to the mother or other prob-lems in the family dynamic (Greenson 1966; Bak 1968; Green-acre 1969; Stoller 1970; Ovesey and Person 1973; 1976; Coates 1990). The type of work I do with these individuals takes a non-pathologizing stance and does not try to figure out how they became transgender. Rather it centers on helping gender variant individuals be who they authentically feel themselves to be. 30 00 This chapter is about a male to female transsexual1 individual and some contemplation about her life through the lens of queer theory. I will introduce her shortly, but first I will out-line my psychoanalytic orientation and clinical stance in regard to transgender clients. My psychoanalytic theoretical position is both Freudian (from an Ego Psychology perspective) and based in Object Relations. Within Object Relations, I am most informed by Winnicott and Fairbairn. I don’t subscribe to any psychoanalytic or environmentally-based etiology theories that include such explanations of transsexualism as a defense against homosexuality; based on the mother’s emotional state; stem-ming from insecure attachment to the mother or other prob-lems in the family dynamic (Greenson 1966; Bak 1968; Green-acre 1969; Stoller 1970; Ovesey and Person 1973; 1976; Coates 1990). The type of work I do with these individuals takes a non-pathologizing stance and does not try to figure out how they became transgender. Rather it centers on helping gender variant individuals be who they authentically feel themselves to be. 20 00 Open Access Kaplan, Ami 22 03 06 10.21983/P3.0167.1.22 369 382 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sexual Difference From Symptom to Sinthome 1 A01 Patricia Gherovici Patricia Gherovici 40 00b30xv10 University of Pennsylvania 01 eng 03 00 “We speak therein of fucking, and we say that it’s not working out” (Lacan 1998[1972–73], 32). Without splitting hairs, Lacan bluntly summed up what people talk about when they are on the analytic couch. If all what we talk about on the couch is sex, nothing much has been discovered in psychoanalysis since Freud and Lacan. Freud’s major revelation that the unconscious is at root sexual is confirmed in our current practice. It is not just that, as Lacan has noted, one hears that something is wrong with sex. Consider the case of one of my analysands, Melissa, a twenty-four-year-old female, who felt that her analysis was pro-gressing because she was “feeling pretty stable and calmer.” She added however that “at the end of the day” she always felt anx-ious. “Perhaps it’s this recurrent thinking, this unrelenting ques-tioning,” she added. Her problems, she knew, were about rela-tionships. The trouble was not just her mother, looming large and overwhelming, or her father, weak and slightly perverse, but her current boyfriend, who overwhelmed her with his affection. “I want to figure out what Mike means to me. Sometimes I ex-perience a sense of happiness because I love him; it can be really wonderful. Sex can be good but as soon as he expresses how much he loves me, I have only regret.” Fundamentally, his love and support did not bring her satisfaction but rather a sense of loss and emptiness. “His intense admiration for me is over-whelming. As if I were cut off from him or myself. Something keeps me from connecting with him.” Melissa had a suspicion about what the problem was: “It is the issue of seeing other peo-ple, but it does not seem worthwhile.” 30 00 “We speak therein of fucking, and we say that it’s not working out” (Lacan 1998[1972–73], 32). Without splitting hairs, Lacan bluntly summed up what people talk about when they are on the analytic couch. If all what we talk about on the couch is sex, nothing much has been discovered in psychoanalysis since Freud and Lacan. Freud’s major revelation that the unconscious is at root sexual is confirmed in our current practice. It is not just that, as Lacan has noted, one hears that something is wrong with sex. Consider the case of one of my analysands, Melissa, a twenty-four-year-old female, who felt that her analysis was pro-gressing because she was “feeling pretty stable and calmer.” She added however that “at the end of the day” she always felt anx-ious. “Perhaps it’s this recurrent thinking, this unrelenting ques-tioning,” she added. Her problems, she knew, were about rela-tionships. The trouble was not just her mother, looming large and overwhelming, or her father, weak and slightly perverse, but her current boyfriend, who overwhelmed her with his affection. “I want to figure out what Mike means to me. Sometimes I ex-perience a sense of happiness because I love him; it can be really wonderful. Sex can be good but as soon as he expresses how much he loves me, I have only regret.” Fundamentally, his love and support did not bring her satisfaction but rather a sense of loss and emptiness. “His intense admiration for me is over-whelming. As if I were cut off from him or myself. Something keeps me from connecting with him.” Melissa had a suspicion about what the problem was: “It is the issue of seeing other peo-ple, but it does not seem worthwhile.” 20 00 Open Access Gherovici, Patricia 23 03 06 10.21983/P3.0167.1.23 385 390 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Plague on Both Your Houses 1 A01 21 0000000207543505 Stephen Frosh Stephen Frosh 40 02mb95055 Birkbeck, University of London 01 eng 03 00 It is tempting to suggest that the staging of an encounter in this book has served mainly to dramatize the incommensurability of psychoanalysis and queer theory. Perhaps there are really two separate theaters, one in which queer celebrations of disruptive-ness goes on, and one in which psychoanalysts and psychother-apists try to bring order to confusions of desire, identity and identification. Lisa Downing articulates one of the key opposi-tions in focusing on perversion: For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. 30 00 It is tempting to suggest that the staging of an encounter in this book has served mainly to dramatize the incommensurability of psychoanalysis and queer theory. Perhaps there are really two separate theaters, one in which queer celebrations of disruptive-ness goes on, and one in which psychoanalysts and psychother-apists try to bring order to confusions of desire, identity and identification. Lisa Downing articulates one of the key opposi-tions in focusing on perversion: For clinical psychoanalysts, perversion is sexuality gone awry; the failure of the subject to attain adult genitality. For queer theorists, on the other hand, perversion may be construed as a defiant performance of excess that shows up the constructedness and arbitrariness of the category of the “normal,” and it is centrally implicated in queer’s rejection of the meaning of identity in favor of the politics of practice. 20 00 Open Access Frosh, Stephen 24 03 06 10.21983/P3.0167.1.24 391 395 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Something Amiss 1 A01 Jacqueline Rose Jacqueline Rose 40 02mb95055 Birkbeck, University of London 01 eng 03 00 RoseThere is something amiss. On that much queer theory and psy-choanalysis agree. For both of these ways of engaging with the world, the dominant, normative, regulations of sexual life are a lie. Freud (1908) spoke of the “injustice” of expecting one form of sexual behavior from us all. “It is one of the obvious social injustices [eine der offenkundigen sozialen Ungerechtigkeiten],” he wrote in his essay “‘Civilised’ Sexual Morality and Mod-ern Nervous Illness,” “that the standard of civilisation should demand from everyone the same conduct of sexual life” (192). Except, he added, the injustice is normally wiped out by diso-bedience—Nichtbefolgen—or non-observance of the norm. The psychoanalytic subject is restless. She puts up a fight in her dreams. Nor is her rebellion restricted to the night time alone. She has thoughts she does not share. Sometimes she herself does not know what these are. Even in the putative calm of the day, when everything is meant to be safe, she can be surprised by herself. Such moments may allow a moment of escape from the norms that bind her—the norms of civilization which, as we see from his essay’s title, Freud was careful to put in scare quotes. But these moments, inklings of another unconscious life, might also trail behind them ways of being which she would prefer not to know or to forget. Whatever her sexual orientation, this is likely to be the case. There is no clear or easy resting place in the mind. Fluidity, plasticity—the catch-words of recent theory — do not halt on request. The way-stations may be enticing or bleak. You cannot turn the unconscious into a manifesto (which is why Freud disagreed with the surrealists). For psychoanalysis, it is axiomatic that we never fully know who we are. 30 00 RoseThere is something amiss. On that much queer theory and psy-choanalysis agree. For both of these ways of engaging with the world, the dominant, normative, regulations of sexual life are a lie. Freud (1908) spoke of the “injustice” of expecting one form of sexual behavior from us all. “It is one of the obvious social injustices [eine der offenkundigen sozialen Ungerechtigkeiten],” he wrote in his essay “‘Civilised’ Sexual Morality and Mod-ern Nervous Illness,” “that the standard of civilisation should demand from everyone the same conduct of sexual life” (192). Except, he added, the injustice is normally wiped out by diso-bedience—Nichtbefolgen—or non-observance of the norm. The psychoanalytic subject is restless. She puts up a fight in her dreams. Nor is her rebellion restricted to the night time alone. She has thoughts she does not share. Sometimes she herself does not know what these are. Even in the putative calm of the day, when everything is meant to be safe, she can be surprised by herself. Such moments may allow a moment of escape from the norms that bind her—the norms of civilization which, as we see from his essay’s title, Freud was careful to put in scare quotes. But these moments, inklings of another unconscious life, might also trail behind them ways of being which she would prefer not to know or to forget. Whatever her sexual orientation, this is likely to be the case. There is no clear or easy resting place in the mind. Fluidity, plasticity—the catch-words of recent theory — do not halt on request. The way-stations may be enticing or bleak. You cannot turn the unconscious into a manifesto (which is why Freud disagreed with the surrealists). For psychoanalysis, it is axiomatic that we never fully know who we are. 20 00 Open Access Rose, Jacqueline 25 03 06 10.21983/P3.0167.1.25 397 402 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taking Shelter from Queer 1 A01 Tim Dean Tim Dean 40 047426m28 University of Illinois Urbana-Champaign 01 eng 03 00 “Psychoanalysis may be queer but it is not queer theory,” ob-serves Patricia Gherovici, in a sentence that encapsulates the central tension structuring Clinical Encounters in Sexuality. As the chapters in this volume demonstrate, psychoanalysis looks different from a queer perspective, often disorientingly so. Yet even as the potential queerness of psychoanalysis is teased out and highlighted, some minimal difference between the two re-mains. What to make of that difference—indeed, what to make of various small differences—exercises all of the contributors in one way or another, eliciting a range of responses, from the intrigued and engaged to the disturbingly phobic. 30 00 “Psychoanalysis may be queer but it is not queer theory,” ob-serves Patricia Gherovici, in a sentence that encapsulates the central tension structuring Clinical Encounters in Sexuality. As the chapters in this volume demonstrate, psychoanalysis looks different from a queer perspective, often disorientingly so. Yet even as the potential queerness of psychoanalysis is teased out and highlighted, some minimal difference between the two re-mains. What to make of that difference—indeed, what to make of various small differences—exercises all of the contributors in one way or another, eliciting a range of responses, from the intrigued and engaged to the disturbingly phobic. 20 00 Open Access Dean, Tim 26 03 06 10.21983/P3.0167.1.26 403 409 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Courageous Drawings of Vigilant Ambiguities 1 A01 Noreen O'Connor Noreen O'Connor 01 eng 03 00 My aim is to elucidate ways in which analysts have responded to the challenges of queer theorists. Working with the operative distinction of analyst and queer theorist I draw out their shared vigilance of reductive classifications of foundational aesthetic, epistemic, ontological, ethico-political specifications of subjec-tive/intersubjective relationships. Corbett succinctly expresses the clinical ambiance of con-temporary psychoanalysis in his first sentence describing the pivotal relationships between different models of analytic praxis and social critiques of normality. By “leaning” toward the gener-ative grounding soil of psychoanalytic originality practitioners explore ways in which fantasy inter-implicates the body-subject and thereby challenge dualisms of mind/body, language/think-ing. Psychoanalytic space is delineated as a place in which the enigmatic dynamism of transferences of fantasies and attributes highlight the courageous listening/speaking ethos present in the rigorous work of contributors to this book, namely, encounters. Analysis opens horizons of varying inter-subjective spaces and times for the emergence of individual speaking of a body-sub-ject in their relational complexity (Ellis 2008, 187; 2010, 65–66). 30 00 My aim is to elucidate ways in which analysts have responded to the challenges of queer theorists. Working with the operative distinction of analyst and queer theorist I draw out their shared vigilance of reductive classifications of foundational aesthetic, epistemic, ontological, ethico-political specifications of subjec-tive/intersubjective relationships. Corbett succinctly expresses the clinical ambiance of con-temporary psychoanalysis in his first sentence describing the pivotal relationships between different models of analytic praxis and social critiques of normality. By “leaning” toward the gener-ative grounding soil of psychoanalytic originality practitioners explore ways in which fantasy inter-implicates the body-subject and thereby challenge dualisms of mind/body, language/think-ing. Psychoanalytic space is delineated as a place in which the enigmatic dynamism of transferences of fantasies and attributes highlight the courageous listening/speaking ethos present in the rigorous work of contributors to this book, namely, encounters. Analysis opens horizons of varying inter-subjective spaces and times for the emergence of individual speaking of a body-sub-ject in their relational complexity (Ellis 2008, 187; 2010, 65–66). 20 00 Open Access O'Connor, Noreen 27 03 06 10.21983/P3.0167.1.27 411 417 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Understanding Homophobia 1 A01 Mark J. Blechner Mark J. Blechner 40 0190ak572 New York University 01 eng 03 00 Psychoanalysts and queer theorists both know that the ques-tions we ask shape the kind of data we discover. Psychoanalysts since Sigmund Freud have asked often, “Why are some people homosexual? What causes this sexual attraction?” They have not asked so often, “Why do people hate and fear homosexuals? What causes this irrational emotional reaction? What causes the destructive and often delusional fear and hatred of gay men and lesbians?” This is odd, since homosexuality itself has harmed no one, whereas hatred and persecution of homosexuals has damaged many lives. It is also odd because the understand-ing of prejudice has been a fundamental aim of psychoanaly-sis throughout its history. The Interpretation of Dreams (Freud, 1900) was not only a landmark in the science of unconscious processes; it was also a relentless airing of and protest against the prejudice towards Jews in Freud’s time. Psychoanalysis is the science of the irrational, and hence it is the field most suited to address the irrational fear and hatred of homosexuality that we call homophobia. 30 00 Psychoanalysts and queer theorists both know that the ques-tions we ask shape the kind of data we discover. Psychoanalysts since Sigmund Freud have asked often, “Why are some people homosexual? What causes this sexual attraction?” They have not asked so often, “Why do people hate and fear homosexuals? What causes this irrational emotional reaction? What causes the destructive and often delusional fear and hatred of gay men and lesbians?” This is odd, since homosexuality itself has harmed no one, whereas hatred and persecution of homosexuals has damaged many lives. It is also odd because the understand-ing of prejudice has been a fundamental aim of psychoanaly-sis throughout its history. The Interpretation of Dreams (Freud, 1900) was not only a landmark in the science of unconscious processes; it was also a relentless airing of and protest against the prejudice towards Jews in Freud’s time. Psychoanalysis is the science of the irrational, and hence it is the field most suited to address the irrational fear and hatred of homosexuality that we call homophobia. 20 00 Open Access Blechner, Mark J. 28 03 06 10.21983/P3.0167.1.28 419 426 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Transgender, Queer Theory, and Psychoanalysis 1 A01 Susan Stryker Susan Stryker 40 03m2x1q45 University of Arizona 01 eng 03 00 The inclusion of trans*1 material in this collection of essays on the encounter between psychoanalysis and queer theory neces-sarily raises the question of the relationship of trans* to queer, as well as trans* to psychoanalysis. The five essays that deal explicitly with trans* issues—Gh-erovici, Corbett, Kaplan, Weatherill, and Geldhof and Ver-haeghe—each approach these matters somewhat differently. Weatherill makes only passing, and transphobic, mention of transgender women when he approvingly quotes Germaine Greer’s gratuitously vulgar dismissal of such individuals’ claims to social existence: “just because you lop off your dick doesn’t make you a fucking woman.” For Geldhof and Verhaeghe, trans* positions are “extreme representatives” of a queer social move-ment that seems “to refuse the classical distinction between man and woman.” For Kaplan, “trans” represents a benign albeit limiting investment in fixed gender identities that is counterposed to the supposed fluidity, and desirability, of queer gender expres-sion. Though he does not use the trans* nomenclature, Corbett’s nuanced discussion of “queer childhood” is attuned to those moments “in which the social order of gender is challenged,” and in which a “transforming nexus” of gender mallability is created that allows for gender’s resignification through collec-tive intersubjective fantasies between queer children and their significant others. For Gherovici, transness and homosexuality both address, in nonheteronormative ways, the imperative to assume a psychical position in relation to the question of sexual difference; they are divergent yet equally viable sinthomes, or an-swers to the unavoidable riddle of how the Real, Imaginary, and Symbolic registers might be knotted together. 30 00 The inclusion of trans*1 material in this collection of essays on the encounter between psychoanalysis and queer theory neces-sarily raises the question of the relationship of trans* to queer, as well as trans* to psychoanalysis. The five essays that deal explicitly with trans* issues—Gh-erovici, Corbett, Kaplan, Weatherill, and Geldhof and Ver-haeghe—each approach these matters somewhat differently. Weatherill makes only passing, and transphobic, mention of transgender women when he approvingly quotes Germaine Greer’s gratuitously vulgar dismissal of such individuals’ claims to social existence: “just because you lop off your dick doesn’t make you a fucking woman.” For Geldhof and Verhaeghe, trans* positions are “extreme representatives” of a queer social move-ment that seems “to refuse the classical distinction between man and woman.” For Kaplan, “trans” represents a benign albeit limiting investment in fixed gender identities that is counterposed to the supposed fluidity, and desirability, of queer gender expres-sion. Though he does not use the trans* nomenclature, Corbett’s nuanced discussion of “queer childhood” is attuned to those moments “in which the social order of gender is challenged,” and in which a “transforming nexus” of gender mallability is created that allows for gender’s resignification through collec-tive intersubjective fantasies between queer children and their significant others. For Gherovici, transness and homosexuality both address, in nonheteronormative ways, the imperative to assume a psychical position in relation to the question of sexual difference; they are divergent yet equally viable sinthomes, or an-swers to the unavoidable riddle of how the Real, Imaginary, and Symbolic registers might be knotted together. 20 00 Open Access Stryker, Susan 29 03 06 10.21983/P3.0167.1.29 427 433 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Psychoanalysis That Dare Not Speak Its Name 1 A01 Ona Nierenberg Ona Nierenberg 40 0190ak572 New York University 01 eng 03 00 In the opening essay of Love In A Dark Time: Gay Lives from Wilde to Almodovar, Colm Tóibin refers to Borges’s essay “The Argentine Writer and Tradition” to describe the position of exile as a condition for creation, for the possibility of the emergence of the new. Tóibin situates gay literary figures alongside the Jew-ish, Argentine, and Irish artists that Borges refers to, underlin-ing that the place of estrangement, of foreignness, is the sine qua non for speaking at the limits of the sayable. While certainly not sufficient, extra-territoriality is absolutely necessary to affect a break with the mortifications referred to by Freud (1926a) as “the compact majority” (274). 30 00 In the opening essay of Love In A Dark Time: Gay Lives from Wilde to Almodovar, Colm Tóibin refers to Borges’s essay “The Argentine Writer and Tradition” to describe the position of exile as a condition for creation, for the possibility of the emergence of the new. Tóibin situates gay literary figures alongside the Jew-ish, Argentine, and Irish artists that Borges refers to, underlin-ing that the place of estrangement, of foreignness, is the sine qua non for speaking at the limits of the sayable. While certainly not sufficient, extra-territoriality is absolutely necessary to affect a break with the mortifications referred to by Freud (1926a) as “the compact majority” (274). 20 00 Open Access Nierenberg, Ona 30 03 06 10.21983/P3.0167.1.30 437 443 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Not-Meanings of Karla Black's There Can Be No Arguments 1 A01 Medb Ruane Medb Ruane 01 eng 03 00 We expect to be able to recognize what we see in the visual field but visual experience occurs around a void, an emptiness, over which the artist places semblants. In The Ethics of Psychoanalysis (2008[1959–60]), Lacan likened this to a vase that puts a skin around a hole and veils the open sewer beneath. A “nothing” becomes a “something.” An object is made to exist (148–49).The marked and voided spaces around Karla Black’s sus-pended piece There Can Be No Arguments play with fullness and emptiness, not only as background for the works in space she makes. The marks are written on the rim of the Real. They are not about metaphor or producing meaning. Strip meaning or the hope of it away and an encounter emerges. She dresses and addresses a void. 30 00 We expect to be able to recognize what we see in the visual field but visual experience occurs around a void, an emptiness, over which the artist places semblants. In The Ethics of Psychoanalysis (2008[1959–60]), Lacan likened this to a vase that puts a skin around a hole and veils the open sewer beneath. A “nothing” becomes a “something.” An object is made to exist (148–49).The marked and voided spaces around Karla Black’s sus-pended piece There Can Be No Arguments play with fullness and emptiness, not only as background for the works in space she makes. The marks are written on the rim of the Real. They are not about metaphor or producing meaning. Strip meaning or the hope of it away and an encounter emerges. She dresses and addresses a void. 20 00 Open Access Ruane, Medb 31 03 06 10.21983/P3.0167.1.31 445 473 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword Reflections on the Encounters between Psychoanalysis and Queer Theory 1 A01 21 0000000328716433 Eve Watson Eve Watson Independent Colleges Dublin 01 eng 03 00 Clinical Encounters in Sexuality brings together two altogether different disciplines that address the field of human sexual-ity: clinical psychoanalysis and queer theory. This encounter is underpinned by the centrality of sexuality to both disciplines and the crucial nature of psychoanalytic theory to queer the-ory’s theorization of gender and sexuality. Beginning with Sig-mund Freud, psychoanalysis has a long history of turning to other fields such as philosophy, art, literature, linguistics, sci-ence, mathematics, and religion to develop and differentiate its major themes. This collection adds the work of queer theory to this list of co-conspirators addressing the question of what it is to be uniquely human, especially important today in light of the homogenizing effects of globalization, marketization and digitalization. Queer theory proffers a breadth of critical think-ing about contemporary sexuality, mechanisms of bio-power and regimes of normativization for psychoanalysts to address themselves to. Queer theory’s use of psychoanalysis is critical to its Foucault-inspired project of critically exploring desire, pleasure, identity and the social fabric itself. Psychoanalysts, for their part, offer psychoanalytic theory, clinical practice and the extraordinary value of the clinical vignette, the psychoanalytic tool par excellence. In addition, theorists of psychoanalysis and sexuality bring their insights to bear on this “queer” marriage between psychoanalysis and queer theory for readers to add to their experience of the book. 30 00 Clinical Encounters in Sexuality brings together two altogether different disciplines that address the field of human sexual-ity: clinical psychoanalysis and queer theory. This encounter is underpinned by the centrality of sexuality to both disciplines and the crucial nature of psychoanalytic theory to queer the-ory’s theorization of gender and sexuality. Beginning with Sig-mund Freud, psychoanalysis has a long history of turning to other fields such as philosophy, art, literature, linguistics, sci-ence, mathematics, and religion to develop and differentiate its major themes. This collection adds the work of queer theory to this list of co-conspirators addressing the question of what it is to be uniquely human, especially important today in light of the homogenizing effects of globalization, marketization and digitalization. Queer theory proffers a breadth of critical think-ing about contemporary sexuality, mechanisms of bio-power and regimes of normativization for psychoanalysts to address themselves to. Queer theory’s use of psychoanalysis is critical to its Foucault-inspired project of critically exploring desire, pleasure, identity and the social fabric itself. Psychoanalysts, for their part, offer psychoanalytic theory, clinical practice and the extraordinary value of the clinical vignette, the psychoanalytic tool par excellence. In addition, theorists of psychoanalysis and sexuality bring their insights to bear on this “queer” marriage between psychoanalysis and queer theory for readers to add to their experience of the book. 20 00 Open Access Watson, Eve 32 03 06 10.21983/P3.0167.1.32 475 492 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Noreen Giffney Noreen Giffney 40 01yp9g959 University of Ulster 2 B01 21 0000000328716433 Eve Watson Eve Watson 01 eng 20 00 Open Access Giffney, Noreen Watson, Eve 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/clinical-encounters-in-sexuality-psychoanalytic-practice-and-queer-theory/ Earth, Milky Way 04 01 20170307 Giffney, Noreen Watson, Eve 02 WORLD 06 15 9780998531854 03 9780998531854 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76528 20 08 20170307 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25460 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25460/1004635.pdf?sequence=1&isAllowed=y 20 08 20170307 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33428 20 08 20170307 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv19cwdnt 20 08 20170307 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/551 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2f508be7-d2d3-4061-a818-e7d99d72384f/download 20 08 20170307 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Clinical_Encounters_in_Sexuality_Psychoa/qAWVEAAAQBAJ 20 08 20170307 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/84447325-88e2-4658-8597-3f2329451156 29 INTERNET_ARCHIVE: download the title https://archive.org/download/84447325-88e2-4658-8597-3f2329451156/84447325-88e2-4658-8597-3f2329451156.pdf 20 08 20170307 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846845 29 ZENODO: download the title https://zenodo.org/records/19846845/files/84447325-88e2-4658-8597-3f2329451156_book.pdf 20 08 20170307 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/clinical-encounters-in-sexuality-psychoanalytic-practice-and-queer-theory/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0167.1.00.pdf 20 08 20170307 01 urn:uuid:ad0f5fd1-7646-4723-93e2-a22cbdaf5dac 03 01 01 thoth-work-id urn:uuid:501a8862-dc30-4d1e-ab47-deb9f5579678 01 thoth-publication-id urn:uuid:ad0f5fd1-7646-4723-93e2-a22cbdaf5dac 15 9781953035769 03 9781953035769 06 10.53288/0324.1.00 13 2021942772 01 internal-reference 0324 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Closer to Dust 1 A01 21 0000000191768514 Sara A. Rich Sara A. Rich 40 01621q256 Coastal Carolina University 01 eng 00 108 03 12 BM 93 DNC B2 Fabulations 10 PHO005000 93 AJ 12 AJ 10 BIO026000 20 autobiography; creative nonfiction; divorce; immigration; international relationships; marriage; photography 01 06 02 00 03 00 No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they?Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate.Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion. 30 00 No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they?Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate.Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0324.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/closer-to-dust/ Earth, Milky Way 04 01 20210827 Rich, Sara A. 02 WORLD 06 15 9781953035776 03 9781953035776 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035760 20 08 20210827 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/closer-to-dust 20 08 20210827 02 24.00 USD WORLD urn:uuid:676f8ca8-fa83-4770-8805-feffcd721177 03 01 01 thoth-work-id urn:uuid:501a8862-dc30-4d1e-ab47-deb9f5579678 01 thoth-publication-id urn:uuid:676f8ca8-fa83-4770-8805-feffcd721177 15 9781953035776 03 9781953035776 06 10.53288/0324.1.00 13 2021942772 01 internal-reference 0324 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Closer to Dust 1 A01 21 0000000191768514 Sara A. Rich Sara A. Rich 40 01621q256 Coastal Carolina University 01 eng 00 108 03 12 BM 93 DNC B2 Fabulations 10 PHO005000 93 AJ 12 AJ 10 BIO026000 20 autobiography; creative nonfiction; divorce; immigration; international relationships; marriage; photography 01 06 02 00 03 00 No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they?Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate.Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion. 30 00 No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they?Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate.Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0324.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/closer-to-dust/ Earth, Milky Way 04 01 20210827 Rich, Sara A. 02 WORLD 06 15 9781953035769 03 9781953035769 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50495 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50495/0324.1.00.pdf?sequence=1&isAllowed=y 20 08 20210827 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71698 20 08 20210827 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv21fqjb0 20 08 20210827 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/684 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8ead1425-8baf-42a5-a11b-31d085d57901/download 20 08 20210827 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Closer_to_Dust/V5-oEAAAQBAJ 20 08 20210827 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/501a8862-dc30-4d1e-ab47-deb9f5579678 29 INTERNET_ARCHIVE: download the title https://archive.org/download/501a8862-dc30-4d1e-ab47-deb9f5579678/501a8862-dc30-4d1e-ab47-deb9f5579678.pdf 20 08 20210827 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848991 29 ZENODO: download the title https://zenodo.org/records/19848991/files/501a8862-dc30-4d1e-ab47-deb9f5579678_book.pdf 20 08 20210827 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/closer-to-dust/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0324.1.00.pdf 20 08 20210827 01 urn:uuid:1b5144d2-fa86-4016-a1f0-81052e644ae1 03 01 01 thoth-work-id urn:uuid:a022743e-8b77-4246-a068-e08d57815e27 01 thoth-publication-id urn:uuid:1b5144d2-fa86-4016-a1f0-81052e644ae1 15 9780615988047 03 9780615988047 06 10.21983/P3.0150.1.00 01 internal-reference 0150 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 CMOK to YOu To A Correspondence 1 A01 Nina Živančević Nina Živančević 40 04wez5e68 Paris 8 University 2 A01 Marc James Léger Marc James Léger 01 eng 00 516 03 12 BJ B2 Cultural Studies+Critical Theory 93 DND 10 PSY026000 B2 Thought Experiments 20 correspondence; psychoanalysis; Jacques Lacan 01 06 02 00 03 00 CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. 30 00 CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0150.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cmok-to-you-to/ Earth, Milky Way 04 01 20160915 Živančević, Nina Léger, Marc James 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615988040 20 08 20160915 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/cmok-to-you-to-a-correspondence 20 08 20160915 02 29.00 USD WORLD urn:uuid:e74c124d-4658-43ed-bafd-7cb0236ab778 03 01 01 thoth-work-id urn:uuid:a022743e-8b77-4246-a068-e08d57815e27 01 thoth-publication-id urn:uuid:e74c124d-4658-43ed-bafd-7cb0236ab778 06 10.21983/P3.0150.1.00 01 internal-reference 0150 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 CMOK to YOu To A Correspondence 1 A01 Nina Živančević Nina Živančević 40 04wez5e68 Paris 8 University 2 A01 Marc James Léger Marc James Léger 01 eng 00 516 03 12 BJ B2 Cultural Studies+Critical Theory 93 DND 10 PSY026000 B2 Thought Experiments 20 correspondence; psychoanalysis; Jacques Lacan 01 06 02 00 03 00 CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. 30 00 CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0150.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cmok-to-you-to/ Earth, Milky Way 04 01 20160915 Živančević, Nina Léger, Marc James 02 WORLD 06 15 9780615988047 03 9780615988047 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76463 20 08 20160915 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25476 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25476/1004619.pdf?sequence=1&isAllowed=y 20 08 20160915 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39694 20 08 20160915 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354041 20 08 20160915 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/535 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/13124b94-771a-4d7d-b61b-53a1d84e8f25/download 20 08 20160915 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/CMOK_to_YOu_To_A_Correspondence/CASVEAAAQBAJ 20 08 20160915 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a022743e-8b77-4246-a068-e08d57815e27 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a022743e-8b77-4246-a068-e08d57815e27/a022743e-8b77-4246-a068-e08d57815e27.pdf 20 08 20160915 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846703 29 ZENODO: download the title https://zenodo.org/records/19846703/files/a022743e-8b77-4246-a068-e08d57815e27_book.pdf 20 08 20160915 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/cmok-to-you-to/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0150.1.00.pdf 20 08 20160915 01 urn:uuid:9dd45ce5-2f3e-41dd-a4fa-b0d365dd128d 03 01 01 thoth-work-id urn:uuid:a022743e-8b77-4246-a068-e08d57815e27 01 thoth-publication-id urn:uuid:9dd45ce5-2f3e-41dd-a4fa-b0d365dd128d 06 10.21983/P3.0150.1.00 01 internal-reference 0150 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 CMOK to YOu To A Correspondence 1 A01 Nina Živančević Nina Živančević 40 04wez5e68 Paris 8 University 2 A01 Marc James Léger Marc James Léger 01 eng 00 516 03 12 BJ B2 Cultural Studies+Critical Theory 93 DND 10 PSY026000 B2 Thought Experiments 20 correspondence; psychoanalysis; Jacques Lacan 01 06 02 00 03 00 CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. 30 00 CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0150.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cmok-to-you-to/ Earth, Milky Way 04 01 20160915 Živančević, Nina Léger, Marc James 02 WORLD 06 15 9780615988047 03 9780615988047 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846703 29 ZENODO: download the title https://zenodo.org/records/19846703/files/a022743e-8b77-4246-a068-e08d57815e27_book.epub 20 08 20160915 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/cmok-to-you-to/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0150.1.00.epub 20 08 20160915 01 urn:uuid:f62483f6-3f80-4138-b766-1a201bf33dab 03 01 01 thoth-work-id urn:uuid:f94ded4d-1c87-4503-82f1-a1ca4346e756 01 thoth-publication-id urn:uuid:f62483f6-3f80-4138-b766-1a201bf33dab 15 9781953035592 03 9781953035592 06 10.21983/P3.0342.1.00 13 2021934829 01 internal-reference 0342 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Come As You Are, After Eve Kosofsky Sedgwick 1 A01 Eve Kosofsky Sedgwick Eve Kosofsky Sedgwick 40 00py81415 Duke University 40 00awd9g61 The Graduate Center, CUNY 2 A01 Jonathan Goldberg Jonathan Goldberg 40 03czfpz43 Emory University 01 eng 00 134 03 B2 Cultural Studies+Critical Theory 12 DSK 93 DSK 10 LIT004290 93 JBSJ 12 JFSK B2 TransQueer 20 difference; ontology; identification; queer studies; literary studies; queer temporality 01 06 02 00 03 00 This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it.“Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores. 30 00 This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it.“Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0342.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/come-as-you-are-after-eve-kosofsky-sedgwick/ Earth, Milky Way 04 01 20210406 Goldberg, Jonathan Kosofsky Sedgwick, Eve 02 WORLD 06 15 9781953035448 03 9781953035448 34 06 10.1353/mos.2015.0010 34 06 10.1086/605402 34 06 10.1353/crt.2010.0041 34 06 10.1353/crt.2010.0040 34 06 10.1632/pmla.2010.125.2.374 34 06 10.2139/ssrn.3256953 34 06 10.1353/crt.2010.0036 34 06 10.1080/07407700600744568 34 06 10.1080/0969725X.2018.1435365 34 06 10.1632/pmla.2010.125.2.378 34 06 10.1353/nar.2002.0002 34 06 10.2307/3043795 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035590 20 08 20210406 02 34.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/come-as-you-are-after-eve-kosofsky-sedgwick 20 08 20210406 02 34.00 USD WORLD urn:uuid:05959029-e0a7-4daa-9960-3b00eaed64e3 03 01 01 thoth-work-id urn:uuid:f94ded4d-1c87-4503-82f1-a1ca4346e756 01 thoth-publication-id urn:uuid:05959029-e0a7-4daa-9960-3b00eaed64e3 15 9781953035448 03 9781953035448 06 10.21983/P3.0342.1.00 13 2021934829 01 internal-reference 0342 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Come As You Are, After Eve Kosofsky Sedgwick 1 A01 Eve Kosofsky Sedgwick Eve Kosofsky Sedgwick 40 00py81415 Duke University 40 00awd9g61 The Graduate Center, CUNY 2 A01 Jonathan Goldberg Jonathan Goldberg 40 03czfpz43 Emory University 01 eng 00 134 03 B2 Cultural Studies+Critical Theory 12 DSK 93 DSK 10 LIT004290 93 JBSJ 12 JFSK B2 TransQueer 20 difference; ontology; identification; queer studies; literary studies; queer temporality 01 06 02 00 03 00 This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it.“Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores. 30 00 This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it.“Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0342.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/come-as-you-are-after-eve-kosofsky-sedgwick/ Earth, Milky Way 04 01 20210406 Goldberg, Jonathan Kosofsky Sedgwick, Eve 02 WORLD 06 15 9781953035592 03 9781953035592 34 06 10.1353/mos.2015.0010 34 06 10.1086/605402 34 06 10.1353/crt.2010.0041 34 06 10.1353/crt.2010.0040 34 06 10.1632/pmla.2010.125.2.374 34 06 10.2139/ssrn.3256953 34 06 10.1353/crt.2010.0036 34 06 10.1080/07407700600744568 34 06 10.1080/0969725X.2018.1435365 34 06 10.1632/pmla.2010.125.2.378 34 06 10.1353/nar.2002.0002 34 06 10.2307/3043795 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/47585 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/47585/0342.1.00.pdf?sequence=1&isAllowed=y 20 08 20210406 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/64288 20 08 20210406 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1m0khdg 20 08 20210406 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/660 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/dad68bc2-53a9-4e40-8b37-eea518f2ea96/download 20 08 20210406 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f94ded4d-1c87-4503-82f1-a1ca4346e756 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f94ded4d-1c87-4503-82f1-a1ca4346e756/f94ded4d-1c87-4503-82f1-a1ca4346e756.pdf 20 08 20210406 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848754 29 ZENODO: download the title https://zenodo.org/records/19848754/files/f94ded4d-1c87-4503-82f1-a1ca4346e756_book.pdf 20 08 20210406 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/come-as-you-are-after-eve-kosofsky-sedgwick/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0342.1.00.pdf 20 08 20210406 01 urn:uuid:ff2a17a3-ac73-4458-b263-a67711bb8aa3 03 01 01 thoth-work-id urn:uuid:0ff62120-4478-46dc-8d01-1d7e1dc5b7a6 01 thoth-publication-id urn:uuid:ff2a17a3-ac73-4458-b263-a67711bb8aa3 15 9780615849782 03 9780615849782 06 10.21983/P3.0040.1.00 01 internal-reference 0040 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Commonist Tendencies Mutual Aid beyond Communism 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 108 03 B2 Capital+Lucre 93 JPFC 12 JPW 10 POL042010 93 KCSV B2 Manifesto! B2 New Left Thought 20 political theory; activism; commonism; cultural studies; anarchism 01 06 02 00 03 00 As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. 30 00 As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0040.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/commonist-tendencies/ Brooklyn, NY 04 01 20130723 Shantz, Jeff 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615849784 20 08 20130723 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/commonist-tendencies-mutual-aid-beyond-communism 20 08 20130723 02 21.00 USD WORLD urn:uuid:c12ff085-7022-4474-abad-a934afe9c73f 03 01 01 thoth-work-id urn:uuid:0ff62120-4478-46dc-8d01-1d7e1dc5b7a6 01 thoth-publication-id urn:uuid:c12ff085-7022-4474-abad-a934afe9c73f 06 10.21983/P3.0040.1.00 01 internal-reference 0040 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Commonist Tendencies Mutual Aid beyond Communism 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 108 03 B2 Capital+Lucre 93 JPFC 12 JPW 10 POL042010 93 KCSV B2 Manifesto! B2 New Left Thought 20 political theory; activism; commonism; cultural studies; anarchism 01 06 02 00 03 00 As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. 30 00 As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0040.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/commonist-tendencies/ Brooklyn, NY 04 01 20130723 Shantz, Jeff 02 WORLD 06 15 9780615849782 03 9780615849782 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25577 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25577/1004518.pdf?sequence=1&isAllowed=y 20 08 20130723 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30526 20 08 20130723 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353779 20 08 20130723 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/420 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6b806da6-f3d6-4e46-bf55-7ccd88917839/download 20 08 20130723 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0ff62120-4478-46dc-8d01-1d7e1dc5b7a6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0ff62120-4478-46dc-8d01-1d7e1dc5b7a6/0ff62120-4478-46dc-8d01-1d7e1dc5b7a6.pdf 20 08 20130723 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845761 29 ZENODO: download the title https://zenodo.org/records/19845761/files/0ff62120-4478-46dc-8d01-1d7e1dc5b7a6_book.pdf 20 08 20130723 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/commonist-tendencies/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0040.1.00.pdf 20 08 20130723 01 urn:uuid:5fb994e5-1351-4a13-a935-877ef9c2a8ec 03 01 01 thoth-work-id urn:uuid:0ff62120-4478-46dc-8d01-1d7e1dc5b7a6 01 thoth-publication-id urn:uuid:5fb994e5-1351-4a13-a935-877ef9c2a8ec 06 10.21983/P3.0040.1.00 01 internal-reference 0040 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Commonist Tendencies Mutual Aid beyond Communism 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 108 03 B2 Capital+Lucre 93 JPFC 12 JPW 10 POL042010 93 KCSV B2 Manifesto! B2 New Left Thought 20 political theory; activism; commonism; cultural studies; anarchism 01 06 02 00 03 00 As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. 30 00 As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0040.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/commonist-tendencies/ Brooklyn, NY 04 01 20130723 Shantz, Jeff 02 WORLD 06 15 9780615849782 03 9780615849782 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845761 29 ZENODO: download the title https://zenodo.org/records/19845761/files/0ff62120-4478-46dc-8d01-1d7e1dc5b7a6_book.epub 20 08 20130723 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/commonist-tendencies/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0040.1.00.epub 20 08 20130723 01 urn:uuid:7a72a906-1411-440f-94b3-fad130d88541 03 01 01 thoth-work-id urn:uuid:d890e88f-16d7-4b75-bef1-5e4d09c8daa0 01 thoth-publication-id urn:uuid:7a72a906-1411-440f-94b3-fad130d88541 15 9781950192571 03 9781950192571 06 10.21983/P3.0269.1.00 13 2020940865 01 internal-reference 0269 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 184 mm 02 18.4 cm 02 7.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Complementary Modernisms in China and the United States Art as Life/Art as Idea 06 01 交互视野下的中国和美国的现代艺术艺术/生活或观念 1 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara 2 B01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art 01 chi 01 eng 00 696 03 12 ACXJ 93 AGC 10 ART015110 B2 Art+Aesthetics 93 6MC 10 ART009000 B2 Languages+Translations 93 1FPC 93 1KBB-US-W 20 modernism; art history; China; United States; art criticism; postmodernism; avantgarde 01 06 02 00 03 00 Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s. 30 00 Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0269.1.00_frontcover.jpg 1 03 06 10.53288/0269.1.01 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 2 B01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 01 eng 20 00 Open Access 2 03 06 10.53288/0269.1.02 15 27 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Parallel/Complementary Thinking through American and Chinese Modernisms 1 A01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 01 eng 20 00 Open Access Bruce Robertson 3 03 06 10.53288/0269.1.03 28 44 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 平行/互补对美国和中国的现代主义的思考 1 A01 布鲁斯·罗伯森 Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 02 chi 02 eng 20 00 Open Access Bruce Robertson 4 03 06 10.53288/0269.1.04 45 61 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 多元的现代主义“探索交互视野下的中美现代艺术”的实验” 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 5 03 06 10.53288/0269.1.05 62 81 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Multi-Modernisms: Exploring “Complementary Modernisms in China and the United States” 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 6 03 06 10.53288/0269.1.06 82 98 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cosmic Jokes and Tangerine Flake Translating Andy Warhol’s "POPism" 1 A01 Reva Wolf Reva Wolf 40 03j3dv688 State University of New York at New Paltz Reva Wolf is Professor of Art History at the State University of New York at New Paltz, where she teaches courses on art of the eighteenth century to the present and on art historical methodology. She is an expert on the art of Goya and Warhol, has published widely on historiographical topics, and is co-editor of Freemasonry and the Visual Arts (Bloomsbury, 2020). 2 A01 Kou Huaiyu Huaiyu Kou Kou Huaiyu is the Chinese translator of Andy Warhol’s POPism: The Warhol Sixties. He has a B.A. in Chinese History from Peking University and a M.A. in Anthropology from the Chinese University of Hong Kong. Trapped by his interest in too many things, his future is quite obscure. 01 eng 20 00 Open Access Reva Wolf Kou Huaiyu 7 03 06 10.53288/0269.1.07 99 121 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 宇宙的玩笑与橙色亮片漆译介安迪·沃霍尔的《波普主义》 1 A01 列娃·沃尔夫 Reva Wolf 40 03j3dv688 State University of New York at New Paltz Reva Wolf is Professor of Art History at the State University of New York at New Paltz, where she teaches courses on art of the eighteenth century to the present and on art historical methodology. She is an expert on the art of Goya and Warhol, has published widely on historiographical topics, and is co-editor of Freemasonry and the Visual Arts (Bloomsbury, 2020). 2 A01 寇淮禹 Huaiyu Kou Kou Huaiyu is the Chinese translator of Andy Warhol’s POPism: The Warhol Sixties. He has a B.A. in Chinese History from Peking University and a M.A. in Anthropology from the Chinese University of Hong Kong. Trapped by his interest in too many things, his future is quite obscure. 01 chi 02 eng 20 00 Open Access Reva Wolf Kou Huaiyu 8 03 06 10.53288/0269.1.08 122 129 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 中西现代主义绘画的会通之路论塞尚与黄宾虹 1 A01 沈语冰 Yubing Shen 40 013q1eq08 Fudan University Shen Yubing is a Professor in the School of Philosophy at Fudan University, Shanghai. He researches and teaches Western modern aesthetics, modern art history, and art theories and criticism. 01 chi 20 00 Open Access Shen Yubing 9 03 06 10.53288/0269.1.09 130 137 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Converging Way of Modern Art between China and the West Cézanne and Huang Binhong 1 A01 Shen Yubing Yubing Shen 40 013q1eq08 Fudan University Shen Yubing is a Professor in the School of Philosophy at Fudan University, Shanghai. He researches and teaches Western modern aesthetics, modern art history, and art theories and criticism. 02 chi 01 eng 20 00 Open Access Shen Yubing 10 03 06 10.53288/0269.1.10 138 157 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Whose Metropolis, Whose Mental Life? Rethinking Space and the Local in Urban Imagery 1 A01 Rebecca Zurier Rebecca Zurier 40 00jmfr291 University of Michigan–Ann Arbor Rebecca Zurier is Associate Professor of the History of Art and Faculty Associate in the Program in American Culture at the University of Michigan. Her research and teaching focus on American art with a special interest in urban culture and representation, national identity and the perception of American art abroad, and concepts of race, realism and representation. 01 eng 20 00 Open Access Rebecca Zurier 11 03 06 10.53288/0269.1.11 158 178 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 谁的大都市?谁的精神生活? 城市图像中的空间与本地居民 1 A01 瑞贝卡·泽瑞尔 Rebecca Zurier 40 00jmfr291 University of Michigan–Ann Arbor Rebecca Zurier is Associate Professor of the History of Art and Faculty Associate in the Program in American Culture at the University of Michigan. Her research and teaching focus on American art with a special interest in urban culture and representation, national identity and the perception of American art abroad, and concepts of race, realism and representation. 01 chi 02 eng 20 00 Open Access Rebecca Zurier 12 03 06 10.53288/0269.1.12 179 192 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 都市景观印象派和垃圾箱画派画作中的纽约图像 1 A01 陈瑶 Yao Chen 40 02czkny70 Hefei University of Technology Chen Yao teaches in the College of Architecture and Art at Hefei University of Technology. Chen researches and teaches French and American Impressionism. 01 chi 20 00 Open Access Chen Yao 13 03 06 10.53288/0269.1.13 193 205 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Urban Spectacle New York City, Impressionist Painting, and the Ashcan School 1 A01 Chen Yao Yao Chen 40 02czkny70 Hefei University of Technology Chen Yao teaches in the College of Architecture and Art at Hefei University of Technology. Chen researches and teaches French and American Impressionism. 02 chi 01 eng 20 00 Open Access Chen Yao 14 03 06 10.53288/0269.1.14 206 211 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 进化抑或革命沃尔特·帕克与1913年美国军械库艺术展 1 A01 陆豪 Hao Lu 40 044my7157 Guangzhou Academy of Fine Arts Lu Hao teaches in the School of Arts and Humanities at Guangzhou Academy of Fine Arts. He researches and teaches modern art and museum studies. 01 chi 20 00 Open Access Lu Hao 15 03 06 10.53288/0269.1.15 212 218 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Evolution or Revolution Walter Pach and the Armory Show in 1913 1 A01 Lu Hao Hao Lu 40 044my7157 Guangzhou Academy of Fine Arts Lu Hao teaches in the School of Arts and Humanities at Guangzhou Academy of Fine Arts. He researches and teaches modern art and museum studies. 02 chi 01 eng 20 00 Open Access Lu Hao 16 03 06 10.53288/0269.1.16 219 228 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 巴黎美院之往，包豪斯之后梁思成与“现代主义”的镜花缘 1 A01 刘晨 Chen Liu 40 03cve4549 Tsinghua University Liu Chen is a lecturer in the School of Architecture at Tsinghua University, Beijing, Visiting Professor at Beijing Film Academy, and at Tongji University in Shanghai. Prof. Liu researches and teaches visual art history, Baroque culture and art, decorative arts, and architecture. 01 chi 20 00 Open Access Liu Chen 17 03 06 10.53288/0269.1.17 229 236 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After the École des Beaux-Arts and Bauhaus Liang Sicheng and the Utopia of Modernism in Chinese Architecture of the Twentieth Century 1 A01 Liu Chen Chen Liu 40 03cve4549 Tsinghua University Liu Chen is a lecturer in the School of Architecture at Tsinghua University, Beijing, Visiting Professor at Beijing Film Academy, and at Tongji University in Shanghai. Prof. Liu researches and teaches visual art history, Baroque culture and art, decorative arts, and architecture. 02 chi 01 eng 20 00 Open Access Liu Chen 18 03 06 10.53288/0269.1.18 237 258 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 决澜社艺术研究作为国际艺术资源的中国现代美术 1 A01 李超 Chao Li 40 006teas31 Shanghai University Li Chao is a Vice Chair and Professor in the Shanghai Academy of Fine Arts at Shanghai University. He is also a Vice Director of the Liu Haisu Art Museum. He researches urban art resources, Chinese modern and contemporary art, Chinese oil painting, urban cultural heritage, and art museum studies. 01 chi 20 00 Open Access Li Chao 19 03 06 10.53288/0269.1.19 259 282 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Study of “the Storm Society” Chinese Modernism as a Resource of International Modern Art 1 A01 Li Chao Chao Li 40 006teas31 Shanghai University Li Chao is a Vice Chair and Professor in the Shanghai Academy of Fine Arts at Shanghai University. He is also a Vice Director of the Liu Haisu Art Museum. He researches urban art resources, Chinese modern and contemporary art, Chinese oil painting, urban cultural heritage, and art museum studies. 02 chi 01 eng 20 00 Open Access Li Chao 20 03 06 10.53288/0269.1.20 283 292 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Joseph Cornell at the Museum of Modern Art 1 A01 Marci Kwon Marci Kwon 40 00f54p054 Stanford University Marci Kwon is Assistant Professor of Art & Art History at Stanford University. Her research interests include the intersection of fine art and vernacular practice; theories of modernism; Asian American art; critical race theory; and “folk” and “self-taught” art. Kwon’s first book, Enchantments: Joseph Cornell and American Modernism is forthcoming from Princeton University Press. 01 eng 20 00 Open Access Marci Kwon 21 03 06 10.53288/0269.1.21 293 308 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 通俗现代主义约瑟夫·康奈尔与民粹主义文化 1 A01 权玛西 Marci Kwon 40 00f54p054 Stanford University Marci Kwon is Assistant Professor of Art & Art History at Stanford University. Her research interests include the intersection of fine art and vernacular practice; theories of modernism; Asian American art; critical race theory; and “folk” and “self-taught” art. Kwon’s first book, Enchantments: Joseph Cornell and American Modernism is forthcoming from Princeton University Press. 01 chi 02 eng 20 00 Open Access Marci Kwon 22 03 06 10.53288/0269.1.22 309 320 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Picturing the Good Earth Modernism’s Rural Roots in China and the United States 1 A01 Jason Weems Jason Weems 40 03nawhv43 University of California, Riverside Jason Weems is Associate Professor and Chair of the History of Art Department at the University of California, Riverside. He is author of Barnstorming the Prairies: How Aerial Vision Shaped the Midwest (University of Minnesota Press, 2015), along with numerous articles on the art and visual culture of the United States and the Americas. 01 eng 20 00 Open Access Jason Weems 23 03 06 10.53288/0269.1.23 321 329 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 描绘大地中美现代主义的乡土渊源 1 A01 詹森·维姆斯 Jason Weems 40 03nawhv43 University of California, Riverside Jason Weems is Associate Professor and Chair of the History of Art Department at the University of California, Riverside. He is author of Barnstorming the Prairies: How Aerial Vision Shaped the Midwest (University of Minnesota Press, 2015), along with numerous articles on the art and visual culture of the United States and the Americas. 01 chi 02 eng 20 00 Open Access Jason Weems 24 03 06 10.53288/0269.1.24 330 345 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Peggy’s “War Babies” Pollock, Motherwell, and Baziotes at Art of This Century 1 A01 Ellen G. Landau Ellen G. Landau 40 051fd9666 Case Western Reserve University Ellen G. Landau, Andrew W. Mellon Professor Emerita in the Humanities at Case Western Reserve University, is the author of Jackson Pollock (1989), Lee Krasner: A Catalogue Raisonne (1995), Abstract Expressionism: Context and Critique (2005), and Mexico and American Modernism (2013). Select recent projects include catalogue essays on Krasner, Hans Hofmann, and Michael West, as well as articles on Pollock’s Mural for Peggy Guggenheim and Robert Motherwell’s relationship to Surrealism. 01 eng 20 00 Open Access Ellen G. Landau 25 03 06 10.53288/0269.1.25 346 364 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 佩吉的“战争之子” “本世纪艺术展”上的波洛克、马瑟韦尔和巴齐奥特 1 A01 艾伦·G·兰道 Ellen G. Landau 40 051fd9666 Case Western Reserve University Ellen G. Landau, Andrew W. Mellon Professor Emerita in the Humanities at Case Western Reserve University, is the author of Jackson Pollock (1989), Lee Krasner: A Catalogue Raisonne (1995), Abstract Expressionism: Context and Critique (2005), and Mexico and American Modernism (2013). Select recent projects include catalogue essays on Krasner, Hans Hofmann, and Michael West, as well as articles on Pollock’s Mural for Peggy Guggenheim and Robert Motherwell’s relationship to Surrealism. 01 chi 02 eng 20 00 Open Access Ellen G. Landau 26 03 06 10.53288/0269.1.26 365 378 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 纽约画派与意识形态 1 A01 毛秋月 Qiuyue Mao 40 03rc6as71 Tongji University Mao Qiuyue teaches in the College of Humanities at Tongji University, Shanghai. She researches and teaches American art and art criticism. 01 chi 20 00 Open Access Mao Qiuyue 27 03 06 10.53288/0269.1.27 379 387 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The New York School and Ideology 1 A01 Mao Qiuyue Qiuyue Mao 40 03rc6as71 Tongji University Mao Qiuyue teaches in the College of Humanities at Tongji University, Shanghai. She researches and teaches American art and art criticism. 01 chi 01 eng 20 00 Open Access Mao Qiuyue 28 03 06 10.53288/0269.1.28 388 399 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 转义和建树中美艺术交互影响的若干个案 1 A01 丁宁 Ning Ding 40 02v51f717 Peking University Ding Ning is a Professor in the School of Art at Peking University who researches and teaches aesthetics, psychology of art, and Western art history. 01 chi 20 00 Open Access Ding Ning 29 03 06 10.53288/0269.1.29 400 412 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Artistic Tropes Some Cases of Mutual Chinese–American Influence 1 A01 Ding Ning Ning Ding 40 02v51f717 Peking University Ding Ning is a Professor in the School of Art at Peking University who researches and teaches aesthetics, psychology of art, and Western art history. 02 chi 01 eng 20 00 Open Access Ding Ning 30 03 06 10.53288/0269.1.30 413 423 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 塑造人民形象与认识自我 20世纪60年代的蔡亮和其他历史画家 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 20 00 Open Access Zhang Jian 31 03 06 10.53288/0269.1.31 424 434 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modeling People and Identifying the Self in History Painting Cai Liang and Others in the Early 1960s 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 32 03 06 10.53288/0269.1.32 435 446 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rethinking the 1960s The History of Art History 1 A01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 01 eng 20 00 Open Access Bruce Robertson 33 03 06 10.53288/0269.1.33 447 461 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 反思60年代艺术史的历史 1 A01 布鲁斯·罗伯森 Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 01 chi 02 eng 20 00 Open Access Bruce Robertson 34 03 06 10.53288/0269.1.34 462 481 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Louise Nevelson’s Modernisms 1 A01 Julia Bryan-Wilson Julia Bryan-Wilson 40 01an7q238 University of California, Berkeley Julia Bryan-Wilson is the Doris and Clarence Malo Professor of Modern and Contemporary Art at UC Berkeley, where she also directs the Arts Research Center. She is also an adjunct curator at the Museu de Arte de São Paulo. 01 eng 20 00 Open Access Julia Bryan-Wilson 35 03 06 10.53288/0269.1.35 482 491 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 路易斯·尼维尔森的现代主义延滞性 1 A01 朱丽·布莱恩 – 威尔逊 Julia Bryan-Wilson 40 01an7q238 University of California, Berkeley Julia Bryan-Wilson is the Doris and Clarence Malo Professor of Modern and Contemporary Art at UC Berkeley, where she also directs the Arts Research Center. She is also an adjunct curator at the Museu de Arte de São Paulo. 01 chi 02 eng 20 00 Open Access Julia Bryan-Wilson 36 03 06 10.53288/0269.1.36 492 500 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Because Night Time Is the Right Time Tactics, Popular Resistance and the Formation of the Black Arts Council 1 A01 John Vincent Decemvirale John Vincent Decemvirale 40 02t274463 University of California, Santa Barbara J.V. Decemvirale is finishing his PhD in the History of Art and Architecture Department at University of California, Santa Barbara. Specializing in contemporary art history, he is working towards the completion of his dissertation: “Knowing Your Place and Making Do: Radical Arts Activism in Black and Latino Los Angeles, 1968-1985.” 01 eng 20 00 Open Access John Vincent Decemvirale 37 03 06 10.53288/0269.1.37 501 510 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 夜晚好时光策略、公众抗拒与黑人艺术委员会的形成 1 A01 约翰·文森特·德赛穆维拉 John Vincent Decemvirale 40 02t274463 University of California, Santa Barbara J.V. Decemvirale is finishing his PhD in the History of Art and Architecture Department at University of California, Santa Barbara. Specializing in contemporary art history, he is working towards the completion of his dissertation: “Knowing Your Place and Making Do: Radical Arts Activism in Black and Latino Los Angeles, 1968-1985.” 01 chi 02 eng 20 00 Open Access John Vincent Decemvirale 38 03 06 10.53288/0269.1.38 511 519 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hippie Modernism 1 A01 Lawrence Rinder Lawrence Rinder 40 01an7q238 University of California, Berkeley 40 01mmcf932 California College of the Arts Lawrence Rinder is Director and Chief Curator of the UC Berkeley Art Museum and Pacific Film Archive. Previously, he served as the Curator of Contemporary Art at the Whitney Museum of American Art and Dean of the College at the California College of the Arts. 01 eng 20 00 Open Access Lawrence Rinder 39 03 06 10.53288/0269.1.39 520 530 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 嬉皮现代主义 1 A01 劳伦斯·林德 Lawrence Rinder 40 01an7q238 University of California, Berkeley 40 01mmcf932 California College of the Arts Lawrence Rinder is Director and Chief Curator of the UC Berkeley Art Museum and Pacific Film Archive. Previously, he served as the Curator of Contemporary Art at the Whitney Museum of American Art and Dean of the College at the California College of the Arts. 01 chi 02 eng 20 00 Open Access Lawrence Rinder 40 03 06 10.53288/0269.1.40 531 541 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 建构vs.解构 —旅美中国当代艺术家作品中的“传统”困局 1 A01 章锐 Rui Zhang 40 03cve4549 Tsinghua University Zhang Rui is Associate Professor in the Academy of Art and Design at Tsinghua University, Beijing, Academic Principal of a cooperation project with Sotheby’s Institute of Art, the Academy of Art and Design and the School of Economics and Management at Tsinghua University. Her research interests are the contemporary art market and art management. 01 chi 20 00 Open Access Zhang Rui 41 03 06 10.53288/0269.1.41 542 552 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Construction vs. Deconstruction Different “Chineseness” in Chinese Diaspora Artists’ Works 1 A01 Zhang Rui Rui Zhang 40 03cve4549 Tsinghua University Zhang Rui is Associate Professor in the Academy of Art and Design at Tsinghua University, Beijing, Academic Principal of a cooperation project with Sotheby’s Institute of Art, the Academy of Art and Design and the School of Economics and Management at Tsinghua University. Her research interests are the contemporary art market and art management. 02 chi 01 eng 20 00 Open Access Zhang Rui 42 03 06 10.53288/0269.1.42 553 563 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 现代美术的再发现回溯与借鉴—从吴冠中到“新潮美术”运动 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 20 00 Open Access Zhang Jian 43 03 06 10.53288/0269.1.43 564 575 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rediscovering Modern Art in the 1980s Diachronic Enquiring and Synchronic Borrowing from Wu Guanzhong to the 1985 New Wave Movement 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 44 03 06 10.53288/0269.1.44 576 580 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 无尽的社会风景 1 A01 邵亦杨 Yiyang Shao 40 00nbyv331 Central Academy of Fine Arts Shao Yiyang is a Professor in the School of Arts and Humanities, Vice Chair of the School of Arts and Humanities, and Director of Teaching and Research Center for Foreign Art History at Central Academy of Fine Arts, Beijing. She researches and teaches Western art history and Western contemporary art. 01 chi 20 00 Open Access Shao Yiyang 45 03 06 10.53288/0269.1.45 581 588 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Imagined Utopia Chinese Contemporary Art through the Perspective of Globalization 1 A01 Shao Yiyang Yiyang Shao 40 00nbyv331 Central Academy of Fine Arts Shao Yiyang is a Professor in the School of Arts and Humanities, Vice Chair of the School of Arts and Humanities, and Director of Teaching and Research Center for Foreign Art History at Central Academy of Fine Arts, Beijing. She researches and teaches Western art history and Western contemporary art. 02 chi 01 eng 20 00 Open Access Shao Yiyang 46 03 06 10.53288/0269.1.46 589 593 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 对中国概念艺术的几点认识 1 A01 朱青生 Qingsheng Zhu 40 02v51f717 Peking University Zhu Qingsheng is a Professor in the Department of History at Peking University, Chair of CIHA (Comité International d’Histoire de l’Art), Director of the Center for Visual Studies at Peking University, Chair of the Han Art Institute at Peking University, and the editor of Annual of Contemporary Art of China. He researches and teaches art theory, art history, and Han dynasty painting; he also engages in practicing modern art. 01 chi 20 00 Open Access Zhu Qingsheng 47 03 06 10.53288/0269.1.47 594 598 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Some Remarks on Conceptual Art in China 1 A01 Zhu Qingsheng Qingsheng Zhu 40 02v51f717 Peking University Zhu Qingsheng is a Professor in the Department of History at Peking University, Chair of CIHA (Comité International d’Histoire de l’Art), Director of the Center for Visual Studies at Peking University, Chair of the Han Art Institute at Peking University, and the editor of Annual of Contemporary Art of China. He researches and teaches art theory, art history, and Han dynasty painting; he also engages in practicing modern art. 02 chi 01 eng 20 00 Open Access Zhu Qingsheng 48 03 06 10.53288/0269.1.48 599 609 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 替罪的肉身—中国行为艺术的意义 1 A01 王端廷 Duanting Wang 40 02n006v45 Chinese National Academy of Arts Wang Duanting is a researcher and Director of the Foreign Art Center at the Institute of Arts at Chinese National Academy of Arts, Beijing. He is also a Professor in the Department of Art at the Graduate School of Chinese National Academy of Arts. He researches and teaches Western art history and Chinese contemporary art criticism. 01 chi 20 00 Open Access Wang Duanting 49 03 06 10.53288/0269.1.49 610 621 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redemption of Sins through the Human Body Meanings of Action Art in China 1 A01 Wang Duanting Duanting Wang 40 02n006v45 Chinese National Academy of Arts Wang Duanting is a researcher and Director of the Foreign Art Center at the Institute of Arts at Chinese National Academy of Arts, Beijing. He is also a Professor in the Department of Art at the Graduate School of Chinese National Academy of Arts. He researches and teaches Western art history and Chinese contemporary art criticism. 02 chi 01 eng 20 00 Open Access Wang Duanting 50 03 06 10.53288/0269.1.50 622 655 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 艺术史趣味、图像与身份—从何多苓VS怀斯到王广义VS 沃霍尔两对个案看艺术的出发点与针对性对艺术史书写的作用 1 A01 吕澎 Peng Lu 40 01r61sr78 China Academy of Art Lu Peng is an Associate Professor at the School of Arts and Humanities at China Academy of Art, Beijing, and President of L-Art University. He researches and teaches Chinese modern and contemporary art. 01 chi 20 00 Open Access Lu Peng 51 03 06 10.53288/0269.1.51 656 686 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taste, Image, and Identity He Duoling and Andrew Wyeth; Wang Guangyi and Andy Warhol. A Comparative Analysis of the Role of Artistic Approaches and Directions in Art History 1 A01 Lu Peng Peng Lu 40 01r61sr78 China Academy of Art Lu Peng is an Associate Professor at the School of Arts and Humanities at China Academy of Art, Beijing, and President of L-Art University. He researches and teaches Chinese modern and contemporary art. 02 chi 01 eng 20 00 Open Access Lu Peng 52 03 06 10.53288/0269.1.52 687 695 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 抽象或视觉逼真历史画创作的新趋向—— “国家重大历史题材美术创作工程”中的视觉表达问题 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 20 00 Open Access Zhang Jian 53 03 06 10.53288/0269.1.53 696 705 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Abstract or Optical Fidelity New Trends in History Painting after the 1980s 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 54 03 06 10.53288/0269.1.54 707 711 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Author Biographies 1 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 2 B01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/complementary-modernisms-in-china-and-the-united-states-art-as-life-art-as-idea/ 16 40 04q775h70 32 10.13039/100013836 Terra Foundation for American Art Earth, Milky Way 04 01 20200910 Zhang, Jian Robertson, Bruce 02 WORLD 06 15 9781950192588 03 9781950192588 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192571 20 08 20200910 02 120.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/complementary-modernisms-in-china-and-the-united-states-art-as-lifeart-as-idea-bw 20 08 20200910 02 120.00 USD WORLD urn:uuid:fd73c955-5db6-42f4-8442-f78517bc8038 03 01 01 thoth-work-id urn:uuid:d890e88f-16d7-4b75-bef1-5e4d09c8daa0 01 thoth-publication-id urn:uuid:fd73c955-5db6-42f4-8442-f78517bc8038 15 9781950192588 03 9781950192588 06 10.21983/P3.0269.1.00 13 2020940865 01 internal-reference 0269 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Complementary Modernisms in China and the United States Art as Life/Art as Idea 06 01 交互视野下的中国和美国的现代艺术艺术/生活或观念 1 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara 2 B01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art 01 chi 01 eng 00 696 03 12 ACXJ 93 AGC 10 ART015110 B2 Art+Aesthetics 93 6MC 10 ART009000 B2 Languages+Translations 93 1FPC 93 1KBB-US-W 20 modernism; art history; China; United States; art criticism; postmodernism; avantgarde 01 06 02 00 03 00 Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s. 30 00 Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0269.1.00_frontcover.jpg 1 03 06 10.53288/0269.1.01 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 2 B01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 01 eng 20 00 Open Access 2 03 06 10.53288/0269.1.02 15 27 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Parallel/Complementary Thinking through American and Chinese Modernisms 1 A01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 01 eng 20 00 Open Access Bruce Robertson 3 03 06 10.53288/0269.1.03 28 44 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 平行/互补对美国和中国的现代主义的思考 1 A01 布鲁斯·罗伯森 Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 02 chi 02 eng 20 00 Open Access Bruce Robertson 4 03 06 10.53288/0269.1.04 45 61 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 多元的现代主义“探索交互视野下的中美现代艺术”的实验” 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 5 03 06 10.53288/0269.1.05 62 81 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Multi-Modernisms: Exploring “Complementary Modernisms in China and the United States” 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 6 03 06 10.53288/0269.1.06 82 98 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cosmic Jokes and Tangerine Flake Translating Andy Warhol’s "POPism" 1 A01 Reva Wolf Reva Wolf 40 03j3dv688 State University of New York at New Paltz Reva Wolf is Professor of Art History at the State University of New York at New Paltz, where she teaches courses on art of the eighteenth century to the present and on art historical methodology. She is an expert on the art of Goya and Warhol, has published widely on historiographical topics, and is co-editor of Freemasonry and the Visual Arts (Bloomsbury, 2020). 2 A01 Kou Huaiyu Huaiyu Kou Kou Huaiyu is the Chinese translator of Andy Warhol’s POPism: The Warhol Sixties. He has a B.A. in Chinese History from Peking University and a M.A. in Anthropology from the Chinese University of Hong Kong. Trapped by his interest in too many things, his future is quite obscure. 01 eng 20 00 Open Access Reva Wolf Kou Huaiyu 7 03 06 10.53288/0269.1.07 99 121 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 宇宙的玩笑与橙色亮片漆译介安迪·沃霍尔的《波普主义》 1 A01 列娃·沃尔夫 Reva Wolf 40 03j3dv688 State University of New York at New Paltz Reva Wolf is Professor of Art History at the State University of New York at New Paltz, where she teaches courses on art of the eighteenth century to the present and on art historical methodology. She is an expert on the art of Goya and Warhol, has published widely on historiographical topics, and is co-editor of Freemasonry and the Visual Arts (Bloomsbury, 2020). 2 A01 寇淮禹 Huaiyu Kou Kou Huaiyu is the Chinese translator of Andy Warhol’s POPism: The Warhol Sixties. He has a B.A. in Chinese History from Peking University and a M.A. in Anthropology from the Chinese University of Hong Kong. Trapped by his interest in too many things, his future is quite obscure. 01 chi 02 eng 20 00 Open Access Reva Wolf Kou Huaiyu 8 03 06 10.53288/0269.1.08 122 129 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 中西现代主义绘画的会通之路论塞尚与黄宾虹 1 A01 沈语冰 Yubing Shen 40 013q1eq08 Fudan University Shen Yubing is a Professor in the School of Philosophy at Fudan University, Shanghai. He researches and teaches Western modern aesthetics, modern art history, and art theories and criticism. 01 chi 20 00 Open Access Shen Yubing 9 03 06 10.53288/0269.1.09 130 137 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Converging Way of Modern Art between China and the West Cézanne and Huang Binhong 1 A01 Shen Yubing Yubing Shen 40 013q1eq08 Fudan University Shen Yubing is a Professor in the School of Philosophy at Fudan University, Shanghai. He researches and teaches Western modern aesthetics, modern art history, and art theories and criticism. 02 chi 01 eng 20 00 Open Access Shen Yubing 10 03 06 10.53288/0269.1.10 138 157 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Whose Metropolis, Whose Mental Life? Rethinking Space and the Local in Urban Imagery 1 A01 Rebecca Zurier Rebecca Zurier 40 00jmfr291 University of Michigan–Ann Arbor Rebecca Zurier is Associate Professor of the History of Art and Faculty Associate in the Program in American Culture at the University of Michigan. Her research and teaching focus on American art with a special interest in urban culture and representation, national identity and the perception of American art abroad, and concepts of race, realism and representation. 01 eng 20 00 Open Access Rebecca Zurier 11 03 06 10.53288/0269.1.11 158 178 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 谁的大都市?谁的精神生活? 城市图像中的空间与本地居民 1 A01 瑞贝卡·泽瑞尔 Rebecca Zurier 40 00jmfr291 University of Michigan–Ann Arbor Rebecca Zurier is Associate Professor of the History of Art and Faculty Associate in the Program in American Culture at the University of Michigan. Her research and teaching focus on American art with a special interest in urban culture and representation, national identity and the perception of American art abroad, and concepts of race, realism and representation. 01 chi 02 eng 20 00 Open Access Rebecca Zurier 12 03 06 10.53288/0269.1.12 179 192 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 都市景观印象派和垃圾箱画派画作中的纽约图像 1 A01 陈瑶 Yao Chen 40 02czkny70 Hefei University of Technology Chen Yao teaches in the College of Architecture and Art at Hefei University of Technology. Chen researches and teaches French and American Impressionism. 01 chi 20 00 Open Access Chen Yao 13 03 06 10.53288/0269.1.13 193 205 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Urban Spectacle New York City, Impressionist Painting, and the Ashcan School 1 A01 Chen Yao Yao Chen 40 02czkny70 Hefei University of Technology Chen Yao teaches in the College of Architecture and Art at Hefei University of Technology. Chen researches and teaches French and American Impressionism. 02 chi 01 eng 20 00 Open Access Chen Yao 14 03 06 10.53288/0269.1.14 206 211 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 进化抑或革命沃尔特·帕克与1913年美国军械库艺术展 1 A01 陆豪 Hao Lu 40 044my7157 Guangzhou Academy of Fine Arts Lu Hao teaches in the School of Arts and Humanities at Guangzhou Academy of Fine Arts. He researches and teaches modern art and museum studies. 01 chi 20 00 Open Access Lu Hao 15 03 06 10.53288/0269.1.15 212 218 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Evolution or Revolution Walter Pach and the Armory Show in 1913 1 A01 Lu Hao Hao Lu 40 044my7157 Guangzhou Academy of Fine Arts Lu Hao teaches in the School of Arts and Humanities at Guangzhou Academy of Fine Arts. He researches and teaches modern art and museum studies. 02 chi 01 eng 20 00 Open Access Lu Hao 16 03 06 10.53288/0269.1.16 219 228 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 巴黎美院之往，包豪斯之后梁思成与“现代主义”的镜花缘 1 A01 刘晨 Chen Liu 40 03cve4549 Tsinghua University Liu Chen is a lecturer in the School of Architecture at Tsinghua University, Beijing, Visiting Professor at Beijing Film Academy, and at Tongji University in Shanghai. Prof. Liu researches and teaches visual art history, Baroque culture and art, decorative arts, and architecture. 01 chi 20 00 Open Access Liu Chen 17 03 06 10.53288/0269.1.17 229 236 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After the École des Beaux-Arts and Bauhaus Liang Sicheng and the Utopia of Modernism in Chinese Architecture of the Twentieth Century 1 A01 Liu Chen Chen Liu 40 03cve4549 Tsinghua University Liu Chen is a lecturer in the School of Architecture at Tsinghua University, Beijing, Visiting Professor at Beijing Film Academy, and at Tongji University in Shanghai. Prof. Liu researches and teaches visual art history, Baroque culture and art, decorative arts, and architecture. 02 chi 01 eng 20 00 Open Access Liu Chen 18 03 06 10.53288/0269.1.18 237 258 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 决澜社艺术研究作为国际艺术资源的中国现代美术 1 A01 李超 Chao Li 40 006teas31 Shanghai University Li Chao is a Vice Chair and Professor in the Shanghai Academy of Fine Arts at Shanghai University. He is also a Vice Director of the Liu Haisu Art Museum. He researches urban art resources, Chinese modern and contemporary art, Chinese oil painting, urban cultural heritage, and art museum studies. 01 chi 20 00 Open Access Li Chao 19 03 06 10.53288/0269.1.19 259 282 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Study of “the Storm Society” Chinese Modernism as a Resource of International Modern Art 1 A01 Li Chao Chao Li 40 006teas31 Shanghai University Li Chao is a Vice Chair and Professor in the Shanghai Academy of Fine Arts at Shanghai University. He is also a Vice Director of the Liu Haisu Art Museum. He researches urban art resources, Chinese modern and contemporary art, Chinese oil painting, urban cultural heritage, and art museum studies. 02 chi 01 eng 20 00 Open Access Li Chao 20 03 06 10.53288/0269.1.20 283 292 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Joseph Cornell at the Museum of Modern Art 1 A01 Marci Kwon Marci Kwon 40 00f54p054 Stanford University Marci Kwon is Assistant Professor of Art & Art History at Stanford University. Her research interests include the intersection of fine art and vernacular practice; theories of modernism; Asian American art; critical race theory; and “folk” and “self-taught” art. Kwon’s first book, Enchantments: Joseph Cornell and American Modernism is forthcoming from Princeton University Press. 01 eng 20 00 Open Access Marci Kwon 21 03 06 10.53288/0269.1.21 293 308 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 通俗现代主义约瑟夫·康奈尔与民粹主义文化 1 A01 权玛西 Marci Kwon 40 00f54p054 Stanford University Marci Kwon is Assistant Professor of Art & Art History at Stanford University. Her research interests include the intersection of fine art and vernacular practice; theories of modernism; Asian American art; critical race theory; and “folk” and “self-taught” art. Kwon’s first book, Enchantments: Joseph Cornell and American Modernism is forthcoming from Princeton University Press. 01 chi 02 eng 20 00 Open Access Marci Kwon 22 03 06 10.53288/0269.1.22 309 320 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Picturing the Good Earth Modernism’s Rural Roots in China and the United States 1 A01 Jason Weems Jason Weems 40 03nawhv43 University of California, Riverside Jason Weems is Associate Professor and Chair of the History of Art Department at the University of California, Riverside. He is author of Barnstorming the Prairies: How Aerial Vision Shaped the Midwest (University of Minnesota Press, 2015), along with numerous articles on the art and visual culture of the United States and the Americas. 01 eng 20 00 Open Access Jason Weems 23 03 06 10.53288/0269.1.23 321 329 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 描绘大地中美现代主义的乡土渊源 1 A01 詹森·维姆斯 Jason Weems 40 03nawhv43 University of California, Riverside Jason Weems is Associate Professor and Chair of the History of Art Department at the University of California, Riverside. He is author of Barnstorming the Prairies: How Aerial Vision Shaped the Midwest (University of Minnesota Press, 2015), along with numerous articles on the art and visual culture of the United States and the Americas. 01 chi 02 eng 20 00 Open Access Jason Weems 24 03 06 10.53288/0269.1.24 330 345 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Peggy’s “War Babies” Pollock, Motherwell, and Baziotes at Art of This Century 1 A01 Ellen G. Landau Ellen G. Landau 40 051fd9666 Case Western Reserve University Ellen G. Landau, Andrew W. Mellon Professor Emerita in the Humanities at Case Western Reserve University, is the author of Jackson Pollock (1989), Lee Krasner: A Catalogue Raisonne (1995), Abstract Expressionism: Context and Critique (2005), and Mexico and American Modernism (2013). Select recent projects include catalogue essays on Krasner, Hans Hofmann, and Michael West, as well as articles on Pollock’s Mural for Peggy Guggenheim and Robert Motherwell’s relationship to Surrealism. 01 eng 20 00 Open Access Ellen G. Landau 25 03 06 10.53288/0269.1.25 346 364 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 佩吉的“战争之子” “本世纪艺术展”上的波洛克、马瑟韦尔和巴齐奥特 1 A01 艾伦·G·兰道 Ellen G. Landau 40 051fd9666 Case Western Reserve University Ellen G. Landau, Andrew W. Mellon Professor Emerita in the Humanities at Case Western Reserve University, is the author of Jackson Pollock (1989), Lee Krasner: A Catalogue Raisonne (1995), Abstract Expressionism: Context and Critique (2005), and Mexico and American Modernism (2013). Select recent projects include catalogue essays on Krasner, Hans Hofmann, and Michael West, as well as articles on Pollock’s Mural for Peggy Guggenheim and Robert Motherwell’s relationship to Surrealism. 01 chi 02 eng 20 00 Open Access Ellen G. Landau 26 03 06 10.53288/0269.1.26 365 378 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 纽约画派与意识形态 1 A01 毛秋月 Qiuyue Mao 40 03rc6as71 Tongji University Mao Qiuyue teaches in the College of Humanities at Tongji University, Shanghai. She researches and teaches American art and art criticism. 01 chi 20 00 Open Access Mao Qiuyue 27 03 06 10.53288/0269.1.27 379 387 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The New York School and Ideology 1 A01 Mao Qiuyue Qiuyue Mao 40 03rc6as71 Tongji University Mao Qiuyue teaches in the College of Humanities at Tongji University, Shanghai. She researches and teaches American art and art criticism. 01 chi 01 eng 20 00 Open Access Mao Qiuyue 28 03 06 10.53288/0269.1.28 388 399 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 转义和建树中美艺术交互影响的若干个案 1 A01 丁宁 Ning Ding 40 02v51f717 Peking University Ding Ning is a Professor in the School of Art at Peking University who researches and teaches aesthetics, psychology of art, and Western art history. 01 chi 20 00 Open Access Ding Ning 29 03 06 10.53288/0269.1.29 400 412 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Artistic Tropes Some Cases of Mutual Chinese–American Influence 1 A01 Ding Ning Ning Ding 40 02v51f717 Peking University Ding Ning is a Professor in the School of Art at Peking University who researches and teaches aesthetics, psychology of art, and Western art history. 02 chi 01 eng 20 00 Open Access Ding Ning 30 03 06 10.53288/0269.1.30 413 423 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 塑造人民形象与认识自我 20世纪60年代的蔡亮和其他历史画家 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 20 00 Open Access Zhang Jian 31 03 06 10.53288/0269.1.31 424 434 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modeling People and Identifying the Self in History Painting Cai Liang and Others in the Early 1960s 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 32 03 06 10.53288/0269.1.32 435 446 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rethinking the 1960s The History of Art History 1 A01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 01 eng 20 00 Open Access Bruce Robertson 33 03 06 10.53288/0269.1.33 447 461 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 反思60年代艺术史的历史 1 A01 布鲁斯·罗伯森 Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 01 chi 02 eng 20 00 Open Access Bruce Robertson 34 03 06 10.53288/0269.1.34 462 481 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Louise Nevelson’s Modernisms 1 A01 Julia Bryan-Wilson Julia Bryan-Wilson 40 01an7q238 University of California, Berkeley Julia Bryan-Wilson is the Doris and Clarence Malo Professor of Modern and Contemporary Art at UC Berkeley, where she also directs the Arts Research Center. She is also an adjunct curator at the Museu de Arte de São Paulo. 01 eng 20 00 Open Access Julia Bryan-Wilson 35 03 06 10.53288/0269.1.35 482 491 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 路易斯·尼维尔森的现代主义延滞性 1 A01 朱丽·布莱恩 – 威尔逊 Julia Bryan-Wilson 40 01an7q238 University of California, Berkeley Julia Bryan-Wilson is the Doris and Clarence Malo Professor of Modern and Contemporary Art at UC Berkeley, where she also directs the Arts Research Center. She is also an adjunct curator at the Museu de Arte de São Paulo. 01 chi 02 eng 20 00 Open Access Julia Bryan-Wilson 36 03 06 10.53288/0269.1.36 492 500 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Because Night Time Is the Right Time Tactics, Popular Resistance and the Formation of the Black Arts Council 1 A01 John Vincent Decemvirale John Vincent Decemvirale 40 02t274463 University of California, Santa Barbara J.V. Decemvirale is finishing his PhD in the History of Art and Architecture Department at University of California, Santa Barbara. Specializing in contemporary art history, he is working towards the completion of his dissertation: “Knowing Your Place and Making Do: Radical Arts Activism in Black and Latino Los Angeles, 1968-1985.” 01 eng 20 00 Open Access John Vincent Decemvirale 37 03 06 10.53288/0269.1.37 501 510 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 夜晚好时光策略、公众抗拒与黑人艺术委员会的形成 1 A01 约翰·文森特·德赛穆维拉 John Vincent Decemvirale 40 02t274463 University of California, Santa Barbara J.V. Decemvirale is finishing his PhD in the History of Art and Architecture Department at University of California, Santa Barbara. Specializing in contemporary art history, he is working towards the completion of his dissertation: “Knowing Your Place and Making Do: Radical Arts Activism in Black and Latino Los Angeles, 1968-1985.” 01 chi 02 eng 20 00 Open Access John Vincent Decemvirale 38 03 06 10.53288/0269.1.38 511 519 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hippie Modernism 1 A01 Lawrence Rinder Lawrence Rinder 40 01an7q238 University of California, Berkeley 40 01mmcf932 California College of the Arts Lawrence Rinder is Director and Chief Curator of the UC Berkeley Art Museum and Pacific Film Archive. Previously, he served as the Curator of Contemporary Art at the Whitney Museum of American Art and Dean of the College at the California College of the Arts. 01 eng 20 00 Open Access Lawrence Rinder 39 03 06 10.53288/0269.1.39 520 530 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 嬉皮现代主义 1 A01 劳伦斯·林德 Lawrence Rinder 40 01an7q238 University of California, Berkeley 40 01mmcf932 California College of the Arts Lawrence Rinder is Director and Chief Curator of the UC Berkeley Art Museum and Pacific Film Archive. Previously, he served as the Curator of Contemporary Art at the Whitney Museum of American Art and Dean of the College at the California College of the Arts. 01 chi 02 eng 20 00 Open Access Lawrence Rinder 40 03 06 10.53288/0269.1.40 531 541 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 建构vs.解构 —旅美中国当代艺术家作品中的“传统”困局 1 A01 章锐 Rui Zhang 40 03cve4549 Tsinghua University Zhang Rui is Associate Professor in the Academy of Art and Design at Tsinghua University, Beijing, Academic Principal of a cooperation project with Sotheby’s Institute of Art, the Academy of Art and Design and the School of Economics and Management at Tsinghua University. Her research interests are the contemporary art market and art management. 01 chi 20 00 Open Access Zhang Rui 41 03 06 10.53288/0269.1.41 542 552 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Construction vs. Deconstruction Different “Chineseness” in Chinese Diaspora Artists’ Works 1 A01 Zhang Rui Rui Zhang 40 03cve4549 Tsinghua University Zhang Rui is Associate Professor in the Academy of Art and Design at Tsinghua University, Beijing, Academic Principal of a cooperation project with Sotheby’s Institute of Art, the Academy of Art and Design and the School of Economics and Management at Tsinghua University. Her research interests are the contemporary art market and art management. 02 chi 01 eng 20 00 Open Access Zhang Rui 42 03 06 10.53288/0269.1.42 553 563 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 现代美术的再发现回溯与借鉴—从吴冠中到“新潮美术”运动 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 20 00 Open Access Zhang Jian 43 03 06 10.53288/0269.1.43 564 575 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rediscovering Modern Art in the 1980s Diachronic Enquiring and Synchronic Borrowing from Wu Guanzhong to the 1985 New Wave Movement 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 44 03 06 10.53288/0269.1.44 576 580 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 无尽的社会风景 1 A01 邵亦杨 Yiyang Shao 40 00nbyv331 Central Academy of Fine Arts Shao Yiyang is a Professor in the School of Arts and Humanities, Vice Chair of the School of Arts and Humanities, and Director of Teaching and Research Center for Foreign Art History at Central Academy of Fine Arts, Beijing. She researches and teaches Western art history and Western contemporary art. 01 chi 20 00 Open Access Shao Yiyang 45 03 06 10.53288/0269.1.45 581 588 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Imagined Utopia Chinese Contemporary Art through the Perspective of Globalization 1 A01 Shao Yiyang Yiyang Shao 40 00nbyv331 Central Academy of Fine Arts Shao Yiyang is a Professor in the School of Arts and Humanities, Vice Chair of the School of Arts and Humanities, and Director of Teaching and Research Center for Foreign Art History at Central Academy of Fine Arts, Beijing. She researches and teaches Western art history and Western contemporary art. 02 chi 01 eng 20 00 Open Access Shao Yiyang 46 03 06 10.53288/0269.1.46 589 593 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 对中国概念艺术的几点认识 1 A01 朱青生 Qingsheng Zhu 40 02v51f717 Peking University Zhu Qingsheng is a Professor in the Department of History at Peking University, Chair of CIHA (Comité International d’Histoire de l’Art), Director of the Center for Visual Studies at Peking University, Chair of the Han Art Institute at Peking University, and the editor of Annual of Contemporary Art of China. He researches and teaches art theory, art history, and Han dynasty painting; he also engages in practicing modern art. 01 chi 20 00 Open Access Zhu Qingsheng 47 03 06 10.53288/0269.1.47 594 598 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Some Remarks on Conceptual Art in China 1 A01 Zhu Qingsheng Qingsheng Zhu 40 02v51f717 Peking University Zhu Qingsheng is a Professor in the Department of History at Peking University, Chair of CIHA (Comité International d’Histoire de l’Art), Director of the Center for Visual Studies at Peking University, Chair of the Han Art Institute at Peking University, and the editor of Annual of Contemporary Art of China. He researches and teaches art theory, art history, and Han dynasty painting; he also engages in practicing modern art. 02 chi 01 eng 20 00 Open Access Zhu Qingsheng 48 03 06 10.53288/0269.1.48 599 609 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 替罪的肉身—中国行为艺术的意义 1 A01 王端廷 Duanting Wang 40 02n006v45 Chinese National Academy of Arts Wang Duanting is a researcher and Director of the Foreign Art Center at the Institute of Arts at Chinese National Academy of Arts, Beijing. He is also a Professor in the Department of Art at the Graduate School of Chinese National Academy of Arts. He researches and teaches Western art history and Chinese contemporary art criticism. 01 chi 20 00 Open Access Wang Duanting 49 03 06 10.53288/0269.1.49 610 621 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redemption of Sins through the Human Body Meanings of Action Art in China 1 A01 Wang Duanting Duanting Wang 40 02n006v45 Chinese National Academy of Arts Wang Duanting is a researcher and Director of the Foreign Art Center at the Institute of Arts at Chinese National Academy of Arts, Beijing. He is also a Professor in the Department of Art at the Graduate School of Chinese National Academy of Arts. He researches and teaches Western art history and Chinese contemporary art criticism. 02 chi 01 eng 20 00 Open Access Wang Duanting 50 03 06 10.53288/0269.1.50 622 655 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 艺术史趣味、图像与身份—从何多苓VS怀斯到王广义VS 沃霍尔两对个案看艺术的出发点与针对性对艺术史书写的作用 1 A01 吕澎 Peng Lu 40 01r61sr78 China Academy of Art Lu Peng is an Associate Professor at the School of Arts and Humanities at China Academy of Art, Beijing, and President of L-Art University. He researches and teaches Chinese modern and contemporary art. 01 chi 20 00 Open Access Lu Peng 51 03 06 10.53288/0269.1.51 656 686 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taste, Image, and Identity He Duoling and Andrew Wyeth; Wang Guangyi and Andy Warhol. A Comparative Analysis of the Role of Artistic Approaches and Directions in Art History 1 A01 Lu Peng Peng Lu 40 01r61sr78 China Academy of Art Lu Peng is an Associate Professor at the School of Arts and Humanities at China Academy of Art, Beijing, and President of L-Art University. He researches and teaches Chinese modern and contemporary art. 02 chi 01 eng 20 00 Open Access Lu Peng 52 03 06 10.53288/0269.1.52 687 695 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 抽象或视觉逼真历史画创作的新趋向—— “国家重大历史题材美术创作工程”中的视觉表达问题 1 A01 张坚 Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 20 00 Open Access Zhang Jian 53 03 06 10.53288/0269.1.53 696 705 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Abstract or Optical Fidelity New Trends in History Painting after the 1980s 1 A01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 02 chi 01 eng 20 00 Open Access Zhang Jian 54 03 06 10.53288/0269.1.54 707 711 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Author Biographies 1 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara Bruce Robertson is Professor Emeritus of the History of Art and Architecture, and Director Emeritus of the Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author/curator of many books and exhibitions on American art, from the early 18th-century to the present. 2 B01 Zhang Jian Jian Zhang 40 01r61sr78 China Academy of Art Zhang Jian is a Professor in the School of Arts and Humanities at the China Academy of Art, Hangzhou, and was a Fulbright scholar in 2013–2014. He researches and teaches modern and contemporary art history and theory of historiography. 01 chi 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/complementary-modernisms-in-china-and-the-united-states-art-as-life-art-as-idea/ 16 40 04q775h70 32 10.13039/100013836 Terra Foundation for American Art Earth, Milky Way 04 01 20200910 Zhang, Jian Robertson, Bruce 02 WORLD 06 15 9781950192571 03 9781950192571 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77431 20 08 20200910 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41199 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41199/0269.1.00.pdf 20 08 20200910 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31723 20 08 20200910 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv16zk03m 20 08 20200910 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/642 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d5753509-3b19-42a8-bf3b-fb387bea67f8/download 20 08 20200910 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d890e88f-16d7-4b75-bef1-5e4d09c8daa0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d890e88f-16d7-4b75-bef1-5e4d09c8daa0/d890e88f-16d7-4b75-bef1-5e4d09c8daa0.pdf 20 08 20200910 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848466 29 ZENODO: download the title https://zenodo.org/records/19848466/files/d890e88f-16d7-4b75-bef1-5e4d09c8daa0_book.pdf 20 08 20200910 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/complementary-modernisms-in-china-and-the-united-states-art-as-life-art-as-idea/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0269.1.00.pdf 20 08 20200910 01 urn:uuid:c7012798-a6e2-4f72-a0f7-777fd30f435b 03 01 01 thoth-work-id urn:uuid:a603437d-578e-4577-9800-645614b28b4b 01 thoth-publication-id urn:uuid:c7012798-a6e2-4f72-a0f7-777fd30f435b 15 9781953035073 03 9781953035073 13 2020940865 01 internal-reference 0351 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 184 mm 02 18.4 cm 02 7.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Complementary Modernisms in China and the United States Art as Life/Art as Idea [BW] 06 01 交互视野下的中国和美国的现代艺术艺术/生活或观念 1 B01 Jian Zhang Jian Zhang 40 01r61sr78 China Academy of Art 2 B01 Bruce Robertson Bruce Robertson 40 02t274463 University of California, Santa Barbara 01 chi 01 eng 00 696 03 12 ACXJ 10 ART009000 10 ART015110 20 modernism; art history; China; United States; art criticism; postmodernism; avantgarde 01 06 02 00 03 00 Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s. 30 00 Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2019/06/190621complementarymodernisms-cover-web-front.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/complementary-modernisms-in-china-and-the-united-states-art-as-life-art-as-idea/ 16 40 04q775h70 32 10.13039/100013836 Terra Foundation for American Art Earth, Milky Way 04 01 20200910 Zhang, Jian Robertson, Bruce 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035078 20 08 20200910 02 40.00 USD WORLD urn:uuid:5613426a-f485-47f9-82f4-f2e71cb98a19 03 01 01 thoth-work-id urn:uuid:93330f65-a84f-4c5c-aa44-f710c714eca2 01 thoth-publication-id urn:uuid:5613426a-f485-47f9-82f4-f2e71cb98a19 15 9780615736891 03 9780615736891 06 10.21983/P3.0016.1.00 01 internal-reference 0016 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 continent. Year 1 A Selection of Issues 1.1–1.4 1 B01 Jamie Allen Jamie Allen 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 4 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 5 B01 Paul Boshears Paul Boshears 40 04g3mbv81 European Graduate School 01 eng 00 194 03 B2 Cultural Studies+Critical Theory 93 DNL 12 HPCF 10 PHI035000 B2 Languages+Translations 93 QDHR 93 DSC B2 Philosophy 93 JBCC 20 philosophy; politics; culture; art; theory 01 06 02 00 03 00 continent. Year 1: A selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative realism to the fragments as a unit of prose, and from queer theory to mass murder. This collection presents the fruits of an intense collaboration throughout the different zones of the Academy 30 00 continent. Year 1: A selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative realism to the fragments as a unit of prose, and from queer theory to mass murder. This collection presents the fruits of an intense collaboration throughout the different zones of the Academy 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0016.1.00_frontcover.jpg 1 03 06 10.21983/P3.0016.1.01 i xiii 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jamie Allen Jamie Allen 2 B01 Paul Boshears Paul Boshears 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 4 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 5 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 01 eng 20 00 Open Access Allen, Jamie Boshears, Paul van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley Jenkins, Nico 2 03 06 10.21983/P3.0016.1.02 12 31 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Meillassoux's Virtual Future 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 This article consists of three parts. First, I will review the major themes of Quentin Meillassoux’s After Finitude. Since some of my readers will have read this book and others not, I will try to strike a balance between clear summary and fresh critique. Second, I discuss an unpublished book by Meil-lassoux only partly familiar to the reading public, except those scant few that may have gone digging in the microfilm archives of the École normale supérieure. The book in question is Meillassoux’s revised doctoral disserta-tion L’Inexistence divine (The Divine Inexistence), with its seemingly bizarre vision of a God who does not yet exist but might exist in the future. Without literally accepting this view, I will claim that it is philosophically interesting in ways that even a hardened sceptic might be able to appreciate. Third and finally, I will speculate on the possible future of Meillassoux’s speculative ma-terialism itself. And here I mean its future development not by Meillassoux, but by those readers who might be inspired by his book. Plato could never have predicted the emergence of Aristotle’s philosophy, despite the obvious debt of the latter to the former. Nor could Descartes have predicted Spinoza and Leibniz, nor Kant the German Idealists, and neither could Husserl in 1901 have foreseen the later emergence of Heidegger. How are the works of interesting philosophers transformed by later thinkers of comparable im-portance? While it may seem that there are countless ways to do this, I think there are only two basic ways in which this happens: you can radicalize your predecessors, or you can reverse them. I will close this article with a few words about these two methods, and try to imagine how Meillassoux might be radicalized or reversed by some future admirer. My view is that the more important thinkers are, the easier they are to radicalize or reverse. This helps explain why the great philosophers of the West have so often appeared in clusters, succeeding one another at relatively brief intervals during periods of especial ferment 30 00 This article consists of three parts. First, I will review the major themes of Quentin Meillassoux’s After Finitude. Since some of my readers will have read this book and others not, I will try to strike a balance between clear summary and fresh critique. Second, I discuss an unpublished book by Meil-lassoux only partly familiar to the reading public, except those scant few that may have gone digging in the microfilm archives of the École normale supérieure. The book in question is Meillassoux’s revised doctoral disserta-tion L’Inexistence divine (The Divine Inexistence), with its seemingly bizarre vision of a God who does not yet exist but might exist in the future. Without literally accepting this view, I will claim that it is philosophically interesting in ways that even a hardened sceptic might be able to appreciate. Third and finally, I will speculate on the possible future of Meillassoux’s speculative ma-terialism itself. And here I mean its future development not by Meillassoux, but by those readers who might be inspired by his book. Plato could never have predicted the emergence of Aristotle’s philosophy, despite the obvious debt of the latter to the former. Nor could Descartes have predicted Spinoza and Leibniz, nor Kant the German Idealists, and neither could Husserl in 1901 have foreseen the later emergence of Heidegger. How are the works of interesting philosophers transformed by later thinkers of comparable im-portance? While it may seem that there are countless ways to do this, I think there are only two basic ways in which this happens: you can radicalize your predecessors, or you can reverse them. I will close this article with a few words about these two methods, and try to imagine how Meillassoux might be radicalized or reversed by some future admirer. My view is that the more important thinkers are, the easier they are to radicalize or reverse. This helps explain why the great philosophers of the West have so often appeared in clusters, succeeding one another at relatively brief intervals during periods of especial ferment 20 00 Open Access Harman, Graham 3 03 06 10.21983/P3.0016.1.03 32 39 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Greek Returns The Poetry of Nikos Karouzos 1 A01 Nick Skiadopoulos Nick Skiadopoulos 01 eng 03 00 Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school gradua-tion he was incessantly educated, reading the entire private library of his granddad, comprising mainly the Orthodox Church Fathers and the an-cient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again. Selling his only remaining capital for a few thousand drachmas, Karouzos traded not simply life, but language for poetry. What twisted type of economy upholds this very decision? Can we speak of a certain investment, with specific returns? “I am talking about the fate of Lazarus: at once pauper and saved.” Nowadays – and ridiculously recently – we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expendi-ture without any type of investment. This imprudent stance still conjures a “capital punishment”: each time, at each act of excess what is at stake is a caput, a head – the haunting dead metaphor for capital. Decapitation, as a road of no return, implies that capital is the condition for the possibility of returns – at least in this life. In that sense, the argument against imprudent economic conduct is not itself economic, but ethical if not ontological – Max Weber being our witness 30 00 Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school gradua-tion he was incessantly educated, reading the entire private library of his granddad, comprising mainly the Orthodox Church Fathers and the an-cient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again. Selling his only remaining capital for a few thousand drachmas, Karouzos traded not simply life, but language for poetry. What twisted type of economy upholds this very decision? Can we speak of a certain investment, with specific returns? “I am talking about the fate of Lazarus: at once pauper and saved.” Nowadays – and ridiculously recently – we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expendi-ture without any type of investment. This imprudent stance still conjures a “capital punishment”: each time, at each act of excess what is at stake is a caput, a head – the haunting dead metaphor for capital. Decapitation, as a road of no return, implies that capital is the condition for the possibility of returns – at least in this life. In that sense, the argument against imprudent economic conduct is not itself economic, but ethical if not ontological – Max Weber being our witness 20 00 Open Access Skiadopoulos, Nick 4 03 06 10.21983/P3.0016.1.04 41 49 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Selected Poems 1 A01 Nikos Karouzos Nikos Karouzos 01 eng 03 00 Γιατί κρατούσαμε κάποτε ώς την πέμπτη μέρατο πασχαλινό πρόβατο;Τα κείμενα λένε: μ’ αυτού του θύματος το κρέαςέπρεπε να καθαρίσουμε όλες τις αισθήσεις.Για να δώσουμε κύμα στη ζωή λευκότατοθαυμάσιες ευωδιές στην έκταση του στήθους.Ιδανικά στο χάρο.Για να βλέπουμε τα λαμπράχαράματα του Άψινθου και να ’ναι η ψυχήστόλισμα βαθυχάρακτοτης πλώρης που την είπαμε θέληση.Τότε πολλές δορκάδες τρέχονταςανάμεσα στην καταπράσινηφύση με τους υδάτινους ύμνους,τότε, κατεβαίνοντας οι αθέλητοι άγγελοιμε κυλινδούμενο το ύψος στην ορμή τουςχαρίζονται της αστραφτερής Περιπέτειας. 30 00 Γιατί κρατούσαμε κάποτε ώς την πέμπτη μέρατο πασχαλινό πρόβατο;Τα κείμενα λένε: μ’ αυτού του θύματος το κρέαςέπρεπε να καθαρίσουμε όλες τις αισθήσεις.Για να δώσουμε κύμα στη ζωή λευκότατοθαυμάσιες ευωδιές στην έκταση του στήθους.Ιδανικά στο χάρο.Για να βλέπουμε τα λαμπράχαράματα του Άψινθου και να ’ναι η ψυχήστόλισμα βαθυχάρακτοτης πλώρης που την είπαμε θέληση.Τότε πολλές δορκάδες τρέχονταςανάμεσα στην καταπράσινηφύση με τους υδάτινους ύμνους,τότε, κατεβαίνοντας οι αθέλητοι άγγελοιμε κυλινδούμενο το ύψος στην ορμή τουςχαρίζονται της αστραφτερής Περιπέτειας. 20 00 Open Access Karouzos, Nikos 5 03 06 10.21983/P3.0016.1.05 50 57 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Phillip Stearns DCP Series 1 A01 Jamie Allen Jamie Allen 01 eng 03 00 A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to pro-duce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned insideout through complexes of shortcircuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snapshots of electronic signals dancing through the camera’s circuits, manually rerouted, written directly to the onboard memory device. Rath-er than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. 30 00 A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to pro-duce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned insideout through complexes of shortcircuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snapshots of electronic signals dancing through the camera’s circuits, manually rerouted, written directly to the onboard memory device. Rath-er than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. 20 00 Open Access Allen, Jamie 6 03 06 10.21983/P3.0016.1.06 58 65 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Crisis of Negation An Interview with Alain Badiou 1 A01 John Van Houdt John Van Houdt 40 04b8v1s79 Tilburg University 01 eng 03 00 Alain Badiou (ab): My answer is a simple one, in fact. The very nature of the crisis today is not, in my opinion, the crisis of capitalism, but the failure of socialism. And maybe I am the philosopher of the time where something like the “Great Hypothesis” coming from the nineteenth-century – and maybe much more, for the French Revolution – is in crisis. So it is the crisis of the idea of revolution. But behind the idea of revolution is the crisis of the idea of another world, of the possibility of, really, another organization of society, and so on. Not the crisis of the pure possibility, but the crisis of the historical possibility of something like that is caught in the facts themselves. And it is a crisis of negation because it is a crisis of a conception of negation which was a creative one. The idea of negation is by itself a negation of newness, and that if we have the means to really negate the established order – in the moment of that sort of negation – there is the birth of the new order. And so the affirmative part or the constructive part of the process is included in negation. 30 00 Alain Badiou (ab): My answer is a simple one, in fact. The very nature of the crisis today is not, in my opinion, the crisis of capitalism, but the failure of socialism. And maybe I am the philosopher of the time where something like the “Great Hypothesis” coming from the nineteenth-century – and maybe much more, for the French Revolution – is in crisis. So it is the crisis of the idea of revolution. But behind the idea of revolution is the crisis of the idea of another world, of the possibility of, really, another organization of society, and so on. Not the crisis of the pure possibility, but the crisis of the historical possibility of something like that is caught in the facts themselves. And it is a crisis of negation because it is a crisis of a conception of negation which was a creative one. The idea of negation is by itself a negation of newness, and that if we have the means to really negate the established order – in the moment of that sort of negation – there is the birth of the new order. And so the affirmative part or the constructive part of the process is included in negation. 20 00 Open Access Van Houdt, John 7 03 06 10.21983/P3.0016.1.07 66 78 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Return of Benjamin's Storyteller Ronald Reagan as the Incorruptible Saint of Political Media 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 03 00 St. Reagan and the Return of the StorytellerThe 2004 Republican National Convention was a significant event concern-ing language and aesthetics in contemporary politics. The Reagan myth appeared as a stellar aura of sentimentality that churned a cultic swoon. Among the polity this spectacular mystery passed a glow upon the shoul-ders of gleeful followers. Engulfing George W. Bush’s body, the Reagan aura of the protector, the prophet, the historian, and narrator of American destiny oft portrayed as a humble man who simply transmits “content” bequeathed upon the sitting president his missionary staff to guard that “shining city on a hill.” This proverbial key to New Jerusalem follows Reagan’s own mythical thinking about the sacred role of the United States. After all the organism-city was under attack by “terrorism.” The “real America” had to be pre-served from suitcase nukes and radical Islam, what was needed, in fact, was the wise counsel of Reagan-Bush to survive not only as a nation, but as a world. 30 00 St. Reagan and the Return of the StorytellerThe 2004 Republican National Convention was a significant event concern-ing language and aesthetics in contemporary politics. The Reagan myth appeared as a stellar aura of sentimentality that churned a cultic swoon. Among the polity this spectacular mystery passed a glow upon the shoul-ders of gleeful followers. Engulfing George W. Bush’s body, the Reagan aura of the protector, the prophet, the historian, and narrator of American destiny oft portrayed as a humble man who simply transmits “content” bequeathed upon the sitting president his missionary staff to guard that “shining city on a hill.” This proverbial key to New Jerusalem follows Reagan’s own mythical thinking about the sacred role of the United States. After all the organism-city was under attack by “terrorism.” The “real America” had to be pre-served from suitcase nukes and radical Islam, what was needed, in fact, was the wise counsel of Reagan-Bush to survive not only as a nation, but as a world. 20 00 Open Access Groves, Staley A. 8 03 06 10.21983/P3.0016.1.08 80 97 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Anders Brevik On Copying the Obscure 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 In the aftermath of the lethal shooting of politically organizing left-wing stu-dents and the bombing of Oslo’s political center by the Norwegian Anders Breivik, there has been much discussion about the rationale behind his ac-tions in a general sense, and, more specifically, the implications and explica-tions of right-wing, nationalist, racist language which is considerably com-mon in several European nations. In many forum threads and blog posts, analyses are given of Breivik’s actions in relation to the current political cli-mate in these environs, which, truth be told, is of an extremely poisonous na-ture. Ample reflection is given on the 1500+ page manifesto distributed by Breivik, entitled 2083: A European Declaration of Independence; De Laude Novae Militiae Pauperes Commilitones Christi Templique Solomonici, which appears to have been finished the day before he committed his crimes. This essay aims not so much for a clarification of the content of this manifesto, but attempts to provide a cartography of its rhetorical procedures, hoping to deconstruct some of the discourse that Breivik has managed to create around himself, both before and after his act. It first of all is an attempt to read Breivik as copycat, borrowing left and right, against unstable credit limits and with uncertain debt ceilings, assembling his ideological trust fund from sources as divergent as the Columbine Massacre, American conserva-tive politics, eugenics, post-Luddite ideology, and freemasonry. 30 00 In the aftermath of the lethal shooting of politically organizing left-wing stu-dents and the bombing of Oslo’s political center by the Norwegian Anders Breivik, there has been much discussion about the rationale behind his ac-tions in a general sense, and, more specifically, the implications and explica-tions of right-wing, nationalist, racist language which is considerably com-mon in several European nations. In many forum threads and blog posts, analyses are given of Breivik’s actions in relation to the current political cli-mate in these environs, which, truth be told, is of an extremely poisonous na-ture. Ample reflection is given on the 1500+ page manifesto distributed by Breivik, entitled 2083: A European Declaration of Independence; De Laude Novae Militiae Pauperes Commilitones Christi Templique Solomonici, which appears to have been finished the day before he committed his crimes. This essay aims not so much for a clarification of the content of this manifesto, but attempts to provide a cartography of its rhetorical procedures, hoping to deconstruct some of the discourse that Breivik has managed to create around himself, both before and after his act. It first of all is an attempt to read Breivik as copycat, borrowing left and right, against unstable credit limits and with uncertain debt ceilings, assembling his ideological trust fund from sources as divergent as the Columbine Massacre, American conserva-tive politics, eugenics, post-Luddite ideology, and freemasonry. 20 00 Open Access W.J. van Gerven Oei, Vincent 9 03 06 10.21983/P3.0016.1.09 98 103 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Playful Reading of the Double Quotation in The Descent of Alette by Alice Notley 1 A01 Feliz Lucia Molina Feliz Lucia Molina 40 04g3mbv81 European Graduate School 01 eng 03 00 “The Descent of Alette” “is an allegorical poem” “in four books” “first pub-lished” “in 1992” “by Alice Notley.” “In The Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” 30 00 “The Descent of Alette” “is an allegorical poem” “in four books” “first pub-lished” “in 1992” “by Alice Notley.” “In The Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” 20 00 Open Access Molina, Feliz Lucia 10 03 06 10.21983/P3.0016.1.10 104 114 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Objects as Temporary Autonomous Zones 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 03 00 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, no-mos). In their book on life sciences, Medawar and Medawar state, “Organs and tissues [...] are composed of cells which [...] have a high measure of autonomy.” Autonomy also has ethical and political valences. De Grazia writes, “In Kant’s enormously influential moral philosophy, autonomy, or free-dom from the causal determinism of nature, became prominent in justifying the human use of animals.” One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the [...] rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.” Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy. What about the rest of reality, however? Should it be thought of, if it’s even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws (Ent-zug). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paper-weight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand). 30 00 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, no-mos). In their book on life sciences, Medawar and Medawar state, “Organs and tissues [...] are composed of cells which [...] have a high measure of autonomy.” Autonomy also has ethical and political valences. De Grazia writes, “In Kant’s enormously influential moral philosophy, autonomy, or free-dom from the causal determinism of nature, became prominent in justifying the human use of animals.” One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the [...] rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.” Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy. What about the rest of reality, however? Should it be thought of, if it’s even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws (Ent-zug). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paper-weight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand). 20 00 Open Access Morton, Timothy 11 03 06 10.21983/P3.0016.1.11 116 122 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Money as Media Gilson Schwartz on the Semiotics of Digital Currency 1 A01 Renata Lemos-Morais Renata Lemos-Morais 40 02czsnj07 Deakin University 01 eng 03 00 Gilson Schwartz (gs): The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discus-sions on mobile payment systems and new perspectives on poverty allevia-tion via State subsidies. The Ministry of Culture funded the “Creative Cur-rencies” project in 2009–2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (bndes). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. 30 00 Gilson Schwartz (gs): The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discus-sions on mobile payment systems and new perspectives on poverty allevia-tion via State subsidies. The Ministry of Culture funded the “Creative Cur-rencies” project in 2009–2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (bndes). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. 20 00 Open Access Lemos-Morais, Renata 12 03 06 10.21983/P3.0016.1.12 124 144 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Afterlives of Queer Theory 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 Post-Continental Queer TheoryIn an interview with Paul Ennis in Post-Continental Voices, Adrian Ivakhiv is asked about his opinion concerning the future of post-continental philoso-phy and he responds that:In an increasingly global context, I’m not sure if either ‘continental phi-losophy’ or “analytical philosophy” have much of a future except as car-riers of certain legacies; they’re carry-overs from a time when philosophy seemed exclusive to the North Atlantic world. In a globally mediated, technologically shaped world of shifting and intersecting biocultural contexts, philosophy will have to be more hybrid, viral, and shapeshifting if it’s to remain efficacious as a motivating and inspirational force for cos-mopolitical world-making – which, to my mind, is what lies ahead of us. 30 00 Post-Continental Queer TheoryIn an interview with Paul Ennis in Post-Continental Voices, Adrian Ivakhiv is asked about his opinion concerning the future of post-continental philoso-phy and he responds that:In an increasingly global context, I’m not sure if either ‘continental phi-losophy’ or “analytical philosophy” have much of a future except as car-riers of certain legacies; they’re carry-overs from a time when philosophy seemed exclusive to the North Atlantic world. In a globally mediated, technologically shaped world of shifting and intersecting biocultural contexts, philosophy will have to be more hybrid, viral, and shapeshifting if it’s to remain efficacious as a motivating and inspirational force for cos-mopolitical world-making – which, to my mind, is what lies ahead of us. 20 00 Open Access O'Rourke, Michael 13 03 06 10.21983/P3.0016.1.13 146 148 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Please Mind the Gap How to Podcast Your Brain 1 A01 Karen Spaceinvaders Karen Spaceinvaders 01 eng 03 00 Please scan the qrcode to access the mp3 files of deep brain recordings of individual brain cells, the smallest unit of the brain, in a whole, intact liv-ing brain. Each brain region’s cells possess an electrical signature. During recordings electrical signals are transformed into sound to facilitate auditory identification of cells during a process called “mapping.” Mapping is an important step in successfully identifying and localizing the appropriate target site in the brain for an experimental therapeutic proce-dure called deep brain stimulation which has been used for patients with movement disorders and, more recently, for patients with psychiatric disor-ders. 30 00 Please scan the qrcode to access the mp3 files of deep brain recordings of individual brain cells, the smallest unit of the brain, in a whole, intact liv-ing brain. Each brain region’s cells possess an electrical signature. During recordings electrical signals are transformed into sound to facilitate auditory identification of cells during a process called “mapping.” Mapping is an important step in successfully identifying and localizing the appropriate target site in the brain for an experimental therapeutic proce-dure called deep brain stimulation which has been used for patients with movement disorders and, more recently, for patients with psychiatric disor-ders. 20 00 Open Access Spaceinvaders, Karen 14 03 06 10.21983/P3.0016.1.14 150 169 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Fragment as a Unit of Prose Composition an Introduction 1 A01 Ben Segal Ben Segal 01 eng 03 00 The fragment, the note, the idea, the aphorism even: there are many names and as many uses for such small shards of free-floating text. Typi-cally fragments are less works than gestures, arrows pointing in the direc-tion a person might research, meditate on or develop. Unlike paragraphs or sentences, they do not flow directly from and into their bordering text. Instead they are independent, defined by their singularity, by the white space that encases them on a page – even when they are cobbled together and marshaled into service as the contents of a book. Still, though not exceedingly common, books of fragments (or notes or what-have-yous) do exist. However they are labeled, the very aloof-ness of disconnected micro-texts allows them certain privileges and pos-sibilities that a writer can employ and exploit. In such instances, the book of fragments may, almost paradoxically, gain a coherence as a singular work, all the more satisfying for its fractures.Two such books are Maggie Nelson’s blUetS and Evan Lavender-Smith’s From Old Notebooks. We are pleased to present a series of excerpts from each of these books, a selection of ‘outtakes’ – fragments that did not make it into the final manuscripts – from each, and short interviews with both Nelson and Lavender-Smith about the fragment as a literary device 30 00 The fragment, the note, the idea, the aphorism even: there are many names and as many uses for such small shards of free-floating text. Typi-cally fragments are less works than gestures, arrows pointing in the direc-tion a person might research, meditate on or develop. Unlike paragraphs or sentences, they do not flow directly from and into their bordering text. Instead they are independent, defined by their singularity, by the white space that encases them on a page – even when they are cobbled together and marshaled into service as the contents of a book. Still, though not exceedingly common, books of fragments (or notes or what-have-yous) do exist. However they are labeled, the very aloof-ness of disconnected micro-texts allows them certain privileges and pos-sibilities that a writer can employ and exploit. In such instances, the book of fragments may, almost paradoxically, gain a coherence as a singular work, all the more satisfying for its fractures.Two such books are Maggie Nelson’s blUetS and Evan Lavender-Smith’s From Old Notebooks. We are pleased to present a series of excerpts from each of these books, a selection of ‘outtakes’ – fragments that did not make it into the final manuscripts – from each, and short interviews with both Nelson and Lavender-Smith about the fragment as a literary device 20 00 Open Access Segal, Ben 15 03 06 10.21983/P3.0016.1.15 170 185 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mad Speculation and Absolute Inhumanism Lovecraft, Ligotti, and the Weirding of Philosophy 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Miéville’s Iron Council which puts down track as it moves re-claiming it along the way. The strange trajectory is the following: Kant’s criti-cal philosophy and much of continental philosophy which has followed, has been a defense against horror and madness. Kant’s prohibition on specula-tive metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.”And while Alain Badiou would certainly be op-posed to the libidinal investments of Land’s Deleuzo-Guattarian thought, he is likewise critical of Kant’s normative thought-bureaucracies:Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism – always asking Quid Juris?Or “Haven’t you crossed the limit?” – combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [...]. That is how I understand the truth of Monique David-Menard’s reflec-tions on the properly psychotic origins of Kantianism (La Folie dans la raison pure [Paris: Vrin, 1990]). I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. 30 00 I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Miéville’s Iron Council which puts down track as it moves re-claiming it along the way. The strange trajectory is the following: Kant’s criti-cal philosophy and much of continental philosophy which has followed, has been a defense against horror and madness. Kant’s prohibition on specula-tive metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.”And while Alain Badiou would certainly be op-posed to the libidinal investments of Land’s Deleuzo-Guattarian thought, he is likewise critical of Kant’s normative thought-bureaucracies:Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism – always asking Quid Juris?Or “Haven’t you crossed the limit?” – combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [...]. That is how I understand the truth of Monique David-Menard’s reflec-tions on the properly psychotic origins of Kantianism (La Folie dans la raison pure [Paris: Vrin, 1990]). I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. 20 00 Open Access Woodard, Ben 16 03 06 10.21983/P3.0016.1.16 186 190 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Covering Giorgio Agamben's Nudities 1 A01 Gregory Kirk Murray Gregory Kirk Murray 40 03qt6ba18 Georgia State University 01 eng 03 00 The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human soci-ety and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. 30 00 The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human soci-ety and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. 20 00 Open Access Murray, Gregory Kirk 17 03 06 10.21983/P3.0016.1.17 192 194 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Jamie Allen Jamie Allen 2 B01 Paul Boshears Paul Boshears 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 4 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 5 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 01 eng 20 00 Open Access Allen, Jamie Boshears, Paul van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley Jenkins, Nico 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/continent-year-1/ Brooklyn, NY 04 01 20121212 Allen, Jamie Boshears, Paul van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley Jenkins, Nico 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615736890 20 08 20121212 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/continent-year-1-a-selection-of-issues-11a14 20 08 20121212 02 24.00 USD WORLD urn:uuid:35a6f96d-0c5d-4057-94d8-0507379b3548 03 01 01 thoth-work-id urn:uuid:93330f65-a84f-4c5c-aa44-f710c714eca2 01 thoth-publication-id urn:uuid:35a6f96d-0c5d-4057-94d8-0507379b3548 06 10.21983/P3.0016.1.00 01 internal-reference 0016 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 continent. Year 1 A Selection of Issues 1.1–1.4 1 B01 Jamie Allen Jamie Allen 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 4 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 5 B01 Paul Boshears Paul Boshears 40 04g3mbv81 European Graduate School 01 eng 00 194 03 B2 Cultural Studies+Critical Theory 93 DNL 12 HPCF 10 PHI035000 B2 Languages+Translations 93 QDHR 93 DSC B2 Philosophy 93 JBCC 20 philosophy; politics; culture; art; theory 01 06 02 00 03 00 continent. Year 1: A selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative realism to the fragments as a unit of prose, and from queer theory to mass murder. This collection presents the fruits of an intense collaboration throughout the different zones of the Academy 30 00 continent. Year 1: A selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative realism to the fragments as a unit of prose, and from queer theory to mass murder. This collection presents the fruits of an intense collaboration throughout the different zones of the Academy 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0016.1.00_frontcover.jpg 1 03 06 10.21983/P3.0016.1.01 i xiii 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jamie Allen Jamie Allen 2 B01 Paul Boshears Paul Boshears 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 4 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 5 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 01 eng 20 00 Open Access Allen, Jamie Boshears, Paul van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley Jenkins, Nico 2 03 06 10.21983/P3.0016.1.02 12 31 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Meillassoux's Virtual Future 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 This article consists of three parts. First, I will review the major themes of Quentin Meillassoux’s After Finitude. Since some of my readers will have read this book and others not, I will try to strike a balance between clear summary and fresh critique. Second, I discuss an unpublished book by Meil-lassoux only partly familiar to the reading public, except those scant few that may have gone digging in the microfilm archives of the École normale supérieure. The book in question is Meillassoux’s revised doctoral disserta-tion L’Inexistence divine (The Divine Inexistence), with its seemingly bizarre vision of a God who does not yet exist but might exist in the future. Without literally accepting this view, I will claim that it is philosophically interesting in ways that even a hardened sceptic might be able to appreciate. Third and finally, I will speculate on the possible future of Meillassoux’s speculative ma-terialism itself. And here I mean its future development not by Meillassoux, but by those readers who might be inspired by his book. Plato could never have predicted the emergence of Aristotle’s philosophy, despite the obvious debt of the latter to the former. Nor could Descartes have predicted Spinoza and Leibniz, nor Kant the German Idealists, and neither could Husserl in 1901 have foreseen the later emergence of Heidegger. How are the works of interesting philosophers transformed by later thinkers of comparable im-portance? While it may seem that there are countless ways to do this, I think there are only two basic ways in which this happens: you can radicalize your predecessors, or you can reverse them. I will close this article with a few words about these two methods, and try to imagine how Meillassoux might be radicalized or reversed by some future admirer. My view is that the more important thinkers are, the easier they are to radicalize or reverse. This helps explain why the great philosophers of the West have so often appeared in clusters, succeeding one another at relatively brief intervals during periods of especial ferment 30 00 This article consists of three parts. First, I will review the major themes of Quentin Meillassoux’s After Finitude. Since some of my readers will have read this book and others not, I will try to strike a balance between clear summary and fresh critique. Second, I discuss an unpublished book by Meil-lassoux only partly familiar to the reading public, except those scant few that may have gone digging in the microfilm archives of the École normale supérieure. The book in question is Meillassoux’s revised doctoral disserta-tion L’Inexistence divine (The Divine Inexistence), with its seemingly bizarre vision of a God who does not yet exist but might exist in the future. Without literally accepting this view, I will claim that it is philosophically interesting in ways that even a hardened sceptic might be able to appreciate. Third and finally, I will speculate on the possible future of Meillassoux’s speculative ma-terialism itself. And here I mean its future development not by Meillassoux, but by those readers who might be inspired by his book. Plato could never have predicted the emergence of Aristotle’s philosophy, despite the obvious debt of the latter to the former. Nor could Descartes have predicted Spinoza and Leibniz, nor Kant the German Idealists, and neither could Husserl in 1901 have foreseen the later emergence of Heidegger. How are the works of interesting philosophers transformed by later thinkers of comparable im-portance? While it may seem that there are countless ways to do this, I think there are only two basic ways in which this happens: you can radicalize your predecessors, or you can reverse them. I will close this article with a few words about these two methods, and try to imagine how Meillassoux might be radicalized or reversed by some future admirer. My view is that the more important thinkers are, the easier they are to radicalize or reverse. This helps explain why the great philosophers of the West have so often appeared in clusters, succeeding one another at relatively brief intervals during periods of especial ferment 20 00 Open Access Harman, Graham 3 03 06 10.21983/P3.0016.1.03 32 39 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Greek Returns The Poetry of Nikos Karouzos 1 A01 Nick Skiadopoulos Nick Skiadopoulos 01 eng 03 00 Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school gradua-tion he was incessantly educated, reading the entire private library of his granddad, comprising mainly the Orthodox Church Fathers and the an-cient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again. Selling his only remaining capital for a few thousand drachmas, Karouzos traded not simply life, but language for poetry. What twisted type of economy upholds this very decision? Can we speak of a certain investment, with specific returns? “I am talking about the fate of Lazarus: at once pauper and saved.” Nowadays – and ridiculously recently – we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expendi-ture without any type of investment. This imprudent stance still conjures a “capital punishment”: each time, at each act of excess what is at stake is a caput, a head – the haunting dead metaphor for capital. Decapitation, as a road of no return, implies that capital is the condition for the possibility of returns – at least in this life. In that sense, the argument against imprudent economic conduct is not itself economic, but ethical if not ontological – Max Weber being our witness 30 00 Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school gradua-tion he was incessantly educated, reading the entire private library of his granddad, comprising mainly the Orthodox Church Fathers and the an-cient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again. Selling his only remaining capital for a few thousand drachmas, Karouzos traded not simply life, but language for poetry. What twisted type of economy upholds this very decision? Can we speak of a certain investment, with specific returns? “I am talking about the fate of Lazarus: at once pauper and saved.” Nowadays – and ridiculously recently – we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expendi-ture without any type of investment. This imprudent stance still conjures a “capital punishment”: each time, at each act of excess what is at stake is a caput, a head – the haunting dead metaphor for capital. Decapitation, as a road of no return, implies that capital is the condition for the possibility of returns – at least in this life. In that sense, the argument against imprudent economic conduct is not itself economic, but ethical if not ontological – Max Weber being our witness 20 00 Open Access Skiadopoulos, Nick 4 03 06 10.21983/P3.0016.1.04 41 49 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Selected Poems 1 A01 Nikos Karouzos Nikos Karouzos 01 eng 03 00 Γιατί κρατούσαμε κάποτε ώς την πέμπτη μέρατο πασχαλινό πρόβατο;Τα κείμενα λένε: μ’ αυτού του θύματος το κρέαςέπρεπε να καθαρίσουμε όλες τις αισθήσεις.Για να δώσουμε κύμα στη ζωή λευκότατοθαυμάσιες ευωδιές στην έκταση του στήθους.Ιδανικά στο χάρο.Για να βλέπουμε τα λαμπράχαράματα του Άψινθου και να ’ναι η ψυχήστόλισμα βαθυχάρακτοτης πλώρης που την είπαμε θέληση.Τότε πολλές δορκάδες τρέχονταςανάμεσα στην καταπράσινηφύση με τους υδάτινους ύμνους,τότε, κατεβαίνοντας οι αθέλητοι άγγελοιμε κυλινδούμενο το ύψος στην ορμή τουςχαρίζονται της αστραφτερής Περιπέτειας. 30 00 Γιατί κρατούσαμε κάποτε ώς την πέμπτη μέρατο πασχαλινό πρόβατο;Τα κείμενα λένε: μ’ αυτού του θύματος το κρέαςέπρεπε να καθαρίσουμε όλες τις αισθήσεις.Για να δώσουμε κύμα στη ζωή λευκότατοθαυμάσιες ευωδιές στην έκταση του στήθους.Ιδανικά στο χάρο.Για να βλέπουμε τα λαμπράχαράματα του Άψινθου και να ’ναι η ψυχήστόλισμα βαθυχάρακτοτης πλώρης που την είπαμε θέληση.Τότε πολλές δορκάδες τρέχονταςανάμεσα στην καταπράσινηφύση με τους υδάτινους ύμνους,τότε, κατεβαίνοντας οι αθέλητοι άγγελοιμε κυλινδούμενο το ύψος στην ορμή τουςχαρίζονται της αστραφτερής Περιπέτειας. 20 00 Open Access Karouzos, Nikos 5 03 06 10.21983/P3.0016.1.05 50 57 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Phillip Stearns DCP Series 1 A01 Jamie Allen Jamie Allen 01 eng 03 00 A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to pro-duce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned insideout through complexes of shortcircuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snapshots of electronic signals dancing through the camera’s circuits, manually rerouted, written directly to the onboard memory device. Rath-er than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. 30 00 A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to pro-duce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned insideout through complexes of shortcircuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snapshots of electronic signals dancing through the camera’s circuits, manually rerouted, written directly to the onboard memory device. Rath-er than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. 20 00 Open Access Allen, Jamie 6 03 06 10.21983/P3.0016.1.06 58 65 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Crisis of Negation An Interview with Alain Badiou 1 A01 John Van Houdt John Van Houdt 40 04b8v1s79 Tilburg University 01 eng 03 00 Alain Badiou (ab): My answer is a simple one, in fact. The very nature of the crisis today is not, in my opinion, the crisis of capitalism, but the failure of socialism. And maybe I am the philosopher of the time where something like the “Great Hypothesis” coming from the nineteenth-century – and maybe much more, for the French Revolution – is in crisis. So it is the crisis of the idea of revolution. But behind the idea of revolution is the crisis of the idea of another world, of the possibility of, really, another organization of society, and so on. Not the crisis of the pure possibility, but the crisis of the historical possibility of something like that is caught in the facts themselves. And it is a crisis of negation because it is a crisis of a conception of negation which was a creative one. The idea of negation is by itself a negation of newness, and that if we have the means to really negate the established order – in the moment of that sort of negation – there is the birth of the new order. And so the affirmative part or the constructive part of the process is included in negation. 30 00 Alain Badiou (ab): My answer is a simple one, in fact. The very nature of the crisis today is not, in my opinion, the crisis of capitalism, but the failure of socialism. And maybe I am the philosopher of the time where something like the “Great Hypothesis” coming from the nineteenth-century – and maybe much more, for the French Revolution – is in crisis. So it is the crisis of the idea of revolution. But behind the idea of revolution is the crisis of the idea of another world, of the possibility of, really, another organization of society, and so on. Not the crisis of the pure possibility, but the crisis of the historical possibility of something like that is caught in the facts themselves. And it is a crisis of negation because it is a crisis of a conception of negation which was a creative one. The idea of negation is by itself a negation of newness, and that if we have the means to really negate the established order – in the moment of that sort of negation – there is the birth of the new order. And so the affirmative part or the constructive part of the process is included in negation. 20 00 Open Access Van Houdt, John 7 03 06 10.21983/P3.0016.1.07 66 78 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Return of Benjamin's Storyteller Ronald Reagan as the Incorruptible Saint of Political Media 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 03 00 St. Reagan and the Return of the StorytellerThe 2004 Republican National Convention was a significant event concern-ing language and aesthetics in contemporary politics. The Reagan myth appeared as a stellar aura of sentimentality that churned a cultic swoon. Among the polity this spectacular mystery passed a glow upon the shoul-ders of gleeful followers. Engulfing George W. Bush’s body, the Reagan aura of the protector, the prophet, the historian, and narrator of American destiny oft portrayed as a humble man who simply transmits “content” bequeathed upon the sitting president his missionary staff to guard that “shining city on a hill.” This proverbial key to New Jerusalem follows Reagan’s own mythical thinking about the sacred role of the United States. After all the organism-city was under attack by “terrorism.” The “real America” had to be pre-served from suitcase nukes and radical Islam, what was needed, in fact, was the wise counsel of Reagan-Bush to survive not only as a nation, but as a world. 30 00 St. Reagan and the Return of the StorytellerThe 2004 Republican National Convention was a significant event concern-ing language and aesthetics in contemporary politics. The Reagan myth appeared as a stellar aura of sentimentality that churned a cultic swoon. Among the polity this spectacular mystery passed a glow upon the shoul-ders of gleeful followers. Engulfing George W. Bush’s body, the Reagan aura of the protector, the prophet, the historian, and narrator of American destiny oft portrayed as a humble man who simply transmits “content” bequeathed upon the sitting president his missionary staff to guard that “shining city on a hill.” This proverbial key to New Jerusalem follows Reagan’s own mythical thinking about the sacred role of the United States. After all the organism-city was under attack by “terrorism.” The “real America” had to be pre-served from suitcase nukes and radical Islam, what was needed, in fact, was the wise counsel of Reagan-Bush to survive not only as a nation, but as a world. 20 00 Open Access Groves, Staley A. 8 03 06 10.21983/P3.0016.1.08 80 97 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Anders Brevik On Copying the Obscure 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 In the aftermath of the lethal shooting of politically organizing left-wing stu-dents and the bombing of Oslo’s political center by the Norwegian Anders Breivik, there has been much discussion about the rationale behind his ac-tions in a general sense, and, more specifically, the implications and explica-tions of right-wing, nationalist, racist language which is considerably com-mon in several European nations. In many forum threads and blog posts, analyses are given of Breivik’s actions in relation to the current political cli-mate in these environs, which, truth be told, is of an extremely poisonous na-ture. Ample reflection is given on the 1500+ page manifesto distributed by Breivik, entitled 2083: A European Declaration of Independence; De Laude Novae Militiae Pauperes Commilitones Christi Templique Solomonici, which appears to have been finished the day before he committed his crimes. This essay aims not so much for a clarification of the content of this manifesto, but attempts to provide a cartography of its rhetorical procedures, hoping to deconstruct some of the discourse that Breivik has managed to create around himself, both before and after his act. It first of all is an attempt to read Breivik as copycat, borrowing left and right, against unstable credit limits and with uncertain debt ceilings, assembling his ideological trust fund from sources as divergent as the Columbine Massacre, American conserva-tive politics, eugenics, post-Luddite ideology, and freemasonry. 30 00 In the aftermath of the lethal shooting of politically organizing left-wing stu-dents and the bombing of Oslo’s political center by the Norwegian Anders Breivik, there has been much discussion about the rationale behind his ac-tions in a general sense, and, more specifically, the implications and explica-tions of right-wing, nationalist, racist language which is considerably com-mon in several European nations. In many forum threads and blog posts, analyses are given of Breivik’s actions in relation to the current political cli-mate in these environs, which, truth be told, is of an extremely poisonous na-ture. Ample reflection is given on the 1500+ page manifesto distributed by Breivik, entitled 2083: A European Declaration of Independence; De Laude Novae Militiae Pauperes Commilitones Christi Templique Solomonici, which appears to have been finished the day before he committed his crimes. This essay aims not so much for a clarification of the content of this manifesto, but attempts to provide a cartography of its rhetorical procedures, hoping to deconstruct some of the discourse that Breivik has managed to create around himself, both before and after his act. It first of all is an attempt to read Breivik as copycat, borrowing left and right, against unstable credit limits and with uncertain debt ceilings, assembling his ideological trust fund from sources as divergent as the Columbine Massacre, American conserva-tive politics, eugenics, post-Luddite ideology, and freemasonry. 20 00 Open Access W.J. van Gerven Oei, Vincent 9 03 06 10.21983/P3.0016.1.09 98 103 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Playful Reading of the Double Quotation in The Descent of Alette by Alice Notley 1 A01 Feliz Lucia Molina Feliz Lucia Molina 40 04g3mbv81 European Graduate School 01 eng 03 00 “The Descent of Alette” “is an allegorical poem” “in four books” “first pub-lished” “in 1992” “by Alice Notley.” “In The Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” 30 00 “The Descent of Alette” “is an allegorical poem” “in four books” “first pub-lished” “in 1992” “by Alice Notley.” “In The Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” 20 00 Open Access Molina, Feliz Lucia 10 03 06 10.21983/P3.0016.1.10 104 114 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Objects as Temporary Autonomous Zones 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 03 00 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, no-mos). In their book on life sciences, Medawar and Medawar state, “Organs and tissues [...] are composed of cells which [...] have a high measure of autonomy.” Autonomy also has ethical and political valences. De Grazia writes, “In Kant’s enormously influential moral philosophy, autonomy, or free-dom from the causal determinism of nature, became prominent in justifying the human use of animals.” One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the [...] rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.” Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy. What about the rest of reality, however? Should it be thought of, if it’s even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws (Ent-zug). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paper-weight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand). 30 00 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, no-mos). In their book on life sciences, Medawar and Medawar state, “Organs and tissues [...] are composed of cells which [...] have a high measure of autonomy.” Autonomy also has ethical and political valences. De Grazia writes, “In Kant’s enormously influential moral philosophy, autonomy, or free-dom from the causal determinism of nature, became prominent in justifying the human use of animals.” One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the [...] rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.” Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy. What about the rest of reality, however? Should it be thought of, if it’s even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws (Ent-zug). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paper-weight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand). 20 00 Open Access Morton, Timothy 11 03 06 10.21983/P3.0016.1.11 116 122 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Money as Media Gilson Schwartz on the Semiotics of Digital Currency 1 A01 Renata Lemos-Morais Renata Lemos-Morais 40 02czsnj07 Deakin University 01 eng 03 00 Gilson Schwartz (gs): The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discus-sions on mobile payment systems and new perspectives on poverty allevia-tion via State subsidies. The Ministry of Culture funded the “Creative Cur-rencies” project in 2009–2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (bndes). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. 30 00 Gilson Schwartz (gs): The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discus-sions on mobile payment systems and new perspectives on poverty allevia-tion via State subsidies. The Ministry of Culture funded the “Creative Cur-rencies” project in 2009–2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (bndes). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. 20 00 Open Access Lemos-Morais, Renata 12 03 06 10.21983/P3.0016.1.12 124 144 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Afterlives of Queer Theory 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 Post-Continental Queer TheoryIn an interview with Paul Ennis in Post-Continental Voices, Adrian Ivakhiv is asked about his opinion concerning the future of post-continental philoso-phy and he responds that:In an increasingly global context, I’m not sure if either ‘continental phi-losophy’ or “analytical philosophy” have much of a future except as car-riers of certain legacies; they’re carry-overs from a time when philosophy seemed exclusive to the North Atlantic world. In a globally mediated, technologically shaped world of shifting and intersecting biocultural contexts, philosophy will have to be more hybrid, viral, and shapeshifting if it’s to remain efficacious as a motivating and inspirational force for cos-mopolitical world-making – which, to my mind, is what lies ahead of us. 30 00 Post-Continental Queer TheoryIn an interview with Paul Ennis in Post-Continental Voices, Adrian Ivakhiv is asked about his opinion concerning the future of post-continental philoso-phy and he responds that:In an increasingly global context, I’m not sure if either ‘continental phi-losophy’ or “analytical philosophy” have much of a future except as car-riers of certain legacies; they’re carry-overs from a time when philosophy seemed exclusive to the North Atlantic world. In a globally mediated, technologically shaped world of shifting and intersecting biocultural contexts, philosophy will have to be more hybrid, viral, and shapeshifting if it’s to remain efficacious as a motivating and inspirational force for cos-mopolitical world-making – which, to my mind, is what lies ahead of us. 20 00 Open Access O'Rourke, Michael 13 03 06 10.21983/P3.0016.1.13 146 148 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Please Mind the Gap How to Podcast Your Brain 1 A01 Karen Spaceinvaders Karen Spaceinvaders 01 eng 03 00 Please scan the qrcode to access the mp3 files of deep brain recordings of individual brain cells, the smallest unit of the brain, in a whole, intact liv-ing brain. Each brain region’s cells possess an electrical signature. During recordings electrical signals are transformed into sound to facilitate auditory identification of cells during a process called “mapping.” Mapping is an important step in successfully identifying and localizing the appropriate target site in the brain for an experimental therapeutic proce-dure called deep brain stimulation which has been used for patients with movement disorders and, more recently, for patients with psychiatric disor-ders. 30 00 Please scan the qrcode to access the mp3 files of deep brain recordings of individual brain cells, the smallest unit of the brain, in a whole, intact liv-ing brain. Each brain region’s cells possess an electrical signature. During recordings electrical signals are transformed into sound to facilitate auditory identification of cells during a process called “mapping.” Mapping is an important step in successfully identifying and localizing the appropriate target site in the brain for an experimental therapeutic proce-dure called deep brain stimulation which has been used for patients with movement disorders and, more recently, for patients with psychiatric disor-ders. 20 00 Open Access Spaceinvaders, Karen 14 03 06 10.21983/P3.0016.1.14 150 169 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Fragment as a Unit of Prose Composition an Introduction 1 A01 Ben Segal Ben Segal 01 eng 03 00 The fragment, the note, the idea, the aphorism even: there are many names and as many uses for such small shards of free-floating text. Typi-cally fragments are less works than gestures, arrows pointing in the direc-tion a person might research, meditate on or develop. Unlike paragraphs or sentences, they do not flow directly from and into their bordering text. Instead they are independent, defined by their singularity, by the white space that encases them on a page – even when they are cobbled together and marshaled into service as the contents of a book. Still, though not exceedingly common, books of fragments (or notes or what-have-yous) do exist. However they are labeled, the very aloof-ness of disconnected micro-texts allows them certain privileges and pos-sibilities that a writer can employ and exploit. In such instances, the book of fragments may, almost paradoxically, gain a coherence as a singular work, all the more satisfying for its fractures.Two such books are Maggie Nelson’s blUetS and Evan Lavender-Smith’s From Old Notebooks. We are pleased to present a series of excerpts from each of these books, a selection of ‘outtakes’ – fragments that did not make it into the final manuscripts – from each, and short interviews with both Nelson and Lavender-Smith about the fragment as a literary device 30 00 The fragment, the note, the idea, the aphorism even: there are many names and as many uses for such small shards of free-floating text. Typi-cally fragments are less works than gestures, arrows pointing in the direc-tion a person might research, meditate on or develop. Unlike paragraphs or sentences, they do not flow directly from and into their bordering text. Instead they are independent, defined by their singularity, by the white space that encases them on a page – even when they are cobbled together and marshaled into service as the contents of a book. Still, though not exceedingly common, books of fragments (or notes or what-have-yous) do exist. However they are labeled, the very aloof-ness of disconnected micro-texts allows them certain privileges and pos-sibilities that a writer can employ and exploit. In such instances, the book of fragments may, almost paradoxically, gain a coherence as a singular work, all the more satisfying for its fractures.Two such books are Maggie Nelson’s blUetS and Evan Lavender-Smith’s From Old Notebooks. We are pleased to present a series of excerpts from each of these books, a selection of ‘outtakes’ – fragments that did not make it into the final manuscripts – from each, and short interviews with both Nelson and Lavender-Smith about the fragment as a literary device 20 00 Open Access Segal, Ben 15 03 06 10.21983/P3.0016.1.15 170 185 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mad Speculation and Absolute Inhumanism Lovecraft, Ligotti, and the Weirding of Philosophy 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Miéville’s Iron Council which puts down track as it moves re-claiming it along the way. The strange trajectory is the following: Kant’s criti-cal philosophy and much of continental philosophy which has followed, has been a defense against horror and madness. Kant’s prohibition on specula-tive metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.”And while Alain Badiou would certainly be op-posed to the libidinal investments of Land’s Deleuzo-Guattarian thought, he is likewise critical of Kant’s normative thought-bureaucracies:Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism – always asking Quid Juris?Or “Haven’t you crossed the limit?” – combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [...]. That is how I understand the truth of Monique David-Menard’s reflec-tions on the properly psychotic origins of Kantianism (La Folie dans la raison pure [Paris: Vrin, 1990]). I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. 30 00 I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Miéville’s Iron Council which puts down track as it moves re-claiming it along the way. The strange trajectory is the following: Kant’s criti-cal philosophy and much of continental philosophy which has followed, has been a defense against horror and madness. Kant’s prohibition on specula-tive metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.”And while Alain Badiou would certainly be op-posed to the libidinal investments of Land’s Deleuzo-Guattarian thought, he is likewise critical of Kant’s normative thought-bureaucracies:Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism – always asking Quid Juris?Or “Haven’t you crossed the limit?” – combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [...]. That is how I understand the truth of Monique David-Menard’s reflec-tions on the properly psychotic origins of Kantianism (La Folie dans la raison pure [Paris: Vrin, 1990]). I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. 20 00 Open Access Woodard, Ben 16 03 06 10.21983/P3.0016.1.16 186 190 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Covering Giorgio Agamben's Nudities 1 A01 Gregory Kirk Murray Gregory Kirk Murray 40 03qt6ba18 Georgia State University 01 eng 03 00 The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human soci-ety and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. 30 00 The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human soci-ety and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. 20 00 Open Access Murray, Gregory Kirk 17 03 06 10.21983/P3.0016.1.17 192 194 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Jamie Allen Jamie Allen 2 B01 Paul Boshears Paul Boshears 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 4 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 5 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 01 eng 20 00 Open Access Allen, Jamie Boshears, Paul van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley Jenkins, Nico 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/continent-year-1/ Brooklyn, NY 04 01 20121212 Allen, Jamie Boshears, Paul van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley Jenkins, Nico 02 WORLD 06 15 9780615736891 03 9780615736891 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76431 20 08 20121212 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25599 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25599/1004496.pdf?sequence=1&isAllowed=y 20 08 20121212 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27180 20 08 20121212 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353991 20 08 20121212 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/395 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/50c1ae93-16ca-4a08-92e7-8e071574a0b0/download 20 08 20121212 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/93330f65-a84f-4c5c-aa44-f710c714eca2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/93330f65-a84f-4c5c-aa44-f710c714eca2/93330f65-a84f-4c5c-aa44-f710c714eca2.pdf 20 08 20121212 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693016 29 ZENODO: download the title https://zenodo.org/records/19693016/files/93330f65-a84f-4c5c-aa44-f710c714eca2_book.pdf 20 08 20121212 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/continent-year-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0016.1.00.pdf 20 08 20121212 01 urn:uuid:3b3e69d7-779d-4062-8d75-177b011af894 03 01 01 thoth-work-id urn:uuid:0f0b5d24-cc43-411e-8a3b-902e9d7e796b 01 thoth-publication-id urn:uuid:3b3e69d7-779d-4062-8d75-177b011af894 15 9781685711481 03 9781685711481 06 10.53288/0463.1.00 13 2024933942 01 internal-reference 0463 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Continuum 2 Writings – Scritti – Écrits 2015–2022 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 00se00q44 Accademia Albertina delle Belle Arti Alessandro De Francesco (1981) is a poet, artist, and essayist. He has exhibited and performed internationally and published several books, among which And Agglomerations, of Trees or (Mousse Publishing, 2022); ((( (Uitgeverij / punctum books, 2021); Remote Vision (punctum books, 2016); Continuum. Writings on Poetry as Artistic Practice (Uitgeverij / punctum books, 2015). Graduated in Philosophy at the University of Pisa and with a doctorate from the Sorbonne in Paris, he has been teaching poetry and artistic practice in universities and art academies. He is currently the professor of Creative Writing at the Albertina Academy of Fine Arts in Turin, Italy, and a visiting professor of studio practice at the Bern Academy of the Arts in Switzerland and at the ENSAV “La Cambre” in Brussels, Belgium. More information on www.alessandrodefrancesco.net 01 eng 01 fre 01 ita 00 336 03 12 DSC 93 DSC B2 Languages+Translations 10 LIT014000 12 HPN B2 Literary Studies 10 PHI001000 93 QDTN 93 6BA 20 poetry; poetics; conceptual art; immersive environments; baroque; density; multidimensionality; non-dualism; aesthetics; literary criticism 01 06 02 00 03 00 This volume gathers Alessandro De Francesco’s essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015.The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author’s commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed.Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author’s ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought. 30 00 This volume gathers Alessandro De Francesco’s essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015.The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author’s commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed.Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author’s ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0463.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/continuum-2-writings-scritti-ecrits-2015-2022/ Earth, Milky Way 04 01 20240307 De Francesco, Alessandro 02 WORLD 06 15 9781685711498 03 9781685711498 34 06 10.1353/esp.2018.0031 34 06 10.2307/2906963 34 06 10.2307/487866 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711480 20 08 20240307 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/continuum-2-writings-a-scritti-a-acrits-2015a2022 20 08 20240307 02 26.00 USD WORLD urn:uuid:3839bca6-37ca-4452-a40a-639456b81b94 03 01 01 thoth-work-id urn:uuid:0f0b5d24-cc43-411e-8a3b-902e9d7e796b 01 thoth-publication-id urn:uuid:3839bca6-37ca-4452-a40a-639456b81b94 15 9781685711498 03 9781685711498 06 10.53288/0463.1.00 13 2024933942 01 internal-reference 0463 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Continuum 2 Writings – Scritti – Écrits 2015–2022 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 00se00q44 Accademia Albertina delle Belle Arti Alessandro De Francesco (1981) is a poet, artist, and essayist. He has exhibited and performed internationally and published several books, among which And Agglomerations, of Trees or (Mousse Publishing, 2022); ((( (Uitgeverij / punctum books, 2021); Remote Vision (punctum books, 2016); Continuum. Writings on Poetry as Artistic Practice (Uitgeverij / punctum books, 2015). Graduated in Philosophy at the University of Pisa and with a doctorate from the Sorbonne in Paris, he has been teaching poetry and artistic practice in universities and art academies. He is currently the professor of Creative Writing at the Albertina Academy of Fine Arts in Turin, Italy, and a visiting professor of studio practice at the Bern Academy of the Arts in Switzerland and at the ENSAV “La Cambre” in Brussels, Belgium. More information on www.alessandrodefrancesco.net 01 eng 01 fre 01 ita 00 336 03 12 DSC 93 DSC B2 Languages+Translations 10 LIT014000 12 HPN B2 Literary Studies 10 PHI001000 93 QDTN 93 6BA 20 poetry; poetics; conceptual art; immersive environments; baroque; density; multidimensionality; non-dualism; aesthetics; literary criticism 01 06 02 00 03 00 This volume gathers Alessandro De Francesco’s essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015.The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author’s commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed.Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author’s ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought. 30 00 This volume gathers Alessandro De Francesco’s essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015.The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author’s commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed.Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author’s ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0463.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/continuum-2-writings-scritti-ecrits-2015-2022/ Earth, Milky Way 04 01 20240307 De Francesco, Alessandro 02 WORLD 06 15 9781685711481 03 9781685711481 34 06 10.1353/esp.2018.0031 34 06 10.2307/2906963 34 06 10.2307/487866 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/88242 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/88242/0463.1.00.pdf?sequence=1&isAllowed=y 20 08 20240307 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/135451 20 08 20240307 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626767 20 08 20240307 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/335 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/55ea00db-9e46-4ee9-86ca-1aa90d58a5d6/download 20 08 20240307 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0f0b5d24-cc43-411e-8a3b-902e9d7e796b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0f0b5d24-cc43-411e-8a3b-902e9d7e796b/0f0b5d24-cc43-411e-8a3b-902e9d7e796b.pdf 20 08 20240307 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850257 29 ZENODO: download the title https://zenodo.org/records/19850257/files/0f0b5d24-cc43-411e-8a3b-902e9d7e796b_book.pdf 20 08 20240307 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/continuum-2-writings-scritti-ecrits-2015-2022/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0463.1.00.pdf 20 08 20240307 01 urn:uuid:a1fc3060-b29a-47a1-be4f-8d2a1e9d1e2d 03 01 01 thoth-work-id urn:uuid:c3c09f99-71f9-431c-b0f4-ff30c3f7fe11 01 thoth-publication-id urn:uuid:a1fc3060-b29a-47a1-be4f-8d2a1e9d1e2d 15 9789491914065 03 9789491914065 06 10.21983/P3.0229.1.00 01 internal-reference 0229 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Continuum Writings on Poetry as Artistic Practice 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 008x57b05 University of Antwerp 01 eng 01 fre 01 ita 00 564 03 12 DSC 93 DSC B2 Languages+Translations 10 LIT014000 B2 Literary Studies 93 QDTN 20 poetry; theory of poetry; literary theory 01 06 02 00 03 00 Continuum: Writings on Poetry as Artistic Practice reunites the most part of the essays and articles produced between 2007 and 2015 by poet and artist Alessandro De Francesco. It shows what De Francesco himself affirms at a point in the last text of the book: that an artist can also be a theorist, and that artistic practice and theoretical practice are difficult to distinguish in his work. This book is multilingual: each text was left in the language in which it was written. Therefore, it is predominantly in French, but Italian, English and German are also represented. In spite of poetry being at the center of Alessandro De Francesco’s interests as a thinker, the texts contained in this book are very heterogeneous: poetic statements, essays, scientific articles, lectures, interviews; and yet they also show a deep continuity. Continuum stands for the author’s uninterrupted commitment for poetry, for the numerous connections among the approached themes, and especially for the innovatory theoretical and political positions expressed here, from which all these writings originated. 30 00 Continuum: Writings on Poetry as Artistic Practice reunites the most part of the essays and articles produced between 2007 and 2015 by poet and artist Alessandro De Francesco. It shows what De Francesco himself affirms at a point in the last text of the book: that an artist can also be a theorist, and that artistic practice and theoretical practice are difficult to distinguish in his work. This book is multilingual: each text was left in the language in which it was written. Therefore, it is predominantly in French, but Italian, English and German are also represented. In spite of poetry being at the center of Alessandro De Francesco’s interests as a thinker, the texts contained in this book are very heterogeneous: poetic statements, essays, scientific articles, lectures, interviews; and yet they also show a deep continuity. Continuum stands for the author’s uninterrupted commitment for poetry, for the numerous connections among the approached themes, and especially for the innovatory theoretical and political positions expressed here, from which all these writings originated. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0229.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/continuum-writings-on-poetry-as-artistic-practice/ The Hague/Tirana 04 01 20151126 De Francesco, Alessandro 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2EBxe6w 20 08 20151126 02 35.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/continuum-writings-on-poetry-as-artistic-practice 20 08 20151126 02 35.00 USD WORLD urn:uuid:fa2f25fa-6ad3-4c86-a819-47201a948fac 03 01 01 thoth-work-id urn:uuid:c3c09f99-71f9-431c-b0f4-ff30c3f7fe11 01 thoth-publication-id urn:uuid:fa2f25fa-6ad3-4c86-a819-47201a948fac 06 10.21983/P3.0229.1.00 01 internal-reference 0229 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Continuum Writings on Poetry as Artistic Practice 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 008x57b05 University of Antwerp 01 eng 01 fre 01 ita 00 564 03 12 DSC 93 DSC B2 Languages+Translations 10 LIT014000 B2 Literary Studies 93 QDTN 20 poetry; theory of poetry; literary theory 01 06 02 00 03 00 Continuum: Writings on Poetry as Artistic Practice reunites the most part of the essays and articles produced between 2007 and 2015 by poet and artist Alessandro De Francesco. It shows what De Francesco himself affirms at a point in the last text of the book: that an artist can also be a theorist, and that artistic practice and theoretical practice are difficult to distinguish in his work. This book is multilingual: each text was left in the language in which it was written. Therefore, it is predominantly in French, but Italian, English and German are also represented. In spite of poetry being at the center of Alessandro De Francesco’s interests as a thinker, the texts contained in this book are very heterogeneous: poetic statements, essays, scientific articles, lectures, interviews; and yet they also show a deep continuity. Continuum stands for the author’s uninterrupted commitment for poetry, for the numerous connections among the approached themes, and especially for the innovatory theoretical and political positions expressed here, from which all these writings originated. 30 00 Continuum: Writings on Poetry as Artistic Practice reunites the most part of the essays and articles produced between 2007 and 2015 by poet and artist Alessandro De Francesco. It shows what De Francesco himself affirms at a point in the last text of the book: that an artist can also be a theorist, and that artistic practice and theoretical practice are difficult to distinguish in his work. This book is multilingual: each text was left in the language in which it was written. Therefore, it is predominantly in French, but Italian, English and German are also represented. In spite of poetry being at the center of Alessandro De Francesco’s interests as a thinker, the texts contained in this book are very heterogeneous: poetic statements, essays, scientific articles, lectures, interviews; and yet they also show a deep continuity. Continuum stands for the author’s uninterrupted commitment for poetry, for the numerous connections among the approached themes, and especially for the innovatory theoretical and political positions expressed here, from which all these writings originated. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0229.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/continuum-writings-on-poetry-as-artistic-practice/ The Hague/Tirana 04 01 20151126 De Francesco, Alessandro 02 WORLD 06 15 9789491914065 03 9789491914065 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25401 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25401/1004694.pdf?sequence=1&isAllowed=y 20 08 20151126 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27396 20 08 20151126 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353829 20 08 20151126 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/500 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e119efab-ca0f-4329-8f4d-cb76c9e0044e/download 20 08 20151126 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c3c09f99-71f9-431c-b0f4-ff30c3f7fe11 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c3c09f99-71f9-431c-b0f4-ff30c3f7fe11/c3c09f99-71f9-431c-b0f4-ff30c3f7fe11.pdf 20 08 20151126 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846369 29 ZENODO: download the title https://zenodo.org/records/19846369/files/c3c09f99-71f9-431c-b0f4-ff30c3f7fe11_book.pdf 20 08 20151126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/continuum-writings-on-poetry-as-artistic-practice/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0229.1.00.pdf 20 08 20151126 01 urn:uuid:271d1d53-3745-40e8-889b-d1286e118fc2 03 01 01 thoth-work-id urn:uuid:5f5d5588-164b-42b1-88a2-1d81ed4bd1d7 01 thoth-publication-id urn:uuid:271d1d53-3745-40e8-889b-d1286e118fc2 15 9781685712143 03 9781685712143 06 10.53288/0499.1.00 13 2026932367 01 internal-reference 0499 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 13 mm 03 1.3 cm 03 0.5 in 08 224 gr 08 7.9 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Corporeal Aesth/ethics The Body in Bracha L. Ettinger's Theory and Art 1 A01 21 0000000288030145 Anna Kisiel Anna Kisiel 40 0104rcc94 University of Silesia Anna Kisiel is a literary scholar, English philologist, and assistant professor at the University of Silesia in Katowice, Poland. In 2019, she received her PhD in literary studies. She has published extensively on Bracha L. Ettinger’s matrixial theory both in English and in Polish. She is an editorial team member of several academic journals, including ER(R)GO: Theory – Literature – Culture and MAI: Feminism & Visual Culture, and she is a member of the Polish Academy of Sciences Commission on Literary History (Katowice Branch). Her academic research revolves around – but is not limited to – matrixial psychoanalysis, trauma studies, photography theory, and body and femininity in the visual arts and literature. 01 eng 00 220 03 10 ART065000 B2 Art+Aesthetics 93 JMAF 93 AFC B2 Cultural Studies+Critical Theory 10 PSY026000 93 JBSF11 10 PHI005000 93 QDTQ 93 NHTZ1 20 matrixial theory; Bracha L. Ettinger; psychoanalysis; ethics; visual arts; femininity; female body; Holocaust 01 06 02 00 03 00 Can we think of an ethics that originates in corporeality, and not in codified or symbolic systems? In Corporeal Aesth/ethics, the body resurfaces as a central category of Bracha L. Ettinger’s theory and art, as well as an interpretive key that allows us to assume ethical responsibility for an Other who is not abstract, or distant, or total. Ettinger’s matrixial theory, a deeply feminist psychoanalytical system, ventures beyond the models of subjectivity based on separation and lack, and thus it helps us rethink togetherness and our own humanity.Corporeal Aesth/ethics explores how we become subjects not through a series of cuts, but through an encounter with radical openness, modeled upon the intrauterine/pregnancy period. Even though the theorized encounter relies on caring, carrying, and sharing, it is far from pleasant and safe, as we might assume. Indeed, some of the knowledge communicated in this phase of subjectivity-becoming may turn out to be painful, even traumatic. It is this profoundly corporeal encounter, Kisiel contends, that makes it possible to conceive of the body as a site and source of ethics. Envisioned through the lens of the matrixial, a subject (never alone, always in severality) reaches new modes of intimacy and hospitality, occasioned by our universally shared, originary experience of becoming with-in the maternal body.A psychoanalyst, theoretician, and feminist, Ettinger is also an artist. Sharing Ettinger’s conviction that “painting and theory are not different aspects that attest to the same thing, but are rather differentiated levels of working-through,” Kisiel maps the entanglements of the (feminine/motherly) body in both dimensions of Ettinger’s work. In five chapters, this book delineates the project of Ettinger’s corporeal aesth/ethics. It contextualizes the matrixial body, analyzes its humanizing potential, and proposes dialogues of Ettinger’s work with feminism, theology, and Holocaust studies. 30 00 Can we think of an ethics that originates in corporeality, and not in codified or symbolic systems? In Corporeal Aesth/ethics, the body resurfaces as a central category of Bracha L. Ettinger’s theory and art, as well as an interpretive key that allows us to assume ethical responsibility for an Other who is not abstract, or distant, or total. Ettinger’s matrixial theory, a deeply feminist psychoanalytical system, ventures beyond the models of subjectivity based on separation and lack, and thus it helps us rethink togetherness and our own humanity.Corporeal Aesth/ethics explores how we become subjects not through a series of cuts, but through an encounter with radical openness, modeled upon the intrauterine/pregnancy period. Even though the theorized encounter relies on caring, carrying, and sharing, it is far from pleasant and safe, as we might assume. Indeed, some of the knowledge communicated in this phase of subjectivity-becoming may turn out to be painful, even traumatic. It is this profoundly corporeal encounter, Kisiel contends, that makes it possible to conceive of the body as a site and source of ethics. Envisioned through the lens of the matrixial, a subject (never alone, always in severality) reaches new modes of intimacy and hospitality, occasioned by our universally shared, originary experience of becoming with-in the maternal body.A psychoanalyst, theoretician, and feminist, Ettinger is also an artist. Sharing Ettinger’s conviction that “painting and theory are not different aspects that attest to the same thing, but are rather differentiated levels of working-through,” Kisiel maps the entanglements of the (feminine/motherly) body in both dimensions of Ettinger’s work. In five chapters, this book delineates the project of Ettinger’s corporeal aesth/ethics. It contextualizes the matrixial body, analyzes its humanizing potential, and proposes dialogues of Ettinger’s work with feminism, theology, and Holocaust studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0499.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/mai-feminism-and-culture/ MAI: Feminism and Culture 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/corporeal-aesth-ethics-the-body-in-bracha-l-ettingers-theory-and-art/ Earth, Milky Way 04 01 20260203 Anna Kisiel 02 WORLD 06 15 9781685712150 03 9781685712150 06 15 9781685712990 03 9781685712990 34 06 10.18318/td.2016.2.7 34 06 10.1093/litthe/frm028 34 06 10.1080/15240657.2019.1559517 34 06 10.1080/15240657.2016.1135681 34 06 10.1353/esc.2014.0010 34 06 10.16995/sim.141 34 06 10.1215/10407391-4-3-176 34 06 10.1163/9789401207591_002 34 06 10.1111/j.1527-2001.2006.tb00968.x 34 06 10.1353/phi.2018.0005 34 06 10.18778/2353-6098.6.02 34 06 10.1353/jji.0.0022 34 06 10.16995/sim.114 34 06 10.1177/0263276404040479 34 06 10.1086/493470 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712142 20 08 20260203 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/corporeal-aesthethics-the-body-in-bracha-t-ettingers-theory-and-art 20 08 20260203 02 28.00 USD WORLD urn:uuid:ceed0ba2-b464-49dd-82ca-35e13563ed5e 03 01 01 thoth-work-id urn:uuid:5f5d5588-164b-42b1-88a2-1d81ed4bd1d7 01 thoth-publication-id urn:uuid:ceed0ba2-b464-49dd-82ca-35e13563ed5e 15 9781685712150 03 9781685712150 06 10.53288/0499.1.00 13 2026932367 01 internal-reference 0499 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Corporeal Aesth/ethics The Body in Bracha L. Ettinger's Theory and Art 1 A01 21 0000000288030145 Anna Kisiel Anna Kisiel 40 0104rcc94 University of Silesia Anna Kisiel is a literary scholar, English philologist, and assistant professor at the University of Silesia in Katowice, Poland. In 2019, she received her PhD in literary studies. She has published extensively on Bracha L. Ettinger’s matrixial theory both in English and in Polish. She is an editorial team member of several academic journals, including ER(R)GO: Theory – Literature – Culture and MAI: Feminism & Visual Culture, and she is a member of the Polish Academy of Sciences Commission on Literary History (Katowice Branch). Her academic research revolves around – but is not limited to – matrixial psychoanalysis, trauma studies, photography theory, and body and femininity in the visual arts and literature. 01 eng 00 220 03 10 ART065000 B2 Art+Aesthetics 93 JMAF 93 AFC B2 Cultural Studies+Critical Theory 10 PSY026000 93 JBSF11 10 PHI005000 93 QDTQ 93 NHTZ1 20 matrixial theory; Bracha L. Ettinger; psychoanalysis; ethics; visual arts; femininity; female body; Holocaust 01 06 02 00 03 00 Can we think of an ethics that originates in corporeality, and not in codified or symbolic systems? In Corporeal Aesth/ethics, the body resurfaces as a central category of Bracha L. Ettinger’s theory and art, as well as an interpretive key that allows us to assume ethical responsibility for an Other who is not abstract, or distant, or total. Ettinger’s matrixial theory, a deeply feminist psychoanalytical system, ventures beyond the models of subjectivity based on separation and lack, and thus it helps us rethink togetherness and our own humanity.Corporeal Aesth/ethics explores how we become subjects not through a series of cuts, but through an encounter with radical openness, modeled upon the intrauterine/pregnancy period. Even though the theorized encounter relies on caring, carrying, and sharing, it is far from pleasant and safe, as we might assume. Indeed, some of the knowledge communicated in this phase of subjectivity-becoming may turn out to be painful, even traumatic. It is this profoundly corporeal encounter, Kisiel contends, that makes it possible to conceive of the body as a site and source of ethics. Envisioned through the lens of the matrixial, a subject (never alone, always in severality) reaches new modes of intimacy and hospitality, occasioned by our universally shared, originary experience of becoming with-in the maternal body.A psychoanalyst, theoretician, and feminist, Ettinger is also an artist. Sharing Ettinger’s conviction that “painting and theory are not different aspects that attest to the same thing, but are rather differentiated levels of working-through,” Kisiel maps the entanglements of the (feminine/motherly) body in both dimensions of Ettinger’s work. In five chapters, this book delineates the project of Ettinger’s corporeal aesth/ethics. It contextualizes the matrixial body, analyzes its humanizing potential, and proposes dialogues of Ettinger’s work with feminism, theology, and Holocaust studies. 30 00 Can we think of an ethics that originates in corporeality, and not in codified or symbolic systems? In Corporeal Aesth/ethics, the body resurfaces as a central category of Bracha L. Ettinger’s theory and art, as well as an interpretive key that allows us to assume ethical responsibility for an Other who is not abstract, or distant, or total. Ettinger’s matrixial theory, a deeply feminist psychoanalytical system, ventures beyond the models of subjectivity based on separation and lack, and thus it helps us rethink togetherness and our own humanity.Corporeal Aesth/ethics explores how we become subjects not through a series of cuts, but through an encounter with radical openness, modeled upon the intrauterine/pregnancy period. Even though the theorized encounter relies on caring, carrying, and sharing, it is far from pleasant and safe, as we might assume. Indeed, some of the knowledge communicated in this phase of subjectivity-becoming may turn out to be painful, even traumatic. It is this profoundly corporeal encounter, Kisiel contends, that makes it possible to conceive of the body as a site and source of ethics. Envisioned through the lens of the matrixial, a subject (never alone, always in severality) reaches new modes of intimacy and hospitality, occasioned by our universally shared, originary experience of becoming with-in the maternal body.A psychoanalyst, theoretician, and feminist, Ettinger is also an artist. Sharing Ettinger’s conviction that “painting and theory are not different aspects that attest to the same thing, but are rather differentiated levels of working-through,” Kisiel maps the entanglements of the (feminine/motherly) body in both dimensions of Ettinger’s work. In five chapters, this book delineates the project of Ettinger’s corporeal aesth/ethics. It contextualizes the matrixial body, analyzes its humanizing potential, and proposes dialogues of Ettinger’s work with feminism, theology, and Holocaust studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0499.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/mai-feminism-and-culture/ MAI: Feminism and Culture 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/corporeal-aesth-ethics-the-body-in-bracha-l-ettingers-theory-and-art/ Earth, Milky Way 04 01 20260203 Anna Kisiel 02 WORLD 06 15 9781685712143 03 9781685712143 06 15 9781685712990 03 9781685712990 34 06 10.18318/td.2016.2.7 34 06 10.1093/litthe/frm028 34 06 10.1080/15240657.2019.1559517 34 06 10.1080/15240657.2016.1135681 34 06 10.1353/esc.2014.0010 34 06 10.16995/sim.141 34 06 10.1215/10407391-4-3-176 34 06 10.1163/9789401207591_002 34 06 10.1111/j.1527-2001.2006.tb00968.x 34 06 10.1353/phi.2018.0005 34 06 10.18778/2353-6098.6.02 34 06 10.1353/jji.0.0022 34 06 10.16995/sim.114 34 06 10.1177/0263276404040479 34 06 10.1086/493470 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/110840 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/110840/9781685712150.pdf?sequence=1&isAllowed=y 20 08 20260203 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/173186 20 08 20260203 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/947 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c7a389b1-767c-4da1-988d-6c9e173d290e/download 20 08 20260203 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5f5d5588-164b-42b1-88a2-1d81ed4bd1d7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5f5d5588-164b-42b1-88a2-1d81ed4bd1d7/5f5d5588-164b-42b1-88a2-1d81ed4bd1d7.pdf 20 08 20260203 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851568 29 ZENODO: download the title https://zenodo.org/records/19851568/files/5f5d5588-164b-42b1-88a2-1d81ed4bd1d7_book.pdf 20 08 20260203 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/corporeal-aesth-ethics-the-body-in-bracha-l-ettingers-theory-and-art/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0499.1.00.pdf 20 08 20260203 01 urn:uuid:8238d6c7-e6b0-41ed-a693-a28fef246045 03 01 01 thoth-work-id urn:uuid:5f5d5588-164b-42b1-88a2-1d81ed4bd1d7 01 thoth-publication-id urn:uuid:8238d6c7-e6b0-41ed-a693-a28fef246045 15 9781685712990 03 9781685712990 06 10.53288/0499.1.00 13 2026932367 01 internal-reference 0499 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Corporeal Aesth/ethics The Body in Bracha L. Ettinger's Theory and Art 1 A01 21 0000000288030145 Anna Kisiel Anna Kisiel 40 0104rcc94 University of Silesia Anna Kisiel is a literary scholar, English philologist, and assistant professor at the University of Silesia in Katowice, Poland. In 2019, she received her PhD in literary studies. She has published extensively on Bracha L. Ettinger’s matrixial theory both in English and in Polish. She is an editorial team member of several academic journals, including ER(R)GO: Theory – Literature – Culture and MAI: Feminism & Visual Culture, and she is a member of the Polish Academy of Sciences Commission on Literary History (Katowice Branch). Her academic research revolves around – but is not limited to – matrixial psychoanalysis, trauma studies, photography theory, and body and femininity in the visual arts and literature. 01 eng 00 220 03 10 ART065000 B2 Art+Aesthetics 93 JMAF 93 AFC B2 Cultural Studies+Critical Theory 10 PSY026000 93 JBSF11 10 PHI005000 93 QDTQ 93 NHTZ1 20 matrixial theory; Bracha L. Ettinger; psychoanalysis; ethics; visual arts; femininity; female body; Holocaust 01 06 02 00 03 00 Can we think of an ethics that originates in corporeality, and not in codified or symbolic systems? In Corporeal Aesth/ethics, the body resurfaces as a central category of Bracha L. Ettinger’s theory and art, as well as an interpretive key that allows us to assume ethical responsibility for an Other who is not abstract, or distant, or total. Ettinger’s matrixial theory, a deeply feminist psychoanalytical system, ventures beyond the models of subjectivity based on separation and lack, and thus it helps us rethink togetherness and our own humanity.Corporeal Aesth/ethics explores how we become subjects not through a series of cuts, but through an encounter with radical openness, modeled upon the intrauterine/pregnancy period. Even though the theorized encounter relies on caring, carrying, and sharing, it is far from pleasant and safe, as we might assume. Indeed, some of the knowledge communicated in this phase of subjectivity-becoming may turn out to be painful, even traumatic. It is this profoundly corporeal encounter, Kisiel contends, that makes it possible to conceive of the body as a site and source of ethics. Envisioned through the lens of the matrixial, a subject (never alone, always in severality) reaches new modes of intimacy and hospitality, occasioned by our universally shared, originary experience of becoming with-in the maternal body.A psychoanalyst, theoretician, and feminist, Ettinger is also an artist. Sharing Ettinger’s conviction that “painting and theory are not different aspects that attest to the same thing, but are rather differentiated levels of working-through,” Kisiel maps the entanglements of the (feminine/motherly) body in both dimensions of Ettinger’s work. In five chapters, this book delineates the project of Ettinger’s corporeal aesth/ethics. It contextualizes the matrixial body, analyzes its humanizing potential, and proposes dialogues of Ettinger’s work with feminism, theology, and Holocaust studies. 30 00 Can we think of an ethics that originates in corporeality, and not in codified or symbolic systems? In Corporeal Aesth/ethics, the body resurfaces as a central category of Bracha L. Ettinger’s theory and art, as well as an interpretive key that allows us to assume ethical responsibility for an Other who is not abstract, or distant, or total. Ettinger’s matrixial theory, a deeply feminist psychoanalytical system, ventures beyond the models of subjectivity based on separation and lack, and thus it helps us rethink togetherness and our own humanity.Corporeal Aesth/ethics explores how we become subjects not through a series of cuts, but through an encounter with radical openness, modeled upon the intrauterine/pregnancy period. Even though the theorized encounter relies on caring, carrying, and sharing, it is far from pleasant and safe, as we might assume. Indeed, some of the knowledge communicated in this phase of subjectivity-becoming may turn out to be painful, even traumatic. It is this profoundly corporeal encounter, Kisiel contends, that makes it possible to conceive of the body as a site and source of ethics. Envisioned through the lens of the matrixial, a subject (never alone, always in severality) reaches new modes of intimacy and hospitality, occasioned by our universally shared, originary experience of becoming with-in the maternal body.A psychoanalyst, theoretician, and feminist, Ettinger is also an artist. Sharing Ettinger’s conviction that “painting and theory are not different aspects that attest to the same thing, but are rather differentiated levels of working-through,” Kisiel maps the entanglements of the (feminine/motherly) body in both dimensions of Ettinger’s work. In five chapters, this book delineates the project of Ettinger’s corporeal aesth/ethics. It contextualizes the matrixial body, analyzes its humanizing potential, and proposes dialogues of Ettinger’s work with feminism, theology, and Holocaust studies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0499.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/mai-feminism-and-culture/ MAI: Feminism and Culture 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/corporeal-aesth-ethics-the-body-in-bracha-l-ettingers-theory-and-art/ Earth, Milky Way 04 01 20260203 Anna Kisiel 02 WORLD 06 15 9781685712143 03 9781685712143 06 15 9781685712150 03 9781685712150 34 06 10.18318/td.2016.2.7 34 06 10.1093/litthe/frm028 34 06 10.1080/15240657.2019.1559517 34 06 10.1080/15240657.2016.1135681 34 06 10.1353/esc.2014.0010 34 06 10.16995/sim.141 34 06 10.1215/10407391-4-3-176 34 06 10.1163/9789401207591_002 34 06 10.1111/j.1527-2001.2006.tb00968.x 34 06 10.1353/phi.2018.0005 34 06 10.18778/2353-6098.6.02 34 06 10.1353/jji.0.0022 34 06 10.16995/sim.114 34 06 10.1177/0263276404040479 34 06 10.1086/493470 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/corporeal-aesth-ethics-the-body-in-bracha-l-ettingers-theory-and-art/ 20 08 20260203 01 urn:uuid:7d94f021-55bc-42a6-8aad-c54a754a3b5c 03 01 01 thoth-work-id urn:uuid:0a8fba81-f1d0-498c-88c4-0b96d3bf2947 01 thoth-publication-id urn:uuid:7d94f021-55bc-42a6-8aad-c54a754a3b5c 15 9780615983912 03 9780615983912 06 10.21983/P3.0066.1.00 01 internal-reference 0066 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Cotton Nero A.x The Works of the "Pearl" Poet 1 A01 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 2 A01 Daniel C. Remein Daniel C. Remein 40 04ydmy275 University of Massachusetts Boston 3 A01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 4 A01 Lisa Ampleman Lisa Ampleman 40 01e3m7079 University of Cincinnati 01 eng 00 54 03 12 DCF B2 Fabulations 93 FYT 10 POE022000 93 3KLW B2 Languages+Translations B2 Premodern 20 poetry; translation; medieval literature 01 06 02 00 03 00 Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton’s library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century—the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight.All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream. 30 00 Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton’s library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century—the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight.All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0066.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cotton-nero-a-x-the-works-of-the-pearl-poet/ Brooklyn, NY 04 01 20140424 Hadbawnik, David Remein, Daniel C. Piuma, Chris Ampleman, Lisa 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/061598391X 20 08 20140424 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/cotton-nero-ax-the-works-of-the-pearl-poet 20 08 20140424 02 21.00 USD WORLD urn:uuid:3b0d3237-98ac-4ecb-9225-248e7b6b1095 03 01 01 thoth-work-id urn:uuid:0a8fba81-f1d0-498c-88c4-0b96d3bf2947 01 thoth-publication-id urn:uuid:3b0d3237-98ac-4ecb-9225-248e7b6b1095 06 10.21983/P3.0066.1.00 01 internal-reference 0066 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Cotton Nero A.x The Works of the "Pearl" Poet 1 A01 David Hadbawnik David Hadbawnik 40 01y64my43 University at Buffalo, State University of New York 2 A01 Daniel C. Remein Daniel C. Remein 40 04ydmy275 University of Massachusetts Boston 3 A01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 4 A01 Lisa Ampleman Lisa Ampleman 40 01e3m7079 University of Cincinnati 01 eng 00 54 03 12 DCF B2 Fabulations 93 FYT 10 POE022000 93 3KLW B2 Languages+Translations B2 Premodern 20 poetry; translation; medieval literature 01 06 02 00 03 00 Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton’s library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century—the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight.All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream. 30 00 Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton’s library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century—the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight.All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0066.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/cotton-nero-a-x-the-works-of-the-pearl-poet/ Brooklyn, NY 04 01 20140424 Hadbawnik, David Remein, Daniel C. Piuma, Chris Ampleman, Lisa 02 WORLD 06 15 9780615983912 03 9780615983912 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25552 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25552/1004543.pdf?sequence=1&isAllowed=y 20 08 20140424 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33939 20 08 20140424 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354013 20 08 20140424 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/450 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b7028c83-f936-4051-a354-8415eae00aea/download 20 08 20140424 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0a8fba81-f1d0-498c-88c4-0b96d3bf2947 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0a8fba81-f1d0-498c-88c4-0b96d3bf2947/0a8fba81-f1d0-498c-88c4-0b96d3bf2947.pdf 20 08 20140424 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845955 29 ZENODO: download the title https://zenodo.org/records/19845955/files/0a8fba81-f1d0-498c-88c4-0b96d3bf2947_book.pdf 20 08 20140424 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/cotton-nero-a-x-the-works-of-the-pearl-poet/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0066.1.00.pdf 20 08 20140424 01 urn:uuid:0789fe14-47f5-4d26-b765-53e965093681 03 01 01 thoth-work-id urn:uuid:f01cb60b-69bf-4d11-bd3c-fd5b36663029 01 thoth-publication-id urn:uuid:0789fe14-47f5-4d26-b765-53e965093681 15 9781947447691 03 9781947447691 06 10.21983/P3.0207.1.00 13 2018948912 01 internal-reference 0207 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Covert Plants Vegetal Consciousness and Agency in an Anthropocentric World 1 B01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 2 B01 Brits Baylee Brits Baylee 40 03r8z3t63 University of New South Wales 01 eng 00 266 03 B2 Biosphere 10 NAT026000 12 PSAF 93 PST B2 Cultural Studies+Critical Theory 10 NAT045000 93 RNA B2 Posthumanism 20 bioart; plant studies; ecology; eco-psychology; environmental humanities 01 06 02 00 03 00 Covert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of ‘nature’ and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking.Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal — around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object?A full view of this shifting perspective requires a ‘stereoscopic’ lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling ‘subjects,’ ‘stakeholders,’ or ‘actors.’ As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants’ ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. 30 00 Covert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of ‘nature’ and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking.Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal — around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object?A full view of this shifting perspective requires a ‘stereoscopic’ lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling ‘subjects,’ ‘stakeholders,’ or ‘actors.’ As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants’ ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0207.1.00_frontcover.jpg 1 03 06 10.21983/P3.0207.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 2 B01 Brits Baylee Brits Baylee 40 03r8z3t63 University of New South Wales 01 eng 20 00 Open Access Gibson, Prudence Brits Baylee 2 03 06 10.21983/P3.0207.1.02 11 21 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Covert Plants 1 A01 Baylee Brits Baylee Brits 40 03r8z3t63 University of New South Wales 2 A01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 01 eng 03 00 Covert Plants: Vegetal Consciousness and Agency in an Anthro-pocentric World is an anthology of interdisciplinary essays and creative works, which charts the transformation in the concep-tual and ethical status of plants in an era of changing climates. It presents a range of academic and creative perspectives from evo-lutionary biology to literary theory, from philosophy to poetry, at a time when a call for restorative care and reparative action has been sounded for the environment. The anthology contributes to the emerging field of Critical Plant Studies, at the crossover of plants and philosophy,1 literature,2 and arts,3 with a focus on the non-human components of our world.4 The essays in this anthology engage with new discoveries in plant science and evaluate how these changes affect the humanities and the arts. Art, literature, and philosophy have the capacity to mediate dif-ficult issues of climate change and present a new perspective on human–plant interactions, just as new plant science transforms these practices and disciplines. 30 00 Covert Plants: Vegetal Consciousness and Agency in an Anthro-pocentric World is an anthology of interdisciplinary essays and creative works, which charts the transformation in the concep-tual and ethical status of plants in an era of changing climates. It presents a range of academic and creative perspectives from evo-lutionary biology to literary theory, from philosophy to poetry, at a time when a call for restorative care and reparative action has been sounded for the environment. The anthology contributes to the emerging field of Critical Plant Studies, at the crossover of plants and philosophy,1 literature,2 and arts,3 with a focus on the non-human components of our world.4 The essays in this anthology engage with new discoveries in plant science and evaluate how these changes affect the humanities and the arts. Art, literature, and philosophy have the capacity to mediate dif-ficult issues of climate change and present a new perspective on human–plant interactions, just as new plant science transforms these practices and disciplines. 20 00 Open Access Brits, Baylee Gibson, Prudence 3 03 06 10.21983/P3.0207.1.03 25 34 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interview with Michael Marder 1 A01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 01 eng 03 00 PG: There are plant artists around the world who are using the eco-transmissions of roots or leaves to create sound artworks. Other plant artists unground natural species from the earth and bring them into the gallery space or create experiences that dis-rupt or intervene with an ecological state. These bodies of work develop from the history of botanical illustration, gardening, bonsai care, and other art-aesthetic preoccupations, even land art. However, contemporary plant art consistently highlights eco-ethics, those moral questions of how to relate to plants. New information in plant science informs our understanding of sta-tus and ethics, as you expound in your books. These ideas are being taken up by artists and presented as a means of advocacy as well as a continued creative representation. Can you respond to this new realm of representation, as both a conceptual artistic interpretation but also as a way of ‘speaking for’ plants? 30 00 PG: There are plant artists around the world who are using the eco-transmissions of roots or leaves to create sound artworks. Other plant artists unground natural species from the earth and bring them into the gallery space or create experiences that dis-rupt or intervene with an ecological state. These bodies of work develop from the history of botanical illustration, gardening, bonsai care, and other art-aesthetic preoccupations, even land art. However, contemporary plant art consistently highlights eco-ethics, those moral questions of how to relate to plants. New information in plant science informs our understanding of sta-tus and ethics, as you expound in your books. These ideas are being taken up by artists and presented as a means of advocacy as well as a continued creative representation. Can you respond to this new realm of representation, as both a conceptual artistic interpretation but also as a way of ‘speaking for’ plants? 20 00 Open Access Gibson, Prudence 4 03 06 10.21983/P3.0207.1.04 36 43 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mixed Up with Trees The Gadgur and the Dreaming 1 A01 Stephen Muecke Stephen Muecke 40 03r8z3t63 University of New South Wales 01 eng 03 00 fter talking to the Goolarabooloo people for a few years now, and thinking a bit about what they might mean by ‘living coun-try’ in the West Kimberley region of Australia, I want to venture the idea that they understand life as networked and sustained among humans and non-humans. This idea, which is hardly surprising among students of ecology today — who are push-ing back against the ancient Judeo-Christian concept of man’s dominion over nature — turns out it may be more than just an idea in Indigenous Australian cosmologies. It may well be struc-tural; built into what we used to call ‘cultural’ practices like cer-emonies, but now search for a new name for, because they are more-than-cultural precisely because they mix up ‘cultural’ and ‘natural’ things. While each animal, tree and water source strives to persist in its own way, engendering its filiations, it is also a nec-essary mutually sustaining part of the heterogeneous network. Humans are not exceptional in this, because, like the others, they are ‘reproductive beings.’1 Living country is a whole network reproducing itself, and when the human communities organise to sing the country, to vitalise it and make it ‘stand up,’ they are performing what anthropologists call ‘increase ceremonies’ for animals or plants. And why not think of initiations of boys also as kinds of ‘increase’? 30 00 fter talking to the Goolarabooloo people for a few years now, and thinking a bit about what they might mean by ‘living coun-try’ in the West Kimberley region of Australia, I want to venture the idea that they understand life as networked and sustained among humans and non-humans. This idea, which is hardly surprising among students of ecology today — who are push-ing back against the ancient Judeo-Christian concept of man’s dominion over nature — turns out it may be more than just an idea in Indigenous Australian cosmologies. It may well be struc-tural; built into what we used to call ‘cultural’ practices like cer-emonies, but now search for a new name for, because they are more-than-cultural precisely because they mix up ‘cultural’ and ‘natural’ things. While each animal, tree and water source strives to persist in its own way, engendering its filiations, it is also a nec-essary mutually sustaining part of the heterogeneous network. Humans are not exceptional in this, because, like the others, they are ‘reproductive beings.’1 Living country is a whole network reproducing itself, and when the human communities organise to sing the country, to vitalise it and make it ‘stand up,’ they are performing what anthropologists call ‘increase ceremonies’ for animals or plants. And why not think of initiations of boys also as kinds of ‘increase’? 20 00 Open Access Muecke, Stephen 5 03 06 10.21983/P3.0207.1.05 45 46 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lover Nature 1 A01 Paul Dawson Paul Dawson 40 03r8z3t63 University of New South Wales 01 eng 03 00 Do I dare love you, here, amongst the vines that climb along the limbs of trees that twine about your thighs, alive with twisting desire in my fingers travelling down your skin, legs exposed like stripped saplings in the sununtil your feet are bared, planted in the earthamongst the roots whose path I trace through the loam, to erupt from the grassthe gnarled arch I have yearned to touch 30 00 Do I dare love you, here, amongst the vines that climb along the limbs of trees that twine about your thighs, alive with twisting desire in my fingers travelling down your skin, legs exposed like stripped saplings in the sununtil your feet are bared, planted in the earthamongst the roots whose path I trace through the loam, to erupt from the grassthe gnarled arch I have yearned to touch 20 00 Open Access Dawson, Paul 6 03 06 10.21983/P3.0207.1.06 47 57 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Ear to the Ground 1 A01 Andrew Belletty Andrew Belletty 01 eng 03 00 In late 2015, I was given the opportunity to be part of a song jour-ney of sorts, led by a group of song custodians who were active in passing on the tradition to young people from the commu-nity. The location of this particular song site is a secret, the area is not marked on any map and the entrance to the site itself is kept under lock and key. The topographical features of the site are unique in the area — a profusion of white sand surrounded by sharp rocky outcrops that gives the space a cathedral like appear-ance, and remarkably vibrant acoustics. Due to mining activities, trespass, and clandestine land sales in and around the site, it is extremely vulnerable to intrusion, which is why I take great pains to protect the location of the site and the identity of the people. It was here, a thousand kilometers from the nearest city, that I encountered a particularly vibrant tree, a tree that made me want to understand if and how a tree may listen and respond to situ-ated bodies. 30 00 In late 2015, I was given the opportunity to be part of a song jour-ney of sorts, led by a group of song custodians who were active in passing on the tradition to young people from the commu-nity. The location of this particular song site is a secret, the area is not marked on any map and the entrance to the site itself is kept under lock and key. The topographical features of the site are unique in the area — a profusion of white sand surrounded by sharp rocky outcrops that gives the space a cathedral like appear-ance, and remarkably vibrant acoustics. Due to mining activities, trespass, and clandestine land sales in and around the site, it is extremely vulnerable to intrusion, which is why I take great pains to protect the location of the site and the identity of the people. It was here, a thousand kilometers from the nearest city, that I encountered a particularly vibrant tree, a tree that made me want to understand if and how a tree may listen and respond to situ-ated bodies. 20 00 Open Access Belletty, Andrew 7 03 06 10.21983/P3.0207.1.07 59 60 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gardening / Grasshopper in a Field 1 A01 Luke Fischer Luke Fischer 40 0384j8v12 University of Sydney 01 eng 03 00 I press my blue thumb into silence —shoots quickly spread to the left and right.A melody unfurls its fronds and I understand why the violin’s neck is curled.Chord clusters in the Chopin nocturne blossom into purple umbels then vanish into night. An arpeggio climbs the living room walls while a trill showers wisteria petals as if I’d just been wed. 30 00 I press my blue thumb into silence —shoots quickly spread to the left and right.A melody unfurls its fronds and I understand why the violin’s neck is curled.Chord clusters in the Chopin nocturne blossom into purple umbels then vanish into night. An arpeggio climbs the living room walls while a trill showers wisteria petals as if I’d just been wed. 20 00 Open Access Fischer, Luke 8 03 06 10.21983/P3.0207.1.08 61 77 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Spores from Space Becoming the Alien 1 A01 21 0000000277489727 Tessa Laird Tessa Laird 40 01ej9dk98 University of Melbourne 01 eng 03 00 The masterpiece of pseudo-science, The Secret Life of Plants (1973), tells you everything you ever needed to know about plants, but were afraid to ask. Writers Christopher Bird and Peter Tomp-kins might have had former lives as a science journalist and a war correspondent, respectively, but by the time they publish The Secret Life (or SLOP, as I shall affectionately refer to it), it is clear they have partaken in some serious communion with the vegetal mind. SLOP is filled with telepathy and telekinesis, electric veg-etables and flashing flowers, hypersensitive mimosas and unde-monstrative radishes. Houseplants can sense their owners’ plea-sures and pains and, with the right gadgetry, can testify against murderers, or open garage doors. Bird and Tompkins’s agenda is clear: to convince humanity it is really plants that are the earth’s superbeings. Plants can grow as tall as pyramids, predict cyclones, and, most spectacularly, engage in intergalactic conversation. 30 00 The masterpiece of pseudo-science, The Secret Life of Plants (1973), tells you everything you ever needed to know about plants, but were afraid to ask. Writers Christopher Bird and Peter Tomp-kins might have had former lives as a science journalist and a war correspondent, respectively, but by the time they publish The Secret Life (or SLOP, as I shall affectionately refer to it), it is clear they have partaken in some serious communion with the vegetal mind. SLOP is filled with telepathy and telekinesis, electric veg-etables and flashing flowers, hypersensitive mimosas and unde-monstrative radishes. Houseplants can sense their owners’ plea-sures and pains and, with the right gadgetry, can testify against murderers, or open garage doors. Bird and Tompkins’s agenda is clear: to convince humanity it is really plants that are the earth’s superbeings. Plants can grow as tall as pyramids, predict cyclones, and, most spectacularly, engage in intergalactic conversation. 20 00 Open Access Laird, Tessa 9 03 06 10.21983/P3.0207.1.09 81 98 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brain Trees Neuroscientific Metaphor and Botanical Thought 1 A01 Baylee Brits Baylee Brits 40 03r8z3t63 University of New South Wales 01 eng 03 00 Our understanding of the brain is bound up with our images of plants. One of the dominant metaphors for the way the brain works is the tree. If we reduce a tree to its most basic carica-ture — the sphere on the top of the trunk — we have an echo not only of the brain and the brain stem, but of the neuron and its branching dendrites and extensive axon as well. In addition to this broad structure of stem and efflorescence, this visual meta-phor capitalises on the bloom of synaptic connections, redolent of the thinning and multiplying of twigs from branches. These metaphors of the brain become all the more significant given re-cent developments in the inverse field, as new work in plant sci-ence is changing the way we think about vegetation and thought. Studies of plant behaviour now suggest that plants engage in processes of what we might call thinking and learning, even if this thought does not exactly resemble the sort of conscious ra-tionality that vastly overdetermines our ideas about what the hu-man brain primarily does. While the brain is often envisaged as a tree, this metaphoric exchange has only ever gone one way: it re-mains anathema to associate plants with brains in anything more than an illustrative sense. Although the neurological armoury of images seems to be phytological — and phytology is now deploy-ing the concepts once unique to brain science — any exchange between the two is often rendered trivial, as if images and names existed in the realm of conceptual small change. Here I consider the way that current key popular texts in neurology deploy the metaphor of the plant, in particular the tree, and explore the ways that this metaphor works to both stabilise and ‘extinguish’ its object. I consider the way that the ‘tree’ is simultaneously a material and immaterial metaphor, an embodiment of both neu-ral object and function. This curious mode of metaphor, which I will associate with Paul de Man’s definition of ‘formal allegory,’ actually models the cognitive processes that it seeks to describe. 30 00 Our understanding of the brain is bound up with our images of plants. One of the dominant metaphors for the way the brain works is the tree. If we reduce a tree to its most basic carica-ture — the sphere on the top of the trunk — we have an echo not only of the brain and the brain stem, but of the neuron and its branching dendrites and extensive axon as well. In addition to this broad structure of stem and efflorescence, this visual meta-phor capitalises on the bloom of synaptic connections, redolent of the thinning and multiplying of twigs from branches. These metaphors of the brain become all the more significant given re-cent developments in the inverse field, as new work in plant sci-ence is changing the way we think about vegetation and thought. Studies of plant behaviour now suggest that plants engage in processes of what we might call thinking and learning, even if this thought does not exactly resemble the sort of conscious ra-tionality that vastly overdetermines our ideas about what the hu-man brain primarily does. While the brain is often envisaged as a tree, this metaphoric exchange has only ever gone one way: it re-mains anathema to associate plants with brains in anything more than an illustrative sense. Although the neurological armoury of images seems to be phytological — and phytology is now deploy-ing the concepts once unique to brain science — any exchange between the two is often rendered trivial, as if images and names existed in the realm of conceptual small change. Here I consider the way that current key popular texts in neurology deploy the metaphor of the plant, in particular the tree, and explore the ways that this metaphor works to both stabilise and ‘extinguish’ its object. I consider the way that the ‘tree’ is simultaneously a material and immaterial metaphor, an embodiment of both neu-ral object and function. This curious mode of metaphor, which I will associate with Paul de Man’s definition of ‘formal allegory,’ actually models the cognitive processes that it seeks to describe. 20 00 Open Access Brits, Baylee 10 03 06 10.21983/P3.0207.1.10 99 120 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Metaphoric Plants Goethe's Metamorphosis of Plants and the Metaphors of Reason 1 A01 Dalia Nassar Dalia Nassar 40 0384j8v12 University of Sydney 01 eng 03 00 Philosophers have long appealed to various metaphors or images to describe, elucidate, or explicate reason and its place in the uni-verse. These metaphors usually came from the natural world, and more often than not, they involved trees. Porphyry’s tree might be the most well-known example of a philosopher invoking the metaphor of the plant in order to elucidate the structure of the world and the place of reason within it, but it was by no means the only. In his Principles of Philosophy (1644), René Descartes uses the metaphor of a tree to explicate his understanding of the various sciences and of the place of philosophy (as metaphysics) within his system: ‘The roots are metaphysics, the trunk is phys-ics, and the branches emerging from the trunk are all the other sciences, which may be reduced to three principal ones, namely medicine, mechanics and morals.’1 These metaphors provided (and continue to provide) significant means by which to articu-late fundamental philosophical ideas. Porphyry’s and Descartes’ images express unity, on the one hand, and hierarchy, on the other. While Descartes’ metaphor implies that reason furnishes the foundation of reality, Porphyry’s regards reason (the highest branch of the tree) as the most complex manifestation of what is already present in other parts of the natural world (in other branches of the tree). By contrast, Leibniz’s image of reason as a seed ‘implanted’ in the mind by God — an image invoked to explicate the notion of innate ideas — carries a different implica-tion: human reason is eternal, independent from the ephemeral world of the senses. 30 00 Philosophers have long appealed to various metaphors or images to describe, elucidate, or explicate reason and its place in the uni-verse. These metaphors usually came from the natural world, and more often than not, they involved trees. Porphyry’s tree might be the most well-known example of a philosopher invoking the metaphor of the plant in order to elucidate the structure of the world and the place of reason within it, but it was by no means the only. In his Principles of Philosophy (1644), René Descartes uses the metaphor of a tree to explicate his understanding of the various sciences and of the place of philosophy (as metaphysics) within his system: ‘The roots are metaphysics, the trunk is phys-ics, and the branches emerging from the trunk are all the other sciences, which may be reduced to three principal ones, namely medicine, mechanics and morals.’1 These metaphors provided (and continue to provide) significant means by which to articu-late fundamental philosophical ideas. Porphyry’s and Descartes’ images express unity, on the one hand, and hierarchy, on the other. While Descartes’ metaphor implies that reason furnishes the foundation of reality, Porphyry’s regards reason (the highest branch of the tree) as the most complex manifestation of what is already present in other parts of the natural world (in other branches of the tree). By contrast, Leibniz’s image of reason as a seed ‘implanted’ in the mind by God — an image invoked to explicate the notion of innate ideas — carries a different implica-tion: human reason is eternal, independent from the ephemeral world of the senses. 20 00 Open Access Nassar, Dalia 11 03 06 10.21983/P3.0207.1.11 121 124 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Icaro / Heyowicinayo 1 A01 Tamryn Bennett Tamryn Bennett 01 eng 03 00 Icaro caapi, cipó yagé, yajénatem, shori aya spirit vine icarosin grandmother tonguecantos de medicina liana chanting 30 00 Icaro caapi, cipó yagé, yajénatem, shori aya spirit vine icarosin grandmother tonguecantos de medicina liana chanting 20 00 Open Access Bennett, Tamryn 12 03 06 10.21983/P3.0207.1.12 125 150 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Continuous Green Abstraction Embodied Knowledge, Intuition, and Metaphor 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02w2y2t16 Leuphana University of Lüneburg 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 Is there a relation between de-centralizing forms of thought in the various research programs of the cognitive sciences and the democratization of thought across species in philosophy? Or, put otherwise, do the forms of thought articulated in human cognition (reason, imagination, intuition, etc.) map in any ad-equate way onto embodiment across numerous species in terms of how such species cognitively function, as well as how they rely upon physical embodiment to think? And, lastly, do the various theories of 4E Cognition (embodied, enacted, embedded, and extended) clarify or needlessly complicate this?While it critiques of classical cognitive models often go hand in hand with critiques of epistemology, or human-centered ways of knowing, such projects seem to over-rely on a metaphorical disjunction, which itself is not anti-epistemological but embed-ded within both the embodied modes of cognition and more dis-embodied transcendental accounts. This is particularly evident in recent works that have attempted to argue for the presence of thinking in so called ‘lower lifeforms,’ while at the same time in-voking, and capitalizing on, highly abstract concepts taken from philosophers such as C.S. Peirce (a thinker who is anything but anti-epistemological). 30 00 Is there a relation between de-centralizing forms of thought in the various research programs of the cognitive sciences and the democratization of thought across species in philosophy? Or, put otherwise, do the forms of thought articulated in human cognition (reason, imagination, intuition, etc.) map in any ad-equate way onto embodiment across numerous species in terms of how such species cognitively function, as well as how they rely upon physical embodiment to think? And, lastly, do the various theories of 4E Cognition (embodied, enacted, embedded, and extended) clarify or needlessly complicate this?While it critiques of classical cognitive models often go hand in hand with critiques of epistemology, or human-centered ways of knowing, such projects seem to over-rely on a metaphorical disjunction, which itself is not anti-epistemological but embed-ded within both the embodied modes of cognition and more dis-embodied transcendental accounts. This is particularly evident in recent works that have attempted to argue for the presence of thinking in so called ‘lower lifeforms,’ while at the same time in-voking, and capitalizing on, highly abstract concepts taken from philosophers such as C.S. Peirce (a thinker who is anything but anti-epistemological). 20 00 Open Access Woodard, Ben 13 03 06 10.21983/P3.0207.1.13 151 160 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Figures 1 A01 Lisa Dowdall Lisa Dowdall 01 eng 03 00 Call it the Chthulucene: this threshold at the edge of the present in which the monstrous, the chthonic, the tentacular, the horrif-ic, and the weird abound. How to write the Chthulucene? Why not start here in the speculative mode that touches on the hid-den, but cannot quite name it — that recovers terror and strange-ness in the sym-poietic cascade of crisis and becoming.Science fiction. Fantasy. Slipstream. Cli-fi. Horror. New Weird. Such stories estrange the world, rendering it and its agents both immediate and uncanny in that immediacy. From John Wyndham’s triffids to Jeff Vandermeer’s Southern Reach1 and El-len van Neerven’s plant people2 — weird stories that reimagine the interactions between plants and humans in the Chthulucene offer new ways of thinking, or, as Vandermeer claims, feeling, in rapidly changing and multi-species worlds. 30 00 Call it the Chthulucene: this threshold at the edge of the present in which the monstrous, the chthonic, the tentacular, the horrif-ic, and the weird abound. How to write the Chthulucene? Why not start here in the speculative mode that touches on the hid-den, but cannot quite name it — that recovers terror and strange-ness in the sym-poietic cascade of crisis and becoming.Science fiction. Fantasy. Slipstream. Cli-fi. Horror. New Weird. Such stories estrange the world, rendering it and its agents both immediate and uncanny in that immediacy. From John Wyndham’s triffids to Jeff Vandermeer’s Southern Reach1 and El-len van Neerven’s plant people2 — weird stories that reimagine the interactions between plants and humans in the Chthulucene offer new ways of thinking, or, as Vandermeer claims, feeling, in rapidly changing and multi-species worlds. 20 00 Open Access Dowdall, Lisa 14 03 06 10.21983/P3.0207.1.14 163 181 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Colour Green 1 A01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 01 eng 03 00 Human representations of nature, as green, are prolific. The his-tory of the colour — as pigments mixed by artists, as iconic sculp-tural motifs of green figures, as environmental politics and as more recent philosophies of plant life — has influenced a battle between conventions of nature’s expression and changing per-ceptions of the vegetal world. This chapter addresses the colour green as an aesthetic, cultural, and political tool.Living cells, capable of performing photosynthesis, first ap-peared on earth more than three and half billion years ago.2Plant life was later charted in the creationist doctrine as the earth sprouted vegetation on the third day, when plants yielded seeds and trees bore fruit...and God thought it was good.3 Conversely, Derek Jarman writes of the Garden of Eden (and of Adam and Eve’s eviction from it, post apple-eating) and recalls the angry Adam hacking down the Tree of Knowledge to build the first house.4 Such terrible irony: as the utopian garden was lost and with that first tree slaughtered by man’s hand, as Jarman believed, we began our environmental demise. Climate change is biting at our heels, and all mythic and philosophical stories of ‘green’ can now be seen with the eco-eyes of hindsight and reclaimed as a vibrant slice of the colour wheel. 30 00 Human representations of nature, as green, are prolific. The his-tory of the colour — as pigments mixed by artists, as iconic sculp-tural motifs of green figures, as environmental politics and as more recent philosophies of plant life — has influenced a battle between conventions of nature’s expression and changing per-ceptions of the vegetal world. This chapter addresses the colour green as an aesthetic, cultural, and political tool.Living cells, capable of performing photosynthesis, first ap-peared on earth more than three and half billion years ago.2Plant life was later charted in the creationist doctrine as the earth sprouted vegetation on the third day, when plants yielded seeds and trees bore fruit...and God thought it was good.3 Conversely, Derek Jarman writes of the Garden of Eden (and of Adam and Eve’s eviction from it, post apple-eating) and recalls the angry Adam hacking down the Tree of Knowledge to build the first house.4 Such terrible irony: as the utopian garden was lost and with that first tree slaughtered by man’s hand, as Jarman believed, we began our environmental demise. Climate change is biting at our heels, and all mythic and philosophical stories of ‘green’ can now be seen with the eco-eyes of hindsight and reclaimed as a vibrant slice of the colour wheel. 20 00 Open Access Gibson, Prudence 15 03 06 10.21983/P3.0207.1.15 183 194 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Persons as Plants Ecopsychology and the Return to the Dream of Nature 1 A01 21 0000000224146990 Monica Gagliano Monica Gagliano 40 047272k79 University of Western Australia 01 eng 03 00 With the provocative title Plants as Persons, Matthew Hall’s brainchild had stirred up an exciting discourse on the perception and the action of people towards plants, and more generally, Na-ture. In sharing my excitement over this book with a friend, I was asked whether the word persons is ‘proper English’ and whether it is even reasonable to equate plants to people.2 So let this essay be the journey that starts there, at the origin and significance of this word; a journey that weaves its way through the powerful threads of Silverstein’s storytelling3 to nurse the Western rational mind from the bigoted Aristotelian idea of the inferior nature of plants to the timeless and soul-full reality of plants as teachers experienced by indigenous healers and shamans across the globe. And from the world of shamans, so beautifully embroidered with magic and deep truths, let this journey bring us back to the scientific world of the Western mind, but with a new much-needed perception of what humans call ‘Nature.’ And just like in T.S. Eliot’s poem ‘Little Gidding,’ let this be a journey that ulti-mately returns us to the place from where we started, but which we now truly know for the first time. 30 00 With the provocative title Plants as Persons, Matthew Hall’s brainchild had stirred up an exciting discourse on the perception and the action of people towards plants, and more generally, Na-ture. In sharing my excitement over this book with a friend, I was asked whether the word persons is ‘proper English’ and whether it is even reasonable to equate plants to people.2 So let this essay be the journey that starts there, at the origin and significance of this word; a journey that weaves its way through the powerful threads of Silverstein’s storytelling3 to nurse the Western rational mind from the bigoted Aristotelian idea of the inferior nature of plants to the timeless and soul-full reality of plants as teachers experienced by indigenous healers and shamans across the globe. And from the world of shamans, so beautifully embroidered with magic and deep truths, let this journey bring us back to the scientific world of the Western mind, but with a new much-needed perception of what humans call ‘Nature.’ And just like in T.S. Eliot’s poem ‘Little Gidding,’ let this be a journey that ulti-mately returns us to the place from where we started, but which we now truly know for the first time. 20 00 Open Access Gagliano, Monica 16 03 06 10.21983/P3.0207.1.16 195 195 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rooted 1 A01 Justin Clemens Justin Clemens 40 01ej9dk98 University of Melbourne 01 eng 03 00 The Greek for tree is dendron, Dendrites neurons’ branched projections Sparking to soma. The phrenology Of diaphragms spores the hidden lights Of twinned breath, the dendritic cells Bifurcating to bans of the bond Between adaptive and innate. 30 00 The Greek for tree is dendron, Dendrites neurons’ branched projections Sparking to soma. The phrenology Of diaphragms spores the hidden lights Of twinned breath, the dendritic cells Bifurcating to bans of the bond Between adaptive and innate. 20 00 Open Access Clemens, Justin 17 03 06 10.21983/P3.0207.1.17 197 212 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Agricultural Inventiveness Beyond Environmental Management? 1 A01 21 0000000348732326 Lucas Ihlein Lucas Ihlein 40 00jtmb277 University of Wollongong 01 eng 03 00 In 2014, I began working on a collaborative art project called Sug-ar vs the Reef? The project came about following an invitation from John Sweet, a retired farmer and active community worker in the Queensland town of Mackay. Sweet’s hunch was that the involvement of artists in a complex environmental management problem might help to catalyse positive transformations in the sugar cane industry, which is often accused of polluting the pris-tine waters of the Great Barrier Reef with agricultural run-off.1This chapter is based on some of the early field research for Sugar vs the Reef? and my task is to present the inventiveness of three change agents: two human and one non-human. The first is Si-mon Mattsson, a sugar cane farmer in Mackay, and a founder of Central Queensland Soil Health Systems (CQSHS). The second is Allan Yeomans, director of the Yeomans Plow Company on the Gold Coast and inventor of the Yeomans Carbon Still: a de-vice for measuring carbon sequestration in soil. The third change agent has been around for millennia: the humble plant — specifi-cally grass — and the complex soil community of which grasses are an integral member. While presenting the inventiveness of these three change agents together here, I also want to point to some of the factors that have thus far inhibited the broader up-take of their inventions. I do so in the hope that identifying such barriers might be a small positive step beyond the paternalistic discourse of environmental management, and towards the for-mation of more dynamic relations in social and ecological sys-tems between humans and plants. 30 00 In 2014, I began working on a collaborative art project called Sug-ar vs the Reef? The project came about following an invitation from John Sweet, a retired farmer and active community worker in the Queensland town of Mackay. Sweet’s hunch was that the involvement of artists in a complex environmental management problem might help to catalyse positive transformations in the sugar cane industry, which is often accused of polluting the pris-tine waters of the Great Barrier Reef with agricultural run-off.1This chapter is based on some of the early field research for Sugar vs the Reef? and my task is to present the inventiveness of three change agents: two human and one non-human. The first is Si-mon Mattsson, a sugar cane farmer in Mackay, and a founder of Central Queensland Soil Health Systems (CQSHS). The second is Allan Yeomans, director of the Yeomans Plow Company on the Gold Coast and inventor of the Yeomans Carbon Still: a de-vice for measuring carbon sequestration in soil. The third change agent has been around for millennia: the humble plant — specifi-cally grass — and the complex soil community of which grasses are an integral member. While presenting the inventiveness of these three change agents together here, I also want to point to some of the factors that have thus far inhibited the broader up-take of their inventions. I do so in the hope that identifying such barriers might be a small positive step beyond the paternalistic discourse of environmental management, and towards the for-mation of more dynamic relations in social and ecological sys-tems between humans and plants. 20 00 Open Access Ihlein, Lucas 18 03 06 10.21983/P3.0207.1.18 213 220 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trees and Landlords and Other Public Experiments An Interview with Natalie Jeremijenko 1 A01 Susie Pratt Susie Pratt 40 03f0f6041 University of Technology Sydney 01 eng 03 00 In 2012, while I was an art medic-in-residence at the Environmen-tal Health Clinic in New York, the director of the Clinic, Nata-lie Jeremijenko, showed me her designs for a co-working office space in a tree. The plans were still in the early stages, but what caught my attention was her articulation of how a tree would be set up as the landlord of the office. The rent people paid for us-ing the co-working space would be put in the service of its own interests, for example to improve soil quality or for companion planting. The TREExOFFICE, as she called it, was to be installed in Socrates Sculpture Park as part of the exhibition Civic Ac-tion — this was the first of many iterations of this intervention. I was curious to talk with Natalie to find out how the project had evolved. What is it like to have a tree as a landlord? How did tenants behave? How can a tree engage a community to serve it’s own and collective interests? How can public experiments, such as TREExOFFICE, help to re-imagine and re-design our re-lationship to natural systems? 30 00 In 2012, while I was an art medic-in-residence at the Environmen-tal Health Clinic in New York, the director of the Clinic, Nata-lie Jeremijenko, showed me her designs for a co-working office space in a tree. The plans were still in the early stages, but what caught my attention was her articulation of how a tree would be set up as the landlord of the office. The rent people paid for us-ing the co-working space would be put in the service of its own interests, for example to improve soil quality or for companion planting. The TREExOFFICE, as she called it, was to be installed in Socrates Sculpture Park as part of the exhibition Civic Ac-tion — this was the first of many iterations of this intervention. I was curious to talk with Natalie to find out how the project had evolved. What is it like to have a tree as a landlord? How did tenants behave? How can a tree engage a community to serve it’s own and collective interests? How can public experiments, such as TREExOFFICE, help to re-imagine and re-design our re-lationship to natural systems? 20 00 Open Access Pratt, Susie 19 03 06 10.21983/P3.0207.1.19 221 251 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gardening out of the Anthropocene Creating DIfferent Relations between Humans and Edible Plants in Sydney 1 A01 21 0000000163809067 Jennifer Mae Hamilton Jennifer Mae Hamilton 40 03r8z3t63 University of New South Wales 01 eng 03 00 One way to critique the kind of technocratic development sig-nified in the term ‘Anthropocene’, to challenge the problematic anthropocentrism of the concept, and also to maintain a cogent response to the environmental crisis at the same time, is to imag-ine how society could leave a different kind of trace in the fos-sil record. Donna Haraway has called for the Anthropocene, or ‘Capitalocene,’ to be as thin a layer as possible — what stratigra-phers call a “boundary event” rather than an epoch.2 Following her, scholars are trying to theorize what it would mean and what it would take to make a qualitatively different earthen layer.3How to dig ourselves out of this mess? Natasha Myers proposes the idea of the ‘Planthroposcene,’ not as a new epoch per se, but as a new methodology for living with plants. 30 00 One way to critique the kind of technocratic development sig-nified in the term ‘Anthropocene’, to challenge the problematic anthropocentrism of the concept, and also to maintain a cogent response to the environmental crisis at the same time, is to imag-ine how society could leave a different kind of trace in the fos-sil record. Donna Haraway has called for the Anthropocene, or ‘Capitalocene,’ to be as thin a layer as possible — what stratigra-phers call a “boundary event” rather than an epoch.2 Following her, scholars are trying to theorize what it would mean and what it would take to make a qualitatively different earthen layer.3How to dig ourselves out of this mess? Natasha Myers proposes the idea of the ‘Planthroposcene,’ not as a new epoch per se, but as a new methodology for living with plants. 20 00 Open Access Hamilton, Jennifer Mae 20 03 06 10.21983/P3.0207.1.20 253 263 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 2 B01 Brits Baylee Brits Baylee 40 03r8z3t63 University of New South Wales 01 eng 20 00 Open Access Gibson, Prudence Brits Baylee 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/covert-plants/ Earth, Milky Way 04 01 20180911 Gibson, Prudence Brits Baylee 02 WORLD 06 15 9781947447707 03 9781947447707 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447696 20 08 20180911 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/covert-plants-vegetal-consciousness-and-agency-in-an-anthropocentric-world 20 08 20180911 02 24.00 USD WORLD urn:uuid:1ce17077-a81b-4938-805d-9b0d2820de1e 03 01 01 thoth-work-id urn:uuid:f01cb60b-69bf-4d11-bd3c-fd5b36663029 01 thoth-publication-id urn:uuid:1ce17077-a81b-4938-805d-9b0d2820de1e 15 9781947447707 03 9781947447707 06 10.21983/P3.0207.1.00 13 2018948912 01 internal-reference 0207 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Covert Plants Vegetal Consciousness and Agency in an Anthropocentric World 1 B01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 2 B01 Brits Baylee Brits Baylee 40 03r8z3t63 University of New South Wales 01 eng 00 266 03 B2 Biosphere 10 NAT026000 12 PSAF 93 PST B2 Cultural Studies+Critical Theory 10 NAT045000 93 RNA B2 Posthumanism 20 bioart; plant studies; ecology; eco-psychology; environmental humanities 01 06 02 00 03 00 Covert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of ‘nature’ and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking.Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal — around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object?A full view of this shifting perspective requires a ‘stereoscopic’ lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling ‘subjects,’ ‘stakeholders,’ or ‘actors.’ As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants’ ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. 30 00 Covert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of ‘nature’ and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking.Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal — around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object?A full view of this shifting perspective requires a ‘stereoscopic’ lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling ‘subjects,’ ‘stakeholders,’ or ‘actors.’ As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants’ ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0207.1.00_frontcover.jpg 1 03 06 10.21983/P3.0207.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 2 B01 Brits Baylee Brits Baylee 40 03r8z3t63 University of New South Wales 01 eng 20 00 Open Access Gibson, Prudence Brits Baylee 2 03 06 10.21983/P3.0207.1.02 11 21 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Covert Plants 1 A01 Baylee Brits Baylee Brits 40 03r8z3t63 University of New South Wales 2 A01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 01 eng 03 00 Covert Plants: Vegetal Consciousness and Agency in an Anthro-pocentric World is an anthology of interdisciplinary essays and creative works, which charts the transformation in the concep-tual and ethical status of plants in an era of changing climates. It presents a range of academic and creative perspectives from evo-lutionary biology to literary theory, from philosophy to poetry, at a time when a call for restorative care and reparative action has been sounded for the environment. The anthology contributes to the emerging field of Critical Plant Studies, at the crossover of plants and philosophy,1 literature,2 and arts,3 with a focus on the non-human components of our world.4 The essays in this anthology engage with new discoveries in plant science and evaluate how these changes affect the humanities and the arts. Art, literature, and philosophy have the capacity to mediate dif-ficult issues of climate change and present a new perspective on human–plant interactions, just as new plant science transforms these practices and disciplines. 30 00 Covert Plants: Vegetal Consciousness and Agency in an Anthro-pocentric World is an anthology of interdisciplinary essays and creative works, which charts the transformation in the concep-tual and ethical status of plants in an era of changing climates. It presents a range of academic and creative perspectives from evo-lutionary biology to literary theory, from philosophy to poetry, at a time when a call for restorative care and reparative action has been sounded for the environment. The anthology contributes to the emerging field of Critical Plant Studies, at the crossover of plants and philosophy,1 literature,2 and arts,3 with a focus on the non-human components of our world.4 The essays in this anthology engage with new discoveries in plant science and evaluate how these changes affect the humanities and the arts. Art, literature, and philosophy have the capacity to mediate dif-ficult issues of climate change and present a new perspective on human–plant interactions, just as new plant science transforms these practices and disciplines. 20 00 Open Access Brits, Baylee Gibson, Prudence 3 03 06 10.21983/P3.0207.1.03 25 34 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interview with Michael Marder 1 A01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 01 eng 03 00 PG: There are plant artists around the world who are using the eco-transmissions of roots or leaves to create sound artworks. Other plant artists unground natural species from the earth and bring them into the gallery space or create experiences that dis-rupt or intervene with an ecological state. These bodies of work develop from the history of botanical illustration, gardening, bonsai care, and other art-aesthetic preoccupations, even land art. However, contemporary plant art consistently highlights eco-ethics, those moral questions of how to relate to plants. New information in plant science informs our understanding of sta-tus and ethics, as you expound in your books. These ideas are being taken up by artists and presented as a means of advocacy as well as a continued creative representation. Can you respond to this new realm of representation, as both a conceptual artistic interpretation but also as a way of ‘speaking for’ plants? 30 00 PG: There are plant artists around the world who are using the eco-transmissions of roots or leaves to create sound artworks. Other plant artists unground natural species from the earth and bring them into the gallery space or create experiences that dis-rupt or intervene with an ecological state. These bodies of work develop from the history of botanical illustration, gardening, bonsai care, and other art-aesthetic preoccupations, even land art. However, contemporary plant art consistently highlights eco-ethics, those moral questions of how to relate to plants. New information in plant science informs our understanding of sta-tus and ethics, as you expound in your books. These ideas are being taken up by artists and presented as a means of advocacy as well as a continued creative representation. Can you respond to this new realm of representation, as both a conceptual artistic interpretation but also as a way of ‘speaking for’ plants? 20 00 Open Access Gibson, Prudence 4 03 06 10.21983/P3.0207.1.04 36 43 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mixed Up with Trees The Gadgur and the Dreaming 1 A01 Stephen Muecke Stephen Muecke 40 03r8z3t63 University of New South Wales 01 eng 03 00 fter talking to the Goolarabooloo people for a few years now, and thinking a bit about what they might mean by ‘living coun-try’ in the West Kimberley region of Australia, I want to venture the idea that they understand life as networked and sustained among humans and non-humans. This idea, which is hardly surprising among students of ecology today — who are push-ing back against the ancient Judeo-Christian concept of man’s dominion over nature — turns out it may be more than just an idea in Indigenous Australian cosmologies. It may well be struc-tural; built into what we used to call ‘cultural’ practices like cer-emonies, but now search for a new name for, because they are more-than-cultural precisely because they mix up ‘cultural’ and ‘natural’ things. While each animal, tree and water source strives to persist in its own way, engendering its filiations, it is also a nec-essary mutually sustaining part of the heterogeneous network. Humans are not exceptional in this, because, like the others, they are ‘reproductive beings.’1 Living country is a whole network reproducing itself, and when the human communities organise to sing the country, to vitalise it and make it ‘stand up,’ they are performing what anthropologists call ‘increase ceremonies’ for animals or plants. And why not think of initiations of boys also as kinds of ‘increase’? 30 00 fter talking to the Goolarabooloo people for a few years now, and thinking a bit about what they might mean by ‘living coun-try’ in the West Kimberley region of Australia, I want to venture the idea that they understand life as networked and sustained among humans and non-humans. This idea, which is hardly surprising among students of ecology today — who are push-ing back against the ancient Judeo-Christian concept of man’s dominion over nature — turns out it may be more than just an idea in Indigenous Australian cosmologies. It may well be struc-tural; built into what we used to call ‘cultural’ practices like cer-emonies, but now search for a new name for, because they are more-than-cultural precisely because they mix up ‘cultural’ and ‘natural’ things. While each animal, tree and water source strives to persist in its own way, engendering its filiations, it is also a nec-essary mutually sustaining part of the heterogeneous network. Humans are not exceptional in this, because, like the others, they are ‘reproductive beings.’1 Living country is a whole network reproducing itself, and when the human communities organise to sing the country, to vitalise it and make it ‘stand up,’ they are performing what anthropologists call ‘increase ceremonies’ for animals or plants. And why not think of initiations of boys also as kinds of ‘increase’? 20 00 Open Access Muecke, Stephen 5 03 06 10.21983/P3.0207.1.05 45 46 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lover Nature 1 A01 Paul Dawson Paul Dawson 40 03r8z3t63 University of New South Wales 01 eng 03 00 Do I dare love you, here, amongst the vines that climb along the limbs of trees that twine about your thighs, alive with twisting desire in my fingers travelling down your skin, legs exposed like stripped saplings in the sununtil your feet are bared, planted in the earthamongst the roots whose path I trace through the loam, to erupt from the grassthe gnarled arch I have yearned to touch 30 00 Do I dare love you, here, amongst the vines that climb along the limbs of trees that twine about your thighs, alive with twisting desire in my fingers travelling down your skin, legs exposed like stripped saplings in the sununtil your feet are bared, planted in the earthamongst the roots whose path I trace through the loam, to erupt from the grassthe gnarled arch I have yearned to touch 20 00 Open Access Dawson, Paul 6 03 06 10.21983/P3.0207.1.06 47 57 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Ear to the Ground 1 A01 Andrew Belletty Andrew Belletty 01 eng 03 00 In late 2015, I was given the opportunity to be part of a song jour-ney of sorts, led by a group of song custodians who were active in passing on the tradition to young people from the commu-nity. The location of this particular song site is a secret, the area is not marked on any map and the entrance to the site itself is kept under lock and key. The topographical features of the site are unique in the area — a profusion of white sand surrounded by sharp rocky outcrops that gives the space a cathedral like appear-ance, and remarkably vibrant acoustics. Due to mining activities, trespass, and clandestine land sales in and around the site, it is extremely vulnerable to intrusion, which is why I take great pains to protect the location of the site and the identity of the people. It was here, a thousand kilometers from the nearest city, that I encountered a particularly vibrant tree, a tree that made me want to understand if and how a tree may listen and respond to situ-ated bodies. 30 00 In late 2015, I was given the opportunity to be part of a song jour-ney of sorts, led by a group of song custodians who were active in passing on the tradition to young people from the commu-nity. The location of this particular song site is a secret, the area is not marked on any map and the entrance to the site itself is kept under lock and key. The topographical features of the site are unique in the area — a profusion of white sand surrounded by sharp rocky outcrops that gives the space a cathedral like appear-ance, and remarkably vibrant acoustics. Due to mining activities, trespass, and clandestine land sales in and around the site, it is extremely vulnerable to intrusion, which is why I take great pains to protect the location of the site and the identity of the people. It was here, a thousand kilometers from the nearest city, that I encountered a particularly vibrant tree, a tree that made me want to understand if and how a tree may listen and respond to situ-ated bodies. 20 00 Open Access Belletty, Andrew 7 03 06 10.21983/P3.0207.1.07 59 60 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gardening / Grasshopper in a Field 1 A01 Luke Fischer Luke Fischer 40 0384j8v12 University of Sydney 01 eng 03 00 I press my blue thumb into silence —shoots quickly spread to the left and right.A melody unfurls its fronds and I understand why the violin’s neck is curled.Chord clusters in the Chopin nocturne blossom into purple umbels then vanish into night. An arpeggio climbs the living room walls while a trill showers wisteria petals as if I’d just been wed. 30 00 I press my blue thumb into silence —shoots quickly spread to the left and right.A melody unfurls its fronds and I understand why the violin’s neck is curled.Chord clusters in the Chopin nocturne blossom into purple umbels then vanish into night. An arpeggio climbs the living room walls while a trill showers wisteria petals as if I’d just been wed. 20 00 Open Access Fischer, Luke 8 03 06 10.21983/P3.0207.1.08 61 77 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Spores from Space Becoming the Alien 1 A01 21 0000000277489727 Tessa Laird Tessa Laird 40 01ej9dk98 University of Melbourne 01 eng 03 00 The masterpiece of pseudo-science, The Secret Life of Plants (1973), tells you everything you ever needed to know about plants, but were afraid to ask. Writers Christopher Bird and Peter Tomp-kins might have had former lives as a science journalist and a war correspondent, respectively, but by the time they publish The Secret Life (or SLOP, as I shall affectionately refer to it), it is clear they have partaken in some serious communion with the vegetal mind. SLOP is filled with telepathy and telekinesis, electric veg-etables and flashing flowers, hypersensitive mimosas and unde-monstrative radishes. Houseplants can sense their owners’ plea-sures and pains and, with the right gadgetry, can testify against murderers, or open garage doors. Bird and Tompkins’s agenda is clear: to convince humanity it is really plants that are the earth’s superbeings. Plants can grow as tall as pyramids, predict cyclones, and, most spectacularly, engage in intergalactic conversation. 30 00 The masterpiece of pseudo-science, The Secret Life of Plants (1973), tells you everything you ever needed to know about plants, but were afraid to ask. Writers Christopher Bird and Peter Tomp-kins might have had former lives as a science journalist and a war correspondent, respectively, but by the time they publish The Secret Life (or SLOP, as I shall affectionately refer to it), it is clear they have partaken in some serious communion with the vegetal mind. SLOP is filled with telepathy and telekinesis, electric veg-etables and flashing flowers, hypersensitive mimosas and unde-monstrative radishes. Houseplants can sense their owners’ plea-sures and pains and, with the right gadgetry, can testify against murderers, or open garage doors. Bird and Tompkins’s agenda is clear: to convince humanity it is really plants that are the earth’s superbeings. Plants can grow as tall as pyramids, predict cyclones, and, most spectacularly, engage in intergalactic conversation. 20 00 Open Access Laird, Tessa 9 03 06 10.21983/P3.0207.1.09 81 98 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brain Trees Neuroscientific Metaphor and Botanical Thought 1 A01 Baylee Brits Baylee Brits 40 03r8z3t63 University of New South Wales 01 eng 03 00 Our understanding of the brain is bound up with our images of plants. One of the dominant metaphors for the way the brain works is the tree. If we reduce a tree to its most basic carica-ture — the sphere on the top of the trunk — we have an echo not only of the brain and the brain stem, but of the neuron and its branching dendrites and extensive axon as well. In addition to this broad structure of stem and efflorescence, this visual meta-phor capitalises on the bloom of synaptic connections, redolent of the thinning and multiplying of twigs from branches. These metaphors of the brain become all the more significant given re-cent developments in the inverse field, as new work in plant sci-ence is changing the way we think about vegetation and thought. Studies of plant behaviour now suggest that plants engage in processes of what we might call thinking and learning, even if this thought does not exactly resemble the sort of conscious ra-tionality that vastly overdetermines our ideas about what the hu-man brain primarily does. While the brain is often envisaged as a tree, this metaphoric exchange has only ever gone one way: it re-mains anathema to associate plants with brains in anything more than an illustrative sense. Although the neurological armoury of images seems to be phytological — and phytology is now deploy-ing the concepts once unique to brain science — any exchange between the two is often rendered trivial, as if images and names existed in the realm of conceptual small change. Here I consider the way that current key popular texts in neurology deploy the metaphor of the plant, in particular the tree, and explore the ways that this metaphor works to both stabilise and ‘extinguish’ its object. I consider the way that the ‘tree’ is simultaneously a material and immaterial metaphor, an embodiment of both neu-ral object and function. This curious mode of metaphor, which I will associate with Paul de Man’s definition of ‘formal allegory,’ actually models the cognitive processes that it seeks to describe. 30 00 Our understanding of the brain is bound up with our images of plants. One of the dominant metaphors for the way the brain works is the tree. If we reduce a tree to its most basic carica-ture — the sphere on the top of the trunk — we have an echo not only of the brain and the brain stem, but of the neuron and its branching dendrites and extensive axon as well. In addition to this broad structure of stem and efflorescence, this visual meta-phor capitalises on the bloom of synaptic connections, redolent of the thinning and multiplying of twigs from branches. These metaphors of the brain become all the more significant given re-cent developments in the inverse field, as new work in plant sci-ence is changing the way we think about vegetation and thought. Studies of plant behaviour now suggest that plants engage in processes of what we might call thinking and learning, even if this thought does not exactly resemble the sort of conscious ra-tionality that vastly overdetermines our ideas about what the hu-man brain primarily does. While the brain is often envisaged as a tree, this metaphoric exchange has only ever gone one way: it re-mains anathema to associate plants with brains in anything more than an illustrative sense. Although the neurological armoury of images seems to be phytological — and phytology is now deploy-ing the concepts once unique to brain science — any exchange between the two is often rendered trivial, as if images and names existed in the realm of conceptual small change. Here I consider the way that current key popular texts in neurology deploy the metaphor of the plant, in particular the tree, and explore the ways that this metaphor works to both stabilise and ‘extinguish’ its object. I consider the way that the ‘tree’ is simultaneously a material and immaterial metaphor, an embodiment of both neu-ral object and function. This curious mode of metaphor, which I will associate with Paul de Man’s definition of ‘formal allegory,’ actually models the cognitive processes that it seeks to describe. 20 00 Open Access Brits, Baylee 10 03 06 10.21983/P3.0207.1.10 99 120 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Metaphoric Plants Goethe's Metamorphosis of Plants and the Metaphors of Reason 1 A01 Dalia Nassar Dalia Nassar 40 0384j8v12 University of Sydney 01 eng 03 00 Philosophers have long appealed to various metaphors or images to describe, elucidate, or explicate reason and its place in the uni-verse. These metaphors usually came from the natural world, and more often than not, they involved trees. Porphyry’s tree might be the most well-known example of a philosopher invoking the metaphor of the plant in order to elucidate the structure of the world and the place of reason within it, but it was by no means the only. In his Principles of Philosophy (1644), René Descartes uses the metaphor of a tree to explicate his understanding of the various sciences and of the place of philosophy (as metaphysics) within his system: ‘The roots are metaphysics, the trunk is phys-ics, and the branches emerging from the trunk are all the other sciences, which may be reduced to three principal ones, namely medicine, mechanics and morals.’1 These metaphors provided (and continue to provide) significant means by which to articu-late fundamental philosophical ideas. Porphyry’s and Descartes’ images express unity, on the one hand, and hierarchy, on the other. While Descartes’ metaphor implies that reason furnishes the foundation of reality, Porphyry’s regards reason (the highest branch of the tree) as the most complex manifestation of what is already present in other parts of the natural world (in other branches of the tree). By contrast, Leibniz’s image of reason as a seed ‘implanted’ in the mind by God — an image invoked to explicate the notion of innate ideas — carries a different implica-tion: human reason is eternal, independent from the ephemeral world of the senses. 30 00 Philosophers have long appealed to various metaphors or images to describe, elucidate, or explicate reason and its place in the uni-verse. These metaphors usually came from the natural world, and more often than not, they involved trees. Porphyry’s tree might be the most well-known example of a philosopher invoking the metaphor of the plant in order to elucidate the structure of the world and the place of reason within it, but it was by no means the only. In his Principles of Philosophy (1644), René Descartes uses the metaphor of a tree to explicate his understanding of the various sciences and of the place of philosophy (as metaphysics) within his system: ‘The roots are metaphysics, the trunk is phys-ics, and the branches emerging from the trunk are all the other sciences, which may be reduced to three principal ones, namely medicine, mechanics and morals.’1 These metaphors provided (and continue to provide) significant means by which to articu-late fundamental philosophical ideas. Porphyry’s and Descartes’ images express unity, on the one hand, and hierarchy, on the other. While Descartes’ metaphor implies that reason furnishes the foundation of reality, Porphyry’s regards reason (the highest branch of the tree) as the most complex manifestation of what is already present in other parts of the natural world (in other branches of the tree). By contrast, Leibniz’s image of reason as a seed ‘implanted’ in the mind by God — an image invoked to explicate the notion of innate ideas — carries a different implica-tion: human reason is eternal, independent from the ephemeral world of the senses. 20 00 Open Access Nassar, Dalia 11 03 06 10.21983/P3.0207.1.11 121 124 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Icaro / Heyowicinayo 1 A01 Tamryn Bennett Tamryn Bennett 01 eng 03 00 Icaro caapi, cipó yagé, yajénatem, shori aya spirit vine icarosin grandmother tonguecantos de medicina liana chanting 30 00 Icaro caapi, cipó yagé, yajénatem, shori aya spirit vine icarosin grandmother tonguecantos de medicina liana chanting 20 00 Open Access Bennett, Tamryn 12 03 06 10.21983/P3.0207.1.12 125 150 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Continuous Green Abstraction Embodied Knowledge, Intuition, and Metaphor 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02w2y2t16 Leuphana University of Lüneburg 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 Is there a relation between de-centralizing forms of thought in the various research programs of the cognitive sciences and the democratization of thought across species in philosophy? Or, put otherwise, do the forms of thought articulated in human cognition (reason, imagination, intuition, etc.) map in any ad-equate way onto embodiment across numerous species in terms of how such species cognitively function, as well as how they rely upon physical embodiment to think? And, lastly, do the various theories of 4E Cognition (embodied, enacted, embedded, and extended) clarify or needlessly complicate this?While it critiques of classical cognitive models often go hand in hand with critiques of epistemology, or human-centered ways of knowing, such projects seem to over-rely on a metaphorical disjunction, which itself is not anti-epistemological but embed-ded within both the embodied modes of cognition and more dis-embodied transcendental accounts. This is particularly evident in recent works that have attempted to argue for the presence of thinking in so called ‘lower lifeforms,’ while at the same time in-voking, and capitalizing on, highly abstract concepts taken from philosophers such as C.S. Peirce (a thinker who is anything but anti-epistemological). 30 00 Is there a relation between de-centralizing forms of thought in the various research programs of the cognitive sciences and the democratization of thought across species in philosophy? Or, put otherwise, do the forms of thought articulated in human cognition (reason, imagination, intuition, etc.) map in any ad-equate way onto embodiment across numerous species in terms of how such species cognitively function, as well as how they rely upon physical embodiment to think? And, lastly, do the various theories of 4E Cognition (embodied, enacted, embedded, and extended) clarify or needlessly complicate this?While it critiques of classical cognitive models often go hand in hand with critiques of epistemology, or human-centered ways of knowing, such projects seem to over-rely on a metaphorical disjunction, which itself is not anti-epistemological but embed-ded within both the embodied modes of cognition and more dis-embodied transcendental accounts. This is particularly evident in recent works that have attempted to argue for the presence of thinking in so called ‘lower lifeforms,’ while at the same time in-voking, and capitalizing on, highly abstract concepts taken from philosophers such as C.S. Peirce (a thinker who is anything but anti-epistemological). 20 00 Open Access Woodard, Ben 13 03 06 10.21983/P3.0207.1.13 151 160 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Figures 1 A01 Lisa Dowdall Lisa Dowdall 01 eng 03 00 Call it the Chthulucene: this threshold at the edge of the present in which the monstrous, the chthonic, the tentacular, the horrif-ic, and the weird abound. How to write the Chthulucene? Why not start here in the speculative mode that touches on the hid-den, but cannot quite name it — that recovers terror and strange-ness in the sym-poietic cascade of crisis and becoming.Science fiction. Fantasy. Slipstream. Cli-fi. Horror. New Weird. Such stories estrange the world, rendering it and its agents both immediate and uncanny in that immediacy. From John Wyndham’s triffids to Jeff Vandermeer’s Southern Reach1 and El-len van Neerven’s plant people2 — weird stories that reimagine the interactions between plants and humans in the Chthulucene offer new ways of thinking, or, as Vandermeer claims, feeling, in rapidly changing and multi-species worlds. 30 00 Call it the Chthulucene: this threshold at the edge of the present in which the monstrous, the chthonic, the tentacular, the horrif-ic, and the weird abound. How to write the Chthulucene? Why not start here in the speculative mode that touches on the hid-den, but cannot quite name it — that recovers terror and strange-ness in the sym-poietic cascade of crisis and becoming.Science fiction. Fantasy. Slipstream. Cli-fi. Horror. New Weird. Such stories estrange the world, rendering it and its agents both immediate and uncanny in that immediacy. From John Wyndham’s triffids to Jeff Vandermeer’s Southern Reach1 and El-len van Neerven’s plant people2 — weird stories that reimagine the interactions between plants and humans in the Chthulucene offer new ways of thinking, or, as Vandermeer claims, feeling, in rapidly changing and multi-species worlds. 20 00 Open Access Dowdall, Lisa 14 03 06 10.21983/P3.0207.1.14 163 181 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Colour Green 1 A01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 01 eng 03 00 Human representations of nature, as green, are prolific. The his-tory of the colour — as pigments mixed by artists, as iconic sculp-tural motifs of green figures, as environmental politics and as more recent philosophies of plant life — has influenced a battle between conventions of nature’s expression and changing per-ceptions of the vegetal world. This chapter addresses the colour green as an aesthetic, cultural, and political tool.Living cells, capable of performing photosynthesis, first ap-peared on earth more than three and half billion years ago.2Plant life was later charted in the creationist doctrine as the earth sprouted vegetation on the third day, when plants yielded seeds and trees bore fruit...and God thought it was good.3 Conversely, Derek Jarman writes of the Garden of Eden (and of Adam and Eve’s eviction from it, post apple-eating) and recalls the angry Adam hacking down the Tree of Knowledge to build the first house.4 Such terrible irony: as the utopian garden was lost and with that first tree slaughtered by man’s hand, as Jarman believed, we began our environmental demise. Climate change is biting at our heels, and all mythic and philosophical stories of ‘green’ can now be seen with the eco-eyes of hindsight and reclaimed as a vibrant slice of the colour wheel. 30 00 Human representations of nature, as green, are prolific. The his-tory of the colour — as pigments mixed by artists, as iconic sculp-tural motifs of green figures, as environmental politics and as more recent philosophies of plant life — has influenced a battle between conventions of nature’s expression and changing per-ceptions of the vegetal world. This chapter addresses the colour green as an aesthetic, cultural, and political tool.Living cells, capable of performing photosynthesis, first ap-peared on earth more than three and half billion years ago.2Plant life was later charted in the creationist doctrine as the earth sprouted vegetation on the third day, when plants yielded seeds and trees bore fruit...and God thought it was good.3 Conversely, Derek Jarman writes of the Garden of Eden (and of Adam and Eve’s eviction from it, post apple-eating) and recalls the angry Adam hacking down the Tree of Knowledge to build the first house.4 Such terrible irony: as the utopian garden was lost and with that first tree slaughtered by man’s hand, as Jarman believed, we began our environmental demise. Climate change is biting at our heels, and all mythic and philosophical stories of ‘green’ can now be seen with the eco-eyes of hindsight and reclaimed as a vibrant slice of the colour wheel. 20 00 Open Access Gibson, Prudence 15 03 06 10.21983/P3.0207.1.15 183 194 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Persons as Plants Ecopsychology and the Return to the Dream of Nature 1 A01 21 0000000224146990 Monica Gagliano Monica Gagliano 40 047272k79 University of Western Australia 01 eng 03 00 With the provocative title Plants as Persons, Matthew Hall’s brainchild had stirred up an exciting discourse on the perception and the action of people towards plants, and more generally, Na-ture. In sharing my excitement over this book with a friend, I was asked whether the word persons is ‘proper English’ and whether it is even reasonable to equate plants to people.2 So let this essay be the journey that starts there, at the origin and significance of this word; a journey that weaves its way through the powerful threads of Silverstein’s storytelling3 to nurse the Western rational mind from the bigoted Aristotelian idea of the inferior nature of plants to the timeless and soul-full reality of plants as teachers experienced by indigenous healers and shamans across the globe. And from the world of shamans, so beautifully embroidered with magic and deep truths, let this journey bring us back to the scientific world of the Western mind, but with a new much-needed perception of what humans call ‘Nature.’ And just like in T.S. Eliot’s poem ‘Little Gidding,’ let this be a journey that ulti-mately returns us to the place from where we started, but which we now truly know for the first time. 30 00 With the provocative title Plants as Persons, Matthew Hall’s brainchild had stirred up an exciting discourse on the perception and the action of people towards plants, and more generally, Na-ture. In sharing my excitement over this book with a friend, I was asked whether the word persons is ‘proper English’ and whether it is even reasonable to equate plants to people.2 So let this essay be the journey that starts there, at the origin and significance of this word; a journey that weaves its way through the powerful threads of Silverstein’s storytelling3 to nurse the Western rational mind from the bigoted Aristotelian idea of the inferior nature of plants to the timeless and soul-full reality of plants as teachers experienced by indigenous healers and shamans across the globe. And from the world of shamans, so beautifully embroidered with magic and deep truths, let this journey bring us back to the scientific world of the Western mind, but with a new much-needed perception of what humans call ‘Nature.’ And just like in T.S. Eliot’s poem ‘Little Gidding,’ let this be a journey that ulti-mately returns us to the place from where we started, but which we now truly know for the first time. 20 00 Open Access Gagliano, Monica 16 03 06 10.21983/P3.0207.1.16 195 195 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rooted 1 A01 Justin Clemens Justin Clemens 40 01ej9dk98 University of Melbourne 01 eng 03 00 The Greek for tree is dendron, Dendrites neurons’ branched projections Sparking to soma. The phrenology Of diaphragms spores the hidden lights Of twinned breath, the dendritic cells Bifurcating to bans of the bond Between adaptive and innate. 30 00 The Greek for tree is dendron, Dendrites neurons’ branched projections Sparking to soma. The phrenology Of diaphragms spores the hidden lights Of twinned breath, the dendritic cells Bifurcating to bans of the bond Between adaptive and innate. 20 00 Open Access Clemens, Justin 17 03 06 10.21983/P3.0207.1.17 197 212 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Agricultural Inventiveness Beyond Environmental Management? 1 A01 21 0000000348732326 Lucas Ihlein Lucas Ihlein 40 00jtmb277 University of Wollongong 01 eng 03 00 In 2014, I began working on a collaborative art project called Sug-ar vs the Reef? The project came about following an invitation from John Sweet, a retired farmer and active community worker in the Queensland town of Mackay. Sweet’s hunch was that the involvement of artists in a complex environmental management problem might help to catalyse positive transformations in the sugar cane industry, which is often accused of polluting the pris-tine waters of the Great Barrier Reef with agricultural run-off.1This chapter is based on some of the early field research for Sugar vs the Reef? and my task is to present the inventiveness of three change agents: two human and one non-human. The first is Si-mon Mattsson, a sugar cane farmer in Mackay, and a founder of Central Queensland Soil Health Systems (CQSHS). The second is Allan Yeomans, director of the Yeomans Plow Company on the Gold Coast and inventor of the Yeomans Carbon Still: a de-vice for measuring carbon sequestration in soil. The third change agent has been around for millennia: the humble plant — specifi-cally grass — and the complex soil community of which grasses are an integral member. While presenting the inventiveness of these three change agents together here, I also want to point to some of the factors that have thus far inhibited the broader up-take of their inventions. I do so in the hope that identifying such barriers might be a small positive step beyond the paternalistic discourse of environmental management, and towards the for-mation of more dynamic relations in social and ecological sys-tems between humans and plants. 30 00 In 2014, I began working on a collaborative art project called Sug-ar vs the Reef? The project came about following an invitation from John Sweet, a retired farmer and active community worker in the Queensland town of Mackay. Sweet’s hunch was that the involvement of artists in a complex environmental management problem might help to catalyse positive transformations in the sugar cane industry, which is often accused of polluting the pris-tine waters of the Great Barrier Reef with agricultural run-off.1This chapter is based on some of the early field research for Sugar vs the Reef? and my task is to present the inventiveness of three change agents: two human and one non-human. The first is Si-mon Mattsson, a sugar cane farmer in Mackay, and a founder of Central Queensland Soil Health Systems (CQSHS). The second is Allan Yeomans, director of the Yeomans Plow Company on the Gold Coast and inventor of the Yeomans Carbon Still: a de-vice for measuring carbon sequestration in soil. The third change agent has been around for millennia: the humble plant — specifi-cally grass — and the complex soil community of which grasses are an integral member. While presenting the inventiveness of these three change agents together here, I also want to point to some of the factors that have thus far inhibited the broader up-take of their inventions. I do so in the hope that identifying such barriers might be a small positive step beyond the paternalistic discourse of environmental management, and towards the for-mation of more dynamic relations in social and ecological sys-tems between humans and plants. 20 00 Open Access Ihlein, Lucas 18 03 06 10.21983/P3.0207.1.18 213 220 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Trees and Landlords and Other Public Experiments An Interview with Natalie Jeremijenko 1 A01 Susie Pratt Susie Pratt 40 03f0f6041 University of Technology Sydney 01 eng 03 00 In 2012, while I was an art medic-in-residence at the Environmen-tal Health Clinic in New York, the director of the Clinic, Nata-lie Jeremijenko, showed me her designs for a co-working office space in a tree. The plans were still in the early stages, but what caught my attention was her articulation of how a tree would be set up as the landlord of the office. The rent people paid for us-ing the co-working space would be put in the service of its own interests, for example to improve soil quality or for companion planting. The TREExOFFICE, as she called it, was to be installed in Socrates Sculpture Park as part of the exhibition Civic Ac-tion — this was the first of many iterations of this intervention. I was curious to talk with Natalie to find out how the project had evolved. What is it like to have a tree as a landlord? How did tenants behave? How can a tree engage a community to serve it’s own and collective interests? How can public experiments, such as TREExOFFICE, help to re-imagine and re-design our re-lationship to natural systems? 30 00 In 2012, while I was an art medic-in-residence at the Environmen-tal Health Clinic in New York, the director of the Clinic, Nata-lie Jeremijenko, showed me her designs for a co-working office space in a tree. The plans were still in the early stages, but what caught my attention was her articulation of how a tree would be set up as the landlord of the office. The rent people paid for us-ing the co-working space would be put in the service of its own interests, for example to improve soil quality or for companion planting. The TREExOFFICE, as she called it, was to be installed in Socrates Sculpture Park as part of the exhibition Civic Ac-tion — this was the first of many iterations of this intervention. I was curious to talk with Natalie to find out how the project had evolved. What is it like to have a tree as a landlord? How did tenants behave? How can a tree engage a community to serve it’s own and collective interests? How can public experiments, such as TREExOFFICE, help to re-imagine and re-design our re-lationship to natural systems? 20 00 Open Access Pratt, Susie 19 03 06 10.21983/P3.0207.1.19 221 251 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gardening out of the Anthropocene Creating DIfferent Relations between Humans and Edible Plants in Sydney 1 A01 21 0000000163809067 Jennifer Mae Hamilton Jennifer Mae Hamilton 40 03r8z3t63 University of New South Wales 01 eng 03 00 One way to critique the kind of technocratic development sig-nified in the term ‘Anthropocene’, to challenge the problematic anthropocentrism of the concept, and also to maintain a cogent response to the environmental crisis at the same time, is to imag-ine how society could leave a different kind of trace in the fos-sil record. Donna Haraway has called for the Anthropocene, or ‘Capitalocene,’ to be as thin a layer as possible — what stratigra-phers call a “boundary event” rather than an epoch.2 Following her, scholars are trying to theorize what it would mean and what it would take to make a qualitatively different earthen layer.3How to dig ourselves out of this mess? Natasha Myers proposes the idea of the ‘Planthroposcene,’ not as a new epoch per se, but as a new methodology for living with plants. 30 00 One way to critique the kind of technocratic development sig-nified in the term ‘Anthropocene’, to challenge the problematic anthropocentrism of the concept, and also to maintain a cogent response to the environmental crisis at the same time, is to imag-ine how society could leave a different kind of trace in the fos-sil record. Donna Haraway has called for the Anthropocene, or ‘Capitalocene,’ to be as thin a layer as possible — what stratigra-phers call a “boundary event” rather than an epoch.2 Following her, scholars are trying to theorize what it would mean and what it would take to make a qualitatively different earthen layer.3How to dig ourselves out of this mess? Natasha Myers proposes the idea of the ‘Planthroposcene,’ not as a new epoch per se, but as a new methodology for living with plants. 20 00 Open Access Hamilton, Jennifer Mae 20 03 06 10.21983/P3.0207.1.20 253 263 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000195867149 Prudence Gibson Prudence Gibson 40 03r8z3t63 University of New South Wales 2 B01 Brits Baylee Brits Baylee 40 03r8z3t63 University of New South Wales 01 eng 20 00 Open Access Gibson, Prudence Brits Baylee 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/covert-plants/ Earth, Milky Way 04 01 20180911 Gibson, Prudence Brits Baylee 02 WORLD 06 15 9781947447691 03 9781947447691 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66808 20 08 20180911 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25422 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25422/1004673.pdf?sequence=1&isAllowed=y 20 08 20180911 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34036 20 08 20180911 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s2pnz3 20 08 20180911 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/586 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/93dc0880-db27-40ed-98aa-f185aa877674/download 20 08 20180911 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Covert_Plants/Om6oEAAAQBAJ 20 08 20180911 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f01cb60b-69bf-4d11-bd3c-fd5b36663029 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f01cb60b-69bf-4d11-bd3c-fd5b36663029/f01cb60b-69bf-4d11-bd3c-fd5b36663029.pdf 20 08 20180911 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847423 29 ZENODO: download the title https://zenodo.org/records/19847423/files/f01cb60b-69bf-4d11-bd3c-fd5b36663029_book.pdf 20 08 20180911 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/covert-plants/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0207.1.00.pdf 20 08 20180911 01 urn:uuid:74ac9aa8-eab0-42c2-b45b-c3494475347f 03 01 01 thoth-work-id urn:uuid:3d78e15e-19cb-464a-a238-b5291dbfd49f 01 thoth-publication-id urn:uuid:74ac9aa8-eab0-42c2-b45b-c3494475347f 15 9781947447103 03 9781947447103 06 10.21983/P3.0178.1.00 13 2017950838 01 internal-reference 0178 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Creep A Life, A Theory, An Apology 1 A01 Jonathan Alexander Jonathan Alexander 40 04gyf1771 University of California, Irvine 01 eng 00 172 03 B2 Autotheory 10 BIO031000 93 DNC 12 JFSK 93 5PSG B2 Cultural Studies+Critical Theory 10 LIT004160 93 JBSJ B2 TransQueer 20 gay memoir; creepiness; homophobia; sexuality; queer studies 01 06 02 00 03 00 Creeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It’s so easy to spy on people that “creep catching” has even become a form of news entertainment in shows such as “To Catch a Predator.” But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title “creep.” Even Donald Trump, during the raucous 2016 campaign, was called a “creep” on several occasions by various news media.Indeed, for many of us, the specter of the creep is not just threatening, but exciting – exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior.In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous “creeps” from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times. 30 00 Creeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It’s so easy to spy on people that “creep catching” has even become a form of news entertainment in shows such as “To Catch a Predator.” But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title “creep.” Even Donald Trump, during the raucous 2016 campaign, was called a “creep” on several occasions by various news media.Indeed, for many of us, the specter of the creep is not just threatening, but exciting – exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior.In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous “creeps” from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0178.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/creep-a-life-a-theory-an-apology/ Earth, Milky Way 04 01 20170829 Alexander, Jonathan 02 WORLD 06 15 9781947447110 03 9781947447110 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447106 20 08 20170829 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/creep-a-life-a-theory-an-apology 20 08 20170829 02 23.00 USD WORLD urn:uuid:712bef6b-568f-4741-97ed-112fe0ed2b96 03 01 01 thoth-work-id urn:uuid:3d78e15e-19cb-464a-a238-b5291dbfd49f 01 thoth-publication-id urn:uuid:712bef6b-568f-4741-97ed-112fe0ed2b96 15 9781947447110 03 9781947447110 06 10.21983/P3.0178.1.00 13 2017950838 01 internal-reference 0178 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Creep A Life, A Theory, An Apology 1 A01 Jonathan Alexander Jonathan Alexander 40 04gyf1771 University of California, Irvine 01 eng 00 172 03 B2 Autotheory 10 BIO031000 93 DNC 12 JFSK 93 5PSG B2 Cultural Studies+Critical Theory 10 LIT004160 93 JBSJ B2 TransQueer 20 gay memoir; creepiness; homophobia; sexuality; queer studies 01 06 02 00 03 00 Creeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It’s so easy to spy on people that “creep catching” has even become a form of news entertainment in shows such as “To Catch a Predator.” But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title “creep.” Even Donald Trump, during the raucous 2016 campaign, was called a “creep” on several occasions by various news media.Indeed, for many of us, the specter of the creep is not just threatening, but exciting – exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior.In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous “creeps” from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times. 30 00 Creeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It’s so easy to spy on people that “creep catching” has even become a form of news entertainment in shows such as “To Catch a Predator.” But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title “creep.” Even Donald Trump, during the raucous 2016 campaign, was called a “creep” on several occasions by various news media.Indeed, for many of us, the specter of the creep is not just threatening, but exciting – exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior.In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous “creeps” from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0178.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/creep-a-life-a-theory-an-apology/ Earth, Milky Way 04 01 20170829 Alexander, Jonathan 02 WORLD 06 15 9781947447103 03 9781947447103 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66793 20 08 20170829 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25450 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25450/0178.1.00.pdf?sequence=8&isAllowed=y 20 08 20170829 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35394 20 08 20170829 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv26qjjqn 20 08 20170829 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/677 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d9fd2fd2-50e9-40c5-865d-27201b49091e/download 20 08 20170829 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Creep/7m2oEAAAQBAJ 20 08 20170829 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3d78e15e-19cb-464a-a238-b5291dbfd49f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3d78e15e-19cb-464a-a238-b5291dbfd49f/3d78e15e-19cb-464a-a238-b5291dbfd49f.pdf 20 08 20170829 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824280 29 ZENODO: download the title https://zenodo.org/records/19824280/files/3d78e15e-19cb-464a-a238-b5291dbfd49f_book.pdf 20 08 20170829 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/creep-a-life-a-theory-an-apology/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0178.1.00.pdf 20 08 20170829 01 urn:uuid:d78d3ca3-16d0-4085-aaeb-e574299c0cf7 03 01 01 thoth-work-id urn:uuid:f2a2626b-4029-4e43-bb84-7b3cacf61b23 01 thoth-publication-id urn:uuid:d78d3ca3-16d0-4085-aaeb-e574299c0cf7 15 9780988234086 03 9780988234086 06 10.21983/P3.0146.1.00 01 internal-reference 0146 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Crisis States Governance, Resistance & Precarious Capitalism 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 82 03 B2 Capital+Lucre 93 JPFC 12 JPWJ 10 POL042010 93 KCSA B2 Manifesto! 93 KCX B2 New Left Thought 20 anarchism; Marxism; US politics; political theory; capitalism 01 06 02 00 03 00 This is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. 30 00 This is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0146.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crisis-states/ Earth, Milky Way 04 01 20160705 Shantz, Jeff 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0988234084 20 08 20160705 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/crisis-states-governance-resistance-precarious-capitalism 20 08 20160705 02 21.00 USD WORLD urn:uuid:50535c49-e627-467f-ac1a-0fd22f569dca 03 01 01 thoth-work-id urn:uuid:f2a2626b-4029-4e43-bb84-7b3cacf61b23 01 thoth-publication-id urn:uuid:50535c49-e627-467f-ac1a-0fd22f569dca 06 10.21983/P3.0146.1.00 01 internal-reference 0146 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Crisis States Governance, Resistance & Precarious Capitalism 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 82 03 B2 Capital+Lucre 93 JPFC 12 JPWJ 10 POL042010 93 KCSA B2 Manifesto! 93 KCX B2 New Left Thought 20 anarchism; Marxism; US politics; political theory; capitalism 01 06 02 00 03 00 This is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. 30 00 This is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0146.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crisis-states/ Earth, Milky Way 04 01 20160705 Shantz, Jeff 02 WORLD 06 15 9780988234086 03 9780988234086 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25479 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25479/1004616.pdf?sequence=1&isAllowed=y 20 08 20160705 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38964 20 08 20160705 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353948 20 08 20160705 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/531 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8bda5043-c05c-4847-85b9-d69f8ef020a8/download 20 08 20160705 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f2a2626b-4029-4e43-bb84-7b3cacf61b23 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f2a2626b-4029-4e43-bb84-7b3cacf61b23/f2a2626b-4029-4e43-bb84-7b3cacf61b23.pdf 20 08 20160705 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846618 29 ZENODO: download the title https://zenodo.org/records/19846618/files/f2a2626b-4029-4e43-bb84-7b3cacf61b23_book.pdf 20 08 20160705 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/crisis-states/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0146.1.00.pdf 20 08 20160705 01 urn:uuid:228a563d-c1b5-412f-8d4e-c7ed995b3c6f 03 01 01 thoth-work-id urn:uuid:f2a2626b-4029-4e43-bb84-7b3cacf61b23 01 thoth-publication-id urn:uuid:228a563d-c1b5-412f-8d4e-c7ed995b3c6f 06 10.21983/P3.0146.1.00 01 internal-reference 0146 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Crisis States Governance, Resistance & Precarious Capitalism 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 82 03 B2 Capital+Lucre 93 JPFC 12 JPWJ 10 POL042010 93 KCSA B2 Manifesto! 93 KCX B2 New Left Thought 20 anarchism; Marxism; US politics; political theory; capitalism 01 06 02 00 03 00 This is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. 30 00 This is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0146.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/crisis-states/ Earth, Milky Way 04 01 20160705 Shantz, Jeff 02 WORLD 06 15 9780988234086 03 9780988234086 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846618 29 ZENODO: download the title https://zenodo.org/records/19846618/files/f2a2626b-4029-4e43-bb84-7b3cacf61b23_book.epub 20 08 20160705 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/crisis-states/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0146.1.00.epub 20 08 20160705 01 urn:uuid:64ca36e4-f44b-4c3d-8a33-755acf57d61b 03 01 01 thoth-work-id urn:uuid:9bdf38ca-95fd-4cf4-adf6-ed26e97cf213 01 thoth-publication-id urn:uuid:64ca36e4-f44b-4c3d-8a33-755acf57d61b 15 9781950192922 03 9781950192922 06 10.21983/P3.0277.1.00 13 2020939532 01 internal-reference 0277 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Fantasy, Vol. 1 Between a Crypt and a Datemark 1 A01 Laurence A. Rickels Laurence A. Rickels 40 02hdve317 Academy of Fine Arts Karlsruhe 40 04g3mbv81 European Graduate School 01 eng 00 254 03 12 APFA B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 93 ATFA 12 JMAF 10 LIT004260 B2 Media+Technology 12 DSK 93 DSK B2 Moving Image 93 DSA 20 psychoanalysis; cultural studies; film studies; science-fiction; fantasy; Star Wars; film studies 01 06 02 00 03 00 Critique of Fantasy, Vol. 1: Between a Crypt and a Datemark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy’s restraining order.With George Lucas’s Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud’s notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction – as heralding a new metaphysics and a new planetary going on interstellar civilization – a mainstay of its cultural anthropology with B-genres. 30 00 Critique of Fantasy, Vol. 1: Between a Crypt and a Datemark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy’s restraining order.With George Lucas’s Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud’s notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction – as heralding a new metaphysics and a new planetary going on interstellar civilization – a mainstay of its cultural anthropology with B-genres. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0277.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-fantasy-vol-1-between-a-crypt-and-a-datemark/ Earth, Milky Way 04 01 20200625 Rickels, Laurence A. 02 WORLD 06 15 9781950192939 03 9781950192939 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195019292X/ 20 08 20200625 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/critique-of-fantasy-vol-1-between-a-crypt-and-a-datemark 20 08 20200625 02 24.00 USD WORLD urn:uuid:80cd68ed-a916-4bf6-881c-1825ffc08612 03 01 01 thoth-work-id urn:uuid:9bdf38ca-95fd-4cf4-adf6-ed26e97cf213 01 thoth-publication-id urn:uuid:80cd68ed-a916-4bf6-881c-1825ffc08612 15 9781950192939 03 9781950192939 06 10.21983/P3.0277.1.00 13 2020939532 01 internal-reference 0277 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Critique of Fantasy, Vol. 1 Between a Crypt and a Datemark 1 A01 Laurence A. Rickels Laurence A. Rickels 40 02hdve317 Academy of Fine Arts Karlsruhe 40 04g3mbv81 European Graduate School 01 eng 00 254 03 12 APFA B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 93 ATFA 12 JMAF 10 LIT004260 B2 Media+Technology 12 DSK 93 DSK B2 Moving Image 93 DSA 20 psychoanalysis; cultural studies; film studies; science-fiction; fantasy; Star Wars; film studies 01 06 02 00 03 00 Critique of Fantasy, Vol. 1: Between a Crypt and a Datemark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy’s restraining order.With George Lucas’s Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud’s notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction – as heralding a new metaphysics and a new planetary going on interstellar civilization – a mainstay of its cultural anthropology with B-genres. 30 00 Critique of Fantasy, Vol. 1: Between a Crypt and a Datemark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy’s restraining order.With George Lucas’s Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud’s notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction – as heralding a new metaphysics and a new planetary going on interstellar civilization – a mainstay of its cultural anthropology with B-genres. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0277.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/critique-of-fantasy-vol-1-between-a-crypt-and-a-datemark/ Earth, Milky Way 04 01 20200625 Rickels, Laurence A. 02 WORLD 06 15 9781950192922 03 9781950192922 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77434 20 08 20200625 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/39877 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/39877/0277.1.00.pdf 20 08 20200625 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35410 20 08 20200625 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353929 20 08 20200625 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/638 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/248f3156-8d71-4502-bcee-95b85a92baa4/download 20 08 20200625 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Critique_of_Fantasy_Vol_1/7gWVEAAAQBAJ 20 08 20200625 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/9bdf38ca-95fd-4cf4-adf6-ed26e97cf213 29 INTERNET_ARCHIVE: download the title https://archive.org/download/9bdf38ca-95fd-4cf4-adf6-ed26e97cf213/9bdf38ca-95fd-4cf4-adf6-ed26e97cf213.pdf 20 08 20200625 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825053 29 ZENODO: download the title https://zenodo.org/records/19825053/files/9bdf38ca-95fd-4cf4-adf6-ed26e97cf213_book.pdf 20 08 20200625 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/critique-of-fantasy-vol-1-between-a-crypt-and-a-datemark/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0277.1.00.pdf 20 08 20200625 01 urn:uuid:afc0d796-97df-4789-9a34-c93ce433a697 03 01 01 thoth-work-id urn:uuid:97a2ac65-5b1b-4ab8-8588-db8340f04d27 01 thoth-publication-id urn:uuid:afc0d796-97df-4789-9a34-c93ce433a697 15 9780615883410 03 9780615883410 06 10.21983/P3.0048.1.00 01 internal-reference 0048 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Fuckhead 1 A01 David Rawson David Rawson 01 eng 00 76 03 10 BIO026000 12 BM B2 Fabulations B2 Literary Studies B2 Neurodiverse+Crip 20 disability studies; memoir; Faulkner; Steinbeck 01 06 02 00 03 00 What is a fuckhead?David Rawson’s Fuckhead is a surreal exploration of the literature, film, nature and expectations of disability, and of fuckheads in literature and film. Part lyric essay, part fictional memoir, Rawson’s work tells the story of an unnamed narrator whose familial relationships are defined by his VATER syndrome. Abused by his mother and stripped of a voice by his brother’s need to be Tom Cruise via Rain Man, he sets out into a universe of literary tropes.I have always been of the mind that the novelist is allowed access to all experiences, as long as he ultimately has something to say. Plutarch and Samuel Johnson are typing somewhere in the desert of the next world, composing the ultimate collection of biographical criticism, explaining how David Lynch’s entire filmography owes a debt to his club feet. But I and the friends who bought my novel agree the author is dead.The work is particularly interested in the relationship between Steinbeck’s Of Mice and Men and what the narrator argues is Denis Johnson’s reimagining of that work in the short story “Emergency” (in Johnson’s Jesus’ Son). But in accumulating characters with disabilities as widely diverse as Darth Vader, Benjy of Faulkner’s The Sound and the Fury, and the TV sitcom Community’s Abed Nadir, Rawson movingly, and with wry humor, articulates the assumptions and clichés faced by persons with disabilities, all the while creating a new family with his unlikely gathering of “fuckheads.” 30 00 What is a fuckhead?David Rawson’s Fuckhead is a surreal exploration of the literature, film, nature and expectations of disability, and of fuckheads in literature and film. Part lyric essay, part fictional memoir, Rawson’s work tells the story of an unnamed narrator whose familial relationships are defined by his VATER syndrome. Abused by his mother and stripped of a voice by his brother’s need to be Tom Cruise via Rain Man, he sets out into a universe of literary tropes.I have always been of the mind that the novelist is allowed access to all experiences, as long as he ultimately has something to say. Plutarch and Samuel Johnson are typing somewhere in the desert of the next world, composing the ultimate collection of biographical criticism, explaining how David Lynch’s entire filmography owes a debt to his club feet. But I and the friends who bought my novel agree the author is dead.The work is particularly interested in the relationship between Steinbeck’s Of Mice and Men and what the narrator argues is Denis Johnson’s reimagining of that work in the short story “Emergency” (in Johnson’s Jesus’ Son). But in accumulating characters with disabilities as widely diverse as Darth Vader, Benjy of Faulkner’s The Sound and the Fury, and the TV sitcom Community’s Abed Nadir, Rawson movingly, and with wry humor, articulates the assumptions and clichés faced by persons with disabilities, all the while creating a new family with his unlikely gathering of “fuckheads.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/0048.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/fuckhead/ Brooklyn, NY 04 01 20130924 Rawson, David 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615883419 20 08 20130924 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/fuckhead 20 08 20130924 02 21.00 USD WORLD urn:uuid:c650c412-6dae-42ae-95c6-32c40ca6a972 03 01 01 thoth-work-id urn:uuid:97a2ac65-5b1b-4ab8-8588-db8340f04d27 01 thoth-publication-id urn:uuid:c650c412-6dae-42ae-95c6-32c40ca6a972 15 9780615883410 03 9780615883410 06 10.21983/P3.0048.1.00 01 internal-reference 0048 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Fuckhead 1 A01 David Rawson David Rawson 01 eng 00 76 03 10 BIO026000 12 BM B2 Fabulations B2 Literary Studies B2 Neurodiverse+Crip 20 disability studies; memoir; Faulkner; Steinbeck 01 06 02 00 03 00 What is a fuckhead?David Rawson’s Fuckhead is a surreal exploration of the literature, film, nature and expectations of disability, and of fuckheads in literature and film. Part lyric essay, part fictional memoir, Rawson’s work tells the story of an unnamed narrator whose familial relationships are defined by his VATER syndrome. Abused by his mother and stripped of a voice by his brother’s need to be Tom Cruise via Rain Man, he sets out into a universe of literary tropes.I have always been of the mind that the novelist is allowed access to all experiences, as long as he ultimately has something to say. Plutarch and Samuel Johnson are typing somewhere in the desert of the next world, composing the ultimate collection of biographical criticism, explaining how David Lynch’s entire filmography owes a debt to his club feet. But I and the friends who bought my novel agree the author is dead.The work is particularly interested in the relationship between Steinbeck’s Of Mice and Men and what the narrator argues is Denis Johnson’s reimagining of that work in the short story “Emergency” (in Johnson’s Jesus’ Son). But in accumulating characters with disabilities as widely diverse as Darth Vader, Benjy of Faulkner’s The Sound and the Fury, and the TV sitcom Community’s Abed Nadir, Rawson movingly, and with wry humor, articulates the assumptions and clichés faced by persons with disabilities, all the while creating a new family with his unlikely gathering of “fuckheads.” 30 00 What is a fuckhead?David Rawson’s Fuckhead is a surreal exploration of the literature, film, nature and expectations of disability, and of fuckheads in literature and film. Part lyric essay, part fictional memoir, Rawson’s work tells the story of an unnamed narrator whose familial relationships are defined by his VATER syndrome. Abused by his mother and stripped of a voice by his brother’s need to be Tom Cruise via Rain Man, he sets out into a universe of literary tropes.I have always been of the mind that the novelist is allowed access to all experiences, as long as he ultimately has something to say. Plutarch and Samuel Johnson are typing somewhere in the desert of the next world, composing the ultimate collection of biographical criticism, explaining how David Lynch’s entire filmography owes a debt to his club feet. But I and the friends who bought my novel agree the author is dead.The work is particularly interested in the relationship between Steinbeck’s Of Mice and Men and what the narrator argues is Denis Johnson’s reimagining of that work in the short story “Emergency” (in Johnson’s Jesus’ Son). But in accumulating characters with disabilities as widely diverse as Darth Vader, Benjy of Faulkner’s The Sound and the Fury, and the TV sitcom Community’s Abed Nadir, Rawson movingly, and with wry humor, articulates the assumptions and clichés faced by persons with disabilities, all the while creating a new family with his unlikely gathering of “fuckheads.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/0048.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/fuckhead/ Brooklyn, NY 04 01 20130924 Rawson, David 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25569 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25569/1004526.pdf?sequence=1&isAllowed=y 20 08 20130924 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37361 20 08 20130924 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/429 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8c761305-36ae-4f61-a857-591f3ed4379c/download 20 08 20130924 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/97a2ac65-5b1b-4ab8-8588-db8340f04d27 29 INTERNET_ARCHIVE: download the title https://archive.org/download/97a2ac65-5b1b-4ab8-8588-db8340f04d27/97a2ac65-5b1b-4ab8-8588-db8340f04d27.pdf 20 08 20130924 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845793 29 ZENODO: download the title https://zenodo.org/records/19845793/files/97a2ac65-5b1b-4ab8-8588-db8340f04d27_book.pdf 20 08 20130924 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/fuckhead/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0048.1.00.pdf 20 08 20130924 01 urn:uuid:143426a4-f115-4348-b62f-c1ecffc6de82 03 01 01 thoth-work-id urn:uuid:0cf36fcb-38a0-4b22-9fa4-3d1f7cd543d8 01 thoth-publication-id urn:uuid:143426a4-f115-4348-b62f-c1ecffc6de82 15 9781685713041 03 9781685713041 06 10.53288/0590.1.00 01 internal-reference 0590 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Fugitive Traces 1 A01 The Young Vish The Young Vish The Young Vish is Joe Sacksteder is a Midwesterner, originally. So he was totally unprepared for the earthquake that struck the Osa Peninsula as he sat outside a hostel reading Werner Herzog’s Conquest of the Useless. Even less prepared to turn back to his reading and encounter the sentence that had been interrupted: “Lord Almighty, send us an earthquake.” He’s the author of the story collection Make/Shift (Sarabande Books) and the novel Driftless Quintet (Schaffner Press). Recent publications include The Offing, DIAGRAM, Michigan Quarterly Review, and West Branch. He has his PhD from the University of Utah and teaches at Sweet Briar College in Virginia. 01 eng 00 42 03 B2 Moving Image B2 Sound+Noise 20 catastrophe; chamber music; Werner Herzog; experimental film; film studies; rock music; disaster 01 06 02 00 03 00 Fugitive Traces is a sound album released in both digital and CD editions* with an accompanying PDF booklet that collages Sackstedster’s voiceover commentary from over a dozen Werner Herzog films with electronic, chamber, and rock music to both pay homage to one of the world’s most visionary filmmakers and critique an artistic practice rooted in contradiction and frequent disaster.You know the stories. Werner Herzog exploited native workers to clear a swath of rainforest and pull a steamship up a mountain in Peru. Werner Herzog climbed an active volcano on an evacuated island, and then claimed embarrassment that the volcano had not erupted. Werner Herzog brought about the deaths of 10,000 tame rats he’d smuggled into the Netherlands for the filming of Nosferatu.The album’s accompanying “lyrics” comprise an essay that explores the consequences of being seduced by Herzog’s unique brand of recklessness, documenting a disaster on the set of young filmmaker Sacksteder’s Silo.Tracks from Fugitive Traces previously appeared on Sleepingfish, The Collagist, Textsound, Quarterly West, and Queen Vic Knives. The Young Vish is joined on this album by Chris Westhoff (guitar), Mark Dickson / Nests (guitar, mandolin), Hannah Robbins (cello), and Brian DiBlassio (piano). 30 00 Fugitive Traces is a sound album released in both digital and CD editions* with an accompanying PDF booklet that collages Sackstedster’s voiceover commentary from over a dozen Werner Herzog films with electronic, chamber, and rock music to both pay homage to one of the world’s most visionary filmmakers and critique an artistic practice rooted in contradiction and frequent disaster.You know the stories. Werner Herzog exploited native workers to clear a swath of rainforest and pull a steamship up a mountain in Peru. Werner Herzog climbed an active volcano on an evacuated island, and then claimed embarrassment that the volcano had not erupted. Werner Herzog brought about the deaths of 10,000 tame rats he’d smuggled into the Netherlands for the filming of Nosferatu.The album’s accompanying “lyrics” comprise an essay that explores the consequences of being seduced by Herzog’s unique brand of recklessness, documenting a disaster on the set of young filmmaker Sacksteder’s Silo.Tracks from Fugitive Traces previously appeared on Sleepingfish, The Collagist, Textsound, Quarterly West, and Queen Vic Knives. The Young Vish is joined on this album by Chris Westhoff (guitar), Mark Dickson / Nests (guitar, mandolin), Hannah Robbins (cello), and Brian DiBlassio (piano). 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2017/09/Vish_Fugitive_Traces_CD_Front-1024x1024.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/fugitive-traces/ Earth, Milky Way 04 01 20160905 The Young Vish 02 WORLD WORLD 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0cf36fcb-38a0-4b22-9fa4-3d1f7cd543d8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0cf36fcb-38a0-4b22-9fa4-3d1f7cd543d8/0cf36fcb-38a0-4b22-9fa4-3d1f7cd543d8.pdf 20 08 20160905 01 urn:uuid:44d793ab-d6ba-4772-aa43-50ccb938ac18 03 01 01 thoth-work-id urn:uuid:628bb121-5ba2-4fc1-a741-a8062c45b63b 01 thoth-publication-id urn:uuid:44d793ab-d6ba-4772-aa43-50ccb938ac18 15 9780615877488 03 9780615877488 06 10.21983/P3.0049.1.00 01 internal-reference 0049 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Gaffe/Stutter 1 A01 Whitney Anne Trettien Whitney Anne Trettien 40 0130frc33 University of North Carolina at Chapel Hill 40 00b30xv10 University of Pennsylvania 01 eng 00 90 03 12 HPCF B2 Media+Technology 10 PHI013000 93 QDHR7 B2 Thought Experiments 20 Gilles Deleuze; experimental writing; Felix Guattari; philosophy 01 06 02 00 03 00 Gaffe/Stutter is a dead letter to Deleuze’s Logic of Sense. It began as a series of diagrams, two-dimensional memory palaces that sketch the vectors of each chapter’s paradox; it became an elaborate plan for a web-based diagrammatic (r)e(n)dition of Logic of Sense, built on zoomable, annotatable high-resolution scans of these diagrams. Conceived as an anti-book — a visual reading schematic — this project eschews the line of text in favor of regimented grids, the ink-soaked grain of the remediated pen over the laser-burned face of print; playful reaction rather than academic protraction. This is not an analogy, or a product of the imagination, Gilles Deleuze and Felix Guattari would write in A Thousand Plateaus, but a composition of speeds and affects on the plane of consistency: a plan(e), a program, or rather a diagram, a problem, a question-machine.It ended as a directory of inert jQuery demos and digital scans: an image of Trafalgar Square at dusk, annotated with the words “Flag,” “Small people on the steps,” “A Statue,” and “National Gallery Dome”; an empty html file titled ‘delete.html’. The visitor who may happen to wander onto the website where these project demos are stashed would find herself stuck on Deleuze’s definition of a paradox as initially that which destroys good sense as the only direction of becoming, but also that which destroys common sense as the assignation of fixed identities. From a series of diagrams to a dead-end digital directory, Gaffe/Stutter re-interprets a book that itself resists scholarly annotation. As with sense, it subsists in language; but it happens to things. 30 00 Gaffe/Stutter is a dead letter to Deleuze’s Logic of Sense. It began as a series of diagrams, two-dimensional memory palaces that sketch the vectors of each chapter’s paradox; it became an elaborate plan for a web-based diagrammatic (r)e(n)dition of Logic of Sense, built on zoomable, annotatable high-resolution scans of these diagrams. Conceived as an anti-book — a visual reading schematic — this project eschews the line of text in favor of regimented grids, the ink-soaked grain of the remediated pen over the laser-burned face of print; playful reaction rather than academic protraction. This is not an analogy, or a product of the imagination, Gilles Deleuze and Felix Guattari would write in A Thousand Plateaus, but a composition of speeds and affects on the plane of consistency: a plan(e), a program, or rather a diagram, a problem, a question-machine.It ended as a directory of inert jQuery demos and digital scans: an image of Trafalgar Square at dusk, annotated with the words “Flag,” “Small people on the steps,” “A Statue,” and “National Gallery Dome”; an empty html file titled ‘delete.html’. The visitor who may happen to wander onto the website where these project demos are stashed would find herself stuck on Deleuze’s definition of a paradox as initially that which destroys good sense as the only direction of becoming, but also that which destroys common sense as the assignation of fixed identities. From a series of diagrams to a dead-end digital directory, Gaffe/Stutter re-interprets a book that itself resists scholarly annotation. As with sense, it subsists in language; but it happens to things. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0049.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gaffe-stutter/ Brooklyn, NY 04 01 20131006 Trettien, Whitney Anne 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615877486 20 08 20131006 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/gaffestutter 20 08 20131006 02 21.00 USD WORLD urn:uuid:533d2f35-1ef9-4b3c-a5c0-3c14f37de452 03 01 01 thoth-work-id urn:uuid:628bb121-5ba2-4fc1-a741-a8062c45b63b 01 thoth-publication-id urn:uuid:533d2f35-1ef9-4b3c-a5c0-3c14f37de452 06 10.21983/P3.0049.1.00 01 internal-reference 0049 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Gaffe/Stutter 1 A01 Whitney Anne Trettien Whitney Anne Trettien 40 0130frc33 University of North Carolina at Chapel Hill 40 00b30xv10 University of Pennsylvania 01 eng 00 90 03 12 HPCF B2 Media+Technology 10 PHI013000 93 QDHR7 B2 Thought Experiments 20 Gilles Deleuze; experimental writing; Felix Guattari; philosophy 01 06 02 00 03 00 Gaffe/Stutter is a dead letter to Deleuze’s Logic of Sense. It began as a series of diagrams, two-dimensional memory palaces that sketch the vectors of each chapter’s paradox; it became an elaborate plan for a web-based diagrammatic (r)e(n)dition of Logic of Sense, built on zoomable, annotatable high-resolution scans of these diagrams. Conceived as an anti-book — a visual reading schematic — this project eschews the line of text in favor of regimented grids, the ink-soaked grain of the remediated pen over the laser-burned face of print; playful reaction rather than academic protraction. This is not an analogy, or a product of the imagination, Gilles Deleuze and Felix Guattari would write in A Thousand Plateaus, but a composition of speeds and affects on the plane of consistency: a plan(e), a program, or rather a diagram, a problem, a question-machine.It ended as a directory of inert jQuery demos and digital scans: an image of Trafalgar Square at dusk, annotated with the words “Flag,” “Small people on the steps,” “A Statue,” and “National Gallery Dome”; an empty html file titled ‘delete.html’. The visitor who may happen to wander onto the website where these project demos are stashed would find herself stuck on Deleuze’s definition of a paradox as initially that which destroys good sense as the only direction of becoming, but also that which destroys common sense as the assignation of fixed identities. From a series of diagrams to a dead-end digital directory, Gaffe/Stutter re-interprets a book that itself resists scholarly annotation. As with sense, it subsists in language; but it happens to things. 30 00 Gaffe/Stutter is a dead letter to Deleuze’s Logic of Sense. It began as a series of diagrams, two-dimensional memory palaces that sketch the vectors of each chapter’s paradox; it became an elaborate plan for a web-based diagrammatic (r)e(n)dition of Logic of Sense, built on zoomable, annotatable high-resolution scans of these diagrams. Conceived as an anti-book — a visual reading schematic — this project eschews the line of text in favor of regimented grids, the ink-soaked grain of the remediated pen over the laser-burned face of print; playful reaction rather than academic protraction. This is not an analogy, or a product of the imagination, Gilles Deleuze and Felix Guattari would write in A Thousand Plateaus, but a composition of speeds and affects on the plane of consistency: a plan(e), a program, or rather a diagram, a problem, a question-machine.It ended as a directory of inert jQuery demos and digital scans: an image of Trafalgar Square at dusk, annotated with the words “Flag,” “Small people on the steps,” “A Statue,” and “National Gallery Dome”; an empty html file titled ‘delete.html’. The visitor who may happen to wander onto the website where these project demos are stashed would find herself stuck on Deleuze’s definition of a paradox as initially that which destroys good sense as the only direction of becoming, but also that which destroys common sense as the assignation of fixed identities. From a series of diagrams to a dead-end digital directory, Gaffe/Stutter re-interprets a book that itself resists scholarly annotation. As with sense, it subsists in language; but it happens to things. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0049.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gaffe-stutter/ Brooklyn, NY 04 01 20131006 Trettien, Whitney Anne 02 WORLD 06 15 9780615877488 03 9780615877488 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76452 20 08 20131006 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25568 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25568/1004527.pdf?sequence=1&isAllowed=y 20 08 20131006 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28451 20 08 20131006 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353955 20 08 20131006 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/431 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2a50f904-93e5-4f02-92ce-d4f0139afdec/download 20 08 20131006 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/628bb121-5ba2-4fc1-a741-a8062c45b63b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/628bb121-5ba2-4fc1-a741-a8062c45b63b/628bb121-5ba2-4fc1-a741-a8062c45b63b.pdf 20 08 20131006 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845801 29 ZENODO: download the title https://zenodo.org/records/19845801/files/628bb121-5ba2-4fc1-a741-a8062c45b63b_book.pdf 20 08 20131006 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/gaffe-stutter/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0049.1.00.pdf 20 08 20131006 01 urn:uuid:6241a036-0fd7-461f-bf23-7dd17bb43d7e 03 01 01 thoth-work-id urn:uuid:b950d243-7cfc-4aee-b908-d1776be327df 01 thoth-publication-id urn:uuid:6241a036-0fd7-461f-bf23-7dd17bb43d7e 15 9780988234079 03 9780988234079 06 10.21983/P3.0106.1.00 01 internal-reference 0106 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Image Photograph 1 A01 Marc Lafia Marc Lafia 2 A23 Daniel Coffeen Daniel Coffeen 01 eng 00 310 03 12 AGB 93 AGB 10 ART006000 B2 Art+Aesthetics 93 AJCD B2 Cultural Studies+Critical Theory 20 exhibition catalog; photography 01 06 02 00 03 00 We no longer live in the society of the spectacle, passively seeing the world. Now we perform our very own spectacle in a society that demands it at every turn. We’ve become advertisements of ourselves, our own PR agents, continually putting on a performance and measuring it hour by hour. This is no longer the society of the spectacle but the society of performance. All events have become a pretense to create the image, to orchestrate an image of images that is us. We believe the image confers on us a kind of immortality: just as the artist believes her works collected by a major museum will do the same, we believe the network will forever host the archive we build everyday. The image that is us lives in the circulation of the network. Though a file, though virtual and malleable, made out of bits and instantly accessible to anyone who wants to find it around the world, this image that lives only lives on screen, as virtual as it might be, is a material fact. In its impression, its reception, its archivability, its remixability, the electronic image is today’s photograph 30 00 We no longer live in the society of the spectacle, passively seeing the world. Now we perform our very own spectacle in a society that demands it at every turn. We’ve become advertisements of ourselves, our own PR agents, continually putting on a performance and measuring it hour by hour. This is no longer the society of the spectacle but the society of performance. All events have become a pretense to create the image, to orchestrate an image of images that is us. We believe the image confers on us a kind of immortality: just as the artist believes her works collected by a major museum will do the same, we believe the network will forever host the archive we build everyday. The image that is us lives in the circulation of the network. Though a file, though virtual and malleable, made out of bits and instantly accessible to anyone who wants to find it around the world, this image that lives only lives on screen, as virtual as it might be, is a material fact. In its impression, its reception, its archivability, its remixability, the electronic image is today’s photograph 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0106.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/image-photograph/ Brooklyn, NY 04 01 20150701 Lafia, Marc 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2glUGX6 20 08 20150701 02 45.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/image-photograph 20 08 20150701 02 45.00 USD WORLD urn:uuid:49385819-2ac5-4fee-8941-5bd5becc4837 03 01 01 thoth-work-id urn:uuid:b950d243-7cfc-4aee-b908-d1776be327df 01 thoth-publication-id urn:uuid:49385819-2ac5-4fee-8941-5bd5becc4837 06 10.21983/P3.0106.1.00 01 internal-reference 0106 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Image Photograph 1 A01 Marc Lafia Marc Lafia 2 A23 Daniel Coffeen Daniel Coffeen 01 eng 00 310 03 12 AGB 93 AGB 10 ART006000 B2 Art+Aesthetics 93 AJCD B2 Cultural Studies+Critical Theory 20 exhibition catalog; photography 01 06 02 00 03 00 We no longer live in the society of the spectacle, passively seeing the world. Now we perform our very own spectacle in a society that demands it at every turn. We’ve become advertisements of ourselves, our own PR agents, continually putting on a performance and measuring it hour by hour. This is no longer the society of the spectacle but the society of performance. All events have become a pretense to create the image, to orchestrate an image of images that is us. We believe the image confers on us a kind of immortality: just as the artist believes her works collected by a major museum will do the same, we believe the network will forever host the archive we build everyday. The image that is us lives in the circulation of the network. Though a file, though virtual and malleable, made out of bits and instantly accessible to anyone who wants to find it around the world, this image that lives only lives on screen, as virtual as it might be, is a material fact. In its impression, its reception, its archivability, its remixability, the electronic image is today’s photograph 30 00 We no longer live in the society of the spectacle, passively seeing the world. Now we perform our very own spectacle in a society that demands it at every turn. We’ve become advertisements of ourselves, our own PR agents, continually putting on a performance and measuring it hour by hour. This is no longer the society of the spectacle but the society of performance. All events have become a pretense to create the image, to orchestrate an image of images that is us. We believe the image confers on us a kind of immortality: just as the artist believes her works collected by a major museum will do the same, we believe the network will forever host the archive we build everyday. The image that is us lives in the circulation of the network. Though a file, though virtual and malleable, made out of bits and instantly accessible to anyone who wants to find it around the world, this image that lives only lives on screen, as virtual as it might be, is a material fact. In its impression, its reception, its archivability, its remixability, the electronic image is today’s photograph 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0106.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/image-photograph/ Brooklyn, NY 04 01 20150701 Lafia, Marc 02 WORLD 06 15 9780988234079 03 9780988234079 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76513 20 08 20150701 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25517 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25517/1004578.pdf?sequence=1&isAllowed=y 20 08 20150701 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32026 20 08 20150701 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353874 20 08 20150701 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/490 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f830165a-1ded-43d7-9ff6-d3ead6a96603/download 20 08 20150701 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b950d243-7cfc-4aee-b908-d1776be327df 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b950d243-7cfc-4aee-b908-d1776be327df/b950d243-7cfc-4aee-b908-d1776be327df.pdf 20 08 20150701 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846256 29 ZENODO: download the title https://zenodo.org/records/19846256/files/b950d243-7cfc-4aee-b908-d1776be327df_book.pdf 20 08 20150701 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/image-photograph/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0106.1.00.pdf 20 08 20150701 01 urn:uuid:0dd1da31-7833-4e7b-ac5f-90cbecec7ca6 03 01 01 thoth-work-id urn:uuid:ef4b29ae-852e-477e-9457-7078e4fe577c 01 thoth-publication-id urn:uuid:0dd1da31-7833-4e7b-ac5f-90cbecec7ca6 15 9781685712365 03 9781685712365 06 10.53288/0531.1.00 13 2025942579 01 internal-reference 0531 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 18 mm 03 1.8 cm 03 0.69 in 08 400 gr 08 14.1 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imaginary Death 1 A01 Mariko Nagai Mariko Nagai Nagai Professor of Creative Writing and Japanese literature 40 03savr706 Temple University, Japan Born in Tokyo and raised in Europe and the US, Mariko Nagai received a MA in Creative Writing (Poetry) at New York University. Her numerous honors include the Erich Maria Remarque Fellowship from NYU, fellowships from the Rockefeller Foundation’s Bellagio Center, UNESCO-Ashberg Bursaries for the Arts, Yaddo, Djerassi, and Akademie Schloss Solitude, amongst others. She has received the prestigious Pushcart Prizes both in poetry and fiction. Her books include Histories of Bodies: Poems (Red Hen Press, 2007), Georgic: Stories (BkMk Press, 2010), Dust of Eden: a Novel (Albert Whitman, 2014), Irradiated Cities (Les Figues/punctum, 2017/2022), Under the Broken Sky: a Novel (Henry Holt, 2017), and others. She is Professor of Creative Writing and Japanese literature at Temple University, Tokyo, Japan campus. 01 eng 00 302 03 B2 Fabulations 10 HIS027390 93 NHWR7 93 1FPJ B2 History 10 SOC018000 93 VFJQ3 93 JBSF2 93 DNBH 20 World War II; intergenerational trauma; Japan; military history; Pacific War; masculinity; Japanese Imperial Military 01 06 02 00 03 00 A man dies. He dies because he must—because without his death, there is no story, and, in the end, no history itself.So begins Mariko Nagai’s Imaginary Death, a creative nonfiction book that examines how the author’s grandfather, an ordinary man born in a small village in the early 20th century, is unmade and remade into a perfect Japanese Imperial Soldier by the era he was born into. In the kaleidoscope composed of archival documents, letters, journals, research, interviews, and photographs, Imaginary Death traces the life of a man who fought and died for the empire, whose death, obscured by lack of documentation, must be composited of many possible ways men could die in Papua New Guinea. Only forty out of four thousand men from the regimental unit survived by the end of the repatriation in 1946: his was one small death out of many.In the tradition of James Agee and Walker Evans’s seminal work on the Great Depression Let Us Now Praise Famous Men, Imaginary Death is a work that is part meditation, part history, and part fragments of memory that tell a story of a Japanese soldier’s life and death during World War II. Ultimately, Imaginary Death is a textual landscape of imagination, fact, history, and dreams all intersecting to create a psychological terrain that is not limited in the same way as history or nonfiction books, but is rather a new imaginative cartography, no less real than history itself. 30 00 A man dies. He dies because he must—because without his death, there is no story, and, in the end, no history itself.So begins Mariko Nagai’s Imaginary Death, a creative nonfiction book that examines how the author’s grandfather, an ordinary man born in a small village in the early 20th century, is unmade and remade into a perfect Japanese Imperial Soldier by the era he was born into. In the kaleidoscope composed of archival documents, letters, journals, research, interviews, and photographs, Imaginary Death traces the life of a man who fought and died for the empire, whose death, obscured by lack of documentation, must be composited of many possible ways men could die in Papua New Guinea. Only forty out of four thousand men from the regimental unit survived by the end of the repatriation in 1946: his was one small death out of many.In the tradition of James Agee and Walker Evans’s seminal work on the Great Depression Let Us Now Praise Famous Men, Imaginary Death is a work that is part meditation, part history, and part fragments of memory that tell a story of a Japanese soldier’s life and death during World War II. Ultimately, Imaginary Death is a textual landscape of imagination, fact, history, and dreams all intersecting to create a psychological terrain that is not limited in the same way as history or nonfiction books, but is rather a new imaginative cartography, no less real than history itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0531.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imaginary-death/ Earth, Milky Way 04 01 20250926 Mariko Nagai 02 WORLD 06 15 9781685712372 03 9781685712372 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712363 20 08 20250926 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/imaginary-death-mariko-nagai 20 08 20250926 02 25.00 USD WORLD urn:uuid:25697b1c-a8de-4428-9cbe-19c518c5b421 03 01 01 thoth-work-id urn:uuid:ef4b29ae-852e-477e-9457-7078e4fe577c 01 thoth-publication-id urn:uuid:25697b1c-a8de-4428-9cbe-19c518c5b421 15 9781685712372 03 9781685712372 06 10.53288/0531.1.00 13 2025942579 01 internal-reference 0531 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imaginary Death 1 A01 Mariko Nagai Mariko Nagai Nagai Professor of Creative Writing and Japanese literature 40 03savr706 Temple University, Japan Born in Tokyo and raised in Europe and the US, Mariko Nagai received a MA in Creative Writing (Poetry) at New York University. Her numerous honors include the Erich Maria Remarque Fellowship from NYU, fellowships from the Rockefeller Foundation’s Bellagio Center, UNESCO-Ashberg Bursaries for the Arts, Yaddo, Djerassi, and Akademie Schloss Solitude, amongst others. She has received the prestigious Pushcart Prizes both in poetry and fiction. Her books include Histories of Bodies: Poems (Red Hen Press, 2007), Georgic: Stories (BkMk Press, 2010), Dust of Eden: a Novel (Albert Whitman, 2014), Irradiated Cities (Les Figues/punctum, 2017/2022), Under the Broken Sky: a Novel (Henry Holt, 2017), and others. She is Professor of Creative Writing and Japanese literature at Temple University, Tokyo, Japan campus. 01 eng 00 302 03 B2 Fabulations 10 HIS027390 93 NHWR7 93 1FPJ B2 History 10 SOC018000 93 VFJQ3 93 JBSF2 93 DNBH 20 World War II; intergenerational trauma; Japan; military history; Pacific War; masculinity; Japanese Imperial Military 01 06 02 00 03 00 A man dies. He dies because he must—because without his death, there is no story, and, in the end, no history itself.So begins Mariko Nagai’s Imaginary Death, a creative nonfiction book that examines how the author’s grandfather, an ordinary man born in a small village in the early 20th century, is unmade and remade into a perfect Japanese Imperial Soldier by the era he was born into. In the kaleidoscope composed of archival documents, letters, journals, research, interviews, and photographs, Imaginary Death traces the life of a man who fought and died for the empire, whose death, obscured by lack of documentation, must be composited of many possible ways men could die in Papua New Guinea. Only forty out of four thousand men from the regimental unit survived by the end of the repatriation in 1946: his was one small death out of many.In the tradition of James Agee and Walker Evans’s seminal work on the Great Depression Let Us Now Praise Famous Men, Imaginary Death is a work that is part meditation, part history, and part fragments of memory that tell a story of a Japanese soldier’s life and death during World War II. Ultimately, Imaginary Death is a textual landscape of imagination, fact, history, and dreams all intersecting to create a psychological terrain that is not limited in the same way as history or nonfiction books, but is rather a new imaginative cartography, no less real than history itself. 30 00 A man dies. He dies because he must—because without his death, there is no story, and, in the end, no history itself.So begins Mariko Nagai’s Imaginary Death, a creative nonfiction book that examines how the author’s grandfather, an ordinary man born in a small village in the early 20th century, is unmade and remade into a perfect Japanese Imperial Soldier by the era he was born into. In the kaleidoscope composed of archival documents, letters, journals, research, interviews, and photographs, Imaginary Death traces the life of a man who fought and died for the empire, whose death, obscured by lack of documentation, must be composited of many possible ways men could die in Papua New Guinea. Only forty out of four thousand men from the regimental unit survived by the end of the repatriation in 1946: his was one small death out of many.In the tradition of James Agee and Walker Evans’s seminal work on the Great Depression Let Us Now Praise Famous Men, Imaginary Death is a work that is part meditation, part history, and part fragments of memory that tell a story of a Japanese soldier’s life and death during World War II. Ultimately, Imaginary Death is a textual landscape of imagination, fact, history, and dreams all intersecting to create a psychological terrain that is not limited in the same way as history or nonfiction books, but is rather a new imaginative cartography, no less real than history itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0531.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imaginary-death/ Earth, Milky Way 04 01 20250926 Mariko Nagai 02 WORLD 06 15 9781685712365 03 9781685712365 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/106170 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/106170/9781685712372.pdf?sequence=1&isAllowed=y 20 08 20250926 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/910 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1eae1279-26f9-4516-87ea-76ef094ac22c/download 20 08 20250926 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ef4b29ae-852e-477e-9457-7078e4fe577c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ef4b29ae-852e-477e-9457-7078e4fe577c/ef4b29ae-852e-477e-9457-7078e4fe577c.pdf 20 08 20250926 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851339 29 ZENODO: download the title https://zenodo.org/records/19851339/files/ef4b29ae-852e-477e-9457-7078e4fe577c_book.pdf 20 08 20250926 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/imaginary-death/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0531.1.00.pdf 20 08 20250926 01 urn:uuid:687435cb-df73-49f7-abe5-0e1b3ffd5a28 03 01 01 thoth-work-id urn:uuid:909a04b1-26df-4737-a030-8c2d3d839ce2 01 thoth-publication-id urn:uuid:687435cb-df73-49f7-abe5-0e1b3ffd5a28 15 9781685712044 03 9781685712044 06 10.53288/0483.1.00 13 2026932501 01 internal-reference 0483 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 19 mm 03 1.9 cm 03 0.73 in 08 318 gr 08 11.2 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imagining What We Don't Know Creative Theory and Critical Bodies 1 A01 Lisa Samuels Lisa Samuels 40 03b94tp07 University of Auckland Lisa Samuels experiments with writing, art, and relational theory in transnational life. The author of fifteen books, from The Seven Voices (O Books, 1998) to Livestream (Shearsman Books, 2023), and of many chapbooks and essays, Samuels also edits literary work, collaborates with other artists, and performs internationally. Samuels’s doctoral theory-practice, deformance, is an established interpretive method; the transmigration epic Tomorrowland (Shearsman Books, 2009) has been versioned as a soundscape audio and an art film (dir. Wes Tank); Tender Girl (Dusie, 2015; Mekana Devojka, trans. Milan Pupezin) re-envisions the neosurrealist novel; and The Guardian recognized Symphony for Human Transport (Shearsman Books, 2017) in its annual top ten poetry books. Samuels grew up in North America, Europe, and the Middle East, became an academic in the US, and currently lives in Oceania. 01 eng 00 320 03 B2 Art+Aesthetics 12 HPCF3 10 PHI018000 93 QDHR5 B2 Fabulations 10 NAT010000 93 RNA 12 RNA B2 Philosophy 20 theory; quantum life; art; phenomenology; ethics; poetry; ecology 01 06 02 00 03 00 Bringing together perception, ecology, community, lingual value, and quantum life, Imagining What We Don’t Know: Creative Theory and Critical Bodies presents twenty-four essays and theory poems that blend interpretive neologisms — wild dialectics, distributed centrality, membranism, deformance, bioautography, transplace, soft text, and more — with readings of visionary philosophers and the art and writing of Algeria, Australasia, the Caribbean, Oceania, the UK, and the US.Committed to experimental ideation and relational ethics, Imagining What We Don’t Know is for art and theory practitioners, philosophy rebels, creative writers, and anyone who relishes thinking about contemporary art, transnational and transdisciplinary life, and how we imagine with language. Imagining What We Don’t Know presents a biblio-architecture of “blurprints” built with theories of the embodied mind that are elemental, entangled, and electrified by the political. This is creative theory, hovering with alterities of art and interpretation and imagining with critical attention. 30 00 Bringing together perception, ecology, community, lingual value, and quantum life, Imagining What We Don’t Know: Creative Theory and Critical Bodies presents twenty-four essays and theory poems that blend interpretive neologisms — wild dialectics, distributed centrality, membranism, deformance, bioautography, transplace, soft text, and more — with readings of visionary philosophers and the art and writing of Algeria, Australasia, the Caribbean, Oceania, the UK, and the US.Committed to experimental ideation and relational ethics, Imagining What We Don’t Know is for art and theory practitioners, philosophy rebels, creative writers, and anyone who relishes thinking about contemporary art, transnational and transdisciplinary life, and how we imagine with language. Imagining What We Don’t Know presents a biblio-architecture of “blurprints” built with theories of the embodied mind that are elemental, entangled, and electrified by the political. This is creative theory, hovering with alterities of art and interpretation and imagining with critical attention. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0483.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imagining-what-we-dont-know-creative-theory-and-critical-bodies/ Earth, Milky Way 04 01 20260223 Lisa Samuels 02 WORLD 06 15 9781685712051 03 9781685712051 06 15 9781685713089 03 9781685713089 34 06 10.1515/semi.1994.100.2-4.405 34 06 10.2307/488010 34 06 10.1021/ed070p612 34 06 10.1006/jabr.2000.8483 34 06 10.1090/conm/697/14052 34 06 10.2307/3195353 34 06 10.1215/10418385-4208433 34 06 10.1090/conm/697/14059 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712045 20 08 20260223 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/imagining-what-we-dont-know-creative-theory-and-critical-bodies 20 08 20260223 02 25.00 USD WORLD urn:uuid:0babb061-cf2d-462f-8b0a-226b0b9cb3b2 03 01 01 thoth-work-id urn:uuid:909a04b1-26df-4737-a030-8c2d3d839ce2 01 thoth-publication-id urn:uuid:0babb061-cf2d-462f-8b0a-226b0b9cb3b2 15 9781685712051 03 9781685712051 06 10.53288/0483.1.00 13 2026932501 01 internal-reference 0483 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imagining What We Don't Know Creative Theory and Critical Bodies 1 A01 Lisa Samuels Lisa Samuels 40 03b94tp07 University of Auckland Lisa Samuels experiments with writing, art, and relational theory in transnational life. The author of fifteen books, from The Seven Voices (O Books, 1998) to Livestream (Shearsman Books, 2023), and of many chapbooks and essays, Samuels also edits literary work, collaborates with other artists, and performs internationally. Samuels’s doctoral theory-practice, deformance, is an established interpretive method; the transmigration epic Tomorrowland (Shearsman Books, 2009) has been versioned as a soundscape audio and an art film (dir. Wes Tank); Tender Girl (Dusie, 2015; Mekana Devojka, trans. Milan Pupezin) re-envisions the neosurrealist novel; and The Guardian recognized Symphony for Human Transport (Shearsman Books, 2017) in its annual top ten poetry books. Samuels grew up in North America, Europe, and the Middle East, became an academic in the US, and currently lives in Oceania. 01 eng 00 320 03 B2 Art+Aesthetics 12 HPCF3 10 PHI018000 93 QDHR5 B2 Fabulations 10 NAT010000 93 RNA 12 RNA B2 Philosophy 20 theory; quantum life; art; phenomenology; ethics; poetry; ecology 01 06 02 00 03 00 Bringing together perception, ecology, community, lingual value, and quantum life, Imagining What We Don’t Know: Creative Theory and Critical Bodies presents twenty-four essays and theory poems that blend interpretive neologisms — wild dialectics, distributed centrality, membranism, deformance, bioautography, transplace, soft text, and more — with readings of visionary philosophers and the art and writing of Algeria, Australasia, the Caribbean, Oceania, the UK, and the US.Committed to experimental ideation and relational ethics, Imagining What We Don’t Know is for art and theory practitioners, philosophy rebels, creative writers, and anyone who relishes thinking about contemporary art, transnational and transdisciplinary life, and how we imagine with language. Imagining What We Don’t Know presents a biblio-architecture of “blurprints” built with theories of the embodied mind that are elemental, entangled, and electrified by the political. This is creative theory, hovering with alterities of art and interpretation and imagining with critical attention. 30 00 Bringing together perception, ecology, community, lingual value, and quantum life, Imagining What We Don’t Know: Creative Theory and Critical Bodies presents twenty-four essays and theory poems that blend interpretive neologisms — wild dialectics, distributed centrality, membranism, deformance, bioautography, transplace, soft text, and more — with readings of visionary philosophers and the art and writing of Algeria, Australasia, the Caribbean, Oceania, the UK, and the US.Committed to experimental ideation and relational ethics, Imagining What We Don’t Know is for art and theory practitioners, philosophy rebels, creative writers, and anyone who relishes thinking about contemporary art, transnational and transdisciplinary life, and how we imagine with language. Imagining What We Don’t Know presents a biblio-architecture of “blurprints” built with theories of the embodied mind that are elemental, entangled, and electrified by the political. This is creative theory, hovering with alterities of art and interpretation and imagining with critical attention. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0483.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imagining-what-we-dont-know-creative-theory-and-critical-bodies/ Earth, Milky Way 04 01 20260223 Lisa Samuels 02 WORLD 06 15 9781685712044 03 9781685712044 06 15 9781685713089 03 9781685713089 34 06 10.1515/semi.1994.100.2-4.405 34 06 10.2307/488010 34 06 10.1021/ed070p612 34 06 10.1006/jabr.2000.8483 34 06 10.1090/conm/697/14052 34 06 10.2307/3195353 34 06 10.1215/10418385-4208433 34 06 10.1090/conm/697/14059 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/110848 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/110848/9781685712051.pdf?sequence=1&isAllowed=y 20 08 20260223 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/942 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e18ad761-ff79-4587-ba35-7fe5fdfed25d/download 20 08 20260223 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/909a04b1-26df-4737-a030-8c2d3d839ce2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/909a04b1-26df-4737-a030-8c2d3d839ce2/909a04b1-26df-4737-a030-8c2d3d839ce2.pdf 20 08 20260223 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851588 29 ZENODO: download the title https://zenodo.org/records/19851588/files/909a04b1-26df-4737-a030-8c2d3d839ce2_book.pdf 20 08 20260223 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/imagining-what-we-dont-know-creative-theory-and-critical-bodies/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0483.1.00.pdf 20 08 20260223 01 urn:uuid:cd47ffad-c99b-401b-a0c4-1f3291305da1 03 01 01 thoth-work-id urn:uuid:909a04b1-26df-4737-a030-8c2d3d839ce2 01 thoth-publication-id urn:uuid:cd47ffad-c99b-401b-a0c4-1f3291305da1 15 9781685713089 03 9781685713089 06 10.53288/0483.1.00 13 2026932501 01 internal-reference 0483 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imagining What We Don't Know Creative Theory and Critical Bodies 1 A01 Lisa Samuels Lisa Samuels 40 03b94tp07 University of Auckland Lisa Samuels experiments with writing, art, and relational theory in transnational life. The author of fifteen books, from The Seven Voices (O Books, 1998) to Livestream (Shearsman Books, 2023), and of many chapbooks and essays, Samuels also edits literary work, collaborates with other artists, and performs internationally. Samuels’s doctoral theory-practice, deformance, is an established interpretive method; the transmigration epic Tomorrowland (Shearsman Books, 2009) has been versioned as a soundscape audio and an art film (dir. Wes Tank); Tender Girl (Dusie, 2015; Mekana Devojka, trans. Milan Pupezin) re-envisions the neosurrealist novel; and The Guardian recognized Symphony for Human Transport (Shearsman Books, 2017) in its annual top ten poetry books. Samuels grew up in North America, Europe, and the Middle East, became an academic in the US, and currently lives in Oceania. 01 eng 00 320 03 B2 Art+Aesthetics 12 HPCF3 10 PHI018000 93 QDHR5 B2 Fabulations 10 NAT010000 93 RNA 12 RNA B2 Philosophy 20 theory; quantum life; art; phenomenology; ethics; poetry; ecology 01 06 02 00 03 00 Bringing together perception, ecology, community, lingual value, and quantum life, Imagining What We Don’t Know: Creative Theory and Critical Bodies presents twenty-four essays and theory poems that blend interpretive neologisms — wild dialectics, distributed centrality, membranism, deformance, bioautography, transplace, soft text, and more — with readings of visionary philosophers and the art and writing of Algeria, Australasia, the Caribbean, Oceania, the UK, and the US.Committed to experimental ideation and relational ethics, Imagining What We Don’t Know is for art and theory practitioners, philosophy rebels, creative writers, and anyone who relishes thinking about contemporary art, transnational and transdisciplinary life, and how we imagine with language. Imagining What We Don’t Know presents a biblio-architecture of “blurprints” built with theories of the embodied mind that are elemental, entangled, and electrified by the political. This is creative theory, hovering with alterities of art and interpretation and imagining with critical attention. 30 00 Bringing together perception, ecology, community, lingual value, and quantum life, Imagining What We Don’t Know: Creative Theory and Critical Bodies presents twenty-four essays and theory poems that blend interpretive neologisms — wild dialectics, distributed centrality, membranism, deformance, bioautography, transplace, soft text, and more — with readings of visionary philosophers and the art and writing of Algeria, Australasia, the Caribbean, Oceania, the UK, and the US.Committed to experimental ideation and relational ethics, Imagining What We Don’t Know is for art and theory practitioners, philosophy rebels, creative writers, and anyone who relishes thinking about contemporary art, transnational and transdisciplinary life, and how we imagine with language. Imagining What We Don’t Know presents a biblio-architecture of “blurprints” built with theories of the embodied mind that are elemental, entangled, and electrified by the political. This is creative theory, hovering with alterities of art and interpretation and imagining with critical attention. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0483.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imagining-what-we-dont-know-creative-theory-and-critical-bodies/ Earth, Milky Way 04 01 20260223 Lisa Samuels 02 WORLD 06 15 9781685712044 03 9781685712044 06 15 9781685712051 03 9781685712051 34 06 10.1515/semi.1994.100.2-4.405 34 06 10.2307/488010 34 06 10.1021/ed070p612 34 06 10.1006/jabr.2000.8483 34 06 10.1090/conm/697/14052 34 06 10.2307/3195353 34 06 10.1215/10418385-4208433 34 06 10.1090/conm/697/14059 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/imagining-what-we-dont-know-creative-theory-and-critical-bodies/ 20 08 20260223 01 urn:uuid:e7876e28-ac4d-4406-b5bf-e6f405f4805b 03 01 01 thoth-work-id urn:uuid:241f9c62-26be-4d0f-864b-ad4b243a03c3 01 thoth-publication-id urn:uuid:e7876e28-ac4d-4406-b5bf-e6f405f4805b 15 9781950192533 03 9781950192533 06 10.21983/P3.0268.1.00 13 2019953098 01 internal-reference 0268 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imperial Physique 1 A01 21 0000000216952255 JH Phrydas JH Phrydas 01 eng 00 158 03 B2 Cultural Studies+Critical Theory 93 JBSJ 12 JFSK 10 SOC012000 93 5PSG 12 5SG B2 TransQueer B2 Sex 20 queer studies; LGBT studies; cruising; writing; desire; sexuality; theory fiction 01 06 02 00 03 00 In 2008, JH Phrydas wrote a story about how bodies talk without words. He wanted the story to not just describe the silent ritual of nonverbal communication but to perform it. The interaction would be visceral – the exchange melancholic, yet full of lust. He wanted words to retain the unsayable: the subtle movements of a body in heat. In the years since, Phrydas kept rewriting this story, using different techniques, different syntaxes and forms, in hopes that he would find a successful method of gestural writing.Imperial Physique is a collection of these attempts. They explore the way our bodies hover between animal and human, civil and wild. The bleakness – and underlying verve – of imagining Western empires in decline serve as a backdrop for a lone figure searching city streets, decaying architecture, and sand dunes for some type of physical connection. What arises is the loss of – and longing for – touch at the edges of imperialism, historical violence, and personal shame. 30 00 In 2008, JH Phrydas wrote a story about how bodies talk without words. He wanted the story to not just describe the silent ritual of nonverbal communication but to perform it. The interaction would be visceral – the exchange melancholic, yet full of lust. He wanted words to retain the unsayable: the subtle movements of a body in heat. In the years since, Phrydas kept rewriting this story, using different techniques, different syntaxes and forms, in hopes that he would find a successful method of gestural writing.Imperial Physique is a collection of these attempts. They explore the way our bodies hover between animal and human, civil and wild. The bleakness – and underlying verve – of imagining Western empires in decline serve as a backdrop for a lone figure searching city streets, decaying architecture, and sand dunes for some type of physical connection. What arises is the loss of – and longing for – touch at the edges of imperialism, historical violence, and personal shame. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0268.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imperial-physique/ Earth, Milky Way 04 01 20191119 Phrydas, JH (0000-0002-1695-2255) 02 WORLD 06 15 9781950192540 03 9781950192540 34 06 10.1215/03335372-1188185 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192539 20 08 20191119 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/imperial-physique 20 08 20191119 02 22.00 USD WORLD urn:uuid:c6b9bd88-d1e1-41e3-a3cb-6bd4731c7532 03 01 01 thoth-work-id urn:uuid:241f9c62-26be-4d0f-864b-ad4b243a03c3 01 thoth-publication-id urn:uuid:c6b9bd88-d1e1-41e3-a3cb-6bd4731c7532 15 9781950192540 03 9781950192540 06 10.21983/P3.0268.1.00 13 2019953098 01 internal-reference 0268 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Imperial Physique 1 A01 21 0000000216952255 JH Phrydas JH Phrydas 01 eng 00 158 03 B2 Cultural Studies+Critical Theory 93 JBSJ 12 JFSK 10 SOC012000 93 5PSG 12 5SG B2 TransQueer B2 Sex 20 queer studies; LGBT studies; cruising; writing; desire; sexuality; theory fiction 01 06 02 00 03 00 In 2008, JH Phrydas wrote a story about how bodies talk without words. He wanted the story to not just describe the silent ritual of nonverbal communication but to perform it. The interaction would be visceral – the exchange melancholic, yet full of lust. He wanted words to retain the unsayable: the subtle movements of a body in heat. In the years since, Phrydas kept rewriting this story, using different techniques, different syntaxes and forms, in hopes that he would find a successful method of gestural writing.Imperial Physique is a collection of these attempts. They explore the way our bodies hover between animal and human, civil and wild. The bleakness – and underlying verve – of imagining Western empires in decline serve as a backdrop for a lone figure searching city streets, decaying architecture, and sand dunes for some type of physical connection. What arises is the loss of – and longing for – touch at the edges of imperialism, historical violence, and personal shame. 30 00 In 2008, JH Phrydas wrote a story about how bodies talk without words. He wanted the story to not just describe the silent ritual of nonverbal communication but to perform it. The interaction would be visceral – the exchange melancholic, yet full of lust. He wanted words to retain the unsayable: the subtle movements of a body in heat. In the years since, Phrydas kept rewriting this story, using different techniques, different syntaxes and forms, in hopes that he would find a successful method of gestural writing.Imperial Physique is a collection of these attempts. They explore the way our bodies hover between animal and human, civil and wild. The bleakness – and underlying verve – of imagining Western empires in decline serve as a backdrop for a lone figure searching city streets, decaying architecture, and sand dunes for some type of physical connection. What arises is the loss of – and longing for – touch at the edges of imperialism, historical violence, and personal shame. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0268.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/imperial-physique/ Earth, Milky Way 04 01 20191119 Phrydas, JH (0000-0002-1695-2255) 02 WORLD 06 15 9781950192533 03 9781950192533 34 06 10.1215/03335372-1188185 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75675 20 08 20191119 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23804 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23804/0268.1.00.pdf?sequence=1&isAllowed=y 20 08 20191119 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27241 20 08 20191119 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354024 20 08 20191119 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/618 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9f11e369-d477-4acd-802b-846516471903/download 20 08 20191119 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Imperial_Physique/Q5-oEAAAQBAJ 20 08 20191119 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/241f9c62-26be-4d0f-864b-ad4b243a03c3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/241f9c62-26be-4d0f-864b-ad4b243a03c3/241f9c62-26be-4d0f-864b-ad4b243a03c3.pdf 20 08 20191119 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847973 29 ZENODO: download the title https://zenodo.org/records/19847973/files/241f9c62-26be-4d0f-864b-ad4b243a03c3_book.pdf 20 08 20191119 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/imperial-physique/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0268.1.00.pdf 20 08 20191119 01 urn:uuid:76e40f4b-b68a-4b10-90c0-8e0070bae244 03 01 01 thoth-work-id urn:uuid:14a2356a-4767-4136-b44a-684a28dc87a6 01 thoth-publication-id urn:uuid:76e40f4b-b68a-4b10-90c0-8e0070bae244 15 9780692321287 03 9780692321287 06 10.21983/P3.0081.1.00 01 internal-reference 0081 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 In a Trance On Paleo Art 1 A01 Jeffrey Skoblow Jeffrey Skoblow 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 00 156 03 12 ACC 93 AGA 10 ART015050 B2 Art+Aesthetics 93 3BDF B2 Premodern 20 paleolithic art; cave paintings; posthumanism; art history; cultural studies 01 06 02 00 03 00 In a Trance is just the sort of genre-defying work we at Peanut and punctum and, as it happens, Jeffrey Skoblow, revel in. It is a book-length essay by a fiction writer. It is a fictional essay by a literary scholar. It is a gallant assay by a smart man who thinks while he walks, and he walks a lot.The book is a meta-meditation on Paleolithic cave drawings and the humans who ponder them. It is fact-based and entrancing just as the cave drawings are actual (existing in time — loosely — and space — more definitively) and mesmerizing. Skoblow is devising stories as “we” (humans) have always devised stories though in a less familiar mode, along a less travelled path.The essay draws on (!) the careful/thoughtful/whimsical notebooks kept by Skoblow over a dozen years. The notebooks record/illuminate/complicate his visits to twelve Paleolithic art sites as well as his deep, eccentric reading of texts concerned in some way with the subject of cave drawings by an array of scientists, anthropologists, archeologists, art historians, and other sundry enthusiasts and experts, so-called and otherwise. 30 00 In a Trance is just the sort of genre-defying work we at Peanut and punctum and, as it happens, Jeffrey Skoblow, revel in. It is a book-length essay by a fiction writer. It is a fictional essay by a literary scholar. It is a gallant assay by a smart man who thinks while he walks, and he walks a lot.The book is a meta-meditation on Paleolithic cave drawings and the humans who ponder them. It is fact-based and entrancing just as the cave drawings are actual (existing in time — loosely — and space — more definitively) and mesmerizing. Skoblow is devising stories as “we” (humans) have always devised stories though in a less familiar mode, along a less travelled path.The essay draws on (!) the careful/thoughtful/whimsical notebooks kept by Skoblow over a dozen years. The notebooks record/illuminate/complicate his visits to twelve Paleolithic art sites as well as his deep, eccentric reading of texts concerned in some way with the subject of cave drawings by an array of scientists, anthropologists, archeologists, art historians, and other sundry enthusiasts and experts, so-called and otherwise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0081.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/in-a-trance/ Brooklyn, NY 04 01 20141113 Skoblow, Jeffrey 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692321284 20 08 20141113 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/in-a-trance-on-paleo-art 20 08 20141113 02 22.00 USD WORLD urn:uuid:ce328c0a-e1e5-4f06-8e0a-19277b449dea 03 01 01 thoth-work-id urn:uuid:14a2356a-4767-4136-b44a-684a28dc87a6 01 thoth-publication-id urn:uuid:ce328c0a-e1e5-4f06-8e0a-19277b449dea 06 10.21983/P3.0081.1.00 01 internal-reference 0081 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 In a Trance On Paleo Art 1 A01 Jeffrey Skoblow Jeffrey Skoblow 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 00 156 03 12 ACC 93 AGA 10 ART015050 B2 Art+Aesthetics 93 3BDF B2 Premodern 20 paleolithic art; cave paintings; posthumanism; art history; cultural studies 01 06 02 00 03 00 In a Trance is just the sort of genre-defying work we at Peanut and punctum and, as it happens, Jeffrey Skoblow, revel in. It is a book-length essay by a fiction writer. It is a fictional essay by a literary scholar. It is a gallant assay by a smart man who thinks while he walks, and he walks a lot.The book is a meta-meditation on Paleolithic cave drawings and the humans who ponder them. It is fact-based and entrancing just as the cave drawings are actual (existing in time — loosely — and space — more definitively) and mesmerizing. Skoblow is devising stories as “we” (humans) have always devised stories though in a less familiar mode, along a less travelled path.The essay draws on (!) the careful/thoughtful/whimsical notebooks kept by Skoblow over a dozen years. The notebooks record/illuminate/complicate his visits to twelve Paleolithic art sites as well as his deep, eccentric reading of texts concerned in some way with the subject of cave drawings by an array of scientists, anthropologists, archeologists, art historians, and other sundry enthusiasts and experts, so-called and otherwise. 30 00 In a Trance is just the sort of genre-defying work we at Peanut and punctum and, as it happens, Jeffrey Skoblow, revel in. It is a book-length essay by a fiction writer. It is a fictional essay by a literary scholar. It is a gallant assay by a smart man who thinks while he walks, and he walks a lot.The book is a meta-meditation on Paleolithic cave drawings and the humans who ponder them. It is fact-based and entrancing just as the cave drawings are actual (existing in time — loosely — and space — more definitively) and mesmerizing. Skoblow is devising stories as “we” (humans) have always devised stories though in a less familiar mode, along a less travelled path.The essay draws on (!) the careful/thoughtful/whimsical notebooks kept by Skoblow over a dozen years. The notebooks record/illuminate/complicate his visits to twelve Paleolithic art sites as well as his deep, eccentric reading of texts concerned in some way with the subject of cave drawings by an array of scientists, anthropologists, archeologists, art historians, and other sundry enthusiasts and experts, so-called and otherwise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0081.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/in-a-trance/ Brooklyn, NY 04 01 20141113 Skoblow, Jeffrey 02 WORLD 06 15 9780692321287 03 9780692321287 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76475 20 08 20141113 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25539 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25539/1004556.pdf?sequence=1&isAllowed=y 20 08 20141113 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35469 20 08 20141113 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353888 20 08 20141113 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/466 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ded9e752-990f-494a-9af2-a4801fa5e96a/download 20 08 20141113 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/14a2356a-4767-4136-b44a-684a28dc87a6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/14a2356a-4767-4136-b44a-684a28dc87a6/14a2356a-4767-4136-b44a-684a28dc87a6.pdf 20 08 20141113 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846074 29 ZENODO: download the title https://zenodo.org/records/19846074/files/14a2356a-4767-4136-b44a-684a28dc87a6_book.pdf 20 08 20141113 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/in-a-trance/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0081.1.00.pdf 20 08 20141113 01 urn:uuid:b2b07b73-a21c-4ece-a6d2-43e83f755193 03 01 01 thoth-work-id urn:uuid:aeed0683-e022-42d0-a954-f9f36afc4bbf 01 thoth-publication-id urn:uuid:b2b07b73-a21c-4ece-a6d2-43e83f755193 15 9781950192830 03 9781950192830 06 10.21983/P3.0286.1.00 13 2020936447 01 internal-reference 0286 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Incomparable Poetry An Essay on the Financial Crisis of 2007–2008 and Irish Literature 1 A01 Robert Kiely Robert Kiely 40 00ks66431 University of Surrey 01 eng 00 162 03 12 1DBR 93 1DDR B2 Capital+Lucre 10 LIT014000 93 KCL 12 KCL 10 LIT004120 B2 Literary Studies 12 DSA 93 DSA 93 KCX 20 capitalism; Chinese history; Ireland; financial crisis; literary studies; poetry; Irish literature 01 06 02 00 03 00 Incomparable Poetry: An Essay on the Financial Crisis of 2007-2008 and Irish Literature is an attempt to describe the ways in which the financial crisis of 2007-8 impacted literature in Ireland, and thereby describe the ways in which poetry engages with, is structured by, and wrestles with economic issues.Ireland and its contemporary poetry is a particularly suitable case study for studying the effect of the economic crisis on Anglophone poetry, because poetry in Ireland has a special relationship to the state and economy due to its status as a postcolonial nation-state. Beginning with a summary of recent Irish economic and cultural history, and moving across experimental and mainstream poetry, this essay outlines how the poetry of Trevor Joyce, Leontia Flynn, Dave Lordan, and Rachel Warriner addresses in its form and content the boom years of the Celtic Tiger and the financial crisis.Incomparable Poetry also discusses the concerns and historical contexts these poets have turned to in order to make sense of these events – including Chinese history, accountancy, sexual violence, and Iceland’s economic history. In contemporary Irish poetry, the author argues, we see a significant interest in matching capitalism’s accounting abilities, but in this attempt, these poems often end up broken by the imposition of an external conceptual framework or economic logic. 30 00 Incomparable Poetry: An Essay on the Financial Crisis of 2007-2008 and Irish Literature is an attempt to describe the ways in which the financial crisis of 2007-8 impacted literature in Ireland, and thereby describe the ways in which poetry engages with, is structured by, and wrestles with economic issues.Ireland and its contemporary poetry is a particularly suitable case study for studying the effect of the economic crisis on Anglophone poetry, because poetry in Ireland has a special relationship to the state and economy due to its status as a postcolonial nation-state. Beginning with a summary of recent Irish economic and cultural history, and moving across experimental and mainstream poetry, this essay outlines how the poetry of Trevor Joyce, Leontia Flynn, Dave Lordan, and Rachel Warriner addresses in its form and content the boom years of the Celtic Tiger and the financial crisis.Incomparable Poetry also discusses the concerns and historical contexts these poets have turned to in order to make sense of these events – including Chinese history, accountancy, sexual violence, and Iceland’s economic history. In contemporary Irish poetry, the author argues, we see a significant interest in matching capitalism’s accounting abilities, but in this attempt, these poems often end up broken by the imposition of an external conceptual framework or economic logic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0286.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/incomparable-poetry-an-essay-on-the-financial-crisis-and-irish-literature/ Earth, Milky Way 04 01 20200514 Kiely, Robert 02 WORLD 06 15 9781950192847 03 9781950192847 34 06 10.13128/SIJIS-2239-3978-14307 34 06 10.1215/01903659 34 06 10.1177/0143831X07082122 34 06 10.1146/annurev.soc.24.1.313 34 06 10.7765/9781526109279.00020 34 06 10.1177/0002764207299351 34 06 10.4000/etudesirlandaises.3202 34 06 10.1080/08935699508685463 34 06 10.1080/10131752.2014.965419 34 06 10.1146/annurev.anthro.32.061002.093107 34 06 10.1080/14725843.2013.797289 34 06 10.1146/annurev.an.20.100191.001431 34 06 10.3386/w7632 34 06 10.1093/mq/XLIV.4.448 34 06 10.2307/41635653 34 06 10.2307/2718206 34 06 10.1080/07907180903431988 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192830 20 08 20200514 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/incomparable-poetry-an-essay-on-the-financial-crisis-of-2007a2008-and-irish-literature 20 08 20200514 02 22.00 USD WORLD urn:uuid:c0481494-c3dc-46ab-9598-2edec6539378 03 01 01 thoth-work-id urn:uuid:aeed0683-e022-42d0-a954-f9f36afc4bbf 01 thoth-publication-id urn:uuid:c0481494-c3dc-46ab-9598-2edec6539378 15 9781950192847 03 9781950192847 06 10.21983/P3.0286.1.00 13 2020936447 01 internal-reference 0286 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Incomparable Poetry An Essay on the Financial Crisis of 2007–2008 and Irish Literature 1 A01 Robert Kiely Robert Kiely 40 00ks66431 University of Surrey 01 eng 00 162 03 12 1DBR 93 1DDR B2 Capital+Lucre 10 LIT014000 93 KCL 12 KCL 10 LIT004120 B2 Literary Studies 12 DSA 93 DSA 93 KCX 20 capitalism; Chinese history; Ireland; financial crisis; literary studies; poetry; Irish literature 01 06 02 00 03 00 Incomparable Poetry: An Essay on the Financial Crisis of 2007-2008 and Irish Literature is an attempt to describe the ways in which the financial crisis of 2007-8 impacted literature in Ireland, and thereby describe the ways in which poetry engages with, is structured by, and wrestles with economic issues.Ireland and its contemporary poetry is a particularly suitable case study for studying the effect of the economic crisis on Anglophone poetry, because poetry in Ireland has a special relationship to the state and economy due to its status as a postcolonial nation-state. Beginning with a summary of recent Irish economic and cultural history, and moving across experimental and mainstream poetry, this essay outlines how the poetry of Trevor Joyce, Leontia Flynn, Dave Lordan, and Rachel Warriner addresses in its form and content the boom years of the Celtic Tiger and the financial crisis.Incomparable Poetry also discusses the concerns and historical contexts these poets have turned to in order to make sense of these events – including Chinese history, accountancy, sexual violence, and Iceland’s economic history. In contemporary Irish poetry, the author argues, we see a significant interest in matching capitalism’s accounting abilities, but in this attempt, these poems often end up broken by the imposition of an external conceptual framework or economic logic. 30 00 Incomparable Poetry: An Essay on the Financial Crisis of 2007-2008 and Irish Literature is an attempt to describe the ways in which the financial crisis of 2007-8 impacted literature in Ireland, and thereby describe the ways in which poetry engages with, is structured by, and wrestles with economic issues.Ireland and its contemporary poetry is a particularly suitable case study for studying the effect of the economic crisis on Anglophone poetry, because poetry in Ireland has a special relationship to the state and economy due to its status as a postcolonial nation-state. Beginning with a summary of recent Irish economic and cultural history, and moving across experimental and mainstream poetry, this essay outlines how the poetry of Trevor Joyce, Leontia Flynn, Dave Lordan, and Rachel Warriner addresses in its form and content the boom years of the Celtic Tiger and the financial crisis.Incomparable Poetry also discusses the concerns and historical contexts these poets have turned to in order to make sense of these events – including Chinese history, accountancy, sexual violence, and Iceland’s economic history. In contemporary Irish poetry, the author argues, we see a significant interest in matching capitalism’s accounting abilities, but in this attempt, these poems often end up broken by the imposition of an external conceptual framework or economic logic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0286.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/incomparable-poetry-an-essay-on-the-financial-crisis-and-irish-literature/ Earth, Milky Way 04 01 20200514 Kiely, Robert 02 WORLD 06 15 9781950192830 03 9781950192830 34 06 10.13128/SIJIS-2239-3978-14307 34 06 10.1215/01903659 34 06 10.1177/0143831X07082122 34 06 10.1146/annurev.soc.24.1.313 34 06 10.7765/9781526109279.00020 34 06 10.1177/0002764207299351 34 06 10.4000/etudesirlandaises.3202 34 06 10.1080/08935699508685463 34 06 10.1080/10131752.2014.965419 34 06 10.1146/annurev.anthro.32.061002.093107 34 06 10.1080/14725843.2013.797289 34 06 10.1146/annurev.an.20.100191.001431 34 06 10.3386/w7632 34 06 10.1093/mq/XLIV.4.448 34 06 10.2307/41635653 34 06 10.2307/2718206 34 06 10.1080/07907180903431988 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/37690 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/37690/0286.1.00.pdf 20 08 20200514 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35616 20 08 20200514 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353787 20 08 20200514 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/634 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9f8de82c-dba4-46f9-9112-a68a6394a036/download 20 08 20200514 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/aeed0683-e022-42d0-a954-f9f36afc4bbf 29 INTERNET_ARCHIVE: download the title https://archive.org/download/aeed0683-e022-42d0-a954-f9f36afc4bbf/aeed0683-e022-42d0-a954-f9f36afc4bbf.pdf 20 08 20200514 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848257 29 ZENODO: download the title https://zenodo.org/records/19848257/files/aeed0683-e022-42d0-a954-f9f36afc4bbf_book.pdf 20 08 20200514 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/incomparable-poetry-an-essay-on-the-financial-crisis-and-irish-literature/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0286.1.00.pdf 20 08 20200514 01 urn:uuid:738866d7-bc75-4f17-962f-e4f929f59044 03 01 01 thoth-work-id urn:uuid:7fd1f5fd-1006-4b40-9e4c-1de386a7c813 01 thoth-publication-id urn:uuid:738866d7-bc75-4f17-962f-e4f929f59044 15 9781685711443 03 9781685711443 06 10.53288/0458.1.00 13 2024932061 01 internal-reference 0458 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 In Defense of Don Giovanni A Feminist Mythobiography 1 A01 Luisa Passerini Luisa Passerini Professor Emerita 40 0031wrj91 European University Institute Luisa Passerini is a scholar and writer in the fields of cultural history and memory studies. She has taught at the European University Institute, Florence; University of Turin; New School for Social Research, New York University, and Columbia University, NY; University of California, Berkeley; University of Western Australia, Perth, and University of Sydney. She has been fellow of various Institutes of Advanced Studies such as: Maison des Sciences de l'Homme, Paris; Kulturwissenschaftliches Institut, Essen, and Wissenschaftskolleg, Berlin, Germany. She has directed international research projects and received European and national awards. She is presently Professor Emerita at the EUI, Florence. 2 B06 Stella Tillyard Stella Tillyard 40 02mb95055 Birkbeck, University of London 01 eng 02 ita 00 300 03 B2 Autotheory 12 AVGC9 93 AVLF 10 LIT003000 B2 Cultural Studies+Critical Theory 12 DSB 93 DSB 10 MUS028000 93 JBSF11 12 JFFK B2 Literary Studies 20 Don Giovanni; opera; mythobiography; literary studies; autotheory; feminism; Paul Klee 01 06 02 00 03 00 Who wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from its first appearance in early medieval Spain and Commedia dell’Arte to its many European variations and its transposition to the colonial and postcolonial world in the Middle East, the Americas, and Africa. Pivoting round Don Giovanni’s best known incarnation in Mozart’s opera, Passerini and her interlocutors meet in different locations from Venice and Bern to Paris and Turin. They discuss plays, films, and operas and talk about art, novels, and psychoanalytic interpretations of the myth while also sharing their own life stories, in which Don Giovanni often plays a part that is, by turns, destructive, mischievous, and full of the joy of life.From his early beginnings in the Iberian Peninsula to recent analysis of the sexuality of colonial conquest and postcolonial revenge and return, Don Giovanni shape-shifts between rapacious hypermasculinity, comic trickster, and morally vacuous loser whose annoyingly persistent nemesis Don Ottavio emerges as an alternative and ultimately better object of desire. As she tracks Don Giovanni’s image across the world and through the centuries, however, Passerini comes to see that it also plays another role, that of a mirror, in which women can see themselves emerge as individuals with their own life force. 30 00 Who wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from its first appearance in early medieval Spain and Commedia dell’Arte to its many European variations and its transposition to the colonial and postcolonial world in the Middle East, the Americas, and Africa. Pivoting round Don Giovanni’s best known incarnation in Mozart’s opera, Passerini and her interlocutors meet in different locations from Venice and Bern to Paris and Turin. They discuss plays, films, and operas and talk about art, novels, and psychoanalytic interpretations of the myth while also sharing their own life stories, in which Don Giovanni often plays a part that is, by turns, destructive, mischievous, and full of the joy of life.From his early beginnings in the Iberian Peninsula to recent analysis of the sexuality of colonial conquest and postcolonial revenge and return, Don Giovanni shape-shifts between rapacious hypermasculinity, comic trickster, and morally vacuous loser whose annoyingly persistent nemesis Don Ottavio emerges as an alternative and ultimately better object of desire. As she tracks Don Giovanni’s image across the world and through the centuries, however, Passerini comes to see that it also plays another role, that of a mirror, in which women can see themselves emerge as individuals with their own life force. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0458.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/in-defense-of-don-giovanni-a-feminist-mythobiography/ Earth, Milky Way 04 01 20240328 Luisa Passerini 02 WORLD 06 15 9781685711450 03 9781685711450 34 06 10.1093/actrade/9780198127574.book.1 34 06 10.26889/9781784670016 34 06 10.2307/473284 34 06 10.2307/25600263 34 06 10.4324/9781315010618 34 06 10.1080/00043079.1986.10788363 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711448 20 08 20240328 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/in-defense-of-don-giovanni-a-feminist-mythobiography 20 08 20240328 02 25.00 USD WORLD urn:uuid:dec111dc-289e-4ede-8866-ae4718bca1b8 03 01 01 thoth-work-id urn:uuid:7fd1f5fd-1006-4b40-9e4c-1de386a7c813 01 thoth-publication-id urn:uuid:dec111dc-289e-4ede-8866-ae4718bca1b8 15 9781685711450 03 9781685711450 06 10.53288/0458.1.00 13 2024932061 01 internal-reference 0458 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 In Defense of Don Giovanni A Feminist Mythobiography 1 A01 Luisa Passerini Luisa Passerini Professor Emerita 40 0031wrj91 European University Institute Luisa Passerini is a scholar and writer in the fields of cultural history and memory studies. She has taught at the European University Institute, Florence; University of Turin; New School for Social Research, New York University, and Columbia University, NY; University of California, Berkeley; University of Western Australia, Perth, and University of Sydney. She has been fellow of various Institutes of Advanced Studies such as: Maison des Sciences de l'Homme, Paris; Kulturwissenschaftliches Institut, Essen, and Wissenschaftskolleg, Berlin, Germany. She has directed international research projects and received European and national awards. She is presently Professor Emerita at the EUI, Florence. 2 B06 Stella Tillyard Stella Tillyard 40 02mb95055 Birkbeck, University of London 01 eng 02 ita 00 300 03 B2 Autotheory 12 AVGC9 93 AVLF 10 LIT003000 B2 Cultural Studies+Critical Theory 12 DSB 93 DSB 10 MUS028000 93 JBSF11 12 JFFK B2 Literary Studies 20 Don Giovanni; opera; mythobiography; literary studies; autotheory; feminism; Paul Klee 01 06 02 00 03 00 Who wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from its first appearance in early medieval Spain and Commedia dell’Arte to its many European variations and its transposition to the colonial and postcolonial world in the Middle East, the Americas, and Africa. Pivoting round Don Giovanni’s best known incarnation in Mozart’s opera, Passerini and her interlocutors meet in different locations from Venice and Bern to Paris and Turin. They discuss plays, films, and operas and talk about art, novels, and psychoanalytic interpretations of the myth while also sharing their own life stories, in which Don Giovanni often plays a part that is, by turns, destructive, mischievous, and full of the joy of life.From his early beginnings in the Iberian Peninsula to recent analysis of the sexuality of colonial conquest and postcolonial revenge and return, Don Giovanni shape-shifts between rapacious hypermasculinity, comic trickster, and morally vacuous loser whose annoyingly persistent nemesis Don Ottavio emerges as an alternative and ultimately better object of desire. As she tracks Don Giovanni’s image across the world and through the centuries, however, Passerini comes to see that it also plays another role, that of a mirror, in which women can see themselves emerge as individuals with their own life force. 30 00 Who wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from its first appearance in early medieval Spain and Commedia dell’Arte to its many European variations and its transposition to the colonial and postcolonial world in the Middle East, the Americas, and Africa. Pivoting round Don Giovanni’s best known incarnation in Mozart’s opera, Passerini and her interlocutors meet in different locations from Venice and Bern to Paris and Turin. They discuss plays, films, and operas and talk about art, novels, and psychoanalytic interpretations of the myth while also sharing their own life stories, in which Don Giovanni often plays a part that is, by turns, destructive, mischievous, and full of the joy of life.From his early beginnings in the Iberian Peninsula to recent analysis of the sexuality of colonial conquest and postcolonial revenge and return, Don Giovanni shape-shifts between rapacious hypermasculinity, comic trickster, and morally vacuous loser whose annoyingly persistent nemesis Don Ottavio emerges as an alternative and ultimately better object of desire. As she tracks Don Giovanni’s image across the world and through the centuries, however, Passerini comes to see that it also plays another role, that of a mirror, in which women can see themselves emerge as individuals with their own life force. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0458.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/in-defense-of-don-giovanni-a-feminist-mythobiography/ Earth, Milky Way 04 01 20240328 Luisa Passerini 02 WORLD 06 15 9781685711443 03 9781685711443 34 06 10.1093/actrade/9780198127574.book.1 34 06 10.26889/9781784670016 34 06 10.2307/473284 34 06 10.2307/25600263 34 06 10.4324/9781315010618 34 06 10.1080/00043079.1986.10788363 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/88739 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/88739/0458.1.00.pdf?sequence=1&isAllowed=y 20 08 20240328 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/136027 20 08 20240328 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626761 20 08 20240328 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/333 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3c0353d9-aada-4cc0-a31b-0419fef7f149/download 20 08 20240328 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/In_Defense_of_Don_Giovanni/bJEoEQAAQBAJ 20 08 20240328 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7fd1f5fd-1006-4b40-9e4c-1de386a7c813 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7fd1f5fd-1006-4b40-9e4c-1de386a7c813/7fd1f5fd-1006-4b40-9e4c-1de386a7c813.pdf 20 08 20240328 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850285 29 ZENODO: download the title https://zenodo.org/records/19850285/files/7fd1f5fd-1006-4b40-9e4c-1de386a7c813_book.pdf 20 08 20240328 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/in-defense-of-don-giovanni-a-feminist-mythobiography/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0458.1.00.pdf 20 08 20240328 01 urn:uuid:6297fe22-1dc7-484d-8369-8f4fec7739bb 03 01 01 thoth-work-id urn:uuid:f5217945-8c2c-4e65-a5dd-3dbff208dfb7 01 thoth-publication-id urn:uuid:6297fe22-1dc7-484d-8369-8f4fec7739bb 15 9780615853192 03 9780615853192 06 10.21983/P3.0044.1.00 01 internal-reference 0044 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 In Divisible Cities A Phanto-Cartographical Missive 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 168 03 B2 Built Environments 12 FA 93 FDV 10 FIC009060 B2 Thought Experiments 20 imaginary geography; fiction; travel; love; maps 01 06 02 00 03 00 In Divisible Cities takes Italo Calvino’s classic re-imagining of Venice, viewed in the mind’s eye from many different metaphysical angles, and projects it on to the world at large. Where the Italian saw his favorite city as an impossible metropolis of many moods, shades, and ways of being, this unauthorized sequel unpacks the Escheresque streets in unexpected directions. In Divisible Cities is thus an exercise in cartographic origami: the reflective and poetic result of the narrator’s desire to map hidden cities, secret cities, imaginary cities, impossible cities, and overlapping cities, existing beneath the familiar Atlas of everyday perception. Stitching these different places and spaces together is a “double helix” or “Siamese seduction” between the traveler and his romantic shadow, revealing — step by step — a clandestine itinerary of hidden affinities, nestled within the habitual rhythm of things.Matter matters. That’s what the drone of the city tells us.And yet we dream of something beyond these invisible walls.Were I an architect-deity, I would create an Escheresque subway system, linking all the cities in the world. The tunnels themselves, and the people decanted from one place to the other, would eventually create an Ecumenopolis: a single and continuous city, enlaced and endless. Were this the case I could get on the F train at Delancey Street, Manhattan, and — after a couple of changes mid-town — emerge in the night-markets of Taipei, or near the Roman baths of Budapest. Or perhaps even downtown Urville. 30 00 In Divisible Cities takes Italo Calvino’s classic re-imagining of Venice, viewed in the mind’s eye from many different metaphysical angles, and projects it on to the world at large. Where the Italian saw his favorite city as an impossible metropolis of many moods, shades, and ways of being, this unauthorized sequel unpacks the Escheresque streets in unexpected directions. In Divisible Cities is thus an exercise in cartographic origami: the reflective and poetic result of the narrator’s desire to map hidden cities, secret cities, imaginary cities, impossible cities, and overlapping cities, existing beneath the familiar Atlas of everyday perception. Stitching these different places and spaces together is a “double helix” or “Siamese seduction” between the traveler and his romantic shadow, revealing — step by step — a clandestine itinerary of hidden affinities, nestled within the habitual rhythm of things.Matter matters. That’s what the drone of the city tells us.And yet we dream of something beyond these invisible walls.Were I an architect-deity, I would create an Escheresque subway system, linking all the cities in the world. The tunnels themselves, and the people decanted from one place to the other, would eventually create an Ecumenopolis: a single and continuous city, enlaced and endless. Were this the case I could get on the F train at Delancey Street, Manhattan, and — after a couple of changes mid-town — emerge in the night-markets of Taipei, or near the Roman baths of Budapest. Or perhaps even downtown Urville. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0044.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/in-divisible-cities/ Brooklyn, NY 04 01 20130826 Pettman, Dominic 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2h7EWrr 20 08 20130826 02 20.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/in-divisible-cities-a-phanto-cartographical-missive 20 08 20130826 02 20.00 USD WORLD urn:uuid:2a3ea38c-c378-4b9f-8b3e-56ee337f4e9f 03 01 01 thoth-work-id urn:uuid:f5217945-8c2c-4e65-a5dd-3dbff208dfb7 01 thoth-publication-id urn:uuid:2a3ea38c-c378-4b9f-8b3e-56ee337f4e9f 06 10.21983/P3.0044.1.00 01 internal-reference 0044 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 In Divisible Cities A Phanto-Cartographical Missive 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 168 03 B2 Built Environments 12 FA 93 FDV 10 FIC009060 B2 Thought Experiments 20 imaginary geography; fiction; travel; love; maps 01 06 02 00 03 00 In Divisible Cities takes Italo Calvino’s classic re-imagining of Venice, viewed in the mind’s eye from many different metaphysical angles, and projects it on to the world at large. Where the Italian saw his favorite city as an impossible metropolis of many moods, shades, and ways of being, this unauthorized sequel unpacks the Escheresque streets in unexpected directions. In Divisible Cities is thus an exercise in cartographic origami: the reflective and poetic result of the narrator’s desire to map hidden cities, secret cities, imaginary cities, impossible cities, and overlapping cities, existing beneath the familiar Atlas of everyday perception. Stitching these different places and spaces together is a “double helix” or “Siamese seduction” between the traveler and his romantic shadow, revealing — step by step — a clandestine itinerary of hidden affinities, nestled within the habitual rhythm of things.Matter matters. That’s what the drone of the city tells us.And yet we dream of something beyond these invisible walls.Were I an architect-deity, I would create an Escheresque subway system, linking all the cities in the world. The tunnels themselves, and the people decanted from one place to the other, would eventually create an Ecumenopolis: a single and continuous city, enlaced and endless. Were this the case I could get on the F train at Delancey Street, Manhattan, and — after a couple of changes mid-town — emerge in the night-markets of Taipei, or near the Roman baths of Budapest. Or perhaps even downtown Urville. 30 00 In Divisible Cities takes Italo Calvino’s classic re-imagining of Venice, viewed in the mind’s eye from many different metaphysical angles, and projects it on to the world at large. Where the Italian saw his favorite city as an impossible metropolis of many moods, shades, and ways of being, this unauthorized sequel unpacks the Escheresque streets in unexpected directions. In Divisible Cities is thus an exercise in cartographic origami: the reflective and poetic result of the narrator’s desire to map hidden cities, secret cities, imaginary cities, impossible cities, and overlapping cities, existing beneath the familiar Atlas of everyday perception. Stitching these different places and spaces together is a “double helix” or “Siamese seduction” between the traveler and his romantic shadow, revealing — step by step — a clandestine itinerary of hidden affinities, nestled within the habitual rhythm of things.Matter matters. That’s what the drone of the city tells us.And yet we dream of something beyond these invisible walls.Were I an architect-deity, I would create an Escheresque subway system, linking all the cities in the world. The tunnels themselves, and the people decanted from one place to the other, would eventually create an Ecumenopolis: a single and continuous city, enlaced and endless. Were this the case I could get on the F train at Delancey Street, Manhattan, and — after a couple of changes mid-town — emerge in the night-markets of Taipei, or near the Roman baths of Budapest. Or perhaps even downtown Urville. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0044.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/in-divisible-cities/ Brooklyn, NY 04 01 20130826 Pettman, Dominic 02 WORLD 06 15 9780615853192 03 9780615853192 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76449 20 08 20130826 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25573 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25573/1004522.pdf?sequence=1&isAllowed=y 20 08 20130826 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33808 20 08 20130826 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353811 20 08 20130826 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/425 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5557df11-27b7-4ce0-81b1-a5f9e6c4ffbd/download 20 08 20130826 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/In_Divisible_Cities/8AOVEAAAQBAJ 20 08 20130826 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f5217945-8c2c-4e65-a5dd-3dbff208dfb7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f5217945-8c2c-4e65-a5dd-3dbff208dfb7/f5217945-8c2c-4e65-a5dd-3dbff208dfb7.pdf 20 08 20130826 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845783 29 ZENODO: download the title https://zenodo.org/records/19845783/files/f5217945-8c2c-4e65-a5dd-3dbff208dfb7_book.pdf 20 08 20130826 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/in-divisible-cities/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0044.1.00.pdf 20 08 20130826 01 urn:uuid:f2b9584b-c4da-4419-9405-70cb3fd642f1 03 01 01 thoth-work-id urn:uuid:af1d6a61-66bd-47fd-a8c5-20e433f7076b 01 thoth-publication-id urn:uuid:f2b9584b-c4da-4419-9405-70cb3fd642f1 15 9781953035745 03 9781953035745 06 10.53288/0336.1.00 13 2021942770 01 internal-reference 0336 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 102 mm 02 10.2 cm 02 4 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Inefficient Mapping A Protocol for Attuning to Phenomena 1 A01 21 0000000340639071 Linda Knight Linda Knight 40 04ttjf776 RMIT University 01 eng 00 250 03 93 AFF 12 AFKP 10 ART010000 B2 Art+Aesthetics 12 ABA 93 ABA 10 ART009000 B2 Cultural Studies+Critical Theory 93 AFKP B2 Media+Technology 20 ethical wayfinding; experimental methodologies; cartography; non-representational methods; infographics; chaosgraphs; art practice 01 06 02 00 03 00 Working from a speculative, more-than-human ontological position, Inefficient Mapping: A Protocol for Attuning to Phenomena presents a new, experimental cartographic practice and non-representational methodological protocol that attunes to the subaltern genealogies of sites and places, proposing a wayfaring practice for traversing the land founded on an ethics of care. As a methodological protocol, inefficient mapping inscribes the histories and politics of a place by gesturally marking affective and relational imprints of colonisation, industrialisation, appropriation, histories, futures, exclusions, privileges, neglect, survival, and persistence.Inefficient Mapping details a research experiment and is designed to be taken out on mapping expeditions to be referred to, consulted with, and experimented with by those who are familiar or new to mapping. The inefficient mapping protocol described in this book is informed by feminist speculative and immanent theories, including posthuman theories, critical-cultural theories, Indigenous and critical place inquiry, as well as the works of Karen Barad, Erin Manning, Jane Bennett, Maria Puig de la Bellacassa, Elizabeth Povinelli, and Eve Tuck and Marcia McKenzie, which frame how inefficient mapping attunes to the matter, tenses, and ontologies of phenomena and how the interweaving agglomerations of theory, critique, and practice can remain embedded in experimental methodologies. 30 00 Working from a speculative, more-than-human ontological position, Inefficient Mapping: A Protocol for Attuning to Phenomena presents a new, experimental cartographic practice and non-representational methodological protocol that attunes to the subaltern genealogies of sites and places, proposing a wayfaring practice for traversing the land founded on an ethics of care. As a methodological protocol, inefficient mapping inscribes the histories and politics of a place by gesturally marking affective and relational imprints of colonisation, industrialisation, appropriation, histories, futures, exclusions, privileges, neglect, survival, and persistence.Inefficient Mapping details a research experiment and is designed to be taken out on mapping expeditions to be referred to, consulted with, and experimented with by those who are familiar or new to mapping. The inefficient mapping protocol described in this book is informed by feminist speculative and immanent theories, including posthuman theories, critical-cultural theories, Indigenous and critical place inquiry, as well as the works of Karen Barad, Erin Manning, Jane Bennett, Maria Puig de la Bellacassa, Elizabeth Povinelli, and Eve Tuck and Marcia McKenzie, which frame how inefficient mapping attunes to the matter, tenses, and ontologies of phenomena and how the interweaving agglomerations of theory, critique, and practice can remain embedded in experimental methodologies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0336.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/inefficient-mapping-a-protocol-for-attuning-to-phenomena/ Earth, Milky Way 04 01 20210805 Knight, Linda 02 WORLD 06 15 9781953035752 03 9781953035752 34 06 10.1068/d17411 34 06 10.1177/0306312715600277 34 06 10.1080/02601370.2012.636587 34 06 10.1191/0309132505ph574pr 34 06 10.1016/j.compcom.2018.11.004 34 06 10.1177/1532708613487882 34 06 10.5204/ijcis.v1i1.20 34 06 10.1353/wic.0.0040 34 06 10.1177/1532708613487877 34 06 10.1080/08989575.2018.1445588 34 06 10.1080/14626268.2016.1144617 34 06 10.25158/L6.1.14 34 06 10.1080/0966369X.2018.1553864 34 06 10.1080/09518398.2013.788755 34 06 10.1177/2043610617703831 34 06 10.3167/ares.2013.040102 34 06 10.1111/anti.12241 34 06 10.1177/1077800410372600 34 06 10.1177/1077800413505541 34 06 10.1080/14791420.2011.595950 34 06 10.1215/10642684-7275614 34 06 10.1177/1077800417704464 34 06 10.1080/01596306.2016.1226777 34 06 10.1177/1532708614562881 34 06 10.1177/1532708616636145 34 06 10.1177/1077800414563809 34 06 10.1080/13504622.2013.877708 34 06 10.1177/1474474014555657 34 06 10.1080/17470218.2015.1094494 34 06 10.1177/0162243916658707 34 06 10.1126/science.1144581 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035744 20 08 20210805 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/inefficient-mapping-a-protocol-for-attuning-to-phenomena 20 08 20210805 02 24.00 USD WORLD urn:uuid:3375e620-7634-43e3-87bf-5d63cbcf1d0d 03 01 01 thoth-work-id urn:uuid:af1d6a61-66bd-47fd-a8c5-20e433f7076b 01 thoth-publication-id urn:uuid:3375e620-7634-43e3-87bf-5d63cbcf1d0d 15 9781953035752 03 9781953035752 06 10.53288/0336.1.00 13 2021942770 01 internal-reference 0336 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Inefficient Mapping A Protocol for Attuning to Phenomena 1 A01 21 0000000340639071 Linda Knight Linda Knight 40 04ttjf776 RMIT University 01 eng 00 250 03 93 AFF 12 AFKP 10 ART010000 B2 Art+Aesthetics 12 ABA 93 ABA 10 ART009000 B2 Cultural Studies+Critical Theory 93 AFKP B2 Media+Technology 20 ethical wayfinding; experimental methodologies; cartography; non-representational methods; infographics; chaosgraphs; art practice 01 06 02 00 03 00 Working from a speculative, more-than-human ontological position, Inefficient Mapping: A Protocol for Attuning to Phenomena presents a new, experimental cartographic practice and non-representational methodological protocol that attunes to the subaltern genealogies of sites and places, proposing a wayfaring practice for traversing the land founded on an ethics of care. As a methodological protocol, inefficient mapping inscribes the histories and politics of a place by gesturally marking affective and relational imprints of colonisation, industrialisation, appropriation, histories, futures, exclusions, privileges, neglect, survival, and persistence.Inefficient Mapping details a research experiment and is designed to be taken out on mapping expeditions to be referred to, consulted with, and experimented with by those who are familiar or new to mapping. The inefficient mapping protocol described in this book is informed by feminist speculative and immanent theories, including posthuman theories, critical-cultural theories, Indigenous and critical place inquiry, as well as the works of Karen Barad, Erin Manning, Jane Bennett, Maria Puig de la Bellacassa, Elizabeth Povinelli, and Eve Tuck and Marcia McKenzie, which frame how inefficient mapping attunes to the matter, tenses, and ontologies of phenomena and how the interweaving agglomerations of theory, critique, and practice can remain embedded in experimental methodologies. 30 00 Working from a speculative, more-than-human ontological position, Inefficient Mapping: A Protocol for Attuning to Phenomena presents a new, experimental cartographic practice and non-representational methodological protocol that attunes to the subaltern genealogies of sites and places, proposing a wayfaring practice for traversing the land founded on an ethics of care. As a methodological protocol, inefficient mapping inscribes the histories and politics of a place by gesturally marking affective and relational imprints of colonisation, industrialisation, appropriation, histories, futures, exclusions, privileges, neglect, survival, and persistence.Inefficient Mapping details a research experiment and is designed to be taken out on mapping expeditions to be referred to, consulted with, and experimented with by those who are familiar or new to mapping. The inefficient mapping protocol described in this book is informed by feminist speculative and immanent theories, including posthuman theories, critical-cultural theories, Indigenous and critical place inquiry, as well as the works of Karen Barad, Erin Manning, Jane Bennett, Maria Puig de la Bellacassa, Elizabeth Povinelli, and Eve Tuck and Marcia McKenzie, which frame how inefficient mapping attunes to the matter, tenses, and ontologies of phenomena and how the interweaving agglomerations of theory, critique, and practice can remain embedded in experimental methodologies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0336.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/inefficient-mapping-a-protocol-for-attuning-to-phenomena/ Earth, Milky Way 04 01 20210805 Knight, Linda 02 WORLD 06 15 9781953035745 03 9781953035745 34 06 10.1068/d17411 34 06 10.1177/0306312715600277 34 06 10.1080/02601370.2012.636587 34 06 10.1191/0309132505ph574pr 34 06 10.1016/j.compcom.2018.11.004 34 06 10.1177/1532708613487882 34 06 10.5204/ijcis.v1i1.20 34 06 10.1353/wic.0.0040 34 06 10.1177/1532708613487877 34 06 10.1080/08989575.2018.1445588 34 06 10.1080/14626268.2016.1144617 34 06 10.25158/L6.1.14 34 06 10.1080/0966369X.2018.1553864 34 06 10.1080/09518398.2013.788755 34 06 10.1177/2043610617703831 34 06 10.3167/ares.2013.040102 34 06 10.1111/anti.12241 34 06 10.1177/1077800410372600 34 06 10.1177/1077800413505541 34 06 10.1080/14791420.2011.595950 34 06 10.1215/10642684-7275614 34 06 10.1177/1077800417704464 34 06 10.1080/01596306.2016.1226777 34 06 10.1177/1532708614562881 34 06 10.1177/1532708616636145 34 06 10.1177/1077800414563809 34 06 10.1080/13504622.2013.877708 34 06 10.1177/1474474014555657 34 06 10.1080/17470218.2015.1094494 34 06 10.1177/0162243916658707 34 06 10.1126/science.1144581 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50304 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50304/0336.1.00.pdf?sequence=1&isAllowed=y 20 08 20210805 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71576 20 08 20210805 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1wvncw2 20 08 20210805 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/682 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/56d3bf61-6005-49df-90f0-e5649b7a6200/download 20 08 20210805 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Inefficient_Mapping/U5-oEAAAQBAJ 20 08 20210805 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/af1d6a61-66bd-47fd-a8c5-20e433f7076b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/af1d6a61-66bd-47fd-a8c5-20e433f7076b/af1d6a61-66bd-47fd-a8c5-20e433f7076b.pdf 20 08 20210805 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848971 29 ZENODO: download the title https://zenodo.org/records/19848971/files/af1d6a61-66bd-47fd-a8c5-20e433f7076b_book.pdf 20 08 20210805 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/inefficient-mapping-a-protocol-for-attuning-to-phenomena/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0336.1.00.pdf 20 08 20210805 01 urn:uuid:54474f14-e0b0-4e55-99f9-b4d93ea35291 03 01 01 thoth-work-id urn:uuid:37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8 01 thoth-publication-id urn:uuid:54474f14-e0b0-4e55-99f9-b4d93ea35291 15 9780692299302 03 9780692299302 06 10.21983/P3.0078.1.00 01 internal-reference 0078 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Inhuman Nature 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 166 03 B2 Biosphere 93 DNL 12 HPCF 10 NAT010000 B2 Posthumanism 93 RNA 93 JBCC 20 ecology; cultural studies; post-humanism; premodern studies; new materialisms 01 06 02 00 03 00 Gathering into lively conversation scholars in medieval, early modern and object studies, Inhuman Nature explores the activity of the things, forces, and relations that enable, sustain and operate indifferently to us. Enamored by fictions of environmental sovereignty, we too often imagine “human” to be a solitary category of being. This collection of essays maps the heterogeneous and asymmetrical ecologies within which we are enmeshed, a material world that makes the human possible but also offers difficulties and resistance. Among the topics explored are the futurity that inheres in storms and wrecks, wood that resists its burning or offers art and dwelling, hymns that implant themselves like viruses, the ontology of everyday objects, the seep and flow of substance, the resistant nature of matter, the dependence of community upon making things public, and the interstices at which nature and culture become inseparable.Tinker as you will. 30 00 Gathering into lively conversation scholars in medieval, early modern and object studies, Inhuman Nature explores the activity of the things, forces, and relations that enable, sustain and operate indifferently to us. Enamored by fictions of environmental sovereignty, we too often imagine “human” to be a solitary category of being. This collection of essays maps the heterogeneous and asymmetrical ecologies within which we are enmeshed, a material world that makes the human possible but also offers difficulties and resistance. Among the topics explored are the futurity that inheres in storms and wrecks, wood that resists its burning or offers art and dwelling, hymns that implant themselves like viruses, the ontology of everyday objects, the seep and flow of substance, the resistant nature of matter, the dependence of community upon making things public, and the interstices at which nature and culture become inseparable.Tinker as you will. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0078.1.00_frontcover.jpg 1 03 06 10.21983/P3.0078.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0078.1.02 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction Ecostitial 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Inhuman Nature maps the activity of the things, objects, forces, elements, and relations that enable, sustain and operate indifferently to the category and creature human (with "in-" functioning simultaneously as negative prefix and inclusive preposition, surfacing entanglement even at moments of abjection) Nature signified both the qualities of these inhuman activities and relations, as well as ecological enmeshment. Inhuman is full of affect (a word for cruelty and barbarity, humane feelings failure) as well as neutral designation for excesses of ael(too vast or miniscule for familiarity) 30 00 Inhuman Nature maps the activity of the things, objects, forces, elements, and relations that enable, sustain and operate indifferently to the category and creature human (with "in-" functioning simultaneously as negative prefix and inclusive preposition, surfacing entanglement even at moments of abjection) Nature signified both the qualities of these inhuman activities and relations, as well as ecological enmeshment. Inhuman is full of affect (a word for cruelty and barbarity, humane feelings failure) as well as neutral designation for excesses of ael(too vast or miniscule for familiarity) 20 00 Open Access Cohen, Jeffrey Jerome 3 03 06 10.21983/P3.0078.1.03 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Shipwreck 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 03 00 Living inside shipwreck it's what we're doing, admit it or not. One task of art and criticism is teaching us how best to admit it. Even, perhaps, to love it. Three artistic near-disasters, which are also stories about disaster -- James Cameron's film Titanic (1997), Bob Dylan's song "Tempest" (2012), and Thomas Pynchon's novel Inherent Vice (2009) - help the process. 30 00 Living inside shipwreck it's what we're doing, admit it or not. One task of art and criticism is teaching us how best to admit it. Even, perhaps, to love it. Three artistic near-disasters, which are also stories about disaster -- James Cameron's film Titanic (1997), Bob Dylan's song "Tempest" (2012), and Thomas Pynchon's novel Inherent Vice (2009) - help the process. 20 00 Open Access Mentz, Steve 4 03 06 10.21983/P3.0078.1.04 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Hewn 1 A01 Anne F. Harris Anne F. Harris 40 02mks6v46 DePauw University 01 eng 03 00 Hewn is a status in the ecology of the inhuman, a state of being that is as old as human presence outside of Eden. Its ancient word of origin, "hew," carries an onomatopoeic trace of the effort of cutting down, the blunt force seized by the body to bring down the thing. 30 00 Hewn is a status in the ecology of the inhuman, a state of being that is as old as human presence outside of Eden. Its ancient word of origin, "hew," carries an onomatopoeic trace of the effort of cutting down, the blunt force seized by the body to bring down the thing. 20 00 Open Access Harris, Anne F. 5 03 06 10.21983/P3.0078.1.05 39 59 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Human 1 A01 Alan S. Montroso Alan S. Montroso 40 00y4zzh67 George Washington University 01 eng 03 00 Object-oriented ontology (OOO) insists that in this thick, swirling mess of the capricious and the immutable, the tangible and the unfathomable, the obvious and the occult, all objects share the same ontological status; all objects real. An object is at once its aesthetic qualities, its relationality and affective being as it forms relations with the world, and a withdrawn core that is inaccessible even to the object itself. 30 00 Object-oriented ontology (OOO) insists that in this thick, swirling mess of the capricious and the immutable, the tangible and the unfathomable, the obvious and the occult, all objects share the same ontological status; all objects real. An object is at once its aesthetic qualities, its relationality and affective being as it forms relations with the world, and a withdrawn core that is inaccessible even to the object itself. 20 00 Open Access Montroso, Alan 6 03 06 10.21983/P3.0078.1.06 61 77 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Matter 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 For fourteenth-century translator and encyclopedist John Trevisa what characterizes material existence is its measurability. 30 00 For fourteenth-century translator and encyclopedist John Trevisa what characterizes material existence is its measurability. 20 00 Open Access Allen, Valerie 7 03 06 10.21983/P3.0078.1.07 79 100 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Recreation 1 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 01 eng 03 00 After the blood-smeared Brutus cries for "peace, freedom, and liberty!" in front of the confused masses in William Shakespeare's Julius Caesar (1599), Antony takes the "pulpit." 30 00 After the blood-smeared Brutus cries for "peace, freedom, and liberty!" in front of the confused masses in William Shakespeare's Julius Caesar (1599), Antony takes the "pulpit." 20 00 Open Access Duckert, Lowell 8 03 06 10.21983/P3.0078.1.08 101 113 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Trees 1 A01 Alfred Kentigern Siewers Alfred Kentigern Siewers 40 00fc1qt65 Bucknell University 01 eng 03 00 The millennia-old Llangernyw Yew tree in St. Digain's churchyard in North Wales survives in enormous offshoots, having endured an oil tank placed in its middle for a time in the late twentieth century, and the loss of its core. Trees in general likewise endure despite having suffered theoretically at the hands of postmodernism, give Deleuze and Guattari's critique of aborealit as hierarchical, which promoted the rise of the rhizome rather than the tree as a central image for cultural theory. 30 00 The millennia-old Llangernyw Yew tree in St. Digain's churchyard in North Wales survives in enormous offshoots, having endured an oil tank placed in its middle for a time in the late twentieth century, and the loss of its core. Trees in general likewise endure despite having suffered theoretically at the hands of postmodernism, give Deleuze and Guattari's critique of aborealit as hierarchical, which promoted the rise of the rhizome rather than the tree as a central image for cultural theory. 20 00 Open Access Siewers, Alfred Kentigern 9 03 06 10.21983/P3.0078.1.09 115 131 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fluid 1 A01 James Smith James Smith 40 047272k79 University of Western Australia 01 eng 03 00 To flow is to strive against inertia, to spread forth, to become diluted by the myriad eddies of life, to become enriched by new influx. To flow is to be lost, to rush through life, to be dashed upon unfamiliar resistance, to feel turmoil within. 30 00 To flow is to strive against inertia, to spread forth, to become diluted by the myriad eddies of life, to become enriched by new influx. To flow is to be lost, to rush through life, to be dashed upon unfamiliar resistance, to feel turmoil within. 20 00 Open Access Smith, James 10 03 06 10.21983/P3.0078.1.10 133 145 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Inhuman 1 A01 Ian Bogost Ian Bogost 40 01zkghx44 Georgia Institute of Technology 01 eng 20 00 Open Access Bogost, Ian 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/inhuman-nature/ Brooklyn, NY 04 01 20140923 Cohen, Jeffrey Jerome 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692299300 20 08 20140923 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/inhuman-nature 20 08 20140923 02 22.00 USD WORLD urn:uuid:d428cc6b-e7a3-4a2e-afe6-498e0d26dfcf 03 01 01 thoth-work-id urn:uuid:37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8 01 thoth-publication-id urn:uuid:d428cc6b-e7a3-4a2e-afe6-498e0d26dfcf 06 10.21983/P3.0078.1.00 01 internal-reference 0078 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Inhuman Nature 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 00 166 03 B2 Biosphere 93 DNL 12 HPCF 10 NAT010000 B2 Posthumanism 93 RNA 93 JBCC 20 ecology; cultural studies; post-humanism; premodern studies; new materialisms 01 06 02 00 03 00 Gathering into lively conversation scholars in medieval, early modern and object studies, Inhuman Nature explores the activity of the things, forces, and relations that enable, sustain and operate indifferently to us. Enamored by fictions of environmental sovereignty, we too often imagine “human” to be a solitary category of being. This collection of essays maps the heterogeneous and asymmetrical ecologies within which we are enmeshed, a material world that makes the human possible but also offers difficulties and resistance. Among the topics explored are the futurity that inheres in storms and wrecks, wood that resists its burning or offers art and dwelling, hymns that implant themselves like viruses, the ontology of everyday objects, the seep and flow of substance, the resistant nature of matter, the dependence of community upon making things public, and the interstices at which nature and culture become inseparable.Tinker as you will. 30 00 Gathering into lively conversation scholars in medieval, early modern and object studies, Inhuman Nature explores the activity of the things, forces, and relations that enable, sustain and operate indifferently to us. Enamored by fictions of environmental sovereignty, we too often imagine “human” to be a solitary category of being. This collection of essays maps the heterogeneous and asymmetrical ecologies within which we are enmeshed, a material world that makes the human possible but also offers difficulties and resistance. Among the topics explored are the futurity that inheres in storms and wrecks, wood that resists its burning or offers art and dwelling, hymns that implant themselves like viruses, the ontology of everyday objects, the seep and flow of substance, the resistant nature of matter, the dependence of community upon making things public, and the interstices at which nature and culture become inseparable.Tinker as you will. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0078.1.00_frontcover.jpg 1 03 06 10.21983/P3.0078.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 20 00 Open Access Cohen, Jeffrey Jerome 2 03 06 10.21983/P3.0078.1.02 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction Ecostitial 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Inhuman Nature maps the activity of the things, objects, forces, elements, and relations that enable, sustain and operate indifferently to the category and creature human (with "in-" functioning simultaneously as negative prefix and inclusive preposition, surfacing entanglement even at moments of abjection) Nature signified both the qualities of these inhuman activities and relations, as well as ecological enmeshment. Inhuman is full of affect (a word for cruelty and barbarity, humane feelings failure) as well as neutral designation for excesses of ael(too vast or miniscule for familiarity) 30 00 Inhuman Nature maps the activity of the things, objects, forces, elements, and relations that enable, sustain and operate indifferently to the category and creature human (with "in-" functioning simultaneously as negative prefix and inclusive preposition, surfacing entanglement even at moments of abjection) Nature signified both the qualities of these inhuman activities and relations, as well as ecological enmeshment. Inhuman is full of affect (a word for cruelty and barbarity, humane feelings failure) as well as neutral designation for excesses of ael(too vast or miniscule for familiarity) 20 00 Open Access Cohen, Jeffrey Jerome 3 03 06 10.21983/P3.0078.1.03 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Shipwreck 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 03 00 Living inside shipwreck it's what we're doing, admit it or not. One task of art and criticism is teaching us how best to admit it. Even, perhaps, to love it. Three artistic near-disasters, which are also stories about disaster -- James Cameron's film Titanic (1997), Bob Dylan's song "Tempest" (2012), and Thomas Pynchon's novel Inherent Vice (2009) - help the process. 30 00 Living inside shipwreck it's what we're doing, admit it or not. One task of art and criticism is teaching us how best to admit it. Even, perhaps, to love it. Three artistic near-disasters, which are also stories about disaster -- James Cameron's film Titanic (1997), Bob Dylan's song "Tempest" (2012), and Thomas Pynchon's novel Inherent Vice (2009) - help the process. 20 00 Open Access Mentz, Steve 4 03 06 10.21983/P3.0078.1.04 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Hewn 1 A01 Anne F. Harris Anne F. Harris 40 02mks6v46 DePauw University 01 eng 03 00 Hewn is a status in the ecology of the inhuman, a state of being that is as old as human presence outside of Eden. Its ancient word of origin, "hew," carries an onomatopoeic trace of the effort of cutting down, the blunt force seized by the body to bring down the thing. 30 00 Hewn is a status in the ecology of the inhuman, a state of being that is as old as human presence outside of Eden. Its ancient word of origin, "hew," carries an onomatopoeic trace of the effort of cutting down, the blunt force seized by the body to bring down the thing. 20 00 Open Access Harris, Anne F. 5 03 06 10.21983/P3.0078.1.05 39 59 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Human 1 A01 Alan S. Montroso Alan S. Montroso 40 00y4zzh67 George Washington University 01 eng 03 00 Object-oriented ontology (OOO) insists that in this thick, swirling mess of the capricious and the immutable, the tangible and the unfathomable, the obvious and the occult, all objects share the same ontological status; all objects real. An object is at once its aesthetic qualities, its relationality and affective being as it forms relations with the world, and a withdrawn core that is inaccessible even to the object itself. 30 00 Object-oriented ontology (OOO) insists that in this thick, swirling mess of the capricious and the immutable, the tangible and the unfathomable, the obvious and the occult, all objects share the same ontological status; all objects real. An object is at once its aesthetic qualities, its relationality and affective being as it forms relations with the world, and a withdrawn core that is inaccessible even to the object itself. 20 00 Open Access Montroso, Alan 6 03 06 10.21983/P3.0078.1.06 61 77 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Matter 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 For fourteenth-century translator and encyclopedist John Trevisa what characterizes material existence is its measurability. 30 00 For fourteenth-century translator and encyclopedist John Trevisa what characterizes material existence is its measurability. 20 00 Open Access Allen, Valerie 7 03 06 10.21983/P3.0078.1.07 79 100 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Recreation 1 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 01 eng 03 00 After the blood-smeared Brutus cries for "peace, freedom, and liberty!" in front of the confused masses in William Shakespeare's Julius Caesar (1599), Antony takes the "pulpit." 30 00 After the blood-smeared Brutus cries for "peace, freedom, and liberty!" in front of the confused masses in William Shakespeare's Julius Caesar (1599), Antony takes the "pulpit." 20 00 Open Access Duckert, Lowell 8 03 06 10.21983/P3.0078.1.08 101 113 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Trees 1 A01 Alfred Kentigern Siewers Alfred Kentigern Siewers 40 00fc1qt65 Bucknell University 01 eng 03 00 The millennia-old Llangernyw Yew tree in St. Digain's churchyard in North Wales survives in enormous offshoots, having endured an oil tank placed in its middle for a time in the late twentieth century, and the loss of its core. Trees in general likewise endure despite having suffered theoretically at the hands of postmodernism, give Deleuze and Guattari's critique of aborealit as hierarchical, which promoted the rise of the rhizome rather than the tree as a central image for cultural theory. 30 00 The millennia-old Llangernyw Yew tree in St. Digain's churchyard in North Wales survives in enormous offshoots, having endured an oil tank placed in its middle for a time in the late twentieth century, and the loss of its core. Trees in general likewise endure despite having suffered theoretically at the hands of postmodernism, give Deleuze and Guattari's critique of aborealit as hierarchical, which promoted the rise of the rhizome rather than the tree as a central image for cultural theory. 20 00 Open Access Siewers, Alfred Kentigern 9 03 06 10.21983/P3.0078.1.09 115 131 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fluid 1 A01 James Smith James Smith 40 047272k79 University of Western Australia 01 eng 03 00 To flow is to strive against inertia, to spread forth, to become diluted by the myriad eddies of life, to become enriched by new influx. To flow is to be lost, to rush through life, to be dashed upon unfamiliar resistance, to feel turmoil within. 30 00 To flow is to strive against inertia, to spread forth, to become diluted by the myriad eddies of life, to become enriched by new influx. To flow is to be lost, to rush through life, to be dashed upon unfamiliar resistance, to feel turmoil within. 20 00 Open Access Smith, James 10 03 06 10.21983/P3.0078.1.10 133 145 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Inhuman 1 A01 Ian Bogost Ian Bogost 40 01zkghx44 Georgia Institute of Technology 01 eng 20 00 Open Access Bogost, Ian 01 URL https://punctumbooks.com/imprints/oliphaunt-books/ Oliphaunt Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/inhuman-nature/ Brooklyn, NY 04 01 20140923 Cohen, Jeffrey Jerome 02 WORLD 06 15 9780692299302 03 9780692299302 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25542 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25542/1004553.pdf?sequence=1&isAllowed=y 20 08 20140923 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38915 20 08 20140923 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353838 20 08 20140923 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/462 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1e7bc9f1-3a66-41ef-baa2-9cd7c98cc390/download 20 08 20140923 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8/37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8.pdf 20 08 20140923 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846031 29 ZENODO: download the title https://zenodo.org/records/19846031/files/37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8_book.pdf 20 08 20140923 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/inhuman-nature/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0078.1.00.pdf 20 08 20140923 01 urn:uuid:7092e09e-9baf-417e-ba4c-62a0e9e8ce36 03 01 01 thoth-work-id urn:uuid:c6120992-fdae-4439-83dd-58b972ebcd0f 01 thoth-publication-id urn:uuid:7092e09e-9baf-417e-ba4c-62a0e9e8ce36 15 9781685712440 03 9781685712440 06 10.53288/0464.1.00 01 internal-reference 0464 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Inner Conflicts 1 A01 Sana Sheikh Sana Sheikh 40 03vek6s52 Harvard University 40 059c3mv67 Cambridge Health Alliance 01 eng B2 Cultural Studies+Critical Theory 93 JMAF 10 SOC008000 93 JBCC 10 PSY026000 20 psychoanalysis; psychology; inner conflict; ambivalence; doubt; neurosis; dilemmas 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0464.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/inner-conflicts/ Earth, Milky Way 02 01 20260601 Sana Sheikh 02 WORLD 06 15 9781685712457 03 9781685712457 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/inner-conflicts/ 10 08 20260601 01 urn:uuid:c4d41050-0eae-4c2c-8367-11c99539b492 03 01 01 thoth-work-id urn:uuid:c6120992-fdae-4439-83dd-58b972ebcd0f 01 thoth-publication-id urn:uuid:c4d41050-0eae-4c2c-8367-11c99539b492 15 9781685712457 03 9781685712457 06 10.53288/0464.1.00 01 internal-reference 0464 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Inner Conflicts 1 A01 Sana Sheikh Sana Sheikh 40 03vek6s52 Harvard University 40 059c3mv67 Cambridge Health Alliance 01 eng B2 Cultural Studies+Critical Theory 93 JMAF 10 SOC008000 93 JBCC 10 PSY026000 20 psychoanalysis; psychology; inner conflict; ambivalence; doubt; neurosis; dilemmas 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0464.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/inner-conflicts/ Earth, Milky Way 02 01 20260601 Sana Sheikh 02 WORLD 06 15 9781685712440 03 9781685712440 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/inner-conflicts/ 10 08 20260601 01 urn:uuid:109fcb13-01d0-4309-bbfe-049b66094c4d 03 01 01 thoth-work-id urn:uuid:5ec826f5-18ab-498c-8b66-bd288618df15 01 thoth-publication-id urn:uuid:109fcb13-01d0-4309-bbfe-049b66094c4d 15 9781947447424 03 9781947447424 06 10.21983/P3.0200.1.00 13 2018940293 01 internal-reference 0200 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Insurrectionary Infrastructures 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 108 03 B2 Built Environments 93 JPA 12 JPWJ 10 POL042010 93 JPFB B2 Manifesto! B2 New Left Thought 20 anarchism; antifascism; activism; politics; rebellion 01 06 02 00 03 00 Opponents of states and capital must be prepared to defend ourselves. To understand the nature of the state is to know that it will attack to kill when and where it feels a threat to its authority and power. But the struggles against exploitation, oppression, and repression must also move to the offensive.With the emboldening of reactionary forces on the far Right, there has been a renewed focus on issues of community self-defense, not only against the violence of the state but against organized fascists and Right-wing vigilantes alike. There has also been a developing seriousness, particularly among anarchist and antifascist, or antifa, activists.The goal of all anarchism is not to eliminate violence in social struggle (a futile and impossible pursuit given the nature of the state), but to limit the amount, degree, and extent of violence and harm inflicted by state agents, and their vigilante supporters, on the poor, oppressed, and exploited. And this is part of the emphasis on insurrectionary infrastructures. Non-material (emotional) and material resources and spaces are necessary to defend communities and workplaces under attack, but also to organize possible, and necessary, offensives.Insurrectionary Infrastructures reflects on strategies and tactics of rebellion and resistance and offers suggestions for fighting to win 30 00 Opponents of states and capital must be prepared to defend ourselves. To understand the nature of the state is to know that it will attack to kill when and where it feels a threat to its authority and power. But the struggles against exploitation, oppression, and repression must also move to the offensive.With the emboldening of reactionary forces on the far Right, there has been a renewed focus on issues of community self-defense, not only against the violence of the state but against organized fascists and Right-wing vigilantes alike. There has also been a developing seriousness, particularly among anarchist and antifascist, or antifa, activists.The goal of all anarchism is not to eliminate violence in social struggle (a futile and impossible pursuit given the nature of the state), but to limit the amount, degree, and extent of violence and harm inflicted by state agents, and their vigilante supporters, on the poor, oppressed, and exploited. And this is part of the emphasis on insurrectionary infrastructures. Non-material (emotional) and material resources and spaces are necessary to defend communities and workplaces under attack, but also to organize possible, and necessary, offensives.Insurrectionary Infrastructures reflects on strategies and tactics of rebellion and resistance and offers suggestions for fighting to win 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0200.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/insurrectionary-infrastructures/ Earth, Milky Way 04 01 20180502 Shantz, Jeff 02 WORLD 06 15 9781947447431 03 9781947447431 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447424 20 08 20180502 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/insurrectionary-infrastructures 20 08 20180502 02 21.00 USD WORLD urn:uuid:ffc32efd-f21a-42ee-a48a-097ab88f7d78 03 01 01 thoth-work-id urn:uuid:5ec826f5-18ab-498c-8b66-bd288618df15 01 thoth-publication-id urn:uuid:ffc32efd-f21a-42ee-a48a-097ab88f7d78 15 9781947447431 03 9781947447431 06 10.21983/P3.0200.1.00 13 2018940293 01 internal-reference 0200 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Insurrectionary Infrastructures 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 108 03 B2 Built Environments 93 JPA 12 JPWJ 10 POL042010 93 JPFB B2 Manifesto! B2 New Left Thought 20 anarchism; antifascism; activism; politics; rebellion 01 06 02 00 03 00 Opponents of states and capital must be prepared to defend ourselves. To understand the nature of the state is to know that it will attack to kill when and where it feels a threat to its authority and power. But the struggles against exploitation, oppression, and repression must also move to the offensive.With the emboldening of reactionary forces on the far Right, there has been a renewed focus on issues of community self-defense, not only against the violence of the state but against organized fascists and Right-wing vigilantes alike. There has also been a developing seriousness, particularly among anarchist and antifascist, or antifa, activists.The goal of all anarchism is not to eliminate violence in social struggle (a futile and impossible pursuit given the nature of the state), but to limit the amount, degree, and extent of violence and harm inflicted by state agents, and their vigilante supporters, on the poor, oppressed, and exploited. And this is part of the emphasis on insurrectionary infrastructures. Non-material (emotional) and material resources and spaces are necessary to defend communities and workplaces under attack, but also to organize possible, and necessary, offensives.Insurrectionary Infrastructures reflects on strategies and tactics of rebellion and resistance and offers suggestions for fighting to win 30 00 Opponents of states and capital must be prepared to defend ourselves. To understand the nature of the state is to know that it will attack to kill when and where it feels a threat to its authority and power. But the struggles against exploitation, oppression, and repression must also move to the offensive.With the emboldening of reactionary forces on the far Right, there has been a renewed focus on issues of community self-defense, not only against the violence of the state but against organized fascists and Right-wing vigilantes alike. There has also been a developing seriousness, particularly among anarchist and antifascist, or antifa, activists.The goal of all anarchism is not to eliminate violence in social struggle (a futile and impossible pursuit given the nature of the state), but to limit the amount, degree, and extent of violence and harm inflicted by state agents, and their vigilante supporters, on the poor, oppressed, and exploited. And this is part of the emphasis on insurrectionary infrastructures. Non-material (emotional) and material resources and spaces are necessary to defend communities and workplaces under attack, but also to organize possible, and necessary, offensives.Insurrectionary Infrastructures reflects on strategies and tactics of rebellion and resistance and offers suggestions for fighting to win 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0200.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/insurrectionary-infrastructures/ Earth, Milky Way 04 01 20180502 Shantz, Jeff 02 WORLD 06 15 9781947447424 03 9781947447424 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25429 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25429/1004666.pdf?sequence=1&isAllowed=y 20 08 20180502 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28673 20 08 20180502 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353930 20 08 20180502 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/580 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0a939a1d-f06d-44ed-b3ba-a69314826fc4/download 20 08 20180502 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5ec826f5-18ab-498c-8b66-bd288618df15 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5ec826f5-18ab-498c-8b66-bd288618df15/5ec826f5-18ab-498c-8b66-bd288618df15.pdf 20 08 20180502 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847247 29 ZENODO: download the title https://zenodo.org/records/19847247/files/5ec826f5-18ab-498c-8b66-bd288618df15_book.pdf 20 08 20180502 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/insurrectionary-infrastructures/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0200.1.00.pdf 20 08 20180502 01 urn:uuid:2b2b538d-7c8b-4e3a-8730-146fa2b48241 03 01 01 thoth-work-id urn:uuid:89990379-94c2-4590-9037-cbd5052694a4 01 thoth-publication-id urn:uuid:2b2b538d-7c8b-4e3a-8730-146fa2b48241 15 9780615612034 03 9780615612034 06 10.21983/P3.0005.1.00 01 internal-reference 0005 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Intimate Bureaucracies 1 A01 dj readies dj readies 40 02qskvh78 University of Maryland, Baltimore County 01 eng 00 60 03 B2 Cultural Studies+Critical Theory 93 JBCT1 12 JFD 10 POL016000 93 JPWG B2 New Left Thought 20 Occupy Movement; visual culture; social media; media studies; networks 01 06 02 00 03 00 Intimate Bureaucracies is a history from the future looking backward at our present moment as a turning point. Our systems of organization and control appear unsustainable and brutal, and we are feeling around in the dark for alternatives. Using experiments in social organization in downtown New York City, and other models of potential alternative social organizations, this manifesto makes a call to action to study and build socio poetic systems.One alternative system, the Occupy movement, has demands and goals beyond the specific historical moment and concerns. This short book/manifesto suggests that the organization and communication systems of Occupying encampments represent important necessities, models, goals, and demands, as well as an intimate bureaucracy that is a paradoxical mix of artisanal production, mass-distribution techniques, and a belief in the democratizing potential of social media. 30 00 Intimate Bureaucracies is a history from the future looking backward at our present moment as a turning point. Our systems of organization and control appear unsustainable and brutal, and we are feeling around in the dark for alternatives. Using experiments in social organization in downtown New York City, and other models of potential alternative social organizations, this manifesto makes a call to action to study and build socio poetic systems.One alternative system, the Occupy movement, has demands and goals beyond the specific historical moment and concerns. This short book/manifesto suggests that the organization and communication systems of Occupying encampments represent important necessities, models, goals, and demands, as well as an intimate bureaucracy that is a paradoxical mix of artisanal production, mass-distribution techniques, and a belief in the democratizing potential of social media. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0005.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/intimate-bureaucracies/ Brooklyn, NY 04 01 20120309 dj readies 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615612032 20 08 20120309 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/intimate-bureaucracies 20 08 20120309 02 21.00 USD WORLD urn:uuid:c30c4655-84b8-40b1-bc3d-973bc4e56fa1 03 01 01 thoth-work-id urn:uuid:89990379-94c2-4590-9037-cbd5052694a4 01 thoth-publication-id urn:uuid:c30c4655-84b8-40b1-bc3d-973bc4e56fa1 06 10.21983/P3.0005.1.00 01 internal-reference 0005 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Intimate Bureaucracies 1 A01 dj readies dj readies 40 02qskvh78 University of Maryland, Baltimore County 01 eng 00 60 03 B2 Cultural Studies+Critical Theory 93 JBCT1 12 JFD 10 POL016000 93 JPWG B2 New Left Thought 20 Occupy Movement; visual culture; social media; media studies; networks 01 06 02 00 03 00 Intimate Bureaucracies is a history from the future looking backward at our present moment as a turning point. Our systems of organization and control appear unsustainable and brutal, and we are feeling around in the dark for alternatives. Using experiments in social organization in downtown New York City, and other models of potential alternative social organizations, this manifesto makes a call to action to study and build socio poetic systems.One alternative system, the Occupy movement, has demands and goals beyond the specific historical moment and concerns. This short book/manifesto suggests that the organization and communication systems of Occupying encampments represent important necessities, models, goals, and demands, as well as an intimate bureaucracy that is a paradoxical mix of artisanal production, mass-distribution techniques, and a belief in the democratizing potential of social media. 30 00 Intimate Bureaucracies is a history from the future looking backward at our present moment as a turning point. Our systems of organization and control appear unsustainable and brutal, and we are feeling around in the dark for alternatives. Using experiments in social organization in downtown New York City, and other models of potential alternative social organizations, this manifesto makes a call to action to study and build socio poetic systems.One alternative system, the Occupy movement, has demands and goals beyond the specific historical moment and concerns. This short book/manifesto suggests that the organization and communication systems of Occupying encampments represent important necessities, models, goals, and demands, as well as an intimate bureaucracy that is a paradoxical mix of artisanal production, mass-distribution techniques, and a belief in the democratizing potential of social media. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0005.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/intimate-bureaucracies/ Brooklyn, NY 04 01 20120309 dj readies 02 WORLD 06 15 9780615612034 03 9780615612034 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76421 20 08 20120309 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25610 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25610/1004485.pdf?sequence=1&isAllowed=y 20 08 20120309 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28162 20 08 20120309 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353892 20 08 20120309 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/382 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c20146d6-fca7-4c88-90a7-2182cfc0a6d5/download 20 08 20120309 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/89990379-94c2-4590-9037-cbd5052694a4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/89990379-94c2-4590-9037-cbd5052694a4/89990379-94c2-4590-9037-cbd5052694a4.pdf 20 08 20120309 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693217 29 ZENODO: download the title https://zenodo.org/records/19693217/files/89990379-94c2-4590-9037-cbd5052694a4_book.pdf 20 08 20120309 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/intimate-bureaucracies/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0005.1.00.pdf 20 08 20120309 01 urn:uuid:abbbd061-87d8-4b25-bf6b-5df10d3aa7a7 03 01 01 thoth-work-id urn:uuid:f7d6c1d7-99a4-435d-a194-be4a21547ac2 01 thoth-publication-id urn:uuid:abbbd061-87d8-4b25-bf6b-5df10d3aa7a7 15 9781685712266 03 9781685712266 06 10.53288/0540.1.00 13 2026935646 01 internal-reference 0540 00 BC 10 01 203.2 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 14.477999999999998 mm 03 1.4 cm 03 0.57 in 08 340.20000000000005 gr 08 12 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Gazing at the Puerto Rican Anthropological Landscape The “Natives” Look Far and Wide 1 B01 21 000000025717738X Marisol Ramos Marisol Ramos Subject Librarian for Latin American and Iberian Studies, Spanish & Portuguese and Selector for Ethnic and Gender Studies 40 02t274463 University of California, Santa Barbara <bold>Marisol Ramos</bold> is the Subject Librarian for Latin American and Iberian Studies, Spanish & Portuguese, and Selector for Ethnic and Gender Studies at the University of California, Santa Barbara. She has been part of several writing projects, from coauthoring a book about creating an archival program with limited resources to collaborating on several book chapters about access to cultural heritage archives and issues of diversity and inclusion in libraries and archives. Some of her works are the co-authored book, <italic>Building a Successful Archival Programme: A Practical Approach</italic> (2006), the co-authored book chapter “Puerto Rico’s archival traditions in the context of colonialism,” in <italic>Decolonizing the Caribbean Record: An Archives Reader</italic> (2018), and “Identity and Inclusion in the Archives: Challenges of Documenting One’s Own Community” in <italic>Through the Archival Looking Glass: A Reader on Diversity and Inclusion</italic> (2017). Her more recent solo article was, “La visión de la nación puertorriqueña dentro del marco del romanticismo, el cosmopolitismo y la modernidad de Alejandro Tapia y Rivera,” published in <italic>Caribbean Studies</italic> in 2018. 2 B01 21 0000000152889903 Manuel Valdés Pizzini Manuel Valdés Pizzini Professor Emeritus from the Department of Anthropology and Sociology 40 00wek6x04 University of Puerto Rico-Mayaguez <bold>Manuel Valdés Pizzini</bold> is a Professor Emeritus from the Department of Anthropology and Sociology at the University of Puerto Rico in Mayagüez (UPRM). He is currently the Coordinator of the Interdisciplinary Center for Coastal Studies (Centro Interdisciplinario de Estudios del Litoral, CIEL) at UPRM. His research focuses on the human-ecosystem interface, with special attention to the use of coastal and marine resources, species, and habitats, underscoring the socio-ecological and historical perspective. Valdés Pizzini is the author and co-author of several articles on Local Ecological Knowledge (LEK), marine protected areas, coastal communities, fisheries, and the history of fishing gear. His research interests also covered the use of tropical forests from an ethnographic and historical perspective. He is the co-author of <italic>People, Habitats, Species, and Governance: An Assessment of the Social-ecological System of La Parguera, Puerto Rico</italic> (2014, with Michelle T. Schärer-Umpierre), <italic>Una mirada al mundo de los pescadores en Puerto Rico: Una mirada global</italic> (2011), <italic>La transformación del paisaje puertorriqueño y la disciplina del Cuerpo Civil de Conservación, 1933–1942</italic> (2011, with Michael González and José Eduardo Martínez), and <italic>Fishers at Work, Workers at Sea</italic> (2002, with David Griffith). 01 eng 00 252 03 B2 Anthropocene 93 JHMC 10 SOC044000 93 1KJP B2 Cultural Studies+Critical Theory 10 SOC002010 93 5PB-US-H 20 anthropology; native anthropologists; indigeneity; autotheory; ethnography; ethnohistorical methodology; postmodernism; Puerto Rico; postcolonialism 01 06 02 00 03 00 Before World War II, most anthropological research in Puerto Rico was led by US anthropologists. The most famous project, <italic>The People of Puerto Rico,</italic> was directed by American anthropologist Julian Steward and launched the career of renowned scholars such as Sidney Mintz and Eric Wolf. <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> aims to delineate the development of the post-WWII anthropological field in Puerto Rico by Puerto Rican anthropologists, the so-called “native” anthropologists. The contributors to <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> deploy the term “native” somewhat ironically, but they also know that who they are affects their positionality vis-à-vis their research subjects. Thus, they retain the term to spark a conversation addressing the complicated feelings that such labels still evoke among non-mainstream anthropologists.<italic>Gazing at the Puerto Rican Anthropological Landscape</italic> purposely avoids making Puerto Rico and Puerto Ricans a problem to study and instead focuses on a wide variety of epistemological and methodological questions related to the study of Puerto Rico and Puerto Ricans by “native” anthropologists within local, regional, and global spheres. We posit that the Puerto Rican anthropological landscape transcends the confines of the island of Puerto Rico to encompass its connection and engagement with the larger world, and that it is not limited to the inhabitants of the island of Puerto Rico but embraces members of its diaspora, as well as other groups and ethnicities. On that note, this book seeks to reflect critically on how the academic field of anthropology (research and teaching) in Puerto Rico has evolved, post-WWII, in various engagements with the current debates of contemporary anthropology — theoretical, methodological, socio-cultural, political, and otherwise. 30 00 Before World War II, most anthropological research in Puerto Rico was led by US anthropologists. The most famous project, <italic>The People of Puerto Rico,</italic> was directed by American anthropologist Julian Steward and launched the career of renowned scholars such as Sidney Mintz and Eric Wolf. <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> aims to delineate the development of the post-WWII anthropological field in Puerto Rico by Puerto Rican anthropologists, the so-called “native” anthropologists. The contributors to <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> deploy the term “native” somewhat ironically, but they also know that who they are affects their positionality vis-à-vis their research subjects. Thus, they retain the term to spark a conversation addressing the complicated feelings that such labels still evoke among non-mainstream anthropologists.<italic>Gazing at the Puerto Rican Anthropological Landscape</italic> purposely avoids making Puerto Rico and Puerto Ricans a problem to study and instead focuses on a wide variety of epistemological and methodological questions related to the study of Puerto Rico and Puerto Ricans by “native” anthropologists within local, regional, and global spheres. We posit that the Puerto Rican anthropological landscape transcends the confines of the island of Puerto Rico to encompass its connection and engagement with the larger world, and that it is not limited to the inhabitants of the island of Puerto Rico but embraces members of its diaspora, as well as other groups and ethnicities. On that note, this book seeks to reflect critically on how the academic field of anthropology (research and teaching) in Puerto Rico has evolved, post-WWII, in various engagements with the current debates of contemporary anthropology — theoretical, methodological, socio-cultural, political, and otherwise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0540.1.00_frontcover.jpg 4 03 06 10.53288/0540.1.04 75 96 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Personal Reflection on the Anthropology of Puerto Rico and Puerto Ricans 2 A01 21 0000000202116897 Ismael García Colón García Colón Professor of Anthropology 40 02p179j44 College of Staten Island Professor of Anthropology 40 00awd9g61 The Graduate Center, CUNY Ismael García Colón is a Professor of Anthropology at the College of Staten Island and CUNY Graduate Center. He is a historical and political anthropologist with interests in political economy, oral history, migration, Gramsci’s concept of hegemony, farm labor, race and citizenship, the US Empire, and US ethnic and racial histories. His research experiences include documenting Latinxs in the NYC labor movement and conducting ethnographic research on landless workers, migrant farmworkers, colonial state formation, and land distribution programs in Puerto Rico. García Colón is the author of Colonial Migrants at the Heart of Empire: Puerto Rican Workers on US Farms (2020) and Land Reform in Puerto Rico: Modernizing the Colonial State (2009). His publications have also appeared in Latin American Perspectives, CENTRO Journal, American Ethnologist, Latino Studies, and Dialectical Anthropology. García Colón’s current research explores the Puerto Rican experience in US farm labor, its relation to US colonialism and immigration policies, and how government policies and workers formed and transformed modern subjectivities in Puerto Rico. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gazing-at-the-puerto-rican-anthropological-landscape-the-natives-look-far-and-wide/ Earth, Milky Way 04 01 20260425 Marisol Ramos, Manuel Valdés Pizzini 02 WORLD 06 15 9781685712273 03 9781685712273 06 15 9781685713065 03 9781685713065 34 06 10.1002/j.sda2.20120301.0002 34 06 10.1002/j 34 06 10.1080/03066157308437871 34 06 10.2307/3316863 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1111/1467-9655.00150 34 06 10.2307/3317106 34 06 10.1525/aa.2004.106.2.391 34 06 10.14452/MR-019-11-1968-04_2 34 06 10.1525/jlat.2001.6.2.74 34 06 10.1080/1070289X.2011.635286 34 06 10.1080/00405849209543534 34 06 10.1525/aeq.1997.28.4.550 34 06 10.1080/03085148900000012 34 06 10.1080/1070289X.1998.9962611 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1146/annurev.an.24.100195.002555 34 06 10.1146/annurev.an.11.100182.000325 34 06 10.1353/crb.2010.0054 34 06 10.1146/annurev-anthro-092611-14572 34 06 10.1111/j.1548-1409.2010.01049.x 34 06 10.1177/1466138118762958 34 06 10.1111/j.1467-9663.2004.00307.x 34 06 10.24043/isj.185 34 06 10.1016/0305-750X(95)00065-K 34 06 10.24043/isj.212 34 06 10.1111/j.1467-9663.2004.00310.x 34 06 10.1111/j.1467-9663.2004.00311.x 34 06 10.24043/isj.273 34 06 10.1146/annurev.an.21.100192.000315 34 06 10.1525/aa.1993.95.3.02a00070 34 06 10.1080/01436590802106189 34 06 10.1007/s10816-012-9138-3 34 06 10.1007/s10624-018-9495-8. 34 06 10.3366/dls.2016.0233 34 06 10.4324/9781315730073 34 06 10.1086/683198 34 06 10.1146/annurev.so.16.080190.002033 34 06 10.5406/visuartsrese.39.1.0052 34 06 10.1080/1070289X.2011.635283 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1146/annurev.an.11.100182.001135. 34 06 10.15366/relacionesinternacionales2021.47.008 34 06 10.1353/cat.2007.0285 34 06 10.1111/amet.12517 34 06 10.17730/humo.29.4.717764244331m4qv 34 06 10.1353/crb.2010.0054 34 06 10.1353/crb.2014.0007 34 06 10.1525/jlca.2001.6.2.42 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712266 20 08 20260425 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/gazing-at-the-puerto-rican-anthropological-landscape-the-anativesa-look-far-and-wide 20 08 20260425 02 24.00 USD WORLD urn:uuid:3f5f5612-8b3f-4b99-98a3-c3bd58a808c7 03 01 01 thoth-work-id urn:uuid:f7d6c1d7-99a4-435d-a194-be4a21547ac2 01 thoth-publication-id urn:uuid:3f5f5612-8b3f-4b99-98a3-c3bd58a808c7 15 9781685712273 03 9781685712273 06 10.53288/0540.1.00 13 2026935646 01 internal-reference 0540 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Gazing at the Puerto Rican Anthropological Landscape The “Natives” Look Far and Wide 1 B01 21 000000025717738X Marisol Ramos Marisol Ramos Subject Librarian for Latin American and Iberian Studies, Spanish & Portuguese and Selector for Ethnic and Gender Studies 40 02t274463 University of California, Santa Barbara <bold>Marisol Ramos</bold> is the Subject Librarian for Latin American and Iberian Studies, Spanish & Portuguese, and Selector for Ethnic and Gender Studies at the University of California, Santa Barbara. She has been part of several writing projects, from coauthoring a book about creating an archival program with limited resources to collaborating on several book chapters about access to cultural heritage archives and issues of diversity and inclusion in libraries and archives. Some of her works are the co-authored book, <italic>Building a Successful Archival Programme: A Practical Approach</italic> (2006), the co-authored book chapter “Puerto Rico’s archival traditions in the context of colonialism,” in <italic>Decolonizing the Caribbean Record: An Archives Reader</italic> (2018), and “Identity and Inclusion in the Archives: Challenges of Documenting One’s Own Community” in <italic>Through the Archival Looking Glass: A Reader on Diversity and Inclusion</italic> (2017). Her more recent solo article was, “La visión de la nación puertorriqueña dentro del marco del romanticismo, el cosmopolitismo y la modernidad de Alejandro Tapia y Rivera,” published in <italic>Caribbean Studies</italic> in 2018. 2 B01 21 0000000152889903 Manuel Valdés Pizzini Manuel Valdés Pizzini Professor Emeritus from the Department of Anthropology and Sociology 40 00wek6x04 University of Puerto Rico-Mayaguez <bold>Manuel Valdés Pizzini</bold> is a Professor Emeritus from the Department of Anthropology and Sociology at the University of Puerto Rico in Mayagüez (UPRM). He is currently the Coordinator of the Interdisciplinary Center for Coastal Studies (Centro Interdisciplinario de Estudios del Litoral, CIEL) at UPRM. His research focuses on the human-ecosystem interface, with special attention to the use of coastal and marine resources, species, and habitats, underscoring the socio-ecological and historical perspective. Valdés Pizzini is the author and co-author of several articles on Local Ecological Knowledge (LEK), marine protected areas, coastal communities, fisheries, and the history of fishing gear. His research interests also covered the use of tropical forests from an ethnographic and historical perspective. He is the co-author of <italic>People, Habitats, Species, and Governance: An Assessment of the Social-ecological System of La Parguera, Puerto Rico</italic> (2014, with Michelle T. Schärer-Umpierre), <italic>Una mirada al mundo de los pescadores en Puerto Rico: Una mirada global</italic> (2011), <italic>La transformación del paisaje puertorriqueño y la disciplina del Cuerpo Civil de Conservación, 1933–1942</italic> (2011, with Michael González and José Eduardo Martínez), and <italic>Fishers at Work, Workers at Sea</italic> (2002, with David Griffith). 01 eng 00 252 03 B2 Anthropocene 93 JHMC 10 SOC044000 93 1KJP B2 Cultural Studies+Critical Theory 10 SOC002010 93 5PB-US-H 20 anthropology; native anthropologists; indigeneity; autotheory; ethnography; ethnohistorical methodology; postmodernism; Puerto Rico; postcolonialism 01 06 02 00 03 00 Before World War II, most anthropological research in Puerto Rico was led by US anthropologists. The most famous project, <italic>The People of Puerto Rico,</italic> was directed by American anthropologist Julian Steward and launched the career of renowned scholars such as Sidney Mintz and Eric Wolf. <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> aims to delineate the development of the post-WWII anthropological field in Puerto Rico by Puerto Rican anthropologists, the so-called “native” anthropologists. The contributors to <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> deploy the term “native” somewhat ironically, but they also know that who they are affects their positionality vis-à-vis their research subjects. Thus, they retain the term to spark a conversation addressing the complicated feelings that such labels still evoke among non-mainstream anthropologists.<italic>Gazing at the Puerto Rican Anthropological Landscape</italic> purposely avoids making Puerto Rico and Puerto Ricans a problem to study and instead focuses on a wide variety of epistemological and methodological questions related to the study of Puerto Rico and Puerto Ricans by “native” anthropologists within local, regional, and global spheres. We posit that the Puerto Rican anthropological landscape transcends the confines of the island of Puerto Rico to encompass its connection and engagement with the larger world, and that it is not limited to the inhabitants of the island of Puerto Rico but embraces members of its diaspora, as well as other groups and ethnicities. On that note, this book seeks to reflect critically on how the academic field of anthropology (research and teaching) in Puerto Rico has evolved, post-WWII, in various engagements with the current debates of contemporary anthropology — theoretical, methodological, socio-cultural, political, and otherwise. 30 00 Before World War II, most anthropological research in Puerto Rico was led by US anthropologists. The most famous project, <italic>The People of Puerto Rico,</italic> was directed by American anthropologist Julian Steward and launched the career of renowned scholars such as Sidney Mintz and Eric Wolf. <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> aims to delineate the development of the post-WWII anthropological field in Puerto Rico by Puerto Rican anthropologists, the so-called “native” anthropologists. The contributors to <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> deploy the term “native” somewhat ironically, but they also know that who they are affects their positionality vis-à-vis their research subjects. Thus, they retain the term to spark a conversation addressing the complicated feelings that such labels still evoke among non-mainstream anthropologists.<italic>Gazing at the Puerto Rican Anthropological Landscape</italic> purposely avoids making Puerto Rico and Puerto Ricans a problem to study and instead focuses on a wide variety of epistemological and methodological questions related to the study of Puerto Rico and Puerto Ricans by “native” anthropologists within local, regional, and global spheres. We posit that the Puerto Rican anthropological landscape transcends the confines of the island of Puerto Rico to encompass its connection and engagement with the larger world, and that it is not limited to the inhabitants of the island of Puerto Rico but embraces members of its diaspora, as well as other groups and ethnicities. On that note, this book seeks to reflect critically on how the academic field of anthropology (research and teaching) in Puerto Rico has evolved, post-WWII, in various engagements with the current debates of contemporary anthropology — theoretical, methodological, socio-cultural, political, and otherwise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0540.1.00_frontcover.jpg 4 03 06 10.53288/0540.1.04 75 96 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Personal Reflection on the Anthropology of Puerto Rico and Puerto Ricans 2 A01 21 0000000202116897 Ismael García Colón García Colón Professor of Anthropology 40 02p179j44 College of Staten Island Professor of Anthropology 40 00awd9g61 The Graduate Center, CUNY Ismael García Colón is a Professor of Anthropology at the College of Staten Island and CUNY Graduate Center. He is a historical and political anthropologist with interests in political economy, oral history, migration, Gramsci’s concept of hegemony, farm labor, race and citizenship, the US Empire, and US ethnic and racial histories. His research experiences include documenting Latinxs in the NYC labor movement and conducting ethnographic research on landless workers, migrant farmworkers, colonial state formation, and land distribution programs in Puerto Rico. García Colón is the author of Colonial Migrants at the Heart of Empire: Puerto Rican Workers on US Farms (2020) and Land Reform in Puerto Rico: Modernizing the Colonial State (2009). His publications have also appeared in Latin American Perspectives, CENTRO Journal, American Ethnologist, Latino Studies, and Dialectical Anthropology. García Colón’s current research explores the Puerto Rican experience in US farm labor, its relation to US colonialism and immigration policies, and how government policies and workers formed and transformed modern subjectivities in Puerto Rico. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gazing-at-the-puerto-rican-anthropological-landscape-the-natives-look-far-and-wide/ Earth, Milky Way 04 01 20260425 Marisol Ramos, Manuel Valdés Pizzini 02 WORLD 06 15 9781685712266 03 9781685712266 06 15 9781685713065 03 9781685713065 34 06 10.1002/j.sda2.20120301.0002 34 06 10.1002/j 34 06 10.1080/03066157308437871 34 06 10.2307/3316863 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1111/1467-9655.00150 34 06 10.2307/3317106 34 06 10.1525/aa.2004.106.2.391 34 06 10.14452/MR-019-11-1968-04_2 34 06 10.1525/jlat.2001.6.2.74 34 06 10.1080/1070289X.2011.635286 34 06 10.1080/00405849209543534 34 06 10.1525/aeq.1997.28.4.550 34 06 10.1080/03085148900000012 34 06 10.1080/1070289X.1998.9962611 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1146/annurev.an.24.100195.002555 34 06 10.1146/annurev.an.11.100182.000325 34 06 10.1353/crb.2010.0054 34 06 10.1146/annurev-anthro-092611-14572 34 06 10.1111/j.1548-1409.2010.01049.x 34 06 10.1177/1466138118762958 34 06 10.1111/j.1467-9663.2004.00307.x 34 06 10.24043/isj.185 34 06 10.1016/0305-750X(95)00065-K 34 06 10.24043/isj.212 34 06 10.1111/j.1467-9663.2004.00310.x 34 06 10.1111/j.1467-9663.2004.00311.x 34 06 10.24043/isj.273 34 06 10.1146/annurev.an.21.100192.000315 34 06 10.1525/aa.1993.95.3.02a00070 34 06 10.1080/01436590802106189 34 06 10.1007/s10816-012-9138-3 34 06 10.1007/s10624-018-9495-8. 34 06 10.3366/dls.2016.0233 34 06 10.4324/9781315730073 34 06 10.1086/683198 34 06 10.1146/annurev.so.16.080190.002033 34 06 10.5406/visuartsrese.39.1.0052 34 06 10.1080/1070289X.2011.635283 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1146/annurev.an.11.100182.001135. 34 06 10.15366/relacionesinternacionales2021.47.008 34 06 10.1353/cat.2007.0285 34 06 10.1111/amet.12517 34 06 10.17730/humo.29.4.717764244331m4qv 34 06 10.1353/crb.2010.0054 34 06 10.1353/crb.2014.0007 34 06 10.1525/jlca.2001.6.2.42 WORLD 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f7d6c1d7-99a4-435d-a194-be4a21547ac2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f7d6c1d7-99a4-435d-a194-be4a21547ac2/f7d6c1d7-99a4-435d-a194-be4a21547ac2.pdf 20 08 20260425 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/gazing-at-the-puerto-rican-anthropological-landscape-the-natives-look-far-and-wide/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0540.1.00.pdf 20 08 20260425 01 urn:uuid:00399273-2b40-4d56-8b8b-5f007b7e2e77 03 01 01 thoth-work-id urn:uuid:f7d6c1d7-99a4-435d-a194-be4a21547ac2 01 thoth-publication-id urn:uuid:00399273-2b40-4d56-8b8b-5f007b7e2e77 15 9781685713065 03 9781685713065 06 10.53288/0540.1.00 13 2026935646 01 internal-reference 0540 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Gazing at the Puerto Rican Anthropological Landscape The “Natives” Look Far and Wide 1 B01 21 000000025717738X Marisol Ramos Marisol Ramos Subject Librarian for Latin American and Iberian Studies, Spanish & Portuguese and Selector for Ethnic and Gender Studies 40 02t274463 University of California, Santa Barbara <bold>Marisol Ramos</bold> is the Subject Librarian for Latin American and Iberian Studies, Spanish & Portuguese, and Selector for Ethnic and Gender Studies at the University of California, Santa Barbara. She has been part of several writing projects, from coauthoring a book about creating an archival program with limited resources to collaborating on several book chapters about access to cultural heritage archives and issues of diversity and inclusion in libraries and archives. Some of her works are the co-authored book, <italic>Building a Successful Archival Programme: A Practical Approach</italic> (2006), the co-authored book chapter “Puerto Rico’s archival traditions in the context of colonialism,” in <italic>Decolonizing the Caribbean Record: An Archives Reader</italic> (2018), and “Identity and Inclusion in the Archives: Challenges of Documenting One’s Own Community” in <italic>Through the Archival Looking Glass: A Reader on Diversity and Inclusion</italic> (2017). Her more recent solo article was, “La visión de la nación puertorriqueña dentro del marco del romanticismo, el cosmopolitismo y la modernidad de Alejandro Tapia y Rivera,” published in <italic>Caribbean Studies</italic> in 2018. 2 B01 21 0000000152889903 Manuel Valdés Pizzini Manuel Valdés Pizzini Professor Emeritus from the Department of Anthropology and Sociology 40 00wek6x04 University of Puerto Rico-Mayaguez <bold>Manuel Valdés Pizzini</bold> is a Professor Emeritus from the Department of Anthropology and Sociology at the University of Puerto Rico in Mayagüez (UPRM). He is currently the Coordinator of the Interdisciplinary Center for Coastal Studies (Centro Interdisciplinario de Estudios del Litoral, CIEL) at UPRM. His research focuses on the human-ecosystem interface, with special attention to the use of coastal and marine resources, species, and habitats, underscoring the socio-ecological and historical perspective. Valdés Pizzini is the author and co-author of several articles on Local Ecological Knowledge (LEK), marine protected areas, coastal communities, fisheries, and the history of fishing gear. His research interests also covered the use of tropical forests from an ethnographic and historical perspective. He is the co-author of <italic>People, Habitats, Species, and Governance: An Assessment of the Social-ecological System of La Parguera, Puerto Rico</italic> (2014, with Michelle T. Schärer-Umpierre), <italic>Una mirada al mundo de los pescadores en Puerto Rico: Una mirada global</italic> (2011), <italic>La transformación del paisaje puertorriqueño y la disciplina del Cuerpo Civil de Conservación, 1933–1942</italic> (2011, with Michael González and José Eduardo Martínez), and <italic>Fishers at Work, Workers at Sea</italic> (2002, with David Griffith). 01 eng 00 252 03 B2 Anthropocene 93 JHMC 10 SOC044000 93 1KJP B2 Cultural Studies+Critical Theory 10 SOC002010 93 5PB-US-H 20 anthropology; native anthropologists; indigeneity; autotheory; ethnography; ethnohistorical methodology; postmodernism; Puerto Rico; postcolonialism 01 06 02 00 03 00 Before World War II, most anthropological research in Puerto Rico was led by US anthropologists. The most famous project, <italic>The People of Puerto Rico,</italic> was directed by American anthropologist Julian Steward and launched the career of renowned scholars such as Sidney Mintz and Eric Wolf. <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> aims to delineate the development of the post-WWII anthropological field in Puerto Rico by Puerto Rican anthropologists, the so-called “native” anthropologists. The contributors to <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> deploy the term “native” somewhat ironically, but they also know that who they are affects their positionality vis-à-vis their research subjects. Thus, they retain the term to spark a conversation addressing the complicated feelings that such labels still evoke among non-mainstream anthropologists.<italic>Gazing at the Puerto Rican Anthropological Landscape</italic> purposely avoids making Puerto Rico and Puerto Ricans a problem to study and instead focuses on a wide variety of epistemological and methodological questions related to the study of Puerto Rico and Puerto Ricans by “native” anthropologists within local, regional, and global spheres. We posit that the Puerto Rican anthropological landscape transcends the confines of the island of Puerto Rico to encompass its connection and engagement with the larger world, and that it is not limited to the inhabitants of the island of Puerto Rico but embraces members of its diaspora, as well as other groups and ethnicities. On that note, this book seeks to reflect critically on how the academic field of anthropology (research and teaching) in Puerto Rico has evolved, post-WWII, in various engagements with the current debates of contemporary anthropology — theoretical, methodological, socio-cultural, political, and otherwise. 30 00 Before World War II, most anthropological research in Puerto Rico was led by US anthropologists. The most famous project, <italic>The People of Puerto Rico,</italic> was directed by American anthropologist Julian Steward and launched the career of renowned scholars such as Sidney Mintz and Eric Wolf. <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> aims to delineate the development of the post-WWII anthropological field in Puerto Rico by Puerto Rican anthropologists, the so-called “native” anthropologists. The contributors to <italic>Gazing at the Puerto Rican Anthropological Landscape</italic> deploy the term “native” somewhat ironically, but they also know that who they are affects their positionality vis-à-vis their research subjects. Thus, they retain the term to spark a conversation addressing the complicated feelings that such labels still evoke among non-mainstream anthropologists.<italic>Gazing at the Puerto Rican Anthropological Landscape</italic> purposely avoids making Puerto Rico and Puerto Ricans a problem to study and instead focuses on a wide variety of epistemological and methodological questions related to the study of Puerto Rico and Puerto Ricans by “native” anthropologists within local, regional, and global spheres. We posit that the Puerto Rican anthropological landscape transcends the confines of the island of Puerto Rico to encompass its connection and engagement with the larger world, and that it is not limited to the inhabitants of the island of Puerto Rico but embraces members of its diaspora, as well as other groups and ethnicities. On that note, this book seeks to reflect critically on how the academic field of anthropology (research and teaching) in Puerto Rico has evolved, post-WWII, in various engagements with the current debates of contemporary anthropology — theoretical, methodological, socio-cultural, political, and otherwise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0540.1.00_frontcover.jpg 4 03 06 10.53288/0540.1.04 75 96 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Personal Reflection on the Anthropology of Puerto Rico and Puerto Ricans 2 A01 21 0000000202116897 Ismael García Colón García Colón Professor of Anthropology 40 02p179j44 College of Staten Island Professor of Anthropology 40 00awd9g61 The Graduate Center, CUNY Ismael García Colón is a Professor of Anthropology at the College of Staten Island and CUNY Graduate Center. He is a historical and political anthropologist with interests in political economy, oral history, migration, Gramsci’s concept of hegemony, farm labor, race and citizenship, the US Empire, and US ethnic and racial histories. His research experiences include documenting Latinxs in the NYC labor movement and conducting ethnographic research on landless workers, migrant farmworkers, colonial state formation, and land distribution programs in Puerto Rico. García Colón is the author of Colonial Migrants at the Heart of Empire: Puerto Rican Workers on US Farms (2020) and Land Reform in Puerto Rico: Modernizing the Colonial State (2009). His publications have also appeared in Latin American Perspectives, CENTRO Journal, American Ethnologist, Latino Studies, and Dialectical Anthropology. García Colón’s current research explores the Puerto Rican experience in US farm labor, its relation to US colonialism and immigration policies, and how government policies and workers formed and transformed modern subjectivities in Puerto Rico. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gazing-at-the-puerto-rican-anthropological-landscape-the-natives-look-far-and-wide/ Earth, Milky Way 04 01 20260425 Marisol Ramos, Manuel Valdés Pizzini 02 WORLD 06 15 9781685712266 03 9781685712266 06 15 9781685712273 03 9781685712273 34 06 10.1002/j.sda2.20120301.0002 34 06 10.1002/j 34 06 10.1080/03066157308437871 34 06 10.2307/3316863 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1111/1467-9655.00150 34 06 10.2307/3317106 34 06 10.1525/aa.2004.106.2.391 34 06 10.14452/MR-019-11-1968-04_2 34 06 10.1525/jlat.2001.6.2.74 34 06 10.1080/1070289X.2011.635286 34 06 10.1080/00405849209543534 34 06 10.1525/aeq.1997.28.4.550 34 06 10.1080/03085148900000012 34 06 10.1080/1070289X.1998.9962611 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1146/annurev.an.24.100195.002555 34 06 10.1146/annurev.an.11.100182.000325 34 06 10.1353/crb.2010.0054 34 06 10.1146/annurev-anthro-092611-14572 34 06 10.1111/j.1548-1409.2010.01049.x 34 06 10.1177/1466138118762958 34 06 10.1111/j.1467-9663.2004.00307.x 34 06 10.24043/isj.185 34 06 10.1016/0305-750X(95)00065-K 34 06 10.24043/isj.212 34 06 10.1111/j.1467-9663.2004.00310.x 34 06 10.1111/j.1467-9663.2004.00311.x 34 06 10.24043/isj.273 34 06 10.1146/annurev.an.21.100192.000315 34 06 10.1525/aa.1993.95.3.02a00070 34 06 10.1080/01436590802106189 34 06 10.1007/s10816-012-9138-3 34 06 10.1007/s10624-018-9495-8. 34 06 10.3366/dls.2016.0233 34 06 10.4324/9781315730073 34 06 10.1086/683198 34 06 10.1146/annurev.so.16.080190.002033 34 06 10.5406/visuartsrese.39.1.0052 34 06 10.1080/1070289X.2011.635283 34 06 10.1525/jlca.2001.6.2.42 34 06 10.1146/annurev.an.11.100182.001135. 34 06 10.15366/relacionesinternacionales2021.47.008 34 06 10.1353/cat.2007.0285 34 06 10.1111/amet.12517 34 06 10.17730/humo.29.4.717764244331m4qv 34 06 10.1353/crb.2010.0054 34 06 10.1353/crb.2014.0007 34 06 10.1525/jlca.2001.6.2.42 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/gazing-at-the-puerto-rican-anthropological-landscape-the-natives-look-far-and-wide/ 20 08 20260425 01 urn:uuid:fe31058a-2f15-4f02-b506-e44739f187c9 03 01 01 thoth-work-id urn:uuid:f3294e78-9a12-49ff-983e-ed6154ff621e 01 thoth-publication-id urn:uuid:fe31058a-2f15-4f02-b506-e44739f187c9 15 9781950192519 03 9781950192519 06 10.21983/P3.0266.1.00 13 2019952284 01 internal-reference 0266 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Gender Trouble Couplets, Volume 1 1 A01 A.W. Strouse A.W. Strouse 40 02tvcev59 New School 2 A15 Anna M. Kłosowska Anna M. Kłosowska 40 05nbqxr67 Miami University 01 eng 00 104 03 B2 Cultural Studies+Critical Theory 12 DCF 93 JBSF 10 SOC064000 B2 Fabulations 93 JBSJ 10 POE021000 93 DCF B2 Languages+Translations 20 commentary; verse translation; Judith Butler; gender studies; queer studies; Gender Trouble 01 06 02 00 03 00 Judith Butler’s Gender Trouble: Feminism and the Subversion of Identity radically claimed that the sexed body is a fallacy, discursively constructed by the performance of gender. A.W. Strouse has undertaken to rewrite Butler’s classic tome into an octosyllabic poem. Inspired by the rhyming encyclopedias of the Middle Ages, Strouse transforms each of Butler’s sentences into Seussian couplets.This performative repetition of Chapter 1 of Butler’s Gender Trouble, “Subjects of Sex/Gender/Desire,” deconstructs Butler’s deconstruction. Relishing in the campiness of rhyme and meter—in the bodily pleasures of form—Strouse’s Gender Trouble Couplets, Volume 1 is an imitation for which there is no original. Gender Trouble, perhaps, was poetry all along. 30 00 Judith Butler’s Gender Trouble: Feminism and the Subversion of Identity radically claimed that the sexed body is a fallacy, discursively constructed by the performance of gender. A.W. Strouse has undertaken to rewrite Butler’s classic tome into an octosyllabic poem. Inspired by the rhyming encyclopedias of the Middle Ages, Strouse transforms each of Butler’s sentences into Seussian couplets.This performative repetition of Chapter 1 of Butler’s Gender Trouble, “Subjects of Sex/Gender/Desire,” deconstructs Butler’s deconstruction. Relishing in the campiness of rhyme and meter—in the bodily pleasures of form—Strouse’s Gender Trouble Couplets, Volume 1 is an imitation for which there is no original. Gender Trouble, perhaps, was poetry all along. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0266.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gender-trouble-couplets-volume-1/ Earth, Milky Way 04 01 20191115 Strouse, A.W. 02 WORLD 06 15 9781950192526 03 9781950192526 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192512 20 08 20191115 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/gender-trouble-couplets-volume-1 20 08 20191115 02 21.00 USD WORLD urn:uuid:db95a0c1-1355-457a-b688-7773491b77d5 03 01 01 thoth-work-id urn:uuid:f3294e78-9a12-49ff-983e-ed6154ff621e 01 thoth-publication-id urn:uuid:db95a0c1-1355-457a-b688-7773491b77d5 15 9781950192526 03 9781950192526 06 10.21983/P3.0266.1.00 13 2019952284 01 internal-reference 0266 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Gender Trouble Couplets, Volume 1 1 A01 A.W. Strouse A.W. Strouse 40 02tvcev59 New School 2 A15 Anna M. Kłosowska Anna M. Kłosowska 40 05nbqxr67 Miami University 01 eng 00 104 03 B2 Cultural Studies+Critical Theory 12 DCF 93 JBSF 10 SOC064000 B2 Fabulations 93 JBSJ 10 POE021000 93 DCF B2 Languages+Translations 20 commentary; verse translation; Judith Butler; gender studies; queer studies; Gender Trouble 01 06 02 00 03 00 Judith Butler’s Gender Trouble: Feminism and the Subversion of Identity radically claimed that the sexed body is a fallacy, discursively constructed by the performance of gender. A.W. Strouse has undertaken to rewrite Butler’s classic tome into an octosyllabic poem. Inspired by the rhyming encyclopedias of the Middle Ages, Strouse transforms each of Butler’s sentences into Seussian couplets.This performative repetition of Chapter 1 of Butler’s Gender Trouble, “Subjects of Sex/Gender/Desire,” deconstructs Butler’s deconstruction. Relishing in the campiness of rhyme and meter—in the bodily pleasures of form—Strouse’s Gender Trouble Couplets, Volume 1 is an imitation for which there is no original. Gender Trouble, perhaps, was poetry all along. 30 00 Judith Butler’s Gender Trouble: Feminism and the Subversion of Identity radically claimed that the sexed body is a fallacy, discursively constructed by the performance of gender. A.W. Strouse has undertaken to rewrite Butler’s classic tome into an octosyllabic poem. Inspired by the rhyming encyclopedias of the Middle Ages, Strouse transforms each of Butler’s sentences into Seussian couplets.This performative repetition of Chapter 1 of Butler’s Gender Trouble, “Subjects of Sex/Gender/Desire,” deconstructs Butler’s deconstruction. Relishing in the campiness of rhyme and meter—in the bodily pleasures of form—Strouse’s Gender Trouble Couplets, Volume 1 is an imitation for which there is no original. Gender Trouble, perhaps, was poetry all along. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0266.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/gender-trouble-couplets-volume-1/ Earth, Milky Way 04 01 20191115 Strouse, A.W. 02 WORLD 06 15 9781950192519 03 9781950192519 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75674 20 08 20191115 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23829 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23829/0266.1.00.pdf?sequence=1&isAllowed=y 20 08 20191115 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31634 20 08 20191115 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353872 20 08 20191115 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/617 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/cf1fbaeb-7b3e-4993-a1bf-3fed52d1894b/download 20 08 20191115 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Gender_Trouble_Couplets/xASVEAAAQBAJ 20 08 20191115 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f3294e78-9a12-49ff-983e-ed6154ff621e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f3294e78-9a12-49ff-983e-ed6154ff621e/f3294e78-9a12-49ff-983e-ed6154ff621e.pdf 20 08 20191115 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847969 29 ZENODO: download the title https://zenodo.org/records/19847969/files/f3294e78-9a12-49ff-983e-ed6154ff621e_book.pdf 20 08 20191115 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/gender-trouble-couplets-volume-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0266.1.00.pdf 20 08 20191115 01 urn:uuid:fa069fda-dda9-424f-b5df-ee5d7ec7527a 03 01 01 thoth-work-id urn:uuid:c80467d8-d472-4643-9a50-4ac489da14dd 01 thoth-publication-id urn:uuid:fa069fda-dda9-424f-b5df-ee5d7ec7527a 15 9781685710125 03 9781685710125 06 10.53288/0329.1.00 13 2021949631 01 internal-reference 0329 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Geographies of Identity Narrative Forms, Feminist Futures 1 A01 21 0000000252944236 Jill Darling Jill Darling 40 035wtm547 University of Michigan–Dearborn 01 eng 00 220 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFC 10 LIT004020 93 DSBH 12 DSBH 10 LIT003000 B2 Literary Studies 12 1KBB 93 DSBJ 93 1KBB 12 JFSK 93 JBSJ 20 feminism; literary studies; United States of America; Gertrude Stein; Renee Gladman; Pamela Lu; Claudia Rankine; Juliana Spahr; Theresa Hak Kyung Cha; Gloria Anzaldúa; queer theory; Layli Long Soldier 01 06 02 00 03 00 Geographies of Identity: Narrative Forms, Feminist Futures explores identity and American culture through hybrid, prose work by women, and expands the strategies of cultural poetics practices into the study of innovative narrative writing. Informed by Judith Butler, Homi Bhabha, Harryette Mullen, Julia Kristeva, and others, this project further considers feminist identity politics, race, and ethnicity as cultural content in and through poetic and non/narrative forms. The texts reflected on here explore literal and figurative landscapes, linguistic and cultural geographies, sexual borders, and spatial topographies. Ultimately, they offer non-prescriptive models that go beyond expectations for narrative forms, and create textual webs that reflect the diverse realities of multi-ethnic, multi-oriented, multi-linguistic cultural experiences.Readings of Gertrude Stein’s A Geographical History of America, Renee Gladman’s Juice, Pamela Lu’s Pamela: A Novel, Claudia Rankine’s Don’t Let Me Be Lonely, Juliana Spahr’s The Transformation, Theresa Hak Kyung Cha’s Dictée, Gloria Anzaldúa’s Borderlands/La Frontera, and Layli Long Soldier’s WHEREAS show how alternatively narrative modes of writing can expand access to representation, means of identification, and subjective agency, and point to horizons of possibility for new futures. These texts critique essentializing practices in which subjects are defined by specific identity categories, and offer complicated, contextualized, and historical understandings of identity formation through the textual weaving of form and content. 30 00 Geographies of Identity: Narrative Forms, Feminist Futures explores identity and American culture through hybrid, prose work by women, and expands the strategies of cultural poetics practices into the study of innovative narrative writing. Informed by Judith Butler, Homi Bhabha, Harryette Mullen, Julia Kristeva, and others, this project further considers feminist identity politics, race, and ethnicity as cultural content in and through poetic and non/narrative forms. The texts reflected on here explore literal and figurative landscapes, linguistic and cultural geographies, sexual borders, and spatial topographies. Ultimately, they offer non-prescriptive models that go beyond expectations for narrative forms, and create textual webs that reflect the diverse realities of multi-ethnic, multi-oriented, multi-linguistic cultural experiences.Readings of Gertrude Stein’s A Geographical History of America, Renee Gladman’s Juice, Pamela Lu’s Pamela: A Novel, Claudia Rankine’s Don’t Let Me Be Lonely, Juliana Spahr’s The Transformation, Theresa Hak Kyung Cha’s Dictée, Gloria Anzaldúa’s Borderlands/La Frontera, and Layli Long Soldier’s WHEREAS show how alternatively narrative modes of writing can expand access to representation, means of identification, and subjective agency, and point to horizons of possibility for new futures. These texts critique essentializing practices in which subjects are defined by specific identity categories, and offer complicated, contextualized, and historical understandings of identity formation through the textual weaving of form and content. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0329.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/geographies-of-identity-narrative-forms-feminist-futures/ Earth, Milky Way 04 01 20211104 Darling, Jill 02 WORLD 06 15 9781685710132 03 9781685710132 34 06 10.2307/2928520 34 06 10.5250/studamerindilite.30.1.0117 34 06 10.1353/mod.2002.0063 34 06 10.2307/3181682 34 06 10.2307/467831 34 06 10.2307/1229039 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710123 20 08 20211104 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/geographies-of-identity-narrative-forms-feminist-futures 20 08 20211104 02 24.00 USD WORLD urn:uuid:14b2ac9d-b625-4a4c-be76-eb7c74e53b06 03 01 01 thoth-work-id urn:uuid:c80467d8-d472-4643-9a50-4ac489da14dd 01 thoth-publication-id urn:uuid:14b2ac9d-b625-4a4c-be76-eb7c74e53b06 15 9781685710132 03 9781685710132 06 10.53288/0329.1.00 13 2021949631 01 internal-reference 0329 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Geographies of Identity Narrative Forms, Feminist Futures 1 A01 21 0000000252944236 Jill Darling Jill Darling 40 035wtm547 University of Michigan–Dearborn 01 eng 00 220 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFC 10 LIT004020 93 DSBH 12 DSBH 10 LIT003000 B2 Literary Studies 12 1KBB 93 DSBJ 93 1KBB 12 JFSK 93 JBSJ 20 feminism; literary studies; United States of America; Gertrude Stein; Renee Gladman; Pamela Lu; Claudia Rankine; Juliana Spahr; Theresa Hak Kyung Cha; Gloria Anzaldúa; queer theory; Layli Long Soldier 01 06 02 00 03 00 Geographies of Identity: Narrative Forms, Feminist Futures explores identity and American culture through hybrid, prose work by women, and expands the strategies of cultural poetics practices into the study of innovative narrative writing. Informed by Judith Butler, Homi Bhabha, Harryette Mullen, Julia Kristeva, and others, this project further considers feminist identity politics, race, and ethnicity as cultural content in and through poetic and non/narrative forms. The texts reflected on here explore literal and figurative landscapes, linguistic and cultural geographies, sexual borders, and spatial topographies. Ultimately, they offer non-prescriptive models that go beyond expectations for narrative forms, and create textual webs that reflect the diverse realities of multi-ethnic, multi-oriented, multi-linguistic cultural experiences.Readings of Gertrude Stein’s A Geographical History of America, Renee Gladman’s Juice, Pamela Lu’s Pamela: A Novel, Claudia Rankine’s Don’t Let Me Be Lonely, Juliana Spahr’s The Transformation, Theresa Hak Kyung Cha’s Dictée, Gloria Anzaldúa’s Borderlands/La Frontera, and Layli Long Soldier’s WHEREAS show how alternatively narrative modes of writing can expand access to representation, means of identification, and subjective agency, and point to horizons of possibility for new futures. These texts critique essentializing practices in which subjects are defined by specific identity categories, and offer complicated, contextualized, and historical understandings of identity formation through the textual weaving of form and content. 30 00 Geographies of Identity: Narrative Forms, Feminist Futures explores identity and American culture through hybrid, prose work by women, and expands the strategies of cultural poetics practices into the study of innovative narrative writing. Informed by Judith Butler, Homi Bhabha, Harryette Mullen, Julia Kristeva, and others, this project further considers feminist identity politics, race, and ethnicity as cultural content in and through poetic and non/narrative forms. The texts reflected on here explore literal and figurative landscapes, linguistic and cultural geographies, sexual borders, and spatial topographies. Ultimately, they offer non-prescriptive models that go beyond expectations for narrative forms, and create textual webs that reflect the diverse realities of multi-ethnic, multi-oriented, multi-linguistic cultural experiences.Readings of Gertrude Stein’s A Geographical History of America, Renee Gladman’s Juice, Pamela Lu’s Pamela: A Novel, Claudia Rankine’s Don’t Let Me Be Lonely, Juliana Spahr’s The Transformation, Theresa Hak Kyung Cha’s Dictée, Gloria Anzaldúa’s Borderlands/La Frontera, and Layli Long Soldier’s WHEREAS show how alternatively narrative modes of writing can expand access to representation, means of identification, and subjective agency, and point to horizons of possibility for new futures. These texts critique essentializing practices in which subjects are defined by specific identity categories, and offer complicated, contextualized, and historical understandings of identity formation through the textual weaving of form and content. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0329.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/geographies-of-identity-narrative-forms-feminist-futures/ Earth, Milky Way 04 01 20211104 Darling, Jill 02 WORLD 06 15 9781685710125 03 9781685710125 34 06 10.2307/2928520 34 06 10.5250/studamerindilite.30.1.0117 34 06 10.1353/mod.2002.0063 34 06 10.2307/3181682 34 06 10.2307/467831 34 06 10.2307/1229039 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/51254 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/51254/0329.1.00.pdf?sequence=1&isAllowed=y 20 08 20211104 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72576 20 08 20211104 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv22zp3xn 20 08 20211104 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/691 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0c7f7fec-51f0-4506-a887-7b1c25ffc69d/download 20 08 20211104 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Geographies_of_Identity/K5-oEAAAQBAJ 20 08 20211104 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c80467d8-d472-4643-9a50-4ac489da14dd 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c80467d8-d472-4643-9a50-4ac489da14dd/c80467d8-d472-4643-9a50-4ac489da14dd.pdf 20 08 20211104 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849089 29 ZENODO: download the title https://zenodo.org/records/19849089/files/c80467d8-d472-4643-9a50-4ac489da14dd_book.pdf 20 08 20211104 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/geographies-of-identity-narrative-forms-feminist-futures/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0329.1.00.pdf 20 08 20211104 01 urn:uuid:d0f8bc4a-015e-4d5b-b33c-05fa869b5ebb 03 01 01 thoth-work-id urn:uuid:f131762c-a877-4925-9fa1-50555bc4e2ae 01 thoth-publication-id urn:uuid:d0f8bc4a-015e-4d5b-b33c-05fa869b5ebb 15 9780692298374 03 9780692298374 06 10.21983/P3.0090.1.00 01 internal-reference 0090 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 [Given, If, Then] A Reading in Three Parts 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 40 04g3mbv81 European Graduate School 2 A01 Jennifer Hope Davy Jennifer Hope Davy 40 04g3mbv81 European Graduate School 3 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 00 116 03 93 CFC 12 HPCF 10 PHI027000 B2 Philosophy 93 DSA B2 Thought Experiments 93 DNL 20 philosophy; poetry; photography; literature; art 01 06 02 00 03 00 [Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other — an unconditional relation, and thus a relation to no fixed object of relation.The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear — crossing that borderless realm between ‘some’ and ‘some-thing.’ Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call. 30 00 [Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other — an unconditional relation, and thus a relation to no fixed object of relation.The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear — crossing that borderless realm between ‘some’ and ‘some-thing.’ Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0090.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/given-if-then/ Brooklyn, NY 04 01 20150208 Fernando, Jeremy Davy, Jennifer Hope Hölzl, Julia 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692298371 20 08 20150208 02 35.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/given-if-then-a-reading-in-three-parts 20 08 20150208 02 35.00 USD WORLD urn:uuid:c27eda26-a358-476a-82de-73158ffa00c1 03 01 01 thoth-work-id urn:uuid:f131762c-a877-4925-9fa1-50555bc4e2ae 01 thoth-publication-id urn:uuid:c27eda26-a358-476a-82de-73158ffa00c1 15 9780692298374 03 9780692298374 06 10.21983/P3.0090.1.00 01 internal-reference 0090 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 [Given, If, Then] A Reading in Three Parts 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 40 04g3mbv81 European Graduate School 2 A01 Jennifer Hope Davy Jennifer Hope Davy 40 04g3mbv81 European Graduate School 3 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 00 116 03 93 CFC 12 HPCF 10 PHI027000 B2 Philosophy 93 DSA B2 Thought Experiments 93 DNL 20 philosophy; poetry; photography; literature; art 01 06 02 00 03 00 [Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other — an unconditional relation, and thus a relation to no fixed object of relation.The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear — crossing that borderless realm between ‘some’ and ‘some-thing.’ Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call. 30 00 [Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other — an unconditional relation, and thus a relation to no fixed object of relation.The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear — crossing that borderless realm between ‘some’ and ‘some-thing.’ Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0090.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/given-if-then/ Brooklyn, NY 04 01 20150208 Fernando, Jeremy Davy, Jennifer Hope Hölzl, Julia 02 WORLD WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76473 20 08 20150208 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25531 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25531/1004564.pdf?sequence=1&isAllowed=y 20 08 20150208 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36724 20 08 20150208 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/475 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fe951926-ee16-46fa-b266-c8fae164e7b2/download 20 08 20150208 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Given_If_Then/dgWVEAAAQBAJ 20 08 20150208 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f131762c-a877-4925-9fa1-50555bc4e2ae 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f131762c-a877-4925-9fa1-50555bc4e2ae/f131762c-a877-4925-9fa1-50555bc4e2ae.pdf 20 08 20150208 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846148 29 ZENODO: download the title https://zenodo.org/records/19846148/files/f131762c-a877-4925-9fa1-50555bc4e2ae_book.pdf 20 08 20150208 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/given-if-then/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0090.1.00.pdf 20 08 20150208 01 urn:uuid:aaa3fe72-2070-431f-a85e-874396eca559 03 01 01 thoth-work-id urn:uuid:cb11259b-7b83-498e-bc8a-7c184ee2c279 01 thoth-publication-id urn:uuid:aaa3fe72-2070-431f-a85e-874396eca559 15 9780998531878 03 9780998531878 06 10.21983/P3.0171.1.00 01 internal-reference 0171 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Going Postcard The Letter(s) of Jacques Derrida 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 240 03 93 DSA 12 HPCF7 B2 Literary Studies 10 PHI043000 B2 Philosophy 93 QDHR7 20 Jacques Derrida; deconstruction; The Post Card; postmodern criticism; philosophy 01 06 02 00 03 00 In 1980, Jacques Derrida published La carte postale: De Socrate à Freud et au-delà. At the occasion of the 30th anniversary of the English translation, Going Postcard: The Letter(s) of Jacques Derrida revisits this seminal work in Derrida’s oeuvre. Derrida himself described The Post Card in his preface as “the remainders of a destroyed correspondence,” stretching from 1977 to 1979. A cryptic text, it is riddled with gaps, word plays, and a meandering analysis of the interface between philosophy and psychoanalysis.The contributors who offered the fourteen essays gathered in Going Postcard were each provided with a deceptively simple task: to write a gloss to a fragment from the first part of The Post Card, “Envois.” The result is a prismatic array of commentaries, excursions, and interpretations that take Derrida “to the letter.” The different glosses on lemmas such as genre, erasure, telepathy, philately, and sperm transport The Post Card into the twenty-first century and offer a “correspondence,” if fragmentary, with Derrida’s work and the work to come. 30 00 In 1980, Jacques Derrida published La carte postale: De Socrate à Freud et au-delà. At the occasion of the 30th anniversary of the English translation, Going Postcard: The Letter(s) of Jacques Derrida revisits this seminal work in Derrida’s oeuvre. Derrida himself described The Post Card in his preface as “the remainders of a destroyed correspondence,” stretching from 1977 to 1979. A cryptic text, it is riddled with gaps, word plays, and a meandering analysis of the interface between philosophy and psychoanalysis.The contributors who offered the fourteen essays gathered in Going Postcard were each provided with a deceptively simple task: to write a gloss to a fragment from the first part of The Post Card, “Envois.” The result is a prismatic array of commentaries, excursions, and interpretations that take Derrida “to the letter.” The different glosses on lemmas such as genre, erasure, telepathy, philately, and sperm transport The Post Card into the twenty-first century and offer a “correspondence,” if fragmentary, with Derrida’s work and the work to come. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0171.1.00_frontcover.png 1 03 06 10.21983/P3.0171.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 2 03 06 10.21983/P3.0171.1.02 11 41 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Glossing the Gloss of "Envois" in The Post Card 1 A01 J. Hillis Miller J. Hillis Miller 40 04gyf1771 University of California, Irvine 01 eng 03 00 The Post Card invites glossing of all sorts. It is an immensely complex and rich text, one of Derrida’s most fascinating and challenging. La carte postale is full of specific historical and personal references that will puzzle many readers. Many formu-lations and allusions are enigmatic or counter-intuitive. They need explanatory glossing. Derrida uses just about every rhe-torical device and figure of speech in the book. You name it, it is there (il y a là): puns (calembours), metaphor, metonymy, synecdoche, catachresis, apostrophe, prosopopoeia, hyperbole, prolepsis, analepsis, ellipsis, paradox, aporia, and of course a constant pervasive destabilizing irony. How can you tell when this joker is telling the truth or speaking straight, if ever? “Envois,” moreover, is full of complex wordplay that is not exactly “figurative” in the usual sense. This wordplay is often not easily translatable from French to English. One tiny example: In the last entry for February 1979, Derrida writes: “La séance continue, tu analyse ça comment? Je parle grammaire, comme toujours, c’est un verbe ou un adjectif ?” (“La séance continue, how do you analyze that? I’m talking grammar, as always, is it a verb or an adjective?” [PC, 178/193]) Derrida here plays on an untranslatable ambiguity on whether “continue” in the French is verb or an adjective. In the first case, the locution would mean: “The session continues.” In the second, “The continued session.” It makes a lot of difference which way you read it, as a duck or as a rabbit, as in the famous Gestaltist diagram that oscillates un-predictably before the viewer’s eyes between those two animals. The reader (you! [singular]) will note the second person singu-lar pronoun in “tu analyse ça comment?” This is an example of the endless play on the difference between “tu” and “vous” that pervades the “Envois.” 30 00 The Post Card invites glossing of all sorts. It is an immensely complex and rich text, one of Derrida’s most fascinating and challenging. La carte postale is full of specific historical and personal references that will puzzle many readers. Many formu-lations and allusions are enigmatic or counter-intuitive. They need explanatory glossing. Derrida uses just about every rhe-torical device and figure of speech in the book. You name it, it is there (il y a là): puns (calembours), metaphor, metonymy, synecdoche, catachresis, apostrophe, prosopopoeia, hyperbole, prolepsis, analepsis, ellipsis, paradox, aporia, and of course a constant pervasive destabilizing irony. How can you tell when this joker is telling the truth or speaking straight, if ever? “Envois,” moreover, is full of complex wordplay that is not exactly “figurative” in the usual sense. This wordplay is often not easily translatable from French to English. One tiny example: In the last entry for February 1979, Derrida writes: “La séance continue, tu analyse ça comment? Je parle grammaire, comme toujours, c’est un verbe ou un adjectif ?” (“La séance continue, how do you analyze that? I’m talking grammar, as always, is it a verb or an adjective?” [PC, 178/193]) Derrida here plays on an untranslatable ambiguity on whether “continue” in the French is verb or an adjective. In the first case, the locution would mean: “The session continues.” In the second, “The continued session.” It makes a lot of difference which way you read it, as a duck or as a rabbit, as in the famous Gestaltist diagram that oscillates un-predictably before the viewer’s eyes between those two animals. The reader (you! [singular]) will note the second person singu-lar pronoun in “tu analyse ça comment?” This is an example of the endless play on the difference between “tu” and “vous” that pervades the “Envois.” 20 00 Open Access Miller, J. Hillis 3 03 06 10.21983/P3.0171.1.03 43 57 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Drawing Blanks 1 A01 Michael Naas Michael Naas 40 04xtx5t16 DePaul University 01 eng 03 00 The reader of The Post Card is surely to be excused for drawing a blank from time to time. It’s not easy going — a Derrida text rarely is — and “To Speculate — on ‘Freud’” and “Le facteur de la vérité” are among Derrida’s most challenging works. But pa-tience and rereading almost always have their rewards when it comes to Derrida. However difficult these essays may be at first glance or at a first reading, they are not impenetrable, as some have wanted to pretend, and multiple readings almost always yield a coherent if not convincing reading of Freud or Lacan on themes such as repetition, legacy, language, the unconscious, or the relationship between psychoanalysis and philosophy. Even if the reader winds up drawing a blank now and again, the goal nonetheless remains and should remain to interpret and to understand, in a word, to gloss — the argument as well as the rhetoric, the organization as well as the themes, everything from the theses that are put forward to the language and terms used to support them. To arrive at a reading of these works — that should remain the goal of every reader who enters the ring or the arena of interpretation, every reader who agrees to going postcard. 30 00 The reader of The Post Card is surely to be excused for drawing a blank from time to time. It’s not easy going — a Derrida text rarely is — and “To Speculate — on ‘Freud’” and “Le facteur de la vérité” are among Derrida’s most challenging works. But pa-tience and rereading almost always have their rewards when it comes to Derrida. However difficult these essays may be at first glance or at a first reading, they are not impenetrable, as some have wanted to pretend, and multiple readings almost always yield a coherent if not convincing reading of Freud or Lacan on themes such as repetition, legacy, language, the unconscious, or the relationship between psychoanalysis and philosophy. Even if the reader winds up drawing a blank now and again, the goal nonetheless remains and should remain to interpret and to understand, in a word, to gloss — the argument as well as the rhetoric, the organization as well as the themes, everything from the theses that are put forward to the language and terms used to support them. To arrive at a reading of these works — that should remain the goal of every reader who enters the ring or the arena of interpretation, every reader who agrees to going postcard. 20 00 Open Access Naas, Michael 4 03 06 10.21983/P3.0171.1.04 59 63 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Troubling Lines The Process of Address in Derrida's The Post Card 1 A01 Rick Elmore Rick Elmore 40 051m4vc48 Appalachian State University 01 eng 03 00 There is a line in The Post Card that has always bothered me. Now, to be clear, I do not hate this line. It does not keep me up at night. I do not have to suppress the urge to burn the book every time I read it. But I have never understood its phrasing or placement. It is, for me, in tension with the constellation of claims and concepts around which it circulates. This line comes in the second entry marked 6 June 1977 (PC, 16–17/20–22). In this passage, Derrida gives a reading of the postcard that in-spires his text. One will recall that the image on this card is of Socrates seated at a writing desk, pen in hand, with a smaller Plato standing behind him, seemingly dictating. Derrida spends the majority of this passage analyzing a number of the peculi-arities of this image (the positioning of the figures, the fact that it is Socrates writing and not Plato, the seeming confusion of master and pupil, teacher and student, etc). In the middle of this analysis, however, Derrida interjects the following state-ment, apparently in response to the question, “[t]o whom do you think he [Socrates] writes?” Derrida states, “[f ]or me it is always more important to know that [to whom one writes] than to know what is being written; moreover I think it amounts to the same, to the other finally” (PC, 17/21). This is the line that has always troubled me, particularly because of the privilege it grants to knowledge of addressees over that of content. Allow me to elaborate. 30 00 There is a line in The Post Card that has always bothered me. Now, to be clear, I do not hate this line. It does not keep me up at night. I do not have to suppress the urge to burn the book every time I read it. But I have never understood its phrasing or placement. It is, for me, in tension with the constellation of claims and concepts around which it circulates. This line comes in the second entry marked 6 June 1977 (PC, 16–17/20–22). In this passage, Derrida gives a reading of the postcard that in-spires his text. One will recall that the image on this card is of Socrates seated at a writing desk, pen in hand, with a smaller Plato standing behind him, seemingly dictating. Derrida spends the majority of this passage analyzing a number of the peculi-arities of this image (the positioning of the figures, the fact that it is Socrates writing and not Plato, the seeming confusion of master and pupil, teacher and student, etc). In the middle of this analysis, however, Derrida interjects the following state-ment, apparently in response to the question, “[t]o whom do you think he [Socrates] writes?” Derrida states, “[f ]or me it is always more important to know that [to whom one writes] than to know what is being written; moreover I think it amounts to the same, to the other finally” (PC, 17/21). This is the line that has always troubled me, particularly because of the privilege it grants to knowledge of addressees over that of content. Allow me to elaborate. 20 00 Open Access Elmore, Rick 5 03 06 10.21983/P3.0171.1.05 65 67 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Postcard Telepathy 1 A01 Nicholas Royle Nicholas Royle 40 00ayhx656 University of Sussex 01 eng 03 00 How construe commentary on a postcard that is specifically figured as “a pictorial performative which never ends” (PC, 98/108) — especially if it must reckon, at the same time, with that fragmentary phantom supplement published later as “Telepathy”1? I have been trying to read a bit of one of your post-cards, one of several dated 6 June 1977 (I note in passing that my own record of that day reveals that I too was in Oxford, and in the evening went to watch Yellow Submarine— Oxford can be a lonely place on a Monday night):What is going on under Socrates’ leg, do you recognize this object? It plunges under the waves made by the veils around the plump buttocks, you see the rounded double, improb-able enough, it plunges straight down, rigid, like the nose of a stingray, to electrocute the old man and analyze him under narcosis. You know that they were both very interested in this paralyzing animal. Would it make him write by paralyz-ing him? All of this, that I do not know or do not yet want to see, also comes back from the bottom of the waters of my memory, a bit as if I had drawn or engraved the scene, from the day that, in an Algiers lycée no doubt, I first heard of those two. Do people (I am not speaking of “philosophers” or of those who read Plato) realize to what extent this old couple has invaded our most private domesticity, mixing themselves up in everything, taking their part of everything, and mak-ing us attend for centuries their colossal and indefatigable anaparalyses? (PC, 18/23) 30 00 How construe commentary on a postcard that is specifically figured as “a pictorial performative which never ends” (PC, 98/108) — especially if it must reckon, at the same time, with that fragmentary phantom supplement published later as “Telepathy”1? I have been trying to read a bit of one of your post-cards, one of several dated 6 June 1977 (I note in passing that my own record of that day reveals that I too was in Oxford, and in the evening went to watch Yellow Submarine— Oxford can be a lonely place on a Monday night):What is going on under Socrates’ leg, do you recognize this object? It plunges under the waves made by the veils around the plump buttocks, you see the rounded double, improb-able enough, it plunges straight down, rigid, like the nose of a stingray, to electrocute the old man and analyze him under narcosis. You know that they were both very interested in this paralyzing animal. Would it make him write by paralyz-ing him? All of this, that I do not know or do not yet want to see, also comes back from the bottom of the waters of my memory, a bit as if I had drawn or engraved the scene, from the day that, in an Algiers lycée no doubt, I first heard of those two. Do people (I am not speaking of “philosophers” or of those who read Plato) realize to what extent this old couple has invaded our most private domesticity, mixing themselves up in everything, taking their part of everything, and mak-ing us attend for centuries their colossal and indefatigable anaparalyses? (PC, 18/23) 20 00 Open Access Royle, Nicholas 6 03 06 10.21983/P3.0171.1.06 69 81 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Post by a Thousand Cuts 1 A01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 03 00 could purchase postcards with photographs or illustrations of “Chinese tortures” (les supplices chinois) and mail them home. The particular artifact in figure 1, sent from China to France in 1912, depicts a man being executed by lingchi (凌遲 “slow slicing,” or “death by a thousand cuts”). This postcard is one it-eration of the West’s persistent horror at and fascination with lingchi. Another example is a post-execution photograph of dismembered body parts reproduced in Henry Norman’s The Peoples and Politics of the Far East in 1895 (fig. 2).2 As historians point out, foreign military occupation of Beijing following the Boxer Rebellion allowed Europeans, especially those able to afford a camera, to roam the country more or less at will. Im-ages of lingchi executions began to circulate as curiosities and mementos — especially in the form of postcards — in Europe. 30 00 could purchase postcards with photographs or illustrations of “Chinese tortures” (les supplices chinois) and mail them home. The particular artifact in figure 1, sent from China to France in 1912, depicts a man being executed by lingchi (凌遲 “slow slicing,” or “death by a thousand cuts”). This postcard is one it-eration of the West’s persistent horror at and fascination with lingchi. Another example is a post-execution photograph of dismembered body parts reproduced in Henry Norman’s The Peoples and Politics of the Far East in 1895 (fig. 2).2 As historians point out, foreign military occupation of Beijing following the Boxer Rebellion allowed Europeans, especially those able to afford a camera, to roam the country more or less at will. Im-ages of lingchi executions began to circulate as curiosities and mementos — especially in the form of postcards — in Europe. 20 00 Open Access Kao, Wan-Chuan 7 03 06 10.21983/P3.0171.1.07 83 93 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ateleia/Autoimmunity 1 A01 21 0000000323075729 Eszter Timár Eszter Timár 40 02zx40v98 Central European University 01 eng 03 00 I would like to highlight an important connection between Der-rida’s use of the term “autoimmunity” in his later work and the postal principle of The Post Card. Specifically, I want to point out that the notion of the stamp (stretching from “stamp” to “tim-bre” and the “post card” itself in “Envois”), which resonates in the associations of sending at the heart of the postal principle itself, connects to the logic of the immunis which generates “au-toimmunity.” The connection is articulated in the historical con-struction of the name of stamp collection, or love of the stamp as “philately,” which is constructed with the help of the Greek ateleia. Both terms, ateleia and immunis, refer to tax exemption. 30 00 I would like to highlight an important connection between Der-rida’s use of the term “autoimmunity” in his later work and the postal principle of The Post Card. Specifically, I want to point out that the notion of the stamp (stretching from “stamp” to “tim-bre” and the “post card” itself in “Envois”), which resonates in the associations of sending at the heart of the postal principle itself, connects to the logic of the immunis which generates “au-toimmunity.” The connection is articulated in the historical con-struction of the name of stamp collection, or love of the stamp as “philately,” which is constructed with the help of the Greek ateleia. Both terms, ateleia and immunis, refer to tax exemption. 20 00 Open Access Timár, Eszter 8 03 06 10.21983/P3.0171.1.08 95 113 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Philately on the Telephone Reading, Touching, Loving the "Envois" 1 A01 Hannah Markley Hannah Markley 40 03czfpz43 Emory University 01 eng 03 00 In this essay, I read a phone conversation that Jacques Der-rida alludes to in the “Envois,” but never directly transcribes. The content of the phone call remains secret. However, I want to retrace the significance of the conversation and its organiz-ing figure, “philately,” but even before I begin, I acknowledge that the aims of this essay are paradoxically at odds: I am both on the phone and in a text, writing about love, but always at a distance from explicit emotional content. The entanglements of telephone and post, of emotion and its suppression, necessarily entail some detours that also perform philately on the telephone with Jacques Derrida. What is essential, then, is not the content of the phone conversation between Derrida and his lover, or my conversation with Derrida’s text. Rather, this essay foregrounds the relays of telephone, postcard, voice, and emotion in effort to think through love itself as an envois. That is, I foreground the ways that Derrida’s text recasts love as always already in the post. 30 00 In this essay, I read a phone conversation that Jacques Der-rida alludes to in the “Envois,” but never directly transcribes. The content of the phone call remains secret. However, I want to retrace the significance of the conversation and its organiz-ing figure, “philately,” but even before I begin, I acknowledge that the aims of this essay are paradoxically at odds: I am both on the phone and in a text, writing about love, but always at a distance from explicit emotional content. The entanglements of telephone and post, of emotion and its suppression, necessarily entail some detours that also perform philately on the telephone with Jacques Derrida. What is essential, then, is not the content of the phone conversation between Derrida and his lover, or my conversation with Derrida’s text. Rather, this essay foregrounds the relays of telephone, postcard, voice, and emotion in effort to think through love itself as an envois. That is, I foreground the ways that Derrida’s text recasts love as always already in the post. 20 00 Open Access Markley, Hannah 9 03 06 10.21983/P3.0171.1.09 115 127 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Entre Nous 1 A01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 01 eng 03 00 Love is the obvious word in the “Envois” to The Post Card and maybe the most difficult to say anything about. How can one speak intelligibly about it? One falls hopelessly into cliché when speaking of love, as Derrida does in the Kirby Dick and Amy Ziering Kofman’s film. “I have an empty head on love in gen-eral,” says Derrida. “And as for the reason philosophy has often spoken of love, I either have nothing to say, or I’d just be recit-ing clichés.”3 And yet, love is certainly the guiding principle, be-yond pleasure, behind and before Derrida’s corpus, behind and before everything he says about adestination, destinerrancy, arrival, the gift, the messianic, the secret, others, and also the promise; behind and in front of which is a double affirmation, a yes, yes to an unknown future, a oui oui that haunts language as the memory of an ad-venture, an other a-venir, each time a new beginning. Each time beginning; anew. Every time I open my mouth I am promising something, even when I am lying I am promising, opening myself up to a possible future, to a future anterior about which I can truthfully know nothing for certain.4Speaking opens me up to the world, to the love of the world, to the promise of an other world. Who could deny that? 30 00 Love is the obvious word in the “Envois” to The Post Card and maybe the most difficult to say anything about. How can one speak intelligibly about it? One falls hopelessly into cliché when speaking of love, as Derrida does in the Kirby Dick and Amy Ziering Kofman’s film. “I have an empty head on love in gen-eral,” says Derrida. “And as for the reason philosophy has often spoken of love, I either have nothing to say, or I’d just be recit-ing clichés.”3 And yet, love is certainly the guiding principle, be-yond pleasure, behind and before Derrida’s corpus, behind and before everything he says about adestination, destinerrancy, arrival, the gift, the messianic, the secret, others, and also the promise; behind and in front of which is a double affirmation, a yes, yes to an unknown future, a oui oui that haunts language as the memory of an ad-venture, an other a-venir, each time a new beginning. Each time beginning; anew. Every time I open my mouth I am promising something, even when I am lying I am promising, opening myself up to a possible future, to a future anterior about which I can truthfully know nothing for certain.4Speaking opens me up to the world, to the love of the world, to the promise of an other world. Who could deny that? 20 00 Open Access Dunne, Éamonn 10 03 06 10.21983/P3.0171.1.10 129 160 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Derrida in Correspondances A Telephonic Umbilicus 1 A01 Zach Rivers Zach Rivers 40 0190ak572 New York University 01 eng 03 00 “6 October 1978. I am writing you in a taxi. I avoid the subway, here too, precisely because I like it [parce que je l’aime]. And because I get lost [je m’égare] in the correspondances, although the system is much simpler than in Paris” (PC, 166/179). This passage from Jacques Derrida’s “En-vois” in The Post Card: From Socrates to Freud and Beyond in which he writes from a New York City taxi seems relatively mundane. Perhaps it is. Yet, I’d like to linger within this unex-ceptionable scene for the paths it might already be leading us down. Derrida’s avoidance of the subway precisely because he loves it (parce que je l’aime) betrays a logic of pleasure deferral as well as something of the postal principle: “relays, delay, antici-pation, destination, telecommunicating network, and therefore the fatal necessity of going astray, etc.” (PC, 66/74). The taxi al-lows Derrida to minimize the spatio-temporal4 catastrophe of destinerrance programmed by the postal principles that might lead him astray in the sprawling subway correspondances. There is something else, too, that draws me to this passage: something to do with dancing underground beneath the city, with sexual difference in politics (and the politics of sexual difference), with telephones, umbilical cords, and navels. Here it is pirouetting off the page: due to an astonishing line break in the English trans-lation, correspondances becomes correspon-dances.5 I follow (je suis...) these correspon-dances that Derrida lovingly avoids in dancing a movement through flickering subterranean passage-ways hidden from the light of day. 30 00 “6 October 1978. I am writing you in a taxi. I avoid the subway, here too, precisely because I like it [parce que je l’aime]. And because I get lost [je m’égare] in the correspondances, although the system is much simpler than in Paris” (PC, 166/179). This passage from Jacques Derrida’s “En-vois” in The Post Card: From Socrates to Freud and Beyond in which he writes from a New York City taxi seems relatively mundane. Perhaps it is. Yet, I’d like to linger within this unex-ceptionable scene for the paths it might already be leading us down. Derrida’s avoidance of the subway precisely because he loves it (parce que je l’aime) betrays a logic of pleasure deferral as well as something of the postal principle: “relays, delay, antici-pation, destination, telecommunicating network, and therefore the fatal necessity of going astray, etc.” (PC, 66/74). The taxi al-lows Derrida to minimize the spatio-temporal4 catastrophe of destinerrance programmed by the postal principles that might lead him astray in the sprawling subway correspondances. There is something else, too, that draws me to this passage: something to do with dancing underground beneath the city, with sexual difference in politics (and the politics of sexual difference), with telephones, umbilical cords, and navels. Here it is pirouetting off the page: due to an astonishing line break in the English trans-lation, correspondances becomes correspon-dances.5 I follow (je suis...) these correspon-dances that Derrida lovingly avoids in dancing a movement through flickering subterranean passage-ways hidden from the light of day. 20 00 Open Access Rivers, Zach 11 03 06 10.21983/P3.0171.1.11 161 169 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Glossing Errors Notes on Reading the "Envois" Noisily 1 A01 Kamillea Aghtan Kamillea Aghtan 01 eng 03 00 “No longer spermit,” Derrida(-Bass) writes (PC, 195), violat-ing grammar and spelling rules, abusing “language itself ” as he promises on the back cover of The Post Card. This slip is one of many studded throughout the “Envois,” rupturing the sense of sentences and recoding the delicate mechanisms of meaning embedded within linguistic coils. The strange new grammar within this section of The Post Card spreads like a trap to net the impatient reader, the analytical thinker, and the careful glossa-tor all at once. This fine gauze of error invites complicity while refusing participation and twists us towards a reading of mix-tures and of multiple, contrary truths. 30 00 “No longer spermit,” Derrida(-Bass) writes (PC, 195), violat-ing grammar and spelling rules, abusing “language itself ” as he promises on the back cover of The Post Card. This slip is one of many studded throughout the “Envois,” rupturing the sense of sentences and recoding the delicate mechanisms of meaning embedded within linguistic coils. The strange new grammar within this section of The Post Card spreads like a trap to net the impatient reader, the analytical thinker, and the careful glossa-tor all at once. This fine gauze of error invites complicity while refusing participation and twists us towards a reading of mix-tures and of multiple, contrary truths. 20 00 Open Access Aghtan, Kamillea 12 03 06 10.21983/P3.0171.1.12 171 177 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Coming Unglued 1 A01 Peggy Kamuf Peggy Kamuf 40 03taz7m60 University of Southern California 01 eng 03 00 A commentary? On “Envois”? No, really, you’re joking, right? Or else you just want to see what might result from the collision: commentary + “Envois.” In which case, you no doubt already expect there will be accidents at the scene. I won’t say you pro-grammed it, since it will indeed have to have been an accident and therefore unforeseen, if not altogether unforeseeable. You don’t know what to expect, exactly; perhaps you harbor a small hope of seeing commentary derailed, ruined in advance in its very possibility.In advance: commentary supposes, at a minimum, an ad-vance order, an order of the pre-position of the text to be com-mented on. It, the proposed preposed work, is already there, in advance and in front of the commentary, before it. But “Envois” demonstrates, and this is also its performance, that things in this regard are never really certain and thus a matter of certain knowledge. Rather, there is only belief to go on once it can be admitted — but can it? must it? — that what we call knowledge, the knowledge of some truth, is a phantasm and it is inherited, indeed, it is the phantasm of inheritance. The tradition of com-mentary is shaped by the supposed truth of inheritance: that the heir — the commentator? — comes after that which or that from which it inherits or claims to inherit. 30 00 A commentary? On “Envois”? No, really, you’re joking, right? Or else you just want to see what might result from the collision: commentary + “Envois.” In which case, you no doubt already expect there will be accidents at the scene. I won’t say you pro-grammed it, since it will indeed have to have been an accident and therefore unforeseen, if not altogether unforeseeable. You don’t know what to expect, exactly; perhaps you harbor a small hope of seeing commentary derailed, ruined in advance in its very possibility.In advance: commentary supposes, at a minimum, an ad-vance order, an order of the pre-position of the text to be com-mented on. It, the proposed preposed work, is already there, in advance and in front of the commentary, before it. But “Envois” demonstrates, and this is also its performance, that things in this regard are never really certain and thus a matter of certain knowledge. Rather, there is only belief to go on once it can be admitted — but can it? must it? — that what we call knowledge, the knowledge of some truth, is a phantasm and it is inherited, indeed, it is the phantasm of inheritance. The tradition of com-mentary is shaped by the supposed truth of inheritance: that the heir — the commentator? — comes after that which or that from which it inherits or claims to inherit. 20 00 Open Access Kamuf, Peggy 13 03 06 10.21983/P3.0171.1.13 179 183 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Running with Derrida 1 A01 21 0000000256736653 James E. Burt James E. Burt 40 01y2jtd41 University of Wisconsin-Madison 01 eng 03 00 The exact difference between running and jogging is not estab-lished in the Oxford English Dictionary, which merely defines jogging as “to run at a gentle pace (esp. as part of a ‘keep-fit’ schedule).” When someone is referred to as a jogger the re-sponse will often be to correct this, to assert that they are, in fact, a runner, the activities treated as distinct despite one being a form of the other. The narrator of the “Envois” is aware of this distinction, saying that they “cannot bear that I run,” preferring him to jog. Running is privileged over jogging.It’s not speed that separates running from jogging. There is something awkward about the motion of a jogger, expressed through its homonymic associations, jogging someone’s pen for example. Jogging is more restrained than running, often part of a schedule, something programmed and therefore predictable. Certain people prefer the narrator to jog because it “never goes very far” — a runner’s reach is greater than a jogger’s. Indeed, jogging is “only a training,” not an activity in itself, preparation to provide some wind, “the strength to live what I risk with you.” 30 00 The exact difference between running and jogging is not estab-lished in the Oxford English Dictionary, which merely defines jogging as “to run at a gentle pace (esp. as part of a ‘keep-fit’ schedule).” When someone is referred to as a jogger the re-sponse will often be to correct this, to assert that they are, in fact, a runner, the activities treated as distinct despite one being a form of the other. The narrator of the “Envois” is aware of this distinction, saying that they “cannot bear that I run,” preferring him to jog. Running is privileged over jogging.It’s not speed that separates running from jogging. There is something awkward about the motion of a jogger, expressed through its homonymic associations, jogging someone’s pen for example. Jogging is more restrained than running, often part of a schedule, something programmed and therefore predictable. Certain people prefer the narrator to jog because it “never goes very far” — a runner’s reach is greater than a jogger’s. Indeed, jogging is “only a training,” not an activity in itself, preparation to provide some wind, “the strength to live what I risk with you.” 20 00 Open Access Burt, James E. 14 03 06 10.21983/P3.0171.1.14 185 195 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Perception-Framing-Love 1 A01 Julian Wolfreys Julian Wolfreys 40 03ykbk197 University of Portsmouth 01 eng 03 00 It’s always about the name. Everything comes down to this. Everything is due to the difficulty of properly naming the thing itself. Actually this difficulty is an impossibility, a diffi-culty whose limits can only be indefinitely pushed back. (PC, 382)Leave this, the limits being “indefinitely” pushed at, moved backwards, further and further, to recede, the harder one tries. This involves a question of perception.Perceive: apperceive. Always there: perception.On the one hand: perception of another.On the other hand: an other perception; perception of the other.There is always another perception in perception: there remains, in secret, hidden away, just below the surface, underneath the tongue, sublingually, as if the two were entwined, one tongue insinuating itself with the other’s tongue; or, say this the other way around so as to gain perspective if not to perceive correctly, the other’s tongue always already having insinuated itself un-der, in the mouth of the one. So it is with the action of per-ception. So it is with perception of apperception, and what it means to perceive. Traveling across tongues, leaving, as it were, can you perceive this, the trace of another’s perception in your own, Latin to French to English. To perceive: seize, understand, take entirely. The other’s tongue, in its being carried over into my mouth, knows me. I believe I take it on, make it conform to my will, to the power of my language — as if there were such a thing — when, and here is the other perception, perception that will never be mine, in imagining the other’s perception, percep-tion of the other, I perceive indirectly, I apperceive, that there, there is the other perception, perception of, on perception. In taking the other, seizing its tongue, making it conform, I take on a perception that perceives without being perceived necessarily, and which, in so doing, apprehends me. I am taken entirely by the other. 30 00 It’s always about the name. Everything comes down to this. Everything is due to the difficulty of properly naming the thing itself. Actually this difficulty is an impossibility, a diffi-culty whose limits can only be indefinitely pushed back. (PC, 382)Leave this, the limits being “indefinitely” pushed at, moved backwards, further and further, to recede, the harder one tries. This involves a question of perception.Perceive: apperceive. Always there: perception.On the one hand: perception of another.On the other hand: an other perception; perception of the other.There is always another perception in perception: there remains, in secret, hidden away, just below the surface, underneath the tongue, sublingually, as if the two were entwined, one tongue insinuating itself with the other’s tongue; or, say this the other way around so as to gain perspective if not to perceive correctly, the other’s tongue always already having insinuated itself un-der, in the mouth of the one. So it is with the action of per-ception. So it is with perception of apperception, and what it means to perceive. Traveling across tongues, leaving, as it were, can you perceive this, the trace of another’s perception in your own, Latin to French to English. To perceive: seize, understand, take entirely. The other’s tongue, in its being carried over into my mouth, knows me. I believe I take it on, make it conform to my will, to the power of my language — as if there were such a thing — when, and here is the other perception, perception that will never be mine, in imagining the other’s perception, percep-tion of the other, I perceive indirectly, I apperceive, that there, there is the other perception, perception of, on perception. In taking the other, seizing its tongue, making it conform, I take on a perception that perceives without being perceived necessarily, and which, in so doing, apprehends me. I am taken entirely by the other. 20 00 Open Access Wolfreys, Julian 15 03 06 10.21983/P3.0171.1.15 197 216 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Envoiles Post It 1 A01 Dragan Kujundžić Dragan Kujundžić 40 02y3ad647 University of Florida 01 eng 03 00 That the relationship between J. Hillis Miller and Jacques Der-rida occupies a unique place in the landscape of contemporary criticism is no secret. They have played as well a significant role in my intellectual building, having encountered them some thirty years ago. I have written about that in my “Journey With J on the Jour J,” an introduction to Derrida’s essay “Justices” on J. Hillis Miller, and Miller’s “Isabelle’s Kiss” published in Criti-cal Inquiry in 2005. There, I have likened these two essays to letters on the way “to further destinations of as yet uncharted parts. Like letters, sealed with a kiss.”1 Derrida’s essay “‘Justices’” includes a description of the scene in which he receives a let-ter from Miller (“Hillis” when referring to the film character, “J. Hillis Miller” or “Miller” when referring to Miller as author in further text), regarding the real name behind the “J” which has received extensive treatment in my film The First Sail: J. Hillis Miller. 30 00 That the relationship between J. Hillis Miller and Jacques Der-rida occupies a unique place in the landscape of contemporary criticism is no secret. They have played as well a significant role in my intellectual building, having encountered them some thirty years ago. I have written about that in my “Journey With J on the Jour J,” an introduction to Derrida’s essay “Justices” on J. Hillis Miller, and Miller’s “Isabelle’s Kiss” published in Criti-cal Inquiry in 2005. There, I have likened these two essays to letters on the way “to further destinations of as yet uncharted parts. Like letters, sealed with a kiss.”1 Derrida’s essay “‘Justices’” includes a description of the scene in which he receives a let-ter from Miller (“Hillis” when referring to the film character, “J. Hillis Miller” or “Miller” when referring to Miller as author in further text), regarding the real name behind the “J” which has received extensive treatment in my film The First Sail: J. Hillis Miller. 20 00 Open Access Kujundžić, Dragan 16 03 06 10.21983/P3.0171.1.16 217 225 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Postface 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 This collection of essays is an example par excellence of the post-card effect so extensively treated in Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond. None of these essays was ever meant to end up in my hands, being now the presumed “editor” of this volume. As if in an actual enactment of, or per-haps, better, faithfulness to the project of this publication, its original addressee returned the mail, which, poste restante on the west coast of the United States, in a locale not far away from the Jacques Derrida Papers housed at the Special Collections and Archives of UC Irvine, was forwarded to my inbox.My own encounter with Derrida’s work started with a simi-lar form of destinerrance, when I stumbled across Of Gramma-tology in the philosophy of language section of the W.E.B. Du Bois library at the University of Massachusetts in Amherst. A graduate student in linguistics, I was convinced that the book was addressing me. It spoke of the origins of language, took on Saussure, and developed the notion of “trace.” Freshly trained in Chomskyan linguistics, all of these seemed so familiar to me, yet I understood nothing — as if it was written in another English, an English I could pronounce but not read. 30 00 This collection of essays is an example par excellence of the post-card effect so extensively treated in Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond. None of these essays was ever meant to end up in my hands, being now the presumed “editor” of this volume. As if in an actual enactment of, or per-haps, better, faithfulness to the project of this publication, its original addressee returned the mail, which, poste restante on the west coast of the United States, in a locale not far away from the Jacques Derrida Papers housed at the Special Collections and Archives of UC Irvine, was forwarded to my inbox.My own encounter with Derrida’s work started with a simi-lar form of destinerrance, when I stumbled across Of Gramma-tology in the philosophy of language section of the W.E.B. Du Bois library at the University of Massachusetts in Amherst. A graduate student in linguistics, I was convinced that the book was addressing me. It spoke of the origins of language, took on Saussure, and developed the notion of “trace.” Freshly trained in Chomskyan linguistics, all of these seemed so familiar to me, yet I understood nothing — as if it was written in another English, an English I could pronounce but not read. 20 00 Open Access van Gerven Oei, Vincent W.J. 17 03 06 10.21983/P3.0171.1.17 227 237 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/going-postcard-the-letters-of-jacques-derrida/ Earth, Milky Way 04 01 20170515 van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531871 20 08 20170515 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/going-postcard-the-letters-of-jacques-derrida 20 08 20170515 02 24.00 USD WORLD urn:uuid:1470df24-a98e-421a-bb63-988629507d50 03 01 01 thoth-work-id urn:uuid:cb11259b-7b83-498e-bc8a-7c184ee2c279 01 thoth-publication-id urn:uuid:1470df24-a98e-421a-bb63-988629507d50 06 10.21983/P3.0171.1.00 01 internal-reference 0171 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Going Postcard The Letter(s) of Jacques Derrida 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 240 03 93 DSA 12 HPCF7 B2 Literary Studies 10 PHI043000 B2 Philosophy 93 QDHR7 20 Jacques Derrida; deconstruction; The Post Card; postmodern criticism; philosophy 01 06 02 00 03 00 In 1980, Jacques Derrida published La carte postale: De Socrate à Freud et au-delà. At the occasion of the 30th anniversary of the English translation, Going Postcard: The Letter(s) of Jacques Derrida revisits this seminal work in Derrida’s oeuvre. Derrida himself described The Post Card in his preface as “the remainders of a destroyed correspondence,” stretching from 1977 to 1979. A cryptic text, it is riddled with gaps, word plays, and a meandering analysis of the interface between philosophy and psychoanalysis.The contributors who offered the fourteen essays gathered in Going Postcard were each provided with a deceptively simple task: to write a gloss to a fragment from the first part of The Post Card, “Envois.” The result is a prismatic array of commentaries, excursions, and interpretations that take Derrida “to the letter.” The different glosses on lemmas such as genre, erasure, telepathy, philately, and sperm transport The Post Card into the twenty-first century and offer a “correspondence,” if fragmentary, with Derrida’s work and the work to come. 30 00 In 1980, Jacques Derrida published La carte postale: De Socrate à Freud et au-delà. At the occasion of the 30th anniversary of the English translation, Going Postcard: The Letter(s) of Jacques Derrida revisits this seminal work in Derrida’s oeuvre. Derrida himself described The Post Card in his preface as “the remainders of a destroyed correspondence,” stretching from 1977 to 1979. A cryptic text, it is riddled with gaps, word plays, and a meandering analysis of the interface between philosophy and psychoanalysis.The contributors who offered the fourteen essays gathered in Going Postcard were each provided with a deceptively simple task: to write a gloss to a fragment from the first part of The Post Card, “Envois.” The result is a prismatic array of commentaries, excursions, and interpretations that take Derrida “to the letter.” The different glosses on lemmas such as genre, erasure, telepathy, philately, and sperm transport The Post Card into the twenty-first century and offer a “correspondence,” if fragmentary, with Derrida’s work and the work to come. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0171.1.00_frontcover.png 1 03 06 10.21983/P3.0171.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 2 03 06 10.21983/P3.0171.1.02 11 41 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Glossing the Gloss of "Envois" in The Post Card 1 A01 J. Hillis Miller J. Hillis Miller 40 04gyf1771 University of California, Irvine 01 eng 03 00 The Post Card invites glossing of all sorts. It is an immensely complex and rich text, one of Derrida’s most fascinating and challenging. La carte postale is full of specific historical and personal references that will puzzle many readers. Many formu-lations and allusions are enigmatic or counter-intuitive. They need explanatory glossing. Derrida uses just about every rhe-torical device and figure of speech in the book. You name it, it is there (il y a là): puns (calembours), metaphor, metonymy, synecdoche, catachresis, apostrophe, prosopopoeia, hyperbole, prolepsis, analepsis, ellipsis, paradox, aporia, and of course a constant pervasive destabilizing irony. How can you tell when this joker is telling the truth or speaking straight, if ever? “Envois,” moreover, is full of complex wordplay that is not exactly “figurative” in the usual sense. This wordplay is often not easily translatable from French to English. One tiny example: In the last entry for February 1979, Derrida writes: “La séance continue, tu analyse ça comment? Je parle grammaire, comme toujours, c’est un verbe ou un adjectif ?” (“La séance continue, how do you analyze that? I’m talking grammar, as always, is it a verb or an adjective?” [PC, 178/193]) Derrida here plays on an untranslatable ambiguity on whether “continue” in the French is verb or an adjective. In the first case, the locution would mean: “The session continues.” In the second, “The continued session.” It makes a lot of difference which way you read it, as a duck or as a rabbit, as in the famous Gestaltist diagram that oscillates un-predictably before the viewer’s eyes between those two animals. The reader (you! [singular]) will note the second person singu-lar pronoun in “tu analyse ça comment?” This is an example of the endless play on the difference between “tu” and “vous” that pervades the “Envois.” 30 00 The Post Card invites glossing of all sorts. It is an immensely complex and rich text, one of Derrida’s most fascinating and challenging. La carte postale is full of specific historical and personal references that will puzzle many readers. Many formu-lations and allusions are enigmatic or counter-intuitive. They need explanatory glossing. Derrida uses just about every rhe-torical device and figure of speech in the book. You name it, it is there (il y a là): puns (calembours), metaphor, metonymy, synecdoche, catachresis, apostrophe, prosopopoeia, hyperbole, prolepsis, analepsis, ellipsis, paradox, aporia, and of course a constant pervasive destabilizing irony. How can you tell when this joker is telling the truth or speaking straight, if ever? “Envois,” moreover, is full of complex wordplay that is not exactly “figurative” in the usual sense. This wordplay is often not easily translatable from French to English. One tiny example: In the last entry for February 1979, Derrida writes: “La séance continue, tu analyse ça comment? Je parle grammaire, comme toujours, c’est un verbe ou un adjectif ?” (“La séance continue, how do you analyze that? I’m talking grammar, as always, is it a verb or an adjective?” [PC, 178/193]) Derrida here plays on an untranslatable ambiguity on whether “continue” in the French is verb or an adjective. In the first case, the locution would mean: “The session continues.” In the second, “The continued session.” It makes a lot of difference which way you read it, as a duck or as a rabbit, as in the famous Gestaltist diagram that oscillates un-predictably before the viewer’s eyes between those two animals. The reader (you! [singular]) will note the second person singu-lar pronoun in “tu analyse ça comment?” This is an example of the endless play on the difference between “tu” and “vous” that pervades the “Envois.” 20 00 Open Access Miller, J. Hillis 3 03 06 10.21983/P3.0171.1.03 43 57 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Drawing Blanks 1 A01 Michael Naas Michael Naas 40 04xtx5t16 DePaul University 01 eng 03 00 The reader of The Post Card is surely to be excused for drawing a blank from time to time. It’s not easy going — a Derrida text rarely is — and “To Speculate — on ‘Freud’” and “Le facteur de la vérité” are among Derrida’s most challenging works. But pa-tience and rereading almost always have their rewards when it comes to Derrida. However difficult these essays may be at first glance or at a first reading, they are not impenetrable, as some have wanted to pretend, and multiple readings almost always yield a coherent if not convincing reading of Freud or Lacan on themes such as repetition, legacy, language, the unconscious, or the relationship between psychoanalysis and philosophy. Even if the reader winds up drawing a blank now and again, the goal nonetheless remains and should remain to interpret and to understand, in a word, to gloss — the argument as well as the rhetoric, the organization as well as the themes, everything from the theses that are put forward to the language and terms used to support them. To arrive at a reading of these works — that should remain the goal of every reader who enters the ring or the arena of interpretation, every reader who agrees to going postcard. 30 00 The reader of The Post Card is surely to be excused for drawing a blank from time to time. It’s not easy going — a Derrida text rarely is — and “To Speculate — on ‘Freud’” and “Le facteur de la vérité” are among Derrida’s most challenging works. But pa-tience and rereading almost always have their rewards when it comes to Derrida. However difficult these essays may be at first glance or at a first reading, they are not impenetrable, as some have wanted to pretend, and multiple readings almost always yield a coherent if not convincing reading of Freud or Lacan on themes such as repetition, legacy, language, the unconscious, or the relationship between psychoanalysis and philosophy. Even if the reader winds up drawing a blank now and again, the goal nonetheless remains and should remain to interpret and to understand, in a word, to gloss — the argument as well as the rhetoric, the organization as well as the themes, everything from the theses that are put forward to the language and terms used to support them. To arrive at a reading of these works — that should remain the goal of every reader who enters the ring or the arena of interpretation, every reader who agrees to going postcard. 20 00 Open Access Naas, Michael 4 03 06 10.21983/P3.0171.1.04 59 63 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Troubling Lines The Process of Address in Derrida's The Post Card 1 A01 Rick Elmore Rick Elmore 40 051m4vc48 Appalachian State University 01 eng 03 00 There is a line in The Post Card that has always bothered me. Now, to be clear, I do not hate this line. It does not keep me up at night. I do not have to suppress the urge to burn the book every time I read it. But I have never understood its phrasing or placement. It is, for me, in tension with the constellation of claims and concepts around which it circulates. This line comes in the second entry marked 6 June 1977 (PC, 16–17/20–22). In this passage, Derrida gives a reading of the postcard that in-spires his text. One will recall that the image on this card is of Socrates seated at a writing desk, pen in hand, with a smaller Plato standing behind him, seemingly dictating. Derrida spends the majority of this passage analyzing a number of the peculi-arities of this image (the positioning of the figures, the fact that it is Socrates writing and not Plato, the seeming confusion of master and pupil, teacher and student, etc). In the middle of this analysis, however, Derrida interjects the following state-ment, apparently in response to the question, “[t]o whom do you think he [Socrates] writes?” Derrida states, “[f ]or me it is always more important to know that [to whom one writes] than to know what is being written; moreover I think it amounts to the same, to the other finally” (PC, 17/21). This is the line that has always troubled me, particularly because of the privilege it grants to knowledge of addressees over that of content. Allow me to elaborate. 30 00 There is a line in The Post Card that has always bothered me. Now, to be clear, I do not hate this line. It does not keep me up at night. I do not have to suppress the urge to burn the book every time I read it. But I have never understood its phrasing or placement. It is, for me, in tension with the constellation of claims and concepts around which it circulates. This line comes in the second entry marked 6 June 1977 (PC, 16–17/20–22). In this passage, Derrida gives a reading of the postcard that in-spires his text. One will recall that the image on this card is of Socrates seated at a writing desk, pen in hand, with a smaller Plato standing behind him, seemingly dictating. Derrida spends the majority of this passage analyzing a number of the peculi-arities of this image (the positioning of the figures, the fact that it is Socrates writing and not Plato, the seeming confusion of master and pupil, teacher and student, etc). In the middle of this analysis, however, Derrida interjects the following state-ment, apparently in response to the question, “[t]o whom do you think he [Socrates] writes?” Derrida states, “[f ]or me it is always more important to know that [to whom one writes] than to know what is being written; moreover I think it amounts to the same, to the other finally” (PC, 17/21). This is the line that has always troubled me, particularly because of the privilege it grants to knowledge of addressees over that of content. Allow me to elaborate. 20 00 Open Access Elmore, Rick 5 03 06 10.21983/P3.0171.1.05 65 67 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Postcard Telepathy 1 A01 Nicholas Royle Nicholas Royle 40 00ayhx656 University of Sussex 01 eng 03 00 How construe commentary on a postcard that is specifically figured as “a pictorial performative which never ends” (PC, 98/108) — especially if it must reckon, at the same time, with that fragmentary phantom supplement published later as “Telepathy”1? I have been trying to read a bit of one of your post-cards, one of several dated 6 June 1977 (I note in passing that my own record of that day reveals that I too was in Oxford, and in the evening went to watch Yellow Submarine— Oxford can be a lonely place on a Monday night):What is going on under Socrates’ leg, do you recognize this object? It plunges under the waves made by the veils around the plump buttocks, you see the rounded double, improb-able enough, it plunges straight down, rigid, like the nose of a stingray, to electrocute the old man and analyze him under narcosis. You know that they were both very interested in this paralyzing animal. Would it make him write by paralyz-ing him? All of this, that I do not know or do not yet want to see, also comes back from the bottom of the waters of my memory, a bit as if I had drawn or engraved the scene, from the day that, in an Algiers lycée no doubt, I first heard of those two. Do people (I am not speaking of “philosophers” or of those who read Plato) realize to what extent this old couple has invaded our most private domesticity, mixing themselves up in everything, taking their part of everything, and mak-ing us attend for centuries their colossal and indefatigable anaparalyses? (PC, 18/23) 30 00 How construe commentary on a postcard that is specifically figured as “a pictorial performative which never ends” (PC, 98/108) — especially if it must reckon, at the same time, with that fragmentary phantom supplement published later as “Telepathy”1? I have been trying to read a bit of one of your post-cards, one of several dated 6 June 1977 (I note in passing that my own record of that day reveals that I too was in Oxford, and in the evening went to watch Yellow Submarine— Oxford can be a lonely place on a Monday night):What is going on under Socrates’ leg, do you recognize this object? It plunges under the waves made by the veils around the plump buttocks, you see the rounded double, improb-able enough, it plunges straight down, rigid, like the nose of a stingray, to electrocute the old man and analyze him under narcosis. You know that they were both very interested in this paralyzing animal. Would it make him write by paralyz-ing him? All of this, that I do not know or do not yet want to see, also comes back from the bottom of the waters of my memory, a bit as if I had drawn or engraved the scene, from the day that, in an Algiers lycée no doubt, I first heard of those two. Do people (I am not speaking of “philosophers” or of those who read Plato) realize to what extent this old couple has invaded our most private domesticity, mixing themselves up in everything, taking their part of everything, and mak-ing us attend for centuries their colossal and indefatigable anaparalyses? (PC, 18/23) 20 00 Open Access Royle, Nicholas 6 03 06 10.21983/P3.0171.1.06 69 81 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Post by a Thousand Cuts 1 A01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 03 00 could purchase postcards with photographs or illustrations of “Chinese tortures” (les supplices chinois) and mail them home. The particular artifact in figure 1, sent from China to France in 1912, depicts a man being executed by lingchi (凌遲 “slow slicing,” or “death by a thousand cuts”). This postcard is one it-eration of the West’s persistent horror at and fascination with lingchi. Another example is a post-execution photograph of dismembered body parts reproduced in Henry Norman’s The Peoples and Politics of the Far East in 1895 (fig. 2).2 As historians point out, foreign military occupation of Beijing following the Boxer Rebellion allowed Europeans, especially those able to afford a camera, to roam the country more or less at will. Im-ages of lingchi executions began to circulate as curiosities and mementos — especially in the form of postcards — in Europe. 30 00 could purchase postcards with photographs or illustrations of “Chinese tortures” (les supplices chinois) and mail them home. The particular artifact in figure 1, sent from China to France in 1912, depicts a man being executed by lingchi (凌遲 “slow slicing,” or “death by a thousand cuts”). This postcard is one it-eration of the West’s persistent horror at and fascination with lingchi. Another example is a post-execution photograph of dismembered body parts reproduced in Henry Norman’s The Peoples and Politics of the Far East in 1895 (fig. 2).2 As historians point out, foreign military occupation of Beijing following the Boxer Rebellion allowed Europeans, especially those able to afford a camera, to roam the country more or less at will. Im-ages of lingchi executions began to circulate as curiosities and mementos — especially in the form of postcards — in Europe. 20 00 Open Access Kao, Wan-Chuan 7 03 06 10.21983/P3.0171.1.07 83 93 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ateleia/Autoimmunity 1 A01 21 0000000323075729 Eszter Timár Eszter Timár 40 02zx40v98 Central European University 01 eng 03 00 I would like to highlight an important connection between Der-rida’s use of the term “autoimmunity” in his later work and the postal principle of The Post Card. Specifically, I want to point out that the notion of the stamp (stretching from “stamp” to “tim-bre” and the “post card” itself in “Envois”), which resonates in the associations of sending at the heart of the postal principle itself, connects to the logic of the immunis which generates “au-toimmunity.” The connection is articulated in the historical con-struction of the name of stamp collection, or love of the stamp as “philately,” which is constructed with the help of the Greek ateleia. Both terms, ateleia and immunis, refer to tax exemption. 30 00 I would like to highlight an important connection between Der-rida’s use of the term “autoimmunity” in his later work and the postal principle of The Post Card. Specifically, I want to point out that the notion of the stamp (stretching from “stamp” to “tim-bre” and the “post card” itself in “Envois”), which resonates in the associations of sending at the heart of the postal principle itself, connects to the logic of the immunis which generates “au-toimmunity.” The connection is articulated in the historical con-struction of the name of stamp collection, or love of the stamp as “philately,” which is constructed with the help of the Greek ateleia. Both terms, ateleia and immunis, refer to tax exemption. 20 00 Open Access Timár, Eszter 8 03 06 10.21983/P3.0171.1.08 95 113 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Philately on the Telephone Reading, Touching, Loving the "Envois" 1 A01 Hannah Markley Hannah Markley 40 03czfpz43 Emory University 01 eng 03 00 In this essay, I read a phone conversation that Jacques Der-rida alludes to in the “Envois,” but never directly transcribes. The content of the phone call remains secret. However, I want to retrace the significance of the conversation and its organiz-ing figure, “philately,” but even before I begin, I acknowledge that the aims of this essay are paradoxically at odds: I am both on the phone and in a text, writing about love, but always at a distance from explicit emotional content. The entanglements of telephone and post, of emotion and its suppression, necessarily entail some detours that also perform philately on the telephone with Jacques Derrida. What is essential, then, is not the content of the phone conversation between Derrida and his lover, or my conversation with Derrida’s text. Rather, this essay foregrounds the relays of telephone, postcard, voice, and emotion in effort to think through love itself as an envois. That is, I foreground the ways that Derrida’s text recasts love as always already in the post. 30 00 In this essay, I read a phone conversation that Jacques Der-rida alludes to in the “Envois,” but never directly transcribes. The content of the phone call remains secret. However, I want to retrace the significance of the conversation and its organiz-ing figure, “philately,” but even before I begin, I acknowledge that the aims of this essay are paradoxically at odds: I am both on the phone and in a text, writing about love, but always at a distance from explicit emotional content. The entanglements of telephone and post, of emotion and its suppression, necessarily entail some detours that also perform philately on the telephone with Jacques Derrida. What is essential, then, is not the content of the phone conversation between Derrida and his lover, or my conversation with Derrida’s text. Rather, this essay foregrounds the relays of telephone, postcard, voice, and emotion in effort to think through love itself as an envois. That is, I foreground the ways that Derrida’s text recasts love as always already in the post. 20 00 Open Access Markley, Hannah 9 03 06 10.21983/P3.0171.1.09 115 127 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Entre Nous 1 A01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 01 eng 03 00 Love is the obvious word in the “Envois” to The Post Card and maybe the most difficult to say anything about. How can one speak intelligibly about it? One falls hopelessly into cliché when speaking of love, as Derrida does in the Kirby Dick and Amy Ziering Kofman’s film. “I have an empty head on love in gen-eral,” says Derrida. “And as for the reason philosophy has often spoken of love, I either have nothing to say, or I’d just be recit-ing clichés.”3 And yet, love is certainly the guiding principle, be-yond pleasure, behind and before Derrida’s corpus, behind and before everything he says about adestination, destinerrancy, arrival, the gift, the messianic, the secret, others, and also the promise; behind and in front of which is a double affirmation, a yes, yes to an unknown future, a oui oui that haunts language as the memory of an ad-venture, an other a-venir, each time a new beginning. Each time beginning; anew. Every time I open my mouth I am promising something, even when I am lying I am promising, opening myself up to a possible future, to a future anterior about which I can truthfully know nothing for certain.4Speaking opens me up to the world, to the love of the world, to the promise of an other world. Who could deny that? 30 00 Love is the obvious word in the “Envois” to The Post Card and maybe the most difficult to say anything about. How can one speak intelligibly about it? One falls hopelessly into cliché when speaking of love, as Derrida does in the Kirby Dick and Amy Ziering Kofman’s film. “I have an empty head on love in gen-eral,” says Derrida. “And as for the reason philosophy has often spoken of love, I either have nothing to say, or I’d just be recit-ing clichés.”3 And yet, love is certainly the guiding principle, be-yond pleasure, behind and before Derrida’s corpus, behind and before everything he says about adestination, destinerrancy, arrival, the gift, the messianic, the secret, others, and also the promise; behind and in front of which is a double affirmation, a yes, yes to an unknown future, a oui oui that haunts language as the memory of an ad-venture, an other a-venir, each time a new beginning. Each time beginning; anew. Every time I open my mouth I am promising something, even when I am lying I am promising, opening myself up to a possible future, to a future anterior about which I can truthfully know nothing for certain.4Speaking opens me up to the world, to the love of the world, to the promise of an other world. Who could deny that? 20 00 Open Access Dunne, Éamonn 10 03 06 10.21983/P3.0171.1.10 129 160 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Derrida in Correspondances A Telephonic Umbilicus 1 A01 Zach Rivers Zach Rivers 40 0190ak572 New York University 01 eng 03 00 “6 October 1978. I am writing you in a taxi. I avoid the subway, here too, precisely because I like it [parce que je l’aime]. And because I get lost [je m’égare] in the correspondances, although the system is much simpler than in Paris” (PC, 166/179). This passage from Jacques Derrida’s “En-vois” in The Post Card: From Socrates to Freud and Beyond in which he writes from a New York City taxi seems relatively mundane. Perhaps it is. Yet, I’d like to linger within this unex-ceptionable scene for the paths it might already be leading us down. Derrida’s avoidance of the subway precisely because he loves it (parce que je l’aime) betrays a logic of pleasure deferral as well as something of the postal principle: “relays, delay, antici-pation, destination, telecommunicating network, and therefore the fatal necessity of going astray, etc.” (PC, 66/74). The taxi al-lows Derrida to minimize the spatio-temporal4 catastrophe of destinerrance programmed by the postal principles that might lead him astray in the sprawling subway correspondances. There is something else, too, that draws me to this passage: something to do with dancing underground beneath the city, with sexual difference in politics (and the politics of sexual difference), with telephones, umbilical cords, and navels. Here it is pirouetting off the page: due to an astonishing line break in the English trans-lation, correspondances becomes correspon-dances.5 I follow (je suis...) these correspon-dances that Derrida lovingly avoids in dancing a movement through flickering subterranean passage-ways hidden from the light of day. 30 00 “6 October 1978. I am writing you in a taxi. I avoid the subway, here too, precisely because I like it [parce que je l’aime]. And because I get lost [je m’égare] in the correspondances, although the system is much simpler than in Paris” (PC, 166/179). This passage from Jacques Derrida’s “En-vois” in The Post Card: From Socrates to Freud and Beyond in which he writes from a New York City taxi seems relatively mundane. Perhaps it is. Yet, I’d like to linger within this unex-ceptionable scene for the paths it might already be leading us down. Derrida’s avoidance of the subway precisely because he loves it (parce que je l’aime) betrays a logic of pleasure deferral as well as something of the postal principle: “relays, delay, antici-pation, destination, telecommunicating network, and therefore the fatal necessity of going astray, etc.” (PC, 66/74). The taxi al-lows Derrida to minimize the spatio-temporal4 catastrophe of destinerrance programmed by the postal principles that might lead him astray in the sprawling subway correspondances. There is something else, too, that draws me to this passage: something to do with dancing underground beneath the city, with sexual difference in politics (and the politics of sexual difference), with telephones, umbilical cords, and navels. Here it is pirouetting off the page: due to an astonishing line break in the English trans-lation, correspondances becomes correspon-dances.5 I follow (je suis...) these correspon-dances that Derrida lovingly avoids in dancing a movement through flickering subterranean passage-ways hidden from the light of day. 20 00 Open Access Rivers, Zach 11 03 06 10.21983/P3.0171.1.11 161 169 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Glossing Errors Notes on Reading the "Envois" Noisily 1 A01 Kamillea Aghtan Kamillea Aghtan 01 eng 03 00 “No longer spermit,” Derrida(-Bass) writes (PC, 195), violat-ing grammar and spelling rules, abusing “language itself ” as he promises on the back cover of The Post Card. This slip is one of many studded throughout the “Envois,” rupturing the sense of sentences and recoding the delicate mechanisms of meaning embedded within linguistic coils. The strange new grammar within this section of The Post Card spreads like a trap to net the impatient reader, the analytical thinker, and the careful glossa-tor all at once. This fine gauze of error invites complicity while refusing participation and twists us towards a reading of mix-tures and of multiple, contrary truths. 30 00 “No longer spermit,” Derrida(-Bass) writes (PC, 195), violat-ing grammar and spelling rules, abusing “language itself ” as he promises on the back cover of The Post Card. This slip is one of many studded throughout the “Envois,” rupturing the sense of sentences and recoding the delicate mechanisms of meaning embedded within linguistic coils. The strange new grammar within this section of The Post Card spreads like a trap to net the impatient reader, the analytical thinker, and the careful glossa-tor all at once. This fine gauze of error invites complicity while refusing participation and twists us towards a reading of mix-tures and of multiple, contrary truths. 20 00 Open Access Aghtan, Kamillea 12 03 06 10.21983/P3.0171.1.12 171 177 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Coming Unglued 1 A01 Peggy Kamuf Peggy Kamuf 40 03taz7m60 University of Southern California 01 eng 03 00 A commentary? On “Envois”? No, really, you’re joking, right? Or else you just want to see what might result from the collision: commentary + “Envois.” In which case, you no doubt already expect there will be accidents at the scene. I won’t say you pro-grammed it, since it will indeed have to have been an accident and therefore unforeseen, if not altogether unforeseeable. You don’t know what to expect, exactly; perhaps you harbor a small hope of seeing commentary derailed, ruined in advance in its very possibility.In advance: commentary supposes, at a minimum, an ad-vance order, an order of the pre-position of the text to be com-mented on. It, the proposed preposed work, is already there, in advance and in front of the commentary, before it. But “Envois” demonstrates, and this is also its performance, that things in this regard are never really certain and thus a matter of certain knowledge. Rather, there is only belief to go on once it can be admitted — but can it? must it? — that what we call knowledge, the knowledge of some truth, is a phantasm and it is inherited, indeed, it is the phantasm of inheritance. The tradition of com-mentary is shaped by the supposed truth of inheritance: that the heir — the commentator? — comes after that which or that from which it inherits or claims to inherit. 30 00 A commentary? On “Envois”? No, really, you’re joking, right? Or else you just want to see what might result from the collision: commentary + “Envois.” In which case, you no doubt already expect there will be accidents at the scene. I won’t say you pro-grammed it, since it will indeed have to have been an accident and therefore unforeseen, if not altogether unforeseeable. You don’t know what to expect, exactly; perhaps you harbor a small hope of seeing commentary derailed, ruined in advance in its very possibility.In advance: commentary supposes, at a minimum, an ad-vance order, an order of the pre-position of the text to be com-mented on. It, the proposed preposed work, is already there, in advance and in front of the commentary, before it. But “Envois” demonstrates, and this is also its performance, that things in this regard are never really certain and thus a matter of certain knowledge. Rather, there is only belief to go on once it can be admitted — but can it? must it? — that what we call knowledge, the knowledge of some truth, is a phantasm and it is inherited, indeed, it is the phantasm of inheritance. The tradition of com-mentary is shaped by the supposed truth of inheritance: that the heir — the commentator? — comes after that which or that from which it inherits or claims to inherit. 20 00 Open Access Kamuf, Peggy 13 03 06 10.21983/P3.0171.1.13 179 183 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Running with Derrida 1 A01 21 0000000256736653 James E. Burt James E. Burt 40 01y2jtd41 University of Wisconsin-Madison 01 eng 03 00 The exact difference between running and jogging is not estab-lished in the Oxford English Dictionary, which merely defines jogging as “to run at a gentle pace (esp. as part of a ‘keep-fit’ schedule).” When someone is referred to as a jogger the re-sponse will often be to correct this, to assert that they are, in fact, a runner, the activities treated as distinct despite one being a form of the other. The narrator of the “Envois” is aware of this distinction, saying that they “cannot bear that I run,” preferring him to jog. Running is privileged over jogging.It’s not speed that separates running from jogging. There is something awkward about the motion of a jogger, expressed through its homonymic associations, jogging someone’s pen for example. Jogging is more restrained than running, often part of a schedule, something programmed and therefore predictable. Certain people prefer the narrator to jog because it “never goes very far” — a runner’s reach is greater than a jogger’s. Indeed, jogging is “only a training,” not an activity in itself, preparation to provide some wind, “the strength to live what I risk with you.” 30 00 The exact difference between running and jogging is not estab-lished in the Oxford English Dictionary, which merely defines jogging as “to run at a gentle pace (esp. as part of a ‘keep-fit’ schedule).” When someone is referred to as a jogger the re-sponse will often be to correct this, to assert that they are, in fact, a runner, the activities treated as distinct despite one being a form of the other. The narrator of the “Envois” is aware of this distinction, saying that they “cannot bear that I run,” preferring him to jog. Running is privileged over jogging.It’s not speed that separates running from jogging. There is something awkward about the motion of a jogger, expressed through its homonymic associations, jogging someone’s pen for example. Jogging is more restrained than running, often part of a schedule, something programmed and therefore predictable. Certain people prefer the narrator to jog because it “never goes very far” — a runner’s reach is greater than a jogger’s. Indeed, jogging is “only a training,” not an activity in itself, preparation to provide some wind, “the strength to live what I risk with you.” 20 00 Open Access Burt, James E. 14 03 06 10.21983/P3.0171.1.14 185 195 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Perception-Framing-Love 1 A01 Julian Wolfreys Julian Wolfreys 40 03ykbk197 University of Portsmouth 01 eng 03 00 It’s always about the name. Everything comes down to this. Everything is due to the difficulty of properly naming the thing itself. Actually this difficulty is an impossibility, a diffi-culty whose limits can only be indefinitely pushed back. (PC, 382)Leave this, the limits being “indefinitely” pushed at, moved backwards, further and further, to recede, the harder one tries. This involves a question of perception.Perceive: apperceive. Always there: perception.On the one hand: perception of another.On the other hand: an other perception; perception of the other.There is always another perception in perception: there remains, in secret, hidden away, just below the surface, underneath the tongue, sublingually, as if the two were entwined, one tongue insinuating itself with the other’s tongue; or, say this the other way around so as to gain perspective if not to perceive correctly, the other’s tongue always already having insinuated itself un-der, in the mouth of the one. So it is with the action of per-ception. So it is with perception of apperception, and what it means to perceive. Traveling across tongues, leaving, as it were, can you perceive this, the trace of another’s perception in your own, Latin to French to English. To perceive: seize, understand, take entirely. The other’s tongue, in its being carried over into my mouth, knows me. I believe I take it on, make it conform to my will, to the power of my language — as if there were such a thing — when, and here is the other perception, perception that will never be mine, in imagining the other’s perception, percep-tion of the other, I perceive indirectly, I apperceive, that there, there is the other perception, perception of, on perception. In taking the other, seizing its tongue, making it conform, I take on a perception that perceives without being perceived necessarily, and which, in so doing, apprehends me. I am taken entirely by the other. 30 00 It’s always about the name. Everything comes down to this. Everything is due to the difficulty of properly naming the thing itself. Actually this difficulty is an impossibility, a diffi-culty whose limits can only be indefinitely pushed back. (PC, 382)Leave this, the limits being “indefinitely” pushed at, moved backwards, further and further, to recede, the harder one tries. This involves a question of perception.Perceive: apperceive. Always there: perception.On the one hand: perception of another.On the other hand: an other perception; perception of the other.There is always another perception in perception: there remains, in secret, hidden away, just below the surface, underneath the tongue, sublingually, as if the two were entwined, one tongue insinuating itself with the other’s tongue; or, say this the other way around so as to gain perspective if not to perceive correctly, the other’s tongue always already having insinuated itself un-der, in the mouth of the one. So it is with the action of per-ception. So it is with perception of apperception, and what it means to perceive. Traveling across tongues, leaving, as it were, can you perceive this, the trace of another’s perception in your own, Latin to French to English. To perceive: seize, understand, take entirely. The other’s tongue, in its being carried over into my mouth, knows me. I believe I take it on, make it conform to my will, to the power of my language — as if there were such a thing — when, and here is the other perception, perception that will never be mine, in imagining the other’s perception, percep-tion of the other, I perceive indirectly, I apperceive, that there, there is the other perception, perception of, on perception. In taking the other, seizing its tongue, making it conform, I take on a perception that perceives without being perceived necessarily, and which, in so doing, apprehends me. I am taken entirely by the other. 20 00 Open Access Wolfreys, Julian 15 03 06 10.21983/P3.0171.1.15 197 216 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Envoiles Post It 1 A01 Dragan Kujundžić Dragan Kujundžić 40 02y3ad647 University of Florida 01 eng 03 00 That the relationship between J. Hillis Miller and Jacques Der-rida occupies a unique place in the landscape of contemporary criticism is no secret. They have played as well a significant role in my intellectual building, having encountered them some thirty years ago. I have written about that in my “Journey With J on the Jour J,” an introduction to Derrida’s essay “Justices” on J. Hillis Miller, and Miller’s “Isabelle’s Kiss” published in Criti-cal Inquiry in 2005. There, I have likened these two essays to letters on the way “to further destinations of as yet uncharted parts. Like letters, sealed with a kiss.”1 Derrida’s essay “‘Justices’” includes a description of the scene in which he receives a let-ter from Miller (“Hillis” when referring to the film character, “J. Hillis Miller” or “Miller” when referring to Miller as author in further text), regarding the real name behind the “J” which has received extensive treatment in my film The First Sail: J. Hillis Miller. 30 00 That the relationship between J. Hillis Miller and Jacques Der-rida occupies a unique place in the landscape of contemporary criticism is no secret. They have played as well a significant role in my intellectual building, having encountered them some thirty years ago. I have written about that in my “Journey With J on the Jour J,” an introduction to Derrida’s essay “Justices” on J. Hillis Miller, and Miller’s “Isabelle’s Kiss” published in Criti-cal Inquiry in 2005. There, I have likened these two essays to letters on the way “to further destinations of as yet uncharted parts. Like letters, sealed with a kiss.”1 Derrida’s essay “‘Justices’” includes a description of the scene in which he receives a let-ter from Miller (“Hillis” when referring to the film character, “J. Hillis Miller” or “Miller” when referring to Miller as author in further text), regarding the real name behind the “J” which has received extensive treatment in my film The First Sail: J. Hillis Miller. 20 00 Open Access Kujundžić, Dragan 16 03 06 10.21983/P3.0171.1.16 217 225 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Postface 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 This collection of essays is an example par excellence of the post-card effect so extensively treated in Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond. None of these essays was ever meant to end up in my hands, being now the presumed “editor” of this volume. As if in an actual enactment of, or per-haps, better, faithfulness to the project of this publication, its original addressee returned the mail, which, poste restante on the west coast of the United States, in a locale not far away from the Jacques Derrida Papers housed at the Special Collections and Archives of UC Irvine, was forwarded to my inbox.My own encounter with Derrida’s work started with a simi-lar form of destinerrance, when I stumbled across Of Gramma-tology in the philosophy of language section of the W.E.B. Du Bois library at the University of Massachusetts in Amherst. A graduate student in linguistics, I was convinced that the book was addressing me. It spoke of the origins of language, took on Saussure, and developed the notion of “trace.” Freshly trained in Chomskyan linguistics, all of these seemed so familiar to me, yet I understood nothing — as if it was written in another English, an English I could pronounce but not read. 30 00 This collection of essays is an example par excellence of the post-card effect so extensively treated in Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond. None of these essays was ever meant to end up in my hands, being now the presumed “editor” of this volume. As if in an actual enactment of, or per-haps, better, faithfulness to the project of this publication, its original addressee returned the mail, which, poste restante on the west coast of the United States, in a locale not far away from the Jacques Derrida Papers housed at the Special Collections and Archives of UC Irvine, was forwarded to my inbox.My own encounter with Derrida’s work started with a simi-lar form of destinerrance, when I stumbled across Of Gramma-tology in the philosophy of language section of the W.E.B. Du Bois library at the University of Massachusetts in Amherst. A graduate student in linguistics, I was convinced that the book was addressing me. It spoke of the origins of language, took on Saussure, and developed the notion of “trace.” Freshly trained in Chomskyan linguistics, all of these seemed so familiar to me, yet I understood nothing — as if it was written in another English, an English I could pronounce but not read. 20 00 Open Access van Gerven Oei, Vincent W.J. 17 03 06 10.21983/P3.0171.1.17 227 237 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/going-postcard-the-letters-of-jacques-derrida/ Earth, Milky Way 04 01 20170515 van Gerven Oei, Vincent W.J. 02 WORLD 06 15 9780998531878 03 9780998531878 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66788 20 08 20170515 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25456 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25456/1004639.pdf?sequence=1&isAllowed=y 20 08 20170515 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31816 20 08 20170515 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j59w 20 08 20170515 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/555 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e58521cd-a819-4fb9-b182-0f09c2aadd67/download 20 08 20170515 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Going_Postcard/6m2oEAAAQBAJ 20 08 20170515 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cb11259b-7b83-498e-bc8a-7c184ee2c279 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cb11259b-7b83-498e-bc8a-7c184ee2c279/cb11259b-7b83-498e-bc8a-7c184ee2c279.pdf 20 08 20170515 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846926 29 ZENODO: download the title https://zenodo.org/records/19846926/files/cb11259b-7b83-498e-bc8a-7c184ee2c279_book.pdf 20 08 20170515 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/going-postcard-the-letters-of-jacques-derrida/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0171.1.00.pdf 20 08 20170515 01 urn:uuid:b71c5e38-17d9-4bd8-9cff-18218b95eae8 03 01 01 thoth-work-id urn:uuid:992c6ff8-e166-4014-85cc-b53af250a4e4 01 thoth-publication-id urn:uuid:b71c5e38-17d9-4bd8-9cff-18218b95eae8 15 9781947447653 03 9781947447653 06 10.21983/P3.0206.1.00 13 2018945514 01 internal-reference 0206 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Hack the Experience Tools for Artists from Cognitive Science 1 A01 Ryan Dewey Ryan Dewey 40 051fd9666 Case Western Reserve University 01 eng 00 164 03 93 AMC 10 ART059000 B2 Art+Aesthetics 12 GM B2 Built Environments 93 GLZ 20 curatorial studies; cognitive science; sensory engineering; museum studies; design theory 01 06 02 00 03 00 Hack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors.The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works. 30 00 Hack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors.The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0206.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hack-the-experience-new-tools-for-artists-from-cognitive-science/ Earth, Milky Way 04 01 20180904 Dewey, Ryan 02 WORLD 06 15 9781947447660 03 9781947447660 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447653 20 08 20180904 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/hack-the-experience-tools-for-artists-from-cognitive-science 20 08 20180904 02 24.00 USD WORLD urn:uuid:510c24e1-cb12-4124-b538-43bb4dbdc4c2 03 01 01 thoth-work-id urn:uuid:992c6ff8-e166-4014-85cc-b53af250a4e4 01 thoth-publication-id urn:uuid:510c24e1-cb12-4124-b538-43bb4dbdc4c2 15 9781947447660 03 9781947447660 06 10.21983/P3.0206.1.00 13 2018945514 01 internal-reference 0206 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Hack the Experience Tools for Artists from Cognitive Science 1 A01 Ryan Dewey Ryan Dewey 40 051fd9666 Case Western Reserve University 01 eng 00 164 03 93 AMC 10 ART059000 B2 Art+Aesthetics 12 GM B2 Built Environments 93 GLZ 20 curatorial studies; cognitive science; sensory engineering; museum studies; design theory 01 06 02 00 03 00 Hack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors.The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works. 30 00 Hack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors.The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0206.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hack-the-experience-new-tools-for-artists-from-cognitive-science/ Earth, Milky Way 04 01 20180904 Dewey, Ryan 02 WORLD 06 15 9781947447653 03 9781947447653 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25423 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25423/1004672.pdf?sequence=1&isAllowed=y 20 08 20180904 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33465 20 08 20180904 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353800 20 08 20180904 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/585 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d2c75fea-ae43-4da1-b2a8-a5221c6db7cf/download 20 08 20180904 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Hack_the_Experience/jgSVEAAAQBAJ 20 08 20180904 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/992c6ff8-e166-4014-85cc-b53af250a4e4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/992c6ff8-e166-4014-85cc-b53af250a4e4/992c6ff8-e166-4014-85cc-b53af250a4e4.pdf 20 08 20180904 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847419 29 ZENODO: download the title https://zenodo.org/records/19847419/files/992c6ff8-e166-4014-85cc-b53af250a4e4_book.pdf 20 08 20180904 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/hack-the-experience-new-tools-for-artists-from-cognitive-science/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0206.1.00.pdf 20 08 20180904 01 urn:uuid:5fabb28d-ca57-4554-8829-fc290d709bda 03 01 01 thoth-work-id urn:uuid:ac162dd4-45fb-4371-a78e-bd7380226d79 01 thoth-publication-id urn:uuid:5fabb28d-ca57-4554-8829-fc290d709bda 15 9781685711825 03 9781685711825 06 10.53288/0490.1.00 13 2025938085 01 internal-reference 0490 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in 03 11 mm 03 1.1 cm 03 0.45 in 08 448 gr 08 15.8 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Hand Book A Manual on Performance, Process, and the Labor of Laundry 1 A01 Lizzie Olesker Lizzie Olesker 40 02tvcev59 New School 40 0190ak572 New York University Lizzie Olesker (co-author) has been making theater and performance in New York City for several decades, reflecting on the politics and poetry of everyday experience. Her plays and solo performances exploring domestic work, personal memory, and quotidian gestures have been developed and presented in NYC at the Public, Cherry Lane Theatre, Clubbed Thumb, Dixon Place, New Georges and the Ohio Theater. As an actor, she’s worked with the Talking Band, appearing at La Mama and on international tour. Published in The Brooklyn Rail and by Ice Floe Press, Olesker received support from New York Foundation for the Arts, the Brooklyn Arts Council and the Dramatists Guild. Olesker teaches at the New School and New York University where she’s active with her adjunct faculty union. 2 A01 Lynne Sachs Lynne Sachs Lynne Sachs is a filmmaker and poet. Her early works on celluloid took a feminist approach to images and writing— a commitment which has grounded her ever since. With each project, Sachs investigates the connection between the body, the camera, and the materiality of film itself. Embracing archives, found images, letters, and journals, her work takes us on a critical journey through reality and memory. In films such as The House of Science, Which Way Is East, Your Day Is My Night, and Film About a Father Who, Sachs uses hybrid form and collaboration, incorporating documentary, performance, and collage. Many of her films explore the relationship between personal observations and collective historical experience. She often addresses the challenge of translation—from one language to another or from spoken work to image. These tensions are investigated in five essay films that took her to sites affected by war, where she looked at the space between a community’s memory and her own perceptions. Retrospectives of Sachs’s films have been presented at festivals in Argentina, China, Costa Rica, Cuba, Germany, Ireland, South Korea, UK, and at NYC’s Museum of the Moving Image. In 2019, Tender Buttons Press published her collection Year by Year Poems. Sachs received a Guggenheim Fellowship in the Arts and lives in Brooklyn. 06 Own website http://www.lynnesachs.com/ 3 A32 Andrea Estepa Andrea Estepa Research Fellow 40 0497crr92 Smith College Andrea Estepa is Research Fellow at Smith College and historian of women and social movements. 4 A23 Silvia Federici Silvia Federici Silvia Federici is an activist, scholar, and writer of Caliban and the Witch and Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle. 5 A32 Tera Hunter Tera Hunter Professor of African-American Studies 40 00hx57361 Princeton University Tera Hunter is Professor of African-American Studies at Princeton University and author of To ‘Joy My Freedom: Southern Black Women’s Lives and Labors After the Civil War and Bound in Wedlock: Slave and Free Black Marriage in the Nineteenth Century. 6 A32 Jasmine Holloway Jasmine Holloway Jasmine Holloway is an actor and singer who has performed with Harlem Repertory Theater and Soho Rep. 7 A32 Amanda Katz Amanda Katz Amanda Katz is a filmmaker and editor. 8 A32 Mahoma Lopez Mahoma Lopez Mahoma Lopez is co-director of the Laundry Workers Center, advocating for low-wage immigrant workers. 9 A32 Rosanna Rodriguez Rosanna Rodriguez Rosanna Rodriguez is co-director of the Laundry Workers Center, advocating for low-wage immigrant workers. 10 A32 Margarita Lopez Margarita Lopez Margarita Lopez is a laundry worker and mother living on the Lower East Side. 11 A32 Luo Xiaoyuan Xiaoyuan Luo Luo Xiaoyuan is a translator. 12 A32 Emily Rubin Emily Rubin Emily Rubin is founder of Loads of Prose and author of the novel Stalina. 13 A32 Veraalba Santa Veraalba Santa Veraalba Santa is a Puerto Rican actor and dancer with stage and film experience. 14 A32 Stephen Vitiello Stephen Vitiello Professor of Kinetic Imaging 40 02nkdxk79 Virginia Commonwealth University Stephen Vitiello is a composer and sound artist and Professor of Kinetic Imaging at Virginia Commonwealth. 01 eng 00 196 03 10 ART057000 B2 Art+Aesthetics 93 ATFD 10 ART065000 B2 Capital+Lucre 93 FXS 93 1KBB-US-NAKC B2 Moving Image 10 SOC050000 93 5PDD 93 ATFR 20 documentary; film; feminism; labor history; performance; social engagement; theater; labor rights 01 06 02 00 03 00 Hand Book: A Manual on Performance, Process, and the Labor of Laundry is a collection of writings and images from a performance and film set within a neighborhood laundromat, a microcosm of service work within our urban reality. With a focus on the people who are paid to wash and fold, Hand Book explores the convergence of dirt, stains, money, identity, and desire. Informed by both theory and history, filmmaker-poet Lynne Sachs and playwright Lizzie Olesker construct a model for making a site-specific work incorporating both live performance and film. From conversations with workers in laundromats around New York City, they develop a play that magnifies forms of manual labor that often go unrecognized. The core of Hand Book is Sachs and Olesker’s hybrid play-script which grew out of documentary material they collected in New York City over several years. Within this theatrical construct, the actors themselves navigate the dynamic between their laundry worker characters and who they are in their own lives. Images also engage with text to create an evocative graphic experience. Turning a page becomes an interactive, quasi-cinematic encounter, calling to mind the intimacy of touching other people’s clothes, almost like a second skin, the textural care for things kept close to the body.Hand Book includes essays, interviews, memoirs, and poetry that look at the relationship between art and social engagement. Observation, historical research, and fiction intersect, creating a patchwork of “what is” with a speculative, imagined “what was.” Historian and author Tera Hunter speaks to the importance of The Washing Society, a group of 3,000 Black women laundry workers who organized in Atlanta in 1881 for better pay and working conditions. Feminist historian Silvia Federici engages in a conversation about the meaning of reproductive labor and its relationship to laundry. Two leaders of a grassroots organization share their experience of immigration and activism. A dancer creates a gestural map of her choreography. An actor deconstructs the charged significance of her Civil War-era costume.Ultimately, Hand Book: A Manual on Performance, Process, and the Labor of Laundry presents an illuminating dialogue between the documentary arts, feminism, film, immigration, labor history, and theater. Throughout, a playwright and filmmaker contemplate how art-making can alter our understanding of the social structures of city life.Sachs and Olesker’s short documentary film The Washing Society will be available via QR code upon release of the book. 30 00 Hand Book: A Manual on Performance, Process, and the Labor of Laundry is a collection of writings and images from a performance and film set within a neighborhood laundromat, a microcosm of service work within our urban reality. With a focus on the people who are paid to wash and fold, Hand Book explores the convergence of dirt, stains, money, identity, and desire. Informed by both theory and history, filmmaker-poet Lynne Sachs and playwright Lizzie Olesker construct a model for making a site-specific work incorporating both live performance and film. From conversations with workers in laundromats around New York City, they develop a play that magnifies forms of manual labor that often go unrecognized. The core of Hand Book is Sachs and Olesker’s hybrid play-script which grew out of documentary material they collected in New York City over several years. Within this theatrical construct, the actors themselves navigate the dynamic between their laundry worker characters and who they are in their own lives. Images also engage with text to create an evocative graphic experience. Turning a page becomes an interactive, quasi-cinematic encounter, calling to mind the intimacy of touching other people’s clothes, almost like a second skin, the textural care for things kept close to the body.Hand Book includes essays, interviews, memoirs, and poetry that look at the relationship between art and social engagement. Observation, historical research, and fiction intersect, creating a patchwork of “what is” with a speculative, imagined “what was.” Historian and author Tera Hunter speaks to the importance of The Washing Society, a group of 3,000 Black women laundry workers who organized in Atlanta in 1881 for better pay and working conditions. Feminist historian Silvia Federici engages in a conversation about the meaning of reproductive labor and its relationship to laundry. Two leaders of a grassroots organization share their experience of immigration and activism. A dancer creates a gestural map of her choreography. An actor deconstructs the charged significance of her Civil War-era costume.Ultimately, Hand Book: A Manual on Performance, Process, and the Labor of Laundry presents an illuminating dialogue between the documentary arts, feminism, film, immigration, labor history, and theater. Throughout, a playwright and filmmaker contemplate how art-making can alter our understanding of the social structures of city life.Sachs and Olesker’s short documentary film The Washing Society will be available via QR code upon release of the book. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0490.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hand-book-a-manual-on-performance-process-and-the-labor-of-laundry/ Earth, Milky Way 04 01 20250617 Lizzie Olesker & Lynne Sachs 02 WORLD 06 15 9781685711832 03 9781685711832 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711820 20 08 20250617 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/hand-book-a-manual-on-performance-process-and-the-labor-of-laundry 20 08 20250617 02 25.00 USD WORLD urn:uuid:8851ae58-0a26-4ae7-89c8-bca1274e5e05 03 01 01 thoth-work-id urn:uuid:ac162dd4-45fb-4371-a78e-bd7380226d79 01 thoth-publication-id urn:uuid:8851ae58-0a26-4ae7-89c8-bca1274e5e05 15 9781685711832 03 9781685711832 06 10.53288/0490.1.00 13 2025938085 01 internal-reference 0490 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Hand Book A Manual on Performance, Process, and the Labor of Laundry 1 A01 Lizzie Olesker Lizzie Olesker 40 02tvcev59 New School 40 0190ak572 New York University Lizzie Olesker (co-author) has been making theater and performance in New York City for several decades, reflecting on the politics and poetry of everyday experience. Her plays and solo performances exploring domestic work, personal memory, and quotidian gestures have been developed and presented in NYC at the Public, Cherry Lane Theatre, Clubbed Thumb, Dixon Place, New Georges and the Ohio Theater. As an actor, she’s worked with the Talking Band, appearing at La Mama and on international tour. Published in The Brooklyn Rail and by Ice Floe Press, Olesker received support from New York Foundation for the Arts, the Brooklyn Arts Council and the Dramatists Guild. Olesker teaches at the New School and New York University where she’s active with her adjunct faculty union. 2 A01 Lynne Sachs Lynne Sachs Lynne Sachs is a filmmaker and poet. Her early works on celluloid took a feminist approach to images and writing— a commitment which has grounded her ever since. With each project, Sachs investigates the connection between the body, the camera, and the materiality of film itself. Embracing archives, found images, letters, and journals, her work takes us on a critical journey through reality and memory. In films such as The House of Science, Which Way Is East, Your Day Is My Night, and Film About a Father Who, Sachs uses hybrid form and collaboration, incorporating documentary, performance, and collage. Many of her films explore the relationship between personal observations and collective historical experience. She often addresses the challenge of translation—from one language to another or from spoken work to image. These tensions are investigated in five essay films that took her to sites affected by war, where she looked at the space between a community’s memory and her own perceptions. Retrospectives of Sachs’s films have been presented at festivals in Argentina, China, Costa Rica, Cuba, Germany, Ireland, South Korea, UK, and at NYC’s Museum of the Moving Image. In 2019, Tender Buttons Press published her collection Year by Year Poems. Sachs received a Guggenheim Fellowship in the Arts and lives in Brooklyn. 06 Own website http://www.lynnesachs.com/ 3 A32 Andrea Estepa Andrea Estepa Research Fellow 40 0497crr92 Smith College Andrea Estepa is Research Fellow at Smith College and historian of women and social movements. 4 A23 Silvia Federici Silvia Federici Silvia Federici is an activist, scholar, and writer of Caliban and the Witch and Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle. 5 A32 Tera Hunter Tera Hunter Professor of African-American Studies 40 00hx57361 Princeton University Tera Hunter is Professor of African-American Studies at Princeton University and author of To ‘Joy My Freedom: Southern Black Women’s Lives and Labors After the Civil War and Bound in Wedlock: Slave and Free Black Marriage in the Nineteenth Century. 6 A32 Jasmine Holloway Jasmine Holloway Jasmine Holloway is an actor and singer who has performed with Harlem Repertory Theater and Soho Rep. 7 A32 Amanda Katz Amanda Katz Amanda Katz is a filmmaker and editor. 8 A32 Mahoma Lopez Mahoma Lopez Mahoma Lopez is co-director of the Laundry Workers Center, advocating for low-wage immigrant workers. 9 A32 Rosanna Rodriguez Rosanna Rodriguez Rosanna Rodriguez is co-director of the Laundry Workers Center, advocating for low-wage immigrant workers. 10 A32 Margarita Lopez Margarita Lopez Margarita Lopez is a laundry worker and mother living on the Lower East Side. 11 A32 Luo Xiaoyuan Xiaoyuan Luo Luo Xiaoyuan is a translator. 12 A32 Emily Rubin Emily Rubin Emily Rubin is founder of Loads of Prose and author of the novel Stalina. 13 A32 Veraalba Santa Veraalba Santa Veraalba Santa is a Puerto Rican actor and dancer with stage and film experience. 14 A32 Stephen Vitiello Stephen Vitiello Professor of Kinetic Imaging 40 02nkdxk79 Virginia Commonwealth University Stephen Vitiello is a composer and sound artist and Professor of Kinetic Imaging at Virginia Commonwealth. 01 eng 00 196 03 10 ART057000 B2 Art+Aesthetics 93 ATFD 10 ART065000 B2 Capital+Lucre 93 FXS 93 1KBB-US-NAKC B2 Moving Image 10 SOC050000 93 5PDD 93 ATFR 20 documentary; film; feminism; labor history; performance; social engagement; theater; labor rights 01 06 02 00 03 00 Hand Book: A Manual on Performance, Process, and the Labor of Laundry is a collection of writings and images from a performance and film set within a neighborhood laundromat, a microcosm of service work within our urban reality. With a focus on the people who are paid to wash and fold, Hand Book explores the convergence of dirt, stains, money, identity, and desire. Informed by both theory and history, filmmaker-poet Lynne Sachs and playwright Lizzie Olesker construct a model for making a site-specific work incorporating both live performance and film. From conversations with workers in laundromats around New York City, they develop a play that magnifies forms of manual labor that often go unrecognized. The core of Hand Book is Sachs and Olesker’s hybrid play-script which grew out of documentary material they collected in New York City over several years. Within this theatrical construct, the actors themselves navigate the dynamic between their laundry worker characters and who they are in their own lives. Images also engage with text to create an evocative graphic experience. Turning a page becomes an interactive, quasi-cinematic encounter, calling to mind the intimacy of touching other people’s clothes, almost like a second skin, the textural care for things kept close to the body.Hand Book includes essays, interviews, memoirs, and poetry that look at the relationship between art and social engagement. Observation, historical research, and fiction intersect, creating a patchwork of “what is” with a speculative, imagined “what was.” Historian and author Tera Hunter speaks to the importance of The Washing Society, a group of 3,000 Black women laundry workers who organized in Atlanta in 1881 for better pay and working conditions. Feminist historian Silvia Federici engages in a conversation about the meaning of reproductive labor and its relationship to laundry. Two leaders of a grassroots organization share their experience of immigration and activism. A dancer creates a gestural map of her choreography. An actor deconstructs the charged significance of her Civil War-era costume.Ultimately, Hand Book: A Manual on Performance, Process, and the Labor of Laundry presents an illuminating dialogue between the documentary arts, feminism, film, immigration, labor history, and theater. Throughout, a playwright and filmmaker contemplate how art-making can alter our understanding of the social structures of city life.Sachs and Olesker’s short documentary film The Washing Society will be available via QR code upon release of the book. 30 00 Hand Book: A Manual on Performance, Process, and the Labor of Laundry is a collection of writings and images from a performance and film set within a neighborhood laundromat, a microcosm of service work within our urban reality. With a focus on the people who are paid to wash and fold, Hand Book explores the convergence of dirt, stains, money, identity, and desire. Informed by both theory and history, filmmaker-poet Lynne Sachs and playwright Lizzie Olesker construct a model for making a site-specific work incorporating both live performance and film. From conversations with workers in laundromats around New York City, they develop a play that magnifies forms of manual labor that often go unrecognized. The core of Hand Book is Sachs and Olesker’s hybrid play-script which grew out of documentary material they collected in New York City over several years. Within this theatrical construct, the actors themselves navigate the dynamic between their laundry worker characters and who they are in their own lives. Images also engage with text to create an evocative graphic experience. Turning a page becomes an interactive, quasi-cinematic encounter, calling to mind the intimacy of touching other people’s clothes, almost like a second skin, the textural care for things kept close to the body.Hand Book includes essays, interviews, memoirs, and poetry that look at the relationship between art and social engagement. Observation, historical research, and fiction intersect, creating a patchwork of “what is” with a speculative, imagined “what was.” Historian and author Tera Hunter speaks to the importance of The Washing Society, a group of 3,000 Black women laundry workers who organized in Atlanta in 1881 for better pay and working conditions. Feminist historian Silvia Federici engages in a conversation about the meaning of reproductive labor and its relationship to laundry. Two leaders of a grassroots organization share their experience of immigration and activism. A dancer creates a gestural map of her choreography. An actor deconstructs the charged significance of her Civil War-era costume.Ultimately, Hand Book: A Manual on Performance, Process, and the Labor of Laundry presents an illuminating dialogue between the documentary arts, feminism, film, immigration, labor history, and theater. Throughout, a playwright and filmmaker contemplate how art-making can alter our understanding of the social structures of city life.Sachs and Olesker’s short documentary film The Washing Society will be available via QR code upon release of the book. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0490.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hand-book-a-manual-on-performance-process-and-the-labor-of-laundry/ Earth, Milky Way 04 01 20250617 Lizzie Olesker & Lynne Sachs 02 WORLD 06 15 9781685711825 03 9781685711825 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/103771 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/103771/0490.1.00.pdf?sequence=1&isAllowed=y 20 08 20250617 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/891 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a011b82c-701a-45f1-99c7-65d2ef2c1d69/download 20 08 20250617 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ac162dd4-45fb-4371-a78e-bd7380226d79 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ac162dd4-45fb-4371-a78e-bd7380226d79/ac162dd4-45fb-4371-a78e-bd7380226d79.pdf 20 08 20250617 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851145 29 ZENODO: download the title https://zenodo.org/records/19851145/files/ac162dd4-45fb-4371-a78e-bd7380226d79_book.pdf 20 08 20250617 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/hand-book-a-manual-on-performance-process-and-the-labor-of-laundry/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0490.1.00.pdf 20 08 20250617 01 urn:uuid:ad9944d7-fdc0-4db4-8f82-d1e39cfc4002 03 01 01 thoth-work-id urn:uuid:bbe77bbb-0242-46d7-92d2-cfd35c17fe8f 01 thoth-publication-id urn:uuid:ad9944d7-fdc0-4db4-8f82-d1e39cfc4002 15 9780998531885 03 9780998531885 06 10.21983/P3.0170.1.00 01 internal-reference 0170 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Heathen Earth Trumpism and Political Ecology 1 A01 Kyle McGee Kyle McGee 01 eng 00 158 03 B2 Anthropocene 93 JPA 12 KCP 10 NAT010000 B2 Capital+Lucre 10 POL064000 93 RNA 93 JPFN B2 New Left Thought 93 1KBB 93 3MRB 20 ecocide; political ecology; geophilosophy; ecology; anthropocene; Donald J. Trump 01 06 02 00 03 00 Heathen Earth: Trumpism and Political Ecology looks beyond the rising fortunes of authoritarian nationalism in a fossil-fueled late capitalist world to encounter its conditions. Trumpism represents an alternative to the forces undermining the very cosmology of the modern West from two opposing directions. The global economy, the pinnacle of modernization, has brought along a dark side of massive inequality, corrupt institutions, colonial violence, and environmental destruction, while global warming, the nadir of modernity, threatens to undo the foundations of all states and all markets. To the vertigo of placelessness, symptomatic of globalization, is added the ecological vertigo of landlessness. With reality slowly fragmenting, it is only too obvious in this light that Trumpism and other nationalist movements would attract massive hordes of supporters. Promising to expel foreigners and to restore unity and equality by taking power back from the global elites, while utterly denying the climate science that calls ordinary means of subsistence and consumption radically into question, Trumpism can be seen as an antidote to the toxic combination of global markets and global warming. The irony, of course, is that Trumpism only responds to these dangers by doubling down on the reckless expansionist logic that gave rise to them in the first place.This book, composed entirely between November 8, 2016 and January 20, 2017, examines Trumpism according to its regime of political representation (despotism), its political ontology (nativism), and its political ecology (geocide), while laying the groundwork for an alternative politics and a resistant, responsive ecology of the incompossible. 30 00 Heathen Earth: Trumpism and Political Ecology looks beyond the rising fortunes of authoritarian nationalism in a fossil-fueled late capitalist world to encounter its conditions. Trumpism represents an alternative to the forces undermining the very cosmology of the modern West from two opposing directions. The global economy, the pinnacle of modernization, has brought along a dark side of massive inequality, corrupt institutions, colonial violence, and environmental destruction, while global warming, the nadir of modernity, threatens to undo the foundations of all states and all markets. To the vertigo of placelessness, symptomatic of globalization, is added the ecological vertigo of landlessness. With reality slowly fragmenting, it is only too obvious in this light that Trumpism and other nationalist movements would attract massive hordes of supporters. Promising to expel foreigners and to restore unity and equality by taking power back from the global elites, while utterly denying the climate science that calls ordinary means of subsistence and consumption radically into question, Trumpism can be seen as an antidote to the toxic combination of global markets and global warming. The irony, of course, is that Trumpism only responds to these dangers by doubling down on the reckless expansionist logic that gave rise to them in the first place.This book, composed entirely between November 8, 2016 and January 20, 2017, examines Trumpism according to its regime of political representation (despotism), its political ontology (nativism), and its political ecology (geocide), while laying the groundwork for an alternative politics and a resistant, responsive ecology of the incompossible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0170.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/heathen-earth-trumpism-and-political-ecology/ Earth, Milky Way 04 01 20170509 McGee, Kyle 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/099853188X 20 08 20170509 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/heathen-earth-trumpism-and-political-ecology 20 08 20170509 02 22.00 USD WORLD urn:uuid:4d3d1683-5ede-47c0-8910-361830e8eee6 03 01 01 thoth-work-id urn:uuid:bbe77bbb-0242-46d7-92d2-cfd35c17fe8f 01 thoth-publication-id urn:uuid:4d3d1683-5ede-47c0-8910-361830e8eee6 06 10.21983/P3.0170.1.00 01 internal-reference 0170 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Heathen Earth Trumpism and Political Ecology 1 A01 Kyle McGee Kyle McGee 01 eng 00 158 03 B2 Anthropocene 93 JPA 12 KCP 10 NAT010000 B2 Capital+Lucre 10 POL064000 93 RNA 93 JPFN B2 New Left Thought 93 1KBB 93 3MRB 20 ecocide; political ecology; geophilosophy; ecology; anthropocene; Donald J. Trump 01 06 02 00 03 00 Heathen Earth: Trumpism and Political Ecology looks beyond the rising fortunes of authoritarian nationalism in a fossil-fueled late capitalist world to encounter its conditions. Trumpism represents an alternative to the forces undermining the very cosmology of the modern West from two opposing directions. The global economy, the pinnacle of modernization, has brought along a dark side of massive inequality, corrupt institutions, colonial violence, and environmental destruction, while global warming, the nadir of modernity, threatens to undo the foundations of all states and all markets. To the vertigo of placelessness, symptomatic of globalization, is added the ecological vertigo of landlessness. With reality slowly fragmenting, it is only too obvious in this light that Trumpism and other nationalist movements would attract massive hordes of supporters. Promising to expel foreigners and to restore unity and equality by taking power back from the global elites, while utterly denying the climate science that calls ordinary means of subsistence and consumption radically into question, Trumpism can be seen as an antidote to the toxic combination of global markets and global warming. The irony, of course, is that Trumpism only responds to these dangers by doubling down on the reckless expansionist logic that gave rise to them in the first place.This book, composed entirely between November 8, 2016 and January 20, 2017, examines Trumpism according to its regime of political representation (despotism), its political ontology (nativism), and its political ecology (geocide), while laying the groundwork for an alternative politics and a resistant, responsive ecology of the incompossible. 30 00 Heathen Earth: Trumpism and Political Ecology looks beyond the rising fortunes of authoritarian nationalism in a fossil-fueled late capitalist world to encounter its conditions. Trumpism represents an alternative to the forces undermining the very cosmology of the modern West from two opposing directions. The global economy, the pinnacle of modernization, has brought along a dark side of massive inequality, corrupt institutions, colonial violence, and environmental destruction, while global warming, the nadir of modernity, threatens to undo the foundations of all states and all markets. To the vertigo of placelessness, symptomatic of globalization, is added the ecological vertigo of landlessness. With reality slowly fragmenting, it is only too obvious in this light that Trumpism and other nationalist movements would attract massive hordes of supporters. Promising to expel foreigners and to restore unity and equality by taking power back from the global elites, while utterly denying the climate science that calls ordinary means of subsistence and consumption radically into question, Trumpism can be seen as an antidote to the toxic combination of global markets and global warming. The irony, of course, is that Trumpism only responds to these dangers by doubling down on the reckless expansionist logic that gave rise to them in the first place.This book, composed entirely between November 8, 2016 and January 20, 2017, examines Trumpism according to its regime of political representation (despotism), its political ontology (nativism), and its political ecology (geocide), while laying the groundwork for an alternative politics and a resistant, responsive ecology of the incompossible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0170.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/heathen-earth-trumpism-and-political-ecology/ Earth, Milky Way 04 01 20170509 McGee, Kyle 02 WORLD 06 15 9780998531885 03 9780998531885 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76530 20 08 20170509 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25457 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25457/1004638.pdf?sequence=1&isAllowed=y 20 08 20170509 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26566 20 08 20170509 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353915 20 08 20170509 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/554 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b7daf035-43d2-4cf1-ad2c-ead71a0d6bdc/download 20 08 20170509 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Heathen_Earth_Trumpism_and_Political_Eco/mAWVEAAAQBAJ 20 08 20170509 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bbe77bbb-0242-46d7-92d2-cfd35c17fe8f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bbe77bbb-0242-46d7-92d2-cfd35c17fe8f/bbe77bbb-0242-46d7-92d2-cfd35c17fe8f.pdf 20 08 20170509 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846896 29 ZENODO: download the title https://zenodo.org/records/19846896/files/bbe77bbb-0242-46d7-92d2-cfd35c17fe8f_book.pdf 20 08 20170509 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/heathen-earth-trumpism-and-political-ecology/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0170.1.00.pdf 20 08 20170509 01 urn:uuid:408afaa3-979c-4121-b201-d1f7fd9302b9 03 01 01 thoth-work-id urn:uuid:875a78d7-fad2-4c22-bb04-35e0456b6efa 01 thoth-publication-id urn:uuid:408afaa3-979c-4121-b201-d1f7fd9302b9 15 9781685711207 03 9781685711207 06 10.53288/0364.1.00 13 2024947276 01 internal-reference 0364 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 14 mm 03 1.4 cm 03 0.57 in 08 340 gr 08 12 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Heavy Processing 1 A01 21 000000030713491X T.L. Cowan T.L. Cowan 40 03dbr7087 University of Toronto 2 A01 21 0000000297864037 Jas Rault Jas Rault 40 03dbr7087 University of Toronto 01 eng 00 256 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 93 JBSF3 12 JFSK B2 Manifesto! 10 SOC017000 93 JBSJ 12 JFD B2 TransQueer 93 JBCT1 93 5PSL 93 UXA 20 digital media studies; feminist research methods; queer studies; gender studies; trans studies; critical digital methods; networked intimate publics 01 06 02 00 03 00 What happens when we take the joke of “lesbian processing” seriously as a research method? Heavy Processing does just this, by tracing the multi-directional genealogies and vast affinities of processing-heavy methods as innovations in information technologies (operating systems, central processing units, network designs). Part methods handbook, manifesto, and survival guide, this book opens up the fields of information studies, data studies, digital media studies, and digital humanities to critical digital methods, information technologies, and infrastructures: trans- feminist and queer (TFQ) cultural protocols and ways of working.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials. They write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals; for anyone interested in digital media and feminist, queer, and transcultural studies; and for anyone who has ever been studied.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials; they write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals, for anyone interested in digital media and feminist, queer, and transcultural studies, and for anyone who has ever been studied. 30 00 What happens when we take the joke of “lesbian processing” seriously as a research method? Heavy Processing does just this, by tracing the multi-directional genealogies and vast affinities of processing-heavy methods as innovations in information technologies (operating systems, central processing units, network designs). Part methods handbook, manifesto, and survival guide, this book opens up the fields of information studies, data studies, digital media studies, and digital humanities to critical digital methods, information technologies, and infrastructures: trans- feminist and queer (TFQ) cultural protocols and ways of working.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials. They write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals; for anyone interested in digital media and feminist, queer, and transcultural studies; and for anyone who has ever been studied.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials; they write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals, for anyone interested in digital media and feminist, queer, and transcultural studies, and for anyone who has ever been studied. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0364.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/heavy-processing/ Earth, Milky Way 04 01 20241127 Cowan, T.L. Rault, Jasmine 02 WORLD 06 15 9781685711214 03 9781685711214 34 06 10.14197/atr.201220148 34 06 10.5334/dsj-2020-043.29 34 06 10.1177/1363460720902720 34 06 10.1215/23289252-2400073 34 06 10.1215/00382876-8916032 34 06 10.5749/j.ctt1cn6thb.11 34 06 10.1080/10894160.2015.1076232 34 06 10.1177/0263276406069232 34 06 10.1007/s10502-021-09372-1 34 06 10.1177/1461444816677 34 06 10.1080/09612025.2015.1132980 34 06 10.4324/9780429506765-14 34 06 10.1177/0267323116682792 34 06 10.1177/1461444817727156 34 06 10.4324/9781315730479-42 34 06 10.1215/23289252-3151565 34 06 10.1080/08164649.2017.1357014 34 06 10.1145/3364685 34 06 10.5749/j.ctt1cn6thb.17 34 06 10.5749/j.ctv9hj9r9.7 34 06 10.1215/02705346-2008-018 34 06 10.1057/9781137411846 34 06 10.51644/9781771124041-005 34 06 10.51644/9781554586509-005 34 06 10.7202/1050827ar 34 06 10.1353/aq.2018.0048 34 06 10.5210/fm.v23i7.9256 34 06 10.1215/23289252-2815201 34 06 10.4324/9780429505188-14 34 06 10.28968/cftt.v8i2.39036 34 06 10.1080/0740770X.2018.1473985 34 06 10.1353/fem.2020.0022 34 06 10.1215/10642684-2-4-351 34 06 10.1177/20563051231224270 34 06 10.7551/mitpress/7687.003.0006 34 06 10.1057/9780230592469_13 34 06 10.1007/978-3-319-97607- 34 06 10.1080/08164649.2021.1995846 34 06 10.1215/23289252-4291502 34 06 10.1215/23289252-3334247 34 06 10.1080/1369118X.2016.1203970 34 06 10.1353/fro.2018.a690808 34 06 10.1145/3359292 34 06 10.22148/16.044 34 06 10.1080/14680777.2019.1678505 34 06 10.28968/cftt.v5i1.29607 34 06 10.1080/0740770X.2013.805637 34 06 10.1002/symb.260 34 06 10.1086/495413 34 06 10.1215/01642472-7145658 34 06 10.7264/N3MW2F2J 34 06 10.1353/cj.2014.0004 34 06 10.4018/978-1-5225-1665-1.ch016 34 06 10.1080/14680777.2015.1008747 34 06 10.1017/9781641890519.005 34 06 10.53288/0274.1.00 34 06 10.1353/fro.2018.a690813 34 06 10.1177/0038026120934685 34 06 10.1080/10894160.2021.2000560 34 06 10.5040/9781350237506 34 06 10.1215/02705346-3662048 34 06 10.1177/2056305118768297 34 06 10.1177/1461444810365313 34 06 10.1515/9781478012573 34 06 10.1080/08164649.2017.1357006 34 06 10.1215/10642684-2009-015 34 06 10.1177/2053951716662054 34 06 10.14506/ca32.4.02 34 06 10.1177/0306312715589136 34 06 10.3898/NEWF.86.06.2015 34 06 10.1177/04866134211011269 34 06 10.1177/1461444818769694 34 06 10.28968/cftt.v8i2.37697 34 06 10.4324/9781315746050 34 06 10.1177/1609406918812346 34 06 10.18584/iipj.2020.11.4.8215 34 06 10.1353/jowh.2003.0079 34 06 10.2307/3245182 34 06 10.22381/JRGS10120206 34 06 10.1086/448612 34 06 10.1080/13527258.2017.1339109 34 06 10.1080/14791420.2013.812600 34 06 10.1215/02705346-8359652 34 06 10.1515/9780822376781 34 06 10.1215/23289252-2399704 34 06 10.1215/02705346-10-2_29-150 34 06 10.1177/1464700117742870 34 06 10.1215/01636545-2007-026 34 06 10.1177/1077699019841380 34 06 10.1215/01642472-18-2_63-33 34 06 10.1177/1077800403254894 34 06 10.17763/haer.79.3.n0016675661t3n15 34 06 10.4135/9781544329611.n12 34 06 10.1080/08838151.2012.705194 34 06 10.1080/0740770X.2013.786305 34 06 10.3726/b11077 34 06 10.5334/dsj-2020-043 34 06 10.3138/ctr.143.47 34 06 10.3138/topia.25.230 34 06 10.3138/ctr.150.17 34 06 10.3138/tric.40.1_2.118 34 06 10.7264/N3CN7263 34 06 10.1038/s41559-023-02161-2 34 06 10.21983/P3.0230.1.00 34 06 10.1353/aq.2018.0027 34 06 10.3138/ctr.166.007 34 06 10.1353/aq.2020.0053 34 06 10.1515/pdtc-2017-0025 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/heavy-processing 20 08 20241127 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711200 20 08 20241127 02 24.00 USD WORLD urn:uuid:588e47cf-03c7-4465-9c46-05c441a71201 03 01 01 thoth-work-id urn:uuid:875a78d7-fad2-4c22-bb04-35e0456b6efa 01 thoth-publication-id urn:uuid:588e47cf-03c7-4465-9c46-05c441a71201 15 9781685711214 03 9781685711214 06 10.53288/0364.1.00 13 2024947276 01 internal-reference 0364 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Heavy Processing 1 A01 21 000000030713491X T.L. Cowan T.L. Cowan 40 03dbr7087 University of Toronto 2 A01 21 0000000297864037 Jas Rault Jas Rault 40 03dbr7087 University of Toronto 01 eng 00 256 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 93 JBSF3 12 JFSK B2 Manifesto! 10 SOC017000 93 JBSJ 12 JFD B2 TransQueer 93 JBCT1 93 5PSL 93 UXA 20 digital media studies; feminist research methods; queer studies; gender studies; trans studies; critical digital methods; networked intimate publics 01 06 02 00 03 00 What happens when we take the joke of “lesbian processing” seriously as a research method? Heavy Processing does just this, by tracing the multi-directional genealogies and vast affinities of processing-heavy methods as innovations in information technologies (operating systems, central processing units, network designs). Part methods handbook, manifesto, and survival guide, this book opens up the fields of information studies, data studies, digital media studies, and digital humanities to critical digital methods, information technologies, and infrastructures: trans- feminist and queer (TFQ) cultural protocols and ways of working.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials. They write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals; for anyone interested in digital media and feminist, queer, and transcultural studies; and for anyone who has ever been studied.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials; they write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals, for anyone interested in digital media and feminist, queer, and transcultural studies, and for anyone who has ever been studied. 30 00 What happens when we take the joke of “lesbian processing” seriously as a research method? Heavy Processing does just this, by tracing the multi-directional genealogies and vast affinities of processing-heavy methods as innovations in information technologies (operating systems, central processing units, network designs). Part methods handbook, manifesto, and survival guide, this book opens up the fields of information studies, data studies, digital media studies, and digital humanities to critical digital methods, information technologies, and infrastructures: trans- feminist and queer (TFQ) cultural protocols and ways of working.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials. They write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals; for anyone interested in digital media and feminist, queer, and transcultural studies; and for anyone who has ever been studied.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials; they write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals, for anyone interested in digital media and feminist, queer, and transcultural studies, and for anyone who has ever been studied. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0364.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/heavy-processing/ Earth, Milky Way 04 01 20241127 Cowan, T.L. Rault, Jasmine 02 WORLD 06 15 9781685711207 03 9781685711207 34 06 10.14197/atr.201220148 34 06 10.5334/dsj-2020-043.29 34 06 10.1177/1363460720902720 34 06 10.1215/23289252-2400073 34 06 10.1215/00382876-8916032 34 06 10.5749/j.ctt1cn6thb.11 34 06 10.1080/10894160.2015.1076232 34 06 10.1177/0263276406069232 34 06 10.1007/s10502-021-09372-1 34 06 10.1177/1461444816677 34 06 10.1080/09612025.2015.1132980 34 06 10.4324/9780429506765-14 34 06 10.1177/0267323116682792 34 06 10.1177/1461444817727156 34 06 10.4324/9781315730479-42 34 06 10.1215/23289252-3151565 34 06 10.1080/08164649.2017.1357014 34 06 10.1145/3364685 34 06 10.5749/j.ctt1cn6thb.17 34 06 10.5749/j.ctv9hj9r9.7 34 06 10.1215/02705346-2008-018 34 06 10.1057/9781137411846 34 06 10.51644/9781771124041-005 34 06 10.51644/9781554586509-005 34 06 10.7202/1050827ar 34 06 10.1353/aq.2018.0048 34 06 10.5210/fm.v23i7.9256 34 06 10.1215/23289252-2815201 34 06 10.4324/9780429505188-14 34 06 10.28968/cftt.v8i2.39036 34 06 10.1080/0740770X.2018.1473985 34 06 10.1353/fem.2020.0022 34 06 10.1215/10642684-2-4-351 34 06 10.1177/20563051231224270 34 06 10.7551/mitpress/7687.003.0006 34 06 10.1057/9780230592469_13 34 06 10.1007/978-3-319-97607- 34 06 10.1080/08164649.2021.1995846 34 06 10.1215/23289252-4291502 34 06 10.1215/23289252-3334247 34 06 10.1080/1369118X.2016.1203970 34 06 10.1353/fro.2018.a690808 34 06 10.1145/3359292 34 06 10.22148/16.044 34 06 10.1080/14680777.2019.1678505 34 06 10.28968/cftt.v5i1.29607 34 06 10.1080/0740770X.2013.805637 34 06 10.1002/symb.260 34 06 10.1086/495413 34 06 10.1215/01642472-7145658 34 06 10.7264/N3MW2F2J 34 06 10.1353/cj.2014.0004 34 06 10.4018/978-1-5225-1665-1.ch016 34 06 10.1080/14680777.2015.1008747 34 06 10.1017/9781641890519.005 34 06 10.53288/0274.1.00 34 06 10.1353/fro.2018.a690813 34 06 10.1177/0038026120934685 34 06 10.1080/10894160.2021.2000560 34 06 10.5040/9781350237506 34 06 10.1215/02705346-3662048 34 06 10.1177/2056305118768297 34 06 10.1177/1461444810365313 34 06 10.1515/9781478012573 34 06 10.1080/08164649.2017.1357006 34 06 10.1215/10642684-2009-015 34 06 10.1177/2053951716662054 34 06 10.14506/ca32.4.02 34 06 10.1177/0306312715589136 34 06 10.3898/NEWF.86.06.2015 34 06 10.1177/04866134211011269 34 06 10.1177/1461444818769694 34 06 10.28968/cftt.v8i2.37697 34 06 10.4324/9781315746050 34 06 10.1177/1609406918812346 34 06 10.18584/iipj.2020.11.4.8215 34 06 10.1353/jowh.2003.0079 34 06 10.2307/3245182 34 06 10.22381/JRGS10120206 34 06 10.1086/448612 34 06 10.1080/13527258.2017.1339109 34 06 10.1080/14791420.2013.812600 34 06 10.1215/02705346-8359652 34 06 10.1515/9780822376781 34 06 10.1215/23289252-2399704 34 06 10.1215/02705346-10-2_29-150 34 06 10.1177/1464700117742870 34 06 10.1215/01636545-2007-026 34 06 10.1177/1077699019841380 34 06 10.1215/01642472-18-2_63-33 34 06 10.1177/1077800403254894 34 06 10.17763/haer.79.3.n0016675661t3n15 34 06 10.4135/9781544329611.n12 34 06 10.1080/08838151.2012.705194 34 06 10.1080/0740770X.2013.786305 34 06 10.3726/b11077 34 06 10.5334/dsj-2020-043 34 06 10.3138/ctr.143.47 34 06 10.3138/topia.25.230 34 06 10.3138/ctr.150.17 34 06 10.3138/tric.40.1_2.118 34 06 10.7264/N3CN7263 34 06 10.1038/s41559-023-02161-2 34 06 10.21983/P3.0230.1.00 34 06 10.1353/aq.2018.0027 34 06 10.3138/ctr.166.007 34 06 10.1353/aq.2020.0053 34 06 10.1515/pdtc-2017-0025 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/94889 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/94889/0364.1.00.pdf?sequence=1&isAllowed=y 20 08 20241127 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/148257 20 08 20241127 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526486 20 08 20241127 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/822 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6e66ff12-de10-45b2-bb6e-f08a0a795159/download 20 08 20241127 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/875a78d7-fad2-4c22-bb04-35e0456b6efa 29 INTERNET_ARCHIVE: download the title https://archive.org/download/875a78d7-fad2-4c22-bb04-35e0456b6efa/875a78d7-fad2-4c22-bb04-35e0456b6efa.pdf 20 08 20241127 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850768 29 ZENODO: download the title https://zenodo.org/records/19850768/files/875a78d7-fad2-4c22-bb04-35e0456b6efa_book.pdf 20 08 20241127 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/heavy-processing/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0364.1.00.pdf 20 08 20241127 01 urn:uuid:a3b7a29e-b8ad-43cc-8da6-06f111099102 03 01 01 thoth-work-id urn:uuid:f8b57164-89e6-48b1-bd70-9d360b53a453 01 thoth-publication-id urn:uuid:a3b7a29e-b8ad-43cc-8da6-06f111099102 15 9781953035646 03 9781953035646 06 10.53288/0352.1.00 13 2021940246 01 internal-reference 0352 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Helicography 1 A01 Craig Dworkin Craig Dworkin 40 03r0ha626 University of Utah 01 eng 00 224 03 10 ART008000 B2 Art+Aesthetics 93 DCF 12 DCF 93 6CK 12 ACXJ5 B2 Built Environments 10 POE023030 B2 Thought Experiments 20 scale; Robert Smithson; Alfred Jarry; pataphysics; Spiral Jetty; land art; conceptual art 01 06 02 00 03 00 Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies.Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet.The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west. 30 00 Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies.Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet.The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0352.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helicography/ 16 40 03r0ha626 32 10.13039/100007747 University of Utah Earth, Milky Way 04 01 20210722 Dworkin, Craig 02 WORLD 06 15 9781953035653 03 9781953035653 34 06 10.2307/842801 34 06 10.1353/nlh.2012.0007 34 06 10.1002/jmor.10814 34 06 10.1016/S0962-6298(97)00049-8 34 06 10.1177/0263276406069883 34 06 10.1215/0961754X-1630424 34 06 10.1073/pnas.0710037105 34 06 10.1038/s41598-017-07795-4 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035647 20 08 20210722 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/helicography 20 08 20210722 02 24.00 USD WORLD urn:uuid:30b75974-fd4c-4f07-98ee-17bbfc26387b 03 01 01 thoth-work-id urn:uuid:f8b57164-89e6-48b1-bd70-9d360b53a453 01 thoth-publication-id urn:uuid:30b75974-fd4c-4f07-98ee-17bbfc26387b 15 9781953035653 03 9781953035653 06 10.53288/0352.1.00 13 2021940246 01 internal-reference 0352 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Helicography 1 A01 Craig Dworkin Craig Dworkin 40 03r0ha626 University of Utah 01 eng 00 224 03 10 ART008000 B2 Art+Aesthetics 93 DCF 12 DCF 93 6CK 12 ACXJ5 B2 Built Environments 10 POE023030 B2 Thought Experiments 20 scale; Robert Smithson; Alfred Jarry; pataphysics; Spiral Jetty; land art; conceptual art 01 06 02 00 03 00 Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies.Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet.The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west. 30 00 Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies.Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet.The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0352.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helicography/ 16 40 03r0ha626 32 10.13039/100007747 University of Utah Earth, Milky Way 04 01 20210722 Dworkin, Craig 02 WORLD 06 15 9781953035646 03 9781953035646 34 06 10.2307/842801 34 06 10.1353/nlh.2012.0007 34 06 10.1002/jmor.10814 34 06 10.1016/S0962-6298(97)00049-8 34 06 10.1177/0263276406069883 34 06 10.1215/0961754X-1630424 34 06 10.1073/pnas.0710037105 34 06 10.1038/s41598-017-07795-4 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50124 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50124/0352.1.00.pdf?sequence=1&isAllowed=y 20 08 20210722 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71377 20 08 20210722 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1wvnct1 20 08 20210722 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/671 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1ddc514f-82c5-4ed6-a7df-49d2eedfba0a/download 20 08 20210722 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Helicography/TZ-oEAAAQBAJ 20 08 20210722 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f8b57164-89e6-48b1-bd70-9d360b53a453 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f8b57164-89e6-48b1-bd70-9d360b53a453/f8b57164-89e6-48b1-bd70-9d360b53a453.pdf 20 08 20210722 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848944 29 ZENODO: download the title https://zenodo.org/records/19848944/files/f8b57164-89e6-48b1-bd70-9d360b53a453_book.pdf 20 08 20210722 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/helicography/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0352.1.00.pdf 20 08 20210722 01 urn:uuid:6ee7f596-d9f8-4c1a-b7bf-e587e17ea966 03 01 01 thoth-work-id urn:uuid:417ecc06-51a4-4660-959b-482763864559 01 thoth-publication-id urn:uuid:6ee7f596-d9f8-4c1a-b7bf-e587e17ea966 15 9780615758282 03 9780615758282 06 10.21983/P3.0027.1.00 01 internal-reference 0027 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 191 mm 02 19.1 cm 02 7.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Helvete 1 Incipit 1 A01 Amelia Ishmael Amelia Ishmael 2 A01 Zareen Price Zareen Price 3 A01 Aspasia Stephanou Aspasia Stephanou 4 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 00 134 03 B2 Art+Aesthetics 93 AVA 12 JFCA 10 MUS019000 93 6HA B2 Cultural Studies+Critical Theory B2 Sound+Noise 20 black metal; cultural studies; music theory 01 06 02 00 03 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.” 30 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0027.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/helvete/ Helvete 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helvete-1-incipit/ Brooklyn, NY 04 01 20130409 Ishmael, Amelia Price, Zareen Stephanou, Aspasia Woodard, Ben 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615758282 20 08 20130409 02 37.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/helvete-1-incipit 20 08 20130409 02 37.00 USD WORLD urn:uuid:ee8c4e66-f494-4d49-a895-3f8f5865ee50 03 01 01 thoth-work-id urn:uuid:417ecc06-51a4-4660-959b-482763864559 01 thoth-publication-id urn:uuid:ee8c4e66-f494-4d49-a895-3f8f5865ee50 06 10.21983/P3.0027.1.00 01 internal-reference 0027 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Helvete 1 Incipit 1 A01 Amelia Ishmael Amelia Ishmael 2 A01 Zareen Price Zareen Price 3 A01 Aspasia Stephanou Aspasia Stephanou 4 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 00 134 03 B2 Art+Aesthetics 93 AVA 12 JFCA 10 MUS019000 93 6HA B2 Cultural Studies+Critical Theory B2 Sound+Noise 20 black metal; cultural studies; music theory 01 06 02 00 03 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.” 30 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0027.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/helvete/ Helvete 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helvete-1-incipit/ Brooklyn, NY 04 01 20130409 Ishmael, Amelia Price, Zareen Stephanou, Aspasia Woodard, Ben 02 WORLD 06 15 9780615758282 03 9780615758282 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353978 20 08 20130409 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/406 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e7ab3a59-1053-43b8-94f1-fa704d5ef27f/download 20 08 20130409 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/417ecc06-51a4-4660-959b-482763864559 29 INTERNET_ARCHIVE: download the title https://archive.org/download/417ecc06-51a4-4660-959b-482763864559/417ecc06-51a4-4660-959b-482763864559.pdf 20 08 20130409 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693133 29 ZENODO: download the title https://zenodo.org/records/19693133/files/417ecc06-51a4-4660-959b-482763864559_book.pdf 20 08 20130409 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/helvete-1-incipit/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0027.1.00.pdf 20 08 20130409 01 urn:uuid:72f89727-1a00-4fd7-a11a-0eccdd7f313e 03 01 01 thoth-work-id urn:uuid:3cc0269d-7170-4981-8ac7-5b01e7b9e080 01 thoth-publication-id urn:uuid:72f89727-1a00-4fd7-a11a-0eccdd7f313e 15 9780692361436 03 9780692361436 06 10.21983/P3.0102.1.00 01 internal-reference 0102 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 191 mm 02 19.1 cm 02 7.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Helvete 2 With Head Downwards: Inversions in Black Metal 1 B01 Niall Scott Niall Scott 2 B01 Steve Shakespeare Steve Shakespeare 01 eng 00 113 03 B2 Art+Aesthetics 93 AVA 12 JFCA 10 MUS019000 93 6HA B2 Cultural Studies+Critical Theory B2 Sound+Noise 20 black metal; theory; music; cultural studies 01 06 02 00 03 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Issue 2 focuses on the theme of Inversions in Black Metal. Nailed at the heart of many a logo, suspended from the neck, held out in Satanic blessing: the inverted cross is one of black metal’s anti-icons. The antithesis of a revelation of light, it signifies an originary blasphemy. Forsaking ascension and mining a path towards the centre of the earth, black metal finds a satanic stain lodged at the core of being. However, the significance of this movement is not bound by a simple reversal. The inverted cross hangs above a swarming logic of inversion: the overturning of Christianity, but also a mimesis of Christian self-desecration; the rejection of certain forms of religion, but also of modernity’s pallid enlightenment; the invocation of strange gods of the earth, even as the earth is cursed. When thought becomes poison, it is no longer so easy to determine which way is up and which way is down. To throw down one’s head, to push oneself into the cursed earth, to occupy the place of the inverted crucified: is this to think-by-not-thinking an unconditioned rapture beyond negation and affirmation? 30 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Issue 2 focuses on the theme of Inversions in Black Metal. Nailed at the heart of many a logo, suspended from the neck, held out in Satanic blessing: the inverted cross is one of black metal’s anti-icons. The antithesis of a revelation of light, it signifies an originary blasphemy. Forsaking ascension and mining a path towards the centre of the earth, black metal finds a satanic stain lodged at the core of being. However, the significance of this movement is not bound by a simple reversal. The inverted cross hangs above a swarming logic of inversion: the overturning of Christianity, but also a mimesis of Christian self-desecration; the rejection of certain forms of religion, but also of modernity’s pallid enlightenment; the invocation of strange gods of the earth, even as the earth is cursed. When thought becomes poison, it is no longer so easy to determine which way is up and which way is down. To throw down one’s head, to push oneself into the cursed earth, to occupy the place of the inverted crucified: is this to think-by-not-thinking an unconditioned rapture beyond negation and affirmation? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0102.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/helvete/ Helvete 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helvete-2-with-head-downwards/ Brooklyn, NY 04 01 20150519 Scott, Niall Shakespeare, Steve 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/069236143X 20 08 20150519 02 35.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/helvete-2-with-head-downwards-inversions-in-black-metal 20 08 20150519 02 35.00 USD WORLD urn:uuid:4026ca3d-ccc9-49ac-996b-4ffb7f4169f3 03 01 01 thoth-work-id urn:uuid:3cc0269d-7170-4981-8ac7-5b01e7b9e080 01 thoth-publication-id urn:uuid:4026ca3d-ccc9-49ac-996b-4ffb7f4169f3 06 10.21983/P3.0102.1.00 01 internal-reference 0102 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Helvete 2 With Head Downwards: Inversions in Black Metal 1 B01 Niall Scott Niall Scott 2 B01 Steve Shakespeare Steve Shakespeare 01 eng 00 113 03 B2 Art+Aesthetics 93 AVA 12 JFCA 10 MUS019000 93 6HA B2 Cultural Studies+Critical Theory B2 Sound+Noise 20 black metal; theory; music; cultural studies 01 06 02 00 03 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Issue 2 focuses on the theme of Inversions in Black Metal. Nailed at the heart of many a logo, suspended from the neck, held out in Satanic blessing: the inverted cross is one of black metal’s anti-icons. The antithesis of a revelation of light, it signifies an originary blasphemy. Forsaking ascension and mining a path towards the centre of the earth, black metal finds a satanic stain lodged at the core of being. However, the significance of this movement is not bound by a simple reversal. The inverted cross hangs above a swarming logic of inversion: the overturning of Christianity, but also a mimesis of Christian self-desecration; the rejection of certain forms of religion, but also of modernity’s pallid enlightenment; the invocation of strange gods of the earth, even as the earth is cursed. When thought becomes poison, it is no longer so easy to determine which way is up and which way is down. To throw down one’s head, to push oneself into the cursed earth, to occupy the place of the inverted crucified: is this to think-by-not-thinking an unconditioned rapture beyond negation and affirmation? 30 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Issue 2 focuses on the theme of Inversions in Black Metal. Nailed at the heart of many a logo, suspended from the neck, held out in Satanic blessing: the inverted cross is one of black metal’s anti-icons. The antithesis of a revelation of light, it signifies an originary blasphemy. Forsaking ascension and mining a path towards the centre of the earth, black metal finds a satanic stain lodged at the core of being. However, the significance of this movement is not bound by a simple reversal. The inverted cross hangs above a swarming logic of inversion: the overturning of Christianity, but also a mimesis of Christian self-desecration; the rejection of certain forms of religion, but also of modernity’s pallid enlightenment; the invocation of strange gods of the earth, even as the earth is cursed. When thought becomes poison, it is no longer so easy to determine which way is up and which way is down. To throw down one’s head, to push oneself into the cursed earth, to occupy the place of the inverted crucified: is this to think-by-not-thinking an unconditioned rapture beyond negation and affirmation? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0102.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/helvete/ Helvete 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helvete-2-with-head-downwards/ Brooklyn, NY 04 01 20150519 Scott, Niall Shakespeare, Steve 02 WORLD 06 15 9780692361436 03 9780692361436 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353839 20 08 20150519 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/485 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/091126ce-0b7c-4382-a3a6-2fef98c375d6/download 20 08 20150519 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Helvete_2/vm2oEAAAQBAJ 20 08 20150519 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3cc0269d-7170-4981-8ac7-5b01e7b9e080 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3cc0269d-7170-4981-8ac7-5b01e7b9e080/3cc0269d-7170-4981-8ac7-5b01e7b9e080.pdf 20 08 20150519 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846217 29 ZENODO: download the title https://zenodo.org/records/19846217/files/3cc0269d-7170-4981-8ac7-5b01e7b9e080_book.pdf 20 08 20150519 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/helvete-2-with-head-downwards/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0102.1.00.pdf 20 08 20150519 01 urn:uuid:36a3d018-613b-4c15-8813-30d8fa07362c 03 01 01 thoth-work-id urn:uuid:fa4bc310-b7db-458a-8ba9-13347a91c862 01 thoth-publication-id urn:uuid:36a3d018-613b-4c15-8813-30d8fa07362c 15 9780615894294 03 9780615894294 06 10.21983/P3.0158.1.00 01 internal-reference 0158 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 191 mm 02 19.1 cm 02 7.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Helvete 3 Bleeding Black Noise 1 B01 Amelia Ishmael Amelia Ishmael 01 eng 00 144 03 B2 Art+Aesthetics 93 AVA 12 JFCA 10 MUS019000 93 6HA B2 Cultural Studies+Critical Theory B2 Sound+Noise 20 black metal; musicology; metal theory; noise studies; cultural theory 01 06 02 00 03 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Black Metal Theory is noise. Lacking one clear manifesto or position, it fails to become an elite circle. It is amplified and transmitted electronically: through instruments, lo-fi recordings, internets, and print-on-demand publishers…yet rather than a clear direction of progress we glean only its subversive raw dissonance, disruptions, animalistic screams, resonating disturbances, high-pitched feedback, primitive growls, and its atmospheric statics, hisses, and drones. Black Metal Theory refuses to be hi-fi. It quenches its sonic thirsts from primordial-ditch stews that resemble the dark sludge of recently melted snowfall — pristine white flakes transmuted into a tumultuously sexy and delicious mixture of trash and dirt and ash and poison that swirls and splashes in ditches before seeping into the underground. Our ears drink this disharmonious black bile and our bodies suspend in its intoxicating formless complexities.The third issue of Helvete, “Bleeding Black Noise,” features artwork and essays that focus on the sonic aspects of Black Metal, specifically its interactions with Noise — the interruptions, creations, and destructions of signals. “Bleeding Black Noise” is a revision of Steven Parrino’s statement, “My relation between Rock and visual art: I will bleed for you.” In this issue, Rock is replaced with Noise, and Bleeding is celebrated as a release of the Black Noise — raw energy and formless potential. The essays and art portfolios included here experiment with sonic and conceptual feedback, as well as the way that black noise works through feedback as a process, resonating as background hums or drones, and cascading in foregrounded screams. 30 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Black Metal Theory is noise. Lacking one clear manifesto or position, it fails to become an elite circle. It is amplified and transmitted electronically: through instruments, lo-fi recordings, internets, and print-on-demand publishers…yet rather than a clear direction of progress we glean only its subversive raw dissonance, disruptions, animalistic screams, resonating disturbances, high-pitched feedback, primitive growls, and its atmospheric statics, hisses, and drones. Black Metal Theory refuses to be hi-fi. It quenches its sonic thirsts from primordial-ditch stews that resemble the dark sludge of recently melted snowfall — pristine white flakes transmuted into a tumultuously sexy and delicious mixture of trash and dirt and ash and poison that swirls and splashes in ditches before seeping into the underground. Our ears drink this disharmonious black bile and our bodies suspend in its intoxicating formless complexities.The third issue of Helvete, “Bleeding Black Noise,” features artwork and essays that focus on the sonic aspects of Black Metal, specifically its interactions with Noise — the interruptions, creations, and destructions of signals. “Bleeding Black Noise” is a revision of Steven Parrino’s statement, “My relation between Rock and visual art: I will bleed for you.” In this issue, Rock is replaced with Noise, and Bleeding is celebrated as a release of the Black Noise — raw energy and formless potential. The essays and art portfolios included here experiment with sonic and conceptual feedback, as well as the way that black noise works through feedback as a process, resonating as background hums or drones, and cascading in foregrounded screams. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0158.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/helvete/ Helvete 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helvete-3-bleeding-black-noise/ Earth, Milky Way 04 01 20161214 Ishmael, Amelia 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615894291 20 08 20161214 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/helvete-3-bleeding-black-noise 20 08 20161214 02 23.00 USD WORLD urn:uuid:e6ac858b-3f03-464a-90fc-8b04a79b1302 03 01 01 thoth-work-id urn:uuid:fa4bc310-b7db-458a-8ba9-13347a91c862 01 thoth-publication-id urn:uuid:e6ac858b-3f03-464a-90fc-8b04a79b1302 06 10.21983/P3.0158.1.00 01 internal-reference 0158 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Helvete 3 Bleeding Black Noise 1 B01 Amelia Ishmael Amelia Ishmael 01 eng 00 144 03 B2 Art+Aesthetics 93 AVA 12 JFCA 10 MUS019000 93 6HA B2 Cultural Studies+Critical Theory B2 Sound+Noise 20 black metal; musicology; metal theory; noise studies; cultural theory 01 06 02 00 03 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Black Metal Theory is noise. Lacking one clear manifesto or position, it fails to become an elite circle. It is amplified and transmitted electronically: through instruments, lo-fi recordings, internets, and print-on-demand publishers…yet rather than a clear direction of progress we glean only its subversive raw dissonance, disruptions, animalistic screams, resonating disturbances, high-pitched feedback, primitive growls, and its atmospheric statics, hisses, and drones. Black Metal Theory refuses to be hi-fi. It quenches its sonic thirsts from primordial-ditch stews that resemble the dark sludge of recently melted snowfall — pristine white flakes transmuted into a tumultuously sexy and delicious mixture of trash and dirt and ash and poison that swirls and splashes in ditches before seeping into the underground. Our ears drink this disharmonious black bile and our bodies suspend in its intoxicating formless complexities.The third issue of Helvete, “Bleeding Black Noise,” features artwork and essays that focus on the sonic aspects of Black Metal, specifically its interactions with Noise — the interruptions, creations, and destructions of signals. “Bleeding Black Noise” is a revision of Steven Parrino’s statement, “My relation between Rock and visual art: I will bleed for you.” In this issue, Rock is replaced with Noise, and Bleeding is celebrated as a release of the Black Noise — raw energy and formless potential. The essays and art portfolios included here experiment with sonic and conceptual feedback, as well as the way that black noise works through feedback as a process, resonating as background hums or drones, and cascading in foregrounded screams. 30 00 Not to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Black Metal Theory is noise. Lacking one clear manifesto or position, it fails to become an elite circle. It is amplified and transmitted electronically: through instruments, lo-fi recordings, internets, and print-on-demand publishers…yet rather than a clear direction of progress we glean only its subversive raw dissonance, disruptions, animalistic screams, resonating disturbances, high-pitched feedback, primitive growls, and its atmospheric statics, hisses, and drones. Black Metal Theory refuses to be hi-fi. It quenches its sonic thirsts from primordial-ditch stews that resemble the dark sludge of recently melted snowfall — pristine white flakes transmuted into a tumultuously sexy and delicious mixture of trash and dirt and ash and poison that swirls and splashes in ditches before seeping into the underground. Our ears drink this disharmonious black bile and our bodies suspend in its intoxicating formless complexities.The third issue of Helvete, “Bleeding Black Noise,” features artwork and essays that focus on the sonic aspects of Black Metal, specifically its interactions with Noise — the interruptions, creations, and destructions of signals. “Bleeding Black Noise” is a revision of Steven Parrino’s statement, “My relation between Rock and visual art: I will bleed for you.” In this issue, Rock is replaced with Noise, and Bleeding is celebrated as a release of the Black Noise — raw energy and formless potential. The essays and art portfolios included here experiment with sonic and conceptual feedback, as well as the way that black noise works through feedback as a process, resonating as background hums or drones, and cascading in foregrounded screams. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0158.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/helvete/ Helvete 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/helvete-3-bleeding-black-noise/ Earth, Milky Way 04 01 20161214 Ishmael, Amelia 02 WORLD 06 15 9780615894294 03 9780615894294 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353995 20 08 20161214 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/732 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d6bcae27-a094-485e-ba78-f5b7e0f689bb/download 20 08 20161214 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Helvete_3/sG2oEAAAQBAJ 20 08 20161214 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/fa4bc310-b7db-458a-8ba9-13347a91c862 29 INTERNET_ARCHIVE: download the title https://archive.org/download/fa4bc310-b7db-458a-8ba9-13347a91c862/fa4bc310-b7db-458a-8ba9-13347a91c862.pdf 20 08 20161214 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846777 29 ZENODO: download the title https://zenodo.org/records/19846777/files/fa4bc310-b7db-458a-8ba9-13347a91c862_book.pdf 20 08 20161214 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/helvete-3-bleeding-black-noise/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0158.1.00.pdf 20 08 20161214 01 urn:uuid:d77c1b69-2786-4ba5-8b32-84175353a41f 03 01 01 thoth-work-id urn:uuid:7f72c34d-4515-42eb-a32e-38fe74217b70 01 thoth-publication-id urn:uuid:d77c1b69-2786-4ba5-8b32-84175353a41f 15 9781950192359 03 9781950192359 06 10.21983/P3.0258.1.00 13 2019944342 01 internal-reference 0258 00 BC 10 01 279 mm 01 27.9 cm 01 11 in 02 216 mm 02 21.6 cm 02 8.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Hephaestus Reloaded: Composed for Ten Hands / Efesto Reloaded: Composizioni per 10 mani 1 A01 21 0000000216141997 Brunella Antomarini Brunella Antomarini 40 01fjdq469 John Cabot University 2 A01 Adam Berg Adam Berg 40 01qs45p40 Otis College of Art and Design 40 024e4df17 California Institute of the Arts 3 A01 Vladimir D’Amora Vladimir D’Amora 4 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 04g3mbv81 European Graduate School 5 A01 Miltos Maneta Miltos Maneta 6 B06 Andreas Burckhardt Andreas Burckhardt 7 B06 Patrick Camiller Patrick Camiller 8 B06 Pietro Traversa Pietro Traversa 01 eng 01 ita 00 118 03 12 DNF 93 DNL B2 Languages+Translations 10 POE005030 12 HPJ 93 QDTJ B2 Thought Experiments 20 technology; posthumanism; poetry; cybernetics; aesthetics; transcendence; becoming 01 06 02 00 03 00 Hephaestus Reloaded / Efesto Reloaded, presented in a bilingual (English/Italian) publication, and whose five authors are from Greece, Italy, and the US, invokes as its first inspiration the myth of Hephaestus who embodied a twofold entity: both disabled and technically capacious. The myth of Hephaestus has been passed across the centuries as an ancient metaphor signifying the idea of becoming-world, in which any distinction between the natural and the artificial, or the organic and the technical, is blurred. Human beings, by virtue of their physical vulnerabilities and limits, have enhanced their technological powers to the point of transcending their own given nature. At present, a variety of critical discourses in disciplines such as philosophy, history, aesthetics, and cognitive sciences pay attention to our becoming-hybrid (organic and mechanical beings) – unleashing a space for research that probes the concept of transcendence. Each of the contributions in this book addresses – through its own peculiar perspective, method and experimental style – a new way to approach the role of transcendence in socio-cultural life.In the Occidental history of ideas, the notion of transcendence has received at least three canonical articulations that are challenged by this book: religious (Judeo-Christian traditions), philosophical (Platonic-intellectual universality of ideas), and scientific (the objective and technological turn of knowledge). Nonetheless, it is with the rise of cybernetics, with its digital and virtual modalities of systems, networks, and knowledge, that our human environment emerges as a source of knowledge in itself -- not simply as an object but rather as an immersive agency in which nature, knowledge, technique merge. The transcendence of the actual and the virtual into a “third” element is construed and analyzed in this book through conceptual schemes that rely on a post-binary or non-binary understanding of coincidences, triangulations, hybrids, or post-human combinatorics. What is ultimately explored is how transcendence is ejected from strictly theological, philosophical, or scientific groundings and emerges as a germinating point of becoming (something else). 30 00 Hephaestus Reloaded / Efesto Reloaded, presented in a bilingual (English/Italian) publication, and whose five authors are from Greece, Italy, and the US, invokes as its first inspiration the myth of Hephaestus who embodied a twofold entity: both disabled and technically capacious. The myth of Hephaestus has been passed across the centuries as an ancient metaphor signifying the idea of becoming-world, in which any distinction between the natural and the artificial, or the organic and the technical, is blurred. Human beings, by virtue of their physical vulnerabilities and limits, have enhanced their technological powers to the point of transcending their own given nature. At present, a variety of critical discourses in disciplines such as philosophy, history, aesthetics, and cognitive sciences pay attention to our becoming-hybrid (organic and mechanical beings) – unleashing a space for research that probes the concept of transcendence. Each of the contributions in this book addresses – through its own peculiar perspective, method and experimental style – a new way to approach the role of transcendence in socio-cultural life.In the Occidental history of ideas, the notion of transcendence has received at least three canonical articulations that are challenged by this book: religious (Judeo-Christian traditions), philosophical (Platonic-intellectual universality of ideas), and scientific (the objective and technological turn of knowledge). Nonetheless, it is with the rise of cybernetics, with its digital and virtual modalities of systems, networks, and knowledge, that our human environment emerges as a source of knowledge in itself -- not simply as an object but rather as an immersive agency in which nature, knowledge, technique merge. The transcendence of the actual and the virtual into a “third” element is construed and analyzed in this book through conceptual schemes that rely on a post-binary or non-binary understanding of coincidences, triangulations, hybrids, or post-human combinatorics. What is ultimately explored is how transcendence is ejected from strictly theological, philosophical, or scientific groundings and emerges as a germinating point of becoming (something else). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0258.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hephaestus-reloaded-efesto-reloaded/ Earth, Milky Way 04 01 20191213 Antomarini, Brunella Berg, Adam D’Amora, Vladimir De Francesco, Alessandro Maneta, Miltos 02 WORLD 06 15 9781950192366 03 9781950192366 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192350 20 08 20191213 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/hephaestus-reloaded-composed-for-ten-hands-efesto-reloaded-composizioni-per-10-mani 20 08 20191213 02 22.00 USD WORLD urn:uuid:4b5ca8ad-bcf0-44e5-ac63-653c4a5cc06b 03 01 01 thoth-work-id urn:uuid:7f72c34d-4515-42eb-a32e-38fe74217b70 01 thoth-publication-id urn:uuid:4b5ca8ad-bcf0-44e5-ac63-653c4a5cc06b 15 9781950192366 03 9781950192366 06 10.21983/P3.0258.1.00 13 2019944342 01 internal-reference 0258 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Hephaestus Reloaded: Composed for Ten Hands / Efesto Reloaded: Composizioni per 10 mani 1 A01 21 0000000216141997 Brunella Antomarini Brunella Antomarini 40 01fjdq469 John Cabot University 2 A01 Adam Berg Adam Berg 40 01qs45p40 Otis College of Art and Design 40 024e4df17 California Institute of the Arts 3 A01 Vladimir D’Amora Vladimir D’Amora 4 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 04g3mbv81 European Graduate School 5 A01 Miltos Maneta Miltos Maneta 6 B06 Andreas Burckhardt Andreas Burckhardt 7 B06 Patrick Camiller Patrick Camiller 8 B06 Pietro Traversa Pietro Traversa 01 eng 01 ita 00 118 03 12 DNF 93 DNL B2 Languages+Translations 10 POE005030 12 HPJ 93 QDTJ B2 Thought Experiments 20 technology; posthumanism; poetry; cybernetics; aesthetics; transcendence; becoming 01 06 02 00 03 00 Hephaestus Reloaded / Efesto Reloaded, presented in a bilingual (English/Italian) publication, and whose five authors are from Greece, Italy, and the US, invokes as its first inspiration the myth of Hephaestus who embodied a twofold entity: both disabled and technically capacious. The myth of Hephaestus has been passed across the centuries as an ancient metaphor signifying the idea of becoming-world, in which any distinction between the natural and the artificial, or the organic and the technical, is blurred. Human beings, by virtue of their physical vulnerabilities and limits, have enhanced their technological powers to the point of transcending their own given nature. At present, a variety of critical discourses in disciplines such as philosophy, history, aesthetics, and cognitive sciences pay attention to our becoming-hybrid (organic and mechanical beings) – unleashing a space for research that probes the concept of transcendence. Each of the contributions in this book addresses – through its own peculiar perspective, method and experimental style – a new way to approach the role of transcendence in socio-cultural life.In the Occidental history of ideas, the notion of transcendence has received at least three canonical articulations that are challenged by this book: religious (Judeo-Christian traditions), philosophical (Platonic-intellectual universality of ideas), and scientific (the objective and technological turn of knowledge). Nonetheless, it is with the rise of cybernetics, with its digital and virtual modalities of systems, networks, and knowledge, that our human environment emerges as a source of knowledge in itself -- not simply as an object but rather as an immersive agency in which nature, knowledge, technique merge. The transcendence of the actual and the virtual into a “third” element is construed and analyzed in this book through conceptual schemes that rely on a post-binary or non-binary understanding of coincidences, triangulations, hybrids, or post-human combinatorics. What is ultimately explored is how transcendence is ejected from strictly theological, philosophical, or scientific groundings and emerges as a germinating point of becoming (something else). 30 00 Hephaestus Reloaded / Efesto Reloaded, presented in a bilingual (English/Italian) publication, and whose five authors are from Greece, Italy, and the US, invokes as its first inspiration the myth of Hephaestus who embodied a twofold entity: both disabled and technically capacious. The myth of Hephaestus has been passed across the centuries as an ancient metaphor signifying the idea of becoming-world, in which any distinction between the natural and the artificial, or the organic and the technical, is blurred. Human beings, by virtue of their physical vulnerabilities and limits, have enhanced their technological powers to the point of transcending their own given nature. At present, a variety of critical discourses in disciplines such as philosophy, history, aesthetics, and cognitive sciences pay attention to our becoming-hybrid (organic and mechanical beings) – unleashing a space for research that probes the concept of transcendence. Each of the contributions in this book addresses – through its own peculiar perspective, method and experimental style – a new way to approach the role of transcendence in socio-cultural life.In the Occidental history of ideas, the notion of transcendence has received at least three canonical articulations that are challenged by this book: religious (Judeo-Christian traditions), philosophical (Platonic-intellectual universality of ideas), and scientific (the objective and technological turn of knowledge). Nonetheless, it is with the rise of cybernetics, with its digital and virtual modalities of systems, networks, and knowledge, that our human environment emerges as a source of knowledge in itself -- not simply as an object but rather as an immersive agency in which nature, knowledge, technique merge. The transcendence of the actual and the virtual into a “third” element is construed and analyzed in this book through conceptual schemes that rely on a post-binary or non-binary understanding of coincidences, triangulations, hybrids, or post-human combinatorics. What is ultimately explored is how transcendence is ejected from strictly theological, philosophical, or scientific groundings and emerges as a germinating point of becoming (something else). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0258.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hephaestus-reloaded-efesto-reloaded/ Earth, Milky Way 04 01 20191213 Antomarini, Brunella Berg, Adam D’Amora, Vladimir De Francesco, Alessandro Maneta, Miltos 02 WORLD 06 15 9781950192359 03 9781950192359 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23596 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23596/0258.1.00.pdf?sequence=1&isAllowed=y 20 08 20191213 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29899 20 08 20191213 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353992 20 08 20191213 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/621 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9656b68f-3cb5-479c-9588-da53fb6de03f/download 20 08 20191213 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Hephaestus_Reloaded/uASVEAAAQBAJ 20 08 20191213 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7f72c34d-4515-42eb-a32e-38fe74217b70 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7f72c34d-4515-42eb-a32e-38fe74217b70/7f72c34d-4515-42eb-a32e-38fe74217b70.pdf 20 08 20191213 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824890 29 ZENODO: download the title https://zenodo.org/records/19824890/files/7f72c34d-4515-42eb-a32e-38fe74217b70_book.pdf 20 08 20191213 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/hephaestus-reloaded-efesto-reloaded/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0258.1.00.pdf 20 08 20191213 01 urn:uuid:8c675e37-9e47-4d21-9f04-3e68edd80c9a 03 01 01 thoth-work-id urn:uuid:c2c22cdf-b9d5-406d-9127-45cea8e741b1 01 thoth-publication-id urn:uuid:8c675e37-9e47-4d21-9f04-3e68edd80c9a 15 9789081709156 03 9789081709156 06 10.21983/P3.0218.1.00 01 internal-reference 0218 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Hippolytus 1 A01 Euripides Euripides 2 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 40 00hj54h04 The University of Texas at Austin 01 eng 00 168 03 12 DB 10 DRA006000 93 FYT B2 Languages+Translations 93 DBSG B2 Premodern 93 1QBAG B2 Thought Experiments 20 classical literature; tragedy; Euripides; experimental translation 01 06 02 00 03 00 Euripides wrote two plays called Hippolytus. In this, the second, he dramatized the tragic failure of perfection. This translation comes in two forms; the first presents a simulacrum of the text as it might have appeared in unprocessed form to a reader sometime shortly after Euripides’ death. The second processes the drama into the reduced but much more distinct form of modern print translations. 30 00 Euripides wrote two plays called Hippolytus. In this, the second, he dramatized the tragic failure of perfection. This translation comes in two forms; the first presents a simulacrum of the text as it might have appeared in unprocessed form to a reader sometime shortly after Euripides’ death. The second processes the drama into the reduced but much more distinct form of modern print translations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0218.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hippolytus/ The Hague/Tirana 04 01 20120821 Euripides Gurd, Sean 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2PM6YaH 20 08 20120821 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/hippolytus 20 08 20120821 02 22.00 USD WORLD urn:uuid:01b68d6e-0975-4c85-8af7-4911d3236a55 03 01 01 thoth-work-id urn:uuid:c2c22cdf-b9d5-406d-9127-45cea8e741b1 01 thoth-publication-id urn:uuid:01b68d6e-0975-4c85-8af7-4911d3236a55 06 10.21983/P3.0218.1.00 01 internal-reference 0218 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Hippolytus 1 A01 Euripides Euripides 2 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 40 00hj54h04 The University of Texas at Austin 01 eng 00 168 03 12 DB 10 DRA006000 93 FYT B2 Languages+Translations 93 DBSG B2 Premodern 93 1QBAG B2 Thought Experiments 20 classical literature; tragedy; Euripides; experimental translation 01 06 02 00 03 00 Euripides wrote two plays called Hippolytus. In this, the second, he dramatized the tragic failure of perfection. This translation comes in two forms; the first presents a simulacrum of the text as it might have appeared in unprocessed form to a reader sometime shortly after Euripides’ death. The second processes the drama into the reduced but much more distinct form of modern print translations. 30 00 Euripides wrote two plays called Hippolytus. In this, the second, he dramatized the tragic failure of perfection. This translation comes in two forms; the first presents a simulacrum of the text as it might have appeared in unprocessed form to a reader sometime shortly after Euripides’ death. The second processes the drama into the reduced but much more distinct form of modern print translations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0218.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/hippolytus/ The Hague/Tirana 04 01 20120821 Euripides Gurd, Sean 02 WORLD 06 15 9789081709156 03 9789081709156 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25273 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25273/1004821.pdf?sequence=1&isAllowed=y 20 08 20120821 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39092 20 08 20120821 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353899 20 08 20120821 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/386 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3ed17cf1-655e-46a7-a109-5673b0794bcd/download 20 08 20120821 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c2c22cdf-b9d5-406d-9127-45cea8e741b1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c2c22cdf-b9d5-406d-9127-45cea8e741b1/c2c22cdf-b9d5-406d-9127-45cea8e741b1.pdf 20 08 20120821 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693018 29 ZENODO: download the title https://zenodo.org/records/19693018/files/c2c22cdf-b9d5-406d-9127-45cea8e741b1_book.pdf 20 08 20120821 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/hippolytus/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0218.1.00.pdf 20 08 20120821 01 urn:uuid:53741cfb-71eb-4f69-91f8-188c5bc45629 03 01 01 thoth-work-id urn:uuid:1a355f01-df09-4bff-a53b-3aef8ca13fcd 01 thoth-publication-id urn:uuid:53741cfb-71eb-4f69-91f8-188c5bc45629 15 9781685712006 03 9781685712006 06 10.53288/0441.1.00 13 2025936417 01 internal-reference 0441 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 45 mm 03 4.5 cm 03 1.76 in 08 957 gr 08 33.76 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Historiographies of Game Studies What It Has Been, What It Could Be 1 B01 21 000000016755206X Alisha Karabinus Alisha Karabinus Assistant Professor of Writing and Digital Studies 40 001m1hv61 Grand Valley State University Alisha Karabinus (she/her) is Assistant Professor of Writing and Digital Studies at Grand Valley State University. She researches intersections between games and rhetoric. 2 B01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek Professor of Digital Humanities and Media Studies 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017), and, with Matthew Thomas Payne, Ultima and Worldbuilding in the Computer Role-Playing Game (Amherst, 2024). She is researching the history and impact of the games for girls movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets including The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 3 B01 21 0000000316291722 Cody Mejeur Cody Mejeur Assistant Professor of Game Studies 40 01y64my43 University at Buffalo, State University of New York Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY. Their work uses games to theorize narrative as an embodied and playful process that constructs how we understand ourselves, our realities, and our differences. They have published on games pedagogy, gender and queerness in games, and video game narratives and player experiences, and they are currently the game director for Trans Folks Walking, a narrative game about trans experiences. They are Director of the Amatryx Gaming Lab & Studio at UB and work with the LGBTQ Video Game Archive on preserving and visualizing LGBTQ representation. They are an executive council member for the International Society for the Study of Narrative and they served as Diversity Officer for the Digital Games Research Association. 4 B01 21 0009000139475877 Emma Vossen Emma Vossen Assistant Professor of Game Studies 40 056am2717 Brock University Emma Vossen (she/her) is an Assistant Professor of Game Studies in the Department of Digital Humanities at Brock University, Canada. Her work focuses on the intersections of politics, identity, and technology, particularly in the context of digital games. She has been an outspoken and ongoing voice in the discussion around online radicalization, digital violence, and contemporary fascism since 2013. Many publications, including ABC News, CBC News, NBC News, Wired, Maclean's Magazine, The Washington Post, University Affairs Magazine, Toxic Avenger Magazine, and Electronic Gaming Monthly, have interviewed her about her work. In 2016, CBC Ideas produced "The Dangerous Game: Gamergate and the 'Alt-Right,'" a 40-minute radio documentary about her dissertation research, which was broadcast nationally. Vossen is an award-winning public speaker and the co-author and co-editor of the books Feminism in Play (Palgrace Macmillan, 2018) and the former editor-in-chief of First Person Scholar. 01 eng 00 780 03 B2 Cultural Studies+Critical Theory 10 GAM013000 93 KNTV 12 UGG B2 Humanities+University 12 JFC 10 SOC002010 93 UGG 93 JBCC B2 Media+Technology 20 game studies; media studies; historiography; academic institutions; play; communication; history 01 06 02 00 03 00 Historiographies of Game Studies offers a first-of-its-kind reflection on how game studies as an academic field has been shaped and sustained. Today, game studies is a thriving field with many dedicated national and international conferences, journals, professional societies, and a strong presence at conferences in disciplines like computer science, communication, media studies, theater, visual arts, popular culture, and others. But, when did game studies start? And what (and who) is at the core or center of game studies? Fields are defined as much by what they are not as by what they are, and their borderlands can be hotly contested spaces.In this anthology, scholars from across the field consider how the boundaries of game studies have been established, codified, contested, and protected, raising critical questions about who and what gets left out of the field. Over more than two dozen chapters and interviews with leading figures, including Espen Aarseth, Kishonna Gray, Henry Jenkins, Lisa Nakamura, Kentaro Matsumoto, Ken McAllister, and Janet Murray, the contributors offer a dazzling array of insightful provocations that address the formation, propagation, and cultivation of game studies, interrogating not only the field’s pasts but its potential futures and asking us to think deliberately about how academic fields are collectively built. 30 00 Historiographies of Game Studies offers a first-of-its-kind reflection on how game studies as an academic field has been shaped and sustained. Today, game studies is a thriving field with many dedicated national and international conferences, journals, professional societies, and a strong presence at conferences in disciplines like computer science, communication, media studies, theater, visual arts, popular culture, and others. But, when did game studies start? And what (and who) is at the core or center of game studies? Fields are defined as much by what they are not as by what they are, and their borderlands can be hotly contested spaces.In this anthology, scholars from across the field consider how the boundaries of game studies have been established, codified, contested, and protected, raising critical questions about who and what gets left out of the field. Over more than two dozen chapters and interviews with leading figures, including Espen Aarseth, Kishonna Gray, Henry Jenkins, Lisa Nakamura, Kentaro Matsumoto, Ken McAllister, and Janet Murray, the contributors offer a dazzling array of insightful provocations that address the formation, propagation, and cultivation of game studies, interrogating not only the field’s pasts but its potential futures and asking us to think deliberately about how academic fields are collectively built. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0441.1.00_frontcover.jpg 1 03 06 10.53288/0441.1.01 1 15 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 000000016755206X Alisha Karabinus Alisha Karabinus 2 B01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek 3 B01 21 0000000316291722 Cody Mejeur Cody Mejeur 4 B01 21 0009000139475877 Emma Vossen Emma Vossen 01 eng 20 00 Open Access 2 03 06 10.53288/0441.1.02 17 44 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction What Game Studies Has Been, What It Could Be 1 A01 21 000000016755206X Alisha Karabinus Alisha Karabinus Assistant Professor of Writing and Digital Studies 40 001m1hv61 Grand Valley State University Alisha Karabinus (she/her) is Assistant Professor of Writing and Digital Studies at Grand Valley State University. She researches intersections between games and rhetoric. 2 A01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek Professor of Digital Humanities and Media Studies 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017), and, with Matthew Thomas Payne, Ultima and Worldbuilding in the Computer Role-Playing Game (Amherst, 2024). She is researching the history and impact of the games for girls movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets including The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 3 A01 21 0000000316291722 Cody Mejeur Cody Mejeur Assistant Professor of Game Studies 40 01y64my43 University at Buffalo, State University of New York Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY. Their work uses games to theorize narrative as an embodied and playful process that constructs how we understand ourselves, our realities, and our differences. They have published on games pedagogy, gender and queerness in games, and video game narratives and player experiences, and they are currently the game director for Trans Folks Walking, a narrative game about trans experiences. They are Director of the Amatryx Gaming Lab & Studio at UB and work with the LGBTQ Video Game Archive on preserving and visualizing LGBTQ representation. They are an executive council member for the International Society for the Study of Narrative and they served as Diversity Officer for the Digital Games Research Association. 4 A01 21 0009000139475877 Emma Vossen Emma Vossen Emma Vossen (she/her) is a writer, editor, and award-winning public speaker with a PhD from the University of Waterloo. She is the co-author and co-editor of Feminism in Play (Palgrave Macmillan, 2018) and the former editor-in-chief of First Person Scholar. 01 eng 20 00 Open Access Alisha Karabinus, Carly A. Kocurek, Emma Vossen, Cody Mejeur 3 03 06 10.53288/0441.1.03 47 65 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Past, Present, and Future of Game Studies An Interview with Janet H. Murray 1 A01 Bianca Batti Bianca Batti Bianca Batti (she/her) teaches American Literature, Contemporary Composition, and Film Studies at a high-tech charter high school in the Los Angeles Unified School District. Previously, she was a Marion L. Brittain Postdoctoral Fellow in the Writing and Communication Program at the Georgia Institute of Technology. She received her PhD in Literary Studies in the department of English at Purdue University and has a graduate concentration in Women, Gender, and Sexuality Studies. Her research interests include contemporary American literature, feminist game studies, and the digital humanities. Her work has been published in scholarly journals like The Popular Cultural Studies Journal and Kairos: A Journal of Rhetoric, Technology, and Pedagogy, and also in Haywire Magazine, Not Your Mama’s Gamer, and edited anthologies. 2 A32 Janet H. Murray Janet H. Murray Ivan Allen College Dean’s Professor 40 01zkghx44 Georgia Institute of Technology Janet H. Murray (she/her) is Ivan Allen College Dean’s Professor in the School of Literature, Media, and Communication at Georgia Tech and Associate Dean for Research in the Ivan Allen College of Liberal Arts. She is the Director of the Prototyping eNarrative Lab (penlab.gatech.edu) and the Digital Integrative Liberal Arts Center (dilac.iac.gatech.edu) at Georgia Tech. Her PhD is in English and American Language and Literature from Harvard University. She has been at Georgia Tech since 1999, serving as Director of Graduate Studies for the founding of the PhD in Digital Media. She taught the first course in Interactive Narrative at MIT in 1992, and the first courses in Game Design at Georgia Tech in the early 2000s. She is the author of Hamlet on the Holodeck: the Future of Narrative in Cyberspace (Free Press, 1997; MIT Press, 1998; updated edition, MIT Press, 2017) and Inventing the Medium: Principles of Interaction Design as a Cultural Practice (MIT Press, 2011). 01 eng 03 00 In this interview, Bianca Batti asks Janet Murray to reflect on the work of women in game studies, as well as her own journey toward and within the field. Murray discusses the resistance she has faced as a scholar who centers game design as cultural practice, examines the continuing impact of what she calls the “misogyny of the game community,” and explores her hopes for the future of game studies. By centering a historiography of Murray’s contributions to game studies praxis, Batti and Murray’s conversation actively historicizes women’s past and present experiences in game studies, models generative collaborations between established and emerging scholars, and provides a framework for (re)imagining a more networked, equitable, and collaborative future for the field. 30 00 In this interview, Bianca Batti asks Janet Murray to reflect on the work of women in game studies, as well as her own journey toward and within the field. Murray discusses the resistance she has faced as a scholar who centers game design as cultural practice, examines the continuing impact of what she calls the “misogyny of the game community,” and explores her hopes for the future of game studies. By centering a historiography of Murray’s contributions to game studies praxis, Batti and Murray’s conversation actively historicizes women’s past and present experiences in game studies, models generative collaborations between established and emerging scholars, and provides a framework for (re)imagining a more networked, equitable, and collaborative future for the field. 20 00 Open Access Bianca Batti 4 03 06 10.53288/0441.1.04 67 93 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Young Scholars, and Old Debates Why the Ludology Versus Narratology “Debate” Cannot Be Forgotten 1 A01 21 0009000139475877 Emma Vossen Emma Vossen Assistant Professor of Game Studies 40 056am2717 Brock University Emma Vossen (she/her) is an Assistant Professor of Game Studies in the Department of Digital Humanities at Brock University, Canada. Her work focuses on the intersections of politics, identity, and technology, particularly in the context of digital games. She has been an outspoken and ongoing voice in the discussion around online radicalization, digital violence, and contemporary fascism since 2013. Many publications, including ABC News, CBC News, NBC News, Wired, Maclean's Magazine, The Washington Post, University Affairs Magazine, Toxic Avenger Magazine, and Electronic Gaming Monthly, have interviewed her about her work. In 2016, CBC Ideas produced "The Dangerous Game: Gamergate and the 'Alt-Right,'" a 40-minute radio documentary about her dissertation research, which was broadcast nationally. Vossen is an award-winning public speaker and the co-author and co-editor of the books Feminism in Play (Palgrace Macmillan, 2018) and the former editor-in-chief of First Person Scholar. 01 eng 03 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 30 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 20 00 Open Access Emma Vossen 5 03 06 10.53288/0441.1.05 95 119 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Are You Being an Ass on the Internet? GamesNetwork, Communities, and History-Making 1 A01 Jennifer deWinter Jennifer deWinter Dean of Lewis College of Science and Letters 40 037t3ry66 Illinois Institute of Technology Jennifer deWinter (she/her) is Dean of Lewis College of Science and Letters at the Illinois Institute of Technology and affiliated faculty in the College of Computing and the Institute of Design. In her research, she analyzes anime, comics, and computer games as part of global media flows in order to understand how such concepts as “art,” “culture,” and “entertainment” are negotiated, with specific focus on Japan and the US. She is the author of Shigeru Miyamoto: Super Mario Bros., Donkey Kong, The Legend of Zelda (Bloomsbury, 2015) and co-editor of Video Game Policy: Production, Distribution and Consumption (Routledge, 2015) and Computer Games and Technical Communication: Critical Methods and Applications at the Intersection (Routledge, 2016). More recently, she is co-editing a book tentatively titled Multidisciplinary Mario: The Tensions of Game Studies as a Discipline with Gillian Smith and Hana Hanifah. 2 A01 Gillian Smith Gillian Smith Associate Professor of Computer Science 40 05ejpqr48 Worcester Polytechnic Institute Gillian Smith (she/her, they/them) is Associate Professor of Computer Science and faculty in Interactive Media and Game Development at Worcester Polytechnic Institute. Her research focuses on generative design for games and craft, computational creativity, and integration of feminism and social justice into games and computer science education. 01 eng 03 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 30 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 20 00 Open Access Jennifer deWinter and Gillian Smith 6 03 06 10.53288/0441.1.06 121 145 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Definitions and Misunderstandings in Game Studies An Interview with Espen Aarseth 1 A01 21 0000000316291722 Cody Mejeur Cody Mejeur Assistant Professor of Game Studies 40 01y64my43 University at Buffalo, State University of New York Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY. Their work uses games to theorize narrative as an embodied and playful process that constructs how we understand ourselves, our realities, and our differences. They have published on games pedagogy, gender and queerness in games, and video game narratives and player experiences, and they are currently the game director for Trans Folks Walking, a narrative game about trans experiences. They are Director of the Amatryx Gaming Lab & Studio at UB and work with the LGBTQ Video Game Archive on preserving and visualizing LGBTQ representation. They are an executive council member for the International Society for the Study of Narrative and they served as Diversity Officer for the Digital Games Research Association. 2 A32 21 0000000256659424 Espen Aarseth Espen Aarseth Professor of Game Studies 40 02309jg23 IT University of Copenhagen Espen Aarseth (he/him) is Professor of Game Studies and head of the Center for Computer Games Research at the IT University of Copenhagen. He holds a Cand.Philol. in comparative literature and a Dr.Art. in humanistic informatics, both from the University of Bergen. He is co-founding Editor-in-Chief of the journal Game Studies (2001–) and author of Cybertext: Perspectives on Ergodic Literature (Johns Hopkins University Press, 1997), a foundational text in the fields of electronic literature, game studies, and new media studies. He received an ERC Advanced Grant for the project MSG — Making Sense of Games (2016–2021). 01 eng 03 00 Espen Aarseth is professor of game studies and head of the PhD School at the IT University of Copenhagen. He has served as the Editor-in-Chief of Game Studies: The International Journal of Computer Game Research since its founding in 2000. Frequently referred to as a founding figure in game studies and a prominent ludologist, he knows the arguments of the field through the years well through firsthand experience and many publications, including the still frequently cited Cybertext: Perspectives on Ergodic Literature. Aarseth’s work has frequently investigated the ontologies and typologies of games, and his recent research has examined the theories and uses of characters as they exist in games and other media. In this interview, Aarseth and Mejeur talk about Aarseth’s work in game studies, including his perspective on the disagreements, tensions, and misunderstandings in the field, as well as his hopes for its interdisciplinary futures. Topics include the process of establishing an interdisciplinary field, how game studies relates to other media and fields, academic departments and structures for game studies, regional differences in game studies, and current and future trends in the field. 30 00 Espen Aarseth is professor of game studies and head of the PhD School at the IT University of Copenhagen. He has served as the Editor-in-Chief of Game Studies: The International Journal of Computer Game Research since its founding in 2000. Frequently referred to as a founding figure in game studies and a prominent ludologist, he knows the arguments of the field through the years well through firsthand experience and many publications, including the still frequently cited Cybertext: Perspectives on Ergodic Literature. Aarseth’s work has frequently investigated the ontologies and typologies of games, and his recent research has examined the theories and uses of characters as they exist in games and other media. In this interview, Aarseth and Mejeur talk about Aarseth’s work in game studies, including his perspective on the disagreements, tensions, and misunderstandings in the field, as well as his hopes for its interdisciplinary futures. Topics include the process of establishing an interdisciplinary field, how game studies relates to other media and fields, academic departments and structures for game studies, regional differences in game studies, and current and future trends in the field. 20 00 Open Access Cody Mejeur 7 03 06 10.53288/0441.1.07 147 170 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redirecting Ludification Dutch Game Studies and the Neoliberalization of Academia 1 A01 21 0000000267686559 Dennis Jansen Dennis Jansen PhD candidate 40 04pp8hn57 Utrecht University Dennis Jansen (he/him) is a PhD candidate in the Department of Media and Culture Studies at Utrecht University. He was awarded a PhD in the Humanities grant by the Netherlands Organization for Scientific Research (NWO) for the project “The Becoming-Playful of Warfare in the Netherlands” (2021–2025). His research focuses on the the mobilization of play in the Dutch military-innovation complex and the increasing usage of training simulations, serious games, and drones by the Dutch Armed Forces. His previous work has appeared in Transformative Works and Cultures, Press Start, DiGRA, Interactive Storytelling, and First Person Scholar. 01 eng 03 00 This chapter concerns the ludification of the university and the academic politics of game studies. It takes Joost Raessens’ work on the ludification of culture and the politics of serious games as emblematic of game studies’ general disinclination to fully reckon with the role of military technoscience and contemporary capitalism in shaping digital play. The chapter argues that the conceptual tools Raessens offers should be applied not just to games and culture, but to game studies itself and the university as well. Doing so allows us to critique the ongoing instrumentalization of play in the neoliberal university through its institutional interest in games as educational tools, the involvement of the defense industry in game research projects, and the technological acceleration of academic life. 30 00 This chapter concerns the ludification of the university and the academic politics of game studies. It takes Joost Raessens’ work on the ludification of culture and the politics of serious games as emblematic of game studies’ general disinclination to fully reckon with the role of military technoscience and contemporary capitalism in shaping digital play. The chapter argues that the conceptual tools Raessens offers should be applied not just to games and culture, but to game studies itself and the university as well. Doing so allows us to critique the ongoing instrumentalization of play in the neoliberal university through its institutional interest in games as educational tools, the involvement of the defense industry in game research projects, and the technological acceleration of academic life. 20 00 Open Access Dennis Jansen 8 03 06 10.53288/0441.1.08 171 193 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Video Games Have Taught Us Two Decades of Gaming and Learning 1 A01 21 0000000291572690 Kirk M. Lundblade Kirk M. Lundblade postdoctoral researcher 40 036nfer12 University of Central Florida Kirk M. Lundblade (he/him) received his PhD from the Texts & Technology program at the University of Central Florida, and he is currently a postdoctoral researcher and applications programmer for the RICHES (Regional Initiative for Collecting History, Experiences, and Stories) project in the Department of History there. His research broadly examines how digital historical games shape and are shaped by popular conceptions of history, with his dissertation examining how the Crusader Kings community’s discrete constituencies engage with the cyclical (re)production and remediation of popular historical knowledge. His work has been published in the Journal of Gaming & Virtual Worlds as well as the Foundations of Digital Games proceedings. 01 eng 03 00 This chapter examines boundary formation between game studies and games and learning in the past two decades. Beginning with the (re)formation of the field in the early 00s, the chapter focuses on the work of James Paul Gee–author of the pivotal monograph What Video Games Have Taught Us: Two Decades of Gaming and Learning–during this early period. A thorough examination of this scholarship suggests a necessary recontextualization of the popular narrative of decline, decay, and retreat offered in recent assessments of game studies.Examination of Gee’s work and that of others during this period reveals less of a genuine move towards transdisciplinary scholarship and instead a more instrumental form of multidisciplinarity rooted in a shared desire for scholarly legitimacy; this multidisciplinary argument relies on a utopian framing to bind the scholars on either side of the nascent boundary in this early effort. The now-distinct separation between game studies and games and learning is revealed via close reading of this early scholarship’s attitudes towards capitalism and its role in the future of games. Finally, this work argues that–instead of a narrative of decline and failure–the evolution of game studies during this period is best characterized as a critical maturation which seeks to reflexively examine the conceptual flaws in the field’s early nods to cross-disciplinary work. 30 00 This chapter examines boundary formation between game studies and games and learning in the past two decades. Beginning with the (re)formation of the field in the early 00s, the chapter focuses on the work of James Paul Gee–author of the pivotal monograph What Video Games Have Taught Us: Two Decades of Gaming and Learning–during this early period. A thorough examination of this scholarship suggests a necessary recontextualization of the popular narrative of decline, decay, and retreat offered in recent assessments of game studies.Examination of Gee’s work and that of others during this period reveals less of a genuine move towards transdisciplinary scholarship and instead a more instrumental form of multidisciplinarity rooted in a shared desire for scholarly legitimacy; this multidisciplinary argument relies on a utopian framing to bind the scholars on either side of the nascent boundary in this early effort. The now-distinct separation between game studies and games and learning is revealed via close reading of this early scholarship’s attitudes towards capitalism and its role in the future of games. Finally, this work argues that–instead of a narrative of decline and failure–the evolution of game studies during this period is best characterized as a critical maturation which seeks to reflexively examine the conceptual flaws in the field’s early nods to cross-disciplinary work. 20 00 Open Access Kirk M. Lundblade 9 03 06 10.53288/0441.1.09 195 225 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Video or Digital? Exploring the Use of Terminology and Connected Approaches in the History of Game Studies 1 A01 21 0000000213845112 Jasper van Vught Jasper van Vught Assistant Professor of New Media and Games 40 04pp8hn57 Utrecht University Jasper van Vught (he/him) is Assistant Professor of New Media and Games in the Department of Media and Culture Studies at Utrecht University. His research focuses on game theory and methodology, game ethics, and game history. He is part of the Centre for the Study of Digital Games and Play, has worked within an international research project into the age classification of games and has been involved with the Netherlands Institute for Sound and Vision to preserve and canonize Dutch game history. He co-authored the book Videogame Formalism: On Form, Aesthetic Experience and Methodology (Amsterdam University Press, 2023). 2 A01 Joris Veerbeek Joris Veerbeek Lecturer 40 04pp8hn57 Utrecht University Joris Veerbeek (he/him) is Lecturer at the department of Media and Culture studies at Utrecht University and junior researcher at Utrecht Data School. He specializes in computational text analysis for humanities research and conducts research on the dynamics of the public debate on social media and in traditional media, with a specific focus on the role of social institutions. 01 eng 03 00 In this chapter, we use several computational text analyses methods to map the trends in game studies over the years connected to the use of specific terminology for our object of study (video game, computer game, digital game). Looking into a corpus of all the research articles published from 1999 onwards from a variety of game studies journals, we show how these terms are not just hollow descriptive categories but point to a cognitive reference point of more fitting approaches and points of interest. This becomes apparent in our finding that the term ‘video game’ correlates with scholarship on a variety of representational elements (e.g., ‘queer studies’, ‘game narrative’ and ‘gender studies’) much more so than the terms ‘digital game’ and ‘computer game’ do. It seems the visual emphasis of the prefix ‘video’ is (most likely unconsciously) inviting interest in the visual output of the medium, whereas ‘computer game’ and ‘digital game’ invite interest in its technological and medium-specific aspects. These findings serve as words of warning to be conscious of the terms we use for our object of study and the way in which these terms have and will encourage specific directions of our field. 30 00 In this chapter, we use several computational text analyses methods to map the trends in game studies over the years connected to the use of specific terminology for our object of study (video game, computer game, digital game). Looking into a corpus of all the research articles published from 1999 onwards from a variety of game studies journals, we show how these terms are not just hollow descriptive categories but point to a cognitive reference point of more fitting approaches and points of interest. This becomes apparent in our finding that the term ‘video game’ correlates with scholarship on a variety of representational elements (e.g., ‘queer studies’, ‘game narrative’ and ‘gender studies’) much more so than the terms ‘digital game’ and ‘computer game’ do. It seems the visual emphasis of the prefix ‘video’ is (most likely unconsciously) inviting interest in the visual output of the medium, whereas ‘computer game’ and ‘digital game’ invite interest in its technological and medium-specific aspects. These findings serve as words of warning to be conscious of the terms we use for our object of study and the way in which these terms have and will encourage specific directions of our field. 20 00 Open Access Jasper van Vught and Joris Veerbeek 10 03 06 10.53288/0441.1.10 227 247 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Of Parents and Siblings, Disciplines and Debates: Game Studies as Media Culture Studies and the Possibility of Schools of Thought 1 A01 21 0009000542701758 Tobias Unterhuber Tobias Unterhuber post-doc for literature and media studies 40 054pv6659 Universität Innsbruck Tobias Unterhuber (he/him) studied modern German literature, comparative literature, and study of religion at LMU Munich and at the University of California, Berkeley. In 2018, he earned his PhD with his thesis on the works of Swiss author Christian Kracht. He is a post-doc for literature and media studies at the University of Innsbruck, where he also leads the game studies research group. His research interests include game studies, gender studies, discourse analysis, media history, specifically the media cultural history of games and play. He is co-editor of the game studies journal PAIDIA and the Zeitschrift für Fantastikforschung. 01 eng 03 00 The inherent methodological pluralism of the humanities has shaped game studies from the very start. Especially because as a field mostly defined by its research object, it not only draws on the traditions and established structures of one but of a plethora of disciplines. As an interdisciplinary /transdisciplinary field, game studies with its rudimentary institutionalization multiplied the methodological pluralism of its parental fields. Thus, the ludology versus narratology debate can be understood as an attempt to establish game studies as its own field and to separate it from its parental disciplines, especially literary studies. The approach of media culture studies offers a different framework for these relationships: fields concerned with different media formations under similar research interests, thus siblings. However, simultaneously, game studies is still informed by the concepts, structures and discussions of its former parental disciplines, especially conceptualizations what a research field even is. This macro-level does also influence the formation of research on a micro-level, e.g. the possibility of research groups evolving into schools of thought. The paper takes an exemplary look at the “Game Studies & Cultural Studies colloquium Munich” and the possibility of a “Munich school” and of schools of thought in game studies in general. 30 00 The inherent methodological pluralism of the humanities has shaped game studies from the very start. Especially because as a field mostly defined by its research object, it not only draws on the traditions and established structures of one but of a plethora of disciplines. As an interdisciplinary /transdisciplinary field, game studies with its rudimentary institutionalization multiplied the methodological pluralism of its parental fields. Thus, the ludology versus narratology debate can be understood as an attempt to establish game studies as its own field and to separate it from its parental disciplines, especially literary studies. The approach of media culture studies offers a different framework for these relationships: fields concerned with different media formations under similar research interests, thus siblings. However, simultaneously, game studies is still informed by the concepts, structures and discussions of its former parental disciplines, especially conceptualizations what a research field even is. This macro-level does also influence the formation of research on a micro-level, e.g. the possibility of research groups evolving into schools of thought. The paper takes an exemplary look at the “Game Studies & Cultural Studies colloquium Munich” and the possibility of a “Munich school” and of schools of thought in game studies in general. 20 00 Open Access Tobias Unterhuber 11 03 06 10.53288/0441.1.11 251 272 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queering the Game Studies Canon A Polemical Reading of Roger Caillois’s "Man, Play and Games" 1 A01 21 0000000327597233 Bo Ruberg Bo Ruberg Associate Professor in the Department of Film and Media Studies 40 04gyf1771 University of California, Irvine Bo Ruberg (they/them) is Associate Professor in the Department of Film and Media Studies at the University of California, Irvine and the co-editor of the Journal of Cinema and Media Studies. Their research explores gender and sexuality in digital media and digital cultures. They are the author of Video Games Have Always Been Queer (New York University Press, 2019), The Queer Games Avant-Garde: How LGBTQ Game Makers Are Reimagining the Medium of Video Games (Duke University Press, 2020), and Sex Dolls at Sea: Imagined Histories of Sexual Technologies (MIT Press, 2022). They are also the co-editor of Queer Game Studies (University of Minnesota Press, 2017) and Real Life in Real Time: Live Streaming Culture (MIT Press, 2023). 01 eng 03 00 Game studies is changing, as many scholars have noted, moving increasingly toward much-needed discussions of identity, culture, and power. Part of this shift has been the rise of queer game studies. However, the presumption that queerness is a relatively new topic for game studies overlooks the fact that, in certain key ways, queerness has been here all along. This chapter addresses one piece of video games’ queer past—namely, queer material that can be unearthed from the seemingly “straight” game studies canon—and explains how overlooking that past has continued to affect the present. A close reading of Roger Caillois’ 1958 Man, Play and Games, a foundational work for formalist game studies, reveals that the text can be read as deeply queer. Scenes of non-normative gender and sexual expression permeate the book, which foregrounds the relationship between play and queer pleasure. Ultimately, the goal of this chapter is not to reclaim Man, Play and Games, which is itself marred by racist and colonialist thinking. Instead, it serves as an indictment of game studies for distancing itself from the queerness of the very texts it claims as canon. Game studies has always been queer but the field has been built on disavowing that queerness. 30 00 Game studies is changing, as many scholars have noted, moving increasingly toward much-needed discussions of identity, culture, and power. Part of this shift has been the rise of queer game studies. However, the presumption that queerness is a relatively new topic for game studies overlooks the fact that, in certain key ways, queerness has been here all along. This chapter addresses one piece of video games’ queer past—namely, queer material that can be unearthed from the seemingly “straight” game studies canon—and explains how overlooking that past has continued to affect the present. A close reading of Roger Caillois’ 1958 Man, Play and Games, a foundational work for formalist game studies, reveals that the text can be read as deeply queer. Scenes of non-normative gender and sexual expression permeate the book, which foregrounds the relationship between play and queer pleasure. Ultimately, the goal of this chapter is not to reclaim Man, Play and Games, which is itself marred by racist and colonialist thinking. Instead, it serves as an indictment of game studies for distancing itself from the queerness of the very texts it claims as canon. Game studies has always been queer but the field has been built on disavowing that queerness. 20 00 Open Access Bo Ruberg 12 03 06 10.53288/0441.1.12 273 290 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ken S. McAllister Innovation, Collaboration, Humanities? Yes! 1 A01 21 0000000175549346 Judd Ethan Ruggill Judd Ethan Ruggill Associate Dean of Academic Services 40 03m2x1q45 University of Arizona Judd Ethan Ruggill (he/him) is Associate Dean of Academic Services in the Graduate College at the University of Arizona. He primarily researches play and the technologies, industries, and sociocultural phenomena that enable it. He has published and presented on topics ranging from archiving to xenolinguistics, and is currently working on a book with colleague Ken McAllister about collecting and preserving games. 01 eng 03 00 In this interview, game studies pioneer Ken S. McAllister recounts coming to study games for a living, and how a career-threatening technology failure that wiped out a book project on miniaturization was actually a gift, creating the opportunity for him to write the first English-language book on the rhetoric of video games. In so doing, he recalls the inhospitable institutional and professional culture game studies scholars often encountered in the early days of the field, and the ways in which that culture provoked praxical and occasionally outlandish experiments in response. One of McAllister’s signature experiments from that era is the Learning Games Initiative, a transdisciplinary, inter-institutional research group he co-founded in 1999 to study, teach with, and build games. McAllister shares the origins of the group and highlights its longest running project, the Learning Games Initiative Research Archive. The Archive has since become one of the largest working collections of video game-related artifacts in the world and a laboratory for the theory and practice of electronic game collection, preservation, and conservation. McAllister draws on the collaborative, collegial, and international approaches he has explored through the Initiative and its Archive to speak to current and future game researchers. 30 00 In this interview, game studies pioneer Ken S. McAllister recounts coming to study games for a living, and how a career-threatening technology failure that wiped out a book project on miniaturization was actually a gift, creating the opportunity for him to write the first English-language book on the rhetoric of video games. In so doing, he recalls the inhospitable institutional and professional culture game studies scholars often encountered in the early days of the field, and the ways in which that culture provoked praxical and occasionally outlandish experiments in response. One of McAllister’s signature experiments from that era is the Learning Games Initiative, a transdisciplinary, inter-institutional research group he co-founded in 1999 to study, teach with, and build games. McAllister shares the origins of the group and highlights its longest running project, the Learning Games Initiative Research Archive. The Archive has since become one of the largest working collections of video game-related artifacts in the world and a laboratory for the theory and practice of electronic game collection, preservation, and conservation. McAllister draws on the collaborative, collegial, and international approaches he has explored through the Initiative and its Archive to speak to current and future game researchers. 20 00 Open Access Judd Ethan Ruggill 13 03 06 10.53288/0441.1.13 293 306 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Re-Historicizing Game Studies with C.L.R. James 1 A01 21 0000000238980265 Cameron Kunzelman Cameron Kunzelman Assistant Professor of Communication Studies and Theatre 40 04bk7v425 Mercer University Cameron Kunzelman (he/him) is Assistant Professor of Communication Studies and Theatre at Mercer University. He podcasts on the Ranged Touch network. 2 A01 Michael Lutz Michael Lutz Michael Lutz (he/him) is an independent scholar, game developer, and narrative designer. He podcasts with the Ranged Touch network. 01 eng 03 00 This essay considers what games studies might look like if Marxist critic C.L.R. James’ 1963 work of cultural criticism and biography Beyond A Boundary were accepted as a core, critical text in lieu of contemporary work that, while unquestionably central to the discipline, is primarily concerned with abstracted and typological models in attempts to theorize both games and play as universal ideals locatable outside history and culture. By contrast, James begins from his lived experience, focusing on the deep interrelations between his home of Trinidad, the sport of cricket, and colonial rule. James draws direct lines between the material political conditions of Trinidadians, including the racial codes of the British Empire, and how cricket was used to navigate the early 20th century mores around race and class on the island. We understand James as a theorist of play who engages the relationship between play and politics. It is undeniable that James produces a theory of play that is moveable and locatable beyond the circumstances delimited in the book, but it is the genre of his writing, and the way his reception is structured on racial grounds, that has prevented game studies from engaging with him directly. 30 00 This essay considers what games studies might look like if Marxist critic C.L.R. James’ 1963 work of cultural criticism and biography Beyond A Boundary were accepted as a core, critical text in lieu of contemporary work that, while unquestionably central to the discipline, is primarily concerned with abstracted and typological models in attempts to theorize both games and play as universal ideals locatable outside history and culture. By contrast, James begins from his lived experience, focusing on the deep interrelations between his home of Trinidad, the sport of cricket, and colonial rule. James draws direct lines between the material political conditions of Trinidadians, including the racial codes of the British Empire, and how cricket was used to navigate the early 20th century mores around race and class on the island. We understand James as a theorist of play who engages the relationship between play and politics. It is undeniable that James produces a theory of play that is moveable and locatable beyond the circumstances delimited in the book, but it is the genre of his writing, and the way his reception is structured on racial grounds, that has prevented game studies from engaging with him directly. 20 00 Open Access Cameron Kunzelman and Michael Lutz 14 03 06 10.53288/0441.1.14 307 329 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Story or a Machine? Revisiting the Work of Bohuslav Blažek, the Czechoslovak Pioneer of Game Studies 1 A01 21 0000000199188346 Jaroslav Švelch Jaroslav Švelch Associate Professor of Media Studies 40 024d6js02 Charles University Jaroslav Švelch (he/him) is Associate Professor of Media Studies at Charles University, Prague, and a part-time Associate Professor of Game Studies with the Film and TV Faculty of Academy of Performing Arts in Prague. In his first monograph Gaming the Iron Curtain: How Teenagers and Amateurs in Communist Czechoslovakia Claimed the Medium of Computer Games (MIT Press, 2018), he traces the hidden histories of home computing and gaming in the former Soviet bloc. His second book, Player vs. Monster: The Making and Breaking of Video Game Monstrosity (MIT Press, 2023), offers a cultural history and a critique of the role of monsters in video games. He has also published work on local game production, humor in games, and video game voice acting. He is a co-founder of the Central and Eastern European Game Studies (CEEGS) conference and the inaugural chair of DiGRA Central and Eastern Europe (2022–). 01 eng 03 00 This chapter introduces the game scholarship of Bohuslav Blažek, a forgotten Czechoslovak pioneer of game studies who published several texts on games in the late 1980s as well as the book The Labyrinth of Computer Games (Bludiště počítačových her), published in 1990 but written in the final years of the Communist regime. Trained as a philosopher, psychologist, and filmmaker and better known for his work on theatre, media, and environmental issues, Blažek drew from an eclectic selection of literature and promoted play (including computer games) as a way towards a more participatory and communal post-industrial society. His 1990 book contains a sophisticated inquiry into the structure of computer games as a medium, anticipating some of the formative questions of game studies. One section headline asks whether computer games were “stories or machines,” predating the so-called “ludology versus narratology” debate by about a decade. Moreover, the book embodies an inclusive and interdisciplinary vision of games research that remains inspiring to this day. This chapter revisits Blažek’s writings on computer games and situates them in the background of his intellectual biography and the historical context of late socialist Czechoslovakia, offering an alternative to the Western-centric and Anglo-Saxon histories of the intellectual inquiry into digital games. 30 00 This chapter introduces the game scholarship of Bohuslav Blažek, a forgotten Czechoslovak pioneer of game studies who published several texts on games in the late 1980s as well as the book The Labyrinth of Computer Games (Bludiště počítačových her), published in 1990 but written in the final years of the Communist regime. Trained as a philosopher, psychologist, and filmmaker and better known for his work on theatre, media, and environmental issues, Blažek drew from an eclectic selection of literature and promoted play (including computer games) as a way towards a more participatory and communal post-industrial society. His 1990 book contains a sophisticated inquiry into the structure of computer games as a medium, anticipating some of the formative questions of game studies. One section headline asks whether computer games were “stories or machines,” predating the so-called “ludology versus narratology” debate by about a decade. Moreover, the book embodies an inclusive and interdisciplinary vision of games research that remains inspiring to this day. This chapter revisits Blažek’s writings on computer games and situates them in the background of his intellectual biography and the historical context of late socialist Czechoslovakia, offering an alternative to the Western-centric and Anglo-Saxon histories of the intellectual inquiry into digital games. 20 00 Open Access Jaroslav Švelch 15 03 06 10.53288/0441.1.15 331 354 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Political Function of Triflers and Spoilsports in Game Studies 1 A01 21 0000000269995179 Liam Mitchell Liam Mitchell Associate Professor of Cultural Studies 40 03ygmq230 Trent University Liam Mitchell (he/him) is Associate Professor of Cultural Studies at Trent University in Peterborough, Canada. His work theorizes the relationship between media, culture, and the political by paying close attention to particular technological artifacts, practices, and phenomena, particularly those objects associated with digital and social media. He is the author of Ludopolitics: Videogames against Control (Zer0 Books, 2018). 01 eng 03 00 Conventional gameplay requires that players follow rules and aim for goals. Unconventional gameplay does not: cheats ignore rules, triflers ignore goals, and spoilsports ignore both. These unconventional modes of gameplay seem to be perennial preoccupations for those scholars concerned with the relationship between games and life, or with a political reading of games. Since the field’s inception, game studies scholars have conceived of these unconventional modes of play in metonymical or indexical terms, turning cheats, triflers, and spoilsports into different kinds of social actors who trouble the laws and conventions of society in different ways. Setting aside the comparatively straightforward rule breaking of the cheat, in this chapter I review four books – John Huizinga’s Homo Ludens, Bernard Suits’ The Grasshopper, James Carse’s Finite and Infinite Games, and McKenzie Wark’s Gamer Theory – that cast the trifler and spoilsport as complicated agents of social change. By demonstrating the affinity between these texts, I resituate the figures of the trifler and the spoilsport in the field of game studies and identify a normative and philosophical framework for thinking about games that is grounded in a radical critique of the present. 30 00 Conventional gameplay requires that players follow rules and aim for goals. Unconventional gameplay does not: cheats ignore rules, triflers ignore goals, and spoilsports ignore both. These unconventional modes of gameplay seem to be perennial preoccupations for those scholars concerned with the relationship between games and life, or with a political reading of games. Since the field’s inception, game studies scholars have conceived of these unconventional modes of play in metonymical or indexical terms, turning cheats, triflers, and spoilsports into different kinds of social actors who trouble the laws and conventions of society in different ways. Setting aside the comparatively straightforward rule breaking of the cheat, in this chapter I review four books – John Huizinga’s Homo Ludens, Bernard Suits’ The Grasshopper, James Carse’s Finite and Infinite Games, and McKenzie Wark’s Gamer Theory – that cast the trifler and spoilsport as complicated agents of social change. By demonstrating the affinity between these texts, I resituate the figures of the trifler and the spoilsport in the field of game studies and identify a normative and philosophical framework for thinking about games that is grounded in a radical critique of the present. 20 00 Open Access Liam Mitchell 16 03 06 10.53288/0441.1.16 355 368 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Mother Was a Jump Rope Rhyme A Game Studies That Might Have Been 1 A01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek Professor of Digital Humanities and Media Studies 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017), and, with Matthew Thomas Payne, Ultima and Worldbuilding in the Computer Role-Playing Game (Amherst, 2024). She is researching the history and impact of the games for girls movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets including The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 01 eng 03 00 Children arguing over the rules of tag know that games are complex negotiations of power systems drawn from their material, political, and social context. Awareness of these power dynamics has long been a central concern in play studies. However, game studies is frequently situated as separate from play studies and continues to draw on Huizinga’s legacy, often replicating an elitism and naivete that Margaret Carlisle Duncan first pointed out 40 years ago. This chapter imagines a game studies more closely aligned with play studies. Considering the key findings of researchers such as Carlisle Duncan, Miriam Forman-Brunell, Brenda Laurel, Kyra Gaunt, Vivan Gussin Paley, Linda Hughes, Maria Montessori, and Iona and Peter Opie this chapter interrogates how the relative marginality of these thinkers in game studies reflects an entrenched masculinist impulse to devalue both women thinkers and young girls and their concerns. By engaging works such as Gaunt’s groundbreaking study of Black girls’ jump rope rhymes and Miriam Forman-Brunell’s exhaustive research on dolls both as cultural artifacts and richly meaningful playthings, I suggest a reconceptualized game studies in which certain types of video games are not arbitrarily cleaved from the broader study of areas such as leisure, play, and girlhood. 30 00 Children arguing over the rules of tag know that games are complex negotiations of power systems drawn from their material, political, and social context. Awareness of these power dynamics has long been a central concern in play studies. However, game studies is frequently situated as separate from play studies and continues to draw on Huizinga’s legacy, often replicating an elitism and naivete that Margaret Carlisle Duncan first pointed out 40 years ago. This chapter imagines a game studies more closely aligned with play studies. Considering the key findings of researchers such as Carlisle Duncan, Miriam Forman-Brunell, Brenda Laurel, Kyra Gaunt, Vivan Gussin Paley, Linda Hughes, Maria Montessori, and Iona and Peter Opie this chapter interrogates how the relative marginality of these thinkers in game studies reflects an entrenched masculinist impulse to devalue both women thinkers and young girls and their concerns. By engaging works such as Gaunt’s groundbreaking study of Black girls’ jump rope rhymes and Miriam Forman-Brunell’s exhaustive research on dolls both as cultural artifacts and richly meaningful playthings, I suggest a reconceptualized game studies in which certain types of video games are not arbitrarily cleaved from the broader study of areas such as leisure, play, and girlhood. 20 00 Open Access Carly A. Kocurek 17 03 06 10.53288/0441.1.17 369 388 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reflecting on the Evolution of Intersectional Game Studies An Interview with Lisa Nakamura 1 A01 21 0000000170266056 Sarah Christina Ganzon Sarah Christina Ganzon Assistant Professor of the School of Communication 40 0213rcc28 Simon Fraser University Sarah Christina Ganzon (she/her) is Assistant Professor of the School of Communication at Simon Fraser University. Her research revolves mostly around the areas of game studies and digital fandom. Recently, she finished her thesis on otome games in English and otome game players. Some of her work has appeared in journals such as Games and Culture, Critical Studies in Media Communication, Human Tech, and Transformative Works and Cultures. She holds a PhD in Communication Studies from Concordia University and an MA in English Literature from Cardiff University. Previously, she also taught courses at the University of the Philippines, University of Santo Tomas, Far Eastern University and Concordia University. 2 A32 21 0000000265342808 Lisa Nakamura Lisa Nakamura Gwendolyn Calvert Baker Collegiate Professor in the Department of American Cultures 40 00jmfr291 University of Michigan–Ann Arbor Lisa Nakamura (she/her) is the Gwendolyn Calvert Baker Collegiate Professor in the Department of American Cultures at the University of Michigan, Ann Arbor. She is the founding Director of the Digital Studies Institute at the University of Michigan and has been writing about digital media, race, and gender since 1994. She has written books and articles on digital bodies, race, and gender in online environments, on toxicity in video game culture, and the many reasons that Internet research needs ethnic and gender studies. 01 eng 03 00 In this interview, Nakamura reflects on her experiences writing and teaching about digital culture, games, race and gender–from her first publications in the 90s towards more contemporary work that shed light on toxic cultures, digital labor and narratives that render women of color invisible in media histories. In doing so, she provides a history of some of the earliest intersectional work in game studies and digital media. These reflections and histories told by one female scholar of color to another provide a window into the labor of intersectional work in game studies, how far we have come, and how far we have yet to go. 30 00 In this interview, Nakamura reflects on her experiences writing and teaching about digital culture, games, race and gender–from her first publications in the 90s towards more contemporary work that shed light on toxic cultures, digital labor and narratives that render women of color invisible in media histories. In doing so, she provides a history of some of the earliest intersectional work in game studies and digital media. These reflections and histories told by one female scholar of color to another provide a window into the labor of intersectional work in game studies, how far we have come, and how far we have yet to go. 20 00 Open Access Sarah Christina Ganzon 18 03 06 10.53288/0441.1.18 389 409 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unveiling the Path Seeing and Doing Game Studies from a Sámi Perspective 1 A01 21 0000000177872788 Outi Kaarina Laiti Outi Kaarina Laiti postdoctoral researcher 40 040af2s02 University of Helsinki Outi Kaarina Laiti (she/her) is a Sámi game researcher and designer. She is a postdoctoral researcher at the University of Helsinki, focusing on the intersection of education, computer science, and Sámi culture in video games and programming. Laiti promotes Sámi game developers and has coached an elderly eSports team. She was recognized as one of GamesIndustry.biz’s 100 Game Changers in 2020 for her efforts to increase accessibility in the industry. Laiti has actively organized game development events in the Sámi homeland, Sápmi, and co-created Sami Game Jams to encourage Indigenous innovation and cultural representation in gaming. Her doctoral thesis “Old Ways of Knowing, New Ways of Playing,” published in January 2021, discusses the potential of collaborative game design to empower Indigenous Sámi. 01 eng 03 00 In this chapter I explore how a Sámi worldview can be present, and how to employ Sámi methodologies, in the field of game studies. In this chapter I continue the work of Indigenous methodological thinkers and ground my work in the long line of Sámi dutkama máttut, the methodological thinkers in all the fields where Sámi research is present. This chapter is an autoethnographic description of how my research on Sámi digital games has reshaped game studies, and it is based on my field notes and reflections on the process that led to a doctoral dissertation in the field of Sámi game studies. By describing the process of unveiling the path, I introduce a way to employ Sámi methodologies in game studies and discuss the ways in which Indigenous epistemologies can be present in game studies practice. Furthermore, I discuss how Indigenous and non-Indigenous game studies can form a dialogue without jeopardizing Indigenous sovereignty over research. 30 00 In this chapter I explore how a Sámi worldview can be present, and how to employ Sámi methodologies, in the field of game studies. In this chapter I continue the work of Indigenous methodological thinkers and ground my work in the long line of Sámi dutkama máttut, the methodological thinkers in all the fields where Sámi research is present. This chapter is an autoethnographic description of how my research on Sámi digital games has reshaped game studies, and it is based on my field notes and reflections on the process that led to a doctoral dissertation in the field of Sámi game studies. By describing the process of unveiling the path, I introduce a way to employ Sámi methodologies in game studies and discuss the ways in which Indigenous epistemologies can be present in game studies practice. Furthermore, I discuss how Indigenous and non-Indigenous game studies can form a dialogue without jeopardizing Indigenous sovereignty over research. 20 00 Open Access Outi Kaarina Laiti 19 03 06 10.53288/0441.1.19 411 430 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anthropology, Play Studies, and the Entanglements of Game Studies Two Roads Diverged in an Ivory Wood 1 A01 21 0000000316379759 Laya Liebeseller Laya Liebeseller Laya Liebeseller (they/any) is a play scholar, game designer, and anthropologist. Their current design work focuses on imagining queer futures and horror in its relation to current social dynamics. In their academic work they study play during pandemic times. Since 2013, they have worked with live-action roleplay communities, tabletop roleplaying communities, and most recently alternate reality game communities. Their ongoing dissertation research details analog game communities, their abrupt transition online in 2020, and the continuing ramifications. 2 A01 21 0000000307295043 Josh Rivers Josh Rivers Josh Rivers (he/him) holds a PhD in Anthropology from the University of Wisconsin-Milwaukee, at the time of publication, is a Research Manager at Xbox. His research interests reside at the nexus of queer theory, institutions, and video games. Past projects include his dissertation work, an ethnographic exploration of how the Icelandic cultural context of CCP Games impacted the manner in which the corporation architects ethics into the fabric of their massively-multiplayer online game, EVE Online, as well as an ethnographic analysis of queer community-making in Final Fantasy XIV. 01 eng 03 00 Game Studies is a robust interdisciplinary field that has succeeded in incorporating myriad methodological and theoretical positionalities, yet there remain voices from the discipline’s past and its margins that go unheard or forgotten. In this article, we trace the history of The Association of the Study of Play (TASP), originally founded in 1973 as The Association of the Anthropological Study of Play (TAASP), and its entanglement with, as well as disentanglement from, the broader discipline of Anthropology in order to highlight the social mess à la John Law that is involved in the institutionalization of a set of research interests and thereby ‘legitimization’ of a field. In doing so, we speak to the inherent pitfalls involved in demarcating a discipline’s boundaries while challenging Game Studies scholars to consider the entanglements of their field. This tracing of the entanglements between TASP, Anthropology, Game Studies, and Play Studies aims to serve as a reminder that no discipline is immune from losing sight of its past and no field ought to forego searching the annals of its own history, both for what has been lost or purposefully ignored. 30 00 Game Studies is a robust interdisciplinary field that has succeeded in incorporating myriad methodological and theoretical positionalities, yet there remain voices from the discipline’s past and its margins that go unheard or forgotten. In this article, we trace the history of The Association of the Study of Play (TASP), originally founded in 1973 as The Association of the Anthropological Study of Play (TAASP), and its entanglement with, as well as disentanglement from, the broader discipline of Anthropology in order to highlight the social mess à la John Law that is involved in the institutionalization of a set of research interests and thereby ‘legitimization’ of a field. In doing so, we speak to the inherent pitfalls involved in demarcating a discipline’s boundaries while challenging Game Studies scholars to consider the entanglements of their field. This tracing of the entanglements between TASP, Anthropology, Game Studies, and Play Studies aims to serve as a reminder that no discipline is immune from losing sight of its past and no field ought to forego searching the annals of its own history, both for what has been lost or purposefully ignored. 20 00 Open Access Laya Liebeseller and Josh Rivers 20 03 06 10.53288/0441.1.20 433 466 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Autoethnographic Denial The Disavowal of Game Studies’ Most Fundamental Methodology and the Struggle for Its Realization 1 A01 Stephanie C. Jennings Stephanie C. Jennings Stephanie C. Jennings (she/her) is an independent scholar and writer. 01 eng 03 00 Despite the centrality of autoethnography in the historical emergence of critical video game analysis—and despite recognition from game studies scholars that players’ situated subjectivities and embodied experiences are inextricable aspects of gameplay—the field of game studies has developed an enduring habit of disparaging the use of autoethnography.The purpose of this chapter, then, is to examine the history of autoethnography in the field: so pivotal, and yet so denied. I chronicle the ways that the field has largely abstained from conducting autoethnographies, even as autoethnography’s increasingly undeniable significance continues to emerge in the generative experiential-intellectual knowledges from marginalized scholars’ critical, political storytelling. The chapter is, itself, an autoethnography. Interspersed throughout my analysis, I recount my own history with autoethnographic research, which started in denial. I use this story to emphasize the need for future scholarship that more thoroughly explicates how to conduct autoethnographies pertaining to videogames and gaming cultures. And in conclusion, I urge that the field continue to build upon the rich and growing body of autoethnographic research; to develop novel approaches to autoethnography that contest the dominant standards of academic scholarship and publishing practices; and to embrace autoethnography as a uniquely defining feature of the field. 30 00 Despite the centrality of autoethnography in the historical emergence of critical video game analysis—and despite recognition from game studies scholars that players’ situated subjectivities and embodied experiences are inextricable aspects of gameplay—the field of game studies has developed an enduring habit of disparaging the use of autoethnography.The purpose of this chapter, then, is to examine the history of autoethnography in the field: so pivotal, and yet so denied. I chronicle the ways that the field has largely abstained from conducting autoethnographies, even as autoethnography’s increasingly undeniable significance continues to emerge in the generative experiential-intellectual knowledges from marginalized scholars’ critical, political storytelling. The chapter is, itself, an autoethnography. Interspersed throughout my analysis, I recount my own history with autoethnographic research, which started in denial. I use this story to emphasize the need for future scholarship that more thoroughly explicates how to conduct autoethnographies pertaining to videogames and gaming cultures. And in conclusion, I urge that the field continue to build upon the rich and growing body of autoethnographic research; to develop novel approaches to autoethnography that contest the dominant standards of academic scholarship and publishing practices; and to embrace autoethnography as a uniquely defining feature of the field. 20 00 Open Access Stephanie C. Jennings 21 03 06 10.53288/0441.1.21 467 490 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Down on Luck Examining the Pervasive Merit-Based Logics in Game Studies 1 A01 21 0000000261225671 Michael Anthony DeAnda Michael Anthony DeAnda Senior Professional Lecturer 40 04xtx5t16 DePaul University Michael Anthony DeAnda (fae/faer, use my name) is Senior Professional Lecturer at DePaul University, serving as the chair of the Game Design Program Committee and the Human Centered Design PhD Program Committee and Director of the School of Design Summer Impact Grant Program. Michael researches games as spaces for world-building by studying latinx and queer studies and lived experiences and considering how these speak intimately to games. Michael has published in Design Issues, Convergence, Technical Communications Quarterly, The Journal of Popular Culture, The Video Game Art Reader, Queer Studies in Media and Popular Culture, and Widerscreens. As a scholar–practitioner, Michael develops games that draw from latinx and LGBTQ+ lived experiences to disrupt our assumptions about the world around us and reshape the way we imagine systems. 01 eng 03 00 This chapter examines how game studies diminishes chance and privileges skill, situating these in a dichotomy. Such privileging prevents us from understanding chance in games in more meaningful ways. Chance is often read as a game system that casts players in passive roles at the whim of fate and unyielding indiscrimination. However, the focus on skill perpetuates readings of games as systems of meritocracy and player domination. The divide between skill and chance in games studies is historically used to differentiate games as “good” objects worthy of critical attention from gambling, “bad” objects attached deviance. Furthermore, the skill/chance dichotomy reinforces gender binarism, linking skill to masculinity while feminizing chance. Take seriously games of chance points to opportunities for game studies to look beyond the procedural and diegetic operations of the games and consider ways communities deploy games for socializing and formation of community identity. Reimagining how we synthesize chance and skill in games will complicate the way we theorize and design games. 30 00 This chapter examines how game studies diminishes chance and privileges skill, situating these in a dichotomy. Such privileging prevents us from understanding chance in games in more meaningful ways. Chance is often read as a game system that casts players in passive roles at the whim of fate and unyielding indiscrimination. However, the focus on skill perpetuates readings of games as systems of meritocracy and player domination. The divide between skill and chance in games studies is historically used to differentiate games as “good” objects worthy of critical attention from gambling, “bad” objects attached deviance. Furthermore, the skill/chance dichotomy reinforces gender binarism, linking skill to masculinity while feminizing chance. Take seriously games of chance points to opportunities for game studies to look beyond the procedural and diegetic operations of the games and consider ways communities deploy games for socializing and formation of community identity. Reimagining how we synthesize chance and skill in games will complicate the way we theorize and design games. 20 00 Open Access Michael Anthony DeAnda 22 03 06 10.53288/0441.1.22 491 510 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Separation of Analog and Digital Game Studies 1 A01 21 0000000303269294 Evan Torner Evan Torner Associate Professor of German Studies 40 01e3m7079 University of Cincinnati Evan Torner (he/him) is Associate Professor of German Studies at the University of Cincinnati, where he directs the Undergraduate Program in German as well as the UC Game Lab. His work examines the processes and ideologies of cultural production, with a primary focus on the popular media of German-speaking countries as well as niche media of small-press tabletop role-playing games (RPG) and international live-action role-play (larp) communities. As a games scholar, he co-edited Immersive Gameplay (McFarland, 2012) with William J. White, co-founded and serves as an editor for the journal Analog Game Studies, and serves as associate editor for the International Journal of Role-Playing. As a game designer, he has had stand-alone and anthology work published in at least six different languages and written many RPG scenarios for Danish convention Fastaval, including the award-winning Save Some Light for Me (2019). As a community organizer, he co-founded the Golden Cobra Challenge, co-organized the 2017 US run of the queer Norwegian larp Just A Little Lovin’, and co-organized Origins Games on Demand. 01 eng 03 00 The essay speculates on underlying historical reasons for Game Studies’ relative neglect of non-digital or analog games in favor of digital games. Despite calls by leaders in the field to include non-digital games in their purview, the emphasis on digital games has taken root and produced a number of biases in research, hiring, teaching, and promotion. The reasons given for this oversight, despite a contemporary renaissance in analog games, are numerous. The 1980s Satanic Panic proved more a public-sphere detriment to hobbyist analog games than the 1990s anti-video-game-violence movement to video games. In its wake, the “gamer” identity was connected with a masculine-oriented first-person-shooter culture, over other gaming cultures. The sheer economic scale of video games cannot be ignored, and this scale was the point of argumentation for the foundation of many Games programs in higher education. Games have been cynically incorporated into these programs for purposes of outreach and enrollment, not real academic interest from administrations. Finally, film and media studies doubled down on its investment in moving images on screens over a more capacious understanding of media, which would otherwise include analog games. 30 00 The essay speculates on underlying historical reasons for Game Studies’ relative neglect of non-digital or analog games in favor of digital games. Despite calls by leaders in the field to include non-digital games in their purview, the emphasis on digital games has taken root and produced a number of biases in research, hiring, teaching, and promotion. The reasons given for this oversight, despite a contemporary renaissance in analog games, are numerous. The 1980s Satanic Panic proved more a public-sphere detriment to hobbyist analog games than the 1990s anti-video-game-violence movement to video games. In its wake, the “gamer” identity was connected with a masculine-oriented first-person-shooter culture, over other gaming cultures. The sheer economic scale of video games cannot be ignored, and this scale was the point of argumentation for the foundation of many Games programs in higher education. Games have been cynically incorporated into these programs for purposes of outreach and enrollment, not real academic interest from administrations. Finally, film and media studies doubled down on its investment in moving images on screens over a more capacious understanding of media, which would otherwise include analog games. 20 00 Open Access Evan Torner 23 03 06 10.53288/0441.1.23 511 523 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Navigating Public History and Game Preservation In Conversation with the Computerspielemuseum 1 A01 Racquel M. Gonzales Racquel M. Gonzales Director of Interpretative Engagement at the Memorial Art Gallery 40 022kthw22 University of Rochester Racquel M. Gonzales is the Director of Interpretative Engagement at the Memorial Art Gallery of the University of Rochester in New York. A trained ethnographer and oral historian, she holds a Ph.D. in Visual Studies and a certificate in Gender and Sexuality Studies from University of California, Irvine, an MA in Media Studies from University of Texas at Austin, and a ba in Cinematic Arts with a minor in Classics from University of Southern California. Her previous roles include stints at The Strong National Museum of Play, University of California, Irvine, and Laguna College of Art and Design. 01 eng 03 00 In this conversation, Dr. Racquel M. Gonzales (Research Historian, The Strong National Museum of Play, Rochester, New York) interviews staff of Berlin’s Computerspielemuseum about the role of a museum in the work of public history. Gameshouse gGmbH managing director Dr. Klaus Spieler discusses how the museum emerged at a fraught time in Germany’s national relationship with game content and culture alongside the continued impact of regulation. Technical director Matthias Oborski and curator Philipp Frei offer perspectives on collecting, preserving, and exhibiting game history for archival researchers and non-specialist audiences. We reflect on the impacts of the COVID-19 pandemic, and grapple with the roles museums should play in the future of game studies. The discussion offers insights on game history developed outside the United States and the practice of public history while navigating various stakeholders—institutional, governmental, industrial, public—that shape the narratives we craft and histories we preserve in museums and archives. 30 00 In this conversation, Dr. Racquel M. Gonzales (Research Historian, The Strong National Museum of Play, Rochester, New York) interviews staff of Berlin’s Computerspielemuseum about the role of a museum in the work of public history. Gameshouse gGmbH managing director Dr. Klaus Spieler discusses how the museum emerged at a fraught time in Germany’s national relationship with game content and culture alongside the continued impact of regulation. Technical director Matthias Oborski and curator Philipp Frei offer perspectives on collecting, preserving, and exhibiting game history for archival researchers and non-specialist audiences. We reflect on the impacts of the COVID-19 pandemic, and grapple with the roles museums should play in the future of game studies. The discussion offers insights on game history developed outside the United States and the practice of public history while navigating various stakeholders—institutional, governmental, industrial, public—that shape the narratives we craft and histories we preserve in museums and archives. 20 00 Open Access Racquel M. Gonzales 24 03 06 10.53288/0441.1.24 525 545 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Archiving Play, Archiving Histories Preserving Games Hardware, Software, and Experience 1 A01 Lee W. Hibbard Lee W. Hibbard Lecturer in Technical Communication University of Michigan Lee W. Hibbard (he/him, they/them) has a PhD in Rhetoric and Composition from Purdue University and is Lecturer in Technical Communication at University of Michigan College of Engineering. His research interests include archive theory and practice, professional writing, game studies and game design, new media texts, digital rhetorics, fandom communities, queer studies, and identity formation, and a lot of his interest intersects with his experiences as a queer nonbinary transgender man. His work with the Strong Museum is part of his dissertation research into the intersections of archiving, queerness, and games, and he is thrilled to share this work and his passion for diving deep into the history of games and gaming culture in this collection. In his spare time he collects old consoles, avoids digital-only copies of games, and loves an old-fashioned round of arcade Tetris. 01 eng 03 00 This chapter considers the importance of preserving games in both physical and metaphysical contexts by examining current archival efforts to catalog and share games and play experiences with future generations and consider their position within game studies. It highlights work being done in three archival contexts -- The Strong Museum of Play, the LGBTQ+ Video Game Archive, and the Learning Games Initiative. This includes an examination of each of their mission and goals, selectivity and rationale, and methods and processes, and each section includes interviews with current directors and founders of the archives in question. The work of these specific organizations, archives, and museums, while varying widely, provides a demonstration of not only the methods being undertaken to preserve game history, but the importance of that work amongst those organizations and individuals. This investigation demonstrates not only how diverse and varied games and play experiences are now, but how much of gaming history already contains those diverse experiences. By examining current preservation efforts, this chapter not only highlights how diverse and varied preservation efforts are in games and play, but demonstrates the importance of examining the archival work being done to preserve the fragile and tenuous technologies and voices surrounding games and play. 30 00 This chapter considers the importance of preserving games in both physical and metaphysical contexts by examining current archival efforts to catalog and share games and play experiences with future generations and consider their position within game studies. It highlights work being done in three archival contexts -- The Strong Museum of Play, the LGBTQ+ Video Game Archive, and the Learning Games Initiative. This includes an examination of each of their mission and goals, selectivity and rationale, and methods and processes, and each section includes interviews with current directors and founders of the archives in question. The work of these specific organizations, archives, and museums, while varying widely, provides a demonstration of not only the methods being undertaken to preserve game history, but the importance of that work amongst those organizations and individuals. This investigation demonstrates not only how diverse and varied games and play experiences are now, but how much of gaming history already contains those diverse experiences. By examining current preservation efforts, this chapter not only highlights how diverse and varied preservation efforts are in games and play, but demonstrates the importance of examining the archival work being done to preserve the fragile and tenuous technologies and voices surrounding games and play. 20 00 Open Access Lee W. Hibbard 25 03 06 10.53288/0441.1.25 547 567 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ludic Dissertations “Level 101” and Video Games as Playable Scholarship 1 A01 21 0000000301245934 Justin Wigard Justin Wigard Assistant Professor of 20th- and 21st-Century US Literature 40 04a5szx83 University of North Dakota 40 03y71xh61 University of Richmond Justin Wigard (he/him) is Assistant Professor of 20th- and 21st-Century US Literature at University of North Dakota, where he works and teaches in comics studies, game studies, and digital humanities. Along with Mitch Ploskonka, Justin is co-editor of Attack of the New B Movies: Essays on SYFY Original Films (McFarland Press, 2023). He has published games scholarship in Cinergie, Unbound, Vault of Culture, and various edited collections. His next project examines the long publishing history of the Indigenous character Turok across comics, games, and even animation. 06 Own website https://justinwigard.com/ 03 00 This chapter traces a divide between critical and creative camps within game studies’ history, offering some accounting of where this stems from, along with how it has grown and shifted particularly in relation to other fields. Topics include the historical inaccessibility of game development knowledge, software, even hardware; successful attempts to bridge this gap, along with common roadblocks; and the academy’s resistance to consideration of alternative scholarship forms.Alongside this historiography, I work through the premise, methodology, and stakes of creating a short, playable video game as my dissertation: Level 101: A Video Game About Video Games. Drawing on other alternative dissertations (e.g. Sousanis, Carson, Visconti), my dissertation explores, explains, and interrogates the video game medium on several levels in order to understand the medium through a methodology of play. Ultimately, this chapter speculates on what future game studies may look like by embracing playable criticism as a mode of scholarly discourse, by embracing games as our mode of critical inquiry, not just our subjects of observation. It also acknowledges the laborious efforts involved with such endeavors, and offers potential paths forward for future game scholar-makers. 30 00 This chapter traces a divide between critical and creative camps within game studies’ history, offering some accounting of where this stems from, along with how it has grown and shifted particularly in relation to other fields. Topics include the historical inaccessibility of game development knowledge, software, even hardware; successful attempts to bridge this gap, along with common roadblocks; and the academy’s resistance to consideration of alternative scholarship forms.Alongside this historiography, I work through the premise, methodology, and stakes of creating a short, playable video game as my dissertation: Level 101: A Video Game About Video Games. Drawing on other alternative dissertations (e.g. Sousanis, Carson, Visconti), my dissertation explores, explains, and interrogates the video game medium on several levels in order to understand the medium through a methodology of play. Ultimately, this chapter speculates on what future game studies may look like by embracing playable criticism as a mode of scholarly discourse, by embracing games as our mode of critical inquiry, not just our subjects of observation. It also acknowledges the laborious efforts involved with such endeavors, and offers potential paths forward for future game scholar-makers. 20 00 Open Access Justin Wigard 26 03 06 10.53288/0441.1.26 579 608 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Navigating a Complex Space An Interview with Henry Jenkins 1 A01 betsy brey betsy brey PhD candidate 40 01aff2v68 University of Waterloo betsy brey (she/her) is a PhD candidate in the Department of English Language and Literature at the University of Waterloo. Her research focuses on queering narratology in video games. She is particularly interested in the intersections of game play and narrative structure, and how game stories are perceived and constructed by communities of fans. Focusing on games and communities like Dragon Age, Skyrim, Five Nights at Freddy’s, Twitch Plays Pokemon, or Critical Role, Betsy’s research takes an intersectional approach to games and game narratives. Additionally, her work examines the social and cultural practices of the communities that play or enjoy these games, including questions of collaboration, digital labor, canonicity, and the cultural economies of fans and fandoms. 2 A32 Henry Jenkins Henry Jenkins Provost Professor of Communication, Journalism, and Cinematic Arts 40 03taz7m60 University of Southern California Henry Jenkins is the author or editor of twenty books on various aspects of media and popular culture. Among his best known works are Textual Poachers: Television Fans, Participatory Culture (Routledge, 1992), Convergence Culture: Where Old and New Media Collide (New York University Press, 2008), Spreadable Media: Creating Meaning and Value in a Networked Culture (New York University Press, 2013), By Any Media Necessary: The New Youth Activism (New York University Press, 2016), Popular Culture and the Civic Imagination: Case Studies of Creative Social Change (New York University Press, 2020), and Comics and Stuff (New York University Press, 2020). 06 Own website https://henryjenkins.org/ 01 eng 03 00 Henry Jenkins is Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California—or as he likes to put it, “Professor of Miscellaneous Studies” or just “media scholar at USC.” A prolific author, Jenkins has author and editor more than 20 books including Textual Poachers, Convergence Culture: Where Old and New Media Collide, Fans, Gamers, Bloggers, and most recently, Comics and Stuff in addition to hundreds of articles on a variety all sorts of pop culture and digital culture subjects, looking at fan communities, comics, the internet, film, and much more, including a very active period working on video games, writing well-known and well-cited pieces such as “Games as Narrative Architecture,” “Games: The New Lively Art,” and “Popular Culture as Politics, Politics as Popular Culture.” Jenkins, however, no longer considers himself a game scholar—an interesting distinction. This raises the question, “what does it mean to do game studies?,” in this interview Jenkins and I discuss the roots of game studies as an area of study and its development into a unique and sometimes baffling field. Reflecting on his journey through the development of the field, Jenkins describes the spaces of game studies as they were shifting from an area closely aligned with industry and popular culture towards a more isolated academic field pushed away from development spaces. From the sparking of his interest in play and spatial properties of games, to his defense of video games in front of the US Senate, to his scapegoated position in the ludology/narratology debate, Jenkins has seen the field from many perspectives—most importantly, he sees the field from outside of it now. 30 00 Henry Jenkins is Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California—or as he likes to put it, “Professor of Miscellaneous Studies” or just “media scholar at USC.” A prolific author, Jenkins has author and editor more than 20 books including Textual Poachers, Convergence Culture: Where Old and New Media Collide, Fans, Gamers, Bloggers, and most recently, Comics and Stuff in addition to hundreds of articles on a variety all sorts of pop culture and digital culture subjects, looking at fan communities, comics, the internet, film, and much more, including a very active period working on video games, writing well-known and well-cited pieces such as “Games as Narrative Architecture,” “Games: The New Lively Art,” and “Popular Culture as Politics, Politics as Popular Culture.” Jenkins, however, no longer considers himself a game scholar—an interesting distinction. This raises the question, “what does it mean to do game studies?,” in this interview Jenkins and I discuss the roots of game studies as an area of study and its development into a unique and sometimes baffling field. Reflecting on his journey through the development of the field, Jenkins describes the spaces of game studies as they were shifting from an area closely aligned with industry and popular culture towards a more isolated academic field pushed away from development spaces. From the sparking of his interest in play and spatial properties of games, to his defense of video games in front of the US Senate, to his scapegoated position in the ludology/narratology debate, Jenkins has seen the field from many perspectives—most importantly, he sees the field from outside of it now. 20 00 Open Access betsy brey 27 03 06 10.53288/0441.1.27 609 630 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Is It All Just Cultural Studies? One Scholar’s Journey into Media and Game Studies 1 A01 21 0000000155261839 Adrienne Shaw Adrienne Shaw Associate Professor 40 00kx1jb78 Temple University Adrienne Shaw (she/her) is Associate Professor in Temple University’s Department of Media Studies and Production and a graduate faculty member in the Lew Klein College of Media and Communication. Her book Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture (University of Minnesota Press, 2014) won the 2016 Outstanding Book Award from the Popular Communication Division of the International Communication Association. She is a founder of the LGBTQ Game Archive (www.lgbtqgamearchive.com) and co-curated Rainbow Arcade, an exhibit of 30 years of LGBTQ video game history at the Schwules Museum in Berlin, Germany (2018–2019). In addition to the exhibit catalog, she has written for and co-edited three anthologies. She became a Higher Education Video Game Alliance Fellow in 2018. She is a series editor for NYU Press’s Critical Cultural Communication series and on the editorial board of six academic journals. 01 eng 03 00 In this essay, I explore how my particular experiences have shaped my identity as a communication and media studies scholar who specializes in LGBTQ+ game studies. As someone who entered graduate school in 2005, I was not among the early cohort of scholars making a case for games being a viable topic of study at all (several journals and professional organizations were already established around that time). But neither did I have access to any established notion of what “counts” as game studies. Over time, I found that like with communication and media studies, there are actually many versions of game studies, rather than one coherent field—and this is a good thing. Embracing goals of interdisciplinarity and drawing on the critical politics of cultural studies are the foundation of my media and game studies. 30 00 In this essay, I explore how my particular experiences have shaped my identity as a communication and media studies scholar who specializes in LGBTQ+ game studies. As someone who entered graduate school in 2005, I was not among the early cohort of scholars making a case for games being a viable topic of study at all (several journals and professional organizations were already established around that time). But neither did I have access to any established notion of what “counts” as game studies. Over time, I found that like with communication and media studies, there are actually many versions of game studies, rather than one coherent field—and this is a good thing. Embracing goals of interdisciplinarity and drawing on the critical politics of cultural studies are the foundation of my media and game studies. 20 00 Open Access Adrienne Shaw 28 03 06 10.53288/0441.1.28 631 652 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Turns in Game Studies An Interview with Kishonna L. Gray 1 A01 21 0000000151446545 victoria l. braegger victoria l. braegger Assistant Professor of Technical Communication 40 00scwqd12 Missouri University of Science and Technology victoria l. braegger (she/her) is an Assistant Professor of Technical Communication at Missouri University of Science and Technology, serving as the coordinator for the game studies minor in the Department of English and Technical Communication. Her research frames video game controllers as kinesthetic tools of technical communication, analyzing how controllers contribute to and disrupt conversations on design, remediation, representation, identity, and community in games. She has published her work in in The Journal of Multimodal Rhetorics and SIGDOC Conference Proceedings, as well as in edited collections such as The Ethics of Playing, Researching, and Teaching Games in the Writing Classroom (Palgrave Macmillan, 2021). victoria is passionate about public scholarship and games preservation. She cohosts the Not Your Mama’s Gamer podcast and is the Senior Assistant Regional Director for the Learning Games Initiative Research Archive. 2 A32 21 0000000249841471 Kishonna Gray Kishonna Gray University of Michigan Kishonna Gray (she/her) is Professor of Racial Justice and Technology in the School of Information at the University of Michigan. Her research broadly covers the intersection of race, gender and digital media, with a particular focus on video games and gaming culture. In her book Race, Gender, & Deviance in Xbox Live (Routledge, 2024), Gray examines the racism, sexism, and other types of harassment faced by women and people of color in one of the largest virtual gaming communities and multi-media platforms. She is co-editor of two volumes on culture and gaming, one of which focuses on women as they are depicted in video games, as participants in games culture, and as contributors to the games industry. The second explores the potential of video games to foster change and become a catalyst for social justice. Gray has published widely in academic publications and her work has been featured by a variety of media outlets, such as The New York Times, Los Angeles Times, The Guardian, Paste Magazine, Engadget, BET, and Blavity. She is also a featured blogger and podcaster with “Not Your Mama’s Gamer.” She is also a faculty associate at the Berkman-Klein Center for Internet & Society at Harvard University. 01 eng 03 00 Looking at the future of game studies requires a deep, introspective look at where the field began, considering not only who was left out but why. In a reflection of the gaming industry, much of the early spaces carved out for game studies were dominated by male voices and perspectives. However, just as important as where the field began are the moments when the field experienced a turn. In the early 2010s, game studies began its gradual turn towards inclusivity and diversity, a moment marked by increased scholarly articles and books discussing representation and gaming culture. This interview with Kishonna Gray focuses on her work in facilitating the turn towards gaming culture and representation in game studies, as well as discussions on #CiteHerWork and the Gray Test. The gaming industry is facing a reckoning brought on by decades of exclusive and exploitive practices; questions concerning representation, culture, inclusion, and diversity are at the forefront when discussing the industry. They should be discussed in reference to game studies, as well. We have much work to do; getting there is going to take reflection and a lot of talking. 30 00 Looking at the future of game studies requires a deep, introspective look at where the field began, considering not only who was left out but why. In a reflection of the gaming industry, much of the early spaces carved out for game studies were dominated by male voices and perspectives. However, just as important as where the field began are the moments when the field experienced a turn. In the early 2010s, game studies began its gradual turn towards inclusivity and diversity, a moment marked by increased scholarly articles and books discussing representation and gaming culture. This interview with Kishonna Gray focuses on her work in facilitating the turn towards gaming culture and representation in game studies, as well as discussions on #CiteHerWork and the Gray Test. The gaming industry is facing a reckoning brought on by decades of exclusive and exploitive practices; questions concerning representation, culture, inclusion, and diversity are at the forefront when discussing the industry. They should be discussed in reference to game studies, as well. We have much work to do; getting there is going to take reflection and a lot of talking. 20 00 Open Access victoria l. braegger 29 03 06 10.53288/0441.1.29 653 670 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Confessions of a Game Studies Insider “Our” Field Needs to Do Better 1 A01 21 0000000179132257 Christopher A. Paul Christopher A. Paul Professor of Communication and Media 40 02jqc0m91 Seattle University Christopher A. Paul (he/him) is Professor of Communication and Media at Seattle University. He has published Optimizing Play: Why Theorycrafting Breaks Games and How to Fix It (MIT Press, 2025), Free-to-Play: Mobile Video Games, Bias, and Norms (MIT Press, 2020), Real Games: What’s Legitimate and What’s Not In Contemporary Videogames (MIT Press, 2019, with Mia Consalvo), and The Toxic Meritocracy of Video Games: Why Gaming Culture Is the Worst (University of Minnesota Press, 2018). 01 eng 03 00 I am extraordinarily lucky to be able to study games as a key part of my job. And the level of security I have in that job presents me with an obligation to write and speak about the limitations in our field and the harm our systems and structures have done to the people trying to study games and the knowledge our field could have produced. The pool of games that have been the focus of most studies are limited. The ways of examining games is expanding, but is still dominated by a narrow group of analytical modes and approaches. The field, with few exceptions is overwhelmingly white. The types of players examined are limited, especially in considerations of age, as the old and young are left out of most analysis. All of these factors limit what game studies is, while opening up space to create what game studies could be. Game studies needs more people, more different kinds of people, looking at different games from different perspectives. This chapter is an attempt to articulate the stakes of what games studies has been and point in a direction we should go. 30 00 I am extraordinarily lucky to be able to study games as a key part of my job. And the level of security I have in that job presents me with an obligation to write and speak about the limitations in our field and the harm our systems and structures have done to the people trying to study games and the knowledge our field could have produced. The pool of games that have been the focus of most studies are limited. The ways of examining games is expanding, but is still dominated by a narrow group of analytical modes and approaches. The field, with few exceptions is overwhelmingly white. The types of players examined are limited, especially in considerations of age, as the old and young are left out of most analysis. All of these factors limit what game studies is, while opening up space to create what game studies could be. Game studies needs more people, more different kinds of people, looking at different games from different perspectives. This chapter is an attempt to articulate the stakes of what games studies has been and point in a direction we should go. 20 00 Open Access Christopher A. Paul 30 03 06 10.53288/0441.1.30 671 696 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Publish in English or It’s Game Over” On English Linguistic Monopoly in Game Studies 1 A01 21 0000000255300145 Samuel Poirier-Poulin Samuel Poirier-Poulin PhD candidate 40 0161xgx34 Université de Montréal Samuel Poirier-Poulin (he/him) is a PhD candidate in film studies at the Université de Montréal, Canada, specializing in the study of video games and gaming cultures. His doctoral research focuses on the representation and the affective experience of trauma in video games, drawing on affect theory and phenomenology of media. His other research interests include queer desires in visual novels, autoethnography, and multilingual scholarship. Samuel’s work has been published in several academic journals, including the Journal of Games Criticism, G/A/M/E: The Italian Journal of Game Studies, Synoptique: An Online Journal of Film and Moving Image Studies, Loading: The Journal of the Canadian Game Studies Association, and in the anthology Video Games and Comedy. Since 2022, Samuel has been the Editor-in-Chief of the game studies journal Press Start. 01 eng 03 00 Research on diversity and inclusion in game studies has focused so far on issues related to gender, race, and sexuality. Issues related to language have generally been left unaddressed. Nevertheless, the language we use to express ourselves has a major influence on the way the knowledge we create is perceived and transmitted (or not) worldwide, and thus also generates situations of privilege and exclusion. Building on the concepts of linguistic monopoly and linguicism (i.e., discrimination based on language), this chapter proposes a critical reflection on the dominance of English language in game studies. It argues that linguicism occurs in this discipline and in academia more broadly (1) through the anglicization of research and the need for non-native English speakers (NNES) to publish and present their work in English in order to be read, cited, and recognized as contributors to game studies; and (2) through a gatekeeping process, especially within high-ranking journals, that makes it harder for NNES to publish their work due to the absence of linguistic support from publishing institutions and the emphasis these institutions put on so-called “good” English. These inequalities are reinforced by the myth that English is a neutral language that serves everyone equally well and leads to cohesion and community. This chapter ultimately aims to bridge the gap between research on linguistic monopoly in academia and the discipline of game studies, seeking to critically reflect on how game studies have been built and are still being built around English language. 30 00 Research on diversity and inclusion in game studies has focused so far on issues related to gender, race, and sexuality. Issues related to language have generally been left unaddressed. Nevertheless, the language we use to express ourselves has a major influence on the way the knowledge we create is perceived and transmitted (or not) worldwide, and thus also generates situations of privilege and exclusion. Building on the concepts of linguistic monopoly and linguicism (i.e., discrimination based on language), this chapter proposes a critical reflection on the dominance of English language in game studies. It argues that linguicism occurs in this discipline and in academia more broadly (1) through the anglicization of research and the need for non-native English speakers (NNES) to publish and present their work in English in order to be read, cited, and recognized as contributors to game studies; and (2) through a gatekeeping process, especially within high-ranking journals, that makes it harder for NNES to publish their work due to the absence of linguistic support from publishing institutions and the emphasis these institutions put on so-called “good” English. These inequalities are reinforced by the myth that English is a neutral language that serves everyone equally well and leads to cohesion and community. This chapter ultimately aims to bridge the gap between research on linguistic monopoly in academia and the discipline of game studies, seeking to critically reflect on how game studies have been built and are still being built around English language. 20 00 Open Access Samuel Poirier-Poulin 31 03 06 10.53288/0441.1.31 697 715 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Influence of Aesthetics and Semiotics on Game Research in Japan An Interview with Matsumoto Kentaro 1 A01 21 0000000151335570 Douglas Schules Douglas Schules Associate Professor 40 00x194q47 Rikkyo University Douglas Schules (he/him) is Associate Professor at Rikkyo University in Tokyo, where he researches the relationships between media and society. He has written about creative media and fandom, and his recent work focuses on the ecology of Japanese games with a focus on the indie game developer scene in Tokyo. Given the expanding field of indie game development, he has been working with developers to both preserve their work and record their perspectives on making games in Japan. 2 A32 Kentaro Matsumoto Kentaro Matsumoto Professor in the Department of English 40 01vj3cz23 Dokkyo University Kentaro Matsumoto (he/him) is Professor in the Department of English, Faculty of Foreign Languages at Dokkyo University. His current research has focused on understanding the history of game criticism and how to introduce Japanese scholarship on games to international audiences. He has written over twenty books and articles on the subject of games and their impact on society, including four edited volumes which contained perspectives from emerging Japanese scholars. 03 00 In this interview Kentaro Matsumoto discusses gaming scholarship in Japan, focusing specifically on the fields of semiotics and aesthetics. Topics include influential research on games written by Japanese scholars and current directions in the field. 30 00 In this interview Kentaro Matsumoto discusses gaming scholarship in Japan, focusing specifically on the fields of semiotics and aesthetics. Topics include influential research on games written by Japanese scholars and current directions in the field. 20 00 Open Access Douglas Schules 32 03 06 10.53288/0441.1.32 717 734 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “There’s Nothing Written about It” Disciplinarity, Regionality, and the Ghosts Haunting Game Studies 1 A01 21 0000000269785622 Alison Harvey Alison Harvey Associate Professor in the Communications program 40 05fq50484 York University Alison Harvey (she/her) is Associate Professor in the Communications program at Glendon College, York University, Canada. Her research and teaching focuses on issues of inclusivity and accessibility in digital culture, with an emphasis on gender and labor in digital games. She is the author of Gender, Age, and Digital Games in the Domestic Context (Routledge, 2015) and Feminist Media Studies (Polity, 2019). Her work has also appeared in a range of interdisciplinary journals, including in Diversity & Inclusion Research, Global Media & China, and New Media & Society. She served as the president of the Canadian Game Studies Association from 2023–2025. 01 eng 03 00 2005-2007 was a unique moment in games studies in that it represented a flourishing of specific venues for research in the area, including the launch of the journals Games and Culture and Loading…. The Canadian Journal of Game Studies as well as the Canadian Games Game Studies Association conference. But despite the spike in scholarly and public attention on games in the last decade and a half, we still see moments where researchers seek game studies and proclaim that ‘there’s nothing written about it’. In this article I consider the role of Canadian game studies and its relative lack of citation. The disciplinary ghosts of game studies, I argue, play a key role in entrenching some approaches, questions, and methods as more legitimate, ‘ghosting’ others from the ‘canon’. Troublingly, this continues to include critical race studies, feminist approaches, and queer theory, despite their key role in both historical and contemporary game studies. I therefore conclude this essay with a provocation inspired by Harrison (2018) to ‘fuck the canon’ in games. 30 00 2005-2007 was a unique moment in games studies in that it represented a flourishing of specific venues for research in the area, including the launch of the journals Games and Culture and Loading…. The Canadian Journal of Game Studies as well as the Canadian Games Game Studies Association conference. But despite the spike in scholarly and public attention on games in the last decade and a half, we still see moments where researchers seek game studies and proclaim that ‘there’s nothing written about it’. In this article I consider the role of Canadian game studies and its relative lack of citation. The disciplinary ghosts of game studies, I argue, play a key role in entrenching some approaches, questions, and methods as more legitimate, ‘ghosting’ others from the ‘canon’. Troublingly, this continues to include critical race studies, feminist approaches, and queer theory, despite their key role in both historical and contemporary game studies. I therefore conclude this essay with a provocation inspired by Harrison (2018) to ‘fuck the canon’ in games. 20 00 Open Access Alison Harvey 33 03 06 10.53288/0441.1.33 735 760 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Definitions, Boundaries, and Issues Week An Analysis of University Games Courses 1 A01 21 000000016755206X Alisha Karabinus Alisha Karabinus Assistant Professor of Writing and Digital Studies 40 001m1hv61 Grand Valley State University Alisha Karabinus (she/her) is Assistant Professor of Writing and Digital Studies at Grand Valley State University. She researches intersections between games and rhetoric. 01 eng 03 00 This study investigates how college-level games courses construct students' academic understanding of and engagement with games. As scholars increasingly call for deeper engagement with social justice issues in game studies—particularly in relation to connections between games, game culture, and the rise of violent white supremacy—this chapter offers a critical analysis of content and orientation in undergraduate games course syllabi across disciplines. Findings reveal a persistent emphasis on establishing boundaries and definitions within the field, often at the expense of addressing critical social concerns. In highlighting these trends, the author calls for a reevaluation of curricular priorities and advocates for foregrounding the analysis of games' social implications in undergraduate courses. 30 00 This study investigates how college-level games courses construct students' academic understanding of and engagement with games. As scholars increasingly call for deeper engagement with social justice issues in game studies—particularly in relation to connections between games, game culture, and the rise of violent white supremacy—this chapter offers a critical analysis of content and orientation in undergraduate games course syllabi across disciplines. Findings reveal a persistent emphasis on establishing boundaries and definitions within the field, often at the expense of addressing critical social concerns. In highlighting these trends, the author calls for a reevaluation of curricular priorities and advocates for foregrounding the analysis of games' social implications in undergraduate courses. 20 00 Open Access Alisha Karabinus 34 03 06 10.53288/0441.1.34 761 774 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributor Biographies 1 B01 21 000000016755206X Alisha Karabinus Alisha Karabinus 2 B01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek 3 B01 21 0000000316291722 Cody Mejeur Cody Mejeur 4 B01 21 0009000139475877 Emma Vossen Emma Vossen 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/historiographies-of-game-studies-what-it-has-been-what-it-could-be/ Earth, Milky Way 04 01 20250725 Alisha Karabinus, Carly A. 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She researches intersections between games and rhetoric. 2 B01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek Professor of Digital Humanities and Media Studies 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017), and, with Matthew Thomas Payne, Ultima and Worldbuilding in the Computer Role-Playing Game (Amherst, 2024). She is researching the history and impact of the games for girls movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets including The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 3 B01 21 0000000316291722 Cody Mejeur Cody Mejeur Assistant Professor of Game Studies 40 01y64my43 University at Buffalo, State University of New York Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY. Their work uses games to theorize narrative as an embodied and playful process that constructs how we understand ourselves, our realities, and our differences. They have published on games pedagogy, gender and queerness in games, and video game narratives and player experiences, and they are currently the game director for Trans Folks Walking, a narrative game about trans experiences. They are Director of the Amatryx Gaming Lab & Studio at UB and work with the LGBTQ Video Game Archive on preserving and visualizing LGBTQ representation. They are an executive council member for the International Society for the Study of Narrative and they served as Diversity Officer for the Digital Games Research Association. 4 B01 21 0009000139475877 Emma Vossen Emma Vossen Assistant Professor of Game Studies 40 056am2717 Brock University Emma Vossen (she/her) is an Assistant Professor of Game Studies in the Department of Digital Humanities at Brock University, Canada. Her work focuses on the intersections of politics, identity, and technology, particularly in the context of digital games. She has been an outspoken and ongoing voice in the discussion around online radicalization, digital violence, and contemporary fascism since 2013. Many publications, including ABC News, CBC News, NBC News, Wired, Maclean's Magazine, The Washington Post, University Affairs Magazine, Toxic Avenger Magazine, and Electronic Gaming Monthly, have interviewed her about her work. In 2016, CBC Ideas produced "The Dangerous Game: Gamergate and the 'Alt-Right,'" a 40-minute radio documentary about her dissertation research, which was broadcast nationally. Vossen is an award-winning public speaker and the co-author and co-editor of the books Feminism in Play (Palgrace Macmillan, 2018) and the former editor-in-chief of First Person Scholar. 01 eng 00 780 03 B2 Cultural Studies+Critical Theory 10 GAM013000 93 KNTV 12 UGG B2 Humanities+University 12 JFC 10 SOC002010 93 UGG 93 JBCC B2 Media+Technology 20 game studies; media studies; historiography; academic institutions; play; communication; history 01 06 02 00 03 00 Historiographies of Game Studies offers a first-of-its-kind reflection on how game studies as an academic field has been shaped and sustained. Today, game studies is a thriving field with many dedicated national and international conferences, journals, professional societies, and a strong presence at conferences in disciplines like computer science, communication, media studies, theater, visual arts, popular culture, and others. But, when did game studies start? And what (and who) is at the core or center of game studies? Fields are defined as much by what they are not as by what they are, and their borderlands can be hotly contested spaces.In this anthology, scholars from across the field consider how the boundaries of game studies have been established, codified, contested, and protected, raising critical questions about who and what gets left out of the field. Over more than two dozen chapters and interviews with leading figures, including Espen Aarseth, Kishonna Gray, Henry Jenkins, Lisa Nakamura, Kentaro Matsumoto, Ken McAllister, and Janet Murray, the contributors offer a dazzling array of insightful provocations that address the formation, propagation, and cultivation of game studies, interrogating not only the field’s pasts but its potential futures and asking us to think deliberately about how academic fields are collectively built. 30 00 Historiographies of Game Studies offers a first-of-its-kind reflection on how game studies as an academic field has been shaped and sustained. Today, game studies is a thriving field with many dedicated national and international conferences, journals, professional societies, and a strong presence at conferences in disciplines like computer science, communication, media studies, theater, visual arts, popular culture, and others. But, when did game studies start? And what (and who) is at the core or center of game studies? Fields are defined as much by what they are not as by what they are, and their borderlands can be hotly contested spaces.In this anthology, scholars from across the field consider how the boundaries of game studies have been established, codified, contested, and protected, raising critical questions about who and what gets left out of the field. Over more than two dozen chapters and interviews with leading figures, including Espen Aarseth, Kishonna Gray, Henry Jenkins, Lisa Nakamura, Kentaro Matsumoto, Ken McAllister, and Janet Murray, the contributors offer a dazzling array of insightful provocations that address the formation, propagation, and cultivation of game studies, interrogating not only the field’s pasts but its potential futures and asking us to think deliberately about how academic fields are collectively built. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0441.1.00_frontcover.jpg 1 03 06 10.53288/0441.1.01 1 15 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 000000016755206X Alisha Karabinus Alisha Karabinus 2 B01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek 3 B01 21 0000000316291722 Cody Mejeur Cody Mejeur 4 B01 21 0009000139475877 Emma Vossen Emma Vossen 01 eng 20 00 Open Access 2 03 06 10.53288/0441.1.02 17 44 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction What Game Studies Has Been, What It Could Be 1 A01 21 000000016755206X Alisha Karabinus Alisha Karabinus Assistant Professor of Writing and Digital Studies 40 001m1hv61 Grand Valley State University Alisha Karabinus (she/her) is Assistant Professor of Writing and Digital Studies at Grand Valley State University. She researches intersections between games and rhetoric. 2 A01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek Professor of Digital Humanities and Media Studies 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017), and, with Matthew Thomas Payne, Ultima and Worldbuilding in the Computer Role-Playing Game (Amherst, 2024). She is researching the history and impact of the games for girls movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets including The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 3 A01 21 0000000316291722 Cody Mejeur Cody Mejeur Assistant Professor of Game Studies 40 01y64my43 University at Buffalo, State University of New York Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY. Their work uses games to theorize narrative as an embodied and playful process that constructs how we understand ourselves, our realities, and our differences. They have published on games pedagogy, gender and queerness in games, and video game narratives and player experiences, and they are currently the game director for Trans Folks Walking, a narrative game about trans experiences. They are Director of the Amatryx Gaming Lab & Studio at UB and work with the LGBTQ Video Game Archive on preserving and visualizing LGBTQ representation. They are an executive council member for the International Society for the Study of Narrative and they served as Diversity Officer for the Digital Games Research Association. 4 A01 21 0009000139475877 Emma Vossen Emma Vossen Emma Vossen (she/her) is a writer, editor, and award-winning public speaker with a PhD from the University of Waterloo. She is the co-author and co-editor of Feminism in Play (Palgrave Macmillan, 2018) and the former editor-in-chief of First Person Scholar. 01 eng 20 00 Open Access Alisha Karabinus, Carly A. Kocurek, Emma Vossen, Cody Mejeur 3 03 06 10.53288/0441.1.03 47 65 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Past, Present, and Future of Game Studies An Interview with Janet H. Murray 1 A01 Bianca Batti Bianca Batti Bianca Batti (she/her) teaches American Literature, Contemporary Composition, and Film Studies at a high-tech charter high school in the Los Angeles Unified School District. Previously, she was a Marion L. Brittain Postdoctoral Fellow in the Writing and Communication Program at the Georgia Institute of Technology. She received her PhD in Literary Studies in the department of English at Purdue University and has a graduate concentration in Women, Gender, and Sexuality Studies. Her research interests include contemporary American literature, feminist game studies, and the digital humanities. Her work has been published in scholarly journals like The Popular Cultural Studies Journal and Kairos: A Journal of Rhetoric, Technology, and Pedagogy, and also in Haywire Magazine, Not Your Mama’s Gamer, and edited anthologies. 2 A32 Janet H. Murray Janet H. Murray Ivan Allen College Dean’s Professor 40 01zkghx44 Georgia Institute of Technology Janet H. Murray (she/her) is Ivan Allen College Dean’s Professor in the School of Literature, Media, and Communication at Georgia Tech and Associate Dean for Research in the Ivan Allen College of Liberal Arts. She is the Director of the Prototyping eNarrative Lab (penlab.gatech.edu) and the Digital Integrative Liberal Arts Center (dilac.iac.gatech.edu) at Georgia Tech. Her PhD is in English and American Language and Literature from Harvard University. She has been at Georgia Tech since 1999, serving as Director of Graduate Studies for the founding of the PhD in Digital Media. She taught the first course in Interactive Narrative at MIT in 1992, and the first courses in Game Design at Georgia Tech in the early 2000s. She is the author of Hamlet on the Holodeck: the Future of Narrative in Cyberspace (Free Press, 1997; MIT Press, 1998; updated edition, MIT Press, 2017) and Inventing the Medium: Principles of Interaction Design as a Cultural Practice (MIT Press, 2011). 01 eng 03 00 In this interview, Bianca Batti asks Janet Murray to reflect on the work of women in game studies, as well as her own journey toward and within the field. Murray discusses the resistance she has faced as a scholar who centers game design as cultural practice, examines the continuing impact of what she calls the “misogyny of the game community,” and explores her hopes for the future of game studies. By centering a historiography of Murray’s contributions to game studies praxis, Batti and Murray’s conversation actively historicizes women’s past and present experiences in game studies, models generative collaborations between established and emerging scholars, and provides a framework for (re)imagining a more networked, equitable, and collaborative future for the field. 30 00 In this interview, Bianca Batti asks Janet Murray to reflect on the work of women in game studies, as well as her own journey toward and within the field. Murray discusses the resistance she has faced as a scholar who centers game design as cultural practice, examines the continuing impact of what she calls the “misogyny of the game community,” and explores her hopes for the future of game studies. By centering a historiography of Murray’s contributions to game studies praxis, Batti and Murray’s conversation actively historicizes women’s past and present experiences in game studies, models generative collaborations between established and emerging scholars, and provides a framework for (re)imagining a more networked, equitable, and collaborative future for the field. 20 00 Open Access Bianca Batti 4 03 06 10.53288/0441.1.04 67 93 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Young Scholars, and Old Debates Why the Ludology Versus Narratology “Debate” Cannot Be Forgotten 1 A01 21 0009000139475877 Emma Vossen Emma Vossen Assistant Professor of Game Studies 40 056am2717 Brock University Emma Vossen (she/her) is an Assistant Professor of Game Studies in the Department of Digital Humanities at Brock University, Canada. Her work focuses on the intersections of politics, identity, and technology, particularly in the context of digital games. She has been an outspoken and ongoing voice in the discussion around online radicalization, digital violence, and contemporary fascism since 2013. Many publications, including ABC News, CBC News, NBC News, Wired, Maclean's Magazine, The Washington Post, University Affairs Magazine, Toxic Avenger Magazine, and Electronic Gaming Monthly, have interviewed her about her work. In 2016, CBC Ideas produced "The Dangerous Game: Gamergate and the 'Alt-Right,'" a 40-minute radio documentary about her dissertation research, which was broadcast nationally. Vossen is an award-winning public speaker and the co-author and co-editor of the books Feminism in Play (Palgrace Macmillan, 2018) and the former editor-in-chief of First Person Scholar. 01 eng 03 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 30 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 20 00 Open Access Emma Vossen 5 03 06 10.53288/0441.1.05 95 119 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Are You Being an Ass on the Internet? GamesNetwork, Communities, and History-Making 1 A01 Jennifer deWinter Jennifer deWinter Dean of Lewis College of Science and Letters 40 037t3ry66 Illinois Institute of Technology Jennifer deWinter (she/her) is Dean of Lewis College of Science and Letters at the Illinois Institute of Technology and affiliated faculty in the College of Computing and the Institute of Design. In her research, she analyzes anime, comics, and computer games as part of global media flows in order to understand how such concepts as “art,” “culture,” and “entertainment” are negotiated, with specific focus on Japan and the US. She is the author of Shigeru Miyamoto: Super Mario Bros., Donkey Kong, The Legend of Zelda (Bloomsbury, 2015) and co-editor of Video Game Policy: Production, Distribution and Consumption (Routledge, 2015) and Computer Games and Technical Communication: Critical Methods and Applications at the Intersection (Routledge, 2016). More recently, she is co-editing a book tentatively titled Multidisciplinary Mario: The Tensions of Game Studies as a Discipline with Gillian Smith and Hana Hanifah. 2 A01 Gillian Smith Gillian Smith Associate Professor of Computer Science 40 05ejpqr48 Worcester Polytechnic Institute Gillian Smith (she/her, they/them) is Associate Professor of Computer Science and faculty in Interactive Media and Game Development at Worcester Polytechnic Institute. Her research focuses on generative design for games and craft, computational creativity, and integration of feminism and social justice into games and computer science education. 01 eng 03 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 30 00 Vossen outlines her experiences in the game studies community from 2012 to 2022 focusing on the ludology vs narratology debate's impact on herself and other game scholars. She argues that these “debates” alienated many scholars looking to become part of the field by outlining a “right” and “wrong” way to study games. Vossen discusses how essays like “Genre Trouble” and the larger ludology vs narratology debate made her feel unwelcome as someone with a PhD in English examining issues of culture and gender in games. In the tradition of historiography, Vossen examines how the histories of the debate have been recorded, reinterpreted, perceived, and felt by multiple generations of scholars.Vossen argues that the debate is the story of how the work of a few men who used similar theories and methods were canonized. Consequently, games-related work that uses other methodologies, often favoured by women and queer people, are marginalized and pushed to the fringes of the field. Vossen concludes that it is only by continuously discussing and addressing the failures of these early debates and their impact on game studies that we can undo the harm they have caused. 20 00 Open Access Jennifer deWinter and Gillian Smith 6 03 06 10.53288/0441.1.06 121 145 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Definitions and Misunderstandings in Game Studies An Interview with Espen Aarseth 1 A01 21 0000000316291722 Cody Mejeur Cody Mejeur Assistant Professor of Game Studies 40 01y64my43 University at Buffalo, State University of New York Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY. Their work uses games to theorize narrative as an embodied and playful process that constructs how we understand ourselves, our realities, and our differences. They have published on games pedagogy, gender and queerness in games, and video game narratives and player experiences, and they are currently the game director for Trans Folks Walking, a narrative game about trans experiences. They are Director of the Amatryx Gaming Lab & Studio at UB and work with the LGBTQ Video Game Archive on preserving and visualizing LGBTQ representation. They are an executive council member for the International Society for the Study of Narrative and they served as Diversity Officer for the Digital Games Research Association. 2 A32 21 0000000256659424 Espen Aarseth Espen Aarseth Professor of Game Studies 40 02309jg23 IT University of Copenhagen Espen Aarseth (he/him) is Professor of Game Studies and head of the Center for Computer Games Research at the IT University of Copenhagen. He holds a Cand.Philol. in comparative literature and a Dr.Art. in humanistic informatics, both from the University of Bergen. He is co-founding Editor-in-Chief of the journal Game Studies (2001–) and author of Cybertext: Perspectives on Ergodic Literature (Johns Hopkins University Press, 1997), a foundational text in the fields of electronic literature, game studies, and new media studies. He received an ERC Advanced Grant for the project MSG — Making Sense of Games (2016–2021). 01 eng 03 00 Espen Aarseth is professor of game studies and head of the PhD School at the IT University of Copenhagen. He has served as the Editor-in-Chief of Game Studies: The International Journal of Computer Game Research since its founding in 2000. Frequently referred to as a founding figure in game studies and a prominent ludologist, he knows the arguments of the field through the years well through firsthand experience and many publications, including the still frequently cited Cybertext: Perspectives on Ergodic Literature. Aarseth’s work has frequently investigated the ontologies and typologies of games, and his recent research has examined the theories and uses of characters as they exist in games and other media. In this interview, Aarseth and Mejeur talk about Aarseth’s work in game studies, including his perspective on the disagreements, tensions, and misunderstandings in the field, as well as his hopes for its interdisciplinary futures. Topics include the process of establishing an interdisciplinary field, how game studies relates to other media and fields, academic departments and structures for game studies, regional differences in game studies, and current and future trends in the field. 30 00 Espen Aarseth is professor of game studies and head of the PhD School at the IT University of Copenhagen. He has served as the Editor-in-Chief of Game Studies: The International Journal of Computer Game Research since its founding in 2000. Frequently referred to as a founding figure in game studies and a prominent ludologist, he knows the arguments of the field through the years well through firsthand experience and many publications, including the still frequently cited Cybertext: Perspectives on Ergodic Literature. Aarseth’s work has frequently investigated the ontologies and typologies of games, and his recent research has examined the theories and uses of characters as they exist in games and other media. In this interview, Aarseth and Mejeur talk about Aarseth’s work in game studies, including his perspective on the disagreements, tensions, and misunderstandings in the field, as well as his hopes for its interdisciplinary futures. Topics include the process of establishing an interdisciplinary field, how game studies relates to other media and fields, academic departments and structures for game studies, regional differences in game studies, and current and future trends in the field. 20 00 Open Access Cody Mejeur 7 03 06 10.53288/0441.1.07 147 170 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redirecting Ludification Dutch Game Studies and the Neoliberalization of Academia 1 A01 21 0000000267686559 Dennis Jansen Dennis Jansen PhD candidate 40 04pp8hn57 Utrecht University Dennis Jansen (he/him) is a PhD candidate in the Department of Media and Culture Studies at Utrecht University. He was awarded a PhD in the Humanities grant by the Netherlands Organization for Scientific Research (NWO) for the project “The Becoming-Playful of Warfare in the Netherlands” (2021–2025). His research focuses on the the mobilization of play in the Dutch military-innovation complex and the increasing usage of training simulations, serious games, and drones by the Dutch Armed Forces. His previous work has appeared in Transformative Works and Cultures, Press Start, DiGRA, Interactive Storytelling, and First Person Scholar. 01 eng 03 00 This chapter concerns the ludification of the university and the academic politics of game studies. It takes Joost Raessens’ work on the ludification of culture and the politics of serious games as emblematic of game studies’ general disinclination to fully reckon with the role of military technoscience and contemporary capitalism in shaping digital play. The chapter argues that the conceptual tools Raessens offers should be applied not just to games and culture, but to game studies itself and the university as well. Doing so allows us to critique the ongoing instrumentalization of play in the neoliberal university through its institutional interest in games as educational tools, the involvement of the defense industry in game research projects, and the technological acceleration of academic life. 30 00 This chapter concerns the ludification of the university and the academic politics of game studies. It takes Joost Raessens’ work on the ludification of culture and the politics of serious games as emblematic of game studies’ general disinclination to fully reckon with the role of military technoscience and contemporary capitalism in shaping digital play. The chapter argues that the conceptual tools Raessens offers should be applied not just to games and culture, but to game studies itself and the university as well. Doing so allows us to critique the ongoing instrumentalization of play in the neoliberal university through its institutional interest in games as educational tools, the involvement of the defense industry in game research projects, and the technological acceleration of academic life. 20 00 Open Access Dennis Jansen 8 03 06 10.53288/0441.1.08 171 193 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Video Games Have Taught Us Two Decades of Gaming and Learning 1 A01 21 0000000291572690 Kirk M. Lundblade Kirk M. Lundblade postdoctoral researcher 40 036nfer12 University of Central Florida Kirk M. Lundblade (he/him) received his PhD from the Texts & Technology program at the University of Central Florida, and he is currently a postdoctoral researcher and applications programmer for the RICHES (Regional Initiative for Collecting History, Experiences, and Stories) project in the Department of History there. His research broadly examines how digital historical games shape and are shaped by popular conceptions of history, with his dissertation examining how the Crusader Kings community’s discrete constituencies engage with the cyclical (re)production and remediation of popular historical knowledge. His work has been published in the Journal of Gaming & Virtual Worlds as well as the Foundations of Digital Games proceedings. 01 eng 03 00 This chapter examines boundary formation between game studies and games and learning in the past two decades. Beginning with the (re)formation of the field in the early 00s, the chapter focuses on the work of James Paul Gee–author of the pivotal monograph What Video Games Have Taught Us: Two Decades of Gaming and Learning–during this early period. A thorough examination of this scholarship suggests a necessary recontextualization of the popular narrative of decline, decay, and retreat offered in recent assessments of game studies.Examination of Gee’s work and that of others during this period reveals less of a genuine move towards transdisciplinary scholarship and instead a more instrumental form of multidisciplinarity rooted in a shared desire for scholarly legitimacy; this multidisciplinary argument relies on a utopian framing to bind the scholars on either side of the nascent boundary in this early effort. The now-distinct separation between game studies and games and learning is revealed via close reading of this early scholarship’s attitudes towards capitalism and its role in the future of games. Finally, this work argues that–instead of a narrative of decline and failure–the evolution of game studies during this period is best characterized as a critical maturation which seeks to reflexively examine the conceptual flaws in the field’s early nods to cross-disciplinary work. 30 00 This chapter examines boundary formation between game studies and games and learning in the past two decades. Beginning with the (re)formation of the field in the early 00s, the chapter focuses on the work of James Paul Gee–author of the pivotal monograph What Video Games Have Taught Us: Two Decades of Gaming and Learning–during this early period. A thorough examination of this scholarship suggests a necessary recontextualization of the popular narrative of decline, decay, and retreat offered in recent assessments of game studies.Examination of Gee’s work and that of others during this period reveals less of a genuine move towards transdisciplinary scholarship and instead a more instrumental form of multidisciplinarity rooted in a shared desire for scholarly legitimacy; this multidisciplinary argument relies on a utopian framing to bind the scholars on either side of the nascent boundary in this early effort. The now-distinct separation between game studies and games and learning is revealed via close reading of this early scholarship’s attitudes towards capitalism and its role in the future of games. Finally, this work argues that–instead of a narrative of decline and failure–the evolution of game studies during this period is best characterized as a critical maturation which seeks to reflexively examine the conceptual flaws in the field’s early nods to cross-disciplinary work. 20 00 Open Access Kirk M. Lundblade 9 03 06 10.53288/0441.1.09 195 225 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Video or Digital? Exploring the Use of Terminology and Connected Approaches in the History of Game Studies 1 A01 21 0000000213845112 Jasper van Vught Jasper van Vught Assistant Professor of New Media and Games 40 04pp8hn57 Utrecht University Jasper van Vught (he/him) is Assistant Professor of New Media and Games in the Department of Media and Culture Studies at Utrecht University. His research focuses on game theory and methodology, game ethics, and game history. He is part of the Centre for the Study of Digital Games and Play, has worked within an international research project into the age classification of games and has been involved with the Netherlands Institute for Sound and Vision to preserve and canonize Dutch game history. He co-authored the book Videogame Formalism: On Form, Aesthetic Experience and Methodology (Amsterdam University Press, 2023). 2 A01 Joris Veerbeek Joris Veerbeek Lecturer 40 04pp8hn57 Utrecht University Joris Veerbeek (he/him) is Lecturer at the department of Media and Culture studies at Utrecht University and junior researcher at Utrecht Data School. He specializes in computational text analysis for humanities research and conducts research on the dynamics of the public debate on social media and in traditional media, with a specific focus on the role of social institutions. 01 eng 03 00 In this chapter, we use several computational text analyses methods to map the trends in game studies over the years connected to the use of specific terminology for our object of study (video game, computer game, digital game). Looking into a corpus of all the research articles published from 1999 onwards from a variety of game studies journals, we show how these terms are not just hollow descriptive categories but point to a cognitive reference point of more fitting approaches and points of interest. This becomes apparent in our finding that the term ‘video game’ correlates with scholarship on a variety of representational elements (e.g., ‘queer studies’, ‘game narrative’ and ‘gender studies’) much more so than the terms ‘digital game’ and ‘computer game’ do. It seems the visual emphasis of the prefix ‘video’ is (most likely unconsciously) inviting interest in the visual output of the medium, whereas ‘computer game’ and ‘digital game’ invite interest in its technological and medium-specific aspects. These findings serve as words of warning to be conscious of the terms we use for our object of study and the way in which these terms have and will encourage specific directions of our field. 30 00 In this chapter, we use several computational text analyses methods to map the trends in game studies over the years connected to the use of specific terminology for our object of study (video game, computer game, digital game). Looking into a corpus of all the research articles published from 1999 onwards from a variety of game studies journals, we show how these terms are not just hollow descriptive categories but point to a cognitive reference point of more fitting approaches and points of interest. This becomes apparent in our finding that the term ‘video game’ correlates with scholarship on a variety of representational elements (e.g., ‘queer studies’, ‘game narrative’ and ‘gender studies’) much more so than the terms ‘digital game’ and ‘computer game’ do. It seems the visual emphasis of the prefix ‘video’ is (most likely unconsciously) inviting interest in the visual output of the medium, whereas ‘computer game’ and ‘digital game’ invite interest in its technological and medium-specific aspects. These findings serve as words of warning to be conscious of the terms we use for our object of study and the way in which these terms have and will encourage specific directions of our field. 20 00 Open Access Jasper van Vught and Joris Veerbeek 10 03 06 10.53288/0441.1.10 227 247 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Of Parents and Siblings, Disciplines and Debates: Game Studies as Media Culture Studies and the Possibility of Schools of Thought 1 A01 21 0009000542701758 Tobias Unterhuber Tobias Unterhuber post-doc for literature and media studies 40 054pv6659 Universität Innsbruck Tobias Unterhuber (he/him) studied modern German literature, comparative literature, and study of religion at LMU Munich and at the University of California, Berkeley. In 2018, he earned his PhD with his thesis on the works of Swiss author Christian Kracht. He is a post-doc for literature and media studies at the University of Innsbruck, where he also leads the game studies research group. His research interests include game studies, gender studies, discourse analysis, media history, specifically the media cultural history of games and play. He is co-editor of the game studies journal PAIDIA and the Zeitschrift für Fantastikforschung. 01 eng 03 00 The inherent methodological pluralism of the humanities has shaped game studies from the very start. Especially because as a field mostly defined by its research object, it not only draws on the traditions and established structures of one but of a plethora of disciplines. As an interdisciplinary /transdisciplinary field, game studies with its rudimentary institutionalization multiplied the methodological pluralism of its parental fields. Thus, the ludology versus narratology debate can be understood as an attempt to establish game studies as its own field and to separate it from its parental disciplines, especially literary studies. The approach of media culture studies offers a different framework for these relationships: fields concerned with different media formations under similar research interests, thus siblings. However, simultaneously, game studies is still informed by the concepts, structures and discussions of its former parental disciplines, especially conceptualizations what a research field even is. This macro-level does also influence the formation of research on a micro-level, e.g. the possibility of research groups evolving into schools of thought. The paper takes an exemplary look at the “Game Studies & Cultural Studies colloquium Munich” and the possibility of a “Munich school” and of schools of thought in game studies in general. 30 00 The inherent methodological pluralism of the humanities has shaped game studies from the very start. Especially because as a field mostly defined by its research object, it not only draws on the traditions and established structures of one but of a plethora of disciplines. As an interdisciplinary /transdisciplinary field, game studies with its rudimentary institutionalization multiplied the methodological pluralism of its parental fields. Thus, the ludology versus narratology debate can be understood as an attempt to establish game studies as its own field and to separate it from its parental disciplines, especially literary studies. The approach of media culture studies offers a different framework for these relationships: fields concerned with different media formations under similar research interests, thus siblings. However, simultaneously, game studies is still informed by the concepts, structures and discussions of its former parental disciplines, especially conceptualizations what a research field even is. This macro-level does also influence the formation of research on a micro-level, e.g. the possibility of research groups evolving into schools of thought. The paper takes an exemplary look at the “Game Studies & Cultural Studies colloquium Munich” and the possibility of a “Munich school” and of schools of thought in game studies in general. 20 00 Open Access Tobias Unterhuber 11 03 06 10.53288/0441.1.11 251 272 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queering the Game Studies Canon A Polemical Reading of Roger Caillois’s "Man, Play and Games" 1 A01 21 0000000327597233 Bo Ruberg Bo Ruberg Associate Professor in the Department of Film and Media Studies 40 04gyf1771 University of California, Irvine Bo Ruberg (they/them) is Associate Professor in the Department of Film and Media Studies at the University of California, Irvine and the co-editor of the Journal of Cinema and Media Studies. Their research explores gender and sexuality in digital media and digital cultures. They are the author of Video Games Have Always Been Queer (New York University Press, 2019), The Queer Games Avant-Garde: How LGBTQ Game Makers Are Reimagining the Medium of Video Games (Duke University Press, 2020), and Sex Dolls at Sea: Imagined Histories of Sexual Technologies (MIT Press, 2022). They are also the co-editor of Queer Game Studies (University of Minnesota Press, 2017) and Real Life in Real Time: Live Streaming Culture (MIT Press, 2023). 01 eng 03 00 Game studies is changing, as many scholars have noted, moving increasingly toward much-needed discussions of identity, culture, and power. Part of this shift has been the rise of queer game studies. However, the presumption that queerness is a relatively new topic for game studies overlooks the fact that, in certain key ways, queerness has been here all along. This chapter addresses one piece of video games’ queer past—namely, queer material that can be unearthed from the seemingly “straight” game studies canon—and explains how overlooking that past has continued to affect the present. A close reading of Roger Caillois’ 1958 Man, Play and Games, a foundational work for formalist game studies, reveals that the text can be read as deeply queer. Scenes of non-normative gender and sexual expression permeate the book, which foregrounds the relationship between play and queer pleasure. Ultimately, the goal of this chapter is not to reclaim Man, Play and Games, which is itself marred by racist and colonialist thinking. Instead, it serves as an indictment of game studies for distancing itself from the queerness of the very texts it claims as canon. Game studies has always been queer but the field has been built on disavowing that queerness. 30 00 Game studies is changing, as many scholars have noted, moving increasingly toward much-needed discussions of identity, culture, and power. Part of this shift has been the rise of queer game studies. However, the presumption that queerness is a relatively new topic for game studies overlooks the fact that, in certain key ways, queerness has been here all along. This chapter addresses one piece of video games’ queer past—namely, queer material that can be unearthed from the seemingly “straight” game studies canon—and explains how overlooking that past has continued to affect the present. A close reading of Roger Caillois’ 1958 Man, Play and Games, a foundational work for formalist game studies, reveals that the text can be read as deeply queer. Scenes of non-normative gender and sexual expression permeate the book, which foregrounds the relationship between play and queer pleasure. Ultimately, the goal of this chapter is not to reclaim Man, Play and Games, which is itself marred by racist and colonialist thinking. Instead, it serves as an indictment of game studies for distancing itself from the queerness of the very texts it claims as canon. Game studies has always been queer but the field has been built on disavowing that queerness. 20 00 Open Access Bo Ruberg 12 03 06 10.53288/0441.1.12 273 290 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ken S. McAllister Innovation, Collaboration, Humanities? Yes! 1 A01 21 0000000175549346 Judd Ethan Ruggill Judd Ethan Ruggill Associate Dean of Academic Services 40 03m2x1q45 University of Arizona Judd Ethan Ruggill (he/him) is Associate Dean of Academic Services in the Graduate College at the University of Arizona. He primarily researches play and the technologies, industries, and sociocultural phenomena that enable it. He has published and presented on topics ranging from archiving to xenolinguistics, and is currently working on a book with colleague Ken McAllister about collecting and preserving games. 01 eng 03 00 In this interview, game studies pioneer Ken S. McAllister recounts coming to study games for a living, and how a career-threatening technology failure that wiped out a book project on miniaturization was actually a gift, creating the opportunity for him to write the first English-language book on the rhetoric of video games. In so doing, he recalls the inhospitable institutional and professional culture game studies scholars often encountered in the early days of the field, and the ways in which that culture provoked praxical and occasionally outlandish experiments in response. One of McAllister’s signature experiments from that era is the Learning Games Initiative, a transdisciplinary, inter-institutional research group he co-founded in 1999 to study, teach with, and build games. McAllister shares the origins of the group and highlights its longest running project, the Learning Games Initiative Research Archive. The Archive has since become one of the largest working collections of video game-related artifacts in the world and a laboratory for the theory and practice of electronic game collection, preservation, and conservation. McAllister draws on the collaborative, collegial, and international approaches he has explored through the Initiative and its Archive to speak to current and future game researchers. 30 00 In this interview, game studies pioneer Ken S. McAllister recounts coming to study games for a living, and how a career-threatening technology failure that wiped out a book project on miniaturization was actually a gift, creating the opportunity for him to write the first English-language book on the rhetoric of video games. In so doing, he recalls the inhospitable institutional and professional culture game studies scholars often encountered in the early days of the field, and the ways in which that culture provoked praxical and occasionally outlandish experiments in response. One of McAllister’s signature experiments from that era is the Learning Games Initiative, a transdisciplinary, inter-institutional research group he co-founded in 1999 to study, teach with, and build games. McAllister shares the origins of the group and highlights its longest running project, the Learning Games Initiative Research Archive. The Archive has since become one of the largest working collections of video game-related artifacts in the world and a laboratory for the theory and practice of electronic game collection, preservation, and conservation. McAllister draws on the collaborative, collegial, and international approaches he has explored through the Initiative and its Archive to speak to current and future game researchers. 20 00 Open Access Judd Ethan Ruggill 13 03 06 10.53288/0441.1.13 293 306 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Re-Historicizing Game Studies with C.L.R. James 1 A01 21 0000000238980265 Cameron Kunzelman Cameron Kunzelman Assistant Professor of Communication Studies and Theatre 40 04bk7v425 Mercer University Cameron Kunzelman (he/him) is Assistant Professor of Communication Studies and Theatre at Mercer University. He podcasts on the Ranged Touch network. 2 A01 Michael Lutz Michael Lutz Michael Lutz (he/him) is an independent scholar, game developer, and narrative designer. He podcasts with the Ranged Touch network. 01 eng 03 00 This essay considers what games studies might look like if Marxist critic C.L.R. James’ 1963 work of cultural criticism and biography Beyond A Boundary were accepted as a core, critical text in lieu of contemporary work that, while unquestionably central to the discipline, is primarily concerned with abstracted and typological models in attempts to theorize both games and play as universal ideals locatable outside history and culture. By contrast, James begins from his lived experience, focusing on the deep interrelations between his home of Trinidad, the sport of cricket, and colonial rule. James draws direct lines between the material political conditions of Trinidadians, including the racial codes of the British Empire, and how cricket was used to navigate the early 20th century mores around race and class on the island. We understand James as a theorist of play who engages the relationship between play and politics. It is undeniable that James produces a theory of play that is moveable and locatable beyond the circumstances delimited in the book, but it is the genre of his writing, and the way his reception is structured on racial grounds, that has prevented game studies from engaging with him directly. 30 00 This essay considers what games studies might look like if Marxist critic C.L.R. James’ 1963 work of cultural criticism and biography Beyond A Boundary were accepted as a core, critical text in lieu of contemporary work that, while unquestionably central to the discipline, is primarily concerned with abstracted and typological models in attempts to theorize both games and play as universal ideals locatable outside history and culture. By contrast, James begins from his lived experience, focusing on the deep interrelations between his home of Trinidad, the sport of cricket, and colonial rule. James draws direct lines between the material political conditions of Trinidadians, including the racial codes of the British Empire, and how cricket was used to navigate the early 20th century mores around race and class on the island. We understand James as a theorist of play who engages the relationship between play and politics. It is undeniable that James produces a theory of play that is moveable and locatable beyond the circumstances delimited in the book, but it is the genre of his writing, and the way his reception is structured on racial grounds, that has prevented game studies from engaging with him directly. 20 00 Open Access Cameron Kunzelman and Michael Lutz 14 03 06 10.53288/0441.1.14 307 329 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Story or a Machine? Revisiting the Work of Bohuslav Blažek, the Czechoslovak Pioneer of Game Studies 1 A01 21 0000000199188346 Jaroslav Švelch Jaroslav Švelch Associate Professor of Media Studies 40 024d6js02 Charles University Jaroslav Švelch (he/him) is Associate Professor of Media Studies at Charles University, Prague, and a part-time Associate Professor of Game Studies with the Film and TV Faculty of Academy of Performing Arts in Prague. In his first monograph Gaming the Iron Curtain: How Teenagers and Amateurs in Communist Czechoslovakia Claimed the Medium of Computer Games (MIT Press, 2018), he traces the hidden histories of home computing and gaming in the former Soviet bloc. His second book, Player vs. Monster: The Making and Breaking of Video Game Monstrosity (MIT Press, 2023), offers a cultural history and a critique of the role of monsters in video games. He has also published work on local game production, humor in games, and video game voice acting. He is a co-founder of the Central and Eastern European Game Studies (CEEGS) conference and the inaugural chair of DiGRA Central and Eastern Europe (2022–). 01 eng 03 00 This chapter introduces the game scholarship of Bohuslav Blažek, a forgotten Czechoslovak pioneer of game studies who published several texts on games in the late 1980s as well as the book The Labyrinth of Computer Games (Bludiště počítačových her), published in 1990 but written in the final years of the Communist regime. Trained as a philosopher, psychologist, and filmmaker and better known for his work on theatre, media, and environmental issues, Blažek drew from an eclectic selection of literature and promoted play (including computer games) as a way towards a more participatory and communal post-industrial society. His 1990 book contains a sophisticated inquiry into the structure of computer games as a medium, anticipating some of the formative questions of game studies. One section headline asks whether computer games were “stories or machines,” predating the so-called “ludology versus narratology” debate by about a decade. Moreover, the book embodies an inclusive and interdisciplinary vision of games research that remains inspiring to this day. This chapter revisits Blažek’s writings on computer games and situates them in the background of his intellectual biography and the historical context of late socialist Czechoslovakia, offering an alternative to the Western-centric and Anglo-Saxon histories of the intellectual inquiry into digital games. 30 00 This chapter introduces the game scholarship of Bohuslav Blažek, a forgotten Czechoslovak pioneer of game studies who published several texts on games in the late 1980s as well as the book The Labyrinth of Computer Games (Bludiště počítačových her), published in 1990 but written in the final years of the Communist regime. Trained as a philosopher, psychologist, and filmmaker and better known for his work on theatre, media, and environmental issues, Blažek drew from an eclectic selection of literature and promoted play (including computer games) as a way towards a more participatory and communal post-industrial society. His 1990 book contains a sophisticated inquiry into the structure of computer games as a medium, anticipating some of the formative questions of game studies. One section headline asks whether computer games were “stories or machines,” predating the so-called “ludology versus narratology” debate by about a decade. Moreover, the book embodies an inclusive and interdisciplinary vision of games research that remains inspiring to this day. This chapter revisits Blažek’s writings on computer games and situates them in the background of his intellectual biography and the historical context of late socialist Czechoslovakia, offering an alternative to the Western-centric and Anglo-Saxon histories of the intellectual inquiry into digital games. 20 00 Open Access Jaroslav Švelch 15 03 06 10.53288/0441.1.15 331 354 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Political Function of Triflers and Spoilsports in Game Studies 1 A01 21 0000000269995179 Liam Mitchell Liam Mitchell Associate Professor of Cultural Studies 40 03ygmq230 Trent University Liam Mitchell (he/him) is Associate Professor of Cultural Studies at Trent University in Peterborough, Canada. His work theorizes the relationship between media, culture, and the political by paying close attention to particular technological artifacts, practices, and phenomena, particularly those objects associated with digital and social media. He is the author of Ludopolitics: Videogames against Control (Zer0 Books, 2018). 01 eng 03 00 Conventional gameplay requires that players follow rules and aim for goals. Unconventional gameplay does not: cheats ignore rules, triflers ignore goals, and spoilsports ignore both. These unconventional modes of gameplay seem to be perennial preoccupations for those scholars concerned with the relationship between games and life, or with a political reading of games. Since the field’s inception, game studies scholars have conceived of these unconventional modes of play in metonymical or indexical terms, turning cheats, triflers, and spoilsports into different kinds of social actors who trouble the laws and conventions of society in different ways. Setting aside the comparatively straightforward rule breaking of the cheat, in this chapter I review four books – John Huizinga’s Homo Ludens, Bernard Suits’ The Grasshopper, James Carse’s Finite and Infinite Games, and McKenzie Wark’s Gamer Theory – that cast the trifler and spoilsport as complicated agents of social change. By demonstrating the affinity between these texts, I resituate the figures of the trifler and the spoilsport in the field of game studies and identify a normative and philosophical framework for thinking about games that is grounded in a radical critique of the present. 30 00 Conventional gameplay requires that players follow rules and aim for goals. Unconventional gameplay does not: cheats ignore rules, triflers ignore goals, and spoilsports ignore both. These unconventional modes of gameplay seem to be perennial preoccupations for those scholars concerned with the relationship between games and life, or with a political reading of games. Since the field’s inception, game studies scholars have conceived of these unconventional modes of play in metonymical or indexical terms, turning cheats, triflers, and spoilsports into different kinds of social actors who trouble the laws and conventions of society in different ways. Setting aside the comparatively straightforward rule breaking of the cheat, in this chapter I review four books – John Huizinga’s Homo Ludens, Bernard Suits’ The Grasshopper, James Carse’s Finite and Infinite Games, and McKenzie Wark’s Gamer Theory – that cast the trifler and spoilsport as complicated agents of social change. By demonstrating the affinity between these texts, I resituate the figures of the trifler and the spoilsport in the field of game studies and identify a normative and philosophical framework for thinking about games that is grounded in a radical critique of the present. 20 00 Open Access Liam Mitchell 16 03 06 10.53288/0441.1.16 355 368 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Mother Was a Jump Rope Rhyme A Game Studies That Might Have Been 1 A01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek Professor of Digital Humanities and Media Studies 40 037t3ry66 Illinois Institute of Technology Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology. She researches the cultural history of video games with an emphasis on gender identity. Her books include Coin-Operated Americans: Rebooting Boyhood at the Video Game Arcade (University of Minnesota Press, 2015) and Brenda Laurel: Pioneering Games for Girls (Bloomsbury, 2017), and, with Matthew Thomas Payne, Ultima and Worldbuilding in the Computer Role-Playing Game (Amherst, 2024). She is researching the history and impact of the games for girls movement as part of a project funded by the National Science Foundation. Her articles have appeared in outlets including The American Journal of Play, Feminist Media Histories, Game Studies, Velvet Light Trap, and others. 01 eng 03 00 Children arguing over the rules of tag know that games are complex negotiations of power systems drawn from their material, political, and social context. Awareness of these power dynamics has long been a central concern in play studies. However, game studies is frequently situated as separate from play studies and continues to draw on Huizinga’s legacy, often replicating an elitism and naivete that Margaret Carlisle Duncan first pointed out 40 years ago. This chapter imagines a game studies more closely aligned with play studies. Considering the key findings of researchers such as Carlisle Duncan, Miriam Forman-Brunell, Brenda Laurel, Kyra Gaunt, Vivan Gussin Paley, Linda Hughes, Maria Montessori, and Iona and Peter Opie this chapter interrogates how the relative marginality of these thinkers in game studies reflects an entrenched masculinist impulse to devalue both women thinkers and young girls and their concerns. By engaging works such as Gaunt’s groundbreaking study of Black girls’ jump rope rhymes and Miriam Forman-Brunell’s exhaustive research on dolls both as cultural artifacts and richly meaningful playthings, I suggest a reconceptualized game studies in which certain types of video games are not arbitrarily cleaved from the broader study of areas such as leisure, play, and girlhood. 30 00 Children arguing over the rules of tag know that games are complex negotiations of power systems drawn from their material, political, and social context. Awareness of these power dynamics has long been a central concern in play studies. However, game studies is frequently situated as separate from play studies and continues to draw on Huizinga’s legacy, often replicating an elitism and naivete that Margaret Carlisle Duncan first pointed out 40 years ago. This chapter imagines a game studies more closely aligned with play studies. Considering the key findings of researchers such as Carlisle Duncan, Miriam Forman-Brunell, Brenda Laurel, Kyra Gaunt, Vivan Gussin Paley, Linda Hughes, Maria Montessori, and Iona and Peter Opie this chapter interrogates how the relative marginality of these thinkers in game studies reflects an entrenched masculinist impulse to devalue both women thinkers and young girls and their concerns. By engaging works such as Gaunt’s groundbreaking study of Black girls’ jump rope rhymes and Miriam Forman-Brunell’s exhaustive research on dolls both as cultural artifacts and richly meaningful playthings, I suggest a reconceptualized game studies in which certain types of video games are not arbitrarily cleaved from the broader study of areas such as leisure, play, and girlhood. 20 00 Open Access Carly A. Kocurek 17 03 06 10.53288/0441.1.17 369 388 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reflecting on the Evolution of Intersectional Game Studies An Interview with Lisa Nakamura 1 A01 21 0000000170266056 Sarah Christina Ganzon Sarah Christina Ganzon Assistant Professor of the School of Communication 40 0213rcc28 Simon Fraser University Sarah Christina Ganzon (she/her) is Assistant Professor of the School of Communication at Simon Fraser University. Her research revolves mostly around the areas of game studies and digital fandom. Recently, she finished her thesis on otome games in English and otome game players. Some of her work has appeared in journals such as Games and Culture, Critical Studies in Media Communication, Human Tech, and Transformative Works and Cultures. She holds a PhD in Communication Studies from Concordia University and an MA in English Literature from Cardiff University. Previously, she also taught courses at the University of the Philippines, University of Santo Tomas, Far Eastern University and Concordia University. 2 A32 21 0000000265342808 Lisa Nakamura Lisa Nakamura Gwendolyn Calvert Baker Collegiate Professor in the Department of American Cultures 40 00jmfr291 University of Michigan–Ann Arbor Lisa Nakamura (she/her) is the Gwendolyn Calvert Baker Collegiate Professor in the Department of American Cultures at the University of Michigan, Ann Arbor. She is the founding Director of the Digital Studies Institute at the University of Michigan and has been writing about digital media, race, and gender since 1994. She has written books and articles on digital bodies, race, and gender in online environments, on toxicity in video game culture, and the many reasons that Internet research needs ethnic and gender studies. 01 eng 03 00 In this interview, Nakamura reflects on her experiences writing and teaching about digital culture, games, race and gender–from her first publications in the 90s towards more contemporary work that shed light on toxic cultures, digital labor and narratives that render women of color invisible in media histories. In doing so, she provides a history of some of the earliest intersectional work in game studies and digital media. These reflections and histories told by one female scholar of color to another provide a window into the labor of intersectional work in game studies, how far we have come, and how far we have yet to go. 30 00 In this interview, Nakamura reflects on her experiences writing and teaching about digital culture, games, race and gender–from her first publications in the 90s towards more contemporary work that shed light on toxic cultures, digital labor and narratives that render women of color invisible in media histories. In doing so, she provides a history of some of the earliest intersectional work in game studies and digital media. These reflections and histories told by one female scholar of color to another provide a window into the labor of intersectional work in game studies, how far we have come, and how far we have yet to go. 20 00 Open Access Sarah Christina Ganzon 18 03 06 10.53288/0441.1.18 389 409 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unveiling the Path Seeing and Doing Game Studies from a Sámi Perspective 1 A01 21 0000000177872788 Outi Kaarina Laiti Outi Kaarina Laiti postdoctoral researcher 40 040af2s02 University of Helsinki Outi Kaarina Laiti (she/her) is a Sámi game researcher and designer. She is a postdoctoral researcher at the University of Helsinki, focusing on the intersection of education, computer science, and Sámi culture in video games and programming. Laiti promotes Sámi game developers and has coached an elderly eSports team. She was recognized as one of GamesIndustry.biz’s 100 Game Changers in 2020 for her efforts to increase accessibility in the industry. Laiti has actively organized game development events in the Sámi homeland, Sápmi, and co-created Sami Game Jams to encourage Indigenous innovation and cultural representation in gaming. Her doctoral thesis “Old Ways of Knowing, New Ways of Playing,” published in January 2021, discusses the potential of collaborative game design to empower Indigenous Sámi. 01 eng 03 00 In this chapter I explore how a Sámi worldview can be present, and how to employ Sámi methodologies, in the field of game studies. In this chapter I continue the work of Indigenous methodological thinkers and ground my work in the long line of Sámi dutkama máttut, the methodological thinkers in all the fields where Sámi research is present. This chapter is an autoethnographic description of how my research on Sámi digital games has reshaped game studies, and it is based on my field notes and reflections on the process that led to a doctoral dissertation in the field of Sámi game studies. By describing the process of unveiling the path, I introduce a way to employ Sámi methodologies in game studies and discuss the ways in which Indigenous epistemologies can be present in game studies practice. Furthermore, I discuss how Indigenous and non-Indigenous game studies can form a dialogue without jeopardizing Indigenous sovereignty over research. 30 00 In this chapter I explore how a Sámi worldview can be present, and how to employ Sámi methodologies, in the field of game studies. In this chapter I continue the work of Indigenous methodological thinkers and ground my work in the long line of Sámi dutkama máttut, the methodological thinkers in all the fields where Sámi research is present. This chapter is an autoethnographic description of how my research on Sámi digital games has reshaped game studies, and it is based on my field notes and reflections on the process that led to a doctoral dissertation in the field of Sámi game studies. By describing the process of unveiling the path, I introduce a way to employ Sámi methodologies in game studies and discuss the ways in which Indigenous epistemologies can be present in game studies practice. Furthermore, I discuss how Indigenous and non-Indigenous game studies can form a dialogue without jeopardizing Indigenous sovereignty over research. 20 00 Open Access Outi Kaarina Laiti 19 03 06 10.53288/0441.1.19 411 430 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Anthropology, Play Studies, and the Entanglements of Game Studies Two Roads Diverged in an Ivory Wood 1 A01 21 0000000316379759 Laya Liebeseller Laya Liebeseller Laya Liebeseller (they/any) is a play scholar, game designer, and anthropologist. Their current design work focuses on imagining queer futures and horror in its relation to current social dynamics. In their academic work they study play during pandemic times. Since 2013, they have worked with live-action roleplay communities, tabletop roleplaying communities, and most recently alternate reality game communities. Their ongoing dissertation research details analog game communities, their abrupt transition online in 2020, and the continuing ramifications. 2 A01 21 0000000307295043 Josh Rivers Josh Rivers Josh Rivers (he/him) holds a PhD in Anthropology from the University of Wisconsin-Milwaukee, at the time of publication, is a Research Manager at Xbox. His research interests reside at the nexus of queer theory, institutions, and video games. Past projects include his dissertation work, an ethnographic exploration of how the Icelandic cultural context of CCP Games impacted the manner in which the corporation architects ethics into the fabric of their massively-multiplayer online game, EVE Online, as well as an ethnographic analysis of queer community-making in Final Fantasy XIV. 01 eng 03 00 Game Studies is a robust interdisciplinary field that has succeeded in incorporating myriad methodological and theoretical positionalities, yet there remain voices from the discipline’s past and its margins that go unheard or forgotten. In this article, we trace the history of The Association of the Study of Play (TASP), originally founded in 1973 as The Association of the Anthropological Study of Play (TAASP), and its entanglement with, as well as disentanglement from, the broader discipline of Anthropology in order to highlight the social mess à la John Law that is involved in the institutionalization of a set of research interests and thereby ‘legitimization’ of a field. In doing so, we speak to the inherent pitfalls involved in demarcating a discipline’s boundaries while challenging Game Studies scholars to consider the entanglements of their field. This tracing of the entanglements between TASP, Anthropology, Game Studies, and Play Studies aims to serve as a reminder that no discipline is immune from losing sight of its past and no field ought to forego searching the annals of its own history, both for what has been lost or purposefully ignored. 30 00 Game Studies is a robust interdisciplinary field that has succeeded in incorporating myriad methodological and theoretical positionalities, yet there remain voices from the discipline’s past and its margins that go unheard or forgotten. In this article, we trace the history of The Association of the Study of Play (TASP), originally founded in 1973 as The Association of the Anthropological Study of Play (TAASP), and its entanglement with, as well as disentanglement from, the broader discipline of Anthropology in order to highlight the social mess à la John Law that is involved in the institutionalization of a set of research interests and thereby ‘legitimization’ of a field. In doing so, we speak to the inherent pitfalls involved in demarcating a discipline’s boundaries while challenging Game Studies scholars to consider the entanglements of their field. This tracing of the entanglements between TASP, Anthropology, Game Studies, and Play Studies aims to serve as a reminder that no discipline is immune from losing sight of its past and no field ought to forego searching the annals of its own history, both for what has been lost or purposefully ignored. 20 00 Open Access Laya Liebeseller and Josh Rivers 20 03 06 10.53288/0441.1.20 433 466 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Autoethnographic Denial The Disavowal of Game Studies’ Most Fundamental Methodology and the Struggle for Its Realization 1 A01 Stephanie C. Jennings Stephanie C. Jennings Stephanie C. Jennings (she/her) is an independent scholar and writer. 01 eng 03 00 Despite the centrality of autoethnography in the historical emergence of critical video game analysis—and despite recognition from game studies scholars that players’ situated subjectivities and embodied experiences are inextricable aspects of gameplay—the field of game studies has developed an enduring habit of disparaging the use of autoethnography.The purpose of this chapter, then, is to examine the history of autoethnography in the field: so pivotal, and yet so denied. I chronicle the ways that the field has largely abstained from conducting autoethnographies, even as autoethnography’s increasingly undeniable significance continues to emerge in the generative experiential-intellectual knowledges from marginalized scholars’ critical, political storytelling. The chapter is, itself, an autoethnography. Interspersed throughout my analysis, I recount my own history with autoethnographic research, which started in denial. I use this story to emphasize the need for future scholarship that more thoroughly explicates how to conduct autoethnographies pertaining to videogames and gaming cultures. And in conclusion, I urge that the field continue to build upon the rich and growing body of autoethnographic research; to develop novel approaches to autoethnography that contest the dominant standards of academic scholarship and publishing practices; and to embrace autoethnography as a uniquely defining feature of the field. 30 00 Despite the centrality of autoethnography in the historical emergence of critical video game analysis—and despite recognition from game studies scholars that players’ situated subjectivities and embodied experiences are inextricable aspects of gameplay—the field of game studies has developed an enduring habit of disparaging the use of autoethnography.The purpose of this chapter, then, is to examine the history of autoethnography in the field: so pivotal, and yet so denied. I chronicle the ways that the field has largely abstained from conducting autoethnographies, even as autoethnography’s increasingly undeniable significance continues to emerge in the generative experiential-intellectual knowledges from marginalized scholars’ critical, political storytelling. The chapter is, itself, an autoethnography. Interspersed throughout my analysis, I recount my own history with autoethnographic research, which started in denial. I use this story to emphasize the need for future scholarship that more thoroughly explicates how to conduct autoethnographies pertaining to videogames and gaming cultures. And in conclusion, I urge that the field continue to build upon the rich and growing body of autoethnographic research; to develop novel approaches to autoethnography that contest the dominant standards of academic scholarship and publishing practices; and to embrace autoethnography as a uniquely defining feature of the field. 20 00 Open Access Stephanie C. Jennings 21 03 06 10.53288/0441.1.21 467 490 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Down on Luck Examining the Pervasive Merit-Based Logics in Game Studies 1 A01 21 0000000261225671 Michael Anthony DeAnda Michael Anthony DeAnda Senior Professional Lecturer 40 04xtx5t16 DePaul University Michael Anthony DeAnda (fae/faer, use my name) is Senior Professional Lecturer at DePaul University, serving as the chair of the Game Design Program Committee and the Human Centered Design PhD Program Committee and Director of the School of Design Summer Impact Grant Program. Michael researches games as spaces for world-building by studying latinx and queer studies and lived experiences and considering how these speak intimately to games. Michael has published in Design Issues, Convergence, Technical Communications Quarterly, The Journal of Popular Culture, The Video Game Art Reader, Queer Studies in Media and Popular Culture, and Widerscreens. As a scholar–practitioner, Michael develops games that draw from latinx and LGBTQ+ lived experiences to disrupt our assumptions about the world around us and reshape the way we imagine systems. 01 eng 03 00 This chapter examines how game studies diminishes chance and privileges skill, situating these in a dichotomy. Such privileging prevents us from understanding chance in games in more meaningful ways. Chance is often read as a game system that casts players in passive roles at the whim of fate and unyielding indiscrimination. However, the focus on skill perpetuates readings of games as systems of meritocracy and player domination. The divide between skill and chance in games studies is historically used to differentiate games as “good” objects worthy of critical attention from gambling, “bad” objects attached deviance. Furthermore, the skill/chance dichotomy reinforces gender binarism, linking skill to masculinity while feminizing chance. Take seriously games of chance points to opportunities for game studies to look beyond the procedural and diegetic operations of the games and consider ways communities deploy games for socializing and formation of community identity. Reimagining how we synthesize chance and skill in games will complicate the way we theorize and design games. 30 00 This chapter examines how game studies diminishes chance and privileges skill, situating these in a dichotomy. Such privileging prevents us from understanding chance in games in more meaningful ways. Chance is often read as a game system that casts players in passive roles at the whim of fate and unyielding indiscrimination. However, the focus on skill perpetuates readings of games as systems of meritocracy and player domination. The divide between skill and chance in games studies is historically used to differentiate games as “good” objects worthy of critical attention from gambling, “bad” objects attached deviance. Furthermore, the skill/chance dichotomy reinforces gender binarism, linking skill to masculinity while feminizing chance. Take seriously games of chance points to opportunities for game studies to look beyond the procedural and diegetic operations of the games and consider ways communities deploy games for socializing and formation of community identity. Reimagining how we synthesize chance and skill in games will complicate the way we theorize and design games. 20 00 Open Access Michael Anthony DeAnda 22 03 06 10.53288/0441.1.22 491 510 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Separation of Analog and Digital Game Studies 1 A01 21 0000000303269294 Evan Torner Evan Torner Associate Professor of German Studies 40 01e3m7079 University of Cincinnati Evan Torner (he/him) is Associate Professor of German Studies at the University of Cincinnati, where he directs the Undergraduate Program in German as well as the UC Game Lab. His work examines the processes and ideologies of cultural production, with a primary focus on the popular media of German-speaking countries as well as niche media of small-press tabletop role-playing games (RPG) and international live-action role-play (larp) communities. As a games scholar, he co-edited Immersive Gameplay (McFarland, 2012) with William J. White, co-founded and serves as an editor for the journal Analog Game Studies, and serves as associate editor for the International Journal of Role-Playing. As a game designer, he has had stand-alone and anthology work published in at least six different languages and written many RPG scenarios for Danish convention Fastaval, including the award-winning Save Some Light for Me (2019). As a community organizer, he co-founded the Golden Cobra Challenge, co-organized the 2017 US run of the queer Norwegian larp Just A Little Lovin’, and co-organized Origins Games on Demand. 01 eng 03 00 The essay speculates on underlying historical reasons for Game Studies’ relative neglect of non-digital or analog games in favor of digital games. Despite calls by leaders in the field to include non-digital games in their purview, the emphasis on digital games has taken root and produced a number of biases in research, hiring, teaching, and promotion. The reasons given for this oversight, despite a contemporary renaissance in analog games, are numerous. The 1980s Satanic Panic proved more a public-sphere detriment to hobbyist analog games than the 1990s anti-video-game-violence movement to video games. In its wake, the “gamer” identity was connected with a masculine-oriented first-person-shooter culture, over other gaming cultures. The sheer economic scale of video games cannot be ignored, and this scale was the point of argumentation for the foundation of many Games programs in higher education. Games have been cynically incorporated into these programs for purposes of outreach and enrollment, not real academic interest from administrations. Finally, film and media studies doubled down on its investment in moving images on screens over a more capacious understanding of media, which would otherwise include analog games. 30 00 The essay speculates on underlying historical reasons for Game Studies’ relative neglect of non-digital or analog games in favor of digital games. Despite calls by leaders in the field to include non-digital games in their purview, the emphasis on digital games has taken root and produced a number of biases in research, hiring, teaching, and promotion. The reasons given for this oversight, despite a contemporary renaissance in analog games, are numerous. The 1980s Satanic Panic proved more a public-sphere detriment to hobbyist analog games than the 1990s anti-video-game-violence movement to video games. In its wake, the “gamer” identity was connected with a masculine-oriented first-person-shooter culture, over other gaming cultures. The sheer economic scale of video games cannot be ignored, and this scale was the point of argumentation for the foundation of many Games programs in higher education. Games have been cynically incorporated into these programs for purposes of outreach and enrollment, not real academic interest from administrations. Finally, film and media studies doubled down on its investment in moving images on screens over a more capacious understanding of media, which would otherwise include analog games. 20 00 Open Access Evan Torner 23 03 06 10.53288/0441.1.23 511 523 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Navigating Public History and Game Preservation In Conversation with the Computerspielemuseum 1 A01 Racquel M. Gonzales Racquel M. Gonzales Director of Interpretative Engagement at the Memorial Art Gallery 40 022kthw22 University of Rochester Racquel M. Gonzales is the Director of Interpretative Engagement at the Memorial Art Gallery of the University of Rochester in New York. A trained ethnographer and oral historian, she holds a Ph.D. in Visual Studies and a certificate in Gender and Sexuality Studies from University of California, Irvine, an MA in Media Studies from University of Texas at Austin, and a ba in Cinematic Arts with a minor in Classics from University of Southern California. Her previous roles include stints at The Strong National Museum of Play, University of California, Irvine, and Laguna College of Art and Design. 01 eng 03 00 In this conversation, Dr. Racquel M. Gonzales (Research Historian, The Strong National Museum of Play, Rochester, New York) interviews staff of Berlin’s Computerspielemuseum about the role of a museum in the work of public history. Gameshouse gGmbH managing director Dr. Klaus Spieler discusses how the museum emerged at a fraught time in Germany’s national relationship with game content and culture alongside the continued impact of regulation. Technical director Matthias Oborski and curator Philipp Frei offer perspectives on collecting, preserving, and exhibiting game history for archival researchers and non-specialist audiences. We reflect on the impacts of the COVID-19 pandemic, and grapple with the roles museums should play in the future of game studies. The discussion offers insights on game history developed outside the United States and the practice of public history while navigating various stakeholders—institutional, governmental, industrial, public—that shape the narratives we craft and histories we preserve in museums and archives. 30 00 In this conversation, Dr. Racquel M. Gonzales (Research Historian, The Strong National Museum of Play, Rochester, New York) interviews staff of Berlin’s Computerspielemuseum about the role of a museum in the work of public history. Gameshouse gGmbH managing director Dr. Klaus Spieler discusses how the museum emerged at a fraught time in Germany’s national relationship with game content and culture alongside the continued impact of regulation. Technical director Matthias Oborski and curator Philipp Frei offer perspectives on collecting, preserving, and exhibiting game history for archival researchers and non-specialist audiences. We reflect on the impacts of the COVID-19 pandemic, and grapple with the roles museums should play in the future of game studies. The discussion offers insights on game history developed outside the United States and the practice of public history while navigating various stakeholders—institutional, governmental, industrial, public—that shape the narratives we craft and histories we preserve in museums and archives. 20 00 Open Access Racquel M. Gonzales 24 03 06 10.53288/0441.1.24 525 545 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Archiving Play, Archiving Histories Preserving Games Hardware, Software, and Experience 1 A01 Lee W. Hibbard Lee W. Hibbard Lecturer in Technical Communication University of Michigan Lee W. Hibbard (he/him, they/them) has a PhD in Rhetoric and Composition from Purdue University and is Lecturer in Technical Communication at University of Michigan College of Engineering. His research interests include archive theory and practice, professional writing, game studies and game design, new media texts, digital rhetorics, fandom communities, queer studies, and identity formation, and a lot of his interest intersects with his experiences as a queer nonbinary transgender man. His work with the Strong Museum is part of his dissertation research into the intersections of archiving, queerness, and games, and he is thrilled to share this work and his passion for diving deep into the history of games and gaming culture in this collection. In his spare time he collects old consoles, avoids digital-only copies of games, and loves an old-fashioned round of arcade Tetris. 01 eng 03 00 This chapter considers the importance of preserving games in both physical and metaphysical contexts by examining current archival efforts to catalog and share games and play experiences with future generations and consider their position within game studies. It highlights work being done in three archival contexts -- The Strong Museum of Play, the LGBTQ+ Video Game Archive, and the Learning Games Initiative. This includes an examination of each of their mission and goals, selectivity and rationale, and methods and processes, and each section includes interviews with current directors and founders of the archives in question. The work of these specific organizations, archives, and museums, while varying widely, provides a demonstration of not only the methods being undertaken to preserve game history, but the importance of that work amongst those organizations and individuals. This investigation demonstrates not only how diverse and varied games and play experiences are now, but how much of gaming history already contains those diverse experiences. By examining current preservation efforts, this chapter not only highlights how diverse and varied preservation efforts are in games and play, but demonstrates the importance of examining the archival work being done to preserve the fragile and tenuous technologies and voices surrounding games and play. 30 00 This chapter considers the importance of preserving games in both physical and metaphysical contexts by examining current archival efforts to catalog and share games and play experiences with future generations and consider their position within game studies. It highlights work being done in three archival contexts -- The Strong Museum of Play, the LGBTQ+ Video Game Archive, and the Learning Games Initiative. This includes an examination of each of their mission and goals, selectivity and rationale, and methods and processes, and each section includes interviews with current directors and founders of the archives in question. The work of these specific organizations, archives, and museums, while varying widely, provides a demonstration of not only the methods being undertaken to preserve game history, but the importance of that work amongst those organizations and individuals. This investigation demonstrates not only how diverse and varied games and play experiences are now, but how much of gaming history already contains those diverse experiences. By examining current preservation efforts, this chapter not only highlights how diverse and varied preservation efforts are in games and play, but demonstrates the importance of examining the archival work being done to preserve the fragile and tenuous technologies and voices surrounding games and play. 20 00 Open Access Lee W. Hibbard 25 03 06 10.53288/0441.1.25 547 567 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ludic Dissertations “Level 101” and Video Games as Playable Scholarship 1 A01 21 0000000301245934 Justin Wigard Justin Wigard Assistant Professor of 20th- and 21st-Century US Literature 40 04a5szx83 University of North Dakota 40 03y71xh61 University of Richmond Justin Wigard (he/him) is Assistant Professor of 20th- and 21st-Century US Literature at University of North Dakota, where he works and teaches in comics studies, game studies, and digital humanities. Along with Mitch Ploskonka, Justin is co-editor of Attack of the New B Movies: Essays on SYFY Original Films (McFarland Press, 2023). He has published games scholarship in Cinergie, Unbound, Vault of Culture, and various edited collections. His next project examines the long publishing history of the Indigenous character Turok across comics, games, and even animation. 06 Own website https://justinwigard.com/ 03 00 This chapter traces a divide between critical and creative camps within game studies’ history, offering some accounting of where this stems from, along with how it has grown and shifted particularly in relation to other fields. Topics include the historical inaccessibility of game development knowledge, software, even hardware; successful attempts to bridge this gap, along with common roadblocks; and the academy’s resistance to consideration of alternative scholarship forms.Alongside this historiography, I work through the premise, methodology, and stakes of creating a short, playable video game as my dissertation: Level 101: A Video Game About Video Games. Drawing on other alternative dissertations (e.g. Sousanis, Carson, Visconti), my dissertation explores, explains, and interrogates the video game medium on several levels in order to understand the medium through a methodology of play. Ultimately, this chapter speculates on what future game studies may look like by embracing playable criticism as a mode of scholarly discourse, by embracing games as our mode of critical inquiry, not just our subjects of observation. It also acknowledges the laborious efforts involved with such endeavors, and offers potential paths forward for future game scholar-makers. 30 00 This chapter traces a divide between critical and creative camps within game studies’ history, offering some accounting of where this stems from, along with how it has grown and shifted particularly in relation to other fields. Topics include the historical inaccessibility of game development knowledge, software, even hardware; successful attempts to bridge this gap, along with common roadblocks; and the academy’s resistance to consideration of alternative scholarship forms.Alongside this historiography, I work through the premise, methodology, and stakes of creating a short, playable video game as my dissertation: Level 101: A Video Game About Video Games. Drawing on other alternative dissertations (e.g. Sousanis, Carson, Visconti), my dissertation explores, explains, and interrogates the video game medium on several levels in order to understand the medium through a methodology of play. Ultimately, this chapter speculates on what future game studies may look like by embracing playable criticism as a mode of scholarly discourse, by embracing games as our mode of critical inquiry, not just our subjects of observation. It also acknowledges the laborious efforts involved with such endeavors, and offers potential paths forward for future game scholar-makers. 20 00 Open Access Justin Wigard 26 03 06 10.53288/0441.1.26 579 608 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Navigating a Complex Space An Interview with Henry Jenkins 1 A01 betsy brey betsy brey PhD candidate 40 01aff2v68 University of Waterloo betsy brey (she/her) is a PhD candidate in the Department of English Language and Literature at the University of Waterloo. Her research focuses on queering narratology in video games. She is particularly interested in the intersections of game play and narrative structure, and how game stories are perceived and constructed by communities of fans. Focusing on games and communities like Dragon Age, Skyrim, Five Nights at Freddy’s, Twitch Plays Pokemon, or Critical Role, Betsy’s research takes an intersectional approach to games and game narratives. Additionally, her work examines the social and cultural practices of the communities that play or enjoy these games, including questions of collaboration, digital labor, canonicity, and the cultural economies of fans and fandoms. 2 A32 Henry Jenkins Henry Jenkins Provost Professor of Communication, Journalism, and Cinematic Arts 40 03taz7m60 University of Southern California Henry Jenkins is the author or editor of twenty books on various aspects of media and popular culture. Among his best known works are Textual Poachers: Television Fans, Participatory Culture (Routledge, 1992), Convergence Culture: Where Old and New Media Collide (New York University Press, 2008), Spreadable Media: Creating Meaning and Value in a Networked Culture (New York University Press, 2013), By Any Media Necessary: The New Youth Activism (New York University Press, 2016), Popular Culture and the Civic Imagination: Case Studies of Creative Social Change (New York University Press, 2020), and Comics and Stuff (New York University Press, 2020). 06 Own website https://henryjenkins.org/ 01 eng 03 00 Henry Jenkins is Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California—or as he likes to put it, “Professor of Miscellaneous Studies” or just “media scholar at USC.” A prolific author, Jenkins has author and editor more than 20 books including Textual Poachers, Convergence Culture: Where Old and New Media Collide, Fans, Gamers, Bloggers, and most recently, Comics and Stuff in addition to hundreds of articles on a variety all sorts of pop culture and digital culture subjects, looking at fan communities, comics, the internet, film, and much more, including a very active period working on video games, writing well-known and well-cited pieces such as “Games as Narrative Architecture,” “Games: The New Lively Art,” and “Popular Culture as Politics, Politics as Popular Culture.” Jenkins, however, no longer considers himself a game scholar—an interesting distinction. This raises the question, “what does it mean to do game studies?,” in this interview Jenkins and I discuss the roots of game studies as an area of study and its development into a unique and sometimes baffling field. Reflecting on his journey through the development of the field, Jenkins describes the spaces of game studies as they were shifting from an area closely aligned with industry and popular culture towards a more isolated academic field pushed away from development spaces. From the sparking of his interest in play and spatial properties of games, to his defense of video games in front of the US Senate, to his scapegoated position in the ludology/narratology debate, Jenkins has seen the field from many perspectives—most importantly, he sees the field from outside of it now. 30 00 Henry Jenkins is Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California—or as he likes to put it, “Professor of Miscellaneous Studies” or just “media scholar at USC.” A prolific author, Jenkins has author and editor more than 20 books including Textual Poachers, Convergence Culture: Where Old and New Media Collide, Fans, Gamers, Bloggers, and most recently, Comics and Stuff in addition to hundreds of articles on a variety all sorts of pop culture and digital culture subjects, looking at fan communities, comics, the internet, film, and much more, including a very active period working on video games, writing well-known and well-cited pieces such as “Games as Narrative Architecture,” “Games: The New Lively Art,” and “Popular Culture as Politics, Politics as Popular Culture.” Jenkins, however, no longer considers himself a game scholar—an interesting distinction. This raises the question, “what does it mean to do game studies?,” in this interview Jenkins and I discuss the roots of game studies as an area of study and its development into a unique and sometimes baffling field. Reflecting on his journey through the development of the field, Jenkins describes the spaces of game studies as they were shifting from an area closely aligned with industry and popular culture towards a more isolated academic field pushed away from development spaces. From the sparking of his interest in play and spatial properties of games, to his defense of video games in front of the US Senate, to his scapegoated position in the ludology/narratology debate, Jenkins has seen the field from many perspectives—most importantly, he sees the field from outside of it now. 20 00 Open Access betsy brey 27 03 06 10.53288/0441.1.27 609 630 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Is It All Just Cultural Studies? One Scholar’s Journey into Media and Game Studies 1 A01 21 0000000155261839 Adrienne Shaw Adrienne Shaw Associate Professor 40 00kx1jb78 Temple University Adrienne Shaw (she/her) is Associate Professor in Temple University’s Department of Media Studies and Production and a graduate faculty member in the Lew Klein College of Media and Communication. Her book Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture (University of Minnesota Press, 2014) won the 2016 Outstanding Book Award from the Popular Communication Division of the International Communication Association. She is a founder of the LGBTQ Game Archive (www.lgbtqgamearchive.com) and co-curated Rainbow Arcade, an exhibit of 30 years of LGBTQ video game history at the Schwules Museum in Berlin, Germany (2018–2019). In addition to the exhibit catalog, she has written for and co-edited three anthologies. She became a Higher Education Video Game Alliance Fellow in 2018. She is a series editor for NYU Press’s Critical Cultural Communication series and on the editorial board of six academic journals. 01 eng 03 00 In this essay, I explore how my particular experiences have shaped my identity as a communication and media studies scholar who specializes in LGBTQ+ game studies. As someone who entered graduate school in 2005, I was not among the early cohort of scholars making a case for games being a viable topic of study at all (several journals and professional organizations were already established around that time). But neither did I have access to any established notion of what “counts” as game studies. Over time, I found that like with communication and media studies, there are actually many versions of game studies, rather than one coherent field—and this is a good thing. Embracing goals of interdisciplinarity and drawing on the critical politics of cultural studies are the foundation of my media and game studies. 30 00 In this essay, I explore how my particular experiences have shaped my identity as a communication and media studies scholar who specializes in LGBTQ+ game studies. As someone who entered graduate school in 2005, I was not among the early cohort of scholars making a case for games being a viable topic of study at all (several journals and professional organizations were already established around that time). But neither did I have access to any established notion of what “counts” as game studies. Over time, I found that like with communication and media studies, there are actually many versions of game studies, rather than one coherent field—and this is a good thing. Embracing goals of interdisciplinarity and drawing on the critical politics of cultural studies are the foundation of my media and game studies. 20 00 Open Access Adrienne Shaw 28 03 06 10.53288/0441.1.28 631 652 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Turns in Game Studies An Interview with Kishonna L. Gray 1 A01 21 0000000151446545 victoria l. braegger victoria l. braegger Assistant Professor of Technical Communication 40 00scwqd12 Missouri University of Science and Technology victoria l. braegger (she/her) is an Assistant Professor of Technical Communication at Missouri University of Science and Technology, serving as the coordinator for the game studies minor in the Department of English and Technical Communication. Her research frames video game controllers as kinesthetic tools of technical communication, analyzing how controllers contribute to and disrupt conversations on design, remediation, representation, identity, and community in games. She has published her work in in The Journal of Multimodal Rhetorics and SIGDOC Conference Proceedings, as well as in edited collections such as The Ethics of Playing, Researching, and Teaching Games in the Writing Classroom (Palgrave Macmillan, 2021). victoria is passionate about public scholarship and games preservation. She cohosts the Not Your Mama’s Gamer podcast and is the Senior Assistant Regional Director for the Learning Games Initiative Research Archive. 2 A32 21 0000000249841471 Kishonna Gray Kishonna Gray University of Michigan Kishonna Gray (she/her) is Professor of Racial Justice and Technology in the School of Information at the University of Michigan. Her research broadly covers the intersection of race, gender and digital media, with a particular focus on video games and gaming culture. In her book Race, Gender, & Deviance in Xbox Live (Routledge, 2024), Gray examines the racism, sexism, and other types of harassment faced by women and people of color in one of the largest virtual gaming communities and multi-media platforms. She is co-editor of two volumes on culture and gaming, one of which focuses on women as they are depicted in video games, as participants in games culture, and as contributors to the games industry. The second explores the potential of video games to foster change and become a catalyst for social justice. Gray has published widely in academic publications and her work has been featured by a variety of media outlets, such as The New York Times, Los Angeles Times, The Guardian, Paste Magazine, Engadget, BET, and Blavity. She is also a featured blogger and podcaster with “Not Your Mama’s Gamer.” She is also a faculty associate at the Berkman-Klein Center for Internet & Society at Harvard University. 01 eng 03 00 Looking at the future of game studies requires a deep, introspective look at where the field began, considering not only who was left out but why. In a reflection of the gaming industry, much of the early spaces carved out for game studies were dominated by male voices and perspectives. However, just as important as where the field began are the moments when the field experienced a turn. In the early 2010s, game studies began its gradual turn towards inclusivity and diversity, a moment marked by increased scholarly articles and books discussing representation and gaming culture. This interview with Kishonna Gray focuses on her work in facilitating the turn towards gaming culture and representation in game studies, as well as discussions on #CiteHerWork and the Gray Test. The gaming industry is facing a reckoning brought on by decades of exclusive and exploitive practices; questions concerning representation, culture, inclusion, and diversity are at the forefront when discussing the industry. They should be discussed in reference to game studies, as well. We have much work to do; getting there is going to take reflection and a lot of talking. 30 00 Looking at the future of game studies requires a deep, introspective look at where the field began, considering not only who was left out but why. In a reflection of the gaming industry, much of the early spaces carved out for game studies were dominated by male voices and perspectives. However, just as important as where the field began are the moments when the field experienced a turn. In the early 2010s, game studies began its gradual turn towards inclusivity and diversity, a moment marked by increased scholarly articles and books discussing representation and gaming culture. This interview with Kishonna Gray focuses on her work in facilitating the turn towards gaming culture and representation in game studies, as well as discussions on #CiteHerWork and the Gray Test. The gaming industry is facing a reckoning brought on by decades of exclusive and exploitive practices; questions concerning representation, culture, inclusion, and diversity are at the forefront when discussing the industry. They should be discussed in reference to game studies, as well. We have much work to do; getting there is going to take reflection and a lot of talking. 20 00 Open Access victoria l. braegger 29 03 06 10.53288/0441.1.29 653 670 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Confessions of a Game Studies Insider “Our” Field Needs to Do Better 1 A01 21 0000000179132257 Christopher A. Paul Christopher A. Paul Professor of Communication and Media 40 02jqc0m91 Seattle University Christopher A. Paul (he/him) is Professor of Communication and Media at Seattle University. He has published Optimizing Play: Why Theorycrafting Breaks Games and How to Fix It (MIT Press, 2025), Free-to-Play: Mobile Video Games, Bias, and Norms (MIT Press, 2020), Real Games: What’s Legitimate and What’s Not In Contemporary Videogames (MIT Press, 2019, with Mia Consalvo), and The Toxic Meritocracy of Video Games: Why Gaming Culture Is the Worst (University of Minnesota Press, 2018). 01 eng 03 00 I am extraordinarily lucky to be able to study games as a key part of my job. And the level of security I have in that job presents me with an obligation to write and speak about the limitations in our field and the harm our systems and structures have done to the people trying to study games and the knowledge our field could have produced. The pool of games that have been the focus of most studies are limited. The ways of examining games is expanding, but is still dominated by a narrow group of analytical modes and approaches. The field, with few exceptions is overwhelmingly white. The types of players examined are limited, especially in considerations of age, as the old and young are left out of most analysis. All of these factors limit what game studies is, while opening up space to create what game studies could be. Game studies needs more people, more different kinds of people, looking at different games from different perspectives. This chapter is an attempt to articulate the stakes of what games studies has been and point in a direction we should go. 30 00 I am extraordinarily lucky to be able to study games as a key part of my job. And the level of security I have in that job presents me with an obligation to write and speak about the limitations in our field and the harm our systems and structures have done to the people trying to study games and the knowledge our field could have produced. The pool of games that have been the focus of most studies are limited. The ways of examining games is expanding, but is still dominated by a narrow group of analytical modes and approaches. The field, with few exceptions is overwhelmingly white. The types of players examined are limited, especially in considerations of age, as the old and young are left out of most analysis. All of these factors limit what game studies is, while opening up space to create what game studies could be. Game studies needs more people, more different kinds of people, looking at different games from different perspectives. This chapter is an attempt to articulate the stakes of what games studies has been and point in a direction we should go. 20 00 Open Access Christopher A. Paul 30 03 06 10.53288/0441.1.30 671 696 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Publish in English or It’s Game Over” On English Linguistic Monopoly in Game Studies 1 A01 21 0000000255300145 Samuel Poirier-Poulin Samuel Poirier-Poulin PhD candidate 40 0161xgx34 Université de Montréal Samuel Poirier-Poulin (he/him) is a PhD candidate in film studies at the Université de Montréal, Canada, specializing in the study of video games and gaming cultures. His doctoral research focuses on the representation and the affective experience of trauma in video games, drawing on affect theory and phenomenology of media. His other research interests include queer desires in visual novels, autoethnography, and multilingual scholarship. Samuel’s work has been published in several academic journals, including the Journal of Games Criticism, G/A/M/E: The Italian Journal of Game Studies, Synoptique: An Online Journal of Film and Moving Image Studies, Loading: The Journal of the Canadian Game Studies Association, and in the anthology Video Games and Comedy. Since 2022, Samuel has been the Editor-in-Chief of the game studies journal Press Start. 01 eng 03 00 Research on diversity and inclusion in game studies has focused so far on issues related to gender, race, and sexuality. Issues related to language have generally been left unaddressed. Nevertheless, the language we use to express ourselves has a major influence on the way the knowledge we create is perceived and transmitted (or not) worldwide, and thus also generates situations of privilege and exclusion. Building on the concepts of linguistic monopoly and linguicism (i.e., discrimination based on language), this chapter proposes a critical reflection on the dominance of English language in game studies. It argues that linguicism occurs in this discipline and in academia more broadly (1) through the anglicization of research and the need for non-native English speakers (NNES) to publish and present their work in English in order to be read, cited, and recognized as contributors to game studies; and (2) through a gatekeeping process, especially within high-ranking journals, that makes it harder for NNES to publish their work due to the absence of linguistic support from publishing institutions and the emphasis these institutions put on so-called “good” English. These inequalities are reinforced by the myth that English is a neutral language that serves everyone equally well and leads to cohesion and community. This chapter ultimately aims to bridge the gap between research on linguistic monopoly in academia and the discipline of game studies, seeking to critically reflect on how game studies have been built and are still being built around English language. 30 00 Research on diversity and inclusion in game studies has focused so far on issues related to gender, race, and sexuality. Issues related to language have generally been left unaddressed. Nevertheless, the language we use to express ourselves has a major influence on the way the knowledge we create is perceived and transmitted (or not) worldwide, and thus also generates situations of privilege and exclusion. Building on the concepts of linguistic monopoly and linguicism (i.e., discrimination based on language), this chapter proposes a critical reflection on the dominance of English language in game studies. It argues that linguicism occurs in this discipline and in academia more broadly (1) through the anglicization of research and the need for non-native English speakers (NNES) to publish and present their work in English in order to be read, cited, and recognized as contributors to game studies; and (2) through a gatekeeping process, especially within high-ranking journals, that makes it harder for NNES to publish their work due to the absence of linguistic support from publishing institutions and the emphasis these institutions put on so-called “good” English. These inequalities are reinforced by the myth that English is a neutral language that serves everyone equally well and leads to cohesion and community. This chapter ultimately aims to bridge the gap between research on linguistic monopoly in academia and the discipline of game studies, seeking to critically reflect on how game studies have been built and are still being built around English language. 20 00 Open Access Samuel Poirier-Poulin 31 03 06 10.53288/0441.1.31 697 715 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Influence of Aesthetics and Semiotics on Game Research in Japan An Interview with Matsumoto Kentaro 1 A01 21 0000000151335570 Douglas Schules Douglas Schules Associate Professor 40 00x194q47 Rikkyo University Douglas Schules (he/him) is Associate Professor at Rikkyo University in Tokyo, where he researches the relationships between media and society. He has written about creative media and fandom, and his recent work focuses on the ecology of Japanese games with a focus on the indie game developer scene in Tokyo. Given the expanding field of indie game development, he has been working with developers to both preserve their work and record their perspectives on making games in Japan. 2 A32 Kentaro Matsumoto Kentaro Matsumoto Professor in the Department of English 40 01vj3cz23 Dokkyo University Kentaro Matsumoto (he/him) is Professor in the Department of English, Faculty of Foreign Languages at Dokkyo University. His current research has focused on understanding the history of game criticism and how to introduce Japanese scholarship on games to international audiences. He has written over twenty books and articles on the subject of games and their impact on society, including four edited volumes which contained perspectives from emerging Japanese scholars. 03 00 In this interview Kentaro Matsumoto discusses gaming scholarship in Japan, focusing specifically on the fields of semiotics and aesthetics. Topics include influential research on games written by Japanese scholars and current directions in the field. 30 00 In this interview Kentaro Matsumoto discusses gaming scholarship in Japan, focusing specifically on the fields of semiotics and aesthetics. Topics include influential research on games written by Japanese scholars and current directions in the field. 20 00 Open Access Douglas Schules 32 03 06 10.53288/0441.1.32 717 734 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “There’s Nothing Written about It” Disciplinarity, Regionality, and the Ghosts Haunting Game Studies 1 A01 21 0000000269785622 Alison Harvey Alison Harvey Associate Professor in the Communications program 40 05fq50484 York University Alison Harvey (she/her) is Associate Professor in the Communications program at Glendon College, York University, Canada. Her research and teaching focuses on issues of inclusivity and accessibility in digital culture, with an emphasis on gender and labor in digital games. She is the author of Gender, Age, and Digital Games in the Domestic Context (Routledge, 2015) and Feminist Media Studies (Polity, 2019). Her work has also appeared in a range of interdisciplinary journals, including in Diversity & Inclusion Research, Global Media & China, and New Media & Society. She served as the president of the Canadian Game Studies Association from 2023–2025. 01 eng 03 00 2005-2007 was a unique moment in games studies in that it represented a flourishing of specific venues for research in the area, including the launch of the journals Games and Culture and Loading…. The Canadian Journal of Game Studies as well as the Canadian Games Game Studies Association conference. But despite the spike in scholarly and public attention on games in the last decade and a half, we still see moments where researchers seek game studies and proclaim that ‘there’s nothing written about it’. In this article I consider the role of Canadian game studies and its relative lack of citation. The disciplinary ghosts of game studies, I argue, play a key role in entrenching some approaches, questions, and methods as more legitimate, ‘ghosting’ others from the ‘canon’. Troublingly, this continues to include critical race studies, feminist approaches, and queer theory, despite their key role in both historical and contemporary game studies. I therefore conclude this essay with a provocation inspired by Harrison (2018) to ‘fuck the canon’ in games. 30 00 2005-2007 was a unique moment in games studies in that it represented a flourishing of specific venues for research in the area, including the launch of the journals Games and Culture and Loading…. The Canadian Journal of Game Studies as well as the Canadian Games Game Studies Association conference. But despite the spike in scholarly and public attention on games in the last decade and a half, we still see moments where researchers seek game studies and proclaim that ‘there’s nothing written about it’. In this article I consider the role of Canadian game studies and its relative lack of citation. The disciplinary ghosts of game studies, I argue, play a key role in entrenching some approaches, questions, and methods as more legitimate, ‘ghosting’ others from the ‘canon’. Troublingly, this continues to include critical race studies, feminist approaches, and queer theory, despite their key role in both historical and contemporary game studies. I therefore conclude this essay with a provocation inspired by Harrison (2018) to ‘fuck the canon’ in games. 20 00 Open Access Alison Harvey 33 03 06 10.53288/0441.1.33 735 760 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Definitions, Boundaries, and Issues Week An Analysis of University Games Courses 1 A01 21 000000016755206X Alisha Karabinus Alisha Karabinus Assistant Professor of Writing and Digital Studies 40 001m1hv61 Grand Valley State University Alisha Karabinus (she/her) is Assistant Professor of Writing and Digital Studies at Grand Valley State University. She researches intersections between games and rhetoric. 01 eng 03 00 This study investigates how college-level games courses construct students' academic understanding of and engagement with games. As scholars increasingly call for deeper engagement with social justice issues in game studies—particularly in relation to connections between games, game culture, and the rise of violent white supremacy—this chapter offers a critical analysis of content and orientation in undergraduate games course syllabi across disciplines. Findings reveal a persistent emphasis on establishing boundaries and definitions within the field, often at the expense of addressing critical social concerns. In highlighting these trends, the author calls for a reevaluation of curricular priorities and advocates for foregrounding the analysis of games' social implications in undergraduate courses. 30 00 This study investigates how college-level games courses construct students' academic understanding of and engagement with games. As scholars increasingly call for deeper engagement with social justice issues in game studies—particularly in relation to connections between games, game culture, and the rise of violent white supremacy—this chapter offers a critical analysis of content and orientation in undergraduate games course syllabi across disciplines. Findings reveal a persistent emphasis on establishing boundaries and definitions within the field, often at the expense of addressing critical social concerns. In highlighting these trends, the author calls for a reevaluation of curricular priorities and advocates for foregrounding the analysis of games' social implications in undergraduate courses. 20 00 Open Access Alisha Karabinus 34 03 06 10.53288/0441.1.34 761 774 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributor Biographies 1 B01 21 000000016755206X Alisha Karabinus Alisha Karabinus 2 B01 21 0000000229011737 Carly A. Kocurek Carly A. Kocurek 3 B01 21 0000000316291722 Cody Mejeur Cody Mejeur 4 B01 21 0009000139475877 Emma Vossen Emma Vossen 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/historiographies-of-game-studies-what-it-has-been-what-it-could-be/ Earth, Milky Way 04 01 20250725 Alisha Karabinus, Carly A. 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product https://library.oapen.org/handle/20.500.12657/104427 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/104427/0441.1.00.pdf?sequence=1&isAllowed=y 20 08 20250725 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/898 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0740c6f6-c0d0-4d2f-a644-d2a937307751/download 20 08 20250725 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1a355f01-df09-4bff-a53b-3aef8ca13fcd 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1a355f01-df09-4bff-a53b-3aef8ca13fcd/1a355f01-df09-4bff-a53b-3aef8ca13fcd.pdf 20 08 20250725 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851198 29 ZENODO: download the title https://zenodo.org/records/19851198/files/1a355f01-df09-4bff-a53b-3aef8ca13fcd_book.pdf 20 08 20250725 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/historiographies-of-game-studies-what-it-has-been-what-it-could-be/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0441.1.00.pdf 20 08 20250725 01 urn:uuid:89fd9326-0bec-44cd-adf8-690fd9d4650e 03 01 01 thoth-work-id urn:uuid:b63ffeb5-7906-4c74-8ec2-68cbe87f593c 01 thoth-publication-id urn:uuid:89fd9326-0bec-44cd-adf8-690fd9d4650e 15 9789522644268 03 9789522644268 06 10.21983/P3.0116.1.00 01 internal-reference 0116 00 BC 10 01 294 mm 01 29.4 cm 01 11.57 in 02 220 mm 02 22 cm 02 8.66 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 History According to Cattle 1 B01 Laura Gustafsson Laura Gustafsson 2 B01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 00 160 03 12 AGC 93 AGC 10 ART006000 B2 Art+Aesthetics B2 Biosphere 93 WNF B2 Posthumanism 20 exhibition catalog; livestock 01 06 02 00 03 00 History According to Cattle is an expanded account of the acclaimed art and research project History of Other’s first major installment, The Museum of the History of Cattle (2013). The exhibition presents a large-scale ethnographic museum of world history as seen from the perspective of cattle, one of the most important companion species of humans. Thus, The Museum of the History of Cattle is the first museum to exhibit the cultural history of a non-human species. In the exhibit, the connections of animal rights issues with violations of human rights become visible while the situations of indigenous cattle populations, the development of genetics, and industrialization are imagined through the eyes of this silent, ever present companion. Both tragic and humorous, The Museum of the History of Cattle portrays humans as a species mesmerized by its own image.The book-catalog includes a full presentation of the research and visual material of the exhibition, with contextualizing essays by art historian Anne Aurasmaa, philosopher Elisa Aaltola, theorist Kirs Forkasiewizc, and researcher-curator Radhika Subramaniam. Drawing from critical animal studies, animal philosophy, art theory and the lived companionship of humans and cattle, the publication provides a fresh insight into the possibilities of creative imagination, and into the ethical encountering of the species-other in our society. 30 00 History According to Cattle is an expanded account of the acclaimed art and research project History of Other’s first major installment, The Museum of the History of Cattle (2013). The exhibition presents a large-scale ethnographic museum of world history as seen from the perspective of cattle, one of the most important companion species of humans. Thus, The Museum of the History of Cattle is the first museum to exhibit the cultural history of a non-human species. In the exhibit, the connections of animal rights issues with violations of human rights become visible while the situations of indigenous cattle populations, the development of genetics, and industrialization are imagined through the eyes of this silent, ever present companion. Both tragic and humorous, The Museum of the History of Cattle portrays humans as a species mesmerized by its own image.The book-catalog includes a full presentation of the research and visual material of the exhibition, with contextualizing essays by art historian Anne Aurasmaa, philosopher Elisa Aaltola, theorist Kirs Forkasiewizc, and researcher-curator Radhika Subramaniam. Drawing from critical animal studies, animal philosophy, art theory and the lived companionship of humans and cattle, the publication provides a fresh insight into the possibilities of creative imagination, and into the ethical encountering of the species-other in our society. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0116.1.00_frontcover.jpg 1 03 06 10.53288/0116.1.01 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Laura Gustafsson Laura Gustafsson 2 B01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 2 03 06 10.53288/0116.1.02 2 3 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: History According to Cattle 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 3 03 06 10.53288/0116.1.03 5 103 99 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 History According to Cattle 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 4 03 06 10.53288/0116.1.04 107 109 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Imagining Non-Human Realities 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 5 03 06 10.53288/0116.1.05 111 119 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Many Faces of Truth 1 A01 Anne Aurasmaa Anne Aurasmaa 40 05n3dz165 University of Jyväskylä 01 eng 20 00 Open Access Anne Aurasmaa 6 03 06 10.53288/0116.1.06 121 129 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Language of Detachment Toward Expressiveness of Affect 1 A01 21 0000000209640173 Elisa Aaltola Elisa Aaltola 40 00cyydd11 University of Eastern Finland 01 eng 20 00 Open Access Elisa Aaltola 7 03 06 10.53288/0116.1.07 131 140 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bad Faith of Zoophobia 1 A01 Kris Forkasiewicz Kris Forkasiewicz 01 eng 20 00 Open Access Kris Forkasiewicz 8 03 06 10.53288/0116.1.08 141 144 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 In Search of the Indian Cow 1 A01 Radhika Subramaniam Radhika Subramaniam 40 02cmz8k74 Parsons School of Design 06 Own website https://www.radhikasubramaniam.com/ 01 eng 20 00 Open Access Radhika Subramaniam 9 03 06 10.53288/0116.1.09 147 153 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Credits 1 B01 Laura Gustafsson Laura Gustafsson 2 B01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 20 00 Open Access Laura Gustafsson Terike Haapoja 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/history-of-cattle/ Brooklyn, NY 04 01 20151001 Gustafsson, Laura Haapoja, Terike 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/history-according-to-cattle 20 08 20151001 02 32.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://www.intokustannus.fi/kirja/history_according_to_cattle/ 20 08 20151001 02 32.00 USD WORLD urn:uuid:d49c7db8-99fd-40aa-91ff-1b49a24a3e0c 03 01 01 thoth-work-id urn:uuid:b63ffeb5-7906-4c74-8ec2-68cbe87f593c 01 thoth-publication-id urn:uuid:d49c7db8-99fd-40aa-91ff-1b49a24a3e0c 06 10.21983/P3.0116.1.00 01 internal-reference 0116 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 History According to Cattle 1 B01 Laura Gustafsson Laura Gustafsson 2 B01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 00 160 03 12 AGC 93 AGC 10 ART006000 B2 Art+Aesthetics B2 Biosphere 93 WNF B2 Posthumanism 20 exhibition catalog; livestock 01 06 02 00 03 00 History According to Cattle is an expanded account of the acclaimed art and research project History of Other’s first major installment, The Museum of the History of Cattle (2013). The exhibition presents a large-scale ethnographic museum of world history as seen from the perspective of cattle, one of the most important companion species of humans. Thus, The Museum of the History of Cattle is the first museum to exhibit the cultural history of a non-human species. In the exhibit, the connections of animal rights issues with violations of human rights become visible while the situations of indigenous cattle populations, the development of genetics, and industrialization are imagined through the eyes of this silent, ever present companion. Both tragic and humorous, The Museum of the History of Cattle portrays humans as a species mesmerized by its own image.The book-catalog includes a full presentation of the research and visual material of the exhibition, with contextualizing essays by art historian Anne Aurasmaa, philosopher Elisa Aaltola, theorist Kirs Forkasiewizc, and researcher-curator Radhika Subramaniam. Drawing from critical animal studies, animal philosophy, art theory and the lived companionship of humans and cattle, the publication provides a fresh insight into the possibilities of creative imagination, and into the ethical encountering of the species-other in our society. 30 00 History According to Cattle is an expanded account of the acclaimed art and research project History of Other’s first major installment, The Museum of the History of Cattle (2013). The exhibition presents a large-scale ethnographic museum of world history as seen from the perspective of cattle, one of the most important companion species of humans. Thus, The Museum of the History of Cattle is the first museum to exhibit the cultural history of a non-human species. In the exhibit, the connections of animal rights issues with violations of human rights become visible while the situations of indigenous cattle populations, the development of genetics, and industrialization are imagined through the eyes of this silent, ever present companion. Both tragic and humorous, The Museum of the History of Cattle portrays humans as a species mesmerized by its own image.The book-catalog includes a full presentation of the research and visual material of the exhibition, with contextualizing essays by art historian Anne Aurasmaa, philosopher Elisa Aaltola, theorist Kirs Forkasiewizc, and researcher-curator Radhika Subramaniam. Drawing from critical animal studies, animal philosophy, art theory and the lived companionship of humans and cattle, the publication provides a fresh insight into the possibilities of creative imagination, and into the ethical encountering of the species-other in our society. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0116.1.00_frontcover.jpg 1 03 06 10.53288/0116.1.01 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Laura Gustafsson Laura Gustafsson 2 B01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 2 03 06 10.53288/0116.1.02 2 3 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: History According to Cattle 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 3 03 06 10.53288/0116.1.03 5 103 99 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 History According to Cattle 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 4 03 06 10.53288/0116.1.04 107 109 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Imagining Non-Human Realities 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 01 eng 20 00 Open Access Laura Gustafsson Terike Haapoja 5 03 06 10.53288/0116.1.05 111 119 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Many Faces of Truth 1 A01 Anne Aurasmaa Anne Aurasmaa 40 05n3dz165 University of Jyväskylä 01 eng 20 00 Open Access Anne Aurasmaa 6 03 06 10.53288/0116.1.06 121 129 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Language of Detachment Toward Expressiveness of Affect 1 A01 21 0000000209640173 Elisa Aaltola Elisa Aaltola 40 00cyydd11 University of Eastern Finland 01 eng 20 00 Open Access Elisa Aaltola 7 03 06 10.53288/0116.1.07 131 140 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bad Faith of Zoophobia 1 A01 Kris Forkasiewicz Kris Forkasiewicz 01 eng 20 00 Open Access Kris Forkasiewicz 8 03 06 10.53288/0116.1.08 141 144 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 In Search of the Indian Cow 1 A01 Radhika Subramaniam Radhika Subramaniam 40 02cmz8k74 Parsons School of Design 06 Own website https://www.radhikasubramaniam.com/ 01 eng 20 00 Open Access Radhika Subramaniam 9 03 06 10.53288/0116.1.09 147 153 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Credits 1 B01 Laura Gustafsson Laura Gustafsson 2 B01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 40 0190ak572 New York University 20 00 Open Access Laura Gustafsson Terike Haapoja 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/history-of-cattle/ Brooklyn, NY 04 01 20151001 Gustafsson, Laura Haapoja, Terike 02 WORLD 06 15 9789522644268 03 9789522644268 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76534 20 08 20151001 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25508 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25508/1004587.pdf?sequence=1&isAllowed=y 20 08 20151001 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35358 20 08 20151001 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353943 20 08 20151001 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/497 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/582a54a2-837e-4683-a5ba-a24fdcc68846/download 20 08 20151001 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/History_According_to_Cattle/hhPOwQEACAAJ 20 08 20151001 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b63ffeb5-7906-4c74-8ec2-68cbe87f593c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b63ffeb5-7906-4c74-8ec2-68cbe87f593c/b63ffeb5-7906-4c74-8ec2-68cbe87f593c.pdf 20 08 20151001 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846327 29 ZENODO: download the title https://zenodo.org/records/19846327/files/b63ffeb5-7906-4c74-8ec2-68cbe87f593c_book.pdf 20 08 20151001 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/history-of-cattle/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0116.1.00.pdf 20 08 20151001 01 urn:uuid:0d49124c-4456-4b72-b3c8-55dacddaef70 03 01 01 thoth-work-id urn:uuid:0ff404f8-cd4a-43d8-a4f7-fd5843674e00 01 thoth-publication-id urn:uuid:0d49124c-4456-4b72-b3c8-55dacddaef70 15 9780692715161 03 9780692715161 06 10.53288/0459.1.00 01 internal-reference 0459 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 http://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Homeland Fascism Corporatist Government in the New American Century 1 A01 Herman Schwendinger Herman Schwendinger 40 01an7q238 University of California, Berkeley 2 A01 Julia Schwendinger Julia Schwendinger 40 01an7q238 University of California, Berkeley 3 A24 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 725 03 B2 Cultural Studies+Critical Theory 12 JPFQ 93 JPFQ 10 POL042030 93 1KBB 12 1KBB B2 Capital+Lucre 10 POL040000 B2 New Left Thought 20 fascism; United States; corporatism; liberal democracy 01 06 02 00 03 00 "It can't happen here."This has been the prevailing sentiment about the possible emergence of fascism in the United States since the rise of international fascism in the 1930s.Yet there are signs that it may already be happening, and at the highest levels of government...In their copiously researched and documented work the Schwendingers outline the structural transformations, policies, and practices that raise the prospect of fascist governance in the 21st Century US. They show that a homeland fascism has significant supports within the framework of American liberal democracy. This is an important analysis in a context in which concerns about fascist demagoguery and far right mobilization appear to be growing in the US and beyond. 30 00 "It can't happen here."This has been the prevailing sentiment about the possible emergence of fascism in the United States since the rise of international fascism in the 1930s.Yet there are signs that it may already be happening, and at the highest levels of government...In their copiously researched and documented work the Schwendingers outline the structural transformations, policies, and practices that raise the prospect of fascist governance in the 21st Century US. They show that a homeland fascism has significant supports within the framework of American liberal democracy. This is an important analysis in a context in which concerns about fascist demagoguery and far right mobilization appear to be growing in the US and beyond. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0459.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/homeland-fascism-corporatist-government-in-the-new-american-century/ Earth, Milky Way 04 01 20160624 Herman Schwendinger 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692715169 20 08 20160624 02 34.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/homeland-fascism-corporatist-government-in-the-new-american-century 20 08 20160624 02 34.00 USD WORLD urn:uuid:76bd41c2-c38f-4784-b1a5-de8beeade87b 03 01 01 thoth-work-id urn:uuid:0ff404f8-cd4a-43d8-a4f7-fd5843674e00 01 thoth-publication-id urn:uuid:76bd41c2-c38f-4784-b1a5-de8beeade87b 06 10.53288/0459.1.00 01 internal-reference 0459 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 http://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Homeland Fascism Corporatist Government in the New American Century 1 A01 Herman Schwendinger Herman Schwendinger 40 01an7q238 University of California, Berkeley 2 A01 Julia Schwendinger Julia Schwendinger 40 01an7q238 University of California, Berkeley 3 A24 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 725 03 B2 Cultural Studies+Critical Theory 12 JPFQ 93 JPFQ 10 POL042030 93 1KBB 12 1KBB B2 Capital+Lucre 10 POL040000 B2 New Left Thought 20 fascism; United States; corporatism; liberal democracy 01 06 02 00 03 00 "It can't happen here."This has been the prevailing sentiment about the possible emergence of fascism in the United States since the rise of international fascism in the 1930s.Yet there are signs that it may already be happening, and at the highest levels of government...In their copiously researched and documented work the Schwendingers outline the structural transformations, policies, and practices that raise the prospect of fascist governance in the 21st Century US. They show that a homeland fascism has significant supports within the framework of American liberal democracy. This is an important analysis in a context in which concerns about fascist demagoguery and far right mobilization appear to be growing in the US and beyond. 30 00 "It can't happen here."This has been the prevailing sentiment about the possible emergence of fascism in the United States since the rise of international fascism in the 1930s.Yet there are signs that it may already be happening, and at the highest levels of government...In their copiously researched and documented work the Schwendingers outline the structural transformations, policies, and practices that raise the prospect of fascist governance in the 21st Century US. They show that a homeland fascism has significant supports within the framework of American liberal democracy. This is an important analysis in a context in which concerns about fascist demagoguery and far right mobilization appear to be growing in the US and beyond. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0459.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/homeland-fascism-corporatist-government-in-the-new-american-century/ Earth, Milky Way 04 01 20160624 Herman Schwendinger 02 WORLD 06 15 9780692715161 03 9780692715161 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/58184 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/58184/0459.1.00.pdf?sequence=1&isAllowed=y 20 08 20160624 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/92012 20 08 20160624 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2x00vk1 20 08 20160624 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/676 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/dcff7005-4c94-4fbc-8732-0a63cadb541a/download 20 08 20160624 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0ff404f8-cd4a-43d8-a4f7-fd5843674e00 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0ff404f8-cd4a-43d8-a4f7-fd5843674e00/0ff404f8-cd4a-43d8-a4f7-fd5843674e00.pdf 20 08 20160624 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846612 29 ZENODO: download the title https://zenodo.org/records/19846612/files/0ff404f8-cd4a-43d8-a4f7-fd5843674e00_book.pdf 20 08 20160624 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/homeland-fascism-corporatist-government-in-the-new-american-century/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0459.1.00.pdf 20 08 20160624 01 urn:uuid:08d12be3-c9d4-4307-9d6a-cc5ddb9f0b0d 03 01 01 thoth-work-id urn:uuid:4f46d026-49c6-4319-b79a-a6f70d412b5c 01 thoth-publication-id urn:uuid:08d12be3-c9d4-4307-9d6a-cc5ddb9f0b0d 15 9780692606247 03 9780692606247 06 10.21983/P3.0124.1.00 01 internal-reference 0124 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Homotopia? Gay Identity, Sameness & the Politics of Desire 1 A01 Jonathan Kemp Jonathan Kemp 40 02mb95055 Birkbeck, University of London 01 eng 00 154 03 93 JBSJ 12 JFSK B2 Literary Studies 10 SOC012000 93 5PSG B2 TransQueer 93 DSBF 93 DSBH 20 gay literature; gender studies; queer studies; history of homosexuality 01 06 02 00 03 00 Do opposites attract? Is desire lack? These assumptions have become so much a part of the ways in which we conceive desire that they are rarely questioned. Yet, what do they say about how homosexuality — a desire for the same — is viewed in our culture? This book takes as its starting point the absence of a suitable theory of homosexual desire, a theory not predicated on such heterological assumptions. It is an investigation into how such assumptions acquired meaning within homosexual discourse, and as such is offered as an interruption within the hegemony of desire. As such, homosexual desire constitutes the biggest challenge to Western binaric thinking in that it dissolves the sacred distinctions between Same/Other, Desire/Identification, subject/object, male/female.Homotopia? (composed in 1997 but not published until now) investigates the development of a homosexual discourse at the end of the nineteenth century and the beginning of the twentieth century, and reveals how that discourse worked within heterosexualized models of desire. Andre Gide’s Corydon, Edward Carpenter’s The Intermediate Sex, and John Addington Symond’s A Problem in Modern Ethics are all pseudo-scientific texts written by non-medical men of letters, and were, in their time, highly influential on the emerging homosexual discourse. The fourth text, the twenty-odd pages of Marcel Proust’s novel A la recherché de temps perdu usually referred to as ‘La Race maudite,’ is the most problematic, in that it appeared under the guise of fiction. But Proust originally planned this ‘essay-within-a-novel’ to be published separately. In it, he offers a pseudo-scientific theory of male-male love. These four texts were published between the years 1891 and 1924, an historical moment when the concept of a distinct homosexual identity took shape within a medicalized discourse centered on essential identity traits and characteristics, and they all work within the rubric of science, contributing to a discourse which saw the human race divided into two distinct categories: heterosexuals and homosexuals. How did this division come about, and what were its effects? How was this discourse sustained, and how were the meanings it produced received? For men whose erotic interest was exclusively in other men, what did it mean to see oneself and one’s desires as the outcome of biology rather than moral lapse? 30 00 Do opposites attract? Is desire lack? These assumptions have become so much a part of the ways in which we conceive desire that they are rarely questioned. Yet, what do they say about how homosexuality — a desire for the same — is viewed in our culture? This book takes as its starting point the absence of a suitable theory of homosexual desire, a theory not predicated on such heterological assumptions. It is an investigation into how such assumptions acquired meaning within homosexual discourse, and as such is offered as an interruption within the hegemony of desire. As such, homosexual desire constitutes the biggest challenge to Western binaric thinking in that it dissolves the sacred distinctions between Same/Other, Desire/Identification, subject/object, male/female.Homotopia? (composed in 1997 but not published until now) investigates the development of a homosexual discourse at the end of the nineteenth century and the beginning of the twentieth century, and reveals how that discourse worked within heterosexualized models of desire. Andre Gide’s Corydon, Edward Carpenter’s The Intermediate Sex, and John Addington Symond’s A Problem in Modern Ethics are all pseudo-scientific texts written by non-medical men of letters, and were, in their time, highly influential on the emerging homosexual discourse. The fourth text, the twenty-odd pages of Marcel Proust’s novel A la recherché de temps perdu usually referred to as ‘La Race maudite,’ is the most problematic, in that it appeared under the guise of fiction. But Proust originally planned this ‘essay-within-a-novel’ to be published separately. In it, he offers a pseudo-scientific theory of male-male love. These four texts were published between the years 1891 and 1924, an historical moment when the concept of a distinct homosexual identity took shape within a medicalized discourse centered on essential identity traits and characteristics, and they all work within the rubric of science, contributing to a discourse which saw the human race divided into two distinct categories: heterosexuals and homosexuals. How did this division come about, and what were its effects? How was this discourse sustained, and how were the meanings it produced received? For men whose erotic interest was exclusively in other men, what did it mean to see oneself and one’s desires as the outcome of biology rather than moral lapse? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0124.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/homotopia/ Brooklyn, NY 04 01 20151225 Kemp, Jonathan 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692606246 20 08 20151225 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/homotopia-gay-identity-sameness-the-politics-of-desire 20 08 20151225 02 22.00 USD WORLD urn:uuid:0b1e4f00-76ce-4282-b9a8-56fed916d309 03 01 01 thoth-work-id urn:uuid:4f46d026-49c6-4319-b79a-a6f70d412b5c 01 thoth-publication-id urn:uuid:0b1e4f00-76ce-4282-b9a8-56fed916d309 06 10.21983/P3.0124.1.00 01 internal-reference 0124 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Homotopia? Gay Identity, Sameness & the Politics of Desire 1 A01 Jonathan Kemp Jonathan Kemp 40 02mb95055 Birkbeck, University of London 01 eng 00 154 03 93 JBSJ 12 JFSK B2 Literary Studies 10 SOC012000 93 5PSG B2 TransQueer 93 DSBF 93 DSBH 20 gay literature; gender studies; queer studies; history of homosexuality 01 06 02 00 03 00 Do opposites attract? Is desire lack? These assumptions have become so much a part of the ways in which we conceive desire that they are rarely questioned. Yet, what do they say about how homosexuality — a desire for the same — is viewed in our culture? This book takes as its starting point the absence of a suitable theory of homosexual desire, a theory not predicated on such heterological assumptions. It is an investigation into how such assumptions acquired meaning within homosexual discourse, and as such is offered as an interruption within the hegemony of desire. As such, homosexual desire constitutes the biggest challenge to Western binaric thinking in that it dissolves the sacred distinctions between Same/Other, Desire/Identification, subject/object, male/female.Homotopia? (composed in 1997 but not published until now) investigates the development of a homosexual discourse at the end of the nineteenth century and the beginning of the twentieth century, and reveals how that discourse worked within heterosexualized models of desire. Andre Gide’s Corydon, Edward Carpenter’s The Intermediate Sex, and John Addington Symond’s A Problem in Modern Ethics are all pseudo-scientific texts written by non-medical men of letters, and were, in their time, highly influential on the emerging homosexual discourse. The fourth text, the twenty-odd pages of Marcel Proust’s novel A la recherché de temps perdu usually referred to as ‘La Race maudite,’ is the most problematic, in that it appeared under the guise of fiction. But Proust originally planned this ‘essay-within-a-novel’ to be published separately. In it, he offers a pseudo-scientific theory of male-male love. These four texts were published between the years 1891 and 1924, an historical moment when the concept of a distinct homosexual identity took shape within a medicalized discourse centered on essential identity traits and characteristics, and they all work within the rubric of science, contributing to a discourse which saw the human race divided into two distinct categories: heterosexuals and homosexuals. How did this division come about, and what were its effects? How was this discourse sustained, and how were the meanings it produced received? For men whose erotic interest was exclusively in other men, what did it mean to see oneself and one’s desires as the outcome of biology rather than moral lapse? 30 00 Do opposites attract? Is desire lack? These assumptions have become so much a part of the ways in which we conceive desire that they are rarely questioned. Yet, what do they say about how homosexuality — a desire for the same — is viewed in our culture? This book takes as its starting point the absence of a suitable theory of homosexual desire, a theory not predicated on such heterological assumptions. It is an investigation into how such assumptions acquired meaning within homosexual discourse, and as such is offered as an interruption within the hegemony of desire. As such, homosexual desire constitutes the biggest challenge to Western binaric thinking in that it dissolves the sacred distinctions between Same/Other, Desire/Identification, subject/object, male/female.Homotopia? (composed in 1997 but not published until now) investigates the development of a homosexual discourse at the end of the nineteenth century and the beginning of the twentieth century, and reveals how that discourse worked within heterosexualized models of desire. Andre Gide’s Corydon, Edward Carpenter’s The Intermediate Sex, and John Addington Symond’s A Problem in Modern Ethics are all pseudo-scientific texts written by non-medical men of letters, and were, in their time, highly influential on the emerging homosexual discourse. The fourth text, the twenty-odd pages of Marcel Proust’s novel A la recherché de temps perdu usually referred to as ‘La Race maudite,’ is the most problematic, in that it appeared under the guise of fiction. But Proust originally planned this ‘essay-within-a-novel’ to be published separately. In it, he offers a pseudo-scientific theory of male-male love. These four texts were published between the years 1891 and 1924, an historical moment when the concept of a distinct homosexual identity took shape within a medicalized discourse centered on essential identity traits and characteristics, and they all work within the rubric of science, contributing to a discourse which saw the human race divided into two distinct categories: heterosexuals and homosexuals. How did this division come about, and what were its effects? How was this discourse sustained, and how were the meanings it produced received? For men whose erotic interest was exclusively in other men, what did it mean to see oneself and one’s desires as the outcome of biology rather than moral lapse? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0124.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/homotopia/ Brooklyn, NY 04 01 20151225 Kemp, Jonathan 02 WORLD 06 15 9780692606247 03 9780692606247 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76496 20 08 20151225 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25500 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25500/1004595.pdf?sequence=1&isAllowed=y 20 08 20151225 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36499 20 08 20151225 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353786 20 08 20151225 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/506 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/53c4c241-e31f-4927-86d8-984d168098c1/download 20 08 20151225 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Homotopia/JASVEAAAQBAJ 20 08 20151225 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4f46d026-49c6-4319-b79a-a6f70d412b5c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4f46d026-49c6-4319-b79a-a6f70d412b5c/4f46d026-49c6-4319-b79a-a6f70d412b5c.pdf 20 08 20151225 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846390 29 ZENODO: download the title https://zenodo.org/records/19846390/files/4f46d026-49c6-4319-b79a-a6f70d412b5c_book.pdf 20 08 20151225 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/homotopia/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0124.1.00.pdf 20 08 20151225 01 urn:uuid:98ca8773-4874-47f7-af24-8cfbce4a11e7 03 01 01 thoth-work-id urn:uuid:ceffc30d-1d28-48c3-acee-e6a2dc38ff37 01 thoth-publication-id urn:uuid:98ca8773-4874-47f7-af24-8cfbce4a11e7 15 9781950192311 03 9781950192311 06 10.21983/P3.0259.1.00 13 2019944175 01 internal-reference 0259 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 How We Read Tales, Fury, Nothing, Sound 1 B01 Kaitlin Heller Kaitlin Heller 40 025r5qe02 Syracuse University 2 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 00 186 03 93 DSB 12 DSB B2 Humanities+University 10 LIT011000 93 JNM B2 Pedagogies 93 CFC B2 Manifesto! 20 reading; writing; libraries; poetics; memory; university life; literary studies 01 06 02 00 03 00 What do we do when we read?Reading can be an act of consumption or an act of creation. Our “work reading” overlaps with our “pleasure reading,” and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form.The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts – which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading’s capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. 30 00 What do we do when we read?Reading can be an act of consumption or an act of creation. Our “work reading” overlaps with our “pleasure reading,” and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form.The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts – which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading’s capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0259.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/how-we-read-tales-fury-nothing-sound/ Earth, Milky Way 04 01 20190718 Heller, Kaitlin Akbari, Suzanne Conklin 02 WORLD 06 15 9781950192328 03 9781950192328 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192318 20 08 20190718 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/how-we-read-tales-fury-nothing-sound 20 08 20190718 02 23.00 USD WORLD urn:uuid:45f5708e-8d33-4e8d-ac0a-bca5ca949793 03 01 01 thoth-work-id urn:uuid:ceffc30d-1d28-48c3-acee-e6a2dc38ff37 01 thoth-publication-id urn:uuid:45f5708e-8d33-4e8d-ac0a-bca5ca949793 15 9781950192328 03 9781950192328 06 10.21983/P3.0259.1.00 13 2019944175 01 internal-reference 0259 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 How We Read Tales, Fury, Nothing, Sound 1 B01 Kaitlin Heller Kaitlin Heller 40 025r5qe02 Syracuse University 2 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 00 186 03 93 DSB 12 DSB B2 Humanities+University 10 LIT011000 93 JNM B2 Pedagogies 93 CFC B2 Manifesto! 20 reading; writing; libraries; poetics; memory; university life; literary studies 01 06 02 00 03 00 What do we do when we read?Reading can be an act of consumption or an act of creation. Our “work reading” overlaps with our “pleasure reading,” and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form.The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts – which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading’s capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. 30 00 What do we do when we read?Reading can be an act of consumption or an act of creation. Our “work reading” overlaps with our “pleasure reading,” and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form.The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts – which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading’s capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0259.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/how-we-read-tales-fury-nothing-sound/ Earth, Milky Way 04 01 20190718 Heller, Kaitlin Akbari, Suzanne Conklin 02 WORLD 06 15 9781950192311 03 9781950192311 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75669 20 08 20190718 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24880 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24880/0259.1.00.pdf?sequence=1&isAllowed=y 20 08 20190718 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36948 20 08 20190718 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353849 20 08 20190718 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/612 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ebe45cfa-78b8-430d-9c6c-0449a612dfb8/download 20 08 20190718 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/How_We_Read/pgSVEAAAQBAJ 20 08 20190718 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ceffc30d-1d28-48c3-acee-e6a2dc38ff37 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ceffc30d-1d28-48c3-acee-e6a2dc38ff37/ceffc30d-1d28-48c3-acee-e6a2dc38ff37.pdf 20 08 20190718 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824919 29 ZENODO: download the title https://zenodo.org/records/19824919/files/ceffc30d-1d28-48c3-acee-e6a2dc38ff37_book.pdf 20 08 20190718 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/how-we-read-tales-fury-nothing-sound/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0259.1.00.pdf 20 08 20190718 01 urn:uuid:aaa108c0-a37d-44e0-9c37-78be631e5679 03 01 01 thoth-work-id urn:uuid:63e2f6b6-f324-4bdc-836e-55515ba3cd8f 01 thoth-publication-id urn:uuid:aaa108c0-a37d-44e0-9c37-78be631e5679 15 9780692519332 03 9780692519332 06 10.21983/P3.0110.1.00 01 internal-reference 0110 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 How We Write Thirteen Ways of Looking at a Blank Page 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 00 182 03 93 CFC 12 DSBH B2 Humanities+University 10 LAN005010 93 JNM 93 DSB 20 academic writing; university studies; literary studies 01 06 02 00 03 00 The contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers. 30 00 The contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0110.1.00_frontcover.jpg 1 03 06 10.21983/P3.0110.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 20 00 Open Access Conklin Akbari, Suzanne 2 03 06 10.21983/P3.0110.1.02 xiii xxiii 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Written Chatter and the Writer's Voice 1 A01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 When we write, we write alone. Being alone means control, productive solitude, introspective bliss; it also means loneliness, isolation, even fear. Our writing environments have, however, become intensely social through the emergence of a range of online platforms, including websites and blogs but also including more casual and short-form media, such as Facebook and Twitter. The much lamented decline in the circulation of hand-written letters has given way to ubiquitous written “chatter,” which simultaneously nourishes the lonely writer and threatens to distract her from her “real” writing. 30 00 When we write, we write alone. Being alone means control, productive solitude, introspective bliss; it also means loneliness, isolation, even fear. Our writing environments have, however, become intensely social through the emergence of a range of online platforms, including websites and blogs but also including more casual and short-form media, such as Facebook and Twitter. The much lamented decline in the circulation of hand-written letters has given way to ubiquitous written “chatter,” which simultaneously nourishes the lonely writer and threatens to distract her from her “real” writing. 20 00 Open Access Akbari, Suzanne Conklin 3 03 06 10.21983/P3.0110.1.03 xxiv xxv 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 About the Images 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 The authors have each chosen an image to illustrate “where they write” — which they have interpreted broadly. Some took photographs of their desks (with windows, books, papers, and cats) or drew maps of their local coffeeshops. Others depicted their mental writing spaces and illustrated their avatar, their support network, or their lines of escape. Several images may seem obscure at first glance; most are clarified in the essays. 30 00 The authors have each chosen an image to illustrate “where they write” — which they have interpreted broadly. Some took photographs of their desks (with windows, books, papers, and cats) or drew maps of their local coffeeshops. Others depicted their mental writing spaces and illustrated their avatar, their support network, or their lines of escape. Several images may seem obscure at first glance; most are clarified in the essays. 20 00 Open Access Conklin Akbari, Suzanne 4 03 06 10.21983/P3.0110.1.04 xxvi xxxi 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Who We Are 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 MICHAEL COLLINSis a PhD candidate in English at the University of Toronto. He reads Newfoundland’s minor litera-ture, interpreting manifestations and adaptations of its strange geopolitical history and its current queer position. He’s afraid for the future of the academy. He keeps a blog at nfldtxt.com. His writing habit is like that of a hunter-gatherer, packing up neces-sary tools and heading out to one of a number of likely spots to forage or stalk. That’s why he drew a map, which you can use if you also write like this and happen to be visiting. 30 00 MICHAEL COLLINSis a PhD candidate in English at the University of Toronto. He reads Newfoundland’s minor litera-ture, interpreting manifestations and adaptations of its strange geopolitical history and its current queer position. He’s afraid for the future of the academy. He keeps a blog at nfldtxt.com. His writing habit is like that of a hunter-gatherer, packing up neces-sary tools and heading out to one of a number of likely spots to forage or stalk. That’s why he drew a map, which you can use if you also write like this and happen to be visiting. 20 00 Open Access Conklin Akbari, Suzanne 5 03 06 10.21983/P3.0110.1.05 1 7 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wilderness Group Tour 1 A01 Michael Collins Michael Collins 40 03dbr7087 University of Toronto 01 eng 03 00 I am a senior PhD candidate in the University of Toronto’s English Department. My most important job, the reason I am here, is to write a dissertation. Yet, like a great majority of my peers, I have struggled with accomplishing this task in a timely fashion. I have struggled to complete this task in a way that doesn’t feel isolating and poisonous to my mental health. Con-ventional wisdom, at least around these parts, is that candidates like myself (that is to say, typical PhD candidates) should join peer-organized writing groups, sometimes conceptualized as “accountability” groups. We are lost in the deep wilderness, with faulty out-of-date maps and an inconsistent, half-broken radio. We imagine we are banding together for reasons of survival, to help each other find a way out of the mess we’re jointly in. Yet it rarely works out that way. 30 00 I am a senior PhD candidate in the University of Toronto’s English Department. My most important job, the reason I am here, is to write a dissertation. Yet, like a great majority of my peers, I have struggled with accomplishing this task in a timely fashion. I have struggled to complete this task in a way that doesn’t feel isolating and poisonous to my mental health. Con-ventional wisdom, at least around these parts, is that candidates like myself (that is to say, typical PhD candidates) should join peer-organized writing groups, sometimes conceptualized as “accountability” groups. We are lost in the deep wilderness, with faulty out-of-date maps and an inconsistent, half-broken radio. We imagine we are banding together for reasons of survival, to help each other find a way out of the mess we’re jointly in. Yet it rarely works out that way. 20 00 Open Access Collins, Michael 6 03 06 10.21983/P3.0110.1.06 8 17 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How I Write (I) 1 A01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 Writing is dangerous business. Like the mate keeping watch in the crow’s nest, you can spend hours and hours just watching, waiting, hoping for the moment to come when you can at last leap into action. During that long anxious period of waiting, if you’re not careful, you may plunge into the “Descartian vortices” below, submerged eternally in the “summer sea.” But there is no right way to guard against this danger, no right way to write. This collection of essays, therefore, has as its purpose to describe not how to write, but how we actually do write. 30 00 Writing is dangerous business. Like the mate keeping watch in the crow’s nest, you can spend hours and hours just watching, waiting, hoping for the moment to come when you can at last leap into action. During that long anxious period of waiting, if you’re not careful, you may plunge into the “Descartian vortices” below, submerged eternally in the “summer sea.” But there is no right way to guard against this danger, no right way to write. This collection of essays, therefore, has as its purpose to describe not how to write, but how we actually do write. 20 00 Open Access Akbari, Suzanne Conklin 7 03 06 10.21983/P3.0110.1.07 18 22 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How I Write (II) 1 A01 Alexandra Gillespie Alexandra Gillespie 40 03dbr7087 University of Toronto 01 eng 03 00 I only write when I have to. Because reasons. It’s just the way I write.I used to invent the necessity in “have to.” “How will you fund the fourth year of your DPhil?” asked my graduate super-visor in October 1997. I was 23, fresh from an undergraduate degree; I had little Latin, less Greek. (Ha ha! I had no Greek.) I hadn’t read much English literature, come to think of it. “Iwill finish in three years,” I told her. “Good,” she said.And because I had said it, I did it. Well, sort of: by October 2000 my thesis existed — not great, but fully footnoted at least. 30 00 I only write when I have to. Because reasons. It’s just the way I write.I used to invent the necessity in “have to.” “How will you fund the fourth year of your DPhil?” asked my graduate super-visor in October 1997. I was 23, fresh from an undergraduate degree; I had little Latin, less Greek. (Ha ha! I had no Greek.) I hadn’t read much English literature, come to think of it. “Iwill finish in three years,” I told her. “Good,” she said.And because I had said it, I did it. Well, sort of: by October 2000 my thesis existed — not great, but fully footnoted at least. 20 00 Open Access Gillespie, Alexandra 8 03 06 10.21983/P3.0110.1.08 24 32 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Community You Have, The Community You Need On Accountability Groups 1 A01 Alice Hutton Sharp Alice Hutton Sharp 40 01pxwe438 McGill University 01 eng 03 00 For the past two years, two of my graduate school colleagues and I have exchanged daily accountability emails. Sometimes the word “daily” gets a gasp, but indeed: every day (weekends are optional). In the morning, one person sends an email laying out her day’s goals and commitments, and the other two chime in as they start their own work. Over the course of the day, someone might shoot out another message, whether a practical question (“Do you guys know how that conference registration website works?”), a complaint (“Why is x book not on the library shelf ?”), an update (“Email advisor — DONE. Write para-graph — NEXT”), or a victory (“My article was accepted!”). At the end of the day — or the next morning — we each sum up our days. We’ve used our email to build a virtual office hallway, where we can poke our heads out our doors and express the frustrations, defeats, and triumphs of graduate study. It makes it all less lonely. 30 00 For the past two years, two of my graduate school colleagues and I have exchanged daily accountability emails. Sometimes the word “daily” gets a gasp, but indeed: every day (weekends are optional). In the morning, one person sends an email laying out her day’s goals and commitments, and the other two chime in as they start their own work. Over the course of the day, someone might shoot out another message, whether a practical question (“Do you guys know how that conference registration website works?”), a complaint (“Why is x book not on the library shelf ?”), an update (“Email advisor — DONE. Write para-graph — NEXT”), or a victory (“My article was accepted!”). At the end of the day — or the next morning — we each sum up our days. We’ve used our email to build a virtual office hallway, where we can poke our heads out our doors and express the frustrations, defeats, and triumphs of graduate study. It makes it all less lonely. 20 00 Open Access Sharp, Alice Hutton 9 03 06 10.21983/P3.0110.1.09 34 43 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 This Would Be Better If I Had A Co-Author 1 A01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 03 00 This would be better if I had a co-author. Of course it would. This would mean a few things (ideally, and assuming that all went according to plan):–We’d have had a conversation before starting to write, before outlining, about what the essay should look like, how it should be framed and organized, and what it might accom-plish. As is, I’ve just had that conversation bouncing around in my head while trying to fall asleep for the last few nights. I think best in dialog, often only articulating for myself what I want to say when I try to explain it to someone else. Collaborative writing is a sustained conversation. 30 00 This would be better if I had a co-author. Of course it would. This would mean a few things (ideally, and assuming that all went according to plan):–We’d have had a conversation before starting to write, before outlining, about what the essay should look like, how it should be framed and organized, and what it might accom-plish. As is, I’ve just had that conversation bouncing around in my head while trying to fall asleep for the last few nights. I think best in dialog, often only articulating for myself what I want to say when I try to explain it to someone else. Collaborative writing is a sustained conversation. 20 00 Open Access Mittman, Asa Simon 10 03 06 10.21983/P3.0110.1.10 44 56 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Necessity of Ignoring Those Who Offer Themselves as Examples 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Two versions of the same aphorismseem equally true: “Habit and routine are the nemeses of innovation” and “Habit and routine are the precondition of innovation.” When it comes to writing, I need a familiar time, schedule and space . . . and I need to break out of this regularity sometimes since it offers the ingre-dients not only for accomplishment but boredom. I finished my doctoral program from start to finish in a fairly quick five years (having entered directly from undergraduate) in part because I did not stall at the writing stage. Funding and being miserable helped, but so did routine and a semester of teaching release. Each morning I would bike a wide circuit through Cambridge, along the Charles River via the Esplanade, and over to New-bury Street. There I’d sit with my books at a coffee shop. With a refillable mug and a slice of marble pound cake, I would pore over whatever writing I’d accomplished the previous day, filling the printout with marginalia (this was long before laptops were affordable). I’d then add as much as possible to what I had just revised, attempting to extend the chapter as far as I could. When fatigue eventually set in, I’d turn to a book or essay I’d brought along. Back on my bike around lunchtime, home to eat quickly (yogurt, banana, granola: always the same), and then at my com-puter, typing in whatever changes I’d made and transcribing the new paragraphs I’d penned. 30 00 Two versions of the same aphorismseem equally true: “Habit and routine are the nemeses of innovation” and “Habit and routine are the precondition of innovation.” When it comes to writing, I need a familiar time, schedule and space . . . and I need to break out of this regularity sometimes since it offers the ingre-dients not only for accomplishment but boredom. I finished my doctoral program from start to finish in a fairly quick five years (having entered directly from undergraduate) in part because I did not stall at the writing stage. Funding and being miserable helped, but so did routine and a semester of teaching release. Each morning I would bike a wide circuit through Cambridge, along the Charles River via the Esplanade, and over to New-bury Street. There I’d sit with my books at a coffee shop. With a refillable mug and a slice of marble pound cake, I would pore over whatever writing I’d accomplished the previous day, filling the printout with marginalia (this was long before laptops were affordable). I’d then add as much as possible to what I had just revised, attempting to extend the chapter as far as I could. When fatigue eventually set in, I’d turn to a book or essay I’d brought along. Back on my bike around lunchtime, home to eat quickly (yogurt, banana, granola: always the same), and then at my com-puter, typing in whatever changes I’d made and transcribing the new paragraphs I’d penned. 20 00 Open Access Cohen, Jeffrey Jerome 11 03 06 10.21983/P3.0110.1.11 58 71 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How I Write (III) 1 A01 Maura Nolan Maura Nolan 40 01an7q238 University of California, Berkeley 01 eng 03 00 I direct a campus-wide program called Berkeley Connect that began in the English Department, in which advanced graduate students mentor undergraduates one-on-one and in groups to create a small-college experience at our large research university. In any given semester, we have a number of public events for participants that focus on bringing faculty, graduate students, and undergraduates closer together, as people engaged in the same enterprise at different levels. One of our most successful events is a panel we have done several times, called “How I Write.” We ask five department faculty and graduate students to speak for ten minutes each about their writing practices — not how to be better writers, or how to organize papers, or how to come up with a thesis, or how to do research, but what they actually do when they sit down at their computers or desks with a blank screen or page in front of them. Students love hearing about the crazy things their mentors and professors do to make themselves write. One graduate student reported tying himself to his desk chair with his bathrobe belt so he couldn’t get up and walk around. Others had elaborate systems for keeping score of words, paragraphs, pages, footnotes, and chapters written, with rewards for each type of accomplishment. What means the most to students, however — and what is the biggest revelation to them — is the fact that these experts on English literature all struggle with writing. As teachers, none of us had realized the extent to which our undergraduates assumed that being an English graduate student or an English professor, and thus a proven success at literary criticism, meant that writing must be very easy for you. 30 00 I direct a campus-wide program called Berkeley Connect that began in the English Department, in which advanced graduate students mentor undergraduates one-on-one and in groups to create a small-college experience at our large research university. In any given semester, we have a number of public events for participants that focus on bringing faculty, graduate students, and undergraduates closer together, as people engaged in the same enterprise at different levels. One of our most successful events is a panel we have done several times, called “How I Write.” We ask five department faculty and graduate students to speak for ten minutes each about their writing practices — not how to be better writers, or how to organize papers, or how to come up with a thesis, or how to do research, but what they actually do when they sit down at their computers or desks with a blank screen or page in front of them. Students love hearing about the crazy things their mentors and professors do to make themselves write. One graduate student reported tying himself to his desk chair with his bathrobe belt so he couldn’t get up and walk around. Others had elaborate systems for keeping score of words, paragraphs, pages, footnotes, and chapters written, with rewards for each type of accomplishment. What means the most to students, however — and what is the biggest revelation to them — is the fact that these experts on English literature all struggle with writing. As teachers, none of us had realized the extent to which our undergraduates assumed that being an English graduate student or an English professor, and thus a proven success at literary criticism, meant that writing must be very easy for you. 20 00 Open Access Nolan, Maura 12 03 06 10.21983/P3.0110.1.12 72 80 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Errant Practices 1 A01 Richard H. Godden Richard H. Godden 40 04vmvtb21 Tulane University 01 eng 03 00 These words were painful to write. They haunt me, and have done so my entire academic career. Ok, that is not entirely true. I made it through my first two years of college on pure bluster, but once I needed to write, to do more than toss off a handful of pages in a single night, I became haunted. I spent most of the second half of college and, frankly, all of my graduate career feeling like I had skipped a year of schooling. I had gone away, I know not where, and when I came back, everyone was doing long division and I was scrambling to figure out what I missed. Why was I never taught how to write properly? Why did I never learn? Why do I struggle so much? 30 00 These words were painful to write. They haunt me, and have done so my entire academic career. Ok, that is not entirely true. I made it through my first two years of college on pure bluster, but once I needed to write, to do more than toss off a handful of pages in a single night, I became haunted. I spent most of the second half of college and, frankly, all of my graduate career feeling like I had skipped a year of schooling. I had gone away, I know not where, and when I came back, everyone was doing long division and I was scrambling to figure out what I missed. Why was I never taught how to write properly? Why did I never learn? Why do I struggle so much? 20 00 Open Access Godden, Richard H. 13 03 06 10.21983/P3.0110.1.13 82 92 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cushion, Kernel, Craft 1 A01 Bruce Holsinger Bruce Holsinger 40 0153tk833 University of Virginia 01 eng 03 00 How do I write? At the moment, writing this, I’m stretched out on a green leather couch, laptop on a thin pillow, rescue mutt at my feet. I write half the time while reclined on this couch, the other half while slouched in various coffee shops around town, or hunched in plastic chairs at airport gates. I haven’t written meaningful prose while sitting at a desk since graduate school. Desks are props for student meetings, email composition, and the production of administrative verbiage. When I write creatively, whether fiction or criticism, I’m sprawled horizontally with my bare feet on a cushion or a coffee table, or else I’m drooped over my MacBook at a café counter. I thrive on noise, distraction, pets, people. Lots of coffee. 30 00 How do I write? At the moment, writing this, I’m stretched out on a green leather couch, laptop on a thin pillow, rescue mutt at my feet. I write half the time while reclined on this couch, the other half while slouched in various coffee shops around town, or hunched in plastic chairs at airport gates. I haven’t written meaningful prose while sitting at a desk since graduate school. Desks are props for student meetings, email composition, and the production of administrative verbiage. When I write creatively, whether fiction or criticism, I’m sprawled horizontally with my bare feet on a cushion or a coffee table, or else I’m drooped over my MacBook at a café counter. I thrive on noise, distraction, pets, people. Lots of coffee. 20 00 Open Access Holsinger, Bruce 14 03 06 10.21983/P3.0110.1.14 94 104 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Writing By Accumulation 1 A01 21 0000000278852444 Stuart Elden Stuart Elden 40 01a77tt86 University of Warwick 40 02bfwt286 Monash University 01 eng 03 00 Generally the advice I give on writing has been along the lines of saying “there is no one correct way to write, but there are plenty of ways people seem to be stuck in that are not working well for them.” This can then lead into a discussion of different people’s writing strategies, with their peculiarities, conventions, strengths and weaknesses, which may suggest things that others might find helpful, or at least worth giving a try. Such events — workshops on publishing or writing, for example — can be really helpful, and to put something similar down in book form seems a really good idea. I certainly don’t want to suggest that I always get it right with my own writing, and (although people seem to have a different impression) I find writing hard. My solution to this, such as it is, is to build writing up slowly, in small manageable pieces, a little-by-little approach that can develop over time into something. And I suppose, when pressed, this is the advice I dogive people, especially my students: do not defer writing to some point in the future, and write regularly. I admire people who seem to be able to turn on the “writing switch,” and produce large quantities of material in intense bursts of creativity. But that rarely works for me, and so I’ve worked out a different approach. It’s not like pushing pebbles off a cliff, but slowly rolling them up one, to form a small but growing pile; where frequently pebbles will be removed, polished, and rearranged, and sometimes replaced or discarded. Over time the pebbles become something, or the pile gets raided for a different pile. 30 00 Generally the advice I give on writing has been along the lines of saying “there is no one correct way to write, but there are plenty of ways people seem to be stuck in that are not working well for them.” This can then lead into a discussion of different people’s writing strategies, with their peculiarities, conventions, strengths and weaknesses, which may suggest things that others might find helpful, or at least worth giving a try. Such events — workshops on publishing or writing, for example — can be really helpful, and to put something similar down in book form seems a really good idea. I certainly don’t want to suggest that I always get it right with my own writing, and (although people seem to have a different impression) I find writing hard. My solution to this, such as it is, is to build writing up slowly, in small manageable pieces, a little-by-little approach that can develop over time into something. And I suppose, when pressed, this is the advice I dogive people, especially my students: do not defer writing to some point in the future, and write regularly. I admire people who seem to be able to turn on the “writing switch,” and produce large quantities of material in intense bursts of creativity. But that rarely works for me, and so I’ve worked out a different approach. It’s not like pushing pebbles off a cliff, but slowly rolling them up one, to form a small but growing pile; where frequently pebbles will be removed, polished, and rearranged, and sometimes replaced or discarded. Over time the pebbles become something, or the pile gets raided for a different pile. 20 00 Open Access Elden, Stuart 15 03 06 10.21983/P3.0110.1.15 106 116 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Travelling Through Words 1 A01 Derek Gregory Derek Gregory 40 03rmrcq20 University of British Columbia 01 eng 03 00 The way I write — by which I mean both the practices I follow and (please God) the style of my writing — has changed over the years: though, as I tell all my students, that doesn’t mean it’s become any easier.I wrote my PhD thesis (on the woolen industry in Yorkshire between 1780 and 1840) in three weeks. Really. Starting at 7a.m., with thirty minutes off for lunch (including a walk to the corner shop for a newspaper, trailed by our deeply suspicious cat all the way there and all the way back), an hour off for dinner and the quick pleasure of a novel, knocking off at midnight. Every day for twenty-one days. When I finished I promised myself I’d never work like that again. Years later, while I was writing The Colonial Present, I became wholly absorbed in the attempt to keep up with a cascade of real-time events in multiple places. My training as an historical geographer hadn’t prepared me for that — I’d always envied the ability of colleagues writing about contempo-rary issues to make sense of a world that was changing around them as they wrote — and there were times when I yearned for the less frenetic pace of archival work. But I wasn’t writing to a deadline — though as the project swelled beyond an analysis of the US-led invasion of Afghanistan to include Israel’s renewed assault on occupied Palestine and then the US-led invasion of Iraq, I decided I must finish before Bush invaded France. 30 00 The way I write — by which I mean both the practices I follow and (please God) the style of my writing — has changed over the years: though, as I tell all my students, that doesn’t mean it’s become any easier.I wrote my PhD thesis (on the woolen industry in Yorkshire between 1780 and 1840) in three weeks. Really. Starting at 7a.m., with thirty minutes off for lunch (including a walk to the corner shop for a newspaper, trailed by our deeply suspicious cat all the way there and all the way back), an hour off for dinner and the quick pleasure of a novel, knocking off at midnight. Every day for twenty-one days. When I finished I promised myself I’d never work like that again. Years later, while I was writing The Colonial Present, I became wholly absorbed in the attempt to keep up with a cascade of real-time events in multiple places. My training as an historical geographer hadn’t prepared me for that — I’d always envied the ability of colleagues writing about contempo-rary issues to make sense of a world that was changing around them as they wrote — and there were times when I yearned for the less frenetic pace of archival work. But I wasn’t writing to a deadline — though as the project swelled beyond an analysis of the US-led invasion of Afghanistan to include Israel’s renewed assault on occupied Palestine and then the US-led invasion of Iraq, I decided I must finish before Bush invaded France. 20 00 Open Access Gregory, Derek 16 03 06 10.21983/P3.0110.1.16 118 128 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wet Work Writing as Encounter 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00wyq5s37 St John's University 01 eng 03 00 I never know what will happen when I sit down to write.<italic> </italic> <italic>Writing’s the hardest and most urgent thing we do as academ-ics. I don’t think my combination of sportstalk, swimming, and Renaissance intellectual history translates into anything like advice. But I love this book’s idea of sprawling our weirdnesses out on pages and screens for everyone to see. </italic> <italic> </italic>For this child of the New Jersey suburbs, sports still has the best metaphors. Here’s one I start with: Writing Maxim #1: “Swing hard, in case you hit the ball.” 30 00 I never know what will happen when I sit down to write.<italic> </italic> <italic>Writing’s the hardest and most urgent thing we do as academ-ics. I don’t think my combination of sportstalk, swimming, and Renaissance intellectual history translates into anything like advice. But I love this book’s idea of sprawling our weirdnesses out on pages and screens for everyone to see. </italic> <italic> </italic>For this child of the New Jersey suburbs, sports still has the best metaphors. Here’s one I start with: Writing Maxim #1: “Swing hard, in case you hit the ball.” 20 00 Open Access Mentz, Steve 17 03 06 10.21983/P3.0110.1.17 130 146 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Writing (Life) Ten Lessons 1 A01 Daniel T. Kline Daniel T. Kline 40 03k3c2t50 University of Alaska Anchorage 01 eng 03 00 How I write is intertwined with why I write and ultimately con-strained by the conditions under which I write. For me, learning, writing, and teaching have become increasingly integrated, and my academic work exists on a spectrum with the other kinds of institutionally mandated and academically required writing. Like all things, my writing process has changed as my ability to write has developed, adapting as it must to life conditions, time constraints, and workload requirements. I’ve never had any luck with writing schedules, but deadlines motivate me, and I’ve learned to adapt my writing process to the time I have available. Writing takes on the form of triage.I think that like many of us writing for me is the place both where I examine the hidden parts of myself, reaching deep and meaningful insight, and where I encounter the deepest moments of anxiety, exposing something primal and fragile. Itis the place where I am my most authentic and yet my most contrived, never quite reaching the ideal I have in my mind. Writing is a constant negotiation with grief. 30 00 How I write is intertwined with why I write and ultimately con-strained by the conditions under which I write. For me, learning, writing, and teaching have become increasingly integrated, and my academic work exists on a spectrum with the other kinds of institutionally mandated and academically required writing. Like all things, my writing process has changed as my ability to write has developed, adapting as it must to life conditions, time constraints, and workload requirements. I’ve never had any luck with writing schedules, but deadlines motivate me, and I’ve learned to adapt my writing process to the time I have available. Writing takes on the form of triage.I think that like many of us writing for me is the place both where I examine the hidden parts of myself, reaching deep and meaningful insight, and where I encounter the deepest moments of anxiety, exposing something primal and fragile. Itis the place where I am my most authentic and yet my most contrived, never quite reaching the ideal I have in my mind. Writing is a constant negotiation with grief. 20 00 Open Access Kline, Daniel T. 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/how-we-write/ Brooklyn, NY 04 01 20150911 Conklin Akbari, Suzanne 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692519335 20 08 20150911 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/how-we-write-thirteen-ways-of-looking-at-a-blank-page 20 08 20150911 02 23.00 USD WORLD urn:uuid:90af0c05-fd2a-4acb-ae69-089a77d49cc9 03 01 01 thoth-work-id urn:uuid:63e2f6b6-f324-4bdc-836e-55515ba3cd8f 01 thoth-publication-id urn:uuid:90af0c05-fd2a-4acb-ae69-089a77d49cc9 06 10.21983/P3.0110.1.00 01 internal-reference 0110 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 How We Write Thirteen Ways of Looking at a Blank Page 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 00 182 03 93 CFC 12 DSBH B2 Humanities+University 10 LAN005010 93 JNM 93 DSB 20 academic writing; university studies; literary studies 01 06 02 00 03 00 The contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers. 30 00 The contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0110.1.00_frontcover.jpg 1 03 06 10.21983/P3.0110.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 20 00 Open Access Conklin Akbari, Suzanne 2 03 06 10.21983/P3.0110.1.02 xiii xxiii 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Written Chatter and the Writer's Voice 1 A01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 When we write, we write alone. Being alone means control, productive solitude, introspective bliss; it also means loneliness, isolation, even fear. Our writing environments have, however, become intensely social through the emergence of a range of online platforms, including websites and blogs but also including more casual and short-form media, such as Facebook and Twitter. The much lamented decline in the circulation of hand-written letters has given way to ubiquitous written “chatter,” which simultaneously nourishes the lonely writer and threatens to distract her from her “real” writing. 30 00 When we write, we write alone. Being alone means control, productive solitude, introspective bliss; it also means loneliness, isolation, even fear. Our writing environments have, however, become intensely social through the emergence of a range of online platforms, including websites and blogs but also including more casual and short-form media, such as Facebook and Twitter. The much lamented decline in the circulation of hand-written letters has given way to ubiquitous written “chatter,” which simultaneously nourishes the lonely writer and threatens to distract her from her “real” writing. 20 00 Open Access Akbari, Suzanne Conklin 3 03 06 10.21983/P3.0110.1.03 xxiv xxv 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 About the Images 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 The authors have each chosen an image to illustrate “where they write” — which they have interpreted broadly. Some took photographs of their desks (with windows, books, papers, and cats) or drew maps of their local coffeeshops. Others depicted their mental writing spaces and illustrated their avatar, their support network, or their lines of escape. Several images may seem obscure at first glance; most are clarified in the essays. 30 00 The authors have each chosen an image to illustrate “where they write” — which they have interpreted broadly. Some took photographs of their desks (with windows, books, papers, and cats) or drew maps of their local coffeeshops. Others depicted their mental writing spaces and illustrated their avatar, their support network, or their lines of escape. Several images may seem obscure at first glance; most are clarified in the essays. 20 00 Open Access Conklin Akbari, Suzanne 4 03 06 10.21983/P3.0110.1.04 xxvi xxxi 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Who We Are 1 B01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 MICHAEL COLLINSis a PhD candidate in English at the University of Toronto. He reads Newfoundland’s minor litera-ture, interpreting manifestations and adaptations of its strange geopolitical history and its current queer position. He’s afraid for the future of the academy. He keeps a blog at nfldtxt.com. His writing habit is like that of a hunter-gatherer, packing up neces-sary tools and heading out to one of a number of likely spots to forage or stalk. That’s why he drew a map, which you can use if you also write like this and happen to be visiting. 30 00 MICHAEL COLLINSis a PhD candidate in English at the University of Toronto. He reads Newfoundland’s minor litera-ture, interpreting manifestations and adaptations of its strange geopolitical history and its current queer position. He’s afraid for the future of the academy. He keeps a blog at nfldtxt.com. His writing habit is like that of a hunter-gatherer, packing up neces-sary tools and heading out to one of a number of likely spots to forage or stalk. That’s why he drew a map, which you can use if you also write like this and happen to be visiting. 20 00 Open Access Conklin Akbari, Suzanne 5 03 06 10.21983/P3.0110.1.05 1 7 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wilderness Group Tour 1 A01 Michael Collins Michael Collins 40 03dbr7087 University of Toronto 01 eng 03 00 I am a senior PhD candidate in the University of Toronto’s English Department. My most important job, the reason I am here, is to write a dissertation. Yet, like a great majority of my peers, I have struggled with accomplishing this task in a timely fashion. I have struggled to complete this task in a way that doesn’t feel isolating and poisonous to my mental health. Con-ventional wisdom, at least around these parts, is that candidates like myself (that is to say, typical PhD candidates) should join peer-organized writing groups, sometimes conceptualized as “accountability” groups. We are lost in the deep wilderness, with faulty out-of-date maps and an inconsistent, half-broken radio. We imagine we are banding together for reasons of survival, to help each other find a way out of the mess we’re jointly in. Yet it rarely works out that way. 30 00 I am a senior PhD candidate in the University of Toronto’s English Department. My most important job, the reason I am here, is to write a dissertation. Yet, like a great majority of my peers, I have struggled with accomplishing this task in a timely fashion. I have struggled to complete this task in a way that doesn’t feel isolating and poisonous to my mental health. Con-ventional wisdom, at least around these parts, is that candidates like myself (that is to say, typical PhD candidates) should join peer-organized writing groups, sometimes conceptualized as “accountability” groups. We are lost in the deep wilderness, with faulty out-of-date maps and an inconsistent, half-broken radio. We imagine we are banding together for reasons of survival, to help each other find a way out of the mess we’re jointly in. Yet it rarely works out that way. 20 00 Open Access Collins, Michael 6 03 06 10.21983/P3.0110.1.06 8 17 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How I Write (I) 1 A01 Suzanne Conklin Akbari Suzanne Conklin Akbari 40 03dbr7087 University of Toronto 01 eng 03 00 Writing is dangerous business. Like the mate keeping watch in the crow’s nest, you can spend hours and hours just watching, waiting, hoping for the moment to come when you can at last leap into action. During that long anxious period of waiting, if you’re not careful, you may plunge into the “Descartian vortices” below, submerged eternally in the “summer sea.” But there is no right way to guard against this danger, no right way to write. This collection of essays, therefore, has as its purpose to describe not how to write, but how we actually do write. 30 00 Writing is dangerous business. Like the mate keeping watch in the crow’s nest, you can spend hours and hours just watching, waiting, hoping for the moment to come when you can at last leap into action. During that long anxious period of waiting, if you’re not careful, you may plunge into the “Descartian vortices” below, submerged eternally in the “summer sea.” But there is no right way to guard against this danger, no right way to write. This collection of essays, therefore, has as its purpose to describe not how to write, but how we actually do write. 20 00 Open Access Akbari, Suzanne Conklin 7 03 06 10.21983/P3.0110.1.07 18 22 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How I Write (II) 1 A01 Alexandra Gillespie Alexandra Gillespie 40 03dbr7087 University of Toronto 01 eng 03 00 I only write when I have to. Because reasons. It’s just the way I write.I used to invent the necessity in “have to.” “How will you fund the fourth year of your DPhil?” asked my graduate super-visor in October 1997. I was 23, fresh from an undergraduate degree; I had little Latin, less Greek. (Ha ha! I had no Greek.) I hadn’t read much English literature, come to think of it. “Iwill finish in three years,” I told her. “Good,” she said.And because I had said it, I did it. Well, sort of: by October 2000 my thesis existed — not great, but fully footnoted at least. 30 00 I only write when I have to. Because reasons. It’s just the way I write.I used to invent the necessity in “have to.” “How will you fund the fourth year of your DPhil?” asked my graduate super-visor in October 1997. I was 23, fresh from an undergraduate degree; I had little Latin, less Greek. (Ha ha! I had no Greek.) I hadn’t read much English literature, come to think of it. “Iwill finish in three years,” I told her. “Good,” she said.And because I had said it, I did it. Well, sort of: by October 2000 my thesis existed — not great, but fully footnoted at least. 20 00 Open Access Gillespie, Alexandra 8 03 06 10.21983/P3.0110.1.08 24 32 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Community You Have, The Community You Need On Accountability Groups 1 A01 Alice Hutton Sharp Alice Hutton Sharp 40 01pxwe438 McGill University 01 eng 03 00 For the past two years, two of my graduate school colleagues and I have exchanged daily accountability emails. Sometimes the word “daily” gets a gasp, but indeed: every day (weekends are optional). In the morning, one person sends an email laying out her day’s goals and commitments, and the other two chime in as they start their own work. Over the course of the day, someone might shoot out another message, whether a practical question (“Do you guys know how that conference registration website works?”), a complaint (“Why is x book not on the library shelf ?”), an update (“Email advisor — DONE. Write para-graph — NEXT”), or a victory (“My article was accepted!”). At the end of the day — or the next morning — we each sum up our days. We’ve used our email to build a virtual office hallway, where we can poke our heads out our doors and express the frustrations, defeats, and triumphs of graduate study. It makes it all less lonely. 30 00 For the past two years, two of my graduate school colleagues and I have exchanged daily accountability emails. Sometimes the word “daily” gets a gasp, but indeed: every day (weekends are optional). In the morning, one person sends an email laying out her day’s goals and commitments, and the other two chime in as they start their own work. Over the course of the day, someone might shoot out another message, whether a practical question (“Do you guys know how that conference registration website works?”), a complaint (“Why is x book not on the library shelf ?”), an update (“Email advisor — DONE. Write para-graph — NEXT”), or a victory (“My article was accepted!”). At the end of the day — or the next morning — we each sum up our days. We’ve used our email to build a virtual office hallway, where we can poke our heads out our doors and express the frustrations, defeats, and triumphs of graduate study. It makes it all less lonely. 20 00 Open Access Sharp, Alice Hutton 9 03 06 10.21983/P3.0110.1.09 34 43 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 This Would Be Better If I Had A Co-Author 1 A01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 03 00 This would be better if I had a co-author. Of course it would. This would mean a few things (ideally, and assuming that all went according to plan):–We’d have had a conversation before starting to write, before outlining, about what the essay should look like, how it should be framed and organized, and what it might accom-plish. As is, I’ve just had that conversation bouncing around in my head while trying to fall asleep for the last few nights. I think best in dialog, often only articulating for myself what I want to say when I try to explain it to someone else. Collaborative writing is a sustained conversation. 30 00 This would be better if I had a co-author. Of course it would. This would mean a few things (ideally, and assuming that all went according to plan):–We’d have had a conversation before starting to write, before outlining, about what the essay should look like, how it should be framed and organized, and what it might accom-plish. As is, I’ve just had that conversation bouncing around in my head while trying to fall asleep for the last few nights. I think best in dialog, often only articulating for myself what I want to say when I try to explain it to someone else. Collaborative writing is a sustained conversation. 20 00 Open Access Mittman, Asa Simon 10 03 06 10.21983/P3.0110.1.10 44 56 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Necessity of Ignoring Those Who Offer Themselves as Examples 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Two versions of the same aphorismseem equally true: “Habit and routine are the nemeses of innovation” and “Habit and routine are the precondition of innovation.” When it comes to writing, I need a familiar time, schedule and space . . . and I need to break out of this regularity sometimes since it offers the ingre-dients not only for accomplishment but boredom. I finished my doctoral program from start to finish in a fairly quick five years (having entered directly from undergraduate) in part because I did not stall at the writing stage. Funding and being miserable helped, but so did routine and a semester of teaching release. Each morning I would bike a wide circuit through Cambridge, along the Charles River via the Esplanade, and over to New-bury Street. There I’d sit with my books at a coffee shop. With a refillable mug and a slice of marble pound cake, I would pore over whatever writing I’d accomplished the previous day, filling the printout with marginalia (this was long before laptops were affordable). I’d then add as much as possible to what I had just revised, attempting to extend the chapter as far as I could. When fatigue eventually set in, I’d turn to a book or essay I’d brought along. Back on my bike around lunchtime, home to eat quickly (yogurt, banana, granola: always the same), and then at my com-puter, typing in whatever changes I’d made and transcribing the new paragraphs I’d penned. 30 00 Two versions of the same aphorismseem equally true: “Habit and routine are the nemeses of innovation” and “Habit and routine are the precondition of innovation.” When it comes to writing, I need a familiar time, schedule and space . . . and I need to break out of this regularity sometimes since it offers the ingre-dients not only for accomplishment but boredom. I finished my doctoral program from start to finish in a fairly quick five years (having entered directly from undergraduate) in part because I did not stall at the writing stage. Funding and being miserable helped, but so did routine and a semester of teaching release. Each morning I would bike a wide circuit through Cambridge, along the Charles River via the Esplanade, and over to New-bury Street. There I’d sit with my books at a coffee shop. With a refillable mug and a slice of marble pound cake, I would pore over whatever writing I’d accomplished the previous day, filling the printout with marginalia (this was long before laptops were affordable). I’d then add as much as possible to what I had just revised, attempting to extend the chapter as far as I could. When fatigue eventually set in, I’d turn to a book or essay I’d brought along. Back on my bike around lunchtime, home to eat quickly (yogurt, banana, granola: always the same), and then at my com-puter, typing in whatever changes I’d made and transcribing the new paragraphs I’d penned. 20 00 Open Access Cohen, Jeffrey Jerome 11 03 06 10.21983/P3.0110.1.11 58 71 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How I Write (III) 1 A01 Maura Nolan Maura Nolan 40 01an7q238 University of California, Berkeley 01 eng 03 00 I direct a campus-wide program called Berkeley Connect that began in the English Department, in which advanced graduate students mentor undergraduates one-on-one and in groups to create a small-college experience at our large research university. In any given semester, we have a number of public events for participants that focus on bringing faculty, graduate students, and undergraduates closer together, as people engaged in the same enterprise at different levels. One of our most successful events is a panel we have done several times, called “How I Write.” We ask five department faculty and graduate students to speak for ten minutes each about their writing practices — not how to be better writers, or how to organize papers, or how to come up with a thesis, or how to do research, but what they actually do when they sit down at their computers or desks with a blank screen or page in front of them. Students love hearing about the crazy things their mentors and professors do to make themselves write. One graduate student reported tying himself to his desk chair with his bathrobe belt so he couldn’t get up and walk around. Others had elaborate systems for keeping score of words, paragraphs, pages, footnotes, and chapters written, with rewards for each type of accomplishment. What means the most to students, however — and what is the biggest revelation to them — is the fact that these experts on English literature all struggle with writing. As teachers, none of us had realized the extent to which our undergraduates assumed that being an English graduate student or an English professor, and thus a proven success at literary criticism, meant that writing must be very easy for you. 30 00 I direct a campus-wide program called Berkeley Connect that began in the English Department, in which advanced graduate students mentor undergraduates one-on-one and in groups to create a small-college experience at our large research university. In any given semester, we have a number of public events for participants that focus on bringing faculty, graduate students, and undergraduates closer together, as people engaged in the same enterprise at different levels. One of our most successful events is a panel we have done several times, called “How I Write.” We ask five department faculty and graduate students to speak for ten minutes each about their writing practices — not how to be better writers, or how to organize papers, or how to come up with a thesis, or how to do research, but what they actually do when they sit down at their computers or desks with a blank screen or page in front of them. Students love hearing about the crazy things their mentors and professors do to make themselves write. One graduate student reported tying himself to his desk chair with his bathrobe belt so he couldn’t get up and walk around. Others had elaborate systems for keeping score of words, paragraphs, pages, footnotes, and chapters written, with rewards for each type of accomplishment. What means the most to students, however — and what is the biggest revelation to them — is the fact that these experts on English literature all struggle with writing. As teachers, none of us had realized the extent to which our undergraduates assumed that being an English graduate student or an English professor, and thus a proven success at literary criticism, meant that writing must be very easy for you. 20 00 Open Access Nolan, Maura 12 03 06 10.21983/P3.0110.1.12 72 80 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Errant Practices 1 A01 Richard H. Godden Richard H. Godden 40 04vmvtb21 Tulane University 01 eng 03 00 These words were painful to write. They haunt me, and have done so my entire academic career. Ok, that is not entirely true. I made it through my first two years of college on pure bluster, but once I needed to write, to do more than toss off a handful of pages in a single night, I became haunted. I spent most of the second half of college and, frankly, all of my graduate career feeling like I had skipped a year of schooling. I had gone away, I know not where, and when I came back, everyone was doing long division and I was scrambling to figure out what I missed. Why was I never taught how to write properly? Why did I never learn? Why do I struggle so much? 30 00 These words were painful to write. They haunt me, and have done so my entire academic career. Ok, that is not entirely true. I made it through my first two years of college on pure bluster, but once I needed to write, to do more than toss off a handful of pages in a single night, I became haunted. I spent most of the second half of college and, frankly, all of my graduate career feeling like I had skipped a year of schooling. I had gone away, I know not where, and when I came back, everyone was doing long division and I was scrambling to figure out what I missed. Why was I never taught how to write properly? Why did I never learn? Why do I struggle so much? 20 00 Open Access Godden, Richard H. 13 03 06 10.21983/P3.0110.1.13 82 92 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cushion, Kernel, Craft 1 A01 Bruce Holsinger Bruce Holsinger 40 0153tk833 University of Virginia 01 eng 03 00 How do I write? At the moment, writing this, I’m stretched out on a green leather couch, laptop on a thin pillow, rescue mutt at my feet. I write half the time while reclined on this couch, the other half while slouched in various coffee shops around town, or hunched in plastic chairs at airport gates. I haven’t written meaningful prose while sitting at a desk since graduate school. Desks are props for student meetings, email composition, and the production of administrative verbiage. When I write creatively, whether fiction or criticism, I’m sprawled horizontally with my bare feet on a cushion or a coffee table, or else I’m drooped over my MacBook at a café counter. I thrive on noise, distraction, pets, people. Lots of coffee. 30 00 How do I write? At the moment, writing this, I’m stretched out on a green leather couch, laptop on a thin pillow, rescue mutt at my feet. I write half the time while reclined on this couch, the other half while slouched in various coffee shops around town, or hunched in plastic chairs at airport gates. I haven’t written meaningful prose while sitting at a desk since graduate school. Desks are props for student meetings, email composition, and the production of administrative verbiage. When I write creatively, whether fiction or criticism, I’m sprawled horizontally with my bare feet on a cushion or a coffee table, or else I’m drooped over my MacBook at a café counter. I thrive on noise, distraction, pets, people. Lots of coffee. 20 00 Open Access Holsinger, Bruce 14 03 06 10.21983/P3.0110.1.14 94 104 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Writing By Accumulation 1 A01 21 0000000278852444 Stuart Elden Stuart Elden 40 01a77tt86 University of Warwick 40 02bfwt286 Monash University 01 eng 03 00 Generally the advice I give on writing has been along the lines of saying “there is no one correct way to write, but there are plenty of ways people seem to be stuck in that are not working well for them.” This can then lead into a discussion of different people’s writing strategies, with their peculiarities, conventions, strengths and weaknesses, which may suggest things that others might find helpful, or at least worth giving a try. Such events — workshops on publishing or writing, for example — can be really helpful, and to put something similar down in book form seems a really good idea. I certainly don’t want to suggest that I always get it right with my own writing, and (although people seem to have a different impression) I find writing hard. My solution to this, such as it is, is to build writing up slowly, in small manageable pieces, a little-by-little approach that can develop over time into something. And I suppose, when pressed, this is the advice I dogive people, especially my students: do not defer writing to some point in the future, and write regularly. I admire people who seem to be able to turn on the “writing switch,” and produce large quantities of material in intense bursts of creativity. But that rarely works for me, and so I’ve worked out a different approach. It’s not like pushing pebbles off a cliff, but slowly rolling them up one, to form a small but growing pile; where frequently pebbles will be removed, polished, and rearranged, and sometimes replaced or discarded. Over time the pebbles become something, or the pile gets raided for a different pile. 30 00 Generally the advice I give on writing has been along the lines of saying “there is no one correct way to write, but there are plenty of ways people seem to be stuck in that are not working well for them.” This can then lead into a discussion of different people’s writing strategies, with their peculiarities, conventions, strengths and weaknesses, which may suggest things that others might find helpful, or at least worth giving a try. Such events — workshops on publishing or writing, for example — can be really helpful, and to put something similar down in book form seems a really good idea. I certainly don’t want to suggest that I always get it right with my own writing, and (although people seem to have a different impression) I find writing hard. My solution to this, such as it is, is to build writing up slowly, in small manageable pieces, a little-by-little approach that can develop over time into something. And I suppose, when pressed, this is the advice I dogive people, especially my students: do not defer writing to some point in the future, and write regularly. I admire people who seem to be able to turn on the “writing switch,” and produce large quantities of material in intense bursts of creativity. But that rarely works for me, and so I’ve worked out a different approach. It’s not like pushing pebbles off a cliff, but slowly rolling them up one, to form a small but growing pile; where frequently pebbles will be removed, polished, and rearranged, and sometimes replaced or discarded. Over time the pebbles become something, or the pile gets raided for a different pile. 20 00 Open Access Elden, Stuart 15 03 06 10.21983/P3.0110.1.15 106 116 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Travelling Through Words 1 A01 Derek Gregory Derek Gregory 40 03rmrcq20 University of British Columbia 01 eng 03 00 The way I write — by which I mean both the practices I follow and (please God) the style of my writing — has changed over the years: though, as I tell all my students, that doesn’t mean it’s become any easier.I wrote my PhD thesis (on the woolen industry in Yorkshire between 1780 and 1840) in three weeks. Really. Starting at 7a.m., with thirty minutes off for lunch (including a walk to the corner shop for a newspaper, trailed by our deeply suspicious cat all the way there and all the way back), an hour off for dinner and the quick pleasure of a novel, knocking off at midnight. Every day for twenty-one days. When I finished I promised myself I’d never work like that again. Years later, while I was writing The Colonial Present, I became wholly absorbed in the attempt to keep up with a cascade of real-time events in multiple places. My training as an historical geographer hadn’t prepared me for that — I’d always envied the ability of colleagues writing about contempo-rary issues to make sense of a world that was changing around them as they wrote — and there were times when I yearned for the less frenetic pace of archival work. But I wasn’t writing to a deadline — though as the project swelled beyond an analysis of the US-led invasion of Afghanistan to include Israel’s renewed assault on occupied Palestine and then the US-led invasion of Iraq, I decided I must finish before Bush invaded France. 30 00 The way I write — by which I mean both the practices I follow and (please God) the style of my writing — has changed over the years: though, as I tell all my students, that doesn’t mean it’s become any easier.I wrote my PhD thesis (on the woolen industry in Yorkshire between 1780 and 1840) in three weeks. Really. Starting at 7a.m., with thirty minutes off for lunch (including a walk to the corner shop for a newspaper, trailed by our deeply suspicious cat all the way there and all the way back), an hour off for dinner and the quick pleasure of a novel, knocking off at midnight. Every day for twenty-one days. When I finished I promised myself I’d never work like that again. Years later, while I was writing The Colonial Present, I became wholly absorbed in the attempt to keep up with a cascade of real-time events in multiple places. My training as an historical geographer hadn’t prepared me for that — I’d always envied the ability of colleagues writing about contempo-rary issues to make sense of a world that was changing around them as they wrote — and there were times when I yearned for the less frenetic pace of archival work. But I wasn’t writing to a deadline — though as the project swelled beyond an analysis of the US-led invasion of Afghanistan to include Israel’s renewed assault on occupied Palestine and then the US-led invasion of Iraq, I decided I must finish before Bush invaded France. 20 00 Open Access Gregory, Derek 16 03 06 10.21983/P3.0110.1.16 118 128 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wet Work Writing as Encounter 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00wyq5s37 St John's University 01 eng 03 00 I never know what will happen when I sit down to write.<italic> </italic> <italic>Writing’s the hardest and most urgent thing we do as academ-ics. I don’t think my combination of sportstalk, swimming, and Renaissance intellectual history translates into anything like advice. But I love this book’s idea of sprawling our weirdnesses out on pages and screens for everyone to see. </italic> <italic> </italic>For this child of the New Jersey suburbs, sports still has the best metaphors. Here’s one I start with: Writing Maxim #1: “Swing hard, in case you hit the ball.” 30 00 I never know what will happen when I sit down to write.<italic> </italic> <italic>Writing’s the hardest and most urgent thing we do as academ-ics. I don’t think my combination of sportstalk, swimming, and Renaissance intellectual history translates into anything like advice. But I love this book’s idea of sprawling our weirdnesses out on pages and screens for everyone to see. </italic> <italic> </italic>For this child of the New Jersey suburbs, sports still has the best metaphors. Here’s one I start with: Writing Maxim #1: “Swing hard, in case you hit the ball.” 20 00 Open Access Mentz, Steve 17 03 06 10.21983/P3.0110.1.17 130 146 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Writing (Life) Ten Lessons 1 A01 Daniel T. Kline Daniel T. Kline 40 03k3c2t50 University of Alaska Anchorage 01 eng 03 00 How I write is intertwined with why I write and ultimately con-strained by the conditions under which I write. For me, learning, writing, and teaching have become increasingly integrated, and my academic work exists on a spectrum with the other kinds of institutionally mandated and academically required writing. Like all things, my writing process has changed as my ability to write has developed, adapting as it must to life conditions, time constraints, and workload requirements. I’ve never had any luck with writing schedules, but deadlines motivate me, and I’ve learned to adapt my writing process to the time I have available. Writing takes on the form of triage.I think that like many of us writing for me is the place both where I examine the hidden parts of myself, reaching deep and meaningful insight, and where I encounter the deepest moments of anxiety, exposing something primal and fragile. Itis the place where I am my most authentic and yet my most contrived, never quite reaching the ideal I have in my mind. Writing is a constant negotiation with grief. 30 00 How I write is intertwined with why I write and ultimately con-strained by the conditions under which I write. For me, learning, writing, and teaching have become increasingly integrated, and my academic work exists on a spectrum with the other kinds of institutionally mandated and academically required writing. Like all things, my writing process has changed as my ability to write has developed, adapting as it must to life conditions, time constraints, and workload requirements. I’ve never had any luck with writing schedules, but deadlines motivate me, and I’ve learned to adapt my writing process to the time I have available. Writing takes on the form of triage.I think that like many of us writing for me is the place both where I examine the hidden parts of myself, reaching deep and meaningful insight, and where I encounter the deepest moments of anxiety, exposing something primal and fragile. Itis the place where I am my most authentic and yet my most contrived, never quite reaching the ideal I have in my mind. Writing is a constant negotiation with grief. 20 00 Open Access Kline, Daniel T. 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/how-we-write/ Brooklyn, NY 04 01 20150911 Conklin Akbari, Suzanne 02 WORLD 06 15 9780692519332 03 9780692519332 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76488 20 08 20150911 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25513 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25513/1004582.pdf?sequence=1&isAllowed=y 20 08 20150911 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28301 20 08 20150911 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j5cx 20 08 20150911 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/494 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e1ed64f0-d208-47b5-8701-39e0de76bd20/download 20 08 20150911 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/63e2f6b6-f324-4bdc-836e-55515ba3cd8f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/63e2f6b6-f324-4bdc-836e-55515ba3cd8f/63e2f6b6-f324-4bdc-836e-55515ba3cd8f.pdf 20 08 20150911 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846305 29 ZENODO: download the title https://zenodo.org/records/19846305/files/63e2f6b6-f324-4bdc-836e-55515ba3cd8f_book.pdf 20 08 20150911 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/how-we-write/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0110.1.00.pdf 20 08 20150911 01 urn:uuid:76c9575a-1a5a-4a1e-852f-7fe7679b74ad 03 01 01 thoth-work-id urn:uuid:b0257269-5ca3-40b3-b4e1-90f66baddb88 01 thoth-publication-id urn:uuid:76c9575a-1a5a-4a1e-852f-7fe7679b74ad 15 9780692650141 03 9780692650141 06 10.21983/P3.0132.1.00 01 internal-reference 0132 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Humid, All Too Humid Overheated Observations 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 182 03 12 DNF 93 DNL 10 FIC016000 B2 Thought Experiments 93 GBCQ 20 cultural studies; humor; aphorism 01 06 02 00 03 00 I haven’t made a single mistake in my life. I’ve just made a lot of good decisions that went really badly.Try as we might, we simply can’t imagine what our world would now look like, had our forefathers decided to use asparagus instead of electricity.In Humid, All Too Humid, social commentator Dominic Pettman curates the overheated thoughts of his own feverish mind, in response to a world struggling with unprecedented levels of cultural climate change.Humanity is like that obnoxious bore that arrives at the party drunk — thinks he’s witty and charming and wise, but is in fact a complete psychotic loser. All the other creatures, however, are too polite to say anything. So they just watch us quietly, and hope that we disappear as quickly as we came.The book takes the form of aphorism, witticism, maxim, axiom, dictum, quip, jape, adage, proverb, pun, precept, reflection, suggestion, observation, paraphrase, bon mot, vagary, specificky, put-on, put-off, mummery, miscellany, aside, in-front, behind, knock-knock joke, one-liner, tweet, re-tweet, truism, and not-so-truism.When you think about it, how rude it is for people to get married in public. This whole ritual is set up so that one person can say they love this one other person more than you. More than anyone else in the room. Is this why people really cry at weddings? Is this why we cover their car with rubbish? A sublimated response to their ceremonial insult?Known for his scholarly work on love, sex, and the (post)human condition, Pettman now assembles this collection of humoristic micro-meditations on everything from the meaning of life to the “yoghurt of human unkindness.”Archaeologists in Turkey have uncovered a new fragment of Anaximander, which simply reads: “Because reasons.”Humid, All Too Humid reads as if Oscar Wilde had first written Minima Moralia, after binge-watching too many episodes of The Simpsons. 30 00 I haven’t made a single mistake in my life. I’ve just made a lot of good decisions that went really badly.Try as we might, we simply can’t imagine what our world would now look like, had our forefathers decided to use asparagus instead of electricity.In Humid, All Too Humid, social commentator Dominic Pettman curates the overheated thoughts of his own feverish mind, in response to a world struggling with unprecedented levels of cultural climate change.Humanity is like that obnoxious bore that arrives at the party drunk — thinks he’s witty and charming and wise, but is in fact a complete psychotic loser. All the other creatures, however, are too polite to say anything. So they just watch us quietly, and hope that we disappear as quickly as we came.The book takes the form of aphorism, witticism, maxim, axiom, dictum, quip, jape, adage, proverb, pun, precept, reflection, suggestion, observation, paraphrase, bon mot, vagary, specificky, put-on, put-off, mummery, miscellany, aside, in-front, behind, knock-knock joke, one-liner, tweet, re-tweet, truism, and not-so-truism.When you think about it, how rude it is for people to get married in public. This whole ritual is set up so that one person can say they love this one other person more than you. More than anyone else in the room. Is this why people really cry at weddings? Is this why we cover their car with rubbish? A sublimated response to their ceremonial insult?Known for his scholarly work on love, sex, and the (post)human condition, Pettman now assembles this collection of humoristic micro-meditations on everything from the meaning of life to the “yoghurt of human unkindness.”Archaeologists in Turkey have uncovered a new fragment of Anaximander, which simply reads: “Because reasons.”Humid, All Too Humid reads as if Oscar Wilde had first written Minima Moralia, after binge-watching too many episodes of The Simpsons. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0132.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/humid-all-too-humid/ Earth, Milky Way 04 01 20160225 Pettman, Dominic 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692650148 20 08 20160225 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/humid-all-too-humid-overheated-observations 20 08 20160225 02 23.00 USD WORLD urn:uuid:a5ee0de5-574c-4380-b5b0-3dcdb434c474 03 01 01 thoth-work-id urn:uuid:b0257269-5ca3-40b3-b4e1-90f66baddb88 01 thoth-publication-id urn:uuid:a5ee0de5-574c-4380-b5b0-3dcdb434c474 06 10.21983/P3.0132.1.00 01 internal-reference 0132 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Humid, All Too Humid Overheated Observations 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 182 03 12 DNF 93 DNL 10 FIC016000 B2 Thought Experiments 93 GBCQ 20 cultural studies; humor; aphorism 01 06 02 00 03 00 I haven’t made a single mistake in my life. I’ve just made a lot of good decisions that went really badly.Try as we might, we simply can’t imagine what our world would now look like, had our forefathers decided to use asparagus instead of electricity.In Humid, All Too Humid, social commentator Dominic Pettman curates the overheated thoughts of his own feverish mind, in response to a world struggling with unprecedented levels of cultural climate change.Humanity is like that obnoxious bore that arrives at the party drunk — thinks he’s witty and charming and wise, but is in fact a complete psychotic loser. All the other creatures, however, are too polite to say anything. So they just watch us quietly, and hope that we disappear as quickly as we came.The book takes the form of aphorism, witticism, maxim, axiom, dictum, quip, jape, adage, proverb, pun, precept, reflection, suggestion, observation, paraphrase, bon mot, vagary, specificky, put-on, put-off, mummery, miscellany, aside, in-front, behind, knock-knock joke, one-liner, tweet, re-tweet, truism, and not-so-truism.When you think about it, how rude it is for people to get married in public. This whole ritual is set up so that one person can say they love this one other person more than you. More than anyone else in the room. Is this why people really cry at weddings? Is this why we cover their car with rubbish? A sublimated response to their ceremonial insult?Known for his scholarly work on love, sex, and the (post)human condition, Pettman now assembles this collection of humoristic micro-meditations on everything from the meaning of life to the “yoghurt of human unkindness.”Archaeologists in Turkey have uncovered a new fragment of Anaximander, which simply reads: “Because reasons.”Humid, All Too Humid reads as if Oscar Wilde had first written Minima Moralia, after binge-watching too many episodes of The Simpsons. 30 00 I haven’t made a single mistake in my life. I’ve just made a lot of good decisions that went really badly.Try as we might, we simply can’t imagine what our world would now look like, had our forefathers decided to use asparagus instead of electricity.In Humid, All Too Humid, social commentator Dominic Pettman curates the overheated thoughts of his own feverish mind, in response to a world struggling with unprecedented levels of cultural climate change.Humanity is like that obnoxious bore that arrives at the party drunk — thinks he’s witty and charming and wise, but is in fact a complete psychotic loser. All the other creatures, however, are too polite to say anything. So they just watch us quietly, and hope that we disappear as quickly as we came.The book takes the form of aphorism, witticism, maxim, axiom, dictum, quip, jape, adage, proverb, pun, precept, reflection, suggestion, observation, paraphrase, bon mot, vagary, specificky, put-on, put-off, mummery, miscellany, aside, in-front, behind, knock-knock joke, one-liner, tweet, re-tweet, truism, and not-so-truism.When you think about it, how rude it is for people to get married in public. This whole ritual is set up so that one person can say they love this one other person more than you. More than anyone else in the room. Is this why people really cry at weddings? Is this why we cover their car with rubbish? A sublimated response to their ceremonial insult?Known for his scholarly work on love, sex, and the (post)human condition, Pettman now assembles this collection of humoristic micro-meditations on everything from the meaning of life to the “yoghurt of human unkindness.”Archaeologists in Turkey have uncovered a new fragment of Anaximander, which simply reads: “Because reasons.”Humid, All Too Humid reads as if Oscar Wilde had first written Minima Moralia, after binge-watching too many episodes of The Simpsons. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0132.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/humid-all-too-humid/ Earth, Milky Way 04 01 20160225 Pettman, Dominic 02 WORLD 06 15 9780692650141 03 9780692650141 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76500 20 08 20160225 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25493 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25493/1004602.pdf?sequence=1&isAllowed=y 20 08 20160225 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36395 20 08 20160225 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353845 20 08 20160225 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/514 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d0690a93-5753-47c3-bc11-f6ad73267619/download 20 08 20160225 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Humid_All_Too_Humid/IASVEAAAQBAJ 20 08 20160225 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b0257269-5ca3-40b3-b4e1-90f66baddb88 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b0257269-5ca3-40b3-b4e1-90f66baddb88/b0257269-5ca3-40b3-b4e1-90f66baddb88.pdf 20 08 20160225 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846465 29 ZENODO: download the title https://zenodo.org/records/19846465/files/b0257269-5ca3-40b3-b4e1-90f66baddb88_book.pdf 20 08 20160225 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/humid-all-too-humid/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0132.1.00.pdf 20 08 20160225 01 urn:uuid:15cb20fa-a5aa-411b-bdd9-5a3cc88bdaac 03 01 01 thoth-work-id urn:uuid:d5f5978b-32e0-44a1-a72a-c80568c9b93a 01 thoth-publication-id urn:uuid:15cb20fa-a5aa-411b-bdd9-5a3cc88bdaac 15 9780692298268 03 9780692298268 06 10.21983/P3.0086.1.00 01 internal-reference 0086 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 I Open Fire 1 A01 David Pol David Pol 01 eng 00 56 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 B2 Languages+Translations 20 poetry; love; warfare 01 06 02 00 03 00 David Pol presents an ontology of war in the form of the lyric poem.“Do you hearwhat I’m shooting at you?”In I Open Fire, all relation is warfare. Minefields compromise movement. Intention aims. Touch burns. Sex explodes bodies. Time ticks in bomb countdowns. Sound is sirens. Plenitude is debris. All of it under surveillance.“My world is critically injured.It was ambushed.”The poems in this book perform the reductions and repetitions endemic to war itself, each one returning the reader to the same, unthinkable place in which the range of human experience has been so flattened that, despite all the explosive action,“Almost nothing is happening.”Against this backdrop, we continue to fall in love. But Pol’s poems remind us that this is no reason for optimism. Does love offer a delusional escape from war, or are relationships the very definition of combat? These poems take up the themes of love, sex, marriage, touch, hope — in short, the many dimensions of interpersonal connection — in a world in unprecedentedly critical condition.“And when the night goes offthe shock wavethrows us aparttoward each other.” 30 00 David Pol presents an ontology of war in the form of the lyric poem.“Do you hearwhat I’m shooting at you?”In I Open Fire, all relation is warfare. Minefields compromise movement. Intention aims. Touch burns. Sex explodes bodies. Time ticks in bomb countdowns. Sound is sirens. Plenitude is debris. All of it under surveillance.“My world is critically injured.It was ambushed.”The poems in this book perform the reductions and repetitions endemic to war itself, each one returning the reader to the same, unthinkable place in which the range of human experience has been so flattened that, despite all the explosive action,“Almost nothing is happening.”Against this backdrop, we continue to fall in love. But Pol’s poems remind us that this is no reason for optimism. Does love offer a delusional escape from war, or are relationships the very definition of combat? These poems take up the themes of love, sex, marriage, touch, hope — in short, the many dimensions of interpersonal connection — in a world in unprecedentedly critical condition.“And when the night goes offthe shock wavethrows us aparttoward each other.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0086.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/i-open-fire/ Brooklyn, NY 04 01 20141228 Pol, David 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/i-open-fire 20 08 20141228 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692298266 20 08 20141228 02 21.00 USD WORLD urn:uuid:31303786-bcc4-499f-9bff-f82fe010c5ee 03 01 01 thoth-work-id urn:uuid:d5f5978b-32e0-44a1-a72a-c80568c9b93a 01 thoth-publication-id urn:uuid:31303786-bcc4-499f-9bff-f82fe010c5ee 06 10.21983/P3.0086.1.00 01 internal-reference 0086 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 I Open Fire 1 A01 David Pol David Pol 01 eng 00 56 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 B2 Languages+Translations 20 poetry; love; warfare 01 06 02 00 03 00 David Pol presents an ontology of war in the form of the lyric poem.“Do you hearwhat I’m shooting at you?”In I Open Fire, all relation is warfare. Minefields compromise movement. Intention aims. Touch burns. Sex explodes bodies. Time ticks in bomb countdowns. Sound is sirens. Plenitude is debris. All of it under surveillance.“My world is critically injured.It was ambushed.”The poems in this book perform the reductions and repetitions endemic to war itself, each one returning the reader to the same, unthinkable place in which the range of human experience has been so flattened that, despite all the explosive action,“Almost nothing is happening.”Against this backdrop, we continue to fall in love. But Pol’s poems remind us that this is no reason for optimism. Does love offer a delusional escape from war, or are relationships the very definition of combat? These poems take up the themes of love, sex, marriage, touch, hope — in short, the many dimensions of interpersonal connection — in a world in unprecedentedly critical condition.“And when the night goes offthe shock wavethrows us aparttoward each other.” 30 00 David Pol presents an ontology of war in the form of the lyric poem.“Do you hearwhat I’m shooting at you?”In I Open Fire, all relation is warfare. Minefields compromise movement. Intention aims. Touch burns. Sex explodes bodies. Time ticks in bomb countdowns. Sound is sirens. Plenitude is debris. All of it under surveillance.“My world is critically injured.It was ambushed.”The poems in this book perform the reductions and repetitions endemic to war itself, each one returning the reader to the same, unthinkable place in which the range of human experience has been so flattened that, despite all the explosive action,“Almost nothing is happening.”Against this backdrop, we continue to fall in love. But Pol’s poems remind us that this is no reason for optimism. Does love offer a delusional escape from war, or are relationships the very definition of combat? These poems take up the themes of love, sex, marriage, touch, hope — in short, the many dimensions of interpersonal connection — in a world in unprecedentedly critical condition.“And when the night goes offthe shock wavethrows us aparttoward each other.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0086.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/i-open-fire/ Brooklyn, NY 04 01 20141228 Pol, David 02 WORLD 06 15 9780692298268 03 9780692298268 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25535 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25535/1004560.pdf?sequence=1&isAllowed=y 20 08 20141228 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34739 20 08 20141228 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353871 20 08 20141228 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/470 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e7ce12fe-33b9-4f1d-90bd-52581ef5a4fd/download 20 08 20141228 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d5f5978b-32e0-44a1-a72a-c80568c9b93a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d5f5978b-32e0-44a1-a72a-c80568c9b93a/d5f5978b-32e0-44a1-a72a-c80568c9b93a.pdf 20 08 20141228 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846124 29 ZENODO: download the title https://zenodo.org/records/19846124/files/d5f5978b-32e0-44a1-a72a-c80568c9b93a_book.pdf 20 08 20141228 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/i-open-fire/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0086.1.00.pdf 20 08 20141228 01 urn:uuid:8ab333ff-9591-4caf-b932-b75deb8377fd 03 01 01 thoth-work-id urn:uuid:ca875697-7ffc-4b38-8868-51de34465969 01 thoth-publication-id urn:uuid:8ab333ff-9591-4caf-b932-b75deb8377fd 15 9781685711504 03 9781685711504 06 10.53288/0502.1.00 13 2023936717 01 internal-reference 0502 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Irradiated Cities 1 A01 Mariko Nagai Mariko Nagai Nagai 40 03savr706 Temple University, Japan Born in Tokyo and raised in Europe and the US., Mariko Nagai studied English/Creative Writing – Poetry at New York University. Her numerous honors include the Erich Maria Remarque Fellowship from NYU, fellowships from the Rockefeller Foundation Bellagio Cennter, UNESCO-Ashberg Bursaries for the Arts, Yaddo, Djerassi, Akademie Schloss Solitude, amongst others. She has received the prestigious Pushcart Prizes both in poetry and fiction. Nagai’s collection of poems, Histories of Bodies, won the Benjamin Saltman Prize from Red Hen Press, and her first collection of stories, Georgic: Stories won the 2009 G.S. Sharat Chandra Fiction Prize from BkMk Press. Her other works include Dust of Eden (Albert Whitman), Irradiated Cities (Les Figues Press), Under the Broken Sky (Henry Holt), and Body of Empire (Tarpauline Sky Press). She is Professor of Creative Writing and Japanese Literature at Temple University Japan Campus in Tokyo. 2 01 eng 00 146 03 12 AJB 93 AJCD B2 Fabulations 10 PHO011010 10 HIS027030 B2 History 93 RNQ 12 RNQ 12 1FPJ 93 3MPQ-JP-B 20 photography; nuclear disasters; nuclear bomb; nuclear energy; Hiroshima; Fukushima; Nagasaki; Tokyo 01 06 02 00 03 00 The before, the after, and the event that divides. In Irradiated Cities, Mariko Nagai seeks the dividing events of nuclear catastrophe in Japan, exploring the aftermath of the bombings at Hiroshima and Nagasaki and the nuclear meltdown at Fukushima. Nagai’s lyric textual fragments and stark black and white photographs act as a guide through these spaces of loss, silence, echo, devastation, and memory. And haunting each shard and each page an enduring irradiation, the deadly residue of catastrophe that leaks into our DNA.Winner of the 2015 NOS Book Contest, as selected by guest judge lê thi diem thúy. 30 00 The before, the after, and the event that divides. In Irradiated Cities, Mariko Nagai seeks the dividing events of nuclear catastrophe in Japan, exploring the aftermath of the bombings at Hiroshima and Nagasaki and the nuclear meltdown at Fukushima. Nagai’s lyric textual fragments and stark black and white photographs act as a guide through these spaces of loss, silence, echo, devastation, and memory. And haunting each shard and each page an enduring irradiation, the deadly residue of catastrophe that leaks into our DNA.Winner of the 2015 NOS Book Contest, as selected by guest judge lê thi diem thúy. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0502.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/irradiated-cities/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230525 Mariko Nagai 02 WORLD 06 15 9781685711511 03 9781685711511 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711502 20 08 20230525 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/irradiated-cities 20 08 20230525 02 17.00 USD WORLD urn:uuid:5cac66a4-4530-4269-82ab-1f7ba7a7e54b 03 01 01 thoth-work-id urn:uuid:ca875697-7ffc-4b38-8868-51de34465969 01 thoth-publication-id urn:uuid:5cac66a4-4530-4269-82ab-1f7ba7a7e54b 15 9781685711511 03 9781685711511 06 10.53288/0502.1.00 13 2023936717 01 internal-reference 0502 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Irradiated Cities 1 A01 Mariko Nagai Mariko Nagai Nagai 40 03savr706 Temple University, Japan Born in Tokyo and raised in Europe and the US., Mariko Nagai studied English/Creative Writing – Poetry at New York University. Her numerous honors include the Erich Maria Remarque Fellowship from NYU, fellowships from the Rockefeller Foundation Bellagio Cennter, UNESCO-Ashberg Bursaries for the Arts, Yaddo, Djerassi, Akademie Schloss Solitude, amongst others. She has received the prestigious Pushcart Prizes both in poetry and fiction. Nagai’s collection of poems, Histories of Bodies, won the Benjamin Saltman Prize from Red Hen Press, and her first collection of stories, Georgic: Stories won the 2009 G.S. Sharat Chandra Fiction Prize from BkMk Press. Her other works include Dust of Eden (Albert Whitman), Irradiated Cities (Les Figues Press), Under the Broken Sky (Henry Holt), and Body of Empire (Tarpauline Sky Press). She is Professor of Creative Writing and Japanese Literature at Temple University Japan Campus in Tokyo. 2 01 eng 00 146 03 12 AJB 93 AJCD B2 Fabulations 10 PHO011010 10 HIS027030 B2 History 93 RNQ 12 RNQ 12 1FPJ 93 3MPQ-JP-B 20 photography; nuclear disasters; nuclear bomb; nuclear energy; Hiroshima; Fukushima; Nagasaki; Tokyo 01 06 02 00 03 00 The before, the after, and the event that divides. In Irradiated Cities, Mariko Nagai seeks the dividing events of nuclear catastrophe in Japan, exploring the aftermath of the bombings at Hiroshima and Nagasaki and the nuclear meltdown at Fukushima. Nagai’s lyric textual fragments and stark black and white photographs act as a guide through these spaces of loss, silence, echo, devastation, and memory. And haunting each shard and each page an enduring irradiation, the deadly residue of catastrophe that leaks into our DNA.Winner of the 2015 NOS Book Contest, as selected by guest judge lê thi diem thúy. 30 00 The before, the after, and the event that divides. In Irradiated Cities, Mariko Nagai seeks the dividing events of nuclear catastrophe in Japan, exploring the aftermath of the bombings at Hiroshima and Nagasaki and the nuclear meltdown at Fukushima. Nagai’s lyric textual fragments and stark black and white photographs act as a guide through these spaces of loss, silence, echo, devastation, and memory. And haunting each shard and each page an enduring irradiation, the deadly residue of catastrophe that leaks into our DNA.Winner of the 2015 NOS Book Contest, as selected by guest judge lê thi diem thúy. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0502.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/irradiated-cities/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230525 Mariko Nagai 02 WORLD 06 15 9781685711504 03 9781685711504 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/63075 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/63075/0502.1.00.pdf?sequence=1&isAllowed=y 20 08 20230525 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/100307 20 08 20230525 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.3452821 20 08 20230525 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/725 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2390120c-857e-4491-add6-306a7c9842b1/download 20 08 20230525 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Irradiated_Cities/2CXHEAAAQBAJ 20 08 20230525 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ca875697-7ffc-4b38-8868-51de34465969 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ca875697-7ffc-4b38-8868-51de34465969/ca875697-7ffc-4b38-8868-51de34465969.pdf 20 08 20230525 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849843 29 ZENODO: download the title https://zenodo.org/records/19849843/files/ca875697-7ffc-4b38-8868-51de34465969_book.pdf 20 08 20230525 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/irradiated-cities/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0502.1.00.pdf 20 08 20230525 01 urn:uuid:a1ada5e7-7ba0-49b8-89c3-c63ff3eb3b35 03 01 01 thoth-work-id urn:uuid:85a2a2fe-d515-4784-b451-d26ec4c62a4f 01 thoth-publication-id urn:uuid:a1ada5e7-7ba0-49b8-89c3-c63ff3eb3b35 15 9780615811147 03 9780615811147 06 10.21983/P3.0037.1.00 01 internal-reference 0037 00 BC 10 01 215 mm 01 21.5 cm 01 8.46 in 02 215 mm 02 21.5 cm 02 8.46 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Iteration:Again 13 Public Art Projects across Tasmania 1 B01 David Cross David Cross 40 052czxv31 Massey University 2 A23 Michael Edwards Michael Edwards 01 eng 00 176 03 12 AGC 93 AGC 10 ART062000 B2 Art+Aesthetics 93 AGT B2 Built Environments 93 1MBF-AU-T 20 public art; contemporary art; Australia; Tasmania; repetition 01 06 02 00 03 00 Iteration:Again documents and reflects upon a series of thirteen temporary public art commissions by twenty-one Australian and international artists that took place across Tasmania from September 18 to October 15, 2011. Produced by Contemporary Art Spaces Tasmania and David Cross, in conjunction with seven partner curators, Iteration:Again presents a compelling array of temporary artworks in largely unexpected places throughout Tasmania. Working to transform our experience of place for a moment in time, each commission seeks to address how temporary interventions or responses by artists to public sites, environments and buildings can serve to open up new ways of understanding Tasmania as a place with very complex cultural, social and spatial resonances.How it might be possible to introduce transformative elements that challenge the notion of a fixed or definitive artwork grounded in one location? By asking the artists to make four different chapters or ‘iterations’ over the course of a four-week period, David Cross challenged each practitioner to think through how change or processes of transition may function to make the art experience an unstable and contingent one. This idea of incorporating change into the work highlights a growing interest by artists in emphasizing art as a potentially theatrical or even fictive medium with the audience experiencing different moments or stages of encounter over a number of weeks. The idea provided for the possibility of narrative sequences, formal investigations, or temporal shifts that saw key additions or subtractions over time. Each commission sought to recast our understanding of public artwork from a discrete event or viewing experience, to a suite of experiences. 30 00 Iteration:Again documents and reflects upon a series of thirteen temporary public art commissions by twenty-one Australian and international artists that took place across Tasmania from September 18 to October 15, 2011. Produced by Contemporary Art Spaces Tasmania and David Cross, in conjunction with seven partner curators, Iteration:Again presents a compelling array of temporary artworks in largely unexpected places throughout Tasmania. Working to transform our experience of place for a moment in time, each commission seeks to address how temporary interventions or responses by artists to public sites, environments and buildings can serve to open up new ways of understanding Tasmania as a place with very complex cultural, social and spatial resonances.How it might be possible to introduce transformative elements that challenge the notion of a fixed or definitive artwork grounded in one location? By asking the artists to make four different chapters or ‘iterations’ over the course of a four-week period, David Cross challenged each practitioner to think through how change or processes of transition may function to make the art experience an unstable and contingent one. This idea of incorporating change into the work highlights a growing interest by artists in emphasizing art as a potentially theatrical or even fictive medium with the audience experiencing different moments or stages of encounter over a number of weeks. The idea provided for the possibility of narrative sequences, formal investigations, or temporal shifts that saw key additions or subtractions over time. Each commission sought to recast our understanding of public artwork from a discrete event or viewing experience, to a suite of experiences. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0037.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/iteration-again/ Brooklyn, NY 04 01 20130702 Cross, David 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615811140 20 08 20130702 02 42.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/iterationagain-13-public-art-projects-across-tasmania 20 08 20130702 02 42.00 USD WORLD urn:uuid:5fbe1337-15c2-4b5b-800e-1ed96b27db7c 03 01 01 thoth-work-id urn:uuid:85a2a2fe-d515-4784-b451-d26ec4c62a4f 01 thoth-publication-id urn:uuid:5fbe1337-15c2-4b5b-800e-1ed96b27db7c 06 10.21983/P3.0037.1.00 01 internal-reference 0037 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Iteration:Again 13 Public Art Projects across Tasmania 1 B01 David Cross David Cross 40 052czxv31 Massey University 2 A23 Michael Edwards Michael Edwards 01 eng 00 176 03 12 AGC 93 AGC 10 ART062000 B2 Art+Aesthetics 93 AGT B2 Built Environments 93 1MBF-AU-T 20 public art; contemporary art; Australia; Tasmania; repetition 01 06 02 00 03 00 Iteration:Again documents and reflects upon a series of thirteen temporary public art commissions by twenty-one Australian and international artists that took place across Tasmania from September 18 to October 15, 2011. Produced by Contemporary Art Spaces Tasmania and David Cross, in conjunction with seven partner curators, Iteration:Again presents a compelling array of temporary artworks in largely unexpected places throughout Tasmania. Working to transform our experience of place for a moment in time, each commission seeks to address how temporary interventions or responses by artists to public sites, environments and buildings can serve to open up new ways of understanding Tasmania as a place with very complex cultural, social and spatial resonances.How it might be possible to introduce transformative elements that challenge the notion of a fixed or definitive artwork grounded in one location? By asking the artists to make four different chapters or ‘iterations’ over the course of a four-week period, David Cross challenged each practitioner to think through how change or processes of transition may function to make the art experience an unstable and contingent one. This idea of incorporating change into the work highlights a growing interest by artists in emphasizing art as a potentially theatrical or even fictive medium with the audience experiencing different moments or stages of encounter over a number of weeks. The idea provided for the possibility of narrative sequences, formal investigations, or temporal shifts that saw key additions or subtractions over time. Each commission sought to recast our understanding of public artwork from a discrete event or viewing experience, to a suite of experiences. 30 00 Iteration:Again documents and reflects upon a series of thirteen temporary public art commissions by twenty-one Australian and international artists that took place across Tasmania from September 18 to October 15, 2011. Produced by Contemporary Art Spaces Tasmania and David Cross, in conjunction with seven partner curators, Iteration:Again presents a compelling array of temporary artworks in largely unexpected places throughout Tasmania. Working to transform our experience of place for a moment in time, each commission seeks to address how temporary interventions or responses by artists to public sites, environments and buildings can serve to open up new ways of understanding Tasmania as a place with very complex cultural, social and spatial resonances.How it might be possible to introduce transformative elements that challenge the notion of a fixed or definitive artwork grounded in one location? By asking the artists to make four different chapters or ‘iterations’ over the course of a four-week period, David Cross challenged each practitioner to think through how change or processes of transition may function to make the art experience an unstable and contingent one. This idea of incorporating change into the work highlights a growing interest by artists in emphasizing art as a potentially theatrical or even fictive medium with the audience experiencing different moments or stages of encounter over a number of weeks. The idea provided for the possibility of narrative sequences, formal investigations, or temporal shifts that saw key additions or subtractions over time. Each commission sought to recast our understanding of public artwork from a discrete event or viewing experience, to a suite of experiences. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0037.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/iteration-again/ Brooklyn, NY 04 01 20130702 Cross, David 02 WORLD 06 15 9780615811147 03 9780615811147 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76441 20 08 20130702 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25580 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25580/1004515.pdf?sequence=1&isAllowed=y 20 08 20130702 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35929 20 08 20130702 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353825 20 08 20130702 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/417 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/38050f25-8306-4107-9a25-03de1120d8ad/download 20 08 20130702 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/85a2a2fe-d515-4784-b451-d26ec4c62a4f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/85a2a2fe-d515-4784-b451-d26ec4c62a4f/85a2a2fe-d515-4784-b451-d26ec4c62a4f.pdf 20 08 20130702 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845749 29 ZENODO: download the title https://zenodo.org/records/19845749/files/85a2a2fe-d515-4784-b451-d26ec4c62a4f_book.pdf 20 08 20130702 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/iteration-again/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0037.1.00.pdf 20 08 20130702 01 urn:uuid:a5871ff8-3695-405c-a608-fbe1bbca4955 03 01 01 thoth-work-id urn:uuid:f3db2a03-75db-4837-af31-4bb0cb189fa2 01 thoth-publication-id urn:uuid:a5871ff8-3695-405c-a608-fbe1bbca4955 15 9780692253397 03 9780692253397 06 10.21983/P3.0073.1.00 01 internal-reference 0073 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Itinerant Philosophy On Alphonso Lingis 1 B01 Bobby George Bobby George 40 05bbqza97 Kingston University Baan Dek Montessori 2 B01 Tom Sparrow Tom Sparrow 40 0369st156 Slippery Rock University 01 eng 00 190 03 12 HPCF 10 PHI018000 B2 Philosophy 93 QDHR 93 DNL 20 Alphonso Lingis; philosophy; photography 01 06 02 00 03 00 Alphonso Lingis is the author of fourteen books and many essays. He is emeritus professor of philosophy at Pennsylvania State University. While many know him only as an eccentric ex-professor or as the translator of Emmanuel Levinas, Maurice Merleau-Ponty, and Pierre Klossowski, he is arguably the most distinctive voice in American continental philosophy. This is no doubt due to the perpetual travel that fuels his arresting written prose and unorthodox public readings. Lingis’s lifelong itinerary includes visits — some brief, others extended or recurring — to 109 countries. Along the way he has photographed innumerable strangers whose faces adorn the pages of his books. Photography is as essential to Lingis’s multidisciplinary philosophical perspective as is his knowledge of phenomenology, anthropology, or psychoanalysis. Some of his photographs have been recently collected and published in the book Contact. Unlike most career academics, Lingis has made a name for himself collecting exotic birds and other creatures, staging performance readings at professional conferences, keeping up a diligent correspondence with friends at home and abroad, and splicing together high theory with intimate autobiography. Those who know him speak of his warmth, sincerity, and noncombative style of argumentation — rare traits among university scholars. Itinerant Philosophy: On Alphonso Lingis gathers a diverse collection of texts on Lingis’s life and philosophy, including poetry, original interviews, essays, book reviews, and a photo essay. It also includes an unpublished piece by Lingis, “Doubles,” along with copies of several of his letters to a friend. 30 00 Alphonso Lingis is the author of fourteen books and many essays. He is emeritus professor of philosophy at Pennsylvania State University. While many know him only as an eccentric ex-professor or as the translator of Emmanuel Levinas, Maurice Merleau-Ponty, and Pierre Klossowski, he is arguably the most distinctive voice in American continental philosophy. This is no doubt due to the perpetual travel that fuels his arresting written prose and unorthodox public readings. Lingis’s lifelong itinerary includes visits — some brief, others extended or recurring — to 109 countries. Along the way he has photographed innumerable strangers whose faces adorn the pages of his books. Photography is as essential to Lingis’s multidisciplinary philosophical perspective as is his knowledge of phenomenology, anthropology, or psychoanalysis. Some of his photographs have been recently collected and published in the book Contact. Unlike most career academics, Lingis has made a name for himself collecting exotic birds and other creatures, staging performance readings at professional conferences, keeping up a diligent correspondence with friends at home and abroad, and splicing together high theory with intimate autobiography. Those who know him speak of his warmth, sincerity, and noncombative style of argumentation — rare traits among university scholars. Itinerant Philosophy: On Alphonso Lingis gathers a diverse collection of texts on Lingis’s life and philosophy, including poetry, original interviews, essays, book reviews, and a photo essay. It also includes an unpublished piece by Lingis, “Doubles,” along with copies of several of his letters to a friend. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0073.1.00_frontcover.jpg 1 03 06 10.21983/P3.0073.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0073.1.02 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Note to the Reader 01 eng 03 00 In 2012 we launched the now-inoperative journal Singular-um, whose modus operandi read like this:Singularum operates on the premise that every facet of life yields transformative aesthetic encounters. It pro-vides an independent venue for theorizing, transmitt-ing, and staging these encounters. Its strategic aim is to exhibit thinking born at the interface of aesthetics & pedagogy.Unable to sustain this short-lived project in its original form, we decided to convert its two volumes into books, the first of which is devoted to the work of nomadic American philo-sopher Alphonso Lingis. Thanks to the generosity of punc-tum books director Eileen Joy, along with her dedicated accomplice Andrew Doty, you are now reading the foreword to what was once Volume 1 of Singularum 30 00 In 2012 we launched the now-inoperative journal Singular-um, whose modus operandi read like this:Singularum operates on the premise that every facet of life yields transformative aesthetic encounters. It pro-vides an independent venue for theorizing, transmitt-ing, and staging these encounters. Its strategic aim is to exhibit thinking born at the interface of aesthetics & pedagogy.Unable to sustain this short-lived project in its original form, we decided to convert its two volumes into books, the first of which is devoted to the work of nomadic American philo-sopher Alphonso Lingis. Thanks to the generosity of punc-tum books director Eileen Joy, along with her dedicated accomplice Andrew Doty, you are now reading the foreword to what was once Volume 1 of Singularum 20 00 Open Access 3 03 06 10.21983/P3.0073.1.03 3 5 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Love Poem After Alphonso Lingis 1 A01 Dorothea Lasky Dorothea Lasky 40 00hj8s172 Columbia University 01 eng 03 00 What I to you I loved you But you also meant nothing to me You were nothing but A box jellyfish The edges always coming out to meet the water A skin of water, not water-blue So that there was nothing we could find like ourselves And nothing like a center So that the animal was not a beak But a movement forward 30 00 What I to you I loved you But you also meant nothing to me You were nothing but A box jellyfish The edges always coming out to meet the water A skin of water, not water-blue So that there was nothing we could find like ourselves And nothing like a center So that the animal was not a beak But a movement forward 20 00 Open Access Lasky, Dorothea 4 03 06 10.21983/P3.0073.1.04 7 19 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Interview with Lingis 1 A01 Bobby George Bobby George 40 05bbqza97 Kingston University Baan Dek Montessori 2 A01 Tom Sparrow Tom Sparrow 40 0369st156 Slippery Rock University 01 eng 03 00 BG & TS: As you know, we’re planning to enter your body of work through the lens of photography and geography. We thought we’d start our conversation there, at that conjunc-tion. What motivated you to start to include photos in your text? AL: In Excesses I thought I had to show a temple at Khaju-raho, for readers who had never seen images of them. I also wanted to include a Nuba man photographed by Leni Rief-enstahl—a photograph that, when I first came upon it, made me decide to go there (the text does not explain that) 30 00 BG & TS: As you know, we’re planning to enter your body of work through the lens of photography and geography. We thought we’d start our conversation there, at that conjunc-tion. What motivated you to start to include photos in your text? AL: In Excesses I thought I had to show a temple at Khaju-raho, for readers who had never seen images of them. I also wanted to include a Nuba man photographed by Leni Rief-enstahl—a photograph that, when I first came upon it, made me decide to go there (the text does not explain that) 20 00 Open Access George, Bobby Sparrow, Tom 5 03 06 10.21983/P3.0073.1.05 21 35 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Early Notes Toward an Ontology of Fetishes 1 A01 Jeff Barbeau Jeff Barbeau 40 0581k0452 Wheaton College 01 eng 03 00 For the past eight months I have been involved in an art pro-ject in which I take a photograph of a moment that typifies the general feeling of my day. I envisioned this project as a way to take this ongoing and often ineffable process of typ-ifaction and make it slightly more observable. What this has amounted to is a very loose and necessarily imprecise record of the emotional tone of my life for the past two hundred days or so. My plan is to continue with this project for the next two years. An even 730 days. What I hope to achieve is a productive coupling of practical obsession and virtual resig-nation. 30 00 For the past eight months I have been involved in an art pro-ject in which I take a photograph of a moment that typifies the general feeling of my day. I envisioned this project as a way to take this ongoing and often ineffable process of typ-ifaction and make it slightly more observable. What this has amounted to is a very loose and necessarily imprecise record of the emotional tone of my life for the past two hundred days or so. My plan is to continue with this project for the next two years. An even 730 days. What I hope to achieve is a productive coupling of practical obsession and virtual resig-nation. 20 00 Open Access Barbeau, Jeff 6 03 06 10.21983/P3.0073.1.06 37 60 24 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Objects in Mirror Are Closer Than They Appear 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 03 00 Yukultji Napangati’s painting Untitled (2011) is in the Art Gallery of New South Wales, and was highly commended for the 2011 Wynne Prize. The painting is reproduced here [Fig. 1], but the image simply fails to do it justice. The first one seems to evoke it better. But this is one of those images one must see in the flesh.At a distance it looks like a woven mat of reeds or slender stalks, yellowed, sun baked, resting on top of some darker, warmer depth. A generous, relaxed, precise, careful yet giving, caring lineation made of small blobby dots. The warmth reminds you of Klee. The lines recall Bridget Riley. As you come closer and begin to face the image it begins to play, to scintillate, to disturb the field of vision. It oscillates and ripples, more intense than Riley. How did I know this was a woman artist before I found out who it was? In fact this is a painting about, a map of, a writing about, a line of women traveling through the sandhills of Yunala in Western Australia, performing rituals and collecting bush foods as they went. The painting is a two-dimensional map of an event unfolding a higher dimensional phase space. 30 00 Yukultji Napangati’s painting Untitled (2011) is in the Art Gallery of New South Wales, and was highly commended for the 2011 Wynne Prize. The painting is reproduced here [Fig. 1], but the image simply fails to do it justice. The first one seems to evoke it better. But this is one of those images one must see in the flesh.At a distance it looks like a woven mat of reeds or slender stalks, yellowed, sun baked, resting on top of some darker, warmer depth. A generous, relaxed, precise, careful yet giving, caring lineation made of small blobby dots. The warmth reminds you of Klee. The lines recall Bridget Riley. As you come closer and begin to face the image it begins to play, to scintillate, to disturb the field of vision. It oscillates and ripples, more intense than Riley. How did I know this was a woman artist before I found out who it was? In fact this is a painting about, a map of, a writing about, a line of women traveling through the sandhills of Yunala in Western Australia, performing rituals and collecting bush foods as they went. The painting is a two-dimensional map of an event unfolding a higher dimensional phase space. 20 00 Open Access Morton, Timothy 7 03 06 10.21983/P3.0073.1.07 61 67 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Doubles 1 A01 Alphonso Lingis Alphonso Lingis 40 04p491231 Pennsylvania State University 01 eng 03 00 Willows, rocks, cascades, clouds, peregrines, dragonflies: real things. They are present, in the present. Having left them, we find them again. They are where they are, independent of us, whether we locate them or not. There are times when all our names, categories, and uses for them fade away, and we are confronted with their brute reality. The urban and his-torical context of the Place de la Concorde fades away and we find ourselves standing on rough stones glistening in therain. Evolutionary biology contests Platonic metaphysics and philosophical idealism: our perception of our environment is not essentially different from the perception of other biologi-cal species. Fish, birds, and mammals survive because the things they perceive are indeed external to their minds, inde-pendent of them, and as real as they are 30 00 Willows, rocks, cascades, clouds, peregrines, dragonflies: real things. They are present, in the present. Having left them, we find them again. They are where they are, independent of us, whether we locate them or not. There are times when all our names, categories, and uses for them fade away, and we are confronted with their brute reality. The urban and his-torical context of the Place de la Concorde fades away and we find ourselves standing on rough stones glistening in therain. Evolutionary biology contests Platonic metaphysics and philosophical idealism: our perception of our environment is not essentially different from the perception of other biologi-cal species. Fish, birds, and mammals survive because the things they perceive are indeed external to their minds, inde-pendent of them, and as real as they are 20 00 Open Access Lingis, Alphonso 8 03 06 10.21983/P3.0073.1.08 69 79 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Alterity and Life in the Thought of Lingis 1 A01 21 0000000325304732 John Protevi John Protevi 40 05ect4e57 Louisiana State University 01 eng 03 00 This paper pays homage to Al Lingis’s mastery of key figures in the transcendental, existential, and phenomenological tra-ditions of philosophy. In the works of the 1980s, Phenomeno-logical Explanations and Deathbound Subjectivity among them, Lingis displayed a supreme control in explicating the tradi-tion, preparing for the breakthroughs that characterize the great works written in his own idiom. In particular, we will trace two reductions, enabling us to see how Lingis identifies three levels of subjectivity. Begin-ning with the sensibility inherent to intentional conscious-ness, Lingis performs a “reduction to sensuality,” identifying auto-affective consciousness. He then performs a “reduction to substantiality,” identifying the condition for hetero-affective or commanded consciousness. So, from sensibility to sensuality, and from there to commanded subjection. Of course this is only the order of reasons, if we can put it like that, not the order of being, in which the imperative is pri-mary. 30 00 This paper pays homage to Al Lingis’s mastery of key figures in the transcendental, existential, and phenomenological tra-ditions of philosophy. In the works of the 1980s, Phenomeno-logical Explanations and Deathbound Subjectivity among them, Lingis displayed a supreme control in explicating the tradi-tion, preparing for the breakthroughs that characterize the great works written in his own idiom. In particular, we will trace two reductions, enabling us to see how Lingis identifies three levels of subjectivity. Begin-ning with the sensibility inherent to intentional conscious-ness, Lingis performs a “reduction to sensuality,” identifying auto-affective consciousness. He then performs a “reduction to substantiality,” identifying the condition for hetero-affective or commanded consciousness. So, from sensibility to sensuality, and from there to commanded subjection. Of course this is only the order of reasons, if we can put it like that, not the order of being, in which the imperative is pri-mary. 20 00 Open Access Protevi, John 9 03 06 10.21983/P3.0073.1.09 81 109 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Personal Correspondences 1 A01 David Karnos David Karnos 40 01tj58m37 Montana State University Billings 01 eng 03 00 Dear Tom, Three years have passed since you first asked me to write about Al Lingis and his correspondence with friends over the past forty years. Sixteen years have passed since Wolfgang Fuchs and I gathered together the first 20 years of Al’s let-ters, with the intention of providing a sourcebook for re-searchers. Letters from a Nomad Philosopher (mss) compiled over 200 letters written between 1973 and 1995. Right now it sits on the floor before my fireplace, scattered around me in folders with headings like Flesh, Fun, and Friendship; on People and Philosophers; Birth and Death. It sits before me now much like the final exams that were spread around the floor in front of fish tanks and wall-to-wall bookshelves at Al’s house in State College, 1972. As a graduate assistant for one of his big introductory classes, we were grading, holding pass or fail thumbs like the young Caesars we felt to be. Only then, as I recall clearly, when we would utter disgust at a piece and move it towards a would-be-fail pile, Al’s hand would dart forward and intercept. A few quick searches and he would find a passage to read us, and surround its reading with evocations of tenderness, liveliness, loveliness, and look-ing up at us staring at him blankly utter something like “bril-liant, don’t you think?” 30 00 Dear Tom, Three years have passed since you first asked me to write about Al Lingis and his correspondence with friends over the past forty years. Sixteen years have passed since Wolfgang Fuchs and I gathered together the first 20 years of Al’s let-ters, with the intention of providing a sourcebook for re-searchers. Letters from a Nomad Philosopher (mss) compiled over 200 letters written between 1973 and 1995. Right now it sits on the floor before my fireplace, scattered around me in folders with headings like Flesh, Fun, and Friendship; on People and Philosophers; Birth and Death. It sits before me now much like the final exams that were spread around the floor in front of fish tanks and wall-to-wall bookshelves at Al’s house in State College, 1972. As a graduate assistant for one of his big introductory classes, we were grading, holding pass or fail thumbs like the young Caesars we felt to be. Only then, as I recall clearly, when we would utter disgust at a piece and move it towards a would-be-fail pile, Al’s hand would dart forward and intercept. A few quick searches and he would find a passage to read us, and surround its reading with evocations of tenderness, liveliness, loveliness, and look-ing up at us staring at him blankly utter something like “bril-liant, don’t you think?” 20 00 Open Access Karnos, David 10 03 06 10.21983/P3.0073.1.10 111 127 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Becoming-Troglodyte 1 A01 Joff Peter Norman Bradley Joff Peter Norman Bradley 40 01gaw2478 Teikyo University 01 eng 03 00 This essay mines the phenomenal oeuvre of Alphonso Lingis to explicate his theory of communication. It is argued that there is such a theory and it is one intimately and inextricably linked with a philosophy of community. Cartographically and genealogically, to chart how his theory of communica-tion has taken shape, I shall draw on a number of thinkers who have informed his thought over the years. While com-pleting such a task presents formidable exegetical challenges, this essay claims that while Lingis indeed has a theory of communication, it is one synthesized and inflected by an ec-lectic reading of continental philosophers such as Bataille, Deleuze and Guattari, Levinas, Merleau-Ponty, and Nie-tzsche, among others. 30 00 This essay mines the phenomenal oeuvre of Alphonso Lingis to explicate his theory of communication. It is argued that there is such a theory and it is one intimately and inextricably linked with a philosophy of community. Cartographically and genealogically, to chart how his theory of communica-tion has taken shape, I shall draw on a number of thinkers who have informed his thought over the years. While com-pleting such a task presents formidable exegetical challenges, this essay claims that while Lingis indeed has a theory of communication, it is one synthesized and inflected by an ec-lectic reading of continental philosophers such as Bataille, Deleuze and Guattari, Levinas, Merleau-Ponty, and Nie-tzsche, among others. 20 00 Open Access Bradley, Joff Peter Norman 11 03 06 10.21983/P3.0073.1.11 129 136 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On The Community of Those Who Have Nothing in Common 1 A01 Jeffrey Nealon Jeffrey Nealon 40 04p491231 Pennsylvania State University 01 eng 03 00 A note from the author about the following text: This is an archival text, delivered at a Penn State Philoso-phy Department session on Al’s book in 1995, shortly after it had been published. Despite my desires to change, update, and fudge, I preserve the original dis-course in accordance with what I learn from Lingis’s example—the difficult joy of response, the irreducible singularity of the encounter, and the liveliness of me-mory, among so many other things. I find myself in a somewhat odd position here this afternoon, having been charged with the task of “briefly reviewing the main ideas” of Alphonso Lingis’s truly remarkable book, The Community of Those Who Have Nothing in Common. The dif-ficulty, I guess, is two-fold. First is the problem that one en-counters before any such rich and engaging text, the uncom-fortable difficulties of paraphrase: Have I gotten it right? Are these really the stakes of the project, or am I just making thisup? How to impart a sense of the text’s rich complexity, while still performing some kind of recognizable summary? And then there’s the second problem—the fact that Al is sitting right here, across the table from me, face-to-face. I’ m thinking he could review the main ideas for us a lot better than I could, so what do you need me for, I begin to wonder?But I press on, trying to find a path, as we always do in Al’s work, for productively engaging the joyously cramped space of response. 30 00 A note from the author about the following text: This is an archival text, delivered at a Penn State Philoso-phy Department session on Al’s book in 1995, shortly after it had been published. Despite my desires to change, update, and fudge, I preserve the original dis-course in accordance with what I learn from Lingis’s example—the difficult joy of response, the irreducible singularity of the encounter, and the liveliness of me-mory, among so many other things. I find myself in a somewhat odd position here this afternoon, having been charged with the task of “briefly reviewing the main ideas” of Alphonso Lingis’s truly remarkable book, The Community of Those Who Have Nothing in Common. The dif-ficulty, I guess, is two-fold. First is the problem that one en-counters before any such rich and engaging text, the uncom-fortable difficulties of paraphrase: Have I gotten it right? Are these really the stakes of the project, or am I just making thisup? How to impart a sense of the text’s rich complexity, while still performing some kind of recognizable summary? And then there’s the second problem—the fact that Al is sitting right here, across the table from me, face-to-face. I’ m thinking he could review the main ideas for us a lot better than I could, so what do you need me for, I begin to wonder?But I press on, trying to find a path, as we always do in Al’s work, for productively engaging the joyously cramped space of response. 20 00 Open Access Nealon, Jeffrey 12 03 06 10.21983/P3.0073.1.12 137 148 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What is an Imperative? 1 A01 Dorothea Olkowski Dorothea Olkowski 40 054spjc55 University of Colorado, Colorado Springs 01 eng 03 00 Each morning we wake up to an ongoing miracle. Light is there for us and it forms a level. Along this level I see the color-contrasts of the Western mountain range’s phospho-resce. Sounds awaken too. They awaken out of the level that is the murmur of nature from which the cry of hawks, the whining of coyotes fill the air. And close by, the harsh col-ored billboards stick up in the level of the light as the the cars and trucks roll by, hurried and noisy, emerging from the level that is sound, the sound of the strong winds blowing up a storm heading east to the plains where they meet the Gulf moisture, twisting it into tornadoes. These levels, as Alphon-so Lingis calls them, “form in a medium without dimensions or directions: the luminosity more vast than any panorama that the light outlines in it, the vibrancy that prolongs itself outside the city and beyond the murmur of nature, the dark-ness more abysmal than the night from which the day dawns and into which it entrusts itself.” 30 00 Each morning we wake up to an ongoing miracle. Light is there for us and it forms a level. Along this level I see the color-contrasts of the Western mountain range’s phospho-resce. Sounds awaken too. They awaken out of the level that is the murmur of nature from which the cry of hawks, the whining of coyotes fill the air. And close by, the harsh col-ored billboards stick up in the level of the light as the the cars and trucks roll by, hurried and noisy, emerging from the level that is sound, the sound of the strong winds blowing up a storm heading east to the plains where they meet the Gulf moisture, twisting it into tornadoes. These levels, as Alphon-so Lingis calls them, “form in a medium without dimensions or directions: the luminosity more vast than any panorama that the light outlines in it, the vibrancy that prolongs itself outside the city and beyond the murmur of nature, the dark-ness more abysmal than the night from which the day dawns and into which it entrusts itself.” 20 00 Open Access Olkowski, Dorothea 13 03 06 10.21983/P3.0073.1.13 149 168 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Interview with Lingis 1 A01 Jonas Skačkauskas Jonas Skačkauskas 40 03nadee84 Vilnius University 01 eng 03 00 JS: You graduated from the Jesuit Loyola University in Chi-cago, you defended a dissertation at the University of Leu-ven, where the Husserl Archives were founded. During your time in Europe you seem to have attended lectures by Jean-Paul Sartre, Jacques Lacan and maybe other Parisian figures. What was to you most important during these formative years? AL: Leuven was where I really learnt philosophy. When I was an undergraduate, I did not have a good education. At Leuven it was a historical program, so we had to study each period. But it had an emphasis on contemporary philosophy. And students were mostly interested in contemporary philos-ophy. And I was also. I wrote my dissertation on Sartre and Merleau-Ponty. For me that was the beginning. When I wrote my dissertation, then I started really to understand something 30 00 JS: You graduated from the Jesuit Loyola University in Chi-cago, you defended a dissertation at the University of Leu-ven, where the Husserl Archives were founded. During your time in Europe you seem to have attended lectures by Jean-Paul Sartre, Jacques Lacan and maybe other Parisian figures. What was to you most important during these formative years? AL: Leuven was where I really learnt philosophy. When I was an undergraduate, I did not have a good education. At Leuven it was a historical program, so we had to study each period. But it had an emphasis on contemporary philosophy. And students were mostly interested in contemporary philos-ophy. And I was also. I wrote my dissertation on Sartre and Merleau-Ponty. For me that was the beginning. When I wrote my dissertation, then I started really to understand something 20 00 Open Access Skačkauskas, Jonas 14 03 06 10.21983/P3.0073.1.14 169 181 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Violence and Splendor 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 Fans of Alphonso Lingis have cause for delight in the recent appearance of his new book Violence and Splendor.1 Lingis is of Lithuanian ancestry but native to the rural region nearChicago, and has been well known since the 1960s in severalcapacities. In his early career he was known primarily as an encyclopedic authority on French phenomenology, in partic-ular as the key English translator of the philosophers Levinasand Merleau-Ponty. As a professor at Penn State he was a popular and magnetic character, earning the allegiance of generations of students due to an informal personality and a startling mid-block household filled with live tropical birds,sharks, octopi, and electric eels, life-sized wooden Buddhas,flourishing colonies of bees, specimens of colorful moths andbeetles, and a bathroom mirrored on all horizontal and verti-cal surfaces. As an author of books he emerged relatively late, in 1983, with his debutExcesses: Eros and Culture.2 This workset the pattern for his future writings, mixing philosophicalerudition with travel narratives from the most exotic loca-tions. Along the way he established a reputation with manyreaders (including me) as one of the greatest living masters of English prose. Lingis has been retired from Penn State for nearly a decade and now lives near Baltimore, where he con-tinues to write in the same spirit found in his earlier books. 30 00 Fans of Alphonso Lingis have cause for delight in the recent appearance of his new book Violence and Splendor.1 Lingis is of Lithuanian ancestry but native to the rural region nearChicago, and has been well known since the 1960s in severalcapacities. In his early career he was known primarily as an encyclopedic authority on French phenomenology, in partic-ular as the key English translator of the philosophers Levinasand Merleau-Ponty. As a professor at Penn State he was a popular and magnetic character, earning the allegiance of generations of students due to an informal personality and a startling mid-block household filled with live tropical birds,sharks, octopi, and electric eels, life-sized wooden Buddhas,flourishing colonies of bees, specimens of colorful moths andbeetles, and a bathroom mirrored on all horizontal and verti-cal surfaces. As an author of books he emerged relatively late, in 1983, with his debutExcesses: Eros and Culture.2 This workset the pattern for his future writings, mixing philosophicalerudition with travel narratives from the most exotic loca-tions. Along the way he established a reputation with manyreaders (including me) as one of the greatest living masters of English prose. Lingis has been retired from Penn State for nearly a decade and now lives near Baltimore, where he con-tinues to write in the same spirit found in his earlier books. 20 00 Open Access Harman, Graham 15 03 06 10.21983/P3.0073.1.15 182 182 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/itinerant-philosophy-alphonso-lingis/ Brooklyn, NY 04 01 20140804 George, Bobby Sparrow, Tom 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692253394 20 08 20140804 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/itinerant-philosophy-on-alphonso-lingis 20 08 20140804 02 23.00 USD WORLD urn:uuid:7165c6cc-b64c-47f0-bd27-e60f76232f5e 03 01 01 thoth-work-id urn:uuid:f3db2a03-75db-4837-af31-4bb0cb189fa2 01 thoth-publication-id urn:uuid:7165c6cc-b64c-47f0-bd27-e60f76232f5e 06 10.21983/P3.0073.1.00 01 internal-reference 0073 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Itinerant Philosophy On Alphonso Lingis 1 B01 Bobby George Bobby George 40 05bbqza97 Kingston University Baan Dek Montessori 2 B01 Tom Sparrow Tom Sparrow 40 0369st156 Slippery Rock University 01 eng 00 190 03 12 HPCF 10 PHI018000 B2 Philosophy 93 QDHR 93 DNL 20 Alphonso Lingis; philosophy; photography 01 06 02 00 03 00 Alphonso Lingis is the author of fourteen books and many essays. He is emeritus professor of philosophy at Pennsylvania State University. While many know him only as an eccentric ex-professor or as the translator of Emmanuel Levinas, Maurice Merleau-Ponty, and Pierre Klossowski, he is arguably the most distinctive voice in American continental philosophy. This is no doubt due to the perpetual travel that fuels his arresting written prose and unorthodox public readings. Lingis’s lifelong itinerary includes visits — some brief, others extended or recurring — to 109 countries. Along the way he has photographed innumerable strangers whose faces adorn the pages of his books. Photography is as essential to Lingis’s multidisciplinary philosophical perspective as is his knowledge of phenomenology, anthropology, or psychoanalysis. Some of his photographs have been recently collected and published in the book Contact. Unlike most career academics, Lingis has made a name for himself collecting exotic birds and other creatures, staging performance readings at professional conferences, keeping up a diligent correspondence with friends at home and abroad, and splicing together high theory with intimate autobiography. Those who know him speak of his warmth, sincerity, and noncombative style of argumentation — rare traits among university scholars. Itinerant Philosophy: On Alphonso Lingis gathers a diverse collection of texts on Lingis’s life and philosophy, including poetry, original interviews, essays, book reviews, and a photo essay. It also includes an unpublished piece by Lingis, “Doubles,” along with copies of several of his letters to a friend. 30 00 Alphonso Lingis is the author of fourteen books and many essays. He is emeritus professor of philosophy at Pennsylvania State University. While many know him only as an eccentric ex-professor or as the translator of Emmanuel Levinas, Maurice Merleau-Ponty, and Pierre Klossowski, he is arguably the most distinctive voice in American continental philosophy. This is no doubt due to the perpetual travel that fuels his arresting written prose and unorthodox public readings. Lingis’s lifelong itinerary includes visits — some brief, others extended or recurring — to 109 countries. Along the way he has photographed innumerable strangers whose faces adorn the pages of his books. Photography is as essential to Lingis’s multidisciplinary philosophical perspective as is his knowledge of phenomenology, anthropology, or psychoanalysis. Some of his photographs have been recently collected and published in the book Contact. Unlike most career academics, Lingis has made a name for himself collecting exotic birds and other creatures, staging performance readings at professional conferences, keeping up a diligent correspondence with friends at home and abroad, and splicing together high theory with intimate autobiography. Those who know him speak of his warmth, sincerity, and noncombative style of argumentation — rare traits among university scholars. Itinerant Philosophy: On Alphonso Lingis gathers a diverse collection of texts on Lingis’s life and philosophy, including poetry, original interviews, essays, book reviews, and a photo essay. It also includes an unpublished piece by Lingis, “Doubles,” along with copies of several of his letters to a friend. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0073.1.00_frontcover.jpg 1 03 06 10.21983/P3.0073.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0073.1.02 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Note to the Reader 01 eng 03 00 In 2012 we launched the now-inoperative journal Singular-um, whose modus operandi read like this:Singularum operates on the premise that every facet of life yields transformative aesthetic encounters. It pro-vides an independent venue for theorizing, transmitt-ing, and staging these encounters. Its strategic aim is to exhibit thinking born at the interface of aesthetics & pedagogy.Unable to sustain this short-lived project in its original form, we decided to convert its two volumes into books, the first of which is devoted to the work of nomadic American philo-sopher Alphonso Lingis. Thanks to the generosity of punc-tum books director Eileen Joy, along with her dedicated accomplice Andrew Doty, you are now reading the foreword to what was once Volume 1 of Singularum 30 00 In 2012 we launched the now-inoperative journal Singular-um, whose modus operandi read like this:Singularum operates on the premise that every facet of life yields transformative aesthetic encounters. It pro-vides an independent venue for theorizing, transmitt-ing, and staging these encounters. Its strategic aim is to exhibit thinking born at the interface of aesthetics & pedagogy.Unable to sustain this short-lived project in its original form, we decided to convert its two volumes into books, the first of which is devoted to the work of nomadic American philo-sopher Alphonso Lingis. Thanks to the generosity of punc-tum books director Eileen Joy, along with her dedicated accomplice Andrew Doty, you are now reading the foreword to what was once Volume 1 of Singularum 20 00 Open Access 3 03 06 10.21983/P3.0073.1.03 3 5 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Love Poem After Alphonso Lingis 1 A01 Dorothea Lasky Dorothea Lasky 40 00hj8s172 Columbia University 01 eng 03 00 What I to you I loved you But you also meant nothing to me You were nothing but A box jellyfish The edges always coming out to meet the water A skin of water, not water-blue So that there was nothing we could find like ourselves And nothing like a center So that the animal was not a beak But a movement forward 30 00 What I to you I loved you But you also meant nothing to me You were nothing but A box jellyfish The edges always coming out to meet the water A skin of water, not water-blue So that there was nothing we could find like ourselves And nothing like a center So that the animal was not a beak But a movement forward 20 00 Open Access Lasky, Dorothea 4 03 06 10.21983/P3.0073.1.04 7 19 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Interview with Lingis 1 A01 Bobby George Bobby George 40 05bbqza97 Kingston University Baan Dek Montessori 2 A01 Tom Sparrow Tom Sparrow 40 0369st156 Slippery Rock University 01 eng 03 00 BG & TS: As you know, we’re planning to enter your body of work through the lens of photography and geography. We thought we’d start our conversation there, at that conjunc-tion. What motivated you to start to include photos in your text? AL: In Excesses I thought I had to show a temple at Khaju-raho, for readers who had never seen images of them. I also wanted to include a Nuba man photographed by Leni Rief-enstahl—a photograph that, when I first came upon it, made me decide to go there (the text does not explain that) 30 00 BG & TS: As you know, we’re planning to enter your body of work through the lens of photography and geography. We thought we’d start our conversation there, at that conjunc-tion. What motivated you to start to include photos in your text? AL: In Excesses I thought I had to show a temple at Khaju-raho, for readers who had never seen images of them. I also wanted to include a Nuba man photographed by Leni Rief-enstahl—a photograph that, when I first came upon it, made me decide to go there (the text does not explain that) 20 00 Open Access George, Bobby Sparrow, Tom 5 03 06 10.21983/P3.0073.1.05 21 35 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Early Notes Toward an Ontology of Fetishes 1 A01 Jeff Barbeau Jeff Barbeau 40 0581k0452 Wheaton College 01 eng 03 00 For the past eight months I have been involved in an art pro-ject in which I take a photograph of a moment that typifies the general feeling of my day. I envisioned this project as a way to take this ongoing and often ineffable process of typ-ifaction and make it slightly more observable. What this has amounted to is a very loose and necessarily imprecise record of the emotional tone of my life for the past two hundred days or so. My plan is to continue with this project for the next two years. An even 730 days. What I hope to achieve is a productive coupling of practical obsession and virtual resig-nation. 30 00 For the past eight months I have been involved in an art pro-ject in which I take a photograph of a moment that typifies the general feeling of my day. I envisioned this project as a way to take this ongoing and often ineffable process of typ-ifaction and make it slightly more observable. What this has amounted to is a very loose and necessarily imprecise record of the emotional tone of my life for the past two hundred days or so. My plan is to continue with this project for the next two years. An even 730 days. What I hope to achieve is a productive coupling of practical obsession and virtual resig-nation. 20 00 Open Access Barbeau, Jeff 6 03 06 10.21983/P3.0073.1.06 37 60 24 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Objects in Mirror Are Closer Than They Appear 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 03 00 Yukultji Napangati’s painting Untitled (2011) is in the Art Gallery of New South Wales, and was highly commended for the 2011 Wynne Prize. The painting is reproduced here [Fig. 1], but the image simply fails to do it justice. The first one seems to evoke it better. But this is one of those images one must see in the flesh.At a distance it looks like a woven mat of reeds or slender stalks, yellowed, sun baked, resting on top of some darker, warmer depth. A generous, relaxed, precise, careful yet giving, caring lineation made of small blobby dots. The warmth reminds you of Klee. The lines recall Bridget Riley. As you come closer and begin to face the image it begins to play, to scintillate, to disturb the field of vision. It oscillates and ripples, more intense than Riley. How did I know this was a woman artist before I found out who it was? In fact this is a painting about, a map of, a writing about, a line of women traveling through the sandhills of Yunala in Western Australia, performing rituals and collecting bush foods as they went. The painting is a two-dimensional map of an event unfolding a higher dimensional phase space. 30 00 Yukultji Napangati’s painting Untitled (2011) is in the Art Gallery of New South Wales, and was highly commended for the 2011 Wynne Prize. The painting is reproduced here [Fig. 1], but the image simply fails to do it justice. The first one seems to evoke it better. But this is one of those images one must see in the flesh.At a distance it looks like a woven mat of reeds or slender stalks, yellowed, sun baked, resting on top of some darker, warmer depth. A generous, relaxed, precise, careful yet giving, caring lineation made of small blobby dots. The warmth reminds you of Klee. The lines recall Bridget Riley. As you come closer and begin to face the image it begins to play, to scintillate, to disturb the field of vision. It oscillates and ripples, more intense than Riley. How did I know this was a woman artist before I found out who it was? In fact this is a painting about, a map of, a writing about, a line of women traveling through the sandhills of Yunala in Western Australia, performing rituals and collecting bush foods as they went. The painting is a two-dimensional map of an event unfolding a higher dimensional phase space. 20 00 Open Access Morton, Timothy 7 03 06 10.21983/P3.0073.1.07 61 67 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Doubles 1 A01 Alphonso Lingis Alphonso Lingis 40 04p491231 Pennsylvania State University 01 eng 03 00 Willows, rocks, cascades, clouds, peregrines, dragonflies: real things. They are present, in the present. Having left them, we find them again. They are where they are, independent of us, whether we locate them or not. There are times when all our names, categories, and uses for them fade away, and we are confronted with their brute reality. The urban and his-torical context of the Place de la Concorde fades away and we find ourselves standing on rough stones glistening in therain. Evolutionary biology contests Platonic metaphysics and philosophical idealism: our perception of our environment is not essentially different from the perception of other biologi-cal species. Fish, birds, and mammals survive because the things they perceive are indeed external to their minds, inde-pendent of them, and as real as they are 30 00 Willows, rocks, cascades, clouds, peregrines, dragonflies: real things. They are present, in the present. Having left them, we find them again. They are where they are, independent of us, whether we locate them or not. There are times when all our names, categories, and uses for them fade away, and we are confronted with their brute reality. The urban and his-torical context of the Place de la Concorde fades away and we find ourselves standing on rough stones glistening in therain. Evolutionary biology contests Platonic metaphysics and philosophical idealism: our perception of our environment is not essentially different from the perception of other biologi-cal species. Fish, birds, and mammals survive because the things they perceive are indeed external to their minds, inde-pendent of them, and as real as they are 20 00 Open Access Lingis, Alphonso 8 03 06 10.21983/P3.0073.1.08 69 79 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Alterity and Life in the Thought of Lingis 1 A01 21 0000000325304732 John Protevi John Protevi 40 05ect4e57 Louisiana State University 01 eng 03 00 This paper pays homage to Al Lingis’s mastery of key figures in the transcendental, existential, and phenomenological tra-ditions of philosophy. In the works of the 1980s, Phenomeno-logical Explanations and Deathbound Subjectivity among them, Lingis displayed a supreme control in explicating the tradi-tion, preparing for the breakthroughs that characterize the great works written in his own idiom. In particular, we will trace two reductions, enabling us to see how Lingis identifies three levels of subjectivity. Begin-ning with the sensibility inherent to intentional conscious-ness, Lingis performs a “reduction to sensuality,” identifying auto-affective consciousness. He then performs a “reduction to substantiality,” identifying the condition for hetero-affective or commanded consciousness. So, from sensibility to sensuality, and from there to commanded subjection. Of course this is only the order of reasons, if we can put it like that, not the order of being, in which the imperative is pri-mary. 30 00 This paper pays homage to Al Lingis’s mastery of key figures in the transcendental, existential, and phenomenological tra-ditions of philosophy. In the works of the 1980s, Phenomeno-logical Explanations and Deathbound Subjectivity among them, Lingis displayed a supreme control in explicating the tradi-tion, preparing for the breakthroughs that characterize the great works written in his own idiom. In particular, we will trace two reductions, enabling us to see how Lingis identifies three levels of subjectivity. Begin-ning with the sensibility inherent to intentional conscious-ness, Lingis performs a “reduction to sensuality,” identifying auto-affective consciousness. He then performs a “reduction to substantiality,” identifying the condition for hetero-affective or commanded consciousness. So, from sensibility to sensuality, and from there to commanded subjection. Of course this is only the order of reasons, if we can put it like that, not the order of being, in which the imperative is pri-mary. 20 00 Open Access Protevi, John 9 03 06 10.21983/P3.0073.1.09 81 109 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Personal Correspondences 1 A01 David Karnos David Karnos 40 01tj58m37 Montana State University Billings 01 eng 03 00 Dear Tom, Three years have passed since you first asked me to write about Al Lingis and his correspondence with friends over the past forty years. Sixteen years have passed since Wolfgang Fuchs and I gathered together the first 20 years of Al’s let-ters, with the intention of providing a sourcebook for re-searchers. Letters from a Nomad Philosopher (mss) compiled over 200 letters written between 1973 and 1995. Right now it sits on the floor before my fireplace, scattered around me in folders with headings like Flesh, Fun, and Friendship; on People and Philosophers; Birth and Death. It sits before me now much like the final exams that were spread around the floor in front of fish tanks and wall-to-wall bookshelves at Al’s house in State College, 1972. As a graduate assistant for one of his big introductory classes, we were grading, holding pass or fail thumbs like the young Caesars we felt to be. Only then, as I recall clearly, when we would utter disgust at a piece and move it towards a would-be-fail pile, Al’s hand would dart forward and intercept. A few quick searches and he would find a passage to read us, and surround its reading with evocations of tenderness, liveliness, loveliness, and look-ing up at us staring at him blankly utter something like “bril-liant, don’t you think?” 30 00 Dear Tom, Three years have passed since you first asked me to write about Al Lingis and his correspondence with friends over the past forty years. Sixteen years have passed since Wolfgang Fuchs and I gathered together the first 20 years of Al’s let-ters, with the intention of providing a sourcebook for re-searchers. Letters from a Nomad Philosopher (mss) compiled over 200 letters written between 1973 and 1995. Right now it sits on the floor before my fireplace, scattered around me in folders with headings like Flesh, Fun, and Friendship; on People and Philosophers; Birth and Death. It sits before me now much like the final exams that were spread around the floor in front of fish tanks and wall-to-wall bookshelves at Al’s house in State College, 1972. As a graduate assistant for one of his big introductory classes, we were grading, holding pass or fail thumbs like the young Caesars we felt to be. Only then, as I recall clearly, when we would utter disgust at a piece and move it towards a would-be-fail pile, Al’s hand would dart forward and intercept. A few quick searches and he would find a passage to read us, and surround its reading with evocations of tenderness, liveliness, loveliness, and look-ing up at us staring at him blankly utter something like “bril-liant, don’t you think?” 20 00 Open Access Karnos, David 10 03 06 10.21983/P3.0073.1.10 111 127 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Becoming-Troglodyte 1 A01 Joff Peter Norman Bradley Joff Peter Norman Bradley 40 01gaw2478 Teikyo University 01 eng 03 00 This essay mines the phenomenal oeuvre of Alphonso Lingis to explicate his theory of communication. It is argued that there is such a theory and it is one intimately and inextricably linked with a philosophy of community. Cartographically and genealogically, to chart how his theory of communica-tion has taken shape, I shall draw on a number of thinkers who have informed his thought over the years. While com-pleting such a task presents formidable exegetical challenges, this essay claims that while Lingis indeed has a theory of communication, it is one synthesized and inflected by an ec-lectic reading of continental philosophers such as Bataille, Deleuze and Guattari, Levinas, Merleau-Ponty, and Nie-tzsche, among others. 30 00 This essay mines the phenomenal oeuvre of Alphonso Lingis to explicate his theory of communication. It is argued that there is such a theory and it is one intimately and inextricably linked with a philosophy of community. Cartographically and genealogically, to chart how his theory of communica-tion has taken shape, I shall draw on a number of thinkers who have informed his thought over the years. While com-pleting such a task presents formidable exegetical challenges, this essay claims that while Lingis indeed has a theory of communication, it is one synthesized and inflected by an ec-lectic reading of continental philosophers such as Bataille, Deleuze and Guattari, Levinas, Merleau-Ponty, and Nie-tzsche, among others. 20 00 Open Access Bradley, Joff Peter Norman 11 03 06 10.21983/P3.0073.1.11 129 136 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On The Community of Those Who Have Nothing in Common 1 A01 Jeffrey Nealon Jeffrey Nealon 40 04p491231 Pennsylvania State University 01 eng 03 00 A note from the author about the following text: This is an archival text, delivered at a Penn State Philoso-phy Department session on Al’s book in 1995, shortly after it had been published. Despite my desires to change, update, and fudge, I preserve the original dis-course in accordance with what I learn from Lingis’s example—the difficult joy of response, the irreducible singularity of the encounter, and the liveliness of me-mory, among so many other things. I find myself in a somewhat odd position here this afternoon, having been charged with the task of “briefly reviewing the main ideas” of Alphonso Lingis’s truly remarkable book, The Community of Those Who Have Nothing in Common. The dif-ficulty, I guess, is two-fold. First is the problem that one en-counters before any such rich and engaging text, the uncom-fortable difficulties of paraphrase: Have I gotten it right? Are these really the stakes of the project, or am I just making thisup? How to impart a sense of the text’s rich complexity, while still performing some kind of recognizable summary? And then there’s the second problem—the fact that Al is sitting right here, across the table from me, face-to-face. I’ m thinking he could review the main ideas for us a lot better than I could, so what do you need me for, I begin to wonder?But I press on, trying to find a path, as we always do in Al’s work, for productively engaging the joyously cramped space of response. 30 00 A note from the author about the following text: This is an archival text, delivered at a Penn State Philoso-phy Department session on Al’s book in 1995, shortly after it had been published. Despite my desires to change, update, and fudge, I preserve the original dis-course in accordance with what I learn from Lingis’s example—the difficult joy of response, the irreducible singularity of the encounter, and the liveliness of me-mory, among so many other things. I find myself in a somewhat odd position here this afternoon, having been charged with the task of “briefly reviewing the main ideas” of Alphonso Lingis’s truly remarkable book, The Community of Those Who Have Nothing in Common. The dif-ficulty, I guess, is two-fold. First is the problem that one en-counters before any such rich and engaging text, the uncom-fortable difficulties of paraphrase: Have I gotten it right? Are these really the stakes of the project, or am I just making thisup? How to impart a sense of the text’s rich complexity, while still performing some kind of recognizable summary? And then there’s the second problem—the fact that Al is sitting right here, across the table from me, face-to-face. I’ m thinking he could review the main ideas for us a lot better than I could, so what do you need me for, I begin to wonder?But I press on, trying to find a path, as we always do in Al’s work, for productively engaging the joyously cramped space of response. 20 00 Open Access Nealon, Jeffrey 12 03 06 10.21983/P3.0073.1.12 137 148 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What is an Imperative? 1 A01 Dorothea Olkowski Dorothea Olkowski 40 054spjc55 University of Colorado, Colorado Springs 01 eng 03 00 Each morning we wake up to an ongoing miracle. Light is there for us and it forms a level. Along this level I see the color-contrasts of the Western mountain range’s phospho-resce. Sounds awaken too. They awaken out of the level that is the murmur of nature from which the cry of hawks, the whining of coyotes fill the air. And close by, the harsh col-ored billboards stick up in the level of the light as the the cars and trucks roll by, hurried and noisy, emerging from the level that is sound, the sound of the strong winds blowing up a storm heading east to the plains where they meet the Gulf moisture, twisting it into tornadoes. These levels, as Alphon-so Lingis calls them, “form in a medium without dimensions or directions: the luminosity more vast than any panorama that the light outlines in it, the vibrancy that prolongs itself outside the city and beyond the murmur of nature, the dark-ness more abysmal than the night from which the day dawns and into which it entrusts itself.” 30 00 Each morning we wake up to an ongoing miracle. Light is there for us and it forms a level. Along this level I see the color-contrasts of the Western mountain range’s phospho-resce. Sounds awaken too. They awaken out of the level that is the murmur of nature from which the cry of hawks, the whining of coyotes fill the air. And close by, the harsh col-ored billboards stick up in the level of the light as the the cars and trucks roll by, hurried and noisy, emerging from the level that is sound, the sound of the strong winds blowing up a storm heading east to the plains where they meet the Gulf moisture, twisting it into tornadoes. These levels, as Alphon-so Lingis calls them, “form in a medium without dimensions or directions: the luminosity more vast than any panorama that the light outlines in it, the vibrancy that prolongs itself outside the city and beyond the murmur of nature, the dark-ness more abysmal than the night from which the day dawns and into which it entrusts itself.” 20 00 Open Access Olkowski, Dorothea 13 03 06 10.21983/P3.0073.1.13 149 168 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Interview with Lingis 1 A01 Jonas Skačkauskas Jonas Skačkauskas 40 03nadee84 Vilnius University 01 eng 03 00 JS: You graduated from the Jesuit Loyola University in Chi-cago, you defended a dissertation at the University of Leu-ven, where the Husserl Archives were founded. During your time in Europe you seem to have attended lectures by Jean-Paul Sartre, Jacques Lacan and maybe other Parisian figures. What was to you most important during these formative years? AL: Leuven was where I really learnt philosophy. When I was an undergraduate, I did not have a good education. At Leuven it was a historical program, so we had to study each period. But it had an emphasis on contemporary philosophy. And students were mostly interested in contemporary philos-ophy. And I was also. I wrote my dissertation on Sartre and Merleau-Ponty. For me that was the beginning. When I wrote my dissertation, then I started really to understand something 30 00 JS: You graduated from the Jesuit Loyola University in Chi-cago, you defended a dissertation at the University of Leu-ven, where the Husserl Archives were founded. During your time in Europe you seem to have attended lectures by Jean-Paul Sartre, Jacques Lacan and maybe other Parisian figures. What was to you most important during these formative years? AL: Leuven was where I really learnt philosophy. When I was an undergraduate, I did not have a good education. At Leuven it was a historical program, so we had to study each period. But it had an emphasis on contemporary philosophy. And students were mostly interested in contemporary philos-ophy. And I was also. I wrote my dissertation on Sartre and Merleau-Ponty. For me that was the beginning. When I wrote my dissertation, then I started really to understand something 20 00 Open Access Skačkauskas, Jonas 14 03 06 10.21983/P3.0073.1.14 169 181 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Violence and Splendor 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 Fans of Alphonso Lingis have cause for delight in the recent appearance of his new book Violence and Splendor.1 Lingis is of Lithuanian ancestry but native to the rural region nearChicago, and has been well known since the 1960s in severalcapacities. In his early career he was known primarily as an encyclopedic authority on French phenomenology, in partic-ular as the key English translator of the philosophers Levinasand Merleau-Ponty. As a professor at Penn State he was a popular and magnetic character, earning the allegiance of generations of students due to an informal personality and a startling mid-block household filled with live tropical birds,sharks, octopi, and electric eels, life-sized wooden Buddhas,flourishing colonies of bees, specimens of colorful moths andbeetles, and a bathroom mirrored on all horizontal and verti-cal surfaces. As an author of books he emerged relatively late, in 1983, with his debutExcesses: Eros and Culture.2 This workset the pattern for his future writings, mixing philosophicalerudition with travel narratives from the most exotic loca-tions. Along the way he established a reputation with manyreaders (including me) as one of the greatest living masters of English prose. Lingis has been retired from Penn State for nearly a decade and now lives near Baltimore, where he con-tinues to write in the same spirit found in his earlier books. 30 00 Fans of Alphonso Lingis have cause for delight in the recent appearance of his new book Violence and Splendor.1 Lingis is of Lithuanian ancestry but native to the rural region nearChicago, and has been well known since the 1960s in severalcapacities. In his early career he was known primarily as an encyclopedic authority on French phenomenology, in partic-ular as the key English translator of the philosophers Levinasand Merleau-Ponty. As a professor at Penn State he was a popular and magnetic character, earning the allegiance of generations of students due to an informal personality and a startling mid-block household filled with live tropical birds,sharks, octopi, and electric eels, life-sized wooden Buddhas,flourishing colonies of bees, specimens of colorful moths andbeetles, and a bathroom mirrored on all horizontal and verti-cal surfaces. As an author of books he emerged relatively late, in 1983, with his debutExcesses: Eros and Culture.2 This workset the pattern for his future writings, mixing philosophicalerudition with travel narratives from the most exotic loca-tions. Along the way he established a reputation with manyreaders (including me) as one of the greatest living masters of English prose. Lingis has been retired from Penn State for nearly a decade and now lives near Baltimore, where he con-tinues to write in the same spirit found in his earlier books. 20 00 Open Access Harman, Graham 15 03 06 10.21983/P3.0073.1.15 182 182 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/itinerant-philosophy-alphonso-lingis/ Brooklyn, NY 04 01 20140804 George, Bobby Sparrow, Tom 02 WORLD 06 15 9780692253397 03 9780692253397 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76468 20 08 20140804 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25547 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25547/1004548.pdf?sequence=1&isAllowed=y 20 08 20140804 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35269 20 08 20140804 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354052 20 08 20140804 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/457 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3f81380d-17fa-402a-bbb0-da3372c60870/download 20 08 20140804 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f3db2a03-75db-4837-af31-4bb0cb189fa2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f3db2a03-75db-4837-af31-4bb0cb189fa2/f3db2a03-75db-4837-af31-4bb0cb189fa2.pdf 20 08 20140804 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846002 29 ZENODO: download the title https://zenodo.org/records/19846002/files/f3db2a03-75db-4837-af31-4bb0cb189fa2_book.pdf 20 08 20140804 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/itinerant-philosophy-alphonso-lingis/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0073.1.00.pdf 20 08 20140804 01 urn:uuid:643aea8f-2e8e-46f2-9543-4b3773fc1935 03 01 01 thoth-work-id urn:uuid:1376b0f4-e967-4a6f-8d7d-8ba876bbbdde 01 thoth-publication-id urn:uuid:643aea8f-2e8e-46f2-9543-4b3773fc1935 15 9780615858968 03 9780615858968 06 10.21983/P3.0056.1.00 01 internal-reference 0056 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Itinerant Spectator/Itinerant Spectacle 1 A01 P.A. Skantze P.A. Skantze 40 043071f54 University of Roehampton 01 eng 00 262 03 93 AFKP 12 AN B2 Literary Studies 10 PER011020 93 ABA B2 Premodern 20 theater; performance studies; cultural studies; drama 01 06 02 00 03 00 Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.” 30 00 Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0056.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/itinerant-spectator-itinerant-spectacle/ Brooklyn, NY 04 01 20131220 Skantze, P.A. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615858961 20 08 20131220 02 47.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/itinerant-spectatoritinerant-spectacle 20 08 20131220 02 47.00 USD WORLD urn:uuid:46a7a72d-c5f2-4b5a-af72-7d2728b9000c 03 01 01 thoth-work-id urn:uuid:1376b0f4-e967-4a6f-8d7d-8ba876bbbdde 01 thoth-publication-id urn:uuid:46a7a72d-c5f2-4b5a-af72-7d2728b9000c 06 10.21983/P3.0056.1.00 01 internal-reference 0056 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Itinerant Spectator/Itinerant Spectacle 1 A01 P.A. Skantze P.A. Skantze 40 043071f54 University of Roehampton 01 eng 00 262 03 93 AFKP 12 AN B2 Literary Studies 10 PER011020 93 ABA B2 Premodern 20 theater; performance studies; cultural studies; drama 01 06 02 00 03 00 Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.” 30 00 Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0056.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/itinerant-spectator-itinerant-spectacle/ Brooklyn, NY 04 01 20131220 Skantze, P.A. 02 WORLD 06 15 9780615858968 03 9780615858968 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76450 20 08 20131220 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25561 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25561/1004534.pdf?sequence=1&isAllowed=y 20 08 20131220 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36325 20 08 20131220 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353873 20 08 20131220 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/437 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f63f6e0d-8240-4185-848d-1f76defac279/download 20 08 20131220 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1376b0f4-e967-4a6f-8d7d-8ba876bbbdde 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1376b0f4-e967-4a6f-8d7d-8ba876bbbdde/1376b0f4-e967-4a6f-8d7d-8ba876bbbdde.pdf 20 08 20131220 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845864 29 ZENODO: download the title https://zenodo.org/records/19845864/files/1376b0f4-e967-4a6f-8d7d-8ba876bbbdde_book.pdf 20 08 20131220 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/itinerant-spectator-itinerant-spectacle/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0056.1.00.pdf 20 08 20131220 01 urn:uuid:283f5721-deab-4a9f-be16-f919d07dbe41 03 01 01 thoth-work-id urn:uuid:5dcdfa14-ca06-4250-9ffa-6cba4acc0506 01 thoth-publication-id urn:uuid:283f5721-deab-4a9f-be16-f919d07dbe41 15 9781685712600 03 9781685712600 06 10.53288/0522.1.00 01 internal-reference 0522 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Janky Materiality Artifice & Interface 1 A01 J †Johnson J †Johnson 01 eng B2 Cultural Studies+Critical Theory B2 Literary Studies B2 Media+Technology 20 materiality; interface; language-oriented poetry; digital language art; experimental electronic music; modular synthesizers; media technologies 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0522.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/janky-materiality-artifice-interface/ Earth, Milky Way 02 01 20260601 Jeffrey Johnson 02 WORLD 06 15 9781685712617 03 9781685712617 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/janky-materiality-artifice-interface/ 10 08 20260601 01 urn:uuid:fcd23ea9-6a2e-40ee-b5ae-cddad27ae17a 03 01 01 thoth-work-id urn:uuid:5dcdfa14-ca06-4250-9ffa-6cba4acc0506 01 thoth-publication-id urn:uuid:fcd23ea9-6a2e-40ee-b5ae-cddad27ae17a 15 9781685712617 03 9781685712617 06 10.53288/0522.1.00 01 internal-reference 0522 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Janky Materiality Artifice & Interface 1 A01 J †Johnson J †Johnson 01 eng B2 Cultural Studies+Critical Theory B2 Literary Studies B2 Media+Technology 20 materiality; interface; language-oriented poetry; digital language art; experimental electronic music; modular synthesizers; media technologies 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0522.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/janky-materiality-artifice-interface/ Earth, Milky Way 02 01 20260601 Jeffrey Johnson 02 WORLD 06 15 9781685712600 03 9781685712600 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/janky-materiality-artifice-interface/ 10 08 20260601 01 urn:uuid:4320ec67-baf6-40dd-8d0e-2e487025d1eb 03 01 01 thoth-work-id urn:uuid:c6125a74-2801-4255-afe9-89cdb8d253f4 01 thoth-publication-id urn:uuid:4320ec67-baf6-40dd-8d0e-2e487025d1eb 15 9780615734514 03 9780615734514 06 10.21983/P3.0013.1.00 01 internal-reference 0013 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 John Gardner A Tiny Eulogy 1 A01 Phil Jourdan Phil Jourdan 01 eng 00 60 03 93 DSBH 12 HPQ 10 LIT004020 B2 Literary Studies 93 DSK 20 John Gardner; eulogy; creative writing; philosophy of fiction; ethics 01 06 02 00 03 00 John Gardner’s career was permanently changed by his publication of On Moral Fiction (1978), a controversial and derided assessment of the state of literature as Gardner saw it. By arguing for a return to greater seriousness and moral commitments in literature, Gardner found himself attacked on all sides by critics and writers who found his conservatism suspicious or simply irrelevant.In this short tribute to Gardner’s late intellectual concerns, Phil Jourdan looks at some of the difficulties in On Moral Fiction, and asks whether Gardner was rigorous enough in his deployment of various philosophical concepts through his book. Convinced that, despite any problems of argumentative method or intellectual honesty, On Moral Fiction‘s basic message should not be dismissed outright, Jourdan tries to determine what is superfluous to the book, so that we may focus on its core: a call for writers not to forget their moral influence on readers.Now that Gardner’s career is half-forgotten, it is worth remembering this impassioned and public debate on the role of literature has been around far longer than we care to pretend: throughout the centuries, as literature attempts to define itself over and over, the question of morality is always lurking in the background. In John Gardner: A Tiny Eulogy, Phil Jourdan tries to separate the man from the argument, and insists that the latter should not be dismissed because of the imperfection of the former. 30 00 John Gardner’s career was permanently changed by his publication of On Moral Fiction (1978), a controversial and derided assessment of the state of literature as Gardner saw it. By arguing for a return to greater seriousness and moral commitments in literature, Gardner found himself attacked on all sides by critics and writers who found his conservatism suspicious or simply irrelevant.In this short tribute to Gardner’s late intellectual concerns, Phil Jourdan looks at some of the difficulties in On Moral Fiction, and asks whether Gardner was rigorous enough in his deployment of various philosophical concepts through his book. Convinced that, despite any problems of argumentative method or intellectual honesty, On Moral Fiction‘s basic message should not be dismissed outright, Jourdan tries to determine what is superfluous to the book, so that we may focus on its core: a call for writers not to forget their moral influence on readers.Now that Gardner’s career is half-forgotten, it is worth remembering this impassioned and public debate on the role of literature has been around far longer than we care to pretend: throughout the centuries, as literature attempts to define itself over and over, the question of morality is always lurking in the background. In John Gardner: A Tiny Eulogy, Phil Jourdan tries to separate the man from the argument, and insists that the latter should not be dismissed because of the imperfection of the former. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0013.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/john-gardner-a-tiny-eulogy/ Brooklyn, NY 04 01 20121129 Jourdan, Phil 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615734510 20 08 20121129 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/john-gardner-a-tiny-eulogy 20 08 20121129 02 21.00 USD WORLD urn:uuid:2ee9a6ce-6e97-4f83-86f7-f3834edfb9ad 03 01 01 thoth-work-id urn:uuid:c6125a74-2801-4255-afe9-89cdb8d253f4 01 thoth-publication-id urn:uuid:2ee9a6ce-6e97-4f83-86f7-f3834edfb9ad 06 10.21983/P3.0013.1.00 01 internal-reference 0013 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 John Gardner A Tiny Eulogy 1 A01 Phil Jourdan Phil Jourdan 01 eng 00 60 03 93 DSBH 12 HPQ 10 LIT004020 B2 Literary Studies 93 DSK 20 John Gardner; eulogy; creative writing; philosophy of fiction; ethics 01 06 02 00 03 00 John Gardner’s career was permanently changed by his publication of On Moral Fiction (1978), a controversial and derided assessment of the state of literature as Gardner saw it. By arguing for a return to greater seriousness and moral commitments in literature, Gardner found himself attacked on all sides by critics and writers who found his conservatism suspicious or simply irrelevant.In this short tribute to Gardner’s late intellectual concerns, Phil Jourdan looks at some of the difficulties in On Moral Fiction, and asks whether Gardner was rigorous enough in his deployment of various philosophical concepts through his book. Convinced that, despite any problems of argumentative method or intellectual honesty, On Moral Fiction‘s basic message should not be dismissed outright, Jourdan tries to determine what is superfluous to the book, so that we may focus on its core: a call for writers not to forget their moral influence on readers.Now that Gardner’s career is half-forgotten, it is worth remembering this impassioned and public debate on the role of literature has been around far longer than we care to pretend: throughout the centuries, as literature attempts to define itself over and over, the question of morality is always lurking in the background. In John Gardner: A Tiny Eulogy, Phil Jourdan tries to separate the man from the argument, and insists that the latter should not be dismissed because of the imperfection of the former. 30 00 John Gardner’s career was permanently changed by his publication of On Moral Fiction (1978), a controversial and derided assessment of the state of literature as Gardner saw it. By arguing for a return to greater seriousness and moral commitments in literature, Gardner found himself attacked on all sides by critics and writers who found his conservatism suspicious or simply irrelevant.In this short tribute to Gardner’s late intellectual concerns, Phil Jourdan looks at some of the difficulties in On Moral Fiction, and asks whether Gardner was rigorous enough in his deployment of various philosophical concepts through his book. Convinced that, despite any problems of argumentative method or intellectual honesty, On Moral Fiction‘s basic message should not be dismissed outright, Jourdan tries to determine what is superfluous to the book, so that we may focus on its core: a call for writers not to forget their moral influence on readers.Now that Gardner’s career is half-forgotten, it is worth remembering this impassioned and public debate on the role of literature has been around far longer than we care to pretend: throughout the centuries, as literature attempts to define itself over and over, the question of morality is always lurking in the background. In John Gardner: A Tiny Eulogy, Phil Jourdan tries to separate the man from the argument, and insists that the latter should not be dismissed because of the imperfection of the former. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0013.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/john-gardner-a-tiny-eulogy/ Brooklyn, NY 04 01 20121129 Jourdan, Phil 02 WORLD 06 15 9780615734514 03 9780615734514 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76430 20 08 20121129 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25602 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25602/1004493.pdf?sequence=1&isAllowed=y 20 08 20121129 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26005 20 08 20121129 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353860 20 08 20121129 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/392 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b32cbe09-761d-4e23-9a3b-1be627507ec7/download 20 08 20121129 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c6125a74-2801-4255-afe9-89cdb8d253f4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c6125a74-2801-4255-afe9-89cdb8d253f4/c6125a74-2801-4255-afe9-89cdb8d253f4.pdf 20 08 20121129 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693066 29 ZENODO: download the title https://zenodo.org/records/19693066/files/c6125a74-2801-4255-afe9-89cdb8d253f4_book.pdf 20 08 20121129 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/john-gardner-a-tiny-eulogy/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0013.1.00.pdf 20 08 20121129 01 urn:uuid:3caaab7e-29fb-4518-bf91-06a6caf03d9e 03 01 01 thoth-work-id urn:uuid:dc2827ad-cbeb-4541-9af3-6145708c5573 01 thoth-publication-id urn:uuid:3caaab7e-29fb-4518-bf91-06a6caf03d9e 15 9781685712549 03 9781685712549 06 10.53288/0542.1.00 01 internal-reference 0542 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Jorge Luis Borges At Play with Mental Models of the World 1 A01 21 000900075621703X Luis O. Arata Luis O. Arata Professor of Modern Languages 40 00mpz5a50 Quinnipiac University 01 eng B2 Cultural Studies+Critical Theory B2 Literary Studies 20 Jorge Luis Borges; María Kodama; modeling; play; mind-body interaction; self-creation; embodied cognition; embodiedcognition; paradox; blindness 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0542.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/jorge-luis-borges-at-play-with-mental-models-of-the-world/ Earth, Milky Way 02 01 20260701 Luis O. Arata 02 WORLD 06 15 9781685712556 03 9781685712556 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/jorge-luis-borges-at-play-with-mental-models-of-the-world/ 10 08 20260701 01 urn:uuid:ba93bdc4-a7f1-4696-99a0-c34f88f57e97 03 01 01 thoth-work-id urn:uuid:dc2827ad-cbeb-4541-9af3-6145708c5573 01 thoth-publication-id urn:uuid:ba93bdc4-a7f1-4696-99a0-c34f88f57e97 15 9781685712556 03 9781685712556 06 10.53288/0542.1.00 01 internal-reference 0542 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Jorge Luis Borges At Play with Mental Models of the World 1 A01 21 000900075621703X Luis O. Arata Luis O. Arata Professor of Modern Languages 40 00mpz5a50 Quinnipiac University 01 eng B2 Cultural Studies+Critical Theory B2 Literary Studies 20 Jorge Luis Borges; María Kodama; modeling; play; mind-body interaction; self-creation; embodied cognition; embodiedcognition; paradox; blindness 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0542.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/jorge-luis-borges-at-play-with-mental-models-of-the-world/ Earth, Milky Way 02 01 20260701 Luis O. Arata 02 WORLD 06 15 9781685712549 03 9781685712549 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/jorge-luis-borges-at-play-with-mental-models-of-the-world/ 10 08 20260701 01 urn:uuid:e0b5b2ab-f0da-43e0-a78d-e352450b7d97 03 01 01 thoth-work-id urn:uuid:da814d9f-14ff-4660-acfe-52ac2a2058fa 01 thoth-publication-id urn:uuid:e0b5b2ab-f0da-43e0-a78d-e352450b7d97 15 9780692232835 03 9780692232835 06 10.21983/P3.0070.1.00 01 internal-reference 0070 00 BC 10 01 248 mm 01 24.8 cm 01 9.75 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Journal of Badiou Studies 3 On Ethics 1 B01 Nicolò Fazioni Nicolò Fazioni 40 00240q980 University of Padua 2 B01 Michael J. Kelly Michael J. Kelly 40 024mrxd33 University of Leeds 40 008rmbt77 Binghamton University 3 B01 Arthur Rose Arthur Rose 40 024mrxd33 University of Leeds 01 eng 01 ita 00 314 03 12 HPQ 10 PHI013000 B2 Philosophy 93 QDHR7 93 QDTQ 20 Alain Badiou; philosophy; ethics; dialectics; cinema 01 06 02 00 03 00 Journal of Badiou Studies (General Editors: Michael J. Kelly and Arthur James Rose) is a multilingual, peer-reviewed journal dedicated to the philosophy and thought of, and surrounding, the philosopher, playwright, novelist, and poet Alain Badiou. Badiou Studies is dedicated to original, critical and challenging arguments that directly engage with the conditions and circumstances of Badiou’s thought. We aim to identify pertinent intellectual discourses, ideas, historiographies, and concepts, and seek articles that situate these theories within emerging events in politics, science, art and love. Badiou Studies is especially concerned with maintaining a fidelity to Badiou’s thinking without collapsing into hagiography or celebrity fetishism. This is why we encourage works that actively critique Badiou’s philosophy and his currency as an established philosophical figure. Badiou himself embraces this approach and serves on the journal’s Advisory Board.Alain Badiou’s small book on ethics (Ethics: An Essay on the Understanding of Evil) remains one of the most important points of entry into Badiou’s thought, since it is not only widely read across disciplines but is also one of the most widely translated of all of his works. This issue of Badiou Studies (Vol. 3) draws together scholarly responses and criticisms to Badiou’s ethics. Sometimes in agreement, sometimes in violent opposition, always faithful to the imperative to keep thought going. 30 00 Journal of Badiou Studies (General Editors: Michael J. Kelly and Arthur James Rose) is a multilingual, peer-reviewed journal dedicated to the philosophy and thought of, and surrounding, the philosopher, playwright, novelist, and poet Alain Badiou. Badiou Studies is dedicated to original, critical and challenging arguments that directly engage with the conditions and circumstances of Badiou’s thought. We aim to identify pertinent intellectual discourses, ideas, historiographies, and concepts, and seek articles that situate these theories within emerging events in politics, science, art and love. Badiou Studies is especially concerned with maintaining a fidelity to Badiou’s thinking without collapsing into hagiography or celebrity fetishism. This is why we encourage works that actively critique Badiou’s philosophy and his currency as an established philosophical figure. Badiou himself embraces this approach and serves on the journal’s Advisory Board.Alain Badiou’s small book on ethics (Ethics: An Essay on the Understanding of Evil) remains one of the most important points of entry into Badiou’s thought, since it is not only widely read across disciplines but is also one of the most widely translated of all of his works. This issue of Badiou Studies (Vol. 3) draws together scholarly responses and criticisms to Badiou’s ethics. Sometimes in agreement, sometimes in violent opposition, always faithful to the imperative to keep thought going. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0070.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/badiou-studies-3-1-on-ethics/ Brooklyn, NY 04 01 20140604 Fazioni, Nicolò Kelly, Michael J. Rose, Arthur 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692232834 20 08 20140604 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/journal-of-badiou-studies-3-on-ethics 20 08 20140604 02 28.00 USD WORLD urn:uuid:b4c38050-3744-4dd0-9a28-d830c40aad99 03 01 01 thoth-work-id urn:uuid:da814d9f-14ff-4660-acfe-52ac2a2058fa 01 thoth-publication-id urn:uuid:b4c38050-3744-4dd0-9a28-d830c40aad99 06 10.21983/P3.0070.1.00 01 internal-reference 0070 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Journal of Badiou Studies 3 On Ethics 1 B01 Nicolò Fazioni Nicolò Fazioni 40 00240q980 University of Padua 2 B01 Michael J. Kelly Michael J. Kelly 40 024mrxd33 University of Leeds 40 008rmbt77 Binghamton University 3 B01 Arthur Rose Arthur Rose 40 024mrxd33 University of Leeds 01 eng 01 ita 00 314 03 12 HPQ 10 PHI013000 B2 Philosophy 93 QDHR7 93 QDTQ 20 Alain Badiou; philosophy; ethics; dialectics; cinema 01 06 02 00 03 00 Journal of Badiou Studies (General Editors: Michael J. Kelly and Arthur James Rose) is a multilingual, peer-reviewed journal dedicated to the philosophy and thought of, and surrounding, the philosopher, playwright, novelist, and poet Alain Badiou. Badiou Studies is dedicated to original, critical and challenging arguments that directly engage with the conditions and circumstances of Badiou’s thought. We aim to identify pertinent intellectual discourses, ideas, historiographies, and concepts, and seek articles that situate these theories within emerging events in politics, science, art and love. Badiou Studies is especially concerned with maintaining a fidelity to Badiou’s thinking without collapsing into hagiography or celebrity fetishism. This is why we encourage works that actively critique Badiou’s philosophy and his currency as an established philosophical figure. Badiou himself embraces this approach and serves on the journal’s Advisory Board.Alain Badiou’s small book on ethics (Ethics: An Essay on the Understanding of Evil) remains one of the most important points of entry into Badiou’s thought, since it is not only widely read across disciplines but is also one of the most widely translated of all of his works. This issue of Badiou Studies (Vol. 3) draws together scholarly responses and criticisms to Badiou’s ethics. Sometimes in agreement, sometimes in violent opposition, always faithful to the imperative to keep thought going. 30 00 Journal of Badiou Studies (General Editors: Michael J. Kelly and Arthur James Rose) is a multilingual, peer-reviewed journal dedicated to the philosophy and thought of, and surrounding, the philosopher, playwright, novelist, and poet Alain Badiou. Badiou Studies is dedicated to original, critical and challenging arguments that directly engage with the conditions and circumstances of Badiou’s thought. We aim to identify pertinent intellectual discourses, ideas, historiographies, and concepts, and seek articles that situate these theories within emerging events in politics, science, art and love. Badiou Studies is especially concerned with maintaining a fidelity to Badiou’s thinking without collapsing into hagiography or celebrity fetishism. This is why we encourage works that actively critique Badiou’s philosophy and his currency as an established philosophical figure. Badiou himself embraces this approach and serves on the journal’s Advisory Board.Alain Badiou’s small book on ethics (Ethics: An Essay on the Understanding of Evil) remains one of the most important points of entry into Badiou’s thought, since it is not only widely read across disciplines but is also one of the most widely translated of all of his works. This issue of Badiou Studies (Vol. 3) draws together scholarly responses and criticisms to Badiou’s ethics. Sometimes in agreement, sometimes in violent opposition, always faithful to the imperative to keep thought going. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0070.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/badiou-studies-3-1-on-ethics/ Brooklyn, NY 04 01 20140604 Fazioni, Nicolò Kelly, Michael J. Rose, Arthur 02 WORLD 06 15 9780692232835 03 9780692232835 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353801 20 08 20140604 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/454 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/94997ddc-f808-49ac-83d2-1350ad197558/download 20 08 20140604 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/da814d9f-14ff-4660-acfe-52ac2a2058fa 29 INTERNET_ARCHIVE: download the title https://archive.org/download/da814d9f-14ff-4660-acfe-52ac2a2058fa/da814d9f-14ff-4660-acfe-52ac2a2058fa.pdf 20 08 20140604 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845978 29 ZENODO: download the title https://zenodo.org/records/19845978/files/da814d9f-14ff-4660-acfe-52ac2a2058fa_book.pdf 20 08 20140604 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/badiou-studies-3-1-on-ethics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0070.1.00.pdf 20 08 20140604 01 urn:uuid:c02f22d3-4dc6-4d1d-9f48-9e1ee27aaaee 03 01 01 thoth-work-id urn:uuid:7e2e26fd-4b0b-4c0b-a1fa-278524c43757 01 thoth-publication-id urn:uuid:c02f22d3-4dc6-4d1d-9f48-9e1ee27aaaee 15 9781947447066 03 9781947447066 06 10.21983/P3.0173.1.00 13 2017945568 01 internal-reference 0173 00 BC 10 01 248 mm 01 24.8 cm 01 9.75 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Journal of Badiou Studies 5 Architheater 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University 2 B01 Arthur Rose Arthur Rose 3 B01 Adi Efal-Lautenschläger Adi Efal-Lautenschläger 01 eng 00 146 03 B2 Art+Aesthetics 12 HPCF 10 PHI001000 93 QDHR7 93 ATD B2 Philosophy 20 architecture; theater; philosophy; ontology; poetics 01 06 02 00 03 00 The fifth volume of the Journal of Badiou Studies, “Architheater,” energized by the publication of Badiou’s Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: ‘Engaging’ here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou’s philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou’s philosophy as a center of convergence-nexus of a plethora of philosophical positions that include artistic production as a central element of their structure. Thematically, the volume limits its discussion to “a two” of architecture and theater, thinking their overlapping, juxtaposition, and respective generative capacities.JBS 5 suggests superimposing these two “media” and posing them at the center of the volume for several reasons: Politically, both theater and architecture actively engage in the life of the polis, they effectually and factually demand the participation of collective and material actors. Poietically, both media manifest a comprehensive form of artistic production, that is to say they both include elements and organs (actors, designers, lighting-specialists, engineers, planners, executives, actors, dancers, etc.) that are required as collaborators in the realization of the piece. The Architect, on the one hand, and the Theater maker, on the other, both produce what could be defined as a world, or, in Badiou’s terms, a formation of a subject 30 00 The fifth volume of the Journal of Badiou Studies, “Architheater,” energized by the publication of Badiou’s Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: ‘Engaging’ here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou’s philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou’s philosophy as a center of convergence-nexus of a plethora of philosophical positions that include artistic production as a central element of their structure. Thematically, the volume limits its discussion to “a two” of architecture and theater, thinking their overlapping, juxtaposition, and respective generative capacities.JBS 5 suggests superimposing these two “media” and posing them at the center of the volume for several reasons: Politically, both theater and architecture actively engage in the life of the polis, they effectually and factually demand the participation of collective and material actors. Poietically, both media manifest a comprehensive form of artistic production, that is to say they both include elements and organs (actors, designers, lighting-specialists, engineers, planners, executives, actors, dancers, etc.) that are required as collaborators in the realization of the piece. The Architect, on the one hand, and the Theater maker, on the other, both produce what could be defined as a world, or, in Badiou’s terms, a formation of a subject 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0173.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/journal-of-badiou-studies-5-architheater/ Earth, Milky Way 04 01 20170707 Kelly, Michael J. Rose, Arthur Efal-Lautenschläger, Adi 02 WORLD 06 15 9781947447073 03 9781947447073 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447068 20 08 20170707 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/journal-of-badiou-studies-5-architheater 20 08 20170707 02 23.00 USD WORLD urn:uuid:fc62ebe2-9191-48eb-9389-b072b1e7769e 03 01 01 thoth-work-id urn:uuid:7e2e26fd-4b0b-4c0b-a1fa-278524c43757 01 thoth-publication-id urn:uuid:fc62ebe2-9191-48eb-9389-b072b1e7769e 15 9781947447073 03 9781947447073 06 10.21983/P3.0173.1.00 13 2017945568 01 internal-reference 0173 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Journal of Badiou Studies 5 Architheater 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University 2 B01 Arthur Rose Arthur Rose 3 B01 Adi Efal-Lautenschläger Adi Efal-Lautenschläger 01 eng 00 146 03 B2 Art+Aesthetics 12 HPCF 10 PHI001000 93 QDHR7 93 ATD B2 Philosophy 20 architecture; theater; philosophy; ontology; poetics 01 06 02 00 03 00 The fifth volume of the Journal of Badiou Studies, “Architheater,” energized by the publication of Badiou’s Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: ‘Engaging’ here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou’s philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou’s philosophy as a center of convergence-nexus of a plethora of philosophical positions that include artistic production as a central element of their structure. Thematically, the volume limits its discussion to “a two” of architecture and theater, thinking their overlapping, juxtaposition, and respective generative capacities.JBS 5 suggests superimposing these two “media” and posing them at the center of the volume for several reasons: Politically, both theater and architecture actively engage in the life of the polis, they effectually and factually demand the participation of collective and material actors. Poietically, both media manifest a comprehensive form of artistic production, that is to say they both include elements and organs (actors, designers, lighting-specialists, engineers, planners, executives, actors, dancers, etc.) that are required as collaborators in the realization of the piece. The Architect, on the one hand, and the Theater maker, on the other, both produce what could be defined as a world, or, in Badiou’s terms, a formation of a subject 30 00 The fifth volume of the Journal of Badiou Studies, “Architheater,” energized by the publication of Badiou’s Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: ‘Engaging’ here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou’s philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou’s philosophy as a center of convergence-nexus of a plethora of philosophical positions that include artistic production as a central element of their structure. Thematically, the volume limits its discussion to “a two” of architecture and theater, thinking their overlapping, juxtaposition, and respective generative capacities.JBS 5 suggests superimposing these two “media” and posing them at the center of the volume for several reasons: Politically, both theater and architecture actively engage in the life of the polis, they effectually and factually demand the participation of collective and material actors. Poietically, both media manifest a comprehensive form of artistic production, that is to say they both include elements and organs (actors, designers, lighting-specialists, engineers, planners, executives, actors, dancers, etc.) that are required as collaborators in the realization of the piece. The Architect, on the one hand, and the Theater maker, on the other, both produce what could be defined as a world, or, in Badiou’s terms, a formation of a subject 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0173.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/journal-of-badiou-studies-5-architheater/ Earth, Milky Way 04 01 20170707 Kelly, Michael J. Rose, Arthur Efal-Lautenschläger, Adi 02 WORLD 06 15 9781947447066 03 9781947447066 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353946 20 08 20170707 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/557 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8f3c7c29-3a55-4f39-9536-e12a89524873/download 20 08 20170707 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7e2e26fd-4b0b-4c0b-a1fa-278524c43757 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7e2e26fd-4b0b-4c0b-a1fa-278524c43757/7e2e26fd-4b0b-4c0b-a1fa-278524c43757.pdf 20 08 20170707 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846968 29 ZENODO: download the title https://zenodo.org/records/19846968/files/7e2e26fd-4b0b-4c0b-a1fa-278524c43757_book.pdf 20 08 20170707 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/journal-of-badiou-studies-5-architheater/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0173.1.00.pdf 20 08 20170707 01 urn:uuid:5439f4d4-7786-4c40-9066-89fa1a31821e 03 01 01 thoth-work-id urn:uuid:08842315-3a11-4237-9acc-e833c484f8df 01 thoth-publication-id urn:uuid:5439f4d4-7786-4c40-9066-89fa1a31821e 15 9781685713126 03 9781685713126 06 10.53288/0563.1.00 13 2026935473 01 internal-reference 0563 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kayfabe Nation Professional Wrestling, Donald Trump, and the New Cynicism 1 A01 Neal Hebert Neal Hebert Assistant Professor of Theatre 40 05mnb6484 Grambling State University Neal Hebert is Assistant Professor of Theatre at Grambling State University’s Department of Visual and Performing Arts. An experienced stage director and dramaturg, Hebert received his MA in Philosophy in 2008 and his PhD in Theatre History from Louisiana State University in 2016. Select shows from his career as a theatre practitioner include: Paula Vogel’s How I Learned to Drive, Sam Shepard’s Fool for Love, John C. Russell’s Stupid Kids for Hebert’s company Bang Bang You’re Dead Theatre, Neal LaBute’s The Shape of Things and Fat Pig, and Naomi Iizuka’s Good Kids. Hebert also directed the Louisiana regional premiere of David Auburn’s Proof in 2005. He taught at Louisiana State University, McNeese State University, and Southern University of Baton Rouge before finding his home at GSU. Hebert’s research has been published in Ecumenica, The Arthur Miller Journal, Theatre Annual, and Oxford University Press’s first Anthology of Dance and Theatre. Hebert has a deep and abiding love for horror movies, roleplaying games, and speculative fiction. He and his wife, Cici, co-parent their blended household of five cats. 2 A01 21 0000000186436726 Jon Cogburn Jon Cogburn Chair of the Department of Philosophy and Religious Studies 40 05ect4e57 Louisiana State University Jon Cogburn is chair of the Louisiana State University Department of Philosophy and Religious Studies. He has published extensively in philosophy of logic, metaphysics, epistemology, and the philosophy of art and with Mark Ohm and Abigail and Christopher Ray Alexander he has translated four books by Tristan Garcia. His monographs include Garcian Meditations: The Dialectics of Persistence in Form and Object (Edinburgh, 2017) and with Mark Silcox, Philosophy through Video Games (Routledge, 2008). He has edited, with Mark Silcox, Dungeons and Dragons and Philosophy (Open Court, 2012) and with Niki Young, The Graham Harman Reader (Zer0, 2023). With Michael Ardoline, he is currently finishing Weird Atheism: H.P. Lovecraft and the Meaning of Life and making progress on books on panpsychism and Object-Oriented Ontology with Niki Young. Cogburn has been an avid guitarist since junior high school and currently performs with the Baton Rouge area swamp punk bands Captain Paranoid and Down by Law. He paints with watercolors in his spare time. His immediate family includes two teenage children, two unruly, lovable dogs, two intrepid felines, and his fellow band member and wife, writer and philosopher Emily Cogburn. 01 eng 00 264 03 B2 Cultural Studies+Critical Theory 93 JPFQ 10 POL040010 93 JPHX B2 New Left Thought 10 POL042030 10 SPO053000 93 SRC 93 1KBB 93 3MRB 20 WWE; Vince McMahon; Donald J. Trump; political theory; wrestling; MAGA; autocracy; rhetorics; conspiracy theory 01 06 02 00 03 00 What do a pudgy, orange autocrat, and pumped-up men in tights have in common? The connections, while profound, all rest on specific strategies employed by World Wrestling Entertainment during the early 2000s (known as WWE’s “Attitude Era”) when Donald Trump was centrally involved with the promotion of WWE. These are: (1) universally breaking kayfabe, the code of people in the industry not to reveal or admit fakery; (2) Vince McMahon (WWE’s CEO at that time) playing a fictional version of himself as someone constantly humiliated in storylines; (3) the vicious affirmation of traditional gender roles through parables of male domination; and (4) telling stories that encourage viewers to ignore the actual material conditions of WWE “superstars” in favor of conspiratorial fictions involving powerful individual actors. In Kayfabe Nation: Professional Wrestling, Donald Trump, and the New Cynicism, Hebert and Cogburn present a trenchant analysis of Attitude Era WWE, showing the extent to which MAGA is just is a function, or symptom, of Trump’s internalization of WWE’s most objectionable tropes.Neal Hebert and Jon Cogburn’s goal is not to use WWE merely to understand Trumpism and the related autocratic turn in countries as diverse as El-Sisi’s Egypt, Putin’s Russia, Erdogan’s Turkey, Modi’s India, Bolsonaro’s Brazil, Orbán’s Hungary, Netanyahu’s Israel, and of course Trump’s own America. Beyond that, Kayfabe Nation is a defense of truth against the lie that culminates in the widespread adoption of self-defeating conspiracy theories among the constituency of the right, as well as against the idea, popular in corrupted center-left parties across the planet that political success comes down to adopting better rhetorical strategies, strategies that exist in part to cover over their abandonment of New Deal and socialist ideologies where the material conditions of their constituencies would actually improve. 30 00 What do a pudgy, orange autocrat, and pumped-up men in tights have in common? The connections, while profound, all rest on specific strategies employed by World Wrestling Entertainment during the early 2000s (known as WWE’s “Attitude Era”) when Donald Trump was centrally involved with the promotion of WWE. These are: (1) universally breaking kayfabe, the code of people in the industry not to reveal or admit fakery; (2) Vince McMahon (WWE’s CEO at that time) playing a fictional version of himself as someone constantly humiliated in storylines; (3) the vicious affirmation of traditional gender roles through parables of male domination; and (4) telling stories that encourage viewers to ignore the actual material conditions of WWE “superstars” in favor of conspiratorial fictions involving powerful individual actors. In Kayfabe Nation: Professional Wrestling, Donald Trump, and the New Cynicism, Hebert and Cogburn present a trenchant analysis of Attitude Era WWE, showing the extent to which MAGA is just is a function, or symptom, of Trump’s internalization of WWE’s most objectionable tropes.Neal Hebert and Jon Cogburn’s goal is not to use WWE merely to understand Trumpism and the related autocratic turn in countries as diverse as El-Sisi’s Egypt, Putin’s Russia, Erdogan’s Turkey, Modi’s India, Bolsonaro’s Brazil, Orbán’s Hungary, Netanyahu’s Israel, and of course Trump’s own America. Beyond that, Kayfabe Nation is a defense of truth against the lie that culminates in the widespread adoption of self-defeating conspiracy theories among the constituency of the right, as well as against the idea, popular in corrupted center-left parties across the planet that political success comes down to adopting better rhetorical strategies, strategies that exist in part to cover over their abandonment of New Deal and socialist ideologies where the material conditions of their constituencies would actually improve. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/260214kayfabenation-cover-web-front-960x1536.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kayfabe-nation-professional-wrestling-donald-trump-and-the-new-cynicism/ Earth, Milky Way 04 01 20260407 Neal Hebert, Jon Cogburn 02 WORLD 06 15 9781685713133 03 9781685713133 06 15 9781685713140 03 9781685713140 34 06 10.1093/aristotelian/53.1.205 34 06 10.1162/DRAM_a_00713 34 06 10.1177/0090591706293016 34 06 10.1111/jpcu.12492 34 06 10.1080/13528165.2014.928516 34 06 10.1111/j.1468-0149.2010.00508.x 34 06 10.1007/s10790-011-9289-6 34 06 10.2307/jj.2353877.10 34 06 10.1007/s13347-013-0137-4 34 06 10.31165/nk.2015.83.378 34 06 10.1016/j.clsr.2021.105543 34 06 10.1093/poq/nfi058 34 06 10.1086/709223 34 06 10.1093/aristotelian/68.1.105 34 06 10.1111/0029-4624.00201 34 06 10.2991/iccessh-17.2017.166 34 06 10.3138/cras.2018.024 34 06 10.1111/jpcu.12688 34 06 10.1080/00948705.2019.1613410 34 06 10.1093/isr/viab028 34 06 10.1080/10509208.2016.1222573 34 06 10.2307/1344358 34 06 10.1023/A:1018829332270 34 06 10.1080/19392397.2014.981047 34 06 10.1093/acrefore/9780199329175.013.55 34 06 10.1080/13528165.2017.1348607 34 06 10.1515/for-2013-0047 34 06 10.4081/hpr.2014.1821 34 06 10.1525/j.postcomstud.2021.54.4.54 34 06 10.1093/aesthj/ayl021 34 06 10.1177/019027250807100205 34 06 10.2307/2182438 34 06 10.1177/2046147X20979294 34 06 10.1177/08969205221118223 34 06 10.1162/DRAM_c_00764 34 06 10.1177/2057047318794962 34 06 10.2307/2214597 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685713122 20 08 20260407 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/kayfabe-nation-professional-wrestling-donald-trump-and-the-new-cynicism-neal-hebert-john-cogburn 20 08 20260407 02 24.00 USD WORLD urn:uuid:dd6d1da1-7fae-4f12-8fc6-8b9bad30cac6 03 01 01 thoth-work-id urn:uuid:08842315-3a11-4237-9acc-e833c484f8df 01 thoth-publication-id urn:uuid:dd6d1da1-7fae-4f12-8fc6-8b9bad30cac6 15 9781685713133 03 9781685713133 06 10.53288/0563.1.00 13 2026935473 01 internal-reference 0563 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kayfabe Nation Professional Wrestling, Donald Trump, and the New Cynicism 1 A01 Neal Hebert Neal Hebert Assistant Professor of Theatre 40 05mnb6484 Grambling State University Neal Hebert is Assistant Professor of Theatre at Grambling State University’s Department of Visual and Performing Arts. An experienced stage director and dramaturg, Hebert received his MA in Philosophy in 2008 and his PhD in Theatre History from Louisiana State University in 2016. Select shows from his career as a theatre practitioner include: Paula Vogel’s How I Learned to Drive, Sam Shepard’s Fool for Love, John C. Russell’s Stupid Kids for Hebert’s company Bang Bang You’re Dead Theatre, Neal LaBute’s The Shape of Things and Fat Pig, and Naomi Iizuka’s Good Kids. Hebert also directed the Louisiana regional premiere of David Auburn’s Proof in 2005. He taught at Louisiana State University, McNeese State University, and Southern University of Baton Rouge before finding his home at GSU. Hebert’s research has been published in Ecumenica, The Arthur Miller Journal, Theatre Annual, and Oxford University Press’s first Anthology of Dance and Theatre. Hebert has a deep and abiding love for horror movies, roleplaying games, and speculative fiction. He and his wife, Cici, co-parent their blended household of five cats. 2 A01 21 0000000186436726 Jon Cogburn Jon Cogburn Chair of the Department of Philosophy and Religious Studies 40 05ect4e57 Louisiana State University Jon Cogburn is chair of the Louisiana State University Department of Philosophy and Religious Studies. He has published extensively in philosophy of logic, metaphysics, epistemology, and the philosophy of art and with Mark Ohm and Abigail and Christopher Ray Alexander he has translated four books by Tristan Garcia. His monographs include Garcian Meditations: The Dialectics of Persistence in Form and Object (Edinburgh, 2017) and with Mark Silcox, Philosophy through Video Games (Routledge, 2008). He has edited, with Mark Silcox, Dungeons and Dragons and Philosophy (Open Court, 2012) and with Niki Young, The Graham Harman Reader (Zer0, 2023). With Michael Ardoline, he is currently finishing Weird Atheism: H.P. Lovecraft and the Meaning of Life and making progress on books on panpsychism and Object-Oriented Ontology with Niki Young. Cogburn has been an avid guitarist since junior high school and currently performs with the Baton Rouge area swamp punk bands Captain Paranoid and Down by Law. He paints with watercolors in his spare time. His immediate family includes two teenage children, two unruly, lovable dogs, two intrepid felines, and his fellow band member and wife, writer and philosopher Emily Cogburn. 01 eng 00 264 03 B2 Cultural Studies+Critical Theory 93 JPFQ 10 POL040010 93 JPHX B2 New Left Thought 10 POL042030 10 SPO053000 93 SRC 93 1KBB 93 3MRB 20 WWE; Vince McMahon; Donald J. Trump; political theory; wrestling; MAGA; autocracy; rhetorics; conspiracy theory 01 06 02 00 03 00 What do a pudgy, orange autocrat, and pumped-up men in tights have in common? The connections, while profound, all rest on specific strategies employed by World Wrestling Entertainment during the early 2000s (known as WWE’s “Attitude Era”) when Donald Trump was centrally involved with the promotion of WWE. These are: (1) universally breaking kayfabe, the code of people in the industry not to reveal or admit fakery; (2) Vince McMahon (WWE’s CEO at that time) playing a fictional version of himself as someone constantly humiliated in storylines; (3) the vicious affirmation of traditional gender roles through parables of male domination; and (4) telling stories that encourage viewers to ignore the actual material conditions of WWE “superstars” in favor of conspiratorial fictions involving powerful individual actors. In Kayfabe Nation: Professional Wrestling, Donald Trump, and the New Cynicism, Hebert and Cogburn present a trenchant analysis of Attitude Era WWE, showing the extent to which MAGA is just is a function, or symptom, of Trump’s internalization of WWE’s most objectionable tropes.Neal Hebert and Jon Cogburn’s goal is not to use WWE merely to understand Trumpism and the related autocratic turn in countries as diverse as El-Sisi’s Egypt, Putin’s Russia, Erdogan’s Turkey, Modi’s India, Bolsonaro’s Brazil, Orbán’s Hungary, Netanyahu’s Israel, and of course Trump’s own America. Beyond that, Kayfabe Nation is a defense of truth against the lie that culminates in the widespread adoption of self-defeating conspiracy theories among the constituency of the right, as well as against the idea, popular in corrupted center-left parties across the planet that political success comes down to adopting better rhetorical strategies, strategies that exist in part to cover over their abandonment of New Deal and socialist ideologies where the material conditions of their constituencies would actually improve. 30 00 What do a pudgy, orange autocrat, and pumped-up men in tights have in common? The connections, while profound, all rest on specific strategies employed by World Wrestling Entertainment during the early 2000s (known as WWE’s “Attitude Era”) when Donald Trump was centrally involved with the promotion of WWE. These are: (1) universally breaking kayfabe, the code of people in the industry not to reveal or admit fakery; (2) Vince McMahon (WWE’s CEO at that time) playing a fictional version of himself as someone constantly humiliated in storylines; (3) the vicious affirmation of traditional gender roles through parables of male domination; and (4) telling stories that encourage viewers to ignore the actual material conditions of WWE “superstars” in favor of conspiratorial fictions involving powerful individual actors. In Kayfabe Nation: Professional Wrestling, Donald Trump, and the New Cynicism, Hebert and Cogburn present a trenchant analysis of Attitude Era WWE, showing the extent to which MAGA is just is a function, or symptom, of Trump’s internalization of WWE’s most objectionable tropes.Neal Hebert and Jon Cogburn’s goal is not to use WWE merely to understand Trumpism and the related autocratic turn in countries as diverse as El-Sisi’s Egypt, Putin’s Russia, Erdogan’s Turkey, Modi’s India, Bolsonaro’s Brazil, Orbán’s Hungary, Netanyahu’s Israel, and of course Trump’s own America. Beyond that, Kayfabe Nation is a defense of truth against the lie that culminates in the widespread adoption of self-defeating conspiracy theories among the constituency of the right, as well as against the idea, popular in corrupted center-left parties across the planet that political success comes down to adopting better rhetorical strategies, strategies that exist in part to cover over their abandonment of New Deal and socialist ideologies where the material conditions of their constituencies would actually improve. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/260214kayfabenation-cover-web-front-960x1536.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kayfabe-nation-professional-wrestling-donald-trump-and-the-new-cynicism/ Earth, Milky Way 04 01 20260407 Neal Hebert, Jon Cogburn 02 WORLD 06 15 9781685713126 03 9781685713126 06 15 9781685713140 03 9781685713140 34 06 10.1093/aristotelian/53.1.205 34 06 10.1162/DRAM_a_00713 34 06 10.1177/0090591706293016 34 06 10.1111/jpcu.12492 34 06 10.1080/13528165.2014.928516 34 06 10.1111/j.1468-0149.2010.00508.x 34 06 10.1007/s10790-011-9289-6 34 06 10.2307/jj.2353877.10 34 06 10.1007/s13347-013-0137-4 34 06 10.31165/nk.2015.83.378 34 06 10.1016/j.clsr.2021.105543 34 06 10.1093/poq/nfi058 34 06 10.1086/709223 34 06 10.1093/aristotelian/68.1.105 34 06 10.1111/0029-4624.00201 34 06 10.2991/iccessh-17.2017.166 34 06 10.3138/cras.2018.024 34 06 10.1111/jpcu.12688 34 06 10.1080/00948705.2019.1613410 34 06 10.1093/isr/viab028 34 06 10.1080/10509208.2016.1222573 34 06 10.2307/1344358 34 06 10.1023/A:1018829332270 34 06 10.1080/19392397.2014.981047 34 06 10.1093/acrefore/9780199329175.013.55 34 06 10.1080/13528165.2017.1348607 34 06 10.1515/for-2013-0047 34 06 10.4081/hpr.2014.1821 34 06 10.1525/j.postcomstud.2021.54.4.54 34 06 10.1093/aesthj/ayl021 34 06 10.1177/019027250807100205 34 06 10.2307/2182438 34 06 10.1177/2046147X20979294 34 06 10.1177/08969205221118223 34 06 10.1162/DRAM_c_00764 34 06 10.1177/2057047318794962 34 06 10.2307/2214597 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/112594 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/112594/9781685713133.pdf?sequence=1&isAllowed=y 20 08 20260407 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/175849 20 08 20260407 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/08842315-3a11-4237-9acc-e833c484f8df 29 INTERNET_ARCHIVE: download the title https://archive.org/download/08842315-3a11-4237-9acc-e833c484f8df/08842315-3a11-4237-9acc-e833c484f8df.pdf 20 08 20260407 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/kayfabe-nation-professional-wrestling-donald-trump-and-the-new-cynicism/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0563.1.00.pdf 20 08 20260407 01 urn:uuid:ce4894be-46d5-4feb-89e6-f15b75932d76 03 01 01 thoth-work-id urn:uuid:08842315-3a11-4237-9acc-e833c484f8df 01 thoth-publication-id urn:uuid:ce4894be-46d5-4feb-89e6-f15b75932d76 15 9781685713140 03 9781685713140 06 10.53288/0563.1.00 13 2026935473 01 internal-reference 0563 00 EB E101 09 82 09 85 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kayfabe Nation Professional Wrestling, Donald Trump, and the New Cynicism 1 A01 Neal Hebert Neal Hebert Assistant Professor of Theatre 40 05mnb6484 Grambling State University Neal Hebert is Assistant Professor of Theatre at Grambling State University’s Department of Visual and Performing Arts. An experienced stage director and dramaturg, Hebert received his MA in Philosophy in 2008 and his PhD in Theatre History from Louisiana State University in 2016. Select shows from his career as a theatre practitioner include: Paula Vogel’s How I Learned to Drive, Sam Shepard’s Fool for Love, John C. Russell’s Stupid Kids for Hebert’s company Bang Bang You’re Dead Theatre, Neal LaBute’s The Shape of Things and Fat Pig, and Naomi Iizuka’s Good Kids. Hebert also directed the Louisiana regional premiere of David Auburn’s Proof in 2005. He taught at Louisiana State University, McNeese State University, and Southern University of Baton Rouge before finding his home at GSU. Hebert’s research has been published in Ecumenica, The Arthur Miller Journal, Theatre Annual, and Oxford University Press’s first Anthology of Dance and Theatre. Hebert has a deep and abiding love for horror movies, roleplaying games, and speculative fiction. He and his wife, Cici, co-parent their blended household of five cats. 2 A01 21 0000000186436726 Jon Cogburn Jon Cogburn Chair of the Department of Philosophy and Religious Studies 40 05ect4e57 Louisiana State University Jon Cogburn is chair of the Louisiana State University Department of Philosophy and Religious Studies. He has published extensively in philosophy of logic, metaphysics, epistemology, and the philosophy of art and with Mark Ohm and Abigail and Christopher Ray Alexander he has translated four books by Tristan Garcia. His monographs include Garcian Meditations: The Dialectics of Persistence in Form and Object (Edinburgh, 2017) and with Mark Silcox, Philosophy through Video Games (Routledge, 2008). He has edited, with Mark Silcox, Dungeons and Dragons and Philosophy (Open Court, 2012) and with Niki Young, The Graham Harman Reader (Zer0, 2023). With Michael Ardoline, he is currently finishing Weird Atheism: H.P. Lovecraft and the Meaning of Life and making progress on books on panpsychism and Object-Oriented Ontology with Niki Young. Cogburn has been an avid guitarist since junior high school and currently performs with the Baton Rouge area swamp punk bands Captain Paranoid and Down by Law. He paints with watercolors in his spare time. His immediate family includes two teenage children, two unruly, lovable dogs, two intrepid felines, and his fellow band member and wife, writer and philosopher Emily Cogburn. 01 eng 00 264 03 B2 Cultural Studies+Critical Theory 93 JPFQ 10 POL040010 93 JPHX B2 New Left Thought 10 POL042030 10 SPO053000 93 SRC 93 1KBB 93 3MRB 20 WWE; Vince McMahon; Donald J. Trump; political theory; wrestling; MAGA; autocracy; rhetorics; conspiracy theory 01 06 02 00 03 00 What do a pudgy, orange autocrat, and pumped-up men in tights have in common? The connections, while profound, all rest on specific strategies employed by World Wrestling Entertainment during the early 2000s (known as WWE’s “Attitude Era”) when Donald Trump was centrally involved with the promotion of WWE. These are: (1) universally breaking kayfabe, the code of people in the industry not to reveal or admit fakery; (2) Vince McMahon (WWE’s CEO at that time) playing a fictional version of himself as someone constantly humiliated in storylines; (3) the vicious affirmation of traditional gender roles through parables of male domination; and (4) telling stories that encourage viewers to ignore the actual material conditions of WWE “superstars” in favor of conspiratorial fictions involving powerful individual actors. In Kayfabe Nation: Professional Wrestling, Donald Trump, and the New Cynicism, Hebert and Cogburn present a trenchant analysis of Attitude Era WWE, showing the extent to which MAGA is just is a function, or symptom, of Trump’s internalization of WWE’s most objectionable tropes.Neal Hebert and Jon Cogburn’s goal is not to use WWE merely to understand Trumpism and the related autocratic turn in countries as diverse as El-Sisi’s Egypt, Putin’s Russia, Erdogan’s Turkey, Modi’s India, Bolsonaro’s Brazil, Orbán’s Hungary, Netanyahu’s Israel, and of course Trump’s own America. Beyond that, Kayfabe Nation is a defense of truth against the lie that culminates in the widespread adoption of self-defeating conspiracy theories among the constituency of the right, as well as against the idea, popular in corrupted center-left parties across the planet that political success comes down to adopting better rhetorical strategies, strategies that exist in part to cover over their abandonment of New Deal and socialist ideologies where the material conditions of their constituencies would actually improve. 30 00 What do a pudgy, orange autocrat, and pumped-up men in tights have in common? The connections, while profound, all rest on specific strategies employed by World Wrestling Entertainment during the early 2000s (known as WWE’s “Attitude Era”) when Donald Trump was centrally involved with the promotion of WWE. These are: (1) universally breaking kayfabe, the code of people in the industry not to reveal or admit fakery; (2) Vince McMahon (WWE’s CEO at that time) playing a fictional version of himself as someone constantly humiliated in storylines; (3) the vicious affirmation of traditional gender roles through parables of male domination; and (4) telling stories that encourage viewers to ignore the actual material conditions of WWE “superstars” in favor of conspiratorial fictions involving powerful individual actors. In Kayfabe Nation: Professional Wrestling, Donald Trump, and the New Cynicism, Hebert and Cogburn present a trenchant analysis of Attitude Era WWE, showing the extent to which MAGA is just is a function, or symptom, of Trump’s internalization of WWE’s most objectionable tropes.Neal Hebert and Jon Cogburn’s goal is not to use WWE merely to understand Trumpism and the related autocratic turn in countries as diverse as El-Sisi’s Egypt, Putin’s Russia, Erdogan’s Turkey, Modi’s India, Bolsonaro’s Brazil, Orbán’s Hungary, Netanyahu’s Israel, and of course Trump’s own America. Beyond that, Kayfabe Nation is a defense of truth against the lie that culminates in the widespread adoption of self-defeating conspiracy theories among the constituency of the right, as well as against the idea, popular in corrupted center-left parties across the planet that political success comes down to adopting better rhetorical strategies, strategies that exist in part to cover over their abandonment of New Deal and socialist ideologies where the material conditions of their constituencies would actually improve. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/260214kayfabenation-cover-web-front-960x1536.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kayfabe-nation-professional-wrestling-donald-trump-and-the-new-cynicism/ Earth, Milky Way 04 01 20260407 Neal Hebert, Jon Cogburn 02 WORLD 06 15 9781685713126 03 9781685713126 06 15 9781685713133 03 9781685713133 34 06 10.1093/aristotelian/53.1.205 34 06 10.1162/DRAM_a_00713 34 06 10.1177/0090591706293016 34 06 10.1111/jpcu.12492 34 06 10.1080/13528165.2014.928516 34 06 10.1111/j.1468-0149.2010.00508.x 34 06 10.1007/s10790-011-9289-6 34 06 10.2307/jj.2353877.10 34 06 10.1007/s13347-013-0137-4 34 06 10.31165/nk.2015.83.378 34 06 10.1016/j.clsr.2021.105543 34 06 10.1093/poq/nfi058 34 06 10.1086/709223 34 06 10.1093/aristotelian/68.1.105 34 06 10.1111/0029-4624.00201 34 06 10.2991/iccessh-17.2017.166 34 06 10.3138/cras.2018.024 34 06 10.1111/jpcu.12688 34 06 10.1080/00948705.2019.1613410 34 06 10.1093/isr/viab028 34 06 10.1080/10509208.2016.1222573 34 06 10.2307/1344358 34 06 10.1023/A:1018829332270 34 06 10.1080/19392397.2014.981047 34 06 10.1093/acrefore/9780199329175.013.55 34 06 10.1080/13528165.2017.1348607 34 06 10.1515/for-2013-0047 34 06 10.4081/hpr.2014.1821 34 06 10.1525/j.postcomstud.2021.54.4.54 34 06 10.1093/aesthj/ayl021 34 06 10.1177/019027250807100205 34 06 10.2307/2182438 34 06 10.1177/2046147X20979294 34 06 10.1177/08969205221118223 34 06 10.1162/DRAM_c_00764 34 06 10.1177/2057047318794962 34 06 10.2307/2214597 WORLD 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/kayfabe-nation-professional-wrestling-donald-trump-and-the-new-cynicism/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0563.1.00.epub 20 08 20260407 01 urn:uuid:e549a0a2-f7fe-485f-96d5-89f7db739d1f 03 01 01 thoth-work-id urn:uuid:3a80885a-8d06-4fd8-8dcc-1eed76b582f5 01 thoth-publication-id urn:uuid:e549a0a2-f7fe-485f-96d5-89f7db739d1f 15 9781685711764 03 9781685711764 06 10.53288/0510.1.00 13 2023944929 01 internal-reference 0510 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kern 1 A01 Derek Beaulieu Derek Beaulieu Director of Literary Arts 40 01ah7ky25 Banff Centre Derek Beaulieu is the author/editor of over twenty-five collections of poetry, prose, and criticism. His most recent volume of fiction, Silence, is forthcoming from Sweden’s Timglaset Books, and his most recent volume of poetry, Surface Tension, was published by Toronto’s Coach House Books. Beaulieu has won multiple local and national awards for his teaching and dedication to students, including the Queen Elizabeth II Platinum Jubilee Medal for his dedication to Albertan literature, and is the only graduate from the University of Calgary’s Department of English to receive the Faculty of Arts “Celebrated Alumni Award.” Beaulieu holds a PhD in Creative Writing from Roehampton University, has served as poet laureate of both Calgary and Banff, and is the Director of Literary Arts at Banff Centre for Arts and Creativity. 01 eng 00 106 03 12 DCF 93 DCF B2 Fabulations 10 POE011000 93 DCC 20 visual poetry; dry-transfer lettering; asemic writing; language art; signage; advertising; graphic art 01 06 02 00 03 00 Proposed as a collection of imaginary logos for the corporate sponsors of Borges’s Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning’s reach. Using dry-transfer lettering, Derek Beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. 30 00 Proposed as a collection of imaginary logos for the corporate sponsors of Borges’s Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning’s reach. Using dry-transfer lettering, Derek Beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0510.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kern/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230921 Derek Beaulieu 02 WORLD 06 15 9781685711771 03 9781685711771 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/B0CJB89DLV 20 08 20230921 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/kern 20 08 20230921 02 17.00 USD WORLD urn:uuid:6d98eb5c-b3a5-4390-9560-796024d83904 03 01 01 thoth-work-id urn:uuid:3a80885a-8d06-4fd8-8dcc-1eed76b582f5 01 thoth-publication-id urn:uuid:6d98eb5c-b3a5-4390-9560-796024d83904 15 9781685711771 03 9781685711771 06 10.53288/0510.1.00 13 2023944929 01 internal-reference 0510 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kern 1 A01 Derek Beaulieu Derek Beaulieu Director of Literary Arts 40 01ah7ky25 Banff Centre Derek Beaulieu is the author/editor of over twenty-five collections of poetry, prose, and criticism. His most recent volume of fiction, Silence, is forthcoming from Sweden’s Timglaset Books, and his most recent volume of poetry, Surface Tension, was published by Toronto’s Coach House Books. Beaulieu has won multiple local and national awards for his teaching and dedication to students, including the Queen Elizabeth II Platinum Jubilee Medal for his dedication to Albertan literature, and is the only graduate from the University of Calgary’s Department of English to receive the Faculty of Arts “Celebrated Alumni Award.” Beaulieu holds a PhD in Creative Writing from Roehampton University, has served as poet laureate of both Calgary and Banff, and is the Director of Literary Arts at Banff Centre for Arts and Creativity. 01 eng 00 106 03 12 DCF 93 DCF B2 Fabulations 10 POE011000 93 DCC 20 visual poetry; dry-transfer lettering; asemic writing; language art; signage; advertising; graphic art 01 06 02 00 03 00 Proposed as a collection of imaginary logos for the corporate sponsors of Borges’s Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning’s reach. Using dry-transfer lettering, Derek Beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. 30 00 Proposed as a collection of imaginary logos for the corporate sponsors of Borges’s Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning’s reach. Using dry-transfer lettering, Derek Beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0510.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kern/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230921 Derek Beaulieu 02 WORLD 06 15 9781685711764 03 9781685711764 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/76374 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/76374/0510.1.00.pdf?sequence=1&isAllowed=y 20 08 20230921 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/121530 20 08 20230921 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.7471127 20 08 20230921 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/348 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/7f0ca74d-ee4f-44ac-8a8c-a838f76ae1e4/download 20 08 20230921 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Kern/gTXbEAAAQBAJ 20 08 20230921 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3a80885a-8d06-4fd8-8dcc-1eed76b582f5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3a80885a-8d06-4fd8-8dcc-1eed76b582f5/3a80885a-8d06-4fd8-8dcc-1eed76b582f5.pdf 20 08 20230921 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850033 29 ZENODO: download the title https://zenodo.org/records/19850033/files/3a80885a-8d06-4fd8-8dcc-1eed76b582f5_book.pdf 20 08 20230921 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/kern/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0510.1.00.pdf 20 08 20230921 01 urn:uuid:87ad1bd5-c7ee-446e-945d-2e317f34427d 03 01 01 thoth-work-id urn:uuid:d2e40ec1-5c2a-404d-8e9f-6727c7c178dc 01 thoth-publication-id urn:uuid:87ad1bd5-c7ee-446e-945d-2e317f34427d 15 9780998531847 03 9780998531847 06 10.21983/P3.0166.1.00 01 internal-reference 0166 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kill Boxes Facing the Legacy of US-Sponsored Torture, Indefinite Detention, and Drone Warfare 1 A01 Elisabeth Weber Elisabeth Weber 40 02t274463 University of California, Santa Barbara 2 A19 Richard Falk Richard Falk 40 00hx57361 Princeton University 01 eng 00 276 03 B2 Cultural Studies+Critical Theory 93 JWXK 12 JWXK 10 POL061000 93 JWCM B2 Literary Studies B2 New Left Thought 93 QDTQ 20 torture; drone warfare; Abu Ghraib; Guantánamo Bay; human rights 01 06 02 00 03 00 Kill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera’s and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program. 30 00 Kill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera’s and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0166.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kill-boxes-facing-the-legacy-of-us-sponsored-torture-indefinite-detention-and-drone-warfare/ Earth, Milky Way 04 01 20170302 Weber, Elisabeth 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531847 20 08 20170302 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/kill-boxes-facing-the-legacy-of-us-sponsored-torture-indefinite-detention-and-drone-warfare 20 08 20170302 02 25.00 USD WORLD urn:uuid:7b0580c0-8c9e-488f-b161-45cf4dc496d8 03 01 01 thoth-work-id urn:uuid:d2e40ec1-5c2a-404d-8e9f-6727c7c178dc 01 thoth-publication-id urn:uuid:7b0580c0-8c9e-488f-b161-45cf4dc496d8 06 10.21983/P3.0166.1.00 01 internal-reference 0166 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Kill Boxes Facing the Legacy of US-Sponsored Torture, Indefinite Detention, and Drone Warfare 1 A01 Elisabeth Weber Elisabeth Weber 40 02t274463 University of California, Santa Barbara 2 A19 Richard Falk Richard Falk 40 00hx57361 Princeton University 01 eng 00 276 03 B2 Cultural Studies+Critical Theory 93 JWXK 12 JWXK 10 POL061000 93 JWCM B2 Literary Studies B2 New Left Thought 93 QDTQ 20 torture; drone warfare; Abu Ghraib; Guantánamo Bay; human rights 01 06 02 00 03 00 Kill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera’s and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program. 30 00 Kill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera’s and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0166.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/kill-boxes-facing-the-legacy-of-us-sponsored-torture-indefinite-detention-and-drone-warfare/ Earth, Milky Way 04 01 20170302 Weber, Elisabeth 02 WORLD 06 15 9780998531847 03 9780998531847 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25461 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25461/1004634.pdf?sequence=1&isAllowed=y 20 08 20170302 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37348 20 08 20170302 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353976 20 08 20170302 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/550 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/05f7792a-0bf7-416e-95cc-04134e62c635/download 20 08 20170302 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Kill_Boxes_Facing_the_Legacy_of_US_Spons/VgSVEAAAQBAJ 20 08 20170302 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d2e40ec1-5c2a-404d-8e9f-6727c7c178dc 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d2e40ec1-5c2a-404d-8e9f-6727c7c178dc/d2e40ec1-5c2a-404d-8e9f-6727c7c178dc.pdf 20 08 20170302 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846834 29 ZENODO: download the title https://zenodo.org/records/19846834/files/d2e40ec1-5c2a-404d-8e9f-6727c7c178dc_book.pdf 20 08 20170302 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/kill-boxes-facing-the-legacy-of-us-sponsored-torture-indefinite-detention-and-drone-warfare/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/p3.0166.1.00.pdf 20 08 20170302 01 urn:uuid:274d3997-6c91-4555-bf04-02e3367c3310 03 01 01 thoth-work-id urn:uuid:75693fd0-e93a-4fc3-b82e-4c83a11f28b1 01 thoth-publication-id urn:uuid:274d3997-6c91-4555-bf04-02e3367c3310 15 9780692540794 03 9780692540794 06 10.21983/P3.0121.1.00 01 internal-reference 0121 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Knocking the Hustle Against the Neoliberal Turn in Black Politics 1 A01 Lester K. Spence Lester K. Spence 40 00za53h95 Johns Hopkins University 01 eng 00 190 03 93 5PB-US-C B2 Capital+Lucre 12 JFFJ 10 SOC056000 B2 Cultural Studies+Critical Theory 93 KCP 10 POL023000 93 JBSL1 B2 New Left Thought 20 Black politics; political science; cultural studies; neoliberal economics 01 06 02 00 03 00 Over the past several years scholars, activists, and analysts have begun to examine the growing divide between the wealthy and the rest of us, suggesting that the divide can be traced to the neoliberal turn. “I’m not a business man; I’m a business, man.” Perhaps no better statement gets at the heart of this turn. Increasingly we’re being forced to think of ourselves in entrepreneurial terms, forced to take more and more responsibility for developing our “human capital.” Furthermore a range of institutions from churches to schools to entire cities have been remade, restructured to in order to perform like businesses. Finally, even political concepts like freedom, and democracy have been significantly altered. As a result we face higher levels of inequality than any other time over the last century.In Knocking the Hustle: Against the Neoliberal Turn in Black Politics, Lester K. Spence writes the first book length effort to chart the effects of this transformation on African American communities, in an attempt to revitalize the black political imagination. Rather than asking black men and women to “hustle harder” Spence criticizes the act of hustling itself as a tactic used to demobilize and disempower the communities most in need of empowerment. 30 00 Over the past several years scholars, activists, and analysts have begun to examine the growing divide between the wealthy and the rest of us, suggesting that the divide can be traced to the neoliberal turn. “I’m not a business man; I’m a business, man.” Perhaps no better statement gets at the heart of this turn. Increasingly we’re being forced to think of ourselves in entrepreneurial terms, forced to take more and more responsibility for developing our “human capital.” Furthermore a range of institutions from churches to schools to entire cities have been remade, restructured to in order to perform like businesses. Finally, even political concepts like freedom, and democracy have been significantly altered. As a result we face higher levels of inequality than any other time over the last century.In Knocking the Hustle: Against the Neoliberal Turn in Black Politics, Lester K. Spence writes the first book length effort to chart the effects of this transformation on African American communities, in an attempt to revitalize the black political imagination. Rather than asking black men and women to “hustle harder” Spence criticizes the act of hustling itself as a tactic used to demobilize and disempower the communities most in need of empowerment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0121.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/knocking-the-hustle/ Brooklyn, NY 04 01 20151210 Spence, Lester K. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692540792 20 08 20151210 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/knocking-the-hustle-against-the-neoliberal-turn-in-black-politics 20 08 20151210 02 23.00 USD WORLD urn:uuid:56029b06-d551-44df-9667-7e4f5b3f48ee 03 01 01 thoth-work-id urn:uuid:75693fd0-e93a-4fc3-b82e-4c83a11f28b1 01 thoth-publication-id urn:uuid:56029b06-d551-44df-9667-7e4f5b3f48ee 06 10.21983/P3.0121.1.00 01 internal-reference 0121 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Knocking the Hustle Against the Neoliberal Turn in Black Politics 1 A01 Lester K. Spence Lester K. Spence 40 00za53h95 Johns Hopkins University 01 eng 00 190 03 93 5PB-US-C B2 Capital+Lucre 12 JFFJ 10 SOC056000 B2 Cultural Studies+Critical Theory 93 KCP 10 POL023000 93 JBSL1 B2 New Left Thought 20 Black politics; political science; cultural studies; neoliberal economics 01 06 02 00 03 00 Over the past several years scholars, activists, and analysts have begun to examine the growing divide between the wealthy and the rest of us, suggesting that the divide can be traced to the neoliberal turn. “I’m not a business man; I’m a business, man.” Perhaps no better statement gets at the heart of this turn. Increasingly we’re being forced to think of ourselves in entrepreneurial terms, forced to take more and more responsibility for developing our “human capital.” Furthermore a range of institutions from churches to schools to entire cities have been remade, restructured to in order to perform like businesses. Finally, even political concepts like freedom, and democracy have been significantly altered. As a result we face higher levels of inequality than any other time over the last century.In Knocking the Hustle: Against the Neoliberal Turn in Black Politics, Lester K. Spence writes the first book length effort to chart the effects of this transformation on African American communities, in an attempt to revitalize the black political imagination. Rather than asking black men and women to “hustle harder” Spence criticizes the act of hustling itself as a tactic used to demobilize and disempower the communities most in need of empowerment. 30 00 Over the past several years scholars, activists, and analysts have begun to examine the growing divide between the wealthy and the rest of us, suggesting that the divide can be traced to the neoliberal turn. “I’m not a business man; I’m a business, man.” Perhaps no better statement gets at the heart of this turn. Increasingly we’re being forced to think of ourselves in entrepreneurial terms, forced to take more and more responsibility for developing our “human capital.” Furthermore a range of institutions from churches to schools to entire cities have been remade, restructured to in order to perform like businesses. Finally, even political concepts like freedom, and democracy have been significantly altered. As a result we face higher levels of inequality than any other time over the last century.In Knocking the Hustle: Against the Neoliberal Turn in Black Politics, Lester K. Spence writes the first book length effort to chart the effects of this transformation on African American communities, in an attempt to revitalize the black political imagination. Rather than asking black men and women to “hustle harder” Spence criticizes the act of hustling itself as a tactic used to demobilize and disempower the communities most in need of empowerment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0121.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/knocking-the-hustle/ Brooklyn, NY 04 01 20151210 Spence, Lester K. 02 WORLD 06 15 9780692540794 03 9780692540794 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76490 20 08 20151210 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25503 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25503/1004592.pdf?sequence=1&isAllowed=y 20 08 20151210 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39258 20 08 20151210 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j55t 20 08 20151210 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/503 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e42ddcdb-b01b-4877-8c16-72a5f4216352/download 20 08 20151210 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Knocking_the_Hustle/GuzRjgEACAAJ 20 08 20151210 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/75693fd0-e93a-4fc3-b82e-4c83a11f28b1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/75693fd0-e93a-4fc3-b82e-4c83a11f28b1/75693fd0-e93a-4fc3-b82e-4c83a11f28b1.pdf 20 08 20151210 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825099 29 ZENODO: download the title https://zenodo.org/records/19825099/files/75693fd0-e93a-4fc3-b82e-4c83a11f28b1_book.pdf 20 08 20151210 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/knocking-the-hustle/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0121.1.00.pdf 20 08 20151210 01 urn:uuid:913d3a73-8b67-49df-a3a4-0b05e6bc3212 03 01 01 thoth-work-id urn:uuid:ed3ea389-5d5c-430c-9453-814ed94e027b 01 thoth-publication-id urn:uuid:913d3a73-8b67-49df-a3a4-0b05e6bc3212 15 9780692558447 03 9780692558447 06 10.21983/P3.0123.1.00 01 internal-reference 0123 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Knowledge, Spirit, Law, Book 1 Radical Scholarship 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 01 eng 00 234 03 12 APFA B2 Capital+Lucre 10 EDU040000 93 QDHR5 93 GTB B2 Humanities+University 93 LNRC B2 Philosophy 20 film studies; intellectual property; epistemology; anti-capitalism 01 06 02 00 03 00 Knowledge, Spirit, Law is a de facto phenomenology of scholarship in the age of neoliberal capitalism. The eleven essays (plus Appendices) in Book 1: Radical Scholarship cover topics and circle themes related to the problems and crises specific to neoliberal academia, while proposing creative paths around the various obstructions. The obstructions include metrics-obsessed academia, circular and incestuous peer review, digitalization of research as stalking horse for text- and data-mining, and violation by global corporate fiat of Intellectual Property and the Moral Rights of Authors. These issues, while addressed obliquely in the main text, definitively inform the various proscriptive aspects of the essays and, via the Introduction and Appendices, underscore the necessity of developing new-old means to no obvious end in the production of knowledge — that is to say, a return to forms of non-instrumentalized intellectual inquiry. To be developed in two concurrent volumes, Knowledge, Spirit, Law will serve as a “moving and/or shifting anthology” of new forms of expression in humanistic studies. Book 2: The Anti-Capitalist Sublime will be published in Autumn 2017. 30 00 Knowledge, Spirit, Law is a de facto phenomenology of scholarship in the age of neoliberal capitalism. The eleven essays (plus Appendices) in Book 1: Radical Scholarship cover topics and circle themes related to the problems and crises specific to neoliberal academia, while proposing creative paths around the various obstructions. The obstructions include metrics-obsessed academia, circular and incestuous peer review, digitalization of research as stalking horse for text- and data-mining, and violation by global corporate fiat of Intellectual Property and the Moral Rights of Authors. These issues, while addressed obliquely in the main text, definitively inform the various proscriptive aspects of the essays and, via the Introduction and Appendices, underscore the necessity of developing new-old means to no obvious end in the production of knowledge — that is to say, a return to forms of non-instrumentalized intellectual inquiry. To be developed in two concurrent volumes, Knowledge, Spirit, Law will serve as a “moving and/or shifting anthology” of new forms of expression in humanistic studies. Book 2: The Anti-Capitalist Sublime will be published in Autumn 2017. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0123.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/knowledge-spirit-law/ Brooklyn, NY 04 01 20151224 Keeney, Gavin (0000-0003-1187-8989) 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/knowledge-spirit-law-book-1-radical-scholarship 20 08 20151224 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692558446 20 08 20151224 02 24.00 USD WORLD urn:uuid:7d2e8817-cc8e-4ac6-acb8-8ff89f9baa33 03 01 01 thoth-work-id urn:uuid:ed3ea389-5d5c-430c-9453-814ed94e027b 01 thoth-publication-id urn:uuid:7d2e8817-cc8e-4ac6-acb8-8ff89f9baa33 06 10.21983/P3.0123.1.00 01 internal-reference 0123 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Knowledge, Spirit, Law, Book 1 Radical Scholarship 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 01 eng 00 234 03 12 APFA B2 Capital+Lucre 10 EDU040000 93 QDHR5 93 GTB B2 Humanities+University 93 LNRC B2 Philosophy 20 film studies; intellectual property; epistemology; anti-capitalism 01 06 02 00 03 00 Knowledge, Spirit, Law is a de facto phenomenology of scholarship in the age of neoliberal capitalism. The eleven essays (plus Appendices) in Book 1: Radical Scholarship cover topics and circle themes related to the problems and crises specific to neoliberal academia, while proposing creative paths around the various obstructions. The obstructions include metrics-obsessed academia, circular and incestuous peer review, digitalization of research as stalking horse for text- and data-mining, and violation by global corporate fiat of Intellectual Property and the Moral Rights of Authors. These issues, while addressed obliquely in the main text, definitively inform the various proscriptive aspects of the essays and, via the Introduction and Appendices, underscore the necessity of developing new-old means to no obvious end in the production of knowledge — that is to say, a return to forms of non-instrumentalized intellectual inquiry. To be developed in two concurrent volumes, Knowledge, Spirit, Law will serve as a “moving and/or shifting anthology” of new forms of expression in humanistic studies. Book 2: The Anti-Capitalist Sublime will be published in Autumn 2017. 30 00 Knowledge, Spirit, Law is a de facto phenomenology of scholarship in the age of neoliberal capitalism. The eleven essays (plus Appendices) in Book 1: Radical Scholarship cover topics and circle themes related to the problems and crises specific to neoliberal academia, while proposing creative paths around the various obstructions. The obstructions include metrics-obsessed academia, circular and incestuous peer review, digitalization of research as stalking horse for text- and data-mining, and violation by global corporate fiat of Intellectual Property and the Moral Rights of Authors. These issues, while addressed obliquely in the main text, definitively inform the various proscriptive aspects of the essays and, via the Introduction and Appendices, underscore the necessity of developing new-old means to no obvious end in the production of knowledge — that is to say, a return to forms of non-instrumentalized intellectual inquiry. To be developed in two concurrent volumes, Knowledge, Spirit, Law will serve as a “moving and/or shifting anthology” of new forms of expression in humanistic studies. Book 2: The Anti-Capitalist Sublime will be published in Autumn 2017. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0123.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/knowledge-spirit-law/ Brooklyn, NY 04 01 20151224 Keeney, Gavin (0000-0003-1187-8989) 02 WORLD 06 15 9780692558447 03 9780692558447 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76492 20 08 20151224 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25501 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25501/1004594.pdf?sequence=1&isAllowed=y 20 08 20151224 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27518 20 08 20151224 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353809 20 08 20151224 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/505 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/02b399a0-b918-467f-b732-d6a28faffeab/download 20 08 20151224 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Knowledge_Spirit_Law/LgSVEAAAQBAJ 20 08 20151224 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ed3ea389-5d5c-430c-9453-814ed94e027b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ed3ea389-5d5c-430c-9453-814ed94e027b/ed3ea389-5d5c-430c-9453-814ed94e027b.pdf 20 08 20151224 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846384 29 ZENODO: download the title https://zenodo.org/records/19846384/files/ed3ea389-5d5c-430c-9453-814ed94e027b_book.pdf 20 08 20151224 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/knowledge-spirit-law/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0123.1.00.pdf 20 08 20151224 01 urn:uuid:1de4249b-f496-42a3-bffc-2ed94f5e8526 03 01 01 thoth-work-id urn:uuid:14f2b847-faeb-43c9-b116-88a0091b6f1f 01 thoth-publication-id urn:uuid:1de4249b-f496-42a3-bffc-2ed94f5e8526 15 9781947447349 03 9781947447349 06 10.21983/P3.0191.1.00 13 2017960499 01 internal-reference 0191 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Knowledge, Spirit, Law, Book 2 The Anti-Capitalist Sublime 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 01 eng 00 270 03 12 APFA B2 Capital+Lucre 10 EDU040000 93 QDHR5 93 GTB B2 Humanities+University 93 LNRC B2 Philosophy 20 film studies; university studies; Chris Marker; digital humanities; cognitive capitalism 01 06 02 00 03 00 Knowledge, Spirit, Law // Book 2: The Anti-capitalist Sublime takes up where Knowledge, Spirit, Law // Book 1: Radical Scholarship (2015) left off, foremost in terms of a critique of neo-liberal academia and its demotion of the book in favor of various mediatic practices that substitute, arguably, for the one form of critical inquiry that might safeguard speculative intellectual inquiry as long-form and long-term project, especially in relationship to the archive or library (otherwise known as the “public domain”).This ongoing critique of neo-liberal academia is a necessary corrective to processes underway today toward the further marginalization of radical critique, with many of the traditional forms of sustained analysis being replaced by pseudo-empirical studies that abandon themes only presentable in the Arts and Humanities through the “arcanian closure” that the book as long-form inquisition represents (whether as novel, non-fictional critique, or something in-between). As a tomb for thought, this privileging of the shadowy recesses of the book preserves, through the very apparatuses of long- and slow-form scholarship, the premises presented here as indicative of an anti-capitalist project embedded in works that might otherwise shun such a characterization. 30 00 Knowledge, Spirit, Law // Book 2: The Anti-capitalist Sublime takes up where Knowledge, Spirit, Law // Book 1: Radical Scholarship (2015) left off, foremost in terms of a critique of neo-liberal academia and its demotion of the book in favor of various mediatic practices that substitute, arguably, for the one form of critical inquiry that might safeguard speculative intellectual inquiry as long-form and long-term project, especially in relationship to the archive or library (otherwise known as the “public domain”).This ongoing critique of neo-liberal academia is a necessary corrective to processes underway today toward the further marginalization of radical critique, with many of the traditional forms of sustained analysis being replaced by pseudo-empirical studies that abandon themes only presentable in the Arts and Humanities through the “arcanian closure” that the book as long-form inquisition represents (whether as novel, non-fictional critique, or something in-between). As a tomb for thought, this privileging of the shadowy recesses of the book preserves, through the very apparatuses of long- and slow-form scholarship, the premises presented here as indicative of an anti-capitalist project embedded in works that might otherwise shun such a characterization. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0191.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/knowledge-spirit-law-book-2-the-anti-capitalist-sublime/ Earth, Milky Way 04 01 20171224 Keeney, Gavin (0000-0003-1187-8989) 02 WORLD 06 15 9781947447356 03 9781947447356 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447343 20 08 20171224 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/knowledge-spirit-law-book-2-the-anti-capitalist-sublime 20 08 20171224 02 25.00 USD WORLD urn:uuid:d8ba786e-f7b7-477a-a83d-d3aac3096eff 03 01 01 thoth-work-id urn:uuid:14f2b847-faeb-43c9-b116-88a0091b6f1f 01 thoth-publication-id urn:uuid:d8ba786e-f7b7-477a-a83d-d3aac3096eff 15 9781947447356 03 9781947447356 06 10.21983/P3.0191.1.00 13 2017960499 01 internal-reference 0191 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Knowledge, Spirit, Law, Book 2 The Anti-Capitalist Sublime 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 01 eng 00 270 03 12 APFA B2 Capital+Lucre 10 EDU040000 93 QDHR5 93 GTB B2 Humanities+University 93 LNRC B2 Philosophy 20 film studies; university studies; Chris Marker; digital humanities; cognitive capitalism 01 06 02 00 03 00 Knowledge, Spirit, Law // Book 2: The Anti-capitalist Sublime takes up where Knowledge, Spirit, Law // Book 1: Radical Scholarship (2015) left off, foremost in terms of a critique of neo-liberal academia and its demotion of the book in favor of various mediatic practices that substitute, arguably, for the one form of critical inquiry that might safeguard speculative intellectual inquiry as long-form and long-term project, especially in relationship to the archive or library (otherwise known as the “public domain”).This ongoing critique of neo-liberal academia is a necessary corrective to processes underway today toward the further marginalization of radical critique, with many of the traditional forms of sustained analysis being replaced by pseudo-empirical studies that abandon themes only presentable in the Arts and Humanities through the “arcanian closure” that the book as long-form inquisition represents (whether as novel, non-fictional critique, or something in-between). As a tomb for thought, this privileging of the shadowy recesses of the book preserves, through the very apparatuses of long- and slow-form scholarship, the premises presented here as indicative of an anti-capitalist project embedded in works that might otherwise shun such a characterization. 30 00 Knowledge, Spirit, Law // Book 2: The Anti-capitalist Sublime takes up where Knowledge, Spirit, Law // Book 1: Radical Scholarship (2015) left off, foremost in terms of a critique of neo-liberal academia and its demotion of the book in favor of various mediatic practices that substitute, arguably, for the one form of critical inquiry that might safeguard speculative intellectual inquiry as long-form and long-term project, especially in relationship to the archive or library (otherwise known as the “public domain”).This ongoing critique of neo-liberal academia is a necessary corrective to processes underway today toward the further marginalization of radical critique, with many of the traditional forms of sustained analysis being replaced by pseudo-empirical studies that abandon themes only presentable in the Arts and Humanities through the “arcanian closure” that the book as long-form inquisition represents (whether as novel, non-fictional critique, or something in-between). As a tomb for thought, this privileging of the shadowy recesses of the book preserves, through the very apparatuses of long- and slow-form scholarship, the premises presented here as indicative of an anti-capitalist project embedded in works that might otherwise shun such a characterization. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0191.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/knowledge-spirit-law-book-2-the-anti-capitalist-sublime/ Earth, Milky Way 04 01 20171224 Keeney, Gavin (0000-0003-1187-8989) 02 WORLD 06 15 9781947447349 03 9781947447349 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66799 20 08 20171224 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25438 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25438/1004657.pdf?sequence=1&isAllowed=y 20 08 20171224 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29822 20 08 20171224 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353808 20 08 20171224 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/573 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2f4eced1-def7-400f-82c0-70f2fc9e40ee/download 20 08 20171224 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Knowledge_Spirit_Law/Em6oEAAAQBAJ 20 08 20171224 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/14f2b847-faeb-43c9-b116-88a0091b6f1f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/14f2b847-faeb-43c9-b116-88a0091b6f1f/14f2b847-faeb-43c9-b116-88a0091b6f1f.pdf 20 08 20171224 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847183 29 ZENODO: download the title https://zenodo.org/records/19847183/files/14f2b847-faeb-43c9-b116-88a0091b6f1f_book.pdf 20 08 20171224 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/knowledge-spirit-law-book-2-the-anti-capitalist-sublime/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0191.1.00.pdf 20 08 20171224 01 urn:uuid:d5a5d38c-0a9d-4773-a6c3-d934c16db865 03 01 01 thoth-work-id urn:uuid:e1d53531-f6ad-48d6-81b9-fe1e469effb7 01 thoth-publication-id urn:uuid:d5a5d38c-0a9d-4773-a6c3-d934c16db865 15 9781685712662 03 9781685712662 06 10.53288/0572.1.00 01 internal-reference 0572 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Labyrinths New and Selected Writings 1 A01 M. Munro M. Munro 01 eng B2 Philosophy 93 QDTJ 93 DNL 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2024/11/241127labyrinths-cover-web-front.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/labyrinths-new-and-selected-writings/ Earth, Milky Way 02 01 20261001 M. Munro 02 WORLD 06 15 9781685712679 03 9781685712679 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/labyrinths-new-and-selected-writings/ 10 08 20261001 01 urn:uuid:317d1c58-7660-42a4-a4a7-ba14bde9edce 03 01 01 thoth-work-id urn:uuid:e1d53531-f6ad-48d6-81b9-fe1e469effb7 01 thoth-publication-id urn:uuid:317d1c58-7660-42a4-a4a7-ba14bde9edce 15 9781685712679 03 9781685712679 06 10.53288/0572.1.00 01 internal-reference 0572 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Labyrinths New and Selected Writings 1 A01 M. Munro M. Munro 01 eng B2 Philosophy 93 QDTJ 93 DNL 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2024/11/241127labyrinths-cover-web-front.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/labyrinths-new-and-selected-writings/ Earth, Milky Way 02 01 20261001 M. Munro 02 WORLD 06 15 9781685712662 03 9781685712662 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/labyrinths-new-and-selected-writings/ 10 08 20261001 01 urn:uuid:1c249e2a-9219-4792-bf2f-c0d4526e1d19 03 01 01 thoth-work-id urn:uuid:ce7ec5ea-88b2-430f-92be-0f2436600a46 01 thoth-publication-id urn:uuid:1c249e2a-9219-4792-bf2f-c0d4526e1d19 15 9781953035004 03 9781953035004 06 10.21983/P3.0337.1.00 13 2020941553 01 internal-reference 0337 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lamma A Journal of Libyan Studies 1 1 B01 21 0000000202974082 Leila Tayeb Leila Tayeb 40 05bnh6r87 Cornell University 2 B01 21 0000000342995205 Adam Benkato Adam Benkato 40 01an7q238 University of California, Berkeley 3 B01 21 0000000342774656 Amina Zarrugh Amina Zarrugh 40 054b0b564 Texas Christian University 01 eng 00 130 03 B2 History 93 JHMC 10 SOC008010 93 1HBL B2 Languages+Translations B2 Literary Studies 20 Libyan Studies; Libya; sociolinguistics; history; literature; culture; translation 01 06 02 00 03 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to a wide a range of disciplines, sources, and approaches, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields can interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies.” We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma, "a gathering."This first issue of Lamma brings together academic research, cultural commentary, literature, and translation. It aims to show some of the possible varieties of research on Libya, from history and literature to sociolinguistics, gender studies, and more. But, perhaps more importantly, it aims to show that the efforts of academic researchers, cultural actors, writers, translators, and even artists are not separate endeavors but rather intertwined. By bringing these efforts together in one forum, we hope to set them in fruitful dialog with each other—and thus begin to complexify the notion of "Libyan Studies." 30 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to a wide a range of disciplines, sources, and approaches, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields can interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies.” We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma, "a gathering."This first issue of Lamma brings together academic research, cultural commentary, literature, and translation. It aims to show some of the possible varieties of research on Libya, from history and literature to sociolinguistics, gender studies, and more. But, perhaps more importantly, it aims to show that the efforts of academic researchers, cultural actors, writers, translators, and even artists are not separate endeavors but rather intertwined. By bringing these efforts together in one forum, we hope to set them in fruitful dialog with each other—and thus begin to complexify the notion of "Libyan Studies." 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0337.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lamma-a-journal-of-libyan-studies-1/ Earth, Milky Way 04 01 20200721 Benkato, Adam (0000-0003-4299-5205) Zarrugh, Amina (0000-0003-4277-4656) Tayeb, Leila (0000-0002-0297-4082) 02 WORLD 06 15 9781953035011 03 9781953035011 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035000 20 08 20200721 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/lamma-a-journal-of-libyan-studies-1 20 08 20200721 02 23.00 USD WORLD urn:uuid:2a2d0b9e-c844-4042-96bb-11dbbbf2750e 03 01 01 thoth-work-id urn:uuid:ce7ec5ea-88b2-430f-92be-0f2436600a46 01 thoth-publication-id urn:uuid:2a2d0b9e-c844-4042-96bb-11dbbbf2750e 15 9781953035011 03 9781953035011 06 10.21983/P3.0337.1.00 13 2020941553 01 internal-reference 0337 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lamma A Journal of Libyan Studies 1 1 B01 21 0000000202974082 Leila Tayeb Leila Tayeb 40 05bnh6r87 Cornell University 2 B01 21 0000000342995205 Adam Benkato Adam Benkato 40 01an7q238 University of California, Berkeley 3 B01 21 0000000342774656 Amina Zarrugh Amina Zarrugh 40 054b0b564 Texas Christian University 01 eng 00 130 03 B2 History 93 JHMC 10 SOC008010 93 1HBL B2 Languages+Translations B2 Literary Studies 20 Libyan Studies; Libya; sociolinguistics; history; literature; culture; translation 01 06 02 00 03 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to a wide a range of disciplines, sources, and approaches, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields can interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies.” We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma, "a gathering."This first issue of Lamma brings together academic research, cultural commentary, literature, and translation. It aims to show some of the possible varieties of research on Libya, from history and literature to sociolinguistics, gender studies, and more. But, perhaps more importantly, it aims to show that the efforts of academic researchers, cultural actors, writers, translators, and even artists are not separate endeavors but rather intertwined. By bringing these efforts together in one forum, we hope to set them in fruitful dialog with each other—and thus begin to complexify the notion of "Libyan Studies." 30 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to a wide a range of disciplines, sources, and approaches, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields can interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies.” We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma, "a gathering."This first issue of Lamma brings together academic research, cultural commentary, literature, and translation. It aims to show some of the possible varieties of research on Libya, from history and literature to sociolinguistics, gender studies, and more. But, perhaps more importantly, it aims to show that the efforts of academic researchers, cultural actors, writers, translators, and even artists are not separate endeavors but rather intertwined. By bringing these efforts together in one forum, we hope to set them in fruitful dialog with each other—and thus begin to complexify the notion of "Libyan Studies." 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0337.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lamma-a-journal-of-libyan-studies-1/ Earth, Milky Way 04 01 20200721 Benkato, Adam (0000-0003-4299-5205) Zarrugh, Amina (0000-0003-4277-4656) Tayeb, Leila (0000-0002-0297-4082) 02 WORLD 06 15 9781953035004 03 9781953035004 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353816 20 08 20200721 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/639 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/32d3b8e7-a7b5-47c0-9f30-d9e54789f593/download 20 08 20200721 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Lamma/R5-oEAAAQBAJ 20 08 20200721 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ce7ec5ea-88b2-430f-92be-0f2436600a46 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ce7ec5ea-88b2-430f-92be-0f2436600a46/ce7ec5ea-88b2-430f-92be-0f2436600a46.pdf 20 08 20200721 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824927 29 ZENODO: download the title https://zenodo.org/records/19824927/files/ce7ec5ea-88b2-430f-92be-0f2436600a46_book.pdf 20 08 20200721 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/lamma-a-journal-of-libyan-studies-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0337.1.00.pdf 20 08 20200721 01 urn:uuid:05d349cb-7e6c-4dee-922d-60c18b63dd51 03 01 01 thoth-work-id urn:uuid:70562164-2f8a-46d1-9823-c71f69f258b1 01 thoth-publication-id urn:uuid:05d349cb-7e6c-4dee-922d-60c18b63dd51 15 9781685711542 03 9781685711542 06 10.53288/0504.1.00 13 9781685711542 01 internal-reference 0504 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lamma A Journal of Libyan Studies 2 1 B01 21 0000000342995205 Adam Benkato Adam Benkato 40 01an7q238 University of California, Berkeley Adam Benkato teaches in the Department of Middle Eastern Languages and Cultures at the University of California, Berkeley. His research focuses on linguistics and philology, of Arabic in modern North Africa and of Iranian languages in late antiquity. He holds an MA and PhD from the School of Oriental and African Studies and and a BA from the University of Southern California. 2 B01 21 0000000202974082 Leila Tayeb Leila Tayeb 40 006m74d95 Northwestern University in Qatar Leila Tayeb is assistant professor in residence with a joint appointment in the Communication and Liberal Arts Programs at Northwestern University in Qatar. She received her PhD in performance studies from Northwestern University and holds an MA in performance studies from NYU and an MA in international affairs from The New School. Her research and teaching interests are in performance and politics, sound and militarism in daily life, dance studies, Islam and the state, and state-sponsored performance. Her work spans MENA and Africana studies with a central focus in Libya. 3 B01 21 0000000342774656 Amina Zarrugh Amina Zarrugh 40 054b0b564 Texas Christian University Amina Zarrugh is an Associate Professor of Sociology at Texas Christian University. Her research focuses on politics and forced disappearance in North Africa and race/ethnicity in the U.S. She completed her BA in sociology and government and her MA and PhD in sociology at the University of Texas at Austin. 01 ara 01 eng 00 190 03 B2 Cultural Studies+Critical Theory 12 JHMC 93 JHMC 10 SOC008010 93 1HBL 12 1HBL B2 Languages+Translations 10 POL045000 B2 Literary Studies 20 Libyan Studies; Libya; linguistics; methods; literature; field research; ethnography; colonialism; history; sociology 01 06 02 00 03 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to as wide a range of disciplines, sources, and approaches as possible, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies”. We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma “a gathering.”The contributions in this second issue help to open up space for interrelated discussions on a variety of topics, almost all largely neglected in the contemporary scholarly study of Libya. The focal point of this issue is the reflective contributions by members of a roundtable discussion “Methods and Sources for a New Generation of Libyan Studies” which took place at the 2020 MESA conference. We also mark the publication of a watershed book on genocide in colonial Libya with a trio of responses. As ever, we believe in the generative power in dialoguing and mixing works of art, literature, and scholarship as we seek to shape and re-shape new discussions on, about, from, and in Libya. 30 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to as wide a range of disciplines, sources, and approaches as possible, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies”. We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma “a gathering.”The contributions in this second issue help to open up space for interrelated discussions on a variety of topics, almost all largely neglected in the contemporary scholarly study of Libya. The focal point of this issue is the reflective contributions by members of a roundtable discussion “Methods and Sources for a New Generation of Libyan Studies” which took place at the 2020 MESA conference. We also mark the publication of a watershed book on genocide in colonial Libya with a trio of responses. As ever, we believe in the generative power in dialoguing and mixing works of art, literature, and scholarship as we seek to shape and re-shape new discussions on, about, from, and in Libya. 04 00 Lameen Souag & Adam Benkato – “The Tuareg dialect of Ghat in 1850” Leila Tayeb – “Roundtable: Methods and Sources for a New Generation of Libyan Studies” Adam Benkato – “Research on Language in Libya” Fathia Elmenghawi – “Challenges and Promises Related to Research on Women and Public Space in Tripoli, Libya” Asma Khalifa – “Field Research in Libya” Leila Tayeb – “Knowing Libya: Ethnography” Amina Zarrugh – “Libyan Studies: A Call to Sociology” Ibrahim al-Imam translated by Safa Elnaili – “The Oasis Folks” Khaoula Bengezi – “Uncovering Concealed Past, Centering Silenced Knowledges” Ouissal Harize – “‘Qtǝlni al-shar’” Khaled Mattawa – “Rising from Shar: A Meditation on the Future of our History” Ali Ahmida – “Review of Religion as Resistance by Eileen Ryan” Tasnim Qutait – “Review of Women in the Modern History of Libya edited by Barbara Spadaro & Katrina Yeaw” N. A. Mansour – “Review of In Vested Interests edited by AbdulMagid Breish, Louisa MacMillan, & Mysa Kafil-Hussain” Sarri Elfaituri – “Tajarrod Foundation: Towards a new free and creative space” (in Arabic) 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0504.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/lamma/ Lamma 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lamma-a-journal-of-libyan-studies-2/ Earth, Milky Way 04 01 20230620 Benkato, Adam (0000-0003-4299-5205) Zarrugh, Amina (0000-0003-4277-4656) Tayeb, Leila (0000-0002-0297-4082) 02 WORLD 06 15 9781685711559 03 9781685711559 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711545 20 08 20230620 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/lamma-a-journal-of-libyan-studies-2 20 08 20230620 02 25.00 USD WORLD urn:uuid:527ceaf6-ba1f-4a4c-80b7-7326718e54ae 03 01 01 thoth-work-id urn:uuid:70562164-2f8a-46d1-9823-c71f69f258b1 01 thoth-publication-id urn:uuid:527ceaf6-ba1f-4a4c-80b7-7326718e54ae 15 9781685711559 03 9781685711559 06 10.53288/0504.1.00 13 9781685711542 01 internal-reference 0504 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lamma A Journal of Libyan Studies 2 1 B01 21 0000000342995205 Adam Benkato Adam Benkato 40 01an7q238 University of California, Berkeley Adam Benkato teaches in the Department of Middle Eastern Languages and Cultures at the University of California, Berkeley. His research focuses on linguistics and philology, of Arabic in modern North Africa and of Iranian languages in late antiquity. He holds an MA and PhD from the School of Oriental and African Studies and and a BA from the University of Southern California. 2 B01 21 0000000202974082 Leila Tayeb Leila Tayeb 40 006m74d95 Northwestern University in Qatar Leila Tayeb is assistant professor in residence with a joint appointment in the Communication and Liberal Arts Programs at Northwestern University in Qatar. She received her PhD in performance studies from Northwestern University and holds an MA in performance studies from NYU and an MA in international affairs from The New School. Her research and teaching interests are in performance and politics, sound and militarism in daily life, dance studies, Islam and the state, and state-sponsored performance. Her work spans MENA and Africana studies with a central focus in Libya. 3 B01 21 0000000342774656 Amina Zarrugh Amina Zarrugh 40 054b0b564 Texas Christian University Amina Zarrugh is an Associate Professor of Sociology at Texas Christian University. Her research focuses on politics and forced disappearance in North Africa and race/ethnicity in the U.S. She completed her BA in sociology and government and her MA and PhD in sociology at the University of Texas at Austin. 01 ara 01 eng 00 190 03 B2 Cultural Studies+Critical Theory 12 JHMC 93 JHMC 10 SOC008010 93 1HBL 12 1HBL B2 Languages+Translations 10 POL045000 B2 Literary Studies 20 Libyan Studies; Libya; linguistics; methods; literature; field research; ethnography; colonialism; history; sociology 01 06 02 00 03 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to as wide a range of disciplines, sources, and approaches as possible, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies”. We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma “a gathering.”The contributions in this second issue help to open up space for interrelated discussions on a variety of topics, almost all largely neglected in the contemporary scholarly study of Libya. The focal point of this issue is the reflective contributions by members of a roundtable discussion “Methods and Sources for a New Generation of Libyan Studies” which took place at the 2020 MESA conference. We also mark the publication of a watershed book on genocide in colonial Libya with a trio of responses. As ever, we believe in the generative power in dialoguing and mixing works of art, literature, and scholarship as we seek to shape and re-shape new discussions on, about, from, and in Libya. 30 00 Lamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to as wide a range of disciplines, sources, and approaches as possible, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies”. We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma “a gathering.”The contributions in this second issue help to open up space for interrelated discussions on a variety of topics, almost all largely neglected in the contemporary scholarly study of Libya. The focal point of this issue is the reflective contributions by members of a roundtable discussion “Methods and Sources for a New Generation of Libyan Studies” which took place at the 2020 MESA conference. We also mark the publication of a watershed book on genocide in colonial Libya with a trio of responses. As ever, we believe in the generative power in dialoguing and mixing works of art, literature, and scholarship as we seek to shape and re-shape new discussions on, about, from, and in Libya. 04 00 Lameen Souag & Adam Benkato – “The Tuareg dialect of Ghat in 1850” Leila Tayeb – “Roundtable: Methods and Sources for a New Generation of Libyan Studies” Adam Benkato – “Research on Language in Libya” Fathia Elmenghawi – “Challenges and Promises Related to Research on Women and Public Space in Tripoli, Libya” Asma Khalifa – “Field Research in Libya” Leila Tayeb – “Knowing Libya: Ethnography” Amina Zarrugh – “Libyan Studies: A Call to Sociology” Ibrahim al-Imam translated by Safa Elnaili – “The Oasis Folks” Khaoula Bengezi – “Uncovering Concealed Past, Centering Silenced Knowledges” Ouissal Harize – “‘Qtǝlni al-shar’” Khaled Mattawa – “Rising from Shar: A Meditation on the Future of our History” Ali Ahmida – “Review of Religion as Resistance by Eileen Ryan” Tasnim Qutait – “Review of Women in the Modern History of Libya edited by Barbara Spadaro & Katrina Yeaw” N. A. Mansour – “Review of In Vested Interests edited by AbdulMagid Breish, Louisa MacMillan, & Mysa Kafil-Hussain” Sarri Elfaituri – “Tajarrod Foundation: Towards a new free and creative space” (in Arabic) 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0504.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/lamma/ Lamma 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lamma-a-journal-of-libyan-studies-2/ Earth, Milky Way 04 01 20230620 Benkato, Adam (0000-0003-4299-5205) Zarrugh, Amina (0000-0003-4277-4656) Tayeb, Leila (0000-0002-0297-4082) 02 WORLD 06 15 9781685711542 03 9781685711542 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/358 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f9adafdb-e026-451f-88c9-ff4384554a23/download 20 08 20230620 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/70562164-2f8a-46d1-9823-c71f69f258b1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/70562164-2f8a-46d1-9823-c71f69f258b1/70562164-2f8a-46d1-9823-c71f69f258b1.pdf 20 08 20230620 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849879 29 ZENODO: download the title https://zenodo.org/records/19849879/files/70562164-2f8a-46d1-9823-c71f69f258b1_book.pdf 20 08 20230620 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/lamma-a-journal-of-libyan-studies-2/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0504.1.00.pdf 20 08 20230620 01 urn:uuid:be718101-7517-4261-9d6f-5efa56580d00 03 01 01 thoth-work-id urn:uuid:d0d59741-4866-42c3-8528-f65c3da3ffdd 01 thoth-publication-id urn:uuid:be718101-7517-4261-9d6f-5efa56580d00 15 9780998531861 03 9780998531861 06 10.21983/P3.0169.1.00 01 internal-reference 0169 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Language Parasites Of Phorontology 1 A01 Sean Braune Sean Braune 01 eng 00 136 03 93 DSA 12 GTE B2 Languages+Translations 10 PHI038000 93 CFA B2 Philosophy 93 6NP 20 pataphysics; linguistics; paragrams; parasite semiotics; phorontology 01 06 02 00 03 00 Who speaks when you speak? Who writes when you write? Is it “you”—is it the “I” that you think you are? Or are we the chance inheritors of an invasive, exterior parasite—a parasite that calls itself “Being” or “Language?” If our sense of self is best defined on the basis of an exterior, parasitical force that enters us from the outside, then the “self” is no longer a centralized or agential “inside,” but rather becomes reconfigured as the result of an “outside” that parasitizes the “inside”-as-host. Rough versions of this model can be found in several traditions of continental philosophy: in Lacan, Derrida, Serres, Kristeva, Foucault, Baudrillard, to name a few. However, the full implications of this ontological model have yet to be addressed: what are its consequences for a theory of subjects, objects, and the agencies that intersect with them? How does this framework alter our understandings of the human and the non-human, the vital and the material?An off-kilter point of view is required to consider this historical and philosophical situation. Language Parasites argues that the best way to conceive of the “self” or “subject” as something linguistically and ontologically constituted by an aggressive and parasitical outside is by asking the following question: “what is the being of a parasite?” In addressing this challenge, Braune combines speculative philosophy with ’Pataphysics (the absurdist science, invented by Alfred Jarry, that theorizes a physics beyond both the para and the meta, resulting in the pata). These theoretical collisions betray a variety of swerves that extend to the social (as a parasite semiotics), the cultural (as the invasive force of memes), the aesthetic (as the transition of postmodernism to postmortemism), the linguistic (as found in Saussure’s paranoid researches into the paragram), the poetic (as seen in Christopher Dewdney’s journey into “Parasite Maintenance” and Christian Bök’s attempts to embed a poem in a bacterium), and the literary (as para-cited in Henry Miller’s experience of housing a parasite named “Conrad Moricand”). The “voice” of the parasite can be found in what Saussure calls the “paragram”—the uncanny messages that lurk hidden underneath the written word. And what does the parasite say? Or, does its speech reject human ears? 30 00 Who speaks when you speak? Who writes when you write? Is it “you”—is it the “I” that you think you are? Or are we the chance inheritors of an invasive, exterior parasite—a parasite that calls itself “Being” or “Language?” If our sense of self is best defined on the basis of an exterior, parasitical force that enters us from the outside, then the “self” is no longer a centralized or agential “inside,” but rather becomes reconfigured as the result of an “outside” that parasitizes the “inside”-as-host. Rough versions of this model can be found in several traditions of continental philosophy: in Lacan, Derrida, Serres, Kristeva, Foucault, Baudrillard, to name a few. However, the full implications of this ontological model have yet to be addressed: what are its consequences for a theory of subjects, objects, and the agencies that intersect with them? How does this framework alter our understandings of the human and the non-human, the vital and the material?An off-kilter point of view is required to consider this historical and philosophical situation. Language Parasites argues that the best way to conceive of the “self” or “subject” as something linguistically and ontologically constituted by an aggressive and parasitical outside is by asking the following question: “what is the being of a parasite?” In addressing this challenge, Braune combines speculative philosophy with ’Pataphysics (the absurdist science, invented by Alfred Jarry, that theorizes a physics beyond both the para and the meta, resulting in the pata). These theoretical collisions betray a variety of swerves that extend to the social (as a parasite semiotics), the cultural (as the invasive force of memes), the aesthetic (as the transition of postmodernism to postmortemism), the linguistic (as found in Saussure’s paranoid researches into the paragram), the poetic (as seen in Christopher Dewdney’s journey into “Parasite Maintenance” and Christian Bök’s attempts to embed a poem in a bacterium), and the literary (as para-cited in Henry Miller’s experience of housing a parasite named “Conrad Moricand”). The “voice” of the parasite can be found in what Saussure calls the “paragram”—the uncanny messages that lurk hidden underneath the written word. And what does the parasite say? Or, does its speech reject human ears? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0169.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/language-parasites-of-phorontology/ Earth, Milky Way 04 01 20170504 Braune, Sean 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531863 20 08 20170504 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/language-parasites-of-phorontology 20 08 20170504 02 22.00 USD WORLD urn:uuid:3a1d260b-bb34-4d06-8eff-e5873e26956a 03 01 01 thoth-work-id urn:uuid:d0d59741-4866-42c3-8528-f65c3da3ffdd 01 thoth-publication-id urn:uuid:3a1d260b-bb34-4d06-8eff-e5873e26956a 06 10.21983/P3.0169.1.00 01 internal-reference 0169 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Language Parasites Of Phorontology 1 A01 Sean Braune Sean Braune 01 eng 00 136 03 93 DSA 12 GTE B2 Languages+Translations 10 PHI038000 93 CFA B2 Philosophy 93 6NP 20 pataphysics; linguistics; paragrams; parasite semiotics; phorontology 01 06 02 00 03 00 Who speaks when you speak? Who writes when you write? Is it “you”—is it the “I” that you think you are? Or are we the chance inheritors of an invasive, exterior parasite—a parasite that calls itself “Being” or “Language?” If our sense of self is best defined on the basis of an exterior, parasitical force that enters us from the outside, then the “self” is no longer a centralized or agential “inside,” but rather becomes reconfigured as the result of an “outside” that parasitizes the “inside”-as-host. Rough versions of this model can be found in several traditions of continental philosophy: in Lacan, Derrida, Serres, Kristeva, Foucault, Baudrillard, to name a few. However, the full implications of this ontological model have yet to be addressed: what are its consequences for a theory of subjects, objects, and the agencies that intersect with them? How does this framework alter our understandings of the human and the non-human, the vital and the material?An off-kilter point of view is required to consider this historical and philosophical situation. Language Parasites argues that the best way to conceive of the “self” or “subject” as something linguistically and ontologically constituted by an aggressive and parasitical outside is by asking the following question: “what is the being of a parasite?” In addressing this challenge, Braune combines speculative philosophy with ’Pataphysics (the absurdist science, invented by Alfred Jarry, that theorizes a physics beyond both the para and the meta, resulting in the pata). These theoretical collisions betray a variety of swerves that extend to the social (as a parasite semiotics), the cultural (as the invasive force of memes), the aesthetic (as the transition of postmodernism to postmortemism), the linguistic (as found in Saussure’s paranoid researches into the paragram), the poetic (as seen in Christopher Dewdney’s journey into “Parasite Maintenance” and Christian Bök’s attempts to embed a poem in a bacterium), and the literary (as para-cited in Henry Miller’s experience of housing a parasite named “Conrad Moricand”). The “voice” of the parasite can be found in what Saussure calls the “paragram”—the uncanny messages that lurk hidden underneath the written word. And what does the parasite say? Or, does its speech reject human ears? 30 00 Who speaks when you speak? Who writes when you write? Is it “you”—is it the “I” that you think you are? Or are we the chance inheritors of an invasive, exterior parasite—a parasite that calls itself “Being” or “Language?” If our sense of self is best defined on the basis of an exterior, parasitical force that enters us from the outside, then the “self” is no longer a centralized or agential “inside,” but rather becomes reconfigured as the result of an “outside” that parasitizes the “inside”-as-host. Rough versions of this model can be found in several traditions of continental philosophy: in Lacan, Derrida, Serres, Kristeva, Foucault, Baudrillard, to name a few. However, the full implications of this ontological model have yet to be addressed: what are its consequences for a theory of subjects, objects, and the agencies that intersect with them? How does this framework alter our understandings of the human and the non-human, the vital and the material?An off-kilter point of view is required to consider this historical and philosophical situation. Language Parasites argues that the best way to conceive of the “self” or “subject” as something linguistically and ontologically constituted by an aggressive and parasitical outside is by asking the following question: “what is the being of a parasite?” In addressing this challenge, Braune combines speculative philosophy with ’Pataphysics (the absurdist science, invented by Alfred Jarry, that theorizes a physics beyond both the para and the meta, resulting in the pata). These theoretical collisions betray a variety of swerves that extend to the social (as a parasite semiotics), the cultural (as the invasive force of memes), the aesthetic (as the transition of postmodernism to postmortemism), the linguistic (as found in Saussure’s paranoid researches into the paragram), the poetic (as seen in Christopher Dewdney’s journey into “Parasite Maintenance” and Christian Bök’s attempts to embed a poem in a bacterium), and the literary (as para-cited in Henry Miller’s experience of housing a parasite named “Conrad Moricand”). The “voice” of the parasite can be found in what Saussure calls the “paragram”—the uncanny messages that lurk hidden underneath the written word. And what does the parasite say? Or, does its speech reject human ears? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0169.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/language-parasites-of-phorontology/ Earth, Milky Way 04 01 20170504 Braune, Sean 02 WORLD 06 15 9780998531861 03 9780998531861 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76529 20 08 20170504 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25458 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25458/1004637.pdf?sequence=1&isAllowed=y 20 08 20170504 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35327 20 08 20170504 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354048 20 08 20170504 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/553 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d4cbf935-c532-4d31-b868-5719d8d8c960/download 20 08 20170504 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Language_Parasites_Of_Phorontology/YASVEAAAQBAJ 20 08 20170504 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d0d59741-4866-42c3-8528-f65c3da3ffdd 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d0d59741-4866-42c3-8528-f65c3da3ffdd/d0d59741-4866-42c3-8528-f65c3da3ffdd.pdf 20 08 20170504 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846886 29 ZENODO: download the title https://zenodo.org/records/19846886/files/d0d59741-4866-42c3-8528-f65c3da3ffdd_book.pdf 20 08 20170504 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/language-parasites-of-phorontology/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0169.1.00.pdf 20 08 20170504 01 urn:uuid:fefa6a31-3009-4bac-acab-0be1fb64f2eb 03 01 01 thoth-work-id urn:uuid:1a71ecd5-c868-44af-9b53-b45888fb241c 01 thoth-publication-id urn:uuid:fefa6a31-3009-4bac-acab-0be1fb64f2eb 15 9780692350461 03 9780692350461 06 10.21983/P3.0094.1.00 01 internal-reference 0094 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Lapidari 1 Texts 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 40 01tgyzw49 National University of Singapore 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 01 eng 00 284 03 93 AMG 12 AMGD 10 ART062000 B2 Built Environments 93 1DXA B2 History 10 POL005000 93 3MPQ-DE-J B2 Languages+Translations 20 communism; Albania; public art; monumentality; socialism; political history 01 06 02 00 03 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 30 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0094.1.00_frontcover.jpg 1 03 06 10.21983/P3.0094.1.01 1 12 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 2 03 06 10.21983/P3.0094.1.02 17 21 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 To a large extent, the period between 1945–1990 in Al-banian history, and the type of monumentality created during this period, is still unreadable to us today. This unreadability is partially the result of a politicization of the monumental heritage from this period, if not its entire historiography, as evidenced by the many con-flicting descriptive adjectives launched like missiles into the past: “socialist,” “communist,” “dictatorial,” “scientific-stalinist,” “terrorist,” “totalitarian,” and so on. This situation, however, has led to a climate of insistent negligence, if not outright condemnation and destruc-tion, as well as various gaps in the scholarly tradition at-tending to the various sorts of monumentality in the Al-banian cultural landscape. The most recent overview of Albanian monumentality was published in 1973, entitled Përmendore të heroizmit shqiptar (Memorials of Albanian Heroism).1 This album was published as a part of the campaign of what then Secretary of the Central Com-mitte of the Albanian Labor Party Ramiz Alia called “monumental propaganda,” being an integral element of the Cultural and Ideological Revolution. As a project, the Albanian Lapidar Survey (als), conducted by the Department of Eagles in 2014, aimed to give a first, and general, overview of Albanian monumentality from the period 1945–1990. 30 00 To a large extent, the period between 1945–1990 in Al-banian history, and the type of monumentality created during this period, is still unreadable to us today. This unreadability is partially the result of a politicization of the monumental heritage from this period, if not its entire historiography, as evidenced by the many con-flicting descriptive adjectives launched like missiles into the past: “socialist,” “communist,” “dictatorial,” “scientific-stalinist,” “terrorist,” “totalitarian,” and so on. This situation, however, has led to a climate of insistent negligence, if not outright condemnation and destruc-tion, as well as various gaps in the scholarly tradition at-tending to the various sorts of monumentality in the Al-banian cultural landscape. The most recent overview of Albanian monumentality was published in 1973, entitled Përmendore të heroizmit shqiptar (Memorials of Albanian Heroism).1 This album was published as a part of the campaign of what then Secretary of the Central Com-mitte of the Albanian Labor Party Ramiz Alia called “monumental propaganda,” being an integral element of the Cultural and Ideological Revolution. As a project, the Albanian Lapidar Survey (als), conducted by the Department of Eagles in 2014, aimed to give a first, and general, overview of Albanian monumentality from the period 1945–1990. 20 00 Open Access van Gerven Oei, Vincent W.J. 3 03 06 10.21983/P3.0094.1.03 23 27 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Parathënie 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 03 00 Në historinë e Shqipërisë, periudha midis viteve 1945–1990 dhe llojet e monumentalizmit që u prodhuan, janë më së shumti të palexueshme për ne sot. Shkak për këtë palexueshmëri, të paktën pjesërisht, është politizimi i trashëgimisë monumentale, në mos i gjithë historiogra-fisë së kësaj periudhe, siç evidentohet ndër të tjera nga cilësimet e tipit: “socialiste”, “komuniste”, “diktatoriale”, “shkencore-staliniste”, “terroriste”, “totalitare” e kështu me rradhë, që lëshohen si predha mbi të kaluarën. Për pasojë, është krijuar një klimë mospërfilljeje kronike, në mos ndëshkimi e shkatërrimi të mirëfilltë, dhe janë hapur boshllëqe të ndryshme në traditën shkollare që merret me format e ndryshme të monumentalizmit në peizazhin kulturor shqiptar. Botimi i fundit kushtuar monumentalizmit shqiptar në tërësi, i titulluar Përmen-dore të heroizmit shqiptar, daton në 1973.1 Ky album qe pjesë e fushatës që Sekretari i atëhershëm i Komitetit Qendror të Partisë së Punës së Shqipërisë, Ramiz Alia, quajti “propaganda monumentale”, që konsiderohej një pjesë e rëndësishme e Revolucionit Ideologjik e Kultu-ror. Projekti “Hulumtim mbi Lapidarët e Shqipërisë” (“Albanian Lapidar Survey”, shkurt als) i Departamen-tit të Shqiponjave zhvilluar në 2014, ka për qëllim të ofrojë një pasqyrë fillestare e të përgjithshme të monu-mentalizmit shqiptar të periudhës 1945–1990. 30 00 Në historinë e Shqipërisë, periudha midis viteve 1945–1990 dhe llojet e monumentalizmit që u prodhuan, janë më së shumti të palexueshme për ne sot. Shkak për këtë palexueshmëri, të paktën pjesërisht, është politizimi i trashëgimisë monumentale, në mos i gjithë historiogra-fisë së kësaj periudhe, siç evidentohet ndër të tjera nga cilësimet e tipit: “socialiste”, “komuniste”, “diktatoriale”, “shkencore-staliniste”, “terroriste”, “totalitare” e kështu me rradhë, që lëshohen si predha mbi të kaluarën. Për pasojë, është krijuar një klimë mospërfilljeje kronike, në mos ndëshkimi e shkatërrimi të mirëfilltë, dhe janë hapur boshllëqe të ndryshme në traditën shkollare që merret me format e ndryshme të monumentalizmit në peizazhin kulturor shqiptar. Botimi i fundit kushtuar monumentalizmit shqiptar në tërësi, i titulluar Përmen-dore të heroizmit shqiptar, daton në 1973.1 Ky album qe pjesë e fushatës që Sekretari i atëhershëm i Komitetit Qendror të Partisë së Punës së Shqipërisë, Ramiz Alia, quajti “propaganda monumentale”, që konsiderohej një pjesë e rëndësishme e Revolucionit Ideologjik e Kultu-ror. Projekti “Hulumtim mbi Lapidarët e Shqipërisë” (“Albanian Lapidar Survey”, shkurt als) i Departamen-tit të Shqiponjave zhvilluar në 2014, ka për qëllim të ofrojë një pasqyrë fillestare e të përgjithshme të monu-mentalizmit shqiptar të periudhës 1945–1990. 20 00 Open Access van Gerven Oei, Vincent W.J. 4 03 06 10.21983/P3.0094.1.04 29 29 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Circular to the Prefectural Executive Committee (Section Education) Regarding Lapidars 1 A01 Directorate of Culture, Ministry of Education, People's Republic of Albania Directorate of Culture 01 eng 03 00 Our National Liberation War has truly been a war of the masses, such that there is no village, neighborhood, and road left where it did not leave its traces.1 It is our duty that they immortalize this holy and heroic war of our people. We have to realize that each traveller, wherever he may pass, may say: “Here has been fought.”How to make sure that our people and especially the future generations may forever consider the large sacri-fices with which the freedom that we enjoy was won?In the first place we have to immortalize the hun-dreds and thousands of names of our martyrs. Our gov-ernment will directly take care of this and has to give all its assistance to the initiative of the people and organiza-tions in this direction. 30 00 Our National Liberation War has truly been a war of the masses, such that there is no village, neighborhood, and road left where it did not leave its traces.1 It is our duty that they immortalize this holy and heroic war of our people. We have to realize that each traveller, wherever he may pass, may say: “Here has been fought.”How to make sure that our people and especially the future generations may forever consider the large sacri-fices with which the freedom that we enjoy was won?In the first place we have to immortalize the hun-dreds and thousands of names of our martyrs. Our gov-ernment will directly take care of this and has to give all its assistance to the initiative of the people and organiza-tions in this direction. 20 00 Open Access People's Republic of Albania, Ministry of Education, Directorate of Culture 5 03 06 10.21983/P3.0094.1.05 31 31 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Qarkore komitetit ekzekutiv të prefekturës (seksionit t'Arsimit) Mbi lapidarët 1 A01 Drejtorija e Kulturës, Minisstrija e Arsimit, Republika Popullore e Shqipërisë Drejtorija e Kulturës 01 alb 03 00 Lufta e jonë Nacional-Çlirimtare ka qënë me të vërtetë një luftë masash, sa s’ka mbetur katund, lagje dhe rrugë ku të mos ketë lënë gjurmat e saj.1 Është detyra e jonë që këtë luftë të shënjtë dhe heroike të popullit t’onë t’a përjetësojnë. Ne duhet të bëjmë që çdo udhtar, nga çdo vënd që të kalojë, të thotë: “Këtu është luftuar”.Të bëjmë që populli i jonë e sidomos brezat e ardh-shëm të kenë gjithnjë përparasysh sakrificat e mbëdha me të cilat u fitua lirija që gëzojmë?Ne duhet të bëjmë të pavdekshme në radhë të parë emrat e qindra e mija dëshmorëve t’onë. Pushteti i jonë do të interesohet direkt për këtë dhe duhet t’u japi gjithë ndihmën e tij inisjativës së popullit dhe të organizatave në këtë drejtim. 30 00 Lufta e jonë Nacional-Çlirimtare ka qënë me të vërtetë një luftë masash, sa s’ka mbetur katund, lagje dhe rrugë ku të mos ketë lënë gjurmat e saj.1 Është detyra e jonë që këtë luftë të shënjtë dhe heroike të popullit t’onë t’a përjetësojnë. Ne duhet të bëjmë që çdo udhtar, nga çdo vënd që të kalojë, të thotë: “Këtu është luftuar”.Të bëjmë që populli i jonë e sidomos brezat e ardh-shëm të kenë gjithnjë përparasysh sakrificat e mbëdha me të cilat u fitua lirija që gëzojmë?Ne duhet të bëjmë të pavdekshme në radhë të parë emrat e qindra e mija dëshmorëve t’onë. Pushteti i jonë do të interesohet direkt për këtë dhe duhet t’u japi gjithë ndihmën e tij inisjativës së popullit dhe të organizatave në këtë drejtim. 20 00 Open Access Republika Popullore e Shqipërisë, Minisstrija e Arsimit, Drejtorija e Kulturës 6 03 06 10.21983/P3.0094.1.06 33 37 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Report on the State and Measures for the Development and Further Revolutionization of Monumental Propaganda 1 A01 Ramiz Alia Ramiz Alia 01 eng 03 00 With the continuous care of the party and government for the preservation and further development of the patriotic and revolutionary traditions of our people, monumental propaganda acquires with us increasingly broader proportions for the immortalization of the most important events and figures, and is transforming into a powerful instrument for the reflection of the glorious history of our people and for the revolutionary and class education of the masses.1 Nowadays, beside the place-ment of hundreds of commemorative plaques, dozens upon dozens of lapidars, busts, statues, and monuments have been erected everywhere, reminding the traveller and visitor that the Albanian, as comrade Enver has said, has – sword in hand – cut the road of history in two, and that Albania has turned into a country of lapidars and construction sites. 30 00 With the continuous care of the party and government for the preservation and further development of the patriotic and revolutionary traditions of our people, monumental propaganda acquires with us increasingly broader proportions for the immortalization of the most important events and figures, and is transforming into a powerful instrument for the reflection of the glorious history of our people and for the revolutionary and class education of the masses.1 Nowadays, beside the place-ment of hundreds of commemorative plaques, dozens upon dozens of lapidars, busts, statues, and monuments have been erected everywhere, reminding the traveller and visitor that the Albanian, as comrade Enver has said, has – sword in hand – cut the road of history in two, and that Albania has turned into a country of lapidars and construction sites. 20 00 Open Access Alia, Ramiz 7 03 06 10.21983/P3.0094.1.07 39 43 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Relacion Mbi gjendjen dhe masat për zhvillimin dhe revolucionarizimin e mëtejshëm të propagandës monumentale 1 A01 Ramiz Alia Ramiz Alia 01 alb 03 00 Me kujdesin e vazhdueshëm të partisë dhe qeverisë për ruajtjen dhe zhvillimin e mëtejshëm të traditave pa-triotike e revolucionare të popullit tonë, për përjetësi-min e ngjarjeve dhe figurave më të rëndësishme, tek ne, gjithnjë e më shumë, propaganda monumentale po merr përpjestime të gjëra dhe po shndrrohet në një mjet të fuqishëm për pasqyrimin e historisë së lavdishme të popullit tonë dhe për edukimin revolucionar e klasor të masave.1 Tani kudo, krahas vendosjes të qindra pllaka-ve përkujtimore, janë ngritur dhjetra e dhjetra lapidarë, buste, statuje e monumente që i kujtojnë udhëtarit e vi-sitorit, se shqiptari, siç ka thënë shoku Enver, e ka qarë me shpatë në dorë rrugën e historisë, se Shqipëria është kthyer në një vend lapidarësh dhe kantieresh. 30 00 Me kujdesin e vazhdueshëm të partisë dhe qeverisë për ruajtjen dhe zhvillimin e mëtejshëm të traditave pa-triotike e revolucionare të popullit tonë, për përjetësi-min e ngjarjeve dhe figurave më të rëndësishme, tek ne, gjithnjë e më shumë, propaganda monumentale po merr përpjestime të gjëra dhe po shndrrohet në një mjet të fuqishëm për pasqyrimin e historisë së lavdishme të popullit tonë dhe për edukimin revolucionar e klasor të masave.1 Tani kudo, krahas vendosjes të qindra pllaka-ve përkujtimore, janë ngritur dhjetra e dhjetra lapidarë, buste, statuje e monumente që i kujtojnë udhëtarit e vi-sitorit, se shqiptari, siç ka thënë shoku Enver, e ka qarë me shpatë në dorë rrugën e historisë, se Shqipëria është kthyer në një vend lapidarësh dhe kantieresh. 20 00 Open Access Alia, Ramiz 8 03 06 10.21983/P3.0094.1.08 45 47 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dignified Symbols for Historical Events 1 A01 Kujtim Buza Kujtim Buza 2 A01 Kleanth Dedi Kleanth Dedi 01 eng 03 00 As a direct result of the great care of the party and the government, a healthy social opinion has been created in our country to keep alive the mass and individual heroism and to immortalize the different events of lo-cal and national importance.1 There is a sensible growth in the number of memorials in our country. Nowadays, we have about 500 lapidars, over 300 commemorative plaques, 140 busts, and 27 monuments and memorials. The study of the number of those symbols also brings out problems that show their appreciation by dif-ferent regions. We do not pretend that there is an equal-ity in number between regions. There are differences and there have to be. Those are related to the number of events or persons that one or the other region has to be commemorated. 30 00 As a direct result of the great care of the party and the government, a healthy social opinion has been created in our country to keep alive the mass and individual heroism and to immortalize the different events of lo-cal and national importance.1 There is a sensible growth in the number of memorials in our country. Nowadays, we have about 500 lapidars, over 300 commemorative plaques, 140 busts, and 27 monuments and memorials. The study of the number of those symbols also brings out problems that show their appreciation by dif-ferent regions. We do not pretend that there is an equal-ity in number between regions. There are differences and there have to be. Those are related to the number of events or persons that one or the other region has to be commemorated. 20 00 Open Access Buza, Kujtim Dedi, Kleanth 9 03 06 10.21983/P3.0094.1.09 49 51 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Simbole dinjitoze ngjarjeve historike 1 A01 Kujtim Buza Kujtim Buza 2 A01 Kleanth Dedi Kleanth Dedi 01 alb 03 00 Si rezultat i drejtpërdrejtë i kujdesit të madh të partisë dhe të pushtetit, në vendin tonë, për të mbajtur gjallë he-roizmin masiv dhe individual, për të përjetësuar ngjarjet e ndryshme me rëndësi lokale e kombëtare, është krijuar një opinion i shëndoshë shoqëror.1 Ka rritje të ndjeshme të numurit të përkujtimoreve në vendin tonë. Sot kemi rreth 500 lapidarë, mbi 300 pllaka përkujtimore, 140 bu-ste dhe 27 monumente e përmendore.Nëpërmjet studimit të numurit të këtyre simboleve, dalin edhe probleme që tregojnë vlerësimin që bëhet nga rrethet e ndryshme. Ne nuk pretendojmë të ketë barazi në numur midis rretheve. Ndryshime ka dhe duhet të ketë. Ato janë të lidhura me numurin e ngjarjeve ose të personave që kan njeri ose tjetri rreth për t’u përkujtuar. 30 00 Si rezultat i drejtpërdrejtë i kujdesit të madh të partisë dhe të pushtetit, në vendin tonë, për të mbajtur gjallë he-roizmin masiv dhe individual, për të përjetësuar ngjarjet e ndryshme me rëndësi lokale e kombëtare, është krijuar një opinion i shëndoshë shoqëror.1 Ka rritje të ndjeshme të numurit të përkujtimoreve në vendin tonë. Sot kemi rreth 500 lapidarë, mbi 300 pllaka përkujtimore, 140 bu-ste dhe 27 monumente e përmendore.Nëpërmjet studimit të numurit të këtyre simboleve, dalin edhe probleme që tregojnë vlerësimin që bëhet nga rrethet e ndryshme. Ne nuk pretendojmë të ketë barazi në numur midis rretheve. Ndryshime ka dhe duhet të ketë. Ato janë të lidhura me numurin e ngjarjeve ose të personave që kan njeri ose tjetri rreth për t’u përkujtuar. 20 00 Open Access Buza, Kujtim Dedi, Kleanth 10 03 06 10.21983/P3.0094.1.10 53 55 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Natural and Cultural Monuments during the Years of Socialism 1 A01 Muharrem Xhafa Muharrem Xhafa 01 eng 03 00 During the years of socialism, the popular government in Albania, even all ofAlbanian society, gave special im-portance to the issue and values of cultural monuments and as such held them in high regard. Certainly this is not something accidental, but the result of a realistic politics followed by the Labor Party of Albania in power, which always showed itself concerned toward the sec-tor, life, and problems of cultural monuments, and ap-preciated this activity with value and great importance for society and Albanian history, in the broadest sense of the word. It did not limit the content, meaning, and role of monuments to the framework of cultural monuments alone. So for the party, state, institutions, and public opinion the concept “monument” included cultural monuments, but also an old artisanal house, a bridge, a building, or something else with artistic, cultural and historical, archeological, or architectural value, as well as works, documents, evidence, and early monuments of the writing of the Albanian language, etc. Also a writ-ten work of outstanding historical, cultural, or scientific value for the past or present of country, was understood to be part of this. The Albanian state and population valued all riches inherited throughout the centuries and created during the years of the National Antifascist Lib-eration War and in the decades of the country’s building of socialism – erected monumental works, completed monumental studies, created monumental composi-tions, buildings, bridges, and monumental ensembles, pictures, sculptures, monumental tableaus, monumen-tal centers in cities, inhabited zones, and villages. In its endeavors to create grand, monumental works, which left deep impressions with their large dimensions and thoroughly popular–national content, with the great-ness they expressed and incredible generalizing features, rising up high, spreading glory to the heroism of the people, its outstanding sons. 30 00 During the years of socialism, the popular government in Albania, even all ofAlbanian society, gave special im-portance to the issue and values of cultural monuments and as such held them in high regard. Certainly this is not something accidental, but the result of a realistic politics followed by the Labor Party of Albania in power, which always showed itself concerned toward the sec-tor, life, and problems of cultural monuments, and ap-preciated this activity with value and great importance for society and Albanian history, in the broadest sense of the word. It did not limit the content, meaning, and role of monuments to the framework of cultural monuments alone. So for the party, state, institutions, and public opinion the concept “monument” included cultural monuments, but also an old artisanal house, a bridge, a building, or something else with artistic, cultural and historical, archeological, or architectural value, as well as works, documents, evidence, and early monuments of the writing of the Albanian language, etc. Also a writ-ten work of outstanding historical, cultural, or scientific value for the past or present of country, was understood to be part of this. The Albanian state and population valued all riches inherited throughout the centuries and created during the years of the National Antifascist Lib-eration War and in the decades of the country’s building of socialism – erected monumental works, completed monumental studies, created monumental composi-tions, buildings, bridges, and monumental ensembles, pictures, sculptures, monumental tableaus, monumen-tal centers in cities, inhabited zones, and villages. In its endeavors to create grand, monumental works, which left deep impressions with their large dimensions and thoroughly popular–national content, with the great-ness they expressed and incredible generalizing features, rising up high, spreading glory to the heroism of the people, its outstanding sons. 20 00 Open Access Xhafa, Muharrem 11 03 06 10.21983/P3.0094.1.11 57 59 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Monumentet e natyrës dhe të kulturës në vitet e socializmit 1 A01 Muharrem Xhafa Muharrem Xhafa 01 alb 03 00 Në vitet e socializmit, pushteti popullor në Shqipëri, madje e gjithë shoqëria shqiptare, u jepnin rëndësi të posaçme dhe kishin, po kështu, edhe vlerësim të lartë për çeshtjen e vlerat e monumenteve të kulturës. Sigu-risht, kjo nuk ishte diçka e rastit, po ishte rrjedhojë e politikës realiste, që ndiqte Partia e Punës së Shqipërisë në pushtet, e cila gjithnjë tregohej e vëmendshme ndaj sektorit, jetës e problemeve të monumenteve të kulturës, e vlerësonte këtë veprimtari me vlera e rëndësi të spi-katur për shoqërinë e historinë shqiptare, në kuptimin më të gjerë të fjalës. Ajo nuk i kufizonte përmbajtjen, kuptimin e rolin e monumenteve thjesht në kuadrin e monumenteve të kulturës. Partia, shteti, institucionet, opinioni shoqëror, në konceptin monument perfshinin, monumente të kulturës, po edhe një ndërtesë të vjetër arti, edhe një urë, një banesë a diçka tjetër me vlera ar-tistike, kulturore e historike, arkeologjike, arkitekturore, edhe veprat, dokumentet, deshmitë e para-monumente të shkrimit të gjuhës shqipe etj. Po kuptohej, gjithashtu, edhe një vepër e shkruar, me vlera të shquara historike, kulturore, shkencore për të shkuaren e vendit e për të tashmen e tij, për qenien e popullit shqiptar. Shteti e po-pulli shqiptar çmonin të gjitha pasuritë e trashëguara në shekuj dhe ato të krijuara në vitet e Luftës Antifashiste Nacionalçlirimtare dhe në dekadat e ndërtimit socialist të vendit – veprat monumentale të ngritura, studimet monumentale të kryera, kompozimet monumentale të bëra, ndërtesat, urat e ansamblet monumentale, pikturat, skulpturat, tablotë monumentale, qendrat monumenta-le në qytete, zona të banuara e fshatra. Në përpjekjet e saj për të krijuar vepra monumentale, madhështore, të cilat linin mbresa të thella me përmasat e veta të mëdha e me përmbajtjen e tyre të thellë popullore–kombëtare, me madhështinë që shprehnin e trajtat përgjithësuese të papara, që ngrinin lart e i thurnin lavdi heroizmit të po-pullit, bijve të shquar të tij. 30 00 Në vitet e socializmit, pushteti popullor në Shqipëri, madje e gjithë shoqëria shqiptare, u jepnin rëndësi të posaçme dhe kishin, po kështu, edhe vlerësim të lartë për çeshtjen e vlerat e monumenteve të kulturës. Sigu-risht, kjo nuk ishte diçka e rastit, po ishte rrjedhojë e politikës realiste, që ndiqte Partia e Punës së Shqipërisë në pushtet, e cila gjithnjë tregohej e vëmendshme ndaj sektorit, jetës e problemeve të monumenteve të kulturës, e vlerësonte këtë veprimtari me vlera e rëndësi të spi-katur për shoqërinë e historinë shqiptare, në kuptimin më të gjerë të fjalës. Ajo nuk i kufizonte përmbajtjen, kuptimin e rolin e monumenteve thjesht në kuadrin e monumenteve të kulturës. Partia, shteti, institucionet, opinioni shoqëror, në konceptin monument perfshinin, monumente të kulturës, po edhe një ndërtesë të vjetër arti, edhe një urë, një banesë a diçka tjetër me vlera ar-tistike, kulturore e historike, arkeologjike, arkitekturore, edhe veprat, dokumentet, deshmitë e para-monumente të shkrimit të gjuhës shqipe etj. Po kuptohej, gjithashtu, edhe një vepër e shkruar, me vlera të shquara historike, kulturore, shkencore për të shkuaren e vendit e për të tashmen e tij, për qenien e popullit shqiptar. Shteti e po-pulli shqiptar çmonin të gjitha pasuritë e trashëguara në shekuj dhe ato të krijuara në vitet e Luftës Antifashiste Nacionalçlirimtare dhe në dekadat e ndërtimit socialist të vendit – veprat monumentale të ngritura, studimet monumentale të kryera, kompozimet monumentale të bëra, ndërtesat, urat e ansamblet monumentale, pikturat, skulpturat, tablotë monumentale, qendrat monumenta-le në qytete, zona të banuara e fshatra. Në përpjekjet e saj për të krijuar vepra monumentale, madhështore, të cilat linin mbresa të thella me përmasat e veta të mëdha e me përmbajtjen e tyre të thellë popullore–kombëtare, me madhështinë që shprehnin e trajtat përgjithësuese të papara, që ngrinin lart e i thurnin lavdi heroizmit të po-pullit, bijve të shquar të tij. 20 00 Open Access Xhafa, Muharrem 12 03 06 10.21983/P3.0094.1.12 61 66 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Thanatology of Hope 1 A01 Gëzim Qëndro Gëzim Qëndro 01 eng 03 00 When confronted with an oxymoron like the title “The Thanatology of Hope,” the reader will probably think that it suffers from a referential uncertainty: the words seem to work separately, creating an ambiguous and un-convincing fusion of the two. Furthermore, in our cul-ture death and hope seem to exclude each other (hope dies last!). This is why the cemetery is perceived as a place of sorrow and loss which annihilates any discourse of hope, a topos where one thinks that Death was the end of the hopes of the unfortunate inhabitants of the necropolis. 30 00 When confronted with an oxymoron like the title “The Thanatology of Hope,” the reader will probably think that it suffers from a referential uncertainty: the words seem to work separately, creating an ambiguous and un-convincing fusion of the two. Furthermore, in our cul-ture death and hope seem to exclude each other (hope dies last!). This is why the cemetery is perceived as a place of sorrow and loss which annihilates any discourse of hope, a topos where one thinks that Death was the end of the hopes of the unfortunate inhabitants of the necropolis. 20 00 Open Access Qëndro, Gëzim 13 03 06 10.21983/P3.0094.1.13 67 72 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Thanatologjia e shpresës 1 A01 Gëzim Qëndro Gëzim Qëndro 01 alb 03 00 Kur përballet me një togfjalësh kundërthënës si titul-li “Thanatologjia e shpresës” lexuesi ka të ngjarë të mendojë se ai vuan nga njëfarë paqartësie ndaj refe-rentit: fjalët duken sikur veprojnë veçmas duke kri-juar një shkrirje dykuptimëshe aspak bindëse. Për më tepër, në kulturën tonë vdekja dhe shpresa duket sikur përjashtojnë njëra-tjetrën (shpresa vdes e fundit!), pra-ndaj varreza perceptohet si vend pikëllimi dhe humbjeje ku asgjësohet çfarëdo diskuri rreth shpresës, një topos që na shtyn të mendojmë se Vdekja ishte fundi i shpresave për banorët fatkeqë të nekropolit. 30 00 Kur përballet me një togfjalësh kundërthënës si titul-li “Thanatologjia e shpresës” lexuesi ka të ngjarë të mendojë se ai vuan nga njëfarë paqartësie ndaj refe-rentit: fjalët duken sikur veprojnë veçmas duke kri-juar një shkrirje dykuptimëshe aspak bindëse. Për më tepër, në kulturën tonë vdekja dhe shpresa duket sikur përjashtojnë njëra-tjetrën (shpresa vdes e fundit!), pra-ndaj varreza perceptohet si vend pikëllimi dhe humbjeje ku asgjësohet çfarëdo diskuri rreth shpresës, një topos që na shtyn të mendojmë se Vdekja ishte fundi i shpresave për banorët fatkeqë të nekropolit. 20 00 Open Access Qëndro, Gëzim 14 03 06 10.21983/P3.0094.1.14 73 80 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "We Raise Our Eyes and Feel as if She Rules the Sky" The Mother Albania Monument and the Visualization of National History 1 A01 Raino Isto Raino Isto 40 01r0c1p88 University of Maryland 01 eng 03 00 On the morning of May 5, 1972, Enver Hoxha and the party leadership, together with hundreds of citizens of the People’s Socialist Republic of Albania, gathered on a hill overlooking Tirana from the southeast, in the Cem-etery of the Martyrs of the Nation.1 This Martyrs’ Day celebration was the first to be held in the new martyrs’ cemetery, a complex that – in a more modest manifesta-tion – had previously occupied the hill of St. Procopius in Tirana’s Great Park [als–8]. Those assembled stood on an open platform before the centerpiece of the new cemetery complex, the imposing figure of the Mother Albania monument [als–12], which rose 22 meters over the crowds below (fig. 1).2 Reporting on the commemo-ration for the newspaper Zëri i Popullit, Agim Shehu de-scribed, in particular, those mothers who had come to honor the dead who had given their lives in the struggle against fascist occupation and in support of the Popular Revolution 30 00 On the morning of May 5, 1972, Enver Hoxha and the party leadership, together with hundreds of citizens of the People’s Socialist Republic of Albania, gathered on a hill overlooking Tirana from the southeast, in the Cem-etery of the Martyrs of the Nation.1 This Martyrs’ Day celebration was the first to be held in the new martyrs’ cemetery, a complex that – in a more modest manifesta-tion – had previously occupied the hill of St. Procopius in Tirana’s Great Park [als–8]. Those assembled stood on an open platform before the centerpiece of the new cemetery complex, the imposing figure of the Mother Albania monument [als–12], which rose 22 meters over the crowds below (fig. 1).2 Reporting on the commemo-ration for the newspaper Zëri i Popullit, Agim Shehu de-scribed, in particular, those mothers who had come to honor the dead who had given their lives in the struggle against fascist occupation and in support of the Popular Revolution 20 00 Open Access Isto, Raino 15 03 06 10.21983/P3.0094.1.15 81 88 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Ngremë sytë lart e ndjejmë, se ajo zotëron qiellin" Monumenti Nëna Shqipëri dhe vizualizimi i historisë kombëtar 1 A01 Raino Isto Raino Isto 40 01r0c1p88 University of Maryland 01 alb 03 00 Mëngjesin e 5 majit 1972, Enver Hoxha dhe kryesia e partisë, së bashku me qindra qytetarë të Republikës Po-pullore Socialiste të Shqipërisë, u mblodhën në majën e një kodre prej nga ku mund të vëzhgohej gjithë Ti-rana nga juglindja, tek Varrezat e Dëshmorëve.1 Kjo ishte hera e parë që kremtimi i Ditës së Dëshmorëve u mbajt tek varrezat e reja të dëshmorëve, një kompleks ky versioni më modest i të cilit ndodhej një herë e një kohë në kodrën e Shën Prokopit në Parkun e Madh të Tiranës [als–8]. Të pranishmit ishin mbledhur në një platformë të hapur përballë figurës imponuese të mo-numentit Nëna Shqipëri [als–12], i cili ngrihej 22 metra mbi turmën (fig. 1).2 Agim Shehu, në reportazhin e tij mbi ceremoninë përkujtimore në gazetën Zëri i Popullit,i kushtoi vëmendje të veçantë nënave që kishin ardhur për të nderuar djemtë dhe vajzat që kishin rënë në luftën kundër pushtimit fashist dhe që kishin mbështetur Re-volucionin Popullor 30 00 Mëngjesin e 5 majit 1972, Enver Hoxha dhe kryesia e partisë, së bashku me qindra qytetarë të Republikës Po-pullore Socialiste të Shqipërisë, u mblodhën në majën e një kodre prej nga ku mund të vëzhgohej gjithë Ti-rana nga juglindja, tek Varrezat e Dëshmorëve.1 Kjo ishte hera e parë që kremtimi i Ditës së Dëshmorëve u mbajt tek varrezat e reja të dëshmorëve, një kompleks ky versioni më modest i të cilit ndodhej një herë e një kohë në kodrën e Shën Prokopit në Parkun e Madh të Tiranës [als–8]. Të pranishmit ishin mbledhur në një platformë të hapur përballë figurës imponuese të mo-numentit Nëna Shqipëri [als–12], i cili ngrihej 22 metra mbi turmën (fig. 1).2 Agim Shehu, në reportazhin e tij mbi ceremoninë përkujtimore në gazetën Zëri i Popullit,i kushtoi vëmendje të veçantë nënave që kishin ardhur për të nderuar djemtë dhe vajzat që kishin rënë në luftën kundër pushtimit fashist dhe që kishin mbështetur Re-volucionin Popullor 20 00 Open Access Isto, Raino 16 03 06 10.21983/P3.0094.1.16 89 96 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 pilgrimage Centered at Text and Memory The Lapidar in Qukës-Pishkash 1 A01 Konstantinos Giakoumis Konstantinos Giakoumis 40 01d3tej48 University of New York Tirana 2 A01 Christopher Lockwood Christopher Lockwood 40 01d3tej48 University of New York Tirana 01 eng 03 00 The purpose of this paper is to contextualize the lapi-dar at Qukës–Pishkash, Librazhd, into the political and social setting of its period and beyond. In doing so, we aim, first, at presenting the monument; second, at dem-onstrating that lapidars were not static monuments, but rather reference points for the socio-political life of the regional and capital center; last but not least, we shall endeavor to show how Albania’s communist regime, in its understanding of the importance of pilgrimage in religious practices, attempted to establish a political religion by creating, through the lapidar at Pishkash, a pilgrimage centered at text and memory to commemo-rate the 1943–4 winter march of the First Offensive Bri-gade in the mountainous zones of Çermenikë, Librazhd, Gramsh, and Korçë, in the course of Albania’s National Anti-Fascist Liberation War. To this aim, we have assem-bled factual and empirical evidence regarding the mon-uments and combined them with socio-anthropological evidence from the study of pilgrimage. 30 00 The purpose of this paper is to contextualize the lapi-dar at Qukës–Pishkash, Librazhd, into the political and social setting of its period and beyond. In doing so, we aim, first, at presenting the monument; second, at dem-onstrating that lapidars were not static monuments, but rather reference points for the socio-political life of the regional and capital center; last but not least, we shall endeavor to show how Albania’s communist regime, in its understanding of the importance of pilgrimage in religious practices, attempted to establish a political religion by creating, through the lapidar at Pishkash, a pilgrimage centered at text and memory to commemo-rate the 1943–4 winter march of the First Offensive Bri-gade in the mountainous zones of Çermenikë, Librazhd, Gramsh, and Korçë, in the course of Albania’s National Anti-Fascist Liberation War. To this aim, we have assem-bled factual and empirical evidence regarding the mon-uments and combined them with socio-anthropological evidence from the study of pilgrimage. 20 00 Open Access Giakoumis, Konstantinos Lockwood, Christopher 17 03 06 10.21983/P3.0094.1.17 97 104 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pelegrinazhi i përqëndruar tek teksti dhe kujtesa Lapidari në Qukës-Pishkash 1 A01 Konstantinos Giakoumis Konstantinos Giakoumis 40 01d3tej48 University of New York Tirana 2 A01 Christopher Lockwood Christopher Lockwood 40 01d3tej48 University of New York Tirana 01 alb 03 00 Qëllimi ynë në këtë artikulli është të kontekstualizojmë lapidarin në Qukës–Pishkash, Librazhd, në kuadrin e rrethanave politike e sociale të kohës kur ai u krijua si dhe ato që vijuan.Nëpërmjet kësaj synojmë, pikë së pari, të prezantojmë monumentin; së dyti, të provojmë se lapidarët nuk ishin monumente statike por pika referi-mi për jetën socio-politike në qendrat e rajoneve dhe të vendit; së treti, do të përpiqemi të tregojmë se si regjimi komunist në Shqipëri, që e kuptonte rëndësinë e pele-grinazhit në praktikat fetare, tentoi të themelonte një fe politike nëpërmjet lapidarit në Pishkash, një pelegrinazh që përqendrohej tek teksti dhe kujtesa për të përkujtuar marshimin e dimirit të 1943–4 të Brigadës së Parë Sul-muese në zonën malore të Çermenikës, Librazhdit, Gramshit dhe Korçës, gjatë Luftës Antifashiste Nacio-nalçlirimtare të vendit. Për këtë arsye, kemi mbledhur të dhëna faktike dhe empirike rreth monumenteve dhe i kemi kombinuar këto me të dhëna socio-antropologjike nga studimi i pelegrinazhit 30 00 Qëllimi ynë në këtë artikulli është të kontekstualizojmë lapidarin në Qukës–Pishkash, Librazhd, në kuadrin e rrethanave politike e sociale të kohës kur ai u krijua si dhe ato që vijuan.Nëpërmjet kësaj synojmë, pikë së pari, të prezantojmë monumentin; së dyti, të provojmë se lapidarët nuk ishin monumente statike por pika referi-mi për jetën socio-politike në qendrat e rajoneve dhe të vendit; së treti, do të përpiqemi të tregojmë se si regjimi komunist në Shqipëri, që e kuptonte rëndësinë e pele-grinazhit në praktikat fetare, tentoi të themelonte një fe politike nëpërmjet lapidarit në Pishkash, një pelegrinazh që përqendrohej tek teksti dhe kujtesa për të përkujtuar marshimin e dimirit të 1943–4 të Brigadës së Parë Sul-muese në zonën malore të Çermenikës, Librazhdit, Gramshit dhe Korçës, gjatë Luftës Antifashiste Nacio-nalçlirimtare të vendit. Për këtë arsye, kemi mbledhur të dhëna faktike dhe empirike rreth monumenteve dhe i kemi kombinuar këto me të dhëna socio-antropologjike nga studimi i pelegrinazhit 20 00 Open Access Giakoumis, Konstantinos Lockwood, Christopher 18 03 06 10.21983/P3.0094.1.18 105 114 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lapidars and Socialist Monuments as Elements of Albania's Historic Cultural Landscapes 1 A01 Matthias Bickert Matthias Bickert 40 01c1w6d29 University of Bamberg 01 eng 03 00 Once, while buying olives at Tirana’s Pazar i Ri (New Market), I discerned an abstract shape behind the sellers (als–2). “What is this?” a friend who was visiting from Germany asked me. After I tried to explain him briefly what a “lapidar” is, my friend wanted to take a picture of it. The surrounding sellers’ faces clearly expressed in-comprehension about why a foreigner would care about this concrete structure, against which they used to stack up their cardboard boxes and fruit trays. A little later, on the way to Krujë, we again encountered several of those strange sculptures and obelisks of different sizes, shapes, and forms, dominating the Albanian landscape that passed by our bus window. Some of them were in bad shape (e.g., als–596) another one had been recently transformed into a stele covered with smiling, ghost-like faces (als–594). “Why are they in such different condi-tions if they are all from the communist period?” was my friend’s legitimate question. 30 00 Once, while buying olives at Tirana’s Pazar i Ri (New Market), I discerned an abstract shape behind the sellers (als–2). “What is this?” a friend who was visiting from Germany asked me. After I tried to explain him briefly what a “lapidar” is, my friend wanted to take a picture of it. The surrounding sellers’ faces clearly expressed in-comprehension about why a foreigner would care about this concrete structure, against which they used to stack up their cardboard boxes and fruit trays. A little later, on the way to Krujë, we again encountered several of those strange sculptures and obelisks of different sizes, shapes, and forms, dominating the Albanian landscape that passed by our bus window. Some of them were in bad shape (e.g., als–596) another one had been recently transformed into a stele covered with smiling, ghost-like faces (als–594). “Why are they in such different condi-tions if they are all from the communist period?” was my friend’s legitimate question. 20 00 Open Access Bickert, Matthias 19 03 06 10.21983/P3.0094.1.19 115 124 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lapidarët dhe monumentet socialiste si elemente të peizazheve kulturore historike të Shqipërisë 1 A01 Matthias Bickert Matthias Bickert 40 01c1w6d29 University of Bamberg 01 alb 03 00 Një ditë, teksa blija ullinj tek Pazari i Ri, më kapën sytë një formë abstrakte pas tezgave (als–2). “Çfarë është?”, më pyeti një mik që kishte ardhur nga Gjermania. Pasi u përpoqa t’i shpjegoj se çfarë është një lapidar, ai donte t’i bënte një fotografi. Habia e shitësve, që nuk arrinin ta kuptonin se pse një të huaji mund t’i interesonte një strukturë betoni ku ata mbështesnin tezgat e frutave dhe kutitë e kartonit, ishte mjaft e lexueshme. Më vonë, gjatë rrugës për në Krujë, u ndeshëm me prototipe të tjera të këtyre skulpturave të çuditshme dhe obeliskëve të përmasave, formave dhe ngjyrave të ndryshme, që dominonin peizazhin shqiptar që na kalonte para syve nga dritarja e autobusit. Disa prej tyre ishin në gjendje të mjerueshme (p.sh. als–596), një tjetër e kishin tran-sformuar në një stelë të mbuluar me fytyra që buzëqesh-nin si fantazma. “Pse janë në gjendje kaq të ndryshme nga njëri tjetri nëse të gjithë i përkasin periudhës komu-niste?” qe pyetja legjitime e mikut tim. 30 00 Një ditë, teksa blija ullinj tek Pazari i Ri, më kapën sytë një formë abstrakte pas tezgave (als–2). “Çfarë është?”, më pyeti një mik që kishte ardhur nga Gjermania. Pasi u përpoqa t’i shpjegoj se çfarë është një lapidar, ai donte t’i bënte një fotografi. Habia e shitësve, që nuk arrinin ta kuptonin se pse një të huaji mund t’i interesonte një strukturë betoni ku ata mbështesnin tezgat e frutave dhe kutitë e kartonit, ishte mjaft e lexueshme. Më vonë, gjatë rrugës për në Krujë, u ndeshëm me prototipe të tjera të këtyre skulpturave të çuditshme dhe obeliskëve të përmasave, formave dhe ngjyrave të ndryshme, që dominonin peizazhin shqiptar që na kalonte para syve nga dritarja e autobusit. Disa prej tyre ishin në gjendje të mjerueshme (p.sh. als–596), një tjetër e kishin tran-sformuar në një stelë të mbuluar me fytyra që buzëqesh-nin si fantazma. “Pse janë në gjendje kaq të ndryshme nga njëri tjetri nëse të gjithë i përkasin periudhës komu-niste?” qe pyetja legjitime e mikut tim. 20 00 Open Access Bickert, Matthias 20 03 06 10.21983/P3.0094.1.20 125 128 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 About the Film Lapidari 1 A01 Julian Bejko Julian Bejko 40 03g9v2404 University of Tirana 01 eng 03 00 The sounds of war and partisan songs accompany the first shots of the film Lapidari.1 Perched on a hill top, the cameraman shows the entire green valley, partially filled with the smoke clouds of the battles. So we are some-where in the years ’43–’44 of the previous century, when all of humanity and Albania were involved in the hor-rible events of the Second World War. On the one side the partisans, and on the other the Nazi occupiers, in a bloody battle for freedom or death on the land of the Albanian people, completely exhausted by the centuries of occupations and occupiers. 30 00 The sounds of war and partisan songs accompany the first shots of the film Lapidari.1 Perched on a hill top, the cameraman shows the entire green valley, partially filled with the smoke clouds of the battles. So we are some-where in the years ’43–’44 of the previous century, when all of humanity and Albania were involved in the hor-rible events of the Second World War. On the one side the partisans, and on the other the Nazi occupiers, in a bloody battle for freedom or death on the land of the Albanian people, completely exhausted by the centuries of occupations and occupiers. 20 00 Open Access Bejko, Julian 21 03 06 10.21983/P3.0094.1.21 129 132 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Rreth filmit Lapidari 1 A01 Julian Bejko Julian Bejko 40 03g9v2404 University of Tirana 01 alb 03 00 Tinguj lufte dhe këngë partizanësh shoqërojnë imazhet e para të filmit Lapidari.1 Operatori i vendosur majë një kodre fokuson gjithë luginën e gjelbër pjesërisht e mbu-luar nga tymnaja e luftimeve. Jemi pra diku rreth viteve ’43–’44 të shekullit të kaluar kur mbarë njerëzimi dhe Shqipëria ishte e përfshirë nga ngjarjet e tmerrshme të Luftës së Dytë Botërore. Në njërën anë partizanët, në tjetrën pushtuesit nazistë, në një betejë të përgjak-shme për liri a vdekje në truallin e popullit shqiptar, tejet i drobitur nga vazhdueshmëria e pushtimeve dhe pushtuesve ndër shekuj. 30 00 Tinguj lufte dhe këngë partizanësh shoqërojnë imazhet e para të filmit Lapidari.1 Operatori i vendosur majë një kodre fokuson gjithë luginën e gjelbër pjesërisht e mbu-luar nga tymnaja e luftimeve. Jemi pra diku rreth viteve ’43–’44 të shekullit të kaluar kur mbarë njerëzimi dhe Shqipëria ishte e përfshirë nga ngjarjet e tmerrshme të Luftës së Dytë Botërore. Në njërën anë partizanët, në tjetrën pushtuesit nazistë, në një betejë të përgjak-shme për liri a vdekje në truallin e popullit shqiptar, tejet i drobitur nga vazhdueshmëria e pushtimeve dhe pushtuesve ndër shekuj. 20 00 Open Access Bejko, Julian 22 03 06 10.21983/P3.0094.1.22 133 140 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Texts Chiseled on the Calendar A Semiotic Reading of Inscriptions on the Commemorative Monuments of the Period of the National Liberation War 1 A01 Ardian Vehbiu Ardian Vehbiu 01 eng 03 00 The inscriptions on commemorative plaques and lapi-dars differ according to what is commemorated: a heroic act, a battle, or another important event, the martyrs of village or a zone, or the National Liberation War in general. However, from one inscription to another, we may determine several patterns that have to do with the structure of the text. 30 00 The inscriptions on commemorative plaques and lapi-dars differ according to what is commemorated: a heroic act, a battle, or another important event, the martyrs of village or a zone, or the National Liberation War in general. However, from one inscription to another, we may determine several patterns that have to do with the structure of the text. 20 00 Open Access Vehbiu, Ardian 23 03 06 10.21983/P3.0094.1.23 141 148 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Tekste të gdhendura në kalendar Një lexim semiotik i mbishkrimeve në monumentet përkujtimore të periudhës së Luftës së Luftës Nacional –Çlirimtare 1 A01 Ardian Vehbiu Ardian Vehbiu 01 alb 03 00 Mbishkrimet në pllakat përkujtimore dhe lapidarët ndryshojnë sipas një tipologjie që ka të bëjë me çfarë përkujtohet: një akt heroik, një betejë ose ngjarje tjetër me rëndësi, dëshmorët e një fshati ose një zone apo Luf-ta Nacional–Çlirimtare në përgjithësi. Megjithatë, nga një mbishkrim në tjetrin, mund të përcaktohen disa rre-gullsi, që kanë të bëjnë me strukturën e tekstit. 30 00 Mbishkrimet në pllakat përkujtimore dhe lapidarët ndryshojnë sipas një tipologjie që ka të bëjë me çfarë përkujtohet: një akt heroik, një betejë ose ngjarje tjetër me rëndësi, dëshmorët e një fshati ose një zone apo Luf-ta Nacional–Çlirimtare në përgjithësi. Megjithatë, nga një mbishkrim në tjetrin, mund të përcaktohen disa rre-gullsi, që kanë të bëjnë me strukturën e tekstit. 20 00 Open Access Vehbiu, Ardian 24 03 06 10.21983/P3.0094.1.24 149 214 66 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 25 03 06 10.21983/P3.0094.1.25 215 280 66 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Indexes 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lapidari-volume-1/ Brooklyn, NY 04 01 20150216 van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/lapidari-1-texts 20 08 20150216 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692350462 20 08 20150216 02 27.00 USD WORLD urn:uuid:67f7bab1-7da4-45bb-86a4-ac14fa462beb 03 01 01 thoth-work-id urn:uuid:1a71ecd5-c868-44af-9b53-b45888fb241c 01 thoth-publication-id urn:uuid:67f7bab1-7da4-45bb-86a4-ac14fa462beb 06 10.21983/P3.0094.1.00 01 internal-reference 0094 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Lapidari 1 Texts 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 40 01tgyzw49 National University of Singapore 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 01 eng 00 284 03 93 AMG 12 AMGD 10 ART062000 B2 Built Environments 93 1DXA B2 History 10 POL005000 93 3MPQ-DE-J B2 Languages+Translations 20 communism; Albania; public art; monumentality; socialism; political history 01 06 02 00 03 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 30 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0094.1.00_frontcover.jpg 1 03 06 10.21983/P3.0094.1.01 1 12 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 2 03 06 10.21983/P3.0094.1.02 17 21 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 To a large extent, the period between 1945–1990 in Al-banian history, and the type of monumentality created during this period, is still unreadable to us today. This unreadability is partially the result of a politicization of the monumental heritage from this period, if not its entire historiography, as evidenced by the many con-flicting descriptive adjectives launched like missiles into the past: “socialist,” “communist,” “dictatorial,” “scientific-stalinist,” “terrorist,” “totalitarian,” and so on. This situation, however, has led to a climate of insistent negligence, if not outright condemnation and destruc-tion, as well as various gaps in the scholarly tradition at-tending to the various sorts of monumentality in the Al-banian cultural landscape. The most recent overview of Albanian monumentality was published in 1973, entitled Përmendore të heroizmit shqiptar (Memorials of Albanian Heroism).1 This album was published as a part of the campaign of what then Secretary of the Central Com-mitte of the Albanian Labor Party Ramiz Alia called “monumental propaganda,” being an integral element of the Cultural and Ideological Revolution. As a project, the Albanian Lapidar Survey (als), conducted by the Department of Eagles in 2014, aimed to give a first, and general, overview of Albanian monumentality from the period 1945–1990. 30 00 To a large extent, the period between 1945–1990 in Al-banian history, and the type of monumentality created during this period, is still unreadable to us today. This unreadability is partially the result of a politicization of the monumental heritage from this period, if not its entire historiography, as evidenced by the many con-flicting descriptive adjectives launched like missiles into the past: “socialist,” “communist,” “dictatorial,” “scientific-stalinist,” “terrorist,” “totalitarian,” and so on. This situation, however, has led to a climate of insistent negligence, if not outright condemnation and destruc-tion, as well as various gaps in the scholarly tradition at-tending to the various sorts of monumentality in the Al-banian cultural landscape. The most recent overview of Albanian monumentality was published in 1973, entitled Përmendore të heroizmit shqiptar (Memorials of Albanian Heroism).1 This album was published as a part of the campaign of what then Secretary of the Central Com-mitte of the Albanian Labor Party Ramiz Alia called “monumental propaganda,” being an integral element of the Cultural and Ideological Revolution. As a project, the Albanian Lapidar Survey (als), conducted by the Department of Eagles in 2014, aimed to give a first, and general, overview of Albanian monumentality from the period 1945–1990. 20 00 Open Access van Gerven Oei, Vincent W.J. 3 03 06 10.21983/P3.0094.1.03 23 27 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Parathënie 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 03 00 Në historinë e Shqipërisë, periudha midis viteve 1945–1990 dhe llojet e monumentalizmit që u prodhuan, janë më së shumti të palexueshme për ne sot. Shkak për këtë palexueshmëri, të paktën pjesërisht, është politizimi i trashëgimisë monumentale, në mos i gjithë historiogra-fisë së kësaj periudhe, siç evidentohet ndër të tjera nga cilësimet e tipit: “socialiste”, “komuniste”, “diktatoriale”, “shkencore-staliniste”, “terroriste”, “totalitare” e kështu me rradhë, që lëshohen si predha mbi të kaluarën. Për pasojë, është krijuar një klimë mospërfilljeje kronike, në mos ndëshkimi e shkatërrimi të mirëfilltë, dhe janë hapur boshllëqe të ndryshme në traditën shkollare që merret me format e ndryshme të monumentalizmit në peizazhin kulturor shqiptar. Botimi i fundit kushtuar monumentalizmit shqiptar në tërësi, i titulluar Përmen-dore të heroizmit shqiptar, daton në 1973.1 Ky album qe pjesë e fushatës që Sekretari i atëhershëm i Komitetit Qendror të Partisë së Punës së Shqipërisë, Ramiz Alia, quajti “propaganda monumentale”, që konsiderohej një pjesë e rëndësishme e Revolucionit Ideologjik e Kultu-ror. Projekti “Hulumtim mbi Lapidarët e Shqipërisë” (“Albanian Lapidar Survey”, shkurt als) i Departamen-tit të Shqiponjave zhvilluar në 2014, ka për qëllim të ofrojë një pasqyrë fillestare e të përgjithshme të monu-mentalizmit shqiptar të periudhës 1945–1990. 30 00 Në historinë e Shqipërisë, periudha midis viteve 1945–1990 dhe llojet e monumentalizmit që u prodhuan, janë më së shumti të palexueshme për ne sot. Shkak për këtë palexueshmëri, të paktën pjesërisht, është politizimi i trashëgimisë monumentale, në mos i gjithë historiogra-fisë së kësaj periudhe, siç evidentohet ndër të tjera nga cilësimet e tipit: “socialiste”, “komuniste”, “diktatoriale”, “shkencore-staliniste”, “terroriste”, “totalitare” e kështu me rradhë, që lëshohen si predha mbi të kaluarën. Për pasojë, është krijuar një klimë mospërfilljeje kronike, në mos ndëshkimi e shkatërrimi të mirëfilltë, dhe janë hapur boshllëqe të ndryshme në traditën shkollare që merret me format e ndryshme të monumentalizmit në peizazhin kulturor shqiptar. Botimi i fundit kushtuar monumentalizmit shqiptar në tërësi, i titulluar Përmen-dore të heroizmit shqiptar, daton në 1973.1 Ky album qe pjesë e fushatës që Sekretari i atëhershëm i Komitetit Qendror të Partisë së Punës së Shqipërisë, Ramiz Alia, quajti “propaganda monumentale”, që konsiderohej një pjesë e rëndësishme e Revolucionit Ideologjik e Kultu-ror. Projekti “Hulumtim mbi Lapidarët e Shqipërisë” (“Albanian Lapidar Survey”, shkurt als) i Departamen-tit të Shqiponjave zhvilluar në 2014, ka për qëllim të ofrojë një pasqyrë fillestare e të përgjithshme të monu-mentalizmit shqiptar të periudhës 1945–1990. 20 00 Open Access van Gerven Oei, Vincent W.J. 4 03 06 10.21983/P3.0094.1.04 29 29 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Circular to the Prefectural Executive Committee (Section Education) Regarding Lapidars 1 A01 Directorate of Culture, Ministry of Education, People's Republic of Albania Directorate of Culture 01 eng 03 00 Our National Liberation War has truly been a war of the masses, such that there is no village, neighborhood, and road left where it did not leave its traces.1 It is our duty that they immortalize this holy and heroic war of our people. We have to realize that each traveller, wherever he may pass, may say: “Here has been fought.”How to make sure that our people and especially the future generations may forever consider the large sacri-fices with which the freedom that we enjoy was won?In the first place we have to immortalize the hun-dreds and thousands of names of our martyrs. Our gov-ernment will directly take care of this and has to give all its assistance to the initiative of the people and organiza-tions in this direction. 30 00 Our National Liberation War has truly been a war of the masses, such that there is no village, neighborhood, and road left where it did not leave its traces.1 It is our duty that they immortalize this holy and heroic war of our people. We have to realize that each traveller, wherever he may pass, may say: “Here has been fought.”How to make sure that our people and especially the future generations may forever consider the large sacri-fices with which the freedom that we enjoy was won?In the first place we have to immortalize the hun-dreds and thousands of names of our martyrs. Our gov-ernment will directly take care of this and has to give all its assistance to the initiative of the people and organiza-tions in this direction. 20 00 Open Access People's Republic of Albania, Ministry of Education, Directorate of Culture 5 03 06 10.21983/P3.0094.1.05 31 31 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Qarkore komitetit ekzekutiv të prefekturës (seksionit t'Arsimit) Mbi lapidarët 1 A01 Drejtorija e Kulturës, Minisstrija e Arsimit, Republika Popullore e Shqipërisë Drejtorija e Kulturës 01 alb 03 00 Lufta e jonë Nacional-Çlirimtare ka qënë me të vërtetë një luftë masash, sa s’ka mbetur katund, lagje dhe rrugë ku të mos ketë lënë gjurmat e saj.1 Është detyra e jonë që këtë luftë të shënjtë dhe heroike të popullit t’onë t’a përjetësojnë. Ne duhet të bëjmë që çdo udhtar, nga çdo vënd që të kalojë, të thotë: “Këtu është luftuar”.Të bëjmë që populli i jonë e sidomos brezat e ardh-shëm të kenë gjithnjë përparasysh sakrificat e mbëdha me të cilat u fitua lirija që gëzojmë?Ne duhet të bëjmë të pavdekshme në radhë të parë emrat e qindra e mija dëshmorëve t’onë. Pushteti i jonë do të interesohet direkt për këtë dhe duhet t’u japi gjithë ndihmën e tij inisjativës së popullit dhe të organizatave në këtë drejtim. 30 00 Lufta e jonë Nacional-Çlirimtare ka qënë me të vërtetë një luftë masash, sa s’ka mbetur katund, lagje dhe rrugë ku të mos ketë lënë gjurmat e saj.1 Është detyra e jonë që këtë luftë të shënjtë dhe heroike të popullit t’onë t’a përjetësojnë. Ne duhet të bëjmë që çdo udhtar, nga çdo vënd që të kalojë, të thotë: “Këtu është luftuar”.Të bëjmë që populli i jonë e sidomos brezat e ardh-shëm të kenë gjithnjë përparasysh sakrificat e mbëdha me të cilat u fitua lirija që gëzojmë?Ne duhet të bëjmë të pavdekshme në radhë të parë emrat e qindra e mija dëshmorëve t’onë. Pushteti i jonë do të interesohet direkt për këtë dhe duhet t’u japi gjithë ndihmën e tij inisjativës së popullit dhe të organizatave në këtë drejtim. 20 00 Open Access Republika Popullore e Shqipërisë, Minisstrija e Arsimit, Drejtorija e Kulturës 6 03 06 10.21983/P3.0094.1.06 33 37 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Report on the State and Measures for the Development and Further Revolutionization of Monumental Propaganda 1 A01 Ramiz Alia Ramiz Alia 01 eng 03 00 With the continuous care of the party and government for the preservation and further development of the patriotic and revolutionary traditions of our people, monumental propaganda acquires with us increasingly broader proportions for the immortalization of the most important events and figures, and is transforming into a powerful instrument for the reflection of the glorious history of our people and for the revolutionary and class education of the masses.1 Nowadays, beside the place-ment of hundreds of commemorative plaques, dozens upon dozens of lapidars, busts, statues, and monuments have been erected everywhere, reminding the traveller and visitor that the Albanian, as comrade Enver has said, has – sword in hand – cut the road of history in two, and that Albania has turned into a country of lapidars and construction sites. 30 00 With the continuous care of the party and government for the preservation and further development of the patriotic and revolutionary traditions of our people, monumental propaganda acquires with us increasingly broader proportions for the immortalization of the most important events and figures, and is transforming into a powerful instrument for the reflection of the glorious history of our people and for the revolutionary and class education of the masses.1 Nowadays, beside the place-ment of hundreds of commemorative plaques, dozens upon dozens of lapidars, busts, statues, and monuments have been erected everywhere, reminding the traveller and visitor that the Albanian, as comrade Enver has said, has – sword in hand – cut the road of history in two, and that Albania has turned into a country of lapidars and construction sites. 20 00 Open Access Alia, Ramiz 7 03 06 10.21983/P3.0094.1.07 39 43 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Relacion Mbi gjendjen dhe masat për zhvillimin dhe revolucionarizimin e mëtejshëm të propagandës monumentale 1 A01 Ramiz Alia Ramiz Alia 01 alb 03 00 Me kujdesin e vazhdueshëm të partisë dhe qeverisë për ruajtjen dhe zhvillimin e mëtejshëm të traditave pa-triotike e revolucionare të popullit tonë, për përjetësi-min e ngjarjeve dhe figurave më të rëndësishme, tek ne, gjithnjë e më shumë, propaganda monumentale po merr përpjestime të gjëra dhe po shndrrohet në një mjet të fuqishëm për pasqyrimin e historisë së lavdishme të popullit tonë dhe për edukimin revolucionar e klasor të masave.1 Tani kudo, krahas vendosjes të qindra pllaka-ve përkujtimore, janë ngritur dhjetra e dhjetra lapidarë, buste, statuje e monumente që i kujtojnë udhëtarit e vi-sitorit, se shqiptari, siç ka thënë shoku Enver, e ka qarë me shpatë në dorë rrugën e historisë, se Shqipëria është kthyer në një vend lapidarësh dhe kantieresh. 30 00 Me kujdesin e vazhdueshëm të partisë dhe qeverisë për ruajtjen dhe zhvillimin e mëtejshëm të traditave pa-triotike e revolucionare të popullit tonë, për përjetësi-min e ngjarjeve dhe figurave më të rëndësishme, tek ne, gjithnjë e më shumë, propaganda monumentale po merr përpjestime të gjëra dhe po shndrrohet në një mjet të fuqishëm për pasqyrimin e historisë së lavdishme të popullit tonë dhe për edukimin revolucionar e klasor të masave.1 Tani kudo, krahas vendosjes të qindra pllaka-ve përkujtimore, janë ngritur dhjetra e dhjetra lapidarë, buste, statuje e monumente që i kujtojnë udhëtarit e vi-sitorit, se shqiptari, siç ka thënë shoku Enver, e ka qarë me shpatë në dorë rrugën e historisë, se Shqipëria është kthyer në një vend lapidarësh dhe kantieresh. 20 00 Open Access Alia, Ramiz 8 03 06 10.21983/P3.0094.1.08 45 47 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dignified Symbols for Historical Events 1 A01 Kujtim Buza Kujtim Buza 2 A01 Kleanth Dedi Kleanth Dedi 01 eng 03 00 As a direct result of the great care of the party and the government, a healthy social opinion has been created in our country to keep alive the mass and individual heroism and to immortalize the different events of lo-cal and national importance.1 There is a sensible growth in the number of memorials in our country. Nowadays, we have about 500 lapidars, over 300 commemorative plaques, 140 busts, and 27 monuments and memorials. The study of the number of those symbols also brings out problems that show their appreciation by dif-ferent regions. We do not pretend that there is an equal-ity in number between regions. There are differences and there have to be. Those are related to the number of events or persons that one or the other region has to be commemorated. 30 00 As a direct result of the great care of the party and the government, a healthy social opinion has been created in our country to keep alive the mass and individual heroism and to immortalize the different events of lo-cal and national importance.1 There is a sensible growth in the number of memorials in our country. Nowadays, we have about 500 lapidars, over 300 commemorative plaques, 140 busts, and 27 monuments and memorials. The study of the number of those symbols also brings out problems that show their appreciation by dif-ferent regions. We do not pretend that there is an equal-ity in number between regions. There are differences and there have to be. Those are related to the number of events or persons that one or the other region has to be commemorated. 20 00 Open Access Buza, Kujtim Dedi, Kleanth 9 03 06 10.21983/P3.0094.1.09 49 51 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Simbole dinjitoze ngjarjeve historike 1 A01 Kujtim Buza Kujtim Buza 2 A01 Kleanth Dedi Kleanth Dedi 01 alb 03 00 Si rezultat i drejtpërdrejtë i kujdesit të madh të partisë dhe të pushtetit, në vendin tonë, për të mbajtur gjallë he-roizmin masiv dhe individual, për të përjetësuar ngjarjet e ndryshme me rëndësi lokale e kombëtare, është krijuar një opinion i shëndoshë shoqëror.1 Ka rritje të ndjeshme të numurit të përkujtimoreve në vendin tonë. Sot kemi rreth 500 lapidarë, mbi 300 pllaka përkujtimore, 140 bu-ste dhe 27 monumente e përmendore.Nëpërmjet studimit të numurit të këtyre simboleve, dalin edhe probleme që tregojnë vlerësimin që bëhet nga rrethet e ndryshme. Ne nuk pretendojmë të ketë barazi në numur midis rretheve. Ndryshime ka dhe duhet të ketë. Ato janë të lidhura me numurin e ngjarjeve ose të personave që kan njeri ose tjetri rreth për t’u përkujtuar. 30 00 Si rezultat i drejtpërdrejtë i kujdesit të madh të partisë dhe të pushtetit, në vendin tonë, për të mbajtur gjallë he-roizmin masiv dhe individual, për të përjetësuar ngjarjet e ndryshme me rëndësi lokale e kombëtare, është krijuar një opinion i shëndoshë shoqëror.1 Ka rritje të ndjeshme të numurit të përkujtimoreve në vendin tonë. Sot kemi rreth 500 lapidarë, mbi 300 pllaka përkujtimore, 140 bu-ste dhe 27 monumente e përmendore.Nëpërmjet studimit të numurit të këtyre simboleve, dalin edhe probleme që tregojnë vlerësimin që bëhet nga rrethet e ndryshme. Ne nuk pretendojmë të ketë barazi në numur midis rretheve. Ndryshime ka dhe duhet të ketë. Ato janë të lidhura me numurin e ngjarjeve ose të personave që kan njeri ose tjetri rreth për t’u përkujtuar. 20 00 Open Access Buza, Kujtim Dedi, Kleanth 10 03 06 10.21983/P3.0094.1.10 53 55 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Natural and Cultural Monuments during the Years of Socialism 1 A01 Muharrem Xhafa Muharrem Xhafa 01 eng 03 00 During the years of socialism, the popular government in Albania, even all ofAlbanian society, gave special im-portance to the issue and values of cultural monuments and as such held them in high regard. Certainly this is not something accidental, but the result of a realistic politics followed by the Labor Party of Albania in power, which always showed itself concerned toward the sec-tor, life, and problems of cultural monuments, and ap-preciated this activity with value and great importance for society and Albanian history, in the broadest sense of the word. It did not limit the content, meaning, and role of monuments to the framework of cultural monuments alone. So for the party, state, institutions, and public opinion the concept “monument” included cultural monuments, but also an old artisanal house, a bridge, a building, or something else with artistic, cultural and historical, archeological, or architectural value, as well as works, documents, evidence, and early monuments of the writing of the Albanian language, etc. Also a writ-ten work of outstanding historical, cultural, or scientific value for the past or present of country, was understood to be part of this. The Albanian state and population valued all riches inherited throughout the centuries and created during the years of the National Antifascist Lib-eration War and in the decades of the country’s building of socialism – erected monumental works, completed monumental studies, created monumental composi-tions, buildings, bridges, and monumental ensembles, pictures, sculptures, monumental tableaus, monumen-tal centers in cities, inhabited zones, and villages. In its endeavors to create grand, monumental works, which left deep impressions with their large dimensions and thoroughly popular–national content, with the great-ness they expressed and incredible generalizing features, rising up high, spreading glory to the heroism of the people, its outstanding sons. 30 00 During the years of socialism, the popular government in Albania, even all ofAlbanian society, gave special im-portance to the issue and values of cultural monuments and as such held them in high regard. Certainly this is not something accidental, but the result of a realistic politics followed by the Labor Party of Albania in power, which always showed itself concerned toward the sec-tor, life, and problems of cultural monuments, and ap-preciated this activity with value and great importance for society and Albanian history, in the broadest sense of the word. It did not limit the content, meaning, and role of monuments to the framework of cultural monuments alone. So for the party, state, institutions, and public opinion the concept “monument” included cultural monuments, but also an old artisanal house, a bridge, a building, or something else with artistic, cultural and historical, archeological, or architectural value, as well as works, documents, evidence, and early monuments of the writing of the Albanian language, etc. Also a writ-ten work of outstanding historical, cultural, or scientific value for the past or present of country, was understood to be part of this. The Albanian state and population valued all riches inherited throughout the centuries and created during the years of the National Antifascist Lib-eration War and in the decades of the country’s building of socialism – erected monumental works, completed monumental studies, created monumental composi-tions, buildings, bridges, and monumental ensembles, pictures, sculptures, monumental tableaus, monumen-tal centers in cities, inhabited zones, and villages. In its endeavors to create grand, monumental works, which left deep impressions with their large dimensions and thoroughly popular–national content, with the great-ness they expressed and incredible generalizing features, rising up high, spreading glory to the heroism of the people, its outstanding sons. 20 00 Open Access Xhafa, Muharrem 11 03 06 10.21983/P3.0094.1.11 57 59 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Monumentet e natyrës dhe të kulturës në vitet e socializmit 1 A01 Muharrem Xhafa Muharrem Xhafa 01 alb 03 00 Në vitet e socializmit, pushteti popullor në Shqipëri, madje e gjithë shoqëria shqiptare, u jepnin rëndësi të posaçme dhe kishin, po kështu, edhe vlerësim të lartë për çeshtjen e vlerat e monumenteve të kulturës. Sigu-risht, kjo nuk ishte diçka e rastit, po ishte rrjedhojë e politikës realiste, që ndiqte Partia e Punës së Shqipërisë në pushtet, e cila gjithnjë tregohej e vëmendshme ndaj sektorit, jetës e problemeve të monumenteve të kulturës, e vlerësonte këtë veprimtari me vlera e rëndësi të spi-katur për shoqërinë e historinë shqiptare, në kuptimin më të gjerë të fjalës. Ajo nuk i kufizonte përmbajtjen, kuptimin e rolin e monumenteve thjesht në kuadrin e monumenteve të kulturës. Partia, shteti, institucionet, opinioni shoqëror, në konceptin monument perfshinin, monumente të kulturës, po edhe një ndërtesë të vjetër arti, edhe një urë, një banesë a diçka tjetër me vlera ar-tistike, kulturore e historike, arkeologjike, arkitekturore, edhe veprat, dokumentet, deshmitë e para-monumente të shkrimit të gjuhës shqipe etj. Po kuptohej, gjithashtu, edhe një vepër e shkruar, me vlera të shquara historike, kulturore, shkencore për të shkuaren e vendit e për të tashmen e tij, për qenien e popullit shqiptar. Shteti e po-pulli shqiptar çmonin të gjitha pasuritë e trashëguara në shekuj dhe ato të krijuara në vitet e Luftës Antifashiste Nacionalçlirimtare dhe në dekadat e ndërtimit socialist të vendit – veprat monumentale të ngritura, studimet monumentale të kryera, kompozimet monumentale të bëra, ndërtesat, urat e ansamblet monumentale, pikturat, skulpturat, tablotë monumentale, qendrat monumenta-le në qytete, zona të banuara e fshatra. Në përpjekjet e saj për të krijuar vepra monumentale, madhështore, të cilat linin mbresa të thella me përmasat e veta të mëdha e me përmbajtjen e tyre të thellë popullore–kombëtare, me madhështinë që shprehnin e trajtat përgjithësuese të papara, që ngrinin lart e i thurnin lavdi heroizmit të po-pullit, bijve të shquar të tij. 30 00 Në vitet e socializmit, pushteti popullor në Shqipëri, madje e gjithë shoqëria shqiptare, u jepnin rëndësi të posaçme dhe kishin, po kështu, edhe vlerësim të lartë për çeshtjen e vlerat e monumenteve të kulturës. Sigu-risht, kjo nuk ishte diçka e rastit, po ishte rrjedhojë e politikës realiste, që ndiqte Partia e Punës së Shqipërisë në pushtet, e cila gjithnjë tregohej e vëmendshme ndaj sektorit, jetës e problemeve të monumenteve të kulturës, e vlerësonte këtë veprimtari me vlera e rëndësi të spi-katur për shoqërinë e historinë shqiptare, në kuptimin më të gjerë të fjalës. Ajo nuk i kufizonte përmbajtjen, kuptimin e rolin e monumenteve thjesht në kuadrin e monumenteve të kulturës. Partia, shteti, institucionet, opinioni shoqëror, në konceptin monument perfshinin, monumente të kulturës, po edhe një ndërtesë të vjetër arti, edhe një urë, një banesë a diçka tjetër me vlera ar-tistike, kulturore e historike, arkeologjike, arkitekturore, edhe veprat, dokumentet, deshmitë e para-monumente të shkrimit të gjuhës shqipe etj. Po kuptohej, gjithashtu, edhe një vepër e shkruar, me vlera të shquara historike, kulturore, shkencore për të shkuaren e vendit e për të tashmen e tij, për qenien e popullit shqiptar. Shteti e po-pulli shqiptar çmonin të gjitha pasuritë e trashëguara në shekuj dhe ato të krijuara në vitet e Luftës Antifashiste Nacionalçlirimtare dhe në dekadat e ndërtimit socialist të vendit – veprat monumentale të ngritura, studimet monumentale të kryera, kompozimet monumentale të bëra, ndërtesat, urat e ansamblet monumentale, pikturat, skulpturat, tablotë monumentale, qendrat monumenta-le në qytete, zona të banuara e fshatra. Në përpjekjet e saj për të krijuar vepra monumentale, madhështore, të cilat linin mbresa të thella me përmasat e veta të mëdha e me përmbajtjen e tyre të thellë popullore–kombëtare, me madhështinë që shprehnin e trajtat përgjithësuese të papara, që ngrinin lart e i thurnin lavdi heroizmit të po-pullit, bijve të shquar të tij. 20 00 Open Access Xhafa, Muharrem 12 03 06 10.21983/P3.0094.1.12 61 66 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Thanatology of Hope 1 A01 Gëzim Qëndro Gëzim Qëndro 01 eng 03 00 When confronted with an oxymoron like the title “The Thanatology of Hope,” the reader will probably think that it suffers from a referential uncertainty: the words seem to work separately, creating an ambiguous and un-convincing fusion of the two. Furthermore, in our cul-ture death and hope seem to exclude each other (hope dies last!). This is why the cemetery is perceived as a place of sorrow and loss which annihilates any discourse of hope, a topos where one thinks that Death was the end of the hopes of the unfortunate inhabitants of the necropolis. 30 00 When confronted with an oxymoron like the title “The Thanatology of Hope,” the reader will probably think that it suffers from a referential uncertainty: the words seem to work separately, creating an ambiguous and un-convincing fusion of the two. Furthermore, in our cul-ture death and hope seem to exclude each other (hope dies last!). This is why the cemetery is perceived as a place of sorrow and loss which annihilates any discourse of hope, a topos where one thinks that Death was the end of the hopes of the unfortunate inhabitants of the necropolis. 20 00 Open Access Qëndro, Gëzim 13 03 06 10.21983/P3.0094.1.13 67 72 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Thanatologjia e shpresës 1 A01 Gëzim Qëndro Gëzim Qëndro 01 alb 03 00 Kur përballet me një togfjalësh kundërthënës si titul-li “Thanatologjia e shpresës” lexuesi ka të ngjarë të mendojë se ai vuan nga njëfarë paqartësie ndaj refe-rentit: fjalët duken sikur veprojnë veçmas duke kri-juar një shkrirje dykuptimëshe aspak bindëse. Për më tepër, në kulturën tonë vdekja dhe shpresa duket sikur përjashtojnë njëra-tjetrën (shpresa vdes e fundit!), pra-ndaj varreza perceptohet si vend pikëllimi dhe humbjeje ku asgjësohet çfarëdo diskuri rreth shpresës, një topos që na shtyn të mendojmë se Vdekja ishte fundi i shpresave për banorët fatkeqë të nekropolit. 30 00 Kur përballet me një togfjalësh kundërthënës si titul-li “Thanatologjia e shpresës” lexuesi ka të ngjarë të mendojë se ai vuan nga njëfarë paqartësie ndaj refe-rentit: fjalët duken sikur veprojnë veçmas duke kri-juar një shkrirje dykuptimëshe aspak bindëse. Për më tepër, në kulturën tonë vdekja dhe shpresa duket sikur përjashtojnë njëra-tjetrën (shpresa vdes e fundit!), pra-ndaj varreza perceptohet si vend pikëllimi dhe humbjeje ku asgjësohet çfarëdo diskuri rreth shpresës, një topos që na shtyn të mendojmë se Vdekja ishte fundi i shpresave për banorët fatkeqë të nekropolit. 20 00 Open Access Qëndro, Gëzim 14 03 06 10.21983/P3.0094.1.14 73 80 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "We Raise Our Eyes and Feel as if She Rules the Sky" The Mother Albania Monument and the Visualization of National History 1 A01 Raino Isto Raino Isto 40 01r0c1p88 University of Maryland 01 eng 03 00 On the morning of May 5, 1972, Enver Hoxha and the party leadership, together with hundreds of citizens of the People’s Socialist Republic of Albania, gathered on a hill overlooking Tirana from the southeast, in the Cem-etery of the Martyrs of the Nation.1 This Martyrs’ Day celebration was the first to be held in the new martyrs’ cemetery, a complex that – in a more modest manifesta-tion – had previously occupied the hill of St. Procopius in Tirana’s Great Park [als–8]. Those assembled stood on an open platform before the centerpiece of the new cemetery complex, the imposing figure of the Mother Albania monument [als–12], which rose 22 meters over the crowds below (fig. 1).2 Reporting on the commemo-ration for the newspaper Zëri i Popullit, Agim Shehu de-scribed, in particular, those mothers who had come to honor the dead who had given their lives in the struggle against fascist occupation and in support of the Popular Revolution 30 00 On the morning of May 5, 1972, Enver Hoxha and the party leadership, together with hundreds of citizens of the People’s Socialist Republic of Albania, gathered on a hill overlooking Tirana from the southeast, in the Cem-etery of the Martyrs of the Nation.1 This Martyrs’ Day celebration was the first to be held in the new martyrs’ cemetery, a complex that – in a more modest manifesta-tion – had previously occupied the hill of St. Procopius in Tirana’s Great Park [als–8]. Those assembled stood on an open platform before the centerpiece of the new cemetery complex, the imposing figure of the Mother Albania monument [als–12], which rose 22 meters over the crowds below (fig. 1).2 Reporting on the commemo-ration for the newspaper Zëri i Popullit, Agim Shehu de-scribed, in particular, those mothers who had come to honor the dead who had given their lives in the struggle against fascist occupation and in support of the Popular Revolution 20 00 Open Access Isto, Raino 15 03 06 10.21983/P3.0094.1.15 81 88 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Ngremë sytë lart e ndjejmë, se ajo zotëron qiellin" Monumenti Nëna Shqipëri dhe vizualizimi i historisë kombëtar 1 A01 Raino Isto Raino Isto 40 01r0c1p88 University of Maryland 01 alb 03 00 Mëngjesin e 5 majit 1972, Enver Hoxha dhe kryesia e partisë, së bashku me qindra qytetarë të Republikës Po-pullore Socialiste të Shqipërisë, u mblodhën në majën e një kodre prej nga ku mund të vëzhgohej gjithë Ti-rana nga juglindja, tek Varrezat e Dëshmorëve.1 Kjo ishte hera e parë që kremtimi i Ditës së Dëshmorëve u mbajt tek varrezat e reja të dëshmorëve, një kompleks ky versioni më modest i të cilit ndodhej një herë e një kohë në kodrën e Shën Prokopit në Parkun e Madh të Tiranës [als–8]. Të pranishmit ishin mbledhur në një platformë të hapur përballë figurës imponuese të mo-numentit Nëna Shqipëri [als–12], i cili ngrihej 22 metra mbi turmën (fig. 1).2 Agim Shehu, në reportazhin e tij mbi ceremoninë përkujtimore në gazetën Zëri i Popullit,i kushtoi vëmendje të veçantë nënave që kishin ardhur për të nderuar djemtë dhe vajzat që kishin rënë në luftën kundër pushtimit fashist dhe që kishin mbështetur Re-volucionin Popullor 30 00 Mëngjesin e 5 majit 1972, Enver Hoxha dhe kryesia e partisë, së bashku me qindra qytetarë të Republikës Po-pullore Socialiste të Shqipërisë, u mblodhën në majën e një kodre prej nga ku mund të vëzhgohej gjithë Ti-rana nga juglindja, tek Varrezat e Dëshmorëve.1 Kjo ishte hera e parë që kremtimi i Ditës së Dëshmorëve u mbajt tek varrezat e reja të dëshmorëve, një kompleks ky versioni më modest i të cilit ndodhej një herë e një kohë në kodrën e Shën Prokopit në Parkun e Madh të Tiranës [als–8]. Të pranishmit ishin mbledhur në një platformë të hapur përballë figurës imponuese të mo-numentit Nëna Shqipëri [als–12], i cili ngrihej 22 metra mbi turmën (fig. 1).2 Agim Shehu, në reportazhin e tij mbi ceremoninë përkujtimore në gazetën Zëri i Popullit,i kushtoi vëmendje të veçantë nënave që kishin ardhur për të nderuar djemtë dhe vajzat që kishin rënë në luftën kundër pushtimit fashist dhe që kishin mbështetur Re-volucionin Popullor 20 00 Open Access Isto, Raino 16 03 06 10.21983/P3.0094.1.16 89 96 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 pilgrimage Centered at Text and Memory The Lapidar in Qukës-Pishkash 1 A01 Konstantinos Giakoumis Konstantinos Giakoumis 40 01d3tej48 University of New York Tirana 2 A01 Christopher Lockwood Christopher Lockwood 40 01d3tej48 University of New York Tirana 01 eng 03 00 The purpose of this paper is to contextualize the lapi-dar at Qukës–Pishkash, Librazhd, into the political and social setting of its period and beyond. In doing so, we aim, first, at presenting the monument; second, at dem-onstrating that lapidars were not static monuments, but rather reference points for the socio-political life of the regional and capital center; last but not least, we shall endeavor to show how Albania’s communist regime, in its understanding of the importance of pilgrimage in religious practices, attempted to establish a political religion by creating, through the lapidar at Pishkash, a pilgrimage centered at text and memory to commemo-rate the 1943–4 winter march of the First Offensive Bri-gade in the mountainous zones of Çermenikë, Librazhd, Gramsh, and Korçë, in the course of Albania’s National Anti-Fascist Liberation War. To this aim, we have assem-bled factual and empirical evidence regarding the mon-uments and combined them with socio-anthropological evidence from the study of pilgrimage. 30 00 The purpose of this paper is to contextualize the lapi-dar at Qukës–Pishkash, Librazhd, into the political and social setting of its period and beyond. In doing so, we aim, first, at presenting the monument; second, at dem-onstrating that lapidars were not static monuments, but rather reference points for the socio-political life of the regional and capital center; last but not least, we shall endeavor to show how Albania’s communist regime, in its understanding of the importance of pilgrimage in religious practices, attempted to establish a political religion by creating, through the lapidar at Pishkash, a pilgrimage centered at text and memory to commemo-rate the 1943–4 winter march of the First Offensive Bri-gade in the mountainous zones of Çermenikë, Librazhd, Gramsh, and Korçë, in the course of Albania’s National Anti-Fascist Liberation War. To this aim, we have assem-bled factual and empirical evidence regarding the mon-uments and combined them with socio-anthropological evidence from the study of pilgrimage. 20 00 Open Access Giakoumis, Konstantinos Lockwood, Christopher 17 03 06 10.21983/P3.0094.1.17 97 104 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pelegrinazhi i përqëndruar tek teksti dhe kujtesa Lapidari në Qukës-Pishkash 1 A01 Konstantinos Giakoumis Konstantinos Giakoumis 40 01d3tej48 University of New York Tirana 2 A01 Christopher Lockwood Christopher Lockwood 40 01d3tej48 University of New York Tirana 01 alb 03 00 Qëllimi ynë në këtë artikulli është të kontekstualizojmë lapidarin në Qukës–Pishkash, Librazhd, në kuadrin e rrethanave politike e sociale të kohës kur ai u krijua si dhe ato që vijuan.Nëpërmjet kësaj synojmë, pikë së pari, të prezantojmë monumentin; së dyti, të provojmë se lapidarët nuk ishin monumente statike por pika referi-mi për jetën socio-politike në qendrat e rajoneve dhe të vendit; së treti, do të përpiqemi të tregojmë se si regjimi komunist në Shqipëri, që e kuptonte rëndësinë e pele-grinazhit në praktikat fetare, tentoi të themelonte një fe politike nëpërmjet lapidarit në Pishkash, një pelegrinazh që përqendrohej tek teksti dhe kujtesa për të përkujtuar marshimin e dimirit të 1943–4 të Brigadës së Parë Sul-muese në zonën malore të Çermenikës, Librazhdit, Gramshit dhe Korçës, gjatë Luftës Antifashiste Nacio-nalçlirimtare të vendit. Për këtë arsye, kemi mbledhur të dhëna faktike dhe empirike rreth monumenteve dhe i kemi kombinuar këto me të dhëna socio-antropologjike nga studimi i pelegrinazhit 30 00 Qëllimi ynë në këtë artikulli është të kontekstualizojmë lapidarin në Qukës–Pishkash, Librazhd, në kuadrin e rrethanave politike e sociale të kohës kur ai u krijua si dhe ato që vijuan.Nëpërmjet kësaj synojmë, pikë së pari, të prezantojmë monumentin; së dyti, të provojmë se lapidarët nuk ishin monumente statike por pika referi-mi për jetën socio-politike në qendrat e rajoneve dhe të vendit; së treti, do të përpiqemi të tregojmë se si regjimi komunist në Shqipëri, që e kuptonte rëndësinë e pele-grinazhit në praktikat fetare, tentoi të themelonte një fe politike nëpërmjet lapidarit në Pishkash, një pelegrinazh që përqendrohej tek teksti dhe kujtesa për të përkujtuar marshimin e dimirit të 1943–4 të Brigadës së Parë Sul-muese në zonën malore të Çermenikës, Librazhdit, Gramshit dhe Korçës, gjatë Luftës Antifashiste Nacio-nalçlirimtare të vendit. Për këtë arsye, kemi mbledhur të dhëna faktike dhe empirike rreth monumenteve dhe i kemi kombinuar këto me të dhëna socio-antropologjike nga studimi i pelegrinazhit 20 00 Open Access Giakoumis, Konstantinos Lockwood, Christopher 18 03 06 10.21983/P3.0094.1.18 105 114 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lapidars and Socialist Monuments as Elements of Albania's Historic Cultural Landscapes 1 A01 Matthias Bickert Matthias Bickert 40 01c1w6d29 University of Bamberg 01 eng 03 00 Once, while buying olives at Tirana’s Pazar i Ri (New Market), I discerned an abstract shape behind the sellers (als–2). “What is this?” a friend who was visiting from Germany asked me. After I tried to explain him briefly what a “lapidar” is, my friend wanted to take a picture of it. The surrounding sellers’ faces clearly expressed in-comprehension about why a foreigner would care about this concrete structure, against which they used to stack up their cardboard boxes and fruit trays. A little later, on the way to Krujë, we again encountered several of those strange sculptures and obelisks of different sizes, shapes, and forms, dominating the Albanian landscape that passed by our bus window. Some of them were in bad shape (e.g., als–596) another one had been recently transformed into a stele covered with smiling, ghost-like faces (als–594). “Why are they in such different condi-tions if they are all from the communist period?” was my friend’s legitimate question. 30 00 Once, while buying olives at Tirana’s Pazar i Ri (New Market), I discerned an abstract shape behind the sellers (als–2). “What is this?” a friend who was visiting from Germany asked me. After I tried to explain him briefly what a “lapidar” is, my friend wanted to take a picture of it. The surrounding sellers’ faces clearly expressed in-comprehension about why a foreigner would care about this concrete structure, against which they used to stack up their cardboard boxes and fruit trays. A little later, on the way to Krujë, we again encountered several of those strange sculptures and obelisks of different sizes, shapes, and forms, dominating the Albanian landscape that passed by our bus window. Some of them were in bad shape (e.g., als–596) another one had been recently transformed into a stele covered with smiling, ghost-like faces (als–594). “Why are they in such different condi-tions if they are all from the communist period?” was my friend’s legitimate question. 20 00 Open Access Bickert, Matthias 19 03 06 10.21983/P3.0094.1.19 115 124 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lapidarët dhe monumentet socialiste si elemente të peizazheve kulturore historike të Shqipërisë 1 A01 Matthias Bickert Matthias Bickert 40 01c1w6d29 University of Bamberg 01 alb 03 00 Një ditë, teksa blija ullinj tek Pazari i Ri, më kapën sytë një formë abstrakte pas tezgave (als–2). “Çfarë është?”, më pyeti një mik që kishte ardhur nga Gjermania. Pasi u përpoqa t’i shpjegoj se çfarë është një lapidar, ai donte t’i bënte një fotografi. Habia e shitësve, që nuk arrinin ta kuptonin se pse një të huaji mund t’i interesonte një strukturë betoni ku ata mbështesnin tezgat e frutave dhe kutitë e kartonit, ishte mjaft e lexueshme. Më vonë, gjatë rrugës për në Krujë, u ndeshëm me prototipe të tjera të këtyre skulpturave të çuditshme dhe obeliskëve të përmasave, formave dhe ngjyrave të ndryshme, që dominonin peizazhin shqiptar që na kalonte para syve nga dritarja e autobusit. Disa prej tyre ishin në gjendje të mjerueshme (p.sh. als–596), një tjetër e kishin tran-sformuar në një stelë të mbuluar me fytyra që buzëqesh-nin si fantazma. “Pse janë në gjendje kaq të ndryshme nga njëri tjetri nëse të gjithë i përkasin periudhës komu-niste?” qe pyetja legjitime e mikut tim. 30 00 Një ditë, teksa blija ullinj tek Pazari i Ri, më kapën sytë një formë abstrakte pas tezgave (als–2). “Çfarë është?”, më pyeti një mik që kishte ardhur nga Gjermania. Pasi u përpoqa t’i shpjegoj se çfarë është një lapidar, ai donte t’i bënte një fotografi. Habia e shitësve, që nuk arrinin ta kuptonin se pse një të huaji mund t’i interesonte një strukturë betoni ku ata mbështesnin tezgat e frutave dhe kutitë e kartonit, ishte mjaft e lexueshme. Më vonë, gjatë rrugës për në Krujë, u ndeshëm me prototipe të tjera të këtyre skulpturave të çuditshme dhe obeliskëve të përmasave, formave dhe ngjyrave të ndryshme, që dominonin peizazhin shqiptar që na kalonte para syve nga dritarja e autobusit. Disa prej tyre ishin në gjendje të mjerueshme (p.sh. als–596), një tjetër e kishin tran-sformuar në një stelë të mbuluar me fytyra që buzëqesh-nin si fantazma. “Pse janë në gjendje kaq të ndryshme nga njëri tjetri nëse të gjithë i përkasin periudhës komu-niste?” qe pyetja legjitime e mikut tim. 20 00 Open Access Bickert, Matthias 20 03 06 10.21983/P3.0094.1.20 125 128 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 About the Film Lapidari 1 A01 Julian Bejko Julian Bejko 40 03g9v2404 University of Tirana 01 eng 03 00 The sounds of war and partisan songs accompany the first shots of the film Lapidari.1 Perched on a hill top, the cameraman shows the entire green valley, partially filled with the smoke clouds of the battles. So we are some-where in the years ’43–’44 of the previous century, when all of humanity and Albania were involved in the hor-rible events of the Second World War. On the one side the partisans, and on the other the Nazi occupiers, in a bloody battle for freedom or death on the land of the Albanian people, completely exhausted by the centuries of occupations and occupiers. 30 00 The sounds of war and partisan songs accompany the first shots of the film Lapidari.1 Perched on a hill top, the cameraman shows the entire green valley, partially filled with the smoke clouds of the battles. So we are some-where in the years ’43–’44 of the previous century, when all of humanity and Albania were involved in the hor-rible events of the Second World War. On the one side the partisans, and on the other the Nazi occupiers, in a bloody battle for freedom or death on the land of the Albanian people, completely exhausted by the centuries of occupations and occupiers. 20 00 Open Access Bejko, Julian 21 03 06 10.21983/P3.0094.1.21 129 132 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Rreth filmit Lapidari 1 A01 Julian Bejko Julian Bejko 40 03g9v2404 University of Tirana 01 alb 03 00 Tinguj lufte dhe këngë partizanësh shoqërojnë imazhet e para të filmit Lapidari.1 Operatori i vendosur majë një kodre fokuson gjithë luginën e gjelbër pjesërisht e mbu-luar nga tymnaja e luftimeve. Jemi pra diku rreth viteve ’43–’44 të shekullit të kaluar kur mbarë njerëzimi dhe Shqipëria ishte e përfshirë nga ngjarjet e tmerrshme të Luftës së Dytë Botërore. Në njërën anë partizanët, në tjetrën pushtuesit nazistë, në një betejë të përgjak-shme për liri a vdekje në truallin e popullit shqiptar, tejet i drobitur nga vazhdueshmëria e pushtimeve dhe pushtuesve ndër shekuj. 30 00 Tinguj lufte dhe këngë partizanësh shoqërojnë imazhet e para të filmit Lapidari.1 Operatori i vendosur majë një kodre fokuson gjithë luginën e gjelbër pjesërisht e mbu-luar nga tymnaja e luftimeve. Jemi pra diku rreth viteve ’43–’44 të shekullit të kaluar kur mbarë njerëzimi dhe Shqipëria ishte e përfshirë nga ngjarjet e tmerrshme të Luftës së Dytë Botërore. Në njërën anë partizanët, në tjetrën pushtuesit nazistë, në një betejë të përgjak-shme për liri a vdekje në truallin e popullit shqiptar, tejet i drobitur nga vazhdueshmëria e pushtimeve dhe pushtuesve ndër shekuj. 20 00 Open Access Bejko, Julian 22 03 06 10.21983/P3.0094.1.22 133 140 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Texts Chiseled on the Calendar A Semiotic Reading of Inscriptions on the Commemorative Monuments of the Period of the National Liberation War 1 A01 Ardian Vehbiu Ardian Vehbiu 01 eng 03 00 The inscriptions on commemorative plaques and lapi-dars differ according to what is commemorated: a heroic act, a battle, or another important event, the martyrs of village or a zone, or the National Liberation War in general. However, from one inscription to another, we may determine several patterns that have to do with the structure of the text. 30 00 The inscriptions on commemorative plaques and lapi-dars differ according to what is commemorated: a heroic act, a battle, or another important event, the martyrs of village or a zone, or the National Liberation War in general. However, from one inscription to another, we may determine several patterns that have to do with the structure of the text. 20 00 Open Access Vehbiu, Ardian 23 03 06 10.21983/P3.0094.1.23 141 148 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Tekste të gdhendura në kalendar Një lexim semiotik i mbishkrimeve në monumentet përkujtimore të periudhës së Luftës së Luftës Nacional –Çlirimtare 1 A01 Ardian Vehbiu Ardian Vehbiu 01 alb 03 00 Mbishkrimet në pllakat përkujtimore dhe lapidarët ndryshojnë sipas një tipologjie që ka të bëjë me çfarë përkujtohet: një akt heroik, një betejë ose ngjarje tjetër me rëndësi, dëshmorët e një fshati ose një zone apo Luf-ta Nacional–Çlirimtare në përgjithësi. Megjithatë, nga një mbishkrim në tjetrin, mund të përcaktohen disa rre-gullsi, që kanë të bëjnë me strukturën e tekstit. 30 00 Mbishkrimet në pllakat përkujtimore dhe lapidarët ndryshojnë sipas një tipologjie që ka të bëjë me çfarë përkujtohet: një akt heroik, një betejë ose ngjarje tjetër me rëndësi, dëshmorët e një fshati ose një zone apo Luf-ta Nacional–Çlirimtare në përgjithësi. Megjithatë, nga një mbishkrim në tjetrin, mund të përcaktohen disa rre-gullsi, që kanë të bëjnë me strukturën e tekstit. 20 00 Open Access Vehbiu, Ardian 24 03 06 10.21983/P3.0094.1.24 149 214 66 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 25 03 06 10.21983/P3.0094.1.25 215 280 66 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Indexes 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access van Gerven Oei, Vincent W.J. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lapidari-volume-1/ Brooklyn, NY 04 01 20150216 van Gerven Oei, Vincent W.J. 02 WORLD 06 15 9780692350461 03 9780692350461 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25527 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25527/1004568.pdf?sequence=1&isAllowed=y 20 08 20150216 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33683 20 08 20150216 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j5bd 20 08 20150216 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/477 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/7447e174-9fb5-4662-9520-923dafcc6c26/download 20 08 20150216 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1a71ecd5-c868-44af-9b53-b45888fb241c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1a71ecd5-c868-44af-9b53-b45888fb241c/1a71ecd5-c868-44af-9b53-b45888fb241c.pdf 20 08 20150216 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846158 29 ZENODO: download the title https://zenodo.org/records/19846158/files/1a71ecd5-c868-44af-9b53-b45888fb241c_book.pdf 20 08 20150216 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/lapidari-volume-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0094.1.00.pdf 20 08 20150216 01 urn:uuid:a2d4cb7c-af3d-4de0-8aff-08993d08aa5e 03 01 01 thoth-work-id urn:uuid:df518095-84ff-4138-b2f9-5d8fe6ddf53a 01 thoth-publication-id urn:uuid:a2d4cb7c-af3d-4de0-8aff-08993d08aa5e 15 9780692350492 03 9780692350492 06 10.21983/P3.0091.1.00 01 internal-reference 0091 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Lapidari 2 Images, Part I 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 40 01tgyzw49 National University of Singapore 06 Own website http://www.vangervenoei.com/ 2 A13 Marco Mazzi Marco Mazzi 01 eng 00 336 03 93 AMG 12 AMGD B2 Built Environments 10 PHO001000 93 1DXA B2 History 93 3MPQ-DE-J 93 AJC 20 communism; Albania; public art; monumentality; socialism; political history; photography 01 06 02 00 03 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 30 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0091.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lapidari-volume-2/ Brooklyn, NY 04 01 20150215 van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692350497 20 08 20150215 02 70.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/lapidari-2-images-part-i 20 08 20150215 02 70.00 USD WORLD urn:uuid:87ef7424-75a3-45e4-a2fd-3652abee491d 03 01 01 thoth-work-id urn:uuid:df518095-84ff-4138-b2f9-5d8fe6ddf53a 01 thoth-publication-id urn:uuid:87ef7424-75a3-45e4-a2fd-3652abee491d 06 10.21983/P3.0091.1.00 01 internal-reference 0091 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Lapidari 2 Images, Part I 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 40 01tgyzw49 National University of Singapore 06 Own website http://www.vangervenoei.com/ 2 A13 Marco Mazzi Marco Mazzi 01 eng 00 336 03 93 AMG 12 AMGD B2 Built Environments 10 PHO001000 93 1DXA B2 History 93 3MPQ-DE-J 93 AJC 20 communism; Albania; public art; monumentality; socialism; political history; photography 01 06 02 00 03 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 30 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0091.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lapidari-volume-2/ Brooklyn, NY 04 01 20150215 van Gerven Oei, Vincent W.J. 02 WORLD 06 15 9780692350492 03 9780692350492 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25530 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25530/1004565.pdf?sequence=1&isAllowed=y 20 08 20150215 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34125 20 08 20150215 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353918 20 08 20150215 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/522 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3a720cb0-75f1-47c0-ac04-101f47a11219/download 20 08 20150215 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Lapidari_2/um2oEAAAQBAJ 20 08 20150215 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/df518095-84ff-4138-b2f9-5d8fe6ddf53a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/df518095-84ff-4138-b2f9-5d8fe6ddf53a/df518095-84ff-4138-b2f9-5d8fe6ddf53a.pdf 20 08 20150215 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846154 29 ZENODO: download the title https://zenodo.org/records/19846154/files/df518095-84ff-4138-b2f9-5d8fe6ddf53a_book.pdf 20 08 20150215 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/lapidari-volume-2/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0091.1.00.pdf 20 08 20150215 01 urn:uuid:cd6d18b9-448c-455d-98af-329ecaf702fc 03 01 01 thoth-work-id urn:uuid:a9d68f12-1de4-4c08-84b1-fe9a786ab47f 01 thoth-publication-id urn:uuid:cd6d18b9-448c-455d-98af-329ecaf702fc 15 9780692363423 03 9780692363423 06 10.21983/P3.0092.1.00 01 internal-reference 0092 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Lapidari 3 Images, Part II 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 40 01tgyzw49 National University of Singapore 06 Own website http://www.vangervenoei.com/ 2 A13 Marco Mazzi Marco Mazzi 01 eng 00 336 03 93 AMG 12 AMGD B2 Built Environments 10 PHO001000 93 1DXA B2 History 93 3MPQ-DE-J 93 AJC 20 communism; Albania; public art; monumentality; socialism; political history; photography 01 06 02 00 03 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 30 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0092.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lapidari-volume-3/ Brooklyn, NY 04 01 20150216 van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/lapidari-3-images-part-ii 20 08 20150216 02 70.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692363424 20 08 20150216 02 70.00 USD WORLD urn:uuid:ff422f57-d77e-4fcf-a9cb-bd198b5ab9e1 03 01 01 thoth-work-id urn:uuid:a9d68f12-1de4-4c08-84b1-fe9a786ab47f 01 thoth-publication-id urn:uuid:ff422f57-d77e-4fcf-a9cb-bd198b5ab9e1 06 10.21983/P3.0092.1.00 01 internal-reference 0092 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Lapidari 3 Images, Part II 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 40 01tgyzw49 National University of Singapore 06 Own website http://www.vangervenoei.com/ 2 A13 Marco Mazzi Marco Mazzi 01 eng 00 336 03 93 AMG 12 AMGD B2 Built Environments 10 PHO001000 93 1DXA B2 History 93 3MPQ-DE-J 93 AJC 20 communism; Albania; public art; monumentality; socialism; political history; photography 01 06 02 00 03 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 30 00 In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0092.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lapidari-volume-3/ Brooklyn, NY 04 01 20150216 van Gerven Oei, Vincent W.J. 02 WORLD 06 15 9780692363423 03 9780692363423 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25529 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25529/1004566.pdf?sequence=1&isAllowed=y 20 08 20150216 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35781 20 08 20150216 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353821 20 08 20150216 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/523 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fa1520aa-1384-4871-aaef-ab92313e2def/download 20 08 20150216 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a9d68f12-1de4-4c08-84b1-fe9a786ab47f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a9d68f12-1de4-4c08-84b1-fe9a786ab47f/a9d68f12-1de4-4c08-84b1-fe9a786ab47f.pdf 20 08 20150216 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846168 29 ZENODO: download the title https://zenodo.org/records/19846168/files/a9d68f12-1de4-4c08-84b1-fe9a786ab47f_book.pdf 20 08 20150216 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/lapidari-volume-3/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0092.1.00.pdf 20 08 20150216 01 urn:uuid:9fc70978-d447-4ab2-959b-84c163361075 03 01 01 thoth-work-id urn:uuid:8377c394-c27a-44cb-98f5-5e5b789ad7b8 01 thoth-publication-id urn:uuid:9fc70978-d447-4ab2-959b-84c163361075 15 9780615719467 03 9780615719467 06 10.21983/P3.0012.1.00 01 internal-reference 0012 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Last Day Every Day Figural Thinking from Auerbach and Kracauer to Agamben and Brenez 1 A01 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 01 eng 00 54 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 20 film studies; Eric Auerbach; Siegfried Kracauer; Nicole Brenez; Douglas Sirk 01 06 02 00 03 00 Where is film analysis at today? What is cinema theory up to, behind our backs? The field, as professionally defined (at least in the Anglo-American academic world), is presently divided between contextual historians who turn to broad formations of modernity, and stylistic connoisseurs who call for a return to old-fashioned things like authorial vision, tone, and mise en scène. But there are other, vital, inventive currents happening — in criticism, on the Internet, in small magazines, and renegade conferences everywhere — which we are not hearing much about in any official way. Last Day Every Day shines a light on one of these exciting new avenues.Is there a way to bring together, in a refreshed manner, textual logic, hermeneutic interpretation, theoretical speculation, and socio-political history? A way to break the deadlock between classical approaches that sought organic coherence in film works, and poststructuralist approaches that exposed the heterogeneity of all texts and scattered the pieces to the four winds? A way to attend to the minute materiality of cinema, while grasping and contesting the histories imbricated in every image and sound? 30 00 Where is film analysis at today? What is cinema theory up to, behind our backs? The field, as professionally defined (at least in the Anglo-American academic world), is presently divided between contextual historians who turn to broad formations of modernity, and stylistic connoisseurs who call for a return to old-fashioned things like authorial vision, tone, and mise en scène. But there are other, vital, inventive currents happening — in criticism, on the Internet, in small magazines, and renegade conferences everywhere — which we are not hearing much about in any official way. Last Day Every Day shines a light on one of these exciting new avenues.Is there a way to bring together, in a refreshed manner, textual logic, hermeneutic interpretation, theoretical speculation, and socio-political history? A way to break the deadlock between classical approaches that sought organic coherence in film works, and poststructuralist approaches that exposed the heterogeneity of all texts and scattered the pieces to the four winds? A way to attend to the minute materiality of cinema, while grasping and contesting the histories imbricated in every image and sound? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0012.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-day-every-day/ 16 40 01c27hj86 32 10.13039/501100005765 University of Lisbon Brooklyn, NY 04 01 20121023 Martin, Adrian 02 WORLD 49 06 10.21983/P3.0022.1.00 49 06 10.21983/P3.0097.1.00 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/last-day-every-day-figural-thinking-from-auerbach-and-kracauer-to-agamben-and-brenez 20 08 20121023 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615719465 20 08 20121023 02 21.00 USD WORLD urn:uuid:6e90444d-fe5e-40d3-84ad-47a393a530fe 03 01 01 thoth-work-id urn:uuid:8377c394-c27a-44cb-98f5-5e5b789ad7b8 01 thoth-publication-id urn:uuid:6e90444d-fe5e-40d3-84ad-47a393a530fe 06 10.21983/P3.0012.1.00 01 internal-reference 0012 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Last Day Every Day Figural Thinking from Auerbach and Kracauer to Agamben and Brenez 1 A01 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 01 eng 00 54 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 20 film studies; Eric Auerbach; Siegfried Kracauer; Nicole Brenez; Douglas Sirk 01 06 02 00 03 00 Where is film analysis at today? What is cinema theory up to, behind our backs? The field, as professionally defined (at least in the Anglo-American academic world), is presently divided between contextual historians who turn to broad formations of modernity, and stylistic connoisseurs who call for a return to old-fashioned things like authorial vision, tone, and mise en scène. But there are other, vital, inventive currents happening — in criticism, on the Internet, in small magazines, and renegade conferences everywhere — which we are not hearing much about in any official way. Last Day Every Day shines a light on one of these exciting new avenues.Is there a way to bring together, in a refreshed manner, textual logic, hermeneutic interpretation, theoretical speculation, and socio-political history? A way to break the deadlock between classical approaches that sought organic coherence in film works, and poststructuralist approaches that exposed the heterogeneity of all texts and scattered the pieces to the four winds? A way to attend to the minute materiality of cinema, while grasping and contesting the histories imbricated in every image and sound? 30 00 Where is film analysis at today? What is cinema theory up to, behind our backs? The field, as professionally defined (at least in the Anglo-American academic world), is presently divided between contextual historians who turn to broad formations of modernity, and stylistic connoisseurs who call for a return to old-fashioned things like authorial vision, tone, and mise en scène. But there are other, vital, inventive currents happening — in criticism, on the Internet, in small magazines, and renegade conferences everywhere — which we are not hearing much about in any official way. Last Day Every Day shines a light on one of these exciting new avenues.Is there a way to bring together, in a refreshed manner, textual logic, hermeneutic interpretation, theoretical speculation, and socio-political history? A way to break the deadlock between classical approaches that sought organic coherence in film works, and poststructuralist approaches that exposed the heterogeneity of all texts and scattered the pieces to the four winds? A way to attend to the minute materiality of cinema, while grasping and contesting the histories imbricated in every image and sound? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0012.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-day-every-day/ 16 40 01c27hj86 32 10.13039/501100005765 University of Lisbon Brooklyn, NY 04 01 20121023 Martin, Adrian 02 WORLD 49 06 10.21983/P3.0022.1.00 49 06 10.21983/P3.0097.1.00 06 15 9780615719467 03 9780615719467 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76429 20 08 20121023 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25603 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25603/1004492.pdf?sequence=1&isAllowed=y 20 08 20121023 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/25862 20 08 20121023 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353897 20 08 20121023 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/391 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/37dddda4-325f-458b-97ff-fd852b6e8647/download 20 08 20121023 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8377c394-c27a-44cb-98f5-5e5b789ad7b8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8377c394-c27a-44cb-98f5-5e5b789ad7b8/8377c394-c27a-44cb-98f5-5e5b789ad7b8.pdf 20 08 20121023 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693175 29 ZENODO: download the title https://zenodo.org/records/19693175/files/8377c394-c27a-44cb-98f5-5e5b789ad7b8_book.pdf 20 08 20121023 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/last-day-every-day/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0012.1.00.pdf 20 08 20121023 01 urn:uuid:7a949e13-af1f-45ff-a1d6-796d525f4943 03 01 01 thoth-work-id urn:uuid:c3d008a2-b357-4886-acc4-a2c77f1749ee 01 thoth-publication-id urn:uuid:7a949e13-af1f-45ff-a1d6-796d525f4943 15 9781953035660 03 9781953035660 06 10.53288/0363.1.00 13 2021941106 01 internal-reference 0363 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Last Year at Betty and Bob's An Actual Occasion 1 A01 Sher Doruff Sher Doruff 40 04dde1554 Amsterdam University of the Arts 01 eng 00 244 03 12 FA B2 Fabulations 93 FDV 10 FIC002000 10 FIC057000 93 FLP B2 Posthumanism 93 5PT B2 TransQueer 20 primary colors; transhumanism; fiction; consumerism; feminism; art collective; artistic research 01 06 02 00 03 00 Last Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking.An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity. 30 00 Last Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking.An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0363.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-year-at-betty-and-bobs-an-actual-occasion/ Earth, Milky Way 04 01 20210708 Doruff, Sher 02 WORLD 06 15 9781953035677 03 9781953035677 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035663 20 08 20210708 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/last-year-at-betty-and-bobs-an-actual-occasion 20 08 20210708 02 24.00 USD WORLD urn:uuid:53e6a585-e94a-4df6-80b8-26057db1f4ad 03 01 01 thoth-work-id urn:uuid:c3d008a2-b357-4886-acc4-a2c77f1749ee 01 thoth-publication-id urn:uuid:53e6a585-e94a-4df6-80b8-26057db1f4ad 15 9781953035677 03 9781953035677 06 10.53288/0363.1.00 13 2021941106 01 internal-reference 0363 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Last Year at Betty and Bob's An Actual Occasion 1 A01 Sher Doruff Sher Doruff 40 04dde1554 Amsterdam University of the Arts 01 eng 00 244 03 12 FA B2 Fabulations 93 FDV 10 FIC002000 10 FIC057000 93 FLP B2 Posthumanism 93 5PT B2 TransQueer 20 primary colors; transhumanism; fiction; consumerism; feminism; art collective; artistic research 01 06 02 00 03 00 Last Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking.An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity. 30 00 Last Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking.An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0363.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-year-at-betty-and-bobs-an-actual-occasion/ Earth, Milky Way 04 01 20210708 Doruff, Sher 02 WORLD 06 15 9781953035660 03 9781953035660 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/49771 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/49771/0363.1.00.pdf?sequence=1&isAllowed=y 20 08 20210708 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71058 20 08 20210708 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1wvncsh 20 08 20210708 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/670 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6df071ef-df9c-4be9-9bfe-70e9617e6512/download 20 08 20210708 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c3d008a2-b357-4886-acc4-a2c77f1749ee 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c3d008a2-b357-4886-acc4-a2c77f1749ee/c3d008a2-b357-4886-acc4-a2c77f1749ee.pdf 20 08 20210708 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848933 29 ZENODO: download the title https://zenodo.org/records/19848933/files/c3d008a2-b357-4886-acc4-a2c77f1749ee_book.pdf 20 08 20210708 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/last-year-at-betty-and-bobs-an-actual-occasion/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0363.1.00.pdf 20 08 20210708 01 urn:uuid:dfee6896-0f4d-4b2d-81da-c7072e43ac90 03 01 01 thoth-work-id urn:uuid:781b77bd-edf8-4688-937d-cc7cc47de89f 01 thoth-publication-id urn:uuid:dfee6896-0f4d-4b2d-81da-c7072e43ac90 15 9781947447912 03 9781947447912 06 10.21983/P3.0234.1.00 13 2018963382 01 internal-reference 0234 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Last Year at Betty and Bob's An Adventure 1 A01 Sher Doruff Sher Doruff 40 04dde1554 Amsterdam University of the Arts 01 eng 00 212 03 12 FA B2 Fabulations 93 FDV 10 FIC002000 10 FIC057000 93 FLP B2 Posthumanism 93 5PT B2 TransQueer 20 primary colors; transhumanism; fiction; consumerism; feminism; art collective; artistic research 01 06 02 00 03 00 Last Year at Betty and Bob’s: An Adventure is the second in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB red, is fashioned by thinking through the felt unthought of this between space — a fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders, and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In An Adventure, a feral feminist artist collective, The Bettys, inhabit a timeless Arcades Project. This is their experiment in wild hypo-consumerism. The event of Red Betty’s fall generates the advent of a turn. A cleaving. The intra-play of personal politics and activist artistic practices is surreally suffused with attention to color, to life and death, to lightness and heaviness. 30 00 Last Year at Betty and Bob’s: An Adventure is the second in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB red, is fashioned by thinking through the felt unthought of this between space — a fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders, and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In An Adventure, a feral feminist artist collective, The Bettys, inhabit a timeless Arcades Project. This is their experiment in wild hypo-consumerism. The event of Red Betty’s fall generates the advent of a turn. A cleaving. The intra-play of personal politics and activist artistic practices is surreally suffused with attention to color, to life and death, to lightness and heaviness. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0234.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-year-at-betty-and-bobs-an-adventure/ Earth, Milky Way 04 01 20181122 Doruff, Sher 02 WORLD 06 15 9781947447929 03 9781947447929 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447912 20 08 20181122 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/last-year-at-betty-and-bobs-a-novelty 20 08 20181122 02 23.00 USD WORLD urn:uuid:1a691d59-a383-49c7-95d7-434fe6d6b176 03 01 01 thoth-work-id urn:uuid:781b77bd-edf8-4688-937d-cc7cc47de89f 01 thoth-publication-id urn:uuid:1a691d59-a383-49c7-95d7-434fe6d6b176 15 9781947447929 03 9781947447929 06 10.21983/P3.0234.1.00 13 2018963382 01 internal-reference 0234 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Last Year at Betty and Bob's An Adventure 1 A01 Sher Doruff Sher Doruff 40 04dde1554 Amsterdam University of the Arts 01 eng 00 212 03 12 FA B2 Fabulations 93 FDV 10 FIC002000 10 FIC057000 93 FLP B2 Posthumanism 93 5PT B2 TransQueer 20 primary colors; transhumanism; fiction; consumerism; feminism; art collective; artistic research 01 06 02 00 03 00 Last Year at Betty and Bob’s: An Adventure is the second in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB red, is fashioned by thinking through the felt unthought of this between space — a fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders, and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In An Adventure, a feral feminist artist collective, The Bettys, inhabit a timeless Arcades Project. This is their experiment in wild hypo-consumerism. The event of Red Betty’s fall generates the advent of a turn. A cleaving. The intra-play of personal politics and activist artistic practices is surreally suffused with attention to color, to life and death, to lightness and heaviness. 30 00 Last Year at Betty and Bob’s: An Adventure is the second in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB red, is fashioned by thinking through the felt unthought of this between space — a fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders, and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In An Adventure, a feral feminist artist collective, The Bettys, inhabit a timeless Arcades Project. This is their experiment in wild hypo-consumerism. The event of Red Betty’s fall generates the advent of a turn. A cleaving. The intra-play of personal politics and activist artistic practices is surreally suffused with attention to color, to life and death, to lightness and heaviness. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0234.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-year-at-betty-and-bobs-an-adventure/ Earth, Milky Way 04 01 20181122 Doruff, Sher 02 WORLD 06 15 9781947447912 03 9781947447912 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25396 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25396/1004699.pdf?sequence=1&isAllowed=y 20 08 20181122 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37923 20 08 20181122 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353927 20 08 20181122 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/597 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ab3acd7b-1b01-443f-9c77-23c12acf5352/download 20 08 20181122 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/781b77bd-edf8-4688-937d-cc7cc47de89f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/781b77bd-edf8-4688-937d-cc7cc47de89f/781b77bd-edf8-4688-937d-cc7cc47de89f.pdf 20 08 20181122 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847546 29 ZENODO: download the title https://zenodo.org/records/19847546/files/781b77bd-edf8-4688-937d-cc7cc47de89f_book.pdf 20 08 20181122 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/last-year-at-betty-and-bobs-an-adventure/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0234.1.00.pdf 20 08 20181122 01 urn:uuid:1f1e19e6-10ea-42dc-8e89-d8905ede4d7c 03 01 01 thoth-work-id urn:uuid:ce38f309-4438-479f-bd1c-b3690dbd7d8d 01 thoth-publication-id urn:uuid:1f1e19e6-10ea-42dc-8e89-d8905ede4d7c 15 9781947447790 03 9781947447790 06 10.21983/P3.0233.1.00 13 2018953766 01 internal-reference 0233 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Last Year at Betty and Bob's A Novelty 1 A01 Sher Doruff Sher Doruff 40 04dde1554 Amsterdam University of the Arts 01 eng 00 172 03 12 FA B2 Fabulations 93 FDV 10 FIC057000 10 FIC002000 93 FLP B2 Posthumanism 93 5PT B2 TransQueer 20 primary colors; transhumanism; fiction; consumerism; feminism; art collective; artistic research 01 06 02 00 03 00 Last Year at Betty and Bob’s: A Novelty is the first in a series of novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB blue, is fashioned by thinking through the felt unthought of this between space. A fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In A Novelty, Bette B, an ageing quasi-academic artist researcher, and BØB, attuned urban rodent, are palindromic variants of a generic cast of Betty’s and Bob’s. The happenstance of their meeting on the super slick POMOC (PostOffice MotionCorridor) affects a trans-special contagion. These are the facts of the matter. The matters that come to concern both B’s are more slippery and elusive. 30 00 Last Year at Betty and Bob’s: A Novelty is the first in a series of novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB blue, is fashioned by thinking through the felt unthought of this between space. A fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In A Novelty, Bette B, an ageing quasi-academic artist researcher, and BØB, attuned urban rodent, are palindromic variants of a generic cast of Betty’s and Bob’s. The happenstance of their meeting on the super slick POMOC (PostOffice MotionCorridor) affects a trans-special contagion. These are the facts of the matter. The matters that come to concern both B’s are more slippery and elusive. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0233.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-year-at-betty-and-bobs-a-novelty/ Earth, Milky Way 04 01 20181122 Doruff, Sher 02 WORLD 06 15 9781947447806 03 9781947447806 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447793 20 08 20181122 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/last-year-at-betty-and-bobs-an-adventure 20 08 20181122 02 23.00 USD WORLD urn:uuid:b6882e77-fb16-4333-baa2-5d51520186d4 03 01 01 thoth-work-id urn:uuid:ce38f309-4438-479f-bd1c-b3690dbd7d8d 01 thoth-publication-id urn:uuid:b6882e77-fb16-4333-baa2-5d51520186d4 15 9781947447806 03 9781947447806 06 10.21983/P3.0233.1.00 13 2018953766 01 internal-reference 0233 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Last Year at Betty and Bob's A Novelty 1 A01 Sher Doruff Sher Doruff 40 04dde1554 Amsterdam University of the Arts 01 eng 00 172 03 12 FA B2 Fabulations 93 FDV 10 FIC057000 10 FIC002000 93 FLP B2 Posthumanism 93 5PT B2 TransQueer 20 primary colors; transhumanism; fiction; consumerism; feminism; art collective; artistic research 01 06 02 00 03 00 Last Year at Betty and Bob’s: A Novelty is the first in a series of novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB blue, is fashioned by thinking through the felt unthought of this between space. A fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In A Novelty, Bette B, an ageing quasi-academic artist researcher, and BØB, attuned urban rodent, are palindromic variants of a generic cast of Betty’s and Bob’s. The happenstance of their meeting on the super slick POMOC (PostOffice MotionCorridor) affects a trans-special contagion. These are the facts of the matter. The matters that come to concern both B’s are more slippery and elusive. 30 00 Last Year at Betty and Bob’s: A Novelty is the first in a series of novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB blue, is fashioned by thinking through the felt unthought of this between space. A fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In A Novelty, Bette B, an ageing quasi-academic artist researcher, and BØB, attuned urban rodent, are palindromic variants of a generic cast of Betty’s and Bob’s. The happenstance of their meeting on the super slick POMOC (PostOffice MotionCorridor) affects a trans-special contagion. These are the facts of the matter. The matters that come to concern both B’s are more slippery and elusive. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0233.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/last-year-at-betty-and-bobs-a-novelty/ Earth, Milky Way 04 01 20181122 Doruff, Sher 02 WORLD 06 15 9781947447790 03 9781947447790 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25397 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25397/1004698.pdf?sequence=1&isAllowed=y 20 08 20181122 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33879 20 08 20181122 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353832 20 08 20181122 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/596 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e6778962-9052-4c6b-a991-695e6e503552/download 20 08 20181122 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ce38f309-4438-479f-bd1c-b3690dbd7d8d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ce38f309-4438-479f-bd1c-b3690dbd7d8d/ce38f309-4438-479f-bd1c-b3690dbd7d8d.pdf 20 08 20181122 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847553 29 ZENODO: download the title https://zenodo.org/records/19847553/files/ce38f309-4438-479f-bd1c-b3690dbd7d8d_book.pdf 20 08 20181122 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/last-year-at-betty-and-bobs-a-novelty/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0233.1.00.pdf 20 08 20181122 01 urn:uuid:bb8abf8a-e7a8-478c-995b-bd08b6a7416e 03 01 01 thoth-work-id urn:uuid:08788fe1-c17d-4f6b-aeab-c81aa3036940 01 thoth-publication-id urn:uuid:bb8abf8a-e7a8-478c-995b-bd08b6a7416e 15 9780692356616 03 9780692356616 06 10.21983/P3.0084.1.00 01 internal-reference 0084 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 210 mm 02 21 cm 02 8.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Left Bank Dream 1 A01 Beryl Scholssman Beryl Scholssman 01 eng 00 46 03 12 FA 20 fiction; Paris; romance; Baudelaire 01 06 02 00 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/left-bank-dream/ Brooklyn, NY 08 01 20141226 13 20240425 Scholssman, Beryl 02 WORLD WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/left-bank-dream/ 41 08 20141226 02 15.00 USD WORLD urn:uuid:5f7251aa-6e31-4095-a002-bb1e11c53573 03 01 01 thoth-work-id urn:uuid:b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd 01 thoth-publication-id urn:uuid:5f7251aa-6e31-4095-a002-bb1e11c53573 15 9780615600468 03 9780615600468 06 10.21983/P3.0017.1.00 01 internal-reference 0017 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Leper Creativity Cyclonopedia Symposium 1 B01 Edward Keller Edward Keller 40 02cmz8k74 Parsons School of Design 2 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 3 B01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 00 310 03 B2 Cultural Studies+Critical Theory 93 DNL 12 HPCF 10 PHI040000 93 DSA B2 Literary Studies B2 Posthumanism 20 Reza Negarestani; theory-fiction; speculative realism; petropolitics; Cyclonopedia 01 06 02 00 03 00 Essays, articles, artworks, and documents taken from and inspired by the symposium on Reza Negarestani’s Cyclonopedia: Complicity with Anonymous Materials, which took place in March 2011 at The New School. Hailed by novelists, philosophers, artists, cinematographers, and designers, Cyclonopedia is a key work in the emerging domains of speculative realism and theory-fiction. The text has attracted a wide-ranging and interdisciplinary audience, provoking vital debate around the relationship between philosophy, geopolitics, geophysics, and art. At once a work of speculative theology, a political samizdat, and a philosophic grimoire, Cyclonopedia is a Deleuzo-Lovecraftian middle-eastern Odyssey populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, and the corpses of ancient gods. Playing out the book’s own theory of creativity – “a confusion in which no straight line can be traced or drawn between creator and created – original inauthenticity” – this multidimensional collection both faithfully interprets the text and realizes it as a loving, perforated host of fresh heresies. The volume includes an incisive contribution from the author explicating a key figure of the novel: the cyclone. 30 00 Essays, articles, artworks, and documents taken from and inspired by the symposium on Reza Negarestani’s Cyclonopedia: Complicity with Anonymous Materials, which took place in March 2011 at The New School. Hailed by novelists, philosophers, artists, cinematographers, and designers, Cyclonopedia is a key work in the emerging domains of speculative realism and theory-fiction. The text has attracted a wide-ranging and interdisciplinary audience, provoking vital debate around the relationship between philosophy, geopolitics, geophysics, and art. At once a work of speculative theology, a political samizdat, and a philosophic grimoire, Cyclonopedia is a Deleuzo-Lovecraftian middle-eastern Odyssey populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, and the corpses of ancient gods. Playing out the book’s own theory of creativity – “a confusion in which no straight line can be traced or drawn between creator and created – original inauthenticity” – this multidimensional collection both faithfully interprets the text and realizes it as a loving, perforated host of fresh heresies. The volume includes an incisive contribution from the author explicating a key figure of the novel: the cyclone. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0017.1.00_frontcover.png 1 03 06 10.21983/P3.0017.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Edward Keller Edward Keller 40 02cmz8k74 Parsons School of Design 2 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 3 B01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 20 00 Open Access Keller, Edward Masciandaro, Nicola Thacker, Eugene 2 03 06 10.21983/P3.0017.1.02 1 37 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Brief History of Geotrauma 1 A01 Robin Mackay Robin Mackay 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 Freud, Ferenczi, Lovecraft, Bodkin, Challenger, Cane, Barker, Land, Parsani. Unilkely characters. Crackpots, every one of them. Frauds, fakes, pseudoscientists at best. Indisciplined thinkers breeding speculative mongrels. Hysteria, neuronics, stratoanalysis, schizoanaly-sis, geotraumatics. Through misinterpretations, imaginary convergences, forced couplings and other shady maneouvres lacking in the principled behaviour expected of a scholar, they claimed to have invented a new discipline referred to by various names at various times; but no-one clearly understood what the goals, methods or principles of this new discipline were. 30 00 Freud, Ferenczi, Lovecraft, Bodkin, Challenger, Cane, Barker, Land, Parsani. Unilkely characters. Crackpots, every one of them. Frauds, fakes, pseudoscientists at best. Indisciplined thinkers breeding speculative mongrels. Hysteria, neuronics, stratoanalysis, schizoanaly-sis, geotraumatics. Through misinterpretations, imaginary convergences, forced couplings and other shady maneouvres lacking in the principled behaviour expected of a scholar, they claimed to have invented a new discipline referred to by various names at various times; but no-one clearly understood what the goals, methods or principles of this new discipline were. 20 00 Open Access Mackay, Robin 3 03 06 10.21983/P3.0017.1.03 39 43 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 An Inhuman Fiction of Forces 1 A01 21 000000027307943X McKenzie Wark McKenzie Wark 40 02tvcev59 New School 01 eng 03 00 ‘The Domain of Arnheim’ is a strange story by Edgar Allan Poe, in which a young man who inherits an in-credible fortune decides to spend it, not on buying art but on fashioning a landscape. Poe also imagines the Earth seen from space as itself a complete work of art. He anticipates the real ends of modernism. Is not the totality of all our endeavors, all our so-cial relations, tending towards the making over of the planet as a total work of art? This theme of a secular, aesthetic destiny has its roots in Romanticism, but lately it has lost its more optimistic cast. What if the work of art into which the word turns excluded the presence of its own makers? What if its creation de-stroys the biological possibility of human life on the planet? 30 00 ‘The Domain of Arnheim’ is a strange story by Edgar Allan Poe, in which a young man who inherits an in-credible fortune decides to spend it, not on buying art but on fashioning a landscape. Poe also imagines the Earth seen from space as itself a complete work of art. He anticipates the real ends of modernism. Is not the totality of all our endeavors, all our so-cial relations, tending towards the making over of the planet as a total work of art? This theme of a secular, aesthetic destiny has its roots in Romanticism, but lately it has lost its more optimistic cast. What if the work of art into which the word turns excluded the presence of its own makers? What if its creation de-stroys the biological possibility of human life on the planet? 20 00 Open Access Wark, McKenzie 4 03 06 10.21983/P3.0017.1.04 45 57 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Root the Earth On Peak Oil Apophenia 1 A01 Benjamin H. Bratton Benjamin H. Bratton 40 0168r3w48 University of California, San Diego 40 04g3mbv81 European Graduate School 01 eng 03 00 After the end of the world, what is the polity of the inhuman? What is its government of energy? It is programmatic reconfigurability: a general economy of plasticity. It extends around the anthropomorphic physiognomy of architecture and toward an acephalic geography emerging in the image of strong computa-tional equivalence. The prototype of an indeterminate future government is positioned by an encounter be-tween that equivalence and the numinous decay of ecological entropy and negentropy: oil as body of the world, and the “worlding” of the body of oil. Peak oil, and after. Reza Negarestani’s own program in his theoreti-cal-novel, Cyclonopedia, is both geography and geophilosophy, yes, but also geopolitics, in the specif-ic sense of a Jamesonian geopolitical aesthetic.1 I wish to instrumentalize the text and to de-metaphorize its obsessions, and to link these to those of another short text of my own: “The language of utopia has shifted. The cybernetics of scenario planning has given way to the apophenia of eschatology. Is geopolitics but a Dark Side of the Rainbow effect? With this shift, information becomes unmanageable, non-linear, associa-tive, arbitrary. Anything is enrolled into the local rhetoric of conspiracy . . .” 30 00 After the end of the world, what is the polity of the inhuman? What is its government of energy? It is programmatic reconfigurability: a general economy of plasticity. It extends around the anthropomorphic physiognomy of architecture and toward an acephalic geography emerging in the image of strong computa-tional equivalence. The prototype of an indeterminate future government is positioned by an encounter be-tween that equivalence and the numinous decay of ecological entropy and negentropy: oil as body of the world, and the “worlding” of the body of oil. Peak oil, and after. Reza Negarestani’s own program in his theoreti-cal-novel, Cyclonopedia, is both geography and geophilosophy, yes, but also geopolitics, in the specif-ic sense of a Jamesonian geopolitical aesthetic.1 I wish to instrumentalize the text and to de-metaphorize its obsessions, and to link these to those of another short text of my own: “The language of utopia has shifted. The cybernetics of scenario planning has given way to the apophenia of eschatology. Is geopolitics but a Dark Side of the Rainbow effect? With this shift, information becomes unmanageable, non-linear, associa-tive, arbitrary. Anything is enrolled into the local rhetoric of conspiracy . . .” 20 00 Open Access Bratton, Benjamin H. 5 03 06 10.21983/P3.0017.1.05 59 99 41 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dustism 1 A01 21 0000000219830421 Alisa Andrasek Alisa Andrasek 40 02jx3x895 University College London 40 04ttjf776 RMIT University 01 eng 03 00 In order to resonate complexity, Biothing needed to open a mutable ground that can absorb and synthesize various agencies acting within complexity of transient ecologies. Its evolution was paralleled with de‐evolution of its building blocks. In order to increase the resolution of the fabric of architecture, its resili-ence and ability to migrate through multiple fabrics of matter, modes of construction and organizational pat-terns, it was necessary to descend to finer grains of generative building blocks, where the design search is performed within constellations of billions of parti-cles. Data architecture. Voxelized storm encapsulating N dimensions. Dustism. 30 00 In order to resonate complexity, Biothing needed to open a mutable ground that can absorb and synthesize various agencies acting within complexity of transient ecologies. Its evolution was paralleled with de‐evolution of its building blocks. In order to increase the resolution of the fabric of architecture, its resili-ence and ability to migrate through multiple fabrics of matter, modes of construction and organizational pat-terns, it was necessary to descend to finer grains of generative building blocks, where the design search is performed within constellations of billions of parti-cles. Data architecture. Voxelized storm encapsulating N dimensions. Dustism. 20 00 Open Access Andrasek, Alisa 6 03 06 10.21983/P3.0017.1.06 101 113 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Queerness, Openness 1 A01 Zach Blas Zach Blas 40 00py81415 Duke University 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 The state of queer theory today is somewhere between death and life. Since Teresa de Lauretis coined the term at a conference at the University of California Santa Cruz in 1990, this body of theoretical work, it has been claimed, has quickly peaked—or reached an impasse—within the last 15-20 years. In fact, de Lau-retis gave up on the term only after three years, claim-ing that “queer” had already been taken over by the various mainstream institutions and establishments it was created to resist against. Yet, if queer theory always promises an openness to its future and constantly insists on its inability to be pinned down or limited, what has happened to queer theory, when so many proclaim its usefulness is over or pronounce its outright death. There are many thoughts, suggestions, and disagreements about this: while some suggest queer theory never made good on its promise of openness, others note that queer theo-ry’s very openness and amorphousness fatally diluted it. Perhaps the problem with the “peaking of queer theory,”1 as David Ruffolo calls it, is that queer theory has not been open enough. 30 00 The state of queer theory today is somewhere between death and life. Since Teresa de Lauretis coined the term at a conference at the University of California Santa Cruz in 1990, this body of theoretical work, it has been claimed, has quickly peaked—or reached an impasse—within the last 15-20 years. In fact, de Lau-retis gave up on the term only after three years, claim-ing that “queer” had already been taken over by the various mainstream institutions and establishments it was created to resist against. Yet, if queer theory always promises an openness to its future and constantly insists on its inability to be pinned down or limited, what has happened to queer theory, when so many proclaim its usefulness is over or pronounce its outright death. There are many thoughts, suggestions, and disagreements about this: while some suggest queer theory never made good on its promise of openness, others note that queer theo-ry’s very openness and amorphousness fatally diluted it. Perhaps the problem with the “peaking of queer theory,”1 as David Ruffolo calls it, is that queer theory has not been open enough. 20 00 Open Access Blas, Zach 7 03 06 10.21983/P3.0017.1.07 115 129 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Non-Oedipal Networks and the Inorganic Unconscious 1 A01 Melanie Doherty Melanie Doherty 01 eng 03 00 er being mysteriously invited to this confer-ence out of the blue last fall and despite my reserva-tions and anxieties, I am here with a mixture of trepidation and curiosity. I was called out of nowhere, like Josef K. called to the castle. I have wondered many times how I ended up on the radar of the indi-viduals involved, and Reza Negarestani’s radar in par-ticular. I will not pretend to understand the engine behind this not entirely unpleasant experience of par-anoia that I’ve been feeling for the past few months as I read and reread Cyclonopedia. As a good hysteri-cized academic who still falls victim to the Discourse of the University, one who uses excessive Post-It© notes and checks footnotes, I read the text initially as a traditional book, but then I began to search beyond the original text on website after website after website, following the clues left initially in Kristen Alvanson’s journal. As I began burrowing through the archives, mole-like, I started to suspect a ludic collective throb-bing behind every cold discussion on Hyperstition,2every blog post and journal article, every conference announcement and facebook page, and perhaps lingering behind every page of the book as well. I began to see connections to the text everywhere online: trisons and weaponized rats, 9s and 11s, solar capitalism, Tel-lurian lubricant, xenopoetics! I giggled aloud with a tinge of hysteria when I saw that the date of the con-ference was indeed March 11—the same date as the first page of the Cyclonopedia manuscript itself! What grand and terrifying organizing skills were these?3What spell had been cast around me to make my hold on reality feel so tenuous? My Oedipa complex reached fever pitch as I read articles in Collapse, the history of the CCRU, Nick Land’s The Thirst for Anni-hilation, and tracked the unfolding debates within Speculative Realism. Terror fractals radiated out of unexpected civilian spaces. Plotholes unfurling vulvi-cally inside plotholes. And, finally, I suspected that I had plunged to a new depth in the molten magma core of my insanity when I woke up last Saturday morning to see this lead news story on the web: “Fox News Ex-clusive : NASA Scientist Claims Evidence of Alien Life on Meteorite!” (Because of the contingency of my current geographic location in Macon, GA, and the wonders of Web 2.0, FOX news often pops up first on my browser. Not by choice.) 30 00 er being mysteriously invited to this confer-ence out of the blue last fall and despite my reserva-tions and anxieties, I am here with a mixture of trepidation and curiosity. I was called out of nowhere, like Josef K. called to the castle. I have wondered many times how I ended up on the radar of the indi-viduals involved, and Reza Negarestani’s radar in par-ticular. I will not pretend to understand the engine behind this not entirely unpleasant experience of par-anoia that I’ve been feeling for the past few months as I read and reread Cyclonopedia. As a good hysteri-cized academic who still falls victim to the Discourse of the University, one who uses excessive Post-It© notes and checks footnotes, I read the text initially as a traditional book, but then I began to search beyond the original text on website after website after website, following the clues left initially in Kristen Alvanson’s journal. As I began burrowing through the archives, mole-like, I started to suspect a ludic collective throb-bing behind every cold discussion on Hyperstition,2every blog post and journal article, every conference announcement and facebook page, and perhaps lingering behind every page of the book as well. I began to see connections to the text everywhere online: trisons and weaponized rats, 9s and 11s, solar capitalism, Tel-lurian lubricant, xenopoetics! I giggled aloud with a tinge of hysteria when I saw that the date of the con-ference was indeed March 11—the same date as the first page of the Cyclonopedia manuscript itself! What grand and terrifying organizing skills were these?3What spell had been cast around me to make my hold on reality feel so tenuous? My Oedipa complex reached fever pitch as I read articles in Collapse, the history of the CCRU, Nick Land’s The Thirst for Anni-hilation, and tracked the unfolding debates within Speculative Realism. Terror fractals radiated out of unexpected civilian spaces. Plotholes unfurling vulvi-cally inside plotholes. And, finally, I suspected that I had plunged to a new depth in the molten magma core of my insanity when I woke up last Saturday morning to see this lead news story on the web: “Fox News Ex-clusive : NASA Scientist Claims Evidence of Alien Life on Meteorite!” (Because of the contingency of my current geographic location in Macon, GA, and the wonders of Web 2.0, FOX news often pops up first on my browser. Not by choice.) 20 00 Open Access Doherty, Melanie 8 03 06 10.21983/P3.0017.1.08 131 146 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Symptomatic Horror Lovecraft's "The Colour out of Space" 1 A01 Anthony Sciscione Anthony Sciscione 01 eng 03 00 Symptomatic horror describes works that attempt to encounter the radically non-human without recourse to ontological presence and positive conceptualiza-tion, instead channeling the incompatible agency through its effects on the landscape and representing it in the text primarily with reference to the discursive and hermeneutic gaps it occasions. In H.P. Lovecraft’s “The Colour Out of Space,” a classic work of this sort, a constitutionally-indeterminate extraterrestrial agency deposited by a meteorite infiltrates a local bio-physical milieu and reengineers it in accordance with its alien molecular agenda. At the same time, the agency occupies a liminal dimension with regard to phenomenal (extensive) space by nesting in the inter-stice between object and quality and also suggesting itself just beyond the borders of perception by sounds sensed only at “moments where consciousness [seems] to half slip away.” The habits of “stealthy listening” and obsessive nocturnal watching the Gard-ners develop thus increase its phenomenal availabil-ity, making paranoia a ‘schizotrategic’ mode of drawing victims toward it at “the outer limits of de-mon and system” where, to borrow from Deleuze-Guattari, “the interior forces of earth [and] the exterior forces of chaos...clasp and are wed in a battle whose only criterion and stakes is the earth.” The “xeno-agent” or radical outsider never appears as a discrete entity or individuated substance beyond vague indica-tions of motion and fog, but is revealed only nebulous-ly on the ground (the superficial or visible outside) through symptoms of transmutation and madness. In cosmic horror fiction, radical exteriority tends to re-flect some abyss in cognitive apprehension, a chasm or disjuncture between person and world widened by our profound vulnerability in an aleatory, unfavorable cosmos. The shadow of what we don’t know becomes an alterior horror that knows all, that stares back through mist with myriad eyes or takes advantage of solidity’s dependence on void to wriggle out the eye-holes of anthropocentrism. In this paper I will explore symptomatic horror in Lovecraft’s tale through Negar-estani’s “( )hole-complex,” understood as a “machine” by which the xeno-agent as “avatar of absolute exteri-ority” infiltrates the interior of a system and opens it up to the outside (the unhuman) via derangement and disintegration, making what once thrived a dusty sig-nature of human impotence in a world that, the more it opens up to us, the more horrifyingly weird it be-comes. 30 00 Symptomatic horror describes works that attempt to encounter the radically non-human without recourse to ontological presence and positive conceptualiza-tion, instead channeling the incompatible agency through its effects on the landscape and representing it in the text primarily with reference to the discursive and hermeneutic gaps it occasions. In H.P. Lovecraft’s “The Colour Out of Space,” a classic work of this sort, a constitutionally-indeterminate extraterrestrial agency deposited by a meteorite infiltrates a local bio-physical milieu and reengineers it in accordance with its alien molecular agenda. At the same time, the agency occupies a liminal dimension with regard to phenomenal (extensive) space by nesting in the inter-stice between object and quality and also suggesting itself just beyond the borders of perception by sounds sensed only at “moments where consciousness [seems] to half slip away.” The habits of “stealthy listening” and obsessive nocturnal watching the Gard-ners develop thus increase its phenomenal availabil-ity, making paranoia a ‘schizotrategic’ mode of drawing victims toward it at “the outer limits of de-mon and system” where, to borrow from Deleuze-Guattari, “the interior forces of earth [and] the exterior forces of chaos...clasp and are wed in a battle whose only criterion and stakes is the earth.” The “xeno-agent” or radical outsider never appears as a discrete entity or individuated substance beyond vague indica-tions of motion and fog, but is revealed only nebulous-ly on the ground (the superficial or visible outside) through symptoms of transmutation and madness. In cosmic horror fiction, radical exteriority tends to re-flect some abyss in cognitive apprehension, a chasm or disjuncture between person and world widened by our profound vulnerability in an aleatory, unfavorable cosmos. The shadow of what we don’t know becomes an alterior horror that knows all, that stares back through mist with myriad eyes or takes advantage of solidity’s dependence on void to wriggle out the eye-holes of anthropocentrism. In this paper I will explore symptomatic horror in Lovecraft’s tale through Negar-estani’s “( )hole-complex,” understood as a “machine” by which the xeno-agent as “avatar of absolute exteri-ority” infiltrates the interior of a system and opens it up to the outside (the unhuman) via derangement and disintegration, making what once thrived a dusty sig-nature of human impotence in a world that, the more it opens up to us, the more horrifyingly weird it be-comes. 20 00 Open Access Sciscione, Anthony 9 03 06 10.21983/P3.0017.1.09 147 157 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cyclonopedia as Novel (A Meditation on Complicity as Inauthenticity) 1 A01 Kate Marshall Kate Marshall 40 00mkhxb43 University of Notre Dame 01 eng 03 00 The found manuscript comprising one Cyclono-pedia—that is, the “thick piece of writing” that Kristen Alvanson exhumes from under the bed in her Istanbul hotel room bearing the handwritten name of Reza Ne-garestani—has already begun to deteriorate.1 Our hero-ine notes that “everyone in this manuscript seems to disappear without a trace” as she reads of persons who are “characterized by their exit-level.”2 By this description, the closest thing to a character in her somnambulist’s treasure is Dr. Hamid Parsani, who has already departed when the manuscript begins. Parsani is constructed through an assemblage of anonymous remembrances, fragmented writings, and obscure commentary. His “newly discovered notes” are the cause of the “tumultuous discussion” and “fe-verish excitement” that will form the bulk of the text.3At its most banal level, the manuscript Cyclonopediais a posthumous collaboration between Parsani and the distributed anonymous author-collective Hypersti-tion, is narrated by or addressed to the fictional quan-tity Reza Negarestani, and is edited, introduced, annotated and ruthlessly deformed by Kristen Alvan-son. 30 00 The found manuscript comprising one Cyclono-pedia—that is, the “thick piece of writing” that Kristen Alvanson exhumes from under the bed in her Istanbul hotel room bearing the handwritten name of Reza Ne-garestani—has already begun to deteriorate.1 Our hero-ine notes that “everyone in this manuscript seems to disappear without a trace” as she reads of persons who are “characterized by their exit-level.”2 By this description, the closest thing to a character in her somnambulist’s treasure is Dr. Hamid Parsani, who has already departed when the manuscript begins. Parsani is constructed through an assemblage of anonymous remembrances, fragmented writings, and obscure commentary. His “newly discovered notes” are the cause of the “tumultuous discussion” and “fe-verish excitement” that will form the bulk of the text.3At its most banal level, the manuscript Cyclonopediais a posthumous collaboration between Parsani and the distributed anonymous author-collective Hypersti-tion, is narrated by or addressed to the fictional quan-tity Reza Negarestani, and is edited, introduced, annotated and ruthlessly deformed by Kristen Alvan-son. 20 00 Open Access Marshall, Kate 10 03 06 10.21983/P3.0017.1.10 159 172 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What is a Hermeneutic Light? 1 A01 Alexander R. Galloway Alexander R. Galloway 40 0190ak572 New York University 01 eng 03 00 Of the many unresolved debates surrounding the work of Martin Heidegger, one often returns to an elemental question: is Heideggerian phenomenology ultimately a question of hermeneutics and interpretation, or is it ultimately a question of immanence and truth? Is Dasein forever questing after a Being that withdraws, or does it somehow achieve a primordial communion with the truth of Being? Hermeneutics has been a dominant methodology for the tradition of theory and critique dating to the 1960s. Hence it is not surprising that Heidegger, who was being rediscovered and rethought during that pe-riod, would often be framed in terms of hermeneutics. To be sure, the critical tradition handed down from poststructuralism leaves little room for modes of im-manence and immediacy, modes that were marginal-ized as essentialist or otherwise unpleasant (often for good reason). Thus it would be easy to assimilate a figure like Heidegger, with his complicated withdraw-ings of Being, into the tradition of hermeneutics. For where else would he fit? And one will admit that Heidegger is typically categorized within this tradi-tion. But is it not also possible to show that Heidegger is a philosopher of immanence? That he speaks as much to illumination as to withdrawal? That he speak as much to the intuitive and proximate as to the de-tached and distanced? 30 00 Of the many unresolved debates surrounding the work of Martin Heidegger, one often returns to an elemental question: is Heideggerian phenomenology ultimately a question of hermeneutics and interpretation, or is it ultimately a question of immanence and truth? Is Dasein forever questing after a Being that withdraws, or does it somehow achieve a primordial communion with the truth of Being? Hermeneutics has been a dominant methodology for the tradition of theory and critique dating to the 1960s. Hence it is not surprising that Heidegger, who was being rediscovered and rethought during that pe-riod, would often be framed in terms of hermeneutics. To be sure, the critical tradition handed down from poststructuralism leaves little room for modes of im-manence and immediacy, modes that were marginal-ized as essentialist or otherwise unpleasant (often for good reason). Thus it would be easy to assimilate a figure like Heidegger, with his complicated withdraw-ings of Being, into the tradition of hermeneutics. For where else would he fit? And one will admit that Heidegger is typically categorized within this tradi-tion. But is it not also possible to show that Heidegger is a philosopher of immanence? That he speaks as much to illumination as to withdrawal? That he speak as much to the intuitive and proximate as to the de-tached and distanced? 20 00 Open Access Galloway, Alexander R. 11 03 06 10.21983/P3.0017.1.11 173 180 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Black Infinity; or, Oil Discovers Humans 1 A01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 03 00 In 1964, the horror and fantasy author Fritz Leiber published a short story entitled “Black Gondolier,” which appeared in the Arkham House anthology Over the Edge, and was subsequently reprinted in the Ace Double volume Night Monsters. In this story, an un-named narrator tells of the mysterious disappearance of his friend Daloway, a recluse and autodidact living nearby oil fields in southern California. Daloway, it seems, began to develop a bizarre and unnatural fascination with oil—not just as a natural resource, and not just as something of geopolitical value, but with oil in itself as an ancient and enigmatic manifestation of the hidden world. Over time Daloway’s conversations with the narrator begin to take on the form of mystical visions, described by Daloway as a kind of gothic, fu-nereal ooze:. . . that black and nefarious essence of all life that had ever been, constituting in fact a great deep-digged black graveyard of the ul-timate eldritch past with blackest ghosts, oil had waited for hundreds of millions of years, dreaming its black dreams, sluggishly puls-ing beneath Earth’s stony skin, quivering in lightless pools roofed with marsh gas and in top-filled rocky tanks and coursing through a myriad channels . . . 30 00 In 1964, the horror and fantasy author Fritz Leiber published a short story entitled “Black Gondolier,” which appeared in the Arkham House anthology Over the Edge, and was subsequently reprinted in the Ace Double volume Night Monsters. In this story, an un-named narrator tells of the mysterious disappearance of his friend Daloway, a recluse and autodidact living nearby oil fields in southern California. Daloway, it seems, began to develop a bizarre and unnatural fascination with oil—not just as a natural resource, and not just as something of geopolitical value, but with oil in itself as an ancient and enigmatic manifestation of the hidden world. Over time Daloway’s conversations with the narrator begin to take on the form of mystical visions, described by Daloway as a kind of gothic, fu-nereal ooze:. . . that black and nefarious essence of all life that had ever been, constituting in fact a great deep-digged black graveyard of the ul-timate eldritch past with blackest ghosts, oil had waited for hundreds of millions of years, dreaming its black dreams, sluggishly puls-ing beneath Earth’s stony skin, quivering in lightless pools roofed with marsh gas and in top-filled rocky tanks and coursing through a myriad channels . . . 20 00 Open Access Thacker, Eugene 12 03 06 10.21983/P3.0017.1.12 181 191 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Gourmandized in the Abattoir of Openness 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 Cyclonopedia is a book that opens Earth to the divini-ty of reality. The intoxicating effect of its theory-fiction terror is to defuse the double, mutual hostage-taking of philosophy and religion, their shared aporet-ic stand-off according to which reality remains the occluded object of fiction and divinity the eclipsed object of theory. Here theory-fiction is not a cool new hybrid capable of synthesizing and rescripting their domains towards an iterable new science or disci-pline. It is not about unifying and resolving their dou-ble truth. Instead the book is a trisonic betrayal that is treacherously against both via treason of each to the other. Cyclonopedia thus takes place in a new time that it instantiates and narrates: Incognitum Hactenus, or anonymous-until-Now, “a double-dealing mode of time connecting abyssal time scales to our chronologi-cal time, thus exposing us to the horror of times be-yond.” Anonymous-until-Now is the time of Cyclonopedic writing, the date of this symposium, an evental logic that deals with local and cosmic time as it does with fiction and theory. In this time, “things leak into each other according to a logic that does not belong to us and cannot be correlated to our chrono-logical time.”Chronos leaks into theory (the vision of aiôn), aiôn leaks into fiction (the narration of chronos). Inverting the messianic now wherein time is kairically suspended above chronicity as “the time we need to make time end: the time that is left us [il tem-po che ci resta],”Cyclonopedia chronically inters kairos into a time we no longer need to make time begin: the time that never was ours. Now that all life is over, every moment is opportune, the time of human gods and divine demons, a present stretching far be-yond the limits of past and future. In place of the ex-pectation of resurrection the book offers a funerary feast: “God turns himself into a good meal for the hu-man, the earth and the outside.” In place of Arma-geddon it offers the terrestrial playground of White War, the abode of unbounded, as opposed to final, conflict, “at once the white of impenetrable fog and the color of peace.” Incognitum Hactenus is a revolu-tionary enthymeme or argument-without-assumption, applicable in all spheres, that stabs at the heart of the mutual exclusiveness of plans and peace, the wanting-to-have-it-both-ways of human worry whose global monument is the Middle East Peace Plan. 30 00 Cyclonopedia is a book that opens Earth to the divini-ty of reality. The intoxicating effect of its theory-fiction terror is to defuse the double, mutual hostage-taking of philosophy and religion, their shared aporet-ic stand-off according to which reality remains the occluded object of fiction and divinity the eclipsed object of theory. Here theory-fiction is not a cool new hybrid capable of synthesizing and rescripting their domains towards an iterable new science or disci-pline. It is not about unifying and resolving their dou-ble truth. Instead the book is a trisonic betrayal that is treacherously against both via treason of each to the other. Cyclonopedia thus takes place in a new time that it instantiates and narrates: Incognitum Hactenus, or anonymous-until-Now, “a double-dealing mode of time connecting abyssal time scales to our chronologi-cal time, thus exposing us to the horror of times be-yond.” Anonymous-until-Now is the time of Cyclonopedic writing, the date of this symposium, an evental logic that deals with local and cosmic time as it does with fiction and theory. In this time, “things leak into each other according to a logic that does not belong to us and cannot be correlated to our chrono-logical time.”Chronos leaks into theory (the vision of aiôn), aiôn leaks into fiction (the narration of chronos). Inverting the messianic now wherein time is kairically suspended above chronicity as “the time we need to make time end: the time that is left us [il tem-po che ci resta],”Cyclonopedia chronically inters kairos into a time we no longer need to make time begin: the time that never was ours. Now that all life is over, every moment is opportune, the time of human gods and divine demons, a present stretching far be-yond the limits of past and future. In place of the ex-pectation of resurrection the book offers a funerary feast: “God turns himself into a good meal for the hu-man, the earth and the outside.” In place of Arma-geddon it offers the terrestrial playground of White War, the abode of unbounded, as opposed to final, conflict, “at once the white of impenetrable fog and the color of peace.” Incognitum Hactenus is a revolu-tionary enthymeme or argument-without-assumption, applicable in all spheres, that stabs at the heart of the mutual exclusiveness of plans and peace, the wanting-to-have-it-both-ways of human worry whose global monument is the Middle East Peace Plan. 20 00 Open Access Masciandaro, Nicola 13 03 06 10.21983/P3.0017.1.13 193 211 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Phileas Fogg, or the Cyclonic Passepartout on the Alchemical Elements of War 1 A01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 Chemistry (alchemy) begins with decay. Stripped be-fore the mess-agents of decay, one can always ask, “isn’t thought a gaseous rot?” . . . the question rever-berates cancerously through the fetid air. Resistance to decay is both futile and fertile. But then, what is fertil-ity in the sense of resistance toward decay? There is a yawning horror in this question. 30 00 Chemistry (alchemy) begins with decay. Stripped be-fore the mess-agents of decay, one can always ask, “isn’t thought a gaseous rot?” . . . the question rever-berates cancerously through the fetid air. Resistance to decay is both futile and fertile. But then, what is fertil-ity in the sense of resistance toward decay? There is a yawning horror in this question. 20 00 Open Access Mellamphy, Dan Mellamphy, Nandita Biswas 14 03 06 10.21983/P3.0017.1.14 213 223 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Untimely (and Unshapely) Decomposition of Onto-Epistemological Solidity Negarestani's Cyclonopedia as Metaphysics 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02w2y2t16 Leuphana University of Lüneburg 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 This paper asserts that Negarestani’s Cyclonopedia is at its core a metaphysical text, a claim which I then force into complicity with a critique and reworking of the philosophical category of becoming. While not often discussed explicitly, becoming appears in Ne-garestani’s work as different mutations—as the mathe-sis of decay, as the cosmic liquidity of blobjectivity, of trisonomy, and of the dissected spiral. Becoming, whether organically or inorganically vitalist (DeleuzoGuattarian or otherwise), Bergsonally imagistic, or experientially Whiteheadian or Jamesian, has historically remained too wedded to the power of reason. Ratiocination, as a power, is one too grounded, as it purports to sufficiently probe the meandering flows of becoming without recognizing itself as a re-sult of other powers, processes and so on. This stream-ing conundrum reaches hyper-activity in Nick Land’s work. While Land rightly molds thought into a pro-ductive process, Land’s negation of representation and total destratification of materiality, as Ray Brassier has recently noted, raises the problem of individuation in a cosmos of only schizoid intensification. Negaresta-ni’s work, while indebted to Land, contrarily locates such intensification in an ever exteriorized absolute, in the strands of materiality as a process placing Ne-garestani’s work between a mad black Deleuzianism and a mad black Schellingianism. In order to dissect the metaphysical core of Cyclonopedia, this paper will engage the conceptual couplets ground/unground, in-terior/exterior (spatial and temporal) and a blackened becoming via the pivotal concept of the twist. 30 00 This paper asserts that Negarestani’s Cyclonopedia is at its core a metaphysical text, a claim which I then force into complicity with a critique and reworking of the philosophical category of becoming. While not often discussed explicitly, becoming appears in Ne-garestani’s work as different mutations—as the mathe-sis of decay, as the cosmic liquidity of blobjectivity, of trisonomy, and of the dissected spiral. Becoming, whether organically or inorganically vitalist (DeleuzoGuattarian or otherwise), Bergsonally imagistic, or experientially Whiteheadian or Jamesian, has historically remained too wedded to the power of reason. Ratiocination, as a power, is one too grounded, as it purports to sufficiently probe the meandering flows of becoming without recognizing itself as a re-sult of other powers, processes and so on. This stream-ing conundrum reaches hyper-activity in Nick Land’s work. While Land rightly molds thought into a pro-ductive process, Land’s negation of representation and total destratification of materiality, as Ray Brassier has recently noted, raises the problem of individuation in a cosmos of only schizoid intensification. Negaresta-ni’s work, while indebted to Land, contrarily locates such intensification in an ever exteriorized absolute, in the strands of materiality as a process placing Ne-garestani’s work between a mad black Deleuzianism and a mad black Schellingianism. In order to dissect the metaphysical core of Cyclonopedia, this paper will engage the conceptual couplets ground/unground, in-terior/exterior (spatial and temporal) and a blackened becoming via the pivotal concept of the twist. 20 00 Open Access Woodard, Ben 15 03 06 10.21983/P3.0017.1.15 225 253 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 ...Or Speaking with the Alien, a Refrain... 1 A01 Edward Keller Edward Keller 40 02cmz8k74 Parsons School of Design 01 eng 03 00 “On a global scale, the Solar Rattle is the ultimate mu-sicality: It registers any message-oriented or signaling datastream as a parasitic sub-noise ambient within itself. The Solar Rattle rewrites every datastream as an Unsign, even beyond any pattern of disinformation . . . The highly stratified structure of Iono-sphere/Magnetosphere provides the Earth with secret warmachines older than the Sun itself, with which it traps solar winds [high energy particles of the sun] and turns them into peculiarly planetary sonic enti-ties. Ionospheric strata have been customized and ar-ranged in such a way that they reinforce the earth’s surface with demonic currents and forces by capturing solar winds, bringing the earth’s surface and its bio-sphere into an immanence with the Sun and the burn-ing core of the Earth through a sonic axis” 30 00 “On a global scale, the Solar Rattle is the ultimate mu-sicality: It registers any message-oriented or signaling datastream as a parasitic sub-noise ambient within itself. The Solar Rattle rewrites every datastream as an Unsign, even beyond any pattern of disinformation . . . The highly stratified structure of Iono-sphere/Magnetosphere provides the Earth with secret warmachines older than the Sun itself, with which it traps solar winds [high energy particles of the sun] and turns them into peculiarly planetary sonic enti-ties. Ionospheric strata have been customized and ar-ranged in such a way that they reinforce the earth’s surface with demonic currents and forces by capturing solar winds, bringing the earth’s surface and its bio-sphere into an immanence with the Sun and the burn-ing core of the Earth through a sonic axis” 20 00 Open Access Keller, Ed 16 03 06 10.21983/P3.0017.1.16 255 277 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Receipt of Malice 1 A01 Lionel Maunz Lionel Maunz 01 eng 20 00 Open Access Maunz, Lionel 17 03 06 10.21983/P3.0017.1.17 279 285 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Symposium Photographs 1 A01 Öykü Tekten Öykü Tekten 01 eng 20 00 Open Access Tekten, Öykü 18 03 06 10.21983/P3.0017.1.18 287 297 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Notes on the Figure of the Cyclone 1 A01 Reza Negarestani Reza Negarestani 40 02tvcev59 New School 01 eng 03 00 The ovum of reality is the eternal or the univer-sal. The universal is that in which all partake, but it is eternally irreducible to commonalities and affordances between all particular instances, collections of multi-tudes, and local horizons of thought. It is neither bound in its local expressions, nor is it exhaustible by any collection of multitudes; it is simply free from the necessity of all its particular instances. The universal is a sign free of meaning and significance, the so-called free sign of Peirce that ramifies into its local contexts according to its global contingency, its bot-tomlessness and uninterruptable continuity with it-self. For naturphilosophie, by virtue of its intensionality and self-reflexivity, the universal is identified as the eternal. The eternal—understood semio-logically by Peirce—is a modal plenum, an abyss replete with modalities that can neither be re-duced to the totality of infinite possibilities nor de-termined in the first or the last instance by discrete actualities (marks of difference, cosmological hori-zons, local conditions of life and thought, etc.). The modal plenum is represented as the Blank Sheet of Assertion, a proto-topological blank sheet whose modes of relations to itself are unbound and on which semio-logical processes can be geometrically in-scribed. Just as on the Blank Sheet of Assertion each isolated or discrete modality is perpetually intruded upon by unbound modalities of the sheet, within the open expanse of the universal, no particular instance can stave off the eruptions of the eternal or assimilate its modalities within its temporal horizon. 30 00 The ovum of reality is the eternal or the univer-sal. The universal is that in which all partake, but it is eternally irreducible to commonalities and affordances between all particular instances, collections of multi-tudes, and local horizons of thought. It is neither bound in its local expressions, nor is it exhaustible by any collection of multitudes; it is simply free from the necessity of all its particular instances. The universal is a sign free of meaning and significance, the so-called free sign of Peirce that ramifies into its local contexts according to its global contingency, its bot-tomlessness and uninterruptable continuity with it-self. For naturphilosophie, by virtue of its intensionality and self-reflexivity, the universal is identified as the eternal. The eternal—understood semio-logically by Peirce—is a modal plenum, an abyss replete with modalities that can neither be re-duced to the totality of infinite possibilities nor de-termined in the first or the last instance by discrete actualities (marks of difference, cosmological hori-zons, local conditions of life and thought, etc.). The modal plenum is represented as the Blank Sheet of Assertion, a proto-topological blank sheet whose modes of relations to itself are unbound and on which semio-logical processes can be geometrically in-scribed. Just as on the Blank Sheet of Assertion each isolated or discrete modality is perpetually intruded upon by unbound modalities of the sheet, within the open expanse of the universal, no particular instance can stave off the eruptions of the eternal or assimilate its modalities within its temporal horizon. 20 00 Open Access Negarestani, Reza 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/leper-creativity-cyclonopedia-symposium/ Brooklyn, NY 04 01 20121222 Keller, Edward Masciandaro, Nicola Thacker, Eugene 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615600468 20 08 20121222 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/leper-creativity-cyclonopedia-symposium 20 08 20121222 02 25.00 USD WORLD urn:uuid:2bcbf1b6-8c71-406d-9808-55b1a60aedc4 03 01 01 thoth-work-id urn:uuid:b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd 01 thoth-publication-id urn:uuid:2bcbf1b6-8c71-406d-9808-55b1a60aedc4 06 10.21983/P3.0017.1.00 01 internal-reference 0017 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Leper Creativity Cyclonopedia Symposium 1 B01 Edward Keller Edward Keller 40 02cmz8k74 Parsons School of Design 2 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 3 B01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 00 310 03 B2 Cultural Studies+Critical Theory 93 DNL 12 HPCF 10 PHI040000 93 DSA B2 Literary Studies B2 Posthumanism 20 Reza Negarestani; theory-fiction; speculative realism; petropolitics; Cyclonopedia 01 06 02 00 03 00 Essays, articles, artworks, and documents taken from and inspired by the symposium on Reza Negarestani’s Cyclonopedia: Complicity with Anonymous Materials, which took place in March 2011 at The New School. Hailed by novelists, philosophers, artists, cinematographers, and designers, Cyclonopedia is a key work in the emerging domains of speculative realism and theory-fiction. The text has attracted a wide-ranging and interdisciplinary audience, provoking vital debate around the relationship between philosophy, geopolitics, geophysics, and art. At once a work of speculative theology, a political samizdat, and a philosophic grimoire, Cyclonopedia is a Deleuzo-Lovecraftian middle-eastern Odyssey populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, and the corpses of ancient gods. Playing out the book’s own theory of creativity – “a confusion in which no straight line can be traced or drawn between creator and created – original inauthenticity” – this multidimensional collection both faithfully interprets the text and realizes it as a loving, perforated host of fresh heresies. The volume includes an incisive contribution from the author explicating a key figure of the novel: the cyclone. 30 00 Essays, articles, artworks, and documents taken from and inspired by the symposium on Reza Negarestani’s Cyclonopedia: Complicity with Anonymous Materials, which took place in March 2011 at The New School. Hailed by novelists, philosophers, artists, cinematographers, and designers, Cyclonopedia is a key work in the emerging domains of speculative realism and theory-fiction. The text has attracted a wide-ranging and interdisciplinary audience, provoking vital debate around the relationship between philosophy, geopolitics, geophysics, and art. At once a work of speculative theology, a political samizdat, and a philosophic grimoire, Cyclonopedia is a Deleuzo-Lovecraftian middle-eastern Odyssey populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, and the corpses of ancient gods. Playing out the book’s own theory of creativity – “a confusion in which no straight line can be traced or drawn between creator and created – original inauthenticity” – this multidimensional collection both faithfully interprets the text and realizes it as a loving, perforated host of fresh heresies. The volume includes an incisive contribution from the author explicating a key figure of the novel: the cyclone. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0017.1.00_frontcover.png 1 03 06 10.21983/P3.0017.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Edward Keller Edward Keller 40 02cmz8k74 Parsons School of Design 2 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 3 B01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 20 00 Open Access Keller, Edward Masciandaro, Nicola Thacker, Eugene 2 03 06 10.21983/P3.0017.1.02 1 37 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Brief History of Geotrauma 1 A01 Robin Mackay Robin Mackay 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 Freud, Ferenczi, Lovecraft, Bodkin, Challenger, Cane, Barker, Land, Parsani. Unilkely characters. Crackpots, every one of them. Frauds, fakes, pseudoscientists at best. Indisciplined thinkers breeding speculative mongrels. Hysteria, neuronics, stratoanalysis, schizoanaly-sis, geotraumatics. Through misinterpretations, imaginary convergences, forced couplings and other shady maneouvres lacking in the principled behaviour expected of a scholar, they claimed to have invented a new discipline referred to by various names at various times; but no-one clearly understood what the goals, methods or principles of this new discipline were. 30 00 Freud, Ferenczi, Lovecraft, Bodkin, Challenger, Cane, Barker, Land, Parsani. Unilkely characters. Crackpots, every one of them. Frauds, fakes, pseudoscientists at best. Indisciplined thinkers breeding speculative mongrels. Hysteria, neuronics, stratoanalysis, schizoanaly-sis, geotraumatics. Through misinterpretations, imaginary convergences, forced couplings and other shady maneouvres lacking in the principled behaviour expected of a scholar, they claimed to have invented a new discipline referred to by various names at various times; but no-one clearly understood what the goals, methods or principles of this new discipline were. 20 00 Open Access Mackay, Robin 3 03 06 10.21983/P3.0017.1.03 39 43 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 An Inhuman Fiction of Forces 1 A01 21 000000027307943X McKenzie Wark McKenzie Wark 40 02tvcev59 New School 01 eng 03 00 ‘The Domain of Arnheim’ is a strange story by Edgar Allan Poe, in which a young man who inherits an in-credible fortune decides to spend it, not on buying art but on fashioning a landscape. Poe also imagines the Earth seen from space as itself a complete work of art. He anticipates the real ends of modernism. Is not the totality of all our endeavors, all our so-cial relations, tending towards the making over of the planet as a total work of art? This theme of a secular, aesthetic destiny has its roots in Romanticism, but lately it has lost its more optimistic cast. What if the work of art into which the word turns excluded the presence of its own makers? What if its creation de-stroys the biological possibility of human life on the planet? 30 00 ‘The Domain of Arnheim’ is a strange story by Edgar Allan Poe, in which a young man who inherits an in-credible fortune decides to spend it, not on buying art but on fashioning a landscape. Poe also imagines the Earth seen from space as itself a complete work of art. He anticipates the real ends of modernism. Is not the totality of all our endeavors, all our so-cial relations, tending towards the making over of the planet as a total work of art? This theme of a secular, aesthetic destiny has its roots in Romanticism, but lately it has lost its more optimistic cast. What if the work of art into which the word turns excluded the presence of its own makers? What if its creation de-stroys the biological possibility of human life on the planet? 20 00 Open Access Wark, McKenzie 4 03 06 10.21983/P3.0017.1.04 45 57 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Root the Earth On Peak Oil Apophenia 1 A01 Benjamin H. Bratton Benjamin H. Bratton 40 0168r3w48 University of California, San Diego 40 04g3mbv81 European Graduate School 01 eng 03 00 After the end of the world, what is the polity of the inhuman? What is its government of energy? It is programmatic reconfigurability: a general economy of plasticity. It extends around the anthropomorphic physiognomy of architecture and toward an acephalic geography emerging in the image of strong computa-tional equivalence. The prototype of an indeterminate future government is positioned by an encounter be-tween that equivalence and the numinous decay of ecological entropy and negentropy: oil as body of the world, and the “worlding” of the body of oil. Peak oil, and after. Reza Negarestani’s own program in his theoreti-cal-novel, Cyclonopedia, is both geography and geophilosophy, yes, but also geopolitics, in the specif-ic sense of a Jamesonian geopolitical aesthetic.1 I wish to instrumentalize the text and to de-metaphorize its obsessions, and to link these to those of another short text of my own: “The language of utopia has shifted. The cybernetics of scenario planning has given way to the apophenia of eschatology. Is geopolitics but a Dark Side of the Rainbow effect? With this shift, information becomes unmanageable, non-linear, associa-tive, arbitrary. Anything is enrolled into the local rhetoric of conspiracy . . .” 30 00 After the end of the world, what is the polity of the inhuman? What is its government of energy? It is programmatic reconfigurability: a general economy of plasticity. It extends around the anthropomorphic physiognomy of architecture and toward an acephalic geography emerging in the image of strong computa-tional equivalence. The prototype of an indeterminate future government is positioned by an encounter be-tween that equivalence and the numinous decay of ecological entropy and negentropy: oil as body of the world, and the “worlding” of the body of oil. Peak oil, and after. Reza Negarestani’s own program in his theoreti-cal-novel, Cyclonopedia, is both geography and geophilosophy, yes, but also geopolitics, in the specif-ic sense of a Jamesonian geopolitical aesthetic.1 I wish to instrumentalize the text and to de-metaphorize its obsessions, and to link these to those of another short text of my own: “The language of utopia has shifted. The cybernetics of scenario planning has given way to the apophenia of eschatology. Is geopolitics but a Dark Side of the Rainbow effect? With this shift, information becomes unmanageable, non-linear, associa-tive, arbitrary. Anything is enrolled into the local rhetoric of conspiracy . . .” 20 00 Open Access Bratton, Benjamin H. 5 03 06 10.21983/P3.0017.1.05 59 99 41 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dustism 1 A01 21 0000000219830421 Alisa Andrasek Alisa Andrasek 40 02jx3x895 University College London 40 04ttjf776 RMIT University 01 eng 03 00 In order to resonate complexity, Biothing needed to open a mutable ground that can absorb and synthesize various agencies acting within complexity of transient ecologies. Its evolution was paralleled with de‐evolution of its building blocks. In order to increase the resolution of the fabric of architecture, its resili-ence and ability to migrate through multiple fabrics of matter, modes of construction and organizational pat-terns, it was necessary to descend to finer grains of generative building blocks, where the design search is performed within constellations of billions of parti-cles. Data architecture. Voxelized storm encapsulating N dimensions. Dustism. 30 00 In order to resonate complexity, Biothing needed to open a mutable ground that can absorb and synthesize various agencies acting within complexity of transient ecologies. Its evolution was paralleled with de‐evolution of its building blocks. In order to increase the resolution of the fabric of architecture, its resili-ence and ability to migrate through multiple fabrics of matter, modes of construction and organizational pat-terns, it was necessary to descend to finer grains of generative building blocks, where the design search is performed within constellations of billions of parti-cles. Data architecture. Voxelized storm encapsulating N dimensions. Dustism. 20 00 Open Access Andrasek, Alisa 6 03 06 10.21983/P3.0017.1.06 101 113 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Queerness, Openness 1 A01 Zach Blas Zach Blas 40 00py81415 Duke University 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 The state of queer theory today is somewhere between death and life. Since Teresa de Lauretis coined the term at a conference at the University of California Santa Cruz in 1990, this body of theoretical work, it has been claimed, has quickly peaked—or reached an impasse—within the last 15-20 years. In fact, de Lau-retis gave up on the term only after three years, claim-ing that “queer” had already been taken over by the various mainstream institutions and establishments it was created to resist against. Yet, if queer theory always promises an openness to its future and constantly insists on its inability to be pinned down or limited, what has happened to queer theory, when so many proclaim its usefulness is over or pronounce its outright death. There are many thoughts, suggestions, and disagreements about this: while some suggest queer theory never made good on its promise of openness, others note that queer theo-ry’s very openness and amorphousness fatally diluted it. Perhaps the problem with the “peaking of queer theory,”1 as David Ruffolo calls it, is that queer theory has not been open enough. 30 00 The state of queer theory today is somewhere between death and life. Since Teresa de Lauretis coined the term at a conference at the University of California Santa Cruz in 1990, this body of theoretical work, it has been claimed, has quickly peaked—or reached an impasse—within the last 15-20 years. In fact, de Lau-retis gave up on the term only after three years, claim-ing that “queer” had already been taken over by the various mainstream institutions and establishments it was created to resist against. Yet, if queer theory always promises an openness to its future and constantly insists on its inability to be pinned down or limited, what has happened to queer theory, when so many proclaim its usefulness is over or pronounce its outright death. There are many thoughts, suggestions, and disagreements about this: while some suggest queer theory never made good on its promise of openness, others note that queer theo-ry’s very openness and amorphousness fatally diluted it. Perhaps the problem with the “peaking of queer theory,”1 as David Ruffolo calls it, is that queer theory has not been open enough. 20 00 Open Access Blas, Zach 7 03 06 10.21983/P3.0017.1.07 115 129 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Non-Oedipal Networks and the Inorganic Unconscious 1 A01 Melanie Doherty Melanie Doherty 01 eng 03 00 er being mysteriously invited to this confer-ence out of the blue last fall and despite my reserva-tions and anxieties, I am here with a mixture of trepidation and curiosity. I was called out of nowhere, like Josef K. called to the castle. I have wondered many times how I ended up on the radar of the indi-viduals involved, and Reza Negarestani’s radar in par-ticular. I will not pretend to understand the engine behind this not entirely unpleasant experience of par-anoia that I’ve been feeling for the past few months as I read and reread Cyclonopedia. As a good hysteri-cized academic who still falls victim to the Discourse of the University, one who uses excessive Post-It© notes and checks footnotes, I read the text initially as a traditional book, but then I began to search beyond the original text on website after website after website, following the clues left initially in Kristen Alvanson’s journal. As I began burrowing through the archives, mole-like, I started to suspect a ludic collective throb-bing behind every cold discussion on Hyperstition,2every blog post and journal article, every conference announcement and facebook page, and perhaps lingering behind every page of the book as well. I began to see connections to the text everywhere online: trisons and weaponized rats, 9s and 11s, solar capitalism, Tel-lurian lubricant, xenopoetics! I giggled aloud with a tinge of hysteria when I saw that the date of the con-ference was indeed March 11—the same date as the first page of the Cyclonopedia manuscript itself! What grand and terrifying organizing skills were these?3What spell had been cast around me to make my hold on reality feel so tenuous? My Oedipa complex reached fever pitch as I read articles in Collapse, the history of the CCRU, Nick Land’s The Thirst for Anni-hilation, and tracked the unfolding debates within Speculative Realism. Terror fractals radiated out of unexpected civilian spaces. Plotholes unfurling vulvi-cally inside plotholes. And, finally, I suspected that I had plunged to a new depth in the molten magma core of my insanity when I woke up last Saturday morning to see this lead news story on the web: “Fox News Ex-clusive : NASA Scientist Claims Evidence of Alien Life on Meteorite!” (Because of the contingency of my current geographic location in Macon, GA, and the wonders of Web 2.0, FOX news often pops up first on my browser. Not by choice.) 30 00 er being mysteriously invited to this confer-ence out of the blue last fall and despite my reserva-tions and anxieties, I am here with a mixture of trepidation and curiosity. I was called out of nowhere, like Josef K. called to the castle. I have wondered many times how I ended up on the radar of the indi-viduals involved, and Reza Negarestani’s radar in par-ticular. I will not pretend to understand the engine behind this not entirely unpleasant experience of par-anoia that I’ve been feeling for the past few months as I read and reread Cyclonopedia. As a good hysteri-cized academic who still falls victim to the Discourse of the University, one who uses excessive Post-It© notes and checks footnotes, I read the text initially as a traditional book, but then I began to search beyond the original text on website after website after website, following the clues left initially in Kristen Alvanson’s journal. As I began burrowing through the archives, mole-like, I started to suspect a ludic collective throb-bing behind every cold discussion on Hyperstition,2every blog post and journal article, every conference announcement and facebook page, and perhaps lingering behind every page of the book as well. I began to see connections to the text everywhere online: trisons and weaponized rats, 9s and 11s, solar capitalism, Tel-lurian lubricant, xenopoetics! I giggled aloud with a tinge of hysteria when I saw that the date of the con-ference was indeed March 11—the same date as the first page of the Cyclonopedia manuscript itself! What grand and terrifying organizing skills were these?3What spell had been cast around me to make my hold on reality feel so tenuous? My Oedipa complex reached fever pitch as I read articles in Collapse, the history of the CCRU, Nick Land’s The Thirst for Anni-hilation, and tracked the unfolding debates within Speculative Realism. Terror fractals radiated out of unexpected civilian spaces. Plotholes unfurling vulvi-cally inside plotholes. And, finally, I suspected that I had plunged to a new depth in the molten magma core of my insanity when I woke up last Saturday morning to see this lead news story on the web: “Fox News Ex-clusive : NASA Scientist Claims Evidence of Alien Life on Meteorite!” (Because of the contingency of my current geographic location in Macon, GA, and the wonders of Web 2.0, FOX news often pops up first on my browser. Not by choice.) 20 00 Open Access Doherty, Melanie 8 03 06 10.21983/P3.0017.1.08 131 146 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Symptomatic Horror Lovecraft's "The Colour out of Space" 1 A01 Anthony Sciscione Anthony Sciscione 01 eng 03 00 Symptomatic horror describes works that attempt to encounter the radically non-human without recourse to ontological presence and positive conceptualiza-tion, instead channeling the incompatible agency through its effects on the landscape and representing it in the text primarily with reference to the discursive and hermeneutic gaps it occasions. In H.P. Lovecraft’s “The Colour Out of Space,” a classic work of this sort, a constitutionally-indeterminate extraterrestrial agency deposited by a meteorite infiltrates a local bio-physical milieu and reengineers it in accordance with its alien molecular agenda. At the same time, the agency occupies a liminal dimension with regard to phenomenal (extensive) space by nesting in the inter-stice between object and quality and also suggesting itself just beyond the borders of perception by sounds sensed only at “moments where consciousness [seems] to half slip away.” The habits of “stealthy listening” and obsessive nocturnal watching the Gard-ners develop thus increase its phenomenal availabil-ity, making paranoia a ‘schizotrategic’ mode of drawing victims toward it at “the outer limits of de-mon and system” where, to borrow from Deleuze-Guattari, “the interior forces of earth [and] the exterior forces of chaos...clasp and are wed in a battle whose only criterion and stakes is the earth.” The “xeno-agent” or radical outsider never appears as a discrete entity or individuated substance beyond vague indica-tions of motion and fog, but is revealed only nebulous-ly on the ground (the superficial or visible outside) through symptoms of transmutation and madness. In cosmic horror fiction, radical exteriority tends to re-flect some abyss in cognitive apprehension, a chasm or disjuncture between person and world widened by our profound vulnerability in an aleatory, unfavorable cosmos. The shadow of what we don’t know becomes an alterior horror that knows all, that stares back through mist with myriad eyes or takes advantage of solidity’s dependence on void to wriggle out the eye-holes of anthropocentrism. In this paper I will explore symptomatic horror in Lovecraft’s tale through Negar-estani’s “( )hole-complex,” understood as a “machine” by which the xeno-agent as “avatar of absolute exteri-ority” infiltrates the interior of a system and opens it up to the outside (the unhuman) via derangement and disintegration, making what once thrived a dusty sig-nature of human impotence in a world that, the more it opens up to us, the more horrifyingly weird it be-comes. 30 00 Symptomatic horror describes works that attempt to encounter the radically non-human without recourse to ontological presence and positive conceptualiza-tion, instead channeling the incompatible agency through its effects on the landscape and representing it in the text primarily with reference to the discursive and hermeneutic gaps it occasions. In H.P. Lovecraft’s “The Colour Out of Space,” a classic work of this sort, a constitutionally-indeterminate extraterrestrial agency deposited by a meteorite infiltrates a local bio-physical milieu and reengineers it in accordance with its alien molecular agenda. At the same time, the agency occupies a liminal dimension with regard to phenomenal (extensive) space by nesting in the inter-stice between object and quality and also suggesting itself just beyond the borders of perception by sounds sensed only at “moments where consciousness [seems] to half slip away.” The habits of “stealthy listening” and obsessive nocturnal watching the Gard-ners develop thus increase its phenomenal availabil-ity, making paranoia a ‘schizotrategic’ mode of drawing victims toward it at “the outer limits of de-mon and system” where, to borrow from Deleuze-Guattari, “the interior forces of earth [and] the exterior forces of chaos...clasp and are wed in a battle whose only criterion and stakes is the earth.” The “xeno-agent” or radical outsider never appears as a discrete entity or individuated substance beyond vague indica-tions of motion and fog, but is revealed only nebulous-ly on the ground (the superficial or visible outside) through symptoms of transmutation and madness. In cosmic horror fiction, radical exteriority tends to re-flect some abyss in cognitive apprehension, a chasm or disjuncture between person and world widened by our profound vulnerability in an aleatory, unfavorable cosmos. The shadow of what we don’t know becomes an alterior horror that knows all, that stares back through mist with myriad eyes or takes advantage of solidity’s dependence on void to wriggle out the eye-holes of anthropocentrism. In this paper I will explore symptomatic horror in Lovecraft’s tale through Negar-estani’s “( )hole-complex,” understood as a “machine” by which the xeno-agent as “avatar of absolute exteri-ority” infiltrates the interior of a system and opens it up to the outside (the unhuman) via derangement and disintegration, making what once thrived a dusty sig-nature of human impotence in a world that, the more it opens up to us, the more horrifyingly weird it be-comes. 20 00 Open Access Sciscione, Anthony 9 03 06 10.21983/P3.0017.1.09 147 157 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cyclonopedia as Novel (A Meditation on Complicity as Inauthenticity) 1 A01 Kate Marshall Kate Marshall 40 00mkhxb43 University of Notre Dame 01 eng 03 00 The found manuscript comprising one Cyclono-pedia—that is, the “thick piece of writing” that Kristen Alvanson exhumes from under the bed in her Istanbul hotel room bearing the handwritten name of Reza Ne-garestani—has already begun to deteriorate.1 Our hero-ine notes that “everyone in this manuscript seems to disappear without a trace” as she reads of persons who are “characterized by their exit-level.”2 By this description, the closest thing to a character in her somnambulist’s treasure is Dr. Hamid Parsani, who has already departed when the manuscript begins. Parsani is constructed through an assemblage of anonymous remembrances, fragmented writings, and obscure commentary. His “newly discovered notes” are the cause of the “tumultuous discussion” and “fe-verish excitement” that will form the bulk of the text.3At its most banal level, the manuscript Cyclonopediais a posthumous collaboration between Parsani and the distributed anonymous author-collective Hypersti-tion, is narrated by or addressed to the fictional quan-tity Reza Negarestani, and is edited, introduced, annotated and ruthlessly deformed by Kristen Alvan-son. 30 00 The found manuscript comprising one Cyclono-pedia—that is, the “thick piece of writing” that Kristen Alvanson exhumes from under the bed in her Istanbul hotel room bearing the handwritten name of Reza Ne-garestani—has already begun to deteriorate.1 Our hero-ine notes that “everyone in this manuscript seems to disappear without a trace” as she reads of persons who are “characterized by their exit-level.”2 By this description, the closest thing to a character in her somnambulist’s treasure is Dr. Hamid Parsani, who has already departed when the manuscript begins. Parsani is constructed through an assemblage of anonymous remembrances, fragmented writings, and obscure commentary. His “newly discovered notes” are the cause of the “tumultuous discussion” and “fe-verish excitement” that will form the bulk of the text.3At its most banal level, the manuscript Cyclonopediais a posthumous collaboration between Parsani and the distributed anonymous author-collective Hypersti-tion, is narrated by or addressed to the fictional quan-tity Reza Negarestani, and is edited, introduced, annotated and ruthlessly deformed by Kristen Alvan-son. 20 00 Open Access Marshall, Kate 10 03 06 10.21983/P3.0017.1.10 159 172 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What is a Hermeneutic Light? 1 A01 Alexander R. Galloway Alexander R. Galloway 40 0190ak572 New York University 01 eng 03 00 Of the many unresolved debates surrounding the work of Martin Heidegger, one often returns to an elemental question: is Heideggerian phenomenology ultimately a question of hermeneutics and interpretation, or is it ultimately a question of immanence and truth? Is Dasein forever questing after a Being that withdraws, or does it somehow achieve a primordial communion with the truth of Being? Hermeneutics has been a dominant methodology for the tradition of theory and critique dating to the 1960s. Hence it is not surprising that Heidegger, who was being rediscovered and rethought during that pe-riod, would often be framed in terms of hermeneutics. To be sure, the critical tradition handed down from poststructuralism leaves little room for modes of im-manence and immediacy, modes that were marginal-ized as essentialist or otherwise unpleasant (often for good reason). Thus it would be easy to assimilate a figure like Heidegger, with his complicated withdraw-ings of Being, into the tradition of hermeneutics. For where else would he fit? And one will admit that Heidegger is typically categorized within this tradi-tion. But is it not also possible to show that Heidegger is a philosopher of immanence? That he speaks as much to illumination as to withdrawal? That he speak as much to the intuitive and proximate as to the de-tached and distanced? 30 00 Of the many unresolved debates surrounding the work of Martin Heidegger, one often returns to an elemental question: is Heideggerian phenomenology ultimately a question of hermeneutics and interpretation, or is it ultimately a question of immanence and truth? Is Dasein forever questing after a Being that withdraws, or does it somehow achieve a primordial communion with the truth of Being? Hermeneutics has been a dominant methodology for the tradition of theory and critique dating to the 1960s. Hence it is not surprising that Heidegger, who was being rediscovered and rethought during that pe-riod, would often be framed in terms of hermeneutics. To be sure, the critical tradition handed down from poststructuralism leaves little room for modes of im-manence and immediacy, modes that were marginal-ized as essentialist or otherwise unpleasant (often for good reason). Thus it would be easy to assimilate a figure like Heidegger, with his complicated withdraw-ings of Being, into the tradition of hermeneutics. For where else would he fit? And one will admit that Heidegger is typically categorized within this tradi-tion. But is it not also possible to show that Heidegger is a philosopher of immanence? That he speaks as much to illumination as to withdrawal? That he speak as much to the intuitive and proximate as to the de-tached and distanced? 20 00 Open Access Galloway, Alexander R. 11 03 06 10.21983/P3.0017.1.11 173 180 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Black Infinity; or, Oil Discovers Humans 1 A01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 03 00 In 1964, the horror and fantasy author Fritz Leiber published a short story entitled “Black Gondolier,” which appeared in the Arkham House anthology Over the Edge, and was subsequently reprinted in the Ace Double volume Night Monsters. In this story, an un-named narrator tells of the mysterious disappearance of his friend Daloway, a recluse and autodidact living nearby oil fields in southern California. Daloway, it seems, began to develop a bizarre and unnatural fascination with oil—not just as a natural resource, and not just as something of geopolitical value, but with oil in itself as an ancient and enigmatic manifestation of the hidden world. Over time Daloway’s conversations with the narrator begin to take on the form of mystical visions, described by Daloway as a kind of gothic, fu-nereal ooze:. . . that black and nefarious essence of all life that had ever been, constituting in fact a great deep-digged black graveyard of the ul-timate eldritch past with blackest ghosts, oil had waited for hundreds of millions of years, dreaming its black dreams, sluggishly puls-ing beneath Earth’s stony skin, quivering in lightless pools roofed with marsh gas and in top-filled rocky tanks and coursing through a myriad channels . . . 30 00 In 1964, the horror and fantasy author Fritz Leiber published a short story entitled “Black Gondolier,” which appeared in the Arkham House anthology Over the Edge, and was subsequently reprinted in the Ace Double volume Night Monsters. In this story, an un-named narrator tells of the mysterious disappearance of his friend Daloway, a recluse and autodidact living nearby oil fields in southern California. Daloway, it seems, began to develop a bizarre and unnatural fascination with oil—not just as a natural resource, and not just as something of geopolitical value, but with oil in itself as an ancient and enigmatic manifestation of the hidden world. Over time Daloway’s conversations with the narrator begin to take on the form of mystical visions, described by Daloway as a kind of gothic, fu-nereal ooze:. . . that black and nefarious essence of all life that had ever been, constituting in fact a great deep-digged black graveyard of the ul-timate eldritch past with blackest ghosts, oil had waited for hundreds of millions of years, dreaming its black dreams, sluggishly puls-ing beneath Earth’s stony skin, quivering in lightless pools roofed with marsh gas and in top-filled rocky tanks and coursing through a myriad channels . . . 20 00 Open Access Thacker, Eugene 12 03 06 10.21983/P3.0017.1.12 181 191 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Gourmandized in the Abattoir of Openness 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 Cyclonopedia is a book that opens Earth to the divini-ty of reality. The intoxicating effect of its theory-fiction terror is to defuse the double, mutual hostage-taking of philosophy and religion, their shared aporet-ic stand-off according to which reality remains the occluded object of fiction and divinity the eclipsed object of theory. Here theory-fiction is not a cool new hybrid capable of synthesizing and rescripting their domains towards an iterable new science or disci-pline. It is not about unifying and resolving their dou-ble truth. Instead the book is a trisonic betrayal that is treacherously against both via treason of each to the other. Cyclonopedia thus takes place in a new time that it instantiates and narrates: Incognitum Hactenus, or anonymous-until-Now, “a double-dealing mode of time connecting abyssal time scales to our chronologi-cal time, thus exposing us to the horror of times be-yond.” Anonymous-until-Now is the time of Cyclonopedic writing, the date of this symposium, an evental logic that deals with local and cosmic time as it does with fiction and theory. In this time, “things leak into each other according to a logic that does not belong to us and cannot be correlated to our chrono-logical time.”Chronos leaks into theory (the vision of aiôn), aiôn leaks into fiction (the narration of chronos). Inverting the messianic now wherein time is kairically suspended above chronicity as “the time we need to make time end: the time that is left us [il tem-po che ci resta],”Cyclonopedia chronically inters kairos into a time we no longer need to make time begin: the time that never was ours. Now that all life is over, every moment is opportune, the time of human gods and divine demons, a present stretching far be-yond the limits of past and future. In place of the ex-pectation of resurrection the book offers a funerary feast: “God turns himself into a good meal for the hu-man, the earth and the outside.” In place of Arma-geddon it offers the terrestrial playground of White War, the abode of unbounded, as opposed to final, conflict, “at once the white of impenetrable fog and the color of peace.” Incognitum Hactenus is a revolu-tionary enthymeme or argument-without-assumption, applicable in all spheres, that stabs at the heart of the mutual exclusiveness of plans and peace, the wanting-to-have-it-both-ways of human worry whose global monument is the Middle East Peace Plan. 30 00 Cyclonopedia is a book that opens Earth to the divini-ty of reality. The intoxicating effect of its theory-fiction terror is to defuse the double, mutual hostage-taking of philosophy and religion, their shared aporet-ic stand-off according to which reality remains the occluded object of fiction and divinity the eclipsed object of theory. Here theory-fiction is not a cool new hybrid capable of synthesizing and rescripting their domains towards an iterable new science or disci-pline. It is not about unifying and resolving their dou-ble truth. Instead the book is a trisonic betrayal that is treacherously against both via treason of each to the other. Cyclonopedia thus takes place in a new time that it instantiates and narrates: Incognitum Hactenus, or anonymous-until-Now, “a double-dealing mode of time connecting abyssal time scales to our chronologi-cal time, thus exposing us to the horror of times be-yond.” Anonymous-until-Now is the time of Cyclonopedic writing, the date of this symposium, an evental logic that deals with local and cosmic time as it does with fiction and theory. In this time, “things leak into each other according to a logic that does not belong to us and cannot be correlated to our chrono-logical time.”Chronos leaks into theory (the vision of aiôn), aiôn leaks into fiction (the narration of chronos). Inverting the messianic now wherein time is kairically suspended above chronicity as “the time we need to make time end: the time that is left us [il tem-po che ci resta],”Cyclonopedia chronically inters kairos into a time we no longer need to make time begin: the time that never was ours. Now that all life is over, every moment is opportune, the time of human gods and divine demons, a present stretching far be-yond the limits of past and future. In place of the ex-pectation of resurrection the book offers a funerary feast: “God turns himself into a good meal for the hu-man, the earth and the outside.” In place of Arma-geddon it offers the terrestrial playground of White War, the abode of unbounded, as opposed to final, conflict, “at once the white of impenetrable fog and the color of peace.” Incognitum Hactenus is a revolu-tionary enthymeme or argument-without-assumption, applicable in all spheres, that stabs at the heart of the mutual exclusiveness of plans and peace, the wanting-to-have-it-both-ways of human worry whose global monument is the Middle East Peace Plan. 20 00 Open Access Masciandaro, Nicola 13 03 06 10.21983/P3.0017.1.13 193 211 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Phileas Fogg, or the Cyclonic Passepartout on the Alchemical Elements of War 1 A01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 Chemistry (alchemy) begins with decay. Stripped be-fore the mess-agents of decay, one can always ask, “isn’t thought a gaseous rot?” . . . the question rever-berates cancerously through the fetid air. Resistance to decay is both futile and fertile. But then, what is fertil-ity in the sense of resistance toward decay? There is a yawning horror in this question. 30 00 Chemistry (alchemy) begins with decay. Stripped be-fore the mess-agents of decay, one can always ask, “isn’t thought a gaseous rot?” . . . the question rever-berates cancerously through the fetid air. Resistance to decay is both futile and fertile. But then, what is fertil-ity in the sense of resistance toward decay? There is a yawning horror in this question. 20 00 Open Access Mellamphy, Dan Mellamphy, Nandita Biswas 14 03 06 10.21983/P3.0017.1.14 213 223 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Untimely (and Unshapely) Decomposition of Onto-Epistemological Solidity Negarestani's Cyclonopedia as Metaphysics 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02w2y2t16 Leuphana University of Lüneburg 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 This paper asserts that Negarestani’s Cyclonopedia is at its core a metaphysical text, a claim which I then force into complicity with a critique and reworking of the philosophical category of becoming. While not often discussed explicitly, becoming appears in Ne-garestani’s work as different mutations—as the mathe-sis of decay, as the cosmic liquidity of blobjectivity, of trisonomy, and of the dissected spiral. Becoming, whether organically or inorganically vitalist (DeleuzoGuattarian or otherwise), Bergsonally imagistic, or experientially Whiteheadian or Jamesian, has historically remained too wedded to the power of reason. Ratiocination, as a power, is one too grounded, as it purports to sufficiently probe the meandering flows of becoming without recognizing itself as a re-sult of other powers, processes and so on. This stream-ing conundrum reaches hyper-activity in Nick Land’s work. While Land rightly molds thought into a pro-ductive process, Land’s negation of representation and total destratification of materiality, as Ray Brassier has recently noted, raises the problem of individuation in a cosmos of only schizoid intensification. Negaresta-ni’s work, while indebted to Land, contrarily locates such intensification in an ever exteriorized absolute, in the strands of materiality as a process placing Ne-garestani’s work between a mad black Deleuzianism and a mad black Schellingianism. In order to dissect the metaphysical core of Cyclonopedia, this paper will engage the conceptual couplets ground/unground, in-terior/exterior (spatial and temporal) and a blackened becoming via the pivotal concept of the twist. 30 00 This paper asserts that Negarestani’s Cyclonopedia is at its core a metaphysical text, a claim which I then force into complicity with a critique and reworking of the philosophical category of becoming. While not often discussed explicitly, becoming appears in Ne-garestani’s work as different mutations—as the mathe-sis of decay, as the cosmic liquidity of blobjectivity, of trisonomy, and of the dissected spiral. Becoming, whether organically or inorganically vitalist (DeleuzoGuattarian or otherwise), Bergsonally imagistic, or experientially Whiteheadian or Jamesian, has historically remained too wedded to the power of reason. Ratiocination, as a power, is one too grounded, as it purports to sufficiently probe the meandering flows of becoming without recognizing itself as a re-sult of other powers, processes and so on. This stream-ing conundrum reaches hyper-activity in Nick Land’s work. While Land rightly molds thought into a pro-ductive process, Land’s negation of representation and total destratification of materiality, as Ray Brassier has recently noted, raises the problem of individuation in a cosmos of only schizoid intensification. Negaresta-ni’s work, while indebted to Land, contrarily locates such intensification in an ever exteriorized absolute, in the strands of materiality as a process placing Ne-garestani’s work between a mad black Deleuzianism and a mad black Schellingianism. In order to dissect the metaphysical core of Cyclonopedia, this paper will engage the conceptual couplets ground/unground, in-terior/exterior (spatial and temporal) and a blackened becoming via the pivotal concept of the twist. 20 00 Open Access Woodard, Ben 15 03 06 10.21983/P3.0017.1.15 225 253 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 ...Or Speaking with the Alien, a Refrain... 1 A01 Edward Keller Edward Keller 40 02cmz8k74 Parsons School of Design 01 eng 03 00 “On a global scale, the Solar Rattle is the ultimate mu-sicality: It registers any message-oriented or signaling datastream as a parasitic sub-noise ambient within itself. The Solar Rattle rewrites every datastream as an Unsign, even beyond any pattern of disinformation . . . The highly stratified structure of Iono-sphere/Magnetosphere provides the Earth with secret warmachines older than the Sun itself, with which it traps solar winds [high energy particles of the sun] and turns them into peculiarly planetary sonic enti-ties. Ionospheric strata have been customized and ar-ranged in such a way that they reinforce the earth’s surface with demonic currents and forces by capturing solar winds, bringing the earth’s surface and its bio-sphere into an immanence with the Sun and the burn-ing core of the Earth through a sonic axis” 30 00 “On a global scale, the Solar Rattle is the ultimate mu-sicality: It registers any message-oriented or signaling datastream as a parasitic sub-noise ambient within itself. The Solar Rattle rewrites every datastream as an Unsign, even beyond any pattern of disinformation . . . The highly stratified structure of Iono-sphere/Magnetosphere provides the Earth with secret warmachines older than the Sun itself, with which it traps solar winds [high energy particles of the sun] and turns them into peculiarly planetary sonic enti-ties. Ionospheric strata have been customized and ar-ranged in such a way that they reinforce the earth’s surface with demonic currents and forces by capturing solar winds, bringing the earth’s surface and its bio-sphere into an immanence with the Sun and the burn-ing core of the Earth through a sonic axis” 20 00 Open Access Keller, Ed 16 03 06 10.21983/P3.0017.1.16 255 277 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Receipt of Malice 1 A01 Lionel Maunz Lionel Maunz 01 eng 20 00 Open Access Maunz, Lionel 17 03 06 10.21983/P3.0017.1.17 279 285 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Symposium Photographs 1 A01 Öykü Tekten Öykü Tekten 01 eng 20 00 Open Access Tekten, Öykü 18 03 06 10.21983/P3.0017.1.18 287 297 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Notes on the Figure of the Cyclone 1 A01 Reza Negarestani Reza Negarestani 40 02tvcev59 New School 01 eng 03 00 The ovum of reality is the eternal or the univer-sal. The universal is that in which all partake, but it is eternally irreducible to commonalities and affordances between all particular instances, collections of multi-tudes, and local horizons of thought. It is neither bound in its local expressions, nor is it exhaustible by any collection of multitudes; it is simply free from the necessity of all its particular instances. The universal is a sign free of meaning and significance, the so-called free sign of Peirce that ramifies into its local contexts according to its global contingency, its bot-tomlessness and uninterruptable continuity with it-self. For naturphilosophie, by virtue of its intensionality and self-reflexivity, the universal is identified as the eternal. The eternal—understood semio-logically by Peirce—is a modal plenum, an abyss replete with modalities that can neither be re-duced to the totality of infinite possibilities nor de-termined in the first or the last instance by discrete actualities (marks of difference, cosmological hori-zons, local conditions of life and thought, etc.). The modal plenum is represented as the Blank Sheet of Assertion, a proto-topological blank sheet whose modes of relations to itself are unbound and on which semio-logical processes can be geometrically in-scribed. Just as on the Blank Sheet of Assertion each isolated or discrete modality is perpetually intruded upon by unbound modalities of the sheet, within the open expanse of the universal, no particular instance can stave off the eruptions of the eternal or assimilate its modalities within its temporal horizon. 30 00 The ovum of reality is the eternal or the univer-sal. The universal is that in which all partake, but it is eternally irreducible to commonalities and affordances between all particular instances, collections of multi-tudes, and local horizons of thought. It is neither bound in its local expressions, nor is it exhaustible by any collection of multitudes; it is simply free from the necessity of all its particular instances. The universal is a sign free of meaning and significance, the so-called free sign of Peirce that ramifies into its local contexts according to its global contingency, its bot-tomlessness and uninterruptable continuity with it-self. For naturphilosophie, by virtue of its intensionality and self-reflexivity, the universal is identified as the eternal. The eternal—understood semio-logically by Peirce—is a modal plenum, an abyss replete with modalities that can neither be re-duced to the totality of infinite possibilities nor de-termined in the first or the last instance by discrete actualities (marks of difference, cosmological hori-zons, local conditions of life and thought, etc.). The modal plenum is represented as the Blank Sheet of Assertion, a proto-topological blank sheet whose modes of relations to itself are unbound and on which semio-logical processes can be geometrically in-scribed. Just as on the Blank Sheet of Assertion each isolated or discrete modality is perpetually intruded upon by unbound modalities of the sheet, within the open expanse of the universal, no particular instance can stave off the eruptions of the eternal or assimilate its modalities within its temporal horizon. 20 00 Open Access Negarestani, Reza 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/leper-creativity-cyclonopedia-symposium/ Brooklyn, NY 04 01 20121222 Keller, Edward Masciandaro, Nicola Thacker, Eugene 02 WORLD 06 15 9780615600468 03 9780615600468 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76420 20 08 20121222 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25598 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25598/1004497.pdf?sequence=1&isAllowed=y 20 08 20121222 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30112 20 08 20121222 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1r7875c 20 08 20121222 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/396 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6e3f332a-9ec0-41d7-bf39-9d5ac3a65048/download 20 08 20121222 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd/b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd.pdf 20 08 20121222 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693161 29 ZENODO: download the title https://zenodo.org/records/19693161/files/b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd_book.pdf 20 08 20121222 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/leper-creativity-cyclonopedia-symposium/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0017.1.00.pdf 20 08 20121222 01 urn:uuid:537b67e0-68ea-4641-8926-de01f3be24b2 03 01 01 thoth-work-id urn:uuid:1809f10a-d0e3-4481-8f96-cca7f240d656 01 thoth-publication-id urn:uuid:537b67e0-68ea-4641-8926-de01f3be24b2 15 9781685710422 03 9781685710422 06 10.53288/0358.1.00 13 2022939551 01 internal-reference 0358 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Letters on the Autonomy Project 1 A01 21 0000000332797264 Janet Sarbanes Janet Sarbanes 40 024e4df17 California Institute of the Arts 01 eng 00 198 03 12 JPWF 93 JPWG B2 Pedagogies 10 PHI019000 12 HPS B2 New Left Thought 10 POL035000 93 QDTS B2 Philosophy 20 autonomy; art; praxis; politics; pedagogy; Cornelius Castoriadis 01 06 02 00 03 00 In the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Project understands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance. 30 00 In the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Project understands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0358.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/letters-on-the-autonomy-project/ Earth, Milky Way 04 01 20220602 Sarbanes, Janet 02 WORLD 06 15 9781685710439 03 9781685710439 34 06 10.1632/S0030812921000195 34 06 10.1080/1070289X.2021.1970978 34 06 10.1080/00335636709382822 34 06 10.1353/sub.2006.0007 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710425 20 08 20220602 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/letters-on-the-autonomy-project 20 08 20220602 02 23.00 USD WORLD urn:uuid:02a78298-b6a0-424e-a696-93ae0a38bf50 03 01 01 thoth-work-id urn:uuid:1809f10a-d0e3-4481-8f96-cca7f240d656 01 thoth-publication-id urn:uuid:02a78298-b6a0-424e-a696-93ae0a38bf50 15 9781685710439 03 9781685710439 06 10.53288/0358.1.00 13 2022939551 01 internal-reference 0358 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Letters on the Autonomy Project 1 A01 21 0000000332797264 Janet Sarbanes Janet Sarbanes 40 024e4df17 California Institute of the Arts 01 eng 00 198 03 12 JPWF 93 JPWG B2 Pedagogies 10 PHI019000 12 HPS B2 New Left Thought 10 POL035000 93 QDTS B2 Philosophy 20 autonomy; art; praxis; politics; pedagogy; Cornelius Castoriadis 01 06 02 00 03 00 In the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Project understands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance. 30 00 In the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Project understands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0358.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/letters-on-the-autonomy-project/ Earth, Milky Way 04 01 20220602 Sarbanes, Janet 02 WORLD 06 15 9781685710422 03 9781685710422 34 06 10.1632/S0030812921000195 34 06 10.1080/1070289X.2021.1970978 34 06 10.1080/00335636709382822 34 06 10.1353/sub.2006.0007 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/56516 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/56516/0358.1.00.pdf?sequence=1&isAllowed=y 20 08 20220602 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/82535 20 08 20220602 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2mm2113 20 08 20220602 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/705 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/20cba09e-3743-442f-847b-5e6604b3b5cf/download 20 08 20220602 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1809f10a-d0e3-4481-8f96-cca7f240d656 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1809f10a-d0e3-4481-8f96-cca7f240d656/1809f10a-d0e3-4481-8f96-cca7f240d656.pdf 20 08 20220602 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/letters-on-the-autonomy-project/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0358.1.00.pdf 20 08 20220602 01 urn:uuid:c01000cc-6a6b-47f8-b2eb-8033dfde1f24 03 01 01 thoth-work-id urn:uuid:00e012c5-9232-472c-bd8b-8ca4ea6d1275 01 thoth-publication-id urn:uuid:c01000cc-6a6b-47f8-b2eb-8033dfde1f24 15 9781953035417 03 9781953035417 06 10.21983/P3.0322.1.00 13 2021933929 01 internal-reference 0322 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Li Bo Unkempt 1 A01 Kidder Smith Kidder Smith 40 03gh96r95 Bowdoin College 2 B06 Kidder Smith Kidder Smith 40 03gh96r95 Bowdoin College 3 B06 Mike Zhai Mike Zhai 40 00jmfr291 University of Michigan–Ann Arbor 4 A19 Traktung Yeshe Dorje Traktung Yeshe Dorje 5 A19 Maria Dolgenas Maria Dolgenas 01 eng 00 500 03 12 2GDC 93 DCF B2 Fabulations 10 POE009010 93 1QBFC B2 Languages+Translations 93 DSC 93 1QBFCD 20 Chinese literature; Tang poetry; translation; Li Po; Taoism; effulgence; experimental writing 01 06 02 00 03 00 This is Li Bo. You may also know him as Li Po 李白 (701–62), the great poet of Tang China, master of swoop and soar, wanderer, man of wine, so enamored of the moon that he tried to embrace her reflection in the river, fell from his boat and drowned. Favorite of the Emperor—but only for a while, as such energies cannot be long contained at Court.Li Bo Unkempt presents seventy of his verses, a few letters, some rhapsodies and songs. They dance all through Tang high culture, inhabited by planets, hermit women, swashbucklers, grottos, calligraphers and buffoons, Li Bo’s friends, lovers and alter egos. He’s too shy, too quick to make introductions, but this volume allows us to hear the poetry's stories, their temperaments, to glimpse their secret economies of exchange. The book also offers background material, brief essays, a kind of Lonely Planet™ guidebook to this extraordinary realm. This way the strange will become familiar, and only then can we appreciate how truly strange it is.The authors and translators regard these poems as magical acts. What is offered, then, in this volume, are multiple ways to realize that magic. The essays are demonstrations, a spell-book, an extension of this non-ordinary knowing. Things too delicate to be said directly. So the book proceeds by analogy, by juxtaposition, latency, innuendo, jump cuts, dialetheia and flirt. All this a way to understand a deeper claim: that Li Bo is an immortal.And what might that be...? 30 00 This is Li Bo. You may also know him as Li Po 李白 (701–62), the great poet of Tang China, master of swoop and soar, wanderer, man of wine, so enamored of the moon that he tried to embrace her reflection in the river, fell from his boat and drowned. Favorite of the Emperor—but only for a while, as such energies cannot be long contained at Court.Li Bo Unkempt presents seventy of his verses, a few letters, some rhapsodies and songs. They dance all through Tang high culture, inhabited by planets, hermit women, swashbucklers, grottos, calligraphers and buffoons, Li Bo’s friends, lovers and alter egos. He’s too shy, too quick to make introductions, but this volume allows us to hear the poetry's stories, their temperaments, to glimpse their secret economies of exchange. The book also offers background material, brief essays, a kind of Lonely Planet™ guidebook to this extraordinary realm. This way the strange will become familiar, and only then can we appreciate how truly strange it is.The authors and translators regard these poems as magical acts. What is offered, then, in this volume, are multiple ways to realize that magic. The essays are demonstrations, a spell-book, an extension of this non-ordinary knowing. Things too delicate to be said directly. So the book proceeds by analogy, by juxtaposition, latency, innuendo, jump cuts, dialetheia and flirt. All this a way to understand a deeper claim: that Li Bo is an immortal.And what might that be...? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0322.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/li-bo-unkempt/ Earth, Milky Way 04 01 20210330 Michelle Tupko, Mike Zhai 02 WORLD 06 15 9781953035424 03 9781953035424 34 06 10.1093/fs/kni143 34 06 10.1179/073750307790779513 34 06 10.1017/S0041977X00137437 34 06 10.2307/2718364 34 06 10.1179/073750392787773096 34 06 10.1179/tng.1986.1986.4.91 34 06 10.2307/601701 34 06 10.1163/1568532054905124 34 06 10.1179/073776901804774578 34 06 10.2307/25294698 34 06 10.1179/073750390787970800 34 06 10.1017/S0021911818000578 34 06 10.2307/606561 34 06 10.1179/0737503414Z.00000000012 34 06 10.1080/00324728.1960.10405043 34 06 10.2307/2718973 34 06 10.1093/jaarel/66.2.283 34 06 10.1080/02549948.1996.11731290 34 06 10.1179/tng.1986.1986.4.69 34 06 10.1093/earlyj/XXIV.3.375 34 06 10.1179/073750300787769191 34 06 10.1179/tng.1986.1986.4.43 34 06 10.1179/073750392787773041 34 06 10.1179/073750307790779496 34 06 10.1163/1568532982630804 34 06 10.1179/073776984805308285 34 06 10.1179/073750390787970837 34 06 10.1080/07375034.2017.1382435 34 06 10.1163/156853281X00100 34 06 10.1179/073776999805306795 34 06 10.1163/156853283X00090 34 06 10.1111/j.1540-5931.2010.00822.x 34 06 10.1163/156853211X604134 34 06 10.1179/073750392787773050 34 06 10.2307/2941835 34 06 10.3406/oroc.2007.1087 34 06 10.1086/462835 34 06 10.1163/156853254X00092 34 06 10.1179/tng.1987.1987.5.45 34 06 10.1179/tng.1985.1985.3.1 34 06 10.1163/156853290X00065 34 06 10.2307/2719049 34 06 10.2307/2056605 34 06 10.2307/3248883 34 06 10.1179/073750304788913203 34 06 10.1179/mon.2006.54.1.003 34 06 10.5871/bacad/9780197262795.003.0001 34 06 10.18874/jjrs.31.1.2004.141-162 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035418 20 08 20210330 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/li-bo-unkempt-afterword-bytraktungyeshe-dorjetraktung-yeshe-dorjefalse 20 08 20210330 02 29.00 USD WORLD urn:uuid:689af7b8-f987-45af-b9f2-4e6b07ed09c5 03 01 01 thoth-work-id urn:uuid:00e012c5-9232-472c-bd8b-8ca4ea6d1275 01 thoth-publication-id urn:uuid:689af7b8-f987-45af-b9f2-4e6b07ed09c5 15 9781953035424 03 9781953035424 06 10.21983/P3.0322.1.00 13 2021933929 01 internal-reference 0322 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Li Bo Unkempt 1 A01 Kidder Smith Kidder Smith 40 03gh96r95 Bowdoin College 2 B06 Kidder Smith Kidder Smith 40 03gh96r95 Bowdoin College 3 B06 Mike Zhai Mike Zhai 40 00jmfr291 University of Michigan–Ann Arbor 4 A19 Traktung Yeshe Dorje Traktung Yeshe Dorje 5 A19 Maria Dolgenas Maria Dolgenas 01 eng 00 500 03 12 2GDC 93 DCF B2 Fabulations 10 POE009010 93 1QBFC B2 Languages+Translations 93 DSC 93 1QBFCD 20 Chinese literature; Tang poetry; translation; Li Po; Taoism; effulgence; experimental writing 01 06 02 00 03 00 This is Li Bo. You may also know him as Li Po 李白 (701–62), the great poet of Tang China, master of swoop and soar, wanderer, man of wine, so enamored of the moon that he tried to embrace her reflection in the river, fell from his boat and drowned. Favorite of the Emperor—but only for a while, as such energies cannot be long contained at Court.Li Bo Unkempt presents seventy of his verses, a few letters, some rhapsodies and songs. They dance all through Tang high culture, inhabited by planets, hermit women, swashbucklers, grottos, calligraphers and buffoons, Li Bo’s friends, lovers and alter egos. He’s too shy, too quick to make introductions, but this volume allows us to hear the poetry's stories, their temperaments, to glimpse their secret economies of exchange. The book also offers background material, brief essays, a kind of Lonely Planet™ guidebook to this extraordinary realm. This way the strange will become familiar, and only then can we appreciate how truly strange it is.The authors and translators regard these poems as magical acts. What is offered, then, in this volume, are multiple ways to realize that magic. The essays are demonstrations, a spell-book, an extension of this non-ordinary knowing. Things too delicate to be said directly. So the book proceeds by analogy, by juxtaposition, latency, innuendo, jump cuts, dialetheia and flirt. All this a way to understand a deeper claim: that Li Bo is an immortal.And what might that be...? 30 00 This is Li Bo. You may also know him as Li Po 李白 (701–62), the great poet of Tang China, master of swoop and soar, wanderer, man of wine, so enamored of the moon that he tried to embrace her reflection in the river, fell from his boat and drowned. Favorite of the Emperor—but only for a while, as such energies cannot be long contained at Court.Li Bo Unkempt presents seventy of his verses, a few letters, some rhapsodies and songs. They dance all through Tang high culture, inhabited by planets, hermit women, swashbucklers, grottos, calligraphers and buffoons, Li Bo’s friends, lovers and alter egos. He’s too shy, too quick to make introductions, but this volume allows us to hear the poetry's stories, their temperaments, to glimpse their secret economies of exchange. The book also offers background material, brief essays, a kind of Lonely Planet™ guidebook to this extraordinary realm. This way the strange will become familiar, and only then can we appreciate how truly strange it is.The authors and translators regard these poems as magical acts. What is offered, then, in this volume, are multiple ways to realize that magic. The essays are demonstrations, a spell-book, an extension of this non-ordinary knowing. Things too delicate to be said directly. So the book proceeds by analogy, by juxtaposition, latency, innuendo, jump cuts, dialetheia and flirt. All this a way to understand a deeper claim: that Li Bo is an immortal.And what might that be...? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0322.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/li-bo-unkempt/ Earth, Milky Way 04 01 20210330 Michelle Tupko, Mike Zhai 02 WORLD 06 15 9781953035417 03 9781953035417 34 06 10.1093/fs/kni143 34 06 10.1179/073750307790779513 34 06 10.1017/S0041977X00137437 34 06 10.2307/2718364 34 06 10.1179/073750392787773096 34 06 10.1179/tng.1986.1986.4.91 34 06 10.2307/601701 34 06 10.1163/1568532054905124 34 06 10.1179/073776901804774578 34 06 10.2307/25294698 34 06 10.1179/073750390787970800 34 06 10.1017/S0021911818000578 34 06 10.2307/606561 34 06 10.1179/0737503414Z.00000000012 34 06 10.1080/00324728.1960.10405043 34 06 10.2307/2718973 34 06 10.1093/jaarel/66.2.283 34 06 10.1080/02549948.1996.11731290 34 06 10.1179/tng.1986.1986.4.69 34 06 10.1093/earlyj/XXIV.3.375 34 06 10.1179/073750300787769191 34 06 10.1179/tng.1986.1986.4.43 34 06 10.1179/073750392787773041 34 06 10.1179/073750307790779496 34 06 10.1163/1568532982630804 34 06 10.1179/073776984805308285 34 06 10.1179/073750390787970837 34 06 10.1080/07375034.2017.1382435 34 06 10.1163/156853281X00100 34 06 10.1179/073776999805306795 34 06 10.1163/156853283X00090 34 06 10.1111/j.1540-5931.2010.00822.x 34 06 10.1163/156853211X604134 34 06 10.1179/073750392787773050 34 06 10.2307/2941835 34 06 10.3406/oroc.2007.1087 34 06 10.1086/462835 34 06 10.1163/156853254X00092 34 06 10.1179/tng.1987.1987.5.45 34 06 10.1179/tng.1985.1985.3.1 34 06 10.1163/156853290X00065 34 06 10.2307/2719049 34 06 10.2307/2056605 34 06 10.2307/3248883 34 06 10.1179/073750304788913203 34 06 10.1179/mon.2006.54.1.003 34 06 10.5871/bacad/9780197262795.003.0001 34 06 10.18874/jjrs.31.1.2004.141-162 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/47515 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/47515/0322.1.00.pdf 20 08 20210330 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/64219 20 08 20210330 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353817 20 08 20210330 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/659 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ee8ec428-5592-400a-90b3-9ba9de54a479/download 20 08 20210330 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/00e012c5-9232-472c-bd8b-8ca4ea6d1275 29 INTERNET_ARCHIVE: download the title https://archive.org/download/00e012c5-9232-472c-bd8b-8ca4ea6d1275/00e012c5-9232-472c-bd8b-8ca4ea6d1275.pdf 20 08 20210330 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824899 29 ZENODO: download the title https://zenodo.org/records/19824899/files/00e012c5-9232-472c-bd8b-8ca4ea6d1275_book.pdf 20 08 20210330 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/li-bo-unkempt/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0322.1.00.pdf 20 08 20210330 01 urn:uuid:447137b3-32c8-4779-b9d0-2693a531a18a 03 01 01 thoth-work-id urn:uuid:f2c90a3a-38b2-4f71-8165-e48006bf9b52 01 thoth-publication-id urn:uuid:447137b3-32c8-4779-b9d0-2693a531a18a 15 9781685712426 03 9781685712426 06 10.53288/0484.1.00 13 2026936832 01 internal-reference 0484 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lifetimes A Theory of Timescales and Life Forms 1 B01 21 0000000344528715 Helge Jordheim Helge Jordheim 40 01xtthb56 University of Oslo 2 B01 21 0009000376971874 Sine Halkjelsvik Bjordal Sine Halkjelsvik Bjordal 40 01xtthb56 University of Oslo 01 eng 00 496 03 B2 Anthropocene 10 HIS054000 93 NHTB B2 Biosphere 93 PDX 10 TEC056000 B2 Cultural Studies+Critical Theory 93 JBCT1 93 JBC 20 times; temporalities; naturecultures; infrastructures; technosciences; history of knowledge; history of media 01 06 02 00 03 00 At the beginning of the 21st century, many of our most well-known and dependable forms of keeping, managing, and representing time are losing their grasp on the real. Clocks cannot measure how societies speed up, or come to a standstill during crisis, modern historiography is unable to come up with meaningful narratives about mankind as the sixth extinction event, and calendars are insufficient as tools for societal and political change. Lifetimes: A Theory of Timescales and Life Forms presents an alternative framework for studying lives and times, and the relationships between them.Building on post-war theories of history, as well as several historical sub-disciplines, such as cultural history, history of science, and medical history, Lifetimes integrates approaches from anthropology, game studies, cultural studies, literary studies, critical heritage studies, science & technology studies, and critical time studies. Times are understood as always existing in plural, as embodied and emergent—in things, in assemblages of things, and in the relations between things. Among them are the lives of humans, but also the lives of viruses, plants, animals, rocks, computers, nations, concepts, policies, technologies, infrastructures, etc.Lifetimes explores theoretical foundations while at the same time developing them through case studies in individual chapters. The result is a bottom-up theory of temporal multiplicity, conceptually and theoretically open enough to be productive across various academic disciplines. Rather than discussing how different disciplines relate to time, the authors in this edited collection present a theoretically sustained, empirically diverse range of cases, in which times in plural become politically and historically salient. Out of these case-studies a new theory emerges: a theory of lifetimes. 30 00 At the beginning of the 21st century, many of our most well-known and dependable forms of keeping, managing, and representing time are losing their grasp on the real. Clocks cannot measure how societies speed up, or come to a standstill during crisis, modern historiography is unable to come up with meaningful narratives about mankind as the sixth extinction event, and calendars are insufficient as tools for societal and political change. Lifetimes: A Theory of Timescales and Life Forms presents an alternative framework for studying lives and times, and the relationships between them.Building on post-war theories of history, as well as several historical sub-disciplines, such as cultural history, history of science, and medical history, Lifetimes integrates approaches from anthropology, game studies, cultural studies, literary studies, critical heritage studies, science & technology studies, and critical time studies. Times are understood as always existing in plural, as embodied and emergent—in things, in assemblages of things, and in the relations between things. Among them are the lives of humans, but also the lives of viruses, plants, animals, rocks, computers, nations, concepts, policies, technologies, infrastructures, etc.Lifetimes explores theoretical foundations while at the same time developing them through case studies in individual chapters. The result is a bottom-up theory of temporal multiplicity, conceptually and theoretically open enough to be productive across various academic disciplines. Rather than discussing how different disciplines relate to time, the authors in this edited collection present a theoretically sustained, empirically diverse range of cases, in which times in plural become politically and historically salient. Out of these case-studies a new theory emerges: a theory of lifetimes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0484.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lifetimes-a-theory-of-timescales-and-life-forms/ Earth, Milky Way 02 01 20260601 Sine Halkjelsvik Bjordal and Helge Jordheim 02 WORLD 06 15 9781685712433 03 9781685712433 06 15 9781685713072 03 9781685713072 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/lifetimes-a-theory-of-timescales-and-life-forms/ 10 08 20260601 02 29.00 USD WORLD urn:uuid:0a3150a4-729e-4b6e-ac16-4c15d732d8be 03 01 01 thoth-work-id urn:uuid:f2c90a3a-38b2-4f71-8165-e48006bf9b52 01 thoth-publication-id urn:uuid:0a3150a4-729e-4b6e-ac16-4c15d732d8be 15 9781685712433 03 9781685712433 06 10.53288/0484.1.00 13 2026936832 01 internal-reference 0484 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lifetimes A Theory of Timescales and Life Forms 1 B01 21 0000000344528715 Helge Jordheim Helge Jordheim 40 01xtthb56 University of Oslo 2 B01 21 0009000376971874 Sine Halkjelsvik Bjordal Sine Halkjelsvik Bjordal 40 01xtthb56 University of Oslo 01 eng 00 496 03 B2 Anthropocene 10 HIS054000 93 NHTB B2 Biosphere 93 PDX 10 TEC056000 B2 Cultural Studies+Critical Theory 93 JBCT1 93 JBC 20 times; temporalities; naturecultures; infrastructures; technosciences; history of knowledge; history of media 01 06 02 00 03 00 At the beginning of the 21st century, many of our most well-known and dependable forms of keeping, managing, and representing time are losing their grasp on the real. Clocks cannot measure how societies speed up, or come to a standstill during crisis, modern historiography is unable to come up with meaningful narratives about mankind as the sixth extinction event, and calendars are insufficient as tools for societal and political change. Lifetimes: A Theory of Timescales and Life Forms presents an alternative framework for studying lives and times, and the relationships between them.Building on post-war theories of history, as well as several historical sub-disciplines, such as cultural history, history of science, and medical history, Lifetimes integrates approaches from anthropology, game studies, cultural studies, literary studies, critical heritage studies, science & technology studies, and critical time studies. Times are understood as always existing in plural, as embodied and emergent—in things, in assemblages of things, and in the relations between things. Among them are the lives of humans, but also the lives of viruses, plants, animals, rocks, computers, nations, concepts, policies, technologies, infrastructures, etc.Lifetimes explores theoretical foundations while at the same time developing them through case studies in individual chapters. The result is a bottom-up theory of temporal multiplicity, conceptually and theoretically open enough to be productive across various academic disciplines. Rather than discussing how different disciplines relate to time, the authors in this edited collection present a theoretically sustained, empirically diverse range of cases, in which times in plural become politically and historically salient. Out of these case-studies a new theory emerges: a theory of lifetimes. 30 00 At the beginning of the 21st century, many of our most well-known and dependable forms of keeping, managing, and representing time are losing their grasp on the real. Clocks cannot measure how societies speed up, or come to a standstill during crisis, modern historiography is unable to come up with meaningful narratives about mankind as the sixth extinction event, and calendars are insufficient as tools for societal and political change. Lifetimes: A Theory of Timescales and Life Forms presents an alternative framework for studying lives and times, and the relationships between them.Building on post-war theories of history, as well as several historical sub-disciplines, such as cultural history, history of science, and medical history, Lifetimes integrates approaches from anthropology, game studies, cultural studies, literary studies, critical heritage studies, science & technology studies, and critical time studies. Times are understood as always existing in plural, as embodied and emergent—in things, in assemblages of things, and in the relations between things. Among them are the lives of humans, but also the lives of viruses, plants, animals, rocks, computers, nations, concepts, policies, technologies, infrastructures, etc.Lifetimes explores theoretical foundations while at the same time developing them through case studies in individual chapters. The result is a bottom-up theory of temporal multiplicity, conceptually and theoretically open enough to be productive across various academic disciplines. Rather than discussing how different disciplines relate to time, the authors in this edited collection present a theoretically sustained, empirically diverse range of cases, in which times in plural become politically and historically salient. Out of these case-studies a new theory emerges: a theory of lifetimes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0484.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lifetimes-a-theory-of-timescales-and-life-forms/ Earth, Milky Way 02 01 20260601 Sine Halkjelsvik Bjordal and Helge Jordheim 02 WORLD 06 15 9781685712426 03 9781685712426 06 15 9781685713072 03 9781685713072 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/lifetimes-a-theory-of-timescales-and-life-forms/ 10 08 20260601 01 urn:uuid:2d5ea463-52e1-460b-b5e4-e08d619bce30 03 01 01 thoth-work-id urn:uuid:f2c90a3a-38b2-4f71-8165-e48006bf9b52 01 thoth-publication-id urn:uuid:2d5ea463-52e1-460b-b5e4-e08d619bce30 15 9781685713072 03 9781685713072 06 10.53288/0484.1.00 13 2026936832 01 internal-reference 0484 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lifetimes A Theory of Timescales and Life Forms 1 B01 21 0000000344528715 Helge Jordheim Helge Jordheim 40 01xtthb56 University of Oslo 2 B01 21 0009000376971874 Sine Halkjelsvik Bjordal Sine Halkjelsvik Bjordal 40 01xtthb56 University of Oslo 01 eng 00 496 03 B2 Anthropocene 10 HIS054000 93 NHTB B2 Biosphere 93 PDX 10 TEC056000 B2 Cultural Studies+Critical Theory 93 JBCT1 93 JBC 20 times; temporalities; naturecultures; infrastructures; technosciences; history of knowledge; history of media 01 06 02 00 03 00 At the beginning of the 21st century, many of our most well-known and dependable forms of keeping, managing, and representing time are losing their grasp on the real. Clocks cannot measure how societies speed up, or come to a standstill during crisis, modern historiography is unable to come up with meaningful narratives about mankind as the sixth extinction event, and calendars are insufficient as tools for societal and political change. Lifetimes: A Theory of Timescales and Life Forms presents an alternative framework for studying lives and times, and the relationships between them.Building on post-war theories of history, as well as several historical sub-disciplines, such as cultural history, history of science, and medical history, Lifetimes integrates approaches from anthropology, game studies, cultural studies, literary studies, critical heritage studies, science & technology studies, and critical time studies. Times are understood as always existing in plural, as embodied and emergent—in things, in assemblages of things, and in the relations between things. Among them are the lives of humans, but also the lives of viruses, plants, animals, rocks, computers, nations, concepts, policies, technologies, infrastructures, etc.Lifetimes explores theoretical foundations while at the same time developing them through case studies in individual chapters. The result is a bottom-up theory of temporal multiplicity, conceptually and theoretically open enough to be productive across various academic disciplines. Rather than discussing how different disciplines relate to time, the authors in this edited collection present a theoretically sustained, empirically diverse range of cases, in which times in plural become politically and historically salient. Out of these case-studies a new theory emerges: a theory of lifetimes. 30 00 At the beginning of the 21st century, many of our most well-known and dependable forms of keeping, managing, and representing time are losing their grasp on the real. Clocks cannot measure how societies speed up, or come to a standstill during crisis, modern historiography is unable to come up with meaningful narratives about mankind as the sixth extinction event, and calendars are insufficient as tools for societal and political change. Lifetimes: A Theory of Timescales and Life Forms presents an alternative framework for studying lives and times, and the relationships between them.Building on post-war theories of history, as well as several historical sub-disciplines, such as cultural history, history of science, and medical history, Lifetimes integrates approaches from anthropology, game studies, cultural studies, literary studies, critical heritage studies, science & technology studies, and critical time studies. Times are understood as always existing in plural, as embodied and emergent—in things, in assemblages of things, and in the relations between things. Among them are the lives of humans, but also the lives of viruses, plants, animals, rocks, computers, nations, concepts, policies, technologies, infrastructures, etc.Lifetimes explores theoretical foundations while at the same time developing them through case studies in individual chapters. The result is a bottom-up theory of temporal multiplicity, conceptually and theoretically open enough to be productive across various academic disciplines. Rather than discussing how different disciplines relate to time, the authors in this edited collection present a theoretically sustained, empirically diverse range of cases, in which times in plural become politically and historically salient. Out of these case-studies a new theory emerges: a theory of lifetimes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0484.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lifetimes-a-theory-of-timescales-and-life-forms/ Earth, Milky Way 02 01 20260601 Sine Halkjelsvik Bjordal and Helge Jordheim 02 WORLD 06 15 9781685712426 03 9781685712426 06 15 9781685712433 03 9781685712433 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/lifetimes-a-theory-of-timescales-and-life-forms/ 10 08 20260601 01 urn:uuid:d09b95fe-4cc5-44c1-a630-64d0542983b3 03 01 01 thoth-work-id urn:uuid:7145c373-a655-4d83-bfa2-9cdfae8184b9 01 thoth-publication-id urn:uuid:d09b95fe-4cc5-44c1-a630-64d0542983b3 15 9781685711269 03 9781685711269 06 10.53288/0469.1.00 13 2024933283 01 internal-reference 0469 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 like a dog 1 A01 lauren samblanet Lauren Samblanet lauren samblanet is a hybrid writer who cross-pollinates with other forms of making & other makers of forms. some of her writing has been published in a shadow map: an anthology by survivors of sexual assault, fence, dreginald, entropy, dream pop press, passages north, bedfellows, and the tiny. like a dog is her first book. she offers workshops through reinventing creative process, which helps makers build more embodied, pleasurable, and emotionally safe creative practices. 06 Own website https://www.laurensamblanet.com/ 01 eng 00 148 03 B2 Autotheory 93 JBFK2 12 JFFE2 10 SOC060000 12 APFA 10 ART057000 93 DNBL1 B2 Sex 93 JBSF1 B2 Thought Experiments 93 DNXZ 93 VFJQ3 20 sexuality; epistolary; new narrative; sexual assault; healing; film studies; relationships; Lars von Trier; gender studies 01 06 02 00 03 00 Taking its cues from the New Narrative writing movement, like a dog considers how sexual identity is morphed, hidden, and denied by cultural forces like film, pornography, rape culture, and sexual semiotics. The speaker of like a dog writes about her sexuality, sexual trauma, and relationships in the epistolary form to explore how the personal becomes collective and how overt sexuality is necessary for questioning dominant ideologies. The intimacy (or perhaps voyeurism) that is opened through the epistolary form is balanced with commentary on the films of Lars von Trier, primarily Nymphomaniac, as a way to move away from the speaker’s experiences and into the larger social forces that seek to define us.Amidst these letters are images from a handwritten journal where blood, hair, vaginal fluids, and other bodily residues are used to direct the shape and content of the writing surrounding them. The tactility of the journal delivers the reader to the body, not as an intellectualized object, but as the physical, messy, oozing force that it is.Neither fiction nor nonfiction, and inhabiting a realm between gossip and scholarly film analysis, like a dog exists in a liminal zone that offers the speaker a site to rip away the layers of cultural conditioning surrounding sexuality and relationships, and to peek at what lies beneath. This interrogation of identity may not lead to answers but the speaker of like a dog is able to finally hear her own voice and to begin the work of rebuilding an identity that blooms from within. 30 00 Taking its cues from the New Narrative writing movement, like a dog considers how sexual identity is morphed, hidden, and denied by cultural forces like film, pornography, rape culture, and sexual semiotics. The speaker of like a dog writes about her sexuality, sexual trauma, and relationships in the epistolary form to explore how the personal becomes collective and how overt sexuality is necessary for questioning dominant ideologies. The intimacy (or perhaps voyeurism) that is opened through the epistolary form is balanced with commentary on the films of Lars von Trier, primarily Nymphomaniac, as a way to move away from the speaker’s experiences and into the larger social forces that seek to define us.Amidst these letters are images from a handwritten journal where blood, hair, vaginal fluids, and other bodily residues are used to direct the shape and content of the writing surrounding them. The tactility of the journal delivers the reader to the body, not as an intellectualized object, but as the physical, messy, oozing force that it is.Neither fiction nor nonfiction, and inhabiting a realm between gossip and scholarly film analysis, like a dog exists in a liminal zone that offers the speaker a site to rip away the layers of cultural conditioning surrounding sexuality and relationships, and to peek at what lies beneath. This interrogation of identity may not lead to answers but the speaker of like a dog is able to finally hear her own voice and to begin the work of rebuilding an identity that blooms from within. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0469.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/like-a-dog/ Earth, Milky Way 04 01 20240229 Lauren Samblanet 02 WORLD 06 15 9781685711276 03 9781685711276 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571126X 20 08 20240229 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/like-a-dog 20 08 20240229 02 22.00 USD WORLD urn:uuid:4503cd5e-56d5-4cb9-b5d9-2cf0411735a3 03 01 01 thoth-work-id urn:uuid:7145c373-a655-4d83-bfa2-9cdfae8184b9 01 thoth-publication-id urn:uuid:4503cd5e-56d5-4cb9-b5d9-2cf0411735a3 15 9781685711276 03 9781685711276 06 10.53288/0469.1.00 13 2024933283 01 internal-reference 0469 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 like a dog 1 A01 lauren samblanet Lauren Samblanet lauren samblanet is a hybrid writer who cross-pollinates with other forms of making & other makers of forms. some of her writing has been published in a shadow map: an anthology by survivors of sexual assault, fence, dreginald, entropy, dream pop press, passages north, bedfellows, and the tiny. like a dog is her first book. she offers workshops through reinventing creative process, which helps makers build more embodied, pleasurable, and emotionally safe creative practices. 06 Own website https://www.laurensamblanet.com/ 01 eng 00 148 03 B2 Autotheory 93 JBFK2 12 JFFE2 10 SOC060000 12 APFA 10 ART057000 93 DNBL1 B2 Sex 93 JBSF1 B2 Thought Experiments 93 DNXZ 93 VFJQ3 20 sexuality; epistolary; new narrative; sexual assault; healing; film studies; relationships; Lars von Trier; gender studies 01 06 02 00 03 00 Taking its cues from the New Narrative writing movement, like a dog considers how sexual identity is morphed, hidden, and denied by cultural forces like film, pornography, rape culture, and sexual semiotics. The speaker of like a dog writes about her sexuality, sexual trauma, and relationships in the epistolary form to explore how the personal becomes collective and how overt sexuality is necessary for questioning dominant ideologies. The intimacy (or perhaps voyeurism) that is opened through the epistolary form is balanced with commentary on the films of Lars von Trier, primarily Nymphomaniac, as a way to move away from the speaker’s experiences and into the larger social forces that seek to define us.Amidst these letters are images from a handwritten journal where blood, hair, vaginal fluids, and other bodily residues are used to direct the shape and content of the writing surrounding them. The tactility of the journal delivers the reader to the body, not as an intellectualized object, but as the physical, messy, oozing force that it is.Neither fiction nor nonfiction, and inhabiting a realm between gossip and scholarly film analysis, like a dog exists in a liminal zone that offers the speaker a site to rip away the layers of cultural conditioning surrounding sexuality and relationships, and to peek at what lies beneath. This interrogation of identity may not lead to answers but the speaker of like a dog is able to finally hear her own voice and to begin the work of rebuilding an identity that blooms from within. 30 00 Taking its cues from the New Narrative writing movement, like a dog considers how sexual identity is morphed, hidden, and denied by cultural forces like film, pornography, rape culture, and sexual semiotics. The speaker of like a dog writes about her sexuality, sexual trauma, and relationships in the epistolary form to explore how the personal becomes collective and how overt sexuality is necessary for questioning dominant ideologies. The intimacy (or perhaps voyeurism) that is opened through the epistolary form is balanced with commentary on the films of Lars von Trier, primarily Nymphomaniac, as a way to move away from the speaker’s experiences and into the larger social forces that seek to define us.Amidst these letters are images from a handwritten journal where blood, hair, vaginal fluids, and other bodily residues are used to direct the shape and content of the writing surrounding them. The tactility of the journal delivers the reader to the body, not as an intellectualized object, but as the physical, messy, oozing force that it is.Neither fiction nor nonfiction, and inhabiting a realm between gossip and scholarly film analysis, like a dog exists in a liminal zone that offers the speaker a site to rip away the layers of cultural conditioning surrounding sexuality and relationships, and to peek at what lies beneath. This interrogation of identity may not lead to answers but the speaker of like a dog is able to finally hear her own voice and to begin the work of rebuilding an identity that blooms from within. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0469.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/like-a-dog/ Earth, Milky Way 04 01 20240229 Lauren Samblanet 02 WORLD 06 15 9781685711269 03 9781685711269 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/88053 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/88053/0469.1.00.pdf?sequence=1&isAllowed=y 20 08 20240229 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/134897 20 08 20240229 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626768 20 08 20240229 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/336 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/be474dc8-fe30-4d64-abea-970108276009/download 20 08 20240229 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7145c373-a655-4d83-bfa2-9cdfae8184b9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7145c373-a655-4d83-bfa2-9cdfae8184b9/7145c373-a655-4d83-bfa2-9cdfae8184b9.pdf 20 08 20240229 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825074 29 ZENODO: download the title https://zenodo.org/records/19825074/files/7145c373-a655-4d83-bfa2-9cdfae8184b9_book.pdf 20 08 20240229 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/like-a-dog/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0469.1.00.pdf 20 08 20240229 01 urn:uuid:6575e78b-984c-4d4c-b2ce-b9f76af459d3 03 01 01 thoth-work-id urn:uuid:1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd 01 thoth-publication-id urn:uuid:6575e78b-984c-4d4c-b2ce-b9f76af459d3 15 9781950192175 03 9781950192175 06 10.21983/P3.0246.1.00 13 2019935887 01 internal-reference 0246 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Liquid Life On Non-Linear Materiality 1 A01 21 0000000235166815 Rachel Armstrong Rachel Armstrong 40 01kj2bm70 Newcastle University 2 A01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 04g3mbv81 European Graduate School 3 A01 21 0000000219112745 Rolf Hughes Rolf Hughes 01 eng 00 600 03 10 ARC009000 B2 Biosphere 12 HPJ 93 QDTJ B2 Built Environments 93 PSD 12 PSD B2 Philosophy 20 design theory; soft architecture; angelology. materialism; ecology; molecular science; biology 01 06 02 00 03 00 If we lived in a liquid world, the concept of a "machine" would make no sense. Liquid life is metaphor and apparatus that discusses the consequences of thinking, working, and living through liquids. It is an irreducible, paradoxical, parallel, planetary-scale material condition, unevenly distributed spatially, but temporally continuous. It is what remains when logical explanations can no longer account for the experiences that we recognize as part of "being alive."Liquid Life references a third-millennial understanding of matter that seeks to restore the agency of the liquid soul for an ecological era, which has been banished by reductionist, "brute" materialist discourses and mechanical models of life. Offering an alternative worldview of the living realm through a "new materialist" and "liquid" study of matter, Armstrong conjures forth examples of creatures that do not obey mechanistic concepts like predictability, efficiency, and rationality. With the advent of molecular science, an increasingly persuasive ontology of liquid technologies can be identified. Through the lens of lifelike dynamic droplets, the agency for these systems exists at the interfaces between different fields of matter/energy that respond to highly local effects, with no need for a central organizing system.Liquid Life seeks an alternative partnership between humanity and the natural world. It provokes a re-invention of the languages of the living realm to open up alternative spaces for exploration, including contributor Rolf Hughes’ "angelology" of language, which explores the transformative invocations of prose poetry, and Simone Ferracina’s graphical notations that help shape our concepts of metabolism, upcycling, and designing with fluids. A conceptual and practical toolset for thinking and designing, liquid life reunites us with the irreducible "soul substance" of living things, which will neither be simply "solved," nor go away. 30 00 If we lived in a liquid world, the concept of a "machine" would make no sense. Liquid life is metaphor and apparatus that discusses the consequences of thinking, working, and living through liquids. It is an irreducible, paradoxical, parallel, planetary-scale material condition, unevenly distributed spatially, but temporally continuous. It is what remains when logical explanations can no longer account for the experiences that we recognize as part of "being alive."Liquid Life references a third-millennial understanding of matter that seeks to restore the agency of the liquid soul for an ecological era, which has been banished by reductionist, "brute" materialist discourses and mechanical models of life. Offering an alternative worldview of the living realm through a "new materialist" and "liquid" study of matter, Armstrong conjures forth examples of creatures that do not obey mechanistic concepts like predictability, efficiency, and rationality. With the advent of molecular science, an increasingly persuasive ontology of liquid technologies can be identified. Through the lens of lifelike dynamic droplets, the agency for these systems exists at the interfaces between different fields of matter/energy that respond to highly local effects, with no need for a central organizing system.Liquid Life seeks an alternative partnership between humanity and the natural world. It provokes a re-invention of the languages of the living realm to open up alternative spaces for exploration, including contributor Rolf Hughes’ "angelology" of language, which explores the transformative invocations of prose poetry, and Simone Ferracina’s graphical notations that help shape our concepts of metabolism, upcycling, and designing with fluids. A conceptual and practical toolset for thinking and designing, liquid life reunites us with the irreducible "soul substance" of living things, which will neither be simply "solved," nor go away. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0246.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/liquid-life-on-non-linear-materiality/ Earth, Milky Way 04 01 20191218 Armstrong, Rachel 02 WORLD 06 15 9781950192182 03 9781950192182 34 06 10.1093/jhmas/XXVI.2.158 34 06 10.1080/03081079.2013.776206 34 06 10.1016/S0960-0779(02)00409-5 34 06 10.1016/j.mattod.2014.01.018 34 06 10.1111/1600-0498.12057 34 06 10.1038/465422a 34 06 10.1098/rspb.2009.1707 34 06 10.1088/0370-1301/62/11/507 34 06 10.1017/S0025315400073069 34 06 10.1002/bies.200800183 34 06 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Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/liquid-life-on-non-linear-materiality 20 08 20191218 02 31.00 USD WORLD urn:uuid:7b1cd6b5-2d0f-476c-bdfc-46fd506c6e44 03 01 01 thoth-work-id urn:uuid:1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd 01 thoth-publication-id urn:uuid:7b1cd6b5-2d0f-476c-bdfc-46fd506c6e44 15 9781950192182 03 9781950192182 06 10.21983/P3.0246.1.00 13 2019935887 01 internal-reference 0246 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Liquid Life On Non-Linear Materiality 1 A01 21 0000000235166815 Rachel Armstrong Rachel Armstrong 40 01kj2bm70 Newcastle University 2 A01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 04g3mbv81 European Graduate School 3 A01 21 0000000219112745 Rolf Hughes Rolf Hughes 01 eng 00 600 03 10 ARC009000 B2 Biosphere 12 HPJ 93 QDTJ B2 Built Environments 93 PSD 12 PSD B2 Philosophy 20 design theory; soft architecture; angelology. materialism; ecology; molecular science; biology 01 06 02 00 03 00 If we lived in a liquid world, the concept of a "machine" would make no sense. Liquid life is metaphor and apparatus that discusses the consequences of thinking, working, and living through liquids. It is an irreducible, paradoxical, parallel, planetary-scale material condition, unevenly distributed spatially, but temporally continuous. It is what remains when logical explanations can no longer account for the experiences that we recognize as part of "being alive."Liquid Life references a third-millennial understanding of matter that seeks to restore the agency of the liquid soul for an ecological era, which has been banished by reductionist, "brute" materialist discourses and mechanical models of life. Offering an alternative worldview of the living realm through a "new materialist" and "liquid" study of matter, Armstrong conjures forth examples of creatures that do not obey mechanistic concepts like predictability, efficiency, and rationality. With the advent of molecular science, an increasingly persuasive ontology of liquid technologies can be identified. Through the lens of lifelike dynamic droplets, the agency for these systems exists at the interfaces between different fields of matter/energy that respond to highly local effects, with no need for a central organizing system.Liquid Life seeks an alternative partnership between humanity and the natural world. It provokes a re-invention of the languages of the living realm to open up alternative spaces for exploration, including contributor Rolf Hughes’ "angelology" of language, which explores the transformative invocations of prose poetry, and Simone Ferracina’s graphical notations that help shape our concepts of metabolism, upcycling, and designing with fluids. A conceptual and practical toolset for thinking and designing, liquid life reunites us with the irreducible "soul substance" of living things, which will neither be simply "solved," nor go away. 30 00 If we lived in a liquid world, the concept of a "machine" would make no sense. Liquid life is metaphor and apparatus that discusses the consequences of thinking, working, and living through liquids. It is an irreducible, paradoxical, parallel, planetary-scale material condition, unevenly distributed spatially, but temporally continuous. It is what remains when logical explanations can no longer account for the experiences that we recognize as part of "being alive."Liquid Life references a third-millennial understanding of matter that seeks to restore the agency of the liquid soul for an ecological era, which has been banished by reductionist, "brute" materialist discourses and mechanical models of life. Offering an alternative worldview of the living realm through a "new materialist" and "liquid" study of matter, Armstrong conjures forth examples of creatures that do not obey mechanistic concepts like predictability, efficiency, and rationality. With the advent of molecular science, an increasingly persuasive ontology of liquid technologies can be identified. Through the lens of lifelike dynamic droplets, the agency for these systems exists at the interfaces between different fields of matter/energy that respond to highly local effects, with no need for a central organizing system.Liquid Life seeks an alternative partnership between humanity and the natural world. It provokes a re-invention of the languages of the living realm to open up alternative spaces for exploration, including contributor Rolf Hughes’ "angelology" of language, which explores the transformative invocations of prose poetry, and Simone Ferracina’s graphical notations that help shape our concepts of metabolism, upcycling, and designing with fluids. A conceptual and practical toolset for thinking and designing, liquid life reunites us with the irreducible "soul substance" of living things, which will neither be simply "solved," nor go away. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0246.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/liquid-life-on-non-linear-materiality/ Earth, Milky Way 04 01 20191218 Armstrong, Rachel 02 WORLD 06 15 9781950192175 03 9781950192175 34 06 10.1093/jhmas/XXVI.2.158 34 06 10.1080/03081079.2013.776206 34 06 10.1016/S0960-0779(02)00409-5 34 06 10.1016/j.mattod.2014.01.018 34 06 10.1111/1600-0498.12057 34 06 10.1038/465422a 34 06 10.1098/rspb.2009.1707 34 06 10.1088/0370-1301/62/11/507 34 06 10.1017/S0025315400073069 34 06 10.1002/bies.200800183 34 06 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https://library.oapen.org/bitstream/handle/20.500.12657/23592/0246.1.00.pdf?sequence=1&isAllowed=y 20 08 20191218 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28356 20 08 20191218 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353974 20 08 20191218 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/623 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4f0a2a99-121f-487f-96e0-f48995832796/download 20 08 20191218 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd/1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd.pdf 20 08 20191218 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848005 29 ZENODO: download the title https://zenodo.org/records/19848005/files/1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd_book.pdf 20 08 20191218 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/liquid-life-on-non-linear-materiality/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0246.1.00.pdf 20 08 20191218 01 urn:uuid:7ac04d70-05fc-426a-80f7-99d63994cbb8 03 01 01 thoth-work-id urn:uuid:11374c79-b2b1-464e-95c7-94aec6f24099 01 thoth-publication-id urn:uuid:7ac04d70-05fc-426a-80f7-99d63994cbb8 15 9781685712105 03 9781685712105 06 10.53288/0511.1.00 13 2024937831 01 internal-reference 0511 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lividity 1 A01 Kim Rosenfield Kim Rosenfield Kim Rosenfield is a poet and psychotherapist. She is the author of several books of poetry, including USO: I’ll Be Seeing You from Ugly Duckling Presse(2014). She is the 2023 recipient of the FENCE Ottoline Prize. Her latest book, Phantom Captain, will be published by FENCE in fall 2023. Rosenfield is an originating member of the international artist/writers collective, Collective Task. Her clinical writing can be found in Psychoanalytic Dialogues and Studies in Gender and Sexuality. She lives and works in Brooklyn, NY. 2 A24 Trisha Low Trisha Low 01 eng 00 178 03 93 DCF B2 Fabulations 10 POE005010 93 DCC 10 POE024000 20 conceptual writing; language; poetry; evidence 01 06 02 00 03 00 In Lividity, poet Kim Rosenfield works within the outskirts of language, draining it of connotation and excess. Using words and phrases culled from linguistics textbooks and language-learning manuals, Rosenfield invites the reader to experience the everyday vernacular as dislocated affect. What happens when language acts as organ donor? When language, the conveyor of our vulnerability, is transposed into new and often failing terrain? Are expressions of meaning vital enough to keep the organism functioning? What happens when meaning loses its moorings? 30 00 In Lividity, poet Kim Rosenfield works within the outskirts of language, draining it of connotation and excess. Using words and phrases culled from linguistics textbooks and language-learning manuals, Rosenfield invites the reader to experience the everyday vernacular as dislocated affect. What happens when language acts as organ donor? When language, the conveyor of our vulnerability, is transposed into new and often failing terrain? Are expressions of meaning vital enough to keep the organism functioning? What happens when meaning loses its moorings? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0511.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lividity/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240508 Kim Rosenfield 02 WORLD 06 15 9781685712112 03 9781685712112 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571210X 20 08 20240508 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/lividity 20 08 20240508 02 15.00 USD WORLD urn:uuid:e417ecca-0a75-46f8-b3f5-6b91130accc5 03 01 01 thoth-work-id urn:uuid:11374c79-b2b1-464e-95c7-94aec6f24099 01 thoth-publication-id urn:uuid:e417ecca-0a75-46f8-b3f5-6b91130accc5 15 9781685712112 03 9781685712112 06 10.53288/0511.1.00 13 2024937831 01 internal-reference 0511 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Lividity 1 A01 Kim Rosenfield Kim Rosenfield Kim Rosenfield is a poet and psychotherapist. She is the author of several books of poetry, including USO: I’ll Be Seeing You from Ugly Duckling Presse(2014). She is the 2023 recipient of the FENCE Ottoline Prize. Her latest book, Phantom Captain, will be published by FENCE in fall 2023. Rosenfield is an originating member of the international artist/writers collective, Collective Task. Her clinical writing can be found in Psychoanalytic Dialogues and Studies in Gender and Sexuality. She lives and works in Brooklyn, NY. 2 A24 Trisha Low Trisha Low 01 eng 00 178 03 93 DCF B2 Fabulations 10 POE005010 93 DCC 10 POE024000 20 conceptual writing; language; poetry; evidence 01 06 02 00 03 00 In Lividity, poet Kim Rosenfield works within the outskirts of language, draining it of connotation and excess. Using words and phrases culled from linguistics textbooks and language-learning manuals, Rosenfield invites the reader to experience the everyday vernacular as dislocated affect. What happens when language acts as organ donor? When language, the conveyor of our vulnerability, is transposed into new and often failing terrain? Are expressions of meaning vital enough to keep the organism functioning? What happens when meaning loses its moorings? 30 00 In Lividity, poet Kim Rosenfield works within the outskirts of language, draining it of connotation and excess. Using words and phrases culled from linguistics textbooks and language-learning manuals, Rosenfield invites the reader to experience the everyday vernacular as dislocated affect. What happens when language acts as organ donor? When language, the conveyor of our vulnerability, is transposed into new and often failing terrain? Are expressions of meaning vital enough to keep the organism functioning? What happens when meaning loses its moorings? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0511.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/lividity/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240508 Kim Rosenfield 02 WORLD 06 15 9781685712105 03 9781685712105 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/90123 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/90123/0511.1.00.pdf?sequence=1&isAllowed=y 20 08 20240508 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/136765 20 08 20240508 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626769 20 08 20240508 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/843 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b4eec06e-05d4-45d6-b120-e6829cffa5e6/download 20 08 20240508 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Lividity/fJEoEQAAQBAJ 20 08 20240508 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/11374c79-b2b1-464e-95c7-94aec6f24099 29 INTERNET_ARCHIVE: download the title https://archive.org/download/11374c79-b2b1-464e-95c7-94aec6f24099/11374c79-b2b1-464e-95c7-94aec6f24099.pdf 20 08 20240508 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850336 29 ZENODO: download the title https://zenodo.org/records/19850336/files/11374c79-b2b1-464e-95c7-94aec6f24099_book.pdf 20 08 20240508 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/lividity/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0511.1.00.pdf 20 08 20240508 01 urn:uuid:526f461c-ef01-4101-b1bd-941877e44db1 03 01 01 thoth-work-id urn:uuid:534c3d13-b18b-4be5-91e6-768c0cf09361 01 thoth-publication-id urn:uuid:526f461c-ef01-4101-b1bd-941877e44db1 15 9781685710828 03 9781685710828 06 10.53288/0361.1.00 13 2023934594 01 internal-reference 0361 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Living with Monsters Ethnographic Fiction about Real Monsters 1 B01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is an Associate Professor and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with Geir Henning Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters (Routledge, 2020). 2 B01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University 40 01kg8sb98 Indiana University Ilana Gershon is a professor of anthropology at Rice University and studies how people use new media to accomplish complicated social tasks such as breaking up with lovers and hiring new employees. She has published books such as The Breakup 2.0: Disconnecting over New Media (Cornell University Press, 2010) and Down and Out in the New Economy: How People Find (or Don’t Find) Work Today (University of Chicago Press, 2017), and has edited two other volumes of ethnographic fiction on work and animals. She has been a fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences, at Notre Dame’s Institute for Advanced Study and is currently a visiting professor at the University of Helsinki. She will soon publish a book analyzing how working in person during a pandemic sheds light on the ways workplaces function as private governments. 01 eng 00 318 03 B2 Cultural Studies+Critical Theory 12 JHMC 93 JHMC 10 SOC002010 B2 Fabulations 10 FIC009120 12 JFHF 93 VXQM 93 JBGB 20 ethnographic fiction; monsters; teratology; human–monster relations; anthropology; the otherwise 01 06 02 00 03 00 For every generic type of monster—ghost, demon, vampire, dragon—there are countless locally specific manifestations, with their own names, traits, and appearances. Such monsters populate all corners of the globe haunting their humans wherever they live. Living with Monsters is a collection of fourteen short pieces of ethnographic fiction (and a more academically inclined introduction and afterword) presenting a playful, spirited, and engaging look at how people live with their respective monsters around the world. They focus on the nitty-gritty dos and don’ts of how to placate spirits in India; how to domesticate Georgian goblins, how to live with aliens, how to avoid being taken by Anito in Taiwan, while simultaneously illuminating the politics of monster–human relations.In this collection, anthropologists working in fieldsites as diverse as the urban Ghana, the rural US, remote Aboriginal Australia, and the internet present imaginative accounts that demonstrate how thinking with monsters encourages people to contemplate difference, to understand inequality, and to see the world from new angles. Combine monsters with experimental ethnography, and the result is a volume that crackles with creative energy, flouts traditions of ethnographic writing, and pushes anthropology into new terrains. 30 00 For every generic type of monster—ghost, demon, vampire, dragon—there are countless locally specific manifestations, with their own names, traits, and appearances. Such monsters populate all corners of the globe haunting their humans wherever they live. Living with Monsters is a collection of fourteen short pieces of ethnographic fiction (and a more academically inclined introduction and afterword) presenting a playful, spirited, and engaging look at how people live with their respective monsters around the world. They focus on the nitty-gritty dos and don’ts of how to placate spirits in India; how to domesticate Georgian goblins, how to live with aliens, how to avoid being taken by Anito in Taiwan, while simultaneously illuminating the politics of monster–human relations.In this collection, anthropologists working in fieldsites as diverse as the urban Ghana, the rural US, remote Aboriginal Australia, and the internet present imaginative accounts that demonstrate how thinking with monsters encourages people to contemplate difference, to understand inequality, and to see the world from new angles. Combine monsters with experimental ethnography, and the result is a volume that crackles with creative energy, flouts traditions of ethnographic writing, and pushes anthropology into new terrains. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0361.1.00_frontcover.jpg 1 03 06 10.53288/0361.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is an Associate Professor and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with Geir Henning Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters (Routledge, 2020). 2 B01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University Ilana Gershon is a professor of anthropology at Rice University and studies how people use new media to accomplish complicated social tasks such as breaking up with lovers and hiring new employees. She has published books such as The Breakup 2.0: Disconnecting over New Media (Cornell University Press, 2010) and Down and Out in the New Economy: How People Find (or Don’t Find) Work Today (University of Chicago Press, 2017), and has edited two other volumes of ethnographic fiction on work and animals. She has been a fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences, at Notre Dame’s Institute for Advanced Study and is currently a visiting professor at the University of Helsinki. She will soon publish a book analyzing how working in person during a pandemic sheds light on the ways workplaces function as private governments. 01 eng 20 00 Open Access 2 03 06 10.53288/0361.1.02 15 29 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Here Be Monsters 1 A01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is an Associate Professor and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with Geir Henning Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters (Routledge, 2020). 2 A01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University 40 01kg8sb98 Indiana University Ilana Gershon is a professor of anthropology at Rice University and studies how people use new media to accomplish complicated social tasks such as breaking up with lovers and hiring new employees. She has published books such as The Breakup 2.0: Disconnecting over New Media (Cornell University Press, 2010) and Down and Out in the New Economy: How People Find (or Don’t Find) Work Today (University of Chicago Press, 2017), and has edited two other volumes of ethnographic fiction on work and animals. She has been a fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences, at Notre Dame’s Institute for Advanced Study and is currently a visiting professor at the University of Helsinki. She will soon publish a book analyzing how working in person during a pandemic sheds light on the ways workplaces function as private governments. 01 eng 03 00 This introduction addresses how anthropological scholarship on monsters poses distinct epistemological challenges not shared by other humanities scholarship on monsters. Anthropologists are living among and writing about fieldwork interlocutors who believe that monstrous beings exist, when often their colleagues do not, placing anthropologists in an ontological bind. By turning to ethnographic fiction, anthropologists are able to explore a different scholarly stance towards this quandary. We discuss the ways in which monsters often are liminal beings both in time and in place. We outline how thinking alongside monsters allows a vantage point for criticizing contemporaneous power relationships and the lingering effects of colonialisms. 30 00 This introduction addresses how anthropological scholarship on monsters poses distinct epistemological challenges not shared by other humanities scholarship on monsters. Anthropologists are living among and writing about fieldwork interlocutors who believe that monstrous beings exist, when often their colleagues do not, placing anthropologists in an ontological bind. By turning to ethnographic fiction, anthropologists are able to explore a different scholarly stance towards this quandary. We discuss the ways in which monsters often are liminal beings both in time and in place. We outline how thinking alongside monsters allows a vantage point for criticizing contemporaneous power relationships and the lingering effects of colonialisms. 20 00 Open Access Yasmine Musharbash, Ilana Gershon 3 03 06 10.53288/0361.1.03 31 49 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Don't Say His Name 1 A01 21 0000000295747830 Cailín E. Murray Cailín E. Murray 40 00k6tx165 Ball State University Cailín Murray is Associate Professor of Anthropology at Ball State University in Muncie, Indiana. She received her MA and PhD in Cultural Anthropology from the University of Washington in 2001. In 2004 she completed a two-year Andrew W. Mellon Postdoctoral Fellowship at Wesleyan University in Connecticut and joined the Ball State faculty. Dr. Murray is an environmental ethnohistorian who studies Indigenous knowledge systems, settler colonialism, and the transformation of historical landscapes. She is particularly interested in how folklore, cultural memory, history, and foodways have informed how landscapes were used in the past and continue to construct and sustain attachments to place in the present. She regularly teaches an undergraduate course about monsters and culture. Dr. Murray has conducted ethnographic and ethnohistorical research primarily along the central Northwest Coast. She is currently researching twentieth-century witch accusations in the US and settler colonialism, religious beliefs, and historical gardening practices in the Great Lakes region. In 2019 she conducted preliminary research in Ireland and hopes to return there in order to explore Connemara’s shell fisheries. She has published in Ethnohistory and other scholarly journals and co-authored with Coll Thrush Phantom Past, Indigenous Presence: Native Ghosts in Culture and History (Nebraska University Press, 2011). 01 eng 03 00 Wild Man figures are found around the world and seem to always occupy a mythical and liminal space between culture and nature. Among the Native peoples of the Northwest Coast of North America, he is known by different names in various tribal languages. However, terms like Sasquatch or Bigfoot are used locally as a kind of generic reference. Since Indigenous peoples and settler colonial newcomers have reported encounters over the decades since contact, it is important to consider what resources each culture provides to help people make sense of their experiences. I wanted my story to reflect how these meanings shift and how confusing and consequential it can become when non-natives assume they understand tribal/First Nations’ beliefs and experiences based on their own. The character of Sarah illustrates how even well-meaning researchers often approach Indigenous beliefs from what the folklorist David Hufford calls “a tradition of disbelief.” In other words, what they know is truth and what others know is merely “belief.” The story allows readers to ponder the various characters’ actions and what they “know,” and thus, what “really” happened. 30 00 Wild Man figures are found around the world and seem to always occupy a mythical and liminal space between culture and nature. Among the Native peoples of the Northwest Coast of North America, he is known by different names in various tribal languages. However, terms like Sasquatch or Bigfoot are used locally as a kind of generic reference. Since Indigenous peoples and settler colonial newcomers have reported encounters over the decades since contact, it is important to consider what resources each culture provides to help people make sense of their experiences. I wanted my story to reflect how these meanings shift and how confusing and consequential it can become when non-natives assume they understand tribal/First Nations’ beliefs and experiences based on their own. The character of Sarah illustrates how even well-meaning researchers often approach Indigenous beliefs from what the folklorist David Hufford calls “a tradition of disbelief.” In other words, what they know is truth and what others know is merely “belief.” The story allows readers to ponder the various characters’ actions and what they “know,” and thus, what “really” happened. 20 00 Open Access Cailín E. Murray 4 03 06 10.53288/0361.1.04 51 66 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Advice for the Apparitionally Challenged A Ghost (Hunter) Story 1 A01 Misty L. Bastian Misty L. Bastian 40 04fp4ps48 Franklin & Marshall College Misty L. Bastian is the Lewis Audenreid Professor of History and Archaeology and Professor of Anthropology at Franklin & Marshall College. Her fieldsites include Nigeria, the USA, and the internet. She has researched mermaids, witches, Neo-Pentecostals, spirits, and ghost hunters, amongst many other topics. She is the author of numerous journal articles and chapters in edited volumes, as well as co-author (with Marc Matera and Susan Kingsley Kent) of The Women's War of 1929: Gender and Violence in Colonial Nigeria (Palgrave Macmillan, 2013). 01 eng 03 00 Katie, a professional paranormal researcher (a.k.a. ghost hunter) comes to the house of an anthropologist, who undertakes research with paranormal investigators. This time, however, Katie is not a research subject but is there to investigate the anthropologist’s own house – which may or may not be haunted. In the course of the investigation, we learn about how paranormal researchers go about their business, about the relationship between researcher and research subject, and about the anthropologist and her ghosts. 30 00 Katie, a professional paranormal researcher (a.k.a. ghost hunter) comes to the house of an anthropologist, who undertakes research with paranormal investigators. This time, however, Katie is not a research subject but is there to investigate the anthropologist’s own house – which may or may not be haunted. In the course of the investigation, we learn about how paranormal researchers go about their business, about the relationship between researcher and research subject, and about the anthropologist and her ghosts. 20 00 Open Access Misty L. Bastian 5 03 06 10.53288/0361.1.05 67 79 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Mare's Field Guide to Monsters in Iceland 1 A01 Mary Hawkins Mary Hawkins 40 03t52dk35 Western Sydney University Mary Hawkins is a Professor in the School of Social Sciences, Western Sydney University. Mary received her PhD in social anthropology from the University of Sydney and has conducted field research in Indonesia and Iceland. Her recent Iceland focused publications include Helena Onnudottir and Mary Hawkins, “Margt byr i Thokunni – What Dwells in the Mist?” in Monster Anthropology: Ethnographic Interpretations of Transforming Social Worlds Through Monsters (Bloomsbury Academic Press, 2020); and Mary Hawkins and Helena Onnudottir, “From Resurrection and New Dawn to the Pirate Party: Political Party Names as Symbolizing Recent Transformations in the Political Field in Iceland.” 2 A01 21 0000000207084900 Helena Onnudottir Helena Onnudottir 40 03t52dk35 Western Sydney University Helena Onnudottir is a Senior Lecturer in the School of Social Sciences, Western Sydney University. Helena received her PhD in social anthropology from Macquarie University and has conducted field research in Aboriginal Australia and Iceland. Her recent Iceland focused publications include Helena Onnudottir and Mary Hawkins, “Margt byr i Thokunni – What Dwells in the Mist?” In Monster Anthropology: Ethnographic Interpretations of Transforming Social Worlds Through Monsters (Bloomsbury Academic Press, 2020); Hawkins, Mary and Helena Onnudottir, “From Resurrection and New Dawn to the Pirate Party: Political Party Names as Symbolizing Recent Transformations in the Political Field in Iceland” (Politics, Religion and Ideology, 2018). 01 eng 03 00 Horses came to Iceland with the first settlers in the ninth century. Exploring Iceland was a joint venture between horse and human. Isolated from the horse populations of Europe, the Icelandic horse is recognized as a distinct breed, small in stature but powerfully built and possessing a fifth gait. Horses are useful in agriculture and as a primary means of transport, but equally they have been and still are companions and guides to humans, trusted to convey a half asleep, drunk farmer safely home from a barn dance. In the first few springs of a foal’s life, foal and their dams are released from their home paddocks into the mountains, where grasses and herbs grow and horses roam and forage freely. Horses thus learn their land and mountains, and they know where the path is treacherous and where it opens to a lush valley. It is said that if you are on horseback and lost, drop the reins, and let the horse lead because she will know the way. Horses also learn that the mist may hide dangerous creatures and that caution should be taken in the vicinity of elf dwellings and in the places where trolls may camp. Because of this, a horse is a fitting author of this field guide to Icelandic monsters. 30 00 Horses came to Iceland with the first settlers in the ninth century. Exploring Iceland was a joint venture between horse and human. Isolated from the horse populations of Europe, the Icelandic horse is recognized as a distinct breed, small in stature but powerfully built and possessing a fifth gait. Horses are useful in agriculture and as a primary means of transport, but equally they have been and still are companions and guides to humans, trusted to convey a half asleep, drunk farmer safely home from a barn dance. In the first few springs of a foal’s life, foal and their dams are released from their home paddocks into the mountains, where grasses and herbs grow and horses roam and forage freely. Horses thus learn their land and mountains, and they know where the path is treacherous and where it opens to a lush valley. It is said that if you are on horseback and lost, drop the reins, and let the horse lead because she will know the way. Horses also learn that the mist may hide dangerous creatures and that caution should be taken in the vicinity of elf dwellings and in the places where trolls may camp. Because of this, a horse is a fitting author of this field guide to Icelandic monsters. 20 00 Open Access Mary Hawkins, Helena Onnudottir 6 03 06 10.53288/0361.1.06 81 95 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Prowl 1 A01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is Senior Lecturer and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with GH Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds Through Monsters (Routledge, 2020). 01 eng 03 00 Justin arrives in a remote Aboriginal town for his new job. Walpa is excited, she is going to start her first job as trainee at the local, Indigenous radio station. Old Makita has seen everything before. But then, Justin’s first workday unfolds differently than he anticipated when the town has to deal with a monster attack on one of their own. Variously observed from the perspectives of a male non-Indigenous professional, a young Aboriginal woman, and a senior law man, the presences of monsters and colonisers in the town take on different meanings, clash, diverge, as well as merge. As events unfold, the parallels between monsters and colonisers come into ever clearer focus, illustrating how expectations of knowledge circulation can conflict, and cause harm. 30 00 Justin arrives in a remote Aboriginal town for his new job. Walpa is excited, she is going to start her first job as trainee at the local, Indigenous radio station. Old Makita has seen everything before. But then, Justin’s first workday unfolds differently than he anticipated when the town has to deal with a monster attack on one of their own. Variously observed from the perspectives of a male non-Indigenous professional, a young Aboriginal woman, and a senior law man, the presences of monsters and colonisers in the town take on different meanings, clash, diverge, as well as merge. As events unfold, the parallels between monsters and colonisers come into ever clearer focus, illustrating how expectations of knowledge circulation can conflict, and cause harm. 20 00 Open Access Yasmine Musharbash 7 03 06 10.53288/0361.1.07 97 112 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Keep Off the 'Bad Things,' Uncle!" A Tao Child's Perspective on Anito Monsters on Lanyu Island, Taiwan 1 A01 Leberecht Funk Leberecht Funk 40 046ak2485 Freie Universität Berlin Leberecht Funk is a social and cultural anthropologist working in the field of psychological anthropology. In 2019 he obtained his PhD from the Freie Universität Berlin (Germany) for his work on the socialization of emotion among the Tao in Taiwan. He is interested in childhood and socialization, emotion, social relations, and Indigenous cosmologies. His regional focus is East Asia and Southeast Asia. He is the author of Ghosts of Childhood – Socialization of Emotions among the Tao in Taiwan which will be published by transcript in 2022 (in German). Currently he is working on project about “Feeding and the Formation of Social Relationships in Childhood,” which aims at showing that in many world regions it is not emotional intimacy but proactive caregiving which plays a leading role in attachment formation between children and their caregivers. 01 eng 03 00 How is it like to live with monsters on Lanyu island, Taiwan? In the course of one year, the author has a series of exchanges with a 9-year-old Indigenous Tao girl. She gives him advice how to deal with “bad things,” which is a euphemism for the local Anito monsters who delight in stealing human souls. The monsters, which are never actually encountered, are constantly lurking in the background. Their presence can be perceived by bad smells, unjustified angry reactions, intense negative emotionality, or by viewing a beautiful butterfly or hearing the call of an owl. The girl needs to be constantly aware about the changes in the environment. She has to avoid certain places (such as the cemetery) and stays at home when “bad things” occur (for example, a death in the village). She can never let herself go, as the Anito take advantage of any kind of weakness. For example, when she is in pain, she will not cry out loud. Occasionally she mentions other people from her kinship network, like her grandmother and her elder brother, and explains how they cope with the monsters, or, in the case of her grandfather, temporarily become monsters by means of possession. 30 00 How is it like to live with monsters on Lanyu island, Taiwan? In the course of one year, the author has a series of exchanges with a 9-year-old Indigenous Tao girl. She gives him advice how to deal with “bad things,” which is a euphemism for the local Anito monsters who delight in stealing human souls. The monsters, which are never actually encountered, are constantly lurking in the background. Their presence can be perceived by bad smells, unjustified angry reactions, intense negative emotionality, or by viewing a beautiful butterfly or hearing the call of an owl. The girl needs to be constantly aware about the changes in the environment. She has to avoid certain places (such as the cemetery) and stays at home when “bad things” occur (for example, a death in the village). She can never let herself go, as the Anito take advantage of any kind of weakness. For example, when she is in pain, she will not cry out loud. Occasionally she mentions other people from her kinship network, like her grandmother and her elder brother, and explains how they cope with the monsters, or, in the case of her grandfather, temporarily become monsters by means of possession. 20 00 Open Access Leberecht Funk 8 03 06 10.53288/0361.1.08 113 131 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hunting for Monsters (and Gods) The Making of an Anthropologist 1 A01 21 0000000276236517 Indira Arumugam Indira Arumugam 40 01tgyzw49 National University of Singapore Indira Arumugam is an anthropologist who works in Tamil Nadu, South India and among the Tamil Diaspora in Singapore and Southeast Asia. She is an Assistant Professor in the Department of Sociology and Anthropology at the National University of Singapore. Her research interests include vernacular political imaginaries, ritual theories and practices, intimate economics of (re)production, modalities of sacrality and monstrosity, play and pleasure and popular Hinduism. Her writings on animal sacrifice, divine agency, rituals, the gift, and kinship have appeared in leading journals of anthropology, religion, and Asian Studies. She is currently working on book on vernacular political theorizing entitled, Visceral Politics: Intimate Imaginaries of Power in South India. 01 eng 03 00 This chapter is about how hunting for monsters, and gods, has become part of how I do ethnographic fieldwork. The village of Vaduvur in Tamil Nadu, South India is where my family originates as well as where I was born and subsequently migrated from. Vaduvur is also my ethnographic field site. Beginning with how fieldwork for my dissertation on sacrificial rituals prompted memories about tales of uncanny fertility spirits called “Mini” told by my mother, this chapter considers how stories have framed the cultivation of an anthropological imagination and sensibility. Dwelling upon how stories constitute a particular village, its past, peoples and ambience, this chapter is specifically concerned with how monstrous beings or at least the myths about them allow for mapping, inhabiting, and staking claims to a place. Drawing both on my memories of the childhood stories and my experiences of doing fieldwork, this chapter relates how the different, manifold, and even contradictory stories about monsters represent competing stakes over a place. Monsters menace. However, they are part of the memories of and enduring moorings to a much-missed home. Monsters pulse with an uncanny charisma that fascinates across spaces, cultures, and time. 30 00 This chapter is about how hunting for monsters, and gods, has become part of how I do ethnographic fieldwork. The village of Vaduvur in Tamil Nadu, South India is where my family originates as well as where I was born and subsequently migrated from. Vaduvur is also my ethnographic field site. Beginning with how fieldwork for my dissertation on sacrificial rituals prompted memories about tales of uncanny fertility spirits called “Mini” told by my mother, this chapter considers how stories have framed the cultivation of an anthropological imagination and sensibility. Dwelling upon how stories constitute a particular village, its past, peoples and ambience, this chapter is specifically concerned with how monstrous beings or at least the myths about them allow for mapping, inhabiting, and staking claims to a place. Drawing both on my memories of the childhood stories and my experiences of doing fieldwork, this chapter relates how the different, manifold, and even contradictory stories about monsters represent competing stakes over a place. Monsters menace. However, they are part of the memories of and enduring moorings to a much-missed home. Monsters pulse with an uncanny charisma that fascinates across spaces, cultures, and time. 20 00 Open Access Indira Arumugam 9 03 06 10.53288/0361.1.09 133 151 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Domesticate a Georgian Goblin 1 A01 Paul Manning Paul Manning 40 03ygmq230 Trent University Paul Manning is a Professor of Anthropology at Trent University in Canada. He is the author of three books, Strangers in a Strange Land (Academic Studies Press, 2012); Semiotics of Drinks and Drinking (Continuum/Bloomsbury, 2012); and Love Stories Language, Private Love, and Public Romance in Georgia (University of Toronto Press, 2015). Among his other ethnographic projects, he has written on the “spectral migrations” of various kinds of folkloric monsters in time and space, from Georgian goblins moving from village to the city (2012, 2014, forthcoming), how Cornish mining spirits (knackers) became Transatlantic mining spirits called Tommyknockers (2005), how Cornish Pixies became part of British fairylore (2016), to North American ghosts, spiritualist seances, and “weird” fiction (2017, 2018, 2020, 2021). 01 eng 03 00 A fictionalized dialog assembled out of real folkloric narratives of various kinds, the paper acts as an overview of the various kinds of goblins in the folklore of the country of Georgia. A common motif of Georgian imaginings of human-goblin relationships revolves around whether the goblins are homeless (Chinkas, Alis) and therefore can be forcibly domesticated by cutting their unshorn hair or nails; or whether they have a home of their own somewhere (Kajis, Tqashmapa), in which case, they cannot be domesticated to become servants in your household. Each goblin type represents a kind of weird version of a known kind of human generic social other, and the imagined perilous social or sexual relationships one can have with them reveal anxieties about corresponding relationships with ordinary social others, particularly the very large number of female nymph-like spirits, which pointedly dwell on anxieties revolving around exogamous marriage to strangers and marriage by abduction. 30 00 A fictionalized dialog assembled out of real folkloric narratives of various kinds, the paper acts as an overview of the various kinds of goblins in the folklore of the country of Georgia. A common motif of Georgian imaginings of human-goblin relationships revolves around whether the goblins are homeless (Chinkas, Alis) and therefore can be forcibly domesticated by cutting their unshorn hair or nails; or whether they have a home of their own somewhere (Kajis, Tqashmapa), in which case, they cannot be domesticated to become servants in your household. Each goblin type represents a kind of weird version of a known kind of human generic social other, and the imagined perilous social or sexual relationships one can have with them reveal anxieties about corresponding relationships with ordinary social others, particularly the very large number of female nymph-like spirits, which pointedly dwell on anxieties revolving around exogamous marriage to strangers and marriage by abduction. 20 00 Open Access Paul Manning 10 03 06 10.53288/0361.1.10 153 173 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Kappa Manifesto 1 A01 21 0000000346647566 Michael Dylan Foster Michael Dylan Foster 40 05rrcem69 University of California, Davis Michael Dylan Foster is a professor in the Department of East Asian Languages and Cultures at the University of California, Davis. He is the author of The Book of Yōkai: Mysterious Creatures of Japanese Folklore (University of California Press, 2015), Pandemonium and Parade: Japanese Monsters and the Culture of Yōkai (University of California Press, 2009), and numerous articles on folklore, literature, media, and monsters. He also co-edited The Folkloresque: Reframing Folklore in a Popular Culture World (Utah State University Press, 2016) and UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage (Indiana University Press, 2015). His current project explores discourses of tourism and heritage as they relate to local festivals in Japan. 01 eng 03 00 This essay is written from the perspective of a Kappa, a mischievous and murderous Japanese water sprite. The text is the transcript of a commencement speech delivered by a senior Kappa historian to young Kappa at their graduation from university. While rehearsing the history of the Kappa species, the speaker demonstrates how Kappa have always been able to manipulate human desires for the survival of their own species. In this way, they have evolved from demonic water monsters to cute and seemingly harmless figures and mascots. Arguing that this evolution is strategic and has helped ensure the perpetuation of Kappa, even while other monsters have fallen by the wayside, the historian urges young Kappa to continue to be innovative in infiltrating human culture so that they may remain prominent in human imagination. Providing an introduction to specific historical changes Kappa have undergone within Japanese history, the essay also demonstrates the dynamics by which monstrous figures change through time. 30 00 This essay is written from the perspective of a Kappa, a mischievous and murderous Japanese water sprite. The text is the transcript of a commencement speech delivered by a senior Kappa historian to young Kappa at their graduation from university. While rehearsing the history of the Kappa species, the speaker demonstrates how Kappa have always been able to manipulate human desires for the survival of their own species. In this way, they have evolved from demonic water monsters to cute and seemingly harmless figures and mascots. Arguing that this evolution is strategic and has helped ensure the perpetuation of Kappa, even while other monsters have fallen by the wayside, the historian urges young Kappa to continue to be innovative in infiltrating human culture so that they may remain prominent in human imagination. Providing an introduction to specific historical changes Kappa have undergone within Japanese history, the essay also demonstrates the dynamics by which monstrous figures change through time. 20 00 Open Access Michael Dylan Foster 11 03 06 10.53288/0361.1.11 175 200 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Make (and Possibly Un-Make) a Digital Monster 1 A01 Jeffrey A. Tolbert Jeffrey A. Tolbert 40 04p491231 Pennsylvania State University Jeffrey A. Tolbert is professor of American Studies and Folklore at Penn State Harrisburg. His research focuses on vernacular belief and the supernatural, popular, and traditional cultures, and digital ethnography. He is particularly interested in understanding how contemporary people integrate supernatural belief and experience into their daily, technologically mediated lives. He is co-editor (with Michael Dylan Foster) of The Folkloresque: Reframing Folklore in a Popular Culture World (Utah State University Press, 2016). His current monograph project is an exploration of the role of folklore and the folkloresque in the horror genre. 01 eng 03 00 Digital monsters are not present in the “real” – in this case, non-digital – world in the same way as other supernatural creatures. These monsters are “born digital”; that is, they are created with digital tools within digital contexts (e.g., photo and video editors, websites), and are encountered in the genre of expressive culture now known as “Creepypasta,” transmedial, Internet-based narratives about scary, usually supernatural, things. The most famous digital monster is Slender Man, who, despite his fictional status, was cited as the inspiration for real-world acts of violence, most notably the attempted murder of a young girl in Wisconsin in 2014. Traceable to a single creator, but passing through a long, collaborative process of telling and retelling across various Internet fora and media, Slender Man embodies the emergent qualities of much Internet culture.The story of Mr. Top Hat presented here, framed as a series of blog posts by a fictional anthropologist and reader responses to them, attempts to represent the type of collaborative dynamic that produced and continually reproduces Slender Man. Like Slender Man, “Mr. Top Hat” is surrounded by ambiguity. Are aspects of his story real, despite the evidence of his fictional status? The anthropologist, Dr. Richard Morgan, starts off as a researcher of the social processes that give rise to Creepypasta, but quickly finds that there is more at stake than the creation of a story. 30 00 Digital monsters are not present in the “real” – in this case, non-digital – world in the same way as other supernatural creatures. These monsters are “born digital”; that is, they are created with digital tools within digital contexts (e.g., photo and video editors, websites), and are encountered in the genre of expressive culture now known as “Creepypasta,” transmedial, Internet-based narratives about scary, usually supernatural, things. The most famous digital monster is Slender Man, who, despite his fictional status, was cited as the inspiration for real-world acts of violence, most notably the attempted murder of a young girl in Wisconsin in 2014. Traceable to a single creator, but passing through a long, collaborative process of telling and retelling across various Internet fora and media, Slender Man embodies the emergent qualities of much Internet culture.The story of Mr. Top Hat presented here, framed as a series of blog posts by a fictional anthropologist and reader responses to them, attempts to represent the type of collaborative dynamic that produced and continually reproduces Slender Man. Like Slender Man, “Mr. Top Hat” is surrounded by ambiguity. Are aspects of his story real, despite the evidence of his fictional status? The anthropologist, Dr. Richard Morgan, starts off as a researcher of the social processes that give rise to Creepypasta, but quickly finds that there is more at stake than the creation of a story. 20 00 Open Access Jeffrey A. Tolbert 12 03 06 10.53288/0361.1.12 201 214 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Becoming a Sakawa Boy Magic and Modernity in Ghana 1 A01 Matthew Gmalifo Mabefam Matthew Gmalifo Mabefam 40 01ej9dk98 University of Melbourne Matthew Gmalifo Mabefam is a lecturer in Development Studies at the University of Melbourne, a Visiting Fellow at the Institute of Postcolonial Studies, and a Diaspora Fellow for African Research and Impact Network. His research focuses on the politics of international development, development in Africa, spirituality, religion, witchcraft, and wellbeing. He obtained his PhD in Anthropology and Development Studies from the University of Melbourne in 2021. 2 A01 Kalissa Alexeyeff Kalissa Alexeyeff 40 01ej9dk98 University of Melbourne Kalissa Alexeyeff is a senior lecturer in Gender Studies at the University of Melbourne. She specializes in the areas of gender and sexuality, globalization, and development. Her research covers a range of interdisciplinary topics. Her first book Dancing from the Heart: Movement, Gender and Cook Islands Globalization (University of Hawai‘i Press, 2009) explores the significance of dance to Cook Islands femininity throughout colonial history and in its contemporary global manifestations. She is co-editor with Niko Besnier of Gender on the Edge: Transgender, Gay, and Other Pacific Islanders (University of Hawai‘i Press, 2014) which explores alternative sexualities and gender identities in the Pacific region, and with John Taylor Touring Pacific Cultures (Australia National University Press, 2016), a creative collection of Indigenous and non-Indigenous responses to touring and tourism. 01 eng 03 00 Sakawa boys are young internet scammers in Ghana who believe “juju” or magic helps to manipulate their victims into giving them large sums of money. Sakawa boys are recruited primarily from the urban poor and their principal targets are Westerners via the internet. Economic insecurity and entrenched poverty resulting from government corruption, as well as neocolonial global development initiatives, all contribute to a setting where occult economies thrive. The promise of great wealth to be gained through occult sits alongside fear that “juju” turns its users into zombies and can ultimately lead to death. This paper explores the structure and logic of poverty that makes becoming a Sakawa boy a viable survival strategy despite the risks involved. 30 00 Sakawa boys are young internet scammers in Ghana who believe “juju” or magic helps to manipulate their victims into giving them large sums of money. Sakawa boys are recruited primarily from the urban poor and their principal targets are Westerners via the internet. Economic insecurity and entrenched poverty resulting from government corruption, as well as neocolonial global development initiatives, all contribute to a setting where occult economies thrive. The promise of great wealth to be gained through occult sits alongside fear that “juju” turns its users into zombies and can ultimately lead to death. This paper explores the structure and logic of poverty that makes becoming a Sakawa boy a viable survival strategy despite the risks involved. 20 00 Open Access Matthew Gmalifo Mabefam, Kalissa Alexeyeff 13 03 06 10.53288/0361.1.13 215 235 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Possession, in Four Voices 1 A01 Richard Davis Richard Davis Richard Davis has long anthropological experience working with Aboriginal and Torres Strait Islander peoples throughout Australia where he has published on gender (Indigenous Australian masculinities in particular), performance, the frontier, Indigenous epitathic writing, death, and knowledge. He has held academic positions at the Australian National University, University of Western Australia, Australian Institute of Aboriginal and Torres Strait Islanders, and Charles Darwin University. In addition, he has worked as a Senior Anthropologist at the Central Land Council, has advised both the Australian Federal Government and British Museum on protection and repatriation of Indigenous human remains, and prepared anthropological reports for Australian Native title claims. Alongside his academic research and teaching, he has expanded his ethnographic writing into poetry where he has explored issues of embodiment, encounter, and emplacement in fieldwork, publishing his poetry in Anthropology and Humanism, Westerly, and other books and journals. He is currently working as an academic anthropologist for the Australian government. 01 eng 03 00 This chapter links three kinds of possession across different cosmological worlds. The three possessions and cosmologies focus on Christian executive possession, as defined by Emma Cohen, snake ancestor possession at Saibai Island, northwest Torres Strait, and the dream possession of an anthropologist at the same island. Inspired by the multi-perspectivist work of Eduardo Viveiros de Castro and others, the story confers the same ontological status on monsters, spirits, and humans by allowing the possessed and the possessor their own voices. Through this ontological equivalence, two questions are explored in this story. Firstly, what might an immigrant spirit being from a colonising religion look like to an Indigenous spirit being, both of whom are possessing entities? Secondly, what does it mean to be caught up in the mythic fabric of another through the loss of the sovereignty of self-possession? These questions are pursued through a person-within-person narrative technique that allows culturally distinct understandings of evil, ecstasy, and love to be explored. 30 00 This chapter links three kinds of possession across different cosmological worlds. The three possessions and cosmologies focus on Christian executive possession, as defined by Emma Cohen, snake ancestor possession at Saibai Island, northwest Torres Strait, and the dream possession of an anthropologist at the same island. Inspired by the multi-perspectivist work of Eduardo Viveiros de Castro and others, the story confers the same ontological status on monsters, spirits, and humans by allowing the possessed and the possessor their own voices. Through this ontological equivalence, two questions are explored in this story. Firstly, what might an immigrant spirit being from a colonising religion look like to an Indigenous spirit being, both of whom are possessing entities? Secondly, what does it mean to be caught up in the mythic fabric of another through the loss of the sovereignty of self-possession? These questions are pursued through a person-within-person narrative technique that allows culturally distinct understandings of evil, ecstasy, and love to be explored. 20 00 Open Access Richard Davis 14 03 06 10.53288/0361.1.14 237 259 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ghost (Story) Hunters 1 A01 Caitrin Lynch Caitrin Lynch 40 000zamq06 Franklin W. Olin College of Engineering Caitrin Lynch is the Dean of Faculty and professor of anthropology at Olin College of Engineering. She is the author of two books, Retirement on the Line: Age, Work, and Value in An American Factory (Cornell University Press, 2012) and Juki Girls, Good Girls: Gender and Cultural Politics in Sri Lanka's Global Garment Industry (Cornell University Press, 2007). She also produced the documentary film, My Name is Julius. Her research and teaching passions include examining the dynamics of work and cultural values with a focus on aging and gender as well as the cultural dimensions of offshore manufacturing, plus a commitment to understanding social behavior in global contexts and a devotion to encouraging students to use qualitative methods to think critically about the world around them. 2 A01 Adam Coppola Adam Coppola Adam Coppola is a technical trainer working in the software industry. While teaching the ins and outs of software, Adam incorporates lessons on how human needs and values shape technical systems and vice versa. Adam has worked in education and anthropology research, and he is inspired by critical theorists and human rights advocates. 01 eng 03 00 We visited a 150-year-old New England textile mill, taking a nighttime ghost tour of the Riverway mill and an adjoining abandoned mill that workers call “The Other Side.” The tour let us learn about many of the ghost stories that people at the mill tell each other. These ghost stories circulate in an area of the United States decimated by closures of mills and factories, where rates of unemployment, divorce, school leaving, addiction, and suicides run high. Global capitalism has shrunk the US textile business, and Riverway is no stranger to these global shifts: the mill has many fewer workers than it did in its heyday in the early 1970s and the mill next door shut down entirely. This chapter shows how past employees and their stories of work and livelihoods live in the walls, stairs, corners, and everyday stories of these two adjacent mills. 30 00 We visited a 150-year-old New England textile mill, taking a nighttime ghost tour of the Riverway mill and an adjoining abandoned mill that workers call “The Other Side.” The tour let us learn about many of the ghost stories that people at the mill tell each other. These ghost stories circulate in an area of the United States decimated by closures of mills and factories, where rates of unemployment, divorce, school leaving, addiction, and suicides run high. Global capitalism has shrunk the US textile business, and Riverway is no stranger to these global shifts: the mill has many fewer workers than it did in its heyday in the early 1970s and the mill next door shut down entirely. This chapter shows how past employees and their stories of work and livelihoods live in the walls, stairs, corners, and everyday stories of these two adjacent mills. 20 00 Open Access Caitrin Lynch, Adam Coppola 15 03 06 10.53288/0361.1.15 261 278 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Brand Your Monster 1 A01 21 0000000198087615 Matt Tomlinson Matt Tomlinson 40 019wvm592 Australian National University Matt Tomlinson is an anthropologist who studies language, religion, and politics with a focus on ritual performance. He has conducted long-term research in the Pacific Islands, especially Fiji, Samoa, and New Zealand. More recently, he has conducted fieldwork in Australia on the religion of Spiritualism. When not marketing the Jersey Devil as the most entertaining monster in the world, he teaches anthropology at the Australian National University. His most recent books are God Is Samoan: Dialogues Between Culture and Theology in the Pacific (University of Hawai‘i Press, 2020) and the edited volumes The Monologic Imagination (with Julian Millie, Oxford University Press, 2017) and New Mana: Transformations of a Classic Concept in Pacific Languages and Cultures (with Ty P. Kāwika Tengan, Australian National University Press, 2016). 01 eng 03 00 In the Monster Branding Seminar, you are taught how to make your monster break through to fame and fortune. Make your favorite beast become the It Monster – the one everyone loves and is terrified of at the same time. There are seven rules: Your monster needs a memorable name, an iconic look, and a good natural setting. Your monster cannot be too scary, but need to be just scary enough, and must have a touch of sex appeal. Crucially, your monster needs a sense of humor. Above all, your monster needs a special feature – the X factor that gets it onto shows like the X-Files. By taking your local monster and branding him, her, or it according to these rules, you will entertain the world and make scary amounts of money. 30 00 In the Monster Branding Seminar, you are taught how to make your monster break through to fame and fortune. Make your favorite beast become the It Monster – the one everyone loves and is terrified of at the same time. There are seven rules: Your monster needs a memorable name, an iconic look, and a good natural setting. Your monster cannot be too scary, but need to be just scary enough, and must have a touch of sex appeal. Crucially, your monster needs a sense of humor. Above all, your monster needs a special feature – the X factor that gets it onto shows like the X-Files. By taking your local monster and branding him, her, or it according to these rules, you will entertain the world and make scary amounts of money. 20 00 Open Access Matt Tomlinson 16 03 06 10.53288/0361.1.16 279 298 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Live with Aliens 1 A01 Susan Lepselter Susan Lepselter 40 02k40bc56 Indiana University Bloomington Susan Lepselter is Associate Professor of American Studies and Adjunct Associate Professor of Anthropology and Folklore at Indiana University Bloomington. She spent years interviewing people who told of their experiences with UFOs and aliens. Her book The Resonance of Unseen Things: Poetics, Power, Captivity and UFOs in the American Uncanny (University of Michigan Press, 2016) won the Society for Cultural Anthropology Bateson Prize of 2017. Currently, she is working on a book of poetry and prose about encounters between humans and animals. 01 eng 03 00 This partly satirical essay imagines a networking-style seminar for aliens and humans in the not-too-distant future. Three kinds of “aliens speak to their human audience: one, a hybrid between human and “little gray,” a type well known from narratives of alien abduction; a benevolent “Nordic” alien, a type popular in mid-twentieth century space lore; and finally a “reptilian,” the sinister alien type prevalent in much uncanny conspiracy theory. Listening to these alien speakers’ ideas on how to live with aliens reminds us, finally, that we must first live in more intentional ways with each other, and care for our own vulnerable Earth. 30 00 This partly satirical essay imagines a networking-style seminar for aliens and humans in the not-too-distant future. Three kinds of “aliens speak to their human audience: one, a hybrid between human and “little gray,” a type well known from narratives of alien abduction; a benevolent “Nordic” alien, a type popular in mid-twentieth century space lore; and finally a “reptilian,” the sinister alien type prevalent in much uncanny conspiracy theory. Listening to these alien speakers’ ideas on how to live with aliens reminds us, finally, that we must first live in more intentional ways with each other, and care for our own vulnerable Earth. 20 00 Open Access Susan Lepselter 17 03 06 10.53288/0361.1.17 299 308 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword 1 A01 21 0000000265737615 Stuart McLean Stuart McLean 40 017zqws13 University of Minnesota Stuart McLean was born in the United Kingdom and is of English and Scottish ancestry. He studied English literature at the University of Oxford and went on to complete a PhD in sociocultural anthropology at Columbia University. His interests include anthropologies beyond the human; art and visual culture; death and mortuary practices; experimental writing; landscape, environment, and place; time and memory. The regional focus of his work has been the maritime and island communities of North Atlantic Europe. His publications include The Event and its Terrors: Ireland, Famine, Modernity (Stanford University Press, 2004), Fictionalizing Anthropology: Encounters and Fabulations at the Edges of the Human (University of Minnesota Press, 2017), and Crumpled Paper Boat: Experiments in Ethnographic Writing (co-edited with Anand Pandian, Duke University Press, 2017). He is currently Professor of Anthropology and Global Studies at the University of Minnesota, Twin Cities. 01 eng 20 00 Open Access Stuart McLean 18 03 06 10.53288/0361.1.18 309 316 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University 2 B01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/living-with-monsters-ethnographic-fiction-about-real-monsters/ 16 40 05mmh0f86 32 10.13039/501100000923 Australian Research Council 01 programname Future Fellowship 01 grantnumber FT13010041 Earth, Milky Way 04 01 20230511 Gershon, Ilana Musharbash, Yasmine 02 WORLD 06 15 9781685710835 03 9781685710835 34 06 10.5406/jamerfolk.128.509.0333 34 06 10.29164/21monsters 34 06 10.1111/j.1555-2934.2008.00001.x 34 06 10.1111/johs.12224 34 06 10.2307/536768 34 06 10.1080/03085147300000003 34 06 10.1080/14623520601056240 34 06 10.1080/08164649.1997.9994862 34 06 10.1111/etho.12080 34 06 10.1086/448094 34 06 10.5325/preternature.6.1.0063 34 06 10.1111/jola.12177 34 06 10.1080/09555803.2019.1676291 34 06 10.1086/714424 34 06 10.2307/540021 34 06 10.2307/465071 34 06 10.1146/annurev.an.19.100190.000423 34 06 10.1353/jaf.0.0012 34 06 10.1017/asr.2014.51 34 06 10.1215/9780822380184-001 34 06 10.1525/ae.2001.28.4.803 34 06 10.1080/00141840801927558 34 06 10.1080/00141844.2011.598235 34 06 10.1086/672210 34 06 10.1177/00377686145473 34 06 10.1080/00664677.2011.652585 34 06 10.1080/00664677.2010.515293 34 06 10.1177/02632760022051202 34 06 10.1177/0037768614547337 34 06 10.1146/annurev.anthro.012809.104939 34 06 10.1016/S0271-5309(03)00017-X 34 06 10.1111/j.1548-1360.2012.01176.x 34 06 10.1111/etho.12072 34 06 10.3998/mpub.7172850 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710824 20 08 20230511 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/living-with-monsters-ethnographic-fiction-about-real-monsters 20 08 20230511 02 25.00 USD WORLD urn:uuid:06a40811-4dbe-4f45-ba25-2b9a28c38042 03 01 01 thoth-work-id urn:uuid:534c3d13-b18b-4be5-91e6-768c0cf09361 01 thoth-publication-id urn:uuid:06a40811-4dbe-4f45-ba25-2b9a28c38042 15 9781685710835 03 9781685710835 06 10.53288/0361.1.00 13 2023934594 01 internal-reference 0361 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Living with Monsters Ethnographic Fiction about Real Monsters 1 B01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is an Associate Professor and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with Geir Henning Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters (Routledge, 2020). 2 B01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University 40 01kg8sb98 Indiana University Ilana Gershon is a professor of anthropology at Rice University and studies how people use new media to accomplish complicated social tasks such as breaking up with lovers and hiring new employees. She has published books such as The Breakup 2.0: Disconnecting over New Media (Cornell University Press, 2010) and Down and Out in the New Economy: How People Find (or Don’t Find) Work Today (University of Chicago Press, 2017), and has edited two other volumes of ethnographic fiction on work and animals. She has been a fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences, at Notre Dame’s Institute for Advanced Study and is currently a visiting professor at the University of Helsinki. She will soon publish a book analyzing how working in person during a pandemic sheds light on the ways workplaces function as private governments. 01 eng 00 318 03 B2 Cultural Studies+Critical Theory 12 JHMC 93 JHMC 10 SOC002010 B2 Fabulations 10 FIC009120 12 JFHF 93 VXQM 93 JBGB 20 ethnographic fiction; monsters; teratology; human–monster relations; anthropology; the otherwise 01 06 02 00 03 00 For every generic type of monster—ghost, demon, vampire, dragon—there are countless locally specific manifestations, with their own names, traits, and appearances. Such monsters populate all corners of the globe haunting their humans wherever they live. Living with Monsters is a collection of fourteen short pieces of ethnographic fiction (and a more academically inclined introduction and afterword) presenting a playful, spirited, and engaging look at how people live with their respective monsters around the world. They focus on the nitty-gritty dos and don’ts of how to placate spirits in India; how to domesticate Georgian goblins, how to live with aliens, how to avoid being taken by Anito in Taiwan, while simultaneously illuminating the politics of monster–human relations.In this collection, anthropologists working in fieldsites as diverse as the urban Ghana, the rural US, remote Aboriginal Australia, and the internet present imaginative accounts that demonstrate how thinking with monsters encourages people to contemplate difference, to understand inequality, and to see the world from new angles. Combine monsters with experimental ethnography, and the result is a volume that crackles with creative energy, flouts traditions of ethnographic writing, and pushes anthropology into new terrains. 30 00 For every generic type of monster—ghost, demon, vampire, dragon—there are countless locally specific manifestations, with their own names, traits, and appearances. Such monsters populate all corners of the globe haunting their humans wherever they live. Living with Monsters is a collection of fourteen short pieces of ethnographic fiction (and a more academically inclined introduction and afterword) presenting a playful, spirited, and engaging look at how people live with their respective monsters around the world. They focus on the nitty-gritty dos and don’ts of how to placate spirits in India; how to domesticate Georgian goblins, how to live with aliens, how to avoid being taken by Anito in Taiwan, while simultaneously illuminating the politics of monster–human relations.In this collection, anthropologists working in fieldsites as diverse as the urban Ghana, the rural US, remote Aboriginal Australia, and the internet present imaginative accounts that demonstrate how thinking with monsters encourages people to contemplate difference, to understand inequality, and to see the world from new angles. Combine monsters with experimental ethnography, and the result is a volume that crackles with creative energy, flouts traditions of ethnographic writing, and pushes anthropology into new terrains. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0361.1.00_frontcover.jpg 1 03 06 10.53288/0361.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is an Associate Professor and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with Geir Henning Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters (Routledge, 2020). 2 B01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University Ilana Gershon is a professor of anthropology at Rice University and studies how people use new media to accomplish complicated social tasks such as breaking up with lovers and hiring new employees. She has published books such as The Breakup 2.0: Disconnecting over New Media (Cornell University Press, 2010) and Down and Out in the New Economy: How People Find (or Don’t Find) Work Today (University of Chicago Press, 2017), and has edited two other volumes of ethnographic fiction on work and animals. She has been a fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences, at Notre Dame’s Institute for Advanced Study and is currently a visiting professor at the University of Helsinki. She will soon publish a book analyzing how working in person during a pandemic sheds light on the ways workplaces function as private governments. 01 eng 20 00 Open Access 2 03 06 10.53288/0361.1.02 15 29 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Here Be Monsters 1 A01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is an Associate Professor and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with Geir Henning Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters (Routledge, 2020). 2 A01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University 40 01kg8sb98 Indiana University Ilana Gershon is a professor of anthropology at Rice University and studies how people use new media to accomplish complicated social tasks such as breaking up with lovers and hiring new employees. She has published books such as The Breakup 2.0: Disconnecting over New Media (Cornell University Press, 2010) and Down and Out in the New Economy: How People Find (or Don’t Find) Work Today (University of Chicago Press, 2017), and has edited two other volumes of ethnographic fiction on work and animals. She has been a fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences, at Notre Dame’s Institute for Advanced Study and is currently a visiting professor at the University of Helsinki. She will soon publish a book analyzing how working in person during a pandemic sheds light on the ways workplaces function as private governments. 01 eng 03 00 This introduction addresses how anthropological scholarship on monsters poses distinct epistemological challenges not shared by other humanities scholarship on monsters. Anthropologists are living among and writing about fieldwork interlocutors who believe that monstrous beings exist, when often their colleagues do not, placing anthropologists in an ontological bind. By turning to ethnographic fiction, anthropologists are able to explore a different scholarly stance towards this quandary. We discuss the ways in which monsters often are liminal beings both in time and in place. We outline how thinking alongside monsters allows a vantage point for criticizing contemporaneous power relationships and the lingering effects of colonialisms. 30 00 This introduction addresses how anthropological scholarship on monsters poses distinct epistemological challenges not shared by other humanities scholarship on monsters. Anthropologists are living among and writing about fieldwork interlocutors who believe that monstrous beings exist, when often their colleagues do not, placing anthropologists in an ontological bind. By turning to ethnographic fiction, anthropologists are able to explore a different scholarly stance towards this quandary. We discuss the ways in which monsters often are liminal beings both in time and in place. We outline how thinking alongside monsters allows a vantage point for criticizing contemporaneous power relationships and the lingering effects of colonialisms. 20 00 Open Access Yasmine Musharbash, Ilana Gershon 3 03 06 10.53288/0361.1.03 31 49 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Don't Say His Name 1 A01 21 0000000295747830 Cailín E. Murray Cailín E. Murray 40 00k6tx165 Ball State University Cailín Murray is Associate Professor of Anthropology at Ball State University in Muncie, Indiana. She received her MA and PhD in Cultural Anthropology from the University of Washington in 2001. In 2004 she completed a two-year Andrew W. Mellon Postdoctoral Fellowship at Wesleyan University in Connecticut and joined the Ball State faculty. Dr. Murray is an environmental ethnohistorian who studies Indigenous knowledge systems, settler colonialism, and the transformation of historical landscapes. She is particularly interested in how folklore, cultural memory, history, and foodways have informed how landscapes were used in the past and continue to construct and sustain attachments to place in the present. She regularly teaches an undergraduate course about monsters and culture. Dr. Murray has conducted ethnographic and ethnohistorical research primarily along the central Northwest Coast. She is currently researching twentieth-century witch accusations in the US and settler colonialism, religious beliefs, and historical gardening practices in the Great Lakes region. In 2019 she conducted preliminary research in Ireland and hopes to return there in order to explore Connemara’s shell fisheries. She has published in Ethnohistory and other scholarly journals and co-authored with Coll Thrush Phantom Past, Indigenous Presence: Native Ghosts in Culture and History (Nebraska University Press, 2011). 01 eng 03 00 Wild Man figures are found around the world and seem to always occupy a mythical and liminal space between culture and nature. Among the Native peoples of the Northwest Coast of North America, he is known by different names in various tribal languages. However, terms like Sasquatch or Bigfoot are used locally as a kind of generic reference. Since Indigenous peoples and settler colonial newcomers have reported encounters over the decades since contact, it is important to consider what resources each culture provides to help people make sense of their experiences. I wanted my story to reflect how these meanings shift and how confusing and consequential it can become when non-natives assume they understand tribal/First Nations’ beliefs and experiences based on their own. The character of Sarah illustrates how even well-meaning researchers often approach Indigenous beliefs from what the folklorist David Hufford calls “a tradition of disbelief.” In other words, what they know is truth and what others know is merely “belief.” The story allows readers to ponder the various characters’ actions and what they “know,” and thus, what “really” happened. 30 00 Wild Man figures are found around the world and seem to always occupy a mythical and liminal space between culture and nature. Among the Native peoples of the Northwest Coast of North America, he is known by different names in various tribal languages. However, terms like Sasquatch or Bigfoot are used locally as a kind of generic reference. Since Indigenous peoples and settler colonial newcomers have reported encounters over the decades since contact, it is important to consider what resources each culture provides to help people make sense of their experiences. I wanted my story to reflect how these meanings shift and how confusing and consequential it can become when non-natives assume they understand tribal/First Nations’ beliefs and experiences based on their own. The character of Sarah illustrates how even well-meaning researchers often approach Indigenous beliefs from what the folklorist David Hufford calls “a tradition of disbelief.” In other words, what they know is truth and what others know is merely “belief.” The story allows readers to ponder the various characters’ actions and what they “know,” and thus, what “really” happened. 20 00 Open Access Cailín E. Murray 4 03 06 10.53288/0361.1.04 51 66 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Advice for the Apparitionally Challenged A Ghost (Hunter) Story 1 A01 Misty L. Bastian Misty L. Bastian 40 04fp4ps48 Franklin & Marshall College Misty L. Bastian is the Lewis Audenreid Professor of History and Archaeology and Professor of Anthropology at Franklin & Marshall College. Her fieldsites include Nigeria, the USA, and the internet. She has researched mermaids, witches, Neo-Pentecostals, spirits, and ghost hunters, amongst many other topics. She is the author of numerous journal articles and chapters in edited volumes, as well as co-author (with Marc Matera and Susan Kingsley Kent) of The Women's War of 1929: Gender and Violence in Colonial Nigeria (Palgrave Macmillan, 2013). 01 eng 03 00 Katie, a professional paranormal researcher (a.k.a. ghost hunter) comes to the house of an anthropologist, who undertakes research with paranormal investigators. This time, however, Katie is not a research subject but is there to investigate the anthropologist’s own house – which may or may not be haunted. In the course of the investigation, we learn about how paranormal researchers go about their business, about the relationship between researcher and research subject, and about the anthropologist and her ghosts. 30 00 Katie, a professional paranormal researcher (a.k.a. ghost hunter) comes to the house of an anthropologist, who undertakes research with paranormal investigators. This time, however, Katie is not a research subject but is there to investigate the anthropologist’s own house – which may or may not be haunted. In the course of the investigation, we learn about how paranormal researchers go about their business, about the relationship between researcher and research subject, and about the anthropologist and her ghosts. 20 00 Open Access Misty L. Bastian 5 03 06 10.53288/0361.1.05 67 79 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Mare's Field Guide to Monsters in Iceland 1 A01 Mary Hawkins Mary Hawkins 40 03t52dk35 Western Sydney University Mary Hawkins is a Professor in the School of Social Sciences, Western Sydney University. Mary received her PhD in social anthropology from the University of Sydney and has conducted field research in Indonesia and Iceland. Her recent Iceland focused publications include Helena Onnudottir and Mary Hawkins, “Margt byr i Thokunni – What Dwells in the Mist?” in Monster Anthropology: Ethnographic Interpretations of Transforming Social Worlds Through Monsters (Bloomsbury Academic Press, 2020); and Mary Hawkins and Helena Onnudottir, “From Resurrection and New Dawn to the Pirate Party: Political Party Names as Symbolizing Recent Transformations in the Political Field in Iceland.” 2 A01 21 0000000207084900 Helena Onnudottir Helena Onnudottir 40 03t52dk35 Western Sydney University Helena Onnudottir is a Senior Lecturer in the School of Social Sciences, Western Sydney University. Helena received her PhD in social anthropology from Macquarie University and has conducted field research in Aboriginal Australia and Iceland. Her recent Iceland focused publications include Helena Onnudottir and Mary Hawkins, “Margt byr i Thokunni – What Dwells in the Mist?” In Monster Anthropology: Ethnographic Interpretations of Transforming Social Worlds Through Monsters (Bloomsbury Academic Press, 2020); Hawkins, Mary and Helena Onnudottir, “From Resurrection and New Dawn to the Pirate Party: Political Party Names as Symbolizing Recent Transformations in the Political Field in Iceland” (Politics, Religion and Ideology, 2018). 01 eng 03 00 Horses came to Iceland with the first settlers in the ninth century. Exploring Iceland was a joint venture between horse and human. Isolated from the horse populations of Europe, the Icelandic horse is recognized as a distinct breed, small in stature but powerfully built and possessing a fifth gait. Horses are useful in agriculture and as a primary means of transport, but equally they have been and still are companions and guides to humans, trusted to convey a half asleep, drunk farmer safely home from a barn dance. In the first few springs of a foal’s life, foal and their dams are released from their home paddocks into the mountains, where grasses and herbs grow and horses roam and forage freely. Horses thus learn their land and mountains, and they know where the path is treacherous and where it opens to a lush valley. It is said that if you are on horseback and lost, drop the reins, and let the horse lead because she will know the way. Horses also learn that the mist may hide dangerous creatures and that caution should be taken in the vicinity of elf dwellings and in the places where trolls may camp. Because of this, a horse is a fitting author of this field guide to Icelandic monsters. 30 00 Horses came to Iceland with the first settlers in the ninth century. Exploring Iceland was a joint venture between horse and human. Isolated from the horse populations of Europe, the Icelandic horse is recognized as a distinct breed, small in stature but powerfully built and possessing a fifth gait. Horses are useful in agriculture and as a primary means of transport, but equally they have been and still are companions and guides to humans, trusted to convey a half asleep, drunk farmer safely home from a barn dance. In the first few springs of a foal’s life, foal and their dams are released from their home paddocks into the mountains, where grasses and herbs grow and horses roam and forage freely. Horses thus learn their land and mountains, and they know where the path is treacherous and where it opens to a lush valley. It is said that if you are on horseback and lost, drop the reins, and let the horse lead because she will know the way. Horses also learn that the mist may hide dangerous creatures and that caution should be taken in the vicinity of elf dwellings and in the places where trolls may camp. Because of this, a horse is a fitting author of this field guide to Icelandic monsters. 20 00 Open Access Mary Hawkins, Helena Onnudottir 6 03 06 10.53288/0361.1.06 81 95 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Prowl 1 A01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University Yasmine Musharbash is Senior Lecturer and Head of Discipline (Anthropology) at the School of Archaeology & Anthropology at the Australian National University. She conducts participant, observation-based research with Warlpiri people in Central Australia with a particular focus on relations: among Warlpiri people on the one hand and between them and non-Indigenous people, fauna, flora, the elements, and monsters, on the other. She is the author of Yuendumu Everyday Contemporary Life in Remote Aboriginal Australia (Aboriginal Studies Press, 2008) and of a number of co-edited volumes, including two about monsters that she co-edited with GH Presterudstuen: Monster Anthropology in Australasia and Beyond (Palgrave Macmillan, 2014) and Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds Through Monsters (Routledge, 2020). 01 eng 03 00 Justin arrives in a remote Aboriginal town for his new job. Walpa is excited, she is going to start her first job as trainee at the local, Indigenous radio station. Old Makita has seen everything before. But then, Justin’s first workday unfolds differently than he anticipated when the town has to deal with a monster attack on one of their own. Variously observed from the perspectives of a male non-Indigenous professional, a young Aboriginal woman, and a senior law man, the presences of monsters and colonisers in the town take on different meanings, clash, diverge, as well as merge. As events unfold, the parallels between monsters and colonisers come into ever clearer focus, illustrating how expectations of knowledge circulation can conflict, and cause harm. 30 00 Justin arrives in a remote Aboriginal town for his new job. Walpa is excited, she is going to start her first job as trainee at the local, Indigenous radio station. Old Makita has seen everything before. But then, Justin’s first workday unfolds differently than he anticipated when the town has to deal with a monster attack on one of their own. Variously observed from the perspectives of a male non-Indigenous professional, a young Aboriginal woman, and a senior law man, the presences of monsters and colonisers in the town take on different meanings, clash, diverge, as well as merge. As events unfold, the parallels between monsters and colonisers come into ever clearer focus, illustrating how expectations of knowledge circulation can conflict, and cause harm. 20 00 Open Access Yasmine Musharbash 7 03 06 10.53288/0361.1.07 97 112 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Keep Off the 'Bad Things,' Uncle!" A Tao Child's Perspective on Anito Monsters on Lanyu Island, Taiwan 1 A01 Leberecht Funk Leberecht Funk 40 046ak2485 Freie Universität Berlin Leberecht Funk is a social and cultural anthropologist working in the field of psychological anthropology. In 2019 he obtained his PhD from the Freie Universität Berlin (Germany) for his work on the socialization of emotion among the Tao in Taiwan. He is interested in childhood and socialization, emotion, social relations, and Indigenous cosmologies. His regional focus is East Asia and Southeast Asia. He is the author of Ghosts of Childhood – Socialization of Emotions among the Tao in Taiwan which will be published by transcript in 2022 (in German). Currently he is working on project about “Feeding and the Formation of Social Relationships in Childhood,” which aims at showing that in many world regions it is not emotional intimacy but proactive caregiving which plays a leading role in attachment formation between children and their caregivers. 01 eng 03 00 How is it like to live with monsters on Lanyu island, Taiwan? In the course of one year, the author has a series of exchanges with a 9-year-old Indigenous Tao girl. She gives him advice how to deal with “bad things,” which is a euphemism for the local Anito monsters who delight in stealing human souls. The monsters, which are never actually encountered, are constantly lurking in the background. Their presence can be perceived by bad smells, unjustified angry reactions, intense negative emotionality, or by viewing a beautiful butterfly or hearing the call of an owl. The girl needs to be constantly aware about the changes in the environment. She has to avoid certain places (such as the cemetery) and stays at home when “bad things” occur (for example, a death in the village). She can never let herself go, as the Anito take advantage of any kind of weakness. For example, when she is in pain, she will not cry out loud. Occasionally she mentions other people from her kinship network, like her grandmother and her elder brother, and explains how they cope with the monsters, or, in the case of her grandfather, temporarily become monsters by means of possession. 30 00 How is it like to live with monsters on Lanyu island, Taiwan? In the course of one year, the author has a series of exchanges with a 9-year-old Indigenous Tao girl. She gives him advice how to deal with “bad things,” which is a euphemism for the local Anito monsters who delight in stealing human souls. The monsters, which are never actually encountered, are constantly lurking in the background. Their presence can be perceived by bad smells, unjustified angry reactions, intense negative emotionality, or by viewing a beautiful butterfly or hearing the call of an owl. The girl needs to be constantly aware about the changes in the environment. She has to avoid certain places (such as the cemetery) and stays at home when “bad things” occur (for example, a death in the village). She can never let herself go, as the Anito take advantage of any kind of weakness. For example, when she is in pain, she will not cry out loud. Occasionally she mentions other people from her kinship network, like her grandmother and her elder brother, and explains how they cope with the monsters, or, in the case of her grandfather, temporarily become monsters by means of possession. 20 00 Open Access Leberecht Funk 8 03 06 10.53288/0361.1.08 113 131 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hunting for Monsters (and Gods) The Making of an Anthropologist 1 A01 21 0000000276236517 Indira Arumugam Indira Arumugam 40 01tgyzw49 National University of Singapore Indira Arumugam is an anthropologist who works in Tamil Nadu, South India and among the Tamil Diaspora in Singapore and Southeast Asia. She is an Assistant Professor in the Department of Sociology and Anthropology at the National University of Singapore. Her research interests include vernacular political imaginaries, ritual theories and practices, intimate economics of (re)production, modalities of sacrality and monstrosity, play and pleasure and popular Hinduism. Her writings on animal sacrifice, divine agency, rituals, the gift, and kinship have appeared in leading journals of anthropology, religion, and Asian Studies. She is currently working on book on vernacular political theorizing entitled, Visceral Politics: Intimate Imaginaries of Power in South India. 01 eng 03 00 This chapter is about how hunting for monsters, and gods, has become part of how I do ethnographic fieldwork. The village of Vaduvur in Tamil Nadu, South India is where my family originates as well as where I was born and subsequently migrated from. Vaduvur is also my ethnographic field site. Beginning with how fieldwork for my dissertation on sacrificial rituals prompted memories about tales of uncanny fertility spirits called “Mini” told by my mother, this chapter considers how stories have framed the cultivation of an anthropological imagination and sensibility. Dwelling upon how stories constitute a particular village, its past, peoples and ambience, this chapter is specifically concerned with how monstrous beings or at least the myths about them allow for mapping, inhabiting, and staking claims to a place. Drawing both on my memories of the childhood stories and my experiences of doing fieldwork, this chapter relates how the different, manifold, and even contradictory stories about monsters represent competing stakes over a place. Monsters menace. However, they are part of the memories of and enduring moorings to a much-missed home. Monsters pulse with an uncanny charisma that fascinates across spaces, cultures, and time. 30 00 This chapter is about how hunting for monsters, and gods, has become part of how I do ethnographic fieldwork. The village of Vaduvur in Tamil Nadu, South India is where my family originates as well as where I was born and subsequently migrated from. Vaduvur is also my ethnographic field site. Beginning with how fieldwork for my dissertation on sacrificial rituals prompted memories about tales of uncanny fertility spirits called “Mini” told by my mother, this chapter considers how stories have framed the cultivation of an anthropological imagination and sensibility. Dwelling upon how stories constitute a particular village, its past, peoples and ambience, this chapter is specifically concerned with how monstrous beings or at least the myths about them allow for mapping, inhabiting, and staking claims to a place. Drawing both on my memories of the childhood stories and my experiences of doing fieldwork, this chapter relates how the different, manifold, and even contradictory stories about monsters represent competing stakes over a place. Monsters menace. However, they are part of the memories of and enduring moorings to a much-missed home. Monsters pulse with an uncanny charisma that fascinates across spaces, cultures, and time. 20 00 Open Access Indira Arumugam 9 03 06 10.53288/0361.1.09 133 151 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Domesticate a Georgian Goblin 1 A01 Paul Manning Paul Manning 40 03ygmq230 Trent University Paul Manning is a Professor of Anthropology at Trent University in Canada. He is the author of three books, Strangers in a Strange Land (Academic Studies Press, 2012); Semiotics of Drinks and Drinking (Continuum/Bloomsbury, 2012); and Love Stories Language, Private Love, and Public Romance in Georgia (University of Toronto Press, 2015). Among his other ethnographic projects, he has written on the “spectral migrations” of various kinds of folkloric monsters in time and space, from Georgian goblins moving from village to the city (2012, 2014, forthcoming), how Cornish mining spirits (knackers) became Transatlantic mining spirits called Tommyknockers (2005), how Cornish Pixies became part of British fairylore (2016), to North American ghosts, spiritualist seances, and “weird” fiction (2017, 2018, 2020, 2021). 01 eng 03 00 A fictionalized dialog assembled out of real folkloric narratives of various kinds, the paper acts as an overview of the various kinds of goblins in the folklore of the country of Georgia. A common motif of Georgian imaginings of human-goblin relationships revolves around whether the goblins are homeless (Chinkas, Alis) and therefore can be forcibly domesticated by cutting their unshorn hair or nails; or whether they have a home of their own somewhere (Kajis, Tqashmapa), in which case, they cannot be domesticated to become servants in your household. Each goblin type represents a kind of weird version of a known kind of human generic social other, and the imagined perilous social or sexual relationships one can have with them reveal anxieties about corresponding relationships with ordinary social others, particularly the very large number of female nymph-like spirits, which pointedly dwell on anxieties revolving around exogamous marriage to strangers and marriage by abduction. 30 00 A fictionalized dialog assembled out of real folkloric narratives of various kinds, the paper acts as an overview of the various kinds of goblins in the folklore of the country of Georgia. A common motif of Georgian imaginings of human-goblin relationships revolves around whether the goblins are homeless (Chinkas, Alis) and therefore can be forcibly domesticated by cutting their unshorn hair or nails; or whether they have a home of their own somewhere (Kajis, Tqashmapa), in which case, they cannot be domesticated to become servants in your household. Each goblin type represents a kind of weird version of a known kind of human generic social other, and the imagined perilous social or sexual relationships one can have with them reveal anxieties about corresponding relationships with ordinary social others, particularly the very large number of female nymph-like spirits, which pointedly dwell on anxieties revolving around exogamous marriage to strangers and marriage by abduction. 20 00 Open Access Paul Manning 10 03 06 10.53288/0361.1.10 153 173 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Kappa Manifesto 1 A01 21 0000000346647566 Michael Dylan Foster Michael Dylan Foster 40 05rrcem69 University of California, Davis Michael Dylan Foster is a professor in the Department of East Asian Languages and Cultures at the University of California, Davis. He is the author of The Book of Yōkai: Mysterious Creatures of Japanese Folklore (University of California Press, 2015), Pandemonium and Parade: Japanese Monsters and the Culture of Yōkai (University of California Press, 2009), and numerous articles on folklore, literature, media, and monsters. He also co-edited The Folkloresque: Reframing Folklore in a Popular Culture World (Utah State University Press, 2016) and UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage (Indiana University Press, 2015). His current project explores discourses of tourism and heritage as they relate to local festivals in Japan. 01 eng 03 00 This essay is written from the perspective of a Kappa, a mischievous and murderous Japanese water sprite. The text is the transcript of a commencement speech delivered by a senior Kappa historian to young Kappa at their graduation from university. While rehearsing the history of the Kappa species, the speaker demonstrates how Kappa have always been able to manipulate human desires for the survival of their own species. In this way, they have evolved from demonic water monsters to cute and seemingly harmless figures and mascots. Arguing that this evolution is strategic and has helped ensure the perpetuation of Kappa, even while other monsters have fallen by the wayside, the historian urges young Kappa to continue to be innovative in infiltrating human culture so that they may remain prominent in human imagination. Providing an introduction to specific historical changes Kappa have undergone within Japanese history, the essay also demonstrates the dynamics by which monstrous figures change through time. 30 00 This essay is written from the perspective of a Kappa, a mischievous and murderous Japanese water sprite. The text is the transcript of a commencement speech delivered by a senior Kappa historian to young Kappa at their graduation from university. While rehearsing the history of the Kappa species, the speaker demonstrates how Kappa have always been able to manipulate human desires for the survival of their own species. In this way, they have evolved from demonic water monsters to cute and seemingly harmless figures and mascots. Arguing that this evolution is strategic and has helped ensure the perpetuation of Kappa, even while other monsters have fallen by the wayside, the historian urges young Kappa to continue to be innovative in infiltrating human culture so that they may remain prominent in human imagination. Providing an introduction to specific historical changes Kappa have undergone within Japanese history, the essay also demonstrates the dynamics by which monstrous figures change through time. 20 00 Open Access Michael Dylan Foster 11 03 06 10.53288/0361.1.11 175 200 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Make (and Possibly Un-Make) a Digital Monster 1 A01 Jeffrey A. Tolbert Jeffrey A. Tolbert 40 04p491231 Pennsylvania State University Jeffrey A. Tolbert is professor of American Studies and Folklore at Penn State Harrisburg. His research focuses on vernacular belief and the supernatural, popular, and traditional cultures, and digital ethnography. He is particularly interested in understanding how contemporary people integrate supernatural belief and experience into their daily, technologically mediated lives. He is co-editor (with Michael Dylan Foster) of The Folkloresque: Reframing Folklore in a Popular Culture World (Utah State University Press, 2016). His current monograph project is an exploration of the role of folklore and the folkloresque in the horror genre. 01 eng 03 00 Digital monsters are not present in the “real” – in this case, non-digital – world in the same way as other supernatural creatures. These monsters are “born digital”; that is, they are created with digital tools within digital contexts (e.g., photo and video editors, websites), and are encountered in the genre of expressive culture now known as “Creepypasta,” transmedial, Internet-based narratives about scary, usually supernatural, things. The most famous digital monster is Slender Man, who, despite his fictional status, was cited as the inspiration for real-world acts of violence, most notably the attempted murder of a young girl in Wisconsin in 2014. Traceable to a single creator, but passing through a long, collaborative process of telling and retelling across various Internet fora and media, Slender Man embodies the emergent qualities of much Internet culture.The story of Mr. Top Hat presented here, framed as a series of blog posts by a fictional anthropologist and reader responses to them, attempts to represent the type of collaborative dynamic that produced and continually reproduces Slender Man. Like Slender Man, “Mr. Top Hat” is surrounded by ambiguity. Are aspects of his story real, despite the evidence of his fictional status? The anthropologist, Dr. Richard Morgan, starts off as a researcher of the social processes that give rise to Creepypasta, but quickly finds that there is more at stake than the creation of a story. 30 00 Digital monsters are not present in the “real” – in this case, non-digital – world in the same way as other supernatural creatures. These monsters are “born digital”; that is, they are created with digital tools within digital contexts (e.g., photo and video editors, websites), and are encountered in the genre of expressive culture now known as “Creepypasta,” transmedial, Internet-based narratives about scary, usually supernatural, things. The most famous digital monster is Slender Man, who, despite his fictional status, was cited as the inspiration for real-world acts of violence, most notably the attempted murder of a young girl in Wisconsin in 2014. Traceable to a single creator, but passing through a long, collaborative process of telling and retelling across various Internet fora and media, Slender Man embodies the emergent qualities of much Internet culture.The story of Mr. Top Hat presented here, framed as a series of blog posts by a fictional anthropologist and reader responses to them, attempts to represent the type of collaborative dynamic that produced and continually reproduces Slender Man. Like Slender Man, “Mr. Top Hat” is surrounded by ambiguity. Are aspects of his story real, despite the evidence of his fictional status? The anthropologist, Dr. Richard Morgan, starts off as a researcher of the social processes that give rise to Creepypasta, but quickly finds that there is more at stake than the creation of a story. 20 00 Open Access Jeffrey A. Tolbert 12 03 06 10.53288/0361.1.12 201 214 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Becoming a Sakawa Boy Magic and Modernity in Ghana 1 A01 Matthew Gmalifo Mabefam Matthew Gmalifo Mabefam 40 01ej9dk98 University of Melbourne Matthew Gmalifo Mabefam is a lecturer in Development Studies at the University of Melbourne, a Visiting Fellow at the Institute of Postcolonial Studies, and a Diaspora Fellow for African Research and Impact Network. His research focuses on the politics of international development, development in Africa, spirituality, religion, witchcraft, and wellbeing. He obtained his PhD in Anthropology and Development Studies from the University of Melbourne in 2021. 2 A01 Kalissa Alexeyeff Kalissa Alexeyeff 40 01ej9dk98 University of Melbourne Kalissa Alexeyeff is a senior lecturer in Gender Studies at the University of Melbourne. She specializes in the areas of gender and sexuality, globalization, and development. Her research covers a range of interdisciplinary topics. Her first book Dancing from the Heart: Movement, Gender and Cook Islands Globalization (University of Hawai‘i Press, 2009) explores the significance of dance to Cook Islands femininity throughout colonial history and in its contemporary global manifestations. She is co-editor with Niko Besnier of Gender on the Edge: Transgender, Gay, and Other Pacific Islanders (University of Hawai‘i Press, 2014) which explores alternative sexualities and gender identities in the Pacific region, and with John Taylor Touring Pacific Cultures (Australia National University Press, 2016), a creative collection of Indigenous and non-Indigenous responses to touring and tourism. 01 eng 03 00 Sakawa boys are young internet scammers in Ghana who believe “juju” or magic helps to manipulate their victims into giving them large sums of money. Sakawa boys are recruited primarily from the urban poor and their principal targets are Westerners via the internet. Economic insecurity and entrenched poverty resulting from government corruption, as well as neocolonial global development initiatives, all contribute to a setting where occult economies thrive. The promise of great wealth to be gained through occult sits alongside fear that “juju” turns its users into zombies and can ultimately lead to death. This paper explores the structure and logic of poverty that makes becoming a Sakawa boy a viable survival strategy despite the risks involved. 30 00 Sakawa boys are young internet scammers in Ghana who believe “juju” or magic helps to manipulate their victims into giving them large sums of money. Sakawa boys are recruited primarily from the urban poor and their principal targets are Westerners via the internet. Economic insecurity and entrenched poverty resulting from government corruption, as well as neocolonial global development initiatives, all contribute to a setting where occult economies thrive. The promise of great wealth to be gained through occult sits alongside fear that “juju” turns its users into zombies and can ultimately lead to death. This paper explores the structure and logic of poverty that makes becoming a Sakawa boy a viable survival strategy despite the risks involved. 20 00 Open Access Matthew Gmalifo Mabefam, Kalissa Alexeyeff 13 03 06 10.53288/0361.1.13 215 235 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Possession, in Four Voices 1 A01 Richard Davis Richard Davis Richard Davis has long anthropological experience working with Aboriginal and Torres Strait Islander peoples throughout Australia where he has published on gender (Indigenous Australian masculinities in particular), performance, the frontier, Indigenous epitathic writing, death, and knowledge. He has held academic positions at the Australian National University, University of Western Australia, Australian Institute of Aboriginal and Torres Strait Islanders, and Charles Darwin University. In addition, he has worked as a Senior Anthropologist at the Central Land Council, has advised both the Australian Federal Government and British Museum on protection and repatriation of Indigenous human remains, and prepared anthropological reports for Australian Native title claims. Alongside his academic research and teaching, he has expanded his ethnographic writing into poetry where he has explored issues of embodiment, encounter, and emplacement in fieldwork, publishing his poetry in Anthropology and Humanism, Westerly, and other books and journals. He is currently working as an academic anthropologist for the Australian government. 01 eng 03 00 This chapter links three kinds of possession across different cosmological worlds. The three possessions and cosmologies focus on Christian executive possession, as defined by Emma Cohen, snake ancestor possession at Saibai Island, northwest Torres Strait, and the dream possession of an anthropologist at the same island. Inspired by the multi-perspectivist work of Eduardo Viveiros de Castro and others, the story confers the same ontological status on monsters, spirits, and humans by allowing the possessed and the possessor their own voices. Through this ontological equivalence, two questions are explored in this story. Firstly, what might an immigrant spirit being from a colonising religion look like to an Indigenous spirit being, both of whom are possessing entities? Secondly, what does it mean to be caught up in the mythic fabric of another through the loss of the sovereignty of self-possession? These questions are pursued through a person-within-person narrative technique that allows culturally distinct understandings of evil, ecstasy, and love to be explored. 30 00 This chapter links three kinds of possession across different cosmological worlds. The three possessions and cosmologies focus on Christian executive possession, as defined by Emma Cohen, snake ancestor possession at Saibai Island, northwest Torres Strait, and the dream possession of an anthropologist at the same island. Inspired by the multi-perspectivist work of Eduardo Viveiros de Castro and others, the story confers the same ontological status on monsters, spirits, and humans by allowing the possessed and the possessor their own voices. Through this ontological equivalence, two questions are explored in this story. Firstly, what might an immigrant spirit being from a colonising religion look like to an Indigenous spirit being, both of whom are possessing entities? Secondly, what does it mean to be caught up in the mythic fabric of another through the loss of the sovereignty of self-possession? These questions are pursued through a person-within-person narrative technique that allows culturally distinct understandings of evil, ecstasy, and love to be explored. 20 00 Open Access Richard Davis 14 03 06 10.53288/0361.1.14 237 259 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ghost (Story) Hunters 1 A01 Caitrin Lynch Caitrin Lynch 40 000zamq06 Franklin W. Olin College of Engineering Caitrin Lynch is the Dean of Faculty and professor of anthropology at Olin College of Engineering. She is the author of two books, Retirement on the Line: Age, Work, and Value in An American Factory (Cornell University Press, 2012) and Juki Girls, Good Girls: Gender and Cultural Politics in Sri Lanka's Global Garment Industry (Cornell University Press, 2007). She also produced the documentary film, My Name is Julius. Her research and teaching passions include examining the dynamics of work and cultural values with a focus on aging and gender as well as the cultural dimensions of offshore manufacturing, plus a commitment to understanding social behavior in global contexts and a devotion to encouraging students to use qualitative methods to think critically about the world around them. 2 A01 Adam Coppola Adam Coppola Adam Coppola is a technical trainer working in the software industry. While teaching the ins and outs of software, Adam incorporates lessons on how human needs and values shape technical systems and vice versa. Adam has worked in education and anthropology research, and he is inspired by critical theorists and human rights advocates. 01 eng 03 00 We visited a 150-year-old New England textile mill, taking a nighttime ghost tour of the Riverway mill and an adjoining abandoned mill that workers call “The Other Side.” The tour let us learn about many of the ghost stories that people at the mill tell each other. These ghost stories circulate in an area of the United States decimated by closures of mills and factories, where rates of unemployment, divorce, school leaving, addiction, and suicides run high. Global capitalism has shrunk the US textile business, and Riverway is no stranger to these global shifts: the mill has many fewer workers than it did in its heyday in the early 1970s and the mill next door shut down entirely. This chapter shows how past employees and their stories of work and livelihoods live in the walls, stairs, corners, and everyday stories of these two adjacent mills. 30 00 We visited a 150-year-old New England textile mill, taking a nighttime ghost tour of the Riverway mill and an adjoining abandoned mill that workers call “The Other Side.” The tour let us learn about many of the ghost stories that people at the mill tell each other. These ghost stories circulate in an area of the United States decimated by closures of mills and factories, where rates of unemployment, divorce, school leaving, addiction, and suicides run high. Global capitalism has shrunk the US textile business, and Riverway is no stranger to these global shifts: the mill has many fewer workers than it did in its heyday in the early 1970s and the mill next door shut down entirely. This chapter shows how past employees and their stories of work and livelihoods live in the walls, stairs, corners, and everyday stories of these two adjacent mills. 20 00 Open Access Caitrin Lynch, Adam Coppola 15 03 06 10.53288/0361.1.15 261 278 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Brand Your Monster 1 A01 21 0000000198087615 Matt Tomlinson Matt Tomlinson 40 019wvm592 Australian National University Matt Tomlinson is an anthropologist who studies language, religion, and politics with a focus on ritual performance. He has conducted long-term research in the Pacific Islands, especially Fiji, Samoa, and New Zealand. More recently, he has conducted fieldwork in Australia on the religion of Spiritualism. When not marketing the Jersey Devil as the most entertaining monster in the world, he teaches anthropology at the Australian National University. His most recent books are God Is Samoan: Dialogues Between Culture and Theology in the Pacific (University of Hawai‘i Press, 2020) and the edited volumes The Monologic Imagination (with Julian Millie, Oxford University Press, 2017) and New Mana: Transformations of a Classic Concept in Pacific Languages and Cultures (with Ty P. Kāwika Tengan, Australian National University Press, 2016). 01 eng 03 00 In the Monster Branding Seminar, you are taught how to make your monster break through to fame and fortune. Make your favorite beast become the It Monster – the one everyone loves and is terrified of at the same time. There are seven rules: Your monster needs a memorable name, an iconic look, and a good natural setting. Your monster cannot be too scary, but need to be just scary enough, and must have a touch of sex appeal. Crucially, your monster needs a sense of humor. Above all, your monster needs a special feature – the X factor that gets it onto shows like the X-Files. By taking your local monster and branding him, her, or it according to these rules, you will entertain the world and make scary amounts of money. 30 00 In the Monster Branding Seminar, you are taught how to make your monster break through to fame and fortune. Make your favorite beast become the It Monster – the one everyone loves and is terrified of at the same time. There are seven rules: Your monster needs a memorable name, an iconic look, and a good natural setting. Your monster cannot be too scary, but need to be just scary enough, and must have a touch of sex appeal. Crucially, your monster needs a sense of humor. Above all, your monster needs a special feature – the X factor that gets it onto shows like the X-Files. By taking your local monster and branding him, her, or it according to these rules, you will entertain the world and make scary amounts of money. 20 00 Open Access Matt Tomlinson 16 03 06 10.53288/0361.1.16 279 298 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Live with Aliens 1 A01 Susan Lepselter Susan Lepselter 40 02k40bc56 Indiana University Bloomington Susan Lepselter is Associate Professor of American Studies and Adjunct Associate Professor of Anthropology and Folklore at Indiana University Bloomington. She spent years interviewing people who told of their experiences with UFOs and aliens. Her book The Resonance of Unseen Things: Poetics, Power, Captivity and UFOs in the American Uncanny (University of Michigan Press, 2016) won the Society for Cultural Anthropology Bateson Prize of 2017. Currently, she is working on a book of poetry and prose about encounters between humans and animals. 01 eng 03 00 This partly satirical essay imagines a networking-style seminar for aliens and humans in the not-too-distant future. Three kinds of “aliens speak to their human audience: one, a hybrid between human and “little gray,” a type well known from narratives of alien abduction; a benevolent “Nordic” alien, a type popular in mid-twentieth century space lore; and finally a “reptilian,” the sinister alien type prevalent in much uncanny conspiracy theory. Listening to these alien speakers’ ideas on how to live with aliens reminds us, finally, that we must first live in more intentional ways with each other, and care for our own vulnerable Earth. 30 00 This partly satirical essay imagines a networking-style seminar for aliens and humans in the not-too-distant future. Three kinds of “aliens speak to their human audience: one, a hybrid between human and “little gray,” a type well known from narratives of alien abduction; a benevolent “Nordic” alien, a type popular in mid-twentieth century space lore; and finally a “reptilian,” the sinister alien type prevalent in much uncanny conspiracy theory. Listening to these alien speakers’ ideas on how to live with aliens reminds us, finally, that we must first live in more intentional ways with each other, and care for our own vulnerable Earth. 20 00 Open Access Susan Lepselter 17 03 06 10.53288/0361.1.17 299 308 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword 1 A01 21 0000000265737615 Stuart McLean Stuart McLean 40 017zqws13 University of Minnesota Stuart McLean was born in the United Kingdom and is of English and Scottish ancestry. He studied English literature at the University of Oxford and went on to complete a PhD in sociocultural anthropology at Columbia University. His interests include anthropologies beyond the human; art and visual culture; death and mortuary practices; experimental writing; landscape, environment, and place; time and memory. The regional focus of his work has been the maritime and island communities of North Atlantic Europe. His publications include The Event and its Terrors: Ireland, Famine, Modernity (Stanford University Press, 2004), Fictionalizing Anthropology: Encounters and Fabulations at the Edges of the Human (University of Minnesota Press, 2017), and Crumpled Paper Boat: Experiments in Ethnographic Writing (co-edited with Anand Pandian, Duke University Press, 2017). He is currently Professor of Anthropology and Global Studies at the University of Minnesota, Twin Cities. 01 eng 20 00 Open Access Stuart McLean 18 03 06 10.53288/0361.1.18 309 316 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000157009047 Yasmine Musharbash Yasmine Musharbash 40 019wvm592 Australian National University 2 B01 21 0000000304470694 Ilana Gershon Ilana Gershon 40 008zs3103 Rice University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/living-with-monsters-ethnographic-fiction-about-real-monsters/ 16 40 05mmh0f86 32 10.13039/501100000923 Australian Research Council 01 programname Future Fellowship 01 grantnumber FT13010041 Earth, Milky Way 04 01 20230511 Gershon, Ilana Musharbash, Yasmine 02 WORLD 06 15 9781685710828 03 9781685710828 34 06 10.5406/jamerfolk.128.509.0333 34 06 10.29164/21monsters 34 06 10.1111/j.1555-2934.2008.00001.x 34 06 10.1111/johs.12224 34 06 10.2307/536768 34 06 10.1080/03085147300000003 34 06 10.1080/14623520601056240 34 06 10.1080/08164649.1997.9994862 34 06 10.1111/etho.12080 34 06 10.1086/448094 34 06 10.5325/preternature.6.1.0063 34 06 10.1111/jola.12177 34 06 10.1080/09555803.2019.1676291 34 06 10.1086/714424 34 06 10.2307/540021 34 06 10.2307/465071 34 06 10.1146/annurev.an.19.100190.000423 34 06 10.1353/jaf.0.0012 34 06 10.1017/asr.2014.51 34 06 10.1215/9780822380184-001 34 06 10.1525/ae.2001.28.4.803 34 06 10.1080/00141840801927558 34 06 10.1080/00141844.2011.598235 34 06 10.1086/672210 34 06 10.1177/00377686145473 34 06 10.1080/00664677.2011.652585 34 06 10.1080/00664677.2010.515293 34 06 10.1177/02632760022051202 34 06 10.1177/0037768614547337 34 06 10.1146/annurev.anthro.012809.104939 34 06 10.1016/S0271-5309(03)00017-X 34 06 10.1111/j.1548-1360.2012.01176.x 34 06 10.1111/etho.12072 34 06 10.3998/mpub.7172850 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/62933 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/62933/0361.1.00.pdf?sequence=1&isAllowed=y 20 08 20230511 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99971 20 08 20230511 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.4391391 20 08 20230511 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/360 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/82d22466-61df-4cb3-b180-9636ab33c805/download 20 08 20230511 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Living_with_Monsters/4CXHEAAAQBAJ 20 08 20230511 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/534c3d13-b18b-4be5-91e6-768c0cf09361 29 INTERNET_ARCHIVE: download the title https://archive.org/download/534c3d13-b18b-4be5-91e6-768c0cf09361/534c3d13-b18b-4be5-91e6-768c0cf09361.pdf 20 08 20230511 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849822 29 ZENODO: download the title https://zenodo.org/records/19849822/files/534c3d13-b18b-4be5-91e6-768c0cf09361_book.pdf 20 08 20230511 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/living-with-monsters-ethnographic-fiction-about-real-monsters/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0361.1.00.pdf 20 08 20230511 01 urn:uuid:5a5ad128-4648-4e40-b1c1-6d00d48b32ed 03 01 01 thoth-work-id urn:uuid:636a5aa6-1d37-4cd2-8742-4dcad8c67e0c 01 thoth-publication-id urn:uuid:5a5ad128-4648-4e40-b1c1-6d00d48b32ed 15 9781953035141 03 9781953035141 06 10.21983/P3.0297.1.00 13 2020947355 01 internal-reference 0297 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Love Don't Need a Reason The Life & Music of Michael Callen 1 A01 21 0000000297076655 Matthew J. Jones Matthew J. Jones 40 0153tk833 University of Virginia 01 eng 00 372 03 12 BGF 10 BIO004000 93 DNBF B2 Sound+Noise 93 JBSJ 12 JFSK2 10 SOC012000 B2 TransQueer 93 5PSG 12 MJCJ2 93 MJCJ2 20 Michael Callen; HIV/AIDS; Popular Music; LGBTQ History; LGBTQ Activism 01 06 02 00 03 00 From a stage erected in front of the US Capitol, on April 25, 1993, Michael Callen surveyed the throng: an estimated one million people stretched across the National Mall in the largest public demonstration of queer political solidarity in history. “What a sight,” he told the crowd, his earnest Midwestern twang reverberating through loudspeakers. “You’re a sight for sore eyes. Being gay is the greatest gift I have ever been given, and I don’t care who knows about it.” He then launched into a gorgeous rendition of “Love Don’t Need a Reason,” the AIDS anthem he composed with Marsha Malamet and the late Peter Allen. As Callen finished singing, people stood cheering and flashing the familiar American Sign Language symbol for “I Love You.” For they knew the song’s sentiment rang true for Callen, who had recently announced his retirement from music and activism after a living for more than a decade with what was then called “full-blown AIDS.” After the March on Washington, Callen returned to his recently adopted West Coast home, Los Angeles. In the ensuing months, his health rapidly declined, and on 27 December 1993, Callen died of AIDS-related pulmonary Kaposi’s sarcoma.Love Don’t Need a Reason focuses on Callen’s most important and lasting legacy: his music. A witness to the overlooked last years of Gay Liberation and a major figure in the early years of the AIDS crisis, Michael Callen chronicled these experiences in song. A community organizer, activist, author, and architect of the AIDS self-empowerment movement, he literally changed the way we have sex in an epidemic when he co-authored one of the first safe-sex guides in 1983. A gifted singer, songwriter, and performer, he also made gay music for gay people and used music to educate and empower people with AIDS. Listening again to his music allows us to hear the shifting dynamics of American families, changing notions of masculinity, gay migration to urban areas, the sexual politics of Gay Liberation, and HIV/AIDS activism. Using extensive archival materials and newly-conducted oral history interviews with Callen’s friends, family, and fellow musicians, Matthew J. Jones reintroduces Callen to the history of LGBTQIA+ music and places Callen’s music at the center of his important activist work. 30 00 From a stage erected in front of the US Capitol, on April 25, 1993, Michael Callen surveyed the throng: an estimated one million people stretched across the National Mall in the largest public demonstration of queer political solidarity in history. “What a sight,” he told the crowd, his earnest Midwestern twang reverberating through loudspeakers. “You’re a sight for sore eyes. Being gay is the greatest gift I have ever been given, and I don’t care who knows about it.” He then launched into a gorgeous rendition of “Love Don’t Need a Reason,” the AIDS anthem he composed with Marsha Malamet and the late Peter Allen. As Callen finished singing, people stood cheering and flashing the familiar American Sign Language symbol for “I Love You.” For they knew the song’s sentiment rang true for Callen, who had recently announced his retirement from music and activism after a living for more than a decade with what was then called “full-blown AIDS.” After the March on Washington, Callen returned to his recently adopted West Coast home, Los Angeles. In the ensuing months, his health rapidly declined, and on 27 December 1993, Callen died of AIDS-related pulmonary Kaposi’s sarcoma.Love Don’t Need a Reason focuses on Callen’s most important and lasting legacy: his music. A witness to the overlooked last years of Gay Liberation and a major figure in the early years of the AIDS crisis, Michael Callen chronicled these experiences in song. A community organizer, activist, author, and architect of the AIDS self-empowerment movement, he literally changed the way we have sex in an epidemic when he co-authored one of the first safe-sex guides in 1983. A gifted singer, songwriter, and performer, he also made gay music for gay people and used music to educate and empower people with AIDS. Listening again to his music allows us to hear the shifting dynamics of American families, changing notions of masculinity, gay migration to urban areas, the sexual politics of Gay Liberation, and HIV/AIDS activism. Using extensive archival materials and newly-conducted oral history interviews with Callen’s friends, family, and fellow musicians, Matthew J. Jones reintroduces Callen to the history of LGBTQIA+ music and places Callen’s music at the center of his important activist work. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0297.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/love-dont-need-a-reason-the-life-music-of-michael-callen/ Earth, Milky Way 04 01 20201105 Jones, Matthew J. (0000-0002-9707-6655) 02 WORLD 06 15 9781953035158 03 9781953035158 34 06 10.1136/sti.2007.026245 34 06 10.1093/oxfordhb/9780199793525.013.100 34 06 10.1017/S1752196316000341 34 06 10.1353/wam.2017.001 34 06 10.1111/jpms.12168 34 06 10.2307/2928520 34 06 10.1016/s0140-6736(82)92177-8 34 06 10.1215/10642684-2-3-253 34 06 10.1001/archpsyc.1986.01800080094012 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035140 20 08 20201105 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/love-dont-need-a-reason-the-life-music-of-michael-callen 20 08 20201105 02 27.00 USD WORLD urn:uuid:2ce1910e-3f6e-454c-b9ea-ec9447604198 03 01 01 thoth-work-id urn:uuid:636a5aa6-1d37-4cd2-8742-4dcad8c67e0c 01 thoth-publication-id urn:uuid:2ce1910e-3f6e-454c-b9ea-ec9447604198 15 9781953035158 03 9781953035158 06 10.21983/P3.0297.1.00 13 2020947355 01 internal-reference 0297 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Love Don't Need a Reason The Life & Music of Michael Callen 1 A01 21 0000000297076655 Matthew J. Jones Matthew J. Jones 40 0153tk833 University of Virginia 01 eng 00 372 03 12 BGF 10 BIO004000 93 DNBF B2 Sound+Noise 93 JBSJ 12 JFSK2 10 SOC012000 B2 TransQueer 93 5PSG 12 MJCJ2 93 MJCJ2 20 Michael Callen; HIV/AIDS; Popular Music; LGBTQ History; LGBTQ Activism 01 06 02 00 03 00 From a stage erected in front of the US Capitol, on April 25, 1993, Michael Callen surveyed the throng: an estimated one million people stretched across the National Mall in the largest public demonstration of queer political solidarity in history. “What a sight,” he told the crowd, his earnest Midwestern twang reverberating through loudspeakers. “You’re a sight for sore eyes. Being gay is the greatest gift I have ever been given, and I don’t care who knows about it.” He then launched into a gorgeous rendition of “Love Don’t Need a Reason,” the AIDS anthem he composed with Marsha Malamet and the late Peter Allen. As Callen finished singing, people stood cheering and flashing the familiar American Sign Language symbol for “I Love You.” For they knew the song’s sentiment rang true for Callen, who had recently announced his retirement from music and activism after a living for more than a decade with what was then called “full-blown AIDS.” After the March on Washington, Callen returned to his recently adopted West Coast home, Los Angeles. In the ensuing months, his health rapidly declined, and on 27 December 1993, Callen died of AIDS-related pulmonary Kaposi’s sarcoma.Love Don’t Need a Reason focuses on Callen’s most important and lasting legacy: his music. A witness to the overlooked last years of Gay Liberation and a major figure in the early years of the AIDS crisis, Michael Callen chronicled these experiences in song. A community organizer, activist, author, and architect of the AIDS self-empowerment movement, he literally changed the way we have sex in an epidemic when he co-authored one of the first safe-sex guides in 1983. A gifted singer, songwriter, and performer, he also made gay music for gay people and used music to educate and empower people with AIDS. Listening again to his music allows us to hear the shifting dynamics of American families, changing notions of masculinity, gay migration to urban areas, the sexual politics of Gay Liberation, and HIV/AIDS activism. Using extensive archival materials and newly-conducted oral history interviews with Callen’s friends, family, and fellow musicians, Matthew J. Jones reintroduces Callen to the history of LGBTQIA+ music and places Callen’s music at the center of his important activist work. 30 00 From a stage erected in front of the US Capitol, on April 25, 1993, Michael Callen surveyed the throng: an estimated one million people stretched across the National Mall in the largest public demonstration of queer political solidarity in history. “What a sight,” he told the crowd, his earnest Midwestern twang reverberating through loudspeakers. “You’re a sight for sore eyes. Being gay is the greatest gift I have ever been given, and I don’t care who knows about it.” He then launched into a gorgeous rendition of “Love Don’t Need a Reason,” the AIDS anthem he composed with Marsha Malamet and the late Peter Allen. As Callen finished singing, people stood cheering and flashing the familiar American Sign Language symbol for “I Love You.” For they knew the song’s sentiment rang true for Callen, who had recently announced his retirement from music and activism after a living for more than a decade with what was then called “full-blown AIDS.” After the March on Washington, Callen returned to his recently adopted West Coast home, Los Angeles. In the ensuing months, his health rapidly declined, and on 27 December 1993, Callen died of AIDS-related pulmonary Kaposi’s sarcoma.Love Don’t Need a Reason focuses on Callen’s most important and lasting legacy: his music. A witness to the overlooked last years of Gay Liberation and a major figure in the early years of the AIDS crisis, Michael Callen chronicled these experiences in song. A community organizer, activist, author, and architect of the AIDS self-empowerment movement, he literally changed the way we have sex in an epidemic when he co-authored one of the first safe-sex guides in 1983. A gifted singer, songwriter, and performer, he also made gay music for gay people and used music to educate and empower people with AIDS. Listening again to his music allows us to hear the shifting dynamics of American families, changing notions of masculinity, gay migration to urban areas, the sexual politics of Gay Liberation, and HIV/AIDS activism. Using extensive archival materials and newly-conducted oral history interviews with Callen’s friends, family, and fellow musicians, Matthew J. Jones reintroduces Callen to the history of LGBTQIA+ music and places Callen’s music at the center of his important activist work. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0297.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/love-dont-need-a-reason-the-life-music-of-michael-callen/ Earth, Milky Way 04 01 20201105 Jones, Matthew J. (0000-0002-9707-6655) 02 WORLD 06 15 9781953035141 03 9781953035141 34 06 10.1136/sti.2007.026245 34 06 10.1093/oxfordhb/9780199793525.013.100 34 06 10.1017/S1752196316000341 34 06 10.1353/wam.2017.001 34 06 10.1111/jpms.12168 34 06 10.2307/2928520 34 06 10.1016/s0140-6736(82)92177-8 34 06 10.1215/10642684-2-3-253 34 06 10.1001/archpsyc.1986.01800080094012 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/42797 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/42797/0297.1.00.pdf 20 08 20201105 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37034 20 08 20201105 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354000 20 08 20201105 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/648 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/623007b2-96cf-4dba-9244-1ed874737902/download 20 08 20201105 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/636a5aa6-1d37-4cd2-8742-4dcad8c67e0c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/636a5aa6-1d37-4cd2-8742-4dcad8c67e0c/636a5aa6-1d37-4cd2-8742-4dcad8c67e0c.pdf 20 08 20201105 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848560 29 ZENODO: download the title https://zenodo.org/records/19848560/files/636a5aa6-1d37-4cd2-8742-4dcad8c67e0c_book.pdf 20 08 20201105 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/love-dont-need-a-reason-the-life-music-of-michael-callen/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0297.1.00.pdf 20 08 20201105 01 urn:uuid:37006c88-6e73-42c6-864e-72f38b77fdd5 03 01 01 thoth-work-id urn:uuid:6dcf29ea-76c1-4121-ad7f-2341574c45fe 01 thoth-publication-id urn:uuid:37006c88-6e73-42c6-864e-72f38b77fdd5 15 9781947447127 03 9781947447127 06 10.21983/P3.0177.1.00 13 2017951816 01 internal-reference 0177 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Luminol Theory 1 A01 Laura E. Joyce Laura E. Joyce 40 026k5mg93 University of East Anglia 01 eng 00 138 03 B2 Cultural Studies+Critical Theory 93 JKVF1 10 SOC004000 93 DSBJ 93 DNXC 20 criminology; crime studies; forensic anthropology; horror; true crime 01 06 02 00 03 00 Representations of forensic procedures saturate popular culture in both fiction and true crime. One of the most striking forensic tools used in these narratives is the chemical luminol, so named because it glows an eerie greenish-blue when it comes into contact with the tiniest drops of human blood.Luminol is a deeply ambivalent object: it is both a tool of the police, historically abused and misappropriated, and yet it offers hope to families of victims by allowing hidden crimes to surface. Forensic enquiry can exonerate those falsely accused of crimes, and yet the rise of forensic science is synonymous with the development of the deeply racist ‘science’ of eugenics.Luminol Theory investigates the possibility of using a tool of the state in subversive, or radical, ways. By introducing luminol as an agent of forensic inquiry, Luminol Theory approaches the exploratory stages that a crime scene investigation might take, exploring experimental literature as though these texts were ‘crime scenes’ in order to discover what this deeply strange object can tell us about crime, death, and history, to make visible violent crimes, and to offer a tangible encounter with death and finitude. At the luminol-drenched crime scene, flashes of illumination throw up words, sentences, and fragments that offer luminous, strange glimpses, bobbing up from below their polished surfaces. When luminol shines its light, it reveals, it is magical, it is prescient, and it has a nasty allure 30 00 Representations of forensic procedures saturate popular culture in both fiction and true crime. One of the most striking forensic tools used in these narratives is the chemical luminol, so named because it glows an eerie greenish-blue when it comes into contact with the tiniest drops of human blood.Luminol is a deeply ambivalent object: it is both a tool of the police, historically abused and misappropriated, and yet it offers hope to families of victims by allowing hidden crimes to surface. Forensic enquiry can exonerate those falsely accused of crimes, and yet the rise of forensic science is synonymous with the development of the deeply racist ‘science’ of eugenics.Luminol Theory investigates the possibility of using a tool of the state in subversive, or radical, ways. By introducing luminol as an agent of forensic inquiry, Luminol Theory approaches the exploratory stages that a crime scene investigation might take, exploring experimental literature as though these texts were ‘crime scenes’ in order to discover what this deeply strange object can tell us about crime, death, and history, to make visible violent crimes, and to offer a tangible encounter with death and finitude. At the luminol-drenched crime scene, flashes of illumination throw up words, sentences, and fragments that offer luminous, strange glimpses, bobbing up from below their polished surfaces. When luminol shines its light, it reveals, it is magical, it is prescient, and it has a nasty allure 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0177.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/luminol-theory/ Earth, Milky Way 04 01 20170824 Joyce, Laura E. 02 WORLD 06 15 9781947447134 03 9781947447134 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447122 20 08 20170824 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/luminol-theory 20 08 20170824 02 22.00 USD WORLD urn:uuid:08e150c5-82b3-4d92-8585-5db9ad729711 03 01 01 thoth-work-id urn:uuid:6dcf29ea-76c1-4121-ad7f-2341574c45fe 01 thoth-publication-id urn:uuid:08e150c5-82b3-4d92-8585-5db9ad729711 15 9781947447134 03 9781947447134 06 10.21983/P3.0177.1.00 13 2017951816 01 internal-reference 0177 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Luminol Theory 1 A01 Laura E. Joyce Laura E. Joyce 40 026k5mg93 University of East Anglia 01 eng 00 138 03 B2 Cultural Studies+Critical Theory 93 JKVF1 10 SOC004000 93 DSBJ 93 DNXC 20 criminology; crime studies; forensic anthropology; horror; true crime 01 06 02 00 03 00 Representations of forensic procedures saturate popular culture in both fiction and true crime. One of the most striking forensic tools used in these narratives is the chemical luminol, so named because it glows an eerie greenish-blue when it comes into contact with the tiniest drops of human blood.Luminol is a deeply ambivalent object: it is both a tool of the police, historically abused and misappropriated, and yet it offers hope to families of victims by allowing hidden crimes to surface. Forensic enquiry can exonerate those falsely accused of crimes, and yet the rise of forensic science is synonymous with the development of the deeply racist ‘science’ of eugenics.Luminol Theory investigates the possibility of using a tool of the state in subversive, or radical, ways. By introducing luminol as an agent of forensic inquiry, Luminol Theory approaches the exploratory stages that a crime scene investigation might take, exploring experimental literature as though these texts were ‘crime scenes’ in order to discover what this deeply strange object can tell us about crime, death, and history, to make visible violent crimes, and to offer a tangible encounter with death and finitude. At the luminol-drenched crime scene, flashes of illumination throw up words, sentences, and fragments that offer luminous, strange glimpses, bobbing up from below their polished surfaces. When luminol shines its light, it reveals, it is magical, it is prescient, and it has a nasty allure 30 00 Representations of forensic procedures saturate popular culture in both fiction and true crime. One of the most striking forensic tools used in these narratives is the chemical luminol, so named because it glows an eerie greenish-blue when it comes into contact with the tiniest drops of human blood.Luminol is a deeply ambivalent object: it is both a tool of the police, historically abused and misappropriated, and yet it offers hope to families of victims by allowing hidden crimes to surface. Forensic enquiry can exonerate those falsely accused of crimes, and yet the rise of forensic science is synonymous with the development of the deeply racist ‘science’ of eugenics.Luminol Theory investigates the possibility of using a tool of the state in subversive, or radical, ways. By introducing luminol as an agent of forensic inquiry, Luminol Theory approaches the exploratory stages that a crime scene investigation might take, exploring experimental literature as though these texts were ‘crime scenes’ in order to discover what this deeply strange object can tell us about crime, death, and history, to make visible violent crimes, and to offer a tangible encounter with death and finitude. At the luminol-drenched crime scene, flashes of illumination throw up words, sentences, and fragments that offer luminous, strange glimpses, bobbing up from below their polished surfaces. When luminol shines its light, it reveals, it is magical, it is prescient, and it has a nasty allure 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0177.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/luminol-theory/ Earth, Milky Way 04 01 20170824 Joyce, Laura E. 02 WORLD 06 15 9781947447127 03 9781947447127 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66792 20 08 20170824 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25451 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25451/1004644.pdf?sequence=1&isAllowed=y 20 08 20170824 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30337 20 08 20170824 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353830 20 08 20170824 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/561 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/377847f5-b31e-4465-a1be-885b8c93e39a/download 20 08 20170824 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6dcf29ea-76c1-4121-ad7f-2341574c45fe 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6dcf29ea-76c1-4121-ad7f-2341574c45fe/6dcf29ea-76c1-4121-ad7f-2341574c45fe.pdf 20 08 20170824 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847003 29 ZENODO: download the title https://zenodo.org/records/19847003/files/6dcf29ea-76c1-4121-ad7f-2341574c45fe_book.pdf 20 08 20170824 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/luminol-theory/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0177.1.00.pdf 20 08 20170824 01 urn:uuid:664e539e-b8b8-4b69-9e0a-47d83fa7ddc0 03 01 01 thoth-work-id urn:uuid:ed96eea8-82c6-46c5-a19b-dad5e45962c6 01 thoth-publication-id urn:uuid:664e539e-b8b8-4b69-9e0a-47d83fa7ddc0 15 9780988234048 03 9780988234048 06 10.21983/P3.0136.1.00 01 internal-reference 0136 00 BC 10 01 279 mm 01 27.9 cm 01 11 in 02 216 mm 02 21.6 cm 02 8.5 in 03 17 mm 03 1.7 cm 03 0.65 in 08 281 gr 08 9.9 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Make and Let Die Untimely Sovereignties 1 A01 Kathleen Biddick Kathleen Biddick 40 00kx1jb78 Temple University 2 A15 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 00 258 03 B2 Cultural Studies+Critical Theory 93 DSBB 12 HPCF 10 PHI019000 B2 History 93 QDHR7 93 DSA B2 Premodern 20 biopolitics; medieval history; political theology; historiography; criticial theory 01 06 02 00 03 00 This collection of essays by one of medieval studies’ most brilliant historians argues that the analysis and critique of biopower, as conventionally defined by Michel Foucault and then widely assumed in much contemporary theory of sovereignty, is a sovereign mode of temporalization caught up in the very time-machine it ostensibly seeks to expose and dismantle.For Michel Foucault, biopower (epitomized in his maxim “to make live and to let die”) is the defining sign of the modern, and he famously argued that the task of political philosophy was to cut off the head of the classical (premodern) sovereign, the one “who made die and let live.” Entrapped by his supersessionary thinking on the question, Foucault argued that the maxim of “to make live and let die” of modern sovereignty superseded a premodern sovereignty characterized by the contrasting power “to make die and let live.”The essays collected in Biddick’s book (some reprinted and some published here for the first time) argue that Foucault spoke too soon about the supposed “then” of the classical sovereign and the modern “now,” and this became painfully apparent in his analysis of Nazism in his later lectures, Society Must be Defended. There Foucault groped to articulate an anguishing paradox: How could it be that the Nazis, as the ultimate biopolitical sovereign machine, would insist on an archaic (premodern) mode of sovereignty in their death camps? Here is how he posed the question in that lecture: “How can the power of death, the function of death, be exercised in a political system centered upon biopower?” Foucault left this question hanging. 30 00 This collection of essays by one of medieval studies’ most brilliant historians argues that the analysis and critique of biopower, as conventionally defined by Michel Foucault and then widely assumed in much contemporary theory of sovereignty, is a sovereign mode of temporalization caught up in the very time-machine it ostensibly seeks to expose and dismantle.For Michel Foucault, biopower (epitomized in his maxim “to make live and to let die”) is the defining sign of the modern, and he famously argued that the task of political philosophy was to cut off the head of the classical (premodern) sovereign, the one “who made die and let live.” Entrapped by his supersessionary thinking on the question, Foucault argued that the maxim of “to make live and let die” of modern sovereignty superseded a premodern sovereignty characterized by the contrasting power “to make die and let live.”The essays collected in Biddick’s book (some reprinted and some published here for the first time) argue that Foucault spoke too soon about the supposed “then” of the classical sovereign and the modern “now,” and this became painfully apparent in his analysis of Nazism in his later lectures, Society Must be Defended. There Foucault groped to articulate an anguishing paradox: How could it be that the Nazis, as the ultimate biopolitical sovereign machine, would insist on an archaic (premodern) mode of sovereignty in their death camps? Here is how he posed the question in that lecture: “How can the power of death, the function of death, be exercised in a political system centered upon biopower?” Foucault left this question hanging. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0136.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/make-and-let-die-untimely-sovereignties/ Earth, Milky Way 04 01 20160310 Biddick, Kathleen 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0988234041 20 08 20160310 02 24.00 USD WORLD urn:uuid:5f972897-953d-41d8-ae38-a21594851a52 03 01 01 thoth-work-id urn:uuid:ed96eea8-82c6-46c5-a19b-dad5e45962c6 01 thoth-publication-id urn:uuid:5f972897-953d-41d8-ae38-a21594851a52 06 10.21983/P3.0136.1.00 01 internal-reference 0136 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Make and Let Die Untimely Sovereignties 1 A01 Kathleen Biddick Kathleen Biddick 40 00kx1jb78 Temple University 2 A15 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 00 258 03 B2 Cultural Studies+Critical Theory 93 DSBB 12 HPCF 10 PHI019000 B2 History 93 QDHR7 93 DSA B2 Premodern 20 biopolitics; medieval history; political theology; historiography; criticial theory 01 06 02 00 03 00 This collection of essays by one of medieval studies’ most brilliant historians argues that the analysis and critique of biopower, as conventionally defined by Michel Foucault and then widely assumed in much contemporary theory of sovereignty, is a sovereign mode of temporalization caught up in the very time-machine it ostensibly seeks to expose and dismantle.For Michel Foucault, biopower (epitomized in his maxim “to make live and to let die”) is the defining sign of the modern, and he famously argued that the task of political philosophy was to cut off the head of the classical (premodern) sovereign, the one “who made die and let live.” Entrapped by his supersessionary thinking on the question, Foucault argued that the maxim of “to make live and let die” of modern sovereignty superseded a premodern sovereignty characterized by the contrasting power “to make die and let live.”The essays collected in Biddick’s book (some reprinted and some published here for the first time) argue that Foucault spoke too soon about the supposed “then” of the classical sovereign and the modern “now,” and this became painfully apparent in his analysis of Nazism in his later lectures, Society Must be Defended. There Foucault groped to articulate an anguishing paradox: How could it be that the Nazis, as the ultimate biopolitical sovereign machine, would insist on an archaic (premodern) mode of sovereignty in their death camps? Here is how he posed the question in that lecture: “How can the power of death, the function of death, be exercised in a political system centered upon biopower?” Foucault left this question hanging. 30 00 This collection of essays by one of medieval studies’ most brilliant historians argues that the analysis and critique of biopower, as conventionally defined by Michel Foucault and then widely assumed in much contemporary theory of sovereignty, is a sovereign mode of temporalization caught up in the very time-machine it ostensibly seeks to expose and dismantle.For Michel Foucault, biopower (epitomized in his maxim “to make live and to let die”) is the defining sign of the modern, and he famously argued that the task of political philosophy was to cut off the head of the classical (premodern) sovereign, the one “who made die and let live.” Entrapped by his supersessionary thinking on the question, Foucault argued that the maxim of “to make live and let die” of modern sovereignty superseded a premodern sovereignty characterized by the contrasting power “to make die and let live.”The essays collected in Biddick’s book (some reprinted and some published here for the first time) argue that Foucault spoke too soon about the supposed “then” of the classical sovereign and the modern “now,” and this became painfully apparent in his analysis of Nazism in his later lectures, Society Must be Defended. There Foucault groped to articulate an anguishing paradox: How could it be that the Nazis, as the ultimate biopolitical sovereign machine, would insist on an archaic (premodern) mode of sovereignty in their death camps? Here is how he posed the question in that lecture: “How can the power of death, the function of death, be exercised in a political system centered upon biopower?” Foucault left this question hanging. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0136.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/make-and-let-die-untimely-sovereignties/ Earth, Milky Way 04 01 20160310 Biddick, Kathleen 02 WORLD 06 15 9780988234048 03 9780988234048 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25489 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25489/1004606.pdf?sequence=1&isAllowed=y 20 08 20160310 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38294 20 08 20160310 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2711499 20 08 20160310 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/518 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1eb61d0e-3c86-4f12-b54b-200d2d083386/download 20 08 20160310 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ed96eea8-82c6-46c5-a19b-dad5e45962c6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ed96eea8-82c6-46c5-a19b-dad5e45962c6/ed96eea8-82c6-46c5-a19b-dad5e45962c6.pdf 20 08 20160310 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846513 29 ZENODO: download the title https://zenodo.org/records/19846513/files/ed96eea8-82c6-46c5-a19b-dad5e45962c6_book.pdf 20 08 20160310 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/make-and-let-die-untimely-sovereignties/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0136.1.00.pdf 20 08 20160310 01 urn:uuid:eef16311-f66f-41b2-ad29-7479ad026506 03 01 01 thoth-work-id urn:uuid:aa9059ba-930c-4327-97a1-c8c7877332c1 01 thoth-publication-id urn:uuid:eef16311-f66f-41b2-ad29-7479ad026506 15 9781953035035 03 9781953035035 06 10.21983/P3.0295.1.00 13 2020942962 01 internal-reference 0295 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 102 mm 02 10.2 cm 02 4 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Making a Laboratory Dynamic Configurations with Transversal Video 1 A01 21 0000000214666634 Ben Spatz Ben Spatz 40 05t1h8f27 University of Huddersfield 06 Own website https://urbanresearchtheater.com/ 01 eng 00 204 03 12 ANF 93 ATDF B2 Media+Technology 10 PER011010 12 GPS 93 GPS B2 Moving Image 10 PER020000 12 AJRH 93 AJTV B2 TransQueer 20 Jerzy Grotowski; video; performance arts; embodiment; cinema; queer studies; artistic research 01 06 02 00 03 00 Making a Laboratory defines a new audiovisual embodied research method that short-circuits experimental practice and video recording to generate new kinds of data and documents. Overturning conventional hierarchies of knowledge, “Dynamic Configurations with Transversal Video” (DCTV) grounds both discursive and audiovisual knowledges within the space of embodied practice, synthesizing insights from historical epistemologist Hans-Jörg Rheinberger and philosopher of science Karen Barad to offer the first rigorous definition of laboratoriality outside a techno-scientific paradigm. In this concise book, nonbinary practitioner-researcher Ben Spatz situates the DCTV method in the context of artistic research and alongside emerging audiovisual methods in other fields, while highlighting its unique characteristics.Across six focused chapters, Making a Laboratory introduces DCTV as a queer feminist adaptation of Jerzy Grotowski’s “poor” theater laboratory and defines its core elements, drawing on a range of thinkers including Giorgio Agamben, Rebecca Schneider, and Hito Steyerl, in order to examine power, identity, and documentation in lab practice. Drawing from the ethical consent practices of the BDSM community, it lays the groundwork for a radical reinvention of audiovisuality from the perspective of embodiment — the audiovisual body. 30 00 Making a Laboratory defines a new audiovisual embodied research method that short-circuits experimental practice and video recording to generate new kinds of data and documents. Overturning conventional hierarchies of knowledge, “Dynamic Configurations with Transversal Video” (DCTV) grounds both discursive and audiovisual knowledges within the space of embodied practice, synthesizing insights from historical epistemologist Hans-Jörg Rheinberger and philosopher of science Karen Barad to offer the first rigorous definition of laboratoriality outside a techno-scientific paradigm. In this concise book, nonbinary practitioner-researcher Ben Spatz situates the DCTV method in the context of artistic research and alongside emerging audiovisual methods in other fields, while highlighting its unique characteristics.Across six focused chapters, Making a Laboratory introduces DCTV as a queer feminist adaptation of Jerzy Grotowski’s “poor” theater laboratory and defines its core elements, drawing on a range of thinkers including Giorgio Agamben, Rebecca Schneider, and Hito Steyerl, in order to examine power, identity, and documentation in lab practice. Drawing from the ethical consent practices of the BDSM community, it lays the groundwork for a radical reinvention of audiovisuality from the perspective of embodiment — the audiovisual body. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0295.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/making-a-laboratory-dynamic-configurations-with-transversal-video/ Earth, Milky Way 04 01 20200806 Spatz, Ben 02 WORLD 06 15 9781953035042 03 9781953035042 34 06 10.1162/dram.2008.52.2.40 34 06 10.16995/jer.8 34 06 10.1215/9780822388128 34 06 10.1080/00918369.2014.865472 34 06 10.14197/atr.20121792 34 06 10.1162/DRAM_a_00473 34 06 10.1215/02705346-2008-018 34 06 10.1386/padm.9.1.3_2 34 06 10.1386/jivs.3.2.195_1 34 06 10.2307/464648 34 06 10.1080/10509200109361523 34 06 10.1215/23289252-2685660 34 06 10.14591/aniki.v1n1.59 34 06 10.1162/dram.2008.52.2.31 34 06 10.2307/466741 34 06 10.1162/dram.2009.53.4.120 34 06 10.16995/jer.4 34 06 10.3366/soma.2018.0233 34 06 10.3389/fnhum.2016.00169 34 06 10.1177/1357034X04042943 34 06 10.25180/lj.v19i2.97 34 06 10.1080/00918369.2017.1374062 34 06 10.1080/02691728.2012.727194 34 06 10.1093/screen/20.1.109 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035035 20 08 20200806 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/making-a-laboratory-dynamic-configurations-with-transversal-video 20 08 20200806 02 23.00 USD WORLD urn:uuid:8369b59a-bb08-4932-948a-b5195bc21326 03 01 01 thoth-work-id urn:uuid:aa9059ba-930c-4327-97a1-c8c7877332c1 01 thoth-publication-id urn:uuid:8369b59a-bb08-4932-948a-b5195bc21326 15 9781953035042 03 9781953035042 06 10.21983/P3.0295.1.00 13 2020942962 01 internal-reference 0295 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Making a Laboratory Dynamic Configurations with Transversal Video 1 A01 21 0000000214666634 Ben Spatz Ben Spatz 40 05t1h8f27 University of Huddersfield 06 Own website https://urbanresearchtheater.com/ 01 eng 00 204 03 12 ANF 93 ATDF B2 Media+Technology 10 PER011010 12 GPS 93 GPS B2 Moving Image 10 PER020000 12 AJRH 93 AJTV B2 TransQueer 20 Jerzy Grotowski; video; performance arts; embodiment; cinema; queer studies; artistic research 01 06 02 00 03 00 Making a Laboratory defines a new audiovisual embodied research method that short-circuits experimental practice and video recording to generate new kinds of data and documents. Overturning conventional hierarchies of knowledge, “Dynamic Configurations with Transversal Video” (DCTV) grounds both discursive and audiovisual knowledges within the space of embodied practice, synthesizing insights from historical epistemologist Hans-Jörg Rheinberger and philosopher of science Karen Barad to offer the first rigorous definition of laboratoriality outside a techno-scientific paradigm. In this concise book, nonbinary practitioner-researcher Ben Spatz situates the DCTV method in the context of artistic research and alongside emerging audiovisual methods in other fields, while highlighting its unique characteristics.Across six focused chapters, Making a Laboratory introduces DCTV as a queer feminist adaptation of Jerzy Grotowski’s “poor” theater laboratory and defines its core elements, drawing on a range of thinkers including Giorgio Agamben, Rebecca Schneider, and Hito Steyerl, in order to examine power, identity, and documentation in lab practice. Drawing from the ethical consent practices of the BDSM community, it lays the groundwork for a radical reinvention of audiovisuality from the perspective of embodiment — the audiovisual body. 30 00 Making a Laboratory defines a new audiovisual embodied research method that short-circuits experimental practice and video recording to generate new kinds of data and documents. Overturning conventional hierarchies of knowledge, “Dynamic Configurations with Transversal Video” (DCTV) grounds both discursive and audiovisual knowledges within the space of embodied practice, synthesizing insights from historical epistemologist Hans-Jörg Rheinberger and philosopher of science Karen Barad to offer the first rigorous definition of laboratoriality outside a techno-scientific paradigm. In this concise book, nonbinary practitioner-researcher Ben Spatz situates the DCTV method in the context of artistic research and alongside emerging audiovisual methods in other fields, while highlighting its unique characteristics.Across six focused chapters, Making a Laboratory introduces DCTV as a queer feminist adaptation of Jerzy Grotowski’s “poor” theater laboratory and defines its core elements, drawing on a range of thinkers including Giorgio Agamben, Rebecca Schneider, and Hito Steyerl, in order to examine power, identity, and documentation in lab practice. Drawing from the ethical consent practices of the BDSM community, it lays the groundwork for a radical reinvention of audiovisuality from the perspective of embodiment — the audiovisual body. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0295.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/making-a-laboratory-dynamic-configurations-with-transversal-video/ Earth, Milky Way 04 01 20200806 Spatz, Ben 02 WORLD 06 15 9781953035035 03 9781953035035 34 06 10.1162/dram.2008.52.2.40 34 06 10.16995/jer.8 34 06 10.1215/9780822388128 34 06 10.1080/00918369.2014.865472 34 06 10.14197/atr.20121792 34 06 10.1162/DRAM_a_00473 34 06 10.1215/02705346-2008-018 34 06 10.1386/padm.9.1.3_2 34 06 10.1386/jivs.3.2.195_1 34 06 10.2307/464648 34 06 10.1080/10509200109361523 34 06 10.1215/23289252-2685660 34 06 10.14591/aniki.v1n1.59 34 06 10.1162/dram.2008.52.2.31 34 06 10.2307/466741 34 06 10.1162/dram.2009.53.4.120 34 06 10.16995/jer.4 34 06 10.3366/soma.2018.0233 34 06 10.3389/fnhum.2016.00169 34 06 10.1177/1357034X04042943 34 06 10.25180/lj.v19i2.97 34 06 10.1080/00918369.2017.1374062 34 06 10.1080/02691728.2012.727194 34 06 10.1093/screen/20.1.109 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77438 20 08 20200806 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41200 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41200/0295.1.00%20%281%29.pdf 20 08 20200806 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26694 20 08 20200806 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353794 20 08 20200806 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/641 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/398655b7-35e2-4580-affa-caae741999f5/download 20 08 20200806 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Making_a_Laboratory/BAaVEAAAQBAJ 20 08 20200806 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/aa9059ba-930c-4327-97a1-c8c7877332c1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/aa9059ba-930c-4327-97a1-c8c7877332c1/aa9059ba-930c-4327-97a1-c8c7877332c1.pdf 20 08 20200806 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848407 29 ZENODO: download the title https://zenodo.org/records/19848407/files/aa9059ba-930c-4327-97a1-c8c7877332c1_book.pdf 20 08 20200806 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/making-a-laboratory-dynamic-configurations-with-transversal-video/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0295.1.00.pdf 20 08 20200806 01 urn:uuid:ff56b797-725c-410b-8b86-40ba15791d8e 03 01 01 thoth-work-id urn:uuid:003137ea-4fe6-470d-8bd3-f936ad065f3c 01 thoth-publication-id urn:uuid:ff56b797-725c-410b-8b86-40ba15791d8e 15 9780615766362 03 9780615766362 06 10.21983/P3.0014.1.00 01 internal-reference 0014 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Making the Geologic Now Responses to Material Conditions of Contemporary Life 1 B01 Elisabeth Ellsworth Elisabeth Ellsworth 40 02tvcev59 New School 2 B01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 00 262 03 93 AGC B2 Anthropocene 10 ART006010 12 RBG B2 Art+Aesthetics 93 FXE B2 Biosphere 20 geology; antropocene; climate change; ecology studies; geo-philosophy 01 06 02 00 03 00 Making the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of “now.” Contributors’ ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer—as a partner in designing thoughts, objects, systems, and experiences.Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. As a condition of contemporary life in 2012, the geologic “now” is lived as a cascade of events. Humans and what we build participate in their unfolding. Today, and unlike the environmental movements of the 1970s, the geologic counts as “the environment” and invites us to extend our active awareness of inhabitation out to the cosmos and down to the Earth’s iron core. 30 00 Making the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of “now.” Contributors’ ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer—as a partner in designing thoughts, objects, systems, and experiences.Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. As a condition of contemporary life in 2012, the geologic “now” is lived as a cascade of events. Humans and what we build participate in their unfolding. Today, and unlike the environmental movements of the 1970s, the geologic counts as “the environment” and invites us to extend our active awareness of inhabitation out to the cosmos and down to the Earth’s iron core. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0014.1.00_frontcover.png 1 03 06 10.21983/P3.0014.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Elisabeth Ellsworth Elisabeth Ellsworth 40 02tvcev59 New School 2 B01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 20 00 Open Access Ellsworth, Elisabeth Kruse, Jamie 2 03 06 10.21983/P3.0014.1.02 5 26 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction 1 A01 Elizabeth Ellsworth Elizabeth Ellsworth 40 02tvcev59 New School 2 A01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 Until recently, the word “geologic” conjured meanings and associations that referred simply and directly to the science of geology—the study of the origin, history, and structures of the earth. But that seems to be changing. Something is happening to the ways that people are now taking up “the geologic.”Contemporary artists, popular culture producers, speculative architects, scientists and phi-losophers are adding new layers of cultural meaning and aesthetic sensation to the geologic. It is as if recent events and developments are making geologic realities sense-able with new physical intensity and from new angles of thought as a situation that we live within, not sim-ply as something “out there” that we study. Humans seem to be sensing, in new ways, that the forces and materials of the earth are not only subjects of scientific inquiry—they have also become conditions of daily life 30 00 Until recently, the word “geologic” conjured meanings and associations that referred simply and directly to the science of geology—the study of the origin, history, and structures of the earth. But that seems to be changing. Something is happening to the ways that people are now taking up “the geologic.”Contemporary artists, popular culture producers, speculative architects, scientists and phi-losophers are adding new layers of cultural meaning and aesthetic sensation to the geologic. It is as if recent events and developments are making geologic realities sense-able with new physical intensity and from new angles of thought as a situation that we live within, not sim-ply as something “out there” that we study. Humans seem to be sensing, in new ways, that the forces and materials of the earth are not only subjects of scientific inquiry—they have also become conditions of daily life 20 00 Open Access Ellsworth, Elizabeth Kruse, Jamie 3 03 06 10.21983/P3.0014.1.03 28 33 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Enter the Anthropocene Age of Man 1 A01 Elizabeth Kolbert Elizabeth Kolbert 01 eng 03 00 The path leads up a hill, across a fast-moving stream, back across the stream, and then past the carcass of a dead sheep. In my view it’s raining, but here in the Southern Up-lands of Scotland, I am told, this counts only as a light drizzle, or smirr. Just beyond the final switchback, there’s a waterfall, half shrouded in mist, and an outcropping of jagged rock. The rock has bands that run vertically, like a layer cake that’s been tipped on its side. My guide, Jan Zalasiewicz, a British stratigrapher, points to a wide stripe of gray. “Bad things happened in here,” he says. The stripe was laid down some 440 million years ago, as sediments slowly piled up on the bottom of an ancient ocean. In those days, life was still mostly confined to the water, and it was undergoing a crisis. Between one edge of the three-foot-thick gray band and the other, some 80 percent of marine species died out, most of them the sorts of creatures, like grap-tolites, that no longer exist in any form. The extinction event, known as the end-Ordovician, was one of the five biggest of the last half-billion years. It coincided with extreme changes in climate, in global sea levels, and in ocean chemistry—all caused, perhaps, by a supercontinent drifting over the South Pole.Stratigraphers like Zalasiewicz are, as a rule, hard to impress. Their job is to piece together Earth’s history from clues that can be coaxed out of layers of rock millions of years after the fact. They take the long view—the extremely long view—of events, only the most violent of which are likely to leave behind lasting traces. It’s those events that mark the crucial episodes in the planet’s 4.5-billion-year story, the turning points that divide it into comprehensible chapters.from 30 00 The path leads up a hill, across a fast-moving stream, back across the stream, and then past the carcass of a dead sheep. In my view it’s raining, but here in the Southern Up-lands of Scotland, I am told, this counts only as a light drizzle, or smirr. Just beyond the final switchback, there’s a waterfall, half shrouded in mist, and an outcropping of jagged rock. The rock has bands that run vertically, like a layer cake that’s been tipped on its side. My guide, Jan Zalasiewicz, a British stratigrapher, points to a wide stripe of gray. “Bad things happened in here,” he says. The stripe was laid down some 440 million years ago, as sediments slowly piled up on the bottom of an ancient ocean. In those days, life was still mostly confined to the water, and it was undergoing a crisis. Between one edge of the three-foot-thick gray band and the other, some 80 percent of marine species died out, most of them the sorts of creatures, like grap-tolites, that no longer exist in any form. The extinction event, known as the end-Ordovician, was one of the five biggest of the last half-billion years. It coincided with extreme changes in climate, in global sea levels, and in ocean chemistry—all caused, perhaps, by a supercontinent drifting over the South Pole.Stratigraphers like Zalasiewicz are, as a rule, hard to impress. Their job is to piece together Earth’s history from clues that can be coaxed out of layers of rock millions of years after the fact. They take the long view—the extremely long view—of events, only the most violent of which are likely to leave behind lasting traces. It’s those events that mark the crucial episodes in the planet’s 4.5-billion-year story, the turning points that divide it into comprehensible chapters.from 20 00 Open Access Kolbert, Elizabeth 4 03 06 10.21983/P3.0014.1.04 34 41 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A New Element, A New Force, A New Input Antonio Stoppani's Anthropozoic 1 A01 Etienne Turpin Etienne Turpin 40 042nb2s44 Massachusetts Institute of Technology 2 A01 Valeria Federighi Valeria Federighi 40 00bgk9508 Polytechnic University of Turin 01 eng 03 00 The Italian geologist Antonio Stoppani is a remarkable but little known figure in the history of science and the theoretical humanities. Recently, following debates about the Anthropo-cene initiated by the Dutch chemist Paul Crutzen, some scholars have returned to Stoppani’s writing for its eloquent argument regarding the appearance of human activity in the archive of deep time—the earth. Born in Lecco in 1824, the young Stoppani studied to become a priest of the order of the Rosminiani, and was ordained in 1848. In the same year, Stoppani partici-pated in the resistance during the Cinque giornate di Milano (Siege of Milan), where he both fought on the barricades and, fantastically, invented and fabricated aerostats that were used to communicate with the periphery and the provinces, sending revolutionary messages to the countryside from inside a barricaded Milano. In this endeavor, he was helped by the typographer Vincenzo Guglielmini, who worked with Stoppani to ensure that the aerostat balloons would travel from the Seminario Maggiore di Porta Orientale over the walls erected around the city (and the Austrians trying to shoot them from the sky) to encourage Italians to revolt against the Austrian Empire. 30 00 The Italian geologist Antonio Stoppani is a remarkable but little known figure in the history of science and the theoretical humanities. Recently, following debates about the Anthropo-cene initiated by the Dutch chemist Paul Crutzen, some scholars have returned to Stoppani’s writing for its eloquent argument regarding the appearance of human activity in the archive of deep time—the earth. Born in Lecco in 1824, the young Stoppani studied to become a priest of the order of the Rosminiani, and was ordained in 1848. In the same year, Stoppani partici-pated in the resistance during the Cinque giornate di Milano (Siege of Milan), where he both fought on the barricades and, fantastically, invented and fabricated aerostats that were used to communicate with the periphery and the provinces, sending revolutionary messages to the countryside from inside a barricaded Milano. In this endeavor, he was helped by the typographer Vincenzo Guglielmini, who worked with Stoppani to ensure that the aerostat balloons would travel from the Seminario Maggiore di Porta Orientale over the walls erected around the city (and the Austrians trying to shoot them from the sky) to encourage Italians to revolt against the Austrian Empire. 20 00 Open Access Turpin, Etienne Federighi, Valeria 5 03 06 10.21983/P3.0014.1.05 42 45 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 From Rock Art To Land Art/From Pleistocene To Anthropocene 1 A01 William L. Fox William L. Fox 01 eng 03 00 Our species of primate, Homo Sapiens, has been around for perhaps 200,000 years, and since then humans have witnessed two geologic turns. The Pleistocene Epoch lasted from approximately 2,588,000 years to 12,000 years before the present (BP), a period of repeated glaciation during which ice at maximal times covered as much as 30% of the Earth’s landmasses. The Pleistocene turned into the Holocene as the seemingly perpetual El Niño conditions switched off and the ice retreated. The “Recent Time” of this next epoch saw the spread of humanity into virtually every corner of every continent, save the Antarctic. The second turn we’ve seen is from the Holocene into the Anthropocene, which Nobel Laureate Paul Crutzen proposes began with the late 18th-century rise of industrialism. This “Human Time” is marked by a global layer of carbon laid down by the burning of fossil fuels, the emergence of a global stratigraphic event being a commonly accepted marker of a change in epochs.When Paul Crutzen announced in 2000 that we were no longer living in the Holocene, but in a new geologic epoch, he reformulated not only the equation of anthropic effect on landscape, but the timeline of art as we understand it. Now the Holocene was not simply the epoch of human endeavor and image making, but a bridge from the hominids who scratched marks on rock surfaces to those who now leave larger marks inscribed on the land. Both can be construed as attempts to map environments, be they at the small scale of a valley or the large scale of a cosmos, committed with intent to last for millennia or to wash away in the first rain. 30 00 Our species of primate, Homo Sapiens, has been around for perhaps 200,000 years, and since then humans have witnessed two geologic turns. The Pleistocene Epoch lasted from approximately 2,588,000 years to 12,000 years before the present (BP), a period of repeated glaciation during which ice at maximal times covered as much as 30% of the Earth’s landmasses. The Pleistocene turned into the Holocene as the seemingly perpetual El Niño conditions switched off and the ice retreated. The “Recent Time” of this next epoch saw the spread of humanity into virtually every corner of every continent, save the Antarctic. The second turn we’ve seen is from the Holocene into the Anthropocene, which Nobel Laureate Paul Crutzen proposes began with the late 18th-century rise of industrialism. This “Human Time” is marked by a global layer of carbon laid down by the burning of fossil fuels, the emergence of a global stratigraphic event being a commonly accepted marker of a change in epochs.When Paul Crutzen announced in 2000 that we were no longer living in the Holocene, but in a new geologic epoch, he reformulated not only the equation of anthropic effect on landscape, but the timeline of art as we understand it. Now the Holocene was not simply the epoch of human endeavor and image making, but a bridge from the hominids who scratched marks on rock surfaces to those who now leave larger marks inscribed on the land. Both can be construed as attempts to map environments, be they at the small scale of a valley or the large scale of a cosmos, committed with intent to last for millennia or to wash away in the first rain. 20 00 Open Access Fox, William L. 6 03 06 10.21983/P3.0014.1.06 46 55 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ediacaran and Anthropocene Poetry as a Reader of Deep Time 1 A01 Don McKay Don McKay 01 eng 03 00 Two new developments in the taxonomy of temporality provide the focus for this discussion. One is the official recognition of a new, and very old, geologic period, the Ediacaran, now understood to occupy the stretch of deep time between 575 and 542 million years ago, directly preceding the Cambrian, with its remarkable radiation of life forms. This recognition is precipitated by the discovery, dating, and analysis of thirty or so species representing an entirely new biota in the fossil record, the earliest animals on the planet. The other wrinkle in our idea of time involves the proposal to name, or re-name, the current epoch after the species that has been most responsible for its character and style, as well as the content of most of its narratives. “The Anthropocene,” if accepted, would acknowledge ourselves as the superstars we have been for some time. 30 00 Two new developments in the taxonomy of temporality provide the focus for this discussion. One is the official recognition of a new, and very old, geologic period, the Ediacaran, now understood to occupy the stretch of deep time between 575 and 542 million years ago, directly preceding the Cambrian, with its remarkable radiation of life forms. This recognition is precipitated by the discovery, dating, and analysis of thirty or so species representing an entirely new biota in the fossil record, the earliest animals on the planet. The other wrinkle in our idea of time involves the proposal to name, or re-name, the current epoch after the species that has been most responsible for its character and style, as well as the content of most of its narratives. “The Anthropocene,” if accepted, would acknowledge ourselves as the superstars we have been for some time. 20 00 Open Access McKay, Don 7 03 06 10.21983/P3.0014.1.07 56 61 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Modeling Collaborative Practices in the Anthropocene 1 A01 Bill Gilbert Bill Gilbert 40 05fs6jp91 University of New Mexico 01 eng 03 00 In 1999, the University of New Mexico embarked on an extended experiment in art practice. Over the ensuing twelve years we have developed the Land Arts of the American West program as a model for a place-based education in the arts to prepare our students for the rapidly chang-ing environmental and social context they will enter upon graduation. Our program has developed in a period marked by a dawning awareness that the collective activities of our species have impacted the planet over a sufficient time period to qualify as a geologic epoch, the Anthropocene. With this realization comes a daunting responsibility. The arts must now participate in our collective response and contribute to a change in our narrative as a nation and species if the Anthropocene is to extend for thousands of years into the future. To be successful we are going to need a perspective that encompasses the expanse of plan-etary time, not the fleeting moments of pop culture. In our effort to confront the problems we face, the arts can model a new cooperative/collaborative approach that will supplant the current individualistic paradigm. Our attempts to address the implications of an Anthropo-cene Epoch will require a shared multicultural and interdisciplinary perspective that is based in direct engagement with the physical planet. 30 00 In 1999, the University of New Mexico embarked on an extended experiment in art practice. Over the ensuing twelve years we have developed the Land Arts of the American West program as a model for a place-based education in the arts to prepare our students for the rapidly chang-ing environmental and social context they will enter upon graduation. Our program has developed in a period marked by a dawning awareness that the collective activities of our species have impacted the planet over a sufficient time period to qualify as a geologic epoch, the Anthropocene. With this realization comes a daunting responsibility. The arts must now participate in our collective response and contribute to a change in our narrative as a nation and species if the Anthropocene is to extend for thousands of years into the future. To be successful we are going to need a perspective that encompasses the expanse of plan-etary time, not the fleeting moments of pop culture. In our effort to confront the problems we face, the arts can model a new cooperative/collaborative approach that will supplant the current individualistic paradigm. Our attempts to address the implications of an Anthropo-cene Epoch will require a shared multicultural and interdisciplinary perspective that is based in direct engagement with the physical planet. 20 00 Open Access Gilbert, Bill 8 03 06 10.21983/P3.0014.1.08 62 66 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Exposing the Anthropocene Art and Education in the 'Extraction State' 1 A01 Erika Osborne Erika Osborne 40 011vxgd24 West Virginia University 01 eng 03 00 In the age of the Anthropocene, human impact on a geologic scale infiltrates nearly every aspect of contemporary life. The immense breadth and depth of the changes to the planet that have been caused by this impact have affected my work and my pedagogy as an artist and educator interested in connections between culture and environment.Although I have always been interested in the Anthropocene, my fascination with its artifacts grew when I accepted a teaching position in the School of Art and Design at West Virginia University and moved to “The Mountain State”—or what West Virginia’s former governor and now senator, Joe Manchin, has lovingly called “The Extraction State.” Here, it is obvious that not only have the surface and ecology of mountains changed because of defores-tation, but entire topographies have morphed in a geologic instant as a product of large-scale mountaintop removal (MTR) mining. This type of mining is a quick, relatively inexpensive process in which the summits of mountains are blasted away to expose coal seams, and the overburden is dumped into adjacent valleys. This anthropocentric practice has come to define the state and has created a battleground, pitting local communities and the mountain ecol-ogy against an ever-growing, global need for cheap energy. In mined areas of Appalachia, the biodiversity of some of the oldest mountains in the world is obliterated instantly, habitats are immediately lost and clean water sources are buried or left highly contaminated. In addition, the local people often suffer from serious health issues affecting their lungs, kidneys, hearts, and nervous systems. They also suffer economically as property values drop, businesses close, and economic diversity is lost. 30 00 In the age of the Anthropocene, human impact on a geologic scale infiltrates nearly every aspect of contemporary life. The immense breadth and depth of the changes to the planet that have been caused by this impact have affected my work and my pedagogy as an artist and educator interested in connections between culture and environment.Although I have always been interested in the Anthropocene, my fascination with its artifacts grew when I accepted a teaching position in the School of Art and Design at West Virginia University and moved to “The Mountain State”—or what West Virginia’s former governor and now senator, Joe Manchin, has lovingly called “The Extraction State.” Here, it is obvious that not only have the surface and ecology of mountains changed because of defores-tation, but entire topographies have morphed in a geologic instant as a product of large-scale mountaintop removal (MTR) mining. This type of mining is a quick, relatively inexpensive process in which the summits of mountains are blasted away to expose coal seams, and the overburden is dumped into adjacent valleys. This anthropocentric practice has come to define the state and has created a battleground, pitting local communities and the mountain ecol-ogy against an ever-growing, global need for cheap energy. In mined areas of Appalachia, the biodiversity of some of the oldest mountains in the world is obliterated instantly, habitats are immediately lost and clean water sources are buried or left highly contaminated. In addition, the local people often suffer from serious health issues affecting their lungs, kidneys, hearts, and nervous systems. They also suffer economically as property values drop, businesses close, and economic diversity is lost. 20 00 Open Access Osborne, Erika 9 03 06 10.21983/P3.0014.1.09 68 68 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What is the Exponential? 1 A01 21 0000000345878629 Seth Denizen Seth Denizen 40 02zhqgq86 University of Hong Kong 40 01yc7t268 Washington University in St. Louis 01 eng 03 00 The strange thing about these exponential curves, is that the farther along the curve one projects the present, the shorter the time interval between successive points, until time all but stops, in the midst of an immense acceleration. This is the point at which the curve challenges us to imagine a world defined not by a time, but by a speed: one which cannot be merely an extension of our own, a difference in degree, but rather something which takes on a difference in kind: another sea, another wind, another world at right angles to our own 30 00 The strange thing about these exponential curves, is that the farther along the curve one projects the present, the shorter the time interval between successive points, until time all but stops, in the midst of an immense acceleration. This is the point at which the curve challenges us to imagine a world defined not by a time, but by a speed: one which cannot be merely an extension of our own, a difference in degree, but rather something which takes on a difference in kind: another sea, another wind, another world at right angles to our own 20 00 Open Access Denizen, Seth 10 03 06 10.21983/P3.0014.1.10 69 71 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Dark Flight of Micrometorites 1 A01 Ryan Thompson Ryan Thompson 40 01avta769 Trinity Christian College 01 eng 03 00 Every day some 200 tons of extraterrestrial material enter the Earth’s porous atmosphere. The largest of these objects, meteors, become giant fireballs with the ability to light up the daytime sky and can cause local, regional, or global destruction upon impact. Others become shooting stars, neither large enough to survive their fiery trip through the atmosphere, nor small enough to escape their fate. The smallest of these materials, however, make it to the surface of the Earth as micrometeorites without much in the way of fanfare. No fiery explosions in the sky. No damage or destruction. Just a silent fall to Earth. 30 00 Every day some 200 tons of extraterrestrial material enter the Earth’s porous atmosphere. The largest of these objects, meteors, become giant fireballs with the ability to light up the daytime sky and can cause local, regional, or global destruction upon impact. Others become shooting stars, neither large enough to survive their fiery trip through the atmosphere, nor small enough to escape their fate. The smallest of these materials, however, make it to the surface of the Earth as micrometeorites without much in the way of fanfare. No fiery explosions in the sky. No damage or destruction. Just a silent fall to Earth. 20 00 Open Access Thompson, Ryan 11 03 06 10.21983/P3.0014.1.11 72 78 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Packaging Sludge and Silt 1 A01 Stephen Dredge Research Collaborative (Becker Stephen Dredge Research Collaborative (Becker 2 A01 Rob Holmes Rob Holmes 3 A01 Tim Maly Tim Maly 4 A01 Brett Milligan Brett Milligan 40 0293rh119 University of Oregon 01 eng 03 00 A massive, distended tube thirty feet in circumference and one hundred feet long lies on the bank of a drifting river, among the sludge and muck. A thick hose connected to a dredging barge is filling this black bag with the silt that it is sucking out of a nearby shipping channel. Once full, the tube will be tied shut and left in place. Fluids will slowly seep out, leaving dewatered sediments contained within the casing. This is the geo-tube.1A geo-tube is like an oversized2 sausage casing made of “geotextile,” a synthetic fabric woven primarily from hydrocarbon-derived polymers.3 When deployed, they are inflated by liquids, slurries, or sediments, depending on their intended use. Geo-tubes find their applica-tion where water meets land and where landscape meets industry. They are deployed along riverbanks, coastlines, in shallows, or wetlands. They have spread quickly thanks to their flexibility, speed of application, and cheapness. 30 00 A massive, distended tube thirty feet in circumference and one hundred feet long lies on the bank of a drifting river, among the sludge and muck. A thick hose connected to a dredging barge is filling this black bag with the silt that it is sucking out of a nearby shipping channel. Once full, the tube will be tied shut and left in place. Fluids will slowly seep out, leaving dewatered sediments contained within the casing. This is the geo-tube.1A geo-tube is like an oversized2 sausage casing made of “geotextile,” a synthetic fabric woven primarily from hydrocarbon-derived polymers.3 When deployed, they are inflated by liquids, slurries, or sediments, depending on their intended use. Geo-tubes find their applica-tion where water meets land and where landscape meets industry. They are deployed along riverbanks, coastlines, in shallows, or wetlands. They have spread quickly thanks to their flexibility, speed of application, and cheapness. 20 00 Open Access Dredge Research Collaborative (Becker, Stephen Holmes, Rob Maly, Tim Milligan, Brett) 12 03 06 10.21983/P3.0014.1.12 79 82 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Inner-City Glaciers 1 A01 Chris Neal MilNeil Chris Neal MilNeil 01 eng 03 00 There is a sediment that hangs in a haze above city streets: a low-dose toxic dust of lead and chromates from tire wear, clouds of carbon soot mixed with hydrocarbon gases and fine particles of nitrates, sulfates, and other metals from exhaust pipes. At every stoplight, worn brake linings leave behind microscopic flakes of copper, zinc, and lead.These automotive disjecta membra are rarely visible; you might find them as a dirty streak on a handkerchief after wiping your brow on a humid day, or in the accumulated dust of an a/c unit’s intake. In most situations, these particles either disperse in the winds, or wash away into storm drains during rain showers. But for a few months each year in cities of the upper latitudes, when precipitation falls as snow and remains above-ground in snowbanks for weeks at a time, these sediments have a chance to accumulate in impressive and highly-visible roadside deposits. Many of these cities collect and stockpile their snow in massive municipal “snow dumps” in order to keep city streets and sidewalks clear, thus consolidating the roadside’s silt even further 30 00 There is a sediment that hangs in a haze above city streets: a low-dose toxic dust of lead and chromates from tire wear, clouds of carbon soot mixed with hydrocarbon gases and fine particles of nitrates, sulfates, and other metals from exhaust pipes. At every stoplight, worn brake linings leave behind microscopic flakes of copper, zinc, and lead.These automotive disjecta membra are rarely visible; you might find them as a dirty streak on a handkerchief after wiping your brow on a humid day, or in the accumulated dust of an a/c unit’s intake. In most situations, these particles either disperse in the winds, or wash away into storm drains during rain showers. But for a few months each year in cities of the upper latitudes, when precipitation falls as snow and remains above-ground in snowbanks for weeks at a time, these sediments have a chance to accumulate in impressive and highly-visible roadside deposits. Many of these cities collect and stockpile their snow in massive municipal “snow dumps” in order to keep city streets and sidewalks clear, thus consolidating the roadside’s silt even further 20 00 Open Access MilNeil, Chris Neal 13 03 06 10.21983/P3.0014.1.13 83 89 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Imagining the Geologic 1 A01 21 0000000309563750 Janike Kampevold Larsen Janike Kampevold Larsen 40 04a7x2s11 Oslo School of Architecture and Design 01 eng 03 00 In The Tertiary History of the Grand Cañon District (1882), US surveyor Clarence E. Dutton writes: “Great innovations, whether in art, literature, in science or in nature, seldom take the world by storm. They must be understood before they can be estimated, and must be cultivated before they can be understood.”1Dutton himself cultivates his experience of the Grand Canyon by making imagination a tool for fascination. He describes the impression of geologic forces upon himself. In order to explain how he perceives the magnificence of the rock faces he sets them in motion to encour-age an understanding both of their making and their aesthetic impression: “the Vermillion Cliffs send off buttes,” “the entablature [...] breaks into lofty truncated towers,” “the towers of Short Creek burst into view” (53, 54). The vocabulary is architectural. The canyon is abundant with columns, buttes, terraces, promontories, bays, towers, churches, temples, theaters, and avenues: “As we move outwards towards the center of the grand avenue the immensity and beautiful proportions of the walls develop” 30 00 In The Tertiary History of the Grand Cañon District (1882), US surveyor Clarence E. Dutton writes: “Great innovations, whether in art, literature, in science or in nature, seldom take the world by storm. They must be understood before they can be estimated, and must be cultivated before they can be understood.”1Dutton himself cultivates his experience of the Grand Canyon by making imagination a tool for fascination. He describes the impression of geologic forces upon himself. In order to explain how he perceives the magnificence of the rock faces he sets them in motion to encour-age an understanding both of their making and their aesthetic impression: “the Vermillion Cliffs send off buttes,” “the entablature [...] breaks into lofty truncated towers,” “the towers of Short Creek burst into view” (53, 54). The vocabulary is architectural. The canyon is abundant with columns, buttes, terraces, promontories, bays, towers, churches, temples, theaters, and avenues: “As we move outwards towards the center of the grand avenue the immensity and beautiful proportions of the walls develop” 20 00 Open Access Larsen, Janike Kampevold 14 03 06 10.21983/P3.0014.1.14 90 93 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ultra-Diamond / Super-Value 1 A01 Oliver Goodhall Oliver Goodhall 40 01egahc47 Royal College of Art 2 A01 David Benqué David Benqué 01 eng 03 00 The diamond, as we know it, is a unique example of marketing and monetization of a geological resource. Through careful supply-control, advertising, and cultural massaging, the industry has managed to mythologize a geological material in cultures around the world. Throughout the 20th century, rituals, expectation, and meaning have been intentionally crafted around the diamond through tales of rarity and carat-value. A complete mythology, ranging from sparkling wedding rings to shady deals and overworked mines, surrounds each of these stones and furthers the mystery as well as desire. As a counterpoint to this aesthetic industry, a new functional aspect is emerging as dia-monds are grown in the lab with ever increasing control and huge promises for technological applications. The unique properties of diamond as a super-material open up potentially revo-lutionary breakthroughs in fields as varied as quantum computing, electronics, biosensors, and clean energy. 30 00 The diamond, as we know it, is a unique example of marketing and monetization of a geological resource. Through careful supply-control, advertising, and cultural massaging, the industry has managed to mythologize a geological material in cultures around the world. Throughout the 20th century, rituals, expectation, and meaning have been intentionally crafted around the diamond through tales of rarity and carat-value. A complete mythology, ranging from sparkling wedding rings to shady deals and overworked mines, surrounds each of these stones and furthers the mystery as well as desire. As a counterpoint to this aesthetic industry, a new functional aspect is emerging as dia-monds are grown in the lab with ever increasing control and huge promises for technological applications. The unique properties of diamond as a super-material open up potentially revo-lutionary breakthroughs in fields as varied as quantum computing, electronics, biosensors, and clean energy. 20 00 Open Access Goodhall, Oliver Benque, David 15 03 06 10.21983/P3.0014.1.15 94 98 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Not-So-Sold Earth Remembering New Madrid 1 A01 Julia Kagan Julia Kagan 01 eng 03 00 “What would happen to our thinking about nature if we experienced [non-human] materialities as actants?” Jane Bennett asks in Vibrant Matter: A Political Ecology of Things. One result might be a different way of thinking about earthquakes. The stresses and fault lines and tectonic-plate collisions that produce them are material forces whose actions can reshape the world in ways that profoundly affect human life. Earthquakes remind us that human lives take place against a background of geologic time and that human agency, however nature-bending, is ultimately shaped by the non-human context in which it operates. Living in a known quake zone where Earth’s tectonic plates meet means inhabiting a geol-ogy that feels very much alive, not buried in the remote past. Think Japan, Chile, and the other nations along the Pacific “rim of fire,” not to mention its eastern border: California, the American northwest and Alaska. This doesn’t mean that those who reside far from plate margins live in safety. Perhaps the strongest earthquakes to hit the United States in recorded history were intraplate, as geologists term it, not at a tectonic edge. They happened exactly 200 years ago in the middle of the North American Plate, in a place called New Madrid in the Mississippi River Valley. Three huge quakes hit from December to February 1811-12, with estimated magnitudes (the seismograph was not invented until 1896) as high as 8.1. The anniversary is a reminder that reverberations from immeasurably ancient geologic events can burst into the present without warning. 30 00 “What would happen to our thinking about nature if we experienced [non-human] materialities as actants?” Jane Bennett asks in Vibrant Matter: A Political Ecology of Things. One result might be a different way of thinking about earthquakes. The stresses and fault lines and tectonic-plate collisions that produce them are material forces whose actions can reshape the world in ways that profoundly affect human life. Earthquakes remind us that human lives take place against a background of geologic time and that human agency, however nature-bending, is ultimately shaped by the non-human context in which it operates. Living in a known quake zone where Earth’s tectonic plates meet means inhabiting a geol-ogy that feels very much alive, not buried in the remote past. Think Japan, Chile, and the other nations along the Pacific “rim of fire,” not to mention its eastern border: California, the American northwest and Alaska. This doesn’t mean that those who reside far from plate margins live in safety. Perhaps the strongest earthquakes to hit the United States in recorded history were intraplate, as geologists term it, not at a tectonic edge. They happened exactly 200 years ago in the middle of the North American Plate, in a place called New Madrid in the Mississippi River Valley. Three huge quakes hit from December to February 1811-12, with estimated magnitudes (the seismograph was not invented until 1896) as high as 8.1. The anniversary is a reminder that reverberations from immeasurably ancient geologic events can burst into the present without warning. 20 00 Open Access Kagan, Julia 16 03 06 10.21983/P3.0014.1.16 99 105 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Distributed Evidence Mapping Named Erractics 1 A01 21 0000000319443058 Jane Hutton Jane Hutton 40 03vek6s52 Harvard University 40 01aff2v68 University of Waterloo 01 eng 03 00 This project maps a series of boulders that were plucked, transported, and deposited by the toe-line of the retreating Late-Wisconsin and pre-Wisconsin ice sheets in North America and subsequently named, relocated, modified, and celebrated by people. They are the glacially distributed sites of council meetings, picnics, political movements, and territorial markers. They are inscribed with discrepant personal, regional, and national narratives and at the same time they declare their foreign origin through their conspicuous mineral composition and form. In the mid-19th century such boulders served as critical evidence for piecing together a theory of glaciation, and consequently an idea of geologic time and the location of humans within it. While their scientific importance waned in the 20th century, outside and along-side geology they are critical objects for reflections on time and space of various scales and consequences. They refer simultaneously to different moments in time: their geogenic forma-tion, their glacial deposition, and specific events in cultural history, as they are sometimes literally carved with a date. They are heavy, insistent markers in space, yet they indicate a remote origin—and therefore the journey between two sites—and they continue to be moved or changed by ensuing human forces. The naming, photographing, and feting of the boulders collated and mapped here signal their role as persistent devices for locating deep time within the present and grappling with the continuum of geological and human action. 30 00 This project maps a series of boulders that were plucked, transported, and deposited by the toe-line of the retreating Late-Wisconsin and pre-Wisconsin ice sheets in North America and subsequently named, relocated, modified, and celebrated by people. They are the glacially distributed sites of council meetings, picnics, political movements, and territorial markers. They are inscribed with discrepant personal, regional, and national narratives and at the same time they declare their foreign origin through their conspicuous mineral composition and form. In the mid-19th century such boulders served as critical evidence for piecing together a theory of glaciation, and consequently an idea of geologic time and the location of humans within it. While their scientific importance waned in the 20th century, outside and along-side geology they are critical objects for reflections on time and space of various scales and consequences. They refer simultaneously to different moments in time: their geogenic forma-tion, their glacial deposition, and specific events in cultural history, as they are sometimes literally carved with a date. They are heavy, insistent markers in space, yet they indicate a remote origin—and therefore the journey between two sites—and they continue to be moved or changed by ensuing human forces. The naming, photographing, and feting of the boulders collated and mapped here signal their role as persistent devices for locating deep time within the present and grappling with the continuum of geological and human action. 20 00 Open Access Hutton, Jane 17 03 06 10.21983/P3.0014.1.17 106 110 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Landscapes of Erasure The Removal-And Persistence-Of Place 1 A01 Paul Lloyd Sargent Paul Lloyd Sargent 40 01y64my43 University at Buffalo, State University of New York 01 eng 03 00 What lexicon or neologisms might we use to speak of places removed by human force? Not by natural disaster, like the city of Pompeii or the Japanese fishing village of Minamisanriku, destroyed in the tsunami of 2011.1 Nor by the horrors of war or catastrophes of technology, as in Virilio’s obsession with the accident,2 like those at Chernobyl and Three Mile Island, or the toxic morass at Love Canal in Niagara Falls.3 Instead, I consider here what I am calling landscapes of erasure: the large-scale, intentional removal of socio-cultural place through processes of engineering, often due—but not limited—to industries of extraction, power generation, and shipping and transport. That is, I am exploring the erasure of material and socio-cultural landscape by human forces operating at the geologic scale because such scale reveals and magnifies the consequences of human interaction with the land, both intentional and otherwise. 30 00 What lexicon or neologisms might we use to speak of places removed by human force? Not by natural disaster, like the city of Pompeii or the Japanese fishing village of Minamisanriku, destroyed in the tsunami of 2011.1 Nor by the horrors of war or catastrophes of technology, as in Virilio’s obsession with the accident,2 like those at Chernobyl and Three Mile Island, or the toxic morass at Love Canal in Niagara Falls.3 Instead, I consider here what I am calling landscapes of erasure: the large-scale, intentional removal of socio-cultural place through processes of engineering, often due—but not limited—to industries of extraction, power generation, and shipping and transport. That is, I am exploring the erasure of material and socio-cultural landscape by human forces operating at the geologic scale because such scale reveals and magnifies the consequences of human interaction with the land, both intentional and otherwise. 20 00 Open Access Sargent, Paul Lloyd 18 03 06 10.21983/P3.0014.1.18 111 114 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Being With(in) the Geolithic Internet as Shamanic Tool 1 A01 Anthony Easton Anthony Easton 2 A01 Rachel E. McRae Rachel E. McRae 01 eng 03 00 As the medium shaping much of our current world view and mapping our interior geography, the landscape of the internet also frames our contemporary sensings of the geologic. But between the thinking and the experiencing of internet time and geologic/deep time, a fissure opens up. How do we reconcile the co-existence, both corporeal and intellectual, of two distinctly different conceptions of time and permanence: one a web-space where the longevity of a place or object is dependent upon its continuous viewership and refresh-rate, and the other a slowly shifting behemoth we physically travel across? How might an embodied knowing, a deep-knowing of deep-time, locate itself within the speed-driven space of the internet? 30 00 As the medium shaping much of our current world view and mapping our interior geography, the landscape of the internet also frames our contemporary sensings of the geologic. But between the thinking and the experiencing of internet time and geologic/deep time, a fissure opens up. How do we reconcile the co-existence, both corporeal and intellectual, of two distinctly different conceptions of time and permanence: one a web-space where the longevity of a place or object is dependent upon its continuous viewership and refresh-rate, and the other a slowly shifting behemoth we physically travel across? How might an embodied knowing, a deep-knowing of deep-time, locate itself within the speed-driven space of the internet? 20 00 Open Access Easton, Anthony McRae, Racheal E. 19 03 06 10.21983/P3.0014.1.19 115 122 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Land Making Machines 1 A01 Brian Davis Brian Davis 01 eng 03 00 Cubits Gap is a major subdelta of the Mississippi River. The gap formed in 1862 after an oyster fisherman, Cubit, and his daughters excavated a small ditch in the levee between the River and the oyster-rich Bay Ronde. Intending to make an easier portage for their rowboat, they created a small crevasse. In springtime, meltwater poured through it. Six years later the crevasse was 2,427 feet wide [Ref. 1]. By 1940 a landmass larger than New Orleans had been created and the Bay Ronde had completely disappeared. Today the Cubits Gap subdelta is 40,000 acres of National Wildlife Refuge and is quickly subsiding back into the Gulf of Mexico, a microcosm of the dynamism and potentiality of the Mississippi River as the great land making machine [LMM].1This LMM built the Mississippi Delta over the last 5,000 years with the massive slurry loads it transports from the heart of the continent to the Gulf of Mexico. It is estimated that before 1930, this load was about 400 million tons of sediment per year [Ref. 2]. Since 1930, this load has decreased significantly. Current estimates range from 145 million to 230 million tons per year. This reduction can be explained, in part, by the 1936 Flood Control Act and the decision by Congress to reconstruct the river as a flood control and navigation system on a continental scale.2 Despite this massive reduction, the LMM still discharges sediment at a rate roughly equal to that of the next six largest rivers in the United States combined [Ref. 3]. Most of this sediment is no longer used to continuously build the delta. Rather, thanks to the 1870’s engi-neering of Capt. James Eads, it is shot out into deepwater in the Gulf of Mexico.3 Since 1930 a landmass approximating the size of Delaware has been lost from the Louisiana coast [Ref. 4]. But the potential of the LMM remains. 30 00 Cubits Gap is a major subdelta of the Mississippi River. The gap formed in 1862 after an oyster fisherman, Cubit, and his daughters excavated a small ditch in the levee between the River and the oyster-rich Bay Ronde. Intending to make an easier portage for their rowboat, they created a small crevasse. In springtime, meltwater poured through it. Six years later the crevasse was 2,427 feet wide [Ref. 1]. By 1940 a landmass larger than New Orleans had been created and the Bay Ronde had completely disappeared. Today the Cubits Gap subdelta is 40,000 acres of National Wildlife Refuge and is quickly subsiding back into the Gulf of Mexico, a microcosm of the dynamism and potentiality of the Mississippi River as the great land making machine [LMM].1This LMM built the Mississippi Delta over the last 5,000 years with the massive slurry loads it transports from the heart of the continent to the Gulf of Mexico. It is estimated that before 1930, this load was about 400 million tons of sediment per year [Ref. 2]. Since 1930, this load has decreased significantly. Current estimates range from 145 million to 230 million tons per year. This reduction can be explained, in part, by the 1936 Flood Control Act and the decision by Congress to reconstruct the river as a flood control and navigation system on a continental scale.2 Despite this massive reduction, the LMM still discharges sediment at a rate roughly equal to that of the next six largest rivers in the United States combined [Ref. 3]. Most of this sediment is no longer used to continuously build the delta. Rather, thanks to the 1870’s engi-neering of Capt. James Eads, it is shot out into deepwater in the Gulf of Mexico.3 Since 1930 a landmass approximating the size of Delaware has been lost from the Louisiana coast [Ref. 4]. But the potential of the LMM remains. 20 00 Open Access Davis, Brian 20 03 06 10.21983/P3.0014.1.20 123 129 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Space-Time Vertigo 1 A01 21 0000000276089035 Brett Milligan Brett Milligan 40 0293rh119 University of Oregon 01 eng 03 00 In 1897 the United States Geological Survey (USGS) began the task of surveying the entire nation. From 1897 to 1992 the survey produced over 55,000 7.5-minute topography maps, creating the only uniform map covering the entire extent of the lower continental 48 states in detail.1 These surveys became the definitive source for remote sensing2 the country’s lands and what was being inscribed upon them. In contrast to its strictly ‘geologic’ surveys, inventories of subsurface mineral deposits, USGS topographic maps gave equal consideration to surficial landscape features (landforms, rivers, and streams) as well as our cultural alteration of those forms and surfaces. Because the topographic surveys mapped the cultural terrain, they needed to be periodically updated to include how our use of the landscape was changing it.Figure 1 shows two USGS topographic maps depicting the same location and extent of Basin and Range territory in southwestern New Mexico. The first was surveyed around 1915 and the second around 1992. In the interval between them, the survey’s conventions for drawing the landscape remained largely the same. Differences in style are subtle in compari-son to the massive physical changes in the terrain they depict. What in 1915 was a landscape of undulating hills, underground mine shafts and the sprawling town of Tyrone has vanished within the manufactured geography of an open-pit copper mine. In the process, over seven contiguous miles of the former Continental Divide was displaced from its former location. 30 00 In 1897 the United States Geological Survey (USGS) began the task of surveying the entire nation. From 1897 to 1992 the survey produced over 55,000 7.5-minute topography maps, creating the only uniform map covering the entire extent of the lower continental 48 states in detail.1 These surveys became the definitive source for remote sensing2 the country’s lands and what was being inscribed upon them. In contrast to its strictly ‘geologic’ surveys, inventories of subsurface mineral deposits, USGS topographic maps gave equal consideration to surficial landscape features (landforms, rivers, and streams) as well as our cultural alteration of those forms and surfaces. Because the topographic surveys mapped the cultural terrain, they needed to be periodically updated to include how our use of the landscape was changing it.Figure 1 shows two USGS topographic maps depicting the same location and extent of Basin and Range territory in southwestern New Mexico. The first was surveyed around 1915 and the second around 1992. In the interval between them, the survey’s conventions for drawing the landscape remained largely the same. Differences in style are subtle in compari-son to the massive physical changes in the terrain they depict. What in 1915 was a landscape of undulating hills, underground mine shafts and the sprawling town of Tyrone has vanished within the manufactured geography of an open-pit copper mine. In the process, over seven contiguous miles of the former Continental Divide was displaced from its former location. 20 00 Open Access Milligan, Brett 21 03 06 10.21983/P3.0014.1.21 130 134 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fertilizing Earthworks 1 A01 Chris Taylor Chris Taylor 40 0405mnx93 Texas Tech University 01 eng 03 00 Earthworks map the intersection of human construction and geomorphology. They begin with land and extend through the complex social and ecological processes that create landscape. Propelled by the legacy of John Brinkerhoff Jackson, our understanding of earthworks as sites where the human and the geologic intersect has expanded to encompass human settlements, monumental artworks and industrial installations, as well as traces of their construction and decay, ranging from geologic material and weather to cigarette butts and hydroelectric dams.Since humans took an active role in cultivating food and medicine, nearly 10,000 years ago, we have been involved in shaping the surface of the earth and learned quickly the impor-tance of maintaining soil fertility by adding available organic nutrients to the ground. Human development occurred over millennia precisely because of our ability to sustain ourselves in the places where we lived. Understanding the chemical make up of soil fertility began with the identification of the key ingredients: phosphorus in 1669, nitrogen in 1772, and potassium in 1807. Nitrogen, while comprising 78% of the earth’s atmosphere, was the most difficult to isolate. Feeding the biological hunger for usable nitrogen to create chemical fertilizers required a source for naturally occurring nirates—nitrogen-oxygen chemical units accessible to reaction. The arrival of industrialization, ushering in the Anthropocene, is marked by the human ability to move vast quantities of geologic material. 30 00 Earthworks map the intersection of human construction and geomorphology. They begin with land and extend through the complex social and ecological processes that create landscape. Propelled by the legacy of John Brinkerhoff Jackson, our understanding of earthworks as sites where the human and the geologic intersect has expanded to encompass human settlements, monumental artworks and industrial installations, as well as traces of their construction and decay, ranging from geologic material and weather to cigarette butts and hydroelectric dams.Since humans took an active role in cultivating food and medicine, nearly 10,000 years ago, we have been involved in shaping the surface of the earth and learned quickly the impor-tance of maintaining soil fertility by adding available organic nutrients to the ground. Human development occurred over millennia precisely because of our ability to sustain ourselves in the places where we lived. Understanding the chemical make up of soil fertility began with the identification of the key ingredients: phosphorus in 1669, nitrogen in 1772, and potassium in 1807. Nitrogen, while comprising 78% of the earth’s atmosphere, was the most difficult to isolate. Feeding the biological hunger for usable nitrogen to create chemical fertilizers required a source for naturally occurring nirates—nitrogen-oxygen chemical units accessible to reaction. The arrival of industrialization, ushering in the Anthropocene, is marked by the human ability to move vast quantities of geologic material. 20 00 Open Access Taylor, Chris 22 03 06 10.21983/P3.0014.1.22 136 144 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Blank Stare (10 Images and Corresponding Notes on the Pensive in Photography and its Utility in the Face of Catastrophe, as Excerpted from A History of the Future) 1 A01 Susannah Sayler Susannah Sayler 40 025r5qe02 Syracuse University 2 A01 Edward Morris Edward Morris 40 025r5qe02 Syracuse University 3 A01 The Canary Project The Canary Project 01 eng 03 00 Most of us barely know how to read the land. But once you start to learn, even a little, you are confronted everywhere with absence. You are drawn back into the past, and this seems, at first, the only direction you can go. You see glaciers in the striations on the stone, the flatness of the valley at the foot of the mountain, the melt water, the rocks left in a field thousands of years ago by the withdrawal of a nearly unimaginable force. Yet, feeling the past in this way is like taking a few, hard steps up a hill, gaining elevation from which you ultimately hope to see in all directions, even the future... 30 00 Most of us barely know how to read the land. But once you start to learn, even a little, you are confronted everywhere with absence. You are drawn back into the past, and this seems, at first, the only direction you can go. You see glaciers in the striations on the stone, the flatness of the valley at the foot of the mountain, the melt water, the rocks left in a field thousands of years ago by the withdrawal of a nearly unimaginable force. Yet, feeling the past in this way is like taking a few, hard steps up a hill, gaining elevation from which you ultimately hope to see in all directions, even the future... 20 00 Open Access Sayler, Susannah Morris, Edward The Canary Project 23 03 06 10.21983/P3.0014.1.23 145 149 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Artifacts Trevor Paglen's Frontier Photography 1 A01 Brooke Belisle Brooke Belisle 40 05qghxh33 Stony Brook University 01 eng 03 00 The first photograph of Trevor Paglen’s 2010 diptych, Artifacts, is familiar. Picturing ancient ruins nestled in the cliffs of Arizona’s Canyon de Chelly, it echoes a 1873 photograph by Timo-thy O’Sullivan and a 1941 photograph by Ansel Adams. Paglen’s photograph, like its anteced-ents, is rendered in sharp-focus, without color, dominated by dramatic, diagonal striations of the cliff face. It frames the archeological history of the ruin within the geological history of the canyon within the cultural history of photography.Canyon de Chelly is actually the intersection of several canyons, formed by slow erosion over thirty million years ago. The angled striations seen in the photograph expose even older geo-logical processes, layers of sediment compressing into strata then shifting, rising, and tilting. Between the 1st and 4th century, people now called the Anasazi settled in the canyon. They built the structure in this photograph around the year 1000, and, 300 years later, they had disappeared. Navajo tribes spreading across the Southwest discovered the ruins already 500 years old. In the 18th century, Spanish colonists ventured into the canyon and soon they were converting and killing Navajos who lived there 30 00 The first photograph of Trevor Paglen’s 2010 diptych, Artifacts, is familiar. Picturing ancient ruins nestled in the cliffs of Arizona’s Canyon de Chelly, it echoes a 1873 photograph by Timo-thy O’Sullivan and a 1941 photograph by Ansel Adams. Paglen’s photograph, like its anteced-ents, is rendered in sharp-focus, without color, dominated by dramatic, diagonal striations of the cliff face. It frames the archeological history of the ruin within the geological history of the canyon within the cultural history of photography.Canyon de Chelly is actually the intersection of several canyons, formed by slow erosion over thirty million years ago. The angled striations seen in the photograph expose even older geo-logical processes, layers of sediment compressing into strata then shifting, rising, and tilting. Between the 1st and 4th century, people now called the Anasazi settled in the canyon. They built the structure in this photograph around the year 1000, and, 300 years later, they had disappeared. Navajo tribes spreading across the Southwest discovered the ruins already 500 years old. In the 18th century, Spanish colonists ventured into the canyon and soon they were converting and killing Navajos who lived there 20 00 Open Access Belisle, Brooke 24 03 06 10.21983/P3.0014.1.24 150 153 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Uneven Time of Space Debris An Interview with Trevor Paglen 1 A01 Elizabeth Ellsworth Elizabeth Ellsworth 40 02tvcev59 New School 2 A01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 PAGLEN: This is something that I think about a lot. One thing that interests me about this idea of thinking geologically, or using the geologic as a kind of analytic framework or ap-proach is this: What would happen if you took geographic thinking and instead of putting it on a horizontal axis, you added a vertical axis to it, a temporal axis? You would be thinking not only about unevenness of the surface of the Earth, but also about the multiple ways in which time itself is uneven. If we go back to all the nineteenth century talk of the “annihilation of space and time,” we find the beginnings of a world in which humans have reshaped time in the interest of capital and warfare. Mostly, we think about this in terms of speeding up time (increasing capitalist turnover times, labor productivity, financial transactions in the case of capital, and things like GPS targeting and hypersonic cruise missiles in the case of militarism). 30 00 PAGLEN: This is something that I think about a lot. One thing that interests me about this idea of thinking geologically, or using the geologic as a kind of analytic framework or ap-proach is this: What would happen if you took geographic thinking and instead of putting it on a horizontal axis, you added a vertical axis to it, a temporal axis? You would be thinking not only about unevenness of the surface of the Earth, but also about the multiple ways in which time itself is uneven. If we go back to all the nineteenth century talk of the “annihilation of space and time,” we find the beginnings of a world in which humans have reshaped time in the interest of capital and warfare. Mostly, we think about this in terms of speeding up time (increasing capitalist turnover times, labor productivity, financial transactions in the case of capital, and things like GPS targeting and hypersonic cruise missiles in the case of militarism). 20 00 Open Access Ellsworth, Elizabeth Kruse, Jamie 25 03 06 10.21983/P3.0014.1.25 154 158 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Autobiographical Trace Fossils 1 A01 Ilana Halperin Ilana Halperin 01 eng 03 00 Ephemeral islands, petrified raindrops, volcanic dust from Pompeii, a shared birthday with a volcano. Certain geological processes have a way of evoking a more personal response to the idea of geological time. What does a time span of 300,000,000 years actually mean? Physical Geology is an ongoing project which explores our desire to make corporeal contact with geo-logical phenomena.While conducting research as an Alchemy Fellow at the Manchester Museum, in the “oddi-ties drawer” of the geology department I came across a fine collection of lava medallions from Mount Vesuvius, magma pressed between forged steel plates to form an imprint (imagine a waffle iron that uses lava as batter). In the same drawer, a small stone relief sculpture ap-peared to be carved out of pure white alabaster. In fact, it was a limestone cast created via the same process that forms stalactites in a cave. 30 00 Ephemeral islands, petrified raindrops, volcanic dust from Pompeii, a shared birthday with a volcano. Certain geological processes have a way of evoking a more personal response to the idea of geological time. What does a time span of 300,000,000 years actually mean? Physical Geology is an ongoing project which explores our desire to make corporeal contact with geo-logical phenomena.While conducting research as an Alchemy Fellow at the Manchester Museum, in the “oddi-ties drawer” of the geology department I came across a fine collection of lava medallions from Mount Vesuvius, magma pressed between forged steel plates to form an imprint (imagine a waffle iron that uses lava as batter). In the same drawer, a small stone relief sculpture ap-peared to be carved out of pure white alabaster. In fact, it was a limestone cast created via the same process that forms stalactites in a cave. 20 00 Open Access Halperin, Ilana 26 03 06 10.21983/P3.0014.1.26 159 162 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Live Through This Surviving the Pleistocene in Southern California 1 A01 Rachel Sussman Rachel Sussman 01 eng 03 00 The Oldest Living Things in the World are continuously living organisms 2,000 years old and older. Starting at “year zero” and looking back from there, they help reframe our personal timescale in a shift towards the long term well beyond a single human lifetime. There are a number of characteristics that many of these ancient organisms have in common, such as slow growth rates and the ability to thrive in adverse conditions. Likewise, there are geographic concentrations of these multi-millennials in the Mediterranean and Australia (and it should be noted that there are many parts of the world that have not enjoyed the same dedicated scientific attentions), but one of the largest known geographical concentrations of ancient life anywhere on the planet happens to be in Southern California. If you ask someone what the oldest trees in United States are, the answer is often the Red-woods. It’s an understandable mistake: they are majestic, breathtakingly large, and admirable in both girth and height. But while the Redwoods hold records for certain superlatives, their cousins to the south, the Giant Sequoias, are older. And even then, the Giant Sequoias are in fact the youngest of the five species in California alone that have surpassed the 2000-year mark. 30 00 The Oldest Living Things in the World are continuously living organisms 2,000 years old and older. Starting at “year zero” and looking back from there, they help reframe our personal timescale in a shift towards the long term well beyond a single human lifetime. There are a number of characteristics that many of these ancient organisms have in common, such as slow growth rates and the ability to thrive in adverse conditions. Likewise, there are geographic concentrations of these multi-millennials in the Mediterranean and Australia (and it should be noted that there are many parts of the world that have not enjoyed the same dedicated scientific attentions), but one of the largest known geographical concentrations of ancient life anywhere on the planet happens to be in Southern California. If you ask someone what the oldest trees in United States are, the answer is often the Red-woods. It’s an understandable mistake: they are majestic, breathtakingly large, and admirable in both girth and height. But while the Redwoods hold records for certain superlatives, their cousins to the south, the Giant Sequoias, are older. And even then, the Giant Sequoias are in fact the youngest of the five species in California alone that have surpassed the 2000-year mark. 20 00 Open Access Sussman, Rachel 27 03 06 10.21983/P3.0014.1.27 163 169 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Unconformities, Schisms and Sutures Geology and the Art of Mythology in Scotland 1 A01 Matt Baker Matt Baker 2 A01 John Gordon John Gordon 40 02wn5qz54 University of St Andrews 01 eng 03 00 In the late 18th century, James Hutton’s insights opened new worlds, both geological and cul-tural. For the first time, human identity could be placed against a geological timescale, allowing the emergence of new mythologies. Hutton’s theory, underpinned by the concept of geological “unconformity,” the interruption in the “rock record” of the natural sequence of rocks, led to a new scientific and rational understanding of geology. That new understanding led to the ques-tioning of creation mythologies through empirical science, creating senses of displacement or “unconformity” among people during the Enlightenment. Humans found their senses of self and their traditional mythologies displaced in relation to, or not conforming to, the notion of deep time.As the science of Geology set about developing an empirical understanding of the “abyss of time” (as described by John Playfair) and reconstructing Earth history (the “worlds before Adam” in the words of Martin Rudwick), artists wrestled with a different problem: how to build new mythologies that situated humankind’s sense of self in relationship to this longest of all time-signatures. The different historical responses we present here conclude with the produc-tion of “nonconformities” in the landscape by contemporary artists who are re-appropriating geologic science as the material for new mythologies that connect human time to deep time. 30 00 In the late 18th century, James Hutton’s insights opened new worlds, both geological and cul-tural. For the first time, human identity could be placed against a geological timescale, allowing the emergence of new mythologies. Hutton’s theory, underpinned by the concept of geological “unconformity,” the interruption in the “rock record” of the natural sequence of rocks, led to a new scientific and rational understanding of geology. That new understanding led to the ques-tioning of creation mythologies through empirical science, creating senses of displacement or “unconformity” among people during the Enlightenment. Humans found their senses of self and their traditional mythologies displaced in relation to, or not conforming to, the notion of deep time.As the science of Geology set about developing an empirical understanding of the “abyss of time” (as described by John Playfair) and reconstructing Earth history (the “worlds before Adam” in the words of Martin Rudwick), artists wrestled with a different problem: how to build new mythologies that situated humankind’s sense of self in relationship to this longest of all time-signatures. The different historical responses we present here conclude with the produc-tion of “nonconformities” in the landscape by contemporary artists who are re-appropriating geologic science as the material for new mythologies that connect human time to deep time. 20 00 Open Access Baker, Matt Gordon, John 28 03 06 10.21983/P3.0014.1.28 170 172 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Time and the Breathing City 1 A01 Chris Rose Chris Rose 40 04mxsc976 Rhode Island School of Design 01 eng 03 00 During the early research phase of a large Arts-Sciences-Design collaboration in the UK, I joined a site visit to the Portland stone quarry on the south coast of the UK, part of the area designated as the “Jurassic Coastline” World Heritage Site. I was part of a small team com-prised of meteorologist Dr. Janet Barlow, composer and sound expert Holger Zschenderlein, and myself as artist and designer. We were in the midst of exploring concepts of time, mate-rial evidence, data, and embodied cognition/experience especially connected with complex systems in the atmosphere and our understanding of them.We started our process by visiting the Portland Stone quarry (Portland Bill, Dorset UK). This site presents a kind of “time interface” in two entirely different ways: 1) the collision of a rock formation of equatorial marine origin; Portland Bill itself as part of an “object” traveling from the equator eventually to what is now the south coast of England and embedding in the sedimentary rocks of that place. Here the differences in material properties along the collision zone altered the local erosion behavior and continues to modify the coastline. Places are acces-sible where a cross section of the collision zone can be seen; and 2) places where a vertical slice is visible through the integral, layered record within the Portland stone itself of alternating periods of forestation, shoreline formation, and subsequent reforestation forming a kind of “grammar” of observable repetition. 30 00 During the early research phase of a large Arts-Sciences-Design collaboration in the UK, I joined a site visit to the Portland stone quarry on the south coast of the UK, part of the area designated as the “Jurassic Coastline” World Heritage Site. I was part of a small team com-prised of meteorologist Dr. Janet Barlow, composer and sound expert Holger Zschenderlein, and myself as artist and designer. We were in the midst of exploring concepts of time, mate-rial evidence, data, and embodied cognition/experience especially connected with complex systems in the atmosphere and our understanding of them.We started our process by visiting the Portland Stone quarry (Portland Bill, Dorset UK). This site presents a kind of “time interface” in two entirely different ways: 1) the collision of a rock formation of equatorial marine origin; Portland Bill itself as part of an “object” traveling from the equator eventually to what is now the south coast of England and embedding in the sedimentary rocks of that place. Here the differences in material properties along the collision zone altered the local erosion behavior and continues to modify the coastline. Places are acces-sible where a cross section of the collision zone can be seen; and 2) places where a vertical slice is visible through the integral, layered record within the Portland stone itself of alternating periods of forestation, shoreline formation, and subsequent reforestation forming a kind of “grammar” of observable repetition. 20 00 Open Access Rose Chris 29 03 06 10.21983/P3.0014.1.29 173 179 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Robert Smithson's Abstract Geology Revisiting the Premonitory Politics of the Triassic 1 A01 Etienne Turpin Etienne Turpin 40 042nb2s44 Massachusetts Institute of Technology 01 eng 03 00 In response to an artist symposium question regarding the “deepening political crisis in America,” Robert Smithson published a piece in Artforum, September 1970, titled “Art and the Political Whirlpool or the Politics of Disgust.” In it, he said: My ‘position’ is one of sinking into an awareness of global squalor and futility. The rat of poli-tics always gnaws at the cheese of art. The trap is set. If there’s an original curse, then politics has something to do with it. Direct political action becomes a matter of trying to pick poi-son out of boiling stew. The pain of this experience accelerates the need for more and more actions.1Later that same year, when asked about his political stance by Philip Leider, Smithson re-marked, “I’m interested in the politics of the Triassic period.” In an earlier essay, “The Crystal Land” (1966), Smithson suggested some of the sedimentary compositions at stake in a geo-artistic politics:Brian H. Mason, in his fascinating booklet, Trap Rock Minerals of New Jersey, speaks of the “Triassic sedimentary rocks of the Neward series,” which are related to those of the Palisades. 30 00 In response to an artist symposium question regarding the “deepening political crisis in America,” Robert Smithson published a piece in Artforum, September 1970, titled “Art and the Political Whirlpool or the Politics of Disgust.” In it, he said: My ‘position’ is one of sinking into an awareness of global squalor and futility. The rat of poli-tics always gnaws at the cheese of art. The trap is set. If there’s an original curse, then politics has something to do with it. Direct political action becomes a matter of trying to pick poi-son out of boiling stew. The pain of this experience accelerates the need for more and more actions.1Later that same year, when asked about his political stance by Philip Leider, Smithson re-marked, “I’m interested in the politics of the Triassic period.” In an earlier essay, “The Crystal Land” (1966), Smithson suggested some of the sedimentary compositions at stake in a geo-artistic politics:Brian H. Mason, in his fascinating booklet, Trap Rock Minerals of New Jersey, speaks of the “Triassic sedimentary rocks of the Neward series,” which are related to those of the Palisades. 20 00 Open Access Turpin, Etienne 30 03 06 10.21983/P3.0014.1.30 180 182 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Jarrod Beck Geologic Anxiety 1 A01 Anne Reeve Anne Reeve 01 eng 03 00 It’s a straightforward proposition, but one just as often overlooked: what’s here is here now, only because of how it was then, and it won’t be this way forever. It seems we are uniquely able to appreciate this when the terrain around us changes, when a storm or an interruption (a quake, a tidal wave) jostles our sense of scale and proportion and their accompanying vari-ables shift. A body shrinks and quiets against an unspeakably broad landscape, rain cracks a bright day into pounding blackness. Yet, how do we measure ourselves against slower, monumental shifts that carve the land around us? What “geologic anxiety” might manifest from our sense of being in a continual, if imperceptible, state of flux? On five acres in the far West Texas desert outpost of Terlingua, artist Jarrod Beck is care-fully enacting a “Disruption Regime” to explore this question. In local intraterrestial parlance, this “disruption” refers to overgrazing that permanently changes the structure of the ground plane, eroding the root system and in turn the ground’s ability to withstand summer rain-storms. These Texas storms then become floods, sending the land on the move and rendering it permanently hostile to many forms of growth. Beck appropriates the term for an experi-mental “ground-drawing,” which he views as a test in marking human action against the top strata of the geology it occupies. 30 00 It’s a straightforward proposition, but one just as often overlooked: what’s here is here now, only because of how it was then, and it won’t be this way forever. It seems we are uniquely able to appreciate this when the terrain around us changes, when a storm or an interruption (a quake, a tidal wave) jostles our sense of scale and proportion and their accompanying vari-ables shift. A body shrinks and quiets against an unspeakably broad landscape, rain cracks a bright day into pounding blackness. Yet, how do we measure ourselves against slower, monumental shifts that carve the land around us? What “geologic anxiety” might manifest from our sense of being in a continual, if imperceptible, state of flux? On five acres in the far West Texas desert outpost of Terlingua, artist Jarrod Beck is care-fully enacting a “Disruption Regime” to explore this question. In local intraterrestial parlance, this “disruption” refers to overgrazing that permanently changes the structure of the ground plane, eroding the root system and in turn the ground’s ability to withstand summer rain-storms. These Texas storms then become floods, sending the land on the move and rendering it permanently hostile to many forms of growth. Beck appropriates the term for an experi-mental “ground-drawing,” which he views as a test in marking human action against the top strata of the geology it occupies. 20 00 Open Access Reeve, Anne 31 03 06 10.21983/P3.0014.1.31 183 185 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Border Project 1 A01 Victoria Sambunaris Victoria Sambunaris 40 03v76x132 Yale University 01 eng 03 00 The US/Mexico border spans approximately 2000 miles from the Gulf of Mexico to the Pa-cific Ocean. This southern border weaves its way through diverse terrains and waterways: riv-ers, mountains, valleys, grasslands, refuges, reservoirs, reservations, parks, forest, canyons, deserts, dunes, ranches, towns, and farms. The extreme physical diversity of the landscape along the border fluctuates between dense urban sprawl compressed along the dividing fence where one can practically see into a person’s home across the border to remote uncultivated desert areas with ancient geological formations where one may not see a soul for days. An imposing physical barrier creates the division between the two countries. The adjacent landscape on the US side is stripped away to accommodate access for Border Patrol and other federal law enforcement agents. From afar, it appears to resemble an extended landing strip or perhaps an environmental art piece. But at ground level, the conspicuous steel fence is a physical reality. 30 00 The US/Mexico border spans approximately 2000 miles from the Gulf of Mexico to the Pa-cific Ocean. This southern border weaves its way through diverse terrains and waterways: riv-ers, mountains, valleys, grasslands, refuges, reservoirs, reservations, parks, forest, canyons, deserts, dunes, ranches, towns, and farms. The extreme physical diversity of the landscape along the border fluctuates between dense urban sprawl compressed along the dividing fence where one can practically see into a person’s home across the border to remote uncultivated desert areas with ancient geological formations where one may not see a soul for days. An imposing physical barrier creates the division between the two countries. The adjacent landscape on the US side is stripped away to accommodate access for Border Patrol and other federal law enforcement agents. From afar, it appears to resemble an extended landing strip or perhaps an environmental art piece. But at ground level, the conspicuous steel fence is a physical reality. 20 00 Open Access Sambunaris, Victoria 32 03 06 10.21983/P3.0014.1.32 186 187 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 473 Inches at 60 Frames Per Second 1 A01 Wade Kavanaugh Wade Kavanaugh 2 A01 Stephen B. Nguyen Stephen B. Nguyen 01 eng 03 00 473 Inches at 60 Frames per Secondwas a site-specific sculptural installation with reference to the Wisconsin Glacial Episode, a glacial period that left Minnesota and parts of Wisconsin covered with numerous lakes and rivers. At the Soap Factory in Minneapolis, MN, Wade Kava-naugh and Stephen B. Nguyen created a two-part artwork that consisted of a glacial ice sheet made of textured white kraft paper and a time lapse video. The two works were physically and temporally downscaled to human scale. The sculpture was created in a way that the final stop-motion documentation read as if the glacier was advancing over a stone canyon made of brown kraft paper. The time lapse video shows the paper glacier advancing at a rate of 473 inches at 60 frames per second, a metric that shifts physical scale and time, from glacial to human 30 00 473 Inches at 60 Frames per Secondwas a site-specific sculptural installation with reference to the Wisconsin Glacial Episode, a glacial period that left Minnesota and parts of Wisconsin covered with numerous lakes and rivers. At the Soap Factory in Minneapolis, MN, Wade Kava-naugh and Stephen B. Nguyen created a two-part artwork that consisted of a glacial ice sheet made of textured white kraft paper and a time lapse video. The two works were physically and temporally downscaled to human scale. The sculpture was created in a way that the final stop-motion documentation read as if the glacier was advancing over a stone canyon made of brown kraft paper. The time lapse video shows the paper glacier advancing at a rate of 473 inches at 60 frames per second, a metric that shifts physical scale and time, from glacial to human 20 00 Open Access Kavanaugh, Wade Nguyen, Stephen B. 33 03 06 10.21983/P3.0014.1.33 188 192 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Nothing from Nothing 1 A01 Katie Holten Katie Holten 01 eng 03 00 These images are from Drawn to the Edge, my solo exhibition at the New Orleans Museum of Art (June 15 to September 9, 2012). In many ways the work is an attempt to capture time—to ex-plore how today’s New Orleans is profoundly connected to its past and to consider how quickly we seem to be running out of time.During a six-week residency this spring at A Studio in the Woods (ASITW), which is located on a bend of the Mississippi River just east of the city center, I looked atthe history of the place, focusing my research on the city and its relationship with the river, through both the slow processes of geologic time and the rapid changes of the 20th and 21st centuries. I quickly came to see that New Orleans’ history is fundamentally connected to its underlying geology, more so than any other place I’ve ever been. Five thousand years ago, there was no land where New Orleans is today – it was all open water. Slowly over the millennia, the alluvial plain of southern Louisiana was created as the Mississippi River dropped sediment along its meandering path to the Gulf of Mexico. 30 00 These images are from Drawn to the Edge, my solo exhibition at the New Orleans Museum of Art (June 15 to September 9, 2012). In many ways the work is an attempt to capture time—to ex-plore how today’s New Orleans is profoundly connected to its past and to consider how quickly we seem to be running out of time.During a six-week residency this spring at A Studio in the Woods (ASITW), which is located on a bend of the Mississippi River just east of the city center, I looked atthe history of the place, focusing my research on the city and its relationship with the river, through both the slow processes of geologic time and the rapid changes of the 20th and 21st centuries. I quickly came to see that New Orleans’ history is fundamentally connected to its underlying geology, more so than any other place I’ve ever been. Five thousand years ago, there was no land where New Orleans is today – it was all open water. Slowly over the millennia, the alluvial plain of southern Louisiana was created as the Mississippi River dropped sediment along its meandering path to the Gulf of Mexico. 20 00 Open Access Holten, Katie 34 03 06 10.21983/P3.0014.1.34 193 195 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Arts, Letters & Numbers Situating Engagement with Material and Experiential Geographies 1 A01 David Gersten David Gersten 40 05pbkcd34 Cooper Union 01 eng 03 00 The ubiquitous observation of our time is transformation: cultural, technological, social, po-litical, economical, and geological. We are in the midst of unprecedented re-alignments and re-articulations of every aspect of our lives. There are people and institutions across all disciplines and across the globe that are increasingly confronted by the need for new models of asking the extraordinarily complex questions of our time. The challenges, possibilities of our moment are extraordinary; they call for creative urgency, considered stewardship, and new spaces bringing together diverse voices. Arts Letters & Numbers, a workshop conducted in summer 2012, involving 30 participants from 12 countries, is just such a space. It offered a new approach to constructing alternative pathways of interaction among a wide range of individuals, disciplines and geographies. 30 00 The ubiquitous observation of our time is transformation: cultural, technological, social, po-litical, economical, and geological. We are in the midst of unprecedented re-alignments and re-articulations of every aspect of our lives. There are people and institutions across all disciplines and across the globe that are increasingly confronted by the need for new models of asking the extraordinarily complex questions of our time. The challenges, possibilities of our moment are extraordinary; they call for creative urgency, considered stewardship, and new spaces bringing together diverse voices. Arts Letters & Numbers, a workshop conducted in summer 2012, involving 30 participants from 12 countries, is just such a space. It offered a new approach to constructing alternative pathways of interaction among a wide range of individuals, disciplines and geographies. 20 00 Open Access Gersten, David 35 03 06 10.21983/P3.0014.1.35 196 201 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Neo-Eocene 1 A01 21 0000000290345189 Oliver Kellhammer Oliver Kellhammer 40 02cmz8k74 Parsons School of Design 01 eng 03 00 Back in the mid-1960s, I was a feral sort of a child who loved scampering around construc-tion sites, climbing the huge, grey piles of excavated shale that were popping up all over my rapidly developing Toronto suburb. I might have been six or so when I first really noticed the slabs of muddy smelling rock often contained the imprints of scallop shells, snails, and fragments of coral, things I recognized from picture books but hadn’t yet seen in real life as we lived hundreds of miles from the near-est ocean. Yet 450 million years before, during the Ordovician era, where I was playing would have been the middle of a vast ocean whose limpid, tropical waters teemed with fantastic life forms such as giant, predatory sea scorpions and nautiloids that jetted through the primeval currents like living missiles. I knew this from visiting the Royal Ontario Museum’s brand new, McLuhan-inspired, Hall of Invertebrate Paleontology, which recreated detailed dioramas of life in Ontario’s ancient seas, complete with theatrical lighting and interactive, taped-looped narratives played through banks of telephone receivers 30 00 Back in the mid-1960s, I was a feral sort of a child who loved scampering around construc-tion sites, climbing the huge, grey piles of excavated shale that were popping up all over my rapidly developing Toronto suburb. I might have been six or so when I first really noticed the slabs of muddy smelling rock often contained the imprints of scallop shells, snails, and fragments of coral, things I recognized from picture books but hadn’t yet seen in real life as we lived hundreds of miles from the near-est ocean. Yet 450 million years before, during the Ordovician era, where I was playing would have been the middle of a vast ocean whose limpid, tropical waters teemed with fantastic life forms such as giant, predatory sea scorpions and nautiloids that jetted through the primeval currents like living missiles. I knew this from visiting the Royal Ontario Museum’s brand new, McLuhan-inspired, Hall of Invertebrate Paleontology, which recreated detailed dioramas of life in Ontario’s ancient seas, complete with theatrical lighting and interactive, taped-looped narratives played through banks of telephone receivers 20 00 Open Access Kellhammer, Oliver 36 03 06 10.21983/P3.0014.1.36 202 204 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Leslie Street Spit 1 A01 Lisa Hirmer Lisa Hirmer 01 eng 03 00 The Leslie Street Spit is a long finger of artificial land stretching into Lake Ontario from To-ronto’s shore. It was originally conceived in the 1950s as a breakwater for the city’s northern harbor, but with changes in shipping methods quickly became obsolete in its original purpose. It remained, however, such a convenient place to discard of what is cleverly called “clean fill”—referring mostly to broken up pieces of demolished urban buildings—that it continues as an active dumping site today, expanding ever further into the lake. Owing to its open land and remote location, the spit was rapidly colonized by vegetation and wildlife, including several endangered species. Though this was never part of official plans, the spit became a hybrid-urban wilderness where, amidst the rubble of brick and bent rebar, nature thrived.These photographs document one of the oldest sections of the spit where the dumped rub-ble has settled and compacted into a soil like state. On the surface, where vegetation abounds, the ground reads as natural, not much different from any other conservation area. But, along the shoreline where the water pulls at the edge of the spit, the contents of the ground become visible—a rust colored metallic band, speckled with shards of glass, plastic and other debris. Essentially made from old iterations of the city, disposed of to make way for the new, this band offers an early glimpse of the urban world made geologic 30 00 The Leslie Street Spit is a long finger of artificial land stretching into Lake Ontario from To-ronto’s shore. It was originally conceived in the 1950s as a breakwater for the city’s northern harbor, but with changes in shipping methods quickly became obsolete in its original purpose. It remained, however, such a convenient place to discard of what is cleverly called “clean fill”—referring mostly to broken up pieces of demolished urban buildings—that it continues as an active dumping site today, expanding ever further into the lake. Owing to its open land and remote location, the spit was rapidly colonized by vegetation and wildlife, including several endangered species. Though this was never part of official plans, the spit became a hybrid-urban wilderness where, amidst the rubble of brick and bent rebar, nature thrived.These photographs document one of the oldest sections of the spit where the dumped rub-ble has settled and compacted into a soil like state. On the surface, where vegetation abounds, the ground reads as natural, not much different from any other conservation area. But, along the shoreline where the water pulls at the edge of the spit, the contents of the ground become visible—a rust colored metallic band, speckled with shards of glass, plastic and other debris. Essentially made from old iterations of the city, disposed of to make way for the new, this band offers an early glimpse of the urban world made geologic 20 00 Open Access Hirmer, Lisa 37 03 06 10.21983/P3.0014.1.37 206 213 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Trace-Cameraless Records of Radioactive Contamination 1 A01 Shimpei Takeda Shimpei Takeda 01 eng 03 00 As an artist working with analog photographic techniques that are rapidly in decline, a native of Japan, and moreover being born in Fukushima prefecture, I took on a mission to create a physical record of the worst man-made nuclear accident in history. A photograph can be created by electromagnetic radiation other than light. Radiation and visible light are similar forms of energy, they just travel in different wavelengths. Using cameraless processes, I want to capture the current state of Japan directly, by exposing photo-sensitive material to traces of radiation emitted from contaminated particles. Through visualizing the traces into visible form, the resulting images will speak to us be-yond the photograph, and perhaps they will be a valuable asset and documentation for future generations. 30 00 As an artist working with analog photographic techniques that are rapidly in decline, a native of Japan, and moreover being born in Fukushima prefecture, I took on a mission to create a physical record of the worst man-made nuclear accident in history. A photograph can be created by electromagnetic radiation other than light. Radiation and visible light are similar forms of energy, they just travel in different wavelengths. Using cameraless processes, I want to capture the current state of Japan directly, by exposing photo-sensitive material to traces of radiation emitted from contaminated particles. Through visualizing the traces into visible form, the resulting images will speak to us be-yond the photograph, and perhaps they will be a valuable asset and documentation for future generations. 20 00 Open Access Takeda, Shimpei 38 03 06 10.21983/P3.0014.1.38 214 221 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Power of Configuration When Infrastructure Goes off the Rails 1 A01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 On November 11, 2011, the Institute of Nuclear Power Operations (INPO) delivered a timeline to an audience of U.S. industry executives, the Nuclear Regulatory Commission, and members of Congress. It detailed the unfolding of events at the Fukushima Daiichi nuclear power station during, and in the critical hours following, the earthquake and tsunami of March 11, 2011. The story contained within the document entitled, “Special Report on the Nuclear Accident at the Fukushima Daiichi Nuclear Power Station,” reads like a screenplay. The gravity of the immediate hours after the accident, detailed and delivered through stark legalistic language, confronts the reader with a poignant reminder: when things don’t go as planned, human bodies are what must show up to try to steer things back on course.The INPO report serves well as a reference manual for contemporary designers, architects, urban planners, and engineers. It’s a powerful invitation to consider configuration in relation to infrastructure design and planning. Configuration: how and where we stage what we de-sign, how humans and infrastructures are situated in relation to one another, and how they inevitably interact. Yet humans and infrastructures exist not only in relation to one another and the landscape, but also in relation to the multitude of earth forces capable of rising up and challenging our best design and engineering capacities. 30 00 On November 11, 2011, the Institute of Nuclear Power Operations (INPO) delivered a timeline to an audience of U.S. industry executives, the Nuclear Regulatory Commission, and members of Congress. It detailed the unfolding of events at the Fukushima Daiichi nuclear power station during, and in the critical hours following, the earthquake and tsunami of March 11, 2011. The story contained within the document entitled, “Special Report on the Nuclear Accident at the Fukushima Daiichi Nuclear Power Station,” reads like a screenplay. The gravity of the immediate hours after the accident, detailed and delivered through stark legalistic language, confronts the reader with a poignant reminder: when things don’t go as planned, human bodies are what must show up to try to steer things back on course.The INPO report serves well as a reference manual for contemporary designers, architects, urban planners, and engineers. It’s a powerful invitation to consider configuration in relation to infrastructure design and planning. Configuration: how and where we stage what we de-sign, how humans and infrastructures are situated in relation to one another, and how they inevitably interact. Yet humans and infrastructures exist not only in relation to one another and the landscape, but also in relation to the multitude of earth forces capable of rising up and challenging our best design and engineering capacities. 20 00 Open Access Kruse, Jamie 39 03 06 10.21983/P3.0014.1.39 222 225 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Nuclear Present 1 A01 Bryan M. Wilson Bryan M. Wilson 01 eng 03 00 On September 29th, 2009, I was about to begin a pilgrimage to a remote location in the Southwestern desert. With my mother as navigator, my plan was to drive from my home state of Montana to the Trinity Nuclear Test Site, located within the White Sands Missile Range between Alamogordo and Soccorro, New Mexico. The United States military opens the Trinity Test Site to the general public two times a year, in the beginning of October and April. On July 16, 1945, the first plutonium-based atomic weapon was detonated on a remote location in the New Mexican desert. The subsequent explosion of “The Gadget” was described as a blinding light of golden, purple, violet, gray, and blue, lighting up the early desert morning as if it were high noon. At ten miles away, spectators required dark sunglasses to look upon the explosion without damage to their eyes. The Trinity explosion did not produce a crater at ground zero, but left behind a small lake of greenish glass, dubbed “trinitite.” It is theorized that the intense heat generated by the nuclear fireball (in excess of 14,000 degrees Fahrenheit) liquefied the desert sand floor into glass and sucked the material into the emergent mushroom cloud. At such high force and temperature, the vaporized glass behaves like water in a typical cloud: it collects in the mushroom cloud, aggregates and falls back to the earth as a shower of molten glass. The extant body of glass, trinitite, was the only material that remained at ground zero—The Gadget and the metal scaffolding holding the device were obliterated. 30 00 On September 29th, 2009, I was about to begin a pilgrimage to a remote location in the Southwestern desert. With my mother as navigator, my plan was to drive from my home state of Montana to the Trinity Nuclear Test Site, located within the White Sands Missile Range between Alamogordo and Soccorro, New Mexico. The United States military opens the Trinity Test Site to the general public two times a year, in the beginning of October and April. On July 16, 1945, the first plutonium-based atomic weapon was detonated on a remote location in the New Mexican desert. The subsequent explosion of “The Gadget” was described as a blinding light of golden, purple, violet, gray, and blue, lighting up the early desert morning as if it were high noon. At ten miles away, spectators required dark sunglasses to look upon the explosion without damage to their eyes. The Trinity explosion did not produce a crater at ground zero, but left behind a small lake of greenish glass, dubbed “trinitite.” It is theorized that the intense heat generated by the nuclear fireball (in excess of 14,000 degrees Fahrenheit) liquefied the desert sand floor into glass and sucked the material into the emergent mushroom cloud. At such high force and temperature, the vaporized glass behaves like water in a typical cloud: it collects in the mushroom cloud, aggregates and falls back to the earth as a shower of molten glass. The extant body of glass, trinitite, was the only material that remained at ground zero—The Gadget and the metal scaffolding holding the device were obliterated. 20 00 Open Access Wilson, Bryan M. 40 03 06 10.21983/P3.0014.1.40 226 237 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 One Million Years of Isolation An Interview with Abraham Van Luik 1 A01 Geoff Manaugh Geoff Manaugh 40 00hj8s172 Columbia University 2 A01 Nicola Twilley Nicola Twilley 40 00hj8s172 Columbia University 01 eng 03 00 Geoff Manaugh: How did you start designing a project like Yucca Mountain, when you’re dealing with such enormous timescales and geological complexity? Abraham Van Luik: You start with a question: How do you perceive the need to isolate a material from the environment? 30 00 Geoff Manaugh: How did you start designing a project like Yucca Mountain, when you’re dealing with such enormous timescales and geological complexity? Abraham Van Luik: You start with a question: How do you perceive the need to isolate a material from the environment? 20 00 Open Access Manaugh, Geoff Twilley, Nicola 41 03 06 10.21983/P3.0014.1.41 238 242 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Terminal Atomic Technogromorphological Mounds 1 A01 Center for Land Use Interpretation Center for Land Use Interpretation 01 eng 03 00 Though the underground nuclear catacombs for America’s spent nuclear fuel are yet to be created, radioactive tombs of America’s various nuclear programs already exist today, with more to come. Most are repositories for the remains of uranium mills, processing facilities, weapons plants, and contaminated tailings, bulldozed into engineered isolation mounds designed to limit contact with their surroundings for hundreds of years. There are dozens of these mounds, across the country from Pennsylvania to Arizona, built mostly by the Depart-ment of Energy, and maintained by their Legacy Management office.These disposal mounds are generally low, rectilinear piles with flat, sloping tops – terrestrial umbrellas, keeping moisture out of the pile as much as possible. In arid environments, the outer layer is a coating of coarse riprap rock, a dead space where nothing grows, where no soil forms, and no roots take hold that could pierce the radioactive core. This tough skin allows occasional rains to pass through it to the next layer, a low-permeability clayey mixture a few feet thick. Water drains off to the side of the pile through channels at the base held in place with more layers of crushed stone. 30 00 Though the underground nuclear catacombs for America’s spent nuclear fuel are yet to be created, radioactive tombs of America’s various nuclear programs already exist today, with more to come. Most are repositories for the remains of uranium mills, processing facilities, weapons plants, and contaminated tailings, bulldozed into engineered isolation mounds designed to limit contact with their surroundings for hundreds of years. There are dozens of these mounds, across the country from Pennsylvania to Arizona, built mostly by the Depart-ment of Energy, and maintained by their Legacy Management office.These disposal mounds are generally low, rectilinear piles with flat, sloping tops – terrestrial umbrellas, keeping moisture out of the pile as much as possible. In arid environments, the outer layer is a coating of coarse riprap rock, a dead space where nothing grows, where no soil forms, and no roots take hold that could pierce the radioactive core. This tough skin allows occasional rains to pass through it to the next layer, a low-permeability clayey mixture a few feet thick. Water drains off to the side of the pile through channels at the base held in place with more layers of crushed stone. 20 00 Open Access Center for Land Use Interpretation 42 03 06 10.21983/P3.0014.1.42 243 258 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Elisabeth Ellsworth Elisabeth Ellsworth 40 02tvcev59 New School 2 B01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 Ellsworth and Kruse have curated a powerful collection of words and images, “speculative or aesthetic devices” designed to instigate a new economy of discernment. It incites by showcasing a host of geologic actants—rivers, shale, escarpments, volcanos, tectonic plates, glaciers, river deltas, riprap, mud, clay—at work around and within human bodies, machines, cities, identi-ties, architectures. Such “activations of geologic materiality”1 help to recompose the default perceptual regime, which had tended to overlook the geologic (except on special occasions) and to forget how thoroughly we ourselves are geo-creatures—Earthlings. We are Earthlings both in the sense that we need a host of other bodies (“the planet”) to live and in the sense that “we” are made of the same elements as is the planet. We are “walking, talking minerals,” redistributions of “oxygen, hydrogen, nitrogen, carbon, sulfur, phospho-rous, and other elements of Earth’s crust into two-legged, upright forms.”2 Like wind or river, human individuals and groups are geologic forces that can alter the planet in countless and, as the concept of the Anthropocene marks, game-changing ways. 30 00 Ellsworth and Kruse have curated a powerful collection of words and images, “speculative or aesthetic devices” designed to instigate a new economy of discernment. It incites by showcasing a host of geologic actants—rivers, shale, escarpments, volcanos, tectonic plates, glaciers, river deltas, riprap, mud, clay—at work around and within human bodies, machines, cities, identi-ties, architectures. Such “activations of geologic materiality”1 help to recompose the default perceptual regime, which had tended to overlook the geologic (except on special occasions) and to forget how thoroughly we ourselves are geo-creatures—Earthlings. We are Earthlings both in the sense that we need a host of other bodies (“the planet”) to live and in the sense that “we” are made of the same elements as is the planet. We are “walking, talking minerals,” redistributions of “oxygen, hydrogen, nitrogen, carbon, sulfur, phospho-rous, and other elements of Earth’s crust into two-legged, upright forms.”2 Like wind or river, human individuals and groups are geologic forces that can alter the planet in countless and, as the concept of the Anthropocene marks, game-changing ways. 20 00 Open Access Ellsworth, Elisabeth Kruse, Jamie 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/making-the-geologic-now/ Brooklyn, NY 04 01 20121204 Ellsworth, Elisabeth Kruse, Jamie 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615766366 20 08 20121204 02 55.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/making-the-geologic-now-responses-to-material-conditions-of-contemporary-life 20 08 20121204 02 55.00 USD WORLD urn:uuid:00768d95-181a-44be-a10f-c797ee9a94e6 03 01 01 thoth-work-id urn:uuid:003137ea-4fe6-470d-8bd3-f936ad065f3c 01 thoth-publication-id urn:uuid:00768d95-181a-44be-a10f-c797ee9a94e6 06 10.21983/P3.0014.1.00 01 internal-reference 0014 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Making the Geologic Now Responses to Material Conditions of Contemporary Life 1 B01 Elisabeth Ellsworth Elisabeth Ellsworth 40 02tvcev59 New School 2 B01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 00 262 03 93 AGC B2 Anthropocene 10 ART006010 12 RBG B2 Art+Aesthetics 93 FXE B2 Biosphere 20 geology; antropocene; climate change; ecology studies; geo-philosophy 01 06 02 00 03 00 Making the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of “now.” Contributors’ ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer—as a partner in designing thoughts, objects, systems, and experiences.Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. As a condition of contemporary life in 2012, the geologic “now” is lived as a cascade of events. Humans and what we build participate in their unfolding. Today, and unlike the environmental movements of the 1970s, the geologic counts as “the environment” and invites us to extend our active awareness of inhabitation out to the cosmos and down to the Earth’s iron core. 30 00 Making the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of “now.” Contributors’ ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer—as a partner in designing thoughts, objects, systems, and experiences.Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. As a condition of contemporary life in 2012, the geologic “now” is lived as a cascade of events. Humans and what we build participate in their unfolding. Today, and unlike the environmental movements of the 1970s, the geologic counts as “the environment” and invites us to extend our active awareness of inhabitation out to the cosmos and down to the Earth’s iron core. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0014.1.00_frontcover.png 1 03 06 10.21983/P3.0014.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Elisabeth Ellsworth Elisabeth Ellsworth 40 02tvcev59 New School 2 B01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 20 00 Open Access Ellsworth, Elisabeth Kruse, Jamie 2 03 06 10.21983/P3.0014.1.02 5 26 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction 1 A01 Elizabeth Ellsworth Elizabeth Ellsworth 40 02tvcev59 New School 2 A01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 Until recently, the word “geologic” conjured meanings and associations that referred simply and directly to the science of geology—the study of the origin, history, and structures of the earth. But that seems to be changing. Something is happening to the ways that people are now taking up “the geologic.”Contemporary artists, popular culture producers, speculative architects, scientists and phi-losophers are adding new layers of cultural meaning and aesthetic sensation to the geologic. It is as if recent events and developments are making geologic realities sense-able with new physical intensity and from new angles of thought as a situation that we live within, not sim-ply as something “out there” that we study. Humans seem to be sensing, in new ways, that the forces and materials of the earth are not only subjects of scientific inquiry—they have also become conditions of daily life 30 00 Until recently, the word “geologic” conjured meanings and associations that referred simply and directly to the science of geology—the study of the origin, history, and structures of the earth. But that seems to be changing. Something is happening to the ways that people are now taking up “the geologic.”Contemporary artists, popular culture producers, speculative architects, scientists and phi-losophers are adding new layers of cultural meaning and aesthetic sensation to the geologic. It is as if recent events and developments are making geologic realities sense-able with new physical intensity and from new angles of thought as a situation that we live within, not sim-ply as something “out there” that we study. Humans seem to be sensing, in new ways, that the forces and materials of the earth are not only subjects of scientific inquiry—they have also become conditions of daily life 20 00 Open Access Ellsworth, Elizabeth Kruse, Jamie 3 03 06 10.21983/P3.0014.1.03 28 33 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Enter the Anthropocene Age of Man 1 A01 Elizabeth Kolbert Elizabeth Kolbert 01 eng 03 00 The path leads up a hill, across a fast-moving stream, back across the stream, and then past the carcass of a dead sheep. In my view it’s raining, but here in the Southern Up-lands of Scotland, I am told, this counts only as a light drizzle, or smirr. Just beyond the final switchback, there’s a waterfall, half shrouded in mist, and an outcropping of jagged rock. The rock has bands that run vertically, like a layer cake that’s been tipped on its side. My guide, Jan Zalasiewicz, a British stratigrapher, points to a wide stripe of gray. “Bad things happened in here,” he says. The stripe was laid down some 440 million years ago, as sediments slowly piled up on the bottom of an ancient ocean. In those days, life was still mostly confined to the water, and it was undergoing a crisis. Between one edge of the three-foot-thick gray band and the other, some 80 percent of marine species died out, most of them the sorts of creatures, like grap-tolites, that no longer exist in any form. The extinction event, known as the end-Ordovician, was one of the five biggest of the last half-billion years. It coincided with extreme changes in climate, in global sea levels, and in ocean chemistry—all caused, perhaps, by a supercontinent drifting over the South Pole.Stratigraphers like Zalasiewicz are, as a rule, hard to impress. Their job is to piece together Earth’s history from clues that can be coaxed out of layers of rock millions of years after the fact. They take the long view—the extremely long view—of events, only the most violent of which are likely to leave behind lasting traces. It’s those events that mark the crucial episodes in the planet’s 4.5-billion-year story, the turning points that divide it into comprehensible chapters.from 30 00 The path leads up a hill, across a fast-moving stream, back across the stream, and then past the carcass of a dead sheep. In my view it’s raining, but here in the Southern Up-lands of Scotland, I am told, this counts only as a light drizzle, or smirr. Just beyond the final switchback, there’s a waterfall, half shrouded in mist, and an outcropping of jagged rock. The rock has bands that run vertically, like a layer cake that’s been tipped on its side. My guide, Jan Zalasiewicz, a British stratigrapher, points to a wide stripe of gray. “Bad things happened in here,” he says. The stripe was laid down some 440 million years ago, as sediments slowly piled up on the bottom of an ancient ocean. In those days, life was still mostly confined to the water, and it was undergoing a crisis. Between one edge of the three-foot-thick gray band and the other, some 80 percent of marine species died out, most of them the sorts of creatures, like grap-tolites, that no longer exist in any form. The extinction event, known as the end-Ordovician, was one of the five biggest of the last half-billion years. It coincided with extreme changes in climate, in global sea levels, and in ocean chemistry—all caused, perhaps, by a supercontinent drifting over the South Pole.Stratigraphers like Zalasiewicz are, as a rule, hard to impress. Their job is to piece together Earth’s history from clues that can be coaxed out of layers of rock millions of years after the fact. They take the long view—the extremely long view—of events, only the most violent of which are likely to leave behind lasting traces. It’s those events that mark the crucial episodes in the planet’s 4.5-billion-year story, the turning points that divide it into comprehensible chapters.from 20 00 Open Access Kolbert, Elizabeth 4 03 06 10.21983/P3.0014.1.04 34 41 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A New Element, A New Force, A New Input Antonio Stoppani's Anthropozoic 1 A01 Etienne Turpin Etienne Turpin 40 042nb2s44 Massachusetts Institute of Technology 2 A01 Valeria Federighi Valeria Federighi 40 00bgk9508 Polytechnic University of Turin 01 eng 03 00 The Italian geologist Antonio Stoppani is a remarkable but little known figure in the history of science and the theoretical humanities. Recently, following debates about the Anthropo-cene initiated by the Dutch chemist Paul Crutzen, some scholars have returned to Stoppani’s writing for its eloquent argument regarding the appearance of human activity in the archive of deep time—the earth. Born in Lecco in 1824, the young Stoppani studied to become a priest of the order of the Rosminiani, and was ordained in 1848. In the same year, Stoppani partici-pated in the resistance during the Cinque giornate di Milano (Siege of Milan), where he both fought on the barricades and, fantastically, invented and fabricated aerostats that were used to communicate with the periphery and the provinces, sending revolutionary messages to the countryside from inside a barricaded Milano. In this endeavor, he was helped by the typographer Vincenzo Guglielmini, who worked with Stoppani to ensure that the aerostat balloons would travel from the Seminario Maggiore di Porta Orientale over the walls erected around the city (and the Austrians trying to shoot them from the sky) to encourage Italians to revolt against the Austrian Empire. 30 00 The Italian geologist Antonio Stoppani is a remarkable but little known figure in the history of science and the theoretical humanities. Recently, following debates about the Anthropo-cene initiated by the Dutch chemist Paul Crutzen, some scholars have returned to Stoppani’s writing for its eloquent argument regarding the appearance of human activity in the archive of deep time—the earth. Born in Lecco in 1824, the young Stoppani studied to become a priest of the order of the Rosminiani, and was ordained in 1848. In the same year, Stoppani partici-pated in the resistance during the Cinque giornate di Milano (Siege of Milan), where he both fought on the barricades and, fantastically, invented and fabricated aerostats that were used to communicate with the periphery and the provinces, sending revolutionary messages to the countryside from inside a barricaded Milano. In this endeavor, he was helped by the typographer Vincenzo Guglielmini, who worked with Stoppani to ensure that the aerostat balloons would travel from the Seminario Maggiore di Porta Orientale over the walls erected around the city (and the Austrians trying to shoot them from the sky) to encourage Italians to revolt against the Austrian Empire. 20 00 Open Access Turpin, Etienne Federighi, Valeria 5 03 06 10.21983/P3.0014.1.05 42 45 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 From Rock Art To Land Art/From Pleistocene To Anthropocene 1 A01 William L. Fox William L. Fox 01 eng 03 00 Our species of primate, Homo Sapiens, has been around for perhaps 200,000 years, and since then humans have witnessed two geologic turns. The Pleistocene Epoch lasted from approximately 2,588,000 years to 12,000 years before the present (BP), a period of repeated glaciation during which ice at maximal times covered as much as 30% of the Earth’s landmasses. The Pleistocene turned into the Holocene as the seemingly perpetual El Niño conditions switched off and the ice retreated. The “Recent Time” of this next epoch saw the spread of humanity into virtually every corner of every continent, save the Antarctic. The second turn we’ve seen is from the Holocene into the Anthropocene, which Nobel Laureate Paul Crutzen proposes began with the late 18th-century rise of industrialism. This “Human Time” is marked by a global layer of carbon laid down by the burning of fossil fuels, the emergence of a global stratigraphic event being a commonly accepted marker of a change in epochs.When Paul Crutzen announced in 2000 that we were no longer living in the Holocene, but in a new geologic epoch, he reformulated not only the equation of anthropic effect on landscape, but the timeline of art as we understand it. Now the Holocene was not simply the epoch of human endeavor and image making, but a bridge from the hominids who scratched marks on rock surfaces to those who now leave larger marks inscribed on the land. Both can be construed as attempts to map environments, be they at the small scale of a valley or the large scale of a cosmos, committed with intent to last for millennia or to wash away in the first rain. 30 00 Our species of primate, Homo Sapiens, has been around for perhaps 200,000 years, and since then humans have witnessed two geologic turns. The Pleistocene Epoch lasted from approximately 2,588,000 years to 12,000 years before the present (BP), a period of repeated glaciation during which ice at maximal times covered as much as 30% of the Earth’s landmasses. The Pleistocene turned into the Holocene as the seemingly perpetual El Niño conditions switched off and the ice retreated. The “Recent Time” of this next epoch saw the spread of humanity into virtually every corner of every continent, save the Antarctic. The second turn we’ve seen is from the Holocene into the Anthropocene, which Nobel Laureate Paul Crutzen proposes began with the late 18th-century rise of industrialism. This “Human Time” is marked by a global layer of carbon laid down by the burning of fossil fuels, the emergence of a global stratigraphic event being a commonly accepted marker of a change in epochs.When Paul Crutzen announced in 2000 that we were no longer living in the Holocene, but in a new geologic epoch, he reformulated not only the equation of anthropic effect on landscape, but the timeline of art as we understand it. Now the Holocene was not simply the epoch of human endeavor and image making, but a bridge from the hominids who scratched marks on rock surfaces to those who now leave larger marks inscribed on the land. Both can be construed as attempts to map environments, be they at the small scale of a valley or the large scale of a cosmos, committed with intent to last for millennia or to wash away in the first rain. 20 00 Open Access Fox, William L. 6 03 06 10.21983/P3.0014.1.06 46 55 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ediacaran and Anthropocene Poetry as a Reader of Deep Time 1 A01 Don McKay Don McKay 01 eng 03 00 Two new developments in the taxonomy of temporality provide the focus for this discussion. One is the official recognition of a new, and very old, geologic period, the Ediacaran, now understood to occupy the stretch of deep time between 575 and 542 million years ago, directly preceding the Cambrian, with its remarkable radiation of life forms. This recognition is precipitated by the discovery, dating, and analysis of thirty or so species representing an entirely new biota in the fossil record, the earliest animals on the planet. The other wrinkle in our idea of time involves the proposal to name, or re-name, the current epoch after the species that has been most responsible for its character and style, as well as the content of most of its narratives. “The Anthropocene,” if accepted, would acknowledge ourselves as the superstars we have been for some time. 30 00 Two new developments in the taxonomy of temporality provide the focus for this discussion. One is the official recognition of a new, and very old, geologic period, the Ediacaran, now understood to occupy the stretch of deep time between 575 and 542 million years ago, directly preceding the Cambrian, with its remarkable radiation of life forms. This recognition is precipitated by the discovery, dating, and analysis of thirty or so species representing an entirely new biota in the fossil record, the earliest animals on the planet. The other wrinkle in our idea of time involves the proposal to name, or re-name, the current epoch after the species that has been most responsible for its character and style, as well as the content of most of its narratives. “The Anthropocene,” if accepted, would acknowledge ourselves as the superstars we have been for some time. 20 00 Open Access McKay, Don 7 03 06 10.21983/P3.0014.1.07 56 61 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Modeling Collaborative Practices in the Anthropocene 1 A01 Bill Gilbert Bill Gilbert 40 05fs6jp91 University of New Mexico 01 eng 03 00 In 1999, the University of New Mexico embarked on an extended experiment in art practice. Over the ensuing twelve years we have developed the Land Arts of the American West program as a model for a place-based education in the arts to prepare our students for the rapidly chang-ing environmental and social context they will enter upon graduation. Our program has developed in a period marked by a dawning awareness that the collective activities of our species have impacted the planet over a sufficient time period to qualify as a geologic epoch, the Anthropocene. With this realization comes a daunting responsibility. The arts must now participate in our collective response and contribute to a change in our narrative as a nation and species if the Anthropocene is to extend for thousands of years into the future. To be successful we are going to need a perspective that encompasses the expanse of plan-etary time, not the fleeting moments of pop culture. In our effort to confront the problems we face, the arts can model a new cooperative/collaborative approach that will supplant the current individualistic paradigm. Our attempts to address the implications of an Anthropo-cene Epoch will require a shared multicultural and interdisciplinary perspective that is based in direct engagement with the physical planet. 30 00 In 1999, the University of New Mexico embarked on an extended experiment in art practice. Over the ensuing twelve years we have developed the Land Arts of the American West program as a model for a place-based education in the arts to prepare our students for the rapidly chang-ing environmental and social context they will enter upon graduation. Our program has developed in a period marked by a dawning awareness that the collective activities of our species have impacted the planet over a sufficient time period to qualify as a geologic epoch, the Anthropocene. With this realization comes a daunting responsibility. The arts must now participate in our collective response and contribute to a change in our narrative as a nation and species if the Anthropocene is to extend for thousands of years into the future. To be successful we are going to need a perspective that encompasses the expanse of plan-etary time, not the fleeting moments of pop culture. In our effort to confront the problems we face, the arts can model a new cooperative/collaborative approach that will supplant the current individualistic paradigm. Our attempts to address the implications of an Anthropo-cene Epoch will require a shared multicultural and interdisciplinary perspective that is based in direct engagement with the physical planet. 20 00 Open Access Gilbert, Bill 8 03 06 10.21983/P3.0014.1.08 62 66 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Exposing the Anthropocene Art and Education in the 'Extraction State' 1 A01 Erika Osborne Erika Osborne 40 011vxgd24 West Virginia University 01 eng 03 00 In the age of the Anthropocene, human impact on a geologic scale infiltrates nearly every aspect of contemporary life. The immense breadth and depth of the changes to the planet that have been caused by this impact have affected my work and my pedagogy as an artist and educator interested in connections between culture and environment.Although I have always been interested in the Anthropocene, my fascination with its artifacts grew when I accepted a teaching position in the School of Art and Design at West Virginia University and moved to “The Mountain State”—or what West Virginia’s former governor and now senator, Joe Manchin, has lovingly called “The Extraction State.” Here, it is obvious that not only have the surface and ecology of mountains changed because of defores-tation, but entire topographies have morphed in a geologic instant as a product of large-scale mountaintop removal (MTR) mining. This type of mining is a quick, relatively inexpensive process in which the summits of mountains are blasted away to expose coal seams, and the overburden is dumped into adjacent valleys. This anthropocentric practice has come to define the state and has created a battleground, pitting local communities and the mountain ecol-ogy against an ever-growing, global need for cheap energy. In mined areas of Appalachia, the biodiversity of some of the oldest mountains in the world is obliterated instantly, habitats are immediately lost and clean water sources are buried or left highly contaminated. In addition, the local people often suffer from serious health issues affecting their lungs, kidneys, hearts, and nervous systems. They also suffer economically as property values drop, businesses close, and economic diversity is lost. 30 00 In the age of the Anthropocene, human impact on a geologic scale infiltrates nearly every aspect of contemporary life. The immense breadth and depth of the changes to the planet that have been caused by this impact have affected my work and my pedagogy as an artist and educator interested in connections between culture and environment.Although I have always been interested in the Anthropocene, my fascination with its artifacts grew when I accepted a teaching position in the School of Art and Design at West Virginia University and moved to “The Mountain State”—or what West Virginia’s former governor and now senator, Joe Manchin, has lovingly called “The Extraction State.” Here, it is obvious that not only have the surface and ecology of mountains changed because of defores-tation, but entire topographies have morphed in a geologic instant as a product of large-scale mountaintop removal (MTR) mining. This type of mining is a quick, relatively inexpensive process in which the summits of mountains are blasted away to expose coal seams, and the overburden is dumped into adjacent valleys. This anthropocentric practice has come to define the state and has created a battleground, pitting local communities and the mountain ecol-ogy against an ever-growing, global need for cheap energy. In mined areas of Appalachia, the biodiversity of some of the oldest mountains in the world is obliterated instantly, habitats are immediately lost and clean water sources are buried or left highly contaminated. In addition, the local people often suffer from serious health issues affecting their lungs, kidneys, hearts, and nervous systems. They also suffer economically as property values drop, businesses close, and economic diversity is lost. 20 00 Open Access Osborne, Erika 9 03 06 10.21983/P3.0014.1.09 68 68 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What is the Exponential? 1 A01 21 0000000345878629 Seth Denizen Seth Denizen 40 02zhqgq86 University of Hong Kong 40 01yc7t268 Washington University in St. Louis 01 eng 03 00 The strange thing about these exponential curves, is that the farther along the curve one projects the present, the shorter the time interval between successive points, until time all but stops, in the midst of an immense acceleration. This is the point at which the curve challenges us to imagine a world defined not by a time, but by a speed: one which cannot be merely an extension of our own, a difference in degree, but rather something which takes on a difference in kind: another sea, another wind, another world at right angles to our own 30 00 The strange thing about these exponential curves, is that the farther along the curve one projects the present, the shorter the time interval between successive points, until time all but stops, in the midst of an immense acceleration. This is the point at which the curve challenges us to imagine a world defined not by a time, but by a speed: one which cannot be merely an extension of our own, a difference in degree, but rather something which takes on a difference in kind: another sea, another wind, another world at right angles to our own 20 00 Open Access Denizen, Seth 10 03 06 10.21983/P3.0014.1.10 69 71 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Dark Flight of Micrometorites 1 A01 Ryan Thompson Ryan Thompson 40 01avta769 Trinity Christian College 01 eng 03 00 Every day some 200 tons of extraterrestrial material enter the Earth’s porous atmosphere. The largest of these objects, meteors, become giant fireballs with the ability to light up the daytime sky and can cause local, regional, or global destruction upon impact. Others become shooting stars, neither large enough to survive their fiery trip through the atmosphere, nor small enough to escape their fate. The smallest of these materials, however, make it to the surface of the Earth as micrometeorites without much in the way of fanfare. No fiery explosions in the sky. No damage or destruction. Just a silent fall to Earth. 30 00 Every day some 200 tons of extraterrestrial material enter the Earth’s porous atmosphere. The largest of these objects, meteors, become giant fireballs with the ability to light up the daytime sky and can cause local, regional, or global destruction upon impact. Others become shooting stars, neither large enough to survive their fiery trip through the atmosphere, nor small enough to escape their fate. The smallest of these materials, however, make it to the surface of the Earth as micrometeorites without much in the way of fanfare. No fiery explosions in the sky. No damage or destruction. Just a silent fall to Earth. 20 00 Open Access Thompson, Ryan 11 03 06 10.21983/P3.0014.1.11 72 78 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Packaging Sludge and Silt 1 A01 Stephen Dredge Research Collaborative (Becker Stephen Dredge Research Collaborative (Becker 2 A01 Rob Holmes Rob Holmes 3 A01 Tim Maly Tim Maly 4 A01 Brett Milligan Brett Milligan 40 0293rh119 University of Oregon 01 eng 03 00 A massive, distended tube thirty feet in circumference and one hundred feet long lies on the bank of a drifting river, among the sludge and muck. A thick hose connected to a dredging barge is filling this black bag with the silt that it is sucking out of a nearby shipping channel. Once full, the tube will be tied shut and left in place. Fluids will slowly seep out, leaving dewatered sediments contained within the casing. This is the geo-tube.1A geo-tube is like an oversized2 sausage casing made of “geotextile,” a synthetic fabric woven primarily from hydrocarbon-derived polymers.3 When deployed, they are inflated by liquids, slurries, or sediments, depending on their intended use. Geo-tubes find their applica-tion where water meets land and where landscape meets industry. They are deployed along riverbanks, coastlines, in shallows, or wetlands. They have spread quickly thanks to their flexibility, speed of application, and cheapness. 30 00 A massive, distended tube thirty feet in circumference and one hundred feet long lies on the bank of a drifting river, among the sludge and muck. A thick hose connected to a dredging barge is filling this black bag with the silt that it is sucking out of a nearby shipping channel. Once full, the tube will be tied shut and left in place. Fluids will slowly seep out, leaving dewatered sediments contained within the casing. This is the geo-tube.1A geo-tube is like an oversized2 sausage casing made of “geotextile,” a synthetic fabric woven primarily from hydrocarbon-derived polymers.3 When deployed, they are inflated by liquids, slurries, or sediments, depending on their intended use. Geo-tubes find their applica-tion where water meets land and where landscape meets industry. They are deployed along riverbanks, coastlines, in shallows, or wetlands. They have spread quickly thanks to their flexibility, speed of application, and cheapness. 20 00 Open Access Dredge Research Collaborative (Becker, Stephen Holmes, Rob Maly, Tim Milligan, Brett) 12 03 06 10.21983/P3.0014.1.12 79 82 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Inner-City Glaciers 1 A01 Chris Neal MilNeil Chris Neal MilNeil 01 eng 03 00 There is a sediment that hangs in a haze above city streets: a low-dose toxic dust of lead and chromates from tire wear, clouds of carbon soot mixed with hydrocarbon gases and fine particles of nitrates, sulfates, and other metals from exhaust pipes. At every stoplight, worn brake linings leave behind microscopic flakes of copper, zinc, and lead.These automotive disjecta membra are rarely visible; you might find them as a dirty streak on a handkerchief after wiping your brow on a humid day, or in the accumulated dust of an a/c unit’s intake. In most situations, these particles either disperse in the winds, or wash away into storm drains during rain showers. But for a few months each year in cities of the upper latitudes, when precipitation falls as snow and remains above-ground in snowbanks for weeks at a time, these sediments have a chance to accumulate in impressive and highly-visible roadside deposits. Many of these cities collect and stockpile their snow in massive municipal “snow dumps” in order to keep city streets and sidewalks clear, thus consolidating the roadside’s silt even further 30 00 There is a sediment that hangs in a haze above city streets: a low-dose toxic dust of lead and chromates from tire wear, clouds of carbon soot mixed with hydrocarbon gases and fine particles of nitrates, sulfates, and other metals from exhaust pipes. At every stoplight, worn brake linings leave behind microscopic flakes of copper, zinc, and lead.These automotive disjecta membra are rarely visible; you might find them as a dirty streak on a handkerchief after wiping your brow on a humid day, or in the accumulated dust of an a/c unit’s intake. In most situations, these particles either disperse in the winds, or wash away into storm drains during rain showers. But for a few months each year in cities of the upper latitudes, when precipitation falls as snow and remains above-ground in snowbanks for weeks at a time, these sediments have a chance to accumulate in impressive and highly-visible roadside deposits. Many of these cities collect and stockpile their snow in massive municipal “snow dumps” in order to keep city streets and sidewalks clear, thus consolidating the roadside’s silt even further 20 00 Open Access MilNeil, Chris Neal 13 03 06 10.21983/P3.0014.1.13 83 89 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Imagining the Geologic 1 A01 21 0000000309563750 Janike Kampevold Larsen Janike Kampevold Larsen 40 04a7x2s11 Oslo School of Architecture and Design 01 eng 03 00 In The Tertiary History of the Grand Cañon District (1882), US surveyor Clarence E. Dutton writes: “Great innovations, whether in art, literature, in science or in nature, seldom take the world by storm. They must be understood before they can be estimated, and must be cultivated before they can be understood.”1Dutton himself cultivates his experience of the Grand Canyon by making imagination a tool for fascination. He describes the impression of geologic forces upon himself. In order to explain how he perceives the magnificence of the rock faces he sets them in motion to encour-age an understanding both of their making and their aesthetic impression: “the Vermillion Cliffs send off buttes,” “the entablature [...] breaks into lofty truncated towers,” “the towers of Short Creek burst into view” (53, 54). The vocabulary is architectural. The canyon is abundant with columns, buttes, terraces, promontories, bays, towers, churches, temples, theaters, and avenues: “As we move outwards towards the center of the grand avenue the immensity and beautiful proportions of the walls develop” 30 00 In The Tertiary History of the Grand Cañon District (1882), US surveyor Clarence E. Dutton writes: “Great innovations, whether in art, literature, in science or in nature, seldom take the world by storm. They must be understood before they can be estimated, and must be cultivated before they can be understood.”1Dutton himself cultivates his experience of the Grand Canyon by making imagination a tool for fascination. He describes the impression of geologic forces upon himself. In order to explain how he perceives the magnificence of the rock faces he sets them in motion to encour-age an understanding both of their making and their aesthetic impression: “the Vermillion Cliffs send off buttes,” “the entablature [...] breaks into lofty truncated towers,” “the towers of Short Creek burst into view” (53, 54). The vocabulary is architectural. The canyon is abundant with columns, buttes, terraces, promontories, bays, towers, churches, temples, theaters, and avenues: “As we move outwards towards the center of the grand avenue the immensity and beautiful proportions of the walls develop” 20 00 Open Access Larsen, Janike Kampevold 14 03 06 10.21983/P3.0014.1.14 90 93 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ultra-Diamond / Super-Value 1 A01 Oliver Goodhall Oliver Goodhall 40 01egahc47 Royal College of Art 2 A01 David Benqué David Benqué 01 eng 03 00 The diamond, as we know it, is a unique example of marketing and monetization of a geological resource. Through careful supply-control, advertising, and cultural massaging, the industry has managed to mythologize a geological material in cultures around the world. Throughout the 20th century, rituals, expectation, and meaning have been intentionally crafted around the diamond through tales of rarity and carat-value. A complete mythology, ranging from sparkling wedding rings to shady deals and overworked mines, surrounds each of these stones and furthers the mystery as well as desire. As a counterpoint to this aesthetic industry, a new functional aspect is emerging as dia-monds are grown in the lab with ever increasing control and huge promises for technological applications. The unique properties of diamond as a super-material open up potentially revo-lutionary breakthroughs in fields as varied as quantum computing, electronics, biosensors, and clean energy. 30 00 The diamond, as we know it, is a unique example of marketing and monetization of a geological resource. Through careful supply-control, advertising, and cultural massaging, the industry has managed to mythologize a geological material in cultures around the world. Throughout the 20th century, rituals, expectation, and meaning have been intentionally crafted around the diamond through tales of rarity and carat-value. A complete mythology, ranging from sparkling wedding rings to shady deals and overworked mines, surrounds each of these stones and furthers the mystery as well as desire. As a counterpoint to this aesthetic industry, a new functional aspect is emerging as dia-monds are grown in the lab with ever increasing control and huge promises for technological applications. The unique properties of diamond as a super-material open up potentially revo-lutionary breakthroughs in fields as varied as quantum computing, electronics, biosensors, and clean energy. 20 00 Open Access Goodhall, Oliver Benque, David 15 03 06 10.21983/P3.0014.1.15 94 98 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Not-So-Sold Earth Remembering New Madrid 1 A01 Julia Kagan Julia Kagan 01 eng 03 00 “What would happen to our thinking about nature if we experienced [non-human] materialities as actants?” Jane Bennett asks in Vibrant Matter: A Political Ecology of Things. One result might be a different way of thinking about earthquakes. The stresses and fault lines and tectonic-plate collisions that produce them are material forces whose actions can reshape the world in ways that profoundly affect human life. Earthquakes remind us that human lives take place against a background of geologic time and that human agency, however nature-bending, is ultimately shaped by the non-human context in which it operates. Living in a known quake zone where Earth’s tectonic plates meet means inhabiting a geol-ogy that feels very much alive, not buried in the remote past. Think Japan, Chile, and the other nations along the Pacific “rim of fire,” not to mention its eastern border: California, the American northwest and Alaska. This doesn’t mean that those who reside far from plate margins live in safety. Perhaps the strongest earthquakes to hit the United States in recorded history were intraplate, as geologists term it, not at a tectonic edge. They happened exactly 200 years ago in the middle of the North American Plate, in a place called New Madrid in the Mississippi River Valley. Three huge quakes hit from December to February 1811-12, with estimated magnitudes (the seismograph was not invented until 1896) as high as 8.1. The anniversary is a reminder that reverberations from immeasurably ancient geologic events can burst into the present without warning. 30 00 “What would happen to our thinking about nature if we experienced [non-human] materialities as actants?” Jane Bennett asks in Vibrant Matter: A Political Ecology of Things. One result might be a different way of thinking about earthquakes. The stresses and fault lines and tectonic-plate collisions that produce them are material forces whose actions can reshape the world in ways that profoundly affect human life. Earthquakes remind us that human lives take place against a background of geologic time and that human agency, however nature-bending, is ultimately shaped by the non-human context in which it operates. Living in a known quake zone where Earth’s tectonic plates meet means inhabiting a geol-ogy that feels very much alive, not buried in the remote past. Think Japan, Chile, and the other nations along the Pacific “rim of fire,” not to mention its eastern border: California, the American northwest and Alaska. This doesn’t mean that those who reside far from plate margins live in safety. Perhaps the strongest earthquakes to hit the United States in recorded history were intraplate, as geologists term it, not at a tectonic edge. They happened exactly 200 years ago in the middle of the North American Plate, in a place called New Madrid in the Mississippi River Valley. Three huge quakes hit from December to February 1811-12, with estimated magnitudes (the seismograph was not invented until 1896) as high as 8.1. The anniversary is a reminder that reverberations from immeasurably ancient geologic events can burst into the present without warning. 20 00 Open Access Kagan, Julia 16 03 06 10.21983/P3.0014.1.16 99 105 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Distributed Evidence Mapping Named Erractics 1 A01 21 0000000319443058 Jane Hutton Jane Hutton 40 03vek6s52 Harvard University 40 01aff2v68 University of Waterloo 01 eng 03 00 This project maps a series of boulders that were plucked, transported, and deposited by the toe-line of the retreating Late-Wisconsin and pre-Wisconsin ice sheets in North America and subsequently named, relocated, modified, and celebrated by people. They are the glacially distributed sites of council meetings, picnics, political movements, and territorial markers. They are inscribed with discrepant personal, regional, and national narratives and at the same time they declare their foreign origin through their conspicuous mineral composition and form. In the mid-19th century such boulders served as critical evidence for piecing together a theory of glaciation, and consequently an idea of geologic time and the location of humans within it. While their scientific importance waned in the 20th century, outside and along-side geology they are critical objects for reflections on time and space of various scales and consequences. They refer simultaneously to different moments in time: their geogenic forma-tion, their glacial deposition, and specific events in cultural history, as they are sometimes literally carved with a date. They are heavy, insistent markers in space, yet they indicate a remote origin—and therefore the journey between two sites—and they continue to be moved or changed by ensuing human forces. The naming, photographing, and feting of the boulders collated and mapped here signal their role as persistent devices for locating deep time within the present and grappling with the continuum of geological and human action. 30 00 This project maps a series of boulders that were plucked, transported, and deposited by the toe-line of the retreating Late-Wisconsin and pre-Wisconsin ice sheets in North America and subsequently named, relocated, modified, and celebrated by people. They are the glacially distributed sites of council meetings, picnics, political movements, and territorial markers. They are inscribed with discrepant personal, regional, and national narratives and at the same time they declare their foreign origin through their conspicuous mineral composition and form. In the mid-19th century such boulders served as critical evidence for piecing together a theory of glaciation, and consequently an idea of geologic time and the location of humans within it. While their scientific importance waned in the 20th century, outside and along-side geology they are critical objects for reflections on time and space of various scales and consequences. They refer simultaneously to different moments in time: their geogenic forma-tion, their glacial deposition, and specific events in cultural history, as they are sometimes literally carved with a date. They are heavy, insistent markers in space, yet they indicate a remote origin—and therefore the journey between two sites—and they continue to be moved or changed by ensuing human forces. The naming, photographing, and feting of the boulders collated and mapped here signal their role as persistent devices for locating deep time within the present and grappling with the continuum of geological and human action. 20 00 Open Access Hutton, Jane 17 03 06 10.21983/P3.0014.1.17 106 110 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Landscapes of Erasure The Removal-And Persistence-Of Place 1 A01 Paul Lloyd Sargent Paul Lloyd Sargent 40 01y64my43 University at Buffalo, State University of New York 01 eng 03 00 What lexicon or neologisms might we use to speak of places removed by human force? Not by natural disaster, like the city of Pompeii or the Japanese fishing village of Minamisanriku, destroyed in the tsunami of 2011.1 Nor by the horrors of war or catastrophes of technology, as in Virilio’s obsession with the accident,2 like those at Chernobyl and Three Mile Island, or the toxic morass at Love Canal in Niagara Falls.3 Instead, I consider here what I am calling landscapes of erasure: the large-scale, intentional removal of socio-cultural place through processes of engineering, often due—but not limited—to industries of extraction, power generation, and shipping and transport. That is, I am exploring the erasure of material and socio-cultural landscape by human forces operating at the geologic scale because such scale reveals and magnifies the consequences of human interaction with the land, both intentional and otherwise. 30 00 What lexicon or neologisms might we use to speak of places removed by human force? Not by natural disaster, like the city of Pompeii or the Japanese fishing village of Minamisanriku, destroyed in the tsunami of 2011.1 Nor by the horrors of war or catastrophes of technology, as in Virilio’s obsession with the accident,2 like those at Chernobyl and Three Mile Island, or the toxic morass at Love Canal in Niagara Falls.3 Instead, I consider here what I am calling landscapes of erasure: the large-scale, intentional removal of socio-cultural place through processes of engineering, often due—but not limited—to industries of extraction, power generation, and shipping and transport. That is, I am exploring the erasure of material and socio-cultural landscape by human forces operating at the geologic scale because such scale reveals and magnifies the consequences of human interaction with the land, both intentional and otherwise. 20 00 Open Access Sargent, Paul Lloyd 18 03 06 10.21983/P3.0014.1.18 111 114 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Being With(in) the Geolithic Internet as Shamanic Tool 1 A01 Anthony Easton Anthony Easton 2 A01 Rachel E. McRae Rachel E. McRae 01 eng 03 00 As the medium shaping much of our current world view and mapping our interior geography, the landscape of the internet also frames our contemporary sensings of the geologic. But between the thinking and the experiencing of internet time and geologic/deep time, a fissure opens up. How do we reconcile the co-existence, both corporeal and intellectual, of two distinctly different conceptions of time and permanence: one a web-space where the longevity of a place or object is dependent upon its continuous viewership and refresh-rate, and the other a slowly shifting behemoth we physically travel across? How might an embodied knowing, a deep-knowing of deep-time, locate itself within the speed-driven space of the internet? 30 00 As the medium shaping much of our current world view and mapping our interior geography, the landscape of the internet also frames our contemporary sensings of the geologic. But between the thinking and the experiencing of internet time and geologic/deep time, a fissure opens up. How do we reconcile the co-existence, both corporeal and intellectual, of two distinctly different conceptions of time and permanence: one a web-space where the longevity of a place or object is dependent upon its continuous viewership and refresh-rate, and the other a slowly shifting behemoth we physically travel across? How might an embodied knowing, a deep-knowing of deep-time, locate itself within the speed-driven space of the internet? 20 00 Open Access Easton, Anthony McRae, Racheal E. 19 03 06 10.21983/P3.0014.1.19 115 122 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Land Making Machines 1 A01 Brian Davis Brian Davis 01 eng 03 00 Cubits Gap is a major subdelta of the Mississippi River. The gap formed in 1862 after an oyster fisherman, Cubit, and his daughters excavated a small ditch in the levee between the River and the oyster-rich Bay Ronde. Intending to make an easier portage for their rowboat, they created a small crevasse. In springtime, meltwater poured through it. Six years later the crevasse was 2,427 feet wide [Ref. 1]. By 1940 a landmass larger than New Orleans had been created and the Bay Ronde had completely disappeared. Today the Cubits Gap subdelta is 40,000 acres of National Wildlife Refuge and is quickly subsiding back into the Gulf of Mexico, a microcosm of the dynamism and potentiality of the Mississippi River as the great land making machine [LMM].1This LMM built the Mississippi Delta over the last 5,000 years with the massive slurry loads it transports from the heart of the continent to the Gulf of Mexico. It is estimated that before 1930, this load was about 400 million tons of sediment per year [Ref. 2]. Since 1930, this load has decreased significantly. Current estimates range from 145 million to 230 million tons per year. This reduction can be explained, in part, by the 1936 Flood Control Act and the decision by Congress to reconstruct the river as a flood control and navigation system on a continental scale.2 Despite this massive reduction, the LMM still discharges sediment at a rate roughly equal to that of the next six largest rivers in the United States combined [Ref. 3]. Most of this sediment is no longer used to continuously build the delta. Rather, thanks to the 1870’s engi-neering of Capt. James Eads, it is shot out into deepwater in the Gulf of Mexico.3 Since 1930 a landmass approximating the size of Delaware has been lost from the Louisiana coast [Ref. 4]. But the potential of the LMM remains. 30 00 Cubits Gap is a major subdelta of the Mississippi River. The gap formed in 1862 after an oyster fisherman, Cubit, and his daughters excavated a small ditch in the levee between the River and the oyster-rich Bay Ronde. Intending to make an easier portage for their rowboat, they created a small crevasse. In springtime, meltwater poured through it. Six years later the crevasse was 2,427 feet wide [Ref. 1]. By 1940 a landmass larger than New Orleans had been created and the Bay Ronde had completely disappeared. Today the Cubits Gap subdelta is 40,000 acres of National Wildlife Refuge and is quickly subsiding back into the Gulf of Mexico, a microcosm of the dynamism and potentiality of the Mississippi River as the great land making machine [LMM].1This LMM built the Mississippi Delta over the last 5,000 years with the massive slurry loads it transports from the heart of the continent to the Gulf of Mexico. It is estimated that before 1930, this load was about 400 million tons of sediment per year [Ref. 2]. Since 1930, this load has decreased significantly. Current estimates range from 145 million to 230 million tons per year. This reduction can be explained, in part, by the 1936 Flood Control Act and the decision by Congress to reconstruct the river as a flood control and navigation system on a continental scale.2 Despite this massive reduction, the LMM still discharges sediment at a rate roughly equal to that of the next six largest rivers in the United States combined [Ref. 3]. Most of this sediment is no longer used to continuously build the delta. Rather, thanks to the 1870’s engi-neering of Capt. James Eads, it is shot out into deepwater in the Gulf of Mexico.3 Since 1930 a landmass approximating the size of Delaware has been lost from the Louisiana coast [Ref. 4]. But the potential of the LMM remains. 20 00 Open Access Davis, Brian 20 03 06 10.21983/P3.0014.1.20 123 129 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Space-Time Vertigo 1 A01 21 0000000276089035 Brett Milligan Brett Milligan 40 0293rh119 University of Oregon 01 eng 03 00 In 1897 the United States Geological Survey (USGS) began the task of surveying the entire nation. From 1897 to 1992 the survey produced over 55,000 7.5-minute topography maps, creating the only uniform map covering the entire extent of the lower continental 48 states in detail.1 These surveys became the definitive source for remote sensing2 the country’s lands and what was being inscribed upon them. In contrast to its strictly ‘geologic’ surveys, inventories of subsurface mineral deposits, USGS topographic maps gave equal consideration to surficial landscape features (landforms, rivers, and streams) as well as our cultural alteration of those forms and surfaces. Because the topographic surveys mapped the cultural terrain, they needed to be periodically updated to include how our use of the landscape was changing it.Figure 1 shows two USGS topographic maps depicting the same location and extent of Basin and Range territory in southwestern New Mexico. The first was surveyed around 1915 and the second around 1992. In the interval between them, the survey’s conventions for drawing the landscape remained largely the same. Differences in style are subtle in compari-son to the massive physical changes in the terrain they depict. What in 1915 was a landscape of undulating hills, underground mine shafts and the sprawling town of Tyrone has vanished within the manufactured geography of an open-pit copper mine. In the process, over seven contiguous miles of the former Continental Divide was displaced from its former location. 30 00 In 1897 the United States Geological Survey (USGS) began the task of surveying the entire nation. From 1897 to 1992 the survey produced over 55,000 7.5-minute topography maps, creating the only uniform map covering the entire extent of the lower continental 48 states in detail.1 These surveys became the definitive source for remote sensing2 the country’s lands and what was being inscribed upon them. In contrast to its strictly ‘geologic’ surveys, inventories of subsurface mineral deposits, USGS topographic maps gave equal consideration to surficial landscape features (landforms, rivers, and streams) as well as our cultural alteration of those forms and surfaces. Because the topographic surveys mapped the cultural terrain, they needed to be periodically updated to include how our use of the landscape was changing it.Figure 1 shows two USGS topographic maps depicting the same location and extent of Basin and Range territory in southwestern New Mexico. The first was surveyed around 1915 and the second around 1992. In the interval between them, the survey’s conventions for drawing the landscape remained largely the same. Differences in style are subtle in compari-son to the massive physical changes in the terrain they depict. What in 1915 was a landscape of undulating hills, underground mine shafts and the sprawling town of Tyrone has vanished within the manufactured geography of an open-pit copper mine. In the process, over seven contiguous miles of the former Continental Divide was displaced from its former location. 20 00 Open Access Milligan, Brett 21 03 06 10.21983/P3.0014.1.21 130 134 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fertilizing Earthworks 1 A01 Chris Taylor Chris Taylor 40 0405mnx93 Texas Tech University 01 eng 03 00 Earthworks map the intersection of human construction and geomorphology. They begin with land and extend through the complex social and ecological processes that create landscape. Propelled by the legacy of John Brinkerhoff Jackson, our understanding of earthworks as sites where the human and the geologic intersect has expanded to encompass human settlements, monumental artworks and industrial installations, as well as traces of their construction and decay, ranging from geologic material and weather to cigarette butts and hydroelectric dams.Since humans took an active role in cultivating food and medicine, nearly 10,000 years ago, we have been involved in shaping the surface of the earth and learned quickly the impor-tance of maintaining soil fertility by adding available organic nutrients to the ground. Human development occurred over millennia precisely because of our ability to sustain ourselves in the places where we lived. Understanding the chemical make up of soil fertility began with the identification of the key ingredients: phosphorus in 1669, nitrogen in 1772, and potassium in 1807. Nitrogen, while comprising 78% of the earth’s atmosphere, was the most difficult to isolate. Feeding the biological hunger for usable nitrogen to create chemical fertilizers required a source for naturally occurring nirates—nitrogen-oxygen chemical units accessible to reaction. The arrival of industrialization, ushering in the Anthropocene, is marked by the human ability to move vast quantities of geologic material. 30 00 Earthworks map the intersection of human construction and geomorphology. They begin with land and extend through the complex social and ecological processes that create landscape. Propelled by the legacy of John Brinkerhoff Jackson, our understanding of earthworks as sites where the human and the geologic intersect has expanded to encompass human settlements, monumental artworks and industrial installations, as well as traces of their construction and decay, ranging from geologic material and weather to cigarette butts and hydroelectric dams.Since humans took an active role in cultivating food and medicine, nearly 10,000 years ago, we have been involved in shaping the surface of the earth and learned quickly the impor-tance of maintaining soil fertility by adding available organic nutrients to the ground. Human development occurred over millennia precisely because of our ability to sustain ourselves in the places where we lived. Understanding the chemical make up of soil fertility began with the identification of the key ingredients: phosphorus in 1669, nitrogen in 1772, and potassium in 1807. Nitrogen, while comprising 78% of the earth’s atmosphere, was the most difficult to isolate. Feeding the biological hunger for usable nitrogen to create chemical fertilizers required a source for naturally occurring nirates—nitrogen-oxygen chemical units accessible to reaction. The arrival of industrialization, ushering in the Anthropocene, is marked by the human ability to move vast quantities of geologic material. 20 00 Open Access Taylor, Chris 22 03 06 10.21983/P3.0014.1.22 136 144 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Blank Stare (10 Images and Corresponding Notes on the Pensive in Photography and its Utility in the Face of Catastrophe, as Excerpted from A History of the Future) 1 A01 Susannah Sayler Susannah Sayler 40 025r5qe02 Syracuse University 2 A01 Edward Morris Edward Morris 40 025r5qe02 Syracuse University 3 A01 The Canary Project The Canary Project 01 eng 03 00 Most of us barely know how to read the land. But once you start to learn, even a little, you are confronted everywhere with absence. You are drawn back into the past, and this seems, at first, the only direction you can go. You see glaciers in the striations on the stone, the flatness of the valley at the foot of the mountain, the melt water, the rocks left in a field thousands of years ago by the withdrawal of a nearly unimaginable force. Yet, feeling the past in this way is like taking a few, hard steps up a hill, gaining elevation from which you ultimately hope to see in all directions, even the future... 30 00 Most of us barely know how to read the land. But once you start to learn, even a little, you are confronted everywhere with absence. You are drawn back into the past, and this seems, at first, the only direction you can go. You see glaciers in the striations on the stone, the flatness of the valley at the foot of the mountain, the melt water, the rocks left in a field thousands of years ago by the withdrawal of a nearly unimaginable force. Yet, feeling the past in this way is like taking a few, hard steps up a hill, gaining elevation from which you ultimately hope to see in all directions, even the future... 20 00 Open Access Sayler, Susannah Morris, Edward The Canary Project 23 03 06 10.21983/P3.0014.1.23 145 149 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Artifacts Trevor Paglen's Frontier Photography 1 A01 Brooke Belisle Brooke Belisle 40 05qghxh33 Stony Brook University 01 eng 03 00 The first photograph of Trevor Paglen’s 2010 diptych, Artifacts, is familiar. Picturing ancient ruins nestled in the cliffs of Arizona’s Canyon de Chelly, it echoes a 1873 photograph by Timo-thy O’Sullivan and a 1941 photograph by Ansel Adams. Paglen’s photograph, like its anteced-ents, is rendered in sharp-focus, without color, dominated by dramatic, diagonal striations of the cliff face. It frames the archeological history of the ruin within the geological history of the canyon within the cultural history of photography.Canyon de Chelly is actually the intersection of several canyons, formed by slow erosion over thirty million years ago. The angled striations seen in the photograph expose even older geo-logical processes, layers of sediment compressing into strata then shifting, rising, and tilting. Between the 1st and 4th century, people now called the Anasazi settled in the canyon. They built the structure in this photograph around the year 1000, and, 300 years later, they had disappeared. Navajo tribes spreading across the Southwest discovered the ruins already 500 years old. In the 18th century, Spanish colonists ventured into the canyon and soon they were converting and killing Navajos who lived there 30 00 The first photograph of Trevor Paglen’s 2010 diptych, Artifacts, is familiar. Picturing ancient ruins nestled in the cliffs of Arizona’s Canyon de Chelly, it echoes a 1873 photograph by Timo-thy O’Sullivan and a 1941 photograph by Ansel Adams. Paglen’s photograph, like its anteced-ents, is rendered in sharp-focus, without color, dominated by dramatic, diagonal striations of the cliff face. It frames the archeological history of the ruin within the geological history of the canyon within the cultural history of photography.Canyon de Chelly is actually the intersection of several canyons, formed by slow erosion over thirty million years ago. The angled striations seen in the photograph expose even older geo-logical processes, layers of sediment compressing into strata then shifting, rising, and tilting. Between the 1st and 4th century, people now called the Anasazi settled in the canyon. They built the structure in this photograph around the year 1000, and, 300 years later, they had disappeared. Navajo tribes spreading across the Southwest discovered the ruins already 500 years old. In the 18th century, Spanish colonists ventured into the canyon and soon they were converting and killing Navajos who lived there 20 00 Open Access Belisle, Brooke 24 03 06 10.21983/P3.0014.1.24 150 153 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Uneven Time of Space Debris An Interview with Trevor Paglen 1 A01 Elizabeth Ellsworth Elizabeth Ellsworth 40 02tvcev59 New School 2 A01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 PAGLEN: This is something that I think about a lot. One thing that interests me about this idea of thinking geologically, or using the geologic as a kind of analytic framework or ap-proach is this: What would happen if you took geographic thinking and instead of putting it on a horizontal axis, you added a vertical axis to it, a temporal axis? You would be thinking not only about unevenness of the surface of the Earth, but also about the multiple ways in which time itself is uneven. If we go back to all the nineteenth century talk of the “annihilation of space and time,” we find the beginnings of a world in which humans have reshaped time in the interest of capital and warfare. Mostly, we think about this in terms of speeding up time (increasing capitalist turnover times, labor productivity, financial transactions in the case of capital, and things like GPS targeting and hypersonic cruise missiles in the case of militarism). 30 00 PAGLEN: This is something that I think about a lot. One thing that interests me about this idea of thinking geologically, or using the geologic as a kind of analytic framework or ap-proach is this: What would happen if you took geographic thinking and instead of putting it on a horizontal axis, you added a vertical axis to it, a temporal axis? You would be thinking not only about unevenness of the surface of the Earth, but also about the multiple ways in which time itself is uneven. If we go back to all the nineteenth century talk of the “annihilation of space and time,” we find the beginnings of a world in which humans have reshaped time in the interest of capital and warfare. Mostly, we think about this in terms of speeding up time (increasing capitalist turnover times, labor productivity, financial transactions in the case of capital, and things like GPS targeting and hypersonic cruise missiles in the case of militarism). 20 00 Open Access Ellsworth, Elizabeth Kruse, Jamie 25 03 06 10.21983/P3.0014.1.25 154 158 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Autobiographical Trace Fossils 1 A01 Ilana Halperin Ilana Halperin 01 eng 03 00 Ephemeral islands, petrified raindrops, volcanic dust from Pompeii, a shared birthday with a volcano. Certain geological processes have a way of evoking a more personal response to the idea of geological time. What does a time span of 300,000,000 years actually mean? Physical Geology is an ongoing project which explores our desire to make corporeal contact with geo-logical phenomena.While conducting research as an Alchemy Fellow at the Manchester Museum, in the “oddi-ties drawer” of the geology department I came across a fine collection of lava medallions from Mount Vesuvius, magma pressed between forged steel plates to form an imprint (imagine a waffle iron that uses lava as batter). In the same drawer, a small stone relief sculpture ap-peared to be carved out of pure white alabaster. In fact, it was a limestone cast created via the same process that forms stalactites in a cave. 30 00 Ephemeral islands, petrified raindrops, volcanic dust from Pompeii, a shared birthday with a volcano. Certain geological processes have a way of evoking a more personal response to the idea of geological time. What does a time span of 300,000,000 years actually mean? Physical Geology is an ongoing project which explores our desire to make corporeal contact with geo-logical phenomena.While conducting research as an Alchemy Fellow at the Manchester Museum, in the “oddi-ties drawer” of the geology department I came across a fine collection of lava medallions from Mount Vesuvius, magma pressed between forged steel plates to form an imprint (imagine a waffle iron that uses lava as batter). In the same drawer, a small stone relief sculpture ap-peared to be carved out of pure white alabaster. In fact, it was a limestone cast created via the same process that forms stalactites in a cave. 20 00 Open Access Halperin, Ilana 26 03 06 10.21983/P3.0014.1.26 159 162 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Live Through This Surviving the Pleistocene in Southern California 1 A01 Rachel Sussman Rachel Sussman 01 eng 03 00 The Oldest Living Things in the World are continuously living organisms 2,000 years old and older. Starting at “year zero” and looking back from there, they help reframe our personal timescale in a shift towards the long term well beyond a single human lifetime. There are a number of characteristics that many of these ancient organisms have in common, such as slow growth rates and the ability to thrive in adverse conditions. Likewise, there are geographic concentrations of these multi-millennials in the Mediterranean and Australia (and it should be noted that there are many parts of the world that have not enjoyed the same dedicated scientific attentions), but one of the largest known geographical concentrations of ancient life anywhere on the planet happens to be in Southern California. If you ask someone what the oldest trees in United States are, the answer is often the Red-woods. It’s an understandable mistake: they are majestic, breathtakingly large, and admirable in both girth and height. But while the Redwoods hold records for certain superlatives, their cousins to the south, the Giant Sequoias, are older. And even then, the Giant Sequoias are in fact the youngest of the five species in California alone that have surpassed the 2000-year mark. 30 00 The Oldest Living Things in the World are continuously living organisms 2,000 years old and older. Starting at “year zero” and looking back from there, they help reframe our personal timescale in a shift towards the long term well beyond a single human lifetime. There are a number of characteristics that many of these ancient organisms have in common, such as slow growth rates and the ability to thrive in adverse conditions. Likewise, there are geographic concentrations of these multi-millennials in the Mediterranean and Australia (and it should be noted that there are many parts of the world that have not enjoyed the same dedicated scientific attentions), but one of the largest known geographical concentrations of ancient life anywhere on the planet happens to be in Southern California. If you ask someone what the oldest trees in United States are, the answer is often the Red-woods. It’s an understandable mistake: they are majestic, breathtakingly large, and admirable in both girth and height. But while the Redwoods hold records for certain superlatives, their cousins to the south, the Giant Sequoias, are older. And even then, the Giant Sequoias are in fact the youngest of the five species in California alone that have surpassed the 2000-year mark. 20 00 Open Access Sussman, Rachel 27 03 06 10.21983/P3.0014.1.27 163 169 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Unconformities, Schisms and Sutures Geology and the Art of Mythology in Scotland 1 A01 Matt Baker Matt Baker 2 A01 John Gordon John Gordon 40 02wn5qz54 University of St Andrews 01 eng 03 00 In the late 18th century, James Hutton’s insights opened new worlds, both geological and cul-tural. For the first time, human identity could be placed against a geological timescale, allowing the emergence of new mythologies. Hutton’s theory, underpinned by the concept of geological “unconformity,” the interruption in the “rock record” of the natural sequence of rocks, led to a new scientific and rational understanding of geology. That new understanding led to the ques-tioning of creation mythologies through empirical science, creating senses of displacement or “unconformity” among people during the Enlightenment. Humans found their senses of self and their traditional mythologies displaced in relation to, or not conforming to, the notion of deep time.As the science of Geology set about developing an empirical understanding of the “abyss of time” (as described by John Playfair) and reconstructing Earth history (the “worlds before Adam” in the words of Martin Rudwick), artists wrestled with a different problem: how to build new mythologies that situated humankind’s sense of self in relationship to this longest of all time-signatures. The different historical responses we present here conclude with the produc-tion of “nonconformities” in the landscape by contemporary artists who are re-appropriating geologic science as the material for new mythologies that connect human time to deep time. 30 00 In the late 18th century, James Hutton’s insights opened new worlds, both geological and cul-tural. For the first time, human identity could be placed against a geological timescale, allowing the emergence of new mythologies. Hutton’s theory, underpinned by the concept of geological “unconformity,” the interruption in the “rock record” of the natural sequence of rocks, led to a new scientific and rational understanding of geology. That new understanding led to the ques-tioning of creation mythologies through empirical science, creating senses of displacement or “unconformity” among people during the Enlightenment. Humans found their senses of self and their traditional mythologies displaced in relation to, or not conforming to, the notion of deep time.As the science of Geology set about developing an empirical understanding of the “abyss of time” (as described by John Playfair) and reconstructing Earth history (the “worlds before Adam” in the words of Martin Rudwick), artists wrestled with a different problem: how to build new mythologies that situated humankind’s sense of self in relationship to this longest of all time-signatures. The different historical responses we present here conclude with the produc-tion of “nonconformities” in the landscape by contemporary artists who are re-appropriating geologic science as the material for new mythologies that connect human time to deep time. 20 00 Open Access Baker, Matt Gordon, John 28 03 06 10.21983/P3.0014.1.28 170 172 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Time and the Breathing City 1 A01 Chris Rose Chris Rose 40 04mxsc976 Rhode Island School of Design 01 eng 03 00 During the early research phase of a large Arts-Sciences-Design collaboration in the UK, I joined a site visit to the Portland stone quarry on the south coast of the UK, part of the area designated as the “Jurassic Coastline” World Heritage Site. I was part of a small team com-prised of meteorologist Dr. Janet Barlow, composer and sound expert Holger Zschenderlein, and myself as artist and designer. We were in the midst of exploring concepts of time, mate-rial evidence, data, and embodied cognition/experience especially connected with complex systems in the atmosphere and our understanding of them.We started our process by visiting the Portland Stone quarry (Portland Bill, Dorset UK). This site presents a kind of “time interface” in two entirely different ways: 1) the collision of a rock formation of equatorial marine origin; Portland Bill itself as part of an “object” traveling from the equator eventually to what is now the south coast of England and embedding in the sedimentary rocks of that place. Here the differences in material properties along the collision zone altered the local erosion behavior and continues to modify the coastline. Places are acces-sible where a cross section of the collision zone can be seen; and 2) places where a vertical slice is visible through the integral, layered record within the Portland stone itself of alternating periods of forestation, shoreline formation, and subsequent reforestation forming a kind of “grammar” of observable repetition. 30 00 During the early research phase of a large Arts-Sciences-Design collaboration in the UK, I joined a site visit to the Portland stone quarry on the south coast of the UK, part of the area designated as the “Jurassic Coastline” World Heritage Site. I was part of a small team com-prised of meteorologist Dr. Janet Barlow, composer and sound expert Holger Zschenderlein, and myself as artist and designer. We were in the midst of exploring concepts of time, mate-rial evidence, data, and embodied cognition/experience especially connected with complex systems in the atmosphere and our understanding of them.We started our process by visiting the Portland Stone quarry (Portland Bill, Dorset UK). This site presents a kind of “time interface” in two entirely different ways: 1) the collision of a rock formation of equatorial marine origin; Portland Bill itself as part of an “object” traveling from the equator eventually to what is now the south coast of England and embedding in the sedimentary rocks of that place. Here the differences in material properties along the collision zone altered the local erosion behavior and continues to modify the coastline. Places are acces-sible where a cross section of the collision zone can be seen; and 2) places where a vertical slice is visible through the integral, layered record within the Portland stone itself of alternating periods of forestation, shoreline formation, and subsequent reforestation forming a kind of “grammar” of observable repetition. 20 00 Open Access Rose Chris 29 03 06 10.21983/P3.0014.1.29 173 179 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Robert Smithson's Abstract Geology Revisiting the Premonitory Politics of the Triassic 1 A01 Etienne Turpin Etienne Turpin 40 042nb2s44 Massachusetts Institute of Technology 01 eng 03 00 In response to an artist symposium question regarding the “deepening political crisis in America,” Robert Smithson published a piece in Artforum, September 1970, titled “Art and the Political Whirlpool or the Politics of Disgust.” In it, he said: My ‘position’ is one of sinking into an awareness of global squalor and futility. The rat of poli-tics always gnaws at the cheese of art. The trap is set. If there’s an original curse, then politics has something to do with it. Direct political action becomes a matter of trying to pick poi-son out of boiling stew. The pain of this experience accelerates the need for more and more actions.1Later that same year, when asked about his political stance by Philip Leider, Smithson re-marked, “I’m interested in the politics of the Triassic period.” In an earlier essay, “The Crystal Land” (1966), Smithson suggested some of the sedimentary compositions at stake in a geo-artistic politics:Brian H. Mason, in his fascinating booklet, Trap Rock Minerals of New Jersey, speaks of the “Triassic sedimentary rocks of the Neward series,” which are related to those of the Palisades. 30 00 In response to an artist symposium question regarding the “deepening political crisis in America,” Robert Smithson published a piece in Artforum, September 1970, titled “Art and the Political Whirlpool or the Politics of Disgust.” In it, he said: My ‘position’ is one of sinking into an awareness of global squalor and futility. The rat of poli-tics always gnaws at the cheese of art. The trap is set. If there’s an original curse, then politics has something to do with it. Direct political action becomes a matter of trying to pick poi-son out of boiling stew. The pain of this experience accelerates the need for more and more actions.1Later that same year, when asked about his political stance by Philip Leider, Smithson re-marked, “I’m interested in the politics of the Triassic period.” In an earlier essay, “The Crystal Land” (1966), Smithson suggested some of the sedimentary compositions at stake in a geo-artistic politics:Brian H. Mason, in his fascinating booklet, Trap Rock Minerals of New Jersey, speaks of the “Triassic sedimentary rocks of the Neward series,” which are related to those of the Palisades. 20 00 Open Access Turpin, Etienne 30 03 06 10.21983/P3.0014.1.30 180 182 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Jarrod Beck Geologic Anxiety 1 A01 Anne Reeve Anne Reeve 01 eng 03 00 It’s a straightforward proposition, but one just as often overlooked: what’s here is here now, only because of how it was then, and it won’t be this way forever. It seems we are uniquely able to appreciate this when the terrain around us changes, when a storm or an interruption (a quake, a tidal wave) jostles our sense of scale and proportion and their accompanying vari-ables shift. A body shrinks and quiets against an unspeakably broad landscape, rain cracks a bright day into pounding blackness. Yet, how do we measure ourselves against slower, monumental shifts that carve the land around us? What “geologic anxiety” might manifest from our sense of being in a continual, if imperceptible, state of flux? On five acres in the far West Texas desert outpost of Terlingua, artist Jarrod Beck is care-fully enacting a “Disruption Regime” to explore this question. In local intraterrestial parlance, this “disruption” refers to overgrazing that permanently changes the structure of the ground plane, eroding the root system and in turn the ground’s ability to withstand summer rain-storms. These Texas storms then become floods, sending the land on the move and rendering it permanently hostile to many forms of growth. Beck appropriates the term for an experi-mental “ground-drawing,” which he views as a test in marking human action against the top strata of the geology it occupies. 30 00 It’s a straightforward proposition, but one just as often overlooked: what’s here is here now, only because of how it was then, and it won’t be this way forever. It seems we are uniquely able to appreciate this when the terrain around us changes, when a storm or an interruption (a quake, a tidal wave) jostles our sense of scale and proportion and their accompanying vari-ables shift. A body shrinks and quiets against an unspeakably broad landscape, rain cracks a bright day into pounding blackness. Yet, how do we measure ourselves against slower, monumental shifts that carve the land around us? What “geologic anxiety” might manifest from our sense of being in a continual, if imperceptible, state of flux? On five acres in the far West Texas desert outpost of Terlingua, artist Jarrod Beck is care-fully enacting a “Disruption Regime” to explore this question. In local intraterrestial parlance, this “disruption” refers to overgrazing that permanently changes the structure of the ground plane, eroding the root system and in turn the ground’s ability to withstand summer rain-storms. These Texas storms then become floods, sending the land on the move and rendering it permanently hostile to many forms of growth. Beck appropriates the term for an experi-mental “ground-drawing,” which he views as a test in marking human action against the top strata of the geology it occupies. 20 00 Open Access Reeve, Anne 31 03 06 10.21983/P3.0014.1.31 183 185 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Border Project 1 A01 Victoria Sambunaris Victoria Sambunaris 40 03v76x132 Yale University 01 eng 03 00 The US/Mexico border spans approximately 2000 miles from the Gulf of Mexico to the Pa-cific Ocean. This southern border weaves its way through diverse terrains and waterways: riv-ers, mountains, valleys, grasslands, refuges, reservoirs, reservations, parks, forest, canyons, deserts, dunes, ranches, towns, and farms. The extreme physical diversity of the landscape along the border fluctuates between dense urban sprawl compressed along the dividing fence where one can practically see into a person’s home across the border to remote uncultivated desert areas with ancient geological formations where one may not see a soul for days. An imposing physical barrier creates the division between the two countries. The adjacent landscape on the US side is stripped away to accommodate access for Border Patrol and other federal law enforcement agents. From afar, it appears to resemble an extended landing strip or perhaps an environmental art piece. But at ground level, the conspicuous steel fence is a physical reality. 30 00 The US/Mexico border spans approximately 2000 miles from the Gulf of Mexico to the Pa-cific Ocean. This southern border weaves its way through diverse terrains and waterways: riv-ers, mountains, valleys, grasslands, refuges, reservoirs, reservations, parks, forest, canyons, deserts, dunes, ranches, towns, and farms. The extreme physical diversity of the landscape along the border fluctuates between dense urban sprawl compressed along the dividing fence where one can practically see into a person’s home across the border to remote uncultivated desert areas with ancient geological formations where one may not see a soul for days. An imposing physical barrier creates the division between the two countries. The adjacent landscape on the US side is stripped away to accommodate access for Border Patrol and other federal law enforcement agents. From afar, it appears to resemble an extended landing strip or perhaps an environmental art piece. But at ground level, the conspicuous steel fence is a physical reality. 20 00 Open Access Sambunaris, Victoria 32 03 06 10.21983/P3.0014.1.32 186 187 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 473 Inches at 60 Frames Per Second 1 A01 Wade Kavanaugh Wade Kavanaugh 2 A01 Stephen B. Nguyen Stephen B. Nguyen 01 eng 03 00 473 Inches at 60 Frames per Secondwas a site-specific sculptural installation with reference to the Wisconsin Glacial Episode, a glacial period that left Minnesota and parts of Wisconsin covered with numerous lakes and rivers. At the Soap Factory in Minneapolis, MN, Wade Kava-naugh and Stephen B. Nguyen created a two-part artwork that consisted of a glacial ice sheet made of textured white kraft paper and a time lapse video. The two works were physically and temporally downscaled to human scale. The sculpture was created in a way that the final stop-motion documentation read as if the glacier was advancing over a stone canyon made of brown kraft paper. The time lapse video shows the paper glacier advancing at a rate of 473 inches at 60 frames per second, a metric that shifts physical scale and time, from glacial to human 30 00 473 Inches at 60 Frames per Secondwas a site-specific sculptural installation with reference to the Wisconsin Glacial Episode, a glacial period that left Minnesota and parts of Wisconsin covered with numerous lakes and rivers. At the Soap Factory in Minneapolis, MN, Wade Kava-naugh and Stephen B. Nguyen created a two-part artwork that consisted of a glacial ice sheet made of textured white kraft paper and a time lapse video. The two works were physically and temporally downscaled to human scale. The sculpture was created in a way that the final stop-motion documentation read as if the glacier was advancing over a stone canyon made of brown kraft paper. The time lapse video shows the paper glacier advancing at a rate of 473 inches at 60 frames per second, a metric that shifts physical scale and time, from glacial to human 20 00 Open Access Kavanaugh, Wade Nguyen, Stephen B. 33 03 06 10.21983/P3.0014.1.33 188 192 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Nothing from Nothing 1 A01 Katie Holten Katie Holten 01 eng 03 00 These images are from Drawn to the Edge, my solo exhibition at the New Orleans Museum of Art (June 15 to September 9, 2012). In many ways the work is an attempt to capture time—to ex-plore how today’s New Orleans is profoundly connected to its past and to consider how quickly we seem to be running out of time.During a six-week residency this spring at A Studio in the Woods (ASITW), which is located on a bend of the Mississippi River just east of the city center, I looked atthe history of the place, focusing my research on the city and its relationship with the river, through both the slow processes of geologic time and the rapid changes of the 20th and 21st centuries. I quickly came to see that New Orleans’ history is fundamentally connected to its underlying geology, more so than any other place I’ve ever been. Five thousand years ago, there was no land where New Orleans is today – it was all open water. Slowly over the millennia, the alluvial plain of southern Louisiana was created as the Mississippi River dropped sediment along its meandering path to the Gulf of Mexico. 30 00 These images are from Drawn to the Edge, my solo exhibition at the New Orleans Museum of Art (June 15 to September 9, 2012). In many ways the work is an attempt to capture time—to ex-plore how today’s New Orleans is profoundly connected to its past and to consider how quickly we seem to be running out of time.During a six-week residency this spring at A Studio in the Woods (ASITW), which is located on a bend of the Mississippi River just east of the city center, I looked atthe history of the place, focusing my research on the city and its relationship with the river, through both the slow processes of geologic time and the rapid changes of the 20th and 21st centuries. I quickly came to see that New Orleans’ history is fundamentally connected to its underlying geology, more so than any other place I’ve ever been. Five thousand years ago, there was no land where New Orleans is today – it was all open water. Slowly over the millennia, the alluvial plain of southern Louisiana was created as the Mississippi River dropped sediment along its meandering path to the Gulf of Mexico. 20 00 Open Access Holten, Katie 34 03 06 10.21983/P3.0014.1.34 193 195 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Arts, Letters & Numbers Situating Engagement with Material and Experiential Geographies 1 A01 David Gersten David Gersten 40 05pbkcd34 Cooper Union 01 eng 03 00 The ubiquitous observation of our time is transformation: cultural, technological, social, po-litical, economical, and geological. We are in the midst of unprecedented re-alignments and re-articulations of every aspect of our lives. There are people and institutions across all disciplines and across the globe that are increasingly confronted by the need for new models of asking the extraordinarily complex questions of our time. The challenges, possibilities of our moment are extraordinary; they call for creative urgency, considered stewardship, and new spaces bringing together diverse voices. Arts Letters & Numbers, a workshop conducted in summer 2012, involving 30 participants from 12 countries, is just such a space. It offered a new approach to constructing alternative pathways of interaction among a wide range of individuals, disciplines and geographies. 30 00 The ubiquitous observation of our time is transformation: cultural, technological, social, po-litical, economical, and geological. We are in the midst of unprecedented re-alignments and re-articulations of every aspect of our lives. There are people and institutions across all disciplines and across the globe that are increasingly confronted by the need for new models of asking the extraordinarily complex questions of our time. The challenges, possibilities of our moment are extraordinary; they call for creative urgency, considered stewardship, and new spaces bringing together diverse voices. Arts Letters & Numbers, a workshop conducted in summer 2012, involving 30 participants from 12 countries, is just such a space. It offered a new approach to constructing alternative pathways of interaction among a wide range of individuals, disciplines and geographies. 20 00 Open Access Gersten, David 35 03 06 10.21983/P3.0014.1.35 196 201 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Neo-Eocene 1 A01 21 0000000290345189 Oliver Kellhammer Oliver Kellhammer 40 02cmz8k74 Parsons School of Design 01 eng 03 00 Back in the mid-1960s, I was a feral sort of a child who loved scampering around construc-tion sites, climbing the huge, grey piles of excavated shale that were popping up all over my rapidly developing Toronto suburb. I might have been six or so when I first really noticed the slabs of muddy smelling rock often contained the imprints of scallop shells, snails, and fragments of coral, things I recognized from picture books but hadn’t yet seen in real life as we lived hundreds of miles from the near-est ocean. Yet 450 million years before, during the Ordovician era, where I was playing would have been the middle of a vast ocean whose limpid, tropical waters teemed with fantastic life forms such as giant, predatory sea scorpions and nautiloids that jetted through the primeval currents like living missiles. I knew this from visiting the Royal Ontario Museum’s brand new, McLuhan-inspired, Hall of Invertebrate Paleontology, which recreated detailed dioramas of life in Ontario’s ancient seas, complete with theatrical lighting and interactive, taped-looped narratives played through banks of telephone receivers 30 00 Back in the mid-1960s, I was a feral sort of a child who loved scampering around construc-tion sites, climbing the huge, grey piles of excavated shale that were popping up all over my rapidly developing Toronto suburb. I might have been six or so when I first really noticed the slabs of muddy smelling rock often contained the imprints of scallop shells, snails, and fragments of coral, things I recognized from picture books but hadn’t yet seen in real life as we lived hundreds of miles from the near-est ocean. Yet 450 million years before, during the Ordovician era, where I was playing would have been the middle of a vast ocean whose limpid, tropical waters teemed with fantastic life forms such as giant, predatory sea scorpions and nautiloids that jetted through the primeval currents like living missiles. I knew this from visiting the Royal Ontario Museum’s brand new, McLuhan-inspired, Hall of Invertebrate Paleontology, which recreated detailed dioramas of life in Ontario’s ancient seas, complete with theatrical lighting and interactive, taped-looped narratives played through banks of telephone receivers 20 00 Open Access Kellhammer, Oliver 36 03 06 10.21983/P3.0014.1.36 202 204 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Leslie Street Spit 1 A01 Lisa Hirmer Lisa Hirmer 01 eng 03 00 The Leslie Street Spit is a long finger of artificial land stretching into Lake Ontario from To-ronto’s shore. It was originally conceived in the 1950s as a breakwater for the city’s northern harbor, but with changes in shipping methods quickly became obsolete in its original purpose. It remained, however, such a convenient place to discard of what is cleverly called “clean fill”—referring mostly to broken up pieces of demolished urban buildings—that it continues as an active dumping site today, expanding ever further into the lake. Owing to its open land and remote location, the spit was rapidly colonized by vegetation and wildlife, including several endangered species. Though this was never part of official plans, the spit became a hybrid-urban wilderness where, amidst the rubble of brick and bent rebar, nature thrived.These photographs document one of the oldest sections of the spit where the dumped rub-ble has settled and compacted into a soil like state. On the surface, where vegetation abounds, the ground reads as natural, not much different from any other conservation area. But, along the shoreline where the water pulls at the edge of the spit, the contents of the ground become visible—a rust colored metallic band, speckled with shards of glass, plastic and other debris. Essentially made from old iterations of the city, disposed of to make way for the new, this band offers an early glimpse of the urban world made geologic 30 00 The Leslie Street Spit is a long finger of artificial land stretching into Lake Ontario from To-ronto’s shore. It was originally conceived in the 1950s as a breakwater for the city’s northern harbor, but with changes in shipping methods quickly became obsolete in its original purpose. It remained, however, such a convenient place to discard of what is cleverly called “clean fill”—referring mostly to broken up pieces of demolished urban buildings—that it continues as an active dumping site today, expanding ever further into the lake. Owing to its open land and remote location, the spit was rapidly colonized by vegetation and wildlife, including several endangered species. Though this was never part of official plans, the spit became a hybrid-urban wilderness where, amidst the rubble of brick and bent rebar, nature thrived.These photographs document one of the oldest sections of the spit where the dumped rub-ble has settled and compacted into a soil like state. On the surface, where vegetation abounds, the ground reads as natural, not much different from any other conservation area. But, along the shoreline where the water pulls at the edge of the spit, the contents of the ground become visible—a rust colored metallic band, speckled with shards of glass, plastic and other debris. Essentially made from old iterations of the city, disposed of to make way for the new, this band offers an early glimpse of the urban world made geologic 20 00 Open Access Hirmer, Lisa 37 03 06 10.21983/P3.0014.1.37 206 213 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Trace-Cameraless Records of Radioactive Contamination 1 A01 Shimpei Takeda Shimpei Takeda 01 eng 03 00 As an artist working with analog photographic techniques that are rapidly in decline, a native of Japan, and moreover being born in Fukushima prefecture, I took on a mission to create a physical record of the worst man-made nuclear accident in history. A photograph can be created by electromagnetic radiation other than light. Radiation and visible light are similar forms of energy, they just travel in different wavelengths. Using cameraless processes, I want to capture the current state of Japan directly, by exposing photo-sensitive material to traces of radiation emitted from contaminated particles. Through visualizing the traces into visible form, the resulting images will speak to us be-yond the photograph, and perhaps they will be a valuable asset and documentation for future generations. 30 00 As an artist working with analog photographic techniques that are rapidly in decline, a native of Japan, and moreover being born in Fukushima prefecture, I took on a mission to create a physical record of the worst man-made nuclear accident in history. A photograph can be created by electromagnetic radiation other than light. Radiation and visible light are similar forms of energy, they just travel in different wavelengths. Using cameraless processes, I want to capture the current state of Japan directly, by exposing photo-sensitive material to traces of radiation emitted from contaminated particles. Through visualizing the traces into visible form, the resulting images will speak to us be-yond the photograph, and perhaps they will be a valuable asset and documentation for future generations. 20 00 Open Access Takeda, Shimpei 38 03 06 10.21983/P3.0014.1.38 214 221 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Power of Configuration When Infrastructure Goes off the Rails 1 A01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 On November 11, 2011, the Institute of Nuclear Power Operations (INPO) delivered a timeline to an audience of U.S. industry executives, the Nuclear Regulatory Commission, and members of Congress. It detailed the unfolding of events at the Fukushima Daiichi nuclear power station during, and in the critical hours following, the earthquake and tsunami of March 11, 2011. The story contained within the document entitled, “Special Report on the Nuclear Accident at the Fukushima Daiichi Nuclear Power Station,” reads like a screenplay. The gravity of the immediate hours after the accident, detailed and delivered through stark legalistic language, confronts the reader with a poignant reminder: when things don’t go as planned, human bodies are what must show up to try to steer things back on course.The INPO report serves well as a reference manual for contemporary designers, architects, urban planners, and engineers. It’s a powerful invitation to consider configuration in relation to infrastructure design and planning. Configuration: how and where we stage what we de-sign, how humans and infrastructures are situated in relation to one another, and how they inevitably interact. Yet humans and infrastructures exist not only in relation to one another and the landscape, but also in relation to the multitude of earth forces capable of rising up and challenging our best design and engineering capacities. 30 00 On November 11, 2011, the Institute of Nuclear Power Operations (INPO) delivered a timeline to an audience of U.S. industry executives, the Nuclear Regulatory Commission, and members of Congress. It detailed the unfolding of events at the Fukushima Daiichi nuclear power station during, and in the critical hours following, the earthquake and tsunami of March 11, 2011. The story contained within the document entitled, “Special Report on the Nuclear Accident at the Fukushima Daiichi Nuclear Power Station,” reads like a screenplay. The gravity of the immediate hours after the accident, detailed and delivered through stark legalistic language, confronts the reader with a poignant reminder: when things don’t go as planned, human bodies are what must show up to try to steer things back on course.The INPO report serves well as a reference manual for contemporary designers, architects, urban planners, and engineers. It’s a powerful invitation to consider configuration in relation to infrastructure design and planning. Configuration: how and where we stage what we de-sign, how humans and infrastructures are situated in relation to one another, and how they inevitably interact. Yet humans and infrastructures exist not only in relation to one another and the landscape, but also in relation to the multitude of earth forces capable of rising up and challenging our best design and engineering capacities. 20 00 Open Access Kruse, Jamie 39 03 06 10.21983/P3.0014.1.39 222 225 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Nuclear Present 1 A01 Bryan M. Wilson Bryan M. Wilson 01 eng 03 00 On September 29th, 2009, I was about to begin a pilgrimage to a remote location in the Southwestern desert. With my mother as navigator, my plan was to drive from my home state of Montana to the Trinity Nuclear Test Site, located within the White Sands Missile Range between Alamogordo and Soccorro, New Mexico. The United States military opens the Trinity Test Site to the general public two times a year, in the beginning of October and April. On July 16, 1945, the first plutonium-based atomic weapon was detonated on a remote location in the New Mexican desert. The subsequent explosion of “The Gadget” was described as a blinding light of golden, purple, violet, gray, and blue, lighting up the early desert morning as if it were high noon. At ten miles away, spectators required dark sunglasses to look upon the explosion without damage to their eyes. The Trinity explosion did not produce a crater at ground zero, but left behind a small lake of greenish glass, dubbed “trinitite.” It is theorized that the intense heat generated by the nuclear fireball (in excess of 14,000 degrees Fahrenheit) liquefied the desert sand floor into glass and sucked the material into the emergent mushroom cloud. At such high force and temperature, the vaporized glass behaves like water in a typical cloud: it collects in the mushroom cloud, aggregates and falls back to the earth as a shower of molten glass. The extant body of glass, trinitite, was the only material that remained at ground zero—The Gadget and the metal scaffolding holding the device were obliterated. 30 00 On September 29th, 2009, I was about to begin a pilgrimage to a remote location in the Southwestern desert. With my mother as navigator, my plan was to drive from my home state of Montana to the Trinity Nuclear Test Site, located within the White Sands Missile Range between Alamogordo and Soccorro, New Mexico. The United States military opens the Trinity Test Site to the general public two times a year, in the beginning of October and April. On July 16, 1945, the first plutonium-based atomic weapon was detonated on a remote location in the New Mexican desert. The subsequent explosion of “The Gadget” was described as a blinding light of golden, purple, violet, gray, and blue, lighting up the early desert morning as if it were high noon. At ten miles away, spectators required dark sunglasses to look upon the explosion without damage to their eyes. The Trinity explosion did not produce a crater at ground zero, but left behind a small lake of greenish glass, dubbed “trinitite.” It is theorized that the intense heat generated by the nuclear fireball (in excess of 14,000 degrees Fahrenheit) liquefied the desert sand floor into glass and sucked the material into the emergent mushroom cloud. At such high force and temperature, the vaporized glass behaves like water in a typical cloud: it collects in the mushroom cloud, aggregates and falls back to the earth as a shower of molten glass. The extant body of glass, trinitite, was the only material that remained at ground zero—The Gadget and the metal scaffolding holding the device were obliterated. 20 00 Open Access Wilson, Bryan M. 40 03 06 10.21983/P3.0014.1.40 226 237 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 One Million Years of Isolation An Interview with Abraham Van Luik 1 A01 Geoff Manaugh Geoff Manaugh 40 00hj8s172 Columbia University 2 A01 Nicola Twilley Nicola Twilley 40 00hj8s172 Columbia University 01 eng 03 00 Geoff Manaugh: How did you start designing a project like Yucca Mountain, when you’re dealing with such enormous timescales and geological complexity? Abraham Van Luik: You start with a question: How do you perceive the need to isolate a material from the environment? 30 00 Geoff Manaugh: How did you start designing a project like Yucca Mountain, when you’re dealing with such enormous timescales and geological complexity? Abraham Van Luik: You start with a question: How do you perceive the need to isolate a material from the environment? 20 00 Open Access Manaugh, Geoff Twilley, Nicola 41 03 06 10.21983/P3.0014.1.41 238 242 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Terminal Atomic Technogromorphological Mounds 1 A01 Center for Land Use Interpretation Center for Land Use Interpretation 01 eng 03 00 Though the underground nuclear catacombs for America’s spent nuclear fuel are yet to be created, radioactive tombs of America’s various nuclear programs already exist today, with more to come. Most are repositories for the remains of uranium mills, processing facilities, weapons plants, and contaminated tailings, bulldozed into engineered isolation mounds designed to limit contact with their surroundings for hundreds of years. There are dozens of these mounds, across the country from Pennsylvania to Arizona, built mostly by the Depart-ment of Energy, and maintained by their Legacy Management office.These disposal mounds are generally low, rectilinear piles with flat, sloping tops – terrestrial umbrellas, keeping moisture out of the pile as much as possible. In arid environments, the outer layer is a coating of coarse riprap rock, a dead space where nothing grows, where no soil forms, and no roots take hold that could pierce the radioactive core. This tough skin allows occasional rains to pass through it to the next layer, a low-permeability clayey mixture a few feet thick. Water drains off to the side of the pile through channels at the base held in place with more layers of crushed stone. 30 00 Though the underground nuclear catacombs for America’s spent nuclear fuel are yet to be created, radioactive tombs of America’s various nuclear programs already exist today, with more to come. Most are repositories for the remains of uranium mills, processing facilities, weapons plants, and contaminated tailings, bulldozed into engineered isolation mounds designed to limit contact with their surroundings for hundreds of years. There are dozens of these mounds, across the country from Pennsylvania to Arizona, built mostly by the Depart-ment of Energy, and maintained by their Legacy Management office.These disposal mounds are generally low, rectilinear piles with flat, sloping tops – terrestrial umbrellas, keeping moisture out of the pile as much as possible. In arid environments, the outer layer is a coating of coarse riprap rock, a dead space where nothing grows, where no soil forms, and no roots take hold that could pierce the radioactive core. This tough skin allows occasional rains to pass through it to the next layer, a low-permeability clayey mixture a few feet thick. Water drains off to the side of the pile through channels at the base held in place with more layers of crushed stone. 20 00 Open Access Center for Land Use Interpretation 42 03 06 10.21983/P3.0014.1.42 243 258 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Elisabeth Ellsworth Elisabeth Ellsworth 40 02tvcev59 New School 2 B01 Jamie Kruse Jamie Kruse 40 02cmz8k74 Parsons School of Design 01 eng 03 00 Ellsworth and Kruse have curated a powerful collection of words and images, “speculative or aesthetic devices” designed to instigate a new economy of discernment. It incites by showcasing a host of geologic actants—rivers, shale, escarpments, volcanos, tectonic plates, glaciers, river deltas, riprap, mud, clay—at work around and within human bodies, machines, cities, identi-ties, architectures. Such “activations of geologic materiality”1 help to recompose the default perceptual regime, which had tended to overlook the geologic (except on special occasions) and to forget how thoroughly we ourselves are geo-creatures—Earthlings. We are Earthlings both in the sense that we need a host of other bodies (“the planet”) to live and in the sense that “we” are made of the same elements as is the planet. We are “walking, talking minerals,” redistributions of “oxygen, hydrogen, nitrogen, carbon, sulfur, phospho-rous, and other elements of Earth’s crust into two-legged, upright forms.”2 Like wind or river, human individuals and groups are geologic forces that can alter the planet in countless and, as the concept of the Anthropocene marks, game-changing ways. 30 00 Ellsworth and Kruse have curated a powerful collection of words and images, “speculative or aesthetic devices” designed to instigate a new economy of discernment. It incites by showcasing a host of geologic actants—rivers, shale, escarpments, volcanos, tectonic plates, glaciers, river deltas, riprap, mud, clay—at work around and within human bodies, machines, cities, identi-ties, architectures. Such “activations of geologic materiality”1 help to recompose the default perceptual regime, which had tended to overlook the geologic (except on special occasions) and to forget how thoroughly we ourselves are geo-creatures—Earthlings. We are Earthlings both in the sense that we need a host of other bodies (“the planet”) to live and in the sense that “we” are made of the same elements as is the planet. We are “walking, talking minerals,” redistributions of “oxygen, hydrogen, nitrogen, carbon, sulfur, phospho-rous, and other elements of Earth’s crust into two-legged, upright forms.”2 Like wind or river, human individuals and groups are geologic forces that can alter the planet in countless and, as the concept of the Anthropocene marks, game-changing ways. 20 00 Open Access Ellsworth, Elisabeth Kruse, Jamie 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/making-the-geologic-now/ Brooklyn, NY 04 01 20121204 Ellsworth, Elisabeth Kruse, Jamie 02 WORLD 06 15 9780615766362 03 9780615766362 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76436 20 08 20121204 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25601 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25601/1004494.pdf?sequence=1&isAllowed=y 20 08 20121204 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31209 20 08 20121204 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354034 20 08 20121204 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/393 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b8a0c27f-0b8a-4775-b4ec-5ce620951408/download 20 08 20121204 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/003137ea-4fe6-470d-8bd3-f936ad065f3c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/003137ea-4fe6-470d-8bd3-f936ad065f3c/003137ea-4fe6-470d-8bd3-f936ad065f3c.pdf 20 08 20121204 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693072 29 ZENODO: download the title https://zenodo.org/records/19693072/files/003137ea-4fe6-470d-8bd3-f936ad065f3c_book.pdf 20 08 20121204 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/making-the-geologic-now/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0014.1.00.pdf 20 08 20121204 01 urn:uuid:d904be9c-2f1e-493c-b400-31a7b3eaa358 03 01 01 thoth-work-id urn:uuid:35ed7096-8218-43d7-a572-6453c9892ed1 01 thoth-publication-id urn:uuid:d904be9c-2f1e-493c-b400-31a7b3eaa358 15 9781947447387 03 9781947447387 06 10.21983/P3.0193.1.00 13 2017961281 01 internal-reference 0193 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Manifesto for a Post-Critical Pedagogy 1 B01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 B01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 B01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 00 110 03 10 EDU040000 B2 Humanities+University 93 JNA 12 JNA B2 Manifesto! B2 Pedagogies 20 radical pedagogy; education; critical theory; manifesto; queer optimism 01 06 02 00 03 00 The belief in the transformative potential of education has long underpinned critical educational theory. But its concerns have also been largely political and economic, using education as the means to achieve a better – or ideal – future state: of equality and social justice. Our concern is not whether such a state can be realized. Rather, the belief in the transformative potential of education leads us to start from the assumption of equality and to attend to what is “educational” about education.In Manifesto for a Post-Critical Pedagogy we set out five principles that call not for an education as a means to achieve a future state, but rather that make manifest those educational practices that do exist today and that we wish to defend. The Manifesto also acts as a provocation, as the starting point of a conversation about what this means for research, pedagogy, and our relation to our children, each other, and the world.Manifesto for a Post-Critical Pedagogy invites a shift from a critical pedagogy premised on revealing what is wrong with the world and using education to solve it, to an affirmative stance that acknowledges what is educational in our existing practices. It is focused on what we do and what we can do, if we approach education with love for the world and acknowledge that education is based on hope in the present, rather than on optimism for an eternally deferred future. 30 00 The belief in the transformative potential of education has long underpinned critical educational theory. But its concerns have also been largely political and economic, using education as the means to achieve a better – or ideal – future state: of equality and social justice. Our concern is not whether such a state can be realized. Rather, the belief in the transformative potential of education leads us to start from the assumption of equality and to attend to what is “educational” about education.In Manifesto for a Post-Critical Pedagogy we set out five principles that call not for an education as a means to achieve a future state, but rather that make manifest those educational practices that do exist today and that we wish to defend. The Manifesto also acts as a provocation, as the starting point of a conversation about what this means for research, pedagogy, and our relation to our children, each other, and the world.Manifesto for a Post-Critical Pedagogy invites a shift from a critical pedagogy premised on revealing what is wrong with the world and using education to solve it, to an affirmative stance that acknowledges what is educational in our existing practices. It is focused on what we do and what we can do, if we approach education with love for the world and acknowledge that education is based on hope in the present, rather than on optimism for an eternally deferred future. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0193.1.00_frontcover.png 1 03 06 10.21983/P3.0193.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 B01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 B01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 2 03 06 10.21983/P3.0193.1.02 11 12 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 A01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 A01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 The Manifesto for a Post-Critical Pedagogy was written in Sep-tember 2016 and first presented at Liverpool Hope University on October 17, 2016. At that launch event, we heard a keynote response from Tyson Lewis and further invited responses from Geert Thyssen and Olga Ververi. From the outset, having made the manifesto available online in open access, we were encour-aged by the enthusiastic response and the genuine interest shown by colleagues internationally. We therefore chose to in-vite further responses, to broaden the conversation, but did so specifically from early- to mid-career scholars. Hence, we also include here responses from Oren Ergas, Norm Friesen, and Stefan Ramaekers. When seeking a way to publish the manifesto and the re-sponses to it, we looked purposefully beyond the usual avenues taken in our field, for a publisher in keeping with the ethos of the manifesto itself. We thank punctum books and Eileen Joy and Vincent W.J. van Gerven Oei in particular for the confi-dence and enthusiasm they have shown in this project. 30 00 The Manifesto for a Post-Critical Pedagogy was written in Sep-tember 2016 and first presented at Liverpool Hope University on October 17, 2016. At that launch event, we heard a keynote response from Tyson Lewis and further invited responses from Geert Thyssen and Olga Ververi. From the outset, having made the manifesto available online in open access, we were encour-aged by the enthusiastic response and the genuine interest shown by colleagues internationally. We therefore chose to in-vite further responses, to broaden the conversation, but did so specifically from early- to mid-career scholars. Hence, we also include here responses from Oren Ergas, Norm Friesen, and Stefan Ramaekers. When seeking a way to publish the manifesto and the re-sponses to it, we looked purposefully beyond the usual avenues taken in our field, for a publisher in keeping with the ethos of the manifesto itself. We thank punctum books and Eileen Joy and Vincent W.J. van Gerven Oei in particular for the confi-dence and enthusiasm they have shown in this project. 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 3 03 06 10.21983/P3.0193.1.03 15 19 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Manifesto for a Post-Critical Pedagogy 1 A01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 A01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 A01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 Formulating principles, in philosophy of education at least, seems to hark back to a form of normative, conceptual analy-sis associated with Anglophone, analytic styles of philosophy. But poststructuralist and postmodernist philosophy — at least as they have been taken up in educational theory and in popu-lar thought more generally — often brings with it a relativism, which while potentially inclusive, and certainly constitutive to-day of the possibility of individual choice, renders the defence of principles difficult. By stating principles in the form of a mani-festo, we risk accusations of universalising, exclusive normativ-ity. But, it is perhaps time to question the assumption that these are inherently and always negative. Below we set out principles founded in the belief in the possibility of transformation, as found in critical theory and pedagogy, but with an affirmative attitude: a post-critical orientation to education that gains pur-chase on our current conditions and that is founded in a hope for what is still to come. 30 00 Formulating principles, in philosophy of education at least, seems to hark back to a form of normative, conceptual analy-sis associated with Anglophone, analytic styles of philosophy. But poststructuralist and postmodernist philosophy — at least as they have been taken up in educational theory and in popu-lar thought more generally — often brings with it a relativism, which while potentially inclusive, and certainly constitutive to-day of the possibility of individual choice, renders the defence of principles difficult. By stating principles in the form of a mani-festo, we risk accusations of universalising, exclusive normativ-ity. But, it is perhaps time to question the assumption that these are inherently and always negative. Below we set out principles founded in the belief in the possibility of transformation, as found in critical theory and pedagogy, but with an affirmative attitude: a post-critical orientation to education that gains pur-chase on our current conditions and that is founded in a hope for what is still to come. 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 4 03 06 10.21983/P3.0193.1.04 23 34 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Response to the "Manifesto for A Post-Critical Pedagogy" 1 A01 Tyson E. Lewis Tyson E. Lewis 40 00v97ad02 University of North Texas 01 eng 03 00 First, I would like to thank Hodgson, Vlieghe, and Zamojski for inviting me to this event and for allowing me to engage with their ideas. But I must admit that I almost felt like this was a set-up or an ironic gesture. How can I give a critical response to a post-critical manifesto without immediately falling prey to the very problems of critique that the authors identify? If I provide a critical analysis, then would my response even be relevant? Could I not immediately be dismissed as symptomatic of a fail-ure in educational philosophy to produce affirmative principles? And if the response cannot be critical without falling into a trap, need it simply be an affirmation, meaning a repetition of what has already been said? If this were the case, then I need not con-tinue as my response would be redundant. I can merely pack my bags and head home. Both critique and simple affirmation seem unsatisfactory at this point, and would fail to take up the call for a creative hermeneutic that has to be produced. As such, my only real choice in writing this response is to utilize the princi-ples of post-critique in order to care for post-critique. Such care need not simply be an affirmation. Rather, it can point to that which the authors have failed to care about in their own call to care, and thus can further develop an underdeveloped aspect of their post-critical turn. The resulting paper is my attempt to respond to post-critique by caring for that which is present in the author’s statement and yet remains marginal and peripheral: the question of aesthetic form. 30 00 First, I would like to thank Hodgson, Vlieghe, and Zamojski for inviting me to this event and for allowing me to engage with their ideas. But I must admit that I almost felt like this was a set-up or an ironic gesture. How can I give a critical response to a post-critical manifesto without immediately falling prey to the very problems of critique that the authors identify? If I provide a critical analysis, then would my response even be relevant? Could I not immediately be dismissed as symptomatic of a fail-ure in educational philosophy to produce affirmative principles? And if the response cannot be critical without falling into a trap, need it simply be an affirmation, meaning a repetition of what has already been said? If this were the case, then I need not con-tinue as my response would be redundant. I can merely pack my bags and head home. Both critique and simple affirmation seem unsatisfactory at this point, and would fail to take up the call for a creative hermeneutic that has to be produced. As such, my only real choice in writing this response is to utilize the princi-ples of post-critique in order to care for post-critique. Such care need not simply be an affirmation. Rather, it can point to that which the authors have failed to care about in their own call to care, and thus can further develop an underdeveloped aspect of their post-critical turn. The resulting paper is my attempt to respond to post-critique by caring for that which is present in the author’s statement and yet remains marginal and peripheral: the question of aesthetic form. 20 00 Open Access Lewis, Tyson E. 5 03 06 10.21983/P3.0193.1.05 35 41 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Sociologist's Conversation with the "Manifesto for a Post-Critical Pedagogy" 1 A01 Olga Ververi Olga Ververi 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 A novel idea or point of view or perspective always seems prima facie quite appealing and fascinating. Depending on the field or area of interest it is associated with, it fills us with hopes and as-pirations for improvement and effectiveness, for a better present and future — to put it plainly. “Faith in progress”1 is the motto of modernity; however, it seems to remain deeply rooted even in today’s culture. The “Manifesto for a Post-Critical Pedagogy” aims at exactly this: suggesting a new educational paradigm that promises improvement and progress in educational thought, re-search, and practice. The manifesto has been conceived by phi-losophers of education, however, it is addressed to researchers and academics of all disciplines of education, including sociolo-gists. The following discussion stems from a sociological per-spective and aims at examining the manifesto mainly politically and ideologically, but also theoretically and practically. 30 00 A novel idea or point of view or perspective always seems prima facie quite appealing and fascinating. Depending on the field or area of interest it is associated with, it fills us with hopes and as-pirations for improvement and effectiveness, for a better present and future — to put it plainly. “Faith in progress”1 is the motto of modernity; however, it seems to remain deeply rooted even in today’s culture. The “Manifesto for a Post-Critical Pedagogy” aims at exactly this: suggesting a new educational paradigm that promises improvement and progress in educational thought, re-search, and practice. The manifesto has been conceived by phi-losophers of education, however, it is addressed to researchers and academics of all disciplines of education, including sociolo-gists. The following discussion stems from a sociological per-spective and aims at examining the manifesto mainly politically and ideologically, but also theoretically and practically. 20 00 Open Access Ververi, Olga 6 03 06 10.21983/P3.0193.1.06 43 48 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Towards a Pedagogical Hermeneutics A Response to the "Manifesto for a Post-Critical Pedagogy" 1 A01 Norm Friesen Norm Friesen 40 02e3zdp86 Boise State University 01 eng 03 00 The manifesto authored by Hodgson, Vlieghe, and Zamoj-ski outlines five principles for a “Post-Critical Pedagogy.” The first principle is that there are indeed principles to defend, and the second, that a pedagogical hermeneutics, rather than what might be called a critical “hermeneutics of suspicion,”1 is now needed in education. Correlatively, the third principle calls for the end of critical pedagogy, and the fourth and fifth principles for a broadly affirmative “hope in the present” and “love for the world.” Rather than seeing pedagogy’s principle task as a critical negation and transformation of the world, Hodgson, Vlieghe, and Zamojski call for the affirmation of elements in the present as worthy of being passed on to future generations. 30 00 The manifesto authored by Hodgson, Vlieghe, and Zamoj-ski outlines five principles for a “Post-Critical Pedagogy.” The first principle is that there are indeed principles to defend, and the second, that a pedagogical hermeneutics, rather than what might be called a critical “hermeneutics of suspicion,”1 is now needed in education. Correlatively, the third principle calls for the end of critical pedagogy, and the fourth and fifth principles for a broadly affirmative “hope in the present” and “love for the world.” Rather than seeing pedagogy’s principle task as a critical negation and transformation of the world, Hodgson, Vlieghe, and Zamojski call for the affirmation of elements in the present as worthy of being passed on to future generations. 20 00 Open Access Friesen, Norm 7 03 06 10.21983/P3.0193.1.07 49 55 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Differences That Might Matter? A Manifesto Diffractively Read 1 A01 Geert Thyssen Geert Thyssen 40 04zfme737 Liverpool John Moores University 01 eng 03 00 To write a manifesto is to expose oneself — to make oneself vulnerable to critique. In the case of a co-authored piece, it is also to show oneself to one’s co-writers (colleagues and perhaps friends). Yet, such vulnerability, which is moreover a vulner-ability to one’s self, forces one to take a close look in the mir-ror, and this includes those who are invited to deliver a reply as well. I find myself in that fortunate position. It is indeed with much gratitude to, and respect for, Naomi, Joris, and Piotr (and with equal humility) that I offer the following thoughts on their “Manifesto for a Post-Critical Pedagogy.” Hastily assembled as they were “then,” and clumsily put on paper as they are “now” to reflect the spirit of the actual reply, they are theirs and the reader’s to further critique. 30 00 To write a manifesto is to expose oneself — to make oneself vulnerable to critique. In the case of a co-authored piece, it is also to show oneself to one’s co-writers (colleagues and perhaps friends). Yet, such vulnerability, which is moreover a vulner-ability to one’s self, forces one to take a close look in the mir-ror, and this includes those who are invited to deliver a reply as well. I find myself in that fortunate position. It is indeed with much gratitude to, and respect for, Naomi, Joris, and Piotr (and with equal humility) that I offer the following thoughts on their “Manifesto for a Post-Critical Pedagogy.” Hastily assembled as they were “then,” and clumsily put on paper as they are “now” to reflect the spirit of the actual reply, they are theirs and the reader’s to further critique. 20 00 Open Access Thyssen, Geert 8 03 06 10.21983/P3.0193.1.08 57 61 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Post-Critical Mind as a Gateway to Embodied Hope and Love for the World 1 A01 Oren Ergas Oren Ergas 40 00hpjtd88 Beit Berl College 40 03qxff017 Hebrew University of Jerusalem 01 eng 03 00 Philosophy, like science, can be seen as an overarching term that refers to diverse ways of posing and engaging with ques-tions. The development of these ways of questioning can lead to growing expertise and depth, but it can also create a grow-ing fragmentation, expressed in siloed “schools of thought” that fail to engage with each other. When the latter movement be-comes too strong, there is a risk that the ethos of philosophy, and most of all philosophy of education, will be betrayed, as a “school of thought” might miss the bigger picture when it be-comes engrossed in its own game. I read Hodgson, Vlieghe, and Zamojski’s manifesto as a diagnosis of this problem within the discourse of critical pedagogy and critical theory. This diagnosis and their call for action have far-reaching implications for edu-cational theory and practice writ large. In this response, I will elaborate this claim briefly, and then offer a very brief sketch of my own attempt to heed the call of this manifesto. 30 00 Philosophy, like science, can be seen as an overarching term that refers to diverse ways of posing and engaging with ques-tions. The development of these ways of questioning can lead to growing expertise and depth, but it can also create a grow-ing fragmentation, expressed in siloed “schools of thought” that fail to engage with each other. When the latter movement be-comes too strong, there is a risk that the ethos of philosophy, and most of all philosophy of education, will be betrayed, as a “school of thought” might miss the bigger picture when it be-comes engrossed in its own game. I read Hodgson, Vlieghe, and Zamojski’s manifesto as a diagnosis of this problem within the discourse of critical pedagogy and critical theory. This diagnosis and their call for action have far-reaching implications for edu-cational theory and practice writ large. In this response, I will elaborate this claim briefly, and then offer a very brief sketch of my own attempt to heed the call of this manifesto. 20 00 Open Access Ergas, Oren 9 03 06 10.21983/P3.0193.1.09 63 67 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Love for the World in Education 1 A01 Stefan Ramaekers Stefan Ramaekers 40 05f950310 KU Leuven 01 eng 03 00 In my response, I will not go into the manifesto as such, or as a whole. I will limit myself to responding to the authors’ claim that “[w]hen we truly love the world, our world, we must be willing to pass it on to the new generation,” which is a refer-ence to (a short transcription of ) Hannah Arendt’s (by now, I guess) famous passage where she brings together education and love for the world: “Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable.” 30 00 In my response, I will not go into the manifesto as such, or as a whole. I will limit myself to responding to the authors’ claim that “[w]hen we truly love the world, our world, we must be willing to pass it on to the new generation,” which is a refer-ence to (a short transcription of ) Hannah Arendt’s (by now, I guess) famous passage where she brings together education and love for the world: “Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable.” 20 00 Open Access Ramaekers, Stefan 10 03 06 10.21983/P3.0193.1.10 71 101 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Post-Critique A Conversation between Naomi Hodgson, Joris Vlieghe, and Piotr Zamojski 1 A01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 A01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 A01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 Having read the excellent and thought-provoking responses to our manifesto, we gave a lot of thought to how to respond to and do justice to them. We definitely didn’t want to write separate re-plies for each of them, and we really wanted to keep the conver-sation going between us, the authors of the manifesto, and those who wrote such generous and carefully crafted responses to our text. So, we decided that the three of us would each make some written notes on the replies, which we then shared and took as a starting point for a face-to-face conversation. What follows is a text that is largely based on the transcript of that conversation, but that also draws from our own preliminary notes. The con-versational form naturally entails some repetitions and returns to earlier threads, as well as rough shifts in the flow of the argu-ment, and these are reflected in what follows. Hence, it is not as smooth as a standard academic text. As it was a conversation in which we were discussing the responses of our colleagues, we refer to them, and to each other, by given (first) names. 30 00 Having read the excellent and thought-provoking responses to our manifesto, we gave a lot of thought to how to respond to and do justice to them. We definitely didn’t want to write separate re-plies for each of them, and we really wanted to keep the conver-sation going between us, the authors of the manifesto, and those who wrote such generous and carefully crafted responses to our text. So, we decided that the three of us would each make some written notes on the replies, which we then shared and took as a starting point for a face-to-face conversation. What follows is a text that is largely based on the transcript of that conversation, but that also draws from our own preliminary notes. The con-versational form naturally entails some repetitions and returns to earlier threads, as well as rough shifts in the flow of the argu-ment, and these are reflected in what follows. Hence, it is not as smooth as a standard academic text. As it was a conversation in which we were discussing the responses of our colleagues, we refer to them, and to each other, by given (first) names. 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 11 03 06 10.21983/P3.0193.1.11 103 104 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 B01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 B01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/manifesto-for-a-post-critical-pedagogy/ 16 40 03ctjbj91 32 10.13039/100010030 Liverpool Hope University Earth, Milky Way 04 01 20180111 Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 02 WORLD 06 15 9781947447394 03 9781947447394 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447386 20 08 20180111 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/manifesto-for-a-post-critical-pedagogy 20 08 20180111 02 21.00 USD WORLD urn:uuid:8ea22fdc-986c-48c8-a0d9-f338dcebd3a3 03 01 01 thoth-work-id urn:uuid:35ed7096-8218-43d7-a572-6453c9892ed1 01 thoth-publication-id urn:uuid:8ea22fdc-986c-48c8-a0d9-f338dcebd3a3 15 9781947447394 03 9781947447394 06 10.21983/P3.0193.1.00 13 2017961281 01 internal-reference 0193 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Manifesto for a Post-Critical Pedagogy 1 B01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 B01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 B01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 00 110 03 10 EDU040000 B2 Humanities+University 93 JNA 12 JNA B2 Manifesto! B2 Pedagogies 20 radical pedagogy; education; critical theory; manifesto; queer optimism 01 06 02 00 03 00 The belief in the transformative potential of education has long underpinned critical educational theory. But its concerns have also been largely political and economic, using education as the means to achieve a better – or ideal – future state: of equality and social justice. Our concern is not whether such a state can be realized. Rather, the belief in the transformative potential of education leads us to start from the assumption of equality and to attend to what is “educational” about education.In Manifesto for a Post-Critical Pedagogy we set out five principles that call not for an education as a means to achieve a future state, but rather that make manifest those educational practices that do exist today and that we wish to defend. The Manifesto also acts as a provocation, as the starting point of a conversation about what this means for research, pedagogy, and our relation to our children, each other, and the world.Manifesto for a Post-Critical Pedagogy invites a shift from a critical pedagogy premised on revealing what is wrong with the world and using education to solve it, to an affirmative stance that acknowledges what is educational in our existing practices. It is focused on what we do and what we can do, if we approach education with love for the world and acknowledge that education is based on hope in the present, rather than on optimism for an eternally deferred future. 30 00 The belief in the transformative potential of education has long underpinned critical educational theory. But its concerns have also been largely political and economic, using education as the means to achieve a better – or ideal – future state: of equality and social justice. Our concern is not whether such a state can be realized. Rather, the belief in the transformative potential of education leads us to start from the assumption of equality and to attend to what is “educational” about education.In Manifesto for a Post-Critical Pedagogy we set out five principles that call not for an education as a means to achieve a future state, but rather that make manifest those educational practices that do exist today and that we wish to defend. The Manifesto also acts as a provocation, as the starting point of a conversation about what this means for research, pedagogy, and our relation to our children, each other, and the world.Manifesto for a Post-Critical Pedagogy invites a shift from a critical pedagogy premised on revealing what is wrong with the world and using education to solve it, to an affirmative stance that acknowledges what is educational in our existing practices. It is focused on what we do and what we can do, if we approach education with love for the world and acknowledge that education is based on hope in the present, rather than on optimism for an eternally deferred future. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0193.1.00_frontcover.png 1 03 06 10.21983/P3.0193.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 B01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 B01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 2 03 06 10.21983/P3.0193.1.02 11 12 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 A01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 A01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 The Manifesto for a Post-Critical Pedagogy was written in Sep-tember 2016 and first presented at Liverpool Hope University on October 17, 2016. At that launch event, we heard a keynote response from Tyson Lewis and further invited responses from Geert Thyssen and Olga Ververi. From the outset, having made the manifesto available online in open access, we were encour-aged by the enthusiastic response and the genuine interest shown by colleagues internationally. We therefore chose to in-vite further responses, to broaden the conversation, but did so specifically from early- to mid-career scholars. Hence, we also include here responses from Oren Ergas, Norm Friesen, and Stefan Ramaekers. When seeking a way to publish the manifesto and the re-sponses to it, we looked purposefully beyond the usual avenues taken in our field, for a publisher in keeping with the ethos of the manifesto itself. We thank punctum books and Eileen Joy and Vincent W.J. van Gerven Oei in particular for the confi-dence and enthusiasm they have shown in this project. 30 00 The Manifesto for a Post-Critical Pedagogy was written in Sep-tember 2016 and first presented at Liverpool Hope University on October 17, 2016. At that launch event, we heard a keynote response from Tyson Lewis and further invited responses from Geert Thyssen and Olga Ververi. From the outset, having made the manifesto available online in open access, we were encour-aged by the enthusiastic response and the genuine interest shown by colleagues internationally. We therefore chose to in-vite further responses, to broaden the conversation, but did so specifically from early- to mid-career scholars. Hence, we also include here responses from Oren Ergas, Norm Friesen, and Stefan Ramaekers. When seeking a way to publish the manifesto and the re-sponses to it, we looked purposefully beyond the usual avenues taken in our field, for a publisher in keeping with the ethos of the manifesto itself. We thank punctum books and Eileen Joy and Vincent W.J. van Gerven Oei in particular for the confi-dence and enthusiasm they have shown in this project. 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 3 03 06 10.21983/P3.0193.1.03 15 19 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Manifesto for a Post-Critical Pedagogy 1 A01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 A01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 A01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 Formulating principles, in philosophy of education at least, seems to hark back to a form of normative, conceptual analy-sis associated with Anglophone, analytic styles of philosophy. But poststructuralist and postmodernist philosophy — at least as they have been taken up in educational theory and in popu-lar thought more generally — often brings with it a relativism, which while potentially inclusive, and certainly constitutive to-day of the possibility of individual choice, renders the defence of principles difficult. By stating principles in the form of a mani-festo, we risk accusations of universalising, exclusive normativ-ity. But, it is perhaps time to question the assumption that these are inherently and always negative. Below we set out principles founded in the belief in the possibility of transformation, as found in critical theory and pedagogy, but with an affirmative attitude: a post-critical orientation to education that gains pur-chase on our current conditions and that is founded in a hope for what is still to come. 30 00 Formulating principles, in philosophy of education at least, seems to hark back to a form of normative, conceptual analy-sis associated with Anglophone, analytic styles of philosophy. But poststructuralist and postmodernist philosophy — at least as they have been taken up in educational theory and in popu-lar thought more generally — often brings with it a relativism, which while potentially inclusive, and certainly constitutive to-day of the possibility of individual choice, renders the defence of principles difficult. By stating principles in the form of a mani-festo, we risk accusations of universalising, exclusive normativ-ity. But, it is perhaps time to question the assumption that these are inherently and always negative. Below we set out principles founded in the belief in the possibility of transformation, as found in critical theory and pedagogy, but with an affirmative attitude: a post-critical orientation to education that gains pur-chase on our current conditions and that is founded in a hope for what is still to come. 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 4 03 06 10.21983/P3.0193.1.04 23 34 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Response to the "Manifesto for A Post-Critical Pedagogy" 1 A01 Tyson E. Lewis Tyson E. Lewis 40 00v97ad02 University of North Texas 01 eng 03 00 First, I would like to thank Hodgson, Vlieghe, and Zamojski for inviting me to this event and for allowing me to engage with their ideas. But I must admit that I almost felt like this was a set-up or an ironic gesture. How can I give a critical response to a post-critical manifesto without immediately falling prey to the very problems of critique that the authors identify? If I provide a critical analysis, then would my response even be relevant? Could I not immediately be dismissed as symptomatic of a fail-ure in educational philosophy to produce affirmative principles? And if the response cannot be critical without falling into a trap, need it simply be an affirmation, meaning a repetition of what has already been said? If this were the case, then I need not con-tinue as my response would be redundant. I can merely pack my bags and head home. Both critique and simple affirmation seem unsatisfactory at this point, and would fail to take up the call for a creative hermeneutic that has to be produced. As such, my only real choice in writing this response is to utilize the princi-ples of post-critique in order to care for post-critique. Such care need not simply be an affirmation. Rather, it can point to that which the authors have failed to care about in their own call to care, and thus can further develop an underdeveloped aspect of their post-critical turn. The resulting paper is my attempt to respond to post-critique by caring for that which is present in the author’s statement and yet remains marginal and peripheral: the question of aesthetic form. 30 00 First, I would like to thank Hodgson, Vlieghe, and Zamojski for inviting me to this event and for allowing me to engage with their ideas. But I must admit that I almost felt like this was a set-up or an ironic gesture. How can I give a critical response to a post-critical manifesto without immediately falling prey to the very problems of critique that the authors identify? If I provide a critical analysis, then would my response even be relevant? Could I not immediately be dismissed as symptomatic of a fail-ure in educational philosophy to produce affirmative principles? And if the response cannot be critical without falling into a trap, need it simply be an affirmation, meaning a repetition of what has already been said? If this were the case, then I need not con-tinue as my response would be redundant. I can merely pack my bags and head home. Both critique and simple affirmation seem unsatisfactory at this point, and would fail to take up the call for a creative hermeneutic that has to be produced. As such, my only real choice in writing this response is to utilize the princi-ples of post-critique in order to care for post-critique. Such care need not simply be an affirmation. Rather, it can point to that which the authors have failed to care about in their own call to care, and thus can further develop an underdeveloped aspect of their post-critical turn. The resulting paper is my attempt to respond to post-critique by caring for that which is present in the author’s statement and yet remains marginal and peripheral: the question of aesthetic form. 20 00 Open Access Lewis, Tyson E. 5 03 06 10.21983/P3.0193.1.05 35 41 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Sociologist's Conversation with the "Manifesto for a Post-Critical Pedagogy" 1 A01 Olga Ververi Olga Ververi 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 A novel idea or point of view or perspective always seems prima facie quite appealing and fascinating. Depending on the field or area of interest it is associated with, it fills us with hopes and as-pirations for improvement and effectiveness, for a better present and future — to put it plainly. “Faith in progress”1 is the motto of modernity; however, it seems to remain deeply rooted even in today’s culture. The “Manifesto for a Post-Critical Pedagogy” aims at exactly this: suggesting a new educational paradigm that promises improvement and progress in educational thought, re-search, and practice. The manifesto has been conceived by phi-losophers of education, however, it is addressed to researchers and academics of all disciplines of education, including sociolo-gists. The following discussion stems from a sociological per-spective and aims at examining the manifesto mainly politically and ideologically, but also theoretically and practically. 30 00 A novel idea or point of view or perspective always seems prima facie quite appealing and fascinating. Depending on the field or area of interest it is associated with, it fills us with hopes and as-pirations for improvement and effectiveness, for a better present and future — to put it plainly. “Faith in progress”1 is the motto of modernity; however, it seems to remain deeply rooted even in today’s culture. The “Manifesto for a Post-Critical Pedagogy” aims at exactly this: suggesting a new educational paradigm that promises improvement and progress in educational thought, re-search, and practice. The manifesto has been conceived by phi-losophers of education, however, it is addressed to researchers and academics of all disciplines of education, including sociolo-gists. The following discussion stems from a sociological per-spective and aims at examining the manifesto mainly politically and ideologically, but also theoretically and practically. 20 00 Open Access Ververi, Olga 6 03 06 10.21983/P3.0193.1.06 43 48 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Towards a Pedagogical Hermeneutics A Response to the "Manifesto for a Post-Critical Pedagogy" 1 A01 Norm Friesen Norm Friesen 40 02e3zdp86 Boise State University 01 eng 03 00 The manifesto authored by Hodgson, Vlieghe, and Zamoj-ski outlines five principles for a “Post-Critical Pedagogy.” The first principle is that there are indeed principles to defend, and the second, that a pedagogical hermeneutics, rather than what might be called a critical “hermeneutics of suspicion,”1 is now needed in education. Correlatively, the third principle calls for the end of critical pedagogy, and the fourth and fifth principles for a broadly affirmative “hope in the present” and “love for the world.” Rather than seeing pedagogy’s principle task as a critical negation and transformation of the world, Hodgson, Vlieghe, and Zamojski call for the affirmation of elements in the present as worthy of being passed on to future generations. 30 00 The manifesto authored by Hodgson, Vlieghe, and Zamoj-ski outlines five principles for a “Post-Critical Pedagogy.” The first principle is that there are indeed principles to defend, and the second, that a pedagogical hermeneutics, rather than what might be called a critical “hermeneutics of suspicion,”1 is now needed in education. Correlatively, the third principle calls for the end of critical pedagogy, and the fourth and fifth principles for a broadly affirmative “hope in the present” and “love for the world.” Rather than seeing pedagogy’s principle task as a critical negation and transformation of the world, Hodgson, Vlieghe, and Zamojski call for the affirmation of elements in the present as worthy of being passed on to future generations. 20 00 Open Access Friesen, Norm 7 03 06 10.21983/P3.0193.1.07 49 55 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Differences That Might Matter? A Manifesto Diffractively Read 1 A01 Geert Thyssen Geert Thyssen 40 04zfme737 Liverpool John Moores University 01 eng 03 00 To write a manifesto is to expose oneself — to make oneself vulnerable to critique. In the case of a co-authored piece, it is also to show oneself to one’s co-writers (colleagues and perhaps friends). Yet, such vulnerability, which is moreover a vulner-ability to one’s self, forces one to take a close look in the mir-ror, and this includes those who are invited to deliver a reply as well. I find myself in that fortunate position. It is indeed with much gratitude to, and respect for, Naomi, Joris, and Piotr (and with equal humility) that I offer the following thoughts on their “Manifesto for a Post-Critical Pedagogy.” Hastily assembled as they were “then,” and clumsily put on paper as they are “now” to reflect the spirit of the actual reply, they are theirs and the reader’s to further critique. 30 00 To write a manifesto is to expose oneself — to make oneself vulnerable to critique. In the case of a co-authored piece, it is also to show oneself to one’s co-writers (colleagues and perhaps friends). Yet, such vulnerability, which is moreover a vulner-ability to one’s self, forces one to take a close look in the mir-ror, and this includes those who are invited to deliver a reply as well. I find myself in that fortunate position. It is indeed with much gratitude to, and respect for, Naomi, Joris, and Piotr (and with equal humility) that I offer the following thoughts on their “Manifesto for a Post-Critical Pedagogy.” Hastily assembled as they were “then,” and clumsily put on paper as they are “now” to reflect the spirit of the actual reply, they are theirs and the reader’s to further critique. 20 00 Open Access Thyssen, Geert 8 03 06 10.21983/P3.0193.1.08 57 61 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Post-Critical Mind as a Gateway to Embodied Hope and Love for the World 1 A01 Oren Ergas Oren Ergas 40 00hpjtd88 Beit Berl College 40 03qxff017 Hebrew University of Jerusalem 01 eng 03 00 Philosophy, like science, can be seen as an overarching term that refers to diverse ways of posing and engaging with ques-tions. The development of these ways of questioning can lead to growing expertise and depth, but it can also create a grow-ing fragmentation, expressed in siloed “schools of thought” that fail to engage with each other. When the latter movement be-comes too strong, there is a risk that the ethos of philosophy, and most of all philosophy of education, will be betrayed, as a “school of thought” might miss the bigger picture when it be-comes engrossed in its own game. I read Hodgson, Vlieghe, and Zamojski’s manifesto as a diagnosis of this problem within the discourse of critical pedagogy and critical theory. This diagnosis and their call for action have far-reaching implications for edu-cational theory and practice writ large. In this response, I will elaborate this claim briefly, and then offer a very brief sketch of my own attempt to heed the call of this manifesto. 30 00 Philosophy, like science, can be seen as an overarching term that refers to diverse ways of posing and engaging with ques-tions. The development of these ways of questioning can lead to growing expertise and depth, but it can also create a grow-ing fragmentation, expressed in siloed “schools of thought” that fail to engage with each other. When the latter movement be-comes too strong, there is a risk that the ethos of philosophy, and most of all philosophy of education, will be betrayed, as a “school of thought” might miss the bigger picture when it be-comes engrossed in its own game. I read Hodgson, Vlieghe, and Zamojski’s manifesto as a diagnosis of this problem within the discourse of critical pedagogy and critical theory. This diagnosis and their call for action have far-reaching implications for edu-cational theory and practice writ large. In this response, I will elaborate this claim briefly, and then offer a very brief sketch of my own attempt to heed the call of this manifesto. 20 00 Open Access Ergas, Oren 9 03 06 10.21983/P3.0193.1.09 63 67 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Love for the World in Education 1 A01 Stefan Ramaekers Stefan Ramaekers 40 05f950310 KU Leuven 01 eng 03 00 In my response, I will not go into the manifesto as such, or as a whole. I will limit myself to responding to the authors’ claim that “[w]hen we truly love the world, our world, we must be willing to pass it on to the new generation,” which is a refer-ence to (a short transcription of ) Hannah Arendt’s (by now, I guess) famous passage where she brings together education and love for the world: “Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable.” 30 00 In my response, I will not go into the manifesto as such, or as a whole. I will limit myself to responding to the authors’ claim that “[w]hen we truly love the world, our world, we must be willing to pass it on to the new generation,” which is a refer-ence to (a short transcription of ) Hannah Arendt’s (by now, I guess) famous passage where she brings together education and love for the world: “Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable.” 20 00 Open Access Ramaekers, Stefan 10 03 06 10.21983/P3.0193.1.10 71 101 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Post-Critique A Conversation between Naomi Hodgson, Joris Vlieghe, and Piotr Zamojski 1 A01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 A01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 A01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 03 00 Having read the excellent and thought-provoking responses to our manifesto, we gave a lot of thought to how to respond to and do justice to them. We definitely didn’t want to write separate re-plies for each of them, and we really wanted to keep the conver-sation going between us, the authors of the manifesto, and those who wrote such generous and carefully crafted responses to our text. So, we decided that the three of us would each make some written notes on the replies, which we then shared and took as a starting point for a face-to-face conversation. What follows is a text that is largely based on the transcript of that conversation, but that also draws from our own preliminary notes. The con-versational form naturally entails some repetitions and returns to earlier threads, as well as rough shifts in the flow of the argu-ment, and these are reflected in what follows. Hence, it is not as smooth as a standard academic text. As it was a conversation in which we were discussing the responses of our colleagues, we refer to them, and to each other, by given (first) names. 30 00 Having read the excellent and thought-provoking responses to our manifesto, we gave a lot of thought to how to respond to and do justice to them. We definitely didn’t want to write separate re-plies for each of them, and we really wanted to keep the conver-sation going between us, the authors of the manifesto, and those who wrote such generous and carefully crafted responses to our text. So, we decided that the three of us would each make some written notes on the replies, which we then shared and took as a starting point for a face-to-face conversation. What follows is a text that is largely based on the transcript of that conversation, but that also draws from our own preliminary notes. The con-versational form naturally entails some repetitions and returns to earlier threads, as well as rough shifts in the flow of the argu-ment, and these are reflected in what follows. Hence, it is not as smooth as a standard academic text. As it was a conversation in which we were discussing the responses of our colleagues, we refer to them, and to each other, by given (first) names. 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 11 03 06 10.21983/P3.0193.1.11 103 104 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Naomi Hodgson Naomi Hodgson 40 03ctjbj91 Liverpool Hope University 2 B01 Joris Vlieghe Joris Vlieghe 40 016476m91 University of Aberdeen 3 B01 Piotr Zamojski Piotr Zamojski 40 03ctjbj91 Liverpool Hope University 01 eng 20 00 Open Access Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/manifesto-for-a-post-critical-pedagogy/ 16 40 03ctjbj91 32 10.13039/100010030 Liverpool Hope University Earth, Milky Way 04 01 20180111 Hodgson, Naomi Vlieghe, Joris Zamojski, Piotr 02 WORLD 06 15 9781947447387 03 9781947447387 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66801 20 08 20180111 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25436 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25436/1004659.pdf?sequence=1&isAllowed=y 20 08 20180111 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26690 20 08 20180111 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353835 20 08 20180111 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/575 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a867d3c4-1b3f-41bf-a3d7-0e77db868dce/download 20 08 20180111 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Manifesto_for_a_Post_Critical_Pedagogy/EG6oEAAAQBAJ 20 08 20180111 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/35ed7096-8218-43d7-a572-6453c9892ed1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/35ed7096-8218-43d7-a572-6453c9892ed1/35ed7096-8218-43d7-a572-6453c9892ed1.pdf 20 08 20180111 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847189 29 ZENODO: download the title https://zenodo.org/records/19847189/files/35ed7096-8218-43d7-a572-6453c9892ed1_book.pdf 20 08 20180111 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/manifesto-for-a-post-critical-pedagogy/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0193.1.00.pdf 20 08 20180111 01 urn:uuid:eed49703-28bd-4dae-aa74-16304e4fb2fd 03 01 01 thoth-work-id urn:uuid:9e108419-fc08-440d-b1b5-eb8b5cd52c5e 01 thoth-publication-id urn:uuid:eed49703-28bd-4dae-aa74-16304e4fb2fd 15 9780988234062 03 9780988234062 06 10.21983/P3.0100.1.00 01 internal-reference 0100 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Manifesto for Living in the Anthropocene 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 04xsveh31 Academy of the Social Sciences in Australia 40 03r8z3t63 University of New South Wales 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 00 182 03 B2 Anthropocene 10 NAT010000 93 RNPG 12 RNT B2 Biosphere 93 RNT B2 Manifesto! 93 RNA 93 JBCC 20 anthropocene; ecology; environmental humanities; climate change 01 06 02 00 03 00 The recent 10,000 year history of climatic stability on Earth that enabled the rise of agriculture and domestication, the growth of cities, numerous technological revolutions, and the emergence of modernity is now over. We accept that in the latest phase of this era, modernity is unmaking the stability that enabled its emergence. Over the 21st century severe and numerous weather disasters, scarcity of key resources, major changes in environments, enormous rates of extinction, and other forces that threaten life are set to increase. But we are deeply worried that current responses to these challenges are focused on market-driven solutions and thus have the potential to further endanger our collective commons. Today public debate is polarized. On one hand we are confronted with the immobilizing effects of knowing “the facts” about climate change. On the other we see a powerful will to ignorance and the effects of a pernicious collaboration between climate change skeptics and industry stakeholders. Clearly, to us, the current crisis calls for new ways of thinking and producing knowledge. Our collective inclination has been to go on in an experimental and exploratory mode, in which we refuse to foreclose on options or jump too quickly to “solutions.” 30 00 The recent 10,000 year history of climatic stability on Earth that enabled the rise of agriculture and domestication, the growth of cities, numerous technological revolutions, and the emergence of modernity is now over. We accept that in the latest phase of this era, modernity is unmaking the stability that enabled its emergence. Over the 21st century severe and numerous weather disasters, scarcity of key resources, major changes in environments, enormous rates of extinction, and other forces that threaten life are set to increase. But we are deeply worried that current responses to these challenges are focused on market-driven solutions and thus have the potential to further endanger our collective commons. Today public debate is polarized. On one hand we are confronted with the immobilizing effects of knowing “the facts” about climate change. On the other we see a powerful will to ignorance and the effects of a pernicious collaboration between climate change skeptics and industry stakeholders. Clearly, to us, the current crisis calls for new ways of thinking and producing knowledge. Our collective inclination has been to go on in an experimental and exploratory mode, in which we refuse to foreclose on options or jump too quickly to “solutions.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0100.1.00_frontcover.png 1 03 06 10.21983/P3.0100.1.01 i xiv 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 2 03 06 10.21983/P3.0100.1.02 i iii 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Manifesto for Living in the Anthropocene 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 03 00 Humanity’s actions have become a new planetary force with accelerating effects on the biosphere. This new era, known as the Anthropocene, calls for new ways of thinking and know-ing, and for innovative forms of action. We are a group of concerned social scientists and creative scholars who are moved to address the unique qualities of our contemporary world. In the Anthropocene, we are sum-moned to expand our understandings of ways to conjoin nature and culture, economy and ecology, and natural and social sciences. Already, thinkers among us are exploring ways of dismantling traditional separations. We aim to fur-ther and expand this work, identifying multiple pathways toward alternative futures.Research for the Anthropocene must and will harness the creativity of human potential to reduce harm and promote a flourishing biosphere. 30 00 Humanity’s actions have become a new planetary force with accelerating effects on the biosphere. This new era, known as the Anthropocene, calls for new ways of thinking and know-ing, and for innovative forms of action. We are a group of concerned social scientists and creative scholars who are moved to address the unique qualities of our contemporary world. In the Anthropocene, we are sum-moned to expand our understandings of ways to conjoin nature and culture, economy and ecology, and natural and social sciences. Already, thinkers among us are exploring ways of dismantling traditional separations. We aim to fur-ther and expand this work, identifying multiple pathways toward alternative futures.Research for the Anthropocene must and will harness the creativity of human potential to reduce harm and promote a flourishing biosphere. 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 3 03 06 10.21983/P3.0100.1.03 v viii 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 03 00 In the moist heat of a Sydney February a group of concerned scholars gathered on the banks of the Georges River close to the University of Western Sydney, Bankstown. Amongst us there were key thinkers from the fields of Anthropology, Ed-ucation, Human Geography, Philosophy, Science and Tech-nology Studies, Sociology, Political Theory, Communications and Film. We gathered to consider an ethics for living in this new era of human driven climate change called the “Anthro-pocene.” We wrote the Manifesto above. 30 00 In the moist heat of a Sydney February a group of concerned scholars gathered on the banks of the Georges River close to the University of Western Sydney, Bankstown. Amongst us there were key thinkers from the fields of Anthropology, Ed-ucation, Human Geography, Philosophy, Science and Tech-nology Studies, Sociology, Political Theory, Communications and Film. We gathered to consider an ethics for living in this new era of human driven climate change called the “Anthro-pocene.” We wrote the Manifesto above. 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 4 03 06 10.21983/P3.0100.1.04 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Ecological Humanities 1 A01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 01 eng 03 00 The ecological humanities is a new interdiscipline that has emerged specifically to address the fact that current ecologi-cal problems, including extinctions, climate change, toxic death zones, water degradation, and many others, are an-thropogenic events. Acknowledging the reality of human agency, we are no longer in the position of being able to sus-tain the idea that humans are separate from nature. In Di-pesh Chakrabarty’s (2009) memorable words, in the wake of our awareness of anthropogenic climate change, the Western division between human history and natural history has now been breached. 30 00 The ecological humanities is a new interdiscipline that has emerged specifically to address the fact that current ecologi-cal problems, including extinctions, climate change, toxic death zones, water degradation, and many others, are an-thropogenic events. Acknowledging the reality of human agency, we are no longer in the position of being able to sus-tain the idea that humans are separate from nature. In Di-pesh Chakrabarty’s (2009) memorable words, in the wake of our awareness of anthropogenic climate change, the Western division between human history and natural history has now been breached. 20 00 Open Access Rose, Deborah Bird 5 03 06 10.21983/P3.0100.1.05 7 16 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Economy as Ecological Livelihood 1 A01 J.K. Gibson-Graham J.K. Gibson-Graham 40 0072zz521 University of Massachusetts Amherst 40 03t52dk35 Western Sydney University 2 A01 21 000000016798476X Ethan Miller Ethan Miller 40 03t52dk35 Western Sydney University 01 eng 03 00 Can we overcome our hyper-separation from the more-than-human world and take up membership in a thoroughly eco-logical community of life? While the demands of “the econ-omy” are set in opposition to the needs of “the environment”; while the economy is seen as a vulnerable system that cannot accommodate allocations of social wealth to earth-repair and species protection without risking collapse; while the eco-nomic “we” continues to squander and ignore the gifts of the more-than-human world that gives us life, the answer seems to be a depressing “No.” To answer “Yes” we must begin to rethink and re-enact the relationship between economy and ecology. 30 00 Can we overcome our hyper-separation from the more-than-human world and take up membership in a thoroughly eco-logical community of life? While the demands of “the econ-omy” are set in opposition to the needs of “the environment”; while the economy is seen as a vulnerable system that cannot accommodate allocations of social wealth to earth-repair and species protection without risking collapse; while the eco-nomic “we” continues to squander and ignore the gifts of the more-than-human world that gives us life, the answer seems to be a depressing “No.” To answer “Yes” we must begin to rethink and re-enact the relationship between economy and ecology. 20 00 Open Access Gibson-Graham, J.K. Miller, Ethan 6 03 06 10.21983/P3.0100.1.06 17 21 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lives in Connection 1 A01 21 000000030078520X Jessica K. Weir Jessica K. Weir 40 03t52dk35 Western Sydney University 01 eng 03 00 Climate change, spectacular in its scale and force, is the cu-mulative result of intertwined human and non-human agen-cies. It is perhaps the most profound expression of the earth’s agency—the capacity of this world to act, to show its power in all our lives. The Anthropocene throws us a particular challenge to acknowledge those ecological connections that sustain our existence. We live within networks, webs, and relationships with non-human (or more-than-human) others, including plants, animals, rivers and soils. We rely on each other for food and fresh water. We are co-participants in what is happening and what will happen next. In southeast Australia where I live, we are told to expect hotter tempera-tures of longer duration, and more dramatic rain events—a combination that further extends the variability of our flood and drought cycles. In this already hot and arid country, where fresh water so clearly gives life, such changes will touch all. 30 00 Climate change, spectacular in its scale and force, is the cu-mulative result of intertwined human and non-human agen-cies. It is perhaps the most profound expression of the earth’s agency—the capacity of this world to act, to show its power in all our lives. The Anthropocene throws us a particular challenge to acknowledge those ecological connections that sustain our existence. We live within networks, webs, and relationships with non-human (or more-than-human) others, including plants, animals, rivers and soils. We rely on each other for food and fresh water. We are co-participants in what is happening and what will happen next. In southeast Australia where I live, we are told to expect hotter tempera-tures of longer duration, and more dramatic rain events—a combination that further extends the variability of our flood and drought cycles. In this already hot and arid country, where fresh water so clearly gives life, such changes will touch all. 20 00 Open Access Weir, Jessica K. 7 03 06 10.21983/P3.0100.1.07 23 27 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conviviality as an Ethic of Care in the City 1 A01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 2 A01 21 0000000223624743 Kurt Iveson Kurt Iveson 40 0384j8v12 University of Sydney 01 eng 03 00 For some, the environmental pressures that have given birth to the Anthropocene are inextricably linked with two centu-ries of explosive urbanization. The voracious appetite of mo-dernity is nowhere better illustrated than in our “vortex cities” (McManus 2005), which suck in food, water, and energy from elsewhere in ways which tend to mystify the connec-tions between urbanized consumption of resources and the environments which support them. Likewise, the hubris of modernity is also always apparent in cities, with their infra-structures designed to dominate rather than respond and adapt to the environment—from the freeways slicing through neighborhoods and countryside to the re-engineering of riv-ers and harbors. And yet, such accounts of cities are only partial. Even as they are characterized by all sorts of environmental and so-cial problems, cities have also been fertile ground for collec-tive experiments in generating new ethical practices of relat-ing to one another and our environment. Such practices are worth reflecting upon, as they constitute a vital resource for efforts to construct better futures. 30 00 For some, the environmental pressures that have given birth to the Anthropocene are inextricably linked with two centu-ries of explosive urbanization. The voracious appetite of mo-dernity is nowhere better illustrated than in our “vortex cities” (McManus 2005), which suck in food, water, and energy from elsewhere in ways which tend to mystify the connec-tions between urbanized consumption of resources and the environments which support them. Likewise, the hubris of modernity is also always apparent in cities, with their infra-structures designed to dominate rather than respond and adapt to the environment—from the freeways slicing through neighborhoods and countryside to the re-engineering of riv-ers and harbors. And yet, such accounts of cities are only partial. Even as they are characterized by all sorts of environmental and so-cial problems, cities have also been fertile ground for collec-tive experiments in generating new ethical practices of relat-ing to one another and our environment. Such practices are worth reflecting upon, as they constitute a vital resource for efforts to construct better futures. 20 00 Open Access Fincher, Ruth Iveson, Kurt 8 03 06 10.21983/P3.0100.1.08 29 36 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Risking Attachment in the Anthropocene 1 A01 Lesley Instone Lesley Instone 40 00eae9z71 University of Newcastle Australia 01 eng 03 00 The notion of risk is now commonplace. For Ulrich Beck(1992) who introduced the term “risk society” in the early 1990s, contemporary ecological crises are not questions about the destruction of nature, but rather ones of how mod-ern society deals with self-generated uncertainties that are no longer limited by time or space. These are dangers that es-cape and elide risk, calculation and insurability. In the face of permanent material threats, Beck argues that modern indus-trial society normalizes risk, and we become blind to side effects and consequences. Most of the time those of us in de-veloped countries carry on our daily lives as if everything is insurable, as if we’re neither causing environmental damage nor being affected by it, a sort of amnesia to the wider impli-cations of ordinary action. For example, where I live, the mining and export of coal is a commonplace and everyday activity. Despite the challenges of climate change, coal trains deposit their loads, in ever increasing quantities, to the port of Newcastle (Australia) to be exported to power stations in China and elsewhere. The ethics of “deplete, destroy, depart” (Grinde and Johansen 1995 in Weir 2009, 119) go on in a way that becomes ordinary, everyday and unremarkable, and the dangers of dust, environmental degradation and climate change, are in Beck’s terms, normalized. 30 00 The notion of risk is now commonplace. For Ulrich Beck(1992) who introduced the term “risk society” in the early 1990s, contemporary ecological crises are not questions about the destruction of nature, but rather ones of how mod-ern society deals with self-generated uncertainties that are no longer limited by time or space. These are dangers that es-cape and elide risk, calculation and insurability. In the face of permanent material threats, Beck argues that modern indus-trial society normalizes risk, and we become blind to side effects and consequences. Most of the time those of us in de-veloped countries carry on our daily lives as if everything is insurable, as if we’re neither causing environmental damage nor being affected by it, a sort of amnesia to the wider impli-cations of ordinary action. For example, where I live, the mining and export of coal is a commonplace and everyday activity. Despite the challenges of climate change, coal trains deposit their loads, in ever increasing quantities, to the port of Newcastle (Australia) to be exported to power stations in China and elsewhere. The ethics of “deplete, destroy, depart” (Grinde and Johansen 1995 in Weir 2009, 119) go on in a way that becomes ordinary, everyday and unremarkable, and the dangers of dust, environmental degradation and climate change, are in Beck’s terms, normalized. 20 00 Open Access Instone, Lesley 9 03 06 10.21983/P3.0100.1.09 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Strategia Thinking with or Accommodating the World 1 A01 21 0000000188198696 Freya Mathews Freya Mathews 40 01rxfrp27 La Trobe University 01 eng 03 00 If we want to escape the grip of the dualistic categories that have disenchanted and de-animated our world in the West-ern tradition, and thereby rendered it a fit object for domina-tion and control, we may require something more than a purely discursive or theoretical approach to reality. We may require a mode of cognition that is cultivated not merely through abstract “reflection” but through practice—specific forms of strategic practice. 30 00 If we want to escape the grip of the dualistic categories that have disenchanted and de-animated our world in the West-ern tradition, and thereby rendered it a fit object for domina-tion and control, we may require something more than a purely discursive or theoretical approach to reality. We may require a mode of cognition that is cultivated not merely through abstract “reflection” but through practice—specific forms of strategic practice. 20 00 Open Access Mathews, Freya 10 03 06 10.21983/P3.0100.1.10 43 48 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contact Improvisation Dance with the Earth Body You Have 1 A01 21 0000000157935366 Kate Rigby Kate Rigby 40 02bfwt286 Monash University 01 eng 03 00 Contact Improvisation is a form of dance. As the name sug-gests, this is not the kind of dance where everybody knows the steps in advance. While its moves are unscripted, Contact Improvisation also differs from the semi-solo style of arm-flailing and hip-swiveling in which many of us learnt to en-gage as teenagers, for its practitioners are required to remain at all times in close proximity to a partner. “Characteristically performed in a duet,” explains Hellene Gronda:Contact Improvisation combines the freedom to move spontaneously with an injunction to maintain a physical relationship with your partner(s), usually through touch, but also through commitment to a mutual trajectory based on a shared centre of gravity. Body awareness is fundamental to safe practice of the form because it is like-ly to include falling and spatial disorientation. It can be awkward, spectacularly dangerous, or breathtaking and tender. ... Contact Improvisation is primarily practiced in a community activity called a Jam. ( Gronda 2005, 28–29). 30 00 Contact Improvisation is a form of dance. As the name sug-gests, this is not the kind of dance where everybody knows the steps in advance. While its moves are unscripted, Contact Improvisation also differs from the semi-solo style of arm-flailing and hip-swiveling in which many of us learnt to en-gage as teenagers, for its practitioners are required to remain at all times in close proximity to a partner. “Characteristically performed in a duet,” explains Hellene Gronda:Contact Improvisation combines the freedom to move spontaneously with an injunction to maintain a physical relationship with your partner(s), usually through touch, but also through commitment to a mutual trajectory based on a shared centre of gravity. Body awareness is fundamental to safe practice of the form because it is like-ly to include falling and spatial disorientation. It can be awkward, spectacularly dangerous, or breathtaking and tender. ... Contact Improvisation is primarily practiced in a community activity called a Jam. ( Gronda 2005, 28–29). 20 00 Open Access Rigby, Kate 11 03 06 10.21983/P3.0100.1.11 51 55 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Vulture Stories Narrative and Conservation 1 A01 21 0000000297106682 Thom van Dooren Thom van Dooren 40 03r8z3t63 University of New South Wales 01 eng 03 00 Vultures are never very far from death, never very far from the carcasses that they strip bare so cleanly and efficiently. Like all of Earth’s scavengers, they play a vital role in trans-forming waste and putrefaction into nourishment, creating a safer environment for so many other living things. Change and transformation are at the heart of their place in more-than-human communities—death becomes life again. And so, death is not a bad thing in any simple way: inside tangled processes of multi-species becoming, everyone is food for someone else, and nobody, no species, lives forever. And yet, in some cases we want to reject death, we want to say that there has been too much of it, or it has come too soon—again, both in the case of individuals and of species. This is a story about the vultures of India, but it is also an attempt to think through why one might tell stories in a time of extinction, what it might mean to make a storied stand for some deaths and not others. 30 00 Vultures are never very far from death, never very far from the carcasses that they strip bare so cleanly and efficiently. Like all of Earth’s scavengers, they play a vital role in trans-forming waste and putrefaction into nourishment, creating a safer environment for so many other living things. Change and transformation are at the heart of their place in more-than-human communities—death becomes life again. And so, death is not a bad thing in any simple way: inside tangled processes of multi-species becoming, everyone is food for someone else, and nobody, no species, lives forever. And yet, in some cases we want to reject death, we want to say that there has been too much of it, or it has come too soon—again, both in the case of individuals and of species. This is a story about the vultures of India, but it is also an attempt to think through why one might tell stories in a time of extinction, what it might mean to make a storied stand for some deaths and not others. 20 00 Open Access van Dooren, Thom 12 03 06 10.21983/P3.0100.1.12 57 62 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning to be Affected by Earth Others 1 A01 21 0000000291990446 Gerda Roelvink Gerda Roelvink 40 03t52dk35 Western Sydney University 01 eng 03 00 If, as Val Plumwood (2002) suggests, we can no longer be-have as isolated and masterful human individuals, nations or species, but need to act in accordance with those earth others enabling our existence, what does this mean for the activity of research? One answer might be to seek out those who are already transforming their relationships with the more than human world, to learn about and tell their stories, and to help multiply, magnify, legitimate and proliferate their practices. If one looks for them, there are many who are engaged in learning from our climate changed earth in such a way that they themselves are transformed and are prompted to create new ways of living with earth others. Bruno Latour (2004b)calls this process that co-transforms the learner and the world “learning to be affected.” Central to learning to be af-fected is a process whereby one becomes sensitized to (affect-ed by) a world that in turn becomes more highly differentiat-ed (see Latour 2004b; Gibson-Graham and Roelvink 2010).In this essay I want to tentatively suggest that by connecting with those already affected by the manifestations of climate change academic researchers too might learn to be affected. 30 00 If, as Val Plumwood (2002) suggests, we can no longer be-have as isolated and masterful human individuals, nations or species, but need to act in accordance with those earth others enabling our existence, what does this mean for the activity of research? One answer might be to seek out those who are already transforming their relationships with the more than human world, to learn about and tell their stories, and to help multiply, magnify, legitimate and proliferate their practices. If one looks for them, there are many who are engaged in learning from our climate changed earth in such a way that they themselves are transformed and are prompted to create new ways of living with earth others. Bruno Latour (2004b)calls this process that co-transforms the learner and the world “learning to be affected.” Central to learning to be af-fected is a process whereby one becomes sensitized to (affect-ed by) a world that in turn becomes more highly differentiat-ed (see Latour 2004b; Gibson-Graham and Roelvink 2010).In this essay I want to tentatively suggest that by connecting with those already affected by the manifestations of climate change academic researchers too might learn to be affected. 20 00 Open Access Roelvink, Gerda 13 03 06 10.21983/P3.0100.1.13 63 69 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Waterhold Project Locating Resilience 1 A01 George Main George Main 40 00j4a3b86 National Museum of Australia 01 eng 03 00 The National Museum of Australia in Canberra records and interprets Australian social, Aboriginal and environmental history. As a curator and environmental historian employed by the Museum, my role is to foster understandings of hu-man lives within the contexts of dynamic ecological systems. The National Museum is responsible for making sense of interactions between people and the rest of nature, and has a significant role to play in helping Australians grapple with the meanings of the profound climatic and ecological chang-es that define our time, the Anthropocene. What historically and culturally determined ways of thinking and acting have generated anthropogenic climate change? What habits of thought and perception continue to block effective responses? Might we locate hopeful ways of thinking and acting to build social and ecological resilience as we enter an uncertain and difficult future? What under-standings and possibilities emerge if we turn towards the local and to the material? These questions underlay The Wa-terhole Project, a research initiative that explores the mean-ings of climate change in relation to the ecological and social realities of a particular place called Combaning. 30 00 The National Museum of Australia in Canberra records and interprets Australian social, Aboriginal and environmental history. As a curator and environmental historian employed by the Museum, my role is to foster understandings of hu-man lives within the contexts of dynamic ecological systems. The National Museum is responsible for making sense of interactions between people and the rest of nature, and has a significant role to play in helping Australians grapple with the meanings of the profound climatic and ecological chang-es that define our time, the Anthropocene. What historically and culturally determined ways of thinking and acting have generated anthropogenic climate change? What habits of thought and perception continue to block effective responses? Might we locate hopeful ways of thinking and acting to build social and ecological resilience as we enter an uncertain and difficult future? What under-standings and possibilities emerge if we turn towards the local and to the material? These questions underlay The Wa-terhole Project, a research initiative that explores the mean-ings of climate change in relation to the ecological and social realities of a particular place called Combaning. 20 00 Open Access Main, George 14 03 06 10.21983/P3.0100.1.14 71 76 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Food Conect(s) 1 A01 21 000000031983506X Jenny Cameron Jenny Cameron 40 01kj2bm70 Newcastle University 2 A01 Robert Pekin Robert Pekin 01 eng 03 00 Much of our food does not taste good—and not just because apples have lost their crunch. The food we eat in the West is produced largely through an industrial model of agriculture. Larger and larger farms produce more and more of the one product, whether cattle or wheat, apricots or almonds, or-anges or lemons. In the process, agricultural land is robbed of its nutrients, and animals and plants their dignity. But eve-rywhere people, like Robert Pekin from Food Connect, are innovating with ways of working with the land, animals and others. At Food Connect, we’re not just modifying, we’re com-pletely reinventing the business of how food should be done. We’re saying that the old model is obsolete and we have to invent new ones. We have to restore ecologi-cal biodiversity back into our farming landscapes but we need a marketplace that recognizes and rewards the farmers who do this, and that encourages more farmers to do more of it. 30 00 Much of our food does not taste good—and not just because apples have lost their crunch. The food we eat in the West is produced largely through an industrial model of agriculture. Larger and larger farms produce more and more of the one product, whether cattle or wheat, apricots or almonds, or-anges or lemons. In the process, agricultural land is robbed of its nutrients, and animals and plants their dignity. But eve-rywhere people, like Robert Pekin from Food Connect, are innovating with ways of working with the land, animals and others. At Food Connect, we’re not just modifying, we’re com-pletely reinventing the business of how food should be done. We’re saying that the old model is obsolete and we have to invent new ones. We have to restore ecologi-cal biodiversity back into our farming landscapes but we need a marketplace that recognizes and rewards the farmers who do this, and that encourages more farmers to do more of it. 20 00 Open Access Cameron, Jenny Pekin, Robert 15 03 06 10.21983/P3.0100.1.15 77 81 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Graffiti Is Life 1 A01 21 0000000223624743 Kurt Iveson Kurt Iveson 40 0384j8v12 University of Sydney 01 eng 03 00 The challenge of living in the Anthropocene is, for the major-ity of the world’s population, an urban challenge. Finding ways to connect with each other and our urban environments is an essential task. Where might we find examples of an “ethics of care” taking shape in our cities to inspire us in meeting this challenge? An inner-city meatworks carpark covered in graffiti might be the last place we would think to look. But the story of how such a carpark became, for a time, the Graffiti Hall of Fame has plenty to teach us as we seek out new ways of inhabiting and caring for our urban environ-ments.In the narratives of urban decline and renewal that per-meate contemporary urban policy discussions, graffiti writers frequently feature as villains. Graffiti is seen as a form of dirt, decay, and destruction, perpetrated by anti-social vandals who lack respect for the sanctity of property and community. 30 00 The challenge of living in the Anthropocene is, for the major-ity of the world’s population, an urban challenge. Finding ways to connect with each other and our urban environments is an essential task. Where might we find examples of an “ethics of care” taking shape in our cities to inspire us in meeting this challenge? An inner-city meatworks carpark covered in graffiti might be the last place we would think to look. But the story of how such a carpark became, for a time, the Graffiti Hall of Fame has plenty to teach us as we seek out new ways of inhabiting and caring for our urban environ-ments.In the narratives of urban decline and renewal that per-meate contemporary urban policy discussions, graffiti writers frequently feature as villains. Graffiti is seen as a form of dirt, decay, and destruction, perpetrated by anti-social vandals who lack respect for the sanctity of property and community. 20 00 Open Access Iveson, Kurt 16 03 06 10.21983/P3.0100.1.16 83 89 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flying Foxes in Sydney 1 A01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 01 eng 03 00 Do city dwellers dream of wide open spaces like rangelands, or do they dream of tall buildings? Do their dreams entice them to look up into the great, blue depths above them, and do flying foxes flit across the night sky of their sleep? Do they ever think: “now, this is a biodiver-city!”?At least one city dweller, journalist James Woodford, looked up with delight. He wrote: “watching bats silhouetted against the stars is one of the greatest, but little known, pleasures of life” (Woodford 2003). Actually, many city dwellers find pleasure in the fact that their city and their lives are shared with flying foxes. Every night around sunset the flying foxes start their nightly flyout. With their dark fur, their wingspans of up to one meter, and their distinctive bat silhouette, they stand out against the clear colors of an Aus-tralian sunset. They are beautiful wherever they are, but in Sydney, Australia’s largest and most iconic city, they are fan-tastic! They span out across the Opera House, and over the Harbour Bridge. One can sit at Circular Quay, sipping a drink and watching the ferries, the bridge, and the lights of Luna Park flashing across the harbor. Then the motion above begins. The gaze that has been fixed horizontally shifts up-ward to the blizzard of flying foxes, and one feels quite close 30 00 Do city dwellers dream of wide open spaces like rangelands, or do they dream of tall buildings? Do their dreams entice them to look up into the great, blue depths above them, and do flying foxes flit across the night sky of their sleep? Do they ever think: “now, this is a biodiver-city!”?At least one city dweller, journalist James Woodford, looked up with delight. He wrote: “watching bats silhouetted against the stars is one of the greatest, but little known, pleasures of life” (Woodford 2003). Actually, many city dwellers find pleasure in the fact that their city and their lives are shared with flying foxes. Every night around sunset the flying foxes start their nightly flyout. With their dark fur, their wingspans of up to one meter, and their distinctive bat silhouette, they stand out against the clear colors of an Aus-tralian sunset. They are beautiful wherever they are, but in Sydney, Australia’s largest and most iconic city, they are fan-tastic! They span out across the Opera House, and over the Harbour Bridge. One can sit at Circular Quay, sipping a drink and watching the ferries, the bridge, and the lights of Luna Park flashing across the harbor. Then the motion above begins. The gaze that has been fixed horizontally shifts up-ward to the blizzard of flying foxes, and one feels quite close 20 00 Open Access Rose, Deborah Bird 17 03 06 10.21983/P3.0100.1.17 91 95 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Earth as Ethic 1 A01 21 0000000188198696 Freya Mathews Freya Mathews 40 01rxfrp27 La Trobe University 01 eng 03 00 In this era of climate change when upheavals of a global na-ture are set to sweep the planet, the need for global agree-ments that transcend the strict proportionalities of national interest is greater than ever before. Different nations of course have different degrees of vulnerability to environmen-tal disruption and different degrees of economic wherewithal to mitigate or manage it. Those with the greatest economic means happen also, with some exceptions (such as Australia), to be those least vulnerable, at least in the short to medium term. As long as self-interest rules the day then, nations with the most to contribute to climate mitigation will tend to hold back and international agreements will be pre-empted or fatally weakened, with dire consequences in the longer term for all. This scenario can be avoided only if the commitment un-dertaken by all nations to mitigate and ultimately reverse climate change is a moral and not merely a self-interested one. Nations need to acknowledge that de-stabilizing the planetary climate system is monumentally morally wrong and that we have a moral responsibility to mitigate and repair the damage. But how can such moral agreement be obtained in a multicultural world of rampantly competing ideologies in which different moral “truths” define different moral con-stituencies? Is it possible to imagine an international society morally united in its commitment to the integrity of the bio-sphere? 30 00 In this era of climate change when upheavals of a global na-ture are set to sweep the planet, the need for global agree-ments that transcend the strict proportionalities of national interest is greater than ever before. Different nations of course have different degrees of vulnerability to environmen-tal disruption and different degrees of economic wherewithal to mitigate or manage it. Those with the greatest economic means happen also, with some exceptions (such as Australia), to be those least vulnerable, at least in the short to medium term. As long as self-interest rules the day then, nations with the most to contribute to climate mitigation will tend to hold back and international agreements will be pre-empted or fatally weakened, with dire consequences in the longer term for all. This scenario can be avoided only if the commitment un-dertaken by all nations to mitigate and ultimately reverse climate change is a moral and not merely a self-interested one. Nations need to acknowledge that de-stabilizing the planetary climate system is monumentally morally wrong and that we have a moral responsibility to mitigate and repair the damage. But how can such moral agreement be obtained in a multicultural world of rampantly competing ideologies in which different moral “truths” define different moral con-stituencies? Is it possible to imagine an international society morally united in its commitment to the integrity of the bio-sphere? 20 00 Open Access Mathews, Freya 18 03 06 10.21983/P3.0100.1.18 99 101 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On Experimentation 1 A01 21 000000031983506X Jenny Cameron Jenny Cameron 40 00eae9z71 University of Newcastle Australia 01 eng 03 00 In 1957, the American scientists Roger Revelle and Hans Suess wrote that, “human beings are now carrying out a large-scale geophysical experiment of a kind that could not have happened in the past nor be reproduced in the future” (quoted in Hulme and Mahony 2010, 706). They were of course talking about our experiment with global industrial development and the release of millions of tons of green-house gases into the atmosphere. As we now know, it is an experiment that is starting to produce disastrous conse-quences on a global scale. We have truly been playing with fire and it is increasingly evident that we are being burned. As a result many of us are going to have to make major shifts in how we live our lives or, sooner or later, those shifts will be forced on us as the world changes and adapts around us. The future is scarily unknown. What role can social research play in coming to terms with a future in which the certainties of the past have gone and the future lies before us unknown? 30 00 In 1957, the American scientists Roger Revelle and Hans Suess wrote that, “human beings are now carrying out a large-scale geophysical experiment of a kind that could not have happened in the past nor be reproduced in the future” (quoted in Hulme and Mahony 2010, 706). They were of course talking about our experiment with global industrial development and the release of millions of tons of green-house gases into the atmosphere. As we now know, it is an experiment that is starting to produce disastrous conse-quences on a global scale. We have truly been playing with fire and it is increasingly evident that we are being burned. As a result many of us are going to have to make major shifts in how we live our lives or, sooner or later, those shifts will be forced on us as the world changes and adapts around us. The future is scarily unknown. What role can social research play in coming to terms with a future in which the certainties of the past have gone and the future lies before us unknown? 20 00 Open Access Cameron, Jenny 19 03 06 10.21983/P3.0100.1.19 103 109 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reading for Difference 1 A01 J.K. Gibson-Graham J.K. Gibson-Graham 40 0072zz521 University of Massachusetts Amherst 40 03t52dk35 Western Sydney University 01 eng 03 00 It seems that rats have something to teach us humans at this point in the history of our species, at least that’s what I am hearing. In The End of the Long Summer Dianne Dumanoski tells us that “for most of the human career ... we have shared far more with rats: another species of nimble, flexible gener-alists and remarkable survivors” (Dumanoski 2009, 173). It’s only in the modern era of carboniferous capitalism, since most societies have hitched their fortunes to a fossil-fuel based growth strategy, that our species has become less rat-like—less nimble, less flexible, more specialist and increas-ingly less likely to survive the changes we have wrought on our Earth system. The irony is stark—as the behavioral dis-tance between rats and humans grows, so the “more evolved” species becomes increasingly vulnerable to the kinds of envi-ronmental shocks that rats have successfully weathered. Weteeter on the edge of extinction, they are ready to ride out the “end of the long summer.” 30 00 It seems that rats have something to teach us humans at this point in the history of our species, at least that’s what I am hearing. In The End of the Long Summer Dianne Dumanoski tells us that “for most of the human career ... we have shared far more with rats: another species of nimble, flexible gener-alists and remarkable survivors” (Dumanoski 2009, 173). It’s only in the modern era of carboniferous capitalism, since most societies have hitched their fortunes to a fossil-fuel based growth strategy, that our species has become less rat-like—less nimble, less flexible, more specialist and increas-ingly less likely to survive the changes we have wrought on our Earth system. The irony is stark—as the behavioral dis-tance between rats and humans grows, so the “more evolved” species becomes increasingly vulnerable to the kinds of envi-ronmental shocks that rats have successfully weathered. Weteeter on the edge of extinction, they are ready to ride out the “end of the long summer.” 20 00 Open Access Gibson-Graham, J.K. 20 03 06 10.21983/P3.0100.1.20 111 116 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Listening Research as an Act of Mindfulness 1 A01 Kumi Kato Kumi Kato 40 05wr49d48 Wakayama University 40 00rqy9422 University of Queensland 01 eng 03 00 Listening is a critical practice for allowing our senses to awaken and become receptive to Earth Others (Plumwood’s term, 2002). All our senses are interrelated, but listening is the practice which has become central to my research. I offer a personal account of the creation of a listening garden, the centerpiece of which is the Japanese “waterharp” sui-kin-kutsu. My specific example concerns my experience of shar-ing joy, passion and often outrage with a group of people committed to a forest in Tasmania. Many of them are crea-tive thinkers and activists who work to save the forest and to express their love for the beauty of the place. Our waterharp installation in a forest in Tasmania enabled us to share and express some of this love and commitment. Before telling the story, though, I need to discuss some of the Japanese con-cepts and aesthetics which underlie my perceptions and in-fluence my waterharp practice. 30 00 Listening is a critical practice for allowing our senses to awaken and become receptive to Earth Others (Plumwood’s term, 2002). All our senses are interrelated, but listening is the practice which has become central to my research. I offer a personal account of the creation of a listening garden, the centerpiece of which is the Japanese “waterharp” sui-kin-kutsu. My specific example concerns my experience of shar-ing joy, passion and often outrage with a group of people committed to a forest in Tasmania. Many of them are crea-tive thinkers and activists who work to save the forest and to express their love for the beauty of the place. Our waterharp installation in a forest in Tasmania enabled us to share and express some of this love and commitment. Before telling the story, though, I need to discuss some of the Japanese con-cepts and aesthetics which underlie my perceptions and in-fluence my waterharp practice. 20 00 Open Access Kato, Kumi 21 03 06 10.21983/P3.0100.1.21 117 122 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deep Mapping Connections to Country 1 A01 21 0000000188045825 Margaret Somerville Margaret Somerville 40 03t52dk35 Western Sydney University 01 eng 03 00 Maps both represent and shape the places of our world. The practice of deep mapping involves Indigenous and non-Indigenous people working together to create processes by which to re-imagine relationships to place. This practice be-gan during long term partnership research with Aboriginal communities in settled Australia in which together we sought ways to represent contemporary Aboriginal place knowledg-es that challenge how relationships to land, or the environ-ment, are generally understood and enacted. The maps rep-resent both past relationships and contemporary stories about how places have come to be as they are. They re-inscribe stories of deep time, a time when the earth and all its creatures were made, but a time that exists in the present as well as the geological past. Each time a story is told or repre-sented through deep mapping the deep time stories of crea-tion are re-enacted. Deep mapping becomes a way that one’s responsibilities to care for country continue into the present and can be shared by all who inhabit that place. These maps guide us towards an ethical future of living in the Anthropo-cene. 30 00 Maps both represent and shape the places of our world. The practice of deep mapping involves Indigenous and non-Indigenous people working together to create processes by which to re-imagine relationships to place. This practice be-gan during long term partnership research with Aboriginal communities in settled Australia in which together we sought ways to represent contemporary Aboriginal place knowledg-es that challenge how relationships to land, or the environ-ment, are generally understood and enacted. The maps rep-resent both past relationships and contemporary stories about how places have come to be as they are. They re-inscribe stories of deep time, a time when the earth and all its creatures were made, but a time that exists in the present as well as the geological past. Each time a story is told or repre-sented through deep mapping the deep time stories of crea-tion are re-enacted. Deep mapping becomes a way that one’s responsibilities to care for country continue into the present and can be shared by all who inhabit that place. These maps guide us towards an ethical future of living in the Anthropo-cene. 20 00 Open Access Somerville, Margaret 22 03 06 10.21983/P3.0100.1.22 123 126 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Human Condition in the Anthropocene 1 A01 Anna Yeatman Anna Yeatman 40 03t52dk35 Western Sydney University 01 eng 03 00 Hannah Arendt is a political philosopher who seems to have anticipated our current moment; one where it seems increas-ingly likely that humanly made processes may undermine the integrity of the living system that is “life on earth” and threaten its collapse. At the risk of offering too potted a summary of what was a complex series of meditations devel-oped over the course of her career as a political philosopher, I want to suggest the nature of her prescience in regard to what she called “the human condition” and the human desire to reconcile themselves to “reality, that is, try to be at home in the world” (Arendt 1994, 308). 30 00 Hannah Arendt is a political philosopher who seems to have anticipated our current moment; one where it seems increas-ingly likely that humanly made processes may undermine the integrity of the living system that is “life on earth” and threaten its collapse. At the risk of offering too potted a summary of what was a complex series of meditations devel-oped over the course of her career as a political philosopher, I want to suggest the nature of her prescience in regard to what she called “the human condition” and the human desire to reconcile themselves to “reality, that is, try to be at home in the world” (Arendt 1994, 308). 20 00 Open Access Yeatman, Anna 23 03 06 10.21983/P3.0100.1.23 127 131 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dialogue 1 A01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 01 eng 03 00 The term “dialogue” has joined a class of weasel words used to pretend that an exchange is taking place when actually the will of one party is being imposed on others. This is a fact to be resisted, for dialogue is an excellent word denoting inter-subjective exchanges of ideas, stories, empathy, imagery, and much more. Because of its current misuse, the project of re-claiming the term requires a clear analysis of monologue. Monologue, once it is understood, cannot be confused with dialogue. The distinction rests primarily on the power struc-ture between the parties to the event. 30 00 The term “dialogue” has joined a class of weasel words used to pretend that an exchange is taking place when actually the will of one party is being imposed on others. This is a fact to be resisted, for dialogue is an excellent word denoting inter-subjective exchanges of ideas, stories, empathy, imagery, and much more. Because of its current misuse, the project of re-claiming the term requires a clear analysis of monologue. Monologue, once it is understood, cannot be confused with dialogue. The distinction rests primarily on the power struc-ture between the parties to the event. 20 00 Open Access Rose, Deborah Bird 24 03 06 10.21983/P3.0100.1.24 133 138 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Walking as Respectful Wayfinding in an Uncertain Age 1 A01 Lesley Instone Lesley Instone 40 00eae9z71 University of Newcastle Australia 01 eng 03 00 In 2010 I made a short trip to the Isle of Lewis in the Outer Hebrides. My main impetus was to visit the ancient standing stones at Calanais as well as experience, however briefly and vicariously, other worlds, lives and landscapes. Regardless that I had only a couple of days on the island, I decided to catch the local bus and walk to the sights rather than hire a car. I’m sure many readers have made similar choices and experienced the delights of being on foot in an unfamiliar place. Instead of the ordinary, regular, enclosed, plastic world of automobility, I was greeted by smells, animals, uneven surfaces, twisting paths, sheep, dogs, farmers, wind, sun, and more. My intention is not to romanticize walking, nor to suggest a singular notion of walking. How I walk, what I look at, and my practices of movement and thinking are all shaped by historically contingent cultural practices of looking and moving that are familiar to those with a European cultural heritage. Acknowledging this is to understand that walking is as cultural as it is embodied, and that there are many ways to walk, many ways of seeing and knowing (Solnit 2000; Ingold 2000; Amato 2004). What I do want to emphasize is the in-terrelation between body, knowing, place and feeling. In many ways the random and impromptu qualities of walking engender a kind of openness to surprises and chance encoun-ters that provoke affective ways of knowing (Solnit 2000, 11). The intermeshing of movement, mind, body, land/scape, ground and atmosphere transport us into a realm of inex-pressible, ineffable and fleeting relatings, where we know “the world through the body and the body through the world” (Solnit 2000, 29). 30 00 In 2010 I made a short trip to the Isle of Lewis in the Outer Hebrides. My main impetus was to visit the ancient standing stones at Calanais as well as experience, however briefly and vicariously, other worlds, lives and landscapes. Regardless that I had only a couple of days on the island, I decided to catch the local bus and walk to the sights rather than hire a car. I’m sure many readers have made similar choices and experienced the delights of being on foot in an unfamiliar place. Instead of the ordinary, regular, enclosed, plastic world of automobility, I was greeted by smells, animals, uneven surfaces, twisting paths, sheep, dogs, farmers, wind, sun, and more. My intention is not to romanticize walking, nor to suggest a singular notion of walking. How I walk, what I look at, and my practices of movement and thinking are all shaped by historically contingent cultural practices of looking and moving that are familiar to those with a European cultural heritage. Acknowledging this is to understand that walking is as cultural as it is embodied, and that there are many ways to walk, many ways of seeing and knowing (Solnit 2000; Ingold 2000; Amato 2004). What I do want to emphasize is the in-terrelation between body, knowing, place and feeling. In many ways the random and impromptu qualities of walking engender a kind of openness to surprises and chance encoun-ters that provoke affective ways of knowing (Solnit 2000, 11). The intermeshing of movement, mind, body, land/scape, ground and atmosphere transport us into a realm of inex-pressible, ineffable and fleeting relatings, where we know “the world through the body and the body through the world” (Solnit 2000, 29). 20 00 Open Access Instone, Lesley 25 03 06 10.21983/P3.0100.1.25 139 155 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/manifesto-for-living-in-the-anthropocene/ Brooklyn, NY 04 01 20150414 Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0988234068 20 08 20150414 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/manifesto-for-living-in-the-anthropocene 20 08 20150414 02 23.00 USD WORLD urn:uuid:a395dfbc-9d1e-49ad-9d98-a4e8ebb966ba 03 01 01 thoth-work-id urn:uuid:9e108419-fc08-440d-b1b5-eb8b5cd52c5e 01 thoth-publication-id urn:uuid:a395dfbc-9d1e-49ad-9d98-a4e8ebb966ba 06 10.21983/P3.0100.1.00 01 internal-reference 0100 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Manifesto for Living in the Anthropocene 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 04xsveh31 Academy of the Social Sciences in Australia 40 03r8z3t63 University of New South Wales 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 00 182 03 B2 Anthropocene 10 NAT010000 93 RNPG 12 RNT B2 Biosphere 93 RNT B2 Manifesto! 93 RNA 93 JBCC 20 anthropocene; ecology; environmental humanities; climate change 01 06 02 00 03 00 The recent 10,000 year history of climatic stability on Earth that enabled the rise of agriculture and domestication, the growth of cities, numerous technological revolutions, and the emergence of modernity is now over. We accept that in the latest phase of this era, modernity is unmaking the stability that enabled its emergence. Over the 21st century severe and numerous weather disasters, scarcity of key resources, major changes in environments, enormous rates of extinction, and other forces that threaten life are set to increase. But we are deeply worried that current responses to these challenges are focused on market-driven solutions and thus have the potential to further endanger our collective commons. Today public debate is polarized. On one hand we are confronted with the immobilizing effects of knowing “the facts” about climate change. On the other we see a powerful will to ignorance and the effects of a pernicious collaboration between climate change skeptics and industry stakeholders. Clearly, to us, the current crisis calls for new ways of thinking and producing knowledge. Our collective inclination has been to go on in an experimental and exploratory mode, in which we refuse to foreclose on options or jump too quickly to “solutions.” 30 00 The recent 10,000 year history of climatic stability on Earth that enabled the rise of agriculture and domestication, the growth of cities, numerous technological revolutions, and the emergence of modernity is now over. We accept that in the latest phase of this era, modernity is unmaking the stability that enabled its emergence. Over the 21st century severe and numerous weather disasters, scarcity of key resources, major changes in environments, enormous rates of extinction, and other forces that threaten life are set to increase. But we are deeply worried that current responses to these challenges are focused on market-driven solutions and thus have the potential to further endanger our collective commons. Today public debate is polarized. On one hand we are confronted with the immobilizing effects of knowing “the facts” about climate change. On the other we see a powerful will to ignorance and the effects of a pernicious collaboration between climate change skeptics and industry stakeholders. Clearly, to us, the current crisis calls for new ways of thinking and producing knowledge. Our collective inclination has been to go on in an experimental and exploratory mode, in which we refuse to foreclose on options or jump too quickly to “solutions.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0100.1.00_frontcover.png 1 03 06 10.21983/P3.0100.1.01 i xiv 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 2 03 06 10.21983/P3.0100.1.02 i iii 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Manifesto for Living in the Anthropocene 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 03 00 Humanity’s actions have become a new planetary force with accelerating effects on the biosphere. This new era, known as the Anthropocene, calls for new ways of thinking and know-ing, and for innovative forms of action. We are a group of concerned social scientists and creative scholars who are moved to address the unique qualities of our contemporary world. In the Anthropocene, we are sum-moned to expand our understandings of ways to conjoin nature and culture, economy and ecology, and natural and social sciences. Already, thinkers among us are exploring ways of dismantling traditional separations. We aim to fur-ther and expand this work, identifying multiple pathways toward alternative futures.Research for the Anthropocene must and will harness the creativity of human potential to reduce harm and promote a flourishing biosphere. 30 00 Humanity’s actions have become a new planetary force with accelerating effects on the biosphere. This new era, known as the Anthropocene, calls for new ways of thinking and know-ing, and for innovative forms of action. We are a group of concerned social scientists and creative scholars who are moved to address the unique qualities of our contemporary world. In the Anthropocene, we are sum-moned to expand our understandings of ways to conjoin nature and culture, economy and ecology, and natural and social sciences. Already, thinkers among us are exploring ways of dismantling traditional separations. We aim to fur-ther and expand this work, identifying multiple pathways toward alternative futures.Research for the Anthropocene must and will harness the creativity of human potential to reduce harm and promote a flourishing biosphere. 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 3 03 06 10.21983/P3.0100.1.03 v viii 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 03 00 In the moist heat of a Sydney February a group of concerned scholars gathered on the banks of the Georges River close to the University of Western Sydney, Bankstown. Amongst us there were key thinkers from the fields of Anthropology, Ed-ucation, Human Geography, Philosophy, Science and Tech-nology Studies, Sociology, Political Theory, Communications and Film. We gathered to consider an ethics for living in this new era of human driven climate change called the “Anthro-pocene.” We wrote the Manifesto above. 30 00 In the moist heat of a Sydney February a group of concerned scholars gathered on the banks of the Georges River close to the University of Western Sydney, Bankstown. Amongst us there were key thinkers from the fields of Anthropology, Ed-ucation, Human Geography, Philosophy, Science and Tech-nology Studies, Sociology, Political Theory, Communications and Film. We gathered to consider an ethics for living in this new era of human driven climate change called the “Anthro-pocene.” We wrote the Manifesto above. 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 4 03 06 10.21983/P3.0100.1.04 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Ecological Humanities 1 A01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 01 eng 03 00 The ecological humanities is a new interdiscipline that has emerged specifically to address the fact that current ecologi-cal problems, including extinctions, climate change, toxic death zones, water degradation, and many others, are an-thropogenic events. Acknowledging the reality of human agency, we are no longer in the position of being able to sus-tain the idea that humans are separate from nature. In Di-pesh Chakrabarty’s (2009) memorable words, in the wake of our awareness of anthropogenic climate change, the Western division between human history and natural history has now been breached. 30 00 The ecological humanities is a new interdiscipline that has emerged specifically to address the fact that current ecologi-cal problems, including extinctions, climate change, toxic death zones, water degradation, and many others, are an-thropogenic events. Acknowledging the reality of human agency, we are no longer in the position of being able to sus-tain the idea that humans are separate from nature. In Di-pesh Chakrabarty’s (2009) memorable words, in the wake of our awareness of anthropogenic climate change, the Western division between human history and natural history has now been breached. 20 00 Open Access Rose, Deborah Bird 5 03 06 10.21983/P3.0100.1.05 7 16 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Economy as Ecological Livelihood 1 A01 J.K. Gibson-Graham J.K. Gibson-Graham 40 0072zz521 University of Massachusetts Amherst 40 03t52dk35 Western Sydney University 2 A01 21 000000016798476X Ethan Miller Ethan Miller 40 03t52dk35 Western Sydney University 01 eng 03 00 Can we overcome our hyper-separation from the more-than-human world and take up membership in a thoroughly eco-logical community of life? While the demands of “the econ-omy” are set in opposition to the needs of “the environment”; while the economy is seen as a vulnerable system that cannot accommodate allocations of social wealth to earth-repair and species protection without risking collapse; while the eco-nomic “we” continues to squander and ignore the gifts of the more-than-human world that gives us life, the answer seems to be a depressing “No.” To answer “Yes” we must begin to rethink and re-enact the relationship between economy and ecology. 30 00 Can we overcome our hyper-separation from the more-than-human world and take up membership in a thoroughly eco-logical community of life? While the demands of “the econ-omy” are set in opposition to the needs of “the environment”; while the economy is seen as a vulnerable system that cannot accommodate allocations of social wealth to earth-repair and species protection without risking collapse; while the eco-nomic “we” continues to squander and ignore the gifts of the more-than-human world that gives us life, the answer seems to be a depressing “No.” To answer “Yes” we must begin to rethink and re-enact the relationship between economy and ecology. 20 00 Open Access Gibson-Graham, J.K. Miller, Ethan 6 03 06 10.21983/P3.0100.1.06 17 21 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lives in Connection 1 A01 21 000000030078520X Jessica K. Weir Jessica K. Weir 40 03t52dk35 Western Sydney University 01 eng 03 00 Climate change, spectacular in its scale and force, is the cu-mulative result of intertwined human and non-human agen-cies. It is perhaps the most profound expression of the earth’s agency—the capacity of this world to act, to show its power in all our lives. The Anthropocene throws us a particular challenge to acknowledge those ecological connections that sustain our existence. We live within networks, webs, and relationships with non-human (or more-than-human) others, including plants, animals, rivers and soils. We rely on each other for food and fresh water. We are co-participants in what is happening and what will happen next. In southeast Australia where I live, we are told to expect hotter tempera-tures of longer duration, and more dramatic rain events—a combination that further extends the variability of our flood and drought cycles. In this already hot and arid country, where fresh water so clearly gives life, such changes will touch all. 30 00 Climate change, spectacular in its scale and force, is the cu-mulative result of intertwined human and non-human agen-cies. It is perhaps the most profound expression of the earth’s agency—the capacity of this world to act, to show its power in all our lives. The Anthropocene throws us a particular challenge to acknowledge those ecological connections that sustain our existence. We live within networks, webs, and relationships with non-human (or more-than-human) others, including plants, animals, rivers and soils. We rely on each other for food and fresh water. We are co-participants in what is happening and what will happen next. In southeast Australia where I live, we are told to expect hotter tempera-tures of longer duration, and more dramatic rain events—a combination that further extends the variability of our flood and drought cycles. In this already hot and arid country, where fresh water so clearly gives life, such changes will touch all. 20 00 Open Access Weir, Jessica K. 7 03 06 10.21983/P3.0100.1.07 23 27 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conviviality as an Ethic of Care in the City 1 A01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 2 A01 21 0000000223624743 Kurt Iveson Kurt Iveson 40 0384j8v12 University of Sydney 01 eng 03 00 For some, the environmental pressures that have given birth to the Anthropocene are inextricably linked with two centu-ries of explosive urbanization. The voracious appetite of mo-dernity is nowhere better illustrated than in our “vortex cities” (McManus 2005), which suck in food, water, and energy from elsewhere in ways which tend to mystify the connec-tions between urbanized consumption of resources and the environments which support them. Likewise, the hubris of modernity is also always apparent in cities, with their infra-structures designed to dominate rather than respond and adapt to the environment—from the freeways slicing through neighborhoods and countryside to the re-engineering of riv-ers and harbors. And yet, such accounts of cities are only partial. Even as they are characterized by all sorts of environmental and so-cial problems, cities have also been fertile ground for collec-tive experiments in generating new ethical practices of relat-ing to one another and our environment. Such practices are worth reflecting upon, as they constitute a vital resource for efforts to construct better futures. 30 00 For some, the environmental pressures that have given birth to the Anthropocene are inextricably linked with two centu-ries of explosive urbanization. The voracious appetite of mo-dernity is nowhere better illustrated than in our “vortex cities” (McManus 2005), which suck in food, water, and energy from elsewhere in ways which tend to mystify the connec-tions between urbanized consumption of resources and the environments which support them. Likewise, the hubris of modernity is also always apparent in cities, with their infra-structures designed to dominate rather than respond and adapt to the environment—from the freeways slicing through neighborhoods and countryside to the re-engineering of riv-ers and harbors. And yet, such accounts of cities are only partial. Even as they are characterized by all sorts of environmental and so-cial problems, cities have also been fertile ground for collec-tive experiments in generating new ethical practices of relat-ing to one another and our environment. Such practices are worth reflecting upon, as they constitute a vital resource for efforts to construct better futures. 20 00 Open Access Fincher, Ruth Iveson, Kurt 8 03 06 10.21983/P3.0100.1.08 29 36 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Risking Attachment in the Anthropocene 1 A01 Lesley Instone Lesley Instone 40 00eae9z71 University of Newcastle Australia 01 eng 03 00 The notion of risk is now commonplace. For Ulrich Beck(1992) who introduced the term “risk society” in the early 1990s, contemporary ecological crises are not questions about the destruction of nature, but rather ones of how mod-ern society deals with self-generated uncertainties that are no longer limited by time or space. These are dangers that es-cape and elide risk, calculation and insurability. In the face of permanent material threats, Beck argues that modern indus-trial society normalizes risk, and we become blind to side effects and consequences. Most of the time those of us in de-veloped countries carry on our daily lives as if everything is insurable, as if we’re neither causing environmental damage nor being affected by it, a sort of amnesia to the wider impli-cations of ordinary action. For example, where I live, the mining and export of coal is a commonplace and everyday activity. Despite the challenges of climate change, coal trains deposit their loads, in ever increasing quantities, to the port of Newcastle (Australia) to be exported to power stations in China and elsewhere. The ethics of “deplete, destroy, depart” (Grinde and Johansen 1995 in Weir 2009, 119) go on in a way that becomes ordinary, everyday and unremarkable, and the dangers of dust, environmental degradation and climate change, are in Beck’s terms, normalized. 30 00 The notion of risk is now commonplace. For Ulrich Beck(1992) who introduced the term “risk society” in the early 1990s, contemporary ecological crises are not questions about the destruction of nature, but rather ones of how mod-ern society deals with self-generated uncertainties that are no longer limited by time or space. These are dangers that es-cape and elide risk, calculation and insurability. In the face of permanent material threats, Beck argues that modern indus-trial society normalizes risk, and we become blind to side effects and consequences. Most of the time those of us in de-veloped countries carry on our daily lives as if everything is insurable, as if we’re neither causing environmental damage nor being affected by it, a sort of amnesia to the wider impli-cations of ordinary action. For example, where I live, the mining and export of coal is a commonplace and everyday activity. Despite the challenges of climate change, coal trains deposit their loads, in ever increasing quantities, to the port of Newcastle (Australia) to be exported to power stations in China and elsewhere. The ethics of “deplete, destroy, depart” (Grinde and Johansen 1995 in Weir 2009, 119) go on in a way that becomes ordinary, everyday and unremarkable, and the dangers of dust, environmental degradation and climate change, are in Beck’s terms, normalized. 20 00 Open Access Instone, Lesley 9 03 06 10.21983/P3.0100.1.09 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Strategia Thinking with or Accommodating the World 1 A01 21 0000000188198696 Freya Mathews Freya Mathews 40 01rxfrp27 La Trobe University 01 eng 03 00 If we want to escape the grip of the dualistic categories that have disenchanted and de-animated our world in the West-ern tradition, and thereby rendered it a fit object for domina-tion and control, we may require something more than a purely discursive or theoretical approach to reality. We may require a mode of cognition that is cultivated not merely through abstract “reflection” but through practice—specific forms of strategic practice. 30 00 If we want to escape the grip of the dualistic categories that have disenchanted and de-animated our world in the West-ern tradition, and thereby rendered it a fit object for domina-tion and control, we may require something more than a purely discursive or theoretical approach to reality. We may require a mode of cognition that is cultivated not merely through abstract “reflection” but through practice—specific forms of strategic practice. 20 00 Open Access Mathews, Freya 10 03 06 10.21983/P3.0100.1.10 43 48 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contact Improvisation Dance with the Earth Body You Have 1 A01 21 0000000157935366 Kate Rigby Kate Rigby 40 02bfwt286 Monash University 01 eng 03 00 Contact Improvisation is a form of dance. As the name sug-gests, this is not the kind of dance where everybody knows the steps in advance. While its moves are unscripted, Contact Improvisation also differs from the semi-solo style of arm-flailing and hip-swiveling in which many of us learnt to en-gage as teenagers, for its practitioners are required to remain at all times in close proximity to a partner. “Characteristically performed in a duet,” explains Hellene Gronda:Contact Improvisation combines the freedom to move spontaneously with an injunction to maintain a physical relationship with your partner(s), usually through touch, but also through commitment to a mutual trajectory based on a shared centre of gravity. Body awareness is fundamental to safe practice of the form because it is like-ly to include falling and spatial disorientation. It can be awkward, spectacularly dangerous, or breathtaking and tender. ... Contact Improvisation is primarily practiced in a community activity called a Jam. ( Gronda 2005, 28–29). 30 00 Contact Improvisation is a form of dance. As the name sug-gests, this is not the kind of dance where everybody knows the steps in advance. While its moves are unscripted, Contact Improvisation also differs from the semi-solo style of arm-flailing and hip-swiveling in which many of us learnt to en-gage as teenagers, for its practitioners are required to remain at all times in close proximity to a partner. “Characteristically performed in a duet,” explains Hellene Gronda:Contact Improvisation combines the freedom to move spontaneously with an injunction to maintain a physical relationship with your partner(s), usually through touch, but also through commitment to a mutual trajectory based on a shared centre of gravity. Body awareness is fundamental to safe practice of the form because it is like-ly to include falling and spatial disorientation. It can be awkward, spectacularly dangerous, or breathtaking and tender. ... Contact Improvisation is primarily practiced in a community activity called a Jam. ( Gronda 2005, 28–29). 20 00 Open Access Rigby, Kate 11 03 06 10.21983/P3.0100.1.11 51 55 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Vulture Stories Narrative and Conservation 1 A01 21 0000000297106682 Thom van Dooren Thom van Dooren 40 03r8z3t63 University of New South Wales 01 eng 03 00 Vultures are never very far from death, never very far from the carcasses that they strip bare so cleanly and efficiently. Like all of Earth’s scavengers, they play a vital role in trans-forming waste and putrefaction into nourishment, creating a safer environment for so many other living things. Change and transformation are at the heart of their place in more-than-human communities—death becomes life again. And so, death is not a bad thing in any simple way: inside tangled processes of multi-species becoming, everyone is food for someone else, and nobody, no species, lives forever. And yet, in some cases we want to reject death, we want to say that there has been too much of it, or it has come too soon—again, both in the case of individuals and of species. This is a story about the vultures of India, but it is also an attempt to think through why one might tell stories in a time of extinction, what it might mean to make a storied stand for some deaths and not others. 30 00 Vultures are never very far from death, never very far from the carcasses that they strip bare so cleanly and efficiently. Like all of Earth’s scavengers, they play a vital role in trans-forming waste and putrefaction into nourishment, creating a safer environment for so many other living things. Change and transformation are at the heart of their place in more-than-human communities—death becomes life again. And so, death is not a bad thing in any simple way: inside tangled processes of multi-species becoming, everyone is food for someone else, and nobody, no species, lives forever. And yet, in some cases we want to reject death, we want to say that there has been too much of it, or it has come too soon—again, both in the case of individuals and of species. This is a story about the vultures of India, but it is also an attempt to think through why one might tell stories in a time of extinction, what it might mean to make a storied stand for some deaths and not others. 20 00 Open Access van Dooren, Thom 12 03 06 10.21983/P3.0100.1.12 57 62 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning to be Affected by Earth Others 1 A01 21 0000000291990446 Gerda Roelvink Gerda Roelvink 40 03t52dk35 Western Sydney University 01 eng 03 00 If, as Val Plumwood (2002) suggests, we can no longer be-have as isolated and masterful human individuals, nations or species, but need to act in accordance with those earth others enabling our existence, what does this mean for the activity of research? One answer might be to seek out those who are already transforming their relationships with the more than human world, to learn about and tell their stories, and to help multiply, magnify, legitimate and proliferate their practices. If one looks for them, there are many who are engaged in learning from our climate changed earth in such a way that they themselves are transformed and are prompted to create new ways of living with earth others. Bruno Latour (2004b)calls this process that co-transforms the learner and the world “learning to be affected.” Central to learning to be af-fected is a process whereby one becomes sensitized to (affect-ed by) a world that in turn becomes more highly differentiat-ed (see Latour 2004b; Gibson-Graham and Roelvink 2010).In this essay I want to tentatively suggest that by connecting with those already affected by the manifestations of climate change academic researchers too might learn to be affected. 30 00 If, as Val Plumwood (2002) suggests, we can no longer be-have as isolated and masterful human individuals, nations or species, but need to act in accordance with those earth others enabling our existence, what does this mean for the activity of research? One answer might be to seek out those who are already transforming their relationships with the more than human world, to learn about and tell their stories, and to help multiply, magnify, legitimate and proliferate their practices. If one looks for them, there are many who are engaged in learning from our climate changed earth in such a way that they themselves are transformed and are prompted to create new ways of living with earth others. Bruno Latour (2004b)calls this process that co-transforms the learner and the world “learning to be affected.” Central to learning to be af-fected is a process whereby one becomes sensitized to (affect-ed by) a world that in turn becomes more highly differentiat-ed (see Latour 2004b; Gibson-Graham and Roelvink 2010).In this essay I want to tentatively suggest that by connecting with those already affected by the manifestations of climate change academic researchers too might learn to be affected. 20 00 Open Access Roelvink, Gerda 13 03 06 10.21983/P3.0100.1.13 63 69 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Waterhold Project Locating Resilience 1 A01 George Main George Main 40 00j4a3b86 National Museum of Australia 01 eng 03 00 The National Museum of Australia in Canberra records and interprets Australian social, Aboriginal and environmental history. As a curator and environmental historian employed by the Museum, my role is to foster understandings of hu-man lives within the contexts of dynamic ecological systems. The National Museum is responsible for making sense of interactions between people and the rest of nature, and has a significant role to play in helping Australians grapple with the meanings of the profound climatic and ecological chang-es that define our time, the Anthropocene. What historically and culturally determined ways of thinking and acting have generated anthropogenic climate change? What habits of thought and perception continue to block effective responses? Might we locate hopeful ways of thinking and acting to build social and ecological resilience as we enter an uncertain and difficult future? What under-standings and possibilities emerge if we turn towards the local and to the material? These questions underlay The Wa-terhole Project, a research initiative that explores the mean-ings of climate change in relation to the ecological and social realities of a particular place called Combaning. 30 00 The National Museum of Australia in Canberra records and interprets Australian social, Aboriginal and environmental history. As a curator and environmental historian employed by the Museum, my role is to foster understandings of hu-man lives within the contexts of dynamic ecological systems. The National Museum is responsible for making sense of interactions between people and the rest of nature, and has a significant role to play in helping Australians grapple with the meanings of the profound climatic and ecological chang-es that define our time, the Anthropocene. What historically and culturally determined ways of thinking and acting have generated anthropogenic climate change? What habits of thought and perception continue to block effective responses? Might we locate hopeful ways of thinking and acting to build social and ecological resilience as we enter an uncertain and difficult future? What under-standings and possibilities emerge if we turn towards the local and to the material? These questions underlay The Wa-terhole Project, a research initiative that explores the mean-ings of climate change in relation to the ecological and social realities of a particular place called Combaning. 20 00 Open Access Main, George 14 03 06 10.21983/P3.0100.1.14 71 76 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Food Conect(s) 1 A01 21 000000031983506X Jenny Cameron Jenny Cameron 40 01kj2bm70 Newcastle University 2 A01 Robert Pekin Robert Pekin 01 eng 03 00 Much of our food does not taste good—and not just because apples have lost their crunch. The food we eat in the West is produced largely through an industrial model of agriculture. Larger and larger farms produce more and more of the one product, whether cattle or wheat, apricots or almonds, or-anges or lemons. In the process, agricultural land is robbed of its nutrients, and animals and plants their dignity. But eve-rywhere people, like Robert Pekin from Food Connect, are innovating with ways of working with the land, animals and others. At Food Connect, we’re not just modifying, we’re com-pletely reinventing the business of how food should be done. We’re saying that the old model is obsolete and we have to invent new ones. We have to restore ecologi-cal biodiversity back into our farming landscapes but we need a marketplace that recognizes and rewards the farmers who do this, and that encourages more farmers to do more of it. 30 00 Much of our food does not taste good—and not just because apples have lost their crunch. The food we eat in the West is produced largely through an industrial model of agriculture. Larger and larger farms produce more and more of the one product, whether cattle or wheat, apricots or almonds, or-anges or lemons. In the process, agricultural land is robbed of its nutrients, and animals and plants their dignity. But eve-rywhere people, like Robert Pekin from Food Connect, are innovating with ways of working with the land, animals and others. At Food Connect, we’re not just modifying, we’re com-pletely reinventing the business of how food should be done. We’re saying that the old model is obsolete and we have to invent new ones. We have to restore ecologi-cal biodiversity back into our farming landscapes but we need a marketplace that recognizes and rewards the farmers who do this, and that encourages more farmers to do more of it. 20 00 Open Access Cameron, Jenny Pekin, Robert 15 03 06 10.21983/P3.0100.1.15 77 81 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Graffiti Is Life 1 A01 21 0000000223624743 Kurt Iveson Kurt Iveson 40 0384j8v12 University of Sydney 01 eng 03 00 The challenge of living in the Anthropocene is, for the major-ity of the world’s population, an urban challenge. Finding ways to connect with each other and our urban environments is an essential task. Where might we find examples of an “ethics of care” taking shape in our cities to inspire us in meeting this challenge? An inner-city meatworks carpark covered in graffiti might be the last place we would think to look. But the story of how such a carpark became, for a time, the Graffiti Hall of Fame has plenty to teach us as we seek out new ways of inhabiting and caring for our urban environ-ments.In the narratives of urban decline and renewal that per-meate contemporary urban policy discussions, graffiti writers frequently feature as villains. Graffiti is seen as a form of dirt, decay, and destruction, perpetrated by anti-social vandals who lack respect for the sanctity of property and community. 30 00 The challenge of living in the Anthropocene is, for the major-ity of the world’s population, an urban challenge. Finding ways to connect with each other and our urban environments is an essential task. Where might we find examples of an “ethics of care” taking shape in our cities to inspire us in meeting this challenge? An inner-city meatworks carpark covered in graffiti might be the last place we would think to look. But the story of how such a carpark became, for a time, the Graffiti Hall of Fame has plenty to teach us as we seek out new ways of inhabiting and caring for our urban environ-ments.In the narratives of urban decline and renewal that per-meate contemporary urban policy discussions, graffiti writers frequently feature as villains. Graffiti is seen as a form of dirt, decay, and destruction, perpetrated by anti-social vandals who lack respect for the sanctity of property and community. 20 00 Open Access Iveson, Kurt 16 03 06 10.21983/P3.0100.1.16 83 89 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flying Foxes in Sydney 1 A01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 01 eng 03 00 Do city dwellers dream of wide open spaces like rangelands, or do they dream of tall buildings? Do their dreams entice them to look up into the great, blue depths above them, and do flying foxes flit across the night sky of their sleep? Do they ever think: “now, this is a biodiver-city!”?At least one city dweller, journalist James Woodford, looked up with delight. He wrote: “watching bats silhouetted against the stars is one of the greatest, but little known, pleasures of life” (Woodford 2003). Actually, many city dwellers find pleasure in the fact that their city and their lives are shared with flying foxes. Every night around sunset the flying foxes start their nightly flyout. With their dark fur, their wingspans of up to one meter, and their distinctive bat silhouette, they stand out against the clear colors of an Aus-tralian sunset. They are beautiful wherever they are, but in Sydney, Australia’s largest and most iconic city, they are fan-tastic! They span out across the Opera House, and over the Harbour Bridge. One can sit at Circular Quay, sipping a drink and watching the ferries, the bridge, and the lights of Luna Park flashing across the harbor. Then the motion above begins. The gaze that has been fixed horizontally shifts up-ward to the blizzard of flying foxes, and one feels quite close 30 00 Do city dwellers dream of wide open spaces like rangelands, or do they dream of tall buildings? Do their dreams entice them to look up into the great, blue depths above them, and do flying foxes flit across the night sky of their sleep? Do they ever think: “now, this is a biodiver-city!”?At least one city dweller, journalist James Woodford, looked up with delight. He wrote: “watching bats silhouetted against the stars is one of the greatest, but little known, pleasures of life” (Woodford 2003). Actually, many city dwellers find pleasure in the fact that their city and their lives are shared with flying foxes. Every night around sunset the flying foxes start their nightly flyout. With their dark fur, their wingspans of up to one meter, and their distinctive bat silhouette, they stand out against the clear colors of an Aus-tralian sunset. They are beautiful wherever they are, but in Sydney, Australia’s largest and most iconic city, they are fan-tastic! They span out across the Opera House, and over the Harbour Bridge. One can sit at Circular Quay, sipping a drink and watching the ferries, the bridge, and the lights of Luna Park flashing across the harbor. Then the motion above begins. The gaze that has been fixed horizontally shifts up-ward to the blizzard of flying foxes, and one feels quite close 20 00 Open Access Rose, Deborah Bird 17 03 06 10.21983/P3.0100.1.17 91 95 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Earth as Ethic 1 A01 21 0000000188198696 Freya Mathews Freya Mathews 40 01rxfrp27 La Trobe University 01 eng 03 00 In this era of climate change when upheavals of a global na-ture are set to sweep the planet, the need for global agree-ments that transcend the strict proportionalities of national interest is greater than ever before. Different nations of course have different degrees of vulnerability to environmen-tal disruption and different degrees of economic wherewithal to mitigate or manage it. Those with the greatest economic means happen also, with some exceptions (such as Australia), to be those least vulnerable, at least in the short to medium term. As long as self-interest rules the day then, nations with the most to contribute to climate mitigation will tend to hold back and international agreements will be pre-empted or fatally weakened, with dire consequences in the longer term for all. This scenario can be avoided only if the commitment un-dertaken by all nations to mitigate and ultimately reverse climate change is a moral and not merely a self-interested one. Nations need to acknowledge that de-stabilizing the planetary climate system is monumentally morally wrong and that we have a moral responsibility to mitigate and repair the damage. But how can such moral agreement be obtained in a multicultural world of rampantly competing ideologies in which different moral “truths” define different moral con-stituencies? Is it possible to imagine an international society morally united in its commitment to the integrity of the bio-sphere? 30 00 In this era of climate change when upheavals of a global na-ture are set to sweep the planet, the need for global agree-ments that transcend the strict proportionalities of national interest is greater than ever before. Different nations of course have different degrees of vulnerability to environmen-tal disruption and different degrees of economic wherewithal to mitigate or manage it. Those with the greatest economic means happen also, with some exceptions (such as Australia), to be those least vulnerable, at least in the short to medium term. As long as self-interest rules the day then, nations with the most to contribute to climate mitigation will tend to hold back and international agreements will be pre-empted or fatally weakened, with dire consequences in the longer term for all. This scenario can be avoided only if the commitment un-dertaken by all nations to mitigate and ultimately reverse climate change is a moral and not merely a self-interested one. Nations need to acknowledge that de-stabilizing the planetary climate system is monumentally morally wrong and that we have a moral responsibility to mitigate and repair the damage. But how can such moral agreement be obtained in a multicultural world of rampantly competing ideologies in which different moral “truths” define different moral con-stituencies? Is it possible to imagine an international society morally united in its commitment to the integrity of the bio-sphere? 20 00 Open Access Mathews, Freya 18 03 06 10.21983/P3.0100.1.18 99 101 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On Experimentation 1 A01 21 000000031983506X Jenny Cameron Jenny Cameron 40 00eae9z71 University of Newcastle Australia 01 eng 03 00 In 1957, the American scientists Roger Revelle and Hans Suess wrote that, “human beings are now carrying out a large-scale geophysical experiment of a kind that could not have happened in the past nor be reproduced in the future” (quoted in Hulme and Mahony 2010, 706). They were of course talking about our experiment with global industrial development and the release of millions of tons of green-house gases into the atmosphere. As we now know, it is an experiment that is starting to produce disastrous conse-quences on a global scale. We have truly been playing with fire and it is increasingly evident that we are being burned. As a result many of us are going to have to make major shifts in how we live our lives or, sooner or later, those shifts will be forced on us as the world changes and adapts around us. The future is scarily unknown. What role can social research play in coming to terms with a future in which the certainties of the past have gone and the future lies before us unknown? 30 00 In 1957, the American scientists Roger Revelle and Hans Suess wrote that, “human beings are now carrying out a large-scale geophysical experiment of a kind that could not have happened in the past nor be reproduced in the future” (quoted in Hulme and Mahony 2010, 706). They were of course talking about our experiment with global industrial development and the release of millions of tons of green-house gases into the atmosphere. As we now know, it is an experiment that is starting to produce disastrous conse-quences on a global scale. We have truly been playing with fire and it is increasingly evident that we are being burned. As a result many of us are going to have to make major shifts in how we live our lives or, sooner or later, those shifts will be forced on us as the world changes and adapts around us. The future is scarily unknown. What role can social research play in coming to terms with a future in which the certainties of the past have gone and the future lies before us unknown? 20 00 Open Access Cameron, Jenny 19 03 06 10.21983/P3.0100.1.19 103 109 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reading for Difference 1 A01 J.K. Gibson-Graham J.K. Gibson-Graham 40 0072zz521 University of Massachusetts Amherst 40 03t52dk35 Western Sydney University 01 eng 03 00 It seems that rats have something to teach us humans at this point in the history of our species, at least that’s what I am hearing. In The End of the Long Summer Dianne Dumanoski tells us that “for most of the human career ... we have shared far more with rats: another species of nimble, flexible gener-alists and remarkable survivors” (Dumanoski 2009, 173). It’s only in the modern era of carboniferous capitalism, since most societies have hitched their fortunes to a fossil-fuel based growth strategy, that our species has become less rat-like—less nimble, less flexible, more specialist and increas-ingly less likely to survive the changes we have wrought on our Earth system. The irony is stark—as the behavioral dis-tance between rats and humans grows, so the “more evolved” species becomes increasingly vulnerable to the kinds of envi-ronmental shocks that rats have successfully weathered. Weteeter on the edge of extinction, they are ready to ride out the “end of the long summer.” 30 00 It seems that rats have something to teach us humans at this point in the history of our species, at least that’s what I am hearing. In The End of the Long Summer Dianne Dumanoski tells us that “for most of the human career ... we have shared far more with rats: another species of nimble, flexible gener-alists and remarkable survivors” (Dumanoski 2009, 173). It’s only in the modern era of carboniferous capitalism, since most societies have hitched their fortunes to a fossil-fuel based growth strategy, that our species has become less rat-like—less nimble, less flexible, more specialist and increas-ingly less likely to survive the changes we have wrought on our Earth system. The irony is stark—as the behavioral dis-tance between rats and humans grows, so the “more evolved” species becomes increasingly vulnerable to the kinds of envi-ronmental shocks that rats have successfully weathered. Weteeter on the edge of extinction, they are ready to ride out the “end of the long summer.” 20 00 Open Access Gibson-Graham, J.K. 20 03 06 10.21983/P3.0100.1.20 111 116 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Listening Research as an Act of Mindfulness 1 A01 Kumi Kato Kumi Kato 40 05wr49d48 Wakayama University 40 00rqy9422 University of Queensland 01 eng 03 00 Listening is a critical practice for allowing our senses to awaken and become receptive to Earth Others (Plumwood’s term, 2002). All our senses are interrelated, but listening is the practice which has become central to my research. I offer a personal account of the creation of a listening garden, the centerpiece of which is the Japanese “waterharp” sui-kin-kutsu. My specific example concerns my experience of shar-ing joy, passion and often outrage with a group of people committed to a forest in Tasmania. Many of them are crea-tive thinkers and activists who work to save the forest and to express their love for the beauty of the place. Our waterharp installation in a forest in Tasmania enabled us to share and express some of this love and commitment. Before telling the story, though, I need to discuss some of the Japanese con-cepts and aesthetics which underlie my perceptions and in-fluence my waterharp practice. 30 00 Listening is a critical practice for allowing our senses to awaken and become receptive to Earth Others (Plumwood’s term, 2002). All our senses are interrelated, but listening is the practice which has become central to my research. I offer a personal account of the creation of a listening garden, the centerpiece of which is the Japanese “waterharp” sui-kin-kutsu. My specific example concerns my experience of shar-ing joy, passion and often outrage with a group of people committed to a forest in Tasmania. Many of them are crea-tive thinkers and activists who work to save the forest and to express their love for the beauty of the place. Our waterharp installation in a forest in Tasmania enabled us to share and express some of this love and commitment. Before telling the story, though, I need to discuss some of the Japanese con-cepts and aesthetics which underlie my perceptions and in-fluence my waterharp practice. 20 00 Open Access Kato, Kumi 21 03 06 10.21983/P3.0100.1.21 117 122 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deep Mapping Connections to Country 1 A01 21 0000000188045825 Margaret Somerville Margaret Somerville 40 03t52dk35 Western Sydney University 01 eng 03 00 Maps both represent and shape the places of our world. The practice of deep mapping involves Indigenous and non-Indigenous people working together to create processes by which to re-imagine relationships to place. This practice be-gan during long term partnership research with Aboriginal communities in settled Australia in which together we sought ways to represent contemporary Aboriginal place knowledg-es that challenge how relationships to land, or the environ-ment, are generally understood and enacted. The maps rep-resent both past relationships and contemporary stories about how places have come to be as they are. They re-inscribe stories of deep time, a time when the earth and all its creatures were made, but a time that exists in the present as well as the geological past. Each time a story is told or repre-sented through deep mapping the deep time stories of crea-tion are re-enacted. Deep mapping becomes a way that one’s responsibilities to care for country continue into the present and can be shared by all who inhabit that place. These maps guide us towards an ethical future of living in the Anthropo-cene. 30 00 Maps both represent and shape the places of our world. The practice of deep mapping involves Indigenous and non-Indigenous people working together to create processes by which to re-imagine relationships to place. This practice be-gan during long term partnership research with Aboriginal communities in settled Australia in which together we sought ways to represent contemporary Aboriginal place knowledg-es that challenge how relationships to land, or the environ-ment, are generally understood and enacted. The maps rep-resent both past relationships and contemporary stories about how places have come to be as they are. They re-inscribe stories of deep time, a time when the earth and all its creatures were made, but a time that exists in the present as well as the geological past. Each time a story is told or repre-sented through deep mapping the deep time stories of crea-tion are re-enacted. Deep mapping becomes a way that one’s responsibilities to care for country continue into the present and can be shared by all who inhabit that place. These maps guide us towards an ethical future of living in the Anthropo-cene. 20 00 Open Access Somerville, Margaret 22 03 06 10.21983/P3.0100.1.22 123 126 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Human Condition in the Anthropocene 1 A01 Anna Yeatman Anna Yeatman 40 03t52dk35 Western Sydney University 01 eng 03 00 Hannah Arendt is a political philosopher who seems to have anticipated our current moment; one where it seems increas-ingly likely that humanly made processes may undermine the integrity of the living system that is “life on earth” and threaten its collapse. At the risk of offering too potted a summary of what was a complex series of meditations devel-oped over the course of her career as a political philosopher, I want to suggest the nature of her prescience in regard to what she called “the human condition” and the human desire to reconcile themselves to “reality, that is, try to be at home in the world” (Arendt 1994, 308). 30 00 Hannah Arendt is a political philosopher who seems to have anticipated our current moment; one where it seems increas-ingly likely that humanly made processes may undermine the integrity of the living system that is “life on earth” and threaten its collapse. At the risk of offering too potted a summary of what was a complex series of meditations devel-oped over the course of her career as a political philosopher, I want to suggest the nature of her prescience in regard to what she called “the human condition” and the human desire to reconcile themselves to “reality, that is, try to be at home in the world” (Arendt 1994, 308). 20 00 Open Access Yeatman, Anna 23 03 06 10.21983/P3.0100.1.23 127 131 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dialogue 1 A01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 01 eng 03 00 The term “dialogue” has joined a class of weasel words used to pretend that an exchange is taking place when actually the will of one party is being imposed on others. This is a fact to be resisted, for dialogue is an excellent word denoting inter-subjective exchanges of ideas, stories, empathy, imagery, and much more. Because of its current misuse, the project of re-claiming the term requires a clear analysis of monologue. Monologue, once it is understood, cannot be confused with dialogue. The distinction rests primarily on the power struc-ture between the parties to the event. 30 00 The term “dialogue” has joined a class of weasel words used to pretend that an exchange is taking place when actually the will of one party is being imposed on others. This is a fact to be resisted, for dialogue is an excellent word denoting inter-subjective exchanges of ideas, stories, empathy, imagery, and much more. Because of its current misuse, the project of re-claiming the term requires a clear analysis of monologue. Monologue, once it is understood, cannot be confused with dialogue. The distinction rests primarily on the power struc-ture between the parties to the event. 20 00 Open Access Rose, Deborah Bird 24 03 06 10.21983/P3.0100.1.24 133 138 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Walking as Respectful Wayfinding in an Uncertain Age 1 A01 Lesley Instone Lesley Instone 40 00eae9z71 University of Newcastle Australia 01 eng 03 00 In 2010 I made a short trip to the Isle of Lewis in the Outer Hebrides. My main impetus was to visit the ancient standing stones at Calanais as well as experience, however briefly and vicariously, other worlds, lives and landscapes. Regardless that I had only a couple of days on the island, I decided to catch the local bus and walk to the sights rather than hire a car. I’m sure many readers have made similar choices and experienced the delights of being on foot in an unfamiliar place. Instead of the ordinary, regular, enclosed, plastic world of automobility, I was greeted by smells, animals, uneven surfaces, twisting paths, sheep, dogs, farmers, wind, sun, and more. My intention is not to romanticize walking, nor to suggest a singular notion of walking. How I walk, what I look at, and my practices of movement and thinking are all shaped by historically contingent cultural practices of looking and moving that are familiar to those with a European cultural heritage. Acknowledging this is to understand that walking is as cultural as it is embodied, and that there are many ways to walk, many ways of seeing and knowing (Solnit 2000; Ingold 2000; Amato 2004). What I do want to emphasize is the in-terrelation between body, knowing, place and feeling. In many ways the random and impromptu qualities of walking engender a kind of openness to surprises and chance encoun-ters that provoke affective ways of knowing (Solnit 2000, 11). The intermeshing of movement, mind, body, land/scape, ground and atmosphere transport us into a realm of inex-pressible, ineffable and fleeting relatings, where we know “the world through the body and the body through the world” (Solnit 2000, 29). 30 00 In 2010 I made a short trip to the Isle of Lewis in the Outer Hebrides. My main impetus was to visit the ancient standing stones at Calanais as well as experience, however briefly and vicariously, other worlds, lives and landscapes. Regardless that I had only a couple of days on the island, I decided to catch the local bus and walk to the sights rather than hire a car. I’m sure many readers have made similar choices and experienced the delights of being on foot in an unfamiliar place. Instead of the ordinary, regular, enclosed, plastic world of automobility, I was greeted by smells, animals, uneven surfaces, twisting paths, sheep, dogs, farmers, wind, sun, and more. My intention is not to romanticize walking, nor to suggest a singular notion of walking. How I walk, what I look at, and my practices of movement and thinking are all shaped by historically contingent cultural practices of looking and moving that are familiar to those with a European cultural heritage. Acknowledging this is to understand that walking is as cultural as it is embodied, and that there are many ways to walk, many ways of seeing and knowing (Solnit 2000; Ingold 2000; Amato 2004). What I do want to emphasize is the in-terrelation between body, knowing, place and feeling. In many ways the random and impromptu qualities of walking engender a kind of openness to surprises and chance encoun-ters that provoke affective ways of knowing (Solnit 2000, 11). The intermeshing of movement, mind, body, land/scape, ground and atmosphere transport us into a realm of inex-pressible, ineffable and fleeting relatings, where we know “the world through the body and the body through the world” (Solnit 2000, 29). 20 00 Open Access Instone, Lesley 25 03 06 10.21983/P3.0100.1.25 139 155 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Katherine Gibson Katherine Gibson 40 03t52dk35 Western Sydney University 2 B01 Deborah Bird Rose Deborah Bird Rose 40 03r8z3t63 University of New South Wales 40 04xsveh31 Academy of the Social Sciences in Australia 3 B01 Ruth Fincher Ruth Fincher 40 01ej9dk98 University of Melbourne 01 eng 20 00 Open Access Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/manifesto-for-living-in-the-anthropocene/ Brooklyn, NY 04 01 20150414 Gibson, Katherine Rose, Deborah Bird Fincher, Ruth 02 WORLD 06 15 9780988234062 03 9780988234062 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76512 20 08 20150414 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25521 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25521/1004574.pdf?sequence=1&isAllowed=y 20 08 20150414 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35762 20 08 20150414 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1r787bz 20 08 20150414 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/483 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/93196a80-45a8-4051-bee7-188bd8b3ee57/download 20 08 20150414 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Manifesto_for_Living_in_the_Anthropocene/RgOVEAAAQBAJ 20 08 20150414 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/9e108419-fc08-440d-b1b5-eb8b5cd52c5e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/9e108419-fc08-440d-b1b5-eb8b5cd52c5e/9e108419-fc08-440d-b1b5-eb8b5cd52c5e.pdf 20 08 20150414 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846198 29 ZENODO: download the title https://zenodo.org/records/19846198/files/9e108419-fc08-440d-b1b5-eb8b5cd52c5e_book.pdf 20 08 20150414 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/manifesto-for-living-in-the-anthropocene/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0100.1.00.pdf 20 08 20150414 01 urn:uuid:514c7812-98d1-48de-8bc9-56faa7178a79 03 01 01 thoth-work-id urn:uuid:64ac7d98-d8bd-41e7-a661-bef4f090b439 01 thoth-publication-id urn:uuid:514c7812-98d1-48de-8bc9-56faa7178a79 15 9781685711429 03 9781685711429 06 10.53288/0453.1.00 13 2024936120 01 internal-reference 0453 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Masks 1 A01 21 000000018266465X T.H.M. Gellar-Goad T.H.M. Gellar-Goad 40 0207ad724 Wake Forest University T.H.M. Gellar-Goad is Associate Professor of Classics at Wake Forest University. He specializes in Roman poetry, especially the funny stuff: Roman comedy, Roman satire, Roman erotic elegy, and — if you believe him — the allegedly philosophical poet Lucretius. He is author also of Laughing Atoms, Laughing Matter: Lucretius’ De Rerum Natura and Satire (University of Michigan Press, 2020), Plautus: Curculio (Bloomsbury, 2021), and A Commentary on Plautus’ Curculio (forthcoming with University of Michigan Press). 01 eng 00 228 03 93 AFKC 12 AFKC B2 Art+Aesthetics 10 PER011020 10 ART060000 B2 Cultural Studies+Critical Theory 93 JBCC3 12 JFC B2 Premodern 93 QRRT 20 masks; cultural studies; memory; magic; ritual; COVID-19; identity; metamorphosis; persona 01 06 02 00 03 00 The mask is the classic disguise. But as alter ego, it reveals as much as it conceals. Why are masks so often creepy, even outside of horror movies? Can a mask change expression while you’re wearing it? How much of someone’s self can inhabit a mask? Why would anyone make a plaster cast of a dead person’s face? And, really, who was that masked man? Masks unmasks the answers to these frequently (m)asked questions and more.Masks are the materials for a world of make-believe, from the theater to Halloween, from masquerades to Scooby-Doo. Masks can take on magic or ritual powers. They can preserve and transmit memory. Masks are a makeover tool for appearance and identity, from spa treatments to drag to superheroes. What all these different functions have in common is the mask as physical metaphor, a mirror of the self and society. In another layer of metaphor, our words for ourselves as individuals (“person”) and for our self-presentation to society (“persona”) both derive directly from the Latin word for mask.Masks explores one of humanity’s oldest cultural objects, traveling from prehistoric remains to ancient Roman funeral processions to Mardi Gras to masked doppelgangers on stage and screen. Its examination of masks across time and the globe sheds new light on the totemic power masks have developed, especially during the COVID-19 pandemic. 30 00 The mask is the classic disguise. But as alter ego, it reveals as much as it conceals. Why are masks so often creepy, even outside of horror movies? Can a mask change expression while you’re wearing it? How much of someone’s self can inhabit a mask? Why would anyone make a plaster cast of a dead person’s face? And, really, who was that masked man? Masks unmasks the answers to these frequently (m)asked questions and more.Masks are the materials for a world of make-believe, from the theater to Halloween, from masquerades to Scooby-Doo. Masks can take on magic or ritual powers. They can preserve and transmit memory. Masks are a makeover tool for appearance and identity, from spa treatments to drag to superheroes. What all these different functions have in common is the mask as physical metaphor, a mirror of the self and society. In another layer of metaphor, our words for ourselves as individuals (“person”) and for our self-presentation to society (“persona”) both derive directly from the Latin word for mask.Masks explores one of humanity’s oldest cultural objects, traveling from prehistoric remains to ancient Roman funeral processions to Mardi Gras to masked doppelgangers on stage and screen. Its examination of masks across time and the globe sheds new light on the totemic power masks have developed, especially during the COVID-19 pandemic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0453.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/masks/ Earth, Milky Way 04 01 20240426 T.H.M. Gellar-Goad 02 WORLD 06 15 9781685711436 03 9781685711436 34 06 10.3389/fpsyg.2020.566886 34 06 10.14288/1.0097731 34 06 10.1353/tt.2011.0003 34 06 10.48550/arXiv.2103.04544 34 06 10.1353/are.2018.0005 34 06 10.1080/03071029008567755 34 06 10.1098/rstb.1997.0095 34 06 10.2307/2843485 34 06 10.1080/0267257X.2013.766233 34 06 10.1007/s10508-018-1303-7 34 06 10.1093/past/105.1.79 34 06 10.1353/mdr.1992.0016 34 06 10.1371/journal.pone.0071389 34 06 10.1007/s10508-019-01476-1 34 06 10.1163/25900323-12340004 34 06 10.1136/bmj.m3899 34 06 10.1080/01459740.2017.1423072 34 06 10.1111/j.0956-7976.2004.00688.x 34 06 10.1177/1362361319878559 34 06 10.1017/S0003598X00061627 34 06 10.1353/tj.2008.0014 34 06 10.1353/arn.2011.0024 34 06 10.1046/j.1440-1819.1999.00476.x.204 34 06 10.1037/h0083717 34 06 10.1177/1532673X211022639 34 06 10.1177/1532673X17719507 34 06 10.1002/j.1834-4461.1992.tb00359.x 34 06 10.1093/cq/49.1.320 34 06 10.1111/jpr.12024 34 06 10.1177/01417789211013432 34 06 10.2307/632559 34 06 10.1086/RESvn1ms20167696 34 06 10.1080/00074909960003094 34 06 10.1016/j.socscimed.2020.112826 34 06 10.1111/j.1469-8129.2010.00454.x 34 06 10.1177/1478929921993764 34 06 10.1111/j.1467-9280.2006.01750.x 34 06 10.1353/sub.2006.0031 34 06 10.18926/amo/62227 34 06 10.1093/gr/46.2.188 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711421 20 08 20240426 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/masks 20 08 20240426 02 23.00 USD WORLD urn:uuid:485e473e-3263-494e-9d50-e02ab98344da 03 01 01 thoth-work-id urn:uuid:64ac7d98-d8bd-41e7-a661-bef4f090b439 01 thoth-publication-id urn:uuid:485e473e-3263-494e-9d50-e02ab98344da 15 9781685711436 03 9781685711436 06 10.53288/0453.1.00 13 2024936120 01 internal-reference 0453 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Masks 1 A01 21 000000018266465X T.H.M. Gellar-Goad T.H.M. Gellar-Goad 40 0207ad724 Wake Forest University T.H.M. Gellar-Goad is Associate Professor of Classics at Wake Forest University. He specializes in Roman poetry, especially the funny stuff: Roman comedy, Roman satire, Roman erotic elegy, and — if you believe him — the allegedly philosophical poet Lucretius. He is author also of Laughing Atoms, Laughing Matter: Lucretius’ De Rerum Natura and Satire (University of Michigan Press, 2020), Plautus: Curculio (Bloomsbury, 2021), and A Commentary on Plautus’ Curculio (forthcoming with University of Michigan Press). 01 eng 00 228 03 93 AFKC 12 AFKC B2 Art+Aesthetics 10 PER011020 10 ART060000 B2 Cultural Studies+Critical Theory 93 JBCC3 12 JFC B2 Premodern 93 QRRT 20 masks; cultural studies; memory; magic; ritual; COVID-19; identity; metamorphosis; persona 01 06 02 00 03 00 The mask is the classic disguise. But as alter ego, it reveals as much as it conceals. Why are masks so often creepy, even outside of horror movies? Can a mask change expression while you’re wearing it? How much of someone’s self can inhabit a mask? Why would anyone make a plaster cast of a dead person’s face? And, really, who was that masked man? Masks unmasks the answers to these frequently (m)asked questions and more.Masks are the materials for a world of make-believe, from the theater to Halloween, from masquerades to Scooby-Doo. Masks can take on magic or ritual powers. They can preserve and transmit memory. Masks are a makeover tool for appearance and identity, from spa treatments to drag to superheroes. What all these different functions have in common is the mask as physical metaphor, a mirror of the self and society. In another layer of metaphor, our words for ourselves as individuals (“person”) and for our self-presentation to society (“persona”) both derive directly from the Latin word for mask.Masks explores one of humanity’s oldest cultural objects, traveling from prehistoric remains to ancient Roman funeral processions to Mardi Gras to masked doppelgangers on stage and screen. Its examination of masks across time and the globe sheds new light on the totemic power masks have developed, especially during the COVID-19 pandemic. 30 00 The mask is the classic disguise. But as alter ego, it reveals as much as it conceals. Why are masks so often creepy, even outside of horror movies? Can a mask change expression while you’re wearing it? How much of someone’s self can inhabit a mask? Why would anyone make a plaster cast of a dead person’s face? And, really, who was that masked man? Masks unmasks the answers to these frequently (m)asked questions and more.Masks are the materials for a world of make-believe, from the theater to Halloween, from masquerades to Scooby-Doo. Masks can take on magic or ritual powers. They can preserve and transmit memory. Masks are a makeover tool for appearance and identity, from spa treatments to drag to superheroes. What all these different functions have in common is the mask as physical metaphor, a mirror of the self and society. In another layer of metaphor, our words for ourselves as individuals (“person”) and for our self-presentation to society (“persona”) both derive directly from the Latin word for mask.Masks explores one of humanity’s oldest cultural objects, traveling from prehistoric remains to ancient Roman funeral processions to Mardi Gras to masked doppelgangers on stage and screen. Its examination of masks across time and the globe sheds new light on the totemic power masks have developed, especially during the COVID-19 pandemic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0453.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/masks/ Earth, Milky Way 04 01 20240426 T.H.M. Gellar-Goad 02 WORLD 06 15 9781685711429 03 9781685711429 34 06 10.3389/fpsyg.2020.566886 34 06 10.14288/1.0097731 34 06 10.1353/tt.2011.0003 34 06 10.48550/arXiv.2103.04544 34 06 10.1353/are.2018.0005 34 06 10.1080/03071029008567755 34 06 10.1098/rstb.1997.0095 34 06 10.2307/2843485 34 06 10.1080/0267257X.2013.766233 34 06 10.1007/s10508-018-1303-7 34 06 10.1093/past/105.1.79 34 06 10.1353/mdr.1992.0016 34 06 10.1371/journal.pone.0071389 34 06 10.1007/s10508-019-01476-1 34 06 10.1163/25900323-12340004 34 06 10.1136/bmj.m3899 34 06 10.1080/01459740.2017.1423072 34 06 10.1111/j.0956-7976.2004.00688.x 34 06 10.1177/1362361319878559 34 06 10.1017/S0003598X00061627 34 06 10.1353/tj.2008.0014 34 06 10.1353/arn.2011.0024 34 06 10.1046/j.1440-1819.1999.00476.x.204 34 06 10.1037/h0083717 34 06 10.1177/1532673X211022639 34 06 10.1177/1532673X17719507 34 06 10.1002/j.1834-4461.1992.tb00359.x 34 06 10.1093/cq/49.1.320 34 06 10.1111/jpr.12024 34 06 10.1177/01417789211013432 34 06 10.2307/632559 34 06 10.1086/RESvn1ms20167696 34 06 10.1080/00074909960003094 34 06 10.1016/j.socscimed.2020.112826 34 06 10.1111/j.1469-8129.2010.00454.x 34 06 10.1177/1478929921993764 34 06 10.1111/j.1467-9280.2006.01750.x 34 06 10.1353/sub.2006.0031 34 06 10.18926/amo/62227 34 06 10.1093/gr/46.2.188 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/90036 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/90036/0453.1.00.pdf?sequence=1&isAllowed=y 20 08 20240426 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/136704 20 08 20240426 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626765 20 08 20240426 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/331 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6d891e95-f4a5-4b70-bec5-2473063a1372/download 20 08 20240426 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/64ac7d98-d8bd-41e7-a661-bef4f090b439 29 INTERNET_ARCHIVE: download the title https://archive.org/download/64ac7d98-d8bd-41e7-a661-bef4f090b439/64ac7d98-d8bd-41e7-a661-bef4f090b439.pdf 20 08 20240426 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850320 29 ZENODO: download the title https://zenodo.org/records/19850320/files/64ac7d98-d8bd-41e7-a661-bef4f090b439_book.pdf 20 08 20240426 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/masks/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0453.1.00.pdf 20 08 20240426 01 urn:uuid:7b8a54cd-c789-49ed-8bd7-0667c32401c6 03 01 01 thoth-work-id urn:uuid:5f1db605-88b6-427a-84cb-ce2fcf0f89a3 01 thoth-publication-id urn:uuid:7b8a54cd-c789-49ed-8bd7-0667c32401c6 15 9781950192458 03 9781950192458 06 10.21983/P3.0264.1.00 13 2019948497 01 internal-reference 0264 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Massa por Argamassa A "Libraria de Babel" e o Sonho de Totalidade 1 A01 Jonathan Basile Jonathan Basile 40 03czfpz43 Emory University 2 B06 Yuri N. Martinez Laskowski Yuri N. Martinez Laskowski 02 eng 01 por 00 114 03 93 DSBH 12 DSBH 10 LIT004100 B2 Literary Studies B2 Media+Technology 20 Library of Babel; Jorge Luis Borges; technology; librarianship; digital humanities; literary studies 01 06 02 00 03 00 Massa por Argamassa apresenta uma exploração profunda de um dos maiores ilusionistas da literatura, Jorge Luis Borges. Seu conto “A Biblioteca de Babel” é um exemplar ilustre de sua capacidade lúdica, embora não somente devido ao mundo invertido que nele é imaginado, no qual uma biblioteca, que supostamente contém todas as combinações possíveis de todas as letras, palavras e livros, é vasculhada por bibliotecários devotos em busca de verdades divinamente pré-fabricadas. Pois também é preciso lidar com a ironia da narração de Borges, que constantemente põe em xeque as afirmações do narrador sobre a universalidade da biblioteca, incluindo a própria possibilidade de exaurir os significados possíveis através de um processo combinatório.Borges direcionava seus leitores para sua obra de não-ficção para que descobrissem o verdadeiro autor da ideia da biblioteca universal. Mas seus ensaios supostamente históricos são notoriamente repletos de referências falsas e contradições. Seja na verdade ou na ficção, Borges nunca atinge uma conclusão estável sobre as premissas atomistas da biblioteca universal – seria possível encontrar um conjunto de caracteres capaz de expressar todo o significado possível, ou estariam essas letras, assim como suas histórias e ensaios, se multiplicando e dividindo em uma incompletude incansável?Embora muitos leitores de Borges o veem como um presságio de nossas tecnologias digitais, eles muitas vezes dão crédito demais a nossas invenções ao fazê-lo. Aqueles que elidem a necessária incompletude da Biblioteca de Babel a comparam com a Internet, assumindo que ambos seriam arquivos totais de todo o pensamento e expressão possíveis. Embora as imaginações de Borges tenham contribuído para a criatividade digital (libraryofbabel.info é certamente uma evidência disto), elas o fazem demonstrando a necessária incompletude de todos os projetos totalizadores, independentemente de seu refino tecnológico. No final, Basile guia os leitores em direção à ideia de que uma exposição fictícia/imaginária possui certo poder sobre a tecnologia. 30 00 Massa por Argamassa apresenta uma exploração profunda de um dos maiores ilusionistas da literatura, Jorge Luis Borges. Seu conto “A Biblioteca de Babel” é um exemplar ilustre de sua capacidade lúdica, embora não somente devido ao mundo invertido que nele é imaginado, no qual uma biblioteca, que supostamente contém todas as combinações possíveis de todas as letras, palavras e livros, é vasculhada por bibliotecários devotos em busca de verdades divinamente pré-fabricadas. Pois também é preciso lidar com a ironia da narração de Borges, que constantemente põe em xeque as afirmações do narrador sobre a universalidade da biblioteca, incluindo a própria possibilidade de exaurir os significados possíveis através de um processo combinatório.Borges direcionava seus leitores para sua obra de não-ficção para que descobrissem o verdadeiro autor da ideia da biblioteca universal. Mas seus ensaios supostamente históricos são notoriamente repletos de referências falsas e contradições. Seja na verdade ou na ficção, Borges nunca atinge uma conclusão estável sobre as premissas atomistas da biblioteca universal – seria possível encontrar um conjunto de caracteres capaz de expressar todo o significado possível, ou estariam essas letras, assim como suas histórias e ensaios, se multiplicando e dividindo em uma incompletude incansável?Embora muitos leitores de Borges o veem como um presságio de nossas tecnologias digitais, eles muitas vezes dão crédito demais a nossas invenções ao fazê-lo. Aqueles que elidem a necessária incompletude da Biblioteca de Babel a comparam com a Internet, assumindo que ambos seriam arquivos totais de todo o pensamento e expressão possíveis. Embora as imaginações de Borges tenham contribuído para a criatividade digital (libraryofbabel.info é certamente uma evidência disto), elas o fazem demonstrando a necessária incompletude de todos os projetos totalizadores, independentemente de seu refino tecnológico. No final, Basile guia os leitores em direção à ideia de que uma exposição fictícia/imaginária possui certo poder sobre a tecnologia. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0264.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/massa-por-argamassa-a-biblioteca-de-babel-e-o-sonho-de-totalidade/ Earth, Milky Way 04 01 20190917 Basile, Jonathan 02 WORLD 29 06 10.21983/P3.0196.1.00 06 15 9781950192465 03 9781950192465 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192458 20 08 20190917 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/massa-por-argamassa-a-libraria-de-babel-e-o-sonho-de-totalidade 20 08 20190917 02 21.00 USD WORLD urn:uuid:f741cde5-f186-43bf-ab78-3ca36b00bb33 03 01 01 thoth-work-id urn:uuid:5f1db605-88b6-427a-84cb-ce2fcf0f89a3 01 thoth-publication-id urn:uuid:f741cde5-f186-43bf-ab78-3ca36b00bb33 15 9781950192465 03 9781950192465 06 10.21983/P3.0264.1.00 13 2019948497 01 internal-reference 0264 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Massa por Argamassa A "Libraria de Babel" e o Sonho de Totalidade 1 A01 Jonathan Basile Jonathan Basile 40 03czfpz43 Emory University 2 B06 Yuri N. Martinez Laskowski Yuri N. Martinez Laskowski 02 eng 01 por 00 114 03 93 DSBH 12 DSBH 10 LIT004100 B2 Literary Studies B2 Media+Technology 20 Library of Babel; Jorge Luis Borges; technology; librarianship; digital humanities; literary studies 01 06 02 00 03 00 Massa por Argamassa apresenta uma exploração profunda de um dos maiores ilusionistas da literatura, Jorge Luis Borges. Seu conto “A Biblioteca de Babel” é um exemplar ilustre de sua capacidade lúdica, embora não somente devido ao mundo invertido que nele é imaginado, no qual uma biblioteca, que supostamente contém todas as combinações possíveis de todas as letras, palavras e livros, é vasculhada por bibliotecários devotos em busca de verdades divinamente pré-fabricadas. Pois também é preciso lidar com a ironia da narração de Borges, que constantemente põe em xeque as afirmações do narrador sobre a universalidade da biblioteca, incluindo a própria possibilidade de exaurir os significados possíveis através de um processo combinatório.Borges direcionava seus leitores para sua obra de não-ficção para que descobrissem o verdadeiro autor da ideia da biblioteca universal. Mas seus ensaios supostamente históricos são notoriamente repletos de referências falsas e contradições. Seja na verdade ou na ficção, Borges nunca atinge uma conclusão estável sobre as premissas atomistas da biblioteca universal – seria possível encontrar um conjunto de caracteres capaz de expressar todo o significado possível, ou estariam essas letras, assim como suas histórias e ensaios, se multiplicando e dividindo em uma incompletude incansável?Embora muitos leitores de Borges o veem como um presságio de nossas tecnologias digitais, eles muitas vezes dão crédito demais a nossas invenções ao fazê-lo. Aqueles que elidem a necessária incompletude da Biblioteca de Babel a comparam com a Internet, assumindo que ambos seriam arquivos totais de todo o pensamento e expressão possíveis. Embora as imaginações de Borges tenham contribuído para a criatividade digital (libraryofbabel.info é certamente uma evidência disto), elas o fazem demonstrando a necessária incompletude de todos os projetos totalizadores, independentemente de seu refino tecnológico. No final, Basile guia os leitores em direção à ideia de que uma exposição fictícia/imaginária possui certo poder sobre a tecnologia. 30 00 Massa por Argamassa apresenta uma exploração profunda de um dos maiores ilusionistas da literatura, Jorge Luis Borges. Seu conto “A Biblioteca de Babel” é um exemplar ilustre de sua capacidade lúdica, embora não somente devido ao mundo invertido que nele é imaginado, no qual uma biblioteca, que supostamente contém todas as combinações possíveis de todas as letras, palavras e livros, é vasculhada por bibliotecários devotos em busca de verdades divinamente pré-fabricadas. Pois também é preciso lidar com a ironia da narração de Borges, que constantemente põe em xeque as afirmações do narrador sobre a universalidade da biblioteca, incluindo a própria possibilidade de exaurir os significados possíveis através de um processo combinatório.Borges direcionava seus leitores para sua obra de não-ficção para que descobrissem o verdadeiro autor da ideia da biblioteca universal. Mas seus ensaios supostamente históricos são notoriamente repletos de referências falsas e contradições. Seja na verdade ou na ficção, Borges nunca atinge uma conclusão estável sobre as premissas atomistas da biblioteca universal – seria possível encontrar um conjunto de caracteres capaz de expressar todo o significado possível, ou estariam essas letras, assim como suas histórias e ensaios, se multiplicando e dividindo em uma incompletude incansável?Embora muitos leitores de Borges o veem como um presságio de nossas tecnologias digitais, eles muitas vezes dão crédito demais a nossas invenções ao fazê-lo. Aqueles que elidem a necessária incompletude da Biblioteca de Babel a comparam com a Internet, assumindo que ambos seriam arquivos totais de todo o pensamento e expressão possíveis. Embora as imaginações de Borges tenham contribuído para a criatividade digital (libraryofbabel.info é certamente uma evidência disto), elas o fazem demonstrando a necessária incompletude de todos os projetos totalizadores, independentemente de seu refino tecnológico. No final, Basile guia os leitores em direção à ideia de que uma exposição fictícia/imaginária possui certo poder sobre a tecnologia. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0264.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/massa-por-argamassa-a-biblioteca-de-babel-e-o-sonho-de-totalidade/ Earth, Milky Way 04 01 20190917 Basile, Jonathan 02 WORLD 29 06 10.21983/P3.0196.1.00 06 15 9781950192458 03 9781950192458 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24712 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24712/0264.1.00.pdf?sequence=1&isAllowed=y 20 08 20190917 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30731 20 08 20190917 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353966 20 08 20190917 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/615 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/936609c0-c7c4-4c37-942a-c5381f8ce823/download 20 08 20190917 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5f1db605-88b6-427a-84cb-ce2fcf0f89a3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5f1db605-88b6-427a-84cb-ce2fcf0f89a3/5f1db605-88b6-427a-84cb-ce2fcf0f89a3.pdf 20 08 20190917 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847898 29 ZENODO: download the title https://zenodo.org/records/19847898/files/5f1db605-88b6-427a-84cb-ce2fcf0f89a3_book.pdf 20 08 20190917 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/massa-por-argamassa-a-biblioteca-de-babel-e-o-sonho-de-totalidade/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0264.1.00.pdf 20 08 20190917 01 urn:uuid:04be6c26-c2d3-41c0-8cc8-be9f27ed99c9 03 01 01 thoth-work-id urn:uuid:0862d673-39ec-4103-8a6b-66a936b14435 01 thoth-publication-id urn:uuid:04be6c26-c2d3-41c0-8cc8-be9f27ed99c9 15 9781950192212 03 9781950192212 06 10.21983/P3.0251.1.00 13 2019937768 01 internal-reference 0251 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Matches A Light Book 1 A01 S.D. Chrostowska S.D. Chrostowska 40 05fq50484 York University 2 A23 Alexander Kluge Alexander Kluge 2 01 eng 00 560 03 12 DNF 93 GBCQ 10 LIT000000 B2 Literary Studies 93 DNL B2 Thought Experiments 20 aphorisms; epigrams; maxims; meditations; sketches 01 06 02 00 03 00 Through the prism of criticism, the modalities of thinking form a spectrum: on one end, systematic exposition, on the other, the fragment. It is the latter, fragmentary approach that distinguishes Matches—an investigation that does not focus on a single theme developed in all its aspects but, rather, on a constellation of themes in art, literature, philosophy, science, social and political thought, as well as the human in relation to history and nature. The author pursues here in performative fashion her research into the history of critique from the Enlightenment onward. Her choice of the fragment—in the tradition of writing represented by Gracián, Chamfort, Lichtenberg, and, closer to us, Nietzsche, Adorno, and Benjamin—does not, however, stem from an attempt to comprehend the contemporary world, which can only be done after the fact. Instead, served by an expressive and incisive style, Matches foregrounds the necessary elements for a critique of our time, capturing them in their contradictory and complementary relations. It situates itself under the sign of the future, reviving the spirit of utopia, reminding us that the last word need not belong to the present. 30 00 Through the prism of criticism, the modalities of thinking form a spectrum: on one end, systematic exposition, on the other, the fragment. It is the latter, fragmentary approach that distinguishes Matches—an investigation that does not focus on a single theme developed in all its aspects but, rather, on a constellation of themes in art, literature, philosophy, science, social and political thought, as well as the human in relation to history and nature. The author pursues here in performative fashion her research into the history of critique from the Enlightenment onward. Her choice of the fragment—in the tradition of writing represented by Gracián, Chamfort, Lichtenberg, and, closer to us, Nietzsche, Adorno, and Benjamin—does not, however, stem from an attempt to comprehend the contemporary world, which can only be done after the fact. Instead, served by an expressive and incisive style, Matches foregrounds the necessary elements for a critique of our time, capturing them in their contradictory and complementary relations. It situates itself under the sign of the future, reviving the spirit of utopia, reminding us that the last word need not belong to the present. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0251.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/matches-a-light-book/ 16 40 05fq50484 32 10.13039/501100000105 York University Earth, Milky Way 04 01 20190416 Chrostowska, S.D. 02 WORLD 03 06 10.21983/P3.0119.1.00 06 15 9781950192229 03 9781950192229 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192210 20 08 20190416 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/matches-a-light-book 20 08 20190416 02 30.00 USD WORLD urn:uuid:a895435c-222a-41b7-8280-319b401f7e5c 03 01 01 thoth-work-id urn:uuid:0862d673-39ec-4103-8a6b-66a936b14435 01 thoth-publication-id urn:uuid:a895435c-222a-41b7-8280-319b401f7e5c 15 9781950192229 03 9781950192229 06 10.21983/P3.0251.1.00 13 2019937768 01 internal-reference 0251 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Matches A Light Book 1 A01 S.D. Chrostowska S.D. Chrostowska 40 05fq50484 York University 2 A23 Alexander Kluge Alexander Kluge 2 01 eng 00 560 03 12 DNF 93 GBCQ 10 LIT000000 B2 Literary Studies 93 DNL B2 Thought Experiments 20 aphorisms; epigrams; maxims; meditations; sketches 01 06 02 00 03 00 Through the prism of criticism, the modalities of thinking form a spectrum: on one end, systematic exposition, on the other, the fragment. It is the latter, fragmentary approach that distinguishes Matches—an investigation that does not focus on a single theme developed in all its aspects but, rather, on a constellation of themes in art, literature, philosophy, science, social and political thought, as well as the human in relation to history and nature. The author pursues here in performative fashion her research into the history of critique from the Enlightenment onward. Her choice of the fragment—in the tradition of writing represented by Gracián, Chamfort, Lichtenberg, and, closer to us, Nietzsche, Adorno, and Benjamin—does not, however, stem from an attempt to comprehend the contemporary world, which can only be done after the fact. Instead, served by an expressive and incisive style, Matches foregrounds the necessary elements for a critique of our time, capturing them in their contradictory and complementary relations. It situates itself under the sign of the future, reviving the spirit of utopia, reminding us that the last word need not belong to the present. 30 00 Through the prism of criticism, the modalities of thinking form a spectrum: on one end, systematic exposition, on the other, the fragment. It is the latter, fragmentary approach that distinguishes Matches—an investigation that does not focus on a single theme developed in all its aspects but, rather, on a constellation of themes in art, literature, philosophy, science, social and political thought, as well as the human in relation to history and nature. The author pursues here in performative fashion her research into the history of critique from the Enlightenment onward. Her choice of the fragment—in the tradition of writing represented by Gracián, Chamfort, Lichtenberg, and, closer to us, Nietzsche, Adorno, and Benjamin—does not, however, stem from an attempt to comprehend the contemporary world, which can only be done after the fact. Instead, served by an expressive and incisive style, Matches foregrounds the necessary elements for a critique of our time, capturing them in their contradictory and complementary relations. It situates itself under the sign of the future, reviving the spirit of utopia, reminding us that the last word need not belong to the present. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0251.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/matches-a-light-book/ 16 40 05fq50484 32 10.13039/501100000105 York University Earth, Milky Way 04 01 20190416 Chrostowska, S.D. 02 WORLD 03 06 10.21983/P3.0119.1.00 06 15 9781950192212 03 9781950192212 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66826 20 08 20190416 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25268 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25268/1004826.pdf?sequence=1&isAllowed=y 20 08 20190416 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29867 20 08 20190416 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353831 20 08 20190416 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/608 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4ded8863-d2b3-472b-a33f-05e9594fdb8d/download 20 08 20190416 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Matches/VG6oEAAAQBAJ 20 08 20190416 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0862d673-39ec-4103-8a6b-66a936b14435 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0862d673-39ec-4103-8a6b-66a936b14435/0862d673-39ec-4103-8a6b-66a936b14435.pdf 20 08 20190416 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847718 29 ZENODO: download the title https://zenodo.org/records/19847718/files/0862d673-39ec-4103-8a6b-66a936b14435_book.pdf 20 08 20190416 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/matches-a-light-book/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0251.1.00.pdf 20 08 20190416 01 urn:uuid:56a05318-9ad6-49ca-b041-e4a2d241bf60 03 01 01 thoth-work-id urn:uuid:680b88e2-8685-4d13-806d-b274a7b1afe6 01 thoth-publication-id urn:uuid:56a05318-9ad6-49ca-b041-e4a2d241bf60 15 9780692540732 03 9780692540732 06 10.21983/P3.0119.1.00 01 internal-reference 0119 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Matches A Light Book 1 A01 S.D. Chrostowska S.D. Chrostowska 40 05fq50484 York University 01 eng 00 538 03 12 DNF B2 Literary Studies B2 Thought Experiments 20 aphorisms; epigrams; maxims; meditations; sketches 01 06 02 00 03 00 It takes any number of forms. Epigrams. Aphorisms. Fragments. Sayings. Dicta. Sententiae. Facetiae. Pearls of wisdom. Fractions of truth. Maxims. Definitions. Jottings. Miscellaneous musings. Meditations. Ricordi. Pensées. Ephemera. Miniatures. Sketches. Vignettes. Denkbilder. Capriccios. Tiny ‘fires without flames’ …In returning to these genres, MATCHES goes back to the drawing board of modern critique. It sets out to rekindle short-form literary-philosophical reflection, with roots in the Antiquity of Heraclitus and Hippocrates, apogee in the French moralistes (La Rochefoucauld, Pascal, Chamfort … ), and late splendour in German letters (Nietzsche, Kraus, Jünger … ). Moving from art and aesthetics to philosophies past and present, through natural and technological landscapes, beneath the constellations of politics, history and ethics, along the byways of contemporary literary culture — the slow reader with a little spare time will not fail to be struck. 30 00 It takes any number of forms. Epigrams. Aphorisms. Fragments. Sayings. Dicta. Sententiae. Facetiae. Pearls of wisdom. Fractions of truth. Maxims. Definitions. Jottings. Miscellaneous musings. Meditations. Ricordi. Pensées. Ephemera. Miniatures. Sketches. Vignettes. Denkbilder. Capriccios. Tiny ‘fires without flames’ …In returning to these genres, MATCHES goes back to the drawing board of modern critique. It sets out to rekindle short-form literary-philosophical reflection, with roots in the Antiquity of Heraclitus and Hippocrates, apogee in the French moralistes (La Rochefoucauld, Pascal, Chamfort … ), and late splendour in German letters (Nietzsche, Kraus, Jünger … ). Moving from art and aesthetics to philosophies past and present, through natural and technological landscapes, beneath the constellations of politics, history and ethics, along the byways of contemporary literary culture — the slow reader with a little spare time will not fail to be struck. 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/matches-a-light-book/ Brooklyn, NY 08 01 20151120 13 20230112 Chrostowska, S.D. 02 WORLD 05 06 10.21983/P3.0251.1.00 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2h1qVJy 41 08 20151120 02 25.00 USD WORLD urn:uuid:f89ae5ac-2a28-47ad-a0bd-c3931aca942b 03 01 01 thoth-work-id urn:uuid:680b88e2-8685-4d13-806d-b274a7b1afe6 01 thoth-publication-id urn:uuid:f89ae5ac-2a28-47ad-a0bd-c3931aca942b 06 10.21983/P3.0119.1.00 01 internal-reference 0119 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Matches A Light Book 1 A01 S.D. Chrostowska S.D. Chrostowska 40 05fq50484 York University 01 eng 00 538 03 12 DNF B2 Literary Studies B2 Thought Experiments 20 aphorisms; epigrams; maxims; meditations; sketches 01 06 02 00 03 00 It takes any number of forms. Epigrams. Aphorisms. Fragments. Sayings. Dicta. Sententiae. Facetiae. Pearls of wisdom. Fractions of truth. Maxims. Definitions. Jottings. Miscellaneous musings. Meditations. Ricordi. Pensées. Ephemera. Miniatures. Sketches. Vignettes. Denkbilder. Capriccios. Tiny ‘fires without flames’ …In returning to these genres, MATCHES goes back to the drawing board of modern critique. It sets out to rekindle short-form literary-philosophical reflection, with roots in the Antiquity of Heraclitus and Hippocrates, apogee in the French moralistes (La Rochefoucauld, Pascal, Chamfort … ), and late splendour in German letters (Nietzsche, Kraus, Jünger … ). Moving from art and aesthetics to philosophies past and present, through natural and technological landscapes, beneath the constellations of politics, history and ethics, along the byways of contemporary literary culture — the slow reader with a little spare time will not fail to be struck. 30 00 It takes any number of forms. Epigrams. Aphorisms. Fragments. Sayings. Dicta. Sententiae. Facetiae. Pearls of wisdom. Fractions of truth. Maxims. Definitions. Jottings. Miscellaneous musings. Meditations. Ricordi. Pensées. Ephemera. Miniatures. Sketches. Vignettes. Denkbilder. Capriccios. Tiny ‘fires without flames’ …In returning to these genres, MATCHES goes back to the drawing board of modern critique. It sets out to rekindle short-form literary-philosophical reflection, with roots in the Antiquity of Heraclitus and Hippocrates, apogee in the French moralistes (La Rochefoucauld, Pascal, Chamfort … ), and late splendour in German letters (Nietzsche, Kraus, Jünger … ). Moving from art and aesthetics to philosophies past and present, through natural and technological landscapes, beneath the constellations of politics, history and ethics, along the byways of contemporary literary culture — the slow reader with a little spare time will not fail to be struck. 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/matches-a-light-book/ Brooklyn, NY 08 01 20151120 13 20230112 Chrostowska, S.D. 02 WORLD 05 06 10.21983/P3.0251.1.00 06 15 9780692540732 03 9780692540732 WORLD 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/matches-a-light-book/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0119.1.00.pdf 41 08 20151120 01 urn:uuid:cd7dd335-d274-4e53-8873-a3be4964e776 03 01 01 thoth-work-id urn:uuid:f1badc5e-5363-45e7-8577-845a32ea340c 01 thoth-publication-id urn:uuid:cd7dd335-d274-4e53-8873-a3be4964e776 15 9781685711528 03 9781685711528 06 10.53288/0462.1.00 13 2024937652 01 internal-reference 0462 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 On the Trail of the Morning Star Psychosis as Self-Discovery 1 A01 Dorothea Buck Dorothea Buck Dorothea Buck (1917–2019) was a German sculpturer and advocate for the rights of people with disabilities. Buck's own experiences with mental illness, including a diagnosis of schizophrenia, gave her a unique perspective and insight into the struggles faced by those with mental health conditions. She taught art and handicraft at the Technical College for Social Pedagogy in Hamburg from 1969–1982. Since 1970, she was active in the self-help movement, co-founding in 1992 the German Bundesverband Psychiatrie-Erfahrener (BPE; Federal Association of [ex-]Users and Survivors of Psychiatry), becoming Honorary Chair until her death. In 1989, she co-founded the "Psychosis-seminars". She has given countless lectures in Germany and abroad and contributions in specialised journals and anthologies. Her writing includes her acclaimed memoir On the Trail of the Morning Star: Psychosis as Self-Discovery as well as numerous essays and articles. 2 B01 Susanne Antonetta Susanne Antonetta Susanne Antonetta writes and speaks about neuro-difference, science, and the environment for academic and general audiences. She was recently a subject of a Canadian Broadcasting Corporation’s Ideas radio documentary, “Gifts from the Gods.” Her newest book is The Terrible Unlikelihood of Our Being Here. Forthcoming is The Devil's Castle. She is also the author of Entangled Objects, Make Me a Mother, Curious Atoms: A History with Physics, Body Toxic, A Mind Apart, and four books of poetry. Awards for her writing include a New York Times Notable Book, an American Book Award, a Library Journal Best Science book of the year, an Oprah Bookshelf listing, and others. Her essays and poems have appeared in The New York Times, Ms., The Huffington Post, The UK Independent, The Hill, Orion, The New Republic and featured on CNN. She lives in Bellingham, Washington. 06 Own website https://www.susantonetta.com/ 3 B06 Eva Lipton Eva Lipton German-American writer and translator Eva Lipton has worked in the arts in Germany and the United States most of her life. She has translated everything from Wagner’s libretto of Das Liebesverbot (The Prohibition of Love), to more than one hundred Lufthansa Classical Selections moderations, as well as liner notes for contemporary music productions and more. Lipton’s translation of Nancy Naomi Carlson’s villanelle “Bystander” into German was just released as part of New Voices: Contemporary Writers Confronting the Holocaust. Lipton currently lives in New Mexico. 4 A23 Hans Krieger Hans Krieger 01 eng 02 ger 00 274 03 B2 Autotheory 10 MED105000 93 MKL 12 MMH 12 BGTA 10 BIO017000 93 DNBT1 B2 Languages+Translations 10 MED102000 12 MJCG1 93 MKLD B2 Neurodiverse+Crip 93 3MPBGJ-DE-H 20 neurodiversity; psychosis; psychiatry; patient activism; Nazi Germany; antipsychiatry movement 01 06 02 00 03 00 In 1936, at age nineteen, Dorothea Buck followed the trail of a star along the mudflats of her North Sea home, Wangerooge Island. Hospitalized at a Christian institution called Bethel, she was sterilized under Nazi law upon a diagnosis of schizophrenia.Buck lost her lifelong dream of becoming a teacher—the sterilized could not get a college degree. Instead, she became an artist and activist. Buck, who lived to the age of 102, fought throughout her life for psychiatric reform. She created her own form of psychiatric treatment, which she called “trialogue,” in which psychosis experiencers, family, and clinicians join together to examine the experience of psychosis. Trialogue seminars still take place today.Buck also demanded recognition of the Nazi murders of the disabled and the mentally ill. Many of these victims were psychiatric patients gassed in chambers built into six of Germany’s asylums. In 2008, Buck told an audience commemorating these murders that there must be “no second-class victims” of Nazi rule.Biologically based psychiatry, Buck believed, would always reduce a condition like hers to something “genetically caused, meaningless, and incurable.” Like fellow German Paul Schreber’s Memoirs, Buck’s On the Trail of the Morning Star calls for a radical rethinking of what it means to live with and in psychosis. This publication is the first time one of her major writings appears in English. 30 00 In 1936, at age nineteen, Dorothea Buck followed the trail of a star along the mudflats of her North Sea home, Wangerooge Island. Hospitalized at a Christian institution called Bethel, she was sterilized under Nazi law upon a diagnosis of schizophrenia.Buck lost her lifelong dream of becoming a teacher—the sterilized could not get a college degree. Instead, she became an artist and activist. Buck, who lived to the age of 102, fought throughout her life for psychiatric reform. She created her own form of psychiatric treatment, which she called “trialogue,” in which psychosis experiencers, family, and clinicians join together to examine the experience of psychosis. Trialogue seminars still take place today.Buck also demanded recognition of the Nazi murders of the disabled and the mentally ill. Many of these victims were psychiatric patients gassed in chambers built into six of Germany’s asylums. In 2008, Buck told an audience commemorating these murders that there must be “no second-class victims” of Nazi rule.Biologically based psychiatry, Buck believed, would always reduce a condition like hers to something “genetically caused, meaningless, and incurable.” Like fellow German Paul Schreber’s Memoirs, Buck’s On the Trail of the Morning Star calls for a radical rethinking of what it means to live with and in psychosis. This publication is the first time one of her major writings appears in English. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0462.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/on-the-trail-of-the-morning-star-psychosis-as-self-discovery/ Earth, Milky Way 04 01 20240515 Fritz Bremer 02 WORLD 06 15 9781685711535 03 9781685711535 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711529 20 08 20240515 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/on-the-trail-of-the-morning-star-psychosis-as-self-discovery-foreword-byhanskriegerhans-kriegerfalse 20 08 20240515 02 24.00 USD WORLD urn:uuid:56f2cf8d-eaea-45de-82b4-ae7973f0c573 03 01 01 thoth-work-id urn:uuid:f1badc5e-5363-45e7-8577-845a32ea340c 01 thoth-publication-id urn:uuid:56f2cf8d-eaea-45de-82b4-ae7973f0c573 15 9781685711535 03 9781685711535 06 10.53288/0462.1.00 13 2024937652 01 internal-reference 0462 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 On the Trail of the Morning Star Psychosis as Self-Discovery 1 A01 Dorothea Buck Dorothea Buck Dorothea Buck (1917–2019) was a German sculpturer and advocate for the rights of people with disabilities. Buck's own experiences with mental illness, including a diagnosis of schizophrenia, gave her a unique perspective and insight into the struggles faced by those with mental health conditions. She taught art and handicraft at the Technical College for Social Pedagogy in Hamburg from 1969–1982. Since 1970, she was active in the self-help movement, co-founding in 1992 the German Bundesverband Psychiatrie-Erfahrener (BPE; Federal Association of [ex-]Users and Survivors of Psychiatry), becoming Honorary Chair until her death. In 1989, she co-founded the "Psychosis-seminars". She has given countless lectures in Germany and abroad and contributions in specialised journals and anthologies. Her writing includes her acclaimed memoir On the Trail of the Morning Star: Psychosis as Self-Discovery as well as numerous essays and articles. 2 B01 Susanne Antonetta Susanne Antonetta Susanne Antonetta writes and speaks about neuro-difference, science, and the environment for academic and general audiences. She was recently a subject of a Canadian Broadcasting Corporation’s Ideas radio documentary, “Gifts from the Gods.” Her newest book is The Terrible Unlikelihood of Our Being Here. Forthcoming is The Devil's Castle. She is also the author of Entangled Objects, Make Me a Mother, Curious Atoms: A History with Physics, Body Toxic, A Mind Apart, and four books of poetry. Awards for her writing include a New York Times Notable Book, an American Book Award, a Library Journal Best Science book of the year, an Oprah Bookshelf listing, and others. Her essays and poems have appeared in The New York Times, Ms., The Huffington Post, The UK Independent, The Hill, Orion, The New Republic and featured on CNN. She lives in Bellingham, Washington. 06 Own website https://www.susantonetta.com/ 3 B06 Eva Lipton Eva Lipton German-American writer and translator Eva Lipton has worked in the arts in Germany and the United States most of her life. She has translated everything from Wagner’s libretto of Das Liebesverbot (The Prohibition of Love), to more than one hundred Lufthansa Classical Selections moderations, as well as liner notes for contemporary music productions and more. Lipton’s translation of Nancy Naomi Carlson’s villanelle “Bystander” into German was just released as part of New Voices: Contemporary Writers Confronting the Holocaust. Lipton currently lives in New Mexico. 4 A23 Hans Krieger Hans Krieger 01 eng 02 ger 00 274 03 B2 Autotheory 10 MED105000 93 MKL 12 MMH 12 BGTA 10 BIO017000 93 DNBT1 B2 Languages+Translations 10 MED102000 12 MJCG1 93 MKLD B2 Neurodiverse+Crip 93 3MPBGJ-DE-H 20 neurodiversity; psychosis; psychiatry; patient activism; Nazi Germany; antipsychiatry movement 01 06 02 00 03 00 In 1936, at age nineteen, Dorothea Buck followed the trail of a star along the mudflats of her North Sea home, Wangerooge Island. Hospitalized at a Christian institution called Bethel, she was sterilized under Nazi law upon a diagnosis of schizophrenia.Buck lost her lifelong dream of becoming a teacher—the sterilized could not get a college degree. Instead, she became an artist and activist. Buck, who lived to the age of 102, fought throughout her life for psychiatric reform. She created her own form of psychiatric treatment, which she called “trialogue,” in which psychosis experiencers, family, and clinicians join together to examine the experience of psychosis. Trialogue seminars still take place today.Buck also demanded recognition of the Nazi murders of the disabled and the mentally ill. Many of these victims were psychiatric patients gassed in chambers built into six of Germany’s asylums. In 2008, Buck told an audience commemorating these murders that there must be “no second-class victims” of Nazi rule.Biologically based psychiatry, Buck believed, would always reduce a condition like hers to something “genetically caused, meaningless, and incurable.” Like fellow German Paul Schreber’s Memoirs, Buck’s On the Trail of the Morning Star calls for a radical rethinking of what it means to live with and in psychosis. This publication is the first time one of her major writings appears in English. 30 00 In 1936, at age nineteen, Dorothea Buck followed the trail of a star along the mudflats of her North Sea home, Wangerooge Island. Hospitalized at a Christian institution called Bethel, she was sterilized under Nazi law upon a diagnosis of schizophrenia.Buck lost her lifelong dream of becoming a teacher—the sterilized could not get a college degree. Instead, she became an artist and activist. Buck, who lived to the age of 102, fought throughout her life for psychiatric reform. She created her own form of psychiatric treatment, which she called “trialogue,” in which psychosis experiencers, family, and clinicians join together to examine the experience of psychosis. Trialogue seminars still take place today.Buck also demanded recognition of the Nazi murders of the disabled and the mentally ill. Many of these victims were psychiatric patients gassed in chambers built into six of Germany’s asylums. In 2008, Buck told an audience commemorating these murders that there must be “no second-class victims” of Nazi rule.Biologically based psychiatry, Buck believed, would always reduce a condition like hers to something “genetically caused, meaningless, and incurable.” Like fellow German Paul Schreber’s Memoirs, Buck’s On the Trail of the Morning Star calls for a radical rethinking of what it means to live with and in psychosis. This publication is the first time one of her major writings appears in English. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0462.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/on-the-trail-of-the-morning-star-psychosis-as-self-discovery/ Earth, Milky Way 04 01 20240515 Fritz Bremer 02 WORLD 06 15 9781685711528 03 9781685711528 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/90254 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/90254/0462.1.00.pdf?sequence=1&isAllowed=y 20 08 20240515 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/138052 20 08 20240515 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626764 20 08 20240515 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/845 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/62cae095-77ef-44d2-9253-bf5295683c38/download 20 08 20240515 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f1badc5e-5363-45e7-8577-845a32ea340c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f1badc5e-5363-45e7-8577-845a32ea340c/f1badc5e-5363-45e7-8577-845a32ea340c.pdf 20 08 20240515 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850344 29 ZENODO: download the title https://zenodo.org/records/19850344/files/f1badc5e-5363-45e7-8577-845a32ea340c_book.pdf 20 08 20240515 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/on-the-trail-of-the-morning-star-psychosis-as-self-discovery/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0462.1.00.pdf 20 08 20240515 01 urn:uuid:9c6b6dbc-bedb-4998-b9f0-22b2282e8a54 03 01 01 thoth-work-id urn:uuid:cc8054da-bbe4-4baa-b904-3c7a00eb1eb3 01 thoth-publication-id urn:uuid:9c6b6dbc-bedb-4998-b9f0-22b2282e8a54 15 9781685712822 03 9781685712822 06 10.53288/0545.1.00 13 2025942125 01 internal-reference 0545 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in 03 11 mm 03 1.1 cm 03 0.44 in 08 439 gr 08 15.5 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ontohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part III Metahistories of Movement: Philosophies in Becoming 1 A01 Jaym*/Jaime del Val Jaym*/Jaime del Val Jaym*/Jaime del Val (or Jay Val, or Valjayk) is an artist-philosopher-activist, ontohacker-metaformer, and promoter of Metabody and Reverso. Since 2001, Del Val has been developing transdisciplinary projects at the fluid nexus of the convergence of the arts (performance, dance, media arts, visual arts, music, architecture), old and new technologies, and philosophy and activism. These projects have been presented in more than thirty countries on four continents, in many prestigious institutions (universities, festivals, museums), as well as in streets, refugee camps, squats, and jungles. A referent in postqueer metahumanism, Del Val has published over 120 essays, edited several journals, and organized over sixty international forums and conferences. As a queer and environmental activist, Del Val has led international initiatives. As a musician, they have recorded thirteen albums, and have also exhibited work as a visual artist. Del Val is neurodiverse, mestiza, non-binary microsexual, vegan, and trans-species, neither human nor cyborg, neither man nor woman, and is not on Facebook. After years traveling and living in cities, Del Val is now partly retiring with hir trans-species family to rural environments and nomadic living, developing technēs for Planetary Health, in preparation for becoming a naked gatherer in a forest, dancing until death arrives. 01 eng 00 192 03 B2 Art+Aesthetics 10 PHI013000 93 QDTJ 93 ATQ 10 PHI015000 B2 Philosophy 10 ART060000 93 ATN B2 Posthumanism 93 WBJK 93 UBJ 93 5PTG 20 algorithms; chaosmology; metaformance; metabodies; metahumanism; planetary holocaust; proprioceptive swarm; radical movement philosophy; veganism; trash-humanism 01 06 02 00 03 00 Part III provides is a critical history of (movement) philosophies, exposing the rise of the mechanistic vision as dominant anomaly emerging from a variety of other older proposals which have continued to exist in the background, returning more strongly since the 19th century, while exposing the limitations of recent attempts to free movement from the metaphysical tradition, which the book associates to the rise of human supremacism and its associated mass extinction cycle. The book proposes that movement is the core hidden motif of philosophy and diagnoses philosophies following a metaphilosophical and metaformative methodology that considers the perceptual–kinetic frames and biases underlying them. It is both a sketch for future expansion and an appendix to the previous two volumes, which grounds RMP in a critical revision of the literature, exposing the differences, while undoing some errors, and rescuing philosophies like that of many Presocratics from the misreading stemming from Aristotle. Hereby a shift from philosophia to philokinesia is proposed, toward a thinking of the body in motion, reversing philosophy from a tool of human supremacism to an undoing of it and a regeneration of movement diversification – and with it life – in the Biosphere. 30 00 Part III provides is a critical history of (movement) philosophies, exposing the rise of the mechanistic vision as dominant anomaly emerging from a variety of other older proposals which have continued to exist in the background, returning more strongly since the 19th century, while exposing the limitations of recent attempts to free movement from the metaphysical tradition, which the book associates to the rise of human supremacism and its associated mass extinction cycle. The book proposes that movement is the core hidden motif of philosophy and diagnoses philosophies following a metaphilosophical and metaformative methodology that considers the perceptual–kinetic frames and biases underlying them. It is both a sketch for future expansion and an appendix to the previous two volumes, which grounds RMP in a critical revision of the literature, exposing the differences, while undoing some errors, and rescuing philosophies like that of many Presocratics from the misreading stemming from Aristotle. Hereby a shift from philosophia to philokinesia is proposed, toward a thinking of the body in motion, reversing philosophy from a tool of human supremacism to an undoing of it and a regeneration of movement diversification – and with it life – in the Biosphere. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0545.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-iii-metahistories-of-movement-philosophies-in-becoming/ Earth, Milky Way 04 01 20251024 Jaym*/Jaime del Val 02 WORLD 06 15 9781685712839 03 9781685712839 34 06 10.3366/drt.2010.0206 34 06 10.25911/5d78da14735de 34 06 10.1215/00182702-32-2-381 34 06 10.1215/10418385-4382983 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712827 20 08 20251024 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-iii-metahistories-of-movement-philosophies-in-becoming-jaymjaime-del-val 20 08 20251024 02 24.00 USD WORLD urn:uuid:121f71e1-2625-4cf8-948b-ee56067a59d3 03 01 01 thoth-work-id urn:uuid:cc8054da-bbe4-4baa-b904-3c7a00eb1eb3 01 thoth-publication-id urn:uuid:121f71e1-2625-4cf8-948b-ee56067a59d3 15 9781685712839 03 9781685712839 06 10.53288/0545.1.00 13 2025942125 01 internal-reference 0545 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ontohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part III Metahistories of Movement: Philosophies in Becoming 1 A01 Jaym*/Jaime del Val Jaym*/Jaime del Val Jaym*/Jaime del Val (or Jay Val, or Valjayk) is an artist-philosopher-activist, ontohacker-metaformer, and promoter of Metabody and Reverso. Since 2001, Del Val has been developing transdisciplinary projects at the fluid nexus of the convergence of the arts (performance, dance, media arts, visual arts, music, architecture), old and new technologies, and philosophy and activism. These projects have been presented in more than thirty countries on four continents, in many prestigious institutions (universities, festivals, museums), as well as in streets, refugee camps, squats, and jungles. A referent in postqueer metahumanism, Del Val has published over 120 essays, edited several journals, and organized over sixty international forums and conferences. As a queer and environmental activist, Del Val has led international initiatives. As a musician, they have recorded thirteen albums, and have also exhibited work as a visual artist. Del Val is neurodiverse, mestiza, non-binary microsexual, vegan, and trans-species, neither human nor cyborg, neither man nor woman, and is not on Facebook. After years traveling and living in cities, Del Val is now partly retiring with hir trans-species family to rural environments and nomadic living, developing technēs for Planetary Health, in preparation for becoming a naked gatherer in a forest, dancing until death arrives. 01 eng 00 192 03 B2 Art+Aesthetics 10 PHI013000 93 QDTJ 93 ATQ 10 PHI015000 B2 Philosophy 10 ART060000 93 ATN B2 Posthumanism 93 WBJK 93 UBJ 93 5PTG 20 algorithms; chaosmology; metaformance; metabodies; metahumanism; planetary holocaust; proprioceptive swarm; radical movement philosophy; veganism; trash-humanism 01 06 02 00 03 00 Part III provides is a critical history of (movement) philosophies, exposing the rise of the mechanistic vision as dominant anomaly emerging from a variety of other older proposals which have continued to exist in the background, returning more strongly since the 19th century, while exposing the limitations of recent attempts to free movement from the metaphysical tradition, which the book associates to the rise of human supremacism and its associated mass extinction cycle. The book proposes that movement is the core hidden motif of philosophy and diagnoses philosophies following a metaphilosophical and metaformative methodology that considers the perceptual–kinetic frames and biases underlying them. It is both a sketch for future expansion and an appendix to the previous two volumes, which grounds RMP in a critical revision of the literature, exposing the differences, while undoing some errors, and rescuing philosophies like that of many Presocratics from the misreading stemming from Aristotle. Hereby a shift from philosophia to philokinesia is proposed, toward a thinking of the body in motion, reversing philosophy from a tool of human supremacism to an undoing of it and a regeneration of movement diversification – and with it life – in the Biosphere. 30 00 Part III provides is a critical history of (movement) philosophies, exposing the rise of the mechanistic vision as dominant anomaly emerging from a variety of other older proposals which have continued to exist in the background, returning more strongly since the 19th century, while exposing the limitations of recent attempts to free movement from the metaphysical tradition, which the book associates to the rise of human supremacism and its associated mass extinction cycle. The book proposes that movement is the core hidden motif of philosophy and diagnoses philosophies following a metaphilosophical and metaformative methodology that considers the perceptual–kinetic frames and biases underlying them. It is both a sketch for future expansion and an appendix to the previous two volumes, which grounds RMP in a critical revision of the literature, exposing the differences, while undoing some errors, and rescuing philosophies like that of many Presocratics from the misreading stemming from Aristotle. Hereby a shift from philosophia to philokinesia is proposed, toward a thinking of the body in motion, reversing philosophy from a tool of human supremacism to an undoing of it and a regeneration of movement diversification – and with it life – in the Biosphere. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0545.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-iii-metahistories-of-movement-philosophies-in-becoming/ Earth, Milky Way 04 01 20251024 Jaym*/Jaime del Val 02 WORLD 06 15 9781685712822 03 9781685712822 34 06 10.3366/drt.2010.0206 34 06 10.25911/5d78da14735de 34 06 10.1215/00182702-32-2-381 34 06 10.1215/10418385-4382983 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/108100 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/108100/9781685712839.pdf?sequence=1&isAllowed=y 20 08 20251024 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/920 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c0c1c946-2221-43e8-ae62-e8ba6bbf91c2/download 20 08 20251024 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cc8054da-bbe4-4baa-b904-3c7a00eb1eb3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cc8054da-bbe4-4baa-b904-3c7a00eb1eb3/cc8054da-bbe4-4baa-b904-3c7a00eb1eb3.pdf 20 08 20251024 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851399 29 ZENODO: download the title https://zenodo.org/records/19851399/files/cc8054da-bbe4-4baa-b904-3c7a00eb1eb3_book.pdf 20 08 20251024 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-iii-metahistories-of-movement-philosophies-in-becoming/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0545.1.00.pdf 20 08 20251024 01 urn:uuid:f2cba2bc-bd92-4dbb-b9d4-979a12a398d1 03 01 01 thoth-work-id urn:uuid:9f8561a5-c847-49df-8d3f-0b0b1220e753 01 thoth-publication-id urn:uuid:f2cba2bc-bd92-4dbb-b9d4-979a12a398d1 15 9781685712686 03 9781685712686 06 10.53288/0544.1.00 13 2025935332 01 internal-reference 0544 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in 03 34 mm 03 3.4 cm 03 1.32 in 08 1234 gr 08 43.52 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ontohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part II R/evolution Technologies 1 A01 Jaym*/Jaime del Val Jaym*/Jaime del Val Jaym*/Jaime del Val (or Jay Val, or Valjayk) is an artist-philosopher-activist, ontohacker-metaformer, and promoter of Metabody and Reverso. Since 2001, Del Val has been developing transdisciplinary projects at the fluid nexus of the convergence of the arts (performance, dance, media arts, visual arts, music, architecture), old and new technologies, and philosophy and activism. These projects have been presented in more than thirty countries on four continents, in many prestigious institutions (universities, festivals, museums), as well as in streets, refugee camps, squats, and jungles. A referent in postqueer metahumanism, Del Val has published over 120 essays, edited several journals, and organized over sixty international forums and conferences. As a queer and environmental activist, Del Val has led international initiatives. As a musician, they have recorded thirteen albums, and have also exhibited work as a visual artist. Del Val is neurodiverse, mestiza, non-binary microsexual, vegan, and trans-species, neither human nor cyborg, neither man nor woman, and is not on Facebook. After years traveling and living in cities, Del Val is now partly retiring with hir trans-species family to rural environments and nomadic living, developing technēs for Planetary Health, in preparation for becoming a naked gatherer in a forest, dancing until death arrives. 01 eng 00 582 03 B2 Art+Aesthetics 10 PHI013000 93 QDTJ 93 ATQ 10 PHI015000 B2 Philosophy 10 ART060000 93 ATN B2 Posthumanism 93 WBJK 93 UBJ 93 5PTG 20 algorithms; chaosmology; metaformance; metabodies; metahumanism; planetary holocaust; proprioceptive swarm; radical movement philosophy; trash-humanism; veganism 01 06 02 00 03 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields, including the inorganic. Our worlds are made of endless such entangled fields n-folding in neverending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist supremacist pedestals, undoing our dependency upon unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I), a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part II, subtitled R/evolution Technologies, includes Books 4, 5, and 6 and is by far the longest volume, elaborating in depth the book’s proposals in a triple movement. It first exposes the technologies of variation in nature (Book 4), followed by the technologies of reduction in the Algoricene (Book 5), and finally the possibilities for overcoming the reductive fold (Book 6). Book 4 proposes a swarming chaosmology as theory of orgiastic evolution, culminating in the concept of metabiosis: life as indeterminate, symbiotic mutation. Book 5 diagnoses the regimes that have formatted movement and presents the theory of the Algoricene, or Age of Extinctions and Algorithms. It exposes a kinetic ontology, genealogy, and dynamics of power. An interlude discusses post-, trans-, and metahumanism, and a second part of the book unfolds a radical critique of the Planetary Holocaust. Book 6 unfolds metaformance aesthetics and metahuman politics, including the theory of metaformativity, the ontohacking pragmatics, and a choral Dionysian ontology, where the author also discusses at length hir own techniques and art projects, involving a radical challenge to human supremacism to face the extinction challenge now threatening all life on Earth, toward an Earth liberation and regeneration. 30 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields, including the inorganic. Our worlds are made of endless such entangled fields n-folding in neverending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist supremacist pedestals, undoing our dependency upon unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I), a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part II, subtitled R/evolution Technologies, includes Books 4, 5, and 6 and is by far the longest volume, elaborating in depth the book’s proposals in a triple movement. It first exposes the technologies of variation in nature (Book 4), followed by the technologies of reduction in the Algoricene (Book 5), and finally the possibilities for overcoming the reductive fold (Book 6). Book 4 proposes a swarming chaosmology as theory of orgiastic evolution, culminating in the concept of metabiosis: life as indeterminate, symbiotic mutation. Book 5 diagnoses the regimes that have formatted movement and presents the theory of the Algoricene, or Age of Extinctions and Algorithms. It exposes a kinetic ontology, genealogy, and dynamics of power. An interlude discusses post-, trans-, and metahumanism, and a second part of the book unfolds a radical critique of the Planetary Holocaust. Book 6 unfolds metaformance aesthetics and metahuman politics, including the theory of metaformativity, the ontohacking pragmatics, and a choral Dionysian ontology, where the author also discusses at length hir own techniques and art projects, involving a radical challenge to human supremacism to face the extinction challenge now threatening all life on Earth, toward an Earth liberation and regeneration. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0544.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-ii-r-evolution-technologies/ 16 40 019w4f821 European Union 01 programname Culture Programme Earth, Milky Way 04 01 20250527 Jaime del Val 02 WORLD 06 15 9781685712693 03 9781685712693 34 06 10.1017/S0003598X0008368X 34 06 10.1111/gcb.15109 34 06 10.1177/1527476414541552 34 06 10.3390/en10101470 34 06 10.1086/345321 34 06 10.3366/drt.2010.0206 34 06 10.1073/pnas.171184211 34 06 10.1017/S0009838800012167 34 06 10.7189/jogh.13.03011 34 06 10.1386/padm.5.2-3.155/1 34 06 10.1073/pnas.1809600115 34 06 10.1038/s41586-023-06319-7 34 06 10.1126/science.aal2011 34 06 10.1016/j.scitotenv.2022.157166 34 06 10.1386/padm.2.2.187_1 34 06 10.26262/gramma.v17i0.6385 34 06 10.1162/LEON_a_01521 34 06 10.1007/978-3-030-39755-5_6 34 06 10.33182/jp.v1i1.1447 34 06 10.33182/joph.v2i1.1876 34 06 10.33182/joph.v3i2.3097 34 06 10.33182/joph.v3i2.3096 34 06 10.1038/srep35985 34 06 10.1126/sciadv.abb2824 34 06 10.1023/A:1010793021451 34 06 10.1038/s41586-020-3010-5 34 06 10.1080/10282580.2016.1168257 34 06 10.3828/hgr.2015.5 34 06 10.1017/S0959774317000865 34 06 10.5210/fm.v29i4.13636 34 06 10.1146/annurev.psych.55.090902.141429 34 06 10.34892/4Q5V-GF37 34 06 10.1016/j.futures.2019.102488 34 06 10.1371/journal.pone.0285945 34 06 10.1521/soco.2009.27.6.949 34 06 10.1002/fee.2536 34 06 10.1038/s41597-020-0530-7 34 06 10.1038/nrmicro2405 34 06 10.1093/acprof:oso/9780199242399.003.0003 34 06 10.1126/science.aao5646 34 06 10.2307/3177959 34 06 10.1080/0969725X.2020.1790831 34 06 10.1007/s10816-006-9022-0 34 06 10.1038/s43247-021-00273-w 34 06 10.1016/j.cortex.2008.06.011 34 06 10.33182/joph.v3i2.3089 34 06 10.1177/205395171667967 34 06 10.1111/j.1467-954X.1999.tb03483.x 34 06 10.1017/awf.2023.4 34 06 10.1017/awf.2024.7 34 06 10.1371/journal.pbio.1001127 34 06 10.3390/philosophies8060103 34 06 10.1215/10418385-4382983 34 06 10.1073/pnas.0800375105 34 06 10.1111/ede.12013 34 06 10.1073/pnas.220406697 34 06 10.1038/s41586-023-06406-9 34 06 10.1021/acs.est.1c04158 34 06 10.1525/aa.1993.95.4.02a00050 34 06 10.1016/S2542-5196(21)00031-0 34 06 10.3389/ffgc.2021.626635 34 06 10.1038/s43016-021-00429-z 34 06 10.1111/gcb.15109 34 06 10.1093/biosci/bix125 34 06 10.1038/461472a 34 06 10.3389/fmolb.2019.00127 34 06 10.1080/17411912.2019.1683875 34 06 10.2307/20041818 34 06 10.33182/joph.v3i2.3020 34 06 10.1038/srep00521 34 06 10.1002/j.1538-7305.1948.tb01338.x 34 06 10.2307/4021093 34 06 10.25643/bauhaus-universitaet.1237 34 06 10.1073/pnas.1523119113 34 06 10.1016/S2542-5196(18)30206-7 34 06 10.1126/science.1259855 34 06 10.4324/9780203983676 34 06 10.1353/cul.2003.0029 34 06 10.7717/peerj.9271 34 06 10.1038/s41586-021-03828-1 34 06 10.1038/s41586-022-05620-1 34 06 10.1016/S0140-6736(15)60901-1 34 06 10.1016/S0140-6736(18)31788-4 34 06 10.1111/j.1467-9280.2008.02253.x 34 06 10.3366/edinburgh/9781474421775.003.0003 34 06 10.1073/pnas.1009181107 34 06 10.3389/fnmol.2017.00366 34 06 10.1007/s10071-016-1064-4 34 06 10.1007/s10531-015-0940-6 34 06 10.1093/oxfordhb/9780198871712.013.22 34 06 10.1038/nature24662 34 06 10.1111/ojoa.12228 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712681 20 08 20250527 02 35.00 USD WORLD urn:uuid:9495bc0c-b97f-4873-961e-4c8ad8658d6d 03 01 01 thoth-work-id urn:uuid:9f8561a5-c847-49df-8d3f-0b0b1220e753 01 thoth-publication-id urn:uuid:9495bc0c-b97f-4873-961e-4c8ad8658d6d 15 9781685712693 03 9781685712693 06 10.53288/0544.1.00 13 2025935332 01 internal-reference 0544 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ontohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part II R/evolution Technologies 1 A01 Jaym*/Jaime del Val Jaym*/Jaime del Val Jaym*/Jaime del Val (or Jay Val, or Valjayk) is an artist-philosopher-activist, ontohacker-metaformer, and promoter of Metabody and Reverso. Since 2001, Del Val has been developing transdisciplinary projects at the fluid nexus of the convergence of the arts (performance, dance, media arts, visual arts, music, architecture), old and new technologies, and philosophy and activism. These projects have been presented in more than thirty countries on four continents, in many prestigious institutions (universities, festivals, museums), as well as in streets, refugee camps, squats, and jungles. A referent in postqueer metahumanism, Del Val has published over 120 essays, edited several journals, and organized over sixty international forums and conferences. As a queer and environmental activist, Del Val has led international initiatives. As a musician, they have recorded thirteen albums, and have also exhibited work as a visual artist. Del Val is neurodiverse, mestiza, non-binary microsexual, vegan, and trans-species, neither human nor cyborg, neither man nor woman, and is not on Facebook. After years traveling and living in cities, Del Val is now partly retiring with hir trans-species family to rural environments and nomadic living, developing technēs for Planetary Health, in preparation for becoming a naked gatherer in a forest, dancing until death arrives. 01 eng 00 582 03 B2 Art+Aesthetics 10 PHI013000 93 QDTJ 93 ATQ 10 PHI015000 B2 Philosophy 10 ART060000 93 ATN B2 Posthumanism 93 WBJK 93 UBJ 93 5PTG 20 algorithms; chaosmology; metaformance; metabodies; metahumanism; planetary holocaust; proprioceptive swarm; radical movement philosophy; trash-humanism; veganism 01 06 02 00 03 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields, including the inorganic. Our worlds are made of endless such entangled fields n-folding in neverending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist supremacist pedestals, undoing our dependency upon unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I), a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part II, subtitled R/evolution Technologies, includes Books 4, 5, and 6 and is by far the longest volume, elaborating in depth the book’s proposals in a triple movement. It first exposes the technologies of variation in nature (Book 4), followed by the technologies of reduction in the Algoricene (Book 5), and finally the possibilities for overcoming the reductive fold (Book 6). Book 4 proposes a swarming chaosmology as theory of orgiastic evolution, culminating in the concept of metabiosis: life as indeterminate, symbiotic mutation. Book 5 diagnoses the regimes that have formatted movement and presents the theory of the Algoricene, or Age of Extinctions and Algorithms. It exposes a kinetic ontology, genealogy, and dynamics of power. An interlude discusses post-, trans-, and metahumanism, and a second part of the book unfolds a radical critique of the Planetary Holocaust. Book 6 unfolds metaformance aesthetics and metahuman politics, including the theory of metaformativity, the ontohacking pragmatics, and a choral Dionysian ontology, where the author also discusses at length hir own techniques and art projects, involving a radical challenge to human supremacism to face the extinction challenge now threatening all life on Earth, toward an Earth liberation and regeneration. 30 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields, including the inorganic. Our worlds are made of endless such entangled fields n-folding in neverending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist supremacist pedestals, undoing our dependency upon unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I), a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part II, subtitled R/evolution Technologies, includes Books 4, 5, and 6 and is by far the longest volume, elaborating in depth the book’s proposals in a triple movement. It first exposes the technologies of variation in nature (Book 4), followed by the technologies of reduction in the Algoricene (Book 5), and finally the possibilities for overcoming the reductive fold (Book 6). Book 4 proposes a swarming chaosmology as theory of orgiastic evolution, culminating in the concept of metabiosis: life as indeterminate, symbiotic mutation. Book 5 diagnoses the regimes that have formatted movement and presents the theory of the Algoricene, or Age of Extinctions and Algorithms. It exposes a kinetic ontology, genealogy, and dynamics of power. An interlude discusses post-, trans-, and metahumanism, and a second part of the book unfolds a radical critique of the Planetary Holocaust. Book 6 unfolds metaformance aesthetics and metahuman politics, including the theory of metaformativity, the ontohacking pragmatics, and a choral Dionysian ontology, where the author also discusses at length hir own techniques and art projects, involving a radical challenge to human supremacism to face the extinction challenge now threatening all life on Earth, toward an Earth liberation and regeneration. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0544.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-ii-r-evolution-technologies/ 16 40 019w4f821 European Union 01 programname Culture Programme Earth, Milky Way 04 01 20250527 Jaime del Val 02 WORLD 06 15 9781685712686 03 9781685712686 34 06 10.1017/S0003598X0008368X 34 06 10.1111/gcb.15109 34 06 10.1177/1527476414541552 34 06 10.3390/en10101470 34 06 10.1086/345321 34 06 10.3366/drt.2010.0206 34 06 10.1073/pnas.171184211 34 06 10.1017/S0009838800012167 34 06 10.7189/jogh.13.03011 34 06 10.1386/padm.5.2-3.155/1 34 06 10.1073/pnas.1809600115 34 06 10.1038/s41586-023-06319-7 34 06 10.1126/science.aal2011 34 06 10.1016/j.scitotenv.2022.157166 34 06 10.1386/padm.2.2.187_1 34 06 10.26262/gramma.v17i0.6385 34 06 10.1162/LEON_a_01521 34 06 10.1007/978-3-030-39755-5_6 34 06 10.33182/jp.v1i1.1447 34 06 10.33182/joph.v2i1.1876 34 06 10.33182/joph.v3i2.3097 34 06 10.33182/joph.v3i2.3096 34 06 10.1038/srep35985 34 06 10.1126/sciadv.abb2824 34 06 10.1023/A:1010793021451 34 06 10.1038/s41586-020-3010-5 34 06 10.1080/10282580.2016.1168257 34 06 10.3828/hgr.2015.5 34 06 10.1017/S0959774317000865 34 06 10.5210/fm.v29i4.13636 34 06 10.1146/annurev.psych.55.090902.141429 34 06 10.34892/4Q5V-GF37 34 06 10.1016/j.futures.2019.102488 34 06 10.1371/journal.pone.0285945 34 06 10.1521/soco.2009.27.6.949 34 06 10.1002/fee.2536 34 06 10.1038/s41597-020-0530-7 34 06 10.1038/nrmicro2405 34 06 10.1093/acprof:oso/9780199242399.003.0003 34 06 10.1126/science.aao5646 34 06 10.2307/3177959 34 06 10.1080/0969725X.2020.1790831 34 06 10.1007/s10816-006-9022-0 34 06 10.1038/s43247-021-00273-w 34 06 10.1016/j.cortex.2008.06.011 34 06 10.33182/joph.v3i2.3089 34 06 10.1177/205395171667967 34 06 10.1111/j.1467-954X.1999.tb03483.x 34 06 10.1017/awf.2023.4 34 06 10.1017/awf.2024.7 34 06 10.1371/journal.pbio.1001127 34 06 10.3390/philosophies8060103 34 06 10.1215/10418385-4382983 34 06 10.1073/pnas.0800375105 34 06 10.1111/ede.12013 34 06 10.1073/pnas.220406697 34 06 10.1038/s41586-023-06406-9 34 06 10.1021/acs.est.1c04158 34 06 10.1525/aa.1993.95.4.02a00050 34 06 10.1016/S2542-5196(21)00031-0 34 06 10.3389/ffgc.2021.626635 34 06 10.1038/s43016-021-00429-z 34 06 10.1111/gcb.15109 34 06 10.1093/biosci/bix125 34 06 10.1038/461472a 34 06 10.3389/fmolb.2019.00127 34 06 10.1080/17411912.2019.1683875 34 06 10.2307/20041818 34 06 10.33182/joph.v3i2.3020 34 06 10.1038/srep00521 34 06 10.1002/j.1538-7305.1948.tb01338.x 34 06 10.2307/4021093 34 06 10.25643/bauhaus-universitaet.1237 34 06 10.1073/pnas.1523119113 34 06 10.1016/S2542-5196(18)30206-7 34 06 10.1126/science.1259855 34 06 10.4324/9780203983676 34 06 10.1353/cul.2003.0029 34 06 10.7717/peerj.9271 34 06 10.1038/s41586-021-03828-1 34 06 10.1038/s41586-022-05620-1 34 06 10.1016/S0140-6736(15)60901-1 34 06 10.1016/S0140-6736(18)31788-4 34 06 10.1111/j.1467-9280.2008.02253.x 34 06 10.3366/edinburgh/9781474421775.003.0003 34 06 10.1073/pnas.1009181107 34 06 10.3389/fnmol.2017.00366 34 06 10.1007/s10071-016-1064-4 34 06 10.1007/s10531-015-0940-6 34 06 10.1093/oxfordhb/9780198871712.013.22 34 06 10.1038/nature24662 34 06 10.1111/ojoa.12228 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/103329 29 OAPEN: download the title 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https://zenodo.org/records/19851113/files/9f8561a5-c847-49df-8d3f-0b0b1220e753_book.pdf 20 08 20250527 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-ii-r-evolution-technologies/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0544.1.00.pdf 20 08 20250527 01 urn:uuid:ad65f212-70f8-41f3-b195-b3cb51460345 03 01 01 thoth-work-id urn:uuid:824e1b3c-5641-4545-a438-723f74bf4bf2 01 thoth-publication-id urn:uuid:ad65f212-70f8-41f3-b195-b3cb51460345 15 9781685710781 03 9781685710781 06 10.53288/0402.1.00 13 2024938555 01 internal-reference 0402 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ontohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part I Radical Movement Philosophy and the Body Intelligence R/evolution 1 A01 Jaym*/Jaime del Val Jaym*/Jaime del Val 01 eng 00 266 03 B2 Art+Aesthetics 12 HPJ 10 PHI013000 93 QDTJ 93 ATQ 12 HPM 10 PHI015000 B2 Philosophy 10 ART060000 93 ATN B2 Posthumanism 93 WBJK 93 UBJ 93 5PTG 20 algorithms; chaosmology; metaformance; metabodies; metahumanism; planetary holocaust; proprioceptive swarm; radical movement philosophy; trash-humanism; veganism 01 06 02 00 03 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields including the inorganic. Our worlds are made of endless such entangled fields n-folding in never ending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist suprematist pedestals, undoing our dependency from unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I); a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part I includes Books 1 to 3 out of 7. The preface sets the context of the book: the extinction crisis. Book 1 provides an introduction to the entire field of the book and metareflects on the book’s structure and process. Book 2 is a full treatise on proprioception, developing the theory of Body Intelligence and addressing core issues of cognition, perception, communication, and an ontological redefinition of the body as proprioceptive swarm. Book 3 develops all core concepts of Radical Movement Philosophy, unfolding into several sections, first introducing the fluctation, field, and swarm theory, secondly the core concepts of clinaos (indeterminacy), metabody (consistency), and intraduction (variation), coming together in the concept of enferance. Finally, another triad further unfolds the previous as rhythm (affect), orientation (desire), and contact (sex), closing with an orgiastic cosmo-ontology that opens the way to Part II. 30 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields including the inorganic. Our worlds are made of endless such entangled fields n-folding in never ending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist suprematist pedestals, undoing our dependency from unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I); a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part I includes Books 1 to 3 out of 7. The preface sets the context of the book: the extinction crisis. Book 1 provides an introduction to the entire field of the book and metareflects on the book’s structure and process. Book 2 is a full treatise on proprioception, developing the theory of Body Intelligence and addressing core issues of cognition, perception, communication, and an ontological redefinition of the body as proprioceptive swarm. Book 3 develops all core concepts of Radical Movement Philosophy, unfolding into several sections, first introducing the fluctation, field, and swarm theory, secondly the core concepts of clinaos (indeterminacy), metabody (consistency), and intraduction (variation), coming together in the concept of enferance. Finally, another triad further unfolds the previous as rhythm (affect), orientation (desire), and contact (sex), closing with an orgiastic cosmo-ontology that opens the way to Part II. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0402.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-algorithms/ Earth, Milky Way 04 01 20240516 Jaym*/Jaime del Val 02 WORLD 06 15 9781685710798 03 9781685710798 34 06 10.26262/gramma.v17i0.6385 34 06 10.9771/peri.v1i1.10153 34 06 10.1007/s10071-014-0761-0 34 06 10.1093/analys/58.1.7 34 06 10.1386/padm.2.2.187_1 34 06 10.1080/13528165.2014.935175 34 06 10.1162/LEON_a_01521 34 06 10.1007/978-3-030-39755-5_6 34 06 10.33182/jp.v1i1.1447 34 06 10.33182/joph.v2i1.1876 34 06 10.33182/joph.v3i2.3097 34 06 10.7238/artnodes.v0i28.384571 34 06 10.1002/j.2326-1951.1993.tb03081 34 06 10.1086/495316 34 06 10.1086/201401 34 06 10.5281/zenodo.P.4147317 34 06 10.1080/02604027.2020.1777834 34 06 10.1007/s00424-016-1852-3 34 06 10.1093/brain/106.3.623 34 06 10.7764/res.2018.43.7 34 06 10.1215/10418385-4382983 34 06 10.1007/978-3-540-27833-7_1 34 06 10.1002/j.1538-7305.1948.tb01338.x 34 06 10.1002/j.1538-7305.1948.tb00917.x 34 06 10.1016/j.nicl.2016.10.013 34 06 10.1007/s11245-017-9484-6 34 06 10.33182/joph.v3i2.2937 34 06 10.1016/S0166-4115(08)60964-4 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710786 20 08 20240516 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ontohackers-radical-movement-philosophy-in-the-age-of-extinctions-and-algorithms-part-i-radical-movement-philosophy-and-the-body-intelligence-revolution 20 08 20240516 02 26.00 USD WORLD urn:uuid:b946cdb2-17da-4454-9e45-c16cf1ffc13c 03 01 01 thoth-work-id urn:uuid:824e1b3c-5641-4545-a438-723f74bf4bf2 01 thoth-publication-id urn:uuid:b946cdb2-17da-4454-9e45-c16cf1ffc13c 15 9781685710798 03 9781685710798 06 10.53288/0402.1.00 13 2024938555 01 internal-reference 0402 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ontohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part I Radical Movement Philosophy and the Body Intelligence R/evolution 1 A01 Jaym*/Jaime del Val Jaym*/Jaime del Val 01 eng 00 266 03 B2 Art+Aesthetics 12 HPJ 10 PHI013000 93 QDTJ 93 ATQ 12 HPM 10 PHI015000 B2 Philosophy 10 ART060000 93 ATN B2 Posthumanism 93 WBJK 93 UBJ 93 5PTG 20 algorithms; chaosmology; metaformance; metabodies; metahumanism; planetary holocaust; proprioceptive swarm; radical movement philosophy; trash-humanism; veganism 01 06 02 00 03 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields including the inorganic. Our worlds are made of endless such entangled fields n-folding in never ending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist suprematist pedestals, undoing our dependency from unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I); a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part I includes Books 1 to 3 out of 7. The preface sets the context of the book: the extinction crisis. Book 1 provides an introduction to the entire field of the book and metareflects on the book’s structure and process. Book 2 is a full treatise on proprioception, developing the theory of Body Intelligence and addressing core issues of cognition, perception, communication, and an ontological redefinition of the body as proprioceptive swarm. Book 3 develops all core concepts of Radical Movement Philosophy, unfolding into several sections, first introducing the fluctation, field, and swarm theory, secondly the core concepts of clinaos (indeterminacy), metabody (consistency), and intraduction (variation), coming together in the concept of enferance. Finally, another triad further unfolds the previous as rhythm (affect), orientation (desire), and contact (sex), closing with an orgiastic cosmo-ontology that opens the way to Part II. 30 00 Ontohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields including the inorganic. Our worlds are made of endless such entangled fields n-folding in never ending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist suprematist pedestals, undoing our dependency from unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I); a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part I includes Books 1 to 3 out of 7. The preface sets the context of the book: the extinction crisis. Book 1 provides an introduction to the entire field of the book and metareflects on the book’s structure and process. Book 2 is a full treatise on proprioception, developing the theory of Body Intelligence and addressing core issues of cognition, perception, communication, and an ontological redefinition of the body as proprioceptive swarm. Book 3 develops all core concepts of Radical Movement Philosophy, unfolding into several sections, first introducing the fluctation, field, and swarm theory, secondly the core concepts of clinaos (indeterminacy), metabody (consistency), and intraduction (variation), coming together in the concept of enferance. Finally, another triad further unfolds the previous as rhythm (affect), orientation (desire), and contact (sex), closing with an orgiastic cosmo-ontology that opens the way to Part II. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0402.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-algorithms/ Earth, Milky Way 04 01 20240516 Jaym*/Jaime del Val 02 WORLD 06 15 9781685710781 03 9781685710781 34 06 10.26262/gramma.v17i0.6385 34 06 10.9771/peri.v1i1.10153 34 06 10.1007/s10071-014-0761-0 34 06 10.1093/analys/58.1.7 34 06 10.1386/padm.2.2.187_1 34 06 10.1080/13528165.2014.935175 34 06 10.1162/LEON_a_01521 34 06 10.1007/978-3-030-39755-5_6 34 06 10.33182/jp.v1i1.1447 34 06 10.33182/joph.v2i1.1876 34 06 10.33182/joph.v3i2.3097 34 06 10.7238/artnodes.v0i28.384571 34 06 10.1002/j.2326-1951.1993.tb03081 34 06 10.1086/495316 34 06 10.1086/201401 34 06 10.5281/zenodo.P.4147317 34 06 10.1080/02604027.2020.1777834 34 06 10.1007/s00424-016-1852-3 34 06 10.1093/brain/106.3.623 34 06 10.7764/res.2018.43.7 34 06 10.1215/10418385-4382983 34 06 10.1007/978-3-540-27833-7_1 34 06 10.1002/j.1538-7305.1948.tb01338.x 34 06 10.1002/j.1538-7305.1948.tb00917.x 34 06 10.1016/j.nicl.2016.10.013 34 06 10.1007/s11245-017-9484-6 34 06 10.33182/joph.v3i2.2937 34 06 10.1016/S0166-4115(08)60964-4 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/90253 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/90253/0402.1.00.pdf?sequence=1&isAllowed=y 20 08 20240516 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/138022 20 08 20240516 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626771 20 08 20240516 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/852 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5ea14e3c-1310-455d-865d-eb9459805ddb/download 20 08 20240516 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/824e1b3c-5641-4545-a438-723f74bf4bf2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/824e1b3c-5641-4545-a438-723f74bf4bf2/824e1b3c-5641-4545-a438-723f74bf4bf2.pdf 20 08 20240516 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850348 29 ZENODO: download the title https://zenodo.org/records/19850348/files/824e1b3c-5641-4545-a438-723f74bf4bf2_book.pdf 20 08 20240516 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ontohackers-radical-movement-philosophy-in-the-age-of-algorithms/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0402.1.00.pdf 20 08 20240516 01 urn:uuid:fa168242-a6bc-44ca-823e-b404569c3210 03 01 01 thoth-work-id urn:uuid:e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c 01 thoth-publication-id urn:uuid:fa168242-a6bc-44ca-823e-b404569c3210 15 9780615947686 03 9780615947686 06 10.21983/P3.0060.1.00 01 internal-reference 0060 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Ontological Anarché Beyond Materialism and Idealism 1 B01 Duane Rousselle Duane Rousselle 40 04g3mbv81 European Graduate School 2 B01 Jason Adams Jason Adams 40 001m1hv61 Grand Valley State University 01 eng 00 284 03 93 JPFB 12 JPWJ B2 New Left Thought 10 POL042010 93 QDTS 93 QDTJ 20 anarchy; materialism; ontology; philosophy; idealism 01 06 02 00 03 00 Radical theory has always been beset by the question of ontology, albeit to varying degrees and under differing conditions. In recent years, in particular, political metaphysics has returned with force: the rise of Deleuze-influenced “new materialisms,” along with post-/non-Deleuzian Speculative Realism (SR) and Object-Oriented Ontology (OOO), all bear testament to this. In this same period, anarchism has returned as a major influence on social movements and critical scholarship alike. What, then, are some of the potential resonances between these currents, particularly given that anarchism has so often been understood/misunderstood as a fundamentally idealist philosophy? This special issue of Anarchist Developments in Cultural Studies (Issue 2013.2) considers these questions in dialogue with the new materialisms, Speculative Realism, and Object-Oriented Ontology, in order to seek new points of departure. It is in this sense that ADCS also strives to play a critical role recent discussions in the wider political, cultural, and philosophical milieu. 30 00 Radical theory has always been beset by the question of ontology, albeit to varying degrees and under differing conditions. In recent years, in particular, political metaphysics has returned with force: the rise of Deleuze-influenced “new materialisms,” along with post-/non-Deleuzian Speculative Realism (SR) and Object-Oriented Ontology (OOO), all bear testament to this. In this same period, anarchism has returned as a major influence on social movements and critical scholarship alike. What, then, are some of the potential resonances between these currents, particularly given that anarchism has so often been understood/misunderstood as a fundamentally idealist philosophy? This special issue of Anarchist Developments in Cultural Studies (Issue 2013.2) considers these questions in dialogue with the new materialisms, Speculative Realism, and Object-Oriented Ontology, in order to seek new points of departure. It is in this sense that ADCS also strives to play a critical role recent discussions in the wider political, cultural, and philosophical milieu. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0060.1.00_frontcover.png 01 URL https://punctumbooks.com/imprint/anarchist-developments-in-cultural-studies/ Anarchist Developments in Cultural Studies 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontological-anarche-beyond-materialism-idealism/ Brooklyn, NY 04 01 20140124 Rousselle, Duane Adams, Jason 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615947689 20 08 20140124 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ontological-anarcha-beyond-materialism-and-idealism 20 08 20140124 02 25.00 USD WORLD urn:uuid:2a13c0e4-c339-4c92-9257-21bee0e20f4e 03 01 01 thoth-work-id urn:uuid:e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c 01 thoth-publication-id urn:uuid:2a13c0e4-c339-4c92-9257-21bee0e20f4e 06 10.21983/P3.0060.1.00 01 internal-reference 0060 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Ontological Anarché Beyond Materialism and Idealism 1 B01 Duane Rousselle Duane Rousselle 40 04g3mbv81 European Graduate School 2 B01 Jason Adams Jason Adams 40 001m1hv61 Grand Valley State University 01 eng 00 284 03 93 JPFB 12 JPWJ B2 New Left Thought 10 POL042010 93 QDTS 93 QDTJ 20 anarchy; materialism; ontology; philosophy; idealism 01 06 02 00 03 00 Radical theory has always been beset by the question of ontology, albeit to varying degrees and under differing conditions. In recent years, in particular, political metaphysics has returned with force: the rise of Deleuze-influenced “new materialisms,” along with post-/non-Deleuzian Speculative Realism (SR) and Object-Oriented Ontology (OOO), all bear testament to this. In this same period, anarchism has returned as a major influence on social movements and critical scholarship alike. What, then, are some of the potential resonances between these currents, particularly given that anarchism has so often been understood/misunderstood as a fundamentally idealist philosophy? This special issue of Anarchist Developments in Cultural Studies (Issue 2013.2) considers these questions in dialogue with the new materialisms, Speculative Realism, and Object-Oriented Ontology, in order to seek new points of departure. It is in this sense that ADCS also strives to play a critical role recent discussions in the wider political, cultural, and philosophical milieu. 30 00 Radical theory has always been beset by the question of ontology, albeit to varying degrees and under differing conditions. In recent years, in particular, political metaphysics has returned with force: the rise of Deleuze-influenced “new materialisms,” along with post-/non-Deleuzian Speculative Realism (SR) and Object-Oriented Ontology (OOO), all bear testament to this. In this same period, anarchism has returned as a major influence on social movements and critical scholarship alike. What, then, are some of the potential resonances between these currents, particularly given that anarchism has so often been understood/misunderstood as a fundamentally idealist philosophy? This special issue of Anarchist Developments in Cultural Studies (Issue 2013.2) considers these questions in dialogue with the new materialisms, Speculative Realism, and Object-Oriented Ontology, in order to seek new points of departure. It is in this sense that ADCS also strives to play a critical role recent discussions in the wider political, cultural, and philosophical milieu. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0060.1.00_frontcover.png 01 URL https://punctumbooks.com/imprint/anarchist-developments-in-cultural-studies/ Anarchist Developments in Cultural Studies 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ontological-anarche-beyond-materialism-idealism/ Brooklyn, NY 04 01 20140124 Rousselle, Duane Adams, Jason 02 WORLD 06 15 9780615947686 03 9780615947686 WORLD 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353880 20 08 20140124 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/442 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9d162075-e86e-4131-8b97-d94d790afb70/download 20 08 20140124 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c/e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c.pdf 20 08 20140124 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845911 29 ZENODO: download the title https://zenodo.org/records/19845911/files/e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c_book.pdf 20 08 20140124 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ontological-anarche-beyond-materialism-idealism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0060.1.00.pdf 20 08 20140124 01 urn:uuid:98ed447d-645c-4f72-ac8c-c5a3c903ce65 03 01 01 thoth-work-id urn:uuid:cd7c07af-840b-483b-af13-94320cb9aaaf 01 thoth-publication-id urn:uuid:98ed447d-645c-4f72-ac8c-c5a3c903ce65 15 9781685711382 03 9781685711382 06 10.53288/0454.1.00 13 2023939914 01 internal-reference 0454 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Open Book in Ways of Water 1 A01 21 0000000245610246 Adam Wolfond Adam Wolfond Adam Wolfond is an autistic poet and artist who uses a device to speak. He is the youngest poet to be published at poets.org and has exhibited his film and installation work in Toronto, Canada. He is the co-founder of dis assembly in Toronto, an arts collective which practices techniques for neurodiversity. Languaging is a way of movement, a continual disassembly, challenging the way of neurotypical grammars for more diversities to come. His work can be viewed at adamwolfond.com and dis-assembly.ca. His chapbooks of poetry In Way of Music Water Answers Toward Questions Other Than What is Autism and There Is Too Music in My Ears are published by Unrestricted Editions. His book The Wanting Way is published by Milkweed Editions’ Multiverse series. 06 Own website https://www.adamwolfond.com/ 2 A15 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 00 100 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 93 5PMH 10 FIC079000 12 MJNA B2 Neurodiverse+Crip B2 Thought Experiments 20 autism; neurodiversity; art; water; movement; language; ecoproprioception 01 06 02 00 03 00 In Open Book in Ways of Water, poet and artist Adam Wolfond explores the synaesthetic quality of autistic perception, the way in which water in its different materializations shapes and channels language. Building on notions such as “wetness,” “streams,” and “currents,” Wolfond constructs a linguistic universe in which writing and perception merge, move, and “pace to gether” – echoing both the togetherness of the senses and the gathering rhythms of water. Open Book in Ways of Water is as much a book of poetry and a book about poetry, a self-reflection in an endlessly moving and transforming element.As the author himself explains:Language is a way to understand each other but it is also reductive in the ways that it is abstracted and non-sensuous, and open writing as movement tends to be ignored as autistics are forced into neurotypical ways of seeing, and the thinking around artistic practices feels of a pace that intensifies the use of forms forming, and similarities with open processes are languaging the way of water, making language about artful relations with the more than human.Water is a game of ways and patterns that wave and ripple and can pull us under, the talk is about surfacing but languaging is about feeling, moving the ways that it makes are having variances moving the thresholds in thinking feeling of a rally that comes from cutting the grammars out and that is the way of perception that is cut by grammar and people need art to dance this dance of relation.A man of autism answers the ways of the body much of the time and that means my body rallies the artful atmospheres that are dancing me and the real feeling can dance the atmospheres as my body presence and pace shifts other bodies to be free. Having a ticcing body is making the dance about disorder but really it is about a different and diverse way of languaging with many feelings and bathing and immersing and I don’t have any other way. 30 00 In Open Book in Ways of Water, poet and artist Adam Wolfond explores the synaesthetic quality of autistic perception, the way in which water in its different materializations shapes and channels language. Building on notions such as “wetness,” “streams,” and “currents,” Wolfond constructs a linguistic universe in which writing and perception merge, move, and “pace to gether” – echoing both the togetherness of the senses and the gathering rhythms of water. Open Book in Ways of Water is as much a book of poetry and a book about poetry, a self-reflection in an endlessly moving and transforming element.As the author himself explains:Language is a way to understand each other but it is also reductive in the ways that it is abstracted and non-sensuous, and open writing as movement tends to be ignored as autistics are forced into neurotypical ways of seeing, and the thinking around artistic practices feels of a pace that intensifies the use of forms forming, and similarities with open processes are languaging the way of water, making language about artful relations with the more than human.Water is a game of ways and patterns that wave and ripple and can pull us under, the talk is about surfacing but languaging is about feeling, moving the ways that it makes are having variances moving the thresholds in thinking feeling of a rally that comes from cutting the grammars out and that is the way of perception that is cut by grammar and people need art to dance this dance of relation.A man of autism answers the ways of the body much of the time and that means my body rallies the artful atmospheres that are dancing me and the real feeling can dance the atmospheres as my body presence and pace shifts other bodies to be free. Having a ticcing body is making the dance about disorder but really it is about a different and diverse way of languaging with many feelings and bathing and immersing and I don’t have any other way. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0454.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/open-book-in-ways-of-water/ 16 40 00pyr0344 32 10.13039/501100000100 Toronto Arts Council Earth, Milky Way 04 01 20230714 Adam Wolfond 02 WORLD 06 15 9781685711399 03 9781685711399 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711383 20 08 20230714 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/open-book-in-ways-of-water 20 08 20230714 02 21.00 USD WORLD urn:uuid:492c9f77-3dfe-4c5e-8d90-ad76b480e2f7 03 01 01 thoth-work-id urn:uuid:cd7c07af-840b-483b-af13-94320cb9aaaf 01 thoth-publication-id urn:uuid:492c9f77-3dfe-4c5e-8d90-ad76b480e2f7 15 9781685711399 03 9781685711399 06 10.53288/0454.1.00 13 2023939914 01 internal-reference 0454 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Open Book in Ways of Water 1 A01 21 0000000245610246 Adam Wolfond Adam Wolfond Adam Wolfond is an autistic poet and artist who uses a device to speak. He is the youngest poet to be published at poets.org and has exhibited his film and installation work in Toronto, Canada. He is the co-founder of dis assembly in Toronto, an arts collective which practices techniques for neurodiversity. Languaging is a way of movement, a continual disassembly, challenging the way of neurotypical grammars for more diversities to come. His work can be viewed at adamwolfond.com and dis-assembly.ca. His chapbooks of poetry In Way of Music Water Answers Toward Questions Other Than What is Autism and There Is Too Music in My Ears are published by Unrestricted Editions. His book The Wanting Way is published by Milkweed Editions’ Multiverse series. 06 Own website https://www.adamwolfond.com/ 2 A15 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 00 100 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 93 5PMH 10 FIC079000 12 MJNA B2 Neurodiverse+Crip B2 Thought Experiments 20 autism; neurodiversity; art; water; movement; language; ecoproprioception 01 06 02 00 03 00 In Open Book in Ways of Water, poet and artist Adam Wolfond explores the synaesthetic quality of autistic perception, the way in which water in its different materializations shapes and channels language. Building on notions such as “wetness,” “streams,” and “currents,” Wolfond constructs a linguistic universe in which writing and perception merge, move, and “pace to gether” – echoing both the togetherness of the senses and the gathering rhythms of water. Open Book in Ways of Water is as much a book of poetry and a book about poetry, a self-reflection in an endlessly moving and transforming element.As the author himself explains:Language is a way to understand each other but it is also reductive in the ways that it is abstracted and non-sensuous, and open writing as movement tends to be ignored as autistics are forced into neurotypical ways of seeing, and the thinking around artistic practices feels of a pace that intensifies the use of forms forming, and similarities with open processes are languaging the way of water, making language about artful relations with the more than human.Water is a game of ways and patterns that wave and ripple and can pull us under, the talk is about surfacing but languaging is about feeling, moving the ways that it makes are having variances moving the thresholds in thinking feeling of a rally that comes from cutting the grammars out and that is the way of perception that is cut by grammar and people need art to dance this dance of relation.A man of autism answers the ways of the body much of the time and that means my body rallies the artful atmospheres that are dancing me and the real feeling can dance the atmospheres as my body presence and pace shifts other bodies to be free. Having a ticcing body is making the dance about disorder but really it is about a different and diverse way of languaging with many feelings and bathing and immersing and I don’t have any other way. 30 00 In Open Book in Ways of Water, poet and artist Adam Wolfond explores the synaesthetic quality of autistic perception, the way in which water in its different materializations shapes and channels language. Building on notions such as “wetness,” “streams,” and “currents,” Wolfond constructs a linguistic universe in which writing and perception merge, move, and “pace to gether” – echoing both the togetherness of the senses and the gathering rhythms of water. Open Book in Ways of Water is as much a book of poetry and a book about poetry, a self-reflection in an endlessly moving and transforming element.As the author himself explains:Language is a way to understand each other but it is also reductive in the ways that it is abstracted and non-sensuous, and open writing as movement tends to be ignored as autistics are forced into neurotypical ways of seeing, and the thinking around artistic practices feels of a pace that intensifies the use of forms forming, and similarities with open processes are languaging the way of water, making language about artful relations with the more than human.Water is a game of ways and patterns that wave and ripple and can pull us under, the talk is about surfacing but languaging is about feeling, moving the ways that it makes are having variances moving the thresholds in thinking feeling of a rally that comes from cutting the grammars out and that is the way of perception that is cut by grammar and people need art to dance this dance of relation.A man of autism answers the ways of the body much of the time and that means my body rallies the artful atmospheres that are dancing me and the real feeling can dance the atmospheres as my body presence and pace shifts other bodies to be free. Having a ticcing body is making the dance about disorder but really it is about a different and diverse way of languaging with many feelings and bathing and immersing and I don’t have any other way. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0454.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/open-book-in-ways-of-water/ 16 40 00pyr0344 32 10.13039/501100000100 Toronto Arts Council Earth, Milky Way 04 01 20230714 Adam Wolfond 02 WORLD 06 15 9781685711382 03 9781685711382 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/63897 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/63897/0454.1.00.pdf?sequence=1&isAllowed=y 20 08 20230714 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/101463 20 08 20230714 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.5938924 20 08 20230714 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/356 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/338e739c-f5dd-483f-83b8-aed736dcbf31/download 20 08 20230714 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cd7c07af-840b-483b-af13-94320cb9aaaf 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cd7c07af-840b-483b-af13-94320cb9aaaf/cd7c07af-840b-483b-af13-94320cb9aaaf.pdf 20 08 20230714 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849928 29 ZENODO: download the title https://zenodo.org/records/19849928/files/cd7c07af-840b-483b-af13-94320cb9aaaf_book.pdf 20 08 20230714 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/open-book-in-ways-of-water/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0454.1.00.pdf 20 08 20230714 01 urn:uuid:05ca5bb6-025f-4afb-8d6c-817663820a90 03 01 01 thoth-work-id urn:uuid:4a42f23b-5277-49b5-8310-c3c38ded5bf5 01 thoth-publication-id urn:uuid:05ca5bb6-025f-4afb-8d6c-817663820a90 15 9781947447837 03 9781947447837 06 10.21983/P3.0210.1.00 13 2018957173 01 internal-reference 0210 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Opioids Addiction, Narrative, Freedom 1 A01 Maia Dolphin-Krute Maia Dolphin-Krute 01 eng 00 190 03 B2 Autotheory 10 BIO017000 93 DNC 12 JFFH B2 Cultural Studies+Critical Theory 10 HEA036000 93 JBFN B2 Neurodiverse+Crip 20 addiction; opioid epidemic; ethnography; medicine; chronic illness 01 06 02 00 03 00 An epidemic is a feeling set within time as much as it is a matter of statistics and epidemiology: it is the feeling of many of us in the same desperate place at the same desperate time. Opioid epidemic thus names a present moment — at once historic and historical — centered on the substance of opioids as much as it names the urgency of all of us who are currently in proximity to these substances. What is the relationship between these historic and historical moments, the present moment, the history of pharmacological capitalism, and a set of repeated neurological activities, as well as human loss and desire, that has fueled the exponential rise in the rates of opioid use and abuse between 2000-2018?Opioids: Addiction, Narrative, Freedom is an auto-ethnography written from deep within—biologically within—this opioid epidemic. Tracing opioids around and through the bodies, governmental, and medical structures they are moving and being moved through, Opioids is an examination of what it means to live within an environment saturated with a substance of deep economic, political, neuroscientific, and pharmacological implications. From exploring media coverage of the epidemic and emerging medical narratives of addiction to detailing the legal inscription of differences between “pain patients” and people addicted to drugs, Opioids consistently asks: what is it like to live within an epidemic? What forms of freedom become possible when continually modulated by our physical experiences of the material proximities of an epidemic?How do you live with something for a long time 30 00 An epidemic is a feeling set within time as much as it is a matter of statistics and epidemiology: it is the feeling of many of us in the same desperate place at the same desperate time. Opioid epidemic thus names a present moment — at once historic and historical — centered on the substance of opioids as much as it names the urgency of all of us who are currently in proximity to these substances. What is the relationship between these historic and historical moments, the present moment, the history of pharmacological capitalism, and a set of repeated neurological activities, as well as human loss and desire, that has fueled the exponential rise in the rates of opioid use and abuse between 2000-2018?Opioids: Addiction, Narrative, Freedom is an auto-ethnography written from deep within—biologically within—this opioid epidemic. Tracing opioids around and through the bodies, governmental, and medical structures they are moving and being moved through, Opioids is an examination of what it means to live within an environment saturated with a substance of deep economic, political, neuroscientific, and pharmacological implications. From exploring media coverage of the epidemic and emerging medical narratives of addiction to detailing the legal inscription of differences between “pain patients” and people addicted to drugs, Opioids consistently asks: what is it like to live within an epidemic? What forms of freedom become possible when continually modulated by our physical experiences of the material proximities of an epidemic?How do you live with something for a long time 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0210.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/opioids-addiction-narrative-freedom/ Earth, Milky Way 04 01 20181005 Dolphin-Krute, Maia 02 WORLD 06 15 9781947447844 03 9781947447844 34 06 10.1002/embr.201338399 34 06 10.1039/B111551K 34 06 10.1038/nrn1705 34 06 10.1038/sj.bjp.0706435 34 06 10.2307/2930269 34 06 10.1136/bmj.g6380 34 06 10.1177/030437540703200303 34 06 10.1111/j.1526-4637.2011.01187.x 34 06 10.1177/009145090102800404 34 06 10.1001/jama.290.18.2470 34 06 10.2752/147800307X199074 34 06 10.1056/NEJMp1109084 34 06 10.1523/JNEUROSCI.3687-09.2009 34 06 10.1016/j.pmrj.2013.12.003 34 06 10.1001/jamapsychiatry.2014.366 34 06 10.1057/biosoc.2009.4 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447831 20 08 20181005 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/opioids-addiction-narrative-freedom 20 08 20181005 02 23.00 USD WORLD urn:uuid:feaa6152-14d7-4a61-b2cb-75b792c35214 03 01 01 thoth-work-id urn:uuid:4a42f23b-5277-49b5-8310-c3c38ded5bf5 01 thoth-publication-id urn:uuid:feaa6152-14d7-4a61-b2cb-75b792c35214 15 9781947447844 03 9781947447844 06 10.21983/P3.0210.1.00 13 2018957173 01 internal-reference 0210 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Opioids Addiction, Narrative, Freedom 1 A01 Maia Dolphin-Krute Maia Dolphin-Krute 01 eng 00 190 03 B2 Autotheory 10 BIO017000 93 DNC 12 JFFH B2 Cultural Studies+Critical Theory 10 HEA036000 93 JBFN B2 Neurodiverse+Crip 20 addiction; opioid epidemic; ethnography; medicine; chronic illness 01 06 02 00 03 00 An epidemic is a feeling set within time as much as it is a matter of statistics and epidemiology: it is the feeling of many of us in the same desperate place at the same desperate time. Opioid epidemic thus names a present moment — at once historic and historical — centered on the substance of opioids as much as it names the urgency of all of us who are currently in proximity to these substances. What is the relationship between these historic and historical moments, the present moment, the history of pharmacological capitalism, and a set of repeated neurological activities, as well as human loss and desire, that has fueled the exponential rise in the rates of opioid use and abuse between 2000-2018?Opioids: Addiction, Narrative, Freedom is an auto-ethnography written from deep within—biologically within—this opioid epidemic. Tracing opioids around and through the bodies, governmental, and medical structures they are moving and being moved through, Opioids is an examination of what it means to live within an environment saturated with a substance of deep economic, political, neuroscientific, and pharmacological implications. From exploring media coverage of the epidemic and emerging medical narratives of addiction to detailing the legal inscription of differences between “pain patients” and people addicted to drugs, Opioids consistently asks: what is it like to live within an epidemic? What forms of freedom become possible when continually modulated by our physical experiences of the material proximities of an epidemic?How do you live with something for a long time 30 00 An epidemic is a feeling set within time as much as it is a matter of statistics and epidemiology: it is the feeling of many of us in the same desperate place at the same desperate time. Opioid epidemic thus names a present moment — at once historic and historical — centered on the substance of opioids as much as it names the urgency of all of us who are currently in proximity to these substances. What is the relationship between these historic and historical moments, the present moment, the history of pharmacological capitalism, and a set of repeated neurological activities, as well as human loss and desire, that has fueled the exponential rise in the rates of opioid use and abuse between 2000-2018?Opioids: Addiction, Narrative, Freedom is an auto-ethnography written from deep within—biologically within—this opioid epidemic. Tracing opioids around and through the bodies, governmental, and medical structures they are moving and being moved through, Opioids is an examination of what it means to live within an environment saturated with a substance of deep economic, political, neuroscientific, and pharmacological implications. From exploring media coverage of the epidemic and emerging medical narratives of addiction to detailing the legal inscription of differences between “pain patients” and people addicted to drugs, Opioids consistently asks: what is it like to live within an epidemic? What forms of freedom become possible when continually modulated by our physical experiences of the material proximities of an epidemic?How do you live with something for a long time 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0210.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/opioids-addiction-narrative-freedom/ Earth, Milky Way 04 01 20181005 Dolphin-Krute, Maia 02 WORLD 06 15 9781947447837 03 9781947447837 34 06 10.1002/embr.201338399 34 06 10.1039/B111551K 34 06 10.1038/nrn1705 34 06 10.1038/sj.bjp.0706435 34 06 10.2307/2930269 34 06 10.1136/bmj.g6380 34 06 10.1177/030437540703200303 34 06 10.1111/j.1526-4637.2011.01187.x 34 06 10.1177/009145090102800404 34 06 10.1001/jama.290.18.2470 34 06 10.2752/147800307X199074 34 06 10.1056/NEJMp1109084 34 06 10.1523/JNEUROSCI.3687-09.2009 34 06 10.1016/j.pmrj.2013.12.003 34 06 10.1001/jamapsychiatry.2014.366 34 06 10.1057/biosoc.2009.4 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66810 20 08 20181005 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25419 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25419/1004676.pdf?sequence=1&isAllowed=y 20 08 20181005 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28474 20 08 20181005 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354020 20 08 20181005 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/589 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ea45eead-5d15-4c4f-8c0e-f67c89818d2a/download 20 08 20181005 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4a42f23b-5277-49b5-8310-c3c38ded5bf5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4a42f23b-5277-49b5-8310-c3c38ded5bf5/4a42f23b-5277-49b5-8310-c3c38ded5bf5.pdf 20 08 20181005 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847470 29 ZENODO: download the title https://zenodo.org/records/19847470/files/4a42f23b-5277-49b5-8310-c3c38ded5bf5_book.pdf 20 08 20181005 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/opioids-addiction-narrative-freedom/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0210.1.00.pdf 20 08 20181005 01 urn:uuid:bf0edb74-364f-4a0f-b696-f57cf45ef2fd 03 01 01 thoth-work-id urn:uuid:a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3 01 thoth-publication-id urn:uuid:bf0edb74-364f-4a0f-b696-f57cf45ef2fd 15 9780615744797 03 9780615744797 06 10.21983/P3.0019.1.00 01 internal-reference 0019 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Ostranenie On Shame and Knowing 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 021j0xm63 Medaille College 40 01y64my43 University at Buffalo, State University of New York 01 eng 00 50 03 B2 Autotheory 12 BM 93 DNC 10 FAM014000 93 FXL B2 Philosophy 20 memoir; family; therapy; shame; poetry 01 06 02 00 03 00 Ostranenie, the term for defamiliarization introduced by Russian writer and critic Victor Shklovsky, means, among other things, to see in strangeness. To see in strangeness is to participate in an illusion that is more real than real. It may be achieved by (re)presenting the surface as the substance, the play as the thing, or by examining (from exigere: to drive out) what is present before one’s eyes. Ultimately, ostranenie means confessing one’s complicity in making known what is known.M.H. Bowker’s Ostranenie: On Shame and Knowing is a meditation upon the moment of a mother’s death: a moment of defamiliarization in several senses. The body of the work consists of footnotes which elaborate, by exegesis, by parataxis, and sometimes by surprise, the intimate and often hidden relationships between parent and child, illusion and knowledge, shame and loss. These elaborations raise questions about the power of the familiar, the limitations of discursive thought, and the paradoxical nature of the interpersonal, political, and spiritual bargains we make for the sake of security and freedom. 30 00 Ostranenie, the term for defamiliarization introduced by Russian writer and critic Victor Shklovsky, means, among other things, to see in strangeness. To see in strangeness is to participate in an illusion that is more real than real. It may be achieved by (re)presenting the surface as the substance, the play as the thing, or by examining (from exigere: to drive out) what is present before one’s eyes. Ultimately, ostranenie means confessing one’s complicity in making known what is known.M.H. Bowker’s Ostranenie: On Shame and Knowing is a meditation upon the moment of a mother’s death: a moment of defamiliarization in several senses. The body of the work consists of footnotes which elaborate, by exegesis, by parataxis, and sometimes by surprise, the intimate and often hidden relationships between parent and child, illusion and knowledge, shame and loss. These elaborations raise questions about the power of the familiar, the limitations of discursive thought, and the paradoxical nature of the interpersonal, political, and spiritual bargains we make for the sake of security and freedom. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0019.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ostranenie-on-shame-and-knowing/ Brooklyn, NY 04 01 20121224 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615744796 20 08 20121224 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ostranenie-on-shame-and-knowing 20 08 20121224 02 21.00 USD WORLD urn:uuid:fe0d414d-0d0c-493b-b760-4aea10564b42 03 01 01 thoth-work-id urn:uuid:a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3 01 thoth-publication-id urn:uuid:fe0d414d-0d0c-493b-b760-4aea10564b42 06 10.21983/P3.0019.1.00 01 internal-reference 0019 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Ostranenie On Shame and Knowing 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 021j0xm63 Medaille College 40 01y64my43 University at Buffalo, State University of New York 01 eng 00 50 03 B2 Autotheory 12 BM 93 DNC 10 FAM014000 93 FXL B2 Philosophy 20 memoir; family; therapy; shame; poetry 01 06 02 00 03 00 Ostranenie, the term for defamiliarization introduced by Russian writer and critic Victor Shklovsky, means, among other things, to see in strangeness. To see in strangeness is to participate in an illusion that is more real than real. It may be achieved by (re)presenting the surface as the substance, the play as the thing, or by examining (from exigere: to drive out) what is present before one’s eyes. Ultimately, ostranenie means confessing one’s complicity in making known what is known.M.H. Bowker’s Ostranenie: On Shame and Knowing is a meditation upon the moment of a mother’s death: a moment of defamiliarization in several senses. The body of the work consists of footnotes which elaborate, by exegesis, by parataxis, and sometimes by surprise, the intimate and often hidden relationships between parent and child, illusion and knowledge, shame and loss. These elaborations raise questions about the power of the familiar, the limitations of discursive thought, and the paradoxical nature of the interpersonal, political, and spiritual bargains we make for the sake of security and freedom. 30 00 Ostranenie, the term for defamiliarization introduced by Russian writer and critic Victor Shklovsky, means, among other things, to see in strangeness. To see in strangeness is to participate in an illusion that is more real than real. It may be achieved by (re)presenting the surface as the substance, the play as the thing, or by examining (from exigere: to drive out) what is present before one’s eyes. Ultimately, ostranenie means confessing one’s complicity in making known what is known.M.H. Bowker’s Ostranenie: On Shame and Knowing is a meditation upon the moment of a mother’s death: a moment of defamiliarization in several senses. The body of the work consists of footnotes which elaborate, by exegesis, by parataxis, and sometimes by surprise, the intimate and often hidden relationships between parent and child, illusion and knowledge, shame and loss. These elaborations raise questions about the power of the familiar, the limitations of discursive thought, and the paradoxical nature of the interpersonal, political, and spiritual bargains we make for the sake of security and freedom. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0019.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ostranenie-on-shame-and-knowing/ Brooklyn, NY 04 01 20121224 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD 06 15 9780615744797 03 9780615744797 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76432 20 08 20121224 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25596 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25596/1004499.pdf?sequence=1&isAllowed=y 20 08 20121224 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28490 20 08 20121224 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353960 20 08 20121224 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/398 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6e1dd15c-a4a0-4b22-b32e-863b8bcb14de/download 20 08 20121224 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3/a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3.pdf 20 08 20121224 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693104 29 ZENODO: download the title https://zenodo.org/records/19693104/files/a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3_book.pdf 20 08 20121224 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ostranenie-on-shame-and-knowing/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0019.1.00.pdf 20 08 20121224 01 urn:uuid:cfec3549-d28f-42be-a76b-2457a3703b61 03 01 01 thoth-work-id urn:uuid:0e43d1f5-30f5-4001-88c0-9b99d00a43dc 01 thoth-publication-id urn:uuid:cfec3549-d28f-42be-a76b-2457a3703b61 15 9780692715185 03 9780692715185 06 10.21983/P3.0151.1.00 01 internal-reference 0151 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Other Grounds Breaking Free of the Correlationist Circle 1 A01 David Lindsay David Lindsay 01 eng 00 164 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDHR 93 QDTJ 20 philosophy; object-oriented ontology; materialism; thing theory; weird realism 01 06 02 00 03 00 Is it possible to get outside your assumptions and know the world for what it is? As the 20th century came to a close, the verdict seemed to be a resounding “no,” but in recent years a renaissance in speculative thought has sparked new lines of inquiry into de-centering the human. Other Grounds enters this conversation with a decidedly lively voice and an ambitious project to match. Not only can we believe in a reality uncolored by our imaginations, says Lindsay, we can also experience it.Closely argued yet expansive in its reach, Other Grounds is built on the premise that we are by our very nature de-centered – that more than one agent is at work in the human body, and that this plurality can serve as a gateway to the experience of otherness in general. Leading the reader with a steady hand through the literature on coincident entities, set theory and the kinesthetic work of F.M. Alexander, Lindsay makes the case for the possibility of objects interceding on us from their own grounds. The result is that rare specimen in the annals of critical thought: a book that is as reasoned as it is readable, as sage as it is sardonic, and unmistakably original throughout. 30 00 Is it possible to get outside your assumptions and know the world for what it is? As the 20th century came to a close, the verdict seemed to be a resounding “no,” but in recent years a renaissance in speculative thought has sparked new lines of inquiry into de-centering the human. Other Grounds enters this conversation with a decidedly lively voice and an ambitious project to match. Not only can we believe in a reality uncolored by our imaginations, says Lindsay, we can also experience it.Closely argued yet expansive in its reach, Other Grounds is built on the premise that we are by our very nature de-centered – that more than one agent is at work in the human body, and that this plurality can serve as a gateway to the experience of otherness in general. Leading the reader with a steady hand through the literature on coincident entities, set theory and the kinesthetic work of F.M. Alexander, Lindsay makes the case for the possibility of objects interceding on us from their own grounds. The result is that rare specimen in the annals of critical thought: a book that is as reasoned as it is readable, as sage as it is sardonic, and unmistakably original throughout. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0151.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/other-grounds-breaking-free-of-the-correlationist-circle/ Earth, Milky Way 04 01 20160926 Lindsay, David 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692715185 20 08 20160926 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/other-grounds-breaking-free-of-the-correlationist-circle 20 08 20160926 02 22.00 USD WORLD urn:uuid:8d71aaa1-2d4d-48de-996b-5f7ce059a76d 03 01 01 thoth-work-id urn:uuid:0e43d1f5-30f5-4001-88c0-9b99d00a43dc 01 thoth-publication-id urn:uuid:8d71aaa1-2d4d-48de-996b-5f7ce059a76d 06 10.21983/P3.0151.1.00 01 internal-reference 0151 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Other Grounds Breaking Free of the Correlationist Circle 1 A01 David Lindsay David Lindsay 01 eng 00 164 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDHR 93 QDTJ 20 philosophy; object-oriented ontology; materialism; thing theory; weird realism 01 06 02 00 03 00 Is it possible to get outside your assumptions and know the world for what it is? As the 20th century came to a close, the verdict seemed to be a resounding “no,” but in recent years a renaissance in speculative thought has sparked new lines of inquiry into de-centering the human. Other Grounds enters this conversation with a decidedly lively voice and an ambitious project to match. Not only can we believe in a reality uncolored by our imaginations, says Lindsay, we can also experience it.Closely argued yet expansive in its reach, Other Grounds is built on the premise that we are by our very nature de-centered – that more than one agent is at work in the human body, and that this plurality can serve as a gateway to the experience of otherness in general. Leading the reader with a steady hand through the literature on coincident entities, set theory and the kinesthetic work of F.M. Alexander, Lindsay makes the case for the possibility of objects interceding on us from their own grounds. The result is that rare specimen in the annals of critical thought: a book that is as reasoned as it is readable, as sage as it is sardonic, and unmistakably original throughout. 30 00 Is it possible to get outside your assumptions and know the world for what it is? As the 20th century came to a close, the verdict seemed to be a resounding “no,” but in recent years a renaissance in speculative thought has sparked new lines of inquiry into de-centering the human. Other Grounds enters this conversation with a decidedly lively voice and an ambitious project to match. Not only can we believe in a reality uncolored by our imaginations, says Lindsay, we can also experience it.Closely argued yet expansive in its reach, Other Grounds is built on the premise that we are by our very nature de-centered – that more than one agent is at work in the human body, and that this plurality can serve as a gateway to the experience of otherness in general. Leading the reader with a steady hand through the literature on coincident entities, set theory and the kinesthetic work of F.M. Alexander, Lindsay makes the case for the possibility of objects interceding on us from their own grounds. The result is that rare specimen in the annals of critical thought: a book that is as reasoned as it is readable, as sage as it is sardonic, and unmistakably original throughout. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0151.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/other-grounds-breaking-free-of-the-correlationist-circle/ Earth, Milky Way 04 01 20160926 Lindsay, David 02 WORLD 06 15 9780692715185 03 9780692715185 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25475 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25475/1004620.pdf?sequence=1&isAllowed=y 20 08 20160926 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37726 20 08 20160926 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353933 20 08 20160926 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/536 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/35dd3991-e6a3-4dc0-a02d-fdab8cff9663/download 20 08 20160926 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0e43d1f5-30f5-4001-88c0-9b99d00a43dc 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0e43d1f5-30f5-4001-88c0-9b99d00a43dc/0e43d1f5-30f5-4001-88c0-9b99d00a43dc.pdf 20 08 20160926 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846707 29 ZENODO: download the title https://zenodo.org/records/19846707/files/0e43d1f5-30f5-4001-88c0-9b99d00a43dc_book.pdf 20 08 20160926 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/other-grounds-breaking-free-of-the-correlationist-circle/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0151.1.00.pdf 20 08 20160926 01 urn:uuid:9b58b8df-ac51-48d7-b07c-08068368410c 03 01 01 thoth-work-id urn:uuid:bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba 01 thoth-publication-id urn:uuid:9b58b8df-ac51-48d7-b07c-08068368410c 15 9781685710040 03 9781685710040 06 10.53288/0367.1.00 13 2021949029 01 internal-reference 0367 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Out of Place Artists, Pedagogy, and Purpose 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 00 432 03 12 AGB 93 AGB 10 ART037000 B2 Art+Aesthetics 93 AKB 12 AKB 10 ART027000 B2 Pedagogies 93 AGT 20 art curation; art education; art collectives; pedagogy; exhibition spaces; galleries 01 06 02 00 03 00 Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity.With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions.Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod. 30 00 Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity.With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions.Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0367.1.00_frontcover.jpg 1 03 06 10.53288/0367.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 2 03 06 10.53288/0367.1.02 15 18 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Jordan Amirkhani Jordan Amirkhani 40 052w4zt36 American University Dr. Jordan Amirkhani is an art historian, curator, and critic currently based in Washington, DC, where she is a Professorial Lecturer in Art History at American University. She has published scholarship on the Franco-Cuban painter and polemicist Francis Picabia, Mequitta Ahuja, Crow artist Wendy Red Star, and the Nashville-based photographer Vesna Pavlović. Recent curatorial projects include Identity Measures, an exhibition of twenty-three southeastern artists for the Contemporary Art Center of New Orleans and the 2021 Atlanta Biennial, Of Care and Destruction, which featured thirty-four artists working and making across the southeast United States. Jordan’s art criticism and writing has appeared in Artforum, Art Practical, Baltimore Arts, X-Tra, MOMUS, and Burnaway. Her emphasis on contextualizing contemporary art and artists working in the American Southeast garnered her a prestigious Creative Capital/Andy Warhol Foundation “Short-Form” Writing Grant in 2017 and three nominations for The Rabkin Prize in Arts Journalism in 2017, 2018, and 2019. 01 eng 20 00 Open Access Jordan Amirkhani 3 03 06 10.53288/0367.1.03 21 28 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 A01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access Tim Doud Zoë Charlton 4 03 06 10.53288/0367.1.04 31 37 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alexandria Smith 1 A01 Alexandra Smith Alexandra Smith 40 01egahc47 Royal College of Art Alexandria Smith is a mixed media visual artist based in London and New York. She earned her BFA in Illustration from Syracuse University, her MA in Art Education from New York University, and MFA in Fine Arts from Parsons School of Design The New School. She is the recipient of numerous awards including the Queens Museum/Jerome Foundation Fellowship, a Pollock-Krasner Grant, the Skowhegan School of Painting and Sculpture Fellowship, the Virginia A. Myers Fellowship at the University of Iowa, and the Fine Arts Work Center Fellowship. She has been awarded residencies including MacDowell, Bemis, Yaddo, and LMCC Process Space. Smith’s recent exhibitions include her first solo museum exhibit, Monuments to an Effigy at the Queens Museum in New York City and a site-specific commission for the Davis Museum at Wellesley College. Alexandria has a forthcoming solo exhibit at the Currier Museum of Art and group exhibits at Lisson Gallery London and Gagosian Gallery New York City. She is currently Head of Painting at the Royal College of Art in London. 01 eng 20 00 Open Access Alexandra Smith 5 03 06 10.53288/0367.1.05 39 46 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ken Gonzales-Day 1 A01 Ken Gonzales-Day Ken Gonzales-Day 40 00p55jd14 Scripps College Ken Gonzales-Day is a Los Angeles-based artist whose interdisciplinary practice considers the historical construction of race and the limits of representational systems ranging from lynching photographs to museum displays. His widely exhibited Erased Lynching Series (ongoing), along with the publication of Lynching in the West: 1850–1935 at Duke University Press, 2006, transformed the understanding of racialized violence in the US and raised awareness of the lynching of Latinxs, Native Americans, Asians, African-Americans, and others to contextualize anti-immigration histories within the larger discussion of racial formation so central to this historical moment. Works from Profiled at LACMA in 2011 have been exhibited internationally and grew out of research into the history of racial depiction found in historic expositions and educational museum displays. In 2017, Gonzales-Day received a John Simon Guggenheim Memorial Fellowship in photography and holds the Fletcher Jones Chair in Art at Scripps College. 01 eng 20 00 Open Access Ken Gonzales-Day 6 03 06 10.53288/0367.1.06 47 57 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lauren Frances Adams 1 A01 Lauren Frances Adams Lauren Frances Adams 40 043mgze97 Maryland Institute College of Art Lauren Frances Adams is a painter who lives and works in Baltimore. She earned her BFA at University of North Carolina, Chapel Hill, and her MFA at Carnegie Mellon University. She grew up in North Carolina on a pig farm. Her work engages political and social histories through iconic images and domestic ornament. Her work has been exhibited across the United States at museums, university galleries, and artist-run spaces, with an upcoming 2021 project at the Baltimore Museum of Art. She attended the Skowhegan School of Painting and Sculpture and has held residencies at the Cité Internationale des Arts in Paris and the Sacatar Foundation in Brazil. She is the recipient of a Joan Mitchell Foundation MFA Award, and a 2016 Pollock-Krasner Foundation Award. Americans for the Arts recognized projects she co-produced in 2011 and 2017 as “outstanding public art.” Her work has been published in Frieze, BmoreArt, The Baltimore Sun, Artslant, and Hyperallergic. 01 eng 20 00 Open Access Lauren Frances Adams 7 03 06 10.53288/0367.1.07 59 71 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lisi Raskin 1 A01 21 0009000725611659 Lisi Raskin Lisi Raskin 40 04mxsc976 Rhode Island School of Design Lisi Raskin: For the last decade, I have been practicing ways of being that embrace what I now understand to have always been my trans and disabled embodiment. I have reshaped my creative and curricular practices into solo and together adventures that support me as I unlearn assimilationist and settler, white supremacist patterns of relation. I focus my energy on endeavors, including art making, that are responsive and accountable to the needs of my body and community rather than exhibition schedules. I am ever in search of co-conspirators whose lived practices are rooted in mutuality, reciprocity, radical love, and care. Currently, I am working on a book about engaged and inclusive pedagogy. I am a member of the rock band Peebls with whom I have loved, laughed, cooked, and eaten in the process of co-authoring a demo album of intersectional propaganda for children of all ages. 01 eng 20 00 Open Access Lisi Raskin 8 03 06 10.53288/0367.1.08 73 82 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Michael Ray Charles 1 A01 Michael Ray Charles Michael Ray Charles 40 048sx0r50 University of Houston Michael Ray Charles is the Hugh Roy and Lillie Cranz Cullen Distinguished Professor of Painting at the University of Houston. His work is regularly shown in major venues in the United States and abroad, including the first major retrospective of his work at the Blaffer Gallery at the University of Houston in 1997. In 2001, Charles was part of the first group of artists to participate in the PBS series titled Art 21. Charles was a consultant on the making of the Spike Lee film Bamboozled (2000). Charles was listed as one of the top future African American scholars under the age of 40 in Black Issues in Higher Education in 2003 and has been a panelist for the National Endowment for the Arts. 01 eng 20 00 Open Access Michael Ray Charles 9 03 06 10.53288/0367.1.09 83 92 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Patricia Nguyễn 1 A01 Patricia Nguyễn Patricia Nguyễn 40 000e0be47 Northwestern University Patricia Nguyễn, PhD, is an artist, educator, and scholar born and raised in Chicago. She is an assistant professor in Asian American Studies and the Council for Race and Ethnic Studies at Northwestern University, where she earned her PhD in Performance Studies. Through embodied research, performance, installation, and community-based praxis, she explores ecologies of freedom, migration, borders, and war to reveal histories of violence and imagine abolitionist futures. Community engagement is a fundamental ethos of social justice work and her practice as an artist with over fifteen years of experience. She critically engages with publics through curated happenings as sites of performance interventions and platforms for dialogue, healing, and community building. She has exhibited and performed at the Nha San Collective in Vietnam, Mission Cultural Center, Prague Quadrennial, Museum of Memory and Human Rights in Chile, and the Museum of Contemporary Art in Chicago. Dr. Nguyễn is also cofounder and executive director of Axis Lab, an arts and architecture organization. Her published work appears in Women Studies Quarterly, Harvard Kennedy School’s Asian American Policy Review, Women and Performance, and The Funambulist. Dr. Nguyễn is also an award-winning memorial designer for the Chicago Torture Justice Memorial Project, the first monument in the United States to honor survivors of police violence. 01 eng 20 00 Open Access Patricia Nguyễn 10 03 06 10.53288/0367.1.10 93 102 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rudy Lemcke + Tina Takemoto 1 A01 Rudy Lemcke Rudy Lemcke 40 01mmcf932 California College of the Arts Rudy Lemcke is a multidisciplinary artist and curator who lives and works in San Francisco. He holds a degree in Philosophy from the University of Louvain in Belgium and a degree in Web Design and Technology from San Francisco State Multimedia Studies Program. His artwork has been exhibited internationally in venues such as the Whitney Museum of American Art, DeYoung Museum, Pacific Film Archive/University Art Museum, Berkeley, San Francisco Art Institute / Walter McBean Gallery, Camerawork, New Langton Arts, Wadsworth Atheneum Museum of Art, University Art Gallery, Stoney Brook University, New York, Grey Art Gallery in New York, Bass Museum of Art in Miami Beach, Florida, The Contemporary Arts Center in New Orleans, Louisiana, and Musée d’Art Contemporain de Montréal. His curatorial work includes a trilogy of projects titled The Turning, Queerly and includes the exhibitions From Self to Selfie in 2017, A History of Violence in 2018, and Precarious Lives in 2019. 2 A01 Tina Takemoto Tina Takemoto 40 01mmcf932 California College of the Arts Tina Takemoto is an artist, writer, and filmmaker who explores hidden dimensions of same-sex intimacy in Asian American history. Takemoto manipulates archival and found footage through performance and labor-intensive processes of painting, scratching, and lifting 35mm and 16mm emulsion. By engaging tactile dimensions of the archive, Takemoto conjures up immersive queer historical fantasies. Takemoto has exhibited widely and received grants from Art Matters, ArtPlace, Fleishhacker Foundation, and San Francisco Arts Commission. Takemoto was awarded the Grand Jury Prize for Best Experimental Film at Slamdance and the Best Experimental Film Jury Award at Austin Gay and Lesbian International Film Festival. Screenings include Ann Arbor, Anthology Film Archive, BFI Flare, CAAMfest, Outfest, Queer Forever! in Hanoi, and Xposed Queer Film Festival in Berlin. Takemoto is Dean of Humanities and Sciences at California College of the Arts. 01 eng 20 00 Open Access Rudy Lemcke Tina Takemoto 11 03 06 10.53288/0367.1.11 105 124 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 BFAMFAPhD 1 A01 Caroline Woolard Caroline Woolard 40 034gcgd08 University of Hartford Caroline Woolard is Assistant Professor of Sculpture at the University of Hartford and employs sculpture, immersive installation, and online networks to imagine and enact systems of mutual aid and collaboration. Her work has been featured twice on New York Close Up (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. Woolard was the 2018–20 inaugural Walentas Fellow at Moore College of Art and Design and her work has been commissioned by and exhibited in major national and international museums, including at MoMA, the Whitney Museum, and Creative Time. Woolard is a core member of BFAMFAPhD. 2 A01 Susan Jahoda Susan Jahoda 40 0072zz521 University of Massachusetts Amherst Susan Jahoda is Professor of Art at the University of Massachusetts, Amherst. Jahoda is an artist, educator, and organizer whose work includes video, photography, text, performance, installation, and research-based collaborative projects. Works have been produced for venues in London, Paris, Basel, New York, Seoul, and Moscow. Jahoda is a core member of BFAMFAPhD and the Pedagogy Group, collectives of socially engaged artists and educators based in New York City. 01 eng 20 00 Open Access Caroline Woolard Susan Jahoda 12 03 06 10.53288/0367.1.12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Devening Projects 1 A01 Dan Devening Dan Devening 40 04dh2y609 School of the Art Institute of Chicago Dan Devening is an artist, educator, and curator based in Chicago. He is currently Adjunct Professor at the School of the Arts Institute of Chicago, and in 2008 he completed a fifteen-year position as Senior Lecturer at Northwestern University. His work has been extensively exhibited nationally including recent two-person shows at 65Grand in Chicago and Geary Contemporary in New York and group projects in Los Angeles, Cincinnati, and Washington, DC among several other cities in the United States. Internationally, he’s shown in Tokyo, Berlin, Cologne, Amsterdam, Vienna, Brussels, and Melbourne, among many others. As a curator, he has produced exhibitions in Chicago at the Hyde Park Art Center, the Block Museum of Art, and the Evanston Art Center. Internationally his curated projects have been featured in Tokyo, Berlin, Dusseldorf, and Leipzig. In 2007 he inaugurated Devening Projects, a gallery project featuring exhibitions, installations, and events by emerging and established international artists. 01 eng 20 00 Open Access 13 03 06 10.53288/0367.1.13 139 146 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extrapolation Factory 1 A01 Elliott P. Montgomery Elliott P. Montgomery 40 02tvcev59 New School Elliott P. Montgomery is a design researcher, strategist, and educator whose work focuses on speculative inquiries at the confluence of social, technological, and environmental impact. He is an Assistant Professor at Parsons School of Design The New School, teaching in the MFA Transdisciplinary Design Program and across the School of Design Strategies. He is also the co-founder of the Extrapolation Factory, an award-winning design-futures research studio based in Brooklyn. He was previously a design research resident at the U.S. Department of Energy’s Advanced Research Projects Agency, Energy as well receiving the Graham Foundation’s Individual Grant and the Shed’s Open Call commission. He holds a master’s in Design Interactions from the Royal College of Art in London and a bachelor’s in Industrial Design from Carnegie Mellon University in Pittsburgh. 01 eng 20 00 Open Access Elliott P. Montgomery 14 03 06 10.53288/0367.1.14 147 152 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Open Engagement + Side by Side 1 A01 Jen Delos Reyes Jen Delos Reyes 40 02mpq6x41 University of Illinois at Chicago Jen Delos Reyes is a creative laborer, educator, radical community arts organizer, and author of countless emails. Defiantly optimistic, a friend to all birds, and a proponent that our institutions can become tender and vulnerable. Delos Reyes currently lives and works in Chicago where she is the Associate Director of the School of Art & Art History at the University of Illinois at Chicago. 01 eng 20 00 Open Access Jen Delos Reyes 15 03 06 10.53288/0367.1.15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Las Hermanas Iglesias 1 A01 Janelle Iglesias Janelle Iglesias 40 0168r3w48 University of California, San Diego Janelle Iglesias is an assistant professor at the University of California, San Diego. She works with and through objects on site-responsive projects in a variety of contexts. Her individual practice is invested in the poetics, history, and agency of everyday things and materials. An alumna of the Skowhegan School of Painting and Sculpture, her work has been supported by the Harpo, Joan Mitchell, Pollock-Krasner, and Jerome Foundations, the latter of which supported field research in the rainforests of West Papua on the constructions of bowerbirds. 2 A01 Lisa Iglesias Lisa Iglesias 40 031z8pr38 Mount Holyoke College Lisa Iglesias is an associate professor at Mount Holyoke College in Massachusetts. Her independent work explores expansive histories and potentials of drawing and painting and takes into consideration the translation of patterns, images, and gestures across materials. Iglesias’s practice has been supported by the New York Film Acacdemy and residencies at the Provincetown Fine Arts Work Center and the Bemis Center for Contemporary Arts, among others. Lisa divides her time between western Massachusetts and Queens, New York with travel projects in a variety of destinations, including recent long-term residences in the Dominican Republic, Finland, and Malta. 01 eng 20 00 Open Access 16 03 06 10.53288/0367.1.16 169 178 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Center for Undisciplined Research 1 A01 Roz Crews Roz Crews Roz Crews is an artist, educator, and writer whose practice explores the many ways that people around her exist in relationship to one another. Recent projects have examined the dominant strategies and methods of research enforced by academic institutions, schemes, and scams of capitalism, and the ways authorship and labor are discussed in the context of a specific art gallery. Her work manifests as publications, performances, conversations, essays, and exhibitions, and she shares it in traditional art spaces—but also in hotels, bars, college dorms, and riverbanks. As part of her studies about the oppressive qualities of schools, she is currently working as a full-time art teacher at a public elementary school in Gainesvillle, Florida. 01 eng 20 00 Open Access Roz Crews 17 03 06 10.53288/0367.1.17 179 188 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 PlantBot Genetics 1 A01 Wendy DesChene Wendy DesChene 40 02v80fc35 Auburn University Wendy DesChene is a Canadian artist and graduated with an MFA in Painting from Tyler School of Art and immediately incorporated materials that would support her activist inspired works. Weary of the limitations placed on art by institutions, she began to invite audience participation into her installations. The outcome was a community collaborative exhibition titled wysiwyg that has toured eleven different communities, including the Art League of Houston, the Minnesota State University, the Art Academy of Cincinnati, and The Henry Street Settlement of New York. Other collaborative-based projects have been presented at the Soap Factory and the Tomio Koyama Gallery of Japan. Wendy is the recipient of several fellowships including being twice awarded a Canada Council Travel Grant. Her recent collaborative work, PlantBot Genetics, with artist Jeff Schmuki, has been awarded National Endowment for the Arts and Pulitzer Foundation Grants for exhibitions and/or programming at the Carnegie Museum of Art in Pittsburgh, the Goethe Institute in Egypt, the Bach Modern in Austria, the New Gallery of Canada, and Marfa Dialogues in St. Louis. 2 A01 Jeff Schmuki Jeff Schmuki 40 04agmb972 Georgia Southern University Jeff Schmuki was raised in the Sonoran Desert of Arizona, an environment of extremes that nurtured a unique relationship to the fragile landscape and respect for our limited natural resources. Concerned with a broad range of environmental stressors and wasteful practices, a wide variety of sculptural processes and operations are connected to green issues. Traditional and contemporary sculpture techniques are frequently paired with various creative operations and tactics emphasizing audience participation in artworks’ physical or conceptual realization. Jeff has exhibited and completed projects at CRETA Rome Italy, Seoul Art Space South Korea, and Contemporary Craft PA. His recent collaborative work, PlantBot Genetics, has been awarded National Endowment for the Arts funding and Pulitzer Foundation Grants for exhibitions or programming, including the Carnegie Museum of Art, De Hortus Botanicus Netherlands, the Bach Modern Austria, the New Gallery Canada, and Marfa Dialogues St. Louis. In addition, Jeff is the recipient of several honors, including Pollock-Krasner and Joan Mitchell Foundation Grants. 01 eng 20 00 Open Access Wendy DesChene Jeff Schmuki 18 03 06 10.53288/0367.1.18 189 198 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stephanie Dinkins 1 A01 Stephanie Dinkins Stephanie Dinkins 40 05qghxh33 Stony Brook University Stephanie Dinkins is a transmedia artist who creates platforms for dialog about race, gender, aging, and our future histories. Dinkins’s art practice employs emerging technologies, documentary practices, and social collaboration toward equity and community sovereignty. She is particularly driven to work with communities of color to co-create more equitable, values-grounded social and technological ecosystems. Dinkins exhibits and publicly advocates for equitable AI internationally. Her work has been generously supported by fellowships, grants, and residencies from United States Artist, The Knight Foundation, Berggruen Institute, Onassis Foundation, Stanford Institute for Human-Centered AI, Creative Capital, Sundance New Frontiers Story Lab, Eyebeam, Data & Society, Pioneer Works, NEW INC, and The Laundromat Project. Dinkins is a professor at Stony Brook University where she holds the Kusama Endowed Chair in Art. 01 eng 20 00 Open Access Stephanie Dinkins 20 03 06 10.53288/0367.1.19 201 210 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tiger Strikes Asteroid 1 A01 Alexis Granwell Alexis Granwell 40 00b30xv10 University of Pennsylvania 40 005qaye06 Pennsylvania Academy of Fine Arts Alexis Granwell is a Philadelphia-based artist. She teaches drawing at The University of Pennsylvania and sculpture and graduate studies at the Pennsylvania Academy of the Fine Arts. She was co-director of Tiger Strikes Asteroid Philadelphia from 2014-2019 and a member since its founding in 2009. Granwell is a recipient of The Independence Foundation Fine Arts Fellowship Grant for 2015. She has been awarded residencies at the I-Park Foundation, Ragdale, and Jentel. Exhibitions include Fleisher/Ollman Gallery, Underdonk, BravinLee Programs, Ortega y Gasset Projects, Field Projects, Dickinson College, Pennsylvania Academy of the Fine Arts, and Europos Parkas Museum. Her work has been reviewed in Hyperallergic, Sculpture Magazine, The Washington Post, The Globe and Mail, Two Coats of Paint, and The Philadelphia Inquirer. Granwell received an MFA from The University of Pennsylvania in 2007 and a BFA in Painting from Boston University in 2003. 01 eng 20 00 Open Access Alexis Granwell 21 03 06 10.53288/0367.1.20 211 219 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beta-Local 1 A01 Pablo Guardiola Pablo Guardiola Pablo Guardiola is a visual artist who works mainly with objects, photography, and writing. His work focuses on the production of varied modes of reading and narration and how they are perceived and interpreted. He has a BA in History from the University of Puerto Rico in Río Piedras and an MFA from the San Francisco Arts Institute. He has exhibited his work in the little tree gallery, Galería de la Raza, Romer Young Gallery, San Francisco Arts Commission, Embajada, and El lobi, among others. Since 2013, he has co-directed Beta-Local in San Juan, Puerto Rico. 2 A01 Tony Cruz Tony Cruz Tony Cruz Pabón is a Puerto Rican artist who lives and works in San Juan. His work stretches across the mediums of drawing, animation, and photography. During the last years his work has been shown in Artefact: Parallel Crossings at STUK Leuven, Belgium in 2019, We don’t need another hero, 10th Berlin Biennale in 2018, Fotonoviembre in Tenerife in 2017, Spain, Spirit Levels at the Center for Contemporary Art in Glasgow in 2014, the III Trienal Poli/Gráfica in San Juan in 2012, The Peripatetic School: Itinerant Drawing from Latin America at the Drawing Room in London in 2011, and at the Casas Riegner Gallery in Bogotá, Colombia in 2011. He is also Co-Founder of Beta-Local, a cultural space, production program, and an experimental education project in San Juan. 01 eng 20 00 Open Access Pablo Guardiola Tony Cruz 22 03 06 10.53288/0367.1.21 221 231 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Black Lunch Table 1 A01 Heather Hart Heather Hart 40 05vt9qd57 Rutgers University Heather Hart, based in New York City, is an Assistant Professor at Rutgers University and an interdisciplinary artist exploring the power in thresholds, questioning dominant narratives, and creating alternatives to them through viewer activation. She has been awarded grants from Anonymous Was A Woman, Graham Foundation, Joan Mitchell Foundation, Jerome Foundation, New York Film Academy, and Harpo Foundation. Hart has exhibited at Queens Museum, Storm King Art Center, The Kohler Art Center, Eastern Illinois University, Seattle Art Museum, Brooklyn Museum, and University of Toronto, Scarborough. She studied at Skowhegan, Whitney Independent Study Program, Cornish College of the Arts, Princeton University and received her MFA from Rutgers University. 2 A01 Jina Valentine Jina Valentine 40 04dh2y609 School of the Art Institute of Chicago jina valentine is based in Chicago and is an Associate Professor of Printmedia at the School of the Arts Institute of Chicago. Her interdisciplinary practice is informed by the intuitive strategies of American folk artists and traditional craft techniques, and she interweaves histories latent within found texts, objects, narratives, and spaces. She has exhibited at venues including Drawing Center, The Studio Museum in Harlem, CUE Foundation, MCA Chicago, DiRosa Preserve, Southern Exposure, and Marlborough Gallery. Her work has received recognition and support from Art Matters, Joan Mitchell Foundation, and Graham Foundation. valentine received her BFA from Carnegie Mellon University and her MFA from Stanford University. 01 eng 20 00 Open Access Heather Hart Jina Valentine 23 03 06 10.53288/0367.1.22 233 241 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carmen Papalia + Whitney Mashburn 1 A01 Carmen Papalia Carmen Papalia Carmen Papalia uses organizing strategies and improvisation to address his access to public space, the art institution, and visual culture. His work, which takes forms ranging from collaborative performance to public intervention, is a response to the barriers and biases of the medical model of disability. As a convener, he establishes welcoming spaces where those from historically marginalized groups realize their desires for participation through processes rooted in activism, performance, and institutional critique. Papalia is a 2019 and 2020 Sobey Art Award recipient. His work has been featured at the Solomon R. Guggenheim Museum, the Tate Liverpool, the Banff Centre for Arts and Creativity, and Gallery Gachet, among others. 2 A01 Whitney Mashburn Whitney Mashburn Whitney Mashburn is a Boston-based independent curator and writer whose work resides at the intersection of contemporary art and disability justice. Her current work includes Holding Space from 2021–present, a burgeoning curatorial project to bear witness to the lived experiences of those marginalized by chronic illness; Let’s Keep in Touch (2016-present), a multi-phased, collaborative investigation of tactile aesthetics with social practice artist, Carmen Papalia; and collaborations with Minerva Projects and My Dearest Friends Project from 2020–21. She holds an MA in Critical and Curatorial Studies in Art, an MA in Disability Studies, and a BA in History of Art and Studio Art. Her current research investigates chronic and invisible illness, access as a ritual act of care, communal support, tactile aesthetics, social accessibility, disability activism in curating, meaningful inclusion, and the role of dialogue in social practice and institutional critique. Upcoming 2021–22 exhibitions are in London, Vancouver, Grand Rapids, and Boston. 01 eng 20 00 Open Access Carmen Papalia Whitney Mashburn 24 03 06 10.53288/0367.1.23 243 249 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ds4si 1 A01 Kenneth Bailey Kenneth Bailey 40 01pq38j30 Bennington College Kenneth Bailey is the co-founder of the Design Studio for Social Intervention (ds4si). His interests focus on the research and development of design tools for marginalized communities to address complex social issues. With over three decades of experience in community practice, Bailey brings a unique perspective on the ethics of design in relation to community engagement, the arts, and cultural action. Projects he has produced at ds4si include Action Lab (2012–2014), Public Kitchen (2011–18), Social Emergency Response Center in 2018, and People’s Redevelopment Authority also in 2018. He’s one of the authors of ds4si’s book Ideas Arrangements Effects. He is currently pursuing an MFA at Bennington College. 01 eng 20 00 Open Access Kenneth Bailey 25 03 06 10.53288/0367.1.24 251 263 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Elsewhere 1 A01 Antoine Williams Antoine Williams 40 04fq7xz90 Guilford College Antoine Williams’s interdisciplinary practice is an investigation of power and the body. Heavily influenced by science fiction and critical race theory, Williams has created his own mythology about the complexities of contemporary Black life. An artist-educator, Williams received his BFA from the University of North Carolina, Charlotte, and his MFA from UNC, Chapel Hill. He is a member of the North Carolina Black Artists for Liberation. He has exhibited at Smack Mellon Brooklyn, 21c Museum, Elsewhere Museum, The McColl Center of Art and Innovation, and the California Museum of Photography. He attended the 2020 Center for Afrofuturist Studies artist residency and took part in the 2021 Drawing Center viewing program. He is a recipient of the 2017 Joan Mitchell Award for Painters and Sculptors and the 2018 Harpo Foundation Grant Award. He’s given talks at Auburn University and UNC, Chapel Hill. Williams is an associate professor of art at Guilford College. 2 A01 Daniel Coleman Daniel Coleman 40 04fnxsj42 University of North Carolina at Greensboro Daniel Coleman (he/they) is a Mixed-Black, transmasculine, non-binary, and queer artist-scholar. They are currently an Assistant Professor of Women’s, Gender, and Sexuality Studies at the University of North Carolina at Greensboro. 3 A01 George Scheer George Scheer George Scheer is an artist-founder, director, and cultural policy advocate who fosters creative communities at the intersection of aesthetics and social change. Scheer is the Executive Director of the Contemporary Arts Center, New Orleans and co-founder of Elsewhere, an experimental museum and artist residency in North Carolina. As a cultural critic, George writes about arts, cultural policy, urbanization, and place. Other projects include Kulturpark, a public investigation of an abandoned amusement park in East Berlin, and South Elm Projects, a curated series of public art commissions. Scheer holds a BA from the University of Pennsylvania in Political Communications, MA in Critical Theory and Visual Culture from Duke University, and a PhD in Communication and Performance Studies from the University of North Carolina, Chapel Hill. 01 eng 20 00 Open Access Antoine Williams Daniel Coleman George Scheer 26 03 06 10.53288/0367.1.25 265 279 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ghana ThinkTank 1 A01 Christopher Robbins Christopher Robbins 40 057trrr89 Purchase College Christopher Robbins has lived and worked in London, Tokyo, West Africa, the Fiji Islands, the United States, and former Yugoslavia, working on the uneasy cusp of public art, international development, and community organizing. As a way of probing the troubling power dynamics he witnessed in his cross-cultural work, he co-founded the Ghana ThinkTank in 2006. With the mission “Developing the First World,” they collect problems in the so-called “developed” world and send them to think tanks they established in Cuba, Ghana, Iran, Mexico, El Salvador, and the US prison system to analyze and solve. (The network continues to grow.) Then they work with the communities where the problems originated to implement those solutions, whether they seem impractical or brilliant. Christopher Robbins has an MFA from the Rhode Island School of Design and is the Director of the School of Art & Design at SUNY Purchase College. 2 A01 Maria del Carmen Montoya Maria del Carmen Montoya 40 00y4zzh67 George Washington University Maria del Carmen Montoya operates in the contested ground between art and social activism. Her primary medium is the communal process of making meaning. She seeks ways to catalyze this natural social phenomenon with situations that insist on the power of human-scale intervention in the presumed inevitability of everyday life. Her methodology is dialogic and collaborative. She believes that art can be a potent crucible for social change. Thus, her work is often about resistance and challenging norms, inverting power hierarchies and breaking rules, but she also traffics in beauty, memory, humor, and other potentially radical forces for activating communities. She is a core member of Ghana ThinkTank, an international artist collective that “develops the first world” by flipping traditional power dynamics and asking people living in the so-called “third world” to intervene into the lives of the people living in the alleged “developed” world. Their innovative approach to public art reveals blind spots between otherwise disconnected cultures and challenges assumptions about who is “needy.” 01 eng 20 00 Open Access Christopher Robbins Maria del Carmen Montoya 27 03 06 10.53288/0367.1.26 281 296 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gudskul 1 A01 farid rakun farid rakun farid rakun, trained as an architect (B.Arch from Universitas Indonesia and M.Arch from Cranbrook Academy of Art), wears different hats, depending on who’s asking. A visiting lecturer in the Architecture Department of Universitas Indonesia, he is also a part of the artists’ collective ruangrupa, with whom he co-curated TRANSaction: Sonsbeek 2016 in Arnhem, The Netherlands. Currently, ruangrupa serves as the first collective artistic director for documenta for its fifteenth edition in Kassel in 2022. 2 A01 Leonhard Bartolomeus Leonhard Bartolomeus Yamaguchi Center for Arts and Media Leonhard “Barto” Bartolomeus is a curator at Yamaguchi Center for Arts and Media in Japan. In 2012, after graduating from the Jakarta Institute of Art, Barto joined ruangrupa, which mutated into Gudskul Ekosistem afterwards. His curatorial projects in recent years have started to focus on open education and collaborative projects. In 2017, alongside several curators in Jakarta, Semarang, and Surabaya, he formed a curatorial collective, Kolektif Kurator Kampung. Outside of his professional affiliations, he still passionately pursues independent research and collaborative projects outside of Indonesia. He currently lives and works in Yamaguchi, Japan. 3 A01 Marcellina Dwi Kencana Putri Marcellina Dwi Kencana Putri Marcellina Dwi Kencana Putri is the manager of Gudskul. She studied International Relations and has a post-graduate degree in Cultural Anthropology. Previously, she was a producer in Studio Batu, a Yogyakarta-based collective and served as a co-curator for OK. Pangan, Media Art Festival in 2017, where she found her main interest in food. She has never been able to resist having a dessert after a meal and finds cooking a therapeutic way to keep her sanity intact. 20 00 Open Access farid rakun Leonhard Bartolomeus Marcellina Dwi Kencana Putri 28 03 06 10.53288/0367.1.27 297 303 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Jaimes Mayhew 1 A01 Jaimes Mayhew Jaimes Mayhew 40 052w4zt36 American University Jaimes Mayhew is an interdisciplinary artist whose work is collaborative, and based in his interests of land use, speculative futures, and queer ecology. Mayhew’s work has been shown nationally and internationally, and he has received awards and grants from the Fulbright Commission of Iceland, Saul Zaentz Innovation Fund, The Contemporary Baltimore’s Grit Fund, The Maryland State Arts Council, and the Baltimore Museum of Art and Provisions Library. Mayhew’s collaborative and solo work has been shown at Baltimore Museum of Art, Eyebeam in New York City, Mass MoCa in Massachusetts, Conflux Festival in Brooklyn, Chapel of St. Cecilia in Brooklyn, New York, This Is Not a Gateway in London, 808 Gallery in Boston, Transmodern Festival in Baltimore, Goucher College in Baltimore, George Mason University in Fairfax, and Hoffmannsgallerí Reykjavík in Iceland among others. Mayhew lives in Baltimore and teaches at American University in Washington, DC. 01 eng 20 00 Open Access Jaimes Mayhew 29 03 06 10.53288/0367.1.28 305 314 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sustainable Native Communities Collaborative 1 A01 Joseph Kunkel Joseph Kunkel Joseph Kunkel, a citizen of the Northern Cheyenne Nation, is a Principal at MASS Design Group, where he directs the Sustainable Native Communities Design Lab based in Santa Fe, New Mexico. He is a community designer and educator, focused on sustainable development practices throughout Indian Country. His work includes exemplary Indian housing projects and processes nationwide. This research work has developed into emerging best practices, leading to an online Healthy Homes Road Map for tribal housing development funded by HUD’s PD&R Office. His professional career has centered on community-based design, material research, fabrication, and construction. In 2019 Joseph was awarded an Obama Fellowship for his work with indigenous communities. Prior to his recognition from the Obama Foundation, Joseph received a Rauschenberg SEED grant from the Robert Rauschenberg Foundation and a 2019 Creative Capital Award. Joseph is a Fellow of the inaugural class of the Civil Society Fellowship, a partnership of ADL and The Aspen Institute, and a member of the Aspen Global Leadership Network. 01 eng 20 00 Open Access Joseph Kunkel 30 03 06 10.53288/0367.1.29 315 324 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Related Tactics + Art Practical 1 A01 Michele Carlson Michele Carlson 40 00y4zzh67 George Washington University Michele Carlson is a multidisciplinary practitioner working across the fields of art, writing, publishing, and collective practice. She has exhibited her work nationally and has received residencies at Vermont Studio Center, Kala Art Institute, and Montalvo Center for the Arts. She is a founding member of the arts collective Related Tactics with Weston Teruya and Nathan Watson. Formed in 2015, Related Tactics works at the intersection of race and culture with projects supported by the Wexner Arts Center, San Francisco Museum of Modern Art, University of San Francisco Thacher Gallery, and Southern Exposure Gallery in San Francisco. They were recently awarded the 2020–21 Print Public residency at Kala Art Institute and the 2021 Craft Research Fund—Artist Fellowship by the Center for Craft, North Carolina. She is currently an Associate Professor of Printmaking at George Washington University. 01 eng 20 00 Open Access Michele Carlson 31 03 06 10.53288/0367.1.30 325 338 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Occupy Museums 1 A01 Noah Fischer Noah Fischer Noah Fischer is a Brooklyn-based artist whose work intersects with politics through a practice of drawing, writing, organizing, performance, and sculpture. The Occupy Wall Street movement was key to his political understanding, questioning the inequity structured into cultural institutions through groups like Occupy Museums and Global Ultra Luxury Faction/Gulf Labor. Fischer’s writings have appeared in bills handed out at direct actions and his essays have been published in Hyperallergic, Frieze, M/E/A/N/I/N/G, Brooklyn Rail, and October. Fischer’s solo and collaborative work has been exhibited with and without invitation at Guggenheim, MoMA, Brooklyn Museum, ZKM Center for Art and Media, the 56th Venice Biennale, 7th Berlin Biennale, and 2017 Whitney Biennial. Fischer’s interest in politics is currently taking the form of writing a speculative fiction novel about direct democracy. 01 eng 20 00 Open Access Noah Fischer 32 03 06 10.53288/0367.1.31 339 348 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Laundromat Project 1 A01 Risë Wilson Risë Wilson Risë Wilson is Paula’s daughter, Vera’s granddaughter, and Adelaide’s great-granddaughter. When her people were stolen across the Atlantic, they were dropped in Barbados and Virginia, but Wilson’s flesh was formed on the land of the Lenape, more commonly referred to as Philadelphia. Wilson is a product of the constellation of plant-magic, lies, constraints, stardust, tree-mothers, complexities, resistance, and surrender that inform Black life on this land. In 1999 she founded The Laundromat Project, an award-winning organization that connects artists and communities of color to their capacity to envision the world in which we all want to live and the skill sets to make it so. She currently serves as the Senior Advisor for the Art for Justice Fund while also planning to launch a new cultural space that combines art, activism, and healing practices. Her work in all its forms is preoccupied with dislodging herself from the bear traps of oppression so that she might help her kinfolk do the same. 01 eng 20 00 Open Access Risë Wilson 33 03 06 10.53288/0367.1.32 349 357 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Icebox Project Space 1 A01 Ryan McCartney Ryan McCartney Ryan McCartney is a curator, educator, and artist living and working in Saint Louis. Born in 1979, Ryan was raised in rural Salem County of southern New Jersey on an estuary of the Delaware Bay. McCartney’s early upbringing was in a now vanishing landscape, one of endless tidal marshes and tall grasses. Based in Philadelphia from 2005–20, Ryan served as one of the first two directors of the Icebox Project Space, with his co-director and friend, Timothy Belknap beginning in 2013. Ryan sought to push the Icebox to reach new communities and audiences through a focus on radically inclusive curation and personal outreach. Each year at the Icebox, McCartney curated and coordinated year-round, visual art programming and performance and produced small-run, artist’s publications and artists’ audio recordings as a continuation of the idea that the gallery space should be a platform for departures, rather than an end in and of itself. 01 eng 20 00 Open Access Ryan McCartney 34 03 06 10.53288/0367.1.33 359 371 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Black School 1 A01 Shani Peters Shani Peters Shani Peters is Co-Director and Director of Education of The Black School, and is a multidisciplinary artist based in New Orleans. She holds a BA from Michigan State University and an MFA from the City College of New York. Peters has presented work in the US and abroad at the New Museum, The Studio Museum, the Schomburg Center for Research in Black Culture in Harlem, Seoul Art Space Geumcheon in South Korea, and the National Gallery of Zimbabwe in Harare. Selected residencies include those hosted by the Lower Manhattan Cultural Council, Museum of Contemporary Art Detroit, The Laundromat Project in New York City, and Project Row Houses in Texas. Her collaborative and solo work has been supported by the Mellon Foundation, Creative Capital, the Rauschenberg Foundation, Rema Hort Mann Foundation, and the Joan Mitchell Foundation. Peters is a university and museum educator, focusing her teaching at the intersection of art, design, and social change. She has been a part-time faculty at Parsons School of Design The New School, the Pratt Institute, and The City College of New York. 2 A01 Joseph Cuillier III Joseph Cuillier III Joseph Cuillier III (b. 1988, New Orleans) is Co-Director and Creative Director of The Black School and is a New Orleans-based multidisciplinary artist, designer, educator, and the co-director of Black Love Fest. His work engages with textile art and fashion as Black architecture, abstraction as a technology, and Black radical pedagogy. His practice, intersecting social practice, installation, fiber, design, and education, centers on deconstructing history and creating counter narratives. He achieved an MFA from the Pratt Institute and has been a faculty member at Parsons School of Design The New School and the Pratt Institute. His work has been exhibited and presented internationally in galleries and museums, including The Studio Museum, New Museum, Bronx Museum, and MoMA Library. Cuillier has been an artist-in-residence and fellow at Sweet Water Foundation, Ideas City NOLA, Antenna, New Museum, The Laundromat Project, and A Blade of Grass. 01 eng 20 00 Open Access Shani Peters Joseph Cuillier III 35 03 06 10.53288/0367.1.34 375 384 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conclusion 1 A01 Bill Gaskins Bill Gaskins 40 043mgze97 Maryland Institute College of Art Bill Gaskins explores questions about visual and media culture in the twenty-first century through photography and media from an interdisciplinary professional and academic foundation that includes his body of arts and culture writing framed through photography, cinema, the history of photography, visual and material culture, and American and African American Studies scholarship. His relevance as a contemporary artist has garnered attention through books, catalogs, solo and group exhibitions at major venues including the Crocker Museum of Art, the Brooklyn Museum of Art, the Detroit Institute of Arts, and the Smithsonian Institution. Bill Gaskins is also an informed and inspired professor, acknowledged by his students and peers for his insightful and transformative approaches to teaching and learning. He is presently Director of the Graduate Program in Photography + Media & Society at the Maryland Institute College of Art. 01 eng 20 00 Open Access Bill Gaskins 36 03 06 10.53288/0367.1.35 385 397 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterwords 1 A01 George Cicsle George Cicsle George Ciscle has mounted groundbreaking exhibitions, created community arts programs, and taught fine arts and humanities courses for fifty years. He trained as a sculptor, studying with Isamu Noguchi. For fifteen years he developed high-school interdisciplinary curriculum and work-study programs for the educationally disadvantaged. In 1985, he opened the George Ciscle Gallery where he promoted the careers of young and emerging artists. From 1989–96 Ciscle was the founder and director of The Contemporary, an “un-museum,” which challenges existing conventions for exhibiting art in non-traditional sites, focusing its exhibitions and outreach on connecting artists’ works with people’s everyday lives. As Curator-in-Residence at Maryland Institute College of Art from 1997–2017, he continued to develop new models for connecting art, artists, and audiences by creating the Exhibition Development Seminar, Curatorial Studies Concentration and the MFA in Curatorial Practice. 2 A01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 3 A01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access Tim Doud Zoë Charlton George Cicsle 37 03 06 10.53288/0367.1.36 399 413 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributor Biographies 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 38 03 06 10.53288/0367.1.37 415 421 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Project Biographies 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 39 03 06 10.53288/0367.1.38 423 425 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Figures 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/out-of-place-artists-pedagogy-and-purpose/ Earth, Milky Way 04 01 20211028 Doud, Tim Charlton, Zoë 02 WORLD 06 15 9781685710057 03 9781685710057 34 06 10.53288/0367.1.00 34 06 10.18297/etd/2500 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710042 20 08 20211028 02 31.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/out-of-place-artists-pedagogy-and-purpose 20 08 20211028 02 31.00 USD WORLD urn:uuid:4a628248-86f1-4ad1-a321-b386918e37d7 03 01 01 thoth-work-id urn:uuid:bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba 01 thoth-publication-id urn:uuid:4a628248-86f1-4ad1-a321-b386918e37d7 15 9781685710057 03 9781685710057 06 10.53288/0367.1.00 13 2021949029 01 internal-reference 0367 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Out of Place Artists, Pedagogy, and Purpose 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 00 432 03 12 AGB 93 AGB 10 ART037000 B2 Art+Aesthetics 93 AKB 12 AKB 10 ART027000 B2 Pedagogies 93 AGT 20 art curation; art education; art collectives; pedagogy; exhibition spaces; galleries 01 06 02 00 03 00 Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity.With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions.Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod. 30 00 Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity.With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions.Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0367.1.00_frontcover.jpg 1 03 06 10.53288/0367.1.01 1 13 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 2 03 06 10.53288/0367.1.02 15 18 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Jordan Amirkhani Jordan Amirkhani 40 052w4zt36 American University Dr. Jordan Amirkhani is an art historian, curator, and critic currently based in Washington, DC, where she is a Professorial Lecturer in Art History at American University. She has published scholarship on the Franco-Cuban painter and polemicist Francis Picabia, Mequitta Ahuja, Crow artist Wendy Red Star, and the Nashville-based photographer Vesna Pavlović. Recent curatorial projects include Identity Measures, an exhibition of twenty-three southeastern artists for the Contemporary Art Center of New Orleans and the 2021 Atlanta Biennial, Of Care and Destruction, which featured thirty-four artists working and making across the southeast United States. Jordan’s art criticism and writing has appeared in Artforum, Art Practical, Baltimore Arts, X-Tra, MOMUS, and Burnaway. Her emphasis on contextualizing contemporary art and artists working in the American Southeast garnered her a prestigious Creative Capital/Andy Warhol Foundation “Short-Form” Writing Grant in 2017 and three nominations for The Rabkin Prize in Arts Journalism in 2017, 2018, and 2019. 01 eng 20 00 Open Access Jordan Amirkhani 3 03 06 10.53288/0367.1.03 21 28 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 A01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access Tim Doud Zoë Charlton 4 03 06 10.53288/0367.1.04 31 37 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alexandria Smith 1 A01 Alexandra Smith Alexandra Smith 40 01egahc47 Royal College of Art Alexandria Smith is a mixed media visual artist based in London and New York. She earned her BFA in Illustration from Syracuse University, her MA in Art Education from New York University, and MFA in Fine Arts from Parsons School of Design The New School. She is the recipient of numerous awards including the Queens Museum/Jerome Foundation Fellowship, a Pollock-Krasner Grant, the Skowhegan School of Painting and Sculpture Fellowship, the Virginia A. Myers Fellowship at the University of Iowa, and the Fine Arts Work Center Fellowship. She has been awarded residencies including MacDowell, Bemis, Yaddo, and LMCC Process Space. Smith’s recent exhibitions include her first solo museum exhibit, Monuments to an Effigy at the Queens Museum in New York City and a site-specific commission for the Davis Museum at Wellesley College. Alexandria has a forthcoming solo exhibit at the Currier Museum of Art and group exhibits at Lisson Gallery London and Gagosian Gallery New York City. She is currently Head of Painting at the Royal College of Art in London. 01 eng 20 00 Open Access Alexandra Smith 5 03 06 10.53288/0367.1.05 39 46 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ken Gonzales-Day 1 A01 Ken Gonzales-Day Ken Gonzales-Day 40 00p55jd14 Scripps College Ken Gonzales-Day is a Los Angeles-based artist whose interdisciplinary practice considers the historical construction of race and the limits of representational systems ranging from lynching photographs to museum displays. His widely exhibited Erased Lynching Series (ongoing), along with the publication of Lynching in the West: 1850–1935 at Duke University Press, 2006, transformed the understanding of racialized violence in the US and raised awareness of the lynching of Latinxs, Native Americans, Asians, African-Americans, and others to contextualize anti-immigration histories within the larger discussion of racial formation so central to this historical moment. Works from Profiled at LACMA in 2011 have been exhibited internationally and grew out of research into the history of racial depiction found in historic expositions and educational museum displays. In 2017, Gonzales-Day received a John Simon Guggenheim Memorial Fellowship in photography and holds the Fletcher Jones Chair in Art at Scripps College. 01 eng 20 00 Open Access Ken Gonzales-Day 6 03 06 10.53288/0367.1.06 47 57 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lauren Frances Adams 1 A01 Lauren Frances Adams Lauren Frances Adams 40 043mgze97 Maryland Institute College of Art Lauren Frances Adams is a painter who lives and works in Baltimore. She earned her BFA at University of North Carolina, Chapel Hill, and her MFA at Carnegie Mellon University. She grew up in North Carolina on a pig farm. Her work engages political and social histories through iconic images and domestic ornament. Her work has been exhibited across the United States at museums, university galleries, and artist-run spaces, with an upcoming 2021 project at the Baltimore Museum of Art. She attended the Skowhegan School of Painting and Sculpture and has held residencies at the Cité Internationale des Arts in Paris and the Sacatar Foundation in Brazil. She is the recipient of a Joan Mitchell Foundation MFA Award, and a 2016 Pollock-Krasner Foundation Award. Americans for the Arts recognized projects she co-produced in 2011 and 2017 as “outstanding public art.” Her work has been published in Frieze, BmoreArt, The Baltimore Sun, Artslant, and Hyperallergic. 01 eng 20 00 Open Access Lauren Frances Adams 7 03 06 10.53288/0367.1.07 59 71 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lisi Raskin 1 A01 21 0009000725611659 Lisi Raskin Lisi Raskin 40 04mxsc976 Rhode Island School of Design Lisi Raskin: For the last decade, I have been practicing ways of being that embrace what I now understand to have always been my trans and disabled embodiment. I have reshaped my creative and curricular practices into solo and together adventures that support me as I unlearn assimilationist and settler, white supremacist patterns of relation. I focus my energy on endeavors, including art making, that are responsive and accountable to the needs of my body and community rather than exhibition schedules. I am ever in search of co-conspirators whose lived practices are rooted in mutuality, reciprocity, radical love, and care. Currently, I am working on a book about engaged and inclusive pedagogy. I am a member of the rock band Peebls with whom I have loved, laughed, cooked, and eaten in the process of co-authoring a demo album of intersectional propaganda for children of all ages. 01 eng 20 00 Open Access Lisi Raskin 8 03 06 10.53288/0367.1.08 73 82 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Michael Ray Charles 1 A01 Michael Ray Charles Michael Ray Charles 40 048sx0r50 University of Houston Michael Ray Charles is the Hugh Roy and Lillie Cranz Cullen Distinguished Professor of Painting at the University of Houston. His work is regularly shown in major venues in the United States and abroad, including the first major retrospective of his work at the Blaffer Gallery at the University of Houston in 1997. In 2001, Charles was part of the first group of artists to participate in the PBS series titled Art 21. Charles was a consultant on the making of the Spike Lee film Bamboozled (2000). Charles was listed as one of the top future African American scholars under the age of 40 in Black Issues in Higher Education in 2003 and has been a panelist for the National Endowment for the Arts. 01 eng 20 00 Open Access Michael Ray Charles 9 03 06 10.53288/0367.1.09 83 92 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Patricia Nguyễn 1 A01 Patricia Nguyễn Patricia Nguyễn 40 000e0be47 Northwestern University Patricia Nguyễn, PhD, is an artist, educator, and scholar born and raised in Chicago. She is an assistant professor in Asian American Studies and the Council for Race and Ethnic Studies at Northwestern University, where she earned her PhD in Performance Studies. Through embodied research, performance, installation, and community-based praxis, she explores ecologies of freedom, migration, borders, and war to reveal histories of violence and imagine abolitionist futures. Community engagement is a fundamental ethos of social justice work and her practice as an artist with over fifteen years of experience. She critically engages with publics through curated happenings as sites of performance interventions and platforms for dialogue, healing, and community building. She has exhibited and performed at the Nha San Collective in Vietnam, Mission Cultural Center, Prague Quadrennial, Museum of Memory and Human Rights in Chile, and the Museum of Contemporary Art in Chicago. Dr. Nguyễn is also cofounder and executive director of Axis Lab, an arts and architecture organization. Her published work appears in Women Studies Quarterly, Harvard Kennedy School’s Asian American Policy Review, Women and Performance, and The Funambulist. Dr. Nguyễn is also an award-winning memorial designer for the Chicago Torture Justice Memorial Project, the first monument in the United States to honor survivors of police violence. 01 eng 20 00 Open Access Patricia Nguyễn 10 03 06 10.53288/0367.1.10 93 102 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rudy Lemcke + Tina Takemoto 1 A01 Rudy Lemcke Rudy Lemcke 40 01mmcf932 California College of the Arts Rudy Lemcke is a multidisciplinary artist and curator who lives and works in San Francisco. He holds a degree in Philosophy from the University of Louvain in Belgium and a degree in Web Design and Technology from San Francisco State Multimedia Studies Program. His artwork has been exhibited internationally in venues such as the Whitney Museum of American Art, DeYoung Museum, Pacific Film Archive/University Art Museum, Berkeley, San Francisco Art Institute / Walter McBean Gallery, Camerawork, New Langton Arts, Wadsworth Atheneum Museum of Art, University Art Gallery, Stoney Brook University, New York, Grey Art Gallery in New York, Bass Museum of Art in Miami Beach, Florida, The Contemporary Arts Center in New Orleans, Louisiana, and Musée d’Art Contemporain de Montréal. His curatorial work includes a trilogy of projects titled The Turning, Queerly and includes the exhibitions From Self to Selfie in 2017, A History of Violence in 2018, and Precarious Lives in 2019. 2 A01 Tina Takemoto Tina Takemoto 40 01mmcf932 California College of the Arts Tina Takemoto is an artist, writer, and filmmaker who explores hidden dimensions of same-sex intimacy in Asian American history. Takemoto manipulates archival and found footage through performance and labor-intensive processes of painting, scratching, and lifting 35mm and 16mm emulsion. By engaging tactile dimensions of the archive, Takemoto conjures up immersive queer historical fantasies. Takemoto has exhibited widely and received grants from Art Matters, ArtPlace, Fleishhacker Foundation, and San Francisco Arts Commission. Takemoto was awarded the Grand Jury Prize for Best Experimental Film at Slamdance and the Best Experimental Film Jury Award at Austin Gay and Lesbian International Film Festival. Screenings include Ann Arbor, Anthology Film Archive, BFI Flare, CAAMfest, Outfest, Queer Forever! in Hanoi, and Xposed Queer Film Festival in Berlin. Takemoto is Dean of Humanities and Sciences at California College of the Arts. 01 eng 20 00 Open Access Rudy Lemcke Tina Takemoto 11 03 06 10.53288/0367.1.11 105 124 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 BFAMFAPhD 1 A01 Caroline Woolard Caroline Woolard 40 034gcgd08 University of Hartford Caroline Woolard is Assistant Professor of Sculpture at the University of Hartford and employs sculpture, immersive installation, and online networks to imagine and enact systems of mutual aid and collaboration. Her work has been featured twice on New York Close Up (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. Woolard was the 2018–20 inaugural Walentas Fellow at Moore College of Art and Design and her work has been commissioned by and exhibited in major national and international museums, including at MoMA, the Whitney Museum, and Creative Time. Woolard is a core member of BFAMFAPhD. 2 A01 Susan Jahoda Susan Jahoda 40 0072zz521 University of Massachusetts Amherst Susan Jahoda is Professor of Art at the University of Massachusetts, Amherst. Jahoda is an artist, educator, and organizer whose work includes video, photography, text, performance, installation, and research-based collaborative projects. Works have been produced for venues in London, Paris, Basel, New York, Seoul, and Moscow. Jahoda is a core member of BFAMFAPhD and the Pedagogy Group, collectives of socially engaged artists and educators based in New York City. 01 eng 20 00 Open Access Caroline Woolard Susan Jahoda 12 03 06 10.53288/0367.1.12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Devening Projects 1 A01 Dan Devening Dan Devening 40 04dh2y609 School of the Art Institute of Chicago Dan Devening is an artist, educator, and curator based in Chicago. He is currently Adjunct Professor at the School of the Arts Institute of Chicago, and in 2008 he completed a fifteen-year position as Senior Lecturer at Northwestern University. His work has been extensively exhibited nationally including recent two-person shows at 65Grand in Chicago and Geary Contemporary in New York and group projects in Los Angeles, Cincinnati, and Washington, DC among several other cities in the United States. Internationally, he’s shown in Tokyo, Berlin, Cologne, Amsterdam, Vienna, Brussels, and Melbourne, among many others. As a curator, he has produced exhibitions in Chicago at the Hyde Park Art Center, the Block Museum of Art, and the Evanston Art Center. Internationally his curated projects have been featured in Tokyo, Berlin, Dusseldorf, and Leipzig. In 2007 he inaugurated Devening Projects, a gallery project featuring exhibitions, installations, and events by emerging and established international artists. 01 eng 20 00 Open Access 13 03 06 10.53288/0367.1.13 139 146 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extrapolation Factory 1 A01 Elliott P. Montgomery Elliott P. Montgomery 40 02tvcev59 New School Elliott P. Montgomery is a design researcher, strategist, and educator whose work focuses on speculative inquiries at the confluence of social, technological, and environmental impact. He is an Assistant Professor at Parsons School of Design The New School, teaching in the MFA Transdisciplinary Design Program and across the School of Design Strategies. He is also the co-founder of the Extrapolation Factory, an award-winning design-futures research studio based in Brooklyn. He was previously a design research resident at the U.S. Department of Energy’s Advanced Research Projects Agency, Energy as well receiving the Graham Foundation’s Individual Grant and the Shed’s Open Call commission. He holds a master’s in Design Interactions from the Royal College of Art in London and a bachelor’s in Industrial Design from Carnegie Mellon University in Pittsburgh. 01 eng 20 00 Open Access Elliott P. Montgomery 14 03 06 10.53288/0367.1.14 147 152 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Open Engagement + Side by Side 1 A01 Jen Delos Reyes Jen Delos Reyes 40 02mpq6x41 University of Illinois at Chicago Jen Delos Reyes is a creative laborer, educator, radical community arts organizer, and author of countless emails. Defiantly optimistic, a friend to all birds, and a proponent that our institutions can become tender and vulnerable. Delos Reyes currently lives and works in Chicago where she is the Associate Director of the School of Art & Art History at the University of Illinois at Chicago. 01 eng 20 00 Open Access Jen Delos Reyes 15 03 06 10.53288/0367.1.15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Las Hermanas Iglesias 1 A01 Janelle Iglesias Janelle Iglesias 40 0168r3w48 University of California, San Diego Janelle Iglesias is an assistant professor at the University of California, San Diego. She works with and through objects on site-responsive projects in a variety of contexts. Her individual practice is invested in the poetics, history, and agency of everyday things and materials. An alumna of the Skowhegan School of Painting and Sculpture, her work has been supported by the Harpo, Joan Mitchell, Pollock-Krasner, and Jerome Foundations, the latter of which supported field research in the rainforests of West Papua on the constructions of bowerbirds. 2 A01 Lisa Iglesias Lisa Iglesias 40 031z8pr38 Mount Holyoke College Lisa Iglesias is an associate professor at Mount Holyoke College in Massachusetts. Her independent work explores expansive histories and potentials of drawing and painting and takes into consideration the translation of patterns, images, and gestures across materials. Iglesias’s practice has been supported by the New York Film Acacdemy and residencies at the Provincetown Fine Arts Work Center and the Bemis Center for Contemporary Arts, among others. Lisa divides her time between western Massachusetts and Queens, New York with travel projects in a variety of destinations, including recent long-term residences in the Dominican Republic, Finland, and Malta. 01 eng 20 00 Open Access 16 03 06 10.53288/0367.1.16 169 178 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Center for Undisciplined Research 1 A01 Roz Crews Roz Crews Roz Crews is an artist, educator, and writer whose practice explores the many ways that people around her exist in relationship to one another. Recent projects have examined the dominant strategies and methods of research enforced by academic institutions, schemes, and scams of capitalism, and the ways authorship and labor are discussed in the context of a specific art gallery. Her work manifests as publications, performances, conversations, essays, and exhibitions, and she shares it in traditional art spaces—but also in hotels, bars, college dorms, and riverbanks. As part of her studies about the oppressive qualities of schools, she is currently working as a full-time art teacher at a public elementary school in Gainesvillle, Florida. 01 eng 20 00 Open Access Roz Crews 17 03 06 10.53288/0367.1.17 179 188 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 PlantBot Genetics 1 A01 Wendy DesChene Wendy DesChene 40 02v80fc35 Auburn University Wendy DesChene is a Canadian artist and graduated with an MFA in Painting from Tyler School of Art and immediately incorporated materials that would support her activist inspired works. Weary of the limitations placed on art by institutions, she began to invite audience participation into her installations. The outcome was a community collaborative exhibition titled wysiwyg that has toured eleven different communities, including the Art League of Houston, the Minnesota State University, the Art Academy of Cincinnati, and The Henry Street Settlement of New York. Other collaborative-based projects have been presented at the Soap Factory and the Tomio Koyama Gallery of Japan. Wendy is the recipient of several fellowships including being twice awarded a Canada Council Travel Grant. Her recent collaborative work, PlantBot Genetics, with artist Jeff Schmuki, has been awarded National Endowment for the Arts and Pulitzer Foundation Grants for exhibitions and/or programming at the Carnegie Museum of Art in Pittsburgh, the Goethe Institute in Egypt, the Bach Modern in Austria, the New Gallery of Canada, and Marfa Dialogues in St. Louis. 2 A01 Jeff Schmuki Jeff Schmuki 40 04agmb972 Georgia Southern University Jeff Schmuki was raised in the Sonoran Desert of Arizona, an environment of extremes that nurtured a unique relationship to the fragile landscape and respect for our limited natural resources. Concerned with a broad range of environmental stressors and wasteful practices, a wide variety of sculptural processes and operations are connected to green issues. Traditional and contemporary sculpture techniques are frequently paired with various creative operations and tactics emphasizing audience participation in artworks’ physical or conceptual realization. Jeff has exhibited and completed projects at CRETA Rome Italy, Seoul Art Space South Korea, and Contemporary Craft PA. His recent collaborative work, PlantBot Genetics, has been awarded National Endowment for the Arts funding and Pulitzer Foundation Grants for exhibitions or programming, including the Carnegie Museum of Art, De Hortus Botanicus Netherlands, the Bach Modern Austria, the New Gallery Canada, and Marfa Dialogues St. Louis. In addition, Jeff is the recipient of several honors, including Pollock-Krasner and Joan Mitchell Foundation Grants. 01 eng 20 00 Open Access Wendy DesChene Jeff Schmuki 18 03 06 10.53288/0367.1.18 189 198 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stephanie Dinkins 1 A01 Stephanie Dinkins Stephanie Dinkins 40 05qghxh33 Stony Brook University Stephanie Dinkins is a transmedia artist who creates platforms for dialog about race, gender, aging, and our future histories. Dinkins’s art practice employs emerging technologies, documentary practices, and social collaboration toward equity and community sovereignty. She is particularly driven to work with communities of color to co-create more equitable, values-grounded social and technological ecosystems. Dinkins exhibits and publicly advocates for equitable AI internationally. Her work has been generously supported by fellowships, grants, and residencies from United States Artist, The Knight Foundation, Berggruen Institute, Onassis Foundation, Stanford Institute for Human-Centered AI, Creative Capital, Sundance New Frontiers Story Lab, Eyebeam, Data & Society, Pioneer Works, NEW INC, and The Laundromat Project. Dinkins is a professor at Stony Brook University where she holds the Kusama Endowed Chair in Art. 01 eng 20 00 Open Access Stephanie Dinkins 20 03 06 10.53288/0367.1.19 201 210 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tiger Strikes Asteroid 1 A01 Alexis Granwell Alexis Granwell 40 00b30xv10 University of Pennsylvania 40 005qaye06 Pennsylvania Academy of Fine Arts Alexis Granwell is a Philadelphia-based artist. She teaches drawing at The University of Pennsylvania and sculpture and graduate studies at the Pennsylvania Academy of the Fine Arts. She was co-director of Tiger Strikes Asteroid Philadelphia from 2014-2019 and a member since its founding in 2009. Granwell is a recipient of The Independence Foundation Fine Arts Fellowship Grant for 2015. She has been awarded residencies at the I-Park Foundation, Ragdale, and Jentel. Exhibitions include Fleisher/Ollman Gallery, Underdonk, BravinLee Programs, Ortega y Gasset Projects, Field Projects, Dickinson College, Pennsylvania Academy of the Fine Arts, and Europos Parkas Museum. Her work has been reviewed in Hyperallergic, Sculpture Magazine, The Washington Post, The Globe and Mail, Two Coats of Paint, and The Philadelphia Inquirer. Granwell received an MFA from The University of Pennsylvania in 2007 and a BFA in Painting from Boston University in 2003. 01 eng 20 00 Open Access Alexis Granwell 21 03 06 10.53288/0367.1.20 211 219 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beta-Local 1 A01 Pablo Guardiola Pablo Guardiola Pablo Guardiola is a visual artist who works mainly with objects, photography, and writing. His work focuses on the production of varied modes of reading and narration and how they are perceived and interpreted. He has a BA in History from the University of Puerto Rico in Río Piedras and an MFA from the San Francisco Arts Institute. He has exhibited his work in the little tree gallery, Galería de la Raza, Romer Young Gallery, San Francisco Arts Commission, Embajada, and El lobi, among others. Since 2013, he has co-directed Beta-Local in San Juan, Puerto Rico. 2 A01 Tony Cruz Tony Cruz Tony Cruz Pabón is a Puerto Rican artist who lives and works in San Juan. His work stretches across the mediums of drawing, animation, and photography. During the last years his work has been shown in Artefact: Parallel Crossings at STUK Leuven, Belgium in 2019, We don’t need another hero, 10th Berlin Biennale in 2018, Fotonoviembre in Tenerife in 2017, Spain, Spirit Levels at the Center for Contemporary Art in Glasgow in 2014, the III Trienal Poli/Gráfica in San Juan in 2012, The Peripatetic School: Itinerant Drawing from Latin America at the Drawing Room in London in 2011, and at the Casas Riegner Gallery in Bogotá, Colombia in 2011. He is also Co-Founder of Beta-Local, a cultural space, production program, and an experimental education project in San Juan. 01 eng 20 00 Open Access Pablo Guardiola Tony Cruz 22 03 06 10.53288/0367.1.21 221 231 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Black Lunch Table 1 A01 Heather Hart Heather Hart 40 05vt9qd57 Rutgers University Heather Hart, based in New York City, is an Assistant Professor at Rutgers University and an interdisciplinary artist exploring the power in thresholds, questioning dominant narratives, and creating alternatives to them through viewer activation. She has been awarded grants from Anonymous Was A Woman, Graham Foundation, Joan Mitchell Foundation, Jerome Foundation, New York Film Academy, and Harpo Foundation. Hart has exhibited at Queens Museum, Storm King Art Center, The Kohler Art Center, Eastern Illinois University, Seattle Art Museum, Brooklyn Museum, and University of Toronto, Scarborough. She studied at Skowhegan, Whitney Independent Study Program, Cornish College of the Arts, Princeton University and received her MFA from Rutgers University. 2 A01 Jina Valentine Jina Valentine 40 04dh2y609 School of the Art Institute of Chicago jina valentine is based in Chicago and is an Associate Professor of Printmedia at the School of the Arts Institute of Chicago. Her interdisciplinary practice is informed by the intuitive strategies of American folk artists and traditional craft techniques, and she interweaves histories latent within found texts, objects, narratives, and spaces. She has exhibited at venues including Drawing Center, The Studio Museum in Harlem, CUE Foundation, MCA Chicago, DiRosa Preserve, Southern Exposure, and Marlborough Gallery. Her work has received recognition and support from Art Matters, Joan Mitchell Foundation, and Graham Foundation. valentine received her BFA from Carnegie Mellon University and her MFA from Stanford University. 01 eng 20 00 Open Access Heather Hart Jina Valentine 23 03 06 10.53288/0367.1.22 233 241 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carmen Papalia + Whitney Mashburn 1 A01 Carmen Papalia Carmen Papalia Carmen Papalia uses organizing strategies and improvisation to address his access to public space, the art institution, and visual culture. His work, which takes forms ranging from collaborative performance to public intervention, is a response to the barriers and biases of the medical model of disability. As a convener, he establishes welcoming spaces where those from historically marginalized groups realize their desires for participation through processes rooted in activism, performance, and institutional critique. Papalia is a 2019 and 2020 Sobey Art Award recipient. His work has been featured at the Solomon R. Guggenheim Museum, the Tate Liverpool, the Banff Centre for Arts and Creativity, and Gallery Gachet, among others. 2 A01 Whitney Mashburn Whitney Mashburn Whitney Mashburn is a Boston-based independent curator and writer whose work resides at the intersection of contemporary art and disability justice. Her current work includes Holding Space from 2021–present, a burgeoning curatorial project to bear witness to the lived experiences of those marginalized by chronic illness; Let’s Keep in Touch (2016-present), a multi-phased, collaborative investigation of tactile aesthetics with social practice artist, Carmen Papalia; and collaborations with Minerva Projects and My Dearest Friends Project from 2020–21. She holds an MA in Critical and Curatorial Studies in Art, an MA in Disability Studies, and a BA in History of Art and Studio Art. Her current research investigates chronic and invisible illness, access as a ritual act of care, communal support, tactile aesthetics, social accessibility, disability activism in curating, meaningful inclusion, and the role of dialogue in social practice and institutional critique. Upcoming 2021–22 exhibitions are in London, Vancouver, Grand Rapids, and Boston. 01 eng 20 00 Open Access Carmen Papalia Whitney Mashburn 24 03 06 10.53288/0367.1.23 243 249 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ds4si 1 A01 Kenneth Bailey Kenneth Bailey 40 01pq38j30 Bennington College Kenneth Bailey is the co-founder of the Design Studio for Social Intervention (ds4si). His interests focus on the research and development of design tools for marginalized communities to address complex social issues. With over three decades of experience in community practice, Bailey brings a unique perspective on the ethics of design in relation to community engagement, the arts, and cultural action. Projects he has produced at ds4si include Action Lab (2012–2014), Public Kitchen (2011–18), Social Emergency Response Center in 2018, and People’s Redevelopment Authority also in 2018. He’s one of the authors of ds4si’s book Ideas Arrangements Effects. He is currently pursuing an MFA at Bennington College. 01 eng 20 00 Open Access Kenneth Bailey 25 03 06 10.53288/0367.1.24 251 263 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Elsewhere 1 A01 Antoine Williams Antoine Williams 40 04fq7xz90 Guilford College Antoine Williams’s interdisciplinary practice is an investigation of power and the body. Heavily influenced by science fiction and critical race theory, Williams has created his own mythology about the complexities of contemporary Black life. An artist-educator, Williams received his BFA from the University of North Carolina, Charlotte, and his MFA from UNC, Chapel Hill. He is a member of the North Carolina Black Artists for Liberation. He has exhibited at Smack Mellon Brooklyn, 21c Museum, Elsewhere Museum, The McColl Center of Art and Innovation, and the California Museum of Photography. He attended the 2020 Center for Afrofuturist Studies artist residency and took part in the 2021 Drawing Center viewing program. He is a recipient of the 2017 Joan Mitchell Award for Painters and Sculptors and the 2018 Harpo Foundation Grant Award. He’s given talks at Auburn University and UNC, Chapel Hill. Williams is an associate professor of art at Guilford College. 2 A01 Daniel Coleman Daniel Coleman 40 04fnxsj42 University of North Carolina at Greensboro Daniel Coleman (he/they) is a Mixed-Black, transmasculine, non-binary, and queer artist-scholar. They are currently an Assistant Professor of Women’s, Gender, and Sexuality Studies at the University of North Carolina at Greensboro. 3 A01 George Scheer George Scheer George Scheer is an artist-founder, director, and cultural policy advocate who fosters creative communities at the intersection of aesthetics and social change. Scheer is the Executive Director of the Contemporary Arts Center, New Orleans and co-founder of Elsewhere, an experimental museum and artist residency in North Carolina. As a cultural critic, George writes about arts, cultural policy, urbanization, and place. Other projects include Kulturpark, a public investigation of an abandoned amusement park in East Berlin, and South Elm Projects, a curated series of public art commissions. Scheer holds a BA from the University of Pennsylvania in Political Communications, MA in Critical Theory and Visual Culture from Duke University, and a PhD in Communication and Performance Studies from the University of North Carolina, Chapel Hill. 01 eng 20 00 Open Access Antoine Williams Daniel Coleman George Scheer 26 03 06 10.53288/0367.1.25 265 279 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ghana ThinkTank 1 A01 Christopher Robbins Christopher Robbins 40 057trrr89 Purchase College Christopher Robbins has lived and worked in London, Tokyo, West Africa, the Fiji Islands, the United States, and former Yugoslavia, working on the uneasy cusp of public art, international development, and community organizing. As a way of probing the troubling power dynamics he witnessed in his cross-cultural work, he co-founded the Ghana ThinkTank in 2006. With the mission “Developing the First World,” they collect problems in the so-called “developed” world and send them to think tanks they established in Cuba, Ghana, Iran, Mexico, El Salvador, and the US prison system to analyze and solve. (The network continues to grow.) Then they work with the communities where the problems originated to implement those solutions, whether they seem impractical or brilliant. Christopher Robbins has an MFA from the Rhode Island School of Design and is the Director of the School of Art & Design at SUNY Purchase College. 2 A01 Maria del Carmen Montoya Maria del Carmen Montoya 40 00y4zzh67 George Washington University Maria del Carmen Montoya operates in the contested ground between art and social activism. Her primary medium is the communal process of making meaning. She seeks ways to catalyze this natural social phenomenon with situations that insist on the power of human-scale intervention in the presumed inevitability of everyday life. Her methodology is dialogic and collaborative. She believes that art can be a potent crucible for social change. Thus, her work is often about resistance and challenging norms, inverting power hierarchies and breaking rules, but she also traffics in beauty, memory, humor, and other potentially radical forces for activating communities. She is a core member of Ghana ThinkTank, an international artist collective that “develops the first world” by flipping traditional power dynamics and asking people living in the so-called “third world” to intervene into the lives of the people living in the alleged “developed” world. Their innovative approach to public art reveals blind spots between otherwise disconnected cultures and challenges assumptions about who is “needy.” 01 eng 20 00 Open Access Christopher Robbins Maria del Carmen Montoya 27 03 06 10.53288/0367.1.26 281 296 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gudskul 1 A01 farid rakun farid rakun farid rakun, trained as an architect (B.Arch from Universitas Indonesia and M.Arch from Cranbrook Academy of Art), wears different hats, depending on who’s asking. A visiting lecturer in the Architecture Department of Universitas Indonesia, he is also a part of the artists’ collective ruangrupa, with whom he co-curated TRANSaction: Sonsbeek 2016 in Arnhem, The Netherlands. Currently, ruangrupa serves as the first collective artistic director for documenta for its fifteenth edition in Kassel in 2022. 2 A01 Leonhard Bartolomeus Leonhard Bartolomeus Yamaguchi Center for Arts and Media Leonhard “Barto” Bartolomeus is a curator at Yamaguchi Center for Arts and Media in Japan. In 2012, after graduating from the Jakarta Institute of Art, Barto joined ruangrupa, which mutated into Gudskul Ekosistem afterwards. His curatorial projects in recent years have started to focus on open education and collaborative projects. In 2017, alongside several curators in Jakarta, Semarang, and Surabaya, he formed a curatorial collective, Kolektif Kurator Kampung. Outside of his professional affiliations, he still passionately pursues independent research and collaborative projects outside of Indonesia. He currently lives and works in Yamaguchi, Japan. 3 A01 Marcellina Dwi Kencana Putri Marcellina Dwi Kencana Putri Marcellina Dwi Kencana Putri is the manager of Gudskul. She studied International Relations and has a post-graduate degree in Cultural Anthropology. Previously, she was a producer in Studio Batu, a Yogyakarta-based collective and served as a co-curator for OK. Pangan, Media Art Festival in 2017, where she found her main interest in food. She has never been able to resist having a dessert after a meal and finds cooking a therapeutic way to keep her sanity intact. 20 00 Open Access farid rakun Leonhard Bartolomeus Marcellina Dwi Kencana Putri 28 03 06 10.53288/0367.1.27 297 303 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Jaimes Mayhew 1 A01 Jaimes Mayhew Jaimes Mayhew 40 052w4zt36 American University Jaimes Mayhew is an interdisciplinary artist whose work is collaborative, and based in his interests of land use, speculative futures, and queer ecology. Mayhew’s work has been shown nationally and internationally, and he has received awards and grants from the Fulbright Commission of Iceland, Saul Zaentz Innovation Fund, The Contemporary Baltimore’s Grit Fund, The Maryland State Arts Council, and the Baltimore Museum of Art and Provisions Library. Mayhew’s collaborative and solo work has been shown at Baltimore Museum of Art, Eyebeam in New York City, Mass MoCa in Massachusetts, Conflux Festival in Brooklyn, Chapel of St. Cecilia in Brooklyn, New York, This Is Not a Gateway in London, 808 Gallery in Boston, Transmodern Festival in Baltimore, Goucher College in Baltimore, George Mason University in Fairfax, and Hoffmannsgallerí Reykjavík in Iceland among others. Mayhew lives in Baltimore and teaches at American University in Washington, DC. 01 eng 20 00 Open Access Jaimes Mayhew 29 03 06 10.53288/0367.1.28 305 314 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sustainable Native Communities Collaborative 1 A01 Joseph Kunkel Joseph Kunkel Joseph Kunkel, a citizen of the Northern Cheyenne Nation, is a Principal at MASS Design Group, where he directs the Sustainable Native Communities Design Lab based in Santa Fe, New Mexico. He is a community designer and educator, focused on sustainable development practices throughout Indian Country. His work includes exemplary Indian housing projects and processes nationwide. This research work has developed into emerging best practices, leading to an online Healthy Homes Road Map for tribal housing development funded by HUD’s PD&R Office. His professional career has centered on community-based design, material research, fabrication, and construction. In 2019 Joseph was awarded an Obama Fellowship for his work with indigenous communities. Prior to his recognition from the Obama Foundation, Joseph received a Rauschenberg SEED grant from the Robert Rauschenberg Foundation and a 2019 Creative Capital Award. Joseph is a Fellow of the inaugural class of the Civil Society Fellowship, a partnership of ADL and The Aspen Institute, and a member of the Aspen Global Leadership Network. 01 eng 20 00 Open Access Joseph Kunkel 30 03 06 10.53288/0367.1.29 315 324 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Related Tactics + Art Practical 1 A01 Michele Carlson Michele Carlson 40 00y4zzh67 George Washington University Michele Carlson is a multidisciplinary practitioner working across the fields of art, writing, publishing, and collective practice. She has exhibited her work nationally and has received residencies at Vermont Studio Center, Kala Art Institute, and Montalvo Center for the Arts. She is a founding member of the arts collective Related Tactics with Weston Teruya and Nathan Watson. Formed in 2015, Related Tactics works at the intersection of race and culture with projects supported by the Wexner Arts Center, San Francisco Museum of Modern Art, University of San Francisco Thacher Gallery, and Southern Exposure Gallery in San Francisco. They were recently awarded the 2020–21 Print Public residency at Kala Art Institute and the 2021 Craft Research Fund—Artist Fellowship by the Center for Craft, North Carolina. She is currently an Associate Professor of Printmaking at George Washington University. 01 eng 20 00 Open Access Michele Carlson 31 03 06 10.53288/0367.1.30 325 338 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Occupy Museums 1 A01 Noah Fischer Noah Fischer Noah Fischer is a Brooklyn-based artist whose work intersects with politics through a practice of drawing, writing, organizing, performance, and sculpture. The Occupy Wall Street movement was key to his political understanding, questioning the inequity structured into cultural institutions through groups like Occupy Museums and Global Ultra Luxury Faction/Gulf Labor. Fischer’s writings have appeared in bills handed out at direct actions and his essays have been published in Hyperallergic, Frieze, M/E/A/N/I/N/G, Brooklyn Rail, and October. Fischer’s solo and collaborative work has been exhibited with and without invitation at Guggenheim, MoMA, Brooklyn Museum, ZKM Center for Art and Media, the 56th Venice Biennale, 7th Berlin Biennale, and 2017 Whitney Biennial. Fischer’s interest in politics is currently taking the form of writing a speculative fiction novel about direct democracy. 01 eng 20 00 Open Access Noah Fischer 32 03 06 10.53288/0367.1.31 339 348 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Laundromat Project 1 A01 Risë Wilson Risë Wilson Risë Wilson is Paula’s daughter, Vera’s granddaughter, and Adelaide’s great-granddaughter. When her people were stolen across the Atlantic, they were dropped in Barbados and Virginia, but Wilson’s flesh was formed on the land of the Lenape, more commonly referred to as Philadelphia. Wilson is a product of the constellation of plant-magic, lies, constraints, stardust, tree-mothers, complexities, resistance, and surrender that inform Black life on this land. In 1999 she founded The Laundromat Project, an award-winning organization that connects artists and communities of color to their capacity to envision the world in which we all want to live and the skill sets to make it so. She currently serves as the Senior Advisor for the Art for Justice Fund while also planning to launch a new cultural space that combines art, activism, and healing practices. Her work in all its forms is preoccupied with dislodging herself from the bear traps of oppression so that she might help her kinfolk do the same. 01 eng 20 00 Open Access Risë Wilson 33 03 06 10.53288/0367.1.32 349 357 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Icebox Project Space 1 A01 Ryan McCartney Ryan McCartney Ryan McCartney is a curator, educator, and artist living and working in Saint Louis. Born in 1979, Ryan was raised in rural Salem County of southern New Jersey on an estuary of the Delaware Bay. McCartney’s early upbringing was in a now vanishing landscape, one of endless tidal marshes and tall grasses. Based in Philadelphia from 2005–20, Ryan served as one of the first two directors of the Icebox Project Space, with his co-director and friend, Timothy Belknap beginning in 2013. Ryan sought to push the Icebox to reach new communities and audiences through a focus on radically inclusive curation and personal outreach. Each year at the Icebox, McCartney curated and coordinated year-round, visual art programming and performance and produced small-run, artist’s publications and artists’ audio recordings as a continuation of the idea that the gallery space should be a platform for departures, rather than an end in and of itself. 01 eng 20 00 Open Access Ryan McCartney 34 03 06 10.53288/0367.1.33 359 371 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Black School 1 A01 Shani Peters Shani Peters Shani Peters is Co-Director and Director of Education of The Black School, and is a multidisciplinary artist based in New Orleans. She holds a BA from Michigan State University and an MFA from the City College of New York. Peters has presented work in the US and abroad at the New Museum, The Studio Museum, the Schomburg Center for Research in Black Culture in Harlem, Seoul Art Space Geumcheon in South Korea, and the National Gallery of Zimbabwe in Harare. Selected residencies include those hosted by the Lower Manhattan Cultural Council, Museum of Contemporary Art Detroit, The Laundromat Project in New York City, and Project Row Houses in Texas. Her collaborative and solo work has been supported by the Mellon Foundation, Creative Capital, the Rauschenberg Foundation, Rema Hort Mann Foundation, and the Joan Mitchell Foundation. Peters is a university and museum educator, focusing her teaching at the intersection of art, design, and social change. She has been a part-time faculty at Parsons School of Design The New School, the Pratt Institute, and The City College of New York. 2 A01 Joseph Cuillier III Joseph Cuillier III Joseph Cuillier III (b. 1988, New Orleans) is Co-Director and Creative Director of The Black School and is a New Orleans-based multidisciplinary artist, designer, educator, and the co-director of Black Love Fest. His work engages with textile art and fashion as Black architecture, abstraction as a technology, and Black radical pedagogy. His practice, intersecting social practice, installation, fiber, design, and education, centers on deconstructing history and creating counter narratives. He achieved an MFA from the Pratt Institute and has been a faculty member at Parsons School of Design The New School and the Pratt Institute. His work has been exhibited and presented internationally in galleries and museums, including The Studio Museum, New Museum, Bronx Museum, and MoMA Library. Cuillier has been an artist-in-residence and fellow at Sweet Water Foundation, Ideas City NOLA, Antenna, New Museum, The Laundromat Project, and A Blade of Grass. 01 eng 20 00 Open Access Shani Peters Joseph Cuillier III 35 03 06 10.53288/0367.1.34 375 384 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conclusion 1 A01 Bill Gaskins Bill Gaskins 40 043mgze97 Maryland Institute College of Art Bill Gaskins explores questions about visual and media culture in the twenty-first century through photography and media from an interdisciplinary professional and academic foundation that includes his body of arts and culture writing framed through photography, cinema, the history of photography, visual and material culture, and American and African American Studies scholarship. His relevance as a contemporary artist has garnered attention through books, catalogs, solo and group exhibitions at major venues including the Crocker Museum of Art, the Brooklyn Museum of Art, the Detroit Institute of Arts, and the Smithsonian Institution. Bill Gaskins is also an informed and inspired professor, acknowledged by his students and peers for his insightful and transformative approaches to teaching and learning. He is presently Director of the Graduate Program in Photography + Media & Society at the Maryland Institute College of Art. 01 eng 20 00 Open Access Bill Gaskins 36 03 06 10.53288/0367.1.35 385 397 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterwords 1 A01 George Cicsle George Cicsle George Ciscle has mounted groundbreaking exhibitions, created community arts programs, and taught fine arts and humanities courses for fifty years. He trained as a sculptor, studying with Isamu Noguchi. For fifteen years he developed high-school interdisciplinary curriculum and work-study programs for the educationally disadvantaged. In 1985, he opened the George Ciscle Gallery where he promoted the careers of young and emerging artists. From 1989–96 Ciscle was the founder and director of The Contemporary, an “un-museum,” which challenges existing conventions for exhibiting art in non-traditional sites, focusing its exhibitions and outreach on connecting artists’ works with people’s everyday lives. As Curator-in-Residence at Maryland Institute College of Art from 1997–2017, he continued to develop new models for connecting art, artists, and audiences by creating the Exhibition Development Seminar, Curatorial Studies Concentration and the MFA in Curatorial Practice. 2 A01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 3 A01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access Tim Doud Zoë Charlton George Cicsle 37 03 06 10.53288/0367.1.36 399 413 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributor Biographies 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 38 03 06 10.53288/0367.1.37 415 421 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Project Biographies 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 39 03 06 10.53288/0367.1.38 423 425 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Figures 1 B01 Tim Doud Tim Doud 40 052w4zt36 American University Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office, Washington, DC, the Tacoma Art Museum in Tacoma, Kemper Contemporary Art Museum in Kansas City, the Smithsonian’s National Portrait Gallery, Washington, DC, PS1 Museum of Modern Art in New York City, Artists Space in New York City, the Frye Art Gallery in Seattle, Art Basel, Galerie Brusberg in Berlin, MC Magma in Milan, and the Corcoran Gallery of Art in Washington, DC. He has received grants from The National Endowment for the Arts (Arts Midwest), and The Pollock-Krasner Art Foundation. Commission for the Arts and Humanities. He has participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre in Alberta, the Sharpe/Walentas Studio Program in Brooklyn, New York. Doud is currently a professor at American University, Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 2 B01 Zoë Charlton Zoë Charlton 40 052w4zt36 American University Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subject’s relationship to culturally loaded objects and landscapes. Charlton received her MFA degree from the University of Texas, Austin and participated in residencies at Artpace Residency in Texas, McColl Center for Art + Innovation in North Carolina, and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, dc, Crystal Bridges Museum of American Art in Arkansas, Birmingham Museum of Art in Alabama, and Studio Museum in Harlem, New York City. Charlton is a professor in the Department of Art at American University in Washington, dc. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, dc, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/out-of-place-artists-pedagogy-and-purpose/ Earth, Milky Way 04 01 20211028 Doud, Tim Charlton, Zoë 02 WORLD 06 15 9781685710040 03 9781685710040 34 06 10.53288/0367.1.00 34 06 10.18297/etd/2500 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/51205 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/51205/0367.1.00.pdf?sequence=1&isAllowed=y 20 08 20211028 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72638 20 08 20211028 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv22d4z83 20 08 20211028 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/690 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4621b8bc-4b64-4bb8-813a-fdc59e52afca/download 20 08 20211028 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Out_of_Place/JZ-oEAAAQBAJ 20 08 20211028 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba/bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba.pdf 20 08 20211028 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849052 29 ZENODO: download the title https://zenodo.org/records/19849052/files/bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba_book.pdf 20 08 20211028 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/out-of-place-artists-pedagogy-and-purpose/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0367.1.00.pdf 20 08 20211028 01 urn:uuid:52e34311-a0b5-41ab-bbfe-e55ede33877d 03 01 01 thoth-work-id urn:uuid:97d205c8-32f0-4e64-a7df-bf56334be638 01 thoth-publication-id urn:uuid:52e34311-a0b5-41ab-bbfe-e55ede33877d 15 9781685710941 03 9781685710941 06 10.53288/0345.1.00 13 2022939561 01 internal-reference 0345 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in 03 12 mm 03 1.2 cm 03 0.46 in 08 218 gr 08 7.7 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 paq'batlh The Klingon Epic 1 B01 Floris Schönfeld Floris Schönfeld 2 B01 Kees Ligtelijn Kees Ligtelijn 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 4 B06 Marc Okrand Marc Okrand 5 A15 DeSDu' jen puqloD DeSDu' jen puqloD 6 B01 David Yonge-Mallo David Yonge-Mallo 2 01 eng 02 tlh 00 204 03 10 DRA006000 B2 Fabulations 12 FLS 93 FLS 12 2ZX 93 2ZX B2 Languages+Translations 10 POE014000 B2 Literary Studies 20 conlang; Klingon; epic literature; Star Trek; space opera; Kahless the Unforgettable; mythology 01 06 02 00 03 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what it is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language.The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD. 30 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what it is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language.The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0345.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/paqbatlh-the-klingon-epic-2nd-edn/ Earth, Milky Way 04 01 20220721 Schönfeld, Floris Ligtelijn, Kees Van Gerven Oei, Vincent W.J. 02 WORLD 03 06 10.21983/P3.0215.1.00 06 15 9781685710958 03 9781685710958 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710948 20 08 20220721 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/paqbatlh-the-klingon-epic-paperback 20 08 20220721 02 23.00 USD WORLD urn:uuid:212e1dd8-b802-4d8a-808c-1916c4276bdb 03 01 01 thoth-work-id urn:uuid:97d205c8-32f0-4e64-a7df-bf56334be638 01 thoth-publication-id urn:uuid:212e1dd8-b802-4d8a-808c-1916c4276bdb 15 9781685710958 03 9781685710958 06 10.53288/0345.1.00 13 2022939561 01 internal-reference 0345 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 paq'batlh The Klingon Epic 1 B01 Floris Schönfeld Floris Schönfeld 2 B01 Kees Ligtelijn Kees Ligtelijn 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 4 B06 Marc Okrand Marc Okrand 5 A15 DeSDu' jen puqloD DeSDu' jen puqloD 6 B01 David Yonge-Mallo David Yonge-Mallo 2 01 eng 02 tlh 00 204 03 10 DRA006000 B2 Fabulations 12 FLS 93 FLS 12 2ZX 93 2ZX B2 Languages+Translations 10 POE014000 B2 Literary Studies 20 conlang; Klingon; epic literature; Star Trek; space opera; Kahless the Unforgettable; mythology 01 06 02 00 03 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what it is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language.The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD. 30 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what it is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language.The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0345.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/paqbatlh-the-klingon-epic-2nd-edn/ Earth, Milky Way 04 01 20220721 Schönfeld, Floris Ligtelijn, Kees Van Gerven Oei, Vincent W.J. 02 WORLD 03 06 10.21983/P3.0215.1.00 06 15 9781685710941 03 9781685710941 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/57557 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/57557/0345.1.00.pdf?sequence=1&isAllowed=y 20 08 20220721 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/90584 20 08 20220721 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2sbm7jh 20 08 20220721 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/700 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/bbab0414-7997-4a67-b6af-b31aad4afada/download 20 08 20220721 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Paq_batlh/egSVEAAAQBAJ 20 08 20220721 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/97d205c8-32f0-4e64-a7df-bf56334be638 29 INTERNET_ARCHIVE: download the title https://archive.org/download/97d205c8-32f0-4e64-a7df-bf56334be638/97d205c8-32f0-4e64-a7df-bf56334be638.pdf 20 08 20220721 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849412 29 ZENODO: download the title https://zenodo.org/records/19849412/files/97d205c8-32f0-4e64-a7df-bf56334be638_book.pdf 20 08 20220721 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/paqbatlh-the-klingon-epic-2nd-edn/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0345.1.00.pdf 20 08 20220721 01 urn:uuid:0c91084d-9a8a-4b3a-b076-b7690d21568f 03 01 01 thoth-work-id urn:uuid:e81ef154-5bc3-481b-9083-64fd7aeb7575 01 thoth-publication-id urn:uuid:0c91084d-9a8a-4b3a-b076-b7690d21568f 15 9789081709125 03 9789081709125 06 10.21983/P3.0215.1.00 01 internal-reference 0215 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 paq'batlh The Klingon Epic 1 B01 Floris Schönfeld Floris Schönfeld 2 B01 Kees Ligtelijn Kees Ligtelijn 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 01d3tej48 University of New York Tirana 06 Own website http://www.vangervenoei.com/ 4 B06 Marc Okrand Marc Okrand 01 eng 01 tlh 00 210 03 B2 Fabulations 12 FLS B2 Languages+Translations 20 space opera; Star Trek; Klingon; conlang 01 06 02 00 03 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of the Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of our own ancient heroes Hercules, Ulysses and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language. 30 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of the Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of our own ancient heroes Hercules, Ulysses and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0215.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/paqbatlh-the-klingon-epic/ The Hague/Tirana 08 01 20111010 13 20220720 Schönfeld, Floris Ligtelijn, Kees Van Gerven Oei, Vincent W.J. 02 WORLD 05 06 10.53288/0345.1.00 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2CUqSO1 41 08 20111010 02 24.00 USD WORLD urn:uuid:493660c8-9472-4d2d-bce7-408401f54ad2 03 01 01 thoth-work-id urn:uuid:e81ef154-5bc3-481b-9083-64fd7aeb7575 01 thoth-publication-id urn:uuid:493660c8-9472-4d2d-bce7-408401f54ad2 06 10.21983/P3.0215.1.00 01 internal-reference 0215 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 paq'batlh The Klingon Epic 1 B01 Floris Schönfeld Floris Schönfeld 2 B01 Kees Ligtelijn Kees Ligtelijn 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 01d3tej48 University of New York Tirana 06 Own website http://www.vangervenoei.com/ 4 B06 Marc Okrand Marc Okrand 01 eng 01 tlh 00 210 03 B2 Fabulations 12 FLS B2 Languages+Translations 20 space opera; Star Trek; Klingon; conlang 01 06 02 00 03 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of the Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of our own ancient heroes Hercules, Ulysses and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language. 30 00 paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of the Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of our own ancient heroes Hercules, Ulysses and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0215.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/paqbatlh-the-klingon-epic/ The Hague/Tirana 08 01 20111010 13 20220720 Schönfeld, Floris Ligtelijn, Kees Van Gerven Oei, Vincent W.J. 02 WORLD 05 06 10.53288/0345.1.00 06 15 9789081709125 03 9789081709125 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25414 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25414/1004681.pdf?sequence=1&isAllowed=y 41 08 20111010 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/paqbatlh-the-klingon-epic/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0215.1.00.pdf 41 08 20111010 01 urn:uuid:228a990d-4036-4ca5-b83f-9f6a759c7f7d 03 01 01 thoth-work-id urn:uuid:63b0e966-e81c-4d84-b41d-3445b0d9911f 01 thoth-publication-id urn:uuid:228a990d-4036-4ca5-b83f-9f6a759c7f7d 15 9781950192632 03 9781950192632 06 10.21983/P3.0281.1.00 13 2019955875 01 internal-reference 0281 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Paris Bride A Modernist Life 1 A01 John Schad John Schad 40 04f2nsd36 Lancaster University 01 eng 00 358 03 B2 Fabulations 93 FC 10 LIT004150 93 1DDF-FR-LAA B2 Literary Studies 93 6MC 20 Paris; flanerie; literary criticism; modernism; biography; collage; surrealism 01 06 02 00 03 00 In July 1905, in Paris, a young Anglo-French woman called Marie Wheeler became the bride of a Swiss émigré, Johannes Schad. Immediately after the wedding, Marie and Johannes moved to London. And there they lived for nineteen years. In 1924, however, something happened to change their lives, and Marie, in many respects, simply disappeared.Paris Bride is an exploration of the lost life of Marie Schad, of whom little is known beyond a few legal papers, a number of letters, some photographs, the diaries of a friend, and her obituary. With so little else known of Marie’s life, this book seeks to read her back into existence by drawing on a host of contemporaneous texts -- largely modernist texts, by Virginia Woolf, Franz Kafka, the Paris Surrealists, Stéphane Mallarmé, Oscar Wilde, Katherine Mansfield, and Walter Benjamin. All of the selected authors are connected with Marie through some coincidence of time, place, or theme.In an attempt to do justice to Marie’s in-visibility, or to her un-life, Paris Bride takes as its guide Wilde’s declaration that “the true function of criticism is to see the object as in itself it really is not.” In other words, this book seeks to evade the positivist or realist assumptions of conventional literary criticism, and instead pursue a post-critical method with its sources and texts. Paris Bride is not confined to academic discourse but instead draws on a range of literary genres and devices that are more in sympathy with the non-realist character of modernism itself -- devices such as fragmentation, flânerie, textual collage, stream of consciousness, imagism, perspectivism, dream-text, the absurd, etc. Ultimately, Paris Bride is a modernistic experiment in life-writing. 30 00 In July 1905, in Paris, a young Anglo-French woman called Marie Wheeler became the bride of a Swiss émigré, Johannes Schad. Immediately after the wedding, Marie and Johannes moved to London. And there they lived for nineteen years. In 1924, however, something happened to change their lives, and Marie, in many respects, simply disappeared.Paris Bride is an exploration of the lost life of Marie Schad, of whom little is known beyond a few legal papers, a number of letters, some photographs, the diaries of a friend, and her obituary. With so little else known of Marie’s life, this book seeks to read her back into existence by drawing on a host of contemporaneous texts -- largely modernist texts, by Virginia Woolf, Franz Kafka, the Paris Surrealists, Stéphane Mallarmé, Oscar Wilde, Katherine Mansfield, and Walter Benjamin. All of the selected authors are connected with Marie through some coincidence of time, place, or theme.In an attempt to do justice to Marie’s in-visibility, or to her un-life, Paris Bride takes as its guide Wilde’s declaration that “the true function of criticism is to see the object as in itself it really is not.” In other words, this book seeks to evade the positivist or realist assumptions of conventional literary criticism, and instead pursue a post-critical method with its sources and texts. Paris Bride is not confined to academic discourse but instead draws on a range of literary genres and devices that are more in sympathy with the non-realist character of modernism itself -- devices such as fragmentation, flânerie, textual collage, stream of consciousness, imagism, perspectivism, dream-text, the absurd, etc. Ultimately, Paris Bride is a modernistic experiment in life-writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0281.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/paris-bride-a-modernist-life/ Earth, Milky Way 04 01 20200221 Schad, John 02 WORLD 06 15 9781950192649 03 9781950192649 34 06 10.1080/09505430903123040 34 06 10.5840/renascence20136539 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192636 20 08 20200221 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/paris-bride-a-modernist-life 20 08 20200221 02 26.00 USD WORLD urn:uuid:aacd7b37-4735-44a5-a9a4-ded082fea251 03 01 01 thoth-work-id urn:uuid:63b0e966-e81c-4d84-b41d-3445b0d9911f 01 thoth-publication-id urn:uuid:aacd7b37-4735-44a5-a9a4-ded082fea251 15 9781950192649 03 9781950192649 06 10.21983/P3.0281.1.00 13 2019955875 01 internal-reference 0281 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Paris Bride A Modernist Life 1 A01 John Schad John Schad 40 04f2nsd36 Lancaster University 01 eng 00 358 03 B2 Fabulations 93 FC 10 LIT004150 93 1DDF-FR-LAA B2 Literary Studies 93 6MC 20 Paris; flanerie; literary criticism; modernism; biography; collage; surrealism 01 06 02 00 03 00 In July 1905, in Paris, a young Anglo-French woman called Marie Wheeler became the bride of a Swiss émigré, Johannes Schad. Immediately after the wedding, Marie and Johannes moved to London. And there they lived for nineteen years. In 1924, however, something happened to change their lives, and Marie, in many respects, simply disappeared.Paris Bride is an exploration of the lost life of Marie Schad, of whom little is known beyond a few legal papers, a number of letters, some photographs, the diaries of a friend, and her obituary. With so little else known of Marie’s life, this book seeks to read her back into existence by drawing on a host of contemporaneous texts -- largely modernist texts, by Virginia Woolf, Franz Kafka, the Paris Surrealists, Stéphane Mallarmé, Oscar Wilde, Katherine Mansfield, and Walter Benjamin. All of the selected authors are connected with Marie through some coincidence of time, place, or theme.In an attempt to do justice to Marie’s in-visibility, or to her un-life, Paris Bride takes as its guide Wilde’s declaration that “the true function of criticism is to see the object as in itself it really is not.” In other words, this book seeks to evade the positivist or realist assumptions of conventional literary criticism, and instead pursue a post-critical method with its sources and texts. Paris Bride is not confined to academic discourse but instead draws on a range of literary genres and devices that are more in sympathy with the non-realist character of modernism itself -- devices such as fragmentation, flânerie, textual collage, stream of consciousness, imagism, perspectivism, dream-text, the absurd, etc. Ultimately, Paris Bride is a modernistic experiment in life-writing. 30 00 In July 1905, in Paris, a young Anglo-French woman called Marie Wheeler became the bride of a Swiss émigré, Johannes Schad. Immediately after the wedding, Marie and Johannes moved to London. And there they lived for nineteen years. In 1924, however, something happened to change their lives, and Marie, in many respects, simply disappeared.Paris Bride is an exploration of the lost life of Marie Schad, of whom little is known beyond a few legal papers, a number of letters, some photographs, the diaries of a friend, and her obituary. With so little else known of Marie’s life, this book seeks to read her back into existence by drawing on a host of contemporaneous texts -- largely modernist texts, by Virginia Woolf, Franz Kafka, the Paris Surrealists, Stéphane Mallarmé, Oscar Wilde, Katherine Mansfield, and Walter Benjamin. All of the selected authors are connected with Marie through some coincidence of time, place, or theme.In an attempt to do justice to Marie’s in-visibility, or to her un-life, Paris Bride takes as its guide Wilde’s declaration that “the true function of criticism is to see the object as in itself it really is not.” In other words, this book seeks to evade the positivist or realist assumptions of conventional literary criticism, and instead pursue a post-critical method with its sources and texts. Paris Bride is not confined to academic discourse but instead draws on a range of literary genres and devices that are more in sympathy with the non-realist character of modernism itself -- devices such as fragmentation, flânerie, textual collage, stream of consciousness, imagism, perspectivism, dream-text, the absurd, etc. Ultimately, Paris Bride is a modernistic experiment in life-writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0281.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/paris-bride-a-modernist-life/ Earth, Milky Way 04 01 20200221 Schad, John 02 WORLD 06 15 9781950192632 03 9781950192632 34 06 10.1080/09505430903123040 34 06 10.5840/renascence20136539 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/22461 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/22461/0281.1.00.pdf?sequence=1&isAllowed=y 20 08 20200221 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28831 20 08 20200221 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353920 20 08 20200221 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/680 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/898246b6-ab36-46b3-a507-c3caf83dcd55/download 20 08 20200221 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Paris_Bride/uAWVEAAAQBAJ 20 08 20200221 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/63b0e966-e81c-4d84-b41d-3445b0d9911f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/63b0e966-e81c-4d84-b41d-3445b0d9911f/63b0e966-e81c-4d84-b41d-3445b0d9911f.pdf 20 08 20200221 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848147 29 ZENODO: download the title https://zenodo.org/records/19848147/files/63b0e966-e81c-4d84-b41d-3445b0d9911f_book.pdf 20 08 20200221 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/paris-bride-a-modernist-life/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0281.1.00.pdf 20 08 20200221 01 urn:uuid:ae5634c2-d0e8-47f9-8b29-bef585c58d88 03 01 01 thoth-work-id urn:uuid:90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f 01 thoth-publication-id urn:uuid:ae5634c2-d0e8-47f9-8b29-bef585c58d88 15 9781947447813 03 9781947447813 06 10.21983/P3.0232.1.00 13 2018954815 01 internal-reference 0232 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 'Pataphilology An Irreader 1 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 240 03 93 6NP 12 GTE B2 Languages+Translations 10 LIT006000 93 CFN B2 Thought Experiments B2 Humanities+University 20 Alfred Jarry; grammar; philology; pataphysics; etymology; semiotics 01 06 02 00 03 00 What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement.In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects.Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains. 30 00 What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement.In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects.Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0232.1.00_frontcover.jpeg 1 03 06 10.21983/P3.0232.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Gurd, Sean Gerven Oei, Vincent W.J. van 2 03 06 10.21983/P3.0232.1.02 11 19 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preamble: The Papyrus of Ani: Egyptian Book of the Dead: A Prototype of Ekphrastic Translation of Plate 1 1 A01 Steve McCaffery Steve McCaffery 40 01y64my43 University at Buffalo, State University of New York 01 eng 03 00 The Pataphysical premise for ekphrastic translation is sim-ple. Meaning (core) is the epiphenomenon of Sign (sur-face). Under the rubric of this premise, translation be-comes subject to the following clinamen: a swerve of translation to the level of description. Such an attempt to establish a system of verbal linear cor-respondence as a studied description of what is seen (i.e., by a treatment of hieroglyph as phenotype, hence a new code), will of necessity be partly a subjective response, cf. Tender Buttons. Ekphrastic translation liberates the latter from the domain of service, of utility, into the realm of creativity. “HA HA,” doubt-lessly Bosse-de-Nage would exclaim/explain. 30 00 The Pataphysical premise for ekphrastic translation is sim-ple. Meaning (core) is the epiphenomenon of Sign (sur-face). Under the rubric of this premise, translation be-comes subject to the following clinamen: a swerve of translation to the level of description. Such an attempt to establish a system of verbal linear cor-respondence as a studied description of what is seen (i.e., by a treatment of hieroglyph as phenotype, hence a new code), will of necessity be partly a subjective response, cf. Tender Buttons. Ekphrastic translation liberates the latter from the domain of service, of utility, into the realm of creativity. “HA HA,” doubt-lessly Bosse-de-Nage would exclaim/explain. 20 00 Open Access McCaffery, Steve 3 03 06 10.21983/P3.0232.1.03 21 59 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Elements of 'Pataphilology 1 A01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 01 eng 03 00 I began to think with the word ’pataphilology around 2001, as a way of grouping a dossier of very strange texts that ranged in date of origin from the 1860s through the 1990s and in genre from avant-garde literature through the work of outsid-ers, hallucinators, schizophrenics, and principled refuseniks to normal (and normative) language practices. Sometimes these texts (many of which are gathered in the epoch-marking 1998 anthology Imagining Langugae, edited by Jed Rasula and Steve McCaffery) deploy perfectly respectable philological method-ologies, but in a manner which leads to bizarre and even oth-erworldly results; at other times new philologies are invented, then deployed to produce remarkable and moving documents. Reading these works, I felt as though I had entered an alternate world in which everything I knew had somehow been subtly changed, where everything was itself and yet unsettlingly differ-ent at the same time. 30 00 I began to think with the word ’pataphilology around 2001, as a way of grouping a dossier of very strange texts that ranged in date of origin from the 1860s through the 1990s and in genre from avant-garde literature through the work of outsid-ers, hallucinators, schizophrenics, and principled refuseniks to normal (and normative) language practices. Sometimes these texts (many of which are gathered in the epoch-marking 1998 anthology Imagining Langugae, edited by Jed Rasula and Steve McCaffery) deploy perfectly respectable philological method-ologies, but in a manner which leads to bizarre and even oth-erworldly results; at other times new philologies are invented, then deployed to produce remarkable and moving documents. Reading these works, I felt as though I had entered an alternate world in which everything I knew had somehow been subtly changed, where everything was itself and yet unsettlingly differ-ent at the same time. 20 00 Open Access Gurd, Searn 4 03 06 10.21983/P3.0232.1.04 61 92 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Walker and the Wake Analysis of Non-Intrinsic Philological Isolates 1 A01 Michael D. Gordin Michael D. Gordin 40 00hx57361 Princeton University 2 A01 Joshua T. Katz Joshua T. Katz 40 00hx57361 Princeton University 01 eng 03 00 This paper has two points of departure. The first is the use of marginal phenomena to elucidate complex core con-ceptual questions, an approach that has been used to good effect in a wide variety of disciplines.1 One such question is “What is language?,” where one not uncontroversial research program looks at animal behavior that arguably resembles hu-man communication (e.g., bee dances, whale songs).2 Another question—which we insist on distinguishing sharply from the former — is “What is a language?” By this we refer both to the determination of the place at which one language stops and an-other begins (e.g., Danish/Norwegian, Kazakh/Kyrgyz) and to the potential distinction between a language and a dialect (e.g., Hochdeutsch/Bairisch, Modern Standard Arabic/Maghrebi).3We confine ourselves to this latter question. 30 00 This paper has two points of departure. The first is the use of marginal phenomena to elucidate complex core con-ceptual questions, an approach that has been used to good effect in a wide variety of disciplines.1 One such question is “What is language?,” where one not uncontroversial research program looks at animal behavior that arguably resembles hu-man communication (e.g., bee dances, whale songs).2 Another question—which we insist on distinguishing sharply from the former — is “What is a language?” By this we refer both to the determination of the place at which one language stops and an-other begins (e.g., Danish/Norwegian, Kazakh/Kyrgyz) and to the potential distinction between a language and a dialect (e.g., Hochdeutsch/Bairisch, Modern Standard Arabic/Maghrebi).3We confine ourselves to this latter question. 20 00 Open Access Gordin, Michael D. Katz, Joshua T. 5 03 06 10.21983/P3.0232.1.05 93 115 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "On Epic Naïveté” Adorno’s Allegory of Philology 1 A01 James I. Porter James I. Porter 40 01an7q238 University of California, Berkeley 01 eng 03 00 “On Epic Naïveté” (1943) is a short but dizzying fragment from Adorno’s “Excursus I: Odysseus, or Myth and Enlightenment” that never found its way into the final version of The Dialectic of Enlightenment.1The fragment, a self-contained essay, is continuous with the larger work’s critique of Enlightenment reasoning but is more focused in its approach, in addition to showcasing a hauntingly beautiful reading of epic imagery. In its methodological gambit, the essay resembles a piece of classical philology, though in the way it draws philosophical conclusions based on close readings and on highly focused Ansatzpünkte it more closely resembles Erich Auerbach’s critical reading of Homer from the year before, “Odysseus’ Scar.”2 Perhaps a still closer parallel stylistically speaking would be the “parody of the philological method” that Adorno detects in Walter Benjamin’s “allegorical” philosophical writing. 30 00 “On Epic Naïveté” (1943) is a short but dizzying fragment from Adorno’s “Excursus I: Odysseus, or Myth and Enlightenment” that never found its way into the final version of The Dialectic of Enlightenment.1The fragment, a self-contained essay, is continuous with the larger work’s critique of Enlightenment reasoning but is more focused in its approach, in addition to showcasing a hauntingly beautiful reading of epic imagery. In its methodological gambit, the essay resembles a piece of classical philology, though in the way it draws philosophical conclusions based on close readings and on highly focused Ansatzpünkte it more closely resembles Erich Auerbach’s critical reading of Homer from the year before, “Odysseus’ Scar.”2 Perhaps a still closer parallel stylistically speaking would be the “parody of the philological method” that Adorno detects in Walter Benjamin’s “allegorical” philosophical writing. 20 00 Open Access Porter, James I. 6 03 06 10.21983/P3.0232.1.06 117 138 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pataphilological Lacan 1 A01 Sean Braune Sean Braune 01 eng 03 00 “What is ’Pataphysics?” asks the cover of the Ever-green Review in 1960.1 Alfred Jarry defines ’pata-physics this way: “[’]Pataphysics is the science of imaginary solutions, which symbolically attributes the proper-ties of objects, described by their virtuality, to their lineaments.”2The prefix pata, a symbiosis of meta and para, achieves a lettric instance of liminality that “extend(s) as far beyond metaphysics as the latter extends beyond physics.”3 Jarry emphasizes that the neologism ’pataphysique should be written with an apostrophe at its beginning to avoid punning on the word—puns such as patte à physique, which means “the flair of physics.”4 Christian Bök details several other potential puns, such as épatée physique(“astounded physics”), pas ta physique (“not your physics”), and puns on Jarry’s iconic Father Ubu: “Ubu, for example, is a slap-stick comedian (pataud physique) of unhealthy obesity (pâteux physique),” and so on.5 ’Pataphysics emphasizes wordplay and stylistic invention through a philological aphasia that reveals what is concealed within language; for this reason, it is already so closely linked to etymology and philology that, as James Zet-zel asserts, any philology is already ’pataphilology.6 Zetzel points out that according to Martianus Capella the god Mercury mar-ries a mortal woman named Philology; but he reconfigures this marriage as a love triangle, since Zetzel situates Philology as a twinned being composed of both philology and ’pataphilology or “Mistress Grammar.” 30 00 “What is ’Pataphysics?” asks the cover of the Ever-green Review in 1960.1 Alfred Jarry defines ’pata-physics this way: “[’]Pataphysics is the science of imaginary solutions, which symbolically attributes the proper-ties of objects, described by their virtuality, to their lineaments.”2The prefix pata, a symbiosis of meta and para, achieves a lettric instance of liminality that “extend(s) as far beyond metaphysics as the latter extends beyond physics.”3 Jarry emphasizes that the neologism ’pataphysique should be written with an apostrophe at its beginning to avoid punning on the word—puns such as patte à physique, which means “the flair of physics.”4 Christian Bök details several other potential puns, such as épatée physique(“astounded physics”), pas ta physique (“not your physics”), and puns on Jarry’s iconic Father Ubu: “Ubu, for example, is a slap-stick comedian (pataud physique) of unhealthy obesity (pâteux physique),” and so on.5 ’Pataphysics emphasizes wordplay and stylistic invention through a philological aphasia that reveals what is concealed within language; for this reason, it is already so closely linked to etymology and philology that, as James Zet-zel asserts, any philology is already ’pataphilology.6 Zetzel points out that according to Martianus Capella the god Mercury mar-ries a mortal woman named Philology; but he reconfigures this marriage as a love triangle, since Zetzel situates Philology as a twinned being composed of both philology and ’pataphilology or “Mistress Grammar.” 20 00 Open Access Braune, Sean 7 03 06 10.21983/P3.0232.1.07 139 165 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Going Soft on Canidia The Epodes, an Unappreciated Classic 1 A01 Paul Allen Miller Paul Allen Miller 40 02b6qw903 University of South Carolina 01 eng 03 00 Written during the early years of Augustus’s consoli-dation of power at Rome (the period sometimes, though misleadingly, called the beginning of the empire), many of Horace’s Epodes display an aggressive combi-nation of sexual, political, and social humor with connections reaching back to the archaic period of Greek poetry. Among the objects of invective in the collection is a certain Canidia, who is attacked in Epodes 3, 5, and 17 (she is attacked, also, in Satires 1.8, 2.1, and 2.8).1 In two other Epodes, 8 and 12, Horace writes about his own impotence, caused, he says, by the agency of an unnamed old woman (anus). I suggest that this anus can be associated with Canidia. If that’s true, the consequence is that Epodes 3, 5, 8, 12, and 17 make a single sequence in which attacks on the putative other are inseparable from confessions of impo-tence, both sexual and otherwise. Canidia, the ultimate target of Horace’s iambic venom,2 is not the symbol of his poetic power (as Lycambes is for Archilochus and Bupalus for Hipponax) so much as the ironic reflection of his powerlessness — symbol-ized, here, by his castration.3 The collection ends with Horace’s sudden surrender to the superior power of Canidia’s mala car-mina and her declaration that she will not refrain from tak-ing her vengeance lest all her power be held in vain (17.37–41, 74–81). This network of associations, in turn, extends beyond the series to the other poems in the collection, which are linked to it through a variety of textual and thematic echoes as well as through direct juxtaposition. 30 00 Written during the early years of Augustus’s consoli-dation of power at Rome (the period sometimes, though misleadingly, called the beginning of the empire), many of Horace’s Epodes display an aggressive combi-nation of sexual, political, and social humor with connections reaching back to the archaic period of Greek poetry. Among the objects of invective in the collection is a certain Canidia, who is attacked in Epodes 3, 5, and 17 (she is attacked, also, in Satires 1.8, 2.1, and 2.8).1 In two other Epodes, 8 and 12, Horace writes about his own impotence, caused, he says, by the agency of an unnamed old woman (anus). I suggest that this anus can be associated with Canidia. If that’s true, the consequence is that Epodes 3, 5, 8, 12, and 17 make a single sequence in which attacks on the putative other are inseparable from confessions of impo-tence, both sexual and otherwise. Canidia, the ultimate target of Horace’s iambic venom,2 is not the symbol of his poetic power (as Lycambes is for Archilochus and Bupalus for Hipponax) so much as the ironic reflection of his powerlessness — symbol-ized, here, by his castration.3 The collection ends with Horace’s sudden surrender to the superior power of Canidia’s mala car-mina and her declaration that she will not refrain from tak-ing her vengeance lest all her power be held in vain (17.37–41, 74–81). This network of associations, in turn, extends beyond the series to the other poems in the collection, which are linked to it through a variety of textual and thematic echoes as well as through direct juxtaposition. 20 00 Open Access Miller, Paul Allen 8 03 06 10.21983/P3.0232.1.08 167 215 49 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Paraphilologist as 'Pataphysician 1 A01 Erik Gunderson Erik Gunderson 40 03dbr7087 University of Toronto 01 eng 03 00 This volume is predicated on the notion that ’pataphysics constitutes the avant-garde destiny of a doomed conserv-ative metaphysics. A conservative metaphysics fetishizes “the rule of the rule.” ’Pataphysics relishes in such a phrase only the logic-cleaving of a sideways-splitting pun: “how many inches in a ruler, my liege?” And, as a lover of puns, ’pataphys-ics is just getting started precisely where one had been asked to end. When wearing his or her outlandish grammatical hat, the ’pataphysicist become ’pataphilologist—or is it the other way around, I forget—oversees the emancipation of logos in a paral-lel revolutionary moment. This revolt upends the dour hegem-ony of generalities in the name of a mass uprising of laughing particularities. The consonance of physis and logos was always a key meta-physical gambit in the west. Shifts in the one domain affect the other because the two are different aspects of the same under-lying unity. The “natural reasonableness” of the world, its con-tents, and human conventions alike has long been “axiomatic.” And many have set themselves up as guardians of this obvious-ness, guardians who will never acknowledge that there might be anything ill-fitted about the world. 30 00 This volume is predicated on the notion that ’pataphysics constitutes the avant-garde destiny of a doomed conserv-ative metaphysics. A conservative metaphysics fetishizes “the rule of the rule.” ’Pataphysics relishes in such a phrase only the logic-cleaving of a sideways-splitting pun: “how many inches in a ruler, my liege?” And, as a lover of puns, ’pataphys-ics is just getting started precisely where one had been asked to end. When wearing his or her outlandish grammatical hat, the ’pataphysicist become ’pataphilologist—or is it the other way around, I forget—oversees the emancipation of logos in a paral-lel revolutionary moment. This revolt upends the dour hegem-ony of generalities in the name of a mass uprising of laughing particularities. The consonance of physis and logos was always a key meta-physical gambit in the west. Shifts in the one domain affect the other because the two are different aspects of the same under-lying unity. The “natural reasonableness” of the world, its con-tents, and human conventions alike has long been “axiomatic.” And many have set themselves up as guardians of this obvious-ness, guardians who will never acknowledge that there might be anything ill-fitted about the world. 20 00 Open Access Gunderson, Erik 9 03 06 10.21983/P3.0232.1.09 217 237 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Gurd, Sean Gerven Oei, Vincent W.J. van 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pataphilology-an-irreader/ Earth, Milky Way 04 01 20181119 Gurd, Sean Gerven Oei, Vincent W.J. van 02 WORLD 06 15 9781947447820 03 9781947447820 34 06 10.2979/jml.2010.33.4.167 34 06 10.1017/S0017383500014030 34 06 10.1086/681980 34 06 10.1093/crj/clv007 34 06 10.1353/ajp.2014.0006 34 06 10.2307/293646 34 06 10.1086/595631 34 06 10.1353/pmc.2011.0003 34 06 10.1075/lplp.36.2.01say WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447815 20 08 20181119 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/pataphilology-an-irreader 20 08 20181119 02 24.00 USD WORLD urn:uuid:96a5e9b7-5cfd-4ef0-8777-73899be5629b 03 01 01 thoth-work-id urn:uuid:90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f 01 thoth-publication-id urn:uuid:96a5e9b7-5cfd-4ef0-8777-73899be5629b 15 9781947447820 03 9781947447820 06 10.21983/P3.0232.1.00 13 2018954815 01 internal-reference 0232 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 'Pataphilology An Irreader 1 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 00 240 03 93 6NP 12 GTE B2 Languages+Translations 10 LIT006000 93 CFN B2 Thought Experiments B2 Humanities+University 20 Alfred Jarry; grammar; philology; pataphysics; etymology; semiotics 01 06 02 00 03 00 What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement.In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects.Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains. 30 00 What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement.In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects.Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0232.1.00_frontcover.jpeg 1 03 06 10.21983/P3.0232.1.01 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Gurd, Sean Gerven Oei, Vincent W.J. van 2 03 06 10.21983/P3.0232.1.02 11 19 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preamble: The Papyrus of Ani: Egyptian Book of the Dead: A Prototype of Ekphrastic Translation of Plate 1 1 A01 Steve McCaffery Steve McCaffery 40 01y64my43 University at Buffalo, State University of New York 01 eng 03 00 The Pataphysical premise for ekphrastic translation is sim-ple. Meaning (core) is the epiphenomenon of Sign (sur-face). Under the rubric of this premise, translation be-comes subject to the following clinamen: a swerve of translation to the level of description. Such an attempt to establish a system of verbal linear cor-respondence as a studied description of what is seen (i.e., by a treatment of hieroglyph as phenotype, hence a new code), will of necessity be partly a subjective response, cf. Tender Buttons. Ekphrastic translation liberates the latter from the domain of service, of utility, into the realm of creativity. “HA HA,” doubt-lessly Bosse-de-Nage would exclaim/explain. 30 00 The Pataphysical premise for ekphrastic translation is sim-ple. Meaning (core) is the epiphenomenon of Sign (sur-face). Under the rubric of this premise, translation be-comes subject to the following clinamen: a swerve of translation to the level of description. Such an attempt to establish a system of verbal linear cor-respondence as a studied description of what is seen (i.e., by a treatment of hieroglyph as phenotype, hence a new code), will of necessity be partly a subjective response, cf. Tender Buttons. Ekphrastic translation liberates the latter from the domain of service, of utility, into the realm of creativity. “HA HA,” doubt-lessly Bosse-de-Nage would exclaim/explain. 20 00 Open Access McCaffery, Steve 3 03 06 10.21983/P3.0232.1.03 21 59 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Elements of 'Pataphilology 1 A01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 01 eng 03 00 I began to think with the word ’pataphilology around 2001, as a way of grouping a dossier of very strange texts that ranged in date of origin from the 1860s through the 1990s and in genre from avant-garde literature through the work of outsid-ers, hallucinators, schizophrenics, and principled refuseniks to normal (and normative) language practices. Sometimes these texts (many of which are gathered in the epoch-marking 1998 anthology Imagining Langugae, edited by Jed Rasula and Steve McCaffery) deploy perfectly respectable philological method-ologies, but in a manner which leads to bizarre and even oth-erworldly results; at other times new philologies are invented, then deployed to produce remarkable and moving documents. Reading these works, I felt as though I had entered an alternate world in which everything I knew had somehow been subtly changed, where everything was itself and yet unsettlingly differ-ent at the same time. 30 00 I began to think with the word ’pataphilology around 2001, as a way of grouping a dossier of very strange texts that ranged in date of origin from the 1860s through the 1990s and in genre from avant-garde literature through the work of outsid-ers, hallucinators, schizophrenics, and principled refuseniks to normal (and normative) language practices. Sometimes these texts (many of which are gathered in the epoch-marking 1998 anthology Imagining Langugae, edited by Jed Rasula and Steve McCaffery) deploy perfectly respectable philological method-ologies, but in a manner which leads to bizarre and even oth-erworldly results; at other times new philologies are invented, then deployed to produce remarkable and moving documents. Reading these works, I felt as though I had entered an alternate world in which everything I knew had somehow been subtly changed, where everything was itself and yet unsettlingly differ-ent at the same time. 20 00 Open Access Gurd, Searn 4 03 06 10.21983/P3.0232.1.04 61 92 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Walker and the Wake Analysis of Non-Intrinsic Philological Isolates 1 A01 Michael D. Gordin Michael D. Gordin 40 00hx57361 Princeton University 2 A01 Joshua T. Katz Joshua T. Katz 40 00hx57361 Princeton University 01 eng 03 00 This paper has two points of departure. The first is the use of marginal phenomena to elucidate complex core con-ceptual questions, an approach that has been used to good effect in a wide variety of disciplines.1 One such question is “What is language?,” where one not uncontroversial research program looks at animal behavior that arguably resembles hu-man communication (e.g., bee dances, whale songs).2 Another question—which we insist on distinguishing sharply from the former — is “What is a language?” By this we refer both to the determination of the place at which one language stops and an-other begins (e.g., Danish/Norwegian, Kazakh/Kyrgyz) and to the potential distinction between a language and a dialect (e.g., Hochdeutsch/Bairisch, Modern Standard Arabic/Maghrebi).3We confine ourselves to this latter question. 30 00 This paper has two points of departure. The first is the use of marginal phenomena to elucidate complex core con-ceptual questions, an approach that has been used to good effect in a wide variety of disciplines.1 One such question is “What is language?,” where one not uncontroversial research program looks at animal behavior that arguably resembles hu-man communication (e.g., bee dances, whale songs).2 Another question—which we insist on distinguishing sharply from the former — is “What is a language?” By this we refer both to the determination of the place at which one language stops and an-other begins (e.g., Danish/Norwegian, Kazakh/Kyrgyz) and to the potential distinction between a language and a dialect (e.g., Hochdeutsch/Bairisch, Modern Standard Arabic/Maghrebi).3We confine ourselves to this latter question. 20 00 Open Access Gordin, Michael D. Katz, Joshua T. 5 03 06 10.21983/P3.0232.1.05 93 115 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "On Epic Naïveté” Adorno’s Allegory of Philology 1 A01 James I. Porter James I. Porter 40 01an7q238 University of California, Berkeley 01 eng 03 00 “On Epic Naïveté” (1943) is a short but dizzying fragment from Adorno’s “Excursus I: Odysseus, or Myth and Enlightenment” that never found its way into the final version of The Dialectic of Enlightenment.1The fragment, a self-contained essay, is continuous with the larger work’s critique of Enlightenment reasoning but is more focused in its approach, in addition to showcasing a hauntingly beautiful reading of epic imagery. In its methodological gambit, the essay resembles a piece of classical philology, though in the way it draws philosophical conclusions based on close readings and on highly focused Ansatzpünkte it more closely resembles Erich Auerbach’s critical reading of Homer from the year before, “Odysseus’ Scar.”2 Perhaps a still closer parallel stylistically speaking would be the “parody of the philological method” that Adorno detects in Walter Benjamin’s “allegorical” philosophical writing. 30 00 “On Epic Naïveté” (1943) is a short but dizzying fragment from Adorno’s “Excursus I: Odysseus, or Myth and Enlightenment” that never found its way into the final version of The Dialectic of Enlightenment.1The fragment, a self-contained essay, is continuous with the larger work’s critique of Enlightenment reasoning but is more focused in its approach, in addition to showcasing a hauntingly beautiful reading of epic imagery. In its methodological gambit, the essay resembles a piece of classical philology, though in the way it draws philosophical conclusions based on close readings and on highly focused Ansatzpünkte it more closely resembles Erich Auerbach’s critical reading of Homer from the year before, “Odysseus’ Scar.”2 Perhaps a still closer parallel stylistically speaking would be the “parody of the philological method” that Adorno detects in Walter Benjamin’s “allegorical” philosophical writing. 20 00 Open Access Porter, James I. 6 03 06 10.21983/P3.0232.1.06 117 138 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pataphilological Lacan 1 A01 Sean Braune Sean Braune 01 eng 03 00 “What is ’Pataphysics?” asks the cover of the Ever-green Review in 1960.1 Alfred Jarry defines ’pata-physics this way: “[’]Pataphysics is the science of imaginary solutions, which symbolically attributes the proper-ties of objects, described by their virtuality, to their lineaments.”2The prefix pata, a symbiosis of meta and para, achieves a lettric instance of liminality that “extend(s) as far beyond metaphysics as the latter extends beyond physics.”3 Jarry emphasizes that the neologism ’pataphysique should be written with an apostrophe at its beginning to avoid punning on the word—puns such as patte à physique, which means “the flair of physics.”4 Christian Bök details several other potential puns, such as épatée physique(“astounded physics”), pas ta physique (“not your physics”), and puns on Jarry’s iconic Father Ubu: “Ubu, for example, is a slap-stick comedian (pataud physique) of unhealthy obesity (pâteux physique),” and so on.5 ’Pataphysics emphasizes wordplay and stylistic invention through a philological aphasia that reveals what is concealed within language; for this reason, it is already so closely linked to etymology and philology that, as James Zet-zel asserts, any philology is already ’pataphilology.6 Zetzel points out that according to Martianus Capella the god Mercury mar-ries a mortal woman named Philology; but he reconfigures this marriage as a love triangle, since Zetzel situates Philology as a twinned being composed of both philology and ’pataphilology or “Mistress Grammar.” 30 00 “What is ’Pataphysics?” asks the cover of the Ever-green Review in 1960.1 Alfred Jarry defines ’pata-physics this way: “[’]Pataphysics is the science of imaginary solutions, which symbolically attributes the proper-ties of objects, described by their virtuality, to their lineaments.”2The prefix pata, a symbiosis of meta and para, achieves a lettric instance of liminality that “extend(s) as far beyond metaphysics as the latter extends beyond physics.”3 Jarry emphasizes that the neologism ’pataphysique should be written with an apostrophe at its beginning to avoid punning on the word—puns such as patte à physique, which means “the flair of physics.”4 Christian Bök details several other potential puns, such as épatée physique(“astounded physics”), pas ta physique (“not your physics”), and puns on Jarry’s iconic Father Ubu: “Ubu, for example, is a slap-stick comedian (pataud physique) of unhealthy obesity (pâteux physique),” and so on.5 ’Pataphysics emphasizes wordplay and stylistic invention through a philological aphasia that reveals what is concealed within language; for this reason, it is already so closely linked to etymology and philology that, as James Zet-zel asserts, any philology is already ’pataphilology.6 Zetzel points out that according to Martianus Capella the god Mercury mar-ries a mortal woman named Philology; but he reconfigures this marriage as a love triangle, since Zetzel situates Philology as a twinned being composed of both philology and ’pataphilology or “Mistress Grammar.” 20 00 Open Access Braune, Sean 7 03 06 10.21983/P3.0232.1.07 139 165 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Going Soft on Canidia The Epodes, an Unappreciated Classic 1 A01 Paul Allen Miller Paul Allen Miller 40 02b6qw903 University of South Carolina 01 eng 03 00 Written during the early years of Augustus’s consoli-dation of power at Rome (the period sometimes, though misleadingly, called the beginning of the empire), many of Horace’s Epodes display an aggressive combi-nation of sexual, political, and social humor with connections reaching back to the archaic period of Greek poetry. Among the objects of invective in the collection is a certain Canidia, who is attacked in Epodes 3, 5, and 17 (she is attacked, also, in Satires 1.8, 2.1, and 2.8).1 In two other Epodes, 8 and 12, Horace writes about his own impotence, caused, he says, by the agency of an unnamed old woman (anus). I suggest that this anus can be associated with Canidia. If that’s true, the consequence is that Epodes 3, 5, 8, 12, and 17 make a single sequence in which attacks on the putative other are inseparable from confessions of impo-tence, both sexual and otherwise. Canidia, the ultimate target of Horace’s iambic venom,2 is not the symbol of his poetic power (as Lycambes is for Archilochus and Bupalus for Hipponax) so much as the ironic reflection of his powerlessness — symbol-ized, here, by his castration.3 The collection ends with Horace’s sudden surrender to the superior power of Canidia’s mala car-mina and her declaration that she will not refrain from tak-ing her vengeance lest all her power be held in vain (17.37–41, 74–81). This network of associations, in turn, extends beyond the series to the other poems in the collection, which are linked to it through a variety of textual and thematic echoes as well as through direct juxtaposition. 30 00 Written during the early years of Augustus’s consoli-dation of power at Rome (the period sometimes, though misleadingly, called the beginning of the empire), many of Horace’s Epodes display an aggressive combi-nation of sexual, political, and social humor with connections reaching back to the archaic period of Greek poetry. Among the objects of invective in the collection is a certain Canidia, who is attacked in Epodes 3, 5, and 17 (she is attacked, also, in Satires 1.8, 2.1, and 2.8).1 In two other Epodes, 8 and 12, Horace writes about his own impotence, caused, he says, by the agency of an unnamed old woman (anus). I suggest that this anus can be associated with Canidia. If that’s true, the consequence is that Epodes 3, 5, 8, 12, and 17 make a single sequence in which attacks on the putative other are inseparable from confessions of impo-tence, both sexual and otherwise. Canidia, the ultimate target of Horace’s iambic venom,2 is not the symbol of his poetic power (as Lycambes is for Archilochus and Bupalus for Hipponax) so much as the ironic reflection of his powerlessness — symbol-ized, here, by his castration.3 The collection ends with Horace’s sudden surrender to the superior power of Canidia’s mala car-mina and her declaration that she will not refrain from tak-ing her vengeance lest all her power be held in vain (17.37–41, 74–81). This network of associations, in turn, extends beyond the series to the other poems in the collection, which are linked to it through a variety of textual and thematic echoes as well as through direct juxtaposition. 20 00 Open Access Miller, Paul Allen 8 03 06 10.21983/P3.0232.1.08 167 215 49 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Paraphilologist as 'Pataphysician 1 A01 Erik Gunderson Erik Gunderson 40 03dbr7087 University of Toronto 01 eng 03 00 This volume is predicated on the notion that ’pataphysics constitutes the avant-garde destiny of a doomed conserv-ative metaphysics. A conservative metaphysics fetishizes “the rule of the rule.” ’Pataphysics relishes in such a phrase only the logic-cleaving of a sideways-splitting pun: “how many inches in a ruler, my liege?” And, as a lover of puns, ’pataphys-ics is just getting started precisely where one had been asked to end. When wearing his or her outlandish grammatical hat, the ’pataphysicist become ’pataphilologist—or is it the other way around, I forget—oversees the emancipation of logos in a paral-lel revolutionary moment. This revolt upends the dour hegem-ony of generalities in the name of a mass uprising of laughing particularities. The consonance of physis and logos was always a key meta-physical gambit in the west. Shifts in the one domain affect the other because the two are different aspects of the same under-lying unity. The “natural reasonableness” of the world, its con-tents, and human conventions alike has long been “axiomatic.” And many have set themselves up as guardians of this obvious-ness, guardians who will never acknowledge that there might be anything ill-fitted about the world. 30 00 This volume is predicated on the notion that ’pataphysics constitutes the avant-garde destiny of a doomed conserv-ative metaphysics. A conservative metaphysics fetishizes “the rule of the rule.” ’Pataphysics relishes in such a phrase only the logic-cleaving of a sideways-splitting pun: “how many inches in a ruler, my liege?” And, as a lover of puns, ’pataphys-ics is just getting started precisely where one had been asked to end. When wearing his or her outlandish grammatical hat, the ’pataphysicist become ’pataphilologist—or is it the other way around, I forget—oversees the emancipation of logos in a paral-lel revolutionary moment. This revolt upends the dour hegem-ony of generalities in the name of a mass uprising of laughing particularities. The consonance of physis and logos was always a key meta-physical gambit in the west. Shifts in the one domain affect the other because the two are different aspects of the same under-lying unity. The “natural reasonableness” of the world, its con-tents, and human conventions alike has long been “axiomatic.” And many have set themselves up as guardians of this obvious-ness, guardians who will never acknowledge that there might be anything ill-fitted about the world. 20 00 Open Access Gunderson, Erik 9 03 06 10.21983/P3.0232.1.09 217 237 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Sean Gurd Sean Gurd 40 02ymw8z06 University of Missouri 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Gurd, Sean Gerven Oei, Vincent W.J. van 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pataphilology-an-irreader/ Earth, Milky Way 04 01 20181119 Gurd, Sean Gerven Oei, Vincent W.J. van 02 WORLD 06 15 9781947447813 03 9781947447813 34 06 10.2979/jml.2010.33.4.167 34 06 10.1017/S0017383500014030 34 06 10.1086/681980 34 06 10.1093/crj/clv007 34 06 10.1353/ajp.2014.0006 34 06 10.2307/293646 34 06 10.1086/595631 34 06 10.1353/pmc.2011.0003 34 06 10.1075/lplp.36.2.01say WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25398 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25398/1004697.pdf?sequence=1&isAllowed=y 20 08 20181119 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33189 20 08 20181119 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353854 20 08 20181119 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/595 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2a4c2917-7faa-4b4c-be4a-3e5b75536293/download 20 08 20181119 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f/90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f.pdf 20 08 20181119 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847542 29 ZENODO: download the title https://zenodo.org/records/19847542/files/90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f_book.pdf 20 08 20181119 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pataphilology-an-irreader/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0232.1.00.pdf 20 08 20181119 01 urn:uuid:fbf62196-5b60-4e0e-a827-540f0e1c43a6 03 01 01 thoth-work-id urn:uuid:ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2 01 thoth-publication-id urn:uuid:fbf62196-5b60-4e0e-a827-540f0e1c43a6 15 9781950192274 03 9781950192274 06 10.21983/P3.0257.1.00 13 2019943219 01 internal-reference 0257 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Pedagogics of Liberation A Latin American Philosophy of Education 1 A01 Enrique Dussel Enrique Dussel 40 02kta5139 Universidad Autónoma Metropolitana 2 B06 David I. Backer David I. Backer 40 0053n5071 West Chester University 3 B06 Cecilia Diego Cecilia Diego 40 00hj8s172 Columbia University 4 A15 Linda Martín Alcoff Linda Martín Alcoff 40 00g2xk477 Hunter College 01 eng 00 204 03 10 EDU040000 12 JNA 93 JNA B2 Languages+Translations 12 1KL 93 1KLSA B2 New Left Thought 10 PHI019000 12 HBTR 93 NHTR B2 Pedagogies 20 philosophy of education; liberation pedagogy; Argentina; Latin America; pedagogy; decoloniality; ethical philosophy 01 06 02 00 03 00 Enrique Dussel is considered one of the founding philosophers of liberation in the Latin American tradition, an influential arm of what is now called decoloniality. While he is astoundingly prolific, relatively few of his works can be found in English translation — and none of these focus specifically on education. Founding members of the Latin American Philosophy of Education Society David I. Backer and Cecilia Diego bring to us Dussel’s The Pedagogics of Liberation: A Latin American Philosophy of Education, the first English translation of Dussel’s thinking on education, and also the first translation of any part of his landmark multi-volume work Towards an Ethics of Latin American Liberation.Dussel’s ouevre is an impressive intellectual mosaic that uses Europeans to disrupt European thinking. This mosaic has at its center French philosopher Emmanuel Levinas, but also includes Ancient Greek philosophy, Thomist theology, modern Enlightenment philosophy, analytic philosophy of language, Marxism, psychoanalysis (Freud, Klein, evolutionary psychology, neuroscience), phenomenology (Sartre, Heidegger, Husserl, Hegel), critical theory (Frankfurt School, Habermas), and linguistics. Dussel joins these traditions to Latin American history, literature, and philosophy, specifically the work of Octavio Paz, Ivan Illich, and the philosophers of liberation whom Dussel studied with in Argentina before his exile to Mexico in the late 1970s.Drawing heavily from the ethics of Levinas, Dussel examines the dominating and liberating features of intimate, concrete, and observable interactions between different kinds of people who might sit down and have face-to-face encounters, specifically where there may be an inequality of knowledge and a responsibility to guide, teach, learn, care, or study: teacher–student, politician–citizen, doctor–patient, philosopher–nonphilosopher, and so on. Those occupying the superior position of these face-to-face encounters (teachers, politicians, doctors, philosophers) have a clear choice for Dussel when it comes to their pedagogics. They are either open to hearing the voice of the Other, disrupting their sense of what is and should be by a newness beyond what they know; or, following the dominant pedagogics, they can try to communicate and instruct their sense of what is and should be (which Dussel, in a Latin American context, associates with dominant cultures) to the (supposed) tabula rasas in their charge. Dussel calls that sense of what is and should be “lo Mismo.” [The French in Levinas is “le Même,” and Backer and Diego have translated Dussel’s “lo Mismo” as “the Same.”]This groundbreaking translation makes possible a face-to-face encounter between an Anglo Philosophy of Education and Latin American Pedagogics. “Pedagogics” should be considered as a type of philosophical inquiry alongside ethics, economics, and politics. Dussel’s pedagogics is a decolonizing pedagogics, one rooted in the philosophy of liberation he has spent his epic career articulating. With an Introduction by renowned philosopher Linda Martin Alcoff, this book adds an essential voice to our conversations about teaching, learning, and studying, as well as critical theory in general. 30 00 Enrique Dussel is considered one of the founding philosophers of liberation in the Latin American tradition, an influential arm of what is now called decoloniality. While he is astoundingly prolific, relatively few of his works can be found in English translation — and none of these focus specifically on education. Founding members of the Latin American Philosophy of Education Society David I. Backer and Cecilia Diego bring to us Dussel’s The Pedagogics of Liberation: A Latin American Philosophy of Education, the first English translation of Dussel’s thinking on education, and also the first translation of any part of his landmark multi-volume work Towards an Ethics of Latin American Liberation.Dussel’s ouevre is an impressive intellectual mosaic that uses Europeans to disrupt European thinking. This mosaic has at its center French philosopher Emmanuel Levinas, but also includes Ancient Greek philosophy, Thomist theology, modern Enlightenment philosophy, analytic philosophy of language, Marxism, psychoanalysis (Freud, Klein, evolutionary psychology, neuroscience), phenomenology (Sartre, Heidegger, Husserl, Hegel), critical theory (Frankfurt School, Habermas), and linguistics. Dussel joins these traditions to Latin American history, literature, and philosophy, specifically the work of Octavio Paz, Ivan Illich, and the philosophers of liberation whom Dussel studied with in Argentina before his exile to Mexico in the late 1970s.Drawing heavily from the ethics of Levinas, Dussel examines the dominating and liberating features of intimate, concrete, and observable interactions between different kinds of people who might sit down and have face-to-face encounters, specifically where there may be an inequality of knowledge and a responsibility to guide, teach, learn, care, or study: teacher–student, politician–citizen, doctor–patient, philosopher–nonphilosopher, and so on. Those occupying the superior position of these face-to-face encounters (teachers, politicians, doctors, philosophers) have a clear choice for Dussel when it comes to their pedagogics. They are either open to hearing the voice of the Other, disrupting their sense of what is and should be by a newness beyond what they know; or, following the dominant pedagogics, they can try to communicate and instruct their sense of what is and should be (which Dussel, in a Latin American context, associates with dominant cultures) to the (supposed) tabula rasas in their charge. Dussel calls that sense of what is and should be “lo Mismo.” [The French in Levinas is “le Même,” and Backer and Diego have translated Dussel’s “lo Mismo” as “the Same.”]This groundbreaking translation makes possible a face-to-face encounter between an Anglo Philosophy of Education and Latin American Pedagogics. “Pedagogics” should be considered as a type of philosophical inquiry alongside ethics, economics, and politics. Dussel’s pedagogics is a decolonizing pedagogics, one rooted in the philosophy of liberation he has spent his epic career articulating. With an Introduction by renowned philosopher Linda Martin Alcoff, this book adds an essential voice to our conversations about teaching, learning, and studying, as well as critical theory in general. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0257.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pedagogics-of-liberation/ 16 40 0053n5071 32 10.13039/100019454 West Chester University Earth, Milky Way 04 01 20190820 Dussel, Enrique 02 WORLD 06 15 9781950192281 03 9781950192281 34 06 10.1080/09502380601162514 34 06 10.1111/j.1527-2001.2005.tb00493.x WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195019227X 20 08 20190820 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-pedagogics-of-liberation-a-latin-american-philosophy-of-education-preface-bylindamartan-alcofflinda-martan-alcofffalsehunter-college101303910000692600g2xk477usa 20 08 20190820 02 23.00 USD WORLD urn:uuid:fb2b999c-831f-425d-8aa5-fcb80853ec53 03 01 01 thoth-work-id urn:uuid:ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2 01 thoth-publication-id urn:uuid:fb2b999c-831f-425d-8aa5-fcb80853ec53 15 9781950192281 03 9781950192281 06 10.21983/P3.0257.1.00 13 2019943219 01 internal-reference 0257 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Pedagogics of Liberation A Latin American Philosophy of Education 1 A01 Enrique Dussel Enrique Dussel 40 02kta5139 Universidad Autónoma Metropolitana 2 B06 David I. Backer David I. Backer 40 0053n5071 West Chester University 3 B06 Cecilia Diego Cecilia Diego 40 00hj8s172 Columbia University 4 A15 Linda Martín Alcoff Linda Martín Alcoff 40 00g2xk477 Hunter College 01 eng 00 204 03 10 EDU040000 12 JNA 93 JNA B2 Languages+Translations 12 1KL 93 1KLSA B2 New Left Thought 10 PHI019000 12 HBTR 93 NHTR B2 Pedagogies 20 philosophy of education; liberation pedagogy; Argentina; Latin America; pedagogy; decoloniality; ethical philosophy 01 06 02 00 03 00 Enrique Dussel is considered one of the founding philosophers of liberation in the Latin American tradition, an influential arm of what is now called decoloniality. While he is astoundingly prolific, relatively few of his works can be found in English translation — and none of these focus specifically on education. Founding members of the Latin American Philosophy of Education Society David I. Backer and Cecilia Diego bring to us Dussel’s The Pedagogics of Liberation: A Latin American Philosophy of Education, the first English translation of Dussel’s thinking on education, and also the first translation of any part of his landmark multi-volume work Towards an Ethics of Latin American Liberation.Dussel’s ouevre is an impressive intellectual mosaic that uses Europeans to disrupt European thinking. This mosaic has at its center French philosopher Emmanuel Levinas, but also includes Ancient Greek philosophy, Thomist theology, modern Enlightenment philosophy, analytic philosophy of language, Marxism, psychoanalysis (Freud, Klein, evolutionary psychology, neuroscience), phenomenology (Sartre, Heidegger, Husserl, Hegel), critical theory (Frankfurt School, Habermas), and linguistics. Dussel joins these traditions to Latin American history, literature, and philosophy, specifically the work of Octavio Paz, Ivan Illich, and the philosophers of liberation whom Dussel studied with in Argentina before his exile to Mexico in the late 1970s.Drawing heavily from the ethics of Levinas, Dussel examines the dominating and liberating features of intimate, concrete, and observable interactions between different kinds of people who might sit down and have face-to-face encounters, specifically where there may be an inequality of knowledge and a responsibility to guide, teach, learn, care, or study: teacher–student, politician–citizen, doctor–patient, philosopher–nonphilosopher, and so on. Those occupying the superior position of these face-to-face encounters (teachers, politicians, doctors, philosophers) have a clear choice for Dussel when it comes to their pedagogics. They are either open to hearing the voice of the Other, disrupting their sense of what is and should be by a newness beyond what they know; or, following the dominant pedagogics, they can try to communicate and instruct their sense of what is and should be (which Dussel, in a Latin American context, associates with dominant cultures) to the (supposed) tabula rasas in their charge. Dussel calls that sense of what is and should be “lo Mismo.” [The French in Levinas is “le Même,” and Backer and Diego have translated Dussel’s “lo Mismo” as “the Same.”]This groundbreaking translation makes possible a face-to-face encounter between an Anglo Philosophy of Education and Latin American Pedagogics. “Pedagogics” should be considered as a type of philosophical inquiry alongside ethics, economics, and politics. Dussel’s pedagogics is a decolonizing pedagogics, one rooted in the philosophy of liberation he has spent his epic career articulating. With an Introduction by renowned philosopher Linda Martin Alcoff, this book adds an essential voice to our conversations about teaching, learning, and studying, as well as critical theory in general. 30 00 Enrique Dussel is considered one of the founding philosophers of liberation in the Latin American tradition, an influential arm of what is now called decoloniality. While he is astoundingly prolific, relatively few of his works can be found in English translation — and none of these focus specifically on education. Founding members of the Latin American Philosophy of Education Society David I. Backer and Cecilia Diego bring to us Dussel’s The Pedagogics of Liberation: A Latin American Philosophy of Education, the first English translation of Dussel’s thinking on education, and also the first translation of any part of his landmark multi-volume work Towards an Ethics of Latin American Liberation.Dussel’s ouevre is an impressive intellectual mosaic that uses Europeans to disrupt European thinking. This mosaic has at its center French philosopher Emmanuel Levinas, but also includes Ancient Greek philosophy, Thomist theology, modern Enlightenment philosophy, analytic philosophy of language, Marxism, psychoanalysis (Freud, Klein, evolutionary psychology, neuroscience), phenomenology (Sartre, Heidegger, Husserl, Hegel), critical theory (Frankfurt School, Habermas), and linguistics. Dussel joins these traditions to Latin American history, literature, and philosophy, specifically the work of Octavio Paz, Ivan Illich, and the philosophers of liberation whom Dussel studied with in Argentina before his exile to Mexico in the late 1970s.Drawing heavily from the ethics of Levinas, Dussel examines the dominating and liberating features of intimate, concrete, and observable interactions between different kinds of people who might sit down and have face-to-face encounters, specifically where there may be an inequality of knowledge and a responsibility to guide, teach, learn, care, or study: teacher–student, politician–citizen, doctor–patient, philosopher–nonphilosopher, and so on. Those occupying the superior position of these face-to-face encounters (teachers, politicians, doctors, philosophers) have a clear choice for Dussel when it comes to their pedagogics. They are either open to hearing the voice of the Other, disrupting their sense of what is and should be by a newness beyond what they know; or, following the dominant pedagogics, they can try to communicate and instruct their sense of what is and should be (which Dussel, in a Latin American context, associates with dominant cultures) to the (supposed) tabula rasas in their charge. Dussel calls that sense of what is and should be “lo Mismo.” [The French in Levinas is “le Même,” and Backer and Diego have translated Dussel’s “lo Mismo” as “the Same.”]This groundbreaking translation makes possible a face-to-face encounter between an Anglo Philosophy of Education and Latin American Pedagogics. “Pedagogics” should be considered as a type of philosophical inquiry alongside ethics, economics, and politics. Dussel’s pedagogics is a decolonizing pedagogics, one rooted in the philosophy of liberation he has spent his epic career articulating. With an Introduction by renowned philosopher Linda Martin Alcoff, this book adds an essential voice to our conversations about teaching, learning, and studying, as well as critical theory in general. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0257.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pedagogics-of-liberation/ 16 40 0053n5071 32 10.13039/100019454 West Chester University Earth, Milky Way 04 01 20190820 Dussel, Enrique 02 WORLD 06 15 9781950192274 03 9781950192274 34 06 10.1080/09502380601162514 34 06 10.1111/j.1527-2001.2005.tb00493.x WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24792 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24792/0257.1.00.pdf?sequence=1&isAllowed=y 20 08 20190820 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30808 20 08 20190820 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353985 20 08 20190820 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/614 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e6f94578-af5b-46f1-9f65-89d9ad597e06/download 20 08 20190820 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2/ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2.pdf 20 08 20190820 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847856 29 ZENODO: download the title https://zenodo.org/records/19847856/files/ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2_book.pdf 20 08 20190820 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pedagogics-of-liberation/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0257.1.00.pdf 20 08 20190820 01 urn:uuid:94d1d577-9a91-453e-baf2-5545cb0722ac 03 01 01 thoth-work-id urn:uuid:d8284a1f-51ac-4ecd-99a6-45e5644db4c8 01 thoth-publication-id urn:uuid:94d1d577-9a91-453e-baf2-5545cb0722ac 15 9780615898711 03 9780615898711 06 10.21983/P3.0050.1.00 01 internal-reference 0050 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Pedagogies of Disaster 1 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 2 B01 Nico Jenkins Nico Jenkins 40 01adr0w49 University of Maine 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 00 552 03 10 EDU040000 B2 Humanities+University 12 JFCA 93 JNA B2 Pedagogies 10 PHI035000 93 QDHR B2 Philosophy 20 pedagogy; humanities; philosophy; catastrophe; university 01 06 02 00 03 00 We live in an era where the university system is undergoing great changes owing to developments in financing policies and research priorities, as well as changes in the society in which this system is embedded. This change toward a more market-oriented university, which also has immediate effects in academic peripheries such as the Balkans, the Middle East, or South-East Asia, is of great influence for the pedagogical practice of “less profitable” academic areas such as the Humanities: philosophy, languages, sociology, anthropology, history.Because of the absence of a historically grounded establishment of the Humanities, academic peripheries, usually accompanied by a weak civil society infrastructure, seem to offer the most fertile ground for rethinking the Humanities, their pedagogical practice, and their politics, as well as the greatest threats, such as the ongoing capitalization of research, and profitability as the norm of educational achievement. The sprawling presence of for-profit universities and in academic peripheries such as Albania and Kosovo is indicative of this problematic, as are consistent underfunding of universities and the relentless budget cuts in American and English, and to a lesser extent European, universities. Motivations for this ongoing attack on the university are often driven by a political system or a politics with an aggressive stance to critical thought. 30 00 We live in an era where the university system is undergoing great changes owing to developments in financing policies and research priorities, as well as changes in the society in which this system is embedded. This change toward a more market-oriented university, which also has immediate effects in academic peripheries such as the Balkans, the Middle East, or South-East Asia, is of great influence for the pedagogical practice of “less profitable” academic areas such as the Humanities: philosophy, languages, sociology, anthropology, history.Because of the absence of a historically grounded establishment of the Humanities, academic peripheries, usually accompanied by a weak civil society infrastructure, seem to offer the most fertile ground for rethinking the Humanities, their pedagogical practice, and their politics, as well as the greatest threats, such as the ongoing capitalization of research, and profitability as the norm of educational achievement. The sprawling presence of for-profit universities and in academic peripheries such as Albania and Kosovo is indicative of this problematic, as are consistent underfunding of universities and the relentless budget cuts in American and English, and to a lesser extent European, universities. Motivations for this ongoing attack on the university are often driven by a political system or a politics with an aggressive stance to critical thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0050.1.00_frontcover.png 1 03 06 10.21983/P3.0050.1.01 1 28 28 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 01 alb 01 eng 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 2 03 06 10.21983/P3.0050.1.02 29 34 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Opening 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 Dear friends,Hereby I would like to welcome you, with great gratitude, to the first conference, en-titled “Pedagogies of Disaster,” organized and hosted by online academic journal con-tinent. and the Departamenti i shqiponjave. I hope you will allow me a few opening words before passing the microphone to Christopher Fynsk, who will inaugurate this conference with an opening address.When I signed the funding contract with soros, one of the main sponsors of this conference, I signed under the condition that this conference would not engage in what is called “lobbying.” Lobbying, according to the definition that was presented to me, means “certain efforts to influence legislation.” Without engaging in a thorough decon-structive reading of what such “certain efforts” may mean in the context of a conference dedicated to thinking through the current predicament of pedagogical practices in the humanities and philosophy in specific, I would like to share a short observation with you. 30 00 Dear friends,Hereby I would like to welcome you, with great gratitude, to the first conference, en-titled “Pedagogies of Disaster,” organized and hosted by online academic journal con-tinent. and the Departamenti i shqiponjave. I hope you will allow me a few opening words before passing the microphone to Christopher Fynsk, who will inaugurate this conference with an opening address.When I signed the funding contract with soros, one of the main sponsors of this conference, I signed under the condition that this conference would not engage in what is called “lobbying.” Lobbying, according to the definition that was presented to me, means “certain efforts to influence legislation.” Without engaging in a thorough decon-structive reading of what such “certain efforts” may mean in the context of a conference dedicated to thinking through the current predicament of pedagogical practices in the humanities and philosophy in specific, I would like to share a short observation with you. 20 00 Open Access van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) 3 03 06 10.21983/P3.0050.1.03 35 36 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Hapja 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Të dashur miq, Më lejoni t’ju uroj mirëseardhjen, me mirënjohjen time më të thellë, tek konferenca e parë e organizuar nga revista akademike continent. dhe “Departamenti i shqiponjave,” e titulluar “Pedagogjitë e shkatërrimit.” Shpresoj të më lejoni dy fjalë para se t’ia kaloj mikrofonin Kristofer Finskut, që ka për ta çelur këtë konferencë.Kur nënshkrova kontratën me soros-in, një nga sponsorët kryesorë të kësaj konfe-rence, nënshkrova me kushtin se kjo konferencë nuk do të angazhohej në atë që quhet “lobim.” Lobimi, sipas përkufizimit që më paraqitën, nënkupton “përpjekje të caktuara për të ndikuar mbi legjislacionin.” Pa dashur t’i futem një leximi të imët çndërtues mbi atë që do të nënkuptonin këto “përpjekje të caktuara” në kontekstin e një konference kushtuar mendimit të fatit të praktikave pedagogjike tek humanitetet dhe veçanërisht tek filozofia, do të doja të ndaja një vëzhgim të shkurtër me ju. 30 00 Të dashur miq, Më lejoni t’ju uroj mirëseardhjen, me mirënjohjen time më të thellë, tek konferenca e parë e organizuar nga revista akademike continent. dhe “Departamenti i shqiponjave,” e titulluar “Pedagogjitë e shkatërrimit.” Shpresoj të më lejoni dy fjalë para se t’ia kaloj mikrofonin Kristofer Finskut, që ka për ta çelur këtë konferencë.Kur nënshkrova kontratën me soros-in, një nga sponsorët kryesorë të kësaj konfe-rence, nënshkrova me kushtin se kjo konferencë nuk do të angazhohej në atë që quhet “lobim.” Lobimi, sipas përkufizimit që më paraqitën, nënkupton “përpjekje të caktuara për të ndikuar mbi legjislacionin.” Pa dashur t’i futem një leximi të imët çndërtues mbi atë që do të nënkuptonin këto “përpjekje të caktuara” në kontekstin e një konference kushtuar mendimit të fatit të praktikave pedagogjike tek humanitetet dhe veçanërisht tek filozofia, do të doja të ndaja një vëzhgim të shkurtër me ju. 20 00 Open Access van Herven Uj, Vinsent V.J. 4 03 06 10.21983/P3.0050.1.04 37 48 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Pedagogy on the Verge of Disaster 1 A01 Christopher Fynsk Christopher Fynsk 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 03 00 The phrase that directs our reflections on this occasion leads me back to a text that has haunted all of my reflections on pedagogy and the university over the past fifteen years (and thus everything I wrote in The Claim of Language,1 to which I would like to return briefly in these pages). I refer to a brief essay by Jean-François Lyotard that was first published in Critique in 1978 under the title, “Endurance and the Profession.”2 It is an enigmatic text if only for the fact that what is named “endurance” goes entirely unde-fined in what is, on its face, a rather dark and despairing reflection – almost as though “endurance” stands in lieu of that for which it might serve, but which cannot be named, some hope, for example. I remain astonished and intrigued by this essay, but I believe I may now understand something of why it has so haunted me, so I would like to take my orientation from it. Whether or not I am correct in my intuitions, I can at least offer it as an exceptionally intriguing example of what we might want to consider as a “pedagogy of disaster” – or at least an example of what might be a step toward such a thing. 30 00 The phrase that directs our reflections on this occasion leads me back to a text that has haunted all of my reflections on pedagogy and the university over the past fifteen years (and thus everything I wrote in The Claim of Language,1 to which I would like to return briefly in these pages). I refer to a brief essay by Jean-François Lyotard that was first published in Critique in 1978 under the title, “Endurance and the Profession.”2 It is an enigmatic text if only for the fact that what is named “endurance” goes entirely unde-fined in what is, on its face, a rather dark and despairing reflection – almost as though “endurance” stands in lieu of that for which it might serve, but which cannot be named, some hope, for example. I remain astonished and intrigued by this essay, but I believe I may now understand something of why it has so haunted me, so I would like to take my orientation from it. Whether or not I am correct in my intuitions, I can at least offer it as an exceptionally intriguing example of what we might want to consider as a “pedagogy of disaster” – or at least an example of what might be a step toward such a thing. 20 00 Open Access Fynsk, Christopher 5 03 06 10.21983/P3.0050.1.05 49 65 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Një pedagogji në prag të shkatërrimit 1 A01 Christopher Fynsk Christopher Fynsk 40 016476m91 University of Aberdeen 40 04g3mbv81 European Graduate School 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Fraza që përudh reflektimet tona me këtë rast më kthen tek një tekst që i ka munduar të gjithë reflektimet e mia mbi pedagogjinë dhe universitetin gjatë pesëmbëdhjetë viteve të fundit (dhe kësisoj gjithçka që shkruajta tek Pretendimi i gjuhës,1 një libër që do të doja t’i rikthehesha shkurtimisht në këto faqe). E kam fjalën për një sprovë të shkurtër të Zhan-Fransua Liotarit që u publikua për herë të parë tek Critique në 1978-n nën ti-tullin “Qëndresa dhe profesioni.”2 Është një tekst enigmatik qoftë vetëm për faktin se ajo që quhet “qëndresë” nuk përkufizohet asnjëherë në çka është, në pamje të parë, një reflektim i errët dhe dëshpërues – sikur “qëndresa” të kishte zënë vendin e asaj së cilës mund t’i shërbente, por që nuk mund t’i gjendet emri, pak shpresë, për shembull. Edhe sot e kësaj dite kjo sprovë më shtang dhe më bën kureshtar, por besoj se tanimë kuptoj diçka rreth arsyes pse ajo më ka munduar, prandaj dua të prihem prej saj. Edhe nëse nuk jam i saktë në intuitat e mia, të paktën mund ta ofroj atë si një shembull kureshtar të asaj që ne ndoshta do të donim ta quanim një “pedagogji shkatërrimi” – ose të paktën një shembull të çka mund të përbënte një hap drejt diçkaje të tillë. 30 00 Fraza që përudh reflektimet tona me këtë rast më kthen tek një tekst që i ka munduar të gjithë reflektimet e mia mbi pedagogjinë dhe universitetin gjatë pesëmbëdhjetë viteve të fundit (dhe kësisoj gjithçka që shkruajta tek Pretendimi i gjuhës,1 një libër që do të doja t’i rikthehesha shkurtimisht në këto faqe). E kam fjalën për një sprovë të shkurtër të Zhan-Fransua Liotarit që u publikua për herë të parë tek Critique në 1978-n nën ti-tullin “Qëndresa dhe profesioni.”2 Është një tekst enigmatik qoftë vetëm për faktin se ajo që quhet “qëndresë” nuk përkufizohet asnjëherë në çka është, në pamje të parë, një reflektim i errët dhe dëshpërues – sikur “qëndresa” të kishte zënë vendin e asaj së cilës mund t’i shërbente, por që nuk mund t’i gjendet emri, pak shpresë, për shembull. Edhe sot e kësaj dite kjo sprovë më shtang dhe më bën kureshtar, por besoj se tanimë kuptoj diçka rreth arsyes pse ajo më ka munduar, prandaj dua të prihem prej saj. Edhe nëse nuk jam i saktë në intuitat e mia, të paktën mund ta ofroj atë si një shembull kureshtar të asaj që ne ndoshta do të donim ta quanim një “pedagogji shkatërrimi” – ose të paktën një shembull të çka mund të përbënte një hap drejt diçkaje të tillë. 20 00 Open Access Finsk, Kristofer 6 03 06 10.21983/P3.0050.1.06 67 85 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Desocializing the School Education and the Action-Zone 1 A01 Oliver Feltham Oliver Feltham 40 05t197591 American University of Paris 01 eng 03 00 When Plato sets out to think the possibility of a just city-state his inaugural gesture is to name a practice that rivals philosophy and its ambition: theater. He then bans its very existence from the republic: theater in-exists in the just city. In his Eloge de théâtre, Alain Badiou identifies the rivalry with theater as constitutive for philosophy. That is to say, philosophy does not merely position itself with regard to theater, but comes to a sense of its own identity by excluding the theatrical.1 The stakes of this rivalry concern none other than the aisthēsis – the presentation or appearing – of the city-state itself. In philosophy’s attempt to bring order to the appearances of the city-state, it proves impossible to accommodate the practice of theater, precisely because theater consists in an intervention into those appearances. For Plato, theater is a form of degraded imi-tation. The actor imitates the professions of the city, he presents the mere appearance of savoir-faire without being actually anchored in any productive exchange. Both the actor and the playwright are thus subtracted from Plato’s grand rule of justice: every person to his or her place and function. It is for this reason that the tragedians are expelled from the city. 30 00 When Plato sets out to think the possibility of a just city-state his inaugural gesture is to name a practice that rivals philosophy and its ambition: theater. He then bans its very existence from the republic: theater in-exists in the just city. In his Eloge de théâtre, Alain Badiou identifies the rivalry with theater as constitutive for philosophy. That is to say, philosophy does not merely position itself with regard to theater, but comes to a sense of its own identity by excluding the theatrical.1 The stakes of this rivalry concern none other than the aisthēsis – the presentation or appearing – of the city-state itself. In philosophy’s attempt to bring order to the appearances of the city-state, it proves impossible to accommodate the practice of theater, precisely because theater consists in an intervention into those appearances. For Plato, theater is a form of degraded imi-tation. The actor imitates the professions of the city, he presents the mere appearance of savoir-faire without being actually anchored in any productive exchange. Both the actor and the playwright are thus subtracted from Plato’s grand rule of justice: every person to his or her place and function. It is for this reason that the tragedians are expelled from the city. 20 00 Open Access Feltham, Oliver 7 03 06 10.21983/P3.0050.1.07 87 105 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Çshoqërizimi i shkollës Arsimi dhe zona e aksionit 1 A01 Oliver Feltham Oliver Feltham 40 05t197591 American University of Paris 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Kur Platoni nis të mendojë mundësinë e një qytet-shteti të vetëm, gjesti i tij fillestar është emërtimi i një praktike që rivalizon filozofinë dhe ambicjen e saj: teatri. Më pas, ai ndalon vetë ekzistencën e tij brenda republikës: teatri joekziston në qytetin e drejtë. Tek libri i tij Elozha e teatrit Alen Badiu e identifikon rivalitetin me teatrin si themelor për filozofinë. Që do të thotë se filozofia jo vetëm që pozicionohet në raport me teatrin por se ajo ndërgjegjësohet për identitetin e saj duke përjashtuar teatralen.1Ajo çka është në lojë në këtë rivalitet ka të bëjë pikërisht me aisthēsis – me paraqitjen [presentation] ose shfaqjen [appearing] – e vetë qytet-shtetit. Në përpjekjet e filozofisë për të vënë rregull midis shfaqjeve të qytet-shtetit, del se është e pamundur të bëhet vend për praktikën e teatrit, pikërisht sepse teatri konsiston në një ndërhyrje në këto shfaqje. Për Platonin teatri është një formë imitimi i degraduar. Aktori imiton profe-sionet e qytetit, ai paraqet vetëm pamjen [appearance] e savoir-faire pa qenë në fakt i ankoruar në ndonjë shkëmbim të dobishëm. Kësisoj, si aktori ashtu edhe dramaturgu nuk përfshihen në rregullin e madh të drejtësisë të Platonit: çdo person në vendin dhe detyrën e vet. Kjo është arsyeja pse autorët tragjik përjashtohen nga qyteti. 30 00 Kur Platoni nis të mendojë mundësinë e një qytet-shteti të vetëm, gjesti i tij fillestar është emërtimi i një praktike që rivalizon filozofinë dhe ambicjen e saj: teatri. Më pas, ai ndalon vetë ekzistencën e tij brenda republikës: teatri joekziston në qytetin e drejtë. Tek libri i tij Elozha e teatrit Alen Badiu e identifikon rivalitetin me teatrin si themelor për filozofinë. Që do të thotë se filozofia jo vetëm që pozicionohet në raport me teatrin por se ajo ndërgjegjësohet për identitetin e saj duke përjashtuar teatralen.1Ajo çka është në lojë në këtë rivalitet ka të bëjë pikërisht me aisthēsis – me paraqitjen [presentation] ose shfaqjen [appearing] – e vetë qytet-shtetit. Në përpjekjet e filozofisë për të vënë rregull midis shfaqjeve të qytet-shtetit, del se është e pamundur të bëhet vend për praktikën e teatrit, pikërisht sepse teatri konsiston në një ndërhyrje në këto shfaqje. Për Platonin teatri është një formë imitimi i degraduar. Aktori imiton profe-sionet e qytetit, ai paraqet vetëm pamjen [appearance] e savoir-faire pa qenë në fakt i ankoruar në ndonjë shkëmbim të dobishëm. Kësisoj, si aktori ashtu edhe dramaturgu nuk përfshihen në rregullin e madh të drejtësisë të Platonit: çdo person në vendin dhe detyrën e vet. Kjo është arsyeja pse autorët tragjik përjashtohen nga qyteti. 20 00 Open Access Feltham, Oliver 8 03 06 10.21983/P3.0050.1.08 107 117 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sandy Hook University Poetic Violence, Scope, and Style of Imagination 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 01 eng 03 00 The user in technics marks a departure for the human side of an ambit. Academia fol-lows the act: essays may be graded by software, e-readers track student eye movement reporting to an education manager what the student purportedly read. Increasingly, re-lation is deported to the online classroom or the hybrid space of Learning Management Systems.Purportedly serving intellectual freedom and humanity, universities will inevitably collapse into technics. Our lingering delusion that state universities serve a national purpose and preserve this alongside the interest of global capitalism is well known. However this delusion, allusion, illusion is given, it is powered by imagination and the human task is to reclaim access and care for it. Technological order, what governs sig-nificantly the production of the world and the presentation of nature to human thought has quickly placed the imagination as its final prize. Conversely if the university mirage cast a shadow over the reality of technics, the other side of an imaginative ambit opens toward an ethics of imagination. 30 00 The user in technics marks a departure for the human side of an ambit. Academia fol-lows the act: essays may be graded by software, e-readers track student eye movement reporting to an education manager what the student purportedly read. Increasingly, re-lation is deported to the online classroom or the hybrid space of Learning Management Systems.Purportedly serving intellectual freedom and humanity, universities will inevitably collapse into technics. Our lingering delusion that state universities serve a national purpose and preserve this alongside the interest of global capitalism is well known. However this delusion, allusion, illusion is given, it is powered by imagination and the human task is to reclaim access and care for it. Technological order, what governs sig-nificantly the production of the world and the presentation of nature to human thought has quickly placed the imagination as its final prize. Conversely if the university mirage cast a shadow over the reality of technics, the other side of an imaginative ambit opens toward an ethics of imagination. 20 00 Open Access Groves, Adam Staley 9 03 06 10.21983/P3.0050.1.09 119 125 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Universiteti "Sandy Hook" Dhuna poetike, fusha e veprimit dhe stili i imagjinatës 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Përdoruesi në teknikë shënon një shkëputje për aspektin njerëzor të një shtrirje. Aka-demia ndjek veprimin: sprovat mund të vlerësohen përmes softuarit, e-readers ndjekin lëvizjen e syrit të studentit dhe i raportojnë një menaxheri arsimor atë që mendohet se nxënësi ka lexuar. Gjithmonë e më tepër lidhja mërgohet në klasën online ose hapësirat hibride të Sistemeve të Menaxhimit të Mësimit [Learning Management Systems].Gjoja në shërbim të lirisë intelektuale dhe njerëzimit, në mënyrë të pashmangshme universitetet do të palosen në teknikë. Iluzioni ynë se universitetet shtetërore i shër-bejnë çështjes kombëtare dhe e ruajnë atë karshi interesave të kapitalizmit global dihet. Sido që ky mashtrim, aluzion, iluzion manifestohet, ai mundësohet prej imagji-natës dhe detyra njerëzore është të rifitojë hyrje tek ajo dhe të kujdeset për të. Rendi teknologjik, ai që qeveris prodhimin e botës dhe paraqitjen e natyrës në mënyrë do-methënëse për mendimin njerëzor, shumë shpejt e ka bërë imagjinatën çmimin e tij të fundit. Anasjelltas, nëse mirazhi i universitetit hedh një hije mbi realitetin e teknikës, ana tjetër e një shtrirje imagjinuese hapet drejt një etike të imagjinatës. 30 00 Përdoruesi në teknikë shënon një shkëputje për aspektin njerëzor të një shtrirje. Aka-demia ndjek veprimin: sprovat mund të vlerësohen përmes softuarit, e-readers ndjekin lëvizjen e syrit të studentit dhe i raportojnë një menaxheri arsimor atë që mendohet se nxënësi ka lexuar. Gjithmonë e më tepër lidhja mërgohet në klasën online ose hapësirat hibride të Sistemeve të Menaxhimit të Mësimit [Learning Management Systems].Gjoja në shërbim të lirisë intelektuale dhe njerëzimit, në mënyrë të pashmangshme universitetet do të palosen në teknikë. Iluzioni ynë se universitetet shtetërore i shër-bejnë çështjes kombëtare dhe e ruajnë atë karshi interesave të kapitalizmit global dihet. Sido që ky mashtrim, aluzion, iluzion manifestohet, ai mundësohet prej imagji-natës dhe detyra njerëzore është të rifitojë hyrje tek ajo dhe të kujdeset për të. Rendi teknologjik, ai që qeveris prodhimin e botës dhe paraqitjen e natyrës në mënyrë do-methënëse për mendimin njerëzor, shumë shpejt e ka bërë imagjinatën çmimin e tij të fundit. Anasjelltas, nëse mirazhi i universitetit hedh një hije mbi realitetin e teknikës, ana tjetër e një shtrirje imagjinuese hapet drejt një etike të imagjinatës. 20 00 Open Access Grouvz, Adam Stejli 10 03 06 10.21983/P3.0050.1.10 127 133 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Call for Thinking (The Disaster) 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 03 00 This is to think thinking as such. As such, the thinking to be thought here is to give thought to thinking or, rather, to give back thought to thinking. For it is here, as it was elsewhere, at the National Historical Museum in Tirana that is, that I want to think the elsewhere; an elsewhere to no end. For it is here, where everything seems to have come to yet another end (philosophy, history, the world as such), here, where the end, it seems, has become an end in itself, that there is also no end to the end of the university– be it “in ruins” (as Bill Readings named his book2), be it “in crisis” or be it simply “yet to come.” Here, however, I do not wish to dwell in the ruins of the university.3 Long declared dead, I do not want to deliver yet another eulogy, for it is precisely with and by its end that the university is violently brought back to its roots (= its etymology) of being a/s “whole.” The university, today, once again, is made universal: the university is made, the university no longer makes. Here I wish to violently break this vicious circle, as if it were a circle. Here I will, for once, and perhaps only once, and only for such once perhaps, pretend to be able to step outside – just once. Here, to come full circle, I will attempt to step outside these crises and think on thinking – as if it were possible. Here, if you allow me this metaphysical faux pas, I want to step back, outside these beyonds, and to reexamine Derrida’s question: “Today, how can we not speak of the university?”4Today, thirty years after, how can we not speak of the university, but instead re-open the Heideggerian call for thinking?5 How can we, then, today, not speak of the university, but instead rethink the question of thinking? 30 00 This is to think thinking as such. As such, the thinking to be thought here is to give thought to thinking or, rather, to give back thought to thinking. For it is here, as it was elsewhere, at the National Historical Museum in Tirana that is, that I want to think the elsewhere; an elsewhere to no end. For it is here, where everything seems to have come to yet another end (philosophy, history, the world as such), here, where the end, it seems, has become an end in itself, that there is also no end to the end of the university– be it “in ruins” (as Bill Readings named his book2), be it “in crisis” or be it simply “yet to come.” Here, however, I do not wish to dwell in the ruins of the university.3 Long declared dead, I do not want to deliver yet another eulogy, for it is precisely with and by its end that the university is violently brought back to its roots (= its etymology) of being a/s “whole.” The university, today, once again, is made universal: the university is made, the university no longer makes. Here I wish to violently break this vicious circle, as if it were a circle. Here I will, for once, and perhaps only once, and only for such once perhaps, pretend to be able to step outside – just once. Here, to come full circle, I will attempt to step outside these crises and think on thinking – as if it were possible. Here, if you allow me this metaphysical faux pas, I want to step back, outside these beyonds, and to reexamine Derrida’s question: “Today, how can we not speak of the university?”4Today, thirty years after, how can we not speak of the university, but instead re-open the Heideggerian call for thinking?5 How can we, then, today, not speak of the university, but instead rethink the question of thinking? 20 00 Open Access Hölzl, Julia 11 03 06 10.21983/P3.0050.1.11 135 146 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Një thirrje për të menduar (shkatërrimin) 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Kjo do të thotë të mendosh vetë të menduarit. Kështu pra, të menduarit që duhet men-duar këtu është t’i japim mendim të menduarit, ose më saktë, t’ia kthejmë mendimin të menduarit. Spese është pikërisht këtu, siç ishte gjetkë, në Muzeun Historik Kombëtar në Tiranë, që unë dua ta mendoj këtë gjetkë; një gjetkë deri në pafundësi. Sepse është pikërisht këtu, ku gjithçka duket se ka arritur një tjetër fund (filozofia, historia, vetë bota), këtu, ku fundi, me sa duket, është bërë një qëllim në vetvete, që nuk i gjendet fundi as edhe universitetit – qoftë kjo “në rrënoja” (siç e quajti Bill Redings librin e tij2), qoftë “në krizë” ose thjesht “akoma duke ardhur.” Këtu, megjithatë, nuk dua të mbetem tek rrënojat e universitetit.3 I shpallur i vdekur prej kohësh, nuk dua të jap edhe një tjetër elozh, sepse është me dhe përems fundit të tij që universiteti rikthehet, dhunshëm, tek rrënjët e tij (= etimologjinë e tij) i të qënit i/një plotë/si “tërësi.” Universiteti, sot, edhe një here, bëhet universal: universiteti bëhet, universiteti nuk bën më. Këtu unë dua ta thyej dhunshëm këtë rreth vicioz, si të ishte një rreth. Këtu, të paktën njëherë, dhe ndoshta vetëm njëherë, unë do të pretendoj se mund të dal jashtë – vetëm njëherë. Këtu, të kthehemi aty ku u nisëm, unë do të përpiqem të dal jashtë këtyre rrathëve dhe të mendoj rreth të menduarit – sikur kjo të ishte e mundur. Këtu, nëse ma lejoni këtë faux pas metafizik, unë dua të bëj një hap mbrapa, jashtë këtyre të përtejshmeve, dhe të rishikoj pyetjen e Derridasë: “Si mund të mos flasim, sot, për universitetin?”4 Sot, tridhjetë vjet më vonë, si mund të mos flasim për universitetin, por në vend të kësaj të rihapim thirrjen e Hajdegerit për të menduarit?5 Si mundemi ne, atëherë, sot, të mos flasim për universitetin, por të rimendojmë çështjen e të menduarit? 30 00 Kjo do të thotë të mendosh vetë të menduarit. Kështu pra, të menduarit që duhet men-duar këtu është t’i japim mendim të menduarit, ose më saktë, t’ia kthejmë mendimin të menduarit. Spese është pikërisht këtu, siç ishte gjetkë, në Muzeun Historik Kombëtar në Tiranë, që unë dua ta mendoj këtë gjetkë; një gjetkë deri në pafundësi. Sepse është pikërisht këtu, ku gjithçka duket se ka arritur një tjetër fund (filozofia, historia, vetë bota), këtu, ku fundi, me sa duket, është bërë një qëllim në vetvete, që nuk i gjendet fundi as edhe universitetit – qoftë kjo “në rrënoja” (siç e quajti Bill Redings librin e tij2), qoftë “në krizë” ose thjesht “akoma duke ardhur.” Këtu, megjithatë, nuk dua të mbetem tek rrënojat e universitetit.3 I shpallur i vdekur prej kohësh, nuk dua të jap edhe një tjetër elozh, sepse është me dhe përems fundit të tij që universiteti rikthehet, dhunshëm, tek rrënjët e tij (= etimologjinë e tij) i të qënit i/një plotë/si “tërësi.” Universiteti, sot, edhe një here, bëhet universal: universiteti bëhet, universiteti nuk bën më. Këtu unë dua ta thyej dhunshëm këtë rreth vicioz, si të ishte një rreth. Këtu, të paktën njëherë, dhe ndoshta vetëm njëherë, unë do të pretendoj se mund të dal jashtë – vetëm njëherë. Këtu, të kthehemi aty ku u nisëm, unë do të përpiqem të dal jashtë këtyre rrathëve dhe të mendoj rreth të menduarit – sikur kjo të ishte e mundur. Këtu, nëse ma lejoni këtë faux pas metafizik, unë dua të bëj një hap mbrapa, jashtë këtyre të përtejshmeve, dhe të rishikoj pyetjen e Derridasë: “Si mund të mos flasim, sot, për universitetin?”4 Sot, tridhjetë vjet më vonë, si mund të mos flasim për universitetin, por në vend të kësaj të rihapim thirrjen e Hajdegerit për të menduarit?5 Si mundemi ne, atëherë, sot, të mos flasim për universitetin, por të rimendojmë çështjen e të menduarit? 20 00 Open Access Hëlcël, Julia 12 03 06 10.21983/P3.0050.1.12 147 161 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Rhetoric of Disaster Surviving the End of the Humanities 1 A01 John Van Houdt John Van Houdt 40 04b8v1s79 Tilburg University 01 eng 03 00 In this paper I will present a potential critical use of the rhetoric of disaster or what I will sometimes call “disaster speak,” borrowing largely from Blanchot’s analysis in The Writing of the Disaster. So what is the present “disaster” we are talking about at this conference? For those working in and around academia today, it is hard to ignore the substantial changes the university is undergoing especially in the humanities. To wit, this generally recognized change in the university has given way to serious prognostica-tions of the “end of the university.” On this count, the humanities have outpaced the university itself. In my own discipline, philosophy, for instance, talk about the “end of philosophy” has been a common theme for at least a century or so. There are plenty of reasons for the prevalence of disaster-speak in our current situation (many of which have little to do with the university); and there is certainly no dearth of examples of disaster-speak applied to the situation of the university in general and the humanities in particular.2 In what follows I will bracket the question of whether in fact the “end is nigh” and focus on the rhetoric of that impending disaster to evaluate a strategy for deflating the catastrophic sense of impending doom invoked by disaster-speak. 30 00 In this paper I will present a potential critical use of the rhetoric of disaster or what I will sometimes call “disaster speak,” borrowing largely from Blanchot’s analysis in The Writing of the Disaster. So what is the present “disaster” we are talking about at this conference? For those working in and around academia today, it is hard to ignore the substantial changes the university is undergoing especially in the humanities. To wit, this generally recognized change in the university has given way to serious prognostica-tions of the “end of the university.” On this count, the humanities have outpaced the university itself. In my own discipline, philosophy, for instance, talk about the “end of philosophy” has been a common theme for at least a century or so. There are plenty of reasons for the prevalence of disaster-speak in our current situation (many of which have little to do with the university); and there is certainly no dearth of examples of disaster-speak applied to the situation of the university in general and the humanities in particular.2 In what follows I will bracket the question of whether in fact the “end is nigh” and focus on the rhetoric of that impending disaster to evaluate a strategy for deflating the catastrophic sense of impending doom invoked by disaster-speak. 20 00 Open Access Van Houdt, John 13 03 06 10.21983/P3.0050.1.13 163 174 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Retorika e shkatërrimit T'i mbijetojmë fundit të humaniteteve 1 A01 John Van Houdt John Van Houdt 40 04b8v1s79 Tilburg University 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në këtë artikull do të paraqis një përdorim potencialisht kritik të retorikës së shkatërri-mit, që herë pas here kam për ta quajtur edhe e folura e shkatërrimit, duke u mbështetur kryesisht mbi analizen e Blanshosë tek Shkrimi i shkatërrimit. Cili është “shkatërrimi” për të cilin jemi duke folur në këtë konferencë? Për ata që punojnë brenda ose rreth akademisë sot, është e vështirë të shpërfillësh ndryshimet e qenësishme që po kalon universiteti e veçanërisht humanitetet. Që do të thotë, ky ndryshim brenda universi-tetit, që në përgjithësi njihet, i ka hapur rrugën prognostikimeve serioze të “fundit” të universitetit. Në këtë pikë, humanitetet ia kanë kaluar vetë universitetit. Në disiplinën time, filozofi, për shembull, ka rreth një shekull që flitet për “fundin e filozofisë.” Ka shumë arsye pse e folura e shkatërrimit është kaq e përhapur në situatën në të cilën ndodhemi (shumë prej të cilave nuk kanë të bëjnë me universitetin); dhe sigurisht që shembuj të së folurës së shkatërrimit mbi situatën e universitetit në përgjithësi dhe të humaniteteve në veçanti nuk mungojnë.2 Në çka vijon kam për të vënë mënjanë pyetjen nëse fundi është vërtetë afër, duke u përqëndruar tek retorika e atij shkatërrimi që zëre se ka ardhur për të vlerësuar një strategji për të shfryrë ndjesinë katastrofike të fundit që provokon e folura e shkatërrimit. 30 00 Në këtë artikull do të paraqis një përdorim potencialisht kritik të retorikës së shkatërri-mit, që herë pas here kam për ta quajtur edhe e folura e shkatërrimit, duke u mbështetur kryesisht mbi analizen e Blanshosë tek Shkrimi i shkatërrimit. Cili është “shkatërrimi” për të cilin jemi duke folur në këtë konferencë? Për ata që punojnë brenda ose rreth akademisë sot, është e vështirë të shpërfillësh ndryshimet e qenësishme që po kalon universiteti e veçanërisht humanitetet. Që do të thotë, ky ndryshim brenda universi-tetit, që në përgjithësi njihet, i ka hapur rrugën prognostikimeve serioze të “fundit” të universitetit. Në këtë pikë, humanitetet ia kanë kaluar vetë universitetit. Në disiplinën time, filozofi, për shembull, ka rreth një shekull që flitet për “fundin e filozofisë.” Ka shumë arsye pse e folura e shkatërrimit është kaq e përhapur në situatën në të cilën ndodhemi (shumë prej të cilave nuk kanë të bëjnë me universitetin); dhe sigurisht që shembuj të së folurës së shkatërrimit mbi situatën e universitetit në përgjithësi dhe të humaniteteve në veçanti nuk mungojnë.2 Në çka vijon kam për të vënë mënjanë pyetjen nëse fundi është vërtetë afër, duke u përqëndruar tek retorika e atij shkatërrimi që zëre se ka ardhur për të vlerësuar një strategji për të shfryrë ndjesinë katastrofike të fundit që provokon e folura e shkatërrimit. 20 00 Open Access Van Haut, Xhon 14 03 06 10.21983/P3.0050.1.14 175 184 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Passion for Yes Coming Out and Affirmation 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 I would like to offer you today the beginnings of a meditation on the word yes, on the gesture of affirmation. We should take great care not to conflate affirmation and saying yes – saying it once, twice, or many times over – and in which language? – all too easily. As I will try to elucidate, there is an abyss between saying yes and affirming that is not easily crossed, let alone bridged.One of my entry points will be Jacques Derrida’s essay on this word – but is it really a word? – in James Joyce’s Ulysses,1 which opens with the question of the translatability of the French oui, but which concerns as well – though through different inflections – the English yes, Dutch ja, or Albanian po. One could even say that Derrida grafts the question of translatability as such onto this word, which in French first answers to the ouïe, “I hear,” as a response to a call, as the word in which communicability as such is at stake. He reminds us that yes also names language itself, not only in the sense of langue d’oïl or langue d’oc,2 the two main French dialect groups which derive their names from their respective ancient words for yes, but also because “the affirmation of a language through itself is untranslatable.”3 And indeed names themselves are notori-ously untranslatable, because they – especially the proper ones – hook into reality in a way that always suggests a more intimate relation between language and the world than linguists would want us to believe. I would invite anyone who doubts this to drive through the Kosovar countryside and observe the place name signs. The linguistically unstable status of yes – as adverb, interjection, or some other outsider category – only adds to its supposedly untranslatable status. And yet, it is the first word of any foreign language we venture to learn. 30 00 I would like to offer you today the beginnings of a meditation on the word yes, on the gesture of affirmation. We should take great care not to conflate affirmation and saying yes – saying it once, twice, or many times over – and in which language? – all too easily. As I will try to elucidate, there is an abyss between saying yes and affirming that is not easily crossed, let alone bridged.One of my entry points will be Jacques Derrida’s essay on this word – but is it really a word? – in James Joyce’s Ulysses,1 which opens with the question of the translatability of the French oui, but which concerns as well – though through different inflections – the English yes, Dutch ja, or Albanian po. One could even say that Derrida grafts the question of translatability as such onto this word, which in French first answers to the ouïe, “I hear,” as a response to a call, as the word in which communicability as such is at stake. He reminds us that yes also names language itself, not only in the sense of langue d’oïl or langue d’oc,2 the two main French dialect groups which derive their names from their respective ancient words for yes, but also because “the affirmation of a language through itself is untranslatable.”3 And indeed names themselves are notori-ously untranslatable, because they – especially the proper ones – hook into reality in a way that always suggests a more intimate relation between language and the world than linguists would want us to believe. I would invite anyone who doubts this to drive through the Kosovar countryside and observe the place name signs. The linguistically unstable status of yes – as adverb, interjection, or some other outsider category – only adds to its supposedly untranslatable status. And yet, it is the first word of any foreign language we venture to learn. 20 00 Open Access van Gerven Oei, Vincent W.J. 15 03 06 10.21983/P3.0050.1.15 185 190 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Një pasion për po-në Dalja hapur dhe pohimi 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Do të doja t’ju ofroja sot fillimin e një përsiatje mbi fjalen po, mbi gjestin e pohimit. Duhet të kemi kujdes të mos ngatërrojmë pohimin me thënien po – një herë, dy herë, apo më tepër – dhe në çfarë gjuhe? – ca si tepër lehtë. Siç do të përpiqem të qartësoj, ekziston një humnerë midis thënies po dhe pohimit që nuk kapërcehet – e jo më të bashkohet – lehtësisht.Një nga pikënisjet e mia do te jetë sprova e Zhak Derridasë mbi këtë fjalë – a është ajo ama vërtet një fjalë? – tek Uliksi i Xhejms Xhojsit,1 e cila fillon me cështjen e përkthyeshmërisë së fjalës franceze oui, por që ka të bëjë gjithashtu – ndonëse nëpërmjet eptimeve të tjera – me fjalën angleze yes, atë hollandeze ja, apo shqiptaren po. Mund të themi madje se Derrida transplanton pyetjen e përkthyeshmërisë në tërësinë e saj tek kjo fjalë, e cila në frëngjisht i përgjigjet fillimishtouïe, “dëgjoj,” si një përgjigje ndaj një thirrjeje, si fjala ku shprehshmëria vetë është në lojë. Ai na kujton se po emërton gji-thashtu vetë gjuhën, jo thjesht në kuptimin e langue d’oïl ose langue d’oc,2 dy grupimet dialektore kryesore në frëngjisht, emrat e të cilave rrjedhin prej flalëve të lashta për-katëse për po në to, por edhe sepse “vetëpohimi i një gjuhe është i papërkthyeshëm.” 30 00 Do të doja t’ju ofroja sot fillimin e një përsiatje mbi fjalen po, mbi gjestin e pohimit. Duhet të kemi kujdes të mos ngatërrojmë pohimin me thënien po – një herë, dy herë, apo më tepër – dhe në çfarë gjuhe? – ca si tepër lehtë. Siç do të përpiqem të qartësoj, ekziston një humnerë midis thënies po dhe pohimit që nuk kapërcehet – e jo më të bashkohet – lehtësisht.Një nga pikënisjet e mia do te jetë sprova e Zhak Derridasë mbi këtë fjalë – a është ajo ama vërtet një fjalë? – tek Uliksi i Xhejms Xhojsit,1 e cila fillon me cështjen e përkthyeshmërisë së fjalës franceze oui, por që ka të bëjë gjithashtu – ndonëse nëpërmjet eptimeve të tjera – me fjalën angleze yes, atë hollandeze ja, apo shqiptaren po. Mund të themi madje se Derrida transplanton pyetjen e përkthyeshmërisë në tërësinë e saj tek kjo fjalë, e cila në frëngjisht i përgjigjet fillimishtouïe, “dëgjoj,” si një përgjigje ndaj një thirrjeje, si fjala ku shprehshmëria vetë është në lojë. Ai na kujton se po emërton gji-thashtu vetë gjuhën, jo thjesht në kuptimin e langue d’oïl ose langue d’oc,2 dy grupimet dialektore kryesore në frëngjisht, emrat e të cilave rrjedhin prej flalëve të lashta për-katëse për po në to, por edhe sepse “vetëpohimi i një gjuhe është i papërkthyeshëm.” 20 00 Open Access van Herven Uj, Vinsent V.J. 16 03 06 10.21983/P3.0050.1.16 191 203 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Welcoming the Stranger From Social Inclusion to Exilic Education 1 A01 Edith Doron Edith Doron 40 016476m91 University of Aberdeen 01 eng 03 00 I open with this poem on the arrival of the stranger and the question of community be-cause it speaks to the difference between the gesture of social inclusion legitimated by Kantian cosmopolitan ideals and translated into multicultural education in museums on one side, and the gesture of welcoming the stranger on the other. It speaks to the difference between reception of the other as an interested act, as part of the struggle for recognition for the sake of being-at-home and therefore as an act that constitutes one’s sovereign ipseity on one side, and the encounter with the other for whom no common frontier exists and yet whose proximity creates the uncanny dispossession of home, the internal sense of an undoing. It speaks to the non-ground of community for which “I” and “you” are not individuals of a common concept. Among the poem’s diversity of dwellings, a “we” emerges to perform the fiction of a social bond. The Stranger departs and returns to the desert – there where hospitality is a matter of life or death – but his utterance remains to make a desert of those dwellings in the mind where sover-eign Identity lives as master; when for an instant astonishment makes Identity a guest. 30 00 I open with this poem on the arrival of the stranger and the question of community be-cause it speaks to the difference between the gesture of social inclusion legitimated by Kantian cosmopolitan ideals and translated into multicultural education in museums on one side, and the gesture of welcoming the stranger on the other. It speaks to the difference between reception of the other as an interested act, as part of the struggle for recognition for the sake of being-at-home and therefore as an act that constitutes one’s sovereign ipseity on one side, and the encounter with the other for whom no common frontier exists and yet whose proximity creates the uncanny dispossession of home, the internal sense of an undoing. It speaks to the non-ground of community for which “I” and “you” are not individuals of a common concept. Among the poem’s diversity of dwellings, a “we” emerges to perform the fiction of a social bond. The Stranger departs and returns to the desert – there where hospitality is a matter of life or death – but his utterance remains to make a desert of those dwellings in the mind where sover-eign Identity lives as master; when for an instant astonishment makes Identity a guest. 20 00 Open Access Doron, Edith 17 03 06 10.21983/P3.0050.1.17 205 213 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mirëpritja e të huajit Nga përshirja sociale tek arsimi mërgimtar 1 A01 Edith Doron Edith Doron 40 016476m91 University of Aberdeen 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Filloj me këtë poezi mbi ardhjen e të huajit dhe çështjen e komunitetit sepse ajo i drejtohet, nga njëra anë, dallimit midis gjestit të përfshirjes sociale të legjitimuar nga idealet kozmopolite kantiane dhe të përkthyer në arsimin multikulturor nëpër muze dhe, nga ana tjetër, gjestit të mirëpritjes së të huajit. Ajo i drejtohet, nga njëra anë, dallimit midis pritjes së tjetrit si një akt i interesuar, si pjesë e një beteje për njohje [recognition] për hir të të-qenit-si-në-shtëpi dhe kësisoj si një akt që vendos vetësinë [ipseity] sovrane të dikujt dhe, nga ana tjetër, takimit me tjetrin për të cilin nuk ekziston asnjë kufi i përbashkët por afërsia e të cilit krijon megjithatë shpronësimin tur-bullues të shtëpisë, ndjenjën e brendshme të një zhbërje. Ajo i drejtohet joterrenit të komunitetit për të cilin “unë” dhe “ti” nuk jemi individë të një koncepti të përbashkët. Midis shumëllojshmërisë së banesave të poezisë, lind një “ne” për të performuar saji-min [fiction] e një lidhje sociale. I huaji largohet dhe kthehet në shkretëtirë – atje ku mikpritja është një çështje jete ose vdekje – por shqiptimi i tij mbetet për të kthyer në një shkretëtirë ato banesa në mendje ku Identiteti sovran jeton si zot; kur për një çast habija e bën identitetin një mysafir 30 00 Filloj me këtë poezi mbi ardhjen e të huajit dhe çështjen e komunitetit sepse ajo i drejtohet, nga njëra anë, dallimit midis gjestit të përfshirjes sociale të legjitimuar nga idealet kozmopolite kantiane dhe të përkthyer në arsimin multikulturor nëpër muze dhe, nga ana tjetër, gjestit të mirëpritjes së të huajit. Ajo i drejtohet, nga njëra anë, dallimit midis pritjes së tjetrit si një akt i interesuar, si pjesë e një beteje për njohje [recognition] për hir të të-qenit-si-në-shtëpi dhe kësisoj si një akt që vendos vetësinë [ipseity] sovrane të dikujt dhe, nga ana tjetër, takimit me tjetrin për të cilin nuk ekziston asnjë kufi i përbashkët por afërsia e të cilit krijon megjithatë shpronësimin tur-bullues të shtëpisë, ndjenjën e brendshme të një zhbërje. Ajo i drejtohet joterrenit të komunitetit për të cilin “unë” dhe “ti” nuk jemi individë të një koncepti të përbashkët. Midis shumëllojshmërisë së banesave të poezisë, lind një “ne” për të performuar saji-min [fiction] e një lidhje sociale. I huaji largohet dhe kthehet në shkretëtirë – atje ku mikpritja është një çështje jete ose vdekje – por shqiptimi i tij mbetet për të kthyer në një shkretëtirë ato banesa në mendje ku Identiteti sovran jeton si zot; kur për një çast habija e bën identitetin një mysafir 20 00 Open Access Doron, Edit 18 03 06 10.21983/P3.0050.1.18 215 229 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Occupy Baghdad" On the Occupation of Images 1 A01 21 0000000274969186 Urok Shirhan Urok Shirhan 01 eng 03 00 Occupy Baghdad is a project that takes as its main premise the idea of non-physical oc-cupation, in other words: how the image and idea of Iraq has been occupied by cultural and artistic production. The inception of this project was marked by strange “coinci-dence” that occurred when I had decided, in late 2011, to do something I had never done before: take my own family archive as material for artistic research.Remake of Paul Chan’s “Baghdad in No Particular Order”As an Iraqi born refugee who has never been to Iraq, and having grown up in the Neth-erlands since 1993, I decided to work through fourteen vhs tapes of footage that my father had filmed during his first trip back to Baghdad in 2003. About one month after the fall of Saddam Hussein’s dictatorship following the American invasion – or occupa-tion – this trip marked a return after 25 years of forced exile. An artist himself, he took it on himself to conduct interviews with other artists and intellectuals in an attempt to recount the way in which cultural production in Iraq had been affected during Sad-dam’s Ba’athist regime. 30 00 Occupy Baghdad is a project that takes as its main premise the idea of non-physical oc-cupation, in other words: how the image and idea of Iraq has been occupied by cultural and artistic production. The inception of this project was marked by strange “coinci-dence” that occurred when I had decided, in late 2011, to do something I had never done before: take my own family archive as material for artistic research.Remake of Paul Chan’s “Baghdad in No Particular Order”As an Iraqi born refugee who has never been to Iraq, and having grown up in the Neth-erlands since 1993, I decided to work through fourteen vhs tapes of footage that my father had filmed during his first trip back to Baghdad in 2003. About one month after the fall of Saddam Hussein’s dictatorship following the American invasion – or occupa-tion – this trip marked a return after 25 years of forced exile. An artist himself, he took it on himself to conduct interviews with other artists and intellectuals in an attempt to recount the way in which cultural production in Iraq had been affected during Sad-dam’s Ba’athist regime. 20 00 Open Access Shirhan, Urok 19 03 06 10.21983/P3.0050.1.19 231 245 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Occupy Baghdad" Mbi pushtimin e imazheve 1 A01 21 0000000274969186 Urok Shirhan Urok Shirhan 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Occupy Baghdad është një projekt premisa kryesore e të cilit është ideja s një pushtimi jofizik, e thënë ndryshe: se si imazhi dhe ideja e Irakut janë pushtuar nga prodhimtaria kulturore dhe artistike. Zanafilla e këtij projekti u shënua nga një “rastësi” e çuditshme që ndodhi kur unë vendosa, në fund të 2011-s, të bëj diçka që nuk e kisha bërë kurrë më parë: të përdorja arkivat e familjes time si material për kërkim artistik.Rikrijimi i “Bagdadit jo sipas ndonjë renditje të caktuar” të Pol ÇanitSi një refugjate e lindur irakene por që nuk ka qenë asnjëherë në Irak dhe që qysh prej vitit 1993 është rritur në Hollandë, vendosa të punoj me katërmbëdhjetë kasetat me regjistrime që kishte xhiruar im atë gjatë udhëtimit të tij të pare atje në 2003-shin. Ky udhëtim, rreth një muaj pas rënies së diktaturës së Sadam Huseinit pas pushtimit ameri-kan, ishte një kthim në Bagdad pas 25 vitesh mërgimi të detyruar. Duke qenë vetë artist, im atë mori përsipër të intervistonte artistë dhe intelektualë të tjerë për të përshkruar se si prodhimtaria kulturore në Irak ishte prekur prej regjimit baatist të Sadamit. 30 00 Occupy Baghdad është një projekt premisa kryesore e të cilit është ideja s një pushtimi jofizik, e thënë ndryshe: se si imazhi dhe ideja e Irakut janë pushtuar nga prodhimtaria kulturore dhe artistike. Zanafilla e këtij projekti u shënua nga një “rastësi” e çuditshme që ndodhi kur unë vendosa, në fund të 2011-s, të bëj diçka që nuk e kisha bërë kurrë më parë: të përdorja arkivat e familjes time si material për kërkim artistik.Rikrijimi i “Bagdadit jo sipas ndonjë renditje të caktuar” të Pol ÇanitSi një refugjate e lindur irakene por që nuk ka qenë asnjëherë në Irak dhe që qysh prej vitit 1993 është rritur në Hollandë, vendosa të punoj me katërmbëdhjetë kasetat me regjistrime që kishte xhiruar im atë gjatë udhëtimit të tij të pare atje në 2003-shin. Ky udhëtim, rreth një muaj pas rënies së diktaturës së Sadam Huseinit pas pushtimit ameri-kan, ishte një kthim në Bagdad pas 25 vitesh mërgimi të detyruar. Duke qenë vetë artist, im atë mori përsipër të intervistonte artistë dhe intelektualë të tjerë për të përshkruar se si prodhimtaria kulturore në Irak ishte prekur prej regjimit baatist të Sadamit. 20 00 Open Access Shirhan, Urok 20 03 06 10.21983/P3.0050.1.20 247 255 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Art after Democratism The Pedagogy of the New World Summit 1 A01 21 0000000234096034 Jonas Staal Jonas Staal 40 02qjrjx09 University of Cyprus 06 Own website https://www.jonasstaal.nl/ 01 eng 03 00 In 2007, philosopher Vincent van Gerven Oei and myself came across a leaked file doc-umenting an interrogation at Guantánamo prison in Cuba, which had been distributed through the website of Time Magazine. The log contained a detailed report of three months of interrogation of Mohammed Mani Ahmed al-Khatani, the supposed “20th hijacker” of the attacks on the Twin Towers and the Pentagon in 2001.The report caught our interest specifically because of the nature of the torture tech-niques involved. Apart from the terrifying torture method called water boarding, we were struck by the use of popular culture as means of “torturing” the prisoner. The guards severely disoriented al-Khatani by moving him to different closed darkened spaces, which made it impossible for him to grasp the time of day or the direction in which he, as a Muslim, was supposed send his prayers. Subsequently, they deregulated his sleep pattern, upon which his general sense of disorientation became even more severe. This set the theatrical stage for the guards to subject al-Khatani to a complex of contemporary cultural iconography. He was, for example, exposed to loud popular music, such as songs by Metallica, Eminem, and Christina Aguilera’s song “Dirrty.” Al-Khatani was further subjected to images of pin-up girls, non-halal Burger King food, and stroboscope lights. These are all symbols of Western “liberation,” which in the con-text of Guantánamo obtain extremely oppressive dimensions. Or rather, in this context that the extremely oppressive dimensions already present in these symbols of so-called liberation become unbearably visible. 30 00 In 2007, philosopher Vincent van Gerven Oei and myself came across a leaked file doc-umenting an interrogation at Guantánamo prison in Cuba, which had been distributed through the website of Time Magazine. The log contained a detailed report of three months of interrogation of Mohammed Mani Ahmed al-Khatani, the supposed “20th hijacker” of the attacks on the Twin Towers and the Pentagon in 2001.The report caught our interest specifically because of the nature of the torture tech-niques involved. Apart from the terrifying torture method called water boarding, we were struck by the use of popular culture as means of “torturing” the prisoner. The guards severely disoriented al-Khatani by moving him to different closed darkened spaces, which made it impossible for him to grasp the time of day or the direction in which he, as a Muslim, was supposed send his prayers. Subsequently, they deregulated his sleep pattern, upon which his general sense of disorientation became even more severe. This set the theatrical stage for the guards to subject al-Khatani to a complex of contemporary cultural iconography. He was, for example, exposed to loud popular music, such as songs by Metallica, Eminem, and Christina Aguilera’s song “Dirrty.” Al-Khatani was further subjected to images of pin-up girls, non-halal Burger King food, and stroboscope lights. These are all symbols of Western “liberation,” which in the con-text of Guantánamo obtain extremely oppressive dimensions. Or rather, in this context that the extremely oppressive dimensions already present in these symbols of so-called liberation become unbearably visible. 20 00 Open Access Staal, Jonas 21 03 06 10.21983/P3.0050.1.21 257 269 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Arti pas demokratizmit Pedagogjia e Samitit të ri botëror 1 A01 21 0000000234096034 Jonas Staal Jonas Staal 40 02qjrjx09 University of Cyprus 06 Own website https://www.jonasstaal.nl/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në 2007-n, filozofi Vinsent van Herven Uj dhe unë ndeshëm një dosje të klasifikuar që dokumentonte një interrogim në burgun e Guantanamos në Kubë, e cila ishte shpërndarë përmes website-it të Time Magazine. Kabllogrami përmbante një raport të detajuar të interrogimit përgjatë tre muajve të Mohamed Mani Ahmed Al-Katani, që presupozohej të ishte rrëmbyesi i 20-të i sulmeve mbi Kullat Binjake dhe Pentagonin në 2001-shin.Në veçanti raporti na tërhoqi vëmendjen për shkak të natyrës së teknikave të tor-tures që ishin përdorur. Përveç metodës së tmerrshme të tortures të quajtur water boarding, na la përshtypje përdorimi i kulturës pop si një mjet për të “torturuar” të burgosurin. Rojet e çorientonin thellësisht Al-Katanin duke e lëvizur nëpër vende të ndryshme të errëta, gjë që e bënte të pamundur për të të rrokte kohën ose drejtimin në të cilin ai, si një mysliman, duhej të drejtonte lutjet e tij. Më pas, ata i çrregulluan edhe gjumin, duke bërë që ndjesia e përgjithme e çorientimit që ai kishte të thellohej akoma më tepër. E gjithë kjo ngriti skenën teatrale në të cilën Al-Katanin iu nënshtrua një iko-nografie komplekse të kulturës bashkëkohore. Për shembull, ai iu nënshtrua dëgjimit të muzikës së zhurmët, si këngë nga Metallica, Eminem, dhe këngës “Dirrty” të Kristina Agileras. 30 00 Në 2007-n, filozofi Vinsent van Herven Uj dhe unë ndeshëm një dosje të klasifikuar që dokumentonte një interrogim në burgun e Guantanamos në Kubë, e cila ishte shpërndarë përmes website-it të Time Magazine. Kabllogrami përmbante një raport të detajuar të interrogimit përgjatë tre muajve të Mohamed Mani Ahmed Al-Katani, që presupozohej të ishte rrëmbyesi i 20-të i sulmeve mbi Kullat Binjake dhe Pentagonin në 2001-shin.Në veçanti raporti na tërhoqi vëmendjen për shkak të natyrës së teknikave të tor-tures që ishin përdorur. Përveç metodës së tmerrshme të tortures të quajtur water boarding, na la përshtypje përdorimi i kulturës pop si një mjet për të “torturuar” të burgosurin. Rojet e çorientonin thellësisht Al-Katanin duke e lëvizur nëpër vende të ndryshme të errëta, gjë që e bënte të pamundur për të të rrokte kohën ose drejtimin në të cilin ai, si një mysliman, duhej të drejtonte lutjet e tij. Më pas, ata i çrregulluan edhe gjumin, duke bërë që ndjesia e përgjithme e çorientimit që ai kishte të thellohej akoma më tepër. E gjithë kjo ngriti skenën teatrale në të cilën Al-Katanin iu nënshtrua një iko-nografie komplekse të kulturës bashkëkohore. Për shembull, ai iu nënshtrua dëgjimit të muzikës së zhurmët, si këngë nga Metallica, Eminem, dhe këngës “Dirrty” të Kristina Agileras. 20 00 Open Access Stal, Jonas 22 03 06 10.21983/P3.0050.1.22 271 280 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Reading on Disaster" Intervention Imaginaries in Participatory Artistic Practice 1 A01 Katharina Stadler Katharina Stadler 40 02qt0xs84 Humboldt State University 01 eng 03 00 How to give a voice to others? How to invite a voice to articulate itself and further, to be heard. Amidst my own voicelessness and speechlessness while working in a location of foreign language. Focused on the process of including the voice/s of the barely audible in an academic conference.during the “reading on disaster” intervention i chose a different location in tirana each day as to create a small space of possible participation. my popcorn bike as a mobile seminar room shaped the center of those imaginary spaces, providing each day’s text in multiple copies, each day’s motto as well as papers and pens.every day i worked on site, intervening the city with the purpose to engage thinking about education, the future of education in albania. collecting wishes/dreams/desires as to bring not only one voice but voices, combined in a manifesto medley envisioning an imaginary future to the “pedagogies of disaster” conference.to trigger the agency of reflection and vision telling i had selected texts on education and/or knowledge production; texts by irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, and jacques rancière. out of these texts the following daily mottos were chosen:potentialities; the critical realm [...] is by definition void; poetic ter-rorism; in the midst of the piles of the debris of knowledge production; movement is knowing; knowing is nothing. doing is everything. 30 00 How to give a voice to others? How to invite a voice to articulate itself and further, to be heard. Amidst my own voicelessness and speechlessness while working in a location of foreign language. Focused on the process of including the voice/s of the barely audible in an academic conference.during the “reading on disaster” intervention i chose a different location in tirana each day as to create a small space of possible participation. my popcorn bike as a mobile seminar room shaped the center of those imaginary spaces, providing each day’s text in multiple copies, each day’s motto as well as papers and pens.every day i worked on site, intervening the city with the purpose to engage thinking about education, the future of education in albania. collecting wishes/dreams/desires as to bring not only one voice but voices, combined in a manifesto medley envisioning an imaginary future to the “pedagogies of disaster” conference.to trigger the agency of reflection and vision telling i had selected texts on education and/or knowledge production; texts by irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, and jacques rancière. out of these texts the following daily mottos were chosen:potentialities; the critical realm [...] is by definition void; poetic ter-rorism; in the midst of the piles of the debris of knowledge production; movement is knowing; knowing is nothing. doing is everything. 20 00 Open Access Stadler, Katharina 23 03 06 10.21983/P3.0050.1.23 281 294 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ndërhyrje "Të lexojmë mbi shkatërrimin" Imagjinaret në praktikat pjesëmarrëse artistike 1 A01 Katharina Stadler Katharina Stadler 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Si t’iu japim zë të tjerëve? Si të ftojmë një zë të nyjëtohet e me tej të dëgjohet. Mes pazëshmërisë dhe pagojësisë time ndërsa punoja në një vend me gjuhë të huaj. E përqëndruar tek përfshirja e zërit/zërave thuajse të padëgjuar në një konferencë aka-demike.gjatë ndërhyrjes “të lexojmë mbi shkatërrimin” zgjodha çdo ditë nga një vend të ndryshëm me qëllim për të krijuar një hapësirë sado të vogël pjesëmarrje të mundshme. biçikleta ime e kokoshkave, si një dhomë lëvizëse seminaresh, përbënte qendrën e atyre hapësirave imagjinare, duke ofruar tekstet e secilës ditë në kopje të shumëfishta, moton e secilës ditë si dhe fletë dhe stilolapsa.punova çdo ditë në vendndodhje, duke ndërhyrë në qytet për të angazhuar të menduarit mbi arsimin, të ardhmen e arsimit në shqipëri. duke mbledhur dëshira/ëndrra për të përcjellë jo një zë por shumë zëra, të përmbledhura në një manifest që pa-rapërfytyronte një të ardhme imagjinare të konferencës mbi “pedagogjitë e shkatërrimit.”për të ndezur kapacitetin për refleksion dhe vizion kisha përzgjedhur disa tekste mbi arsimin dhe/ose prodhimin e dijes; tekste nga irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, dhe jacques rancière. prej këtyre teksteve u zgjodhën motot e përditshme në vijim:potencialitete; sfera kritike [...] është me përkufizim bosh; terrorizëm poetik; mes pirgjeve të gërmadhave të prodhimit të dijes; të lëvizësh është të dish; të dish nuk është asgjë. të bësh është gjithçka! 30 00 Si t’iu japim zë të tjerëve? Si të ftojmë një zë të nyjëtohet e me tej të dëgjohet. Mes pazëshmërisë dhe pagojësisë time ndërsa punoja në një vend me gjuhë të huaj. E përqëndruar tek përfshirja e zërit/zërave thuajse të padëgjuar në një konferencë aka-demike.gjatë ndërhyrjes “të lexojmë mbi shkatërrimin” zgjodha çdo ditë nga një vend të ndryshëm me qëllim për të krijuar një hapësirë sado të vogël pjesëmarrje të mundshme. biçikleta ime e kokoshkave, si një dhomë lëvizëse seminaresh, përbënte qendrën e atyre hapësirave imagjinare, duke ofruar tekstet e secilës ditë në kopje të shumëfishta, moton e secilës ditë si dhe fletë dhe stilolapsa.punova çdo ditë në vendndodhje, duke ndërhyrë në qytet për të angazhuar të menduarit mbi arsimin, të ardhmen e arsimit në shqipëri. duke mbledhur dëshira/ëndrra për të përcjellë jo një zë por shumë zëra, të përmbledhura në një manifest që pa-rapërfytyronte një të ardhme imagjinare të konferencës mbi “pedagogjitë e shkatërrimit.”për të ndezur kapacitetin për refleksion dhe vizion kisha përzgjedhur disa tekste mbi arsimin dhe/ose prodhimin e dijes; tekste nga irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, dhe jacques rancière. prej këtyre teksteve u zgjodhën motot e përditshme në vijim:potencialitete; sfera kritike [...] është me përkufizim bosh; terrorizëm poetik; mes pirgjeve të gërmadhave të prodhimit të dijes; të lëvizësh është të dish; të dish nuk është asgjë. të bësh është gjithçka! 20 00 Open Access Stadler, Katarina 24 03 06 10.21983/P3.0050.1.24 295 296 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Manifesto for Education in Albania 1 B01 Nico Jenkins Nico Jenkins 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 01 eng 03 00 We are students, professors, people with or without jobs, with children or young our-selves. Who demand.We aim for an adequate education of European standard. Meaning better schools, aca-demic freedom, more study possibilities, language classes and choice of language in our studies. As well as a focus on Albanian language and expression. Meaning improved physical environments at universities and most definitely no corruption.We ask students to be more idealistic and active, work for a common progress in educa-tion as well as follow the rules and excercise their rights. 30 00 We are students, professors, people with or without jobs, with children or young our-selves. Who demand.We aim for an adequate education of European standard. Meaning better schools, aca-demic freedom, more study possibilities, language classes and choice of language in our studies. As well as a focus on Albanian language and expression. Meaning improved physical environments at universities and most definitely no corruption.We ask students to be more idealistic and active, work for a common progress in educa-tion as well as follow the rules and excercise their rights. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 25 03 06 10.21983/P3.0050.1.25 297 298 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Manifest për arsimin në Shqirëri 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 4 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Ne jemi studentë, pedagogë, njerëz me ose pa punë, me fëmijë ose të rinj vetë. Që kërkojmë.Ne duam një arsimim të standardeve evropiane. Që do të thotë, shkolla më të mira, liri akademike, më tepër mundësi studimi, klasa gjuhe dhe mundësinë për të zgjedhur gjuhën në të cilën studiojmë. Dhe gjithashtu fokus mbi gjuhën shqipe. Që do të thotë, ambiente më të mira në universitetet tona dhe jo korrupsion.Ne kërkojmë që studentët të jenë më idealist dhe më aktiv, të punojnë për progresin e përbashkët në arsim si dhe të zbatojnë rregullat dhe të ushtrojnë të drejtat e tyre. 30 00 Ne jemi studentë, pedagogë, njerëz me ose pa punë, me fëmijë ose të rinj vetë. Që kërkojmë.Ne duam një arsimim të standardeve evropiane. Që do të thotë, shkolla më të mira, liri akademike, më tepër mundësi studimi, klasa gjuhe dhe mundësinë për të zgjedhur gjuhën në të cilën studiojmë. Dhe gjithashtu fokus mbi gjuhën shqipe. Që do të thotë, ambiente më të mira në universitetet tona dhe jo korrupsion.Ne kërkojmë që studentët të jenë më idealist dhe më aktiv, të punojnë për progresin e përbashkët në arsim si dhe të zbatojnë rregullat dhe të ushtrojnë të drejtat e tyre. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 26 03 06 10.21983/P3.0050.1.26 299 314 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Philosophy and Humanistic Education J.S. Mill's Catastrophic Pedagogy 1 A01 Andreas Vrahimis Andreas Vrahimis 40 02qjrjx09 University of Cyprus 01 eng 03 00 It is almost a commonplace nowadays to hear of the end of the humanities, and defens-es of the humanities against all kinds of attack abound. A diagnosis might be in place, as an aside, before we begin: though these arguments in defense of the humanities are at the moment in vogue, the position of the attackers is not a dialogical one. Indeed, the attack does not seem to be founded on argument, but rather, in many ways, on unshakeable force – the kind of force that is not able to respond to argument (or even willing to read defenses of the humanities). In short, though there appear to be numer-ous ways of defending and attempting to fortify the humanities through perfectly valid and sound argument, the onslaught against the humanities does not seem bound either to listen or to respond. 30 00 It is almost a commonplace nowadays to hear of the end of the humanities, and defens-es of the humanities against all kinds of attack abound. A diagnosis might be in place, as an aside, before we begin: though these arguments in defense of the humanities are at the moment in vogue, the position of the attackers is not a dialogical one. Indeed, the attack does not seem to be founded on argument, but rather, in many ways, on unshakeable force – the kind of force that is not able to respond to argument (or even willing to read defenses of the humanities). In short, though there appear to be numer-ous ways of defending and attempting to fortify the humanities through perfectly valid and sound argument, the onslaught against the humanities does not seem bound either to listen or to respond. 20 00 Open Access Vrahimis, Andreas 27 03 06 10.21983/P3.0050.1.27 315 330 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Filozofia dhe shkollimi humanist Pedagogjia katastrofike e J.S. Millit 1 A01 Andreas Vrahimis Andreas Vrahimis 40 02qjrjx09 University of Cyprus 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Jemi mësuar tashmë të dëgjojmë për fundin e humaniteteve dhe mbrojtje të huma-niteteve nga sulme të llojeve të ndryshme nuk mungojnë. Ia vlen ndoshta që, në pa-rantezë, të bëjmë një diagnozë këtu, sa pa filluar mirë: ndonëse sot këto argumenta në mbrojtje të humaniteteve janë në modë, pozicioni i sulmuesve nuk është një pozi-cion bashkëbisedues. Në fakt, duket sikur sulmi nuk bazohet mbi argumenta, por, në shumë pikëpamje, mbi një forcë të patundur – një lloj force që nuk është në gjendje t’i përgjigjet argumentit (ose të paktën të jetë e gatshme të lexojë mbrojtjet për hu-manitetet). Shkrutimisht pra, ndonëse duket sikur ka shumë mënyra për të mbrojtur dhe për të përforcuar humanitetet nëpërmjet argumentash tërësisht të vlefshëm dhe të shëndoshë, vërshimi kundër humaniteteve nuk duket se ka ndërmend as të dëgjojë e as të përgjigjet. 30 00 Jemi mësuar tashmë të dëgjojmë për fundin e humaniteteve dhe mbrojtje të huma-niteteve nga sulme të llojeve të ndryshme nuk mungojnë. Ia vlen ndoshta që, në pa-rantezë, të bëjmë një diagnozë këtu, sa pa filluar mirë: ndonëse sot këto argumenta në mbrojtje të humaniteteve janë në modë, pozicioni i sulmuesve nuk është një pozi-cion bashkëbisedues. Në fakt, duket sikur sulmi nuk bazohet mbi argumenta, por, në shumë pikëpamje, mbi një forcë të patundur – një lloj force që nuk është në gjendje t’i përgjigjet argumentit (ose të paktën të jetë e gatshme të lexojë mbrojtjet për hu-manitetet). Shkrutimisht pra, ndonëse duket sikur ka shumë mënyra për të mbrojtur dhe për të përforcuar humanitetet nëpërmjet argumentash tërësisht të vlefshëm dhe të shëndoshë, vërshimi kundër humaniteteve nuk duket se ka ndërmend as të dëgjojë e as të përgjigjet. 20 00 Open Access Vrahimis, Andreas 28 03 06 10.21983/P3.0050.1.28 331 341 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Walter Benjamin and the Inhumanities Towards a Pedagogical Anti-Nietzscheanism 1 A01 Matthew Charles Matthew Charles 40 04ycpbx82 University of Westminster 01 eng 03 00 The following discussion is intended as a critical intervention into recent debates about the “crisis of the humanities,” reading the symptomaticity of crisis in the medical sense of a turning point. It does so from the perspective of the work of Walter Benja-min, whose own transdisciplinary practice of thought has been characterized as a “phi-losophy directed against philosophy” and a “philosophizing beyond philosophy,” and stands as a model for the kind of intellectual and para-academic activity evoked here.1Historically re-situating Benjamin’s famous allegory of the Angel of History from the twentieth-century context of the “crisis of culture” to the contemporary “crisis of edu-cation,” it attempts to reconstruct a dialectical understanding of pedagogization within Benjamin’s work, which is used to sketch out the contours of a critically reimagined pedagogy of the Inhumanities. 30 00 The following discussion is intended as a critical intervention into recent debates about the “crisis of the humanities,” reading the symptomaticity of crisis in the medical sense of a turning point. It does so from the perspective of the work of Walter Benja-min, whose own transdisciplinary practice of thought has been characterized as a “phi-losophy directed against philosophy” and a “philosophizing beyond philosophy,” and stands as a model for the kind of intellectual and para-academic activity evoked here.1Historically re-situating Benjamin’s famous allegory of the Angel of History from the twentieth-century context of the “crisis of culture” to the contemporary “crisis of edu-cation,” it attempts to reconstruct a dialectical understanding of pedagogization within Benjamin’s work, which is used to sketch out the contours of a critically reimagined pedagogy of the Inhumanities. 20 00 Open Access Charles, Matthew 29 03 06 10.21983/P3.0050.1.29 343 353 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Valter Benjamin dhe inhumanitetet Drejt një kundërniçanizmi pedagogjik 1 A01 Matthew Charles Matthew Charles 40 04ycpbx82 University of Westminster 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Diskutimi vijues ka për qëllim të jetë një ndërhyrje kritike në debatet e kohëve të fundit mbi idenë e “krizës së humaniteteve,” duke e lexuar simptomaticitetin e krizës si një kthesë në kuptimin mjekësor të fjalës. Ai e bën këtë nga perspektiva e veprës së Val-ter Benjamin, praktika transdisiplinare e mendimit të të cilit është karakterizuar si një “filozofi kundër filozofisë” dhe një “filozofim përtej filozofisë,” dhe qëndron si model për veprimtarinë intelektuale dhe para-akademike që ngrihet këtu.1 Duke zhvendosur alegorinë e famshme të Benjaminit të Ëngjellit të Historisë nga konteksti i “krizës së kulturës” të shekullit të njëzetë dhe duke e rivendosur ate tek “kriza e arsimit” e ditëve të sotme, ai përpiqet të rindërtojë një kuptim dialektik të pedagogjizimit brenda veprës së Benjaminit, që përdoret për të skicuar konturet e një pedagogjie të riimagjinuar në mënyrë kritike të inhumaniteteve. 30 00 Diskutimi vijues ka për qëllim të jetë një ndërhyrje kritike në debatet e kohëve të fundit mbi idenë e “krizës së humaniteteve,” duke e lexuar simptomaticitetin e krizës si një kthesë në kuptimin mjekësor të fjalës. Ai e bën këtë nga perspektiva e veprës së Val-ter Benjamin, praktika transdisiplinare e mendimit të të cilit është karakterizuar si një “filozofi kundër filozofisë” dhe një “filozofim përtej filozofisë,” dhe qëndron si model për veprimtarinë intelektuale dhe para-akademike që ngrihet këtu.1 Duke zhvendosur alegorinë e famshme të Benjaminit të Ëngjellit të Historisë nga konteksti i “krizës së kulturës” të shekullit të njëzetë dhe duke e rivendosur ate tek “kriza e arsimit” e ditëve të sotme, ai përpiqet të rindërtojë një kuptim dialektik të pedagogjizimit brenda veprës së Benjaminit, që përdoret për të skicuar konturet e një pedagogjie të riimagjinuar në mënyrë kritike të inhumaniteteve. 20 00 Open Access Çarls, Methju 30 03 06 10.21983/P3.0050.1.30 355 362 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Philosophy beyond the Peras Thinking with/in the Periphery 1 A01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 01 eng 03 00 To discuss, as we have been tasked to do, the concept of pedagogy requires that we first imagine what it is to learn, as well as what it is to be taught before we can even begin to venture forth on what it is to teach, and especially what it is to teach with/in what has been called the disaster. That the modern form of education is tightly constrained and regimented seems obvious, and therefore any thinking about thinking (any think-ing about disasters) must inevitably pass between the constraints, or under the regimes. This movement of thinking is always a call towards, and a call from. Martin Heidegger, in the two essays discussed here, asks that we attune ourselves well to venture onto this path, to listen before we begin (again) to teach; he asks us to listen to the unnecessary before we begin to discuss the necessary, to listen, perhaps, to the silence(s) which lie between thoughts, as much as to the thoughts themselves. 30 00 To discuss, as we have been tasked to do, the concept of pedagogy requires that we first imagine what it is to learn, as well as what it is to be taught before we can even begin to venture forth on what it is to teach, and especially what it is to teach with/in what has been called the disaster. That the modern form of education is tightly constrained and regimented seems obvious, and therefore any thinking about thinking (any think-ing about disasters) must inevitably pass between the constraints, or under the regimes. This movement of thinking is always a call towards, and a call from. Martin Heidegger, in the two essays discussed here, asks that we attune ourselves well to venture onto this path, to listen before we begin (again) to teach; he asks us to listen to the unnecessary before we begin to discuss the necessary, to listen, perhaps, to the silence(s) which lie between thoughts, as much as to the thoughts themselves. 20 00 Open Access Jenkins, Nico 31 03 06 10.21983/P3.0050.1.31 363 374 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pedagogjia përtej perasë Të mendojmë me periferinë 1 A01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B06 Jonida Gashi Jonida Gashi 02 alb 02 eng 03 00 Të diskutojmë, siç na është caktuar për detyrë, konceptin e pedagogjisë kërkon që në fillim të imagjinojmë se çfarë do të thotë të mësosh, si dhe çfarë është të të mësojnë, para se të marrim guximin të shtejllojmë se çfarë është të japësh mësim, dhe veçanëri-sht se çfarë është të japësh mësim me atë që është quajtur shkatërrim. Që forma moder-ne e shkollimit është mjaft e shtrënguar dhe e regjimentuar duket se është e qartë, dhe prandaj çdo të menduar mbi të menduarit (çdo të menduar mbi shkatërrimet) duhet doemos të kalojë midis shtrëngimeve, ose nën regjimet. Kjo lëvizje e të menduarit është gjithmonë një thirrje drejt, dhe një thirrje prej. Martin Hajdeger, në dy sprovat e disku-tuara këtu, kërkon që ne të harmonizohemi mirë për të marrë këtë rrugë, të dëgjojmë para se të fillojmë (sërish) të japim mësim; ai na kërkon të dëgjojmë të panevojshmen para se të fillojmë të diskutojmë të domosdoshmen, të dëgjojmë, ndoshta, heshtjen/t që shtrihet/n midis mendimeve, po aq sa vetë mendimet. 30 00 Të diskutojmë, siç na është caktuar për detyrë, konceptin e pedagogjisë kërkon që në fillim të imagjinojmë se çfarë do të thotë të mësosh, si dhe çfarë është të të mësojnë, para se të marrim guximin të shtejllojmë se çfarë është të japësh mësim, dhe veçanëri-sht se çfarë është të japësh mësim me atë që është quajtur shkatërrim. Që forma moder-ne e shkollimit është mjaft e shtrënguar dhe e regjimentuar duket se është e qartë, dhe prandaj çdo të menduar mbi të menduarit (çdo të menduar mbi shkatërrimet) duhet doemos të kalojë midis shtrëngimeve, ose nën regjimet. Kjo lëvizje e të menduarit është gjithmonë një thirrje drejt, dhe një thirrje prej. Martin Hajdeger, në dy sprovat e disku-tuara këtu, kërkon që ne të harmonizohemi mirë për të marrë këtë rrugë, të dëgjojmë para se të fillojmë (sërish) të japim mësim; ai na kërkon të dëgjojmë të panevojshmen para se të fillojmë të diskutojmë të domosdoshmen, të dëgjojmë, ndoshta, heshtjen/t që shtrihet/n midis mendimeve, po aq sa vetë mendimet. 20 00 Open Access Xhenkins, Niko 32 03 06 10.21983/P3.0050.1.32 375 384 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cyber-Catastrophe Towards a New Pedagogy of Entropy 1 A01 Justin Joque Justin Joque 40 00jmfr291 University of Michigan–Ann Arbor 06 Own website http://www.justinjoque.com/ 01 eng 03 00 One of the earliest glimpses of the possible impact of an all out cyberwar occurred in June of 1997. That month a small team of hackers using publicly available tools and programs was supposedly able to gain access to the power grid in nine United States cities, their emergency response systems and a number of critical Pentagon networks including those that managed military supply chains and the command-and-control structure. According to James Adams who has written at length about these attacks:The hackers also managed to infect the human command-and-control system with a paralyzing level of mistrust. Orders that appeared to come from a commanding general were fake, as were bogus news reports on the crisis and instructions from the civilian command authorities. As a result, nobody in the chain of command, from the president on down, could believe anything. This group of hackers using publicly available resources was able to prevent the United States from waging war effectively 30 00 One of the earliest glimpses of the possible impact of an all out cyberwar occurred in June of 1997. That month a small team of hackers using publicly available tools and programs was supposedly able to gain access to the power grid in nine United States cities, their emergency response systems and a number of critical Pentagon networks including those that managed military supply chains and the command-and-control structure. According to James Adams who has written at length about these attacks:The hackers also managed to infect the human command-and-control system with a paralyzing level of mistrust. Orders that appeared to come from a commanding general were fake, as were bogus news reports on the crisis and instructions from the civilian command authorities. As a result, nobody in the chain of command, from the president on down, could believe anything. This group of hackers using publicly available resources was able to prevent the United States from waging war effectively 20 00 Open Access Joque, Justin 33 03 06 10.21983/P3.0050.1.33 385 398 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Katastrofa kibernetike Drejt një pedagogjie të entropisë 1 A01 Justin Joque Justin Joque 40 00jmfr291 University of Michigan–Ann Arbor 06 Own website http://www.justinjoque.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Një nga vezullimat më të herëta të impaktit të mundshëm të një lufte të hapur kiberne-tike u shfaq në qershor të 1997-s. Mendohet se atë muaj një skuadër e vogël hakerash, duke përdorur mjete dhe programe në dispozicion të të gjithëve, arriti të depërtonte në rrjetin elektrik të nëntë qyteteve amerikane, sistemet e tyre të emergjencës dhe një numër rrjetesh mjaft të rëndësishme të Pentagonit duke përfshirë këtu edhe ato rrjete që menaxhonin zinxhirët e furnizimit të ushtrisë dhe strukturës komandë-dhe-kon-troll. Sipas Xhejms Adamsit që ka shkruar gjatë mbi këto sulme:Hakera arritën gjithashtu të infektonin sistemin njerëzor komandë-dhe-kontroll me një nivel paralizues mosbesimi. Urdhërat që duket se vinin nga gjeneralët në komandë ishin të rremë, po ashtu siç ishin të rreme edhe lajmet mbi krizën dhe instruksionet nga autoritetet e komandës civile. Për pasojë, askush në zinxhirin e komandës, nga presidenti e poshtë, nuk mund të besonte asgjë. Ky grup hakerash që po përdornin resurse që ishin në dispozicion të të gjithëve qe i aftë ta pengonte shba-në të bënte luftë në mënyrë efektive. 30 00 Një nga vezullimat më të herëta të impaktit të mundshëm të një lufte të hapur kiberne-tike u shfaq në qershor të 1997-s. Mendohet se atë muaj një skuadër e vogël hakerash, duke përdorur mjete dhe programe në dispozicion të të gjithëve, arriti të depërtonte në rrjetin elektrik të nëntë qyteteve amerikane, sistemet e tyre të emergjencës dhe një numër rrjetesh mjaft të rëndësishme të Pentagonit duke përfshirë këtu edhe ato rrjete që menaxhonin zinxhirët e furnizimit të ushtrisë dhe strukturës komandë-dhe-kon-troll. Sipas Xhejms Adamsit që ka shkruar gjatë mbi këto sulme:Hakera arritën gjithashtu të infektonin sistemin njerëzor komandë-dhe-kontroll me një nivel paralizues mosbesimi. Urdhërat që duket se vinin nga gjeneralët në komandë ishin të rremë, po ashtu siç ishin të rreme edhe lajmet mbi krizën dhe instruksionet nga autoritetet e komandës civile. Për pasojë, askush në zinxhirin e komandës, nga presidenti e poshtë, nuk mund të besonte asgjë. Ky grup hakerash që po përdornin resurse që ishin në dispozicion të të gjithëve qe i aftë ta pengonte shba-në të bënte luftë në mënyrë efektive. 20 00 Open Access Xhouk, Xhustin 34 03 06 10.21983/P3.0050.1.34 399 411 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Faculty in Withdrawal Not To Know and the Uncertainties of Self-Institutionalization 1 A01 21 000000020697846X Tijana Stevanović Tijana Stevanović 40 01kj2bm70 Newcastle University 01 eng 03 00 The best “tendency” is wrong if it does not prescribe the attitude with which it ought to be pursued. These words produced some eighty years ago, still speak to us with the fresh “pedagogi-cal” attitude Benjamin himself deliberately sought to inhabit when writing about the revolutionary intellectual. No matter how finished the objects of production may seem to appear, what seemed more urgent, he argued, has been to uncover the techniques of production’s own potentialities for exposing the organizational complex of fabrica-tion within. If the institutional dimension of constructing subjectivities were acknowl-edged as a continuing existence of the bourgeois apparatus, it would be possible for the functional distinction between products and producers to ultimately crack open and evaporate. Central to his project on the disappearance of the author through careful dissemination, Benjamin praised Brecht’s Umfunktionierung as an idea of transforming actively institutions and instruments of production by radical intellectuals: “It’s not a question of being against the institution: We are the institution.” 30 00 The best “tendency” is wrong if it does not prescribe the attitude with which it ought to be pursued. These words produced some eighty years ago, still speak to us with the fresh “pedagogi-cal” attitude Benjamin himself deliberately sought to inhabit when writing about the revolutionary intellectual. No matter how finished the objects of production may seem to appear, what seemed more urgent, he argued, has been to uncover the techniques of production’s own potentialities for exposing the organizational complex of fabrica-tion within. If the institutional dimension of constructing subjectivities were acknowl-edged as a continuing existence of the bourgeois apparatus, it would be possible for the functional distinction between products and producers to ultimately crack open and evaporate. Central to his project on the disappearance of the author through careful dissemination, Benjamin praised Brecht’s Umfunktionierung as an idea of transforming actively institutions and instruments of production by radical intellectuals: “It’s not a question of being against the institution: We are the institution.” 20 00 Open Access Stevanović, Tijana 35 03 06 10.21983/P3.0050.1.35 413 422 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fakulteti në zmbrapsje Mosditja dhe pasiguritë e vetëinstitucionalizimit 1 A01 21 000000020697846X Tijana Stevanović Tijana Stevanović 40 01kj2bm70 Newcastle University 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 “Tendenca” më e mire është e gabuar nëse ajo nuk paracakton mënyrën se si duhet ndjekur. Këto fjalë të shkruara thuajse tetëdhjetë vite më parë ende rikumbojnë me risinë e qën-drimit “pedagogjik” që vetë Benjamin ishte përpjekur të merrte ndërsa shkruante për intelektualin revolucionar. Pavarësisht se sa të përfunduara mund të duken objektet e prodhimit, ajo që dukej më urgjente, thotë Benjamin, ka qenë zbulimi i potencialitete-ve të vetë teknikave të prodhimit për të zbuluar kompleksin organizativ të mashtrimit brenda tyre. Po të pranonim se dimensioni institucional i ndërtimit të subjektivite-teve nuk është veçse ekzistenca e vazhduar e aparatit borgjez, do të qe e mundur që dallimi funksional midis prodhimeve dhe prodhuesve të zhdukej një herë e mirë. Një aspekt i rëndësishëm në projektin e tij mbi zhdukjen e autorit përmes shpërhapjes së kujdesshme, Benjamin lëvdoi rifunktionimin [Umfunktionierung] të Brehtit [Brecht] si një ide për transformimin aktiv të institucioneve dhe mjeteve të prodhimit prej inte-lektualëve radikalë: “Nuk është puna t’i kundërvihemi institucionit: Ne jemi institu-cioni.” 30 00 “Tendenca” më e mire është e gabuar nëse ajo nuk paracakton mënyrën se si duhet ndjekur. Këto fjalë të shkruara thuajse tetëdhjetë vite më parë ende rikumbojnë me risinë e qën-drimit “pedagogjik” që vetë Benjamin ishte përpjekur të merrte ndërsa shkruante për intelektualin revolucionar. Pavarësisht se sa të përfunduara mund të duken objektet e prodhimit, ajo që dukej më urgjente, thotë Benjamin, ka qenë zbulimi i potencialitete-ve të vetë teknikave të prodhimit për të zbuluar kompleksin organizativ të mashtrimit brenda tyre. Po të pranonim se dimensioni institucional i ndërtimit të subjektivite-teve nuk është veçse ekzistenca e vazhduar e aparatit borgjez, do të qe e mundur që dallimi funksional midis prodhimeve dhe prodhuesve të zhdukej një herë e mirë. Një aspekt i rëndësishëm në projektin e tij mbi zhdukjen e autorit përmes shpërhapjes së kujdesshme, Benjamin lëvdoi rifunktionimin [Umfunktionierung] të Brehtit [Brecht] si një ide për transformimin aktiv të institucioneve dhe mjeteve të prodhimit prej inte-lektualëve radikalë: “Nuk është puna t’i kundërvihemi institucionit: Ne jemi institu-cioni.” 20 00 Open Access Stevanoviq, Tijana 36 03 06 10.21983/P3.0050.1.36 423 437 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Prototypes Should We Eat Mao's Pear, Sail Saint-Exupéry's Boast, Drink with Heidegger's Pitcher, or Use Nietzsche's Hammer to Respond to the Crisis? 1 A01 Denisa Kera Denisa Kera 40 01tgyzw49 National University of Singapore 01 eng 03 00 In 1972 philosophers, sociologists, and architects, such as Jean Baudrillard, Umberto Eco, Octavio Paz, Hannah Arendt, Manuel Castells, and others, gathered at the Mu-seum of Modern Art (moma) to discuss “The Universitas Project: Solutions for a Post-Technological Society.” Their responses and proposals on how to deal with the environ-mental, financial and political crises were assembled by Emilio Ambasz, an Argentinian architect, appointed at that time as a curator of Design at moma. He defined the goal of the symposium and the whole project as: a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment [...] specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu 30 00 In 1972 philosophers, sociologists, and architects, such as Jean Baudrillard, Umberto Eco, Octavio Paz, Hannah Arendt, Manuel Castells, and others, gathered at the Mu-seum of Modern Art (moma) to discuss “The Universitas Project: Solutions for a Post-Technological Society.” Their responses and proposals on how to deal with the environ-mental, financial and political crises were assembled by Emilio Ambasz, an Argentinian architect, appointed at that time as a curator of Design at moma. He defined the goal of the symposium and the whole project as: a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment [...] specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu 20 00 Open Access Kera, Denisa 37 03 06 10.21983/P3.0050.1.37 439 453 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mbi prototipet A duhet të hamë dardhën e Maos, të lundrojmë varkën e Sent-Eksyperisë, të pimë me kanën e Hajdegerit apo të përdorim çekanin e Niçes për t'iu përgjigjur krizës? 1 A01 Denisa Kera Denisa Kera 40 01tgyzw49 National University of Singapore 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në 1972-shin, filozofë, sociologjistë, dhe arkitektë si Zhan Bodrijar [Jean Baudrillard], Umberto Eko [Eco], Oktavio Pas [Octavio Paz], Hanna Arent [Hannah Arendt], Ma-nuel Castells e të tjerë, u mblodhën tek Muzeu i Artit Modern (moma) për të deba-tuar “Projekti Universitas: Rrugëdalje për një shoqëri pasteknologjike.” Përgjigjet dhe propozimet e tyre mbi mënyrën se si duhej marrë me krizat mjedisore, financiare dhe politike u mblodhën bashkë nga Emilio Ambasi, një arkitekt argjentinas që ato kohë ishte kurator i Dizajnit tek moma. Ai e përcaktoi qëllimin e simpoziumit dhe të të gjithë projektit si:një hetim kritik dhe paraprak mbi marrëdhënien e njeriut me ambientin natyral dhe socio-kulturor [...] e planifikuar posaçërisht për të shqyrtuar mundësinë për të krijuar një lloj të ri institucioni në Shtetet e Bashkuara të përqëndruar tek vlerësimi dhe dizenjimi i ambientit të bërë nga njeriu. 30 00 Në 1972-shin, filozofë, sociologjistë, dhe arkitektë si Zhan Bodrijar [Jean Baudrillard], Umberto Eko [Eco], Oktavio Pas [Octavio Paz], Hanna Arent [Hannah Arendt], Ma-nuel Castells e të tjerë, u mblodhën tek Muzeu i Artit Modern (moma) për të deba-tuar “Projekti Universitas: Rrugëdalje për një shoqëri pasteknologjike.” Përgjigjet dhe propozimet e tyre mbi mënyrën se si duhej marrë me krizat mjedisore, financiare dhe politike u mblodhën bashkë nga Emilio Ambasi, një arkitekt argjentinas që ato kohë ishte kurator i Dizajnit tek moma. Ai e përcaktoi qëllimin e simpoziumit dhe të të gjithë projektit si:një hetim kritik dhe paraprak mbi marrëdhënien e njeriut me ambientin natyral dhe socio-kulturor [...] e planifikuar posaçërisht për të shqyrtuar mundësinë për të krijuar një lloj të ri institucioni në Shtetet e Bashkuara të përqëndruar tek vlerësimi dhe dizenjimi i ambientit të bërë nga njeriu. 20 00 Open Access Kera, Denisa 38 03 06 10.21983/P3.0050.1.38 455 462 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Necessity of Education Or How Can One Still Be an Althusserian in the Wake of Badiou? 1 A01 21 0000000238059636 Sina Badiei Sina Badiei 01 eng 03 00 In his essay, “Ideology and the Ideological State Apparatus,”1 Althusser proclaims the educational apparatus to have become what the church or religious apparatus was in the Middle Ages. That is to say, the educational apparatuses are the ones where people are more effectively than anywhere else subjected to becoming subjects, in the negative sense of this term used in Althusser.The main reason he cites for this choice is that “no other ideological state apparatus has the obligatory (and not least, free) audience of the totality of the children in the capitalist social formation, eight hours a day for five or six days out of seven.”2 Yet if we were to accept what Althusser tells us, we can’t, overlook another phenomenon which has been emerging in our epoch; I am here referring to an article in one of the issues of The Economist magazine where concerned parents were advised not to send their children to schools at all and to have them study only and only computer program-ming from the earliest years if they wanted them to become successful in it professions. What can we make of this paradox? 30 00 In his essay, “Ideology and the Ideological State Apparatus,”1 Althusser proclaims the educational apparatus to have become what the church or religious apparatus was in the Middle Ages. That is to say, the educational apparatuses are the ones where people are more effectively than anywhere else subjected to becoming subjects, in the negative sense of this term used in Althusser.The main reason he cites for this choice is that “no other ideological state apparatus has the obligatory (and not least, free) audience of the totality of the children in the capitalist social formation, eight hours a day for five or six days out of seven.”2 Yet if we were to accept what Althusser tells us, we can’t, overlook another phenomenon which has been emerging in our epoch; I am here referring to an article in one of the issues of The Economist magazine where concerned parents were advised not to send their children to schools at all and to have them study only and only computer program-ming from the earliest years if they wanted them to become successful in it professions. What can we make of this paradox? 20 00 Open Access Badiei, Sina 39 03 06 10.21983/P3.0050.1.39 463 474 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Nevoja për arsim Si mund të vazhdojmë të jemi Altyserianë pas Badiusë? 1 A01 21 0000000238059636 Sina Badiei Sina Badiei 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në sprovën e titulluar “Ideologjia dhe aparatet ideologjike shtetërore”1 Altyser dekla-ron se aparati arsimor ka zënë vendin që kisha ose aparati fetar kishte në Mesjetë. Kjo do të thotë se aparatet arsimore janë ato ku më shumë se kudo tjetër njerëzit i nën-strohen bërjes subjekt, në kuptimin e keq të kësaj fjale në përdorimin i saj prej Altyserit.Altyser e justifikon këtë me faktin se “asnjë aparat ideologjik shtetëror nuk ka si pu-blik në formimin shoqëror kapitalist tërësinë e fëmijëve për nga tetë orë në ditë dhe pesë ose gjashtë ditë në javë, një publik që është njëkohësisht i detyruar dhe falas.”2Po ta merrnim për të mirëqenë atë që thotë Altyser atëherë do të duhej të merrnim në konsideratë edhe një fenomen që ka filluar të shfaqet në kohët tona; po i referohem një artikulli të publikuar në një numër të revistës The Economist ku prinderit e shqetësuar për këtë çështje këshilloheshin të mos i dërgonin fare në shkollë fëmijët e tyre dhe t’i bënin ata të studjonin vetëm programim kompjuteri sa më herët në mënyrë që me kohë ata të bëheshin profesionistë informatike të suksesshëm. Si mund ta trajtojmë një paradoks të tillë? 30 00 Në sprovën e titulluar “Ideologjia dhe aparatet ideologjike shtetërore”1 Altyser dekla-ron se aparati arsimor ka zënë vendin që kisha ose aparati fetar kishte në Mesjetë. Kjo do të thotë se aparatet arsimore janë ato ku më shumë se kudo tjetër njerëzit i nën-strohen bërjes subjekt, në kuptimin e keq të kësaj fjale në përdorimin i saj prej Altyserit.Altyser e justifikon këtë me faktin se “asnjë aparat ideologjik shtetëror nuk ka si pu-blik në formimin shoqëror kapitalist tërësinë e fëmijëve për nga tetë orë në ditë dhe pesë ose gjashtë ditë në javë, një publik që është njëkohësisht i detyruar dhe falas.”2Po ta merrnim për të mirëqenë atë që thotë Altyser atëherë do të duhej të merrnim në konsideratë edhe një fenomen që ka filluar të shfaqet në kohët tona; po i referohem një artikulli të publikuar në një numër të revistës The Economist ku prinderit e shqetësuar për këtë çështje këshilloheshin të mos i dërgonin fare në shkollë fëmijët e tyre dhe t’i bënin ata të studjonin vetëm programim kompjuteri sa më herët në mënyrë që me kohë ata të bëheshin profesionistë informatike të suksesshëm. Si mund ta trajtojmë një paradoks të tillë? 20 00 Open Access Badiji, Sina 40 03 06 10.21983/P3.0050.1.40 475 481 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The University Must Be Transcended 1 A01 Nick Skiadopoulos Nick Skiadopoulos 01 eng 03 00 It seems that I am not the only one here among us who linked the title of this confer-ence to Maurice Blanchot’s last work L’Écriture du désastre – a text that begins with the following phrase: “Le désastre ruine tout en laissant tout en l’état.”1 The modality of disaster is thus to ruin everything while leaving everything in state. Destruction is not disposal, what is destroyed is not transferred to some place arranged specifically for that purpose. If there is a place reserved for disaster it is only that of the ruin: what is destroyed remains there, on the same ground that once supported its coherency.But what of the state of our pedagogies? As much as I hate to utter banalities, peda-gogy (from Plutarch to Rousseau and up to the field of philosophy of education) is a word charged with agents, spaces, ceremonies, and unnamable desires. And whereas it can be distinguished from the administrative aspect of education, in that it assumes a more or less personal relationship between the educator and the educated, I take this distinction to be overtly metaphysical. Both pedagogy and its administrative aspect are technologies that can be viewed and analyzed on the same, immanent level. Pedagogy is administrative exactly because it is performative and administration is pedagogical in that it involves several forms of discipline. The strict distinction between a pedagogi-cal and an administrative aspect of education is thus a mere illusion. But it is a highly interesting one, exactly because it takes itself to be real, leading us to believe that had the balance between the administrative and the pedagogical been disturbed in favor of the former, humanities could face the danger of their destruction. 30 00 It seems that I am not the only one here among us who linked the title of this confer-ence to Maurice Blanchot’s last work L’Écriture du désastre – a text that begins with the following phrase: “Le désastre ruine tout en laissant tout en l’état.”1 The modality of disaster is thus to ruin everything while leaving everything in state. Destruction is not disposal, what is destroyed is not transferred to some place arranged specifically for that purpose. If there is a place reserved for disaster it is only that of the ruin: what is destroyed remains there, on the same ground that once supported its coherency.But what of the state of our pedagogies? As much as I hate to utter banalities, peda-gogy (from Plutarch to Rousseau and up to the field of philosophy of education) is a word charged with agents, spaces, ceremonies, and unnamable desires. And whereas it can be distinguished from the administrative aspect of education, in that it assumes a more or less personal relationship between the educator and the educated, I take this distinction to be overtly metaphysical. Both pedagogy and its administrative aspect are technologies that can be viewed and analyzed on the same, immanent level. Pedagogy is administrative exactly because it is performative and administration is pedagogical in that it involves several forms of discipline. The strict distinction between a pedagogi-cal and an administrative aspect of education is thus a mere illusion. But it is a highly interesting one, exactly because it takes itself to be real, leading us to believe that had the balance between the administrative and the pedagogical been disturbed in favor of the former, humanities could face the danger of their destruction. 20 00 Open Access Skiadopoulos, Nick 41 03 06 10.21983/P3.0050.1.41 483 493 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Universiteti duhet tejkaluar 1 A01 Nick Skiadopoulos Nick Skiadopoulos 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Ështe e qartë se unë nuk jam i vetmi këtu mes nesh që ka bërë lidhjen midis titullit të kësaj konference dhe veprës së fundit të Moris Blanshosë [Maurice Blanchot] Shkrimi i shkatërrimit [L’Écriture du désastre] – një tekst që fillon me frazën vijuese: “Le désastre ruine tout en laissant tout en l’état – Shkatërrimi rrënon gjithçka, por duke lënë gjithç-ka të paprekur.”1 Modaliteti i shkatërrimit është të rrënojë gjithçka duke lënë gjithçka en l’état.* Shkatërrimi nuk është flakje tutje, ajo që shkatërrohet nuk transferohet në ndonjë vend që ekziston apostafat për atë punë. Nëse ka ndonjë vend të rezervuar për shkatërrimin kjo është vetëm rrënoja: çfarë shkatërrohet mbetet atje, në të njëjtin vend që një herë e një kohë mbështeste koherencën e saj.Por ç’mund të themi për gjendjen e pedagogjive tona? Megjithëse urrej të them banalitete, pedagogjia (duke filluar nga Plutarku, duke vazhduar me Russonë [Rousse-au], e deri tek sfera e filozofisë së arsimit) është një fjalë e ngarkuar me aktorë, hapësira, ceremoni dhe dëshira pa emër. Dhe ndonëse ajo mund të dallohet prej aspektit ad-ministrative të arsimit, sepse ajo nënkupton një marrëdhënie pak a shumë personale midis mësuesit dhe nxënësit, për mua ky dallim është ca si tepër metafizik. Si peda-gogjia ashtu dhe aspekti administrativ i saj janë teknologji që mund të vërehen dhe të analizohen në të njëjtin plan imanent. Pedagogjia është administrative pikërisht sepse ajo është performative dhe administrata është pedagogjike sepse ajo përfshin forma të ndryshme disipline. Pra dallimi definitiv midis aspekteve pedagogjike dhe administra-tive të arsimit është thjesht një iluzion. Ama ai është një iluzion mjaft interesant, pikëri-sht sepse ai mendon se është i vërtetë, duke na bërë të mendojmë se nëse balanca midis administratives dhe pedagogjikes do të ishte lëkundur në favor të së parës, humanitetet do të mund të përballeshin me kërcënimin e shkatërrimit të tyre. 30 00 Ështe e qartë se unë nuk jam i vetmi këtu mes nesh që ka bërë lidhjen midis titullit të kësaj konference dhe veprës së fundit të Moris Blanshosë [Maurice Blanchot] Shkrimi i shkatërrimit [L’Écriture du désastre] – një tekst që fillon me frazën vijuese: “Le désastre ruine tout en laissant tout en l’état – Shkatërrimi rrënon gjithçka, por duke lënë gjithç-ka të paprekur.”1 Modaliteti i shkatërrimit është të rrënojë gjithçka duke lënë gjithçka en l’état.* Shkatërrimi nuk është flakje tutje, ajo që shkatërrohet nuk transferohet në ndonjë vend që ekziston apostafat për atë punë. Nëse ka ndonjë vend të rezervuar për shkatërrimin kjo është vetëm rrënoja: çfarë shkatërrohet mbetet atje, në të njëjtin vend që një herë e një kohë mbështeste koherencën e saj.Por ç’mund të themi për gjendjen e pedagogjive tona? Megjithëse urrej të them banalitete, pedagogjia (duke filluar nga Plutarku, duke vazhduar me Russonë [Rousse-au], e deri tek sfera e filozofisë së arsimit) është një fjalë e ngarkuar me aktorë, hapësira, ceremoni dhe dëshira pa emër. Dhe ndonëse ajo mund të dallohet prej aspektit ad-ministrative të arsimit, sepse ajo nënkupton një marrëdhënie pak a shumë personale midis mësuesit dhe nxënësit, për mua ky dallim është ca si tepër metafizik. Si peda-gogjia ashtu dhe aspekti administrativ i saj janë teknologji që mund të vërehen dhe të analizohen në të njëjtin plan imanent. Pedagogjia është administrative pikërisht sepse ajo është performative dhe administrata është pedagogjike sepse ajo përfshin forma të ndryshme disipline. Pra dallimi definitiv midis aspekteve pedagogjike dhe administra-tive të arsimit është thjesht një iluzion. Ama ai është një iluzion mjaft interesant, pikëri-sht sepse ai mendon se është i vërtetë, duke na bërë të mendojmë se nëse balanca midis administratives dhe pedagogjikes do të ishte lëkundur në favor të së parës, humanitetet do të mund të përballeshin me kërcënimin e shkatërrimit të tyre. 20 00 Open Access Skiadopulos, Nik 42 03 06 10.21983/P3.0050.1.42 495 507 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Compter sur l'impossible inexistant - To Rely on the Inexistent Impossible 1 A01 Judith Balso Judith Balso 40 04g3mbv81 European Graduate School 01 eng 03 00 What is the value of the word “disaster”? This has been my first question, when I read the title of our meeting: “Pedagogies of the Disaster.” Its value is certainly linked to its subjective power: today we feel and experiment countless situations as pure disasters. Disaster is the name we give to our violent feeling that – if we speak as Marcellus did in Hamlet – “something is rotten” in all our States of Denmark. Yet, in spite of its apparent radicalism, the word “disaster” is not an elucidat-ing word. In fact, it easily becomes a consensual designation of an elusive state of things. For instance, most reactionary people would agree with the existence of disaster, as far as education is concerned. Furthermore, when you speak of disaster, you cannot say which time you are in: After the disaster? Within the disaster? Before the disaster? At the eve of it? At its dawn? And then, what should be our task? Preventing the disaster? Overcoming it? In fact, “disaster” seems to me a noun that suspends time, and therefore suspends thought and action. Quoting John Van Houdt, I would like to highlight his interrogation: “We should hesitate before attributing any clear critical function to the rhetoric of disaster.” 30 00 What is the value of the word “disaster”? This has been my first question, when I read the title of our meeting: “Pedagogies of the Disaster.” Its value is certainly linked to its subjective power: today we feel and experiment countless situations as pure disasters. Disaster is the name we give to our violent feeling that – if we speak as Marcellus did in Hamlet – “something is rotten” in all our States of Denmark. Yet, in spite of its apparent radicalism, the word “disaster” is not an elucidat-ing word. In fact, it easily becomes a consensual designation of an elusive state of things. For instance, most reactionary people would agree with the existence of disaster, as far as education is concerned. Furthermore, when you speak of disaster, you cannot say which time you are in: After the disaster? Within the disaster? Before the disaster? At the eve of it? At its dawn? And then, what should be our task? Preventing the disaster? Overcoming it? In fact, “disaster” seems to me a noun that suspends time, and therefore suspends thought and action. Quoting John Van Houdt, I would like to highlight his interrogation: “We should hesitate before attributing any clear critical function to the rhetoric of disaster.” 20 00 Open Access Balso, Judith 43 03 06 10.21983/P3.0050.1.43 509 526 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Compter sur l'impossible inexistant - Të mbështetesh mbi të pamundurën joekzistuese 1 A01 Judith Balso Judith Balso 40 04g3mbv81 European Graduate School 01 alb 02 eng 03 00 Çfarë vlere ka fjala “shkatërrim”? Kjo qe pyetja e parë që i bëra vetes kur lexova titullin e takimit tonë: “Pedagogjitë e shkatërrimit.” Padyshim që vlera e kësaj fjale lidhet me fuqinë e saj subjektive: Sot ne përjetojmë situata të panumërta si katastrofa të mirëfillta. Shkatërrim është emri që ne i vëmë ndjenjës së dhunshme që kemi se (po të shpreheshim si Marceli tek Hamleti) “diçka është kalbur”* në të tëra shtetet tona të Danimarkës. Por, megjithë radikalizmin e saj të dukshëm, fjala “shkatërrim” nuk është një fjalë sqaruese. Në fakt, shumë lehtë ajo mund të bëhet përcaktimi konsensual i një gjendje të përgjithshme të parrokshme. Për shem-bull, shumica e njerëzve reaksionarë do ta pranonin ekzistencën e shkatërrimit në arsim. Për më tepër, kur dikush flet për shkatërrimin, ai nuk mund të përcaktojë ekzaktësisht se në ç’kohë ndodhet: Pas shkatërrimit? Brenda shkatërrimit? Para shkatërrimit? Në prag të tij? Në agimin e tij? E pastaj, cila duhet të jetë detyra jonë? Të parandalojmë shkatërrimin? Ta mposhtim atë? Në fakt, “shkatërrim” më duket një emër që pezullon kohën dhe kësisoj mendimin dhe veprimin. Duke cituar Xhon Van Haut [John Van Houdt], do të doja të theksoja hetimin e tij: “Duhet të hezitojmë para se t’i atribojmë një funksion të qartë kritik retorikës së shkatërrimit.” 30 00 Çfarë vlere ka fjala “shkatërrim”? Kjo qe pyetja e parë që i bëra vetes kur lexova titullin e takimit tonë: “Pedagogjitë e shkatërrimit.” Padyshim që vlera e kësaj fjale lidhet me fuqinë e saj subjektive: Sot ne përjetojmë situata të panumërta si katastrofa të mirëfillta. Shkatërrim është emri që ne i vëmë ndjenjës së dhunshme që kemi se (po të shpreheshim si Marceli tek Hamleti) “diçka është kalbur”* në të tëra shtetet tona të Danimarkës. Por, megjithë radikalizmin e saj të dukshëm, fjala “shkatërrim” nuk është një fjalë sqaruese. Në fakt, shumë lehtë ajo mund të bëhet përcaktimi konsensual i një gjendje të përgjithshme të parrokshme. Për shem-bull, shumica e njerëzve reaksionarë do ta pranonin ekzistencën e shkatërrimit në arsim. Për më tepër, kur dikush flet për shkatërrimin, ai nuk mund të përcaktojë ekzaktësisht se në ç’kohë ndodhet: Pas shkatërrimit? Brenda shkatërrimit? Para shkatërrimit? Në prag të tij? Në agimin e tij? E pastaj, cila duhet të jetë detyra jonë? Të parandalojmë shkatërrimin? Ta mposhtim atë? Në fakt, “shkatërrim” më duket një emër që pezullon kohën dhe kësisoj mendimin dhe veprimin. Duke cituar Xhon Van Haut [John Van Houdt], do të doja të theksoja hetimin e tij: “Duhet të hezitojmë para se t’i atribojmë një funksion të qartë kritik retorikës së shkatërrimit.” 20 00 Open Access Balso, Zhydit 44 03 06 10.21983/P3.0050.1.44 527 529 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Constitution of Happiness 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 03 00 Article 1: Equality We want equality because, without it, it is impossible to develop our abilities. We are made to believe that we are not capable of reflection. But one must first of all understand that the student is not stupid and that knowledge is not merely acquired through academic learning. (It is possible to learn outside of academic institutions via our own personal experiences.) We have to steer clear of the idea that a student can no longer work or study after being deemed to have a lack of abilities when, in reality, students have equal abilities to those of the teacher.We are presented with an already constituted knowledge; we are in its shadow. However, knowledge is not already constituted, it has to be reinvented. Knowledge is perpetual reinvention in order for a new invention of the thing itself to reemerge (a perpetual reorganization of the void). Each discipline has decisive acts in which we would like to participate. 30 00 Article 1: Equality We want equality because, without it, it is impossible to develop our abilities. We are made to believe that we are not capable of reflection. But one must first of all understand that the student is not stupid and that knowledge is not merely acquired through academic learning. (It is possible to learn outside of academic institutions via our own personal experiences.) We have to steer clear of the idea that a student can no longer work or study after being deemed to have a lack of abilities when, in reality, students have equal abilities to those of the teacher.We are presented with an already constituted knowledge; we are in its shadow. However, knowledge is not already constituted, it has to be reinvented. Knowledge is perpetual reinvention in order for a new invention of the thing itself to reemerge (a perpetual reorganization of the void). Each discipline has decisive acts in which we would like to participate. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 45 03 06 10.21983/P3.0050.1.45 531 537 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Kushtetuta e lumturisë 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 alb 03 00 Neni 1: Barazia Duam të kemi barazi sepse pa të, është e pamundur të tregojmë aftësitë tona.Na bëjnë të besojmë se nuk jemi të aftë për të reflektuar. Por në fillim duhet pra-nuar se nxënësi nuk është budalla dhe se dija nuk fitohet vetëm me mësimet shkollore (Nga eksperiencat tona personale, është e mundur të mësosh edhe jashtë institucionit të shkollës). Duhet bërë çmos që nxënësi mos të punojë më i zhvlerësuar, për shkak të mohimit të aftësive të tij, ndërkohë që aftësitë tona janë të njëjta me ato të pedagogëve. Na paraqesin disa dije si të krijuara tashmë dhe ne duhet të jemi nën hijen e tyre. Mirëpo, dijet nuk janë të krijuara, ato duhet të rikrijohen. Dijet janë një rizbulim i vazhdueshëm që mundësojnë shfaqjen e një krijimi të ri të vetë gjëjës (riorganizimi i vazhdueshëm i boshit). Çdo disiplinë përmban akte vendimtare ku ne duam të marrim pjesë. 30 00 Neni 1: Barazia Duam të kemi barazi sepse pa të, është e pamundur të tregojmë aftësitë tona.Na bëjnë të besojmë se nuk jemi të aftë për të reflektuar. Por në fillim duhet pra-nuar se nxënësi nuk është budalla dhe se dija nuk fitohet vetëm me mësimet shkollore (Nga eksperiencat tona personale, është e mundur të mësosh edhe jashtë institucionit të shkollës). Duhet bërë çmos që nxënësi mos të punojë më i zhvlerësuar, për shkak të mohimit të aftësive të tij, ndërkohë që aftësitë tona janë të njëjta me ato të pedagogëve. Na paraqesin disa dije si të krijuara tashmë dhe ne duhet të jemi nën hijen e tyre. Mirëpo, dijet nuk janë të krijuara, ato duhet të rikrijohen. Dijet janë një rizbulim i vazhdueshëm që mundësojnë shfaqjen e një krijimi të ri të vetë gjëjës (riorganizimi i vazhdueshëm i boshit). Çdo disiplinë përmban akte vendimtare ku ne duam të marrim pjesë. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 46 03 06 10.21983/P3.0050.1.46 539 544 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Translator's Note 1 A01 Jonida Gashi Jonida Gashi 2 B06 Jonida Gashi Jonida Gashi 02 alb 01 eng 03 00 The idea of doing something with it comes early on. I will photograph the papers. Not all of them, perhaps, but at least some of them, certainly my favorite ones. As it turns out, I don’t bother printing most of the papers and the idea of photographing my com-puter screen seems imbecilic. I also remember that I am a terrible photographer who does not even have the added benefit – in my case very much needed – of a half decent camera. I think all kinds of things that I no longer remember throughout July and at the end of the month announce that when it is all over, I will be handing out awards. (We are nearing the end of September now and I have forgotten which awards I intended to give to whom or how I was going to go about the whole thing.) I think also about the implications of the fact that for so many authors English is not their first language. Vincent suggests I write something instead. I decide to attempt it. 30 00 The idea of doing something with it comes early on. I will photograph the papers. Not all of them, perhaps, but at least some of them, certainly my favorite ones. As it turns out, I don’t bother printing most of the papers and the idea of photographing my com-puter screen seems imbecilic. I also remember that I am a terrible photographer who does not even have the added benefit – in my case very much needed – of a half decent camera. I think all kinds of things that I no longer remember throughout July and at the end of the month announce that when it is all over, I will be handing out awards. (We are nearing the end of September now and I have forgotten which awards I intended to give to whom or how I was going to go about the whole thing.) I think also about the implications of the fact that for so many authors English is not their first language. Vincent suggests I write something instead. I decide to attempt it. 20 00 Open Access Gashi, Jonida 47 03 06 10.21983/P3.0050.1.47 545 553 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Shënim i përkthyeses 1 A01 Jonida Gashi Jonida Gashi 01 alb 03 00 Ideja për të bërë diçka me to më vjen herët. Kam për t’i fotografuar sprovat. Ndoshta jo të gjithat, por të paktën disa prej tyre, pa dyshim ato që më kanë pëlqyer më shumë. Por si përfundim nuk marr mundimin t’i shtyp shumicën prej tyre dhe ideja e fotogra-fimit të ekranit të kompjuterit më tingëllon paksa idiote. Gjithashtu, më bie ndërmend që jam një fotografe e tmerrshme e që nuk mund të përfitoj as nga një aparat fotogra-fik gjysmë i hairit (i domosdoshëm në rastin tim). Mendoj lloj-lloj gjërash që nuk më kujtohen më përgjatë korrikut dhe në fund të muajit shpall se, pasi gjithçka të jetë kryer, kam për të ndarë çmime. (Shtatorit po i vjen fundi ndërkaq dhe kam harruar se çfarë çmimesh kisha ndërmend t’i jepja kujt dhe sesi kisha ndërmend ta bëja këtë.) Mendoj gjithashtu edhe për faktin se shumë prej autorëve nuk e kanë anglishten gjuhën e tyre të parë.Vinsenti më sugjeron të shkruaj diçka. Vendos ta provoj. 30 00 Ideja për të bërë diçka me to më vjen herët. Kam për t’i fotografuar sprovat. Ndoshta jo të gjithat, por të paktën disa prej tyre, pa dyshim ato që më kanë pëlqyer më shumë. Por si përfundim nuk marr mundimin t’i shtyp shumicën prej tyre dhe ideja e fotogra-fimit të ekranit të kompjuterit më tingëllon paksa idiote. Gjithashtu, më bie ndërmend që jam një fotografe e tmerrshme e që nuk mund të përfitoj as nga një aparat fotogra-fik gjysmë i hairit (i domosdoshëm në rastin tim). Mendoj lloj-lloj gjërash që nuk më kujtohen më përgjatë korrikut dhe në fund të muajit shpall se, pasi gjithçka të jetë kryer, kam për të ndarë çmime. (Shtatorit po i vjen fundi ndërkaq dhe kam harruar se çfarë çmimesh kisha ndërmend t’i jepja kujt dhe sesi kisha ndërmend ta bëja këtë.) Mendoj gjithashtu edhe për faktin se shumë prej autorëve nuk e kanë anglishten gjuhën e tyre të parë.Vinsenti më sugjeron të shkruaj diçka. Vendos ta provoj. 20 00 Open Access Gashi, Jonida 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pedagogies-of-disaster/ Brooklyn, NY 04 01 20131007 Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615898718 20 08 20131007 02 35.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/pedagogies-of-disaster 20 08 20131007 02 35.00 USD WORLD urn:uuid:79da1857-9ea8-463e-a048-8fd7f98670ae 03 01 01 thoth-work-id urn:uuid:d8284a1f-51ac-4ecd-99a6-45e5644db4c8 01 thoth-publication-id urn:uuid:79da1857-9ea8-463e-a048-8fd7f98670ae 06 10.21983/P3.0050.1.00 01 internal-reference 0050 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Pedagogies of Disaster 1 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 2 B01 Nico Jenkins Nico Jenkins 40 01adr0w49 University of Maine 3 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 00 552 03 10 EDU040000 B2 Humanities+University 12 JFCA 93 JNA B2 Pedagogies 10 PHI035000 93 QDHR B2 Philosophy 20 pedagogy; humanities; philosophy; catastrophe; university 01 06 02 00 03 00 We live in an era where the university system is undergoing great changes owing to developments in financing policies and research priorities, as well as changes in the society in which this system is embedded. This change toward a more market-oriented university, which also has immediate effects in academic peripheries such as the Balkans, the Middle East, or South-East Asia, is of great influence for the pedagogical practice of “less profitable” academic areas such as the Humanities: philosophy, languages, sociology, anthropology, history.Because of the absence of a historically grounded establishment of the Humanities, academic peripheries, usually accompanied by a weak civil society infrastructure, seem to offer the most fertile ground for rethinking the Humanities, their pedagogical practice, and their politics, as well as the greatest threats, such as the ongoing capitalization of research, and profitability as the norm of educational achievement. The sprawling presence of for-profit universities and in academic peripheries such as Albania and Kosovo is indicative of this problematic, as are consistent underfunding of universities and the relentless budget cuts in American and English, and to a lesser extent European, universities. Motivations for this ongoing attack on the university are often driven by a political system or a politics with an aggressive stance to critical thought. 30 00 We live in an era where the university system is undergoing great changes owing to developments in financing policies and research priorities, as well as changes in the society in which this system is embedded. This change toward a more market-oriented university, which also has immediate effects in academic peripheries such as the Balkans, the Middle East, or South-East Asia, is of great influence for the pedagogical practice of “less profitable” academic areas such as the Humanities: philosophy, languages, sociology, anthropology, history.Because of the absence of a historically grounded establishment of the Humanities, academic peripheries, usually accompanied by a weak civil society infrastructure, seem to offer the most fertile ground for rethinking the Humanities, their pedagogical practice, and their politics, as well as the greatest threats, such as the ongoing capitalization of research, and profitability as the norm of educational achievement. The sprawling presence of for-profit universities and in academic peripheries such as Albania and Kosovo is indicative of this problematic, as are consistent underfunding of universities and the relentless budget cuts in American and English, and to a lesser extent European, universities. Motivations for this ongoing attack on the university are often driven by a political system or a politics with an aggressive stance to critical thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0050.1.00_frontcover.png 1 03 06 10.21983/P3.0050.1.01 1 28 28 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 01 alb 01 eng 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 2 03 06 10.21983/P3.0050.1.02 29 34 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Opening 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 Dear friends,Hereby I would like to welcome you, with great gratitude, to the first conference, en-titled “Pedagogies of Disaster,” organized and hosted by online academic journal con-tinent. and the Departamenti i shqiponjave. I hope you will allow me a few opening words before passing the microphone to Christopher Fynsk, who will inaugurate this conference with an opening address.When I signed the funding contract with soros, one of the main sponsors of this conference, I signed under the condition that this conference would not engage in what is called “lobbying.” Lobbying, according to the definition that was presented to me, means “certain efforts to influence legislation.” Without engaging in a thorough decon-structive reading of what such “certain efforts” may mean in the context of a conference dedicated to thinking through the current predicament of pedagogical practices in the humanities and philosophy in specific, I would like to share a short observation with you. 30 00 Dear friends,Hereby I would like to welcome you, with great gratitude, to the first conference, en-titled “Pedagogies of Disaster,” organized and hosted by online academic journal con-tinent. and the Departamenti i shqiponjave. I hope you will allow me a few opening words before passing the microphone to Christopher Fynsk, who will inaugurate this conference with an opening address.When I signed the funding contract with soros, one of the main sponsors of this conference, I signed under the condition that this conference would not engage in what is called “lobbying.” Lobbying, according to the definition that was presented to me, means “certain efforts to influence legislation.” Without engaging in a thorough decon-structive reading of what such “certain efforts” may mean in the context of a conference dedicated to thinking through the current predicament of pedagogical practices in the humanities and philosophy in specific, I would like to share a short observation with you. 20 00 Open Access van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) 3 03 06 10.21983/P3.0050.1.03 35 36 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Hapja 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Të dashur miq, Më lejoni t’ju uroj mirëseardhjen, me mirënjohjen time më të thellë, tek konferenca e parë e organizuar nga revista akademike continent. dhe “Departamenti i shqiponjave,” e titulluar “Pedagogjitë e shkatërrimit.” Shpresoj të më lejoni dy fjalë para se t’ia kaloj mikrofonin Kristofer Finskut, që ka për ta çelur këtë konferencë.Kur nënshkrova kontratën me soros-in, një nga sponsorët kryesorë të kësaj konfe-rence, nënshkrova me kushtin se kjo konferencë nuk do të angazhohej në atë që quhet “lobim.” Lobimi, sipas përkufizimit që më paraqitën, nënkupton “përpjekje të caktuara për të ndikuar mbi legjislacionin.” Pa dashur t’i futem një leximi të imët çndërtues mbi atë që do të nënkuptonin këto “përpjekje të caktuara” në kontekstin e një konference kushtuar mendimit të fatit të praktikave pedagogjike tek humanitetet dhe veçanërisht tek filozofia, do të doja të ndaja një vëzhgim të shkurtër me ju. 30 00 Të dashur miq, Më lejoni t’ju uroj mirëseardhjen, me mirënjohjen time më të thellë, tek konferenca e parë e organizuar nga revista akademike continent. dhe “Departamenti i shqiponjave,” e titulluar “Pedagogjitë e shkatërrimit.” Shpresoj të më lejoni dy fjalë para se t’ia kaloj mikrofonin Kristofer Finskut, që ka për ta çelur këtë konferencë.Kur nënshkrova kontratën me soros-in, një nga sponsorët kryesorë të kësaj konfe-rence, nënshkrova me kushtin se kjo konferencë nuk do të angazhohej në atë që quhet “lobim.” Lobimi, sipas përkufizimit që më paraqitën, nënkupton “përpjekje të caktuara për të ndikuar mbi legjislacionin.” Pa dashur t’i futem një leximi të imët çndërtues mbi atë që do të nënkuptonin këto “përpjekje të caktuara” në kontekstin e një konference kushtuar mendimit të fatit të praktikave pedagogjike tek humanitetet dhe veçanërisht tek filozofia, do të doja të ndaja një vëzhgim të shkurtër me ju. 20 00 Open Access van Herven Uj, Vinsent V.J. 4 03 06 10.21983/P3.0050.1.04 37 48 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Pedagogy on the Verge of Disaster 1 A01 Christopher Fynsk Christopher Fynsk 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 03 00 The phrase that directs our reflections on this occasion leads me back to a text that has haunted all of my reflections on pedagogy and the university over the past fifteen years (and thus everything I wrote in The Claim of Language,1 to which I would like to return briefly in these pages). I refer to a brief essay by Jean-François Lyotard that was first published in Critique in 1978 under the title, “Endurance and the Profession.”2 It is an enigmatic text if only for the fact that what is named “endurance” goes entirely unde-fined in what is, on its face, a rather dark and despairing reflection – almost as though “endurance” stands in lieu of that for which it might serve, but which cannot be named, some hope, for example. I remain astonished and intrigued by this essay, but I believe I may now understand something of why it has so haunted me, so I would like to take my orientation from it. Whether or not I am correct in my intuitions, I can at least offer it as an exceptionally intriguing example of what we might want to consider as a “pedagogy of disaster” – or at least an example of what might be a step toward such a thing. 30 00 The phrase that directs our reflections on this occasion leads me back to a text that has haunted all of my reflections on pedagogy and the university over the past fifteen years (and thus everything I wrote in The Claim of Language,1 to which I would like to return briefly in these pages). I refer to a brief essay by Jean-François Lyotard that was first published in Critique in 1978 under the title, “Endurance and the Profession.”2 It is an enigmatic text if only for the fact that what is named “endurance” goes entirely unde-fined in what is, on its face, a rather dark and despairing reflection – almost as though “endurance” stands in lieu of that for which it might serve, but which cannot be named, some hope, for example. I remain astonished and intrigued by this essay, but I believe I may now understand something of why it has so haunted me, so I would like to take my orientation from it. Whether or not I am correct in my intuitions, I can at least offer it as an exceptionally intriguing example of what we might want to consider as a “pedagogy of disaster” – or at least an example of what might be a step toward such a thing. 20 00 Open Access Fynsk, Christopher 5 03 06 10.21983/P3.0050.1.05 49 65 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Një pedagogji në prag të shkatërrimit 1 A01 Christopher Fynsk Christopher Fynsk 40 016476m91 University of Aberdeen 40 04g3mbv81 European Graduate School 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Fraza që përudh reflektimet tona me këtë rast më kthen tek një tekst që i ka munduar të gjithë reflektimet e mia mbi pedagogjinë dhe universitetin gjatë pesëmbëdhjetë viteve të fundit (dhe kësisoj gjithçka që shkruajta tek Pretendimi i gjuhës,1 një libër që do të doja t’i rikthehesha shkurtimisht në këto faqe). E kam fjalën për një sprovë të shkurtër të Zhan-Fransua Liotarit që u publikua për herë të parë tek Critique në 1978-n nën ti-tullin “Qëndresa dhe profesioni.”2 Është një tekst enigmatik qoftë vetëm për faktin se ajo që quhet “qëndresë” nuk përkufizohet asnjëherë në çka është, në pamje të parë, një reflektim i errët dhe dëshpërues – sikur “qëndresa” të kishte zënë vendin e asaj së cilës mund t’i shërbente, por që nuk mund t’i gjendet emri, pak shpresë, për shembull. Edhe sot e kësaj dite kjo sprovë më shtang dhe më bën kureshtar, por besoj se tanimë kuptoj diçka rreth arsyes pse ajo më ka munduar, prandaj dua të prihem prej saj. Edhe nëse nuk jam i saktë në intuitat e mia, të paktën mund ta ofroj atë si një shembull kureshtar të asaj që ne ndoshta do të donim ta quanim një “pedagogji shkatërrimi” – ose të paktën një shembull të çka mund të përbënte një hap drejt diçkaje të tillë. 30 00 Fraza që përudh reflektimet tona me këtë rast më kthen tek një tekst që i ka munduar të gjithë reflektimet e mia mbi pedagogjinë dhe universitetin gjatë pesëmbëdhjetë viteve të fundit (dhe kësisoj gjithçka që shkruajta tek Pretendimi i gjuhës,1 një libër që do të doja t’i rikthehesha shkurtimisht në këto faqe). E kam fjalën për një sprovë të shkurtër të Zhan-Fransua Liotarit që u publikua për herë të parë tek Critique në 1978-n nën ti-tullin “Qëndresa dhe profesioni.”2 Është një tekst enigmatik qoftë vetëm për faktin se ajo që quhet “qëndresë” nuk përkufizohet asnjëherë në çka është, në pamje të parë, një reflektim i errët dhe dëshpërues – sikur “qëndresa” të kishte zënë vendin e asaj së cilës mund t’i shërbente, por që nuk mund t’i gjendet emri, pak shpresë, për shembull. Edhe sot e kësaj dite kjo sprovë më shtang dhe më bën kureshtar, por besoj se tanimë kuptoj diçka rreth arsyes pse ajo më ka munduar, prandaj dua të prihem prej saj. Edhe nëse nuk jam i saktë në intuitat e mia, të paktën mund ta ofroj atë si një shembull kureshtar të asaj që ne ndoshta do të donim ta quanim një “pedagogji shkatërrimi” – ose të paktën një shembull të çka mund të përbënte një hap drejt diçkaje të tillë. 20 00 Open Access Finsk, Kristofer 6 03 06 10.21983/P3.0050.1.06 67 85 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Desocializing the School Education and the Action-Zone 1 A01 Oliver Feltham Oliver Feltham 40 05t197591 American University of Paris 01 eng 03 00 When Plato sets out to think the possibility of a just city-state his inaugural gesture is to name a practice that rivals philosophy and its ambition: theater. He then bans its very existence from the republic: theater in-exists in the just city. In his Eloge de théâtre, Alain Badiou identifies the rivalry with theater as constitutive for philosophy. That is to say, philosophy does not merely position itself with regard to theater, but comes to a sense of its own identity by excluding the theatrical.1 The stakes of this rivalry concern none other than the aisthēsis – the presentation or appearing – of the city-state itself. In philosophy’s attempt to bring order to the appearances of the city-state, it proves impossible to accommodate the practice of theater, precisely because theater consists in an intervention into those appearances. For Plato, theater is a form of degraded imi-tation. The actor imitates the professions of the city, he presents the mere appearance of savoir-faire without being actually anchored in any productive exchange. Both the actor and the playwright are thus subtracted from Plato’s grand rule of justice: every person to his or her place and function. It is for this reason that the tragedians are expelled from the city. 30 00 When Plato sets out to think the possibility of a just city-state his inaugural gesture is to name a practice that rivals philosophy and its ambition: theater. He then bans its very existence from the republic: theater in-exists in the just city. In his Eloge de théâtre, Alain Badiou identifies the rivalry with theater as constitutive for philosophy. That is to say, philosophy does not merely position itself with regard to theater, but comes to a sense of its own identity by excluding the theatrical.1 The stakes of this rivalry concern none other than the aisthēsis – the presentation or appearing – of the city-state itself. In philosophy’s attempt to bring order to the appearances of the city-state, it proves impossible to accommodate the practice of theater, precisely because theater consists in an intervention into those appearances. For Plato, theater is a form of degraded imi-tation. The actor imitates the professions of the city, he presents the mere appearance of savoir-faire without being actually anchored in any productive exchange. Both the actor and the playwright are thus subtracted from Plato’s grand rule of justice: every person to his or her place and function. It is for this reason that the tragedians are expelled from the city. 20 00 Open Access Feltham, Oliver 7 03 06 10.21983/P3.0050.1.07 87 105 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Çshoqërizimi i shkollës Arsimi dhe zona e aksionit 1 A01 Oliver Feltham Oliver Feltham 40 05t197591 American University of Paris 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Kur Platoni nis të mendojë mundësinë e një qytet-shteti të vetëm, gjesti i tij fillestar është emërtimi i një praktike që rivalizon filozofinë dhe ambicjen e saj: teatri. Më pas, ai ndalon vetë ekzistencën e tij brenda republikës: teatri joekziston në qytetin e drejtë. Tek libri i tij Elozha e teatrit Alen Badiu e identifikon rivalitetin me teatrin si themelor për filozofinë. Që do të thotë se filozofia jo vetëm që pozicionohet në raport me teatrin por se ajo ndërgjegjësohet për identitetin e saj duke përjashtuar teatralen.1Ajo çka është në lojë në këtë rivalitet ka të bëjë pikërisht me aisthēsis – me paraqitjen [presentation] ose shfaqjen [appearing] – e vetë qytet-shtetit. Në përpjekjet e filozofisë për të vënë rregull midis shfaqjeve të qytet-shtetit, del se është e pamundur të bëhet vend për praktikën e teatrit, pikërisht sepse teatri konsiston në një ndërhyrje në këto shfaqje. Për Platonin teatri është një formë imitimi i degraduar. Aktori imiton profe-sionet e qytetit, ai paraqet vetëm pamjen [appearance] e savoir-faire pa qenë në fakt i ankoruar në ndonjë shkëmbim të dobishëm. Kësisoj, si aktori ashtu edhe dramaturgu nuk përfshihen në rregullin e madh të drejtësisë të Platonit: çdo person në vendin dhe detyrën e vet. Kjo është arsyeja pse autorët tragjik përjashtohen nga qyteti. 30 00 Kur Platoni nis të mendojë mundësinë e një qytet-shteti të vetëm, gjesti i tij fillestar është emërtimi i një praktike që rivalizon filozofinë dhe ambicjen e saj: teatri. Më pas, ai ndalon vetë ekzistencën e tij brenda republikës: teatri joekziston në qytetin e drejtë. Tek libri i tij Elozha e teatrit Alen Badiu e identifikon rivalitetin me teatrin si themelor për filozofinë. Që do të thotë se filozofia jo vetëm që pozicionohet në raport me teatrin por se ajo ndërgjegjësohet për identitetin e saj duke përjashtuar teatralen.1Ajo çka është në lojë në këtë rivalitet ka të bëjë pikërisht me aisthēsis – me paraqitjen [presentation] ose shfaqjen [appearing] – e vetë qytet-shtetit. Në përpjekjet e filozofisë për të vënë rregull midis shfaqjeve të qytet-shtetit, del se është e pamundur të bëhet vend për praktikën e teatrit, pikërisht sepse teatri konsiston në një ndërhyrje në këto shfaqje. Për Platonin teatri është një formë imitimi i degraduar. Aktori imiton profe-sionet e qytetit, ai paraqet vetëm pamjen [appearance] e savoir-faire pa qenë në fakt i ankoruar në ndonjë shkëmbim të dobishëm. Kësisoj, si aktori ashtu edhe dramaturgu nuk përfshihen në rregullin e madh të drejtësisë të Platonit: çdo person në vendin dhe detyrën e vet. Kjo është arsyeja pse autorët tragjik përjashtohen nga qyteti. 20 00 Open Access Feltham, Oliver 8 03 06 10.21983/P3.0050.1.08 107 117 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sandy Hook University Poetic Violence, Scope, and Style of Imagination 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 01 eng 03 00 The user in technics marks a departure for the human side of an ambit. Academia fol-lows the act: essays may be graded by software, e-readers track student eye movement reporting to an education manager what the student purportedly read. Increasingly, re-lation is deported to the online classroom or the hybrid space of Learning Management Systems.Purportedly serving intellectual freedom and humanity, universities will inevitably collapse into technics. Our lingering delusion that state universities serve a national purpose and preserve this alongside the interest of global capitalism is well known. However this delusion, allusion, illusion is given, it is powered by imagination and the human task is to reclaim access and care for it. Technological order, what governs sig-nificantly the production of the world and the presentation of nature to human thought has quickly placed the imagination as its final prize. Conversely if the university mirage cast a shadow over the reality of technics, the other side of an imaginative ambit opens toward an ethics of imagination. 30 00 The user in technics marks a departure for the human side of an ambit. Academia fol-lows the act: essays may be graded by software, e-readers track student eye movement reporting to an education manager what the student purportedly read. Increasingly, re-lation is deported to the online classroom or the hybrid space of Learning Management Systems.Purportedly serving intellectual freedom and humanity, universities will inevitably collapse into technics. Our lingering delusion that state universities serve a national purpose and preserve this alongside the interest of global capitalism is well known. However this delusion, allusion, illusion is given, it is powered by imagination and the human task is to reclaim access and care for it. Technological order, what governs sig-nificantly the production of the world and the presentation of nature to human thought has quickly placed the imagination as its final prize. Conversely if the university mirage cast a shadow over the reality of technics, the other side of an imaginative ambit opens toward an ethics of imagination. 20 00 Open Access Groves, Adam Staley 9 03 06 10.21983/P3.0050.1.09 119 125 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Universiteti "Sandy Hook" Dhuna poetike, fusha e veprimit dhe stili i imagjinatës 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Përdoruesi në teknikë shënon një shkëputje për aspektin njerëzor të një shtrirje. Aka-demia ndjek veprimin: sprovat mund të vlerësohen përmes softuarit, e-readers ndjekin lëvizjen e syrit të studentit dhe i raportojnë një menaxheri arsimor atë që mendohet se nxënësi ka lexuar. Gjithmonë e më tepër lidhja mërgohet në klasën online ose hapësirat hibride të Sistemeve të Menaxhimit të Mësimit [Learning Management Systems].Gjoja në shërbim të lirisë intelektuale dhe njerëzimit, në mënyrë të pashmangshme universitetet do të palosen në teknikë. Iluzioni ynë se universitetet shtetërore i shër-bejnë çështjes kombëtare dhe e ruajnë atë karshi interesave të kapitalizmit global dihet. Sido që ky mashtrim, aluzion, iluzion manifestohet, ai mundësohet prej imagji-natës dhe detyra njerëzore është të rifitojë hyrje tek ajo dhe të kujdeset për të. Rendi teknologjik, ai që qeveris prodhimin e botës dhe paraqitjen e natyrës në mënyrë do-methënëse për mendimin njerëzor, shumë shpejt e ka bërë imagjinatën çmimin e tij të fundit. Anasjelltas, nëse mirazhi i universitetit hedh një hije mbi realitetin e teknikës, ana tjetër e një shtrirje imagjinuese hapet drejt një etike të imagjinatës. 30 00 Përdoruesi në teknikë shënon një shkëputje për aspektin njerëzor të një shtrirje. Aka-demia ndjek veprimin: sprovat mund të vlerësohen përmes softuarit, e-readers ndjekin lëvizjen e syrit të studentit dhe i raportojnë një menaxheri arsimor atë që mendohet se nxënësi ka lexuar. Gjithmonë e më tepër lidhja mërgohet në klasën online ose hapësirat hibride të Sistemeve të Menaxhimit të Mësimit [Learning Management Systems].Gjoja në shërbim të lirisë intelektuale dhe njerëzimit, në mënyrë të pashmangshme universitetet do të palosen në teknikë. Iluzioni ynë se universitetet shtetërore i shër-bejnë çështjes kombëtare dhe e ruajnë atë karshi interesave të kapitalizmit global dihet. Sido që ky mashtrim, aluzion, iluzion manifestohet, ai mundësohet prej imagji-natës dhe detyra njerëzore është të rifitojë hyrje tek ajo dhe të kujdeset për të. Rendi teknologjik, ai që qeveris prodhimin e botës dhe paraqitjen e natyrës në mënyrë do-methënëse për mendimin njerëzor, shumë shpejt e ka bërë imagjinatën çmimin e tij të fundit. Anasjelltas, nëse mirazhi i universitetit hedh një hije mbi realitetin e teknikës, ana tjetër e një shtrirje imagjinuese hapet drejt një etike të imagjinatës. 20 00 Open Access Grouvz, Adam Stejli 10 03 06 10.21983/P3.0050.1.10 127 133 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Call for Thinking (The Disaster) 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 03 00 This is to think thinking as such. As such, the thinking to be thought here is to give thought to thinking or, rather, to give back thought to thinking. For it is here, as it was elsewhere, at the National Historical Museum in Tirana that is, that I want to think the elsewhere; an elsewhere to no end. For it is here, where everything seems to have come to yet another end (philosophy, history, the world as such), here, where the end, it seems, has become an end in itself, that there is also no end to the end of the university– be it “in ruins” (as Bill Readings named his book2), be it “in crisis” or be it simply “yet to come.” Here, however, I do not wish to dwell in the ruins of the university.3 Long declared dead, I do not want to deliver yet another eulogy, for it is precisely with and by its end that the university is violently brought back to its roots (= its etymology) of being a/s “whole.” The university, today, once again, is made universal: the university is made, the university no longer makes. Here I wish to violently break this vicious circle, as if it were a circle. Here I will, for once, and perhaps only once, and only for such once perhaps, pretend to be able to step outside – just once. Here, to come full circle, I will attempt to step outside these crises and think on thinking – as if it were possible. Here, if you allow me this metaphysical faux pas, I want to step back, outside these beyonds, and to reexamine Derrida’s question: “Today, how can we not speak of the university?”4Today, thirty years after, how can we not speak of the university, but instead re-open the Heideggerian call for thinking?5 How can we, then, today, not speak of the university, but instead rethink the question of thinking? 30 00 This is to think thinking as such. As such, the thinking to be thought here is to give thought to thinking or, rather, to give back thought to thinking. For it is here, as it was elsewhere, at the National Historical Museum in Tirana that is, that I want to think the elsewhere; an elsewhere to no end. For it is here, where everything seems to have come to yet another end (philosophy, history, the world as such), here, where the end, it seems, has become an end in itself, that there is also no end to the end of the university– be it “in ruins” (as Bill Readings named his book2), be it “in crisis” or be it simply “yet to come.” Here, however, I do not wish to dwell in the ruins of the university.3 Long declared dead, I do not want to deliver yet another eulogy, for it is precisely with and by its end that the university is violently brought back to its roots (= its etymology) of being a/s “whole.” The university, today, once again, is made universal: the university is made, the university no longer makes. Here I wish to violently break this vicious circle, as if it were a circle. Here I will, for once, and perhaps only once, and only for such once perhaps, pretend to be able to step outside – just once. Here, to come full circle, I will attempt to step outside these crises and think on thinking – as if it were possible. Here, if you allow me this metaphysical faux pas, I want to step back, outside these beyonds, and to reexamine Derrida’s question: “Today, how can we not speak of the university?”4Today, thirty years after, how can we not speak of the university, but instead re-open the Heideggerian call for thinking?5 How can we, then, today, not speak of the university, but instead rethink the question of thinking? 20 00 Open Access Hölzl, Julia 11 03 06 10.21983/P3.0050.1.11 135 146 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Një thirrje për të menduar (shkatërrimin) 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Kjo do të thotë të mendosh vetë të menduarit. Kështu pra, të menduarit që duhet men-duar këtu është t’i japim mendim të menduarit, ose më saktë, t’ia kthejmë mendimin të menduarit. Spese është pikërisht këtu, siç ishte gjetkë, në Muzeun Historik Kombëtar në Tiranë, që unë dua ta mendoj këtë gjetkë; një gjetkë deri në pafundësi. Sepse është pikërisht këtu, ku gjithçka duket se ka arritur një tjetër fund (filozofia, historia, vetë bota), këtu, ku fundi, me sa duket, është bërë një qëllim në vetvete, që nuk i gjendet fundi as edhe universitetit – qoftë kjo “në rrënoja” (siç e quajti Bill Redings librin e tij2), qoftë “në krizë” ose thjesht “akoma duke ardhur.” Këtu, megjithatë, nuk dua të mbetem tek rrënojat e universitetit.3 I shpallur i vdekur prej kohësh, nuk dua të jap edhe një tjetër elozh, sepse është me dhe përems fundit të tij që universiteti rikthehet, dhunshëm, tek rrënjët e tij (= etimologjinë e tij) i të qënit i/një plotë/si “tërësi.” Universiteti, sot, edhe një here, bëhet universal: universiteti bëhet, universiteti nuk bën më. Këtu unë dua ta thyej dhunshëm këtë rreth vicioz, si të ishte një rreth. Këtu, të paktën njëherë, dhe ndoshta vetëm njëherë, unë do të pretendoj se mund të dal jashtë – vetëm njëherë. Këtu, të kthehemi aty ku u nisëm, unë do të përpiqem të dal jashtë këtyre rrathëve dhe të mendoj rreth të menduarit – sikur kjo të ishte e mundur. Këtu, nëse ma lejoni këtë faux pas metafizik, unë dua të bëj një hap mbrapa, jashtë këtyre të përtejshmeve, dhe të rishikoj pyetjen e Derridasë: “Si mund të mos flasim, sot, për universitetin?”4 Sot, tridhjetë vjet më vonë, si mund të mos flasim për universitetin, por në vend të kësaj të rihapim thirrjen e Hajdegerit për të menduarit?5 Si mundemi ne, atëherë, sot, të mos flasim për universitetin, por të rimendojmë çështjen e të menduarit? 30 00 Kjo do të thotë të mendosh vetë të menduarit. Kështu pra, të menduarit që duhet men-duar këtu është t’i japim mendim të menduarit, ose më saktë, t’ia kthejmë mendimin të menduarit. Spese është pikërisht këtu, siç ishte gjetkë, në Muzeun Historik Kombëtar në Tiranë, që unë dua ta mendoj këtë gjetkë; një gjetkë deri në pafundësi. Sepse është pikërisht këtu, ku gjithçka duket se ka arritur një tjetër fund (filozofia, historia, vetë bota), këtu, ku fundi, me sa duket, është bërë një qëllim në vetvete, që nuk i gjendet fundi as edhe universitetit – qoftë kjo “në rrënoja” (siç e quajti Bill Redings librin e tij2), qoftë “në krizë” ose thjesht “akoma duke ardhur.” Këtu, megjithatë, nuk dua të mbetem tek rrënojat e universitetit.3 I shpallur i vdekur prej kohësh, nuk dua të jap edhe një tjetër elozh, sepse është me dhe përems fundit të tij që universiteti rikthehet, dhunshëm, tek rrënjët e tij (= etimologjinë e tij) i të qënit i/një plotë/si “tërësi.” Universiteti, sot, edhe një here, bëhet universal: universiteti bëhet, universiteti nuk bën më. Këtu unë dua ta thyej dhunshëm këtë rreth vicioz, si të ishte një rreth. Këtu, të paktën njëherë, dhe ndoshta vetëm njëherë, unë do të pretendoj se mund të dal jashtë – vetëm njëherë. Këtu, të kthehemi aty ku u nisëm, unë do të përpiqem të dal jashtë këtyre rrathëve dhe të mendoj rreth të menduarit – sikur kjo të ishte e mundur. Këtu, nëse ma lejoni këtë faux pas metafizik, unë dua të bëj një hap mbrapa, jashtë këtyre të përtejshmeve, dhe të rishikoj pyetjen e Derridasë: “Si mund të mos flasim, sot, për universitetin?”4 Sot, tridhjetë vjet më vonë, si mund të mos flasim për universitetin, por në vend të kësaj të rihapim thirrjen e Hajdegerit për të menduarit?5 Si mundemi ne, atëherë, sot, të mos flasim për universitetin, por të rimendojmë çështjen e të menduarit? 20 00 Open Access Hëlcël, Julia 12 03 06 10.21983/P3.0050.1.12 147 161 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Rhetoric of Disaster Surviving the End of the Humanities 1 A01 John Van Houdt John Van Houdt 40 04b8v1s79 Tilburg University 01 eng 03 00 In this paper I will present a potential critical use of the rhetoric of disaster or what I will sometimes call “disaster speak,” borrowing largely from Blanchot’s analysis in The Writing of the Disaster. So what is the present “disaster” we are talking about at this conference? For those working in and around academia today, it is hard to ignore the substantial changes the university is undergoing especially in the humanities. To wit, this generally recognized change in the university has given way to serious prognostica-tions of the “end of the university.” On this count, the humanities have outpaced the university itself. In my own discipline, philosophy, for instance, talk about the “end of philosophy” has been a common theme for at least a century or so. There are plenty of reasons for the prevalence of disaster-speak in our current situation (many of which have little to do with the university); and there is certainly no dearth of examples of disaster-speak applied to the situation of the university in general and the humanities in particular.2 In what follows I will bracket the question of whether in fact the “end is nigh” and focus on the rhetoric of that impending disaster to evaluate a strategy for deflating the catastrophic sense of impending doom invoked by disaster-speak. 30 00 In this paper I will present a potential critical use of the rhetoric of disaster or what I will sometimes call “disaster speak,” borrowing largely from Blanchot’s analysis in The Writing of the Disaster. So what is the present “disaster” we are talking about at this conference? For those working in and around academia today, it is hard to ignore the substantial changes the university is undergoing especially in the humanities. To wit, this generally recognized change in the university has given way to serious prognostica-tions of the “end of the university.” On this count, the humanities have outpaced the university itself. In my own discipline, philosophy, for instance, talk about the “end of philosophy” has been a common theme for at least a century or so. There are plenty of reasons for the prevalence of disaster-speak in our current situation (many of which have little to do with the university); and there is certainly no dearth of examples of disaster-speak applied to the situation of the university in general and the humanities in particular.2 In what follows I will bracket the question of whether in fact the “end is nigh” and focus on the rhetoric of that impending disaster to evaluate a strategy for deflating the catastrophic sense of impending doom invoked by disaster-speak. 20 00 Open Access Van Houdt, John 13 03 06 10.21983/P3.0050.1.13 163 174 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Retorika e shkatërrimit T'i mbijetojmë fundit të humaniteteve 1 A01 John Van Houdt John Van Houdt 40 04b8v1s79 Tilburg University 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në këtë artikull do të paraqis një përdorim potencialisht kritik të retorikës së shkatërri-mit, që herë pas here kam për ta quajtur edhe e folura e shkatërrimit, duke u mbështetur kryesisht mbi analizen e Blanshosë tek Shkrimi i shkatërrimit. Cili është “shkatërrimi” për të cilin jemi duke folur në këtë konferencë? Për ata që punojnë brenda ose rreth akademisë sot, është e vështirë të shpërfillësh ndryshimet e qenësishme që po kalon universiteti e veçanërisht humanitetet. Që do të thotë, ky ndryshim brenda universi-tetit, që në përgjithësi njihet, i ka hapur rrugën prognostikimeve serioze të “fundit” të universitetit. Në këtë pikë, humanitetet ia kanë kaluar vetë universitetit. Në disiplinën time, filozofi, për shembull, ka rreth një shekull që flitet për “fundin e filozofisë.” Ka shumë arsye pse e folura e shkatërrimit është kaq e përhapur në situatën në të cilën ndodhemi (shumë prej të cilave nuk kanë të bëjnë me universitetin); dhe sigurisht që shembuj të së folurës së shkatërrimit mbi situatën e universitetit në përgjithësi dhe të humaniteteve në veçanti nuk mungojnë.2 Në çka vijon kam për të vënë mënjanë pyetjen nëse fundi është vërtetë afër, duke u përqëndruar tek retorika e atij shkatërrimi që zëre se ka ardhur për të vlerësuar një strategji për të shfryrë ndjesinë katastrofike të fundit që provokon e folura e shkatërrimit. 30 00 Në këtë artikull do të paraqis një përdorim potencialisht kritik të retorikës së shkatërri-mit, që herë pas here kam për ta quajtur edhe e folura e shkatërrimit, duke u mbështetur kryesisht mbi analizen e Blanshosë tek Shkrimi i shkatërrimit. Cili është “shkatërrimi” për të cilin jemi duke folur në këtë konferencë? Për ata që punojnë brenda ose rreth akademisë sot, është e vështirë të shpërfillësh ndryshimet e qenësishme që po kalon universiteti e veçanërisht humanitetet. Që do të thotë, ky ndryshim brenda universi-tetit, që në përgjithësi njihet, i ka hapur rrugën prognostikimeve serioze të “fundit” të universitetit. Në këtë pikë, humanitetet ia kanë kaluar vetë universitetit. Në disiplinën time, filozofi, për shembull, ka rreth një shekull që flitet për “fundin e filozofisë.” Ka shumë arsye pse e folura e shkatërrimit është kaq e përhapur në situatën në të cilën ndodhemi (shumë prej të cilave nuk kanë të bëjnë me universitetin); dhe sigurisht që shembuj të së folurës së shkatërrimit mbi situatën e universitetit në përgjithësi dhe të humaniteteve në veçanti nuk mungojnë.2 Në çka vijon kam për të vënë mënjanë pyetjen nëse fundi është vërtetë afër, duke u përqëndruar tek retorika e atij shkatërrimi që zëre se ka ardhur për të vlerësuar një strategji për të shfryrë ndjesinë katastrofike të fundit që provokon e folura e shkatërrimit. 20 00 Open Access Van Haut, Xhon 14 03 06 10.21983/P3.0050.1.14 175 184 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Passion for Yes Coming Out and Affirmation 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 03 00 I would like to offer you today the beginnings of a meditation on the word yes, on the gesture of affirmation. We should take great care not to conflate affirmation and saying yes – saying it once, twice, or many times over – and in which language? – all too easily. As I will try to elucidate, there is an abyss between saying yes and affirming that is not easily crossed, let alone bridged.One of my entry points will be Jacques Derrida’s essay on this word – but is it really a word? – in James Joyce’s Ulysses,1 which opens with the question of the translatability of the French oui, but which concerns as well – though through different inflections – the English yes, Dutch ja, or Albanian po. One could even say that Derrida grafts the question of translatability as such onto this word, which in French first answers to the ouïe, “I hear,” as a response to a call, as the word in which communicability as such is at stake. He reminds us that yes also names language itself, not only in the sense of langue d’oïl or langue d’oc,2 the two main French dialect groups which derive their names from their respective ancient words for yes, but also because “the affirmation of a language through itself is untranslatable.”3 And indeed names themselves are notori-ously untranslatable, because they – especially the proper ones – hook into reality in a way that always suggests a more intimate relation between language and the world than linguists would want us to believe. I would invite anyone who doubts this to drive through the Kosovar countryside and observe the place name signs. The linguistically unstable status of yes – as adverb, interjection, or some other outsider category – only adds to its supposedly untranslatable status. And yet, it is the first word of any foreign language we venture to learn. 30 00 I would like to offer you today the beginnings of a meditation on the word yes, on the gesture of affirmation. We should take great care not to conflate affirmation and saying yes – saying it once, twice, or many times over – and in which language? – all too easily. As I will try to elucidate, there is an abyss between saying yes and affirming that is not easily crossed, let alone bridged.One of my entry points will be Jacques Derrida’s essay on this word – but is it really a word? – in James Joyce’s Ulysses,1 which opens with the question of the translatability of the French oui, but which concerns as well – though through different inflections – the English yes, Dutch ja, or Albanian po. One could even say that Derrida grafts the question of translatability as such onto this word, which in French first answers to the ouïe, “I hear,” as a response to a call, as the word in which communicability as such is at stake. He reminds us that yes also names language itself, not only in the sense of langue d’oïl or langue d’oc,2 the two main French dialect groups which derive their names from their respective ancient words for yes, but also because “the affirmation of a language through itself is untranslatable.”3 And indeed names themselves are notori-ously untranslatable, because they – especially the proper ones – hook into reality in a way that always suggests a more intimate relation between language and the world than linguists would want us to believe. I would invite anyone who doubts this to drive through the Kosovar countryside and observe the place name signs. The linguistically unstable status of yes – as adverb, interjection, or some other outsider category – only adds to its supposedly untranslatable status. And yet, it is the first word of any foreign language we venture to learn. 20 00 Open Access van Gerven Oei, Vincent W.J. 15 03 06 10.21983/P3.0050.1.15 185 190 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Një pasion për po-në Dalja hapur dhe pohimi 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Do të doja t’ju ofroja sot fillimin e një përsiatje mbi fjalen po, mbi gjestin e pohimit. Duhet të kemi kujdes të mos ngatërrojmë pohimin me thënien po – një herë, dy herë, apo më tepër – dhe në çfarë gjuhe? – ca si tepër lehtë. Siç do të përpiqem të qartësoj, ekziston një humnerë midis thënies po dhe pohimit që nuk kapërcehet – e jo më të bashkohet – lehtësisht.Një nga pikënisjet e mia do te jetë sprova e Zhak Derridasë mbi këtë fjalë – a është ajo ama vërtet një fjalë? – tek Uliksi i Xhejms Xhojsit,1 e cila fillon me cështjen e përkthyeshmërisë së fjalës franceze oui, por që ka të bëjë gjithashtu – ndonëse nëpërmjet eptimeve të tjera – me fjalën angleze yes, atë hollandeze ja, apo shqiptaren po. Mund të themi madje se Derrida transplanton pyetjen e përkthyeshmërisë në tërësinë e saj tek kjo fjalë, e cila në frëngjisht i përgjigjet fillimishtouïe, “dëgjoj,” si një përgjigje ndaj një thirrjeje, si fjala ku shprehshmëria vetë është në lojë. Ai na kujton se po emërton gji-thashtu vetë gjuhën, jo thjesht në kuptimin e langue d’oïl ose langue d’oc,2 dy grupimet dialektore kryesore në frëngjisht, emrat e të cilave rrjedhin prej flalëve të lashta për-katëse për po në to, por edhe sepse “vetëpohimi i një gjuhe është i papërkthyeshëm.” 30 00 Do të doja t’ju ofroja sot fillimin e një përsiatje mbi fjalen po, mbi gjestin e pohimit. Duhet të kemi kujdes të mos ngatërrojmë pohimin me thënien po – një herë, dy herë, apo më tepër – dhe në çfarë gjuhe? – ca si tepër lehtë. Siç do të përpiqem të qartësoj, ekziston një humnerë midis thënies po dhe pohimit që nuk kapërcehet – e jo më të bashkohet – lehtësisht.Një nga pikënisjet e mia do te jetë sprova e Zhak Derridasë mbi këtë fjalë – a është ajo ama vërtet një fjalë? – tek Uliksi i Xhejms Xhojsit,1 e cila fillon me cështjen e përkthyeshmërisë së fjalës franceze oui, por që ka të bëjë gjithashtu – ndonëse nëpërmjet eptimeve të tjera – me fjalën angleze yes, atë hollandeze ja, apo shqiptaren po. Mund të themi madje se Derrida transplanton pyetjen e përkthyeshmërisë në tërësinë e saj tek kjo fjalë, e cila në frëngjisht i përgjigjet fillimishtouïe, “dëgjoj,” si një përgjigje ndaj një thirrjeje, si fjala ku shprehshmëria vetë është në lojë. Ai na kujton se po emërton gji-thashtu vetë gjuhën, jo thjesht në kuptimin e langue d’oïl ose langue d’oc,2 dy grupimet dialektore kryesore në frëngjisht, emrat e të cilave rrjedhin prej flalëve të lashta për-katëse për po në to, por edhe sepse “vetëpohimi i një gjuhe është i papërkthyeshëm.” 20 00 Open Access van Herven Uj, Vinsent V.J. 16 03 06 10.21983/P3.0050.1.16 191 203 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Welcoming the Stranger From Social Inclusion to Exilic Education 1 A01 Edith Doron Edith Doron 40 016476m91 University of Aberdeen 01 eng 03 00 I open with this poem on the arrival of the stranger and the question of community be-cause it speaks to the difference between the gesture of social inclusion legitimated by Kantian cosmopolitan ideals and translated into multicultural education in museums on one side, and the gesture of welcoming the stranger on the other. It speaks to the difference between reception of the other as an interested act, as part of the struggle for recognition for the sake of being-at-home and therefore as an act that constitutes one’s sovereign ipseity on one side, and the encounter with the other for whom no common frontier exists and yet whose proximity creates the uncanny dispossession of home, the internal sense of an undoing. It speaks to the non-ground of community for which “I” and “you” are not individuals of a common concept. Among the poem’s diversity of dwellings, a “we” emerges to perform the fiction of a social bond. The Stranger departs and returns to the desert – there where hospitality is a matter of life or death – but his utterance remains to make a desert of those dwellings in the mind where sover-eign Identity lives as master; when for an instant astonishment makes Identity a guest. 30 00 I open with this poem on the arrival of the stranger and the question of community be-cause it speaks to the difference between the gesture of social inclusion legitimated by Kantian cosmopolitan ideals and translated into multicultural education in museums on one side, and the gesture of welcoming the stranger on the other. It speaks to the difference between reception of the other as an interested act, as part of the struggle for recognition for the sake of being-at-home and therefore as an act that constitutes one’s sovereign ipseity on one side, and the encounter with the other for whom no common frontier exists and yet whose proximity creates the uncanny dispossession of home, the internal sense of an undoing. It speaks to the non-ground of community for which “I” and “you” are not individuals of a common concept. Among the poem’s diversity of dwellings, a “we” emerges to perform the fiction of a social bond. The Stranger departs and returns to the desert – there where hospitality is a matter of life or death – but his utterance remains to make a desert of those dwellings in the mind where sover-eign Identity lives as master; when for an instant astonishment makes Identity a guest. 20 00 Open Access Doron, Edith 17 03 06 10.21983/P3.0050.1.17 205 213 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mirëpritja e të huajit Nga përshirja sociale tek arsimi mërgimtar 1 A01 Edith Doron Edith Doron 40 016476m91 University of Aberdeen 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Filloj me këtë poezi mbi ardhjen e të huajit dhe çështjen e komunitetit sepse ajo i drejtohet, nga njëra anë, dallimit midis gjestit të përfshirjes sociale të legjitimuar nga idealet kozmopolite kantiane dhe të përkthyer në arsimin multikulturor nëpër muze dhe, nga ana tjetër, gjestit të mirëpritjes së të huajit. Ajo i drejtohet, nga njëra anë, dallimit midis pritjes së tjetrit si një akt i interesuar, si pjesë e një beteje për njohje [recognition] për hir të të-qenit-si-në-shtëpi dhe kësisoj si një akt që vendos vetësinë [ipseity] sovrane të dikujt dhe, nga ana tjetër, takimit me tjetrin për të cilin nuk ekziston asnjë kufi i përbashkët por afërsia e të cilit krijon megjithatë shpronësimin tur-bullues të shtëpisë, ndjenjën e brendshme të një zhbërje. Ajo i drejtohet joterrenit të komunitetit për të cilin “unë” dhe “ti” nuk jemi individë të një koncepti të përbashkët. Midis shumëllojshmërisë së banesave të poezisë, lind një “ne” për të performuar saji-min [fiction] e një lidhje sociale. I huaji largohet dhe kthehet në shkretëtirë – atje ku mikpritja është një çështje jete ose vdekje – por shqiptimi i tij mbetet për të kthyer në një shkretëtirë ato banesa në mendje ku Identiteti sovran jeton si zot; kur për një çast habija e bën identitetin një mysafir 30 00 Filloj me këtë poezi mbi ardhjen e të huajit dhe çështjen e komunitetit sepse ajo i drejtohet, nga njëra anë, dallimit midis gjestit të përfshirjes sociale të legjitimuar nga idealet kozmopolite kantiane dhe të përkthyer në arsimin multikulturor nëpër muze dhe, nga ana tjetër, gjestit të mirëpritjes së të huajit. Ajo i drejtohet, nga njëra anë, dallimit midis pritjes së tjetrit si një akt i interesuar, si pjesë e një beteje për njohje [recognition] për hir të të-qenit-si-në-shtëpi dhe kësisoj si një akt që vendos vetësinë [ipseity] sovrane të dikujt dhe, nga ana tjetër, takimit me tjetrin për të cilin nuk ekziston asnjë kufi i përbashkët por afërsia e të cilit krijon megjithatë shpronësimin tur-bullues të shtëpisë, ndjenjën e brendshme të një zhbërje. Ajo i drejtohet joterrenit të komunitetit për të cilin “unë” dhe “ti” nuk jemi individë të një koncepti të përbashkët. Midis shumëllojshmërisë së banesave të poezisë, lind një “ne” për të performuar saji-min [fiction] e një lidhje sociale. I huaji largohet dhe kthehet në shkretëtirë – atje ku mikpritja është një çështje jete ose vdekje – por shqiptimi i tij mbetet për të kthyer në një shkretëtirë ato banesa në mendje ku Identiteti sovran jeton si zot; kur për një çast habija e bën identitetin një mysafir 20 00 Open Access Doron, Edit 18 03 06 10.21983/P3.0050.1.18 215 229 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Occupy Baghdad" On the Occupation of Images 1 A01 21 0000000274969186 Urok Shirhan Urok Shirhan 01 eng 03 00 Occupy Baghdad is a project that takes as its main premise the idea of non-physical oc-cupation, in other words: how the image and idea of Iraq has been occupied by cultural and artistic production. The inception of this project was marked by strange “coinci-dence” that occurred when I had decided, in late 2011, to do something I had never done before: take my own family archive as material for artistic research.Remake of Paul Chan’s “Baghdad in No Particular Order”As an Iraqi born refugee who has never been to Iraq, and having grown up in the Neth-erlands since 1993, I decided to work through fourteen vhs tapes of footage that my father had filmed during his first trip back to Baghdad in 2003. About one month after the fall of Saddam Hussein’s dictatorship following the American invasion – or occupa-tion – this trip marked a return after 25 years of forced exile. An artist himself, he took it on himself to conduct interviews with other artists and intellectuals in an attempt to recount the way in which cultural production in Iraq had been affected during Sad-dam’s Ba’athist regime. 30 00 Occupy Baghdad is a project that takes as its main premise the idea of non-physical oc-cupation, in other words: how the image and idea of Iraq has been occupied by cultural and artistic production. The inception of this project was marked by strange “coinci-dence” that occurred when I had decided, in late 2011, to do something I had never done before: take my own family archive as material for artistic research.Remake of Paul Chan’s “Baghdad in No Particular Order”As an Iraqi born refugee who has never been to Iraq, and having grown up in the Neth-erlands since 1993, I decided to work through fourteen vhs tapes of footage that my father had filmed during his first trip back to Baghdad in 2003. About one month after the fall of Saddam Hussein’s dictatorship following the American invasion – or occupa-tion – this trip marked a return after 25 years of forced exile. An artist himself, he took it on himself to conduct interviews with other artists and intellectuals in an attempt to recount the way in which cultural production in Iraq had been affected during Sad-dam’s Ba’athist regime. 20 00 Open Access Shirhan, Urok 19 03 06 10.21983/P3.0050.1.19 231 245 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Occupy Baghdad" Mbi pushtimin e imazheve 1 A01 21 0000000274969186 Urok Shirhan Urok Shirhan 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Occupy Baghdad është një projekt premisa kryesore e të cilit është ideja s një pushtimi jofizik, e thënë ndryshe: se si imazhi dhe ideja e Irakut janë pushtuar nga prodhimtaria kulturore dhe artistike. Zanafilla e këtij projekti u shënua nga një “rastësi” e çuditshme që ndodhi kur unë vendosa, në fund të 2011-s, të bëj diçka që nuk e kisha bërë kurrë më parë: të përdorja arkivat e familjes time si material për kërkim artistik.Rikrijimi i “Bagdadit jo sipas ndonjë renditje të caktuar” të Pol ÇanitSi një refugjate e lindur irakene por që nuk ka qenë asnjëherë në Irak dhe që qysh prej vitit 1993 është rritur në Hollandë, vendosa të punoj me katërmbëdhjetë kasetat me regjistrime që kishte xhiruar im atë gjatë udhëtimit të tij të pare atje në 2003-shin. Ky udhëtim, rreth një muaj pas rënies së diktaturës së Sadam Huseinit pas pushtimit ameri-kan, ishte një kthim në Bagdad pas 25 vitesh mërgimi të detyruar. Duke qenë vetë artist, im atë mori përsipër të intervistonte artistë dhe intelektualë të tjerë për të përshkruar se si prodhimtaria kulturore në Irak ishte prekur prej regjimit baatist të Sadamit. 30 00 Occupy Baghdad është një projekt premisa kryesore e të cilit është ideja s një pushtimi jofizik, e thënë ndryshe: se si imazhi dhe ideja e Irakut janë pushtuar nga prodhimtaria kulturore dhe artistike. Zanafilla e këtij projekti u shënua nga një “rastësi” e çuditshme që ndodhi kur unë vendosa, në fund të 2011-s, të bëj diçka që nuk e kisha bërë kurrë më parë: të përdorja arkivat e familjes time si material për kërkim artistik.Rikrijimi i “Bagdadit jo sipas ndonjë renditje të caktuar” të Pol ÇanitSi një refugjate e lindur irakene por që nuk ka qenë asnjëherë në Irak dhe që qysh prej vitit 1993 është rritur në Hollandë, vendosa të punoj me katërmbëdhjetë kasetat me regjistrime që kishte xhiruar im atë gjatë udhëtimit të tij të pare atje në 2003-shin. Ky udhëtim, rreth një muaj pas rënies së diktaturës së Sadam Huseinit pas pushtimit ameri-kan, ishte një kthim në Bagdad pas 25 vitesh mërgimi të detyruar. Duke qenë vetë artist, im atë mori përsipër të intervistonte artistë dhe intelektualë të tjerë për të përshkruar se si prodhimtaria kulturore në Irak ishte prekur prej regjimit baatist të Sadamit. 20 00 Open Access Shirhan, Urok 20 03 06 10.21983/P3.0050.1.20 247 255 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Art after Democratism The Pedagogy of the New World Summit 1 A01 21 0000000234096034 Jonas Staal Jonas Staal 40 02qjrjx09 University of Cyprus 06 Own website https://www.jonasstaal.nl/ 01 eng 03 00 In 2007, philosopher Vincent van Gerven Oei and myself came across a leaked file doc-umenting an interrogation at Guantánamo prison in Cuba, which had been distributed through the website of Time Magazine. The log contained a detailed report of three months of interrogation of Mohammed Mani Ahmed al-Khatani, the supposed “20th hijacker” of the attacks on the Twin Towers and the Pentagon in 2001.The report caught our interest specifically because of the nature of the torture tech-niques involved. Apart from the terrifying torture method called water boarding, we were struck by the use of popular culture as means of “torturing” the prisoner. The guards severely disoriented al-Khatani by moving him to different closed darkened spaces, which made it impossible for him to grasp the time of day or the direction in which he, as a Muslim, was supposed send his prayers. Subsequently, they deregulated his sleep pattern, upon which his general sense of disorientation became even more severe. This set the theatrical stage for the guards to subject al-Khatani to a complex of contemporary cultural iconography. He was, for example, exposed to loud popular music, such as songs by Metallica, Eminem, and Christina Aguilera’s song “Dirrty.” Al-Khatani was further subjected to images of pin-up girls, non-halal Burger King food, and stroboscope lights. These are all symbols of Western “liberation,” which in the con-text of Guantánamo obtain extremely oppressive dimensions. Or rather, in this context that the extremely oppressive dimensions already present in these symbols of so-called liberation become unbearably visible. 30 00 In 2007, philosopher Vincent van Gerven Oei and myself came across a leaked file doc-umenting an interrogation at Guantánamo prison in Cuba, which had been distributed through the website of Time Magazine. The log contained a detailed report of three months of interrogation of Mohammed Mani Ahmed al-Khatani, the supposed “20th hijacker” of the attacks on the Twin Towers and the Pentagon in 2001.The report caught our interest specifically because of the nature of the torture tech-niques involved. Apart from the terrifying torture method called water boarding, we were struck by the use of popular culture as means of “torturing” the prisoner. The guards severely disoriented al-Khatani by moving him to different closed darkened spaces, which made it impossible for him to grasp the time of day or the direction in which he, as a Muslim, was supposed send his prayers. Subsequently, they deregulated his sleep pattern, upon which his general sense of disorientation became even more severe. This set the theatrical stage for the guards to subject al-Khatani to a complex of contemporary cultural iconography. He was, for example, exposed to loud popular music, such as songs by Metallica, Eminem, and Christina Aguilera’s song “Dirrty.” Al-Khatani was further subjected to images of pin-up girls, non-halal Burger King food, and stroboscope lights. These are all symbols of Western “liberation,” which in the con-text of Guantánamo obtain extremely oppressive dimensions. Or rather, in this context that the extremely oppressive dimensions already present in these symbols of so-called liberation become unbearably visible. 20 00 Open Access Staal, Jonas 21 03 06 10.21983/P3.0050.1.21 257 269 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Arti pas demokratizmit Pedagogjia e Samitit të ri botëror 1 A01 21 0000000234096034 Jonas Staal Jonas Staal 40 02qjrjx09 University of Cyprus 06 Own website https://www.jonasstaal.nl/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në 2007-n, filozofi Vinsent van Herven Uj dhe unë ndeshëm një dosje të klasifikuar që dokumentonte një interrogim në burgun e Guantanamos në Kubë, e cila ishte shpërndarë përmes website-it të Time Magazine. Kabllogrami përmbante një raport të detajuar të interrogimit përgjatë tre muajve të Mohamed Mani Ahmed Al-Katani, që presupozohej të ishte rrëmbyesi i 20-të i sulmeve mbi Kullat Binjake dhe Pentagonin në 2001-shin.Në veçanti raporti na tërhoqi vëmendjen për shkak të natyrës së teknikave të tor-tures që ishin përdorur. Përveç metodës së tmerrshme të tortures të quajtur water boarding, na la përshtypje përdorimi i kulturës pop si një mjet për të “torturuar” të burgosurin. Rojet e çorientonin thellësisht Al-Katanin duke e lëvizur nëpër vende të ndryshme të errëta, gjë që e bënte të pamundur për të të rrokte kohën ose drejtimin në të cilin ai, si një mysliman, duhej të drejtonte lutjet e tij. Më pas, ata i çrregulluan edhe gjumin, duke bërë që ndjesia e përgjithme e çorientimit që ai kishte të thellohej akoma më tepër. E gjithë kjo ngriti skenën teatrale në të cilën Al-Katanin iu nënshtrua një iko-nografie komplekse të kulturës bashkëkohore. Për shembull, ai iu nënshtrua dëgjimit të muzikës së zhurmët, si këngë nga Metallica, Eminem, dhe këngës “Dirrty” të Kristina Agileras. 30 00 Në 2007-n, filozofi Vinsent van Herven Uj dhe unë ndeshëm një dosje të klasifikuar që dokumentonte një interrogim në burgun e Guantanamos në Kubë, e cila ishte shpërndarë përmes website-it të Time Magazine. Kabllogrami përmbante një raport të detajuar të interrogimit përgjatë tre muajve të Mohamed Mani Ahmed Al-Katani, që presupozohej të ishte rrëmbyesi i 20-të i sulmeve mbi Kullat Binjake dhe Pentagonin në 2001-shin.Në veçanti raporti na tërhoqi vëmendjen për shkak të natyrës së teknikave të tor-tures që ishin përdorur. Përveç metodës së tmerrshme të tortures të quajtur water boarding, na la përshtypje përdorimi i kulturës pop si një mjet për të “torturuar” të burgosurin. Rojet e çorientonin thellësisht Al-Katanin duke e lëvizur nëpër vende të ndryshme të errëta, gjë që e bënte të pamundur për të të rrokte kohën ose drejtimin në të cilin ai, si një mysliman, duhej të drejtonte lutjet e tij. Më pas, ata i çrregulluan edhe gjumin, duke bërë që ndjesia e përgjithme e çorientimit që ai kishte të thellohej akoma më tepër. E gjithë kjo ngriti skenën teatrale në të cilën Al-Katanin iu nënshtrua një iko-nografie komplekse të kulturës bashkëkohore. Për shembull, ai iu nënshtrua dëgjimit të muzikës së zhurmët, si këngë nga Metallica, Eminem, dhe këngës “Dirrty” të Kristina Agileras. 20 00 Open Access Stal, Jonas 22 03 06 10.21983/P3.0050.1.22 271 280 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "Reading on Disaster" Intervention Imaginaries in Participatory Artistic Practice 1 A01 Katharina Stadler Katharina Stadler 40 02qt0xs84 Humboldt State University 01 eng 03 00 How to give a voice to others? How to invite a voice to articulate itself and further, to be heard. Amidst my own voicelessness and speechlessness while working in a location of foreign language. Focused on the process of including the voice/s of the barely audible in an academic conference.during the “reading on disaster” intervention i chose a different location in tirana each day as to create a small space of possible participation. my popcorn bike as a mobile seminar room shaped the center of those imaginary spaces, providing each day’s text in multiple copies, each day’s motto as well as papers and pens.every day i worked on site, intervening the city with the purpose to engage thinking about education, the future of education in albania. collecting wishes/dreams/desires as to bring not only one voice but voices, combined in a manifesto medley envisioning an imaginary future to the “pedagogies of disaster” conference.to trigger the agency of reflection and vision telling i had selected texts on education and/or knowledge production; texts by irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, and jacques rancière. out of these texts the following daily mottos were chosen:potentialities; the critical realm [...] is by definition void; poetic ter-rorism; in the midst of the piles of the debris of knowledge production; movement is knowing; knowing is nothing. doing is everything. 30 00 How to give a voice to others? How to invite a voice to articulate itself and further, to be heard. Amidst my own voicelessness and speechlessness while working in a location of foreign language. Focused on the process of including the voice/s of the barely audible in an academic conference.during the “reading on disaster” intervention i chose a different location in tirana each day as to create a small space of possible participation. my popcorn bike as a mobile seminar room shaped the center of those imaginary spaces, providing each day’s text in multiple copies, each day’s motto as well as papers and pens.every day i worked on site, intervening the city with the purpose to engage thinking about education, the future of education in albania. collecting wishes/dreams/desires as to bring not only one voice but voices, combined in a manifesto medley envisioning an imaginary future to the “pedagogies of disaster” conference.to trigger the agency of reflection and vision telling i had selected texts on education and/or knowledge production; texts by irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, and jacques rancière. out of these texts the following daily mottos were chosen:potentialities; the critical realm [...] is by definition void; poetic ter-rorism; in the midst of the piles of the debris of knowledge production; movement is knowing; knowing is nothing. doing is everything. 20 00 Open Access Stadler, Katharina 23 03 06 10.21983/P3.0050.1.23 281 294 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ndërhyrje "Të lexojmë mbi shkatërrimin" Imagjinaret në praktikat pjesëmarrëse artistike 1 A01 Katharina Stadler Katharina Stadler 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Si t’iu japim zë të tjerëve? Si të ftojmë një zë të nyjëtohet e me tej të dëgjohet. Mes pazëshmërisë dhe pagojësisë time ndërsa punoja në një vend me gjuhë të huaj. E përqëndruar tek përfshirja e zërit/zërave thuajse të padëgjuar në një konferencë aka-demike.gjatë ndërhyrjes “të lexojmë mbi shkatërrimin” zgjodha çdo ditë nga një vend të ndryshëm me qëllim për të krijuar një hapësirë sado të vogël pjesëmarrje të mundshme. biçikleta ime e kokoshkave, si një dhomë lëvizëse seminaresh, përbënte qendrën e atyre hapësirave imagjinare, duke ofruar tekstet e secilës ditë në kopje të shumëfishta, moton e secilës ditë si dhe fletë dhe stilolapsa.punova çdo ditë në vendndodhje, duke ndërhyrë në qytet për të angazhuar të menduarit mbi arsimin, të ardhmen e arsimit në shqipëri. duke mbledhur dëshira/ëndrra për të përcjellë jo një zë por shumë zëra, të përmbledhura në një manifest që pa-rapërfytyronte një të ardhme imagjinare të konferencës mbi “pedagogjitë e shkatërrimit.”për të ndezur kapacitetin për refleksion dhe vizion kisha përzgjedhur disa tekste mbi arsimin dhe/ose prodhimin e dijes; tekste nga irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, dhe jacques rancière. prej këtyre teksteve u zgjodhën motot e përditshme në vijim:potencialitete; sfera kritike [...] është me përkufizim bosh; terrorizëm poetik; mes pirgjeve të gërmadhave të prodhimit të dijes; të lëvizësh është të dish; të dish nuk është asgjë. të bësh është gjithçka! 30 00 Si t’iu japim zë të tjerëve? Si të ftojmë një zë të nyjëtohet e me tej të dëgjohet. Mes pazëshmërisë dhe pagojësisë time ndërsa punoja në një vend me gjuhë të huaj. E përqëndruar tek përfshirja e zërit/zërave thuajse të padëgjuar në një konferencë aka-demike.gjatë ndërhyrjes “të lexojmë mbi shkatërrimin” zgjodha çdo ditë nga një vend të ndryshëm me qëllim për të krijuar një hapësirë sado të vogël pjesëmarrje të mundshme. biçikleta ime e kokoshkave, si një dhomë lëvizëse seminaresh, përbënte qendrën e atyre hapësirave imagjinare, duke ofruar tekstet e secilës ditë në kopje të shumëfishta, moton e secilës ditë si dhe fletë dhe stilolapsa.punova çdo ditë në vendndodhje, duke ndërhyrë në qytet për të angazhuar të menduarit mbi arsimin, të ardhmen e arsimit në shqipëri. duke mbledhur dëshira/ëndrra për të përcjellë jo një zë por shumë zëra, të përmbledhura në një manifest që pa-rapërfytyronte një të ardhme imagjinare të konferencës mbi “pedagogjitë e shkatërrimit.”për të ndezur kapacitetin për refleksion dhe vizion kisha përzgjedhur disa tekste mbi arsimin dhe/ose prodhimin e dijes; tekste nga irit rogoff, boyan manchev, hakim bey, yael navaro-yashin, tim ingold, dhe jacques rancière. prej këtyre teksteve u zgjodhën motot e përditshme në vijim:potencialitete; sfera kritike [...] është me përkufizim bosh; terrorizëm poetik; mes pirgjeve të gërmadhave të prodhimit të dijes; të lëvizësh është të dish; të dish nuk është asgjë. të bësh është gjithçka! 20 00 Open Access Stadler, Katarina 24 03 06 10.21983/P3.0050.1.24 295 296 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Manifesto for Education in Albania 1 B01 Nico Jenkins Nico Jenkins 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 01 eng 03 00 We are students, professors, people with or without jobs, with children or young our-selves. Who demand.We aim for an adequate education of European standard. Meaning better schools, aca-demic freedom, more study possibilities, language classes and choice of language in our studies. As well as a focus on Albanian language and expression. Meaning improved physical environments at universities and most definitely no corruption.We ask students to be more idealistic and active, work for a common progress in educa-tion as well as follow the rules and excercise their rights. 30 00 We are students, professors, people with or without jobs, with children or young our-selves. Who demand.We aim for an adequate education of European standard. Meaning better schools, aca-demic freedom, more study possibilities, language classes and choice of language in our studies. As well as a focus on Albanian language and expression. Meaning improved physical environments at universities and most definitely no corruption.We ask students to be more idealistic and active, work for a common progress in educa-tion as well as follow the rules and excercise their rights. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 25 03 06 10.21983/P3.0050.1.25 297 298 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Manifest për arsimin në Shqirëri 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 4 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Ne jemi studentë, pedagogë, njerëz me ose pa punë, me fëmijë ose të rinj vetë. Që kërkojmë.Ne duam një arsimim të standardeve evropiane. Që do të thotë, shkolla më të mira, liri akademike, më tepër mundësi studimi, klasa gjuhe dhe mundësinë për të zgjedhur gjuhën në të cilën studiojmë. Dhe gjithashtu fokus mbi gjuhën shqipe. Që do të thotë, ambiente më të mira në universitetet tona dhe jo korrupsion.Ne kërkojmë që studentët të jenë më idealist dhe më aktiv, të punojnë për progresin e përbashkët në arsim si dhe të zbatojnë rregullat dhe të ushtrojnë të drejtat e tyre. 30 00 Ne jemi studentë, pedagogë, njerëz me ose pa punë, me fëmijë ose të rinj vetë. Që kërkojmë.Ne duam një arsimim të standardeve evropiane. Që do të thotë, shkolla më të mira, liri akademike, më tepër mundësi studimi, klasa gjuhe dhe mundësinë për të zgjedhur gjuhën në të cilën studiojmë. Dhe gjithashtu fokus mbi gjuhën shqipe. Që do të thotë, ambiente më të mira në universitetet tona dhe jo korrupsion.Ne kërkojmë që studentët të jenë më idealist dhe më aktiv, të punojnë për progresin e përbashkët në arsim si dhe të zbatojnë rregullat dhe të ushtrojnë të drejtat e tyre. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 26 03 06 10.21983/P3.0050.1.26 299 314 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Philosophy and Humanistic Education J.S. Mill's Catastrophic Pedagogy 1 A01 Andreas Vrahimis Andreas Vrahimis 40 02qjrjx09 University of Cyprus 01 eng 03 00 It is almost a commonplace nowadays to hear of the end of the humanities, and defens-es of the humanities against all kinds of attack abound. A diagnosis might be in place, as an aside, before we begin: though these arguments in defense of the humanities are at the moment in vogue, the position of the attackers is not a dialogical one. Indeed, the attack does not seem to be founded on argument, but rather, in many ways, on unshakeable force – the kind of force that is not able to respond to argument (or even willing to read defenses of the humanities). In short, though there appear to be numer-ous ways of defending and attempting to fortify the humanities through perfectly valid and sound argument, the onslaught against the humanities does not seem bound either to listen or to respond. 30 00 It is almost a commonplace nowadays to hear of the end of the humanities, and defens-es of the humanities against all kinds of attack abound. A diagnosis might be in place, as an aside, before we begin: though these arguments in defense of the humanities are at the moment in vogue, the position of the attackers is not a dialogical one. Indeed, the attack does not seem to be founded on argument, but rather, in many ways, on unshakeable force – the kind of force that is not able to respond to argument (or even willing to read defenses of the humanities). In short, though there appear to be numer-ous ways of defending and attempting to fortify the humanities through perfectly valid and sound argument, the onslaught against the humanities does not seem bound either to listen or to respond. 20 00 Open Access Vrahimis, Andreas 27 03 06 10.21983/P3.0050.1.27 315 330 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Filozofia dhe shkollimi humanist Pedagogjia katastrofike e J.S. Millit 1 A01 Andreas Vrahimis Andreas Vrahimis 40 02qjrjx09 University of Cyprus 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Jemi mësuar tashmë të dëgjojmë për fundin e humaniteteve dhe mbrojtje të huma-niteteve nga sulme të llojeve të ndryshme nuk mungojnë. Ia vlen ndoshta që, në pa-rantezë, të bëjmë një diagnozë këtu, sa pa filluar mirë: ndonëse sot këto argumenta në mbrojtje të humaniteteve janë në modë, pozicioni i sulmuesve nuk është një pozi-cion bashkëbisedues. Në fakt, duket sikur sulmi nuk bazohet mbi argumenta, por, në shumë pikëpamje, mbi një forcë të patundur – një lloj force që nuk është në gjendje t’i përgjigjet argumentit (ose të paktën të jetë e gatshme të lexojë mbrojtjet për hu-manitetet). Shkrutimisht pra, ndonëse duket sikur ka shumë mënyra për të mbrojtur dhe për të përforcuar humanitetet nëpërmjet argumentash tërësisht të vlefshëm dhe të shëndoshë, vërshimi kundër humaniteteve nuk duket se ka ndërmend as të dëgjojë e as të përgjigjet. 30 00 Jemi mësuar tashmë të dëgjojmë për fundin e humaniteteve dhe mbrojtje të huma-niteteve nga sulme të llojeve të ndryshme nuk mungojnë. Ia vlen ndoshta që, në pa-rantezë, të bëjmë një diagnozë këtu, sa pa filluar mirë: ndonëse sot këto argumenta në mbrojtje të humaniteteve janë në modë, pozicioni i sulmuesve nuk është një pozi-cion bashkëbisedues. Në fakt, duket sikur sulmi nuk bazohet mbi argumenta, por, në shumë pikëpamje, mbi një forcë të patundur – një lloj force që nuk është në gjendje t’i përgjigjet argumentit (ose të paktën të jetë e gatshme të lexojë mbrojtjet për hu-manitetet). Shkrutimisht pra, ndonëse duket sikur ka shumë mënyra për të mbrojtur dhe për të përforcuar humanitetet nëpërmjet argumentash tërësisht të vlefshëm dhe të shëndoshë, vërshimi kundër humaniteteve nuk duket se ka ndërmend as të dëgjojë e as të përgjigjet. 20 00 Open Access Vrahimis, Andreas 28 03 06 10.21983/P3.0050.1.28 331 341 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Walter Benjamin and the Inhumanities Towards a Pedagogical Anti-Nietzscheanism 1 A01 Matthew Charles Matthew Charles 40 04ycpbx82 University of Westminster 01 eng 03 00 The following discussion is intended as a critical intervention into recent debates about the “crisis of the humanities,” reading the symptomaticity of crisis in the medical sense of a turning point. It does so from the perspective of the work of Walter Benja-min, whose own transdisciplinary practice of thought has been characterized as a “phi-losophy directed against philosophy” and a “philosophizing beyond philosophy,” and stands as a model for the kind of intellectual and para-academic activity evoked here.1Historically re-situating Benjamin’s famous allegory of the Angel of History from the twentieth-century context of the “crisis of culture” to the contemporary “crisis of edu-cation,” it attempts to reconstruct a dialectical understanding of pedagogization within Benjamin’s work, which is used to sketch out the contours of a critically reimagined pedagogy of the Inhumanities. 30 00 The following discussion is intended as a critical intervention into recent debates about the “crisis of the humanities,” reading the symptomaticity of crisis in the medical sense of a turning point. It does so from the perspective of the work of Walter Benja-min, whose own transdisciplinary practice of thought has been characterized as a “phi-losophy directed against philosophy” and a “philosophizing beyond philosophy,” and stands as a model for the kind of intellectual and para-academic activity evoked here.1Historically re-situating Benjamin’s famous allegory of the Angel of History from the twentieth-century context of the “crisis of culture” to the contemporary “crisis of edu-cation,” it attempts to reconstruct a dialectical understanding of pedagogization within Benjamin’s work, which is used to sketch out the contours of a critically reimagined pedagogy of the Inhumanities. 20 00 Open Access Charles, Matthew 29 03 06 10.21983/P3.0050.1.29 343 353 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Valter Benjamin dhe inhumanitetet Drejt një kundërniçanizmi pedagogjik 1 A01 Matthew Charles Matthew Charles 40 04ycpbx82 University of Westminster 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Diskutimi vijues ka për qëllim të jetë një ndërhyrje kritike në debatet e kohëve të fundit mbi idenë e “krizës së humaniteteve,” duke e lexuar simptomaticitetin e krizës si një kthesë në kuptimin mjekësor të fjalës. Ai e bën këtë nga perspektiva e veprës së Val-ter Benjamin, praktika transdisiplinare e mendimit të të cilit është karakterizuar si një “filozofi kundër filozofisë” dhe një “filozofim përtej filozofisë,” dhe qëndron si model për veprimtarinë intelektuale dhe para-akademike që ngrihet këtu.1 Duke zhvendosur alegorinë e famshme të Benjaminit të Ëngjellit të Historisë nga konteksti i “krizës së kulturës” të shekullit të njëzetë dhe duke e rivendosur ate tek “kriza e arsimit” e ditëve të sotme, ai përpiqet të rindërtojë një kuptim dialektik të pedagogjizimit brenda veprës së Benjaminit, që përdoret për të skicuar konturet e një pedagogjie të riimagjinuar në mënyrë kritike të inhumaniteteve. 30 00 Diskutimi vijues ka për qëllim të jetë një ndërhyrje kritike në debatet e kohëve të fundit mbi idenë e “krizës së humaniteteve,” duke e lexuar simptomaticitetin e krizës si një kthesë në kuptimin mjekësor të fjalës. Ai e bën këtë nga perspektiva e veprës së Val-ter Benjamin, praktika transdisiplinare e mendimit të të cilit është karakterizuar si një “filozofi kundër filozofisë” dhe një “filozofim përtej filozofisë,” dhe qëndron si model për veprimtarinë intelektuale dhe para-akademike që ngrihet këtu.1 Duke zhvendosur alegorinë e famshme të Benjaminit të Ëngjellit të Historisë nga konteksti i “krizës së kulturës” të shekullit të njëzetë dhe duke e rivendosur ate tek “kriza e arsimit” e ditëve të sotme, ai përpiqet të rindërtojë një kuptim dialektik të pedagogjizimit brenda veprës së Benjaminit, që përdoret për të skicuar konturet e një pedagogjie të riimagjinuar në mënyrë kritike të inhumaniteteve. 20 00 Open Access Çarls, Methju 30 03 06 10.21983/P3.0050.1.30 355 362 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Philosophy beyond the Peras Thinking with/in the Periphery 1 A01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 01 eng 03 00 To discuss, as we have been tasked to do, the concept of pedagogy requires that we first imagine what it is to learn, as well as what it is to be taught before we can even begin to venture forth on what it is to teach, and especially what it is to teach with/in what has been called the disaster. That the modern form of education is tightly constrained and regimented seems obvious, and therefore any thinking about thinking (any think-ing about disasters) must inevitably pass between the constraints, or under the regimes. This movement of thinking is always a call towards, and a call from. Martin Heidegger, in the two essays discussed here, asks that we attune ourselves well to venture onto this path, to listen before we begin (again) to teach; he asks us to listen to the unnecessary before we begin to discuss the necessary, to listen, perhaps, to the silence(s) which lie between thoughts, as much as to the thoughts themselves. 30 00 To discuss, as we have been tasked to do, the concept of pedagogy requires that we first imagine what it is to learn, as well as what it is to be taught before we can even begin to venture forth on what it is to teach, and especially what it is to teach with/in what has been called the disaster. That the modern form of education is tightly constrained and regimented seems obvious, and therefore any thinking about thinking (any think-ing about disasters) must inevitably pass between the constraints, or under the regimes. This movement of thinking is always a call towards, and a call from. Martin Heidegger, in the two essays discussed here, asks that we attune ourselves well to venture onto this path, to listen before we begin (again) to teach; he asks us to listen to the unnecessary before we begin to discuss the necessary, to listen, perhaps, to the silence(s) which lie between thoughts, as much as to the thoughts themselves. 20 00 Open Access Jenkins, Nico 31 03 06 10.21983/P3.0050.1.31 363 374 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pedagogjia përtej perasë Të mendojmë me periferinë 1 A01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B06 Jonida Gashi Jonida Gashi 02 alb 02 eng 03 00 Të diskutojmë, siç na është caktuar për detyrë, konceptin e pedagogjisë kërkon që në fillim të imagjinojmë se çfarë do të thotë të mësosh, si dhe çfarë është të të mësojnë, para se të marrim guximin të shtejllojmë se çfarë është të japësh mësim, dhe veçanëri-sht se çfarë është të japësh mësim me atë që është quajtur shkatërrim. Që forma moder-ne e shkollimit është mjaft e shtrënguar dhe e regjimentuar duket se është e qartë, dhe prandaj çdo të menduar mbi të menduarit (çdo të menduar mbi shkatërrimet) duhet doemos të kalojë midis shtrëngimeve, ose nën regjimet. Kjo lëvizje e të menduarit është gjithmonë një thirrje drejt, dhe një thirrje prej. Martin Hajdeger, në dy sprovat e disku-tuara këtu, kërkon që ne të harmonizohemi mirë për të marrë këtë rrugë, të dëgjojmë para se të fillojmë (sërish) të japim mësim; ai na kërkon të dëgjojmë të panevojshmen para se të fillojmë të diskutojmë të domosdoshmen, të dëgjojmë, ndoshta, heshtjen/t që shtrihet/n midis mendimeve, po aq sa vetë mendimet. 30 00 Të diskutojmë, siç na është caktuar për detyrë, konceptin e pedagogjisë kërkon që në fillim të imagjinojmë se çfarë do të thotë të mësosh, si dhe çfarë është të të mësojnë, para se të marrim guximin të shtejllojmë se çfarë është të japësh mësim, dhe veçanëri-sht se çfarë është të japësh mësim me atë që është quajtur shkatërrim. Që forma moder-ne e shkollimit është mjaft e shtrënguar dhe e regjimentuar duket se është e qartë, dhe prandaj çdo të menduar mbi të menduarit (çdo të menduar mbi shkatërrimet) duhet doemos të kalojë midis shtrëngimeve, ose nën regjimet. Kjo lëvizje e të menduarit është gjithmonë një thirrje drejt, dhe një thirrje prej. Martin Hajdeger, në dy sprovat e disku-tuara këtu, kërkon që ne të harmonizohemi mirë për të marrë këtë rrugë, të dëgjojmë para se të fillojmë (sërish) të japim mësim; ai na kërkon të dëgjojmë të panevojshmen para se të fillojmë të diskutojmë të domosdoshmen, të dëgjojmë, ndoshta, heshtjen/t që shtrihet/n midis mendimeve, po aq sa vetë mendimet. 20 00 Open Access Xhenkins, Niko 32 03 06 10.21983/P3.0050.1.32 375 384 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cyber-Catastrophe Towards a New Pedagogy of Entropy 1 A01 Justin Joque Justin Joque 40 00jmfr291 University of Michigan–Ann Arbor 06 Own website http://www.justinjoque.com/ 01 eng 03 00 One of the earliest glimpses of the possible impact of an all out cyberwar occurred in June of 1997. That month a small team of hackers using publicly available tools and programs was supposedly able to gain access to the power grid in nine United States cities, their emergency response systems and a number of critical Pentagon networks including those that managed military supply chains and the command-and-control structure. According to James Adams who has written at length about these attacks:The hackers also managed to infect the human command-and-control system with a paralyzing level of mistrust. Orders that appeared to come from a commanding general were fake, as were bogus news reports on the crisis and instructions from the civilian command authorities. As a result, nobody in the chain of command, from the president on down, could believe anything. This group of hackers using publicly available resources was able to prevent the United States from waging war effectively 30 00 One of the earliest glimpses of the possible impact of an all out cyberwar occurred in June of 1997. That month a small team of hackers using publicly available tools and programs was supposedly able to gain access to the power grid in nine United States cities, their emergency response systems and a number of critical Pentagon networks including those that managed military supply chains and the command-and-control structure. According to James Adams who has written at length about these attacks:The hackers also managed to infect the human command-and-control system with a paralyzing level of mistrust. Orders that appeared to come from a commanding general were fake, as were bogus news reports on the crisis and instructions from the civilian command authorities. As a result, nobody in the chain of command, from the president on down, could believe anything. This group of hackers using publicly available resources was able to prevent the United States from waging war effectively 20 00 Open Access Joque, Justin 33 03 06 10.21983/P3.0050.1.33 385 398 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Katastrofa kibernetike Drejt një pedagogjie të entropisë 1 A01 Justin Joque Justin Joque 40 00jmfr291 University of Michigan–Ann Arbor 06 Own website http://www.justinjoque.com/ 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Një nga vezullimat më të herëta të impaktit të mundshëm të një lufte të hapur kiberne-tike u shfaq në qershor të 1997-s. Mendohet se atë muaj një skuadër e vogël hakerash, duke përdorur mjete dhe programe në dispozicion të të gjithëve, arriti të depërtonte në rrjetin elektrik të nëntë qyteteve amerikane, sistemet e tyre të emergjencës dhe një numër rrjetesh mjaft të rëndësishme të Pentagonit duke përfshirë këtu edhe ato rrjete që menaxhonin zinxhirët e furnizimit të ushtrisë dhe strukturës komandë-dhe-kon-troll. Sipas Xhejms Adamsit që ka shkruar gjatë mbi këto sulme:Hakera arritën gjithashtu të infektonin sistemin njerëzor komandë-dhe-kontroll me një nivel paralizues mosbesimi. Urdhërat që duket se vinin nga gjeneralët në komandë ishin të rremë, po ashtu siç ishin të rreme edhe lajmet mbi krizën dhe instruksionet nga autoritetet e komandës civile. Për pasojë, askush në zinxhirin e komandës, nga presidenti e poshtë, nuk mund të besonte asgjë. Ky grup hakerash që po përdornin resurse që ishin në dispozicion të të gjithëve qe i aftë ta pengonte shba-në të bënte luftë në mënyrë efektive. 30 00 Një nga vezullimat më të herëta të impaktit të mundshëm të një lufte të hapur kiberne-tike u shfaq në qershor të 1997-s. Mendohet se atë muaj një skuadër e vogël hakerash, duke përdorur mjete dhe programe në dispozicion të të gjithëve, arriti të depërtonte në rrjetin elektrik të nëntë qyteteve amerikane, sistemet e tyre të emergjencës dhe një numër rrjetesh mjaft të rëndësishme të Pentagonit duke përfshirë këtu edhe ato rrjete që menaxhonin zinxhirët e furnizimit të ushtrisë dhe strukturës komandë-dhe-kon-troll. Sipas Xhejms Adamsit që ka shkruar gjatë mbi këto sulme:Hakera arritën gjithashtu të infektonin sistemin njerëzor komandë-dhe-kontroll me një nivel paralizues mosbesimi. Urdhërat që duket se vinin nga gjeneralët në komandë ishin të rremë, po ashtu siç ishin të rreme edhe lajmet mbi krizën dhe instruksionet nga autoritetet e komandës civile. Për pasojë, askush në zinxhirin e komandës, nga presidenti e poshtë, nuk mund të besonte asgjë. Ky grup hakerash që po përdornin resurse që ishin në dispozicion të të gjithëve qe i aftë ta pengonte shba-në të bënte luftë në mënyrë efektive. 20 00 Open Access Xhouk, Xhustin 34 03 06 10.21983/P3.0050.1.34 399 411 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Faculty in Withdrawal Not To Know and the Uncertainties of Self-Institutionalization 1 A01 21 000000020697846X Tijana Stevanović Tijana Stevanović 40 01kj2bm70 Newcastle University 01 eng 03 00 The best “tendency” is wrong if it does not prescribe the attitude with which it ought to be pursued. These words produced some eighty years ago, still speak to us with the fresh “pedagogi-cal” attitude Benjamin himself deliberately sought to inhabit when writing about the revolutionary intellectual. No matter how finished the objects of production may seem to appear, what seemed more urgent, he argued, has been to uncover the techniques of production’s own potentialities for exposing the organizational complex of fabrica-tion within. If the institutional dimension of constructing subjectivities were acknowl-edged as a continuing existence of the bourgeois apparatus, it would be possible for the functional distinction between products and producers to ultimately crack open and evaporate. Central to his project on the disappearance of the author through careful dissemination, Benjamin praised Brecht’s Umfunktionierung as an idea of transforming actively institutions and instruments of production by radical intellectuals: “It’s not a question of being against the institution: We are the institution.” 30 00 The best “tendency” is wrong if it does not prescribe the attitude with which it ought to be pursued. These words produced some eighty years ago, still speak to us with the fresh “pedagogi-cal” attitude Benjamin himself deliberately sought to inhabit when writing about the revolutionary intellectual. No matter how finished the objects of production may seem to appear, what seemed more urgent, he argued, has been to uncover the techniques of production’s own potentialities for exposing the organizational complex of fabrica-tion within. If the institutional dimension of constructing subjectivities were acknowl-edged as a continuing existence of the bourgeois apparatus, it would be possible for the functional distinction between products and producers to ultimately crack open and evaporate. Central to his project on the disappearance of the author through careful dissemination, Benjamin praised Brecht’s Umfunktionierung as an idea of transforming actively institutions and instruments of production by radical intellectuals: “It’s not a question of being against the institution: We are the institution.” 20 00 Open Access Stevanović, Tijana 35 03 06 10.21983/P3.0050.1.35 413 422 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fakulteti në zmbrapsje Mosditja dhe pasiguritë e vetëinstitucionalizimit 1 A01 21 000000020697846X Tijana Stevanović Tijana Stevanović 40 01kj2bm70 Newcastle University 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 “Tendenca” më e mire është e gabuar nëse ajo nuk paracakton mënyrën se si duhet ndjekur. Këto fjalë të shkruara thuajse tetëdhjetë vite më parë ende rikumbojnë me risinë e qën-drimit “pedagogjik” që vetë Benjamin ishte përpjekur të merrte ndërsa shkruante për intelektualin revolucionar. Pavarësisht se sa të përfunduara mund të duken objektet e prodhimit, ajo që dukej më urgjente, thotë Benjamin, ka qenë zbulimi i potencialitete-ve të vetë teknikave të prodhimit për të zbuluar kompleksin organizativ të mashtrimit brenda tyre. Po të pranonim se dimensioni institucional i ndërtimit të subjektivite-teve nuk është veçse ekzistenca e vazhduar e aparatit borgjez, do të qe e mundur që dallimi funksional midis prodhimeve dhe prodhuesve të zhdukej një herë e mirë. Një aspekt i rëndësishëm në projektin e tij mbi zhdukjen e autorit përmes shpërhapjes së kujdesshme, Benjamin lëvdoi rifunktionimin [Umfunktionierung] të Brehtit [Brecht] si një ide për transformimin aktiv të institucioneve dhe mjeteve të prodhimit prej inte-lektualëve radikalë: “Nuk është puna t’i kundërvihemi institucionit: Ne jemi institu-cioni.” 30 00 “Tendenca” më e mire është e gabuar nëse ajo nuk paracakton mënyrën se si duhet ndjekur. Këto fjalë të shkruara thuajse tetëdhjetë vite më parë ende rikumbojnë me risinë e qën-drimit “pedagogjik” që vetë Benjamin ishte përpjekur të merrte ndërsa shkruante për intelektualin revolucionar. Pavarësisht se sa të përfunduara mund të duken objektet e prodhimit, ajo që dukej më urgjente, thotë Benjamin, ka qenë zbulimi i potencialitete-ve të vetë teknikave të prodhimit për të zbuluar kompleksin organizativ të mashtrimit brenda tyre. Po të pranonim se dimensioni institucional i ndërtimit të subjektivite-teve nuk është veçse ekzistenca e vazhduar e aparatit borgjez, do të qe e mundur që dallimi funksional midis prodhimeve dhe prodhuesve të zhdukej një herë e mirë. Një aspekt i rëndësishëm në projektin e tij mbi zhdukjen e autorit përmes shpërhapjes së kujdesshme, Benjamin lëvdoi rifunktionimin [Umfunktionierung] të Brehtit [Brecht] si një ide për transformimin aktiv të institucioneve dhe mjeteve të prodhimit prej inte-lektualëve radikalë: “Nuk është puna t’i kundërvihemi institucionit: Ne jemi institu-cioni.” 20 00 Open Access Stevanoviq, Tijana 36 03 06 10.21983/P3.0050.1.36 423 437 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Prototypes Should We Eat Mao's Pear, Sail Saint-Exupéry's Boast, Drink with Heidegger's Pitcher, or Use Nietzsche's Hammer to Respond to the Crisis? 1 A01 Denisa Kera Denisa Kera 40 01tgyzw49 National University of Singapore 01 eng 03 00 In 1972 philosophers, sociologists, and architects, such as Jean Baudrillard, Umberto Eco, Octavio Paz, Hannah Arendt, Manuel Castells, and others, gathered at the Mu-seum of Modern Art (moma) to discuss “The Universitas Project: Solutions for a Post-Technological Society.” Their responses and proposals on how to deal with the environ-mental, financial and political crises were assembled by Emilio Ambasz, an Argentinian architect, appointed at that time as a curator of Design at moma. He defined the goal of the symposium and the whole project as: a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment [...] specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu 30 00 In 1972 philosophers, sociologists, and architects, such as Jean Baudrillard, Umberto Eco, Octavio Paz, Hannah Arendt, Manuel Castells, and others, gathered at the Mu-seum of Modern Art (moma) to discuss “The Universitas Project: Solutions for a Post-Technological Society.” Their responses and proposals on how to deal with the environ-mental, financial and political crises were assembled by Emilio Ambasz, an Argentinian architect, appointed at that time as a curator of Design at moma. He defined the goal of the symposium and the whole project as: a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment [...] specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu 20 00 Open Access Kera, Denisa 37 03 06 10.21983/P3.0050.1.37 439 453 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mbi prototipet A duhet të hamë dardhën e Maos, të lundrojmë varkën e Sent-Eksyperisë, të pimë me kanën e Hajdegerit apo të përdorim çekanin e Niçes për t'iu përgjigjur krizës? 1 A01 Denisa Kera Denisa Kera 40 01tgyzw49 National University of Singapore 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në 1972-shin, filozofë, sociologjistë, dhe arkitektë si Zhan Bodrijar [Jean Baudrillard], Umberto Eko [Eco], Oktavio Pas [Octavio Paz], Hanna Arent [Hannah Arendt], Ma-nuel Castells e të tjerë, u mblodhën tek Muzeu i Artit Modern (moma) për të deba-tuar “Projekti Universitas: Rrugëdalje për një shoqëri pasteknologjike.” Përgjigjet dhe propozimet e tyre mbi mënyrën se si duhej marrë me krizat mjedisore, financiare dhe politike u mblodhën bashkë nga Emilio Ambasi, një arkitekt argjentinas që ato kohë ishte kurator i Dizajnit tek moma. Ai e përcaktoi qëllimin e simpoziumit dhe të të gjithë projektit si:një hetim kritik dhe paraprak mbi marrëdhënien e njeriut me ambientin natyral dhe socio-kulturor [...] e planifikuar posaçërisht për të shqyrtuar mundësinë për të krijuar një lloj të ri institucioni në Shtetet e Bashkuara të përqëndruar tek vlerësimi dhe dizenjimi i ambientit të bërë nga njeriu. 30 00 Në 1972-shin, filozofë, sociologjistë, dhe arkitektë si Zhan Bodrijar [Jean Baudrillard], Umberto Eko [Eco], Oktavio Pas [Octavio Paz], Hanna Arent [Hannah Arendt], Ma-nuel Castells e të tjerë, u mblodhën tek Muzeu i Artit Modern (moma) për të deba-tuar “Projekti Universitas: Rrugëdalje për një shoqëri pasteknologjike.” Përgjigjet dhe propozimet e tyre mbi mënyrën se si duhej marrë me krizat mjedisore, financiare dhe politike u mblodhën bashkë nga Emilio Ambasi, një arkitekt argjentinas që ato kohë ishte kurator i Dizajnit tek moma. Ai e përcaktoi qëllimin e simpoziumit dhe të të gjithë projektit si:një hetim kritik dhe paraprak mbi marrëdhënien e njeriut me ambientin natyral dhe socio-kulturor [...] e planifikuar posaçërisht për të shqyrtuar mundësinë për të krijuar një lloj të ri institucioni në Shtetet e Bashkuara të përqëndruar tek vlerësimi dhe dizenjimi i ambientit të bërë nga njeriu. 20 00 Open Access Kera, Denisa 38 03 06 10.21983/P3.0050.1.38 455 462 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Necessity of Education Or How Can One Still Be an Althusserian in the Wake of Badiou? 1 A01 21 0000000238059636 Sina Badiei Sina Badiei 01 eng 03 00 In his essay, “Ideology and the Ideological State Apparatus,”1 Althusser proclaims the educational apparatus to have become what the church or religious apparatus was in the Middle Ages. That is to say, the educational apparatuses are the ones where people are more effectively than anywhere else subjected to becoming subjects, in the negative sense of this term used in Althusser.The main reason he cites for this choice is that “no other ideological state apparatus has the obligatory (and not least, free) audience of the totality of the children in the capitalist social formation, eight hours a day for five or six days out of seven.”2 Yet if we were to accept what Althusser tells us, we can’t, overlook another phenomenon which has been emerging in our epoch; I am here referring to an article in one of the issues of The Economist magazine where concerned parents were advised not to send their children to schools at all and to have them study only and only computer program-ming from the earliest years if they wanted them to become successful in it professions. What can we make of this paradox? 30 00 In his essay, “Ideology and the Ideological State Apparatus,”1 Althusser proclaims the educational apparatus to have become what the church or religious apparatus was in the Middle Ages. That is to say, the educational apparatuses are the ones where people are more effectively than anywhere else subjected to becoming subjects, in the negative sense of this term used in Althusser.The main reason he cites for this choice is that “no other ideological state apparatus has the obligatory (and not least, free) audience of the totality of the children in the capitalist social formation, eight hours a day for five or six days out of seven.”2 Yet if we were to accept what Althusser tells us, we can’t, overlook another phenomenon which has been emerging in our epoch; I am here referring to an article in one of the issues of The Economist magazine where concerned parents were advised not to send their children to schools at all and to have them study only and only computer program-ming from the earliest years if they wanted them to become successful in it professions. What can we make of this paradox? 20 00 Open Access Badiei, Sina 39 03 06 10.21983/P3.0050.1.39 463 474 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Nevoja për arsim Si mund të vazhdojmë të jemi Altyserianë pas Badiusë? 1 A01 21 0000000238059636 Sina Badiei Sina Badiei 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Në sprovën e titulluar “Ideologjia dhe aparatet ideologjike shtetërore”1 Altyser dekla-ron se aparati arsimor ka zënë vendin që kisha ose aparati fetar kishte në Mesjetë. Kjo do të thotë se aparatet arsimore janë ato ku më shumë se kudo tjetër njerëzit i nën-strohen bërjes subjekt, në kuptimin e keq të kësaj fjale në përdorimin i saj prej Altyserit.Altyser e justifikon këtë me faktin se “asnjë aparat ideologjik shtetëror nuk ka si pu-blik në formimin shoqëror kapitalist tërësinë e fëmijëve për nga tetë orë në ditë dhe pesë ose gjashtë ditë në javë, një publik që është njëkohësisht i detyruar dhe falas.”2Po ta merrnim për të mirëqenë atë që thotë Altyser atëherë do të duhej të merrnim në konsideratë edhe një fenomen që ka filluar të shfaqet në kohët tona; po i referohem një artikulli të publikuar në një numër të revistës The Economist ku prinderit e shqetësuar për këtë çështje këshilloheshin të mos i dërgonin fare në shkollë fëmijët e tyre dhe t’i bënin ata të studjonin vetëm programim kompjuteri sa më herët në mënyrë që me kohë ata të bëheshin profesionistë informatike të suksesshëm. Si mund ta trajtojmë një paradoks të tillë? 30 00 Në sprovën e titulluar “Ideologjia dhe aparatet ideologjike shtetërore”1 Altyser dekla-ron se aparati arsimor ka zënë vendin që kisha ose aparati fetar kishte në Mesjetë. Kjo do të thotë se aparatet arsimore janë ato ku më shumë se kudo tjetër njerëzit i nën-strohen bërjes subjekt, në kuptimin e keq të kësaj fjale në përdorimin i saj prej Altyserit.Altyser e justifikon këtë me faktin se “asnjë aparat ideologjik shtetëror nuk ka si pu-blik në formimin shoqëror kapitalist tërësinë e fëmijëve për nga tetë orë në ditë dhe pesë ose gjashtë ditë në javë, një publik që është njëkohësisht i detyruar dhe falas.”2Po ta merrnim për të mirëqenë atë që thotë Altyser atëherë do të duhej të merrnim në konsideratë edhe një fenomen që ka filluar të shfaqet në kohët tona; po i referohem një artikulli të publikuar në një numër të revistës The Economist ku prinderit e shqetësuar për këtë çështje këshilloheshin të mos i dërgonin fare në shkollë fëmijët e tyre dhe t’i bënin ata të studjonin vetëm programim kompjuteri sa më herët në mënyrë që me kohë ata të bëheshin profesionistë informatike të suksesshëm. Si mund ta trajtojmë një paradoks të tillë? 20 00 Open Access Badiji, Sina 40 03 06 10.21983/P3.0050.1.40 475 481 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The University Must Be Transcended 1 A01 Nick Skiadopoulos Nick Skiadopoulos 01 eng 03 00 It seems that I am not the only one here among us who linked the title of this confer-ence to Maurice Blanchot’s last work L’Écriture du désastre – a text that begins with the following phrase: “Le désastre ruine tout en laissant tout en l’état.”1 The modality of disaster is thus to ruin everything while leaving everything in state. Destruction is not disposal, what is destroyed is not transferred to some place arranged specifically for that purpose. If there is a place reserved for disaster it is only that of the ruin: what is destroyed remains there, on the same ground that once supported its coherency.But what of the state of our pedagogies? As much as I hate to utter banalities, peda-gogy (from Plutarch to Rousseau and up to the field of philosophy of education) is a word charged with agents, spaces, ceremonies, and unnamable desires. And whereas it can be distinguished from the administrative aspect of education, in that it assumes a more or less personal relationship between the educator and the educated, I take this distinction to be overtly metaphysical. Both pedagogy and its administrative aspect are technologies that can be viewed and analyzed on the same, immanent level. Pedagogy is administrative exactly because it is performative and administration is pedagogical in that it involves several forms of discipline. The strict distinction between a pedagogi-cal and an administrative aspect of education is thus a mere illusion. But it is a highly interesting one, exactly because it takes itself to be real, leading us to believe that had the balance between the administrative and the pedagogical been disturbed in favor of the former, humanities could face the danger of their destruction. 30 00 It seems that I am not the only one here among us who linked the title of this confer-ence to Maurice Blanchot’s last work L’Écriture du désastre – a text that begins with the following phrase: “Le désastre ruine tout en laissant tout en l’état.”1 The modality of disaster is thus to ruin everything while leaving everything in state. Destruction is not disposal, what is destroyed is not transferred to some place arranged specifically for that purpose. If there is a place reserved for disaster it is only that of the ruin: what is destroyed remains there, on the same ground that once supported its coherency.But what of the state of our pedagogies? As much as I hate to utter banalities, peda-gogy (from Plutarch to Rousseau and up to the field of philosophy of education) is a word charged with agents, spaces, ceremonies, and unnamable desires. And whereas it can be distinguished from the administrative aspect of education, in that it assumes a more or less personal relationship between the educator and the educated, I take this distinction to be overtly metaphysical. Both pedagogy and its administrative aspect are technologies that can be viewed and analyzed on the same, immanent level. Pedagogy is administrative exactly because it is performative and administration is pedagogical in that it involves several forms of discipline. The strict distinction between a pedagogi-cal and an administrative aspect of education is thus a mere illusion. But it is a highly interesting one, exactly because it takes itself to be real, leading us to believe that had the balance between the administrative and the pedagogical been disturbed in favor of the former, humanities could face the danger of their destruction. 20 00 Open Access Skiadopoulos, Nick 41 03 06 10.21983/P3.0050.1.41 483 493 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Universiteti duhet tejkaluar 1 A01 Nick Skiadopoulos Nick Skiadopoulos 2 B06 Jonida Gashi Jonida Gashi 01 alb 02 eng 03 00 Ështe e qartë se unë nuk jam i vetmi këtu mes nesh që ka bërë lidhjen midis titullit të kësaj konference dhe veprës së fundit të Moris Blanshosë [Maurice Blanchot] Shkrimi i shkatërrimit [L’Écriture du désastre] – një tekst që fillon me frazën vijuese: “Le désastre ruine tout en laissant tout en l’état – Shkatërrimi rrënon gjithçka, por duke lënë gjithç-ka të paprekur.”1 Modaliteti i shkatërrimit është të rrënojë gjithçka duke lënë gjithçka en l’état.* Shkatërrimi nuk është flakje tutje, ajo që shkatërrohet nuk transferohet në ndonjë vend që ekziston apostafat për atë punë. Nëse ka ndonjë vend të rezervuar për shkatërrimin kjo është vetëm rrënoja: çfarë shkatërrohet mbetet atje, në të njëjtin vend që një herë e një kohë mbështeste koherencën e saj.Por ç’mund të themi për gjendjen e pedagogjive tona? Megjithëse urrej të them banalitete, pedagogjia (duke filluar nga Plutarku, duke vazhduar me Russonë [Rousse-au], e deri tek sfera e filozofisë së arsimit) është një fjalë e ngarkuar me aktorë, hapësira, ceremoni dhe dëshira pa emër. Dhe ndonëse ajo mund të dallohet prej aspektit ad-ministrative të arsimit, sepse ajo nënkupton një marrëdhënie pak a shumë personale midis mësuesit dhe nxënësit, për mua ky dallim është ca si tepër metafizik. Si peda-gogjia ashtu dhe aspekti administrativ i saj janë teknologji që mund të vërehen dhe të analizohen në të njëjtin plan imanent. Pedagogjia është administrative pikërisht sepse ajo është performative dhe administrata është pedagogjike sepse ajo përfshin forma të ndryshme disipline. Pra dallimi definitiv midis aspekteve pedagogjike dhe administra-tive të arsimit është thjesht një iluzion. Ama ai është një iluzion mjaft interesant, pikëri-sht sepse ai mendon se është i vërtetë, duke na bërë të mendojmë se nëse balanca midis administratives dhe pedagogjikes do të ishte lëkundur në favor të së parës, humanitetet do të mund të përballeshin me kërcënimin e shkatërrimit të tyre. 30 00 Ështe e qartë se unë nuk jam i vetmi këtu mes nesh që ka bërë lidhjen midis titullit të kësaj konference dhe veprës së fundit të Moris Blanshosë [Maurice Blanchot] Shkrimi i shkatërrimit [L’Écriture du désastre] – një tekst që fillon me frazën vijuese: “Le désastre ruine tout en laissant tout en l’état – Shkatërrimi rrënon gjithçka, por duke lënë gjithç-ka të paprekur.”1 Modaliteti i shkatërrimit është të rrënojë gjithçka duke lënë gjithçka en l’état.* Shkatërrimi nuk është flakje tutje, ajo që shkatërrohet nuk transferohet në ndonjë vend që ekziston apostafat për atë punë. Nëse ka ndonjë vend të rezervuar për shkatërrimin kjo është vetëm rrënoja: çfarë shkatërrohet mbetet atje, në të njëjtin vend që një herë e një kohë mbështeste koherencën e saj.Por ç’mund të themi për gjendjen e pedagogjive tona? Megjithëse urrej të them banalitete, pedagogjia (duke filluar nga Plutarku, duke vazhduar me Russonë [Rousse-au], e deri tek sfera e filozofisë së arsimit) është një fjalë e ngarkuar me aktorë, hapësira, ceremoni dhe dëshira pa emër. Dhe ndonëse ajo mund të dallohet prej aspektit ad-ministrative të arsimit, sepse ajo nënkupton një marrëdhënie pak a shumë personale midis mësuesit dhe nxënësit, për mua ky dallim është ca si tepër metafizik. Si peda-gogjia ashtu dhe aspekti administrativ i saj janë teknologji që mund të vërehen dhe të analizohen në të njëjtin plan imanent. Pedagogjia është administrative pikërisht sepse ajo është performative dhe administrata është pedagogjike sepse ajo përfshin forma të ndryshme disipline. Pra dallimi definitiv midis aspekteve pedagogjike dhe administra-tive të arsimit është thjesht një iluzion. Ama ai është një iluzion mjaft interesant, pikëri-sht sepse ai mendon se është i vërtetë, duke na bërë të mendojmë se nëse balanca midis administratives dhe pedagogjikes do të ishte lëkundur në favor të së parës, humanitetet do të mund të përballeshin me kërcënimin e shkatërrimit të tyre. 20 00 Open Access Skiadopulos, Nik 42 03 06 10.21983/P3.0050.1.42 495 507 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Compter sur l'impossible inexistant - To Rely on the Inexistent Impossible 1 A01 Judith Balso Judith Balso 40 04g3mbv81 European Graduate School 01 eng 03 00 What is the value of the word “disaster”? This has been my first question, when I read the title of our meeting: “Pedagogies of the Disaster.” Its value is certainly linked to its subjective power: today we feel and experiment countless situations as pure disasters. Disaster is the name we give to our violent feeling that – if we speak as Marcellus did in Hamlet – “something is rotten” in all our States of Denmark. Yet, in spite of its apparent radicalism, the word “disaster” is not an elucidat-ing word. In fact, it easily becomes a consensual designation of an elusive state of things. For instance, most reactionary people would agree with the existence of disaster, as far as education is concerned. Furthermore, when you speak of disaster, you cannot say which time you are in: After the disaster? Within the disaster? Before the disaster? At the eve of it? At its dawn? And then, what should be our task? Preventing the disaster? Overcoming it? In fact, “disaster” seems to me a noun that suspends time, and therefore suspends thought and action. Quoting John Van Houdt, I would like to highlight his interrogation: “We should hesitate before attributing any clear critical function to the rhetoric of disaster.” 30 00 What is the value of the word “disaster”? This has been my first question, when I read the title of our meeting: “Pedagogies of the Disaster.” Its value is certainly linked to its subjective power: today we feel and experiment countless situations as pure disasters. Disaster is the name we give to our violent feeling that – if we speak as Marcellus did in Hamlet – “something is rotten” in all our States of Denmark. Yet, in spite of its apparent radicalism, the word “disaster” is not an elucidat-ing word. In fact, it easily becomes a consensual designation of an elusive state of things. For instance, most reactionary people would agree with the existence of disaster, as far as education is concerned. Furthermore, when you speak of disaster, you cannot say which time you are in: After the disaster? Within the disaster? Before the disaster? At the eve of it? At its dawn? And then, what should be our task? Preventing the disaster? Overcoming it? In fact, “disaster” seems to me a noun that suspends time, and therefore suspends thought and action. Quoting John Van Houdt, I would like to highlight his interrogation: “We should hesitate before attributing any clear critical function to the rhetoric of disaster.” 20 00 Open Access Balso, Judith 43 03 06 10.21983/P3.0050.1.43 509 526 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Compter sur l'impossible inexistant - Të mbështetesh mbi të pamundurën joekzistuese 1 A01 Judith Balso Judith Balso 40 04g3mbv81 European Graduate School 01 alb 02 eng 03 00 Çfarë vlere ka fjala “shkatërrim”? Kjo qe pyetja e parë që i bëra vetes kur lexova titullin e takimit tonë: “Pedagogjitë e shkatërrimit.” Padyshim që vlera e kësaj fjale lidhet me fuqinë e saj subjektive: Sot ne përjetojmë situata të panumërta si katastrofa të mirëfillta. Shkatërrim është emri që ne i vëmë ndjenjës së dhunshme që kemi se (po të shpreheshim si Marceli tek Hamleti) “diçka është kalbur”* në të tëra shtetet tona të Danimarkës. Por, megjithë radikalizmin e saj të dukshëm, fjala “shkatërrim” nuk është një fjalë sqaruese. Në fakt, shumë lehtë ajo mund të bëhet përcaktimi konsensual i një gjendje të përgjithshme të parrokshme. Për shem-bull, shumica e njerëzve reaksionarë do ta pranonin ekzistencën e shkatërrimit në arsim. Për më tepër, kur dikush flet për shkatërrimin, ai nuk mund të përcaktojë ekzaktësisht se në ç’kohë ndodhet: Pas shkatërrimit? Brenda shkatërrimit? Para shkatërrimit? Në prag të tij? Në agimin e tij? E pastaj, cila duhet të jetë detyra jonë? Të parandalojmë shkatërrimin? Ta mposhtim atë? Në fakt, “shkatërrim” më duket një emër që pezullon kohën dhe kësisoj mendimin dhe veprimin. Duke cituar Xhon Van Haut [John Van Houdt], do të doja të theksoja hetimin e tij: “Duhet të hezitojmë para se t’i atribojmë një funksion të qartë kritik retorikës së shkatërrimit.” 30 00 Çfarë vlere ka fjala “shkatërrim”? Kjo qe pyetja e parë që i bëra vetes kur lexova titullin e takimit tonë: “Pedagogjitë e shkatërrimit.” Padyshim që vlera e kësaj fjale lidhet me fuqinë e saj subjektive: Sot ne përjetojmë situata të panumërta si katastrofa të mirëfillta. Shkatërrim është emri që ne i vëmë ndjenjës së dhunshme që kemi se (po të shpreheshim si Marceli tek Hamleti) “diçka është kalbur”* në të tëra shtetet tona të Danimarkës. Por, megjithë radikalizmin e saj të dukshëm, fjala “shkatërrim” nuk është një fjalë sqaruese. Në fakt, shumë lehtë ajo mund të bëhet përcaktimi konsensual i një gjendje të përgjithshme të parrokshme. Për shem-bull, shumica e njerëzve reaksionarë do ta pranonin ekzistencën e shkatërrimit në arsim. Për më tepër, kur dikush flet për shkatërrimin, ai nuk mund të përcaktojë ekzaktësisht se në ç’kohë ndodhet: Pas shkatërrimit? Brenda shkatërrimit? Para shkatërrimit? Në prag të tij? Në agimin e tij? E pastaj, cila duhet të jetë detyra jonë? Të parandalojmë shkatërrimin? Ta mposhtim atë? Në fakt, “shkatërrim” më duket një emër që pezullon kohën dhe kësisoj mendimin dhe veprimin. Duke cituar Xhon Van Haut [John Van Houdt], do të doja të theksoja hetimin e tij: “Duhet të hezitojmë para se t’i atribojmë një funksion të qartë kritik retorikës së shkatërrimit.” 20 00 Open Access Balso, Zhydit 44 03 06 10.21983/P3.0050.1.44 527 529 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Constitution of Happiness 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 01 eng 03 00 Article 1: Equality We want equality because, without it, it is impossible to develop our abilities. We are made to believe that we are not capable of reflection. But one must first of all understand that the student is not stupid and that knowledge is not merely acquired through academic learning. (It is possible to learn outside of academic institutions via our own personal experiences.) We have to steer clear of the idea that a student can no longer work or study after being deemed to have a lack of abilities when, in reality, students have equal abilities to those of the teacher.We are presented with an already constituted knowledge; we are in its shadow. However, knowledge is not already constituted, it has to be reinvented. Knowledge is perpetual reinvention in order for a new invention of the thing itself to reemerge (a perpetual reorganization of the void). Each discipline has decisive acts in which we would like to participate. 30 00 Article 1: Equality We want equality because, without it, it is impossible to develop our abilities. We are made to believe that we are not capable of reflection. But one must first of all understand that the student is not stupid and that knowledge is not merely acquired through academic learning. (It is possible to learn outside of academic institutions via our own personal experiences.) We have to steer clear of the idea that a student can no longer work or study after being deemed to have a lack of abilities when, in reality, students have equal abilities to those of the teacher.We are presented with an already constituted knowledge; we are in its shadow. However, knowledge is not already constituted, it has to be reinvented. Knowledge is perpetual reinvention in order for a new invention of the thing itself to reemerge (a perpetual reorganization of the void). Each discipline has decisive acts in which we would like to participate. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 45 03 06 10.21983/P3.0050.1.45 531 537 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Kushtetuta e lumturisë 1 B01 Nico Jenkins Nico Jenkins 40 05rp6gx35 Husson University 40 01adr0w49 University of Maine 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 04g3mbv81 European Graduate School 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 3 B01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 alb 03 00 Neni 1: Barazia Duam të kemi barazi sepse pa të, është e pamundur të tregojmë aftësitë tona.Na bëjnë të besojmë se nuk jemi të aftë për të reflektuar. Por në fillim duhet pra-nuar se nxënësi nuk është budalla dhe se dija nuk fitohet vetëm me mësimet shkollore (Nga eksperiencat tona personale, është e mundur të mësosh edhe jashtë institucionit të shkollës). Duhet bërë çmos që nxënësi mos të punojë më i zhvlerësuar, për shkak të mohimit të aftësive të tij, ndërkohë që aftësitë tona janë të njëjta me ato të pedagogëve. Na paraqesin disa dije si të krijuara tashmë dhe ne duhet të jemi nën hijen e tyre. Mirëpo, dijet nuk janë të krijuara, ato duhet të rikrijohen. Dijet janë një rizbulim i vazhdueshëm që mundësojnë shfaqjen e një krijimi të ri të vetë gjëjës (riorganizimi i vazhdueshëm i boshit). Çdo disiplinë përmban akte vendimtare ku ne duam të marrim pjesë. 30 00 Neni 1: Barazia Duam të kemi barazi sepse pa të, është e pamundur të tregojmë aftësitë tona.Na bëjnë të besojmë se nuk jemi të aftë për të reflektuar. Por në fillim duhet pra-nuar se nxënësi nuk është budalla dhe se dija nuk fitohet vetëm me mësimet shkollore (Nga eksperiencat tona personale, është e mundur të mësosh edhe jashtë institucionit të shkollës). Duhet bërë çmos që nxënësi mos të punojë më i zhvlerësuar, për shkak të mohimit të aftësive të tij, ndërkohë që aftësitë tona janë të njëjta me ato të pedagogëve. Na paraqesin disa dije si të krijuara tashmë dhe ne duhet të jemi nën hijen e tyre. Mirëpo, dijet nuk janë të krijuara, ato duhet të rikrijohen. Dijet janë një rizbulim i vazhdueshëm që mundësojnë shfaqjen e një krijimi të ri të vetë gjëjës (riorganizimi i vazhdueshëm i boshit). Çdo disiplinë përmban akte vendimtare ku ne duam të marrim pjesë. 20 00 Open Access Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 46 03 06 10.21983/P3.0050.1.46 539 544 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Translator's Note 1 A01 Jonida Gashi Jonida Gashi 2 B06 Jonida Gashi Jonida Gashi 02 alb 01 eng 03 00 The idea of doing something with it comes early on. I will photograph the papers. Not all of them, perhaps, but at least some of them, certainly my favorite ones. As it turns out, I don’t bother printing most of the papers and the idea of photographing my com-puter screen seems imbecilic. I also remember that I am a terrible photographer who does not even have the added benefit – in my case very much needed – of a half decent camera. I think all kinds of things that I no longer remember throughout July and at the end of the month announce that when it is all over, I will be handing out awards. (We are nearing the end of September now and I have forgotten which awards I intended to give to whom or how I was going to go about the whole thing.) I think also about the implications of the fact that for so many authors English is not their first language. Vincent suggests I write something instead. I decide to attempt it. 30 00 The idea of doing something with it comes early on. I will photograph the papers. Not all of them, perhaps, but at least some of them, certainly my favorite ones. As it turns out, I don’t bother printing most of the papers and the idea of photographing my com-puter screen seems imbecilic. I also remember that I am a terrible photographer who does not even have the added benefit – in my case very much needed – of a half decent camera. I think all kinds of things that I no longer remember throughout July and at the end of the month announce that when it is all over, I will be handing out awards. (We are nearing the end of September now and I have forgotten which awards I intended to give to whom or how I was going to go about the whole thing.) I think also about the implications of the fact that for so many authors English is not their first language. Vincent suggests I write something instead. I decide to attempt it. 20 00 Open Access Gashi, Jonida 47 03 06 10.21983/P3.0050.1.47 545 553 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Shënim i përkthyeses 1 A01 Jonida Gashi Jonida Gashi 01 alb 03 00 Ideja për të bërë diçka me to më vjen herët. Kam për t’i fotografuar sprovat. Ndoshta jo të gjithat, por të paktën disa prej tyre, pa dyshim ato që më kanë pëlqyer më shumë. Por si përfundim nuk marr mundimin t’i shtyp shumicën prej tyre dhe ideja e fotogra-fimit të ekranit të kompjuterit më tingëllon paksa idiote. Gjithashtu, më bie ndërmend që jam një fotografe e tmerrshme e që nuk mund të përfitoj as nga një aparat fotogra-fik gjysmë i hairit (i domosdoshëm në rastin tim). Mendoj lloj-lloj gjërash që nuk më kujtohen më përgjatë korrikut dhe në fund të muajit shpall se, pasi gjithçka të jetë kryer, kam për të ndarë çmime. (Shtatorit po i vjen fundi ndërkaq dhe kam harruar se çfarë çmimesh kisha ndërmend t’i jepja kujt dhe sesi kisha ndërmend ta bëja këtë.) Mendoj gjithashtu edhe për faktin se shumë prej autorëve nuk e kanë anglishten gjuhën e tyre të parë.Vinsenti më sugjeron të shkruaj diçka. Vendos ta provoj. 30 00 Ideja për të bërë diçka me to më vjen herët. Kam për t’i fotografuar sprovat. Ndoshta jo të gjithat, por të paktën disa prej tyre, pa dyshim ato që më kanë pëlqyer më shumë. Por si përfundim nuk marr mundimin t’i shtyp shumicën prej tyre dhe ideja e fotogra-fimit të ekranit të kompjuterit më tingëllon paksa idiote. Gjithashtu, më bie ndërmend që jam një fotografe e tmerrshme e që nuk mund të përfitoj as nga një aparat fotogra-fik gjysmë i hairit (i domosdoshëm në rastin tim). Mendoj lloj-lloj gjërash që nuk më kujtohen më përgjatë korrikut dhe në fund të muajit shpall se, pasi gjithçka të jetë kryer, kam për të ndarë çmime. (Shtatorit po i vjen fundi ndërkaq dhe kam harruar se çfarë çmimesh kisha ndërmend t’i jepja kujt dhe sesi kisha ndërmend ta bëja këtë.) Mendoj gjithashtu edhe për faktin se shumë prej autorëve nuk e kanë anglishten gjuhën e tyre të parë.Vinsenti më sugjeron të shkruaj diçka. Vendos ta provoj. 20 00 Open Access Gashi, Jonida 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pedagogies-of-disaster/ Brooklyn, NY 04 01 20131007 Jenkins, Nico van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Groves, Adam Staley 02 WORLD 06 15 9780615898711 03 9780615898711 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25567 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25567/1004528.pdf?sequence=1&isAllowed=y 20 08 20131007 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34102 20 08 20131007 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353896 20 08 20131007 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/432 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b0aac650-1e95-4322-8dc4-8972258b703a/download 20 08 20131007 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d8284a1f-51ac-4ecd-99a6-45e5644db4c8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d8284a1f-51ac-4ecd-99a6-45e5644db4c8/d8284a1f-51ac-4ecd-99a6-45e5644db4c8.pdf 20 08 20131007 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845809 29 ZENODO: download the title https://zenodo.org/records/19845809/files/d8284a1f-51ac-4ecd-99a6-45e5644db4c8_book.pdf 20 08 20131007 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pedagogies-of-disaster/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0050.1.00.pdf 20 08 20131007 01 urn:uuid:d83454ef-9720-4a1c-b739-608f9b6f3c28 03 01 01 thoth-work-id urn:uuid:119f1640-dfb4-488f-a564-ef507d74b72d 01 thoth-publication-id urn:uuid:d83454ef-9720-4a1c-b739-608f9b6f3c28 15 9789491914034 03 9789491914034 06 10.21983/P3.0225.1.00 01 internal-reference 0225 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Pen in the Park: A Resistance Fairytale – Pen Parkta: Bir Direniş Masalı 1 A01 Raşel Meseri Raşel Meseri 2 A12 Sanne Karssenberg Sanne Karssenberg 01 eng 01 tur 00 104 03 B2 Fabulations 93 FYT 10 JUV002380 12 YFP 93 1DTT-TR-A B2 Languages+Translations 93 JPWG 93 3MRBF 93 YXZ 20 Turkey; Gezi park; revolution; fairytale 01 06 02 00 03 00 Pen in the Park is a unique revolutionary children’s book written by Raşel Meseri and illustrated by Sanne Karssenberg. Meseri narrates the Gezi Park protests in Istanbul through the figure of a penguin named Pen, whogoes on a trip from Antarctica to Gezi Park to save his fellow penguins, and gets involved in various adventures with his friends Chapulletta, the cat Trafo, and the dog Loukanikos.The Gezi movement of 2013–14 started with the threat of the destruction of the Gezi Park, a public space, which became quickly occupied by protestors from all generations and political backgrounds to build a movement that addressed not only the destruction of green areas and gentrification of public space, but also the democratic deficit of the country as such. At the height of the protests, dozens of protesters were killed and thousands injured. As the result of the protests, the park remained a public space and the struggle continues in different forms up to this day.During the protests, penguins were reclaimed as one of the symbols, as the main television channels preferred to show documentaries about the lives of penguins, instead of the uprising in Turkey. In Meseri’s story, Pen the brave penguin, Pen, is both a symbol and an active agent in the course of events, guiding us through the process of political emancipation, democratic experiment, friendship, and solidarity that characterizes the Gezi movement. 30 00 Pen in the Park is a unique revolutionary children’s book written by Raşel Meseri and illustrated by Sanne Karssenberg. Meseri narrates the Gezi Park protests in Istanbul through the figure of a penguin named Pen, whogoes on a trip from Antarctica to Gezi Park to save his fellow penguins, and gets involved in various adventures with his friends Chapulletta, the cat Trafo, and the dog Loukanikos.The Gezi movement of 2013–14 started with the threat of the destruction of the Gezi Park, a public space, which became quickly occupied by protestors from all generations and political backgrounds to build a movement that addressed not only the destruction of green areas and gentrification of public space, but also the democratic deficit of the country as such. At the height of the protests, dozens of protesters were killed and thousands injured. As the result of the protests, the park remained a public space and the struggle continues in different forms up to this day.During the protests, penguins were reclaimed as one of the symbols, as the main television channels preferred to show documentaries about the lives of penguins, instead of the uprising in Turkey. In Meseri’s story, Pen the brave penguin, Pen, is both a symbol and an active agent in the course of events, guiding us through the process of political emancipation, democratic experiment, friendship, and solidarity that characterizes the Gezi movement. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0225.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pen-in-the-park-pen-parkta/ The Hague/Tirana 04 01 20140212 Meseri, Raşel 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2R6VE9m 20 08 20140212 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/pen-in-the-park-a-resistance-fairytale-a-pen-parkta-bir-direniay-masala 20 08 20140212 02 24.00 USD WORLD urn:uuid:ea8a4943-8302-4efd-b9ec-d1d842c9a3bf 03 01 01 thoth-work-id urn:uuid:119f1640-dfb4-488f-a564-ef507d74b72d 01 thoth-publication-id urn:uuid:ea8a4943-8302-4efd-b9ec-d1d842c9a3bf 06 10.21983/P3.0225.1.00 01 internal-reference 0225 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Pen in the Park: A Resistance Fairytale – Pen Parkta: Bir Direniş Masalı 1 A01 Raşel Meseri Raşel Meseri 2 A12 Sanne Karssenberg Sanne Karssenberg 01 eng 01 tur 00 104 03 B2 Fabulations 93 FYT 10 JUV002380 12 YFP 93 1DTT-TR-A B2 Languages+Translations 93 JPWG 93 3MRBF 93 YXZ 20 Turkey; Gezi park; revolution; fairytale 01 06 02 00 03 00 Pen in the Park is a unique revolutionary children’s book written by Raşel Meseri and illustrated by Sanne Karssenberg. Meseri narrates the Gezi Park protests in Istanbul through the figure of a penguin named Pen, whogoes on a trip from Antarctica to Gezi Park to save his fellow penguins, and gets involved in various adventures with his friends Chapulletta, the cat Trafo, and the dog Loukanikos.The Gezi movement of 2013–14 started with the threat of the destruction of the Gezi Park, a public space, which became quickly occupied by protestors from all generations and political backgrounds to build a movement that addressed not only the destruction of green areas and gentrification of public space, but also the democratic deficit of the country as such. At the height of the protests, dozens of protesters were killed and thousands injured. As the result of the protests, the park remained a public space and the struggle continues in different forms up to this day.During the protests, penguins were reclaimed as one of the symbols, as the main television channels preferred to show documentaries about the lives of penguins, instead of the uprising in Turkey. In Meseri’s story, Pen the brave penguin, Pen, is both a symbol and an active agent in the course of events, guiding us through the process of political emancipation, democratic experiment, friendship, and solidarity that characterizes the Gezi movement. 30 00 Pen in the Park is a unique revolutionary children’s book written by Raşel Meseri and illustrated by Sanne Karssenberg. Meseri narrates the Gezi Park protests in Istanbul through the figure of a penguin named Pen, whogoes on a trip from Antarctica to Gezi Park to save his fellow penguins, and gets involved in various adventures with his friends Chapulletta, the cat Trafo, and the dog Loukanikos.The Gezi movement of 2013–14 started with the threat of the destruction of the Gezi Park, a public space, which became quickly occupied by protestors from all generations and political backgrounds to build a movement that addressed not only the destruction of green areas and gentrification of public space, but also the democratic deficit of the country as such. At the height of the protests, dozens of protesters were killed and thousands injured. As the result of the protests, the park remained a public space and the struggle continues in different forms up to this day.During the protests, penguins were reclaimed as one of the symbols, as the main television channels preferred to show documentaries about the lives of penguins, instead of the uprising in Turkey. In Meseri’s story, Pen the brave penguin, Pen, is both a symbol and an active agent in the course of events, guiding us through the process of political emancipation, democratic experiment, friendship, and solidarity that characterizes the Gezi movement. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0225.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pen-in-the-park-pen-parkta/ The Hague/Tirana 04 01 20140212 Meseri, Raşel 02 WORLD 06 15 9789491914034 03 9789491914034 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25405 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25405/1004690.pdf?sequence=1&isAllowed=y 20 08 20140212 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29804 20 08 20140212 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2516309 20 08 20140212 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/443 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/354af4f9-3876-406b-ae0e-1162d7b1cf68/download 20 08 20140212 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/119f1640-dfb4-488f-a564-ef507d74b72d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/119f1640-dfb4-488f-a564-ef507d74b72d/119f1640-dfb4-488f-a564-ef507d74b72d.pdf 20 08 20140212 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845919 29 ZENODO: download the title https://zenodo.org/records/19845919/files/119f1640-dfb4-488f-a564-ef507d74b72d_book.pdf 20 08 20140212 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pen-in-the-park-pen-parkta/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0225.1.00.pdf 20 08 20140212 01 urn:uuid:27e0eef3-afab-4dc5-a6dc-6bc128d38e94 03 01 01 thoth-work-id urn:uuid:c760bb27-0a18-4a57-95b5-6888a012810e 01 thoth-publication-id urn:uuid:27e0eef3-afab-4dc5-a6dc-6bc128d38e94 15 9781685712167 03 9781685712167 06 10.53288/0408.1.00 13 2025948625 01 internal-reference 0408 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 10 mm 03 1 cm 03 0.41 in 08 258 gr 08 9.1 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Perceptron 1 A01 21 0000000183577240 James E. Dobson James E. Dobson Associate Professor of English and Creative Writing 40 049s0rh22 Dartmouth College James E. Dobson is Associate Professor of English and creative writing at Dartmouth College. He is the author of Critical Digital Humanities: The Search for a Methodology (Illinois, 2019), and The Birth of Computer Vision (Minnesota, 2023) and co-author of Moonbit (punctum, 2019). 2 A01 Rena J. Mosteirin Rena J. Mosteirin Lecturer 40 049s0rh22 Dartmouth College Rena J. Mosteirin is the author of Nick Trail’s Thumb (Kore Press, 2008) chosen by Lydia Davis for the Kore Press Short Fiction Award, half-fabulous whales (Little Dipper, 2019), a book of Moby-Dick erasure poetry, and Experiment 116 (Counterpath, 2021). She is also the co-author of Moonbit (punctum, 2019). Mosteirin is a lecturer at Dartmouth College, editor at Bloodroot Literary Magazine, and owner of Left Bank Books in Hanover, New Hampshire. 01 eng 00 182 03 B2 Cultural Studies+Critical Theory 93 DCC 10 POE024000 10 COM016000 93 DCF B2 Fabulations 10 BIO015000 B2 Media+Technology 93 NHTW 93 UYQN 93 UYQM 93 JWD 20 machine learning; Frank Rosenblatt; experimental poetry; artificial intelligence; perceptrons; neural networks; Cold War 01 06 02 00 03 00 Perceptron is a work of experimental poetry and a critical biographical reading of Frank Rosenblatt (1928–1971) and his 1957 invention, the Perceptron. The Perceptron was the first widely publicized and used machine learning device and the origin of much contemporary neural network technology. Rosenblatt was a psychologist, a computer engineer, a musician, an amateur astronomer, a sailor, and a poet. The Perceptron was born from an interdisciplinary mix of ideas and was so far ahead of its time that it was widely misunderstood by other scientists and the public.This mechanical invention, imagined as an alternative to general purpose digital computers, and its algorithmic implementation as a simulation of the device was deeply rooted in mid-twentieth century neuroscience and psychological theories of behavior. Introduced to the world by one newspaper under the headline “Shades of Frankenstein!” in 1958, following a public demonstration in Maryland sponsored by the US Navy, the Perceptron was a radical new approach to designing computer systems. What made it different was its design as a simplified model of animal vision systems. The Perceptron could perform pattern recognition and matching from a collection of simple visual objects. It was innovative and impressive, but it was also constantly oversold by its financial supporters, the press, and by its inventor.Perceptron traces, contextualizes, and celebrates the ideas that would become embedded in this early thinking machine and that animated the excitement and promise that would eventually turn to frustration and failure during Rosenblatt’s tragically short lifetime. 30 00 Perceptron is a work of experimental poetry and a critical biographical reading of Frank Rosenblatt (1928–1971) and his 1957 invention, the Perceptron. The Perceptron was the first widely publicized and used machine learning device and the origin of much contemporary neural network technology. Rosenblatt was a psychologist, a computer engineer, a musician, an amateur astronomer, a sailor, and a poet. The Perceptron was born from an interdisciplinary mix of ideas and was so far ahead of its time that it was widely misunderstood by other scientists and the public.This mechanical invention, imagined as an alternative to general purpose digital computers, and its algorithmic implementation as a simulation of the device was deeply rooted in mid-twentieth century neuroscience and psychological theories of behavior. Introduced to the world by one newspaper under the headline “Shades of Frankenstein!” in 1958, following a public demonstration in Maryland sponsored by the US Navy, the Perceptron was a radical new approach to designing computer systems. What made it different was its design as a simplified model of animal vision systems. The Perceptron could perform pattern recognition and matching from a collection of simple visual objects. It was innovative and impressive, but it was also constantly oversold by its financial supporters, the press, and by its inventor.Perceptron traces, contextualizes, and celebrates the ideas that would become embedded in this early thinking machine and that animated the excitement and promise that would eventually turn to frustration and failure during Rosenblatt’s tragically short lifetime. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0408.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/perceptron/ 16 40 049s0rh22 32 10.13039/100008299 Dartmouth College Earth, Milky Way 04 01 20251121 James E. Dobson and Rena J. Mosteirin 02 WORLD 06 15 9781685712174 03 9781685712174 06 15 9781685712983 03 9781685712983 34 06 10.1353/mml.2024.a968076 34 06 10.1080/13501670902750279 34 06 10.1007/BF02822644 34 06 10.1007/s42803-023-00075-w 34 06 10.1353/con.2024.a942087 34 06 10.1111/j.1469-1809.1936.tb02137.x 34 06 10.2307/1418521 34 06 10.1086/717313 34 06 10.1113/jphysiol.1962.sp006837 34 06 10.1162/grey_a_00415 34 06 10.1109/JRPROC.1959.287207 34 06 10.2307/3171189 34 06 10.1177/030631296026003005 34 06 10.1109/TIT.1956.1056810 34 06 10.1109/TAI.1964.5407758 34 06 10.1073/pnas.56.6.1683 34 06 10.1038/323533a0 34 06 10.1207/s15516709cog0901_5 34 06 10.14619/0832 34 06 10.1007/BF02782173 34 06 10.1007/BF02478259 34 06 10.1109/JRPROC.1961.287775 34 06 10.1109/JRPROC.1960.287598 34 06 10.1037/h0042519 34 06 10.21983/P3.0189.1.00 34 06 10.48550/arXiv.1706.03762 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712169 20 08 20251121 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/perceptron-james-e-dobson-rena-j-mosteirin 20 08 20251121 02 23.00 USD WORLD urn:uuid:ee57cb02-293f-4a5e-a08f-58adfa26c03d 03 01 01 thoth-work-id urn:uuid:c760bb27-0a18-4a57-95b5-6888a012810e 01 thoth-publication-id urn:uuid:ee57cb02-293f-4a5e-a08f-58adfa26c03d 15 9781685712174 03 9781685712174 06 10.53288/0408.1.00 13 2025948625 01 internal-reference 0408 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Perceptron 1 A01 21 0000000183577240 James E. Dobson James E. Dobson Associate Professor of English and Creative Writing 40 049s0rh22 Dartmouth College James E. Dobson is Associate Professor of English and creative writing at Dartmouth College. He is the author of Critical Digital Humanities: The Search for a Methodology (Illinois, 2019), and The Birth of Computer Vision (Minnesota, 2023) and co-author of Moonbit (punctum, 2019). 2 A01 Rena J. Mosteirin Rena J. Mosteirin Lecturer 40 049s0rh22 Dartmouth College Rena J. Mosteirin is the author of Nick Trail’s Thumb (Kore Press, 2008) chosen by Lydia Davis for the Kore Press Short Fiction Award, half-fabulous whales (Little Dipper, 2019), a book of Moby-Dick erasure poetry, and Experiment 116 (Counterpath, 2021). She is also the co-author of Moonbit (punctum, 2019). Mosteirin is a lecturer at Dartmouth College, editor at Bloodroot Literary Magazine, and owner of Left Bank Books in Hanover, New Hampshire. 01 eng 00 182 03 B2 Cultural Studies+Critical Theory 93 DCC 10 POE024000 10 COM016000 93 DCF B2 Fabulations 10 BIO015000 B2 Media+Technology 93 NHTW 93 UYQN 93 UYQM 93 JWD 20 machine learning; Frank Rosenblatt; experimental poetry; artificial intelligence; perceptrons; neural networks; Cold War 01 06 02 00 03 00 Perceptron is a work of experimental poetry and a critical biographical reading of Frank Rosenblatt (1928–1971) and his 1957 invention, the Perceptron. The Perceptron was the first widely publicized and used machine learning device and the origin of much contemporary neural network technology. Rosenblatt was a psychologist, a computer engineer, a musician, an amateur astronomer, a sailor, and a poet. The Perceptron was born from an interdisciplinary mix of ideas and was so far ahead of its time that it was widely misunderstood by other scientists and the public.This mechanical invention, imagined as an alternative to general purpose digital computers, and its algorithmic implementation as a simulation of the device was deeply rooted in mid-twentieth century neuroscience and psychological theories of behavior. Introduced to the world by one newspaper under the headline “Shades of Frankenstein!” in 1958, following a public demonstration in Maryland sponsored by the US Navy, the Perceptron was a radical new approach to designing computer systems. What made it different was its design as a simplified model of animal vision systems. The Perceptron could perform pattern recognition and matching from a collection of simple visual objects. It was innovative and impressive, but it was also constantly oversold by its financial supporters, the press, and by its inventor.Perceptron traces, contextualizes, and celebrates the ideas that would become embedded in this early thinking machine and that animated the excitement and promise that would eventually turn to frustration and failure during Rosenblatt’s tragically short lifetime. 30 00 Perceptron is a work of experimental poetry and a critical biographical reading of Frank Rosenblatt (1928–1971) and his 1957 invention, the Perceptron. The Perceptron was the first widely publicized and used machine learning device and the origin of much contemporary neural network technology. Rosenblatt was a psychologist, a computer engineer, a musician, an amateur astronomer, a sailor, and a poet. The Perceptron was born from an interdisciplinary mix of ideas and was so far ahead of its time that it was widely misunderstood by other scientists and the public.This mechanical invention, imagined as an alternative to general purpose digital computers, and its algorithmic implementation as a simulation of the device was deeply rooted in mid-twentieth century neuroscience and psychological theories of behavior. Introduced to the world by one newspaper under the headline “Shades of Frankenstein!” in 1958, following a public demonstration in Maryland sponsored by the US Navy, the Perceptron was a radical new approach to designing computer systems. What made it different was its design as a simplified model of animal vision systems. The Perceptron could perform pattern recognition and matching from a collection of simple visual objects. It was innovative and impressive, but it was also constantly oversold by its financial supporters, the press, and by its inventor.Perceptron traces, contextualizes, and celebrates the ideas that would become embedded in this early thinking machine and that animated the excitement and promise that would eventually turn to frustration and failure during Rosenblatt’s tragically short lifetime. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0408.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/perceptron/ 16 40 049s0rh22 32 10.13039/100008299 Dartmouth College Earth, Milky Way 04 01 20251121 James E. Dobson and Rena J. Mosteirin 02 WORLD 06 15 9781685712167 03 9781685712167 06 15 9781685712983 03 9781685712983 34 06 10.1353/mml.2024.a968076 34 06 10.1080/13501670902750279 34 06 10.1007/BF02822644 34 06 10.1007/s42803-023-00075-w 34 06 10.1353/con.2024.a942087 34 06 10.1111/j.1469-1809.1936.tb02137.x 34 06 10.2307/1418521 34 06 10.1086/717313 34 06 10.1113/jphysiol.1962.sp006837 34 06 10.1162/grey_a_00415 34 06 10.1109/JRPROC.1959.287207 34 06 10.2307/3171189 34 06 10.1177/030631296026003005 34 06 10.1109/TIT.1956.1056810 34 06 10.1109/TAI.1964.5407758 34 06 10.1073/pnas.56.6.1683 34 06 10.1038/323533a0 34 06 10.1207/s15516709cog0901_5 34 06 10.14619/0832 34 06 10.1007/BF02782173 34 06 10.1007/BF02478259 34 06 10.1109/JRPROC.1961.287775 34 06 10.1109/JRPROC.1960.287598 34 06 10.1037/h0042519 34 06 10.21983/P3.0189.1.00 34 06 10.48550/arXiv.1706.03762 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/108869 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/108869/9781685712174.pdf?sequence=1&isAllowed=y 20 08 20251121 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/930 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fe4b4c7a-6d39-449f-b7fe-087ab4791570/download 20 08 20251121 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c760bb27-0a18-4a57-95b5-6888a012810e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c760bb27-0a18-4a57-95b5-6888a012810e/c760bb27-0a18-4a57-95b5-6888a012810e.pdf 20 08 20251121 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851499 29 ZENODO: download the title https://zenodo.org/records/19851499/files/c760bb27-0a18-4a57-95b5-6888a012810e_book.pdf 20 08 20251121 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/perceptron/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0408.1.00.pdf 20 08 20251121 01 urn:uuid:bcb354da-9578-45e3-81e4-6abf0e607e90 03 01 01 thoth-work-id urn:uuid:c760bb27-0a18-4a57-95b5-6888a012810e 01 thoth-publication-id urn:uuid:bcb354da-9578-45e3-81e4-6abf0e607e90 15 9781685712983 03 9781685712983 06 10.53288/0408.1.00 13 2025948625 01 internal-reference 0408 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Perceptron 1 A01 21 0000000183577240 James E. Dobson James E. Dobson Associate Professor of English and Creative Writing 40 049s0rh22 Dartmouth College James E. Dobson is Associate Professor of English and creative writing at Dartmouth College. He is the author of Critical Digital Humanities: The Search for a Methodology (Illinois, 2019), and The Birth of Computer Vision (Minnesota, 2023) and co-author of Moonbit (punctum, 2019). 2 A01 Rena J. Mosteirin Rena J. Mosteirin Lecturer 40 049s0rh22 Dartmouth College Rena J. Mosteirin is the author of Nick Trail’s Thumb (Kore Press, 2008) chosen by Lydia Davis for the Kore Press Short Fiction Award, half-fabulous whales (Little Dipper, 2019), a book of Moby-Dick erasure poetry, and Experiment 116 (Counterpath, 2021). She is also the co-author of Moonbit (punctum, 2019). Mosteirin is a lecturer at Dartmouth College, editor at Bloodroot Literary Magazine, and owner of Left Bank Books in Hanover, New Hampshire. 01 eng 00 182 03 B2 Cultural Studies+Critical Theory 93 DCC 10 POE024000 10 COM016000 93 DCF B2 Fabulations 10 BIO015000 B2 Media+Technology 93 NHTW 93 UYQN 93 UYQM 93 JWD 20 machine learning; Frank Rosenblatt; experimental poetry; artificial intelligence; perceptrons; neural networks; Cold War 01 06 02 00 03 00 Perceptron is a work of experimental poetry and a critical biographical reading of Frank Rosenblatt (1928–1971) and his 1957 invention, the Perceptron. The Perceptron was the first widely publicized and used machine learning device and the origin of much contemporary neural network technology. Rosenblatt was a psychologist, a computer engineer, a musician, an amateur astronomer, a sailor, and a poet. The Perceptron was born from an interdisciplinary mix of ideas and was so far ahead of its time that it was widely misunderstood by other scientists and the public.This mechanical invention, imagined as an alternative to general purpose digital computers, and its algorithmic implementation as a simulation of the device was deeply rooted in mid-twentieth century neuroscience and psychological theories of behavior. Introduced to the world by one newspaper under the headline “Shades of Frankenstein!” in 1958, following a public demonstration in Maryland sponsored by the US Navy, the Perceptron was a radical new approach to designing computer systems. What made it different was its design as a simplified model of animal vision systems. The Perceptron could perform pattern recognition and matching from a collection of simple visual objects. It was innovative and impressive, but it was also constantly oversold by its financial supporters, the press, and by its inventor.Perceptron traces, contextualizes, and celebrates the ideas that would become embedded in this early thinking machine and that animated the excitement and promise that would eventually turn to frustration and failure during Rosenblatt’s tragically short lifetime. 30 00 Perceptron is a work of experimental poetry and a critical biographical reading of Frank Rosenblatt (1928–1971) and his 1957 invention, the Perceptron. The Perceptron was the first widely publicized and used machine learning device and the origin of much contemporary neural network technology. Rosenblatt was a psychologist, a computer engineer, a musician, an amateur astronomer, a sailor, and a poet. The Perceptron was born from an interdisciplinary mix of ideas and was so far ahead of its time that it was widely misunderstood by other scientists and the public.This mechanical invention, imagined as an alternative to general purpose digital computers, and its algorithmic implementation as a simulation of the device was deeply rooted in mid-twentieth century neuroscience and psychological theories of behavior. Introduced to the world by one newspaper under the headline “Shades of Frankenstein!” in 1958, following a public demonstration in Maryland sponsored by the US Navy, the Perceptron was a radical new approach to designing computer systems. What made it different was its design as a simplified model of animal vision systems. The Perceptron could perform pattern recognition and matching from a collection of simple visual objects. It was innovative and impressive, but it was also constantly oversold by its financial supporters, the press, and by its inventor.Perceptron traces, contextualizes, and celebrates the ideas that would become embedded in this early thinking machine and that animated the excitement and promise that would eventually turn to frustration and failure during Rosenblatt’s tragically short lifetime. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0408.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/perceptron/ 16 40 049s0rh22 32 10.13039/100008299 Dartmouth College Earth, Milky Way 04 01 20251121 James E. Dobson and Rena J. Mosteirin 02 WORLD 06 15 9781685712167 03 9781685712167 06 15 9781685712174 03 9781685712174 34 06 10.1353/mml.2024.a968076 34 06 10.1080/13501670902750279 34 06 10.1007/BF02822644 34 06 10.1007/s42803-023-00075-w 34 06 10.1353/con.2024.a942087 34 06 10.1111/j.1469-1809.1936.tb02137.x 34 06 10.2307/1418521 34 06 10.1086/717313 34 06 10.1113/jphysiol.1962.sp006837 34 06 10.1162/grey_a_00415 34 06 10.1109/JRPROC.1959.287207 34 06 10.2307/3171189 34 06 10.1177/030631296026003005 34 06 10.1109/TIT.1956.1056810 34 06 10.1109/TAI.1964.5407758 34 06 10.1073/pnas.56.6.1683 34 06 10.1038/323533a0 34 06 10.1207/s15516709cog0901_5 34 06 10.14619/0832 34 06 10.1007/BF02782173 34 06 10.1007/BF02478259 34 06 10.1109/JRPROC.1961.287775 34 06 10.1109/JRPROC.1960.287598 34 06 10.1037/h0042519 34 06 10.21983/P3.0189.1.00 34 06 10.48550/arXiv.1706.03762 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851499 29 ZENODO: download the title https://zenodo.org/records/19851499/files/c760bb27-0a18-4a57-95b5-6888a012810e_book.epub 20 08 20251121 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/perceptron/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0408.2.00.epub 20 08 20251121 01 urn:uuid:068ea35d-4096-410d-b9d0-8b596b5bf6d8 03 01 01 thoth-work-id urn:uuid:ed1a8fb5-8b71-43ca-9748-ebd43f0d7580 01 thoth-publication-id urn:uuid:068ea35d-4096-410d-b9d0-8b596b5bf6d8 15 9780998531823 03 9780998531823 06 10.21983/P3.0168.1.00 01 internal-reference 0168 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Philosophy for Militants 1 A01 Michael Munro Michael Munro 01 eng 00 80 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; utopia; philology; poetics; parables 01 06 02 00 03 00 “No longer imminent, the End is immanent.” “Ends are ends,” Frank Kermode goes on to clarify, “only when they are not negative but frankly transfigure the events in which they were immanent.” From its imminence to its immanence, not “negative,” “no longer,” but transformative, how is “the End” in turn “transfigured”? In what may ending be said then to consist?To “the end times” of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and “messianic time”—to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die—from Plato to Montaigne and beyond—one may oppose, in like manner, the writings of Spinoza, who “thinks of death least of all things”—“for nature is Messianic by reason of its eternal and total passing away,” as Benjamin writes—and so in whose pages “wisdom,” transfigured, “is a meditation on life.” 30 00 “No longer imminent, the End is immanent.” “Ends are ends,” Frank Kermode goes on to clarify, “only when they are not negative but frankly transfigure the events in which they were immanent.” From its imminence to its immanence, not “negative,” “no longer,” but transformative, how is “the End” in turn “transfigured”? In what may ending be said then to consist?To “the end times” of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and “messianic time”—to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die—from Plato to Montaigne and beyond—one may oppose, in like manner, the writings of Spinoza, who “thinks of death least of all things”—“for nature is Messianic by reason of its eternal and total passing away,” as Benjamin writes—and so in whose pages “wisdom,” transfigured, “is a meditation on life.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0168.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/philosophy-for-militants/ Earth, Milky Way 04 01 20170315 Munro, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531820 20 08 20170315 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/philosophy-for-militants 20 08 20170315 02 21.00 USD WORLD urn:uuid:cd7d891d-ef06-4fcd-b019-e4d820ef265a 03 01 01 thoth-work-id urn:uuid:ed1a8fb5-8b71-43ca-9748-ebd43f0d7580 01 thoth-publication-id urn:uuid:cd7d891d-ef06-4fcd-b019-e4d820ef265a 06 10.21983/P3.0168.1.00 01 internal-reference 0168 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Philosophy for Militants 1 A01 Michael Munro Michael Munro 01 eng 00 80 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; utopia; philology; poetics; parables 01 06 02 00 03 00 “No longer imminent, the End is immanent.” “Ends are ends,” Frank Kermode goes on to clarify, “only when they are not negative but frankly transfigure the events in which they were immanent.” From its imminence to its immanence, not “negative,” “no longer,” but transformative, how is “the End” in turn “transfigured”? In what may ending be said then to consist?To “the end times” of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and “messianic time”—to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die—from Plato to Montaigne and beyond—one may oppose, in like manner, the writings of Spinoza, who “thinks of death least of all things”—“for nature is Messianic by reason of its eternal and total passing away,” as Benjamin writes—and so in whose pages “wisdom,” transfigured, “is a meditation on life.” 30 00 “No longer imminent, the End is immanent.” “Ends are ends,” Frank Kermode goes on to clarify, “only when they are not negative but frankly transfigure the events in which they were immanent.” From its imminence to its immanence, not “negative,” “no longer,” but transformative, how is “the End” in turn “transfigured”? In what may ending be said then to consist?To “the end times” of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and “messianic time”—to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die—from Plato to Montaigne and beyond—one may oppose, in like manner, the writings of Spinoza, who “thinks of death least of all things”—“for nature is Messianic by reason of its eternal and total passing away,” as Benjamin writes—and so in whose pages “wisdom,” transfigured, “is a meditation on life.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0168.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/philosophy-for-militants/ Earth, Milky Way 04 01 20170315 Munro, Michael 02 WORLD 06 15 9780998531823 03 9780998531823 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25459 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25459/1004636.pdf?sequence=1&isAllowed=y 20 08 20170315 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31283 20 08 20170315 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353904 20 08 20170315 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/552 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5713f2a4-9458-47e2-8a59-4bbd4bea7c64/download 20 08 20170315 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ed1a8fb5-8b71-43ca-9748-ebd43f0d7580 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ed1a8fb5-8b71-43ca-9748-ebd43f0d7580/ed1a8fb5-8b71-43ca-9748-ebd43f0d7580.pdf 20 08 20170315 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846858 29 ZENODO: download the title https://zenodo.org/records/19846858/files/ed1a8fb5-8b71-43ca-9748-ebd43f0d7580_book.pdf 20 08 20170315 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/philosophy-for-militants/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0168.1.00.pdf 20 08 20170315 01 urn:uuid:6953d604-e0f7-4e4c-ab19-7935ef21520c 03 01 01 thoth-work-id urn:uuid:8f2609a9-b833-4ec0-aeda-b844f6a319e0 01 thoth-publication-id urn:uuid:6953d604-e0f7-4e4c-ab19-7935ef21520c 15 9780998237510 03 9780998237510 06 10.21983/P3.0154.1.00 01 internal-reference 0154 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Photography in the Middle Dispatches on Media Ecologies and Aesthetics 1 A01 Rob Coley Rob Coley 40 03yeq9x20 University of Lincoln 2 A01 Dean Lockwood Dean Lockwood 40 03yeq9x20 University of Lincoln 01 eng 00 176 03 B2 Art+Aesthetics 93 JBCT 12 JFD 10 PHI001000 93 AJ B2 Media+Technology 10 SOC052000 20 photography; media studies; cultural theory; science fiction; William Burroughs 01 06 02 00 03 00 It’s easy to forget there’s a war on when the front line is everywhere encrypted in plain sight. Gathered in this book’s several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or ‘endarkenment.’ In his Vietnam War memoir, Dispatches, Michael Herr imagines a ‘dropped camera’ receiving ‘jumping and falling’ images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we’re given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect. 30 00 It’s easy to forget there’s a war on when the front line is everywhere encrypted in plain sight. Gathered in this book’s several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or ‘endarkenment.’ In his Vietnam War memoir, Dispatches, Michael Herr imagines a ‘dropped camera’ receiving ‘jumping and falling’ images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we’re given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0154.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/photography-in-the-middle-dispatches-on-media-ecologies-and-aesthetics/ Earth, Milky Way 04 01 20161031 Coley, Rob Lockwood, Dean 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237515 20 08 20161031 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/photography-in-the-middle-dispatches-on-media-ecologies-and-aesthetics 20 08 20161031 02 23.00 USD WORLD urn:uuid:c643a2f2-e53c-4853-8299-35bdd16f86bf 03 01 01 thoth-work-id urn:uuid:8f2609a9-b833-4ec0-aeda-b844f6a319e0 01 thoth-publication-id urn:uuid:c643a2f2-e53c-4853-8299-35bdd16f86bf 06 10.21983/P3.0154.1.00 01 internal-reference 0154 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Photography in the Middle Dispatches on Media Ecologies and Aesthetics 1 A01 Rob Coley Rob Coley 40 03yeq9x20 University of Lincoln 2 A01 Dean Lockwood Dean Lockwood 40 03yeq9x20 University of Lincoln 01 eng 00 176 03 B2 Art+Aesthetics 93 JBCT 12 JFD 10 PHI001000 93 AJ B2 Media+Technology 10 SOC052000 20 photography; media studies; cultural theory; science fiction; William Burroughs 01 06 02 00 03 00 It’s easy to forget there’s a war on when the front line is everywhere encrypted in plain sight. Gathered in this book’s several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or ‘endarkenment.’ In his Vietnam War memoir, Dispatches, Michael Herr imagines a ‘dropped camera’ receiving ‘jumping and falling’ images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we’re given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect. 30 00 It’s easy to forget there’s a war on when the front line is everywhere encrypted in plain sight. Gathered in this book’s several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or ‘endarkenment.’ In his Vietnam War memoir, Dispatches, Michael Herr imagines a ‘dropped camera’ receiving ‘jumping and falling’ images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we’re given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0154.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/photography-in-the-middle-dispatches-on-media-ecologies-and-aesthetics/ Earth, Milky Way 04 01 20161031 Coley, Rob Lockwood, Dean 02 WORLD 06 15 9780998237510 03 9780998237510 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25472 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25472/1004623.pdf?sequence=1&isAllowed=y 20 08 20161031 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32424 20 08 20161031 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353833 20 08 20161031 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/539 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f0ccd991-9d4d-48f2-b150-0a29d89129a5/download 20 08 20161031 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Photography_in_the_Middle_Dispatches_on/XASVEAAAQBAJ 20 08 20161031 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8f2609a9-b833-4ec0-aeda-b844f6a319e0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8f2609a9-b833-4ec0-aeda-b844f6a319e0/8f2609a9-b833-4ec0-aeda-b844f6a319e0.pdf 20 08 20161031 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846752 29 ZENODO: download the title https://zenodo.org/records/19846752/files/8f2609a9-b833-4ec0-aeda-b844f6a319e0_book.pdf 20 08 20161031 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/photography-in-the-middle-dispatches-on-media-ecologies-and-aesthetics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0154.1.00.pdf 20 08 20161031 01 urn:uuid:fefa24a5-0cdd-49f6-a57b-dc02f430a256 03 01 01 thoth-work-id urn:uuid:d4a3f6cb-3023-4088-a5f4-147fb4510874 01 thoth-publication-id urn:uuid:fefa24a5-0cdd-49f6-a57b-dc02f430a256 15 9781685710408 03 9781685710408 06 10.53288/0380.1.00 13 2022940203 01 internal-reference 0380 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Pitch and Revelation Reconfigurations of Reading, Poetry, and Philosophy through the Work of Jay Wright 1 A01 21 0000000151030718 Will Daddario Will Daddario 06 Own website http://www.willdaddario.com/ 2 A01 21 0000000265224502 Matthew Goulish Matthew Goulish 40 04dh2y609 School of the Art Institute of Chicago 01 eng 00 442 03 93 DSC 12 DSG 10 LIT004040 B2 Literary Studies 93 5PB-US-C 10 LIT014000 B2 Philosophy 20 Jay Wright; performance philosophy; African American poetry; generative criticism; joy of reading 01 06 02 00 03 00 Pitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes.By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work. 30 00 Pitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes.By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0380.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pitch-and-revelation-reconfigurations-of-reading-poetry-and-philosophy-through-the-work-of-jay-wright/ Earth, Milky Way 04 01 20220707 Matthew Goulish and Will Dadario 02 WORLD 06 15 9781685710415 03 9781685710415 34 06 10.21476/PP.2016.2134 34 06 10.2307/272318 34 06 10.5642/jhummath.201401.07 34 06 10.1080/10486801.2018.1440552 34 06 10.2307/2930748 34 06 10.1080/07494467.2012.759413 34 06 10.26824/lalr.16 34 06 10.1007/978-3-319-20603-5_9 34 06 10.2307/1146464 34 06 10.2307/2930927 34 06 10.2307/2930633 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710409 20 08 20220707 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/pitch-and-revelation-reconfigurations-of-reading-poetry-and-philosophy-through-the-work-of-jay-wright 20 08 20220707 02 28.00 USD WORLD urn:uuid:c28b379b-4b8c-40b6-a6ae-58766cf18801 03 01 01 thoth-work-id urn:uuid:d4a3f6cb-3023-4088-a5f4-147fb4510874 01 thoth-publication-id urn:uuid:c28b379b-4b8c-40b6-a6ae-58766cf18801 15 9781685710415 03 9781685710415 06 10.53288/0380.1.00 13 2022940203 01 internal-reference 0380 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Pitch and Revelation Reconfigurations of Reading, Poetry, and Philosophy through the Work of Jay Wright 1 A01 21 0000000151030718 Will Daddario Will Daddario 06 Own website http://www.willdaddario.com/ 2 A01 21 0000000265224502 Matthew Goulish Matthew Goulish 40 04dh2y609 School of the Art Institute of Chicago 01 eng 00 442 03 93 DSC 12 DSG 10 LIT004040 B2 Literary Studies 93 5PB-US-C 10 LIT014000 B2 Philosophy 20 Jay Wright; performance philosophy; African American poetry; generative criticism; joy of reading 01 06 02 00 03 00 Pitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes.By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work. 30 00 Pitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes.By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0380.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pitch-and-revelation-reconfigurations-of-reading-poetry-and-philosophy-through-the-work-of-jay-wright/ Earth, Milky Way 04 01 20220707 Matthew Goulish and Will Dadario 02 WORLD 06 15 9781685710408 03 9781685710408 34 06 10.21476/PP.2016.2134 34 06 10.2307/272318 34 06 10.5642/jhummath.201401.07 34 06 10.1080/10486801.2018.1440552 34 06 10.2307/2930748 34 06 10.1080/07494467.2012.759413 34 06 10.26824/lalr.16 34 06 10.1007/978-3-319-20603-5_9 34 06 10.2307/1146464 34 06 10.2307/2930927 34 06 10.2307/2930633 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/57257 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/57257/0380.1.00.pdf?sequence=1&isAllowed=y 20 08 20220707 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/87602 20 08 20220707 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2qnx67c 20 08 20220707 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/702 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/92e10913-11ca-44e9-9af4-6c81656d0ace/download 20 08 20220707 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d4a3f6cb-3023-4088-a5f4-147fb4510874 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d4a3f6cb-3023-4088-a5f4-147fb4510874/d4a3f6cb-3023-4088-a5f4-147fb4510874.pdf 20 08 20220707 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849402 29 ZENODO: download the title https://zenodo.org/records/19849402/files/d4a3f6cb-3023-4088-a5f4-147fb4510874_book.pdf 20 08 20220707 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pitch-and-revelation-reconfigurations-of-reading-poetry-and-philosophy-through-the-work-of-jay-wright/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0380.1.00.pdf 20 08 20220707 01 urn:uuid:3310da98-239c-4265-b66a-fcdd911aeb5a 03 01 01 thoth-work-id urn:uuid:0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e 01 thoth-publication-id urn:uuid:3310da98-239c-4265-b66a-fcdd911aeb5a 15 9789081709194 03 9789081709194 06 10.21983/P3.0222.1.00 01 internal-reference 0222 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Poetry from Beyond the Grave 1 A01 Francisco Cândido "Chico" Xavier Francisco Cândido "Chico" Xavier 2 B06 Vitor Pequeno Vitor Pequeno 3 A23 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 01 por 00 244 03 93 DCF 12 DCF B2 Fabulations 10 POE012000 B2 Languages+Translations 93 QRRM 93 1KLSB 20 poetry; Brazil; spiritism; spirit medium 01 06 02 00 03 00 Poetry from Beyond the Grave is the first English publication of a large selection of poems by the Brazilian medium and Spiritist leader Francisco Cândido “Chico” Xavier. These poems, originally collected in the volume Parnaso de Além-Túmulo, were dictated to Xavier by a variety of spirits of Brazilian poets from the afterlife, as journeying souls or as witnesses of the spiritual city Nosso Lar, “our house.” Poetry from Beyond the Grave is a veritable collection of haunted writing, in which poets present their posthumous work as if they were alive. The brilliant translation by Vitor Pequeno is supplemented by an extensive afterword by Jeremy Fernando, who traces what it means to speak through the other. 30 00 Poetry from Beyond the Grave is the first English publication of a large selection of poems by the Brazilian medium and Spiritist leader Francisco Cândido “Chico” Xavier. These poems, originally collected in the volume Parnaso de Além-Túmulo, were dictated to Xavier by a variety of spirits of Brazilian poets from the afterlife, as journeying souls or as witnesses of the spiritual city Nosso Lar, “our house.” Poetry from Beyond the Grave is a veritable collection of haunted writing, in which poets present their posthumous work as if they were alive. The brilliant translation by Vitor Pequeno is supplemented by an extensive afterword by Jeremy Fernando, who traces what it means to speak through the other. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0222.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/poetry-from-beyond-the-grave/ The Hague/Tirana 04 01 20130510 Xavier, Francisco Cândido "Chico" 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2q4Xjk0 20 08 20130510 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/poetry-from-beyond-the-grave 20 08 20130510 02 25.00 USD WORLD urn:uuid:43ef8afc-09f4-44a6-8b29-db683808b6e4 03 01 01 thoth-work-id urn:uuid:0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e 01 thoth-publication-id urn:uuid:43ef8afc-09f4-44a6-8b29-db683808b6e4 06 10.21983/P3.0222.1.00 01 internal-reference 0222 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Poetry from Beyond the Grave 1 A01 Francisco Cândido "Chico" Xavier Francisco Cândido "Chico" Xavier 2 B06 Vitor Pequeno Vitor Pequeno 3 A23 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 01 por 00 244 03 93 DCF 12 DCF B2 Fabulations 10 POE012000 B2 Languages+Translations 93 QRRM 93 1KLSB 20 poetry; Brazil; spiritism; spirit medium 01 06 02 00 03 00 Poetry from Beyond the Grave is the first English publication of a large selection of poems by the Brazilian medium and Spiritist leader Francisco Cândido “Chico” Xavier. These poems, originally collected in the volume Parnaso de Além-Túmulo, were dictated to Xavier by a variety of spirits of Brazilian poets from the afterlife, as journeying souls or as witnesses of the spiritual city Nosso Lar, “our house.” Poetry from Beyond the Grave is a veritable collection of haunted writing, in which poets present their posthumous work as if they were alive. The brilliant translation by Vitor Pequeno is supplemented by an extensive afterword by Jeremy Fernando, who traces what it means to speak through the other. 30 00 Poetry from Beyond the Grave is the first English publication of a large selection of poems by the Brazilian medium and Spiritist leader Francisco Cândido “Chico” Xavier. These poems, originally collected in the volume Parnaso de Além-Túmulo, were dictated to Xavier by a variety of spirits of Brazilian poets from the afterlife, as journeying souls or as witnesses of the spiritual city Nosso Lar, “our house.” Poetry from Beyond the Grave is a veritable collection of haunted writing, in which poets present their posthumous work as if they were alive. The brilliant translation by Vitor Pequeno is supplemented by an extensive afterword by Jeremy Fernando, who traces what it means to speak through the other. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0222.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/poetry-from-beyond-the-grave/ The Hague/Tirana 04 01 20130510 Xavier, Francisco Cândido "Chico" 02 WORLD 06 15 9789081709194 03 9789081709194 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25408 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25408/1004687.pdf?sequence=1&isAllowed=y 20 08 20130510 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36038 20 08 20130510 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354001 20 08 20130510 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/408 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/35bb64bb-0e6c-4dbd-bf41-a5c4156c08ba/download 20 08 20130510 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e/0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e.pdf 20 08 20130510 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845712 29 ZENODO: download the title https://zenodo.org/records/19845712/files/0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e_book.pdf 20 08 20130510 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/poetry-from-beyond-the-grave/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0222.1.00.pdf 20 08 20130510 01 urn:uuid:45bbf76b-1d33-489d-ae91-e52cf8cb9e42 03 01 01 thoth-work-id urn:uuid:69365c88-4571-45f3-8770-5a94f7c9badc 01 thoth-publication-id urn:uuid:45bbf76b-1d33-489d-ae91-e52cf8cb9e42 15 9789081709118 03 9789081709118 06 10.21983/P3.0213.1.00 01 internal-reference 0213 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Poetry Vocare 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 40 04g3mbv81 European Graduate School A. Staley Groves is a contemporary poet. Originally from the Midwestern United States, Groves now lives in Southeast Asia and is a lecturer at the National University of Singapore. An active musician within the DIY subculture of the 1990s, the craft side of Groves’s poetry is first and foremost devoted to thinking music. This notion was informed through his subsequent study of philosophy and modern poetry with the European Graduate School. The last decade was a development of this notion into a concept, that Poetry, as a written device, reveals to the committed reader the core features of music: sound and rhythm. Through the engagement with written poetry the recovery of sound and rhythm nourishes the denaturation of thought “under the reign of Technik.” 2 A23 Judith Balso Judith Balso 40 04g3mbv81 European Graduate School 01 eng 01 fre 00 168 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 1KBB-US-MPA 93 3MRBF 93 DCC 20 poetry; American poetry; modern poetry 01 06 02 00 03 00 Poetry Vocare is the first collection of poetry published by young American poet A. Staley Groves. A dense fabric of resemblances and reflections, this work engages with Wallace Stevens, Ossip Mandelstam, and Emily Dickinson. In addition to poems Groves gives a supplement of prose, a short essay titled “Affirmation of Instruction.” Poetry scholar Judith Balso wrote a foreword in French to the work. 30 00 Poetry Vocare is the first collection of poetry published by young American poet A. Staley Groves. A dense fabric of resemblances and reflections, this work engages with Wallace Stevens, Ossip Mandelstam, and Emily Dickinson. In addition to poems Groves gives a supplement of prose, a short essay titled “Affirmation of Instruction.” Poetry scholar Judith Balso wrote a foreword in French to the work. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0213.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/poetry-vocare/ The Hague/Tirana 04 01 20110123 Groves, Adam Staley 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/9081709119 20 08 20110123 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/poetry-vocare 20 08 20110123 02 22.00 USD WORLD urn:uuid:0ca5a738-56f8-4033-a2cf-d5f261f5c07d 03 01 01 thoth-work-id urn:uuid:69365c88-4571-45f3-8770-5a94f7c9badc 01 thoth-publication-id urn:uuid:0ca5a738-56f8-4033-a2cf-d5f261f5c07d 06 10.21983/P3.0213.1.00 01 internal-reference 0213 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Poetry Vocare 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 01tgyzw49 National University of Singapore 40 04g3mbv81 European Graduate School A. Staley Groves is a contemporary poet. Originally from the Midwestern United States, Groves now lives in Southeast Asia and is a lecturer at the National University of Singapore. An active musician within the DIY subculture of the 1990s, the craft side of Groves’s poetry is first and foremost devoted to thinking music. This notion was informed through his subsequent study of philosophy and modern poetry with the European Graduate School. The last decade was a development of this notion into a concept, that Poetry, as a written device, reveals to the committed reader the core features of music: sound and rhythm. Through the engagement with written poetry the recovery of sound and rhythm nourishes the denaturation of thought “under the reign of Technik.” 2 A23 Judith Balso Judith Balso 40 04g3mbv81 European Graduate School 01 eng 01 fre 00 168 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 1KBB-US-MPA 93 3MRBF 93 DCC 20 poetry; American poetry; modern poetry 01 06 02 00 03 00 Poetry Vocare is the first collection of poetry published by young American poet A. Staley Groves. A dense fabric of resemblances and reflections, this work engages with Wallace Stevens, Ossip Mandelstam, and Emily Dickinson. In addition to poems Groves gives a supplement of prose, a short essay titled “Affirmation of Instruction.” Poetry scholar Judith Balso wrote a foreword in French to the work. 30 00 Poetry Vocare is the first collection of poetry published by young American poet A. Staley Groves. A dense fabric of resemblances and reflections, this work engages with Wallace Stevens, Ossip Mandelstam, and Emily Dickinson. In addition to poems Groves gives a supplement of prose, a short essay titled “Affirmation of Instruction.” Poetry scholar Judith Balso wrote a foreword in French to the work. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0213.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/poetry-vocare/ The Hague/Tirana 04 01 20110123 Groves, Adam Staley 02 WORLD 06 15 9789081709118 03 9789081709118 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25416 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25416/1004679.pdf?sequence=1&isAllowed=y 20 08 20110123 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29418 20 08 20110123 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353836 20 08 20110123 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/375 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4ea09d3e-1f85-4be0-87e6-0fbab4c2fa57/download 20 08 20110123 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Poetry_Vocare/P3mnEAAAQBAJ 20 08 20110123 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/69365c88-4571-45f3-8770-5a94f7c9badc 29 INTERNET_ARCHIVE: download the title https://archive.org/download/69365c88-4571-45f3-8770-5a94f7c9badc/69365c88-4571-45f3-8770-5a94f7c9badc.pdf 20 08 20110123 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693022 29 ZENODO: download the title https://zenodo.org/records/19693022/files/69365c88-4571-45f3-8770-5a94f7c9badc_book.pdf 20 08 20110123 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/poetry-vocare/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0213.1.00.pdf 20 08 20110123 01 urn:uuid:af269fca-3d56-4ba7-9837-83d897176662 03 01 01 thoth-work-id urn:uuid:d98dcf27-9898-4a48-92cf-18101631afc9 01 thoth-publication-id urn:uuid:af269fca-3d56-4ba7-9837-83d897176662 15 9780692720547 03 9780692720547 06 10.21983/P3.0141.1.00 01 internal-reference 0141 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Porno-Graphics and Porno-Tactics Desire, Affect, and Representation in Pornography 1 B01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 B01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 00 102 03 93 JBFW 12 JFMP B2 Moving Image 10 SOC032000 93 JBSJ B2 Sex 10 SOC034000 93 ATFA B2 TransQueer 20 pornography; film studies; gender studies; queer studies; cultural theory 01 06 02 00 03 00 Porno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such a quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about – in short, to all that we get attached to.The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but are nevertheless open to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits. 30 00 Porno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such a quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about – in short, to all that we get attached to.The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but are nevertheless open to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0141.1.00_frontcover.jpg 1 03 06 10.21983/P3.0141.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 B01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 20 00 Open Access Avramopoulou, Eirini Peano, Irene 2 03 06 10.21983/P3.0141.1.02 13 27 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Challenging Pornography, Challenged by Pornography From Monstrous Tactics to Enactments of Poiēsis 1 A01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 A01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 03 00 The point of departure of this edited volume was experimental, and so too is its result. The idea for this collection initially sprung from a need, not to mention desire, to open up, relate to and test the limits of certain avenues of thought and their material impli-cations. These were part of our intellectual horizons and everyday experiences when we were living in the UK, but were also shaped by our moving in and out of the country, and through friends, or friends of friends, families of all kinds, comrades, books, objects, concepts etc. from all over the world. The idea came from a need to experiment with (familiar or unfamiliar) others, so as to create a platform of engagement while “sweating” with certain concepts, as Sarah Ahmed so beautifully put it.1 But such need to experi-ment derived from the fact that we had already found ourselves “sweating” with desire in our everyday lives, in relationships that were confronting us with our own failed attempts to transcend limits, in feelings of embarrassment, frustration, and anger with imposed structures, in repeating what we had promised ourselves never to do again, in blushing with guilt for something we never for a moment thought we would do, but at the same time feeling the liberation of doing it, in not admitting to ourselves and others that queer might not be the word to define all of our unreleased fantasies, or in asking what the limits of queer might be... – the list of our meanderings in the realms of desire and sexuality could go on endlessly. 30 00 The point of departure of this edited volume was experimental, and so too is its result. The idea for this collection initially sprung from a need, not to mention desire, to open up, relate to and test the limits of certain avenues of thought and their material impli-cations. These were part of our intellectual horizons and everyday experiences when we were living in the UK, but were also shaped by our moving in and out of the country, and through friends, or friends of friends, families of all kinds, comrades, books, objects, concepts etc. from all over the world. The idea came from a need to experiment with (familiar or unfamiliar) others, so as to create a platform of engagement while “sweating” with certain concepts, as Sarah Ahmed so beautifully put it.1 But such need to experi-ment derived from the fact that we had already found ourselves “sweating” with desire in our everyday lives, in relationships that were confronting us with our own failed attempts to transcend limits, in feelings of embarrassment, frustration, and anger with imposed structures, in repeating what we had promised ourselves never to do again, in blushing with guilt for something we never for a moment thought we would do, but at the same time feeling the liberation of doing it, in not admitting to ourselves and others that queer might not be the word to define all of our unreleased fantasies, or in asking what the limits of queer might be... – the list of our meanderings in the realms of desire and sexuality could go on endlessly. 20 00 Open Access Avramopoulou, Eirini Peano, Irene 3 03 06 10.21983/P3.0141.1.03 29 37 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interview with Émilie Jouvet 1 A01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 A01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 3 A01 Adele Tulli Adele Tulli 01 eng 03 00 Pornography is representing an explicit sexual act. However, it’s not my job to produce it, others do it very well, on a large scale and in a stylish way, like Shine Louise Houston or Courtney Trou-ble. Each artist has her own way of working and her own aesthet-ics. There are movements and currents of thought, which evolve in time and sometimes contradict each other. Personally, I don’t really like the term “post” (post-porn, post-feminism...), nor do I feel represented by the term “queer artist.” 30 00 Pornography is representing an explicit sexual act. However, it’s not my job to produce it, others do it very well, on a large scale and in a stylish way, like Shine Louise Houston or Courtney Trou-ble. Each artist has her own way of working and her own aesthet-ics. There are movements and currents of thought, which evolve in time and sometimes contradict each other. Personally, I don’t really like the term “post” (post-porn, post-feminism...), nor do I feel represented by the term “queer artist.” 20 00 Open Access Avramopoulou, Eirini Peano, Irene Tulli, Adele 4 03 06 10.21983/P3.0141.1.04 39 43 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Open Letter on Empowerment and Queer Pron 1 A01 Kathryn Fischer Kathryn Fischer 01 eng 03 00 There is nothing inherently empowering about making porn or showing the naked female (or any gendered) body on stage. The empowering part I believe, is primarily based in our freedom to explore what we are actually interested in, asking ourselves about life, and what we love to do. This could include, but is not limited to, discovering that we are exhibitionists or artists and/or that we enjoy exploring our sexuality with lots of different kinds of people. The freedom to explore these things – without feeling pressure from speculations about our gender or sexual orientation and without feeling shame about what we are publicly “allowed” to do or express out loud as those genders and orientations – deflates the imagined magnitude of what it is to show our bodies’ sexuality in public. 30 00 There is nothing inherently empowering about making porn or showing the naked female (or any gendered) body on stage. The empowering part I believe, is primarily based in our freedom to explore what we are actually interested in, asking ourselves about life, and what we love to do. This could include, but is not limited to, discovering that we are exhibitionists or artists and/or that we enjoy exploring our sexuality with lots of different kinds of people. The freedom to explore these things – without feeling pressure from speculations about our gender or sexual orientation and without feeling shame about what we are publicly “allowed” to do or express out loud as those genders and orientations – deflates the imagined magnitude of what it is to show our bodies’ sexuality in public. 20 00 Open Access Fischer, Kathryn 5 03 06 10.21983/P3.0141.1.05 45 49 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Seductive Intrigue of Sexuality? 1 A01 Sinan Goknur Sinan Goknur 40 00py81415 Duke University 01 eng 03 00 While most critiques of – as well as support for – explicit sexuality are framed in terms of morality, exploitation, and misogyny vs. empowerment, agency and sexual liberation, Baudrillard’s polemi-cal twist invites us to reconsider the matter from a different angle. In his article “Dust Breeding,” he frames explicit sexuality (e.g., live sex events, porn, etc.) as yet another manifestation of our col-lective urge to demystify life into a banal reality.1 He disregards the possibility of liberation through acts that hasten sexuality into integral reality, when the very essence of power lies in ascribing to reality everything that was in the order of dreams. By integral reality, Baudrillard refers to the procedure, which is accelerated by modernity, whereby everything becomes real, visible, transpar-ent, “liberated,” and legible to cultural and political regimes and whereby there is no longer anything on which there is nothing to say. He argues that sexuality is at best a hypothesis, and that as a hypothesis it does not make sense to strive for a systematic “libera-tion” through affirming the act. Rather, he contends that explicit-ness merely causes sexuality to lose its authority and its aura, the essential qualities that it once took on through repression. 30 00 While most critiques of – as well as support for – explicit sexuality are framed in terms of morality, exploitation, and misogyny vs. empowerment, agency and sexual liberation, Baudrillard’s polemi-cal twist invites us to reconsider the matter from a different angle. In his article “Dust Breeding,” he frames explicit sexuality (e.g., live sex events, porn, etc.) as yet another manifestation of our col-lective urge to demystify life into a banal reality.1 He disregards the possibility of liberation through acts that hasten sexuality into integral reality, when the very essence of power lies in ascribing to reality everything that was in the order of dreams. By integral reality, Baudrillard refers to the procedure, which is accelerated by modernity, whereby everything becomes real, visible, transpar-ent, “liberated,” and legible to cultural and political regimes and whereby there is no longer anything on which there is nothing to say. He argues that sexuality is at best a hypothesis, and that as a hypothesis it does not make sense to strive for a systematic “libera-tion” through affirming the act. Rather, he contends that explicit-ness merely causes sexuality to lose its authority and its aura, the essential qualities that it once took on through repression. 20 00 Open Access Goknur, Sinan 6 03 06 10.21983/P3.0141.1.06 51 57 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Everyday Porn 1 A01 Namita Aavriti Namita Aavriti 01 eng 03 00 In a channel for amateur pornographic videos online, an odd video bobs into view titled “Crowded Bus.” This video has about 6,900,000 hits. A person sitting in the front section of a bus has shot this video, and its lingering, intrusive gaze passes over various women seated and standing around. One or two of them notice the camera and give irritated glances. Most ignore it and continue talking or staring into the distance, the banality of their daily com-mute undisturbed by this almost idiotic and perverse sexual gaze on bodies packed into a bus. Buses and trains are spaces in India where women are often harassed; hence the separation of the bus into gendered zones so that women can sit safely in the front. But these are also spaces in which myriad consensual yet covert sexual encounters are taking place between people. 30 00 In a channel for amateur pornographic videos online, an odd video bobs into view titled “Crowded Bus.” This video has about 6,900,000 hits. A person sitting in the front section of a bus has shot this video, and its lingering, intrusive gaze passes over various women seated and standing around. One or two of them notice the camera and give irritated glances. Most ignore it and continue talking or staring into the distance, the banality of their daily com-mute undisturbed by this almost idiotic and perverse sexual gaze on bodies packed into a bus. Buses and trains are spaces in India where women are often harassed; hence the separation of the bus into gendered zones so that women can sit safely in the front. But these are also spaces in which myriad consensual yet covert sexual encounters are taking place between people. 20 00 Open Access Aavriti, Namita 7 03 06 10.21983/P3.0141.1.07 59 75 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Look! But Also, Touch! Theorizing Images of Trans Eroticism Beyond a Politics of Visual Essentialism 1 A01 21 0000000155317142 Eliza Steinbock Eliza Steinbock 40 027bh9e22 Leiden University 01 eng 03 00 Jamison Green’s essay “Look! No, Don’t!: The Visibility Dilemma for Transsexual Men” discusses the conflict between on the one hand claiming that “we” transsexuals want to be invisible, while on the other hand begging to be acknowledged. The activism that demands that society “Look!” is carried out through what Green calls “public ‘confessions,’” revelations that are situated beyond family, lovers, and doctors in increasingly public spaces such as classrooms, the television, and especially, in films.1 The counter-imperative “No, don’t!,” as Green explains, relates to being caught up in the regulation of transsexual treatment, in which “in order to be a good – or successful – transsexual person, one is not sup-posed to be a transsexual person at all.”2 At least from a medical perspective, the aim of hormonal and surgical treatment is to make the patient feel “normal” (that is, non-transsexual or dysphoric), a cure embodied by not drawing attention to oneself as transsexual. 30 00 Jamison Green’s essay “Look! No, Don’t!: The Visibility Dilemma for Transsexual Men” discusses the conflict between on the one hand claiming that “we” transsexuals want to be invisible, while on the other hand begging to be acknowledged. The activism that demands that society “Look!” is carried out through what Green calls “public ‘confessions,’” revelations that are situated beyond family, lovers, and doctors in increasingly public spaces such as classrooms, the television, and especially, in films.1 The counter-imperative “No, don’t!,” as Green explains, relates to being caught up in the regulation of transsexual treatment, in which “in order to be a good – or successful – transsexual person, one is not sup-posed to be a transsexual person at all.”2 At least from a medical perspective, the aim of hormonal and surgical treatment is to make the patient feel “normal” (that is, non-transsexual or dysphoric), a cure embodied by not drawing attention to oneself as transsexual. 20 00 Open Access Steinbock, Eliza 8 03 06 10.21983/P3.0141.1.08 77 83 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pornography for Blind and Visually Impaired People On Tactility and Monstrosity 1 A01 Eli Charidi Eli Charidi 40 056ddyv20 Panteion University 01 eng 03 00 n his novel On Heroes and Tombs, the Argentinean writer Er-nesto Sabato incorporates artistically a series of beliefs and cul-tural obsessions that directly connect blindness to the concept of darkness – and to whatever that might entail. One of the novel’s central figures, Fernando Vidal Olmos, attempts to bring to light the secrets of the Sect of the Blind, an organization which, in his deep-rooted belief, represents the Prince of Darkness and governs the world on his behalf in a shifty and infernal way and by using supernatural and invincible strengths. He thus begins a dangerous journey into the dark and underground world where he imagines the blind to initiate the new arrivals – that is, whoever has just lost their sight – and to plan their secret action. There, he finds himself in a boundless, deep and terrifying darkness, inhabited by serpents and snakes, bats and spiders, carnivorous birds that fly around him threatening him and eventually ripping out his eyes. In the tunnels he traverses looking for secret passages, the water stagnates and sticky creatures whose existence nobody could even imagine hide in the slime’s dampness. 30 00 n his novel On Heroes and Tombs, the Argentinean writer Er-nesto Sabato incorporates artistically a series of beliefs and cul-tural obsessions that directly connect blindness to the concept of darkness – and to whatever that might entail. One of the novel’s central figures, Fernando Vidal Olmos, attempts to bring to light the secrets of the Sect of the Blind, an organization which, in his deep-rooted belief, represents the Prince of Darkness and governs the world on his behalf in a shifty and infernal way and by using supernatural and invincible strengths. He thus begins a dangerous journey into the dark and underground world where he imagines the blind to initiate the new arrivals – that is, whoever has just lost their sight – and to plan their secret action. There, he finds himself in a boundless, deep and terrifying darkness, inhabited by serpents and snakes, bats and spiders, carnivorous birds that fly around him threatening him and eventually ripping out his eyes. In the tunnels he traverses looking for secret passages, the water stagnates and sticky creatures whose existence nobody could even imagine hide in the slime’s dampness. 20 00 Open Access Charidi, Eli 9 03 06 10.21983/P3.0141.1.09 85 93 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Note on Pornography and Violence 1 A01 Mantas Kvedaravicius Mantas Kvedaravicius 40 03nadee84 Vilnius University 01 eng 03 00 Broom handles and stool legs, cheap- champagne and Coke bottles, plastic tubes with barbed wire and police batons are all shoved in people’s anuses to produce confessions, to force them to own up to crimes that they never committed or even imagined. Those wielding the tools hope this will help get them a promotion or keep within the demands of statistics, and will also give them pleasure. In other words these are legal instruments for making of thieves, terrorists, murderers, extremists, bandits, hooligans, or any sort of delinquent required by local economies and global politics. Indeed the materiality and the names of the tools testify to this: police batons are manufactured in rubber factories in little Russian towns, and stamped with revealing abbreviations such as PUS (palka universal’naia spetsial’naia, “special universal stick”) with clear specifications — “PUS-1 Argument,” “PUS-2 Argument B,” “PUS-3 Siurpriz,” “PUS-4 Kontakt” — language that speci-fies the violence inherent in these objects. Investigators’ offices, temporary detention facilities, military bases, penal colonies, tor-ture basements in police stations... These factories-of-law-cum-pleasure-playgrounds use the acronyms (ROVD, ORB, FSB, ORC, UBOP, RUBOP, OVD) that within local vernacular are substitutable and inextricable from the history of terror extending to the KGB and its affiliates.1 A lot has come out of these spaces: photographs, cellphone videos, journalist reports, legal documents, testimonies, interviews, stories told, retold, imagined, more signatures, confes-sions, trial recordings, legal protocols... Some sort of scene is built up of raped, mutilated, and objectified bodies, which seems to make violence compatible with pornography. 30 00 Broom handles and stool legs, cheap- champagne and Coke bottles, plastic tubes with barbed wire and police batons are all shoved in people’s anuses to produce confessions, to force them to own up to crimes that they never committed or even imagined. Those wielding the tools hope this will help get them a promotion or keep within the demands of statistics, and will also give them pleasure. In other words these are legal instruments for making of thieves, terrorists, murderers, extremists, bandits, hooligans, or any sort of delinquent required by local economies and global politics. Indeed the materiality and the names of the tools testify to this: police batons are manufactured in rubber factories in little Russian towns, and stamped with revealing abbreviations such as PUS (palka universal’naia spetsial’naia, “special universal stick”) with clear specifications — “PUS-1 Argument,” “PUS-2 Argument B,” “PUS-3 Siurpriz,” “PUS-4 Kontakt” — language that speci-fies the violence inherent in these objects. Investigators’ offices, temporary detention facilities, military bases, penal colonies, tor-ture basements in police stations... These factories-of-law-cum-pleasure-playgrounds use the acronyms (ROVD, ORB, FSB, ORC, UBOP, RUBOP, OVD) that within local vernacular are substitutable and inextricable from the history of terror extending to the KGB and its affiliates.1 A lot has come out of these spaces: photographs, cellphone videos, journalist reports, legal documents, testimonies, interviews, stories told, retold, imagined, more signatures, confes-sions, trial recordings, legal protocols... Some sort of scene is built up of raped, mutilated, and objectified bodies, which seems to make violence compatible with pornography. 20 00 Open Access Kvedaravicius, Mantas 10 03 06 10.21983/P3.0141.1.10 95 98 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 B01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 20 00 Open Access Avramopoulou, Eirini Peano, Irene 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/porno-graphics-and-porno-tactics/ Earth, Milky Way 04 01 20160526 Avramopoulou, Eirini Peano, Irene 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/porno-graphics-and-porno-tactics-desire-affect-and-representation-in-pornography 20 08 20160526 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692720545 20 08 20160526 02 21.00 USD WORLD urn:uuid:93a58da3-e49d-4842-9da3-da54f2707493 03 01 01 thoth-work-id urn:uuid:d98dcf27-9898-4a48-92cf-18101631afc9 01 thoth-publication-id urn:uuid:93a58da3-e49d-4842-9da3-da54f2707493 06 10.21983/P3.0141.1.00 01 internal-reference 0141 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Porno-Graphics and Porno-Tactics Desire, Affect, and Representation in Pornography 1 B01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 B01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 00 102 03 93 JBFW 12 JFMP B2 Moving Image 10 SOC032000 93 JBSJ B2 Sex 10 SOC034000 93 ATFA B2 TransQueer 20 pornography; film studies; gender studies; queer studies; cultural theory 01 06 02 00 03 00 Porno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such a quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about – in short, to all that we get attached to.The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but are nevertheless open to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits. 30 00 Porno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such a quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about – in short, to all that we get attached to.The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but are nevertheless open to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0141.1.00_frontcover.jpg 1 03 06 10.21983/P3.0141.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 B01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 20 00 Open Access Avramopoulou, Eirini Peano, Irene 2 03 06 10.21983/P3.0141.1.02 13 27 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Challenging Pornography, Challenged by Pornography From Monstrous Tactics to Enactments of Poiēsis 1 A01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 A01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 03 00 The point of departure of this edited volume was experimental, and so too is its result. The idea for this collection initially sprung from a need, not to mention desire, to open up, relate to and test the limits of certain avenues of thought and their material impli-cations. These were part of our intellectual horizons and everyday experiences when we were living in the UK, but were also shaped by our moving in and out of the country, and through friends, or friends of friends, families of all kinds, comrades, books, objects, concepts etc. from all over the world. The idea came from a need to experiment with (familiar or unfamiliar) others, so as to create a platform of engagement while “sweating” with certain concepts, as Sarah Ahmed so beautifully put it.1 But such need to experi-ment derived from the fact that we had already found ourselves “sweating” with desire in our everyday lives, in relationships that were confronting us with our own failed attempts to transcend limits, in feelings of embarrassment, frustration, and anger with imposed structures, in repeating what we had promised ourselves never to do again, in blushing with guilt for something we never for a moment thought we would do, but at the same time feeling the liberation of doing it, in not admitting to ourselves and others that queer might not be the word to define all of our unreleased fantasies, or in asking what the limits of queer might be... – the list of our meanderings in the realms of desire and sexuality could go on endlessly. 30 00 The point of departure of this edited volume was experimental, and so too is its result. The idea for this collection initially sprung from a need, not to mention desire, to open up, relate to and test the limits of certain avenues of thought and their material impli-cations. These were part of our intellectual horizons and everyday experiences when we were living in the UK, but were also shaped by our moving in and out of the country, and through friends, or friends of friends, families of all kinds, comrades, books, objects, concepts etc. from all over the world. The idea came from a need to experiment with (familiar or unfamiliar) others, so as to create a platform of engagement while “sweating” with certain concepts, as Sarah Ahmed so beautifully put it.1 But such need to experi-ment derived from the fact that we had already found ourselves “sweating” with desire in our everyday lives, in relationships that were confronting us with our own failed attempts to transcend limits, in feelings of embarrassment, frustration, and anger with imposed structures, in repeating what we had promised ourselves never to do again, in blushing with guilt for something we never for a moment thought we would do, but at the same time feeling the liberation of doing it, in not admitting to ourselves and others that queer might not be the word to define all of our unreleased fantasies, or in asking what the limits of queer might be... – the list of our meanderings in the realms of desire and sexuality could go on endlessly. 20 00 Open Access Avramopoulou, Eirini Peano, Irene 3 03 06 10.21983/P3.0141.1.03 29 37 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interview with Émilie Jouvet 1 A01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 A01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 3 A01 Adele Tulli Adele Tulli 01 eng 03 00 Pornography is representing an explicit sexual act. However, it’s not my job to produce it, others do it very well, on a large scale and in a stylish way, like Shine Louise Houston or Courtney Trou-ble. Each artist has her own way of working and her own aesthet-ics. There are movements and currents of thought, which evolve in time and sometimes contradict each other. Personally, I don’t really like the term “post” (post-porn, post-feminism...), nor do I feel represented by the term “queer artist.” 30 00 Pornography is representing an explicit sexual act. However, it’s not my job to produce it, others do it very well, on a large scale and in a stylish way, like Shine Louise Houston or Courtney Trou-ble. Each artist has her own way of working and her own aesthet-ics. There are movements and currents of thought, which evolve in time and sometimes contradict each other. Personally, I don’t really like the term “post” (post-porn, post-feminism...), nor do I feel represented by the term “queer artist.” 20 00 Open Access Avramopoulou, Eirini Peano, Irene Tulli, Adele 4 03 06 10.21983/P3.0141.1.04 39 43 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Open Letter on Empowerment and Queer Pron 1 A01 Kathryn Fischer Kathryn Fischer 01 eng 03 00 There is nothing inherently empowering about making porn or showing the naked female (or any gendered) body on stage. The empowering part I believe, is primarily based in our freedom to explore what we are actually interested in, asking ourselves about life, and what we love to do. This could include, but is not limited to, discovering that we are exhibitionists or artists and/or that we enjoy exploring our sexuality with lots of different kinds of people. The freedom to explore these things – without feeling pressure from speculations about our gender or sexual orientation and without feeling shame about what we are publicly “allowed” to do or express out loud as those genders and orientations – deflates the imagined magnitude of what it is to show our bodies’ sexuality in public. 30 00 There is nothing inherently empowering about making porn or showing the naked female (or any gendered) body on stage. The empowering part I believe, is primarily based in our freedom to explore what we are actually interested in, asking ourselves about life, and what we love to do. This could include, but is not limited to, discovering that we are exhibitionists or artists and/or that we enjoy exploring our sexuality with lots of different kinds of people. The freedom to explore these things – without feeling pressure from speculations about our gender or sexual orientation and without feeling shame about what we are publicly “allowed” to do or express out loud as those genders and orientations – deflates the imagined magnitude of what it is to show our bodies’ sexuality in public. 20 00 Open Access Fischer, Kathryn 5 03 06 10.21983/P3.0141.1.05 45 49 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Seductive Intrigue of Sexuality? 1 A01 Sinan Goknur Sinan Goknur 40 00py81415 Duke University 01 eng 03 00 While most critiques of – as well as support for – explicit sexuality are framed in terms of morality, exploitation, and misogyny vs. empowerment, agency and sexual liberation, Baudrillard’s polemi-cal twist invites us to reconsider the matter from a different angle. In his article “Dust Breeding,” he frames explicit sexuality (e.g., live sex events, porn, etc.) as yet another manifestation of our col-lective urge to demystify life into a banal reality.1 He disregards the possibility of liberation through acts that hasten sexuality into integral reality, when the very essence of power lies in ascribing to reality everything that was in the order of dreams. By integral reality, Baudrillard refers to the procedure, which is accelerated by modernity, whereby everything becomes real, visible, transpar-ent, “liberated,” and legible to cultural and political regimes and whereby there is no longer anything on which there is nothing to say. He argues that sexuality is at best a hypothesis, and that as a hypothesis it does not make sense to strive for a systematic “libera-tion” through affirming the act. Rather, he contends that explicit-ness merely causes sexuality to lose its authority and its aura, the essential qualities that it once took on through repression. 30 00 While most critiques of – as well as support for – explicit sexuality are framed in terms of morality, exploitation, and misogyny vs. empowerment, agency and sexual liberation, Baudrillard’s polemi-cal twist invites us to reconsider the matter from a different angle. In his article “Dust Breeding,” he frames explicit sexuality (e.g., live sex events, porn, etc.) as yet another manifestation of our col-lective urge to demystify life into a banal reality.1 He disregards the possibility of liberation through acts that hasten sexuality into integral reality, when the very essence of power lies in ascribing to reality everything that was in the order of dreams. By integral reality, Baudrillard refers to the procedure, which is accelerated by modernity, whereby everything becomes real, visible, transpar-ent, “liberated,” and legible to cultural and political regimes and whereby there is no longer anything on which there is nothing to say. He argues that sexuality is at best a hypothesis, and that as a hypothesis it does not make sense to strive for a systematic “libera-tion” through affirming the act. Rather, he contends that explicit-ness merely causes sexuality to lose its authority and its aura, the essential qualities that it once took on through repression. 20 00 Open Access Goknur, Sinan 6 03 06 10.21983/P3.0141.1.06 51 57 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Everyday Porn 1 A01 Namita Aavriti Namita Aavriti 01 eng 03 00 In a channel for amateur pornographic videos online, an odd video bobs into view titled “Crowded Bus.” This video has about 6,900,000 hits. A person sitting in the front section of a bus has shot this video, and its lingering, intrusive gaze passes over various women seated and standing around. One or two of them notice the camera and give irritated glances. Most ignore it and continue talking or staring into the distance, the banality of their daily com-mute undisturbed by this almost idiotic and perverse sexual gaze on bodies packed into a bus. Buses and trains are spaces in India where women are often harassed; hence the separation of the bus into gendered zones so that women can sit safely in the front. But these are also spaces in which myriad consensual yet covert sexual encounters are taking place between people. 30 00 In a channel for amateur pornographic videos online, an odd video bobs into view titled “Crowded Bus.” This video has about 6,900,000 hits. A person sitting in the front section of a bus has shot this video, and its lingering, intrusive gaze passes over various women seated and standing around. One or two of them notice the camera and give irritated glances. Most ignore it and continue talking or staring into the distance, the banality of their daily com-mute undisturbed by this almost idiotic and perverse sexual gaze on bodies packed into a bus. Buses and trains are spaces in India where women are often harassed; hence the separation of the bus into gendered zones so that women can sit safely in the front. But these are also spaces in which myriad consensual yet covert sexual encounters are taking place between people. 20 00 Open Access Aavriti, Namita 7 03 06 10.21983/P3.0141.1.07 59 75 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Look! But Also, Touch! Theorizing Images of Trans Eroticism Beyond a Politics of Visual Essentialism 1 A01 21 0000000155317142 Eliza Steinbock Eliza Steinbock 40 027bh9e22 Leiden University 01 eng 03 00 Jamison Green’s essay “Look! No, Don’t!: The Visibility Dilemma for Transsexual Men” discusses the conflict between on the one hand claiming that “we” transsexuals want to be invisible, while on the other hand begging to be acknowledged. The activism that demands that society “Look!” is carried out through what Green calls “public ‘confessions,’” revelations that are situated beyond family, lovers, and doctors in increasingly public spaces such as classrooms, the television, and especially, in films.1 The counter-imperative “No, don’t!,” as Green explains, relates to being caught up in the regulation of transsexual treatment, in which “in order to be a good – or successful – transsexual person, one is not sup-posed to be a transsexual person at all.”2 At least from a medical perspective, the aim of hormonal and surgical treatment is to make the patient feel “normal” (that is, non-transsexual or dysphoric), a cure embodied by not drawing attention to oneself as transsexual. 30 00 Jamison Green’s essay “Look! No, Don’t!: The Visibility Dilemma for Transsexual Men” discusses the conflict between on the one hand claiming that “we” transsexuals want to be invisible, while on the other hand begging to be acknowledged. The activism that demands that society “Look!” is carried out through what Green calls “public ‘confessions,’” revelations that are situated beyond family, lovers, and doctors in increasingly public spaces such as classrooms, the television, and especially, in films.1 The counter-imperative “No, don’t!,” as Green explains, relates to being caught up in the regulation of transsexual treatment, in which “in order to be a good – or successful – transsexual person, one is not sup-posed to be a transsexual person at all.”2 At least from a medical perspective, the aim of hormonal and surgical treatment is to make the patient feel “normal” (that is, non-transsexual or dysphoric), a cure embodied by not drawing attention to oneself as transsexual. 20 00 Open Access Steinbock, Eliza 8 03 06 10.21983/P3.0141.1.08 77 83 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pornography for Blind and Visually Impaired People On Tactility and Monstrosity 1 A01 Eli Charidi Eli Charidi 40 056ddyv20 Panteion University 01 eng 03 00 n his novel On Heroes and Tombs, the Argentinean writer Er-nesto Sabato incorporates artistically a series of beliefs and cul-tural obsessions that directly connect blindness to the concept of darkness – and to whatever that might entail. One of the novel’s central figures, Fernando Vidal Olmos, attempts to bring to light the secrets of the Sect of the Blind, an organization which, in his deep-rooted belief, represents the Prince of Darkness and governs the world on his behalf in a shifty and infernal way and by using supernatural and invincible strengths. He thus begins a dangerous journey into the dark and underground world where he imagines the blind to initiate the new arrivals – that is, whoever has just lost their sight – and to plan their secret action. There, he finds himself in a boundless, deep and terrifying darkness, inhabited by serpents and snakes, bats and spiders, carnivorous birds that fly around him threatening him and eventually ripping out his eyes. In the tunnels he traverses looking for secret passages, the water stagnates and sticky creatures whose existence nobody could even imagine hide in the slime’s dampness. 30 00 n his novel On Heroes and Tombs, the Argentinean writer Er-nesto Sabato incorporates artistically a series of beliefs and cul-tural obsessions that directly connect blindness to the concept of darkness – and to whatever that might entail. One of the novel’s central figures, Fernando Vidal Olmos, attempts to bring to light the secrets of the Sect of the Blind, an organization which, in his deep-rooted belief, represents the Prince of Darkness and governs the world on his behalf in a shifty and infernal way and by using supernatural and invincible strengths. He thus begins a dangerous journey into the dark and underground world where he imagines the blind to initiate the new arrivals – that is, whoever has just lost their sight – and to plan their secret action. There, he finds himself in a boundless, deep and terrifying darkness, inhabited by serpents and snakes, bats and spiders, carnivorous birds that fly around him threatening him and eventually ripping out his eyes. In the tunnels he traverses looking for secret passages, the water stagnates and sticky creatures whose existence nobody could even imagine hide in the slime’s dampness. 20 00 Open Access Charidi, Eli 9 03 06 10.21983/P3.0141.1.09 85 93 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Note on Pornography and Violence 1 A01 Mantas Kvedaravicius Mantas Kvedaravicius 40 03nadee84 Vilnius University 01 eng 03 00 Broom handles and stool legs, cheap- champagne and Coke bottles, plastic tubes with barbed wire and police batons are all shoved in people’s anuses to produce confessions, to force them to own up to crimes that they never committed or even imagined. Those wielding the tools hope this will help get them a promotion or keep within the demands of statistics, and will also give them pleasure. In other words these are legal instruments for making of thieves, terrorists, murderers, extremists, bandits, hooligans, or any sort of delinquent required by local economies and global politics. Indeed the materiality and the names of the tools testify to this: police batons are manufactured in rubber factories in little Russian towns, and stamped with revealing abbreviations such as PUS (palka universal’naia spetsial’naia, “special universal stick”) with clear specifications — “PUS-1 Argument,” “PUS-2 Argument B,” “PUS-3 Siurpriz,” “PUS-4 Kontakt” — language that speci-fies the violence inherent in these objects. Investigators’ offices, temporary detention facilities, military bases, penal colonies, tor-ture basements in police stations... These factories-of-law-cum-pleasure-playgrounds use the acronyms (ROVD, ORB, FSB, ORC, UBOP, RUBOP, OVD) that within local vernacular are substitutable and inextricable from the history of terror extending to the KGB and its affiliates.1 A lot has come out of these spaces: photographs, cellphone videos, journalist reports, legal documents, testimonies, interviews, stories told, retold, imagined, more signatures, confes-sions, trial recordings, legal protocols... Some sort of scene is built up of raped, mutilated, and objectified bodies, which seems to make violence compatible with pornography. 30 00 Broom handles and stool legs, cheap- champagne and Coke bottles, plastic tubes with barbed wire and police batons are all shoved in people’s anuses to produce confessions, to force them to own up to crimes that they never committed or even imagined. Those wielding the tools hope this will help get them a promotion or keep within the demands of statistics, and will also give them pleasure. In other words these are legal instruments for making of thieves, terrorists, murderers, extremists, bandits, hooligans, or any sort of delinquent required by local economies and global politics. Indeed the materiality and the names of the tools testify to this: police batons are manufactured in rubber factories in little Russian towns, and stamped with revealing abbreviations such as PUS (palka universal’naia spetsial’naia, “special universal stick”) with clear specifications — “PUS-1 Argument,” “PUS-2 Argument B,” “PUS-3 Siurpriz,” “PUS-4 Kontakt” — language that speci-fies the violence inherent in these objects. Investigators’ offices, temporary detention facilities, military bases, penal colonies, tor-ture basements in police stations... These factories-of-law-cum-pleasure-playgrounds use the acronyms (ROVD, ORB, FSB, ORC, UBOP, RUBOP, OVD) that within local vernacular are substitutable and inextricable from the history of terror extending to the KGB and its affiliates.1 A lot has come out of these spaces: photographs, cellphone videos, journalist reports, legal documents, testimonies, interviews, stories told, retold, imagined, more signatures, confes-sions, trial recordings, legal protocols... Some sort of scene is built up of raped, mutilated, and objectified bodies, which seems to make violence compatible with pornography. 20 00 Open Access Kvedaravicius, Mantas 10 03 06 10.21983/P3.0141.1.10 95 98 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Eirini Avramopoulou Eirini Avramopoulou 40 013jp2d40 British School at Athens 2 B01 Irene Peano Irene Peano 40 01111rn36 Università di Bologna 01 eng 20 00 Open Access Avramopoulou, Eirini Peano, Irene 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/porno-graphics-and-porno-tactics/ Earth, Milky Way 04 01 20160526 Avramopoulou, Eirini Peano, Irene 02 WORLD 06 15 9780692720547 03 9780692720547 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25484 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25484/1004611.pdf?sequence=1&isAllowed=y 20 08 20160526 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32900 20 08 20160526 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2s0j58c 20 08 20160526 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/525 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f0d16974-3123-4cee-a9ef-f5b4db43b0ee/download 20 08 20160526 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Porno_graphics_Porno_tactics/QASVEAAAQBAJ 20 08 20160526 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d98dcf27-9898-4a48-92cf-18101631afc9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d98dcf27-9898-4a48-92cf-18101631afc9/d98dcf27-9898-4a48-92cf-18101631afc9.pdf 20 08 20160526 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846579 29 ZENODO: download the title https://zenodo.org/records/19846579/files/d98dcf27-9898-4a48-92cf-18101631afc9_book.pdf 20 08 20160526 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/porno-graphics-and-porno-tactics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0141.1.00.pdf 20 08 20160526 01 urn:uuid:266f1722-5135-4460-ac0c-25e3357b4826 03 01 01 thoth-work-id urn:uuid:96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93 01 thoth-publication-id urn:uuid:266f1722-5135-4460-ac0c-25e3357b4826 15 9780692641576 03 9780692641576 06 10.21983/P3.0133.1.00 01 internal-reference 0133 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Posthuman Lear Reading Shakespeare in the Anthropocene 1 A01 Craig Dionne Craig Dionne 40 02ehshm78 Eastern Michigan University 01 eng 00 202 03 93 5PX-GB-S 12 DSGS 10 LIT015000 B2 Literary Studies 93 DSG B2 Posthumanism B2 Premodern 20 posthumanism; William Shakespeare; literary criticism; anthropocene 01 06 02 00 03 00 Approaching King Lear from an eco-materialist perspective, Posthuman Lear examines how the shift in Shakespeare’s tragedy from court to stormy heath activates a different sense of language as tool-being — from that of participating in the flourish of aristocratic prodigality and circumstance, to that of survival and pondering one’s interdependence with a denuded world. Dionne frames the thematic arc of Shakespeare’s tragedy about the fall of a king as a tableaux of our post-sustainable condition. For Dionne, Lear’s progress on the heath works as a parable of flat ontology.At the center of Dionne’s analysis of rhetoric and prodigality in the tragedy is the argument that adages and proverbs, working as embodied forms of speech, offer insight into a nonhuman, fragmentary mode of consciousness. The Renaissance fascination with memory and proverbs provides an opportunity to reflect on the human as an instance of such enmeshed being where the habit of articulating memorized patterns of speech works on a somatic level. Dionne theorizes how mnemonic memory functions as a potentially empowering mode of consciousness inherited by our evolutionary history as a species, revealing how our minds work as imprinted machines to recall past prohibitions and useful affective scripts to aid in our interaction with the environment. The proverb is that linguistic inscription that defines the equivalent of human-animal imprinting, where the past is etched upon collective memory within ‘adagential” being that lives on through the generations as autonomic cues for survival. 30 00 Approaching King Lear from an eco-materialist perspective, Posthuman Lear examines how the shift in Shakespeare’s tragedy from court to stormy heath activates a different sense of language as tool-being — from that of participating in the flourish of aristocratic prodigality and circumstance, to that of survival and pondering one’s interdependence with a denuded world. Dionne frames the thematic arc of Shakespeare’s tragedy about the fall of a king as a tableaux of our post-sustainable condition. For Dionne, Lear’s progress on the heath works as a parable of flat ontology.At the center of Dionne’s analysis of rhetoric and prodigality in the tragedy is the argument that adages and proverbs, working as embodied forms of speech, offer insight into a nonhuman, fragmentary mode of consciousness. The Renaissance fascination with memory and proverbs provides an opportunity to reflect on the human as an instance of such enmeshed being where the habit of articulating memorized patterns of speech works on a somatic level. Dionne theorizes how mnemonic memory functions as a potentially empowering mode of consciousness inherited by our evolutionary history as a species, revealing how our minds work as imprinted machines to recall past prohibitions and useful affective scripts to aid in our interaction with the environment. The proverb is that linguistic inscription that defines the equivalent of human-animal imprinting, where the past is etched upon collective memory within ‘adagential” being that lives on through the generations as autonomic cues for survival. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0133.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/posthuman-lear/ Earth, Milky Way 04 01 20160226 Dionne, Craig 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692641572 20 08 20160226 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/posthuman-lear-reading-shakespeare-in-the-anthropocene 20 08 20160226 02 24.00 USD WORLD urn:uuid:05cba436-27ac-4c9d-a3f2-a93a88128991 03 01 01 thoth-work-id urn:uuid:96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93 01 thoth-publication-id urn:uuid:05cba436-27ac-4c9d-a3f2-a93a88128991 06 10.21983/P3.0133.1.00 01 internal-reference 0133 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Posthuman Lear Reading Shakespeare in the Anthropocene 1 A01 Craig Dionne Craig Dionne 40 02ehshm78 Eastern Michigan University 01 eng 00 202 03 93 5PX-GB-S 12 DSGS 10 LIT015000 B2 Literary Studies 93 DSG B2 Posthumanism B2 Premodern 20 posthumanism; William Shakespeare; literary criticism; anthropocene 01 06 02 00 03 00 Approaching King Lear from an eco-materialist perspective, Posthuman Lear examines how the shift in Shakespeare’s tragedy from court to stormy heath activates a different sense of language as tool-being — from that of participating in the flourish of aristocratic prodigality and circumstance, to that of survival and pondering one’s interdependence with a denuded world. Dionne frames the thematic arc of Shakespeare’s tragedy about the fall of a king as a tableaux of our post-sustainable condition. For Dionne, Lear’s progress on the heath works as a parable of flat ontology.At the center of Dionne’s analysis of rhetoric and prodigality in the tragedy is the argument that adages and proverbs, working as embodied forms of speech, offer insight into a nonhuman, fragmentary mode of consciousness. The Renaissance fascination with memory and proverbs provides an opportunity to reflect on the human as an instance of such enmeshed being where the habit of articulating memorized patterns of speech works on a somatic level. Dionne theorizes how mnemonic memory functions as a potentially empowering mode of consciousness inherited by our evolutionary history as a species, revealing how our minds work as imprinted machines to recall past prohibitions and useful affective scripts to aid in our interaction with the environment. The proverb is that linguistic inscription that defines the equivalent of human-animal imprinting, where the past is etched upon collective memory within ‘adagential” being that lives on through the generations as autonomic cues for survival. 30 00 Approaching King Lear from an eco-materialist perspective, Posthuman Lear examines how the shift in Shakespeare’s tragedy from court to stormy heath activates a different sense of language as tool-being — from that of participating in the flourish of aristocratic prodigality and circumstance, to that of survival and pondering one’s interdependence with a denuded world. Dionne frames the thematic arc of Shakespeare’s tragedy about the fall of a king as a tableaux of our post-sustainable condition. For Dionne, Lear’s progress on the heath works as a parable of flat ontology.At the center of Dionne’s analysis of rhetoric and prodigality in the tragedy is the argument that adages and proverbs, working as embodied forms of speech, offer insight into a nonhuman, fragmentary mode of consciousness. The Renaissance fascination with memory and proverbs provides an opportunity to reflect on the human as an instance of such enmeshed being where the habit of articulating memorized patterns of speech works on a somatic level. Dionne theorizes how mnemonic memory functions as a potentially empowering mode of consciousness inherited by our evolutionary history as a species, revealing how our minds work as imprinted machines to recall past prohibitions and useful affective scripts to aid in our interaction with the environment. The proverb is that linguistic inscription that defines the equivalent of human-animal imprinting, where the past is etched upon collective memory within ‘adagential” being that lives on through the generations as autonomic cues for survival. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0133.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/posthuman-lear/ Earth, Milky Way 04 01 20160226 Dionne, Craig 02 WORLD 06 15 9780692641576 03 9780692641576 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25492 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25492/1004603.pdf?sequence=1&isAllowed=y 20 08 20160226 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33041 20 08 20160226 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353902 20 08 20160226 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/515 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f2d561d2-9b6f-431c-a89d-dd1d9ef4af34/download 20 08 20160226 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Posthuman_Lear/OgOVEAAAQBAJ 20 08 20160226 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93 29 INTERNET_ARCHIVE: download the title https://archive.org/download/96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93/96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93.pdf 20 08 20160226 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846471 29 ZENODO: download the title https://zenodo.org/records/19846471/files/96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93_book.pdf 20 08 20160226 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/posthuman-lear/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0133.1.00.pdf 20 08 20160226 01 urn:uuid:12b0fc9f-822b-4c09-ba95-23369771c516 03 01 01 thoth-work-id urn:uuid:ca9f46ad-5b1b-4991-90d8-ac616a302225 01 thoth-publication-id urn:uuid:12b0fc9f-822b-4c09-ba95-23369771c516 15 9781950192434 03 9781950192434 06 10.21983/P3.0255.1.00 13 2019947997 01 internal-reference 0255 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Post Memes Seizing the Memes of Production 1 B01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 B01 Dan Bristow Dan Bristow 01 eng 00 423 03 B2 Art+Aesthetics 93 JBCT1 12 JFD 10 SOC052000 B2 Cultural Studies+Critical Theory B2 Media+Technology 20 memes; media studies; popular culture; Digital Humanities; technology; social media; internet culture 01 06 02 00 03 00 Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation -- memes are the inner currency of the internet’s circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. Post-Memes: Seizing the Memes of Production takes advantage of the meme’s subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century’s most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons.With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet’s most viral phenomenon. 30 00 Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation -- memes are the inner currency of the internet’s circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. Post-Memes: Seizing the Memes of Production takes advantage of the meme’s subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century’s most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons.With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet’s most viral phenomenon. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0255.1.00_frontcover.jpg 1 03 06 10.21983/P3.0255.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 B01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bown, Alfie Bristow, Dan 2 03 06 10.21983/P3.0255.1.02 17 24 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introproduction 1 A01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bristow, Dan 3 03 06 10.21983/P3.0255.1.03 25 30 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Memetic Desire Twenty Theses on Posthumanism, Political Affect, and Proliferation 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 20 00 Open Access Pettman, Dominic 4 03 06 10.21983/P3.0255.1.04 31 44 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Meme is Dead, Long Live the Meme 1 A01 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Christopher, Roy 5 03 06 10.21983/P3.0255.1.05 45 76 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Apocalypse Memes for the Anthropocene God Mediating Crisis and the Memetic Body Politic 1 A01 Bogna M. Konior Bogna M. Konior 40 04pp8hn57 Utrecht University 01 eng 20 00 Open Access Konior, Bogna M. 6 03 06 10.21983/P3.0255.1.06 77 113 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Post-Authenticity and the Ironic Truths of Meme Culture 1 A01 Jay Owens Jay Owens 40 01a77tt86 University of Warwick 01 eng 20 00 Open Access Owens, Jay 7 03 06 10.21983/P3.0255.1.07 115 136 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Work of Art(iculation) in the Age of Memic Rhythmicality Memes between Form, Content, and Structure 1 A01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bristow, Dan 8 03 06 10.21983/P3.0255.1.08 137 168 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Emoji for René Girard Memes, Memesis, and the Apocalypse of the Eternally Irrelevant 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University 01 eng 20 00 Open Access Wilson, Eric 9 03 06 10.21983/P3.0255.1.09 169 182 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chaotic, Good 1 A01 Roisin Kiberd Roisin Kiberd 01 eng 20 00 Open Access Kiberd, Roisin 10 03 06 10.21983/P3.0255.1.10 183 232 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oh, They Have the Internet on Computers Now? The Online Art of The Simpsons 1 A01 Tom Whyman Tom Whyman 40 01a77tt86 University of Warwick 01 eng 20 00 Open Access Whyman, Tom 11 03 06 10.21983/P3.0255.1.11 233 248 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Interview with the NEEM (“Non-Existent Existentialist Memes”) Admins 1 A01 Angus Reoch Angus Reoch 01 eng 20 00 Open Access Reoch, Angus 12 03 06 10.21983/P3.0255.1.12 251 275 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Meme Dankness Floating Glittery Trash for an Economic Heresy 1 A01 Yvette Granata Yvette Granata 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Granata, Yvette 13 03 06 10.21983/P3.0255.1.13 277 291 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Meso-Memetics, Service Fetishism, and Deep Mediation 1 A01 Patricia Reed Patricia Reed 01 eng 20 00 Open Access Reed, Patricia 14 03 06 10.21983/P3.0255.1.14 293 318 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Circulation and its Discontents 1 A01 Scott Wark Scott Wark 40 01a77tt86 University of Warwick 2 A01 21 000000027307943X McKenzie Wark McKenzie Wark 40 02tvcev59 New School 01 eng 20 00 Open Access Wark, Scott Wark, McKenzie 15 03 06 10.21983/P3.0255.1.15 319 326 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 In the Future, the Means of Production Will Own Themselves 1 A01 C_YS C_YS 01 eng 20 00 Open Access C_YS 16 03 06 10.21983/P3.0255.1.16 327 352 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Socialist Imaginaries and Queer Futures Memes as Sites of Collective Imagining 1 A01 Thomas Hobson Thomas Hobson 40 002h8g185 University of Bath 2 A01 Kaajal Modi Kaajal Modi 01 eng 20 00 Open Access Hobson, Thomas Modi, Kaajal 17 03 06 10.21983/P3.0255.1.17 353 366 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Memesis and Psychoanalysis Mediatizing Donald Trump 1 A01 21 000000015950464X Ian Parker Ian Parker 40 04h699437 University of Leicester 06 Own website https://parkerian.com/ 01 eng 20 00 Open Access Parker, Ian 18 03 06 10.21983/P3.0255.1.18 367 388 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Simulation and Dissimulation Esoteric Memes Pages at the Limits of Irony 1 A01 Giacomo Bianchino Giacomo Bianchino 40 00awd9g61 The Graduate Center, CUNY 01 eng 20 00 Open Access Bianchino, Giacomo 19 03 06 10.21983/P3.0255.1.19 389 401 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pepe Goes to China, or, the Post-Global Circulation of Memes 1 A01 21 0000000304972811 Gabriele de Seta Gabriele de Seta 40 05bxb3784 Academia Sinica 01 eng 20 00 Open Access de Seta, Gabriele 20 03 06 10.21983/P3.0255.1.20 403 405 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Post-Pepe Manifesto 1 A01 Seong-Young Her Seong-Young Her 40 03y7q9t39 University of Canterbury 01 eng 20 00 Open Access Her, Seong-Young 21 03 06 10.21983/P3.0255.1.21 407 413 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword Post_Meme 1 A01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 A01 Francis Russell Francis Russell 40 02n415q13 Curtin University 01 eng 20 00 Open Access Bown, Alfie Russell, Francis 22 03 06 10.21983/P3.0255.1.22 415 420 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 B01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bown, Alfie Bristow, Dan 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/post-memes-seizing-the-memes-of-production/ Earth, Milky Way 04 01 20191125 Bown, Alfie Bristow, Dan 02 WORLD 06 15 9781950192441 03 9781950192441 34 06 10.1080/00141844.2015.1105838 34 06 10.1177/1364942002005004296 34 06 10.1038/nature14258 34 06 10.1038/461472a 34 06 10.1353/ctn.1996.0006 34 06 10.5235/17521483.8.2.147 34 06 10.1080/17521483.2016.1174417 34 06 10.1111/jcc4.12013 34 06 10.1215/10407391-2420021 34 06 10.1177/1463499605059230 34 06 10.1177/2056305115603080 34 06 10.1086/421123 34 06 10.1086/427302 34 06 10.1177/2053951716642456 34 06 10.1057/s41286-018-00062-5 34 06 10.1215/08992363-14-1-91 34 06 10.1111/jcc4.12082 34 06 10.1080/01972243.2014.944728 34 06 10.1515/iprg.2004.1.2.153 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192431 20 08 20191125 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/post-memes-seizing-the-memes-of-production 20 08 20191125 02 28.00 USD WORLD urn:uuid:55e161b1-26ef-4749-a153-3bcd0941c12b 03 01 01 thoth-work-id urn:uuid:ca9f46ad-5b1b-4991-90d8-ac616a302225 01 thoth-publication-id urn:uuid:55e161b1-26ef-4749-a153-3bcd0941c12b 15 9781950192441 03 9781950192441 06 10.21983/P3.0255.1.00 13 2019947997 01 internal-reference 0255 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Post Memes Seizing the Memes of Production 1 B01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 B01 Dan Bristow Dan Bristow 01 eng 00 423 03 B2 Art+Aesthetics 93 JBCT1 12 JFD 10 SOC052000 B2 Cultural Studies+Critical Theory B2 Media+Technology 20 memes; media studies; popular culture; Digital Humanities; technology; social media; internet culture 01 06 02 00 03 00 Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation -- memes are the inner currency of the internet’s circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. Post-Memes: Seizing the Memes of Production takes advantage of the meme’s subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century’s most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons.With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet’s most viral phenomenon. 30 00 Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation -- memes are the inner currency of the internet’s circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. Post-Memes: Seizing the Memes of Production takes advantage of the meme’s subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century’s most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons.With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet’s most viral phenomenon. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0255.1.00_frontcover.jpg 1 03 06 10.21983/P3.0255.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 B01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bown, Alfie Bristow, Dan 2 03 06 10.21983/P3.0255.1.02 17 24 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introproduction 1 A01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bristow, Dan 3 03 06 10.21983/P3.0255.1.03 25 30 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Memetic Desire Twenty Theses on Posthumanism, Political Affect, and Proliferation 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 20 00 Open Access Pettman, Dominic 4 03 06 10.21983/P3.0255.1.04 31 44 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Meme is Dead, Long Live the Meme 1 A01 Roy Christopher Roy Christopher 01 eng 20 00 Open Access Christopher, Roy 5 03 06 10.21983/P3.0255.1.05 45 76 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Apocalypse Memes for the Anthropocene God Mediating Crisis and the Memetic Body Politic 1 A01 Bogna M. Konior Bogna M. Konior 40 04pp8hn57 Utrecht University 01 eng 20 00 Open Access Konior, Bogna M. 6 03 06 10.21983/P3.0255.1.06 77 113 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Post-Authenticity and the Ironic Truths of Meme Culture 1 A01 Jay Owens Jay Owens 40 01a77tt86 University of Warwick 01 eng 20 00 Open Access Owens, Jay 7 03 06 10.21983/P3.0255.1.07 115 136 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Work of Art(iculation) in the Age of Memic Rhythmicality Memes between Form, Content, and Structure 1 A01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bristow, Dan 8 03 06 10.21983/P3.0255.1.08 137 168 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Emoji for René Girard Memes, Memesis, and the Apocalypse of the Eternally Irrelevant 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University 01 eng 20 00 Open Access Wilson, Eric 9 03 06 10.21983/P3.0255.1.09 169 182 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chaotic, Good 1 A01 Roisin Kiberd Roisin Kiberd 01 eng 20 00 Open Access Kiberd, Roisin 10 03 06 10.21983/P3.0255.1.10 183 232 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oh, They Have the Internet on Computers Now? The Online Art of The Simpsons 1 A01 Tom Whyman Tom Whyman 40 01a77tt86 University of Warwick 01 eng 20 00 Open Access Whyman, Tom 11 03 06 10.21983/P3.0255.1.11 233 248 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 An Interview with the NEEM (“Non-Existent Existentialist Memes”) Admins 1 A01 Angus Reoch Angus Reoch 01 eng 20 00 Open Access Reoch, Angus 12 03 06 10.21983/P3.0255.1.12 251 275 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Meme Dankness Floating Glittery Trash for an Economic Heresy 1 A01 Yvette Granata Yvette Granata 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Granata, Yvette 13 03 06 10.21983/P3.0255.1.13 277 291 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Meso-Memetics, Service Fetishism, and Deep Mediation 1 A01 Patricia Reed Patricia Reed 01 eng 20 00 Open Access Reed, Patricia 14 03 06 10.21983/P3.0255.1.14 293 318 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Circulation and its Discontents 1 A01 Scott Wark Scott Wark 40 01a77tt86 University of Warwick 2 A01 21 000000027307943X McKenzie Wark McKenzie Wark 40 02tvcev59 New School 01 eng 20 00 Open Access Wark, Scott Wark, McKenzie 15 03 06 10.21983/P3.0255.1.15 319 326 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 In the Future, the Means of Production Will Own Themselves 1 A01 C_YS C_YS 01 eng 20 00 Open Access C_YS 16 03 06 10.21983/P3.0255.1.16 327 352 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Socialist Imaginaries and Queer Futures Memes as Sites of Collective Imagining 1 A01 Thomas Hobson Thomas Hobson 40 002h8g185 University of Bath 2 A01 Kaajal Modi Kaajal Modi 01 eng 20 00 Open Access Hobson, Thomas Modi, Kaajal 17 03 06 10.21983/P3.0255.1.17 353 366 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Memesis and Psychoanalysis Mediatizing Donald Trump 1 A01 21 000000015950464X Ian Parker Ian Parker 40 04h699437 University of Leicester 06 Own website https://parkerian.com/ 01 eng 20 00 Open Access Parker, Ian 18 03 06 10.21983/P3.0255.1.18 367 388 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Simulation and Dissimulation Esoteric Memes Pages at the Limits of Irony 1 A01 Giacomo Bianchino Giacomo Bianchino 40 00awd9g61 The Graduate Center, CUNY 01 eng 20 00 Open Access Bianchino, Giacomo 19 03 06 10.21983/P3.0255.1.19 389 401 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pepe Goes to China, or, the Post-Global Circulation of Memes 1 A01 21 0000000304972811 Gabriele de Seta Gabriele de Seta 40 05bxb3784 Academia Sinica 01 eng 20 00 Open Access de Seta, Gabriele 20 03 06 10.21983/P3.0255.1.20 403 405 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Post-Pepe Manifesto 1 A01 Seong-Young Her Seong-Young Her 40 03y7q9t39 University of Canterbury 01 eng 20 00 Open Access Her, Seong-Young 21 03 06 10.21983/P3.0255.1.21 407 413 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Afterword Post_Meme 1 A01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 A01 Francis Russell Francis Russell 40 02n415q13 Curtin University 01 eng 20 00 Open Access Bown, Alfie Russell, Francis 22 03 06 10.21983/P3.0255.1.22 415 420 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Alfie Bown Alfie Bown 40 04cw6st05 University of London 2 B01 Dan Bristow Dan Bristow 01 eng 20 00 Open Access Bown, Alfie Bristow, Dan 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/post-memes-seizing-the-memes-of-production/ Earth, Milky Way 04 01 20191125 Bown, Alfie Bristow, Dan 02 WORLD 06 15 9781950192434 03 9781950192434 34 06 10.1080/00141844.2015.1105838 34 06 10.1177/1364942002005004296 34 06 10.1038/nature14258 34 06 10.1038/461472a 34 06 10.1353/ctn.1996.0006 34 06 10.5235/17521483.8.2.147 34 06 10.1080/17521483.2016.1174417 34 06 10.1111/jcc4.12013 34 06 10.1215/10407391-2420021 34 06 10.1177/1463499605059230 34 06 10.1177/2056305115603080 34 06 10.1086/421123 34 06 10.1086/427302 34 06 10.1177/2053951716642456 34 06 10.1057/s41286-018-00062-5 34 06 10.1215/08992363-14-1-91 34 06 10.1111/jcc4.12082 34 06 10.1080/01972243.2014.944728 34 06 10.1515/iprg.2004.1.2.153 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75673 20 08 20191125 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23830 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23830/0255.1.00.pdf?sequence=1&isAllowed=y 20 08 20191125 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37483 20 08 20191125 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv11hptdx 20 08 20191125 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/619 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c31a4eef-f6a6-42ee-aba7-0f14d9ed986c/download 20 08 20191125 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Post_Memes/xgSVEAAAQBAJ 20 08 20191125 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ca9f46ad-5b1b-4991-90d8-ac616a302225 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ca9f46ad-5b1b-4991-90d8-ac616a302225/ca9f46ad-5b1b-4991-90d8-ac616a302225.pdf 20 08 20191125 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847984 29 ZENODO: download the title https://zenodo.org/records/19847984/files/ca9f46ad-5b1b-4991-90d8-ac616a302225_book.pdf 20 08 20191125 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/post-memes-seizing-the-memes-of-production/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0255.1.00.pdf 20 08 20191125 01 urn:uuid:7a489a34-862f-4855-a24a-6367bb087d6b 03 01 01 thoth-work-id urn:uuid:55e63f1e-dd9f-4142-802a-0912a44565cb 01 thoth-publication-id urn:uuid:7a489a34-862f-4855-a24a-6367bb087d6b 15 9781685712587 03 9781685712587 06 10.53288/0547.1.00 01 internal-reference 0547.1.00 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Power to Create, Power to Destroy Toward Cultures of Resistance and Radical Social Change 1 B01 Federico Venturini Federico Venturini Research Associate 40 05ht0mh31 University of Udine 2 B01 Théo Rouhette Théo Rouhette PhD candidate 40 052g8jq94 Autonomous University of Barcelona 3 B01 Marcy Isabella Marcy Isabella Associate Professor of Writing and First-Year Studies 40 0442n1j98 Stockton University 01 eng 93 JPWG B2 New Left Thought 93 DNL 20 social movement; communalism; social ecology; municipalism; direct democracy; urban struggles; social change 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0547.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/power-to-create-power-to-destroy-toward-cultures-of-resistance-and-radical-social-change/ Earth, Milky Way 02 Federico Venturini, Théo Rouhette, Marcy Isabella 02 WORLD 06 15 9781685712594 03 9781685712594 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/power-to-create-power-to-destroy-toward-cultures-of-resistance-and-radical-social-change/ 10 01 urn:uuid:e26edf89-1c50-4b3f-bf73-c8ac7d3fb154 03 01 01 thoth-work-id urn:uuid:55e63f1e-dd9f-4142-802a-0912a44565cb 01 thoth-publication-id urn:uuid:e26edf89-1c50-4b3f-bf73-c8ac7d3fb154 15 9781685712594 03 9781685712594 06 10.53288/0547.1.00 01 internal-reference 0547.1.00 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Power to Create, Power to Destroy Toward Cultures of Resistance and Radical Social Change 1 B01 Federico Venturini Federico Venturini Research Associate 40 05ht0mh31 University of Udine 2 B01 Théo Rouhette Théo Rouhette PhD candidate 40 052g8jq94 Autonomous University of Barcelona 3 B01 Marcy Isabella Marcy Isabella Associate Professor of Writing and First-Year Studies 40 0442n1j98 Stockton University 01 eng 93 JPWG B2 New Left Thought 93 DNL 20 social movement; communalism; social ecology; municipalism; direct democracy; urban struggles; social change 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0547.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/power-to-create-power-to-destroy-toward-cultures-of-resistance-and-radical-social-change/ Earth, Milky Way 02 Federico Venturini, Théo Rouhette, Marcy Isabella 02 WORLD 06 15 9781685712587 03 9781685712587 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/power-to-create-power-to-destroy-toward-cultures-of-resistance-and-radical-social-change/ 10 01 urn:uuid:84af6642-fd33-4859-9faf-6a2c21d2aa18 03 01 01 thoth-work-id urn:uuid:6cf8d32a-92bc-4e43-8881-0ea812d78374 01 thoth-publication-id urn:uuid:84af6642-fd33-4859-9faf-6a2c21d2aa18 15 9781947447523 03 9781947447523 06 10.21983/P3.0198.1.00 13 2018936900 01 internal-reference 0198 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Pray for Brother Alexander 1 A01 Constantin Noica Constantin Noica 2 B06 21 0000000324772542 Octavian Gabor Octavian Gabor 40 03fa2nf38 Methodist University 01 eng 02 rum 00 150 03 10 BIO009000 12 HPCF B2 Languages+Translations 93 QDTJ 93 1DXR B2 Philosophy 93 3MPQ 20 memoir; prison literature; Romania; World War II; communism; philosophy 01 06 02 00 03 00 Constantin Noica’s (1909–1987) Pray for Brother Alexander is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica’s life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense.Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugène Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an “anti-revolutionary” thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he also suffered persecution.The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. 30 00 Constantin Noica’s (1909–1987) Pray for Brother Alexander is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica’s life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense.Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugène Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an “anti-revolutionary” thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he also suffered persecution.The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0198.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pray-for-brother-alexander/ Earth, Milky Way 04 01 20180404 Noica, Constantin 02 WORLD 06 15 9781947447530 03 9781947447530 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447521 20 08 20180404 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/pray-for-brother-alexander 20 08 20180404 02 22.00 USD WORLD urn:uuid:df2b8f51-8c34-473c-bccf-2f19e6034a52 03 01 01 thoth-work-id urn:uuid:6cf8d32a-92bc-4e43-8881-0ea812d78374 01 thoth-publication-id urn:uuid:df2b8f51-8c34-473c-bccf-2f19e6034a52 15 9781947447530 03 9781947447530 06 10.21983/P3.0198.1.00 13 2018936900 01 internal-reference 0198 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Pray for Brother Alexander 1 A01 Constantin Noica Constantin Noica 2 B06 21 0000000324772542 Octavian Gabor Octavian Gabor 40 03fa2nf38 Methodist University 01 eng 02 rum 00 150 03 10 BIO009000 12 HPCF B2 Languages+Translations 93 QDTJ 93 1DXR B2 Philosophy 93 3MPQ 20 memoir; prison literature; Romania; World War II; communism; philosophy 01 06 02 00 03 00 Constantin Noica’s (1909–1987) Pray for Brother Alexander is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica’s life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense.Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugène Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an “anti-revolutionary” thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he also suffered persecution.The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. 30 00 Constantin Noica’s (1909–1987) Pray for Brother Alexander is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica’s life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense.Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugène Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an “anti-revolutionary” thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he also suffered persecution.The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0198.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pray-for-brother-alexander/ Earth, Milky Way 04 01 20180404 Noica, Constantin 02 WORLD 06 15 9781947447523 03 9781947447523 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66805 20 08 20180404 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25431 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25431/1004664.pdf?sequence=1&isAllowed=y 20 08 20180404 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36814 20 08 20180404 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353937 20 08 20180404 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/760 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/efdebe34-1bf4-4378-afea-b61c86e1b361/download 20 08 20180404 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Pray_for_Brother_Alexander/LG6oEAAAQBAJ 20 08 20180404 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6cf8d32a-92bc-4e43-8881-0ea812d78374 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6cf8d32a-92bc-4e43-8881-0ea812d78374/6cf8d32a-92bc-4e43-8881-0ea812d78374.pdf 20 08 20180404 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847227 29 ZENODO: download the title https://zenodo.org/records/19847227/files/6cf8d32a-92bc-4e43-8881-0ea812d78374_book.pdf 20 08 20180404 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pray-for-brother-alexander/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0198.1.00.pdf 20 08 20180404 01 urn:uuid:e8452151-063f-491c-a6fe-c767733514a5 03 01 01 thoth-work-id urn:uuid:f755b169-bedd-4b95-b95a-294f355abc71 01 thoth-publication-id urn:uuid:e8452151-063f-491c-a6fe-c767733514a5 15 9781105245022 03 9781105245022 06 10.21983/P3.0001.1.00 01 internal-reference 0001 00 BC 10 01 279 mm 01 27.9 cm 01 11 in 02 216 mm 02 21.6 cm 02 8.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Preternatural 1 A01 Celina Jeffery Celina Jeffery 40 03c4mmv16 University of Ottawa 01 eng 00 38 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere B2 Posthumanism 20 metaphysics; nature; supernatural; exhibition catalog 01 06 02 00 03 00 The preternatural, as explored by these artists, disturb the ontological boundaries of art, nature and metaphysics. They exist within the folds of classificatory thresholds: both beyond and between nature and supernature; human and animal; vegetable and mineral; living and dead. The confusion between animate and inanimate is a primary concern, a surreality which unites with the preternatural’s love for reveling in the mysterious: bizarre fragments, unreadable words, objects of absurd scale, and distortions of the relativity of time and space flourish throughout this exhibition.Preternatural is the catalogue for a multi-site art exhibition (9 December 2011 through 17 February 2012, in Ottawa, Canada) that draws from the idea that art itself is a form of preternatural pursuit, in which the artists participating explore the bewildering condition of being in between the mundane and the marvelous in nature. It questions a world that understands itself as accessible, reachable, and ‘knowable’ and counters it with a consideration of this heterogenous proposition. 30 00 The preternatural, as explored by these artists, disturb the ontological boundaries of art, nature and metaphysics. They exist within the folds of classificatory thresholds: both beyond and between nature and supernature; human and animal; vegetable and mineral; living and dead. The confusion between animate and inanimate is a primary concern, a surreality which unites with the preternatural’s love for reveling in the mysterious: bizarre fragments, unreadable words, objects of absurd scale, and distortions of the relativity of time and space flourish throughout this exhibition.Preternatural is the catalogue for a multi-site art exhibition (9 December 2011 through 17 February 2012, in Ottawa, Canada) that draws from the idea that art itself is a form of preternatural pursuit, in which the artists participating explore the bewildering condition of being in between the mundane and the marvelous in nature. It questions a world that understands itself as accessible, reachable, and ‘knowable’ and counters it with a consideration of this heterogenous proposition. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0001.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/preternatural/ Brooklyn, NY 04 01 20111119 Jeffery, Celina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2hrz0rA 20 08 20111119 02 20.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/preternatural 20 08 20111119 02 20.00 USD WORLD urn:uuid:a4c001f9-5b8e-43ae-9244-073901a16a97 03 01 01 thoth-work-id urn:uuid:f755b169-bedd-4b95-b95a-294f355abc71 01 thoth-publication-id urn:uuid:a4c001f9-5b8e-43ae-9244-073901a16a97 06 10.21983/P3.0001.1.00 01 internal-reference 0001 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Preternatural 1 A01 Celina Jeffery Celina Jeffery 40 03c4mmv16 University of Ottawa 01 eng 00 38 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Biosphere B2 Posthumanism 20 metaphysics; nature; supernatural; exhibition catalog 01 06 02 00 03 00 The preternatural, as explored by these artists, disturb the ontological boundaries of art, nature and metaphysics. They exist within the folds of classificatory thresholds: both beyond and between nature and supernature; human and animal; vegetable and mineral; living and dead. The confusion between animate and inanimate is a primary concern, a surreality which unites with the preternatural’s love for reveling in the mysterious: bizarre fragments, unreadable words, objects of absurd scale, and distortions of the relativity of time and space flourish throughout this exhibition.Preternatural is the catalogue for a multi-site art exhibition (9 December 2011 through 17 February 2012, in Ottawa, Canada) that draws from the idea that art itself is a form of preternatural pursuit, in which the artists participating explore the bewildering condition of being in between the mundane and the marvelous in nature. It questions a world that understands itself as accessible, reachable, and ‘knowable’ and counters it with a consideration of this heterogenous proposition. 30 00 The preternatural, as explored by these artists, disturb the ontological boundaries of art, nature and metaphysics. They exist within the folds of classificatory thresholds: both beyond and between nature and supernature; human and animal; vegetable and mineral; living and dead. The confusion between animate and inanimate is a primary concern, a surreality which unites with the preternatural’s love for reveling in the mysterious: bizarre fragments, unreadable words, objects of absurd scale, and distortions of the relativity of time and space flourish throughout this exhibition.Preternatural is the catalogue for a multi-site art exhibition (9 December 2011 through 17 February 2012, in Ottawa, Canada) that draws from the idea that art itself is a form of preternatural pursuit, in which the artists participating explore the bewildering condition of being in between the mundane and the marvelous in nature. It questions a world that understands itself as accessible, reachable, and ‘knowable’ and counters it with a consideration of this heterogenous proposition. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0001.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/preternatural/ Brooklyn, NY 04 01 20111119 Jeffery, Celina 02 WORLD 06 15 9781105245022 03 9781105245022 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76531 20 08 20111119 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25613 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25613/1004482.pdf 20 08 20111119 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37878 20 08 20111119 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353900 20 08 20111119 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/377 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/147906b5-0b74-4f68-826b-84655017a118/download 20 08 20111119 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f755b169-bedd-4b95-b95a-294f355abc71 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f755b169-bedd-4b95-b95a-294f355abc71/f755b169-bedd-4b95-b95a-294f355abc71.pdf 20 08 20111119 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693024 29 ZENODO: download the title https://zenodo.org/records/19693024/files/f755b169-bedd-4b95-b95a-294f355abc71_book.pdf 20 08 20111119 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/preternatural/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0001.1.00.pdf 20 08 20111119 01 urn:uuid:ea7216bb-6f55-4f6d-99c0-d917fe6cb03d 03 01 01 thoth-work-id urn:uuid:5b652d05-2b5f-465a-8c66-f4dc01dafd03 01 thoth-publication-id urn:uuid:ea7216bb-6f55-4f6d-99c0-d917fe6cb03d 15 9780692529843 03 9780692529843 06 10.21983/P3.0111.1.00 01 internal-reference 0111 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 [provisional self-evidence] 1 A01 Rachel Arrighi Rachel Arrighi 01 eng 00 162 03 01 06 02 00 03 00 As Jesus of Nazareth once said (or was, more precisely, read [transcribed (by sets of translators [NIV])]), “Why do you look at the speck of sawdust in your brother’s eye and pay no attention to the plank in your own eye?”[provisional self-evidence] pays all attention to the plank in academia’s/its own eye.Example: members of marginalized groups experience a sense of anxiety, such sense — academia advancing — being by no means merely ‘natural’ as an end of society (institutionalized racism/classism/sexism/etc.). Extension: to academia — members of which experiencing such sense relative to research, reading, writing; processes —, such sense is natural (imagine the teacher to the student: ‘it is only natural’).[provisional self-evidence] turns academia against itself, re-claiming naturality.// Nature’s handwriting is asemic 30 00 As Jesus of Nazareth once said (or was, more precisely, read [transcribed (by sets of translators [NIV])]), “Why do you look at the speck of sawdust in your brother’s eye and pay no attention to the plank in your own eye?”[provisional self-evidence] pays all attention to the plank in academia’s/its own eye.Example: members of marginalized groups experience a sense of anxiety, such sense — academia advancing — being by no means merely ‘natural’ as an end of society (institutionalized racism/classism/sexism/etc.). Extension: to academia — members of which experiencing such sense relative to research, reading, writing; processes —, such sense is natural (imagine the teacher to the student: ‘it is only natural’).[provisional self-evidence] turns academia against itself, re-claiming naturality.// Nature’s handwriting is asemic 20 00 Open Access 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/provisional-self-evidence/ Brooklyn, NY 08 01 20150913 13 20240425 Arrighi, Rachel 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2h8riVt 41 08 20150913 02 15.00 USD WORLD urn:uuid:9e61754b-5f55-41d5-ab9e-631a99985642 03 01 01 thoth-work-id urn:uuid:1bba80bd-2efd-41a2-9b09-4ff8da0efeb9 01 thoth-publication-id urn:uuid:9e61754b-5f55-41d5-ab9e-631a99985642 15 9780988234093 03 9780988234093 06 10.21983/P3.0349.1.00 01 internal-reference 0349 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 New Developments in Anarchist Studies 1 B01 pj lilley pj lilley 2 B01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 390 03 B2 Cultural Studies+Critical Theory 93 JPFB 12 JPFB 10 POL042010 B2 New Left Thought 93 QDTS 20 anarchism; political philosophy; social activism; Canada 01 06 02 00 03 00 Papers from the 5th Conference of the North American Anarchist Studies Network (La Red Norteamericana de Estudios Anarquistas / Le Réseau Nord-Américain d'études Anarchistes)Anarchism is experiencing a remarkable resurgence in the new millenium. Not only active in the streets across Turtle Island, growing interest in anarchist scholarship is perhaps unprecedented. This is reflected in the development of the North American Anarchist Studies Network (NAASN). Drawn from papers presented at the fifth NAASN conference in Surrey (on Coast Salish Territories), this collection shows the vitality of contemporary anarchist research and writing. 30 00 Papers from the 5th Conference of the North American Anarchist Studies Network (La Red Norteamericana de Estudios Anarquistas / Le Réseau Nord-Américain d'études Anarchistes)Anarchism is experiencing a remarkable resurgence in the new millenium. Not only active in the streets across Turtle Island, growing interest in anarchist scholarship is perhaps unprecedented. This is reflected in the development of the North American Anarchist Studies Network (NAASN). Drawn from papers presented at the fifth NAASN conference in Surrey (on Coast Salish Territories), this collection shows the vitality of contemporary anarchist research and writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0349.1.00_frontcover.jpg 1 03 06 10.21983/P3.0349.1.01 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Frontmatter 1 B01 pj lilley pj lilley 2 B01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0349.1.02 1 7 7 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Anarchism from the Margins Introducing New Developments in Anarchist Studies 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access Jeff Shantz 3 03 06 10.21983/P3.0349.1.03 11 35 25 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Social Capital in Anarchist Movements 1 A01 Dana M. Williams Dana M. Williams 40 027bzz146 California State University, Chico 01 eng 20 00 Open Access Dana M. Williams 4 03 06 10.21983/P3.0349.1.04 37 62 26 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Marginalization of Anarchism within Mainstream Criminology: A Content Analysis 1 A01 Christopher Howell Christopher Howell 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access Christopher Howell 5 03 06 10.21983/P3.0349.1.05 63 86 24 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Sexuality, Assault, Police Infiltration and Foucault Notes for Further Inquiry 1 A01 21 0000000171449495 Michael Loadenthal Michael Loadenthal 40 05vzafd60 Georgetown University 01 eng 20 00 Open Access Michael Loadenthal 6 03 06 10.21983/P3.0349.1.06 89 95 7 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Abolition Journal 1 A01 21 0000000298155865 Brian Lovato Brian Lovato 40 02t274463 University of California, Santa Barbara 2 A01 Eli Meyerhoff Eli Meyerhoff 40 00py81415 Duke University 01 eng 20 00 Open Access Brian Lovato, Eli Meyerhoff 7 03 06 10.21983/P3.0349.1.07 97 144 48 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 In Defense of Counterposed Strategic Orientations Anarchism and Antiracism 1 A01 21 0000000342501893 Jakub Burkowicz Jakub Burkowicz 40 0213rcc28 Simon Fraser University 01 eng 20 00 Open Access Jakub Burkowicz 8 03 06 10.21983/P3.0349.1.08 145 186 42 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Anti-State Resistance on Stolen Land Settler Colonialism, Settler Identity and the Imperative of Anarchist Decolonization 1 A01 Adam Gary Lewis Adam Gary Lewis 40 05fq50484 York University 01 eng 20 00 Open Access Adam Gary Lewis 9 03 06 10.21983/P3.0349.1.09 187 197 11 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 A Diversity of Media Tactics Grassroots Autonomous Media in Montreal 1 A01 21 0000000272035654 Sandra Jeppesen Sandra Jeppesen 40 023p7mg82 Lakehead University 2 A01 21 0009000348101396 Anna Kruzynski Anna Kruzynski 40 0420zvk78 Concordia University 3 A01 Aaron Lakoff Aaron Lakoff 40 0420zvk78 Concordia University 4 A01 Rachel Sarrasin Rachel Sarrasin 40 00g8ggv10 Cégep Gérald-Godin 40 042pvpr51 Collège de Bois-de-Boulogne 01 eng 20 00 Open Access Sandra Jeppesen, Anna Kruzynski, Aaron Lakoff, Rachel Sarrasin 10 03 06 10.21983/P3.0349.1.10 199 248 50 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Radical Politics in a Conservative Capital Anarchist Groups and Projects in Edmonton 1 A01 Robert Hlatky Robert Hlatky 40 04s5mat29 University of Victoria 01 eng 20 00 Open Access Robert Hlatky 11 03 06 10.21983/P3.0349.1.11 249 329 81 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 The Right to the City Begins on the Street 1 A01 Katherine Dunster Katherine Dunster 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access Katherine Dunster 12 03 06 10.21983/P3.0349.1.12 331 355 25 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Anarchist Surrealism & Canadian Apocalyptic Modernism Allusive Political Praxis in Eilzabeth Smart's "By Grand Central Station I Sat Down And Wept" 1 A01 21 0000000349195147 James Gifford James Gifford 40 04wkzvc75 Fairleigh Dickinson University 01 eng 20 00 Open Access James Gifford 13 03 06 10.21983/P3.0349.1.13 357 362 6 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 ¡Mesoamerica Resiste! Selected Excerpts from the Storybook Companion to an Epic Illustration 1 A01 Beehive Design Collective Beehive Design Collective 06 Own website https://beehivecollective.org/ 01 eng 20 00 Open Access Beehive Design Collective 14 03 06 10.21983/P3.0349.1.14 363 384 22 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Backmatter 1 B01 pj lilley pj lilley 2 B01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/new-developments-in-anarchist-studies/ Brooklyn, NY 04 01 20150613 lilley, pj Shantz, Jeff 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0988234092 20 08 20150613 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/new-developments-in-anarchist-studies 20 08 20150613 02 27.00 USD WORLD urn:uuid:e43d97d0-98a9-475c-aa6b-0f90a9f12cf1 03 01 01 thoth-work-id urn:uuid:1bba80bd-2efd-41a2-9b09-4ff8da0efeb9 01 thoth-publication-id urn:uuid:e43d97d0-98a9-475c-aa6b-0f90a9f12cf1 06 10.21983/P3.0349.1.00 01 internal-reference 0349 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 New Developments in Anarchist Studies 1 B01 pj lilley pj lilley 2 B01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 390 03 B2 Cultural Studies+Critical Theory 93 JPFB 12 JPFB 10 POL042010 B2 New Left Thought 93 QDTS 20 anarchism; political philosophy; social activism; Canada 01 06 02 00 03 00 Papers from the 5th Conference of the North American Anarchist Studies Network (La Red Norteamericana de Estudios Anarquistas / Le Réseau Nord-Américain d'études Anarchistes)Anarchism is experiencing a remarkable resurgence in the new millenium. Not only active in the streets across Turtle Island, growing interest in anarchist scholarship is perhaps unprecedented. This is reflected in the development of the North American Anarchist Studies Network (NAASN). Drawn from papers presented at the fifth NAASN conference in Surrey (on Coast Salish Territories), this collection shows the vitality of contemporary anarchist research and writing. 30 00 Papers from the 5th Conference of the North American Anarchist Studies Network (La Red Norteamericana de Estudios Anarquistas / Le Réseau Nord-Américain d'études Anarchistes)Anarchism is experiencing a remarkable resurgence in the new millenium. Not only active in the streets across Turtle Island, growing interest in anarchist scholarship is perhaps unprecedented. This is reflected in the development of the North American Anarchist Studies Network (NAASN). Drawn from papers presented at the fifth NAASN conference in Surrey (on Coast Salish Territories), this collection shows the vitality of contemporary anarchist research and writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0349.1.00_frontcover.jpg 1 03 06 10.21983/P3.0349.1.01 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Frontmatter 1 B01 pj lilley pj lilley 2 B01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0349.1.02 1 7 7 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Anarchism from the Margins Introducing New Developments in Anarchist Studies 1 A01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access Jeff Shantz 3 03 06 10.21983/P3.0349.1.03 11 35 25 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Social Capital in Anarchist Movements 1 A01 Dana M. Williams Dana M. Williams 40 027bzz146 California State University, Chico 01 eng 20 00 Open Access Dana M. Williams 4 03 06 10.21983/P3.0349.1.04 37 62 26 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Marginalization of Anarchism within Mainstream Criminology: A Content Analysis 1 A01 Christopher Howell Christopher Howell 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access Christopher Howell 5 03 06 10.21983/P3.0349.1.05 63 86 24 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Sexuality, Assault, Police Infiltration and Foucault Notes for Further Inquiry 1 A01 21 0000000171449495 Michael Loadenthal Michael Loadenthal 40 05vzafd60 Georgetown University 01 eng 20 00 Open Access Michael Loadenthal 6 03 06 10.21983/P3.0349.1.06 89 95 7 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Abolition Journal 1 A01 21 0000000298155865 Brian Lovato Brian Lovato 40 02t274463 University of California, Santa Barbara 2 A01 Eli Meyerhoff Eli Meyerhoff 40 00py81415 Duke University 01 eng 20 00 Open Access Brian Lovato, Eli Meyerhoff 7 03 06 10.21983/P3.0349.1.07 97 144 48 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 In Defense of Counterposed Strategic Orientations Anarchism and Antiracism 1 A01 21 0000000342501893 Jakub Burkowicz Jakub Burkowicz 40 0213rcc28 Simon Fraser University 01 eng 20 00 Open Access Jakub Burkowicz 8 03 06 10.21983/P3.0349.1.08 145 186 42 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Anti-State Resistance on Stolen Land Settler Colonialism, Settler Identity and the Imperative of Anarchist Decolonization 1 A01 Adam Gary Lewis Adam Gary Lewis 40 05fq50484 York University 01 eng 20 00 Open Access Adam Gary Lewis 9 03 06 10.21983/P3.0349.1.09 187 197 11 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 A Diversity of Media Tactics Grassroots Autonomous Media in Montreal 1 A01 21 0000000272035654 Sandra Jeppesen Sandra Jeppesen 40 023p7mg82 Lakehead University 2 A01 21 0009000348101396 Anna Kruzynski Anna Kruzynski 40 0420zvk78 Concordia University 3 A01 Aaron Lakoff Aaron Lakoff 40 0420zvk78 Concordia University 4 A01 Rachel Sarrasin Rachel Sarrasin 40 00g8ggv10 Cégep Gérald-Godin 40 042pvpr51 Collège de Bois-de-Boulogne 01 eng 20 00 Open Access Sandra Jeppesen, Anna Kruzynski, Aaron Lakoff, Rachel Sarrasin 10 03 06 10.21983/P3.0349.1.10 199 248 50 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Radical Politics in a Conservative Capital Anarchist Groups and Projects in Edmonton 1 A01 Robert Hlatky Robert Hlatky 40 04s5mat29 University of Victoria 01 eng 20 00 Open Access Robert Hlatky 11 03 06 10.21983/P3.0349.1.11 249 329 81 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 The Right to the City Begins on the Street 1 A01 Katherine Dunster Katherine Dunster 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access Katherine Dunster 12 03 06 10.21983/P3.0349.1.12 331 355 25 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Anarchist Surrealism & Canadian Apocalyptic Modernism Allusive Political Praxis in Eilzabeth Smart's "By Grand Central Station I Sat Down And Wept" 1 A01 21 0000000349195147 James Gifford James Gifford 40 04wkzvc75 Fairleigh Dickinson University 01 eng 20 00 Open Access James Gifford 13 03 06 10.21983/P3.0349.1.13 357 362 6 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 ¡Mesoamerica Resiste! Selected Excerpts from the Storybook Companion to an Epic Illustration 1 A01 Beehive Design Collective Beehive Design Collective 06 Own website https://beehivecollective.org/ 01 eng 20 00 Open Access Beehive Design Collective 14 03 06 10.21983/P3.0349.1.14 363 384 22 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ Chapter 01 01 Backmatter 1 B01 pj lilley pj lilley 2 B01 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/new-developments-in-anarchist-studies/ Brooklyn, NY 04 01 20150613 lilley, pj Shantz, Jeff 02 WORLD 06 15 9780988234093 03 9780988234093 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41254 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41254/0349.1.00.pdf 20 08 20150613 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36776 20 08 20150613 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353798 20 08 20150613 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/489 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/913d4707-a8e6-4565-b466-f73c24dbdf79/download 20 08 20150613 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1bba80bd-2efd-41a2-9b09-4ff8da0efeb9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1bba80bd-2efd-41a2-9b09-4ff8da0efeb9/1bba80bd-2efd-41a2-9b09-4ff8da0efeb9.pdf 20 08 20150613 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846244 29 ZENODO: download the title https://zenodo.org/records/19846244/files/1bba80bd-2efd-41a2-9b09-4ff8da0efeb9_book.pdf 20 08 20150613 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/new-developments-in-anarchist-studies/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0349.1.00.pdf 20 08 20150613 01 urn:uuid:f3693257-f0d8-4587-89de-149f6c43fba2 03 01 01 thoth-work-id urn:uuid:34682ba4-201f-4122-8e4a-edc3edc57a7b 01 thoth-publication-id urn:uuid:f3693257-f0d8-4587-89de-149f6c43fba2 15 9780615840550 03 9780615840550 06 10.21983/P3.0045.1.00 01 internal-reference 0045 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Nicholas of Cusa and the Kairos of Modernity Cassirer, Gadamer, Blumenberg 1 A01 Michael Edward Moore Michael Edward Moore 40 036jqmy94 University of Iowa 01 eng 00 114 03 B2 History 12 HPCB 93 NHDJ 10 PHI012000 93 3KLY B2 Philosophy 20 Middle Ages; modernity; Nicholas of Cusa; intellectual history; philosophy 01 06 02 00 03 00 In this far-reaching essay, historian Michael Edward Moore examines modernity as an historical epoch following the end of the medieval period — and as a “messianic concept of time.” In the early twentieth century, a debate over the meaning and origins of modernity unfolded among the philosophers Ernst Cassirer, Hans-Georg Gadamer and Hans Blumenberg. These thinkers tried to resolve the puzzle of the fifteenth-century master Nicholas of Cusa. Was Cusanus the last great medieval thinker, his ideas a summa of medieval tradition? Or was he a mysterious epochal figure, seated at one end of the bridge leading to modern thought? Nicholas of Cusa lived during a time of historical and existential crisis, or kairos, when medieval governments and cherished sources of unity were shaken. Likewise, the debate over his significance took place during a later phase of crisis for Europe, in the decades before and after the Second World War, when the collapse of European civilization was witnessed. Moore argues that modernity, so intently examined as an historical and spiritual problem, has significance for our contemporary sense of crisis. 30 00 In this far-reaching essay, historian Michael Edward Moore examines modernity as an historical epoch following the end of the medieval period — and as a “messianic concept of time.” In the early twentieth century, a debate over the meaning and origins of modernity unfolded among the philosophers Ernst Cassirer, Hans-Georg Gadamer and Hans Blumenberg. These thinkers tried to resolve the puzzle of the fifteenth-century master Nicholas of Cusa. Was Cusanus the last great medieval thinker, his ideas a summa of medieval tradition? Or was he a mysterious epochal figure, seated at one end of the bridge leading to modern thought? Nicholas of Cusa lived during a time of historical and existential crisis, or kairos, when medieval governments and cherished sources of unity were shaken. Likewise, the debate over his significance took place during a later phase of crisis for Europe, in the decades before and after the Second World War, when the collapse of European civilization was witnessed. Moore argues that modernity, so intently examined as an historical and spiritual problem, has significance for our contemporary sense of crisis. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0045.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nicholas-of-cusa-and-the-kairos-of-modernity/ Brooklyn, NY 04 01 20130905 Michael Edward Moore 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615840558 20 08 20130905 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/nicholas-of-cusa-and-the-kairos-of-modernity-cassirer-gadamer-blumenberg 20 08 20130905 02 21.00 USD WORLD urn:uuid:63eda3ba-6e5e-4dfb-bbe7-e3537a1483d4 03 01 01 thoth-work-id urn:uuid:34682ba4-201f-4122-8e4a-edc3edc57a7b 01 thoth-publication-id urn:uuid:63eda3ba-6e5e-4dfb-bbe7-e3537a1483d4 06 10.21983/P3.0045.1.00 01 internal-reference 0045 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Nicholas of Cusa and the Kairos of Modernity Cassirer, Gadamer, Blumenberg 1 A01 Michael Edward Moore Michael Edward Moore 40 036jqmy94 University of Iowa 01 eng 00 114 03 B2 History 12 HPCB 93 NHDJ 10 PHI012000 93 3KLY B2 Philosophy 20 Middle Ages; modernity; Nicholas of Cusa; intellectual history; philosophy 01 06 02 00 03 00 In this far-reaching essay, historian Michael Edward Moore examines modernity as an historical epoch following the end of the medieval period — and as a “messianic concept of time.” In the early twentieth century, a debate over the meaning and origins of modernity unfolded among the philosophers Ernst Cassirer, Hans-Georg Gadamer and Hans Blumenberg. These thinkers tried to resolve the puzzle of the fifteenth-century master Nicholas of Cusa. Was Cusanus the last great medieval thinker, his ideas a summa of medieval tradition? Or was he a mysterious epochal figure, seated at one end of the bridge leading to modern thought? Nicholas of Cusa lived during a time of historical and existential crisis, or kairos, when medieval governments and cherished sources of unity were shaken. Likewise, the debate over his significance took place during a later phase of crisis for Europe, in the decades before and after the Second World War, when the collapse of European civilization was witnessed. Moore argues that modernity, so intently examined as an historical and spiritual problem, has significance for our contemporary sense of crisis. 30 00 In this far-reaching essay, historian Michael Edward Moore examines modernity as an historical epoch following the end of the medieval period — and as a “messianic concept of time.” In the early twentieth century, a debate over the meaning and origins of modernity unfolded among the philosophers Ernst Cassirer, Hans-Georg Gadamer and Hans Blumenberg. These thinkers tried to resolve the puzzle of the fifteenth-century master Nicholas of Cusa. Was Cusanus the last great medieval thinker, his ideas a summa of medieval tradition? Or was he a mysterious epochal figure, seated at one end of the bridge leading to modern thought? Nicholas of Cusa lived during a time of historical and existential crisis, or kairos, when medieval governments and cherished sources of unity were shaken. Likewise, the debate over his significance took place during a later phase of crisis for Europe, in the decades before and after the Second World War, when the collapse of European civilization was witnessed. Moore argues that modernity, so intently examined as an historical and spiritual problem, has significance for our contemporary sense of crisis. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0045.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nicholas-of-cusa-and-the-kairos-of-modernity/ Brooklyn, NY 04 01 20130905 Michael Edward Moore 02 WORLD 06 15 9780615840550 03 9780615840550 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76446 20 08 20130905 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25572 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25572/1004523.pdf?sequence=1&isAllowed=y 20 08 20130905 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28281 20 08 20130905 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353819 20 08 20130905 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/426 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e002db43-0299-49dd-8704-c8adf1eb1948/download 20 08 20130905 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/34682ba4-201f-4122-8e4a-edc3edc57a7b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/34682ba4-201f-4122-8e4a-edc3edc57a7b/34682ba4-201f-4122-8e4a-edc3edc57a7b.pdf 20 08 20130905 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845785 29 ZENODO: download the title https://zenodo.org/records/19845785/files/34682ba4-201f-4122-8e4a-edc3edc57a7b_book.pdf 20 08 20130905 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/nicholas-of-cusa-and-the-kairos-of-modernity/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0045.1.00.pdf 20 08 20130905 01 urn:uuid:ff9e5a7d-60a6-46d1-a42d-7f2a90f187ee 03 01 01 thoth-work-id urn:uuid:edf31616-ea2a-4c51-b932-f510b9eb8848 01 thoth-publication-id urn:uuid:ff9e5a7d-60a6-46d1-a42d-7f2a90f187ee 15 9781947447851 03 9781947447851 06 10.21983/P3.0231.1.00 01 internal-reference 0231 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 No Archive Will Restore You 1 A01 Julietta Singh Julietta Singh 40 03y71xh61 University of Richmond 01 eng 00 118 03 B2 Autotheory 10 BIO026000 12 BM 93 JBSJ B2 Cultural Studies+Critical Theory 93 DNC 10 SOC064000 B2 Thought Experiments 20 literary memoir; bulimia; sexuality; motherhood; archives 01 06 02 00 03 00 At once memoir, theory, poetic prose, and fragment, No Archive Will Restore You is a feverish meditation on the body. Departing from Antonio Gramsci’s summons to compile an inventory of the historical traces left in each of us, Singh engages with both the impossibility and urgent necessity of crafting an archive of the body. Through reveries on the enduring legacies of pain, desire, sexuality, race, and identity, she asks us to sense and feel what we have been trained to disavow, to re-member the body as more than itself.Why this desire for a body archive, for an assembly of history’s traces deposited in me? (I worry over how to describe it, how to frame it without sounding banal or bafflingly idiosyncratic.) The body archive is an attunement, a hopeful gathering, an act of love against the foreclosures of reason. It is a way of knowing the body-self as a becoming and unbecoming thing, of scrambling time and matter, of turning toward rather than against oneself. And vitally, it is a way of thinking-feeling the body’s unbounded relation to other bodies.I begin then to compile an archive of my body, an activity that from the start feels discomfortingly intimate. Too intimate and too bewildering an undertaking, because like all other bodies mine has become so many things over time, has changed dramatically through forces both natural and social. I am also, it must be noted, a person whose body has been broken and maimed many times over—a fact that I cannot yet entirely account for. 30 00 At once memoir, theory, poetic prose, and fragment, No Archive Will Restore You is a feverish meditation on the body. Departing from Antonio Gramsci’s summons to compile an inventory of the historical traces left in each of us, Singh engages with both the impossibility and urgent necessity of crafting an archive of the body. Through reveries on the enduring legacies of pain, desire, sexuality, race, and identity, she asks us to sense and feel what we have been trained to disavow, to re-member the body as more than itself.Why this desire for a body archive, for an assembly of history’s traces deposited in me? (I worry over how to describe it, how to frame it without sounding banal or bafflingly idiosyncratic.) The body archive is an attunement, a hopeful gathering, an act of love against the foreclosures of reason. It is a way of knowing the body-self as a becoming and unbecoming thing, of scrambling time and matter, of turning toward rather than against oneself. And vitally, it is a way of thinking-feeling the body’s unbounded relation to other bodies.I begin then to compile an archive of my body, an activity that from the start feels discomfortingly intimate. Too intimate and too bewildering an undertaking, because like all other bodies mine has become so many things over time, has changed dramatically through forces both natural and social. I am also, it must be noted, a person whose body has been broken and maimed many times over—a fact that I cannot yet entirely account for. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0231.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/no-archive-will-restore-you/ Earth, Milky Way 04 01 20181113 Singh, Julietta 02 WORLD 06 15 9781947447868 03 9781947447868 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447858 20 08 20181113 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/pataphilology-an-irreader 20 08 20181113 02 22.00 USD WORLD urn:uuid:84bc3bff-549b-4a83-9d08-b6fe9a8af1cb 03 01 01 thoth-work-id urn:uuid:edf31616-ea2a-4c51-b932-f510b9eb8848 01 thoth-publication-id urn:uuid:84bc3bff-549b-4a83-9d08-b6fe9a8af1cb 15 9781947447868 03 9781947447868 06 10.21983/P3.0231.1.00 01 internal-reference 0231 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 No Archive Will Restore You 1 A01 Julietta Singh Julietta Singh 40 03y71xh61 University of Richmond 01 eng 00 118 03 B2 Autotheory 10 BIO026000 12 BM 93 JBSJ B2 Cultural Studies+Critical Theory 93 DNC 10 SOC064000 B2 Thought Experiments 20 literary memoir; bulimia; sexuality; motherhood; archives 01 06 02 00 03 00 At once memoir, theory, poetic prose, and fragment, No Archive Will Restore You is a feverish meditation on the body. Departing from Antonio Gramsci’s summons to compile an inventory of the historical traces left in each of us, Singh engages with both the impossibility and urgent necessity of crafting an archive of the body. Through reveries on the enduring legacies of pain, desire, sexuality, race, and identity, she asks us to sense and feel what we have been trained to disavow, to re-member the body as more than itself.Why this desire for a body archive, for an assembly of history’s traces deposited in me? (I worry over how to describe it, how to frame it without sounding banal or bafflingly idiosyncratic.) The body archive is an attunement, a hopeful gathering, an act of love against the foreclosures of reason. It is a way of knowing the body-self as a becoming and unbecoming thing, of scrambling time and matter, of turning toward rather than against oneself. And vitally, it is a way of thinking-feeling the body’s unbounded relation to other bodies.I begin then to compile an archive of my body, an activity that from the start feels discomfortingly intimate. Too intimate and too bewildering an undertaking, because like all other bodies mine has become so many things over time, has changed dramatically through forces both natural and social. I am also, it must be noted, a person whose body has been broken and maimed many times over—a fact that I cannot yet entirely account for. 30 00 At once memoir, theory, poetic prose, and fragment, No Archive Will Restore You is a feverish meditation on the body. Departing from Antonio Gramsci’s summons to compile an inventory of the historical traces left in each of us, Singh engages with both the impossibility and urgent necessity of crafting an archive of the body. Through reveries on the enduring legacies of pain, desire, sexuality, race, and identity, she asks us to sense and feel what we have been trained to disavow, to re-member the body as more than itself.Why this desire for a body archive, for an assembly of history’s traces deposited in me? (I worry over how to describe it, how to frame it without sounding banal or bafflingly idiosyncratic.) The body archive is an attunement, a hopeful gathering, an act of love against the foreclosures of reason. It is a way of knowing the body-self as a becoming and unbecoming thing, of scrambling time and matter, of turning toward rather than against oneself. And vitally, it is a way of thinking-feeling the body’s unbounded relation to other bodies.I begin then to compile an archive of my body, an activity that from the start feels discomfortingly intimate. Too intimate and too bewildering an undertaking, because like all other bodies mine has become so many things over time, has changed dramatically through forces both natural and social. I am also, it must be noted, a person whose body has been broken and maimed many times over—a fact that I cannot yet entirely account for. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0231.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/no-archive-will-restore-you/ Earth, Milky Way 04 01 20181113 Singh, Julietta 02 WORLD 06 15 9781947447851 03 9781947447851 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25399 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25399/1004696.pdf?sequence=1&isAllowed=y 20 08 20181113 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29181 20 08 20181113 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353890 20 08 20181113 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/594 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/60948ddc-01a4-449a-b749-dd1647480c62/download 20 08 20181113 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/edf31616-ea2a-4c51-b932-f510b9eb8848 29 INTERNET_ARCHIVE: download the title https://archive.org/download/edf31616-ea2a-4c51-b932-f510b9eb8848/edf31616-ea2a-4c51-b932-f510b9eb8848.pdf 20 08 20181113 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847536 29 ZENODO: download the title https://zenodo.org/records/19847536/files/edf31616-ea2a-4c51-b932-f510b9eb8848_book.pdf 20 08 20181113 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/no-archive-will-restore-you/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0231.1.00.pdf 20 08 20181113 01 urn:uuid:e85b47a6-58fa-47a2-9414-8a0e53888aa2 03 01 01 thoth-work-id urn:uuid:1cfca75f-2e57-4f34-85fb-a1585315a2a9 01 thoth-publication-id urn:uuid:e85b47a6-58fa-47a2-9414-8a0e53888aa2 15 9781950192052 03 9781950192052 06 10.21983/P3.0244.1.00 13 2018968576 01 internal-reference 0244 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Noise Thinks the Anthropocene An Experiment in Noise Poetics 1 A01 Aaron Zwintscher Aaron Zwintscher 40 021a7pw18 New York City College of Technology 01 eng 00 162 03 B2 Anthropocene 10 ART017000 93 AVA 12 AVA 93 RNA B2 Sound+Noise B2 Thought Experiments 20 anthropocene; noise; ecological studies; sound studies; poetics; sustainability studies 01 06 02 00 03 00 In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic.Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways. 30 00 In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic.Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0244.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/noise-thinks-the-anthropocene-an-experiment-in-noise-poetics/ Earth, Milky Way 04 01 20190213 Zwintscher, Aaron 02 WORLD 06 15 9781950192069 03 9781950192069 34 06 10.1093/fs/kni143 34 06 10.1017/S1355771801003053 34 06 10.5840/jphilnepal201271813 34 06 10.1037/0736-9735.20.1.30 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/noise-thinks-the-anthropocene-an-experiment-in-noise-poetics 20 08 20190213 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192059 20 08 20190213 02 22.00 USD WORLD urn:uuid:a5472e1e-9437-4bff-8530-061d04d42fc1 03 01 01 thoth-work-id urn:uuid:1cfca75f-2e57-4f34-85fb-a1585315a2a9 01 thoth-publication-id urn:uuid:a5472e1e-9437-4bff-8530-061d04d42fc1 15 9781950192069 03 9781950192069 06 10.21983/P3.0244.1.00 13 2018968576 01 internal-reference 0244 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Noise Thinks the Anthropocene An Experiment in Noise Poetics 1 A01 Aaron Zwintscher Aaron Zwintscher 40 021a7pw18 New York City College of Technology 01 eng 00 162 03 B2 Anthropocene 10 ART017000 93 AVA 12 AVA 93 RNA B2 Sound+Noise B2 Thought Experiments 20 anthropocene; noise; ecological studies; sound studies; poetics; sustainability studies 01 06 02 00 03 00 In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic.Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways. 30 00 In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic.Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0244.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/noise-thinks-the-anthropocene-an-experiment-in-noise-poetics/ Earth, Milky Way 04 01 20190213 Zwintscher, Aaron 02 WORLD 06 15 9781950192052 03 9781950192052 34 06 10.1093/fs/kni143 34 06 10.1017/S1355771801003053 34 06 10.5840/jphilnepal201271813 34 06 10.1037/0736-9735.20.1.30 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76691 20 08 20190213 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25387 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25387/1004708.pdf?sequence=1&isAllowed=y 20 08 20190213 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37168 20 08 20190213 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353870 20 08 20190213 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/605 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5b4dbe1c-098b-4bd9-aa28-256a164f1490/download 20 08 20190213 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Noise_Thinks_the_Anthropocene/ogSVEAAAQBAJ 20 08 20190213 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1cfca75f-2e57-4f34-85fb-a1585315a2a9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1cfca75f-2e57-4f34-85fb-a1585315a2a9/1cfca75f-2e57-4f34-85fb-a1585315a2a9.pdf 20 08 20190213 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847643 29 ZENODO: download the title https://zenodo.org/records/19847643/files/1cfca75f-2e57-4f34-85fb-a1585315a2a9_book.pdf 20 08 20190213 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/noise-thinks-the-anthropocene-an-experiment-in-noise-poetics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0244.1.00.pdf 20 08 20190213 01 urn:uuid:623e2f19-4d1b-4124-9c67-07aff7b5fb74 03 01 01 thoth-work-id urn:uuid:571d5d40-cfd6-4270-9530-88bfcfc5d8b5 01 thoth-publication-id urn:uuid:623e2f19-4d1b-4124-9c67-07aff7b5fb74 15 9781950192038 03 9781950192038 06 10.21983/P3.0247.1.00 13 2018968575 01 internal-reference 0247 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Non-Conceptual Negativity Damaged Reflections on Turkey 1 A01 Zafer Aracagök Zafer Aracagök 2 A23 Fraco "Bifo" Berardi Fraco "Bifo" Berardi 01 eng 00 142 03 93 1DTT 12 1DVT B2 Capital+Lucre 10 PHI019000 B2 Cultural Studies+Critical Theory 12 DNF 93 DNL 93 DSA B2 Philosophy 20 philosophy; critical theory; Turkey; Gilles Deleuze; fascism 01 06 02 00 03 00 Non-Conceptual Negativity: Damaged Reflections on Turkey critiques those who have accused Deleuze of an unbounded affirmation which, according to them, has played directly into the hands of capitalist modes of production. Yet no one has acknowledged that under the aegis of nano-fascism, late capitalism has grown into Neanderthal capitalism, invented and developed in laboratory countries like Turkey with the aid of an international Neanderthal league.Layer upon layer, Aracagök explains in fragmentary fashion that it is not only a matter of how Turkey has grown into a prime laboratory of nano-fascism with the aid of the US and the European Union, but also how the results obtained from this laboratory are put into practice in different countries under Neanderthal capitalism, enslaving each and every one of us into accepting even the position of suicide bomber. As none of us is exempted from nano-fascism today, perhaps it is timely to reconsider the ways in which Deleuzian thought is appropriated in the form of an unquestioned affirmation of everything and how its critique has ended up in an old-fashioned formulation of the in-dividual according to a party program.If this all goes to show that we are face to face with a route different from the accepted forms of affirmation — that is, if we are all affirmed and seem to be happily affirming life as it is as a result of the Neanderthal manipulation of the negative — then isn’t it timely to rethink the Deleuzian affirmation in its non-originary origin with regard to Adorno’s resistance against affirmation? That is, the double negation never ends up in affirmation, and if it does so, it might mean your negation is not strong enough. 30 00 Non-Conceptual Negativity: Damaged Reflections on Turkey critiques those who have accused Deleuze of an unbounded affirmation which, according to them, has played directly into the hands of capitalist modes of production. Yet no one has acknowledged that under the aegis of nano-fascism, late capitalism has grown into Neanderthal capitalism, invented and developed in laboratory countries like Turkey with the aid of an international Neanderthal league.Layer upon layer, Aracagök explains in fragmentary fashion that it is not only a matter of how Turkey has grown into a prime laboratory of nano-fascism with the aid of the US and the European Union, but also how the results obtained from this laboratory are put into practice in different countries under Neanderthal capitalism, enslaving each and every one of us into accepting even the position of suicide bomber. As none of us is exempted from nano-fascism today, perhaps it is timely to reconsider the ways in which Deleuzian thought is appropriated in the form of an unquestioned affirmation of everything and how its critique has ended up in an old-fashioned formulation of the in-dividual according to a party program.If this all goes to show that we are face to face with a route different from the accepted forms of affirmation — that is, if we are all affirmed and seem to be happily affirming life as it is as a result of the Neanderthal manipulation of the negative — then isn’t it timely to rethink the Deleuzian affirmation in its non-originary origin with regard to Adorno’s resistance against affirmation? That is, the double negation never ends up in affirmation, and if it does so, it might mean your negation is not strong enough. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0247.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/non-conceptual-negativity-damaged-reflections-on-turkey/ Earth, Milky Way 04 01 20190327 Aracagök, Zafer 02 WORLD 06 15 9781950192045 03 9781950192045 34 06 10.3917/chime.081.0111 34 06 10.1215/01903659-31-2-81 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192032 20 08 20190327 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/non-conceptual-negativity-damaged-reflections-on-turkey 20 08 20190327 02 22.00 USD WORLD urn:uuid:7b001205-b0c6-4601-997a-709914a1f2a7 03 01 01 thoth-work-id urn:uuid:571d5d40-cfd6-4270-9530-88bfcfc5d8b5 01 thoth-publication-id urn:uuid:7b001205-b0c6-4601-997a-709914a1f2a7 15 9781950192045 03 9781950192045 06 10.21983/P3.0247.1.00 13 2018968575 01 internal-reference 0247 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Non-Conceptual Negativity Damaged Reflections on Turkey 1 A01 Zafer Aracagök Zafer Aracagök 2 A23 Fraco "Bifo" Berardi Fraco "Bifo" Berardi 01 eng 00 142 03 93 1DTT 12 1DVT B2 Capital+Lucre 10 PHI019000 B2 Cultural Studies+Critical Theory 12 DNF 93 DNL 93 DSA B2 Philosophy 20 philosophy; critical theory; Turkey; Gilles Deleuze; fascism 01 06 02 00 03 00 Non-Conceptual Negativity: Damaged Reflections on Turkey critiques those who have accused Deleuze of an unbounded affirmation which, according to them, has played directly into the hands of capitalist modes of production. Yet no one has acknowledged that under the aegis of nano-fascism, late capitalism has grown into Neanderthal capitalism, invented and developed in laboratory countries like Turkey with the aid of an international Neanderthal league.Layer upon layer, Aracagök explains in fragmentary fashion that it is not only a matter of how Turkey has grown into a prime laboratory of nano-fascism with the aid of the US and the European Union, but also how the results obtained from this laboratory are put into practice in different countries under Neanderthal capitalism, enslaving each and every one of us into accepting even the position of suicide bomber. As none of us is exempted from nano-fascism today, perhaps it is timely to reconsider the ways in which Deleuzian thought is appropriated in the form of an unquestioned affirmation of everything and how its critique has ended up in an old-fashioned formulation of the in-dividual according to a party program.If this all goes to show that we are face to face with a route different from the accepted forms of affirmation — that is, if we are all affirmed and seem to be happily affirming life as it is as a result of the Neanderthal manipulation of the negative — then isn’t it timely to rethink the Deleuzian affirmation in its non-originary origin with regard to Adorno’s resistance against affirmation? That is, the double negation never ends up in affirmation, and if it does so, it might mean your negation is not strong enough. 30 00 Non-Conceptual Negativity: Damaged Reflections on Turkey critiques those who have accused Deleuze of an unbounded affirmation which, according to them, has played directly into the hands of capitalist modes of production. Yet no one has acknowledged that under the aegis of nano-fascism, late capitalism has grown into Neanderthal capitalism, invented and developed in laboratory countries like Turkey with the aid of an international Neanderthal league.Layer upon layer, Aracagök explains in fragmentary fashion that it is not only a matter of how Turkey has grown into a prime laboratory of nano-fascism with the aid of the US and the European Union, but also how the results obtained from this laboratory are put into practice in different countries under Neanderthal capitalism, enslaving each and every one of us into accepting even the position of suicide bomber. As none of us is exempted from nano-fascism today, perhaps it is timely to reconsider the ways in which Deleuzian thought is appropriated in the form of an unquestioned affirmation of everything and how its critique has ended up in an old-fashioned formulation of the in-dividual according to a party program.If this all goes to show that we are face to face with a route different from the accepted forms of affirmation — that is, if we are all affirmed and seem to be happily affirming life as it is as a result of the Neanderthal manipulation of the negative — then isn’t it timely to rethink the Deleuzian affirmation in its non-originary origin with regard to Adorno’s resistance against affirmation? That is, the double negation never ends up in affirmation, and if it does so, it might mean your negation is not strong enough. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0247.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/non-conceptual-negativity-damaged-reflections-on-turkey/ Earth, Milky Way 04 01 20190327 Aracagök, Zafer 02 WORLD 06 15 9781950192038 03 9781950192038 34 06 10.3917/chime.081.0111 34 06 10.1215/01903659-31-2-81 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25270 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25270/1004824.pdf?sequence=1&isAllowed=y 20 08 20190327 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38637 20 08 20190327 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353862 20 08 20190327 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/678 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c097eaec-1ba9-4403-b838-8642875c4bfe/download 20 08 20190327 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Non_Conceptual_Negativity/mgSVEAAAQBAJ 20 08 20190327 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/571d5d40-cfd6-4270-9530-88bfcfc5d8b5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/571d5d40-cfd6-4270-9530-88bfcfc5d8b5/571d5d40-cfd6-4270-9530-88bfcfc5d8b5.pdf 20 08 20190327 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847699 29 ZENODO: download the title https://zenodo.org/records/19847699/files/571d5d40-cfd6-4270-9530-88bfcfc5d8b5_book.pdf 20 08 20190327 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/non-conceptual-negativity-damaged-reflections-on-turkey/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0247.1.00.pdf 20 08 20190327 01 urn:uuid:05cc7478-425b-4247-b826-e7e998e191ce 03 01 01 thoth-work-id urn:uuid:4009b316-9098-4130-aa70-d644d798278b 01 thoth-publication-id urn:uuid:05cc7478-425b-4247-b826-e7e998e191ce 15 9781685711160 03 9781685711160 06 10.53288/0383.1.00 13 2022951249 01 internal-reference 0383 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Northeastern Asia and the Northern Rockies Treasures from the Los Angeles County Museum of Art and the Daryl S. Paulson Collection 1 A01 Stephen Little Stephen Little 40 00f60z765 Los Angeles County Museum of Art An authority on Asian art, Stephen Little grew up in Southeast Asia and the Middle East. He received his BA from Cornell University (1975), MA from the University of California—Los Angeles (1977), and PhD from Yale University (1987). He served as Curator of Chinese Art at the Asian Art Museum of San Francisco (1977–1982) and the Cleveland Museum of Art (1987–1989); Curator of Asian Art at the Honolulu Academy of Arts (1989–1994); Pritzker Curator of Asian Art at the Art Institute of Chicago (1995–2002); and Director of the Honolulu Academy of Arts (2003–2010) before joining LACMA’s curatorial staff in 2011. His publications include Chinese Ceramics of the Transitional Period (1983), Visions of the Dharma: Japanese Buddhist Paintings and Prints in the Honolulu Academy of Arts (1991), Spirit Stones of China (1999), Taoism and the Arts of China (2000), Chinese Paintings from Japanese Collections (2014), 17th-Century Chinese Paintings from the Tsao Family Collection (2016), Beyond Line: The Art of Korean Writing (2019), and Where the Truth Lies: The Art of Qiu Ying (2020). Little has taught at the University of Virginia, the University of Chicago, the University of London, Harvard University, UCLA, and Occidental College. 2 A01 T. Lawrence Larkin T. Lawrence Larkin 40 02w0trx84 Montana State University T. Lawrence Larkin is Professor of Seventeenth- to Nineteenth-Century European Art at Montana State University, Bozeman. He received his MA and PhD from the University of California—Santa Barbara (1994, 2000). He has published on aspects of early modern French and American art and culture, with a three-fold interest in the portrait patronage and mythical permutations of Queen Marie-Antoinette, the trans-Atlantic political culture of French, British, and American governments during the revolutionary and imperial eras, and now the trans-Pacific philosophical culture of Chinese and Japanese migrants during the postbellum period. His books include an edited volume, Politics & Portraits in the United States & France during the Age of Revolution (Smithsonian Institution Scholarly Press, 2019), and two monographs, In Search of Marie-Antoinette: Stefan Zweig, Irving Thalberg, and Norma Shearer (Palgrave-Macmillan, 2019) and What Ever Happened to the U.S. Congress’s Portraits of Louis XVI and Marie-Antoinette? (American Philosophical Society Press, 2021). Larkin has taught Asian art for several years and is writing a memoir that in part considers America’s social and cultural outreach initiatives to China in the 1970s and ‘80s. 01 eng 00 324 03 12 ACBP 93 AGC 10 ART019010 B2 Art+Aesthetics 12 1QSPN 93 1QSPN 10 ART019030 B2 History 93 5PB-US-D 12 AGC 10 ART039000 20 Chinese art; Japanese art; Korean art; Confucianism; Daoism; Buddhism; Asian American settlers; migration 01 06 02 00 03 00 The philosophical ties between Northeastern Asia and the Northern Rockies as represented in a selection of fine art — including Daoist nature deities and immortals, Confucian scholar brushes and inkstones, and Buddhist guardian kings and compassionate bodhisattvas — have never been explicated. This catalog lays the groundwork for a serious discussion of trans-Pacific acculturation: first by explaining the fundamentals of Daoism, Confucianism, and Buddhism in reference to rare works of art produced in China, Korea, and Japan between the Tang Dynasty and the Qing Dynasty, and second, by assessing the prevalence of these philosophies as indicated by photographs of temples, shrines, deities, and rituals recreated in Idaho, Montana, Wyoming, and Colorado between the Civil War and World War I.Drawing from the collections of the Los Angeles County Museum of Art and the Daryl S. Paulson Collection in Bozeman, Montana, Asian art curator Stephen Little offers three brief essays that distinguish the philosophies of Daoism, Confucianism, and Buddhism according to their founding values, each followed by several object case studies that illustrate, elaborate, and develop those ideals. Mining the photographs of the state historical societies of Boise, Helena, Cheyenne, and Denver, Euro-American art professor T. Lawrence Larkin offers a long essay that compares religious values and artistic forms on both sides of the Pacific illustrated by objects that highlight migrant and settler culture in the Inner West. Profusely illustrated with new color and rarely seen black-and-white images, and containing useful maps, chronologies, and an index, Northeastern Asia and the Northern Rockies is an invaluable reference for the general reader and an important resource for the regional scholar. 30 00 The philosophical ties between Northeastern Asia and the Northern Rockies as represented in a selection of fine art — including Daoist nature deities and immortals, Confucian scholar brushes and inkstones, and Buddhist guardian kings and compassionate bodhisattvas — have never been explicated. This catalog lays the groundwork for a serious discussion of trans-Pacific acculturation: first by explaining the fundamentals of Daoism, Confucianism, and Buddhism in reference to rare works of art produced in China, Korea, and Japan between the Tang Dynasty and the Qing Dynasty, and second, by assessing the prevalence of these philosophies as indicated by photographs of temples, shrines, deities, and rituals recreated in Idaho, Montana, Wyoming, and Colorado between the Civil War and World War I.Drawing from the collections of the Los Angeles County Museum of Art and the Daryl S. Paulson Collection in Bozeman, Montana, Asian art curator Stephen Little offers three brief essays that distinguish the philosophies of Daoism, Confucianism, and Buddhism according to their founding values, each followed by several object case studies that illustrate, elaborate, and develop those ideals. Mining the photographs of the state historical societies of Boise, Helena, Cheyenne, and Denver, Euro-American art professor T. Lawrence Larkin offers a long essay that compares religious values and artistic forms on both sides of the Pacific illustrated by objects that highlight migrant and settler culture in the Inner West. Profusely illustrated with new color and rarely seen black-and-white images, and containing useful maps, chronologies, and an index, Northeastern Asia and the Northern Rockies is an invaluable reference for the general reader and an important resource for the regional scholar. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0383.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/northeastern-asia-and-the-northern-rockies-treasures-from-the-los-angeles-county-museum-of-art-and-the-daryl-s-paulson-collection/ 16 40 0125jx070 32 10.13039/100005848 Henry Luce Foundation 01 programname Luce Foundation Grant 01 grantnumber Index 423067 Earth, Milky Way 04 01 20221231 Todd Larkin & Stephen Little 02 WORLD 06 15 9781685711177 03 9781685711177 34 06 10.1353/ohq.2021.0023 34 06 10.2307/3248425 34 06 10.2307/2717853 34 06 10.2307/3249596 34 06 10.1080/02549948.1970.11744983 34 06 10.2307/1178619 34 06 10.13173/centa-siaj.58.1-2.0089 34 06 10.2307/25443779 34 06 10.2307/3249952 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711162 20 08 20221231 02 70.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/northeastern-asia-and-the-northern-rockies-treasures-from-the-los-angeles-county-museum-of-art-and-the-daryl-s-paulson-collection 20 08 20221231 02 70.00 USD WORLD urn:uuid:1f52aeff-70de-4f52-877b-e61b1dfaff7a 03 01 01 thoth-work-id urn:uuid:4009b316-9098-4130-aa70-d644d798278b 01 thoth-publication-id urn:uuid:1f52aeff-70de-4f52-877b-e61b1dfaff7a 15 9781685711177 03 9781685711177 06 10.53288/0383.1.00 13 2022951249 01 internal-reference 0383 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Northeastern Asia and the Northern Rockies Treasures from the Los Angeles County Museum of Art and the Daryl S. Paulson Collection 1 A01 Stephen Little Stephen Little 40 00f60z765 Los Angeles County Museum of Art An authority on Asian art, Stephen Little grew up in Southeast Asia and the Middle East. He received his BA from Cornell University (1975), MA from the University of California—Los Angeles (1977), and PhD from Yale University (1987). He served as Curator of Chinese Art at the Asian Art Museum of San Francisco (1977–1982) and the Cleveland Museum of Art (1987–1989); Curator of Asian Art at the Honolulu Academy of Arts (1989–1994); Pritzker Curator of Asian Art at the Art Institute of Chicago (1995–2002); and Director of the Honolulu Academy of Arts (2003–2010) before joining LACMA’s curatorial staff in 2011. His publications include Chinese Ceramics of the Transitional Period (1983), Visions of the Dharma: Japanese Buddhist Paintings and Prints in the Honolulu Academy of Arts (1991), Spirit Stones of China (1999), Taoism and the Arts of China (2000), Chinese Paintings from Japanese Collections (2014), 17th-Century Chinese Paintings from the Tsao Family Collection (2016), Beyond Line: The Art of Korean Writing (2019), and Where the Truth Lies: The Art of Qiu Ying (2020). Little has taught at the University of Virginia, the University of Chicago, the University of London, Harvard University, UCLA, and Occidental College. 2 A01 T. Lawrence Larkin T. Lawrence Larkin 40 02w0trx84 Montana State University T. Lawrence Larkin is Professor of Seventeenth- to Nineteenth-Century European Art at Montana State University, Bozeman. He received his MA and PhD from the University of California—Santa Barbara (1994, 2000). He has published on aspects of early modern French and American art and culture, with a three-fold interest in the portrait patronage and mythical permutations of Queen Marie-Antoinette, the trans-Atlantic political culture of French, British, and American governments during the revolutionary and imperial eras, and now the trans-Pacific philosophical culture of Chinese and Japanese migrants during the postbellum period. His books include an edited volume, Politics & Portraits in the United States & France during the Age of Revolution (Smithsonian Institution Scholarly Press, 2019), and two monographs, In Search of Marie-Antoinette: Stefan Zweig, Irving Thalberg, and Norma Shearer (Palgrave-Macmillan, 2019) and What Ever Happened to the U.S. Congress’s Portraits of Louis XVI and Marie-Antoinette? (American Philosophical Society Press, 2021). Larkin has taught Asian art for several years and is writing a memoir that in part considers America’s social and cultural outreach initiatives to China in the 1970s and ‘80s. 01 eng 00 324 03 12 ACBP 93 AGC 10 ART019010 B2 Art+Aesthetics 12 1QSPN 93 1QSPN 10 ART019030 B2 History 93 5PB-US-D 12 AGC 10 ART039000 20 Chinese art; Japanese art; Korean art; Confucianism; Daoism; Buddhism; Asian American settlers; migration 01 06 02 00 03 00 The philosophical ties between Northeastern Asia and the Northern Rockies as represented in a selection of fine art — including Daoist nature deities and immortals, Confucian scholar brushes and inkstones, and Buddhist guardian kings and compassionate bodhisattvas — have never been explicated. This catalog lays the groundwork for a serious discussion of trans-Pacific acculturation: first by explaining the fundamentals of Daoism, Confucianism, and Buddhism in reference to rare works of art produced in China, Korea, and Japan between the Tang Dynasty and the Qing Dynasty, and second, by assessing the prevalence of these philosophies as indicated by photographs of temples, shrines, deities, and rituals recreated in Idaho, Montana, Wyoming, and Colorado between the Civil War and World War I.Drawing from the collections of the Los Angeles County Museum of Art and the Daryl S. Paulson Collection in Bozeman, Montana, Asian art curator Stephen Little offers three brief essays that distinguish the philosophies of Daoism, Confucianism, and Buddhism according to their founding values, each followed by several object case studies that illustrate, elaborate, and develop those ideals. Mining the photographs of the state historical societies of Boise, Helena, Cheyenne, and Denver, Euro-American art professor T. Lawrence Larkin offers a long essay that compares religious values and artistic forms on both sides of the Pacific illustrated by objects that highlight migrant and settler culture in the Inner West. Profusely illustrated with new color and rarely seen black-and-white images, and containing useful maps, chronologies, and an index, Northeastern Asia and the Northern Rockies is an invaluable reference for the general reader and an important resource for the regional scholar. 30 00 The philosophical ties between Northeastern Asia and the Northern Rockies as represented in a selection of fine art — including Daoist nature deities and immortals, Confucian scholar brushes and inkstones, and Buddhist guardian kings and compassionate bodhisattvas — have never been explicated. This catalog lays the groundwork for a serious discussion of trans-Pacific acculturation: first by explaining the fundamentals of Daoism, Confucianism, and Buddhism in reference to rare works of art produced in China, Korea, and Japan between the Tang Dynasty and the Qing Dynasty, and second, by assessing the prevalence of these philosophies as indicated by photographs of temples, shrines, deities, and rituals recreated in Idaho, Montana, Wyoming, and Colorado between the Civil War and World War I.Drawing from the collections of the Los Angeles County Museum of Art and the Daryl S. Paulson Collection in Bozeman, Montana, Asian art curator Stephen Little offers three brief essays that distinguish the philosophies of Daoism, Confucianism, and Buddhism according to their founding values, each followed by several object case studies that illustrate, elaborate, and develop those ideals. Mining the photographs of the state historical societies of Boise, Helena, Cheyenne, and Denver, Euro-American art professor T. Lawrence Larkin offers a long essay that compares religious values and artistic forms on both sides of the Pacific illustrated by objects that highlight migrant and settler culture in the Inner West. Profusely illustrated with new color and rarely seen black-and-white images, and containing useful maps, chronologies, and an index, Northeastern Asia and the Northern Rockies is an invaluable reference for the general reader and an important resource for the regional scholar. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0383.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/northeastern-asia-and-the-northern-rockies-treasures-from-the-los-angeles-county-museum-of-art-and-the-daryl-s-paulson-collection/ 16 40 0125jx070 32 10.13039/100005848 Henry Luce Foundation 01 programname Luce Foundation Grant 01 grantnumber Index 423067 Earth, Milky Way 04 01 20221231 Todd Larkin & Stephen Little 02 WORLD 06 15 9781685711160 03 9781685711160 34 06 10.1353/ohq.2021.0023 34 06 10.2307/3248425 34 06 10.2307/2717853 34 06 10.2307/3249596 34 06 10.1080/02549948.1970.11744983 34 06 10.2307/1178619 34 06 10.13173/centa-siaj.58.1-2.0089 34 06 10.2307/25443779 34 06 10.2307/3249952 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/60491 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/60491/0383.1.00.pdf?sequence=1&isAllowed=y 20 08 20221231 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/95750 20 08 20221231 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv36mk8pt 20 08 20221231 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/736 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3c2b717b-858b-43c0-8aac-4556729f6c06/download 20 08 20221231 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4009b316-9098-4130-aa70-d644d798278b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4009b316-9098-4130-aa70-d644d798278b/4009b316-9098-4130-aa70-d644d798278b.pdf 20 08 20221231 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849700 29 ZENODO: download the title https://zenodo.org/records/19849700/files/4009b316-9098-4130-aa70-d644d798278b_book.pdf 20 08 20221231 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/northeastern-asia-and-the-northern-rockies-treasures-from-the-los-angeles-county-museum-of-art-and-the-daryl-s-paulson-collection/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0383.1.00.pdf 20 08 20221231 01 urn:uuid:59918118-8189-450f-8438-b07491885950 03 01 01 thoth-work-id urn:uuid:3eb0d095-fc27-4add-8202-1dc2333a758c 01 thoth-publication-id urn:uuid:59918118-8189-450f-8438-b07491885950 15 9781685711009 03 9781685711009 06 10.53288/0366.1.00 13 2022951872 01 internal-reference 0366 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Notes on Trumpspace Politics, Aesthetics, and the Fantasy of Home 1 A01 21 0000000183689699 David Markus David Markus 40 0190ak572 New York University 01 eng 00 186 03 93 AMA 12 AMA 10 ARC001000 B2 Built Environments B2 Capital+Lucre 93 JPZ 12 JPZ 10 POL040010 B2 Cultural Studies+Critical Theory 93 KCSA 93 1KBB 93 3MRB 20 architecture criticism; Donald J. Trump; politics; January 6 insurrection; contemporary art; superluxury real estate 01 06 02 00 03 00 In the wake of the 2016 U.S. Presidential election, considerable ink was spilled on the architecture and interior design of the buildings owned and inhabited by Donald J. Trump. In an effort to understand the inner workings of America’s first real-estate-mogul-in-chief, commentators remarked on everything from the president’s fastidious taste in window dressings to the exaggerated floor counts boasted by many Trump-branded towers.Notes on Trumpspace takes this discursive trend as a point of departure. It examines not only key examples of “Trumpitecture” but also works of film, fiction, and contemporary art that center on or otherwise illuminate the psychogeography of “super luxury” real estate. Engaging closely with current political debates, the book takes a critical approach to mainstream liberal reactions to the Trump presidency. It argues that the fascination and horror Trump has provoked is owing in part to the way he lays bare the obsession with status, self-branding, and achievement-at-any-cost that has been part and parcel of the broader neoliberal ethos. Finally, it analyzes the January 6, 2021 storming of the US Capitol through the lens of spatio-political theorizations of settler colonial power and conceptions of home and homeland.A genre-defying work of political and aesthetic inquiry, Notes on Trumpspace offers a sustained investigation into the relationship between the built environment, late capitalist fantasy, and national identity. It asks what it means for current and future understandings of home and dwelling that this era’s most notorious peddler of high-end real estate succeeded in peddling his way into the White House in 2016. 30 00 In the wake of the 2016 U.S. Presidential election, considerable ink was spilled on the architecture and interior design of the buildings owned and inhabited by Donald J. Trump. In an effort to understand the inner workings of America’s first real-estate-mogul-in-chief, commentators remarked on everything from the president’s fastidious taste in window dressings to the exaggerated floor counts boasted by many Trump-branded towers.Notes on Trumpspace takes this discursive trend as a point of departure. It examines not only key examples of “Trumpitecture” but also works of film, fiction, and contemporary art that center on or otherwise illuminate the psychogeography of “super luxury” real estate. Engaging closely with current political debates, the book takes a critical approach to mainstream liberal reactions to the Trump presidency. It argues that the fascination and horror Trump has provoked is owing in part to the way he lays bare the obsession with status, self-branding, and achievement-at-any-cost that has been part and parcel of the broader neoliberal ethos. Finally, it analyzes the January 6, 2021 storming of the US Capitol through the lens of spatio-political theorizations of settler colonial power and conceptions of home and homeland.A genre-defying work of political and aesthetic inquiry, Notes on Trumpspace offers a sustained investigation into the relationship between the built environment, late capitalist fantasy, and national identity. It asks what it means for current and future understandings of home and dwelling that this era’s most notorious peddler of high-end real estate succeeded in peddling his way into the White House in 2016. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0366.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/notes-on-trumpspace-politics-aesthetics-and-the-fantasy-of-home/ Earth, Milky Way 04 01 20230119 David Stephenson Markus 02 WORLD 06 15 9781685711016 03 9781685711016 34 06 10.1093/jcr/ucy004 34 06 10.1215/01642472-2820364 34 06 10.1111/criq.12248 34 06 10.1080/095023 34 06 10.1353/arq.2011.0001 34 06 10.1353/mfs.2017.0001 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711006 20 08 20230119 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/notes-on-trumpspace-politics-aesthetics-and-the-fantasy-of-home 20 08 20230119 02 23.00 USD WORLD urn:uuid:4d1b5fed-0368-4130-9c63-a0a450e1244d 03 01 01 thoth-work-id urn:uuid:3eb0d095-fc27-4add-8202-1dc2333a758c 01 thoth-publication-id urn:uuid:4d1b5fed-0368-4130-9c63-a0a450e1244d 15 9781685711016 03 9781685711016 06 10.53288/0366.1.00 13 2022951872 01 internal-reference 0366 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Notes on Trumpspace Politics, Aesthetics, and the Fantasy of Home 1 A01 21 0000000183689699 David Markus David Markus 40 0190ak572 New York University 01 eng 00 186 03 93 AMA 12 AMA 10 ARC001000 B2 Built Environments B2 Capital+Lucre 93 JPZ 12 JPZ 10 POL040010 B2 Cultural Studies+Critical Theory 93 KCSA 93 1KBB 93 3MRB 20 architecture criticism; Donald J. Trump; politics; January 6 insurrection; contemporary art; superluxury real estate 01 06 02 00 03 00 In the wake of the 2016 U.S. Presidential election, considerable ink was spilled on the architecture and interior design of the buildings owned and inhabited by Donald J. Trump. In an effort to understand the inner workings of America’s first real-estate-mogul-in-chief, commentators remarked on everything from the president’s fastidious taste in window dressings to the exaggerated floor counts boasted by many Trump-branded towers.Notes on Trumpspace takes this discursive trend as a point of departure. It examines not only key examples of “Trumpitecture” but also works of film, fiction, and contemporary art that center on or otherwise illuminate the psychogeography of “super luxury” real estate. Engaging closely with current political debates, the book takes a critical approach to mainstream liberal reactions to the Trump presidency. It argues that the fascination and horror Trump has provoked is owing in part to the way he lays bare the obsession with status, self-branding, and achievement-at-any-cost that has been part and parcel of the broader neoliberal ethos. Finally, it analyzes the January 6, 2021 storming of the US Capitol through the lens of spatio-political theorizations of settler colonial power and conceptions of home and homeland.A genre-defying work of political and aesthetic inquiry, Notes on Trumpspace offers a sustained investigation into the relationship between the built environment, late capitalist fantasy, and national identity. It asks what it means for current and future understandings of home and dwelling that this era’s most notorious peddler of high-end real estate succeeded in peddling his way into the White House in 2016. 30 00 In the wake of the 2016 U.S. Presidential election, considerable ink was spilled on the architecture and interior design of the buildings owned and inhabited by Donald J. Trump. In an effort to understand the inner workings of America’s first real-estate-mogul-in-chief, commentators remarked on everything from the president’s fastidious taste in window dressings to the exaggerated floor counts boasted by many Trump-branded towers.Notes on Trumpspace takes this discursive trend as a point of departure. It examines not only key examples of “Trumpitecture” but also works of film, fiction, and contemporary art that center on or otherwise illuminate the psychogeography of “super luxury” real estate. Engaging closely with current political debates, the book takes a critical approach to mainstream liberal reactions to the Trump presidency. It argues that the fascination and horror Trump has provoked is owing in part to the way he lays bare the obsession with status, self-branding, and achievement-at-any-cost that has been part and parcel of the broader neoliberal ethos. Finally, it analyzes the January 6, 2021 storming of the US Capitol through the lens of spatio-political theorizations of settler colonial power and conceptions of home and homeland.A genre-defying work of political and aesthetic inquiry, Notes on Trumpspace offers a sustained investigation into the relationship between the built environment, late capitalist fantasy, and national identity. It asks what it means for current and future understandings of home and dwelling that this era’s most notorious peddler of high-end real estate succeeded in peddling his way into the White House in 2016. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0366.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/notes-on-trumpspace-politics-aesthetics-and-the-fantasy-of-home/ Earth, Milky Way 04 01 20230119 David Stephenson Markus 02 WORLD 06 15 9781685711009 03 9781685711009 34 06 10.1093/jcr/ucy004 34 06 10.1215/01642472-2820364 34 06 10.1111/criq.12248 34 06 10.1080/095023 34 06 10.1353/arq.2011.0001 34 06 10.1353/mfs.2017.0001 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/60684 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/60684/0366.1.00.pdf?sequence=12&isAllowed=y 20 08 20230119 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/96131 20 08 20230119 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.667675 20 08 20230119 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/370 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/de28558f-6aae-475a-906b-8fc27c3e3663/download 20 08 20230119 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3eb0d095-fc27-4add-8202-1dc2333a758c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3eb0d095-fc27-4add-8202-1dc2333a758c/3eb0d095-fc27-4add-8202-1dc2333a758c.pdf 20 08 20230119 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849716 29 ZENODO: download the title https://zenodo.org/records/19849716/files/3eb0d095-fc27-4add-8202-1dc2333a758c_book.pdf 20 08 20230119 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/notes-on-trumpspace-politics-aesthetics-and-the-fantasy-of-home/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0366.1.00.pdf 20 08 20230119 01 urn:uuid:76d0008a-2f78-4ddb-87c5-1a12d44cd156 03 01 01 thoth-work-id urn:uuid:a01f41d6-1da8-4b0b-87b4-82ecc41c6d55 01 thoth-publication-id urn:uuid:76d0008a-2f78-4ddb-87c5-1a12d44cd156 15 9781685710606 03 9781685710606 06 10.53288/0382.1.00 13 2022940924 01 internal-reference 0382 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nothing As We Need It A Chimera 1 A01 21 0000000179955915 Daniela Cascella Daniela Cascella 40 01s033b11 Glasgow School of Art London College of Communication 06 Own website http://www.danielacascella.com 01 eng 00 150 03 12 DSB 93 DSB 10 LIT024000 B2 Literary Studies 93 CFG 12 CFGR 10 LIT006000 B2 Pedagogies B2 Thought Experiments 20 literary criticism; Menippean satire; composition; disciplinarity; literary theory; rhetoric 01 06 02 00 03 00 Nothing As We Need It: A Chimera imagines and writes a composite and impure form of criticism that embodies the writing of research as recursive, entangled, and many-voiced.Shaped by encounters with literature not translated in English, by the polyphonies, artifices, and concealments of a bilingual self, and by the sense of speechlessness and haunting when writing of works that cannot be instantly quoted, this book’s subtitle derives from the mythological Chimera: a monstrous creature made of three different parts, impossible in theory but real in the imagination and in the reading of the myth. Similarly the book is written in different styles, some of which may seem impossible, monstrous, and disturbing. It manifests critical writing as enmeshment and conversation with its subject matters; favours impurity rather than detachment; embraces exaggeration, repetition, laughter, and self-parody as legitimate forms of knowledge. Yet a chimera also designates the object of a yearning deemed unattainable: this book exists in the space of such yearning, in the tension between words and what exceeds them, their overtones. The critic is exhausted by yearning, rather than the owner of exhaustive knowledge.A Menippean satire for critical writing, Nothing As We Need It sustains its argument for composite and impure writing in its form. It demands ways of reading equally varied, and wildly imaginative. Listening to literature beyond the limits of textual analysis, it dismisses the visual implications of reflection, which assumes detachment and polished surfaces, in favour of an aural method of resonance, allowing enmeshment and interference. This book unsettles language, welcomes uninhibited exaggeration and wordplay, and manifests possibilities for working with citation beyond the boundaries of inverted commas. 30 00 Nothing As We Need It: A Chimera imagines and writes a composite and impure form of criticism that embodies the writing of research as recursive, entangled, and many-voiced.Shaped by encounters with literature not translated in English, by the polyphonies, artifices, and concealments of a bilingual self, and by the sense of speechlessness and haunting when writing of works that cannot be instantly quoted, this book’s subtitle derives from the mythological Chimera: a monstrous creature made of three different parts, impossible in theory but real in the imagination and in the reading of the myth. Similarly the book is written in different styles, some of which may seem impossible, monstrous, and disturbing. It manifests critical writing as enmeshment and conversation with its subject matters; favours impurity rather than detachment; embraces exaggeration, repetition, laughter, and self-parody as legitimate forms of knowledge. Yet a chimera also designates the object of a yearning deemed unattainable: this book exists in the space of such yearning, in the tension between words and what exceeds them, their overtones. The critic is exhausted by yearning, rather than the owner of exhaustive knowledge.A Menippean satire for critical writing, Nothing As We Need It sustains its argument for composite and impure writing in its form. It demands ways of reading equally varied, and wildly imaginative. Listening to literature beyond the limits of textual analysis, it dismisses the visual implications of reflection, which assumes detachment and polished surfaces, in favour of an aural method of resonance, allowing enmeshment and interference. This book unsettles language, welcomes uninhibited exaggeration and wordplay, and manifests possibilities for working with citation beyond the boundaries of inverted commas. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0382.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/risking-education/ Risking Education 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nothing-as-we-need-it/ Earth, Milky Way 04 01 20220630 Daniela Cascella 02 WORLD 06 15 9781685710613 03 9781685710613 34 06 10.1080/00131857.2018.1508995 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710603 20 08 20220630 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/nothing-as-we-need-it-a-chimera 20 08 20220630 02 22.00 USD WORLD urn:uuid:5d45e749-3899-4f7b-8c05-0c263bda4028 03 01 01 thoth-work-id urn:uuid:a01f41d6-1da8-4b0b-87b4-82ecc41c6d55 01 thoth-publication-id urn:uuid:5d45e749-3899-4f7b-8c05-0c263bda4028 15 9781685710613 03 9781685710613 06 10.53288/0382.1.00 13 2022940924 01 internal-reference 0382 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nothing As We Need It A Chimera 1 A01 21 0000000179955915 Daniela Cascella Daniela Cascella 40 01s033b11 Glasgow School of Art London College of Communication 06 Own website http://www.danielacascella.com 01 eng 00 150 03 12 DSB 93 DSB 10 LIT024000 B2 Literary Studies 93 CFG 12 CFGR 10 LIT006000 B2 Pedagogies B2 Thought Experiments 20 literary criticism; Menippean satire; composition; disciplinarity; literary theory; rhetoric 01 06 02 00 03 00 Nothing As We Need It: A Chimera imagines and writes a composite and impure form of criticism that embodies the writing of research as recursive, entangled, and many-voiced.Shaped by encounters with literature not translated in English, by the polyphonies, artifices, and concealments of a bilingual self, and by the sense of speechlessness and haunting when writing of works that cannot be instantly quoted, this book’s subtitle derives from the mythological Chimera: a monstrous creature made of three different parts, impossible in theory but real in the imagination and in the reading of the myth. Similarly the book is written in different styles, some of which may seem impossible, monstrous, and disturbing. It manifests critical writing as enmeshment and conversation with its subject matters; favours impurity rather than detachment; embraces exaggeration, repetition, laughter, and self-parody as legitimate forms of knowledge. Yet a chimera also designates the object of a yearning deemed unattainable: this book exists in the space of such yearning, in the tension between words and what exceeds them, their overtones. The critic is exhausted by yearning, rather than the owner of exhaustive knowledge.A Menippean satire for critical writing, Nothing As We Need It sustains its argument for composite and impure writing in its form. It demands ways of reading equally varied, and wildly imaginative. Listening to literature beyond the limits of textual analysis, it dismisses the visual implications of reflection, which assumes detachment and polished surfaces, in favour of an aural method of resonance, allowing enmeshment and interference. This book unsettles language, welcomes uninhibited exaggeration and wordplay, and manifests possibilities for working with citation beyond the boundaries of inverted commas. 30 00 Nothing As We Need It: A Chimera imagines and writes a composite and impure form of criticism that embodies the writing of research as recursive, entangled, and many-voiced.Shaped by encounters with literature not translated in English, by the polyphonies, artifices, and concealments of a bilingual self, and by the sense of speechlessness and haunting when writing of works that cannot be instantly quoted, this book’s subtitle derives from the mythological Chimera: a monstrous creature made of three different parts, impossible in theory but real in the imagination and in the reading of the myth. Similarly the book is written in different styles, some of which may seem impossible, monstrous, and disturbing. It manifests critical writing as enmeshment and conversation with its subject matters; favours impurity rather than detachment; embraces exaggeration, repetition, laughter, and self-parody as legitimate forms of knowledge. Yet a chimera also designates the object of a yearning deemed unattainable: this book exists in the space of such yearning, in the tension between words and what exceeds them, their overtones. The critic is exhausted by yearning, rather than the owner of exhaustive knowledge.A Menippean satire for critical writing, Nothing As We Need It sustains its argument for composite and impure writing in its form. It demands ways of reading equally varied, and wildly imaginative. Listening to literature beyond the limits of textual analysis, it dismisses the visual implications of reflection, which assumes detachment and polished surfaces, in favour of an aural method of resonance, allowing enmeshment and interference. This book unsettles language, welcomes uninhibited exaggeration and wordplay, and manifests possibilities for working with citation beyond the boundaries of inverted commas. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0382.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/risking-education/ Risking Education 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nothing-as-we-need-it/ Earth, Milky Way 04 01 20220630 Daniela Cascella 02 WORLD 06 15 9781685710606 03 9781685710606 34 06 10.1080/00131857.2018.1508995 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/57132 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/57132/0382.1.00.pdf?sequence=1&isAllowed=y 20 08 20220630 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/84720 20 08 20220630 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2r33618 20 08 20220630 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/703 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6cb7d797-1ce6-4255-934a-283b5a61ba9d/download 20 08 20220630 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a01f41d6-1da8-4b0b-87b4-82ecc41c6d55 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a01f41d6-1da8-4b0b-87b4-82ecc41c6d55/a01f41d6-1da8-4b0b-87b4-82ecc41c6d55.pdf 20 08 20220630 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849400 29 ZENODO: download the title https://zenodo.org/records/19849400/files/a01f41d6-1da8-4b0b-87b4-82ecc41c6d55_book.pdf 20 08 20220630 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/nothing-as-we-need-it/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0382.1.00.pdf 20 08 20220630 01 urn:uuid:ed5e54b1-2a2d-4b7e-97fe-29673e2beb10 03 01 01 thoth-work-id urn:uuid:48e2a673-aec2-4ed6-99d4-46a8de200493 01 thoth-publication-id urn:uuid:ed5e54b1-2a2d-4b7e-97fe-29673e2beb10 15 9781947447752 03 9781947447752 06 10.21983/P3.0208.1.00 13 2018953767 01 internal-reference 0208 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nothing in MoMA 1 A01 Abraham Adams Abraham Adams 40 05gq02987 Brown University 01 eng 00 90 03 12 AJB 93 AJCD B2 Art+Aesthetics 10 PHO011010 B2 Built Environments 20 conceptual art; museology; photography; void studies; architecture 01 06 02 00 03 00 Nothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space. 30 00 Nothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0208.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nothing-in-moma/ Earth, Milky Way 04 01 20180922 Adams, Abraham 02 WORLD 06 15 9781947447769 03 9781947447769 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447750 20 08 20180922 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/nothing-in-moma 20 08 20180922 02 29.00 USD WORLD urn:uuid:254b7e16-cdbd-46f6-81d2-6a35818186c7 03 01 01 thoth-work-id urn:uuid:48e2a673-aec2-4ed6-99d4-46a8de200493 01 thoth-publication-id urn:uuid:254b7e16-cdbd-46f6-81d2-6a35818186c7 15 9781947447769 03 9781947447769 06 10.21983/P3.0208.1.00 13 2018953767 01 internal-reference 0208 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nothing in MoMA 1 A01 Abraham Adams Abraham Adams 40 05gq02987 Brown University 01 eng 00 90 03 12 AJB 93 AJCD B2 Art+Aesthetics 10 PHO011010 B2 Built Environments 20 conceptual art; museology; photography; void studies; architecture 01 06 02 00 03 00 Nothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space. 30 00 Nothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0208.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nothing-in-moma/ Earth, Milky Way 04 01 20180922 Adams, Abraham 02 WORLD 06 15 9781947447752 03 9781947447752 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25421 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25421/1004674.pdf 20 08 20180922 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27918 20 08 20180922 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353934 20 08 20180922 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/587 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a4cceb79-d604-4185-8c61-42a3ded59c98/download 20 08 20180922 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Nothing_in_MoMA/RG6oEAAAQBAJ 20 08 20180922 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/48e2a673-aec2-4ed6-99d4-46a8de200493 29 INTERNET_ARCHIVE: download the title https://archive.org/download/48e2a673-aec2-4ed6-99d4-46a8de200493/48e2a673-aec2-4ed6-99d4-46a8de200493.pdf 20 08 20180922 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847433 29 ZENODO: download the title https://zenodo.org/records/19847433/files/48e2a673-aec2-4ed6-99d4-46a8de200493_book.pdf 20 08 20180922 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/nothing-in-moma/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0208.1.00.pdf 20 08 20180922 01 urn:uuid:07899f7c-475f-4235-a675-02c7b005e6b9 03 01 01 thoth-work-id urn:uuid:7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b 01 thoth-publication-id urn:uuid:07899f7c-475f-4235-a675-02c7b005e6b9 15 9781685710187 03 9781685710187 06 10.53288/0346.1.00 13 2022930855 01 internal-reference 0346 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nubian Proverbs (Fadijja/Mahas) 1 A01 Maher Habbob Maher Habbob 01 eng 01 nub 00 154 03 12 2HNR 93 GBCQ B2 Languages+Translations 10 REF019000 93 2HNR 12 GBCQ 10 SOC002010 12 1HBE-AA-D 12 1HBEN 20 proverbs; Nobiin; Nubia; Egypt 01 06 02 00 03 00 In the 1995/96 academic year, twenty-five Egyptian Nubian students of the Faculty of Social Work in Aswan were recruited by Dr. Muddathir Salim to complete a brief Nubian ethnological survey, largely restricted to the area of New Nubia, over a period of several months. They documented Egyptian Nubian culture and heritage, among them proverbs, tales, lullabies, marriage customs, and moulid and mourning songs, as well as models of Nubian clothes, jewelry, and houses.This research has culminated in Maher Habbob's Nubian Proverbs, which presents the fruits of decades of collecting proverbs from his native Nubian region in Fadijja (Nobiin). The five hundred proverbs gathered in this volume give a vivid picture of the Nubian imagination and represent a priceless archive of cultural heritage threatened by ongoing assimilation and cultural genocide.The proverbs are presented in Nubian script, accompanied by a transliteration in Roman script, an a literal translation and paraphrase in English. 30 00 In the 1995/96 academic year, twenty-five Egyptian Nubian students of the Faculty of Social Work in Aswan were recruited by Dr. Muddathir Salim to complete a brief Nubian ethnological survey, largely restricted to the area of New Nubia, over a period of several months. They documented Egyptian Nubian culture and heritage, among them proverbs, tales, lullabies, marriage customs, and moulid and mourning songs, as well as models of Nubian clothes, jewelry, and houses.This research has culminated in Maher Habbob's Nubian Proverbs, which presents the fruits of decades of collecting proverbs from his native Nubian region in Fadijja (Nobiin). The five hundred proverbs gathered in this volume give a vivid picture of the Nubian imagination and represent a priceless archive of cultural heritage threatened by ongoing assimilation and cultural genocide.The proverbs are presented in Nubian script, accompanied by a transliteration in Roman script, an a literal translation and paraphrase in English. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0346.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nubian-proverbs/ Earth, Milky Way 04 01 20220512 Habbob, Maher 02 WORLD 06 15 9781685710194 03 9781685710194 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710182 20 08 20220512 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/nubian-proverbs-fadijjamahas 20 08 20220512 02 24.00 USD WORLD urn:uuid:4f17df66-b9c0-49ea-ab1a-a5a74ec3d71c 03 01 01 thoth-work-id urn:uuid:7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b 01 thoth-publication-id urn:uuid:4f17df66-b9c0-49ea-ab1a-a5a74ec3d71c 15 9781685710194 03 9781685710194 06 10.53288/0346.1.00 13 2022930855 01 internal-reference 0346 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nubian Proverbs (Fadijja/Mahas) 1 A01 Maher Habbob Maher Habbob 01 eng 01 nub 00 154 03 12 2HNR 93 GBCQ B2 Languages+Translations 10 REF019000 93 2HNR 12 GBCQ 10 SOC002010 12 1HBE-AA-D 12 1HBEN 20 proverbs; Nobiin; Nubia; Egypt 01 06 02 00 03 00 In the 1995/96 academic year, twenty-five Egyptian Nubian students of the Faculty of Social Work in Aswan were recruited by Dr. Muddathir Salim to complete a brief Nubian ethnological survey, largely restricted to the area of New Nubia, over a period of several months. They documented Egyptian Nubian culture and heritage, among them proverbs, tales, lullabies, marriage customs, and moulid and mourning songs, as well as models of Nubian clothes, jewelry, and houses.This research has culminated in Maher Habbob's Nubian Proverbs, which presents the fruits of decades of collecting proverbs from his native Nubian region in Fadijja (Nobiin). The five hundred proverbs gathered in this volume give a vivid picture of the Nubian imagination and represent a priceless archive of cultural heritage threatened by ongoing assimilation and cultural genocide.The proverbs are presented in Nubian script, accompanied by a transliteration in Roman script, an a literal translation and paraphrase in English. 30 00 In the 1995/96 academic year, twenty-five Egyptian Nubian students of the Faculty of Social Work in Aswan were recruited by Dr. Muddathir Salim to complete a brief Nubian ethnological survey, largely restricted to the area of New Nubia, over a period of several months. They documented Egyptian Nubian culture and heritage, among them proverbs, tales, lullabies, marriage customs, and moulid and mourning songs, as well as models of Nubian clothes, jewelry, and houses.This research has culminated in Maher Habbob's Nubian Proverbs, which presents the fruits of decades of collecting proverbs from his native Nubian region in Fadijja (Nobiin). The five hundred proverbs gathered in this volume give a vivid picture of the Nubian imagination and represent a priceless archive of cultural heritage threatened by ongoing assimilation and cultural genocide.The proverbs are presented in Nubian script, accompanied by a transliteration in Roman script, an a literal translation and paraphrase in English. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0346.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nubian-proverbs/ Earth, Milky Way 04 01 20220512 Habbob, Maher 02 WORLD 06 15 9781685710187 03 9781685710187 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/54349 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/54349/0346.1.00.pdf?sequence=1&isAllowed=y 20 08 20220512 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/81558 20 08 20220512 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2kx8jg3 20 08 20220512 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/707 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/72d7e6bb-4627-46d1-bd68-074cdc401c9b/download 20 08 20220512 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b/7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b.pdf 20 08 20220512 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849364 29 ZENODO: download the title https://zenodo.org/records/19849364/files/7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b_book.pdf 20 08 20220512 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/nubian-proverbs/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0346.1.00.pdf 20 08 20220512 01 urn:uuid:46fcf847-45f4-4131-b209-346f3af77731 03 01 01 thoth-work-id urn:uuid:97019dea-e207-4909-b907-076d0620ff74 01 thoth-publication-id urn:uuid:46fcf847-45f4-4131-b209-346f3af77731 15 9781685710026 03 9781685710026 06 10.53288/0301.1.00 13 2021947743 01 internal-reference 0301 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Obiter Dicta 1 A01 21 0000000169184192 Erick Verran Erick Verran 40 02y3ad647 University of Florida 01 eng 00 390 03 93 DSB 12 DSB 10 PHI001000 B2 Thought Experiments 12 AVA 93 AVA 10 PHI026000 20 aphorisms; Theodor Adorno; poetry; music theory; philosophy; literary theory 01 06 02 00 03 00 Stitched together over five years of journaling, Obiter Dicta is a lyrical compendium representing the transcription of twelve notebooks, since painstakingly reimagined for publication. This unschooled exercise in aesthetic thought, interlaced with quotations from hundreds of diverse authors, interrogates a wide array of subject matter through notes, commentary, observations, and musings. With lessons stolen from seemingly unrelatable disciplines, the restless candor of Erick Verran’s approach to philosophical and social inquiry will be familiar to readers of Dave Hickey’s Air Guitar and Mark Fisher’s K-Punk.Obiter Dicta is an experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to photography to the evolution of European music. A Zibaldone for the 21st century. 30 00 Stitched together over five years of journaling, Obiter Dicta is a lyrical compendium representing the transcription of twelve notebooks, since painstakingly reimagined for publication. This unschooled exercise in aesthetic thought, interlaced with quotations from hundreds of diverse authors, interrogates a wide array of subject matter through notes, commentary, observations, and musings. With lessons stolen from seemingly unrelatable disciplines, the restless candor of Erick Verran’s approach to philosophical and social inquiry will be familiar to readers of Dave Hickey’s Air Guitar and Mark Fisher’s K-Punk.Obiter Dicta is an experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to photography to the evolution of European music. A Zibaldone for the 21st century. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0301.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/obiter-dicta/ Earth, Milky Way 04 01 20211014 Verran, Erick (0000-0001-6918-4192) 02 WORLD 06 15 9781685710033 03 9781685710033 34 06 10.1093/aristotelian/57.1.1 34 06 10.2307/3039333 34 06 10.2307/2183914 34 06 10.2307/1574339 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710026 20 08 20211014 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/obiter-dicta 20 08 20211014 02 30.00 USD WORLD urn:uuid:eb2f000d-9384-4d4f-b31d-7d3cc2922d4d 03 01 01 thoth-work-id urn:uuid:97019dea-e207-4909-b907-076d0620ff74 01 thoth-publication-id urn:uuid:eb2f000d-9384-4d4f-b31d-7d3cc2922d4d 15 9781685710033 03 9781685710033 06 10.53288/0301.1.00 13 2021947743 01 internal-reference 0301 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Obiter Dicta 1 A01 21 0000000169184192 Erick Verran Erick Verran 40 02y3ad647 University of Florida 01 eng 00 390 03 93 DSB 12 DSB 10 PHI001000 B2 Thought Experiments 12 AVA 93 AVA 10 PHI026000 20 aphorisms; Theodor Adorno; poetry; music theory; philosophy; literary theory 01 06 02 00 03 00 Stitched together over five years of journaling, Obiter Dicta is a lyrical compendium representing the transcription of twelve notebooks, since painstakingly reimagined for publication. This unschooled exercise in aesthetic thought, interlaced with quotations from hundreds of diverse authors, interrogates a wide array of subject matter through notes, commentary, observations, and musings. With lessons stolen from seemingly unrelatable disciplines, the restless candor of Erick Verran’s approach to philosophical and social inquiry will be familiar to readers of Dave Hickey’s Air Guitar and Mark Fisher’s K-Punk.Obiter Dicta is an experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to photography to the evolution of European music. A Zibaldone for the 21st century. 30 00 Stitched together over five years of journaling, Obiter Dicta is a lyrical compendium representing the transcription of twelve notebooks, since painstakingly reimagined for publication. This unschooled exercise in aesthetic thought, interlaced with quotations from hundreds of diverse authors, interrogates a wide array of subject matter through notes, commentary, observations, and musings. With lessons stolen from seemingly unrelatable disciplines, the restless candor of Erick Verran’s approach to philosophical and social inquiry will be familiar to readers of Dave Hickey’s Air Guitar and Mark Fisher’s K-Punk.Obiter Dicta is an experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to photography to the evolution of European music. A Zibaldone for the 21st century. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0301.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/obiter-dicta/ Earth, Milky Way 04 01 20211014 Verran, Erick (0000-0001-6918-4192) 02 WORLD 06 15 9781685710026 03 9781685710026 34 06 10.1093/aristotelian/57.1.1 34 06 10.2307/3039333 34 06 10.2307/2183914 34 06 10.2307/1574339 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50914 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50914/0301.1.00.pdf?sequence=1&isAllowed=y 20 08 20211014 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72289 20 08 20211014 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv21fqj6x 20 08 20211014 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/688 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4d2b96a1-b0d3-47e2-b3c9-ffb0530c89d5/download 20 08 20211014 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/97019dea-e207-4909-b907-076d0620ff74 29 INTERNET_ARCHIVE: download the title https://archive.org/download/97019dea-e207-4909-b907-076d0620ff74/97019dea-e207-4909-b907-076d0620ff74.pdf 20 08 20211014 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849036 29 ZENODO: download the title https://zenodo.org/records/19849036/files/97019dea-e207-4909-b907-076d0620ff74_book.pdf 20 08 20211014 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/obiter-dicta/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0301.1.00.pdf 20 08 20211014 01 urn:uuid:7df0f697-899a-49eb-b78b-097c2bc80fb4 03 01 01 thoth-work-id urn:uuid:06b256bf-62cf-4e01-be37-44f250a8b920 01 thoth-publication-id urn:uuid:7df0f697-899a-49eb-b78b-097c2bc80fb4 15 9780692642030 03 9780692642030 06 10.21983/P3.0130.1.00 01 internal-reference 0130 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Object Oriented Environs 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 B01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 00 218 03 10 PHI013000 B2 Philosophy 93 RNA 12 RNT 93 DSA 10 LIT015000 B2 Posthumanism B2 Premodern 93 QDHR7 20 Early Modern studies; ecocriticism; object-oriented ontology; Shakespeare Studies 01 06 02 00 03 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 30 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0130.1.00_frontcover.png 1 03 06 10.21983/P3.0130.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 B01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 20 00 Open Access Jeffrey Jerome Cohen, Julian Yates 2 03 06 10.21983/P3.0130.1.02 xi xxv 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction An Environing of this Book 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 In the spring of 2013, we were invited to propose a possible session for the Shakespeare Association of America meeting in St. Louis for 2014. The SAA is an organization that, in addition to running paper panels at its annul conference, offers participants the opportunity to share work-in-progress through themed seminars. The two of us had been in conversation for some time about nonhumans, things, animal, vegetable, and mineral, medieval and renaissance, about questions of ecology, and how to craft nontraditional conversation and thinking spaces in which something unanticipated might unfold. We decided to collaborate to build a gathering that would bring together these interests, objects, and possibilities for eventuation. The title of the seminar we proposed was “Object-Oriented Environs in Early Modern England,” which took its cue from the philosophical movement called Object-Oriented Ontology (frequently abbreviated to OOO) in the hope of provoking a conversation about how early modernists, or humanists in general, parse the question of matter, of things. We called the collocation OOE @ SAA. 30 00 In the spring of 2013, we were invited to propose a possible session for the Shakespeare Association of America meeting in St. Louis for 2014. The SAA is an organization that, in addition to running paper panels at its annul conference, offers participants the opportunity to share work-in-progress through themed seminars. The two of us had been in conversation for some time about nonhumans, things, animal, vegetable, and mineral, medieval and renaissance, about questions of ecology, and how to craft nontraditional conversation and thinking spaces in which something unanticipated might unfold. We decided to collaborate to build a gathering that would bring together these interests, objects, and possibilities for eventuation. The title of the seminar we proposed was “Object-Oriented Environs in Early Modern England,” which took its cue from the philosophical movement called Object-Oriented Ontology (frequently abbreviated to OOO) in the hope of provoking a conversation about how early modernists, or humanists in general, parse the question of matter, of things. We called the collocation OOE @ SAA. 20 00 Open Access Jeffrey Jerome Cohen, Julian Yates 3 03 06 10.21983/P3.0130.1.03 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Venus's Bush(es) 1 A01 Lizz Angello Lizz Angello 40 032db5x82 University of South Florida 01 eng 03 00 On the corner of my office laptop perches a small shrubbery made from extruded plastic: LEGO greenery, fashioned into a wedge of landscape to obscure the tiny LEGOTARDIS resting over the power button. My young son has been here. He clearly meant for his ersatz foliage to cover up the time machine, but it actually calls attention to it. It signals that something must be hiding there, something we are meant to find. “Look, look!” say the bushes, “but pretend you aren’t looking.” Real flora can function similarly, as when leaves in a bouquet direct our eyes away from unsightly stems and toward colorful blooms. But curious pedestrians also peer through hedges at the houses behind them. Does a bush conceal, then, or only pretend to conceal? Is a bush an actant or an alibi, like the pasties on Barthes’ strip-pers, the conceit of privacy serving only to heighten the eroticism of the hidden?1 Perhaps we can’t even speak of “a bush” but rather “bushes.” Bushes are messy, insistently plural; yet they can be tended and tamed into the very embodiments of b / order, separation, and singularity. Shake-spea re’s Venus and Adonis bears witness to the multivalence of bushes, suggesting that they contain all of these possibilities — and more — within their interlace. 30 00 On the corner of my office laptop perches a small shrubbery made from extruded plastic: LEGO greenery, fashioned into a wedge of landscape to obscure the tiny LEGOTARDIS resting over the power button. My young son has been here. He clearly meant for his ersatz foliage to cover up the time machine, but it actually calls attention to it. It signals that something must be hiding there, something we are meant to find. “Look, look!” say the bushes, “but pretend you aren’t looking.” Real flora can function similarly, as when leaves in a bouquet direct our eyes away from unsightly stems and toward colorful blooms. But curious pedestrians also peer through hedges at the houses behind them. Does a bush conceal, then, or only pretend to conceal? Is a bush an actant or an alibi, like the pasties on Barthes’ strip-pers, the conceit of privacy serving only to heighten the eroticism of the hidden?1 Perhaps we can’t even speak of “a bush” but rather “bushes.” Bushes are messy, insistently plural; yet they can be tended and tamed into the very embodiments of b / order, separation, and singularity. Shake-spea re’s Venus and Adonis bears witness to the multivalence of bushes, suggesting that they contain all of these possibilities — and more — within their interlace. 20 00 Open Access Angello, Lizz 4 03 06 10.21983/P3.0130.1.04 9 16 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cordelia's Corpse Dead as Earth 1 A01 Sallie Anglin Sallie Anglin 40 04p491231 Pennsylvania State University 01 eng 03 00 King Lear and video games have something in common. In most massively multiplayer online role playing games (MMORPGs) a player’s character dies, but it isn’t permanent. For a moment after death, a player stares into her computer screen at her own corpse, her removed first-per-son perspective hovering over it, still attached to but disembodied from the avatar that allows her to experience the virtual space of the game. In this moment, the player knows she is dependent on that object, the body/corpse, that she has been forcibly separated from. The corpse’s existence is no longer fully dependent on the player. In this moment, the video game player who is housed in the avatar, in the player character, becomes an audience to her own corpse. She’s watching the story of flesh in digital form. The unreal creates an actual agential demise of the player, at least momentarily. 30 00 King Lear and video games have something in common. In most massively multiplayer online role playing games (MMORPGs) a player’s character dies, but it isn’t permanent. For a moment after death, a player stares into her computer screen at her own corpse, her removed first-per-son perspective hovering over it, still attached to but disembodied from the avatar that allows her to experience the virtual space of the game. In this moment, the player knows she is dependent on that object, the body/corpse, that she has been forcibly separated from. The corpse’s existence is no longer fully dependent on the player. In this moment, the video game player who is housed in the avatar, in the player character, becomes an audience to her own corpse. She’s watching the story of flesh in digital form. The unreal creates an actual agential demise of the player, at least momentarily. 20 00 Open Access Anglin, Sallie 5 03 06 10.21983/P3.0130.1.05 17 24 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking with Hives 1 A01 Keith M. Botelho Keith M. Botelho 40 00jeqjx33 Kennesaw State University 01 eng 03 00 In The Tudor House and Garden, Paula Henderson notes that apiaries, “although at best only architecture in miniature . . .were vital, if not particularly conspicuous, elements of most gardens.”1 The eight major bee treatises published in England between 1593–1679, as well as many gardening manuals from the same period, devote space to the construc-tion, preservation, and placement of beehives in and around gardens. We see in Thomas Hill’s The Gardener’s Labyrinth a woodcut of a garden, gar-deners, and water pump in action, and in the upper right corner we notice two skep beehives (See Figure 1, next page). These skeps, basket hives made in England from coils of wheat or rye straw, have a single entrance at the base with no internal structure provided for the bees—removing the honey often meant the risk of destroying the entire hive.2 The hives are stationary, fixed objects that are part of a larger network that pro-duced a working garden landscape. Yet they are also lively, embodied, full of activity (as seen with the bees flying about). 30 00 In The Tudor House and Garden, Paula Henderson notes that apiaries, “although at best only architecture in miniature . . .were vital, if not particularly conspicuous, elements of most gardens.”1 The eight major bee treatises published in England between 1593–1679, as well as many gardening manuals from the same period, devote space to the construc-tion, preservation, and placement of beehives in and around gardens. We see in Thomas Hill’s The Gardener’s Labyrinth a woodcut of a garden, gar-deners, and water pump in action, and in the upper right corner we notice two skep beehives (See Figure 1, next page). These skeps, basket hives made in England from coils of wheat or rye straw, have a single entrance at the base with no internal structure provided for the bees—removing the honey often meant the risk of destroying the entire hive.2 The hives are stationary, fixed objects that are part of a larger network that pro-duced a working garden landscape. Yet they are also lively, embodied, full of activity (as seen with the bees flying about). 20 00 Open Access Botelho, Keith M. 6 03 06 10.21983/P3.0130.1.06 25 33 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gloucester's Chair Object Entanglements on the Early Modern Stage 1 A01 Patricia A. Cahill Patricia A. Cahill 40 03czfpz43 Emory University 01 eng 03 00 In Geffrey Whitney’s A Choice of emblems (1586),a woodcut entitled “Dolor è medicina” depictsa “Purblinde dame” confronting a devious physician who during his regular visits to her home has been making off with her belongings.1 (See Figure 1, next page.) As the accom-panying short verse details, the woman discovers the theft precisely as the physician requests payment for having restored her sight. Turning the tables on him, she wittily responds to his demand by protesting that she remains impaired: “Bycause my sences either faile, or ells my eies bee blinde./For, where my house before was garnish’d everie nooke:/I, nowe can see no goodes at all, though rounde about I looke.” While the wood-cut captures this moment in which the duplicitous doctor is stopped in his tracks on the way out the door, Whitney’s verse about the woman’s failing vision produces a blind spot for his readers. Accordingly, early modern readers, prompted to see a house “un-garnished” of its goods may well have overlooked the one good remaining in place: the gracious, high-backed wooden chair in which the woman sits and surveys her otherwise empty domestic space. This “mistake” could arise not because chairs were so plentiful as to be invisible — in fact, a typical middling-level Eng-lish household likely contained only one or two chairs, usually made of oak, relying primarily on less costly benches, stools, and chests for seat-ing — but rather because Whitney’s verse, with its emphasis on disposses-sion, invites readers to view the chair as something other than a “goode.”2Divested of its status as a commodity, the chair exists primarily as the familiar and unobtrusive ally of the bereft woman. It exists, we might say, as her environment. 30 00 In Geffrey Whitney’s A Choice of emblems (1586),a woodcut entitled “Dolor è medicina” depictsa “Purblinde dame” confronting a devious physician who during his regular visits to her home has been making off with her belongings.1 (See Figure 1, next page.) As the accom-panying short verse details, the woman discovers the theft precisely as the physician requests payment for having restored her sight. Turning the tables on him, she wittily responds to his demand by protesting that she remains impaired: “Bycause my sences either faile, or ells my eies bee blinde./For, where my house before was garnish’d everie nooke:/I, nowe can see no goodes at all, though rounde about I looke.” While the wood-cut captures this moment in which the duplicitous doctor is stopped in his tracks on the way out the door, Whitney’s verse about the woman’s failing vision produces a blind spot for his readers. Accordingly, early modern readers, prompted to see a house “un-garnished” of its goods may well have overlooked the one good remaining in place: the gracious, high-backed wooden chair in which the woman sits and surveys her otherwise empty domestic space. This “mistake” could arise not because chairs were so plentiful as to be invisible — in fact, a typical middling-level Eng-lish household likely contained only one or two chairs, usually made of oak, relying primarily on less costly benches, stools, and chests for seat-ing — but rather because Whitney’s verse, with its emphasis on disposses-sion, invites readers to view the chair as something other than a “goode.”2Divested of its status as a commodity, the chair exists primarily as the familiar and unobtrusive ally of the bereft woman. It exists, we might say, as her environment. 20 00 Open Access Cahill, Patricia A. 7 03 06 10.21983/P3.0130.1.07 35 46 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Much Ado about Planking 1 A01 Christine Hoffmann Christine Hoffmann 40 011vxgd24 West Virginia University 01 eng 03 00 In 2011, something called “planking” briefly took over the Internet (Figures 1 and 2). Before declining in popularity, this global meme would provoke arrests in Wisconsin, inspire legislation in the Philippines, stir accusations of racism on Twitter, and kill a man in Aus-tralia. Know Your Meme helpfully defines planking as “lying face down with arms to the sides in unusual public spaces.”1 The site’s image gallery includes people planking on desks, chairs, escalators, phone booths, goal-posts, even the back of a whale. For me, the photos bring new meaning to Benedick’s complaint, in Much Ado about Nothing, that he has been “misused” by Beatrice “past the endurance of a block”; he likely means the chopping block— the solid piece of wood “used for various opera-tions,” according to the OED, such as chopping meat, cutting firewood, or beheading the condemned — an object with a notably high tolerance for use and abuse.2 Benedick identifies here as a thing, but even more impor-tantly, as a thing among other things — “an oak but with one green leaf on it would have answer’d her. My very visor began to assume life, and scold with her” — each pushed past its limit, compelled into intimate exchange with Beatrice and with each other. 30 00 In 2011, something called “planking” briefly took over the Internet (Figures 1 and 2). Before declining in popularity, this global meme would provoke arrests in Wisconsin, inspire legislation in the Philippines, stir accusations of racism on Twitter, and kill a man in Aus-tralia. Know Your Meme helpfully defines planking as “lying face down with arms to the sides in unusual public spaces.”1 The site’s image gallery includes people planking on desks, chairs, escalators, phone booths, goal-posts, even the back of a whale. For me, the photos bring new meaning to Benedick’s complaint, in Much Ado about Nothing, that he has been “misused” by Beatrice “past the endurance of a block”; he likely means the chopping block— the solid piece of wood “used for various opera-tions,” according to the OED, such as chopping meat, cutting firewood, or beheading the condemned — an object with a notably high tolerance for use and abuse.2 Benedick identifies here as a thing, but even more impor-tantly, as a thing among other things — “an oak but with one green leaf on it would have answer’d her. My very visor began to assume life, and scold with her” — each pushed past its limit, compelled into intimate exchange with Beatrice and with each other. 20 00 Open Access Hoffmann, Christine 8 03 06 10.21983/P3.0130.1.08 47 56 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Warm Bodies in Plague and Shakespeare's "Womb of Death" 1 A01 Neal Robert Klomp Neal Robert Klomp 40 05hs6h993 Michigan State University 01 eng 03 00 This humanoid stick figure in profile (see figure 1, next page)is the image used for Wikipedia’s entry “Plague (disease).”2 The uncanny resemblance to a human highlights the zombie-like objectness of the microbe: it is alive, like a human, but it is also essentially an immobile object; its movements are as imperceptibly microscopic as it is. Further, plague seems to cross the territory between life and death: it returns after years, even centuries, of dormancy—seemingly absent after the eighth century Justinian y. pestis outbreak only to remerge with even more viru-lence in the fourteenth century as the Black Death. Its very nature seems to invite us to think of plague as both alive and dead; incapable of chas-ing its prey, plague spreads and kills with terrifying efficiency whenever it rises from its own grave-like dormancy. This slightly altered image of Figure 1 neatly conjoins the plague object with the human, and together they engender an environs populated by the living humans, the still-living soon to be “corpse” of the infected, and the ever growing population of dead objects. 30 00 This humanoid stick figure in profile (see figure 1, next page)is the image used for Wikipedia’s entry “Plague (disease).”2 The uncanny resemblance to a human highlights the zombie-like objectness of the microbe: it is alive, like a human, but it is also essentially an immobile object; its movements are as imperceptibly microscopic as it is. Further, plague seems to cross the territory between life and death: it returns after years, even centuries, of dormancy—seemingly absent after the eighth century Justinian y. pestis outbreak only to remerge with even more viru-lence in the fourteenth century as the Black Death. Its very nature seems to invite us to think of plague as both alive and dead; incapable of chas-ing its prey, plague spreads and kills with terrifying efficiency whenever it rises from its own grave-like dormancy. This slightly altered image of Figure 1 neatly conjoins the plague object with the human, and together they engender an environs populated by the living humans, the still-living soon to be “corpse” of the infected, and the ever growing population of dead objects. 20 00 Open Access Klomp, Neal Robert 9 03 06 10.21983/P3.0130.1.09 57 64 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Biology of Rain Becoming a Distant Master in Early Modern England 1 A01 Tara E. Pedersen Tara E. Pedersen 40 05s9f4d27 University of Wisconsin–Parkside 01 eng 03 00 In Act 3 of Shakespeare’s Richard II, Henry Bolingbroke requests the restoration of his family’s lands while painting a picture of the ecol-ogy of war. Henry claims that if his inheritance is not restored he will “use the advantage of [his] power/And lay the summer’s dust with showers of blood/Rain’d from the wounds of slaughter’d Englishmen” (3.3.42–44).1In other words, Henry argues that if he is refused the territories that he believes are rightfully his, he will drench the lands with the blood of a people whom he also claims are his own. As he makes this statement, Henry lays out a chain of cause and effect in which he becomes the pri-mary human agent and interpretive consciousness that orders the climate of the surrounding countryside. Objects (be they land, elements, or citi-zens) exist in order to be possessed and acted upon by him, and ultimately the picture his words paint makes a case for how the listener/viewer is supposed to see the landowner as well as the earth and the English citi-zen’s relationship to it. Henry suggests that the landscape, and the organ-isms within it, are ordered and sustained at his will. 30 00 In Act 3 of Shakespeare’s Richard II, Henry Bolingbroke requests the restoration of his family’s lands while painting a picture of the ecol-ogy of war. Henry claims that if his inheritance is not restored he will “use the advantage of [his] power/And lay the summer’s dust with showers of blood/Rain’d from the wounds of slaughter’d Englishmen” (3.3.42–44).1In other words, Henry argues that if he is refused the territories that he believes are rightfully his, he will drench the lands with the blood of a people whom he also claims are his own. As he makes this statement, Henry lays out a chain of cause and effect in which he becomes the pri-mary human agent and interpretive consciousness that orders the climate of the surrounding countryside. Objects (be they land, elements, or citi-zens) exist in order to be possessed and acted upon by him, and ultimately the picture his words paint makes a case for how the listener/viewer is supposed to see the landowner as well as the earth and the English citi-zen’s relationship to it. Henry suggests that the landscape, and the organ-isms within it, are ordered and sustained at his will. 20 00 Open Access Pedersen, Tara E. 10 03 06 10.21983/P3.0130.1.10 65 80 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shoes Talk and Shoe Silence 1 A01 Tripthi Pillai Tripthi Pillai 40 01621q256 Coastal Carolina University 01 eng 03 00 Like the gait of one unfamiliar with walking in stiletto heels, the two parts of this essay move, at times arhythmically, between explo-rations of objects in environments. Part one embeds the shoe in human-centric environments as an instrument that’s used as much to displace particular autopoietic systems as it is to display others.1 Part two embeds the human in ontic environs,2 in the triangulation of semantic disclo-sure, withdrawal, and density in the shoe-dog-human network in act 2, scene 3, of William Shakespeare’s The Two Gentlemen of Verona. My pur-pose is to apply the language and architecture of speculative realism to consider both the gaps in knowledge and the interplay of objects as yet underexplored in historicist critical engagement. The strategic ahistori-cism employed by OOO I adopt here enables me to wander and “wonder unburdened” among objects and environments in a manner that is,3 not unlike the precariousness of some shoes, at once alluring and promiscu-ous in its embrace of instability. 30 00 Like the gait of one unfamiliar with walking in stiletto heels, the two parts of this essay move, at times arhythmically, between explo-rations of objects in environments. Part one embeds the shoe in human-centric environments as an instrument that’s used as much to displace particular autopoietic systems as it is to display others.1 Part two embeds the human in ontic environs,2 in the triangulation of semantic disclo-sure, withdrawal, and density in the shoe-dog-human network in act 2, scene 3, of William Shakespeare’s The Two Gentlemen of Verona. My pur-pose is to apply the language and architecture of speculative realism to consider both the gaps in knowledge and the interplay of objects as yet underexplored in historicist critical engagement. The strategic ahistori-cism employed by OOO I adopt here enables me to wander and “wonder unburdened” among objects and environments in a manner that is,3 not unlike the precariousness of some shoes, at once alluring and promiscu-ous in its embrace of instability. 20 00 Open Access Pillai, Tripthi 11 03 06 10.21983/P3.0130.1.11 81 91 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Performing Meat 1 A01 Karen Raber Karen Raber 40 02teq1165 University of Mississippi 01 eng 03 00 John Wecker’s Secrets of Nature offers a recipe for roasting a goose alive. Advising the application of a ring of fire to some “lively Crea-ture,” the recipe includes pots of water to slake the dying goose’s thirst, while it “fl[ies] here and there” within the fire-ring.2 The cook should baste the goose’s head and heart so that “her inward parts” will roast before she dies: “when you see her giddy with running, and begin to stumble, her heart wants moisture: she is Rosted, take her up, and set her upon the Table to your guests, and as you cut her up she will cry continually, that she will be almost all eaten before she be dead.”3 Recipes like this one have attracted only a limited range of scholarly analysis: Wecker’s recipe appears, for instance, in the introduction to Patricia Fumerton and Simon Hunt’s collection Renaissance Culture and the Everyday, where it serves as a reminder of the casual cruelty of Renaissance practices that estrange everyday early modern culture for a generation of historicist critics. Culinary historians might situate the recipe as an example of the new interest in food’s aesthetic complexity during the Renaissance. To animal lovers and vegetarians, the recipe would speak for itself, highlighting the intol-erable suffering of living creatures rendered as mere meat for the table: animal studies scholars like Simon Estok and Erica Fudge have discussed early modern resistance to, and rare embrace of, vegetarianism based on the dehumanizing influence of meat-eating exemplified by cases of ani-mal torture like that in Wecker’s recipe. 30 00 John Wecker’s Secrets of Nature offers a recipe for roasting a goose alive. Advising the application of a ring of fire to some “lively Crea-ture,” the recipe includes pots of water to slake the dying goose’s thirst, while it “fl[ies] here and there” within the fire-ring.2 The cook should baste the goose’s head and heart so that “her inward parts” will roast before she dies: “when you see her giddy with running, and begin to stumble, her heart wants moisture: she is Rosted, take her up, and set her upon the Table to your guests, and as you cut her up she will cry continually, that she will be almost all eaten before she be dead.”3 Recipes like this one have attracted only a limited range of scholarly analysis: Wecker’s recipe appears, for instance, in the introduction to Patricia Fumerton and Simon Hunt’s collection Renaissance Culture and the Everyday, where it serves as a reminder of the casual cruelty of Renaissance practices that estrange everyday early modern culture for a generation of historicist critics. Culinary historians might situate the recipe as an example of the new interest in food’s aesthetic complexity during the Renaissance. To animal lovers and vegetarians, the recipe would speak for itself, highlighting the intol-erable suffering of living creatures rendered as mere meat for the table: animal studies scholars like Simon Estok and Erica Fudge have discussed early modern resistance to, and rare embrace of, vegetarianism based on the dehumanizing influence of meat-eating exemplified by cases of ani-mal torture like that in Wecker’s recipe. 20 00 Open Access Raber, Karen 12 03 06 10.21983/P3.0130.1.12 93 102 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eye and Book Species and Spectacle 1 A01 Pauline Reid Pauline Reid 40 04w7skc03 University of Denver 01 eng 03 00 My things, the eye and the book, uneasily transgress the boundary between objects and media. Following Bruno Latour’s call to investigate the ways objects “block, render possible,” or “forbid” rather than merely structure our experiences, this essay explores how visual perception com-plicated early modern encounters with the book as object.1 I situate the relation between eye and book within a historically specific early modern material and intellectual environment. Material things shape, to cite gra-ham Harman, how we perceive perception. Even so, our cultural models of perception necessarily color how we approach these things. A focus on objects’ environs implies an ecological, networked reading of objects and, I would argue, a historical one. Historical phenomenology can link objects with their temporal as well as spatial environs. Rather than fol-lowing Husserl and Heidegger’s model of a transcendent human con-sciousness that intentionally “brackets” off the object from its environs, I here adopt phenomenology as a method for discovering co-habitations and disturbances between body and object. Traditional phenomenology often removes perception from a historical and spatial index in order to determine first principles. Instead, as I will explore with the eye, the body manifested as part of a network of objects that continuously patterned and altered perception in early modern thought. This characterization of the human body and its parts as objects as well as perceptual media draws in part from Rosalyn Diprose’s claim that phenomenology acts as an “interworld” between the human body and the external object,2 as well as from Sarah Ahmed’s claim that objects and spaces “impress” themselves on the body to the point where they become a “second skin.”3 Perception is here not transcendent, but physically situated; the percipient-object relationship is not static, but mutually dynamic. 30 00 My things, the eye and the book, uneasily transgress the boundary between objects and media. Following Bruno Latour’s call to investigate the ways objects “block, render possible,” or “forbid” rather than merely structure our experiences, this essay explores how visual perception com-plicated early modern encounters with the book as object.1 I situate the relation between eye and book within a historically specific early modern material and intellectual environment. Material things shape, to cite gra-ham Harman, how we perceive perception. Even so, our cultural models of perception necessarily color how we approach these things. A focus on objects’ environs implies an ecological, networked reading of objects and, I would argue, a historical one. Historical phenomenology can link objects with their temporal as well as spatial environs. Rather than fol-lowing Husserl and Heidegger’s model of a transcendent human con-sciousness that intentionally “brackets” off the object from its environs, I here adopt phenomenology as a method for discovering co-habitations and disturbances between body and object. Traditional phenomenology often removes perception from a historical and spatial index in order to determine first principles. Instead, as I will explore with the eye, the body manifested as part of a network of objects that continuously patterned and altered perception in early modern thought. This characterization of the human body and its parts as objects as well as perceptual media draws in part from Rosalyn Diprose’s claim that phenomenology acts as an “interworld” between the human body and the external object,2 as well as from Sarah Ahmed’s claim that objects and spaces “impress” themselves on the body to the point where they become a “second skin.”3 Perception is here not transcendent, but physically situated; the percipient-object relationship is not static, but mutually dynamic. 20 00 Open Access Reid, Pauline 13 03 06 10.21983/P3.0130.1.13 103 111 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Book/Body in The Duchess of Malfi 1 A01 Emily Rendek Emily Rendek 40 02b6qw903 University of South Carolina 01 eng 03 00 For Helen Smith, in “Embodying Early Modern Women’s Reading,” “the text enacts a physiological change” on the reader.1 In this essay, I should like to revise this statement to suggest that this “change” is actu-ally an exchange between text and body. The marginalia left behind by early modern readers are visible traces of their bodily imprints upon the text and suggest that by their reading, the text becomes an extension of the reader’s body. Such exchanges need not be limited only to such vis-ible marks. Recent scholarship has begun to study the often slightly less visible marks left behind by book users; Katherine Rudy’s work employs the use of a densitometer to examine these marks, which include oils from fingerprints, food stains, tears, and even blood stains that help to create a better idea of what parts of a text a reader read and how often that text was read.2 It is not just that “[t]he process of accessing the text was a cor-poreal one . . . impressing key content on the reader’s memory,” but that the text itself also becomes embodied, taking on features of its reader.3 Te x t and reader exchange properties. To say only that “[r]eaders’ bodies were molded and altered by the texts they read” is to ignore the other side of the equation.4 The reader is not only imprinted by the text but imprints the text itself (both literally and figuratively). The relationship between book and reader proves symbiotic, an example of facultative mutualism (where two entities are interdependent but not completely dependent upon each other), something, as I shall show, is illustrated perfectly in the figures of the Cardinal and his Bible in John Webster’s The Duchess of Malfi. The Cardinal’s overpowering, poisonous character — he would be “able to possess the greatest devil, and make him worse”5— is both altered by his (mis)reading of the Bible and other religious texts (see 5.5.1–10), as well as being able to infect the book itself, allowing it to literally become poisonous, thereby killing Julia. In the play, the use of the book as murder weapon demonstrates how the boundary between book and body (of the reader) become blurred as both the permeability of the page and of the body is emphasized throughout the play. 30 00 For Helen Smith, in “Embodying Early Modern Women’s Reading,” “the text enacts a physiological change” on the reader.1 In this essay, I should like to revise this statement to suggest that this “change” is actu-ally an exchange between text and body. The marginalia left behind by early modern readers are visible traces of their bodily imprints upon the text and suggest that by their reading, the text becomes an extension of the reader’s body. Such exchanges need not be limited only to such vis-ible marks. Recent scholarship has begun to study the often slightly less visible marks left behind by book users; Katherine Rudy’s work employs the use of a densitometer to examine these marks, which include oils from fingerprints, food stains, tears, and even blood stains that help to create a better idea of what parts of a text a reader read and how often that text was read.2 It is not just that “[t]he process of accessing the text was a cor-poreal one . . . impressing key content on the reader’s memory,” but that the text itself also becomes embodied, taking on features of its reader.3 Te x t and reader exchange properties. To say only that “[r]eaders’ bodies were molded and altered by the texts they read” is to ignore the other side of the equation.4 The reader is not only imprinted by the text but imprints the text itself (both literally and figuratively). The relationship between book and reader proves symbiotic, an example of facultative mutualism (where two entities are interdependent but not completely dependent upon each other), something, as I shall show, is illustrated perfectly in the figures of the Cardinal and his Bible in John Webster’s The Duchess of Malfi. The Cardinal’s overpowering, poisonous character — he would be “able to possess the greatest devil, and make him worse”5— is both altered by his (mis)reading of the Bible and other religious texts (see 5.5.1–10), as well as being able to infect the book itself, allowing it to literally become poisonous, thereby killing Julia. In the play, the use of the book as murder weapon demonstrates how the boundary between book and body (of the reader) become blurred as both the permeability of the page and of the body is emphasized throughout the play. 20 00 Open Access Rendek, Emily 14 03 06 10.21983/P3.0130.1.14 113 121 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Crutches and Cripistemology in The Fair Maid of the Exchange 1 A01 Lindsey Row-Heyveld Lindsey Row-Heyveld 40 03dqcb840 Luther College 01 eng 03 00 The Cripple, the central character of the anonymous 1607 city comedy The Fair Maid of the Exchange, describes the onset of his dis-ability as “the visitation of my legges, and my expence in timber.”1 His statement frames this experience in both enlivened and economic terms. “Visitation,” defined as affliction with illness or trouble, was usually accompanied by the subject performing that action, for instance, “the visitation of the Lord” or “the visitation of death.”2 In this case, how-ever, his phrase suggests that the legs themselves enacted the visitation. “Expence in timber” describes his adoption of crutches as an investment in the high-stakes early modern timber market.3 The Cripple’s merging of agential objects and commercial objects exemplifies a union that occurs throughout the play. In exploring the liveliness of things in the commer-cial environment of the play, I suggest that this text carefully attends to their vitality, while the play’s characters are primarily attentive only to their financial power. The exception is the Cripple, who seems occa-sionally capable of seeing both their value and vitality. Considering how and why he possesses such a capability illuminates the ethical limits and potential of object-oriented theory, specifically as it relates to prosthesis and disability. 30 00 The Cripple, the central character of the anonymous 1607 city comedy The Fair Maid of the Exchange, describes the onset of his dis-ability as “the visitation of my legges, and my expence in timber.”1 His statement frames this experience in both enlivened and economic terms. “Visitation,” defined as affliction with illness or trouble, was usually accompanied by the subject performing that action, for instance, “the visitation of the Lord” or “the visitation of death.”2 In this case, how-ever, his phrase suggests that the legs themselves enacted the visitation. “Expence in timber” describes his adoption of crutches as an investment in the high-stakes early modern timber market.3 The Cripple’s merging of agential objects and commercial objects exemplifies a union that occurs throughout the play. In exploring the liveliness of things in the commer-cial environment of the play, I suggest that this text carefully attends to their vitality, while the play’s characters are primarily attentive only to their financial power. The exception is the Cripple, who seems occa-sionally capable of seeing both their value and vitality. Considering how and why he possesses such a capability illuminates the ethical limits and potential of object-oriented theory, specifically as it relates to prosthesis and disability. 20 00 Open Access Row-Heyveld, Lindsey 15 03 06 10.21983/P3.0130.1.15 123 133 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Imagining Early Modern Wish-Lists and Their Environs 1 A01 Debapriya Sarkar Debapriya Sarkar 40 00yghrj63 Hendrix College 40 02der9h97 University of Connecticut 01 eng 03 00 What was an early modern wish-list? Was it an object of inquiry, an instrument of the imagination, or one of cognition? Why did these catalogues (incomplete in form, and projective by nature) fascinate early modern writers? I begin with these questions to explore the status of the wish-list as a “thing” that enabled thinkers to curate new ways of inter-acting with their environs, both real and imagined.1 Wish-lists became instruments through which writers attempted to make intelligible a world that was fundamentally in flux, one in which new geographies were being discovered through travels and a new cosmology was displacing both earth and man from the center of the universe. In this environment of uncertainty, the wish-list propelled naturalists and travelers to search for non-existent objects and propose new epistemological systems. 30 00 What was an early modern wish-list? Was it an object of inquiry, an instrument of the imagination, or one of cognition? Why did these catalogues (incomplete in form, and projective by nature) fascinate early modern writers? I begin with these questions to explore the status of the wish-list as a “thing” that enabled thinkers to curate new ways of inter-acting with their environs, both real and imagined.1 Wish-lists became instruments through which writers attempted to make intelligible a world that was fundamentally in flux, one in which new geographies were being discovered through travels and a new cosmology was displacing both earth and man from the center of the universe. In this environment of uncertainty, the wish-list propelled naturalists and travelers to search for non-existent objects and propose new epistemological systems. 20 00 Open Access Sarkar, Debapriya 16 03 06 10.21983/P3.0130.1.16 135 144 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Emulsifying Greasy Desire in Shakespeare and John Taylor the Water Poet 1 A01 Rob Wakeman Rob Wakeman 40 01r0c1p88 University of Maryland 01 eng 03 00 A table, a bed, or a body enclosed in clean linen is sheltered from the world. Smocks, shirts, stockings, table cloths, and bed sheets demarcate the discrete boundaries that separate clean objects from unclean environments. The smell of freshly laundered linen is an announcement: “This area has been decontaminated. It has been puri-fied of promiscuous pollutions.” But grease has a way of seeping through these borders. Fats and oils indiscriminately and wantonly dribble from the body’s pores. They ooze forth from cookware and flatware, sticking to and staining skin, hair, and cloth. In his ribald poem, “The Praise of Cleane Linnen,” John Taylor the Water Poet (1578–1653) gives an example of how grease debases a white handkerchief 30 00 A table, a bed, or a body enclosed in clean linen is sheltered from the world. Smocks, shirts, stockings, table cloths, and bed sheets demarcate the discrete boundaries that separate clean objects from unclean environments. The smell of freshly laundered linen is an announcement: “This area has been decontaminated. It has been puri-fied of promiscuous pollutions.” But grease has a way of seeping through these borders. Fats and oils indiscriminately and wantonly dribble from the body’s pores. They ooze forth from cookware and flatware, sticking to and staining skin, hair, and cloth. In his ribald poem, “The Praise of Cleane Linnen,” John Taylor the Water Poet (1578–1653) gives an example of how grease debases a white handkerchief 20 00 Open Access Wakeman, Rob 17 03 06 10.21983/P3.0130.1.17 145 152 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lavinia is Philomel 1 A01 Jennifer Waldron Jennifer Waldron 40 01an3r305 University of Pittsburgh 01 eng 03 00 In what way might a poem or a narrative serve not as a representation but instead as a nonhuman agent? From one perspective, Shakespeare’s Titus Andronicus seems like an extended meditation on this problem: Ovid’s story of Philomel’s rape “tampers directly with cau-sality” in Shakespeare’s play.1 Philomel appears first when the villainous Aaron comments, before the rape of Lavinia, “This is the day of doom for Bassianus,/His Philomel must lose her tongue today” (2.2.42–43).2 After the rape and mutilation, Lavinia is frequently on stage, the mute object towards which many of her male relatives direct their speech: Marcus posits that this is the work of “some Tereus” (2.4.26), or a “craftier Tereus” (46). And Lavinia finally seems to make herself legible only when she gets hold of her nephew’s copy of Ovid’s Metamorphoses and “quotes” (4.1.50) its leaves. Ovid’s story takes humans as a kind of “activation device,” as Eileen Joy puts it.3 It seems to preserve a self-replicating power and a cer-tain degree of organizational closure even as it takes its violent effects in the world of the play.4 What kind of agency is this, exactly? 30 00 In what way might a poem or a narrative serve not as a representation but instead as a nonhuman agent? From one perspective, Shakespeare’s Titus Andronicus seems like an extended meditation on this problem: Ovid’s story of Philomel’s rape “tampers directly with cau-sality” in Shakespeare’s play.1 Philomel appears first when the villainous Aaron comments, before the rape of Lavinia, “This is the day of doom for Bassianus,/His Philomel must lose her tongue today” (2.2.42–43).2 After the rape and mutilation, Lavinia is frequently on stage, the mute object towards which many of her male relatives direct their speech: Marcus posits that this is the work of “some Tereus” (2.4.26), or a “craftier Tereus” (46). And Lavinia finally seems to make herself legible only when she gets hold of her nephew’s copy of Ovid’s Metamorphoses and “quotes” (4.1.50) its leaves. Ovid’s story takes humans as a kind of “activation device,” as Eileen Joy puts it.3 It seems to preserve a self-replicating power and a cer-tain degree of organizational closure even as it takes its violent effects in the world of the play.4 What kind of agency is this, exactly? 20 00 Open Access Waldron, Jennifer 18 03 06 10.21983/P3.0130.1.18 153 163 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Fate of the Second Bird 1 A01 Luke Wilson Luke Wilson 40 00rs6vg23 The Ohio State University 01 eng 03 00 An aspergillum sometimes looks something like this: And sometimes something like this: Here is one being used by a ram in a late thirteenth-century book of hours: Mostly, though, the aspergillum was used by Catholic priests to sprinkle holy water on the congregation. After the use of holy water was written out of the English liturgy in the 1549 Prayer Book, the aspergillum (or “holy water sprinkle,” as it was more commonly called) didn’t get used so much, in England, at least not as an element in the official liturgy.1 But it was still good for a few laughs, as in the following jest from the popular joke book, Nugae venales (1642):Mulier Hugenota & Papistica quaenam?Hugenota est, quae omni tempore desiderat carnem; papistica quae saepe voluit & tractat aspergillum. [Which is a Huguenot woman, and which a Papist? A Huguenot woman is one who at all times longs for meat; a papist woman is one who often craves, and handles, the aspergillum.] 30 00 An aspergillum sometimes looks something like this: And sometimes something like this: Here is one being used by a ram in a late thirteenth-century book of hours: Mostly, though, the aspergillum was used by Catholic priests to sprinkle holy water on the congregation. After the use of holy water was written out of the English liturgy in the 1549 Prayer Book, the aspergillum (or “holy water sprinkle,” as it was more commonly called) didn’t get used so much, in England, at least not as an element in the official liturgy.1 But it was still good for a few laughs, as in the following jest from the popular joke book, Nugae venales (1642):Mulier Hugenota & Papistica quaenam?Hugenota est, quae omni tempore desiderat carnem; papistica quae saepe voluit & tractat aspergillum. [Which is a Huguenot woman, and which a Papist? A Huguenot woman is one who at all times longs for meat; a papist woman is one who often craves, and handles, the aspergillum.] 20 00 Open Access Wilson, Luke 19 03 06 10.21983/P3.0130.1.19 167 171 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Show and Tell 1 A01 Drew Daniel Drew Daniel 40 00za53h95 Johns Hopkins University 01 eng 03 00 It started out with an exemplary pedagogical exercise: “show and tell.” As a way to commence our seminar, we were all asked to bring objects to the SAA seminar room. Those writing essays were put to the challenge of somehow bringing their chosen object into the conference room, a task which proved quite simple for those who had selected tiny and compact objects and rather daunting, or loosely followed, in the case of those hunting larger, more elusive, legally touchy, or medically toxic objects. For the respondents, the task was far more open-ended: we could bring any object we wanted that might exemplify our own response to the open rubric of “objects and environs,” itself an already capacious formulation. 30 00 It started out with an exemplary pedagogical exercise: “show and tell.” As a way to commence our seminar, we were all asked to bring objects to the SAA seminar room. Those writing essays were put to the challenge of somehow bringing their chosen object into the conference room, a task which proved quite simple for those who had selected tiny and compact objects and rather daunting, or loosely followed, in the case of those hunting larger, more elusive, legally touchy, or medically toxic objects. For the respondents, the task was far more open-ended: we could bring any object we wanted that might exemplify our own response to the open rubric of “objects and environs,” itself an already capacious formulation. 20 00 Open Access Daniel, Drew 20 03 06 10.21983/P3.0130.1.20 173 178 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 OOO + HHH = Zany, Interesting, and Cute 1 A01 21 0000000318552340 Julia Reinhard Lupton Julia Reinhard Lupton 40 04gyf1771 University of California, Irvine 01 eng 03 00 My first venture with Punctum Books and the dynamic circle of scholars associated with it began in March 2011, at the conference on “Animal, Vegetable, Mineral: Ethics and Objects in the Early Modern and Medieval Periods” hosted at george Washington university. The con-ference led to a volume of the same name, and my article “The Renais-sance Res Publica of Furniture,” remains one of my favorite pieces, in part because of the company it keeps with such an innovative group of col-laborators. I am thrilled to rejoin the conversation in this volume, which brings together some of the same authors with other scholars investigat-ing Shakespearean thing worlds. My response scans these papers through the scrim of two triads of terms: the aesthetic categories zany, interesting, and cute, as established for our time by Sianne Ngai; and the methodological categories of his-toricism, humanism, and hermeneutics. At stake in the relation between OOO and HHH are the vectors of usage and forms of significance that bind objects to worlds, to actions, and to language, and the extent to which Shakespearean drama and its criticism accommodates, exhibits, and reflects upon the traffic patterns that constitute the real and theatrical life of persons and things. 30 00 My first venture with Punctum Books and the dynamic circle of scholars associated with it began in March 2011, at the conference on “Animal, Vegetable, Mineral: Ethics and Objects in the Early Modern and Medieval Periods” hosted at george Washington university. The con-ference led to a volume of the same name, and my article “The Renais-sance Res Publica of Furniture,” remains one of my favorite pieces, in part because of the company it keeps with such an innovative group of col-laborators. I am thrilled to rejoin the conversation in this volume, which brings together some of the same authors with other scholars investigat-ing Shakespearean thing worlds. My response scans these papers through the scrim of two triads of terms: the aesthetic categories zany, interesting, and cute, as established for our time by Sianne Ngai; and the methodological categories of his-toricism, humanism, and hermeneutics. At stake in the relation between OOO and HHH are the vectors of usage and forms of significance that bind objects to worlds, to actions, and to language, and the extent to which Shakespearean drama and its criticism accommodates, exhibits, and reflects upon the traffic patterns that constitute the real and theatrical life of persons and things. 20 00 Open Access Lupton, Julia Reinhard 21 03 06 10.21983/P3.0130.1.21 179 183 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Remembering Premodern Environs 1 A01 Vin Nardizzi Vin Nardizzi 40 03rmrcq20 University of British Columbia 01 eng 03 00 In the early 1990s, activist and poet Wendell Berry character-ized the popular use of the term “environment” as “utterly preposterous.” The word, he says, “means that which surrounds, or encircles us; it means a world separate from ourselves, outside ourselves.” In outlining how the “real state of things,” which “is far more complex and intimate and inter-esting” than an anthropocentric term like “environment” allows, Berry generates a list: “The real names of the environment,” he itemizes, “are the names of rivers and river valleys; creeks, ridges, and mountains; towns and cities; lakes, woodland, lanes, roads, creatures, and people.”1 Nearly contemporaneously, the philosopher Michel Serres also exhorted us to “forget the word environment.” “If the soiled” and endangered “world” is what we mean when we employ the term, then we have it all wrong, Serres says: this use of the term “assumes that we humans are at the center of a system of nature.” He instead proposes that “we . . . place things in the center and us at the periphery, or better still, things all around and us within them like parasites.”2 Like Timothy Morton’s “Nature” (with a cap-ital “N”), “environment,” Berry and Serres indicate, seems to be “getting in the way” of environmental work and theory.3 We would do well, then, to unlearn the term. 30 00 In the early 1990s, activist and poet Wendell Berry character-ized the popular use of the term “environment” as “utterly preposterous.” The word, he says, “means that which surrounds, or encircles us; it means a world separate from ourselves, outside ourselves.” In outlining how the “real state of things,” which “is far more complex and intimate and inter-esting” than an anthropocentric term like “environment” allows, Berry generates a list: “The real names of the environment,” he itemizes, “are the names of rivers and river valleys; creeks, ridges, and mountains; towns and cities; lakes, woodland, lanes, roads, creatures, and people.”1 Nearly contemporaneously, the philosopher Michel Serres also exhorted us to “forget the word environment.” “If the soiled” and endangered “world” is what we mean when we employ the term, then we have it all wrong, Serres says: this use of the term “assumes that we humans are at the center of a system of nature.” He instead proposes that “we . . . place things in the center and us at the periphery, or better still, things all around and us within them like parasites.”2 Like Timothy Morton’s “Nature” (with a cap-ital “N”), “environment,” Berry and Serres indicate, seems to be “getting in the way” of environmental work and theory.3 We would do well, then, to unlearn the term. 20 00 Open Access Nardizzi, Vin 22 03 06 10.21983/P3.0130.1.22 185 191 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 B01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 30 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 20 00 Open Access Jeffrey Jerome Cohen, Julian Yates 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/object-oriented-environs/ Earth, Milky Way 04 01 20160212 Jeffrey Jerome Cohen, Julian Yates 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/069264203X 20 08 20160212 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/object-oriented-environs 20 08 20160212 02 24.00 USD WORLD urn:uuid:fbdb0c9b-b6a6-46bb-94d2-4ec9fd1f2d35 03 01 01 thoth-work-id urn:uuid:06b256bf-62cf-4e01-be37-44f250a8b920 01 thoth-publication-id urn:uuid:fbdb0c9b-b6a6-46bb-94d2-4ec9fd1f2d35 06 10.21983/P3.0130.1.00 01 internal-reference 0130 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Object Oriented Environs 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 B01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 00 218 03 10 PHI013000 B2 Philosophy 93 RNA 12 RNT 93 DSA 10 LIT015000 B2 Posthumanism B2 Premodern 93 QDHR7 20 Early Modern studies; ecocriticism; object-oriented ontology; Shakespeare Studies 01 06 02 00 03 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 30 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0130.1.00_frontcover.png 1 03 06 10.21983/P3.0130.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 B01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 20 00 Open Access Jeffrey Jerome Cohen, Julian Yates 2 03 06 10.21983/P3.0130.1.02 xi xxv 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction An Environing of this Book 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 In the spring of 2013, we were invited to propose a possible session for the Shakespeare Association of America meeting in St. Louis for 2014. The SAA is an organization that, in addition to running paper panels at its annul conference, offers participants the opportunity to share work-in-progress through themed seminars. The two of us had been in conversation for some time about nonhumans, things, animal, vegetable, and mineral, medieval and renaissance, about questions of ecology, and how to craft nontraditional conversation and thinking spaces in which something unanticipated might unfold. We decided to collaborate to build a gathering that would bring together these interests, objects, and possibilities for eventuation. The title of the seminar we proposed was “Object-Oriented Environs in Early Modern England,” which took its cue from the philosophical movement called Object-Oriented Ontology (frequently abbreviated to OOO) in the hope of provoking a conversation about how early modernists, or humanists in general, parse the question of matter, of things. We called the collocation OOE @ SAA. 30 00 In the spring of 2013, we were invited to propose a possible session for the Shakespeare Association of America meeting in St. Louis for 2014. The SAA is an organization that, in addition to running paper panels at its annul conference, offers participants the opportunity to share work-in-progress through themed seminars. The two of us had been in conversation for some time about nonhumans, things, animal, vegetable, and mineral, medieval and renaissance, about questions of ecology, and how to craft nontraditional conversation and thinking spaces in which something unanticipated might unfold. We decided to collaborate to build a gathering that would bring together these interests, objects, and possibilities for eventuation. The title of the seminar we proposed was “Object-Oriented Environs in Early Modern England,” which took its cue from the philosophical movement called Object-Oriented Ontology (frequently abbreviated to OOO) in the hope of provoking a conversation about how early modernists, or humanists in general, parse the question of matter, of things. We called the collocation OOE @ SAA. 20 00 Open Access Jeffrey Jerome Cohen, Julian Yates 3 03 06 10.21983/P3.0130.1.03 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Venus's Bush(es) 1 A01 Lizz Angello Lizz Angello 40 032db5x82 University of South Florida 01 eng 03 00 On the corner of my office laptop perches a small shrubbery made from extruded plastic: LEGO greenery, fashioned into a wedge of landscape to obscure the tiny LEGOTARDIS resting over the power button. My young son has been here. He clearly meant for his ersatz foliage to cover up the time machine, but it actually calls attention to it. It signals that something must be hiding there, something we are meant to find. “Look, look!” say the bushes, “but pretend you aren’t looking.” Real flora can function similarly, as when leaves in a bouquet direct our eyes away from unsightly stems and toward colorful blooms. But curious pedestrians also peer through hedges at the houses behind them. Does a bush conceal, then, or only pretend to conceal? Is a bush an actant or an alibi, like the pasties on Barthes’ strip-pers, the conceit of privacy serving only to heighten the eroticism of the hidden?1 Perhaps we can’t even speak of “a bush” but rather “bushes.” Bushes are messy, insistently plural; yet they can be tended and tamed into the very embodiments of b / order, separation, and singularity. Shake-spea re’s Venus and Adonis bears witness to the multivalence of bushes, suggesting that they contain all of these possibilities — and more — within their interlace. 30 00 On the corner of my office laptop perches a small shrubbery made from extruded plastic: LEGO greenery, fashioned into a wedge of landscape to obscure the tiny LEGOTARDIS resting over the power button. My young son has been here. He clearly meant for his ersatz foliage to cover up the time machine, but it actually calls attention to it. It signals that something must be hiding there, something we are meant to find. “Look, look!” say the bushes, “but pretend you aren’t looking.” Real flora can function similarly, as when leaves in a bouquet direct our eyes away from unsightly stems and toward colorful blooms. But curious pedestrians also peer through hedges at the houses behind them. Does a bush conceal, then, or only pretend to conceal? Is a bush an actant or an alibi, like the pasties on Barthes’ strip-pers, the conceit of privacy serving only to heighten the eroticism of the hidden?1 Perhaps we can’t even speak of “a bush” but rather “bushes.” Bushes are messy, insistently plural; yet they can be tended and tamed into the very embodiments of b / order, separation, and singularity. Shake-spea re’s Venus and Adonis bears witness to the multivalence of bushes, suggesting that they contain all of these possibilities — and more — within their interlace. 20 00 Open Access Angello, Lizz 4 03 06 10.21983/P3.0130.1.04 9 16 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cordelia's Corpse Dead as Earth 1 A01 Sallie Anglin Sallie Anglin 40 04p491231 Pennsylvania State University 01 eng 03 00 King Lear and video games have something in common. In most massively multiplayer online role playing games (MMORPGs) a player’s character dies, but it isn’t permanent. For a moment after death, a player stares into her computer screen at her own corpse, her removed first-per-son perspective hovering over it, still attached to but disembodied from the avatar that allows her to experience the virtual space of the game. In this moment, the player knows she is dependent on that object, the body/corpse, that she has been forcibly separated from. The corpse’s existence is no longer fully dependent on the player. In this moment, the video game player who is housed in the avatar, in the player character, becomes an audience to her own corpse. She’s watching the story of flesh in digital form. The unreal creates an actual agential demise of the player, at least momentarily. 30 00 King Lear and video games have something in common. In most massively multiplayer online role playing games (MMORPGs) a player’s character dies, but it isn’t permanent. For a moment after death, a player stares into her computer screen at her own corpse, her removed first-per-son perspective hovering over it, still attached to but disembodied from the avatar that allows her to experience the virtual space of the game. In this moment, the player knows she is dependent on that object, the body/corpse, that she has been forcibly separated from. The corpse’s existence is no longer fully dependent on the player. In this moment, the video game player who is housed in the avatar, in the player character, becomes an audience to her own corpse. She’s watching the story of flesh in digital form. The unreal creates an actual agential demise of the player, at least momentarily. 20 00 Open Access Anglin, Sallie 5 03 06 10.21983/P3.0130.1.05 17 24 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking with Hives 1 A01 Keith M. Botelho Keith M. Botelho 40 00jeqjx33 Kennesaw State University 01 eng 03 00 In The Tudor House and Garden, Paula Henderson notes that apiaries, “although at best only architecture in miniature . . .were vital, if not particularly conspicuous, elements of most gardens.”1 The eight major bee treatises published in England between 1593–1679, as well as many gardening manuals from the same period, devote space to the construc-tion, preservation, and placement of beehives in and around gardens. We see in Thomas Hill’s The Gardener’s Labyrinth a woodcut of a garden, gar-deners, and water pump in action, and in the upper right corner we notice two skep beehives (See Figure 1, next page). These skeps, basket hives made in England from coils of wheat or rye straw, have a single entrance at the base with no internal structure provided for the bees—removing the honey often meant the risk of destroying the entire hive.2 The hives are stationary, fixed objects that are part of a larger network that pro-duced a working garden landscape. Yet they are also lively, embodied, full of activity (as seen with the bees flying about). 30 00 In The Tudor House and Garden, Paula Henderson notes that apiaries, “although at best only architecture in miniature . . .were vital, if not particularly conspicuous, elements of most gardens.”1 The eight major bee treatises published in England between 1593–1679, as well as many gardening manuals from the same period, devote space to the construc-tion, preservation, and placement of beehives in and around gardens. We see in Thomas Hill’s The Gardener’s Labyrinth a woodcut of a garden, gar-deners, and water pump in action, and in the upper right corner we notice two skep beehives (See Figure 1, next page). These skeps, basket hives made in England from coils of wheat or rye straw, have a single entrance at the base with no internal structure provided for the bees—removing the honey often meant the risk of destroying the entire hive.2 The hives are stationary, fixed objects that are part of a larger network that pro-duced a working garden landscape. Yet they are also lively, embodied, full of activity (as seen with the bees flying about). 20 00 Open Access Botelho, Keith M. 6 03 06 10.21983/P3.0130.1.06 25 33 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Gloucester's Chair Object Entanglements on the Early Modern Stage 1 A01 Patricia A. Cahill Patricia A. Cahill 40 03czfpz43 Emory University 01 eng 03 00 In Geffrey Whitney’s A Choice of emblems (1586),a woodcut entitled “Dolor è medicina” depictsa “Purblinde dame” confronting a devious physician who during his regular visits to her home has been making off with her belongings.1 (See Figure 1, next page.) As the accom-panying short verse details, the woman discovers the theft precisely as the physician requests payment for having restored her sight. Turning the tables on him, she wittily responds to his demand by protesting that she remains impaired: “Bycause my sences either faile, or ells my eies bee blinde./For, where my house before was garnish’d everie nooke:/I, nowe can see no goodes at all, though rounde about I looke.” While the wood-cut captures this moment in which the duplicitous doctor is stopped in his tracks on the way out the door, Whitney’s verse about the woman’s failing vision produces a blind spot for his readers. Accordingly, early modern readers, prompted to see a house “un-garnished” of its goods may well have overlooked the one good remaining in place: the gracious, high-backed wooden chair in which the woman sits and surveys her otherwise empty domestic space. This “mistake” could arise not because chairs were so plentiful as to be invisible — in fact, a typical middling-level Eng-lish household likely contained only one or two chairs, usually made of oak, relying primarily on less costly benches, stools, and chests for seat-ing — but rather because Whitney’s verse, with its emphasis on disposses-sion, invites readers to view the chair as something other than a “goode.”2Divested of its status as a commodity, the chair exists primarily as the familiar and unobtrusive ally of the bereft woman. It exists, we might say, as her environment. 30 00 In Geffrey Whitney’s A Choice of emblems (1586),a woodcut entitled “Dolor è medicina” depictsa “Purblinde dame” confronting a devious physician who during his regular visits to her home has been making off with her belongings.1 (See Figure 1, next page.) As the accom-panying short verse details, the woman discovers the theft precisely as the physician requests payment for having restored her sight. Turning the tables on him, she wittily responds to his demand by protesting that she remains impaired: “Bycause my sences either faile, or ells my eies bee blinde./For, where my house before was garnish’d everie nooke:/I, nowe can see no goodes at all, though rounde about I looke.” While the wood-cut captures this moment in which the duplicitous doctor is stopped in his tracks on the way out the door, Whitney’s verse about the woman’s failing vision produces a blind spot for his readers. Accordingly, early modern readers, prompted to see a house “un-garnished” of its goods may well have overlooked the one good remaining in place: the gracious, high-backed wooden chair in which the woman sits and surveys her otherwise empty domestic space. This “mistake” could arise not because chairs were so plentiful as to be invisible — in fact, a typical middling-level Eng-lish household likely contained only one or two chairs, usually made of oak, relying primarily on less costly benches, stools, and chests for seat-ing — but rather because Whitney’s verse, with its emphasis on disposses-sion, invites readers to view the chair as something other than a “goode.”2Divested of its status as a commodity, the chair exists primarily as the familiar and unobtrusive ally of the bereft woman. It exists, we might say, as her environment. 20 00 Open Access Cahill, Patricia A. 7 03 06 10.21983/P3.0130.1.07 35 46 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Much Ado about Planking 1 A01 Christine Hoffmann Christine Hoffmann 40 011vxgd24 West Virginia University 01 eng 03 00 In 2011, something called “planking” briefly took over the Internet (Figures 1 and 2). Before declining in popularity, this global meme would provoke arrests in Wisconsin, inspire legislation in the Philippines, stir accusations of racism on Twitter, and kill a man in Aus-tralia. Know Your Meme helpfully defines planking as “lying face down with arms to the sides in unusual public spaces.”1 The site’s image gallery includes people planking on desks, chairs, escalators, phone booths, goal-posts, even the back of a whale. For me, the photos bring new meaning to Benedick’s complaint, in Much Ado about Nothing, that he has been “misused” by Beatrice “past the endurance of a block”; he likely means the chopping block— the solid piece of wood “used for various opera-tions,” according to the OED, such as chopping meat, cutting firewood, or beheading the condemned — an object with a notably high tolerance for use and abuse.2 Benedick identifies here as a thing, but even more impor-tantly, as a thing among other things — “an oak but with one green leaf on it would have answer’d her. My very visor began to assume life, and scold with her” — each pushed past its limit, compelled into intimate exchange with Beatrice and with each other. 30 00 In 2011, something called “planking” briefly took over the Internet (Figures 1 and 2). Before declining in popularity, this global meme would provoke arrests in Wisconsin, inspire legislation in the Philippines, stir accusations of racism on Twitter, and kill a man in Aus-tralia. Know Your Meme helpfully defines planking as “lying face down with arms to the sides in unusual public spaces.”1 The site’s image gallery includes people planking on desks, chairs, escalators, phone booths, goal-posts, even the back of a whale. For me, the photos bring new meaning to Benedick’s complaint, in Much Ado about Nothing, that he has been “misused” by Beatrice “past the endurance of a block”; he likely means the chopping block— the solid piece of wood “used for various opera-tions,” according to the OED, such as chopping meat, cutting firewood, or beheading the condemned — an object with a notably high tolerance for use and abuse.2 Benedick identifies here as a thing, but even more impor-tantly, as a thing among other things — “an oak but with one green leaf on it would have answer’d her. My very visor began to assume life, and scold with her” — each pushed past its limit, compelled into intimate exchange with Beatrice and with each other. 20 00 Open Access Hoffmann, Christine 8 03 06 10.21983/P3.0130.1.08 47 56 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Warm Bodies in Plague and Shakespeare's "Womb of Death" 1 A01 Neal Robert Klomp Neal Robert Klomp 40 05hs6h993 Michigan State University 01 eng 03 00 This humanoid stick figure in profile (see figure 1, next page)is the image used for Wikipedia’s entry “Plague (disease).”2 The uncanny resemblance to a human highlights the zombie-like objectness of the microbe: it is alive, like a human, but it is also essentially an immobile object; its movements are as imperceptibly microscopic as it is. Further, plague seems to cross the territory between life and death: it returns after years, even centuries, of dormancy—seemingly absent after the eighth century Justinian y. pestis outbreak only to remerge with even more viru-lence in the fourteenth century as the Black Death. Its very nature seems to invite us to think of plague as both alive and dead; incapable of chas-ing its prey, plague spreads and kills with terrifying efficiency whenever it rises from its own grave-like dormancy. This slightly altered image of Figure 1 neatly conjoins the plague object with the human, and together they engender an environs populated by the living humans, the still-living soon to be “corpse” of the infected, and the ever growing population of dead objects. 30 00 This humanoid stick figure in profile (see figure 1, next page)is the image used for Wikipedia’s entry “Plague (disease).”2 The uncanny resemblance to a human highlights the zombie-like objectness of the microbe: it is alive, like a human, but it is also essentially an immobile object; its movements are as imperceptibly microscopic as it is. Further, plague seems to cross the territory between life and death: it returns after years, even centuries, of dormancy—seemingly absent after the eighth century Justinian y. pestis outbreak only to remerge with even more viru-lence in the fourteenth century as the Black Death. Its very nature seems to invite us to think of plague as both alive and dead; incapable of chas-ing its prey, plague spreads and kills with terrifying efficiency whenever it rises from its own grave-like dormancy. This slightly altered image of Figure 1 neatly conjoins the plague object with the human, and together they engender an environs populated by the living humans, the still-living soon to be “corpse” of the infected, and the ever growing population of dead objects. 20 00 Open Access Klomp, Neal Robert 9 03 06 10.21983/P3.0130.1.09 57 64 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Biology of Rain Becoming a Distant Master in Early Modern England 1 A01 Tara E. Pedersen Tara E. Pedersen 40 05s9f4d27 University of Wisconsin–Parkside 01 eng 03 00 In Act 3 of Shakespeare’s Richard II, Henry Bolingbroke requests the restoration of his family’s lands while painting a picture of the ecol-ogy of war. Henry claims that if his inheritance is not restored he will “use the advantage of [his] power/And lay the summer’s dust with showers of blood/Rain’d from the wounds of slaughter’d Englishmen” (3.3.42–44).1In other words, Henry argues that if he is refused the territories that he believes are rightfully his, he will drench the lands with the blood of a people whom he also claims are his own. As he makes this statement, Henry lays out a chain of cause and effect in which he becomes the pri-mary human agent and interpretive consciousness that orders the climate of the surrounding countryside. Objects (be they land, elements, or citi-zens) exist in order to be possessed and acted upon by him, and ultimately the picture his words paint makes a case for how the listener/viewer is supposed to see the landowner as well as the earth and the English citi-zen’s relationship to it. Henry suggests that the landscape, and the organ-isms within it, are ordered and sustained at his will. 30 00 In Act 3 of Shakespeare’s Richard II, Henry Bolingbroke requests the restoration of his family’s lands while painting a picture of the ecol-ogy of war. Henry claims that if his inheritance is not restored he will “use the advantage of [his] power/And lay the summer’s dust with showers of blood/Rain’d from the wounds of slaughter’d Englishmen” (3.3.42–44).1In other words, Henry argues that if he is refused the territories that he believes are rightfully his, he will drench the lands with the blood of a people whom he also claims are his own. As he makes this statement, Henry lays out a chain of cause and effect in which he becomes the pri-mary human agent and interpretive consciousness that orders the climate of the surrounding countryside. Objects (be they land, elements, or citi-zens) exist in order to be possessed and acted upon by him, and ultimately the picture his words paint makes a case for how the listener/viewer is supposed to see the landowner as well as the earth and the English citi-zen’s relationship to it. Henry suggests that the landscape, and the organ-isms within it, are ordered and sustained at his will. 20 00 Open Access Pedersen, Tara E. 10 03 06 10.21983/P3.0130.1.10 65 80 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shoes Talk and Shoe Silence 1 A01 Tripthi Pillai Tripthi Pillai 40 01621q256 Coastal Carolina University 01 eng 03 00 Like the gait of one unfamiliar with walking in stiletto heels, the two parts of this essay move, at times arhythmically, between explo-rations of objects in environments. Part one embeds the shoe in human-centric environments as an instrument that’s used as much to displace particular autopoietic systems as it is to display others.1 Part two embeds the human in ontic environs,2 in the triangulation of semantic disclo-sure, withdrawal, and density in the shoe-dog-human network in act 2, scene 3, of William Shakespeare’s The Two Gentlemen of Verona. My pur-pose is to apply the language and architecture of speculative realism to consider both the gaps in knowledge and the interplay of objects as yet underexplored in historicist critical engagement. The strategic ahistori-cism employed by OOO I adopt here enables me to wander and “wonder unburdened” among objects and environments in a manner that is,3 not unlike the precariousness of some shoes, at once alluring and promiscu-ous in its embrace of instability. 30 00 Like the gait of one unfamiliar with walking in stiletto heels, the two parts of this essay move, at times arhythmically, between explo-rations of objects in environments. Part one embeds the shoe in human-centric environments as an instrument that’s used as much to displace particular autopoietic systems as it is to display others.1 Part two embeds the human in ontic environs,2 in the triangulation of semantic disclo-sure, withdrawal, and density in the shoe-dog-human network in act 2, scene 3, of William Shakespeare’s The Two Gentlemen of Verona. My pur-pose is to apply the language and architecture of speculative realism to consider both the gaps in knowledge and the interplay of objects as yet underexplored in historicist critical engagement. The strategic ahistori-cism employed by OOO I adopt here enables me to wander and “wonder unburdened” among objects and environments in a manner that is,3 not unlike the precariousness of some shoes, at once alluring and promiscu-ous in its embrace of instability. 20 00 Open Access Pillai, Tripthi 11 03 06 10.21983/P3.0130.1.11 81 91 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Performing Meat 1 A01 Karen Raber Karen Raber 40 02teq1165 University of Mississippi 01 eng 03 00 John Wecker’s Secrets of Nature offers a recipe for roasting a goose alive. Advising the application of a ring of fire to some “lively Crea-ture,” the recipe includes pots of water to slake the dying goose’s thirst, while it “fl[ies] here and there” within the fire-ring.2 The cook should baste the goose’s head and heart so that “her inward parts” will roast before she dies: “when you see her giddy with running, and begin to stumble, her heart wants moisture: she is Rosted, take her up, and set her upon the Table to your guests, and as you cut her up she will cry continually, that she will be almost all eaten before she be dead.”3 Recipes like this one have attracted only a limited range of scholarly analysis: Wecker’s recipe appears, for instance, in the introduction to Patricia Fumerton and Simon Hunt’s collection Renaissance Culture and the Everyday, where it serves as a reminder of the casual cruelty of Renaissance practices that estrange everyday early modern culture for a generation of historicist critics. Culinary historians might situate the recipe as an example of the new interest in food’s aesthetic complexity during the Renaissance. To animal lovers and vegetarians, the recipe would speak for itself, highlighting the intol-erable suffering of living creatures rendered as mere meat for the table: animal studies scholars like Simon Estok and Erica Fudge have discussed early modern resistance to, and rare embrace of, vegetarianism based on the dehumanizing influence of meat-eating exemplified by cases of ani-mal torture like that in Wecker’s recipe. 30 00 John Wecker’s Secrets of Nature offers a recipe for roasting a goose alive. Advising the application of a ring of fire to some “lively Crea-ture,” the recipe includes pots of water to slake the dying goose’s thirst, while it “fl[ies] here and there” within the fire-ring.2 The cook should baste the goose’s head and heart so that “her inward parts” will roast before she dies: “when you see her giddy with running, and begin to stumble, her heart wants moisture: she is Rosted, take her up, and set her upon the Table to your guests, and as you cut her up she will cry continually, that she will be almost all eaten before she be dead.”3 Recipes like this one have attracted only a limited range of scholarly analysis: Wecker’s recipe appears, for instance, in the introduction to Patricia Fumerton and Simon Hunt’s collection Renaissance Culture and the Everyday, where it serves as a reminder of the casual cruelty of Renaissance practices that estrange everyday early modern culture for a generation of historicist critics. Culinary historians might situate the recipe as an example of the new interest in food’s aesthetic complexity during the Renaissance. To animal lovers and vegetarians, the recipe would speak for itself, highlighting the intol-erable suffering of living creatures rendered as mere meat for the table: animal studies scholars like Simon Estok and Erica Fudge have discussed early modern resistance to, and rare embrace of, vegetarianism based on the dehumanizing influence of meat-eating exemplified by cases of ani-mal torture like that in Wecker’s recipe. 20 00 Open Access Raber, Karen 12 03 06 10.21983/P3.0130.1.12 93 102 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eye and Book Species and Spectacle 1 A01 Pauline Reid Pauline Reid 40 04w7skc03 University of Denver 01 eng 03 00 My things, the eye and the book, uneasily transgress the boundary between objects and media. Following Bruno Latour’s call to investigate the ways objects “block, render possible,” or “forbid” rather than merely structure our experiences, this essay explores how visual perception com-plicated early modern encounters with the book as object.1 I situate the relation between eye and book within a historically specific early modern material and intellectual environment. Material things shape, to cite gra-ham Harman, how we perceive perception. Even so, our cultural models of perception necessarily color how we approach these things. A focus on objects’ environs implies an ecological, networked reading of objects and, I would argue, a historical one. Historical phenomenology can link objects with their temporal as well as spatial environs. Rather than fol-lowing Husserl and Heidegger’s model of a transcendent human con-sciousness that intentionally “brackets” off the object from its environs, I here adopt phenomenology as a method for discovering co-habitations and disturbances between body and object. Traditional phenomenology often removes perception from a historical and spatial index in order to determine first principles. Instead, as I will explore with the eye, the body manifested as part of a network of objects that continuously patterned and altered perception in early modern thought. This characterization of the human body and its parts as objects as well as perceptual media draws in part from Rosalyn Diprose’s claim that phenomenology acts as an “interworld” between the human body and the external object,2 as well as from Sarah Ahmed’s claim that objects and spaces “impress” themselves on the body to the point where they become a “second skin.”3 Perception is here not transcendent, but physically situated; the percipient-object relationship is not static, but mutually dynamic. 30 00 My things, the eye and the book, uneasily transgress the boundary between objects and media. Following Bruno Latour’s call to investigate the ways objects “block, render possible,” or “forbid” rather than merely structure our experiences, this essay explores how visual perception com-plicated early modern encounters with the book as object.1 I situate the relation between eye and book within a historically specific early modern material and intellectual environment. Material things shape, to cite gra-ham Harman, how we perceive perception. Even so, our cultural models of perception necessarily color how we approach these things. A focus on objects’ environs implies an ecological, networked reading of objects and, I would argue, a historical one. Historical phenomenology can link objects with their temporal as well as spatial environs. Rather than fol-lowing Husserl and Heidegger’s model of a transcendent human con-sciousness that intentionally “brackets” off the object from its environs, I here adopt phenomenology as a method for discovering co-habitations and disturbances between body and object. Traditional phenomenology often removes perception from a historical and spatial index in order to determine first principles. Instead, as I will explore with the eye, the body manifested as part of a network of objects that continuously patterned and altered perception in early modern thought. This characterization of the human body and its parts as objects as well as perceptual media draws in part from Rosalyn Diprose’s claim that phenomenology acts as an “interworld” between the human body and the external object,2 as well as from Sarah Ahmed’s claim that objects and spaces “impress” themselves on the body to the point where they become a “second skin.”3 Perception is here not transcendent, but physically situated; the percipient-object relationship is not static, but mutually dynamic. 20 00 Open Access Reid, Pauline 13 03 06 10.21983/P3.0130.1.13 103 111 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Book/Body in The Duchess of Malfi 1 A01 Emily Rendek Emily Rendek 40 02b6qw903 University of South Carolina 01 eng 03 00 For Helen Smith, in “Embodying Early Modern Women’s Reading,” “the text enacts a physiological change” on the reader.1 In this essay, I should like to revise this statement to suggest that this “change” is actu-ally an exchange between text and body. The marginalia left behind by early modern readers are visible traces of their bodily imprints upon the text and suggest that by their reading, the text becomes an extension of the reader’s body. Such exchanges need not be limited only to such vis-ible marks. Recent scholarship has begun to study the often slightly less visible marks left behind by book users; Katherine Rudy’s work employs the use of a densitometer to examine these marks, which include oils from fingerprints, food stains, tears, and even blood stains that help to create a better idea of what parts of a text a reader read and how often that text was read.2 It is not just that “[t]he process of accessing the text was a cor-poreal one . . . impressing key content on the reader’s memory,” but that the text itself also becomes embodied, taking on features of its reader.3 Te x t and reader exchange properties. To say only that “[r]eaders’ bodies were molded and altered by the texts they read” is to ignore the other side of the equation.4 The reader is not only imprinted by the text but imprints the text itself (both literally and figuratively). The relationship between book and reader proves symbiotic, an example of facultative mutualism (where two entities are interdependent but not completely dependent upon each other), something, as I shall show, is illustrated perfectly in the figures of the Cardinal and his Bible in John Webster’s The Duchess of Malfi. The Cardinal’s overpowering, poisonous character — he would be “able to possess the greatest devil, and make him worse”5— is both altered by his (mis)reading of the Bible and other religious texts (see 5.5.1–10), as well as being able to infect the book itself, allowing it to literally become poisonous, thereby killing Julia. In the play, the use of the book as murder weapon demonstrates how the boundary between book and body (of the reader) become blurred as both the permeability of the page and of the body is emphasized throughout the play. 30 00 For Helen Smith, in “Embodying Early Modern Women’s Reading,” “the text enacts a physiological change” on the reader.1 In this essay, I should like to revise this statement to suggest that this “change” is actu-ally an exchange between text and body. The marginalia left behind by early modern readers are visible traces of their bodily imprints upon the text and suggest that by their reading, the text becomes an extension of the reader’s body. Such exchanges need not be limited only to such vis-ible marks. Recent scholarship has begun to study the often slightly less visible marks left behind by book users; Katherine Rudy’s work employs the use of a densitometer to examine these marks, which include oils from fingerprints, food stains, tears, and even blood stains that help to create a better idea of what parts of a text a reader read and how often that text was read.2 It is not just that “[t]he process of accessing the text was a cor-poreal one . . . impressing key content on the reader’s memory,” but that the text itself also becomes embodied, taking on features of its reader.3 Te x t and reader exchange properties. To say only that “[r]eaders’ bodies were molded and altered by the texts they read” is to ignore the other side of the equation.4 The reader is not only imprinted by the text but imprints the text itself (both literally and figuratively). The relationship between book and reader proves symbiotic, an example of facultative mutualism (where two entities are interdependent but not completely dependent upon each other), something, as I shall show, is illustrated perfectly in the figures of the Cardinal and his Bible in John Webster’s The Duchess of Malfi. The Cardinal’s overpowering, poisonous character — he would be “able to possess the greatest devil, and make him worse”5— is both altered by his (mis)reading of the Bible and other religious texts (see 5.5.1–10), as well as being able to infect the book itself, allowing it to literally become poisonous, thereby killing Julia. In the play, the use of the book as murder weapon demonstrates how the boundary between book and body (of the reader) become blurred as both the permeability of the page and of the body is emphasized throughout the play. 20 00 Open Access Rendek, Emily 14 03 06 10.21983/P3.0130.1.14 113 121 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Crutches and Cripistemology in The Fair Maid of the Exchange 1 A01 Lindsey Row-Heyveld Lindsey Row-Heyveld 40 03dqcb840 Luther College 01 eng 03 00 The Cripple, the central character of the anonymous 1607 city comedy The Fair Maid of the Exchange, describes the onset of his dis-ability as “the visitation of my legges, and my expence in timber.”1 His statement frames this experience in both enlivened and economic terms. “Visitation,” defined as affliction with illness or trouble, was usually accompanied by the subject performing that action, for instance, “the visitation of the Lord” or “the visitation of death.”2 In this case, how-ever, his phrase suggests that the legs themselves enacted the visitation. “Expence in timber” describes his adoption of crutches as an investment in the high-stakes early modern timber market.3 The Cripple’s merging of agential objects and commercial objects exemplifies a union that occurs throughout the play. In exploring the liveliness of things in the commer-cial environment of the play, I suggest that this text carefully attends to their vitality, while the play’s characters are primarily attentive only to their financial power. The exception is the Cripple, who seems occa-sionally capable of seeing both their value and vitality. Considering how and why he possesses such a capability illuminates the ethical limits and potential of object-oriented theory, specifically as it relates to prosthesis and disability. 30 00 The Cripple, the central character of the anonymous 1607 city comedy The Fair Maid of the Exchange, describes the onset of his dis-ability as “the visitation of my legges, and my expence in timber.”1 His statement frames this experience in both enlivened and economic terms. “Visitation,” defined as affliction with illness or trouble, was usually accompanied by the subject performing that action, for instance, “the visitation of the Lord” or “the visitation of death.”2 In this case, how-ever, his phrase suggests that the legs themselves enacted the visitation. “Expence in timber” describes his adoption of crutches as an investment in the high-stakes early modern timber market.3 The Cripple’s merging of agential objects and commercial objects exemplifies a union that occurs throughout the play. In exploring the liveliness of things in the commer-cial environment of the play, I suggest that this text carefully attends to their vitality, while the play’s characters are primarily attentive only to their financial power. The exception is the Cripple, who seems occa-sionally capable of seeing both their value and vitality. Considering how and why he possesses such a capability illuminates the ethical limits and potential of object-oriented theory, specifically as it relates to prosthesis and disability. 20 00 Open Access Row-Heyveld, Lindsey 15 03 06 10.21983/P3.0130.1.15 123 133 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Imagining Early Modern Wish-Lists and Their Environs 1 A01 Debapriya Sarkar Debapriya Sarkar 40 00yghrj63 Hendrix College 40 02der9h97 University of Connecticut 01 eng 03 00 What was an early modern wish-list? Was it an object of inquiry, an instrument of the imagination, or one of cognition? Why did these catalogues (incomplete in form, and projective by nature) fascinate early modern writers? I begin with these questions to explore the status of the wish-list as a “thing” that enabled thinkers to curate new ways of inter-acting with their environs, both real and imagined.1 Wish-lists became instruments through which writers attempted to make intelligible a world that was fundamentally in flux, one in which new geographies were being discovered through travels and a new cosmology was displacing both earth and man from the center of the universe. In this environment of uncertainty, the wish-list propelled naturalists and travelers to search for non-existent objects and propose new epistemological systems. 30 00 What was an early modern wish-list? Was it an object of inquiry, an instrument of the imagination, or one of cognition? Why did these catalogues (incomplete in form, and projective by nature) fascinate early modern writers? I begin with these questions to explore the status of the wish-list as a “thing” that enabled thinkers to curate new ways of inter-acting with their environs, both real and imagined.1 Wish-lists became instruments through which writers attempted to make intelligible a world that was fundamentally in flux, one in which new geographies were being discovered through travels and a new cosmology was displacing both earth and man from the center of the universe. In this environment of uncertainty, the wish-list propelled naturalists and travelers to search for non-existent objects and propose new epistemological systems. 20 00 Open Access Sarkar, Debapriya 16 03 06 10.21983/P3.0130.1.16 135 144 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Emulsifying Greasy Desire in Shakespeare and John Taylor the Water Poet 1 A01 Rob Wakeman Rob Wakeman 40 01r0c1p88 University of Maryland 01 eng 03 00 A table, a bed, or a body enclosed in clean linen is sheltered from the world. Smocks, shirts, stockings, table cloths, and bed sheets demarcate the discrete boundaries that separate clean objects from unclean environments. The smell of freshly laundered linen is an announcement: “This area has been decontaminated. It has been puri-fied of promiscuous pollutions.” But grease has a way of seeping through these borders. Fats and oils indiscriminately and wantonly dribble from the body’s pores. They ooze forth from cookware and flatware, sticking to and staining skin, hair, and cloth. In his ribald poem, “The Praise of Cleane Linnen,” John Taylor the Water Poet (1578–1653) gives an example of how grease debases a white handkerchief 30 00 A table, a bed, or a body enclosed in clean linen is sheltered from the world. Smocks, shirts, stockings, table cloths, and bed sheets demarcate the discrete boundaries that separate clean objects from unclean environments. The smell of freshly laundered linen is an announcement: “This area has been decontaminated. It has been puri-fied of promiscuous pollutions.” But grease has a way of seeping through these borders. Fats and oils indiscriminately and wantonly dribble from the body’s pores. They ooze forth from cookware and flatware, sticking to and staining skin, hair, and cloth. In his ribald poem, “The Praise of Cleane Linnen,” John Taylor the Water Poet (1578–1653) gives an example of how grease debases a white handkerchief 20 00 Open Access Wakeman, Rob 17 03 06 10.21983/P3.0130.1.17 145 152 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lavinia is Philomel 1 A01 Jennifer Waldron Jennifer Waldron 40 01an3r305 University of Pittsburgh 01 eng 03 00 In what way might a poem or a narrative serve not as a representation but instead as a nonhuman agent? From one perspective, Shakespeare’s Titus Andronicus seems like an extended meditation on this problem: Ovid’s story of Philomel’s rape “tampers directly with cau-sality” in Shakespeare’s play.1 Philomel appears first when the villainous Aaron comments, before the rape of Lavinia, “This is the day of doom for Bassianus,/His Philomel must lose her tongue today” (2.2.42–43).2 After the rape and mutilation, Lavinia is frequently on stage, the mute object towards which many of her male relatives direct their speech: Marcus posits that this is the work of “some Tereus” (2.4.26), or a “craftier Tereus” (46). And Lavinia finally seems to make herself legible only when she gets hold of her nephew’s copy of Ovid’s Metamorphoses and “quotes” (4.1.50) its leaves. Ovid’s story takes humans as a kind of “activation device,” as Eileen Joy puts it.3 It seems to preserve a self-replicating power and a cer-tain degree of organizational closure even as it takes its violent effects in the world of the play.4 What kind of agency is this, exactly? 30 00 In what way might a poem or a narrative serve not as a representation but instead as a nonhuman agent? From one perspective, Shakespeare’s Titus Andronicus seems like an extended meditation on this problem: Ovid’s story of Philomel’s rape “tampers directly with cau-sality” in Shakespeare’s play.1 Philomel appears first when the villainous Aaron comments, before the rape of Lavinia, “This is the day of doom for Bassianus,/His Philomel must lose her tongue today” (2.2.42–43).2 After the rape and mutilation, Lavinia is frequently on stage, the mute object towards which many of her male relatives direct their speech: Marcus posits that this is the work of “some Tereus” (2.4.26), or a “craftier Tereus” (46). And Lavinia finally seems to make herself legible only when she gets hold of her nephew’s copy of Ovid’s Metamorphoses and “quotes” (4.1.50) its leaves. Ovid’s story takes humans as a kind of “activation device,” as Eileen Joy puts it.3 It seems to preserve a self-replicating power and a cer-tain degree of organizational closure even as it takes its violent effects in the world of the play.4 What kind of agency is this, exactly? 20 00 Open Access Waldron, Jennifer 18 03 06 10.21983/P3.0130.1.18 153 163 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Fate of the Second Bird 1 A01 Luke Wilson Luke Wilson 40 00rs6vg23 The Ohio State University 01 eng 03 00 An aspergillum sometimes looks something like this: And sometimes something like this: Here is one being used by a ram in a late thirteenth-century book of hours: Mostly, though, the aspergillum was used by Catholic priests to sprinkle holy water on the congregation. After the use of holy water was written out of the English liturgy in the 1549 Prayer Book, the aspergillum (or “holy water sprinkle,” as it was more commonly called) didn’t get used so much, in England, at least not as an element in the official liturgy.1 But it was still good for a few laughs, as in the following jest from the popular joke book, Nugae venales (1642):Mulier Hugenota & Papistica quaenam?Hugenota est, quae omni tempore desiderat carnem; papistica quae saepe voluit & tractat aspergillum. [Which is a Huguenot woman, and which a Papist? A Huguenot woman is one who at all times longs for meat; a papist woman is one who often craves, and handles, the aspergillum.] 30 00 An aspergillum sometimes looks something like this: And sometimes something like this: Here is one being used by a ram in a late thirteenth-century book of hours: Mostly, though, the aspergillum was used by Catholic priests to sprinkle holy water on the congregation. After the use of holy water was written out of the English liturgy in the 1549 Prayer Book, the aspergillum (or “holy water sprinkle,” as it was more commonly called) didn’t get used so much, in England, at least not as an element in the official liturgy.1 But it was still good for a few laughs, as in the following jest from the popular joke book, Nugae venales (1642):Mulier Hugenota & Papistica quaenam?Hugenota est, quae omni tempore desiderat carnem; papistica quae saepe voluit & tractat aspergillum. [Which is a Huguenot woman, and which a Papist? A Huguenot woman is one who at all times longs for meat; a papist woman is one who often craves, and handles, the aspergillum.] 20 00 Open Access Wilson, Luke 19 03 06 10.21983/P3.0130.1.19 167 171 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Show and Tell 1 A01 Drew Daniel Drew Daniel 40 00za53h95 Johns Hopkins University 01 eng 03 00 It started out with an exemplary pedagogical exercise: “show and tell.” As a way to commence our seminar, we were all asked to bring objects to the SAA seminar room. Those writing essays were put to the challenge of somehow bringing their chosen object into the conference room, a task which proved quite simple for those who had selected tiny and compact objects and rather daunting, or loosely followed, in the case of those hunting larger, more elusive, legally touchy, or medically toxic objects. For the respondents, the task was far more open-ended: we could bring any object we wanted that might exemplify our own response to the open rubric of “objects and environs,” itself an already capacious formulation. 30 00 It started out with an exemplary pedagogical exercise: “show and tell.” As a way to commence our seminar, we were all asked to bring objects to the SAA seminar room. Those writing essays were put to the challenge of somehow bringing their chosen object into the conference room, a task which proved quite simple for those who had selected tiny and compact objects and rather daunting, or loosely followed, in the case of those hunting larger, more elusive, legally touchy, or medically toxic objects. For the respondents, the task was far more open-ended: we could bring any object we wanted that might exemplify our own response to the open rubric of “objects and environs,” itself an already capacious formulation. 20 00 Open Access Daniel, Drew 20 03 06 10.21983/P3.0130.1.20 173 178 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 OOO + HHH = Zany, Interesting, and Cute 1 A01 21 0000000318552340 Julia Reinhard Lupton Julia Reinhard Lupton 40 04gyf1771 University of California, Irvine 01 eng 03 00 My first venture with Punctum Books and the dynamic circle of scholars associated with it began in March 2011, at the conference on “Animal, Vegetable, Mineral: Ethics and Objects in the Early Modern and Medieval Periods” hosted at george Washington university. The con-ference led to a volume of the same name, and my article “The Renais-sance Res Publica of Furniture,” remains one of my favorite pieces, in part because of the company it keeps with such an innovative group of col-laborators. I am thrilled to rejoin the conversation in this volume, which brings together some of the same authors with other scholars investigat-ing Shakespearean thing worlds. My response scans these papers through the scrim of two triads of terms: the aesthetic categories zany, interesting, and cute, as established for our time by Sianne Ngai; and the methodological categories of his-toricism, humanism, and hermeneutics. At stake in the relation between OOO and HHH are the vectors of usage and forms of significance that bind objects to worlds, to actions, and to language, and the extent to which Shakespearean drama and its criticism accommodates, exhibits, and reflects upon the traffic patterns that constitute the real and theatrical life of persons and things. 30 00 My first venture with Punctum Books and the dynamic circle of scholars associated with it began in March 2011, at the conference on “Animal, Vegetable, Mineral: Ethics and Objects in the Early Modern and Medieval Periods” hosted at george Washington university. The con-ference led to a volume of the same name, and my article “The Renais-sance Res Publica of Furniture,” remains one of my favorite pieces, in part because of the company it keeps with such an innovative group of col-laborators. I am thrilled to rejoin the conversation in this volume, which brings together some of the same authors with other scholars investigat-ing Shakespearean thing worlds. My response scans these papers through the scrim of two triads of terms: the aesthetic categories zany, interesting, and cute, as established for our time by Sianne Ngai; and the methodological categories of his-toricism, humanism, and hermeneutics. At stake in the relation between OOO and HHH are the vectors of usage and forms of significance that bind objects to worlds, to actions, and to language, and the extent to which Shakespearean drama and its criticism accommodates, exhibits, and reflects upon the traffic patterns that constitute the real and theatrical life of persons and things. 20 00 Open Access Lupton, Julia Reinhard 21 03 06 10.21983/P3.0130.1.21 179 183 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Remembering Premodern Environs 1 A01 Vin Nardizzi Vin Nardizzi 40 03rmrcq20 University of British Columbia 01 eng 03 00 In the early 1990s, activist and poet Wendell Berry character-ized the popular use of the term “environment” as “utterly preposterous.” The word, he says, “means that which surrounds, or encircles us; it means a world separate from ourselves, outside ourselves.” In outlining how the “real state of things,” which “is far more complex and intimate and inter-esting” than an anthropocentric term like “environment” allows, Berry generates a list: “The real names of the environment,” he itemizes, “are the names of rivers and river valleys; creeks, ridges, and mountains; towns and cities; lakes, woodland, lanes, roads, creatures, and people.”1 Nearly contemporaneously, the philosopher Michel Serres also exhorted us to “forget the word environment.” “If the soiled” and endangered “world” is what we mean when we employ the term, then we have it all wrong, Serres says: this use of the term “assumes that we humans are at the center of a system of nature.” He instead proposes that “we . . . place things in the center and us at the periphery, or better still, things all around and us within them like parasites.”2 Like Timothy Morton’s “Nature” (with a cap-ital “N”), “environment,” Berry and Serres indicate, seems to be “getting in the way” of environmental work and theory.3 We would do well, then, to unlearn the term. 30 00 In the early 1990s, activist and poet Wendell Berry character-ized the popular use of the term “environment” as “utterly preposterous.” The word, he says, “means that which surrounds, or encircles us; it means a world separate from ourselves, outside ourselves.” In outlining how the “real state of things,” which “is far more complex and intimate and inter-esting” than an anthropocentric term like “environment” allows, Berry generates a list: “The real names of the environment,” he itemizes, “are the names of rivers and river valleys; creeks, ridges, and mountains; towns and cities; lakes, woodland, lanes, roads, creatures, and people.”1 Nearly contemporaneously, the philosopher Michel Serres also exhorted us to “forget the word environment.” “If the soiled” and endangered “world” is what we mean when we employ the term, then we have it all wrong, Serres says: this use of the term “assumes that we humans are at the center of a system of nature.” He instead proposes that “we . . . place things in the center and us at the periphery, or better still, things all around and us within them like parasites.”2 Like Timothy Morton’s “Nature” (with a cap-ital “N”), “environment,” Berry and Serres indicate, seems to be “getting in the way” of environmental work and theory.3 We would do well, then, to unlearn the term. 20 00 Open Access Nardizzi, Vin 22 03 06 10.21983/P3.0130.1.22 185 191 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 B01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 30 00 Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. 20 00 Open Access Jeffrey Jerome Cohen, Julian Yates 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/object-oriented-environs/ Earth, Milky Way 04 01 20160212 Jeffrey Jerome Cohen, Julian Yates 02 WORLD 06 15 9780692642030 03 9780692642030 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76499 20 08 20160212 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25495 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25495/1004600.pdf?sequence=1&isAllowed=y 20 08 20160212 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32224 20 08 20160212 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353887 20 08 20160212 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/512 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8ce14cbd-05d6-4786-9b40-229ac642c3e1/download 20 08 20160212 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Object_Oriented_Environs/ 20 08 20160212 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/06b256bf-62cf-4e01-be37-44f250a8b920 29 INTERNET_ARCHIVE: download the title https://archive.org/download/06b256bf-62cf-4e01-be37-44f250a8b920/06b256bf-62cf-4e01-be37-44f250a8b920.pdf 20 08 20160212 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846447 29 ZENODO: download the title https://zenodo.org/records/19846447/files/06b256bf-62cf-4e01-be37-44f250a8b920_book.pdf 20 08 20160212 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/object-oriented-environs/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0130.1.00.pdf 20 08 20160212 01 urn:uuid:80c711a5-082c-483f-b5b4-7fe72d249cce 03 01 01 thoth-work-id urn:uuid:c4cc39f9-d72b-4e83-9813-e98f87186331 01 thoth-publication-id urn:uuid:80c711a5-082c-483f-b5b4-7fe72d249cce 15 9781685712020 03 9781685712020 06 10.53288/0520.1.00 13 2024948782 01 internal-reference 0520 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 7 mm 03 0.7 cm 03 0.26 in 08 176 gr 08 6.2 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Oblation Essays, Parables, Paradoxes 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker Clinical Assistant Professor in the Social Sciences Interdisciplinary Program 40 01y64my43 University at Buffalo, State University of New York Matthew H. Bowker (M.H. Bowker), Ph.D. is an internationally recognized scholar in critical and creative thinking, psychoanalysis, and political theory, with over twenty years of experience in teaching philosophy, politics, and psychology at the university level. Educated at Columbia University and the University of Maryland, College Park, he currently works at SUNY, the University at Buffalo, where he is affiliated with both the Department of Psychology and the Program in Social Sciences and Interdisciplinary Studies. He is the author of more than twenty published or forthcoming books as well as dozens of scholarly articles and chapters spanning diverse genres. He founded and co-edits Routledge’s book series, Psychoanalytic Political Theory, is the (North American) editor of the Journal of Psycho-Social Studies, serves as Associate Editor for Psychoanalysis, Culture & Society, and sits on several prominent editorial boards. He recently served as a Fulbright (Teaching) Specialist in Singapore and has hosted workshops on critical and creative thinking, group dynamics, and reflective learning. He has been interviewed frequently on NPR/WBFO and in popular publications such as The Atlantic, Elle Magazine, and elsewhere. Some of his recent and forthcoming titles include: Walls; Oblation: Essays, Parables, and Paradoxes; Getting Lost: Reflections on Psychopolitical Isolation and Withdrawal (with Amy Buzby, eds.); The Destroyed World and the Guilty Self: A Psychoanalytic Study of Culture and Politics (with David Levine); and Critical Thinking and The Subject of Inquiry: Capacities, Resilience, and Power. 01 eng 00 112 03 B2 Cultural Studies+Critical Theory 12 HPQ 10 PHI005000 93 QDTQ 93 JMAF 12 JMAF 10 PSY026000 B2 Thought Experiments 20 hatred; loss; psychoanalysis; Munchausen syndrome by proxy; sacrifice; reparation; Baron van Münchhausen; Edgar Allan Poe; Franz Kafka; Jacques Lacan 01 06 02 00 03 00 Elements of this book, Oblation: Essays, Parables, Paradoxes, defy reason. They do so for good reason. Much of what we do, much of what we think, is oblation: sacrifice, offering, to something or someone. The root of “oblation” is “to draw near” or “to dwell in.” It refers to what is brought unto the altar, literal or proverbial — the profoundest oblation being what binds us together, our very souls, our dearest loves, indistinguishable from ourselves, our Isaacs on our Mount Moriahs.The natures of our oblations characterize our relationships to objects great and small, e.g., Lords and loved ones, groups and masses of signifiers. Oblative transactions promise meaning, yet we are full of uncertainty. What is it that cries out for oblation? How do we hear its voice? Are we, in fact, called, or do we, on the contrary, offer every bit gratuit? Why, as Albert Camus famously remarked, do “the stage sets collapse” as we offer ourselves to life’s routine?In Oblation, M.H. Bowker considers these questions in a series of essays touching upon figures such as Franz Kafka, Edgar Allan Poe, Baron van Münchhausen, and Jacques Lacan, unraveling themes of loss, hatred, and the Munchausen syndrome by proxy. Interspersed with brief parables and paradoxes, Bowker's essays push us to wonder who or what we are offering ourselves and others to – and how we get away with this. 30 00 Elements of this book, Oblation: Essays, Parables, Paradoxes, defy reason. They do so for good reason. Much of what we do, much of what we think, is oblation: sacrifice, offering, to something or someone. The root of “oblation” is “to draw near” or “to dwell in.” It refers to what is brought unto the altar, literal or proverbial — the profoundest oblation being what binds us together, our very souls, our dearest loves, indistinguishable from ourselves, our Isaacs on our Mount Moriahs.The natures of our oblations characterize our relationships to objects great and small, e.g., Lords and loved ones, groups and masses of signifiers. Oblative transactions promise meaning, yet we are full of uncertainty. What is it that cries out for oblation? How do we hear its voice? Are we, in fact, called, or do we, on the contrary, offer every bit gratuit? Why, as Albert Camus famously remarked, do “the stage sets collapse” as we offer ourselves to life’s routine?In Oblation, M.H. Bowker considers these questions in a series of essays touching upon figures such as Franz Kafka, Edgar Allan Poe, Baron van Münchhausen, and Jacques Lacan, unraveling themes of loss, hatred, and the Munchausen syndrome by proxy. Interspersed with brief parables and paradoxes, Bowker's essays push us to wonder who or what we are offering ourselves and others to – and how we get away with this. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0520.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/oblation-essays-parables-paradoxes/ Earth, Milky Way 04 01 20241106 M.H. Bowker 02 WORLD 06 15 9781685712037 03 9781685712037 34 06 10.1111/bjp.12606 34 06 10.1016/j.psym.2015.07.006 34 06 10.1007/s12304-021-09467-3 34 06 10.1016/j.psychres.2014.03.034 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712029 20 08 20241106 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/oblation-essays-parables-and-paradoxes 20 08 20241106 02 22.00 USD WORLD urn:uuid:a3f04654-56c1-415d-ae52-73a6c78c097a 03 01 01 thoth-work-id urn:uuid:c4cc39f9-d72b-4e83-9813-e98f87186331 01 thoth-publication-id urn:uuid:a3f04654-56c1-415d-ae52-73a6c78c097a 15 9781685712037 03 9781685712037 06 10.53288/0520.1.00 13 2024948782 01 internal-reference 0520 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Oblation Essays, Parables, Paradoxes 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker Clinical Assistant Professor in the Social Sciences Interdisciplinary Program 40 01y64my43 University at Buffalo, State University of New York Matthew H. Bowker (M.H. Bowker), Ph.D. is an internationally recognized scholar in critical and creative thinking, psychoanalysis, and political theory, with over twenty years of experience in teaching philosophy, politics, and psychology at the university level. Educated at Columbia University and the University of Maryland, College Park, he currently works at SUNY, the University at Buffalo, where he is affiliated with both the Department of Psychology and the Program in Social Sciences and Interdisciplinary Studies. He is the author of more than twenty published or forthcoming books as well as dozens of scholarly articles and chapters spanning diverse genres. He founded and co-edits Routledge’s book series, Psychoanalytic Political Theory, is the (North American) editor of the Journal of Psycho-Social Studies, serves as Associate Editor for Psychoanalysis, Culture & Society, and sits on several prominent editorial boards. He recently served as a Fulbright (Teaching) Specialist in Singapore and has hosted workshops on critical and creative thinking, group dynamics, and reflective learning. He has been interviewed frequently on NPR/WBFO and in popular publications such as The Atlantic, Elle Magazine, and elsewhere. Some of his recent and forthcoming titles include: Walls; Oblation: Essays, Parables, and Paradoxes; Getting Lost: Reflections on Psychopolitical Isolation and Withdrawal (with Amy Buzby, eds.); The Destroyed World and the Guilty Self: A Psychoanalytic Study of Culture and Politics (with David Levine); and Critical Thinking and The Subject of Inquiry: Capacities, Resilience, and Power. 01 eng 00 112 03 B2 Cultural Studies+Critical Theory 12 HPQ 10 PHI005000 93 QDTQ 93 JMAF 12 JMAF 10 PSY026000 B2 Thought Experiments 20 hatred; loss; psychoanalysis; Munchausen syndrome by proxy; sacrifice; reparation; Baron van Münchhausen; Edgar Allan Poe; Franz Kafka; Jacques Lacan 01 06 02 00 03 00 Elements of this book, Oblation: Essays, Parables, Paradoxes, defy reason. They do so for good reason. Much of what we do, much of what we think, is oblation: sacrifice, offering, to something or someone. The root of “oblation” is “to draw near” or “to dwell in.” It refers to what is brought unto the altar, literal or proverbial — the profoundest oblation being what binds us together, our very souls, our dearest loves, indistinguishable from ourselves, our Isaacs on our Mount Moriahs.The natures of our oblations characterize our relationships to objects great and small, e.g., Lords and loved ones, groups and masses of signifiers. Oblative transactions promise meaning, yet we are full of uncertainty. What is it that cries out for oblation? How do we hear its voice? Are we, in fact, called, or do we, on the contrary, offer every bit gratuit? Why, as Albert Camus famously remarked, do “the stage sets collapse” as we offer ourselves to life’s routine?In Oblation, M.H. Bowker considers these questions in a series of essays touching upon figures such as Franz Kafka, Edgar Allan Poe, Baron van Münchhausen, and Jacques Lacan, unraveling themes of loss, hatred, and the Munchausen syndrome by proxy. Interspersed with brief parables and paradoxes, Bowker's essays push us to wonder who or what we are offering ourselves and others to – and how we get away with this. 30 00 Elements of this book, Oblation: Essays, Parables, Paradoxes, defy reason. They do so for good reason. Much of what we do, much of what we think, is oblation: sacrifice, offering, to something or someone. The root of “oblation” is “to draw near” or “to dwell in.” It refers to what is brought unto the altar, literal or proverbial — the profoundest oblation being what binds us together, our very souls, our dearest loves, indistinguishable from ourselves, our Isaacs on our Mount Moriahs.The natures of our oblations characterize our relationships to objects great and small, e.g., Lords and loved ones, groups and masses of signifiers. Oblative transactions promise meaning, yet we are full of uncertainty. What is it that cries out for oblation? How do we hear its voice? Are we, in fact, called, or do we, on the contrary, offer every bit gratuit? Why, as Albert Camus famously remarked, do “the stage sets collapse” as we offer ourselves to life’s routine?In Oblation, M.H. Bowker considers these questions in a series of essays touching upon figures such as Franz Kafka, Edgar Allan Poe, Baron van Münchhausen, and Jacques Lacan, unraveling themes of loss, hatred, and the Munchausen syndrome by proxy. Interspersed with brief parables and paradoxes, Bowker's essays push us to wonder who or what we are offering ourselves and others to – and how we get away with this. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0520.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/oblation-essays-parables-paradoxes/ Earth, Milky Way 04 01 20241106 M.H. Bowker 02 WORLD 06 15 9781685712020 03 9781685712020 34 06 10.1111/bjp.12606 34 06 10.1016/j.psym.2015.07.006 34 06 10.1007/s12304-021-09467-3 34 06 10.1016/j.psychres.2014.03.034 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/95703 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/95703/0520.1.00.pdf?sequence=1&isAllowed=y 20 08 20241106 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/148293 20 08 20241106 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526491 20 08 20241106 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/825 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/84adc24f-1582-464e-b335-f5456404d1ae/download 20 08 20241106 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c4cc39f9-d72b-4e83-9813-e98f87186331 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c4cc39f9-d72b-4e83-9813-e98f87186331/c4cc39f9-d72b-4e83-9813-e98f87186331.pdf 20 08 20241106 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850741 29 ZENODO: download the title https://zenodo.org/records/19850741/files/c4cc39f9-d72b-4e83-9813-e98f87186331_book.pdf 20 08 20241106 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/oblation-essays-parables-paradoxes/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0520.1.00.pdf 20 08 20241106 01 urn:uuid:d9a4cb13-3532-4e71-8764-14c79bd28c5b 03 01 01 thoth-work-id urn:uuid:895b271b-6669-43cc-842d-3f92a39fd463 01 thoth-publication-id urn:uuid:d9a4cb13-3532-4e71-8764-14c79bd28c5b 15 9780692496916 03 9780692496916 06 10.21983/P3.0112.1.00 01 internal-reference 0112 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Oceanic New York 1 B01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 00 250 03 B2 Biosphere 10 NAT025000 93 RGBP 12 RNT 93 1KBB-US-NAKC B2 Built Environments 93 JBCC 20 oceanic studies; cultural studies; ecology; New York City; environmental humanities 01 06 02 00 03 00 This volume comprises a three-fold object, Book and Ocean and New York City.If this Book were Ocean, how would it feel between your fingers? Wet and slippery, just a bit warmer or colder than the air around it, since the Ocean is our planet’s greatest reservoir of heat, a sloshing insulator and incubator girdling our globe. If its pages were New York City, how would they abrade your imagination? Human and teeming, endlessly humming along with that same old tune. Imagine that these three things were one thing. All together: Book and Ocean and New York City. During the long historical pause between the day the last sailing ship docked at South Street and that day in October 2012 when Hurricane Sandy brought the waves back in fury, New York turned its back on the sea. This Book remembers that the City was founded on Ocean, peopled by its currents, grew rich on its traffic. The storm taught what we should never have forgotten: under New York’s asphalt lies not beach but Ocean. 30 00 This volume comprises a three-fold object, Book and Ocean and New York City.If this Book were Ocean, how would it feel between your fingers? Wet and slippery, just a bit warmer or colder than the air around it, since the Ocean is our planet’s greatest reservoir of heat, a sloshing insulator and incubator girdling our globe. If its pages were New York City, how would they abrade your imagination? Human and teeming, endlessly humming along with that same old tune. Imagine that these three things were one thing. All together: Book and Ocean and New York City. During the long historical pause between the day the last sailing ship docked at South Street and that day in October 2012 when Hurricane Sandy brought the waves back in fury, New York turned its back on the sea. This Book remembers that the City was founded on Ocean, peopled by its currents, grew rich on its traffic. The storm taught what we should never have forgotten: under New York’s asphalt lies not beach but Ocean. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0112.1.00_frontcover.png 1 03 06 10.21983/P3.0112.1.01 i xxiii 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 000000027118798X Steve Mentz Steve Mentz 01 eng 20 00 Open Access Mentz, Steve 2 03 06 10.21983/P3.0112.1.02 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Silent Beaches 1 A01 Elizabeth Albert Elizabeth Albert 40 00bgtad15 St. John’s University 01 eng 03 00 In the fall of 2013 I curated an exhibition forSt. John’s University: Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront. The Silent Beachesproject initially grew out of the startling realization that I, a second generation New Yorker, had scant knowledge and scantier experience of our city’s 600-plus miles of coastline. I resolved to get out there, and began a series of excursions spaning the next three years. I drove and walked and some-times found I couldn’t even get close to the water—huge power plants, fenced off brown-fields, private property guarded by vicious dogs were often in my way. But what I did see was astonishing: beautiful, hideous, sad, and just weird. Every plant, every used needle, every wreck, every proud neighbor told the briny story of Oceanic New York. 30 00 In the fall of 2013 I curated an exhibition forSt. John’s University: Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront. The Silent Beachesproject initially grew out of the startling realization that I, a second generation New Yorker, had scant knowledge and scantier experience of our city’s 600-plus miles of coastline. I resolved to get out there, and began a series of excursions spaning the next three years. I drove and walked and some-times found I couldn’t even get close to the water—huge power plants, fenced off brown-fields, private property guarded by vicious dogs were often in my way. But what I did see was astonishing: beautiful, hideous, sad, and just weird. Every plant, every used needle, every wreck, every proud neighbor told the briny story of Oceanic New York. 20 00 Open Access Albert, Elizabeth 3 03 06 10.21983/P3.0112.1.03 15 26 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Miss Newtown Creek" 1 A01 Granville Ganter Granville Ganter 40 00bgtad15 St. John’s University 01 eng 03 00 Reflecting on Elizabeth Albert’s remarkableexhibit, Silent Beaches, Untold Stories, documenting the history of New York City’s waterways, I’ve been ruminating on the problem of making art out of man-made destruction. The collection is a stunning assembly of images that document the environmental consequences of New York’s commercial development over the past 200 years: vagrant workers sorting trash for barges, mountains of husked oyster shells harvested from Staten Island, and the relics of abandoned factories on the poisoned waters of the Gowanus and Newtown Creeks. It is a stunning and educational glimpse into New York’s history and the strange lives and grotesque deaths that occurred on its desecrated aquatic margins. The years of research that went into Albert’s show have been refined to give any casual observer a haunting knowledge of New York City’s indus-trial past. 30 00 Reflecting on Elizabeth Albert’s remarkableexhibit, Silent Beaches, Untold Stories, documenting the history of New York City’s waterways, I’ve been ruminating on the problem of making art out of man-made destruction. The collection is a stunning assembly of images that document the environmental consequences of New York’s commercial development over the past 200 years: vagrant workers sorting trash for barges, mountains of husked oyster shells harvested from Staten Island, and the relics of abandoned factories on the poisoned waters of the Gowanus and Newtown Creeks. It is a stunning and educational glimpse into New York’s history and the strange lives and grotesque deaths that occurred on its desecrated aquatic margins. The years of research that went into Albert’s show have been refined to give any casual observer a haunting knowledge of New York City’s indus-trial past. 20 00 Open Access Ganter, Granville 4 03 06 10.21983/P3.0112.1.04 27 35 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Arctic-Oceanic New York 1 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 01 eng 03 00 In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never. 30 00 In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never. 20 00 Open Access Duckert, Lowell 5 03 06 10.21983/P3.0112.1.05 37 64 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 #bottlesNbones tales of oceanic remains 1 A01 Jamie Skye Bianco Jamie Skye Bianco 40 0190ak572 New York University 01 eng 03 00 To begin, we could talk about silica, silicates.Sand and glass. Collectible. Recyclable. Except whenthey are not. I’ll come back around this at the end.Snake and tail. 30 00 To begin, we could talk about silica, silicates.Sand and glass. Collectible. Recyclable. Except whenthey are not. I’ll come back around this at the end.Snake and tail. 20 00 Open Access Bianco, Jamie Skye 6 03 06 10.21983/P3.0112.1.06 65 72 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Groundswell 1 A01 Alison Kinney Alison Kinney 01 eng 03 00 From the audience of Oceanic New York, Imarveled at the play of art, history, and maritime and urban discovery, of erudition, imagination, and good-will. “O beauty, o handsomeness, goodness!”2 How could a coalition of activists, architects, artists, and scholars—rocks, grasses, and oysters—effluvia, flotsam, and concrete—not succeed in shoring up brighter hopes for the city? 30 00 From the audience of Oceanic New York, Imarveled at the play of art, history, and maritime and urban discovery, of erudition, imagination, and good-will. “O beauty, o handsomeness, goodness!”2 How could a coalition of activists, architects, artists, and scholars—rocks, grasses, and oysters—effluvia, flotsam, and concrete—not succeed in shoring up brighter hopes for the city? 20 00 Open Access Kinney, Alison 7 03 06 10.21983/P3.0112.1.07 73 77 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 City in the Sea 1 A01 Bailey Robertson Bailey Robertson 40 00bgtad15 St. John’s University 01 eng 03 00 I was born and raised in Long Beach, New York,whose motto in Latin, “Civitas ad Mare,” means “City by the Sea.” More commonly printed on tee-shirts, coffee cups, and door mats, however, is a kind of second unoffi-cial motto: “Life’s a Beach.” While I realize this phrase is not particular to the trinkets of my hometown’s novelty shops, I have begun to wonder about the appropriateness of these words to certain aspects of life here, considering the recent history of Long Beach. Two consecutive years, 2011 and 2012, our shores, as well as those of nearby beaches, were battered by hurricanes Irene and Sandy. “Life’s a Beach” seems to be adapting new possibilities for interpretation, as storm events become more frequent and severe. 30 00 I was born and raised in Long Beach, New York,whose motto in Latin, “Civitas ad Mare,” means “City by the Sea.” More commonly printed on tee-shirts, coffee cups, and door mats, however, is a kind of second unoffi-cial motto: “Life’s a Beach.” While I realize this phrase is not particular to the trinkets of my hometown’s novelty shops, I have begun to wonder about the appropriateness of these words to certain aspects of life here, considering the recent history of Long Beach. Two consecutive years, 2011 and 2012, our shores, as well as those of nearby beaches, were battered by hurricanes Irene and Sandy. “Life’s a Beach” seems to be adapting new possibilities for interpretation, as storm events become more frequent and severe. 20 00 Open Access Robertson, Bailey 8 03 06 10.21983/P3.0112.1.08 79 91 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Insensate Oysters and Our Nonconsensual Existence 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 The earliest version of this paper, deliveredat the Oceanic New York symposium, tried to change the way people normally write about oysters. Oyster books love to talk about pearls and Chesapeake Bay’s oyster war; they love how oyster middens chart the passage not of cavemen but of “covemen,” who followed the beds of oysters around coasts in a kind of gustatory cartogra-phy.2 These same writers happily accept the oyster’s fleshy invitation to aphrodisiacal excess. And when they look to New York City, they love to mourn the loss of its oyster beds, closed by pollution and over-harvesting, perhaps for good, in 1927, once home to trillions of the creatures, a seedbed for nostalgia for the grittier appetites of New York’s presumably populist past.3 I asked us to remember the oyster itself by remembering its shell, calcium carbon-ate, particularly important now to offset the increasing acidification of the oceans; likewise, I asked that we appreciate how prodigiously a living oyster filters water. What they ingest and don’t eat, oysters eject as pseudofeces, which, coated in mucous, fall to the ocean floor to be processed by anoxic bacteria. The cleaner, deacidified water oysters leave behind is what just about everything else needs to live. I wanted us to look to projects to use bring oysters back to New York, like the architect Kate Orff ’s call for “oystertecture,” an “invertebrate architecture” to help abate the force of hurricanes, to keep New York City safe from our future’s inevitable Sandies. 30 00 The earliest version of this paper, deliveredat the Oceanic New York symposium, tried to change the way people normally write about oysters. Oyster books love to talk about pearls and Chesapeake Bay’s oyster war; they love how oyster middens chart the passage not of cavemen but of “covemen,” who followed the beds of oysters around coasts in a kind of gustatory cartogra-phy.2 These same writers happily accept the oyster’s fleshy invitation to aphrodisiacal excess. And when they look to New York City, they love to mourn the loss of its oyster beds, closed by pollution and over-harvesting, perhaps for good, in 1927, once home to trillions of the creatures, a seedbed for nostalgia for the grittier appetites of New York’s presumably populist past.3 I asked us to remember the oyster itself by remembering its shell, calcium carbon-ate, particularly important now to offset the increasing acidification of the oceans; likewise, I asked that we appreciate how prodigiously a living oyster filters water. What they ingest and don’t eat, oysters eject as pseudofeces, which, coated in mucous, fall to the ocean floor to be processed by anoxic bacteria. The cleaner, deacidified water oysters leave behind is what just about everything else needs to live. I wanted us to look to projects to use bring oysters back to New York, like the architect Kate Orff ’s call for “oystertecture,” an “invertebrate architecture” to help abate the force of hurricanes, to keep New York City safe from our future’s inevitable Sandies. 20 00 Open Access Steel, Karl 9 03 06 10.21983/P3.0112.1.09 93 99 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Super Ocean 64 1 A01 Matt Zazzarino Matt Zazzarino 40 011xz5b94 Emerson College 01 eng 03 00 Once, when my family was still living inQueens and I was still counting my age with the fingers on one hand, an older cousin gave me a stack of unwanted Sega Genesis games at a Christmas Eve party. Ten or twelve games total, but the only one that mattered was the boxless promotional copy of Sonic the Hedgehog at the top of the pile. At the time, I couldn’t get enough of Sonic, Sega’s “edgy” new mascot, their answer to Nintendo’s Mario—I read the monthly comic books, I watched both animated series, I had coloring books and pajamas and action figures, and of course, I played the video games. But there were other kids at the party that night whose parents were depending on the Sega to keep occupied, and although I didn’t understand how anyone could tire of watching me ace zone after zone of Sonic, majority rule won out and we started making our way through the other games I’d been given: Ninja Turtles was fun, but repetitive; none of us could navigate the playbook in Madden 94; making sense of Toejam & Earl required access to certain psychotropic drugs, the existence of which we were still too innocent to know. 30 00 Once, when my family was still living inQueens and I was still counting my age with the fingers on one hand, an older cousin gave me a stack of unwanted Sega Genesis games at a Christmas Eve party. Ten or twelve games total, but the only one that mattered was the boxless promotional copy of Sonic the Hedgehog at the top of the pile. At the time, I couldn’t get enough of Sonic, Sega’s “edgy” new mascot, their answer to Nintendo’s Mario—I read the monthly comic books, I watched both animated series, I had coloring books and pajamas and action figures, and of course, I played the video games. But there were other kids at the party that night whose parents were depending on the Sega to keep occupied, and although I didn’t understand how anyone could tire of watching me ace zone after zone of Sonic, majority rule won out and we started making our way through the other games I’d been given: Ninja Turtles was fun, but repetitive; none of us could navigate the playbook in Madden 94; making sense of Toejam & Earl required access to certain psychotropic drugs, the existence of which we were still too innocent to know. 20 00 Open Access Zazzarino, Matt 10 03 06 10.21983/P3.0112.1.10 101 111 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Short History of the Hudsonian Ice Age 1 A01 Nancy Nowacek Nancy Nowacek 2 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 01 eng 03 00 Going back to a river’s beginning is not topinpoint its source—it is to begin (again). Time may flow, but a river always escapes the trappings of chronology. Riparian time emphasizes riptides, eddies, and turbulent zones over lines, origins, and laminar points.(All we know are these confluences: Skype chats and emails; poetry and bridge sections; rivers and tides; bendable and multipliable time. Data streams, hover-craft, “Hudson,” Muhheakantuck.)How do we understand a body of water without our own—in it, with it, through it? What will be the stuff of this day’s bridges—of space, time, conversation, question and experi-ence— enlisted to build tomorrow’s? Does the water outside my window know that I’m watching it, wondering where it will go next? Will it love as it is loved? 30 00 Going back to a river’s beginning is not topinpoint its source—it is to begin (again). Time may flow, but a river always escapes the trappings of chronology. Riparian time emphasizes riptides, eddies, and turbulent zones over lines, origins, and laminar points.(All we know are these confluences: Skype chats and emails; poetry and bridge sections; rivers and tides; bendable and multipliable time. Data streams, hover-craft, “Hudson,” Muhheakantuck.)How do we understand a body of water without our own—in it, with it, through it? What will be the stuff of this day’s bridges—of space, time, conversation, question and experi-ence— enlisted to build tomorrow’s? Does the water outside my window know that I’m watching it, wondering where it will go next? Will it love as it is loved? 20 00 Open Access Nowacek, Nancy Duckert, Lowell 11 03 06 10.21983/P3.0112.1.11 113 120 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wages of Water 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 03 00 This fragment has two parts. The first splashesthrough the Hudson River one early morning in September 2013. The second took place that same fall, on the Monday before Thanksgiving, inside the canal of my left ear.In diving into the “wages” of water I’m not suggesting that the world ocean owes us anything. Nor really the opposite, that we owe the great waters a globe without plas-tic, or with less carbon, much as I love such fanciful ideas. (To clarify: we are heading for a lower-carbon future. The question is whether we’ll burn all the coal and oil in the ground before we get there. That’s what will determine the shape of our catastrophic future.) The wages I’m talking in this case about are personal. Not an ocean inside, though part of this story takes place inside my body. What I’m writing about is salt on skin, the feel and pressure of the world ocean on a fragile individual body, in this case mine. How does it feel, I ask, to touch the hyperobject? 30 00 This fragment has two parts. The first splashesthrough the Hudson River one early morning in September 2013. The second took place that same fall, on the Monday before Thanksgiving, inside the canal of my left ear.In diving into the “wages” of water I’m not suggesting that the world ocean owes us anything. Nor really the opposite, that we owe the great waters a globe without plas-tic, or with less carbon, much as I love such fanciful ideas. (To clarify: we are heading for a lower-carbon future. The question is whether we’ll burn all the coal and oil in the ground before we get there. That’s what will determine the shape of our catastrophic future.) The wages I’m talking in this case about are personal. Not an ocean inside, though part of this story takes place inside my body. What I’m writing about is salt on skin, the feel and pressure of the world ocean on a fragile individual body, in this case mine. How does it feel, I ask, to touch the hyperobject? 20 00 Open Access Mentz, Steve 12 03 06 10.21983/P3.0112.1.12 123 129 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Instructions In Case of Immersion 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 2 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 01 eng 03 00 The second selection of nine essays opens upflooded streets to global connections.Steve Mentz and Marina Zurkow conspireon instructions for flooded cities.Jeffrey Jerome Cohen revealsthe sea’s conveying motions.Allan Mitchell plunges downinto oceanic and poetic forms.Dean Kritikos invites Jean-Paul Sartreand TimothyMorton to visithis hometown of New York City.Anne Harris values depth, uncertainty, and disaster.Julie Orlemanski explores what it would take to move from tourism to activism. Jonathan Hsy slides intothe watery basis of language and metaphor. Nancy Nowacek narratesher epic story ofbridging Buttermilk Channel.Jeffrey Jerome Cohen and Allan Mitchell exchange dispatches about the ocean from opposite sidesof a continent. 30 00 The second selection of nine essays opens upflooded streets to global connections.Steve Mentz and Marina Zurkow conspireon instructions for flooded cities.Jeffrey Jerome Cohen revealsthe sea’s conveying motions.Allan Mitchell plunges downinto oceanic and poetic forms.Dean Kritikos invites Jean-Paul Sartreand TimothyMorton to visithis hometown of New York City.Anne Harris values depth, uncertainty, and disaster.Julie Orlemanski explores what it would take to move from tourism to activism. Jonathan Hsy slides intothe watery basis of language and metaphor. Nancy Nowacek narratesher epic story ofbridging Buttermilk Channel.Jeffrey Jerome Cohen and Allan Mitchell exchange dispatches about the ocean from opposite sidesof a continent. 20 00 Open Access Mentz, Steve Zurkow, Marina 13 03 06 10.21983/P3.0112.1.13 131 141 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Sea is a Conveyance-Machine 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 There came over them the hosts of Portugalto destroy and to exterminate all that is called Israel, children and women in one day.”1 So wrote Isaac Aboab in the first Hebrew poem of the Americas, around 1649. Aboab composed this text in Recife, destined to become a city of Brazil but at the time capital of a fleeting entity called Nieuw-Holland. The port was under siege by the Portuguese, determined to destroy the Jewish commu-nity sheltered there. Born to Marranos fleeing religious persecution, Isaac Aboab and his family had dwelled for a while in France, practicing a reclaimed Judaism. To avoid forced return to Christianity their community migrated to Amsterdam, and then to South America, and to peril. 30 00 There came over them the hosts of Portugalto destroy and to exterminate all that is called Israel, children and women in one day.”1 So wrote Isaac Aboab in the first Hebrew poem of the Americas, around 1649. Aboab composed this text in Recife, destined to become a city of Brazil but at the time capital of a fleeting entity called Nieuw-Holland. The port was under siege by the Portuguese, determined to destroy the Jewish commu-nity sheltered there. Born to Marranos fleeing religious persecution, Isaac Aboab and his family had dwelled for a while in France, practicing a reclaimed Judaism. To avoid forced return to Christianity their community migrated to Amsterdam, and then to South America, and to peril. 20 00 Open Access Cohen, Jeffrey Jerome 14 03 06 10.21983/P3.0112.1.14 143 147 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nice Soundings 1 A01 Allan Mitchell Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 Dredging up the tangled, toxic, ruinedhistories of nearby estuaries, Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront stands as a powerful rebuttal to the giddy industrial sublime of Hart Crane’s The Bridge. Crane repudiated the pessimism of Eliot’s The Waste Land, and erected an American epic in its place. But perhaps he was drowning not waving. 30 00 Dredging up the tangled, toxic, ruinedhistories of nearby estuaries, Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront stands as a powerful rebuttal to the giddy industrial sublime of Hart Crane’s The Bridge. Crane repudiated the pessimism of Eliot’s The Waste Land, and erected an American epic in its place. But perhaps he was drowning not waving. 20 00 Open Access Mitchell, Allan 15 03 06 10.21983/P3.0112.1.15 149 157 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 New York, Oceanic City 1 A01 Dean Kritikos Dean Kritikos 40 00bgtad15 St. John’s University 01 eng 03 00 A dam is Nature andso is a damnskyscraper.The hues youthought were Greyare variations on a theme of Green 30 00 A dam is Nature andso is a damnskyscraper.The hues youthought were Greyare variations on a theme of Green 20 00 Open Access Kritikos, Dean 16 03 06 10.21983/P3.0112.1.16 159 167 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oceanic Valuation 1 A01 Anne Harris Anne Harris 40 02mks6v46 DePauw University 01 eng 03 00 A qui appartiendra cebriz?” screechesPanurge as the tempest-tossed ship he clings to heaves and groans towards becoming a wreck.1 To whom does a shipwreck belong? It belongs to the sea: the word is a woeful concession to the mismatch between oceanic power and human hopes and goods.2 “Shipwreck” belongs to its investors: it is also the word that activates and justifies the claims of insurance, that human attempt to negotiate (with) loss. Torn between possession and dispos-session, the shipwreck manifests the struggle to account for things.3Torn asunder, the shipwreck multiplies categories of value. In asking about the reversals of fortune the ocean exacts in its shipwrecks, Panurge’s question insists on the troublesome operations of oceanic valuation: the traumatic ways in which the ocean provokes humans to value things. 30 00 A qui appartiendra cebriz?” screechesPanurge as the tempest-tossed ship he clings to heaves and groans towards becoming a wreck.1 To whom does a shipwreck belong? It belongs to the sea: the word is a woeful concession to the mismatch between oceanic power and human hopes and goods.2 “Shipwreck” belongs to its investors: it is also the word that activates and justifies the claims of insurance, that human attempt to negotiate (with) loss. Torn between possession and dispos-session, the shipwreck manifests the struggle to account for things.3Torn asunder, the shipwreck multiplies categories of value. In asking about the reversals of fortune the ocean exacts in its shipwrecks, Panurge’s question insists on the troublesome operations of oceanic valuation: the traumatic ways in which the ocean provokes humans to value things. 20 00 Open Access Harris, Anne 17 03 06 10.21983/P3.0112.1.17 169 175 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tourism, Experience, Knowledge, Action 1 A01 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 01 eng 03 00 For the better part of a decade, I’ve been acoast-dweller. I spent quite a few years in Boston, historied port city, and at the time of writing I live in Los Angeles, where my weekends are in darting back and forth across the Pacific Coast Highway, between mountains and surf. But this September [2014] I’ll be moving to Chicago—a city, rumor has it, at some distance from the sea. Which is to say: I’m anticipating my imminent return to a primarily touristic mode of encountering the ocean. Soon enough, a week or two in the summertime will be my standard span for luxuriating in that oceanic feeling. But this is after all how I first encountered the Atlantic as a little girl: as vacationer and holidaymaker during annual family trips to one of the barrier islands along the North Carolina coast. Holden Beach was where, for me, the vast tidal swathe kept time on grey sands and the marshes flipped and shook their vivid grass. I was a passing visitor there, but the ocean covered a huge and permanent region of my girl-soul. All year, I would anticipate walking alone down the beach with my feet in the wavelets, telling myself new myths. And again: I was a passing and transient visitor there, but it was within a permanent infrastructure that I made my wide-eyed way: a mesh of supply-chains and util-ities, bridge-buildings and dredgings, insurance schemes and invasive species, condominiums and ice-cream parlors. How does one measure the tourist’s wonder against the things that support it? What does the tourist come to know, and what does she not? 30 00 For the better part of a decade, I’ve been acoast-dweller. I spent quite a few years in Boston, historied port city, and at the time of writing I live in Los Angeles, where my weekends are in darting back and forth across the Pacific Coast Highway, between mountains and surf. But this September [2014] I’ll be moving to Chicago—a city, rumor has it, at some distance from the sea. Which is to say: I’m anticipating my imminent return to a primarily touristic mode of encountering the ocean. Soon enough, a week or two in the summertime will be my standard span for luxuriating in that oceanic feeling. But this is after all how I first encountered the Atlantic as a little girl: as vacationer and holidaymaker during annual family trips to one of the barrier islands along the North Carolina coast. Holden Beach was where, for me, the vast tidal swathe kept time on grey sands and the marshes flipped and shook their vivid grass. I was a passing visitor there, but the ocean covered a huge and permanent region of my girl-soul. All year, I would anticipate walking alone down the beach with my feet in the wavelets, telling myself new myths. And again: I was a passing and transient visitor there, but it was within a permanent infrastructure that I made my wide-eyed way: a mesh of supply-chains and util-ities, bridge-buildings and dredgings, insurance schemes and invasive species, condominiums and ice-cream parlors. How does one measure the tourist’s wonder against the things that support it? What does the tourist come to know, and what does she not? 20 00 Open Access Orlemanski, Julie 18 03 06 10.21983/P3.0112.1.18 177 185 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Watery Metaphor 1 A01 21 0000000216112440 Jonathan Hsy Jonathan Hsy 40 00y4zzh67 George Washington University 01 eng 03 00 One of most compelling aspects of OceanicN e w Yo r k was how its varied presentations aimed to explore and rethink metaphors of connectivity. The ocean is a conveyance-machine, a life-sustaining environment and agentive force in its own right, a dynamic medium/mode of transport that enacts the flow of matter, languages, and cultures. Emerging as another theme across the presentations was the idea that ocean invites us to adopt fluid modes of temporality as well. As I listened to the presentations, it became increasingly clear that thinking about the ocean requires a capacity to sustain different notions of scale concurrently. In a blog posting soon after the event Steve recalls “Nancy Nowacek’s direct statement that we must live in more than one temporal register at the same time.”1 Indeed, these presentations moved into multitemporal registers through a variety of approaches: eco-theoretical, linguistic-poetic, philosoph-ical-scientific, aesthetic-artistic, architectural-communal. 30 00 One of most compelling aspects of OceanicN e w Yo r k was how its varied presentations aimed to explore and rethink metaphors of connectivity. The ocean is a conveyance-machine, a life-sustaining environment and agentive force in its own right, a dynamic medium/mode of transport that enacts the flow of matter, languages, and cultures. Emerging as another theme across the presentations was the idea that ocean invites us to adopt fluid modes of temporality as well. As I listened to the presentations, it became increasingly clear that thinking about the ocean requires a capacity to sustain different notions of scale concurrently. In a blog posting soon after the event Steve recalls “Nancy Nowacek’s direct statement that we must live in more than one temporal register at the same time.”1 Indeed, these presentations moved into multitemporal registers through a variety of approaches: eco-theoretical, linguistic-poetic, philosoph-ical-scientific, aesthetic-artistic, architectural-communal. 20 00 Open Access Hsy, Jonathan 19 03 06 10.21983/P3.0112.1.19 187 199 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building a Bridge by Hand to Cross Buttermilk Channel on Foot 1 A01 Nancy Nowacek Nancy Nowacek 40 02z43xh36 Stevens Institute of Technology 01 eng 03 00 Walt Whitman reports the Barbarossa’spassage through Buttermilk Channel. It is a large German vessel with a draft of 28 feet. He writes an article for the Brooklyn titled, “It’s really a Channel”: “A few years ago moderate sized barks had an unhappy habit, in consort with their towboats, of going aground near the Atlantic Dock gap. There was much recrimination, a good deal of hard swearing, but there was no dispute that there was a [sand]bar in Buttermilk Chan-nel.” Whitman provides an antecedent about the Channel’s name: “the title of Buttermilk Channel is derived from the days of the Revolution when a two gun battery swept the upper bay. The colonists were not over blessed with wealth or food and the farmers drove their cows across the [sand]bar that then led to Governor’s Island. When the cows missed the low tide they had to swim home and as a result their lacteal processes resulted in sour milk. Hence Buttermilk Channel.” 30 00 Walt Whitman reports the Barbarossa’spassage through Buttermilk Channel. It is a large German vessel with a draft of 28 feet. He writes an article for the Brooklyn titled, “It’s really a Channel”: “A few years ago moderate sized barks had an unhappy habit, in consort with their towboats, of going aground near the Atlantic Dock gap. There was much recrimination, a good deal of hard swearing, but there was no dispute that there was a [sand]bar in Buttermilk Chan-nel.” Whitman provides an antecedent about the Channel’s name: “the title of Buttermilk Channel is derived from the days of the Revolution when a two gun battery swept the upper bay. The colonists were not over blessed with wealth or food and the farmers drove their cows across the [sand]bar that then led to Governor’s Island. When the cows missed the low tide they had to swim home and as a result their lacteal processes resulted in sour milk. Hence Buttermilk Channel.” 20 00 Open Access Nowacek, Nancy 20 03 06 10.21983/P3.0112.1.20 201 208 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oceanic Dispatches 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 A01 Allan Mitchell Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 Iam landlocked anddreaming of the sea.Born near the coast, companioned by storms and swells, I’ve grown weary of summer thundershowers, puddles, brooks that purl, the mud under gutters, water without brine. I miss the ocean’s tang, touch and din. The Atlantic has a language even cloudbursts cannot translate. Not knowing how else to capture something marine, this morning I added sea salt to a milk glass and filled it from the tap. Into my kitchen sea I dropped a stone and scallop shell. Speckled granite plaything of the waves, the rock is round like an egg. I am guessing that breakers rolled it longer than Maine’s shores have known human trace. The shell is much younger, and in a few years would have been sand. Both are stones, really: it’s just that one shows its creatureliness better. Both are intimates of pelagic tang, touch and din. I enclose with this message a dry picture. It conveys little of sense. 30 00 Iam landlocked anddreaming of the sea.Born near the coast, companioned by storms and swells, I’ve grown weary of summer thundershowers, puddles, brooks that purl, the mud under gutters, water without brine. I miss the ocean’s tang, touch and din. The Atlantic has a language even cloudbursts cannot translate. Not knowing how else to capture something marine, this morning I added sea salt to a milk glass and filled it from the tap. Into my kitchen sea I dropped a stone and scallop shell. Speckled granite plaything of the waves, the rock is round like an egg. I am guessing that breakers rolled it longer than Maine’s shores have known human trace. The shell is much younger, and in a few years would have been sand. Both are stones, really: it’s just that one shows its creatureliness better. Both are intimates of pelagic tang, touch and din. I enclose with this message a dry picture. It conveys little of sense. 20 00 Open Access Cohen, Jeffrey Jerome Mitchell, Allan 21 03 06 10.21983/P3.0112.1.21 211 227 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 000000027118798X Steve Mentz Steve Mentz 40 00wyq5s37 St John's University 01 eng 03 00 These four poems end this book as theygesture toward still-unnarrated waters. The poems ask what bodies learn from their encounters with Ocean. They are part of a larger project that explores swimming as an aesthetic practice for our age of ecological catastrophe.The poems respond to this photograph by Vanessa Daws, a Dublin-based visual artist. The image was taken during “Lambay Swim,” a collaborative journey made by the swimmers of Low Rock on 17th June 2014. 30 00 These four poems end this book as theygesture toward still-unnarrated waters. The poems ask what bodies learn from their encounters with Ocean. They are part of a larger project that explores swimming as an aesthetic practice for our age of ecological catastrophe.The poems respond to this photograph by Vanessa Daws, a Dublin-based visual artist. The image was taken during “Lambay Swim,” a collaborative journey made by the swimmers of Low Rock on 17th June 2014. 20 00 Open Access Mentz, Steve 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/oceanic-new-york/ Brooklyn, NY 04 01 20150918 Mentz, Steve 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692496912 20 08 20150918 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/oceanic-new-york 20 08 20150918 02 24.00 USD WORLD urn:uuid:95d4c91a-64d9-44bc-9733-3a20cd8c0849 03 01 01 thoth-work-id urn:uuid:895b271b-6669-43cc-842d-3f92a39fd463 01 thoth-publication-id urn:uuid:95d4c91a-64d9-44bc-9733-3a20cd8c0849 06 10.21983/P3.0112.1.00 01 internal-reference 0112 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Oceanic New York 1 B01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 00 250 03 B2 Biosphere 10 NAT025000 93 RGBP 12 RNT 93 1KBB-US-NAKC B2 Built Environments 93 JBCC 20 oceanic studies; cultural studies; ecology; New York City; environmental humanities 01 06 02 00 03 00 This volume comprises a three-fold object, Book and Ocean and New York City.If this Book were Ocean, how would it feel between your fingers? Wet and slippery, just a bit warmer or colder than the air around it, since the Ocean is our planet’s greatest reservoir of heat, a sloshing insulator and incubator girdling our globe. If its pages were New York City, how would they abrade your imagination? Human and teeming, endlessly humming along with that same old tune. Imagine that these three things were one thing. All together: Book and Ocean and New York City. During the long historical pause between the day the last sailing ship docked at South Street and that day in October 2012 when Hurricane Sandy brought the waves back in fury, New York turned its back on the sea. This Book remembers that the City was founded on Ocean, peopled by its currents, grew rich on its traffic. The storm taught what we should never have forgotten: under New York’s asphalt lies not beach but Ocean. 30 00 This volume comprises a three-fold object, Book and Ocean and New York City.If this Book were Ocean, how would it feel between your fingers? Wet and slippery, just a bit warmer or colder than the air around it, since the Ocean is our planet’s greatest reservoir of heat, a sloshing insulator and incubator girdling our globe. If its pages were New York City, how would they abrade your imagination? Human and teeming, endlessly humming along with that same old tune. Imagine that these three things were one thing. All together: Book and Ocean and New York City. During the long historical pause between the day the last sailing ship docked at South Street and that day in October 2012 when Hurricane Sandy brought the waves back in fury, New York turned its back on the sea. This Book remembers that the City was founded on Ocean, peopled by its currents, grew rich on its traffic. The storm taught what we should never have forgotten: under New York’s asphalt lies not beach but Ocean. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0112.1.00_frontcover.png 1 03 06 10.21983/P3.0112.1.01 i xxiii 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 000000027118798X Steve Mentz Steve Mentz 01 eng 20 00 Open Access Mentz, Steve 2 03 06 10.21983/P3.0112.1.02 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Silent Beaches 1 A01 Elizabeth Albert Elizabeth Albert 40 00bgtad15 St. John’s University 01 eng 03 00 In the fall of 2013 I curated an exhibition forSt. John’s University: Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront. The Silent Beachesproject initially grew out of the startling realization that I, a second generation New Yorker, had scant knowledge and scantier experience of our city’s 600-plus miles of coastline. I resolved to get out there, and began a series of excursions spaning the next three years. I drove and walked and some-times found I couldn’t even get close to the water—huge power plants, fenced off brown-fields, private property guarded by vicious dogs were often in my way. But what I did see was astonishing: beautiful, hideous, sad, and just weird. Every plant, every used needle, every wreck, every proud neighbor told the briny story of Oceanic New York. 30 00 In the fall of 2013 I curated an exhibition forSt. John’s University: Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront. The Silent Beachesproject initially grew out of the startling realization that I, a second generation New Yorker, had scant knowledge and scantier experience of our city’s 600-plus miles of coastline. I resolved to get out there, and began a series of excursions spaning the next three years. I drove and walked and some-times found I couldn’t even get close to the water—huge power plants, fenced off brown-fields, private property guarded by vicious dogs were often in my way. But what I did see was astonishing: beautiful, hideous, sad, and just weird. Every plant, every used needle, every wreck, every proud neighbor told the briny story of Oceanic New York. 20 00 Open Access Albert, Elizabeth 3 03 06 10.21983/P3.0112.1.03 15 26 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Miss Newtown Creek" 1 A01 Granville Ganter Granville Ganter 40 00bgtad15 St. John’s University 01 eng 03 00 Reflecting on Elizabeth Albert’s remarkableexhibit, Silent Beaches, Untold Stories, documenting the history of New York City’s waterways, I’ve been ruminating on the problem of making art out of man-made destruction. The collection is a stunning assembly of images that document the environmental consequences of New York’s commercial development over the past 200 years: vagrant workers sorting trash for barges, mountains of husked oyster shells harvested from Staten Island, and the relics of abandoned factories on the poisoned waters of the Gowanus and Newtown Creeks. It is a stunning and educational glimpse into New York’s history and the strange lives and grotesque deaths that occurred on its desecrated aquatic margins. The years of research that went into Albert’s show have been refined to give any casual observer a haunting knowledge of New York City’s indus-trial past. 30 00 Reflecting on Elizabeth Albert’s remarkableexhibit, Silent Beaches, Untold Stories, documenting the history of New York City’s waterways, I’ve been ruminating on the problem of making art out of man-made destruction. The collection is a stunning assembly of images that document the environmental consequences of New York’s commercial development over the past 200 years: vagrant workers sorting trash for barges, mountains of husked oyster shells harvested from Staten Island, and the relics of abandoned factories on the poisoned waters of the Gowanus and Newtown Creeks. It is a stunning and educational glimpse into New York’s history and the strange lives and grotesque deaths that occurred on its desecrated aquatic margins. The years of research that went into Albert’s show have been refined to give any casual observer a haunting knowledge of New York City’s indus-trial past. 20 00 Open Access Ganter, Granville 4 03 06 10.21983/P3.0112.1.04 27 35 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Arctic-Oceanic New York 1 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 01 eng 03 00 In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never. 30 00 In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never In the summer of 1609, under orders from theDutch East India Company to venture north by northeast towards the Russian archipelago of Novaya Zemlya, the English navigator Henry Hudson erred: thwarted by icepack, and unwilling to return so soon to his Dutch patrons, he sailed west instead, journeying down the North American coast that his friend John Smith had described to him. Entering what we now know as New York Harbor in September 1609, he sailed up a river called the North River, a waterway that Italian explorer Giovanni da Verrazano sighted in 1524 but never. 20 00 Open Access Duckert, Lowell 5 03 06 10.21983/P3.0112.1.05 37 64 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 #bottlesNbones tales of oceanic remains 1 A01 Jamie Skye Bianco Jamie Skye Bianco 40 0190ak572 New York University 01 eng 03 00 To begin, we could talk about silica, silicates.Sand and glass. Collectible. Recyclable. Except whenthey are not. I’ll come back around this at the end.Snake and tail. 30 00 To begin, we could talk about silica, silicates.Sand and glass. Collectible. Recyclable. Except whenthey are not. I’ll come back around this at the end.Snake and tail. 20 00 Open Access Bianco, Jamie Skye 6 03 06 10.21983/P3.0112.1.06 65 72 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Groundswell 1 A01 Alison Kinney Alison Kinney 01 eng 03 00 From the audience of Oceanic New York, Imarveled at the play of art, history, and maritime and urban discovery, of erudition, imagination, and good-will. “O beauty, o handsomeness, goodness!”2 How could a coalition of activists, architects, artists, and scholars—rocks, grasses, and oysters—effluvia, flotsam, and concrete—not succeed in shoring up brighter hopes for the city? 30 00 From the audience of Oceanic New York, Imarveled at the play of art, history, and maritime and urban discovery, of erudition, imagination, and good-will. “O beauty, o handsomeness, goodness!”2 How could a coalition of activists, architects, artists, and scholars—rocks, grasses, and oysters—effluvia, flotsam, and concrete—not succeed in shoring up brighter hopes for the city? 20 00 Open Access Kinney, Alison 7 03 06 10.21983/P3.0112.1.07 73 77 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 City in the Sea 1 A01 Bailey Robertson Bailey Robertson 40 00bgtad15 St. John’s University 01 eng 03 00 I was born and raised in Long Beach, New York,whose motto in Latin, “Civitas ad Mare,” means “City by the Sea.” More commonly printed on tee-shirts, coffee cups, and door mats, however, is a kind of second unoffi-cial motto: “Life’s a Beach.” While I realize this phrase is not particular to the trinkets of my hometown’s novelty shops, I have begun to wonder about the appropriateness of these words to certain aspects of life here, considering the recent history of Long Beach. Two consecutive years, 2011 and 2012, our shores, as well as those of nearby beaches, were battered by hurricanes Irene and Sandy. “Life’s a Beach” seems to be adapting new possibilities for interpretation, as storm events become more frequent and severe. 30 00 I was born and raised in Long Beach, New York,whose motto in Latin, “Civitas ad Mare,” means “City by the Sea.” More commonly printed on tee-shirts, coffee cups, and door mats, however, is a kind of second unoffi-cial motto: “Life’s a Beach.” While I realize this phrase is not particular to the trinkets of my hometown’s novelty shops, I have begun to wonder about the appropriateness of these words to certain aspects of life here, considering the recent history of Long Beach. Two consecutive years, 2011 and 2012, our shores, as well as those of nearby beaches, were battered by hurricanes Irene and Sandy. “Life’s a Beach” seems to be adapting new possibilities for interpretation, as storm events become more frequent and severe. 20 00 Open Access Robertson, Bailey 8 03 06 10.21983/P3.0112.1.08 79 91 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Insensate Oysters and Our Nonconsensual Existence 1 A01 21 0000000324259407 Karl Steel Karl Steel 40 019k4jq75 Brooklyn College 40 00awd9g61 The Graduate Center, CUNY 01 eng 03 00 The earliest version of this paper, deliveredat the Oceanic New York symposium, tried to change the way people normally write about oysters. Oyster books love to talk about pearls and Chesapeake Bay’s oyster war; they love how oyster middens chart the passage not of cavemen but of “covemen,” who followed the beds of oysters around coasts in a kind of gustatory cartogra-phy.2 These same writers happily accept the oyster’s fleshy invitation to aphrodisiacal excess. And when they look to New York City, they love to mourn the loss of its oyster beds, closed by pollution and over-harvesting, perhaps for good, in 1927, once home to trillions of the creatures, a seedbed for nostalgia for the grittier appetites of New York’s presumably populist past.3 I asked us to remember the oyster itself by remembering its shell, calcium carbon-ate, particularly important now to offset the increasing acidification of the oceans; likewise, I asked that we appreciate how prodigiously a living oyster filters water. What they ingest and don’t eat, oysters eject as pseudofeces, which, coated in mucous, fall to the ocean floor to be processed by anoxic bacteria. The cleaner, deacidified water oysters leave behind is what just about everything else needs to live. I wanted us to look to projects to use bring oysters back to New York, like the architect Kate Orff ’s call for “oystertecture,” an “invertebrate architecture” to help abate the force of hurricanes, to keep New York City safe from our future’s inevitable Sandies. 30 00 The earliest version of this paper, deliveredat the Oceanic New York symposium, tried to change the way people normally write about oysters. Oyster books love to talk about pearls and Chesapeake Bay’s oyster war; they love how oyster middens chart the passage not of cavemen but of “covemen,” who followed the beds of oysters around coasts in a kind of gustatory cartogra-phy.2 These same writers happily accept the oyster’s fleshy invitation to aphrodisiacal excess. And when they look to New York City, they love to mourn the loss of its oyster beds, closed by pollution and over-harvesting, perhaps for good, in 1927, once home to trillions of the creatures, a seedbed for nostalgia for the grittier appetites of New York’s presumably populist past.3 I asked us to remember the oyster itself by remembering its shell, calcium carbon-ate, particularly important now to offset the increasing acidification of the oceans; likewise, I asked that we appreciate how prodigiously a living oyster filters water. What they ingest and don’t eat, oysters eject as pseudofeces, which, coated in mucous, fall to the ocean floor to be processed by anoxic bacteria. The cleaner, deacidified water oysters leave behind is what just about everything else needs to live. I wanted us to look to projects to use bring oysters back to New York, like the architect Kate Orff ’s call for “oystertecture,” an “invertebrate architecture” to help abate the force of hurricanes, to keep New York City safe from our future’s inevitable Sandies. 20 00 Open Access Steel, Karl 9 03 06 10.21983/P3.0112.1.09 93 99 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Super Ocean 64 1 A01 Matt Zazzarino Matt Zazzarino 40 011xz5b94 Emerson College 01 eng 03 00 Once, when my family was still living inQueens and I was still counting my age with the fingers on one hand, an older cousin gave me a stack of unwanted Sega Genesis games at a Christmas Eve party. Ten or twelve games total, but the only one that mattered was the boxless promotional copy of Sonic the Hedgehog at the top of the pile. At the time, I couldn’t get enough of Sonic, Sega’s “edgy” new mascot, their answer to Nintendo’s Mario—I read the monthly comic books, I watched both animated series, I had coloring books and pajamas and action figures, and of course, I played the video games. But there were other kids at the party that night whose parents were depending on the Sega to keep occupied, and although I didn’t understand how anyone could tire of watching me ace zone after zone of Sonic, majority rule won out and we started making our way through the other games I’d been given: Ninja Turtles was fun, but repetitive; none of us could navigate the playbook in Madden 94; making sense of Toejam & Earl required access to certain psychotropic drugs, the existence of which we were still too innocent to know. 30 00 Once, when my family was still living inQueens and I was still counting my age with the fingers on one hand, an older cousin gave me a stack of unwanted Sega Genesis games at a Christmas Eve party. Ten or twelve games total, but the only one that mattered was the boxless promotional copy of Sonic the Hedgehog at the top of the pile. At the time, I couldn’t get enough of Sonic, Sega’s “edgy” new mascot, their answer to Nintendo’s Mario—I read the monthly comic books, I watched both animated series, I had coloring books and pajamas and action figures, and of course, I played the video games. But there were other kids at the party that night whose parents were depending on the Sega to keep occupied, and although I didn’t understand how anyone could tire of watching me ace zone after zone of Sonic, majority rule won out and we started making our way through the other games I’d been given: Ninja Turtles was fun, but repetitive; none of us could navigate the playbook in Madden 94; making sense of Toejam & Earl required access to certain psychotropic drugs, the existence of which we were still too innocent to know. 20 00 Open Access Zazzarino, Matt 10 03 06 10.21983/P3.0112.1.10 101 111 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Short History of the Hudsonian Ice Age 1 A01 Nancy Nowacek Nancy Nowacek 2 A01 Lowell Duckert Lowell Duckert 40 011vxgd24 West Virginia University 40 01sbq1a82 University of Delaware 01 eng 03 00 Going back to a river’s beginning is not topinpoint its source—it is to begin (again). Time may flow, but a river always escapes the trappings of chronology. Riparian time emphasizes riptides, eddies, and turbulent zones over lines, origins, and laminar points.(All we know are these confluences: Skype chats and emails; poetry and bridge sections; rivers and tides; bendable and multipliable time. Data streams, hover-craft, “Hudson,” Muhheakantuck.)How do we understand a body of water without our own—in it, with it, through it? What will be the stuff of this day’s bridges—of space, time, conversation, question and experi-ence— enlisted to build tomorrow’s? Does the water outside my window know that I’m watching it, wondering where it will go next? Will it love as it is loved? 30 00 Going back to a river’s beginning is not topinpoint its source—it is to begin (again). Time may flow, but a river always escapes the trappings of chronology. Riparian time emphasizes riptides, eddies, and turbulent zones over lines, origins, and laminar points.(All we know are these confluences: Skype chats and emails; poetry and bridge sections; rivers and tides; bendable and multipliable time. Data streams, hover-craft, “Hudson,” Muhheakantuck.)How do we understand a body of water without our own—in it, with it, through it? What will be the stuff of this day’s bridges—of space, time, conversation, question and experi-ence— enlisted to build tomorrow’s? Does the water outside my window know that I’m watching it, wondering where it will go next? Will it love as it is loved? 20 00 Open Access Nowacek, Nancy Duckert, Lowell 11 03 06 10.21983/P3.0112.1.11 113 120 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wages of Water 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 01 eng 03 00 This fragment has two parts. The first splashesthrough the Hudson River one early morning in September 2013. The second took place that same fall, on the Monday before Thanksgiving, inside the canal of my left ear.In diving into the “wages” of water I’m not suggesting that the world ocean owes us anything. Nor really the opposite, that we owe the great waters a globe without plas-tic, or with less carbon, much as I love such fanciful ideas. (To clarify: we are heading for a lower-carbon future. The question is whether we’ll burn all the coal and oil in the ground before we get there. That’s what will determine the shape of our catastrophic future.) The wages I’m talking in this case about are personal. Not an ocean inside, though part of this story takes place inside my body. What I’m writing about is salt on skin, the feel and pressure of the world ocean on a fragile individual body, in this case mine. How does it feel, I ask, to touch the hyperobject? 30 00 This fragment has two parts. The first splashesthrough the Hudson River one early morning in September 2013. The second took place that same fall, on the Monday before Thanksgiving, inside the canal of my left ear.In diving into the “wages” of water I’m not suggesting that the world ocean owes us anything. Nor really the opposite, that we owe the great waters a globe without plas-tic, or with less carbon, much as I love such fanciful ideas. (To clarify: we are heading for a lower-carbon future. The question is whether we’ll burn all the coal and oil in the ground before we get there. That’s what will determine the shape of our catastrophic future.) The wages I’m talking in this case about are personal. Not an ocean inside, though part of this story takes place inside my body. What I’m writing about is salt on skin, the feel and pressure of the world ocean on a fragile individual body, in this case mine. How does it feel, I ask, to touch the hyperobject? 20 00 Open Access Mentz, Steve 12 03 06 10.21983/P3.0112.1.12 123 129 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Instructions In Case of Immersion 1 A01 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 2 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 01 eng 03 00 The second selection of nine essays opens upflooded streets to global connections.Steve Mentz and Marina Zurkow conspireon instructions for flooded cities.Jeffrey Jerome Cohen revealsthe sea’s conveying motions.Allan Mitchell plunges downinto oceanic and poetic forms.Dean Kritikos invites Jean-Paul Sartreand TimothyMorton to visithis hometown of New York City.Anne Harris values depth, uncertainty, and disaster.Julie Orlemanski explores what it would take to move from tourism to activism. Jonathan Hsy slides intothe watery basis of language and metaphor. Nancy Nowacek narratesher epic story ofbridging Buttermilk Channel.Jeffrey Jerome Cohen and Allan Mitchell exchange dispatches about the ocean from opposite sidesof a continent. 30 00 The second selection of nine essays opens upflooded streets to global connections.Steve Mentz and Marina Zurkow conspireon instructions for flooded cities.Jeffrey Jerome Cohen revealsthe sea’s conveying motions.Allan Mitchell plunges downinto oceanic and poetic forms.Dean Kritikos invites Jean-Paul Sartreand TimothyMorton to visithis hometown of New York City.Anne Harris values depth, uncertainty, and disaster.Julie Orlemanski explores what it would take to move from tourism to activism. Jonathan Hsy slides intothe watery basis of language and metaphor. Nancy Nowacek narratesher epic story ofbridging Buttermilk Channel.Jeffrey Jerome Cohen and Allan Mitchell exchange dispatches about the ocean from opposite sidesof a continent. 20 00 Open Access Mentz, Steve Zurkow, Marina 13 03 06 10.21983/P3.0112.1.13 131 141 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Sea is a Conveyance-Machine 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 There came over them the hosts of Portugalto destroy and to exterminate all that is called Israel, children and women in one day.”1 So wrote Isaac Aboab in the first Hebrew poem of the Americas, around 1649. Aboab composed this text in Recife, destined to become a city of Brazil but at the time capital of a fleeting entity called Nieuw-Holland. The port was under siege by the Portuguese, determined to destroy the Jewish commu-nity sheltered there. Born to Marranos fleeing religious persecution, Isaac Aboab and his family had dwelled for a while in France, practicing a reclaimed Judaism. To avoid forced return to Christianity their community migrated to Amsterdam, and then to South America, and to peril. 30 00 There came over them the hosts of Portugalto destroy and to exterminate all that is called Israel, children and women in one day.”1 So wrote Isaac Aboab in the first Hebrew poem of the Americas, around 1649. Aboab composed this text in Recife, destined to become a city of Brazil but at the time capital of a fleeting entity called Nieuw-Holland. The port was under siege by the Portuguese, determined to destroy the Jewish commu-nity sheltered there. Born to Marranos fleeing religious persecution, Isaac Aboab and his family had dwelled for a while in France, practicing a reclaimed Judaism. To avoid forced return to Christianity their community migrated to Amsterdam, and then to South America, and to peril. 20 00 Open Access Cohen, Jeffrey Jerome 14 03 06 10.21983/P3.0112.1.14 143 147 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nice Soundings 1 A01 Allan Mitchell Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 Dredging up the tangled, toxic, ruinedhistories of nearby estuaries, Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront stands as a powerful rebuttal to the giddy industrial sublime of Hart Crane’s The Bridge. Crane repudiated the pessimism of Eliot’s The Waste Land, and erected an American epic in its place. But perhaps he was drowning not waving. 30 00 Dredging up the tangled, toxic, ruinedhistories of nearby estuaries, Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront stands as a powerful rebuttal to the giddy industrial sublime of Hart Crane’s The Bridge. Crane repudiated the pessimism of Eliot’s The Waste Land, and erected an American epic in its place. But perhaps he was drowning not waving. 20 00 Open Access Mitchell, Allan 15 03 06 10.21983/P3.0112.1.15 149 157 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 New York, Oceanic City 1 A01 Dean Kritikos Dean Kritikos 40 00bgtad15 St. John’s University 01 eng 03 00 A dam is Nature andso is a damnskyscraper.The hues youthought were Greyare variations on a theme of Green 30 00 A dam is Nature andso is a damnskyscraper.The hues youthought were Greyare variations on a theme of Green 20 00 Open Access Kritikos, Dean 16 03 06 10.21983/P3.0112.1.16 159 167 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oceanic Valuation 1 A01 Anne Harris Anne Harris 40 02mks6v46 DePauw University 01 eng 03 00 A qui appartiendra cebriz?” screechesPanurge as the tempest-tossed ship he clings to heaves and groans towards becoming a wreck.1 To whom does a shipwreck belong? It belongs to the sea: the word is a woeful concession to the mismatch between oceanic power and human hopes and goods.2 “Shipwreck” belongs to its investors: it is also the word that activates and justifies the claims of insurance, that human attempt to negotiate (with) loss. Torn between possession and dispos-session, the shipwreck manifests the struggle to account for things.3Torn asunder, the shipwreck multiplies categories of value. In asking about the reversals of fortune the ocean exacts in its shipwrecks, Panurge’s question insists on the troublesome operations of oceanic valuation: the traumatic ways in which the ocean provokes humans to value things. 30 00 A qui appartiendra cebriz?” screechesPanurge as the tempest-tossed ship he clings to heaves and groans towards becoming a wreck.1 To whom does a shipwreck belong? It belongs to the sea: the word is a woeful concession to the mismatch between oceanic power and human hopes and goods.2 “Shipwreck” belongs to its investors: it is also the word that activates and justifies the claims of insurance, that human attempt to negotiate (with) loss. Torn between possession and dispos-session, the shipwreck manifests the struggle to account for things.3Torn asunder, the shipwreck multiplies categories of value. In asking about the reversals of fortune the ocean exacts in its shipwrecks, Panurge’s question insists on the troublesome operations of oceanic valuation: the traumatic ways in which the ocean provokes humans to value things. 20 00 Open Access Harris, Anne 17 03 06 10.21983/P3.0112.1.17 169 175 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tourism, Experience, Knowledge, Action 1 A01 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 01 eng 03 00 For the better part of a decade, I’ve been acoast-dweller. I spent quite a few years in Boston, historied port city, and at the time of writing I live in Los Angeles, where my weekends are in darting back and forth across the Pacific Coast Highway, between mountains and surf. But this September [2014] I’ll be moving to Chicago—a city, rumor has it, at some distance from the sea. Which is to say: I’m anticipating my imminent return to a primarily touristic mode of encountering the ocean. Soon enough, a week or two in the summertime will be my standard span for luxuriating in that oceanic feeling. But this is after all how I first encountered the Atlantic as a little girl: as vacationer and holidaymaker during annual family trips to one of the barrier islands along the North Carolina coast. Holden Beach was where, for me, the vast tidal swathe kept time on grey sands and the marshes flipped and shook their vivid grass. I was a passing visitor there, but the ocean covered a huge and permanent region of my girl-soul. All year, I would anticipate walking alone down the beach with my feet in the wavelets, telling myself new myths. And again: I was a passing and transient visitor there, but it was within a permanent infrastructure that I made my wide-eyed way: a mesh of supply-chains and util-ities, bridge-buildings and dredgings, insurance schemes and invasive species, condominiums and ice-cream parlors. How does one measure the tourist’s wonder against the things that support it? What does the tourist come to know, and what does she not? 30 00 For the better part of a decade, I’ve been acoast-dweller. I spent quite a few years in Boston, historied port city, and at the time of writing I live in Los Angeles, where my weekends are in darting back and forth across the Pacific Coast Highway, between mountains and surf. But this September [2014] I’ll be moving to Chicago—a city, rumor has it, at some distance from the sea. Which is to say: I’m anticipating my imminent return to a primarily touristic mode of encountering the ocean. Soon enough, a week or two in the summertime will be my standard span for luxuriating in that oceanic feeling. But this is after all how I first encountered the Atlantic as a little girl: as vacationer and holidaymaker during annual family trips to one of the barrier islands along the North Carolina coast. Holden Beach was where, for me, the vast tidal swathe kept time on grey sands and the marshes flipped and shook their vivid grass. I was a passing visitor there, but the ocean covered a huge and permanent region of my girl-soul. All year, I would anticipate walking alone down the beach with my feet in the wavelets, telling myself new myths. And again: I was a passing and transient visitor there, but it was within a permanent infrastructure that I made my wide-eyed way: a mesh of supply-chains and util-ities, bridge-buildings and dredgings, insurance schemes and invasive species, condominiums and ice-cream parlors. How does one measure the tourist’s wonder against the things that support it? What does the tourist come to know, and what does she not? 20 00 Open Access Orlemanski, Julie 18 03 06 10.21983/P3.0112.1.18 177 185 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Watery Metaphor 1 A01 21 0000000216112440 Jonathan Hsy Jonathan Hsy 40 00y4zzh67 George Washington University 01 eng 03 00 One of most compelling aspects of OceanicN e w Yo r k was how its varied presentations aimed to explore and rethink metaphors of connectivity. The ocean is a conveyance-machine, a life-sustaining environment and agentive force in its own right, a dynamic medium/mode of transport that enacts the flow of matter, languages, and cultures. Emerging as another theme across the presentations was the idea that ocean invites us to adopt fluid modes of temporality as well. As I listened to the presentations, it became increasingly clear that thinking about the ocean requires a capacity to sustain different notions of scale concurrently. In a blog posting soon after the event Steve recalls “Nancy Nowacek’s direct statement that we must live in more than one temporal register at the same time.”1 Indeed, these presentations moved into multitemporal registers through a variety of approaches: eco-theoretical, linguistic-poetic, philosoph-ical-scientific, aesthetic-artistic, architectural-communal. 30 00 One of most compelling aspects of OceanicN e w Yo r k was how its varied presentations aimed to explore and rethink metaphors of connectivity. The ocean is a conveyance-machine, a life-sustaining environment and agentive force in its own right, a dynamic medium/mode of transport that enacts the flow of matter, languages, and cultures. Emerging as another theme across the presentations was the idea that ocean invites us to adopt fluid modes of temporality as well. As I listened to the presentations, it became increasingly clear that thinking about the ocean requires a capacity to sustain different notions of scale concurrently. In a blog posting soon after the event Steve recalls “Nancy Nowacek’s direct statement that we must live in more than one temporal register at the same time.”1 Indeed, these presentations moved into multitemporal registers through a variety of approaches: eco-theoretical, linguistic-poetic, philosoph-ical-scientific, aesthetic-artistic, architectural-communal. 20 00 Open Access Hsy, Jonathan 19 03 06 10.21983/P3.0112.1.19 187 199 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building a Bridge by Hand to Cross Buttermilk Channel on Foot 1 A01 Nancy Nowacek Nancy Nowacek 40 02z43xh36 Stevens Institute of Technology 01 eng 03 00 Walt Whitman reports the Barbarossa’spassage through Buttermilk Channel. It is a large German vessel with a draft of 28 feet. He writes an article for the Brooklyn titled, “It’s really a Channel”: “A few years ago moderate sized barks had an unhappy habit, in consort with their towboats, of going aground near the Atlantic Dock gap. There was much recrimination, a good deal of hard swearing, but there was no dispute that there was a [sand]bar in Buttermilk Chan-nel.” Whitman provides an antecedent about the Channel’s name: “the title of Buttermilk Channel is derived from the days of the Revolution when a two gun battery swept the upper bay. The colonists were not over blessed with wealth or food and the farmers drove their cows across the [sand]bar that then led to Governor’s Island. When the cows missed the low tide they had to swim home and as a result their lacteal processes resulted in sour milk. Hence Buttermilk Channel.” 30 00 Walt Whitman reports the Barbarossa’spassage through Buttermilk Channel. It is a large German vessel with a draft of 28 feet. He writes an article for the Brooklyn titled, “It’s really a Channel”: “A few years ago moderate sized barks had an unhappy habit, in consort with their towboats, of going aground near the Atlantic Dock gap. There was much recrimination, a good deal of hard swearing, but there was no dispute that there was a [sand]bar in Buttermilk Chan-nel.” Whitman provides an antecedent about the Channel’s name: “the title of Buttermilk Channel is derived from the days of the Revolution when a two gun battery swept the upper bay. The colonists were not over blessed with wealth or food and the farmers drove their cows across the [sand]bar that then led to Governor’s Island. When the cows missed the low tide they had to swim home and as a result their lacteal processes resulted in sour milk. Hence Buttermilk Channel.” 20 00 Open Access Nowacek, Nancy 20 03 06 10.21983/P3.0112.1.20 201 208 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Oceanic Dispatches 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 2 A01 Allan Mitchell Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 Iam landlocked anddreaming of the sea.Born near the coast, companioned by storms and swells, I’ve grown weary of summer thundershowers, puddles, brooks that purl, the mud under gutters, water without brine. I miss the ocean’s tang, touch and din. The Atlantic has a language even cloudbursts cannot translate. Not knowing how else to capture something marine, this morning I added sea salt to a milk glass and filled it from the tap. Into my kitchen sea I dropped a stone and scallop shell. Speckled granite plaything of the waves, the rock is round like an egg. I am guessing that breakers rolled it longer than Maine’s shores have known human trace. The shell is much younger, and in a few years would have been sand. Both are stones, really: it’s just that one shows its creatureliness better. Both are intimates of pelagic tang, touch and din. I enclose with this message a dry picture. It conveys little of sense. 30 00 Iam landlocked anddreaming of the sea.Born near the coast, companioned by storms and swells, I’ve grown weary of summer thundershowers, puddles, brooks that purl, the mud under gutters, water without brine. I miss the ocean’s tang, touch and din. The Atlantic has a language even cloudbursts cannot translate. Not knowing how else to capture something marine, this morning I added sea salt to a milk glass and filled it from the tap. Into my kitchen sea I dropped a stone and scallop shell. Speckled granite plaything of the waves, the rock is round like an egg. I am guessing that breakers rolled it longer than Maine’s shores have known human trace. The shell is much younger, and in a few years would have been sand. Both are stones, really: it’s just that one shows its creatureliness better. Both are intimates of pelagic tang, touch and din. I enclose with this message a dry picture. It conveys little of sense. 20 00 Open Access Cohen, Jeffrey Jerome Mitchell, Allan 21 03 06 10.21983/P3.0112.1.21 211 227 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 000000027118798X Steve Mentz Steve Mentz 40 00wyq5s37 St John's University 01 eng 03 00 These four poems end this book as theygesture toward still-unnarrated waters. The poems ask what bodies learn from their encounters with Ocean. They are part of a larger project that explores swimming as an aesthetic practice for our age of ecological catastrophe.The poems respond to this photograph by Vanessa Daws, a Dublin-based visual artist. The image was taken during “Lambay Swim,” a collaborative journey made by the swimmers of Low Rock on 17th June 2014. 30 00 These four poems end this book as theygesture toward still-unnarrated waters. The poems ask what bodies learn from their encounters with Ocean. They are part of a larger project that explores swimming as an aesthetic practice for our age of ecological catastrophe.The poems respond to this photograph by Vanessa Daws, a Dublin-based visual artist. The image was taken during “Lambay Swim,” a collaborative journey made by the swimmers of Low Rock on 17th June 2014. 20 00 Open Access Mentz, Steve 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/oceanic-new-york/ Brooklyn, NY 04 01 20150918 Mentz, Steve 02 WORLD 06 15 9780692496916 03 9780692496916 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76487 20 08 20150918 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25512 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25512/1004583.pdf?sequence=1&isAllowed=y 20 08 20150918 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30390 20 08 20150918 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353827 20 08 20150918 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/495 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f2e1c4b7-37f6-492f-9431-3ec33ca8c5ac/download 20 08 20150918 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/895b271b-6669-43cc-842d-3f92a39fd463 29 INTERNET_ARCHIVE: download the title https://archive.org/download/895b271b-6669-43cc-842d-3f92a39fd463/895b271b-6669-43cc-842d-3f92a39fd463.pdf 20 08 20150918 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824291 29 ZENODO: download the title https://zenodo.org/records/19824291/files/895b271b-6669-43cc-842d-3f92a39fd463_book.pdf 20 08 20150918 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/oceanic-new-york/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0112.1.00.pdf 20 08 20150918 01 urn:uuid:d39ccff4-5eac-485f-9583-438084c5d8ee 03 01 01 thoth-work-id urn:uuid:a8bf3374-f153-460d-902a-adea7f41d7c7 01 thoth-publication-id urn:uuid:d39ccff4-5eac-485f-9583-438084c5d8ee 15 9781953035226 03 9781953035226 06 10.21983/P3.0354.1.00 13 2020950250 01 internal-reference 0354 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Œ Case Files, Vol. 01 1 B01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 01nrxwf90 University of Edinburgh 01 eng 00 302 03 12 AMA 93 AMA 10 ARC001000 B2 Art+Aesthetics 12 AMCR 93 AMCR B2 Built Environments B2 Media+Technology 20 Soft architecture; neurodiversity; synaesthesia; monstrosity; embodiment; ecological design; software; prototyping; experimental architecture; design theory; prosthesis; philosophy; animal architecture; atmosphere; speculative design; living technology; internet-of-things; Anthropocene; post-human scenography; augmented reality. 01 06 02 00 03 00 Over the past ten years, Organs Everywhere (Œ) has promoted conversations that approach architectural design from the edges of the discipline — testing its boundaries, technologies, methods and (e)valuation systems, and keeping them unstable. It has valued transdisciplinary, speculative and irreverent explorations over strict publishing formats and academic purity, promoting a profanatory and open-ended ethos.Each issue has strung together disparate organs and limbs, activating precarious couplings and associations, and testing new metabolisms and assemblages. And so does the first volume of Œ Case Files continue its commitment to the making and unmaking of monsters, both by anthologising past contributions into fresh configurations and designs, and by combining them with entirely new articles and voices. Here, philosophers, designers, experimental architects, artists, science fiction writers, activists, and poets shift, expand and re-imagine notions of space, time, inhabitation, technology, knowledge, use, value and experience. A patchwork of essays, stories, design experiments, buildings, art installations, drawings, prose poems, photographs and speculative projects collide in the book, infecting simple disciplinary orthodoxies with doubt and potentials, uncertainty and hope — indecisive photons and softness; metatactility and haunted houses; neurodiversity and protocells; prosthetics, grease and darkness; post-human scenographies, software and GPS anklets; anthropocenic devices, paprika and synthetic biology. 30 00 Over the past ten years, Organs Everywhere (Œ) has promoted conversations that approach architectural design from the edges of the discipline — testing its boundaries, technologies, methods and (e)valuation systems, and keeping them unstable. It has valued transdisciplinary, speculative and irreverent explorations over strict publishing formats and academic purity, promoting a profanatory and open-ended ethos.Each issue has strung together disparate organs and limbs, activating precarious couplings and associations, and testing new metabolisms and assemblages. And so does the first volume of Œ Case Files continue its commitment to the making and unmaking of monsters, both by anthologising past contributions into fresh configurations and designs, and by combining them with entirely new articles and voices. Here, philosophers, designers, experimental architects, artists, science fiction writers, activists, and poets shift, expand and re-imagine notions of space, time, inhabitation, technology, knowledge, use, value and experience. A patchwork of essays, stories, design experiments, buildings, art installations, drawings, prose poems, photographs and speculative projects collide in the book, infecting simple disciplinary orthodoxies with doubt and potentials, uncertainty and hope — indecisive photons and softness; metatactility and haunted houses; neurodiversity and protocells; prosthetics, grease and darkness; post-human scenographies, software and GPS anklets; anthropocenic devices, paprika and synthetic biology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0354.1.00_frontcover.jpg 1 03 06 10.53288/0354.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 01nrxwf90 University of Edinburgh 01 eng 20 00 Open Access 2 03 06 10.53288/0354.1.02 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Architecture as Moving Boundaries 1 A01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 01nrxwf90 University of Edinburgh 01 eng 20 00 Open Access Simone Ferracina 3 03 06 10.53288/0354.1.03 8 21 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Turning into the Night Embodied, Expansive Practices for Inhabiting Earth’s SpinTilt 1 A01 smudge studio Smudge studio 40 02tvcev59 New School 40 02cmz8k74 Parsons School of Design 01 eng 20 00 Open Access smudge studio 4 03 06 10.53288/0354.1.04 23 41 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modern Lovers 1 A01 Stuart Munro Stuart Munro 06 Own website https://www.stuartmunro.net/ 01 eng 20 00 Open Access Stuart Munro 5 03 06 10.53288/0354.1.05 42 93 52 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Not at a Distance On Touch, Synesthesia, and Other Ways of Knowing 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 20 00 Open Access Erin Manning 6 03 06 10.53288/0354.1.06 94 106 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Brick Dialogues (extract) 1 A01 21 0000000219112745 Rolf Hughes Rolf Hughes 40 05f950310 KU Leuven 01 eng 20 00 Open Access Rolf Hughes 7 03 06 10.53288/0354.1.07 107 121 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liquid 1 A01 21 0000000235166815 Rachel Armstrong Rachel Armstrong 40 01kj2bm70 Newcastle University 01 eng 20 00 Open Access Rachel Armstrong 8 03 06 10.53288/0354.1.08 122 135 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 I Want to Live inside This Monster Haunted Houses and Ecological Design 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 20 00 Open Access Ben Woodard 9 03 06 10.53288/0354.1.09 136 159 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Weatherizing: 13178 Moran Street. Detached Garage. Detroit, 2010. 1 A01 21 0000000337374770 Catie Newell Catie Newell 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Catie Newell 10 03 06 10.53288/0354.1.10 160 173 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hacking Light 1 A01 Zenovia Toloudi Zenovia Toloudi 40 049s0rh22 Dartmouth College 01 eng 20 00 Open Access Zenovia Toloudi 11 03 06 10.53288/0354.1.11 174 187 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Orchestrating the Edge On Schizophrenic Points and Indecisive Photons 1 A01 Thomas Pearce Thomas Pearce 40 02jx3x895 University College London 01 eng 20 00 Open Access Thomas Pearce 12 03 06 10.53288/0354.1.12 189 209 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Geomorphology of Cyborgian Geography 1 A01 Neil Spiller Neil Spiller 40 00bmj0a71 University of Greenwich 01 eng 20 00 Open Access Neil Spiller 13 03 06 10.53288/0354.1.13 210 211 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Prosthetic Parliament 1 A01 Greg Barton Greg Barton 40 00hj8s172 Columbia University 01 eng 20 00 Open Access Greg Barton 14 03 06 10.53288/0354.1.14 212 237 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Scan Prototypes for a Post-Human Sceenography 1 A01 Bob Sheil Bob Sheil 40 02jx3x895 University College London 2 A01 Thomas Pearce Thomas Pearce 40 02jx3x895 University College London 01 eng 20 00 Open Access Bob Sheil Thomas Pearce 15 03 06 10.53288/0354.1.15 238 251 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alessandro de Francesco Augmented Writing 1 A01 21 0000000216141997 Brunella Antomarini Brunella Antomarini 40 01fjdq469 John Cabot University 01 eng 20 00 Open Access Brunella Antomarini 16 03 06 10.53288/0354.1.16 252 258 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Software Is the Message 1 A01 21 0000000306677584 Lev Manovich Lev Manovich 40 00awd9g61 The Graduate Center, CUNY 01 eng 20 00 Open Access Lev Manovich 17 03 06 10.53288/0354.1.17 260 271 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Keep Calm and Be Counted: Electronic Monitoring’s Evolving Effects across Scales of Time and Space 1 A01 Jordan Geiger Jordan Geiger 2 A01 Raphael Sperry Raphael Sperry 40 01mmcf932 California College of the Arts 01 eng 20 00 Open Access Jordan Geiger Raphael Sperry 18 03 06 10.53288/0354.1.18 272 283 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Living Prosthesis: Limits of Human Bearability 1 A01 Ling Tan Ling Tan 06 Own website http://lingql.com/ 01 eng 20 00 Open Access Ling Tan 19 03 06 10.53288/0354.1.19 284 289 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Prototypes for a Shifting Baseline 1 A01 Miriam Simun Miriam Simun 40 042nb2s44 Massachusetts Institute of Technology 01 eng 20 00 Open Access Miriam Simun 20 03 06 10.53288/0354.1.20 290 297 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zoological Laboratory: Redux 1 A01 Joyce Hwang Joyce Hwang 40 01y64my43 University at Buffalo, State University of New York 01 eng 20 00 Open Access Joyce Hwang 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/oe-case-files-vol-1/ Earth, Milky Way 04 01 20210513 Ferracina, Simone (0000-0001-7533-6471) 02 WORLD 06 15 9781953035233 03 9781953035233 34 06 10.1023/B:JADD.0000018076.90715.00 34 06 10.1371/journal.pone.0160543 34 06 10.1023/B:JADD.0000018076.90715.00 34 06 10.3389/fnhum.2014.00256 34 06 10.3389/fpsyg.2015.01497 34 06 10.1016/j.cedpsych.2018.06.004 34 06 10.1080/09647040802431946 34 06 10.1016/j.neuropsychologia.2013.01.020 34 06 10.1016/j.neubiorev.2012.11.016 34 06 10.1007/s10803-005-0040-7 34 06 10.18061/dsq.v30i1.1056 34 06 10.1515/9783110403732 34 06 10.1086/345321 34 06 10.1177/0263276406069232 34 06 10.14324/111.9781787357167 34 06 10.1177/1470357206065527 34 06 10.1002/ad.1162.D 34 06 10.1038/500130a 34 06 10.1126/science.1065780 34 06 10.1126/science.295.5554.419b 34 06 10.1109/ROBOT.2005.1570440 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035221 20 08 20210513 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/a-case-files-vol-01 20 08 20210513 02 28.00 USD WORLD urn:uuid:b7f32b2d-53a6-482a-b243-7b2bdf2f3fc2 03 01 01 thoth-work-id urn:uuid:a8bf3374-f153-460d-902a-adea7f41d7c7 01 thoth-publication-id urn:uuid:b7f32b2d-53a6-482a-b243-7b2bdf2f3fc2 15 9781953035233 03 9781953035233 06 10.21983/P3.0354.1.00 13 2020950250 01 internal-reference 0354 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Œ Case Files, Vol. 01 1 B01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 01nrxwf90 University of Edinburgh 01 eng 00 302 03 12 AMA 93 AMA 10 ARC001000 B2 Art+Aesthetics 12 AMCR 93 AMCR B2 Built Environments B2 Media+Technology 20 Soft architecture; neurodiversity; synaesthesia; monstrosity; embodiment; ecological design; software; prototyping; experimental architecture; design theory; prosthesis; philosophy; animal architecture; atmosphere; speculative design; living technology; internet-of-things; Anthropocene; post-human scenography; augmented reality. 01 06 02 00 03 00 Over the past ten years, Organs Everywhere (Œ) has promoted conversations that approach architectural design from the edges of the discipline — testing its boundaries, technologies, methods and (e)valuation systems, and keeping them unstable. It has valued transdisciplinary, speculative and irreverent explorations over strict publishing formats and academic purity, promoting a profanatory and open-ended ethos.Each issue has strung together disparate organs and limbs, activating precarious couplings and associations, and testing new metabolisms and assemblages. And so does the first volume of Œ Case Files continue its commitment to the making and unmaking of monsters, both by anthologising past contributions into fresh configurations and designs, and by combining them with entirely new articles and voices. Here, philosophers, designers, experimental architects, artists, science fiction writers, activists, and poets shift, expand and re-imagine notions of space, time, inhabitation, technology, knowledge, use, value and experience. A patchwork of essays, stories, design experiments, buildings, art installations, drawings, prose poems, photographs and speculative projects collide in the book, infecting simple disciplinary orthodoxies with doubt and potentials, uncertainty and hope — indecisive photons and softness; metatactility and haunted houses; neurodiversity and protocells; prosthetics, grease and darkness; post-human scenographies, software and GPS anklets; anthropocenic devices, paprika and synthetic biology. 30 00 Over the past ten years, Organs Everywhere (Œ) has promoted conversations that approach architectural design from the edges of the discipline — testing its boundaries, technologies, methods and (e)valuation systems, and keeping them unstable. It has valued transdisciplinary, speculative and irreverent explorations over strict publishing formats and academic purity, promoting a profanatory and open-ended ethos.Each issue has strung together disparate organs and limbs, activating precarious couplings and associations, and testing new metabolisms and assemblages. And so does the first volume of Œ Case Files continue its commitment to the making and unmaking of monsters, both by anthologising past contributions into fresh configurations and designs, and by combining them with entirely new articles and voices. Here, philosophers, designers, experimental architects, artists, science fiction writers, activists, and poets shift, expand and re-imagine notions of space, time, inhabitation, technology, knowledge, use, value and experience. A patchwork of essays, stories, design experiments, buildings, art installations, drawings, prose poems, photographs and speculative projects collide in the book, infecting simple disciplinary orthodoxies with doubt and potentials, uncertainty and hope — indecisive photons and softness; metatactility and haunted houses; neurodiversity and protocells; prosthetics, grease and darkness; post-human scenographies, software and GPS anklets; anthropocenic devices, paprika and synthetic biology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0354.1.00_frontcover.jpg 1 03 06 10.53288/0354.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 01nrxwf90 University of Edinburgh 01 eng 20 00 Open Access 2 03 06 10.53288/0354.1.02 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Architecture as Moving Boundaries 1 A01 21 0000000175336471 Simone Ferracina Simone Ferracina 40 01nrxwf90 University of Edinburgh 01 eng 20 00 Open Access Simone Ferracina 3 03 06 10.53288/0354.1.03 8 21 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Turning into the Night Embodied, Expansive Practices for Inhabiting Earth’s SpinTilt 1 A01 smudge studio Smudge studio 40 02tvcev59 New School 40 02cmz8k74 Parsons School of Design 01 eng 20 00 Open Access smudge studio 4 03 06 10.53288/0354.1.04 23 41 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modern Lovers 1 A01 Stuart Munro Stuart Munro 06 Own website https://www.stuartmunro.net/ 01 eng 20 00 Open Access Stuart Munro 5 03 06 10.53288/0354.1.05 42 93 52 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Not at a Distance On Touch, Synesthesia, and Other Ways of Knowing 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 20 00 Open Access Erin Manning 6 03 06 10.53288/0354.1.06 94 106 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Brick Dialogues (extract) 1 A01 21 0000000219112745 Rolf Hughes Rolf Hughes 40 05f950310 KU Leuven 01 eng 20 00 Open Access Rolf Hughes 7 03 06 10.53288/0354.1.07 107 121 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liquid 1 A01 21 0000000235166815 Rachel Armstrong Rachel Armstrong 40 01kj2bm70 Newcastle University 01 eng 20 00 Open Access Rachel Armstrong 8 03 06 10.53288/0354.1.08 122 135 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 I Want to Live inside This Monster Haunted Houses and Ecological Design 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 20 00 Open Access Ben Woodard 9 03 06 10.53288/0354.1.09 136 159 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Weatherizing: 13178 Moran Street. Detached Garage. Detroit, 2010. 1 A01 21 0000000337374770 Catie Newell Catie Newell 40 00jmfr291 University of Michigan–Ann Arbor 01 eng 20 00 Open Access Catie Newell 10 03 06 10.53288/0354.1.10 160 173 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hacking Light 1 A01 Zenovia Toloudi Zenovia Toloudi 40 049s0rh22 Dartmouth College 01 eng 20 00 Open Access Zenovia Toloudi 11 03 06 10.53288/0354.1.11 174 187 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Orchestrating the Edge On Schizophrenic Points and Indecisive Photons 1 A01 Thomas Pearce Thomas Pearce 40 02jx3x895 University College London 01 eng 20 00 Open Access Thomas Pearce 12 03 06 10.53288/0354.1.12 189 209 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Geomorphology of Cyborgian Geography 1 A01 Neil Spiller Neil Spiller 40 00bmj0a71 University of Greenwich 01 eng 20 00 Open Access Neil Spiller 13 03 06 10.53288/0354.1.13 210 211 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Prosthetic Parliament 1 A01 Greg Barton Greg Barton 40 00hj8s172 Columbia University 01 eng 20 00 Open Access Greg Barton 14 03 06 10.53288/0354.1.14 212 237 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Scan Prototypes for a Post-Human Sceenography 1 A01 Bob Sheil Bob Sheil 40 02jx3x895 University College London 2 A01 Thomas Pearce Thomas Pearce 40 02jx3x895 University College London 01 eng 20 00 Open Access Bob Sheil Thomas Pearce 15 03 06 10.53288/0354.1.15 238 251 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alessandro de Francesco Augmented Writing 1 A01 21 0000000216141997 Brunella Antomarini Brunella Antomarini 40 01fjdq469 John Cabot University 01 eng 20 00 Open Access Brunella Antomarini 16 03 06 10.53288/0354.1.16 252 258 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Software Is the Message 1 A01 21 0000000306677584 Lev Manovich Lev Manovich 40 00awd9g61 The Graduate Center, CUNY 01 eng 20 00 Open Access Lev Manovich 17 03 06 10.53288/0354.1.17 260 271 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Keep Calm and Be Counted: Electronic Monitoring’s Evolving Effects across Scales of Time and Space 1 A01 Jordan Geiger Jordan Geiger 2 A01 Raphael Sperry Raphael Sperry 40 01mmcf932 California College of the Arts 01 eng 20 00 Open Access Jordan Geiger Raphael Sperry 18 03 06 10.53288/0354.1.18 272 283 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Living Prosthesis: Limits of Human Bearability 1 A01 Ling Tan Ling Tan 06 Own website http://lingql.com/ 01 eng 20 00 Open Access Ling Tan 19 03 06 10.53288/0354.1.19 284 289 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Prototypes for a Shifting Baseline 1 A01 Miriam Simun Miriam Simun 40 042nb2s44 Massachusetts Institute of Technology 01 eng 20 00 Open Access Miriam Simun 20 03 06 10.53288/0354.1.20 290 297 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zoological Laboratory: Redux 1 A01 Joyce Hwang Joyce Hwang 40 01y64my43 University at Buffalo, State University of New York 01 eng 20 00 Open Access Joyce Hwang 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/oe-case-files-vol-1/ Earth, Milky Way 04 01 20210513 Ferracina, Simone (0000-0001-7533-6471) 02 WORLD 06 15 9781953035226 03 9781953035226 34 06 10.1023/B:JADD.0000018076.90715.00 34 06 10.1371/journal.pone.0160543 34 06 10.1023/B:JADD.0000018076.90715.00 34 06 10.3389/fnhum.2014.00256 34 06 10.3389/fpsyg.2015.01497 34 06 10.1016/j.cedpsych.2018.06.004 34 06 10.1080/09647040802431946 34 06 10.1016/j.neuropsychologia.2013.01.020 34 06 10.1016/j.neubiorev.2012.11.016 34 06 10.1007/s10803-005-0040-7 34 06 10.18061/dsq.v30i1.1056 34 06 10.1515/9783110403732 34 06 10.1086/345321 34 06 10.1177/0263276406069232 34 06 10.14324/111.9781787357167 34 06 10.1177/1470357206065527 34 06 10.1002/ad.1162.D 34 06 10.1038/500130a 34 06 10.1126/science.1065780 34 06 10.1126/science.295.5554.419b 34 06 10.1109/ROBOT.2005.1570440 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/48668 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/48668/0354.1.00.pdf?sequence=1&isAllowed=y 20 08 20210513 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/69784 20 08 20210513 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354051 20 08 20210513 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/755 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0b4a8b49-ad80-44be-83bb-f9d344a14878/download 20 08 20210513 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/OE_Case_Files_Vol_01/8gWVEAAAQBAJ 20 08 20210513 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a8bf3374-f153-460d-902a-adea7f41d7c7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a8bf3374-f153-460d-902a-adea7f41d7c7/a8bf3374-f153-460d-902a-adea7f41d7c7.pdf 20 08 20210513 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848815 29 ZENODO: download the title https://zenodo.org/records/19848815/files/a8bf3374-f153-460d-902a-adea7f41d7c7_book.pdf 20 08 20210513 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/oe-case-files-vol-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0354.1.00.pdf 20 08 20210513 01 urn:uuid:2392f873-2f25-4d45-8500-d5555c77e747 03 01 01 thoth-work-id urn:uuid:30fa2ca0-d82f-4981-bf56-0481ac6c58be 01 thoth-publication-id urn:uuid:2392f873-2f25-4d45-8500-d5555c77e747 15 9781947447486 03 9781947447486 06 10.21983/P3.0195.1.00 13 2018931072 01 internal-reference 0195 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Of Great Importance 1 A01 Nachoem M. Wijnberg Nachoem M. Wijnberg 40 04dkp9463 University of Amsterdam 2 B06 David Colmer David Colmer 01 eng 00 136 03 12 DCF 93 DCF B2 Fabulations 10 POE005030 B2 Languages+Translations 20 poetry; world history; geopolitics; economics; statecraft 01 06 02 00 03 00 Of Great Importance is Nachoem Wijnberg’s 16th volume of poetry. One of the most prominent living Dutch writers, Wijnberg’s poetry is known for its deceptively plain language and his poems, according to the poet himself, can be read well by anyone who can read a newspaper.The poems in Of Great Importance engage with statecraft, economics, and world history, lyricizing taxes and debts, stocks and flows, citizenship and labor contracts, notaries and accountants, factories and strikes, freedoms and fundamental rights, banks and railroads, property rights and codes of honor, sieges and treaties, gods and generals, how to make money and how to win elections, when to declare war and when to found a new state.Wijnberg’s engagement with these and other related topics is based on his belief that economics, politics, and history — and all of the tangled relations therein, no matter how asymmetrical — concern how people live together, and his poetry is a creative form of historiography that attends to tracing the theater of an affective commonwealth, in which he builds upon the best work of those thinkers and poets who came before — including Karl Marx, John Maynard Keynes, Heinrich Heine, Czesław Miłosz, and especially C.P. Cavafy. Ultimately, Wijnberg understands that “Something important that changes the world only happens if there is a lever with a fulcrum you cannot know enough about,” and yet his poetry gorgeously illuminates this fulcrum. 30 00 Of Great Importance is Nachoem Wijnberg’s 16th volume of poetry. One of the most prominent living Dutch writers, Wijnberg’s poetry is known for its deceptively plain language and his poems, according to the poet himself, can be read well by anyone who can read a newspaper.The poems in Of Great Importance engage with statecraft, economics, and world history, lyricizing taxes and debts, stocks and flows, citizenship and labor contracts, notaries and accountants, factories and strikes, freedoms and fundamental rights, banks and railroads, property rights and codes of honor, sieges and treaties, gods and generals, how to make money and how to win elections, when to declare war and when to found a new state.Wijnberg’s engagement with these and other related topics is based on his belief that economics, politics, and history — and all of the tangled relations therein, no matter how asymmetrical — concern how people live together, and his poetry is a creative form of historiography that attends to tracing the theater of an affective commonwealth, in which he builds upon the best work of those thinkers and poets who came before — including Karl Marx, John Maynard Keynes, Heinrich Heine, Czesław Miłosz, and especially C.P. Cavafy. Ultimately, Wijnberg understands that “Something important that changes the world only happens if there is a lever with a fulcrum you cannot know enough about,” and yet his poetry gorgeously illuminates this fulcrum. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0195.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/of-great-importance/ 16 40 01xzsbn64 Dutch Foundation for Literature Earth, Milky Way 04 01 20180208 Wijnberg, Nachoem M. 02 WORLD 06 15 9781947447493 03 9781947447493 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447483 20 08 20180208 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/of-great-importance 20 08 20180208 02 22.00 USD WORLD urn:uuid:3a920a21-1b5f-477e-aa53-3989ff9ea5e1 03 01 01 thoth-work-id urn:uuid:30fa2ca0-d82f-4981-bf56-0481ac6c58be 01 thoth-publication-id urn:uuid:3a920a21-1b5f-477e-aa53-3989ff9ea5e1 15 9781947447493 03 9781947447493 06 10.21983/P3.0195.1.00 13 2018931072 01 internal-reference 0195 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Of Great Importance 1 A01 Nachoem M. Wijnberg Nachoem M. Wijnberg 40 04dkp9463 University of Amsterdam 2 B06 David Colmer David Colmer 01 eng 00 136 03 12 DCF 93 DCF B2 Fabulations 10 POE005030 B2 Languages+Translations 20 poetry; world history; geopolitics; economics; statecraft 01 06 02 00 03 00 Of Great Importance is Nachoem Wijnberg’s 16th volume of poetry. One of the most prominent living Dutch writers, Wijnberg’s poetry is known for its deceptively plain language and his poems, according to the poet himself, can be read well by anyone who can read a newspaper.The poems in Of Great Importance engage with statecraft, economics, and world history, lyricizing taxes and debts, stocks and flows, citizenship and labor contracts, notaries and accountants, factories and strikes, freedoms and fundamental rights, banks and railroads, property rights and codes of honor, sieges and treaties, gods and generals, how to make money and how to win elections, when to declare war and when to found a new state.Wijnberg’s engagement with these and other related topics is based on his belief that economics, politics, and history — and all of the tangled relations therein, no matter how asymmetrical — concern how people live together, and his poetry is a creative form of historiography that attends to tracing the theater of an affective commonwealth, in which he builds upon the best work of those thinkers and poets who came before — including Karl Marx, John Maynard Keynes, Heinrich Heine, Czesław Miłosz, and especially C.P. Cavafy. Ultimately, Wijnberg understands that “Something important that changes the world only happens if there is a lever with a fulcrum you cannot know enough about,” and yet his poetry gorgeously illuminates this fulcrum. 30 00 Of Great Importance is Nachoem Wijnberg’s 16th volume of poetry. One of the most prominent living Dutch writers, Wijnberg’s poetry is known for its deceptively plain language and his poems, according to the poet himself, can be read well by anyone who can read a newspaper.The poems in Of Great Importance engage with statecraft, economics, and world history, lyricizing taxes and debts, stocks and flows, citizenship and labor contracts, notaries and accountants, factories and strikes, freedoms and fundamental rights, banks and railroads, property rights and codes of honor, sieges and treaties, gods and generals, how to make money and how to win elections, when to declare war and when to found a new state.Wijnberg’s engagement with these and other related topics is based on his belief that economics, politics, and history — and all of the tangled relations therein, no matter how asymmetrical — concern how people live together, and his poetry is a creative form of historiography that attends to tracing the theater of an affective commonwealth, in which he builds upon the best work of those thinkers and poets who came before — including Karl Marx, John Maynard Keynes, Heinrich Heine, Czesław Miłosz, and especially C.P. Cavafy. Ultimately, Wijnberg understands that “Something important that changes the world only happens if there is a lever with a fulcrum you cannot know enough about,” and yet his poetry gorgeously illuminates this fulcrum. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0195.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/of-great-importance/ 16 40 01xzsbn64 Dutch Foundation for Literature Earth, Milky Way 04 01 20180208 Wijnberg, Nachoem M. 02 WORLD 06 15 9781947447486 03 9781947447486 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25434 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25434/1004661.pdf?sequence=1&isAllowed=y 20 08 20180208 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31332 20 08 20180208 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353958 20 08 20180208 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/577 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/166da507-13ff-459c-bff5-8f45b38789cc/download 20 08 20180208 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/30fa2ca0-d82f-4981-bf56-0481ac6c58be 29 INTERNET_ARCHIVE: download the title https://archive.org/download/30fa2ca0-d82f-4981-bf56-0481ac6c58be/30fa2ca0-d82f-4981-bf56-0481ac6c58be.pdf 20 08 20180208 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847201 29 ZENODO: download the title https://zenodo.org/records/19847201/files/30fa2ca0-d82f-4981-bf56-0481ac6c58be_book.pdf 20 08 20180208 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/of-great-importance/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0195.1.00.pdf 20 08 20180208 01 urn:uuid:f6579d0c-e962-4124-b031-ad34069e9b55 03 01 01 thoth-work-id urn:uuid:10a41381-792f-4376-bed1-3781d1b8bae7 01 thoth-publication-id urn:uuid:f6579d0c-e962-4124-b031-ad34069e9b55 15 9780615822549 03 9780615822549 06 10.21983/P3.0031.1.00 01 internal-reference 0031 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Of Learned Ignorance Idea of a Treatise in Philosophy 1 A01 Michael Munro Michael Munro 01 eng 00 58 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; Emmanuel Kant; Franz Kafka; Louis Althusser; Gilles Deleuze; Felix Guattari 01 06 02 00 03 00 What is a problem? What’s asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem—by way of its impulsion.Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem.After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze’s writing: “even when Deleuze’s prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.”)Of Learned Ignorance is a dead letter because it names a problem. It’s a dead letter because it is, cautiously, a love letter. It’s a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about — and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love — a kind of love … (of wisdom?) 30 00 What is a problem? What’s asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem—by way of its impulsion.Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem.After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze’s writing: “even when Deleuze’s prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.”)Of Learned Ignorance is a dead letter because it names a problem. It’s a dead letter because it is, cautiously, a love letter. It’s a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about — and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love — a kind of love … (of wisdom?) 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0031.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/of-learned-ignorance/ Brooklyn, NY 04 01 20130604 Munro, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615822541 20 08 20130604 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/of-learned-ignorance-idea-of-a-treatise-in-philosophy 20 08 20130604 02 21.00 USD WORLD urn:uuid:7e86f385-c8a7-45d8-b822-4dff41061ee4 03 01 01 thoth-work-id urn:uuid:10a41381-792f-4376-bed1-3781d1b8bae7 01 thoth-publication-id urn:uuid:7e86f385-c8a7-45d8-b822-4dff41061ee4 06 10.21983/P3.0031.1.00 01 internal-reference 0031 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Of Learned Ignorance Idea of a Treatise in Philosophy 1 A01 Michael Munro Michael Munro 01 eng 00 58 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; Emmanuel Kant; Franz Kafka; Louis Althusser; Gilles Deleuze; Felix Guattari 01 06 02 00 03 00 What is a problem? What’s asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem—by way of its impulsion.Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem.After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze’s writing: “even when Deleuze’s prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.”)Of Learned Ignorance is a dead letter because it names a problem. It’s a dead letter because it is, cautiously, a love letter. It’s a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about — and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love — a kind of love … (of wisdom?) 30 00 What is a problem? What’s asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem—by way of its impulsion.Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem.After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze’s writing: “even when Deleuze’s prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.”)Of Learned Ignorance is a dead letter because it names a problem. It’s a dead letter because it is, cautiously, a love letter. It’s a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about — and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love — a kind of love … (of wisdom?) 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0031.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/of-learned-ignorance/ Brooklyn, NY 04 01 20130604 Munro, Michael 02 WORLD 06 15 9780615822549 03 9780615822549 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76442 20 08 20130604 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25585 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25585/1004510.pdf?sequence=1&isAllowed=y 20 08 20130604 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30009 20 08 20130604 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353795 20 08 20130604 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/411 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ca8d9010-8c22-4264-b78c-a8d8073e66c2/download 20 08 20130604 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/10a41381-792f-4376-bed1-3781d1b8bae7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/10a41381-792f-4376-bed1-3781d1b8bae7/10a41381-792f-4376-bed1-3781d1b8bae7.pdf 20 08 20130604 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824945 29 ZENODO: download the title https://zenodo.org/records/19824945/files/10a41381-792f-4376-bed1-3781d1b8bae7_book.pdf 20 08 20130604 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/of-learned-ignorance/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0031.1.00.pdf 20 08 20130604 01 urn:uuid:ca2fdfcb-2638-407f-bd4e-884356dc2255 03 01 01 thoth-work-id urn:uuid:b43ec529-2f51-4c59-b3cb-394f3649502c 01 thoth-publication-id urn:uuid:ca2fdfcb-2638-407f-bd4e-884356dc2255 15 9781947447042 03 9781947447042 06 10.21983/P3.0174.1.00 13 2017945437 01 internal-reference 0174 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Of the Contract 1 A01 Christopher Clifton Christopher Clifton 01 eng 00 162 03 12 LAB 10 LAW021000 93 QDHR B2 Thought Experiments 93 LNCJ 93 LAB 20 legal philosophy; contract law; finance; debt; capital 01 06 02 00 03 00 Of the Contract is a version of a text that is as old as any memory, or a form of legal instrument that constitutes the basis of the world in which its terms have been translated. The text remains as open to renewal as that world remains to future alteration, and the terms are both already past, and always yet to come. The notion of the debt that is presented by the contract corresponds to a conception of accountancy and finance that provide a new approach to the contemporary problem of the sense of that external to the terms of human access. A reinterpretation of the philosophical tradition that runs through Levinas and Heidegger to Kant, Of the Contract is also grounded in the medieval tradition that was centered on the notion of “contraction,” and its writing was inspired by forms of life such as those found in the development of monastic constitutions, and the novels of knight errantry. It is also an oblique contribution to the recent discussions on the nature of debt, and is deeply marked by an awareness of climate change, and the insufficiencies of capital to overcome this crisis.All of these concerns however were contracted in a more acute awareness of the process of expression, and the work is given first of all as literature. It is the nature of the terms that they are open to untold interpretations. 30 00 Of the Contract is a version of a text that is as old as any memory, or a form of legal instrument that constitutes the basis of the world in which its terms have been translated. The text remains as open to renewal as that world remains to future alteration, and the terms are both already past, and always yet to come. The notion of the debt that is presented by the contract corresponds to a conception of accountancy and finance that provide a new approach to the contemporary problem of the sense of that external to the terms of human access. A reinterpretation of the philosophical tradition that runs through Levinas and Heidegger to Kant, Of the Contract is also grounded in the medieval tradition that was centered on the notion of “contraction,” and its writing was inspired by forms of life such as those found in the development of monastic constitutions, and the novels of knight errantry. It is also an oblique contribution to the recent discussions on the nature of debt, and is deeply marked by an awareness of climate change, and the insufficiencies of capital to overcome this crisis.All of these concerns however were contracted in a more acute awareness of the process of expression, and the work is given first of all as literature. It is the nature of the terms that they are open to untold interpretations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0174.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/of-the-contract/ Earth, Milky Way 04 01 20170711 Clifton, Christopher 02 WORLD 06 15 9781947447059 03 9781947447059 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447041 20 08 20170711 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/of-the-contract 20 08 20170711 02 22.00 USD WORLD urn:uuid:7ee2b781-ed97-42d7-8c82-65cde71bd432 03 01 01 thoth-work-id urn:uuid:b43ec529-2f51-4c59-b3cb-394f3649502c 01 thoth-publication-id urn:uuid:7ee2b781-ed97-42d7-8c82-65cde71bd432 15 9781947447059 03 9781947447059 06 10.21983/P3.0174.1.00 13 2017945437 01 internal-reference 0174 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Of the Contract 1 A01 Christopher Clifton Christopher Clifton 01 eng 00 162 03 12 LAB 10 LAW021000 93 QDHR B2 Thought Experiments 93 LNCJ 93 LAB 20 legal philosophy; contract law; finance; debt; capital 01 06 02 00 03 00 Of the Contract is a version of a text that is as old as any memory, or a form of legal instrument that constitutes the basis of the world in which its terms have been translated. The text remains as open to renewal as that world remains to future alteration, and the terms are both already past, and always yet to come. The notion of the debt that is presented by the contract corresponds to a conception of accountancy and finance that provide a new approach to the contemporary problem of the sense of that external to the terms of human access. A reinterpretation of the philosophical tradition that runs through Levinas and Heidegger to Kant, Of the Contract is also grounded in the medieval tradition that was centered on the notion of “contraction,” and its writing was inspired by forms of life such as those found in the development of monastic constitutions, and the novels of knight errantry. It is also an oblique contribution to the recent discussions on the nature of debt, and is deeply marked by an awareness of climate change, and the insufficiencies of capital to overcome this crisis.All of these concerns however were contracted in a more acute awareness of the process of expression, and the work is given first of all as literature. It is the nature of the terms that they are open to untold interpretations. 30 00 Of the Contract is a version of a text that is as old as any memory, or a form of legal instrument that constitutes the basis of the world in which its terms have been translated. The text remains as open to renewal as that world remains to future alteration, and the terms are both already past, and always yet to come. The notion of the debt that is presented by the contract corresponds to a conception of accountancy and finance that provide a new approach to the contemporary problem of the sense of that external to the terms of human access. A reinterpretation of the philosophical tradition that runs through Levinas and Heidegger to Kant, Of the Contract is also grounded in the medieval tradition that was centered on the notion of “contraction,” and its writing was inspired by forms of life such as those found in the development of monastic constitutions, and the novels of knight errantry. It is also an oblique contribution to the recent discussions on the nature of debt, and is deeply marked by an awareness of climate change, and the insufficiencies of capital to overcome this crisis.All of these concerns however were contracted in a more acute awareness of the process of expression, and the work is given first of all as literature. It is the nature of the terms that they are open to untold interpretations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0174.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/of-the-contract/ Earth, Milky Way 04 01 20170711 Clifton, Christopher 02 WORLD 06 15 9781947447042 03 9781947447042 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25454 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25454/1004641.pdf?sequence=1&isAllowed=y 20 08 20170711 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34793 20 08 20170711 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353914 20 08 20170711 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/558 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d5f3a4ed-d3fd-45c8-81e1-4ae7782d2bda/download 20 08 20170711 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Of_the_Contract/igSVEAAAQBAJ 20 08 20170711 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b43ec529-2f51-4c59-b3cb-394f3649502c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b43ec529-2f51-4c59-b3cb-394f3649502c/b43ec529-2f51-4c59-b3cb-394f3649502c.pdf 20 08 20170711 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846980 29 ZENODO: download the title https://zenodo.org/records/19846980/files/b43ec529-2f51-4c59-b3cb-394f3649502c_book.pdf 20 08 20170711 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/of-the-contract/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0174.1.00.pdf 20 08 20170711 01 urn:uuid:2fb9c181-8b88-45f2-8a43-eb0b88932889 03 01 01 thoth-work-id urn:uuid:7aa9a630-c5e0-42e8-825c-c854dfbffb56 01 thoth-publication-id urn:uuid:2fb9c181-8b88-45f2-8a43-eb0b88932889 15 9780615785387 03 9780615785387 06 10.21983/P3.0025.1.00 01 internal-reference 0025 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 On an Ungrounded Earth Towards a New Geophilosophy 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 00 118 03 B2 Anthropocene 12 HPCF 10 PHI048000 93 QDHR B2 Philosophy 93 QDTJ B2 Posthumanism 20 geophilosophy; speculative realism; nature; dark vitalism; science fiction 01 06 02 00 03 00 For too long, the Earth has been used to ground thought instead of bending it; such grounding leaves the planet as nothing but a stage for phenomenology, deconstruction, or other forms of anthropocentric philosophy. In far too much continental philosophy, the Earth is a cold, dead place enlivened only by human thought—either as a thing to be exploited, or as an object of nostalgia. Geophilosophy seeks instead to question the ground of thinking itself, the relation of the inorganic to the capacities and limits of thought. This book constructs an eclectic variant of geophilosophy through engagements with digging machines, nuclear waste, cyclones and volcanoes, giant worms, secret vessels, decay, subterranean cities, hell, demon souls, black suns, and xenoarcheaology, via continental theory (Nietzsche, Schelling, Deleuze, et alia) and various cultural objects such as horror films, videogames, and weird Lovecraftian fictions, with special attention to Speculative Realism and the work of Reza Negarestani. In a time where the earth as a whole is threatened by ecological collapse, On an Ungrounded Earth generates a perversely realist account of the earth as a dynamic engine materially invading and upsetting our attempts to reduce it to merely the ground beneath our feet. 30 00 For too long, the Earth has been used to ground thought instead of bending it; such grounding leaves the planet as nothing but a stage for phenomenology, deconstruction, or other forms of anthropocentric philosophy. In far too much continental philosophy, the Earth is a cold, dead place enlivened only by human thought—either as a thing to be exploited, or as an object of nostalgia. Geophilosophy seeks instead to question the ground of thinking itself, the relation of the inorganic to the capacities and limits of thought. This book constructs an eclectic variant of geophilosophy through engagements with digging machines, nuclear waste, cyclones and volcanoes, giant worms, secret vessels, decay, subterranean cities, hell, demon souls, black suns, and xenoarcheaology, via continental theory (Nietzsche, Schelling, Deleuze, et alia) and various cultural objects such as horror films, videogames, and weird Lovecraftian fictions, with special attention to Speculative Realism and the work of Reza Negarestani. In a time where the earth as a whole is threatened by ecological collapse, On an Ungrounded Earth generates a perversely realist account of the earth as a dynamic engine materially invading and upsetting our attempts to reduce it to merely the ground beneath our feet. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0025.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ungrounded-earth/ Brooklyn, NY 04 01 20130313 Woodard, Ben 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615785387 20 08 20130313 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/on-an-ungrounded-earth-towards-a-new-geophilosophy 20 08 20130313 02 21.00 USD WORLD urn:uuid:ffbc3d45-9300-46c7-b384-a185286b374e 03 01 01 thoth-work-id urn:uuid:7aa9a630-c5e0-42e8-825c-c854dfbffb56 01 thoth-publication-id urn:uuid:ffbc3d45-9300-46c7-b384-a185286b374e 06 10.21983/P3.0025.1.00 01 internal-reference 0025 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 On an Ungrounded Earth Towards a New Geophilosophy 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 00 118 03 B2 Anthropocene 12 HPCF 10 PHI048000 93 QDHR B2 Philosophy 93 QDTJ B2 Posthumanism 20 geophilosophy; speculative realism; nature; dark vitalism; science fiction 01 06 02 00 03 00 For too long, the Earth has been used to ground thought instead of bending it; such grounding leaves the planet as nothing but a stage for phenomenology, deconstruction, or other forms of anthropocentric philosophy. In far too much continental philosophy, the Earth is a cold, dead place enlivened only by human thought—either as a thing to be exploited, or as an object of nostalgia. Geophilosophy seeks instead to question the ground of thinking itself, the relation of the inorganic to the capacities and limits of thought. This book constructs an eclectic variant of geophilosophy through engagements with digging machines, nuclear waste, cyclones and volcanoes, giant worms, secret vessels, decay, subterranean cities, hell, demon souls, black suns, and xenoarcheaology, via continental theory (Nietzsche, Schelling, Deleuze, et alia) and various cultural objects such as horror films, videogames, and weird Lovecraftian fictions, with special attention to Speculative Realism and the work of Reza Negarestani. In a time where the earth as a whole is threatened by ecological collapse, On an Ungrounded Earth generates a perversely realist account of the earth as a dynamic engine materially invading and upsetting our attempts to reduce it to merely the ground beneath our feet. 30 00 For too long, the Earth has been used to ground thought instead of bending it; such grounding leaves the planet as nothing but a stage for phenomenology, deconstruction, or other forms of anthropocentric philosophy. In far too much continental philosophy, the Earth is a cold, dead place enlivened only by human thought—either as a thing to be exploited, or as an object of nostalgia. Geophilosophy seeks instead to question the ground of thinking itself, the relation of the inorganic to the capacities and limits of thought. This book constructs an eclectic variant of geophilosophy through engagements with digging machines, nuclear waste, cyclones and volcanoes, giant worms, secret vessels, decay, subterranean cities, hell, demon souls, black suns, and xenoarcheaology, via continental theory (Nietzsche, Schelling, Deleuze, et alia) and various cultural objects such as horror films, videogames, and weird Lovecraftian fictions, with special attention to Speculative Realism and the work of Reza Negarestani. In a time where the earth as a whole is threatened by ecological collapse, On an Ungrounded Earth generates a perversely realist account of the earth as a dynamic engine materially invading and upsetting our attempts to reduce it to merely the ground beneath our feet. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0025.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ungrounded-earth/ Brooklyn, NY 04 01 20130313 Woodard, Ben 02 WORLD 06 15 9780615785387 03 9780615785387 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76439 20 08 20130313 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25590 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25590/1004505.pdf?sequence=1&isAllowed=y 20 08 20130313 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28157 20 08 20130313 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353898 20 08 20130313 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/404 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d10eb247-da8d-460b-8fa9-65006a136f8f/download 20 08 20130313 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7aa9a630-c5e0-42e8-825c-c854dfbffb56 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7aa9a630-c5e0-42e8-825c-c854dfbffb56/7aa9a630-c5e0-42e8-825c-c854dfbffb56.pdf 20 08 20130313 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693215 29 ZENODO: download the title https://zenodo.org/records/19693215/files/7aa9a630-c5e0-42e8-825c-c854dfbffb56_book.pdf 20 08 20130313 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ungrounded-earth/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0025.1.00.pdf 20 08 20130313 01 urn:uuid:43ce5196-b328-4a1f-9fe4-ef6e32930da6 03 01 01 thoth-work-id urn:uuid:d24a0567-d430-4768-8c4d-1b9d59394af2 01 thoth-publication-id urn:uuid:43ce5196-b328-4a1f-9fe4-ef6e32930da6 15 9789081709163 03 9789081709163 06 10.21983/P3.0219.1.00 01 internal-reference 0219 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 On Blinking 1 B01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 40 04g3mbv81 European Graduate School 2 B01 Sarah Brigid Hannis Sarah Brigid Hannis 40 04g3mbv81 European Graduate School 01 eng 00 174 03 B2 Cultural Studies+Critical Theory 12 DNF 93 DNL 10 PHI004000 20 literary theory; epistemology 01 06 02 00 03 00 On Blinking opens a dossier on seeing. It looks not only to the epistemological sense of what it means to see or the hermeneutical sense of what is the meaning of that which is seen but attends to various sites of knowledge – photography, literature, and philosophy. And in doing so, it questions the privileging of presence and sight in Western thought. Thus, this book, through the essays – “Emerging Sight, Emerging Blindness” (Brian Willems); “Augen, Blicke, Stätten” (Julia Hölzl); “At the Risk of Love” (Jeremy Fernando); and “Suspended in a Moving Night: Photography, or the Shiny Relation Self-World” (Jessica Aliaga Lavrijsen) – attempts to address the question what is seeing. 30 00 On Blinking opens a dossier on seeing. It looks not only to the epistemological sense of what it means to see or the hermeneutical sense of what is the meaning of that which is seen but attends to various sites of knowledge – photography, literature, and philosophy. And in doing so, it questions the privileging of presence and sight in Western thought. Thus, this book, through the essays – “Emerging Sight, Emerging Blindness” (Brian Willems); “Augen, Blicke, Stätten” (Julia Hölzl); “At the Risk of Love” (Jeremy Fernando); and “Suspended in a Moving Night: Photography, or the Shiny Relation Self-World” (Jessica Aliaga Lavrijsen) – attempts to address the question what is seeing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0219.1.00_frontcover.jpg 1 03 06 10.21983/P3.0219.1.01 1 6 6 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 2 B01 Sarah Brigid Hannis Sarah Brigid Hannis 01 eng 20 00 Open Access Fernando, Jeremy Hannis, Sarah Brigid 2 03 06 10.21983/P3.0219.1.02 7 36 30 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Augen, Blicke, Stätten 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 01 eng 03 00 A blindness dwells in each beginning, for in the beginning there is darkness, no(t) origin: “Between origin and beginning [...] there are dark relations [...]; between the two there is an interval, and even an uncertainty.”A blindness dwells in each origin, for there is no original origin; the origin is to be originated, always; such is its begin-ning. Every beginning, then, is to origi-nate such origination, and there is no end to it: every beginning is a(s) beginning. 30 00 A blindness dwells in each beginning, for in the beginning there is darkness, no(t) origin: “Between origin and beginning [...] there are dark relations [...]; between the two there is an interval, and even an uncertainty.”A blindness dwells in each origin, for there is no original origin; the origin is to be originated, always; such is its begin-ning. Every beginning, then, is to origi-nate such origination, and there is no end to it: every beginning is a(s) beginning. 20 00 Open Access Hölzl, Julia 3 03 06 10.21983/P3.0219.1.03 37 60 24 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 At the Risk of Love or, on Reading & Touching in 3 1/2 Blinks 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 03 00 That is the question that we will be attempting to address. And once the dossier of reading is opened, the question of what is it that one is reading?, that is, what is the object of reading, is never far behind. Since there is an object, one must also take into account the question of the objective of reading – of not only whether there is an aim, but also whether this aim is reached, whether it can be reached, which opens the notion of calculability, accountability, accounting. And one should not be mistaken: one will always be held accountable. Who ever said that reading was safe. 30 00 That is the question that we will be attempting to address. And once the dossier of reading is opened, the question of what is it that one is reading?, that is, what is the object of reading, is never far behind. Since there is an object, one must also take into account the question of the objective of reading – of not only whether there is an aim, but also whether this aim is reached, whether it can be reached, which opens the notion of calculability, accountability, accounting. And one should not be mistaken: one will always be held accountable. Who ever said that reading was safe. 20 00 Open Access Fernando, Jeremy 4 03 06 10.21983/P3.0219.1.04 61 79 19 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Suspended in a Moving Night Photography, or the Shiny Relation Self–World 1 A01 21 0000000195379727 Jessica Aliaga Lavrijsen Jessica Aliaga Lavrijsen 40 012a91z28 Universidad de Zaragoza 01 eng 03 00 Framed seeing – photography – shows an ambiguous nature, as it is window to the world, shop window for desire, and van-ity mirror for the self. The human action in seeing, in the gaze, and in our desire for capturing an instant that is nevertheless already lost, unveils photography as a mutable surface where the complex relation of self–other develops. The surface, which separates and unites subject and object, allows a dynamic rela-tion between realities and perceptions. It is precisely in the in-betweenness of the ontological and epistemological break-ing, in the suspension “in the moving night,” that approximation and intimacy can take place. 30 00 Framed seeing – photography – shows an ambiguous nature, as it is window to the world, shop window for desire, and van-ity mirror for the self. The human action in seeing, in the gaze, and in our desire for capturing an instant that is nevertheless already lost, unveils photography as a mutable surface where the complex relation of self–other develops. The surface, which separates and unites subject and object, allows a dynamic rela-tion between realities and perceptions. It is precisely in the in-betweenness of the ontological and epistemological break-ing, in the suspension “in the moving night,” that approximation and intimacy can take place. 20 00 Open Access Lavrijsen, Jessica Aliaga 5 03 06 10.21983/P3.0219.1.05 81 154 74 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Emerging Sight, Emerging Blindness 1 A01 Brian Willems Brian Willems 40 00m31ft63 University of Split 01 eng 03 00 This essay covers two main topics: the role of the “double vi-sion” of the sight/nonsight of blinking in selected fiction of Neil Gaiman and China Miéville, and an examination of the role of blindness and sight surrounding “Molyneux’s question.” In Gaiman’s work “double vision” functions as a synchronic representation of diachronic events. This representation is important because it makes fleeting change visible. However, China Miéville’s novel Perdido Street Station provides an im-plicit critique of this “double-vision” by re-locating moments of movement within the experience Gaiman describes. The importance of the role of blinking in a discussion of vision and the blind brings forth a question of the ability to see dark-ness itself. While a number of historical and contemporary thinkers are engaged with in this trajectory, it is the burgeon-ing field of speculative realism (Latour; Meillassoux; Harman) that provides a lodestone. It is here that the immanence of the thought of Badiou (but also Deleuze, strongly brought forth in DeLanda) is centralized, meaning the manner in which the new arises from what already is, rather than from any sort of transcendental perspective. This can be seen, for example, in Quentin Meillassoux’s positing of the question of ancestrality:if all knowledge is based on the observer (relativism), then how can we know that the earth is 4.5 billion years old, when there were no observes on the earth to observe it for much of that time? The answer comes about through a new under-standing of the object which exists before givenness which is developed through the language of mathematics and science, although this perspective will also be seen in the scientific at-tunement of Nietzsche and others. Thus, it can be argued that the relational or relativistic position of much cultural theory and continental philosophy should be augmented if not re-placed by a theory of the object in which it will be seen that a development of a representation of the lack of relation between a subject and object (Harman’s dormant objects) can be the locus of where a more fundamental understanding of such a relation is to be found. 30 00 This essay covers two main topics: the role of the “double vi-sion” of the sight/nonsight of blinking in selected fiction of Neil Gaiman and China Miéville, and an examination of the role of blindness and sight surrounding “Molyneux’s question.” In Gaiman’s work “double vision” functions as a synchronic representation of diachronic events. This representation is important because it makes fleeting change visible. However, China Miéville’s novel Perdido Street Station provides an im-plicit critique of this “double-vision” by re-locating moments of movement within the experience Gaiman describes. The importance of the role of blinking in a discussion of vision and the blind brings forth a question of the ability to see dark-ness itself. While a number of historical and contemporary thinkers are engaged with in this trajectory, it is the burgeon-ing field of speculative realism (Latour; Meillassoux; Harman) that provides a lodestone. It is here that the immanence of the thought of Badiou (but also Deleuze, strongly brought forth in DeLanda) is centralized, meaning the manner in which the new arises from what already is, rather than from any sort of transcendental perspective. This can be seen, for example, in Quentin Meillassoux’s positing of the question of ancestrality:if all knowledge is based on the observer (relativism), then how can we know that the earth is 4.5 billion years old, when there were no observes on the earth to observe it for much of that time? The answer comes about through a new under-standing of the object which exists before givenness which is developed through the language of mathematics and science, although this perspective will also be seen in the scientific at-tunement of Nietzsche and others. Thus, it can be argued that the relational or relativistic position of much cultural theory and continental philosophy should be augmented if not re-placed by a theory of the object in which it will be seen that a development of a representation of the lack of relation between a subject and object (Harman’s dormant objects) can be the locus of where a more fundamental understanding of such a relation is to be found. 20 00 Open Access Willems, Brian 6 03 06 10.21983/P3.0219.1.06 155 165 11 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Afterword – Or, in the Blink of… 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 03 00 When we began, we attempted to open the dossier of seeing. Not just in the epis-temological sense of what it means to see, or the hermeneutical sense of the meaning of what is seen but, more pertinently, the question what is seeing.And when we say we, one has to keep in mind the fact that this is a collaborative thinking; a thinking that was only pos-sible as others – Julia Hölzl, Jessica Aliaga 30 00 When we began, we attempted to open the dossier of seeing. Not just in the epis-temological sense of what it means to see, or the hermeneutical sense of the meaning of what is seen but, more pertinently, the question what is seeing.And when we say we, one has to keep in mind the fact that this is a collaborative thinking; a thinking that was only pos-sible as others – Julia Hölzl, Jessica Aliaga 20 00 Open Access Fernando, Jeremy 7 03 06 10.21983/P3.0219.1.07 167 169 3 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 2 B01 Sarah Brigid Hannis Sarah Brigid Hannis 01 eng 20 00 Open Access Fernando, Jeremy Hannis, Sarah Brigid 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/on-blinking/ The Hague/Tirana 04 01 20120823 Fernando, Jeremy Hannis, Sarah Brigid 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2CUydwM 20 08 20120823 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/on-blinking 20 08 20120823 02 22.00 USD WORLD urn:uuid:ca9b8b10-858a-445b-89f3-ee03016d9d42 03 01 01 thoth-work-id urn:uuid:d24a0567-d430-4768-8c4d-1b9d59394af2 01 thoth-publication-id urn:uuid:ca9b8b10-858a-445b-89f3-ee03016d9d42 06 10.21983/P3.0219.1.00 01 internal-reference 0219 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 On Blinking 1 B01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 40 04g3mbv81 European Graduate School 2 B01 Sarah Brigid Hannis Sarah Brigid Hannis 40 04g3mbv81 European Graduate School 01 eng 00 174 03 B2 Cultural Studies+Critical Theory 12 DNF 93 DNL 10 PHI004000 20 literary theory; epistemology 01 06 02 00 03 00 On Blinking opens a dossier on seeing. It looks not only to the epistemological sense of what it means to see or the hermeneutical sense of what is the meaning of that which is seen but attends to various sites of knowledge – photography, literature, and philosophy. And in doing so, it questions the privileging of presence and sight in Western thought. Thus, this book, through the essays – “Emerging Sight, Emerging Blindness” (Brian Willems); “Augen, Blicke, Stätten” (Julia Hölzl); “At the Risk of Love” (Jeremy Fernando); and “Suspended in a Moving Night: Photography, or the Shiny Relation Self-World” (Jessica Aliaga Lavrijsen) – attempts to address the question what is seeing. 30 00 On Blinking opens a dossier on seeing. It looks not only to the epistemological sense of what it means to see or the hermeneutical sense of what is the meaning of that which is seen but attends to various sites of knowledge – photography, literature, and philosophy. And in doing so, it questions the privileging of presence and sight in Western thought. Thus, this book, through the essays – “Emerging Sight, Emerging Blindness” (Brian Willems); “Augen, Blicke, Stätten” (Julia Hölzl); “At the Risk of Love” (Jeremy Fernando); and “Suspended in a Moving Night: Photography, or the Shiny Relation Self-World” (Jessica Aliaga Lavrijsen) – attempts to address the question what is seeing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0219.1.00_frontcover.jpg 1 03 06 10.21983/P3.0219.1.01 1 6 6 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 2 B01 Sarah Brigid Hannis Sarah Brigid Hannis 01 eng 20 00 Open Access Fernando, Jeremy Hannis, Sarah Brigid 2 03 06 10.21983/P3.0219.1.02 7 36 30 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Augen, Blicke, Stätten 1 A01 Julia Hölzl Julia Hölzl 40 04g3mbv81 European Graduate School 01 eng 03 00 A blindness dwells in each beginning, for in the beginning there is darkness, no(t) origin: “Between origin and beginning [...] there are dark relations [...]; between the two there is an interval, and even an uncertainty.”A blindness dwells in each origin, for there is no original origin; the origin is to be originated, always; such is its begin-ning. Every beginning, then, is to origi-nate such origination, and there is no end to it: every beginning is a(s) beginning. 30 00 A blindness dwells in each beginning, for in the beginning there is darkness, no(t) origin: “Between origin and beginning [...] there are dark relations [...]; between the two there is an interval, and even an uncertainty.”A blindness dwells in each origin, for there is no original origin; the origin is to be originated, always; such is its begin-ning. Every beginning, then, is to origi-nate such origination, and there is no end to it: every beginning is a(s) beginning. 20 00 Open Access Hölzl, Julia 3 03 06 10.21983/P3.0219.1.03 37 60 24 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 At the Risk of Love or, on Reading & Touching in 3 1/2 Blinks 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 03 00 That is the question that we will be attempting to address. And once the dossier of reading is opened, the question of what is it that one is reading?, that is, what is the object of reading, is never far behind. Since there is an object, one must also take into account the question of the objective of reading – of not only whether there is an aim, but also whether this aim is reached, whether it can be reached, which opens the notion of calculability, accountability, accounting. And one should not be mistaken: one will always be held accountable. Who ever said that reading was safe. 30 00 That is the question that we will be attempting to address. And once the dossier of reading is opened, the question of what is it that one is reading?, that is, what is the object of reading, is never far behind. Since there is an object, one must also take into account the question of the objective of reading – of not only whether there is an aim, but also whether this aim is reached, whether it can be reached, which opens the notion of calculability, accountability, accounting. And one should not be mistaken: one will always be held accountable. Who ever said that reading was safe. 20 00 Open Access Fernando, Jeremy 4 03 06 10.21983/P3.0219.1.04 61 79 19 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Suspended in a Moving Night Photography, or the Shiny Relation Self–World 1 A01 21 0000000195379727 Jessica Aliaga Lavrijsen Jessica Aliaga Lavrijsen 40 012a91z28 Universidad de Zaragoza 01 eng 03 00 Framed seeing – photography – shows an ambiguous nature, as it is window to the world, shop window for desire, and van-ity mirror for the self. The human action in seeing, in the gaze, and in our desire for capturing an instant that is nevertheless already lost, unveils photography as a mutable surface where the complex relation of self–other develops. The surface, which separates and unites subject and object, allows a dynamic rela-tion between realities and perceptions. It is precisely in the in-betweenness of the ontological and epistemological break-ing, in the suspension “in the moving night,” that approximation and intimacy can take place. 30 00 Framed seeing – photography – shows an ambiguous nature, as it is window to the world, shop window for desire, and van-ity mirror for the self. The human action in seeing, in the gaze, and in our desire for capturing an instant that is nevertheless already lost, unveils photography as a mutable surface where the complex relation of self–other develops. The surface, which separates and unites subject and object, allows a dynamic rela-tion between realities and perceptions. It is precisely in the in-betweenness of the ontological and epistemological break-ing, in the suspension “in the moving night,” that approximation and intimacy can take place. 20 00 Open Access Lavrijsen, Jessica Aliaga 5 03 06 10.21983/P3.0219.1.05 81 154 74 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Emerging Sight, Emerging Blindness 1 A01 Brian Willems Brian Willems 40 00m31ft63 University of Split 01 eng 03 00 This essay covers two main topics: the role of the “double vi-sion” of the sight/nonsight of blinking in selected fiction of Neil Gaiman and China Miéville, and an examination of the role of blindness and sight surrounding “Molyneux’s question.” In Gaiman’s work “double vision” functions as a synchronic representation of diachronic events. This representation is important because it makes fleeting change visible. However, China Miéville’s novel Perdido Street Station provides an im-plicit critique of this “double-vision” by re-locating moments of movement within the experience Gaiman describes. The importance of the role of blinking in a discussion of vision and the blind brings forth a question of the ability to see dark-ness itself. While a number of historical and contemporary thinkers are engaged with in this trajectory, it is the burgeon-ing field of speculative realism (Latour; Meillassoux; Harman) that provides a lodestone. It is here that the immanence of the thought of Badiou (but also Deleuze, strongly brought forth in DeLanda) is centralized, meaning the manner in which the new arises from what already is, rather than from any sort of transcendental perspective. This can be seen, for example, in Quentin Meillassoux’s positing of the question of ancestrality:if all knowledge is based on the observer (relativism), then how can we know that the earth is 4.5 billion years old, when there were no observes on the earth to observe it for much of that time? The answer comes about through a new under-standing of the object which exists before givenness which is developed through the language of mathematics and science, although this perspective will also be seen in the scientific at-tunement of Nietzsche and others. Thus, it can be argued that the relational or relativistic position of much cultural theory and continental philosophy should be augmented if not re-placed by a theory of the object in which it will be seen that a development of a representation of the lack of relation between a subject and object (Harman’s dormant objects) can be the locus of where a more fundamental understanding of such a relation is to be found. 30 00 This essay covers two main topics: the role of the “double vi-sion” of the sight/nonsight of blinking in selected fiction of Neil Gaiman and China Miéville, and an examination of the role of blindness and sight surrounding “Molyneux’s question.” In Gaiman’s work “double vision” functions as a synchronic representation of diachronic events. This representation is important because it makes fleeting change visible. However, China Miéville’s novel Perdido Street Station provides an im-plicit critique of this “double-vision” by re-locating moments of movement within the experience Gaiman describes. The importance of the role of blinking in a discussion of vision and the blind brings forth a question of the ability to see dark-ness itself. While a number of historical and contemporary thinkers are engaged with in this trajectory, it is the burgeon-ing field of speculative realism (Latour; Meillassoux; Harman) that provides a lodestone. It is here that the immanence of the thought of Badiou (but also Deleuze, strongly brought forth in DeLanda) is centralized, meaning the manner in which the new arises from what already is, rather than from any sort of transcendental perspective. This can be seen, for example, in Quentin Meillassoux’s positing of the question of ancestrality:if all knowledge is based on the observer (relativism), then how can we know that the earth is 4.5 billion years old, when there were no observes on the earth to observe it for much of that time? The answer comes about through a new under-standing of the object which exists before givenness which is developed through the language of mathematics and science, although this perspective will also be seen in the scientific at-tunement of Nietzsche and others. Thus, it can be argued that the relational or relativistic position of much cultural theory and continental philosophy should be augmented if not re-placed by a theory of the object in which it will be seen that a development of a representation of the lack of relation between a subject and object (Harman’s dormant objects) can be the locus of where a more fundamental understanding of such a relation is to be found. 20 00 Open Access Willems, Brian 6 03 06 10.21983/P3.0219.1.06 155 165 11 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Afterword – Or, in the Blink of… 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore 01 eng 03 00 When we began, we attempted to open the dossier of seeing. Not just in the epis-temological sense of what it means to see, or the hermeneutical sense of the meaning of what is seen but, more pertinently, the question what is seeing.And when we say we, one has to keep in mind the fact that this is a collaborative thinking; a thinking that was only pos-sible as others – Julia Hölzl, Jessica Aliaga 30 00 When we began, we attempted to open the dossier of seeing. Not just in the epis-temological sense of what it means to see, or the hermeneutical sense of the meaning of what is seen but, more pertinently, the question what is seeing.And when we say we, one has to keep in mind the fact that this is a collaborative thinking; a thinking that was only pos-sible as others – Julia Hölzl, Jessica Aliaga 20 00 Open Access Fernando, Jeremy 7 03 06 10.21983/P3.0219.1.07 167 169 3 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 2 B01 Sarah Brigid Hannis Sarah Brigid Hannis 01 eng 20 00 Open Access Fernando, Jeremy Hannis, Sarah Brigid 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/on-blinking/ The Hague/Tirana 04 01 20120823 Fernando, Jeremy Hannis, Sarah Brigid 02 WORLD 06 15 9789081709163 03 9789081709163 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25411 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25411/1004684.pdf?sequence=1&isAllowed=y 20 08 20120823 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38857 20 08 20120823 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353984 20 08 20120823 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/387 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/670eefa1-ff57-450d-948e-be2e085c97a0/download 20 08 20120823 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/On_Blinking/TXmnEAAAQBAJ 20 08 20120823 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d24a0567-d430-4768-8c4d-1b9d59394af2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d24a0567-d430-4768-8c4d-1b9d59394af2/d24a0567-d430-4768-8c4d-1b9d59394af2.pdf 20 08 20120823 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693185 29 ZENODO: download the title https://zenodo.org/records/19693185/files/d24a0567-d430-4768-8c4d-1b9d59394af2_book.pdf 20 08 20120823 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/on-blinking/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0219.1.00.pdf 20 08 20120823 01 urn:uuid:d4371011-67ff-4d17-9bb0-202eeb572096 03 01 01 thoth-work-id urn:uuid:521d09b6-6a91-496b-8f6f-1947d3968a23 01 thoth-publication-id urn:uuid:d4371011-67ff-4d17-9bb0-202eeb572096 15 9781685711887 03 9781685711887 06 10.53288/0486.1.00 13 2025934121 01 internal-reference 0486 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in 03 12 mm 03 1.2 cm 03 0.49 in 08 380 gr 08 13.4 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 One Thing Follows Another Experiments in Dance, Art, and Life through the Lens of Simone Forti and Yvonne Rainer 1 A01 21 0009000449672016 Sarah Rosenthal Sarah Rosenthal Sarah Rosenthal is the author of Estelle Meaning Star (Chax, 2024), Lizard (Chax, 2016), Manhatten (Spuyten Duyvil, 2009), and several chapbooks. In collaboration with Valerie Witte, she has published the hybrid work The Grass Is Greener When the Sun Is Yellow (Operating System, 2019). She edited A Community Writing Itself: Conversations with Vanguard Poets of the Bay Area (Dalkey Archive, 2010). Her short film We Agree on the Sun has received numerous accolades on the film festival circuit, including Best Experimental Short at the 2021 Berlin Independent Film Festival. She is the recipient of the Leo Litwak Fiction Award, a Creative Capacity Innovation Grant, a San Francisco Education Fund Grant, and writing residencies at Cel del Nord, This Will Take Time, Hambidge, Vermont Studio Center, Soul Mountain, Ragdale, and New York Mills. She lives in San Francisco, where she manages projects for the Center for the Collaborative Classroom, works as a life and professional coach, and serves on the California Book Awards poetry jury. 06 Own website https://www.sarahrosenthal.net/ 2 A01 21 0009000508237496 Valerie Witte Valerie Witte alerie Witte is the author of A Rupture in the Interiors (Airlie Press, 2023) and a game of correspondence (Black Radish, 2015). In collaboration with Sarah Rosenthal, she has published the hybrid work The Grass Is Greener When the Sun Is Yellow (Operating System, 2019) and she has published multiple chapbooks, most recently Listening Through the Body (above/ground press, 2021). Her work has also appeared in literary publications such as VOLT, Diagram, Dusie, and Interim. Her previous collaborations include projects with artist Jennifer Yorke, who produced two artist books based on Witte’s manuscript Flood Diary, and an installation based on her manuscript A Rupture in the Interiors. The works were exhibited in Berkeley and Chicago, respectively, and their collaboration included a residency at La Porte Peinte Center for the Arts in Noyers, France. Witte has also attended residencies at the Hambidge Center and Ragdale Foundation and is a founding member of the Bay Area Correspondence School. She edits education technology books in Portland, Oregon, where she lives with her husband Andrew. 06 Own website https://valeriewitte.com 3 A19 Ralph Lemon Ralph Lemon 01 eng 00 214 03 B2 Art+Aesthetics 93 ATQT 10 PER003040 93 6PD 10 ART065000 B2 Fabulations 93 DCC 10 POE024000 93 6JC 20 Simone Forti; Yvonne Rainer; postmodern art; dance; collaborative poetics; poetic practice 01 06 02 00 03 00 In the 1950s, Yvonne Rainer, Simone Forti, and a handful of other young artists based in New York’s Greenwich Village set out to challenge the practices and principles of professionalized dance. Inspired by the groundbreaking work of choreographers Anna Halprin, Robert Dunn, and Merce Cunningham, as well as composer John Cage, they were determined to change what dance is and can be. In One Thing Follows Another, a boundary-crossing collection of ten experimental-poetic essays, poets Valerie Witte and Sarah Rosenthal explore the work of dancer-choreographers Rainer and Forti, both at various inflection points throughout their careers and in this particular moment.Through a combination of chance operations and intentional artistic choices that push the authors to unexpected places — including the zoo, the dance studio, the street corner — and via innovative forms and techniques, such as collage, erasure, and their own artistic inventions, they deconstruct the essay form to examine what they as poets, each with their own highly charged relationships to dance, can contribute to the conversation about these pivotal figures in postmodern performance art. 30 00 In the 1950s, Yvonne Rainer, Simone Forti, and a handful of other young artists based in New York’s Greenwich Village set out to challenge the practices and principles of professionalized dance. Inspired by the groundbreaking work of choreographers Anna Halprin, Robert Dunn, and Merce Cunningham, as well as composer John Cage, they were determined to change what dance is and can be. In One Thing Follows Another, a boundary-crossing collection of ten experimental-poetic essays, poets Valerie Witte and Sarah Rosenthal explore the work of dancer-choreographers Rainer and Forti, both at various inflection points throughout their careers and in this particular moment.Through a combination of chance operations and intentional artistic choices that push the authors to unexpected places — including the zoo, the dance studio, the street corner — and via innovative forms and techniques, such as collage, erasure, and their own artistic inventions, they deconstruct the essay form to examine what they as poets, each with their own highly charged relationships to dance, can contribute to the conversation about these pivotal figures in postmodern performance art. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0486.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/one-thing-follows-another-experiments-in-dance-art-and-life-through-the-lens-of-simone-forti-and-yvonne-rainer/ Earth, Milky Way 04 01 20250328 Sarah Rosenthal & Valerie Witte 02 WORLD 06 15 9781685711894 03 9781685711894 34 06 10.3389/fpsyt.2018.00303 34 06 10.1162/OCTO_a_00089 34 06 10.1162/OCTO_a_00215 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571188X 20 08 20250328 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/one-thing-follows-another-experiments-in-dance-art-and-life-through-the-lens-of-simone-forti-and-yvonne-rainer-sarah-rosenthal-valerie-witte 20 08 20250328 02 25.00 USD WORLD urn:uuid:88a8fd7a-5481-4602-bca7-02b9c74701e4 03 01 01 thoth-work-id urn:uuid:521d09b6-6a91-496b-8f6f-1947d3968a23 01 thoth-publication-id urn:uuid:88a8fd7a-5481-4602-bca7-02b9c74701e4 15 9781685711894 03 9781685711894 06 10.53288/0486.1.00 13 2025934121 01 internal-reference 0486 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 One Thing Follows Another Experiments in Dance, Art, and Life through the Lens of Simone Forti and Yvonne Rainer 1 A01 21 0009000449672016 Sarah Rosenthal Sarah Rosenthal Sarah Rosenthal is the author of Estelle Meaning Star (Chax, 2024), Lizard (Chax, 2016), Manhatten (Spuyten Duyvil, 2009), and several chapbooks. In collaboration with Valerie Witte, she has published the hybrid work The Grass Is Greener When the Sun Is Yellow (Operating System, 2019). She edited A Community Writing Itself: Conversations with Vanguard Poets of the Bay Area (Dalkey Archive, 2010). Her short film We Agree on the Sun has received numerous accolades on the film festival circuit, including Best Experimental Short at the 2021 Berlin Independent Film Festival. She is the recipient of the Leo Litwak Fiction Award, a Creative Capacity Innovation Grant, a San Francisco Education Fund Grant, and writing residencies at Cel del Nord, This Will Take Time, Hambidge, Vermont Studio Center, Soul Mountain, Ragdale, and New York Mills. She lives in San Francisco, where she manages projects for the Center for the Collaborative Classroom, works as a life and professional coach, and serves on the California Book Awards poetry jury. 06 Own website https://www.sarahrosenthal.net/ 2 A01 21 0009000508237496 Valerie Witte Valerie Witte alerie Witte is the author of A Rupture in the Interiors (Airlie Press, 2023) and a game of correspondence (Black Radish, 2015). In collaboration with Sarah Rosenthal, she has published the hybrid work The Grass Is Greener When the Sun Is Yellow (Operating System, 2019) and she has published multiple chapbooks, most recently Listening Through the Body (above/ground press, 2021). Her work has also appeared in literary publications such as VOLT, Diagram, Dusie, and Interim. Her previous collaborations include projects with artist Jennifer Yorke, who produced two artist books based on Witte’s manuscript Flood Diary, and an installation based on her manuscript A Rupture in the Interiors. The works were exhibited in Berkeley and Chicago, respectively, and their collaboration included a residency at La Porte Peinte Center for the Arts in Noyers, France. Witte has also attended residencies at the Hambidge Center and Ragdale Foundation and is a founding member of the Bay Area Correspondence School. She edits education technology books in Portland, Oregon, where she lives with her husband Andrew. 06 Own website https://valeriewitte.com 3 A19 Ralph Lemon Ralph Lemon 01 eng 00 214 03 B2 Art+Aesthetics 93 ATQT 10 PER003040 93 6PD 10 ART065000 B2 Fabulations 93 DCC 10 POE024000 93 6JC 20 Simone Forti; Yvonne Rainer; postmodern art; dance; collaborative poetics; poetic practice 01 06 02 00 03 00 In the 1950s, Yvonne Rainer, Simone Forti, and a handful of other young artists based in New York’s Greenwich Village set out to challenge the practices and principles of professionalized dance. Inspired by the groundbreaking work of choreographers Anna Halprin, Robert Dunn, and Merce Cunningham, as well as composer John Cage, they were determined to change what dance is and can be. In One Thing Follows Another, a boundary-crossing collection of ten experimental-poetic essays, poets Valerie Witte and Sarah Rosenthal explore the work of dancer-choreographers Rainer and Forti, both at various inflection points throughout their careers and in this particular moment.Through a combination of chance operations and intentional artistic choices that push the authors to unexpected places — including the zoo, the dance studio, the street corner — and via innovative forms and techniques, such as collage, erasure, and their own artistic inventions, they deconstruct the essay form to examine what they as poets, each with their own highly charged relationships to dance, can contribute to the conversation about these pivotal figures in postmodern performance art. 30 00 In the 1950s, Yvonne Rainer, Simone Forti, and a handful of other young artists based in New York’s Greenwich Village set out to challenge the practices and principles of professionalized dance. Inspired by the groundbreaking work of choreographers Anna Halprin, Robert Dunn, and Merce Cunningham, as well as composer John Cage, they were determined to change what dance is and can be. In One Thing Follows Another, a boundary-crossing collection of ten experimental-poetic essays, poets Valerie Witte and Sarah Rosenthal explore the work of dancer-choreographers Rainer and Forti, both at various inflection points throughout their careers and in this particular moment.Through a combination of chance operations and intentional artistic choices that push the authors to unexpected places — including the zoo, the dance studio, the street corner — and via innovative forms and techniques, such as collage, erasure, and their own artistic inventions, they deconstruct the essay form to examine what they as poets, each with their own highly charged relationships to dance, can contribute to the conversation about these pivotal figures in postmodern performance art. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0486.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/one-thing-follows-another-experiments-in-dance-art-and-life-through-the-lens-of-simone-forti-and-yvonne-rainer/ Earth, Milky Way 04 01 20250328 Sarah Rosenthal & Valerie Witte 02 WORLD 06 15 9781685711887 03 9781685711887 34 06 10.3389/fpsyt.2018.00303 34 06 10.1162/OCTO_a_00089 34 06 10.1162/OCTO_a_00215 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/100442 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/100442/0486.1.00.pdf?sequence=1&isAllowed=y 20 08 20250328 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/157973 20 08 20250328 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.28297754 20 08 20250328 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/864 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c4e617de-0fa7-49b5-9b4c-66916eb128e9/download 20 08 20250328 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/One_Thing_Follows_Another/CGhSEQAAQBAJ 20 08 20250328 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/521d09b6-6a91-496b-8f6f-1947d3968a23 29 INTERNET_ARCHIVE: download the title https://archive.org/download/521d09b6-6a91-496b-8f6f-1947d3968a23/521d09b6-6a91-496b-8f6f-1947d3968a23.pdf 20 08 20250328 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850956 29 ZENODO: download the title https://zenodo.org/records/19850956/files/521d09b6-6a91-496b-8f6f-1947d3968a23_book.pdf 20 08 20250328 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/one-thing-follows-another-experiments-in-dance-art-and-life-through-the-lens-of-simone-forti-and-yvonne-rainer/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0486.1.00.pdf 20 08 20250328 01 urn:uuid:ba8f8bc5-15ae-434d-8d04-592c360897e6 03 01 01 thoth-work-id urn:uuid:dbe1ab13-7c70-444e-840d-20e46f04cc98 01 thoth-publication-id urn:uuid:ba8f8bc5-15ae-434d-8d04-592c360897e6 15 9780615934020 03 9780615934020 06 10.21983/P3.0055.0.00 01 internal-reference 0055 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 On Style An Atelier 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 00 154 03 12 DNF 93 DNL 10 LIT011000 B2 Literary Studies 93 DSB B2 Premodern 20 fashion; style; literature; cultural theory; history 01 06 02 00 03 00 Scholarship in medieval studies of the past 20 or so years has offered some provocative experiments in, and elegant exempla of, style. Scholars such as Anne Clark Bartlett, Kathleen Biddick, Catherine Brown, Brantley Bryant, Michael Camille, Jeffrey Jerome Cohen, Carolyn Dinshaw, James Earl, L.O. Aranye Fradenburg, Roberta Frank, Amy Hollywood, Cary Howie, C. Stephen Jaeger, Eileen Joy, Anna Klosowska, Nicola Masciandaro, Peggy McCracken, Paul Strohm, David Wallace, and Paul Zumthor, among others, have blended the conventions of academic writing with those of fiction, drama, memoir, comedy, polemic, and lyricism, and/or have developed what some would describe as elegant, and arresting (and in some cases, deliciously difficult) prose styles. As these registers merge, they can produce what has been called a queer historiographical encounter (or in queer theorist Elizabeth Freeman’s terms, “an erotohistoriography”), a “poetics of intensification,” and even a “new aestheticism.” The work of these scholars has also opened up debates (some rancorous) that often install what the editors of this volume feel are false binaries between form and content, feeling and thinking, affect and rigor, poetry and history, attachment and critical distance, enjoyment and discipline, style and substance. As Anna Klosowska writes in her contribution to this volume,The question of style, as it applies to medieval studies, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique proceeds through the denunciation of the inimitability of someone’s style, as if it were the third sex, ungenerative, queer, sterile, sodomitic, lesbian, etc., the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s supposedly non-generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is … the generative principle itself. 30 00 Scholarship in medieval studies of the past 20 or so years has offered some provocative experiments in, and elegant exempla of, style. Scholars such as Anne Clark Bartlett, Kathleen Biddick, Catherine Brown, Brantley Bryant, Michael Camille, Jeffrey Jerome Cohen, Carolyn Dinshaw, James Earl, L.O. Aranye Fradenburg, Roberta Frank, Amy Hollywood, Cary Howie, C. Stephen Jaeger, Eileen Joy, Anna Klosowska, Nicola Masciandaro, Peggy McCracken, Paul Strohm, David Wallace, and Paul Zumthor, among others, have blended the conventions of academic writing with those of fiction, drama, memoir, comedy, polemic, and lyricism, and/or have developed what some would describe as elegant, and arresting (and in some cases, deliciously difficult) prose styles. As these registers merge, they can produce what has been called a queer historiographical encounter (or in queer theorist Elizabeth Freeman’s terms, “an erotohistoriography”), a “poetics of intensification,” and even a “new aestheticism.” The work of these scholars has also opened up debates (some rancorous) that often install what the editors of this volume feel are false binaries between form and content, feeling and thinking, affect and rigor, poetry and history, attachment and critical distance, enjoyment and discipline, style and substance. As Anna Klosowska writes in her contribution to this volume,The question of style, as it applies to medieval studies, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique proceeds through the denunciation of the inimitability of someone’s style, as if it were the third sex, ungenerative, queer, sterile, sodomitic, lesbian, etc., the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s supposedly non-generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is … the generative principle itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0055.0.00_frontcover.png 1 03 06 10.21983/P3.0055.0.01 i xvii 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 20 00 Open Access Joy, Eileen A. Kłosowska, Anna 2 03 06 10.21983/P3.0055.0.02 i xvi 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Style A Reader's Guide 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 03 00 When George-Louis de Buffon, naturalist and mathematician—calculus, probablility, Buffon’s needle—devoted to style his 1753 acceptance lec-ture at the French Academy, he said that “well-written works are the only ones that will be passed on to posterity. . . . small objects [such as] knowledge, facts and discoveries are easily taken up, transported, and even gain from being put together by more nimble hands. These things are outside of man, the style is the man himself.”1 In the coda to this volume, Valerie Vogrin reminds us that Victor Hugo, in his Function of Beauty, fulminates against small bourgeois minds that relegate style to the background: “Style is ideas. Ideas are style. Try to tear away the word: it’s the idea that you lose. . . . Style is the essence of a sub-ject, constantly called to the surface.”2 It seemed to us that the question of style, cognate as it is to the question of the role of the humanities, needs to be asked about theory in medieval studies. In this collection, style is instantiated (we have as-sembled a breathtaking cast) as well as thema-tized and theorized. Christine Neufeld writes in the conclusion to her essay in this volume: “Per-ceiving this aesthetic relation to the past does not free us from a sense of accountability to the deli-cate, tattered fabric of history that both touches us and exceeds our grasp.” In other words, we study style in this collection because it instanti-ates and theorizes the relation we have to the past, our subject. These are (again, via Neufeld), “the issues the Style project represents for medieval scholars: how to contend with the ‘immaterial’ intensities of our scholarship, the effects and af-fects of being touched by the past.” 30 00 When George-Louis de Buffon, naturalist and mathematician—calculus, probablility, Buffon’s needle—devoted to style his 1753 acceptance lec-ture at the French Academy, he said that “well-written works are the only ones that will be passed on to posterity. . . . small objects [such as] knowledge, facts and discoveries are easily taken up, transported, and even gain from being put together by more nimble hands. These things are outside of man, the style is the man himself.”1 In the coda to this volume, Valerie Vogrin reminds us that Victor Hugo, in his Function of Beauty, fulminates against small bourgeois minds that relegate style to the background: “Style is ideas. Ideas are style. Try to tear away the word: it’s the idea that you lose. . . . Style is the essence of a sub-ject, constantly called to the surface.”2 It seemed to us that the question of style, cognate as it is to the question of the role of the humanities, needs to be asked about theory in medieval studies. In this collection, style is instantiated (we have as-sembled a breathtaking cast) as well as thema-tized and theorized. Christine Neufeld writes in the conclusion to her essay in this volume: “Per-ceiving this aesthetic relation to the past does not free us from a sense of accountability to the deli-cate, tattered fabric of history that both touches us and exceeds our grasp.” In other words, we study style in this collection because it instanti-ates and theorizes the relation we have to the past, our subject. These are (again, via Neufeld), “the issues the Style project represents for medieval scholars: how to contend with the ‘immaterial’ intensities of our scholarship, the effects and af-fects of being touched by the past.” 20 00 Open Access Klosowska, Anna 3 03 06 10.21983/P3.0055.0.03 1 14 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Without Style 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 As its etymology reminds us, style mediates commun-ication and arises out of whatever technology of communication characterizes an era. Style presentsitself as the “how” as distinct from the “what” of com-municated thought, and the relationship between the two has always been marked by attempts to sub-ordinate form to content or vice versa. In the aca-demic disciplines, the substantive (the “what”) tra-ditionally takes precedence over the procedural (the “how”). Academic style paradoxically deprivileges styleby making it subservient to substance and, in doing so, helps construct disciplinary boundaries, which differ-entiate themselves both by subject matter and by mystifying their processes of communication—that is, their style. A foregrounding of style in academic discourse, however, lays bare its own procedures andthereby opens up its audience; for style—unlike sub-stance—is all about audience, about being situated, directive, and intentional. By equalizing style’s footing in the style/substance binary, we achieve better aware-ness about the boundaries of our disciplines. 30 00 As its etymology reminds us, style mediates commun-ication and arises out of whatever technology of communication characterizes an era. Style presentsitself as the “how” as distinct from the “what” of com-municated thought, and the relationship between the two has always been marked by attempts to sub-ordinate form to content or vice versa. In the aca-demic disciplines, the substantive (the “what”) tra-ditionally takes precedence over the procedural (the “how”). Academic style paradoxically deprivileges styleby making it subservient to substance and, in doing so, helps construct disciplinary boundaries, which differ-entiate themselves both by subject matter and by mystifying their processes of communication—that is, their style. A foregrounding of style in academic discourse, however, lays bare its own procedures andthereby opens up its audience; for style—unlike sub-stance—is all about audience, about being situated, directive, and intentional. By equalizing style’s footing in the style/substance binary, we achieve better aware-ness about the boundaries of our disciplines. 20 00 Open Access Allen, Valerie 4 03 06 10.21983/P3.0055.0.04 15 26 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lacan's belles-lettres On Difficulty and Beauty 1 A01 Ruth Evans Ruth Evans 40 04k7nem08 Saint Louis University 01 eng 03 00 Ever since the Sokal affair, humanities scholar-ship in some quarters stands accused of unin-telligibility, emptiness, or absurdity.1 Sure, there’s some bad theoretical writing out there. But not all of it is willfully unreadable. A familiar set of binaries runs through and across these accusa-tions: not only clarity/obscurity, but wonder/ pessimism, aesthetics/politics, and affect/the her-meneutics of suspicion. But these oppositions are far from being rigidly distributed along either side of the fault line dividing the “two cultures.” The turn to what has been called “the new aestheticism” within literary studies, for example, involves a radical rethinking of beauty and affect, not just in the way we read literary texts—including medieval ones—but in the way we write about them.2 A less familiar assumption made by the accusers is that the beautiful leads us to truth—what the philosopher Denis Dutton describes as “aesthetic insight”—whereas the unreadable is the sign of a certain exhaustion in the humanities: an endless self-referentiality, a “process of text in/text out." 30 00 Ever since the Sokal affair, humanities scholar-ship in some quarters stands accused of unin-telligibility, emptiness, or absurdity.1 Sure, there’s some bad theoretical writing out there. But not all of it is willfully unreadable. A familiar set of binaries runs through and across these accusa-tions: not only clarity/obscurity, but wonder/ pessimism, aesthetics/politics, and affect/the her-meneutics of suspicion. But these oppositions are far from being rigidly distributed along either side of the fault line dividing the “two cultures.” The turn to what has been called “the new aestheticism” within literary studies, for example, involves a radical rethinking of beauty and affect, not just in the way we read literary texts—including medieval ones—but in the way we write about them.2 A less familiar assumption made by the accusers is that the beautiful leads us to truth—what the philosopher Denis Dutton describes as “aesthetic insight”—whereas the unreadable is the sign of a certain exhaustion in the humanities: an endless self-referentiality, a “process of text in/text out." 20 00 Open Access Evans, Ruth 5 03 06 10.21983/P3.0055.0.05 27 36 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Style as Third Element 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 03 00 Medieval studies are not the only discipline to seasonally reiterate the distinction between forging truth in virile debate1 versus being seduc-ed by style.2 It is Spring, and the image of besotted Philosophy seduced by vain blandish-ments, muzzled and ridden like Aristotle, is again trotted out with the sordid intention of policing value. The distinction between style and sub-stance is brought up in many personal, network, subfield, and disciplinary sorting practices that, in a cynical moment, can be reduced to a form of policing. For instance, in history, this contest can translate into differentiation between processing archival materials versus original narratives based on already edited sources. In queer studies, this plays out as history of ideas versus history of affect, or documenting same-sex acts versus hy-pothesizing same-sex desires. Such distinctions are as absurd as they are persistent, and there is a dispositional and structural reason for that, as I hope to demonstrate. But first, I want to point out their intrinsic weakness. To take the last example, acts versus desires: in strictly historical terms, same-sex acts and desires are not discrete, but rather belong on a continuum. Sticking to acts doesn’t make same-sex any more historically factual than talking about desires, because sex, unlike real estate, is not traceable in acts—in either sense of the word: no one proposes, in the felicitous formulation of my colleague Sven Erik Rose, to measure the amount of genital friction or the decibel level of the cries of passion. No one, that is, except the Marquis de Sade, that accoun-tant of the ass, le comptable du cul. 30 00 Medieval studies are not the only discipline to seasonally reiterate the distinction between forging truth in virile debate1 versus being seduc-ed by style.2 It is Spring, and the image of besotted Philosophy seduced by vain blandish-ments, muzzled and ridden like Aristotle, is again trotted out with the sordid intention of policing value. The distinction between style and sub-stance is brought up in many personal, network, subfield, and disciplinary sorting practices that, in a cynical moment, can be reduced to a form of policing. For instance, in history, this contest can translate into differentiation between processing archival materials versus original narratives based on already edited sources. In queer studies, this plays out as history of ideas versus history of affect, or documenting same-sex acts versus hy-pothesizing same-sex desires. Such distinctions are as absurd as they are persistent, and there is a dispositional and structural reason for that, as I hope to demonstrate. But first, I want to point out their intrinsic weakness. To take the last example, acts versus desires: in strictly historical terms, same-sex acts and desires are not discrete, but rather belong on a continuum. Sticking to acts doesn’t make same-sex any more historically factual than talking about desires, because sex, unlike real estate, is not traceable in acts—in either sense of the word: no one proposes, in the felicitous formulation of my colleague Sven Erik Rose, to measure the amount of genital friction or the decibel level of the cries of passion. No one, that is, except the Marquis de Sade, that accoun-tant of the ass, le comptable du cul. 20 00 Open Access Klosowska, Anna 6 03 06 10.21983/P3.0055.0.06 37 46 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Daniel's Smile 1 A01 Kathleen Biddick Kathleen Biddick 40 00kx1jb78 Temple University 01 eng 03 00 When Eileen Joy (gadfly extraordinaire) invited me to join this volume, she encouraged me to get over my fear of style, first contracted during my anxious pubescent scrutiny of those thumbnail photographs of fashion “don’ts” featured in teenmagazines of the early 1960s. My heart would sink when I discovered that some accessory of mine, beloved to me for its vibrant charm, was, in fact, deemed by the style editors to be the latest sign of abjection. But, voila, after all these years, here I am today discussing “style” and still work-ing through those fears. 30 00 When Eileen Joy (gadfly extraordinaire) invited me to join this volume, she encouraged me to get over my fear of style, first contracted during my anxious pubescent scrutiny of those thumbnail photographs of fashion “don’ts” featured in teenmagazines of the early 1960s. My heart would sink when I discovered that some accessory of mine, beloved to me for its vibrant charm, was, in fact, deemed by the style editors to be the latest sign of abjection. But, voila, after all these years, here I am today discussing “style” and still work-ing through those fears. 20 00 Open Access Biddick, Kathleen 7 03 06 10.21983/P3.0055.0.07 47 53 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 To Peach or Not to Peach Style and the Interpersonal 1 A01 Michael D. Snediker Michael D. Snediker 40 048sx0r50 University of Houston 01 eng 03 00 In his lyric persuasiveness over Hades and Per-sephone, Orpheus—Pindar’s “father of song”—sug-gests an especially lovely instance of what Kathleen Biddick invokes as “master signifier.” The story of Orpheus likewise describes the break of La-canian ligature. As dyad, Orpheus and Eurydice are most heart-breaking, not in their inseparabil-ity but in that inseparability’s irrevocable turn (another form of Biddick’s “swerve”) to irrepara-ble singleness, the fact of bereft linkage. And as though this pathos of singularity were not enough, the Maenads rip Orpheus to pieces. 30 00 In his lyric persuasiveness over Hades and Per-sephone, Orpheus—Pindar’s “father of song”—sug-gests an especially lovely instance of what Kathleen Biddick invokes as “master signifier.” The story of Orpheus likewise describes the break of La-canian ligature. As dyad, Orpheus and Eurydice are most heart-breaking, not in their inseparabil-ity but in that inseparability’s irrevocable turn (another form of Biddick’s “swerve”) to irrepara-ble singleness, the fact of bereft linkage. And as though this pathos of singularity were not enough, the Maenads rip Orpheus to pieces. 20 00 Open Access Snediker, Michael D. 8 03 06 10.21983/P3.0055.0.08 55 66 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Aesthetics of Style and the Politics of Identity Formation 1 A01 Gila Aloni Gila Aloni 01 eng 03 00 A real state of emergency and catastrophe is not new to anybody living in the Middle East, in the middle of things. Troubling intellectual inquiries about “the end” and what is “after the end” become real as they are embodied in a site where past, present, and future encounter one another, where ends are beginnings and beginnings are ends—Jerusalem. Many of my memories are from the Western Wall in Jerusalem, which at the time of my childhood was believed to be only about 60 meters long. But a summer’s visit to the most recent excavations of the Western Wall’s Tunnels reveals that the majority of the wall is hidden underground; the tour under the old city of Jerusalem exposes the Western Wall in its full length. The end of the open-air Western Wall is actually the beginning. Maybe it is not without insignificance that a wall, the sign of a barrier, an end to a space, has revealed itself as a beginning.1It is this problematization of boundaries that my essay explores so as to discuss questions of “ends.” Questions about endings and “what is after” unravel deeper questions about psychic structures and our search as medievalists for identity formation in a new world-order where boundaries receive new meanings. 30 00 A real state of emergency and catastrophe is not new to anybody living in the Middle East, in the middle of things. Troubling intellectual inquiries about “the end” and what is “after the end” become real as they are embodied in a site where past, present, and future encounter one another, where ends are beginnings and beginnings are ends—Jerusalem. Many of my memories are from the Western Wall in Jerusalem, which at the time of my childhood was believed to be only about 60 meters long. But a summer’s visit to the most recent excavations of the Western Wall’s Tunnels reveals that the majority of the wall is hidden underground; the tour under the old city of Jerusalem exposes the Western Wall in its full length. The end of the open-air Western Wall is actually the beginning. Maybe it is not without insignificance that a wall, the sign of a barrier, an end to a space, has revealed itself as a beginning.1It is this problematization of boundaries that my essay explores so as to discuss questions of “ends.” Questions about endings and “what is after” unravel deeper questions about psychic structures and our search as medievalists for identity formation in a new world-order where boundaries receive new meanings. 20 00 Open Access Aloni, Gila 9 03 06 10.21983/P3.0055.0.09 67 85 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Renegade Style Fashion and the (Non)Modern Subject-Object in Massinger's The Renegado 1 A01 Jessica Roberts Frazier Jessica Roberts Frazier 40 00y4zzh67 George Washington University 01 eng 03 00 In Act 1, Scene 3 of Philip Massinger’s The Renegado (1624), the Turkish princess Donusabrowses through the goods on display at the Tunisian market shop of the Venetian Vitelli. As Jonathan Gil Harris has noted in Sick Economies, such luxury outlets, with their attendant branding, had become almost set pieces of the stage by the early seventeenth century.1 Like runway spec-tators at Fashion Week, Renaissance theater-goers received previews of the latest trends in everything from tobacco paraphernalia to fea-thers. And Vitelli’s inventory, with Venetian mirrors and glass, certainly would have proffered a bit of caché, as Harris suggests.2 But Vitelli employs an unanticipated marketing strategy, coupling his offerings with classical imagery. He hawks his goods through the promise of their similitude to the décor of Greek gods: “Here crystal glasses, such as Ganymede / Did fill with nectar to the Thunderer / When he drank to Alcides” (1.3.116–118).3 As a result, Vitelli’s “looking-glass” (1.3.108) and “crystal” take on a patina of antiquity rather than the gleam of novelty. 30 00 In Act 1, Scene 3 of Philip Massinger’s The Renegado (1624), the Turkish princess Donusabrowses through the goods on display at the Tunisian market shop of the Venetian Vitelli. As Jonathan Gil Harris has noted in Sick Economies, such luxury outlets, with their attendant branding, had become almost set pieces of the stage by the early seventeenth century.1 Like runway spec-tators at Fashion Week, Renaissance theater-goers received previews of the latest trends in everything from tobacco paraphernalia to fea-thers. And Vitelli’s inventory, with Venetian mirrors and glass, certainly would have proffered a bit of caché, as Harris suggests.2 But Vitelli employs an unanticipated marketing strategy, coupling his offerings with classical imagery. He hawks his goods through the promise of their similitude to the décor of Greek gods: “Here crystal glasses, such as Ganymede / Did fill with nectar to the Thunderer / When he drank to Alcides” (1.3.116–118).3 As a result, Vitelli’s “looking-glass” (1.3.108) and “crystal” take on a patina of antiquity rather than the gleam of novelty. 20 00 Open Access Frazier, Jessica Roberts 10 03 06 10.21983/P3.0055.0.10 87 109 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Always Accessorize In Defense of Scholary Cointise 1 A01 Christine Neufeld Christine Neufeld 40 02ehshm78 Eastern Michigan University 01 eng 03 00 Perhaps because of my own upbringing in a Protestant culture which, in my youth, still contended to some extent with Pauline injunc-tions about cosmetics and hairstyle, I perceive behind the question of style in medieval studies the imputation that style is a provocation. Anna Kłosowka’s observations on the topic (in this volume) highlight some of the anxieties attendant when style becomes an issue for scholars:I think the question of style, as it applies to medievalism, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique pro-ceeds through the denunciation of the inimi-tability of someone’s style, as if it were the third sex, . . . the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is. . . the generative principle itself. 30 00 Perhaps because of my own upbringing in a Protestant culture which, in my youth, still contended to some extent with Pauline injunc-tions about cosmetics and hairstyle, I perceive behind the question of style in medieval studies the imputation that style is a provocation. Anna Kłosowka’s observations on the topic (in this volume) highlight some of the anxieties attendant when style becomes an issue for scholars:I think the question of style, as it applies to medievalism, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique pro-ceeds through the denunciation of the inimi-tability of someone’s style, as if it were the third sex, . . . the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is. . . the generative principle itself. 20 00 Open Access Neufeld, Christine 11 03 06 10.21983/P3.0055.0.11 111 120 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Unceasing Call of Style A Novelist's Perspective 1 A01 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 First, I’ll dispense with the obvious: that style is often seen as a quality a writer puts on a writing product as she herself might put on a snug purple leather jacket—to enhance her message, her ap-peal. As a writer, you can put on a different coat, but you cannot not wear a coat. Rather, your non-coat-wearing will not go unnoticed. That is, you are kidding yourself if you think your style is transparent. It is as obvious as a sunbeam striking a chrome bumper. 30 00 First, I’ll dispense with the obvious: that style is often seen as a quality a writer puts on a writing product as she herself might put on a snug purple leather jacket—to enhance her message, her ap-peal. As a writer, you can put on a different coat, but you cannot not wear a coat. Rather, your non-coat-wearing will not go unnoticed. That is, you are kidding yourself if you think your style is transparent. It is as obvious as a sunbeam striking a chrome bumper. 20 00 Open Access Vogrin, Valerie 12 03 06 10.21983/P3.0055.0.12 121 122 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 20 00 Open Access Joy, Eileen A. Kłosowska, Anna 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/on-style-an-atelier/ Brooklyn, NY 04 01 20131206 Joy, Eileen A. Kłosowska, Anna 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615934021 20 08 20131206 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/on-style-an-atelier 20 08 20131206 02 22.00 USD WORLD urn:uuid:1a1d868e-ed29-4f85-9db7-4b0a0023ff9d 03 01 01 thoth-work-id urn:uuid:dbe1ab13-7c70-444e-840d-20e46f04cc98 01 thoth-publication-id urn:uuid:1a1d868e-ed29-4f85-9db7-4b0a0023ff9d 06 10.21983/P3.0055.0.00 01 internal-reference 0055 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 On Style An Atelier 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 00 154 03 12 DNF 93 DNL 10 LIT011000 B2 Literary Studies 93 DSB B2 Premodern 20 fashion; style; literature; cultural theory; history 01 06 02 00 03 00 Scholarship in medieval studies of the past 20 or so years has offered some provocative experiments in, and elegant exempla of, style. Scholars such as Anne Clark Bartlett, Kathleen Biddick, Catherine Brown, Brantley Bryant, Michael Camille, Jeffrey Jerome Cohen, Carolyn Dinshaw, James Earl, L.O. Aranye Fradenburg, Roberta Frank, Amy Hollywood, Cary Howie, C. Stephen Jaeger, Eileen Joy, Anna Klosowska, Nicola Masciandaro, Peggy McCracken, Paul Strohm, David Wallace, and Paul Zumthor, among others, have blended the conventions of academic writing with those of fiction, drama, memoir, comedy, polemic, and lyricism, and/or have developed what some would describe as elegant, and arresting (and in some cases, deliciously difficult) prose styles. As these registers merge, they can produce what has been called a queer historiographical encounter (or in queer theorist Elizabeth Freeman’s terms, “an erotohistoriography”), a “poetics of intensification,” and even a “new aestheticism.” The work of these scholars has also opened up debates (some rancorous) that often install what the editors of this volume feel are false binaries between form and content, feeling and thinking, affect and rigor, poetry and history, attachment and critical distance, enjoyment and discipline, style and substance. As Anna Klosowska writes in her contribution to this volume,The question of style, as it applies to medieval studies, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique proceeds through the denunciation of the inimitability of someone’s style, as if it were the third sex, ungenerative, queer, sterile, sodomitic, lesbian, etc., the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s supposedly non-generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is … the generative principle itself. 30 00 Scholarship in medieval studies of the past 20 or so years has offered some provocative experiments in, and elegant exempla of, style. Scholars such as Anne Clark Bartlett, Kathleen Biddick, Catherine Brown, Brantley Bryant, Michael Camille, Jeffrey Jerome Cohen, Carolyn Dinshaw, James Earl, L.O. Aranye Fradenburg, Roberta Frank, Amy Hollywood, Cary Howie, C. Stephen Jaeger, Eileen Joy, Anna Klosowska, Nicola Masciandaro, Peggy McCracken, Paul Strohm, David Wallace, and Paul Zumthor, among others, have blended the conventions of academic writing with those of fiction, drama, memoir, comedy, polemic, and lyricism, and/or have developed what some would describe as elegant, and arresting (and in some cases, deliciously difficult) prose styles. As these registers merge, they can produce what has been called a queer historiographical encounter (or in queer theorist Elizabeth Freeman’s terms, “an erotohistoriography”), a “poetics of intensification,” and even a “new aestheticism.” The work of these scholars has also opened up debates (some rancorous) that often install what the editors of this volume feel are false binaries between form and content, feeling and thinking, affect and rigor, poetry and history, attachment and critical distance, enjoyment and discipline, style and substance. As Anna Klosowska writes in her contribution to this volume,The question of style, as it applies to medieval studies, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique proceeds through the denunciation of the inimitability of someone’s style, as if it were the third sex, ungenerative, queer, sterile, sodomitic, lesbian, etc., the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s supposedly non-generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is … the generative principle itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0055.0.00_frontcover.png 1 03 06 10.21983/P3.0055.0.01 i xvii 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 20 00 Open Access Joy, Eileen A. Kłosowska, Anna 2 03 06 10.21983/P3.0055.0.02 i xvi 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Style A Reader's Guide 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 03 00 When George-Louis de Buffon, naturalist and mathematician—calculus, probablility, Buffon’s needle—devoted to style his 1753 acceptance lec-ture at the French Academy, he said that “well-written works are the only ones that will be passed on to posterity. . . . small objects [such as] knowledge, facts and discoveries are easily taken up, transported, and even gain from being put together by more nimble hands. These things are outside of man, the style is the man himself.”1 In the coda to this volume, Valerie Vogrin reminds us that Victor Hugo, in his Function of Beauty, fulminates against small bourgeois minds that relegate style to the background: “Style is ideas. Ideas are style. Try to tear away the word: it’s the idea that you lose. . . . Style is the essence of a sub-ject, constantly called to the surface.”2 It seemed to us that the question of style, cognate as it is to the question of the role of the humanities, needs to be asked about theory in medieval studies. In this collection, style is instantiated (we have as-sembled a breathtaking cast) as well as thema-tized and theorized. Christine Neufeld writes in the conclusion to her essay in this volume: “Per-ceiving this aesthetic relation to the past does not free us from a sense of accountability to the deli-cate, tattered fabric of history that both touches us and exceeds our grasp.” In other words, we study style in this collection because it instanti-ates and theorizes the relation we have to the past, our subject. These are (again, via Neufeld), “the issues the Style project represents for medieval scholars: how to contend with the ‘immaterial’ intensities of our scholarship, the effects and af-fects of being touched by the past.” 30 00 When George-Louis de Buffon, naturalist and mathematician—calculus, probablility, Buffon’s needle—devoted to style his 1753 acceptance lec-ture at the French Academy, he said that “well-written works are the only ones that will be passed on to posterity. . . . small objects [such as] knowledge, facts and discoveries are easily taken up, transported, and even gain from being put together by more nimble hands. These things are outside of man, the style is the man himself.”1 In the coda to this volume, Valerie Vogrin reminds us that Victor Hugo, in his Function of Beauty, fulminates against small bourgeois minds that relegate style to the background: “Style is ideas. Ideas are style. Try to tear away the word: it’s the idea that you lose. . . . Style is the essence of a sub-ject, constantly called to the surface.”2 It seemed to us that the question of style, cognate as it is to the question of the role of the humanities, needs to be asked about theory in medieval studies. In this collection, style is instantiated (we have as-sembled a breathtaking cast) as well as thema-tized and theorized. Christine Neufeld writes in the conclusion to her essay in this volume: “Per-ceiving this aesthetic relation to the past does not free us from a sense of accountability to the deli-cate, tattered fabric of history that both touches us and exceeds our grasp.” In other words, we study style in this collection because it instanti-ates and theorizes the relation we have to the past, our subject. These are (again, via Neufeld), “the issues the Style project represents for medieval scholars: how to contend with the ‘immaterial’ intensities of our scholarship, the effects and af-fects of being touched by the past.” 20 00 Open Access Klosowska, Anna 3 03 06 10.21983/P3.0055.0.03 1 14 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Without Style 1 A01 Valerie Allen Valerie Allen 40 01p9rc392 John Jay College of Criminal Justice 01 eng 03 00 As its etymology reminds us, style mediates commun-ication and arises out of whatever technology of communication characterizes an era. Style presentsitself as the “how” as distinct from the “what” of com-municated thought, and the relationship between the two has always been marked by attempts to sub-ordinate form to content or vice versa. In the aca-demic disciplines, the substantive (the “what”) tra-ditionally takes precedence over the procedural (the “how”). Academic style paradoxically deprivileges styleby making it subservient to substance and, in doing so, helps construct disciplinary boundaries, which differ-entiate themselves both by subject matter and by mystifying their processes of communication—that is, their style. A foregrounding of style in academic discourse, however, lays bare its own procedures andthereby opens up its audience; for style—unlike sub-stance—is all about audience, about being situated, directive, and intentional. By equalizing style’s footing in the style/substance binary, we achieve better aware-ness about the boundaries of our disciplines. 30 00 As its etymology reminds us, style mediates commun-ication and arises out of whatever technology of communication characterizes an era. Style presentsitself as the “how” as distinct from the “what” of com-municated thought, and the relationship between the two has always been marked by attempts to sub-ordinate form to content or vice versa. In the aca-demic disciplines, the substantive (the “what”) tra-ditionally takes precedence over the procedural (the “how”). Academic style paradoxically deprivileges styleby making it subservient to substance and, in doing so, helps construct disciplinary boundaries, which differ-entiate themselves both by subject matter and by mystifying their processes of communication—that is, their style. A foregrounding of style in academic discourse, however, lays bare its own procedures andthereby opens up its audience; for style—unlike sub-stance—is all about audience, about being situated, directive, and intentional. By equalizing style’s footing in the style/substance binary, we achieve better aware-ness about the boundaries of our disciplines. 20 00 Open Access Allen, Valerie 4 03 06 10.21983/P3.0055.0.04 15 26 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lacan's belles-lettres On Difficulty and Beauty 1 A01 Ruth Evans Ruth Evans 40 04k7nem08 Saint Louis University 01 eng 03 00 Ever since the Sokal affair, humanities scholar-ship in some quarters stands accused of unin-telligibility, emptiness, or absurdity.1 Sure, there’s some bad theoretical writing out there. But not all of it is willfully unreadable. A familiar set of binaries runs through and across these accusa-tions: not only clarity/obscurity, but wonder/ pessimism, aesthetics/politics, and affect/the her-meneutics of suspicion. But these oppositions are far from being rigidly distributed along either side of the fault line dividing the “two cultures.” The turn to what has been called “the new aestheticism” within literary studies, for example, involves a radical rethinking of beauty and affect, not just in the way we read literary texts—including medieval ones—but in the way we write about them.2 A less familiar assumption made by the accusers is that the beautiful leads us to truth—what the philosopher Denis Dutton describes as “aesthetic insight”—whereas the unreadable is the sign of a certain exhaustion in the humanities: an endless self-referentiality, a “process of text in/text out." 30 00 Ever since the Sokal affair, humanities scholar-ship in some quarters stands accused of unin-telligibility, emptiness, or absurdity.1 Sure, there’s some bad theoretical writing out there. But not all of it is willfully unreadable. A familiar set of binaries runs through and across these accusa-tions: not only clarity/obscurity, but wonder/ pessimism, aesthetics/politics, and affect/the her-meneutics of suspicion. But these oppositions are far from being rigidly distributed along either side of the fault line dividing the “two cultures.” The turn to what has been called “the new aestheticism” within literary studies, for example, involves a radical rethinking of beauty and affect, not just in the way we read literary texts—including medieval ones—but in the way we write about them.2 A less familiar assumption made by the accusers is that the beautiful leads us to truth—what the philosopher Denis Dutton describes as “aesthetic insight”—whereas the unreadable is the sign of a certain exhaustion in the humanities: an endless self-referentiality, a “process of text in/text out." 20 00 Open Access Evans, Ruth 5 03 06 10.21983/P3.0055.0.05 27 36 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Style as Third Element 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 03 00 Medieval studies are not the only discipline to seasonally reiterate the distinction between forging truth in virile debate1 versus being seduc-ed by style.2 It is Spring, and the image of besotted Philosophy seduced by vain blandish-ments, muzzled and ridden like Aristotle, is again trotted out with the sordid intention of policing value. The distinction between style and sub-stance is brought up in many personal, network, subfield, and disciplinary sorting practices that, in a cynical moment, can be reduced to a form of policing. For instance, in history, this contest can translate into differentiation between processing archival materials versus original narratives based on already edited sources. In queer studies, this plays out as history of ideas versus history of affect, or documenting same-sex acts versus hy-pothesizing same-sex desires. Such distinctions are as absurd as they are persistent, and there is a dispositional and structural reason for that, as I hope to demonstrate. But first, I want to point out their intrinsic weakness. To take the last example, acts versus desires: in strictly historical terms, same-sex acts and desires are not discrete, but rather belong on a continuum. Sticking to acts doesn’t make same-sex any more historically factual than talking about desires, because sex, unlike real estate, is not traceable in acts—in either sense of the word: no one proposes, in the felicitous formulation of my colleague Sven Erik Rose, to measure the amount of genital friction or the decibel level of the cries of passion. No one, that is, except the Marquis de Sade, that accoun-tant of the ass, le comptable du cul. 30 00 Medieval studies are not the only discipline to seasonally reiterate the distinction between forging truth in virile debate1 versus being seduc-ed by style.2 It is Spring, and the image of besotted Philosophy seduced by vain blandish-ments, muzzled and ridden like Aristotle, is again trotted out with the sordid intention of policing value. The distinction between style and sub-stance is brought up in many personal, network, subfield, and disciplinary sorting practices that, in a cynical moment, can be reduced to a form of policing. For instance, in history, this contest can translate into differentiation between processing archival materials versus original narratives based on already edited sources. In queer studies, this plays out as history of ideas versus history of affect, or documenting same-sex acts versus hy-pothesizing same-sex desires. Such distinctions are as absurd as they are persistent, and there is a dispositional and structural reason for that, as I hope to demonstrate. But first, I want to point out their intrinsic weakness. To take the last example, acts versus desires: in strictly historical terms, same-sex acts and desires are not discrete, but rather belong on a continuum. Sticking to acts doesn’t make same-sex any more historically factual than talking about desires, because sex, unlike real estate, is not traceable in acts—in either sense of the word: no one proposes, in the felicitous formulation of my colleague Sven Erik Rose, to measure the amount of genital friction or the decibel level of the cries of passion. No one, that is, except the Marquis de Sade, that accoun-tant of the ass, le comptable du cul. 20 00 Open Access Klosowska, Anna 6 03 06 10.21983/P3.0055.0.06 37 46 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Daniel's Smile 1 A01 Kathleen Biddick Kathleen Biddick 40 00kx1jb78 Temple University 01 eng 03 00 When Eileen Joy (gadfly extraordinaire) invited me to join this volume, she encouraged me to get over my fear of style, first contracted during my anxious pubescent scrutiny of those thumbnail photographs of fashion “don’ts” featured in teenmagazines of the early 1960s. My heart would sink when I discovered that some accessory of mine, beloved to me for its vibrant charm, was, in fact, deemed by the style editors to be the latest sign of abjection. But, voila, after all these years, here I am today discussing “style” and still work-ing through those fears. 30 00 When Eileen Joy (gadfly extraordinaire) invited me to join this volume, she encouraged me to get over my fear of style, first contracted during my anxious pubescent scrutiny of those thumbnail photographs of fashion “don’ts” featured in teenmagazines of the early 1960s. My heart would sink when I discovered that some accessory of mine, beloved to me for its vibrant charm, was, in fact, deemed by the style editors to be the latest sign of abjection. But, voila, after all these years, here I am today discussing “style” and still work-ing through those fears. 20 00 Open Access Biddick, Kathleen 7 03 06 10.21983/P3.0055.0.07 47 53 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 To Peach or Not to Peach Style and the Interpersonal 1 A01 Michael D. Snediker Michael D. Snediker 40 048sx0r50 University of Houston 01 eng 03 00 In his lyric persuasiveness over Hades and Per-sephone, Orpheus—Pindar’s “father of song”—sug-gests an especially lovely instance of what Kathleen Biddick invokes as “master signifier.” The story of Orpheus likewise describes the break of La-canian ligature. As dyad, Orpheus and Eurydice are most heart-breaking, not in their inseparabil-ity but in that inseparability’s irrevocable turn (another form of Biddick’s “swerve”) to irrepara-ble singleness, the fact of bereft linkage. And as though this pathos of singularity were not enough, the Maenads rip Orpheus to pieces. 30 00 In his lyric persuasiveness over Hades and Per-sephone, Orpheus—Pindar’s “father of song”—sug-gests an especially lovely instance of what Kathleen Biddick invokes as “master signifier.” The story of Orpheus likewise describes the break of La-canian ligature. As dyad, Orpheus and Eurydice are most heart-breaking, not in their inseparabil-ity but in that inseparability’s irrevocable turn (another form of Biddick’s “swerve”) to irrepara-ble singleness, the fact of bereft linkage. And as though this pathos of singularity were not enough, the Maenads rip Orpheus to pieces. 20 00 Open Access Snediker, Michael D. 8 03 06 10.21983/P3.0055.0.08 55 66 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Aesthetics of Style and the Politics of Identity Formation 1 A01 Gila Aloni Gila Aloni 01 eng 03 00 A real state of emergency and catastrophe is not new to anybody living in the Middle East, in the middle of things. Troubling intellectual inquiries about “the end” and what is “after the end” become real as they are embodied in a site where past, present, and future encounter one another, where ends are beginnings and beginnings are ends—Jerusalem. Many of my memories are from the Western Wall in Jerusalem, which at the time of my childhood was believed to be only about 60 meters long. But a summer’s visit to the most recent excavations of the Western Wall’s Tunnels reveals that the majority of the wall is hidden underground; the tour under the old city of Jerusalem exposes the Western Wall in its full length. The end of the open-air Western Wall is actually the beginning. Maybe it is not without insignificance that a wall, the sign of a barrier, an end to a space, has revealed itself as a beginning.1It is this problematization of boundaries that my essay explores so as to discuss questions of “ends.” Questions about endings and “what is after” unravel deeper questions about psychic structures and our search as medievalists for identity formation in a new world-order where boundaries receive new meanings. 30 00 A real state of emergency and catastrophe is not new to anybody living in the Middle East, in the middle of things. Troubling intellectual inquiries about “the end” and what is “after the end” become real as they are embodied in a site where past, present, and future encounter one another, where ends are beginnings and beginnings are ends—Jerusalem. Many of my memories are from the Western Wall in Jerusalem, which at the time of my childhood was believed to be only about 60 meters long. But a summer’s visit to the most recent excavations of the Western Wall’s Tunnels reveals that the majority of the wall is hidden underground; the tour under the old city of Jerusalem exposes the Western Wall in its full length. The end of the open-air Western Wall is actually the beginning. Maybe it is not without insignificance that a wall, the sign of a barrier, an end to a space, has revealed itself as a beginning.1It is this problematization of boundaries that my essay explores so as to discuss questions of “ends.” Questions about endings and “what is after” unravel deeper questions about psychic structures and our search as medievalists for identity formation in a new world-order where boundaries receive new meanings. 20 00 Open Access Aloni, Gila 9 03 06 10.21983/P3.0055.0.09 67 85 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Renegade Style Fashion and the (Non)Modern Subject-Object in Massinger's The Renegado 1 A01 Jessica Roberts Frazier Jessica Roberts Frazier 40 00y4zzh67 George Washington University 01 eng 03 00 In Act 1, Scene 3 of Philip Massinger’s The Renegado (1624), the Turkish princess Donusabrowses through the goods on display at the Tunisian market shop of the Venetian Vitelli. As Jonathan Gil Harris has noted in Sick Economies, such luxury outlets, with their attendant branding, had become almost set pieces of the stage by the early seventeenth century.1 Like runway spec-tators at Fashion Week, Renaissance theater-goers received previews of the latest trends in everything from tobacco paraphernalia to fea-thers. And Vitelli’s inventory, with Venetian mirrors and glass, certainly would have proffered a bit of caché, as Harris suggests.2 But Vitelli employs an unanticipated marketing strategy, coupling his offerings with classical imagery. He hawks his goods through the promise of their similitude to the décor of Greek gods: “Here crystal glasses, such as Ganymede / Did fill with nectar to the Thunderer / When he drank to Alcides” (1.3.116–118).3 As a result, Vitelli’s “looking-glass” (1.3.108) and “crystal” take on a patina of antiquity rather than the gleam of novelty. 30 00 In Act 1, Scene 3 of Philip Massinger’s The Renegado (1624), the Turkish princess Donusabrowses through the goods on display at the Tunisian market shop of the Venetian Vitelli. As Jonathan Gil Harris has noted in Sick Economies, such luxury outlets, with their attendant branding, had become almost set pieces of the stage by the early seventeenth century.1 Like runway spec-tators at Fashion Week, Renaissance theater-goers received previews of the latest trends in everything from tobacco paraphernalia to fea-thers. And Vitelli’s inventory, with Venetian mirrors and glass, certainly would have proffered a bit of caché, as Harris suggests.2 But Vitelli employs an unanticipated marketing strategy, coupling his offerings with classical imagery. He hawks his goods through the promise of their similitude to the décor of Greek gods: “Here crystal glasses, such as Ganymede / Did fill with nectar to the Thunderer / When he drank to Alcides” (1.3.116–118).3 As a result, Vitelli’s “looking-glass” (1.3.108) and “crystal” take on a patina of antiquity rather than the gleam of novelty. 20 00 Open Access Frazier, Jessica Roberts 10 03 06 10.21983/P3.0055.0.10 87 109 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Always Accessorize In Defense of Scholary Cointise 1 A01 Christine Neufeld Christine Neufeld 40 02ehshm78 Eastern Michigan University 01 eng 03 00 Perhaps because of my own upbringing in a Protestant culture which, in my youth, still contended to some extent with Pauline injunc-tions about cosmetics and hairstyle, I perceive behind the question of style in medieval studies the imputation that style is a provocation. Anna Kłosowka’s observations on the topic (in this volume) highlight some of the anxieties attendant when style becomes an issue for scholars:I think the question of style, as it applies to medievalism, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique pro-ceeds through the denunciation of the inimi-tability of someone’s style, as if it were the third sex, . . . the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is. . . the generative principle itself. 30 00 Perhaps because of my own upbringing in a Protestant culture which, in my youth, still contended to some extent with Pauline injunc-tions about cosmetics and hairstyle, I perceive behind the question of style in medieval studies the imputation that style is a provocation. Anna Kłosowka’s observations on the topic (in this volume) highlight some of the anxieties attendant when style becomes an issue for scholars:I think the question of style, as it applies to medievalism, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique pro-ceeds through the denunciation of the inimi-tability of someone’s style, as if it were the third sex, . . . the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is. . . the generative principle itself. 20 00 Open Access Neufeld, Christine 11 03 06 10.21983/P3.0055.0.11 111 120 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Unceasing Call of Style A Novelist's Perspective 1 A01 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 First, I’ll dispense with the obvious: that style is often seen as a quality a writer puts on a writing product as she herself might put on a snug purple leather jacket—to enhance her message, her ap-peal. As a writer, you can put on a different coat, but you cannot not wear a coat. Rather, your non-coat-wearing will not go unnoticed. That is, you are kidding yourself if you think your style is transparent. It is as obvious as a sunbeam striking a chrome bumper. 30 00 First, I’ll dispense with the obvious: that style is often seen as a quality a writer puts on a writing product as she herself might put on a snug purple leather jacket—to enhance her message, her ap-peal. As a writer, you can put on a different coat, but you cannot not wear a coat. Rather, your non-coat-wearing will not go unnoticed. That is, you are kidding yourself if you think your style is transparent. It is as obvious as a sunbeam striking a chrome bumper. 20 00 Open Access Vogrin, Valerie 12 03 06 10.21983/P3.0055.0.12 121 122 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 20 00 Open Access Joy, Eileen A. Kłosowska, Anna 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/on-style-an-atelier/ Brooklyn, NY 04 01 20131206 Joy, Eileen A. Kłosowska, Anna 02 WORLD 06 15 9780615934020 03 9780615934020 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76456 20 08 20131206 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25562 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25562/1004533.pdf?sequence=1&isAllowed=y 20 08 20131206 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32639 20 08 20131206 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353806 20 08 20131206 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/674 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/251349a5-4608-4ae7-abc0-f8dce4c9f240/download 20 08 20131206 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/dbe1ab13-7c70-444e-840d-20e46f04cc98 29 INTERNET_ARCHIVE: download the title https://archive.org/download/dbe1ab13-7c70-444e-840d-20e46f04cc98/dbe1ab13-7c70-444e-840d-20e46f04cc98.pdf 20 08 20131206 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845860 29 ZENODO: download the title https://zenodo.org/records/19845860/files/dbe1ab13-7c70-444e-840d-20e46f04cc98_book.pdf 20 08 20131206 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/on-style-an-atelier/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0055.0.00.pdf 20 08 20131206 01 urn:uuid:0b43f5b6-5199-461d-a41e-cbbc1c279e68 03 01 01 thoth-work-id urn:uuid:c5b21f1e-990e-4d24-a0da-40cac057b175 01 thoth-publication-id urn:uuid:0b43f5b6-5199-461d-a41e-cbbc1c279e68 15 9781947447325 03 9781947447325 06 10.21983/P3.0194.1.00 13 2017957481 01 internal-reference 0194 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Meaningful Flesh Reflections on Religion and Nature for a Queer Planet 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 00 152 03 B2 Biosphere 93 JBSJ 12 JFSK 10 SOC064000 93 QRVG 10 REL033000 B2 Sex 93 RNA B2 TransQueer 20 religion; queer studies; ecology; cultural studies; new materialisms 01 06 02 00 03 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this volume: the authors included here hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to examine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this issue, is among those who have used the queer eye to interrogate authority within Christian theological traditions. At the same time, there have been many queer interrogations of “nature,” perhaps most notably in the works of Joan Roughgarden and Ann Fausto-Sterling, and more recently in the works of Catriona Sandilands and Timothy Morton (an author in this volume). However, the intersections of religion, nature, and queer theory have been largely left untouched. With the exception of Dan Spencer, who writes the introduction for this volume and is one of the early pioneers in this realm of thought with his book Gay and Gaia (Pilgrim Press, 1996), and the work of Greta Gaard in developing a queer ecofeminist thought, religion and nature, or religion and ecology, have largely ignored the realm of queer theory.In part, the blinders to queer theory on the part of eco-thinkers (religious or otherwise) are similar to the blinders eco-thinkers have when it comes to postmodern thought in general: namely, if there are no absolute foundations, how does one create an environmental ethic and a “nature” to save? For this reason and many others, this volume on religion, nature, and queer theory is groundbreaking. Though these essays span many different disciplines and themes, they are all held together by the triple focus on religion, nature, and queer theory.Each of these essays offers a unique contribution to the intersection of religion, nature, and queer theory, and all of them challenge strict boundaries proposed in religious rhetoric and many discourses surrounding “nature.” Carol Wayne White’s essay draws from a queer reading of James Baldwin to develop an African American religious naturalism, which highlights humans as polyamorous bastards. Jacob Erickson’s essay examines Isabella Rossellini’s “Green Porno” and Martin Luther’s work to develop an irreverent theology. Jay Johnson draws from personal relationships with his late dog, and Master/Pup fetish-play, to blur the boundaries between humans and other animals, specifically within ethical and theological discourse. Whitney Bauman reflects on how the very processes of globalization and climate change queer our identities and call for a queer and versatile planetary ethic. Finally, Timothy Morton leads us through a reflection on queer green sex toys to challenge the ontology of agrologistics. Each of these essays in their own way is concerned with fleshing out more meaningful encounters with the planetary community. Without being too ambitious, we hope that these sets of essays will help to open up a new trajectory of conversations at the intersection of religion, nature, and queer theory. 30 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this volume: the authors included here hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to examine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this issue, is among those who have used the queer eye to interrogate authority within Christian theological traditions. At the same time, there have been many queer interrogations of “nature,” perhaps most notably in the works of Joan Roughgarden and Ann Fausto-Sterling, and more recently in the works of Catriona Sandilands and Timothy Morton (an author in this volume). However, the intersections of religion, nature, and queer theory have been largely left untouched. With the exception of Dan Spencer, who writes the introduction for this volume and is one of the early pioneers in this realm of thought with his book Gay and Gaia (Pilgrim Press, 1996), and the work of Greta Gaard in developing a queer ecofeminist thought, religion and nature, or religion and ecology, have largely ignored the realm of queer theory.In part, the blinders to queer theory on the part of eco-thinkers (religious or otherwise) are similar to the blinders eco-thinkers have when it comes to postmodern thought in general: namely, if there are no absolute foundations, how does one create an environmental ethic and a “nature” to save? For this reason and many others, this volume on religion, nature, and queer theory is groundbreaking. Though these essays span many different disciplines and themes, they are all held together by the triple focus on religion, nature, and queer theory.Each of these essays offers a unique contribution to the intersection of religion, nature, and queer theory, and all of them challenge strict boundaries proposed in religious rhetoric and many discourses surrounding “nature.” Carol Wayne White’s essay draws from a queer reading of James Baldwin to develop an African American religious naturalism, which highlights humans as polyamorous bastards. Jacob Erickson’s essay examines Isabella Rossellini’s “Green Porno” and Martin Luther’s work to develop an irreverent theology. Jay Johnson draws from personal relationships with his late dog, and Master/Pup fetish-play, to blur the boundaries between humans and other animals, specifically within ethical and theological discourse. Whitney Bauman reflects on how the very processes of globalization and climate change queer our identities and call for a queer and versatile planetary ethic. Finally, Timothy Morton leads us through a reflection on queer green sex toys to challenge the ontology of agrologistics. Each of these essays in their own way is concerned with fleshing out more meaningful encounters with the planetary community. Without being too ambitious, we hope that these sets of essays will help to open up a new trajectory of conversations at the intersection of religion, nature, and queer theory. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0194.1.00_frontcover.jpg 1 03 06 10.21983/P3.0194.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 20 00 Open Access Bauman, Whitney A. 2 03 06 10.21983/P3.0194.1.02 11 13 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Queering Religion and Nature 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 03 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this book: we hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to exam-ine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this volume, is among those who have used the queer eye to interrogate authority within Chris-tian theological traditions. At the same time, interrogating na-ture from a queer perspective has begun, perhaps most notably in the work of Joan Roughgarden’s Evolution’s Rainbow and with the works of Anne Fausto-Sterling. However, the intersections of religion, nature, and queer theory have largely been left un-touched. With the exception of Dan Spencer, the author of the Introduction for this volume and one of the early pioneers in this realm of thought with his book Gay and Gaia, and Greta Gaard, whose work is developing a queer ecofeminist thought, authors have largely ignored religion and nature or religion and ecology in the realm of queer theory. 30 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this book: we hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to exam-ine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this volume, is among those who have used the queer eye to interrogate authority within Chris-tian theological traditions. At the same time, interrogating na-ture from a queer perspective has begun, perhaps most notably in the work of Joan Roughgarden’s Evolution’s Rainbow and with the works of Anne Fausto-Sterling. However, the intersections of religion, nature, and queer theory have largely been left un-touched. With the exception of Dan Spencer, the author of the Introduction for this volume and one of the early pioneers in this realm of thought with his book Gay and Gaia, and Greta Gaard, whose work is developing a queer ecofeminist thought, authors have largely ignored religion and nature or religion and ecology in the realm of queer theory. 20 00 Open Access Bauman, Whitney A. 3 03 06 10.21983/P3.0194.1.03 15 21 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Religion, Nature, and Queer Theory 1 A01 Daniel T. Spencer Daniel T. Spencer 40 05r0q9p84 Calvin University 01 eng 03 00 In 1989 I began doctoral work at Union Theological Seminary to integrate insights from ecology, liberation theologies, and ecofeminism — what eventually emerged was my book, Gay and Gaia: Ethics, Ecology and the Erotic. I now welcome this oppor-tunity to look back at how the emerging intersections among religion, nature, culture, and sexuality in the 1980s and 1990s shaped those reflections, and to look forward to the insights of a new generation of queer scholars of religion.Trained as a geologist who came late to theology and ethics, my intuitions about this intersection began to form in college when I studied volcanoes in Costa Rica in 1978 as a deeply clos-eted gay man. Here I was exposed to human rights issues and poverty, exacerbated by the many civil wars engulfing Costa Ri-ca’s neighbors. I first enrolled at Union in 1980 to try to address the many theoethical issues that my time in Central America and my closeted sexuality were raising, having little inclination then how deeply intertwined the answers would become. Hav-ing recently come out to family and friends, I returned to Costa Rica in 1982 to study liberation theology. I spent my weekends working with refugee children from El Salvador, displaced from their homelands by the combination of military violence and ecological degradation from the scorched earth tactics of us-sponsored counterinsurgency tactics. Coming to terms with my own gay identity has therefore always been deeply intertwined with my love of the earth and its diverse ecosystems and my commitment to social justice for the poor and exploited. 30 00 In 1989 I began doctoral work at Union Theological Seminary to integrate insights from ecology, liberation theologies, and ecofeminism — what eventually emerged was my book, Gay and Gaia: Ethics, Ecology and the Erotic. I now welcome this oppor-tunity to look back at how the emerging intersections among religion, nature, culture, and sexuality in the 1980s and 1990s shaped those reflections, and to look forward to the insights of a new generation of queer scholars of religion.Trained as a geologist who came late to theology and ethics, my intuitions about this intersection began to form in college when I studied volcanoes in Costa Rica in 1978 as a deeply clos-eted gay man. Here I was exposed to human rights issues and poverty, exacerbated by the many civil wars engulfing Costa Ri-ca’s neighbors. I first enrolled at Union in 1980 to try to address the many theoethical issues that my time in Central America and my closeted sexuality were raising, having little inclination then how deeply intertwined the answers would become. Hav-ing recently come out to family and friends, I returned to Costa Rica in 1982 to study liberation theology. I spent my weekends working with refugee children from El Salvador, displaced from their homelands by the combination of military violence and ecological degradation from the scorched earth tactics of us-sponsored counterinsurgency tactics. Coming to terms with my own gay identity has therefore always been deeply intertwined with my love of the earth and its diverse ecosystems and my commitment to social justice for the poor and exploited. 20 00 Open Access Spencer, Daniel T. 4 03 06 10.21983/P3.0194.1.04 23 53 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Polyamorous Bastards James Baldwin's Opening to a Queer African-American Religious Naturalism 1 A01 Carol Wayne White Carol Wayne White 40 00fc1qt65 Bucknell University 01 eng 03 00 At the height of the civil rights era in the twentieth century, James Baldwin poignantly described blacks’ experiences of marginality in North America. In a country besieged by white supremacy, he tried to capture the acute sense of displacement felt by African Americans with the creative use of the “bastard” epithet. In doing so, he drew richly from formative familial ex-periences and the black holiness tradition of his youth. Having never known his biological father and feeling estranged from his emotionally distant stepfather — a factory worker and storefront preacher whom his mother married when he was three — Bald-win would later write about the anguish of experiencing life as an “illegitimate” kid. In both acclaimed novels and critical es-says, he creatively used the bastard motif to augment a critical self-awareness associated with being the outsider and the ille-gitimate other. 30 00 At the height of the civil rights era in the twentieth century, James Baldwin poignantly described blacks’ experiences of marginality in North America. In a country besieged by white supremacy, he tried to capture the acute sense of displacement felt by African Americans with the creative use of the “bastard” epithet. In doing so, he drew richly from formative familial ex-periences and the black holiness tradition of his youth. Having never known his biological father and feeling estranged from his emotionally distant stepfather — a factory worker and storefront preacher whom his mother married when he was three — Bald-win would later write about the anguish of experiencing life as an “illegitimate” kid. In both acclaimed novels and critical es-says, he creatively used the bastard motif to augment a critical self-awareness associated with being the outsider and the ille-gitimate other. 20 00 Open Access White, Carol Wayne 5 03 06 10.21983/P3.0194.1.05 55 79 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Irreverent Technology On the Queer Ecology of Creation 1 A01 Jacob J. Erickson Jacob J. Erickson 40 02tyrky19 Trinity College Dublin 01 eng 03 00 “How did Noah do it?” the Italian-American actress Isabella Rossellini asks inquisitively. She is dressed in black, stands in front of a similar black background, and holds in her right hand a yellow umbrella. “How did he manage to organize all animals,” she asks you, “into couples?”1 Rossellini poses this question in the course of a series of hilarious and provocative short films produced for the Sundance Channel on the theme of Green Porno. In the course of those films, she artistically explores the complexities of animal sex, performing a variety of animal species and exploring their sexual quirks, oddities, and pleasures. As she describes the series in the book inspired by her project, “I imagine myself as a particular animal and make love as that animal would. Each film is scientifically accurate; nature is infi-nitely scandalous” (Rossellini 2009). 30 00 “How did Noah do it?” the Italian-American actress Isabella Rossellini asks inquisitively. She is dressed in black, stands in front of a similar black background, and holds in her right hand a yellow umbrella. “How did he manage to organize all animals,” she asks you, “into couples?”1 Rossellini poses this question in the course of a series of hilarious and provocative short films produced for the Sundance Channel on the theme of Green Porno. In the course of those films, she artistically explores the complexities of animal sex, performing a variety of animal species and exploring their sexual quirks, oddities, and pleasures. As she describes the series in the book inspired by her project, “I imagine myself as a particular animal and make love as that animal would. Each film is scientifically accurate; nature is infi-nitely scandalous” (Rossellini 2009). 20 00 Open Access Erickson, Jacob J. 6 03 06 10.21983/P3.0194.1.06 81 102 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liverating Compassion A Queerly Theological Anthropology of Enchanting Animals 1 A01 Jay Emerson Johnson Jay Emerson Johnson 40 00xs48965 Graduate Theological Union 01 eng 03 00 An Australian shepherd dog named Tyler illuminated several key questions in my work as a Christian theologian, especially with respect to theological anthropology. He did this in both implicit and explicit ways through the affectionate relationship we cultivated over nearly seven years together, which kept rais-ing paradigm-shifting questions about the human in theological systems. Tyler elicited these questions not only about human-ity’s relationship with God (the traditional description of theo-logical anthropology) but also about our relationship(s) with the wider world of other-than-human animals and the vast net-work of ecosystems we all share, which in turn ricocheted back to theology proper — to God. 30 00 An Australian shepherd dog named Tyler illuminated several key questions in my work as a Christian theologian, especially with respect to theological anthropology. He did this in both implicit and explicit ways through the affectionate relationship we cultivated over nearly seven years together, which kept rais-ing paradigm-shifting questions about the human in theological systems. Tyler elicited these questions not only about human-ity’s relationship with God (the traditional description of theo-logical anthropology) but also about our relationship(s) with the wider world of other-than-human animals and the vast net-work of ecosystems we all share, which in turn ricocheted back to theology proper — to God. 20 00 Open Access Johnson, Jay Emerson 7 03 06 10.21983/P3.0194.1.07 103 123 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Values for a Queer Climate Developing a Versatile Planetary Ethic 1 A01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 03 00 Due to globalization and climate change, we are becoming more and more aware of the “queerness” of our planet. The Modern categories by which we fix our realities, simply no longer hold. The Modern ethics and technologies of control have given way to uncertainty and ambiguity about our planetary future. Once seemingly hermetically sealed categories and boundaries be-tween self/other, human/animal, nature/culture, organic/ma-chine and science/religion, have now been uncovered as leaky and porous. How do we respond ethically in this situation to the real and present dangers posed by breaching the limits of our planetary systems without merely forcing our own “longed for futures” and our own values and dreams onto the entire planet? This article argues that we need to open up to and entertain some different values for addressing the twin, wicked problems of globalization and climate change. 30 00 Due to globalization and climate change, we are becoming more and more aware of the “queerness” of our planet. The Modern categories by which we fix our realities, simply no longer hold. The Modern ethics and technologies of control have given way to uncertainty and ambiguity about our planetary future. Once seemingly hermetically sealed categories and boundaries be-tween self/other, human/animal, nature/culture, organic/ma-chine and science/religion, have now been uncovered as leaky and porous. How do we respond ethically in this situation to the real and present dangers posed by breaching the limits of our planetary systems without merely forcing our own “longed for futures” and our own values and dreams onto the entire planet? This article argues that we need to open up to and entertain some different values for addressing the twin, wicked problems of globalization and climate change. 20 00 Open Access Bauman, Whitney A. 8 03 06 10.21983/P3.0194.1.08 125 145 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Green Sex Toys 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 03 00 It is perfectly possible to defy the law of noncontradiction. Like Humpty Dumpty, we should try to believe at least six impossible things before breakfast. It is cognitively healthy and ontologi-cally accurate. Indeed, to say You can’t think impossible things is, curiously, to have thought impossible things (Priest 2014)! Within normative Western logics, contradiction is perceived to be either evil or absurd, or some combination of both. But contradiction is everywhere, and it leaks out the strongest when we try to lock it down the strongest. I take this to be a symp-tom of reality, which I take to be contradictory. In particular, ecological reality is contradictory, and if we humans want to go about “saving,” “preserving” or as I’d prefer to say, curating it, we had better allow some things to contradict themselves or else. 30 00 It is perfectly possible to defy the law of noncontradiction. Like Humpty Dumpty, we should try to believe at least six impossible things before breakfast. It is cognitively healthy and ontologi-cally accurate. Indeed, to say You can’t think impossible things is, curiously, to have thought impossible things (Priest 2014)! Within normative Western logics, contradiction is perceived to be either evil or absurd, or some combination of both. But contradiction is everywhere, and it leaks out the strongest when we try to lock it down the strongest. I take this to be a symp-tom of reality, which I take to be contradictory. In particular, ecological reality is contradictory, and if we humans want to go about “saving,” “preserving” or as I’d prefer to say, curating it, we had better allow some things to contradict themselves or else. 20 00 Open Access Morton, Timothy 9 03 06 10.21983/P3.0194.1.09 147 149 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 20 00 Open Access Bauman, Whitney A. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/meaningful-flesh-reflections-on-religion-and-nature-for-a-queer-planet/ Earth, Milky Way 04 01 20180116 Bauman, Whitney A. 02 WORLD 06 15 9781947447332 03 9781947447332 34 06 10.1016/j.cub.2014.03.036.1-3 34 06 10.1103/PhysRevLett.108.033602.144 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447327 20 08 20180116 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/meaningful-flesh-reflections-on-religion-and-nature-for-a-queer-planet 20 08 20180116 02 22.00 USD WORLD urn:uuid:fe5ef10f-e8aa-4061-b91f-ac09c5649e4d 03 01 01 thoth-work-id urn:uuid:c5b21f1e-990e-4d24-a0da-40cac057b175 01 thoth-publication-id urn:uuid:fe5ef10f-e8aa-4061-b91f-ac09c5649e4d 15 9781947447332 03 9781947447332 06 10.21983/P3.0194.1.00 13 2017957481 01 internal-reference 0194 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Meaningful Flesh Reflections on Religion and Nature for a Queer Planet 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 00 152 03 B2 Biosphere 93 JBSJ 12 JFSK 10 SOC064000 93 QRVG 10 REL033000 B2 Sex 93 RNA B2 TransQueer 20 religion; queer studies; ecology; cultural studies; new materialisms 01 06 02 00 03 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this volume: the authors included here hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to examine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this issue, is among those who have used the queer eye to interrogate authority within Christian theological traditions. At the same time, there have been many queer interrogations of “nature,” perhaps most notably in the works of Joan Roughgarden and Ann Fausto-Sterling, and more recently in the works of Catriona Sandilands and Timothy Morton (an author in this volume). However, the intersections of religion, nature, and queer theory have been largely left untouched. With the exception of Dan Spencer, who writes the introduction for this volume and is one of the early pioneers in this realm of thought with his book Gay and Gaia (Pilgrim Press, 1996), and the work of Greta Gaard in developing a queer ecofeminist thought, religion and nature, or religion and ecology, have largely ignored the realm of queer theory.In part, the blinders to queer theory on the part of eco-thinkers (religious or otherwise) are similar to the blinders eco-thinkers have when it comes to postmodern thought in general: namely, if there are no absolute foundations, how does one create an environmental ethic and a “nature” to save? For this reason and many others, this volume on religion, nature, and queer theory is groundbreaking. Though these essays span many different disciplines and themes, they are all held together by the triple focus on religion, nature, and queer theory.Each of these essays offers a unique contribution to the intersection of religion, nature, and queer theory, and all of them challenge strict boundaries proposed in religious rhetoric and many discourses surrounding “nature.” Carol Wayne White’s essay draws from a queer reading of James Baldwin to develop an African American religious naturalism, which highlights humans as polyamorous bastards. Jacob Erickson’s essay examines Isabella Rossellini’s “Green Porno” and Martin Luther’s work to develop an irreverent theology. Jay Johnson draws from personal relationships with his late dog, and Master/Pup fetish-play, to blur the boundaries between humans and other animals, specifically within ethical and theological discourse. Whitney Bauman reflects on how the very processes of globalization and climate change queer our identities and call for a queer and versatile planetary ethic. Finally, Timothy Morton leads us through a reflection on queer green sex toys to challenge the ontology of agrologistics. Each of these essays in their own way is concerned with fleshing out more meaningful encounters with the planetary community. Without being too ambitious, we hope that these sets of essays will help to open up a new trajectory of conversations at the intersection of religion, nature, and queer theory. 30 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this volume: the authors included here hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to examine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this issue, is among those who have used the queer eye to interrogate authority within Christian theological traditions. At the same time, there have been many queer interrogations of “nature,” perhaps most notably in the works of Joan Roughgarden and Ann Fausto-Sterling, and more recently in the works of Catriona Sandilands and Timothy Morton (an author in this volume). However, the intersections of religion, nature, and queer theory have been largely left untouched. With the exception of Dan Spencer, who writes the introduction for this volume and is one of the early pioneers in this realm of thought with his book Gay and Gaia (Pilgrim Press, 1996), and the work of Greta Gaard in developing a queer ecofeminist thought, religion and nature, or religion and ecology, have largely ignored the realm of queer theory.In part, the blinders to queer theory on the part of eco-thinkers (religious or otherwise) are similar to the blinders eco-thinkers have when it comes to postmodern thought in general: namely, if there are no absolute foundations, how does one create an environmental ethic and a “nature” to save? For this reason and many others, this volume on religion, nature, and queer theory is groundbreaking. Though these essays span many different disciplines and themes, they are all held together by the triple focus on religion, nature, and queer theory.Each of these essays offers a unique contribution to the intersection of religion, nature, and queer theory, and all of them challenge strict boundaries proposed in religious rhetoric and many discourses surrounding “nature.” Carol Wayne White’s essay draws from a queer reading of James Baldwin to develop an African American religious naturalism, which highlights humans as polyamorous bastards. Jacob Erickson’s essay examines Isabella Rossellini’s “Green Porno” and Martin Luther’s work to develop an irreverent theology. Jay Johnson draws from personal relationships with his late dog, and Master/Pup fetish-play, to blur the boundaries between humans and other animals, specifically within ethical and theological discourse. Whitney Bauman reflects on how the very processes of globalization and climate change queer our identities and call for a queer and versatile planetary ethic. Finally, Timothy Morton leads us through a reflection on queer green sex toys to challenge the ontology of agrologistics. Each of these essays in their own way is concerned with fleshing out more meaningful encounters with the planetary community. Without being too ambitious, we hope that these sets of essays will help to open up a new trajectory of conversations at the intersection of religion, nature, and queer theory. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0194.1.00_frontcover.jpg 1 03 06 10.21983/P3.0194.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 20 00 Open Access Bauman, Whitney A. 2 03 06 10.21983/P3.0194.1.02 11 13 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Queering Religion and Nature 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 03 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this book: we hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to exam-ine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this volume, is among those who have used the queer eye to interrogate authority within Chris-tian theological traditions. At the same time, interrogating na-ture from a queer perspective has begun, perhaps most notably in the work of Joan Roughgarden’s Evolution’s Rainbow and with the works of Anne Fausto-Sterling. However, the intersections of religion, nature, and queer theory have largely been left un-touched. With the exception of Dan Spencer, the author of the Introduction for this volume and one of the early pioneers in this realm of thought with his book Gay and Gaia, and Greta Gaard, whose work is developing a queer ecofeminist thought, authors have largely ignored religion and nature or religion and ecology in the realm of queer theory. 30 00 Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this book: we hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to exam-ine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this volume, is among those who have used the queer eye to interrogate authority within Chris-tian theological traditions. At the same time, interrogating na-ture from a queer perspective has begun, perhaps most notably in the work of Joan Roughgarden’s Evolution’s Rainbow and with the works of Anne Fausto-Sterling. However, the intersections of religion, nature, and queer theory have largely been left un-touched. With the exception of Dan Spencer, the author of the Introduction for this volume and one of the early pioneers in this realm of thought with his book Gay and Gaia, and Greta Gaard, whose work is developing a queer ecofeminist thought, authors have largely ignored religion and nature or religion and ecology in the realm of queer theory. 20 00 Open Access Bauman, Whitney A. 3 03 06 10.21983/P3.0194.1.03 15 21 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Religion, Nature, and Queer Theory 1 A01 Daniel T. Spencer Daniel T. Spencer 40 05r0q9p84 Calvin University 01 eng 03 00 In 1989 I began doctoral work at Union Theological Seminary to integrate insights from ecology, liberation theologies, and ecofeminism — what eventually emerged was my book, Gay and Gaia: Ethics, Ecology and the Erotic. I now welcome this oppor-tunity to look back at how the emerging intersections among religion, nature, culture, and sexuality in the 1980s and 1990s shaped those reflections, and to look forward to the insights of a new generation of queer scholars of religion.Trained as a geologist who came late to theology and ethics, my intuitions about this intersection began to form in college when I studied volcanoes in Costa Rica in 1978 as a deeply clos-eted gay man. Here I was exposed to human rights issues and poverty, exacerbated by the many civil wars engulfing Costa Ri-ca’s neighbors. I first enrolled at Union in 1980 to try to address the many theoethical issues that my time in Central America and my closeted sexuality were raising, having little inclination then how deeply intertwined the answers would become. Hav-ing recently come out to family and friends, I returned to Costa Rica in 1982 to study liberation theology. I spent my weekends working with refugee children from El Salvador, displaced from their homelands by the combination of military violence and ecological degradation from the scorched earth tactics of us-sponsored counterinsurgency tactics. Coming to terms with my own gay identity has therefore always been deeply intertwined with my love of the earth and its diverse ecosystems and my commitment to social justice for the poor and exploited. 30 00 In 1989 I began doctoral work at Union Theological Seminary to integrate insights from ecology, liberation theologies, and ecofeminism — what eventually emerged was my book, Gay and Gaia: Ethics, Ecology and the Erotic. I now welcome this oppor-tunity to look back at how the emerging intersections among religion, nature, culture, and sexuality in the 1980s and 1990s shaped those reflections, and to look forward to the insights of a new generation of queer scholars of religion.Trained as a geologist who came late to theology and ethics, my intuitions about this intersection began to form in college when I studied volcanoes in Costa Rica in 1978 as a deeply clos-eted gay man. Here I was exposed to human rights issues and poverty, exacerbated by the many civil wars engulfing Costa Ri-ca’s neighbors. I first enrolled at Union in 1980 to try to address the many theoethical issues that my time in Central America and my closeted sexuality were raising, having little inclination then how deeply intertwined the answers would become. Hav-ing recently come out to family and friends, I returned to Costa Rica in 1982 to study liberation theology. I spent my weekends working with refugee children from El Salvador, displaced from their homelands by the combination of military violence and ecological degradation from the scorched earth tactics of us-sponsored counterinsurgency tactics. Coming to terms with my own gay identity has therefore always been deeply intertwined with my love of the earth and its diverse ecosystems and my commitment to social justice for the poor and exploited. 20 00 Open Access Spencer, Daniel T. 4 03 06 10.21983/P3.0194.1.04 23 53 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Polyamorous Bastards James Baldwin's Opening to a Queer African-American Religious Naturalism 1 A01 Carol Wayne White Carol Wayne White 40 00fc1qt65 Bucknell University 01 eng 03 00 At the height of the civil rights era in the twentieth century, James Baldwin poignantly described blacks’ experiences of marginality in North America. In a country besieged by white supremacy, he tried to capture the acute sense of displacement felt by African Americans with the creative use of the “bastard” epithet. In doing so, he drew richly from formative familial ex-periences and the black holiness tradition of his youth. Having never known his biological father and feeling estranged from his emotionally distant stepfather — a factory worker and storefront preacher whom his mother married when he was three — Bald-win would later write about the anguish of experiencing life as an “illegitimate” kid. In both acclaimed novels and critical es-says, he creatively used the bastard motif to augment a critical self-awareness associated with being the outsider and the ille-gitimate other. 30 00 At the height of the civil rights era in the twentieth century, James Baldwin poignantly described blacks’ experiences of marginality in North America. In a country besieged by white supremacy, he tried to capture the acute sense of displacement felt by African Americans with the creative use of the “bastard” epithet. In doing so, he drew richly from formative familial ex-periences and the black holiness tradition of his youth. Having never known his biological father and feeling estranged from his emotionally distant stepfather — a factory worker and storefront preacher whom his mother married when he was three — Bald-win would later write about the anguish of experiencing life as an “illegitimate” kid. In both acclaimed novels and critical es-says, he creatively used the bastard motif to augment a critical self-awareness associated with being the outsider and the ille-gitimate other. 20 00 Open Access White, Carol Wayne 5 03 06 10.21983/P3.0194.1.05 55 79 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Irreverent Technology On the Queer Ecology of Creation 1 A01 Jacob J. Erickson Jacob J. Erickson 40 02tyrky19 Trinity College Dublin 01 eng 03 00 “How did Noah do it?” the Italian-American actress Isabella Rossellini asks inquisitively. She is dressed in black, stands in front of a similar black background, and holds in her right hand a yellow umbrella. “How did he manage to organize all animals,” she asks you, “into couples?”1 Rossellini poses this question in the course of a series of hilarious and provocative short films produced for the Sundance Channel on the theme of Green Porno. In the course of those films, she artistically explores the complexities of animal sex, performing a variety of animal species and exploring their sexual quirks, oddities, and pleasures. As she describes the series in the book inspired by her project, “I imagine myself as a particular animal and make love as that animal would. Each film is scientifically accurate; nature is infi-nitely scandalous” (Rossellini 2009). 30 00 “How did Noah do it?” the Italian-American actress Isabella Rossellini asks inquisitively. She is dressed in black, stands in front of a similar black background, and holds in her right hand a yellow umbrella. “How did he manage to organize all animals,” she asks you, “into couples?”1 Rossellini poses this question in the course of a series of hilarious and provocative short films produced for the Sundance Channel on the theme of Green Porno. In the course of those films, she artistically explores the complexities of animal sex, performing a variety of animal species and exploring their sexual quirks, oddities, and pleasures. As she describes the series in the book inspired by her project, “I imagine myself as a particular animal and make love as that animal would. Each film is scientifically accurate; nature is infi-nitely scandalous” (Rossellini 2009). 20 00 Open Access Erickson, Jacob J. 6 03 06 10.21983/P3.0194.1.06 81 102 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liverating Compassion A Queerly Theological Anthropology of Enchanting Animals 1 A01 Jay Emerson Johnson Jay Emerson Johnson 40 00xs48965 Graduate Theological Union 01 eng 03 00 An Australian shepherd dog named Tyler illuminated several key questions in my work as a Christian theologian, especially with respect to theological anthropology. He did this in both implicit and explicit ways through the affectionate relationship we cultivated over nearly seven years together, which kept rais-ing paradigm-shifting questions about the human in theological systems. Tyler elicited these questions not only about human-ity’s relationship with God (the traditional description of theo-logical anthropology) but also about our relationship(s) with the wider world of other-than-human animals and the vast net-work of ecosystems we all share, which in turn ricocheted back to theology proper — to God. 30 00 An Australian shepherd dog named Tyler illuminated several key questions in my work as a Christian theologian, especially with respect to theological anthropology. He did this in both implicit and explicit ways through the affectionate relationship we cultivated over nearly seven years together, which kept rais-ing paradigm-shifting questions about the human in theological systems. Tyler elicited these questions not only about human-ity’s relationship with God (the traditional description of theo-logical anthropology) but also about our relationship(s) with the wider world of other-than-human animals and the vast net-work of ecosystems we all share, which in turn ricocheted back to theology proper — to God. 20 00 Open Access Johnson, Jay Emerson 7 03 06 10.21983/P3.0194.1.07 103 123 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Values for a Queer Climate Developing a Versatile Planetary Ethic 1 A01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 03 00 Due to globalization and climate change, we are becoming more and more aware of the “queerness” of our planet. The Modern categories by which we fix our realities, simply no longer hold. The Modern ethics and technologies of control have given way to uncertainty and ambiguity about our planetary future. Once seemingly hermetically sealed categories and boundaries be-tween self/other, human/animal, nature/culture, organic/ma-chine and science/religion, have now been uncovered as leaky and porous. How do we respond ethically in this situation to the real and present dangers posed by breaching the limits of our planetary systems without merely forcing our own “longed for futures” and our own values and dreams onto the entire planet? This article argues that we need to open up to and entertain some different values for addressing the twin, wicked problems of globalization and climate change. 30 00 Due to globalization and climate change, we are becoming more and more aware of the “queerness” of our planet. The Modern categories by which we fix our realities, simply no longer hold. The Modern ethics and technologies of control have given way to uncertainty and ambiguity about our planetary future. Once seemingly hermetically sealed categories and boundaries be-tween self/other, human/animal, nature/culture, organic/ma-chine and science/religion, have now been uncovered as leaky and porous. How do we respond ethically in this situation to the real and present dangers posed by breaching the limits of our planetary systems without merely forcing our own “longed for futures” and our own values and dreams onto the entire planet? This article argues that we need to open up to and entertain some different values for addressing the twin, wicked problems of globalization and climate change. 20 00 Open Access Bauman, Whitney A. 8 03 06 10.21983/P3.0194.1.08 125 145 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Queer Green Sex Toys 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 03 00 It is perfectly possible to defy the law of noncontradiction. Like Humpty Dumpty, we should try to believe at least six impossible things before breakfast. It is cognitively healthy and ontologi-cally accurate. Indeed, to say You can’t think impossible things is, curiously, to have thought impossible things (Priest 2014)! Within normative Western logics, contradiction is perceived to be either evil or absurd, or some combination of both. But contradiction is everywhere, and it leaks out the strongest when we try to lock it down the strongest. I take this to be a symp-tom of reality, which I take to be contradictory. In particular, ecological reality is contradictory, and if we humans want to go about “saving,” “preserving” or as I’d prefer to say, curating it, we had better allow some things to contradict themselves or else. 30 00 It is perfectly possible to defy the law of noncontradiction. Like Humpty Dumpty, we should try to believe at least six impossible things before breakfast. It is cognitively healthy and ontologi-cally accurate. Indeed, to say You can’t think impossible things is, curiously, to have thought impossible things (Priest 2014)! Within normative Western logics, contradiction is perceived to be either evil or absurd, or some combination of both. But contradiction is everywhere, and it leaks out the strongest when we try to lock it down the strongest. I take this to be a symp-tom of reality, which I take to be contradictory. In particular, ecological reality is contradictory, and if we humans want to go about “saving,” “preserving” or as I’d prefer to say, curating it, we had better allow some things to contradict themselves or else. 20 00 Open Access Morton, Timothy 9 03 06 10.21983/P3.0194.1.09 147 149 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Whitney A. Bauman Whitney A. Bauman 40 02gz6gg07 Florida International University 01 eng 20 00 Open Access Bauman, Whitney A. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/meaningful-flesh-reflections-on-religion-and-nature-for-a-queer-planet/ Earth, Milky Way 04 01 20180116 Bauman, Whitney A. 02 WORLD 06 15 9781947447325 03 9781947447325 34 06 10.1016/j.cub.2014.03.036.1-3 34 06 10.1103/PhysRevLett.108.033602.144 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66802 20 08 20180116 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25435 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25435/1004660.pdf?sequence=1&isAllowed=y 20 08 20180116 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35907 20 08 20180116 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353967 20 08 20180116 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/576 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3e96f93e-79c5-44c7-a7b3-4944e3a094fe/download 20 08 20180116 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c5b21f1e-990e-4d24-a0da-40cac057b175 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c5b21f1e-990e-4d24-a0da-40cac057b175/c5b21f1e-990e-4d24-a0da-40cac057b175.pdf 20 08 20180116 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847193 29 ZENODO: download the title https://zenodo.org/records/19847193/files/c5b21f1e-990e-4d24-a0da-40cac057b175_book.pdf 20 08 20180116 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/meaningful-flesh-reflections-on-religion-and-nature-for-a-queer-planet/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0194.1.00.pdf 20 08 20180116 01 urn:uuid:10e1af12-c186-49ed-864b-dedb86724511 03 01 01 thoth-work-id urn:uuid:26d4676f-258c-4559-94d5-90bb4535070e 01 thoth-publication-id urn:uuid:10e1af12-c186-49ed-864b-dedb86724511 15 9781950192731 03 9781950192731 06 10.21983/P3.0276.1.00 13 2020934559 01 internal-reference 0276 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Medieval Disability Sourcebook Western Europe 1 B01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 00 500 03 12 HBLC1 10 LIT011000 B2 Literary Studies 93 NHDJ 93 JBFM 12 JFFG B2 Neurodiverse+Crip B2 Premodern 20 disability; Middle Ages; accessibility; literary studies; identity; embodiment; illness 01 06 02 00 03 00 The field of disability studies significantly contributes to contemporary discussions of the marginalization of and social justice for individuals with disabilities. However, what of disability in the past? The Medieval Disability Sourcebook: Western Europe explores what medieval texts have to say about disability, both in their own time and for the present.This interdisciplinary volume on medieval Europe combines historical records, medical texts, and religious accounts of saints’ lives and miracles, as well as poetry, prose, drama, and manuscript images to demonstrate the varied and complicated attitudes medieval societies had about disability. Far from recording any monolithic understanding of disability in the Middle Ages, these contributions present a striking range of voices—to, from, and about those with disabilities—and such diversity only confirms how disability permeated (and permeates) every aspect of life.The Medieval Disability Sourcebook is designed for use inside the undergraduate or graduate classroom or by scholars interested in learning more about medieval Europe as it intersects with the field of disability studies. Most texts are presented in modern English, though some are preserved in Middle English and many are given in side-by-side translations for greater study. Each entry is prefaced with an academic introduction to disability within the text as well as a bibliography for further study. This sourcebook is the first in a proposed series focusing on disability in a wide range of premodern cultures, histories, and geographies. 30 00 The field of disability studies significantly contributes to contemporary discussions of the marginalization of and social justice for individuals with disabilities. However, what of disability in the past? The Medieval Disability Sourcebook: Western Europe explores what medieval texts have to say about disability, both in their own time and for the present.This interdisciplinary volume on medieval Europe combines historical records, medical texts, and religious accounts of saints’ lives and miracles, as well as poetry, prose, drama, and manuscript images to demonstrate the varied and complicated attitudes medieval societies had about disability. Far from recording any monolithic understanding of disability in the Middle Ages, these contributions present a striking range of voices—to, from, and about those with disabilities—and such diversity only confirms how disability permeated (and permeates) every aspect of life.The Medieval Disability Sourcebook is designed for use inside the undergraduate or graduate classroom or by scholars interested in learning more about medieval Europe as it intersects with the field of disability studies. Most texts are presented in modern English, though some are preserved in Middle English and many are given in side-by-side translations for greater study. Each entry is prefaced with an academic introduction to disability within the text as well as a bibliography for further study. This sourcebook is the first in a proposed series focusing on disability in a wide range of premodern cultures, histories, and geographies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0276.1.00_frontcover.jpg 1 03 06 10.53288/0276.1.01 1 11 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 A01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access 2 03 06 10.53288/0276.1.02 13 21 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access Cameron Hunt McNabb 3 03 06 10.53288/0276.1.03 25 55 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 York Cause Paper E.92: Redyng c. Boton (1366–67) 1 A01 Alison Purnell Alison Purnell Alison Purnell is an independent scholar whose research interests focus on social reactions to mental impairments in the fourteenth and fifteenth centuries. She studied at the University of Toronto and the University of York and is an advocate for greater accessibility to historical materials. 01 eng 01 lat 20 00 Open Access Alison Purnell 4 03 06 10.53288/0276.1.04 56 68 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mental Competency Inquisitions from Medieval England (ca. late 12th c.–early 15th c.) 1 A01 Eliza Buhrer Eliza Buhrer 40 04raf6v53 Colorado School of Mines Eliza Buhrer is a cultural historian, whose work explores intersections between the histories of medicine, law, and knowledge in premodern Europe. She recently began a new position as a Teaching Associate Professor at Colorado School of Mines, fulfilling a long-held dream of living in the mountains, and previously worked as a Visiting Assistant Professor of History at Loyola University New Orleans, and an Assistant Professor of History at Seton Hall University. She has published on intellectual disability in medieval law and culture and has forthcoming essays on how medieval jurists imagined monstrosity and how medieval society conceptualized learning difficulties. She is currently working on a book on the cultural history of attention and distraction. 01 eng 20 00 Open Access Eliza Buhrer 5 03 06 10.53288/0276.1.05 69 76 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nuremberg Town Records Select Entries Pertaining to the “Mad” and Intellectually Disabled (1377–1492) 1 A01 Anne M. Koenig Anne M. Koenig 40 032db5x82 University of South Florida Anne M. Koenig is a cultural and medical historian specializing in late medieval Germany. Her primary research interests include madness and the spread of medical literacy and medical knowledge in popular culture. She has several forthcoming publications, including an essay “Magicking Madness: Secret Workings and Public Narratives of the Disordered Mind in Late Medieval Germany” in The Sacred and the Sinister coming out with Pennsylvania State University Press in 2019. She is currently a NEH Fellow at the Newberry Library in Chicago and was previously the Assistant Professor of History at the University of South Florida. 01 eng 01 gmh 20 00 Open Access Anne M. Koenig 6 03 06 10.53288/0276.1.06 77 84 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tax Relief Requests from Medieval Dijon (1389–1449) 1 A01 Anne Galanaud Anne Galanaud Anne Galanaud graduated at Paris 4–Sorbonne University and earned her PhD in history at Franche-Comté University on the population of late medieval Dijon. She established a database that includes tax records from about 20,000 persons living between the mid-fourteenth century and the early sixteenth century, managed by an original program developed, with her contribution, by Henri Labesse (Paris–Sorbonne University). Her studies include an analysis of the socio-economic and topographic characteristics of medieval Dijon winegrowers and an analysis of the fate of widows and orphans survivors to the Black Death in Dijon, deciphered from a so far untapped mid-fourteenth century source document. She studied, in collaboration with Pierre Galanaud, the cartography of medieval plagues and now focuses on their impact on fragile populations. 2 A01 21 0000000158268550 Pierre Galanaud Pierre Galanaud 40 028rypz17 University of Paris-Sud Pierre Galanaud is emeritus professor of immunology at Paris–Sud University. He graduated at Paris–Descartes University Medical School and performed post-doctoral studies at Tufts University, Boston. At Paris–Sud University, he was head of the Internal Medicine and clinical Immunology unit of Antoine Béclère hospital (Assistance Publique Hôpitaux de Paris) and director of the INSERM affiliated research laboratory Cytokines and Immunoregulation. His combined interests in the functional cartography of gene expression in the immune system and in the history of medicine led him to analyze, in collaboration with Anne Galanaud, medieval plagues by applying spatial analysis to the GIS based cartography of deaths (P. Galanaud, A. Galanaud, and P. Giraudoux, Historical Epidemics Cartography Generated by Spatial Analysis: Mapping the Heterogeneity of Three Medieval “Plagues” in Dijon, 2015). This collaboration is pursued for the impact of medieval epidemics on fragile populations. 01 eng 20 00 Open Access Anne Galanaud Pierre Galanaud 7 03 06 10.53288/0276.1.07 85 102 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Examining for Leprosy in the Fifteenth Century (ca. 1430–1500) 1 A01 Lucy Barnhouse Lucy Barnhouse 40 02exxw634 Wartburg College Lucy Barnhouse is a Visiting Assistant Professor of History at Wartburg College. Her research focuses on the intersections between legal, religious, and medical history. Her prospective monograph, Houses of God, Places for the Sick, examines the place of hospitals in the religious and social networks of late medieval cities. Her publications include a study of a medical miscellany used in a hospital managed by religious women, and an article on leprosy in the Rhineland for Leprosy and Identity in the Middle Ages: from England to the Mediterranean. Her future research plans include a study of mobility and urban identities in late medieval Central Europe. She has been a podcaster with Footnoting History, on topics including women’s history and medical history, since 2013. 01 eng 01 gmh 20 00 Open Access Lucy Barnhouse 8 03 06 10.53288/0276.1.08 103 109 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ortolf of Baierland, “Arzneibuch,” “On Madness” (ca. 1300) 1 A01 Anne M. Koenig Anne M. Koenig 40 032db5x82 University of South Florida Anne M. Koenig is a cultural and medical historian specializing in late medieval Germany. Her primary research interests include madness and the spread of medical literacy and medical knowledge in popular culture. She has several forthcoming publications, including an essay “Magicking Madness: Secret Workings and Public Narratives of the Disordered Mind in Late Medieval Germany” in The Sacred and the Sinister coming out with Pennsylvania State University Press in 2019. She is currently a NEH Fellow at the Newberry Library in Chicago and was previously the Assistant Professor of History at the University of South Florida. 01 eng 01 gmh 20 00 Open Access Anne M. Koenig 9 03 06 10.53288/0276.1.09 113 137 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Selected Episodes on Healing and Disability from the Vulgate Bible—Matthew, Mark, Luke, and John (ca. 382) 1 A01 Will Eggers Will Eggers Loomis Chaffee School Will Eggers earned his Ph.D. from the University of Connecticut with his dissertation, “‘Misticall Unions’: Clandestine Communications from Tristan to Twelfth Night,” which explores the tradition of lovers who have fashioned themselves as a conglomerate self that shares one mind and erases all distinctions between sender and receiver. He has found a home at the Loomis Chaffee School, having previously taught at Wesleyan University and the University of Hartford. His research interests range from medieval and early modern English literature to modern graphic novels. 01 eng 01 lat 20 00 Open Access Will Eggers 10 03 06 10.53288/0276.1.10 138 146 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Miracles in Apocryphal Infancy Narratives (ca. 550–13th c.) 1 A01 21 0000000254068807 Brandon W. Hawk Brandon W. Hawk 40 01k5gt570 Rhode Island College Brandon W. Hawk is an assistant professor of English at Rhode Island College. He has published on early English literature, the history of the English language, biblical apocrypha, and medieval biblical commentaries, and serves as a member of the Editorial Board for the Sources of Anglo-Saxon Literary Culture project. His book Preaching Apocrypha in Anglo-Saxon England was published by the University of Toronto Press in 2018, and his full-length introduction, translation, and commentary for the apocryphal Gospel of Pseudo-Matthew was published by Cascade Books. 01 eng 01 lat 20 00 Open Access Brandon W. Hawk 11 03 06 10.53288/0276.1.11 147 156 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ælfric of Eynsham, "Catholic Homilies" 1.10 (ca. 989–ca. 992) 1 A01 21 0000000254068807 Brandon W. Hawk Brandon W. Hawk 40 01k5gt570 Rhode Island College Brandon W. Hawk is an assistant professor of English at Rhode Island College. He has published on early English literature, the history of the English language, biblical apocrypha, and medieval biblical commentaries, and serves as a member of the Editorial Board for the Sources of Anglo-Saxon Literary Culture project. His book Preaching Apocrypha in Anglo-Saxon England was published by the University of Toronto Press in 2018, and his full-length introduction, translation, and commentary for the apocryphal Gospel of Pseudo-Matthew was published by Cascade Books. 01 ang 01 eng 20 00 Open Access Brandon W. Hawk 12 03 06 10.53288/0276.1.12 157 161 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Augustine of Hippo, "The City of God against the Pagans" (413–26) 1 A01 21 000000019961670X Leah Pope Parker Leah Pope Parker 40 0270vfa57 University of Southern Mississippi Leah Pope Parker s an Assistant Professor of English at the University of Southern Mississippi. Her current book project, “Disability and the Afterlife in Old English Literature,” explores how concepts of disability shaped both daily life and the eschatological imaginary in early medieval England. Her research engages with histories of the body and phenomenologies of religion, as well as using digital tools such as multispectral imaging to better understand medieval manuscripts. Her essays have recently appeared in the Journal of English and Germanic Philology and the volume Monstrosity, Disability, and the Posthuman in the Medieval and Early Modern World, edited by Richard H. Godden and Asa Simon Mittman. She also endeavors to share medieval disability studies with broader academic and public communities by tweeting as Medieval Disability, @MADisability. 01 eng 20 00 Open Access Leah Pope Parker 13 03 06 10.53288/0276.1.13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 William of Canterbury, "A Miracle of Thomas Becket: De puero syntectino" (Concerning a boy suffering from a wasting disease) (1172–77) 1 A01 Rose A. Sawyer Rose A. Sawyer 40 024mrxd33 University of Leeds Rose A. Sawyer is a PhD student in the Institute for Medieval Studies at the University of Leeds. Her research focuses upon changelings and child substitution discourse in the Middle Ages, as well as other aspects of the medieval imaginative landscape. In addition to her contribution to this volume, she has contributed “‘That elfe and vile congion’: Constructing the Body of the Child as a Site of Violence through Changeling Insults and the Child Substitution Motif” to the upcoming edited volume Literary Cultures and Medieval/Early Modern Childhoods, edited by Naomi Miller and Diane Purkiss and published by Palgrave. 01 eng 01 lat 20 00 Open Access 14 03 06 10.53288/0276.1.14 168 172 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Njáls Saga" (13th c.) 1 A01 Kolfinna Jónatansdóttir Kolfinna Jónatansdóttir 40 01db6h964 University of Iceland Kolfinna Jónatansdóttir is a doctoral student in Icelandic literature at the University of Iceland and is interested in all aspects of medieval Icelandic culture and literature, its origins, development and reception. Her thesis is on Ragnarǫk, the end of the world in Old Norse mythology. 01 eng 01 ice 20 00 Open Access Kolfinna Jónatansdóttir 15 03 06 10.53288/0276.1.15 173 180 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thomas of Monmouth, "The Life and Passion of William of Norwich" (1152–70) 1 A01 21 0000000157217487 Sarah Edwards Obenauf Sarah Edwards Obenauf 40 005p9kw61 New Mexico Institute of Mining and Technology Sarah Edwards Obenauf is the Public Services and Instruction Librarian at the New Mexico Institute for Mining and Technology. She earned her MA in Medieval History from the University of New Mexico and her MLIS from San Jose State University. As a historian of the Middle Ages, her research centers on analyzing medical pilgrimage through Digital Humanities. As a librarian, her focus is on teaching people how to find good, reliable information. In both of these capacities, she is a passionate supporter of increased and unrestricted access to information. 01 eng 20 00 Open Access Sarah Edwards Obenauf 16 03 06 10.53288/0276.1.16 181 185 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Testimony from the Canonization Proceedings of Charles of Blois (1371) 1 A01 21 000000029088449X Leigh Ann Craig Leigh Ann Craig 40 02nkdxk79 Virginia Commonwealth University Leigh Ann Craig is an associate professor of History and the Director of Undergraduate Studies in History at Virginia Commonwealth University. Her recent research has focused on loss of mind (including both physical illness and demonic affliction), disability, and community in Latin Christendom, especially as it appears in later medieval miracle stories. Her publications include Wandering Women and Holy Matrons: Women as Pilgrims in the Later Middle Ages (Brill, 2009); “The Spirit of Madness: Doubt and the Miraculous Restoration of Sanity in the Miracles of Henry VI,” Journal of Medieval Religious Cultures (2013); “The History of Madness and Mental Illness in the Middle Ages: Directions and Questions,” History Compass (2014); and “Describing Death and Resurrection: Medicine and the Humors in Two Late Medieval Miracles,” in The Sacred and the Secular in Medieval Healing: Sites, Objects, and Texts (Routledge, 2016). 01 eng 20 00 Open Access Leigh Ann Craig 17 03 06 10.53288/0276.1.17 186 189 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bernard Gui, On a Miracle of Saint Thomas Aquinas (ca. 1325) 1 A01 21 000000029088449X Leigh Ann Craig Leigh Ann Craig 40 02nkdxk79 Virginia Commonwealth University Leigh Ann Craig is an associate professor of History and the Director of Undergraduate Studies in History at Virginia Commonwealth University. Her recent research has focused on loss of mind (including both physical illness and demonic affliction), disability, and community in Latin Christendom, especially as it appears in later medieval miracle stories. Her publications include Wandering Women and Holy Matrons: Women as Pilgrims in the Later Middle Ages (Brill, 2009); “The Spirit of Madness: Doubt and the Miraculous Restoration of Sanity in the Miracles of Henry VI,” Journal of Medieval Religious Cultures (2013); “The History of Madness and Mental Illness in the Middle Ages: Directions and Questions,” History Compass (2014); and “Describing Death and Resurrection: Medicine and the Humors in Two Late Medieval Miracles,” in The Sacred and the Secular in Medieval Healing: Sites, Objects, and Texts (Routledge, 2016). 01 eng 20 00 Open Access Leigh Ann Craig 18 03 06 10.53288/0276.1.18 190 205 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, The Prose "Life of Cuthbert" (ca. 721) 1 A01 Marit Ronen Marit Ronen 40 03qxff017 Hebrew University of Jerusalem Marit Ronen has recently received her PhD in History from the Hebrew University of Jerusalem. Her research interests include the study of marginalized and liminal groups in early Medieval Europe, including ethnicity, gender, and disability studies, and focuses on early medieval England. She has published on the agency of disabled people, on kingly impairment, and on religious constructions of disability. She is passionate about making Medieval Studies more accessible to the wider public, and has participated as an instructor in history workshops for high-school students. 01 eng 20 00 Open Access Marit Ronen 19 03 06 10.53288/0276.1.19 206 209 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, The Miracles of King Oswald from "Ecclesiastical History" (late 9th c.) 1 A01 21 0000000226440114 Heide Estes Heide Estes 40 01d6qxv05 Monmouth University Heide Estes is Professor of English at Monmouth University (New Jersey, USA) and founding director of Medieval Ecocriticisms. She is the author of Anglo-Saxon Literary Landscapes: Ecotheory and the Environmental Imagination and co-editor with Haruko Momma of Old English Across the Curriculum: Contexts and Pedagogies, a special issue of Studies in Medieval and Renaissance Teaching. Her projects in process include the edited volume Medieval Ecocriticisms: Animals, Landscapes, Objects, and the Nature of the Human and the monograph Gender, Disability and Jews in Old English Poetry: Intersections. 01 eng 20 00 Open Access Heide Estes 20 03 06 10.53288/0276.1.20 210 219 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Life of St. Margaret of Antioch" (11th c.) 1 A01 21 000000019961670X Leah Pope Parker Leah Pope Parker 40 0270vfa57 University of Southern Mississippi Leah Pope Parker s an Assistant Professor of English at the University of Southern Mississippi. Her current book project, “Disability and the Afterlife in Old English Literature,” explores how concepts of disability shaped both daily life and the eschatological imaginary in early medieval England. Her research engages with histories of the body and phenomenologies of religion, as well as using digital tools such as multispectral imaging to better understand medieval manuscripts. Her essays have recently appeared in the Journal of English and Germanic Philology and the volume Monstrosity, Disability, and the Posthuman in the Medieval and Early Modern World, edited by Richard H. Godden and Asa Simon Mittman. She also endeavors to share medieval disability studies with broader academic and public communities by tweeting as Medieval Disability, @MADisability. 01 eng 20 00 Open Access Leah Pope Parker 21 03 06 10.53288/0276.1.21 220 230 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Life of Mary of Oegines (Oignies)" (ca. 15th c.) 1 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University Kisha G. Tracy is an associate professor of English Studies and Coordinator of the Center for Teaching and Learning at Fitchburg State University in Massachusetts. Her main research interests include medieval memory and confession, medieval disability, and higher education pedagogy. She is the author of Memory and Confession in Middle English Literature, which is available through Palgrave. 2 A01 Alicia Protze Alicia Protze 40 031tt0491 Fitchburg State University Alicia Protze is a graduate of Fitchburg State University, where she majored in history. She continued her education at King’s College, London, where she studied her master’s in Arts and Cultural Management. She is currently enrolled at Fitchburg State University, where is is studying special education. 01 eng 20 00 Open Access Kisha G. Tracy Alicia Protze 22 03 06 10.53288/0276.1.22 233 241 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Marie de France, "Bisclavret" (ca. 12th c.) 1 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University Kisha G. Tracy is an associate professor of English Studies and Coordinator of the Center for Teaching and Learning at Fitchburg State University in Massachusetts. Her main research interests include medieval memory and confession, medieval disability, and higher education pedagogy. She is the author of Memory and Confession in Middle English Literature, which is available through Palgrave. 01 eng 20 00 Open Access Kisha G. Tracy 23 03 06 10.53288/0276.1.23 242 246 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alain Chartier, "The Book of Hope" (ca. 1429) 1 A01 Julie Singer Julie Singer 40 01yc7t268 Washington University in St. Louis Julie Singer is an associate professor of French at Washington University in St. Louis. A co-founder of the Society for the Study of Disability in the Middle Ages, she is the author of Blindness and Therapy in Late Medieval French and Italian Poetry (D.S. Brewer, 2011) and Representing Mental Illness in Late Medieval France: Machines, Madness, Metaphor (D.S. Brewer, 2018). 01 eng 20 00 Open Access Julie Singer 24 03 06 10.53288/0276.1.24 247 259 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Geoffrey Chaucer, The "Merchant’s Tale" from "The Canterbury Tales" (ca. 1387–1400) 1 A01 Moira Fitzgibbons Moira Fitzgibbons 40 04wx3x242 Marist College Moira Fitzgibbons is Professor of English, and her teaching and research interests include medieval and modern pedagogies; disability studies; late medieval religious culture; and the interplay between verbal and visual rhetoric in a wide variety of texts, including graphic narratives. Teaching interdisciplinary First Year Seminars for the past 5 years has provided her with many valuable opportunities to explore these issues in collaboration with her students. Her research has appeared in such venues as The Open Access Companion to the “Canterbury Tales”; Pedagogy; Studies in the Age of Chaucer; Medium Aevum; and The Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). 01 eng 01 enm 20 00 Open Access Moira Fitzgibbons 25 03 06 10.53288/0276.1.25 260 275 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Geoffrey Chaucer, The "Man of Law’s Tale" from "The Canterbury Tales" (ca. 1387–1400) 1 A01 Paul A. Broyles Paul A. Broyles 40 04tj63d06 North Carolina State University Paul A. Broyles is a Lecturer in English at North Carolina State University, where he previously held a CLIR Postdoctoral Fellowship in Data Curation for Medieval Studies. His research concerns medieval romance, geographic imagination, and cultural identity, with broader interests in textual transmission and translation. He is active in the development of Digital Humanities projects, and serves as Technical Director of the Society for Early English and Norse Electronic Texts and Technical Editor of the Piers Plowman Electronic Archive. 01 eng 01 enm 20 00 Open Access Paul A. Broyles 26 03 06 10.53288/0276.1.26 276 291 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Geoffrey Chaucer, The "Wife of Bath’s Portrait," "Prologue," and "Tale" from "The Canterbury Tales" (ca. 1387–1400) 1 A01 Tory V. Pearman Tory V. Pearman 40 05nbqxr67 Miami University Tory V. Pearman is Associate Professor of English at Miami University Hamilton. Her research primarily focuses on the intersections between disability and gender in medieval literature. She is the author of Women and Disability in Medieval Literature (Palgrave, 2010) and Disability and Knighthood in Malory’s Morte Darthur (forthcoming, Routledge). She has contributed, with her students, to the Medieval Disability Glossary and is a co-founder of the Society for the Study of Disability in the Middle Ages. 01 eng 01 enm 20 00 Open Access Tory V. Pearman 27 03 06 10.53288/0276.1.27 292 303 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Dame Sirith" (ca. 1272–82) 1 A01 21 0000000345618317 Danielle Allor Danielle Allor 40 05vt9qd57 Rutgers University Danielle Allor is a PhD candidate in the Department of English at Rutgers, The State University of New Jersey. Her work focuses on vegetal life and late medieval literature, arguing that late medieval authors imported knowledge-organizing and classifying strategies from natural philosophy to bolster claims to religious authenticity and literary authority. Her dissertation, “Trees of Thought: Arboreal Matter and Metaphor in Late Medieval England,” examines trees as material and figural classification systems in the work of William Langland, Geoffrey Chaucer, John Lydgate, and John Skelton. 01 eng 01 enm 20 00 Open Access Danielle Allor 28 03 06 10.53288/0276.1.28 304 312 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tale of Constance (1380–90) 1 A01 Will Rogers Will Rogers 40 02qeh3c90 University of Louisiana at Monroe Will Rogers is the Tommy and Mary Barham Endowed Professor of English at University of Louisiana Monroe. He is the series co-editor for New Queer Medievalisms, a book series published by Medieval Institute Publications. He has published on aging and disability, queer theory and medieval texts, and medieval mysticism. His monograph, “Staves and Stanzas: Writing Old Age and Impairment in Late Medieval England,” is under contract with Arc Humanities Press. 01 eng 01 enm 20 00 Open Access Will Rogers 29 03 06 10.53288/0276.1.29 313 323 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thomas Hoccleve, "Complaint" (1419–21) 1 A01 Will Rogers Will Rogers 40 02qeh3c90 University of Louisiana at Monroe Will Rogers is the Tommy and Mary Barham Endowed Professor of English at University of Louisiana Monroe. He is the series co-editor for New Queer Medievalisms, a book series published by Medieval Institute Publications. He has published on aging and disability, queer theory and medieval texts, and medieval mysticism. His monograph, “Staves and Stanzas: Writing Old Age and Impairment in Late Medieval England,” is under contract with Arc Humanities Press. 01 eng 01 enm 20 00 Open Access Will Rogers 30 03 06 10.53288/0276.1.30 327 340 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Book of Margery Kempe" (ca. 1450–1500) 1 A01 M.W. Bychowski M.W. Bychowski 40 051fd9666 Case Western Reserve University M.W. Bychowski is the Anisfield-Wolf SAGES Fellow at Case Western Reserve University, holding a position as full-time faculty in English, and teaching seminars on gender, disability, feminism, racism, and queer Christianity. She received her Ph.D. in English Literature from the George Washington University in Washington, D.C. A few of her recent articles include “The Isle of Hermaphrodites: Disorienting the Place of Intersex in the Middle Ages” (postmedieval 2018), “Reconstructing the Pardoner: Transgender Skin Operations in Fragment VI” (Writing on Skin in the Age of Chaucer, 2018), and “Mad for Margery: Disability and the Imago Dei in the Book of Margery Kempe” (The Ashgate Research Companion to Medieval Disability Studies, Routledge, forthcoming). She remains an ardent advocate for the Digital Humanities and public scholarship, maintaining an online center for the study of transgender and disability, medieval and post-medieval, www.ThingsTransform.com. Additionally, she serves on the executive board of the Mental Health Network, an advising think-tank for the national UCC church, as well as consults for local businesses, schools, and political groups on diversity and social justice. This work led her to serve at “the White House Forum on LGBTQ and Disability Issues” in 2016. 01 eng 20 00 Open Access M.W. Bychowski 31 03 06 10.53288/0276.1.31 341 344 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, Menstruation, Infirmity, and Religious Observance from "Ecclesiastical History" (late 9th c.) 1 A01 21 0000000226440114 Heide Estes Heide Estes 40 01d6qxv05 Monmouth University Heide Estes is Professor of English at Monmouth University (New Jersey, USA) and founding director of Medieval Ecocriticisms. She is the author of Anglo-Saxon Literary Landscapes: Ecotheory and the Environmental Imagination and co-editor with Haruko Momma of Old English Across the Curriculum: Contexts and Pedagogies, a special issue of Studies in Medieval and Renaissance Teaching. Her projects in process include the edited volume Medieval Ecocriticisms: Animals, Landscapes, Objects, and the Nature of the Human and the monograph Gender, Disability and Jews in Old English Poetry: Intersections. 01 eng 20 00 Open Access Heide Estes 32 03 06 10.53288/0276.1.32 345 364 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, Physical Disability, Muteness, Pregnancy, Possession, and Alcoholism from "Ecclesiastical History" (ca. 731) 1 A01 Maura Bailey Maura Bailey 40 031tt0491 Fitchburg State University 2 A01 Autumn Battista Autumn Battista 40 031tt0491 Fitchburg State University 3 A01 Ashley Corliss Ashley Corliss 40 031tt0491 Fitchburg State University 4 A01 Eammon Gosselin Eammon Gosselin 40 031tt0491 Fitchburg State University 5 A01 Rebecca Laughlin Rebecca Laughlin 40 031tt0491 Fitchburg State University 6 A01 Sara Moller Sara Moller 40 031tt0491 Fitchburg State University 7 A01 Shayne Simahk Shayne Simahk 40 031tt0491 Fitchburg State University 8 A01 Taylor Specker Taylor Specker 40 031tt0491 Fitchburg State University 9 A01 Alyssa Stanton Alyssa Stanton 40 031tt0491 Fitchburg State University 10 A01 Kellyn Welch Kellyn Welch 40 031tt0491 Fitchburg State University 11 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University Kisha G. Tracy is an associate professor of English Studies and Coordinator of the Center for Teaching and Learning at Fitchburg State University in Massachusetts. Her main research interests include medieval memory and confession, medieval disability, and higher education pedagogy. She is the author of Memory and Confession in Middle English Literature, which is available through Palgrave. 01 eng 20 00 Open Access Maura Bailey Autumn Battista Ashley Corliss Eammon Gosselin Rebecca Laughlin Sara Moller Shayne Simahk Taylor Specker Alyssa Stanton Kellyn Welch Kisha G. Tracy 33 03 06 10.53288/0276.1.33 365 378 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Evadeam, The Dwarf Knight from the "Lancelot-Grail Cycle" (ca. 1220–30) 1 A01 Kara Larson Maloney Kara Larson Maloney 40 01056ge55 Canisius College Kara Larson Maloney is an adjunct professor at Canisius College in Buffalo, NY. She earned her PhD from Binghamton University in 2015. Her research interests include the intersection of chivalry and identity in intratextual communities and how that creates identity in extratextual medieval communities. She focuses on King Arthur and medieval romance across the British Isles and France. Her essay on gendered readings of the textiles in Sir Gawain and the Green Knight will be published in Medieval Clothing and Textiles in 2019. 01 eng 20 00 Open Access Kara Larson Maloney 34 03 06 10.53288/0276.1.34 379 392 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Morkinskinna" (ca. 1220) 1 A01 Ármann Jakobsson Ármann Jakobsson 40 01db6h964 University of Iceland Ármann Jakobsson is Professor of Early Icelandic Literature at the University of Iceland and is currently involved with the “Disability Before Disability” research project that focuses on medieval and early modern attitudes towards disability. He is interested in categorisation in general and his done work on kingship, age, social classes and the supernatural. Among his books are A Sense of Belonging: Morkinskinna and Icelandic Identity c. 1220, The Viking Collection 22 (2014); The Troll Inside You: Paranormal Activity in the Medieval North (punctum books, 2017); and The Routledge Research Companion to the Medieval Icelandic Sagas, co-edited with Sverrir Jakobsson (2017). 01 eng 01 ice 20 00 Open Access Ármann Jakobsson 35 03 06 10.53288/0276.1.35 393 410 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Snorri Sturluson, "Ólafs saga helga" from "Heimskringla" (ca. 1230) 1 A01 Ármann Jakobsson Ármann Jakobsson 40 01db6h964 University of Iceland Ármann Jakobsson is Professor of Early Icelandic Literature at the University of Iceland and is currently involved with the “Disability Before Disability” research project that focuses on medieval and early modern attitudes towards disability. He is interested in categorisation in general and his done work on kingship, age, social classes and the supernatural. Among his books are A Sense of Belonging: Morkinskinna and Icelandic Identity c. 1220, The Viking Collection 22 (2014); The Troll Inside You: Paranormal Activity in the Medieval North (punctum books, 2017); and The Routledge Research Companion to the Medieval Icelandic Sagas, co-edited with Sverrir Jakobsson (2017). 01 eng 01 ice 20 00 Open Access Ármann Jakobsson 36 03 06 10.53288/0276.1.36 411 415 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Snorri Sturluson, The "Prose Edda" (ca. 1220–40) 1 A01 Kolfinna Jónatansdóttir Kolfinna Jónatansdóttir 40 01db6h964 University of Iceland Kolfinna Jónatansdóttir is a doctoral student in Icelandic literature at the University of Iceland and is interested in all aspects of medieval Icelandic culture and literature, its origins, development and reception. Her thesis is on Ragnarǫk, the end of the world in Old Norse mythology. 01 eng 01 ice 20 00 Open Access Kolfinna Jónatansdóttir 37 03 06 10.53288/0276.1.37 419 427 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "The Cure of the Blind Man" from the "Chester Cycle" (ca. 1531–75) 1 A01 Kurt Schreyer Kurt Schreyer 40 037cnag11 University of Missouri–St. Louis Kurt Schreyer teaches courses on Shakespeare and early English drama at the University of Missouri–St. Louis. His interests extend to a wide variety of genres and texts across the traditional medieval/Renaissance disciplinary divide, from Chaucer to Milton, and from epic and romance to devotional lyric. His book, Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage, published by Cornell University Press, demonstrates the central importance of stage properties, technologies, and theatrical practices from pre-Reformation religious drama to Shakespeare’s stagecraft. 01 eng 01 enm 20 00 Open Access Kurt Schreyer 38 03 06 10.53288/0276.1.38 428 433 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Christ and the Leper" from the "Chester Cycle" (ca. 1531–75) 1 A01 Kurt Schreyer Kurt Schreyer 40 037cnag11 University of Missouri–St. Louis Kurt Schreyer teaches courses on Shakespeare and early English drama at the University of Missouri–St. Louis. His interests extend to a wide variety of genres and texts across the traditional medieval/Renaissance disciplinary divide, from Chaucer to Milton, and from epic and romance to devotional lyric. His book, Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage, published by Cornell University Press, demonstrates the central importance of stage properties, technologies, and theatrical practices from pre-Reformation religious drama to Shakespeare’s stagecraft. 01 eng 01 enm 20 00 Open Access Kurt Schreyer 39 03 06 10.53288/0276.1.39 434 447 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "The Entry into Jerusalem" from the "York Cycle" (ca. 1377) 1 A01 Frank M. Napolitano Frank Napolitano 40 04647g470 Radford University Frank Napolitano is an associate professor of English and coordinator of the Graduate Teaching Fellows Mentoring Program at Radford University in Virginia. His primary research interests include Middle English biblical drama, the history of rhetoric, disability studies, rhetoric and composition, and writing program administration. He has published in Early Theatre and Studies in Philology and is in the process of co-editing a collection of essays on the labor practices of writing program administrators. 01 eng 01 enm 20 00 Open Access Frank M. Napolitano 40 03 06 10.53288/0276.1.40 448 457 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Nativity" from the "N-Town Plays" (ca. 1460–1520) 1 A01 21 0000000230988377 Jeffery G. Stoyanoff Jeffery G. Stoyanoff 40 043fzsj95 Spring Hill College Jeffery G. Stoyanoff is an assistant professor of English at Spring Hill College in Mobile, Alabama. His teaching and research interests include Middle English poetry and medieval drama, particularly through the lens of Actor–Network Theory and Object-Oriented Ontology. His current book project, Writing Networks: Performativity in Confessio Amantis, stems from the nexus of these interets, interrogating the relationship between performance and performativity in the poem. 01 eng 01 enm 20 00 Open Access Jeffery G. Stoyanoff 41 03 06 10.53288/0276.1.41 458 470 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Croxton "Play of the Sacrament" (ca. 1461–1546) 1 A01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 01 enm 20 00 Open Access Cameron Hunt McNabb 42 03 06 10.53288/0276.1.42 473 475 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Smithfield Decretals (ca. 1300–1340) 1 A01 21 0000000152628754 Rachael Gillibrand Rachael Gillibrand 40 024mrxd33 University of Leeds Rachael Gillibrand is a PhD student in the Institute for Medieval Studies at the University of Leeds. Drawing upon her background in both history and art history, her research focuses upon physical impairment and the non-conformist body and between c. 1400 and c. 1600—particularly, the design, production and function of disability aids in the late medieval West. She is passionate about making her research accessible to a diverse audience and, as a result, she recently featured as a guest speaker on the KNFX radio show Healthy Vision, where she spoke about medieval attitudes towards blindness and the invention of spectacles. 01 eng 20 00 Open Access Rachael Gillibrand 43 03 06 10.53288/0276.1.43 476 484 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Visible and Invisible Impairments in Images of Medieval Musicians 1 A01 21 0000000258993434 Karen M. Cook Karen M. Cook 40 034gcgd08 University of Hartford Karen M. Cook is associate professor of music history at The Hartt School at the University of Hartford. Her primary research is on late medieval music theory and notation, with her current work focusing on lesser-known or fragmentary treatises. She also maintains strong secondary interests in medievalism and in ludomusicology, with several publications focusing on the creative repurposing or reimagining of medieval music in video game soundtracks. Recent work appears in Studies in Medievalism XXVII: Authenticity, Medievalism, Music; The Oxford Handbook of Medievalism in Music; Musica Disciplina; Plainsong & Medieval Music; and Oxford Bibliographies in Music. She was a recipient of the inaugural ACLS Professional Development Grant, which she used toward her work on her forthcoming monograph on the development of rhythmic notation in the fourteenth and early fifteenth centuries. 01 eng 20 00 Open Access Karen M. Cook 44 03 06 10.53288/0276.1.44 487 489 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thematic Table of Contents 1 B01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access 45 03 06 10.53288/0276.1.45 490 495 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/medieval-disability-sourcebook/ Earth, Milky Way 04 01 20200326 McNabb, Cameron Hunt 02 WORLD 06 15 9781950192748 03 9781950192748 34 06 10.1080/09687599727317 34 06 10.1057/pmed.2012.15 34 06 10.1057/pmed.2009.4 34 06 10.1371/journal.pone.0143866 34 06 10.1080/09687590802177056 34 06 10.1002/jhbs.1032 34 06 10.1017/mdh.2014.28 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192733/ 20 08 20200326 02 33.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/medieval-disability-sourcebook-western-europe 20 08 20200326 02 33.00 USD WORLD urn:uuid:b783ac22-7c62-4e28-8d8d-c65fa302b074 03 01 01 thoth-work-id urn:uuid:26d4676f-258c-4559-94d5-90bb4535070e 01 thoth-publication-id urn:uuid:b783ac22-7c62-4e28-8d8d-c65fa302b074 15 9781950192748 03 9781950192748 06 10.21983/P3.0276.1.00 13 2020934559 01 internal-reference 0276 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Medieval Disability Sourcebook Western Europe 1 B01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 00 500 03 12 HBLC1 10 LIT011000 B2 Literary Studies 93 NHDJ 93 JBFM 12 JFFG B2 Neurodiverse+Crip B2 Premodern 20 disability; Middle Ages; accessibility; literary studies; identity; embodiment; illness 01 06 02 00 03 00 The field of disability studies significantly contributes to contemporary discussions of the marginalization of and social justice for individuals with disabilities. However, what of disability in the past? The Medieval Disability Sourcebook: Western Europe explores what medieval texts have to say about disability, both in their own time and for the present.This interdisciplinary volume on medieval Europe combines historical records, medical texts, and religious accounts of saints’ lives and miracles, as well as poetry, prose, drama, and manuscript images to demonstrate the varied and complicated attitudes medieval societies had about disability. Far from recording any monolithic understanding of disability in the Middle Ages, these contributions present a striking range of voices—to, from, and about those with disabilities—and such diversity only confirms how disability permeated (and permeates) every aspect of life.The Medieval Disability Sourcebook is designed for use inside the undergraduate or graduate classroom or by scholars interested in learning more about medieval Europe as it intersects with the field of disability studies. Most texts are presented in modern English, though some are preserved in Middle English and many are given in side-by-side translations for greater study. Each entry is prefaced with an academic introduction to disability within the text as well as a bibliography for further study. This sourcebook is the first in a proposed series focusing on disability in a wide range of premodern cultures, histories, and geographies. 30 00 The field of disability studies significantly contributes to contemporary discussions of the marginalization of and social justice for individuals with disabilities. However, what of disability in the past? The Medieval Disability Sourcebook: Western Europe explores what medieval texts have to say about disability, both in their own time and for the present.This interdisciplinary volume on medieval Europe combines historical records, medical texts, and religious accounts of saints’ lives and miracles, as well as poetry, prose, drama, and manuscript images to demonstrate the varied and complicated attitudes medieval societies had about disability. Far from recording any monolithic understanding of disability in the Middle Ages, these contributions present a striking range of voices—to, from, and about those with disabilities—and such diversity only confirms how disability permeated (and permeates) every aspect of life.The Medieval Disability Sourcebook is designed for use inside the undergraduate or graduate classroom or by scholars interested in learning more about medieval Europe as it intersects with the field of disability studies. Most texts are presented in modern English, though some are preserved in Middle English and many are given in side-by-side translations for greater study. Each entry is prefaced with an academic introduction to disability within the text as well as a bibliography for further study. This sourcebook is the first in a proposed series focusing on disability in a wide range of premodern cultures, histories, and geographies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0276.1.00_frontcover.jpg 1 03 06 10.53288/0276.1.01 1 11 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 A01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access 2 03 06 10.53288/0276.1.02 13 21 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access Cameron Hunt McNabb 3 03 06 10.53288/0276.1.03 25 55 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 York Cause Paper E.92: Redyng c. Boton (1366–67) 1 A01 Alison Purnell Alison Purnell Alison Purnell is an independent scholar whose research interests focus on social reactions to mental impairments in the fourteenth and fifteenth centuries. She studied at the University of Toronto and the University of York and is an advocate for greater accessibility to historical materials. 01 eng 01 lat 20 00 Open Access Alison Purnell 4 03 06 10.53288/0276.1.04 56 68 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mental Competency Inquisitions from Medieval England (ca. late 12th c.–early 15th c.) 1 A01 Eliza Buhrer Eliza Buhrer 40 04raf6v53 Colorado School of Mines Eliza Buhrer is a cultural historian, whose work explores intersections between the histories of medicine, law, and knowledge in premodern Europe. She recently began a new position as a Teaching Associate Professor at Colorado School of Mines, fulfilling a long-held dream of living in the mountains, and previously worked as a Visiting Assistant Professor of History at Loyola University New Orleans, and an Assistant Professor of History at Seton Hall University. She has published on intellectual disability in medieval law and culture and has forthcoming essays on how medieval jurists imagined monstrosity and how medieval society conceptualized learning difficulties. She is currently working on a book on the cultural history of attention and distraction. 01 eng 20 00 Open Access Eliza Buhrer 5 03 06 10.53288/0276.1.05 69 76 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nuremberg Town Records Select Entries Pertaining to the “Mad” and Intellectually Disabled (1377–1492) 1 A01 Anne M. Koenig Anne M. Koenig 40 032db5x82 University of South Florida Anne M. Koenig is a cultural and medical historian specializing in late medieval Germany. Her primary research interests include madness and the spread of medical literacy and medical knowledge in popular culture. She has several forthcoming publications, including an essay “Magicking Madness: Secret Workings and Public Narratives of the Disordered Mind in Late Medieval Germany” in The Sacred and the Sinister coming out with Pennsylvania State University Press in 2019. She is currently a NEH Fellow at the Newberry Library in Chicago and was previously the Assistant Professor of History at the University of South Florida. 01 eng 01 gmh 20 00 Open Access Anne M. Koenig 6 03 06 10.53288/0276.1.06 77 84 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tax Relief Requests from Medieval Dijon (1389–1449) 1 A01 Anne Galanaud Anne Galanaud Anne Galanaud graduated at Paris 4–Sorbonne University and earned her PhD in history at Franche-Comté University on the population of late medieval Dijon. She established a database that includes tax records from about 20,000 persons living between the mid-fourteenth century and the early sixteenth century, managed by an original program developed, with her contribution, by Henri Labesse (Paris–Sorbonne University). Her studies include an analysis of the socio-economic and topographic characteristics of medieval Dijon winegrowers and an analysis of the fate of widows and orphans survivors to the Black Death in Dijon, deciphered from a so far untapped mid-fourteenth century source document. She studied, in collaboration with Pierre Galanaud, the cartography of medieval plagues and now focuses on their impact on fragile populations. 2 A01 21 0000000158268550 Pierre Galanaud Pierre Galanaud 40 028rypz17 University of Paris-Sud Pierre Galanaud is emeritus professor of immunology at Paris–Sud University. He graduated at Paris–Descartes University Medical School and performed post-doctoral studies at Tufts University, Boston. At Paris–Sud University, he was head of the Internal Medicine and clinical Immunology unit of Antoine Béclère hospital (Assistance Publique Hôpitaux de Paris) and director of the INSERM affiliated research laboratory Cytokines and Immunoregulation. His combined interests in the functional cartography of gene expression in the immune system and in the history of medicine led him to analyze, in collaboration with Anne Galanaud, medieval plagues by applying spatial analysis to the GIS based cartography of deaths (P. Galanaud, A. Galanaud, and P. Giraudoux, Historical Epidemics Cartography Generated by Spatial Analysis: Mapping the Heterogeneity of Three Medieval “Plagues” in Dijon, 2015). This collaboration is pursued for the impact of medieval epidemics on fragile populations. 01 eng 20 00 Open Access Anne Galanaud Pierre Galanaud 7 03 06 10.53288/0276.1.07 85 102 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Examining for Leprosy in the Fifteenth Century (ca. 1430–1500) 1 A01 Lucy Barnhouse Lucy Barnhouse 40 02exxw634 Wartburg College Lucy Barnhouse is a Visiting Assistant Professor of History at Wartburg College. Her research focuses on the intersections between legal, religious, and medical history. Her prospective monograph, Houses of God, Places for the Sick, examines the place of hospitals in the religious and social networks of late medieval cities. Her publications include a study of a medical miscellany used in a hospital managed by religious women, and an article on leprosy in the Rhineland for Leprosy and Identity in the Middle Ages: from England to the Mediterranean. Her future research plans include a study of mobility and urban identities in late medieval Central Europe. She has been a podcaster with Footnoting History, on topics including women’s history and medical history, since 2013. 01 eng 01 gmh 20 00 Open Access Lucy Barnhouse 8 03 06 10.53288/0276.1.08 103 109 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ortolf of Baierland, “Arzneibuch,” “On Madness” (ca. 1300) 1 A01 Anne M. Koenig Anne M. Koenig 40 032db5x82 University of South Florida Anne M. Koenig is a cultural and medical historian specializing in late medieval Germany. Her primary research interests include madness and the spread of medical literacy and medical knowledge in popular culture. She has several forthcoming publications, including an essay “Magicking Madness: Secret Workings and Public Narratives of the Disordered Mind in Late Medieval Germany” in The Sacred and the Sinister coming out with Pennsylvania State University Press in 2019. She is currently a NEH Fellow at the Newberry Library in Chicago and was previously the Assistant Professor of History at the University of South Florida. 01 eng 01 gmh 20 00 Open Access Anne M. Koenig 9 03 06 10.53288/0276.1.09 113 137 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Selected Episodes on Healing and Disability from the Vulgate Bible—Matthew, Mark, Luke, and John (ca. 382) 1 A01 Will Eggers Will Eggers Loomis Chaffee School Will Eggers earned his Ph.D. from the University of Connecticut with his dissertation, “‘Misticall Unions’: Clandestine Communications from Tristan to Twelfth Night,” which explores the tradition of lovers who have fashioned themselves as a conglomerate self that shares one mind and erases all distinctions between sender and receiver. He has found a home at the Loomis Chaffee School, having previously taught at Wesleyan University and the University of Hartford. His research interests range from medieval and early modern English literature to modern graphic novels. 01 eng 01 lat 20 00 Open Access Will Eggers 10 03 06 10.53288/0276.1.10 138 146 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Miracles in Apocryphal Infancy Narratives (ca. 550–13th c.) 1 A01 21 0000000254068807 Brandon W. Hawk Brandon W. Hawk 40 01k5gt570 Rhode Island College Brandon W. Hawk is an assistant professor of English at Rhode Island College. He has published on early English literature, the history of the English language, biblical apocrypha, and medieval biblical commentaries, and serves as a member of the Editorial Board for the Sources of Anglo-Saxon Literary Culture project. His book Preaching Apocrypha in Anglo-Saxon England was published by the University of Toronto Press in 2018, and his full-length introduction, translation, and commentary for the apocryphal Gospel of Pseudo-Matthew was published by Cascade Books. 01 eng 01 lat 20 00 Open Access Brandon W. Hawk 11 03 06 10.53288/0276.1.11 147 156 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ælfric of Eynsham, "Catholic Homilies" 1.10 (ca. 989–ca. 992) 1 A01 21 0000000254068807 Brandon W. Hawk Brandon W. Hawk 40 01k5gt570 Rhode Island College Brandon W. Hawk is an assistant professor of English at Rhode Island College. He has published on early English literature, the history of the English language, biblical apocrypha, and medieval biblical commentaries, and serves as a member of the Editorial Board for the Sources of Anglo-Saxon Literary Culture project. His book Preaching Apocrypha in Anglo-Saxon England was published by the University of Toronto Press in 2018, and his full-length introduction, translation, and commentary for the apocryphal Gospel of Pseudo-Matthew was published by Cascade Books. 01 ang 01 eng 20 00 Open Access Brandon W. Hawk 12 03 06 10.53288/0276.1.12 157 161 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Augustine of Hippo, "The City of God against the Pagans" (413–26) 1 A01 21 000000019961670X Leah Pope Parker Leah Pope Parker 40 0270vfa57 University of Southern Mississippi Leah Pope Parker s an Assistant Professor of English at the University of Southern Mississippi. Her current book project, “Disability and the Afterlife in Old English Literature,” explores how concepts of disability shaped both daily life and the eschatological imaginary in early medieval England. Her research engages with histories of the body and phenomenologies of religion, as well as using digital tools such as multispectral imaging to better understand medieval manuscripts. Her essays have recently appeared in the Journal of English and Germanic Philology and the volume Monstrosity, Disability, and the Posthuman in the Medieval and Early Modern World, edited by Richard H. Godden and Asa Simon Mittman. She also endeavors to share medieval disability studies with broader academic and public communities by tweeting as Medieval Disability, @MADisability. 01 eng 20 00 Open Access Leah Pope Parker 13 03 06 10.53288/0276.1.13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 William of Canterbury, "A Miracle of Thomas Becket: De puero syntectino" (Concerning a boy suffering from a wasting disease) (1172–77) 1 A01 Rose A. Sawyer Rose A. Sawyer 40 024mrxd33 University of Leeds Rose A. Sawyer is a PhD student in the Institute for Medieval Studies at the University of Leeds. Her research focuses upon changelings and child substitution discourse in the Middle Ages, as well as other aspects of the medieval imaginative landscape. In addition to her contribution to this volume, she has contributed “‘That elfe and vile congion’: Constructing the Body of the Child as a Site of Violence through Changeling Insults and the Child Substitution Motif” to the upcoming edited volume Literary Cultures and Medieval/Early Modern Childhoods, edited by Naomi Miller and Diane Purkiss and published by Palgrave. 01 eng 01 lat 20 00 Open Access 14 03 06 10.53288/0276.1.14 168 172 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Njáls Saga" (13th c.) 1 A01 Kolfinna Jónatansdóttir Kolfinna Jónatansdóttir 40 01db6h964 University of Iceland Kolfinna Jónatansdóttir is a doctoral student in Icelandic literature at the University of Iceland and is interested in all aspects of medieval Icelandic culture and literature, its origins, development and reception. Her thesis is on Ragnarǫk, the end of the world in Old Norse mythology. 01 eng 01 ice 20 00 Open Access Kolfinna Jónatansdóttir 15 03 06 10.53288/0276.1.15 173 180 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thomas of Monmouth, "The Life and Passion of William of Norwich" (1152–70) 1 A01 21 0000000157217487 Sarah Edwards Obenauf Sarah Edwards Obenauf 40 005p9kw61 New Mexico Institute of Mining and Technology Sarah Edwards Obenauf is the Public Services and Instruction Librarian at the New Mexico Institute for Mining and Technology. She earned her MA in Medieval History from the University of New Mexico and her MLIS from San Jose State University. As a historian of the Middle Ages, her research centers on analyzing medical pilgrimage through Digital Humanities. As a librarian, her focus is on teaching people how to find good, reliable information. In both of these capacities, she is a passionate supporter of increased and unrestricted access to information. 01 eng 20 00 Open Access Sarah Edwards Obenauf 16 03 06 10.53288/0276.1.16 181 185 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Testimony from the Canonization Proceedings of Charles of Blois (1371) 1 A01 21 000000029088449X Leigh Ann Craig Leigh Ann Craig 40 02nkdxk79 Virginia Commonwealth University Leigh Ann Craig is an associate professor of History and the Director of Undergraduate Studies in History at Virginia Commonwealth University. Her recent research has focused on loss of mind (including both physical illness and demonic affliction), disability, and community in Latin Christendom, especially as it appears in later medieval miracle stories. Her publications include Wandering Women and Holy Matrons: Women as Pilgrims in the Later Middle Ages (Brill, 2009); “The Spirit of Madness: Doubt and the Miraculous Restoration of Sanity in the Miracles of Henry VI,” Journal of Medieval Religious Cultures (2013); “The History of Madness and Mental Illness in the Middle Ages: Directions and Questions,” History Compass (2014); and “Describing Death and Resurrection: Medicine and the Humors in Two Late Medieval Miracles,” in The Sacred and the Secular in Medieval Healing: Sites, Objects, and Texts (Routledge, 2016). 01 eng 20 00 Open Access Leigh Ann Craig 17 03 06 10.53288/0276.1.17 186 189 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bernard Gui, On a Miracle of Saint Thomas Aquinas (ca. 1325) 1 A01 21 000000029088449X Leigh Ann Craig Leigh Ann Craig 40 02nkdxk79 Virginia Commonwealth University Leigh Ann Craig is an associate professor of History and the Director of Undergraduate Studies in History at Virginia Commonwealth University. Her recent research has focused on loss of mind (including both physical illness and demonic affliction), disability, and community in Latin Christendom, especially as it appears in later medieval miracle stories. Her publications include Wandering Women and Holy Matrons: Women as Pilgrims in the Later Middle Ages (Brill, 2009); “The Spirit of Madness: Doubt and the Miraculous Restoration of Sanity in the Miracles of Henry VI,” Journal of Medieval Religious Cultures (2013); “The History of Madness and Mental Illness in the Middle Ages: Directions and Questions,” History Compass (2014); and “Describing Death and Resurrection: Medicine and the Humors in Two Late Medieval Miracles,” in The Sacred and the Secular in Medieval Healing: Sites, Objects, and Texts (Routledge, 2016). 01 eng 20 00 Open Access Leigh Ann Craig 18 03 06 10.53288/0276.1.18 190 205 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, The Prose "Life of Cuthbert" (ca. 721) 1 A01 Marit Ronen Marit Ronen 40 03qxff017 Hebrew University of Jerusalem Marit Ronen has recently received her PhD in History from the Hebrew University of Jerusalem. Her research interests include the study of marginalized and liminal groups in early Medieval Europe, including ethnicity, gender, and disability studies, and focuses on early medieval England. She has published on the agency of disabled people, on kingly impairment, and on religious constructions of disability. She is passionate about making Medieval Studies more accessible to the wider public, and has participated as an instructor in history workshops for high-school students. 01 eng 20 00 Open Access Marit Ronen 19 03 06 10.53288/0276.1.19 206 209 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, The Miracles of King Oswald from "Ecclesiastical History" (late 9th c.) 1 A01 21 0000000226440114 Heide Estes Heide Estes 40 01d6qxv05 Monmouth University Heide Estes is Professor of English at Monmouth University (New Jersey, USA) and founding director of Medieval Ecocriticisms. She is the author of Anglo-Saxon Literary Landscapes: Ecotheory and the Environmental Imagination and co-editor with Haruko Momma of Old English Across the Curriculum: Contexts and Pedagogies, a special issue of Studies in Medieval and Renaissance Teaching. Her projects in process include the edited volume Medieval Ecocriticisms: Animals, Landscapes, Objects, and the Nature of the Human and the monograph Gender, Disability and Jews in Old English Poetry: Intersections. 01 eng 20 00 Open Access Heide Estes 20 03 06 10.53288/0276.1.20 210 219 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Life of St. Margaret of Antioch" (11th c.) 1 A01 21 000000019961670X Leah Pope Parker Leah Pope Parker 40 0270vfa57 University of Southern Mississippi Leah Pope Parker s an Assistant Professor of English at the University of Southern Mississippi. Her current book project, “Disability and the Afterlife in Old English Literature,” explores how concepts of disability shaped both daily life and the eschatological imaginary in early medieval England. Her research engages with histories of the body and phenomenologies of religion, as well as using digital tools such as multispectral imaging to better understand medieval manuscripts. Her essays have recently appeared in the Journal of English and Germanic Philology and the volume Monstrosity, Disability, and the Posthuman in the Medieval and Early Modern World, edited by Richard H. Godden and Asa Simon Mittman. She also endeavors to share medieval disability studies with broader academic and public communities by tweeting as Medieval Disability, @MADisability. 01 eng 20 00 Open Access Leah Pope Parker 21 03 06 10.53288/0276.1.21 220 230 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Life of Mary of Oegines (Oignies)" (ca. 15th c.) 1 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University Kisha G. Tracy is an associate professor of English Studies and Coordinator of the Center for Teaching and Learning at Fitchburg State University in Massachusetts. Her main research interests include medieval memory and confession, medieval disability, and higher education pedagogy. She is the author of Memory and Confession in Middle English Literature, which is available through Palgrave. 2 A01 Alicia Protze Alicia Protze 40 031tt0491 Fitchburg State University Alicia Protze is a graduate of Fitchburg State University, where she majored in history. She continued her education at King’s College, London, where she studied her master’s in Arts and Cultural Management. She is currently enrolled at Fitchburg State University, where is is studying special education. 01 eng 20 00 Open Access Kisha G. Tracy Alicia Protze 22 03 06 10.53288/0276.1.22 233 241 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Marie de France, "Bisclavret" (ca. 12th c.) 1 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University Kisha G. Tracy is an associate professor of English Studies and Coordinator of the Center for Teaching and Learning at Fitchburg State University in Massachusetts. Her main research interests include medieval memory and confession, medieval disability, and higher education pedagogy. She is the author of Memory and Confession in Middle English Literature, which is available through Palgrave. 01 eng 20 00 Open Access Kisha G. Tracy 23 03 06 10.53288/0276.1.23 242 246 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alain Chartier, "The Book of Hope" (ca. 1429) 1 A01 Julie Singer Julie Singer 40 01yc7t268 Washington University in St. Louis Julie Singer is an associate professor of French at Washington University in St. Louis. A co-founder of the Society for the Study of Disability in the Middle Ages, she is the author of Blindness and Therapy in Late Medieval French and Italian Poetry (D.S. Brewer, 2011) and Representing Mental Illness in Late Medieval France: Machines, Madness, Metaphor (D.S. Brewer, 2018). 01 eng 20 00 Open Access Julie Singer 24 03 06 10.53288/0276.1.24 247 259 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Geoffrey Chaucer, The "Merchant’s Tale" from "The Canterbury Tales" (ca. 1387–1400) 1 A01 Moira Fitzgibbons Moira Fitzgibbons 40 04wx3x242 Marist College Moira Fitzgibbons is Professor of English, and her teaching and research interests include medieval and modern pedagogies; disability studies; late medieval religious culture; and the interplay between verbal and visual rhetoric in a wide variety of texts, including graphic narratives. Teaching interdisciplinary First Year Seminars for the past 5 years has provided her with many valuable opportunities to explore these issues in collaboration with her students. Her research has appeared in such venues as The Open Access Companion to the “Canterbury Tales”; Pedagogy; Studies in the Age of Chaucer; Medium Aevum; and The Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). 01 eng 01 enm 20 00 Open Access Moira Fitzgibbons 25 03 06 10.53288/0276.1.25 260 275 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Geoffrey Chaucer, The "Man of Law’s Tale" from "The Canterbury Tales" (ca. 1387–1400) 1 A01 Paul A. Broyles Paul A. Broyles 40 04tj63d06 North Carolina State University Paul A. Broyles is a Lecturer in English at North Carolina State University, where he previously held a CLIR Postdoctoral Fellowship in Data Curation for Medieval Studies. His research concerns medieval romance, geographic imagination, and cultural identity, with broader interests in textual transmission and translation. He is active in the development of Digital Humanities projects, and serves as Technical Director of the Society for Early English and Norse Electronic Texts and Technical Editor of the Piers Plowman Electronic Archive. 01 eng 01 enm 20 00 Open Access Paul A. Broyles 26 03 06 10.53288/0276.1.26 276 291 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Geoffrey Chaucer, The "Wife of Bath’s Portrait," "Prologue," and "Tale" from "The Canterbury Tales" (ca. 1387–1400) 1 A01 Tory V. Pearman Tory V. Pearman 40 05nbqxr67 Miami University Tory V. Pearman is Associate Professor of English at Miami University Hamilton. Her research primarily focuses on the intersections between disability and gender in medieval literature. She is the author of Women and Disability in Medieval Literature (Palgrave, 2010) and Disability and Knighthood in Malory’s Morte Darthur (forthcoming, Routledge). She has contributed, with her students, to the Medieval Disability Glossary and is a co-founder of the Society for the Study of Disability in the Middle Ages. 01 eng 01 enm 20 00 Open Access Tory V. Pearman 27 03 06 10.53288/0276.1.27 292 303 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Dame Sirith" (ca. 1272–82) 1 A01 21 0000000345618317 Danielle Allor Danielle Allor 40 05vt9qd57 Rutgers University Danielle Allor is a PhD candidate in the Department of English at Rutgers, The State University of New Jersey. Her work focuses on vegetal life and late medieval literature, arguing that late medieval authors imported knowledge-organizing and classifying strategies from natural philosophy to bolster claims to religious authenticity and literary authority. Her dissertation, “Trees of Thought: Arboreal Matter and Metaphor in Late Medieval England,” examines trees as material and figural classification systems in the work of William Langland, Geoffrey Chaucer, John Lydgate, and John Skelton. 01 eng 01 enm 20 00 Open Access Danielle Allor 28 03 06 10.53288/0276.1.28 304 312 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tale of Constance (1380–90) 1 A01 Will Rogers Will Rogers 40 02qeh3c90 University of Louisiana at Monroe Will Rogers is the Tommy and Mary Barham Endowed Professor of English at University of Louisiana Monroe. He is the series co-editor for New Queer Medievalisms, a book series published by Medieval Institute Publications. He has published on aging and disability, queer theory and medieval texts, and medieval mysticism. His monograph, “Staves and Stanzas: Writing Old Age and Impairment in Late Medieval England,” is under contract with Arc Humanities Press. 01 eng 01 enm 20 00 Open Access Will Rogers 29 03 06 10.53288/0276.1.29 313 323 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thomas Hoccleve, "Complaint" (1419–21) 1 A01 Will Rogers Will Rogers 40 02qeh3c90 University of Louisiana at Monroe Will Rogers is the Tommy and Mary Barham Endowed Professor of English at University of Louisiana Monroe. He is the series co-editor for New Queer Medievalisms, a book series published by Medieval Institute Publications. He has published on aging and disability, queer theory and medieval texts, and medieval mysticism. His monograph, “Staves and Stanzas: Writing Old Age and Impairment in Late Medieval England,” is under contract with Arc Humanities Press. 01 eng 01 enm 20 00 Open Access Will Rogers 30 03 06 10.53288/0276.1.30 327 340 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Book of Margery Kempe" (ca. 1450–1500) 1 A01 M.W. Bychowski M.W. Bychowski 40 051fd9666 Case Western Reserve University M.W. Bychowski is the Anisfield-Wolf SAGES Fellow at Case Western Reserve University, holding a position as full-time faculty in English, and teaching seminars on gender, disability, feminism, racism, and queer Christianity. She received her Ph.D. in English Literature from the George Washington University in Washington, D.C. A few of her recent articles include “The Isle of Hermaphrodites: Disorienting the Place of Intersex in the Middle Ages” (postmedieval 2018), “Reconstructing the Pardoner: Transgender Skin Operations in Fragment VI” (Writing on Skin in the Age of Chaucer, 2018), and “Mad for Margery: Disability and the Imago Dei in the Book of Margery Kempe” (The Ashgate Research Companion to Medieval Disability Studies, Routledge, forthcoming). She remains an ardent advocate for the Digital Humanities and public scholarship, maintaining an online center for the study of transgender and disability, medieval and post-medieval, www.ThingsTransform.com. Additionally, she serves on the executive board of the Mental Health Network, an advising think-tank for the national UCC church, as well as consults for local businesses, schools, and political groups on diversity and social justice. This work led her to serve at “the White House Forum on LGBTQ and Disability Issues” in 2016. 01 eng 20 00 Open Access M.W. Bychowski 31 03 06 10.53288/0276.1.31 341 344 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, Menstruation, Infirmity, and Religious Observance from "Ecclesiastical History" (late 9th c.) 1 A01 21 0000000226440114 Heide Estes Heide Estes 40 01d6qxv05 Monmouth University Heide Estes is Professor of English at Monmouth University (New Jersey, USA) and founding director of Medieval Ecocriticisms. She is the author of Anglo-Saxon Literary Landscapes: Ecotheory and the Environmental Imagination and co-editor with Haruko Momma of Old English Across the Curriculum: Contexts and Pedagogies, a special issue of Studies in Medieval and Renaissance Teaching. Her projects in process include the edited volume Medieval Ecocriticisms: Animals, Landscapes, Objects, and the Nature of the Human and the monograph Gender, Disability and Jews in Old English Poetry: Intersections. 01 eng 20 00 Open Access Heide Estes 32 03 06 10.53288/0276.1.32 345 364 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bede, Physical Disability, Muteness, Pregnancy, Possession, and Alcoholism from "Ecclesiastical History" (ca. 731) 1 A01 Maura Bailey Maura Bailey 40 031tt0491 Fitchburg State University 2 A01 Autumn Battista Autumn Battista 40 031tt0491 Fitchburg State University 3 A01 Ashley Corliss Ashley Corliss 40 031tt0491 Fitchburg State University 4 A01 Eammon Gosselin Eammon Gosselin 40 031tt0491 Fitchburg State University 5 A01 Rebecca Laughlin Rebecca Laughlin 40 031tt0491 Fitchburg State University 6 A01 Sara Moller Sara Moller 40 031tt0491 Fitchburg State University 7 A01 Shayne Simahk Shayne Simahk 40 031tt0491 Fitchburg State University 8 A01 Taylor Specker Taylor Specker 40 031tt0491 Fitchburg State University 9 A01 Alyssa Stanton Alyssa Stanton 40 031tt0491 Fitchburg State University 10 A01 Kellyn Welch Kellyn Welch 40 031tt0491 Fitchburg State University 11 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University Kisha G. Tracy is an associate professor of English Studies and Coordinator of the Center for Teaching and Learning at Fitchburg State University in Massachusetts. Her main research interests include medieval memory and confession, medieval disability, and higher education pedagogy. She is the author of Memory and Confession in Middle English Literature, which is available through Palgrave. 01 eng 20 00 Open Access Maura Bailey Autumn Battista Ashley Corliss Eammon Gosselin Rebecca Laughlin Sara Moller Shayne Simahk Taylor Specker Alyssa Stanton Kellyn Welch Kisha G. Tracy 33 03 06 10.53288/0276.1.33 365 378 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Evadeam, The Dwarf Knight from the "Lancelot-Grail Cycle" (ca. 1220–30) 1 A01 Kara Larson Maloney Kara Larson Maloney 40 01056ge55 Canisius College Kara Larson Maloney is an adjunct professor at Canisius College in Buffalo, NY. She earned her PhD from Binghamton University in 2015. Her research interests include the intersection of chivalry and identity in intratextual communities and how that creates identity in extratextual medieval communities. She focuses on King Arthur and medieval romance across the British Isles and France. Her essay on gendered readings of the textiles in Sir Gawain and the Green Knight will be published in Medieval Clothing and Textiles in 2019. 01 eng 20 00 Open Access Kara Larson Maloney 34 03 06 10.53288/0276.1.34 379 392 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Morkinskinna" (ca. 1220) 1 A01 Ármann Jakobsson Ármann Jakobsson 40 01db6h964 University of Iceland Ármann Jakobsson is Professor of Early Icelandic Literature at the University of Iceland and is currently involved with the “Disability Before Disability” research project that focuses on medieval and early modern attitudes towards disability. He is interested in categorisation in general and his done work on kingship, age, social classes and the supernatural. Among his books are A Sense of Belonging: Morkinskinna and Icelandic Identity c. 1220, The Viking Collection 22 (2014); The Troll Inside You: Paranormal Activity in the Medieval North (punctum books, 2017); and The Routledge Research Companion to the Medieval Icelandic Sagas, co-edited with Sverrir Jakobsson (2017). 01 eng 01 ice 20 00 Open Access Ármann Jakobsson 35 03 06 10.53288/0276.1.35 393 410 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Snorri Sturluson, "Ólafs saga helga" from "Heimskringla" (ca. 1230) 1 A01 Ármann Jakobsson Ármann Jakobsson 40 01db6h964 University of Iceland Ármann Jakobsson is Professor of Early Icelandic Literature at the University of Iceland and is currently involved with the “Disability Before Disability” research project that focuses on medieval and early modern attitudes towards disability. He is interested in categorisation in general and his done work on kingship, age, social classes and the supernatural. Among his books are A Sense of Belonging: Morkinskinna and Icelandic Identity c. 1220, The Viking Collection 22 (2014); The Troll Inside You: Paranormal Activity in the Medieval North (punctum books, 2017); and The Routledge Research Companion to the Medieval Icelandic Sagas, co-edited with Sverrir Jakobsson (2017). 01 eng 01 ice 20 00 Open Access Ármann Jakobsson 36 03 06 10.53288/0276.1.36 411 415 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Snorri Sturluson, The "Prose Edda" (ca. 1220–40) 1 A01 Kolfinna Jónatansdóttir Kolfinna Jónatansdóttir 40 01db6h964 University of Iceland Kolfinna Jónatansdóttir is a doctoral student in Icelandic literature at the University of Iceland and is interested in all aspects of medieval Icelandic culture and literature, its origins, development and reception. Her thesis is on Ragnarǫk, the end of the world in Old Norse mythology. 01 eng 01 ice 20 00 Open Access Kolfinna Jónatansdóttir 37 03 06 10.53288/0276.1.37 419 427 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "The Cure of the Blind Man" from the "Chester Cycle" (ca. 1531–75) 1 A01 Kurt Schreyer Kurt Schreyer 40 037cnag11 University of Missouri–St. Louis Kurt Schreyer teaches courses on Shakespeare and early English drama at the University of Missouri–St. Louis. His interests extend to a wide variety of genres and texts across the traditional medieval/Renaissance disciplinary divide, from Chaucer to Milton, and from epic and romance to devotional lyric. His book, Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage, published by Cornell University Press, demonstrates the central importance of stage properties, technologies, and theatrical practices from pre-Reformation religious drama to Shakespeare’s stagecraft. 01 eng 01 enm 20 00 Open Access Kurt Schreyer 38 03 06 10.53288/0276.1.38 428 433 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Christ and the Leper" from the "Chester Cycle" (ca. 1531–75) 1 A01 Kurt Schreyer Kurt Schreyer 40 037cnag11 University of Missouri–St. Louis Kurt Schreyer teaches courses on Shakespeare and early English drama at the University of Missouri–St. Louis. His interests extend to a wide variety of genres and texts across the traditional medieval/Renaissance disciplinary divide, from Chaucer to Milton, and from epic and romance to devotional lyric. His book, Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage, published by Cornell University Press, demonstrates the central importance of stage properties, technologies, and theatrical practices from pre-Reformation religious drama to Shakespeare’s stagecraft. 01 eng 01 enm 20 00 Open Access Kurt Schreyer 39 03 06 10.53288/0276.1.39 434 447 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "The Entry into Jerusalem" from the "York Cycle" (ca. 1377) 1 A01 Frank M. Napolitano Frank Napolitano 40 04647g470 Radford University Frank Napolitano is an associate professor of English and coordinator of the Graduate Teaching Fellows Mentoring Program at Radford University in Virginia. His primary research interests include Middle English biblical drama, the history of rhetoric, disability studies, rhetoric and composition, and writing program administration. He has published in Early Theatre and Studies in Philology and is in the process of co-editing a collection of essays on the labor practices of writing program administrators. 01 eng 01 enm 20 00 Open Access Frank M. Napolitano 40 03 06 10.53288/0276.1.40 448 457 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Nativity" from the "N-Town Plays" (ca. 1460–1520) 1 A01 21 0000000230988377 Jeffery G. Stoyanoff Jeffery G. Stoyanoff 40 043fzsj95 Spring Hill College Jeffery G. Stoyanoff is an assistant professor of English at Spring Hill College in Mobile, Alabama. His teaching and research interests include Middle English poetry and medieval drama, particularly through the lens of Actor–Network Theory and Object-Oriented Ontology. His current book project, Writing Networks: Performativity in Confessio Amantis, stems from the nexus of these interets, interrogating the relationship between performance and performativity in the poem. 01 eng 01 enm 20 00 Open Access Jeffery G. Stoyanoff 41 03 06 10.53288/0276.1.41 458 470 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Croxton "Play of the Sacrament" (ca. 1461–1546) 1 A01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 01 enm 20 00 Open Access Cameron Hunt McNabb 42 03 06 10.53288/0276.1.42 473 475 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Smithfield Decretals (ca. 1300–1340) 1 A01 21 0000000152628754 Rachael Gillibrand Rachael Gillibrand 40 024mrxd33 University of Leeds Rachael Gillibrand is a PhD student in the Institute for Medieval Studies at the University of Leeds. Drawing upon her background in both history and art history, her research focuses upon physical impairment and the non-conformist body and between c. 1400 and c. 1600—particularly, the design, production and function of disability aids in the late medieval West. She is passionate about making her research accessible to a diverse audience and, as a result, she recently featured as a guest speaker on the KNFX radio show Healthy Vision, where she spoke about medieval attitudes towards blindness and the invention of spectacles. 01 eng 20 00 Open Access Rachael Gillibrand 43 03 06 10.53288/0276.1.43 476 484 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Visible and Invisible Impairments in Images of Medieval Musicians 1 A01 21 0000000258993434 Karen M. Cook Karen M. Cook 40 034gcgd08 University of Hartford Karen M. Cook is associate professor of music history at The Hartt School at the University of Hartford. Her primary research is on late medieval music theory and notation, with her current work focusing on lesser-known or fragmentary treatises. She also maintains strong secondary interests in medievalism and in ludomusicology, with several publications focusing on the creative repurposing or reimagining of medieval music in video game soundtracks. Recent work appears in Studies in Medievalism XXVII: Authenticity, Medievalism, Music; The Oxford Handbook of Medievalism in Music; Musica Disciplina; Plainsong & Medieval Music; and Oxford Bibliographies in Music. She was a recipient of the inaugural ACLS Professional Development Grant, which she used toward her work on her forthcoming monograph on the development of rhythmic notation in the fourteenth and early fifteenth centuries. 01 eng 20 00 Open Access Karen M. Cook 44 03 06 10.53288/0276.1.44 487 489 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thematic Table of Contents 1 B01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access 45 03 06 10.53288/0276.1.45 490 495 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Cameron Hunt McNabb Cameron Hunt McNabb 40 01b25wz12 Southeastern University Cameron Hunt McNabb is an associate professor of English at Southeastern University. Her primary research interests include disability studies and early drama, and she has published in numerous journals, including Early Theatre, Neophilologus, Studies in Philology, and Pedagogy. Her chapter “Staging Disability in Medieval Drama” in forthcoming in the Ashgate Research Companion to Medieval Disability Studies (Routledge, forthcoming). She is a strong advocate for undergraduate research, and she and her students have contributed two entries to the Medieval Disability Glossary. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/medieval-disability-sourcebook/ Earth, Milky Way 04 01 20200326 McNabb, Cameron Hunt 02 WORLD 06 15 9781950192731 03 9781950192731 34 06 10.1080/09687599727317 34 06 10.1057/pmed.2012.15 34 06 10.1057/pmed.2009.4 34 06 10.1371/journal.pone.0143866 34 06 10.1080/09687590802177056 34 06 10.1002/jhbs.1032 34 06 10.1017/mdh.2014.28 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/22299 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/22299/0276.1.00.pdf?sequence=1&isAllowed=y 20 08 20200326 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36772 20 08 20200326 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv11hptcd 20 08 20200326 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/630 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c2a8f28c-dab7-4368-ab7b-eac06c22cd1c/download 20 08 20200326 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Medieval_Disability_Sourcebook/1gSVEAAAQBAJ 20 08 20200326 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/26d4676f-258c-4559-94d5-90bb4535070e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/26d4676f-258c-4559-94d5-90bb4535070e/26d4676f-258c-4559-94d5-90bb4535070e.pdf 20 08 20200326 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848171 29 ZENODO: download the title https://zenodo.org/records/19848171/files/26d4676f-258c-4559-94d5-90bb4535070e_book.pdf 20 08 20200326 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/medieval-disability-sourcebook/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0276.1.00.pdf 20 08 20200326 01 urn:uuid:66cd984e-08bf-4b35-be28-40a74270c227 03 01 01 thoth-work-id urn:uuid:2d522a5b-ecca-402f-8188-52c6100be235 01 thoth-publication-id urn:uuid:66cd984e-08bf-4b35-be28-40a74270c227 15 9780692352465 03 9780692352465 06 10.21983/P3.0088.1.00 01 internal-reference 0088 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Medieval Hackers 1 A01 Kathleen E. Kennedy Kathleen E. Kennedy 40 04p491231 Pennsylvania State University 01 eng 00 180 03 B2 History 93 JBCT1 12 JFD 10 SOC052000 93 3KL 10 HIS037010 B2 Media+Technology B2 Premodern 20 medieval history; information commons; hacktivism; media archeology; intellectual property; media studies; Renaissance history 01 06 02 00 03 00 Medieval Hackers calls attention to the use of certain vocabulary terms in the Middle Ages and today: commonness, openness, and freedom. Today we associate this language with computer hackers, some of whom believe that information, from literature to the code that makes up computer programs, should be much more accessible to the general public than it is. In the medieval past these same terms were used by translators of censored texts, including the bible. Only at times in history when texts of enormous cultural importance were kept out of circulation, including our own time, does this vocabulary emerge. Using sources from Anonymous’s Fawkes mask to William Tyndale’s Bible prefaces, Medieval Hackers demonstrates why we should watch for this language when it turns up in our media today. This is important work in media archaeology, for as Kennedy writes in this book, the “effluorescence of intellectual piracy” in our current moment of political and technological revolutions “cannot help but draw us to look back and see that the enforcement of intellectual property in the face of traditional information culture has occurred before….We have seen that despite the radically different stakes involved, in the late Middle Ages, law texts traced the same trajectory as religious texts. In the end, perhaps religious texts serve as cultural bellwethers for the health of the information commons in all areas. As unlikely as it might seem, we might consider seriously the import of an animatronic [John] Wyclif, gesturing us to follow him on a (potentially doomed) quest to preserve the information commons. 30 00 Medieval Hackers calls attention to the use of certain vocabulary terms in the Middle Ages and today: commonness, openness, and freedom. Today we associate this language with computer hackers, some of whom believe that information, from literature to the code that makes up computer programs, should be much more accessible to the general public than it is. In the medieval past these same terms were used by translators of censored texts, including the bible. Only at times in history when texts of enormous cultural importance were kept out of circulation, including our own time, does this vocabulary emerge. Using sources from Anonymous’s Fawkes mask to William Tyndale’s Bible prefaces, Medieval Hackers demonstrates why we should watch for this language when it turns up in our media today. This is important work in media archaeology, for as Kennedy writes in this book, the “effluorescence of intellectual piracy” in our current moment of political and technological revolutions “cannot help but draw us to look back and see that the enforcement of intellectual property in the face of traditional information culture has occurred before….We have seen that despite the radically different stakes involved, in the late Middle Ages, law texts traced the same trajectory as religious texts. In the end, perhaps religious texts serve as cultural bellwethers for the health of the information commons in all areas. As unlikely as it might seem, we might consider seriously the import of an animatronic [John] Wyclif, gesturing us to follow him on a (potentially doomed) quest to preserve the information commons. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0088.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/medieval-hackers/ Brooklyn, NY 04 01 20150116 Kennedy, Kathleen E. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692352465 20 08 20150116 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/medieval-hackers 20 08 20150116 02 23.00 USD WORLD urn:uuid:ebb2a8c7-2f39-49ab-90f2-de4c129da0cf 03 01 01 thoth-work-id urn:uuid:2d522a5b-ecca-402f-8188-52c6100be235 01 thoth-publication-id urn:uuid:ebb2a8c7-2f39-49ab-90f2-de4c129da0cf 06 10.21983/P3.0088.1.00 01 internal-reference 0088 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Medieval Hackers 1 A01 Kathleen E. Kennedy Kathleen E. Kennedy 40 04p491231 Pennsylvania State University 01 eng 00 180 03 B2 History 93 JBCT1 12 JFD 10 SOC052000 93 3KL 10 HIS037010 B2 Media+Technology B2 Premodern 20 medieval history; information commons; hacktivism; media archeology; intellectual property; media studies; Renaissance history 01 06 02 00 03 00 Medieval Hackers calls attention to the use of certain vocabulary terms in the Middle Ages and today: commonness, openness, and freedom. Today we associate this language with computer hackers, some of whom believe that information, from literature to the code that makes up computer programs, should be much more accessible to the general public than it is. In the medieval past these same terms were used by translators of censored texts, including the bible. Only at times in history when texts of enormous cultural importance were kept out of circulation, including our own time, does this vocabulary emerge. Using sources from Anonymous’s Fawkes mask to William Tyndale’s Bible prefaces, Medieval Hackers demonstrates why we should watch for this language when it turns up in our media today. This is important work in media archaeology, for as Kennedy writes in this book, the “effluorescence of intellectual piracy” in our current moment of political and technological revolutions “cannot help but draw us to look back and see that the enforcement of intellectual property in the face of traditional information culture has occurred before….We have seen that despite the radically different stakes involved, in the late Middle Ages, law texts traced the same trajectory as religious texts. In the end, perhaps religious texts serve as cultural bellwethers for the health of the information commons in all areas. As unlikely as it might seem, we might consider seriously the import of an animatronic [John] Wyclif, gesturing us to follow him on a (potentially doomed) quest to preserve the information commons. 30 00 Medieval Hackers calls attention to the use of certain vocabulary terms in the Middle Ages and today: commonness, openness, and freedom. Today we associate this language with computer hackers, some of whom believe that information, from literature to the code that makes up computer programs, should be much more accessible to the general public than it is. In the medieval past these same terms were used by translators of censored texts, including the bible. Only at times in history when texts of enormous cultural importance were kept out of circulation, including our own time, does this vocabulary emerge. Using sources from Anonymous’s Fawkes mask to William Tyndale’s Bible prefaces, Medieval Hackers demonstrates why we should watch for this language when it turns up in our media today. This is important work in media archaeology, for as Kennedy writes in this book, the “effluorescence of intellectual piracy” in our current moment of political and technological revolutions “cannot help but draw us to look back and see that the enforcement of intellectual property in the face of traditional information culture has occurred before….We have seen that despite the radically different stakes involved, in the late Middle Ages, law texts traced the same trajectory as religious texts. In the end, perhaps religious texts serve as cultural bellwethers for the health of the information commons in all areas. As unlikely as it might seem, we might consider seriously the import of an animatronic [John] Wyclif, gesturing us to follow him on a (potentially doomed) quest to preserve the information commons. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0088.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/medieval-hackers/ Brooklyn, NY 04 01 20150116 Kennedy, Kathleen E. 02 WORLD 06 15 9780692352465 03 9780692352465 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76479 20 08 20150116 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25533 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25533/1004562.pdf?sequence=1&isAllowed=y 20 08 20150116 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38536 20 08 20150116 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353911 20 08 20150116 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/473 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9115d734-fc76-436a-ad02-57b856f50804/download 20 08 20150116 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Medieval_Hackers/BgSVEAAAQBAJ 20 08 20150116 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2d522a5b-ecca-402f-8188-52c6100be235 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2d522a5b-ecca-402f-8188-52c6100be235/2d522a5b-ecca-402f-8188-52c6100be235.pdf 20 08 20150116 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846138 29 ZENODO: download the title https://zenodo.org/records/19846138/files/2d522a5b-ecca-402f-8188-52c6100be235_book.pdf 20 08 20150116 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/medieval-hackers/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0088.1.00.pdf 20 08 20150116 01 urn:uuid:6c8953f7-7301-4ef1-9c9c-6a70552a0356 03 01 01 thoth-work-id urn:uuid:5fe37152-6263-4293-ac3d-9799585563a6 01 thoth-publication-id urn:uuid:6c8953f7-7301-4ef1-9c9c-6a70552a0356 15 9780615808628 03 9780615808628 06 10.21983/P3.0028.1.00 01 internal-reference 0028 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Memoir American 1 A01 Benjamin Hollander Benjamin Hollander 40 00d18mr25 Chabot College 01 eng 00 70 03 10 BIO026000 12 DCF 93 DNL B2 Languages+Translations 93 DCF B2 Literary Studies 20 poetry; Israel; France; translation; memoir 01 06 02 00 03 00 In the dead letter office, you will find a Memoir American. The texts which comprise it — forms of essay, talk, dialogue — at one time saw themselves as individualists who went somewhere (to small press magazines) on their own. Now they are here, collected with the chance of going nowhere together. As it should be: since they represent the fate of language and translation in the memory of aliens living inside America — like a family going nowhere together, but at home.The philosopher Jacques Derrida and his family are part of this family in the dead letter office, and curiously they are named going nowhere together at home. Along the way, so are the poets Charles Reznikoff and William Carlos Williams and Emmanuel Hocquard and Juliette Valery and Charles Olson, as well as Horace’s Odes in translation.You will find in this Memoir what it means for an alien to search for his family in a book outside the time of its writing. You will find him discovering that translation is a personal story and that poetry might not have a home without it. You will find him wondering: whose voices are these which we hear around us as we write, as Babel turns to rumor through the fact of translation, wherein a book is being made and remade from American to French and back again? You will find him through translation like a Being in the Poetry of the Extraterritorial, an un-owned territory which is neither French nor American but is negotiated by the rumor of a poetry which emerges from both, a future condition (État) which seeks the name it could be but is not. 30 00 In the dead letter office, you will find a Memoir American. The texts which comprise it — forms of essay, talk, dialogue — at one time saw themselves as individualists who went somewhere (to small press magazines) on their own. Now they are here, collected with the chance of going nowhere together. As it should be: since they represent the fate of language and translation in the memory of aliens living inside America — like a family going nowhere together, but at home.The philosopher Jacques Derrida and his family are part of this family in the dead letter office, and curiously they are named going nowhere together at home. Along the way, so are the poets Charles Reznikoff and William Carlos Williams and Emmanuel Hocquard and Juliette Valery and Charles Olson, as well as Horace’s Odes in translation.You will find in this Memoir what it means for an alien to search for his family in a book outside the time of its writing. You will find him discovering that translation is a personal story and that poetry might not have a home without it. You will find him wondering: whose voices are these which we hear around us as we write, as Babel turns to rumor through the fact of translation, wherein a book is being made and remade from American to French and back again? You will find him through translation like a Being in the Poetry of the Extraterritorial, an un-owned territory which is neither French nor American but is negotiated by the rumor of a poetry which emerges from both, a future condition (État) which seeks the name it could be but is not. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0028.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/memoir-american/ Brooklyn, NY 04 01 20130428 Hollander, Benjamin 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/061580862X 20 08 20130428 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/memoir-american 20 08 20130428 02 21.00 USD WORLD urn:uuid:52d67255-ebbb-4caa-8fbb-e5d0d35c0cf5 03 01 01 thoth-work-id urn:uuid:5fe37152-6263-4293-ac3d-9799585563a6 01 thoth-publication-id urn:uuid:52d67255-ebbb-4caa-8fbb-e5d0d35c0cf5 06 10.21983/P3.0028.1.00 01 internal-reference 0028 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Memoir American 1 A01 Benjamin Hollander Benjamin Hollander 40 00d18mr25 Chabot College 01 eng 00 70 03 10 BIO026000 12 DCF 93 DNL B2 Languages+Translations 93 DCF B2 Literary Studies 20 poetry; Israel; France; translation; memoir 01 06 02 00 03 00 In the dead letter office, you will find a Memoir American. The texts which comprise it — forms of essay, talk, dialogue — at one time saw themselves as individualists who went somewhere (to small press magazines) on their own. Now they are here, collected with the chance of going nowhere together. As it should be: since they represent the fate of language and translation in the memory of aliens living inside America — like a family going nowhere together, but at home.The philosopher Jacques Derrida and his family are part of this family in the dead letter office, and curiously they are named going nowhere together at home. Along the way, so are the poets Charles Reznikoff and William Carlos Williams and Emmanuel Hocquard and Juliette Valery and Charles Olson, as well as Horace’s Odes in translation.You will find in this Memoir what it means for an alien to search for his family in a book outside the time of its writing. You will find him discovering that translation is a personal story and that poetry might not have a home without it. You will find him wondering: whose voices are these which we hear around us as we write, as Babel turns to rumor through the fact of translation, wherein a book is being made and remade from American to French and back again? You will find him through translation like a Being in the Poetry of the Extraterritorial, an un-owned territory which is neither French nor American but is negotiated by the rumor of a poetry which emerges from both, a future condition (État) which seeks the name it could be but is not. 30 00 In the dead letter office, you will find a Memoir American. The texts which comprise it — forms of essay, talk, dialogue — at one time saw themselves as individualists who went somewhere (to small press magazines) on their own. Now they are here, collected with the chance of going nowhere together. As it should be: since they represent the fate of language and translation in the memory of aliens living inside America — like a family going nowhere together, but at home.The philosopher Jacques Derrida and his family are part of this family in the dead letter office, and curiously they are named going nowhere together at home. Along the way, so are the poets Charles Reznikoff and William Carlos Williams and Emmanuel Hocquard and Juliette Valery and Charles Olson, as well as Horace’s Odes in translation.You will find in this Memoir what it means for an alien to search for his family in a book outside the time of its writing. You will find him discovering that translation is a personal story and that poetry might not have a home without it. You will find him wondering: whose voices are these which we hear around us as we write, as Babel turns to rumor through the fact of translation, wherein a book is being made and remade from American to French and back again? You will find him through translation like a Being in the Poetry of the Extraterritorial, an un-owned territory which is neither French nor American but is negotiated by the rumor of a poetry which emerges from both, a future condition (État) which seeks the name it could be but is not. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0028.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/memoir-american/ Brooklyn, NY 04 01 20130428 Hollander, Benjamin 02 WORLD 06 15 9780615808628 03 9780615808628 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25588 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25588/1004507.pdf?sequence=1&isAllowed=y 20 08 20130428 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27208 20 08 20130428 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353986 20 08 20130428 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/407 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8861589b-2816-4b92-9bde-c4abe6e0cffd/download 20 08 20130428 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5fe37152-6263-4293-ac3d-9799585563a6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5fe37152-6263-4293-ac3d-9799585563a6/5fe37152-6263-4293-ac3d-9799585563a6.pdf 20 08 20130428 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845704 29 ZENODO: download the title https://zenodo.org/records/19845704/files/5fe37152-6263-4293-ac3d-9799585563a6_book.pdf 20 08 20130428 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/memoir-american/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0028.1.00.pdf 20 08 20130428 01 urn:uuid:6c7f8371-4219-4e71-926e-b45cd361db05 03 01 01 thoth-work-id urn:uuid:ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b 01 thoth-publication-id urn:uuid:6c7f8371-4219-4e71-926e-b45cd361db05 15 9789491914041 03 9789491914041 06 10.21983/P3.0224.0.00 01 internal-reference 0224 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Men in Aïda 1 A01 David J. Melnick David J. Melnick 2 B06 Sean Gurd Sean Gurd 01 eng 01 grc 00 204 03 12 DCF B2 Fabulations 93 FYT 10 POE005010 93 DBSG B2 Languages+Translations 10 POE021000 93 1QBAG 20 Homer; experimental translation; poetry; Iliad 01 06 02 00 03 00 David J. Melnick published the first book of Men in Aida, a homophonic, but also homoeroticized translation of Homer’s epic Iliad, in December 1983 in an edition of 450 at Tuumba Press. After appearing in many guises and fragments, Book Two was published online in 2002 as part of the Eclipse Archive. Book Three appears for the first time in the present publication, which brings together all three books of one of the most important American avant-garde poems. 30 00 David J. Melnick published the first book of Men in Aida, a homophonic, but also homoeroticized translation of Homer’s epic Iliad, in December 1983 in an edition of 450 at Tuumba Press. After appearing in many guises and fragments, Book Two was published online in 2002 as part of the Eclipse Archive. Book Three appears for the first time in the present publication, which brings together all three books of one of the most important American avant-garde poems. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0224.0.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/men-in-aida/ The Hague/Tirana 04 01 20141231 Melnick, David J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2R8o6aX 20 08 20141231 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/men-in-aada 20 08 20141231 02 24.00 USD WORLD urn:uuid:7406dbba-0d54-4dd8-ae23-b726de550bd0 03 01 01 thoth-work-id urn:uuid:ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b 01 thoth-publication-id urn:uuid:7406dbba-0d54-4dd8-ae23-b726de550bd0 06 10.21983/P3.0224.0.00 01 internal-reference 0224 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Men in Aïda 1 A01 David J. Melnick David J. Melnick 2 B06 Sean Gurd Sean Gurd 01 eng 01 grc 00 204 03 12 DCF B2 Fabulations 93 FYT 10 POE005010 93 DBSG B2 Languages+Translations 10 POE021000 93 1QBAG 20 Homer; experimental translation; poetry; Iliad 01 06 02 00 03 00 David J. Melnick published the first book of Men in Aida, a homophonic, but also homoeroticized translation of Homer’s epic Iliad, in December 1983 in an edition of 450 at Tuumba Press. After appearing in many guises and fragments, Book Two was published online in 2002 as part of the Eclipse Archive. Book Three appears for the first time in the present publication, which brings together all three books of one of the most important American avant-garde poems. 30 00 David J. Melnick published the first book of Men in Aida, a homophonic, but also homoeroticized translation of Homer’s epic Iliad, in December 1983 in an edition of 450 at Tuumba Press. After appearing in many guises and fragments, Book Two was published online in 2002 as part of the Eclipse Archive. Book Three appears for the first time in the present publication, which brings together all three books of one of the most important American avant-garde poems. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0224.0.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/men-in-aida/ The Hague/Tirana 04 01 20141231 Melnick, David J. 02 WORLD 06 15 9789491914041 03 9789491914041 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25406 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25406/1004689.pdf?sequence=1&isAllowed=y 20 08 20141231 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31748 20 08 20141231 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353895 20 08 20141231 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/471 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/eacd2032-cc0d-423e-8d99-1da7c4b07426/download 20 08 20141231 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b/ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b.pdf 20 08 20141231 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846132 29 ZENODO: download the title https://zenodo.org/records/19846132/files/ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b_book.pdf 20 08 20141231 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/men-in-aida/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0224.0.00.pdf 20 08 20141231 01 urn:uuid:265b868d-c4a1-437c-9ba6-7351cd01bad4 03 01 01 thoth-work-id urn:uuid:e7a5ceb2-b1ad-4381-8fb2-2b3a409da406 01 thoth-publication-id urn:uuid:265b868d-c4a1-437c-9ba6-7351cd01bad4 15 9781950192250 03 9781950192250 06 10.21983/P3.0253.1.00 13 2019940254 01 internal-reference 0253 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Metagestures 1 A01 Carla Nappi Carla Nappi 40 01an3r305 University of Pittsburgh 2 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 232 03 B2 Cultural Studies+Critical Theory 10 FIC003000 93 JBCC 12 JFC 93 FD B2 Thought Experiments 20 fiction. chirology; Vliém Flusser; embodiment; cultural theory; reading; experimental writing 01 06 02 00 03 00 What kinds of knowledge and understandings of the world can be generated – and shared – when we use para-academic techniques and sensibilities to decode or respond to relatively orthodox intellectual objects? And what worlds might be possible if we practiced scholarly work from a place of collaboration and pleasure, as joyful fellow explorers?In Metagestures, presented in a playful tête-bêche format, historian Carla Nappi and cultural theorist Dominic Pettman explore the use of fiction as a tool to write and think with works of theory. Taking Vilém Flusser’s Gestures as its point of inspiration and departure, Metagestures collects 16 pairs of short stories in which Pettman and Nappi make fictional worlds that animate and enliven each of the major gestures in Flusser’s book. Nappi and Pettman focus on Flusser’s mediations on the gestures of filming, planting, loving, smoking a pipe, turning a mask around, and much more, with their own creative explorations of each theme, in a gathering of short fictions that test, expand, and further the social scientific claims of the original text with new scenarios and occasions. Here, Flusser’s reflections on physical gesture serve as an inspiration for new ways of conceiving and conducting theory, and for thoughtful creative scholarly imagining, with and alongside one another. 30 00 What kinds of knowledge and understandings of the world can be generated – and shared – when we use para-academic techniques and sensibilities to decode or respond to relatively orthodox intellectual objects? And what worlds might be possible if we practiced scholarly work from a place of collaboration and pleasure, as joyful fellow explorers?In Metagestures, presented in a playful tête-bêche format, historian Carla Nappi and cultural theorist Dominic Pettman explore the use of fiction as a tool to write and think with works of theory. Taking Vilém Flusser’s Gestures as its point of inspiration and departure, Metagestures collects 16 pairs of short stories in which Pettman and Nappi make fictional worlds that animate and enliven each of the major gestures in Flusser’s book. Nappi and Pettman focus on Flusser’s mediations on the gestures of filming, planting, loving, smoking a pipe, turning a mask around, and much more, with their own creative explorations of each theme, in a gathering of short fictions that test, expand, and further the social scientific claims of the original text with new scenarios and occasions. Here, Flusser’s reflections on physical gesture serve as an inspiration for new ways of conceiving and conducting theory, and for thoughtful creative scholarly imagining, with and alongside one another. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0253.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/metagestures/ Earth, Milky Way 04 01 20190531 Nappi, Carla Pettman, Dominic 02 WORLD 06 15 9781950192267 03 9781950192267 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192253 20 08 20190531 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/metagestures 20 08 20190531 02 24.00 USD WORLD urn:uuid:9f48a54d-860a-4777-8f0b-250016d90f2e 03 01 01 thoth-work-id urn:uuid:e7a5ceb2-b1ad-4381-8fb2-2b3a409da406 01 thoth-publication-id urn:uuid:9f48a54d-860a-4777-8f0b-250016d90f2e 15 9781950192267 03 9781950192267 06 10.21983/P3.0253.1.00 13 2019940254 01 internal-reference 0253 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Metagestures 1 A01 Carla Nappi Carla Nappi 40 01an3r305 University of Pittsburgh 2 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 232 03 B2 Cultural Studies+Critical Theory 10 FIC003000 93 JBCC 12 JFC 93 FD B2 Thought Experiments 20 fiction. chirology; Vliém Flusser; embodiment; cultural theory; reading; experimental writing 01 06 02 00 03 00 What kinds of knowledge and understandings of the world can be generated – and shared – when we use para-academic techniques and sensibilities to decode or respond to relatively orthodox intellectual objects? And what worlds might be possible if we practiced scholarly work from a place of collaboration and pleasure, as joyful fellow explorers?In Metagestures, presented in a playful tête-bêche format, historian Carla Nappi and cultural theorist Dominic Pettman explore the use of fiction as a tool to write and think with works of theory. Taking Vilém Flusser’s Gestures as its point of inspiration and departure, Metagestures collects 16 pairs of short stories in which Pettman and Nappi make fictional worlds that animate and enliven each of the major gestures in Flusser’s book. Nappi and Pettman focus on Flusser’s mediations on the gestures of filming, planting, loving, smoking a pipe, turning a mask around, and much more, with their own creative explorations of each theme, in a gathering of short fictions that test, expand, and further the social scientific claims of the original text with new scenarios and occasions. Here, Flusser’s reflections on physical gesture serve as an inspiration for new ways of conceiving and conducting theory, and for thoughtful creative scholarly imagining, with and alongside one another. 30 00 What kinds of knowledge and understandings of the world can be generated – and shared – when we use para-academic techniques and sensibilities to decode or respond to relatively orthodox intellectual objects? And what worlds might be possible if we practiced scholarly work from a place of collaboration and pleasure, as joyful fellow explorers?In Metagestures, presented in a playful tête-bêche format, historian Carla Nappi and cultural theorist Dominic Pettman explore the use of fiction as a tool to write and think with works of theory. Taking Vilém Flusser’s Gestures as its point of inspiration and departure, Metagestures collects 16 pairs of short stories in which Pettman and Nappi make fictional worlds that animate and enliven each of the major gestures in Flusser’s book. Nappi and Pettman focus on Flusser’s mediations on the gestures of filming, planting, loving, smoking a pipe, turning a mask around, and much more, with their own creative explorations of each theme, in a gathering of short fictions that test, expand, and further the social scientific claims of the original text with new scenarios and occasions. Here, Flusser’s reflections on physical gesture serve as an inspiration for new ways of conceiving and conducting theory, and for thoughtful creative scholarly imagining, with and alongside one another. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0253.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/metagestures/ Earth, Milky Way 04 01 20190531 Nappi, Carla Pettman, Dominic 02 WORLD 06 15 9781950192250 03 9781950192250 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25115 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25115/0253.1.00.pdf?sequence=1&isAllowed=y 20 08 20190531 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29155 20 08 20190531 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353875 20 08 20190531 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/610 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5f1bac00-591f-4c0b-9536-93d6f66c7758/download 20 08 20190531 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Metagestures/rASVEAAAQBAJ 20 08 20190531 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e7a5ceb2-b1ad-4381-8fb2-2b3a409da406 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e7a5ceb2-b1ad-4381-8fb2-2b3a409da406/e7a5ceb2-b1ad-4381-8fb2-2b3a409da406.pdf 20 08 20190531 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847776 29 ZENODO: download the title https://zenodo.org/records/19847776/files/e7a5ceb2-b1ad-4381-8fb2-2b3a409da406_book.pdf 20 08 20190531 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/metagestures/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0253.1.00.pdf 20 08 20190531 01 urn:uuid:fbb9941a-b56a-4698-90f5-ab08fa8c5435 03 01 01 thoth-work-id urn:uuid:ebf014ee-502d-4ed9-ad1e-90c3fcf20435 01 thoth-publication-id urn:uuid:fbb9941a-b56a-4698-90f5-ab08fa8c5435 15 9781685711702 03 9781685711702 06 10.53288/0396.1.00 13 2023943269 01 internal-reference 0396 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Microbium The Neglected Lives of Micro-matter 1 B01 21 0000000322508879 Joela Jacobs Joela Jacobs Assistant Professor of German Studies 40 03m2x1q45 University of Arizona Joela Jacobs is Assistant Professor of German Studies at the University of Arizona and founder of the Literary and Cultural Plant Studies Network. Her research focuses on nineteenth- to twenty-first-century German literature and its intersections with the environmental humanities, specifically plants, animals, and environmentalist culture, as well as Jewish studies, the history of sexuality, and the history of science. She has published on monstrosity, multilingualism, literary censorship, biopolitics, animal epistemology, zoopoetics, phytopoetics, cultural environmentalism, and contemporary German Jewish identity. 2 B01 Agnes Malinowska Agnes Malinowska Assistant Instructional Professor in the MA Program in the Humanities and English 40 024mw5h28 University of Chicago Agnes Malinowska is Assistant Instructional Professor in the MA Program in the Humanities and English at the University of Chicago. Her teaching and research focuses on American modernism and modernity, nonhuman studies, the history of science, and gender and sexuality studies. Agnes’s recent writing appears in the journal Modernism/modernity. 01 eng 00 148 03 B2 Biosphere 10 NAT024000 12 PSG 93 PSG B2 Cultural Studies+Critical Theory 93 JPFA 12 RNA 10 SCI045000 93 RNA 20 animalcules; bacteria; microbiome; microbiology; viruses; fungi; lichen; protozoa; pollen; coral 01 06 02 00 03 00 Microbium: The Neglected Lives of Micro-matter tells the story of small matter such as bacteria, coral, fungi, lichen, pollen, protozoa, and viruses. With short entries that are organized like a herbarium or similar specimen collection, the book is a “microbium”—both the term for a single microbe and a play on “microbiome.”As such, Microbium makes visible the often overseen but huge impact of miniscule matter on human culture and the environment. Each entry is a “microscopic reading” that describes the natural history and scientific discovery of a particular form of micro-matter, while also telling a story about the cultural and artistic roles it has played over the centuries. From the poetry of Emily Dickinson to the “coralness” of coral reefs to contemporary literature about the COVID-19 pandemic, this book places micro-matter under a cultural microscope and translates the significance of the invisible interspecies social realm to the human scale, magnifying the many ways in which micro-matter matters. Ultimately, Microbium shows the potential of micro-matter to teach us how to revitalize our political and cultural systems, habits of thought, and aesthetic or representational modes. 30 00 Microbium: The Neglected Lives of Micro-matter tells the story of small matter such as bacteria, coral, fungi, lichen, pollen, protozoa, and viruses. With short entries that are organized like a herbarium or similar specimen collection, the book is a “microbium”—both the term for a single microbe and a play on “microbiome.”As such, Microbium makes visible the often overseen but huge impact of miniscule matter on human culture and the environment. Each entry is a “microscopic reading” that describes the natural history and scientific discovery of a particular form of micro-matter, while also telling a story about the cultural and artistic roles it has played over the centuries. From the poetry of Emily Dickinson to the “coralness” of coral reefs to contemporary literature about the COVID-19 pandemic, this book places micro-matter under a cultural microscope and translates the significance of the invisible interspecies social realm to the human scale, magnifying the many ways in which micro-matter matters. Ultimately, Microbium shows the potential of micro-matter to teach us how to revitalize our political and cultural systems, habits of thought, and aesthetic or representational modes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0396.1.00_frontcover.jpg 1 03 06 10.53288/0396.1.01 1 9 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000322508879 Joela Jacobs Joela Jacobs 2 B01 Agnes Malinowska Agnes Malinowska 01 eng 20 00 Open Access 2 03 06 10.53288/0396.1.02 13 16 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000322508879 Joela Jacobs Joela Jacobs Assistant Professor of German Studies 40 03m2x1q45 University of Arizona Joela Jacobs is Assistant Professor of German Studies at the University of Arizona and founder of the Literary and Cultural Plant Studies Network (plants.arizona.edu). Her research focuses on nineteenth- to twenty-first-century German literature and its intersections with the environmental humanities, specifically plants, animals, and environmentalist culture, as well as Jewish studies, the history of sexuality, and the history of science. She has published on monstrosity, multilingualism, literary censorship, biopolitics, animal epistemology, zoopoetics, phytopoetics, cultural environmentalism, and contemporary German Jewish identity. 2 A01 Agnes Malinowska Agnes Malinowska Assistant Instructional Professor in the MA Program in the Humanities and in English 40 024mw5h28 University of Chicago Agnes Malinowska is Assistant Instructional Professor in the MA Program in the Humanities and in English at the University of Chicago. Her teaching and research focuses on American modernism and modernity, nonhuman studies, the history of science, and gender and sexuality studies. Agnes’s recent writing appears in the journal Modernism/modernity. 01 eng 20 00 Open Access 3 03 06 10.53288/0396.1.03 17 30 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Animalcules 1 A01 Ada Smailbegović Ada Smailbegović Assistant Professor of English 40 05gq02987 Brown University Ada Smailbegović is Assistant Professor of English at Brown University. She is the author of Poetics of Liveliness: Molecules, Fibers, Tissues, Clouds and a cofounder of the digital publishing platform the Organism for Poetic Research. Her published essays and poetic work have appeared in a varieaty of venues, including differences, Comparative Literature, Triple Canopy and angelaki. 01 eng 03 00 This entry explores the hidden worlds of animalcules or micro-animals, such as tardigrades andmites. Such complex worlds are often inaccessible to the human sensorium due to their scale,except through the use of instruments like microscopes. With this in mind, the entry onmicro-animals draws on the history of early microscopy by examining the writings and drawingsof figures such as the seventeenth-century Dutch scientist Antonie van Leeuwenhoek, who wasthe first to observe animalcules, and the seventeenth-century English scientist Robert Hooke, who made extensive microscopic studies of matter in his book Micrographia (1665). This raises questions about the role of descriptive language in amplifying the miniature forms of micro-animals and making them discernable to humans, particularly through the use of metaphor, which often creates comparisons between these tiny creatures and more familiar macroscopic organisms and even inanimate entities that are perceptible at the human scale. In this way, metaphor acts as a kind of figurative microscope, bringing animalcules into view of human observers. At the same time, this entry attempts to look beyond the anthropocentric scales perceptible to humans and to consider the realm of “tiny perceptions,” which render the worlds of animalcules perceptible to these creatures. 30 00 This entry explores the hidden worlds of animalcules or micro-animals, such as tardigrades andmites. Such complex worlds are often inaccessible to the human sensorium due to their scale,except through the use of instruments like microscopes. With this in mind, the entry onmicro-animals draws on the history of early microscopy by examining the writings and drawingsof figures such as the seventeenth-century Dutch scientist Antonie van Leeuwenhoek, who wasthe first to observe animalcules, and the seventeenth-century English scientist Robert Hooke, who made extensive microscopic studies of matter in his book Micrographia (1665). This raises questions about the role of descriptive language in amplifying the miniature forms of micro-animals and making them discernable to humans, particularly through the use of metaphor, which often creates comparisons between these tiny creatures and more familiar macroscopic organisms and even inanimate entities that are perceptible at the human scale. In this way, metaphor acts as a kind of figurative microscope, bringing animalcules into view of human observers. At the same time, this entry attempts to look beyond the anthropocentric scales perceptible to humans and to consider the realm of “tiny perceptions,” which render the worlds of animalcules perceptible to these creatures. 20 00 Open Access Ada Smailbegović 4 03 06 10.53288/0396.1.04 31 45 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bacteria 1 A01 Agnes Malinowska Agnes Malinowska Assistant Instructional Professor in the MA Program in the Humanities and in English 40 024mw5h28 University of Chicago Agnes Malinowska is Assistant Instructional Professor in the MA Program in the Humanities and in English at the University of Chicago. Her teaching and research focuses on American modernism and modernity, nonhuman studies, the history of science, and gender and sexuality studies. Agnes’s recent writing appears in the journal Modernism/modernity. 01 eng 03 00 Bacteria have played a truly outsized role in the evolutionary story of life on earth, and they continue to be crucial to sustaining organisms and ecosystems. Until recently, however, most cultural and scientific interest in bacteria has centered on defeating the nefarious “germ.” This entry focuses in particular on how public health efforts to reign in the threat of bacterial disease in the US around 1900 aligned with the aspirations of a hegemonic Anglo-American culture to control and suppress marginalized groups like immigrants and racial others, easy scapegoats for disease. At the same time, British settler colonialism and, eventually, US government policy catalyzed devastating epidemics amongst Indigenous populations from the colonial period into the twentieth century, such as the tuberculosis crisis in Native health. While bacterial disease has been largely divisive in the US, bacteria themselves can encourage humans to think in terms of cooperation and alliance, rather than the strict enforcement of borders. Both symbiosis—bacteria’s preferred social relation—and binary fission—bacterial reproduction—suggest a radical form of sociality that permeates, ruptures, and transforms “individuals” constantly, so that the one always slips into the collective. 30 00 Bacteria have played a truly outsized role in the evolutionary story of life on earth, and they continue to be crucial to sustaining organisms and ecosystems. Until recently, however, most cultural and scientific interest in bacteria has centered on defeating the nefarious “germ.” This entry focuses in particular on how public health efforts to reign in the threat of bacterial disease in the US around 1900 aligned with the aspirations of a hegemonic Anglo-American culture to control and suppress marginalized groups like immigrants and racial others, easy scapegoats for disease. At the same time, British settler colonialism and, eventually, US government policy catalyzed devastating epidemics amongst Indigenous populations from the colonial period into the twentieth century, such as the tuberculosis crisis in Native health. While bacterial disease has been largely divisive in the US, bacteria themselves can encourage humans to think in terms of cooperation and alliance, rather than the strict enforcement of borders. Both symbiosis—bacteria’s preferred social relation—and binary fission—bacterial reproduction—suggest a radical form of sociality that permeates, ruptures, and transforms “individuals” constantly, so that the one always slips into the collective. 20 00 Open Access Agnes Malinowska 5 03 06 10.53288/0396.1.05 47 63 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Corals 1 A01 21 0000000170790536 Damien Bright Damien Bright Research Associate 40 01vvnmw35 Research Institute For Sustainability – Helmholtz Centre Potsdam Damien Bright is a Research Associate at the Institute for Advanced Sustainability Studies in Potsdam, Germany. He received his PhD in Anthropology from the University of Chicago in 2022. Damien's research engages critical natural history, animal studies, and the psychosocial dimensions of modernist technoscience. He is currently conducting a multi-sited ethnographic investigation of the technopolitical dimensions of ocean engineering as part of the EU-funded OceanNETs consortium. Whither the Reef?, his first book manuscript, is in preparation and builds on his dissertation research into efforts to salvage the Great Barrier Reef from its predicted demise. The book explains the practical and moral quandaries that the sciences of marine life encounter, along with their supporters and detractors, in the push to design large scale and largely experimental “interventions” in the name of planetary care. Damien’s writing has appeared in Techniques & Culture and Diseña. 01 eng 03 00 Corals are tiny marine animals who combine to build monumental reefscapes, which host multitudes and sustain the web of ocean life. Today, however, corals are crisis figures. Their sensitivity to ocean warming and acidification augurs a near-term mass extinction. What would it take to see corals as more than just examples of environmental loss? Why have corals been a historical companion to, and even actively participated in, the very project of industrial modernity that brings earthly life undone? Although corals may have one planetary story, since people have been around, they have had many histories. This entry describes the biogeochemical properties by which corals straddle micro and macro scales to serve as living archives and earthly auguries. Through a genealogy of human-coral relations in the Western tradition, it shows how divergent understandings of nature have made use of corals as a way of explaining why the physical world is as it is and what people ought to make of it. The result is a tale of profound intimacy between human and coral history, often overlooked in calls for greater environmental awareness today. Within the micro-life of corals lies a counterintuitive proposal: as much as a generalized indifference, what presently ails human/more-than-human relations are long-lived and powerfully excessive displays of enthusiasm. 30 00 Corals are tiny marine animals who combine to build monumental reefscapes, which host multitudes and sustain the web of ocean life. Today, however, corals are crisis figures. Their sensitivity to ocean warming and acidification augurs a near-term mass extinction. What would it take to see corals as more than just examples of environmental loss? Why have corals been a historical companion to, and even actively participated in, the very project of industrial modernity that brings earthly life undone? Although corals may have one planetary story, since people have been around, they have had many histories. This entry describes the biogeochemical properties by which corals straddle micro and macro scales to serve as living archives and earthly auguries. Through a genealogy of human-coral relations in the Western tradition, it shows how divergent understandings of nature have made use of corals as a way of explaining why the physical world is as it is and what people ought to make of it. The result is a tale of profound intimacy between human and coral history, often overlooked in calls for greater environmental awareness today. Within the micro-life of corals lies a counterintuitive proposal: as much as a generalized indifference, what presently ails human/more-than-human relations are long-lived and powerfully excessive displays of enthusiasm. 20 00 Open Access Damien Bright 6 03 06 10.53288/0396.1.06 65 80 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fungi 1 A01 Karen Leona Anderson Karen Leona Anderson Associate Professor of English 40 01y2d1w05 St. Mary's College of Maryland Karen Leona Anderson is Associate Professor of English at St. Mary’s College of Maryland. She is the author of two collections of poetry, Punish honey (Carolina Wren) and Receipt (Milkweed Editions). Her scholarly and creative work has appeared in numerous journals and anthologies including the ecolanguage reader, The Ecopoetry Anthology, and The Best American Poetry. Her most recent scholarly work is on Emily Dickinson, fungi, and scale shifting. 01 eng 03 00 Culturally, fungi in the Anglo-American context have been seen as fascinating, bewildering, frightening, and grotesque, understood as an alien organism defying taxonomy; as a useful, coveted, and occasionally poisonous food or medicine; as a sign of mysterious ruin and decay; and as a vestige of magic or otherworldliness. In their microscopic structures and manifestations, likewise, fungi have historically been represented as insidious, rebellious, menacing, or baffling, and have been more broadly constructed as a threat to human scale. Twenty-first century attitudes towards fungi, on the other hand, celebrate these scale-shifting abilities with much greater optimism as a robust response to political and environmental crises: microscopic fungi and fungal growth have been recently represented in an explosion of visual art and cultural theory. Fungi in these accounts are an adaptive and resilient form of life that can serve both as a sustainable biotechnology and as a model for multispecies thriving in the face of social and economic marginalization. This entry traces the surprisingly short arc from mycophobia to mycophilia through the lens of scale shifting, from Alice in Wonderland’s size-altering mushroom to Jae Rhim Lee’s fungal burial suit. 30 00 Culturally, fungi in the Anglo-American context have been seen as fascinating, bewildering, frightening, and grotesque, understood as an alien organism defying taxonomy; as a useful, coveted, and occasionally poisonous food or medicine; as a sign of mysterious ruin and decay; and as a vestige of magic or otherworldliness. In their microscopic structures and manifestations, likewise, fungi have historically been represented as insidious, rebellious, menacing, or baffling, and have been more broadly constructed as a threat to human scale. Twenty-first century attitudes towards fungi, on the other hand, celebrate these scale-shifting abilities with much greater optimism as a robust response to political and environmental crises: microscopic fungi and fungal growth have been recently represented in an explosion of visual art and cultural theory. Fungi in these accounts are an adaptive and resilient form of life that can serve both as a sustainable biotechnology and as a model for multispecies thriving in the face of social and economic marginalization. This entry traces the surprisingly short arc from mycophobia to mycophilia through the lens of scale shifting, from Alice in Wonderland’s size-altering mushroom to Jae Rhim Lee’s fungal burial suit. 20 00 Open Access Karen Leona Anderson 7 03 06 10.53288/0396.1.07 81 97 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lichen 1 A01 Helga G. Braunbeck Helga G. Braunbeck Professor of German Studies 40 04tj63d06 North Carolina State University As the granddaughter of two German foresters, Helga G. Braunbeck grew up close to nature. Her first garden was a mini-forest of small trees transplanted from the real forest. She moved on to study German and English literature in Tübingen/Germany, Oregon, and California and is now Professor of German Studies at NC State University in Raleigh, NC. Her two books discuss issues of authorship in GDR writer Christa Wolf, and intermediality in the work of Prague German author Libuše Moníková. After her second book, she turned her attention to the environmental humanities and became especially interested in literary and cultural plant studies. She has published about Klaus Modick’s novella Moss, lignite mining in German culture, and the impact of the Anthropocene on gardens and gardening in recent German literature. Her current projects focus on plant poetics and literary representations of arboreal imaginaries. And her current garden is filled with flowers, veggies, wildlife, and more than sixty trees. The older ones are covered in lovely moss and lichen. 01 eng 03 00 Lichen is the poster child for symbiosis, functioning as a collaboration of a fungus and algae or cyanobacteria—or sometimes all three—which enables it to survive in the climatically and nutritionally most challenging environments, such as extreme cold or heat. One of the oldest organisms in earth’s biosphere, it has developed a lifestyle that still retains its mystery but nevertheless provides a paradigm that may serve human societies well: rather than on the competition of individuals it is based on community-building. Displaying a tremendous diversity of colors and shapes, it may paint the landscape, serve as medicine or food, or be used to monitor air quality. Poets marvel at lichen’s power—it can grow into and decompose rock, attach itself to a wide variety of surfaces, and live for thousands of years. Novelists have explored lichen’s extreme longevity for the idea of extending human lifespan and its symbiotic lifestyle as a metaphor for the challenging process of individuation among twins. Today’s appreciation of networks, interconnectivity, and “being-with” may be related to the scientific discovery of symbiotic ways of life as well as an increasing societal awareness of the benefits to be gained from collaboration. 30 00 Lichen is the poster child for symbiosis, functioning as a collaboration of a fungus and algae or cyanobacteria—or sometimes all three—which enables it to survive in the climatically and nutritionally most challenging environments, such as extreme cold or heat. One of the oldest organisms in earth’s biosphere, it has developed a lifestyle that still retains its mystery but nevertheless provides a paradigm that may serve human societies well: rather than on the competition of individuals it is based on community-building. Displaying a tremendous diversity of colors and shapes, it may paint the landscape, serve as medicine or food, or be used to monitor air quality. Poets marvel at lichen’s power—it can grow into and decompose rock, attach itself to a wide variety of surfaces, and live for thousands of years. Novelists have explored lichen’s extreme longevity for the idea of extending human lifespan and its symbiotic lifestyle as a metaphor for the challenging process of individuation among twins. Today’s appreciation of networks, interconnectivity, and “being-with” may be related to the scientific discovery of symbiotic ways of life as well as an increasing societal awareness of the benefits to be gained from collaboration. 20 00 Open Access Helga G. Braunbeck 8 03 06 10.53288/0396.1.08 99 112 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pollen 1 A01 21 0000000322508879 Joela Jacobs Joela Jacobs Assistant Professor of German Studies 40 03m2x1q45 University of Arizona Joela Jacobs is Assistant Professor of German Studies at the University of Arizona and founder of the Literary and Cultural Plant Studies Network (plants.arizona.edu). Her research focuses on nineteenth- to twenty-first-century German literature and its intersections with the environmental humanities, specifically plants, animals, and environmentalist culture, as well as Jewish studies, the history of sexuality, and the history of science. She has published on monstrosity, multilingualism, literary censorship, biopolitics, animal epistemology, zoopoetics, phytopoetics, cultural environmentalism, and contemporary German Jewish identity. 01 eng 03 00 When you are inhaling pollen, your body has been penetrated by a little package of plant sperm. Pollen grains are multicellular organisms that contain male sex cells, and their job is to get this sperm to the egg to facilitate fertilization. For that, they hitch a ride on insects or trust their fate to wind, water, and any other moving means, including us. Yet most human-pollen encounters are only noticed when they result in an allergic reaction. Allergies have been on the rise, which is at least partly because pollen is too: Pollen counts have been going up in urban environments due to the tendency of city planners to plant male trees, which avoids problems with fruit falling on heads, cars, and sidewalks. Yet this also means that pollen is not absorbed by female trees and left roaming the streets to enter human noses instead. This self-made allergy problem demonstrates that we often seem to neglect what pollen is and does: As a miniscule sperm delivery mechanism, it is all about sex. Accordingly, pollen’s cultural history has predominantly been focused on attraction rather than allergic aversion, and because of that, pollen has shaped not only our understanding of plant fertility, but also human ideas about eroticism and sexuality, reproduction and desire. 30 00 When you are inhaling pollen, your body has been penetrated by a little package of plant sperm. Pollen grains are multicellular organisms that contain male sex cells, and their job is to get this sperm to the egg to facilitate fertilization. For that, they hitch a ride on insects or trust their fate to wind, water, and any other moving means, including us. Yet most human-pollen encounters are only noticed when they result in an allergic reaction. Allergies have been on the rise, which is at least partly because pollen is too: Pollen counts have been going up in urban environments due to the tendency of city planners to plant male trees, which avoids problems with fruit falling on heads, cars, and sidewalks. Yet this also means that pollen is not absorbed by female trees and left roaming the streets to enter human noses instead. This self-made allergy problem demonstrates that we often seem to neglect what pollen is and does: As a miniscule sperm delivery mechanism, it is all about sex. Accordingly, pollen’s cultural history has predominantly been focused on attraction rather than allergic aversion, and because of that, pollen has shaped not only our understanding of plant fertility, but also human ideas about eroticism and sexuality, reproduction and desire. 20 00 Open Access Joela Jacobs 9 03 06 10.53288/0396.1.09 113 128 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Protozoa 1 A01 Dani Lamorte Dani Lamorte Dani Lamorte is a Pittsburgh-based artist working in performance, video, photography, and text. He has performed and shown work at the Andy Warhol Museum (Pittsburgh), University of Arizona Museum of Art (Tucson), Human Resources (Los Angeles), Whippersnapper Gallery (Toronto), Studio Beluga (Montréal), and Mattress Factory (Pittsburgh). Dani is a contributing writer for Cleveland Review of Books and has published essays in Edge Effects, Sundog Lit, and Journal of Critical Library & Information Studies. Dani's first book of essays, Of Fakes, is under contract with the University Press of Kentucky. 01 eng 03 00 It could be in your eye or on a gallery floor. It seems like it’s under the microscope, but maybe it’s all in your head. The protozoa isn’t lurking exactly, but it’s a trick to find. This entry follows the slippery protozoa as it moves in animal bodies, along the edges of a painting, down the side of a sculpture. Georges Bataille’s writing on “formless” meets Lynda Benglis’ floor-pour paintings and Anne Truitt’s columns, leading us to ask: What other dreams will we find if we let protozoan indeterminacy undo us a little, loosen the knot of our being? 30 00 It could be in your eye or on a gallery floor. It seems like it’s under the microscope, but maybe it’s all in your head. The protozoa isn’t lurking exactly, but it’s a trick to find. This entry follows the slippery protozoa as it moves in animal bodies, along the edges of a painting, down the side of a sculpture. Georges Bataille’s writing on “formless” meets Lynda Benglis’ floor-pour paintings and Anne Truitt’s columns, leading us to ask: What other dreams will we find if we let protozoan indeterminacy undo us a little, loosen the knot of our being? 20 00 Open Access Dani Lamorte 10 03 06 10.53288/0396.1.10 129 141 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Viruses 1 A01 Raymond Malewitz Raymond Malewitz Associate Professor of English 40 00ysfqy60 Oregon State University Raymond Malewitz is Associate Professor of English at Oregon State University. He is the author of one monograph, The Practice of Misuse (Stanford University Press, 2014), and is at work on a second, tentatively entitled “Epizootic Encounters: A Cultural History of Animal Disease.” His work has appeared in journals such as Critical Inquiry, PMLA, Modern Fiction Studies, and Configurations as well as more popular venues such as The Washington Post. 01 eng 03 00 Of the many kinds of living micro-matter, viruses might seem to be the least neglected—particularly now, given the recent SARS-CoV-2 pandemic. However, many aspects of COVID-19 history illustrate not only how viruses are neglected but also how their very existence depends upon their ability to evade detection. To explain this dynamic, the entry begins with a short reading of Mona Awad’s short story “A Blue Sky Like This,” published at the end of the first wave of COVID-19. The story’s strange protagonist and her interactions with New York City residents under lockdown illustrate both the motivations for and consequences of willfully neglect of viral dangers. This reading is juxtaposed with a discussion of scientific efforts to identify and understand viruses during the twentieth century, which illustrate the analogous challenges of understanding miniscule lifeforms, whose effects, in aggregate, can stretch to enormous geographical scales. The entry concludes with a reading of Charles Yu’s short story “Systems,” which attempts to represent these scales and overcome viral neglect by radically restructuring the form, content, and characters of conventional Western narrative. 30 00 Of the many kinds of living micro-matter, viruses might seem to be the least neglected—particularly now, given the recent SARS-CoV-2 pandemic. However, many aspects of COVID-19 history illustrate not only how viruses are neglected but also how their very existence depends upon their ability to evade detection. To explain this dynamic, the entry begins with a short reading of Mona Awad’s short story “A Blue Sky Like This,” published at the end of the first wave of COVID-19. The story’s strange protagonist and her interactions with New York City residents under lockdown illustrate both the motivations for and consequences of willfully neglect of viral dangers. This reading is juxtaposed with a discussion of scientific efforts to identify and understand viruses during the twentieth century, which illustrate the analogous challenges of understanding miniscule lifeforms, whose effects, in aggregate, can stretch to enormous geographical scales. The entry concludes with a reading of Charles Yu’s short story “Systems,” which attempts to represent these scales and overcome viral neglect by radically restructuring the form, content, and characters of conventional Western narrative. 20 00 Open Access Raymond Malewitz 11 03 06 10.53288/0396.1.11 143 145 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000322508879 Joela Jacobs Joela Jacobs 2 B01 Agnes Malinowska Agnes Malinowska 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/microbium-the-neglected-lives-of-micro-matter/ Earth, Milky Way 04 01 20230907 Joela Jacobs, Agnes Malinowska 02 WORLD 06 15 9781685711719 03 9781685711719 34 06 10.1007/s11084-016-9522-1 34 06 10.1098/rstb.2014.0344 34 06 10.1111/j.1748-1716.2011.02252 34 06 10.1086/668166 34 06 10.7227/gs.16.1.2 34 06 10.20415/rhiz/034.e04 34 06 10.1353/esq.2017.0011 34 06 10.1086/355166 34 06 10.1111/lic3.12347 34 06 10.1215/10407391-1892907 34 06 10.28968/cftt.v5i2.30027 34 06 10.1215/22011919-9962926 34 06 10.1016/j.watres.2013.07.047 34 06 10.1007/s00248-018-1199-8 34 06 10.1016/j.watres.2013.09.065 34 06 10.1086/676943 34 06 10.1159/000312910 34 06 10.1098/rstl.1674.0057 34 06 10.1371/journal.pbio.1002533 34 06 10.1017/S1060150310000367 34 06 10.1353/mod.2019.0031 34 06 10.3389/fcimb.2018.00411 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/B0CHGFZR5T 20 08 20230907 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/microbium-the-neglected-lives-of-micro-matter 20 08 20230907 02 22.00 USD WORLD urn:uuid:6a2e6b94-b20c-46e2-a3ed-ad297faa641a 03 01 01 thoth-work-id urn:uuid:ebf014ee-502d-4ed9-ad1e-90c3fcf20435 01 thoth-publication-id urn:uuid:6a2e6b94-b20c-46e2-a3ed-ad297faa641a 15 9781685711719 03 9781685711719 06 10.53288/0396.1.00 13 2023943269 01 internal-reference 0396 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Microbium The Neglected Lives of Micro-matter 1 B01 21 0000000322508879 Joela Jacobs Joela Jacobs Assistant Professor of German Studies 40 03m2x1q45 University of Arizona Joela Jacobs is Assistant Professor of German Studies at the University of Arizona and founder of the Literary and Cultural Plant Studies Network. Her research focuses on nineteenth- to twenty-first-century German literature and its intersections with the environmental humanities, specifically plants, animals, and environmentalist culture, as well as Jewish studies, the history of sexuality, and the history of science. She has published on monstrosity, multilingualism, literary censorship, biopolitics, animal epistemology, zoopoetics, phytopoetics, cultural environmentalism, and contemporary German Jewish identity. 2 B01 Agnes Malinowska Agnes Malinowska Assistant Instructional Professor in the MA Program in the Humanities and English 40 024mw5h28 University of Chicago Agnes Malinowska is Assistant Instructional Professor in the MA Program in the Humanities and English at the University of Chicago. Her teaching and research focuses on American modernism and modernity, nonhuman studies, the history of science, and gender and sexuality studies. Agnes’s recent writing appears in the journal Modernism/modernity. 01 eng 00 148 03 B2 Biosphere 10 NAT024000 12 PSG 93 PSG B2 Cultural Studies+Critical Theory 93 JPFA 12 RNA 10 SCI045000 93 RNA 20 animalcules; bacteria; microbiome; microbiology; viruses; fungi; lichen; protozoa; pollen; coral 01 06 02 00 03 00 Microbium: The Neglected Lives of Micro-matter tells the story of small matter such as bacteria, coral, fungi, lichen, pollen, protozoa, and viruses. With short entries that are organized like a herbarium or similar specimen collection, the book is a “microbium”—both the term for a single microbe and a play on “microbiome.”As such, Microbium makes visible the often overseen but huge impact of miniscule matter on human culture and the environment. Each entry is a “microscopic reading” that describes the natural history and scientific discovery of a particular form of micro-matter, while also telling a story about the cultural and artistic roles it has played over the centuries. From the poetry of Emily Dickinson to the “coralness” of coral reefs to contemporary literature about the COVID-19 pandemic, this book places micro-matter under a cultural microscope and translates the significance of the invisible interspecies social realm to the human scale, magnifying the many ways in which micro-matter matters. Ultimately, Microbium shows the potential of micro-matter to teach us how to revitalize our political and cultural systems, habits of thought, and aesthetic or representational modes. 30 00 Microbium: The Neglected Lives of Micro-matter tells the story of small matter such as bacteria, coral, fungi, lichen, pollen, protozoa, and viruses. With short entries that are organized like a herbarium or similar specimen collection, the book is a “microbium”—both the term for a single microbe and a play on “microbiome.”As such, Microbium makes visible the often overseen but huge impact of miniscule matter on human culture and the environment. Each entry is a “microscopic reading” that describes the natural history and scientific discovery of a particular form of micro-matter, while also telling a story about the cultural and artistic roles it has played over the centuries. From the poetry of Emily Dickinson to the “coralness” of coral reefs to contemporary literature about the COVID-19 pandemic, this book places micro-matter under a cultural microscope and translates the significance of the invisible interspecies social realm to the human scale, magnifying the many ways in which micro-matter matters. Ultimately, Microbium shows the potential of micro-matter to teach us how to revitalize our political and cultural systems, habits of thought, and aesthetic or representational modes. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0396.1.00_frontcover.jpg 1 03 06 10.53288/0396.1.01 1 9 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000322508879 Joela Jacobs Joela Jacobs 2 B01 Agnes Malinowska Agnes Malinowska 01 eng 20 00 Open Access 2 03 06 10.53288/0396.1.02 13 16 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000322508879 Joela Jacobs Joela Jacobs Assistant Professor of German Studies 40 03m2x1q45 University of Arizona Joela Jacobs is Assistant Professor of German Studies at the University of Arizona and founder of the Literary and Cultural Plant Studies Network (plants.arizona.edu). Her research focuses on nineteenth- to twenty-first-century German literature and its intersections with the environmental humanities, specifically plants, animals, and environmentalist culture, as well as Jewish studies, the history of sexuality, and the history of science. She has published on monstrosity, multilingualism, literary censorship, biopolitics, animal epistemology, zoopoetics, phytopoetics, cultural environmentalism, and contemporary German Jewish identity. 2 A01 Agnes Malinowska Agnes Malinowska Assistant Instructional Professor in the MA Program in the Humanities and in English 40 024mw5h28 University of Chicago Agnes Malinowska is Assistant Instructional Professor in the MA Program in the Humanities and in English at the University of Chicago. Her teaching and research focuses on American modernism and modernity, nonhuman studies, the history of science, and gender and sexuality studies. Agnes’s recent writing appears in the journal Modernism/modernity. 01 eng 20 00 Open Access 3 03 06 10.53288/0396.1.03 17 30 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Animalcules 1 A01 Ada Smailbegović Ada Smailbegović Assistant Professor of English 40 05gq02987 Brown University Ada Smailbegović is Assistant Professor of English at Brown University. She is the author of Poetics of Liveliness: Molecules, Fibers, Tissues, Clouds and a cofounder of the digital publishing platform the Organism for Poetic Research. Her published essays and poetic work have appeared in a varieaty of venues, including differences, Comparative Literature, Triple Canopy and angelaki. 01 eng 03 00 This entry explores the hidden worlds of animalcules or micro-animals, such as tardigrades andmites. Such complex worlds are often inaccessible to the human sensorium due to their scale,except through the use of instruments like microscopes. With this in mind, the entry onmicro-animals draws on the history of early microscopy by examining the writings and drawingsof figures such as the seventeenth-century Dutch scientist Antonie van Leeuwenhoek, who wasthe first to observe animalcules, and the seventeenth-century English scientist Robert Hooke, who made extensive microscopic studies of matter in his book Micrographia (1665). This raises questions about the role of descriptive language in amplifying the miniature forms of micro-animals and making them discernable to humans, particularly through the use of metaphor, which often creates comparisons between these tiny creatures and more familiar macroscopic organisms and even inanimate entities that are perceptible at the human scale. In this way, metaphor acts as a kind of figurative microscope, bringing animalcules into view of human observers. At the same time, this entry attempts to look beyond the anthropocentric scales perceptible to humans and to consider the realm of “tiny perceptions,” which render the worlds of animalcules perceptible to these creatures. 30 00 This entry explores the hidden worlds of animalcules or micro-animals, such as tardigrades andmites. Such complex worlds are often inaccessible to the human sensorium due to their scale,except through the use of instruments like microscopes. With this in mind, the entry onmicro-animals draws on the history of early microscopy by examining the writings and drawingsof figures such as the seventeenth-century Dutch scientist Antonie van Leeuwenhoek, who wasthe first to observe animalcules, and the seventeenth-century English scientist Robert Hooke, who made extensive microscopic studies of matter in his book Micrographia (1665). This raises questions about the role of descriptive language in amplifying the miniature forms of micro-animals and making them discernable to humans, particularly through the use of metaphor, which often creates comparisons between these tiny creatures and more familiar macroscopic organisms and even inanimate entities that are perceptible at the human scale. In this way, metaphor acts as a kind of figurative microscope, bringing animalcules into view of human observers. At the same time, this entry attempts to look beyond the anthropocentric scales perceptible to humans and to consider the realm of “tiny perceptions,” which render the worlds of animalcules perceptible to these creatures. 20 00 Open Access Ada Smailbegović 4 03 06 10.53288/0396.1.04 31 45 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bacteria 1 A01 Agnes Malinowska Agnes Malinowska Assistant Instructional Professor in the MA Program in the Humanities and in English 40 024mw5h28 University of Chicago Agnes Malinowska is Assistant Instructional Professor in the MA Program in the Humanities and in English at the University of Chicago. Her teaching and research focuses on American modernism and modernity, nonhuman studies, the history of science, and gender and sexuality studies. Agnes’s recent writing appears in the journal Modernism/modernity. 01 eng 03 00 Bacteria have played a truly outsized role in the evolutionary story of life on earth, and they continue to be crucial to sustaining organisms and ecosystems. Until recently, however, most cultural and scientific interest in bacteria has centered on defeating the nefarious “germ.” This entry focuses in particular on how public health efforts to reign in the threat of bacterial disease in the US around 1900 aligned with the aspirations of a hegemonic Anglo-American culture to control and suppress marginalized groups like immigrants and racial others, easy scapegoats for disease. At the same time, British settler colonialism and, eventually, US government policy catalyzed devastating epidemics amongst Indigenous populations from the colonial period into the twentieth century, such as the tuberculosis crisis in Native health. While bacterial disease has been largely divisive in the US, bacteria themselves can encourage humans to think in terms of cooperation and alliance, rather than the strict enforcement of borders. Both symbiosis—bacteria’s preferred social relation—and binary fission—bacterial reproduction—suggest a radical form of sociality that permeates, ruptures, and transforms “individuals” constantly, so that the one always slips into the collective. 30 00 Bacteria have played a truly outsized role in the evolutionary story of life on earth, and they continue to be crucial to sustaining organisms and ecosystems. Until recently, however, most cultural and scientific interest in bacteria has centered on defeating the nefarious “germ.” This entry focuses in particular on how public health efforts to reign in the threat of bacterial disease in the US around 1900 aligned with the aspirations of a hegemonic Anglo-American culture to control and suppress marginalized groups like immigrants and racial others, easy scapegoats for disease. At the same time, British settler colonialism and, eventually, US government policy catalyzed devastating epidemics amongst Indigenous populations from the colonial period into the twentieth century, such as the tuberculosis crisis in Native health. While bacterial disease has been largely divisive in the US, bacteria themselves can encourage humans to think in terms of cooperation and alliance, rather than the strict enforcement of borders. Both symbiosis—bacteria’s preferred social relation—and binary fission—bacterial reproduction—suggest a radical form of sociality that permeates, ruptures, and transforms “individuals” constantly, so that the one always slips into the collective. 20 00 Open Access Agnes Malinowska 5 03 06 10.53288/0396.1.05 47 63 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Corals 1 A01 21 0000000170790536 Damien Bright Damien Bright Research Associate 40 01vvnmw35 Research Institute For Sustainability – Helmholtz Centre Potsdam Damien Bright is a Research Associate at the Institute for Advanced Sustainability Studies in Potsdam, Germany. He received his PhD in Anthropology from the University of Chicago in 2022. Damien's research engages critical natural history, animal studies, and the psychosocial dimensions of modernist technoscience. He is currently conducting a multi-sited ethnographic investigation of the technopolitical dimensions of ocean engineering as part of the EU-funded OceanNETs consortium. Whither the Reef?, his first book manuscript, is in preparation and builds on his dissertation research into efforts to salvage the Great Barrier Reef from its predicted demise. The book explains the practical and moral quandaries that the sciences of marine life encounter, along with their supporters and detractors, in the push to design large scale and largely experimental “interventions” in the name of planetary care. Damien’s writing has appeared in Techniques & Culture and Diseña. 01 eng 03 00 Corals are tiny marine animals who combine to build monumental reefscapes, which host multitudes and sustain the web of ocean life. Today, however, corals are crisis figures. Their sensitivity to ocean warming and acidification augurs a near-term mass extinction. What would it take to see corals as more than just examples of environmental loss? Why have corals been a historical companion to, and even actively participated in, the very project of industrial modernity that brings earthly life undone? Although corals may have one planetary story, since people have been around, they have had many histories. This entry describes the biogeochemical properties by which corals straddle micro and macro scales to serve as living archives and earthly auguries. Through a genealogy of human-coral relations in the Western tradition, it shows how divergent understandings of nature have made use of corals as a way of explaining why the physical world is as it is and what people ought to make of it. The result is a tale of profound intimacy between human and coral history, often overlooked in calls for greater environmental awareness today. Within the micro-life of corals lies a counterintuitive proposal: as much as a generalized indifference, what presently ails human/more-than-human relations are long-lived and powerfully excessive displays of enthusiasm. 30 00 Corals are tiny marine animals who combine to build monumental reefscapes, which host multitudes and sustain the web of ocean life. Today, however, corals are crisis figures. Their sensitivity to ocean warming and acidification augurs a near-term mass extinction. What would it take to see corals as more than just examples of environmental loss? Why have corals been a historical companion to, and even actively participated in, the very project of industrial modernity that brings earthly life undone? Although corals may have one planetary story, since people have been around, they have had many histories. This entry describes the biogeochemical properties by which corals straddle micro and macro scales to serve as living archives and earthly auguries. Through a genealogy of human-coral relations in the Western tradition, it shows how divergent understandings of nature have made use of corals as a way of explaining why the physical world is as it is and what people ought to make of it. The result is a tale of profound intimacy between human and coral history, often overlooked in calls for greater environmental awareness today. Within the micro-life of corals lies a counterintuitive proposal: as much as a generalized indifference, what presently ails human/more-than-human relations are long-lived and powerfully excessive displays of enthusiasm. 20 00 Open Access Damien Bright 6 03 06 10.53288/0396.1.06 65 80 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fungi 1 A01 Karen Leona Anderson Karen Leona Anderson Associate Professor of English 40 01y2d1w05 St. Mary's College of Maryland Karen Leona Anderson is Associate Professor of English at St. Mary’s College of Maryland. She is the author of two collections of poetry, Punish honey (Carolina Wren) and Receipt (Milkweed Editions). Her scholarly and creative work has appeared in numerous journals and anthologies including the ecolanguage reader, The Ecopoetry Anthology, and The Best American Poetry. Her most recent scholarly work is on Emily Dickinson, fungi, and scale shifting. 01 eng 03 00 Culturally, fungi in the Anglo-American context have been seen as fascinating, bewildering, frightening, and grotesque, understood as an alien organism defying taxonomy; as a useful, coveted, and occasionally poisonous food or medicine; as a sign of mysterious ruin and decay; and as a vestige of magic or otherworldliness. In their microscopic structures and manifestations, likewise, fungi have historically been represented as insidious, rebellious, menacing, or baffling, and have been more broadly constructed as a threat to human scale. Twenty-first century attitudes towards fungi, on the other hand, celebrate these scale-shifting abilities with much greater optimism as a robust response to political and environmental crises: microscopic fungi and fungal growth have been recently represented in an explosion of visual art and cultural theory. Fungi in these accounts are an adaptive and resilient form of life that can serve both as a sustainable biotechnology and as a model for multispecies thriving in the face of social and economic marginalization. This entry traces the surprisingly short arc from mycophobia to mycophilia through the lens of scale shifting, from Alice in Wonderland’s size-altering mushroom to Jae Rhim Lee’s fungal burial suit. 30 00 Culturally, fungi in the Anglo-American context have been seen as fascinating, bewildering, frightening, and grotesque, understood as an alien organism defying taxonomy; as a useful, coveted, and occasionally poisonous food or medicine; as a sign of mysterious ruin and decay; and as a vestige of magic or otherworldliness. In their microscopic structures and manifestations, likewise, fungi have historically been represented as insidious, rebellious, menacing, or baffling, and have been more broadly constructed as a threat to human scale. Twenty-first century attitudes towards fungi, on the other hand, celebrate these scale-shifting abilities with much greater optimism as a robust response to political and environmental crises: microscopic fungi and fungal growth have been recently represented in an explosion of visual art and cultural theory. Fungi in these accounts are an adaptive and resilient form of life that can serve both as a sustainable biotechnology and as a model for multispecies thriving in the face of social and economic marginalization. This entry traces the surprisingly short arc from mycophobia to mycophilia through the lens of scale shifting, from Alice in Wonderland’s size-altering mushroom to Jae Rhim Lee’s fungal burial suit. 20 00 Open Access Karen Leona Anderson 7 03 06 10.53288/0396.1.07 81 97 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lichen 1 A01 Helga G. Braunbeck Helga G. Braunbeck Professor of German Studies 40 04tj63d06 North Carolina State University As the granddaughter of two German foresters, Helga G. Braunbeck grew up close to nature. Her first garden was a mini-forest of small trees transplanted from the real forest. She moved on to study German and English literature in Tübingen/Germany, Oregon, and California and is now Professor of German Studies at NC State University in Raleigh, NC. Her two books discuss issues of authorship in GDR writer Christa Wolf, and intermediality in the work of Prague German author Libuše Moníková. After her second book, she turned her attention to the environmental humanities and became especially interested in literary and cultural plant studies. She has published about Klaus Modick’s novella Moss, lignite mining in German culture, and the impact of the Anthropocene on gardens and gardening in recent German literature. Her current projects focus on plant poetics and literary representations of arboreal imaginaries. And her current garden is filled with flowers, veggies, wildlife, and more than sixty trees. The older ones are covered in lovely moss and lichen. 01 eng 03 00 Lichen is the poster child for symbiosis, functioning as a collaboration of a fungus and algae or cyanobacteria—or sometimes all three—which enables it to survive in the climatically and nutritionally most challenging environments, such as extreme cold or heat. One of the oldest organisms in earth’s biosphere, it has developed a lifestyle that still retains its mystery but nevertheless provides a paradigm that may serve human societies well: rather than on the competition of individuals it is based on community-building. Displaying a tremendous diversity of colors and shapes, it may paint the landscape, serve as medicine or food, or be used to monitor air quality. Poets marvel at lichen’s power—it can grow into and decompose rock, attach itself to a wide variety of surfaces, and live for thousands of years. Novelists have explored lichen’s extreme longevity for the idea of extending human lifespan and its symbiotic lifestyle as a metaphor for the challenging process of individuation among twins. Today’s appreciation of networks, interconnectivity, and “being-with” may be related to the scientific discovery of symbiotic ways of life as well as an increasing societal awareness of the benefits to be gained from collaboration. 30 00 Lichen is the poster child for symbiosis, functioning as a collaboration of a fungus and algae or cyanobacteria—or sometimes all three—which enables it to survive in the climatically and nutritionally most challenging environments, such as extreme cold or heat. One of the oldest organisms in earth’s biosphere, it has developed a lifestyle that still retains its mystery but nevertheless provides a paradigm that may serve human societies well: rather than on the competition of individuals it is based on community-building. Displaying a tremendous diversity of colors and shapes, it may paint the landscape, serve as medicine or food, or be used to monitor air quality. Poets marvel at lichen’s power—it can grow into and decompose rock, attach itself to a wide variety of surfaces, and live for thousands of years. Novelists have explored lichen’s extreme longevity for the idea of extending human lifespan and its symbiotic lifestyle as a metaphor for the challenging process of individuation among twins. Today’s appreciation of networks, interconnectivity, and “being-with” may be related to the scientific discovery of symbiotic ways of life as well as an increasing societal awareness of the benefits to be gained from collaboration. 20 00 Open Access Helga G. Braunbeck 8 03 06 10.53288/0396.1.08 99 112 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pollen 1 A01 21 0000000322508879 Joela Jacobs Joela Jacobs Assistant Professor of German Studies 40 03m2x1q45 University of Arizona Joela Jacobs is Assistant Professor of German Studies at the University of Arizona and founder of the Literary and Cultural Plant Studies Network (plants.arizona.edu). Her research focuses on nineteenth- to twenty-first-century German literature and its intersections with the environmental humanities, specifically plants, animals, and environmentalist culture, as well as Jewish studies, the history of sexuality, and the history of science. She has published on monstrosity, multilingualism, literary censorship, biopolitics, animal epistemology, zoopoetics, phytopoetics, cultural environmentalism, and contemporary German Jewish identity. 01 eng 03 00 When you are inhaling pollen, your body has been penetrated by a little package of plant sperm. Pollen grains are multicellular organisms that contain male sex cells, and their job is to get this sperm to the egg to facilitate fertilization. For that, they hitch a ride on insects or trust their fate to wind, water, and any other moving means, including us. Yet most human-pollen encounters are only noticed when they result in an allergic reaction. Allergies have been on the rise, which is at least partly because pollen is too: Pollen counts have been going up in urban environments due to the tendency of city planners to plant male trees, which avoids problems with fruit falling on heads, cars, and sidewalks. Yet this also means that pollen is not absorbed by female trees and left roaming the streets to enter human noses instead. This self-made allergy problem demonstrates that we often seem to neglect what pollen is and does: As a miniscule sperm delivery mechanism, it is all about sex. Accordingly, pollen’s cultural history has predominantly been focused on attraction rather than allergic aversion, and because of that, pollen has shaped not only our understanding of plant fertility, but also human ideas about eroticism and sexuality, reproduction and desire. 30 00 When you are inhaling pollen, your body has been penetrated by a little package of plant sperm. Pollen grains are multicellular organisms that contain male sex cells, and their job is to get this sperm to the egg to facilitate fertilization. For that, they hitch a ride on insects or trust their fate to wind, water, and any other moving means, including us. Yet most human-pollen encounters are only noticed when they result in an allergic reaction. Allergies have been on the rise, which is at least partly because pollen is too: Pollen counts have been going up in urban environments due to the tendency of city planners to plant male trees, which avoids problems with fruit falling on heads, cars, and sidewalks. Yet this also means that pollen is not absorbed by female trees and left roaming the streets to enter human noses instead. This self-made allergy problem demonstrates that we often seem to neglect what pollen is and does: As a miniscule sperm delivery mechanism, it is all about sex. Accordingly, pollen’s cultural history has predominantly been focused on attraction rather than allergic aversion, and because of that, pollen has shaped not only our understanding of plant fertility, but also human ideas about eroticism and sexuality, reproduction and desire. 20 00 Open Access Joela Jacobs 9 03 06 10.53288/0396.1.09 113 128 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Protozoa 1 A01 Dani Lamorte Dani Lamorte Dani Lamorte is a Pittsburgh-based artist working in performance, video, photography, and text. He has performed and shown work at the Andy Warhol Museum (Pittsburgh), University of Arizona Museum of Art (Tucson), Human Resources (Los Angeles), Whippersnapper Gallery (Toronto), Studio Beluga (Montréal), and Mattress Factory (Pittsburgh). Dani is a contributing writer for Cleveland Review of Books and has published essays in Edge Effects, Sundog Lit, and Journal of Critical Library & Information Studies. Dani's first book of essays, Of Fakes, is under contract with the University Press of Kentucky. 01 eng 03 00 It could be in your eye or on a gallery floor. It seems like it’s under the microscope, but maybe it’s all in your head. The protozoa isn’t lurking exactly, but it’s a trick to find. This entry follows the slippery protozoa as it moves in animal bodies, along the edges of a painting, down the side of a sculpture. Georges Bataille’s writing on “formless” meets Lynda Benglis’ floor-pour paintings and Anne Truitt’s columns, leading us to ask: What other dreams will we find if we let protozoan indeterminacy undo us a little, loosen the knot of our being? 30 00 It could be in your eye or on a gallery floor. It seems like it’s under the microscope, but maybe it’s all in your head. The protozoa isn’t lurking exactly, but it’s a trick to find. This entry follows the slippery protozoa as it moves in animal bodies, along the edges of a painting, down the side of a sculpture. Georges Bataille’s writing on “formless” meets Lynda Benglis’ floor-pour paintings and Anne Truitt’s columns, leading us to ask: What other dreams will we find if we let protozoan indeterminacy undo us a little, loosen the knot of our being? 20 00 Open Access Dani Lamorte 10 03 06 10.53288/0396.1.10 129 141 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Viruses 1 A01 Raymond Malewitz Raymond Malewitz Associate Professor of English 40 00ysfqy60 Oregon State University Raymond Malewitz is Associate Professor of English at Oregon State University. He is the author of one monograph, The Practice of Misuse (Stanford University Press, 2014), and is at work on a second, tentatively entitled “Epizootic Encounters: A Cultural History of Animal Disease.” His work has appeared in journals such as Critical Inquiry, PMLA, Modern Fiction Studies, and Configurations as well as more popular venues such as The Washington Post. 01 eng 03 00 Of the many kinds of living micro-matter, viruses might seem to be the least neglected—particularly now, given the recent SARS-CoV-2 pandemic. However, many aspects of COVID-19 history illustrate not only how viruses are neglected but also how their very existence depends upon their ability to evade detection. To explain this dynamic, the entry begins with a short reading of Mona Awad’s short story “A Blue Sky Like This,” published at the end of the first wave of COVID-19. The story’s strange protagonist and her interactions with New York City residents under lockdown illustrate both the motivations for and consequences of willfully neglect of viral dangers. This reading is juxtaposed with a discussion of scientific efforts to identify and understand viruses during the twentieth century, which illustrate the analogous challenges of understanding miniscule lifeforms, whose effects, in aggregate, can stretch to enormous geographical scales. The entry concludes with a reading of Charles Yu’s short story “Systems,” which attempts to represent these scales and overcome viral neglect by radically restructuring the form, content, and characters of conventional Western narrative. 30 00 Of the many kinds of living micro-matter, viruses might seem to be the least neglected—particularly now, given the recent SARS-CoV-2 pandemic. However, many aspects of COVID-19 history illustrate not only how viruses are neglected but also how their very existence depends upon their ability to evade detection. To explain this dynamic, the entry begins with a short reading of Mona Awad’s short story “A Blue Sky Like This,” published at the end of the first wave of COVID-19. The story’s strange protagonist and her interactions with New York City residents under lockdown illustrate both the motivations for and consequences of willfully neglect of viral dangers. This reading is juxtaposed with a discussion of scientific efforts to identify and understand viruses during the twentieth century, which illustrate the analogous challenges of understanding miniscule lifeforms, whose effects, in aggregate, can stretch to enormous geographical scales. The entry concludes with a reading of Charles Yu’s short story “Systems,” which attempts to represent these scales and overcome viral neglect by radically restructuring the form, content, and characters of conventional Western narrative. 20 00 Open Access Raymond Malewitz 11 03 06 10.53288/0396.1.11 143 145 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000322508879 Joela Jacobs Joela Jacobs 2 B01 Agnes Malinowska Agnes Malinowska 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/microbium-the-neglected-lives-of-micro-matter/ Earth, Milky Way 04 01 20230907 Joela Jacobs, Agnes Malinowska 02 WORLD 06 15 9781685711702 03 9781685711702 34 06 10.1007/s11084-016-9522-1 34 06 10.1098/rstb.2014.0344 34 06 10.1111/j.1748-1716.2011.02252 34 06 10.1086/668166 34 06 10.7227/gs.16.1.2 34 06 10.20415/rhiz/034.e04 34 06 10.1353/esq.2017.0011 34 06 10.1086/355166 34 06 10.1111/lic3.12347 34 06 10.1215/10407391-1892907 34 06 10.28968/cftt.v5i2.30027 34 06 10.1215/22011919-9962926 34 06 10.1016/j.watres.2013.07.047 34 06 10.1007/s00248-018-1199-8 34 06 10.1016/j.watres.2013.09.065 34 06 10.1086/676943 34 06 10.1159/000312910 34 06 10.1098/rstl.1674.0057 34 06 10.1371/journal.pbio.1002533 34 06 10.1017/S1060150310000367 34 06 10.1353/mod.2019.0031 34 06 10.3389/fcimb.2018.00411 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/76159 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/76159/0396.1.00.pdf?sequence=1&isAllowed=y 20 08 20230907 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/118626 20 08 20230907 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.7471125 20 08 20230907 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/350 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/16402431-c503-4977-b37d-d1aa91175377/download 20 08 20230907 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ebf014ee-502d-4ed9-ad1e-90c3fcf20435 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ebf014ee-502d-4ed9-ad1e-90c3fcf20435/ebf014ee-502d-4ed9-ad1e-90c3fcf20435.pdf 20 08 20230907 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850006 29 ZENODO: download the title https://zenodo.org/records/19850006/files/ebf014ee-502d-4ed9-ad1e-90c3fcf20435_book.pdf 20 08 20230907 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/microbium-the-neglected-lives-of-micro-matter/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0396.1.00.pdf 20 08 20230907 01 urn:uuid:5f31bee8-f075-43c8-8f6c-88c951516a1c 03 01 01 thoth-work-id urn:uuid:f1963ed9-1b8d-43f7-af89-ee589b6e7116 01 thoth-publication-id urn:uuid:5f31bee8-f075-43c8-8f6c-88c951516a1c 15 9781685710743 03 9781685710743 06 10.53288/0443.1.00 13 2022934325 01 internal-reference 0443 00 BC 10 01 230 mm 01 23 cm 01 9.06 in 02 170 mm 02 17 cm 02 6.69 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Mineral Policies 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 2 B06 Jora Vaso Jora Vaso 3 B06 Ilirjana Stringa Ilirjana Stringa 2 01 alb 01 eng 00 112 03 12 1DVWA 93 1DXA 10 ART006010 B2 Art+Aesthetics 12 AFKP 93 AFKP 10 ART060000 B2 Capital+Lucre 12 AGC 93 AGC 20 art and politics; extractivism; mining; public art; labor issues; strikes; Albania 01 06 02 00 03 00 Mineral Policies provides a record of an art residency organized by ZETA Center for Contemporary Art in the mining region of Bulqiza in northeastern Albania, where four artists and activists from Albania, Blerta Hoçia, Diana Malaj, Pleurad Xhafa, and Ergin Zaloshnja, created a collective body of works in close proximity with the local miners, while still maintaining their own discrete sphere of action. This residency followed by a public exhibition, Each Strike Leads to the Next, featuring video works produced during the residency as well as a series of object, curated by Vincent W.J. van Gerven Oei, director of the Department of Eagles in Tirana.This publication includes documentation of the residency and the exhibition, as well the record of a public discussion between curator Van Gerven Oei, former Minister of Finance Arben Malaj, mining engineer Genc Myftiu, and mining worker Bardhul Alla, moderated by cultural journalist Elsa Demo and an interview of cultural theorist Jonida Gashi and Van Gerven Oei with the artists.Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and align themselves with workers and labor activities within a political climate in which neoliberal extractivism and mafia-controlled local and national government have seriously compromised modes of solidarity and survival. 30 00 Mineral Policies provides a record of an art residency organized by ZETA Center for Contemporary Art in the mining region of Bulqiza in northeastern Albania, where four artists and activists from Albania, Blerta Hoçia, Diana Malaj, Pleurad Xhafa, and Ergin Zaloshnja, created a collective body of works in close proximity with the local miners, while still maintaining their own discrete sphere of action. This residency followed by a public exhibition, Each Strike Leads to the Next, featuring video works produced during the residency as well as a series of object, curated by Vincent W.J. van Gerven Oei, director of the Department of Eagles in Tirana.This publication includes documentation of the residency and the exhibition, as well the record of a public discussion between curator Van Gerven Oei, former Minister of Finance Arben Malaj, mining engineer Genc Myftiu, and mining worker Bardhul Alla, moderated by cultural journalist Elsa Demo and an interview of cultural theorist Jonida Gashi and Van Gerven Oei with the artists.Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and align themselves with workers and labor activities within a political climate in which neoliberal extractivism and mafia-controlled local and national government have seriously compromised modes of solidarity and survival. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0443.1.00_frontcover.jpg 1 03 06 10.53288/0443.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 20 00 Open Access ZETA Galeri 2 03 06 10.53288/0443.1.02 6 14 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shënim Editorial/Editorial Note 1 A01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 alb 01 eng 20 00 Open Access ZETA Galeri 3 03 06 10.53288/0443.1.03 16 101 86 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plagët e Burimit/The Wounds at the Source 1 A01 Elsa Demo Elsa Demo 2 A01 Bardhul Alla Bardhul Alla 3 A01 Arben Malaj Arben Malaj 4 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 5 A01 Genc Myftiu Genc Myftiu 01 alb 01 eng 20 00 Open Access ZETA Galeri 4 03 06 10.53288/0443.1.04 26 33 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Historik i shkurtër e minierës së Bulqizës/A Brief History of the Bulqiza Mine 1 A01 Genc Demi Genc Demi 2 A01 Genc Myftiu Genc Myftiu 01 alb 01 eng 20 00 Open Access ZETA Galeri 5 03 06 10.53288/0443.1.05 48 61 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Biseda/Conversation 1 A01 Jonida Gashi Jonida Gashi 40 016sx0y50 Academy of Sciences of Albania 2 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 3 A01 Blerta Hoçia Blerta Hoçia 4 A01 Diana Malaj Diana Malaj 5 A01 Pleurad Xhafa Pleurad Xhafa 6 A01 Ergin Zaloshnja Ergin Zaloshnja 01 alb 01 eng 20 00 Open Access ZETA Galeri 6 03 06 10.53288/0443.1.06 70 97 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Çdo goditje pason tjetrën/Each Strike Leads to the Next 1 A01 Blerta Hoçia Blerta Hoçia 2 A01 Diana Malaj Diana Malaj 3 A01 Pleurad Xhafa Pleurad Xhafa 4 A01 Ergin Zaloshnja Ergin Zaloshnja 01 alb 01 eng 20 00 Open Access ZETA Galeri 7 03 06 10.53288/0443.1.07 102 119 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foto-Album nga qëndrimi në Bulqizë/Photo Album from the Stay in Bulqiza 1 A01 Blerta Hoçia Blerta Hoçia 2 A01 Diana Malaj Diana Malaj 3 A01 Pleurad Xhafa Pleurad Xhafa 4 A01 Ergin Zaloshnja Ergin Zaloshnja 01 alb 01 eng 20 00 Open Access ZETA Galeri 01 URL https://punctumbooks.com/imprints/department-of-eagles/ Department of Eagles 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mineral-policies/ Earth, Milky Way 04 01 20220407 ZETA Galeri 02 WORLD 06 15 9781685710750 03 9781685710750 34 06 10.1080/00206819409465488 34 06 10.12854/Erde-146-17 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710743 20 08 20220407 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/mineral-policies 20 08 20220407 02 23.00 USD WORLD urn:uuid:3a0f8409-aea0-4610-b6f9-2a337ae754a2 03 01 01 thoth-work-id urn:uuid:f1963ed9-1b8d-43f7-af89-ee589b6e7116 01 thoth-publication-id urn:uuid:3a0f8409-aea0-4610-b6f9-2a337ae754a2 15 9781685710750 03 9781685710750 06 10.53288/0443.1.00 13 2022934325 01 internal-reference 0443 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Mineral Policies 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 2 B06 Jora Vaso Jora Vaso 3 B06 Ilirjana Stringa Ilirjana Stringa 2 01 alb 01 eng 00 112 03 12 1DVWA 93 1DXA 10 ART006010 B2 Art+Aesthetics 12 AFKP 93 AFKP 10 ART060000 B2 Capital+Lucre 12 AGC 93 AGC 20 art and politics; extractivism; mining; public art; labor issues; strikes; Albania 01 06 02 00 03 00 Mineral Policies provides a record of an art residency organized by ZETA Center for Contemporary Art in the mining region of Bulqiza in northeastern Albania, where four artists and activists from Albania, Blerta Hoçia, Diana Malaj, Pleurad Xhafa, and Ergin Zaloshnja, created a collective body of works in close proximity with the local miners, while still maintaining their own discrete sphere of action. This residency followed by a public exhibition, Each Strike Leads to the Next, featuring video works produced during the residency as well as a series of object, curated by Vincent W.J. van Gerven Oei, director of the Department of Eagles in Tirana.This publication includes documentation of the residency and the exhibition, as well the record of a public discussion between curator Van Gerven Oei, former Minister of Finance Arben Malaj, mining engineer Genc Myftiu, and mining worker Bardhul Alla, moderated by cultural journalist Elsa Demo and an interview of cultural theorist Jonida Gashi and Van Gerven Oei with the artists.Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and align themselves with workers and labor activities within a political climate in which neoliberal extractivism and mafia-controlled local and national government have seriously compromised modes of solidarity and survival. 30 00 Mineral Policies provides a record of an art residency organized by ZETA Center for Contemporary Art in the mining region of Bulqiza in northeastern Albania, where four artists and activists from Albania, Blerta Hoçia, Diana Malaj, Pleurad Xhafa, and Ergin Zaloshnja, created a collective body of works in close proximity with the local miners, while still maintaining their own discrete sphere of action. This residency followed by a public exhibition, Each Strike Leads to the Next, featuring video works produced during the residency as well as a series of object, curated by Vincent W.J. van Gerven Oei, director of the Department of Eagles in Tirana.This publication includes documentation of the residency and the exhibition, as well the record of a public discussion between curator Van Gerven Oei, former Minister of Finance Arben Malaj, mining engineer Genc Myftiu, and mining worker Bardhul Alla, moderated by cultural journalist Elsa Demo and an interview of cultural theorist Jonida Gashi and Van Gerven Oei with the artists.Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and align themselves with workers and labor activities within a political climate in which neoliberal extractivism and mafia-controlled local and national government have seriously compromised modes of solidarity and survival. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0443.1.00_frontcover.jpg 1 03 06 10.53288/0443.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 20 00 Open Access ZETA Galeri 2 03 06 10.53288/0443.1.02 6 14 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shënim Editorial/Editorial Note 1 A01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 alb 01 eng 20 00 Open Access ZETA Galeri 3 03 06 10.53288/0443.1.03 16 101 86 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plagët e Burimit/The Wounds at the Source 1 A01 Elsa Demo Elsa Demo 2 A01 Bardhul Alla Bardhul Alla 3 A01 Arben Malaj Arben Malaj 4 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 5 A01 Genc Myftiu Genc Myftiu 01 alb 01 eng 20 00 Open Access ZETA Galeri 4 03 06 10.53288/0443.1.04 26 33 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Historik i shkurtër e minierës së Bulqizës/A Brief History of the Bulqiza Mine 1 A01 Genc Demi Genc Demi 2 A01 Genc Myftiu Genc Myftiu 01 alb 01 eng 20 00 Open Access ZETA Galeri 5 03 06 10.53288/0443.1.05 48 61 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Biseda/Conversation 1 A01 Jonida Gashi Jonida Gashi 40 016sx0y50 Academy of Sciences of Albania 2 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 3 A01 Blerta Hoçia Blerta Hoçia 4 A01 Diana Malaj Diana Malaj 5 A01 Pleurad Xhafa Pleurad Xhafa 6 A01 Ergin Zaloshnja Ergin Zaloshnja 01 alb 01 eng 20 00 Open Access ZETA Galeri 6 03 06 10.53288/0443.1.06 70 97 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Çdo goditje pason tjetrën/Each Strike Leads to the Next 1 A01 Blerta Hoçia Blerta Hoçia 2 A01 Diana Malaj Diana Malaj 3 A01 Pleurad Xhafa Pleurad Xhafa 4 A01 Ergin Zaloshnja Ergin Zaloshnja 01 alb 01 eng 20 00 Open Access ZETA Galeri 7 03 06 10.53288/0443.1.07 102 119 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foto-Album nga qëndrimi në Bulqizë/Photo Album from the Stay in Bulqiza 1 A01 Blerta Hoçia Blerta Hoçia 2 A01 Diana Malaj Diana Malaj 3 A01 Pleurad Xhafa Pleurad Xhafa 4 A01 Ergin Zaloshnja Ergin Zaloshnja 01 alb 01 eng 20 00 Open Access ZETA Galeri 01 URL https://punctumbooks.com/imprints/department-of-eagles/ Department of Eagles 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mineral-policies/ Earth, Milky Way 04 01 20220407 ZETA Galeri 02 WORLD 06 15 9781685710743 03 9781685710743 34 06 10.1080/00206819409465488 34 06 10.12854/Erde-146-17 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/53766 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/53766/0443.1.00.pdf?sequence=1&isAllowed=y 20 08 20220407 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/80639 20 08 20220407 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2gbsddp 20 08 20220407 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/741 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5ae6b70f-c15a-45c7-8b3f-fcdbe969c465/download 20 08 20220407 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/_/cASVEAAAQBAJ 20 08 20220407 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f1963ed9-1b8d-43f7-af89-ee589b6e7116 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f1963ed9-1b8d-43f7-af89-ee589b6e7116/f1963ed9-1b8d-43f7-af89-ee589b6e7116.pdf 20 08 20220407 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849298 29 ZENODO: download the title https://zenodo.org/records/19849298/files/f1963ed9-1b8d-43f7-af89-ee589b6e7116_book.pdf 20 08 20220407 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/mineral-policies/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0443.1.00.pdf 20 08 20220407 01 urn:uuid:7ad58d77-ac47-4c6d-aaf9-462acf75dfdd 03 01 01 thoth-work-id urn:uuid:f20869c5-746f-491b-8c34-f88dc3728e18 01 thoth-publication-id urn:uuid:7ad58d77-ac47-4c6d-aaf9-462acf75dfdd 15 9780692234273 03 9780692234273 06 10.21983/P3.0072.1.00 01 internal-reference 0072 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Minóy 1 A01 Joseph Nechvatal Joseph Nechvatal 01 eng 00 104 03 10 ART017000 93 AVA 12 HPN B2 Sound+Noise 93 QDTN 20 music; aesthetics; noise art; cultural studies; cassette culture 01 06 02 00 03 00 Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner). 30 00 Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0072.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/minoy-2/ Brooklyn, NY 04 01 20140630 Nechvatal, Joseph 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692234276 20 08 20140630 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/minay 20 08 20140630 02 21.00 USD WORLD urn:uuid:29642135-bece-46e2-9c69-4b8e0e20daa3 03 01 01 thoth-work-id urn:uuid:f20869c5-746f-491b-8c34-f88dc3728e18 01 thoth-publication-id urn:uuid:29642135-bece-46e2-9c69-4b8e0e20daa3 06 10.21983/P3.0072.1.00 01 internal-reference 0072 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Minóy 1 A01 Joseph Nechvatal Joseph Nechvatal 01 eng 00 104 03 10 ART017000 93 AVA 12 HPN B2 Sound+Noise 93 QDTN 20 music; aesthetics; noise art; cultural studies; cassette culture 01 06 02 00 03 00 Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner). 30 00 Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0072.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/minoy-2/ Brooklyn, NY 04 01 20140630 Nechvatal, Joseph 02 WORLD 06 15 9780692234273 03 9780692234273 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25548 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25548/1004547.pdf?sequence=1&isAllowed=y 20 08 20140630 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28274 20 08 20140630 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354012 20 08 20140630 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/456 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a46378fc-893a-41c2-95ce-5dbccba7b488/download 20 08 20140630 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f20869c5-746f-491b-8c34-f88dc3728e18 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f20869c5-746f-491b-8c34-f88dc3728e18/f20869c5-746f-491b-8c34-f88dc3728e18.pdf 20 08 20140630 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845996 29 ZENODO: download the title https://zenodo.org/records/19845996/files/f20869c5-746f-491b-8c34-f88dc3728e18_book.pdf 20 08 20140630 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/minoy-2/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0072.1.00.pdf 20 08 20140630 01 urn:uuid:39b63ddc-d362-4d35-aec8-830115972213 03 01 01 thoth-work-id urn:uuid:4d40aa92-380c-4fae-98d8-c598bb32e7c6 01 thoth-publication-id urn:uuid:39b63ddc-d362-4d35-aec8-830115972213 15 9781950192298 03 9781950192298 06 10.21983/P3.0256.1.00 13 2019943080 01 internal-reference 0256 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Misinterest Essays, Pensées, and Dreams 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 021j0xm63 Medaille College 40 01y64my43 University at Buffalo, State University of New York 01 eng 00 166 03 B2 Cultural Studies+Critical Theory 93 JBCC 12 JMAF 10 LIT000000 12 JFC 93 JMAF 10 PSY026000 B2 Thought Experiments 12 DNF 93 JMH 93 JMU 93 DNL 20 psychoanalysis; hallucinogens; sex; ethical philosophy; literary essays; morality; dreams 01 06 02 00 03 00 The term “interest” lacks a precise antonym. In English, we have “disinterested” and “uninteresting,” but we want for a term that denotes robust opposition to interest. The same appears to hold true in every other language (as far as we know). Interest’s missing antonym reflects not merely a widespread lexical oversight, but a misrecognition of interest’s complete and exact meaning. More importantly, the idea that interest has no opposite expresses a certain refusal to acknowledge the power of the impulse to extinguish interest, for the self and for others.Why then do we foreclose interest’s possibility, degrade our (and others’) capacities to experience interest, and destroy interest’s objects? Why do we decline what interest proffers — which includes creative and subjective being, thinking, and relating — in favor of more primitive modes of survival, thoughtlessness, and nonbeing? Why do relationships — with ourselves, with others, with objects — toward which genuine interest draws us seem sometimes, if not often, unbearable?These questions are difficult. Their answers, even more so. Misinterest: Essays, Pensées, and Dreams attempts to approach them in an honest way, without making them fascinating, mysterious, boring, obscurantist, or fascinatingly mysteriously boringly obscurantist. Outwardly, Misinterest is concerned with dreams and forgetting and Eros and soaring dogs and groups and suicidal suburban teenagers and sex and jury duty and Nazis and fathers and hatred and holy parrots and fundamentalists and plagues and other things that may or may not be interesting. Ultimately, however, it seeks, like Jules Renard, “en restant exact” (in remaining true/real), to shed light on the establishment of misinterest, missingness, and mystery where and when they need not be, and, thus, on the psychic, familial, and political forces that compel us not to be when and where we ought. 30 00 The term “interest” lacks a precise antonym. In English, we have “disinterested” and “uninteresting,” but we want for a term that denotes robust opposition to interest. The same appears to hold true in every other language (as far as we know). Interest’s missing antonym reflects not merely a widespread lexical oversight, but a misrecognition of interest’s complete and exact meaning. More importantly, the idea that interest has no opposite expresses a certain refusal to acknowledge the power of the impulse to extinguish interest, for the self and for others.Why then do we foreclose interest’s possibility, degrade our (and others’) capacities to experience interest, and destroy interest’s objects? Why do we decline what interest proffers — which includes creative and subjective being, thinking, and relating — in favor of more primitive modes of survival, thoughtlessness, and nonbeing? Why do relationships — with ourselves, with others, with objects — toward which genuine interest draws us seem sometimes, if not often, unbearable?These questions are difficult. Their answers, even more so. Misinterest: Essays, Pensées, and Dreams attempts to approach them in an honest way, without making them fascinating, mysterious, boring, obscurantist, or fascinatingly mysteriously boringly obscurantist. Outwardly, Misinterest is concerned with dreams and forgetting and Eros and soaring dogs and groups and suicidal suburban teenagers and sex and jury duty and Nazis and fathers and hatred and holy parrots and fundamentalists and plagues and other things that may or may not be interesting. Ultimately, however, it seeks, like Jules Renard, “en restant exact” (in remaining true/real), to shed light on the establishment of misinterest, missingness, and mystery where and when they need not be, and, thus, on the psychic, familial, and political forces that compel us not to be when and where we ought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0256.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/misinterest-essays-pensees-and-dreams/ Earth, Milky Way 04 01 20190627 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD 06 15 9781950192304 03 9781950192304 34 06 10.1111/j.2044-8295.1949.tb00219.x 34 06 10.1080/02560040701810040 34 06 10.1177/00027649921955236 34 06 10.1080/10570317109373684 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192296 20 08 20190627 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/misinterest-essays-pensaes-and-dreams 20 08 20190627 02 23.00 USD WORLD urn:uuid:02298723-3115-4fac-90e9-bfb6ad73fc1f 03 01 01 thoth-work-id urn:uuid:4d40aa92-380c-4fae-98d8-c598bb32e7c6 01 thoth-publication-id urn:uuid:02298723-3115-4fac-90e9-bfb6ad73fc1f 15 9781950192304 03 9781950192304 06 10.21983/P3.0256.1.00 13 2019943080 01 internal-reference 0256 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Misinterest Essays, Pensées, and Dreams 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 021j0xm63 Medaille College 40 01y64my43 University at Buffalo, State University of New York 01 eng 00 166 03 B2 Cultural Studies+Critical Theory 93 JBCC 12 JMAF 10 LIT000000 12 JFC 93 JMAF 10 PSY026000 B2 Thought Experiments 12 DNF 93 JMH 93 JMU 93 DNL 20 psychoanalysis; hallucinogens; sex; ethical philosophy; literary essays; morality; dreams 01 06 02 00 03 00 The term “interest” lacks a precise antonym. In English, we have “disinterested” and “uninteresting,” but we want for a term that denotes robust opposition to interest. The same appears to hold true in every other language (as far as we know). Interest’s missing antonym reflects not merely a widespread lexical oversight, but a misrecognition of interest’s complete and exact meaning. More importantly, the idea that interest has no opposite expresses a certain refusal to acknowledge the power of the impulse to extinguish interest, for the self and for others.Why then do we foreclose interest’s possibility, degrade our (and others’) capacities to experience interest, and destroy interest’s objects? Why do we decline what interest proffers — which includes creative and subjective being, thinking, and relating — in favor of more primitive modes of survival, thoughtlessness, and nonbeing? Why do relationships — with ourselves, with others, with objects — toward which genuine interest draws us seem sometimes, if not often, unbearable?These questions are difficult. Their answers, even more so. Misinterest: Essays, Pensées, and Dreams attempts to approach them in an honest way, without making them fascinating, mysterious, boring, obscurantist, or fascinatingly mysteriously boringly obscurantist. Outwardly, Misinterest is concerned with dreams and forgetting and Eros and soaring dogs and groups and suicidal suburban teenagers and sex and jury duty and Nazis and fathers and hatred and holy parrots and fundamentalists and plagues and other things that may or may not be interesting. Ultimately, however, it seeks, like Jules Renard, “en restant exact” (in remaining true/real), to shed light on the establishment of misinterest, missingness, and mystery where and when they need not be, and, thus, on the psychic, familial, and political forces that compel us not to be when and where we ought. 30 00 The term “interest” lacks a precise antonym. In English, we have “disinterested” and “uninteresting,” but we want for a term that denotes robust opposition to interest. The same appears to hold true in every other language (as far as we know). Interest’s missing antonym reflects not merely a widespread lexical oversight, but a misrecognition of interest’s complete and exact meaning. More importantly, the idea that interest has no opposite expresses a certain refusal to acknowledge the power of the impulse to extinguish interest, for the self and for others.Why then do we foreclose interest’s possibility, degrade our (and others’) capacities to experience interest, and destroy interest’s objects? Why do we decline what interest proffers — which includes creative and subjective being, thinking, and relating — in favor of more primitive modes of survival, thoughtlessness, and nonbeing? Why do relationships — with ourselves, with others, with objects — toward which genuine interest draws us seem sometimes, if not often, unbearable?These questions are difficult. Their answers, even more so. Misinterest: Essays, Pensées, and Dreams attempts to approach them in an honest way, without making them fascinating, mysterious, boring, obscurantist, or fascinatingly mysteriously boringly obscurantist. Outwardly, Misinterest is concerned with dreams and forgetting and Eros and soaring dogs and groups and suicidal suburban teenagers and sex and jury duty and Nazis and fathers and hatred and holy parrots and fundamentalists and plagues and other things that may or may not be interesting. Ultimately, however, it seeks, like Jules Renard, “en restant exact” (in remaining true/real), to shed light on the establishment of misinterest, missingness, and mystery where and when they need not be, and, thus, on the psychic, familial, and political forces that compel us not to be when and where we ought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0256.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/misinterest-essays-pensees-and-dreams/ Earth, Milky Way 04 01 20190627 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD 06 15 9781950192298 03 9781950192298 34 06 10.1111/j.2044-8295.1949.tb00219.x 34 06 10.1080/02560040701810040 34 06 10.1177/00027649921955236 34 06 10.1080/10570317109373684 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75667 20 08 20190627 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24994 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24994/0256.1.00.pdf?sequence=1&isAllowed=y 20 08 20190627 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33914 20 08 20190627 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353925 20 08 20190627 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/611 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d7d8c8ad-e2d0-4752-86cd-3a8c538cffa2/download 20 08 20190627 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Misinterest/qASVEAAAQBAJ 20 08 20190627 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4d40aa92-380c-4fae-98d8-c598bb32e7c6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4d40aa92-380c-4fae-98d8-c598bb32e7c6/4d40aa92-380c-4fae-98d8-c598bb32e7c6.pdf 20 08 20190627 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847786 29 ZENODO: download the title https://zenodo.org/records/19847786/files/4d40aa92-380c-4fae-98d8-c598bb32e7c6_book.pdf 20 08 20190627 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/misinterest-essays-pensees-and-dreams/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0256.1.00.pdf 20 08 20190627 01 urn:uuid:be863db6-d17f-481d-ac34-5fed95674f5f 03 01 01 thoth-work-id urn:uuid:ee2effea-4051-470b-b4cb-63bccfe30943 01 thoth-publication-id urn:uuid:be863db6-d17f-481d-ac34-5fed95674f5f 15 9780692351260 03 9780692351260 06 10.21983/P3.0087.1.00 01 internal-reference 0087 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Modernity without a Project Essay on the Void Called Contemporary 1 A01 C.B. Johnson C.B. Johnson 40 01sf06y89 Macquarie University 01 eng 00 212 03 12 ACXD2 93 AMA 10 ARC001000 B2 Built Environments 93 6MC B2 Cultural Studies+Critical Theory 93 6PD 20 modernism; cultural studies; architecture; avant-garde art 01 06 02 00 03 00 Entering the 21st century, the postmodern succession has given way to a doom-laden, apolitical orthodoxy. This book offers suggestive readings of “the contemporary” in light of high modernity, postwar modernity, and postmodernity, as framed by the influential institutions of modern art and the spectacles of millennial architecture. Modernity without a Project critiques and connects historical avant-garde currents as they are institutionally expressed or captured, and scrutinizes the remake of New York’s Museum of Modern Art, Minoru Yamasaki’s vanished Utopias, the “anarchitecture” of Lebbeus Woods, recent work of Rem Koolhaas, delirious developments in Dubai, and the unexpected contribution to architectural debate by the late Hugo Chavez 30 00 Entering the 21st century, the postmodern succession has given way to a doom-laden, apolitical orthodoxy. This book offers suggestive readings of “the contemporary” in light of high modernity, postwar modernity, and postmodernity, as framed by the influential institutions of modern art and the spectacles of millennial architecture. Modernity without a Project critiques and connects historical avant-garde currents as they are institutionally expressed or captured, and scrutinizes the remake of New York’s Museum of Modern Art, Minoru Yamasaki’s vanished Utopias, the “anarchitecture” of Lebbeus Woods, recent work of Rem Koolhaas, delirious developments in Dubai, and the unexpected contribution to architectural debate by the late Hugo Chavez 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0087.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/modernity-without-a-project/ Brooklyn, NY 04 01 20150103 Johnson, C.B. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692351264 20 08 20150103 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/modernity-without-a-project-essay-on-the-void-called-contemporary 20 08 20150103 02 23.00 USD WORLD urn:uuid:8fc102a0-cf6f-4e14-aff6-01fbeb0d60d6 03 01 01 thoth-work-id urn:uuid:ee2effea-4051-470b-b4cb-63bccfe30943 01 thoth-publication-id urn:uuid:8fc102a0-cf6f-4e14-aff6-01fbeb0d60d6 06 10.21983/P3.0087.1.00 01 internal-reference 0087 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Modernity without a Project Essay on the Void Called Contemporary 1 A01 C.B. Johnson C.B. Johnson 40 01sf06y89 Macquarie University 01 eng 00 212 03 12 ACXD2 93 AMA 10 ARC001000 B2 Built Environments 93 6MC B2 Cultural Studies+Critical Theory 93 6PD 20 modernism; cultural studies; architecture; avant-garde art 01 06 02 00 03 00 Entering the 21st century, the postmodern succession has given way to a doom-laden, apolitical orthodoxy. This book offers suggestive readings of “the contemporary” in light of high modernity, postwar modernity, and postmodernity, as framed by the influential institutions of modern art and the spectacles of millennial architecture. Modernity without a Project critiques and connects historical avant-garde currents as they are institutionally expressed or captured, and scrutinizes the remake of New York’s Museum of Modern Art, Minoru Yamasaki’s vanished Utopias, the “anarchitecture” of Lebbeus Woods, recent work of Rem Koolhaas, delirious developments in Dubai, and the unexpected contribution to architectural debate by the late Hugo Chavez 30 00 Entering the 21st century, the postmodern succession has given way to a doom-laden, apolitical orthodoxy. This book offers suggestive readings of “the contemporary” in light of high modernity, postwar modernity, and postmodernity, as framed by the influential institutions of modern art and the spectacles of millennial architecture. Modernity without a Project critiques and connects historical avant-garde currents as they are institutionally expressed or captured, and scrutinizes the remake of New York’s Museum of Modern Art, Minoru Yamasaki’s vanished Utopias, the “anarchitecture” of Lebbeus Woods, recent work of Rem Koolhaas, delirious developments in Dubai, and the unexpected contribution to architectural debate by the late Hugo Chavez 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0087.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/modernity-without-a-project/ Brooklyn, NY 04 01 20150103 Johnson, C.B. 02 WORLD 06 15 9780692351260 03 9780692351260 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76478 20 08 20150103 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25534 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25534/1004561.pdf?sequence=1&isAllowed=y 20 08 20150103 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26696 20 08 20150103 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353983 20 08 20150103 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/472 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/35faf890-7a69-43d7-82c5-bc071cf14fe5/download 20 08 20150103 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Modernity_Without_a_Project/JgSVEAAAQBAJ 20 08 20150103 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ee2effea-4051-470b-b4cb-63bccfe30943 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ee2effea-4051-470b-b4cb-63bccfe30943/ee2effea-4051-470b-b4cb-63bccfe30943.pdf 20 08 20150103 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846136 29 ZENODO: download the title https://zenodo.org/records/19846136/files/ee2effea-4051-470b-b4cb-63bccfe30943_book.pdf 20 08 20150103 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/modernity-without-a-project/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0087.1.00.pdf 20 08 20150103 01 urn:uuid:0e92f287-ddff-4b26-a4cd-422386f4f425 03 01 01 thoth-work-id urn:uuid:1445b0f3-7e0d-4ebc-a066-d214ceb6b51d 01 thoth-publication-id urn:uuid:0e92f287-ddff-4b26-a4cd-422386f4f425 15 9781950192335 03 9781950192335 06 10.21983/P3.0260.1.00 13 2019944350 01 internal-reference 0260 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Moonbit 1 A01 21 0000000183577240 James E. Dobson James E. Dobson 40 049s0rh22 Dartmouth College 2 A01 Rena J. Mosteirin Rena J. Mosteirin 01 eng 00 152 03 B2 Cultural Studies+Critical Theory 93 DCC 12 DCF 10 POE005010 B2 Fabulations 10 SCI098020 12 TTDS 93 TTDX B2 Media+Technology 93 TTDS 20 Apollo Mission; digital poetics; computer code; experimental poetry; cultural theory; digital humanities; technology 01 06 02 00 03 00 Moonbit is a hybrid work comprised of experimental poetry and a critical theory of the poetics and politics of computer code. It offers an extended intellectual and creative engagement with the affordances of computer software through multiple readings and re-writings of a singular text, the source code of the Apollo 11 Guidance Computer or the “AGC.” Moonbit re-marks and remixes the code that made space travel possible. Half of this book is erasure poetry that uses the AGC code as the source text, building on the premise that code can speak beyond its functional purpose.When we think about the 1960s U.S. space program and obscure scientific computer code, we might not first think about the Watts riots, Shakespeare, Winnie the Pooh, T.S. Eliot, or scatological jokes. Yet these cultural references and influences along with many more are scattered throughout the body of the code that powered the compact digital computer that successfully guided astronauts to the Moon and back and in July of 1969. Moonbit unravels and rewrites the many embedded cultural references that were braided together within the language resources of mid-century computer code.Moonbit also provides a gentle, non-expert introduction to the text of the AGC code, to digital poetics, and to critical code studies. Outlining a capacious interpretive practice, Moonbit takes up all manner of imaginative decodings and recodings of this code. It introduces some of the major existing approaches to the study of code and culture while provide multiple readings of the source code along with an explanation and theorization of the way in which the code works, as both a computational and a cultural text. 30 00 Moonbit is a hybrid work comprised of experimental poetry and a critical theory of the poetics and politics of computer code. It offers an extended intellectual and creative engagement with the affordances of computer software through multiple readings and re-writings of a singular text, the source code of the Apollo 11 Guidance Computer or the “AGC.” Moonbit re-marks and remixes the code that made space travel possible. Half of this book is erasure poetry that uses the AGC code as the source text, building on the premise that code can speak beyond its functional purpose.When we think about the 1960s U.S. space program and obscure scientific computer code, we might not first think about the Watts riots, Shakespeare, Winnie the Pooh, T.S. Eliot, or scatological jokes. Yet these cultural references and influences along with many more are scattered throughout the body of the code that powered the compact digital computer that successfully guided astronauts to the Moon and back and in July of 1969. Moonbit unravels and rewrites the many embedded cultural references that were braided together within the language resources of mid-century computer code.Moonbit also provides a gentle, non-expert introduction to the text of the AGC code, to digital poetics, and to critical code studies. Outlining a capacious interpretive practice, Moonbit takes up all manner of imaginative decodings and recodings of this code. It introduces some of the major existing approaches to the study of code and culture while provide multiple readings of the source code along with an explanation and theorization of the way in which the code works, as both a computational and a cultural text. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0260.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/moonbit/ 16 40 049s0rh22 32 10.13039/100008299 Dartmouth College Earth, Milky Way 04 01 20190720 Dobson, James E. Mosteirin, Rena J. 02 WORLD 06 15 9781950192342 03 9781950192342 34 06 10.1353/aq.2014.0070 34 06 10.2307/358481 34 06 10.1111/j.1469-1809.1936.tb02137.x 34 06 10.5840/jpr_1998_16 34 06 10.1093/comjnl/27.2.97 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192334 20 08 20190720 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/moonbit 20 08 20190720 02 23.00 USD WORLD urn:uuid:06cdc86b-5d41-4686-aacb-4ae6ac027f71 03 01 01 thoth-work-id urn:uuid:1445b0f3-7e0d-4ebc-a066-d214ceb6b51d 01 thoth-publication-id urn:uuid:06cdc86b-5d41-4686-aacb-4ae6ac027f71 15 9781950192342 03 9781950192342 06 10.21983/P3.0260.1.00 13 2019944350 01 internal-reference 0260 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Moonbit 1 A01 21 0000000183577240 James E. Dobson James E. Dobson 40 049s0rh22 Dartmouth College 2 A01 Rena J. Mosteirin Rena J. Mosteirin 01 eng 00 152 03 B2 Cultural Studies+Critical Theory 93 DCC 12 DCF 10 POE005010 B2 Fabulations 10 SCI098020 12 TTDS 93 TTDX B2 Media+Technology 93 TTDS 20 Apollo Mission; digital poetics; computer code; experimental poetry; cultural theory; digital humanities; technology 01 06 02 00 03 00 Moonbit is a hybrid work comprised of experimental poetry and a critical theory of the poetics and politics of computer code. It offers an extended intellectual and creative engagement with the affordances of computer software through multiple readings and re-writings of a singular text, the source code of the Apollo 11 Guidance Computer or the “AGC.” Moonbit re-marks and remixes the code that made space travel possible. Half of this book is erasure poetry that uses the AGC code as the source text, building on the premise that code can speak beyond its functional purpose.When we think about the 1960s U.S. space program and obscure scientific computer code, we might not first think about the Watts riots, Shakespeare, Winnie the Pooh, T.S. Eliot, or scatological jokes. Yet these cultural references and influences along with many more are scattered throughout the body of the code that powered the compact digital computer that successfully guided astronauts to the Moon and back and in July of 1969. Moonbit unravels and rewrites the many embedded cultural references that were braided together within the language resources of mid-century computer code.Moonbit also provides a gentle, non-expert introduction to the text of the AGC code, to digital poetics, and to critical code studies. Outlining a capacious interpretive practice, Moonbit takes up all manner of imaginative decodings and recodings of this code. It introduces some of the major existing approaches to the study of code and culture while provide multiple readings of the source code along with an explanation and theorization of the way in which the code works, as both a computational and a cultural text. 30 00 Moonbit is a hybrid work comprised of experimental poetry and a critical theory of the poetics and politics of computer code. It offers an extended intellectual and creative engagement with the affordances of computer software through multiple readings and re-writings of a singular text, the source code of the Apollo 11 Guidance Computer or the “AGC.” Moonbit re-marks and remixes the code that made space travel possible. Half of this book is erasure poetry that uses the AGC code as the source text, building on the premise that code can speak beyond its functional purpose.When we think about the 1960s U.S. space program and obscure scientific computer code, we might not first think about the Watts riots, Shakespeare, Winnie the Pooh, T.S. Eliot, or scatological jokes. Yet these cultural references and influences along with many more are scattered throughout the body of the code that powered the compact digital computer that successfully guided astronauts to the Moon and back and in July of 1969. Moonbit unravels and rewrites the many embedded cultural references that were braided together within the language resources of mid-century computer code.Moonbit also provides a gentle, non-expert introduction to the text of the AGC code, to digital poetics, and to critical code studies. Outlining a capacious interpretive practice, Moonbit takes up all manner of imaginative decodings and recodings of this code. It introduces some of the major existing approaches to the study of code and culture while provide multiple readings of the source code along with an explanation and theorization of the way in which the code works, as both a computational and a cultural text. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0260.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/moonbit/ 16 40 049s0rh22 32 10.13039/100008299 Dartmouth College Earth, Milky Way 04 01 20190720 Dobson, James E. Mosteirin, Rena J. 02 WORLD 06 15 9781950192335 03 9781950192335 34 06 10.1353/aq.2014.0070 34 06 10.2307/358481 34 06 10.1111/j.1469-1809.1936.tb02137.x 34 06 10.5840/jpr_1998_16 34 06 10.1093/comjnl/27.2.97 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75670 20 08 20190720 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24881 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24881/0260.1.00.pdf?sequence=1&isAllowed=y 20 08 20190720 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32143 20 08 20190720 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353885 20 08 20190720 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/613 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ccf5da52-5879-4219-8401-3b2df3ceabcc/download 20 08 20190720 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Moonbit/qgSVEAAAQBAJ 20 08 20190720 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1445b0f3-7e0d-4ebc-a066-d214ceb6b51d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1445b0f3-7e0d-4ebc-a066-d214ceb6b51d/1445b0f3-7e0d-4ebc-a066-d214ceb6b51d.pdf 20 08 20190720 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847820 29 ZENODO: download the title https://zenodo.org/records/19847820/files/1445b0f3-7e0d-4ebc-a066-d214ceb6b51d_book.pdf 20 08 20190720 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/moonbit/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0260.1.00.pdf 20 08 20190720 01 urn:uuid:5198d76c-7234-4a46-8b07-4971d2dee3e3 03 01 01 thoth-work-id urn:uuid:8d778210-0ef3-47fa-b106-ea173874259b 01 thoth-publication-id urn:uuid:5198d76c-7234-4a46-8b07-4971d2dee3e3 15 9780692622018 03 9780692622018 06 10.21983/P3.0127.1.00 01 internal-reference 0127 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 More&More A Guide to a Harmonized System 1 B01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 2 A32 21 0000000168911343 Stacy Alaimo Stacy Alaimo 40 019kgqr73 The University of Texas at Arlington 3 A32 Heather Davis Heather Davis 40 04p491231 Pennsylvania State University 4 A32 Kathleen Forde Kathleen Forde 5 A32 21 0000000250945614 Dylan Gauthier Dylan Gauthier 6 A32 Elena Glasberg Elena Glasberg 7 A32 Kalliopi Mathios Kalliopi Mathios 8 A32 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 9 A32 Astrida Neimanis Astrida Neimanis 40 0384j8v12 University of Sydney 10 A32 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 11 A32 21 0000000318474864 Elspeth Probyn Elspeth Probyn 40 0384j8v12 University of Sydney 12 A32 Sarah Rothberg Sarah Rothberg 13 A32 Phil Steinberg Phil Steinberg 40 01v29qb04 Durham University 14 A32 Rita Wong Rita Wong 40 03k788b92 Emily Carr University of Art and Design 15 A32 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 01 eng 00 496 03 12 AGB 93 AGB 10 ART006000 B2 Art+Aesthetics B2 Capital+Lucre 20 exhibition catalog 01 06 02 00 03 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow.Its companion book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde. 30 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow.Its companion book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0127.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/moremore-a-guide-to-the-harmonized-system/ Brooklyn, NY 04 01 20160129 Zurkow, Marina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2geBTwO 20 08 20160129 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/moremore-a-guide-to-a-harmonized-system 20 08 20160129 02 27.00 USD WORLD urn:uuid:908e0235-4a49-428e-95d1-55678844d94a 03 01 01 thoth-work-id urn:uuid:8d778210-0ef3-47fa-b106-ea173874259b 01 thoth-publication-id urn:uuid:908e0235-4a49-428e-95d1-55678844d94a 06 10.21983/P3.0127.1.00 01 internal-reference 0127 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 More&More A Guide to a Harmonized System 1 B01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 2 A32 21 0000000168911343 Stacy Alaimo Stacy Alaimo 40 019kgqr73 The University of Texas at Arlington 3 A32 Heather Davis Heather Davis 40 04p491231 Pennsylvania State University 4 A32 Kathleen Forde Kathleen Forde 5 A32 21 0000000250945614 Dylan Gauthier Dylan Gauthier 6 A32 Elena Glasberg Elena Glasberg 7 A32 Kalliopi Mathios Kalliopi Mathios 8 A32 21 000000027118798X Steve Mentz Steve Mentz 40 00bgtad15 St. John’s University 9 A32 Astrida Neimanis Astrida Neimanis 40 0384j8v12 University of Sydney 10 A32 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 11 A32 21 0000000318474864 Elspeth Probyn Elspeth Probyn 40 0384j8v12 University of Sydney 12 A32 Sarah Rothberg Sarah Rothberg 13 A32 Phil Steinberg Phil Steinberg 40 01v29qb04 Durham University 14 A32 Rita Wong Rita Wong 40 03k788b92 Emily Carr University of Art and Design 15 A32 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 01 eng 00 496 03 12 AGB 93 AGB 10 ART006000 B2 Art+Aesthetics B2 Capital+Lucre 20 exhibition catalog 01 06 02 00 03 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow.Its companion book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde. 30 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow.Its companion book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0127.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/moremore-a-guide-to-the-harmonized-system/ Brooklyn, NY 04 01 20160129 Zurkow, Marina 02 WORLD 06 15 9780692622018 03 9780692622018 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25497 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25497/1004598.pdf?sequence=1&isAllowed=y 20 08 20160129 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30282 20 08 20160129 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353789 20 08 20160129 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/509 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1e5ae55a-65e8-4175-a923-61be51f2d4c8/download 20 08 20160129 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/More_More/4G2oEAAAQBAJ 20 08 20160129 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8d778210-0ef3-47fa-b106-ea173874259b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8d778210-0ef3-47fa-b106-ea173874259b/8d778210-0ef3-47fa-b106-ea173874259b.pdf 20 08 20160129 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846426 29 ZENODO: download the title https://zenodo.org/records/19846426/files/8d778210-0ef3-47fa-b106-ea173874259b_book.pdf 20 08 20160129 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/moremore-a-guide-to-the-harmonized-system/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0127.1.00.pdf 20 08 20160129 01 urn:uuid:7810e17a-3496-4399-966f-09ec99f4208f 03 01 01 thoth-work-id urn:uuid:5482b275-d814-4dc9-a429-92c0aeb05f3a 01 thoth-publication-id urn:uuid:7810e17a-3496-4399-966f-09ec99f4208f 15 9780692622001 03 9780692622001 06 10.21983/P3.0126.1.00 01 internal-reference 0126 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 More&More The Invisible Oceans 1 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 2 A01 Sarah Rothberg Sarah Rothberg 40 0190ak572 New York University 3 A01 Surya Mattu Surya Mattu 4 B01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 01 eng 00 56 03 12 AGB 93 AGB 10 ART006000 B2 Art+Aesthetics B2 Capital+Lucre 20 exhibition catalog 01 06 02 00 03 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde.Its companion book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow. 30 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde.Its companion book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0126.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/moremore-the-invisible-oceans/ Brooklyn, NY 04 01 20160129 Zurkow, Marina Rothberg, Sarah Mattu, Surya Piuma, Chris 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692622004 20 08 20160129 02 33.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/moremore-the-invisible-oceans 20 08 20160129 02 33.00 USD WORLD urn:uuid:1a52fb76-6f5d-4cf2-b828-6b55d8248c34 03 01 01 thoth-work-id urn:uuid:5482b275-d814-4dc9-a429-92c0aeb05f3a 01 thoth-publication-id urn:uuid:1a52fb76-6f5d-4cf2-b828-6b55d8248c34 06 10.21983/P3.0126.1.00 01 internal-reference 0126 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 More&More The Invisible Oceans 1 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 2 A01 Sarah Rothberg Sarah Rothberg 40 0190ak572 New York University 3 A01 Surya Mattu Surya Mattu 4 B01 Chris Piuma Chris Piuma 40 03dbr7087 University of Toronto 01 eng 00 56 03 12 AGB 93 AGB 10 ART006000 B2 Art+Aesthetics B2 Capital+Lucre 20 exhibition catalog 01 06 02 00 03 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde.Its companion book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow. 30 00 More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde.Its companion book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0126.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/moremore-the-invisible-oceans/ Brooklyn, NY 04 01 20160129 Zurkow, Marina Rothberg, Sarah Mattu, Surya Piuma, Chris 02 WORLD 06 15 9780692622001 03 9780692622001 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25498 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25498/1004597.pdf?sequence=1&isAllowed=y 20 08 20160129 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30802 20 08 20160129 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353906 20 08 20160129 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/508 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c65191a3-67ca-463f-8db8-f38ba700635d/download 20 08 20160129 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5482b275-d814-4dc9-a429-92c0aeb05f3a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5482b275-d814-4dc9-a429-92c0aeb05f3a/5482b275-d814-4dc9-a429-92c0aeb05f3a.pdf 20 08 20160129 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846420 29 ZENODO: download the title https://zenodo.org/records/19846420/files/5482b275-d814-4dc9-a429-92c0aeb05f3a_book.pdf 20 08 20160129 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/moremore-the-invisible-oceans/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0126.1.00.pdf 20 08 20160129 01 urn:uuid:6d7d35df-055b-4f00-ad2e-4968abb4ddcd 03 01 01 thoth-work-id urn:uuid:412acefd-6a82-429c-b9c5-9e5d96a27afb 01 thoth-publication-id urn:uuid:6d7d35df-055b-4f00-ad2e-4968abb4ddcd 15 9781685712563 03 9781685712563 06 10.53288/0506.1.00 13 2024951708 01 internal-reference 0506 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 102 mm 02 10.2 cm 02 4 in 03 13 mm 03 1.3 cm 03 0.53 in 08 213 gr 08 7.5 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Mourning the Ends Collaborative Writing and Performance 1 A01 Maria Shantelle Alexies Ambayec Maria Shantelle Alexies Ambayec Toronto Film School Maria Shantelle Alexies Ambayec is a Filipino environmentalist, actress, and producer. She has an MA in Theatre Arts from the University of the Philippines, Diliman. Her research focuses on the collaborative possibilities of environment and performance through the Pasig River rehabilitation project. She is currently based in Toronto, Canada and her current creative pursuits can be viewed on her Instagram account: @iamthegreatalecks. 2 A01 Kristof van Baarle Kristof van Baarle post-doctoral researcher 40 008x57b05 University of Antwerp Kristof van Baarle is dramaturg and chair of the Drama Program at the Royal Academy of Fine Arts in Ghent, Belgium. As a dramaturg, Kristof is a longtime collaborator of Kris Verdonck/A Two Dogs Company, Michiel Vandevelde, and Thomas Ryckewaert. He has published about his research and dramaturgical works in various book chapters and in academic and other journals, such as Performance Research, Etcetera, and Documenta. Since 2021, he has been Associate Editor for Performance Research. 3 A01 Peter Burke Peter Burke artist and lecturer in Design and Production, Victorian College of the Arts, Faculty of Fine Arts and Music 40 01ej9dk98 University of Melbourne Peter Burke is an artist and teacher situated in Naarm, Melbourne in Australia. His work uses socially engaged strategies combined with current concerns and conventions of art, especially those involving social interaction in public spaces. By these means, he examines topical issues and questions the general condition of contemporary society. His projects intersect with painting, drawing, performance, video, and mass media. He currently lectures in the Victorian College of the Arts at the University of Melbourne. 4 A01 Renata Gaspar Renata Gaspar invited Adjunct Professor at the Theater Department at ESMAE Politécnico do Porto Renata Gaspar is an artist and independent performance studies researcher. Her work focuses on the socio-political construction of place in/through art-making, particularly on mobility in relation to language and belonging. She holds a PhD in Performance Studies from the University of Roehampton and collaborates with the Artistic Creation, Cultural Practices and Policies research group at the Institute of Sociology, University of Porto. She is an invited adjunct professor in the Theatre Department at the Escola Superior de Música e Artes do Espetáculo, in Porto, Portugal. 5 A01 Sozita Goudouna Sozita Goudouna Adjunct Professor 40 01khx4a30 Goldsmiths University of London Sozita Goudouna is a visiting professor at Goldsmiths, University of London where she initiated and teaches in the MA program in Breath Studies. She is also the editor of the 2024 issue of Performance Research, “On Breath.” She taught in the MA program in the Steinhardt Department of Art at New York University as the inaugural Andrew W. Mellon Post-doctoral Curator Fellow at Performa NYC and has held adjunct positions at City University New York (CUNY), teaching Renaissance, modern, and contemporary art history. She also taught in the Architecture Department of Roger Williams University and the Cultural Management Department at the University of the Peloponnese. She is the author of Beckett's Breath: Anti-theatricality and the Visual Arts (Edinburgh, 2018), and in 2022 she was the winner of the British Council's Culture and Creativity UK Study Award. 6 A01 Nilüfer Ovalıoğlu Gros Nilüfer Ovalıoğlu Gros Doctoral student 40 013cjyk83 PSL Research University Nilüfer Ovalıoğlu Gros is a contemporary theater maker and performance studies researcher from Istanbul, based in Paris. She has pursued her artistic and academic career in the United States (MFA), England (PhD), Turkey, and France. Her work focuses on gendered rebellion and revisits history through embodied research methods. She creates through sounds, myths, and testimonies that challenge official state-nation narratives, particularly those of northern Mesopotamia. She has published articles in the Journal of Embodied Research and Performance Research Journal. She is currently a doctoral researcher at the National Academy of Dramatic Arts (CNSAD-PSL) in Paris where she pursues practice-based research on the viscerality of gendered resistance. 7 A01 Adham Hafez Adham Hafez PhD candidate 40 0190ak572 New York University Adham Hafez is an award-winning artist working with choreography and sound, a theorist focusing on cognitive injustice, and a curator working with underrepresented historical narratives and minoritarian discourses. He is a PhD candidate at New York University with several MA degrees in political science from SciencesPo Paris, in choreography from Amsterdam University of the Arts, and in philosophy from New York University. Adam is the founder of HaRaKa, an Arab-International platform dedicated to movement and performance research and production. Currently he is the creative director of Wizara, the first blockchain-based company built by artists for artists. 8 A01 Jan-Tage Kühling Jan-Tage Kühling Jan-Tage Kühling is a theater and performance scholar, theater maker, and cultural worker. Currently, he is the director of the Goethe-Centre in Yerevan, Armenia. Prior to this, he was connected to the independent performance scene in Berlin, Germany, where he was working for the Performing Arts Program. He holds a PhD in Performance Studies from Freie Universität Berlin and an MA in Applied Theatre Studies from JLU Giessen. His artistic and theoretical interests include non-professional aesthetics, notions of home, and questions of transculturality, especially in "Central and Eastern" Europe. 9 A01 Eero Laine Eero Laine Associate Professor and Chair of the Department of Theatre and Dance 40 01y64my43 University at Buffalo, State University of New York Eero Laine is Associate Professor in the Department of Theatre and Dance at the University at Buffalo, State University of New York. He is co-editor of Lateral, the journal of the Cultural Studies Association, and participates in the Ends Network, developing collaborative methodologies for performance scholarship. 10 A01 Sarah Lucie Sarah Lucie 40 0190ak572 New York University 40 000psz759 Marymount Manhattan College Sarah Lucie is Visiting Assistant Professor of Theatre at Worcester Polytechnic Institute in the Arts and Humanities Department. She holds a PhD in Theater and Performance from The Graduate Center, City University of New York and an MA in Performance Studies from New York University. Her research approaches contemporary performance through new materialism, ecocritical theory, and posthumanism, and she is assistant editor of The Drama Review. 11 A01 Juliana Martins Rodrigues de Moraes Juliana Martins Rodrigues de Moraes Assistant Professor of the Corporeal Arts Department and the Performing Arts Graduate Program 40 04wffgt70 Universidade Estadual de Campinas Juliana Moraes is Assistant Professor of Dance at University of Campinas (UNICAMP), Brazil. An artist based in São Paulo and Campinas, her research engages with choreography and corporeality in theory and practice. Juliana holds a PhD in Arts from UNICAMP and an MA in Dance Studies from Trinity Laban Conservatoire for Music and Dance. She has received honors such as the Sao Paulo State Art Critics Award, Vitae Foundation Scholarship, and the UNESCO Aschberg Bursary for Artists. She is the director of the Laboratory for Experimental Practices in Choreography at UNICAMP's Corporeal Arts Department. 12 A01 Evan Moritz Evan Moritz PhD student 40 03dbr7087 University of Toronto Evan Moritz is a PhD student at the University of Toronto’s Center for Drama, Theatre, and Performance Studies who received his MA in Theater and Performance at the University at Buffalo, State University of New York. He is interested in the outer limits of science-fiction and fact with current research focused on performances about Martian settlement and knowledge-making in the Canadian Arctic. 13 A01 Malin Palani Malin Palani Malin Palani is a theater and performing artist and thinker working from Waterloo, Iowa in the United States. 14 A01 Rumen Rachev Rumen Rachev assistant researcher 40 01zvqw119 Auckland University of Technology Rumen Rachev holds an MA in Media and Performance Studies from Utrecht University, the Netherlands, and has been actively engaged in practice-led research since 2017. He is also the co-founder of NEWS (Negative Emissions and Waste Studies Programme) and is Creative Guest, Wairua Awhina (Helping Spirit), and Director of 希望学 (Hope-ology) at Activities and Research in Environments for the Creativity Charitable Trust. Currently he holds the position of research assistant at the University of Auckland. 15 A01 Aneta Stojnić Aneta Stojnić Aneta Stojnić, PhD, is a licensed psychoanalyst in private practice in New York City and a co-director of CAP Child and Adolescent Program at the Institute for Psychoanalytic Training and Research. Alongside psychoanalysis, Aneta’s areas of research include artistic and theoretical practices at the intersections of art, culture, and politics. She has published two books and two co-edited volumes, including Shifting Corporealities in Contemporary Performance: Danger, Im/mobility and Politics (Palgrave, 2018) as well as dozens of peer-reviewed articles on contemporary art, media, and culture. She is one of the editors of the magazine ROOM: A Sketchbook for Analytic Action and co-host of the Room podcast. Aneta has also authored numerous artistic and curatorial projects in collaboration with renowned institutions and organisations all over Europe and she has taught performance, art, and media theory at universities and art academies in Vienna, Belgrade, and Ghent. She regularly presents her work and research at conferences and festivals worldwide. 01 eng 00 234 03 12 AFKP 93 AFKP 10 ART060000 B2 Art+Aesthetics 10 ART009000 12 GPS 93 GPS B2 Humanities+University B2 Thought Experiments 20 performance studies; ecology; climate emergency; methodology in art; experimental methodologies; extinction; artistic research 01 06 02 00 03 00 Mourning the Ends: Collaborative Writing and Performance is an opening, a beginning, an attempt to rethink how we can be, think, and work together. This book, authored by a multitude, explores new methodologies of collaborative scholarship for the arts and humanities within the context of the various ecological, medical, military, and epistemic ends facing the world.The authors of Mourning the Ends performed an experimental methodology as the book was researched, written, and revised by fifteen individuals situated across the globe. The writing emerged in part from a shared sense of mourning through the global pandemic and ongoing ecological catastrophes, yet the questions and arguments that are raised are immediately relevant as the rolling crises of our contemporary moment play out and further develop. The volume challenges a number of key areas in performance studies as well as foundational expectations and assumptions of the arts and humanities more broadly—namely, that writing and scholarship should be solitary endeavors. The authors write back against the model of thinking and studying that centers the singular genius, especially against the backdrop of enduring and apparent end times.Mourning the Ends is in some ways a rehearsal for another future, a speculative engagement with performance, ecology, and academic affiliation beyond institutional bounds—a methodology for shared mourning, performance, and thinking. 30 00 Mourning the Ends: Collaborative Writing and Performance is an opening, a beginning, an attempt to rethink how we can be, think, and work together. This book, authored by a multitude, explores new methodologies of collaborative scholarship for the arts and humanities within the context of the various ecological, medical, military, and epistemic ends facing the world.The authors of Mourning the Ends performed an experimental methodology as the book was researched, written, and revised by fifteen individuals situated across the globe. The writing emerged in part from a shared sense of mourning through the global pandemic and ongoing ecological catastrophes, yet the questions and arguments that are raised are immediately relevant as the rolling crises of our contemporary moment play out and further develop. The volume challenges a number of key areas in performance studies as well as foundational expectations and assumptions of the arts and humanities more broadly—namely, that writing and scholarship should be solitary endeavors. The authors write back against the model of thinking and studying that centers the singular genius, especially against the backdrop of enduring and apparent end times.Mourning the Ends is in some ways a rehearsal for another future, a speculative engagement with performance, ecology, and academic affiliation beyond institutional bounds—a methodology for shared mourning, performance, and thinking. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0506.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mourning-the-ends-collaborative-writing-and-performance/ Earth, Milky Way 04 01 20250321 Maria Shantelle Alexies Ambayec, Kristof van Baarle, Peter Burke, Renata Gaspar, Sozita Goudouna, Nilüfer Ovalıoğlu Gros, Adham Hafez, Jan-Tage Kühling, Eero Laine, Sarah Lucie, Juliana Moraes, Evan Moritz, Malin Palani, Rumen Rachev, Aneta Stojnić 02 WORLD 06 15 9781685712570 03 9781685712570 34 06 10.33303/gpsv4n2a1 34 06 10.1007/s10164-015-0451-7 34 06 10.1080/13528165.2022.2197430 34 06 10.1353/tae.0.0122 34 06 10.1080/24740500.2018.1514958 34 06 10.1353/dtc.2021.0038 34 06 10.1111/anti.12093 34 06 10.1126/sciadv.1400253 34 06 10.1080/10462937.2019.1620960 34 06 10.1086/596640 34 06 10.1215/01610775-25-1-23 34 06 10.1353/tt.2021.0025 34 06 10.1111/1365-2664.12076/ 34 06 10.1080/24694452.2020.1843995 34 06 10.2307/3685005 34 06 10.16995/jer.23 34 06 10.1215/22011919-3615934 34 06 10.1007/978-3-030-84774-6 34 06 10.1017/irn.2023.43 34 06 10.1080/14688417.2016.1206695 34 06 10.1353/dia.0.0019 34 06 10.1215/08992363-15-1-11 34 06 10.1080/03085147.2011.637335 34 06 10.3898/NEWF.70.07.2010 34 06 10.1215/0094033X-2753672 34 06 10.1017/S0010417519000112 34 06 10.1080/13528165.2001.10871792 34 06 10.1111/jzo.12416 34 06 10.25158/L8.2.3 34 06 10.21627/2020fa 34 06 10.1002/jqs.1227 34 06 10.1525/abt.2011.73.2.5 34 06 10.1353/tj.2005.0040 34 06 10.1086/338946 34 06 10.5749/culturalcritique.93.2016.0151 34 06 10.1126/science.1246752 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712568 20 08 20250321 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/mourning-the-ends-collaborative-writing-and-performance 20 08 20250321 02 24.00 USD WORLD urn:uuid:05d2e60e-a2bb-4b82-a16d-3b89bde3e7d7 03 01 01 thoth-work-id urn:uuid:412acefd-6a82-429c-b9c5-9e5d96a27afb 01 thoth-publication-id urn:uuid:05d2e60e-a2bb-4b82-a16d-3b89bde3e7d7 15 9781685712570 03 9781685712570 06 10.53288/0506.1.00 13 2024951708 01 internal-reference 0506 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Mourning the Ends Collaborative Writing and Performance 1 A01 Maria Shantelle Alexies Ambayec Maria Shantelle Alexies Ambayec Toronto Film School Maria Shantelle Alexies Ambayec is a Filipino environmentalist, actress, and producer. She has an MA in Theatre Arts from the University of the Philippines, Diliman. Her research focuses on the collaborative possibilities of environment and performance through the Pasig River rehabilitation project. She is currently based in Toronto, Canada and her current creative pursuits can be viewed on her Instagram account: @iamthegreatalecks. 2 A01 Kristof van Baarle Kristof van Baarle post-doctoral researcher 40 008x57b05 University of Antwerp Kristof van Baarle is dramaturg and chair of the Drama Program at the Royal Academy of Fine Arts in Ghent, Belgium. As a dramaturg, Kristof is a longtime collaborator of Kris Verdonck/A Two Dogs Company, Michiel Vandevelde, and Thomas Ryckewaert. He has published about his research and dramaturgical works in various book chapters and in academic and other journals, such as Performance Research, Etcetera, and Documenta. Since 2021, he has been Associate Editor for Performance Research. 3 A01 Peter Burke Peter Burke artist and lecturer in Design and Production, Victorian College of the Arts, Faculty of Fine Arts and Music 40 01ej9dk98 University of Melbourne Peter Burke is an artist and teacher situated in Naarm, Melbourne in Australia. His work uses socially engaged strategies combined with current concerns and conventions of art, especially those involving social interaction in public spaces. By these means, he examines topical issues and questions the general condition of contemporary society. His projects intersect with painting, drawing, performance, video, and mass media. He currently lectures in the Victorian College of the Arts at the University of Melbourne. 4 A01 Renata Gaspar Renata Gaspar invited Adjunct Professor at the Theater Department at ESMAE Politécnico do Porto Renata Gaspar is an artist and independent performance studies researcher. Her work focuses on the socio-political construction of place in/through art-making, particularly on mobility in relation to language and belonging. She holds a PhD in Performance Studies from the University of Roehampton and collaborates with the Artistic Creation, Cultural Practices and Policies research group at the Institute of Sociology, University of Porto. She is an invited adjunct professor in the Theatre Department at the Escola Superior de Música e Artes do Espetáculo, in Porto, Portugal. 5 A01 Sozita Goudouna Sozita Goudouna Adjunct Professor 40 01khx4a30 Goldsmiths University of London Sozita Goudouna is a visiting professor at Goldsmiths, University of London where she initiated and teaches in the MA program in Breath Studies. She is also the editor of the 2024 issue of Performance Research, “On Breath.” She taught in the MA program in the Steinhardt Department of Art at New York University as the inaugural Andrew W. Mellon Post-doctoral Curator Fellow at Performa NYC and has held adjunct positions at City University New York (CUNY), teaching Renaissance, modern, and contemporary art history. She also taught in the Architecture Department of Roger Williams University and the Cultural Management Department at the University of the Peloponnese. She is the author of Beckett's Breath: Anti-theatricality and the Visual Arts (Edinburgh, 2018), and in 2022 she was the winner of the British Council's Culture and Creativity UK Study Award. 6 A01 Nilüfer Ovalıoğlu Gros Nilüfer Ovalıoğlu Gros Doctoral student 40 013cjyk83 PSL Research University Nilüfer Ovalıoğlu Gros is a contemporary theater maker and performance studies researcher from Istanbul, based in Paris. She has pursued her artistic and academic career in the United States (MFA), England (PhD), Turkey, and France. Her work focuses on gendered rebellion and revisits history through embodied research methods. She creates through sounds, myths, and testimonies that challenge official state-nation narratives, particularly those of northern Mesopotamia. She has published articles in the Journal of Embodied Research and Performance Research Journal. She is currently a doctoral researcher at the National Academy of Dramatic Arts (CNSAD-PSL) in Paris where she pursues practice-based research on the viscerality of gendered resistance. 7 A01 Adham Hafez Adham Hafez PhD candidate 40 0190ak572 New York University Adham Hafez is an award-winning artist working with choreography and sound, a theorist focusing on cognitive injustice, and a curator working with underrepresented historical narratives and minoritarian discourses. He is a PhD candidate at New York University with several MA degrees in political science from SciencesPo Paris, in choreography from Amsterdam University of the Arts, and in philosophy from New York University. Adam is the founder of HaRaKa, an Arab-International platform dedicated to movement and performance research and production. Currently he is the creative director of Wizara, the first blockchain-based company built by artists for artists. 8 A01 Jan-Tage Kühling Jan-Tage Kühling Jan-Tage Kühling is a theater and performance scholar, theater maker, and cultural worker. Currently, he is the director of the Goethe-Centre in Yerevan, Armenia. Prior to this, he was connected to the independent performance scene in Berlin, Germany, where he was working for the Performing Arts Program. He holds a PhD in Performance Studies from Freie Universität Berlin and an MA in Applied Theatre Studies from JLU Giessen. His artistic and theoretical interests include non-professional aesthetics, notions of home, and questions of transculturality, especially in "Central and Eastern" Europe. 9 A01 Eero Laine Eero Laine Associate Professor and Chair of the Department of Theatre and Dance 40 01y64my43 University at Buffalo, State University of New York Eero Laine is Associate Professor in the Department of Theatre and Dance at the University at Buffalo, State University of New York. He is co-editor of Lateral, the journal of the Cultural Studies Association, and participates in the Ends Network, developing collaborative methodologies for performance scholarship. 10 A01 Sarah Lucie Sarah Lucie 40 0190ak572 New York University 40 000psz759 Marymount Manhattan College Sarah Lucie is Visiting Assistant Professor of Theatre at Worcester Polytechnic Institute in the Arts and Humanities Department. She holds a PhD in Theater and Performance from The Graduate Center, City University of New York and an MA in Performance Studies from New York University. Her research approaches contemporary performance through new materialism, ecocritical theory, and posthumanism, and she is assistant editor of The Drama Review. 11 A01 Juliana Martins Rodrigues de Moraes Juliana Martins Rodrigues de Moraes Assistant Professor of the Corporeal Arts Department and the Performing Arts Graduate Program 40 04wffgt70 Universidade Estadual de Campinas Juliana Moraes is Assistant Professor of Dance at University of Campinas (UNICAMP), Brazil. An artist based in São Paulo and Campinas, her research engages with choreography and corporeality in theory and practice. Juliana holds a PhD in Arts from UNICAMP and an MA in Dance Studies from Trinity Laban Conservatoire for Music and Dance. She has received honors such as the Sao Paulo State Art Critics Award, Vitae Foundation Scholarship, and the UNESCO Aschberg Bursary for Artists. She is the director of the Laboratory for Experimental Practices in Choreography at UNICAMP's Corporeal Arts Department. 12 A01 Evan Moritz Evan Moritz PhD student 40 03dbr7087 University of Toronto Evan Moritz is a PhD student at the University of Toronto’s Center for Drama, Theatre, and Performance Studies who received his MA in Theater and Performance at the University at Buffalo, State University of New York. He is interested in the outer limits of science-fiction and fact with current research focused on performances about Martian settlement and knowledge-making in the Canadian Arctic. 13 A01 Malin Palani Malin Palani Malin Palani is a theater and performing artist and thinker working from Waterloo, Iowa in the United States. 14 A01 Rumen Rachev Rumen Rachev assistant researcher 40 01zvqw119 Auckland University of Technology Rumen Rachev holds an MA in Media and Performance Studies from Utrecht University, the Netherlands, and has been actively engaged in practice-led research since 2017. He is also the co-founder of NEWS (Negative Emissions and Waste Studies Programme) and is Creative Guest, Wairua Awhina (Helping Spirit), and Director of 希望学 (Hope-ology) at Activities and Research in Environments for the Creativity Charitable Trust. Currently he holds the position of research assistant at the University of Auckland. 15 A01 Aneta Stojnić Aneta Stojnić Aneta Stojnić, PhD, is a licensed psychoanalyst in private practice in New York City and a co-director of CAP Child and Adolescent Program at the Institute for Psychoanalytic Training and Research. Alongside psychoanalysis, Aneta’s areas of research include artistic and theoretical practices at the intersections of art, culture, and politics. She has published two books and two co-edited volumes, including Shifting Corporealities in Contemporary Performance: Danger, Im/mobility and Politics (Palgrave, 2018) as well as dozens of peer-reviewed articles on contemporary art, media, and culture. She is one of the editors of the magazine ROOM: A Sketchbook for Analytic Action and co-host of the Room podcast. Aneta has also authored numerous artistic and curatorial projects in collaboration with renowned institutions and organisations all over Europe and she has taught performance, art, and media theory at universities and art academies in Vienna, Belgrade, and Ghent. She regularly presents her work and research at conferences and festivals worldwide. 01 eng 00 234 03 12 AFKP 93 AFKP 10 ART060000 B2 Art+Aesthetics 10 ART009000 12 GPS 93 GPS B2 Humanities+University B2 Thought Experiments 20 performance studies; ecology; climate emergency; methodology in art; experimental methodologies; extinction; artistic research 01 06 02 00 03 00 Mourning the Ends: Collaborative Writing and Performance is an opening, a beginning, an attempt to rethink how we can be, think, and work together. This book, authored by a multitude, explores new methodologies of collaborative scholarship for the arts and humanities within the context of the various ecological, medical, military, and epistemic ends facing the world.The authors of Mourning the Ends performed an experimental methodology as the book was researched, written, and revised by fifteen individuals situated across the globe. The writing emerged in part from a shared sense of mourning through the global pandemic and ongoing ecological catastrophes, yet the questions and arguments that are raised are immediately relevant as the rolling crises of our contemporary moment play out and further develop. The volume challenges a number of key areas in performance studies as well as foundational expectations and assumptions of the arts and humanities more broadly—namely, that writing and scholarship should be solitary endeavors. The authors write back against the model of thinking and studying that centers the singular genius, especially against the backdrop of enduring and apparent end times.Mourning the Ends is in some ways a rehearsal for another future, a speculative engagement with performance, ecology, and academic affiliation beyond institutional bounds—a methodology for shared mourning, performance, and thinking. 30 00 Mourning the Ends: Collaborative Writing and Performance is an opening, a beginning, an attempt to rethink how we can be, think, and work together. This book, authored by a multitude, explores new methodologies of collaborative scholarship for the arts and humanities within the context of the various ecological, medical, military, and epistemic ends facing the world.The authors of Mourning the Ends performed an experimental methodology as the book was researched, written, and revised by fifteen individuals situated across the globe. The writing emerged in part from a shared sense of mourning through the global pandemic and ongoing ecological catastrophes, yet the questions and arguments that are raised are immediately relevant as the rolling crises of our contemporary moment play out and further develop. The volume challenges a number of key areas in performance studies as well as foundational expectations and assumptions of the arts and humanities more broadly—namely, that writing and scholarship should be solitary endeavors. The authors write back against the model of thinking and studying that centers the singular genius, especially against the backdrop of enduring and apparent end times.Mourning the Ends is in some ways a rehearsal for another future, a speculative engagement with performance, ecology, and academic affiliation beyond institutional bounds—a methodology for shared mourning, performance, and thinking. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0506.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mourning-the-ends-collaborative-writing-and-performance/ Earth, Milky Way 04 01 20250321 Maria Shantelle Alexies Ambayec, Kristof van Baarle, Peter Burke, Renata Gaspar, Sozita Goudouna, Nilüfer Ovalıoğlu Gros, Adham Hafez, Jan-Tage Kühling, Eero Laine, Sarah Lucie, Juliana Moraes, Evan Moritz, Malin Palani, Rumen Rachev, Aneta Stojnić 02 WORLD 06 15 9781685712563 03 9781685712563 34 06 10.33303/gpsv4n2a1 34 06 10.1007/s10164-015-0451-7 34 06 10.1080/13528165.2022.2197430 34 06 10.1353/tae.0.0122 34 06 10.1080/24740500.2018.1514958 34 06 10.1353/dtc.2021.0038 34 06 10.1111/anti.12093 34 06 10.1126/sciadv.1400253 34 06 10.1080/10462937.2019.1620960 34 06 10.1086/596640 34 06 10.1215/01610775-25-1-23 34 06 10.1353/tt.2021.0025 34 06 10.1111/1365-2664.12076/ 34 06 10.1080/24694452.2020.1843995 34 06 10.2307/3685005 34 06 10.16995/jer.23 34 06 10.1215/22011919-3615934 34 06 10.1007/978-3-030-84774-6 34 06 10.1017/irn.2023.43 34 06 10.1080/14688417.2016.1206695 34 06 10.1353/dia.0.0019 34 06 10.1215/08992363-15-1-11 34 06 10.1080/03085147.2011.637335 34 06 10.3898/NEWF.70.07.2010 34 06 10.1215/0094033X-2753672 34 06 10.1017/S0010417519000112 34 06 10.1080/13528165.2001.10871792 34 06 10.1111/jzo.12416 34 06 10.25158/L8.2.3 34 06 10.21627/2020fa 34 06 10.1002/jqs.1227 34 06 10.1525/abt.2011.73.2.5 34 06 10.1353/tj.2005.0040 34 06 10.1086/338946 34 06 10.5749/culturalcritique.93.2016.0151 34 06 10.1126/science.1246752 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/863 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/72b82396-d213-4208-84e1-ee24bc75aeed/download 20 08 20250321 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Mourning_the_Ends/7dVOEQAAQBAJ 20 08 20250321 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/412acefd-6a82-429c-b9c5-9e5d96a27afb 29 INTERNET_ARCHIVE: download the title https://archive.org/download/412acefd-6a82-429c-b9c5-9e5d96a27afb/412acefd-6a82-429c-b9c5-9e5d96a27afb.pdf 20 08 20250321 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824299 29 ZENODO: download the title https://zenodo.org/records/19824299/files/412acefd-6a82-429c-b9c5-9e5d96a27afb_book.pdf 20 08 20250321 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/mourning-the-ends-collaborative-writing-and-performance/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0506.1.00.pdf 20 08 20250321 01 urn:uuid:59d0b753-0f4e-4834-b6c9-7ee598c43e71 03 01 01 thoth-work-id urn:uuid:7c1149e7-7e2b-426f-acd1-281d4273e02d 01 thoth-publication-id urn:uuid:59d0b753-0f4e-4834-b6c9-7ee598c43e71 15 9781685710224 03 9781685710224 06 10.53288/0338.1.00 13 2022932942 01 internal-reference 0338 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Multispecies Storytelling in Intermedial Practices 1 B01 Ida Bencke Ida Bencke 2 B01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University 01 eng 00 324 03 12 AFKV 93 AFKV B2 Anthropocene 10 NAT024000 12 AFKP 93 AFKP 10 ART017000 B2 Biosphere 12 AGN 93 AGNA B2 Media+Technology 93 PSAF 12 PSVS 12 PSAF 20 multispecies narratives; climate emergency; media studies; artistic research; intermediality; ecosystems; multimedia art 01 06 02 00 03 00 Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise?Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not.Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse.Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too. - 30 00 Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise?Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not.Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse.Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too. - 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0338.1.00_frontcover.jpg 1 03 06 10.53288/0338.1.01 1 8 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Ida Bencke Ida Bencke 2 B01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University 01 eng 20 00 Open Access 2 03 06 10.53288/0338.1.02 9 20 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Ida Bencke Ida Bencke Ida Bencke holds an MA in Comparative Literature. She is co-founder of the curatorial platform Laboratory for Aesthetics and Ecology. Her curatorial work spans experimental exhibition formats, care activism, and speculative feminist aesthetics. Her recent exhibition projects investigate domestic technologies of resistance and insurgent practices of m/otherhood. Research interests include radical practices of mourning, play and pleasure, shared vulnerabilities, and soft resistance tactics. Currently, she holds a position as in-house curator with the Center for Arts and Mental Health in Copenhagen investigating the exhibition as a site of repair. 2 A01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University Jørgen Bruhn is professor of Comparative Literature at Linnæus University, Sweden. His two latest monographs are The Intermediality of Narrative Literature. Medialities Matter (Palgrave Macmillan, 2016) and, with Anne Gjelsvik, Cinema Between Media: An Intermedial Approach (Edinburgh University Press, 2018). With Beate Schirrmacher he edited Intermedial Studies. An Introduction to Meaning across Media (Routledge, 2022). His main research areas are literary theory, intermediality and media studies, ecocriticism and environmental humanities. He is currently writing a book under the working title Intermedial Ecocriticism: Anthropocene Representations across Media (with Niklas Salmose) to be published at Lexington Books in 2023. 01 eng 20 00 Open Access Ida Bencke Jørgen Bruhn 3 03 06 10.53288/0338.1.03 21 32 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Politics of Terristories 1 A01 Vinciane Despret Vinciane Despret 40 00afp2z80 University of Liège 40 006e5kg04 Vrije Universiteit Brussel After philosophical and psychological studies, Vinciane Despret specialized in ethology, the study of animal behavior, and became fascinated by the humans who work with animals. Borrowing a path from philosophy of sciences, her work combines ethological and psychological research with the goal of understanding and explaining how scientists build their theories, how they interact with historical and social contexts, and what relation is established between them and animals. She is currently Maître de Conférences at the University of Liège and at the Free University of Brussels. Despret is the author of numerous articles and books, some of them having been translated in English: Our Emotional Makeup, trans. Marjolijn de Jager (Other Press, 2004); What Would Animals Say If We Asked the Right Questions?, trans. Brett Buchanan (University of Minnesota Press, 2016); Living as a Bird, trans. Helen Morrison (Polity, 2021), Our Grateful Dead: Stories of Those Left Behind, trans. Stephen Muecke (University of Minnesota Press, 2021) and, with Isabelle Stengers, Women Who Make a Fuss: The Unfaithful Daughters of Virginia Woolf, trans. April Knutson (University of Minnesota Press, 2014). 01 eng 20 00 Open Access Vinciane Despret 4 03 06 10.53288/0338.1.04 33 48 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Secretome Perpetua 1 A01 21 0000000229432427 Karin Bolender Karin Bolender Karin Bolender (aka K-Haw Hart) is an artist–researcher who seeks untold stories within meshes of mammals, plants, pollinators, microbes, and many others. Since 2008, K-Haw’s projects have come under the auspices of the Rural Alchemy Workshop (R.A.W.), a homegrown, collaborative living-art practice that explores dirty words and tangled wisdoms of earthly ecologies through performance, writing, video/sound installation, and experimental book arts. Durational and site-specific projects and performances include R.A.W. Assmilk Soap, Gut Sounds Lullaby, and Welcome to the Secretome. K-Haw has an MFA in Interdisciplinary Art from Goddard College and a PhD in Environmental Humanities from UNSW in Sydney. 3Ecologies/punctum books published The Unnaming of Aliass in 2020. The R.A.W. herd resides in patchwork forested hills between the ocean and mountains in western Oregon. 01 eng 20 00 Open Access Karin Bolender 5 03 06 10.53288/0338.1.05 50 75 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tales of a Modern Parrot Living Entangled Lives in an Interspecies Art Collective 1 A01 Ute Hörner Ute Hörner 40 00f2wje32 Academy of Media Arts Cologne Ute Hörner and Mathias Antlfinger are artists and professors of Transmedial Spaces/Media Art at the Academy of Media Arts Cologne. Their installations, videos, and sculptures deal with the relationship between humans, animals, and machines and provide both critical perspectives on changeable social constructs as well as utopian visions of fair terms of interaction between these parties. Together with the African grey parrots Clara and Karl they have founded the Interspecies Collective CMUK in 2014, a collaborative project of parrots and humans that promotes the decentralization of human animals as superior creators and opens up the perspective towards an overwhelming productivity by a non-human agency. Their work has been presented in many international exhibitions and festivals including, CCA Tbilisi, Porto Design Biennale, ZKM Karlsruhe, Shedhalle Zürich, NMFA Taiwan, Werkleitz Biennale Halle, Museum Ludwig Cologne, KAC Istanbul, Ars Electronica Linz, Video Dumbo New York, Shift Electronic Arts Festival Basel, International Short Film Festival Oberhausen, and Transmediale Berlin. Hörner/Antlfinger are members of the Minding Animals International Network. They live and work in Cologne, together with their flock. 2 A01 Mathias Antlfinger Mathias Antlfinger 40 00f2wje32 Academy of Media Arts Cologne Ute Hörner and Mathias Antlfinger are artists and professors of Transmedial Spaces/Media Art at the Academy of Media Arts Cologne. Their installations, videos, and sculptures deal with the relationship between humans, animals, and machines and provide both critical perspectives on changeable social constructs as well as utopian visions of fair terms of interaction between these parties. Together with the African grey parrots Clara and Karl they have founded the Interspecies Collective CMUK in 2014, a collaborative project of parrots and humans that promotes the decentralization of human animals as superior creators and opens up the perspective towards an overwhelming productivity by a non-human agency. Their work has been presented in many international exhibitions and festivals including, CCA Tbilisi, Porto Design Biennale, ZKM Karlsruhe, Shedhalle Zürich, NMFA Taiwan, Werkleitz Biennale Halle, Museum Ludwig Cologne, KAC Istanbul, Ars Electronica Linz, Video Dumbo New York, Shift Electronic Arts Festival Basel, International Short Film Festival Oberhausen, and Transmediale Berlin. Hörner/Antlfinger are members of the Minding Animals International Network. They live and work in Cologne, together with their flock. 01 eng 20 00 Open Access Ute Hörner Mathias Antlfinger 6 03 06 10.53288/0338.1.06 77 95 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Laudable Cow Poetics of Human/Cattle Relationships 1 A01 Emily McGriffin Emily McGriffin 40 02jx3x895 University College London Emily McGriffin has held teaching and research positions at the Universities of British Columbia, Ghana, and Edinburgh and is currently a Research Fellow at University College London. Her monograph, Of Land, Bones, and Money: Toward a South African Ecopoetics (University of Virginia Press, 2019), examines the environmental politics of South African poetry. She is also the author of two poetry collections. 01 eng 20 00 Open Access Emily McGriffin 7 03 06 10.53288/0338.1.07 97 119 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Forest of Life The Representation of the “Tree of Life” Metaphor across Media 1 A01 21 0000000167190230 Péter Kristóf Makai Péter Kristóf Makai 40 01z1qnm06 Institute for Advanced Study in the Humanities Essen Péter Kristóf Makai recently joined the Kulturwissenschaftliches Institut as a KWi International fellow to study how theme parks are transmediated into digital and board games. He finished his Crafoord Postdoctoral Fellowship in Intermedial and Multimodal Studies at Linnæus University in Växjö, Sweden in 2020, where he studied how evolutionary theory is being communicated across media borders. He earned a PhD in English Literature from the University of Szeged, Hungary, where he wrote a dissertation on how cognitive literary theory, clinical psychology, disability studies, and contemporary English and American middlebrow novels represent autism spectrum conditions and fictional mental functioning. As a science fiction and fantasy scholar, he wrote on Tolkien’s legendarium and its legacy in worldbuilding and gaming for Tolkien Studies and Wiley-Blackwell’s A Companion to J.R.R. Tolkien; he has also published studies on Isaac Asimov and Philip K. Dick’s work. 01 eng 20 00 Open Access Péter Kristóf Makai 8 03 06 10.53288/0338.1.08 121 150 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Plant-story? Listening and Multispecies Storytelling 1 A01 21 0000000242834260 Fröydi Laszlo Fröydi Laszlo 40 01tm6cn81 University of Gothenburg Fröydi Laszlo is a Norwegian visual artist living in Sweden. Her main interest is art and sustainability, she leads a transdisciplinary group called Club Anthropocene, and she runs the publishing company 284 publishers. 01 eng 20 00 Open Access Fröydi Laszlo 9 03 06 10.53288/0338.1.09 151 173 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Arrangements for an African Anthropocene Multispecies Storytelling at the Adderley Street Flower Market in Cape Town 1 A01 21 0000000185606826 Melanie Boehi Melanie Boehi 40 03rp50x72 University of the Witwatersrand Melanie Boehi is a historian, Postdoc.Mobility fellow of the Swiss National Science Foundation (SNSF), and visiting postdoctoral fellow at the Wits Institute for Social and Economic Research (WISER) at the University of the Witwatersrand in Johannesburg. She has an MA from the University of the Western Cape and a PhD from the University of Basel. Her research is concerned with environmental and multispecies history, archives and journalism. She published several articles about plant histories of Southern Africa, and co-edited the book The Politics of Nature and Science in Southern Africa (Basler Afrika Bibliographien, 2016). 01 eng 20 00 Open Access Melanie Boehi 10 03 06 10.53288/0338.1.10 175 187 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “You have to learn the language of how to communicate with the plants” and Other Selva Stories 1 A01 21 0000000177705568 Kristina Van Dexter Kristina Van Dexter 40 02jqj7156 George Mason University Kristina Van Dexter is a poet–researcher whose writing focuses on the ecocidal destruction of forests and their own relational poetics of resistance, including narratives and political and ethical projects that emerge through human and nonhuman collaborations in forests’ relational worlds. Her experimental and poetic ethnographic research and projects involve relational practices of collaboration that are guided by and grow from forests themselves. Van Dexter is the founder of Paz con la Selva, a collective for an insurgent poetics in the defense of forests. She lives and works in Colombia (and Indonesia) where she is completing a Ph.D. in Environmental Studies. She is currently working on a collection of insurgent poetics that entangles ecological narratives of witness to forest destruction and the forests’ own poetics expressed through its diverse registers, temporal relations, and ceremonial encounters with forest spirits. 01 eng 20 00 Open Access Kristina Van Dexter 11 03 06 10.53288/0338.1.11 189 214 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Anti Menagerie Fictions for Interrogating the Supremacy of World-shaping Violence 1 A01 21 0000000265652267 Cassandra Troyan Cassandra Troyan 40 00j9qag85 Linnaeus University Cassandra Troyan is a writer, artist, organizer, and educator whose work explores the intersections of gendered violence, radical histories of resistance, sex work, and speculative futures beyond capital. They are the author of several books of multi-genre work, including Freedom & Prostitution (2020), A Theory in Tears (2016) and KILL MANUAL (2014), and have presented, performed, and screened their multi-media work internationally. Forthcoming in 2021 from Veer2 is Against Capture, a collection about trauma, love, isolation, and abolitionist dreaming for the end of incarceration, captivity, domestication, and borders towards trans-species solidarity. In collaboration with Helen Pritchard, they work on the on-going research project across their institutions entitled, “Multispecies Methods for Solidarity Stories” which seeks to use transdisciplinary methods as part of a virtual lab, to allow writers, scholars, artists, designers, and theorists to build collective practices. They live in Kalmar, Sweden and teach theory, practice, and creative-critical writing as a Senior Lecturer in the Department of Design at Linnæus University. 2 A01 21 0000000261075060 Helen V. Pritchard Helen V. Pritchard 40 008n7pv89 University of Plymouth 40 01khx4a30 Goldsmiths University of London Helen V. Pritchard is an artist-designer and geographer whose work considers the impacts of computation and digital media on social and environmental justice. Their research addresses how practices configure the possibilities for life — or who gets to have a life — in intimate and significant ways. As a practitioner they work together with companions to make propositions and designs for environmental media and computing otherwise, developing methods to uphold a politics of queer survival and practice. They are currently working on the book project “Animal Hackers and Critter Compilers”; and together with Cassandra Troyan a research project across their institutions entitled, “Multispecies Methods for Solidarity Stories” which seeks to use transdisciplinary methods as part of a virtual lab, to allow writers, scholars, artists, designers, and theorists to build collective practices. Helen is an Associate Professor of Queer Feminist Technoscience & Digital Design at i-DAT, University of Plymouth and a research fellow at Goldsmiths University of London. They are the co-editor of Data Browser 06: Executing Practices, published by Open Humanities Press (2018) and Science, Technology and Human Values: Sensors and Sensing Practices (2019). 01 eng 20 00 Open Access Cassandra Troyan Helen V. Pritchard 12 03 06 10.53288/0338.1.12 215 224 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 #FEELSWeoutheregettinthisbread 1 A01 21 0000000154360771 Gillian Wylde Gillian Wylde 40 022gstf70 Falmouth University Gillian Wylde is an artist and researcher, central to her practice is an engagement with technologies, performativity and otherwise thinking. Her portfolio as an artist includes international exhibitions, commissions, and residencies. Dissent, queerness, and feels are constants through most of the work like maybe a wild smell or hairy logic. 01 eng 20 00 Open Access Gillian Wylde 13 03 06 10.53288/0338.1.13 225 236 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning from the Lake 1 A01 Katie Lawson Katie Lawson 40 03dbr7087 University of Toronto Katie Lawson is curator of the Toronto Biennial of Art, collaborating with Candice Hopkins and Tairone Bastien on the inaugural 2019 and 2021 editions. She is a graduate of the Master of Visual Studies Curatorial program at the University of Toronto, where she previously completed her Master of Arts in Art History. A researcher, curator, and art educator, Lawson works within the tradition of eco- and material feminisms. She has held curatorial and programming positions at the Art Gallery of Ontario, Doris McCarthy Gallery, the Power Plant Contemporary Art Gallery, bodega (NYC), and the University of Toronto. She has lectured and participated in programming with Images Festival, The Gladstone Hotel, The Power Plant Contemporary Art Gallery, the Laboratory for Aesthetics + Ecology and Universities both nationally and internationally. She has curated exhibitions at the MacLaren Art Centre, Barrie; Y+ Contemporary, Scarborough; RYMD, Reykjavik; the Art Museum, Toronto; and the Art Gallery of Ontario, Toronto. She was the Art Editor for the Hart House Review from 2016–2019. 01 eng 20 00 Open Access Katie Lawson 14 03 06 10.53288/0338.1.14 237 253 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lagomorph Lessons Feminist Methods for Environmental Sensing and Sensemaking 1 A01 21 0000000208197501 Maya Livio Maya Livio 40 052w4zt36 American University 06 Own website https://mayalivio.com/ 01 eng 20 00 Open Access Maya Livio 15 03 06 10.53288/0338.1.15 255 265 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Blattarians 1 A01 Adam Dickinson Adam Dickinson 40 056am2717 Brock University Adam Dickinson is the author of four books of poetry, including Anatomic (Coach House Books, 2018), a finalist for the Raymond Souster Award and winner of the Alanna Bondar Memorial Book Prize from the Association for Literature, Environment, and Culture in Canada. His work has been nominated for the Governor General’s Award for Poetry, and twice for the Trillium Book Award for Poetry. He was also a finalist for the Canadian Broadcasting Corporation (CBC) Poetry Prize and the K.M. Hunter Artist Award in Literature. His work has been translated into Chinese, Dutch, French, German, Norwegian, and Polish. He has been featured at international literary festivals in Canada, Germany, the Netherlands, Norway, and the United States. He teaches English and Creative Writing at Brock University in St. Catharines, Ontario, Canada. 01 eng 20 00 Open Access Adam Dickinson 16 03 06 10.53288/0338.1.16 267 278 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 WERT Interspecies Weaving and Becoming 1 A01 21 0000000154788073 Carol Padberg Carol Padberg 40 05fs6jp91 University of New Mexico Carol Padberg is an artist, writer, educator and founding director of the Nomad MFA. Padberg has an art and ecology studio where she weaves with living oyster mushrooms, using yarn that is colored by plants from her back yard dye garden. She uses regenerative agricultural strategies to maintain a city micro-farm called Nook Farm House. She is an herbalist and witch, and sells homemade herbal remedies that she crafts from cultivated and foraged herbs. Her art practice includes making textiles with living organisms, creating drawings with homemade inks, and raising sheep for the homespun yarn that she makes to use in her multispecies weavings. Her art has been the subject of exhibitions at the Minneapolis Institute of the Arts, and the New Britain Museum of American Art. Her initiatives have been featured at the Walker Art Center, MoMA, and the Creative Time Summit at the Venice Biennale. Recent papers and presentations have been featured in the Social Theory in Art Education Journal; the Center for Sustainable Practice in the Arts Quarterly; STREAMS: Transformative Environmental Humanities, KTH Environmental Humanities Laboratory, Stockholm; the InSEA European Congress, Aalto University; the Multispecies Storytelling Conference, Linnæus University; and Imaginative Futures: Arts Based Research as Boundary Event Symposium, Arizona State University. 01 eng 20 00 Open Access 17 03 06 10.53288/0338.1.17 279 301 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Creating Distance or Proximity? How Wild Lives Are Told through Remote Camera Viewing 1 A01 21 0000000281468523 Elizabeth Vander Meer Elizabeth Vander Meer 40 03yghzc09 University of Exeter Elizabeth Vander Meer has a PhD in Environmental Policy and Ethics from Lancaster University, an Anthrozoology MA from the University of Exeter, and is now in the second year of a PhD in Anthrozoology at Exeter. Her research is multidisciplinary, drawing on anthropology, compassionate conservation, performance studies, philosophy, and social theory. She combines interests in biodiversity conservation with human-animal studies, conducting multispecies ethnographic studies that focus on human–wildlife conflict and co-existence and captive wild animals in circuses, rescue centres and zoos. 01 eng 20 00 Open Access Elizabeth Vander Meer 18 03 06 10.53288/0338.1.18 303 311 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dancing Is an Ecosystem Service, and So Is Being Trans 1 A01 Loup Rivière Loup Rivière Loup Rivière is a dancer and a poet. She lives in rural Massif Central (France). She founded the collective dance for plants in 2016, which offers workshops and performances in gardens, universities, forests, apartments, and museums. She is currently touring her solo armes molles and training to become a death doula. She recently published the texts “I’m Not Trans in the Forest” and “Geological Lesbians: Girldicks and Other Stories.” 01 eng 20 00 Open Access Loup Rivière 19 03 06 10.53288/0338.1.19 313 317 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributor Biographies 1 B01 Ida Bencke Ida Bencke 2 B01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/multispecies-storytelling-in-intermedial-practices/ 16 40 056am2717 32 10.13039/501100005156 Brock University 01 programname Tattersall Lab Earth, Milky Way 04 01 20220310 Bruhn, Jørgen Bencke, Ida 02 WORLD 06 15 9781685710231 03 9781685710231 34 06 10.16995/TRAC2008_101_112 34 06 10.1111/j.1467-9744.2006.00727.x 34 06 10.2307/4081268 34 06 10.1016/0003-3472(64)90041-7 34 06 10.2307/1364276 34 06 10.2307/2420732 34 06 10.1016/j.cub.2006.11.064 34 06 10.14318/hau7.2.002 34 06 10.1038/nm.4039/ 34 06 10.1136/gut.2004.053785/ 34 06 10.1093/acref/9780199685691.001.0001/acref- 34 06 10.1177/1086026609338164 34 06 10.1215/22011919-3611257 34 06 10.1016/j.applanim.2007.01.013/ 34 06 10.1080/00681288.1932.11894305 34 06 10.1126/science.340.6135.909 34 06 10.1371/journal.pbio.2001624 34 06 10.1177/0073275315625407 34 06 10.1163/9789004423756 34 06 10.1371/journal.pone.0226567 34 06 10.1007/s11692-016-9394-3 34 06 10.1177/135485659900500206 34 06 10.1080/09505430802668632 34 06 10.1002/bies.10284 34 06 10.1179/0308018813Z.00000000066 34 06 10.1371/journal.pbio.1001406 34 06 10.3197/096327117X15002190708119 34 06 10.47659/m1.024.int 34 06 10.1215/22011919-3527731 34 06 10.2307/4450624 34 06 10.1080/13632430120074626 34 06 10.1371/journal.pone.0201766 34 06 10.1016/j.tplants.2012.03.002 34 06 10.1215/22011919 34 06 10.14506/ca33.1.05 34 06 10.28968/cftt.v5i2.30027 34 06 10.1177/000203971705200302 34 06 10.1080/23323256.2018.1468720 34 06 10.1111/j.1835-9310.2000.tb00044.x 34 06 10.5325/intelitestud.20.1.0001 34 06 10.14506/ca31.1.04 34 06 10.1177/1461452914564730/ 34 06 10.1177/0163443716643007 34 06 10.1177/0263775820904485 34 06 10.1080/0969725X.2015.1039821 34 06 10.1086/596640 34 06 10.1111/hith.12044 34 06 10.1086/705298 34 06 10.1177/1357034X04042938 34 06 10.1080/0969725X.2015.1039843 34 06 10.5325/critphilrace.7.1.0032 34 06 10.1163/1569206X-26031610 34 06 10.1163/1569206X-12341279 34 06 10.1177/2053019613516291 34 06 10.1080/03056244.2012.710838 34 06 10.5325/critphilrace.7.1.0057 34 06 10.1177/0263775819871964 34 06 10.1080/00083968.2015.1043712 34 06 10.5325/critphilrace.7.1.0001 34 06 10.1068/d11512 34 06 10.1093/isle/iss068 34 06 10.2307/1354221 34 06 10.1080/09528820903189327 34 06 10.1016/j.wsif.2015.02.004 34 06 10.2307/3178066 34 06 10.1111/hypa.12065 34 06 10.1016/j.ecolmodel.2014.02.019 34 06 10.1086/421123 34 06 10.1139/z73 34 06 10.1080/0966369X.2017.1339022 34 06 10.1002/ece3.1848 34 06 10.1111/gcb.13189 34 06 10.1016/j.ecolind.2015.06.036 34 06 10.2307/1935464 34 06 10.1371/journal.pone.0119327 34 06 10.1002/ece3.1857 34 06 10.1007/978-3-319-14349-1_10 34 06 10.1111/j.1548-1360.2010.01070.x/ 34 06 10.1177/0309132517740220 34 06 10.1016/j.biocon.2017.05.003 34 06 10.1146/annurev.an.22.100193.002101 34 06 10.1080/2373566x.2016.1166976 34 06 10.1093/biolinnean/blx063 34 06 10.1126/sciadv.1400253 34 06 10.1080/14702540701624568 34 06 10.1162/dram.2007.51.1.8 34 06 10.1038/nature16160 34 06 10.1111/cobi.12263 34 06 10.1080/14688417.2010.10589062 34 06 10.1177/1474474010363853 34 06 10.1038/s41893-018-0130-0 34 06 10.1080/15295036.2016.1268698 34 06 10.1016/j.biocon.2011.05.010 34 06 10.1080/10304310903362726 34 06 10.1086/368757 34 06 10.3200/JOEE.38.3.53-60 34 06 10.1007/s10699-011-9265-4 34 06 10.1163/15685306-12341480 34 06 10.1016/j.geoforum.2016.07.002 34 06 10.1080/00071773.2015.1105645 34 06 10.1177/1357034X04042938/ 34 06 10.1080/00141844.2015.1105838/ 34 06 10.1007/s00442-014-2995-6 34 06 10.1007/s10699-010-9194-7 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710220 20 08 20220310 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/multispecies-storytelling-in-intermedial-practices 20 08 20220310 02 28.00 USD WORLD urn:uuid:54fb74a4-0862-4b0e-bdd1-089daad5ad36 03 01 01 thoth-work-id urn:uuid:7c1149e7-7e2b-426f-acd1-281d4273e02d 01 thoth-publication-id urn:uuid:54fb74a4-0862-4b0e-bdd1-089daad5ad36 15 9781685710231 03 9781685710231 06 10.53288/0338.1.00 13 2022932942 01 internal-reference 0338 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Multispecies Storytelling in Intermedial Practices 1 B01 Ida Bencke Ida Bencke 2 B01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University 01 eng 00 324 03 12 AFKV 93 AFKV B2 Anthropocene 10 NAT024000 12 AFKP 93 AFKP 10 ART017000 B2 Biosphere 12 AGN 93 AGNA B2 Media+Technology 93 PSAF 12 PSVS 12 PSAF 20 multispecies narratives; climate emergency; media studies; artistic research; intermediality; ecosystems; multimedia art 01 06 02 00 03 00 Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise?Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not.Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse.Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too. - 30 00 Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise?Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not.Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse.Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too. - 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0338.1.00_frontcover.jpg 1 03 06 10.53288/0338.1.01 1 8 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Ida Bencke Ida Bencke 2 B01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University 01 eng 20 00 Open Access 2 03 06 10.53288/0338.1.02 9 20 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Ida Bencke Ida Bencke Ida Bencke holds an MA in Comparative Literature. She is co-founder of the curatorial platform Laboratory for Aesthetics and Ecology. Her curatorial work spans experimental exhibition formats, care activism, and speculative feminist aesthetics. Her recent exhibition projects investigate domestic technologies of resistance and insurgent practices of m/otherhood. Research interests include radical practices of mourning, play and pleasure, shared vulnerabilities, and soft resistance tactics. Currently, she holds a position as in-house curator with the Center for Arts and Mental Health in Copenhagen investigating the exhibition as a site of repair. 2 A01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University Jørgen Bruhn is professor of Comparative Literature at Linnæus University, Sweden. His two latest monographs are The Intermediality of Narrative Literature. Medialities Matter (Palgrave Macmillan, 2016) and, with Anne Gjelsvik, Cinema Between Media: An Intermedial Approach (Edinburgh University Press, 2018). With Beate Schirrmacher he edited Intermedial Studies. An Introduction to Meaning across Media (Routledge, 2022). His main research areas are literary theory, intermediality and media studies, ecocriticism and environmental humanities. He is currently writing a book under the working title Intermedial Ecocriticism: Anthropocene Representations across Media (with Niklas Salmose) to be published at Lexington Books in 2023. 01 eng 20 00 Open Access Ida Bencke Jørgen Bruhn 3 03 06 10.53288/0338.1.03 21 32 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Politics of Terristories 1 A01 Vinciane Despret Vinciane Despret 40 00afp2z80 University of Liège 40 006e5kg04 Vrije Universiteit Brussel After philosophical and psychological studies, Vinciane Despret specialized in ethology, the study of animal behavior, and became fascinated by the humans who work with animals. Borrowing a path from philosophy of sciences, her work combines ethological and psychological research with the goal of understanding and explaining how scientists build their theories, how they interact with historical and social contexts, and what relation is established between them and animals. She is currently Maître de Conférences at the University of Liège and at the Free University of Brussels. Despret is the author of numerous articles and books, some of them having been translated in English: Our Emotional Makeup, trans. Marjolijn de Jager (Other Press, 2004); What Would Animals Say If We Asked the Right Questions?, trans. Brett Buchanan (University of Minnesota Press, 2016); Living as a Bird, trans. Helen Morrison (Polity, 2021), Our Grateful Dead: Stories of Those Left Behind, trans. Stephen Muecke (University of Minnesota Press, 2021) and, with Isabelle Stengers, Women Who Make a Fuss: The Unfaithful Daughters of Virginia Woolf, trans. April Knutson (University of Minnesota Press, 2014). 01 eng 20 00 Open Access Vinciane Despret 4 03 06 10.53288/0338.1.04 33 48 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Secretome Perpetua 1 A01 21 0000000229432427 Karin Bolender Karin Bolender Karin Bolender (aka K-Haw Hart) is an artist–researcher who seeks untold stories within meshes of mammals, plants, pollinators, microbes, and many others. Since 2008, K-Haw’s projects have come under the auspices of the Rural Alchemy Workshop (R.A.W.), a homegrown, collaborative living-art practice that explores dirty words and tangled wisdoms of earthly ecologies through performance, writing, video/sound installation, and experimental book arts. Durational and site-specific projects and performances include R.A.W. Assmilk Soap, Gut Sounds Lullaby, and Welcome to the Secretome. K-Haw has an MFA in Interdisciplinary Art from Goddard College and a PhD in Environmental Humanities from UNSW in Sydney. 3Ecologies/punctum books published The Unnaming of Aliass in 2020. The R.A.W. herd resides in patchwork forested hills between the ocean and mountains in western Oregon. 01 eng 20 00 Open Access Karin Bolender 5 03 06 10.53288/0338.1.05 50 75 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tales of a Modern Parrot Living Entangled Lives in an Interspecies Art Collective 1 A01 Ute Hörner Ute Hörner 40 00f2wje32 Academy of Media Arts Cologne Ute Hörner and Mathias Antlfinger are artists and professors of Transmedial Spaces/Media Art at the Academy of Media Arts Cologne. Their installations, videos, and sculptures deal with the relationship between humans, animals, and machines and provide both critical perspectives on changeable social constructs as well as utopian visions of fair terms of interaction between these parties. Together with the African grey parrots Clara and Karl they have founded the Interspecies Collective CMUK in 2014, a collaborative project of parrots and humans that promotes the decentralization of human animals as superior creators and opens up the perspective towards an overwhelming productivity by a non-human agency. Their work has been presented in many international exhibitions and festivals including, CCA Tbilisi, Porto Design Biennale, ZKM Karlsruhe, Shedhalle Zürich, NMFA Taiwan, Werkleitz Biennale Halle, Museum Ludwig Cologne, KAC Istanbul, Ars Electronica Linz, Video Dumbo New York, Shift Electronic Arts Festival Basel, International Short Film Festival Oberhausen, and Transmediale Berlin. Hörner/Antlfinger are members of the Minding Animals International Network. They live and work in Cologne, together with their flock. 2 A01 Mathias Antlfinger Mathias Antlfinger 40 00f2wje32 Academy of Media Arts Cologne Ute Hörner and Mathias Antlfinger are artists and professors of Transmedial Spaces/Media Art at the Academy of Media Arts Cologne. Their installations, videos, and sculptures deal with the relationship between humans, animals, and machines and provide both critical perspectives on changeable social constructs as well as utopian visions of fair terms of interaction between these parties. Together with the African grey parrots Clara and Karl they have founded the Interspecies Collective CMUK in 2014, a collaborative project of parrots and humans that promotes the decentralization of human animals as superior creators and opens up the perspective towards an overwhelming productivity by a non-human agency. Their work has been presented in many international exhibitions and festivals including, CCA Tbilisi, Porto Design Biennale, ZKM Karlsruhe, Shedhalle Zürich, NMFA Taiwan, Werkleitz Biennale Halle, Museum Ludwig Cologne, KAC Istanbul, Ars Electronica Linz, Video Dumbo New York, Shift Electronic Arts Festival Basel, International Short Film Festival Oberhausen, and Transmediale Berlin. Hörner/Antlfinger are members of the Minding Animals International Network. They live and work in Cologne, together with their flock. 01 eng 20 00 Open Access Ute Hörner Mathias Antlfinger 6 03 06 10.53288/0338.1.06 77 95 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Laudable Cow Poetics of Human/Cattle Relationships 1 A01 Emily McGriffin Emily McGriffin 40 02jx3x895 University College London Emily McGriffin has held teaching and research positions at the Universities of British Columbia, Ghana, and Edinburgh and is currently a Research Fellow at University College London. Her monograph, Of Land, Bones, and Money: Toward a South African Ecopoetics (University of Virginia Press, 2019), examines the environmental politics of South African poetry. She is also the author of two poetry collections. 01 eng 20 00 Open Access Emily McGriffin 7 03 06 10.53288/0338.1.07 97 119 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Forest of Life The Representation of the “Tree of Life” Metaphor across Media 1 A01 21 0000000167190230 Péter Kristóf Makai Péter Kristóf Makai 40 01z1qnm06 Institute for Advanced Study in the Humanities Essen Péter Kristóf Makai recently joined the Kulturwissenschaftliches Institut as a KWi International fellow to study how theme parks are transmediated into digital and board games. He finished his Crafoord Postdoctoral Fellowship in Intermedial and Multimodal Studies at Linnæus University in Växjö, Sweden in 2020, where he studied how evolutionary theory is being communicated across media borders. He earned a PhD in English Literature from the University of Szeged, Hungary, where he wrote a dissertation on how cognitive literary theory, clinical psychology, disability studies, and contemporary English and American middlebrow novels represent autism spectrum conditions and fictional mental functioning. As a science fiction and fantasy scholar, he wrote on Tolkien’s legendarium and its legacy in worldbuilding and gaming for Tolkien Studies and Wiley-Blackwell’s A Companion to J.R.R. Tolkien; he has also published studies on Isaac Asimov and Philip K. Dick’s work. 01 eng 20 00 Open Access Péter Kristóf Makai 8 03 06 10.53288/0338.1.08 121 150 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Plant-story? Listening and Multispecies Storytelling 1 A01 21 0000000242834260 Fröydi Laszlo Fröydi Laszlo 40 01tm6cn81 University of Gothenburg Fröydi Laszlo is a Norwegian visual artist living in Sweden. Her main interest is art and sustainability, she leads a transdisciplinary group called Club Anthropocene, and she runs the publishing company 284 publishers. 01 eng 20 00 Open Access Fröydi Laszlo 9 03 06 10.53288/0338.1.09 151 173 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Arrangements for an African Anthropocene Multispecies Storytelling at the Adderley Street Flower Market in Cape Town 1 A01 21 0000000185606826 Melanie Boehi Melanie Boehi 40 03rp50x72 University of the Witwatersrand Melanie Boehi is a historian, Postdoc.Mobility fellow of the Swiss National Science Foundation (SNSF), and visiting postdoctoral fellow at the Wits Institute for Social and Economic Research (WISER) at the University of the Witwatersrand in Johannesburg. She has an MA from the University of the Western Cape and a PhD from the University of Basel. Her research is concerned with environmental and multispecies history, archives and journalism. She published several articles about plant histories of Southern Africa, and co-edited the book The Politics of Nature and Science in Southern Africa (Basler Afrika Bibliographien, 2016). 01 eng 20 00 Open Access Melanie Boehi 10 03 06 10.53288/0338.1.10 175 187 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “You have to learn the language of how to communicate with the plants” and Other Selva Stories 1 A01 21 0000000177705568 Kristina Van Dexter Kristina Van Dexter 40 02jqj7156 George Mason University Kristina Van Dexter is a poet–researcher whose writing focuses on the ecocidal destruction of forests and their own relational poetics of resistance, including narratives and political and ethical projects that emerge through human and nonhuman collaborations in forests’ relational worlds. Her experimental and poetic ethnographic research and projects involve relational practices of collaboration that are guided by and grow from forests themselves. Van Dexter is the founder of Paz con la Selva, a collective for an insurgent poetics in the defense of forests. She lives and works in Colombia (and Indonesia) where she is completing a Ph.D. in Environmental Studies. She is currently working on a collection of insurgent poetics that entangles ecological narratives of witness to forest destruction and the forests’ own poetics expressed through its diverse registers, temporal relations, and ceremonial encounters with forest spirits. 01 eng 20 00 Open Access Kristina Van Dexter 11 03 06 10.53288/0338.1.11 189 214 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Anti Menagerie Fictions for Interrogating the Supremacy of World-shaping Violence 1 A01 21 0000000265652267 Cassandra Troyan Cassandra Troyan 40 00j9qag85 Linnaeus University Cassandra Troyan is a writer, artist, organizer, and educator whose work explores the intersections of gendered violence, radical histories of resistance, sex work, and speculative futures beyond capital. They are the author of several books of multi-genre work, including Freedom & Prostitution (2020), A Theory in Tears (2016) and KILL MANUAL (2014), and have presented, performed, and screened their multi-media work internationally. Forthcoming in 2021 from Veer2 is Against Capture, a collection about trauma, love, isolation, and abolitionist dreaming for the end of incarceration, captivity, domestication, and borders towards trans-species solidarity. In collaboration with Helen Pritchard, they work on the on-going research project across their institutions entitled, “Multispecies Methods for Solidarity Stories” which seeks to use transdisciplinary methods as part of a virtual lab, to allow writers, scholars, artists, designers, and theorists to build collective practices. They live in Kalmar, Sweden and teach theory, practice, and creative-critical writing as a Senior Lecturer in the Department of Design at Linnæus University. 2 A01 21 0000000261075060 Helen V. Pritchard Helen V. Pritchard 40 008n7pv89 University of Plymouth 40 01khx4a30 Goldsmiths University of London Helen V. Pritchard is an artist-designer and geographer whose work considers the impacts of computation and digital media on social and environmental justice. Their research addresses how practices configure the possibilities for life — or who gets to have a life — in intimate and significant ways. As a practitioner they work together with companions to make propositions and designs for environmental media and computing otherwise, developing methods to uphold a politics of queer survival and practice. They are currently working on the book project “Animal Hackers and Critter Compilers”; and together with Cassandra Troyan a research project across their institutions entitled, “Multispecies Methods for Solidarity Stories” which seeks to use transdisciplinary methods as part of a virtual lab, to allow writers, scholars, artists, designers, and theorists to build collective practices. Helen is an Associate Professor of Queer Feminist Technoscience & Digital Design at i-DAT, University of Plymouth and a research fellow at Goldsmiths University of London. They are the co-editor of Data Browser 06: Executing Practices, published by Open Humanities Press (2018) and Science, Technology and Human Values: Sensors and Sensing Practices (2019). 01 eng 20 00 Open Access Cassandra Troyan Helen V. Pritchard 12 03 06 10.53288/0338.1.12 215 224 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 #FEELSWeoutheregettinthisbread 1 A01 21 0000000154360771 Gillian Wylde Gillian Wylde 40 022gstf70 Falmouth University Gillian Wylde is an artist and researcher, central to her practice is an engagement with technologies, performativity and otherwise thinking. Her portfolio as an artist includes international exhibitions, commissions, and residencies. Dissent, queerness, and feels are constants through most of the work like maybe a wild smell or hairy logic. 01 eng 20 00 Open Access Gillian Wylde 13 03 06 10.53288/0338.1.13 225 236 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning from the Lake 1 A01 Katie Lawson Katie Lawson 40 03dbr7087 University of Toronto Katie Lawson is curator of the Toronto Biennial of Art, collaborating with Candice Hopkins and Tairone Bastien on the inaugural 2019 and 2021 editions. She is a graduate of the Master of Visual Studies Curatorial program at the University of Toronto, where she previously completed her Master of Arts in Art History. A researcher, curator, and art educator, Lawson works within the tradition of eco- and material feminisms. She has held curatorial and programming positions at the Art Gallery of Ontario, Doris McCarthy Gallery, the Power Plant Contemporary Art Gallery, bodega (NYC), and the University of Toronto. She has lectured and participated in programming with Images Festival, The Gladstone Hotel, The Power Plant Contemporary Art Gallery, the Laboratory for Aesthetics + Ecology and Universities both nationally and internationally. She has curated exhibitions at the MacLaren Art Centre, Barrie; Y+ Contemporary, Scarborough; RYMD, Reykjavik; the Art Museum, Toronto; and the Art Gallery of Ontario, Toronto. She was the Art Editor for the Hart House Review from 2016–2019. 01 eng 20 00 Open Access Katie Lawson 14 03 06 10.53288/0338.1.14 237 253 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lagomorph Lessons Feminist Methods for Environmental Sensing and Sensemaking 1 A01 21 0000000208197501 Maya Livio Maya Livio 40 052w4zt36 American University 06 Own website https://mayalivio.com/ 01 eng 20 00 Open Access Maya Livio 15 03 06 10.53288/0338.1.15 255 265 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Blattarians 1 A01 Adam Dickinson Adam Dickinson 40 056am2717 Brock University Adam Dickinson is the author of four books of poetry, including Anatomic (Coach House Books, 2018), a finalist for the Raymond Souster Award and winner of the Alanna Bondar Memorial Book Prize from the Association for Literature, Environment, and Culture in Canada. His work has been nominated for the Governor General’s Award for Poetry, and twice for the Trillium Book Award for Poetry. He was also a finalist for the Canadian Broadcasting Corporation (CBC) Poetry Prize and the K.M. Hunter Artist Award in Literature. His work has been translated into Chinese, Dutch, French, German, Norwegian, and Polish. He has been featured at international literary festivals in Canada, Germany, the Netherlands, Norway, and the United States. He teaches English and Creative Writing at Brock University in St. Catharines, Ontario, Canada. 01 eng 20 00 Open Access Adam Dickinson 16 03 06 10.53288/0338.1.16 267 278 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 WERT Interspecies Weaving and Becoming 1 A01 21 0000000154788073 Carol Padberg Carol Padberg 40 05fs6jp91 University of New Mexico Carol Padberg is an artist, writer, educator and founding director of the Nomad MFA. Padberg has an art and ecology studio where she weaves with living oyster mushrooms, using yarn that is colored by plants from her back yard dye garden. She uses regenerative agricultural strategies to maintain a city micro-farm called Nook Farm House. She is an herbalist and witch, and sells homemade herbal remedies that she crafts from cultivated and foraged herbs. Her art practice includes making textiles with living organisms, creating drawings with homemade inks, and raising sheep for the homespun yarn that she makes to use in her multispecies weavings. Her art has been the subject of exhibitions at the Minneapolis Institute of the Arts, and the New Britain Museum of American Art. Her initiatives have been featured at the Walker Art Center, MoMA, and the Creative Time Summit at the Venice Biennale. Recent papers and presentations have been featured in the Social Theory in Art Education Journal; the Center for Sustainable Practice in the Arts Quarterly; STREAMS: Transformative Environmental Humanities, KTH Environmental Humanities Laboratory, Stockholm; the InSEA European Congress, Aalto University; the Multispecies Storytelling Conference, Linnæus University; and Imaginative Futures: Arts Based Research as Boundary Event Symposium, Arizona State University. 01 eng 20 00 Open Access 17 03 06 10.53288/0338.1.17 279 301 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Creating Distance or Proximity? How Wild Lives Are Told through Remote Camera Viewing 1 A01 21 0000000281468523 Elizabeth Vander Meer Elizabeth Vander Meer 40 03yghzc09 University of Exeter Elizabeth Vander Meer has a PhD in Environmental Policy and Ethics from Lancaster University, an Anthrozoology MA from the University of Exeter, and is now in the second year of a PhD in Anthrozoology at Exeter. Her research is multidisciplinary, drawing on anthropology, compassionate conservation, performance studies, philosophy, and social theory. She combines interests in biodiversity conservation with human-animal studies, conducting multispecies ethnographic studies that focus on human–wildlife conflict and co-existence and captive wild animals in circuses, rescue centres and zoos. 01 eng 20 00 Open Access Elizabeth Vander Meer 18 03 06 10.53288/0338.1.18 303 311 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dancing Is an Ecosystem Service, and So Is Being Trans 1 A01 Loup Rivière Loup Rivière Loup Rivière is a dancer and a poet. She lives in rural Massif Central (France). She founded the collective dance for plants in 2016, which offers workshops and performances in gardens, universities, forests, apartments, and museums. She is currently touring her solo armes molles and training to become a death doula. She recently published the texts “I’m Not Trans in the Forest” and “Geological Lesbians: Girldicks and Other Stories.” 01 eng 20 00 Open Access Loup Rivière 19 03 06 10.53288/0338.1.19 313 317 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributor Biographies 1 B01 Ida Bencke Ida Bencke 2 B01 Jørgen Bruhn Jørgen Bruhn 40 00j9qag85 Linnaeus University 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/multispecies-storytelling-in-intermedial-practices/ 16 40 056am2717 32 10.13039/501100005156 Brock University 01 programname Tattersall Lab Earth, Milky Way 04 01 20220310 Bruhn, Jørgen Bencke, Ida 02 WORLD 06 15 9781685710224 03 9781685710224 34 06 10.16995/TRAC2008_101_112 34 06 10.1111/j.1467-9744.2006.00727.x 34 06 10.2307/4081268 34 06 10.1016/0003-3472(64)90041-7 34 06 10.2307/1364276 34 06 10.2307/2420732 34 06 10.1016/j.cub.2006.11.064 34 06 10.14318/hau7.2.002 34 06 10.1038/nm.4039/ 34 06 10.1136/gut.2004.053785/ 34 06 10.1093/acref/9780199685691.001.0001/acref- 34 06 10.1177/1086026609338164 34 06 10.1215/22011919-3611257 34 06 10.1016/j.applanim.2007.01.013/ 34 06 10.1080/00681288.1932.11894305 34 06 10.1126/science.340.6135.909 34 06 10.1371/journal.pbio.2001624 34 06 10.1177/0073275315625407 34 06 10.1163/9789004423756 34 06 10.1371/journal.pone.0226567 34 06 10.1007/s11692-016-9394-3 34 06 10.1177/135485659900500206 34 06 10.1080/09505430802668632 34 06 10.1002/bies.10284 34 06 10.1179/0308018813Z.00000000066 34 06 10.1371/journal.pbio.1001406 34 06 10.3197/096327117X15002190708119 34 06 10.47659/m1.024.int 34 06 10.1215/22011919-3527731 34 06 10.2307/4450624 34 06 10.1080/13632430120074626 34 06 10.1371/journal.pone.0201766 34 06 10.1016/j.tplants.2012.03.002 34 06 10.1215/22011919 34 06 10.14506/ca33.1.05 34 06 10.28968/cftt.v5i2.30027 34 06 10.1177/000203971705200302 34 06 10.1080/23323256.2018.1468720 34 06 10.1111/j.1835-9310.2000.tb00044.x 34 06 10.5325/intelitestud.20.1.0001 34 06 10.14506/ca31.1.04 34 06 10.1177/1461452914564730/ 34 06 10.1177/0163443716643007 34 06 10.1177/0263775820904485 34 06 10.1080/0969725X.2015.1039821 34 06 10.1086/596640 34 06 10.1111/hith.12044 34 06 10.1086/705298 34 06 10.1177/1357034X04042938 34 06 10.1080/0969725X.2015.1039843 34 06 10.5325/critphilrace.7.1.0032 34 06 10.1163/1569206X-26031610 34 06 10.1163/1569206X-12341279 34 06 10.1177/2053019613516291 34 06 10.1080/03056244.2012.710838 34 06 10.5325/critphilrace.7.1.0057 34 06 10.1177/0263775819871964 34 06 10.1080/00083968.2015.1043712 34 06 10.5325/critphilrace.7.1.0001 34 06 10.1068/d11512 34 06 10.1093/isle/iss068 34 06 10.2307/1354221 34 06 10.1080/09528820903189327 34 06 10.1016/j.wsif.2015.02.004 34 06 10.2307/3178066 34 06 10.1111/hypa.12065 34 06 10.1016/j.ecolmodel.2014.02.019 34 06 10.1086/421123 34 06 10.1139/z73 34 06 10.1080/0966369X.2017.1339022 34 06 10.1002/ece3.1848 34 06 10.1111/gcb.13189 34 06 10.1016/j.ecolind.2015.06.036 34 06 10.2307/1935464 34 06 10.1371/journal.pone.0119327 34 06 10.1002/ece3.1857 34 06 10.1007/978-3-319-14349-1_10 34 06 10.1111/j.1548-1360.2010.01070.x/ 34 06 10.1177/0309132517740220 34 06 10.1016/j.biocon.2017.05.003 34 06 10.1146/annurev.an.22.100193.002101 34 06 10.1080/2373566x.2016.1166976 34 06 10.1093/biolinnean/blx063 34 06 10.1126/sciadv.1400253 34 06 10.1080/14702540701624568 34 06 10.1162/dram.2007.51.1.8 34 06 10.1038/nature16160 34 06 10.1111/cobi.12263 34 06 10.1080/14688417.2010.10589062 34 06 10.1177/1474474010363853 34 06 10.1038/s41893-018-0130-0 34 06 10.1080/15295036.2016.1268698 34 06 10.1016/j.biocon.2011.05.010 34 06 10.1080/10304310903362726 34 06 10.1086/368757 34 06 10.3200/JOEE.38.3.53-60 34 06 10.1007/s10699-011-9265-4 34 06 10.1163/15685306-12341480 34 06 10.1016/j.geoforum.2016.07.002 34 06 10.1080/00071773.2015.1105645 34 06 10.1177/1357034X04042938/ 34 06 10.1080/00141844.2015.1105838/ 34 06 10.1007/s00442-014-2995-6 34 06 10.1007/s10699-010-9194-7 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/53251 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/53251/0338.1.00.pdf?sequence=1&isAllowed=y 20 08 20220310 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/79278 20 08 20220310 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2d6jrm2 20 08 20220310 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/742 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/51f723dc-bf51-46b4-9fd4-d697557bca79/download 20 08 20220310 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Multispecies_Storytelling_in_Intermedial/mgWVEAAAQBAJ 20 08 20220310 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7c1149e7-7e2b-426f-acd1-281d4273e02d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7c1149e7-7e2b-426f-acd1-281d4273e02d/7c1149e7-7e2b-426f-acd1-281d4273e02d.pdf 20 08 20220310 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849266 29 ZENODO: download the title https://zenodo.org/records/19849266/files/7c1149e7-7e2b-426f-acd1-281d4273e02d_book.pdf 20 08 20220310 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/multispecies-storytelling-in-intermedial-practices/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0338.1.00.pdf 20 08 20220310 01 urn:uuid:91d8ec2e-e566-4ec7-a784-83263c17a6a3 03 01 01 thoth-work-id urn:uuid:88887777-f901-4ee7-97d8-b72b498dbb99 01 thoth-publication-id urn:uuid:91d8ec2e-e566-4ec7-a784-83263c17a6a3 15 9780692734629 03 9780692734629 06 10.21983/P3.0145.1.00 01 internal-reference 0145 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Murder Ballads Exhuming the Body Buried beneath Wordsworth's Lyrical Ballads 1 A01 21 0009000719166835 David John Brennan David John Brennan 40 028pmsz77 James Madison University 01 eng 00 160 03 93 DSBD 12 DSC B2 Fabulations 10 LIT014000 B2 Literary Studies 20 poetry; criticism; Wordsworth; plays; experimental poetry; William Wordsworth; Samuel Taylor Coleridge 01 06 02 00 03 00 In 1798, William Wordsworth and Samuel Taylor Coleridge were engaged in a top secret experiment. This was not, as many assume, the creation of a book of poetry. A book emerged, to be sure—the landmark Lyrical Ballads. But in Murder Ballads, David John Brennan posits that the two poets were in fact pursuing far different ends: to birth from their poems a singular, idealized Poet.Despite their success, such Frankensteinian pursuits proved rife with consequence for the men. Doubts and questions plagued them: What does it mean to be a poet if your work is not your own? Who is best fit to lay claim to a parcel of poetic property that was collaboratively crafted and bequeathed to a fictitious Poet? How does one kill a Poet born of one’s own hand?Blending critical examination with jocular playlets-in-verse featuring the authors of the two books in baffled conversation, Murder Ballads reopens a 200-year-old cold case that never received a proper investigation: Who was the first true Author of Lyrical Ballads, and how exactly did he die? 30 00 In 1798, William Wordsworth and Samuel Taylor Coleridge were engaged in a top secret experiment. This was not, as many assume, the creation of a book of poetry. A book emerged, to be sure—the landmark Lyrical Ballads. But in Murder Ballads, David John Brennan posits that the two poets were in fact pursuing far different ends: to birth from their poems a singular, idealized Poet.Despite their success, such Frankensteinian pursuits proved rife with consequence for the men. Doubts and questions plagued them: What does it mean to be a poet if your work is not your own? Who is best fit to lay claim to a parcel of poetic property that was collaboratively crafted and bequeathed to a fictitious Poet? How does one kill a Poet born of one’s own hand?Blending critical examination with jocular playlets-in-verse featuring the authors of the two books in baffled conversation, Murder Ballads reopens a 200-year-old cold case that never received a proper investigation: Who was the first true Author of Lyrical Ballads, and how exactly did he die? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0145.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/murder-ballads/ Earth, Milky Way 04 01 20160627 Brennan, David John 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692734627 20 08 20160627 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/murder-ballads-exhuming-the-body-buried-beneath-wordsworths-lyrical-ballads 20 08 20160627 02 22.00 USD WORLD urn:uuid:6c2b3cf0-2084-4d5c-90ce-f5364e2ecbed 03 01 01 thoth-work-id urn:uuid:88887777-f901-4ee7-97d8-b72b498dbb99 01 thoth-publication-id urn:uuid:6c2b3cf0-2084-4d5c-90ce-f5364e2ecbed 06 10.21983/P3.0145.1.00 01 internal-reference 0145 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Murder Ballads Exhuming the Body Buried beneath Wordsworth's Lyrical Ballads 1 A01 21 0009000719166835 David John Brennan David John Brennan 40 028pmsz77 James Madison University 01 eng 00 160 03 93 DSBD 12 DSC B2 Fabulations 10 LIT014000 B2 Literary Studies 20 poetry; criticism; Wordsworth; plays; experimental poetry; William Wordsworth; Samuel Taylor Coleridge 01 06 02 00 03 00 In 1798, William Wordsworth and Samuel Taylor Coleridge were engaged in a top secret experiment. This was not, as many assume, the creation of a book of poetry. A book emerged, to be sure—the landmark Lyrical Ballads. But in Murder Ballads, David John Brennan posits that the two poets were in fact pursuing far different ends: to birth from their poems a singular, idealized Poet.Despite their success, such Frankensteinian pursuits proved rife with consequence for the men. Doubts and questions plagued them: What does it mean to be a poet if your work is not your own? Who is best fit to lay claim to a parcel of poetic property that was collaboratively crafted and bequeathed to a fictitious Poet? How does one kill a Poet born of one’s own hand?Blending critical examination with jocular playlets-in-verse featuring the authors of the two books in baffled conversation, Murder Ballads reopens a 200-year-old cold case that never received a proper investigation: Who was the first true Author of Lyrical Ballads, and how exactly did he die? 30 00 In 1798, William Wordsworth and Samuel Taylor Coleridge were engaged in a top secret experiment. This was not, as many assume, the creation of a book of poetry. A book emerged, to be sure—the landmark Lyrical Ballads. But in Murder Ballads, David John Brennan posits that the two poets were in fact pursuing far different ends: to birth from their poems a singular, idealized Poet.Despite their success, such Frankensteinian pursuits proved rife with consequence for the men. Doubts and questions plagued them: What does it mean to be a poet if your work is not your own? Who is best fit to lay claim to a parcel of poetic property that was collaboratively crafted and bequeathed to a fictitious Poet? How does one kill a Poet born of one’s own hand?Blending critical examination with jocular playlets-in-verse featuring the authors of the two books in baffled conversation, Murder Ballads reopens a 200-year-old cold case that never received a proper investigation: Who was the first true Author of Lyrical Ballads, and how exactly did he die? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0145.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/murder-ballads/ Earth, Milky Way 04 01 20160627 Brennan, David John 02 WORLD 06 15 9780692734629 03 9780692734629 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25480 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25480/1004615.pdf?sequence=1&isAllowed=y 20 08 20160627 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34907 20 08 20160627 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353938 20 08 20160627 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/530 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5c0f88e6-0339-43f0-aae4-09252356c928/download 20 08 20160627 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Murder_Ballads/3m2oEAAAQBAJ 20 08 20160627 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/88887777-f901-4ee7-97d8-b72b498dbb99 29 INTERNET_ARCHIVE: download the title https://archive.org/download/88887777-f901-4ee7-97d8-b72b498dbb99/88887777-f901-4ee7-97d8-b72b498dbb99.pdf 20 08 20160627 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846614 29 ZENODO: download the title https://zenodo.org/records/19846614/files/88887777-f901-4ee7-97d8-b72b498dbb99_book.pdf 20 08 20160627 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/murder-ballads/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0145.1.00.pdf 20 08 20160627 01 urn:uuid:db150ca0-a229-4c9f-9eab-c9ce4458b7ec 03 01 01 thoth-work-id urn:uuid:e1a60651-bb32-4ec1-a39f-d8ffe20bd238 01 thoth-publication-id urn:uuid:db150ca0-a229-4c9f-9eab-c9ce4458b7ec 15 9781950192113 03 9781950192113 06 10.21983/P3.0252.1.00 13 2019931176 01 internal-reference 0252 00 BC 10 01 271 mm 01 27.1 cm 01 10.66 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Museum of Nonhumanity 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 01 eng 00 281 03 12 AGC 93 AGC 10 ART006000 B2 Art+Aesthetics B2 Cultural Studies+Critical Theory 93 JBFU 93 JBFV B2 Posthumanism 20 posthumanism; art; animal rights; critical animal studies; ethics; moral philosophy; museums 01 06 02 00 03 00 Museum of Nonhumanity is the catalogue for a full-size touring museum that presents the history of the distinction between humans and animals, and the way that this artificial boundary has been used to oppress human and nonhuman beings over long historical periods. Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression, medical experimentation, genocide, and other forms of violence against those deemed “other.” Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals. Museum of Nonhumanity approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through intersectional approaches. The museum also hosts a pop-up book shop and a vegan café. As a temporary, utopian institution, Museum of Nonhumanity stands as a monument to the call to make animalization history. 30 00 Museum of Nonhumanity is the catalogue for a full-size touring museum that presents the history of the distinction between humans and animals, and the way that this artificial boundary has been used to oppress human and nonhuman beings over long historical periods. Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression, medical experimentation, genocide, and other forms of violence against those deemed “other.” Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals. Museum of Nonhumanity approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through intersectional approaches. The museum also hosts a pop-up book shop and a vegan café. As a temporary, utopian institution, Museum of Nonhumanity stands as a monument to the call to make animalization history. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0252.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/museum-of-nonhumanity/ Earth, Milky Way 04 01 20190528 Gustafsson, Laura Haapoja, Terike 02 WORLD 06 15 9781950192120 03 9781950192120 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192113 20 08 20190528 02 50.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/museum-of-nonhumanity 20 08 20190528 02 50.00 USD WORLD urn:uuid:a4fe4a08-0560-40b7-bd77-173f6fadcd0f 03 01 01 thoth-work-id urn:uuid:e1a60651-bb32-4ec1-a39f-d8ffe20bd238 01 thoth-publication-id urn:uuid:a4fe4a08-0560-40b7-bd77-173f6fadcd0f 15 9781950192120 03 9781950192120 06 10.21983/P3.0252.1.00 13 2019931176 01 internal-reference 0252 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Museum of Nonhumanity 1 A01 Laura Gustafsson Laura Gustafsson 2 A01 Terike Haapoja Terike Haapoja 40 02cmz8k74 Parsons School of Design 01 eng 00 281 03 12 AGC 93 AGC 10 ART006000 B2 Art+Aesthetics B2 Cultural Studies+Critical Theory 93 JBFU 93 JBFV B2 Posthumanism 20 posthumanism; art; animal rights; critical animal studies; ethics; moral philosophy; museums 01 06 02 00 03 00 Museum of Nonhumanity is the catalogue for a full-size touring museum that presents the history of the distinction between humans and animals, and the way that this artificial boundary has been used to oppress human and nonhuman beings over long historical periods. Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression, medical experimentation, genocide, and other forms of violence against those deemed “other.” Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals. Museum of Nonhumanity approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through intersectional approaches. The museum also hosts a pop-up book shop and a vegan café. As a temporary, utopian institution, Museum of Nonhumanity stands as a monument to the call to make animalization history. 30 00 Museum of Nonhumanity is the catalogue for a full-size touring museum that presents the history of the distinction between humans and animals, and the way that this artificial boundary has been used to oppress human and nonhuman beings over long historical periods. Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression, medical experimentation, genocide, and other forms of violence against those deemed “other.” Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals. Museum of Nonhumanity approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through intersectional approaches. The museum also hosts a pop-up book shop and a vegan café. As a temporary, utopian institution, Museum of Nonhumanity stands as a monument to the call to make animalization history. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0252.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/museum-of-nonhumanity/ Earth, Milky Way 04 01 20190528 Gustafsson, Laura Haapoja, Terike 02 WORLD 06 15 9781950192113 03 9781950192113 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75653 20 08 20190528 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25099 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25099/0252.1.00.pdf?sequence=1&isAllowed=y 20 08 20190528 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37016 20 08 20190528 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353952 20 08 20190528 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/759 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0bcb3f68-1dc6-4a69-8bb3-77ebc065e5f6/download 20 08 20190528 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Museum_of_Nonhumanity/UAWVEAAAQBAJ 20 08 20190528 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e1a60651-bb32-4ec1-a39f-d8ffe20bd238 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e1a60651-bb32-4ec1-a39f-d8ffe20bd238/e1a60651-bb32-4ec1-a39f-d8ffe20bd238.pdf 20 08 20190528 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847772 29 ZENODO: download the title https://zenodo.org/records/19847772/files/e1a60651-bb32-4ec1-a39f-d8ffe20bd238_book.pdf 20 08 20190528 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/museum-of-nonhumanity/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0252.1.00.pdf 20 08 20190528 01 urn:uuid:ffaaab6c-4f27-4f62-aed9-2fa0486fcfc6 03 01 01 thoth-work-id urn:uuid:e6d586d2-daf0-4b3d-b20f-909e3fc45780 01 thoth-publication-id urn:uuid:ffaaab6c-4f27-4f62-aed9-2fa0486fcfc6 15 9781685712624 03 9781685712624 06 10.53288/0535.1.00 01 internal-reference 0535 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 My 1980s Gayboy Playlist 1 A01 21 0009000828346042 Arved Ashby Arved Ashby 40 00rs6vg23 The Ohio State University 01 eng B2 Autotheory 93 AVA 10 MUS054000 93 3MPQX 10 SOC012000 B2 Sound+Noise 93 5PSG B2 TransQueer 20 sex; sexuality; desire; music; fantasy; queer studies; autotheory; fetishism; race; history; critical theory 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2024/11/241120gayboyplaylist-cover-web-front.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/my-1980s-gayboy-playlist/ Earth, Milky Way 02 01 20260811 Arved Ashby 02 WORLD 06 15 9781685712631 03 9781685712631 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/my-1980s-gayboy-playlist/ 10 08 20260811 01 urn:uuid:a920602e-569b-4689-a313-b09a1f37315e 03 01 01 thoth-work-id urn:uuid:e6d586d2-daf0-4b3d-b20f-909e3fc45780 01 thoth-publication-id urn:uuid:a920602e-569b-4689-a313-b09a1f37315e 15 9781685712631 03 9781685712631 06 10.53288/0535.1.00 01 internal-reference 0535 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 My 1980s Gayboy Playlist 1 A01 21 0009000828346042 Arved Ashby Arved Ashby 40 00rs6vg23 The Ohio State University 01 eng B2 Autotheory 93 AVA 10 MUS054000 93 3MPQX 10 SOC012000 B2 Sound+Noise 93 5PSG B2 TransQueer 20 sex; sexuality; desire; music; fantasy; queer studies; autotheory; fetishism; race; history; critical theory 01 06 02 00 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2024/11/241120gayboyplaylist-cover-web-front.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/my-1980s-gayboy-playlist/ Earth, Milky Way 02 01 20260811 Arved Ashby 02 WORLD 06 15 9781685712624 03 9781685712624 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/my-1980s-gayboy-playlist/ 10 08 20260811 01 urn:uuid:c3622e30-6ae5-4f91-8103-f8062f7fd3bb 03 01 01 thoth-work-id urn:uuid:0a1b16f0-411d-4509-b50c-088a3495476e 01 thoth-publication-id urn:uuid:c3622e30-6ae5-4f91-8103-f8062f7fd3bb 15 9780615830001 03 9780615830001 06 10.21983/P3.0101.1.00 01 internal-reference 0101 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 My Gay Middle Ages 1 A01 A.W. Strouse A.W. Strouse 40 00awd9g61 The Graduate Center, CUNY 01 eng 00 86 03 10 BIO026000 12 BM 93 DNC B2 Premodern 93 3KL B2 Sex 93 5PSG B2 TransQueer 93 DSBB 20 prose poetry; gay life; memoir; Middle Ages; medievalism 01 06 02 00 03 00 In the world of My Gay Middle Ages, Chaucer and Boethius are the secret-sharers of A.W. Strouse’s “gay lifestyle.” Where many scholars of the Middle Ages would “get in from behind” on cultural history, Strouse instead does a “reach around.” He eschews academic “queer theory” as yet another tedious, normative framework, and writes in the long, fruity tradition of irresponsible, homo-medievalism (a lineage that includes luminaries like Oscar Wilde, who was sustained by his amateur readings of Dante and Abelard during the darks days of his incarceration for crimes of “gross indecency”). Strouse experiences medieval literature and philosophy as a part of his everyday life, and in these prose poems he makes the case for regarding the Middle Ages as a kind of technology of self-preservation, a posture through which to spiritualize the petty indignities of modern urban life. With a Warholian flair for insouciant name-dropping and a Steinian appetite for syntactic perversion, Strouse monumentalizes the medieval within the contemporary and the contemporary within the medieval. 30 00 In the world of My Gay Middle Ages, Chaucer and Boethius are the secret-sharers of A.W. Strouse’s “gay lifestyle.” Where many scholars of the Middle Ages would “get in from behind” on cultural history, Strouse instead does a “reach around.” He eschews academic “queer theory” as yet another tedious, normative framework, and writes in the long, fruity tradition of irresponsible, homo-medievalism (a lineage that includes luminaries like Oscar Wilde, who was sustained by his amateur readings of Dante and Abelard during the darks days of his incarceration for crimes of “gross indecency”). Strouse experiences medieval literature and philosophy as a part of his everyday life, and in these prose poems he makes the case for regarding the Middle Ages as a kind of technology of self-preservation, a posture through which to spiritualize the petty indignities of modern urban life. With a Warholian flair for insouciant name-dropping and a Steinian appetite for syntactic perversion, Strouse monumentalizes the medieval within the contemporary and the contemporary within the medieval. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0101.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/my-gay-middle-ages/ Brooklyn, NY 04 01 20150513 Strouse, A.W. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615830005 20 08 20150513 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/my-gay-middle-ages 20 08 20150513 02 21.00 USD WORLD urn:uuid:275817a2-b5ba-4a2a-805d-0cdea29fa9b9 03 01 01 thoth-work-id urn:uuid:0a1b16f0-411d-4509-b50c-088a3495476e 01 thoth-publication-id urn:uuid:275817a2-b5ba-4a2a-805d-0cdea29fa9b9 06 10.21983/P3.0101.1.00 01 internal-reference 0101 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 My Gay Middle Ages 1 A01 A.W. Strouse A.W. Strouse 40 00awd9g61 The Graduate Center, CUNY 01 eng 00 86 03 10 BIO026000 12 BM 93 DNC B2 Premodern 93 3KL B2 Sex 93 5PSG B2 TransQueer 93 DSBB 20 prose poetry; gay life; memoir; Middle Ages; medievalism 01 06 02 00 03 00 In the world of My Gay Middle Ages, Chaucer and Boethius are the secret-sharers of A.W. Strouse’s “gay lifestyle.” Where many scholars of the Middle Ages would “get in from behind” on cultural history, Strouse instead does a “reach around.” He eschews academic “queer theory” as yet another tedious, normative framework, and writes in the long, fruity tradition of irresponsible, homo-medievalism (a lineage that includes luminaries like Oscar Wilde, who was sustained by his amateur readings of Dante and Abelard during the darks days of his incarceration for crimes of “gross indecency”). Strouse experiences medieval literature and philosophy as a part of his everyday life, and in these prose poems he makes the case for regarding the Middle Ages as a kind of technology of self-preservation, a posture through which to spiritualize the petty indignities of modern urban life. With a Warholian flair for insouciant name-dropping and a Steinian appetite for syntactic perversion, Strouse monumentalizes the medieval within the contemporary and the contemporary within the medieval. 30 00 In the world of My Gay Middle Ages, Chaucer and Boethius are the secret-sharers of A.W. Strouse’s “gay lifestyle.” Where many scholars of the Middle Ages would “get in from behind” on cultural history, Strouse instead does a “reach around.” He eschews academic “queer theory” as yet another tedious, normative framework, and writes in the long, fruity tradition of irresponsible, homo-medievalism (a lineage that includes luminaries like Oscar Wilde, who was sustained by his amateur readings of Dante and Abelard during the darks days of his incarceration for crimes of “gross indecency”). Strouse experiences medieval literature and philosophy as a part of his everyday life, and in these prose poems he makes the case for regarding the Middle Ages as a kind of technology of self-preservation, a posture through which to spiritualize the petty indignities of modern urban life. With a Warholian flair for insouciant name-dropping and a Steinian appetite for syntactic perversion, Strouse monumentalizes the medieval within the contemporary and the contemporary within the medieval. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0101.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/my-gay-middle-ages/ Brooklyn, NY 04 01 20150513 Strouse, A.W. 02 WORLD 06 15 9780615830001 03 9780615830001 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76443 20 08 20150513 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25520 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25520/1004575.pdf?sequence=1&isAllowed=y 20 08 20150513 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35660 20 08 20150513 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353807 20 08 20150513 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/484 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/80c83de3-d4e9-4bd7-ae58-307c96e6cf89/download 20 08 20150513 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/My_Gay_Middle_Ages/7gOVEAAAQBAJ 20 08 20150513 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0a1b16f0-411d-4509-b50c-088a3495476e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0a1b16f0-411d-4509-b50c-088a3495476e/0a1b16f0-411d-4509-b50c-088a3495476e.pdf 20 08 20150513 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846206 29 ZENODO: download the title https://zenodo.org/records/19846206/files/0a1b16f0-411d-4509-b50c-088a3495476e_book.pdf 20 08 20150513 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/my-gay-middle-ages/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0101.1.00.pdf 20 08 20150513 01 urn:uuid:94966ddf-b373-476e-94b5-2e192382833d 03 01 01 thoth-work-id urn:uuid:dfaab9b1-940c-432f-85bf-13d387595689 01 thoth-publication-id urn:uuid:94966ddf-b373-476e-94b5-2e192382833d 15 9781685710682 03 9781685710682 06 10.53288/0394.1.00 13 2022948536 01 internal-reference 0394 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 197 mm 02 19.7 cm 02 7.75 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 My Phone Lies to Me Fake News Poetry Workshops As Radical Digital Media Literacy Given the Fact of Fake News 1 B01 21 0000000176167323 Alexandra Juhasz Alexandra Juhasz 40 019k4jq75 Brooklyn College 2 A23 Tara McPherson Tara McPherson 40 03taz7m60 University of Southern California 3 A19 Margaret Rhee Margaret Rhee 40 02tvcev59 New School 01 eng 00 144 03 12 DCQ 93 DCQ B2 Fabulations 10 POE001000 12 CFC 93 CFC 10 COM060140 B2 Media+Technology 93 JBCT1 93 JBCT5 20 fake news; media literacy; poetry; critical internet studies; media praxis; intersectional feminism; creative research methods 01 06 02 00 03 00 This book of poems about fake news written by diverse project participants is foremost an invitation and invocation for readers to participate, with others, in an experiment in knowing and working differently with the internet: Fake News Poetry Workshops. Between 2018 and 2020, Alexandra Juhasz directed more than twenty of these workshops around the world, and these are ongoing beyond the confines of this book. Each differs in form and structure, but participants are always asked to attend to research, their own knowledge about the internet and social media, and what they can learn from their workshop and previous ones.My Phone Lies to Me shares the poems created in the workshops. As moving, eloquent, and useful as they may be — and you are invited to indulge in and learn from them — enjoying and learning from the poems is only a small part of this book’s project. Four short essays (two by Juhasz, with a foreword and afterword by critical internet scholars Tara McPherson and Margaret Rhee, respectively) introduce and situate the project’s processes of radical digital media. You can learn what Fake News Poetry Workshops make, do, and believe in, as well as how to collaborate with others to create your own.Fake News Poetry Workshops are one way to counter dominant and dominating internet modes and values, to fight the corrupt ways of being and knowing that use digital media to create, fuel, and weaponize fake news. The project verifies good news in the face of fake news: that we can gather together in our many local places and use analog structures (about digital things and ways) to generate, hold, and share "art answers to phony questions." 30 00 This book of poems about fake news written by diverse project participants is foremost an invitation and invocation for readers to participate, with others, in an experiment in knowing and working differently with the internet: Fake News Poetry Workshops. Between 2018 and 2020, Alexandra Juhasz directed more than twenty of these workshops around the world, and these are ongoing beyond the confines of this book. Each differs in form and structure, but participants are always asked to attend to research, their own knowledge about the internet and social media, and what they can learn from their workshop and previous ones.My Phone Lies to Me shares the poems created in the workshops. As moving, eloquent, and useful as they may be — and you are invited to indulge in and learn from them — enjoying and learning from the poems is only a small part of this book’s project. Four short essays (two by Juhasz, with a foreword and afterword by critical internet scholars Tara McPherson and Margaret Rhee, respectively) introduce and situate the project’s processes of radical digital media. You can learn what Fake News Poetry Workshops make, do, and believe in, as well as how to collaborate with others to create your own.Fake News Poetry Workshops are one way to counter dominant and dominating internet modes and values, to fight the corrupt ways of being and knowing that use digital media to create, fuel, and weaponize fake news. The project verifies good news in the face of fake news: that we can gather together in our many local places and use analog structures (about digital things and ways) to generate, hold, and share "art answers to phony questions." 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0394.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/my-phone-lies-to-me-fake-news-poetry-workshops-as-radical-digital-media-literacy-given-the-fact-of-fake-news/ Earth, Milky Way 04 01 20221118 Alexandra Juhasz 02 WORLD 06 15 9781685710699 03 9781685710699 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710689 20 08 20221118 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/my-phone-lies-to-me-fake-news-poetry-workshops-as-radical-digital-media-literacy-given-the-fact-of-fake-news 20 08 20221118 02 23.00 USD WORLD urn:uuid:7a6a6843-5cf0-4a17-a175-8fe54617a4c2 03 01 01 thoth-work-id urn:uuid:dfaab9b1-940c-432f-85bf-13d387595689 01 thoth-publication-id urn:uuid:7a6a6843-5cf0-4a17-a175-8fe54617a4c2 15 9781685710699 03 9781685710699 06 10.53288/0394.1.00 13 2022948536 01 internal-reference 0394 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 My Phone Lies to Me Fake News Poetry Workshops As Radical Digital Media Literacy Given the Fact of Fake News 1 B01 21 0000000176167323 Alexandra Juhasz Alexandra Juhasz 40 019k4jq75 Brooklyn College 2 A23 Tara McPherson Tara McPherson 40 03taz7m60 University of Southern California 3 A19 Margaret Rhee Margaret Rhee 40 02tvcev59 New School 01 eng 00 144 03 12 DCQ 93 DCQ B2 Fabulations 10 POE001000 12 CFC 93 CFC 10 COM060140 B2 Media+Technology 93 JBCT1 93 JBCT5 20 fake news; media literacy; poetry; critical internet studies; media praxis; intersectional feminism; creative research methods 01 06 02 00 03 00 This book of poems about fake news written by diverse project participants is foremost an invitation and invocation for readers to participate, with others, in an experiment in knowing and working differently with the internet: Fake News Poetry Workshops. Between 2018 and 2020, Alexandra Juhasz directed more than twenty of these workshops around the world, and these are ongoing beyond the confines of this book. Each differs in form and structure, but participants are always asked to attend to research, their own knowledge about the internet and social media, and what they can learn from their workshop and previous ones.My Phone Lies to Me shares the poems created in the workshops. As moving, eloquent, and useful as they may be — and you are invited to indulge in and learn from them — enjoying and learning from the poems is only a small part of this book’s project. Four short essays (two by Juhasz, with a foreword and afterword by critical internet scholars Tara McPherson and Margaret Rhee, respectively) introduce and situate the project’s processes of radical digital media. You can learn what Fake News Poetry Workshops make, do, and believe in, as well as how to collaborate with others to create your own.Fake News Poetry Workshops are one way to counter dominant and dominating internet modes and values, to fight the corrupt ways of being and knowing that use digital media to create, fuel, and weaponize fake news. The project verifies good news in the face of fake news: that we can gather together in our many local places and use analog structures (about digital things and ways) to generate, hold, and share "art answers to phony questions." 30 00 This book of poems about fake news written by diverse project participants is foremost an invitation and invocation for readers to participate, with others, in an experiment in knowing and working differently with the internet: Fake News Poetry Workshops. Between 2018 and 2020, Alexandra Juhasz directed more than twenty of these workshops around the world, and these are ongoing beyond the confines of this book. Each differs in form and structure, but participants are always asked to attend to research, their own knowledge about the internet and social media, and what they can learn from their workshop and previous ones.My Phone Lies to Me shares the poems created in the workshops. As moving, eloquent, and useful as they may be — and you are invited to indulge in and learn from them — enjoying and learning from the poems is only a small part of this book’s project. Four short essays (two by Juhasz, with a foreword and afterword by critical internet scholars Tara McPherson and Margaret Rhee, respectively) introduce and situate the project’s processes of radical digital media. You can learn what Fake News Poetry Workshops make, do, and believe in, as well as how to collaborate with others to create your own.Fake News Poetry Workshops are one way to counter dominant and dominating internet modes and values, to fight the corrupt ways of being and knowing that use digital media to create, fuel, and weaponize fake news. The project verifies good news in the face of fake news: that we can gather together in our many local places and use analog structures (about digital things and ways) to generate, hold, and share "art answers to phony questions." 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0394.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/my-phone-lies-to-me-fake-news-poetry-workshops-as-radical-digital-media-literacy-given-the-fact-of-fake-news/ Earth, Milky Way 04 01 20221118 Alexandra Juhasz 02 WORLD 06 15 9781685710682 03 9781685710682 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/59305 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/59305/0394.1.00.pdf?sequence=1&isAllowed=y 20 08 20221118 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/93912 20 08 20221118 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv34j7mfz 20 08 20221118 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/693 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0d37c5e6-42dc-48d3-b835-babe9713440e/download 20 08 20221118 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/dfaab9b1-940c-432f-85bf-13d387595689 29 INTERNET_ARCHIVE: download the title https://archive.org/download/dfaab9b1-940c-432f-85bf-13d387595689/dfaab9b1-940c-432f-85bf-13d387595689.pdf 20 08 20221118 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849596 29 ZENODO: download the title https://zenodo.org/records/19849596/files/dfaab9b1-940c-432f-85bf-13d387595689_book.pdf 20 08 20221118 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/my-phone-lies-to-me-fake-news-poetry-workshops-as-radical-digital-media-literacy-given-the-fact-of-fake-news/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0394.1.00.pdf 20 08 20221118 01 urn:uuid:290b85c0-6694-414c-8456-47ccd3190fb4 03 01 01 thoth-work-id urn:uuid:763ca210-ebe8-4a54-8e98-d57acd0d5e2f 01 thoth-publication-id urn:uuid:290b85c0-6694-414c-8456-47ccd3190fb4 15 9781947447561 03 9781947447561 06 10.21983/P3.0202.1.00 13 2018941289 01 internal-reference 0202 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Mythodologies Methods in Medieval Studies, Chaucer, and Book History 1 A01 Joseph A. Dane Joseph A. Dane 40 03taz7m60 University of Southern California 01 eng 00 292 03 12 DSBB 93 GPS B2 Humanities+University 10 LIT011000 93 DSBB B2 Literary Studies 93 NHAP B2 Premodern 20 medieval studies; Chaucer; book history; intellectual history; bibliography 01 06 02 00 03 00 Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it.This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, “Noster Chaucer,” looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. “Our” Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, “Bibliography and Book History,” consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, “Cacophonies: A Bibliographical Rondo,” is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. 30 00 Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it.This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, “Noster Chaucer,” looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. “Our” Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, “Bibliography and Book History,” consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, “Cacophonies: A Bibliographical Rondo,” is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0202.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mythodologies-methods-in-medieval-studies-chaucer-and-book-history/ Earth, Milky Way 04 01 20180531 Dane, Joseph A. 02 WORLD 06 15 9781947447578 03 9781947447578 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447564 20 08 20180531 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/mythodologies-methods-in-medieval-studies-chaucer-and-book-history 20 08 20180531 02 25.00 USD WORLD urn:uuid:23f032fa-9577-4e43-b5d5-74ee5e561379 03 01 01 thoth-work-id urn:uuid:763ca210-ebe8-4a54-8e98-d57acd0d5e2f 01 thoth-publication-id urn:uuid:23f032fa-9577-4e43-b5d5-74ee5e561379 15 9781947447578 03 9781947447578 06 10.21983/P3.0202.1.00 13 2018941289 01 internal-reference 0202 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Mythodologies Methods in Medieval Studies, Chaucer, and Book History 1 A01 Joseph A. Dane Joseph A. Dane 40 03taz7m60 University of Southern California 01 eng 00 292 03 12 DSBB 93 GPS B2 Humanities+University 10 LIT011000 93 DSBB B2 Literary Studies 93 NHAP B2 Premodern 20 medieval studies; Chaucer; book history; intellectual history; bibliography 01 06 02 00 03 00 Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it.This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, “Noster Chaucer,” looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. “Our” Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, “Bibliography and Book History,” consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, “Cacophonies: A Bibliographical Rondo,” is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. 30 00 Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it.This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, “Noster Chaucer,” looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. “Our” Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, “Bibliography and Book History,” consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, “Cacophonies: A Bibliographical Rondo,” is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0202.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mythodologies-methods-in-medieval-studies-chaucer-and-book-history/ Earth, Milky Way 04 01 20180531 Dane, Joseph A. 02 WORLD 06 15 9781947447561 03 9781947447561 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66806 20 08 20180531 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25427 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25427/1004668.pdf?sequence=1&isAllowed=y 20 08 20180531 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36160 20 08 20180531 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353954 20 08 20180531 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/581 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1cca5cd2-a9c1-45f1-8327-ea4dca04fd3d/download 20 08 20180531 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/763ca210-ebe8-4a54-8e98-d57acd0d5e2f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/763ca210-ebe8-4a54-8e98-d57acd0d5e2f/763ca210-ebe8-4a54-8e98-d57acd0d5e2f.pdf 20 08 20180531 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847282 29 ZENODO: download the title https://zenodo.org/records/19847282/files/763ca210-ebe8-4a54-8e98-d57acd0d5e2f_book.pdf 20 08 20180531 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/mythodologies-methods-in-medieval-studies-chaucer-and-book-history/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0202.1.00.pdf 20 08 20180531 01 urn:uuid:85adc34c-d1f6-4347-aa2b-622b4603b1bc 03 01 01 thoth-work-id urn:uuid:bb91585a-0ce3-4e37-b6e2-0bf160cedab0 01 thoth-publication-id urn:uuid:85adc34c-d1f6-4347-aa2b-622b4603b1bc 15 9780692523551 03 9780692523551 06 10.21983/P3.0113.1.00 01 internal-reference 0113 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 MythomaniaS Crime Scenes & Psycho Case Studies 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 00 118 03 12 AGB 10 ARC013000 93 JMAF B2 Philosophy 93 6SK B2 Built Environments 93 RGCS B2 Thought Experiments 20 metempsychosis; architecture; psychoanalysis; film; myth 01 06 02 00 03 00 mythomaniaS is a catalog of case studies in the form of film stills, architectural fragments, stage props, texts, and images culled from the experiments of MindMachineMakingMyths (Lab M4, part of the New Territories architecture studio, Bankgok, Thailand), a collaboration begun in 2012 between Camille Lacadee and François Roche to construct environmental-architectural psycho-scapes (in the partly fabricated wilds of various countries) as laboratory-shelters for exploring and deconstructing the supposed rifts between realism and speculative fiction (myth), psyche and environment, body and mind. Bringing together architecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s pataphysics (the “science of imaginary solutions which symbolically attributes the properties of objects, described by their virtuality, to their lineaments”), Lacadee and Roche (and their tribe, Ezio Blasetti, Stephan Henrich, Danielle Willems, Gwyll Jahn, and many others) enacted and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural structures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-machine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”). 30 00 mythomaniaS is a catalog of case studies in the form of film stills, architectural fragments, stage props, texts, and images culled from the experiments of MindMachineMakingMyths (Lab M4, part of the New Territories architecture studio, Bankgok, Thailand), a collaboration begun in 2012 between Camille Lacadee and François Roche to construct environmental-architectural psycho-scapes (in the partly fabricated wilds of various countries) as laboratory-shelters for exploring and deconstructing the supposed rifts between realism and speculative fiction (myth), psyche and environment, body and mind. Bringing together architecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s pataphysics (the “science of imaginary solutions which symbolically attributes the properties of objects, described by their virtuality, to their lineaments”), Lacadee and Roche (and their tribe, Ezio Blasetti, Stephan Henrich, Danielle Willems, Gwyll Jahn, and many others) enacted and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural structures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-machine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0113.1.00_frontcover.png 1 03 06 10.21983/P3.0113.1.01 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 2 03 06 10.21983/P3.0113.1.02 10 19 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 <> Small apparatuses 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 03 00 The reasons behind this work are unknown to me, but the path it is taking, both demonstrative and absurd, makes this journey, the vectorization of the emergences coming from non-formulated hypotheses, the only reason possibly able to validate them. 30 00 The reasons behind this work are unknown to me, but the path it is taking, both demonstrative and absurd, makes this journey, the vectorization of the emergences coming from non-formulated hypotheses, the only reason possibly able to validate them. 20 00 Open Access Lacadée, Camille Roche, François 3 03 06 10.21983/P3.0113.1.03 20 25 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 (beau)strosity 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 4 03 06 10.21983/P3.0113.1.04 26 31 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 concrete[i]land 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 5 03 06 10.21983/P3.0113.1.05 32 37 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ...Would Have Been My Last Complaint 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 6 03 06 10.21983/P3.0113.1.06 38 41 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 La Passe 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 7 03 06 10.21983/P3.0113.1.07 42 47 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 the Offspring 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 8 03 06 10.21983/P3.0113.1.08 48 51 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 altered state 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 9 03 06 10.21983/P3.0113.1.09 52 55 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Feral Child (prelude) 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 10 03 06 10.21983/P3.0113.1.10 56 59 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ∑ d a y s 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 11 03 06 10.21983/P3.0113.1.11 60 63 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 WHATEVS~4~EVS 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 12 03 06 10.21983/P3.0113.1.12 64 65 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 | what could happen | 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 03 00 Something makes people want to walk, ride or climb to the mountaintops - how dangerous an undertaking this may be because of conditions of terrain and weather. It is something completely irrational. Some have themselves brought to the tops of mountains with trains, cable cars and even helicopters. It is often thought that this is to appreciate a sublime, untameable nature, since it has been already the theme of many a sublime Romantic painting or poem. But in fact most Alpine mountain tops are as artificial as a Dutch polder, not just with the crosses on top, but with mines dug underneath, avalanche protection, restaurants, hotels, ski slopes, ski lifts, half-pipes for snowboarders, artificial lakes to produce artificial snow, a view of the urbanized valley below, and in summer, cows not for the production of milk and meat but for maintenance. All of this is realized only to enable people dressed in special clothes, helmets, and harnesses, to throw themselves down again literally as soon as they have arrived on top, using sleighs, skis, snowboards or specially designed and high-tech so-called freeride mountain bikes. 30 00 Something makes people want to walk, ride or climb to the mountaintops - how dangerous an undertaking this may be because of conditions of terrain and weather. It is something completely irrational. Some have themselves brought to the tops of mountains with trains, cable cars and even helicopters. It is often thought that this is to appreciate a sublime, untameable nature, since it has been already the theme of many a sublime Romantic painting or poem. But in fact most Alpine mountain tops are as artificial as a Dutch polder, not just with the crosses on top, but with mines dug underneath, avalanche protection, restaurants, hotels, ski slopes, ski lifts, half-pipes for snowboarders, artificial lakes to produce artificial snow, a view of the urbanized valley below, and in summer, cows not for the production of milk and meat but for maintenance. All of this is realized only to enable people dressed in special clothes, helmets, and harnesses, to throw themselves down again literally as soon as they have arrived on top, using sleighs, skis, snowboards or specially designed and high-tech so-called freeride mountain bikes. 20 00 Open Access Lacadée, Camille Roche, François 13 03 06 10.21983/P3.0113.1.13 76 79 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Naχos (terra īnsōla) 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 14 03 06 10.21983/P3.0113.1.14 80 93 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Timidity Symptom 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 15 03 06 10.21983/P3.0113.1.15 94 97 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 emet 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 16 03 06 10.21983/P3.0113.1.16 98 101 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Daemon in Venice 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 17 03 06 10.21983/P3.0113.1.17 102 105 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zeitgast 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 18 03 06 10.21983/P3.0113.1.18 106 109 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Although (in) hapnea 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 19 03 06 10.21983/P3.0113.1.19 110 116 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mythomanias/ Brooklyn, NY 04 01 20150923 Lacadée, Camille Roche, François 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692523553 20 08 20150923 02 32.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/mythomanias-crime-scenes-psycho-case-studies 20 08 20150923 02 32.00 USD WORLD urn:uuid:653cb232-0d0e-4f25-9c73-474d86cf2ea2 03 01 01 thoth-work-id urn:uuid:bb91585a-0ce3-4e37-b6e2-0bf160cedab0 01 thoth-publication-id urn:uuid:653cb232-0d0e-4f25-9c73-474d86cf2ea2 06 10.21983/P3.0113.1.00 01 internal-reference 0113 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 MythomaniaS Crime Scenes & Psycho Case Studies 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 00 118 03 12 AGB 10 ARC013000 93 JMAF B2 Philosophy 93 6SK B2 Built Environments 93 RGCS B2 Thought Experiments 20 metempsychosis; architecture; psychoanalysis; film; myth 01 06 02 00 03 00 mythomaniaS is a catalog of case studies in the form of film stills, architectural fragments, stage props, texts, and images culled from the experiments of MindMachineMakingMyths (Lab M4, part of the New Territories architecture studio, Bankgok, Thailand), a collaboration begun in 2012 between Camille Lacadee and François Roche to construct environmental-architectural psycho-scapes (in the partly fabricated wilds of various countries) as laboratory-shelters for exploring and deconstructing the supposed rifts between realism and speculative fiction (myth), psyche and environment, body and mind. Bringing together architecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s pataphysics (the “science of imaginary solutions which symbolically attributes the properties of objects, described by their virtuality, to their lineaments”), Lacadee and Roche (and their tribe, Ezio Blasetti, Stephan Henrich, Danielle Willems, Gwyll Jahn, and many others) enacted and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural structures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-machine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”). 30 00 mythomaniaS is a catalog of case studies in the form of film stills, architectural fragments, stage props, texts, and images culled from the experiments of MindMachineMakingMyths (Lab M4, part of the New Territories architecture studio, Bankgok, Thailand), a collaboration begun in 2012 between Camille Lacadee and François Roche to construct environmental-architectural psycho-scapes (in the partly fabricated wilds of various countries) as laboratory-shelters for exploring and deconstructing the supposed rifts between realism and speculative fiction (myth), psyche and environment, body and mind. Bringing together architecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s pataphysics (the “science of imaginary solutions which symbolically attributes the properties of objects, described by their virtuality, to their lineaments”), Lacadee and Roche (and their tribe, Ezio Blasetti, Stephan Henrich, Danielle Willems, Gwyll Jahn, and many others) enacted and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural structures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-machine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0113.1.00_frontcover.png 1 03 06 10.21983/P3.0113.1.01 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 2 03 06 10.21983/P3.0113.1.02 10 19 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 <> Small apparatuses 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 03 00 The reasons behind this work are unknown to me, but the path it is taking, both demonstrative and absurd, makes this journey, the vectorization of the emergences coming from non-formulated hypotheses, the only reason possibly able to validate them. 30 00 The reasons behind this work are unknown to me, but the path it is taking, both demonstrative and absurd, makes this journey, the vectorization of the emergences coming from non-formulated hypotheses, the only reason possibly able to validate them. 20 00 Open Access Lacadée, Camille Roche, François 3 03 06 10.21983/P3.0113.1.03 20 25 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 (beau)strosity 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 4 03 06 10.21983/P3.0113.1.04 26 31 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 concrete[i]land 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 5 03 06 10.21983/P3.0113.1.05 32 37 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ...Would Have Been My Last Complaint 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 6 03 06 10.21983/P3.0113.1.06 38 41 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 La Passe 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 7 03 06 10.21983/P3.0113.1.07 42 47 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 the Offspring 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 8 03 06 10.21983/P3.0113.1.08 48 51 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 altered state 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 9 03 06 10.21983/P3.0113.1.09 52 55 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Feral Child (prelude) 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 10 03 06 10.21983/P3.0113.1.10 56 59 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ∑ d a y s 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 11 03 06 10.21983/P3.0113.1.11 60 63 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 WHATEVS~4~EVS 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 12 03 06 10.21983/P3.0113.1.12 64 65 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 | what could happen | 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 03 00 Something makes people want to walk, ride or climb to the mountaintops - how dangerous an undertaking this may be because of conditions of terrain and weather. It is something completely irrational. Some have themselves brought to the tops of mountains with trains, cable cars and even helicopters. It is often thought that this is to appreciate a sublime, untameable nature, since it has been already the theme of many a sublime Romantic painting or poem. But in fact most Alpine mountain tops are as artificial as a Dutch polder, not just with the crosses on top, but with mines dug underneath, avalanche protection, restaurants, hotels, ski slopes, ski lifts, half-pipes for snowboarders, artificial lakes to produce artificial snow, a view of the urbanized valley below, and in summer, cows not for the production of milk and meat but for maintenance. All of this is realized only to enable people dressed in special clothes, helmets, and harnesses, to throw themselves down again literally as soon as they have arrived on top, using sleighs, skis, snowboards or specially designed and high-tech so-called freeride mountain bikes. 30 00 Something makes people want to walk, ride or climb to the mountaintops - how dangerous an undertaking this may be because of conditions of terrain and weather. It is something completely irrational. Some have themselves brought to the tops of mountains with trains, cable cars and even helicopters. It is often thought that this is to appreciate a sublime, untameable nature, since it has been already the theme of many a sublime Romantic painting or poem. But in fact most Alpine mountain tops are as artificial as a Dutch polder, not just with the crosses on top, but with mines dug underneath, avalanche protection, restaurants, hotels, ski slopes, ski lifts, half-pipes for snowboarders, artificial lakes to produce artificial snow, a view of the urbanized valley below, and in summer, cows not for the production of milk and meat but for maintenance. All of this is realized only to enable people dressed in special clothes, helmets, and harnesses, to throw themselves down again literally as soon as they have arrived on top, using sleighs, skis, snowboards or specially designed and high-tech so-called freeride mountain bikes. 20 00 Open Access Lacadée, Camille Roche, François 13 03 06 10.21983/P3.0113.1.13 76 79 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Naχos (terra īnsōla) 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 14 03 06 10.21983/P3.0113.1.14 80 93 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Timidity Symptom 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 15 03 06 10.21983/P3.0113.1.15 94 97 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 emet 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 16 03 06 10.21983/P3.0113.1.16 98 101 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Daemon in Venice 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 17 03 06 10.21983/P3.0113.1.17 102 105 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Zeitgast 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 18 03 06 10.21983/P3.0113.1.18 106 109 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Although (in) hapnea 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 19 03 06 10.21983/P3.0113.1.19 110 116 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Camille Lacadée Camille Lacadée 2 B01 François Roche François Roche 01 eng 20 00 Open Access Lacadée, Camille Roche, François 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/mythomanias/ Brooklyn, NY 04 01 20150923 Lacadée, Camille Roche, François 02 WORLD 06 15 9780692523551 03 9780692523551 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25511 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25511/1004584.pdf?sequence=1&isAllowed=y 20 08 20150923 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36536 20 08 20150923 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353962 20 08 20150923 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/743 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5df40106-627e-4164-9ada-c3e55c5d8b57/download 20 08 20150923 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/MythomaniaS/DASVEAAAQBAJ 20 08 20150923 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bb91585a-0ce3-4e37-b6e2-0bf160cedab0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bb91585a-0ce3-4e37-b6e2-0bf160cedab0/bb91585a-0ce3-4e37-b6e2-0bf160cedab0.pdf 20 08 20150923 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846313 29 ZENODO: download the title https://zenodo.org/records/19846313/files/bb91585a-0ce3-4e37-b6e2-0bf160cedab0_book.pdf 20 08 20150923 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/mythomanias/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0113.1.00.pdf 20 08 20150923 01 urn:uuid:20de2cfe-fb06-47a6-b348-4402f3f24b52 03 01 01 thoth-work-id urn:uuid:e20a5d20-78a2-47b4-b15e-2daab8effb56 01 thoth-publication-id urn:uuid:20de2cfe-fb06-47a6-b348-4402f3f24b52 15 9781685711566 03 9781685711566 06 10.53288/0418.1.00 13 2023949022 01 internal-reference 0418 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Nairobi Becoming Security, Uncertainty, Contingency 1 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 2 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 3 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 00 352 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Built Environments 12 JHMC 93 JHMC 10 SOC002010 12 1HFGK 93 1HFGK B2 Cultural Studies+Critical Theory 20 multimodal ethnography; Nairobi; critical practice; artistic collaboration; urbanism; material culture; anthropology; Kenya 01 06 02 00 03 00 Echoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency.Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways.If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself. 30 00 Echoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency.Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways.If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0418.1.00_frontcover.jpg 1 03 06 10.53288/0418.1.01 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 20 00 Open Access 2 03 06 10.53288/0418.1.02 15 59 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Introducing "Nairobi Becoming" 1 A01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 A01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 A01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 A01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 5 A32 Doseline Kiguru Doseline Kiguru Lecturer in World Literatures in English 40 0524sp257 University of Bristol Doseline Kiguru is Lecturer in World Literatures in English at the University of Bristol. Her primary research interest is postcolonial print and digital cultures with a focus on African literary and cultural production mechanisms. She has published widely in this area and her articles have appeared in journals including Journal of English in Africa, Social Dynamics, African Studies, and Tydskrif vir letterkunde. 01 eng 20 00 Open Access Tessa Diphoorn, Joost Fontein, Peter Lockwood, Constance Smith 3 03 06 10.53288/0418.1.03 61 99 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nairobi-scapes 1 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 2 A32 Annie Pfingst Annie Pfingst Sociology, Visiting Research Fellow 40 01khx4a30 Goldsmiths University of London Annie Pfingst applies an interdisciplinary visual, archival, and discursive practice to encounters with the materiality and spatiality of carceral and colonizing geographies, emergency landscapes, geographies of resistance, and the legacy of settler colonial violence. She has exhibited and presented photographic, installation, and multi-media works at galleries, conferences, and symposia in London, Sydney, Nairobi, Berlin, and Java. In 2021, Annie created Haunting, a visual walk through the carceral landscapes of empire across Palestine and Kenya. 3 A32 James Muriuki James Muriuki James Muriuki is a Nairobi-based artist specializing in photography and lens-based media. He is interested in transitioning societies in the Global South, the different knowledge systems occurring within the visual arts environments of those societies, and how these systems are enmeshed within the social fabric. 4 A32 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 5 A32 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 6 A32 Elias Mung’ora Elias Mung’ora Elias Mung’ora is a visual artist. His work is mostly inspired by life in the urban space of Nairobi with paintings, drawings, photography, and woodcut prints being his principal media. His practice appears to share glimpses into everyday Nairobi’s life by capturing significant moments such as a wedding or a portrait session. He is a member of Brush-Tu Artist Collective, a Nairobi-based artists’ collective and the winner of the Manjano Art Competition in 2016 in Nairobi. 7 A32 Peris Jones Peris Jones Professor in the Norwegian Centre for Human Rights, Faculty of Law 40 01xtthb56 University of Oslo Peris Jones works at the Norwegian Centre for Human Rights, Faculty of Law, University of Oslo. His most recent publications are Human Rights and Development (Routledge, 2023), “Decolonising Human Rights: The Rise of Nairobi’s Social Justice Centres,” in The Urban Politics of Human Rights, eds. Janne Nijman et al. (Routledge, 2022), and “Economic and Social Rights and the City,” in The Oxford Handbook of Economic and Social Rights, eds. Malcolm Langford and Katharine G. Young (Oxford University Press, 2022). 8 A32 Teresa Mbatia Teresa Mbatia lecturer in the Department of Geography and Environmental Studies 40 02y9nww90 University of Nairobi Teresa Mbatia is as a Lecturer at the University of Nairobi, Department of Geography and Environmental Studies, where she teaches Urban Geography, Sustainable Urban Development, Urban Geo-Politics courses. Mbatia’s main research interests are on citizen participation in the management of public urban greenspaces and implications thereof on spatial (in)justice and (in)equality in the use, management, and access of the nature reserves. 9 A32 Beppe Karlsson Beppe Karlsson Professor of Social Anthropology 40 05f0yaq80 Stockholm University Bengt (Beppe) G. Karlsson is Professor of Social Anthropology at Stockholm University. He is mainly working on issues relating indigenous peoples and the society-environment interface, with particular focus on the politics of ethnicity and nature in India. Karlsson is the author of Contested Belonging: An Indigenous People’s Struggle for Forest and Identity in Sub-Himalayan Bengal (Routledge, 2000), Unruly Hills: A Political Ecology of India’s Northeast (Berghahn Books, 2011), Leaving the Land: Indigenous Migration and Affective Labour in India (Cambridge University Press, 2019, co-authored with Dolly Kikon), and the edited volumes Indigeneity in India (Kegan Paul 2006, with Tanka B. Subba), Geographies of Difference: Explorations in Northeast Indian Studies (Routledge, 2017, with M. Vandenhelsken and M. Barkataki-Ruscheweyh), and Seedways: The Circulation, Care and Control of Plants in a Warming World (Vitterhetsakademien, 2021, with Annika Rabo). 01 eng 20 00 Open Access Constance Smith 4 03 06 10.53288/0418.1.04 101 103 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude Kanaro, Nairobi River, and the City 1 A01 Billy Kahora Billy Kahora Lecturer in Creative Writing 40 0524sp257 University of Bristol Billy Kahora is currently a Lecturer in Creative Writing at the University of Bristol and is also a founding partner of Saseni! a creative writing teaching platform leading writing workshops in East Africa and Bristol. He has written a non-fiction novella titled The True Story of David Munyakei (2010) and a short story collection The Cape Cod Bicycle War (2019). His story Urban Zoning was shortlisted for the Caine Prize for Africa Writing in 2012, The Gorilla’s Apprentice in 2014. He wrote the screenplay for Soul Boy and co-wrote Nairobi Half Life, which won the Kalasha awards. His short fiction and creative non-fiction has appeared in Chimurenga, McSweeney’s, Granta Online, Internazionale and Vanity Fair, and Kwani. He has just completed a novel titled Babilon Falling. 01 eng 20 00 Open Access Billy Kahora 5 03 06 10.53288/0418.1.05 105 188 84 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies and Corporealities 1 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 2 A32 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 A32 Annie Pfingst Annie Pfingst Sociology, Visiting Research Fellow 40 01khx4a30 Goldsmiths University of London Annie Pfingst applies an interdisciplinary visual, archival, and discursive practice to encounters with the materiality and spatiality of carceral and colonizing geographies, emergency landscapes, geographies of resistance, and the legacy of settler colonial violence. She has exhibited and presented photographic, installation, and multi-media works at galleries, conferences, and symposia in London, Sydney, Nairobi, Berlin, and Java. In 2021, Annie created Haunting, a visual walk through the carceral landscapes of empire across Palestine and Kenya. 4 A32 Craig Halliday Craig Halliday Craig Halliday is an artist and researcher who focuses on the intersection of art, politics, and activism and the potential of the arts and popular culture to extend and deepen the experience of democracy. From 2018 to 2020 he was co-editor of Nairobi Contemporary, the only print magazine dedicated to contemporary art in Kenya and the wider region. 5 A32 Al-Amin Mutunga Al-Amin Mutunga Al-Almin Mutunga is a Kenya-based photographer. His work has been featured on The Daily Nation, BBC, Standard News, among other venues. His work was nominated at the Kenya MasterPieces Awards, documentary category, in 2016, and he was the lead photographer of Softie, a documentary which was voted best editorial at Sundance and nominated at the Oscars in 2020. 6 A32 Doseline Kiguru Doseline Kiguru Lecturer in World Literatures in English 40 0524sp257 University of Bristol Doseline Kiguru is Lecturer in World Literatures in English at the University of Bristol. Her primary research interest is postcolonial print and digital cultures with a focus on African literary and cultural production mechanisms. She has published widely in this area and her articles have appeared in journals including Journal of English in Africa, Social Dynamics, African Studies, and Tydskrif vir letterkunde. 7 A32 Naomi van Stapele Naomi van Stapele Professor in Inclusive Education 40 021zvq422 The Hague University of Applied Sciences Naomi van Stapele is Professor in Inclusive Education at the Centre of Expertise Global and Inclusive Learning at THUAS, The Netherlands. Her long-term collaborative research with gangs and social justice activists in East-Africa and Europe focuses on gangs, masculinities, lived experiences of police violence, inclusive education, community organizing, and transforming authority. Naomi has published peer-reviewed research articles in Africa, Journal of Eastern African Studies, The European Journal of Development Research, Policing, Environment and Planning D. Society and Space, Conflict, Security and Development, and others. She also published peer reviewed chapters in several handbooks, such as The Political Economy of Gangs in a Global Perspective, The Oxford Handbook of Kenyan Politics, The Handbook on Gender and Sexuality in Africa, and Policing the Urban Periphery in Africa. 8 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 9 A32 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 10 A32 Francesco Colona Francesco Colona ssistant Professor of Geography in the Department of Geography, Planning, and Environment 40 016xsfp80 Radboud University, Nijmegen Francesco Colona is Assistant Professor of Geography in the Department of Geography, Planning, and Environment at Radboud University, Nijmegen (the Netherlands). He works at the intersection of human geography, political anthropology, and science and technologies studies. His research revolves around security, conflict, and environmental transitions. 11 A32 Mark Lamont Mark Lamont Lecturer in Sustainable Development 40 05mzfcs16 The Open University Mark Lamont is currently a Lecturer in Sustainable Development at the Open University. He tinkers with social anthropology, history, global development, and medical humanities. He is also a member of Innogen. 01 eng 20 00 Open Access Joost Fontein 6 03 06 10.53288/0418.1.06 189 191 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude From the City Came the Dumpsite from Which the City Reemerged 1 A01 Billy Kahora Billy Kahora Lecturer in Creative Writing 40 0524sp257 University of Bristol Billy Kahora is currently a Lecturer in Creative Writing at the University of Bristol and is also a founding partner of Saseni! a creative writing teaching platform leading writing workshops in East Africa and Bristol. He has written a non-fiction novella titled The True Story of David Munyakei (2010) and a short story collection The Cape Cod Bicycle War (2019). His story Urban Zoning was shortlisted for the Caine Prize for Africa Writing in 2012, The Gorilla’s Apprentice in 2014. He wrote the screenplay for Soul Boy and co-wrote Nairobi Half Life, which won the Kalasha awards. His short fiction and creative non-fiction has appeared in Chimurenga, McSweeney’s, Granta Online, Internazionale and Vanity Fair, and Kwani. He has just completed a novel titled Babilon Falling. 01 eng 20 00 Open Access Billy Kahora 7 03 06 10.53288/0418.1.07 193 234 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Making Lives 1 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 2 A32 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. Previously he was a post-doctoral researcher at the Graduate Institute, Geneva (IHEID) on Project SALMEA (Self-Accomplishment and Local Moralities in Eastern Africa) and a Teaching Associate and Affiliated Lecturer at the University of Cambridge where he gained his PhD in 2021. He is completing a book about the crisis of "wasted men" in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 3 A32 Onyis Martin Onyis Martin Onyis Martin is a visual artist based out of the Kobo Trust, where along with other artists, he mentors and facilitates aspiring artists with opportunities to develop their talent. Experimenting with a wide range of materials, Martin explores the human condition and the global geo-political interface, specifically through issues surrounding human trafficking, migration, corruption, and displacement. In his most recent group of works, Talking Walls (2016), Martin extended his exploration of how information depends on and is influenced by freedom and social structure towards investigating the rise of consumerism. 4 A32 Mario Schmidt Mario Schmidt senior research fellow 40 02mavc002 Max Planck Institute for Social Anthropology Mario Schmidt is Senior Fellow at the Max Planck Institute for Social Anthropology in Halle (Saale), where his geographical focus is on rural Western Kenya and Nairobi. His research focuses on economic practices, narratives, and discourses in rural east Africa. He has recently published Migrants and Masculinity in High-Rise Nairobi: The Pressure of being a Man in an African City (James Currey, 2024). 5 A32 Wambui Kamiru Collymore Wambui Kamiru Collymore Wambui Wamae Kamiru Collymore has been developing artwork around the theme of colonialism, identity, and independence in Africa. She is the founder of The Art Space, an online contemporary gallery with alternative show spaces, based in Nairobi. Her work has been exhibited in Kenya, South Africa, Poland, Germany, and Denmark. She lives and works in Nairobi. http://wambuikamiru.com/ 6 A32 Joshua Doble Joshua Doble Honorary Fellow 40 01nrxwf90 University of Edinburgh Josh Doble is Honorary Fellow at the University of Edinburgh and the Policy Manager at Community Land Scotland. His research focuses on histories of land, emotions, settler colonialism, and race. He has recently co-edited two collections, British Culture after Empire: Race, Decolonisation and Migration since 1945 (Manchester University Press, 2023) and Gender, Emotion and Power, 1750–2020 (University of London Press, 2023). 7 A32 Wangui Kimari Wangui Kimari Junior Research Fellow 40 03p74gp79 University of Cape Town Wangui Kimari is an anthropologist and Junior Research Fellow at the Institute for Humanities in Africa (HUMA), University of Cape Town. Her work draws on many local histories and theoretical approaches, including oral narratives, assemblage theory, urban political ecology, the Black radical tradition, the anthropology of empire, the anthropology of violence, and the anthropology of subjectivity. Wangui is also the participatory action research coordinator for the Mathare Social Justice Centre and an editorial board member of the online publication Africa Is a Country. 8 A32 Doseline Kiguru Doseline Kiguru Lecturer in World Literatures in English 40 0524sp257 University of Bristol Doseline Kiguru is Lecturer in World Literatures in English at the University of Bristol. Her primary research interest is postcolonial print and digital cultures with a focus on African literary and cultural production mechanisms. She has published widely in this area and her articles have appeared in journals including Journal of English in Africa, Social Dynamics, African Studies, and Tydskrif vir letterkunde. 01 eng 20 00 Open Access Peter Lockwood 8 03 06 10.53288/0418.1.08 235 237 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude The City Is a Goat Eaten by Leopards 1 A01 Billy Kahora Billy Kahora Lecturer in Creative Writing 40 0524sp257 University of Bristol Billy Kahora is currently a Lecturer in Creative Writing at the University of Bristol and is also a founding partner of Saseni! a creative writing teaching platform leading writing workshops in East Africa and Bristol. He has written a non-fiction novella titled The True Story of David Munyakei (2010) and a short story collection The Cape Cod Bicycle War (2019). His story Urban Zoning was shortlisted for the Caine Prize for Africa Writing in 2012, The Gorilla’s Apprentice in 2014. He wrote the screenplay for Soul Boy and co-wrote Nairobi Half Life, which won the Kalasha awards. His short fiction and creative non-fiction has appeared in Chimurenga, McSweeney’s, Granta Online, Internazionale and Vanity Fair, and Kwani. He has just completed a novel titled Babilon Falling. 01 eng 20 00 Open Access Billy Kahora 9 03 06 10.53288/0418.1.09 239 287 49 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Regulating Relationships 1 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 A32 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 3 A32 Dennis Muraguri Dennis Muraguri Dennis Muraguri is a mixed media artist working primarily in printmaking and sculpture. Recognized widely for his energetic woodcut prints featuring “matatu culture,” Muraguri captures the social interstices created by the explosive creativity in the unregulated transport economy of Kenya. He has exhibited extensively, including a solo exhibition at Montague Contemporary, New York (2020). He has participated in international art fairs such as Intersect Chicago 2020, 1:54 Contemporary Art Fair, London, 2016, and the Jo’burg Art Fair, 2016. Muraguri was also one of the participating artists in the 2014 KLA Public Art Festival, in Kampala, Uganda and a Selected Artist at the 2018 Kochi-Muziris Biennale in India. 4 A32 Meghan E. Ference Meghan E. Ference assistant professor of anthropology 40 019k4jq75 Brooklyn College Meghan E. Ference is Assistant Professor of Anthropology at Brooklyn College, CUNY. Her forthcoming book, Matatu Work: Gender, Labor and Mobility explores the working conditions of the men and women in Nairobi’s popular transportation sector and is based on two decades of ethnographic fieldwork with transport workers in Kenya. 5 A32 Jean-Baptiste Lanne Jean-Baptiste Lanne Associate Professor in the Department of Geography 40 05f82e368 Université Paris Cité Jean-Baptiste Lanne is a geographer and Associate Professor in the Department of Geography at Université de Paris (Research Unit CESSMA). His research investigates creative and critical writing as a method to inform places and affects of subaltern security workers in the city. Rives d’où je vous veille (Présence Africaine, 2023) is his first novel. 6 A32 Craig Halliday Craig Halliday Craig Halliday is an artist and researcher who focuses on the intersection of art, politics, and activism and the potential of the arts and popular culture to extend and deepen the experience of democracy. From 2018 to 2020 he was co-editor of Nairobi Contemporary, the only print magazine dedicated to contemporary art in Kenya and the wider region. 7 A32 Beppe Karlsson Beppe Karlsson Professor of Social Anthropology 40 05f0yaq80 Stockholm University Bengt (Beppe) G. Karlsson is Professor of Social Anthropology at Stockholm University. He is mainly working on issues relating indigenous peoples and the society-environment interface, with particular focus on the politics of ethnicity and nature in India. Karlsson is the author of Contested Belonging: An Indigenous People’s Struggle for Forest and Identity in Sub-Himalayan Bengal (Routledge, 2000), Unruly Hills: A Political Ecology of India’s Northeast (Berghahn Books, 2011), Leaving the Land: Indigenous Migration and Affective Labour in India (Cambridge University Press, 2019, co-authored with Dolly Kikon), and the edited volumes Indigeneity in India (Kegan Paul 2006, with Tanka B. Subba), Geographies of Difference: Explorations in Northeast Indian Studies (Routledge, 2017, with M. Vandenhelsken and M. Barkataki-Ruscheweyh), and Seedways: The Circulation, Care and Control of Plants in a Warming World (Vitterhetsakademien, 2021, with Annika Rabo). 8 A32 Naomi van Stapele Naomi van Stapele Professor in Inclusive Education 40 021zvq422 The Hague University of Applied Sciences Naomi van Stapele is Professor in Inclusive Education at the Centre of Expertise Global and Inclusive Learning at THUAS, The Netherlands. Her long-term collaborative research with gangs and social justice activists in East-Africa and Europe focuses on gangs, masculinities, lived experiences of police violence, inclusive education, community organizing, and transforming authority. Naomi has published peer-reviewed research articles in Africa, Journal of Eastern African Studies, The European Journal of Development Research, Policing, Environment and Planning D. Society and Space, Conflict, Security and Development, and others. She also published peer reviewed chapters in several handbooks, such as The Political Economy of Gangs in a Global Perspective, The Oxford Handbook of Kenyan Politics, The Handbook on Gender and Sexuality in Africa, and Policing the Urban Periphery in Africa. 9 A32 Gabrielle Lynch Gabrielle Lynch Professor of Comparative Politics 40 01a77tt86 University of Warwick Gabrielle Lynch is a Professor of Comparative Politics at the University of Warwick. Gabrielle’s research interests lie in understanding the nature and political salience of ethnic identities, impact and utility of reconciliation and transitional justice mechanisms, elections, and democratization, impact of social media, and judiciaries, with a focus on African politics. Lynch has published I Say to You: Ethnic politics and the Kalenjin of Kenya (University of Chicago Press, 2011), Performances of Injustice: The Politics of Truth, Justice and Reconciliation in Kenya (Cambridge University Press, 2018), and The Moral Economy of Elections in Africa: Democracy, Voting and Virtue (Cambridge University Press, 2022, with Nic Cheeseman and Justin Willis), as well as three edited collections and over forty articles and book chapters. 10 A32 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is an Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research focuses on policing, security, violence, and power and she analyses these societal and conceptual issues from an anthropological lens. Her ethnographic research is primarily based in South Africa and Kenya. She is the author of Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and co-editor of the edited volume Security Blurs: The Politics of Plural Security Provision (Routledge, 2019). She is also the co-host and co-founder of the podcast series Travelling Concepts on Air where she and Brianne McGonigle Leyh, explore the notion of travelling concepts in academia. 01 eng 20 00 Open Access Tessa Diphoorn 10 03 06 10.53288/0418.1.10 289 296 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Epilogue Recursive Becomings 1 A01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 A01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 A01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 A01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 20 00 Open Access 11 03 06 10.53288/0418.1.11 297 346 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 20 00 Open Access Tessa Diphoorn, Joost Fontein, Peter Lockwood, Constance Smith 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nairobi-becoming-security-uncertainty-contingency/ Earth, Milky Way 04 01 20240209 Joost Fontein, Tessa Diphoorn, Peter Lockwood, Constance Smith 02 WORLD 06 15 9781685711573 03 9781685711573 34 06 10.1093/afraf/ady068 34 06 10.1080/00672700109511703 34 06 10.3828/idpr.2015.4 34 06 10.1080/14729342.2005.11421458 34 06 10.1080/21647259.2014.928551 34 06 10.1093/afraf/101.405.531 34 06 10.1080/03086530903538194 34 06 10.1111/1467-7660.00103 34 06 10.1080/00672700109511711 34 06 10.1080/14678802.2016.1136137 34 06 10.1016/j.tranpol.2016.09.003 34 06 10.1163/9789004264960 34 06 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Security, Uncertainty, Contingency 1 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 2 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 3 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 00 352 03 12 AGC 93 AGC 10 ART006010 B2 Art+Aesthetics B2 Built Environments 12 JHMC 93 JHMC 10 SOC002010 12 1HFGK 93 1HFGK B2 Cultural Studies+Critical Theory 20 multimodal ethnography; Nairobi; critical practice; artistic collaboration; urbanism; material culture; anthropology; Kenya 01 06 02 00 03 00 Echoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency.Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways.If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself. 30 00 Echoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency.Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways.If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0418.1.00_frontcover.jpg 1 03 06 10.53288/0418.1.01 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 20 00 Open Access 2 03 06 10.53288/0418.1.02 15 59 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Introducing "Nairobi Becoming" 1 A01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 A01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 A01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 A01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 5 A32 Doseline Kiguru Doseline Kiguru Lecturer in World Literatures in English 40 0524sp257 University of Bristol Doseline Kiguru is Lecturer in World Literatures in English at the University of Bristol. Her primary research interest is postcolonial print and digital cultures with a focus on African literary and cultural production mechanisms. She has published widely in this area and her articles have appeared in journals including Journal of English in Africa, Social Dynamics, African Studies, and Tydskrif vir letterkunde. 01 eng 20 00 Open Access Tessa Diphoorn, Joost Fontein, Peter Lockwood, Constance Smith 3 03 06 10.53288/0418.1.03 61 99 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nairobi-scapes 1 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 2 A32 Annie Pfingst Annie Pfingst Sociology, Visiting Research Fellow 40 01khx4a30 Goldsmiths University of London Annie Pfingst applies an interdisciplinary visual, archival, and discursive practice to encounters with the materiality and spatiality of carceral and colonizing geographies, emergency landscapes, geographies of resistance, and the legacy of settler colonial violence. She has exhibited and presented photographic, installation, and multi-media works at galleries, conferences, and symposia in London, Sydney, Nairobi, Berlin, and Java. In 2021, Annie created Haunting, a visual walk through the carceral landscapes of empire across Palestine and Kenya. 3 A32 James Muriuki James Muriuki James Muriuki is a Nairobi-based artist specializing in photography and lens-based media. He is interested in transitioning societies in the Global South, the different knowledge systems occurring within the visual arts environments of those societies, and how these systems are enmeshed within the social fabric. 4 A32 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 5 A32 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 6 A32 Elias Mung’ora Elias Mung’ora Elias Mung’ora is a visual artist. His work is mostly inspired by life in the urban space of Nairobi with paintings, drawings, photography, and woodcut prints being his principal media. His practice appears to share glimpses into everyday Nairobi’s life by capturing significant moments such as a wedding or a portrait session. He is a member of Brush-Tu Artist Collective, a Nairobi-based artists’ collective and the winner of the Manjano Art Competition in 2016 in Nairobi. 7 A32 Peris Jones Peris Jones Professor in the Norwegian Centre for Human Rights, Faculty of Law 40 01xtthb56 University of Oslo Peris Jones works at the Norwegian Centre for Human Rights, Faculty of Law, University of Oslo. His most recent publications are Human Rights and Development (Routledge, 2023), “Decolonising Human Rights: The Rise of Nairobi’s Social Justice Centres,” in The Urban Politics of Human Rights, eds. Janne Nijman et al. (Routledge, 2022), and “Economic and Social Rights and the City,” in The Oxford Handbook of Economic and Social Rights, eds. Malcolm Langford and Katharine G. Young (Oxford University Press, 2022). 8 A32 Teresa Mbatia Teresa Mbatia lecturer in the Department of Geography and Environmental Studies 40 02y9nww90 University of Nairobi Teresa Mbatia is as a Lecturer at the University of Nairobi, Department of Geography and Environmental Studies, where she teaches Urban Geography, Sustainable Urban Development, Urban Geo-Politics courses. Mbatia’s main research interests are on citizen participation in the management of public urban greenspaces and implications thereof on spatial (in)justice and (in)equality in the use, management, and access of the nature reserves. 9 A32 Beppe Karlsson Beppe Karlsson Professor of Social Anthropology 40 05f0yaq80 Stockholm University Bengt (Beppe) G. Karlsson is Professor of Social Anthropology at Stockholm University. He is mainly working on issues relating indigenous peoples and the society-environment interface, with particular focus on the politics of ethnicity and nature in India. Karlsson is the author of Contested Belonging: An Indigenous People’s Struggle for Forest and Identity in Sub-Himalayan Bengal (Routledge, 2000), Unruly Hills: A Political Ecology of India’s Northeast (Berghahn Books, 2011), Leaving the Land: Indigenous Migration and Affective Labour in India (Cambridge University Press, 2019, co-authored with Dolly Kikon), and the edited volumes Indigeneity in India (Kegan Paul 2006, with Tanka B. Subba), Geographies of Difference: Explorations in Northeast Indian Studies (Routledge, 2017, with M. Vandenhelsken and M. Barkataki-Ruscheweyh), and Seedways: The Circulation, Care and Control of Plants in a Warming World (Vitterhetsakademien, 2021, with Annika Rabo). 01 eng 20 00 Open Access Constance Smith 4 03 06 10.53288/0418.1.04 101 103 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude Kanaro, Nairobi River, and the City 1 A01 Billy Kahora Billy Kahora Lecturer in Creative Writing 40 0524sp257 University of Bristol Billy Kahora is currently a Lecturer in Creative Writing at the University of Bristol and is also a founding partner of Saseni! a creative writing teaching platform leading writing workshops in East Africa and Bristol. He has written a non-fiction novella titled The True Story of David Munyakei (2010) and a short story collection The Cape Cod Bicycle War (2019). His story Urban Zoning was shortlisted for the Caine Prize for Africa Writing in 2012, The Gorilla’s Apprentice in 2014. He wrote the screenplay for Soul Boy and co-wrote Nairobi Half Life, which won the Kalasha awards. His short fiction and creative non-fiction has appeared in Chimurenga, McSweeney’s, Granta Online, Internazionale and Vanity Fair, and Kwani. He has just completed a novel titled Babilon Falling. 01 eng 20 00 Open Access Billy Kahora 5 03 06 10.53288/0418.1.05 105 188 84 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies and Corporealities 1 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 2 A32 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 A32 Annie Pfingst Annie Pfingst Sociology, Visiting Research Fellow 40 01khx4a30 Goldsmiths University of London Annie Pfingst applies an interdisciplinary visual, archival, and discursive practice to encounters with the materiality and spatiality of carceral and colonizing geographies, emergency landscapes, geographies of resistance, and the legacy of settler colonial violence. She has exhibited and presented photographic, installation, and multi-media works at galleries, conferences, and symposia in London, Sydney, Nairobi, Berlin, and Java. In 2021, Annie created Haunting, a visual walk through the carceral landscapes of empire across Palestine and Kenya. 4 A32 Craig Halliday Craig Halliday Craig Halliday is an artist and researcher who focuses on the intersection of art, politics, and activism and the potential of the arts and popular culture to extend and deepen the experience of democracy. From 2018 to 2020 he was co-editor of Nairobi Contemporary, the only print magazine dedicated to contemporary art in Kenya and the wider region. 5 A32 Al-Amin Mutunga Al-Amin Mutunga Al-Almin Mutunga is a Kenya-based photographer. His work has been featured on The Daily Nation, BBC, Standard News, among other venues. His work was nominated at the Kenya MasterPieces Awards, documentary category, in 2016, and he was the lead photographer of Softie, a documentary which was voted best editorial at Sundance and nominated at the Oscars in 2020. 6 A32 Doseline Kiguru Doseline Kiguru Lecturer in World Literatures in English 40 0524sp257 University of Bristol Doseline Kiguru is Lecturer in World Literatures in English at the University of Bristol. Her primary research interest is postcolonial print and digital cultures with a focus on African literary and cultural production mechanisms. She has published widely in this area and her articles have appeared in journals including Journal of English in Africa, Social Dynamics, African Studies, and Tydskrif vir letterkunde. 7 A32 Naomi van Stapele Naomi van Stapele Professor in Inclusive Education 40 021zvq422 The Hague University of Applied Sciences Naomi van Stapele is Professor in Inclusive Education at the Centre of Expertise Global and Inclusive Learning at THUAS, The Netherlands. Her long-term collaborative research with gangs and social justice activists in East-Africa and Europe focuses on gangs, masculinities, lived experiences of police violence, inclusive education, community organizing, and transforming authority. Naomi has published peer-reviewed research articles in Africa, Journal of Eastern African Studies, The European Journal of Development Research, Policing, Environment and Planning D. Society and Space, Conflict, Security and Development, and others. She also published peer reviewed chapters in several handbooks, such as The Political Economy of Gangs in a Global Perspective, The Oxford Handbook of Kenyan Politics, The Handbook on Gender and Sexuality in Africa, and Policing the Urban Periphery in Africa. 8 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 9 A32 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 10 A32 Francesco Colona Francesco Colona ssistant Professor of Geography in the Department of Geography, Planning, and Environment 40 016xsfp80 Radboud University, Nijmegen Francesco Colona is Assistant Professor of Geography in the Department of Geography, Planning, and Environment at Radboud University, Nijmegen (the Netherlands). He works at the intersection of human geography, political anthropology, and science and technologies studies. His research revolves around security, conflict, and environmental transitions. 11 A32 Mark Lamont Mark Lamont Lecturer in Sustainable Development 40 05mzfcs16 The Open University Mark Lamont is currently a Lecturer in Sustainable Development at the Open University. He tinkers with social anthropology, history, global development, and medical humanities. He is also a member of Innogen. 01 eng 20 00 Open Access Joost Fontein 6 03 06 10.53288/0418.1.06 189 191 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude From the City Came the Dumpsite from Which the City Reemerged 1 A01 Billy Kahora Billy Kahora Lecturer in Creative Writing 40 0524sp257 University of Bristol Billy Kahora is currently a Lecturer in Creative Writing at the University of Bristol and is also a founding partner of Saseni! a creative writing teaching platform leading writing workshops in East Africa and Bristol. He has written a non-fiction novella titled The True Story of David Munyakei (2010) and a short story collection The Cape Cod Bicycle War (2019). His story Urban Zoning was shortlisted for the Caine Prize for Africa Writing in 2012, The Gorilla’s Apprentice in 2014. He wrote the screenplay for Soul Boy and co-wrote Nairobi Half Life, which won the Kalasha awards. His short fiction and creative non-fiction has appeared in Chimurenga, McSweeney’s, Granta Online, Internazionale and Vanity Fair, and Kwani. He has just completed a novel titled Babilon Falling. 01 eng 20 00 Open Access Billy Kahora 7 03 06 10.53288/0418.1.07 193 234 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Making Lives 1 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 2 A32 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. Previously he was a post-doctoral researcher at the Graduate Institute, Geneva (IHEID) on Project SALMEA (Self-Accomplishment and Local Moralities in Eastern Africa) and a Teaching Associate and Affiliated Lecturer at the University of Cambridge where he gained his PhD in 2021. He is completing a book about the crisis of "wasted men" in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 3 A32 Onyis Martin Onyis Martin Onyis Martin is a visual artist based out of the Kobo Trust, where along with other artists, he mentors and facilitates aspiring artists with opportunities to develop their talent. Experimenting with a wide range of materials, Martin explores the human condition and the global geo-political interface, specifically through issues surrounding human trafficking, migration, corruption, and displacement. In his most recent group of works, Talking Walls (2016), Martin extended his exploration of how information depends on and is influenced by freedom and social structure towards investigating the rise of consumerism. 4 A32 Mario Schmidt Mario Schmidt senior research fellow 40 02mavc002 Max Planck Institute for Social Anthropology Mario Schmidt is Senior Fellow at the Max Planck Institute for Social Anthropology in Halle (Saale), where his geographical focus is on rural Western Kenya and Nairobi. His research focuses on economic practices, narratives, and discourses in rural east Africa. He has recently published Migrants and Masculinity in High-Rise Nairobi: The Pressure of being a Man in an African City (James Currey, 2024). 5 A32 Wambui Kamiru Collymore Wambui Kamiru Collymore Wambui Wamae Kamiru Collymore has been developing artwork around the theme of colonialism, identity, and independence in Africa. She is the founder of The Art Space, an online contemporary gallery with alternative show spaces, based in Nairobi. Her work has been exhibited in Kenya, South Africa, Poland, Germany, and Denmark. She lives and works in Nairobi. http://wambuikamiru.com/ 6 A32 Joshua Doble Joshua Doble Honorary Fellow 40 01nrxwf90 University of Edinburgh Josh Doble is Honorary Fellow at the University of Edinburgh and the Policy Manager at Community Land Scotland. His research focuses on histories of land, emotions, settler colonialism, and race. He has recently co-edited two collections, British Culture after Empire: Race, Decolonisation and Migration since 1945 (Manchester University Press, 2023) and Gender, Emotion and Power, 1750–2020 (University of London Press, 2023). 7 A32 Wangui Kimari Wangui Kimari Junior Research Fellow 40 03p74gp79 University of Cape Town Wangui Kimari is an anthropologist and Junior Research Fellow at the Institute for Humanities in Africa (HUMA), University of Cape Town. Her work draws on many local histories and theoretical approaches, including oral narratives, assemblage theory, urban political ecology, the Black radical tradition, the anthropology of empire, the anthropology of violence, and the anthropology of subjectivity. Wangui is also the participatory action research coordinator for the Mathare Social Justice Centre and an editorial board member of the online publication Africa Is a Country. 8 A32 Doseline Kiguru Doseline Kiguru Lecturer in World Literatures in English 40 0524sp257 University of Bristol Doseline Kiguru is Lecturer in World Literatures in English at the University of Bristol. Her primary research interest is postcolonial print and digital cultures with a focus on African literary and cultural production mechanisms. She has published widely in this area and her articles have appeared in journals including Journal of English in Africa, Social Dynamics, African Studies, and Tydskrif vir letterkunde. 01 eng 20 00 Open Access Peter Lockwood 8 03 06 10.53288/0418.1.08 235 237 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude The City Is a Goat Eaten by Leopards 1 A01 Billy Kahora Billy Kahora Lecturer in Creative Writing 40 0524sp257 University of Bristol Billy Kahora is currently a Lecturer in Creative Writing at the University of Bristol and is also a founding partner of Saseni! a creative writing teaching platform leading writing workshops in East Africa and Bristol. He has written a non-fiction novella titled The True Story of David Munyakei (2010) and a short story collection The Cape Cod Bicycle War (2019). His story Urban Zoning was shortlisted for the Caine Prize for Africa Writing in 2012, The Gorilla’s Apprentice in 2014. He wrote the screenplay for Soul Boy and co-wrote Nairobi Half Life, which won the Kalasha awards. His short fiction and creative non-fiction has appeared in Chimurenga, McSweeney’s, Granta Online, Internazionale and Vanity Fair, and Kwani. He has just completed a novel titled Babilon Falling. 01 eng 20 00 Open Access Billy Kahora 9 03 06 10.53288/0418.1.09 239 287 49 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Regulating Relationships 1 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 A32 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 3 A32 Dennis Muraguri Dennis Muraguri Dennis Muraguri is a mixed media artist working primarily in printmaking and sculpture. Recognized widely for his energetic woodcut prints featuring “matatu culture,” Muraguri captures the social interstices created by the explosive creativity in the unregulated transport economy of Kenya. He has exhibited extensively, including a solo exhibition at Montague Contemporary, New York (2020). He has participated in international art fairs such as Intersect Chicago 2020, 1:54 Contemporary Art Fair, London, 2016, and the Jo’burg Art Fair, 2016. Muraguri was also one of the participating artists in the 2014 KLA Public Art Festival, in Kampala, Uganda and a Selected Artist at the 2018 Kochi-Muziris Biennale in India. 4 A32 Meghan E. Ference Meghan E. Ference assistant professor of anthropology 40 019k4jq75 Brooklyn College Meghan E. Ference is Assistant Professor of Anthropology at Brooklyn College, CUNY. Her forthcoming book, Matatu Work: Gender, Labor and Mobility explores the working conditions of the men and women in Nairobi’s popular transportation sector and is based on two decades of ethnographic fieldwork with transport workers in Kenya. 5 A32 Jean-Baptiste Lanne Jean-Baptiste Lanne Associate Professor in the Department of Geography 40 05f82e368 Université Paris Cité Jean-Baptiste Lanne is a geographer and Associate Professor in the Department of Geography at Université de Paris (Research Unit CESSMA). His research investigates creative and critical writing as a method to inform places and affects of subaltern security workers in the city. Rives d’où je vous veille (Présence Africaine, 2023) is his first novel. 6 A32 Craig Halliday Craig Halliday Craig Halliday is an artist and researcher who focuses on the intersection of art, politics, and activism and the potential of the arts and popular culture to extend and deepen the experience of democracy. From 2018 to 2020 he was co-editor of Nairobi Contemporary, the only print magazine dedicated to contemporary art in Kenya and the wider region. 7 A32 Beppe Karlsson Beppe Karlsson Professor of Social Anthropology 40 05f0yaq80 Stockholm University Bengt (Beppe) G. Karlsson is Professor of Social Anthropology at Stockholm University. He is mainly working on issues relating indigenous peoples and the society-environment interface, with particular focus on the politics of ethnicity and nature in India. Karlsson is the author of Contested Belonging: An Indigenous People’s Struggle for Forest and Identity in Sub-Himalayan Bengal (Routledge, 2000), Unruly Hills: A Political Ecology of India’s Northeast (Berghahn Books, 2011), Leaving the Land: Indigenous Migration and Affective Labour in India (Cambridge University Press, 2019, co-authored with Dolly Kikon), and the edited volumes Indigeneity in India (Kegan Paul 2006, with Tanka B. Subba), Geographies of Difference: Explorations in Northeast Indian Studies (Routledge, 2017, with M. Vandenhelsken and M. Barkataki-Ruscheweyh), and Seedways: The Circulation, Care and Control of Plants in a Warming World (Vitterhetsakademien, 2021, with Annika Rabo). 8 A32 Naomi van Stapele Naomi van Stapele Professor in Inclusive Education 40 021zvq422 The Hague University of Applied Sciences Naomi van Stapele is Professor in Inclusive Education at the Centre of Expertise Global and Inclusive Learning at THUAS, The Netherlands. Her long-term collaborative research with gangs and social justice activists in East-Africa and Europe focuses on gangs, masculinities, lived experiences of police violence, inclusive education, community organizing, and transforming authority. Naomi has published peer-reviewed research articles in Africa, Journal of Eastern African Studies, The European Journal of Development Research, Policing, Environment and Planning D. Society and Space, Conflict, Security and Development, and others. She also published peer reviewed chapters in several handbooks, such as The Political Economy of Gangs in a Global Perspective, The Oxford Handbook of Kenyan Politics, The Handbook on Gender and Sexuality in Africa, and Policing the Urban Periphery in Africa. 9 A32 Gabrielle Lynch Gabrielle Lynch Professor of Comparative Politics 40 01a77tt86 University of Warwick Gabrielle Lynch is a Professor of Comparative Politics at the University of Warwick. Gabrielle’s research interests lie in understanding the nature and political salience of ethnic identities, impact and utility of reconciliation and transitional justice mechanisms, elections, and democratization, impact of social media, and judiciaries, with a focus on African politics. Lynch has published I Say to You: Ethnic politics and the Kalenjin of Kenya (University of Chicago Press, 2011), Performances of Injustice: The Politics of Truth, Justice and Reconciliation in Kenya (Cambridge University Press, 2018), and The Moral Economy of Elections in Africa: Democracy, Voting and Virtue (Cambridge University Press, 2022, with Nic Cheeseman and Justin Willis), as well as three edited collections and over forty articles and book chapters. 10 A32 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is an Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research focuses on policing, security, violence, and power and she analyses these societal and conceptual issues from an anthropological lens. Her ethnographic research is primarily based in South Africa and Kenya. She is the author of Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and co-editor of the edited volume Security Blurs: The Politics of Plural Security Provision (Routledge, 2019). She is also the co-host and co-founder of the podcast series Travelling Concepts on Air where she and Brianne McGonigle Leyh, explore the notion of travelling concepts in academia. 01 eng 20 00 Open Access Tessa Diphoorn 10 03 06 10.53288/0418.1.10 289 296 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Epilogue Recursive Becomings 1 A01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 A01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 A01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 A01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 20 00 Open Access 11 03 06 10.53288/0418.1.11 297 346 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000173575954 Tessa Diphoorn Tessa Diphoorn Associate Professor at the Department of Cultural Anthropology 40 04pp8hn57 Utrecht University Tessa Diphoorn is Associate Professor at the Department of Cultural Anthropology at Utrecht University. Her research and teaching focuses on security, violence, and sovereignty in Kenya and South Africa. She published Twilight Policing: Private Security and Violence in Urban South Africa (University of California Press, 2016) and is co-editor of Security Blurs: The Politics of Plural Security Provision (Routledge, 2019) with Erella Grassiani. 2 B01 Joost Fontein Joost Fontein Professor of Anthropology 40 04z6c2n17 University of Johannesburg Joost Fontein is Professor of Anthropology at the University of Johannesburg. Between 2014 and 2018 he was Director of the British Institute in Eastern Africa in Nairobi, on secondment from the University of Edinburgh. He published The Silence of Great Zimbabwe: Contested Landscapes and the Power of Heritage (UCL Press, 2006), Remaking Mutirikwi: Landscape, Water and Belonging (James Currey, 2015), and The Politics of the Dead in Zimbabwe, 2000–2020: Bones, Rumours and Spirits (James Currey, 2022). He is currently editor of Africa, the journal of the International Africa Institute. 3 B01 Peter Lockwood Peter Lockwood Hallsworth Early Career Research Fellow in Political Economy 40 027m9bs27 University of Manchester Peter Lockwood is a Hallsworth Early Career Research Fellow in Political Economy at the University of Manchester. He is completing a book about the crisis of “wasted men” in central Kenya: the region’s landscape of masculine destitution, its roots in the collapse of peasant livelihoods and lost hopes for middle-class futures. His published work has appeared in the Journal of the Royal Anthropological Institute, Social Analysis, and African Affairs. 4 B01 21 0000000263974414 Constance Smith Constance Smith Lecturer and UKRI Future Leader Fellow in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her research explores landscapes of architecture, time, and urban change with a particular interest in participatory and practice-led research in collaboration with artists, communities, and urban practitioners. Her work has been widely published and has featured in several exhibitions, including at the National Museums of Kenya. 01 eng 20 00 Open Access Tessa Diphoorn, Joost Fontein, Peter Lockwood, Constance Smith 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/nairobi-becoming-security-uncertainty-contingency/ Earth, Milky Way 04 01 20240209 Joost Fontein, Tessa Diphoorn, Peter Lockwood, Constance Smith 02 WORLD 06 15 9781685711566 03 9781685711566 34 06 10.1093/afraf/ady068 34 06 10.1080/00672700109511703 34 06 10.3828/idpr.2015.4 34 06 10.1080/14729342.2005.11421458 34 06 10.1080/21647259.2014.928551 34 06 10.1093/afraf/101.405.531 34 06 10.1080/03086530903538194 34 06 10.1111/1467-7660.00103 34 06 10.1080/00672700109511711 34 06 10.1080/14678802.2016.1136137 34 06 10.1016/j.tranpol.2016.09.003 34 06 10.1163/9789004264960 34 06 10.1080/02533952.2016.1255167 34 06 10.1080/03056240600671183 34 06 10.1080/17531055.2020.1725318 34 06 10.1080/1350463042000258908 34 06 10.4324/9781003084457 34 06 10.1177/095624780301500109 34 06 10.1080/17531055.2019.1594072 34 06 10.1017/S0022278X1500097X 34 06 10.1080/00020184.2018.1519332 34 06 10.1177/0263775820923374 34 06 10.3167/arcs.2017.030102 34 06 10.1080/00141844.2017.1317644 34 06 10.1093/afraf/adw002 34 06 10.1111/1467-9655.13867 34 06 10.1017/asr.2016.31 34 06 10.1177/0263775820919767 34 06 10.4324/9781351127387 34 06 10.1093/police/paaa004 34 06 10.1080/03057070.2023.2241328.309 34 06 10.1080/21681392.2019.1689829 34 06 10.1017/S0738248015000267 34 06 10.1111/1467-9655.12023 34 06 10.1017/S0001972023000128 34 06 10.1080/1360481042000313509 34 06 10.1080/17531050802058336 34 06 10.1177/1463499617729295 34 06 10.1086/655393 34 06 10.1111/1468-2427.12550 34 06 10.1080/13604813.2023.2214961 34 06 10.2307/2803412 34 06 10.1111/j.1467-7660.2010.01656.x 34 06 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https://thoth-arch.lib.cam.ac.uk/bitstreams/1fc01e39-2cb0-4d4c-bec2-fc0bdc44c858/download 20 08 20240209 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e20a5d20-78a2-47b4-b15e-2daab8effb56 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e20a5d20-78a2-47b4-b15e-2daab8effb56/e20a5d20-78a2-47b4-b15e-2daab8effb56.pdf 20 08 20240209 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850202 29 ZENODO: download the title https://zenodo.org/records/19850202/files/e20a5d20-78a2-47b4-b15e-2daab8effb56_book.pdf 20 08 20240209 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/nairobi-becoming-security-uncertainty-contingency/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0418.1.00.pdf 20 08 20240209 01 urn:uuid:cffe0811-c2cb-4471-b47a-934f9617a09c 03 01 01 thoth-work-id urn:uuid:e770d0ad-6124-4ff3-b21b-784dd172668d 01 thoth-publication-id urn:uuid:cffe0811-c2cb-4471-b47a-934f9617a09c 15 9781947447240 03 9781947447240 06 10.21983/P3.0187.1.00 13 2017956682 01 internal-reference 0187 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rhetorical Agency Mind, Meshwork, Materiality, Mobility 1 A01 Les Belikian Les Belikian 40 03pmg8447 Los Angeles City College 01 eng 00 206 03 93 CFG 12 CFGR B2 Cultural Studies+Critical Theory 10 LIT006000 B2 Languages+Translations 93 QDHR7 20 rhetoric; actor-network theory; meshworks; object-oriented ontology; transversality 01 06 02 00 03 00 In recent accounts of rhetoric’s storied productivity, commentators have implied, along systematically Kantian lines, albeit with the occasional protestation, that agency must be coextensive with subjectivity. But is that all there is (to 2,500 years’ worth of hypothesizing about the ways in which communication might promote social change)? Les Belikian’s answer, drawing not only on traditional and contemporary rhetorical studies but also on Deleuzean thinking, actor-network theory, and object-oriented ontology, takes the form of a quadruply contrarian thesis: Rhetorical agency inheres, irreducibly so, in subjectivity, in conventionality, in transcendence, and in materiality, all of which are themselves always under production. 30 00 In recent accounts of rhetoric’s storied productivity, commentators have implied, along systematically Kantian lines, albeit with the occasional protestation, that agency must be coextensive with subjectivity. But is that all there is (to 2,500 years’ worth of hypothesizing about the ways in which communication might promote social change)? Les Belikian’s answer, drawing not only on traditional and contemporary rhetorical studies but also on Deleuzean thinking, actor-network theory, and object-oriented ontology, takes the form of a quadruply contrarian thesis: Rhetorical agency inheres, irreducibly so, in subjectivity, in conventionality, in transcendence, and in materiality, all of which are themselves always under production. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0187.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rhetorical-agency/ Earth, Milky Way 04 01 20171101 Belikian, Les 02 WORLD 06 15 9781947447257 03 9781947447257 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447246 20 08 20171101 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/rhetorical-agency-mind-meshwork-materiality-mobility 20 08 20171101 02 23.00 USD WORLD urn:uuid:61258d94-eeb5-4e76-aa5f-defb05cc30ec 03 01 01 thoth-work-id urn:uuid:e770d0ad-6124-4ff3-b21b-784dd172668d 01 thoth-publication-id urn:uuid:61258d94-eeb5-4e76-aa5f-defb05cc30ec 15 9781947447257 03 9781947447257 06 10.21983/P3.0187.1.00 13 2017956682 01 internal-reference 0187 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rhetorical Agency Mind, Meshwork, Materiality, Mobility 1 A01 Les Belikian Les Belikian 40 03pmg8447 Los Angeles City College 01 eng 00 206 03 93 CFG 12 CFGR B2 Cultural Studies+Critical Theory 10 LIT006000 B2 Languages+Translations 93 QDHR7 20 rhetoric; actor-network theory; meshworks; object-oriented ontology; transversality 01 06 02 00 03 00 In recent accounts of rhetoric’s storied productivity, commentators have implied, along systematically Kantian lines, albeit with the occasional protestation, that agency must be coextensive with subjectivity. But is that all there is (to 2,500 years’ worth of hypothesizing about the ways in which communication might promote social change)? Les Belikian’s answer, drawing not only on traditional and contemporary rhetorical studies but also on Deleuzean thinking, actor-network theory, and object-oriented ontology, takes the form of a quadruply contrarian thesis: Rhetorical agency inheres, irreducibly so, in subjectivity, in conventionality, in transcendence, and in materiality, all of which are themselves always under production. 30 00 In recent accounts of rhetoric’s storied productivity, commentators have implied, along systematically Kantian lines, albeit with the occasional protestation, that agency must be coextensive with subjectivity. But is that all there is (to 2,500 years’ worth of hypothesizing about the ways in which communication might promote social change)? Les Belikian’s answer, drawing not only on traditional and contemporary rhetorical studies but also on Deleuzean thinking, actor-network theory, and object-oriented ontology, takes the form of a quadruply contrarian thesis: Rhetorical agency inheres, irreducibly so, in subjectivity, in conventionality, in transcendence, and in materiality, all of which are themselves always under production. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0187.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rhetorical-agency/ Earth, Milky Way 04 01 20171101 Belikian, Les 02 WORLD 06 15 9781947447240 03 9781947447240 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66795 20 08 20171101 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25442 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25442/1004653.pdf?sequence=1&isAllowed=y 20 08 20171101 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26876 20 08 20171101 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353864 20 08 20171101 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/569 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b91c6421-b593-43bc-b73f-bbf151f8e1c3/download 20 08 20171101 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e770d0ad-6124-4ff3-b21b-784dd172668d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e770d0ad-6124-4ff3-b21b-784dd172668d/e770d0ad-6124-4ff3-b21b-784dd172668d.pdf 20 08 20171101 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847090 29 ZENODO: download the title https://zenodo.org/records/19847090/files/e770d0ad-6124-4ff3-b21b-784dd172668d_book.pdf 20 08 20171101 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/rhetorical-agency/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0187.1.00.pdf 20 08 20171101 01 urn:uuid:3a32662a-3516-40c9-b10c-0bb61d5ecb9a 03 01 01 thoth-work-id urn:uuid:b8580994-0b8b-42ba-b5a8-3e7e331aa948 01 thoth-publication-id urn:uuid:3a32662a-3516-40c9-b10c-0bb61d5ecb9a 15 9781685711122 03 9781685711122 06 10.53288/0451.1.00 13 2023942106 01 internal-reference 0451 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rituals for Climate Change A Crip Struggle for Ecojustice 1 A01 21 0000000194634271 Naomi Ortiz Naomi Ortiz Naomi Ortiz (they/she) is a poet, writer, and visual artist whose intersectional work focuses on self-care for activists, disability justice, climate action, and relationship with place. They are the author of Sustaining Spirit: Self-Care for Social Justice (Reclamation Press), a nonfiction book that delves into self-care tools and strategies for diverse communities. Their poetry/prose collection, Rituals for Climate Change: A Crip Struggle for Ecojustice (punctum books) explores how climate change impacts connection to place, expands on and complicates who is seen as an environmentalist, and reimagines relationship with the land. Ortiz is a Border Narrative Grant awardee for their multidisciplinary project “Complicating Conversations.” They are a 2022 Disability Futures Fellow and a Zoeglossia Poetry Fellow whose poems have been nominated for “Best of the Internet” and listed on Entropy’s “Best of 2020-2021: Favorite Poems Published Online.” Ortiz emphasizes interdependence, inclusion, and spiritual growth in their talks, workshops, poetry, and writing. Ortiz first performed their poetry at the 2004 Inaugural Disability Pride Parade in Chicago and has continued at events across the country. As a Disabled Mestizx living in the Arizona U.S./Mexico borderlands, they are passionate about organizing with the Southern Arizona Community Care Collective/Colectivo de Beinestar Comunitario. 06 Own website https://www.naomiortiz.com/ 01 eng 00 208 03 B2 Biosphere 93 JBFM 12 JFFG 10 POE015000 B2 Fabulations 10 FIC079000 93 RNPG 12 RNPG 93 5PB-US-H 12 JFSL4 B2 Neurodiverse+Crip 20 climate grief; borderlands; disability justice; climate change; interdependence; Sonoran desert; Latinx studies; Chicano studies; Indigenous studies; disability studies 01 06 02 00 03 00 Disability justice and ecojustice are rarely considered together but are in constant conversation in our world. Rituals for Climate Change: A Crip Struggle for Ecojustice, combining poetry and the lyrical essay, doesn’t contain just one point of view but encompasses dialectical perspectives which often exist in contradiction to each other. A disabled person is in need of plastic cups and concerned about the overwhelming plastic in our ecosystems. Ortiz expands on and complicates who is seen as an environmentalist and what being in relationship with the land can look like.This book is an offering to explore the spiritual question of how to witness. It serves as a companion to those also grappling with the difficult and often unanswerable questions posed by climate change in the borderlands. By exploring the ways body, mind, and cultures both clash with and long for ecojustice, Rituals for Climate Change offers an often-overlooked perspective on climate-grief, interdependence, and resilience. Disabled people know how to adapt to a world that is ever changing without considering them. 30 00 Disability justice and ecojustice are rarely considered together but are in constant conversation in our world. Rituals for Climate Change: A Crip Struggle for Ecojustice, combining poetry and the lyrical essay, doesn’t contain just one point of view but encompasses dialectical perspectives which often exist in contradiction to each other. A disabled person is in need of plastic cups and concerned about the overwhelming plastic in our ecosystems. Ortiz expands on and complicates who is seen as an environmentalist and what being in relationship with the land can look like.This book is an offering to explore the spiritual question of how to witness. It serves as a companion to those also grappling with the difficult and often unanswerable questions posed by climate change in the borderlands. By exploring the ways body, mind, and cultures both clash with and long for ecojustice, Rituals for Climate Change offers an often-overlooked perspective on climate-grief, interdependence, and resilience. Disabled people know how to adapt to a world that is ever changing without considering them. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0451.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rituals-for-climate-change-a-crip-struggle-for-ecojustice/ 16 National Association of Latino Arts and Cultures 01 programname Reclaiming the US/Mexico Border Narrative Grant Program Earth: Milky Way 04 01 20230815 Naomi Ortiz 02 WORLD 06 15 9781685711139 03 9781685711139 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571112X 20 08 20230815 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/rituals-for-climate-change-a-crip-struggle-for-ecojustice 20 08 20230815 02 23.00 USD WORLD urn:uuid:90ed7246-3d1e-48d1-bb4b-9966e7b6c3b7 03 01 01 thoth-work-id urn:uuid:b8580994-0b8b-42ba-b5a8-3e7e331aa948 01 thoth-publication-id urn:uuid:90ed7246-3d1e-48d1-bb4b-9966e7b6c3b7 15 9781685711139 03 9781685711139 06 10.53288/0451.1.00 13 2023942106 01 internal-reference 0451 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rituals for Climate Change A Crip Struggle for Ecojustice 1 A01 21 0000000194634271 Naomi Ortiz Naomi Ortiz Naomi Ortiz (they/she) is a poet, writer, and visual artist whose intersectional work focuses on self-care for activists, disability justice, climate action, and relationship with place. They are the author of Sustaining Spirit: Self-Care for Social Justice (Reclamation Press), a nonfiction book that delves into self-care tools and strategies for diverse communities. Their poetry/prose collection, Rituals for Climate Change: A Crip Struggle for Ecojustice (punctum books) explores how climate change impacts connection to place, expands on and complicates who is seen as an environmentalist, and reimagines relationship with the land. Ortiz is a Border Narrative Grant awardee for their multidisciplinary project “Complicating Conversations.” They are a 2022 Disability Futures Fellow and a Zoeglossia Poetry Fellow whose poems have been nominated for “Best of the Internet” and listed on Entropy’s “Best of 2020-2021: Favorite Poems Published Online.” Ortiz emphasizes interdependence, inclusion, and spiritual growth in their talks, workshops, poetry, and writing. Ortiz first performed their poetry at the 2004 Inaugural Disability Pride Parade in Chicago and has continued at events across the country. As a Disabled Mestizx living in the Arizona U.S./Mexico borderlands, they are passionate about organizing with the Southern Arizona Community Care Collective/Colectivo de Beinestar Comunitario. 06 Own website https://www.naomiortiz.com/ 01 eng 00 208 03 B2 Biosphere 93 JBFM 12 JFFG 10 POE015000 B2 Fabulations 10 FIC079000 93 RNPG 12 RNPG 93 5PB-US-H 12 JFSL4 B2 Neurodiverse+Crip 20 climate grief; borderlands; disability justice; climate change; interdependence; Sonoran desert; Latinx studies; Chicano studies; Indigenous studies; disability studies 01 06 02 00 03 00 Disability justice and ecojustice are rarely considered together but are in constant conversation in our world. Rituals for Climate Change: A Crip Struggle for Ecojustice, combining poetry and the lyrical essay, doesn’t contain just one point of view but encompasses dialectical perspectives which often exist in contradiction to each other. A disabled person is in need of plastic cups and concerned about the overwhelming plastic in our ecosystems. Ortiz expands on and complicates who is seen as an environmentalist and what being in relationship with the land can look like.This book is an offering to explore the spiritual question of how to witness. It serves as a companion to those also grappling with the difficult and often unanswerable questions posed by climate change in the borderlands. By exploring the ways body, mind, and cultures both clash with and long for ecojustice, Rituals for Climate Change offers an often-overlooked perspective on climate-grief, interdependence, and resilience. Disabled people know how to adapt to a world that is ever changing without considering them. 30 00 Disability justice and ecojustice are rarely considered together but are in constant conversation in our world. Rituals for Climate Change: A Crip Struggle for Ecojustice, combining poetry and the lyrical essay, doesn’t contain just one point of view but encompasses dialectical perspectives which often exist in contradiction to each other. A disabled person is in need of plastic cups and concerned about the overwhelming plastic in our ecosystems. Ortiz expands on and complicates who is seen as an environmentalist and what being in relationship with the land can look like.This book is an offering to explore the spiritual question of how to witness. It serves as a companion to those also grappling with the difficult and often unanswerable questions posed by climate change in the borderlands. By exploring the ways body, mind, and cultures both clash with and long for ecojustice, Rituals for Climate Change offers an often-overlooked perspective on climate-grief, interdependence, and resilience. Disabled people know how to adapt to a world that is ever changing without considering them. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0451.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rituals-for-climate-change-a-crip-struggle-for-ecojustice/ 16 National Association of Latino Arts and Cultures 01 programname Reclaiming the US/Mexico Border Narrative Grant Program Earth: Milky Way 04 01 20230815 Naomi Ortiz 02 WORLD 06 15 9781685711122 03 9781685711122 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/75523 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/75523/0451.1.00.pdf?sequence=1&isAllowed=y 20 08 20230815 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/112819 20 08 20230815 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.6879795 20 08 20230815 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/352 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b0558b63-1fcb-4117-b907-4c75d40b7b06/download 20 08 20230815 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b8580994-0b8b-42ba-b5a8-3e7e331aa948 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b8580994-0b8b-42ba-b5a8-3e7e331aa948/b8580994-0b8b-42ba-b5a8-3e7e331aa948.pdf 20 08 20230815 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849964 29 ZENODO: download the title https://zenodo.org/records/19849964/files/b8580994-0b8b-42ba-b5a8-3e7e331aa948_book.pdf 20 08 20230815 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/rituals-for-climate-change-a-crip-struggle-for-ecojustice/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0451.1.00.pdf 20 08 20230815 01 urn:uuid:86b77734-2aa6-4750-b4ff-71e86aa4d6e2 03 01 01 thoth-work-id urn:uuid:960cb748-a130-4e31-9abf-486c686e12ad 01 thoth-publication-id urn:uuid:86b77734-2aa6-4750-b4ff-71e86aa4d6e2 15 9781950192793 03 9781950192793 06 10.21983/P3.0287.1.00 13 2020936034 01 internal-reference 0287 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rough Notes to Erasure White Male Privilege, My Senses, and the Story I Cannot Tell 1 A01 Dolsy Smith Dolsy Smith 40 00y4zzh67 George Washington University 01 eng 00 330 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC 93 JBFA 12 JFFJ B2 Thought Experiments B2 TransQueer 20 white privilege; composition; racism; memoir; decoloniality; masculinity; college education 01 06 02 00 03 00 We are living through the wrack of the White Male. As the compact between social hierarchy, inherited privilege, and race (reinforced by gender and other normative categories) shows signs of buckling, his rage and resentment threaten us all. For he is a thing possessed: possessed by his own love of possession, and born to a sense that the world belongs to him and him alone. The spoils of oppression lie coiled inside him, a glut he can’t digest, and murder beckons behind the respect that he conceives of as his due." A hybrid of critical essay and memoir, and Rough Notes to Erasure contributes to a growing body of work that wrestles with the tacit and embodied nature of privilege and prejudice, and it contributes not only via argument but also through style. Taking inspiration from feminist/queer poetics and what Fred Moten calls “the black avant-garde,” these rough notes address the remainder that gets lost in explicit argument, which is the flesh. Where privilege roils through history, and empire whets the appetites. But also where the world catches on its own fractalization by thought, feeling, and desire; and language recovers, for a moment or two, the power to entangle us with our mother tongue. 30 00 We are living through the wrack of the White Male. As the compact between social hierarchy, inherited privilege, and race (reinforced by gender and other normative categories) shows signs of buckling, his rage and resentment threaten us all. For he is a thing possessed: possessed by his own love of possession, and born to a sense that the world belongs to him and him alone. The spoils of oppression lie coiled inside him, a glut he can’t digest, and murder beckons behind the respect that he conceives of as his due." A hybrid of critical essay and memoir, and Rough Notes to Erasure contributes to a growing body of work that wrestles with the tacit and embodied nature of privilege and prejudice, and it contributes not only via argument but also through style. Taking inspiration from feminist/queer poetics and what Fred Moten calls “the black avant-garde,” these rough notes address the remainder that gets lost in explicit argument, which is the flesh. Where privilege roils through history, and empire whets the appetites. But also where the world catches on its own fractalization by thought, feeling, and desire; and language recovers, for a moment or two, the power to entangle us with our mother tongue. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0287.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rough-notes-to-erasure-white-male-privilege-my-senses-and-the-story-i-cannot-tell/ Earth, Milky Way 04 01 20200423 Smith, Dolsy 02 WORLD 06 15 9781950192809 03 9781950192809 34 06 10.20415/rhiz/029.e13 34 06 10.2307/431624 34 06 10.1080/14680777.2018.1447395 34 06 10.1353/elh.2015.0005 34 06 10.1215/01903659-27-3-249 34 06 10.2307/1354255 34 06 10.2307/464726 34 06 10.2307/358238 34 06 10.1080/00107530.1988.10746234 34 06 10.2307/1341787 34 06 10.1215/01642472-1597332 34 06 10.1080/01436597.2014.946250 34 06 10.1215/00382876-6942195 34 06 10.1353/scu.2007.0032 34 06 10.1353/qui.0.0012 34 06 10.1057/fr.1988.42 34 06 10.1080/07407700701387317 34 06 10.2307/465165 34 06 10.1177/0263775816656529 34 06 10.1177/0308275x09104084 34 06 10.1002/j.1538-7305.1948.tb01338.x 34 06 10.1353/ncr.2007.0022 34 06 10.2307/40145557 34 06 10.1057/palgrave.cpt.9300307 34 06 10.1353/phi.2018.0001 34 06 10.1353/ncr.2012.0020 34 06 10.1353/ncr.2004.0015 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192792/ 20 08 20200423 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/rough-notes-to-erasure-white-male-privilege-my-senses-and-the-story-i-cannot-tell 20 08 20200423 02 26.00 USD WORLD urn:uuid:6ef995bf-0b54-4e0a-85e4-445bb57ebadd 03 01 01 thoth-work-id urn:uuid:960cb748-a130-4e31-9abf-486c686e12ad 01 thoth-publication-id urn:uuid:6ef995bf-0b54-4e0a-85e4-445bb57ebadd 15 9781950192809 03 9781950192809 06 10.21983/P3.0287.1.00 13 2020936034 01 internal-reference 0287 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rough Notes to Erasure White Male Privilege, My Senses, and the Story I Cannot Tell 1 A01 Dolsy Smith Dolsy Smith 40 00y4zzh67 George Washington University 01 eng 00 330 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC 93 JBFA 12 JFFJ B2 Thought Experiments B2 TransQueer 20 white privilege; composition; racism; memoir; decoloniality; masculinity; college education 01 06 02 00 03 00 We are living through the wrack of the White Male. As the compact between social hierarchy, inherited privilege, and race (reinforced by gender and other normative categories) shows signs of buckling, his rage and resentment threaten us all. For he is a thing possessed: possessed by his own love of possession, and born to a sense that the world belongs to him and him alone. The spoils of oppression lie coiled inside him, a glut he can’t digest, and murder beckons behind the respect that he conceives of as his due." A hybrid of critical essay and memoir, and Rough Notes to Erasure contributes to a growing body of work that wrestles with the tacit and embodied nature of privilege and prejudice, and it contributes not only via argument but also through style. Taking inspiration from feminist/queer poetics and what Fred Moten calls “the black avant-garde,” these rough notes address the remainder that gets lost in explicit argument, which is the flesh. Where privilege roils through history, and empire whets the appetites. But also where the world catches on its own fractalization by thought, feeling, and desire; and language recovers, for a moment or two, the power to entangle us with our mother tongue. 30 00 We are living through the wrack of the White Male. As the compact between social hierarchy, inherited privilege, and race (reinforced by gender and other normative categories) shows signs of buckling, his rage and resentment threaten us all. For he is a thing possessed: possessed by his own love of possession, and born to a sense that the world belongs to him and him alone. The spoils of oppression lie coiled inside him, a glut he can’t digest, and murder beckons behind the respect that he conceives of as his due." A hybrid of critical essay and memoir, and Rough Notes to Erasure contributes to a growing body of work that wrestles with the tacit and embodied nature of privilege and prejudice, and it contributes not only via argument but also through style. Taking inspiration from feminist/queer poetics and what Fred Moten calls “the black avant-garde,” these rough notes address the remainder that gets lost in explicit argument, which is the flesh. Where privilege roils through history, and empire whets the appetites. But also where the world catches on its own fractalization by thought, feeling, and desire; and language recovers, for a moment or two, the power to entangle us with our mother tongue. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0287.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rough-notes-to-erasure-white-male-privilege-my-senses-and-the-story-i-cannot-tell/ Earth, Milky Way 04 01 20200423 Smith, Dolsy 02 WORLD 06 15 9781950192793 03 9781950192793 34 06 10.20415/rhiz/029.e13 34 06 10.2307/431624 34 06 10.1080/14680777.2018.1447395 34 06 10.1353/elh.2015.0005 34 06 10.1215/01903659-27-3-249 34 06 10.2307/1354255 34 06 10.2307/464726 34 06 10.2307/358238 34 06 10.1080/00107530.1988.10746234 34 06 10.2307/1341787 34 06 10.1215/01642472-1597332 34 06 10.1080/01436597.2014.946250 34 06 10.1215/00382876-6942195 34 06 10.1353/scu.2007.0032 34 06 10.1353/qui.0.0012 34 06 10.1057/fr.1988.42 34 06 10.1080/07407700701387317 34 06 10.2307/465165 34 06 10.1177/0263775816656529 34 06 10.1177/0308275x09104084 34 06 10.1002/j.1538-7305.1948.tb01338.x 34 06 10.1353/ncr.2007.0022 34 06 10.2307/40145557 34 06 10.1057/palgrave.cpt.9300307 34 06 10.1353/phi.2018.0001 34 06 10.1353/ncr.2012.0020 34 06 10.1353/ncr.2004.0015 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/37342 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/37342/0287.1.00.pdf 20 08 20200423 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31682 20 08 20200423 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353923 20 08 20200423 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/632 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c527efdd-0136-4d22-b1da-6e2f4a28d83f/download 20 08 20200423 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/960cb748-a130-4e31-9abf-486c686e12ad 29 INTERNET_ARCHIVE: download the title https://archive.org/download/960cb748-a130-4e31-9abf-486c686e12ad/960cb748-a130-4e31-9abf-486c686e12ad.pdf 20 08 20200423 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848205 29 ZENODO: download the title https://zenodo.org/records/19848205/files/960cb748-a130-4e31-9abf-486c686e12ad_book.pdf 20 08 20200423 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/rough-notes-to-erasure-white-male-privilege-my-senses-and-the-story-i-cannot-tell/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0287.1.00.pdf 20 08 20200423 01 urn:uuid:1e471e8c-246a-4855-a97a-3d24e27629cf 03 01 01 thoth-work-id urn:uuid:0d485404-68e5-4f24-83e8-e993093f5f1d 01 thoth-publication-id urn:uuid:1e471e8c-246a-4855-a97a-3d24e27629cf 15 9780692655832 03 9780692655832 06 10.21983/P3.0134.1.00 01 internal-reference 0134 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rumba under Fire The Arts of Survival from West Point to Delhi 1 B01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 00 264 03 93 DNL B2 Humanities+University 12 JFC 10 LCO015000 93 DNP 10 LCO010000 20 cultural studies; humanities; art in crisis; crisis; war 01 06 02 00 03 00 A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be “in crisis.” In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity? 30 00 A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be “in crisis.” In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0134.1.00_frontcover.png 1 03 06 10.21983/P3.0134.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 20 00 Open Access Dumitrescu, Irina 2 03 06 10.21983/P3.0134.1.02 xiii xxiii 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 It is popular these days to bemoan the “crisis in the humani-ties,” or even triumphantly to declare their death.1 Enroll-ments in liberal arts majors have fallen dramatically, students having realized that studying art history or philosophy will consign them to a lifetime of flipping burgers and pouring cof-fee.2 The humanities have lost their way: in abandoning the tried-and-true classics of the Western canon, they have also abandoned any claim to authority, tradition, or lasting and objective values.3 The humanities have lost their edge: by fail-ing to reflect the experiences of increasingly diverse student bodies, they have become at best irrelevant, at worst oppres-sive.4 The humanities take place in the wrong media: print is outmoded, and the failure of scholars to adopt the new modes of thought and communication offered by the digital age will leave them behind. But the Internet is rendering universities obsolete anyway, as online courses offer a more flexible and democratic educational format. Besides which, nobody reads long books anymore. The post-digital world simply does not have the attention span for traditional humanistic work. 30 00 It is popular these days to bemoan the “crisis in the humani-ties,” or even triumphantly to declare their death.1 Enroll-ments in liberal arts majors have fallen dramatically, students having realized that studying art history or philosophy will consign them to a lifetime of flipping burgers and pouring cof-fee.2 The humanities have lost their way: in abandoning the tried-and-true classics of the Western canon, they have also abandoned any claim to authority, tradition, or lasting and objective values.3 The humanities have lost their edge: by fail-ing to reflect the experiences of increasingly diverse student bodies, they have become at best irrelevant, at worst oppres-sive.4 The humanities take place in the wrong media: print is outmoded, and the failure of scholars to adopt the new modes of thought and communication offered by the digital age will leave them behind. But the Internet is rendering universities obsolete anyway, as online courses offer a more flexible and democratic educational format. Besides which, nobody reads long books anymore. The post-digital world simply does not have the attention span for traditional humanistic work. 20 00 Open Access Dumitrescu, Irina 3 03 06 10.21983/P3.0134.1.03 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Triptych (The Library) 1 A01 Andrew Crabtree Andrew Crabtree 01 eng 03 00 Looking up I thought I saw / A spaceship out of an old book, / A hail of brilliant yellow lights like / Some pale wizard’s holdfast: graceful / Constellation of a thousand stones / Enchanted in the semblance of a swan. 30 00 Looking up I thought I saw / A spaceship out of an old book, / A hail of brilliant yellow lights like / Some pale wizard’s holdfast: graceful / Constellation of a thousand stones / Enchanted in the semblance of a swan. 20 00 Open Access Crabtree, Andrew 4 03 06 10.21983/P3.0134.1.04 3 13 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Book Would You Never Burn (For Fuel)? 1 A01 Dennis Ferhatović Dennis Ferhatović 40 01hpqfm28 Connecticut College 01 eng 03 00 I was in Sarajevo for the first time in the summer of 2003. I visited it again in 2007, and then again, in 2012. Sarajevo is a fabled place with real wounds. You may have a number of associations with the place: the fateful shot that started World War I; the 1984 Winter Olympics; the flowering of music and film in the eighties; the horrible 1425-day-long siege; the annual film festival attended by Brangelina; the serious prob-lem with packs of stray dogs; ćevapi and pita and a variety of Ottoman and Austro-Hungarian sweets that you can buy at the Sweet Corner. As you walk the streets, admiring the fashions of youthful and middle-aged passers-by or dreaming of a freshly baked roll of pumpkin börek, your gaze may float downward where you can see a hole in the ground left by a grenade. These declivities are filled up now, sometimes with red paint, which means that someone was hit and killed on that spot. When they are marked with red paint, people call them “Sarajevo Roses.” A horrible beauty permeates these words, as does a hope for renewal, for resurrection. Sarajevo is an example par excellence of elegant resilience or resilient elegance. It always reminds you of vulnerability and instabil-ity, of life’s preciousness and aesthetic possession. “You know Sarajevo has something strange” a sticker on an electric post that you run into proclaims in English. Foreign backpackers you run into in hostels, beer halls, and parks tend to agree: they have seen Vienna and Budapest, Belgrade and Zagreb, but Sarajevo has this energy, man. Where else could you still see—in a row—a half-destroyed building with cracked walls and open wiring; an almost intact building gray from years and socialist realism; and a restored building for which a jolly Scandinavian nation had given hard cash and chosen soft col-ors such as pink and turquoise. Wherever I look, I see prolif-erating reminders of ruin and promises of renascence. Wher-ever I look, along the main street, in the area demarcated as the flea market, or near small bridges over the miniature Mil-jacka, I see used-book vendors. 30 00 I was in Sarajevo for the first time in the summer of 2003. I visited it again in 2007, and then again, in 2012. Sarajevo is a fabled place with real wounds. You may have a number of associations with the place: the fateful shot that started World War I; the 1984 Winter Olympics; the flowering of music and film in the eighties; the horrible 1425-day-long siege; the annual film festival attended by Brangelina; the serious prob-lem with packs of stray dogs; ćevapi and pita and a variety of Ottoman and Austro-Hungarian sweets that you can buy at the Sweet Corner. As you walk the streets, admiring the fashions of youthful and middle-aged passers-by or dreaming of a freshly baked roll of pumpkin börek, your gaze may float downward where you can see a hole in the ground left by a grenade. These declivities are filled up now, sometimes with red paint, which means that someone was hit and killed on that spot. When they are marked with red paint, people call them “Sarajevo Roses.” A horrible beauty permeates these words, as does a hope for renewal, for resurrection. Sarajevo is an example par excellence of elegant resilience or resilient elegance. It always reminds you of vulnerability and instabil-ity, of life’s preciousness and aesthetic possession. “You know Sarajevo has something strange” a sticker on an electric post that you run into proclaims in English. Foreign backpackers you run into in hostels, beer halls, and parks tend to agree: they have seen Vienna and Budapest, Belgrade and Zagreb, but Sarajevo has this energy, man. Where else could you still see—in a row—a half-destroyed building with cracked walls and open wiring; an almost intact building gray from years and socialist realism; and a restored building for which a jolly Scandinavian nation had given hard cash and chosen soft col-ors such as pink and turquoise. Wherever I look, I see prolif-erating reminders of ruin and promises of renascence. Wher-ever I look, along the main street, in the area demarcated as the flea market, or near small bridges over the miniature Mil-jacka, I see used-book vendors. 20 00 Open Access Ferhatović, Dennis 5 03 06 10.21983/P3.0134.1.05 15 30 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Poems in Prison The Survival Strategies of Romanian Political Prisoners 1 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 In the region of Maramureș in northern Romania, close to the River Prut and the Ukrainian border, two monuments express the ways in which human beings struggle to hold on to beauty, art, and humour in the face of annihilation. The first of these is Cimitirul Vesel, the cheerful cemetery, where in 1935 the sculptor Stan Ioan Pătraș began to etch folksy poems into the town’s tombstones. The result is the brightest graveyard imaginable, in which each oaken memorial includes a carving or two of the deceased in their natural element—at the plow or with a horse for the older graves, or sitting at a desk for the more modern ones — along with a rustic verse description of the individual’s life and death, written in the first person. The whole is painted in vivid Crayola blue, red, yellow, and green. What emerges from this forest of colorful wooden steles is a chorus of voices, the departed citizenry of Săpânța claiming a right to their brief stories on this earth. 30 00 In the region of Maramureș in northern Romania, close to the River Prut and the Ukrainian border, two monuments express the ways in which human beings struggle to hold on to beauty, art, and humour in the face of annihilation. The first of these is Cimitirul Vesel, the cheerful cemetery, where in 1935 the sculptor Stan Ioan Pătraș began to etch folksy poems into the town’s tombstones. The result is the brightest graveyard imaginable, in which each oaken memorial includes a carving or two of the deceased in their natural element—at the plow or with a horse for the older graves, or sitting at a desk for the more modern ones — along with a rustic verse description of the individual’s life and death, written in the first person. The whole is painted in vivid Crayola blue, red, yellow, and green. What emerges from this forest of colorful wooden steles is a chorus of voices, the departed citizenry of Săpânța claiming a right to their brief stories on this earth. 20 00 Open Access Dumitrescu, Irina 6 03 06 10.21983/P3.0134.1.06 31 52 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Writing Resistance Lena Constante's The Silent Escape and the Journal as Genre in Romania's (Post)Communist Literary Field 1 A01 Carla Baricz Carla Baricz 40 03v76x132 Yale University 01 eng 03 00 In Evadarea Tăcută: 3000 de zile singură în închisorile din România or The Silent Escape: 3000 Days Alone in Romanian’s Prisons, Lena Constante narrates the first seven years and seven months she spent in solitary detainment in the Romanian com-munist penal system. A playwright, artist, illustrator, and puppet-maker, Constante (1909–2005) was imprisoned as a result of one of the biggest Stalinist show-trials of the 1950s, the “Pătrășcanu lot,” which auctioned off prison sentences to Lucrețiu Pătrășcanu1 and his close friends and associ-ates. Orchestrated by Gheorge Gheorgiu-Dej, the General Secretary of the Romanian Communist Party after 1947, and resembling the charges brought against prominent Party members like Ana Pauker, Vasile Luca, and Teohari Georgescu, the trial aimed at purging the upper echelons of the Party of dangerous political opponents, while simultaneously bring-ing Romania in line with directives from Moscow. 30 00 In Evadarea Tăcută: 3000 de zile singură în închisorile din România or The Silent Escape: 3000 Days Alone in Romanian’s Prisons, Lena Constante narrates the first seven years and seven months she spent in solitary detainment in the Romanian com-munist penal system. A playwright, artist, illustrator, and puppet-maker, Constante (1909–2005) was imprisoned as a result of one of the biggest Stalinist show-trials of the 1950s, the “Pătrășcanu lot,” which auctioned off prison sentences to Lucrețiu Pătrășcanu1 and his close friends and associ-ates. Orchestrated by Gheorge Gheorgiu-Dej, the General Secretary of the Romanian Communist Party after 1947, and resembling the charges brought against prominent Party members like Ana Pauker, Vasile Luca, and Teohari Georgescu, the trial aimed at purging the upper echelons of the Party of dangerous political opponents, while simultaneously bring-ing Romania in line with directives from Moscow. 20 00 Open Access Baricz, Carla 7 03 06 10.21983/P3.0134.1.07 53 77 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 War and the Food of Dreams An Interview with Cara De Silva 1 A01 Cara De Silva Cara De Silva 2 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 I discovered Cara De Silva’s work on my own bookshelf, in the form of In Memory’s Kitchen: A Legacy from the Women of Terezín, her edition of a recipe collection written from memory in the Theresien-stadt / Terezínconcentration camp.1 It is a moving document, listing instructions for deviled eggs, candied fruits, caramels, cherry-plum dumplings, and coffee cake, recalled and written down in the midst of starvation. In one of her poems, Mina Pächter, one of the book’s authors and the woman through whom it survived, describes the deg-radation to which Terezín’s cultured, educated inmates were subjected 30 00 I discovered Cara De Silva’s work on my own bookshelf, in the form of In Memory’s Kitchen: A Legacy from the Women of Terezín, her edition of a recipe collection written from memory in the Theresien-stadt / Terezínconcentration camp.1 It is a moving document, listing instructions for deviled eggs, candied fruits, caramels, cherry-plum dumplings, and coffee cake, recalled and written down in the midst of starvation. In one of her poems, Mina Pächter, one of the book’s authors and the woman through whom it survived, describes the deg-radation to which Terezín’s cultured, educated inmates were subjected 20 00 Open Access De Silva, Cara Dumitrescu, Irina 8 03 06 10.21983/P3.0134.1.08 79 99 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Atempause and Atemschaukel The Post-War Periods of Primo Levi and Herta Müller 1 A01 Tim Albrecht Tim Albrecht 40 00bpta863 Leibniz-Zentrum für Literatur- und Kulturforschung 01 eng 03 00 When we speak of historical periods, we imagine stretches of linear time, separated by significant historical events. Yet the term “period” implied a circular structure when Thrasyma-chus introduced it into rhetoric in the fifth century BC, long before it became a heuristic tool for historiography.1 In rheto-ric, the period is a stylistic device, a particular type of sen-tence with a hypotactic structure characterized by a rhythm of tension and release: the first part of the period (protasis) builds anticipation, the second part (apodosis) offers resolu-tion. Thrasymachus coined the term in analogy to athletics: Peri-hódos (“circular course”) signifies the racetrack of the ancient stadion. The circular syntactic structure creates the impression of wholeness and completion. Just as the athlete in the stadium strives for physical perfection, the periodic sentence strives for linguistic perfection, marked by the per-fect union of rhetoric and logic 30 00 When we speak of historical periods, we imagine stretches of linear time, separated by significant historical events. Yet the term “period” implied a circular structure when Thrasyma-chus introduced it into rhetoric in the fifth century BC, long before it became a heuristic tool for historiography.1 In rheto-ric, the period is a stylistic device, a particular type of sen-tence with a hypotactic structure characterized by a rhythm of tension and release: the first part of the period (protasis) builds anticipation, the second part (apodosis) offers resolu-tion. Thrasymachus coined the term in analogy to athletics: Peri-hódos (“circular course”) signifies the racetrack of the ancient stadion. The circular syntactic structure creates the impression of wholeness and completion. Just as the athlete in the stadium strives for physical perfection, the periodic sentence strives for linguistic perfection, marked by the per-fect union of rhetoric and logic 20 00 Open Access Albrecht, Tim 9 03 06 10.21983/P3.0134.1.09 101 102 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Theater in Wartime 1 A01 Greg Alan Brownderville Greg Alan Brownderville 40 042tdr378 Southern Methodist University 01 eng 03 00 For the play we got ourselves in love. Otherwise I didn’t know her. There were no other players. For three weeks of rehearsals, we lived together,going by our characters’ names, smelling like each other. The city turned into a war. Explosions gashed sky day and night, left both of ussick to the marrow. The day of the first performance, the bombs louder, closer, we made love again and again.When the hour came, like a demented mailman, the citymade no sound. We stepped out into the smoking ruins and held each other. Then trusted our feet, soles clicking toward the playhouse. I hoped it still existed. 30 00 For the play we got ourselves in love. Otherwise I didn’t know her. There were no other players. For three weeks of rehearsals, we lived together,going by our characters’ names, smelling like each other. The city turned into a war. Explosions gashed sky day and night, left both of ussick to the marrow. The day of the first performance, the bombs louder, closer, we made love again and again.When the hour came, like a demented mailman, the citymade no sound. We stepped out into the smoking ruins and held each other. Then trusted our feet, soles clicking toward the playhouse. I hoped it still existed. 20 00 Open Access Brownderville, Greg Alan 10 03 06 10.21983/P3.0134.1.10 103 117 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Counting Cards A Poetics for Deployment 1 A01 Susannah Hollister Susannah Hollister 01 eng 03 00 When packing for a war zone, a deck of cards is an obvi-ous choice. Most soldiers fit one into a rucksack or combat uniform, issued items that seem designed for slipping extra items into their many side pockets. A preventative measure of a kind, a deck of cards promises to protect against boredom or unwanted conversation, and will serve without a wireless signal or powered battery.My now husband deployed to Afghanistan in 2010, and he took with him a lightly used, ordinary, Bicycle-brand deck. I don’t remember where it came from or even whether I knew he packed it. But within a week of his departure we were play-ing a game—if game is the word for the system we devised. A very simple, wholly necessary game. It required two decks, the one he kept and one that I did. 30 00 When packing for a war zone, a deck of cards is an obvi-ous choice. Most soldiers fit one into a rucksack or combat uniform, issued items that seem designed for slipping extra items into their many side pockets. A preventative measure of a kind, a deck of cards promises to protect against boredom or unwanted conversation, and will serve without a wireless signal or powered battery.My now husband deployed to Afghanistan in 2010, and he took with him a lightly used, ordinary, Bicycle-brand deck. I don’t remember where it came from or even whether I knew he packed it. But within a week of his departure we were play-ing a game—if game is the word for the system we devised. A very simple, wholly necessary game. It required two decks, the one he kept and one that I did. 20 00 Open Access Hollister, Susannah 11 03 06 10.21983/P3.0134.1.11 119 120 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ace of Hearts 1 A01 Susannah Hollister Susannah Hollister 01 eng 03 00 Someone else might know how many birds are behind the window’s song. One. Or more than a dozen. If each throat throws the same pitch, how to tell. Someone else might know how to ride this edge, this edge between bad luck and best friend, between advantage kept warm and triumph still inflicted. 30 00 Someone else might know how many birds are behind the window’s song. One. Or more than a dozen. If each throat throws the same pitch, how to tell. Someone else might know how to ride this edge, this edge between bad luck and best friend, between advantage kept warm and triumph still inflicted. 20 00 Open Access Hollister, Susannah 12 03 06 10.21983/P3.0134.1.12 121 144 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Civilization and its Malcontents On Teaching Western Humanities in "The New Turkey" 1 A01 William Coker William Coker 40 02vh8a032 Bilkent University 01 eng 03 00 A statue of Kemal Atatürk greets visitors at the entry to the university where I teach. On its base is inscribed a motto whose implications for university life are as broad as its mean-ing is puzzling for those who have just arrived: “Biz medeniy-etten ilim ve fenden kuvvet alıyoruz”: “from civilization we gain knowledge, and from science strength.”What does the first half of this motto mean? When I’ve asked my students I’ve found that no one else seems to have noticed the inscription. It is part of that official language one hears everywhere spoken and nowhere seriously listened to. For me the import is all in the word medeniyet, whose dic-tionary meaning is “civilization.” I came here six years ago to teach “Cultures, Civilizations, and Ideas.” 30 00 A statue of Kemal Atatürk greets visitors at the entry to the university where I teach. On its base is inscribed a motto whose implications for university life are as broad as its mean-ing is puzzling for those who have just arrived: “Biz medeniy-etten ilim ve fenden kuvvet alıyoruz”: “from civilization we gain knowledge, and from science strength.”What does the first half of this motto mean? When I’ve asked my students I’ve found that no one else seems to have noticed the inscription. It is part of that official language one hears everywhere spoken and nowhere seriously listened to. For me the import is all in the word medeniyet, whose dic-tionary meaning is “civilization.” I came here six years ago to teach “Cultures, Civilizations, and Ideas.” 20 00 Open Access Coker, William 13 03 06 10.21983/P3.0134.1.13 145 153 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Departure Entrance 1 A01 Dennis Ferhatović Dennis Ferhatović 40 01hpqfm28 Connecticut College 01 eng 03 00 Some are staying Some are going Exodus Those staying are Also going To hell The angel of God is a killer He goes after the first-born Seven plagues, One after another 30 00 Some are staying Some are going Exodus Those staying are Also going To hell The angel of God is a killer He goes after the first-born Seven plagues, One after another 20 00 Open Access Ferhatović, Dennis 14 03 06 10.21983/P3.0134.1.14 155 174 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Profanations The Public, The Political and The Humanities in India 1 A01 Prashant Keshavmurthy Prashant Keshavmurthy 40 01pxwe438 McGill University 01 eng 03 00 In December 2013 a judge of the Indian Supreme Court recriminalized homosexuality under Section 377 of the Indian Penal Code by overturning the Delhi High Court’s earlier decriminalization of it. The Supreme Court judgment declined to even engage the constitutional reasoning adduced by the Delhi High Court when it “read down” 377 “in order to decriminalize private, adult, consensual sexual acts.”3This reasoning argued that 377 infringed Article 14 of the Constitution, “which deals with the fundamental right to equality” and “Article 15, which deals with the fundamental right to nondiscrimination” and “Article 21, which covers the fundamental right to life and liberty, including privacy and dignity.” Simply disregarding the specifics of this reason-ing, the judgment showed what a former judge of the Delhi High Court has termed an “exaggerated deference to a majoritarian Parliament.” In other words, it violated a fun-damental right by citing the numerical minority of the homo-sexual community. Rather than a republican commitment to fostering a polity whose majorities and minorities were shaped by debates around legally protected values it was the numerical majority of the mob that determined the law. In this the Supreme Court bent its knee before the leaderships of every religious community in India—legions of offended holy men—who, over the four previous years since the Delhi High Court’s judgment had been smugly defending what they claimed were the (heteronormative) traditions of a primordial and changeless group. What is the pre-history of such offense as it comes to form communities or harden their presumed edges? In answering this question this essay aims to specify the importance of the humanities to post-colonial South Asia. 30 00 In December 2013 a judge of the Indian Supreme Court recriminalized homosexuality under Section 377 of the Indian Penal Code by overturning the Delhi High Court’s earlier decriminalization of it. The Supreme Court judgment declined to even engage the constitutional reasoning adduced by the Delhi High Court when it “read down” 377 “in order to decriminalize private, adult, consensual sexual acts.”3This reasoning argued that 377 infringed Article 14 of the Constitution, “which deals with the fundamental right to equality” and “Article 15, which deals with the fundamental right to nondiscrimination” and “Article 21, which covers the fundamental right to life and liberty, including privacy and dignity.” Simply disregarding the specifics of this reason-ing, the judgment showed what a former judge of the Delhi High Court has termed an “exaggerated deference to a majoritarian Parliament.” In other words, it violated a fun-damental right by citing the numerical minority of the homo-sexual community. Rather than a republican commitment to fostering a polity whose majorities and minorities were shaped by debates around legally protected values it was the numerical majority of the mob that determined the law. In this the Supreme Court bent its knee before the leaderships of every religious community in India—legions of offended holy men—who, over the four previous years since the Delhi High Court’s judgment had been smugly defending what they claimed were the (heteronormative) traditions of a primordial and changeless group. What is the pre-history of such offense as it comes to form communities or harden their presumed edges? In answering this question this essay aims to specify the importance of the humanities to post-colonial South Asia. 20 00 Open Access Keshavmurthy, Prashant 15 03 06 10.21983/P3.0134.1.15 175 195 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Village Cosmopolitanisms Or, I See Kabul from Lado Sarai 1 A01 21 0000000205444597 Anand Vivek Taneja Anand Vivek Taneja 40 02vm5rt34 Vanderbilt University 01 eng 03 00 The famous Indian Urdu poet Ali Sardar Jafri wrote these lines in a poem addressed to the Pakistani poet Ahmed Faraz. In the poem, the long-shared experience of urban aesthetics—the gardens of Lahore and the morning light of Banaras—so much older than the boundaries of the nation states, under-mine the taken-for-granted enmity of India and Pakistan. If we can love the gardens of Lahore, and you can love the light of Banaras, then how can we be enemies? 30 00 The famous Indian Urdu poet Ali Sardar Jafri wrote these lines in a poem addressed to the Pakistani poet Ahmed Faraz. In the poem, the long-shared experience of urban aesthetics—the gardens of Lahore and the morning light of Banaras—so much older than the boundaries of the nation states, under-mine the taken-for-granted enmity of India and Pakistan. If we can love the gardens of Lahore, and you can love the light of Banaras, then how can we be enemies? 20 00 Open Access Taneja, Anand Vivek 16 03 06 10.21983/P3.0134.1.16 197 199 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Terpsichore 1 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 When Lady Philosophy finds Boethius mournfully composing verse in prison, she immediately sets upon the poetic Muses surrounding him. “Who has allowed these theatrical whores (scenicas meretriculas) to approach this sick man?” she asks. The Muses, according to Philosophy, do nothing to help the invalid, playing upon his passions rather than nourishing his reason. I heard, however, that a most passionate muse slipped back between the bars when Philosophy wasn’t looking.While writing my essay for this collection, I spent several months immersing myself in the memoirs of Romanian polit-ical prisoners. There is almost nothing that could make a per-son want to dance less. Reading these texts made me inter-nalize the overwhelming sense of entrapment prisoners felt, even, sometimes, their paranoia. Though living in warm Texas, within walking distance of four supermarkets, I couldn’t help but imagine the cold and hunger that gripped these prisoners, kept them frozen like stones. In the harsher prisons, inmates were forced to maintain a single position, facing the door, at all times, so as to be permanently under supervision. Even when sleeping, they were not allowed to turn their faces to the wall, an insidious rehearsal that deprived them of any real rest. 30 00 When Lady Philosophy finds Boethius mournfully composing verse in prison, she immediately sets upon the poetic Muses surrounding him. “Who has allowed these theatrical whores (scenicas meretriculas) to approach this sick man?” she asks. The Muses, according to Philosophy, do nothing to help the invalid, playing upon his passions rather than nourishing his reason. I heard, however, that a most passionate muse slipped back between the bars when Philosophy wasn’t looking.While writing my essay for this collection, I spent several months immersing myself in the memoirs of Romanian polit-ical prisoners. There is almost nothing that could make a per-son want to dance less. Reading these texts made me inter-nalize the overwhelming sense of entrapment prisoners felt, even, sometimes, their paranoia. Though living in warm Texas, within walking distance of four supermarkets, I couldn’t help but imagine the cold and hunger that gripped these prisoners, kept them frozen like stones. In the harsher prisons, inmates were forced to maintain a single position, facing the door, at all times, so as to be permanently under supervision. Even when sleeping, they were not allowed to turn their faces to the wall, an insidious rehearsal that deprived them of any real rest. 20 00 Open Access Dumitrescu, Irina 17 03 06 10.21983/P3.0134.1.17 201 230 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rumba Under FIre Music as Morale and Morality in Music at the Frontlines of the Congo 1 A01 21 0000000242041172 Judith Verweijen Judith Verweijen 40 05q84se63 Nordic Africa Institute 01 eng 03 00 We are like refugees. We move around like refugees, we live like refugees, we eat like refugees. Yet, the refugees are better off, they get humanitarian aid from the United Nations, but we do not. Lieutenant Kalupala is fuming. The soldiers of the armed forces of the Democratic Republic of the Congo, the Forces Armées de la République Démocratique du Congo (FARDC), never tire of pointing out their miserable living conditions and the hardships to which they are exposed. There’s always hunger. If you’re lucky you get food twice a day, but never meat. Meat is too expensive. So there is rice and beans, or ugali, the doughy stuff made from cassava or maize flour that is a staple food in large parts of the eastern Congo. It’s never enough. So you buy extra food and if you lack the money you smoke. Bangi. Ganja. Stuff, you know. It makes the hunger dis-appear. But sergeant Affasha does not like to smoke. It’s bad, he says. It makes you mjinga. You get crazy and then you start doing crazy things. The devil will walk behind you and you lose control. He rather drinks. Alcohol. Not the strong liquor in plastic bags like Furaha or BT. He mostly drinks kanyanga, a brew made from cassava and maize waste. You drink just some, in the morning, before you go to the roadblock. Then you feel much better, because the roadblock duty is long and boring. But kanyanaga helps. And it’s very cheap. 30 00 We are like refugees. We move around like refugees, we live like refugees, we eat like refugees. Yet, the refugees are better off, they get humanitarian aid from the United Nations, but we do not. Lieutenant Kalupala is fuming. The soldiers of the armed forces of the Democratic Republic of the Congo, the Forces Armées de la République Démocratique du Congo (FARDC), never tire of pointing out their miserable living conditions and the hardships to which they are exposed. There’s always hunger. If you’re lucky you get food twice a day, but never meat. Meat is too expensive. So there is rice and beans, or ugali, the doughy stuff made from cassava or maize flour that is a staple food in large parts of the eastern Congo. It’s never enough. So you buy extra food and if you lack the money you smoke. Bangi. Ganja. Stuff, you know. It makes the hunger dis-appear. But sergeant Affasha does not like to smoke. It’s bad, he says. It makes you mjinga. You get crazy and then you start doing crazy things. The devil will walk behind you and you lose control. He rather drinks. Alcohol. Not the strong liquor in plastic bags like Furaha or BT. He mostly drinks kanyanga, a brew made from cassava and maize waste. You drink just some, in the morning, before you go to the roadblock. Then you feel much better, because the roadblock duty is long and boring. But kanyanaga helps. And it’s very cheap. 20 00 Open Access Verweijen, Judith 18 03 06 10.21983/P3.0134.1.18 231 231 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ulysses 1 A01 Sharon Portnoff Sharon Portnoff 40 01hpqfm28 Connecticut College 01 eng 03 00 It had been 7 years and after all that labor—building a world from a bang—I deserved a rest. Your promises had begun to wear thin, and I wanted to return to my men—Those souls vanished like an errant ship to the Horizon. 30 00 It had been 7 years and after all that labor—building a world from a bang—I deserved a rest. Your promises had begun to wear thin, and I wanted to return to my men—Those souls vanished like an errant ship to the Horizon. 20 00 Open Access Portnoff, Sharon 19 03 06 10.21983/P3.0134.1.19 233 241 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Irina Dumitrescu Irina Dumitrescu 01 eng 20 00 Open Access Dumitrescu, Irina 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rumba-under-fire/ Earth, Milky Way 04 01 20160229 Dumitrescu, Irina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692655832 20 08 20160229 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/rumba-under-fire-the-arts-of-survival-from-west-point-to-delhi 20 08 20160229 02 24.00 USD WORLD urn:uuid:2a868f11-c9f5-4754-ae2e-76b5659b6bf5 03 01 01 thoth-work-id urn:uuid:0d485404-68e5-4f24-83e8-e993093f5f1d 01 thoth-publication-id urn:uuid:2a868f11-c9f5-4754-ae2e-76b5659b6bf5 06 10.21983/P3.0134.1.00 01 internal-reference 0134 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rumba under Fire The Arts of Survival from West Point to Delhi 1 B01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 00 264 03 93 DNL B2 Humanities+University 12 JFC 10 LCO015000 93 DNP 10 LCO010000 20 cultural studies; humanities; art in crisis; crisis; war 01 06 02 00 03 00 A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be “in crisis.” In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity? 30 00 A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be “in crisis.” In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0134.1.00_frontcover.png 1 03 06 10.21983/P3.0134.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 20 00 Open Access Dumitrescu, Irina 2 03 06 10.21983/P3.0134.1.02 xiii xxiii 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 It is popular these days to bemoan the “crisis in the humani-ties,” or even triumphantly to declare their death.1 Enroll-ments in liberal arts majors have fallen dramatically, students having realized that studying art history or philosophy will consign them to a lifetime of flipping burgers and pouring cof-fee.2 The humanities have lost their way: in abandoning the tried-and-true classics of the Western canon, they have also abandoned any claim to authority, tradition, or lasting and objective values.3 The humanities have lost their edge: by fail-ing to reflect the experiences of increasingly diverse student bodies, they have become at best irrelevant, at worst oppres-sive.4 The humanities take place in the wrong media: print is outmoded, and the failure of scholars to adopt the new modes of thought and communication offered by the digital age will leave them behind. But the Internet is rendering universities obsolete anyway, as online courses offer a more flexible and democratic educational format. Besides which, nobody reads long books anymore. The post-digital world simply does not have the attention span for traditional humanistic work. 30 00 It is popular these days to bemoan the “crisis in the humani-ties,” or even triumphantly to declare their death.1 Enroll-ments in liberal arts majors have fallen dramatically, students having realized that studying art history or philosophy will consign them to a lifetime of flipping burgers and pouring cof-fee.2 The humanities have lost their way: in abandoning the tried-and-true classics of the Western canon, they have also abandoned any claim to authority, tradition, or lasting and objective values.3 The humanities have lost their edge: by fail-ing to reflect the experiences of increasingly diverse student bodies, they have become at best irrelevant, at worst oppres-sive.4 The humanities take place in the wrong media: print is outmoded, and the failure of scholars to adopt the new modes of thought and communication offered by the digital age will leave them behind. But the Internet is rendering universities obsolete anyway, as online courses offer a more flexible and democratic educational format. Besides which, nobody reads long books anymore. The post-digital world simply does not have the attention span for traditional humanistic work. 20 00 Open Access Dumitrescu, Irina 3 03 06 10.21983/P3.0134.1.03 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Triptych (The Library) 1 A01 Andrew Crabtree Andrew Crabtree 01 eng 03 00 Looking up I thought I saw / A spaceship out of an old book, / A hail of brilliant yellow lights like / Some pale wizard’s holdfast: graceful / Constellation of a thousand stones / Enchanted in the semblance of a swan. 30 00 Looking up I thought I saw / A spaceship out of an old book, / A hail of brilliant yellow lights like / Some pale wizard’s holdfast: graceful / Constellation of a thousand stones / Enchanted in the semblance of a swan. 20 00 Open Access Crabtree, Andrew 4 03 06 10.21983/P3.0134.1.04 3 13 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Book Would You Never Burn (For Fuel)? 1 A01 Dennis Ferhatović Dennis Ferhatović 40 01hpqfm28 Connecticut College 01 eng 03 00 I was in Sarajevo for the first time in the summer of 2003. I visited it again in 2007, and then again, in 2012. Sarajevo is a fabled place with real wounds. You may have a number of associations with the place: the fateful shot that started World War I; the 1984 Winter Olympics; the flowering of music and film in the eighties; the horrible 1425-day-long siege; the annual film festival attended by Brangelina; the serious prob-lem with packs of stray dogs; ćevapi and pita and a variety of Ottoman and Austro-Hungarian sweets that you can buy at the Sweet Corner. As you walk the streets, admiring the fashions of youthful and middle-aged passers-by or dreaming of a freshly baked roll of pumpkin börek, your gaze may float downward where you can see a hole in the ground left by a grenade. These declivities are filled up now, sometimes with red paint, which means that someone was hit and killed on that spot. When they are marked with red paint, people call them “Sarajevo Roses.” A horrible beauty permeates these words, as does a hope for renewal, for resurrection. Sarajevo is an example par excellence of elegant resilience or resilient elegance. It always reminds you of vulnerability and instabil-ity, of life’s preciousness and aesthetic possession. “You know Sarajevo has something strange” a sticker on an electric post that you run into proclaims in English. Foreign backpackers you run into in hostels, beer halls, and parks tend to agree: they have seen Vienna and Budapest, Belgrade and Zagreb, but Sarajevo has this energy, man. Where else could you still see—in a row—a half-destroyed building with cracked walls and open wiring; an almost intact building gray from years and socialist realism; and a restored building for which a jolly Scandinavian nation had given hard cash and chosen soft col-ors such as pink and turquoise. Wherever I look, I see prolif-erating reminders of ruin and promises of renascence. Wher-ever I look, along the main street, in the area demarcated as the flea market, or near small bridges over the miniature Mil-jacka, I see used-book vendors. 30 00 I was in Sarajevo for the first time in the summer of 2003. I visited it again in 2007, and then again, in 2012. Sarajevo is a fabled place with real wounds. You may have a number of associations with the place: the fateful shot that started World War I; the 1984 Winter Olympics; the flowering of music and film in the eighties; the horrible 1425-day-long siege; the annual film festival attended by Brangelina; the serious prob-lem with packs of stray dogs; ćevapi and pita and a variety of Ottoman and Austro-Hungarian sweets that you can buy at the Sweet Corner. As you walk the streets, admiring the fashions of youthful and middle-aged passers-by or dreaming of a freshly baked roll of pumpkin börek, your gaze may float downward where you can see a hole in the ground left by a grenade. These declivities are filled up now, sometimes with red paint, which means that someone was hit and killed on that spot. When they are marked with red paint, people call them “Sarajevo Roses.” A horrible beauty permeates these words, as does a hope for renewal, for resurrection. Sarajevo is an example par excellence of elegant resilience or resilient elegance. It always reminds you of vulnerability and instabil-ity, of life’s preciousness and aesthetic possession. “You know Sarajevo has something strange” a sticker on an electric post that you run into proclaims in English. Foreign backpackers you run into in hostels, beer halls, and parks tend to agree: they have seen Vienna and Budapest, Belgrade and Zagreb, but Sarajevo has this energy, man. Where else could you still see—in a row—a half-destroyed building with cracked walls and open wiring; an almost intact building gray from years and socialist realism; and a restored building for which a jolly Scandinavian nation had given hard cash and chosen soft col-ors such as pink and turquoise. Wherever I look, I see prolif-erating reminders of ruin and promises of renascence. Wher-ever I look, along the main street, in the area demarcated as the flea market, or near small bridges over the miniature Mil-jacka, I see used-book vendors. 20 00 Open Access Ferhatović, Dennis 5 03 06 10.21983/P3.0134.1.05 15 30 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Poems in Prison The Survival Strategies of Romanian Political Prisoners 1 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 In the region of Maramureș in northern Romania, close to the River Prut and the Ukrainian border, two monuments express the ways in which human beings struggle to hold on to beauty, art, and humour in the face of annihilation. The first of these is Cimitirul Vesel, the cheerful cemetery, where in 1935 the sculptor Stan Ioan Pătraș began to etch folksy poems into the town’s tombstones. The result is the brightest graveyard imaginable, in which each oaken memorial includes a carving or two of the deceased in their natural element—at the plow or with a horse for the older graves, or sitting at a desk for the more modern ones — along with a rustic verse description of the individual’s life and death, written in the first person. The whole is painted in vivid Crayola blue, red, yellow, and green. What emerges from this forest of colorful wooden steles is a chorus of voices, the departed citizenry of Săpânța claiming a right to their brief stories on this earth. 30 00 In the region of Maramureș in northern Romania, close to the River Prut and the Ukrainian border, two monuments express the ways in which human beings struggle to hold on to beauty, art, and humour in the face of annihilation. The first of these is Cimitirul Vesel, the cheerful cemetery, where in 1935 the sculptor Stan Ioan Pătraș began to etch folksy poems into the town’s tombstones. The result is the brightest graveyard imaginable, in which each oaken memorial includes a carving or two of the deceased in their natural element—at the plow or with a horse for the older graves, or sitting at a desk for the more modern ones — along with a rustic verse description of the individual’s life and death, written in the first person. The whole is painted in vivid Crayola blue, red, yellow, and green. What emerges from this forest of colorful wooden steles is a chorus of voices, the departed citizenry of Săpânța claiming a right to their brief stories on this earth. 20 00 Open Access Dumitrescu, Irina 6 03 06 10.21983/P3.0134.1.06 31 52 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Writing Resistance Lena Constante's The Silent Escape and the Journal as Genre in Romania's (Post)Communist Literary Field 1 A01 Carla Baricz Carla Baricz 40 03v76x132 Yale University 01 eng 03 00 In Evadarea Tăcută: 3000 de zile singură în închisorile din România or The Silent Escape: 3000 Days Alone in Romanian’s Prisons, Lena Constante narrates the first seven years and seven months she spent in solitary detainment in the Romanian com-munist penal system. A playwright, artist, illustrator, and puppet-maker, Constante (1909–2005) was imprisoned as a result of one of the biggest Stalinist show-trials of the 1950s, the “Pătrășcanu lot,” which auctioned off prison sentences to Lucrețiu Pătrășcanu1 and his close friends and associ-ates. Orchestrated by Gheorge Gheorgiu-Dej, the General Secretary of the Romanian Communist Party after 1947, and resembling the charges brought against prominent Party members like Ana Pauker, Vasile Luca, and Teohari Georgescu, the trial aimed at purging the upper echelons of the Party of dangerous political opponents, while simultaneously bring-ing Romania in line with directives from Moscow. 30 00 In Evadarea Tăcută: 3000 de zile singură în închisorile din România or The Silent Escape: 3000 Days Alone in Romanian’s Prisons, Lena Constante narrates the first seven years and seven months she spent in solitary detainment in the Romanian com-munist penal system. A playwright, artist, illustrator, and puppet-maker, Constante (1909–2005) was imprisoned as a result of one of the biggest Stalinist show-trials of the 1950s, the “Pătrășcanu lot,” which auctioned off prison sentences to Lucrețiu Pătrășcanu1 and his close friends and associ-ates. Orchestrated by Gheorge Gheorgiu-Dej, the General Secretary of the Romanian Communist Party after 1947, and resembling the charges brought against prominent Party members like Ana Pauker, Vasile Luca, and Teohari Georgescu, the trial aimed at purging the upper echelons of the Party of dangerous political opponents, while simultaneously bring-ing Romania in line with directives from Moscow. 20 00 Open Access Baricz, Carla 7 03 06 10.21983/P3.0134.1.07 53 77 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 War and the Food of Dreams An Interview with Cara De Silva 1 A01 Cara De Silva Cara De Silva 2 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 I discovered Cara De Silva’s work on my own bookshelf, in the form of In Memory’s Kitchen: A Legacy from the Women of Terezín, her edition of a recipe collection written from memory in the Theresien-stadt / Terezínconcentration camp.1 It is a moving document, listing instructions for deviled eggs, candied fruits, caramels, cherry-plum dumplings, and coffee cake, recalled and written down in the midst of starvation. In one of her poems, Mina Pächter, one of the book’s authors and the woman through whom it survived, describes the deg-radation to which Terezín’s cultured, educated inmates were subjected 30 00 I discovered Cara De Silva’s work on my own bookshelf, in the form of In Memory’s Kitchen: A Legacy from the Women of Terezín, her edition of a recipe collection written from memory in the Theresien-stadt / Terezínconcentration camp.1 It is a moving document, listing instructions for deviled eggs, candied fruits, caramels, cherry-plum dumplings, and coffee cake, recalled and written down in the midst of starvation. In one of her poems, Mina Pächter, one of the book’s authors and the woman through whom it survived, describes the deg-radation to which Terezín’s cultured, educated inmates were subjected 20 00 Open Access De Silva, Cara Dumitrescu, Irina 8 03 06 10.21983/P3.0134.1.08 79 99 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Atempause and Atemschaukel The Post-War Periods of Primo Levi and Herta Müller 1 A01 Tim Albrecht Tim Albrecht 40 00bpta863 Leibniz-Zentrum für Literatur- und Kulturforschung 01 eng 03 00 When we speak of historical periods, we imagine stretches of linear time, separated by significant historical events. Yet the term “period” implied a circular structure when Thrasyma-chus introduced it into rhetoric in the fifth century BC, long before it became a heuristic tool for historiography.1 In rheto-ric, the period is a stylistic device, a particular type of sen-tence with a hypotactic structure characterized by a rhythm of tension and release: the first part of the period (protasis) builds anticipation, the second part (apodosis) offers resolu-tion. Thrasymachus coined the term in analogy to athletics: Peri-hódos (“circular course”) signifies the racetrack of the ancient stadion. The circular syntactic structure creates the impression of wholeness and completion. Just as the athlete in the stadium strives for physical perfection, the periodic sentence strives for linguistic perfection, marked by the per-fect union of rhetoric and logic 30 00 When we speak of historical periods, we imagine stretches of linear time, separated by significant historical events. Yet the term “period” implied a circular structure when Thrasyma-chus introduced it into rhetoric in the fifth century BC, long before it became a heuristic tool for historiography.1 In rheto-ric, the period is a stylistic device, a particular type of sen-tence with a hypotactic structure characterized by a rhythm of tension and release: the first part of the period (protasis) builds anticipation, the second part (apodosis) offers resolu-tion. Thrasymachus coined the term in analogy to athletics: Peri-hódos (“circular course”) signifies the racetrack of the ancient stadion. The circular syntactic structure creates the impression of wholeness and completion. Just as the athlete in the stadium strives for physical perfection, the periodic sentence strives for linguistic perfection, marked by the per-fect union of rhetoric and logic 20 00 Open Access Albrecht, Tim 9 03 06 10.21983/P3.0134.1.09 101 102 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Theater in Wartime 1 A01 Greg Alan Brownderville Greg Alan Brownderville 40 042tdr378 Southern Methodist University 01 eng 03 00 For the play we got ourselves in love. Otherwise I didn’t know her. There were no other players. For three weeks of rehearsals, we lived together,going by our characters’ names, smelling like each other. The city turned into a war. Explosions gashed sky day and night, left both of ussick to the marrow. The day of the first performance, the bombs louder, closer, we made love again and again.When the hour came, like a demented mailman, the citymade no sound. We stepped out into the smoking ruins and held each other. Then trusted our feet, soles clicking toward the playhouse. I hoped it still existed. 30 00 For the play we got ourselves in love. Otherwise I didn’t know her. There were no other players. For three weeks of rehearsals, we lived together,going by our characters’ names, smelling like each other. The city turned into a war. Explosions gashed sky day and night, left both of ussick to the marrow. The day of the first performance, the bombs louder, closer, we made love again and again.When the hour came, like a demented mailman, the citymade no sound. We stepped out into the smoking ruins and held each other. Then trusted our feet, soles clicking toward the playhouse. I hoped it still existed. 20 00 Open Access Brownderville, Greg Alan 10 03 06 10.21983/P3.0134.1.10 103 117 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Counting Cards A Poetics for Deployment 1 A01 Susannah Hollister Susannah Hollister 01 eng 03 00 When packing for a war zone, a deck of cards is an obvi-ous choice. Most soldiers fit one into a rucksack or combat uniform, issued items that seem designed for slipping extra items into their many side pockets. A preventative measure of a kind, a deck of cards promises to protect against boredom or unwanted conversation, and will serve without a wireless signal or powered battery.My now husband deployed to Afghanistan in 2010, and he took with him a lightly used, ordinary, Bicycle-brand deck. I don’t remember where it came from or even whether I knew he packed it. But within a week of his departure we were play-ing a game—if game is the word for the system we devised. A very simple, wholly necessary game. It required two decks, the one he kept and one that I did. 30 00 When packing for a war zone, a deck of cards is an obvi-ous choice. Most soldiers fit one into a rucksack or combat uniform, issued items that seem designed for slipping extra items into their many side pockets. A preventative measure of a kind, a deck of cards promises to protect against boredom or unwanted conversation, and will serve without a wireless signal or powered battery.My now husband deployed to Afghanistan in 2010, and he took with him a lightly used, ordinary, Bicycle-brand deck. I don’t remember where it came from or even whether I knew he packed it. But within a week of his departure we were play-ing a game—if game is the word for the system we devised. A very simple, wholly necessary game. It required two decks, the one he kept and one that I did. 20 00 Open Access Hollister, Susannah 11 03 06 10.21983/P3.0134.1.11 119 120 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ace of Hearts 1 A01 Susannah Hollister Susannah Hollister 01 eng 03 00 Someone else might know how many birds are behind the window’s song. One. Or more than a dozen. If each throat throws the same pitch, how to tell. Someone else might know how to ride this edge, this edge between bad luck and best friend, between advantage kept warm and triumph still inflicted. 30 00 Someone else might know how many birds are behind the window’s song. One. Or more than a dozen. If each throat throws the same pitch, how to tell. Someone else might know how to ride this edge, this edge between bad luck and best friend, between advantage kept warm and triumph still inflicted. 20 00 Open Access Hollister, Susannah 12 03 06 10.21983/P3.0134.1.12 121 144 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Civilization and its Malcontents On Teaching Western Humanities in "The New Turkey" 1 A01 William Coker William Coker 40 02vh8a032 Bilkent University 01 eng 03 00 A statue of Kemal Atatürk greets visitors at the entry to the university where I teach. On its base is inscribed a motto whose implications for university life are as broad as its mean-ing is puzzling for those who have just arrived: “Biz medeniy-etten ilim ve fenden kuvvet alıyoruz”: “from civilization we gain knowledge, and from science strength.”What does the first half of this motto mean? When I’ve asked my students I’ve found that no one else seems to have noticed the inscription. It is part of that official language one hears everywhere spoken and nowhere seriously listened to. For me the import is all in the word medeniyet, whose dic-tionary meaning is “civilization.” I came here six years ago to teach “Cultures, Civilizations, and Ideas.” 30 00 A statue of Kemal Atatürk greets visitors at the entry to the university where I teach. On its base is inscribed a motto whose implications for university life are as broad as its mean-ing is puzzling for those who have just arrived: “Biz medeniy-etten ilim ve fenden kuvvet alıyoruz”: “from civilization we gain knowledge, and from science strength.”What does the first half of this motto mean? When I’ve asked my students I’ve found that no one else seems to have noticed the inscription. It is part of that official language one hears everywhere spoken and nowhere seriously listened to. For me the import is all in the word medeniyet, whose dic-tionary meaning is “civilization.” I came here six years ago to teach “Cultures, Civilizations, and Ideas.” 20 00 Open Access Coker, William 13 03 06 10.21983/P3.0134.1.13 145 153 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Departure Entrance 1 A01 Dennis Ferhatović Dennis Ferhatović 40 01hpqfm28 Connecticut College 01 eng 03 00 Some are staying Some are going Exodus Those staying are Also going To hell The angel of God is a killer He goes after the first-born Seven plagues, One after another 30 00 Some are staying Some are going Exodus Those staying are Also going To hell The angel of God is a killer He goes after the first-born Seven plagues, One after another 20 00 Open Access Ferhatović, Dennis 14 03 06 10.21983/P3.0134.1.14 155 174 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Profanations The Public, The Political and The Humanities in India 1 A01 Prashant Keshavmurthy Prashant Keshavmurthy 40 01pxwe438 McGill University 01 eng 03 00 In December 2013 a judge of the Indian Supreme Court recriminalized homosexuality under Section 377 of the Indian Penal Code by overturning the Delhi High Court’s earlier decriminalization of it. The Supreme Court judgment declined to even engage the constitutional reasoning adduced by the Delhi High Court when it “read down” 377 “in order to decriminalize private, adult, consensual sexual acts.”3This reasoning argued that 377 infringed Article 14 of the Constitution, “which deals with the fundamental right to equality” and “Article 15, which deals with the fundamental right to nondiscrimination” and “Article 21, which covers the fundamental right to life and liberty, including privacy and dignity.” Simply disregarding the specifics of this reason-ing, the judgment showed what a former judge of the Delhi High Court has termed an “exaggerated deference to a majoritarian Parliament.” In other words, it violated a fun-damental right by citing the numerical minority of the homo-sexual community. Rather than a republican commitment to fostering a polity whose majorities and minorities were shaped by debates around legally protected values it was the numerical majority of the mob that determined the law. In this the Supreme Court bent its knee before the leaderships of every religious community in India—legions of offended holy men—who, over the four previous years since the Delhi High Court’s judgment had been smugly defending what they claimed were the (heteronormative) traditions of a primordial and changeless group. What is the pre-history of such offense as it comes to form communities or harden their presumed edges? In answering this question this essay aims to specify the importance of the humanities to post-colonial South Asia. 30 00 In December 2013 a judge of the Indian Supreme Court recriminalized homosexuality under Section 377 of the Indian Penal Code by overturning the Delhi High Court’s earlier decriminalization of it. The Supreme Court judgment declined to even engage the constitutional reasoning adduced by the Delhi High Court when it “read down” 377 “in order to decriminalize private, adult, consensual sexual acts.”3This reasoning argued that 377 infringed Article 14 of the Constitution, “which deals with the fundamental right to equality” and “Article 15, which deals with the fundamental right to nondiscrimination” and “Article 21, which covers the fundamental right to life and liberty, including privacy and dignity.” Simply disregarding the specifics of this reason-ing, the judgment showed what a former judge of the Delhi High Court has termed an “exaggerated deference to a majoritarian Parliament.” In other words, it violated a fun-damental right by citing the numerical minority of the homo-sexual community. Rather than a republican commitment to fostering a polity whose majorities and minorities were shaped by debates around legally protected values it was the numerical majority of the mob that determined the law. In this the Supreme Court bent its knee before the leaderships of every religious community in India—legions of offended holy men—who, over the four previous years since the Delhi High Court’s judgment had been smugly defending what they claimed were the (heteronormative) traditions of a primordial and changeless group. What is the pre-history of such offense as it comes to form communities or harden their presumed edges? In answering this question this essay aims to specify the importance of the humanities to post-colonial South Asia. 20 00 Open Access Keshavmurthy, Prashant 15 03 06 10.21983/P3.0134.1.15 175 195 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Village Cosmopolitanisms Or, I See Kabul from Lado Sarai 1 A01 21 0000000205444597 Anand Vivek Taneja Anand Vivek Taneja 40 02vm5rt34 Vanderbilt University 01 eng 03 00 The famous Indian Urdu poet Ali Sardar Jafri wrote these lines in a poem addressed to the Pakistani poet Ahmed Faraz. In the poem, the long-shared experience of urban aesthetics—the gardens of Lahore and the morning light of Banaras—so much older than the boundaries of the nation states, under-mine the taken-for-granted enmity of India and Pakistan. If we can love the gardens of Lahore, and you can love the light of Banaras, then how can we be enemies? 30 00 The famous Indian Urdu poet Ali Sardar Jafri wrote these lines in a poem addressed to the Pakistani poet Ahmed Faraz. In the poem, the long-shared experience of urban aesthetics—the gardens of Lahore and the morning light of Banaras—so much older than the boundaries of the nation states, under-mine the taken-for-granted enmity of India and Pakistan. If we can love the gardens of Lahore, and you can love the light of Banaras, then how can we be enemies? 20 00 Open Access Taneja, Anand Vivek 16 03 06 10.21983/P3.0134.1.16 197 199 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Terpsichore 1 A01 Irina Dumitrescu Irina Dumitrescu 40 041nas322 University of Bonn 01 eng 03 00 When Lady Philosophy finds Boethius mournfully composing verse in prison, she immediately sets upon the poetic Muses surrounding him. “Who has allowed these theatrical whores (scenicas meretriculas) to approach this sick man?” she asks. The Muses, according to Philosophy, do nothing to help the invalid, playing upon his passions rather than nourishing his reason. I heard, however, that a most passionate muse slipped back between the bars when Philosophy wasn’t looking.While writing my essay for this collection, I spent several months immersing myself in the memoirs of Romanian polit-ical prisoners. There is almost nothing that could make a per-son want to dance less. Reading these texts made me inter-nalize the overwhelming sense of entrapment prisoners felt, even, sometimes, their paranoia. Though living in warm Texas, within walking distance of four supermarkets, I couldn’t help but imagine the cold and hunger that gripped these prisoners, kept them frozen like stones. In the harsher prisons, inmates were forced to maintain a single position, facing the door, at all times, so as to be permanently under supervision. Even when sleeping, they were not allowed to turn their faces to the wall, an insidious rehearsal that deprived them of any real rest. 30 00 When Lady Philosophy finds Boethius mournfully composing verse in prison, she immediately sets upon the poetic Muses surrounding him. “Who has allowed these theatrical whores (scenicas meretriculas) to approach this sick man?” she asks. The Muses, according to Philosophy, do nothing to help the invalid, playing upon his passions rather than nourishing his reason. I heard, however, that a most passionate muse slipped back between the bars when Philosophy wasn’t looking.While writing my essay for this collection, I spent several months immersing myself in the memoirs of Romanian polit-ical prisoners. There is almost nothing that could make a per-son want to dance less. Reading these texts made me inter-nalize the overwhelming sense of entrapment prisoners felt, even, sometimes, their paranoia. Though living in warm Texas, within walking distance of four supermarkets, I couldn’t help but imagine the cold and hunger that gripped these prisoners, kept them frozen like stones. In the harsher prisons, inmates were forced to maintain a single position, facing the door, at all times, so as to be permanently under supervision. Even when sleeping, they were not allowed to turn their faces to the wall, an insidious rehearsal that deprived them of any real rest. 20 00 Open Access Dumitrescu, Irina 17 03 06 10.21983/P3.0134.1.17 201 230 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Rumba Under FIre Music as Morale and Morality in Music at the Frontlines of the Congo 1 A01 21 0000000242041172 Judith Verweijen Judith Verweijen 40 05q84se63 Nordic Africa Institute 01 eng 03 00 We are like refugees. We move around like refugees, we live like refugees, we eat like refugees. Yet, the refugees are better off, they get humanitarian aid from the United Nations, but we do not. Lieutenant Kalupala is fuming. The soldiers of the armed forces of the Democratic Republic of the Congo, the Forces Armées de la République Démocratique du Congo (FARDC), never tire of pointing out their miserable living conditions and the hardships to which they are exposed. There’s always hunger. If you’re lucky you get food twice a day, but never meat. Meat is too expensive. So there is rice and beans, or ugali, the doughy stuff made from cassava or maize flour that is a staple food in large parts of the eastern Congo. It’s never enough. So you buy extra food and if you lack the money you smoke. Bangi. Ganja. Stuff, you know. It makes the hunger dis-appear. But sergeant Affasha does not like to smoke. It’s bad, he says. It makes you mjinga. You get crazy and then you start doing crazy things. The devil will walk behind you and you lose control. He rather drinks. Alcohol. Not the strong liquor in plastic bags like Furaha or BT. He mostly drinks kanyanga, a brew made from cassava and maize waste. You drink just some, in the morning, before you go to the roadblock. Then you feel much better, because the roadblock duty is long and boring. But kanyanaga helps. And it’s very cheap. 30 00 We are like refugees. We move around like refugees, we live like refugees, we eat like refugees. Yet, the refugees are better off, they get humanitarian aid from the United Nations, but we do not. Lieutenant Kalupala is fuming. The soldiers of the armed forces of the Democratic Republic of the Congo, the Forces Armées de la République Démocratique du Congo (FARDC), never tire of pointing out their miserable living conditions and the hardships to which they are exposed. There’s always hunger. If you’re lucky you get food twice a day, but never meat. Meat is too expensive. So there is rice and beans, or ugali, the doughy stuff made from cassava or maize flour that is a staple food in large parts of the eastern Congo. It’s never enough. So you buy extra food and if you lack the money you smoke. Bangi. Ganja. Stuff, you know. It makes the hunger dis-appear. But sergeant Affasha does not like to smoke. It’s bad, he says. It makes you mjinga. You get crazy and then you start doing crazy things. The devil will walk behind you and you lose control. He rather drinks. Alcohol. Not the strong liquor in plastic bags like Furaha or BT. He mostly drinks kanyanga, a brew made from cassava and maize waste. You drink just some, in the morning, before you go to the roadblock. Then you feel much better, because the roadblock duty is long and boring. But kanyanaga helps. And it’s very cheap. 20 00 Open Access Verweijen, Judith 18 03 06 10.21983/P3.0134.1.18 231 231 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ulysses 1 A01 Sharon Portnoff Sharon Portnoff 40 01hpqfm28 Connecticut College 01 eng 03 00 It had been 7 years and after all that labor—building a world from a bang—I deserved a rest. Your promises had begun to wear thin, and I wanted to return to my men—Those souls vanished like an errant ship to the Horizon. 30 00 It had been 7 years and after all that labor—building a world from a bang—I deserved a rest. Your promises had begun to wear thin, and I wanted to return to my men—Those souls vanished like an errant ship to the Horizon. 20 00 Open Access Portnoff, Sharon 19 03 06 10.21983/P3.0134.1.19 233 241 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Irina Dumitrescu Irina Dumitrescu 01 eng 20 00 Open Access Dumitrescu, Irina 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rumba-under-fire/ Earth, Milky Way 04 01 20160229 Dumitrescu, Irina 02 WORLD 06 15 9780692655832 03 9780692655832 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25491 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25491/1004604.pdf?sequence=1&isAllowed=y 20 08 20160229 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27876 20 08 20160229 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353941 20 08 20160229 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/516 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3817a73a-2310-4df9-a617-172cc5604585/download 20 08 20160229 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Rumba_Under_Fire_The_Arts_of_Survival_fr/EgSVEAAAQBAJ 20 08 20160229 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0d485404-68e5-4f24-83e8-e993093f5f1d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0d485404-68e5-4f24-83e8-e993093f5f1d/0d485404-68e5-4f24-83e8-e993093f5f1d.pdf 20 08 20160229 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846485 29 ZENODO: download the title https://zenodo.org/records/19846485/files/0d485404-68e5-4f24-83e8-e993093f5f1d_book.pdf 20 08 20160229 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/rumba-under-fire/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0134.1.00.pdf 20 08 20160229 01 urn:uuid:938a450b-641e-4858-98e1-b50515d78879 03 01 01 thoth-work-id urn:uuid:8a03e8d9-6cae-4794-b109-3d33c7988ef6 01 thoth-publication-id urn:uuid:938a450b-641e-4858-98e1-b50515d78879 15 9781950192779 03 9781950192779 06 10.21983/P3.0283.1.00 13 2020935343 01 internal-reference 0283 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sacred Views of Saint Francis The Sacro Monte di Orta 1 A01 Cynthia O. Ho Cynthia O. Ho 40 017c6at71 University of North Carolina at Asheville 2 A01 Kathleen W. Peters Kathleen W. Peters 40 049xfwy04 Rhodes College 3 A01 John McClain John McClain 40 017c6at71 University of North Carolina at Asheville 4 A13 J. Ross Peters J. Ross Peters 01 eng 00 208 03 B2 Art+Aesthetics 12 HRCR 93 QRVS5 10 REL110000 10 ARC016000 B2 Built Environments 12 HRCX8 93 QRVP1 12 AMN 93 AMN 20 Catholicism; Saint Francis; pilgrimage; sacred architecture; religious sculpture; hagiography; Christianity; monasticism 01 06 02 00 03 00 Overlooking Lago di Orta in the foothills of the Northern Italian Alps, the Renaissance-era Sacro Monte di Orta (a UNESCO World Heritage site) is spectacle and hagiography, theme park and treatise. Sacro Monte di Orta is a sacred mountain complex that extolls the life of St. Francis of Assisi through fresco, statuary, and built environment. Descending from the vision of the 16th-century Archbishop Carlo Borromeo, the design and execution of the chapels express the Catholic Church’s desire to define, or, perhaps redefine itself for a transforming Christian diaspora. And in the struggle to provide a spiritual and geographical front against the spread of Protestantism into the Italian peninsula, the Catholic Church mustered the most powerful weapon it had: the widely popular native Italian saint, Francis of Assisi.Sacred Views of Saint Francis: The Sacro Monte di Orta examines this important pilgrimage site where Francis is embraced as a ne plus ultra saint. The book delves into a pivotal moment in the life of the Catholic Church as revealed through the artistic program of the Sacro Monte’s twenty-one chapels, providing a nuanced understanding of the role the site played in the Counter-Reformation.The Sacro Monte di Orta was, in its way, a new hagiographical text vital to post-Tridentine Italy. Sacred Views provides research and analysis of this popular, yet critically neglected Franciscan devotional site. Sacred Views is the first significant scholarly work on the Sacro Monte di Orta in English and one of the very few full-length treatments in any language. It includes a catalogue of artists, over one hundred photographs, maps, short essays on each chapel, and longer essays that examine some of the most significant chapels in greater detail. 30 00 Overlooking Lago di Orta in the foothills of the Northern Italian Alps, the Renaissance-era Sacro Monte di Orta (a UNESCO World Heritage site) is spectacle and hagiography, theme park and treatise. Sacro Monte di Orta is a sacred mountain complex that extolls the life of St. Francis of Assisi through fresco, statuary, and built environment. Descending from the vision of the 16th-century Archbishop Carlo Borromeo, the design and execution of the chapels express the Catholic Church’s desire to define, or, perhaps redefine itself for a transforming Christian diaspora. And in the struggle to provide a spiritual and geographical front against the spread of Protestantism into the Italian peninsula, the Catholic Church mustered the most powerful weapon it had: the widely popular native Italian saint, Francis of Assisi.Sacred Views of Saint Francis: The Sacro Monte di Orta examines this important pilgrimage site where Francis is embraced as a ne plus ultra saint. The book delves into a pivotal moment in the life of the Catholic Church as revealed through the artistic program of the Sacro Monte’s twenty-one chapels, providing a nuanced understanding of the role the site played in the Counter-Reformation.The Sacro Monte di Orta was, in its way, a new hagiographical text vital to post-Tridentine Italy. Sacred Views provides research and analysis of this popular, yet critically neglected Franciscan devotional site. Sacred Views is the first significant scholarly work on the Sacro Monte di Orta in English and one of the very few full-length treatments in any language. It includes a catalogue of artists, over one hundred photographs, maps, short essays on each chapel, and longer essays that examine some of the most significant chapels in greater detail. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0283.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sacred-views-of-saint-francis-the-sacro-monte-di-orta/ Earth, Milky Way 04 01 20200507 Ho, Cynthia O. Peters, Kathleen W. McClain, John 02 WORLD 06 15 9781950192786 03 9781950192786 34 06 10.5456/issn.2050-3679/2015w07 34 06 10.2307/750615 34 06 10.2307/3047145 34 06 10.1111/1467-8365.00247 34 06 10.1353/sex.2001.0049 34 06 10.1111/j.1467-8365.2011.00871.x 34 06 10.1086/600094 34 06 10.2307/3508387 34 06 10.1484/J.MS.2.306113 34 06 10.2307/3654543 34 06 10.1215/10829636-31-1-1 34 06 10.2307/1482157 34 06 10.14315/arg-2005-0108 34 06 10.1179/exm.1997.9.1.117 34 06 10.1080/00043079.2000.10786944 34 06 10.2307/3051119 34 06 10.1163/156852999X00024 34 06 10.1093/isle/11.1.121.1992 34 06 10.2307/3051417 34 06 10.1007/s10892-005-3527-8 34 06 10.1111/j.1477-4658.2010.00665.x 34 06 10.1163/9789004226432 34 06 10.2307/1568676 34 06 10.1353/frc.1998.0029 34 06 10.2307/462681 34 06 10.2307/3780297 34 06 10.1017/S1062798708000124 34 06 10.2307/2671397 34 06 10.1353/tj.1997.0072 34 06 10.1525/eth.2006.34.3.343 34 06 10.1017/S000964071200251X 34 06 10.1037/a0015265 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192776 20 08 20200507 02 47.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/sacred-views-of-saint-francis-the-sacro-monte-di-orta 20 08 20200507 02 47.00 USD WORLD urn:uuid:f32ebd93-978c-4ee5-8296-5ea05fdf5879 03 01 01 thoth-work-id urn:uuid:8a03e8d9-6cae-4794-b109-3d33c7988ef6 01 thoth-publication-id urn:uuid:f32ebd93-978c-4ee5-8296-5ea05fdf5879 15 9781950192786 03 9781950192786 06 10.21983/P3.0283.1.00 13 2020935343 01 internal-reference 0283 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sacred Views of Saint Francis The Sacro Monte di Orta 1 A01 Cynthia O. Ho Cynthia O. Ho 40 017c6at71 University of North Carolina at Asheville 2 A01 Kathleen W. Peters Kathleen W. Peters 40 049xfwy04 Rhodes College 3 A01 John McClain John McClain 40 017c6at71 University of North Carolina at Asheville 4 A13 J. Ross Peters J. Ross Peters 01 eng 00 208 03 B2 Art+Aesthetics 12 HRCR 93 QRVS5 10 REL110000 10 ARC016000 B2 Built Environments 12 HRCX8 93 QRVP1 12 AMN 93 AMN 20 Catholicism; Saint Francis; pilgrimage; sacred architecture; religious sculpture; hagiography; Christianity; monasticism 01 06 02 00 03 00 Overlooking Lago di Orta in the foothills of the Northern Italian Alps, the Renaissance-era Sacro Monte di Orta (a UNESCO World Heritage site) is spectacle and hagiography, theme park and treatise. Sacro Monte di Orta is a sacred mountain complex that extolls the life of St. Francis of Assisi through fresco, statuary, and built environment. Descending from the vision of the 16th-century Archbishop Carlo Borromeo, the design and execution of the chapels express the Catholic Church’s desire to define, or, perhaps redefine itself for a transforming Christian diaspora. And in the struggle to provide a spiritual and geographical front against the spread of Protestantism into the Italian peninsula, the Catholic Church mustered the most powerful weapon it had: the widely popular native Italian saint, Francis of Assisi.Sacred Views of Saint Francis: The Sacro Monte di Orta examines this important pilgrimage site where Francis is embraced as a ne plus ultra saint. The book delves into a pivotal moment in the life of the Catholic Church as revealed through the artistic program of the Sacro Monte’s twenty-one chapels, providing a nuanced understanding of the role the site played in the Counter-Reformation.The Sacro Monte di Orta was, in its way, a new hagiographical text vital to post-Tridentine Italy. Sacred Views provides research and analysis of this popular, yet critically neglected Franciscan devotional site. Sacred Views is the first significant scholarly work on the Sacro Monte di Orta in English and one of the very few full-length treatments in any language. It includes a catalogue of artists, over one hundred photographs, maps, short essays on each chapel, and longer essays that examine some of the most significant chapels in greater detail. 30 00 Overlooking Lago di Orta in the foothills of the Northern Italian Alps, the Renaissance-era Sacro Monte di Orta (a UNESCO World Heritage site) is spectacle and hagiography, theme park and treatise. Sacro Monte di Orta is a sacred mountain complex that extolls the life of St. Francis of Assisi through fresco, statuary, and built environment. Descending from the vision of the 16th-century Archbishop Carlo Borromeo, the design and execution of the chapels express the Catholic Church’s desire to define, or, perhaps redefine itself for a transforming Christian diaspora. And in the struggle to provide a spiritual and geographical front against the spread of Protestantism into the Italian peninsula, the Catholic Church mustered the most powerful weapon it had: the widely popular native Italian saint, Francis of Assisi.Sacred Views of Saint Francis: The Sacro Monte di Orta examines this important pilgrimage site where Francis is embraced as a ne plus ultra saint. The book delves into a pivotal moment in the life of the Catholic Church as revealed through the artistic program of the Sacro Monte’s twenty-one chapels, providing a nuanced understanding of the role the site played in the Counter-Reformation.The Sacro Monte di Orta was, in its way, a new hagiographical text vital to post-Tridentine Italy. Sacred Views provides research and analysis of this popular, yet critically neglected Franciscan devotional site. Sacred Views is the first significant scholarly work on the Sacro Monte di Orta in English and one of the very few full-length treatments in any language. It includes a catalogue of artists, over one hundred photographs, maps, short essays on each chapel, and longer essays that examine some of the most significant chapels in greater detail. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0283.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sacred-views-of-saint-francis-the-sacro-monte-di-orta/ Earth, Milky Way 04 01 20200507 Ho, Cynthia O. Peters, Kathleen W. McClain, John 02 WORLD 06 15 9781950192779 03 9781950192779 34 06 10.5456/issn.2050-3679/2015w07 34 06 10.2307/750615 34 06 10.2307/3047145 34 06 10.1111/1467-8365.00247 34 06 10.1353/sex.2001.0049 34 06 10.1111/j.1467-8365.2011.00871.x 34 06 10.1086/600094 34 06 10.2307/3508387 34 06 10.1484/J.MS.2.306113 34 06 10.2307/3654543 34 06 10.1215/10829636-31-1-1 34 06 10.2307/1482157 34 06 10.14315/arg-2005-0108 34 06 10.1179/exm.1997.9.1.117 34 06 10.1080/00043079.2000.10786944 34 06 10.2307/3051119 34 06 10.1163/156852999X00024 34 06 10.1093/isle/11.1.121.1992 34 06 10.2307/3051417 34 06 10.1007/s10892-005-3527-8 34 06 10.1111/j.1477-4658.2010.00665.x 34 06 10.1163/9789004226432 34 06 10.2307/1568676 34 06 10.1353/frc.1998.0029 34 06 10.2307/462681 34 06 10.2307/3780297 34 06 10.1017/S1062798708000124 34 06 10.2307/2671397 34 06 10.1353/tj.1997.0072 34 06 10.1525/eth.2006.34.3.343 34 06 10.1017/S000964071200251X 34 06 10.1037/a0015265 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/37582 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/37582/0283.1.00.pdf 20 08 20200507 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36906 20 08 20200507 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353950 20 08 20200507 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/734 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/916cc233-cbcb-483f-af57-0c8f527bd53e/download 20 08 20200507 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8a03e8d9-6cae-4794-b109-3d33c7988ef6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8a03e8d9-6cae-4794-b109-3d33c7988ef6/8a03e8d9-6cae-4794-b109-3d33c7988ef6.pdf 20 08 20200507 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848237 29 ZENODO: download the title https://zenodo.org/records/19848237/files/8a03e8d9-6cae-4794-b109-3d33c7988ef6_book.pdf 20 08 20200507 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/sacred-views-of-saint-francis-the-sacro-monte-di-orta/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0283.1.00.pdf 20 08 20200507 01 urn:uuid:46894daf-3669-4b7b-8419-3a2827183801 03 01 01 thoth-work-id urn:uuid:5dda1ad6-70ac-4a31-baf2-b77f8f5a8190 01 thoth-publication-id urn:uuid:46894daf-3669-4b7b-8419-3a2827183801 15 9781947447974 03 9781947447974 06 10.21983/P3.0238.1.00 13 2018967623 01 internal-reference 0238 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sappho ]fragments 1 A01 Jonathan Goldberg Jonathan Goldberg 40 03czfpz43 Emory University 2 A19 L.O. Aranye Fradenburg Joy L.O. Aranye Fradenburg Joy 40 02t274463 University of California, Santa Barbara 01 eng 00 168 03 12 DSBB 93 DSBB 10 LIT004190 B2 Literary Studies 93 JBSJ B2 Premodern 93 5PSL B2 Sex 93 1QBAG 20 Sappho; lesbian poetry; classical literature; ancient Greece; queer studies; gay poetry; sexuality 01 06 02 00 03 00 In Sappho, Jonathan Goldberg takes as his model the fragmentary state in which this sublime poet’s writing survives, a set of compositional and theoretical resources for living and thinking in more fully erotic ways in the present and the future. This book thus offers fragmentary commentary on disparate (Sapphic) works, such as the comics of Alison Bechdel, the paintings and cartoons of Leonardo da Vinci, Robert Reid-Pharr’s “Living as a Lesbian,” Madeleine de Scudéry’s Histoire de Sapho, John Donne’s “Sapho to Philaenis,” Todd Haynes and Patricia Highsmith’s Carol, Virginia Woolf’s Orlando, writings by Willa Cather, and the paintings and writings of Simeon Solomon, among other works. Goldberg challenges readers to imagine and experience what Sarah Orne Jewett named the “country of our friendship,” a love both exceedingly strange and compellingly familiar.Just as Sappho’s coinage “bitter-sweet” describes eros as inextricably contradictory — two things at once, one thing after another, each interrupting, complicating, each other — the juxtapositions in this book mean to continually call into question categories of identity and identification in the wake of a quintessential woman writer from Lesbos. Over and over again, Goldberg’s Sappho: ]fragments inquires into how race, sexuality, and gender cross each other. The theoretical genius of Eve Kosofsky Sedgwick presides over this set of meditations and mediations on likeness and desire. Rather than homogenizing its many subjects, it invites the reader to explore and inhabit new transits within and through what Audre Lorde called “the very house of difference.” 30 00 In Sappho, Jonathan Goldberg takes as his model the fragmentary state in which this sublime poet’s writing survives, a set of compositional and theoretical resources for living and thinking in more fully erotic ways in the present and the future. This book thus offers fragmentary commentary on disparate (Sapphic) works, such as the comics of Alison Bechdel, the paintings and cartoons of Leonardo da Vinci, Robert Reid-Pharr’s “Living as a Lesbian,” Madeleine de Scudéry’s Histoire de Sapho, John Donne’s “Sapho to Philaenis,” Todd Haynes and Patricia Highsmith’s Carol, Virginia Woolf’s Orlando, writings by Willa Cather, and the paintings and writings of Simeon Solomon, among other works. Goldberg challenges readers to imagine and experience what Sarah Orne Jewett named the “country of our friendship,” a love both exceedingly strange and compellingly familiar.Just as Sappho’s coinage “bitter-sweet” describes eros as inextricably contradictory — two things at once, one thing after another, each interrupting, complicating, each other — the juxtapositions in this book mean to continually call into question categories of identity and identification in the wake of a quintessential woman writer from Lesbos. Over and over again, Goldberg’s Sappho: ]fragments inquires into how race, sexuality, and gender cross each other. The theoretical genius of Eve Kosofsky Sedgwick presides over this set of meditations and mediations on likeness and desire. Rather than homogenizing its many subjects, it invites the reader to explore and inhabit new transits within and through what Audre Lorde called “the very house of difference.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0238.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sappho-fragments/ Earth, Milky Way 04 01 20181231 Goldberg, Jonathan 02 WORLD 06 15 9781947447981 03 9781947447981 34 06 10.1002/j.2167-4086.2004.tb00151.x 34 06 10.2307/3346845 34 06 10.1080/10481881209348657 34 06 10.1086/494113 34 06 10.1080/10481889709539191 34 06 10.1086/692380 34 06 10.1086/494088 34 06 10.1086/493203 34 06 10.1111/j.1475-6757.2000.tb01173.x WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447971 20 08 20181231 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/sappho-fragments 20 08 20181231 02 23.00 USD WORLD urn:uuid:e4877e64-5b15-4052-8acb-67c45731a9d5 03 01 01 thoth-work-id urn:uuid:5dda1ad6-70ac-4a31-baf2-b77f8f5a8190 01 thoth-publication-id urn:uuid:e4877e64-5b15-4052-8acb-67c45731a9d5 15 9781947447981 03 9781947447981 06 10.21983/P3.0238.1.00 13 2018967623 01 internal-reference 0238 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sappho ]fragments 1 A01 Jonathan Goldberg Jonathan Goldberg 40 03czfpz43 Emory University 2 A19 L.O. Aranye Fradenburg Joy L.O. Aranye Fradenburg Joy 40 02t274463 University of California, Santa Barbara 01 eng 00 168 03 12 DSBB 93 DSBB 10 LIT004190 B2 Literary Studies 93 JBSJ B2 Premodern 93 5PSL B2 Sex 93 1QBAG 20 Sappho; lesbian poetry; classical literature; ancient Greece; queer studies; gay poetry; sexuality 01 06 02 00 03 00 In Sappho, Jonathan Goldberg takes as his model the fragmentary state in which this sublime poet’s writing survives, a set of compositional and theoretical resources for living and thinking in more fully erotic ways in the present and the future. This book thus offers fragmentary commentary on disparate (Sapphic) works, such as the comics of Alison Bechdel, the paintings and cartoons of Leonardo da Vinci, Robert Reid-Pharr’s “Living as a Lesbian,” Madeleine de Scudéry’s Histoire de Sapho, John Donne’s “Sapho to Philaenis,” Todd Haynes and Patricia Highsmith’s Carol, Virginia Woolf’s Orlando, writings by Willa Cather, and the paintings and writings of Simeon Solomon, among other works. Goldberg challenges readers to imagine and experience what Sarah Orne Jewett named the “country of our friendship,” a love both exceedingly strange and compellingly familiar.Just as Sappho’s coinage “bitter-sweet” describes eros as inextricably contradictory — two things at once, one thing after another, each interrupting, complicating, each other — the juxtapositions in this book mean to continually call into question categories of identity and identification in the wake of a quintessential woman writer from Lesbos. Over and over again, Goldberg’s Sappho: ]fragments inquires into how race, sexuality, and gender cross each other. The theoretical genius of Eve Kosofsky Sedgwick presides over this set of meditations and mediations on likeness and desire. Rather than homogenizing its many subjects, it invites the reader to explore and inhabit new transits within and through what Audre Lorde called “the very house of difference.” 30 00 In Sappho, Jonathan Goldberg takes as his model the fragmentary state in which this sublime poet’s writing survives, a set of compositional and theoretical resources for living and thinking in more fully erotic ways in the present and the future. This book thus offers fragmentary commentary on disparate (Sapphic) works, such as the comics of Alison Bechdel, the paintings and cartoons of Leonardo da Vinci, Robert Reid-Pharr’s “Living as a Lesbian,” Madeleine de Scudéry’s Histoire de Sapho, John Donne’s “Sapho to Philaenis,” Todd Haynes and Patricia Highsmith’s Carol, Virginia Woolf’s Orlando, writings by Willa Cather, and the paintings and writings of Simeon Solomon, among other works. Goldberg challenges readers to imagine and experience what Sarah Orne Jewett named the “country of our friendship,” a love both exceedingly strange and compellingly familiar.Just as Sappho’s coinage “bitter-sweet” describes eros as inextricably contradictory — two things at once, one thing after another, each interrupting, complicating, each other — the juxtapositions in this book mean to continually call into question categories of identity and identification in the wake of a quintessential woman writer from Lesbos. Over and over again, Goldberg’s Sappho: ]fragments inquires into how race, sexuality, and gender cross each other. The theoretical genius of Eve Kosofsky Sedgwick presides over this set of meditations and mediations on likeness and desire. Rather than homogenizing its many subjects, it invites the reader to explore and inhabit new transits within and through what Audre Lorde called “the very house of difference.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0238.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sappho-fragments/ Earth, Milky Way 04 01 20181231 Goldberg, Jonathan 02 WORLD 06 15 9781947447974 03 9781947447974 34 06 10.1002/j.2167-4086.2004.tb00151.x 34 06 10.2307/3346845 34 06 10.1080/10481881209348657 34 06 10.1086/494113 34 06 10.1080/10481889709539191 34 06 10.1086/692380 34 06 10.1086/494088 34 06 10.1086/493203 34 06 10.1111/j.1475-6757.2000.tb01173.x WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25392 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25392/1004703.pdf?sequence=1&isAllowed=y 20 08 20181231 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36816 20 08 20181231 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353796 20 08 20181231 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/600 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/35b7bbec-be53-4152-8439-81b0ac87eab0/download 20 08 20181231 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5dda1ad6-70ac-4a31-baf2-b77f8f5a8190 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5dda1ad6-70ac-4a31-baf2-b77f8f5a8190/5dda1ad6-70ac-4a31-baf2-b77f8f5a8190.pdf 20 08 20181231 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847604 29 ZENODO: download the title https://zenodo.org/records/19847604/files/5dda1ad6-70ac-4a31-baf2-b77f8f5a8190_book.pdf 20 08 20181231 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/sappho-fragments/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0238.1.00.pdf 20 08 20181231 01 urn:uuid:57c96749-31f0-4ca0-84d6-210748803af5 03 01 01 thoth-work-id urn:uuid:177e3717-4c07-4f31-9318-616ad3b71e89 01 thoth-publication-id urn:uuid:57c96749-31f0-4ca0-84d6-210748803af5 15 9781947447141 03 9781947447141 06 10.21983/P3.0182.1.00 13 2017952203 01 internal-reference 0182 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sea Monsters Things from the Sea, Volume 2 1 B01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 2 B01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 00 66 03 B2 Biosphere 93 DNL 10 NAT025000 12 RBKC 93 1QS B2 Literary Studies B2 Premodern 93 VXQM 20 monster theory; ocean studies; whales; medieval studies; whirlpools 01 06 02 00 03 00 Beaches are places that give and take, bringing unexpected surprises to society, and pulling essentials away from it. Through monsters, we confront our tiny time between catastrophes and develop a recognition of Otherness by which an ethical understanding of difference becomes possible. Learning to read the monster’s environmental signs often helps humans determine the scope of the monster’s place in the eco/cosmic timeline and defeat it—until the epic cycle inevitably repeats; monsters live and live and live. Even so; when humans identify and confront monsters we do so at the risk of exposing our own monstrosity. When a massive creature is pushed into human proximity by the ocean’s wide shoulders, the waves deposit and erode human assumptions about itself and its environment; words, sounds, breath, water, wind, flesh, blood, and bones wash in and out. Chance encounters reveal us to ourselves anew. When we look into the inky backs of whales, or deep into vortices, what do we see? 30 00 Beaches are places that give and take, bringing unexpected surprises to society, and pulling essentials away from it. Through monsters, we confront our tiny time between catastrophes and develop a recognition of Otherness by which an ethical understanding of difference becomes possible. Learning to read the monster’s environmental signs often helps humans determine the scope of the monster’s place in the eco/cosmic timeline and defeat it—until the epic cycle inevitably repeats; monsters live and live and live. Even so; when humans identify and confront monsters we do so at the risk of exposing our own monstrosity. When a massive creature is pushed into human proximity by the ocean’s wide shoulders, the waves deposit and erode human assumptions about itself and its environment; words, sounds, breath, water, wind, flesh, blood, and bones wash in and out. Chance encounters reveal us to ourselves anew. When we look into the inky backs of whales, or deep into vortices, what do we see? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0182.1.00_frontcover.png 1 03 06 10.21983/P3.0182.1.01 i v 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 2 B01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 20 00 Open Access Tomaini, Thea Mittman, Asa Simon 2 03 06 10.21983/P3.0182.1.02 v viii 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Lines in the Sand 1 A01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 01 eng 03 00 While sitting on the banks of the lagoon outside the UCSB Student Union, Asa and I began a discussion with the contributors as to the order in which they would appear. We made a picnic of the meeting over giant veggie burgers oozing barbecue sauce, and home fries piled high on trembling paper plates. They looked like cafeteria lunches at the grammar school in Brobdingnag. It became a surreal moment, we being well-mannered academics in swell conference clothes with smeared red faces and hands, talking about monsters. From this scene emerged an idea: rather than present each paper separately in a traditional format, the presenters would employ a format that paralleled the liminality of the sand line and the movement of waves. Asa and I proposed that the presenters withdraw and decide among themselves over the next few hours how their ideas would flow and waft and crash, roll in and draw out, all four together, washed up for the audience to discover and interpret like found treasure. It was an astonishingly mad and monstrous idea, and it was groovy to boot. The paper by Megan E. Palmer was presented in three parts, appearing as interludes between the other papers. In this way, the papers generated a collective meaning in addition to the discrete meanings of each paper. They formed a new creature, at once familiar and startlingly new, which, like an arcane creature of the sea, defies categorization. Asa and I were thrilled. We approved with spicy, sanguine teeth. 30 00 While sitting on the banks of the lagoon outside the UCSB Student Union, Asa and I began a discussion with the contributors as to the order in which they would appear. We made a picnic of the meeting over giant veggie burgers oozing barbecue sauce, and home fries piled high on trembling paper plates. They looked like cafeteria lunches at the grammar school in Brobdingnag. It became a surreal moment, we being well-mannered academics in swell conference clothes with smeared red faces and hands, talking about monsters. From this scene emerged an idea: rather than present each paper separately in a traditional format, the presenters would employ a format that paralleled the liminality of the sand line and the movement of waves. Asa and I proposed that the presenters withdraw and decide among themselves over the next few hours how their ideas would flow and waft and crash, roll in and draw out, all four together, washed up for the audience to discover and interpret like found treasure. It was an astonishingly mad and monstrous idea, and it was groovy to boot. The paper by Megan E. Palmer was presented in three parts, appearing as interludes between the other papers. In this way, the papers generated a collective meaning in addition to the discrete meanings of each paper. They formed a new creature, at once familiar and startlingly new, which, like an arcane creature of the sea, defies categorization. Asa and I were thrilled. We approved with spicy, sanguine teeth. 20 00 Open Access Tomaini, Thea 3 03 06 10.21983/P3.0182.1.03 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean is the New East 1 A01 Alan S. Montroso Alan S. Montroso 40 00y4zzh67 George Washington University 01 eng 03 00 On a recent visit to the Smithsonian’s National Museum of Natural History, I lingered a little while longer than usual in my favorite exhibit: the Sant Ocean Hall (see oppo-site page). Wandering with no telos in mind, I let myself bask before bioluminescent beings, tremble in awe at the improbability of the extremophiles, and gaze up like a supplicant at the model of Phoenix, a North Atlantic right whale. Deeply affected by these strange strangers,1 I stretched my imagination towards the inconceivable and wondered at the sheer breadth of possibilities for ways of living in the still-occult thalassic regions of Earth’s oceans. I found solace in the evidence that so many vast and heterogeneous lives can flourish without the intrusive light of the sun or human reason, and that such animacy is possible in the darkness, which is, according to Stacy Alaimo, a “world where the Copernican revolution is irrelevant.”2 I then with some discomfort imagined myself embodying an oceanic form, imagined breathing without oxygen, thriving at thermal vents, and manifesting light with my own body. I imagined myself as an aqueous and somewhat amorphous body squeezed and strangled by the just bearable pressures of the deep sea. I attempted a posthumanist thought project similar to what Alaimo describes in “Violet-Black,” her contribution to Prismatic Ecology, in which she insists that “thinking with and through the elec-tronic jellyfish, seeing through the prosthetic eye, playing open-ended, improvisa-tional language games with deep-sea creatures, being transformed by astonishment and desire enact a posthumanist practice.” 30 00 On a recent visit to the Smithsonian’s National Museum of Natural History, I lingered a little while longer than usual in my favorite exhibit: the Sant Ocean Hall (see oppo-site page). Wandering with no telos in mind, I let myself bask before bioluminescent beings, tremble in awe at the improbability of the extremophiles, and gaze up like a supplicant at the model of Phoenix, a North Atlantic right whale. Deeply affected by these strange strangers,1 I stretched my imagination towards the inconceivable and wondered at the sheer breadth of possibilities for ways of living in the still-occult thalassic regions of Earth’s oceans. I found solace in the evidence that so many vast and heterogeneous lives can flourish without the intrusive light of the sun or human reason, and that such animacy is possible in the darkness, which is, according to Stacy Alaimo, a “world where the Copernican revolution is irrelevant.”2 I then with some discomfort imagined myself embodying an oceanic form, imagined breathing without oxygen, thriving at thermal vents, and manifesting light with my own body. I imagined myself as an aqueous and somewhat amorphous body squeezed and strangled by the just bearable pressures of the deep sea. I attempted a posthumanist thought project similar to what Alaimo describes in “Violet-Black,” her contribution to Prismatic Ecology, in which she insists that “thinking with and through the elec-tronic jellyfish, seeing through the prosthetic eye, playing open-ended, improvisa-tional language games with deep-sea creatures, being transformed by astonishment and desire enact a posthumanist practice.” 20 00 Open Access Montroso, Alan S. 4 03 06 10.21983/P3.0182.1.04 9 17 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude I Great Fishes and Monstrous Men (Shoreline) 1 A01 Megan E. Palmer Megan E. Palmer 40 02t274463 University of California, Santa Barbara 01 eng 03 00 If we judge by its popular broadsides, early modern England was awash with mon-sters. Broadsides, ephemeral as flotsam, offer tantalizing but fragmentary glimpses of how (and why) monsters were conceived. One such sheet, “a most true and mar-veilous strange wonder” (1568) (see next page), relates how a group of monstrous creatures apprehended in the waters near Ipswich nearly draw a boatful of men out to sea to be “lost and utterlie cast away,” but through God’s will and the industri-ousness of other sailors, the men are saved; the monsters (a group of “wonderfull stronge” “fisshes”) are brought to land, then vanquished and consumed. 30 00 If we judge by its popular broadsides, early modern England was awash with mon-sters. Broadsides, ephemeral as flotsam, offer tantalizing but fragmentary glimpses of how (and why) monsters were conceived. One such sheet, “a most true and mar-veilous strange wonder” (1568) (see next page), relates how a group of monstrous creatures apprehended in the waters near Ipswich nearly draw a boatful of men out to sea to be “lost and utterlie cast away,” but through God’s will and the industri-ousness of other sailors, the men are saved; the monsters (a group of “wonderfull stronge” “fisshes”) are brought to land, then vanquished and consumed. 20 00 Open Access Palmer, Megan E. 5 03 06 10.21983/P3.0182.1.05 18 33 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Backs of Whales 1 A01 Haylie Swenson Haylie Swenson 40 00y4zzh67 George Washington University 01 eng 03 00 On the 8th of May, 1547, a large fin whale (Balaenoptera physalus) became stranded on the coast of Holland near the tenth-century abbey of Egmond.1 The 68-foot-long whale lay on its back on the cold sand “with his belly turned upwards. The belly was mottled, white and black; the back was black.” 30 00 On the 8th of May, 1547, a large fin whale (Balaenoptera physalus) became stranded on the coast of Holland near the tenth-century abbey of Egmond.1 The 68-foot-long whale lay on its back on the cold sand “with his belly turned upwards. The belly was mottled, white and black; the back was black.” 20 00 Open Access Swenson, Haylie 6 03 06 10.21983/P3.0182.1.06 34 37 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude II Great Fishes and Monstrous Men (Undertow) 1 A01 Megan E. Palmer Megan E. Palmer 40 02t274463 University of California, Santa Barbara 01 eng 03 00 Back, now, to Ipswich in 1568 — and to a disorientingly dual narrative in which the darker side of shared creaturely vulnerability is hidden, though ever-present, beneath a story of human victory over the monstrous. As we have seen, the strong surface current running through Timothy Granger’s broadside account of the capture of twenty-seven orca concentrates its definition of monstrousness on the size of the captured creatures. Unlike other monster broadsides of its day, it is without an explicit moral: the monsters are used neither to warn against behaviors that cross culturally constructed moral boundaries nor to plead with readers to reform their lives. It is a story of human ascendency. But pulling strongly in the other direc-tion — back to sea, back to the enormity of non-human otherness and to the disturbing darkness of unspeakable human cruelty — the broadside also illustrates the extreme brutality of the men of Ipswich upon encountering their “monsters.” The orca, once finally captured, were hauled in to Ipswich wharf; the largest was tied to a tree. “Som of them,” we learn, “laye upon the wharfe .ii. dayes and a nyght before they weare dead, and yet [the men] strooke them wyth Axes & other weapons to kyll them,” even to the point of their axes breaking on the whales’ “bones hard as stones.” While Granger never remarks upon the merciless brutality he describes at length, it saturates the text. It is likely that these actions were legible as cruelty to many contemporaries, especially those who focused on the creatures as fish first and monsters second. 30 00 Back, now, to Ipswich in 1568 — and to a disorientingly dual narrative in which the darker side of shared creaturely vulnerability is hidden, though ever-present, beneath a story of human victory over the monstrous. As we have seen, the strong surface current running through Timothy Granger’s broadside account of the capture of twenty-seven orca concentrates its definition of monstrousness on the size of the captured creatures. Unlike other monster broadsides of its day, it is without an explicit moral: the monsters are used neither to warn against behaviors that cross culturally constructed moral boundaries nor to plead with readers to reform their lives. It is a story of human ascendency. But pulling strongly in the other direc-tion — back to sea, back to the enormity of non-human otherness and to the disturbing darkness of unspeakable human cruelty — the broadside also illustrates the extreme brutality of the men of Ipswich upon encountering their “monsters.” The orca, once finally captured, were hauled in to Ipswich wharf; the largest was tied to a tree. “Som of them,” we learn, “laye upon the wharfe .ii. dayes and a nyght before they weare dead, and yet [the men] strooke them wyth Axes & other weapons to kyll them,” even to the point of their axes breaking on the whales’ “bones hard as stones.” While Granger never remarks upon the merciless brutality he describes at length, it saturates the text. It is likely that these actions were legible as cruelty to many contemporaries, especially those who focused on the creatures as fish first and monsters second. 20 00 Open Access Palmer, Megan E. 7 03 06 10.21983/P3.0182.1.07 38 42 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Quickening Sands 1 A01 Erin Vander Wall Erin Vander Wall 40 00y4zzh67 George Washington University 01 eng 03 00 The Lord of Ravenswood (tragic hero of Sir Walter Scott’s The Bride of Lammermoor) rides to avenge the death of his love. He rashly cuts away from the firmly packed ground where the sand meets the cliffs. He veers across the open expanse of the beach, and vanishes. Quicksand. Lord Ravenswood’s disappearance is abrupt and entire.The beach: a meeting of substances, a mixing, a wearing away. Sand shifts, rubs, drifts. Water flows, spreading itself out over the sand, smoothing, erasing, pulling silty gran-ules with it as it ebbs. The beach is a place of exchange where two substances come together, mix, and separate, each marked by contact with the other. Quicksand is a mixture of these substances — it is both water and sand — and yet it is neither water nor sand. It is a third substance. Undisturbed, sand and water maintain a balance, both present but not distinct, reliant upon the persistence of the other. Agitation alters this relationship separating water from sand; the land moves, ripples, opening a gap into which the walker sinks. Quicksand is both elements and both substances, it is the promise of solid ground and the subsequent rupture of water and sand that, in the case of Lord Ravenswood, swallows a man (and his horse) whole, in an instant. Quicksand is deceptive, unassuming, a perception of solid land that comes to life when stimulated. The separation of sand and water quickens the substance. The ground produces signs of life as the body is absorbed into living ground, becoming part of the landscape.1 Consumed. A monstrous incorporation. 30 00 The Lord of Ravenswood (tragic hero of Sir Walter Scott’s The Bride of Lammermoor) rides to avenge the death of his love. He rashly cuts away from the firmly packed ground where the sand meets the cliffs. He veers across the open expanse of the beach, and vanishes. Quicksand. Lord Ravenswood’s disappearance is abrupt and entire.The beach: a meeting of substances, a mixing, a wearing away. Sand shifts, rubs, drifts. Water flows, spreading itself out over the sand, smoothing, erasing, pulling silty gran-ules with it as it ebbs. The beach is a place of exchange where two substances come together, mix, and separate, each marked by contact with the other. Quicksand is a mixture of these substances — it is both water and sand — and yet it is neither water nor sand. It is a third substance. Undisturbed, sand and water maintain a balance, both present but not distinct, reliant upon the persistence of the other. Agitation alters this relationship separating water from sand; the land moves, ripples, opening a gap into which the walker sinks. Quicksand is both elements and both substances, it is the promise of solid ground and the subsequent rupture of water and sand that, in the case of Lord Ravenswood, swallows a man (and his horse) whole, in an instant. Quicksand is deceptive, unassuming, a perception of solid land that comes to life when stimulated. The separation of sand and water quickens the substance. The ground produces signs of life as the body is absorbed into living ground, becoming part of the landscape.1 Consumed. A monstrous incorporation. 20 00 Open Access Vander Wall, Erin 8 03 06 10.21983/P3.0182.1.08 43 44 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude III Great Fishes and Monstrous Men (Tide Line) 1 A01 Megan E. Palmer Megan E. Palmer 40 02t274463 University of California, Santa Barbara 01 eng 03 00 From shifting ground to shifting sea, from the parallax of dual narratives to the inrush and undertow of a single narrative that cannot see through to its own reflection, we come now full circle, back to 1586 and our marvelous sea-monster. To this point, we have been considering Timothy Granger’s broadside wholly within its early modern context. Now, however, I propose holding the mirror up to our own contemporary moment, one much more confident in its relegation of monsters to fiction and much more explicit in its concern for animal welfare. 30 00 From shifting ground to shifting sea, from the parallax of dual narratives to the inrush and undertow of a single narrative that cannot see through to its own reflection, we come now full circle, back to 1586 and our marvelous sea-monster. To this point, we have been considering Timothy Granger’s broadside wholly within its early modern context. Now, however, I propose holding the mirror up to our own contemporary moment, one much more confident in its relegation of monsters to fiction and much more explicit in its concern for animal welfare. 20 00 Open Access Palmer, Megan E. 9 03 06 10.21983/P3.0182.1.09 45 51 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conclusion Sink or Plunge? 1 A01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 03 00 We are sinking. We are sinking, as individuals, as participants in a field that is sinking along with us, as members of a species, and as components in a massive, global eco-logical network. But we are not sinking because of the malevolence of natural forces, not because the sand is hungry for us and for our horses, characterized by “malicious intent,” as Erin Vander Wall describes the quicksand in Walter Scott’s The Bride of Lammermoor.1 We are not sinking because whales and monstrous fish want to swallow us whole, not because the strange beings of the sea wish harm on us, nor because the sea itself is vengeful, though “the water comes,”2 and who could blame it? We are sinking because of our collective hunger and callousness. As dwellers in the anthro-pocene, we can already see it all around us. Yes, of course, Venice is sinking.3 More than two decades ago, seemingly alarmist headlines asked questions about Amster-dam’s future like, “Is it time to build another ark?”4 But these cities have been sinking for centuries. 30 00 We are sinking. We are sinking, as individuals, as participants in a field that is sinking along with us, as members of a species, and as components in a massive, global eco-logical network. But we are not sinking because of the malevolence of natural forces, not because the sand is hungry for us and for our horses, characterized by “malicious intent,” as Erin Vander Wall describes the quicksand in Walter Scott’s The Bride of Lammermoor.1 We are not sinking because whales and monstrous fish want to swallow us whole, not because the strange beings of the sea wish harm on us, nor because the sea itself is vengeful, though “the water comes,”2 and who could blame it? We are sinking because of our collective hunger and callousness. As dwellers in the anthro-pocene, we can already see it all around us. Yes, of course, Venice is sinking.3 More than two decades ago, seemingly alarmist headlines asked questions about Amster-dam’s future like, “Is it time to build another ark?”4 But these cities have been sinking for centuries. 20 00 Open Access Mittman, Asa Simon 10 03 06 10.21983/P3.0182.1.10 52 59 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 2 B01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 20 00 Open Access Tomaini, Thea Mittman, Asa Simon 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/things-from-the-sea/ Earth, Milky Way 04 01 20170929 Tomaini, Thea Mittman, Asa Simon 02 WORLD 06 15 9781947447158 03 9781947447158 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447149 20 08 20170929 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/sea-monsters-things-from-the-sea-volume-2 20 08 20170929 02 26.00 USD WORLD urn:uuid:d041543d-7801-4272-9c73-1eda245a1179 03 01 01 thoth-work-id urn:uuid:177e3717-4c07-4f31-9318-616ad3b71e89 01 thoth-publication-id urn:uuid:d041543d-7801-4272-9c73-1eda245a1179 15 9781947447158 03 9781947447158 06 10.21983/P3.0182.1.00 13 2017952203 01 internal-reference 0182 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sea Monsters Things from the Sea, Volume 2 1 B01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 2 B01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 00 66 03 B2 Biosphere 93 DNL 10 NAT025000 12 RBKC 93 1QS B2 Literary Studies B2 Premodern 93 VXQM 20 monster theory; ocean studies; whales; medieval studies; whirlpools 01 06 02 00 03 00 Beaches are places that give and take, bringing unexpected surprises to society, and pulling essentials away from it. Through monsters, we confront our tiny time between catastrophes and develop a recognition of Otherness by which an ethical understanding of difference becomes possible. Learning to read the monster’s environmental signs often helps humans determine the scope of the monster’s place in the eco/cosmic timeline and defeat it—until the epic cycle inevitably repeats; monsters live and live and live. Even so; when humans identify and confront monsters we do so at the risk of exposing our own monstrosity. When a massive creature is pushed into human proximity by the ocean’s wide shoulders, the waves deposit and erode human assumptions about itself and its environment; words, sounds, breath, water, wind, flesh, blood, and bones wash in and out. Chance encounters reveal us to ourselves anew. When we look into the inky backs of whales, or deep into vortices, what do we see? 30 00 Beaches are places that give and take, bringing unexpected surprises to society, and pulling essentials away from it. Through monsters, we confront our tiny time between catastrophes and develop a recognition of Otherness by which an ethical understanding of difference becomes possible. Learning to read the monster’s environmental signs often helps humans determine the scope of the monster’s place in the eco/cosmic timeline and defeat it—until the epic cycle inevitably repeats; monsters live and live and live. Even so; when humans identify and confront monsters we do so at the risk of exposing our own monstrosity. When a massive creature is pushed into human proximity by the ocean’s wide shoulders, the waves deposit and erode human assumptions about itself and its environment; words, sounds, breath, water, wind, flesh, blood, and bones wash in and out. Chance encounters reveal us to ourselves anew. When we look into the inky backs of whales, or deep into vortices, what do we see? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0182.1.00_frontcover.png 1 03 06 10.21983/P3.0182.1.01 i v 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 2 B01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 20 00 Open Access Tomaini, Thea Mittman, Asa Simon 2 03 06 10.21983/P3.0182.1.02 v viii 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Lines in the Sand 1 A01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 01 eng 03 00 While sitting on the banks of the lagoon outside the UCSB Student Union, Asa and I began a discussion with the contributors as to the order in which they would appear. We made a picnic of the meeting over giant veggie burgers oozing barbecue sauce, and home fries piled high on trembling paper plates. They looked like cafeteria lunches at the grammar school in Brobdingnag. It became a surreal moment, we being well-mannered academics in swell conference clothes with smeared red faces and hands, talking about monsters. From this scene emerged an idea: rather than present each paper separately in a traditional format, the presenters would employ a format that paralleled the liminality of the sand line and the movement of waves. Asa and I proposed that the presenters withdraw and decide among themselves over the next few hours how their ideas would flow and waft and crash, roll in and draw out, all four together, washed up for the audience to discover and interpret like found treasure. It was an astonishingly mad and monstrous idea, and it was groovy to boot. The paper by Megan E. Palmer was presented in three parts, appearing as interludes between the other papers. In this way, the papers generated a collective meaning in addition to the discrete meanings of each paper. They formed a new creature, at once familiar and startlingly new, which, like an arcane creature of the sea, defies categorization. Asa and I were thrilled. We approved with spicy, sanguine teeth. 30 00 While sitting on the banks of the lagoon outside the UCSB Student Union, Asa and I began a discussion with the contributors as to the order in which they would appear. We made a picnic of the meeting over giant veggie burgers oozing barbecue sauce, and home fries piled high on trembling paper plates. They looked like cafeteria lunches at the grammar school in Brobdingnag. It became a surreal moment, we being well-mannered academics in swell conference clothes with smeared red faces and hands, talking about monsters. From this scene emerged an idea: rather than present each paper separately in a traditional format, the presenters would employ a format that paralleled the liminality of the sand line and the movement of waves. Asa and I proposed that the presenters withdraw and decide among themselves over the next few hours how their ideas would flow and waft and crash, roll in and draw out, all four together, washed up for the audience to discover and interpret like found treasure. It was an astonishingly mad and monstrous idea, and it was groovy to boot. The paper by Megan E. Palmer was presented in three parts, appearing as interludes between the other papers. In this way, the papers generated a collective meaning in addition to the discrete meanings of each paper. They formed a new creature, at once familiar and startlingly new, which, like an arcane creature of the sea, defies categorization. Asa and I were thrilled. We approved with spicy, sanguine teeth. 20 00 Open Access Tomaini, Thea 3 03 06 10.21983/P3.0182.1.03 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean is the New East 1 A01 Alan S. Montroso Alan S. Montroso 40 00y4zzh67 George Washington University 01 eng 03 00 On a recent visit to the Smithsonian’s National Museum of Natural History, I lingered a little while longer than usual in my favorite exhibit: the Sant Ocean Hall (see oppo-site page). Wandering with no telos in mind, I let myself bask before bioluminescent beings, tremble in awe at the improbability of the extremophiles, and gaze up like a supplicant at the model of Phoenix, a North Atlantic right whale. Deeply affected by these strange strangers,1 I stretched my imagination towards the inconceivable and wondered at the sheer breadth of possibilities for ways of living in the still-occult thalassic regions of Earth’s oceans. I found solace in the evidence that so many vast and heterogeneous lives can flourish without the intrusive light of the sun or human reason, and that such animacy is possible in the darkness, which is, according to Stacy Alaimo, a “world where the Copernican revolution is irrelevant.”2 I then with some discomfort imagined myself embodying an oceanic form, imagined breathing without oxygen, thriving at thermal vents, and manifesting light with my own body. I imagined myself as an aqueous and somewhat amorphous body squeezed and strangled by the just bearable pressures of the deep sea. I attempted a posthumanist thought project similar to what Alaimo describes in “Violet-Black,” her contribution to Prismatic Ecology, in which she insists that “thinking with and through the elec-tronic jellyfish, seeing through the prosthetic eye, playing open-ended, improvisa-tional language games with deep-sea creatures, being transformed by astonishment and desire enact a posthumanist practice.” 30 00 On a recent visit to the Smithsonian’s National Museum of Natural History, I lingered a little while longer than usual in my favorite exhibit: the Sant Ocean Hall (see oppo-site page). Wandering with no telos in mind, I let myself bask before bioluminescent beings, tremble in awe at the improbability of the extremophiles, and gaze up like a supplicant at the model of Phoenix, a North Atlantic right whale. Deeply affected by these strange strangers,1 I stretched my imagination towards the inconceivable and wondered at the sheer breadth of possibilities for ways of living in the still-occult thalassic regions of Earth’s oceans. I found solace in the evidence that so many vast and heterogeneous lives can flourish without the intrusive light of the sun or human reason, and that such animacy is possible in the darkness, which is, according to Stacy Alaimo, a “world where the Copernican revolution is irrelevant.”2 I then with some discomfort imagined myself embodying an oceanic form, imagined breathing without oxygen, thriving at thermal vents, and manifesting light with my own body. I imagined myself as an aqueous and somewhat amorphous body squeezed and strangled by the just bearable pressures of the deep sea. I attempted a posthumanist thought project similar to what Alaimo describes in “Violet-Black,” her contribution to Prismatic Ecology, in which she insists that “thinking with and through the elec-tronic jellyfish, seeing through the prosthetic eye, playing open-ended, improvisa-tional language games with deep-sea creatures, being transformed by astonishment and desire enact a posthumanist practice.” 20 00 Open Access Montroso, Alan S. 4 03 06 10.21983/P3.0182.1.04 9 17 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude I Great Fishes and Monstrous Men (Shoreline) 1 A01 Megan E. Palmer Megan E. Palmer 40 02t274463 University of California, Santa Barbara 01 eng 03 00 If we judge by its popular broadsides, early modern England was awash with mon-sters. Broadsides, ephemeral as flotsam, offer tantalizing but fragmentary glimpses of how (and why) monsters were conceived. One such sheet, “a most true and mar-veilous strange wonder” (1568) (see next page), relates how a group of monstrous creatures apprehended in the waters near Ipswich nearly draw a boatful of men out to sea to be “lost and utterlie cast away,” but through God’s will and the industri-ousness of other sailors, the men are saved; the monsters (a group of “wonderfull stronge” “fisshes”) are brought to land, then vanquished and consumed. 30 00 If we judge by its popular broadsides, early modern England was awash with mon-sters. Broadsides, ephemeral as flotsam, offer tantalizing but fragmentary glimpses of how (and why) monsters were conceived. One such sheet, “a most true and mar-veilous strange wonder” (1568) (see next page), relates how a group of monstrous creatures apprehended in the waters near Ipswich nearly draw a boatful of men out to sea to be “lost and utterlie cast away,” but through God’s will and the industri-ousness of other sailors, the men are saved; the monsters (a group of “wonderfull stronge” “fisshes”) are brought to land, then vanquished and consumed. 20 00 Open Access Palmer, Megan E. 5 03 06 10.21983/P3.0182.1.05 18 33 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Backs of Whales 1 A01 Haylie Swenson Haylie Swenson 40 00y4zzh67 George Washington University 01 eng 03 00 On the 8th of May, 1547, a large fin whale (Balaenoptera physalus) became stranded on the coast of Holland near the tenth-century abbey of Egmond.1 The 68-foot-long whale lay on its back on the cold sand “with his belly turned upwards. The belly was mottled, white and black; the back was black.” 30 00 On the 8th of May, 1547, a large fin whale (Balaenoptera physalus) became stranded on the coast of Holland near the tenth-century abbey of Egmond.1 The 68-foot-long whale lay on its back on the cold sand “with his belly turned upwards. The belly was mottled, white and black; the back was black.” 20 00 Open Access Swenson, Haylie 6 03 06 10.21983/P3.0182.1.06 34 37 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude II Great Fishes and Monstrous Men (Undertow) 1 A01 Megan E. Palmer Megan E. Palmer 40 02t274463 University of California, Santa Barbara 01 eng 03 00 Back, now, to Ipswich in 1568 — and to a disorientingly dual narrative in which the darker side of shared creaturely vulnerability is hidden, though ever-present, beneath a story of human victory over the monstrous. As we have seen, the strong surface current running through Timothy Granger’s broadside account of the capture of twenty-seven orca concentrates its definition of monstrousness on the size of the captured creatures. Unlike other monster broadsides of its day, it is without an explicit moral: the monsters are used neither to warn against behaviors that cross culturally constructed moral boundaries nor to plead with readers to reform their lives. It is a story of human ascendency. But pulling strongly in the other direc-tion — back to sea, back to the enormity of non-human otherness and to the disturbing darkness of unspeakable human cruelty — the broadside also illustrates the extreme brutality of the men of Ipswich upon encountering their “monsters.” The orca, once finally captured, were hauled in to Ipswich wharf; the largest was tied to a tree. “Som of them,” we learn, “laye upon the wharfe .ii. dayes and a nyght before they weare dead, and yet [the men] strooke them wyth Axes & other weapons to kyll them,” even to the point of their axes breaking on the whales’ “bones hard as stones.” While Granger never remarks upon the merciless brutality he describes at length, it saturates the text. It is likely that these actions were legible as cruelty to many contemporaries, especially those who focused on the creatures as fish first and monsters second. 30 00 Back, now, to Ipswich in 1568 — and to a disorientingly dual narrative in which the darker side of shared creaturely vulnerability is hidden, though ever-present, beneath a story of human victory over the monstrous. As we have seen, the strong surface current running through Timothy Granger’s broadside account of the capture of twenty-seven orca concentrates its definition of monstrousness on the size of the captured creatures. Unlike other monster broadsides of its day, it is without an explicit moral: the monsters are used neither to warn against behaviors that cross culturally constructed moral boundaries nor to plead with readers to reform their lives. It is a story of human ascendency. But pulling strongly in the other direc-tion — back to sea, back to the enormity of non-human otherness and to the disturbing darkness of unspeakable human cruelty — the broadside also illustrates the extreme brutality of the men of Ipswich upon encountering their “monsters.” The orca, once finally captured, were hauled in to Ipswich wharf; the largest was tied to a tree. “Som of them,” we learn, “laye upon the wharfe .ii. dayes and a nyght before they weare dead, and yet [the men] strooke them wyth Axes & other weapons to kyll them,” even to the point of their axes breaking on the whales’ “bones hard as stones.” While Granger never remarks upon the merciless brutality he describes at length, it saturates the text. It is likely that these actions were legible as cruelty to many contemporaries, especially those who focused on the creatures as fish first and monsters second. 20 00 Open Access Palmer, Megan E. 7 03 06 10.21983/P3.0182.1.07 38 42 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Quickening Sands 1 A01 Erin Vander Wall Erin Vander Wall 40 00y4zzh67 George Washington University 01 eng 03 00 The Lord of Ravenswood (tragic hero of Sir Walter Scott’s The Bride of Lammermoor) rides to avenge the death of his love. He rashly cuts away from the firmly packed ground where the sand meets the cliffs. He veers across the open expanse of the beach, and vanishes. Quicksand. Lord Ravenswood’s disappearance is abrupt and entire.The beach: a meeting of substances, a mixing, a wearing away. Sand shifts, rubs, drifts. Water flows, spreading itself out over the sand, smoothing, erasing, pulling silty gran-ules with it as it ebbs. The beach is a place of exchange where two substances come together, mix, and separate, each marked by contact with the other. Quicksand is a mixture of these substances — it is both water and sand — and yet it is neither water nor sand. It is a third substance. Undisturbed, sand and water maintain a balance, both present but not distinct, reliant upon the persistence of the other. Agitation alters this relationship separating water from sand; the land moves, ripples, opening a gap into which the walker sinks. Quicksand is both elements and both substances, it is the promise of solid ground and the subsequent rupture of water and sand that, in the case of Lord Ravenswood, swallows a man (and his horse) whole, in an instant. Quicksand is deceptive, unassuming, a perception of solid land that comes to life when stimulated. The separation of sand and water quickens the substance. The ground produces signs of life as the body is absorbed into living ground, becoming part of the landscape.1 Consumed. A monstrous incorporation. 30 00 The Lord of Ravenswood (tragic hero of Sir Walter Scott’s The Bride of Lammermoor) rides to avenge the death of his love. He rashly cuts away from the firmly packed ground where the sand meets the cliffs. He veers across the open expanse of the beach, and vanishes. Quicksand. Lord Ravenswood’s disappearance is abrupt and entire.The beach: a meeting of substances, a mixing, a wearing away. Sand shifts, rubs, drifts. Water flows, spreading itself out over the sand, smoothing, erasing, pulling silty gran-ules with it as it ebbs. The beach is a place of exchange where two substances come together, mix, and separate, each marked by contact with the other. Quicksand is a mixture of these substances — it is both water and sand — and yet it is neither water nor sand. It is a third substance. Undisturbed, sand and water maintain a balance, both present but not distinct, reliant upon the persistence of the other. Agitation alters this relationship separating water from sand; the land moves, ripples, opening a gap into which the walker sinks. Quicksand is both elements and both substances, it is the promise of solid ground and the subsequent rupture of water and sand that, in the case of Lord Ravenswood, swallows a man (and his horse) whole, in an instant. Quicksand is deceptive, unassuming, a perception of solid land that comes to life when stimulated. The separation of sand and water quickens the substance. The ground produces signs of life as the body is absorbed into living ground, becoming part of the landscape.1 Consumed. A monstrous incorporation. 20 00 Open Access Vander Wall, Erin 8 03 06 10.21983/P3.0182.1.08 43 44 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interlude III Great Fishes and Monstrous Men (Tide Line) 1 A01 Megan E. Palmer Megan E. Palmer 40 02t274463 University of California, Santa Barbara 01 eng 03 00 From shifting ground to shifting sea, from the parallax of dual narratives to the inrush and undertow of a single narrative that cannot see through to its own reflection, we come now full circle, back to 1586 and our marvelous sea-monster. To this point, we have been considering Timothy Granger’s broadside wholly within its early modern context. Now, however, I propose holding the mirror up to our own contemporary moment, one much more confident in its relegation of monsters to fiction and much more explicit in its concern for animal welfare. 30 00 From shifting ground to shifting sea, from the parallax of dual narratives to the inrush and undertow of a single narrative that cannot see through to its own reflection, we come now full circle, back to 1586 and our marvelous sea-monster. To this point, we have been considering Timothy Granger’s broadside wholly within its early modern context. Now, however, I propose holding the mirror up to our own contemporary moment, one much more confident in its relegation of monsters to fiction and much more explicit in its concern for animal welfare. 20 00 Open Access Palmer, Megan E. 9 03 06 10.21983/P3.0182.1.09 45 51 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conclusion Sink or Plunge? 1 A01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 03 00 We are sinking. We are sinking, as individuals, as participants in a field that is sinking along with us, as members of a species, and as components in a massive, global eco-logical network. But we are not sinking because of the malevolence of natural forces, not because the sand is hungry for us and for our horses, characterized by “malicious intent,” as Erin Vander Wall describes the quicksand in Walter Scott’s The Bride of Lammermoor.1 We are not sinking because whales and monstrous fish want to swallow us whole, not because the strange beings of the sea wish harm on us, nor because the sea itself is vengeful, though “the water comes,”2 and who could blame it? We are sinking because of our collective hunger and callousness. As dwellers in the anthro-pocene, we can already see it all around us. Yes, of course, Venice is sinking.3 More than two decades ago, seemingly alarmist headlines asked questions about Amster-dam’s future like, “Is it time to build another ark?”4 But these cities have been sinking for centuries. 30 00 We are sinking. We are sinking, as individuals, as participants in a field that is sinking along with us, as members of a species, and as components in a massive, global eco-logical network. But we are not sinking because of the malevolence of natural forces, not because the sand is hungry for us and for our horses, characterized by “malicious intent,” as Erin Vander Wall describes the quicksand in Walter Scott’s The Bride of Lammermoor.1 We are not sinking because whales and monstrous fish want to swallow us whole, not because the strange beings of the sea wish harm on us, nor because the sea itself is vengeful, though “the water comes,”2 and who could blame it? We are sinking because of our collective hunger and callousness. As dwellers in the anthro-pocene, we can already see it all around us. Yes, of course, Venice is sinking.3 More than two decades ago, seemingly alarmist headlines asked questions about Amster-dam’s future like, “Is it time to build another ark?”4 But these cities have been sinking for centuries. 20 00 Open Access Mittman, Asa Simon 10 03 06 10.21983/P3.0182.1.10 52 59 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Thea Tomaini Thea Tomaini 40 03taz7m60 University of Southern California 2 B01 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 01 eng 20 00 Open Access Tomaini, Thea Mittman, Asa Simon 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/things-from-the-sea/ Earth, Milky Way 04 01 20170929 Tomaini, Thea Mittman, Asa Simon 02 WORLD 06 15 9781947447141 03 9781947447141 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25446 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25446/1004649.pdf?sequence=1&isAllowed=y 20 08 20170929 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28309 20 08 20170929 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353917 20 08 20170929 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/565 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9a5a8706-d580-4e87-8fa7-816a54d47165/download 20 08 20170929 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/177e3717-4c07-4f31-9318-616ad3b71e89 29 INTERNET_ARCHIVE: download the title https://archive.org/download/177e3717-4c07-4f31-9318-616ad3b71e89/177e3717-4c07-4f31-9318-616ad3b71e89.pdf 20 08 20170929 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847030 29 ZENODO: download the title https://zenodo.org/records/19847030/files/177e3717-4c07-4f31-9318-616ad3b71e89_book.pdf 20 08 20170929 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/things-from-the-sea/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0182.1.00.pdf 20 08 20170929 01 urn:uuid:d156b2ac-a256-4042-b650-97bc71e88568 03 01 01 thoth-work-id urn:uuid:b50aca26-6527-4db3-8ab9-57ba2f3cb14f 01 thoth-publication-id urn:uuid:d156b2ac-a256-4042-b650-97bc71e88568 15 9781947447875 03 9781947447875 06 10.21983/P3.0211.1.00 13 2018959823 01 internal-reference 0211 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Shadowing the Anthropocene Eco-Realism for Turbulent Times 1 A01 Adrian Ivakhiv Adrian Ivakhiv 40 0155zta11 University of Vermont 01 eng 00 294 03 B2 Anthropocene 10 PHI049000 93 QDTJ 12 RNT B2 Biosphere 10 PHI013000 93 PSAF B2 Philosophy 20 ecology; anthropocene; environmental humanities; eco-philosophy; realism 01 06 02 00 03 00 A spectre is haunting humanity: the spectre of a reality that will outwit and, in the end, bury us. “The Anthropocene,” or The Human Era, is an attempt to name our geological fate – that we will one day disappear into the layer-cake of Earth’s geology – while highlighting humanity in the starring role of today’s Earthly drama. In Shadowing the Anthropocene, Adrian Ivakhiv proposes an ecological realism that takes as its starting point humanity’s eventual demise. The only question for a realist today, he suggests, is what to do now and what quality of compost to leave behind with our burial.The book engages with the challenges of the Anthropocene and with a series of philosophical efforts to address them, including those of Slavoj Žižek and Charles Taylor, Graham Harman and Timothy Morton, Isabelle Stengers and Bruno Latour, and William Connolly and Jane Bennett. Along the way, there are volcanic eruptions and revolutions, ant cities and dog parks, data clouds and space junk, pagan gods and sacrificial altars, dark flow, souls (of things), and jazz.Ivakhiv draws from centuries old process-relational thinking that hearkens back to Daoist and Buddhist sages, but gains incisive re-invigoration in the philosophies of Charles Sanders Peirce and Alfred North Whitehead. He translates those insights into practices of “engaged Anthropocenic bodymindfulness” – aesthetic, ethical, and ecological practices for living in the shadow of the Anthropocene. 30 00 A spectre is haunting humanity: the spectre of a reality that will outwit and, in the end, bury us. “The Anthropocene,” or The Human Era, is an attempt to name our geological fate – that we will one day disappear into the layer-cake of Earth’s geology – while highlighting humanity in the starring role of today’s Earthly drama. In Shadowing the Anthropocene, Adrian Ivakhiv proposes an ecological realism that takes as its starting point humanity’s eventual demise. The only question for a realist today, he suggests, is what to do now and what quality of compost to leave behind with our burial.The book engages with the challenges of the Anthropocene and with a series of philosophical efforts to address them, including those of Slavoj Žižek and Charles Taylor, Graham Harman and Timothy Morton, Isabelle Stengers and Bruno Latour, and William Connolly and Jane Bennett. Along the way, there are volcanic eruptions and revolutions, ant cities and dog parks, data clouds and space junk, pagan gods and sacrificial altars, dark flow, souls (of things), and jazz.Ivakhiv draws from centuries old process-relational thinking that hearkens back to Daoist and Buddhist sages, but gains incisive re-invigoration in the philosophies of Charles Sanders Peirce and Alfred North Whitehead. He translates those insights into practices of “engaged Anthropocenic bodymindfulness” – aesthetic, ethical, and ecological practices for living in the shadow of the Anthropocene. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0211.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/shadowing-the-anthropocene-eco-realism-for-turbulent-times/ 16 40 0155zta11 32 10.13039/100010941 University of Vermont Earth, Milky Way 04 01 20181009 Ivakhiv, Adrian 02 WORLD 06 15 9781947447882 03 9781947447882 34 06 10.1080/13698570600677167 34 06 10.1177/0263276416686844 34 06 10.1111/j.1540-6253.2008.00493.x 34 06 10.1163/18758185-90000261 34 06 10.1525/ahu.2004.29.2.159 34 06 10.1177/0306312710380301 34 06 10.1023/B:CLIM.0000004577.17928.fa 34 06 10.2307/2179771 34 06 10.3366/E1750224110000851 34 06 10.1353/sub.0.0017 34 06 10.5840/ipq19933327 34 06 10.1007/s10980-011-9600-8 34 06 10.14318/hau7.2.014 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447874 20 08 20181009 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/shadowing-the-anthropocene-eco-realism-for-turbulent-times 20 08 20181009 02 25.00 USD WORLD urn:uuid:6af900d1-4a75-4791-b3b2-238cb50df11d 03 01 01 thoth-work-id urn:uuid:b50aca26-6527-4db3-8ab9-57ba2f3cb14f 01 thoth-publication-id urn:uuid:6af900d1-4a75-4791-b3b2-238cb50df11d 15 9781947447882 03 9781947447882 06 10.21983/P3.0211.1.00 13 2018959823 01 internal-reference 0211 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Shadowing the Anthropocene Eco-Realism for Turbulent Times 1 A01 Adrian Ivakhiv Adrian Ivakhiv 40 0155zta11 University of Vermont 01 eng 00 294 03 B2 Anthropocene 10 PHI049000 93 QDTJ 12 RNT B2 Biosphere 10 PHI013000 93 PSAF B2 Philosophy 20 ecology; anthropocene; environmental humanities; eco-philosophy; realism 01 06 02 00 03 00 A spectre is haunting humanity: the spectre of a reality that will outwit and, in the end, bury us. “The Anthropocene,” or The Human Era, is an attempt to name our geological fate – that we will one day disappear into the layer-cake of Earth’s geology – while highlighting humanity in the starring role of today’s Earthly drama. In Shadowing the Anthropocene, Adrian Ivakhiv proposes an ecological realism that takes as its starting point humanity’s eventual demise. The only question for a realist today, he suggests, is what to do now and what quality of compost to leave behind with our burial.The book engages with the challenges of the Anthropocene and with a series of philosophical efforts to address them, including those of Slavoj Žižek and Charles Taylor, Graham Harman and Timothy Morton, Isabelle Stengers and Bruno Latour, and William Connolly and Jane Bennett. Along the way, there are volcanic eruptions and revolutions, ant cities and dog parks, data clouds and space junk, pagan gods and sacrificial altars, dark flow, souls (of things), and jazz.Ivakhiv draws from centuries old process-relational thinking that hearkens back to Daoist and Buddhist sages, but gains incisive re-invigoration in the philosophies of Charles Sanders Peirce and Alfred North Whitehead. He translates those insights into practices of “engaged Anthropocenic bodymindfulness” – aesthetic, ethical, and ecological practices for living in the shadow of the Anthropocene. 30 00 A spectre is haunting humanity: the spectre of a reality that will outwit and, in the end, bury us. “The Anthropocene,” or The Human Era, is an attempt to name our geological fate – that we will one day disappear into the layer-cake of Earth’s geology – while highlighting humanity in the starring role of today’s Earthly drama. In Shadowing the Anthropocene, Adrian Ivakhiv proposes an ecological realism that takes as its starting point humanity’s eventual demise. The only question for a realist today, he suggests, is what to do now and what quality of compost to leave behind with our burial.The book engages with the challenges of the Anthropocene and with a series of philosophical efforts to address them, including those of Slavoj Žižek and Charles Taylor, Graham Harman and Timothy Morton, Isabelle Stengers and Bruno Latour, and William Connolly and Jane Bennett. Along the way, there are volcanic eruptions and revolutions, ant cities and dog parks, data clouds and space junk, pagan gods and sacrificial altars, dark flow, souls (of things), and jazz.Ivakhiv draws from centuries old process-relational thinking that hearkens back to Daoist and Buddhist sages, but gains incisive re-invigoration in the philosophies of Charles Sanders Peirce and Alfred North Whitehead. He translates those insights into practices of “engaged Anthropocenic bodymindfulness” – aesthetic, ethical, and ecological practices for living in the shadow of the Anthropocene. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0211.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/shadowing-the-anthropocene-eco-realism-for-turbulent-times/ 16 40 0155zta11 32 10.13039/100010941 University of Vermont Earth, Milky Way 04 01 20181009 Ivakhiv, Adrian 02 WORLD 06 15 9781947447875 03 9781947447875 34 06 10.1080/13698570600677167 34 06 10.1177/0263276416686844 34 06 10.1111/j.1540-6253.2008.00493.x 34 06 10.1163/18758185-90000261 34 06 10.1525/ahu.2004.29.2.159 34 06 10.1177/0306312710380301 34 06 10.1023/B:CLIM.0000004577.17928.fa 34 06 10.2307/2179771 34 06 10.3366/E1750224110000851 34 06 10.1353/sub.0.0017 34 06 10.5840/ipq19933327 34 06 10.1007/s10980-011-9600-8 34 06 10.14318/hau7.2.014 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66811 20 08 20181009 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25418 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25418/1004677.pdf?sequence=1&isAllowed=y 20 08 20181009 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33730 20 08 20181009 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353855 20 08 20181009 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/590 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/94069a29-7f57-4318-905e-3c0d53366b9b/download 20 08 20181009 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b50aca26-6527-4db3-8ab9-57ba2f3cb14f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b50aca26-6527-4db3-8ab9-57ba2f3cb14f/b50aca26-6527-4db3-8ab9-57ba2f3cb14f.pdf 20 08 20181009 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847478 29 ZENODO: download the title https://zenodo.org/records/19847478/files/b50aca26-6527-4db3-8ab9-57ba2f3cb14f_book.pdf 20 08 20181009 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/shadowing-the-anthropocene-eco-realism-for-turbulent-times/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0211.1.00.pdf 20 08 20181009 01 urn:uuid:c7a8e113-a727-44c0-84d9-e39507b40e5e 03 01 01 thoth-work-id urn:uuid:0e5b4753-8bfe-4311-bc2a-13bf5f52d167 01 thoth-publication-id urn:uuid:c7a8e113-a727-44c0-84d9-e39507b40e5e 15 9781685711627 03 9781685711627 06 10.53288/0488.1.00 13 2023951545 01 internal-reference 0488 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Signs of the Great Refusal The Coming Struggle for a Postwork Society 1 A01 21 0000000197524799 Tedd Siegel Tedd Siegel Tedd Siegel is a writer living on the central coast of California. He lives with his husband Matt, and spends more time with dogs and goats than with people. Tedd is the co-founder and co-editor of indarktimes.com, a blog site dedicated to overcoming liberal post-politics, and to developing and disseminating new, anti-capitalist critiques tailored to the post-Fordist, neoliberal digital age. Previously, Tedd worked in the Silicon Valley for twenty years in marketing and program management roles related to enterprise software, semiconductor, and optical telecom. He also served as a senior manager of Silicon Valley partnerships for the University of California, involved with major R&D contracts and initiatives between academia, government agencies, and private companies. Tedd holds an M.A. in philosophy from the New School for Social Research, where he attended the Ph.D. program, focusing on moral and political philosophy. Undertaking a dissertation on the normative and utopian foundations of modernity, he realized that he couldn’t finish the last section on hope, because he didn’t have any. Prior to living in NYC, Tedd spent time as a street activist in San Francisco, participating in ACT-UP and Radical Faerie actions and community events in the 1980s. 2 A23 Tyrus Miller Tyrus Miller 01 eng 00 458 03 10 BUS038000 B2 Capital+Lucre 12 JHBL 93 JHBL 10 BUS072000 B2 Cultural Studies+Critical Theory 12 KCF 93 KCF B2 New Left Thought 20 politics of refusal; post-work imaginary; value theory; autonomia; operaismo; counter-publics; class recomposition; automation; neoliberalism 01 06 02 00 03 00 In recent years, developed countries have seen the rise of discussions concerning "the problem with work today." Since this literature tends to reflect the frustrations of the professional–managerial class (as well as other workers in globalized services industries in the digital age), it is often at a significant distance from the concerns of the organized labor movement and the traditional Left. Much of this literature presents an unacceptable either/or: workers are encouraged either to "lean in," and become better "human capital," or else to develop forms of palliative care for these same neoliberal selves by means of personal projects of self-optimization, recovery, and wellness.In Signs of the Great Refusal, Tedd Siegel challenges the assumptions supporting these highly constrained possibilities, asking instead what it might take to deprivatize and repoliticize work itself under contemporary conditions, in order to make a broad-based politics of refusal potentially viable. Where postwork, antiwork, and degrowth discussions taking place today often describe and promote various "postwork imaginaries" in which the decommodification of labor is only implied, Signs of the Great Refusal is concerned specifically with the "postwork political imaginary." Taking up a question formulated by Peter Fleming, Siegel asks, “Can the impossibility at the heart of contemporary capitalism be politically activated to oppose and escape work-as-we-know-it?” 30 00 In recent years, developed countries have seen the rise of discussions concerning "the problem with work today." Since this literature tends to reflect the frustrations of the professional–managerial class (as well as other workers in globalized services industries in the digital age), it is often at a significant distance from the concerns of the organized labor movement and the traditional Left. Much of this literature presents an unacceptable either/or: workers are encouraged either to "lean in," and become better "human capital," or else to develop forms of palliative care for these same neoliberal selves by means of personal projects of self-optimization, recovery, and wellness.In Signs of the Great Refusal, Tedd Siegel challenges the assumptions supporting these highly constrained possibilities, asking instead what it might take to deprivatize and repoliticize work itself under contemporary conditions, in order to make a broad-based politics of refusal potentially viable. Where postwork, antiwork, and degrowth discussions taking place today often describe and promote various "postwork imaginaries" in which the decommodification of labor is only implied, Signs of the Great Refusal is concerned specifically with the "postwork political imaginary." Taking up a question formulated by Peter Fleming, Siegel asks, “Can the impossibility at the heart of contemporary capitalism be politically activated to oppose and escape work-as-we-know-it?” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0488.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/signs-of-the-great-refusal-the-coming-struggle-for-a-post-work-society/ Earth, Milky Way 04 01 20231207 Tedd Siegel 02 WORLD 06 15 9781685711634 03 9781685711634 34 06 10.2307/466240.441 34 06 10.1080/00045608.2014.973803 34 06 10.1017/S0265052500002260 34 06 10.1177/030981680508600105 34 06 10.14506/ca31.01 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711626 20 08 20231207 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/signs-of-the-great-refusal-the-coming-struggle-for-a-postwork-society 20 08 20231207 01 urn:uuid:3be5cc27-acf5-4be5-a9cd-1d62750db6b1 03 01 01 thoth-work-id urn:uuid:0e5b4753-8bfe-4311-bc2a-13bf5f52d167 01 thoth-publication-id urn:uuid:3be5cc27-acf5-4be5-a9cd-1d62750db6b1 15 9781685711634 03 9781685711634 06 10.53288/0488.1.00 13 2023951545 01 internal-reference 0488 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Signs of the Great Refusal The Coming Struggle for a Postwork Society 1 A01 21 0000000197524799 Tedd Siegel Tedd Siegel Tedd Siegel is a writer living on the central coast of California. He lives with his husband Matt, and spends more time with dogs and goats than with people. Tedd is the co-founder and co-editor of indarktimes.com, a blog site dedicated to overcoming liberal post-politics, and to developing and disseminating new, anti-capitalist critiques tailored to the post-Fordist, neoliberal digital age. Previously, Tedd worked in the Silicon Valley for twenty years in marketing and program management roles related to enterprise software, semiconductor, and optical telecom. He also served as a senior manager of Silicon Valley partnerships for the University of California, involved with major R&D contracts and initiatives between academia, government agencies, and private companies. Tedd holds an M.A. in philosophy from the New School for Social Research, where he attended the Ph.D. program, focusing on moral and political philosophy. Undertaking a dissertation on the normative and utopian foundations of modernity, he realized that he couldn’t finish the last section on hope, because he didn’t have any. Prior to living in NYC, Tedd spent time as a street activist in San Francisco, participating in ACT-UP and Radical Faerie actions and community events in the 1980s. 2 A23 Tyrus Miller Tyrus Miller 01 eng 00 458 03 10 BUS038000 B2 Capital+Lucre 12 JHBL 93 JHBL 10 BUS072000 B2 Cultural Studies+Critical Theory 12 KCF 93 KCF B2 New Left Thought 20 politics of refusal; post-work imaginary; value theory; autonomia; operaismo; counter-publics; class recomposition; automation; neoliberalism 01 06 02 00 03 00 In recent years, developed countries have seen the rise of discussions concerning "the problem with work today." Since this literature tends to reflect the frustrations of the professional–managerial class (as well as other workers in globalized services industries in the digital age), it is often at a significant distance from the concerns of the organized labor movement and the traditional Left. Much of this literature presents an unacceptable either/or: workers are encouraged either to "lean in," and become better "human capital," or else to develop forms of palliative care for these same neoliberal selves by means of personal projects of self-optimization, recovery, and wellness.In Signs of the Great Refusal, Tedd Siegel challenges the assumptions supporting these highly constrained possibilities, asking instead what it might take to deprivatize and repoliticize work itself under contemporary conditions, in order to make a broad-based politics of refusal potentially viable. Where postwork, antiwork, and degrowth discussions taking place today often describe and promote various "postwork imaginaries" in which the decommodification of labor is only implied, Signs of the Great Refusal is concerned specifically with the "postwork political imaginary." Taking up a question formulated by Peter Fleming, Siegel asks, “Can the impossibility at the heart of contemporary capitalism be politically activated to oppose and escape work-as-we-know-it?” 30 00 In recent years, developed countries have seen the rise of discussions concerning "the problem with work today." Since this literature tends to reflect the frustrations of the professional–managerial class (as well as other workers in globalized services industries in the digital age), it is often at a significant distance from the concerns of the organized labor movement and the traditional Left. Much of this literature presents an unacceptable either/or: workers are encouraged either to "lean in," and become better "human capital," or else to develop forms of palliative care for these same neoliberal selves by means of personal projects of self-optimization, recovery, and wellness.In Signs of the Great Refusal, Tedd Siegel challenges the assumptions supporting these highly constrained possibilities, asking instead what it might take to deprivatize and repoliticize work itself under contemporary conditions, in order to make a broad-based politics of refusal potentially viable. Where postwork, antiwork, and degrowth discussions taking place today often describe and promote various "postwork imaginaries" in which the decommodification of labor is only implied, Signs of the Great Refusal is concerned specifically with the "postwork political imaginary." Taking up a question formulated by Peter Fleming, Siegel asks, “Can the impossibility at the heart of contemporary capitalism be politically activated to oppose and escape work-as-we-know-it?” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0488.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/signs-of-the-great-refusal-the-coming-struggle-for-a-post-work-society/ Earth, Milky Way 04 01 20231207 Tedd Siegel 02 WORLD 06 15 9781685711627 03 9781685711627 34 06 10.2307/466240.441 34 06 10.1080/00045608.2014.973803 34 06 10.1017/S0265052500002260 34 06 10.1177/030981680508600105 34 06 10.14506/ca31.01 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/86011 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/86011/0488.1.00.pdf?sequence=1&isAllowed=y 20 08 20231207 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/131887 20 08 20231207 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.10782319 20 08 20231207 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/341 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f2a8105c-8937-4f0c-82e4-558489be6868/download 20 08 20231207 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0e5b4753-8bfe-4311-bc2a-13bf5f52d167 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0e5b4753-8bfe-4311-bc2a-13bf5f52d167/0e5b4753-8bfe-4311-bc2a-13bf5f52d167.pdf 20 08 20231207 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850146 29 ZENODO: download the title https://zenodo.org/records/19850146/files/0e5b4753-8bfe-4311-bc2a-13bf5f52d167_book.pdf 20 08 20231207 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/signs-of-the-great-refusal-the-coming-struggle-for-a-post-work-society/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0488.1.00.pdf 20 08 20231207 01 urn:uuid:d7fc7d52-bbd9-4440-a02f-5ba27d34c362 03 01 01 thoth-work-id urn:uuid:3eaa2b26-1c54-4527-8b97-3c34f4856e5b 01 thoth-publication-id urn:uuid:d7fc7d52-bbd9-4440-a02f-5ba27d34c362 15 9781953035479 03 9781953035479 06 10.21983/P3.0317.1.00 13 2021935512 01 internal-reference 0317 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Siting Futurity The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna 1 A01 Susan Ingram Susan Ingram 40 05fq50484 York University 00 224 03 93 1DFA B2 Art+Aesthetics 12 JPWF 10 PER011020 12 1DFA B2 Cultural Studies+Critical Theory 93 JPWG 10 PER004030 12 AN 93 ATD 12 APFA 93 ATFA 20 activism; Austria; contemporary art; contemporary theater; radicalism; protest culture; Vienna; social protest 01 06 02 00 03 00 Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known. 30 00 Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0317.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/siting-futurity-the-feel-good-tactical-radicalism-of-contemporary-culture-in-and-around-vienna/ Earth 04 01 20210506 Susan Ingram 02 WORLD 06 15 9781953035486 03 9781953035486 34 06 10.1525/fq.2015.69.2.19 34 06 10.1353/nwsa.2000.0050 34 06 10.1215/0094033X-1434497 34 06 10.5195/contemp.2014.113 34 06 10.2307/488108 34 06 10.12801/1947-5403.2013.05.02.03 34 06 10.1353/mwr.2015.0007 34 06 10.1353/phl.1993.0090 34 06 10.3138/seminar.54.4.004 34 06 10.17742/image.fcm.9.2.7 34 06 10.5744/delos.2020.1006 34 06 10.21992/T9DW67 34 06 10.1525/fq.2014.67.4.67 34 06 10.1353/aq.2018.0063 34 06 10.1353/oas.2014.0052 34 06 10.1215/08992363-15-1-11 34 06 10.1080/14735780903240091 34 06 10.1080/19392397.2018.1559124 34 06 10.2307/3211133 34 06 10.5749/buildland.25.1.0105 34 06 10.1080/13528165.2011.606047 34 06 10.1080/0969725X.2012.671669 34 06 10.1353/sgo.2016.0015 34 06 10.1109/EMS.2000.872562 34 06 10.1353/cj.2018.0071 34 06 10.4148/2334-4415.1885 34 06 10.2307/23362799 34 06 10.1080/09502386.2019.1703022 34 06 10.1353/cj.2018.0035 34 06 10.1353/mml.2016.0004 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035477 20 08 20210506 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/siting-futurity-the-afeel-gooda-tactical-radicalism-of-contemporary-culture-in-and-around-vienna 20 08 20210506 02 24.00 USD WORLD urn:uuid:0ac0df2f-3a09-4c13-b480-a4043454856a 03 01 01 thoth-work-id urn:uuid:3eaa2b26-1c54-4527-8b97-3c34f4856e5b 01 thoth-publication-id urn:uuid:0ac0df2f-3a09-4c13-b480-a4043454856a 15 9781953035486 03 9781953035486 06 10.21983/P3.0317.1.00 13 2021935512 01 internal-reference 0317 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Siting Futurity The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna 1 A01 Susan Ingram Susan Ingram 40 05fq50484 York University 00 224 03 93 1DFA B2 Art+Aesthetics 12 JPWF 10 PER011020 12 1DFA B2 Cultural Studies+Critical Theory 93 JPWG 10 PER004030 12 AN 93 ATD 12 APFA 93 ATFA 20 activism; Austria; contemporary art; contemporary theater; radicalism; protest culture; Vienna; social protest 01 06 02 00 03 00 Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known. 30 00 Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0317.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/siting-futurity-the-feel-good-tactical-radicalism-of-contemporary-culture-in-and-around-vienna/ Earth 04 01 20210506 Susan Ingram 02 WORLD 06 15 9781953035479 03 9781953035479 34 06 10.1525/fq.2015.69.2.19 34 06 10.1353/nwsa.2000.0050 34 06 10.1215/0094033X-1434497 34 06 10.5195/contemp.2014.113 34 06 10.2307/488108 34 06 10.12801/1947-5403.2013.05.02.03 34 06 10.1353/mwr.2015.0007 34 06 10.1353/phl.1993.0090 34 06 10.3138/seminar.54.4.004 34 06 10.17742/image.fcm.9.2.7 34 06 10.5744/delos.2020.1006 34 06 10.21992/T9DW67 34 06 10.1525/fq.2014.67.4.67 34 06 10.1353/aq.2018.0063 34 06 10.1353/oas.2014.0052 34 06 10.1215/08992363-15-1-11 34 06 10.1080/14735780903240091 34 06 10.1080/19392397.2018.1559124 34 06 10.2307/3211133 34 06 10.5749/buildland.25.1.0105 34 06 10.1080/13528165.2011.606047 34 06 10.1080/0969725X.2012.671669 34 06 10.1353/sgo.2016.0015 34 06 10.1109/EMS.2000.872562 34 06 10.1353/cj.2018.0071 34 06 10.4148/2334-4415.1885 34 06 10.2307/23362799 34 06 10.1080/09502386.2019.1703022 34 06 10.1353/cj.2018.0035 34 06 10.1353/mml.2016.0004 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/48481 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/48481/0317.1.00.pdf?sequence=1&isAllowed=y 20 08 20210506 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/69464 20 08 20210506 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2299523 20 08 20210506 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/663 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/806b7e67-8025-46f9-bdd9-e1e93ed85d1c/download 20 08 20210506 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Siting_Futurity/GAaVEAAAQBAJ 20 08 20210506 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3eaa2b26-1c54-4527-8b97-3c34f4856e5b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3eaa2b26-1c54-4527-8b97-3c34f4856e5b/3eaa2b26-1c54-4527-8b97-3c34f4856e5b.pdf 20 08 20210506 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848803 29 ZENODO: download the title https://zenodo.org/records/19848803/files/3eaa2b26-1c54-4527-8b97-3c34f4856e5b_book.pdf 20 08 20210506 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/siting-futurity-the-feel-good-tactical-radicalism-of-contemporary-culture-in-and-around-vienna/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0317.1.00.pdf 20 08 20210506 01 urn:uuid:d9b60f25-91fc-40e9-9fd1-8609b53ed7cb 03 01 01 thoth-work-id urn:uuid:e8e31797-be17-4151-8f08-8008ba800992 01 thoth-publication-id urn:uuid:d9b60f25-91fc-40e9-9fd1-8609b53ed7cb 15 9781953035202 03 9781953035202 06 10.21983/P3.0293.1.00 13 2020949501 01 internal-reference 0293 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Skirmishes With Friends, Enemies, and Neutrals 1 A01 21 000000032566309X Graham Harman Graham Harman 40 02xsn7259 Southern California Institute of Architecture 01 eng 00 382 03 12 HPCF 10 PHI044000 B2 Philosophy 93 QDHR 12 HPJ 10 PHI026000 93 QDTJ 20 speculative realism; object-oriented ontology; continental philosophy; weird realism; correlationism; tool-being 01 06 02 00 03 00 One of the fifty most influential living philosophers, a “self-promoting charlatan” (Brian Leiter), and the orchestrator of an “online orgy of stupidity” (Ray Brassier). In Skirmishes: With Friends, Enemies, and Neutrals, Graham Harman responds with flair and wit to some of his best-known critics and fellow travelers. Pulling no punches, Harman gives a masterclass in philosophical argumentation by dissecting, analyzing, and countering their criticism, be it from the Husserlian, Heideggerian, or Derridean corner. At the same time, Skirmishes provides an excellent introduction to the hottest debates in Speculative Realism and Object-Oriented Ontology, a speculative style of philosophy long foreclosed by the biases of mainstream continental thought, but which has turned in recent years into one of the most encompassing philosophies of our time, with a major impact on the arts, humanities, and architecture.Part One considers four prominent books on speculative realism. In dialogue with Tom Sparrow’s The End of Phenomenology, Harman expresses agreement with Sparrow’s critique while taking issue with Lee Braver’s “transgressive realism” as not realist enough. Turning to Steven Shaviro’s The Universe of Things, Harman defends his own object-oriented model against Shaviro’s brand of process philosophy, while also engaging in side-debate with Levi R. Bryant’s distinction between virtual proper being and local manifestations. In the third chapter, on Peter Gratton’s Speculative Realism: Problems and Prospects, Harman opposes the author’s attempt to use Derridean notions of time and difference against Speculative Realism, in what amounts to his most extensive engagement with Derrida to date. Chapter Four gives us Harman’s response to Peter Wolfendale’s massive polemic in Object-Oriented Philosophy, which he shows is based on a failed criticism of Harman’s reading of Heidegger and a grumpy commitment to rationalist kitsch.Part Two responds to a series of briefer criticisms of object-oriented ontology. When Alberto Toscano accuses Harman and Bruno Latour of “neo-monadological” and anti-scientific thinking, Harman responds that the philosophical factors pushing Leibniz into monadology are still valid today. When Christopher Norris mocks Harman for seeing merit in the occasionalist school, he shows why Norris’s middle-of-the-road scientific realism misses the point. In response to Dan Zahavi’s contention that phenomenology has little to learn from speculative realism, Harman exposes the holes in Zahavi’s reasoning. In a final response, Harman gives a point-by-point answer to Stephen Mulhall’s critical foray in the London Review of Books. Amidst these lively debates, Harman sheds new light on what he regards as the central bias of philosophical modernism, which he terms the taxonomical standpoint. It is a book sure to provoke lively controversy among both friends and foes of object-oriented thought. 30 00 One of the fifty most influential living philosophers, a “self-promoting charlatan” (Brian Leiter), and the orchestrator of an “online orgy of stupidity” (Ray Brassier). In Skirmishes: With Friends, Enemies, and Neutrals, Graham Harman responds with flair and wit to some of his best-known critics and fellow travelers. Pulling no punches, Harman gives a masterclass in philosophical argumentation by dissecting, analyzing, and countering their criticism, be it from the Husserlian, Heideggerian, or Derridean corner. At the same time, Skirmishes provides an excellent introduction to the hottest debates in Speculative Realism and Object-Oriented Ontology, a speculative style of philosophy long foreclosed by the biases of mainstream continental thought, but which has turned in recent years into one of the most encompassing philosophies of our time, with a major impact on the arts, humanities, and architecture.Part One considers four prominent books on speculative realism. In dialogue with Tom Sparrow’s The End of Phenomenology, Harman expresses agreement with Sparrow’s critique while taking issue with Lee Braver’s “transgressive realism” as not realist enough. Turning to Steven Shaviro’s The Universe of Things, Harman defends his own object-oriented model against Shaviro’s brand of process philosophy, while also engaging in side-debate with Levi R. Bryant’s distinction between virtual proper being and local manifestations. In the third chapter, on Peter Gratton’s Speculative Realism: Problems and Prospects, Harman opposes the author’s attempt to use Derridean notions of time and difference against Speculative Realism, in what amounts to his most extensive engagement with Derrida to date. Chapter Four gives us Harman’s response to Peter Wolfendale’s massive polemic in Object-Oriented Philosophy, which he shows is based on a failed criticism of Harman’s reading of Heidegger and a grumpy commitment to rationalist kitsch.Part Two responds to a series of briefer criticisms of object-oriented ontology. When Alberto Toscano accuses Harman and Bruno Latour of “neo-monadological” and anti-scientific thinking, Harman responds that the philosophical factors pushing Leibniz into monadology are still valid today. When Christopher Norris mocks Harman for seeing merit in the occasionalist school, he shows why Norris’s middle-of-the-road scientific realism misses the point. In response to Dan Zahavi’s contention that phenomenology has little to learn from speculative realism, Harman exposes the holes in Zahavi’s reasoning. In a final response, Harman gives a point-by-point answer to Stephen Mulhall’s critical foray in the London Review of Books. Amidst these lively debates, Harman sheds new light on what he regards as the central bias of philosophical modernism, which he terms the taxonomical standpoint. It is a book sure to provoke lively controversy among both friends and foes of object-oriented thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0293.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/skirmishes-with-friends-enemies-and-neutrals/ Earth, Milky Way 04 01 20201117 Harman, Graham 02 WORLD 06 15 9781953035219 03 9781953035219 34 06 10.1007/s11007-012-9220-2 34 06 10.1007/BF00486629 34 06 10.1086/668529 34 06 10.1558/jcr.v11i3.361 34 06 10.1215/01903659-3469889 34 06 10.5840/philtoday200852234 34 06 10.1093/monist/ 34 06 10.1080/1600910X.2017.1373686 34 06 10.7146/nja.v24i47.23057 34 06 10.1023/B:JGPS.0000035149.31235.79 34 06 10.1163/156916498X00092 34 06 10.1177/053901887026004004 34 06 10.1111/ejop.12159 34 06 10.1515/opphil-2020-0003 34 06 10.1080/09672559.2016.1175101 34 06 10.1093/monist/onv001 34 06 10.5840/philtoday20095348 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035205 20 08 20201117 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/skirmishes-with-friends-enemies-and-neutrals 20 08 20201117 02 27.00 USD WORLD urn:uuid:b5273b30-19a0-4787-bcf1-3b80285c6736 03 01 01 thoth-work-id urn:uuid:e8e31797-be17-4151-8f08-8008ba800992 01 thoth-publication-id urn:uuid:b5273b30-19a0-4787-bcf1-3b80285c6736 15 9781953035219 03 9781953035219 06 10.21983/P3.0293.1.00 13 2020949501 01 internal-reference 0293 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Skirmishes With Friends, Enemies, and Neutrals 1 A01 21 000000032566309X Graham Harman Graham Harman 40 02xsn7259 Southern California Institute of Architecture 01 eng 00 382 03 12 HPCF 10 PHI044000 B2 Philosophy 93 QDHR 12 HPJ 10 PHI026000 93 QDTJ 20 speculative realism; object-oriented ontology; continental philosophy; weird realism; correlationism; tool-being 01 06 02 00 03 00 One of the fifty most influential living philosophers, a “self-promoting charlatan” (Brian Leiter), and the orchestrator of an “online orgy of stupidity” (Ray Brassier). In Skirmishes: With Friends, Enemies, and Neutrals, Graham Harman responds with flair and wit to some of his best-known critics and fellow travelers. Pulling no punches, Harman gives a masterclass in philosophical argumentation by dissecting, analyzing, and countering their criticism, be it from the Husserlian, Heideggerian, or Derridean corner. At the same time, Skirmishes provides an excellent introduction to the hottest debates in Speculative Realism and Object-Oriented Ontology, a speculative style of philosophy long foreclosed by the biases of mainstream continental thought, but which has turned in recent years into one of the most encompassing philosophies of our time, with a major impact on the arts, humanities, and architecture.Part One considers four prominent books on speculative realism. In dialogue with Tom Sparrow’s The End of Phenomenology, Harman expresses agreement with Sparrow’s critique while taking issue with Lee Braver’s “transgressive realism” as not realist enough. Turning to Steven Shaviro’s The Universe of Things, Harman defends his own object-oriented model against Shaviro’s brand of process philosophy, while also engaging in side-debate with Levi R. Bryant’s distinction between virtual proper being and local manifestations. In the third chapter, on Peter Gratton’s Speculative Realism: Problems and Prospects, Harman opposes the author’s attempt to use Derridean notions of time and difference against Speculative Realism, in what amounts to his most extensive engagement with Derrida to date. Chapter Four gives us Harman’s response to Peter Wolfendale’s massive polemic in Object-Oriented Philosophy, which he shows is based on a failed criticism of Harman’s reading of Heidegger and a grumpy commitment to rationalist kitsch.Part Two responds to a series of briefer criticisms of object-oriented ontology. When Alberto Toscano accuses Harman and Bruno Latour of “neo-monadological” and anti-scientific thinking, Harman responds that the philosophical factors pushing Leibniz into monadology are still valid today. When Christopher Norris mocks Harman for seeing merit in the occasionalist school, he shows why Norris’s middle-of-the-road scientific realism misses the point. In response to Dan Zahavi’s contention that phenomenology has little to learn from speculative realism, Harman exposes the holes in Zahavi’s reasoning. In a final response, Harman gives a point-by-point answer to Stephen Mulhall’s critical foray in the London Review of Books. Amidst these lively debates, Harman sheds new light on what he regards as the central bias of philosophical modernism, which he terms the taxonomical standpoint. It is a book sure to provoke lively controversy among both friends and foes of object-oriented thought. 30 00 One of the fifty most influential living philosophers, a “self-promoting charlatan” (Brian Leiter), and the orchestrator of an “online orgy of stupidity” (Ray Brassier). In Skirmishes: With Friends, Enemies, and Neutrals, Graham Harman responds with flair and wit to some of his best-known critics and fellow travelers. Pulling no punches, Harman gives a masterclass in philosophical argumentation by dissecting, analyzing, and countering their criticism, be it from the Husserlian, Heideggerian, or Derridean corner. At the same time, Skirmishes provides an excellent introduction to the hottest debates in Speculative Realism and Object-Oriented Ontology, a speculative style of philosophy long foreclosed by the biases of mainstream continental thought, but which has turned in recent years into one of the most encompassing philosophies of our time, with a major impact on the arts, humanities, and architecture.Part One considers four prominent books on speculative realism. In dialogue with Tom Sparrow’s The End of Phenomenology, Harman expresses agreement with Sparrow’s critique while taking issue with Lee Braver’s “transgressive realism” as not realist enough. Turning to Steven Shaviro’s The Universe of Things, Harman defends his own object-oriented model against Shaviro’s brand of process philosophy, while also engaging in side-debate with Levi R. Bryant’s distinction between virtual proper being and local manifestations. In the third chapter, on Peter Gratton’s Speculative Realism: Problems and Prospects, Harman opposes the author’s attempt to use Derridean notions of time and difference against Speculative Realism, in what amounts to his most extensive engagement with Derrida to date. Chapter Four gives us Harman’s response to Peter Wolfendale’s massive polemic in Object-Oriented Philosophy, which he shows is based on a failed criticism of Harman’s reading of Heidegger and a grumpy commitment to rationalist kitsch.Part Two responds to a series of briefer criticisms of object-oriented ontology. When Alberto Toscano accuses Harman and Bruno Latour of “neo-monadological” and anti-scientific thinking, Harman responds that the philosophical factors pushing Leibniz into monadology are still valid today. When Christopher Norris mocks Harman for seeing merit in the occasionalist school, he shows why Norris’s middle-of-the-road scientific realism misses the point. In response to Dan Zahavi’s contention that phenomenology has little to learn from speculative realism, Harman exposes the holes in Zahavi’s reasoning. In a final response, Harman gives a point-by-point answer to Stephen Mulhall’s critical foray in the London Review of Books. Amidst these lively debates, Harman sheds new light on what he regards as the central bias of philosophical modernism, which he terms the taxonomical standpoint. It is a book sure to provoke lively controversy among both friends and foes of object-oriented thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0293.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/skirmishes-with-friends-enemies-and-neutrals/ Earth, Milky Way 04 01 20201117 Harman, Graham 02 WORLD 06 15 9781953035202 03 9781953035202 34 06 10.1007/s11007-012-9220-2 34 06 10.1007/BF00486629 34 06 10.1086/668529 34 06 10.1558/jcr.v11i3.361 34 06 10.1215/01903659-3469889 34 06 10.5840/philtoday200852234 34 06 10.1093/monist/ 34 06 10.1080/1600910X.2017.1373686 34 06 10.7146/nja.v24i47.23057 34 06 10.1023/B:JGPS.0000035149.31235.79 34 06 10.1163/156916498X00092 34 06 10.1177/053901887026004004 34 06 10.1111/ejop.12159 34 06 10.1515/opphil-2020-0003 34 06 10.1080/09672559.2016.1175101 34 06 10.1093/monist/onv001 34 06 10.5840/philtoday20095348 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/43001 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/43001/0293.1.00.pdf 20 08 20201117 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30485 20 08 20201117 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354021 20 08 20201117 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/649 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/cbad0187-8699-4221-aa57-3db288e9b4c8/download 20 08 20201117 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Skirmishes/5gWVEAAAQBAJ 20 08 20201117 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e8e31797-be17-4151-8f08-8008ba800992 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e8e31797-be17-4151-8f08-8008ba800992/e8e31797-be17-4151-8f08-8008ba800992.pdf 20 08 20201117 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848570 29 ZENODO: download the title https://zenodo.org/records/19848570/files/e8e31797-be17-4151-8f08-8008ba800992_book.pdf 20 08 20201117 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/skirmishes-with-friends-enemies-and-neutrals/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0293.1.00.pdf 20 08 20201117 01 urn:uuid:e6fb28e3-9645-4b0a-80a1-25581757f7b0 03 01 01 thoth-work-id urn:uuid:34584bfe-1cf8-49c5-b8d1-6302ea1cfcfa 01 thoth-publication-id urn:uuid:e6fb28e3-9645-4b0a-80a1-25581757f7b0 15 9780692374528 03 9780692374528 06 10.21983/P3.0093.1.00 01 internal-reference 0093 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Snowline 1 A01 Donato Mancini Donato Mancini 01 eng 00 102 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations 93 CFP 20 poetry; ecology; François Villon; winter 01 06 02 00 03 00 “Mais où sont les neiges d’antan?” François Villon’s most famous line is a kind of translation, a variation of the old “ubi sunt” trope: Where are the things that used to be? But Villon specifically asks: Where are the snows? Even in the thick of a snowy winter, this snow is not the same as the remembered snows. The difference is affective, but it is also ecological: the world’s climate is dramatically changing. Winter itself is changing.Donato Mancini has collected over eighty translations of Villon’s line, from Thomas Urquhart’s 1653 translation of Rabelais’s quotation of the line, all the way up to translations by Florence Dujarric (2013) and Michael Barnholden (2014). From these he has arranged forty – a number that once stood for a countless number, like the forty thieves or the forty years of the biblical flood – into a booklength poem.Taking a cue from Caroline Bergvall’s “Via,” but deviating from it in significant ways, snowline traces how Villon’s line has changed and yet stubbornly stayed the same over six hundred years. It is a meditative and pointedly nostalgiac book: You will grow older as you read it, and the world around you will continue to melt into air. 30 00 “Mais où sont les neiges d’antan?” François Villon’s most famous line is a kind of translation, a variation of the old “ubi sunt” trope: Where are the things that used to be? But Villon specifically asks: Where are the snows? Even in the thick of a snowy winter, this snow is not the same as the remembered snows. The difference is affective, but it is also ecological: the world’s climate is dramatically changing. Winter itself is changing.Donato Mancini has collected over eighty translations of Villon’s line, from Thomas Urquhart’s 1653 translation of Rabelais’s quotation of the line, all the way up to translations by Florence Dujarric (2013) and Michael Barnholden (2014). From these he has arranged forty – a number that once stood for a countless number, like the forty thieves or the forty years of the biblical flood – into a booklength poem.Taking a cue from Caroline Bergvall’s “Via,” but deviating from it in significant ways, snowline traces how Villon’s line has changed and yet stubbornly stayed the same over six hundred years. It is a meditative and pointedly nostalgiac book: You will grow older as you read it, and the world around you will continue to melt into air. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0093.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/snowline/ Brooklyn, NY 04 01 20150215 Mancini, Donato 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692374523 20 08 20150215 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/snowline 20 08 20150215 02 21.00 USD WORLD urn:uuid:d5f1a022-d4ae-4c75-8238-4907417b59a2 03 01 01 thoth-work-id urn:uuid:34584bfe-1cf8-49c5-b8d1-6302ea1cfcfa 01 thoth-publication-id urn:uuid:d5f1a022-d4ae-4c75-8238-4907417b59a2 06 10.21983/P3.0093.1.00 01 internal-reference 0093 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Snowline 1 A01 Donato Mancini Donato Mancini 01 eng 00 102 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations 93 CFP 20 poetry; ecology; François Villon; winter 01 06 02 00 03 00 “Mais où sont les neiges d’antan?” François Villon’s most famous line is a kind of translation, a variation of the old “ubi sunt” trope: Where are the things that used to be? But Villon specifically asks: Where are the snows? Even in the thick of a snowy winter, this snow is not the same as the remembered snows. The difference is affective, but it is also ecological: the world’s climate is dramatically changing. Winter itself is changing.Donato Mancini has collected over eighty translations of Villon’s line, from Thomas Urquhart’s 1653 translation of Rabelais’s quotation of the line, all the way up to translations by Florence Dujarric (2013) and Michael Barnholden (2014). From these he has arranged forty – a number that once stood for a countless number, like the forty thieves or the forty years of the biblical flood – into a booklength poem.Taking a cue from Caroline Bergvall’s “Via,” but deviating from it in significant ways, snowline traces how Villon’s line has changed and yet stubbornly stayed the same over six hundred years. It is a meditative and pointedly nostalgiac book: You will grow older as you read it, and the world around you will continue to melt into air. 30 00 “Mais où sont les neiges d’antan?” François Villon’s most famous line is a kind of translation, a variation of the old “ubi sunt” trope: Where are the things that used to be? But Villon specifically asks: Where are the snows? Even in the thick of a snowy winter, this snow is not the same as the remembered snows. The difference is affective, but it is also ecological: the world’s climate is dramatically changing. Winter itself is changing.Donato Mancini has collected over eighty translations of Villon’s line, from Thomas Urquhart’s 1653 translation of Rabelais’s quotation of the line, all the way up to translations by Florence Dujarric (2013) and Michael Barnholden (2014). From these he has arranged forty – a number that once stood for a countless number, like the forty thieves or the forty years of the biblical flood – into a booklength poem.Taking a cue from Caroline Bergvall’s “Via,” but deviating from it in significant ways, snowline traces how Villon’s line has changed and yet stubbornly stayed the same over six hundred years. It is a meditative and pointedly nostalgiac book: You will grow older as you read it, and the world around you will continue to melt into air. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0093.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/snowline/ Brooklyn, NY 04 01 20150215 Mancini, Donato 02 WORLD 06 15 9780692374528 03 9780692374528 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25528 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25528/1004567.pdf?sequence=1&isAllowed=y 20 08 20150215 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35612 20 08 20150215 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354017 20 08 20150215 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/476 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/16345212-29c2-4dea-a262-6f1e11a0eeac/download 20 08 20150215 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Snowline/xG2oEAAAQBAJ 20 08 20150215 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/34584bfe-1cf8-49c5-b8d1-6302ea1cfcfa 29 INTERNET_ARCHIVE: download the title https://archive.org/download/34584bfe-1cf8-49c5-b8d1-6302ea1cfcfa/34584bfe-1cf8-49c5-b8d1-6302ea1cfcfa.pdf 20 08 20150215 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846150 29 ZENODO: download the title https://zenodo.org/records/19846150/files/34584bfe-1cf8-49c5-b8d1-6302ea1cfcfa_book.pdf 20 08 20150215 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/snowline/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0093.1.00.pdf 20 08 20150215 01 urn:uuid:509717f9-13c2-4ad1-a86f-7d3585aa2588 03 01 01 thoth-work-id urn:uuid:1603556c-53fc-4d14-b0bf-8c18ad7b24ab 01 thoth-publication-id urn:uuid:509717f9-13c2-4ad1-a86f-7d3585aa2588 15 9781685710545 03 9781685710545 06 10.53288/0374.1.00 13 2023935929 01 internal-reference 0374 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Social and Intellectual Networking in the Early Middle Ages 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University 2 B01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College 01 eng 00 248 03 12 3F 93 3KH 10 HIS054000 B2 History 93 1D 12 1D 10 HIS037010 B2 Literary Studies 93 JHBA 12 JHBA B2 Premodern 20 Early Middle Ages; social networks; history; Visigoths 01 06 02 00 03 00 Social and Intellectual Networking in the Early Middle Ages seeks to expand our understanding of early medieval connectivity by interrogating social and intellectual collaborations, competitions, and communications among persons, places, things, and ideas in the European and Mediterranean West during the second half of the first millennium CE. In so doing, its contributors explore the existence, performance, and sustainability of diverse political, scholarly, ecclesiastical, and material networks via manuscripts, artifacts, and theories framed by two broad interpretive categories. The first examines networks of scholars, writers, and the social and political histories related to their productions. The second imagines the transmission of “knowledge” as information, rhetoric, object, and epistemic grounding. In addition, the book rigorously investigates the theoretical possibilities and problems of researching early medieval networks, attempts to re-construct historical networks, and critically analyzes the concept of “information.” 30 00 Social and Intellectual Networking in the Early Middle Ages seeks to expand our understanding of early medieval connectivity by interrogating social and intellectual collaborations, competitions, and communications among persons, places, things, and ideas in the European and Mediterranean West during the second half of the first millennium CE. In so doing, its contributors explore the existence, performance, and sustainability of diverse political, scholarly, ecclesiastical, and material networks via manuscripts, artifacts, and theories framed by two broad interpretive categories. The first examines networks of scholars, writers, and the social and political histories related to their productions. The second imagines the transmission of “knowledge” as information, rhetoric, object, and epistemic grounding. In addition, the book rigorously investigates the theoretical possibilities and problems of researching early medieval networks, attempts to re-construct historical networks, and critically analyzes the concept of “information.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0374.1.00_frontcover.jpg 1 03 06 10.53288/0374.1.01 1 11 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours. His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the co-edited volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 2 B01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College K. Patrick Fazioli is an Associate Professor in the Department of Humanities and Co-Director of the Global Honors Program at Mercy College (NY). An anthropological archaeologist focusing on the late antique and early medieval eastern Alpine region, he is the author of The Mirror of the Medieval: An Anthropology of the Western Historical Imagination (New York: Berghahn Books, 2017). 01 eng 20 00 Open Access Michael J. Kelly & K. Patrick Fazzioli 2 03 06 10.53288/0374.1.02 13 26 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface The Visigothic Idea: Are the Visigoths Still Networking? 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours. His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the co-edited volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0374.1.03 27 36 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000207253575 Sven Meeder Sven Meeder 40 016xsfp80 Radboud University, Nijmegen Sven Meeder is lecturer in Medieval History at the Radboud University. He currently leads the project “A Living Law: Minor Canonical Collections in the Carolingian Period” (funded by the Gerda Henkel Foundation) and was project leader of “Networks of Knowledge: The Spread of Scholarship in the Carolingian Era” (2013–2017, funded by the Dutch Research Council). 01 eng 20 00 Open Access Sven Meeder 4 03 06 10.53288/0374.1.04 37 68 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modeling the Middle Ages A Review of Historical Network Research on Medieval Europe and the Mediterranean World 1 A01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College K. Patrick Fazioli is an Associate Professor in the Department of Humanities and Co-Director of the Global Honors Program at Mercy College (NY). An anthropological archaeologist focusing on the late antique and early medieval eastern Alpine region, he is the author of The Mirror of the Medieval: An Anthropology of the Western Historical Imagination (New York: Berghahn Books, 2017). 01 eng 20 00 Open Access K. Patrick Fazioli 5 03 06 10.53288/0374.1.05 69 91 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carolingian Schoolbooks and Intellectual Networks A New Approach 1 A01 Elizabeth P. Archibald Elizabeth P. Archibald 40 01an3r305 University of Pittsburgh Elizabeth P. Archibald is a lecturer in the Department of History of the University of Pittsburgh. She holds a PhD in History from Yale University, and her research focuses on the history of education and literacy in early medieval Europe. She has published on topics including school texts in the medieval curriculum, women’s book ownership, and the use of dialogues in early pedagogy. She is co-editor of Learning Me Your Language: Latin and Greek as Second Languages from Antiquity to the Present Day (Cambridge: Cambridge University Press, 2015). 01 eng 20 00 Open Access Elizabeth P. Archibald 6 03 06 10.53288/0374.1.06 93 115 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Politics of Intellectual Networks in Late Merovingian Francia 1 A01 21 0000000303681756 Yitzhak Hen Yitzhak Hen 40 03qxff017 Hebrew University of Jerusalem 40 01140r423 Israel Institute for Advanced Studies Yitzhak Hen is Professor of Late Antique and Early Medieval History at The Hebrew University of Jerusalem, and the Director of the Israel Institute for Advanced Studies. 01 eng 20 00 Open Access Yitzhak Hen 7 03 06 10.53288/0374.1.07 117 159 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Networks of Learning and Political Legitimacy in Ninth-Century Asturias Toward Mozarabic Authorship of the "Chronicle of Alfonso III" 1 A01 Ksenia Bonch Reeves Ksenia Bonch Reeves 40 04qk6pt94 Wright State University Ksenia Bonch Reeves is Professor of Spanish and Chair of the Department of Modern Languages at Wright State University. She the author of Visions of Unity after the Visigoths: Early Iberian Latin Chronicles and the Mediterranean World (Turnhout: Brepols, 2016) and has published semi-paleographic editions of Old Castilian chronicles and legal texts. Her research interests include Medieval Iberian chronicle writing, Iberian Latin culture, law and literature, travel narratives, and the transition from Medieval to Renaissance culture with a particular focus on Spanish mysticism. 01 eng 20 00 Open Access Ksenia Bonch Reeves 8 03 06 10.53288/0374.1.08 161 190 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Novalesa’s Networks between Gaul and Italy Restoring Institutional Memories and Libraries in the Twilight of the Early Middle Ages 1 A01 21 0000000214161222 Edward M. Schoolman Edward M. Schoolman 40 01keh0577 University of Nevada Reno Edward M. Schoolman teaches at the University of Nevada, Reno, where he focuses on the late antique and early medieval Mediterranean. He published a monograph, Rediscovering Sainthood in Italy: Hagiography and the Late Antique Past in Medieval Ravenna (New York: Palgrave Macmillan, 2016), and is currently working on new book project on Greek identity; as part of an interdisciplinary team, his research extends into the interconnections between history and ecology in Italy. 01 eng 20 00 Open Access Edward M. Schoolman 9 03 06 10.53288/0374.1.09 191 235 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Early Reception History of the First Book of Isidore’s "Etymologies" as a Mirror of Carolingian Intellectual Networks A Proposal 1 A01 21 0000000194284013 Evina Steinová Evina Steinová 40 04x6kq749 Huygens Institute for the History of the Netherlands (KNAW) Evina Steinová is a postdoctoral researcher at the Huygens Institute in Amsterdam. Her research centers on early medieval intellectual life, early medieval manuscripts and written culture, and on the diffusion of innovations during the Carolingian period. She is keenly interested in applying digital and statistical methods to traditional humanities subjects. Evina received her PhD in Medieval Studies from Utrecht University. Her most recent book Notam superponere studui: The Use of Annotation Symbols in the Early Middle Ages (Turnhout: Brepols, 2019) maps the landscape of annotation symbols used in the early medieval Latin West. 01 eng 20 00 Open Access Evina Steinová 10 03 06 10.53288/0374.1.10 237 243 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours. His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the co-edited volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 2 B01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College K. Patrick Fazioli is an Associate Professor in the Department of Humanities and Co-Director of the Global Honors Program at Mercy College (NY). An anthropological archaeologist focusing on the late antique and early medieval eastern Alpine region, he is the author of The Mirror of the Medieval: An Anthropology of the Western Historical Imagination (New York: Berghahn Books, 2017). 01 eng 20 00 Open Access Michael J. Kelly & K. Patrick Fazzioli 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/social-and-intellectual-networking-in-the-early-middle-ages/ Earth, Milky Way 04 01 20230504 Michael J. Kelly & K. Patrick Fazzioli 02 WORLD 06 15 9781685710552 03 9781685710552 34 06 10.12775/OM.2015.002 34 06 10.12681/historein.61 34 06 10.1163/9789047408925 34 06 10.1484/M.CELAMA-EB.5.116688 34 06 10.1111/j.1744-7984.2008.00190.x 34 06 10.1484/M.CELAMA-EB.5.116687 34 06 10.3138/9781442688117 34 06 10.1017/9789048526765.007 34 06 10.1162/JINH_a_00535 34 06 10.14361/transcript.9783839425954 34 06 10.1016/j.neucom.2007.12.026 34 06 10.1016/j.jasrep.2017.11.033 34 06 10.1002/9781119188230.saseas0402 34 06 10.1038/news.2008.839 34 06 10.1371/journal.pone.0162678 34 06 10.1080/14780038.2019.1661556 34 06 10.1515/9783110553390 34 06 10.1111/j.1471-0374.2011.00355.x 34 06 10.1177/0735275113501998 34 06 10.12759/hsr.43.2018.1.110-143 34 06 10.1038/srep43467 34 06 10.1093/gerhis/ghy049 34 06 10.1017/S0020818309090195 34 06 10.1037/10628-000 34 06 10.1353/cat.2018.0024 34 06 10.1484/M.RURHE-EB.4.00198 34 06 10.1209/0295-5075/99/28002 34 06 10.1163/9789004364950_013 34 06 10.1126/science.1234316 34 06 10.1037/10648-000 34 06 10.1016/j.physa.2004.03.020 34 06 10.1086/230190 34 06 10.1086/498470 34 06 10.1353/jla.2015.0009 34 06 10.1111/j.0033-0124.1965.015_m.x 34 06 10.3366/ijhac.2014.0121 34 06 10.16995/dm.52 34 06 10.1353/jla.2014.0034 34 06 10.1017/S096392680500297X 34 06 10.1093/acprof:o 34 06 10.1080/00293650701327619 34 06 10.1111/j.1467-9671.2012.01369.x 34 06 10.1371/journal.pcbi.1000100 34 06 10.1016/j.jmedhist.2008.10.001 34 06 10.1017/CBO9780511618185 34 06 10.1016/j.quaint.2017.03.009 34 06 10.1017/S0020859000115123 34 06 10.1007/978-3-7091-0741-6 34 06 10.1017/9781108866804 34 06 10.1093/llc/fqv038 34 06 10.1484/J.JML.5.103276 34 06 10.1111/1468-2281.12198 34 06 10.1093/oso/9780198818489.003.0005 34 06 10.1017/S0263675100001320 34 06 10.1163/9789004254824 34 06 10.1111/emed.12132 34 06 10.7767/zrgga.1952.69.1.1 34 06 10.7767/zrgga.1908.29.1.239 34 06 10.4000/books.pur.131820 34 06 10.3406/ana-mi.1979.1762 34 06 10.1002/9781444306101.ch19 34 06 10.1093/oxfordhb/9780195336931.013.0025 34 06 10.3406/rbph.2012.8320 34 06 10.1093/oxford-hb/9780190234188.013.17 34 06 10.1484/M.SEM-EB.3.3819 34 06 10.1484/M.SEM-EB.3.3818 34 06 10.3998/mpub.353844 34 06 10.1017/CBO9780511763267.024 34 06 10.1484/M.PJML-EB.5.116644 34 06 10.1080/13507486.2014.949223 34 06 10.1017/CBO9780511584008.005 34 06 10.4000/books.psorbonne.2512 34 06 10.5209/rev_GERI.2015.v33.50983 34 06 10.1080/14753820.2011.574357 34 06 10.1484/M.CURSOR-EB.5.111940 34 06 10.1515/9783110574128-006 34 06 10.1002/9781118273968 34 06 10.1017/CBO9781139177993.004 34 06 10.3989/hs.1999.v51.i103.600 34 06 10.1525/9780520342767 34 06 10.4000/e-spania.20335 34 06 10.4000/e-spania.329 34 06 10.4000/books.pumi.38158 34 06 10.1353/cor.2004.0026 34 06 10.4000/books.psorbonne.2511 34 06 10.1484/J.RB.5.100498 34 06 10.1017/CBO9780511496271 34 06 10.2307/j.ctvnb7nbt.13 34 06 10.1093/acprof:oso/9780199210718.001.0001 34 06 10.1017/CBO9780511617003 34 06 10.1111/1468-0254.00051 34 06 10.1007/978-1-349-00705-9_7 34 06 10.1093/acprof:oso/9780195389333.001.0001 34 06 10.1017/9781787441446.004 34 06 10.1017/S0038713415000275 34 06 10.4324/9780429400551-7 34 06 10.7591/cornell/9780801451713.001.0001 34 06 10.3828/978-1-78138-293-6 34 06 10.4000/crm.10452 34 06 10.3406/ecelt.1979.1628 34 06 10.1484/J.Peri.3.54 34 06 10.4000/abpo.1229 34 06 10.1484/J.JML.2.303227 34 06 10.1484/M.SEM-EB.3.4698 34 06 10.1484/J.REA.5.131239 34 06 10.3406/mefr.1966.7523 34 06 10.1017/9789048526765.007 34 06 10.17613/m6k5-5622 34 06 10.1016/S0304-422X(03)00035-4 34 06 10.3406/rbph.2005.4924 34 06 10.5565/rev/redes.420 34 06 10.1017/CBO9780511552014 34 06 10.14267/CJSSP.2016.02.04 34 06 10.1515/opar-2017-0007 34 06 10.3406/rnord.1986.4215 34 06 10.3917/rhis.073.0553 34 06 10.1093/jts/47.2.477 34 06 10.1017/CBO9780511809927 34 06 10.1017/S0009838800019273 34 06 10.4000/crm.1082 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710549 20 08 20230504 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/social-and-intellectual-networking-in-the-early-middle-ages 20 08 20230504 02 24.00 USD WORLD urn:uuid:b850da75-2e1b-4cec-8011-cabd3da9896e 03 01 01 thoth-work-id urn:uuid:1603556c-53fc-4d14-b0bf-8c18ad7b24ab 01 thoth-publication-id urn:uuid:b850da75-2e1b-4cec-8011-cabd3da9896e 15 9781685710552 03 9781685710552 06 10.53288/0374.1.00 13 2023935929 01 internal-reference 0374 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Social and Intellectual Networking in the Early Middle Ages 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University 2 B01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College 01 eng 00 248 03 12 3F 93 3KH 10 HIS054000 B2 History 93 1D 12 1D 10 HIS037010 B2 Literary Studies 93 JHBA 12 JHBA B2 Premodern 20 Early Middle Ages; social networks; history; Visigoths 01 06 02 00 03 00 Social and Intellectual Networking in the Early Middle Ages seeks to expand our understanding of early medieval connectivity by interrogating social and intellectual collaborations, competitions, and communications among persons, places, things, and ideas in the European and Mediterranean West during the second half of the first millennium CE. In so doing, its contributors explore the existence, performance, and sustainability of diverse political, scholarly, ecclesiastical, and material networks via manuscripts, artifacts, and theories framed by two broad interpretive categories. The first examines networks of scholars, writers, and the social and political histories related to their productions. The second imagines the transmission of “knowledge” as information, rhetoric, object, and epistemic grounding. In addition, the book rigorously investigates the theoretical possibilities and problems of researching early medieval networks, attempts to re-construct historical networks, and critically analyzes the concept of “information.” 30 00 Social and Intellectual Networking in the Early Middle Ages seeks to expand our understanding of early medieval connectivity by interrogating social and intellectual collaborations, competitions, and communications among persons, places, things, and ideas in the European and Mediterranean West during the second half of the first millennium CE. In so doing, its contributors explore the existence, performance, and sustainability of diverse political, scholarly, ecclesiastical, and material networks via manuscripts, artifacts, and theories framed by two broad interpretive categories. The first examines networks of scholars, writers, and the social and political histories related to their productions. The second imagines the transmission of “knowledge” as information, rhetoric, object, and epistemic grounding. In addition, the book rigorously investigates the theoretical possibilities and problems of researching early medieval networks, attempts to re-construct historical networks, and critically analyzes the concept of “information.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0374.1.00_frontcover.jpg 1 03 06 10.53288/0374.1.01 1 11 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours. His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the co-edited volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 2 B01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College K. Patrick Fazioli is an Associate Professor in the Department of Humanities and Co-Director of the Global Honors Program at Mercy College (NY). An anthropological archaeologist focusing on the late antique and early medieval eastern Alpine region, he is the author of The Mirror of the Medieval: An Anthropology of the Western Historical Imagination (New York: Berghahn Books, 2017). 01 eng 20 00 Open Access Michael J. Kelly & K. Patrick Fazzioli 2 03 06 10.53288/0374.1.02 13 26 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface The Visigothic Idea: Are the Visigoths Still Networking? 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours. His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the co-edited volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0374.1.03 27 36 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000207253575 Sven Meeder Sven Meeder 40 016xsfp80 Radboud University, Nijmegen Sven Meeder is lecturer in Medieval History at the Radboud University. He currently leads the project “A Living Law: Minor Canonical Collections in the Carolingian Period” (funded by the Gerda Henkel Foundation) and was project leader of “Networks of Knowledge: The Spread of Scholarship in the Carolingian Era” (2013–2017, funded by the Dutch Research Council). 01 eng 20 00 Open Access Sven Meeder 4 03 06 10.53288/0374.1.04 37 68 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modeling the Middle Ages A Review of Historical Network Research on Medieval Europe and the Mediterranean World 1 A01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College K. Patrick Fazioli is an Associate Professor in the Department of Humanities and Co-Director of the Global Honors Program at Mercy College (NY). An anthropological archaeologist focusing on the late antique and early medieval eastern Alpine region, he is the author of The Mirror of the Medieval: An Anthropology of the Western Historical Imagination (New York: Berghahn Books, 2017). 01 eng 20 00 Open Access K. Patrick Fazioli 5 03 06 10.53288/0374.1.05 69 91 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carolingian Schoolbooks and Intellectual Networks A New Approach 1 A01 Elizabeth P. Archibald Elizabeth P. Archibald 40 01an3r305 University of Pittsburgh Elizabeth P. Archibald is a lecturer in the Department of History of the University of Pittsburgh. She holds a PhD in History from Yale University, and her research focuses on the history of education and literacy in early medieval Europe. She has published on topics including school texts in the medieval curriculum, women’s book ownership, and the use of dialogues in early pedagogy. She is co-editor of Learning Me Your Language: Latin and Greek as Second Languages from Antiquity to the Present Day (Cambridge: Cambridge University Press, 2015). 01 eng 20 00 Open Access Elizabeth P. Archibald 6 03 06 10.53288/0374.1.06 93 115 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Politics of Intellectual Networks in Late Merovingian Francia 1 A01 21 0000000303681756 Yitzhak Hen Yitzhak Hen 40 03qxff017 Hebrew University of Jerusalem 40 01140r423 Israel Institute for Advanced Studies Yitzhak Hen is Professor of Late Antique and Early Medieval History at The Hebrew University of Jerusalem, and the Director of the Israel Institute for Advanced Studies. 01 eng 20 00 Open Access Yitzhak Hen 7 03 06 10.53288/0374.1.07 117 159 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Networks of Learning and Political Legitimacy in Ninth-Century Asturias Toward Mozarabic Authorship of the "Chronicle of Alfonso III" 1 A01 Ksenia Bonch Reeves Ksenia Bonch Reeves 40 04qk6pt94 Wright State University Ksenia Bonch Reeves is Professor of Spanish and Chair of the Department of Modern Languages at Wright State University. She the author of Visions of Unity after the Visigoths: Early Iberian Latin Chronicles and the Mediterranean World (Turnhout: Brepols, 2016) and has published semi-paleographic editions of Old Castilian chronicles and legal texts. Her research interests include Medieval Iberian chronicle writing, Iberian Latin culture, law and literature, travel narratives, and the transition from Medieval to Renaissance culture with a particular focus on Spanish mysticism. 01 eng 20 00 Open Access Ksenia Bonch Reeves 8 03 06 10.53288/0374.1.08 161 190 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Novalesa’s Networks between Gaul and Italy Restoring Institutional Memories and Libraries in the Twilight of the Early Middle Ages 1 A01 21 0000000214161222 Edward M. Schoolman Edward M. Schoolman 40 01keh0577 University of Nevada Reno Edward M. Schoolman teaches at the University of Nevada, Reno, where he focuses on the late antique and early medieval Mediterranean. He published a monograph, Rediscovering Sainthood in Italy: Hagiography and the Late Antique Past in Medieval Ravenna (New York: Palgrave Macmillan, 2016), and is currently working on new book project on Greek identity; as part of an interdisciplinary team, his research extends into the interconnections between history and ecology in Italy. 01 eng 20 00 Open Access Edward M. Schoolman 9 03 06 10.53288/0374.1.09 191 235 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Early Reception History of the First Book of Isidore’s "Etymologies" as a Mirror of Carolingian Intellectual Networks A Proposal 1 A01 21 0000000194284013 Evina Steinová Evina Steinová 40 04x6kq749 Huygens Institute for the History of the Netherlands (KNAW) Evina Steinová is a postdoctoral researcher at the Huygens Institute in Amsterdam. Her research centers on early medieval intellectual life, early medieval manuscripts and written culture, and on the diffusion of innovations during the Carolingian period. She is keenly interested in applying digital and statistical methods to traditional humanities subjects. Evina received her PhD in Medieval Studies from Utrecht University. Her most recent book Notam superponere studui: The Use of Annotation Symbols in the Early Middle Ages (Turnhout: Brepols, 2019) maps the landscape of annotation symbols used in the early medieval Latin West. 01 eng 20 00 Open Access Evina Steinová 10 03 06 10.53288/0374.1.10 237 243 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours. His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the co-edited volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 2 B01 K. Patrick Fazioli K. Patrick Fazioli 40 02s99ck98 Mercy College K. Patrick Fazioli is an Associate Professor in the Department of Humanities and Co-Director of the Global Honors Program at Mercy College (NY). An anthropological archaeologist focusing on the late antique and early medieval eastern Alpine region, he is the author of The Mirror of the Medieval: An Anthropology of the Western Historical Imagination (New York: Berghahn Books, 2017). 01 eng 20 00 Open Access Michael J. Kelly & K. Patrick Fazzioli 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/social-and-intellectual-networking-in-the-early-middle-ages/ Earth, Milky Way 04 01 20230504 Michael J. Kelly & K. Patrick Fazzioli 02 WORLD 06 15 9781685710545 03 9781685710545 34 06 10.12775/OM.2015.002 34 06 10.12681/historein.61 34 06 10.1163/9789047408925 34 06 10.1484/M.CELAMA-EB.5.116688 34 06 10.1111/j.1744-7984.2008.00190.x 34 06 10.1484/M.CELAMA-EB.5.116687 34 06 10.3138/9781442688117 34 06 10.1017/9789048526765.007 34 06 10.1162/JINH_a_00535 34 06 10.14361/transcript.9783839425954 34 06 10.1016/j.neucom.2007.12.026 34 06 10.1016/j.jasrep.2017.11.033 34 06 10.1002/9781119188230.saseas0402 34 06 10.1038/news.2008.839 34 06 10.1371/journal.pone.0162678 34 06 10.1080/14780038.2019.1661556 34 06 10.1515/9783110553390 34 06 10.1111/j.1471-0374.2011.00355.x 34 06 10.1177/0735275113501998 34 06 10.12759/hsr.43.2018.1.110-143 34 06 10.1038/srep43467 34 06 10.1093/gerhis/ghy049 34 06 10.1017/S0020818309090195 34 06 10.1037/10628-000 34 06 10.1353/cat.2018.0024 34 06 10.1484/M.RURHE-EB.4.00198 34 06 10.1209/0295-5075/99/28002 34 06 10.1163/9789004364950_013 34 06 10.1126/science.1234316 34 06 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https://archive.org/download/1603556c-53fc-4d14-b0bf-8c18ad7b24ab/1603556c-53fc-4d14-b0bf-8c18ad7b24ab.pdf 20 08 20230504 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849799 29 ZENODO: download the title https://zenodo.org/records/19849799/files/1603556c-53fc-4d14-b0bf-8c18ad7b24ab_book.pdf 20 08 20230504 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/social-and-intellectual-networking-in-the-early-middle-ages/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0374.1.00.pdf 20 08 20230504 01 urn:uuid:7daca530-8fa2-421a-83cc-7eef31ea9302 03 01 01 thoth-work-id urn:uuid:65ba0747-ff5b-4299-9d41-7e940e19b8be 01 thoth-publication-id urn:uuid:7daca530-8fa2-421a-83cc-7eef31ea9302 15 9780998531830 03 9780998531830 06 10.21983/P3.0165.1.00 01 internal-reference 0165 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Solar Calendar, And Other Ways of Marking Time 1 A01 Jeremy Bendik-Keymer Jeremy Bendik-Keymer 40 051fd9666 Case Western Reserve University 01 eng 00 348 03 B2 Autotheory 12 BM 10 PHI005000 93 QDHR B2 Philosophy 20 philosophy; ethics; ecology; memoir; poetry; aphorisms 01 06 02 00 03 00 At the end of his life, Pierre Hadot was a professor at the Collège de France — a “professor’s professor” — and he helped Michel Foucault, most famously, conceptualize ethics. Hadot devoted his career to recovering the ancient conception of philosophy, according to which the discourses of universities are but a fragment of what philosophy is. His engagement with this theme helped Bendik-Keymer understand and develop a personal counter-culture to his academic work, a kind of original academics truer to the idea of the philosophical school Plato first developed in his Ἀκαδήµεια. But while Plato’s school developed a useful form of life, it had an ambivalent relation to democracy and to everyday people. Whereas Plato was in some ways one of the first egalitarians by merit (especially concerning women), he was also deeply classist in his categorization of intellectual potentials. He effectively thought some people were stupid by nature, having no philosophical worth. Hence the Ἀκαδήµεια existed outside the city, in practice exclusive and somewhat sequestered. To some extent, Plato’s vision of philosophy — at least as explained by Hadot — had the practical point of philosophy right, but this point still needed to be rendered thoroughly democratic in the polyphony and multiple intelligences of people. Doing so coheres with what Foucault was after in his application of Hadot. It is also what Bendik-Keymer is after — to extract what is good from original academics and make it democratic, as opposed to dumbing people down. 30 00 At the end of his life, Pierre Hadot was a professor at the Collège de France — a “professor’s professor” — and he helped Michel Foucault, most famously, conceptualize ethics. Hadot devoted his career to recovering the ancient conception of philosophy, according to which the discourses of universities are but a fragment of what philosophy is. His engagement with this theme helped Bendik-Keymer understand and develop a personal counter-culture to his academic work, a kind of original academics truer to the idea of the philosophical school Plato first developed in his Ἀκαδήµεια. But while Plato’s school developed a useful form of life, it had an ambivalent relation to democracy and to everyday people. Whereas Plato was in some ways one of the first egalitarians by merit (especially concerning women), he was also deeply classist in his categorization of intellectual potentials. He effectively thought some people were stupid by nature, having no philosophical worth. Hence the Ἀκαδήµεια existed outside the city, in practice exclusive and somewhat sequestered. To some extent, Plato’s vision of philosophy — at least as explained by Hadot — had the practical point of philosophy right, but this point still needed to be rendered thoroughly democratic in the polyphony and multiple intelligences of people. Doing so coheres with what Foucault was after in his application of Hadot. It is also what Bendik-Keymer is after — to extract what is good from original academics and make it democratic, as opposed to dumbing people down. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0165.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/solar-calendar/ Earth, Milky Way 04 01 20170224 Bendik-Keymer, Jeremy 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998531839 20 08 20170224 02 57.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/solar-calendar-and-other-ways-of-marking-time 20 08 20170224 02 57.00 USD WORLD urn:uuid:a3da067e-8900-47d6-85f7-ce4f9f07787e 03 01 01 thoth-work-id urn:uuid:65ba0747-ff5b-4299-9d41-7e940e19b8be 01 thoth-publication-id urn:uuid:a3da067e-8900-47d6-85f7-ce4f9f07787e 06 10.21983/P3.0165.1.00 01 internal-reference 0165 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Solar Calendar, And Other Ways of Marking Time 1 A01 Jeremy Bendik-Keymer Jeremy Bendik-Keymer 40 051fd9666 Case Western Reserve University 01 eng 00 348 03 B2 Autotheory 12 BM 10 PHI005000 93 QDHR B2 Philosophy 20 philosophy; ethics; ecology; memoir; poetry; aphorisms 01 06 02 00 03 00 At the end of his life, Pierre Hadot was a professor at the Collège de France — a “professor’s professor” — and he helped Michel Foucault, most famously, conceptualize ethics. Hadot devoted his career to recovering the ancient conception of philosophy, according to which the discourses of universities are but a fragment of what philosophy is. His engagement with this theme helped Bendik-Keymer understand and develop a personal counter-culture to his academic work, a kind of original academics truer to the idea of the philosophical school Plato first developed in his Ἀκαδήµεια. But while Plato’s school developed a useful form of life, it had an ambivalent relation to democracy and to everyday people. Whereas Plato was in some ways one of the first egalitarians by merit (especially concerning women), he was also deeply classist in his categorization of intellectual potentials. He effectively thought some people were stupid by nature, having no philosophical worth. Hence the Ἀκαδήµεια existed outside the city, in practice exclusive and somewhat sequestered. To some extent, Plato’s vision of philosophy — at least as explained by Hadot — had the practical point of philosophy right, but this point still needed to be rendered thoroughly democratic in the polyphony and multiple intelligences of people. Doing so coheres with what Foucault was after in his application of Hadot. It is also what Bendik-Keymer is after — to extract what is good from original academics and make it democratic, as opposed to dumbing people down. 30 00 At the end of his life, Pierre Hadot was a professor at the Collège de France — a “professor’s professor” — and he helped Michel Foucault, most famously, conceptualize ethics. Hadot devoted his career to recovering the ancient conception of philosophy, according to which the discourses of universities are but a fragment of what philosophy is. His engagement with this theme helped Bendik-Keymer understand and develop a personal counter-culture to his academic work, a kind of original academics truer to the idea of the philosophical school Plato first developed in his Ἀκαδήµεια. But while Plato’s school developed a useful form of life, it had an ambivalent relation to democracy and to everyday people. Whereas Plato was in some ways one of the first egalitarians by merit (especially concerning women), he was also deeply classist in his categorization of intellectual potentials. He effectively thought some people were stupid by nature, having no philosophical worth. Hence the Ἀκαδήµεια existed outside the city, in practice exclusive and somewhat sequestered. To some extent, Plato’s vision of philosophy — at least as explained by Hadot — had the practical point of philosophy right, but this point still needed to be rendered thoroughly democratic in the polyphony and multiple intelligences of people. Doing so coheres with what Foucault was after in his application of Hadot. It is also what Bendik-Keymer is after — to extract what is good from original academics and make it democratic, as opposed to dumbing people down. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0165.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/solar-calendar/ Earth, Milky Way 04 01 20170224 Bendik-Keymer, Jeremy 02 WORLD 06 15 9780998531830 03 9780998531830 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25462 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25462/1004633.pdf?sequence=1&isAllowed=y 20 08 20170224 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30761 20 08 20170224 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353981 20 08 20170224 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/549 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ccaccaf6-1d0a-4b5b-8cad-d16f2984e068/download 20 08 20170224 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Solar_Calendar/PgOVEAAAQBAJ 20 08 20170224 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/65ba0747-ff5b-4299-9d41-7e940e19b8be 29 INTERNET_ARCHIVE: download the title https://archive.org/download/65ba0747-ff5b-4299-9d41-7e940e19b8be/65ba0747-ff5b-4299-9d41-7e940e19b8be.pdf 20 08 20170224 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846828 29 ZENODO: download the title https://zenodo.org/records/19846828/files/65ba0747-ff5b-4299-9d41-7e940e19b8be_book.pdf 20 08 20170224 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/solar-calendar/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0165.1.00.pdf 20 08 20170224 01 urn:uuid:04b6524c-aab0-4806-a9da-2176d62eb050 03 01 01 thoth-work-id urn:uuid:bd78286d-43e0-4561-8279-94b629ddb4fd 01 thoth-publication-id urn:uuid:04b6524c-aab0-4806-a9da-2176d62eb050 15 9781947447936 03 9781947447936 06 10.21983/P3.0235.1.00 13 2018963381 01 internal-reference 0235 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Queer Ancient Ways A Decolonial Exploration 1 A01 Zairong Xiang Zairong Xiang 40 03bnmw459 University of Potsdam 40 00py81415 Duke University 01 eng 00 266 03 93 JBSJ 12 JFSK B2 Languages+Translations 10 LIT004160 10 LIT004190 93 NHTQ B2 TransQueer 93 QRRT1 93 QRS 20 decolonialism; Nahua mythology; Babylonian mythology; queer studies; creation myths; intersectionality 01 06 02 00 03 00 Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang’s work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.At the heart of Xiang’s argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination. 30 00 Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang’s work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.At the heart of Xiang’s argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0235.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-ancient-ways-a-decolonial-exploration/ Earth, Milky Way 04 01 20181204 Xiang, Zairong 02 WORLD 06 15 9781947447943 03 9781947447943 34 06 10.1177/096673500000002410 34 06 10.2307/1229039 34 06 10.1215/00382876-1472612 34 06 10.2307/3269663 34 06 10.1353/hcs.2011.0060 34 06 10.1086/370863 34 06 10.1086/370777 34 06 10.1215/00141801-2007-062 34 06 10.2307/3049459 34 06 10.1353/mln.0.0243 34 06 10.2979/fsr.2009.25.2.25 34 06 10.1086/369534 34 06 10.2307/2081168 34 06 10.1111/j.1468-0424.1990.tb00073.x 34 06 10.1080/09502380601164353.258 34 06 10.2307/3177651 34 06 10.1111/j.1468-0424.2010.01610.x 34 06 10.1086/ahr.114.5.1340 34 06 10.1215/00141801-2006-038 34 06 10.1177/002193478401400305 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447939 20 08 20181204 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/queer-ancient-ways-a-decolonial-exploration 20 08 20181204 02 24.00 USD WORLD urn:uuid:665788c8-868c-4784-8149-3ed4e3bfbfc9 03 01 01 thoth-work-id urn:uuid:bd78286d-43e0-4561-8279-94b629ddb4fd 01 thoth-publication-id urn:uuid:665788c8-868c-4784-8149-3ed4e3bfbfc9 15 9781947447943 03 9781947447943 06 10.21983/P3.0235.1.00 13 2018963381 01 internal-reference 0235 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Queer Ancient Ways A Decolonial Exploration 1 A01 Zairong Xiang Zairong Xiang 40 03bnmw459 University of Potsdam 40 00py81415 Duke University 01 eng 00 266 03 93 JBSJ 12 JFSK B2 Languages+Translations 10 LIT004160 10 LIT004190 93 NHTQ B2 TransQueer 93 QRRT1 93 QRS 20 decolonialism; Nahua mythology; Babylonian mythology; queer studies; creation myths; intersectionality 01 06 02 00 03 00 Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang’s work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.At the heart of Xiang’s argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination. 30 00 Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang’s work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.At the heart of Xiang’s argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0235.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-ancient-ways-a-decolonial-exploration/ Earth, Milky Way 04 01 20181204 Xiang, Zairong 02 WORLD 06 15 9781947447936 03 9781947447936 34 06 10.1177/096673500000002410 34 06 10.2307/1229039 34 06 10.1215/00382876-1472612 34 06 10.2307/3269663 34 06 10.1353/hcs.2011.0060 34 06 10.1086/370863 34 06 10.1086/370777 34 06 10.1215/00141801-2007-062 34 06 10.2307/3049459 34 06 10.1353/mln.0.0243 34 06 10.2979/fsr.2009.25.2.25 34 06 10.1086/369534 34 06 10.2307/2081168 34 06 10.1111/j.1468-0424.1990.tb00073.x 34 06 10.1080/09502380601164353.258 34 06 10.2307/3177651 34 06 10.1111/j.1468-0424.2010.01610.x 34 06 10.1086/ahr.114.5.1340 34 06 10.1215/00141801-2006-038 34 06 10.1177/002193478401400305 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25395 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25395/1004700.pdf?sequence=1&isAllowed=y 20 08 20181204 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28328 20 08 20181204 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1r7874v 20 08 20181204 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/598 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b1053ede-8544-41f2-88bb-3155cd31d5b0/download 20 08 20181204 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bd78286d-43e0-4561-8279-94b629ddb4fd 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bd78286d-43e0-4561-8279-94b629ddb4fd/bd78286d-43e0-4561-8279-94b629ddb4fd.pdf 20 08 20181204 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847571 29 ZENODO: download the title https://zenodo.org/records/19847571/files/bd78286d-43e0-4561-8279-94b629ddb4fd_book.pdf 20 08 20181204 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/queer-ancient-ways-a-decolonial-exploration/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0235.1.00.pdf 20 08 20181204 01 urn:uuid:0a567349-bd00-4d62-8f7f-13f0b1de4b8f 03 01 01 thoth-work-id urn:uuid:f940465f-2a20-40b4-bc1c-cd4670893ce4 01 thoth-publication-id urn:uuid:0a567349-bd00-4d62-8f7f-13f0b1de4b8f 15 9781685710248 03 9781685710248 06 10.53288/0328.1.00 13 2022932939 01 internal-reference 0328 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Queer and Bookish Eve Kosofsky Sedgwick as Book Artist 1 A01 21 0000000250324965 Jason Edwards Jason Edwards 40 04m01e293 University of York 01 eng 00 438 03 B2 Art+Aesthetics 10 SOC064000 12 WFT 93 WFT 10 DES001000 93 JBSJ 12 JFSK B2 Literary Studies 93 DSBJ B2 TransQueer 20 queer studies; book art; AIDS; pandas; photography; literary studies; Eve Kosofsky Sedgwick 01 06 02 00 03 00 Queer and Bookish: Eve Kosofksy Sedgwick as Book Artist represents the first book-length study to explore the intersections of Sedgwick’s critical writing, poetry, and, most importantly, book art, making the case that her art criticism, especially her meditations on domestic and nineteenth-century photography, and “artist’s book” projects are as formally complex and brilliant, conceptually significant and life-changing, as her literary criticism and theory. In addition, the book represents a significant intervention into recent debates about reparative reading, surface reading, and the descriptive turn across the humanities, because of its sustained, positive accounts on Sedgwick’s books as visual, textural, and material objects.The book ranges across Sedgwick’s published output, from The Coherence of Gothic Conventions (1980) to the posthumously published The Weather in Proust (2011), and features her meditations on a wide variety of art-historical topoi, including Judith Scott’s queer/crip fiber art; the anality of Polykleitos’s Doryphorus; queer Modernist typography; Piranesi’s punitive space; Duncan Grant and Vanessa Bell’s queer holy family; Manet’s frontality and thalassic aesthetics; fat and thin aesthetics of various stripes; and the queer photography of Anna Atkins, Clementina Hawarden, and Julia Margaret Cameron; Baron De Mayer, Eugene Atget, and P.H. Emerson; as well as David Hockney, Ken Brown, and her own father, a NASA lunar photographer. The book climaxes with two chapter-length explorations of Sedgwick’s own late-life book-art practice: her panda Valentine alphabet cards (c. 1996) and her Last Days of Pompeii/Cavafy unique artist’s book (c. 2007). 30 00 Queer and Bookish: Eve Kosofksy Sedgwick as Book Artist represents the first book-length study to explore the intersections of Sedgwick’s critical writing, poetry, and, most importantly, book art, making the case that her art criticism, especially her meditations on domestic and nineteenth-century photography, and “artist’s book” projects are as formally complex and brilliant, conceptually significant and life-changing, as her literary criticism and theory. In addition, the book represents a significant intervention into recent debates about reparative reading, surface reading, and the descriptive turn across the humanities, because of its sustained, positive accounts on Sedgwick’s books as visual, textural, and material objects.The book ranges across Sedgwick’s published output, from The Coherence of Gothic Conventions (1980) to the posthumously published The Weather in Proust (2011), and features her meditations on a wide variety of art-historical topoi, including Judith Scott’s queer/crip fiber art; the anality of Polykleitos’s Doryphorus; queer Modernist typography; Piranesi’s punitive space; Duncan Grant and Vanessa Bell’s queer holy family; Manet’s frontality and thalassic aesthetics; fat and thin aesthetics of various stripes; and the queer photography of Anna Atkins, Clementina Hawarden, and Julia Margaret Cameron; Baron De Mayer, Eugene Atget, and P.H. Emerson; as well as David Hockney, Ken Brown, and her own father, a NASA lunar photographer. The book climaxes with two chapter-length explorations of Sedgwick’s own late-life book-art practice: her panda Valentine alphabet cards (c. 1996) and her Last Days of Pompeii/Cavafy unique artist’s book (c. 2007). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0328.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-and-bookish-eve-kosofksy-sedgwick-as-book-artist/ Earth, Milky Way 04 01 20220303 Edwards, Jason 02 WORLD 06 15 9781685710255 03 9781685710255 34 06 10.1525/rep.2009.108.1.139 34 06 10.1215/10642684-1302325 34 06 10.1057/pcs.2013.15 34 06 10.1632/pmla.2012.127.1.115 34 06 10.1086/605402 34 06 10.1525/rep.2009.108.1.1 34 06 10.1215/10407391-2010-007 34 06 10.2307/778238 34 06 10.1515/ARCA.2006.025 34 06 10.1215/10642684-1729554 34 06 10.1177/0309132510386253 34 06 10.2752/174967809X416279 34 06 10.1215/00138282-51.2.1 34 06 10.1353/crt.2010.0030 34 06 10.1215/10642684-2818552 34 06 10.1080/14797585.2017.1370492 34 06 10.1353/vp.2017.0027 34 06 10.1215/10642684-4157474 34 06 10.2307/778889 34 06 10.1080/02666286.2013.817132 34 06 10.1525/rep.2020.149.1.134 34 06 10.1215/10642684-2006-030 34 06 10.1353/crt.2010.0023 34 06 10.1215/10642684-7-2-265 34 06 10.1162/octo.2010.132.1.71 34 06 10.1353/crt.2010.0041 34 06 10.1086/667428 34 06 10.1177/0263276498015003021 34 06 10.2307/3043766 34 06 10.1632/pmla.2010.125.2.374 34 06 10.1525/rep.2012.119.1.92 34 06 10.2307/466741 34 06 10.1215/00382876-2010-025 34 06 10.1215/00382876-2020-020 34 06 10.1353/crt.2010.0036 34 06 10.1080/07407700600744568 34 06 10.1353/wsq.0.0099 34 06 10.1353/vic.2013.0159 34 06 10.1080/14797585.2017.1370485 34 06 10.1080/0969725X.2018.1435365 34 06 10.1215/10642684 34 06 10.1353/vp.2003.0004 34 06 10.1525/can.2007.22.4.501 34 06 10.1353/nar.2002.0002 34 06 10.1215/10642684-1302343 34 06 10.1215/10642684-5-2-173 34 06 10.1086/421123 34 06 10.2307/466743 34 06 10.1353/crt.2013.0012 34 06 10.1177/1464700113513084.417 34 06 10.1215/08992363-2144688 34 06 10.1353/crt.2010.0022 34 06 10.1080/0950236X.1442400 34 06 10.1525/rep.2009.108.1.1 34 06 10.1525/rep.2016.135.1.1 34 06 10.1215/10642684-9-1-2-79 34 06 10.1215/10642684-2010-021 34 06 10.1215/10642684-9-1-2-1 34 06 10.1632/003081203X67703 34 06 10.1353/crt.2010.0033 34 06 10.1215/10642684-1302334 34 06 10.1215/10642684-3479318 34 06 10.1080/14797585.2017.1370483 34 06 10.1632/pmla.2010.125.2.385 34 06 10.1353/crt.2010.0037 34 06 10.1080/0950236032000050744 34 06 10.1215/00029831-1266099 34 06 10.1215/10407391-2010-012 34 06 10.1215/10642684-9-1-2-25 34 06 10.1080/07407700208571414 34 06 10.1080/07407709608571238 34 06 10.2307/466742 34 06 10.1215/10642684-1302316 34 06 10.1086/448513 34 06 10.2307/3171189 34 06 10.1215/10642684-1302307 34 06 10.1300/J082v27n01_10 34 06 10.2307/2932356 34 06 10.1353/crt.2010.0027 34 06 10.1177/1464700113513083 34 06 10.1177/0263276408090655 34 06 10.1086/448502 34 06 10.1177/1464700113513081a 34 06 10.1353/crt.2010.0019 34 06 10.1215/00267929-61-1-1 34 06 10.2979/victorianstudies.53.2.fm 34 06 10.1632/pmla.2010.125.2.382 34 06 10.1353/hjr.2013.0004 34 06 10.26262/gramma.v16i0.6438 34 06 10.2979/victorianstudies.55.1.7 34 06 10.5406/historypresent.2.1.0095 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710247 20 08 20220303 02 38.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/queer-and-bookish-eve-kosofsky-sedgwick-as-book-artist 20 08 20220303 02 38.00 USD WORLD urn:uuid:ee8e284d-b460-42a2-80d4-ab09ec1bc959 03 01 01 thoth-work-id urn:uuid:f940465f-2a20-40b4-bc1c-cd4670893ce4 01 thoth-publication-id urn:uuid:ee8e284d-b460-42a2-80d4-ab09ec1bc959 15 9781685710255 03 9781685710255 06 10.53288/0328.1.00 13 2022932939 01 internal-reference 0328 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Queer and Bookish Eve Kosofsky Sedgwick as Book Artist 1 A01 21 0000000250324965 Jason Edwards Jason Edwards 40 04m01e293 University of York 01 eng 00 438 03 B2 Art+Aesthetics 10 SOC064000 12 WFT 93 WFT 10 DES001000 93 JBSJ 12 JFSK B2 Literary Studies 93 DSBJ B2 TransQueer 20 queer studies; book art; AIDS; pandas; photography; literary studies; Eve Kosofsky Sedgwick 01 06 02 00 03 00 Queer and Bookish: Eve Kosofksy Sedgwick as Book Artist represents the first book-length study to explore the intersections of Sedgwick’s critical writing, poetry, and, most importantly, book art, making the case that her art criticism, especially her meditations on domestic and nineteenth-century photography, and “artist’s book” projects are as formally complex and brilliant, conceptually significant and life-changing, as her literary criticism and theory. In addition, the book represents a significant intervention into recent debates about reparative reading, surface reading, and the descriptive turn across the humanities, because of its sustained, positive accounts on Sedgwick’s books as visual, textural, and material objects.The book ranges across Sedgwick’s published output, from The Coherence of Gothic Conventions (1980) to the posthumously published The Weather in Proust (2011), and features her meditations on a wide variety of art-historical topoi, including Judith Scott’s queer/crip fiber art; the anality of Polykleitos’s Doryphorus; queer Modernist typography; Piranesi’s punitive space; Duncan Grant and Vanessa Bell’s queer holy family; Manet’s frontality and thalassic aesthetics; fat and thin aesthetics of various stripes; and the queer photography of Anna Atkins, Clementina Hawarden, and Julia Margaret Cameron; Baron De Mayer, Eugene Atget, and P.H. Emerson; as well as David Hockney, Ken Brown, and her own father, a NASA lunar photographer. The book climaxes with two chapter-length explorations of Sedgwick’s own late-life book-art practice: her panda Valentine alphabet cards (c. 1996) and her Last Days of Pompeii/Cavafy unique artist’s book (c. 2007). 30 00 Queer and Bookish: Eve Kosofksy Sedgwick as Book Artist represents the first book-length study to explore the intersections of Sedgwick’s critical writing, poetry, and, most importantly, book art, making the case that her art criticism, especially her meditations on domestic and nineteenth-century photography, and “artist’s book” projects are as formally complex and brilliant, conceptually significant and life-changing, as her literary criticism and theory. In addition, the book represents a significant intervention into recent debates about reparative reading, surface reading, and the descriptive turn across the humanities, because of its sustained, positive accounts on Sedgwick’s books as visual, textural, and material objects.The book ranges across Sedgwick’s published output, from The Coherence of Gothic Conventions (1980) to the posthumously published The Weather in Proust (2011), and features her meditations on a wide variety of art-historical topoi, including Judith Scott’s queer/crip fiber art; the anality of Polykleitos’s Doryphorus; queer Modernist typography; Piranesi’s punitive space; Duncan Grant and Vanessa Bell’s queer holy family; Manet’s frontality and thalassic aesthetics; fat and thin aesthetics of various stripes; and the queer photography of Anna Atkins, Clementina Hawarden, and Julia Margaret Cameron; Baron De Mayer, Eugene Atget, and P.H. Emerson; as well as David Hockney, Ken Brown, and her own father, a NASA lunar photographer. The book climaxes with two chapter-length explorations of Sedgwick’s own late-life book-art practice: her panda Valentine alphabet cards (c. 1996) and her Last Days of Pompeii/Cavafy unique artist’s book (c. 2007). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0328.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-and-bookish-eve-kosofksy-sedgwick-as-book-artist/ Earth, Milky Way 04 01 20220303 Edwards, Jason 02 WORLD 06 15 9781685710248 03 9781685710248 34 06 10.1525/rep.2009.108.1.139 34 06 10.1215/10642684-1302325 34 06 10.1057/pcs.2013.15 34 06 10.1632/pmla.2012.127.1.115 34 06 10.1086/605402 34 06 10.1525/rep.2009.108.1.1 34 06 10.1215/10407391-2010-007 34 06 10.2307/778238 34 06 10.1515/ARCA.2006.025 34 06 10.1215/10642684-1729554 34 06 10.1177/0309132510386253 34 06 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29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/78a412aa-0200-4870-9dfd-e3764890f676/download 20 08 20220303 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Queer_and_Bookish/sAWVEAAAQBAJ 20 08 20220303 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f940465f-2a20-40b4-bc1c-cd4670893ce4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f940465f-2a20-40b4-bc1c-cd4670893ce4/f940465f-2a20-40b4-bc1c-cd4670893ce4.pdf 20 08 20220303 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849252 29 ZENODO: download the title https://zenodo.org/records/19849252/files/f940465f-2a20-40b4-bc1c-cd4670893ce4_book.pdf 20 08 20220303 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/queer-and-bookish-eve-kosofksy-sedgwick-as-book-artist/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0328.1.00.pdf 20 08 20220303 01 urn:uuid:0ba50403-7ed8-4744-8e5b-d2a81b2d3407 03 01 01 thoth-work-id urn:uuid:2af98e3e-7caa-4bb8-8097-df3b0ded803f 01 thoth-publication-id urn:uuid:0ba50403-7ed8-4744-8e5b-d2a81b2d3407 15 9781685710842 03 9781685710842 06 10.53288/0415.1.00 13 2023930783 01 internal-reference 0415 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Queer Communal Kinship Now! 1 A01 21 0000000281737471 Robinou Robinou Robinou is an artist and theorist whose work focuses on gender deconstruction and the questioning of heteronormativity. Their current research is articulated around notions of queer kinship and domesticity, with a focus on communal experimentation. Their literary practice consists of utopian theory, developing conceptual frameworks, regimes of attention, and narratives of emancipation from normative thinking. As a performer, they shape affective spaces of intimacy and care, events of collective world-making which re-actualize sensibility and imagination in our relational landscape. 01 eng 00 178 03 10 FAM056000 B2 Manifesto! 12 VFVG 93 VFVG 10 FAM006000 B2 Sex 12 VFXC 93 VFXC 93 JBSW 12 JFSS B2 TransQueer 20 kinship; communalism; queer families; consensual non-monogamy; heteronormativity; utopia; feminism; queer studies 01 06 02 00 03 00 Queer communal kinship is a long overdue replacement for the naturalized model of the modern western family; a post-capitalist regime of social reproduction, aiming for redistributive justice through the politics of pleasure; a timely proposal for the demise of possessive and accumulative ideology, and the upsurge of a counter-imaginary; a manifesto for the collectivization of reproductive labor; an ethical conceptual framework for a joyful cultural shift: Queer Communal Kinship Now!This manifesto pushes for a radical redefinition of love, intimacy, and care in support of a much needed redistributive justice movement. This project must be accompanied by an exit from heteronormativity as a regime of relational scarcity, as well as from the metaphysics of private property which is at the heart of our economies and by extension of our social ecologies -- at odds with much of life on this planet. Queer Communal Kinship Now! examines the role of western normative family ideals in the mechanisms of the preservation and intensification of this status quo, as well as potential approaches to guide us out of this unsavory situation. <break/>Both handbook and personal narrative, Queer Communal Kinship Now! discusses the conceptual leaps required to emancipate ourselves from the conventional western family model, towards different regimes of bonding, care, and attention, to allow us to imagine a different type of social reality driven by queer and feminist ethical concerns. Directed to those interested in building queer families and wondering how not to repeat the mistakes of their parents, Queer Communal Kinship Now! offers radical ways of rethinking being together. 30 00 Queer communal kinship is a long overdue replacement for the naturalized model of the modern western family; a post-capitalist regime of social reproduction, aiming for redistributive justice through the politics of pleasure; a timely proposal for the demise of possessive and accumulative ideology, and the upsurge of a counter-imaginary; a manifesto for the collectivization of reproductive labor; an ethical conceptual framework for a joyful cultural shift: Queer Communal Kinship Now!This manifesto pushes for a radical redefinition of love, intimacy, and care in support of a much needed redistributive justice movement. This project must be accompanied by an exit from heteronormativity as a regime of relational scarcity, as well as from the metaphysics of private property which is at the heart of our economies and by extension of our social ecologies -- at odds with much of life on this planet. Queer Communal Kinship Now! examines the role of western normative family ideals in the mechanisms of the preservation and intensification of this status quo, as well as potential approaches to guide us out of this unsavory situation. <break/>Both handbook and personal narrative, Queer Communal Kinship Now! discusses the conceptual leaps required to emancipate ourselves from the conventional western family model, towards different regimes of bonding, care, and attention, to allow us to imagine a different type of social reality driven by queer and feminist ethical concerns. Directed to those interested in building queer families and wondering how not to repeat the mistakes of their parents, Queer Communal Kinship Now! offers radical ways of rethinking being together. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0415.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-communal-kinship-now/ Earth, Milky Way 04 01 20230330 Robin Yerlès 02 WORLD 06 15 9781685710859 03 9781685710859 34 06 10.3917/drs.072.0373 34 06 10.1177/0891241612464886 34 06 10.2307/j.ctt183p1wf 34 06 10.1632/S003081290005937X 34 06 10.3917/lobs.052.0017 34 06 10.1177/0263276408095542 34 06 10.1163/9789401211987 34 06 10.1016/j.fsir.2020.100089 34 06 10.1057/9781137101495_2 34 06 10.1177/1363460710370649 34 06 10.1111/j.1527-2001.1998.tb01370.x 34 06 10.1093/tcbh/hwr053 34 06 10.1177/2056305116641976 34 06 10.2307/j.ctt183pb1v 34 06 10.1590/1982-25542014115069 34 06 10.1177/1360780418811965 34 06 10.1016/j.explore.2020.06.008 34 06 10.1177/0038038593027002003 34 06 10.1080/10714413.2020.1724764 34 06 10.1891/1946-6560.4.1.6 34 06 10.1177/1363460710370650 34 06 10.4000/clio.421 34 06 10.1163/1569206053620915 34 06 10.1002/9780470690864.ch15 34 06 10.1016/j.wsif.2016.09.001 34 06 10.1177/0032321717722363 34 06 10.1177/0886260517707310 34 06 10.2307/2505179 34 06 10.1080/00224499.2018.1531281 34 06 10.1177/0011392104041799 34 06 10.2307/j.ctvbkk1vp 34 06 10.1057/9781137311979_11 34 06 10.1177/0265407518756779.162 34 06 10.1057/9780230109995_6 34 06 10.1007/s10767-013-9157-4 34 06 10.1111/j.1467-8330.2012.01060.x 34 06 10.4000/cybergeo.22773 34 06 10.1080/00224499.2016.1249332 34 06 10.4000/rechercheseducations.2446 34 06 10.1007/978-3-319-77754-2_2 34 06 10.37050/ci-20_19 34 06 10.1162/thld_a_00716 34 06 10.2307/j.ctv13xpsd5 34 06 10.1073/pnas.1908630116 34 06 10.1111/j.1467-9655.2010.01666.x 34 06 10.24306/plnxt.2017.05.006 34 06 10.1177/1363460710370655 34 06 10.1177/1363460710370656 34 06 10.2307/1171429 34 06 10.1111/cico.12434 34 06 10.23668/PSYCHARCHIVES.1758.168 34 06 10.1515/9781400873548 34 06 10.1111/inm.12735 34 06 10.1057/9781137311979_10 34 06 10.1007/BF02685561 34 06 10.1080/14742837.2013.870883 34 06 10.3917/gen.078.0121 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710840 20 08 20230330 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/queer-communal-kinship-now 20 08 20230330 02 23.00 USD WORLD urn:uuid:ca8fd15b-c9e2-4f83-bb51-229367a1e93c 03 01 01 thoth-work-id urn:uuid:2af98e3e-7caa-4bb8-8097-df3b0ded803f 01 thoth-publication-id urn:uuid:ca8fd15b-c9e2-4f83-bb51-229367a1e93c 15 9781685710859 03 9781685710859 06 10.53288/0415.1.00 13 2023930783 01 internal-reference 0415 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Queer Communal Kinship Now! 1 A01 21 0000000281737471 Robinou Robinou Robinou is an artist and theorist whose work focuses on gender deconstruction and the questioning of heteronormativity. Their current research is articulated around notions of queer kinship and domesticity, with a focus on communal experimentation. Their literary practice consists of utopian theory, developing conceptual frameworks, regimes of attention, and narratives of emancipation from normative thinking. As a performer, they shape affective spaces of intimacy and care, events of collective world-making which re-actualize sensibility and imagination in our relational landscape. 01 eng 00 178 03 10 FAM056000 B2 Manifesto! 12 VFVG 93 VFVG 10 FAM006000 B2 Sex 12 VFXC 93 VFXC 93 JBSW 12 JFSS B2 TransQueer 20 kinship; communalism; queer families; consensual non-monogamy; heteronormativity; utopia; feminism; queer studies 01 06 02 00 03 00 Queer communal kinship is a long overdue replacement for the naturalized model of the modern western family; a post-capitalist regime of social reproduction, aiming for redistributive justice through the politics of pleasure; a timely proposal for the demise of possessive and accumulative ideology, and the upsurge of a counter-imaginary; a manifesto for the collectivization of reproductive labor; an ethical conceptual framework for a joyful cultural shift: Queer Communal Kinship Now!This manifesto pushes for a radical redefinition of love, intimacy, and care in support of a much needed redistributive justice movement. This project must be accompanied by an exit from heteronormativity as a regime of relational scarcity, as well as from the metaphysics of private property which is at the heart of our economies and by extension of our social ecologies -- at odds with much of life on this planet. Queer Communal Kinship Now! examines the role of western normative family ideals in the mechanisms of the preservation and intensification of this status quo, as well as potential approaches to guide us out of this unsavory situation. <break/>Both handbook and personal narrative, Queer Communal Kinship Now! discusses the conceptual leaps required to emancipate ourselves from the conventional western family model, towards different regimes of bonding, care, and attention, to allow us to imagine a different type of social reality driven by queer and feminist ethical concerns. Directed to those interested in building queer families and wondering how not to repeat the mistakes of their parents, Queer Communal Kinship Now! offers radical ways of rethinking being together. 30 00 Queer communal kinship is a long overdue replacement for the naturalized model of the modern western family; a post-capitalist regime of social reproduction, aiming for redistributive justice through the politics of pleasure; a timely proposal for the demise of possessive and accumulative ideology, and the upsurge of a counter-imaginary; a manifesto for the collectivization of reproductive labor; an ethical conceptual framework for a joyful cultural shift: Queer Communal Kinship Now!This manifesto pushes for a radical redefinition of love, intimacy, and care in support of a much needed redistributive justice movement. This project must be accompanied by an exit from heteronormativity as a regime of relational scarcity, as well as from the metaphysics of private property which is at the heart of our economies and by extension of our social ecologies -- at odds with much of life on this planet. Queer Communal Kinship Now! examines the role of western normative family ideals in the mechanisms of the preservation and intensification of this status quo, as well as potential approaches to guide us out of this unsavory situation. <break/>Both handbook and personal narrative, Queer Communal Kinship Now! discusses the conceptual leaps required to emancipate ourselves from the conventional western family model, towards different regimes of bonding, care, and attention, to allow us to imagine a different type of social reality driven by queer and feminist ethical concerns. Directed to those interested in building queer families and wondering how not to repeat the mistakes of their parents, Queer Communal Kinship Now! offers radical ways of rethinking being together. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0415.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-communal-kinship-now/ Earth, Milky Way 04 01 20230330 Robin Yerlès 02 WORLD 06 15 9781685710842 03 9781685710842 34 06 10.3917/drs.072.0373 34 06 10.1177/0891241612464886 34 06 10.2307/j.ctt183p1wf 34 06 10.1632/S003081290005937X 34 06 10.3917/lobs.052.0017 34 06 10.1177/0263276408095542 34 06 10.1163/9789401211987 34 06 10.1016/j.fsir.2020.100089 34 06 10.1057/9781137101495_2 34 06 10.1177/1363460710370649 34 06 10.1111/j.1527-2001.1998.tb01370.x 34 06 10.1093/tcbh/hwr053 34 06 10.1177/2056305116641976 34 06 10.2307/j.ctt183pb1v 34 06 10.1590/1982-25542014115069 34 06 10.1177/1360780418811965 34 06 10.1016/j.explore.2020.06.008 34 06 10.1177/0038038593027002003 34 06 10.1080/10714413.2020.1724764 34 06 10.1891/1946-6560.4.1.6 34 06 10.1177/1363460710370650 34 06 10.4000/clio.421 34 06 10.1163/1569206053620915 34 06 10.1002/9780470690864.ch15 34 06 10.1016/j.wsif.2016.09.001 34 06 10.1177/0032321717722363 34 06 10.1177/0886260517707310 34 06 10.2307/2505179 34 06 10.1080/00224499.2018.1531281 34 06 10.1177/0011392104041799 34 06 10.2307/j.ctvbkk1vp 34 06 10.1057/9781137311979_11 34 06 10.1177/0265407518756779.162 34 06 10.1057/9780230109995_6 34 06 10.1007/s10767-013-9157-4 34 06 10.1111/j.1467-8330.2012.01060.x 34 06 10.4000/cybergeo.22773 34 06 10.1080/00224499.2016.1249332 34 06 10.4000/rechercheseducations.2446 34 06 10.1007/978-3-319-77754-2_2 34 06 10.37050/ci-20_19 34 06 10.1162/thld_a_00716 34 06 10.2307/j.ctv13xpsd5 34 06 10.1073/pnas.1908630116 34 06 10.1111/j.1467-9655.2010.01666.x 34 06 10.24306/plnxt.2017.05.006 34 06 10.1177/1363460710370655 34 06 10.1177/1363460710370656 34 06 10.2307/1171429 34 06 10.1111/cico.12434 34 06 10.23668/PSYCHARCHIVES.1758.168 34 06 10.1515/9781400873548 34 06 10.1111/inm.12735 34 06 10.1057/9781137311979_10 34 06 10.1007/BF02685561 34 06 10.1080/14742837.2013.870883 34 06 10.3917/gen.078.0121 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/62005 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/62005/0415.1.00.pdf?sequence=1&isAllowed=y 20 08 20230330 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99120 20 08 20230330 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353823 20 08 20230330 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/366 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9d24278d-4199-473b-8b80-affcc89977fa/download 20 08 20230330 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Queer_Communal_Kinship_Now/kH-7EAAAQBAJ 20 08 20230330 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2af98e3e-7caa-4bb8-8097-df3b0ded803f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2af98e3e-7caa-4bb8-8097-df3b0ded803f/2af98e3e-7caa-4bb8-8097-df3b0ded803f.pdf 20 08 20230330 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849759 29 ZENODO: download the title https://zenodo.org/records/19849759/files/2af98e3e-7caa-4bb8-8097-df3b0ded803f_book.pdf 20 08 20230330 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/queer-communal-kinship-now/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0415.1.00.pdf 20 08 20230330 01 urn:uuid:be3c6b2f-c52e-4f92-93f9-2572da1714d7 03 01 01 thoth-work-id urn:uuid:cd836291-fb7f-4508-bdff-cd59dca2b447 01 thoth-publication-id urn:uuid:be3c6b2f-c52e-4f92-93f9-2572da1714d7 15 9780692344736 03 9780692344736 06 10.21983/P3.0082.1.00 01 internal-reference 0082 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Queer Insists (for José Esteban Muñoz) 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 00 76 03 B2 Cultural Studies+Critical Theory 93 JBSJ 12 JFSK 10 SOC064000 B2 TransQueer 20 José Esteban Muñoz; queer studies; rogue theory; utopia; memorial 01 06 02 00 03 00 Queer Insists is a memorial essay, a work of mourning, written for the queer theorist and performance scholar José Esteban Muñoz (1967-2013) shortly after his untimely death in December 2013. In a series of fragments, not unlike Roland Barthes’s Mourning Diary, Michael O’Rourke shares memories of Muñoz, the stories and reflections of his friends in the wake of his passing, and readings of his work from Disidentifications to Cruising Utopia and beyond. O’Rourke argues that, for Muñoz, queer does not exist, per se, but rather insists, soliciting us from the future to-come. Muñoz reached towards teleopoietic worlds as he invented a queer theory we have yet to find, but are invited to glimpse.Among the Muñozian themes this chapbook discusses are hope, utopia, affect, punk rock, heresy, the undercommons, temporality, hauntology, forgetting, loss, ephemera, partage, sense, incommensurability, the event and democracy.In reading Muñoz as a Rogue Theorist, this book borrows many of the gifts we have received (and have yet to receive) from him, marking the force and luminescence of his thought, and insisting upon the rare and precious singularity of his work. Muñoz bequeaths to us a queer studies without condition which it is our duty to foster and to bear as we carry it and him into the unknowable futures of an indiscipline 30 00 Queer Insists is a memorial essay, a work of mourning, written for the queer theorist and performance scholar José Esteban Muñoz (1967-2013) shortly after his untimely death in December 2013. In a series of fragments, not unlike Roland Barthes’s Mourning Diary, Michael O’Rourke shares memories of Muñoz, the stories and reflections of his friends in the wake of his passing, and readings of his work from Disidentifications to Cruising Utopia and beyond. O’Rourke argues that, for Muñoz, queer does not exist, per se, but rather insists, soliciting us from the future to-come. Muñoz reached towards teleopoietic worlds as he invented a queer theory we have yet to find, but are invited to glimpse.Among the Muñozian themes this chapbook discusses are hope, utopia, affect, punk rock, heresy, the undercommons, temporality, hauntology, forgetting, loss, ephemera, partage, sense, incommensurability, the event and democracy.In reading Muñoz as a Rogue Theorist, this book borrows many of the gifts we have received (and have yet to receive) from him, marking the force and luminescence of his thought, and insisting upon the rare and precious singularity of his work. Muñoz bequeaths to us a queer studies without condition which it is our duty to foster and to bear as we carry it and him into the unknowable futures of an indiscipline 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0082.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-insists/ Brooklyn, NY 04 01 20141204 O'Rourke, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2gXOjdm 20 08 20141204 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/queer-insists-for-josa-esteban-muaoz 20 08 20141204 02 21.00 USD WORLD urn:uuid:b2cea26a-e1d3-4a5b-bdde-486406782aed 03 01 01 thoth-work-id urn:uuid:cd836291-fb7f-4508-bdff-cd59dca2b447 01 thoth-publication-id urn:uuid:b2cea26a-e1d3-4a5b-bdde-486406782aed 06 10.21983/P3.0082.1.00 01 internal-reference 0082 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Queer Insists (for José Esteban Muñoz) 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 00 76 03 B2 Cultural Studies+Critical Theory 93 JBSJ 12 JFSK 10 SOC064000 B2 TransQueer 20 José Esteban Muñoz; queer studies; rogue theory; utopia; memorial 01 06 02 00 03 00 Queer Insists is a memorial essay, a work of mourning, written for the queer theorist and performance scholar José Esteban Muñoz (1967-2013) shortly after his untimely death in December 2013. In a series of fragments, not unlike Roland Barthes’s Mourning Diary, Michael O’Rourke shares memories of Muñoz, the stories and reflections of his friends in the wake of his passing, and readings of his work from Disidentifications to Cruising Utopia and beyond. O’Rourke argues that, for Muñoz, queer does not exist, per se, but rather insists, soliciting us from the future to-come. Muñoz reached towards teleopoietic worlds as he invented a queer theory we have yet to find, but are invited to glimpse.Among the Muñozian themes this chapbook discusses are hope, utopia, affect, punk rock, heresy, the undercommons, temporality, hauntology, forgetting, loss, ephemera, partage, sense, incommensurability, the event and democracy.In reading Muñoz as a Rogue Theorist, this book borrows many of the gifts we have received (and have yet to receive) from him, marking the force and luminescence of his thought, and insisting upon the rare and precious singularity of his work. Muñoz bequeaths to us a queer studies without condition which it is our duty to foster and to bear as we carry it and him into the unknowable futures of an indiscipline 30 00 Queer Insists is a memorial essay, a work of mourning, written for the queer theorist and performance scholar José Esteban Muñoz (1967-2013) shortly after his untimely death in December 2013. In a series of fragments, not unlike Roland Barthes’s Mourning Diary, Michael O’Rourke shares memories of Muñoz, the stories and reflections of his friends in the wake of his passing, and readings of his work from Disidentifications to Cruising Utopia and beyond. O’Rourke argues that, for Muñoz, queer does not exist, per se, but rather insists, soliciting us from the future to-come. Muñoz reached towards teleopoietic worlds as he invented a queer theory we have yet to find, but are invited to glimpse.Among the Muñozian themes this chapbook discusses are hope, utopia, affect, punk rock, heresy, the undercommons, temporality, hauntology, forgetting, loss, ephemera, partage, sense, incommensurability, the event and democracy.In reading Muñoz as a Rogue Theorist, this book borrows many of the gifts we have received (and have yet to receive) from him, marking the force and luminescence of his thought, and insisting upon the rare and precious singularity of his work. Muñoz bequeaths to us a queer studies without condition which it is our duty to foster and to bear as we carry it and him into the unknowable futures of an indiscipline 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0082.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/queer-insists/ Brooklyn, NY 04 01 20141204 O'Rourke, Michael 02 WORLD 06 15 9780692344736 03 9780692344736 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76476 20 08 20141204 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25538 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25538/1004557.pdf?sequence=1&isAllowed=y 20 08 20141204 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32661 20 08 20141204 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353964 20 08 20141204 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/467 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ac114cc7-cfa5-4287-ade6-5729e613c481/download 20 08 20141204 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cd836291-fb7f-4508-bdff-cd59dca2b447 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cd836291-fb7f-4508-bdff-cd59dca2b447/cd836291-fb7f-4508-bdff-cd59dca2b447.pdf 20 08 20141204 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846086 29 ZENODO: download the title https://zenodo.org/records/19846086/files/cd836291-fb7f-4508-bdff-cd59dca2b447_book.pdf 20 08 20141204 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/queer-insists/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0082.1.00.pdf 20 08 20141204 01 urn:uuid:362d62ff-f45e-46e2-ac5a-528d0da33ad2 03 01 01 thoth-work-id urn:uuid:46ab709c-3272-4a03-991e-d1b1394b8e2c 01 thoth-publication-id urn:uuid:362d62ff-f45e-46e2-ac5a-528d0da33ad2 15 9780692283950 03 9780692283950 06 10.21983/P3.0107.1.00 01 internal-reference 0107 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ravish the Republic The Archives of the Iron Garters Crime/Art Collective 1 B01 Michael L. Berger Michael L. Berger 01 eng 00 104 03 10 ART060000 B2 Cultural Studies+Critical Theory 12 HPN 93 JPW 93 AGB B2 Manifesto! B2 TransQueer 20 aesthetics; art activism; disruptive collectives; mail art; manifesto 01 06 02 00 03 00 In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail. 30 00 In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0107.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ravish-the-republic/ Brooklyn, NY 04 01 20150715 Berger, Michael L. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ravish-the-republic-the-archives-of-the-iron-garters-crimeart-collective 20 08 20150715 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692283951 20 08 20150715 02 21.00 USD WORLD urn:uuid:8ccadd7d-86ae-41be-b605-c4f0cf5ce8cf 03 01 01 thoth-work-id urn:uuid:46ab709c-3272-4a03-991e-d1b1394b8e2c 01 thoth-publication-id urn:uuid:8ccadd7d-86ae-41be-b605-c4f0cf5ce8cf 06 10.21983/P3.0107.1.00 01 internal-reference 0107 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Ravish the Republic The Archives of the Iron Garters Crime/Art Collective 1 B01 Michael L. Berger Michael L. Berger 01 eng 00 104 03 10 ART060000 B2 Cultural Studies+Critical Theory 12 HPN 93 JPW 93 AGB B2 Manifesto! B2 TransQueer 20 aesthetics; art activism; disruptive collectives; mail art; manifesto 01 06 02 00 03 00 In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail. 30 00 In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0107.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ravish-the-republic/ Brooklyn, NY 04 01 20150715 Berger, Michael L. 02 WORLD 06 15 9780692283950 03 9780692283950 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76471 20 08 20150715 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25516 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25516/1004579.pdf?sequence=1&isAllowed=y 20 08 20150715 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37120 20 08 20150715 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354015 20 08 20150715 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/491 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1b063bfb-c4ea-4178-8864-3de6ce2082d9/download 20 08 20150715 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Ravish_the_Republic/cgWVEAAAQBAJ 20 08 20150715 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/46ab709c-3272-4a03-991e-d1b1394b8e2c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/46ab709c-3272-4a03-991e-d1b1394b8e2c/46ab709c-3272-4a03-991e-d1b1394b8e2c.pdf 20 08 20150715 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846262 29 ZENODO: download the title https://zenodo.org/records/19846262/files/46ab709c-3272-4a03-991e-d1b1394b8e2c_book.pdf 20 08 20150715 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ravish-the-republic/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0107.1.00.pdf 20 08 20150715 01 urn:uuid:3618e3f6-893b-4de2-b696-c8830974d373 03 01 01 thoth-work-id urn:uuid:4da1ef38-e3d8-4384-8c73-82d6e36df49d 01 thoth-publication-id urn:uuid:3618e3f6-893b-4de2-b696-c8830974d373 15 9781468096361 03 9781468096361 06 10.21983/P3.0003.1.00 01 internal-reference 0003 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Reality in the Name of God, or, Divine Insistence An Essay on Creation, Infinity, and the Ontological Implications of Kabbalah 1 A01 Noah Horwitz Noah Horwitz 40 04t718460 Southern New Hampshire University 01 eng 00 356 03 12 HRJX B2 Philosophy 93 QDTJ 10 REL040060 93 QRVK2 B2 Thought Experiments 20 kabbalah; speculative realism; theology; set theory; ontology; Jewish mysticism 01 06 02 00 03 00 What should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and not of how God is in himself. This meant that one could only ever speak to God as an addressed and yearned-for holy Thou, but not to God as infinite creator of all.In this book-length essay, the author argues that reality itself is made up of the Holy Name of God. Drawing upon the set-theoretical ontology of Alain Badiou, the computational theory of Stephen Wolfram, the physics of Frank Tipler, the psychoanalytical theory of Jacques Lacan, and the genius of Georg Cantor, the author works to demonstrate that the universe is a computer processing the divine Name and that all existence is made of information (the bit). As a result of this ontic pan-computationalism, it is shown that the future resurrection of the dead can take place and how it may in fact occur. Along the way, the book also offers compelling critiques of several significant theories of reality, including the phenomenological theologies of Emmanuel Levinas and Jean-Luc Marion, Process Theology, and Object-Oriented Ontology. 30 00 What should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and not of how God is in himself. This meant that one could only ever speak to God as an addressed and yearned-for holy Thou, but not to God as infinite creator of all.In this book-length essay, the author argues that reality itself is made up of the Holy Name of God. Drawing upon the set-theoretical ontology of Alain Badiou, the computational theory of Stephen Wolfram, the physics of Frank Tipler, the psychoanalytical theory of Jacques Lacan, and the genius of Georg Cantor, the author works to demonstrate that the universe is a computer processing the divine Name and that all existence is made of information (the bit). As a result of this ontic pan-computationalism, it is shown that the future resurrection of the dead can take place and how it may in fact occur. Along the way, the book also offers compelling critiques of several significant theories of reality, including the phenomenological theologies of Emmanuel Levinas and Jean-Luc Marion, Process Theology, and Object-Oriented Ontology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0003.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/reality-in-the-name-of-god/ Brooklyn, NY 04 01 20120118 Horwitz, Noah 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1468096362 20 08 20120118 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/reality-in-the-name-of-god-or-divine-insistence-an-essay-on-creation-infinity-and-the-ontological-implications-of-kabbalah 20 08 20120118 02 26.00 USD WORLD urn:uuid:7b57ee3e-1d3b-4140-8887-6572c0d9fe1f 03 01 01 thoth-work-id urn:uuid:4da1ef38-e3d8-4384-8c73-82d6e36df49d 01 thoth-publication-id urn:uuid:7b57ee3e-1d3b-4140-8887-6572c0d9fe1f 06 10.21983/P3.0003.1.00 01 internal-reference 0003 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Reality in the Name of God, or, Divine Insistence An Essay on Creation, Infinity, and the Ontological Implications of Kabbalah 1 A01 Noah Horwitz Noah Horwitz 40 04t718460 Southern New Hampshire University 01 eng 00 356 03 12 HRJX B2 Philosophy 93 QDTJ 10 REL040060 93 QRVK2 B2 Thought Experiments 20 kabbalah; speculative realism; theology; set theory; ontology; Jewish mysticism 01 06 02 00 03 00 What should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and not of how God is in himself. This meant that one could only ever speak to God as an addressed and yearned-for holy Thou, but not to God as infinite creator of all.In this book-length essay, the author argues that reality itself is made up of the Holy Name of God. Drawing upon the set-theoretical ontology of Alain Badiou, the computational theory of Stephen Wolfram, the physics of Frank Tipler, the psychoanalytical theory of Jacques Lacan, and the genius of Georg Cantor, the author works to demonstrate that the universe is a computer processing the divine Name and that all existence is made of information (the bit). As a result of this ontic pan-computationalism, it is shown that the future resurrection of the dead can take place and how it may in fact occur. Along the way, the book also offers compelling critiques of several significant theories of reality, including the phenomenological theologies of Emmanuel Levinas and Jean-Luc Marion, Process Theology, and Object-Oriented Ontology. 30 00 What should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and not of how God is in himself. This meant that one could only ever speak to God as an addressed and yearned-for holy Thou, but not to God as infinite creator of all.In this book-length essay, the author argues that reality itself is made up of the Holy Name of God. Drawing upon the set-theoretical ontology of Alain Badiou, the computational theory of Stephen Wolfram, the physics of Frank Tipler, the psychoanalytical theory of Jacques Lacan, and the genius of Georg Cantor, the author works to demonstrate that the universe is a computer processing the divine Name and that all existence is made of information (the bit). As a result of this ontic pan-computationalism, it is shown that the future resurrection of the dead can take place and how it may in fact occur. Along the way, the book also offers compelling critiques of several significant theories of reality, including the phenomenological theologies of Emmanuel Levinas and Jean-Luc Marion, Process Theology, and Object-Oriented Ontology. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0003.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/reality-in-the-name-of-god/ Brooklyn, NY 04 01 20120118 Horwitz, Noah 02 WORLD 06 15 9781468096361 03 9781468096361 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76532 20 08 20120118 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25612 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25612/1004483.pdf 20 08 20120118 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36862 20 08 20120118 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353799 20 08 20120118 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/379 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2df86128-50d5-404c-a28f-457e71859b57/download 20 08 20120118 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4da1ef38-e3d8-4384-8c73-82d6e36df49d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4da1ef38-e3d8-4384-8c73-82d6e36df49d/4da1ef38-e3d8-4384-8c73-82d6e36df49d.pdf 20 08 20120118 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693183 29 ZENODO: download the title https://zenodo.org/records/19693183/files/4da1ef38-e3d8-4384-8c73-82d6e36df49d_book.pdf 20 08 20120118 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/reality-in-the-name-of-god/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0003.1.00.pdf 20 08 20120118 01 urn:uuid:6765dcf9-e45d-4511-b58d-b8d628e11849 03 01 01 thoth-work-id urn:uuid:7e078f07-4424-4a5b-bbe9-fb597498f64f 01 thoth-publication-id urn:uuid:6765dcf9-e45d-4511-b58d-b8d628e11849 15 9781685711085 03 9781685711085 06 10.53288/0353.1.00 13 2023940799 01 internal-reference 0353 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Recovering the Radical Promise of Superheroes Un/Making Worlds 1 A01 21 0000000310235885 Ellen Kirkpatrick Ellen Kirkpatrick Ellen Kirkpatrick, based in northern Ireland, is an activist-writer with a PhD in Cultural Studies. In her work, she writes about activism, pop culture, fan cultures, and the transformative power of storytelling. She has published work in a range of academic journals and media outlets and her writings and work can be found at The Break and on Twitter @elk_dash. 06 Own website https://ellenkirkpatrick.substack.com/ 01 eng 00 414 03 B2 Cultural Studies+Critical Theory 12 FXS 10 LIT017000 93 XQK 93 JBCC1 12 JFCA B2 Literary Studies 10 SOC052000 B2 Moving Image 20 fan theory; counterstorytelling; superheroes; queer theory; meaning making; worldmaking; media fandom; DC Comics; Marvel 01 06 02 00 03 00 Superhero meaning making is a site of struggle. Superheroes (are thought to) trouble borders and normative ways of seeing and being in the world. Superhero narratives (are thought to) represent, and thereby inspire, alternative visions of the real world. The superhero genre is (thought to be) a repository for radical or progressive ideas. In the superhero world and beyond, much is made of the genre’s utopian and dystopian landscapes, queer identity-play, and transforming bodies, but might it not be the case that the genre’s overblown normative framing, or representation, serves to muzzle, rather than express, its protagonists’ radical promise? Why, when set against otherwise unbounded, and often extreme, transformation—human to machine, human to animal, human to god—are certain categories seemingly untouchable? Why does this speculative genre routinely fail to fully speculate about other worlds and ways of being in those worlds? For all their nonconformity, superhero stories do not live up to the idea of a radical genre, in look, feel, or tone. The mainstream American superhero genre, and its surrounding discourses, tells and facilitates an astonishingly seamless tale of opposing ideologies. But how?Recovering the Radical Promise of Superheroes: Un/Making Worlds serves a speculative response, detailing not so much a hunt for genre meaning as a trip through a genre’s meaningscape. Looking anew at superhero meaning-making practices allows a distinct way of thinking about and describing the creative, formal, and ideological conditions of the genre and its protagonists, one removed from corralling binaries, one foregrounding the idea of a synergy—often unseen, uneasy, and even hostile—between official and unofficial agents of superhero meaning and one reframing familiar questions: What kinds of meaning do superhero texts engender? How is this meaning made? By whom and under what conditions? What processes and practices inform, regulate, and extend superhero meaning? And finally, superhero narratives present a new question: How might we reimagine its agents, surfaces, and spaces? Centering the experiences and practices of excluded and marginalized superhero fans, Recovering the Radical Promise of Superheroes reveals that genre meaning is not lodged in one place or another, neither in its official creators or fans, nor in “black and white” conservatism or in a “rainbow” of progressive possibilities. Nor is it even located somewhere in the in-between; it is instead better conceived of as an antagonistic, in-process nexus of meaning undergirded by systems of power. 30 00 Superhero meaning making is a site of struggle. Superheroes (are thought to) trouble borders and normative ways of seeing and being in the world. Superhero narratives (are thought to) represent, and thereby inspire, alternative visions of the real world. The superhero genre is (thought to be) a repository for radical or progressive ideas. In the superhero world and beyond, much is made of the genre’s utopian and dystopian landscapes, queer identity-play, and transforming bodies, but might it not be the case that the genre’s overblown normative framing, or representation, serves to muzzle, rather than express, its protagonists’ radical promise? Why, when set against otherwise unbounded, and often extreme, transformation—human to machine, human to animal, human to god—are certain categories seemingly untouchable? Why does this speculative genre routinely fail to fully speculate about other worlds and ways of being in those worlds? For all their nonconformity, superhero stories do not live up to the idea of a radical genre, in look, feel, or tone. The mainstream American superhero genre, and its surrounding discourses, tells and facilitates an astonishingly seamless tale of opposing ideologies. But how?Recovering the Radical Promise of Superheroes: Un/Making Worlds serves a speculative response, detailing not so much a hunt for genre meaning as a trip through a genre’s meaningscape. Looking anew at superhero meaning-making practices allows a distinct way of thinking about and describing the creative, formal, and ideological conditions of the genre and its protagonists, one removed from corralling binaries, one foregrounding the idea of a synergy—often unseen, uneasy, and even hostile—between official and unofficial agents of superhero meaning and one reframing familiar questions: What kinds of meaning do superhero texts engender? How is this meaning made? By whom and under what conditions? What processes and practices inform, regulate, and extend superhero meaning? And finally, superhero narratives present a new question: How might we reimagine its agents, surfaces, and spaces? Centering the experiences and practices of excluded and marginalized superhero fans, Recovering the Radical Promise of Superheroes reveals that genre meaning is not lodged in one place or another, neither in its official creators or fans, nor in “black and white” conservatism or in a “rainbow” of progressive possibilities. Nor is it even located somewhere in the in-between; it is instead better conceived of as an antagonistic, in-process nexus of meaning undergirded by systems of power. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0353.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/recovering-the-radical-promise-of-superheroes-un-making-worlds/ Earth, Milky Way 04 01 20230824 Kirkpatrick, Ellen 02 WORLD 06 15 9781685711092 03 9781685711092 34 06 10.1386/jfs.2.1.5_1 34 06 10.1177/1464700107078139 34 06 10.1353/nlh.2011.0019 34 06 10.1177/02632769922050511 34 06 10.1080/0951839032000033527 34 06 10.4135/9781446218341 34 06 10.2307/j.ctv16757rr 34 06 10.1163/15692060260474378 34 06 10.1386/jfs.5.3.301_1 34 06 10.4324/9781315757476 34 06 10.1215/00029831-4564286 34 06 10.1215/9780822393870 34 06 10.1075/fillm.5.004int 34 06 10.2307/1229039 34 06 10.2307/1289308 34 06 10.1068/d4309 34 06 10.1080/15295039009360178 34 06 10.1111/j.1540-5931.2007.00478.x 34 06 10.3983/twc.2014.0533 34 06 10.1215/00029831-1266090 34 06 10.1080/21504857.2014.994647 34 06 10.2307/1354334 34 06 10.3983/twc.2016.0702 34 06 10.5040/9781838710163.ch-001 34 06 10.3983/twc.2015.0686 34 06 10.2307/j.ctt20p58d6 34 06 10.3983/twc.2014.0531 34 06 10.1177/F1461444817709276 34 06 10.1080/10304312.2010.510599 34 06 10.7551/mitpress/9970.003.0022 34 06 10.3983/twc.2015.0613 34 06 10.1353/cj.2015.0066 34 06 10.1353/cj.2015.0064 34 06 10.4324/9781315637525 34 06 10.3983/twc.2012.0395 34 06 10.1080/21504851003798405 34 06 10.2307/469308 34 06 10.1111/jpcu.12648 34 06 10.3983/twc.2016.0712 34 06 10.1177/F1367877911422862 34 06 10.1215/00138282-45.2.103 34 06 10.4000/ejas.10890 34 06 10.1111/j.0022-3840.1976.1001_249.x 34 06 10.3983/twc.2014.0553 34 06 10.1515/zaa-2007-0103 34 06 10.3983/twc.2015.0634 34 06 10.1080/14725840902808736 34 06 10.1111/j.1542-734X.2005.00242.x 34 06 10.3983/twc.2017.908 34 06 10.1080/0950236X.2011.586776 34 06 10.2752/175174112X13340749707204 34 06 10.1386/jfs.1.1.27_1 34 06 10.4324/9780203839454 34 06 10.1086/448734 34 06 10.1353/cj.2015.0029 34 06 10.3983/twc.2013.0460 34 06 10.1353/cj.2015.0075 34 06 10.1177/1097184X10368787 34 06 10.2307/2903369 34 06 10.1111/j.0022-3840.1983.1701_83.x 34 06 10.1177/107780040200800103 34 06 10.1002/9781119237211.ch19 34 06 10.1111/j.1540-5931.2007.00382.x 34 06 10.3983/twc.2015.0699 34 06 10.1353/qed.2013.0003 34 06 10.1215/10642684-2-3-253 34 06 10.1111/1540-5931.00019 34 06 10.4000/ejas.11014 34 06 10.1007/s10912-013-9214-z 34 06 10.15388/Litera.2007.5.7934 34 06 10.3983/twc.2019.1483 34 06 10.1093/acprof:oso/9780199377329.003.0008 34 06 10.1093/acrefore/9780190228613.013.1235 34 06 10.15767/feministstudies.46.2.0510 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711081 20 08 20230824 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/recovering-the-radical-promise-of-superheroes-unmaking-worlds 20 08 20230824 02 27.00 USD WORLD urn:uuid:37d128ef-dfdb-4a6a-9adf-30cd988cc7bb 03 01 01 thoth-work-id urn:uuid:7e078f07-4424-4a5b-bbe9-fb597498f64f 01 thoth-publication-id urn:uuid:37d128ef-dfdb-4a6a-9adf-30cd988cc7bb 15 9781685711092 03 9781685711092 06 10.53288/0353.1.00 13 2023940799 01 internal-reference 0353 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Recovering the Radical Promise of Superheroes Un/Making Worlds 1 A01 21 0000000310235885 Ellen Kirkpatrick Ellen Kirkpatrick Ellen Kirkpatrick, based in northern Ireland, is an activist-writer with a PhD in Cultural Studies. In her work, she writes about activism, pop culture, fan cultures, and the transformative power of storytelling. She has published work in a range of academic journals and media outlets and her writings and work can be found at The Break and on Twitter @elk_dash. 06 Own website https://ellenkirkpatrick.substack.com/ 01 eng 00 414 03 B2 Cultural Studies+Critical Theory 12 FXS 10 LIT017000 93 XQK 93 JBCC1 12 JFCA B2 Literary Studies 10 SOC052000 B2 Moving Image 20 fan theory; counterstorytelling; superheroes; queer theory; meaning making; worldmaking; media fandom; DC Comics; Marvel 01 06 02 00 03 00 Superhero meaning making is a site of struggle. Superheroes (are thought to) trouble borders and normative ways of seeing and being in the world. Superhero narratives (are thought to) represent, and thereby inspire, alternative visions of the real world. The superhero genre is (thought to be) a repository for radical or progressive ideas. In the superhero world and beyond, much is made of the genre’s utopian and dystopian landscapes, queer identity-play, and transforming bodies, but might it not be the case that the genre’s overblown normative framing, or representation, serves to muzzle, rather than express, its protagonists’ radical promise? Why, when set against otherwise unbounded, and often extreme, transformation—human to machine, human to animal, human to god—are certain categories seemingly untouchable? Why does this speculative genre routinely fail to fully speculate about other worlds and ways of being in those worlds? For all their nonconformity, superhero stories do not live up to the idea of a radical genre, in look, feel, or tone. The mainstream American superhero genre, and its surrounding discourses, tells and facilitates an astonishingly seamless tale of opposing ideologies. But how?Recovering the Radical Promise of Superheroes: Un/Making Worlds serves a speculative response, detailing not so much a hunt for genre meaning as a trip through a genre’s meaningscape. Looking anew at superhero meaning-making practices allows a distinct way of thinking about and describing the creative, formal, and ideological conditions of the genre and its protagonists, one removed from corralling binaries, one foregrounding the idea of a synergy—often unseen, uneasy, and even hostile—between official and unofficial agents of superhero meaning and one reframing familiar questions: What kinds of meaning do superhero texts engender? How is this meaning made? By whom and under what conditions? What processes and practices inform, regulate, and extend superhero meaning? And finally, superhero narratives present a new question: How might we reimagine its agents, surfaces, and spaces? Centering the experiences and practices of excluded and marginalized superhero fans, Recovering the Radical Promise of Superheroes reveals that genre meaning is not lodged in one place or another, neither in its official creators or fans, nor in “black and white” conservatism or in a “rainbow” of progressive possibilities. Nor is it even located somewhere in the in-between; it is instead better conceived of as an antagonistic, in-process nexus of meaning undergirded by systems of power. 30 00 Superhero meaning making is a site of struggle. Superheroes (are thought to) trouble borders and normative ways of seeing and being in the world. Superhero narratives (are thought to) represent, and thereby inspire, alternative visions of the real world. The superhero genre is (thought to be) a repository for radical or progressive ideas. In the superhero world and beyond, much is made of the genre’s utopian and dystopian landscapes, queer identity-play, and transforming bodies, but might it not be the case that the genre’s overblown normative framing, or representation, serves to muzzle, rather than express, its protagonists’ radical promise? Why, when set against otherwise unbounded, and often extreme, transformation—human to machine, human to animal, human to god—are certain categories seemingly untouchable? Why does this speculative genre routinely fail to fully speculate about other worlds and ways of being in those worlds? For all their nonconformity, superhero stories do not live up to the idea of a radical genre, in look, feel, or tone. The mainstream American superhero genre, and its surrounding discourses, tells and facilitates an astonishingly seamless tale of opposing ideologies. But how?Recovering the Radical Promise of Superheroes: Un/Making Worlds serves a speculative response, detailing not so much a hunt for genre meaning as a trip through a genre’s meaningscape. Looking anew at superhero meaning-making practices allows a distinct way of thinking about and describing the creative, formal, and ideological conditions of the genre and its protagonists, one removed from corralling binaries, one foregrounding the idea of a synergy—often unseen, uneasy, and even hostile—between official and unofficial agents of superhero meaning and one reframing familiar questions: What kinds of meaning do superhero texts engender? How is this meaning made? By whom and under what conditions? What processes and practices inform, regulate, and extend superhero meaning? And finally, superhero narratives present a new question: How might we reimagine its agents, surfaces, and spaces? Centering the experiences and practices of excluded and marginalized superhero fans, Recovering the Radical Promise of Superheroes reveals that genre meaning is not lodged in one place or another, neither in its official creators or fans, nor in “black and white” conservatism or in a “rainbow” of progressive possibilities. Nor is it even located somewhere in the in-between; it is instead better conceived of as an antagonistic, in-process nexus of meaning undergirded by systems of power. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0353.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/recovering-the-radical-promise-of-superheroes-un-making-worlds/ Earth, Milky Way 04 01 20230824 Kirkpatrick, Ellen 02 WORLD 06 15 9781685711085 03 9781685711085 34 06 10.1386/jfs.2.1.5_1 34 06 10.1177/1464700107078139 34 06 10.1353/nlh.2011.0019 34 06 10.1177/02632769922050511 34 06 10.1080/0951839032000033527 34 06 10.4135/9781446218341 34 06 10.2307/j.ctv16757rr 34 06 10.1163/15692060260474378 34 06 10.1386/jfs.5.3.301_1 34 06 10.4324/9781315757476 34 06 10.1215/00029831-4564286 34 06 10.1215/9780822393870 34 06 10.1075/fillm.5.004int 34 06 10.2307/1229039 34 06 10.2307/1289308 34 06 10.1068/d4309 34 06 10.1080/15295039009360178 34 06 10.1111/j.1540-5931.2007.00478.x 34 06 10.3983/twc.2014.0533 34 06 10.1215/00029831-1266090 34 06 10.1080/21504857.2014.994647 34 06 10.2307/1354334 34 06 10.3983/twc.2016.0702 34 06 10.5040/9781838710163.ch-001 34 06 10.3983/twc.2015.0686 34 06 10.2307/j.ctt20p58d6 34 06 10.3983/twc.2014.0531 34 06 10.1177/F1461444817709276 34 06 10.1080/10304312.2010.510599 34 06 10.7551/mitpress/9970.003.0022 34 06 10.3983/twc.2015.0613 34 06 10.1353/cj.2015.0066 34 06 10.1353/cj.2015.0064 34 06 10.4324/9781315637525 34 06 10.3983/twc.2012.0395 34 06 10.1080/21504851003798405 34 06 10.2307/469308 34 06 10.1111/jpcu.12648 34 06 10.3983/twc.2016.0712 34 06 10.1177/F1367877911422862 34 06 10.1215/00138282-45.2.103 34 06 10.4000/ejas.10890 34 06 10.1111/j.0022-3840.1976.1001_249.x 34 06 10.3983/twc.2014.0553 34 06 10.1515/zaa-2007-0103 34 06 10.3983/twc.2015.0634 34 06 10.1080/14725840902808736 34 06 10.1111/j.1542-734X.2005.00242.x 34 06 10.3983/twc.2017.908 34 06 10.1080/0950236X.2011.586776 34 06 10.2752/175174112X13340749707204 34 06 10.1386/jfs.1.1.27_1 34 06 10.4324/9780203839454 34 06 10.1086/448734 34 06 10.1353/cj.2015.0029 34 06 10.3983/twc.2013.0460 34 06 10.1353/cj.2015.0075 34 06 10.1177/1097184X10368787 34 06 10.2307/2903369 34 06 10.1111/j.0022-3840.1983.1701_83.x 34 06 10.1177/107780040200800103 34 06 10.1002/9781119237211.ch19 34 06 10.1111/j.1540-5931.2007.00382.x 34 06 10.3983/twc.2015.0699 34 06 10.1353/qed.2013.0003 34 06 10.1215/10642684-2-3-253 34 06 10.1111/1540-5931.00019 34 06 10.4000/ejas.11014 34 06 10.1007/s10912-013-9214-z 34 06 10.15388/Litera.2007.5.7934 34 06 10.3983/twc.2019.1483 34 06 10.1093/acprof:oso/9780199377329.003.0008 34 06 10.1093/acrefore/9780190228613.013.1235 34 06 10.15767/feministstudies.46.2.0510 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/75787 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/75787/0353.1.00.pdf?sequence=1&isAllowed=y 20 08 20230824 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/118624 20 08 20230824 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.8665550 20 08 20230824 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/351 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ea15e42c-c2e4-49ca-b76d-a3a2c857a671/download 20 08 20230824 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Recovering_the_Radical_Promise_of_Superh/2r_iEAAAQBAJ 20 08 20230824 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7e078f07-4424-4a5b-bbe9-fb597498f64f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7e078f07-4424-4a5b-bbe9-fb597498f64f/7e078f07-4424-4a5b-bbe9-fb597498f64f.pdf 20 08 20230824 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849976 29 ZENODO: download the title https://zenodo.org/records/19849976/files/7e078f07-4424-4a5b-bbe9-fb597498f64f_book.pdf 20 08 20230824 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/recovering-the-radical-promise-of-superheroes-un-making-worlds/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0353.1.00.pdf 20 08 20230824 01 urn:uuid:3ade4e4e-4dbf-4bc3-872e-9361403f4b5e 03 01 01 thoth-work-id urn:uuid:a973a771-e305-4582-9f2e-f81c4d925172 01 thoth-publication-id urn:uuid:3ade4e4e-4dbf-4bc3-872e-9361403f4b5e 15 9781685711900 03 9781685711900 06 10.53288/0466.1.00 13 2024943921 01 internal-reference 0466 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in 03 17 mm 03 1.7 cm 03 0.66 in 08 640 gr 08 22.56 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Redacted Writing in the Negative Space of the State 1 B01 Lisa Min Lisa Min 40 01wjejq96 Yonsei University Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology. 2 B01 21 0000000200072931 Franck Billé Franck Billé 40 01an7q238 University of California, Berkeley Franck Billé is a cultural anthropologist and geographer based at the University of California, Berkeley, where he is program director for the Tang Center for Silk Road Studies. His core research focus is on borders, space, sovereignty, and materiality. He is the editor of Voluminous States (Duke 2020), and author of Somatic States (Duke, Forthcoming). More information about his current research is available at www.franckbille.com. 06 Own website https://www.franckbille.com/ 3 B01 Charlene Makley Charlene Makley 40 00a6ram87 Reed College Charlene Makley is Professor of Anthropology at Reed College in Portland, Oregon. Her work has explored the history and cultural politics of █████-building, █████-led development and Buddhist revival among Tibetans in China's ███████ ████████ ████ since 1992. Her second book, The Battle for Fortune: █████-Led Development, Personhood and █████ among Tibetans in China, published in 2018 by Cornell University Press and the Weatherhead East Asia Institute at Columbia University, is an ethnography of state-local relations in the historically ███████ region of ███████(██ ███████ ████████) in the wake of China's Great Open the West campaign and during the ████████ █████████ on ███████ ██████. 01 eng 00 290 03 B2 Art+Aesthetics 93 JBFV3 10 POL039000 B2 Cultural Studies+Critical Theory 93 JPV 10 POL004000 93 JHMC B2 New Left Thought 10 SOC002010 93 1FPCT 93 1FPCT 93 1FPC 93 1FPC-CN-PJ 93 1QBKK 93 JWD 93 1FKA 93 JBFL 93 1DXR 93 1FBN 20 anthropology; surveillance; governmentality; censorship; decoloniality; terrorism; bureaucracy 01 06 02 00 03 00 When it comes to the political, acts of redaction, erasure, and blacking out sit in awkward tension with the myth of transparent governance, borderless access, and frictionless communication. But should there be more than this brute juxtaposition of truth and secrecy?Redacted: Writing in the Negative Space of the State brings together essays, poems, artwork, and memes – a bricolage of media that conveys the experience of living in state-inflected worlds in flux. Critically and poetically engaging with redaction in politically charged contexts (from the United States and Denmark to Russia, China, and North Korea), the volume closely examines and turns loose this disquieting mark of state power, aiming to trouble the liberal imaginaries that configure the political as a left–right spectrum, as populism and nationalism versus global and transnational cosmopolitanism, as east versus west, authoritarianism versus democracy, good versus evil, or the state versus the people – age-old coordinates that no longer make sense. Because we know from the upheavals of the past decade that these relations are being reconfigured in novel, recursive, and unrecognizable ways, the consequences of which are perplexing and ever evolving.This book takes up redaction as a vital form in this new political reality. Contributors both critically engage with statist redaction practices and also explore its alluring and ambivalent forms, as experimental practices that open up new dialogic possibilities in navigating and conveying the stakes of political encounters. 30 00 When it comes to the political, acts of redaction, erasure, and blacking out sit in awkward tension with the myth of transparent governance, borderless access, and frictionless communication. But should there be more than this brute juxtaposition of truth and secrecy?Redacted: Writing in the Negative Space of the State brings together essays, poems, artwork, and memes – a bricolage of media that conveys the experience of living in state-inflected worlds in flux. Critically and poetically engaging with redaction in politically charged contexts (from the United States and Denmark to Russia, China, and North Korea), the volume closely examines and turns loose this disquieting mark of state power, aiming to trouble the liberal imaginaries that configure the political as a left–right spectrum, as populism and nationalism versus global and transnational cosmopolitanism, as east versus west, authoritarianism versus democracy, good versus evil, or the state versus the people – age-old coordinates that no longer make sense. Because we know from the upheavals of the past decade that these relations are being reconfigured in novel, recursive, and unrecognizable ways, the consequences of which are perplexing and ever evolving.This book takes up redaction as a vital form in this new political reality. Contributors both critically engage with statist redaction practices and also explore its alluring and ambivalent forms, as experimental practices that open up new dialogic possibilities in navigating and conveying the stakes of political encounters. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0466.1.00_frontcover.jpg 1 03 06 10.53288/0466.1.01 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.53288/0466.1.02 17 23 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Lisa Min Lisa Min 40 01wjejq96 Yonsei University Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology. 2 A01 21 0000000200072931 Franck Billé Franck Billé 40 01an7q238 University of California, Berkeley Franck Billé is a cultural anthropologist and geographer based at the University of California, Berkeley, where he is program director for the Tang Center for Silk Road Studies. His core research focus is on borders, space, sovereignty, and materiality. He is the editor of Voluminous States (Duke 2020), and author of Somatic States (Duke, Forthcoming). More information about his current research is available at www.franckbille.com. 06 Own website https://www.franckbille.com/ 3 A01 Charlene Makley Charlene Makley Professor of Anthropology 40 00a6ram87 Reed College Charlene Makley is Professor of Anthropology at Reed College in Portland, Oregon. Her work has explored the history and cultural politics of █████-building, █████-led development and Buddhist revival among Tibetans in China's ███████ ████████ ████ since 1992. Her second book, The Battle for Fortune: █████-Led Development, Personhood and █████ among Tibetans in China, published in 2018 by Cornell University Press and the Weatherhead East Asia Institute at Columbia University, is an ethnography of state-local relations in the historically ███████ region of ███████(██ ███████ ████████) in the wake of China's Great Open the West campaign and during the ████████ █████████ on ███████ ██████. 01 eng 20 00 Open Access Lisa Min, Franck Billé, Charlene Makley 3 03 06 10.53288/0466.1.03 27 41 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redaction Sketch for a Self-Analysis 1 A01 Joshua Craze Joshua Craze Joshua Craze is a writer currently completing a book for Fitzcarraldo Editions about war, silence, and bureaucracy in South Sudan. His fictions, essays, and reportage have been published by n+1, The Guardian, Foreign Policy, and The Baffler, among many other venues. He exhibited his “Grammar of Redaction” at the New Museum in New York in 2014; he was a UNESCO Artist Laureate in Creative Writing in the same year. He has collaborated with Jenny Holzer on two projects about redaction: a book-box (Belligerent, Ivory Press, 2017) and the catalogue essay he wrote for Jenny Holzer: War Paintings (Walther König, 2015). His other writings on redaction have been published in ASAP/Journal, Media-N, and in Archival Dissonance: Knowledge Production and Contemporary Art (I.B. Tauris/Ibraaz, 2015). He has been writing a novel entitled Redacted Mind for a decade now, much excerpted, never finished, and one day, he tells himself, he will send it off to the printers. 01 eng 03 00 From 2008-12, I worked as a researcher, sifting through redacted documents from the War on Terror. I thought of myself as a detective, stalking the state through the black blocks of the redactions. My mission was to fill in the blanks. When I wrote, I discarded the redactions: presence interested me, not the presence of absence. As the years passed, I came to be critical of my mode of hunting. In ignoring how redactions structured the information to which I had access, I ignored the state's heavy hand, lying behind the redactions. In my later work as an artist and essayist, I tried to understand the absences of the redactions as presences, possessing a logic all of their own. "Redaction: Sketch for a self-analysis," presents a narrative analysis of my decade-long obsession with redacted documents. The essay analyzes the various modes through which I tried to understand the documents, and presents an account of what we can learn from redacted documents, not through hunting for information amid the redactions, but by examining the absence themselves. In attending to these absences, this essay suggests, we come to learn about the outlines of our present. 30 00 From 2008-12, I worked as a researcher, sifting through redacted documents from the War on Terror. I thought of myself as a detective, stalking the state through the black blocks of the redactions. My mission was to fill in the blanks. When I wrote, I discarded the redactions: presence interested me, not the presence of absence. As the years passed, I came to be critical of my mode of hunting. In ignoring how redactions structured the information to which I had access, I ignored the state's heavy hand, lying behind the redactions. In my later work as an artist and essayist, I tried to understand the absences of the redactions as presences, possessing a logic all of their own. "Redaction: Sketch for a self-analysis," presents a narrative analysis of my decade-long obsession with redacted documents. The essay analyzes the various modes through which I tried to understand the documents, and presents an account of what we can learn from redacted documents, not through hunting for information amid the redactions, but by examining the absence themselves. In attending to these absences, this essay suggests, we come to learn about the outlines of our present. 20 00 Open Access Joshua Craze 4 03 06 10.53288/0466.1.04 48 53 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Letters from the Depthless Deep 1 A01 Lisa Min Lisa Min 40 01wjejq96 Yonsei University Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology. 01 eng 03 00 In contrast to the blacklining of classified documents, the bureaucratic redactions that symbolize a certain aura of political power, this work seeks corners, the most intimate and silent of spaces, produced both because of and as a necessary embrace of the redacted political. As a reflection on the challenge of writing about North Korea within an overarching "totalitarian" framework that seeks to uncover hidden truths, that ceaselessly searches for hidden meanings in the veil of the black, I propose an approach that leaves me, implicated. In a series of “letters” to North Korea, I use redaction as form, as form-making of a particular kind of sociality that exists between, through, and ultimately because of the very space of redaction. 30 00 In contrast to the blacklining of classified documents, the bureaucratic redactions that symbolize a certain aura of political power, this work seeks corners, the most intimate and silent of spaces, produced both because of and as a necessary embrace of the redacted political. As a reflection on the challenge of writing about North Korea within an overarching "totalitarian" framework that seeks to uncover hidden truths, that ceaselessly searches for hidden meanings in the veil of the black, I propose an approach that leaves me, implicated. In a series of “letters” to North Korea, I use redaction as form, as form-making of a particular kind of sociality that exists between, through, and ultimately because of the very space of redaction. 20 00 Open Access Lisa Min 5 03 06 10.53288/0466.1.05 69 78 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disappearing the Cofounders The Story of Imagine, a Language School in Xinjiang 1 A01 M█████ M█████ 2 A01 21 0000000303321742 Darren Byler Darren Byler 40 0213rcc28 Simon Fraser University Darren Byler is an anthropologist in the School for International Studies at Simon Fraser University in Vancouver, British Columbia. He is the author of an ethnography titled Terror Capitalism: Uyghur Dispossession and Masculinity in a Chinese City (Duke University Press 2022) and a book titled In the Camps: China’s High-Tech Penal Colony (Columbia Global Reports 2021). His current research interests are focused on policing, carceral theory, and global China. 01 eng 03 00 This short essay tells the stories of how two of our mutual Uyghur friends have disappeared into the Xinjiang "reeducation" system over the past few years. Taking up a redaction practice that we liken to skillful revelation of skillful concealment—a definition of magic coined by anthropologist Michael Taussig—we produced a narrative about our friendships suffused with state power and the allure of a blank signifier. Thinking about this narrative in relation to a 1985 Uyghur novella titled “Classmates,” written from the perspective of a young Uyghur man as he is released following ten years of “reeducation through hard labor,” produced another revelation: in the midst of extreme social violence, daring to think and imagine offers a form of survival and risk. Writing the redacted nonfiction stories of our friends lives while thinking about the fictional novella placed us in dialogue with a state that appears to be simultaneously everywhere and nowhere, devouring all of life. It also allows for a more intimate form of magic, a way for us to remain in relation with our friends and for them to remain, at least partially, the authors of their own stories. 30 00 This short essay tells the stories of how two of our mutual Uyghur friends have disappeared into the Xinjiang "reeducation" system over the past few years. Taking up a redaction practice that we liken to skillful revelation of skillful concealment—a definition of magic coined by anthropologist Michael Taussig—we produced a narrative about our friendships suffused with state power and the allure of a blank signifier. Thinking about this narrative in relation to a 1985 Uyghur novella titled “Classmates,” written from the perspective of a young Uyghur man as he is released following ten years of “reeducation through hard labor,” produced another revelation: in the midst of extreme social violence, daring to think and imagine offers a form of survival and risk. Writing the redacted nonfiction stories of our friends lives while thinking about the fictional novella placed us in dialogue with a state that appears to be simultaneously everywhere and nowhere, devouring all of life. It also allows for a more intimate form of magic, a way for us to remain in relation with our friends and for them to remain, at least partially, the authors of their own stories. 20 00 Open Access M█████, Darren Byler 6 03 06 10.53288/0466.1.06 87 92 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "What About This One with the Mice?" 1 A01 Shane Carter Shane Carter program coordinator for Office of Resources for International and Areas Studies 40 01an7q238 University of California, Berkeley Shane Carter is a former high school history-social science teacher and currently the program coordinator for Office of Resources for International and Areas Studies (ORIAS) at UC Berkeley. ORIAS offers professional learning programs for educators, focused on helping teachers better understand World History and other international topics across disciplines. Shane is also the author of two podcast series: Points In Between, about the experiences of newcomer students in US schools, and Future Imperfect, about the anticipated effects of climate change in California. 01 eng 03 00 How are societies from the distant past rendered palatable for modern US classrooms? A few months ago I worked with a fellow educator to create a lesson for high-schoolers about Moche, an ancient Andean society. We were attempting to correct an almost total erasure of Indigenous peoples in his social studies curriculum, but we found ourselves engaged in a very classroom-specific form of redaction. Moche artifacts that graphically depict both sex and violence brought that society into direct juxtaposition with our own and forced us to confront US norms about "appropriateness" in school. This piece is both a recounting of and reflection on that ethically confounding process. It renders transparent an aspect of education that usually happens in the privacy of home offices and teacher workrooms. 30 00 How are societies from the distant past rendered palatable for modern US classrooms? A few months ago I worked with a fellow educator to create a lesson for high-schoolers about Moche, an ancient Andean society. We were attempting to correct an almost total erasure of Indigenous peoples in his social studies curriculum, but we found ourselves engaged in a very classroom-specific form of redaction. Moche artifacts that graphically depict both sex and violence brought that society into direct juxtaposition with our own and forced us to confront US norms about "appropriateness" in school. This piece is both a recounting of and reflection on that ethically confounding process. It renders transparent an aspect of education that usually happens in the privacy of home offices and teacher workrooms. 20 00 Open Access Shane Carter 7 03 06 10.53288/0466.1.07 97 119 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Condensed Meanings Redaction Dialogues on Ethnography in Occupied Tibet 1 A01 Charlene Makley Charlene Makley Professor of Anthropology 40 00a6ram87 Reed College Charlene Makley is Professor of Anthropology at Reed College in Portland, Oregon. Her work has explored the history and cultural politics of █████-building, █████-led development and Buddhist revival among Tibetans in China's ███████ ████████ ████ since 1992. Her second book, The Battle for Fortune: █████-Led Development, Personhood and █████ among Tibetans in China, published in 2018 by Cornell University Press and the Weatherhead East Asia Institute at Columbia University, is an ethnography of state-local relations in the historically ███████ region of ███████(██ ███████ ████████) in the wake of China's Great Open the West campaign and during the ████████ █████████ on ███████ ██████. 2 A01 Dondrup Donyol Dondrup Donyol Dondrup Donyol is a researcher and his scholarship is partly a product of self-censorship. His research explores █████ the politics of fear █████ hope █████ creativity. 01 eng 03 00 In this piece composed of short stories and erasure poems written in dialogue with each other, we reflect on the (im)possibilities of ethnography amidst state-led erasure and threat in China's Tibet before and after 2008, when Tibetans began to openly protest both their political economic marginalization and heightened assimilation pressures in the wake of the "Great Develop the West" campaign (2000-) and the rise of president Xi Jinping's more authoritarian policies (2013-). The ongoing militarization of Tibetan regions and increasing pressures on local officials to "maintain stability" (Ch. weiwen) and promote Chinese-style "civilization" (Ch. wenming), have meant that the threat of socioeconomic ostracization, detention, and torture is now much more present and pervasive for Tibetan citizens. We draw on Makley's twenty-seven years of ethnographic research conducted as a white American anthropologist in Tibetan regions, and on Dondrup Donyol's experiences conducting ethnographic research as a native anthropologist there. We strove for an emergent and dialogic writing process by sharing and responding to each others' narratives. As a way to illustrate sites of erasure imposed by authoritarian rule, we deploy oppositional forms of redaction in unexpected ways (not just names, places and other identifying markers of persons), in order to intervene in locally influential Chinese-language state texts. This process, our history of close collaborations, and our very different positions as ethnographers of Tibet, yielded new insights and avenues for us in rethinking the nature and roles of ethnography under authoritarian erasure. 30 00 In this piece composed of short stories and erasure poems written in dialogue with each other, we reflect on the (im)possibilities of ethnography amidst state-led erasure and threat in China's Tibet before and after 2008, when Tibetans began to openly protest both their political economic marginalization and heightened assimilation pressures in the wake of the "Great Develop the West" campaign (2000-) and the rise of president Xi Jinping's more authoritarian policies (2013-). The ongoing militarization of Tibetan regions and increasing pressures on local officials to "maintain stability" (Ch. weiwen) and promote Chinese-style "civilization" (Ch. wenming), have meant that the threat of socioeconomic ostracization, detention, and torture is now much more present and pervasive for Tibetan citizens. We draw on Makley's twenty-seven years of ethnographic research conducted as a white American anthropologist in Tibetan regions, and on Dondrup Donyol's experiences conducting ethnographic research as a native anthropologist there. We strove for an emergent and dialogic writing process by sharing and responding to each others' narratives. As a way to illustrate sites of erasure imposed by authoritarian rule, we deploy oppositional forms of redaction in unexpected ways (not just names, places and other identifying markers of persons), in order to intervene in locally influential Chinese-language state texts. This process, our history of close collaborations, and our very different positions as ethnographers of Tibet, yielded new insights and avenues for us in rethinking the nature and roles of ethnography under authoritarian erasure. 20 00 Open Access 8 03 06 10.53288/0466.1.08 121 135 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redaction Inverted Erasure Poetry and the Intent to Reveal 1 A01 21 0000000195626572 Rachel Douglas-Jones Rachel Douglas-Jones Associate Professor of Anthropological Approaches to Data and Infrastructure 40 02309jg23 IT University of Copenhagen Rachel Douglas-Jones is an Associate Professor of Anthropological Approaches to Data and Infrastructure at the IT University of Copenhagen. She is the head of the Technologies in Practice research group, and PI of the Moving Data, Moving People project (2020–2026). Recent publications include participation in the editorial collective of The Handbook of the Anthropology of Technology (Palgrave, 2022), and Towards an Anthropology of Data (with Antonia Walford and Nick Seaver, JRAI, 2021). 01 eng 03 00 What would redaction look like as an act of revelation? In this contribution, I lay out an engagement with the General Data Protection Regulation (GDPR) through erasure poetry, framing the results as a form of public anthropology of policy and bureaucracy. The GDPR came into force in Europe in 2018, affording newly created ‘data subjects’ new relations with their data. Using events in the UK and Denmark as examples, I put forward erasure poetry of policy, regulation and legislation as anaesthetic, practical and political intervention that seeks the inverse of what redaction is – in its legal intent – created for. Erasure poems leave behind only what the new author wishes to leave, revealing only words that are already there. It can make those words betray themselves, to reveal the meaning they had all along or given them a new inflection entirely opposite to their intended weight. I suggest that such capacities offer powerful means for managing voice, anonymity and creativity in charged ethnographic situations. I also view the deceptive simplicity of the act of erasure poetry as a means by which ethnographers and those with whom they work can speak with and through official wor(l)ds. 30 00 What would redaction look like as an act of revelation? In this contribution, I lay out an engagement with the General Data Protection Regulation (GDPR) through erasure poetry, framing the results as a form of public anthropology of policy and bureaucracy. The GDPR came into force in Europe in 2018, affording newly created ‘data subjects’ new relations with their data. Using events in the UK and Denmark as examples, I put forward erasure poetry of policy, regulation and legislation as anaesthetic, practical and political intervention that seeks the inverse of what redaction is – in its legal intent – created for. Erasure poems leave behind only what the new author wishes to leave, revealing only words that are already there. It can make those words betray themselves, to reveal the meaning they had all along or given them a new inflection entirely opposite to their intended weight. I suggest that such capacities offer powerful means for managing voice, anonymity and creativity in charged ethnographic situations. I also view the deceptive simplicity of the act of erasure poetry as a means by which ethnographers and those with whom they work can speak with and through official wor(l)ds. 20 00 Open Access Rachel Douglas-Jones 9 03 06 10.53288/0466.1.09 141 141 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Redacted Fairy Tale 1 A01 ChatGPT ChatGPT ChatGPT was launched by OpenAI in November 2022. It is built on top of OpenAI’s GPT-3 family of large language models, and is fine-tuned with both supervised and reinforcement learning techniques. ChatGPT was launched as a prototype on November 30, 2022, and quickly garnered attention for its detailed responses and articulate answers across many domains of knowledge. 01 eng 20 00 Open Access 10 03 06 10.53288/0466.1.10 151 160 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eco-Redaction as Method 1 A01 21 0000000289896426 Umut Yıldırım Umut Yıldırım Assistant Professor of Anthropology 40 007ygn379 Graduate Institute of International and Development Studies Umut Yıldırım is an Assistant Professor of Anthropology at the Geneva Graduate Institute, Switzerland. Her research is available in platforms such as Current Anthropology (2021, 2024) and Anthropological Theory (2019). She also edited the book volume, War-torn Ecologies, An-Archic Fragments: Reflections from the Middle East (ICI Berlin Press, 2023). Previously, she held research fellowships in various academic institutions in the US and Germany; worked as an independent researcher in Palermo, Sicily; and taught political anthropology at various universities in Istanbul, Turkey. When she’s not tending to her academic duties, she’s busy ███████████████. 01 eng 03 00 How can the Armenian genocide be considered in terms of its ecological roots and remnants? Umut Yıldırım explores the nonhuman flora and fauna indigenous to the banks of the Tigris River in Upper Mesopotamia — in particular, centenarian mulberry trees — as resistant roots that register the evidentiary ecologies of the Armenian genocide through the Turkish state’s denialist present and its ongoing war against the Kurds. 30 00 How can the Armenian genocide be considered in terms of its ecological roots and remnants? Umut Yıldırım explores the nonhuman flora and fauna indigenous to the banks of the Tigris River in Upper Mesopotamia — in particular, centenarian mulberry trees — as resistant roots that register the evidentiary ecologies of the Armenian genocide through the Turkish state’s denialist present and its ongoing war against the Kurds. 20 00 Open Access Umut Yıldırım 11 03 06 10.53288/0466.1.11 167 173 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On Redactions Fragmented Thoughts on FOIA Requests and Appeals 1 A01 21 0000000222552506 David H. Price David H. Price Professor of Anthropology 40 01awd1q38 Saint Martin's University David H. Price is a Professor of Anthropology at St. Martin’s University in Lacey, Washington. He wrote a three-volume series for Duke University Press using FOIA documents and archival sources examining American anthropologists’ interactions with intelligence agencies: Threatening Anthropology (2004) examined McCarthyism’s impacts on anthropology; Anthropological Intelligence (2008) documented anthropological contributions to World War II, and his Cold War Anthropology (2016) explored Cold War interactions between anthropologists, the CIA, and Pentagon. His latest book, Cold War Deceptions: The Asia Foundation and the CIA (2024), draws on declassified CIA documents and a massive archival collection to establish how the CIA used the Asia Foundation in the 1950s and ’60s for covert political ends. He is a founding member of the Network of Concerned Anthropologists. 01 eng 03 00 This chapter considers the political and economic settings in which Freedom of Information Act research occurs, and uses notions of “fragmentology” coming from archaeologists work with incomplete texts as a way to help us view the partially released texts that FOIA scholars work with—noting significant differences between the accidental and intentional processes that make these two types of texts incomplete. This chapter reviews the sort of logical arguments that are available to researchers appealing redacted portions of texts released under FOIA, and discusses how much efforts contemporary government censors put into keeping significant records from the past inaccessible. 30 00 This chapter considers the political and economic settings in which Freedom of Information Act research occurs, and uses notions of “fragmentology” coming from archaeologists work with incomplete texts as a way to help us view the partially released texts that FOIA scholars work with—noting significant differences between the accidental and intentional processes that make these two types of texts incomplete. This chapter reviews the sort of logical arguments that are available to researchers appealing redacted portions of texts released under FOIA, and discusses how much efforts contemporary government censors put into keeping significant records from the past inaccessible. 20 00 Open Access David H. Price 12 03 06 10.53288/0466.1.12 179 185 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Collaborations and Disclosures in Authoritarian Fields 1 A01 A█████ A█████ A█████ is an anthropologist of India. 2 A01 N█████ N█████ N█████ is an anthropologist of Kashmir. 01 eng 03 00 The 2014 election of Narendra Modi and the Bharatiya Janata Party (BJP) government marked an epochal shift in Indian politics, both signaling the growing strength of the far-right Hindu nationalist movement as it achieved unprecedented state power and suggesting that profound changes to the state and the country were on their way. This chapter draws on our trajectories over the last decade as it attempts to chart links between India’s forest belt and Kashmir between 2009 and 2019. It traces the contours of the Indian state as its edges have sharpened and reflects on our own practices and self-presentations as fieldworkers. The “authoritarian field,” we suggest, is dialogic: state actors, non-state actors, and anthropologists are created and masked in relation to one another and in relation to the ideal, upper-caste Hindu and Hindu nationalist subject of the Indian state. A reflexive anthropology in such circumstances is one that not only considers the ethnographer’s positionality and their potential complicity with colonial or post-colonial states, but also recognizes the many para-ethnographic efforts being made by others, including states and movements, to pin down the ethnographer’s credibility. 30 00 The 2014 election of Narendra Modi and the Bharatiya Janata Party (BJP) government marked an epochal shift in Indian politics, both signaling the growing strength of the far-right Hindu nationalist movement as it achieved unprecedented state power and suggesting that profound changes to the state and the country were on their way. This chapter draws on our trajectories over the last decade as it attempts to chart links between India’s forest belt and Kashmir between 2009 and 2019. It traces the contours of the Indian state as its edges have sharpened and reflects on our own practices and self-presentations as fieldworkers. The “authoritarian field,” we suggest, is dialogic: state actors, non-state actors, and anthropologists are created and masked in relation to one another and in relation to the ideal, upper-caste Hindu and Hindu nationalist subject of the Indian state. A reflexive anthropology in such circumstances is one that not only considers the ethnographer’s positionality and their potential complicity with colonial or post-colonial states, but also recognizes the many para-ethnographic efforts being made by others, including states and movements, to pin down the ethnographer’s credibility. 20 00 Open Access A█████, N█████ 13 03 06 10.53288/0466.1.13 189 192 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dear Kafka 1 A01 21 0000000296402519 Annie Malcolm Annie Malcolm Annie Malcolm, PhD, is a writer, researcher, and educator. Her doctoral dissertation in anthropology is an ethnography of an art village in South China. She has published her writing in Quartz, SFMOMA, Yishu: Journal of Contemporary Chinese Art, and Expose Art Magazine. She has taught anthropology at UC Berkeley and curated an exhibition at Minnesota Street Project in San Francisco. She currently writes for visual artists in the Bay Area and conducts research on community healing, journalism, and wellbeing. 01 eng 03 00 A Chinese painter who called himself Kafka comes out to me in an art village in Shenzhen. It’s a pained coming out — full of loss and hesitation. I write him a letter, an exercise in reflecting on the forms of redaction that take place as a queer in queer-unfriendly spaces, and those that take place as part of the ethnographic practice. 30 00 A Chinese painter who called himself Kafka comes out to me in an art village in Shenzhen. It’s a pained coming out — full of loss and hesitation. I write him a letter, an exercise in reflecting on the forms of redaction that take place as a queer in queer-unfriendly spaces, and those that take place as part of the ethnographic practice. 20 00 Open Access Annie Malcolm 14 03 06 10.53288/0466.1.14 197 204 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stealing and Redacting Fieldwork among Transnational Thieves in Eastern Romania 1 A01 21 0000000219049352 Trine Mygind Korsby Trine Mygind Korsby Assistant Professor at the Department of Anthropology 40 035b05819 University of Copenhagen Trine Mygind Korsby is an Assistant Professor at the Department of Anthropology, University of Copenhagen. She has researched the themes of sex work, sex work facilitation, human trafficking, transnational crime, and criminal livelihoods in Romania and Italy since 2007. Her recent publications include “Complex Intimacies: Sex Work, Human Trafficking and Romance between Italy and the Black Sea Coast of Romania” (in A Sea of Transience, Berghahn Books, 2023) and participation in the editorial collective of Transnational Street Business: Migrants in the Informal Urban Economy (with Camilla Ravnbøl and Anja Simonsen, Migration and Society, 2023). 01 eng 03 00 The chapter introduces Sebastian who is a Romanian man in his twenties with extensive experience as a transnational thief. Taking a point of departure in a tense meeting between Sebastian and some of his illegal business associates, the chapter starts by describing the meticulous practices of transnational stealing, in the form of stealing from clothes stores in other EU countries. Engaging with the volume’s overall focus on "redaction," the chapter then focuses on Sebastian’s family dynamics and shows how his family manages their knowledge about his illegal activities abroad. I argue that redaction can function as an analytical concept to capture how my informants "redact" by concealing different aspects of their illegal enterprises within their families. Simultaneously, the chapter shows the ways in which I, as the anthropologist, attempt to capture these fieldwork moments, centered around illegal activity. By analyzing my own practice of "redacting" my fieldnotes during fieldwork, I suggest that the concept of redaction can be used to illuminate and critically analyze the practices that we as anthropologists engage in during fieldwork – in the name of safety and anonymity – in order to protect our fields, our informants and ourselves. 30 00 The chapter introduces Sebastian who is a Romanian man in his twenties with extensive experience as a transnational thief. Taking a point of departure in a tense meeting between Sebastian and some of his illegal business associates, the chapter starts by describing the meticulous practices of transnational stealing, in the form of stealing from clothes stores in other EU countries. Engaging with the volume’s overall focus on "redaction," the chapter then focuses on Sebastian’s family dynamics and shows how his family manages their knowledge about his illegal activities abroad. I argue that redaction can function as an analytical concept to capture how my informants "redact" by concealing different aspects of their illegal enterprises within their families. Simultaneously, the chapter shows the ways in which I, as the anthropologist, attempt to capture these fieldwork moments, centered around illegal activity. By analyzing my own practice of "redacting" my fieldnotes during fieldwork, I suggest that the concept of redaction can be used to illuminate and critically analyze the practices that we as anthropologists engage in during fieldwork – in the name of safety and anonymity – in order to protect our fields, our informants and ourselves. 20 00 Open Access Trine Mygind Korsby 15 03 06 10.53288/0466.1.15 209 216 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Research through Passing in and 1 A01 21 0000000244012404 Emily T. Yeh Emily T. Yeh professor of geography 40 02ttsq026 University of Colorado Boulder Emily T. Yeh is a professor of geography at the University of Colorado Boulder. She conducts research on development and nature-society relations, mostly in Tibetan parts of the PRC, including the political ecology of pastoralism, conflicts over access to natural resources, vulnerability to and knowledge of climate change, the cultural and ontological politics of nature conservation, and the conjunctural production of environmental subjectivities. Her book Taming Tibet: Landscape Transformation and the Gift of Chinese Development explored the intersection of the political economy and cultural politics of development as a project of state territorialization. She is also editor or co-editor of Mapping Shangrila: Contested Landscapes in the Sino-Tibetan Borderlands, Rural Politics in Contemporary China, and The Geoeconomics and Geopolitics of Chinese Development and Investment in Asia. 2 A01 A____ Marie Ranjbar A____ Marie Ranjbar 40 02ttsq026 University of Colorado Boulder A<italic>_</italic>_ Marie Ranjbar is a feminist political geographer with the Department of Women & Gender Studies at the University of Colorado Boulder. Since 2012, she has conducted research in Iran that examines the political conditions that make it challenging for Iranian citizens to speak openly about human rights and how activists strategically frame rights narratives as a means of political mobilization, both locally and transnationally. Dr. Ranjbar’s work is published in Antipode; Annals of American Association of Geographers; ACME: An International Journal for Critical Geographies; Environment and Planning E; Gender, Place & Culture; Hypatia; and Political Geography, and her research has been supported by the American Association of University Women, the National Endowment for the Humanities, the ZEIT-Stiftung Foundation, and the Social Science Research Council. 01 eng 03 00 Through parallel ethnographic vignettes in Tibet and Iran, which converge at a number of points around questions of national origin, research access, surveillance, and the cutting off of ties to family members and close friends, this chapter considers “passing” in the field as a form of self-redaction. We conceptualize this type of self-redaction as a double-edged sword, simultaneously a protective response to state surveillance, which enables movement through selective erasure, and a form of complicity that reinforces authoritarian state power. Through these vignettes, we also reflect on the contradictions between the ways in which self-redaction may be an ethical choice in contexts where interlocutors do not want to be responsible for the knowledge of fieldworkers’ citizenship status, and the liberal presumptions of Institutional Research Boards about ethics. 30 00 Through parallel ethnographic vignettes in Tibet and Iran, which converge at a number of points around questions of national origin, research access, surveillance, and the cutting off of ties to family members and close friends, this chapter considers “passing” in the field as a form of self-redaction. We conceptualize this type of self-redaction as a double-edged sword, simultaneously a protective response to state surveillance, which enables movement through selective erasure, and a form of complicity that reinforces authoritarian state power. Through these vignettes, we also reflect on the contradictions between the ways in which self-redaction may be an ethical choice in contexts where interlocutors do not want to be responsible for the knowledge of fieldworkers’ citizenship status, and the liberal presumptions of Institutional Research Boards about ethics. 20 00 Open Access Emily T. Yeh, A____ Marie Ranjbar 16 03 06 10.53288/0466.1.16 221 234 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Behind Black Bars Productive Redactions and Mass Incarceration in Xinjiang Uyghur Autonomous Region, 2017–2022 1 A01 21 0000000295333988 Alessandro Rippa Alessandro Rippa Associate Professor at the Department of Social Anthropology 40 01xtthb56 University of Oslo Alessandro Rippa is Associate Professor at the Department of Social Anthropology, University of Oslo, and project director at the Rachel Carson Center for Environment and Society, LMU Munich. He is the author of Borderland Infrastructures: Trade, Development, and Control in Western China (Amsterdam University Press, 2020) and a co-editor of the Routledge Handbook of Asian Borderlands (2018). 2 A01 21 0000000341569415 Rune Steenberg Rune Steenberg 40 04qxnmv42 Palacký University, Olomouc Rune Steenberg is an anthropologist working on Xinjiang Uyghur Autonomous Region and the Uyghurs. He has conducted extensive fieldwork in XUAR, Central Asia, China, and Indonesia and published widely on topics ranging from kinship to cross border trade, informality, corruption, narratives, and mass incarceration. He received his PhD from Freie Universität Berlin in 2014 and is currently a researcher at Palacký University Olomouc. Since 2018 he has also been working as an Uyghur interpreter for asylum seekers, activists, journalists, and human rights organizations and has participated in several documentary films on the tragedies in XUAR. 01 eng 03 00 The documentation, management of data, and influencing of public understanding regarding the severe expansion of a system of prisons and camps in China's Xinjiang Uyghur Autonomous Region since 2017, has over the past years become a contested field. While there can be no doubt that the Chinese government is the largest redactor of information on Xinjiang, Western news outlets as well as Uyghur activist organizations also increasingly choose to filter and redact the information that they make public. Evidences of releases and changes in the camp system are being systematically ignored or underreported and increasing pressure is mounting on researchers to mainly deliver “ideologically sound” facts – from circles loyal to Beijing and Washington, respectively. This chapter seeks to comprehensively draw up these diverse vectors of pressure and the practices of redaction they provoke. Employing redaction as a conceptual tool to address both the destructive and constructive elements of editing, cutting, leaving information out, and consciously selecting frames for comparison and contextualization, we attend to both the political and ideological relevance of such acts. We draw our data from years of fieldwork in the region, on interviews with scholars and activists as well as on the reflection of our experience as scholars of China and Xinjiang. 30 00 The documentation, management of data, and influencing of public understanding regarding the severe expansion of a system of prisons and camps in China's Xinjiang Uyghur Autonomous Region since 2017, has over the past years become a contested field. While there can be no doubt that the Chinese government is the largest redactor of information on Xinjiang, Western news outlets as well as Uyghur activist organizations also increasingly choose to filter and redact the information that they make public. Evidences of releases and changes in the camp system are being systematically ignored or underreported and increasing pressure is mounting on researchers to mainly deliver “ideologically sound” facts – from circles loyal to Beijing and Washington, respectively. This chapter seeks to comprehensively draw up these diverse vectors of pressure and the practices of redaction they provoke. Employing redaction as a conceptual tool to address both the destructive and constructive elements of editing, cutting, leaving information out, and consciously selecting frames for comparison and contextualization, we attend to both the political and ideological relevance of such acts. We draw our data from years of fieldwork in the region, on interviews with scholars and activists as well as on the reflection of our experience as scholars of China and Xinjiang. 20 00 Open Access Alessandro Rippa, Rune Steenberg 17 03 06 10.53288/0466.1.17 237 243 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Things Not Revealed A Redacted Ethnography of the CIA 1 A01 21 0000000151874769 Carole McGranahan Carole McGranahan 40 02ttsq026 University of Colorado Boulder Carole McGranahan is an anthropologist and historian who teaches at the University of Colorado. Her research involves ethnographic and historical research on the CIA, Tibet, and the Cold War, as well as questions of citizenship and political asylum in the Tibetan diaspora. Her publications include Arrested Histories: Tibet, the CIA, and Memories of a Forgotten War (2010), Imperial Formations (2007, with Ann Stoler and Peter Perdue), Ethnographies of US Empire (2018, with John Collins), and Writing Anthropology: Essays on Craft and Commitment (2020). 01 eng 03 00 There are things we don’t know. There are things we choose not to learn. And there are things we hide. Redaction, however, is not necessarily performed by an individual subject (or agent as this particular case may be). In the case of the CIA, redaction is institutional. It is in the name of the state and is in service to the state. What is redacted is not always what matters to the stories we need to tell. It might matter to other stories and to other times. It might matter elsewhere or otherwise. It might not matter at all.In this chapter, I consider the cultural and political status of things not revealed in relation to Tibet and the CIA, specifically the CIA’s training of several hundred Tibetan soldiers at a secret camp in Colorado. Based on 25 years of ethnographic research with Tibetan resistance veterans and their families, and with retired CIA officers and their families, I consider what is deemed important or relevant and by who. While redacted documents play a role in the story I have to tell, I am also interested in other forms of redaction as a politics of knowing and world-making. Ethnographically, the story moves between the USA and Tibet, between the Rocky Mountains and the Himalaya, traversing the way people are known by others through names, through relationships, through both shared and secret pains in search of what it means to not know something. 30 00 There are things we don’t know. There are things we choose not to learn. And there are things we hide. Redaction, however, is not necessarily performed by an individual subject (or agent as this particular case may be). In the case of the CIA, redaction is institutional. It is in the name of the state and is in service to the state. What is redacted is not always what matters to the stories we need to tell. It might matter to other stories and to other times. It might matter elsewhere or otherwise. It might not matter at all.In this chapter, I consider the cultural and political status of things not revealed in relation to Tibet and the CIA, specifically the CIA’s training of several hundred Tibetan soldiers at a secret camp in Colorado. Based on 25 years of ethnographic research with Tibetan resistance veterans and their families, and with retired CIA officers and their families, I consider what is deemed important or relevant and by who. While redacted documents play a role in the story I have to tell, I am also interested in other forms of redaction as a politics of knowing and world-making. Ethnographically, the story moves between the USA and Tibet, between the Rocky Mountains and the Himalaya, traversing the way people are known by others through names, through relationships, through both shared and secret pains in search of what it means to not know something. 20 00 Open Access Carole McGranahan 18 03 06 10.53288/0466.1.18 245 248 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Where Are Ohlone Place Names? 1 A01 Kären Wigen Kären Wigen Professor in the Department of History 40 00f54p054 Stanford University Kären Wigen is Professor in the Department of History at Stanford University. She received her PhD in Geography from the University of California at Berkeley. Her research interests include world history, the history of maps, and Japanese history. Her current project is an edited volume on Territorial Imaginaries. 01 eng 20 00 Open Access Kären Wigen 19 03 06 10.53288/0466.1.19 249 257 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ███ in the Field Lies, Silences, Half-Truths 1 A01 21 0000000200072931 Franck Billé Franck Billé program director for the Tang Center for Silk Road Studies 40 01an7q238 University of California, Berkeley Franck Billé is a cultural anthropologist and geographer based at the University of California, Berkeley, where he is program director for the Tang Center for Silk Road Studies. His core research focus is on borders, space, sovereignty, and materiality. He is the editor of Voluminous States (Duke 2020), and author of Somatic States (Duke, Forthcoming). More information about his current research is available at www.franckbille.com. 06 Own website https://www.franckbille.com/ 01 eng 03 00 In the form of a photo essay, this text grapples with some central questions facing ███ anthropologists doing research in countries where their personal identities are, at best culturally unpalatable, at worst illegal. In this personal account, experiences in two countries (Russia and China) are contrasted. In the latter, elusiveness in responses to personal questions from interlocutors can help carve out spaces of ambiguity. In the former, by contrast, anti-███ legislation (the federal law “for the Purpose of Protecting Children from Information Advocating for a Denial of Traditional Family Values”) requires explicit forms of denial and excision of one’s family at home. These different authoritarian contexts and positioning of ███ identities lead to different forms of redaction, as reflected in the blurry vs. blacked out photographs—with the ultimate realization that the practice of redaction in itself indexes silences readily decoded by interlocutors as forms of coming out. 30 00 In the form of a photo essay, this text grapples with some central questions facing ███ anthropologists doing research in countries where their personal identities are, at best culturally unpalatable, at worst illegal. In this personal account, experiences in two countries (Russia and China) are contrasted. In the latter, elusiveness in responses to personal questions from interlocutors can help carve out spaces of ambiguity. In the former, by contrast, anti-███ legislation (the federal law “for the Purpose of Protecting Children from Information Advocating for a Denial of Traditional Family Values”) requires explicit forms of denial and excision of one’s family at home. These different authoritarian contexts and positioning of ███ identities lead to different forms of redaction, as reflected in the blurry vs. blacked out photographs—with the ultimate realization that the practice of redaction in itself indexes silences readily decoded by interlocutors as forms of coming out. 20 00 Open Access Franck Billé 20 03 06 10.53288/0466.1.20 263 274 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bibliography 01 eng 20 00 Open Access 21 03 06 10.53288/0466.1.21 275 279 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 01 eng 20 00 Open Access 22 03 06 10.53288/0466.1.22 281 285 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Index 1 A01 Anjali Nath Anjali Nath Assistant Professor at the Institute of Communication, Culture, Information, and Technology 40 03dbr7087 University of Toronto Anjali Nath is Assistant Professor at the Institute of Communication, Culture, Information, and Technology at the University of Toronto Mississauga. Her work focuses on the visual culture of US militarism, with a focus on document redaction, transparency, and the archives of state violence. Her book, A Thousand Paper Cuts: US Empire and the Bureaucratic Life of War, is a critical reckoning with the racial and imperial work of paper as mobilized in the service of American militarism. 01 eng 20 00 Open Access Anjali Nath 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/redacted-writing-in-the-negative-space-of-the-state/ 16 40 01an7q238 32 10.13039/100006978 University of California, Berkeley 01 programname Institute of East Asian Studies Earth, Milky Way 04 01 20241027 Franck Billé, Charlene Mackley, Lisa Min 02 WORLD 06 15 9781685711917 03 9781685711917 34 06 10.21552/EDPL/2016/3/4 34 06 10.1080/03085147.2019.1690275 34 06 10.1080/13183222.2018.1463349 34 06 10.1177/0305829815576817 34 06 10.1111/j.1467-8330.2012.01048.x 34 06 10.1215/9780822376903 34 06 10.1215/-12-2-1 34 06 10.1215/quiparle.13.2.183.265 34 06 10.1353/cla.0.0003 34 06 10.1080/23322705.2022.2078592 34 06 10.1080/09584935.2020.1765990 34 06 10.1111/1475-5661.00016 34 06 10.1163/9789004232273 34 06 10.3167/arms.2023.060106 34 06 10.3167/cja.2017.350209 34 06 10.1080/02560046.2021.1985156 34 06 10.1080/00330124.2011.596781 34 06 10.1525/can.2004.19.4.517 34 06 10.1145/3378569 34 06 10.7312/nich14908 34 06 10.1111/j.1354-5078.2004.00182.x 34 06 10.1215/00382876-2007-015.269 34 06 10.4324/9780203427644-9 34 06 10.1016/S1361-3723(16)30028-8 34 06 10.2307/1208373 34 06 10.1215/9780822373452 34 06 10.1525/ciso.1997.9.1.97 34 06 10.1080/0969725X.2012.701053 34 06 10.1068/d9109 34 06 10.14506/ca33.2.09 34 06 10.2307/j.ctvw04f4m 34 06 10.1080/00263206.2015.1044525 34 06 10.1515/9781400873548 34 06 10.1017/9781316848579 34 06 10.1086/728897 34 06 10.1177/1463499618783130 34 06 10.25365/jeacs.2022.3.zenz.274 34 06 10.1163/ej.9789004155572.i-355 34 06 10.4000/ejts.2243 34 06 10.1353/tae.2001.0028 34 06 10.5749/minnesota/9780816697724.001.0001 34 06 10.37050/ci-27_2 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711901 20 08 20241027 02 39.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/redacted-writing-in-the-negative-space-of-the-state 20 08 20241027 02 39.00 USD WORLD urn:uuid:f32b0e3d-886a-45d5-80b2-390cbfc4119a 03 01 01 thoth-work-id urn:uuid:a973a771-e305-4582-9f2e-f81c4d925172 01 thoth-publication-id urn:uuid:f32b0e3d-886a-45d5-80b2-390cbfc4119a 15 9781685711917 03 9781685711917 06 10.53288/0466.1.00 13 2024943921 01 internal-reference 0466 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Redacted Writing in the Negative Space of the State 1 B01 Lisa Min Lisa Min 40 01wjejq96 Yonsei University Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology. 2 B01 21 0000000200072931 Franck Billé Franck Billé 40 01an7q238 University of California, Berkeley Franck Billé is a cultural anthropologist and geographer based at the University of California, Berkeley, where he is program director for the Tang Center for Silk Road Studies. His core research focus is on borders, space, sovereignty, and materiality. He is the editor of Voluminous States (Duke 2020), and author of Somatic States (Duke, Forthcoming). More information about his current research is available at www.franckbille.com. 06 Own website https://www.franckbille.com/ 3 B01 Charlene Makley Charlene Makley 40 00a6ram87 Reed College Charlene Makley is Professor of Anthropology at Reed College in Portland, Oregon. Her work has explored the history and cultural politics of █████-building, █████-led development and Buddhist revival among Tibetans in China's ███████ ████████ ████ since 1992. Her second book, The Battle for Fortune: █████-Led Development, Personhood and █████ among Tibetans in China, published in 2018 by Cornell University Press and the Weatherhead East Asia Institute at Columbia University, is an ethnography of state-local relations in the historically ███████ region of ███████(██ ███████ ████████) in the wake of China's Great Open the West campaign and during the ████████ █████████ on ███████ ██████. 01 eng 00 290 03 B2 Art+Aesthetics 93 JBFV3 10 POL039000 B2 Cultural Studies+Critical Theory 93 JPV 10 POL004000 93 JHMC B2 New Left Thought 10 SOC002010 93 1FPCT 93 1FPCT 93 1FPC 93 1FPC-CN-PJ 93 1QBKK 93 JWD 93 1FKA 93 JBFL 93 1DXR 93 1FBN 20 anthropology; surveillance; governmentality; censorship; decoloniality; terrorism; bureaucracy 01 06 02 00 03 00 When it comes to the political, acts of redaction, erasure, and blacking out sit in awkward tension with the myth of transparent governance, borderless access, and frictionless communication. But should there be more than this brute juxtaposition of truth and secrecy?Redacted: Writing in the Negative Space of the State brings together essays, poems, artwork, and memes – a bricolage of media that conveys the experience of living in state-inflected worlds in flux. Critically and poetically engaging with redaction in politically charged contexts (from the United States and Denmark to Russia, China, and North Korea), the volume closely examines and turns loose this disquieting mark of state power, aiming to trouble the liberal imaginaries that configure the political as a left–right spectrum, as populism and nationalism versus global and transnational cosmopolitanism, as east versus west, authoritarianism versus democracy, good versus evil, or the state versus the people – age-old coordinates that no longer make sense. Because we know from the upheavals of the past decade that these relations are being reconfigured in novel, recursive, and unrecognizable ways, the consequences of which are perplexing and ever evolving.This book takes up redaction as a vital form in this new political reality. Contributors both critically engage with statist redaction practices and also explore its alluring and ambivalent forms, as experimental practices that open up new dialogic possibilities in navigating and conveying the stakes of political encounters. 30 00 When it comes to the political, acts of redaction, erasure, and blacking out sit in awkward tension with the myth of transparent governance, borderless access, and frictionless communication. But should there be more than this brute juxtaposition of truth and secrecy?Redacted: Writing in the Negative Space of the State brings together essays, poems, artwork, and memes – a bricolage of media that conveys the experience of living in state-inflected worlds in flux. Critically and poetically engaging with redaction in politically charged contexts (from the United States and Denmark to Russia, China, and North Korea), the volume closely examines and turns loose this disquieting mark of state power, aiming to trouble the liberal imaginaries that configure the political as a left–right spectrum, as populism and nationalism versus global and transnational cosmopolitanism, as east versus west, authoritarianism versus democracy, good versus evil, or the state versus the people – age-old coordinates that no longer make sense. Because we know from the upheavals of the past decade that these relations are being reconfigured in novel, recursive, and unrecognizable ways, the consequences of which are perplexing and ever evolving.This book takes up redaction as a vital form in this new political reality. Contributors both critically engage with statist redaction practices and also explore its alluring and ambivalent forms, as experimental practices that open up new dialogic possibilities in navigating and conveying the stakes of political encounters. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0466.1.00_frontcover.jpg 1 03 06 10.53288/0466.1.01 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.53288/0466.1.02 17 23 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Lisa Min Lisa Min 40 01wjejq96 Yonsei University Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology. 2 A01 21 0000000200072931 Franck Billé Franck Billé 40 01an7q238 University of California, Berkeley Franck Billé is a cultural anthropologist and geographer based at the University of California, Berkeley, where he is program director for the Tang Center for Silk Road Studies. His core research focus is on borders, space, sovereignty, and materiality. He is the editor of Voluminous States (Duke 2020), and author of Somatic States (Duke, Forthcoming). More information about his current research is available at www.franckbille.com. 06 Own website https://www.franckbille.com/ 3 A01 Charlene Makley Charlene Makley Professor of Anthropology 40 00a6ram87 Reed College Charlene Makley is Professor of Anthropology at Reed College in Portland, Oregon. Her work has explored the history and cultural politics of █████-building, █████-led development and Buddhist revival among Tibetans in China's ███████ ████████ ████ since 1992. Her second book, The Battle for Fortune: █████-Led Development, Personhood and █████ among Tibetans in China, published in 2018 by Cornell University Press and the Weatherhead East Asia Institute at Columbia University, is an ethnography of state-local relations in the historically ███████ region of ███████(██ ███████ ████████) in the wake of China's Great Open the West campaign and during the ████████ █████████ on ███████ ██████. 01 eng 20 00 Open Access Lisa Min, Franck Billé, Charlene Makley 3 03 06 10.53288/0466.1.03 27 41 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redaction Sketch for a Self-Analysis 1 A01 Joshua Craze Joshua Craze Joshua Craze is a writer currently completing a book for Fitzcarraldo Editions about war, silence, and bureaucracy in South Sudan. His fictions, essays, and reportage have been published by n+1, The Guardian, Foreign Policy, and The Baffler, among many other venues. He exhibited his “Grammar of Redaction” at the New Museum in New York in 2014; he was a UNESCO Artist Laureate in Creative Writing in the same year. He has collaborated with Jenny Holzer on two projects about redaction: a book-box (Belligerent, Ivory Press, 2017) and the catalogue essay he wrote for Jenny Holzer: War Paintings (Walther König, 2015). His other writings on redaction have been published in ASAP/Journal, Media-N, and in Archival Dissonance: Knowledge Production and Contemporary Art (I.B. Tauris/Ibraaz, 2015). He has been writing a novel entitled Redacted Mind for a decade now, much excerpted, never finished, and one day, he tells himself, he will send it off to the printers. 01 eng 03 00 From 2008-12, I worked as a researcher, sifting through redacted documents from the War on Terror. I thought of myself as a detective, stalking the state through the black blocks of the redactions. My mission was to fill in the blanks. When I wrote, I discarded the redactions: presence interested me, not the presence of absence. As the years passed, I came to be critical of my mode of hunting. In ignoring how redactions structured the information to which I had access, I ignored the state's heavy hand, lying behind the redactions. In my later work as an artist and essayist, I tried to understand the absences of the redactions as presences, possessing a logic all of their own. "Redaction: Sketch for a self-analysis," presents a narrative analysis of my decade-long obsession with redacted documents. The essay analyzes the various modes through which I tried to understand the documents, and presents an account of what we can learn from redacted documents, not through hunting for information amid the redactions, but by examining the absence themselves. In attending to these absences, this essay suggests, we come to learn about the outlines of our present. 30 00 From 2008-12, I worked as a researcher, sifting through redacted documents from the War on Terror. I thought of myself as a detective, stalking the state through the black blocks of the redactions. My mission was to fill in the blanks. When I wrote, I discarded the redactions: presence interested me, not the presence of absence. As the years passed, I came to be critical of my mode of hunting. In ignoring how redactions structured the information to which I had access, I ignored the state's heavy hand, lying behind the redactions. In my later work as an artist and essayist, I tried to understand the absences of the redactions as presences, possessing a logic all of their own. "Redaction: Sketch for a self-analysis," presents a narrative analysis of my decade-long obsession with redacted documents. The essay analyzes the various modes through which I tried to understand the documents, and presents an account of what we can learn from redacted documents, not through hunting for information amid the redactions, but by examining the absence themselves. In attending to these absences, this essay suggests, we come to learn about the outlines of our present. 20 00 Open Access Joshua Craze 4 03 06 10.53288/0466.1.04 48 53 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Letters from the Depthless Deep 1 A01 Lisa Min Lisa Min 40 01wjejq96 Yonsei University Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology. 01 eng 03 00 In contrast to the blacklining of classified documents, the bureaucratic redactions that symbolize a certain aura of political power, this work seeks corners, the most intimate and silent of spaces, produced both because of and as a necessary embrace of the redacted political. As a reflection on the challenge of writing about North Korea within an overarching "totalitarian" framework that seeks to uncover hidden truths, that ceaselessly searches for hidden meanings in the veil of the black, I propose an approach that leaves me, implicated. In a series of “letters” to North Korea, I use redaction as form, as form-making of a particular kind of sociality that exists between, through, and ultimately because of the very space of redaction. 30 00 In contrast to the blacklining of classified documents, the bureaucratic redactions that symbolize a certain aura of political power, this work seeks corners, the most intimate and silent of spaces, produced both because of and as a necessary embrace of the redacted political. As a reflection on the challenge of writing about North Korea within an overarching "totalitarian" framework that seeks to uncover hidden truths, that ceaselessly searches for hidden meanings in the veil of the black, I propose an approach that leaves me, implicated. In a series of “letters” to North Korea, I use redaction as form, as form-making of a particular kind of sociality that exists between, through, and ultimately because of the very space of redaction. 20 00 Open Access Lisa Min 5 03 06 10.53288/0466.1.05 69 78 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disappearing the Cofounders The Story of Imagine, a Language School in Xinjiang 1 A01 M█████ M█████ 2 A01 21 0000000303321742 Darren Byler Darren Byler 40 0213rcc28 Simon Fraser University Darren Byler is an anthropologist in the School for International Studies at Simon Fraser University in Vancouver, British Columbia. He is the author of an ethnography titled Terror Capitalism: Uyghur Dispossession and Masculinity in a Chinese City (Duke University Press 2022) and a book titled In the Camps: China’s High-Tech Penal Colony (Columbia Global Reports 2021). His current research interests are focused on policing, carceral theory, and global China. 01 eng 03 00 This short essay tells the stories of how two of our mutual Uyghur friends have disappeared into the Xinjiang "reeducation" system over the past few years. Taking up a redaction practice that we liken to skillful revelation of skillful concealment—a definition of magic coined by anthropologist Michael Taussig—we produced a narrative about our friendships suffused with state power and the allure of a blank signifier. Thinking about this narrative in relation to a 1985 Uyghur novella titled “Classmates,” written from the perspective of a young Uyghur man as he is released following ten years of “reeducation through hard labor,” produced another revelation: in the midst of extreme social violence, daring to think and imagine offers a form of survival and risk. Writing the redacted nonfiction stories of our friends lives while thinking about the fictional novella placed us in dialogue with a state that appears to be simultaneously everywhere and nowhere, devouring all of life. It also allows for a more intimate form of magic, a way for us to remain in relation with our friends and for them to remain, at least partially, the authors of their own stories. 30 00 This short essay tells the stories of how two of our mutual Uyghur friends have disappeared into the Xinjiang "reeducation" system over the past few years. Taking up a redaction practice that we liken to skillful revelation of skillful concealment—a definition of magic coined by anthropologist Michael Taussig—we produced a narrative about our friendships suffused with state power and the allure of a blank signifier. Thinking about this narrative in relation to a 1985 Uyghur novella titled “Classmates,” written from the perspective of a young Uyghur man as he is released following ten years of “reeducation through hard labor,” produced another revelation: in the midst of extreme social violence, daring to think and imagine offers a form of survival and risk. Writing the redacted nonfiction stories of our friends lives while thinking about the fictional novella placed us in dialogue with a state that appears to be simultaneously everywhere and nowhere, devouring all of life. It also allows for a more intimate form of magic, a way for us to remain in relation with our friends and for them to remain, at least partially, the authors of their own stories. 20 00 Open Access M█████, Darren Byler 6 03 06 10.53288/0466.1.06 87 92 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "What About This One with the Mice?" 1 A01 Shane Carter Shane Carter program coordinator for Office of Resources for International and Areas Studies 40 01an7q238 University of California, Berkeley Shane Carter is a former high school history-social science teacher and currently the program coordinator for Office of Resources for International and Areas Studies (ORIAS) at UC Berkeley. ORIAS offers professional learning programs for educators, focused on helping teachers better understand World History and other international topics across disciplines. Shane is also the author of two podcast series: Points In Between, about the experiences of newcomer students in US schools, and Future Imperfect, about the anticipated effects of climate change in California. 01 eng 03 00 How are societies from the distant past rendered palatable for modern US classrooms? A few months ago I worked with a fellow educator to create a lesson for high-schoolers about Moche, an ancient Andean society. We were attempting to correct an almost total erasure of Indigenous peoples in his social studies curriculum, but we found ourselves engaged in a very classroom-specific form of redaction. Moche artifacts that graphically depict both sex and violence brought that society into direct juxtaposition with our own and forced us to confront US norms about "appropriateness" in school. This piece is both a recounting of and reflection on that ethically confounding process. It renders transparent an aspect of education that usually happens in the privacy of home offices and teacher workrooms. 30 00 How are societies from the distant past rendered palatable for modern US classrooms? A few months ago I worked with a fellow educator to create a lesson for high-schoolers about Moche, an ancient Andean society. We were attempting to correct an almost total erasure of Indigenous peoples in his social studies curriculum, but we found ourselves engaged in a very classroom-specific form of redaction. Moche artifacts that graphically depict both sex and violence brought that society into direct juxtaposition with our own and forced us to confront US norms about "appropriateness" in school. This piece is both a recounting of and reflection on that ethically confounding process. It renders transparent an aspect of education that usually happens in the privacy of home offices and teacher workrooms. 20 00 Open Access Shane Carter 7 03 06 10.53288/0466.1.07 97 119 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Condensed Meanings Redaction Dialogues on Ethnography in Occupied Tibet 1 A01 Charlene Makley Charlene Makley Professor of Anthropology 40 00a6ram87 Reed College Charlene Makley is Professor of Anthropology at Reed College in Portland, Oregon. Her work has explored the history and cultural politics of █████-building, █████-led development and Buddhist revival among Tibetans in China's ███████ ████████ ████ since 1992. Her second book, The Battle for Fortune: █████-Led Development, Personhood and █████ among Tibetans in China, published in 2018 by Cornell University Press and the Weatherhead East Asia Institute at Columbia University, is an ethnography of state-local relations in the historically ███████ region of ███████(██ ███████ ████████) in the wake of China's Great Open the West campaign and during the ████████ █████████ on ███████ ██████. 2 A01 Dondrup Donyol Dondrup Donyol Dondrup Donyol is a researcher and his scholarship is partly a product of self-censorship. His research explores █████ the politics of fear █████ hope █████ creativity. 01 eng 03 00 In this piece composed of short stories and erasure poems written in dialogue with each other, we reflect on the (im)possibilities of ethnography amidst state-led erasure and threat in China's Tibet before and after 2008, when Tibetans began to openly protest both their political economic marginalization and heightened assimilation pressures in the wake of the "Great Develop the West" campaign (2000-) and the rise of president Xi Jinping's more authoritarian policies (2013-). The ongoing militarization of Tibetan regions and increasing pressures on local officials to "maintain stability" (Ch. weiwen) and promote Chinese-style "civilization" (Ch. wenming), have meant that the threat of socioeconomic ostracization, detention, and torture is now much more present and pervasive for Tibetan citizens. We draw on Makley's twenty-seven years of ethnographic research conducted as a white American anthropologist in Tibetan regions, and on Dondrup Donyol's experiences conducting ethnographic research as a native anthropologist there. We strove for an emergent and dialogic writing process by sharing and responding to each others' narratives. As a way to illustrate sites of erasure imposed by authoritarian rule, we deploy oppositional forms of redaction in unexpected ways (not just names, places and other identifying markers of persons), in order to intervene in locally influential Chinese-language state texts. This process, our history of close collaborations, and our very different positions as ethnographers of Tibet, yielded new insights and avenues for us in rethinking the nature and roles of ethnography under authoritarian erasure. 30 00 In this piece composed of short stories and erasure poems written in dialogue with each other, we reflect on the (im)possibilities of ethnography amidst state-led erasure and threat in China's Tibet before and after 2008, when Tibetans began to openly protest both their political economic marginalization and heightened assimilation pressures in the wake of the "Great Develop the West" campaign (2000-) and the rise of president Xi Jinping's more authoritarian policies (2013-). The ongoing militarization of Tibetan regions and increasing pressures on local officials to "maintain stability" (Ch. weiwen) and promote Chinese-style "civilization" (Ch. wenming), have meant that the threat of socioeconomic ostracization, detention, and torture is now much more present and pervasive for Tibetan citizens. We draw on Makley's twenty-seven years of ethnographic research conducted as a white American anthropologist in Tibetan regions, and on Dondrup Donyol's experiences conducting ethnographic research as a native anthropologist there. We strove for an emergent and dialogic writing process by sharing and responding to each others' narratives. As a way to illustrate sites of erasure imposed by authoritarian rule, we deploy oppositional forms of redaction in unexpected ways (not just names, places and other identifying markers of persons), in order to intervene in locally influential Chinese-language state texts. This process, our history of close collaborations, and our very different positions as ethnographers of Tibet, yielded new insights and avenues for us in rethinking the nature and roles of ethnography under authoritarian erasure. 20 00 Open Access 8 03 06 10.53288/0466.1.08 121 135 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Redaction Inverted Erasure Poetry and the Intent to Reveal 1 A01 21 0000000195626572 Rachel Douglas-Jones Rachel Douglas-Jones Associate Professor of Anthropological Approaches to Data and Infrastructure 40 02309jg23 IT University of Copenhagen Rachel Douglas-Jones is an Associate Professor of Anthropological Approaches to Data and Infrastructure at the IT University of Copenhagen. She is the head of the Technologies in Practice research group, and PI of the Moving Data, Moving People project (2020–2026). Recent publications include participation in the editorial collective of The Handbook of the Anthropology of Technology (Palgrave, 2022), and Towards an Anthropology of Data (with Antonia Walford and Nick Seaver, JRAI, 2021). 01 eng 03 00 What would redaction look like as an act of revelation? In this contribution, I lay out an engagement with the General Data Protection Regulation (GDPR) through erasure poetry, framing the results as a form of public anthropology of policy and bureaucracy. The GDPR came into force in Europe in 2018, affording newly created ‘data subjects’ new relations with their data. Using events in the UK and Denmark as examples, I put forward erasure poetry of policy, regulation and legislation as anaesthetic, practical and political intervention that seeks the inverse of what redaction is – in its legal intent – created for. Erasure poems leave behind only what the new author wishes to leave, revealing only words that are already there. It can make those words betray themselves, to reveal the meaning they had all along or given them a new inflection entirely opposite to their intended weight. I suggest that such capacities offer powerful means for managing voice, anonymity and creativity in charged ethnographic situations. I also view the deceptive simplicity of the act of erasure poetry as a means by which ethnographers and those with whom they work can speak with and through official wor(l)ds. 30 00 What would redaction look like as an act of revelation? In this contribution, I lay out an engagement with the General Data Protection Regulation (GDPR) through erasure poetry, framing the results as a form of public anthropology of policy and bureaucracy. The GDPR came into force in Europe in 2018, affording newly created ‘data subjects’ new relations with their data. Using events in the UK and Denmark as examples, I put forward erasure poetry of policy, regulation and legislation as anaesthetic, practical and political intervention that seeks the inverse of what redaction is – in its legal intent – created for. Erasure poems leave behind only what the new author wishes to leave, revealing only words that are already there. It can make those words betray themselves, to reveal the meaning they had all along or given them a new inflection entirely opposite to their intended weight. I suggest that such capacities offer powerful means for managing voice, anonymity and creativity in charged ethnographic situations. I also view the deceptive simplicity of the act of erasure poetry as a means by which ethnographers and those with whom they work can speak with and through official wor(l)ds. 20 00 Open Access Rachel Douglas-Jones 9 03 06 10.53288/0466.1.09 141 141 1 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Redacted Fairy Tale 1 A01 ChatGPT ChatGPT ChatGPT was launched by OpenAI in November 2022. It is built on top of OpenAI’s GPT-3 family of large language models, and is fine-tuned with both supervised and reinforcement learning techniques. ChatGPT was launched as a prototype on November 30, 2022, and quickly garnered attention for its detailed responses and articulate answers across many domains of knowledge. 01 eng 20 00 Open Access 10 03 06 10.53288/0466.1.10 151 160 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eco-Redaction as Method 1 A01 21 0000000289896426 Umut Yıldırım Umut Yıldırım Assistant Professor of Anthropology 40 007ygn379 Graduate Institute of International and Development Studies Umut Yıldırım is an Assistant Professor of Anthropology at the Geneva Graduate Institute, Switzerland. Her research is available in platforms such as Current Anthropology (2021, 2024) and Anthropological Theory (2019). She also edited the book volume, War-torn Ecologies, An-Archic Fragments: Reflections from the Middle East (ICI Berlin Press, 2023). Previously, she held research fellowships in various academic institutions in the US and Germany; worked as an independent researcher in Palermo, Sicily; and taught political anthropology at various universities in Istanbul, Turkey. When she’s not tending to her academic duties, she’s busy ███████████████. 01 eng 03 00 How can the Armenian genocide be considered in terms of its ecological roots and remnants? Umut Yıldırım explores the nonhuman flora and fauna indigenous to the banks of the Tigris River in Upper Mesopotamia — in particular, centenarian mulberry trees — as resistant roots that register the evidentiary ecologies of the Armenian genocide through the Turkish state’s denialist present and its ongoing war against the Kurds. 30 00 How can the Armenian genocide be considered in terms of its ecological roots and remnants? Umut Yıldırım explores the nonhuman flora and fauna indigenous to the banks of the Tigris River in Upper Mesopotamia — in particular, centenarian mulberry trees — as resistant roots that register the evidentiary ecologies of the Armenian genocide through the Turkish state’s denialist present and its ongoing war against the Kurds. 20 00 Open Access Umut Yıldırım 11 03 06 10.53288/0466.1.11 167 173 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On Redactions Fragmented Thoughts on FOIA Requests and Appeals 1 A01 21 0000000222552506 David H. Price David H. Price Professor of Anthropology 40 01awd1q38 Saint Martin's University David H. Price is a Professor of Anthropology at St. Martin’s University in Lacey, Washington. He wrote a three-volume series for Duke University Press using FOIA documents and archival sources examining American anthropologists’ interactions with intelligence agencies: Threatening Anthropology (2004) examined McCarthyism’s impacts on anthropology; Anthropological Intelligence (2008) documented anthropological contributions to World War II, and his Cold War Anthropology (2016) explored Cold War interactions between anthropologists, the CIA, and Pentagon. His latest book, Cold War Deceptions: The Asia Foundation and the CIA (2024), draws on declassified CIA documents and a massive archival collection to establish how the CIA used the Asia Foundation in the 1950s and ’60s for covert political ends. He is a founding member of the Network of Concerned Anthropologists. 01 eng 03 00 This chapter considers the political and economic settings in which Freedom of Information Act research occurs, and uses notions of “fragmentology” coming from archaeologists work with incomplete texts as a way to help us view the partially released texts that FOIA scholars work with—noting significant differences between the accidental and intentional processes that make these two types of texts incomplete. This chapter reviews the sort of logical arguments that are available to researchers appealing redacted portions of texts released under FOIA, and discusses how much efforts contemporary government censors put into keeping significant records from the past inaccessible. 30 00 This chapter considers the political and economic settings in which Freedom of Information Act research occurs, and uses notions of “fragmentology” coming from archaeologists work with incomplete texts as a way to help us view the partially released texts that FOIA scholars work with—noting significant differences between the accidental and intentional processes that make these two types of texts incomplete. This chapter reviews the sort of logical arguments that are available to researchers appealing redacted portions of texts released under FOIA, and discusses how much efforts contemporary government censors put into keeping significant records from the past inaccessible. 20 00 Open Access David H. Price 12 03 06 10.53288/0466.1.12 179 185 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Collaborations and Disclosures in Authoritarian Fields 1 A01 A█████ A█████ A█████ is an anthropologist of India. 2 A01 N█████ N█████ N█████ is an anthropologist of Kashmir. 01 eng 03 00 The 2014 election of Narendra Modi and the Bharatiya Janata Party (BJP) government marked an epochal shift in Indian politics, both signaling the growing strength of the far-right Hindu nationalist movement as it achieved unprecedented state power and suggesting that profound changes to the state and the country were on their way. This chapter draws on our trajectories over the last decade as it attempts to chart links between India’s forest belt and Kashmir between 2009 and 2019. It traces the contours of the Indian state as its edges have sharpened and reflects on our own practices and self-presentations as fieldworkers. The “authoritarian field,” we suggest, is dialogic: state actors, non-state actors, and anthropologists are created and masked in relation to one another and in relation to the ideal, upper-caste Hindu and Hindu nationalist subject of the Indian state. A reflexive anthropology in such circumstances is one that not only considers the ethnographer’s positionality and their potential complicity with colonial or post-colonial states, but also recognizes the many para-ethnographic efforts being made by others, including states and movements, to pin down the ethnographer’s credibility. 30 00 The 2014 election of Narendra Modi and the Bharatiya Janata Party (BJP) government marked an epochal shift in Indian politics, both signaling the growing strength of the far-right Hindu nationalist movement as it achieved unprecedented state power and suggesting that profound changes to the state and the country were on their way. This chapter draws on our trajectories over the last decade as it attempts to chart links between India’s forest belt and Kashmir between 2009 and 2019. It traces the contours of the Indian state as its edges have sharpened and reflects on our own practices and self-presentations as fieldworkers. The “authoritarian field,” we suggest, is dialogic: state actors, non-state actors, and anthropologists are created and masked in relation to one another and in relation to the ideal, upper-caste Hindu and Hindu nationalist subject of the Indian state. A reflexive anthropology in such circumstances is one that not only considers the ethnographer’s positionality and their potential complicity with colonial or post-colonial states, but also recognizes the many para-ethnographic efforts being made by others, including states and movements, to pin down the ethnographer’s credibility. 20 00 Open Access A█████, N█████ 13 03 06 10.53288/0466.1.13 189 192 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dear Kafka 1 A01 21 0000000296402519 Annie Malcolm Annie Malcolm Annie Malcolm, PhD, is a writer, researcher, and educator. Her doctoral dissertation in anthropology is an ethnography of an art village in South China. She has published her writing in Quartz, SFMOMA, Yishu: Journal of Contemporary Chinese Art, and Expose Art Magazine. She has taught anthropology at UC Berkeley and curated an exhibition at Minnesota Street Project in San Francisco. She currently writes for visual artists in the Bay Area and conducts research on community healing, journalism, and wellbeing. 01 eng 03 00 A Chinese painter who called himself Kafka comes out to me in an art village in Shenzhen. It’s a pained coming out — full of loss and hesitation. I write him a letter, an exercise in reflecting on the forms of redaction that take place as a queer in queer-unfriendly spaces, and those that take place as part of the ethnographic practice. 30 00 A Chinese painter who called himself Kafka comes out to me in an art village in Shenzhen. It’s a pained coming out — full of loss and hesitation. I write him a letter, an exercise in reflecting on the forms of redaction that take place as a queer in queer-unfriendly spaces, and those that take place as part of the ethnographic practice. 20 00 Open Access Annie Malcolm 14 03 06 10.53288/0466.1.14 197 204 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stealing and Redacting Fieldwork among Transnational Thieves in Eastern Romania 1 A01 21 0000000219049352 Trine Mygind Korsby Trine Mygind Korsby Assistant Professor at the Department of Anthropology 40 035b05819 University of Copenhagen Trine Mygind Korsby is an Assistant Professor at the Department of Anthropology, University of Copenhagen. She has researched the themes of sex work, sex work facilitation, human trafficking, transnational crime, and criminal livelihoods in Romania and Italy since 2007. Her recent publications include “Complex Intimacies: Sex Work, Human Trafficking and Romance between Italy and the Black Sea Coast of Romania” (in A Sea of Transience, Berghahn Books, 2023) and participation in the editorial collective of Transnational Street Business: Migrants in the Informal Urban Economy (with Camilla Ravnbøl and Anja Simonsen, Migration and Society, 2023). 01 eng 03 00 The chapter introduces Sebastian who is a Romanian man in his twenties with extensive experience as a transnational thief. Taking a point of departure in a tense meeting between Sebastian and some of his illegal business associates, the chapter starts by describing the meticulous practices of transnational stealing, in the form of stealing from clothes stores in other EU countries. Engaging with the volume’s overall focus on "redaction," the chapter then focuses on Sebastian’s family dynamics and shows how his family manages their knowledge about his illegal activities abroad. I argue that redaction can function as an analytical concept to capture how my informants "redact" by concealing different aspects of their illegal enterprises within their families. Simultaneously, the chapter shows the ways in which I, as the anthropologist, attempt to capture these fieldwork moments, centered around illegal activity. By analyzing my own practice of "redacting" my fieldnotes during fieldwork, I suggest that the concept of redaction can be used to illuminate and critically analyze the practices that we as anthropologists engage in during fieldwork – in the name of safety and anonymity – in order to protect our fields, our informants and ourselves. 30 00 The chapter introduces Sebastian who is a Romanian man in his twenties with extensive experience as a transnational thief. Taking a point of departure in a tense meeting between Sebastian and some of his illegal business associates, the chapter starts by describing the meticulous practices of transnational stealing, in the form of stealing from clothes stores in other EU countries. Engaging with the volume’s overall focus on "redaction," the chapter then focuses on Sebastian’s family dynamics and shows how his family manages their knowledge about his illegal activities abroad. I argue that redaction can function as an analytical concept to capture how my informants "redact" by concealing different aspects of their illegal enterprises within their families. Simultaneously, the chapter shows the ways in which I, as the anthropologist, attempt to capture these fieldwork moments, centered around illegal activity. By analyzing my own practice of "redacting" my fieldnotes during fieldwork, I suggest that the concept of redaction can be used to illuminate and critically analyze the practices that we as anthropologists engage in during fieldwork – in the name of safety and anonymity – in order to protect our fields, our informants and ourselves. 20 00 Open Access Trine Mygind Korsby 15 03 06 10.53288/0466.1.15 209 216 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Research through Passing in and 1 A01 21 0000000244012404 Emily T. Yeh Emily T. Yeh professor of geography 40 02ttsq026 University of Colorado Boulder Emily T. Yeh is a professor of geography at the University of Colorado Boulder. She conducts research on development and nature-society relations, mostly in Tibetan parts of the PRC, including the political ecology of pastoralism, conflicts over access to natural resources, vulnerability to and knowledge of climate change, the cultural and ontological politics of nature conservation, and the conjunctural production of environmental subjectivities. Her book Taming Tibet: Landscape Transformation and the Gift of Chinese Development explored the intersection of the political economy and cultural politics of development as a project of state territorialization. She is also editor or co-editor of Mapping Shangrila: Contested Landscapes in the Sino-Tibetan Borderlands, Rural Politics in Contemporary China, and The Geoeconomics and Geopolitics of Chinese Development and Investment in Asia. 2 A01 A____ Marie Ranjbar A____ Marie Ranjbar 40 02ttsq026 University of Colorado Boulder A<italic>_</italic>_ Marie Ranjbar is a feminist political geographer with the Department of Women & Gender Studies at the University of Colorado Boulder. Since 2012, she has conducted research in Iran that examines the political conditions that make it challenging for Iranian citizens to speak openly about human rights and how activists strategically frame rights narratives as a means of political mobilization, both locally and transnationally. Dr. Ranjbar’s work is published in Antipode; Annals of American Association of Geographers; ACME: An International Journal for Critical Geographies; Environment and Planning E; Gender, Place & Culture; Hypatia; and Political Geography, and her research has been supported by the American Association of University Women, the National Endowment for the Humanities, the ZEIT-Stiftung Foundation, and the Social Science Research Council. 01 eng 03 00 Through parallel ethnographic vignettes in Tibet and Iran, which converge at a number of points around questions of national origin, research access, surveillance, and the cutting off of ties to family members and close friends, this chapter considers “passing” in the field as a form of self-redaction. We conceptualize this type of self-redaction as a double-edged sword, simultaneously a protective response to state surveillance, which enables movement through selective erasure, and a form of complicity that reinforces authoritarian state power. Through these vignettes, we also reflect on the contradictions between the ways in which self-redaction may be an ethical choice in contexts where interlocutors do not want to be responsible for the knowledge of fieldworkers’ citizenship status, and the liberal presumptions of Institutional Research Boards about ethics. 30 00 Through parallel ethnographic vignettes in Tibet and Iran, which converge at a number of points around questions of national origin, research access, surveillance, and the cutting off of ties to family members and close friends, this chapter considers “passing” in the field as a form of self-redaction. We conceptualize this type of self-redaction as a double-edged sword, simultaneously a protective response to state surveillance, which enables movement through selective erasure, and a form of complicity that reinforces authoritarian state power. Through these vignettes, we also reflect on the contradictions between the ways in which self-redaction may be an ethical choice in contexts where interlocutors do not want to be responsible for the knowledge of fieldworkers’ citizenship status, and the liberal presumptions of Institutional Research Boards about ethics. 20 00 Open Access Emily T. Yeh, A____ Marie Ranjbar 16 03 06 10.53288/0466.1.16 221 234 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Behind Black Bars Productive Redactions and Mass Incarceration in Xinjiang Uyghur Autonomous Region, 2017–2022 1 A01 21 0000000295333988 Alessandro Rippa Alessandro Rippa Associate Professor at the Department of Social Anthropology 40 01xtthb56 University of Oslo Alessandro Rippa is Associate Professor at the Department of Social Anthropology, University of Oslo, and project director at the Rachel Carson Center for Environment and Society, LMU Munich. He is the author of Borderland Infrastructures: Trade, Development, and Control in Western China (Amsterdam University Press, 2020) and a co-editor of the Routledge Handbook of Asian Borderlands (2018). 2 A01 21 0000000341569415 Rune Steenberg Rune Steenberg 40 04qxnmv42 Palacký University, Olomouc Rune Steenberg is an anthropologist working on Xinjiang Uyghur Autonomous Region and the Uyghurs. He has conducted extensive fieldwork in XUAR, Central Asia, China, and Indonesia and published widely on topics ranging from kinship to cross border trade, informality, corruption, narratives, and mass incarceration. He received his PhD from Freie Universität Berlin in 2014 and is currently a researcher at Palacký University Olomouc. Since 2018 he has also been working as an Uyghur interpreter for asylum seekers, activists, journalists, and human rights organizations and has participated in several documentary films on the tragedies in XUAR. 01 eng 03 00 The documentation, management of data, and influencing of public understanding regarding the severe expansion of a system of prisons and camps in China's Xinjiang Uyghur Autonomous Region since 2017, has over the past years become a contested field. While there can be no doubt that the Chinese government is the largest redactor of information on Xinjiang, Western news outlets as well as Uyghur activist organizations also increasingly choose to filter and redact the information that they make public. Evidences of releases and changes in the camp system are being systematically ignored or underreported and increasing pressure is mounting on researchers to mainly deliver “ideologically sound” facts – from circles loyal to Beijing and Washington, respectively. This chapter seeks to comprehensively draw up these diverse vectors of pressure and the practices of redaction they provoke. Employing redaction as a conceptual tool to address both the destructive and constructive elements of editing, cutting, leaving information out, and consciously selecting frames for comparison and contextualization, we attend to both the political and ideological relevance of such acts. We draw our data from years of fieldwork in the region, on interviews with scholars and activists as well as on the reflection of our experience as scholars of China and Xinjiang. 30 00 The documentation, management of data, and influencing of public understanding regarding the severe expansion of a system of prisons and camps in China's Xinjiang Uyghur Autonomous Region since 2017, has over the past years become a contested field. While there can be no doubt that the Chinese government is the largest redactor of information on Xinjiang, Western news outlets as well as Uyghur activist organizations also increasingly choose to filter and redact the information that they make public. Evidences of releases and changes in the camp system are being systematically ignored or underreported and increasing pressure is mounting on researchers to mainly deliver “ideologically sound” facts – from circles loyal to Beijing and Washington, respectively. This chapter seeks to comprehensively draw up these diverse vectors of pressure and the practices of redaction they provoke. Employing redaction as a conceptual tool to address both the destructive and constructive elements of editing, cutting, leaving information out, and consciously selecting frames for comparison and contextualization, we attend to both the political and ideological relevance of such acts. We draw our data from years of fieldwork in the region, on interviews with scholars and activists as well as on the reflection of our experience as scholars of China and Xinjiang. 20 00 Open Access Alessandro Rippa, Rune Steenberg 17 03 06 10.53288/0466.1.17 237 243 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Things Not Revealed A Redacted Ethnography of the CIA 1 A01 21 0000000151874769 Carole McGranahan Carole McGranahan 40 02ttsq026 University of Colorado Boulder Carole McGranahan is an anthropologist and historian who teaches at the University of Colorado. Her research involves ethnographic and historical research on the CIA, Tibet, and the Cold War, as well as questions of citizenship and political asylum in the Tibetan diaspora. Her publications include Arrested Histories: Tibet, the CIA, and Memories of a Forgotten War (2010), Imperial Formations (2007, with Ann Stoler and Peter Perdue), Ethnographies of US Empire (2018, with John Collins), and Writing Anthropology: Essays on Craft and Commitment (2020). 01 eng 03 00 There are things we don’t know. There are things we choose not to learn. And there are things we hide. Redaction, however, is not necessarily performed by an individual subject (or agent as this particular case may be). In the case of the CIA, redaction is institutional. It is in the name of the state and is in service to the state. What is redacted is not always what matters to the stories we need to tell. It might matter to other stories and to other times. It might matter elsewhere or otherwise. It might not matter at all.In this chapter, I consider the cultural and political status of things not revealed in relation to Tibet and the CIA, specifically the CIA’s training of several hundred Tibetan soldiers at a secret camp in Colorado. Based on 25 years of ethnographic research with Tibetan resistance veterans and their families, and with retired CIA officers and their families, I consider what is deemed important or relevant and by who. While redacted documents play a role in the story I have to tell, I am also interested in other forms of redaction as a politics of knowing and world-making. Ethnographically, the story moves between the USA and Tibet, between the Rocky Mountains and the Himalaya, traversing the way people are known by others through names, through relationships, through both shared and secret pains in search of what it means to not know something. 30 00 There are things we don’t know. There are things we choose not to learn. And there are things we hide. Redaction, however, is not necessarily performed by an individual subject (or agent as this particular case may be). In the case of the CIA, redaction is institutional. It is in the name of the state and is in service to the state. What is redacted is not always what matters to the stories we need to tell. It might matter to other stories and to other times. It might matter elsewhere or otherwise. It might not matter at all.In this chapter, I consider the cultural and political status of things not revealed in relation to Tibet and the CIA, specifically the CIA’s training of several hundred Tibetan soldiers at a secret camp in Colorado. Based on 25 years of ethnographic research with Tibetan resistance veterans and their families, and with retired CIA officers and their families, I consider what is deemed important or relevant and by who. While redacted documents play a role in the story I have to tell, I am also interested in other forms of redaction as a politics of knowing and world-making. Ethnographically, the story moves between the USA and Tibet, between the Rocky Mountains and the Himalaya, traversing the way people are known by others through names, through relationships, through both shared and secret pains in search of what it means to not know something. 20 00 Open Access Carole McGranahan 18 03 06 10.53288/0466.1.18 245 248 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Where Are Ohlone Place Names? 1 A01 Kären Wigen Kären Wigen Professor in the Department of History 40 00f54p054 Stanford University Kären Wigen is Professor in the Department of History at Stanford University. She received her PhD in Geography from the University of California at Berkeley. Her research interests include world history, the history of maps, and Japanese history. Her current project is an edited volume on Territorial Imaginaries. 01 eng 20 00 Open Access Kären Wigen 19 03 06 10.53288/0466.1.19 249 257 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ███ in the Field Lies, Silences, Half-Truths 1 A01 21 0000000200072931 Franck Billé Franck Billé program director for the Tang Center for Silk Road Studies 40 01an7q238 University of California, Berkeley Franck Billé is a cultural anthropologist and geographer based at the University of California, Berkeley, where he is program director for the Tang Center for Silk Road Studies. His core research focus is on borders, space, sovereignty, and materiality. He is the editor of Voluminous States (Duke 2020), and author of Somatic States (Duke, Forthcoming). More information about his current research is available at www.franckbille.com. 06 Own website https://www.franckbille.com/ 01 eng 03 00 In the form of a photo essay, this text grapples with some central questions facing ███ anthropologists doing research in countries where their personal identities are, at best culturally unpalatable, at worst illegal. In this personal account, experiences in two countries (Russia and China) are contrasted. In the latter, elusiveness in responses to personal questions from interlocutors can help carve out spaces of ambiguity. In the former, by contrast, anti-███ legislation (the federal law “for the Purpose of Protecting Children from Information Advocating for a Denial of Traditional Family Values”) requires explicit forms of denial and excision of one’s family at home. These different authoritarian contexts and positioning of ███ identities lead to different forms of redaction, as reflected in the blurry vs. blacked out photographs—with the ultimate realization that the practice of redaction in itself indexes silences readily decoded by interlocutors as forms of coming out. 30 00 In the form of a photo essay, this text grapples with some central questions facing ███ anthropologists doing research in countries where their personal identities are, at best culturally unpalatable, at worst illegal. In this personal account, experiences in two countries (Russia and China) are contrasted. In the latter, elusiveness in responses to personal questions from interlocutors can help carve out spaces of ambiguity. In the former, by contrast, anti-███ legislation (the federal law “for the Purpose of Protecting Children from Information Advocating for a Denial of Traditional Family Values”) requires explicit forms of denial and excision of one’s family at home. These different authoritarian contexts and positioning of ███ identities lead to different forms of redaction, as reflected in the blurry vs. blacked out photographs—with the ultimate realization that the practice of redaction in itself indexes silences readily decoded by interlocutors as forms of coming out. 20 00 Open Access Franck Billé 20 03 06 10.53288/0466.1.20 263 274 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bibliography 01 eng 20 00 Open Access 21 03 06 10.53288/0466.1.21 275 279 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 01 eng 20 00 Open Access 22 03 06 10.53288/0466.1.22 281 285 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Index 1 A01 Anjali Nath Anjali Nath Assistant Professor at the Institute of Communication, Culture, Information, and Technology 40 03dbr7087 University of Toronto Anjali Nath is Assistant Professor at the Institute of Communication, Culture, Information, and Technology at the University of Toronto Mississauga. Her work focuses on the visual culture of US militarism, with a focus on document redaction, transparency, and the archives of state violence. Her book, A Thousand Paper Cuts: US Empire and the Bureaucratic Life of War, is a critical reckoning with the racial and imperial work of paper as mobilized in the service of American militarism. 01 eng 20 00 Open Access Anjali Nath 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/redacted-writing-in-the-negative-space-of-the-state/ 16 40 01an7q238 32 10.13039/100006978 University of California, Berkeley 01 programname Institute of East Asian Studies Earth, Milky Way 04 01 20241027 Franck Billé, Charlene Mackley, Lisa Min 02 WORLD 06 15 9781685711900 03 9781685711900 34 06 10.21552/EDPL/2016/3/4 34 06 10.1080/03085147.2019.1690275 34 06 10.1080/13183222.2018.1463349 34 06 10.1177/0305829815576817 34 06 10.1111/j.1467-8330.2012.01048.x 34 06 10.1215/9780822376903 34 06 10.1215/-12-2-1 34 06 10.1215/quiparle.13.2.183.265 34 06 10.1353/cla.0.0003 34 06 10.1080/23322705.2022.2078592 34 06 10.1080/09584935.2020.1765990 34 06 10.1111/1475-5661.00016 34 06 10.1163/9789004232273 34 06 10.3167/arms.2023.060106 34 06 10.3167/cja.2017.350209 34 06 10.1080/02560046.2021.1985156 34 06 10.1080/00330124.2011.596781 34 06 10.1525/can.2004.19.4.517 34 06 10.1145/3378569 34 06 10.7312/nich14908 34 06 10.1111/j.1354-5078.2004.00182.x 34 06 10.1215/00382876-2007-015.269 34 06 10.4324/9780203427644-9 34 06 10.1016/S1361-3723(16)30028-8 34 06 10.2307/1208373 34 06 10.1215/9780822373452 34 06 10.1525/ciso.1997.9.1.97 34 06 10.1080/0969725X.2012.701053 34 06 10.1068/d9109 34 06 10.14506/ca33.2.09 34 06 10.2307/j.ctvw04f4m 34 06 10.1080/00263206.2015.1044525 34 06 10.1515/9781400873548 34 06 10.1017/9781316848579 34 06 10.1086/728897 34 06 10.1177/1463499618783130 34 06 10.25365/jeacs.2022.3.zenz.274 34 06 10.1163/ej.9789004155572.i-355 34 06 10.4000/ejts.2243 34 06 10.1353/tae.2001.0028 34 06 10.5749/minnesota/9780816697724.001.0001 34 06 10.37050/ci-27_2 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/94120 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/94120/0466.1.00.pdf?sequence=1&isAllowed=y 20 08 20241027 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/146915 20 08 20241027 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526488 20 08 20241027 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/816 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/19cc8466-090d-447e-a681-b41d006d400a/download 20 08 20241027 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a973a771-e305-4582-9f2e-f81c4d925172 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a973a771-e305-4582-9f2e-f81c4d925172/a973a771-e305-4582-9f2e-f81c4d925172.pdf 20 08 20241027 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850713 29 ZENODO: download the title https://zenodo.org/records/19850713/files/a973a771-e305-4582-9f2e-f81c4d925172_book.pdf 20 08 20241027 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/redacted-writing-in-the-negative-space-of-the-state/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0466.1.00.pdf 20 08 20241027 01 urn:uuid:724e978a-e8c9-44a1-9329-147d6272ad7d 03 01 01 thoth-work-id urn:uuid:811cf0f0-3c6c-4df6-ac02-4d5e762ed81c 01 thoth-publication-id urn:uuid:724e978a-e8c9-44a1-9329-147d6272ad7d 15 9781685712907 03 9781685712907 06 10.53288/0455.1.00 13 2025948139 01 internal-reference 0455 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 24 mm 03 2.4 cm 03 0.93 in 08 526 gr 08 18.56 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Red Lives: Our Years in the U.S. Communist Party (1950–2000), Vol. 1 Coming of Age in the Communist and Labor Movements 1 B01 Jay Schaffner Jay Schaffner Jay Schaffner, the son of Ukrainian Jewish immigrants, was born in 1952 and grew up in Skokie, a Chicago suburb. As a teenager he participated in civil-rights marches and anti-Vietnam War actions, becoming a leader of the area’s high school antiwar and young voters’ movements and later the Chicago Peace Council. He was in Students for a Democratic Society and the socialist, multiracial W. E. B Du Bois Clubs and then, at sixteen, joined the Communist Party, running as a Communist for University of Illinois trustee when he was twenty-two. In 1970, Schaffner helped found the Young Workers Liberation League, and in 1974 he became a national officer. After moving to New York in 1975, he was elected to the CPUSA national committee, first in 1979 and then at every convention until 1991, when he left the Party. In 1990 he became a secretary for Local 802 of the American Federation of Musicians, later supervising its recording department. He negotiated electronic media agreements and was twice voted to the executive board. A founding moderator of Portside, he continues collaborating with the progressive news website. In retirement, he cochairs a tenant committee in his housing cooperative. He belongs to the New York State Committee of the Working Families Party. Married, he has two children and four grandchildren. 2 B01 Paul Friedman Paul Friedman Paul Friedman was born on February 20, 1947, in New York City. His family moved from the Bronx to Flushing, Queens, in 1955. Paul attended Bronx High School of Science and New York University, where he received his bachelor of science degree. He met his future wife, Jean, at the university, and they married in November, 1970. He served as a national coordinator of the Student Mobilization to End the War in Vietnam and youth director of the New York State district of the Communist Party while on hiatus from college. From 1970 to 1973, Paul worked as a research technician in the pediatric cardiology department at the Columbia College of Physicians and Surgeons at the Presbyterian Medical Center. He joined the staff of Local 1199 in 1973 as an organizer and eventually worked as assistant director of organizing for 1199’s National Union of Hospitals and Health Care Employees. Prior to his retirement in 2019 Paul served in various leadership positions at 1199 Service Employees International Union; Local 100 Hotel Employees and Restaurant Employees Union; Committee of Interns and Residents; and New York State Nurses Association. Paul participated in or led campaigns throughout the United States that brought over twenty thousand new members into these unions. 3 B01 Cindy Hawes Cindy Hawes Cindy Hawes was born in Pasadena, California, on May 31, 1949. She grew up in the Altadena-Pasadena area before going off to study at the University of California, Santa Barbara. Cindy spent her junior year abroad in Madrid, Spain, and it was during that year that she traveled with other US students to the Soviet Union. That trip, as well as other travels, sparked an interest in socialism. After graduating, she continued her studies in Mexico, and when she returned to the United States she started a career in journalism and joined the Young Workers Liberation League and eventually the Communist Party USA. Cindy moved to New York in 1977 to be a staff member at the Daily World and in 1981 became the paper’s correspondent in Mexico City and in 1988 in Los Angeles. Four years later, she returned to Mexico City, where she worked with both the national and international press there until her retirement. She currently devotes her time to translation and her own writing. 4 B01 Geoffrey Jacques Geoffrey Jacques Geoffrey Jacques is a poet, writer, and editor who has taught at colleges and universities in New York City and Southern California. He was born in Detroit, Michigan, in 1953. His books include the poetry collections The Orchestra of Wind Chimes (2023) and Just for a Thrill (2004), both from Wayne State University Press, and the literary-critical study A Change in the Weather: Modernist Imagination, African American Imaginary (University of Massachusetts Press, 2009). His poem ”Trump” appeared in 2019 in the journal Black Renaissance/Renaissance Noire. His essay “A New Civil Rights Movement, a New Journal,” an introduction to the online archive of the complete run of Freedomways magazine, appears on the open-access Reveal Digital–Independent Voices portal at JSTOR. Jacques was the Detroit Daily World correspondent from 1978 to 1983, and a New York City–based Daily World staffer from 1983 to 1985. He served as a business representative and organizer for Local 802 of the American Federation of Musicians, and from 1990 to 1996 he was assistant editor, then associate editor, of 1199 News, the monthly magazine of 1199 SEIU, the New York City-based health and hospital workers union. He has taught classes in English, African American Studies, American Studies, and Humanities at the City University of New York, the University of California, Santa Barbara, California Institute of the Arts, and elsewhere. Since 2014, he has been a moderator for Portside. He and his wife live in Ventura, California, and Detroit, Michigan. 5 B01 Timothy Johnson Timothy Johnson Timothy Johnson worked as a reporter for People's World (1985), and People's Daily World (1985–1990). He joined the Communist Party in Chicago in 1983 and lived in Chicago, Los Angeles, and New York City. He also served on the Party's African American Equality Commission from 1987 to 1991. 6 B01 Carol Pittman Carol Pittman Carol Pittman was born in New York to communist parents who were also lifelong journalists, her father an African American who left Georgia during the great migration, her mother a German Jew who left Germany in 1938. Both wrote for and edited People’s World, Daily World, and People’s Daily World. She grew up in San Francisco, where she was active as a teen in both the civil-rights and anti-Vietnam War movements. She joined the Bay Area youth club of the Communist Party USA at seventeen and was briefly a member of the Black Panther Party. She studied ethnography at Karl Marx University in Leipzig, Germany, where she also played guitar in a Chilean conjunto band. She is multilingual, speaking English, German, Spanish, and Russian. Upon returning to the United States and New York City, Carol joined the Young Workers Liberation League and was active in the Chile Solidarity Movement. She interpreted for Gladys Marin, then head of the Chilean Communist Youth, Laura Allende (sister of murdered president Salvador Allende), and Fanny Edelman, head of the Women’s International Democratic Federation. She was an editor at International Publishers. While Youth Council coordinator of the National Coalition for Economic Justice, she helped organize the National Youth March for Jobs in the mid-1970s, then the largest national youth mobilization for jobs. During this time, she led her building’s tenants association. Carol became education director for the New York Party, joined the state committee, and was a leader of the fight for change. She left the Party in 1991. Her work as community-outreach coordinator for a local hospital’s pediatric resource center led to becoming an organizer for Local 1199, Registered Nurse Division. Her activity expanded to director of NY Jobs with Justice, in collaboration with the Workers’ Rights Board. She was a moderator of Portside from 2003 to 2014. A position as community-affairs coordinator for the New York State Nurses Association led to subsequently becoming associate director for political and community organizing, coordinating NYSNA’s labor-community response to hospital closings. Carol is retired, a grandmother and a Brooklyn Community Gardener (BUG) at the Brooklyn Botanic Garden. 7 B01 Donna Ristorucci Donna Ristorucci Donna Ristorucci was born in 1947 in Jamaica, New York. She knew she was a socialist at the age of eleven. The oldest of three children, she asked her father on a ride home from her grandparents, “Why can’t everyone just have everything they need?” He replied, “That’s socialism.” Her parents were leftists, but McCarthyism put the kibosh on any activism. In high school, Ristorucci worked in peace and civil-rights activities, especially the 1964 boycott for school integration. She joined the W.E.B. Du Bois Club in 1965 and the Communist Party in 1966, following its first open convention since McCarthyism. At City College she became immersed in anti-Vietnam War and open-admissions struggles on campus. She left school to work full-time for the Du Bois Clubs. She helped organize the US delegation to the 1968 World Youth Festival in Bulgaria. A founder of the Young Workers Liberation League, Ristorucci was New York education director. She participated in the Party’s national council and New York State leadership (until moving to Jersey City in 1979). In 1971, Ristorucci became the Daily World’s youth editor, serving on the editorial board. She eventually edited World Magazine, the paper’s weekly supplement. During her years at the paper, she gave birth to three sons. She left the paper and the CPUSA in 1987. After working at a labor-law office, Ristorucci was hired by Teamsters Local 237, a public-employee union, as associate editor of its newspaper. Returning to school at night, she earned a BA in labor studies in 1991. In 1995 she became founding editor of 237’s retiree newspaper and assistant director of the Retiree Division. She retired in 2012—still a Communist, still anti-imperialist, still going to demonstrations (although not quite as many). 8 B01 Daniel Rosenberg Daniel Rosenberg Born in Brooklyn, New York in 1953, Daniel Rosenberg came to the communist movement in 1970. His parents were Communist Party members and community leaders in civil-rights, peace, labor, and other movements. Fearing that the McCarthyite red scare of the 1950s would impose a Nazi-type regime in the United States, the Party urged his parents to go “underground”—with him in tow—to escape persecution. They moved through various cities until returning to Brooklyn. Rosenberg soon stumbled into public school. Each day lasted a century. He read Lenin and Marx in the summer of 1969, entering eleventh grade with both conviction and verbiage. From the last row in class, he held forth, in contrast with his general silence during the previous decade. He soon joined the Young Workers Liberation League, the Party’s new youth organization. He would hold League leadership positions and later local posts in the Communist Party. He served on the Party’s history and international commissions (the latter owing to his representing the League in the anti-imperialist World Federation of Democratic Youth). He has a doctorate in history from the City University of New York. He taught at Adelphi University for thirty-five years. He has written several pieces about Party history. 9 B01 Jackie Saindon Jackie Saindon Jackie Saindon worked for most of her life as an adult educator, teaching adults to read, as well as teaching English to second-language learners. She has also been a community activist, serving on the school board, the library board, and various other community organizations. For many years, until her retirement in 2018, she was a part-time assistant professor in the Language and Literacy Department of the University of Georgia. She was born into a Communist Party family and grew up as a “red-diaper baby.” Her father was sent to New York in 1952 to join other Party members sent to work in industrial settings. During that period, she read Marxist literature that had been hidden in her family’s basement. She was an active member of the W.E.B. Du Bois Club and later of the industrial section of the Party, working with grassroots members of the International Garment Workers Union and District 65 United Auto Workers, organizing office workers to join the union already established by warehouse workers. She currently lives in Athens, Georgia, where she is co-coordinator of an adult literacy program and works with community groups and the school district to revitalize their adult and family literacy programs. 10 A23 Robin D.G. Kelley Robin D.G. Kelley 01 eng 00 412 03 B2 Capital+Lucre 93 JPL 10 POL005000 10 HIS036060 B2 History 93 JPFC 93 1KBB 10 BIO010000 B2 New Left Thought 93 3MPQ 93 DNBH1 20 Cold War; US politics; communism; Vietnam War; trade unions; Communist Party of the United States of America; W.E.B. Du Bois Clubs; red diaper babies 01 06 02 00 03 00 Red Lives: Our Years in the US Communist Party (1950–2000) is the first collection of historical analyses and reminiscences by members of the Communist Party USA (CPUSA) and the Communist youth movement in the US from the 1950s through the 1990s. The nearly fifty first-person testimonies bring to life a missing chapter in the history of US radicalism and demonstrate the influence of the post–World War II generation of Communists on social justice movements.Most histories of US Communism end in 1956 when Red Lives just begins, when McCarthyism was on its final legs, the Civil Rights Movement was sweeping the American South and the whole country, the student movement was taking its first breaths, and a new generation of young people were seeking out socialists, communists, and the Communist Party in order to craft a radical, anti-establishment politics. At a time when the launching of Sputnik, the Cuban Revolution, other revolutions sweeping Africa, and the example of the Vietnamese people fighting for their freedom and independence were inspiring the world, one-third of the world was also socialist, led by the Soviet Union and China. The time was propitious for a new generation in the US to also be seeking out, and joining, the CPUSA. This first volume of Red Lives, Coming of Age in the Communist and Labor Movements, brings the stories of that generation to the forefront of American history at a time when narratives of resistance are more needed than ever before. 30 00 Red Lives: Our Years in the US Communist Party (1950–2000) is the first collection of historical analyses and reminiscences by members of the Communist Party USA (CPUSA) and the Communist youth movement in the US from the 1950s through the 1990s. The nearly fifty first-person testimonies bring to life a missing chapter in the history of US radicalism and demonstrate the influence of the post–World War II generation of Communists on social justice movements.Most histories of US Communism end in 1956 when Red Lives just begins, when McCarthyism was on its final legs, the Civil Rights Movement was sweeping the American South and the whole country, the student movement was taking its first breaths, and a new generation of young people were seeking out socialists, communists, and the Communist Party in order to craft a radical, anti-establishment politics. At a time when the launching of Sputnik, the Cuban Revolution, other revolutions sweeping Africa, and the example of the Vietnamese people fighting for their freedom and independence were inspiring the world, one-third of the world was also socialist, led by the Soviet Union and China. The time was propitious for a new generation in the US to also be seeking out, and joining, the CPUSA. This first volume of Red Lives, Coming of Age in the Communist and Labor Movements, brings the stories of that generation to the forefront of American history at a time when narratives of resistance are more needed than ever before. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0455.1.00_frontcover.jpg 1 03 06 10.53288/0455.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.53288/0455.1.02 17 22 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Robin D.G. Kelley Robin D.G. Kelley 01 eng 20 00 Open Access Robin D.G. Kelley 3 03 06 10.53288/0455.1.03 23 33 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Daniel Rosenberg Daniel Rosenberg 01 eng 20 00 Open Access Daniel Rosenberg 4 03 06 10.53288/0455.1.04 41 107 67 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Communist Labor and Political Reporter 1 A01 Geoffrey Jacques Geoffrey Jacques 01 eng 20 00 Open Access Geoffrey Jacques 5 03 06 10.53288/0455.1.05 109 114 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flashback to My Long-Ago Communist Youth 1 A01 Leon Wofsy Leon Wofsy 01 eng 20 00 Open Access Leon Wofsy 6 03 06 10.53288/0455.1.06 115 123 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Experience in Freedom Summer 1 A01 Marian Gordon Marian Gordon 01 eng 20 00 Open Access Marian Gordon 7 03 06 10.53288/0455.1.07 131 173 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Born Red Pages from a Socialist’s Life 1 A01 Jay Schaffner Jay Schaffner 01 eng 20 00 Open Access Jay Schaffner 8 03 06 10.53288/0455.1.08 175 185 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From China to the United States 1 A01 Peter Hodes Peter Hodes 01 eng 20 00 Open Access Peter Hodes 9 03 06 10.53288/0455.1.09 187 189 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Parents Were Communists 1 A01 Naomi Chesman Smith Naomi Chesman Smith 01 eng 20 00 Open Access Naomi Chesman Smith 10 03 06 10.53288/0455.1.10 191 211 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 We Were Movement Organizations—People’s Organizations, Not Puppets of Anyone 1 A01 Joseph Harris Joseph Harris 01 eng 20 00 Open Access Joseph Harris 11 03 06 10.53288/0455.1.11 219 259 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Work We Do to Broaden Workers’ Thinking Is Important 1 A01 Dave Cohen Dave Cohen 01 eng 20 00 Open Access Dave Cohen 12 03 06 10.53288/0455.1.12 261 264 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 CPUSA Trade-Union Club in Health Care, 1970s–1992 1 A01 Marilyn Albert Marilyn Albert 01 eng 20 00 Open Access Marilyn Albert 13 03 06 10.53288/0455.1.13 265 280 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Red-Diaper Baby to Union Leadership 1 A01 Paul Friedman Paul Friedman 01 eng 20 00 Open Access Paul Friedman 14 03 06 10.53288/0455.1.14 281 309 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Another World Is Possible 1 A01 Frank Emspak Frank Emspak 01 eng 20 00 Open Access Frank Emspak 15 03 06 10.53288/0455.1.15 311 318 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 We Had a Big Victory, One That Many Thought We Couldn’t Win 1 A01 Sharon Stewart Sharon Stewart 01 eng 20 00 Open Access Sharon Stewart 16 03 06 10.53288/0455.1.16 319 326 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Party Time 1 A01 Rafael Pizarro Rafael Pizarro 01 eng 20 00 Open Access Rafael Pizarro 17 03 06 10.53288/0455.1.17 327 338 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building the Left in the Labor Movement 1 A01 James Williams James Williams 01 eng 20 00 Open Access James Williams 18 03 06 10.53288/0455.1.18 339 348 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taking Organizing Seriously 1 A01 Judy Atkins Judy Atkins 01 eng 20 00 Open Access Judy Atkins 19 03 06 10.53288/0455.1.19 349 364 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Series of Exposures and Experiences… Some of the Best Years of My Political Life 1 A01 Chris Townsend Chris Townsend 01 eng 20 00 Open Access Chris Townsend 20 03 06 10.53288/0455.1.20 367 406 40 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/red-lives-our-years-in-the-us-communist-party-vol-1-coming-of-age-in-the-communist-and-labor-movements/ Earth, Milky Way 04 01 20260319 Telling Our Story Collective 02 WORLD 06 15 9781685712914 03 9781685712914 06 15 9781685712976 03 9781685712976 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712908 20 08 20260319 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/red-lives-our-years-in-the-us-communist-party-19502000-vol-1-coming-of-age-in-the-communist-and-labor-movements 20 08 20260319 02 27.00 USD WORLD urn:uuid:b5adda37-7891-4e4e-9f15-3f905e1343fb 03 01 01 thoth-work-id urn:uuid:811cf0f0-3c6c-4df6-ac02-4d5e762ed81c 01 thoth-publication-id urn:uuid:b5adda37-7891-4e4e-9f15-3f905e1343fb 15 9781685712914 03 9781685712914 06 10.53288/0455.1.00 13 2025948139 01 internal-reference 0455 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Red Lives: Our Years in the U.S. Communist Party (1950–2000), Vol. 1 Coming of Age in the Communist and Labor Movements 1 B01 Jay Schaffner Jay Schaffner Jay Schaffner, the son of Ukrainian Jewish immigrants, was born in 1952 and grew up in Skokie, a Chicago suburb. As a teenager he participated in civil-rights marches and anti-Vietnam War actions, becoming a leader of the area’s high school antiwar and young voters’ movements and later the Chicago Peace Council. He was in Students for a Democratic Society and the socialist, multiracial W. E. B Du Bois Clubs and then, at sixteen, joined the Communist Party, running as a Communist for University of Illinois trustee when he was twenty-two. In 1970, Schaffner helped found the Young Workers Liberation League, and in 1974 he became a national officer. After moving to New York in 1975, he was elected to the CPUSA national committee, first in 1979 and then at every convention until 1991, when he left the Party. In 1990 he became a secretary for Local 802 of the American Federation of Musicians, later supervising its recording department. He negotiated electronic media agreements and was twice voted to the executive board. A founding moderator of Portside, he continues collaborating with the progressive news website. In retirement, he cochairs a tenant committee in his housing cooperative. He belongs to the New York State Committee of the Working Families Party. Married, he has two children and four grandchildren. 2 B01 Paul Friedman Paul Friedman Paul Friedman was born on February 20, 1947, in New York City. His family moved from the Bronx to Flushing, Queens, in 1955. Paul attended Bronx High School of Science and New York University, where he received his bachelor of science degree. He met his future wife, Jean, at the university, and they married in November, 1970. He served as a national coordinator of the Student Mobilization to End the War in Vietnam and youth director of the New York State district of the Communist Party while on hiatus from college. From 1970 to 1973, Paul worked as a research technician in the pediatric cardiology department at the Columbia College of Physicians and Surgeons at the Presbyterian Medical Center. He joined the staff of Local 1199 in 1973 as an organizer and eventually worked as assistant director of organizing for 1199’s National Union of Hospitals and Health Care Employees. Prior to his retirement in 2019 Paul served in various leadership positions at 1199 Service Employees International Union; Local 100 Hotel Employees and Restaurant Employees Union; Committee of Interns and Residents; and New York State Nurses Association. Paul participated in or led campaigns throughout the United States that brought over twenty thousand new members into these unions. 3 B01 Cindy Hawes Cindy Hawes Cindy Hawes was born in Pasadena, California, on May 31, 1949. She grew up in the Altadena-Pasadena area before going off to study at the University of California, Santa Barbara. Cindy spent her junior year abroad in Madrid, Spain, and it was during that year that she traveled with other US students to the Soviet Union. That trip, as well as other travels, sparked an interest in socialism. After graduating, she continued her studies in Mexico, and when she returned to the United States she started a career in journalism and joined the Young Workers Liberation League and eventually the Communist Party USA. Cindy moved to New York in 1977 to be a staff member at the Daily World and in 1981 became the paper’s correspondent in Mexico City and in 1988 in Los Angeles. Four years later, she returned to Mexico City, where she worked with both the national and international press there until her retirement. She currently devotes her time to translation and her own writing. 4 B01 Geoffrey Jacques Geoffrey Jacques Geoffrey Jacques is a poet, writer, and editor who has taught at colleges and universities in New York City and Southern California. He was born in Detroit, Michigan, in 1953. His books include the poetry collections The Orchestra of Wind Chimes (2023) and Just for a Thrill (2004), both from Wayne State University Press, and the literary-critical study A Change in the Weather: Modernist Imagination, African American Imaginary (University of Massachusetts Press, 2009). His poem ”Trump” appeared in 2019 in the journal Black Renaissance/Renaissance Noire. His essay “A New Civil Rights Movement, a New Journal,” an introduction to the online archive of the complete run of Freedomways magazine, appears on the open-access Reveal Digital–Independent Voices portal at JSTOR. Jacques was the Detroit Daily World correspondent from 1978 to 1983, and a New York City–based Daily World staffer from 1983 to 1985. He served as a business representative and organizer for Local 802 of the American Federation of Musicians, and from 1990 to 1996 he was assistant editor, then associate editor, of 1199 News, the monthly magazine of 1199 SEIU, the New York City-based health and hospital workers union. He has taught classes in English, African American Studies, American Studies, and Humanities at the City University of New York, the University of California, Santa Barbara, California Institute of the Arts, and elsewhere. Since 2014, he has been a moderator for Portside. He and his wife live in Ventura, California, and Detroit, Michigan. 5 B01 Timothy Johnson Timothy Johnson Timothy Johnson worked as a reporter for People's World (1985), and People's Daily World (1985–1990). He joined the Communist Party in Chicago in 1983 and lived in Chicago, Los Angeles, and New York City. He also served on the Party's African American Equality Commission from 1987 to 1991. 6 B01 Carol Pittman Carol Pittman Carol Pittman was born in New York to communist parents who were also lifelong journalists, her father an African American who left Georgia during the great migration, her mother a German Jew who left Germany in 1938. Both wrote for and edited People’s World, Daily World, and People’s Daily World. She grew up in San Francisco, where she was active as a teen in both the civil-rights and anti-Vietnam War movements. She joined the Bay Area youth club of the Communist Party USA at seventeen and was briefly a member of the Black Panther Party. She studied ethnography at Karl Marx University in Leipzig, Germany, where she also played guitar in a Chilean conjunto band. She is multilingual, speaking English, German, Spanish, and Russian. Upon returning to the United States and New York City, Carol joined the Young Workers Liberation League and was active in the Chile Solidarity Movement. She interpreted for Gladys Marin, then head of the Chilean Communist Youth, Laura Allende (sister of murdered president Salvador Allende), and Fanny Edelman, head of the Women’s International Democratic Federation. She was an editor at International Publishers. While Youth Council coordinator of the National Coalition for Economic Justice, she helped organize the National Youth March for Jobs in the mid-1970s, then the largest national youth mobilization for jobs. During this time, she led her building’s tenants association. Carol became education director for the New York Party, joined the state committee, and was a leader of the fight for change. She left the Party in 1991. Her work as community-outreach coordinator for a local hospital’s pediatric resource center led to becoming an organizer for Local 1199, Registered Nurse Division. Her activity expanded to director of NY Jobs with Justice, in collaboration with the Workers’ Rights Board. She was a moderator of Portside from 2003 to 2014. A position as community-affairs coordinator for the New York State Nurses Association led to subsequently becoming associate director for political and community organizing, coordinating NYSNA’s labor-community response to hospital closings. Carol is retired, a grandmother and a Brooklyn Community Gardener (BUG) at the Brooklyn Botanic Garden. 7 B01 Donna Ristorucci Donna Ristorucci Donna Ristorucci was born in 1947 in Jamaica, New York. She knew she was a socialist at the age of eleven. The oldest of three children, she asked her father on a ride home from her grandparents, “Why can’t everyone just have everything they need?” He replied, “That’s socialism.” Her parents were leftists, but McCarthyism put the kibosh on any activism. In high school, Ristorucci worked in peace and civil-rights activities, especially the 1964 boycott for school integration. She joined the W.E.B. Du Bois Club in 1965 and the Communist Party in 1966, following its first open convention since McCarthyism. At City College she became immersed in anti-Vietnam War and open-admissions struggles on campus. She left school to work full-time for the Du Bois Clubs. She helped organize the US delegation to the 1968 World Youth Festival in Bulgaria. A founder of the Young Workers Liberation League, Ristorucci was New York education director. She participated in the Party’s national council and New York State leadership (until moving to Jersey City in 1979). In 1971, Ristorucci became the Daily World’s youth editor, serving on the editorial board. She eventually edited World Magazine, the paper’s weekly supplement. During her years at the paper, she gave birth to three sons. She left the paper and the CPUSA in 1987. After working at a labor-law office, Ristorucci was hired by Teamsters Local 237, a public-employee union, as associate editor of its newspaper. Returning to school at night, she earned a BA in labor studies in 1991. In 1995 she became founding editor of 237’s retiree newspaper and assistant director of the Retiree Division. She retired in 2012—still a Communist, still anti-imperialist, still going to demonstrations (although not quite as many). 8 B01 Daniel Rosenberg Daniel Rosenberg Born in Brooklyn, New York in 1953, Daniel Rosenberg came to the communist movement in 1970. His parents were Communist Party members and community leaders in civil-rights, peace, labor, and other movements. Fearing that the McCarthyite red scare of the 1950s would impose a Nazi-type regime in the United States, the Party urged his parents to go “underground”—with him in tow—to escape persecution. They moved through various cities until returning to Brooklyn. Rosenberg soon stumbled into public school. Each day lasted a century. He read Lenin and Marx in the summer of 1969, entering eleventh grade with both conviction and verbiage. From the last row in class, he held forth, in contrast with his general silence during the previous decade. He soon joined the Young Workers Liberation League, the Party’s new youth organization. He would hold League leadership positions and later local posts in the Communist Party. He served on the Party’s history and international commissions (the latter owing to his representing the League in the anti-imperialist World Federation of Democratic Youth). He has a doctorate in history from the City University of New York. He taught at Adelphi University for thirty-five years. He has written several pieces about Party history. 9 B01 Jackie Saindon Jackie Saindon Jackie Saindon worked for most of her life as an adult educator, teaching adults to read, as well as teaching English to second-language learners. She has also been a community activist, serving on the school board, the library board, and various other community organizations. For many years, until her retirement in 2018, she was a part-time assistant professor in the Language and Literacy Department of the University of Georgia. She was born into a Communist Party family and grew up as a “red-diaper baby.” Her father was sent to New York in 1952 to join other Party members sent to work in industrial settings. During that period, she read Marxist literature that had been hidden in her family’s basement. She was an active member of the W.E.B. Du Bois Club and later of the industrial section of the Party, working with grassroots members of the International Garment Workers Union and District 65 United Auto Workers, organizing office workers to join the union already established by warehouse workers. She currently lives in Athens, Georgia, where she is co-coordinator of an adult literacy program and works with community groups and the school district to revitalize their adult and family literacy programs. 10 A23 Robin D.G. Kelley Robin D.G. Kelley 01 eng 00 412 03 B2 Capital+Lucre 93 JPL 10 POL005000 10 HIS036060 B2 History 93 JPFC 93 1KBB 10 BIO010000 B2 New Left Thought 93 3MPQ 93 DNBH1 20 Cold War; US politics; communism; Vietnam War; trade unions; Communist Party of the United States of America; W.E.B. Du Bois Clubs; red diaper babies 01 06 02 00 03 00 Red Lives: Our Years in the US Communist Party (1950–2000) is the first collection of historical analyses and reminiscences by members of the Communist Party USA (CPUSA) and the Communist youth movement in the US from the 1950s through the 1990s. The nearly fifty first-person testimonies bring to life a missing chapter in the history of US radicalism and demonstrate the influence of the post–World War II generation of Communists on social justice movements.Most histories of US Communism end in 1956 when Red Lives just begins, when McCarthyism was on its final legs, the Civil Rights Movement was sweeping the American South and the whole country, the student movement was taking its first breaths, and a new generation of young people were seeking out socialists, communists, and the Communist Party in order to craft a radical, anti-establishment politics. At a time when the launching of Sputnik, the Cuban Revolution, other revolutions sweeping Africa, and the example of the Vietnamese people fighting for their freedom and independence were inspiring the world, one-third of the world was also socialist, led by the Soviet Union and China. The time was propitious for a new generation in the US to also be seeking out, and joining, the CPUSA. This first volume of Red Lives, Coming of Age in the Communist and Labor Movements, brings the stories of that generation to the forefront of American history at a time when narratives of resistance are more needed than ever before. 30 00 Red Lives: Our Years in the US Communist Party (1950–2000) is the first collection of historical analyses and reminiscences by members of the Communist Party USA (CPUSA) and the Communist youth movement in the US from the 1950s through the 1990s. The nearly fifty first-person testimonies bring to life a missing chapter in the history of US radicalism and demonstrate the influence of the post–World War II generation of Communists on social justice movements.Most histories of US Communism end in 1956 when Red Lives just begins, when McCarthyism was on its final legs, the Civil Rights Movement was sweeping the American South and the whole country, the student movement was taking its first breaths, and a new generation of young people were seeking out socialists, communists, and the Communist Party in order to craft a radical, anti-establishment politics. At a time when the launching of Sputnik, the Cuban Revolution, other revolutions sweeping Africa, and the example of the Vietnamese people fighting for their freedom and independence were inspiring the world, one-third of the world was also socialist, led by the Soviet Union and China. The time was propitious for a new generation in the US to also be seeking out, and joining, the CPUSA. This first volume of Red Lives, Coming of Age in the Communist and Labor Movements, brings the stories of that generation to the forefront of American history at a time when narratives of resistance are more needed than ever before. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0455.1.00_frontcover.jpg 1 03 06 10.53288/0455.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.53288/0455.1.02 17 22 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Robin D.G. Kelley Robin D.G. Kelley 01 eng 20 00 Open Access Robin D.G. Kelley 3 03 06 10.53288/0455.1.03 23 33 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Daniel Rosenberg Daniel Rosenberg 01 eng 20 00 Open Access Daniel Rosenberg 4 03 06 10.53288/0455.1.04 41 107 67 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Communist Labor and Political Reporter 1 A01 Geoffrey Jacques Geoffrey Jacques 01 eng 20 00 Open Access Geoffrey Jacques 5 03 06 10.53288/0455.1.05 109 114 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flashback to My Long-Ago Communist Youth 1 A01 Leon Wofsy Leon Wofsy 01 eng 20 00 Open Access Leon Wofsy 6 03 06 10.53288/0455.1.06 115 123 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Experience in Freedom Summer 1 A01 Marian Gordon Marian Gordon 01 eng 20 00 Open Access Marian Gordon 7 03 06 10.53288/0455.1.07 131 173 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Born Red Pages from a Socialist’s Life 1 A01 Jay Schaffner Jay Schaffner 01 eng 20 00 Open Access Jay Schaffner 8 03 06 10.53288/0455.1.08 175 185 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From China to the United States 1 A01 Peter Hodes Peter Hodes 01 eng 20 00 Open Access Peter Hodes 9 03 06 10.53288/0455.1.09 187 189 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Parents Were Communists 1 A01 Naomi Chesman Smith Naomi Chesman Smith 01 eng 20 00 Open Access Naomi Chesman Smith 10 03 06 10.53288/0455.1.10 191 211 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 We Were Movement Organizations—People’s Organizations, Not Puppets of Anyone 1 A01 Joseph Harris Joseph Harris 01 eng 20 00 Open Access Joseph Harris 11 03 06 10.53288/0455.1.11 219 259 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Work We Do to Broaden Workers’ Thinking Is Important 1 A01 Dave Cohen Dave Cohen 01 eng 20 00 Open Access Dave Cohen 12 03 06 10.53288/0455.1.12 261 264 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 CPUSA Trade-Union Club in Health Care, 1970s–1992 1 A01 Marilyn Albert Marilyn Albert 01 eng 20 00 Open Access Marilyn Albert 13 03 06 10.53288/0455.1.13 265 280 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Red-Diaper Baby to Union Leadership 1 A01 Paul Friedman Paul Friedman 01 eng 20 00 Open Access Paul Friedman 14 03 06 10.53288/0455.1.14 281 309 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Another World Is Possible 1 A01 Frank Emspak Frank Emspak 01 eng 20 00 Open Access Frank Emspak 15 03 06 10.53288/0455.1.15 311 318 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 We Had a Big Victory, One That Many Thought We Couldn’t Win 1 A01 Sharon Stewart Sharon Stewart 01 eng 20 00 Open Access Sharon Stewart 16 03 06 10.53288/0455.1.16 319 326 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Party Time 1 A01 Rafael Pizarro Rafael Pizarro 01 eng 20 00 Open Access Rafael Pizarro 17 03 06 10.53288/0455.1.17 327 338 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building the Left in the Labor Movement 1 A01 James Williams James Williams 01 eng 20 00 Open Access James Williams 18 03 06 10.53288/0455.1.18 339 348 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taking Organizing Seriously 1 A01 Judy Atkins Judy Atkins 01 eng 20 00 Open Access Judy Atkins 19 03 06 10.53288/0455.1.19 349 364 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Series of Exposures and Experiences… Some of the Best Years of My Political Life 1 A01 Chris Townsend Chris Townsend 01 eng 20 00 Open Access Chris Townsend 20 03 06 10.53288/0455.1.20 367 406 40 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/red-lives-our-years-in-the-us-communist-party-vol-1-coming-of-age-in-the-communist-and-labor-movements/ Earth, Milky Way 04 01 20260319 Telling Our Story Collective 02 WORLD 06 15 9781685712907 03 9781685712907 06 15 9781685712976 03 9781685712976 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/112158 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/112158/9781685712914.pdf?sequence=1&isAllowed=y 20 08 20260319 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/174297 20 08 20260319 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/948 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/62e1fced-4abf-400c-b934-7fb1c056ea4e/download 20 08 20260319 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product 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internal-reference 0455 00 EB E101 09 82 09 85 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Red Lives: Our Years in the U.S. Communist Party (1950–2000), Vol. 1 Coming of Age in the Communist and Labor Movements 1 B01 Jay Schaffner Jay Schaffner Jay Schaffner, the son of Ukrainian Jewish immigrants, was born in 1952 and grew up in Skokie, a Chicago suburb. As a teenager he participated in civil-rights marches and anti-Vietnam War actions, becoming a leader of the area’s high school antiwar and young voters’ movements and later the Chicago Peace Council. He was in Students for a Democratic Society and the socialist, multiracial W. E. B Du Bois Clubs and then, at sixteen, joined the Communist Party, running as a Communist for University of Illinois trustee when he was twenty-two. In 1970, Schaffner helped found the Young Workers Liberation League, and in 1974 he became a national officer. After moving to New York in 1975, he was elected to the CPUSA national committee, first in 1979 and then at every convention until 1991, when he left the Party. In 1990 he became a secretary for Local 802 of the American Federation of Musicians, later supervising its recording department. He negotiated electronic media agreements and was twice voted to the executive board. A founding moderator of Portside, he continues collaborating with the progressive news website. In retirement, he cochairs a tenant committee in his housing cooperative. He belongs to the New York State Committee of the Working Families Party. Married, he has two children and four grandchildren. 2 B01 Paul Friedman Paul Friedman Paul Friedman was born on February 20, 1947, in New York City. His family moved from the Bronx to Flushing, Queens, in 1955. Paul attended Bronx High School of Science and New York University, where he received his bachelor of science degree. He met his future wife, Jean, at the university, and they married in November, 1970. He served as a national coordinator of the Student Mobilization to End the War in Vietnam and youth director of the New York State district of the Communist Party while on hiatus from college. From 1970 to 1973, Paul worked as a research technician in the pediatric cardiology department at the Columbia College of Physicians and Surgeons at the Presbyterian Medical Center. He joined the staff of Local 1199 in 1973 as an organizer and eventually worked as assistant director of organizing for 1199’s National Union of Hospitals and Health Care Employees. Prior to his retirement in 2019 Paul served in various leadership positions at 1199 Service Employees International Union; Local 100 Hotel Employees and Restaurant Employees Union; Committee of Interns and Residents; and New York State Nurses Association. Paul participated in or led campaigns throughout the United States that brought over twenty thousand new members into these unions. 3 B01 Cindy Hawes Cindy Hawes Cindy Hawes was born in Pasadena, California, on May 31, 1949. She grew up in the Altadena-Pasadena area before going off to study at the University of California, Santa Barbara. Cindy spent her junior year abroad in Madrid, Spain, and it was during that year that she traveled with other US students to the Soviet Union. That trip, as well as other travels, sparked an interest in socialism. After graduating, she continued her studies in Mexico, and when she returned to the United States she started a career in journalism and joined the Young Workers Liberation League and eventually the Communist Party USA. Cindy moved to New York in 1977 to be a staff member at the Daily World and in 1981 became the paper’s correspondent in Mexico City and in 1988 in Los Angeles. Four years later, she returned to Mexico City, where she worked with both the national and international press there until her retirement. She currently devotes her time to translation and her own writing. 4 B01 Geoffrey Jacques Geoffrey Jacques Geoffrey Jacques is a poet, writer, and editor who has taught at colleges and universities in New York City and Southern California. He was born in Detroit, Michigan, in 1953. His books include the poetry collections The Orchestra of Wind Chimes (2023) and Just for a Thrill (2004), both from Wayne State University Press, and the literary-critical study A Change in the Weather: Modernist Imagination, African American Imaginary (University of Massachusetts Press, 2009). His poem ”Trump” appeared in 2019 in the journal Black Renaissance/Renaissance Noire. His essay “A New Civil Rights Movement, a New Journal,” an introduction to the online archive of the complete run of Freedomways magazine, appears on the open-access Reveal Digital–Independent Voices portal at JSTOR. Jacques was the Detroit Daily World correspondent from 1978 to 1983, and a New York City–based Daily World staffer from 1983 to 1985. He served as a business representative and organizer for Local 802 of the American Federation of Musicians, and from 1990 to 1996 he was assistant editor, then associate editor, of 1199 News, the monthly magazine of 1199 SEIU, the New York City-based health and hospital workers union. He has taught classes in English, African American Studies, American Studies, and Humanities at the City University of New York, the University of California, Santa Barbara, California Institute of the Arts, and elsewhere. Since 2014, he has been a moderator for Portside. He and his wife live in Ventura, California, and Detroit, Michigan. 5 B01 Timothy Johnson Timothy Johnson Timothy Johnson worked as a reporter for People's World (1985), and People's Daily World (1985–1990). He joined the Communist Party in Chicago in 1983 and lived in Chicago, Los Angeles, and New York City. He also served on the Party's African American Equality Commission from 1987 to 1991. 6 B01 Carol Pittman Carol Pittman Carol Pittman was born in New York to communist parents who were also lifelong journalists, her father an African American who left Georgia during the great migration, her mother a German Jew who left Germany in 1938. Both wrote for and edited People’s World, Daily World, and People’s Daily World. She grew up in San Francisco, where she was active as a teen in both the civil-rights and anti-Vietnam War movements. She joined the Bay Area youth club of the Communist Party USA at seventeen and was briefly a member of the Black Panther Party. She studied ethnography at Karl Marx University in Leipzig, Germany, where she also played guitar in a Chilean conjunto band. She is multilingual, speaking English, German, Spanish, and Russian. Upon returning to the United States and New York City, Carol joined the Young Workers Liberation League and was active in the Chile Solidarity Movement. She interpreted for Gladys Marin, then head of the Chilean Communist Youth, Laura Allende (sister of murdered president Salvador Allende), and Fanny Edelman, head of the Women’s International Democratic Federation. She was an editor at International Publishers. While Youth Council coordinator of the National Coalition for Economic Justice, she helped organize the National Youth March for Jobs in the mid-1970s, then the largest national youth mobilization for jobs. During this time, she led her building’s tenants association. Carol became education director for the New York Party, joined the state committee, and was a leader of the fight for change. She left the Party in 1991. Her work as community-outreach coordinator for a local hospital’s pediatric resource center led to becoming an organizer for Local 1199, Registered Nurse Division. Her activity expanded to director of NY Jobs with Justice, in collaboration with the Workers’ Rights Board. She was a moderator of Portside from 2003 to 2014. A position as community-affairs coordinator for the New York State Nurses Association led to subsequently becoming associate director for political and community organizing, coordinating NYSNA’s labor-community response to hospital closings. Carol is retired, a grandmother and a Brooklyn Community Gardener (BUG) at the Brooklyn Botanic Garden. 7 B01 Donna Ristorucci Donna Ristorucci Donna Ristorucci was born in 1947 in Jamaica, New York. She knew she was a socialist at the age of eleven. The oldest of three children, she asked her father on a ride home from her grandparents, “Why can’t everyone just have everything they need?” He replied, “That’s socialism.” Her parents were leftists, but McCarthyism put the kibosh on any activism. In high school, Ristorucci worked in peace and civil-rights activities, especially the 1964 boycott for school integration. She joined the W.E.B. Du Bois Club in 1965 and the Communist Party in 1966, following its first open convention since McCarthyism. At City College she became immersed in anti-Vietnam War and open-admissions struggles on campus. She left school to work full-time for the Du Bois Clubs. She helped organize the US delegation to the 1968 World Youth Festival in Bulgaria. A founder of the Young Workers Liberation League, Ristorucci was New York education director. She participated in the Party’s national council and New York State leadership (until moving to Jersey City in 1979). In 1971, Ristorucci became the Daily World’s youth editor, serving on the editorial board. She eventually edited World Magazine, the paper’s weekly supplement. During her years at the paper, she gave birth to three sons. She left the paper and the CPUSA in 1987. After working at a labor-law office, Ristorucci was hired by Teamsters Local 237, a public-employee union, as associate editor of its newspaper. Returning to school at night, she earned a BA in labor studies in 1991. In 1995 she became founding editor of 237’s retiree newspaper and assistant director of the Retiree Division. She retired in 2012—still a Communist, still anti-imperialist, still going to demonstrations (although not quite as many). 8 B01 Daniel Rosenberg Daniel Rosenberg Born in Brooklyn, New York in 1953, Daniel Rosenberg came to the communist movement in 1970. His parents were Communist Party members and community leaders in civil-rights, peace, labor, and other movements. Fearing that the McCarthyite red scare of the 1950s would impose a Nazi-type regime in the United States, the Party urged his parents to go “underground”—with him in tow—to escape persecution. They moved through various cities until returning to Brooklyn. Rosenberg soon stumbled into public school. Each day lasted a century. He read Lenin and Marx in the summer of 1969, entering eleventh grade with both conviction and verbiage. From the last row in class, he held forth, in contrast with his general silence during the previous decade. He soon joined the Young Workers Liberation League, the Party’s new youth organization. He would hold League leadership positions and later local posts in the Communist Party. He served on the Party’s history and international commissions (the latter owing to his representing the League in the anti-imperialist World Federation of Democratic Youth). He has a doctorate in history from the City University of New York. He taught at Adelphi University for thirty-five years. He has written several pieces about Party history. 9 B01 Jackie Saindon Jackie Saindon Jackie Saindon worked for most of her life as an adult educator, teaching adults to read, as well as teaching English to second-language learners. She has also been a community activist, serving on the school board, the library board, and various other community organizations. For many years, until her retirement in 2018, she was a part-time assistant professor in the Language and Literacy Department of the University of Georgia. She was born into a Communist Party family and grew up as a “red-diaper baby.” Her father was sent to New York in 1952 to join other Party members sent to work in industrial settings. During that period, she read Marxist literature that had been hidden in her family’s basement. She was an active member of the W.E.B. Du Bois Club and later of the industrial section of the Party, working with grassroots members of the International Garment Workers Union and District 65 United Auto Workers, organizing office workers to join the union already established by warehouse workers. She currently lives in Athens, Georgia, where she is co-coordinator of an adult literacy program and works with community groups and the school district to revitalize their adult and family literacy programs. 10 A23 Robin D.G. Kelley Robin D.G. Kelley 01 eng 00 412 03 B2 Capital+Lucre 93 JPL 10 POL005000 10 HIS036060 B2 History 93 JPFC 93 1KBB 10 BIO010000 B2 New Left Thought 93 3MPQ 93 DNBH1 20 Cold War; US politics; communism; Vietnam War; trade unions; Communist Party of the United States of America; W.E.B. Du Bois Clubs; red diaper babies 01 06 02 00 03 00 Red Lives: Our Years in the US Communist Party (1950–2000) is the first collection of historical analyses and reminiscences by members of the Communist Party USA (CPUSA) and the Communist youth movement in the US from the 1950s through the 1990s. The nearly fifty first-person testimonies bring to life a missing chapter in the history of US radicalism and demonstrate the influence of the post–World War II generation of Communists on social justice movements.Most histories of US Communism end in 1956 when Red Lives just begins, when McCarthyism was on its final legs, the Civil Rights Movement was sweeping the American South and the whole country, the student movement was taking its first breaths, and a new generation of young people were seeking out socialists, communists, and the Communist Party in order to craft a radical, anti-establishment politics. At a time when the launching of Sputnik, the Cuban Revolution, other revolutions sweeping Africa, and the example of the Vietnamese people fighting for their freedom and independence were inspiring the world, one-third of the world was also socialist, led by the Soviet Union and China. The time was propitious for a new generation in the US to also be seeking out, and joining, the CPUSA. This first volume of Red Lives, Coming of Age in the Communist and Labor Movements, brings the stories of that generation to the forefront of American history at a time when narratives of resistance are more needed than ever before. 30 00 Red Lives: Our Years in the US Communist Party (1950–2000) is the first collection of historical analyses and reminiscences by members of the Communist Party USA (CPUSA) and the Communist youth movement in the US from the 1950s through the 1990s. The nearly fifty first-person testimonies bring to life a missing chapter in the history of US radicalism and demonstrate the influence of the post–World War II generation of Communists on social justice movements.Most histories of US Communism end in 1956 when Red Lives just begins, when McCarthyism was on its final legs, the Civil Rights Movement was sweeping the American South and the whole country, the student movement was taking its first breaths, and a new generation of young people were seeking out socialists, communists, and the Communist Party in order to craft a radical, anti-establishment politics. At a time when the launching of Sputnik, the Cuban Revolution, other revolutions sweeping Africa, and the example of the Vietnamese people fighting for their freedom and independence were inspiring the world, one-third of the world was also socialist, led by the Soviet Union and China. The time was propitious for a new generation in the US to also be seeking out, and joining, the CPUSA. This first volume of Red Lives, Coming of Age in the Communist and Labor Movements, brings the stories of that generation to the forefront of American history at a time when narratives of resistance are more needed than ever before. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0455.1.00_frontcover.jpg 1 03 06 10.53288/0455.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.53288/0455.1.02 17 22 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Robin D.G. Kelley Robin D.G. Kelley 01 eng 20 00 Open Access Robin D.G. Kelley 3 03 06 10.53288/0455.1.03 23 33 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Daniel Rosenberg Daniel Rosenberg 01 eng 20 00 Open Access Daniel Rosenberg 4 03 06 10.53288/0455.1.04 41 107 67 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Communist Labor and Political Reporter 1 A01 Geoffrey Jacques Geoffrey Jacques 01 eng 20 00 Open Access Geoffrey Jacques 5 03 06 10.53288/0455.1.05 109 114 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Flashback to My Long-Ago Communist Youth 1 A01 Leon Wofsy Leon Wofsy 01 eng 20 00 Open Access Leon Wofsy 6 03 06 10.53288/0455.1.06 115 123 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Experience in Freedom Summer 1 A01 Marian Gordon Marian Gordon 01 eng 20 00 Open Access Marian Gordon 7 03 06 10.53288/0455.1.07 131 173 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Born Red Pages from a Socialist’s Life 1 A01 Jay Schaffner Jay Schaffner 01 eng 20 00 Open Access Jay Schaffner 8 03 06 10.53288/0455.1.08 175 185 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From China to the United States 1 A01 Peter Hodes Peter Hodes 01 eng 20 00 Open Access Peter Hodes 9 03 06 10.53288/0455.1.09 187 189 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 My Parents Were Communists 1 A01 Naomi Chesman Smith Naomi Chesman Smith 01 eng 20 00 Open Access Naomi Chesman Smith 10 03 06 10.53288/0455.1.10 191 211 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 We Were Movement Organizations—People’s Organizations, Not Puppets of Anyone 1 A01 Joseph Harris Joseph Harris 01 eng 20 00 Open Access Joseph Harris 11 03 06 10.53288/0455.1.11 219 259 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Work We Do to Broaden Workers’ Thinking Is Important 1 A01 Dave Cohen Dave Cohen 01 eng 20 00 Open Access Dave Cohen 12 03 06 10.53288/0455.1.12 261 264 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 CPUSA Trade-Union Club in Health Care, 1970s–1992 1 A01 Marilyn Albert Marilyn Albert 01 eng 20 00 Open Access Marilyn Albert 13 03 06 10.53288/0455.1.13 265 280 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Red-Diaper Baby to Union Leadership 1 A01 Paul Friedman Paul Friedman 01 eng 20 00 Open Access Paul Friedman 14 03 06 10.53288/0455.1.14 281 309 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Another World Is Possible 1 A01 Frank Emspak Frank Emspak 01 eng 20 00 Open Access Frank Emspak 15 03 06 10.53288/0455.1.15 311 318 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 We Had a Big Victory, One That Many Thought We Couldn’t Win 1 A01 Sharon Stewart Sharon Stewart 01 eng 20 00 Open Access Sharon Stewart 16 03 06 10.53288/0455.1.16 319 326 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Party Time 1 A01 Rafael Pizarro Rafael Pizarro 01 eng 20 00 Open Access Rafael Pizarro 17 03 06 10.53288/0455.1.17 327 338 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building the Left in the Labor Movement 1 A01 James Williams James Williams 01 eng 20 00 Open Access James Williams 18 03 06 10.53288/0455.1.18 339 348 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Taking Organizing Seriously 1 A01 Judy Atkins Judy Atkins 01 eng 20 00 Open Access Judy Atkins 19 03 06 10.53288/0455.1.19 349 364 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Series of Exposures and Experiences… Some of the Best Years of My Political Life 1 A01 Chris Townsend Chris Townsend 01 eng 20 00 Open Access Chris Townsend 20 03 06 10.53288/0455.1.20 367 406 40 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/red-lives-our-years-in-the-us-communist-party-vol-1-coming-of-age-in-the-communist-and-labor-movements/ Earth, Milky Way 04 01 20260319 Telling Our Story Collective 02 WORLD 06 15 9781685712907 03 9781685712907 06 15 9781685712914 03 9781685712914 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19592367 29 ZENODO: download the title https://zenodo.org/records/19592367/files/811cf0f0-3c6c-4df6-ac02-4d5e762ed81c_book.epub 20 08 20260319 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/red-lives-our-years-in-the-us-communist-party-vol-1-coming-of-age-in-the-communist-and-labor-movements/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0455.1.00.epub 20 08 20260319 01 urn:uuid:a5969af1-20a0-4c5d-bf8d-cc6420b9773a 03 01 01 thoth-work-id urn:uuid:87e58255-cc79-4fd5-adba-c579493b3d35 01 thoth-publication-id urn:uuid:a5969af1-20a0-4c5d-bf8d-cc6420b9773a 15 9781685711368 03 9781685711368 06 10.53288/0503.1.00 13 2023935940 01 internal-reference 0503 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 re: evolution 1 A01 Kim Rosenfield Kim Rosenfield Kim Rosenfield is a poet and psychotherapist. She is the author of several books of poetry, including USO: I’ll Be Seeing You from Ugly Duckling Presse(2014). She is the 2023 recipient of the FENCE Ottoline Prize. Her latest book, Phantom Captain, will be published by FENCE in fall 2023. Rosenfield is an originating member of the international artist/writers collective, Collective Task. Her clinical writing can be found in Psychoanalytic Dialogues and Studies in Gender and Sexuality. She lives and works in Brooklyn, NY. 2 A24 Sianne Ngai Sianne Ngai 40 046rm7j60 University of California, Los Angeles Sianne Ngai is Associate Professor of English at UCLA. She is the author of Ugly Feelings (Harvard University Press 2005), Criteria (O Books 1998), and Discredit (Burning Deck 1997). 3 A32 Diana Hamilton Diana Hamilton Diana hamilton is a poet who lives in Brooklyn. She is a co-coordinator of the Friday Night Reading Series at the Poetry Project at St. Mark’s Church for the 08- 09 season. The analysis included here appeared as one chapter of her B.A. thesis, Borrowed Authority: Appropriated Science in Contemporary Poetries. She received her B.A. in Comparative Literature from NYU in 2008. 4 A32 Jennifer Calkins Jennifer Calkins 40 00cvxb145 University of Washington Jennifer Calkins is a writer and evolutionary biologist in the Department of Genome Science, University of Washington, Seattle. Her publications include Devil’s Card (Beard of Bees Press 2005) and A Story of Witchery (Les Figues Press 2006). Her scientific papers have appeared in Proceedings of the National Academy of Sciences, Animal Behaviour, Behavioral Ecology, Journal of Molecular Evolution and Condor. 2 01 eng 00 112 03 B2 Cultural Studies+Critical Theory 93 DCF 12 DCF 10 POE005010 10 SCI027000 20 evolutionary theory; feminism; poetry; psychonanalysis; biology 01 06 02 00 03 00 Delving into the fissures of language as an opportunity to create something new, Rosenfield appropriates texts from various fields of knowledge (evolutionary theory, psychoanalysis, advice on the science of living, and feminist theory) to rewire ideas of authority, subjectivity and expert opinion. The resulting re: evolution is part text-book, part poem, part song-of-science, part feminist guide-to-living. Presented alongside research and analysis from a literary critic (Sianne Ngai), a poet/academic (Diana Hamilton), and an evolutionary biologist (Jennifer Calkins), re: evolution prompts the question: what moves around what? 30 00 Delving into the fissures of language as an opportunity to create something new, Rosenfield appropriates texts from various fields of knowledge (evolutionary theory, psychoanalysis, advice on the science of living, and feminist theory) to rewire ideas of authority, subjectivity and expert opinion. The resulting re: evolution is part text-book, part poem, part song-of-science, part feminist guide-to-living. Presented alongside research and analysis from a literary critic (Sianne Ngai), a poet/academic (Diana Hamilton), and an evolutionary biologist (Jennifer Calkins), re: evolution prompts the question: what moves around what? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0503.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/re-evolution/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230413 Kim Rosenfield 02 WORLD 06 15 9781685711375 03 9781685711375 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711367 20 08 20230413 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/re-evolution-contributions-byjennifercalkinsjennifer-calkinsfalsejennifer-calkins-is-a-writer-and-evolutionary-biologist-in-the-department-of-genome-science-university-of-washington-seattle-her-publications-include-devilas-card-beard-of-bees-press-2005-and-a-story-of-witchery-les-figues-press-2006-her-scientific-papers-have-appeared-in-proceedings-of-the-national-academy-of-sciences-animal-behaviour-behavioral-ecology-journal-of-molecular-evolution-and-condoruniversity-of-washington101303910000781200cvxb145usa 20 08 20230413 02 15.00 USD WORLD urn:uuid:487a613f-7a53-4e56-b4be-320170ce5580 03 01 01 thoth-work-id urn:uuid:87e58255-cc79-4fd5-adba-c579493b3d35 01 thoth-publication-id urn:uuid:487a613f-7a53-4e56-b4be-320170ce5580 15 9781685711375 03 9781685711375 06 10.53288/0503.1.00 13 2023935940 01 internal-reference 0503 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 re: evolution 1 A01 Kim Rosenfield Kim Rosenfield Kim Rosenfield is a poet and psychotherapist. She is the author of several books of poetry, including USO: I’ll Be Seeing You from Ugly Duckling Presse(2014). She is the 2023 recipient of the FENCE Ottoline Prize. Her latest book, Phantom Captain, will be published by FENCE in fall 2023. Rosenfield is an originating member of the international artist/writers collective, Collective Task. Her clinical writing can be found in Psychoanalytic Dialogues and Studies in Gender and Sexuality. She lives and works in Brooklyn, NY. 2 A24 Sianne Ngai Sianne Ngai 40 046rm7j60 University of California, Los Angeles Sianne Ngai is Associate Professor of English at UCLA. She is the author of Ugly Feelings (Harvard University Press 2005), Criteria (O Books 1998), and Discredit (Burning Deck 1997). 3 A32 Diana Hamilton Diana Hamilton Diana hamilton is a poet who lives in Brooklyn. She is a co-coordinator of the Friday Night Reading Series at the Poetry Project at St. Mark’s Church for the 08- 09 season. The analysis included here appeared as one chapter of her B.A. thesis, Borrowed Authority: Appropriated Science in Contemporary Poetries. She received her B.A. in Comparative Literature from NYU in 2008. 4 A32 Jennifer Calkins Jennifer Calkins 40 00cvxb145 University of Washington Jennifer Calkins is a writer and evolutionary biologist in the Department of Genome Science, University of Washington, Seattle. Her publications include Devil’s Card (Beard of Bees Press 2005) and A Story of Witchery (Les Figues Press 2006). Her scientific papers have appeared in Proceedings of the National Academy of Sciences, Animal Behaviour, Behavioral Ecology, Journal of Molecular Evolution and Condor. 2 01 eng 00 112 03 B2 Cultural Studies+Critical Theory 93 DCF 12 DCF 10 POE005010 10 SCI027000 20 evolutionary theory; feminism; poetry; psychonanalysis; biology 01 06 02 00 03 00 Delving into the fissures of language as an opportunity to create something new, Rosenfield appropriates texts from various fields of knowledge (evolutionary theory, psychoanalysis, advice on the science of living, and feminist theory) to rewire ideas of authority, subjectivity and expert opinion. The resulting re: evolution is part text-book, part poem, part song-of-science, part feminist guide-to-living. Presented alongside research and analysis from a literary critic (Sianne Ngai), a poet/academic (Diana Hamilton), and an evolutionary biologist (Jennifer Calkins), re: evolution prompts the question: what moves around what? 30 00 Delving into the fissures of language as an opportunity to create something new, Rosenfield appropriates texts from various fields of knowledge (evolutionary theory, psychoanalysis, advice on the science of living, and feminist theory) to rewire ideas of authority, subjectivity and expert opinion. The resulting re: evolution is part text-book, part poem, part song-of-science, part feminist guide-to-living. Presented alongside research and analysis from a literary critic (Sianne Ngai), a poet/academic (Diana Hamilton), and an evolutionary biologist (Jennifer Calkins), re: evolution prompts the question: what moves around what? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0503.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/re-evolution/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230413 Kim Rosenfield 02 WORLD 06 15 9781685711368 03 9781685711368 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/62306 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/62306/0503.1.00.pdf?sequence=1&isAllowed=y 20 08 20230413 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/99227 20 08 20230413 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2131178 20 08 20230413 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/364 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f4a78d6c-1023-43e5-ad16-1a9eb26c3c40/download 20 08 20230413 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/_/l2a5EAAAQBAJ 20 08 20230413 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/87e58255-cc79-4fd5-adba-c579493b3d35 29 INTERNET_ARCHIVE: download the title https://archive.org/download/87e58255-cc79-4fd5-adba-c579493b3d35/87e58255-cc79-4fd5-adba-c579493b3d35.pdf 20 08 20230413 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849766 29 ZENODO: download the title https://zenodo.org/records/19849766/files/87e58255-cc79-4fd5-adba-c579493b3d35_book.pdf 20 08 20230413 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/re-evolution/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0503.1.00.pdf 20 08 20230413 01 urn:uuid:1eff6799-d1eb-4524-985a-d56cc236d728 03 01 01 thoth-work-id urn:uuid:28a0db09-a149-43fe-ba08-00dde962b4b8 01 thoth-publication-id urn:uuid:1eff6799-d1eb-4524-985a-d56cc236d728 15 9781947447738 03 9781947447738 06 10.21983/P3.0209.1.00 13 2018948913 01 internal-reference 0209 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Reiner Schürmann and the Poetics of Politics 1 A01 Christopher Long Christopher Long 40 05hs6h993 Michigan State University 01 eng 00 176 03 B2 Cultural Studies+Critical Theory 12 HPCF 10 PHI013000 93 QDHR B2 Philosophy 20 poetics; political philosophy; Oedipus; Reiner Schürmann; Plotinus 01 06 02 00 03 00 Reiner Schürmann’s thinking is, as he himself would say, “riveted to a monstrous site.” It remains focused on and situated between natality and mortality, the ultimate traits that condition human life. This book traces the contours of Schürmann’s thinking in his magnum opus Broken Hegemonies in order to uncover the possibility of a politics that resists the hegemonic tendency to posit principles that set the world and our relationships with one another into violent order.The book follows in the footsteps of Oedipus who, in abject recognition of his finitude, stumbles upon the possibility of another politics with the help of his daughters at Colonus. The path toward this other, collaboratively created and thus poetic politics begins with an encounter with Aristotle, a thinker whom Schürmann most frequently read as the founder of hegemonic metaphysics, but whose thinking reveals itself as alive to beginnings in ways that open new possibility for human community.This return to beginnings leads, in turn, to Plotinus, who Schürmann reads as marking the destitution of the ancient hegemony of the Parmenidean principle of the One. By bringing Schürmann’s innovative and compelling reading of René Char’s poem, The Shark and the Gull, into dialogue with Plotinus we come to encounter the power of symbols to transform reality and open us to new constellations of possible community. In Plotinus, where we expected to encounter an end, we experience a new way of thinking natality in terms of what comes to language in Char as the nuptial. Having thus been awakened to the power of symbols, we are prepared to experience how in Kant being itself comes to expression as plurivocal in a way that reveals just how pathologically delusional it is to attempt to deploy univocal principles in a plurivocal world. This opens us to what Schürmann calls the “singularization to come,” a formulation that gestures to a mode of comportment at home in the ravaged site between natality and mortality. This then returns us to Oedipus at Colonus; but not to him alone. Rather, it points to the relationship that emerges for a time between Antigone, Ismene, and Oedipus, as they navigate a way between their exile from Thebes and Oedipus’s final resting place near Athens. Here, having been awakened to the power of a poetic politics, we attend to three symbolic moments of touching between Oedipus and his daughters through which we might discern something of the new possibilities a poetic politics opens for us if we settle into the ravaged site that conditions our existence, together. 30 00 Reiner Schürmann’s thinking is, as he himself would say, “riveted to a monstrous site.” It remains focused on and situated between natality and mortality, the ultimate traits that condition human life. This book traces the contours of Schürmann’s thinking in his magnum opus Broken Hegemonies in order to uncover the possibility of a politics that resists the hegemonic tendency to posit principles that set the world and our relationships with one another into violent order.The book follows in the footsteps of Oedipus who, in abject recognition of his finitude, stumbles upon the possibility of another politics with the help of his daughters at Colonus. The path toward this other, collaboratively created and thus poetic politics begins with an encounter with Aristotle, a thinker whom Schürmann most frequently read as the founder of hegemonic metaphysics, but whose thinking reveals itself as alive to beginnings in ways that open new possibility for human community.This return to beginnings leads, in turn, to Plotinus, who Schürmann reads as marking the destitution of the ancient hegemony of the Parmenidean principle of the One. By bringing Schürmann’s innovative and compelling reading of René Char’s poem, The Shark and the Gull, into dialogue with Plotinus we come to encounter the power of symbols to transform reality and open us to new constellations of possible community. In Plotinus, where we expected to encounter an end, we experience a new way of thinking natality in terms of what comes to language in Char as the nuptial. Having thus been awakened to the power of symbols, we are prepared to experience how in Kant being itself comes to expression as plurivocal in a way that reveals just how pathologically delusional it is to attempt to deploy univocal principles in a plurivocal world. This opens us to what Schürmann calls the “singularization to come,” a formulation that gestures to a mode of comportment at home in the ravaged site between natality and mortality. This then returns us to Oedipus at Colonus; but not to him alone. Rather, it points to the relationship that emerges for a time between Antigone, Ismene, and Oedipus, as they navigate a way between their exile from Thebes and Oedipus’s final resting place near Athens. Here, having been awakened to the power of a poetic politics, we attend to three symbolic moments of touching between Oedipus and his daughters through which we might discern something of the new possibilities a poetic politics opens for us if we settle into the ravaged site that conditions our existence, together. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0209.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/reiner-schurmann-and-the-poetics-of-politics/ Earth, Milky Way 04 01 20180928 Long, Christopher 02 WORLD 06 15 9781947447745 03 9781947447745 34 06 10.1093/mind/XLVI.181.61 34 06 10.1163/1569164054905375 34 06 10.1017/S0048671X00003428 34 06 10.5840/acpaproc2002762 34 06 10.2307/310732 34 06 10.5840/philtoday201713141 34 06 10.5840/philtoday200953Supplement37 34 06 10.17613/M6RW32 34 06 10.2307/302151 34 06 10.1093/cr/46.1.76 34 06 10.2307/627550 34 06 10.5840/gfpj20123314 34 06 10.5840/ancientphil20032312 34 06 10.5840/gfpj20072824 34 06 10.5840/gfpj200829222 34 06 10.1111/j.2041-6962.1998.tb01754.x 34 06 10.5840/gfpj199719/202/12 34 06 10.5840/gfpj199719/202/14 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/reiner-scharmann-and-the-poetics-of-politics 20 08 20180928 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447734 20 08 20180928 02 23.00 USD WORLD urn:uuid:37b7d289-97db-4504-b330-cf01428e6ade 03 01 01 thoth-work-id urn:uuid:28a0db09-a149-43fe-ba08-00dde962b4b8 01 thoth-publication-id urn:uuid:37b7d289-97db-4504-b330-cf01428e6ade 15 9781947447745 03 9781947447745 06 10.21983/P3.0209.1.00 13 2018948913 01 internal-reference 0209 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Reiner Schürmann and the Poetics of Politics 1 A01 Christopher Long Christopher Long 40 05hs6h993 Michigan State University 01 eng 00 176 03 B2 Cultural Studies+Critical Theory 12 HPCF 10 PHI013000 93 QDHR B2 Philosophy 20 poetics; political philosophy; Oedipus; Reiner Schürmann; Plotinus 01 06 02 00 03 00 Reiner Schürmann’s thinking is, as he himself would say, “riveted to a monstrous site.” It remains focused on and situated between natality and mortality, the ultimate traits that condition human life. This book traces the contours of Schürmann’s thinking in his magnum opus Broken Hegemonies in order to uncover the possibility of a politics that resists the hegemonic tendency to posit principles that set the world and our relationships with one another into violent order.The book follows in the footsteps of Oedipus who, in abject recognition of his finitude, stumbles upon the possibility of another politics with the help of his daughters at Colonus. The path toward this other, collaboratively created and thus poetic politics begins with an encounter with Aristotle, a thinker whom Schürmann most frequently read as the founder of hegemonic metaphysics, but whose thinking reveals itself as alive to beginnings in ways that open new possibility for human community.This return to beginnings leads, in turn, to Plotinus, who Schürmann reads as marking the destitution of the ancient hegemony of the Parmenidean principle of the One. By bringing Schürmann’s innovative and compelling reading of René Char’s poem, The Shark and the Gull, into dialogue with Plotinus we come to encounter the power of symbols to transform reality and open us to new constellations of possible community. In Plotinus, where we expected to encounter an end, we experience a new way of thinking natality in terms of what comes to language in Char as the nuptial. Having thus been awakened to the power of symbols, we are prepared to experience how in Kant being itself comes to expression as plurivocal in a way that reveals just how pathologically delusional it is to attempt to deploy univocal principles in a plurivocal world. This opens us to what Schürmann calls the “singularization to come,” a formulation that gestures to a mode of comportment at home in the ravaged site between natality and mortality. This then returns us to Oedipus at Colonus; but not to him alone. Rather, it points to the relationship that emerges for a time between Antigone, Ismene, and Oedipus, as they navigate a way between their exile from Thebes and Oedipus’s final resting place near Athens. Here, having been awakened to the power of a poetic politics, we attend to three symbolic moments of touching between Oedipus and his daughters through which we might discern something of the new possibilities a poetic politics opens for us if we settle into the ravaged site that conditions our existence, together. 30 00 Reiner Schürmann’s thinking is, as he himself would say, “riveted to a monstrous site.” It remains focused on and situated between natality and mortality, the ultimate traits that condition human life. This book traces the contours of Schürmann’s thinking in his magnum opus Broken Hegemonies in order to uncover the possibility of a politics that resists the hegemonic tendency to posit principles that set the world and our relationships with one another into violent order.The book follows in the footsteps of Oedipus who, in abject recognition of his finitude, stumbles upon the possibility of another politics with the help of his daughters at Colonus. The path toward this other, collaboratively created and thus poetic politics begins with an encounter with Aristotle, a thinker whom Schürmann most frequently read as the founder of hegemonic metaphysics, but whose thinking reveals itself as alive to beginnings in ways that open new possibility for human community.This return to beginnings leads, in turn, to Plotinus, who Schürmann reads as marking the destitution of the ancient hegemony of the Parmenidean principle of the One. By bringing Schürmann’s innovative and compelling reading of René Char’s poem, The Shark and the Gull, into dialogue with Plotinus we come to encounter the power of symbols to transform reality and open us to new constellations of possible community. In Plotinus, where we expected to encounter an end, we experience a new way of thinking natality in terms of what comes to language in Char as the nuptial. Having thus been awakened to the power of symbols, we are prepared to experience how in Kant being itself comes to expression as plurivocal in a way that reveals just how pathologically delusional it is to attempt to deploy univocal principles in a plurivocal world. This opens us to what Schürmann calls the “singularization to come,” a formulation that gestures to a mode of comportment at home in the ravaged site between natality and mortality. This then returns us to Oedipus at Colonus; but not to him alone. Rather, it points to the relationship that emerges for a time between Antigone, Ismene, and Oedipus, as they navigate a way between their exile from Thebes and Oedipus’s final resting place near Athens. Here, having been awakened to the power of a poetic politics, we attend to three symbolic moments of touching between Oedipus and his daughters through which we might discern something of the new possibilities a poetic politics opens for us if we settle into the ravaged site that conditions our existence, together. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0209.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/reiner-schurmann-and-the-poetics-of-politics/ Earth, Milky Way 04 01 20180928 Long, Christopher 02 WORLD 06 15 9781947447738 03 9781947447738 34 06 10.1093/mind/XLVI.181.61 34 06 10.1163/1569164054905375 34 06 10.1017/S0048671X00003428 34 06 10.5840/acpaproc2002762 34 06 10.2307/310732 34 06 10.5840/philtoday201713141 34 06 10.5840/philtoday200953Supplement37 34 06 10.17613/M6RW32 34 06 10.2307/302151 34 06 10.1093/cr/46.1.76 34 06 10.2307/627550 34 06 10.5840/gfpj20123314 34 06 10.5840/ancientphil20032312 34 06 10.5840/gfpj20072824 34 06 10.5840/gfpj200829222 34 06 10.1111/j.2041-6962.1998.tb01754.x 34 06 10.5840/gfpj199719/202/12 34 06 10.5840/gfpj199719/202/14 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25420 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25420/1004675.pdf?sequence=1&isAllowed=y 20 08 20180928 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38105 20 08 20180928 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353846 20 08 20180928 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/588 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/bac21696-0e8e-46f9-9163-fb3e6f53e7e6/download 20 08 20180928 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Reiner_Sch%C3%BCrmann_and_the_Poetics_of_Pol/QG6oEAAAQBAJ 20 08 20180928 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/28a0db09-a149-43fe-ba08-00dde962b4b8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/28a0db09-a149-43fe-ba08-00dde962b4b8/28a0db09-a149-43fe-ba08-00dde962b4b8.pdf 20 08 20180928 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847446 29 ZENODO: download the title https://zenodo.org/records/19847446/files/28a0db09-a149-43fe-ba08-00dde962b4b8_book.pdf 20 08 20180928 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/reiner-schurmann-and-the-poetics-of-politics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0209.1.00.pdf 20 08 20180928 01 urn:uuid:eb1d443a-26ed-4749-96a7-c9578a38d3df 03 01 01 thoth-work-id urn:uuid:ac612279-727a-4920-a9bf-95879369e7a8 01 thoth-publication-id urn:uuid:eb1d443a-26ed-4749-96a7-c9578a38d3df 15 9780692611340 03 9780692611340 06 10.21983/P3.0128.1.00 01 internal-reference 0128 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 216 mm 02 21.6 cm 02 8.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Remote Vision (poetry 1999–2015) 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 008x57b05 University of Antwerp 2 B06 Belle Cushing Belle Cushing 3 B06 Dusty Neu Dusty Neu 01 eng 01 ita 00 342 03 93 DCF 12 DCF B2 Fabulations 10 POE019000 93 1DST B2 Languages+Translations 20 Italian poetry 01 06 02 00 03 00 Remote Vision represents, in English and Italian, the most significant works in poetry and conceptual writing produced by Alessandro De Francesco to date. It is both a coherent book and the most exhaustive collection of his poetry ever published in any language. All sections have been rearranged for this publication, with each one containing the complete English text followed by the complete Italian version. The texts have been beautifully translated by poets and Brown University alumni Belle Cushing and Dusty Neu, under the coordination of the acclaimed poet and Comparative Literature scholar Forrest Gander. Remote Vision condenses and presents under a new light the conceptual and emotional intensity of Alessandro De Francesco’s poetry. 30 00 Remote Vision represents, in English and Italian, the most significant works in poetry and conceptual writing produced by Alessandro De Francesco to date. It is both a coherent book and the most exhaustive collection of his poetry ever published in any language. All sections have been rearranged for this publication, with each one containing the complete English text followed by the complete Italian version. The texts have been beautifully translated by poets and Brown University alumni Belle Cushing and Dusty Neu, under the coordination of the acclaimed poet and Comparative Literature scholar Forrest Gander. Remote Vision condenses and presents under a new light the conceptual and emotional intensity of Alessandro De Francesco’s poetry. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0128.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/remote-vision-poetry-1999-2015/ Earth, Milky Way 04 01 20160204 De Francesco, Alessandro 02 WORLD 06 15 9781950192854 03 9781950192854 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692611347 20 08 20160204 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/remote-vision-poetry-1999a2015 20 08 20160204 02 29.00 USD WORLD urn:uuid:a8e6a501-5903-4a04-9b70-06e22f6b0599 03 01 01 thoth-work-id urn:uuid:ac612279-727a-4920-a9bf-95879369e7a8 01 thoth-publication-id urn:uuid:a8e6a501-5903-4a04-9b70-06e22f6b0599 15 9781950192854 03 9781950192854 06 10.21983/P3.0128.1.00 01 internal-reference 0128 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Remote Vision (poetry 1999–2015) 1 A01 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 008x57b05 University of Antwerp 2 B06 Belle Cushing Belle Cushing 3 B06 Dusty Neu Dusty Neu 01 eng 01 ita 00 342 03 93 DCF 12 DCF B2 Fabulations 10 POE019000 93 1DST B2 Languages+Translations 20 Italian poetry 01 06 02 00 03 00 Remote Vision represents, in English and Italian, the most significant works in poetry and conceptual writing produced by Alessandro De Francesco to date. It is both a coherent book and the most exhaustive collection of his poetry ever published in any language. All sections have been rearranged for this publication, with each one containing the complete English text followed by the complete Italian version. The texts have been beautifully translated by poets and Brown University alumni Belle Cushing and Dusty Neu, under the coordination of the acclaimed poet and Comparative Literature scholar Forrest Gander. Remote Vision condenses and presents under a new light the conceptual and emotional intensity of Alessandro De Francesco’s poetry. 30 00 Remote Vision represents, in English and Italian, the most significant works in poetry and conceptual writing produced by Alessandro De Francesco to date. It is both a coherent book and the most exhaustive collection of his poetry ever published in any language. All sections have been rearranged for this publication, with each one containing the complete English text followed by the complete Italian version. The texts have been beautifully translated by poets and Brown University alumni Belle Cushing and Dusty Neu, under the coordination of the acclaimed poet and Comparative Literature scholar Forrest Gander. Remote Vision condenses and presents under a new light the conceptual and emotional intensity of Alessandro De Francesco’s poetry. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0128.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/remote-vision-poetry-1999-2015/ Earth, Milky Way 04 01 20160204 De Francesco, Alessandro 02 WORLD 06 15 9780692611340 03 9780692611340 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/37330 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/37330/0128.1.00.pdf 20 08 20160204 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39404 20 08 20160204 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353781 20 08 20160204 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/510 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4a1a7438-3733-46a0-b6db-7a87bfa61049/download 20 08 20160204 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ac612279-727a-4920-a9bf-95879369e7a8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ac612279-727a-4920-a9bf-95879369e7a8/ac612279-727a-4920-a9bf-95879369e7a8.pdf 20 08 20160204 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824885 29 ZENODO: download the title https://zenodo.org/records/19824885/files/ac612279-727a-4920-a9bf-95879369e7a8_book.pdf 20 08 20160204 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/remote-vision-poetry-1999-2015/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0128.1.00.pdf 20 08 20160204 01 urn:uuid:df53de48-bc51-49a0-aaae-4cf123805a78 03 01 01 thoth-work-id urn:uuid:d97b2e6e-8fab-40ee-a38d-5dc804b150ed 01 thoth-publication-id urn:uuid:df53de48-bc51-49a0-aaae-4cf123805a78 15 9780615851334 03 9780615851334 06 10.21983/P3.0039.1.00 01 internal-reference 0039 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Repetitions 1 A01 Scott Abbott Scott Abbott 40 02rxpxc98 Utah Valley University 2 A01 Žarko Radaković Žarko Radaković 01 eng 00 124 03 B2 Fabulations 10 LIT004130 12 WTL 93 WTL 93 1QBDY B2 Languages+Translations 93 DSBH 93 1DFA 20 Yugoslavia; Peter Handke; translation; Slovenia; travel 01 06 02 00 03 00 In 1994, after following a character in Peter Handke’s novel Repetition into what is now Slovenia and after traveling in landscapes of Handke’s youth, Žarko Radaković and Scott Abbott published a two-headed text in Belgrade, Ponavljane, now published in English by punctum as Repetitions. The possibility of narration in two voices, complicated by the third voice that is Peter Handke’s own narrator, is the main focus of deliberation while traveling and reading and writing. Repetitions begins with Abbott’s text, a fairly straightforward travel narrative. It ends with Radaković’s account of the same events, much less straightforward, more repetitious, more adventuresome.Two aspects make the double-book unique. First, it represents experiences shared by two authors whose native languages are Serbian and English respectively (German is their only common language). The authors’ perspectives contrast with and supplement one another: Radaković grew up in Tito’s Yugoslavia and Abbott comes from the Mormon American West; Radaković is the translator of most of Peter Handke’s works into Serbo-Croatian and Abbott translated Handke’s provocative A Journey to the Rivers: Justice for Serbia for Viking Press and his play Voyage by Dugout: The Play of the Film of the War for PAJ (Performing Arts Journal); Radaković was a journalist for Deutsche Welle in Cologne and Abbott is a professor of German literature at Utah Valley University; Radaković is the author of several novels and Abbott has published mostly literary-critical work; and so on. Two sets of eyes. Two pens. Two visions of the world. 30 00 In 1994, after following a character in Peter Handke’s novel Repetition into what is now Slovenia and after traveling in landscapes of Handke’s youth, Žarko Radaković and Scott Abbott published a two-headed text in Belgrade, Ponavljane, now published in English by punctum as Repetitions. The possibility of narration in two voices, complicated by the third voice that is Peter Handke’s own narrator, is the main focus of deliberation while traveling and reading and writing. Repetitions begins with Abbott’s text, a fairly straightforward travel narrative. It ends with Radaković’s account of the same events, much less straightforward, more repetitious, more adventuresome.Two aspects make the double-book unique. First, it represents experiences shared by two authors whose native languages are Serbian and English respectively (German is their only common language). The authors’ perspectives contrast with and supplement one another: Radaković grew up in Tito’s Yugoslavia and Abbott comes from the Mormon American West; Radaković is the translator of most of Peter Handke’s works into Serbo-Croatian and Abbott translated Handke’s provocative A Journey to the Rivers: Justice for Serbia for Viking Press and his play Voyage by Dugout: The Play of the Film of the War for PAJ (Performing Arts Journal); Radaković was a journalist for Deutsche Welle in Cologne and Abbott is a professor of German literature at Utah Valley University; Radaković is the author of several novels and Abbott has published mostly literary-critical work; and so on. Two sets of eyes. Two pens. Two visions of the world. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0039.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/repetitions/ Brooklyn, NY 04 01 20130718 Abbott, Scott Radaković, Žarko 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615851339 20 08 20130718 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/repetitions 20 08 20130718 02 22.00 USD WORLD urn:uuid:33b682eb-69ee-4d18-939f-af3d98f4138d 03 01 01 thoth-work-id urn:uuid:d97b2e6e-8fab-40ee-a38d-5dc804b150ed 01 thoth-publication-id urn:uuid:33b682eb-69ee-4d18-939f-af3d98f4138d 06 10.21983/P3.0039.1.00 01 internal-reference 0039 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Repetitions 1 A01 Scott Abbott Scott Abbott 40 02rxpxc98 Utah Valley University 2 A01 Žarko Radaković Žarko Radaković 01 eng 00 124 03 B2 Fabulations 10 LIT004130 12 WTL 93 WTL 93 1QBDY B2 Languages+Translations 93 DSBH 93 1DFA 20 Yugoslavia; Peter Handke; translation; Slovenia; travel 01 06 02 00 03 00 In 1994, after following a character in Peter Handke’s novel Repetition into what is now Slovenia and after traveling in landscapes of Handke’s youth, Žarko Radaković and Scott Abbott published a two-headed text in Belgrade, Ponavljane, now published in English by punctum as Repetitions. The possibility of narration in two voices, complicated by the third voice that is Peter Handke’s own narrator, is the main focus of deliberation while traveling and reading and writing. Repetitions begins with Abbott’s text, a fairly straightforward travel narrative. It ends with Radaković’s account of the same events, much less straightforward, more repetitious, more adventuresome.Two aspects make the double-book unique. First, it represents experiences shared by two authors whose native languages are Serbian and English respectively (German is their only common language). The authors’ perspectives contrast with and supplement one another: Radaković grew up in Tito’s Yugoslavia and Abbott comes from the Mormon American West; Radaković is the translator of most of Peter Handke’s works into Serbo-Croatian and Abbott translated Handke’s provocative A Journey to the Rivers: Justice for Serbia for Viking Press and his play Voyage by Dugout: The Play of the Film of the War for PAJ (Performing Arts Journal); Radaković was a journalist for Deutsche Welle in Cologne and Abbott is a professor of German literature at Utah Valley University; Radaković is the author of several novels and Abbott has published mostly literary-critical work; and so on. Two sets of eyes. Two pens. Two visions of the world. 30 00 In 1994, after following a character in Peter Handke’s novel Repetition into what is now Slovenia and after traveling in landscapes of Handke’s youth, Žarko Radaković and Scott Abbott published a two-headed text in Belgrade, Ponavljane, now published in English by punctum as Repetitions. The possibility of narration in two voices, complicated by the third voice that is Peter Handke’s own narrator, is the main focus of deliberation while traveling and reading and writing. Repetitions begins with Abbott’s text, a fairly straightforward travel narrative. It ends with Radaković’s account of the same events, much less straightforward, more repetitious, more adventuresome.Two aspects make the double-book unique. First, it represents experiences shared by two authors whose native languages are Serbian and English respectively (German is their only common language). The authors’ perspectives contrast with and supplement one another: Radaković grew up in Tito’s Yugoslavia and Abbott comes from the Mormon American West; Radaković is the translator of most of Peter Handke’s works into Serbo-Croatian and Abbott translated Handke’s provocative A Journey to the Rivers: Justice for Serbia for Viking Press and his play Voyage by Dugout: The Play of the Film of the War for PAJ (Performing Arts Journal); Radaković was a journalist for Deutsche Welle in Cologne and Abbott is a professor of German literature at Utah Valley University; Radaković is the author of several novels and Abbott has published mostly literary-critical work; and so on. Two sets of eyes. Two pens. Two visions of the world. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0039.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/repetitions/ Brooklyn, NY 04 01 20130718 Abbott, Scott Radaković, Žarko 02 WORLD 06 15 9780615851334 03 9780615851334 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76448 20 08 20130718 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25578 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25578/1004517.pdf?sequence=1&isAllowed=y 20 08 20130718 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28860 20 08 20130718 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353824 20 08 20130718 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/419 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/04837fdb-f4da-450b-ad1b-e686fa6e54cb/download 20 08 20130718 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d97b2e6e-8fab-40ee-a38d-5dc804b150ed 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d97b2e6e-8fab-40ee-a38d-5dc804b150ed/d97b2e6e-8fab-40ee-a38d-5dc804b150ed.pdf 20 08 20130718 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825105 29 ZENODO: download the title https://zenodo.org/records/19825105/files/d97b2e6e-8fab-40ee-a38d-5dc804b150ed_book.pdf 20 08 20130718 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/repetitions/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0039.1.00.pdf 20 08 20130718 01 urn:uuid:47b21fc8-e1b4-40ab-9dab-c0b712104562 03 01 01 thoth-work-id urn:uuid:1ebc4e44-344c-42a7-876a-85e2b07a3bec 01 thoth-publication-id urn:uuid:47b21fc8-e1b4-40ab-9dab-c0b712104562 15 9781685712068 03 9781685712068 06 10.53288/0561.1.00 13 2024951361 01 internal-reference 0561 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in 03 4 mm 03 0.4 cm 03 0.17 in 08 130 gr 08 4.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Requiem 1 A01 Teresa Carmody Teresa Carmody Teresa Carmody (she/they) writes fiction, creative nonfiction, inter-arts collaborations, and hybrid forms. Their books include Maison Femme: a fiction (Bon Aire Projects, 2015), The Reconception of Marie (Spuyten Duyvil, 2020), and A Healthy Interest in the Lives of Others (Autofocus Books, 2025). Their writing was selected for the &NOW Awards: The Best Innovative Writing (2009) and by Entropy for its Best Online Articles and Essays list of 2019. The Reconception of Marie was also a finalist for the 2020 Big Other Fiction Award and a Reader’s Choice Award. Lucy Ives selected their story “Work Friends, or the Elements of Fiction Make a Story GoGo” as Fugue’s 2024 Prose Contest Runner-Up. 2 A24 David L. Ulin David L. Ulin 2 01 eng 00 74 03 B2 Fabulations 93 FBA 10 FIC019000 10 FIC029000 93 FXL 93 FYB 93 1KBB-US-M 93 FS 93 1KBB-US-MLG 20 loss; mourning; short stories; Midwest; family; religion; United States; Michigan 01 06 02 00 03 00 Requiem by Teresa Carmody is a "folk opera, a lament for the unexamined life," writes editor and author David Ulin in his Introduction. In this short collection of fiction, a lonely man plainchants for the waitress he once stalked, a sonless father serenades a fatherless son, and a bereft family gathers to bury a parent, providing an aching chorus of what is left. Carmody uses Biblical language to pierce the callous and bruised souls of these lost, and sometimes found, small-town Michiganders. In her raw spare stories, novelist, essayist, and poet Carol Muske-Dukes writes that Carmody creates in her raw, spare stories, “a voice out of the backyard burning bush, a Midwest scriptural mist: frank, fierce and fidgety, and most emphatically her own.” 30 00 Requiem by Teresa Carmody is a "folk opera, a lament for the unexamined life," writes editor and author David Ulin in his Introduction. In this short collection of fiction, a lonely man plainchants for the waitress he once stalked, a sonless father serenades a fatherless son, and a bereft family gathers to bury a parent, providing an aching chorus of what is left. Carmody uses Biblical language to pierce the callous and bruised souls of these lost, and sometimes found, small-town Michiganders. In her raw spare stories, novelist, essayist, and poet Carol Muske-Dukes writes that Carmody creates in her raw, spare stories, “a voice out of the backyard burning bush, a Midwest scriptural mist: frank, fierce and fidgety, and most emphatically her own.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0561.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/requiem/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20250116 Teresa Carmody 02 WORLD 06 15 9781685712075 03 9781685712075 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712061 20 08 20250116 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/requiem 20 08 20250116 02 17.00 USD WORLD urn:uuid:810ca6c7-8b06-4d93-82b0-4c94ba2ad0f7 03 01 01 thoth-work-id urn:uuid:1ebc4e44-344c-42a7-876a-85e2b07a3bec 01 thoth-publication-id urn:uuid:810ca6c7-8b06-4d93-82b0-4c94ba2ad0f7 15 9781685712075 03 9781685712075 06 10.53288/0561.1.00 13 2024951361 01 internal-reference 0561 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Requiem 1 A01 Teresa Carmody Teresa Carmody Teresa Carmody (she/they) writes fiction, creative nonfiction, inter-arts collaborations, and hybrid forms. Their books include Maison Femme: a fiction (Bon Aire Projects, 2015), The Reconception of Marie (Spuyten Duyvil, 2020), and A Healthy Interest in the Lives of Others (Autofocus Books, 2025). Their writing was selected for the &NOW Awards: The Best Innovative Writing (2009) and by Entropy for its Best Online Articles and Essays list of 2019. The Reconception of Marie was also a finalist for the 2020 Big Other Fiction Award and a Reader’s Choice Award. Lucy Ives selected their story “Work Friends, or the Elements of Fiction Make a Story GoGo” as Fugue’s 2024 Prose Contest Runner-Up. 2 A24 David L. Ulin David L. Ulin 2 01 eng 00 74 03 B2 Fabulations 93 FBA 10 FIC019000 10 FIC029000 93 FXL 93 FYB 93 1KBB-US-M 93 FS 93 1KBB-US-MLG 20 loss; mourning; short stories; Midwest; family; religion; United States; Michigan 01 06 02 00 03 00 Requiem by Teresa Carmody is a "folk opera, a lament for the unexamined life," writes editor and author David Ulin in his Introduction. In this short collection of fiction, a lonely man plainchants for the waitress he once stalked, a sonless father serenades a fatherless son, and a bereft family gathers to bury a parent, providing an aching chorus of what is left. Carmody uses Biblical language to pierce the callous and bruised souls of these lost, and sometimes found, small-town Michiganders. In her raw spare stories, novelist, essayist, and poet Carol Muske-Dukes writes that Carmody creates in her raw, spare stories, “a voice out of the backyard burning bush, a Midwest scriptural mist: frank, fierce and fidgety, and most emphatically her own.” 30 00 Requiem by Teresa Carmody is a "folk opera, a lament for the unexamined life," writes editor and author David Ulin in his Introduction. In this short collection of fiction, a lonely man plainchants for the waitress he once stalked, a sonless father serenades a fatherless son, and a bereft family gathers to bury a parent, providing an aching chorus of what is left. Carmody uses Biblical language to pierce the callous and bruised souls of these lost, and sometimes found, small-town Michiganders. In her raw spare stories, novelist, essayist, and poet Carol Muske-Dukes writes that Carmody creates in her raw, spare stories, “a voice out of the backyard burning bush, a Midwest scriptural mist: frank, fierce and fidgety, and most emphatically her own.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0561.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/requiem/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20250116 Teresa Carmody 02 WORLD 06 15 9781685712068 03 9781685712068 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/97880 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/97880/0561.1.00.pdf?sequence=1&isAllowed=y 20 08 20250116 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/150130 20 08 20250116 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526490 20 08 20250116 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/834 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c24d239f-d22c-4033-b2d1-07241797c57b/download 20 08 20250116 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1ebc4e44-344c-42a7-876a-85e2b07a3bec 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1ebc4e44-344c-42a7-876a-85e2b07a3bec/1ebc4e44-344c-42a7-876a-85e2b07a3bec.pdf 20 08 20250116 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850810 29 ZENODO: download the title https://zenodo.org/records/19850810/files/1ebc4e44-344c-42a7-876a-85e2b07a3bec_book.pdf 20 08 20250116 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/requiem/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0561.1.00.pdf 20 08 20250116 01 urn:uuid:ec11b9ec-6c48-41cc-a471-7a2c9ad35296 03 01 01 thoth-work-id urn:uuid:196206d8-879e-4737-a0d7-26b576224def 01 thoth-publication-id urn:uuid:ec11b9ec-6c48-41cc-a471-7a2c9ad35296 15 9780998237503 03 9780998237503 06 10.21983/P3.0153.1.00 01 internal-reference 0153 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rescuing Democracy 1 A01 Paul E. Smith Paul E. Smith 40 01nfmeh72 University of Tasmania 01 eng 00 518 03 93 JPA 12 JPHV B2 New Left Thought 10 POL007000 93 JPHV B2 Manifesto! 93 JPVC 20 democracy; poitical theory; government; ecological crisis; people's forum 01 06 02 00 03 00 This book proposes a new institution — the ‘People’s Forum’ — to enable democratic governments to effectively address long-running issues like global warming and inequality. It would help citizens decide what strategic problems their government must fix, especially where this requires them to suffer some inconvenience or cost.The People’s Forum is first based on a new diagnosis of government failure in democracies. The book tests its own analyses of government failure by seeing whether these might help us to explain the failures of particular democracies to address (and in some cases, to even recognize) several crucial environmental problems. The essential features of a new design for democracy are described and then compared with those of previous institutional designs that were also intended to improve the quality of democratic government. In that comparison, the People’s Forum turns out to be not only the most effective design for developing and implementing competent policy, but also the easiest to establish and run. The latter advantage is crucial as there has been no success in getting previous designs into actual trial practice. It is hoped that this book may inspire a small group to raise the money to set up and run the People’s Forum. Then, as citizens see it operating and engage with it, they may come to regard the new Forum as essential in helping them to deliberate long-running issues and to get their resulting initiatives implemented by government. Smith also discusses how the People’s Forum must be managed and how groups with different political ideologies may react to it.An Afterword sets out the method by which this design was produced, to help those who might want to devise an institution themselves. The new concepts in environmental science that the book develops to test its diagnosis are applied in an Appendix to outline crucial options for the future of Tasmania. Similar options apply to many countries, states and provinces. As indicated above, those choices are currently beyond the capacity of democratic governments to address and in some cases, even to recognize. But the People’s Forum may lift them out of that morass. 30 00 This book proposes a new institution — the ‘People’s Forum’ — to enable democratic governments to effectively address long-running issues like global warming and inequality. It would help citizens decide what strategic problems their government must fix, especially where this requires them to suffer some inconvenience or cost.The People’s Forum is first based on a new diagnosis of government failure in democracies. The book tests its own analyses of government failure by seeing whether these might help us to explain the failures of particular democracies to address (and in some cases, to even recognize) several crucial environmental problems. The essential features of a new design for democracy are described and then compared with those of previous institutional designs that were also intended to improve the quality of democratic government. In that comparison, the People’s Forum turns out to be not only the most effective design for developing and implementing competent policy, but also the easiest to establish and run. The latter advantage is crucial as there has been no success in getting previous designs into actual trial practice. It is hoped that this book may inspire a small group to raise the money to set up and run the People’s Forum. Then, as citizens see it operating and engage with it, they may come to regard the new Forum as essential in helping them to deliberate long-running issues and to get their resulting initiatives implemented by government. Smith also discusses how the People’s Forum must be managed and how groups with different political ideologies may react to it.An Afterword sets out the method by which this design was produced, to help those who might want to devise an institution themselves. The new concepts in environmental science that the book develops to test its diagnosis are applied in an Appendix to outline crucial options for the future of Tasmania. Similar options apply to many countries, states and provinces. As indicated above, those choices are currently beyond the capacity of democratic governments to address and in some cases, even to recognize. But the People’s Forum may lift them out of that morass. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0153.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rescuing-democracy/ Earth, Milky Way 04 01 20161027 Smith, Paul E. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237507 20 08 20161027 02 30.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/rescuing-democracy 20 08 20161027 02 30.00 USD WORLD urn:uuid:e06e834f-7916-4fd2-bb76-98766aed8958 03 01 01 thoth-work-id urn:uuid:196206d8-879e-4737-a0d7-26b576224def 01 thoth-publication-id urn:uuid:e06e834f-7916-4fd2-bb76-98766aed8958 06 10.21983/P3.0153.1.00 01 internal-reference 0153 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Rescuing Democracy 1 A01 Paul E. Smith Paul E. Smith 40 01nfmeh72 University of Tasmania 01 eng 00 518 03 93 JPA 12 JPHV B2 New Left Thought 10 POL007000 93 JPHV B2 Manifesto! 93 JPVC 20 democracy; poitical theory; government; ecological crisis; people's forum 01 06 02 00 03 00 This book proposes a new institution — the ‘People’s Forum’ — to enable democratic governments to effectively address long-running issues like global warming and inequality. It would help citizens decide what strategic problems their government must fix, especially where this requires them to suffer some inconvenience or cost.The People’s Forum is first based on a new diagnosis of government failure in democracies. The book tests its own analyses of government failure by seeing whether these might help us to explain the failures of particular democracies to address (and in some cases, to even recognize) several crucial environmental problems. The essential features of a new design for democracy are described and then compared with those of previous institutional designs that were also intended to improve the quality of democratic government. In that comparison, the People’s Forum turns out to be not only the most effective design for developing and implementing competent policy, but also the easiest to establish and run. The latter advantage is crucial as there has been no success in getting previous designs into actual trial practice. It is hoped that this book may inspire a small group to raise the money to set up and run the People’s Forum. Then, as citizens see it operating and engage with it, they may come to regard the new Forum as essential in helping them to deliberate long-running issues and to get their resulting initiatives implemented by government. Smith also discusses how the People’s Forum must be managed and how groups with different political ideologies may react to it.An Afterword sets out the method by which this design was produced, to help those who might want to devise an institution themselves. The new concepts in environmental science that the book develops to test its diagnosis are applied in an Appendix to outline crucial options for the future of Tasmania. Similar options apply to many countries, states and provinces. As indicated above, those choices are currently beyond the capacity of democratic governments to address and in some cases, even to recognize. But the People’s Forum may lift them out of that morass. 30 00 This book proposes a new institution — the ‘People’s Forum’ — to enable democratic governments to effectively address long-running issues like global warming and inequality. It would help citizens decide what strategic problems their government must fix, especially where this requires them to suffer some inconvenience or cost.The People’s Forum is first based on a new diagnosis of government failure in democracies. The book tests its own analyses of government failure by seeing whether these might help us to explain the failures of particular democracies to address (and in some cases, to even recognize) several crucial environmental problems. The essential features of a new design for democracy are described and then compared with those of previous institutional designs that were also intended to improve the quality of democratic government. In that comparison, the People’s Forum turns out to be not only the most effective design for developing and implementing competent policy, but also the easiest to establish and run. The latter advantage is crucial as there has been no success in getting previous designs into actual trial practice. It is hoped that this book may inspire a small group to raise the money to set up and run the People’s Forum. Then, as citizens see it operating and engage with it, they may come to regard the new Forum as essential in helping them to deliberate long-running issues and to get their resulting initiatives implemented by government. Smith also discusses how the People’s Forum must be managed and how groups with different political ideologies may react to it.An Afterword sets out the method by which this design was produced, to help those who might want to devise an institution themselves. The new concepts in environmental science that the book develops to test its diagnosis are applied in an Appendix to outline crucial options for the future of Tasmania. Similar options apply to many countries, states and provinces. As indicated above, those choices are currently beyond the capacity of democratic governments to address and in some cases, even to recognize. But the People’s Forum may lift them out of that morass. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0153.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/rescuing-democracy/ Earth, Milky Way 04 01 20161027 Smith, Paul E. 02 WORLD 06 15 9780998237503 03 9780998237503 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25473 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25473/1004622.pdf?sequence=1&isAllowed=y 20 08 20161027 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37428 20 08 20161027 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353858 20 08 20161027 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/538 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0179ee03-3863-48f9-bd08-9bcbaca4f956/download 20 08 20161027 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/196206d8-879e-4737-a0d7-26b576224def 29 INTERNET_ARCHIVE: download the title https://archive.org/download/196206d8-879e-4737-a0d7-26b576224def/196206d8-879e-4737-a0d7-26b576224def.pdf 20 08 20161027 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846748 29 ZENODO: download the title https://zenodo.org/records/19846748/files/196206d8-879e-4737-a0d7-26b576224def_book.pdf 20 08 20161027 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/rescuing-democracy/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0153.1.00.pdf 20 08 20161027 01 urn:uuid:4c720c61-a1a3-428f-abcd-2e3ca0343eb0 03 01 01 thoth-work-id urn:uuid:bb4a0068-d7e5-4728-bf8f-9ef000574633 01 thoth-publication-id urn:uuid:4c720c61-a1a3-428f-abcd-2e3ca0343eb0 15 9781953035820 03 9781953035820 06 10.53288/0384.1.00 13 2021948303 01 internal-reference 0384 00 BC 10 01 230 mm 01 23 cm 01 9.06 in 02 170 mm 02 17 cm 02 6.69 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Resistance 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 2 01 eng 00 216 03 93 AGC 12 AGC 10 ART037000 B2 Art+Aesthetics 93 1DXA 10 ART006010 B2 New Left Thought 20 Albania; political activism; political art; resistance; art residency; protest; Western Balkans 01 06 02 00 03 00 esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic.Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe. 30 00 esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic.Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0384.1.00_frontcover.jpg 1 03 06 10.53288/0384.1.01 1 5 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access 2 03 06 10.53288/0384.1.02 6 11 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Editorial Note 1 A01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access 3 03 06 10.53288/0384.1.03 30 31 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Heterotopias of Resistance 1 A01 Blerta Hoçia Blerta Hoçia 01 eng 20 00 Open Access 4 03 06 10.53288/0384.1.04 32 105 74 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Heterotopias of Resistance The Exhibition 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access The artists and curator 5 03 06 10.53288/0384.1.05 108 117 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "An Opportunity for Albania to Expand Its Concept of Public Property" 1 A01 Edmond Budina Edmond Budina Edmond BUDINA (1952, Tirana, Albania) is an actor, director and writer based in Tirana. He studied Dramatic Art at the Albanian Academy of Arts, where he graduted in 1974. Since the mid 1970s until his immigration to Italy in the early 1990s he worked at the National Theater in Tirana, where he performed in over 50 plays. Between 1980 and 1992 he was an external lecturer for the master’s courses in acting, diction and directing at the Academy of Dramatic Art in Tirana. He is also one of the founding members of the Albanian Democratic Party. Budina’s greatest accomplishments at Tirana’s National Theater were achieved with the dramas by Friedrich Schiller, Henrik Ibsen, Luigi Pirandello, Arthur Miller, Bertolt Brecht, François Rabelais, and Nikolai Pogodin. His theatrical adaptations and staging of various works written by Ismail Kadaré marked a turning point in the history of Albanian theater. Besides theater, he has worked for radio, television, and cinema and as a consultant for various newspapers and magazines. When in August 1990 the last communist president of Albania, Ramiz Alia, organized a meeting with leading intellectuals of the time on ways to reform the country’s political system, Budina was one of the invited academic representatives demanding democratic pluralism. In 1992 Budina emigrated from Albania and continued his work in Italy, initially with small documentaries and roles in theaters, while later on with movies. Besides his collaborations with Ermanno Olmi’s cinema school, the Ipotesi Cinema (1993-1994), his projects abroad include, among others: a documentary “Guardando al ritorno” (Looking back, 1994); theater plays “Tabir Sarrail” (The Palace of Dreams, 1995) and “Migranti” (Migrants, 1996) – a show that won the Italian National Prize for translation; a soap opera “Un posto al sole” (A Place in the Sun, 2000s); and a short movie “Domenica delle palme” (2002). In 2003 he made his directorial debut with “Lettere al vento” (Letters in the Wind), while his movie “Balkan Bazaar,” first official co-production between Albania and Italy, was released in Italian cinemas in 2011. “Broken” (2017) is one of his most recent international cinematographic projects. 2 A01 Lindita Komani Lindita Komani 40 03kkbqm48 Universities of Applied Sciences Joanneum LINDITA KOMANI (1979, Tirana, Albania) is a writer, translator, and publisher based in Tirana. She completed her studies of business and finance at the University of Graz (2006). She also completed master studies in EU Business Law at the University of Tirana (2014). Currently, she is completing a master study on EU Project and Public Management at FH Joanneum in Graz. Besides her professional life, dedicated to business consultancy and management, she has been an active writer and translator since 2002. Her works, published in Tirana since 2012, include poetry, short stories, and essays, among which: “Post impresion” (Ombra GVG, 2012); “In the tongue of awakening” (Poeteka, 2015); “Life motto” (Kompass, 2018) and “The understood Noli [Fan S. Noli]” (Kompass, 2019). Her upcoming, yet unpublished project is a comedy play “Arturo is back (or how the Movement for Asylum started and got transformed).” In 2017 Komani started her own small publishing house (Kompass) with the purpose to produce books she considers of value for the Albanian market and worth being translated (by herself) into the Albanian language. Titles published so far include fiction books (Kahlil Gibran’s “The Madman,” 2017; Mark Twain’s “The Diaries of Adam and Eve,” 2018; “Literary Austria since 1945,” 2019) and non-fiction books (Carl Buchberger’s “Principality Albania,” 2017 and Theodor Herzl’s “The Jewish State,” 2018). Since 2018 she has been involved in Tirana’s resistance movement for the protection of a local theater. In the framework of the Festival for the Protection of the Theater, she translated two plays (Franz Kafka’s “America” and Thomas Bernhard’s “Frost’), which were put on stage by the Thalia Theater in Hamburg and the THEATER.punkt in Vienna, respectively. 3 A01 Ervin Goci Ervin Goci 40 03g9v2404 University of Tirana ERVIN GOCI (1982, Kruja, Albania) is a pedagogue and activist based in Tirana. He earned his Bachelor of Arts degree in Philosophy from the Department of Philosophy and Sociology, Faculty of Social Sciences, University of Tirana (2005) and his Master of Science degree in Human Sciences from the Faculty of History and Philology, University of Tirana (2008). His PhD studies, initiated in 2010 at the Department of Journalism and Communication, Faculty of History and Philology, University of Tirana, concern the Albanian society confronting the challenge of routine perpetual measuring of the media audience. Since 2006 he has been a Senior Lecturer at the Faculty of History and Philology, University of Tirana, where he has been teaching on Civil Society, Public Space, Social Theory, Public Relations, Audience Measurement, and Media Users Behavior. Prior to this, he was an Assistant Lecturer at the Journalism and Communication Department, Faculty of History and Philology, University of Tirana (2005-2006). He was also an External Lecturer at “Marin Barleti” University in Tirana (2009-2011) and an External Lecturer at the European University of Tirana (2008-2011). His research papers have been presented in national and international conferences and publications including, among others: “Information in the era of social media : The case of newspaper Panorama” (Prishtina, 2016); “Typologies of audience behavior into the perspective of digitalization process” (Tirana, 2015); “The audience measurement in Albania – Efforts to institutionalize” (Prishtina, 2014); “Youth media exposure, and their behavior as interactive audiences” (Tirana, 2013) and “Promoting the image of mobile communication industry in Albania (Tools and Strategies)” (Tirana, 2011). He has been a team member of research projects such as: “Albanian Media confronting new challenges with an outdated economic model” (Tirana, 2017), “Television without Television” (Tirana, 2017), “Monitoring the impact of ethnic-based community media on Roma population in south-east Albania” (Tirana, 2012) and “Monitoring media exposure and access of communication in the ‘closed institutions’ (Prisons)” (Tirana, 2011). 01 eng 20 00 Open Access Edmond Budina Lindita Komani Ervin Goci 6 03 06 10.53288/0384.1.06 118 125 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Water Sleeps, The Enemy Does Not Sleep 1 A01 Ergin Zaloshnja Ergin Zaloshnja 01 eng 20 00 Open Access Ergin Zaloshnja 7 03 06 10.53288/0384.1.07 126 135 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Images in Spite of All 1 A01 Leonard Qylafi Leonard Qylafi LEONARD QYLAFI (1980, Korça, Albania) is a visual artist who lives and works in Tirana. He studied painting at the Academy of Fine Arts in Tirana, where he received his MFA degree in 2003. Profoundly linked to his personal life experience and a research-based meditation on material records (like books, films, or photographic documents), his paintings, videos, and photography are as much investigations of the processes shaping the narration of events in his home country as they are subjective reflections on the nature of images as such. He represented Albania at the 57th International Art Exhibition, La Biennale di Venezia (2017) and was the 2008 winner of ARDHJE Award For Young Visual Artists from Albania. He took part in international artist-in-residence programs such as: NIFCA – Nordic Institute of Contemporary Art, Helsinki (2005–2006); T.I.C.A – Institute of Contemporary Art, Tirana (2007); Kulturkontakt Austria, Vienna (2008) and ISCP – International Studio and Curatorial Program, New York (2009). His solo exhibitions so far include: “Occurrence in Present Tense,” La Biennale di Venezia – Albanian Pavillion (2017); “Imagery,” Zeta Gallery, Tirana (2016); “Museum of Nature,” Zeta Gallery, Tirana (2013). Among his group exhibitions, the most notable ones were held at venues such as: NiMAC Museum, Nicosia (2018); National Gallery of Art, Tirana (2017); MuCEM, Marseilles (2016); Izolyatsia Foundation, Kiev (2016); City Museum, Belgrade (2014); Künstlerhaus Bethanien, Berlin (2012); Kunst Raum Riehen, Basel (2012); MODEM Centre for Modern and Contemporary Arts, Debrecen (2011), International Biennial of Contemporary Art, Tirana (2009) and BJCM – XIII Biennal of Young Artists from Europe and the Mediterranean, Puglia (2008). 01 eng 20 00 Open Access Leonard Qylafi 8 03 06 10.53288/0384.1.08 136 147 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unframe Your Polis 1 A01 Gentian Shkurti Gentian Shkurti GENTIAN SHKURTI (1977, Mamuras, Albania) is a visual artist based in Tirana. He graduated from the Academy of Fine Arts in Tirana (1999), where he studied painting and later worked for two years as an assistant professor. Nowadays he works at the AFMM – Marubi Film and Multimedia Academy in Tirana. Apart from the group exhibition “Traveling light. Nothing to lose,” Chelsea Museum of Art -New York (2006), Shkurti’s works have been exhibited primarily in Europe at venues such as: National Gallery of Kosovo, Prishtina (2020); Ludwig Museum, Budapest (2016); 54th Venice Biennale – Albanian Pavilion (2011); Pompidou Center, Paris (2010); Museum of Modern Art, Ljubljana (2006); Kunsthalle Fridericianum, Kassel (2003); Sammlung Essl, Vienna (2003); Locarno International Film Festival (2003); 1st Tirana Biennale, National Gallery of Arts, Tirana (2001); Museo Civico d’arte contemporanea, Ortona (2000); and 7th International Cairo Biennial (1998). Some of his works are part of public art collections such as the Ludwig Museum, Budapest and the Essl Museum, Vienna. 01 eng 20 00 Open Access Gentian Shkurti 9 03 06 10.53288/0384.1.09 148 159 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How Can a Museum Change a City? 1 A01 Luçjan Bedeni Luçjan Bedeni LUÇJAN BEDENI was born in 1987 in Shkodra, where he also lives and works. Since 2012 he has been the Director of the Marubi National Museum of Photography in Shkodra. He studied at the Academy of Fine Arts in Tirana, where he graduated in 2009. He was the 2009 winner of Ardhje Award for Young Visual Artists from Albania. He participated in the artists-in-residence program at ISCP – International Studio & Curatorial Program, New York (2010). 01 eng 20 00 Open Access Luçjan Bedeni 10 03 06 10.53288/0384.1.10 160 167 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shaving Patriarchy 1 A01 HAVEIT HAVEIT HAVEIT is an art collective comprised of two pairs of sisters – Alketa & Arbërore Sylaj and Hana & Vesa Qena – founded in 2011 in Prishtina (Kosovo) as a form of protest in the aftermath of a local crime in which a 27-year-old student Diana Kastrati was shot dead in the street by her ex-husband. Ever since, empowering women’s social status in Kosovo has been the central tenet of their artistic and activist practice, which combines public performance, photography and video to explore social issues relevant to their living and working environment (including sexism, gender stereotypes and the denial of LGBTQ rights by patriarchal chains of power). In 2018, HAVEIT received the Open Society Foundation’s Award for Democracy for their efforts against gender inequality, violence against women, and discrimination of the LGBTQ community. Some of their projects include: “Use Your Mouth,” Stockholm & Tirana (2014); “What color is your flag when it burns?” Prishtina (2014); “Unconnected, and plastic,” Prishtina (2014); “Kur baba kajke, nana m`i lajke sytë,” Tirana (2014); “Hanging on a Curtain,” Tirana (2014); “St. Valentine’s Day,” Prishtina (2014); “Examination,” Prishtina & Athens (2013); “Je Suis Glamour,” Prishtina (2013); “How would you see me when you could see me,” Stacion – Center for Contemporary Art Prishtina (2013). 01 eng 20 00 Open Access HAVEIT 11 03 06 10.53288/0384.1.11 168 177 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Will Remain from Resistance 1 A01 Pleurad Xhafa Pleurad Xhafa PLEURAD XHAFA (1984, Lushnja, Albania) is a visual artist and activist currently based in Tirana. He studied at the Academy of Fine Arts in Bologna, where he graduated in 2012 with an MFA in Visual Arts. He is one of the founders of the Debatik Center of Contemporary Art (www.debatikcenter.net). In 2014 he was the winner of ARDHJE Award for Young Visual Artists from Albania. Xhafa develops projects that examine the effects produced by neoliberal political experiments. His research and critical work comes as a result of a post-conceptual practice, which operates on a documentary basis to subsequently report – visually and politically – to the culture of our time. Some of his site-specific interventions in Tirana have been realized in collaboration with. His work has been presented in international group exhibitions and festivals such as: ALTERNATIVE FILM/VIDEO Festival, Belgrade (2018) “Les Rencontres Internationales,” Paris/Berlin (2015-2016); “Teatri i Gjelbërimit – Department of Eagles,” FAB Gallery, Tirana (2016); “Shame On You,” Celje (2015); “ARDHJE Award: The Finalists,” Zeta Gallery, Tirana (2014); “Lavoro/Work/Vore,” Udine (2013); “What is Waiting Out There” – 6th Berlin Biennale for Contemporary Art (2010); 4th Tirana Biennale (2009); “Desire and Evidence: ONUFRI XIV,” National Art Gallery, Tirana (2009); and “Every Revolution is a Throw of Dice,” Loggia della Mercanzia, Genoa (2006). 01 eng 20 00 Open Access Pleurad Xhafa 12 03 06 10.53288/0384.1.12 178 189 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Time As Resistance in Public Space 1 A01 Stefano Romano Stefano Romano 40 023y4pd41 Polis University STEAFNO ROMANO (1975, Naples, Italy) is a visual artist, curator, and lecturer who lives and works between Tirana (Albania) and Bergamo (Italy). He graduated from the Accademia Carrara, an academy of fine arts in Bergamo (2002) where he studied Visual Arts. He also worked there, first as an assistant of Adrian Paci (2002–2004) and Salvatore Falci (2006–2008), then as a tutor (2008–2010), and finally as a professor of Visual Communication Methodology (2013–2015). In 2004–2005 he was a guest-lecturer of History of Contemporary Art and New Technologies, an experimental course at the Fine Arts Academy in Tirana. Between 2010 and 2012 he was a professor of Contemporary Art History at the Polis University in Tirana where, since 2017, he has been teaching two courses: Phenomenology of Contemporary Art and Phenomenology of the Object. He is the co-founder of DZT – DyZeroTre, an artistic and architectural collective (since 2012) and MAPS – Mobile Archive on Public Space, a digital platform for interdisciplinary research on issues related to art and public space. His process-based artistic practice, which encompasses temporary actions, performances, installations, videos and photography, examines manifold contradictions of social reality through transient and unexpected images produced by ‘light-gazing’. He has taken part in numerous exhibition projects since the early 2000s, among which: “Monumenti Impermanenti,” Fondazione Pini, Milan (2019); Autostrada Biennale, Prizren (2018); “Ex Gratia,” Collezione Giuseppe Iannaccone, Milan (2018); “RGB,” Zeta Gallery, Tirana (2018); “Collective Monument,” Stamp gallery, University of Maryland (2018); “responseABILITY,” Rotor, Graz (2018); Mediterranea 18 Young Artists Biennial, Tirana (2017); “There must be something in between,” afo – architekturforum oberösterreich, Linz (2017); “Teatri i Gjelbërimit – Department of Eagles,” FAB Gallery, Tirana (2016); “A Manifesto,” Tulla Culture Center, Tirana (2015); “Post fata resurgo,” Palazzo della Misericordia, Bergamo (2014); “HISTŒRI removing,” UpperLab, Bergamo (2013); “Would you stay a little longer?,” Zeta Gallery, Tirana (2011); “Stuck in a paradox, I start shaving myself,” CHAN Contemporary Art Gallery, Genova (2010). 01 eng 20 00 Open Access Stefano Romano 13 03 06 10.53288/0384.1.13 190 201 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 These Are (Not) the Things We Are Fighting For! 1 A01 Jonida Gashi Jonida Gashi 40 016sx0y50 Academy of Sciences of Albania JONIDA GASHI is Chair of the Department of Art Studies at the Institute of Cultural Anthropology and the Study of Art (Academy of Albanian Studies) in Tirana, Albania. Her current research focuses on the newsreels and documentary films of the Albanian communist show trials, as well as the so-called “revolutionary vigilance films” of the 1970s and 1980s. She has a PhD from the University of London in Humanities and Cultural Studies. In her thesis she examined the highly complex and often paradoxical temporality of contemporary film and video art. Her research interests include contemporary art theory and criticism, the philosophy of time and theories of repetition, film theory and the history of cinema, and the artistic experience of post-socialism in contemporary Albania. She is one of the founders of DebatikCenter of Contemporary Art (www.debatikcenter.net). 01 eng 20 00 Open Access Jonida Gashi 14 03 06 10.53288/0384.1.14 202 213 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Biographies 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/department-of-eagles/ Department of Eagles 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/resistance/ 16 40 03fxa4766 32 10.13039/100009131 Swiss Agency for Development and Cooperation 01 projectname Swiss Cultural Fund Albania 01 projectshortname SCFA Earth, Milky Way 04 01 20211202 ZETA Galeri, Ivana Dervishi (p. 118), Pleurad Xhafa (p. 168), Brigitte Hamadey (p. 160) 02 WORLD 06 15 9781953035837 03 9781953035837 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035825 20 08 20211202 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/resistance 20 08 20211202 02 25.00 USD WORLD urn:uuid:bb775b72-8fce-4162-ad7e-843e925518ec 03 01 01 thoth-work-id urn:uuid:bb4a0068-d7e5-4728-bf8f-9ef000574633 01 thoth-publication-id urn:uuid:bb775b72-8fce-4162-ad7e-843e925518ec 15 9781953035837 03 9781953035837 06 10.53288/0384.1.00 13 2021948303 01 internal-reference 0384 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Resistance 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 2 01 eng 00 216 03 93 AGC 12 AGC 10 ART037000 B2 Art+Aesthetics 93 1DXA 10 ART006010 B2 New Left Thought 20 Albania; political activism; political art; resistance; art residency; protest; Western Balkans 01 06 02 00 03 00 esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic.Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe. 30 00 esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic.Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0384.1.00_frontcover.jpg 1 03 06 10.53288/0384.1.01 1 5 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access 2 03 06 10.53288/0384.1.02 6 11 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Editorial Note 1 A01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access 3 03 06 10.53288/0384.1.03 30 31 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Heterotopias of Resistance 1 A01 Blerta Hoçia Blerta Hoçia 01 eng 20 00 Open Access 4 03 06 10.53288/0384.1.04 32 105 74 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Heterotopias of Resistance The Exhibition 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access The artists and curator 5 03 06 10.53288/0384.1.05 108 117 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "An Opportunity for Albania to Expand Its Concept of Public Property" 1 A01 Edmond Budina Edmond Budina Edmond BUDINA (1952, Tirana, Albania) is an actor, director and writer based in Tirana. He studied Dramatic Art at the Albanian Academy of Arts, where he graduted in 1974. Since the mid 1970s until his immigration to Italy in the early 1990s he worked at the National Theater in Tirana, where he performed in over 50 plays. Between 1980 and 1992 he was an external lecturer for the master’s courses in acting, diction and directing at the Academy of Dramatic Art in Tirana. He is also one of the founding members of the Albanian Democratic Party. Budina’s greatest accomplishments at Tirana’s National Theater were achieved with the dramas by Friedrich Schiller, Henrik Ibsen, Luigi Pirandello, Arthur Miller, Bertolt Brecht, François Rabelais, and Nikolai Pogodin. His theatrical adaptations and staging of various works written by Ismail Kadaré marked a turning point in the history of Albanian theater. Besides theater, he has worked for radio, television, and cinema and as a consultant for various newspapers and magazines. When in August 1990 the last communist president of Albania, Ramiz Alia, organized a meeting with leading intellectuals of the time on ways to reform the country’s political system, Budina was one of the invited academic representatives demanding democratic pluralism. In 1992 Budina emigrated from Albania and continued his work in Italy, initially with small documentaries and roles in theaters, while later on with movies. Besides his collaborations with Ermanno Olmi’s cinema school, the Ipotesi Cinema (1993-1994), his projects abroad include, among others: a documentary “Guardando al ritorno” (Looking back, 1994); theater plays “Tabir Sarrail” (The Palace of Dreams, 1995) and “Migranti” (Migrants, 1996) – a show that won the Italian National Prize for translation; a soap opera “Un posto al sole” (A Place in the Sun, 2000s); and a short movie “Domenica delle palme” (2002). In 2003 he made his directorial debut with “Lettere al vento” (Letters in the Wind), while his movie “Balkan Bazaar,” first official co-production between Albania and Italy, was released in Italian cinemas in 2011. “Broken” (2017) is one of his most recent international cinematographic projects. 2 A01 Lindita Komani Lindita Komani 40 03kkbqm48 Universities of Applied Sciences Joanneum LINDITA KOMANI (1979, Tirana, Albania) is a writer, translator, and publisher based in Tirana. She completed her studies of business and finance at the University of Graz (2006). She also completed master studies in EU Business Law at the University of Tirana (2014). Currently, she is completing a master study on EU Project and Public Management at FH Joanneum in Graz. Besides her professional life, dedicated to business consultancy and management, she has been an active writer and translator since 2002. Her works, published in Tirana since 2012, include poetry, short stories, and essays, among which: “Post impresion” (Ombra GVG, 2012); “In the tongue of awakening” (Poeteka, 2015); “Life motto” (Kompass, 2018) and “The understood Noli [Fan S. Noli]” (Kompass, 2019). Her upcoming, yet unpublished project is a comedy play “Arturo is back (or how the Movement for Asylum started and got transformed).” In 2017 Komani started her own small publishing house (Kompass) with the purpose to produce books she considers of value for the Albanian market and worth being translated (by herself) into the Albanian language. Titles published so far include fiction books (Kahlil Gibran’s “The Madman,” 2017; Mark Twain’s “The Diaries of Adam and Eve,” 2018; “Literary Austria since 1945,” 2019) and non-fiction books (Carl Buchberger’s “Principality Albania,” 2017 and Theodor Herzl’s “The Jewish State,” 2018). Since 2018 she has been involved in Tirana’s resistance movement for the protection of a local theater. In the framework of the Festival for the Protection of the Theater, she translated two plays (Franz Kafka’s “America” and Thomas Bernhard’s “Frost’), which were put on stage by the Thalia Theater in Hamburg and the THEATER.punkt in Vienna, respectively. 3 A01 Ervin Goci Ervin Goci 40 03g9v2404 University of Tirana ERVIN GOCI (1982, Kruja, Albania) is a pedagogue and activist based in Tirana. He earned his Bachelor of Arts degree in Philosophy from the Department of Philosophy and Sociology, Faculty of Social Sciences, University of Tirana (2005) and his Master of Science degree in Human Sciences from the Faculty of History and Philology, University of Tirana (2008). His PhD studies, initiated in 2010 at the Department of Journalism and Communication, Faculty of History and Philology, University of Tirana, concern the Albanian society confronting the challenge of routine perpetual measuring of the media audience. Since 2006 he has been a Senior Lecturer at the Faculty of History and Philology, University of Tirana, where he has been teaching on Civil Society, Public Space, Social Theory, Public Relations, Audience Measurement, and Media Users Behavior. Prior to this, he was an Assistant Lecturer at the Journalism and Communication Department, Faculty of History and Philology, University of Tirana (2005-2006). He was also an External Lecturer at “Marin Barleti” University in Tirana (2009-2011) and an External Lecturer at the European University of Tirana (2008-2011). His research papers have been presented in national and international conferences and publications including, among others: “Information in the era of social media : The case of newspaper Panorama” (Prishtina, 2016); “Typologies of audience behavior into the perspective of digitalization process” (Tirana, 2015); “The audience measurement in Albania – Efforts to institutionalize” (Prishtina, 2014); “Youth media exposure, and their behavior as interactive audiences” (Tirana, 2013) and “Promoting the image of mobile communication industry in Albania (Tools and Strategies)” (Tirana, 2011). He has been a team member of research projects such as: “Albanian Media confronting new challenges with an outdated economic model” (Tirana, 2017), “Television without Television” (Tirana, 2017), “Monitoring the impact of ethnic-based community media on Roma population in south-east Albania” (Tirana, 2012) and “Monitoring media exposure and access of communication in the ‘closed institutions’ (Prisons)” (Tirana, 2011). 01 eng 20 00 Open Access Edmond Budina Lindita Komani Ervin Goci 6 03 06 10.53288/0384.1.06 118 125 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Water Sleeps, The Enemy Does Not Sleep 1 A01 Ergin Zaloshnja Ergin Zaloshnja 01 eng 20 00 Open Access Ergin Zaloshnja 7 03 06 10.53288/0384.1.07 126 135 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Images in Spite of All 1 A01 Leonard Qylafi Leonard Qylafi LEONARD QYLAFI (1980, Korça, Albania) is a visual artist who lives and works in Tirana. He studied painting at the Academy of Fine Arts in Tirana, where he received his MFA degree in 2003. Profoundly linked to his personal life experience and a research-based meditation on material records (like books, films, or photographic documents), his paintings, videos, and photography are as much investigations of the processes shaping the narration of events in his home country as they are subjective reflections on the nature of images as such. He represented Albania at the 57th International Art Exhibition, La Biennale di Venezia (2017) and was the 2008 winner of ARDHJE Award For Young Visual Artists from Albania. He took part in international artist-in-residence programs such as: NIFCA – Nordic Institute of Contemporary Art, Helsinki (2005–2006); T.I.C.A – Institute of Contemporary Art, Tirana (2007); Kulturkontakt Austria, Vienna (2008) and ISCP – International Studio and Curatorial Program, New York (2009). His solo exhibitions so far include: “Occurrence in Present Tense,” La Biennale di Venezia – Albanian Pavillion (2017); “Imagery,” Zeta Gallery, Tirana (2016); “Museum of Nature,” Zeta Gallery, Tirana (2013). Among his group exhibitions, the most notable ones were held at venues such as: NiMAC Museum, Nicosia (2018); National Gallery of Art, Tirana (2017); MuCEM, Marseilles (2016); Izolyatsia Foundation, Kiev (2016); City Museum, Belgrade (2014); Künstlerhaus Bethanien, Berlin (2012); Kunst Raum Riehen, Basel (2012); MODEM Centre for Modern and Contemporary Arts, Debrecen (2011), International Biennial of Contemporary Art, Tirana (2009) and BJCM – XIII Biennal of Young Artists from Europe and the Mediterranean, Puglia (2008). 01 eng 20 00 Open Access Leonard Qylafi 8 03 06 10.53288/0384.1.08 136 147 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unframe Your Polis 1 A01 Gentian Shkurti Gentian Shkurti GENTIAN SHKURTI (1977, Mamuras, Albania) is a visual artist based in Tirana. He graduated from the Academy of Fine Arts in Tirana (1999), where he studied painting and later worked for two years as an assistant professor. Nowadays he works at the AFMM – Marubi Film and Multimedia Academy in Tirana. Apart from the group exhibition “Traveling light. Nothing to lose,” Chelsea Museum of Art -New York (2006), Shkurti’s works have been exhibited primarily in Europe at venues such as: National Gallery of Kosovo, Prishtina (2020); Ludwig Museum, Budapest (2016); 54th Venice Biennale – Albanian Pavilion (2011); Pompidou Center, Paris (2010); Museum of Modern Art, Ljubljana (2006); Kunsthalle Fridericianum, Kassel (2003); Sammlung Essl, Vienna (2003); Locarno International Film Festival (2003); 1st Tirana Biennale, National Gallery of Arts, Tirana (2001); Museo Civico d’arte contemporanea, Ortona (2000); and 7th International Cairo Biennial (1998). Some of his works are part of public art collections such as the Ludwig Museum, Budapest and the Essl Museum, Vienna. 01 eng 20 00 Open Access Gentian Shkurti 9 03 06 10.53288/0384.1.09 148 159 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How Can a Museum Change a City? 1 A01 Luçjan Bedeni Luçjan Bedeni LUÇJAN BEDENI was born in 1987 in Shkodra, where he also lives and works. Since 2012 he has been the Director of the Marubi National Museum of Photography in Shkodra. He studied at the Academy of Fine Arts in Tirana, where he graduated in 2009. He was the 2009 winner of Ardhje Award for Young Visual Artists from Albania. He participated in the artists-in-residence program at ISCP – International Studio & Curatorial Program, New York (2010). 01 eng 20 00 Open Access Luçjan Bedeni 10 03 06 10.53288/0384.1.10 160 167 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shaving Patriarchy 1 A01 HAVEIT HAVEIT HAVEIT is an art collective comprised of two pairs of sisters – Alketa & Arbërore Sylaj and Hana & Vesa Qena – founded in 2011 in Prishtina (Kosovo) as a form of protest in the aftermath of a local crime in which a 27-year-old student Diana Kastrati was shot dead in the street by her ex-husband. Ever since, empowering women’s social status in Kosovo has been the central tenet of their artistic and activist practice, which combines public performance, photography and video to explore social issues relevant to their living and working environment (including sexism, gender stereotypes and the denial of LGBTQ rights by patriarchal chains of power). In 2018, HAVEIT received the Open Society Foundation’s Award for Democracy for their efforts against gender inequality, violence against women, and discrimination of the LGBTQ community. Some of their projects include: “Use Your Mouth,” Stockholm & Tirana (2014); “What color is your flag when it burns?” Prishtina (2014); “Unconnected, and plastic,” Prishtina (2014); “Kur baba kajke, nana m`i lajke sytë,” Tirana (2014); “Hanging on a Curtain,” Tirana (2014); “St. Valentine’s Day,” Prishtina (2014); “Examination,” Prishtina & Athens (2013); “Je Suis Glamour,” Prishtina (2013); “How would you see me when you could see me,” Stacion – Center for Contemporary Art Prishtina (2013). 01 eng 20 00 Open Access HAVEIT 11 03 06 10.53288/0384.1.11 168 177 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Will Remain from Resistance 1 A01 Pleurad Xhafa Pleurad Xhafa PLEURAD XHAFA (1984, Lushnja, Albania) is a visual artist and activist currently based in Tirana. He studied at the Academy of Fine Arts in Bologna, where he graduated in 2012 with an MFA in Visual Arts. He is one of the founders of the Debatik Center of Contemporary Art (www.debatikcenter.net). In 2014 he was the winner of ARDHJE Award for Young Visual Artists from Albania. Xhafa develops projects that examine the effects produced by neoliberal political experiments. His research and critical work comes as a result of a post-conceptual practice, which operates on a documentary basis to subsequently report – visually and politically – to the culture of our time. Some of his site-specific interventions in Tirana have been realized in collaboration with. His work has been presented in international group exhibitions and festivals such as: ALTERNATIVE FILM/VIDEO Festival, Belgrade (2018) “Les Rencontres Internationales,” Paris/Berlin (2015-2016); “Teatri i Gjelbërimit – Department of Eagles,” FAB Gallery, Tirana (2016); “Shame On You,” Celje (2015); “ARDHJE Award: The Finalists,” Zeta Gallery, Tirana (2014); “Lavoro/Work/Vore,” Udine (2013); “What is Waiting Out There” – 6th Berlin Biennale for Contemporary Art (2010); 4th Tirana Biennale (2009); “Desire and Evidence: ONUFRI XIV,” National Art Gallery, Tirana (2009); and “Every Revolution is a Throw of Dice,” Loggia della Mercanzia, Genoa (2006). 01 eng 20 00 Open Access Pleurad Xhafa 12 03 06 10.53288/0384.1.12 178 189 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Time As Resistance in Public Space 1 A01 Stefano Romano Stefano Romano 40 023y4pd41 Polis University STEAFNO ROMANO (1975, Naples, Italy) is a visual artist, curator, and lecturer who lives and works between Tirana (Albania) and Bergamo (Italy). He graduated from the Accademia Carrara, an academy of fine arts in Bergamo (2002) where he studied Visual Arts. He also worked there, first as an assistant of Adrian Paci (2002–2004) and Salvatore Falci (2006–2008), then as a tutor (2008–2010), and finally as a professor of Visual Communication Methodology (2013–2015). In 2004–2005 he was a guest-lecturer of History of Contemporary Art and New Technologies, an experimental course at the Fine Arts Academy in Tirana. Between 2010 and 2012 he was a professor of Contemporary Art History at the Polis University in Tirana where, since 2017, he has been teaching two courses: Phenomenology of Contemporary Art and Phenomenology of the Object. He is the co-founder of DZT – DyZeroTre, an artistic and architectural collective (since 2012) and MAPS – Mobile Archive on Public Space, a digital platform for interdisciplinary research on issues related to art and public space. His process-based artistic practice, which encompasses temporary actions, performances, installations, videos and photography, examines manifold contradictions of social reality through transient and unexpected images produced by ‘light-gazing’. He has taken part in numerous exhibition projects since the early 2000s, among which: “Monumenti Impermanenti,” Fondazione Pini, Milan (2019); Autostrada Biennale, Prizren (2018); “Ex Gratia,” Collezione Giuseppe Iannaccone, Milan (2018); “RGB,” Zeta Gallery, Tirana (2018); “Collective Monument,” Stamp gallery, University of Maryland (2018); “responseABILITY,” Rotor, Graz (2018); Mediterranea 18 Young Artists Biennial, Tirana (2017); “There must be something in between,” afo – architekturforum oberösterreich, Linz (2017); “Teatri i Gjelbërimit – Department of Eagles,” FAB Gallery, Tirana (2016); “A Manifesto,” Tulla Culture Center, Tirana (2015); “Post fata resurgo,” Palazzo della Misericordia, Bergamo (2014); “HISTŒRI removing,” UpperLab, Bergamo (2013); “Would you stay a little longer?,” Zeta Gallery, Tirana (2011); “Stuck in a paradox, I start shaving myself,” CHAN Contemporary Art Gallery, Genova (2010). 01 eng 20 00 Open Access Stefano Romano 13 03 06 10.53288/0384.1.13 190 201 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 These Are (Not) the Things We Are Fighting For! 1 A01 Jonida Gashi Jonida Gashi 40 016sx0y50 Academy of Sciences of Albania JONIDA GASHI is Chair of the Department of Art Studies at the Institute of Cultural Anthropology and the Study of Art (Academy of Albanian Studies) in Tirana, Albania. Her current research focuses on the newsreels and documentary films of the Albanian communist show trials, as well as the so-called “revolutionary vigilance films” of the 1970s and 1980s. She has a PhD from the University of London in Humanities and Cultural Studies. In her thesis she examined the highly complex and often paradoxical temporality of contemporary film and video art. Her research interests include contemporary art theory and criticism, the philosophy of time and theories of repetition, film theory and the history of cinema, and the artistic experience of post-socialism in contemporary Albania. She is one of the founders of DebatikCenter of Contemporary Art (www.debatikcenter.net). 01 eng 20 00 Open Access Jonida Gashi 14 03 06 10.53288/0384.1.14 202 213 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Biographies 1 B01 21 0000000325234527 Marko Stamenkoviç Marko Stamenkoviç 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/department-of-eagles/ Department of Eagles 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/resistance/ 16 40 03fxa4766 32 10.13039/100009131 Swiss Agency for Development and Cooperation 01 projectname Swiss Cultural Fund Albania 01 projectshortname SCFA Earth, Milky Way 04 01 20211202 ZETA Galeri, Ivana Dervishi (p. 118), Pleurad Xhafa (p. 168), Brigitte Hamadey (p. 160) 02 WORLD 06 15 9781953035820 03 9781953035820 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/51633 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/51633/0384.1.00.pdf?sequence=1&isAllowed=y 20 08 20211202 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/74577 20 08 20211202 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2524xms 20 08 20211202 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/750 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/10a73f10-76d0-47e6-85df-c9e3fac3a673/download 20 08 20211202 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bb4a0068-d7e5-4728-bf8f-9ef000574633 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bb4a0068-d7e5-4728-bf8f-9ef000574633/bb4a0068-d7e5-4728-bf8f-9ef000574633.pdf 20 08 20211202 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849149 29 ZENODO: download the title https://zenodo.org/records/19849149/files/bb4a0068-d7e5-4728-bf8f-9ef000574633_book.pdf 20 08 20211202 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/resistance/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0384.1.00.pdf 20 08 20211202 01 urn:uuid:022f1f9d-baa9-4284-84a9-76e71bcb61fe 03 01 01 thoth-work-id urn:uuid:0aeaad1b-4c63-4ebc-9fde-2f75939d65e9 01 thoth-publication-id urn:uuid:022f1f9d-baa9-4284-84a9-76e71bcb61fe 15 9781685710880 03 9781685710880 06 10.53288/0445.1.00 13 2023941964 01 internal-reference 0445 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Resistant Form Aristophanes and the Comedy of Crisis 1 A01 21 0000000198221984 Mario Telò Mario Telò 40 01an7q238 University of California, Berkeley Mario Telò is a Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon (Chicago UP, 2016), Archive Feelings: A Theory of Greek Tragedy (Ohio State UP, 2020), and Greek Tragedy in A Global Crisis: Reading through Pandemic Times (Bloomsbury, 2023) and also the co-editor of The Materialities of Greek Tragedy (Bloomsbury, 2018) and Queer Euripides (Bloomsbury, 2022). A monograph entitled Judith Butler and the Ethics of Greek Tragedy will appear with Bloomsbury in 2024. 01 eng 00 418 03 12 DSBB 93 DSBB B2 Languages+Translations 10 LIT004190 12 2AHA 93 2AHA 10 LIT004160 B2 Literary Studies 93 DDL 10 LIT016000 B2 Premodern 93 DSA 93 1QBAG 20 Aristophanes; Greek comedy; formalism; queer studies; classical literature; biopolitics; close reading 01 06 02 00 03 00 Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression?The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism.These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form. 30 00 Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression?The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism.These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. 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product https://asterismbooks.com/product/resistant-form-aristophanes-and-the-comedy-of-crisis 20 08 20230727 02 27.00 USD WORLD urn:uuid:97762001-a2e2-44d4-821a-52888081beab 03 01 01 thoth-work-id urn:uuid:0aeaad1b-4c63-4ebc-9fde-2f75939d65e9 01 thoth-publication-id urn:uuid:97762001-a2e2-44d4-821a-52888081beab 15 9781685710897 03 9781685710897 06 10.53288/0445.1.00 13 2023941964 01 internal-reference 0445 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Resistant Form Aristophanes and the Comedy of Crisis 1 A01 21 0000000198221984 Mario Telò Mario Telò 40 01an7q238 University of California, Berkeley Mario Telò is a Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon (Chicago UP, 2016), Archive Feelings: A Theory of Greek Tragedy (Ohio State UP, 2020), and Greek Tragedy in A Global Crisis: Reading through Pandemic Times (Bloomsbury, 2023) and also the co-editor of The Materialities of Greek Tragedy (Bloomsbury, 2018) and Queer Euripides (Bloomsbury, 2022). A monograph entitled Judith Butler and the Ethics of Greek Tragedy will appear with Bloomsbury in 2024. 01 eng 00 418 03 12 DSBB 93 DSBB B2 Languages+Translations 10 LIT004190 12 2AHA 93 2AHA 10 LIT004160 B2 Literary Studies 93 DDL 10 LIT016000 B2 Premodern 93 DSA 93 1QBAG 20 Aristophanes; Greek comedy; formalism; queer studies; classical literature; biopolitics; close reading 01 06 02 00 03 00 Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression?The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism.These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form. 30 00 Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression?The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism.These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0445.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/resistant-form-aristophanes-and-the-comedy-of-crisis/ Earth, Milky Way 04 01 20230727 Mario Telò 02 WORLD 06 15 9781685710880 03 9781685710880 34 06 10.1525/rep.2022.158.11.106 34 06 10.1080/14754830802286095 34 06 10.1215/01642472-8680478 34 06 10.1215/23289252-7090059 34 06 10.1215/01642472-8164740 34 06 10.1353/asa.2017.0031 34 06 10.1080/13534640500264099 34 06 10.1215/26410478-8517735 34 06 10.1521/prev.2013.100.5.695 34 06 10.1177/0003065116686793.331 34 06 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https://library.oapen.org/bitstream/handle/20.500.12657/64101/0445.1.00.pdf?sequence=1&isAllowed=y 20 08 20230727 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/111767 20 08 20230727 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.5972991 20 08 20230727 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/354 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a55e4c0e-7a47-4236-9e11-0353f76d7d80/download 20 08 20230727 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0aeaad1b-4c63-4ebc-9fde-2f75939d65e9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0aeaad1b-4c63-4ebc-9fde-2f75939d65e9/0aeaad1b-4c63-4ebc-9fde-2f75939d65e9.pdf 20 08 20230727 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849944 29 ZENODO: download the title https://zenodo.org/records/19849944/files/0aeaad1b-4c63-4ebc-9fde-2f75939d65e9_book.pdf 20 08 20230727 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/resistant-form-aristophanes-and-the-comedy-of-crisis/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0445.1.00.pdf 20 08 20230727 01 urn:uuid:66ba8313-222a-4072-8075-74bbbebaeb03 03 01 01 thoth-work-id urn:uuid:fecc033f-919b-4d98-ab32-c6fb19dfb7e8 01 thoth-publication-id urn:uuid:66ba8313-222a-4072-8075-74bbbebaeb03 15 9781685711146 03 9781685711146 06 10.53288/0404.1.00 13 2023949869 01 internal-reference 0404 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Solarities Elemental Encounters and Refractions 1 B01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water--transformed by a warming world--establishes novel links between distant places and populations. Her books include Intimate Activism (Duke 2013) and Ecologics: Wind and Power in the Anthropocene (Duke 2019) as well as two edited collections Anthropocene Unseen: A Lexicon (Punctum 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 B01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016-17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021) tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, NL. 3 B01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is Associate Professor of Marine Affairs at the University of Rhode Island. Trained as a sociocultural anthropologist at the University of California Berkeley, her focal research areas have spanned from science studies of tropical conservation biology to black marine ecologies to the anticolonial and antiracist examination of the practice of STEM in American academia. She has worked with government officials, nonprofit administrators, environmental activists, and a wide array of community members in The Bahamas, Indonesia, and the United States. Dr. Moore’s first book, Destination Anthropocene: Science and Tourism in The Bahamas, explores the fraught ways in which the ecological sciences and the tourism industry work together to transform the way people understand and unevenly profit from the islands of The Bahamas in an era of global environmental change. She is currently collaborating on a documentary film, Decolonizing Science? (working title), that interrogates the unjust foundations of scientific research and explores attempts to move beyond the colonial structures of contemporary knowledge production. 01 eng 00 316 03 B2 Biosphere 93 JHMC 12 JHMC 10 SCI098030 B2 Cultural Studies+Critical Theory 93 PGS 12 PGS 10 SOC041000 10 SOC002010 B2 Thought Experiments 93 THVS 20 solar; elements; materials; bodies; infrastructure; being; relationality; anthropocene 01 06 02 00 03 00 Solarities: Elemental Encounters and Refractions is a transdiciplinary essay collection that explores the physical, conceptual, and political possibilities materialized by “solarity”— a form of relation to the sun and its elemental force upon planetary life. The authors propose that a different set of questions becomes possible when the material specificities of solar become the compass for thought, prompting us to uncover our relationship to the sun. How does solarity materialize in the bodies and lives of humans and non-humans now and in the future? What can we learn if we no longer take the sun for granted? How do we continue to persist on a planet that is so intimately bound up in a state of love, fear, and dependence on this primary source of all living energy? Each of the essays in Solarities take solar radiation as an interpretive lens that takes multiple forms, often transforming as it does so.Solarities draws inspiration from Black ecologies, Indigenous philosophy, feminist science & technology studies, and more-than-human discussions in the human sciences, recognizing the phenomenological and ontological openings they make available. The authors understand solarity as an energy source (channeled through photovoltaic cells, for example), but the essays gathered here focus on the lives that solarity creates or impedes. The experimental task is to find how solarities work their way into materials and processes across our work, seeking out the particular influences of solarity in making being(s). These relations are core to thinking the elemental conditions of solarity, since it is through particular forms of focalizing the sun that life is sustained, or made to wither, across the planet.In these ways, the elemental condition of solarity is at once hyper-particular and also shared across organic and inorganic bodies, conditioned by physical form and material composition. Throughout the collection, the authors explore how solarity appears or recedes from view when we concentrate our attentions on it, surfacing the existential omnipresence of the sun to open new thought possibilities, inspire new actions, and refract new dimensions of socionatural encounter. 30 00 Solarities: Elemental Encounters and Refractions is a transdiciplinary essay collection that explores the physical, conceptual, and political possibilities materialized by “solarity”— a form of relation to the sun and its elemental force upon planetary life. The authors propose that a different set of questions becomes possible when the material specificities of solar become the compass for thought, prompting us to uncover our relationship to the sun. How does solarity materialize in the bodies and lives of humans and non-humans now and in the future? What can we learn if we no longer take the sun for granted? How do we continue to persist on a planet that is so intimately bound up in a state of love, fear, and dependence on this primary source of all living energy? Each of the essays in Solarities take solar radiation as an interpretive lens that takes multiple forms, often transforming as it does so.Solarities draws inspiration from Black ecologies, Indigenous philosophy, feminist science & technology studies, and more-than-human discussions in the human sciences, recognizing the phenomenological and ontological openings they make available. The authors understand solarity as an energy source (channeled through photovoltaic cells, for example), but the essays gathered here focus on the lives that solarity creates or impedes. The experimental task is to find how solarities work their way into materials and processes across our work, seeking out the particular influences of solarity in making being(s). These relations are core to thinking the elemental conditions of solarity, since it is through particular forms of focalizing the sun that life is sustained, or made to wither, across the planet.In these ways, the elemental condition of solarity is at once hyper-particular and also shared across organic and inorganic bodies, conditioned by physical form and material composition. Throughout the collection, the authors explore how solarity appears or recedes from view when we concentrate our attentions on it, surfacing the existential omnipresence of the sun to open new thought possibilities, inspire new actions, and refract new dimensions of socionatural encounter. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0404.1.00_frontcover.jpg 1 03 06 10.53288/0404.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water, transformed by a warming world, establishes novel links between distant places and populations. Her books include Intimate Activism (Duke UP, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke UP, 2019) as well as two edited collections: Anthropocene Unseen: A Lexicon (punctum books, 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 B01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 3 B01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 20 00 Open Access Jeff Diamanti, Cymene Howe, Amelia Moore 2 03 06 10.53288/0404.1.02 17 42 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water, transformed by a warming world, establishes novel links between distant places and populations. Her books include Intimate Activism (Duke UP, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke UP, 2019) as well as two edited collections: Anthropocene Unseen: A Lexicon (punctum books, 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 A01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 3 A01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 20 00 Open Access Jeff Diamanti, Cymene Howe, Amelia Moore 3 03 06 10.53288/0404.1.03 43 48 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Skin 1 A01 21 0000000327865998 Mél Hogan Mél Hogan Associate Professor in the Department of Film and Media 40 02y72wh86 Queen's University Mél Hogan is the host of The Data Fix podcast and is the Director of the Environmental Media Lab (EML). She is an Associate Professor in the Department of Film and Media at Queen’s University (Kingston, Ontario). Her research focuses on data infrastructure, understood from within the contexts of settler-colonial extractivism, planetary catastrophe, and collective anxieties about the future 06 Own website http://melhogan.com 01 eng 03 00 This piece invites the reader to think about their skin as a surface to glean information about identity, disease, and life on earth. Through exposing the process of having a mole removed by a surgeon, and a follow-up from the dermatologist, the piece discusses the relationship between skin and sun; the warnings about UV exposure, the narratives about genetics and personal responsibility, the fallout and recovery of medical interventions, and the new meanings made possible about the sun itself, through a careful consideration of skin as a medium that absorbs and reflects it. 30 00 This piece invites the reader to think about their skin as a surface to glean information about identity, disease, and life on earth. Through exposing the process of having a mole removed by a surgeon, and a follow-up from the dermatologist, the piece discusses the relationship between skin and sun; the warnings about UV exposure, the narratives about genetics and personal responsibility, the fallout and recovery of medical interventions, and the new meanings made possible about the sun itself, through a careful consideration of skin as a medium that absorbs and reflects it. 20 00 Open Access Mél Hogan 4 03 06 10.53288/0404.1.04 49 62 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chlorophyll 1 A01 Aster Hoving Aster Hoving doctoral researcher in Environmental Humanities 40 02qte9q33 University of Stavangar Aster Hoving is a doctoral researcher in Environmental Humanities with the Greenhouse Center for Environmental Humanities at the University of Stavanger. Her PhD project “Ocean Energies” investigates how energy companies, scientists, and artists engage with the ocean’s energies. Previously, Aster studied at Utrecht University, the University of Amsterdam, UC Berkeley, and New York University. Her master’s thesis “Elemental Aesthetics” received the Faculty of Humanities UvA Thesis Prize 2021 and in 2023 she was awarded the inaugural British Council Scotland SGSAH EARTH Scholarship for research at the University of Glasgow. Aster’s published work can be found on the website Environmental History Now (2021). 01 eng 03 00 This essay traces the seasonal and diurnal rhythms of chlorophyll, the pigment that makes the leaves of plants appear green, to develop an elemental analysis of solar energy infrastructures. I explore the temporal, material, and conceptual affordances of chlorophyll through poetic and visual artworks that evoke the changing availability of sunlight reaching the earth. Attending to chlorophyll, I argue, demonstrates how fantasies of unlimited solar energy depend on efforts to seize permanent access and exposure to the sun. While colossal infrastructure projects covering or even transcending the earth aim to turn the sun into an unlimited profitable resource, chlorophyll makes perceptible embod 30 00 This essay traces the seasonal and diurnal rhythms of chlorophyll, the pigment that makes the leaves of plants appear green, to develop an elemental analysis of solar energy infrastructures. I explore the temporal, material, and conceptual affordances of chlorophyll through poetic and visual artworks that evoke the changing availability of sunlight reaching the earth. Attending to chlorophyll, I argue, demonstrates how fantasies of unlimited solar energy depend on efforts to seize permanent access and exposure to the sun. While colossal infrastructure projects covering or even transcending the earth aim to turn the sun into an unlimited profitable resource, chlorophyll makes perceptible embod 20 00 Open Access Aster Hoving 5 03 06 10.53288/0404.1.05 63 69 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bloom 1 A01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 01 eng 03 00 This essay tracks the solar relations embedded in the short and long phosphorous cycle, tracking the bodies, bonds, and supply chains that connect its extraction in the occupied Western Sahara to planetary bloom ecologies. While phosphorous rarely contends with fossil fuels in the environmental imaginary, I argue that its role in supporting capital and corporeal accumulation in the long 20th century is as central to future ecologies as the fuels subtending petroculture. 30 00 This essay tracks the solar relations embedded in the short and long phosphorous cycle, tracking the bodies, bonds, and supply chains that connect its extraction in the occupied Western Sahara to planetary bloom ecologies. While phosphorous rarely contends with fossil fuels in the environmental imaginary, I argue that its role in supporting capital and corporeal accumulation in the long 20th century is as central to future ecologies as the fuels subtending petroculture. 20 00 Open Access Jeff Diamanti 6 03 06 10.53288/0404.1.06 71 84 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Respiration 1 A01 Ayesha Vemuri Ayesha Vemuri PhD candidate in Communication Studies 40 01pxwe438 McGill University Ayesha Vemuri is a PhD candidate in Communication Studies at McGill University. Her doctoral research lies at the intersection of climate change, migration, infrastructure, and feminist STS. She is interested in the ways in which experts construct and manage the risk of floods and migration in the context of climate change in Assam, India. Her research examines how the management of the river, and its annual floods intersects with other key industries in Assam, including oil and natural gas, sand mining and construction, conservation, and border management. 2 A01 Hannah Tollefson Hannah Tollefson PhD candidate in Communication Studies 40 01pxwe438 McGill University Hannah Tollefson is a Ph.D. candidate in Communication Studies at McGill University. Informed by enviornmental humanities and media and technology studies, her research examines infrastructure and environment, with a focus on extraction, logistics, and energy. Her doctoral project is a study of how the shores and waters of the Salish Sea surrounding the Port of Vancouver have been constructed, maintained, and contested as a space of circulation. 01 eng 03 00 This chapter thinks with respiration as an elemental process of chemical exchange engendered by solarity in forest ecosystems. While photosynthesis converts sunlight into usable energy through carbon capture, respiration is the process of release and decay that makes these ecosystems sites of symbiosis. Attuned to solarity, we follow stories of how such energy conditions and moves through various forms of life and death in our heliocentric universe. Learning from the unstable and mutually beneficial relationships that characterize actually existing forests, we scrutinize the chemical, social, and analogical meanings of solar-inflected respiration. As key mediators of sunlight and carbon, trees are often valued for the services they provide as so-called “planetary lungs” and carbon sinks in times of climate crisis. Interrogating the promises and perils of such utilitarian conceptualizations of the natural world, we consider the ways in which these co-called lungs are unevenly valued and cared for. With compromised conditions of livability across more-than-human social worlds shaped by colonial capitalism and ongoing histories of imperialism, we look to the ways that Indigenous, Black and other marginalized knowledge keepers engage with the notion of respiration in seeking a more just distribution of planetary breathability. 30 00 This chapter thinks with respiration as an elemental process of chemical exchange engendered by solarity in forest ecosystems. While photosynthesis converts sunlight into usable energy through carbon capture, respiration is the process of release and decay that makes these ecosystems sites of symbiosis. Attuned to solarity, we follow stories of how such energy conditions and moves through various forms of life and death in our heliocentric universe. Learning from the unstable and mutually beneficial relationships that characterize actually existing forests, we scrutinize the chemical, social, and analogical meanings of solar-inflected respiration. As key mediators of sunlight and carbon, trees are often valued for the services they provide as so-called “planetary lungs” and carbon sinks in times of climate crisis. Interrogating the promises and perils of such utilitarian conceptualizations of the natural world, we consider the ways in which these co-called lungs are unevenly valued and cared for. With compromised conditions of livability across more-than-human social worlds shaped by colonial capitalism and ongoing histories of imperialism, we look to the ways that Indigenous, Black and other marginalized knowledge keepers engage with the notion of respiration in seeking a more just distribution of planetary breathability. 20 00 Open Access Ayesha Vemuri, Hannah Tollefson 7 03 06 10.53288/0404.1.07 85 92 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Fuels You? 1 A01 21 0000000166888135 Gretchen Bakke Gretchen Bakke Heisenberg Position at the Institute for European Ethnology and the Institute for Human-Environment Transitions 40 01hcx6992 Humboldt-Universität zu Berlin Gretchen Bakke holds a Heisenberg Position at the Institute for European Ethnology and the Institute for Human-Environment Transitions at Humboldt University, Berlin and is a Visiting Fellow at the Max Planck Institute for the History of Science, also in Berlin. Bakke is the author of The Grid, a 2016 Bill Gates pick, and the ebullient 2020 ethnography The Likeness: Semblance and Self in Slovene Society. She is currently conducting research for a cultural history of the end of fossil fuels in and around the North Sea, leading The Global Mollusc Project at the Research Institute for Sustainability in Potsdam Germany and writing a series of very serious essays, collectively know as Minor Analytics. 01 eng 03 00 Perhaps, a man name Thomas Turnbull once suggested, perverse economic models are the best way to contrive an economy not based on growth and profits. I have thought about this a lot, playfully. How might one cook up a reward structure for avoiding maxim bang for buck? How might increased efficiency become understood, systemically, as a bastardized version of human activity? How might extraction stop being a thing we do to ourselves (not to mention our planet entire)? Playfully, I took the efficiency of a solar panel (22% rather low all things considered) and turned it around and around in my head, a gobstopper of a percentage. How might that lowness become both metric and goal? What world would we live in if only 22% of our time and effort were directed toward productive work? What minor revolution might that point us toward? Not a goal of 'total this' or 'total that' but 'minor this' and 'minor that’ aimed at a slow attrition from neoliberal economics toward a blooming of a different sort. It should never be about the individual, but that is how I have written it, because to consider who one is, how one works, and what one aspires as if one were a lawnmower (or similar) is such a silly (and perfectly playful) idea. 30 00 Perhaps, a man name Thomas Turnbull once suggested, perverse economic models are the best way to contrive an economy not based on growth and profits. I have thought about this a lot, playfully. How might one cook up a reward structure for avoiding maxim bang for buck? How might increased efficiency become understood, systemically, as a bastardized version of human activity? How might extraction stop being a thing we do to ourselves (not to mention our planet entire)? Playfully, I took the efficiency of a solar panel (22% rather low all things considered) and turned it around and around in my head, a gobstopper of a percentage. How might that lowness become both metric and goal? What world would we live in if only 22% of our time and effort were directed toward productive work? What minor revolution might that point us toward? Not a goal of 'total this' or 'total that' but 'minor this' and 'minor that’ aimed at a slow attrition from neoliberal economics toward a blooming of a different sort. It should never be about the individual, but that is how I have written it, because to consider who one is, how one works, and what one aspires as if one were a lawnmower (or similar) is such a silly (and perfectly playful) idea. 20 00 Open Access Gretchen Bakke 8 03 06 10.53288/0404.1.08 93 103 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Politics of Solar Abundance 1 A01 21 0000000173136660 Cara New Daggett Cara New Daggett Associate Professor in Political Science 40 02smfhw86 Virginia Tech Cara New Daggett is an Associate Professor in Political Science at Virginia Tech and a fellow at the Research Institute for Sustainability, Potsdam (2023–2024). Her research explores energy and ecological politics through a feminist framework. Her award-winning book, The Birth of Energy: Fossil Fuels, Thermodynamics, and the Politics of Work (Duke UP, 2019) investigates how the 19th-century science of energy informed Anglo-European empires by intesifying racist and patriarchal labor systems. More recently, her work explores the intersection of misogyny and intensive energy use, most notably in petro-masculinity among right-wing movements. With two colleagues, Christine Labuski and Shannon Bell, she formed the Mayapple Energy Transition Collective with the goal of envisioning feminist energy systems. Her work has been published in journals including Environmental Politics, Millennium: Journal of International Politics, and Energy Research & Social Science. 01 eng 03 00 The abolition of fossil fuels requires more than new fuels to power modern pleasures. It also requires new subjectivities. Petro-people need to become solar subjects. Becoming solar subjects, and not just consumers of solar energy, means nurturing solarity as a way of life, a geo-theology. Theology might seem an odd emphasis for energy studies, but fossil fuels have a strong cosmological dimension that helps explain their grip on modern publics. The fossil sacred is capitalist work – that which moves matter to make a profit – in a presumed world of scarcity and struggle. The fossil evil is waste. Solarity is well-suited as a counter-theology to fossil fuels, as the sun neatly reverses fossil values. The sun is sinful according to fossil theology, offering itself abundantly with no concern for efficiency. As a political strategy, solar abundance – and not reduction – is also best equipped to counter the pleasures of fossil-fueled life. The ascetic approach to energy finds morality in foregoing energy expenditure, while solar abundance encourages better spending and giving. Both involve limits, but in worlds of abundance, the goal is to limit dangerous accumulation, and to appreciate how cooperative spending and sharing can generate more well-being. 30 00 The abolition of fossil fuels requires more than new fuels to power modern pleasures. It also requires new subjectivities. Petro-people need to become solar subjects. Becoming solar subjects, and not just consumers of solar energy, means nurturing solarity as a way of life, a geo-theology. Theology might seem an odd emphasis for energy studies, but fossil fuels have a strong cosmological dimension that helps explain their grip on modern publics. The fossil sacred is capitalist work – that which moves matter to make a profit – in a presumed world of scarcity and struggle. The fossil evil is waste. Solarity is well-suited as a counter-theology to fossil fuels, as the sun neatly reverses fossil values. The sun is sinful according to fossil theology, offering itself abundantly with no concern for efficiency. As a political strategy, solar abundance – and not reduction – is also best equipped to counter the pleasures of fossil-fueled life. The ascetic approach to energy finds morality in foregoing energy expenditure, while solar abundance encourages better spending and giving. Both involve limits, but in worlds of abundance, the goal is to limit dangerous accumulation, and to appreciate how cooperative spending and sharing can generate more well-being. 20 00 Open Access Cara New Daggett 9 03 06 10.53288/0404.1.09 105 115 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exposure 1 A01 21 0000000343655501 Jason De León Jason De León Professor of Anthropology and Chicana, Chicano, and Central American Studies 40 046rm7j60 University of California, Los Angeles Jason De León is a Professor of Anthropology and Chicana, Chicano, and Central American Studies at the University of California, Los Angeles and Executive Director of the Undocumented Migration Project, a 501(c)(3) organization focused on raising awareness about issues related to clandestine migration and assisting families of missing migrants search for their loved ones. De León is Head Curator of the ongoing global exhibition “Hostile Terrain 94” and author of “The Land of Open Graves: Living and Dying on the Migrant Trail.” His most recent book Soldiers and Kings: Survival and Hope in the World of Human Smuggling will be published by Viking Press in the Spring of 2024. 01 eng 03 00 "Exposure" examines the complicated relationship between the realities of clandestine migration and the use of photoethnography as a form of social science research. Through the concept of photography's "exposure triangle" (ISO, shutter speed, and lens aperture) I explore how the decisions regarding photographic practice, in particular the capturing of light, are linked in various ways to the difficult issues surrounding the representation of the violent experiences of migration along the U.S./Mexico border and beyond. 30 00 "Exposure" examines the complicated relationship between the realities of clandestine migration and the use of photoethnography as a form of social science research. Through the concept of photography's "exposure triangle" (ISO, shutter speed, and lens aperture) I explore how the decisions regarding photographic practice, in particular the capturing of light, are linked in various ways to the difficult issues surrounding the representation of the violent experiences of migration along the U.S./Mexico border and beyond. 20 00 Open Access Jason De León 10 03 06 10.53288/0404.1.10 117 124 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Concrete Solarities 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is Associate Professor in Anthropology at the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (Routledge, 2018), co-editor of Surfaces: Transformations of Body, Materials and Earth (Routledge, 2020), and co-editor of a special issue of the journal Theory, Culture & Society entitled “Solid Fluids. New Approaches to Materials and Meaning” (2022). 01 eng 03 00 Concrete is a material that substantiates key contradictions of contemporary urban life. This anthropic rock, the most abundant in earth history, not only materializes modern narratives of progress but is currently a candidate to mark the onset of the Anthropocene. Moreover, contrary to how it has been traditionally portrayed by the industry, as a synthetic product of modern ingenuity, concrete results from a deep planetary relationship between the Earth and the Sun; the very same relationship that has made the existence of life in this planet, as we know it, possible, including humans. Attending to contemporary dystopias of Chile’s neoliberal experiment in Santiago, this chapter addresses the importance of the relationship between sunlight and concrete for understanding the human condition in the Anthropocene. 30 00 Concrete is a material that substantiates key contradictions of contemporary urban life. This anthropic rock, the most abundant in earth history, not only materializes modern narratives of progress but is currently a candidate to mark the onset of the Anthropocene. Moreover, contrary to how it has been traditionally portrayed by the industry, as a synthetic product of modern ingenuity, concrete results from a deep planetary relationship between the Earth and the Sun; the very same relationship that has made the existence of life in this planet, as we know it, possible, including humans. Attending to contemporary dystopias of Chile’s neoliberal experiment in Santiago, this chapter addresses the importance of the relationship between sunlight and concrete for understanding the human condition in the Anthropocene. 20 00 Open Access Cristián Simonetti 11 03 06 10.53288/0404.1.11 125 132 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Affective Energy 1 A01 21 0000000217020580 Myles Lennon Myles Lennon Dean’s Assistant Professor of Environment & Society and Anthropology 40 05gq02987 Brown University Myles Lennon is an environmental anthropologist, Dean’s Assistant Professor of Environment & Society and Anthropology at Brown University, and a former sustainable energy policy practitioner. His first research project explores the intersectional dimensions of solar infrastructure in New York City, illuminating the sensorial and emotional power of renewable energy in a gentrifying skyline built on racial capitalism and threatened by climate collapse. He is currently conducting long-term research on young, Black land stewards’ complex efforts to navigate settler colonialism and redress white supremacy through land-based labor in the United States. His research has been supported by the US National Science Foundation, the Ford Foundation, and the Wenner-Gren Foundation. 01 eng 03 00 This chapter draws from ethnographic research on solar energy activists in New York City to explore the unlikely preponderance of pastoral images of solar technology in a twenty-first century megacity. Why would activists focused on bringing renewable energy to urban communities aestheticize solar technology in rural landscapes bereft of humans? I respond to this line of inquiry by exploring the sun’s affective energy—its capacity to shape our imaginaries. I suggest that the sun’s shine on glossy solar panels enables us to imagine, feel, and pursue the technological natures of tomorrow—a vision that is often troublingly at-odds with the material realities of solar technologies. 30 00 This chapter draws from ethnographic research on solar energy activists in New York City to explore the unlikely preponderance of pastoral images of solar technology in a twenty-first century megacity. Why would activists focused on bringing renewable energy to urban communities aestheticize solar technology in rural landscapes bereft of humans? I respond to this line of inquiry by exploring the sun’s affective energy—its capacity to shape our imaginaries. I suggest that the sun’s shine on glossy solar panels enables us to imagine, feel, and pursue the technological natures of tomorrow—a vision that is often troublingly at-odds with the material realities of solar technologies. 20 00 Open Access Myles Lennon 12 03 06 10.53288/0404.1.12 133 147 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Asolarity Weaponized Sunlight 1 A01 Ian J. Alexander Ian J. Alexander visiting lecturer in the Department of American Studies 40 01srpnj69 Wellesley College Ian J. Alexander is a writer and educator from Clarion County, Pennsylvania. He studies the history of the US prison regime, revolutionary and abolitionist prisoners’ movements, and media histories. In his research, he approaches media and media technologies as sites of struggle inside prisons and across prison walls. By looking at technologies such as radio, television, mail, digital tablets, telephones, and isolation chambers variously as tools of oppression, reform, and liberation, his work brings critical prison studies and abolitionist methods together with media studies and media history. Ian is currently a visiting lecturer in the Department of American Studies at Wellesley College. 2 A01 Nicole Starosielski Nicole Starosielski Professor of Media 40 0190ak572 New York University Nicole Starosielski, Professor of Media at New York University, is author or co-editor of over thirty articles and five books media, infrastructure, and environments, including: The Undersea Network (Duke UP, 2015), Media Hot and Cold (Duke UP, 2021), Signal Traffic: Critical Studies of Media Infrastructure (University of Illinois Press, 2015), Sustainable Media: Critical Approaches to Media and Environment (Routledge, 2016), and Assembly Codes: The Logistics of Media (Duke UP, 2021), as well as co-editor of the “Elements” series at Duke University Press. Starosielski’s most recent project involves working with the subsea cable industry — which lays the transnational links of the internet — to make digital infrastructures more sustainable. 06 Own website https://vcresearch.berkeley.edu/faculty/nicole-starosielski 01 eng 03 00 Even as it is broadcast across the planet’s surface, sunlight is not an equally accessible resource. It is mediated by social practices that position some bodies in the sun, while depriving others of sunlight. Even if most phenomena are entangled with the sun, “solar media” refract these rays through a political topography, and as a result, sunlight manifests as social form. In this article, we discuss how solar violences not only work via exposure and overexposure, but also through the asolar, the creation of social forms in which sunlight is not only absent, but blocked as a means of inflicting bodily harm and social disaggregation. We focus on one site where the asolar has long been a means of violence: the prison. Describing a critical struggle against the South Carolina Department of Corrections, and the broader context of using solar media in solitary confinement, we explore how asolar environments have been weaponized. In turn, we argue that counter-mediations of sunlight made by those held captive articulate a re-distribution of sunlight as necessary to freedom. 30 00 Even as it is broadcast across the planet’s surface, sunlight is not an equally accessible resource. It is mediated by social practices that position some bodies in the sun, while depriving others of sunlight. Even if most phenomena are entangled with the sun, “solar media” refract these rays through a political topography, and as a result, sunlight manifests as social form. In this article, we discuss how solar violences not only work via exposure and overexposure, but also through the asolar, the creation of social forms in which sunlight is not only absent, but blocked as a means of inflicting bodily harm and social disaggregation. We focus on one site where the asolar has long been a means of violence: the prison. Describing a critical struggle against the South Carolina Department of Corrections, and the broader context of using solar media in solitary confinement, we explore how asolar environments have been weaponized. In turn, we argue that counter-mediations of sunlight made by those held captive articulate a re-distribution of sunlight as necessary to freedom. 20 00 Open Access Ian J. Alexander, Nicole Starosielski 13 03 06 10.53288/0404.1.13 149 157 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Colonial Exposure 1 A01 21 0000000180820110 Aylin Kuryel Aylin Kuryel Assistant Professor at the Literary and Cultural Analysis department 40 04dkp9463 University of Amsterdam Aylin Kuryel is an Assistant Professor at the Literary and Cultural Analysis department at the University of Amsterdam. Her research areas are nationalism, image politics, aesthetics/resistance, and politics of emotions. She is the co-editor of Cultural Activism: Practices, Dilemmas and Possibilities (Rodopi, 2010), Resistance and Aesthetics in the Age of Global Uprisings (Küresel Ayaklanmalar Çağında Direniş ve Estetik, Iletisim Press, 2015), Being Jewish in Turkey: A Dictionary of Experiences (Türkiye’de Yahudi Olmak: Bir Deneyim Sözlüğü, Iletisim Press, 2017), and Essays on Boredom (Sıkıntı Üzerine Denemeler, Iletisim Press, 2020). She has been involved in projects as an artist and is working as a documentary filmmaker. Among her documentaries are Translating Ulysses (2023), A Defense (2021), CemileSezgin (2020), The Balcony and Our Dreams (2020), Heads and Tails (2018), and Welcome Lenin (2016). 01 eng 03 00 The essay focuses on Arami Ullón’s film, Apenas el Sol (Nothing but the Sun,2020), which follows Mateo’s journey, through his forced removal from the forest and conversion to Christianity, one of the countless deracinated indigenous Ayoreo people of Paraguay. It analyzes the ways in which the film offers fragments of a collective contemplation on being uprooted through their shifting relations to the sun, both before and after the arrival of the missionaries in the late 50s and the early 60s. The essay, “Colonial Exposure”, thinks together with the film, to explore the ways in which the solar appears not as an infinity without context, nor as a metaphor, but as a material entity whose meaning and function change drastically throughout colonial history. 30 00 The essay focuses on Arami Ullón’s film, Apenas el Sol (Nothing but the Sun,2020), which follows Mateo’s journey, through his forced removal from the forest and conversion to Christianity, one of the countless deracinated indigenous Ayoreo people of Paraguay. It analyzes the ways in which the film offers fragments of a collective contemplation on being uprooted through their shifting relations to the sun, both before and after the arrival of the missionaries in the late 50s and the early 60s. The essay, “Colonial Exposure”, thinks together with the film, to explore the ways in which the solar appears not as an infinity without context, nor as a metaphor, but as a material entity whose meaning and function change drastically throughout colonial history. 20 00 Open Access Aylin Kuryel 14 03 06 10.53288/0404.1.14 159 168 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Solar as Narrative Element The Interrupting Surface 1 A01 21 0000000201297710 Rhys Williams Rhys Williams senior lecturer in Energy & Environmental Humanities 40 00vtgdb53 University of Glasgow Rhys Williams is a senior lecturer in Energy & Environmental Humanities at the University of Glasgow. His research focusses on the politics and poetics of infrastructure, energy and food futures. He’s recently published in South Atlantic Quarterly, Open Library of Humanities, and the New Routledge Companion to Science Fiction. 01 eng 03 00 A poetics of weightlessness and light, of being sheer surface without depth or footprint, has come to dominate popular, corporate, and activist representations of solar technologies. This chapter claims that this widespread uptake is due to solar’s narrative and aesthetic affordance as an interrupting surface, acting to break the purchase of history upon the present, and excusing imaginaries of the future from the need to engage with the past. This claim will be explored through three examples in the final season of Detectorists, a quirky British comedy whose homely realism casts solar’s usual future-oriented aesthetics into relief. 30 00 A poetics of weightlessness and light, of being sheer surface without depth or footprint, has come to dominate popular, corporate, and activist representations of solar technologies. This chapter claims that this widespread uptake is due to solar’s narrative and aesthetic affordance as an interrupting surface, acting to break the purchase of history upon the present, and excusing imaginaries of the future from the need to engage with the past. This claim will be explored through three examples in the final season of Detectorists, a quirky British comedy whose homely realism casts solar’s usual future-oriented aesthetics into relief. 20 00 Open Access Rhys Williams 15 03 06 10.53288/0404.1.15 169 178 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Living Too Close to the Sun 1 A01 21 0000000223025193 Daniel A. Barber Daniel A. Barber Professor of Architecture 40 03f0f6041 University of Technology Sydney Daniel A. Barber is Professor of Architecture at the University of Technology Sydney (UTS). His research focuses on environmental dimensions of architecture’s past, present, and future. His latest book is Modern Architecture and Climate: Design before Air Conditioning (Princeton UP, 2020); see also the article “After Comfort” (Log 47, 2019), and A House in the Sun: Modern Architecture and Solar Energy in the Cold War (Oxford UP, 2016). Daniel has held academic positions and fellowships at Harvard, Penn, Princeton, and Yale, at the Instituto Universitário de Lisboa, the Max Planck Institute (Berlin), Rachel Carson Centre (Munich), and most recently as a Senior Research Fellow at the Centre for Apocalyptic and Post-Apocalyptic Studies (CAPAS) at the Universität Heidelberg. He received a 2022–23 Guggenheim Fellowship for his project Thermal Practices. Daniel co-edits Accumulation, an annual dossier of essays on the e-flux architecture online platform. He is the co-founder of the Current Collective for Architecture and Environmental History and is on the editorial board of the Journal of Architecture and Fabrications. He lectures globally, encouraging architects and others to consider their creative practice in the context of the climate emergency. 01 eng 03 00 Since about 2010, a number of so-called supertall residential towers have arisen in Manhattan, puncturing the skyline. Referred to as pencil towers for their tall, skinny profile, these buildings represent the pinnacle of a contemporary form of architectural excess, a virtuosic expression of the financial machinations of the super-rich. They are also reliant on excessive carbon expenditures – tall, sealed buildings that cannot be lived in without mechanical heating, ventilation, and air-conditioning systems. What is especially suggestive, in the context of solarity, are the precise terms of that excess. Luxury and exclusivity are expressed in height, in proximity to the sun. And yet, the mechanical capacity to reach that height is served by a dramatic increase in mechanical conditioning derived carbon emissions. In this sense, the towers express, at least in a schematic, diagrammatic fashion, a more general condition: how concepts of value and innovation are caught up in the priorities of capital, making them difficult to align with the capacity for solar liberation.The essay reads these towers through the energy imaginaries of Gibson, Ghosh, and Bacigalupi, offering a counter model for how innovation in architecture can be and can resonates more equitably across social and ecological conditions. 30 00 Since about 2010, a number of so-called supertall residential towers have arisen in Manhattan, puncturing the skyline. Referred to as pencil towers for their tall, skinny profile, these buildings represent the pinnacle of a contemporary form of architectural excess, a virtuosic expression of the financial machinations of the super-rich. They are also reliant on excessive carbon expenditures – tall, sealed buildings that cannot be lived in without mechanical heating, ventilation, and air-conditioning systems. What is especially suggestive, in the context of solarity, are the precise terms of that excess. Luxury and exclusivity are expressed in height, in proximity to the sun. And yet, the mechanical capacity to reach that height is served by a dramatic increase in mechanical conditioning derived carbon emissions. In this sense, the towers express, at least in a schematic, diagrammatic fashion, a more general condition: how concepts of value and innovation are caught up in the priorities of capital, making them difficult to align with the capacity for solar liberation.The essay reads these towers through the energy imaginaries of Gibson, Ghosh, and Bacigalupi, offering a counter model for how innovation in architecture can be and can resonates more equitably across social and ecological conditions. 20 00 Open Access Daniel A. Barber 16 03 06 10.53288/0404.1.16 179 190 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Landfill 1 A01 Bob Johnson Bob Johnson Bob Johnson is author of Carbon Nation: Fossil Fuels in the Making of American Culture (UP Kansas, 2014) and Mineral Rites: An Archaeology of the Fossil Economy (Johns Hopkins UP, 2019). He is a Professor of History who has written widely on American culture, theory, and the environment with his work centered on the double helix of global warming and social justice. His current book project, “The Colonial Climate: How We Made (and Un-Made) the World’s Most Perfect Climate in San Diego, California, 1846–,” reconsiders the Southern California climate through the lens of actor-network theory in an effort re-position climate change as a product of colonial relations. He lives with his family in San Diego, California, home to the highest concentration of urban military assets in the world and what local marketers call “America’s Finest City.” 01 eng 03 00 This essay uses the modern landfill, a hyper-object that the anthropologist Joshua Reno terms the “constitutive absence” of modernity,” to explore the gaps, lacunae, and interstices of a waning era of fossil fuel dominance. In examining the landfill as something akin to the repressed ID of fossil capitalism, it brings into the exposure of the sun both the dark ideological recesses of liberalism and the literal material processes of late capitalism that work to systematically bury the material detritus and human wastage they produce out of sight. An intentional experiment in breaking the strictures of academic expository form, this essay also strives to reoccupy, at least momentarily, the symbolic spaces left behind by the internal contradictions of this decadent version of fossil capitalism we live amidst today. It takes that opportunity to imagine, at least in passing, what it might mean to reinhabit liberalism’s symbolic terrain by reorienting ourselves to a more sustainable alliance with nature centered on the sun and keyed more closely to a solidarity with others that might help us escape the wastefulness and destructive linearity of a transactional consumer culture that drives us further into global warming. 30 00 This essay uses the modern landfill, a hyper-object that the anthropologist Joshua Reno terms the “constitutive absence” of modernity,” to explore the gaps, lacunae, and interstices of a waning era of fossil fuel dominance. In examining the landfill as something akin to the repressed ID of fossil capitalism, it brings into the exposure of the sun both the dark ideological recesses of liberalism and the literal material processes of late capitalism that work to systematically bury the material detritus and human wastage they produce out of sight. An intentional experiment in breaking the strictures of academic expository form, this essay also strives to reoccupy, at least momentarily, the symbolic spaces left behind by the internal contradictions of this decadent version of fossil capitalism we live amidst today. It takes that opportunity to imagine, at least in passing, what it might mean to reinhabit liberalism’s symbolic terrain by reorienting ourselves to a more sustainable alliance with nature centered on the sun and keyed more closely to a solidarity with others that might help us escape the wastefulness and destructive linearity of a transactional consumer culture that drives us further into global warming. 20 00 Open Access Bob Johnson 17 03 06 10.53288/0404.1.17 191 205 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Solar Grid (excerpt) 1 A01 Ganzeer Ganzeer Described as a “chameleon” by Carlo McCormick in the New York Times, Ganzeer operates seamlessly between art, design, and storytelling, creating what he has coined: Concept Pop. His medium of choice according to Artforum is “a little bit of everything: stencils, murals, paintings, pamphlets, comics, installations, and graphic design.” With over forty exhibitions to his name, Ganzeer’s work has been seen in a wide variety of art galleries, impromptu spaces, alleyways, and major museums around the world, such as The Brooklyn Museum in New York, The Palace of the Arts in Cairo, the Moody Center for the Arts in Houston, and the V&A in London. Ganzeer’s current projects include a short story collection titled Times New Human and a sci-fi graphic novel titled The Solar Grid, an elaborate work-in-progress which has awarded him a Global Thinker Award from Foreign Policy in 2016. He has been an artist-in-residence in Germany, Poland, Jordan, the Netherlands, and Finland, and has lived extensively in Cairo, New York, Los Angeles, Denver, and finally Houston — where he is now based. 01 eng 03 00 949 years after a catastrophic global flood, night has been consigned to legend by way of THE SOLAR GRID, a vast network of satellites that keeps the world basked in eternal daylight. The purpose of which is to counteract the effects of the flood, and power solar factories scattered across the globe to ceaselessly produce goods intended for export to Mars, where humanity's most fortunate has successfully relocated to. This is the setting within which this elaborate work of science fiction is set, where themes of post-colonialism, consumerism, capitalism, and race-relations are explored on a planet-faring scale 30 00 949 years after a catastrophic global flood, night has been consigned to legend by way of THE SOLAR GRID, a vast network of satellites that keeps the world basked in eternal daylight. The purpose of which is to counteract the effects of the flood, and power solar factories scattered across the globe to ceaselessly produce goods intended for export to Mars, where humanity's most fortunate has successfully relocated to. This is the setting within which this elaborate work of science fiction is set, where themes of post-colonialism, consumerism, capitalism, and race-relations are explored on a planet-faring scale 20 00 Open Access Ganzeer 18 03 06 10.53288/0404.1.18 207 214 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Ray and the Flame, or, What It Takes for the Sun to Shine 1 A01 21 0000000167036137 Tim Ingold Tim Ingold Emeritus Professor of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is Emeritus Professor of Social Anthropology at the University of Aberdeen. Following 25 years at the University of Manchester, where he was appointed Max Gluckman Professor of Social Anthropology in 1995, Ingold moved in 1999 to Aberdeen, where he established Scotland’s youngest Department of Anthropology. Ingold has carried out ethnographic fieldwork among Sámi and Finnish people in Lapland, and has written on comparative questions of environment, technology, and social organization in the circumpolar North, the role of animals in human society, issues in human ecology, and evolutionary theory in anthropology, biology, and history. He has gone on to explore the links between environmental perception and skilled practice, replacing traditional models of genetic and cultural transmission with a relational approach focusing on the growth of bodily skills of perception and action. Ingold’s current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), and Imagining for Real (2022). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to Anthropology. 01 eng 03 00 For the sun to shine, it cannot be a distant cosmic object, or an emitter of energetic rays. Shining does not connect me, by a long straight line of transmission, to the sun. It rather carries on, in real time, along an axis orthogonal to this line. This is the temporal axis of sentient awareness in the midst of a world forever on the burn. The sun’s shining, rather than spanning an interval of transmission, endures in the glare of combustion. In our experience, the sun is its light, not a source of light, and in its shining it erupts into a vision that, far from having closed itself off from a world ‘out there’, has opened itself to the boundless sky. Thus sunlight does not arrive from afar but ignites in the consciousness of the seer who sees with it, with eyes bathed in its luminosity. But the sun doesn’t only illuminate our world; it warms us too. So do the flames of the fire. Ray and flame rest on wholly different ontologies of the sun and its light. As an emitter of rays, the sun is transcendental, but as a beaming fireball, it is elemental. 30 00 For the sun to shine, it cannot be a distant cosmic object, or an emitter of energetic rays. Shining does not connect me, by a long straight line of transmission, to the sun. It rather carries on, in real time, along an axis orthogonal to this line. This is the temporal axis of sentient awareness in the midst of a world forever on the burn. The sun’s shining, rather than spanning an interval of transmission, endures in the glare of combustion. In our experience, the sun is its light, not a source of light, and in its shining it erupts into a vision that, far from having closed itself off from a world ‘out there’, has opened itself to the boundless sky. Thus sunlight does not arrive from afar but ignites in the consciousness of the seer who sees with it, with eyes bathed in its luminosity. But the sun doesn’t only illuminate our world; it warms us too. So do the flames of the fire. Ray and flame rest on wholly different ontologies of the sun and its light. As an emitter of rays, the sun is transcendental, but as a beaming fireball, it is elemental. 20 00 Open Access Tim Ingold 19 03 06 10.53288/0404.1.19 215 230 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tupilaq (In the Shadow of Solarity) 1 A01 Amanda Boetzkes Amanda Boetzkes Professor of Contemporary Art History and Theory 40 01r7awg59 University of Guelph Amanda Boetzkes is Professor of Contemporary Art History and Theory at the University of Guelph. Her research focuses on the relationship between perception and representation, theories of consciousness, and ecology. She has analyzed complex human relationships with the environment through the lens of aesthetics, patterns of human waste, and the global energy economy. She is the author of Plastic Capitalism: Contemporary Art and the Drive to Waste (MIT Press, 2019), The Ethics of Earth Art (University of Minnesota Press, 2010), and a forthcoming book titled Ecologicity: Vision and the Planetarity of Art. Co-edited books include Artworks for Jellyfish (And Other Others) (Noxious Sector, 2022), Heidegger and the Work of Art History (Routledge, 2014), and a forthcoming volume on Art’s Realism in the Post-Truth Era (Edinburgh University Press, 2024). Currently, she is the principal investigator of At the Moraine, a multi-year, collaborative research project that studies the mediation and representation of global climate change, with a special focus on Indigenous territories of the circumpolar North. 01 eng 03 00 This chapter considers “solarity” as an elemental agent that shapes the cultural regimes of the circumpolar North. I discuss how solar energy weathers the artifacts of the Thule people, the ancestors of the contemporary Inuit. The sun draws out the oils and bleaches the surfaces of Thule remains, yielding them up for use in the production of tools, commodities and archaeological objects of study. But where this process might be understood to neutralize the meaning of Thule artifacts, priming them for scientific study, I suggest otherwise. Following the lead of Inuit mythology, I locate solarity in its diurnal and seasonal interplay with other irreducible elements, as these overlap, transgress and withdraw from one another. This trajectory counteracts the technoscientific perspective at work in environmental archaeology, that would position cultural changes (from the Thule to the Inuit, specifically) as a passive adaptation to natural change. By contrast, I position solarity as a force that vitalizes material culture, its capacity to cast shadows and yield an account of artifacts beyond positivist frames. The insights of solarity come by way of reading its interaction with the moon, the night, with bone and sinew, with land and water, tools and carvings, climate changes, animal migrations, and the forced displacement of the circumpolar Inuit. 30 00 This chapter considers “solarity” as an elemental agent that shapes the cultural regimes of the circumpolar North. I discuss how solar energy weathers the artifacts of the Thule people, the ancestors of the contemporary Inuit. The sun draws out the oils and bleaches the surfaces of Thule remains, yielding them up for use in the production of tools, commodities and archaeological objects of study. But where this process might be understood to neutralize the meaning of Thule artifacts, priming them for scientific study, I suggest otherwise. Following the lead of Inuit mythology, I locate solarity in its diurnal and seasonal interplay with other irreducible elements, as these overlap, transgress and withdraw from one another. This trajectory counteracts the technoscientific perspective at work in environmental archaeology, that would position cultural changes (from the Thule to the Inuit, specifically) as a passive adaptation to natural change. By contrast, I position solarity as a force that vitalizes material culture, its capacity to cast shadows and yield an account of artifacts beyond positivist frames. The insights of solarity come by way of reading its interaction with the moon, the night, with bone and sinew, with land and water, tools and carvings, climate changes, animal migrations, and the forced displacement of the circumpolar Inuit. 20 00 Open Access Amanda Boetzkes 20 03 06 10.53288/0404.1.20 231 260 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Kiln 1 A01 21 0000000290472268 Kim Förster Kim Förster 40 027m9bs27 University of Manchester Kim Förster is an architectural historian, teaching and researching at the University of Manchester as a member of MARG (Manchester Architecture Research Group). Having earned his doctorate in architecture at ETH Zurich in 2011, he was Associate Director of Research at the Canadian Centre for Architecture from 2016 to 2018, where he led the multidisciplinary research project “Architecture and/for the Environment” as part of the Andrew W. Mellon Foundation’s “Architecture, Urbanism, and the Humanities Initiative.” He taught at ETH’s Institute gta, in the Doctoral Program for the History and Theory of Architecture, and as a visiting professor at EPFL Lausanne. His research and teaching focus on an environmental, energy, and material history, particularly a global history of cement. Förster has published on environmental topics in Architectural Histories, Candide, Werk, Bauen + Wohnen; he contributed to the Routledge Companion to Architecture and Social Engagement (2018), to Überbau: Produktionsverhältnisse der Architektur im Anthropozän (Universitätsverlag TU Berlin, 2021), and to Beyond Concrete (Triest Verlag, 2022). A member of common room, in 2022 300 solarities co-curated “Disquietude: Architecture and Energy in Portugal” and co-edited a book with the same title. Förster edited the “Environmental Histories of Architecture” series for the CCA(Library Stack, 2022–23). 01 eng 03 00 This chapter, in dialogue with the energy humanities task of thinking transition, attempts to undo cement by assessing material transformation in the cement kiln. Portland cement, a bulk commodity that has been a critical building material in the concrete mix throughout the 20th century (along to gravel, sand and water, all of which are now recognized scarce), is seen as problematic, even destructive, in times of climate emergency because the production process in industrial cement plants itself contributes significantly to global carbon emissions. As key sites of Anthropocene metabolism, the global web of kilns become object and narrative device of architectural and environmental histories, and indeed the humanities to address and expose modern tropes of growth and progress. From an elemental perspective the kiln burns not only fossil fuels, and today so-called alternative fuels; the chemical process itself, as known through patent history, relies on the fact that half of the carbon dioxide is released during the calcination process. Since the emissions come from the raw meal itself, it is argued, any solar project, social, ecological, and economic, as well as cultural would have to rethink the kiln, since innovation in admixtures and fuels only prolong the existing cement regime. 30 00 This chapter, in dialogue with the energy humanities task of thinking transition, attempts to undo cement by assessing material transformation in the cement kiln. Portland cement, a bulk commodity that has been a critical building material in the concrete mix throughout the 20th century (along to gravel, sand and water, all of which are now recognized scarce), is seen as problematic, even destructive, in times of climate emergency because the production process in industrial cement plants itself contributes significantly to global carbon emissions. As key sites of Anthropocene metabolism, the global web of kilns become object and narrative device of architectural and environmental histories, and indeed the humanities to address and expose modern tropes of growth and progress. From an elemental perspective the kiln burns not only fossil fuels, and today so-called alternative fuels; the chemical process itself, as known through patent history, relies on the fact that half of the carbon dioxide is released during the calcination process. Since the emissions come from the raw meal itself, it is argued, any solar project, social, ecological, and economic, as well as cultural would have to rethink the kiln, since innovation in admixtures and fuels only prolong the existing cement regime. 20 00 Open Access Kim Förster 21 03 06 10.53288/0404.1.21 261 269 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twilight 1 A01 21 000000018944406X Dominic Boyer Dominic Boyer 40 008zs3103 Rice University Dominic Boyer is an anthropologist, media maker, and environmental researcher who teaches at Rice University where he served as Founding Director of the Center for Energy and Environmental Research in the Human Sciences (2013–19). His most recent books are Energopolitics (Duke UP, 2019), which analyzes the politics of wind power development in Southern Mexico, and Hyposubjects (Open Humanities Press, 2021), an experimental collaboration with Timothy Morton concerning politics in the Anthropocene. With Cymene Howe, he made a documentary film about Iceland’s first major glacier (Okjökull) lost to climate change, Not Ok: A Little Movie about a Small Glacier at the End of the World (2018). In August 2019, together with Icelandic collaborators, they installed a memorial to Okjökull’s passing, an event that attracted media attention from around the world and which caused The Economist to create their first-ever obituary for a non-human. His next book is titled No More Fossils (University of Minnesota Press, 2023) a discussion of fossil fuel fossils and what is to be done about them. 01 eng 03 00 Twilight is a one-scene play about the situations in which and the emotions with which we find ourselves in the climate emergency. 30 00 Twilight is a one-scene play about the situations in which and the emotions with which we find ourselves in the climate emergency. 20 00 Open Access Dominic Boyer 22 03 06 10.53288/0404.1.22 271 276 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tires 1 A01 Caroline Levander Caroline Levander vice president 40 008zs3103 Rice University Caroline Levander holds an endowed chair in the humanities at Rice and serves on Rice University’s senior leadership team as a vice president. As the author of five books and numerous articles on American cultural history, she has deep expertise on the long history and politics of American life. Her leadership portfolio focuses on educational innovation, strategic growth, new revenue streams, and digital transformation, all with a focus on global impact. Beyond Rice, she serves on numerous ed tech advisory boards including the Coursera Council and 2U/EdX Advisory Council and is Vice Chair of the Fulbright Association Board of Directors. The ed tech company that she co-founded in 2020 was acquired by Honor Education in 2022 where she is a senior advisor. 01 eng 03 00 This chapter synthesizes the life, work, and philosophy of Mike Reynolds, one-time architect and founder of the Earthship Movement based in Taos, New Mexico. For Reynolds tires are the biggest and the single most ubiquitous natural resource in the world and therefore an effective raw material for Reynolds' off the grid biotecture communities of habitations that are known as ‘earthships.’ This article is a synthesis of the author's interview Reynolds in 2021. 30 00 This chapter synthesizes the life, work, and philosophy of Mike Reynolds, one-time architect and founder of the Earthship Movement based in Taos, New Mexico. For Reynolds tires are the biggest and the single most ubiquitous natural resource in the world and therefore an effective raw material for Reynolds' off the grid biotecture communities of habitations that are known as ‘earthships.’ This article is a synthesis of the author's interview Reynolds in 2021. 20 00 Open Access Caroline Levander 23 03 06 10.53288/0404.1.23 277 286 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Seaweed 1 A01 21 0000000323530074 Sarah Besky Sarah Besky Associate Professor in the ILR School 40 05bnh6r87 Cornell University Sarah Besky is an anthropologist and Associate Professor in the ILR School at Cornell University. She is the author of The Darjeeling Distinction: Labor and Justice on Fair-Trade Tea Plantations in India (2014) and Tasting Qualities: The Past and Future of Tea (2020), both with the University of California Press, as well as the co-editor of How Nature Works: Rethinking Labor on a Troubled Planet (SAR Press, 2019). Her current research examines the past and present of small-scale farming in India’s eastern Himalayas. 01 eng 03 00 Across the globe, as air temperatures steadily climb, so too do ocean temperatures. This rise is particularly acute in New England. Temperatures in the Gulf of Maine have risen nearly 2 degrees Fahrenheit in the past century. Warming waters have meant that once-plentiful species—lobsters most prominent among them—are moving to colder northern waters. With fewer and fewer lobsters to catch, lobster fishing in southern New England is no longer financially viable. Those still making a living from the ocean must find different species to exploit. As New England fisheries collapse, seaweed appears as a hopeful alternative. This essay asks, What is regenerated in “regenerative ocean farming” projects, in which seaweed is a key figure? A critical reflection on the turn to seaweed in the context of climate crisis and highlights how seaweed’s potentiality—as healthy food, biofuel, binding agent, carbon sink, and a hopeful alternative to depleted ocean industries—rearticulates capitalist logics of productivism, gender inequality, and settler colonial property relations. Solar-based and “green” economies still operate on economic grammars rooted in the forms of extraction to which they serve as a foil and a regenerative alternative. 30 00 Across the globe, as air temperatures steadily climb, so too do ocean temperatures. This rise is particularly acute in New England. Temperatures in the Gulf of Maine have risen nearly 2 degrees Fahrenheit in the past century. Warming waters have meant that once-plentiful species—lobsters most prominent among them—are moving to colder northern waters. With fewer and fewer lobsters to catch, lobster fishing in southern New England is no longer financially viable. Those still making a living from the ocean must find different species to exploit. As New England fisheries collapse, seaweed appears as a hopeful alternative. This essay asks, What is regenerated in “regenerative ocean farming” projects, in which seaweed is a key figure? A critical reflection on the turn to seaweed in the context of climate crisis and highlights how seaweed’s potentiality—as healthy food, biofuel, binding agent, carbon sink, and a hopeful alternative to depleted ocean industries—rearticulates capitalist logics of productivism, gender inequality, and settler colonial property relations. Solar-based and “green” economies still operate on economic grammars rooted in the forms of extraction to which they serve as a foil and a regenerative alternative. 20 00 Open Access Sarah Besky 24 03 06 10.53288/0404.1.24 287 299 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Black Atlantis 1 A01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 03 00 This chapter examines solarity as it manifests in coral restoration efforts in The Bahamas. Utilizing three examples, 1) a for-profit venture for growing coral fragments, 2) a private island tourism destination, and 3) a mega resort, Moore describes “colonial/corporate sun” as a means to harvest solar energies through coral-based extractive economies. Moore then contrasts these efforts with an example of “ocean love”, led by a Bahamian woman whose coral-based work is grounded in community resilience and survival, connecting her work to larger Diasporic conversations around the Middle Passage, Black marine life, and disruptive ways of imagining and living in the world. Far from the “blue economy”, this process by which coral restoration can come to anchor emergent and resistant solarian materialities of knowing and being in the Caribbean, is an instantiation of the “Black Atlantis”. 30 00 This chapter examines solarity as it manifests in coral restoration efforts in The Bahamas. Utilizing three examples, 1) a for-profit venture for growing coral fragments, 2) a private island tourism destination, and 3) a mega resort, Moore describes “colonial/corporate sun” as a means to harvest solar energies through coral-based extractive economies. Moore then contrasts these efforts with an example of “ocean love”, led by a Bahamian woman whose coral-based work is grounded in community resilience and survival, connecting her work to larger Diasporic conversations around the Middle Passage, Black marine life, and disruptive ways of imagining and living in the world. Far from the “blue economy”, this process by which coral restoration can come to anchor emergent and resistant solarian materialities of knowing and being in the Caribbean, is an instantiation of the “Black Atlantis”. 20 00 Open Access Amelia Moore 25 03 06 10.53288/0404.1.25 301 311 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water, transformed by a warming world, establishes novel links between distant places and populations. Her books include Intimate Activism (Duke UP, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke UP, 2019) as well as two edited collections: Anthropocene Unseen: A Lexicon (punctum books, 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 B01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 3 B01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 20 00 Open Access Jeff Diamanti, Cymene Howe, Amelia Moore 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/solarities-elemental-encounters-and-refractions/ 16 40 008zs3103 32 10.13039/100007863 Rice University 01 programname Fondren Library Earth, Milky Way 04 01 20231122 Jeff Diamanti, Cymene Howe, Amelia Moore 02 WORLD 06 15 9781685711153 03 9781685711153 34 06 10.4161/derm.24494 34 06 10.1086/596640 34 06 10.1080/24694452.2017.1353901 34 06 10.1177/0309132520987301 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1215/00382876-8795656 34 06 10.1086/692559 34 06 10.1215/0961754X-1630424 34 06 10.1146/annurev-anthro-101819-110241 34 06 10.3390/su3102027 34 06 10.1126/science.aax0848 34 06 10.1139/b04-116 34 06 10.1215/00382876-8795668 34 06 10.1079/PNS19810017 34 06 10.33280/2310-3817-2020-9-1-144-165 34 06 10.1177/2514848618777621 34 06 10.1177/2053019613516291 34 06 10.1558/jca.33371 34 06 10.1016/j.enpol.2013.10.048 34 06 10.1017/S0964028206002643 34 06 10.7759/cureus.2741 34 06 10.33280/2310-3817-2020-9-1-128-143 34 06 10.1068/a42282 34 06 10.16995/olh.329.168 34 06 10.3932/ethz-a-000492273 34 06 10.3932/ethz-a-000082059.27 34 06 10.1016/j.fuproc.2012.06.007 34 06 10.3390/su12125041 34 06 10.1177/039219216601405501 34 06 10.1162/grey_a_00246 34 06 10.1215/10642684-1472917 34 06 10.1177/0162243919900556 34 06 10.31835/crdh.2019.05 34 06 10.1632/pmla.2011.126.4.1022 34 06 10.2105/ajph.2016.303468 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711146 20 08 20231122 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/solarities-elemental-encounters-and-refractions 20 08 20231122 02 26.00 USD WORLD urn:uuid:b1831921-910f-487b-858f-f0adff599b06 03 01 01 thoth-work-id urn:uuid:fecc033f-919b-4d98-ab32-c6fb19dfb7e8 01 thoth-publication-id urn:uuid:b1831921-910f-487b-858f-f0adff599b06 15 9781685711153 03 9781685711153 06 10.53288/0404.1.00 13 2023949869 01 internal-reference 0404 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Solarities Elemental Encounters and Refractions 1 B01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water--transformed by a warming world--establishes novel links between distant places and populations. Her books include Intimate Activism (Duke 2013) and Ecologics: Wind and Power in the Anthropocene (Duke 2019) as well as two edited collections Anthropocene Unseen: A Lexicon (Punctum 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 B01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016-17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021) tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, NL. 3 B01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is Associate Professor of Marine Affairs at the University of Rhode Island. Trained as a sociocultural anthropologist at the University of California Berkeley, her focal research areas have spanned from science studies of tropical conservation biology to black marine ecologies to the anticolonial and antiracist examination of the practice of STEM in American academia. She has worked with government officials, nonprofit administrators, environmental activists, and a wide array of community members in The Bahamas, Indonesia, and the United States. Dr. Moore’s first book, Destination Anthropocene: Science and Tourism in The Bahamas, explores the fraught ways in which the ecological sciences and the tourism industry work together to transform the way people understand and unevenly profit from the islands of The Bahamas in an era of global environmental change. She is currently collaborating on a documentary film, Decolonizing Science? (working title), that interrogates the unjust foundations of scientific research and explores attempts to move beyond the colonial structures of contemporary knowledge production. 01 eng 00 316 03 B2 Biosphere 93 JHMC 12 JHMC 10 SCI098030 B2 Cultural Studies+Critical Theory 93 PGS 12 PGS 10 SOC041000 10 SOC002010 B2 Thought Experiments 93 THVS 20 solar; elements; materials; bodies; infrastructure; being; relationality; anthropocene 01 06 02 00 03 00 Solarities: Elemental Encounters and Refractions is a transdiciplinary essay collection that explores the physical, conceptual, and political possibilities materialized by “solarity”— a form of relation to the sun and its elemental force upon planetary life. The authors propose that a different set of questions becomes possible when the material specificities of solar become the compass for thought, prompting us to uncover our relationship to the sun. How does solarity materialize in the bodies and lives of humans and non-humans now and in the future? What can we learn if we no longer take the sun for granted? How do we continue to persist on a planet that is so intimately bound up in a state of love, fear, and dependence on this primary source of all living energy? Each of the essays in Solarities take solar radiation as an interpretive lens that takes multiple forms, often transforming as it does so.Solarities draws inspiration from Black ecologies, Indigenous philosophy, feminist science & technology studies, and more-than-human discussions in the human sciences, recognizing the phenomenological and ontological openings they make available. The authors understand solarity as an energy source (channeled through photovoltaic cells, for example), but the essays gathered here focus on the lives that solarity creates or impedes. The experimental task is to find how solarities work their way into materials and processes across our work, seeking out the particular influences of solarity in making being(s). These relations are core to thinking the elemental conditions of solarity, since it is through particular forms of focalizing the sun that life is sustained, or made to wither, across the planet.In these ways, the elemental condition of solarity is at once hyper-particular and also shared across organic and inorganic bodies, conditioned by physical form and material composition. Throughout the collection, the authors explore how solarity appears or recedes from view when we concentrate our attentions on it, surfacing the existential omnipresence of the sun to open new thought possibilities, inspire new actions, and refract new dimensions of socionatural encounter. 30 00 Solarities: Elemental Encounters and Refractions is a transdiciplinary essay collection that explores the physical, conceptual, and political possibilities materialized by “solarity”— a form of relation to the sun and its elemental force upon planetary life. The authors propose that a different set of questions becomes possible when the material specificities of solar become the compass for thought, prompting us to uncover our relationship to the sun. How does solarity materialize in the bodies and lives of humans and non-humans now and in the future? What can we learn if we no longer take the sun for granted? How do we continue to persist on a planet that is so intimately bound up in a state of love, fear, and dependence on this primary source of all living energy? Each of the essays in Solarities take solar radiation as an interpretive lens that takes multiple forms, often transforming as it does so.Solarities draws inspiration from Black ecologies, Indigenous philosophy, feminist science & technology studies, and more-than-human discussions in the human sciences, recognizing the phenomenological and ontological openings they make available. The authors understand solarity as an energy source (channeled through photovoltaic cells, for example), but the essays gathered here focus on the lives that solarity creates or impedes. The experimental task is to find how solarities work their way into materials and processes across our work, seeking out the particular influences of solarity in making being(s). These relations are core to thinking the elemental conditions of solarity, since it is through particular forms of focalizing the sun that life is sustained, or made to wither, across the planet.In these ways, the elemental condition of solarity is at once hyper-particular and also shared across organic and inorganic bodies, conditioned by physical form and material composition. Throughout the collection, the authors explore how solarity appears or recedes from view when we concentrate our attentions on it, surfacing the existential omnipresence of the sun to open new thought possibilities, inspire new actions, and refract new dimensions of socionatural encounter. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0404.1.00_frontcover.jpg 1 03 06 10.53288/0404.1.01 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water, transformed by a warming world, establishes novel links between distant places and populations. Her books include Intimate Activism (Duke UP, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke UP, 2019) as well as two edited collections: Anthropocene Unseen: A Lexicon (punctum books, 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 B01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 3 B01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 20 00 Open Access Jeff Diamanti, Cymene Howe, Amelia Moore 2 03 06 10.53288/0404.1.02 17 42 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water, transformed by a warming world, establishes novel links between distant places and populations. Her books include Intimate Activism (Duke UP, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke UP, 2019) as well as two edited collections: Anthropocene Unseen: A Lexicon (punctum books, 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 A01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 3 A01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 20 00 Open Access Jeff Diamanti, Cymene Howe, Amelia Moore 3 03 06 10.53288/0404.1.03 43 48 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Skin 1 A01 21 0000000327865998 Mél Hogan Mél Hogan Associate Professor in the Department of Film and Media 40 02y72wh86 Queen's University Mél Hogan is the host of The Data Fix podcast and is the Director of the Environmental Media Lab (EML). She is an Associate Professor in the Department of Film and Media at Queen’s University (Kingston, Ontario). Her research focuses on data infrastructure, understood from within the contexts of settler-colonial extractivism, planetary catastrophe, and collective anxieties about the future 06 Own website http://melhogan.com 01 eng 03 00 This piece invites the reader to think about their skin as a surface to glean information about identity, disease, and life on earth. Through exposing the process of having a mole removed by a surgeon, and a follow-up from the dermatologist, the piece discusses the relationship between skin and sun; the warnings about UV exposure, the narratives about genetics and personal responsibility, the fallout and recovery of medical interventions, and the new meanings made possible about the sun itself, through a careful consideration of skin as a medium that absorbs and reflects it. 30 00 This piece invites the reader to think about their skin as a surface to glean information about identity, disease, and life on earth. Through exposing the process of having a mole removed by a surgeon, and a follow-up from the dermatologist, the piece discusses the relationship between skin and sun; the warnings about UV exposure, the narratives about genetics and personal responsibility, the fallout and recovery of medical interventions, and the new meanings made possible about the sun itself, through a careful consideration of skin as a medium that absorbs and reflects it. 20 00 Open Access Mél Hogan 4 03 06 10.53288/0404.1.04 49 62 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chlorophyll 1 A01 Aster Hoving Aster Hoving doctoral researcher in Environmental Humanities 40 02qte9q33 University of Stavangar Aster Hoving is a doctoral researcher in Environmental Humanities with the Greenhouse Center for Environmental Humanities at the University of Stavanger. Her PhD project “Ocean Energies” investigates how energy companies, scientists, and artists engage with the ocean’s energies. Previously, Aster studied at Utrecht University, the University of Amsterdam, UC Berkeley, and New York University. Her master’s thesis “Elemental Aesthetics” received the Faculty of Humanities UvA Thesis Prize 2021 and in 2023 she was awarded the inaugural British Council Scotland SGSAH EARTH Scholarship for research at the University of Glasgow. Aster’s published work can be found on the website Environmental History Now (2021). 01 eng 03 00 This essay traces the seasonal and diurnal rhythms of chlorophyll, the pigment that makes the leaves of plants appear green, to develop an elemental analysis of solar energy infrastructures. I explore the temporal, material, and conceptual affordances of chlorophyll through poetic and visual artworks that evoke the changing availability of sunlight reaching the earth. Attending to chlorophyll, I argue, demonstrates how fantasies of unlimited solar energy depend on efforts to seize permanent access and exposure to the sun. While colossal infrastructure projects covering or even transcending the earth aim to turn the sun into an unlimited profitable resource, chlorophyll makes perceptible embod 30 00 This essay traces the seasonal and diurnal rhythms of chlorophyll, the pigment that makes the leaves of plants appear green, to develop an elemental analysis of solar energy infrastructures. I explore the temporal, material, and conceptual affordances of chlorophyll through poetic and visual artworks that evoke the changing availability of sunlight reaching the earth. Attending to chlorophyll, I argue, demonstrates how fantasies of unlimited solar energy depend on efforts to seize permanent access and exposure to the sun. While colossal infrastructure projects covering or even transcending the earth aim to turn the sun into an unlimited profitable resource, chlorophyll makes perceptible embod 20 00 Open Access Aster Hoving 5 03 06 10.53288/0404.1.05 63 69 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bloom 1 A01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 01 eng 03 00 This essay tracks the solar relations embedded in the short and long phosphorous cycle, tracking the bodies, bonds, and supply chains that connect its extraction in the occupied Western Sahara to planetary bloom ecologies. While phosphorous rarely contends with fossil fuels in the environmental imaginary, I argue that its role in supporting capital and corporeal accumulation in the long 20th century is as central to future ecologies as the fuels subtending petroculture. 30 00 This essay tracks the solar relations embedded in the short and long phosphorous cycle, tracking the bodies, bonds, and supply chains that connect its extraction in the occupied Western Sahara to planetary bloom ecologies. While phosphorous rarely contends with fossil fuels in the environmental imaginary, I argue that its role in supporting capital and corporeal accumulation in the long 20th century is as central to future ecologies as the fuels subtending petroculture. 20 00 Open Access Jeff Diamanti 6 03 06 10.53288/0404.1.06 71 84 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Respiration 1 A01 Ayesha Vemuri Ayesha Vemuri PhD candidate in Communication Studies 40 01pxwe438 McGill University Ayesha Vemuri is a PhD candidate in Communication Studies at McGill University. Her doctoral research lies at the intersection of climate change, migration, infrastructure, and feminist STS. She is interested in the ways in which experts construct and manage the risk of floods and migration in the context of climate change in Assam, India. Her research examines how the management of the river, and its annual floods intersects with other key industries in Assam, including oil and natural gas, sand mining and construction, conservation, and border management. 2 A01 Hannah Tollefson Hannah Tollefson PhD candidate in Communication Studies 40 01pxwe438 McGill University Hannah Tollefson is a Ph.D. candidate in Communication Studies at McGill University. Informed by enviornmental humanities and media and technology studies, her research examines infrastructure and environment, with a focus on extraction, logistics, and energy. Her doctoral project is a study of how the shores and waters of the Salish Sea surrounding the Port of Vancouver have been constructed, maintained, and contested as a space of circulation. 01 eng 03 00 This chapter thinks with respiration as an elemental process of chemical exchange engendered by solarity in forest ecosystems. While photosynthesis converts sunlight into usable energy through carbon capture, respiration is the process of release and decay that makes these ecosystems sites of symbiosis. Attuned to solarity, we follow stories of how such energy conditions and moves through various forms of life and death in our heliocentric universe. Learning from the unstable and mutually beneficial relationships that characterize actually existing forests, we scrutinize the chemical, social, and analogical meanings of solar-inflected respiration. As key mediators of sunlight and carbon, trees are often valued for the services they provide as so-called “planetary lungs” and carbon sinks in times of climate crisis. Interrogating the promises and perils of such utilitarian conceptualizations of the natural world, we consider the ways in which these co-called lungs are unevenly valued and cared for. With compromised conditions of livability across more-than-human social worlds shaped by colonial capitalism and ongoing histories of imperialism, we look to the ways that Indigenous, Black and other marginalized knowledge keepers engage with the notion of respiration in seeking a more just distribution of planetary breathability. 30 00 This chapter thinks with respiration as an elemental process of chemical exchange engendered by solarity in forest ecosystems. While photosynthesis converts sunlight into usable energy through carbon capture, respiration is the process of release and decay that makes these ecosystems sites of symbiosis. Attuned to solarity, we follow stories of how such energy conditions and moves through various forms of life and death in our heliocentric universe. Learning from the unstable and mutually beneficial relationships that characterize actually existing forests, we scrutinize the chemical, social, and analogical meanings of solar-inflected respiration. As key mediators of sunlight and carbon, trees are often valued for the services they provide as so-called “planetary lungs” and carbon sinks in times of climate crisis. Interrogating the promises and perils of such utilitarian conceptualizations of the natural world, we consider the ways in which these co-called lungs are unevenly valued and cared for. With compromised conditions of livability across more-than-human social worlds shaped by colonial capitalism and ongoing histories of imperialism, we look to the ways that Indigenous, Black and other marginalized knowledge keepers engage with the notion of respiration in seeking a more just distribution of planetary breathability. 20 00 Open Access Ayesha Vemuri, Hannah Tollefson 7 03 06 10.53288/0404.1.07 85 92 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Fuels You? 1 A01 21 0000000166888135 Gretchen Bakke Gretchen Bakke Heisenberg Position at the Institute for European Ethnology and the Institute for Human-Environment Transitions 40 01hcx6992 Humboldt-Universität zu Berlin Gretchen Bakke holds a Heisenberg Position at the Institute for European Ethnology and the Institute for Human-Environment Transitions at Humboldt University, Berlin and is a Visiting Fellow at the Max Planck Institute for the History of Science, also in Berlin. Bakke is the author of The Grid, a 2016 Bill Gates pick, and the ebullient 2020 ethnography The Likeness: Semblance and Self in Slovene Society. She is currently conducting research for a cultural history of the end of fossil fuels in and around the North Sea, leading The Global Mollusc Project at the Research Institute for Sustainability in Potsdam Germany and writing a series of very serious essays, collectively know as Minor Analytics. 01 eng 03 00 Perhaps, a man name Thomas Turnbull once suggested, perverse economic models are the best way to contrive an economy not based on growth and profits. I have thought about this a lot, playfully. How might one cook up a reward structure for avoiding maxim bang for buck? How might increased efficiency become understood, systemically, as a bastardized version of human activity? How might extraction stop being a thing we do to ourselves (not to mention our planet entire)? Playfully, I took the efficiency of a solar panel (22% rather low all things considered) and turned it around and around in my head, a gobstopper of a percentage. How might that lowness become both metric and goal? What world would we live in if only 22% of our time and effort were directed toward productive work? What minor revolution might that point us toward? Not a goal of 'total this' or 'total that' but 'minor this' and 'minor that’ aimed at a slow attrition from neoliberal economics toward a blooming of a different sort. It should never be about the individual, but that is how I have written it, because to consider who one is, how one works, and what one aspires as if one were a lawnmower (or similar) is such a silly (and perfectly playful) idea. 30 00 Perhaps, a man name Thomas Turnbull once suggested, perverse economic models are the best way to contrive an economy not based on growth and profits. I have thought about this a lot, playfully. How might one cook up a reward structure for avoiding maxim bang for buck? How might increased efficiency become understood, systemically, as a bastardized version of human activity? How might extraction stop being a thing we do to ourselves (not to mention our planet entire)? Playfully, I took the efficiency of a solar panel (22% rather low all things considered) and turned it around and around in my head, a gobstopper of a percentage. How might that lowness become both metric and goal? What world would we live in if only 22% of our time and effort were directed toward productive work? What minor revolution might that point us toward? Not a goal of 'total this' or 'total that' but 'minor this' and 'minor that’ aimed at a slow attrition from neoliberal economics toward a blooming of a different sort. It should never be about the individual, but that is how I have written it, because to consider who one is, how one works, and what one aspires as if one were a lawnmower (or similar) is such a silly (and perfectly playful) idea. 20 00 Open Access Gretchen Bakke 8 03 06 10.53288/0404.1.08 93 103 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Politics of Solar Abundance 1 A01 21 0000000173136660 Cara New Daggett Cara New Daggett Associate Professor in Political Science 40 02smfhw86 Virginia Tech Cara New Daggett is an Associate Professor in Political Science at Virginia Tech and a fellow at the Research Institute for Sustainability, Potsdam (2023–2024). Her research explores energy and ecological politics through a feminist framework. Her award-winning book, The Birth of Energy: Fossil Fuels, Thermodynamics, and the Politics of Work (Duke UP, 2019) investigates how the 19th-century science of energy informed Anglo-European empires by intesifying racist and patriarchal labor systems. More recently, her work explores the intersection of misogyny and intensive energy use, most notably in petro-masculinity among right-wing movements. With two colleagues, Christine Labuski and Shannon Bell, she formed the Mayapple Energy Transition Collective with the goal of envisioning feminist energy systems. Her work has been published in journals including Environmental Politics, Millennium: Journal of International Politics, and Energy Research & Social Science. 01 eng 03 00 The abolition of fossil fuels requires more than new fuels to power modern pleasures. It also requires new subjectivities. Petro-people need to become solar subjects. Becoming solar subjects, and not just consumers of solar energy, means nurturing solarity as a way of life, a geo-theology. Theology might seem an odd emphasis for energy studies, but fossil fuels have a strong cosmological dimension that helps explain their grip on modern publics. The fossil sacred is capitalist work – that which moves matter to make a profit – in a presumed world of scarcity and struggle. The fossil evil is waste. Solarity is well-suited as a counter-theology to fossil fuels, as the sun neatly reverses fossil values. The sun is sinful according to fossil theology, offering itself abundantly with no concern for efficiency. As a political strategy, solar abundance – and not reduction – is also best equipped to counter the pleasures of fossil-fueled life. The ascetic approach to energy finds morality in foregoing energy expenditure, while solar abundance encourages better spending and giving. Both involve limits, but in worlds of abundance, the goal is to limit dangerous accumulation, and to appreciate how cooperative spending and sharing can generate more well-being. 30 00 The abolition of fossil fuels requires more than new fuels to power modern pleasures. It also requires new subjectivities. Petro-people need to become solar subjects. Becoming solar subjects, and not just consumers of solar energy, means nurturing solarity as a way of life, a geo-theology. Theology might seem an odd emphasis for energy studies, but fossil fuels have a strong cosmological dimension that helps explain their grip on modern publics. The fossil sacred is capitalist work – that which moves matter to make a profit – in a presumed world of scarcity and struggle. The fossil evil is waste. Solarity is well-suited as a counter-theology to fossil fuels, as the sun neatly reverses fossil values. The sun is sinful according to fossil theology, offering itself abundantly with no concern for efficiency. As a political strategy, solar abundance – and not reduction – is also best equipped to counter the pleasures of fossil-fueled life. The ascetic approach to energy finds morality in foregoing energy expenditure, while solar abundance encourages better spending and giving. Both involve limits, but in worlds of abundance, the goal is to limit dangerous accumulation, and to appreciate how cooperative spending and sharing can generate more well-being. 20 00 Open Access Cara New Daggett 9 03 06 10.53288/0404.1.09 105 115 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exposure 1 A01 21 0000000343655501 Jason De León Jason De León Professor of Anthropology and Chicana, Chicano, and Central American Studies 40 046rm7j60 University of California, Los Angeles Jason De León is a Professor of Anthropology and Chicana, Chicano, and Central American Studies at the University of California, Los Angeles and Executive Director of the Undocumented Migration Project, a 501(c)(3) organization focused on raising awareness about issues related to clandestine migration and assisting families of missing migrants search for their loved ones. De León is Head Curator of the ongoing global exhibition “Hostile Terrain 94” and author of “The Land of Open Graves: Living and Dying on the Migrant Trail.” His most recent book Soldiers and Kings: Survival and Hope in the World of Human Smuggling will be published by Viking Press in the Spring of 2024. 01 eng 03 00 "Exposure" examines the complicated relationship between the realities of clandestine migration and the use of photoethnography as a form of social science research. Through the concept of photography's "exposure triangle" (ISO, shutter speed, and lens aperture) I explore how the decisions regarding photographic practice, in particular the capturing of light, are linked in various ways to the difficult issues surrounding the representation of the violent experiences of migration along the U.S./Mexico border and beyond. 30 00 "Exposure" examines the complicated relationship between the realities of clandestine migration and the use of photoethnography as a form of social science research. Through the concept of photography's "exposure triangle" (ISO, shutter speed, and lens aperture) I explore how the decisions regarding photographic practice, in particular the capturing of light, are linked in various ways to the difficult issues surrounding the representation of the violent experiences of migration along the U.S./Mexico border and beyond. 20 00 Open Access Jason De León 10 03 06 10.53288/0404.1.10 117 124 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Concrete Solarities 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is Associate Professor in Anthropology at the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (Routledge, 2018), co-editor of Surfaces: Transformations of Body, Materials and Earth (Routledge, 2020), and co-editor of a special issue of the journal Theory, Culture & Society entitled “Solid Fluids. New Approaches to Materials and Meaning” (2022). 01 eng 03 00 Concrete is a material that substantiates key contradictions of contemporary urban life. This anthropic rock, the most abundant in earth history, not only materializes modern narratives of progress but is currently a candidate to mark the onset of the Anthropocene. Moreover, contrary to how it has been traditionally portrayed by the industry, as a synthetic product of modern ingenuity, concrete results from a deep planetary relationship between the Earth and the Sun; the very same relationship that has made the existence of life in this planet, as we know it, possible, including humans. Attending to contemporary dystopias of Chile’s neoliberal experiment in Santiago, this chapter addresses the importance of the relationship between sunlight and concrete for understanding the human condition in the Anthropocene. 30 00 Concrete is a material that substantiates key contradictions of contemporary urban life. This anthropic rock, the most abundant in earth history, not only materializes modern narratives of progress but is currently a candidate to mark the onset of the Anthropocene. Moreover, contrary to how it has been traditionally portrayed by the industry, as a synthetic product of modern ingenuity, concrete results from a deep planetary relationship between the Earth and the Sun; the very same relationship that has made the existence of life in this planet, as we know it, possible, including humans. Attending to contemporary dystopias of Chile’s neoliberal experiment in Santiago, this chapter addresses the importance of the relationship between sunlight and concrete for understanding the human condition in the Anthropocene. 20 00 Open Access Cristián Simonetti 11 03 06 10.53288/0404.1.11 125 132 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Affective Energy 1 A01 21 0000000217020580 Myles Lennon Myles Lennon Dean’s Assistant Professor of Environment & Society and Anthropology 40 05gq02987 Brown University Myles Lennon is an environmental anthropologist, Dean’s Assistant Professor of Environment & Society and Anthropology at Brown University, and a former sustainable energy policy practitioner. His first research project explores the intersectional dimensions of solar infrastructure in New York City, illuminating the sensorial and emotional power of renewable energy in a gentrifying skyline built on racial capitalism and threatened by climate collapse. He is currently conducting long-term research on young, Black land stewards’ complex efforts to navigate settler colonialism and redress white supremacy through land-based labor in the United States. His research has been supported by the US National Science Foundation, the Ford Foundation, and the Wenner-Gren Foundation. 01 eng 03 00 This chapter draws from ethnographic research on solar energy activists in New York City to explore the unlikely preponderance of pastoral images of solar technology in a twenty-first century megacity. Why would activists focused on bringing renewable energy to urban communities aestheticize solar technology in rural landscapes bereft of humans? I respond to this line of inquiry by exploring the sun’s affective energy—its capacity to shape our imaginaries. I suggest that the sun’s shine on glossy solar panels enables us to imagine, feel, and pursue the technological natures of tomorrow—a vision that is often troublingly at-odds with the material realities of solar technologies. 30 00 This chapter draws from ethnographic research on solar energy activists in New York City to explore the unlikely preponderance of pastoral images of solar technology in a twenty-first century megacity. Why would activists focused on bringing renewable energy to urban communities aestheticize solar technology in rural landscapes bereft of humans? I respond to this line of inquiry by exploring the sun’s affective energy—its capacity to shape our imaginaries. I suggest that the sun’s shine on glossy solar panels enables us to imagine, feel, and pursue the technological natures of tomorrow—a vision that is often troublingly at-odds with the material realities of solar technologies. 20 00 Open Access Myles Lennon 12 03 06 10.53288/0404.1.12 133 147 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Asolarity Weaponized Sunlight 1 A01 Ian J. Alexander Ian J. Alexander visiting lecturer in the Department of American Studies 40 01srpnj69 Wellesley College Ian J. Alexander is a writer and educator from Clarion County, Pennsylvania. He studies the history of the US prison regime, revolutionary and abolitionist prisoners’ movements, and media histories. In his research, he approaches media and media technologies as sites of struggle inside prisons and across prison walls. By looking at technologies such as radio, television, mail, digital tablets, telephones, and isolation chambers variously as tools of oppression, reform, and liberation, his work brings critical prison studies and abolitionist methods together with media studies and media history. Ian is currently a visiting lecturer in the Department of American Studies at Wellesley College. 2 A01 Nicole Starosielski Nicole Starosielski Professor of Media 40 0190ak572 New York University Nicole Starosielski, Professor of Media at New York University, is author or co-editor of over thirty articles and five books media, infrastructure, and environments, including: The Undersea Network (Duke UP, 2015), Media Hot and Cold (Duke UP, 2021), Signal Traffic: Critical Studies of Media Infrastructure (University of Illinois Press, 2015), Sustainable Media: Critical Approaches to Media and Environment (Routledge, 2016), and Assembly Codes: The Logistics of Media (Duke UP, 2021), as well as co-editor of the “Elements” series at Duke University Press. Starosielski’s most recent project involves working with the subsea cable industry — which lays the transnational links of the internet — to make digital infrastructures more sustainable. 06 Own website https://vcresearch.berkeley.edu/faculty/nicole-starosielski 01 eng 03 00 Even as it is broadcast across the planet’s surface, sunlight is not an equally accessible resource. It is mediated by social practices that position some bodies in the sun, while depriving others of sunlight. Even if most phenomena are entangled with the sun, “solar media” refract these rays through a political topography, and as a result, sunlight manifests as social form. In this article, we discuss how solar violences not only work via exposure and overexposure, but also through the asolar, the creation of social forms in which sunlight is not only absent, but blocked as a means of inflicting bodily harm and social disaggregation. We focus on one site where the asolar has long been a means of violence: the prison. Describing a critical struggle against the South Carolina Department of Corrections, and the broader context of using solar media in solitary confinement, we explore how asolar environments have been weaponized. In turn, we argue that counter-mediations of sunlight made by those held captive articulate a re-distribution of sunlight as necessary to freedom. 30 00 Even as it is broadcast across the planet’s surface, sunlight is not an equally accessible resource. It is mediated by social practices that position some bodies in the sun, while depriving others of sunlight. Even if most phenomena are entangled with the sun, “solar media” refract these rays through a political topography, and as a result, sunlight manifests as social form. In this article, we discuss how solar violences not only work via exposure and overexposure, but also through the asolar, the creation of social forms in which sunlight is not only absent, but blocked as a means of inflicting bodily harm and social disaggregation. We focus on one site where the asolar has long been a means of violence: the prison. Describing a critical struggle against the South Carolina Department of Corrections, and the broader context of using solar media in solitary confinement, we explore how asolar environments have been weaponized. In turn, we argue that counter-mediations of sunlight made by those held captive articulate a re-distribution of sunlight as necessary to freedom. 20 00 Open Access Ian J. Alexander, Nicole Starosielski 13 03 06 10.53288/0404.1.13 149 157 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Colonial Exposure 1 A01 21 0000000180820110 Aylin Kuryel Aylin Kuryel Assistant Professor at the Literary and Cultural Analysis department 40 04dkp9463 University of Amsterdam Aylin Kuryel is an Assistant Professor at the Literary and Cultural Analysis department at the University of Amsterdam. Her research areas are nationalism, image politics, aesthetics/resistance, and politics of emotions. She is the co-editor of Cultural Activism: Practices, Dilemmas and Possibilities (Rodopi, 2010), Resistance and Aesthetics in the Age of Global Uprisings (Küresel Ayaklanmalar Çağında Direniş ve Estetik, Iletisim Press, 2015), Being Jewish in Turkey: A Dictionary of Experiences (Türkiye’de Yahudi Olmak: Bir Deneyim Sözlüğü, Iletisim Press, 2017), and Essays on Boredom (Sıkıntı Üzerine Denemeler, Iletisim Press, 2020). She has been involved in projects as an artist and is working as a documentary filmmaker. Among her documentaries are Translating Ulysses (2023), A Defense (2021), CemileSezgin (2020), The Balcony and Our Dreams (2020), Heads and Tails (2018), and Welcome Lenin (2016). 01 eng 03 00 The essay focuses on Arami Ullón’s film, Apenas el Sol (Nothing but the Sun,2020), which follows Mateo’s journey, through his forced removal from the forest and conversion to Christianity, one of the countless deracinated indigenous Ayoreo people of Paraguay. It analyzes the ways in which the film offers fragments of a collective contemplation on being uprooted through their shifting relations to the sun, both before and after the arrival of the missionaries in the late 50s and the early 60s. The essay, “Colonial Exposure”, thinks together with the film, to explore the ways in which the solar appears not as an infinity without context, nor as a metaphor, but as a material entity whose meaning and function change drastically throughout colonial history. 30 00 The essay focuses on Arami Ullón’s film, Apenas el Sol (Nothing but the Sun,2020), which follows Mateo’s journey, through his forced removal from the forest and conversion to Christianity, one of the countless deracinated indigenous Ayoreo people of Paraguay. It analyzes the ways in which the film offers fragments of a collective contemplation on being uprooted through their shifting relations to the sun, both before and after the arrival of the missionaries in the late 50s and the early 60s. The essay, “Colonial Exposure”, thinks together with the film, to explore the ways in which the solar appears not as an infinity without context, nor as a metaphor, but as a material entity whose meaning and function change drastically throughout colonial history. 20 00 Open Access Aylin Kuryel 14 03 06 10.53288/0404.1.14 159 168 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Solar as Narrative Element The Interrupting Surface 1 A01 21 0000000201297710 Rhys Williams Rhys Williams senior lecturer in Energy & Environmental Humanities 40 00vtgdb53 University of Glasgow Rhys Williams is a senior lecturer in Energy & Environmental Humanities at the University of Glasgow. His research focusses on the politics and poetics of infrastructure, energy and food futures. He’s recently published in South Atlantic Quarterly, Open Library of Humanities, and the New Routledge Companion to Science Fiction. 01 eng 03 00 A poetics of weightlessness and light, of being sheer surface without depth or footprint, has come to dominate popular, corporate, and activist representations of solar technologies. This chapter claims that this widespread uptake is due to solar’s narrative and aesthetic affordance as an interrupting surface, acting to break the purchase of history upon the present, and excusing imaginaries of the future from the need to engage with the past. This claim will be explored through three examples in the final season of Detectorists, a quirky British comedy whose homely realism casts solar’s usual future-oriented aesthetics into relief. 30 00 A poetics of weightlessness and light, of being sheer surface without depth or footprint, has come to dominate popular, corporate, and activist representations of solar technologies. This chapter claims that this widespread uptake is due to solar’s narrative and aesthetic affordance as an interrupting surface, acting to break the purchase of history upon the present, and excusing imaginaries of the future from the need to engage with the past. This claim will be explored through three examples in the final season of Detectorists, a quirky British comedy whose homely realism casts solar’s usual future-oriented aesthetics into relief. 20 00 Open Access Rhys Williams 15 03 06 10.53288/0404.1.15 169 178 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Living Too Close to the Sun 1 A01 21 0000000223025193 Daniel A. Barber Daniel A. Barber Professor of Architecture 40 03f0f6041 University of Technology Sydney Daniel A. Barber is Professor of Architecture at the University of Technology Sydney (UTS). His research focuses on environmental dimensions of architecture’s past, present, and future. His latest book is Modern Architecture and Climate: Design before Air Conditioning (Princeton UP, 2020); see also the article “After Comfort” (Log 47, 2019), and A House in the Sun: Modern Architecture and Solar Energy in the Cold War (Oxford UP, 2016). Daniel has held academic positions and fellowships at Harvard, Penn, Princeton, and Yale, at the Instituto Universitário de Lisboa, the Max Planck Institute (Berlin), Rachel Carson Centre (Munich), and most recently as a Senior Research Fellow at the Centre for Apocalyptic and Post-Apocalyptic Studies (CAPAS) at the Universität Heidelberg. He received a 2022–23 Guggenheim Fellowship for his project Thermal Practices. Daniel co-edits Accumulation, an annual dossier of essays on the e-flux architecture online platform. He is the co-founder of the Current Collective for Architecture and Environmental History and is on the editorial board of the Journal of Architecture and Fabrications. He lectures globally, encouraging architects and others to consider their creative practice in the context of the climate emergency. 01 eng 03 00 Since about 2010, a number of so-called supertall residential towers have arisen in Manhattan, puncturing the skyline. Referred to as pencil towers for their tall, skinny profile, these buildings represent the pinnacle of a contemporary form of architectural excess, a virtuosic expression of the financial machinations of the super-rich. They are also reliant on excessive carbon expenditures – tall, sealed buildings that cannot be lived in without mechanical heating, ventilation, and air-conditioning systems. What is especially suggestive, in the context of solarity, are the precise terms of that excess. Luxury and exclusivity are expressed in height, in proximity to the sun. And yet, the mechanical capacity to reach that height is served by a dramatic increase in mechanical conditioning derived carbon emissions. In this sense, the towers express, at least in a schematic, diagrammatic fashion, a more general condition: how concepts of value and innovation are caught up in the priorities of capital, making them difficult to align with the capacity for solar liberation.The essay reads these towers through the energy imaginaries of Gibson, Ghosh, and Bacigalupi, offering a counter model for how innovation in architecture can be and can resonates more equitably across social and ecological conditions. 30 00 Since about 2010, a number of so-called supertall residential towers have arisen in Manhattan, puncturing the skyline. Referred to as pencil towers for their tall, skinny profile, these buildings represent the pinnacle of a contemporary form of architectural excess, a virtuosic expression of the financial machinations of the super-rich. They are also reliant on excessive carbon expenditures – tall, sealed buildings that cannot be lived in without mechanical heating, ventilation, and air-conditioning systems. What is especially suggestive, in the context of solarity, are the precise terms of that excess. Luxury and exclusivity are expressed in height, in proximity to the sun. And yet, the mechanical capacity to reach that height is served by a dramatic increase in mechanical conditioning derived carbon emissions. In this sense, the towers express, at least in a schematic, diagrammatic fashion, a more general condition: how concepts of value and innovation are caught up in the priorities of capital, making them difficult to align with the capacity for solar liberation.The essay reads these towers through the energy imaginaries of Gibson, Ghosh, and Bacigalupi, offering a counter model for how innovation in architecture can be and can resonates more equitably across social and ecological conditions. 20 00 Open Access Daniel A. Barber 16 03 06 10.53288/0404.1.16 179 190 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Landfill 1 A01 Bob Johnson Bob Johnson Bob Johnson is author of Carbon Nation: Fossil Fuels in the Making of American Culture (UP Kansas, 2014) and Mineral Rites: An Archaeology of the Fossil Economy (Johns Hopkins UP, 2019). He is a Professor of History who has written widely on American culture, theory, and the environment with his work centered on the double helix of global warming and social justice. His current book project, “The Colonial Climate: How We Made (and Un-Made) the World’s Most Perfect Climate in San Diego, California, 1846–,” reconsiders the Southern California climate through the lens of actor-network theory in an effort re-position climate change as a product of colonial relations. He lives with his family in San Diego, California, home to the highest concentration of urban military assets in the world and what local marketers call “America’s Finest City.” 01 eng 03 00 This essay uses the modern landfill, a hyper-object that the anthropologist Joshua Reno terms the “constitutive absence” of modernity,” to explore the gaps, lacunae, and interstices of a waning era of fossil fuel dominance. In examining the landfill as something akin to the repressed ID of fossil capitalism, it brings into the exposure of the sun both the dark ideological recesses of liberalism and the literal material processes of late capitalism that work to systematically bury the material detritus and human wastage they produce out of sight. An intentional experiment in breaking the strictures of academic expository form, this essay also strives to reoccupy, at least momentarily, the symbolic spaces left behind by the internal contradictions of this decadent version of fossil capitalism we live amidst today. It takes that opportunity to imagine, at least in passing, what it might mean to reinhabit liberalism’s symbolic terrain by reorienting ourselves to a more sustainable alliance with nature centered on the sun and keyed more closely to a solidarity with others that might help us escape the wastefulness and destructive linearity of a transactional consumer culture that drives us further into global warming. 30 00 This essay uses the modern landfill, a hyper-object that the anthropologist Joshua Reno terms the “constitutive absence” of modernity,” to explore the gaps, lacunae, and interstices of a waning era of fossil fuel dominance. In examining the landfill as something akin to the repressed ID of fossil capitalism, it brings into the exposure of the sun both the dark ideological recesses of liberalism and the literal material processes of late capitalism that work to systematically bury the material detritus and human wastage they produce out of sight. An intentional experiment in breaking the strictures of academic expository form, this essay also strives to reoccupy, at least momentarily, the symbolic spaces left behind by the internal contradictions of this decadent version of fossil capitalism we live amidst today. It takes that opportunity to imagine, at least in passing, what it might mean to reinhabit liberalism’s symbolic terrain by reorienting ourselves to a more sustainable alliance with nature centered on the sun and keyed more closely to a solidarity with others that might help us escape the wastefulness and destructive linearity of a transactional consumer culture that drives us further into global warming. 20 00 Open Access Bob Johnson 17 03 06 10.53288/0404.1.17 191 205 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Solar Grid (excerpt) 1 A01 Ganzeer Ganzeer Described as a “chameleon” by Carlo McCormick in the New York Times, Ganzeer operates seamlessly between art, design, and storytelling, creating what he has coined: Concept Pop. His medium of choice according to Artforum is “a little bit of everything: stencils, murals, paintings, pamphlets, comics, installations, and graphic design.” With over forty exhibitions to his name, Ganzeer’s work has been seen in a wide variety of art galleries, impromptu spaces, alleyways, and major museums around the world, such as The Brooklyn Museum in New York, The Palace of the Arts in Cairo, the Moody Center for the Arts in Houston, and the V&A in London. Ganzeer’s current projects include a short story collection titled Times New Human and a sci-fi graphic novel titled The Solar Grid, an elaborate work-in-progress which has awarded him a Global Thinker Award from Foreign Policy in 2016. He has been an artist-in-residence in Germany, Poland, Jordan, the Netherlands, and Finland, and has lived extensively in Cairo, New York, Los Angeles, Denver, and finally Houston — where he is now based. 01 eng 03 00 949 years after a catastrophic global flood, night has been consigned to legend by way of THE SOLAR GRID, a vast network of satellites that keeps the world basked in eternal daylight. The purpose of which is to counteract the effects of the flood, and power solar factories scattered across the globe to ceaselessly produce goods intended for export to Mars, where humanity's most fortunate has successfully relocated to. This is the setting within which this elaborate work of science fiction is set, where themes of post-colonialism, consumerism, capitalism, and race-relations are explored on a planet-faring scale 30 00 949 years after a catastrophic global flood, night has been consigned to legend by way of THE SOLAR GRID, a vast network of satellites that keeps the world basked in eternal daylight. The purpose of which is to counteract the effects of the flood, and power solar factories scattered across the globe to ceaselessly produce goods intended for export to Mars, where humanity's most fortunate has successfully relocated to. This is the setting within which this elaborate work of science fiction is set, where themes of post-colonialism, consumerism, capitalism, and race-relations are explored on a planet-faring scale 20 00 Open Access Ganzeer 18 03 06 10.53288/0404.1.18 207 214 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Ray and the Flame, or, What It Takes for the Sun to Shine 1 A01 21 0000000167036137 Tim Ingold Tim Ingold Emeritus Professor of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is Emeritus Professor of Social Anthropology at the University of Aberdeen. Following 25 years at the University of Manchester, where he was appointed Max Gluckman Professor of Social Anthropology in 1995, Ingold moved in 1999 to Aberdeen, where he established Scotland’s youngest Department of Anthropology. Ingold has carried out ethnographic fieldwork among Sámi and Finnish people in Lapland, and has written on comparative questions of environment, technology, and social organization in the circumpolar North, the role of animals in human society, issues in human ecology, and evolutionary theory in anthropology, biology, and history. He has gone on to explore the links between environmental perception and skilled practice, replacing traditional models of genetic and cultural transmission with a relational approach focusing on the growth of bodily skills of perception and action. Ingold’s current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), and Imagining for Real (2022). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to Anthropology. 01 eng 03 00 For the sun to shine, it cannot be a distant cosmic object, or an emitter of energetic rays. Shining does not connect me, by a long straight line of transmission, to the sun. It rather carries on, in real time, along an axis orthogonal to this line. This is the temporal axis of sentient awareness in the midst of a world forever on the burn. The sun’s shining, rather than spanning an interval of transmission, endures in the glare of combustion. In our experience, the sun is its light, not a source of light, and in its shining it erupts into a vision that, far from having closed itself off from a world ‘out there’, has opened itself to the boundless sky. Thus sunlight does not arrive from afar but ignites in the consciousness of the seer who sees with it, with eyes bathed in its luminosity. But the sun doesn’t only illuminate our world; it warms us too. So do the flames of the fire. Ray and flame rest on wholly different ontologies of the sun and its light. As an emitter of rays, the sun is transcendental, but as a beaming fireball, it is elemental. 30 00 For the sun to shine, it cannot be a distant cosmic object, or an emitter of energetic rays. Shining does not connect me, by a long straight line of transmission, to the sun. It rather carries on, in real time, along an axis orthogonal to this line. This is the temporal axis of sentient awareness in the midst of a world forever on the burn. The sun’s shining, rather than spanning an interval of transmission, endures in the glare of combustion. In our experience, the sun is its light, not a source of light, and in its shining it erupts into a vision that, far from having closed itself off from a world ‘out there’, has opened itself to the boundless sky. Thus sunlight does not arrive from afar but ignites in the consciousness of the seer who sees with it, with eyes bathed in its luminosity. But the sun doesn’t only illuminate our world; it warms us too. So do the flames of the fire. Ray and flame rest on wholly different ontologies of the sun and its light. As an emitter of rays, the sun is transcendental, but as a beaming fireball, it is elemental. 20 00 Open Access Tim Ingold 19 03 06 10.53288/0404.1.19 215 230 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tupilaq (In the Shadow of Solarity) 1 A01 Amanda Boetzkes Amanda Boetzkes Professor of Contemporary Art History and Theory 40 01r7awg59 University of Guelph Amanda Boetzkes is Professor of Contemporary Art History and Theory at the University of Guelph. Her research focuses on the relationship between perception and representation, theories of consciousness, and ecology. She has analyzed complex human relationships with the environment through the lens of aesthetics, patterns of human waste, and the global energy economy. She is the author of Plastic Capitalism: Contemporary Art and the Drive to Waste (MIT Press, 2019), The Ethics of Earth Art (University of Minnesota Press, 2010), and a forthcoming book titled Ecologicity: Vision and the Planetarity of Art. Co-edited books include Artworks for Jellyfish (And Other Others) (Noxious Sector, 2022), Heidegger and the Work of Art History (Routledge, 2014), and a forthcoming volume on Art’s Realism in the Post-Truth Era (Edinburgh University Press, 2024). Currently, she is the principal investigator of At the Moraine, a multi-year, collaborative research project that studies the mediation and representation of global climate change, with a special focus on Indigenous territories of the circumpolar North. 01 eng 03 00 This chapter considers “solarity” as an elemental agent that shapes the cultural regimes of the circumpolar North. I discuss how solar energy weathers the artifacts of the Thule people, the ancestors of the contemporary Inuit. The sun draws out the oils and bleaches the surfaces of Thule remains, yielding them up for use in the production of tools, commodities and archaeological objects of study. But where this process might be understood to neutralize the meaning of Thule artifacts, priming them for scientific study, I suggest otherwise. Following the lead of Inuit mythology, I locate solarity in its diurnal and seasonal interplay with other irreducible elements, as these overlap, transgress and withdraw from one another. This trajectory counteracts the technoscientific perspective at work in environmental archaeology, that would position cultural changes (from the Thule to the Inuit, specifically) as a passive adaptation to natural change. By contrast, I position solarity as a force that vitalizes material culture, its capacity to cast shadows and yield an account of artifacts beyond positivist frames. The insights of solarity come by way of reading its interaction with the moon, the night, with bone and sinew, with land and water, tools and carvings, climate changes, animal migrations, and the forced displacement of the circumpolar Inuit. 30 00 This chapter considers “solarity” as an elemental agent that shapes the cultural regimes of the circumpolar North. I discuss how solar energy weathers the artifacts of the Thule people, the ancestors of the contemporary Inuit. The sun draws out the oils and bleaches the surfaces of Thule remains, yielding them up for use in the production of tools, commodities and archaeological objects of study. But where this process might be understood to neutralize the meaning of Thule artifacts, priming them for scientific study, I suggest otherwise. Following the lead of Inuit mythology, I locate solarity in its diurnal and seasonal interplay with other irreducible elements, as these overlap, transgress and withdraw from one another. This trajectory counteracts the technoscientific perspective at work in environmental archaeology, that would position cultural changes (from the Thule to the Inuit, specifically) as a passive adaptation to natural change. By contrast, I position solarity as a force that vitalizes material culture, its capacity to cast shadows and yield an account of artifacts beyond positivist frames. The insights of solarity come by way of reading its interaction with the moon, the night, with bone and sinew, with land and water, tools and carvings, climate changes, animal migrations, and the forced displacement of the circumpolar Inuit. 20 00 Open Access Amanda Boetzkes 20 03 06 10.53288/0404.1.20 231 260 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Kiln 1 A01 21 0000000290472268 Kim Förster Kim Förster 40 027m9bs27 University of Manchester Kim Förster is an architectural historian, teaching and researching at the University of Manchester as a member of MARG (Manchester Architecture Research Group). Having earned his doctorate in architecture at ETH Zurich in 2011, he was Associate Director of Research at the Canadian Centre for Architecture from 2016 to 2018, where he led the multidisciplinary research project “Architecture and/for the Environment” as part of the Andrew W. Mellon Foundation’s “Architecture, Urbanism, and the Humanities Initiative.” He taught at ETH’s Institute gta, in the Doctoral Program for the History and Theory of Architecture, and as a visiting professor at EPFL Lausanne. His research and teaching focus on an environmental, energy, and material history, particularly a global history of cement. Förster has published on environmental topics in Architectural Histories, Candide, Werk, Bauen + Wohnen; he contributed to the Routledge Companion to Architecture and Social Engagement (2018), to Überbau: Produktionsverhältnisse der Architektur im Anthropozän (Universitätsverlag TU Berlin, 2021), and to Beyond Concrete (Triest Verlag, 2022). A member of common room, in 2022 300 solarities co-curated “Disquietude: Architecture and Energy in Portugal” and co-edited a book with the same title. Förster edited the “Environmental Histories of Architecture” series for the CCA(Library Stack, 2022–23). 01 eng 03 00 This chapter, in dialogue with the energy humanities task of thinking transition, attempts to undo cement by assessing material transformation in the cement kiln. Portland cement, a bulk commodity that has been a critical building material in the concrete mix throughout the 20th century (along to gravel, sand and water, all of which are now recognized scarce), is seen as problematic, even destructive, in times of climate emergency because the production process in industrial cement plants itself contributes significantly to global carbon emissions. As key sites of Anthropocene metabolism, the global web of kilns become object and narrative device of architectural and environmental histories, and indeed the humanities to address and expose modern tropes of growth and progress. From an elemental perspective the kiln burns not only fossil fuels, and today so-called alternative fuels; the chemical process itself, as known through patent history, relies on the fact that half of the carbon dioxide is released during the calcination process. Since the emissions come from the raw meal itself, it is argued, any solar project, social, ecological, and economic, as well as cultural would have to rethink the kiln, since innovation in admixtures and fuels only prolong the existing cement regime. 30 00 This chapter, in dialogue with the energy humanities task of thinking transition, attempts to undo cement by assessing material transformation in the cement kiln. Portland cement, a bulk commodity that has been a critical building material in the concrete mix throughout the 20th century (along to gravel, sand and water, all of which are now recognized scarce), is seen as problematic, even destructive, in times of climate emergency because the production process in industrial cement plants itself contributes significantly to global carbon emissions. As key sites of Anthropocene metabolism, the global web of kilns become object and narrative device of architectural and environmental histories, and indeed the humanities to address and expose modern tropes of growth and progress. From an elemental perspective the kiln burns not only fossil fuels, and today so-called alternative fuels; the chemical process itself, as known through patent history, relies on the fact that half of the carbon dioxide is released during the calcination process. Since the emissions come from the raw meal itself, it is argued, any solar project, social, ecological, and economic, as well as cultural would have to rethink the kiln, since innovation in admixtures and fuels only prolong the existing cement regime. 20 00 Open Access Kim Förster 21 03 06 10.53288/0404.1.21 261 269 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twilight 1 A01 21 000000018944406X Dominic Boyer Dominic Boyer 40 008zs3103 Rice University Dominic Boyer is an anthropologist, media maker, and environmental researcher who teaches at Rice University where he served as Founding Director of the Center for Energy and Environmental Research in the Human Sciences (2013–19). His most recent books are Energopolitics (Duke UP, 2019), which analyzes the politics of wind power development in Southern Mexico, and Hyposubjects (Open Humanities Press, 2021), an experimental collaboration with Timothy Morton concerning politics in the Anthropocene. With Cymene Howe, he made a documentary film about Iceland’s first major glacier (Okjökull) lost to climate change, Not Ok: A Little Movie about a Small Glacier at the End of the World (2018). In August 2019, together with Icelandic collaborators, they installed a memorial to Okjökull’s passing, an event that attracted media attention from around the world and which caused The Economist to create their first-ever obituary for a non-human. His next book is titled No More Fossils (University of Minnesota Press, 2023) a discussion of fossil fuel fossils and what is to be done about them. 01 eng 03 00 Twilight is a one-scene play about the situations in which and the emotions with which we find ourselves in the climate emergency. 30 00 Twilight is a one-scene play about the situations in which and the emotions with which we find ourselves in the climate emergency. 20 00 Open Access Dominic Boyer 22 03 06 10.53288/0404.1.22 271 276 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tires 1 A01 Caroline Levander Caroline Levander vice president 40 008zs3103 Rice University Caroline Levander holds an endowed chair in the humanities at Rice and serves on Rice University’s senior leadership team as a vice president. As the author of five books and numerous articles on American cultural history, she has deep expertise on the long history and politics of American life. Her leadership portfolio focuses on educational innovation, strategic growth, new revenue streams, and digital transformation, all with a focus on global impact. Beyond Rice, she serves on numerous ed tech advisory boards including the Coursera Council and 2U/EdX Advisory Council and is Vice Chair of the Fulbright Association Board of Directors. The ed tech company that she co-founded in 2020 was acquired by Honor Education in 2022 where she is a senior advisor. 01 eng 03 00 This chapter synthesizes the life, work, and philosophy of Mike Reynolds, one-time architect and founder of the Earthship Movement based in Taos, New Mexico. For Reynolds tires are the biggest and the single most ubiquitous natural resource in the world and therefore an effective raw material for Reynolds' off the grid biotecture communities of habitations that are known as ‘earthships.’ This article is a synthesis of the author's interview Reynolds in 2021. 30 00 This chapter synthesizes the life, work, and philosophy of Mike Reynolds, one-time architect and founder of the Earthship Movement based in Taos, New Mexico. For Reynolds tires are the biggest and the single most ubiquitous natural resource in the world and therefore an effective raw material for Reynolds' off the grid biotecture communities of habitations that are known as ‘earthships.’ This article is a synthesis of the author's interview Reynolds in 2021. 20 00 Open Access Caroline Levander 23 03 06 10.53288/0404.1.23 277 286 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Seaweed 1 A01 21 0000000323530074 Sarah Besky Sarah Besky Associate Professor in the ILR School 40 05bnh6r87 Cornell University Sarah Besky is an anthropologist and Associate Professor in the ILR School at Cornell University. She is the author of The Darjeeling Distinction: Labor and Justice on Fair-Trade Tea Plantations in India (2014) and Tasting Qualities: The Past and Future of Tea (2020), both with the University of California Press, as well as the co-editor of How Nature Works: Rethinking Labor on a Troubled Planet (SAR Press, 2019). Her current research examines the past and present of small-scale farming in India’s eastern Himalayas. 01 eng 03 00 Across the globe, as air temperatures steadily climb, so too do ocean temperatures. This rise is particularly acute in New England. Temperatures in the Gulf of Maine have risen nearly 2 degrees Fahrenheit in the past century. Warming waters have meant that once-plentiful species—lobsters most prominent among them—are moving to colder northern waters. With fewer and fewer lobsters to catch, lobster fishing in southern New England is no longer financially viable. Those still making a living from the ocean must find different species to exploit. As New England fisheries collapse, seaweed appears as a hopeful alternative. This essay asks, What is regenerated in “regenerative ocean farming” projects, in which seaweed is a key figure? A critical reflection on the turn to seaweed in the context of climate crisis and highlights how seaweed’s potentiality—as healthy food, biofuel, binding agent, carbon sink, and a hopeful alternative to depleted ocean industries—rearticulates capitalist logics of productivism, gender inequality, and settler colonial property relations. Solar-based and “green” economies still operate on economic grammars rooted in the forms of extraction to which they serve as a foil and a regenerative alternative. 30 00 Across the globe, as air temperatures steadily climb, so too do ocean temperatures. This rise is particularly acute in New England. Temperatures in the Gulf of Maine have risen nearly 2 degrees Fahrenheit in the past century. Warming waters have meant that once-plentiful species—lobsters most prominent among them—are moving to colder northern waters. With fewer and fewer lobsters to catch, lobster fishing in southern New England is no longer financially viable. Those still making a living from the ocean must find different species to exploit. As New England fisheries collapse, seaweed appears as a hopeful alternative. This essay asks, What is regenerated in “regenerative ocean farming” projects, in which seaweed is a key figure? A critical reflection on the turn to seaweed in the context of climate crisis and highlights how seaweed’s potentiality—as healthy food, biofuel, binding agent, carbon sink, and a hopeful alternative to depleted ocean industries—rearticulates capitalist logics of productivism, gender inequality, and settler colonial property relations. Solar-based and “green” economies still operate on economic grammars rooted in the forms of extraction to which they serve as a foil and a regenerative alternative. 20 00 Open Access Sarah Besky 24 03 06 10.53288/0404.1.24 287 299 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Black Atlantis 1 A01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 03 00 This chapter examines solarity as it manifests in coral restoration efforts in The Bahamas. Utilizing three examples, 1) a for-profit venture for growing coral fragments, 2) a private island tourism destination, and 3) a mega resort, Moore describes “colonial/corporate sun” as a means to harvest solar energies through coral-based extractive economies. Moore then contrasts these efforts with an example of “ocean love”, led by a Bahamian woman whose coral-based work is grounded in community resilience and survival, connecting her work to larger Diasporic conversations around the Middle Passage, Black marine life, and disruptive ways of imagining and living in the world. Far from the “blue economy”, this process by which coral restoration can come to anchor emergent and resistant solarian materialities of knowing and being in the Caribbean, is an instantiation of the “Black Atlantis”. 30 00 This chapter examines solarity as it manifests in coral restoration efforts in The Bahamas. Utilizing three examples, 1) a for-profit venture for growing coral fragments, 2) a private island tourism destination, and 3) a mega resort, Moore describes “colonial/corporate sun” as a means to harvest solar energies through coral-based extractive economies. Moore then contrasts these efforts with an example of “ocean love”, led by a Bahamian woman whose coral-based work is grounded in community resilience and survival, connecting her work to larger Diasporic conversations around the Middle Passage, Black marine life, and disruptive ways of imagining and living in the world. Far from the “blue economy”, this process by which coral restoration can come to anchor emergent and resistant solarian materialities of knowing and being in the Caribbean, is an instantiation of the “Black Atlantis”. 20 00 Open Access Amelia Moore 25 03 06 10.53288/0404.1.25 301 311 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000293613812 Cymene Howe Cymene Howe Professor of Anthropology 40 008zs3103 Rice University Cymene Howe is Professor of Anthropology at Rice University with a longstanding interest in how people and environments co-create one another. Her field research in the Americas (Nicaragua, Mexico, United States) the Arctic (Iceland, Greenland), and coastal cities (Cape Town and Honolulu) illustrates a widening field of human imprint on ecosystems. Her current research focuses on the interconnections between a melting Arctic and sea level rise in global coastal cities, with an attention to how water, transformed by a warming world, establishes novel links between distant places and populations. Her books include Intimate Activism (Duke UP, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke UP, 2019) as well as two edited collections: Anthropocene Unseen: A Lexicon (punctum books, 2020) and The Johns Hopkins Guide to Critical and Cultural Theory. She co-produced the documentary film Not Ok: A Little Movie about a Small Glacier at the End of the World (2018) and was co-creator of the Okjökull memorial event in Iceland, the world’s first funeral for a glacier fallen to climate change. 2 B01 Jeff Diamanti Jeff Diamanti Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) 40 04dkp9463 University of Amsterdam Jeff Diamanti is Assistant Professor of Environmental Humanities (Cultural Analysis & Philosophy) at the University of Amsterdam. In 2016–17 he was the Media@McGill Postdoctoral Fellow in Media and the Environment where he co-convened the international colloquium on Climate Realism, the results of which appear in a book collection on Routledge and a double issue of Resilience. His first book, Climate and Capital in the Age of Petroleum: Locating Terminal Landscapes (Bloomsbury 2021), tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories like Greenland to the economies of North America and Western Europe. His new research, Bloom Ecologies, details the return to natural philosophy in the marine and atmospheric sciences studying the interactive dynamics of the cryosphere and hydrosphere in the North Atlantic and Arctic Ocean. He co-directs the ASCA Political Ecologies Seminar with Joost de Bloois, and with Amanda Boetzkes, he co-organizes “At the Moraine,” an ongoing research project on the political ecology of glacial retreat in the Arctic. With Fred Carter, he co-directs the FieldARTS arts and science residency in Amsterdam, Netherlands. 3 B01 Amelia Moore Amelia Moore Associate Professor of Marine Affairs 40 013ckk937 University of Rhode Island Amelia Moore is an Associate Professor of Marine Affairs at the University of Rhode Island. She has degrees in Environmental Biology from Columbia University and Sociocultural Anthropology from the University of California Berkeley. Her research involves the social role of islands in ecological and environmental knowledge production, and she approaches this topic through the lens of antiracist, anticolonial, feminist science and technology studies and black ecologies. 01 eng 20 00 Open Access Jeff Diamanti, Cymene Howe, Amelia Moore 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/solarities-elemental-encounters-and-refractions/ 16 40 008zs3103 32 10.13039/100007863 Rice University 01 programname Fondren Library Earth, Milky Way 04 01 20231122 Jeff Diamanti, Cymene Howe, Amelia Moore 02 WORLD 06 15 9781685711146 03 9781685711146 34 06 10.4161/derm.24494 34 06 10.1086/596640 34 06 10.1080/24694452.2017.1353901 34 06 10.1177/0309132520987301 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1215/00382876-8795656 34 06 10.1086/692559 34 06 10.1215/0961754X-1630424 34 06 10.1146/annurev-anthro-101819-110241 34 06 10.3390/su3102027 34 06 10.1126/science.aax0848 34 06 10.1139/b04-116 34 06 10.1215/00382876-8795668 34 06 10.1079/PNS19810017 34 06 10.33280/2310-3817-2020-9-1-144-165 34 06 10.1177/2514848618777621 34 06 10.1177/2053019613516291 34 06 10.1558/jca.33371 34 06 10.1016/j.enpol.2013.10.048 34 06 10.1017/S0964028206002643 34 06 10.7759/cureus.2741 34 06 10.33280/2310-3817-2020-9-1-128-143 34 06 10.1068/a42282 34 06 10.16995/olh.329.168 34 06 10.3932/ethz-a-000492273 34 06 10.3932/ethz-a-000082059.27 34 06 10.1016/j.fuproc.2012.06.007 34 06 10.3390/su12125041 34 06 10.1177/039219216601405501 34 06 10.1162/grey_a_00246 34 06 10.1215/10642684-1472917 34 06 10.1177/0162243919900556 34 06 10.31835/crdh.2019.05 34 06 10.1632/pmla.2011.126.4.1022 34 06 10.2105/ajph.2016.303468 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/85298 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/85298/0404.1.00.pdf?sequence=1&isAllowed=y 20 08 20231122 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/127996 20 08 20231122 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.10782318 20 08 20231122 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/343 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3a427aee-3ea3-4459-a5cb-a3e2ce340f0b/download 20 08 20231122 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Solarities/ZFPvEAAAQBAJ 20 08 20231122 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/fecc033f-919b-4d98-ab32-c6fb19dfb7e8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/fecc033f-919b-4d98-ab32-c6fb19dfb7e8/fecc033f-919b-4d98-ab32-c6fb19dfb7e8.pdf 20 08 20231122 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850134 29 ZENODO: download the title https://zenodo.org/records/19850134/files/fecc033f-919b-4d98-ab32-c6fb19dfb7e8_book.pdf 20 08 20231122 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/solarities-elemental-encounters-and-refractions/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0404.1.00.pdf 20 08 20231122 01 urn:uuid:4d3e0840-0030-440c-9325-a9088d0a7664 03 01 01 thoth-work-id urn:uuid:4c6edfeb-226d-4e99-b077-a68042caa2ca 01 thoth-publication-id urn:uuid:4d3e0840-0030-440c-9325-a9088d0a7664 15 9781685710644 03 9781685710644 06 10.53288/0412.1.00 13 2022947564 01 internal-reference 0412 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Something More Splendid Than Two 1 A01 21 0000000165888600 josé rivers alfaro josé rivers alfaro 40 023sbte93 Cosumnes River College josé rivers alfaro is an artist who teaches writing and literature. Raised in Sacramento, California, he attended Cosumnes River College, the community college where he currently works as a professor. He earned his B.A. in English Literature at San Francisco State University and his Ph.D. in English at UC Riverside, focusing on Nineteenth Century American Literature and Queer Latinx Studies. Before returning to Sacramento, he learned how to dance salsa and bachata. Since then, he continues to spend a lot of time thinking about how he can make the magic of the dance floor happen on the page. 01 eng 00 114 03 10 BIO031000 12 BM 93 JBSJ B2 Literary Studies 93 DNC 12 JFSK 10 SOC044000 B2 Thought Experiments 93 5PB-US-H 12 JFSL4 B2 TransQueer 93 5PB-US-E 12 JFSL9 20 Joaquin Murrieta; Latinx Studies; Chicanx Studies; Queer Studies; 19th-century America; borderlands; California; Indigenous Studies 01 06 02 00 03 00 Blending literary analysis and memoir, Something More Splendid Than Two is at once an excavation of intergenerational wounds, a dance number, a poem, and a fraught love letter from son to father that disrupts the dominant narratives surrounding the life and myth of Joaquín Murrieta. In the Mexican American imaginary, the legend of Joaquín Murrieta has been recast to explain the wounding of Mexican American men after the 1848 border formation. In these versions, Joaquín is a vigilante hero and the patriarchal father of the Chicanx movement.Revisiting the most circulated version of the Joaquín myth, The Life and Adventures of Joaquín Murieta written by Cherokee writer John Rollin Ridge, the first published Native American author in the US, Something More Splendid Than Two offers an alternative to these versions. Stitching together multiple tangled histories of Indigenous and Mexican woundings living in the margins of Ridge’s 19th-century novel, alfaro opens a queer timeline where Chicanx and Indigenous solidarities can be imagined. By attuning to the choreographies of power and patriarchy that produced readers and writers like Ridge and the author of this book, josé rivers alfaro imagines that in that endless encounter between reader and writer, both time travel and collective healing are possible. 30 00 Blending literary analysis and memoir, Something More Splendid Than Two is at once an excavation of intergenerational wounds, a dance number, a poem, and a fraught love letter from son to father that disrupts the dominant narratives surrounding the life and myth of Joaquín Murrieta. In the Mexican American imaginary, the legend of Joaquín Murrieta has been recast to explain the wounding of Mexican American men after the 1848 border formation. In these versions, Joaquín is a vigilante hero and the patriarchal father of the Chicanx movement.Revisiting the most circulated version of the Joaquín myth, The Life and Adventures of Joaquín Murieta written by Cherokee writer John Rollin Ridge, the first published Native American author in the US, Something More Splendid Than Two offers an alternative to these versions. Stitching together multiple tangled histories of Indigenous and Mexican woundings living in the margins of Ridge’s 19th-century novel, alfaro opens a queer timeline where Chicanx and Indigenous solidarities can be imagined. By attuning to the choreographies of power and patriarchy that produced readers and writers like Ridge and the author of this book, josé rivers alfaro imagines that in that endless encounter between reader and writer, both time travel and collective healing are possible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0412.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/something-more-splendid-than-two/ Earth, Milky Way 04 01 20221013 José Alfaro 02 WORLD 06 15 9781685710651 03 9781685710651 34 06 10.1353/arq.2004.0014 34 06 10.17763/0017-8055.85.2.149 34 06 10.1525/msem.1995.11.1.03a00010 34 06 10.17953/aicr.30.1.d44268566777k322 34 06 10.1353/arq.0.0037 34 06 10.2307/1346196 34 06 10.1525/phr.2011.80.1.28 34 06 10.2307/464747 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710646 20 08 20221013 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/something-more-splendid-than-two 20 08 20221013 02 21.00 USD WORLD urn:uuid:e49d6149-6a23-4099-bee3-4d965bde39af 03 01 01 thoth-work-id urn:uuid:4c6edfeb-226d-4e99-b077-a68042caa2ca 01 thoth-publication-id urn:uuid:e49d6149-6a23-4099-bee3-4d965bde39af 15 9781685710651 03 9781685710651 06 10.53288/0412.1.00 13 2022947564 01 internal-reference 0412 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Something More Splendid Than Two 1 A01 21 0000000165888600 josé rivers alfaro josé rivers alfaro 40 023sbte93 Cosumnes River College josé rivers alfaro is an artist who teaches writing and literature. Raised in Sacramento, California, he attended Cosumnes River College, the community college where he currently works as a professor. He earned his B.A. in English Literature at San Francisco State University and his Ph.D. in English at UC Riverside, focusing on Nineteenth Century American Literature and Queer Latinx Studies. Before returning to Sacramento, he learned how to dance salsa and bachata. Since then, he continues to spend a lot of time thinking about how he can make the magic of the dance floor happen on the page. 01 eng 00 114 03 10 BIO031000 12 BM 93 JBSJ B2 Literary Studies 93 DNC 12 JFSK 10 SOC044000 B2 Thought Experiments 93 5PB-US-H 12 JFSL4 B2 TransQueer 93 5PB-US-E 12 JFSL9 20 Joaquin Murrieta; Latinx Studies; Chicanx Studies; Queer Studies; 19th-century America; borderlands; California; Indigenous Studies 01 06 02 00 03 00 Blending literary analysis and memoir, Something More Splendid Than Two is at once an excavation of intergenerational wounds, a dance number, a poem, and a fraught love letter from son to father that disrupts the dominant narratives surrounding the life and myth of Joaquín Murrieta. In the Mexican American imaginary, the legend of Joaquín Murrieta has been recast to explain the wounding of Mexican American men after the 1848 border formation. In these versions, Joaquín is a vigilante hero and the patriarchal father of the Chicanx movement.Revisiting the most circulated version of the Joaquín myth, The Life and Adventures of Joaquín Murieta written by Cherokee writer John Rollin Ridge, the first published Native American author in the US, Something More Splendid Than Two offers an alternative to these versions. Stitching together multiple tangled histories of Indigenous and Mexican woundings living in the margins of Ridge’s 19th-century novel, alfaro opens a queer timeline where Chicanx and Indigenous solidarities can be imagined. By attuning to the choreographies of power and patriarchy that produced readers and writers like Ridge and the author of this book, josé rivers alfaro imagines that in that endless encounter between reader and writer, both time travel and collective healing are possible. 30 00 Blending literary analysis and memoir, Something More Splendid Than Two is at once an excavation of intergenerational wounds, a dance number, a poem, and a fraught love letter from son to father that disrupts the dominant narratives surrounding the life and myth of Joaquín Murrieta. In the Mexican American imaginary, the legend of Joaquín Murrieta has been recast to explain the wounding of Mexican American men after the 1848 border formation. In these versions, Joaquín is a vigilante hero and the patriarchal father of the Chicanx movement.Revisiting the most circulated version of the Joaquín myth, The Life and Adventures of Joaquín Murieta written by Cherokee writer John Rollin Ridge, the first published Native American author in the US, Something More Splendid Than Two offers an alternative to these versions. Stitching together multiple tangled histories of Indigenous and Mexican woundings living in the margins of Ridge’s 19th-century novel, alfaro opens a queer timeline where Chicanx and Indigenous solidarities can be imagined. By attuning to the choreographies of power and patriarchy that produced readers and writers like Ridge and the author of this book, josé rivers alfaro imagines that in that endless encounter between reader and writer, both time travel and collective healing are possible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0412.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/something-more-splendid-than-two/ Earth, Milky Way 04 01 20221013 José Alfaro 02 WORLD 06 15 9781685710644 03 9781685710644 34 06 10.1353/arq.2004.0014 34 06 10.17763/0017-8055.85.2.149 34 06 10.1525/msem.1995.11.1.03a00010 34 06 10.17953/aicr.30.1.d44268566777k322 34 06 10.1353/arq.0.0037 34 06 10.2307/1346196 34 06 10.1525/phr.2011.80.1.28 34 06 10.2307/464747 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/58586 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/58586/0412.1.00.pdf?sequence=25&isAllowed=y 20 08 20221013 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/92637 20 08 20221013 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2zmkc3g 20 08 20221013 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/694 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a98cce6e-28d5-484f-b0e0-22be54adbf82/download 20 08 20221013 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/4c6edfeb-226d-4e99-b077-a68042caa2ca 29 INTERNET_ARCHIVE: download the title https://archive.org/download/4c6edfeb-226d-4e99-b077-a68042caa2ca/4c6edfeb-226d-4e99-b077-a68042caa2ca.pdf 20 08 20221013 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849550 29 ZENODO: download the title https://zenodo.org/records/19849550/files/4c6edfeb-226d-4e99-b077-a68042caa2ca_book.pdf 20 08 20221013 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/something-more-splendid-than-two/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0412.1.00.pdf 20 08 20221013 01 urn:uuid:d19f842d-a3ff-48f2-aceb-d60b45c3aac0 03 01 01 thoth-work-id urn:uuid:1d9045f8-1d8f-479c-983d-383f3a289bec 01 thoth-publication-id urn:uuid:d19f842d-a3ff-48f2-aceb-d60b45c3aac0 15 9781953035370 03 9781953035370 06 10.21983/P3.0327.1.00 13 2021931820 01 internal-reference 0327 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Some Ways of Making Nothing Apophatic Apparatuses in Contemporary Art 1 A01 21 0000000191641484 Curt Cloninger Curt Cloninger 40 017c6at71 University of North Carolina at Asheville 01 eng 00 462 03 93 ABA 12 ABA 10 ART009000 B2 Art+Aesthetics 93 6CK 12 ACXJ5 B2 Philosophy 20 Alfred North Whitehead; conceptual art; Arakawa & Gins; William Pope.L; David Crawford; Joshua Citarella; Haim Steinbach; Robert Fludd; apophasis 01 06 02 00 03 00 What if all works of art were better understood as functioning apparatuses, entangling their human audiences in experiences of becoming? What if certain works of art were even able to throw the brakes on becoming altogether, making nothings rather than somethings? What would be the ethical value of making nothing, of stalling becoming; and how might such nothings even be made?Some Ways of Making Nothing: Apophatic Apparatuses in Contemporary Art borrows its understanding of apparatuses from quantum mechanics and the process philosophy of Alfred North Whitehead, and its understanding of nothing from apophatic (negative) theology. It then proposes a new way of understanding art, applying this understanding to artworks by Arakawa and Gins, Robert Fludd, David Crawford, Joshua Citarella, William Pope.L, and Haim Steinbach. Philosophy, physics, theology, and media theory are traversed and involved in order to understand art differently so that it might be made to matter more. 30 00 What if all works of art were better understood as functioning apparatuses, entangling their human audiences in experiences of becoming? What if certain works of art were even able to throw the brakes on becoming altogether, making nothings rather than somethings? What would be the ethical value of making nothing, of stalling becoming; and how might such nothings even be made?Some Ways of Making Nothing: Apophatic Apparatuses in Contemporary Art borrows its understanding of apparatuses from quantum mechanics and the process philosophy of Alfred North Whitehead, and its understanding of nothing from apophatic (negative) theology. It then proposes a new way of understanding art, applying this understanding to artworks by Arakawa and Gins, Robert Fludd, David Crawford, Joshua Citarella, William Pope.L, and Haim Steinbach. Philosophy, physics, theology, and media theory are traversed and involved in order to understand art differently so that it might be made to matter more. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0327.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/some-ways-of-making-nothing-apophatic-apparatuses-in-contemporary-art/ Earth, Milky Way 04 01 20210218 Cloninger, Curt (0000-0001-9164-1484) 02 WORLD 06 15 9781953035387 03 9781953035387 34 06 10.1073/pnas.1213201110 34 06 10.1103/RevModPhys.75.715 34 06 10.3366/drt.2011.0003 34 06 10.1177/0263276411423038 34 06 10.1086/668529 34 06 10.1080/13534640500058434 34 06 10.1215/03335372-25-1-67 34 06 10.1103/Phys-RevLett.84.1 34 06 10.1016/1355-2198(95)00001-A 34 06 10.1103/RevModPhys.88.015005 34 06 10.1038/NPHYS3343 34 06 10.2307/3190371 34 06 10.2307/20068363 34 06 10.20415/rhiz/030.e08 34 06 10.1063/1.3567426 34 06 10.1080/0969725X.2013.783443 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195303537X 20 08 20210218 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/some-ways-of-making-nothing-apophatic-apparatuses-in-contemporary-art 20 08 20210218 02 28.00 USD WORLD urn:uuid:1a15612e-ee40-4e8e-8b36-6fbe6e002889 03 01 01 thoth-work-id urn:uuid:1d9045f8-1d8f-479c-983d-383f3a289bec 01 thoth-publication-id urn:uuid:1a15612e-ee40-4e8e-8b36-6fbe6e002889 15 9781953035387 03 9781953035387 06 10.21983/P3.0327.1.00 13 2021931820 01 internal-reference 0327 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Some Ways of Making Nothing Apophatic Apparatuses in Contemporary Art 1 A01 21 0000000191641484 Curt Cloninger Curt Cloninger 40 017c6at71 University of North Carolina at Asheville 01 eng 00 462 03 93 ABA 12 ABA 10 ART009000 B2 Art+Aesthetics 93 6CK 12 ACXJ5 B2 Philosophy 20 Alfred North Whitehead; conceptual art; Arakawa & Gins; William Pope.L; David Crawford; Joshua Citarella; Haim Steinbach; Robert Fludd; apophasis 01 06 02 00 03 00 What if all works of art were better understood as functioning apparatuses, entangling their human audiences in experiences of becoming? What if certain works of art were even able to throw the brakes on becoming altogether, making nothings rather than somethings? What would be the ethical value of making nothing, of stalling becoming; and how might such nothings even be made?Some Ways of Making Nothing: Apophatic Apparatuses in Contemporary Art borrows its understanding of apparatuses from quantum mechanics and the process philosophy of Alfred North Whitehead, and its understanding of nothing from apophatic (negative) theology. It then proposes a new way of understanding art, applying this understanding to artworks by Arakawa and Gins, Robert Fludd, David Crawford, Joshua Citarella, William Pope.L, and Haim Steinbach. Philosophy, physics, theology, and media theory are traversed and involved in order to understand art differently so that it might be made to matter more. 30 00 What if all works of art were better understood as functioning apparatuses, entangling their human audiences in experiences of becoming? What if certain works of art were even able to throw the brakes on becoming altogether, making nothings rather than somethings? What would be the ethical value of making nothing, of stalling becoming; and how might such nothings even be made?Some Ways of Making Nothing: Apophatic Apparatuses in Contemporary Art borrows its understanding of apparatuses from quantum mechanics and the process philosophy of Alfred North Whitehead, and its understanding of nothing from apophatic (negative) theology. It then proposes a new way of understanding art, applying this understanding to artworks by Arakawa and Gins, Robert Fludd, David Crawford, Joshua Citarella, William Pope.L, and Haim Steinbach. Philosophy, physics, theology, and media theory are traversed and involved in order to understand art differently so that it might be made to matter more. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0327.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/some-ways-of-making-nothing-apophatic-apparatuses-in-contemporary-art/ Earth, Milky Way 04 01 20210218 Cloninger, Curt (0000-0001-9164-1484) 02 WORLD 06 15 9781953035370 03 9781953035370 34 06 10.1073/pnas.1213201110 34 06 10.1103/RevModPhys.75.715 34 06 10.3366/drt.2011.0003 34 06 10.1177/0263276411423038 34 06 10.1086/668529 34 06 10.1080/13534640500058434 34 06 10.1215/03335372-25-1-67 34 06 10.1103/Phys-RevLett.84.1 34 06 10.1016/1355-2198(95)00001-A 34 06 10.1103/RevModPhys.88.015005 34 06 10.1038/NPHYS3343 34 06 10.2307/3190371 34 06 10.2307/20068363 34 06 10.20415/rhiz/030.e08 34 06 10.1063/1.3567426 34 06 10.1080/0969725X.2013.783443 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/46850 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/46850/0327.1.00.pdf 20 08 20210218 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/63758 20 08 20210218 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354018 20 08 20210218 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/656 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/527df3da-0628-4a3b-92ca-d40c904ebb99/download 20 08 20210218 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Some_Ways_of_Making_Nothing/EAaVEAAAQBAJ 20 08 20210218 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1d9045f8-1d8f-479c-983d-383f3a289bec 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1d9045f8-1d8f-479c-983d-383f3a289bec/1d9045f8-1d8f-479c-983d-383f3a289bec.pdf 20 08 20210218 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848696 29 ZENODO: download the title https://zenodo.org/records/19848696/files/1d9045f8-1d8f-479c-983d-383f3a289bec_book.pdf 20 08 20210218 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/some-ways-of-making-nothing-apophatic-apparatuses-in-contemporary-art/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0327.1.00.pdf 20 08 20210218 01 urn:uuid:bcefc697-fc81-467f-a12c-fa514f2172f9 03 01 01 thoth-work-id urn:uuid:19e4330d-936c-4da2-99bd-c6c5e63961f1 01 thoth-publication-id urn:uuid:bcefc697-fc81-467f-a12c-fa514f2172f9 15 9781685712464 03 9781685712464 06 10.53288/0470.1.00 13 2026937089 01 internal-reference 0470 00 BC 10 01 203.2 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 21.844 mm 03 2.2 cm 03 0.86 in 08 489.888 gr 08 17.28 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sonic Detection Necessary Notes for Art and Performance 1 A01 21 0000000230139666 Rebecca Collins Rebecca Collins Lecturer in Contemporary Art Theory 40 01nrxwf90 University of Edinburgh Ramón and Cajal Research Fellow 40 02gfc7t72 Consejo Superior de Investigaciones Científicas Rebecca Collins (d. 2024) was an award-winning artist researcher and lecturer working at the intersection between contemporary performance and sound. Her main research interests were in listening, performance, sound studies, and creative/critical writing. Rebecca’s practice focused on the dynamics of the sonic operating within specific environments and technologies to explore methodologies of writing and making contemporary performance. She shared her scholarship and practice through multiple forms, including live performance, limited-edition vinyl, radio broadcasts, exhibitions, workshops, text scores, policy documents, and academic/experimental publications. Ultimately, Rebecca was interested in how critical, fictional, and performative interventions might cultivate attention toward our contemporary condition. Rebecca was a Lecturer in Contemporary Art Theory at Edinburgh College of Art, University of Edinburgh. Shortly before her untimely passing, Rebecca had been named a Ramón and Cajal Research Fellow at the Spanish National Research Council (CSIC) in Madrid (for 2024-29). 2 A01 21 0000000207897696 Johanna Linsley Johanna Linsley Lecturer in Creative Practice and head of English, Creative Writing and Film 40 03h2bxq36 University of Dundee Johanna Linsley is an artist and researcher who works across performance, text, and sound. Her work is collaborative and often iterative, resulting in multiple outcomes or versions. She is interested in contemporary performance and Live Art; documentation of performance; sound, listening, and the voice; queer domesticity; and modes of assembly and collective imagination. She has published research in Contemporary Theatre Review and Performance Research and Cultural Geographies. Her work in performance, both solo and with the London-based performance collective I’m With You, has been presented throughout the UK and the USA, and in Brussels, Copenhagen, Zagreb, Bogotà, and elsewhere, at institutions including the Museum of Modern Art in New York City, and in London at the Hayward Gallery, the Barbican Centre, the Wellcome Collection, and the Victoria & Albert Museum. Johanna is a founding partner of UnionDocs, a center for documentary arts in Brooklyn, New York. She was a postdoctoral research associate on the Wellcome Trust-funded project Challenging Archives, working with the archive of performance artist Franko B, and was also a research assistant on the AHRC-funded project Performing Documents, both at the University of Bristol. She was a postdoctoral research associate on the Leverhulme-funded project Acts of Assembly at the University of Roehampton. Johanna is a Lecturer in Creative Practice and Head of English, Creative Writing, and Film at the University of Dundee. 3 A32 Naomi Pearce Naomi Pearce 4 A32 Xavier de Sousa Xavier de Sousa 5 A32 Christina Beatty Christina Beatty 6 A32 Nii Obodai Nii Obodai 7 A51 Amaara Raheem Amaara Raheem 01 eng 00 380 03 93 AFKV 10 ART017000 B2 Art+Aesthetics 93 AFKP 10 ART009000 10 ART060000 93 GT 20 artistic research; performance; listening; sound studies; interdisciplinary writing 01 06 02 00 03 00 Sonic Detection is part sonic noir, part performance document, and part critical investigation of listening at the margins for readers interested in prospecting the boundaries of performance studies, sound studies, and interdisciplinary writing.The book opens with a group of sonic detectives (exact number unknown) who investigate the mystery of an as-yet-unidentified event that leaves traces only in the acoustic atmosphere. This hybrid fiction propels the reader up and down the UK coast and offers overheard fragments from a faded seaside resort, a container shipping port, a former coal-mining town, and the Scottish headquarters for North Sea oil. A heterogeneous collection of texts follows, from creative-critical essays, performance scores, engagement with the archives of earlier sonic detectives (including poet/performance artist Fiona Templeton and the sound art collective Bow Gamelan Ensemble), to a series of dispatches from expert witnesses with their ears to the ground. Sonic Detection is not so much a monograph as a polygraph, tongue-in-cheek associations with questionable forensic technologies firmly in place. The book emerges from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley, who used eavesdropping as an expanded creative methodology. The project began as a series of hyper-local, community-based performance works in coastal locations in the UK (from Bournemouth to Aberdeen) and grew into an international, multi-disciplinary life work devoted to an ongoing, organized curiosity. Sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile, lingering longer in listening. 30 00 Sonic Detection is part sonic noir, part performance document, and part critical investigation of listening at the margins for readers interested in prospecting the boundaries of performance studies, sound studies, and interdisciplinary writing.The book opens with a group of sonic detectives (exact number unknown) who investigate the mystery of an as-yet-unidentified event that leaves traces only in the acoustic atmosphere. This hybrid fiction propels the reader up and down the UK coast and offers overheard fragments from a faded seaside resort, a container shipping port, a former coal-mining town, and the Scottish headquarters for North Sea oil. A heterogeneous collection of texts follows, from creative-critical essays, performance scores, engagement with the archives of earlier sonic detectives (including poet/performance artist Fiona Templeton and the sound art collective Bow Gamelan Ensemble), to a series of dispatches from expert witnesses with their ears to the ground. Sonic Detection is not so much a monograph as a polygraph, tongue-in-cheek associations with questionable forensic technologies firmly in place. The book emerges from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley, who used eavesdropping as an expanded creative methodology. The project began as a series of hyper-local, community-based performance works in coastal locations in the UK (from Bournemouth to Aberdeen) and grew into an international, multi-disciplinary life work devoted to an ongoing, organized curiosity. Sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile, lingering longer in listening. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0470.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sonic-detection-necessary-notes-for-arts-and-performance/ Earth, Milky Way 04 01 20260417 Rebecca Collins and Johanna Linsley 02 WORLD 06 15 9781685712471 03 9781685712471 06 15 9781685713157 03 9781685713157 34 06 10.1386/stap.23.3.165/1 34 06 10.1080/13528165.2016.1223445 34 06 10.1080/0143116042000229258 34 06 10.1080/0034340022000012261 34 06 10.1080/00343409612331349928 34 06 10.1080/00343400050178429 34 06 10.1007/978-3-319-45264-7_16 34 06 10.22501/jar.1248288 34 06 10.3390/arts8040140 34 06 10.1177/1527476418768008 34 06 10.1093/cww/vpn014 34 06 10.1177/019685998601000203 34 06 10.1177/1464700114528767 34 06 10.1386/jaac.9.2.129_1 34 06 10.6092/unibo/ 34 06 10.2307/25528035 34 06 10.1080/07407709608571228 34 06 10.1016/S0277-5395(00)00094-7 34 06 10.16995/bip.3384 34 06 10.1080/13528165.2000.10871754 34 06 10.5040/9780755697533 34 06 10.1080/07494467.2022.2080460 34 06 10.1086/448612 34 06 10.1080/1751696X.2016.1267922 34 06 10.3390/arts9010031 34 06 10.6092/unibo/amsacta/6823 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712460 20 08 20260417 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/sonic-detection-necessary-notes-for-art-and-performance-rebecca-collins-johanna-linsley 20 08 20260417 02 27.00 USD WORLD urn:uuid:b3236db2-10ce-4d0b-b393-c2712bfba1f8 03 01 01 thoth-work-id urn:uuid:19e4330d-936c-4da2-99bd-c6c5e63961f1 01 thoth-publication-id urn:uuid:b3236db2-10ce-4d0b-b393-c2712bfba1f8 15 9781685712471 03 9781685712471 06 10.53288/0470.1.00 13 2026937089 01 internal-reference 0470 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sonic Detection Necessary Notes for Art and Performance 1 A01 21 0000000230139666 Rebecca Collins Rebecca Collins Lecturer in Contemporary Art Theory 40 01nrxwf90 University of Edinburgh Ramón and Cajal Research Fellow 40 02gfc7t72 Consejo Superior de Investigaciones Científicas Rebecca Collins (d. 2024) was an award-winning artist researcher and lecturer working at the intersection between contemporary performance and sound. Her main research interests were in listening, performance, sound studies, and creative/critical writing. Rebecca’s practice focused on the dynamics of the sonic operating within specific environments and technologies to explore methodologies of writing and making contemporary performance. She shared her scholarship and practice through multiple forms, including live performance, limited-edition vinyl, radio broadcasts, exhibitions, workshops, text scores, policy documents, and academic/experimental publications. Ultimately, Rebecca was interested in how critical, fictional, and performative interventions might cultivate attention toward our contemporary condition. Rebecca was a Lecturer in Contemporary Art Theory at Edinburgh College of Art, University of Edinburgh. Shortly before her untimely passing, Rebecca had been named a Ramón and Cajal Research Fellow at the Spanish National Research Council (CSIC) in Madrid (for 2024-29). 2 A01 21 0000000207897696 Johanna Linsley Johanna Linsley Lecturer in Creative Practice and head of English, Creative Writing and Film 40 03h2bxq36 University of Dundee Johanna Linsley is an artist and researcher who works across performance, text, and sound. Her work is collaborative and often iterative, resulting in multiple outcomes or versions. She is interested in contemporary performance and Live Art; documentation of performance; sound, listening, and the voice; queer domesticity; and modes of assembly and collective imagination. She has published research in Contemporary Theatre Review and Performance Research and Cultural Geographies. Her work in performance, both solo and with the London-based performance collective I’m With You, has been presented throughout the UK and the USA, and in Brussels, Copenhagen, Zagreb, Bogotà, and elsewhere, at institutions including the Museum of Modern Art in New York City, and in London at the Hayward Gallery, the Barbican Centre, the Wellcome Collection, and the Victoria & Albert Museum. Johanna is a founding partner of UnionDocs, a center for documentary arts in Brooklyn, New York. She was a postdoctoral research associate on the Wellcome Trust-funded project Challenging Archives, working with the archive of performance artist Franko B, and was also a research assistant on the AHRC-funded project Performing Documents, both at the University of Bristol. She was a postdoctoral research associate on the Leverhulme-funded project Acts of Assembly at the University of Roehampton. Johanna is a Lecturer in Creative Practice and Head of English, Creative Writing, and Film at the University of Dundee. 3 A32 Naomi Pearce Naomi Pearce 4 A32 Xavier de Sousa Xavier de Sousa 5 A32 Christina Beatty Christina Beatty 6 A32 Nii Obodai Nii Obodai 7 A51 Amaara Raheem Amaara Raheem 01 eng 00 380 03 93 AFKV 10 ART017000 B2 Art+Aesthetics 93 AFKP 10 ART009000 10 ART060000 93 GT 20 artistic research; performance; listening; sound studies; interdisciplinary writing 01 06 02 00 03 00 Sonic Detection is part sonic noir, part performance document, and part critical investigation of listening at the margins for readers interested in prospecting the boundaries of performance studies, sound studies, and interdisciplinary writing.The book opens with a group of sonic detectives (exact number unknown) who investigate the mystery of an as-yet-unidentified event that leaves traces only in the acoustic atmosphere. This hybrid fiction propels the reader up and down the UK coast and offers overheard fragments from a faded seaside resort, a container shipping port, a former coal-mining town, and the Scottish headquarters for North Sea oil. A heterogeneous collection of texts follows, from creative-critical essays, performance scores, engagement with the archives of earlier sonic detectives (including poet/performance artist Fiona Templeton and the sound art collective Bow Gamelan Ensemble), to a series of dispatches from expert witnesses with their ears to the ground. Sonic Detection is not so much a monograph as a polygraph, tongue-in-cheek associations with questionable forensic technologies firmly in place. The book emerges from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley, who used eavesdropping as an expanded creative methodology. The project began as a series of hyper-local, community-based performance works in coastal locations in the UK (from Bournemouth to Aberdeen) and grew into an international, multi-disciplinary life work devoted to an ongoing, organized curiosity. Sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile, lingering longer in listening. 30 00 Sonic Detection is part sonic noir, part performance document, and part critical investigation of listening at the margins for readers interested in prospecting the boundaries of performance studies, sound studies, and interdisciplinary writing.The book opens with a group of sonic detectives (exact number unknown) who investigate the mystery of an as-yet-unidentified event that leaves traces only in the acoustic atmosphere. This hybrid fiction propels the reader up and down the UK coast and offers overheard fragments from a faded seaside resort, a container shipping port, a former coal-mining town, and the Scottish headquarters for North Sea oil. A heterogeneous collection of texts follows, from creative-critical essays, performance scores, engagement with the archives of earlier sonic detectives (including poet/performance artist Fiona Templeton and the sound art collective Bow Gamelan Ensemble), to a series of dispatches from expert witnesses with their ears to the ground. Sonic Detection is not so much a monograph as a polygraph, tongue-in-cheek associations with questionable forensic technologies firmly in place. The book emerges from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley, who used eavesdropping as an expanded creative methodology. The project began as a series of hyper-local, community-based performance works in coastal locations in the UK (from Bournemouth to Aberdeen) and grew into an international, multi-disciplinary life work devoted to an ongoing, organized curiosity. Sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile, lingering longer in listening. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0470.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sonic-detection-necessary-notes-for-arts-and-performance/ Earth, Milky Way 04 01 20260417 Rebecca Collins and Johanna Linsley 02 WORLD 06 15 9781685712464 03 9781685712464 06 15 9781685713157 03 9781685713157 34 06 10.1386/stap.23.3.165/1 34 06 10.1080/13528165.2016.1223445 34 06 10.1080/0143116042000229258 34 06 10.1080/0034340022000012261 34 06 10.1080/00343409612331349928 34 06 10.1080/00343400050178429 34 06 10.1007/978-3-319-45264-7_16 34 06 10.22501/jar.1248288 34 06 10.3390/arts8040140 34 06 10.1177/1527476418768008 34 06 10.1093/cww/vpn014 34 06 10.1177/019685998601000203 34 06 10.1177/1464700114528767 34 06 10.1386/jaac.9.2.129_1 34 06 10.6092/unibo/ 34 06 10.2307/25528035 34 06 10.1080/07407709608571228 34 06 10.1016/S0277-5395(00)00094-7 34 06 10.16995/bip.3384 34 06 10.1080/13528165.2000.10871754 34 06 10.5040/9780755697533 34 06 10.1080/07494467.2022.2080460 34 06 10.1086/448612 34 06 10.1080/1751696X.2016.1267922 34 06 10.3390/arts9010031 34 06 10.6092/unibo/amsacta/6823 WORLD 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/19e4330d-936c-4da2-99bd-c6c5e63961f1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/19e4330d-936c-4da2-99bd-c6c5e63961f1/19e4330d-936c-4da2-99bd-c6c5e63961f1.pdf 20 08 20260417 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/sonic-detection-necessary-notes-for-arts-and-performance/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0470.1.00.pdf 20 08 20260417 01 urn:uuid:6361fd8c-de1d-4ce2-b5e7-e950c3d5e3c2 03 01 01 thoth-work-id urn:uuid:19e4330d-936c-4da2-99bd-c6c5e63961f1 01 thoth-publication-id urn:uuid:6361fd8c-de1d-4ce2-b5e7-e950c3d5e3c2 15 9781685713157 03 9781685713157 06 10.53288/0470.1.00 13 2026937089 01 internal-reference 0470 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sonic Detection Necessary Notes for Art and Performance 1 A01 21 0000000230139666 Rebecca Collins Rebecca Collins Lecturer in Contemporary Art Theory 40 01nrxwf90 University of Edinburgh Ramón and Cajal Research Fellow 40 02gfc7t72 Consejo Superior de Investigaciones Científicas Rebecca Collins (d. 2024) was an award-winning artist researcher and lecturer working at the intersection between contemporary performance and sound. Her main research interests were in listening, performance, sound studies, and creative/critical writing. Rebecca’s practice focused on the dynamics of the sonic operating within specific environments and technologies to explore methodologies of writing and making contemporary performance. She shared her scholarship and practice through multiple forms, including live performance, limited-edition vinyl, radio broadcasts, exhibitions, workshops, text scores, policy documents, and academic/experimental publications. Ultimately, Rebecca was interested in how critical, fictional, and performative interventions might cultivate attention toward our contemporary condition. Rebecca was a Lecturer in Contemporary Art Theory at Edinburgh College of Art, University of Edinburgh. Shortly before her untimely passing, Rebecca had been named a Ramón and Cajal Research Fellow at the Spanish National Research Council (CSIC) in Madrid (for 2024-29). 2 A01 21 0000000207897696 Johanna Linsley Johanna Linsley Lecturer in Creative Practice and head of English, Creative Writing and Film 40 03h2bxq36 University of Dundee Johanna Linsley is an artist and researcher who works across performance, text, and sound. Her work is collaborative and often iterative, resulting in multiple outcomes or versions. She is interested in contemporary performance and Live Art; documentation of performance; sound, listening, and the voice; queer domesticity; and modes of assembly and collective imagination. She has published research in Contemporary Theatre Review and Performance Research and Cultural Geographies. Her work in performance, both solo and with the London-based performance collective I’m With You, has been presented throughout the UK and the USA, and in Brussels, Copenhagen, Zagreb, Bogotà, and elsewhere, at institutions including the Museum of Modern Art in New York City, and in London at the Hayward Gallery, the Barbican Centre, the Wellcome Collection, and the Victoria & Albert Museum. Johanna is a founding partner of UnionDocs, a center for documentary arts in Brooklyn, New York. She was a postdoctoral research associate on the Wellcome Trust-funded project Challenging Archives, working with the archive of performance artist Franko B, and was also a research assistant on the AHRC-funded project Performing Documents, both at the University of Bristol. She was a postdoctoral research associate on the Leverhulme-funded project Acts of Assembly at the University of Roehampton. Johanna is a Lecturer in Creative Practice and Head of English, Creative Writing, and Film at the University of Dundee. 3 A32 Naomi Pearce Naomi Pearce 4 A32 Xavier de Sousa Xavier de Sousa 5 A32 Christina Beatty Christina Beatty 6 A32 Nii Obodai Nii Obodai 7 A51 Amaara Raheem Amaara Raheem 01 eng 00 380 03 93 AFKV 10 ART017000 B2 Art+Aesthetics 93 AFKP 10 ART009000 10 ART060000 93 GT 20 artistic research; performance; listening; sound studies; interdisciplinary writing 01 06 02 00 03 00 Sonic Detection is part sonic noir, part performance document, and part critical investigation of listening at the margins for readers interested in prospecting the boundaries of performance studies, sound studies, and interdisciplinary writing.The book opens with a group of sonic detectives (exact number unknown) who investigate the mystery of an as-yet-unidentified event that leaves traces only in the acoustic atmosphere. This hybrid fiction propels the reader up and down the UK coast and offers overheard fragments from a faded seaside resort, a container shipping port, a former coal-mining town, and the Scottish headquarters for North Sea oil. A heterogeneous collection of texts follows, from creative-critical essays, performance scores, engagement with the archives of earlier sonic detectives (including poet/performance artist Fiona Templeton and the sound art collective Bow Gamelan Ensemble), to a series of dispatches from expert witnesses with their ears to the ground. Sonic Detection is not so much a monograph as a polygraph, tongue-in-cheek associations with questionable forensic technologies firmly in place. The book emerges from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley, who used eavesdropping as an expanded creative methodology. The project began as a series of hyper-local, community-based performance works in coastal locations in the UK (from Bournemouth to Aberdeen) and grew into an international, multi-disciplinary life work devoted to an ongoing, organized curiosity. Sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile, lingering longer in listening. 30 00 Sonic Detection is part sonic noir, part performance document, and part critical investigation of listening at the margins for readers interested in prospecting the boundaries of performance studies, sound studies, and interdisciplinary writing.The book opens with a group of sonic detectives (exact number unknown) who investigate the mystery of an as-yet-unidentified event that leaves traces only in the acoustic atmosphere. This hybrid fiction propels the reader up and down the UK coast and offers overheard fragments from a faded seaside resort, a container shipping port, a former coal-mining town, and the Scottish headquarters for North Sea oil. A heterogeneous collection of texts follows, from creative-critical essays, performance scores, engagement with the archives of earlier sonic detectives (including poet/performance artist Fiona Templeton and the sound art collective Bow Gamelan Ensemble), to a series of dispatches from expert witnesses with their ears to the ground. Sonic Detection is not so much a monograph as a polygraph, tongue-in-cheek associations with questionable forensic technologies firmly in place. The book emerges from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley, who used eavesdropping as an expanded creative methodology. The project began as a series of hyper-local, community-based performance works in coastal locations in the UK (from Bournemouth to Aberdeen) and grew into an international, multi-disciplinary life work devoted to an ongoing, organized curiosity. Sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile, lingering longer in listening. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0470.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sonic-detection-necessary-notes-for-arts-and-performance/ Earth, Milky Way 04 01 20260417 Rebecca Collins and Johanna Linsley 02 WORLD 06 15 9781685712464 03 9781685712464 06 15 9781685712471 03 9781685712471 34 06 10.1386/stap.23.3.165/1 34 06 10.1080/13528165.2016.1223445 34 06 10.1080/0143116042000229258 34 06 10.1080/0034340022000012261 34 06 10.1080/00343409612331349928 34 06 10.1080/00343400050178429 34 06 10.1007/978-3-319-45264-7_16 34 06 10.22501/jar.1248288 34 06 10.3390/arts8040140 34 06 10.1177/1527476418768008 34 06 10.1093/cww/vpn014 34 06 10.1177/019685998601000203 34 06 10.1177/1464700114528767 34 06 10.1386/jaac.9.2.129_1 34 06 10.6092/unibo/ 34 06 10.2307/25528035 34 06 10.1080/07407709608571228 34 06 10.1016/S0277-5395(00)00094-7 34 06 10.16995/bip.3384 34 06 10.1080/13528165.2000.10871754 34 06 10.5040/9780755697533 34 06 10.1080/07494467.2022.2080460 34 06 10.1086/448612 34 06 10.1080/1751696X.2016.1267922 34 06 10.3390/arts9010031 34 06 10.6092/unibo/amsacta/6823 WORLD 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/sonic-detection-necessary-notes-for-arts-and-performance/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0470.1.00.epub 20 08 20260417 01 urn:uuid:1cd2a9a2-3a3d-4917-a87d-4c7aa1ceeecd 03 01 01 thoth-work-id urn:uuid:8f256239-8104-4838-9587-ac234aedd822 01 thoth-publication-id urn:uuid:1cd2a9a2-3a3d-4917-a87d-4c7aa1ceeecd 15 9781685710521 03 9781685710521 06 10.53288/0378.1.00 13 2022945927 01 internal-reference 0378 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 102 mm 02 10.2 cm 02 4 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speaking for the Social A Catalog of Methods 1 B01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 B01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 00 334 03 B2 Built Environments 12 JHBA 93 JHBA 10 SOC024000 B2 Cultural Studies+Critical Theory 93 JHMC 12 JHMC 10 SOC002010 20 ethnography; social change; experimental methodologies; artistic research; infrastructure; public policy 01 06 02 00 03 00 What does it mean to “speak for the social” in projects of technical and infrastructural change? This is the problem that the contributors to Speaking for the Social: A Catalogue of Methods set out to explore through a series of creative interventions that reimagine the role for qualitative social science in understanding and shaping design and engineering projects. The book departs from familiar methods like interviews, surveys, and participant observations, to propose walks, exhibitions, performances, dialogues, online museums, meetings, and staged performances as an array of alternative ways of thinking about and eliciting the social implications of infrastructure projects.Prompted both by a turn to infrastructure and material relations in social research and the concern with social impact and social value in technical projects, this book seeks to outline new ways for social scientists to engage with, critique, and participate in infrastructure design. The chapters build on theoretical attention to the social life of objects like roads, buildings, cities, and environments to devise practical methods that can help make social issues newly visible in infrastructure projects. Individually the entries offer a range of practical methods for “speaking for the social” in technical infrastructure projects. Taken together the book lays the ground for new kinds of collaborative, applied social research embedded in the latest discussions in social theory to explore how social value, impact, and responsibility might be rethought and achieved in the process of designing and engineering social change. 30 00 What does it mean to “speak for the social” in projects of technical and infrastructural change? This is the problem that the contributors to Speaking for the Social: A Catalogue of Methods set out to explore through a series of creative interventions that reimagine the role for qualitative social science in understanding and shaping design and engineering projects. The book departs from familiar methods like interviews, surveys, and participant observations, to propose walks, exhibitions, performances, dialogues, online museums, meetings, and staged performances as an array of alternative ways of thinking about and eliciting the social implications of infrastructure projects.Prompted both by a turn to infrastructure and material relations in social research and the concern with social impact and social value in technical projects, this book seeks to outline new ways for social scientists to engage with, critique, and participate in infrastructure design. The chapters build on theoretical attention to the social life of objects like roads, buildings, cities, and environments to devise practical methods that can help make social issues newly visible in infrastructure projects. Individually the entries offer a range of practical methods for “speaking for the social” in technical infrastructure projects. Taken together the book lays the ground for new kinds of collaborative, applied social research embedded in the latest discussions in social theory to explore how social value, impact, and responsibility might be rethought and achieved in the process of designing and engineering social change. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0378.1.00_frontcover.jpg 1 03 06 10.53288/0378.1.01 1 15 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 B01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 20 00 Open Access Hannah Knox and Gemma John 2 03 06 10.53288/0378.1.02 17 44 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 A01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 20 00 Open Access Hannah Knox and Gemma John 3 03 06 10.53288/0378.1.03 45 59 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deploying the Social in an Engineering Co-design Method Statement 1 A01 21 0000000273401601 Charlotte Johnson Charlotte Johnson 40 02jx3x895 University College London 01 eng 20 00 Open Access Charlotte Johnson 4 03 06 10.53288/0378.1.04 61 81 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Finding the Social Amid Pathogens, Cattle, and Scientific Research 1 A01 21 0000000263974414 Constance Smith Constance Smith 40 027m9bs27 University of Manchester Constance Smith is a Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her primary research focus is the anthropology of architecture, time and urban change, with projects in cities in the UK and in eastern Africa. Her work explores materialities of place and landscape, densification, urban agriculture and how afterlives of older infrastructures shape ways of living towards the future. Her monograph Nairobi in the Making: Landscapes of time and urban belonging (2019 James Currey) examines how shifting urban landscapes influence a sense of place and belonging, inflecting ideas about the kind of city Nairobi could be. 01 eng 20 00 Open Access Constance Smith 5 03 06 10.53288/0378.1.05 83 100 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Do Androids Dream of Electric Vehicles? The Meeting As a Method in Projects of Socio-technical Transformation 1 A01 Maria Șalaru Maria Șalaru 40 02jx3x895 University College London 06 Own website https://www.mariasalaru.com/ 01 eng 20 00 Open Access Maria Șalaru 6 03 06 10.53288/0378.1.06 101 127 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Benefit of Birthing Forth Insights: Reflections on Rhetorical Moves in Ethnographic Conversation 1 A01 21 0000000260119236 Petra Tjitske Kalshoven Petra Tjitske Kalshoven 40 027m9bs27 University of Manchester 01 eng 20 00 Open Access Petra Tjitske Kalshoven 7 03 06 10.53288/0378.1.07 129 154 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sharing Knowledge, Making Place: Exploring “the Social” in Co/mmunity Living in London 1 A01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 03 00 This paper focuses on a building tour as a methodological intersection between anthropology and architecture, and an example of where a social scientist might intervene on a technical project and explore imaginaries of ‘the social’. It draws on participant observation on a tour around a shared living space in North West London that myself and a junior architect carried out as part of an architectural design competition, and larger consultancy project that involved making recommendations to shortlisted architects tasked with creating “community” in a new shared living space in North East London. Rather than examine the shortcomings of the building itself, the paper draws on the lens of anthropology to foreground the way in which people living in the building adapt their spaces to create the right “atmosphere”. It highlights the efforts of residents, who were dealing with the proximity of shared living, to sensorially detach yet share knowledge about communal living and in so doing craft their own version of “community”. 30 00 This paper focuses on a building tour as a methodological intersection between anthropology and architecture, and an example of where a social scientist might intervene on a technical project and explore imaginaries of ‘the social’. It draws on participant observation on a tour around a shared living space in North West London that myself and a junior architect carried out as part of an architectural design competition, and larger consultancy project that involved making recommendations to shortlisted architects tasked with creating “community” in a new shared living space in North East London. Rather than examine the shortcomings of the building itself, the paper draws on the lens of anthropology to foreground the way in which people living in the building adapt their spaces to create the right “atmosphere”. It highlights the efforts of residents, who were dealing with the proximity of shared living, to sensorially detach yet share knowledge about communal living and in so doing craft their own version of “community”. 20 00 Open Access Gemma John 8 03 06 10.53288/0378.1.08 155 185 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Method of the “As Found”: How Matter Speaks for the Social in Brutalism 1 A01 Nick Thoburn Nick Thoburn 40 027m9bs27 University of Manchester Nicholas Thoburn is Reader in Sociology at the University of Manchester. He is author of Anti-Book: On the Art and Politics of Radical Publishing (2016) and Deleuze, Marx and Politics (2003). He publishes on political theory, experimental publishing, social movements, and architecture, and is a member of the editorial board of the culture and politics journal New Formations. His book, Brutalism as Found: Architecture, Housing, and Crisis at Robin Hood Gardens, is forthcoming with Goldsmiths Press. 01 eng 03 00 This chapter considers the Brutalist architectural method of the “as found,” a means by which matter expresses the social under crisis conditions. Coined in the 1950s by the London-based architects Alison and Peter Smithson, the “as found” is an immersive and self-decentering method for bringing the qualities and forces of the material world into expressive form, form that also registers and confronts – or “speaks” – the social. A method of architectural research and practice, the “as found” is as much a means of being in the world as creating from it, a world of prosaic enchantment and contingent encounter, of the confusion of animate and inanimate matter, and of fragmentation and crisis. The chapter teases out the method of the “as found” by focusing on the material/social relation in two aspects of the Smithsons’ work: their understanding of Brutalism; and their interest in the ordinary and the fragment. Each of these is posited against approaches to Brutalist social housing dominant in the UK today – where Brutalism is appropriated for middle-class consumption or demolished as “concrete monstrosity.” 30 00 This chapter considers the Brutalist architectural method of the “as found,” a means by which matter expresses the social under crisis conditions. Coined in the 1950s by the London-based architects Alison and Peter Smithson, the “as found” is an immersive and self-decentering method for bringing the qualities and forces of the material world into expressive form, form that also registers and confronts – or “speaks” – the social. A method of architectural research and practice, the “as found” is as much a means of being in the world as creating from it, a world of prosaic enchantment and contingent encounter, of the confusion of animate and inanimate matter, and of fragmentation and crisis. The chapter teases out the method of the “as found” by focusing on the material/social relation in two aspects of the Smithsons’ work: their understanding of Brutalism; and their interest in the ordinary and the fragment. Each of these is posited against approaches to Brutalist social housing dominant in the UK today – where Brutalism is appropriated for middle-class consumption or demolished as “concrete monstrosity.” 20 00 Open Access Nick Thoburn 9 03 06 10.53288/0378.1.09 187 217 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Performance Walking 1 A01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 A01 Britt Jurgensen Britt Jurgensen 3 A01 Jonathan Atkinson Jonathan Atkinson 20 00 Open Access Hannah Knox Britt Jurgensen Jonathan Atkinson 10 03 06 10.53288/0378.1.10 219 254 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 These Boots Were Made for Talking Speaking Landscape Socialities against the “Businessification” of the Dee Estuary 1 A01 21 0000000236864383 Damian O’Doherty Damian O’Doherty 40 04xs57h96 University of Liverpool Damian O’Doherty is Professor of Organization Theory at the Liverpool University Manchester School where he is also Director of the Organizational and Individual Well Being Research Cluster https://www.liverpool.ac.uk/management/research/centres/organisational- employee-wellbeing/. Damian is senior editor at the journal Organization (SAGE) and is former editor–in-chief of Culture and Organization (Wiley). His most recent monograph is Reconstructing Organization: The Loungification of Society published with Palgrave Macmillan in 2017 based on two and a half years of ethnographic fieldwork at the Manchester Airport Group. He is currently researching and writing on landscapes, haute cuisine culinary practices, forest gardens, and community transitions. 01 eng 03 00 This chapter essays the methodology of walking with a pair of clay clogs based on ethnographic research in the Dee estuary, on the border of England and Wales. The clay clogs allow us to explore the ways in which business tries to make the social speak but also the ways in which landscape might have business designs of its own for estuarial citizens of the future. The shoes help us return to the earth and to explore a more rich and complexly entangled set of relations between landscape and socialities that helps solicit a multitude of agencies and voices normally excluded from ‘the social’. We ask, what social do these shoes speak, or rather what socialities can they speak? Around these shoes we are able to gather emerging stories and practices that are suggestive of new energies and livelihoods being cultivated in the Dee estuary which are helping to enrich socio-ecological relations beyond what we might call their current businification. On the basis of our findings to these questions we weave a series of after-thoughts for the alter-lives of those coming citizens of the future estuary. 30 00 This chapter essays the methodology of walking with a pair of clay clogs based on ethnographic research in the Dee estuary, on the border of England and Wales. The clay clogs allow us to explore the ways in which business tries to make the social speak but also the ways in which landscape might have business designs of its own for estuarial citizens of the future. The shoes help us return to the earth and to explore a more rich and complexly entangled set of relations between landscape and socialities that helps solicit a multitude of agencies and voices normally excluded from ‘the social’. We ask, what social do these shoes speak, or rather what socialities can they speak? Around these shoes we are able to gather emerging stories and practices that are suggestive of new energies and livelihoods being cultivated in the Dee estuary which are helping to enrich socio-ecological relations beyond what we might call their current businification. On the basis of our findings to these questions we weave a series of after-thoughts for the alter-lives of those coming citizens of the future estuary. 20 00 Open Access Damian O’Doherty 11 03 06 10.53288/0378.1.11 255 293 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Revealing Social Infrastructures of Time 1 A01 21 0000000179233920 Larissa Pschetz Larissa Pschetz 40 01nrxwf90 University of Edinburgh Larissa Pschetz is an interaction designer, researcher and lecturer in Design at the University of Edinburgh. She completed a Microsoft-funded PhD in 2014, having previously worked at research centres such as IBM Watson in Cambridge MA, Microsoft Research in Cambridge UK and Microsoft Research Asia, as well as interaction design offices such as IxDS in Berlin and HID in Hamburg, Germany. Her research explores socio-technological narratives, interaction with autonomous systems, and technology inclusion. 2 A01 21 0000000200437582 Michelle Bastian Michelle Bastian 40 01nrxwf90 University of Edinburgh Michelle Bastian is a Senior Lecturer in Environmental Humanities at the Edinburgh College of Art, University of Edinburgh. Her work crosses critical time studies and environmental humanities, with a focus on the role of time in human and more-than-human communities. In 2021-2022 she is a Mid-Career Fellow with the Independent Social Research Fund, working on a project on social time and ecology. She is Editor-in-Chief for Time & Society (SAGE) and a co-editor of a number of collections including, The Social Life of Time (Time & Society), Field Philosophy and Other Experiments (Parallax) and Participatory Research in More-than-Human Worlds (Routledge). Michelle has recent publications in Environmental Humanities, GeoHumanities, and New Formations. 3 A01 21 0000000245943112 Ryan D. Bowler Ryan D. Bowler 40 01nrxwf90 University of Edinburgh Ryan D. Bowler is a PhD student in Design Informatics, University of Edinburgh. His focus is on the temporal narratives of marginalised people and the integration of technology and design to promote social inclusivity. His aim is to understand the temporal diversity of peoples secluded by dominant narratives of time that exclude people from social interactions. His previous work involved working with older communities using Augusto Boal theatre techniques combined with video cameras to develop empowerment methods and dialogic pedagogy practises that promote community inclusion and technology in nursing homes. This research led him to an Interdisciplinary Creative Practice Research approach using video cameras and NFC embedded in memory artefacts for people with early-on-set dementia. His research currently focuses on people with Chronic Fatigue Syndrome and social inclusive technologies. 01 eng 20 00 Open Access Larissa Pschetz Michelle Bastian Ryan Bowler 12 03 06 10.53288/0378.1.12 295 327 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Museum of Data 1 A01 21 000000023320593X Haidy Geismar Haidy Geismar 40 02jx3x895 University College London 2 A01 21 0000000295657288 Joel Gethin Lewis Joel Gethin Lewis 40 01egahc47 Royal College of Art 3 A01 Antonia Walford Antonia Walford 40 02jx3x895 University College London 01 eng 03 00 This chapter presents an ongoing collaborative experimental project, The Museum of Data. Even as the ‘socio-technical’ becomes a common term in the social sciences, it is still the case that the technical is often understood in itself to be beyond social analysis, and critical social scientists therefore are expected only to ‘reveal’ the social that lurks within technical objects and infrastructures. In order to bring the socio-technical back into view, The Museum of Data is a tool that uses the conceit of museological practices - such as objectification, conservation, ownership, curation, classification - to make explicit the imbrications of the social and technical in any digital object, and demands that those who participate in it actively reflect on these. Through this process, the authors suggest that alongside speaking for the social, there also needs to be a sense of “caring for the socio-technical”: both a careful attention to the unequal relations that different technological constraints co-construct, and a move away from the focus on regimes of visibility and towards a commitment to technical repair, maintenance and the everyday labor of caring for representational systems. 30 00 This chapter presents an ongoing collaborative experimental project, The Museum of Data. Even as the ‘socio-technical’ becomes a common term in the social sciences, it is still the case that the technical is often understood in itself to be beyond social analysis, and critical social scientists therefore are expected only to ‘reveal’ the social that lurks within technical objects and infrastructures. In order to bring the socio-technical back into view, The Museum of Data is a tool that uses the conceit of museological practices - such as objectification, conservation, ownership, curation, classification - to make explicit the imbrications of the social and technical in any digital object, and demands that those who participate in it actively reflect on these. Through this process, the authors suggest that alongside speaking for the social, there also needs to be a sense of “caring for the socio-technical”: both a careful attention to the unequal relations that different technological constraints co-construct, and a move away from the focus on regimes of visibility and towards a commitment to technical repair, maintenance and the everyday labor of caring for representational systems. 20 00 Open Access Haidy Geismar Joel Gethin Lewis Antonia Walford 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speaking-for-the-social-a-catalogue-of-methods/ Earth, Milky Way 04 01 20220915 Hannah Knox and Gemma John 02 WORLD 06 15 9781685710538 03 9781685710538 34 06 10.1017/S0964028204001065/ 34 06 10.1111/j.1548-1360.2011.01111.x 34 06 10.1111/j.1475-4762.2007.00742.x 34 06 10.1177/0263276407075954 34 06 10.1080/00220388.2010.487099 34 06 10.1080/1600910X.2015.1019533 34 06 10.1111/j.1467-8322.2011.00809.x 34 06 10.3167/ca.2015.330106 34 06 10.1080/15710882.2017.1355003 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1177/0162243910377624 34 06 10.14506/ca33.3.01/ 34 06 10.1080/1463677032000147180 34 06 10.1353/anq.2002.0048 34 06 10.28938/9780995527768 34 06 10.1080/03085147.2011.602293 34 06 10.22269/130701 34 06 10.1177/0162243911428624 34 06 10.2307/3106908 34 06 10.4324/9781003084693 34 06 10.1177/1359183518820366 34 06 10.1177/030631289019003001 34 06 10.2307/j.ctv1131dh6 34 06 10.1111/1467-9655.12166 34 06 10.1080/09613218.2016.1223486 34 06 10.1080/03085147.2011.602540 34 06 10.1215/9781478002031 34 06 10.1007/s11367-018-1492-2 34 06 10.1680/ensu.900014 34 06 10.1080/17450101.2012.718935 34 06 10.1016/j.erss.2014.03.014 34 06 10.1016/j.geoforum.2006.02.008 34 06 10.1080/15710880701875068 34 06 10.1177/00027649921955326 34 06 10.1177/1474474016647370 34 06 10.1098/rstb.2016.0170 34 06 10.4256/mio.2011.010 34 06 10.3167/aia.2008.150204 34 06 10.1146/annurev.anthro.012809.104948 34 06 10.1177/0309132506070183 34 06 10.1111/j.1467-8306.1990.tb00305.x 34 06 10.1177/1474474016647370 34 06 10.1080/08949468.2016.1131484 34 06 10.1098/rstb.2016.0170 34 06 10.1038/d41586-022-00584-8 34 06 10.4256/mio.2011.010 34 06 10.1093/afraf/adu080 34 06 10.1038/498434a 34 06 10.1111/1467-9655.12592 34 06 10.1111/1467-9655.12591 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1111/amet.12108 34 06 10.1111/1467-9655.12603 34 06 10.2307/3034901 34 06 10.1080/17530351003617610 34 06 10.1111/j.1467-9655.2005.00251.x 34 06 10.1177/0162243911428624 34 06 10.1088/0963-6625/1/3/004 34 06 10.1177/1466138108089467 34 06 10.1177/1470357215579580 34 06 10.2307/2660962 34 06 10.1111/1467-9655.00102 34 06 10.1068/d9109 34 06 10.1080/17547075.2009.11643291 34 06 10.1163/156920612X631099 34 06 10.1162/OCTO_a_00027 34 06 10.1177/0038026118777451 34 06 10.1162/OCTO_a_00038 34 06 10.1162/OCTO_a_00039 34 06 10.1007/s10767-016-9236-4 34 06 10.1080/13604813.2018.1549203 34 06 10.1016/j.erss.2018.04.029 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.22269/130701 34 06 10.21820/23987073.2019.1.34 34 06 10.1287/isre.7.1.111 34 06 10.1086/257766 34 06 10.1177/0170840618765553 34 06 10.1177/0170840616640311 34 06 10.1177/1350508419883377 34 06 10.1177/1350508413489814 34 06 10.18910/75519 34 06 10.5465/AMBPP.2019.18256abstract 34 06 10.1177/0038026119830601 34 06 10.1086/703829 34 06 10.1080/07421656.2006.10129647 34 06 10.1086/703391 34 06 10.1080/2373566X.2019.1583589 34 06 10.1177/1525822X03259229 34 06 10.1145/1240624.1240789 34 06 10.1145/291224.291235 34 06 10.1145/642611.642616 34 06 10.1016/j.destud.2017.10.007 34 06 10.1145/2470654.2466473 34 06 10.1177/1359183513492081 34 06 10.1215/10407391-1218274 34 06 10.1111/muan.12118 34 06 10.5871/bacad/9780197263945.003.0004 34 06 10.14506/ca37.2.11 34 06 10.17169/fqs-9.3.1166 34 06 10.21606/drs.2016.442 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710522 20 08 20220915 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speaking-for-the-social-a-catalog-of-methods 20 08 20220915 02 26.00 USD WORLD urn:uuid:0a666373-c16b-403e-8b68-f5210ae658d1 03 01 01 thoth-work-id urn:uuid:8f256239-8104-4838-9587-ac234aedd822 01 thoth-publication-id urn:uuid:0a666373-c16b-403e-8b68-f5210ae658d1 15 9781685710538 03 9781685710538 06 10.53288/0378.1.00 13 2022945927 01 internal-reference 0378 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speaking for the Social A Catalog of Methods 1 B01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 B01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 00 334 03 B2 Built Environments 12 JHBA 93 JHBA 10 SOC024000 B2 Cultural Studies+Critical Theory 93 JHMC 12 JHMC 10 SOC002010 20 ethnography; social change; experimental methodologies; artistic research; infrastructure; public policy 01 06 02 00 03 00 What does it mean to “speak for the social” in projects of technical and infrastructural change? This is the problem that the contributors to Speaking for the Social: A Catalogue of Methods set out to explore through a series of creative interventions that reimagine the role for qualitative social science in understanding and shaping design and engineering projects. The book departs from familiar methods like interviews, surveys, and participant observations, to propose walks, exhibitions, performances, dialogues, online museums, meetings, and staged performances as an array of alternative ways of thinking about and eliciting the social implications of infrastructure projects.Prompted both by a turn to infrastructure and material relations in social research and the concern with social impact and social value in technical projects, this book seeks to outline new ways for social scientists to engage with, critique, and participate in infrastructure design. The chapters build on theoretical attention to the social life of objects like roads, buildings, cities, and environments to devise practical methods that can help make social issues newly visible in infrastructure projects. Individually the entries offer a range of practical methods for “speaking for the social” in technical infrastructure projects. Taken together the book lays the ground for new kinds of collaborative, applied social research embedded in the latest discussions in social theory to explore how social value, impact, and responsibility might be rethought and achieved in the process of designing and engineering social change. 30 00 What does it mean to “speak for the social” in projects of technical and infrastructural change? This is the problem that the contributors to Speaking for the Social: A Catalogue of Methods set out to explore through a series of creative interventions that reimagine the role for qualitative social science in understanding and shaping design and engineering projects. The book departs from familiar methods like interviews, surveys, and participant observations, to propose walks, exhibitions, performances, dialogues, online museums, meetings, and staged performances as an array of alternative ways of thinking about and eliciting the social implications of infrastructure projects.Prompted both by a turn to infrastructure and material relations in social research and the concern with social impact and social value in technical projects, this book seeks to outline new ways for social scientists to engage with, critique, and participate in infrastructure design. The chapters build on theoretical attention to the social life of objects like roads, buildings, cities, and environments to devise practical methods that can help make social issues newly visible in infrastructure projects. Individually the entries offer a range of practical methods for “speaking for the social” in technical infrastructure projects. Taken together the book lays the ground for new kinds of collaborative, applied social research embedded in the latest discussions in social theory to explore how social value, impact, and responsibility might be rethought and achieved in the process of designing and engineering social change. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0378.1.00_frontcover.jpg 1 03 06 10.53288/0378.1.01 1 15 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 B01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 20 00 Open Access Hannah Knox and Gemma John 2 03 06 10.53288/0378.1.02 17 44 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 A01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 20 00 Open Access Hannah Knox and Gemma John 3 03 06 10.53288/0378.1.03 45 59 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Deploying the Social in an Engineering Co-design Method Statement 1 A01 21 0000000273401601 Charlotte Johnson Charlotte Johnson 40 02jx3x895 University College London 01 eng 20 00 Open Access Charlotte Johnson 4 03 06 10.53288/0378.1.04 61 81 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Finding the Social Amid Pathogens, Cattle, and Scientific Research 1 A01 21 0000000263974414 Constance Smith Constance Smith 40 027m9bs27 University of Manchester Constance Smith is a Lecturer and UKRI Future Leader Fellow in Social Anthropology at the University of Manchester. Her primary research focus is the anthropology of architecture, time and urban change, with projects in cities in the UK and in eastern Africa. Her work explores materialities of place and landscape, densification, urban agriculture and how afterlives of older infrastructures shape ways of living towards the future. Her monograph Nairobi in the Making: Landscapes of time and urban belonging (2019 James Currey) examines how shifting urban landscapes influence a sense of place and belonging, inflecting ideas about the kind of city Nairobi could be. 01 eng 20 00 Open Access Constance Smith 5 03 06 10.53288/0378.1.05 83 100 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Do Androids Dream of Electric Vehicles? The Meeting As a Method in Projects of Socio-technical Transformation 1 A01 Maria Șalaru Maria Șalaru 40 02jx3x895 University College London 06 Own website https://www.mariasalaru.com/ 01 eng 20 00 Open Access Maria Șalaru 6 03 06 10.53288/0378.1.06 101 127 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Benefit of Birthing Forth Insights: Reflections on Rhetorical Moves in Ethnographic Conversation 1 A01 21 0000000260119236 Petra Tjitske Kalshoven Petra Tjitske Kalshoven 40 027m9bs27 University of Manchester 01 eng 20 00 Open Access Petra Tjitske Kalshoven 7 03 06 10.53288/0378.1.07 129 154 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sharing Knowledge, Making Place: Exploring “the Social” in Co/mmunity Living in London 1 A01 21 0000000187496704 Gemma John Gemma John 40 02jx3x895 University College London Gemma John is an Honorary Research Fellow in Social Anthropology at the University College of London, and the Founder of Human City. She works at the intersection between social anthropology, urban governance and design, illuminating the ways in which planners, property developers, architects and other built environment experts negotiate legal and political infrastructures while creating places that deliver value to society and reflect imaginaries of the "good life." Her interest in the politics of value, and the interplay between economy, morality and design, stems from her post-doctoral research on devolved governance in the UK through the Localism Act, and doctoral research on Freedom of Information legislation and transparent citizenships in Scotland. As an academic, she has published on new knowledge practices, government bureaucracy, and personhood. As a consultant, she uncovers the relationships between technical, material and social factors in urban contexts and enables organizations to design spaces that are morally and socially sustainable. 01 eng 03 00 This paper focuses on a building tour as a methodological intersection between anthropology and architecture, and an example of where a social scientist might intervene on a technical project and explore imaginaries of ‘the social’. It draws on participant observation on a tour around a shared living space in North West London that myself and a junior architect carried out as part of an architectural design competition, and larger consultancy project that involved making recommendations to shortlisted architects tasked with creating “community” in a new shared living space in North East London. Rather than examine the shortcomings of the building itself, the paper draws on the lens of anthropology to foreground the way in which people living in the building adapt their spaces to create the right “atmosphere”. It highlights the efforts of residents, who were dealing with the proximity of shared living, to sensorially detach yet share knowledge about communal living and in so doing craft their own version of “community”. 30 00 This paper focuses on a building tour as a methodological intersection between anthropology and architecture, and an example of where a social scientist might intervene on a technical project and explore imaginaries of ‘the social’. It draws on participant observation on a tour around a shared living space in North West London that myself and a junior architect carried out as part of an architectural design competition, and larger consultancy project that involved making recommendations to shortlisted architects tasked with creating “community” in a new shared living space in North East London. Rather than examine the shortcomings of the building itself, the paper draws on the lens of anthropology to foreground the way in which people living in the building adapt their spaces to create the right “atmosphere”. It highlights the efforts of residents, who were dealing with the proximity of shared living, to sensorially detach yet share knowledge about communal living and in so doing craft their own version of “community”. 20 00 Open Access Gemma John 8 03 06 10.53288/0378.1.08 155 185 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Method of the “As Found”: How Matter Speaks for the Social in Brutalism 1 A01 Nick Thoburn Nick Thoburn 40 027m9bs27 University of Manchester Nicholas Thoburn is Reader in Sociology at the University of Manchester. He is author of Anti-Book: On the Art and Politics of Radical Publishing (2016) and Deleuze, Marx and Politics (2003). He publishes on political theory, experimental publishing, social movements, and architecture, and is a member of the editorial board of the culture and politics journal New Formations. His book, Brutalism as Found: Architecture, Housing, and Crisis at Robin Hood Gardens, is forthcoming with Goldsmiths Press. 01 eng 03 00 This chapter considers the Brutalist architectural method of the “as found,” a means by which matter expresses the social under crisis conditions. Coined in the 1950s by the London-based architects Alison and Peter Smithson, the “as found” is an immersive and self-decentering method for bringing the qualities and forces of the material world into expressive form, form that also registers and confronts – or “speaks” – the social. A method of architectural research and practice, the “as found” is as much a means of being in the world as creating from it, a world of prosaic enchantment and contingent encounter, of the confusion of animate and inanimate matter, and of fragmentation and crisis. The chapter teases out the method of the “as found” by focusing on the material/social relation in two aspects of the Smithsons’ work: their understanding of Brutalism; and their interest in the ordinary and the fragment. Each of these is posited against approaches to Brutalist social housing dominant in the UK today – where Brutalism is appropriated for middle-class consumption or demolished as “concrete monstrosity.” 30 00 This chapter considers the Brutalist architectural method of the “as found,” a means by which matter expresses the social under crisis conditions. Coined in the 1950s by the London-based architects Alison and Peter Smithson, the “as found” is an immersive and self-decentering method for bringing the qualities and forces of the material world into expressive form, form that also registers and confronts – or “speaks” – the social. A method of architectural research and practice, the “as found” is as much a means of being in the world as creating from it, a world of prosaic enchantment and contingent encounter, of the confusion of animate and inanimate matter, and of fragmentation and crisis. The chapter teases out the method of the “as found” by focusing on the material/social relation in two aspects of the Smithsons’ work: their understanding of Brutalism; and their interest in the ordinary and the fragment. Each of these is posited against approaches to Brutalist social housing dominant in the UK today – where Brutalism is appropriated for middle-class consumption or demolished as “concrete monstrosity.” 20 00 Open Access Nick Thoburn 9 03 06 10.53288/0378.1.09 187 217 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Performance Walking 1 A01 21 0000000322940258 Hannah Knox Hannah Knox 40 02jx3x895 University College London Hannah Knox is Professor of Anthropology at University College London. Her work concerns the relationship between technical infrastructures and social life, focusing in particular on how infrastructures, technologies, and data models frame and order the way that people imagine and engage with one another and the world around them. She has conducted research on road construction and the state in Peru, information systems and the transformation of work and welfare in the UK, and climate data and the problem of the city, also in the UK. Her current work is exploring how open data on energy and thermodynamics is being used in attempts to move towards a post-carbon culture. Hannah’s recent publications include Roads: An Anthropology of Infrastructure and Expertise (with Penny Harvey), Ethnography for a Data Saturated World (edited with Dawn Nafus), Digital Anthropology (edited with Haidy Geismar), and Thinking Like a Climate: Governing a City in Times of Environmental Change. 2 A01 Britt Jurgensen Britt Jurgensen 3 A01 Jonathan Atkinson Jonathan Atkinson 20 00 Open Access Hannah Knox Britt Jurgensen Jonathan Atkinson 10 03 06 10.53288/0378.1.10 219 254 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 These Boots Were Made for Talking Speaking Landscape Socialities against the “Businessification” of the Dee Estuary 1 A01 21 0000000236864383 Damian O’Doherty Damian O’Doherty 40 04xs57h96 University of Liverpool Damian O’Doherty is Professor of Organization Theory at the Liverpool University Manchester School where he is also Director of the Organizational and Individual Well Being Research Cluster https://www.liverpool.ac.uk/management/research/centres/organisational- employee-wellbeing/. Damian is senior editor at the journal Organization (SAGE) and is former editor–in-chief of Culture and Organization (Wiley). His most recent monograph is Reconstructing Organization: The Loungification of Society published with Palgrave Macmillan in 2017 based on two and a half years of ethnographic fieldwork at the Manchester Airport Group. He is currently researching and writing on landscapes, haute cuisine culinary practices, forest gardens, and community transitions. 01 eng 03 00 This chapter essays the methodology of walking with a pair of clay clogs based on ethnographic research in the Dee estuary, on the border of England and Wales. The clay clogs allow us to explore the ways in which business tries to make the social speak but also the ways in which landscape might have business designs of its own for estuarial citizens of the future. The shoes help us return to the earth and to explore a more rich and complexly entangled set of relations between landscape and socialities that helps solicit a multitude of agencies and voices normally excluded from ‘the social’. We ask, what social do these shoes speak, or rather what socialities can they speak? Around these shoes we are able to gather emerging stories and practices that are suggestive of new energies and livelihoods being cultivated in the Dee estuary which are helping to enrich socio-ecological relations beyond what we might call their current businification. On the basis of our findings to these questions we weave a series of after-thoughts for the alter-lives of those coming citizens of the future estuary. 30 00 This chapter essays the methodology of walking with a pair of clay clogs based on ethnographic research in the Dee estuary, on the border of England and Wales. The clay clogs allow us to explore the ways in which business tries to make the social speak but also the ways in which landscape might have business designs of its own for estuarial citizens of the future. The shoes help us return to the earth and to explore a more rich and complexly entangled set of relations between landscape and socialities that helps solicit a multitude of agencies and voices normally excluded from ‘the social’. We ask, what social do these shoes speak, or rather what socialities can they speak? Around these shoes we are able to gather emerging stories and practices that are suggestive of new energies and livelihoods being cultivated in the Dee estuary which are helping to enrich socio-ecological relations beyond what we might call their current businification. On the basis of our findings to these questions we weave a series of after-thoughts for the alter-lives of those coming citizens of the future estuary. 20 00 Open Access Damian O’Doherty 11 03 06 10.53288/0378.1.11 255 293 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Revealing Social Infrastructures of Time 1 A01 21 0000000179233920 Larissa Pschetz Larissa Pschetz 40 01nrxwf90 University of Edinburgh Larissa Pschetz is an interaction designer, researcher and lecturer in Design at the University of Edinburgh. She completed a Microsoft-funded PhD in 2014, having previously worked at research centres such as IBM Watson in Cambridge MA, Microsoft Research in Cambridge UK and Microsoft Research Asia, as well as interaction design offices such as IxDS in Berlin and HID in Hamburg, Germany. Her research explores socio-technological narratives, interaction with autonomous systems, and technology inclusion. 2 A01 21 0000000200437582 Michelle Bastian Michelle Bastian 40 01nrxwf90 University of Edinburgh Michelle Bastian is a Senior Lecturer in Environmental Humanities at the Edinburgh College of Art, University of Edinburgh. Her work crosses critical time studies and environmental humanities, with a focus on the role of time in human and more-than-human communities. In 2021-2022 she is a Mid-Career Fellow with the Independent Social Research Fund, working on a project on social time and ecology. She is Editor-in-Chief for Time & Society (SAGE) and a co-editor of a number of collections including, The Social Life of Time (Time & Society), Field Philosophy and Other Experiments (Parallax) and Participatory Research in More-than-Human Worlds (Routledge). Michelle has recent publications in Environmental Humanities, GeoHumanities, and New Formations. 3 A01 21 0000000245943112 Ryan D. Bowler Ryan D. Bowler 40 01nrxwf90 University of Edinburgh Ryan D. Bowler is a PhD student in Design Informatics, University of Edinburgh. His focus is on the temporal narratives of marginalised people and the integration of technology and design to promote social inclusivity. His aim is to understand the temporal diversity of peoples secluded by dominant narratives of time that exclude people from social interactions. His previous work involved working with older communities using Augusto Boal theatre techniques combined with video cameras to develop empowerment methods and dialogic pedagogy practises that promote community inclusion and technology in nursing homes. This research led him to an Interdisciplinary Creative Practice Research approach using video cameras and NFC embedded in memory artefacts for people with early-on-set dementia. His research currently focuses on people with Chronic Fatigue Syndrome and social inclusive technologies. 01 eng 20 00 Open Access Larissa Pschetz Michelle Bastian Ryan Bowler 12 03 06 10.53288/0378.1.12 295 327 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Museum of Data 1 A01 21 000000023320593X Haidy Geismar Haidy Geismar 40 02jx3x895 University College London 2 A01 21 0000000295657288 Joel Gethin Lewis Joel Gethin Lewis 40 01egahc47 Royal College of Art 3 A01 Antonia Walford Antonia Walford 40 02jx3x895 University College London 01 eng 03 00 This chapter presents an ongoing collaborative experimental project, The Museum of Data. Even as the ‘socio-technical’ becomes a common term in the social sciences, it is still the case that the technical is often understood in itself to be beyond social analysis, and critical social scientists therefore are expected only to ‘reveal’ the social that lurks within technical objects and infrastructures. In order to bring the socio-technical back into view, The Museum of Data is a tool that uses the conceit of museological practices - such as objectification, conservation, ownership, curation, classification - to make explicit the imbrications of the social and technical in any digital object, and demands that those who participate in it actively reflect on these. Through this process, the authors suggest that alongside speaking for the social, there also needs to be a sense of “caring for the socio-technical”: both a careful attention to the unequal relations that different technological constraints co-construct, and a move away from the focus on regimes of visibility and towards a commitment to technical repair, maintenance and the everyday labor of caring for representational systems. 30 00 This chapter presents an ongoing collaborative experimental project, The Museum of Data. Even as the ‘socio-technical’ becomes a common term in the social sciences, it is still the case that the technical is often understood in itself to be beyond social analysis, and critical social scientists therefore are expected only to ‘reveal’ the social that lurks within technical objects and infrastructures. In order to bring the socio-technical back into view, The Museum of Data is a tool that uses the conceit of museological practices - such as objectification, conservation, ownership, curation, classification - to make explicit the imbrications of the social and technical in any digital object, and demands that those who participate in it actively reflect on these. Through this process, the authors suggest that alongside speaking for the social, there also needs to be a sense of “caring for the socio-technical”: both a careful attention to the unequal relations that different technological constraints co-construct, and a move away from the focus on regimes of visibility and towards a commitment to technical repair, maintenance and the everyday labor of caring for representational systems. 20 00 Open Access Haidy Geismar Joel Gethin Lewis Antonia Walford 01 URL https://punctumbooks.com/imprints/advanced-methods/ Advanced Methods 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speaking-for-the-social-a-catalogue-of-methods/ Earth, Milky Way 04 01 20220915 Hannah Knox and Gemma John 02 WORLD 06 15 9781685710521 03 9781685710521 34 06 10.1017/S0964028204001065/ 34 06 10.1111/j.1548-1360.2011.01111.x 34 06 10.1111/j.1475-4762.2007.00742.x 34 06 10.1177/0263276407075954 34 06 10.1080/00220388.2010.487099 34 06 10.1080/1600910X.2015.1019533 34 06 10.1111/j.1467-8322.2011.00809.x 34 06 10.3167/ca.2015.330106 34 06 10.1080/15710882.2017.1355003 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1177/0162243910377624 34 06 10.14506/ca33.3.01/ 34 06 10.1080/1463677032000147180 34 06 10.1353/anq.2002.0048 34 06 10.28938/9780995527768 34 06 10.1080/03085147.2011.602293 34 06 10.22269/130701 34 06 10.1177/0162243911428624 34 06 10.2307/3106908 34 06 10.4324/9781003084693 34 06 10.1177/1359183518820366 34 06 10.1177/030631289019003001 34 06 10.2307/j.ctv1131dh6 34 06 10.1111/1467-9655.12166 34 06 10.1080/09613218.2016.1223486 34 06 10.1080/03085147.2011.602540 34 06 10.1215/9781478002031 34 06 10.1007/s11367-018-1492-2 34 06 10.1680/ensu.900014 34 06 10.1080/17450101.2012.718935 34 06 10.1016/j.erss.2014.03.014 34 06 10.1016/j.geoforum.2006.02.008 34 06 10.1080/15710880701875068 34 06 10.1177/00027649921955326 34 06 10.1177/1474474016647370 34 06 10.1098/rstb.2016.0170 34 06 10.4256/mio.2011.010 34 06 10.3167/aia.2008.150204 34 06 10.1146/annurev.anthro.012809.104948 34 06 10.1177/0309132506070183 34 06 10.1111/j.1467-8306.1990.tb00305.x 34 06 10.1177/1474474016647370 34 06 10.1080/08949468.2016.1131484 34 06 10.1098/rstb.2016.0170 34 06 10.1038/d41586-022-00584-8 34 06 10.4256/mio.2011.010 34 06 10.1093/afraf/adu080 34 06 10.1038/498434a 34 06 10.1111/1467-9655.12592 34 06 10.1111/1467-9655.12591 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1111/amet.12108 34 06 10.1111/1467-9655.12603 34 06 10.2307/3034901 34 06 10.1080/17530351003617610 34 06 10.1111/j.1467-9655.2005.00251.x 34 06 10.1177/0162243911428624 34 06 10.1088/0963-6625/1/3/004 34 06 10.1177/1466138108089467 34 06 10.1177/1470357215579580 34 06 10.2307/2660962 34 06 10.1111/1467-9655.00102 34 06 10.1068/d9109 34 06 10.1080/17547075.2009.11643291 34 06 10.1163/156920612X631099 34 06 10.1162/OCTO_a_00027 34 06 10.1177/0038026118777451 34 06 10.1162/OCTO_a_00038 34 06 10.1162/OCTO_a_00039 34 06 10.1007/s10767-016-9236-4 34 06 10.1080/13604813.2018.1549203 34 06 10.1016/j.erss.2018.04.029 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.22269/130701 34 06 10.21820/23987073.2019.1.34 34 06 10.1287/isre.7.1.111 34 06 10.1086/257766 34 06 10.1177/0170840618765553 34 06 10.1177/0170840616640311 34 06 10.1177/1350508419883377 34 06 10.1177/1350508413489814 34 06 10.18910/75519 34 06 10.5465/AMBPP.2019.18256abstract 34 06 10.1177/0038026119830601 34 06 10.1086/703829 34 06 10.1080/07421656.2006.10129647 34 06 10.1086/703391 34 06 10.1080/2373566X.2019.1583589 34 06 10.1177/1525822X03259229 34 06 10.1145/1240624.1240789 34 06 10.1145/291224.291235 34 06 10.1145/642611.642616 34 06 10.1016/j.destud.2017.10.007 34 06 10.1145/2470654.2466473 34 06 10.1177/1359183513492081 34 06 10.1215/10407391-1218274 34 06 10.1111/muan.12118 34 06 10.5871/bacad/9780197263945.003.0004 34 06 10.14506/ca37.2.11 34 06 10.17169/fqs-9.3.1166 34 06 10.21606/drs.2016.442 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/58195 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/58195/0378.1.00.pdf?sequence=1&isAllowed=y 20 08 20220915 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/92350 20 08 20220915 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2x00w0q 20 08 20220915 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/696 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c71f371a-f0bf-44c5-9d12-07c8a7baf657/download 20 08 20220915 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8f256239-8104-4838-9587-ac234aedd822 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8f256239-8104-4838-9587-ac234aedd822/8f256239-8104-4838-9587-ac234aedd822.pdf 20 08 20220915 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849500 29 ZENODO: download the title https://zenodo.org/records/19849500/files/8f256239-8104-4838-9587-ac234aedd822_book.pdf 20 08 20220915 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speaking-for-the-social-a-catalogue-of-methods/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0378.1.00.pdf 20 08 20220915 01 urn:uuid:7644c142-ef6d-4b58-9cb4-f3f42f9d9b7b 03 01 01 thoth-work-id urn:uuid:6f0a56be-6b4f-43c7-a775-4167cbea9504 01 thoth-publication-id urn:uuid:7644c142-ef6d-4b58-9cb4-f3f42f9d9b7b 15 9781685711726 03 9781685711726 06 10.53288/0465.1.00 13 2024938689 01 internal-reference 0465 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speaking with the Dead An Ethnography of Extrahuman Experience 1 A01 21 0000000198087615 Matt Tomlinson Matt Tomlinson Professor of Anthropology in the School of Culture, History and Language 40 019wvm592 Australian National University Matt Tomlinson is an anthropologist from New Jersey who studies ritual, language, and politics. His research on Christian politics in Fiji has been published as In God’s Image: The Metaculture of Fijian Christianity (University of California Press, 2009) and Ritual Textuality: Pattern and Motion in Performance (Oxford University Press, 2014). He has engaged in innovative intellectual conversations with Indigenous scholars in the Pacific, as seen in the volume New Mana: Transformations of a Classic Concept in Pacific Languages and Cultures (coedited with Ty P. Kāwika Tengan, ANU Press, 2016) and the monograph God Is Samoan: Dialogues between Culture and Theology in the Pacific (University of Hawai‘i Press, 2020). He is Professor of Anthropology in the School of Culture, History and Language at the Australian National University, and has taught at Bowdoin College, Monash University, and the University of Oslo. 01 eng 00 190 03 B2 Cultural Studies+Critical Theory 93 QRYM2 10 SOC002010 93 1MBF 10 OCC027000 B2 Posthumanism 93 JHMC 20 religion; ritual; mediumship; death; spiritualism; spirituality; Australia; afterlife; ethnography 01 06 02 00 03 00 If you tried speaking with a dead person and they gave you a clear response, how would you react? Mediums develop their minds and bodies to communicate messages from the deceased to their living loved ones, and in Speaking with the Dead, anthropologist Matt Tomlinson describes his experiences training as a medium with a Spiritualist congregation in Canberra, Australia. The book is written in a first-person narrative style that brings “extrahuman” relationships to life, showing what it is like to learn and practice mediumship: the strategic suspension of skepticism; the wobbly first attempts; the embarrassing failures; and the moments, both unsettling and enthralling, when someone tells you that yes indeed, you’ve just described her grandfather who died in 1978.Speaking with the Dead brims with stories of talented mediums and Tomlinson is not interested in proving or disproving mediumship, preferring instead to illustrate how mediums bring their practices to life. In contrast to the popular image of mediums as shameless frauds, Tomlinson describes earnest and committed seekers from a wide range of backgrounds who often struggle to understand their own experiences. Their profits are therapeutic rather than financial. And they worry about endings as much as anyone else: the passing of physical lives, the closure of beloved churches. Speaking with the Dead is ultimately a book about the lively side of death, grounded in Spiritualists’ conviction that life is eternal and your social network extends to the astral plane. It is a close examination of how mediumship works culturally, which is to say, how mediums and audiences work together to create senses of transcendent connection. 30 00 If you tried speaking with a dead person and they gave you a clear response, how would you react? Mediums develop their minds and bodies to communicate messages from the deceased to their living loved ones, and in Speaking with the Dead, anthropologist Matt Tomlinson describes his experiences training as a medium with a Spiritualist congregation in Canberra, Australia. The book is written in a first-person narrative style that brings “extrahuman” relationships to life, showing what it is like to learn and practice mediumship: the strategic suspension of skepticism; the wobbly first attempts; the embarrassing failures; and the moments, both unsettling and enthralling, when someone tells you that yes indeed, you’ve just described her grandfather who died in 1978.Speaking with the Dead brims with stories of talented mediums and Tomlinson is not interested in proving or disproving mediumship, preferring instead to illustrate how mediums bring their practices to life. In contrast to the popular image of mediums as shameless frauds, Tomlinson describes earnest and committed seekers from a wide range of backgrounds who often struggle to understand their own experiences. Their profits are therapeutic rather than financial. And they worry about endings as much as anyone else: the passing of physical lives, the closure of beloved churches. Speaking with the Dead is ultimately a book about the lively side of death, grounded in Spiritualists’ conviction that life is eternal and your social network extends to the astral plane. It is a close examination of how mediumship works culturally, which is to say, how mediums and audiences work together to create senses of transcendent connection. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0465.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speaking-with-the-dead-an-ethnography-of-extrahuman-experience/ Earth, Milky Way 04 01 20240528 Matt Tomlinson 02 WORLD 06 15 9781685711733 03 9781685711733 34 06 10.1111/jola.12177 34 06 10.1086/508690 34 06 10.1111/amet.12832 34 06 10.1111/taja.12452 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711723 20 08 20240528 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speaking-with-the-dead-an-ethnography-of-extrahuman-experience 20 08 20240528 02 23.00 USD WORLD urn:uuid:8f9870d0-0b8d-4ffc-bb08-5037fb6b4de4 03 01 01 thoth-work-id urn:uuid:6f0a56be-6b4f-43c7-a775-4167cbea9504 01 thoth-publication-id urn:uuid:8f9870d0-0b8d-4ffc-bb08-5037fb6b4de4 15 9781685711733 03 9781685711733 06 10.53288/0465.1.00 13 2024938689 01 internal-reference 0465 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speaking with the Dead An Ethnography of Extrahuman Experience 1 A01 21 0000000198087615 Matt Tomlinson Matt Tomlinson Professor of Anthropology in the School of Culture, History and Language 40 019wvm592 Australian National University Matt Tomlinson is an anthropologist from New Jersey who studies ritual, language, and politics. His research on Christian politics in Fiji has been published as In God’s Image: The Metaculture of Fijian Christianity (University of California Press, 2009) and Ritual Textuality: Pattern and Motion in Performance (Oxford University Press, 2014). He has engaged in innovative intellectual conversations with Indigenous scholars in the Pacific, as seen in the volume New Mana: Transformations of a Classic Concept in Pacific Languages and Cultures (coedited with Ty P. Kāwika Tengan, ANU Press, 2016) and the monograph God Is Samoan: Dialogues between Culture and Theology in the Pacific (University of Hawai‘i Press, 2020). He is Professor of Anthropology in the School of Culture, History and Language at the Australian National University, and has taught at Bowdoin College, Monash University, and the University of Oslo. 01 eng 00 190 03 B2 Cultural Studies+Critical Theory 93 QRYM2 10 SOC002010 93 1MBF 10 OCC027000 B2 Posthumanism 93 JHMC 20 religion; ritual; mediumship; death; spiritualism; spirituality; Australia; afterlife; ethnography 01 06 02 00 03 00 If you tried speaking with a dead person and they gave you a clear response, how would you react? Mediums develop their minds and bodies to communicate messages from the deceased to their living loved ones, and in Speaking with the Dead, anthropologist Matt Tomlinson describes his experiences training as a medium with a Spiritualist congregation in Canberra, Australia. The book is written in a first-person narrative style that brings “extrahuman” relationships to life, showing what it is like to learn and practice mediumship: the strategic suspension of skepticism; the wobbly first attempts; the embarrassing failures; and the moments, both unsettling and enthralling, when someone tells you that yes indeed, you’ve just described her grandfather who died in 1978.Speaking with the Dead brims with stories of talented mediums and Tomlinson is not interested in proving or disproving mediumship, preferring instead to illustrate how mediums bring their practices to life. In contrast to the popular image of mediums as shameless frauds, Tomlinson describes earnest and committed seekers from a wide range of backgrounds who often struggle to understand their own experiences. Their profits are therapeutic rather than financial. And they worry about endings as much as anyone else: the passing of physical lives, the closure of beloved churches. Speaking with the Dead is ultimately a book about the lively side of death, grounded in Spiritualists’ conviction that life is eternal and your social network extends to the astral plane. It is a close examination of how mediumship works culturally, which is to say, how mediums and audiences work together to create senses of transcendent connection. 30 00 If you tried speaking with a dead person and they gave you a clear response, how would you react? Mediums develop their minds and bodies to communicate messages from the deceased to their living loved ones, and in Speaking with the Dead, anthropologist Matt Tomlinson describes his experiences training as a medium with a Spiritualist congregation in Canberra, Australia. The book is written in a first-person narrative style that brings “extrahuman” relationships to life, showing what it is like to learn and practice mediumship: the strategic suspension of skepticism; the wobbly first attempts; the embarrassing failures; and the moments, both unsettling and enthralling, when someone tells you that yes indeed, you’ve just described her grandfather who died in 1978.Speaking with the Dead brims with stories of talented mediums and Tomlinson is not interested in proving or disproving mediumship, preferring instead to illustrate how mediums bring their practices to life. In contrast to the popular image of mediums as shameless frauds, Tomlinson describes earnest and committed seekers from a wide range of backgrounds who often struggle to understand their own experiences. Their profits are therapeutic rather than financial. And they worry about endings as much as anyone else: the passing of physical lives, the closure of beloved churches. Speaking with the Dead is ultimately a book about the lively side of death, grounded in Spiritualists’ conviction that life is eternal and your social network extends to the astral plane. It is a close examination of how mediumship works culturally, which is to say, how mediums and audiences work together to create senses of transcendent connection. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0465.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speaking-with-the-dead-an-ethnography-of-extrahuman-experience/ Earth, Milky Way 04 01 20240528 Matt Tomlinson 02 WORLD 06 15 9781685711726 03 9781685711726 34 06 10.1111/jola.12177 34 06 10.1086/508690 34 06 10.1111/amet.12832 34 06 10.1111/taja.12452 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/90592 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/90592/0465.1.00.pdf?sequence=1&isAllowed=y 20 08 20240528 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/138410 20 08 20240528 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626770 20 08 20240528 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/846 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0bdb308b-492d-4b6f-8c54-bc07727f415d/download 20 08 20240528 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Speaking_with_the_Dead/dpEoEQAAQBAJ 20 08 20240528 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6f0a56be-6b4f-43c7-a775-4167cbea9504 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6f0a56be-6b4f-43c7-a775-4167cbea9504/6f0a56be-6b4f-43c7-a775-4167cbea9504.pdf 20 08 20240528 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850352 29 ZENODO: download the title https://zenodo.org/records/19850352/files/6f0a56be-6b4f-43c7-a775-4167cbea9504_book.pdf 20 08 20240528 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speaking-with-the-dead-an-ethnography-of-extrahuman-experience/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0465.1.00.pdf 20 08 20240528 01 urn:uuid:62751762-d0a5-414e-91f8-8042fbd16e78 03 01 01 thoth-work-id urn:uuid:03da5b84-80ba-48bc-89b9-b63fc56b364b 01 thoth-publication-id urn:uuid:62751762-d0a5-414e-91f8-8042fbd16e78 15 9781950192991 03 9781950192991 06 10.21983/P3.0343.1.00 01 internal-reference 0343 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speculations 1 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 01 eng 00 212 03 12 HPCF 10 PHI013000 B2 Philosophy 20 philosophy; speculative realism; object-oriented ontology 01 06 02 00 03 00 From the Editorial Introduction: "Since I am convinced that nobody reads editorials I will keep my remarks brief. Putting together the inaugural issue of Speculations has been an unusual experience. It has depended on the collusion of fellow speculative types, the help of many anonymous reviewers, the endless patience of designer Thomas Gokey, and more hours than someone in the final year of their PhD should ever spend on a project. Looking over the final product I think it has all been worth it. This is the first journal dedicated to speculative realism and despite the obscurity of that term I think we all understand it as a handy label under which weird realists, continental metaphysicians, object oriented ontologists, transcendental realists, vitalists, and Lovecraftians can unite. This is also, perhaps, the first time a journal can boast that each contributor is also a blogger. This is the reason why Speculations could only ever be an online, open-access journal. …" 30 00 From the Editorial Introduction: "Since I am convinced that nobody reads editorials I will keep my remarks brief. Putting together the inaugural issue of Speculations has been an unusual experience. It has depended on the collusion of fellow speculative types, the help of many anonymous reviewers, the endless patience of designer Thomas Gokey, and more hours than someone in the final year of their PhD should ever spend on a project. Looking over the final product I think it has all been worth it. This is the first journal dedicated to speculative realism and despite the obscurity of that term I think we all understand it as a handy label under which weird realists, continental metaphysicians, object oriented ontologists, transcendental realists, vitalists, and Lovecraftians can unite. This is also, perhaps, the first time a journal can boast that each contributor is also a blogger. This is the reason why Speculations could only ever be an online, open-access journal. …" 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0343.1.00_frontcover.jpg 1 03 06 10.53288/0343.1.01 1 4 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 01 eng 20 00 Open Access Paul J. Ennis 2 03 06 10.53288/0343.1.02 5 8 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Editorial 1 A01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 01 eng 20 00 Open Access Paul J. Ennis 3 03 06 10.53288/0343.1.03 9 46 48 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Science-Laden Theory Outlines of an Unsettled Alliance 1 A01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 20 00 Open Access Fabio Gironi 4 03 06 10.53288/0343.1.04 47 65 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking Against Nature Nature, Ideation, and Realism between Lovecraft and Shelling 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 04g3mbv81 European Graduate School 06 Own website https://naughtthought.wordpress.com/ 01 eng 20 00 Open Access Ben Woodard 5 03 06 10.53288/0343.1.05 66 83 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 To Exist Is to Change A Friendly Disagreement with Graham Harman on Why Things Happen 1 A01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 01 eng 20 00 Open Access Michael Austin 6 03 06 10.53288/0343.1.06 84 134 51 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interviews with Graham Harman, Jane Bennett, Tim Morton, Ian Bogost, Levi Bryant and Paul Ennis 1 A01 Peter Gratton Peter Gratton 40 0168r3w48 University of California, San Diego 01 eng 20 00 Open Access Peter Gratton 7 03 06 10.53288/0343.1.07 135 144 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nomological Disputation Alain Badiou and Graham Harman on Objects 1 A01 21 0000000273191181 Nathan Coombs Nathan Coombs 40 04cw6st05 University of London 01 eng 20 00 Open Access Nathan Coombs 8 03 06 10.53288/0343.1.08 145 152 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Response to Nathan Coombs 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 01 eng 20 00 Open Access Graham Harman 9 03 06 10.53288/0343.1.09 153 183 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Networkologies A Manifesto, Section I 1 A01 Christopher Vitale Christopher Vitale 40 007m3p006 Pratt Institute 01 eng 20 00 Open Access Christopher Vitale 10 03 06 10.53288/0343.1.10 184 191 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of "Deleuze/Guattari & Ecology" edited by Bernd Herzogenrath 1 A01 Adrian Ivakhiv Adrian Ivakhiv 40 0155zta11 University of Vermont 01 eng 20 00 Open Access Adrian Ivakhiv 11 03 06 10.53288/0343.1.11 192 202 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of "The Ecological Thought" by Tim Morton 1 A01 Peter Gratton Peter Gratton 40 0168r3w48 University of California, San Diego 01 eng 20 00 Open Access Peter Gratton 12 03 06 10.53288/0343.1.12 203 208 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of "After the Postsecular and the Postmodern: New Essays in Continental Philosophy of Religion" edited by Anthony Paul Smith and Daniel Whistler 1 A01 Austin Smidt Austin Smidt 40 01ee9ar58 University of Nottingham 01 eng 20 00 Open Access Austin Smidt 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations/ Earth, Milky Way 04 01 20200730 Ennis, Paul J. 02 WORLD WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77436 20 08 20200730 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/40040 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/40040/0343.1.00.pdf 20 08 20200730 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34898 20 08 20200730 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353909 20 08 20200730 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/640 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1481fa17-c5d3-4f67-879a-9ab98b721c1e/download 20 08 20200730 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Speculations/zgWVEAAAQBAJ 20 08 20200730 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/03da5b84-80ba-48bc-89b9-b63fc56b364b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/03da5b84-80ba-48bc-89b9-b63fc56b364b/03da5b84-80ba-48bc-89b9-b63fc56b364b.pdf 20 08 20200730 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848368 29 ZENODO: download the title https://zenodo.org/records/19848368/files/03da5b84-80ba-48bc-89b9-b63fc56b364b_book.pdf 20 08 20200730 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculations/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0343.1.00.pdf 20 08 20200730 01 urn:uuid:06a3f947-c86d-44e5-84a3-00c02e070974 03 01 01 thoth-work-id urn:uuid:c00d9a0c-320d-4dfb-ba0c-d1adbdb491ef 01 thoth-publication-id urn:uuid:06a3f947-c86d-44e5-84a3-00c02e070974 15 9780988234017 03 9780988234017 06 10.21983/P3.0010.1.00 01 internal-reference 0010 00 BC 10 01 210 mm 01 21 cm 01 8.27 in 02 148 mm 02 14.8 cm 02 5.83 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculations 3 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 3 B01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 00 510 03 12 HPCF 10 PHI013000 B2 Philosophy 20 philosophy; speculative realism; object-oriented ontology 01 06 02 00 03 00 In this third volume of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of topics are covered, from the philosophy of religion to psychoanalysis to the philosophy of science to gender studies, and in a wide variety of formats (articles, interviews, position pieces, translations, and review essays). 30 00 In this third volume of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of topics are covered, from the philosophy of religion to psychoanalysis to the philosophy of science to gender studies, and in a wide variety of formats (articles, interviews, position pieces, translations, and review essays). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0010.1.00_frontcover.jpg 1 03 06 10.21983/P3.0010.1.01 i v 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 3 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 2 03 06 10.21983/P3.0010.1.02 5 6 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Editorial Introduction 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 3 B01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 03 00 We are proud to say that this third volume of Specula-tions needs very little support from our editorial introduction. We have done our best to collect, in the pages that follow, outstanding contributions covering a wide range of topics (from the philosophy of religion to psychoanalysis, from the philosophy of science to gender studies), formats (articles, interviews, position pieces, translations and review essays) and authors (from well-published authors to the best among a new generation of philosophers).We would like to thank all the contributors and the peer reviewers for their patient collaboration during the editorial phase. We are also very grateful to the Atelier de métaphy-sique et d’ontologie contemporaines at the École Normale Supérieure, and their group of English translators (Mark Ohm, Leah Orth, Jon Cogburn and Emily Beck) for allowing us to publish the translation of one of their publications. 30 00 We are proud to say that this third volume of Specula-tions needs very little support from our editorial introduction. We have done our best to collect, in the pages that follow, outstanding contributions covering a wide range of topics (from the philosophy of religion to psychoanalysis, from the philosophy of science to gender studies), formats (articles, interviews, position pieces, translations and review essays) and authors (from well-published authors to the best among a new generation of philosophers).We would like to thank all the contributors and the peer reviewers for their patient collaboration during the editorial phase. We are also very grateful to the Atelier de métaphy-sique et d’ontologie contemporaines at the École Normale Supérieure, and their group of English translators (Mark Ohm, Leah Orth, Jon Cogburn and Emily Beck) for allowing us to publish the translation of one of their publications. 20 00 Open Access Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 3 03 06 10.21983/P3.0010.1.03 7 42 36 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Re-asking the Question of the Gendered Subject after Non-Philosophy 1 A01 Benjamin Norris Benjamin Norris 40 02tvcev59 New School 01 eng 03 00 Is a science of (non-)gender Identity constitution possible? What would be the object and proper method of this science? And, most importantly, what new spaces of (non-)philosophical investigation can be opened in light of such an analysis? At some point in time during its perpetual production and proliferation of problems, philosophy stumbled across a problem it called “the subject.” As time passed and philosophy roared on, the question of the subject has taken many differ-ent forms, been approached with many different methods and has yielded incredibly diverse and distinct answers.We have now come to a point where we no longer need to ask philosophically “what is the subject?” and “how is the subject’s individuality constituted?” but instead ask non-philosophically“how has philosophy produced its hypotheses, conditioned its methods and pre-determined its conclusions regarding the subject?” 30 00 Is a science of (non-)gender Identity constitution possible? What would be the object and proper method of this science? And, most importantly, what new spaces of (non-)philosophical investigation can be opened in light of such an analysis? At some point in time during its perpetual production and proliferation of problems, philosophy stumbled across a problem it called “the subject.” As time passed and philosophy roared on, the question of the subject has taken many differ-ent forms, been approached with many different methods and has yielded incredibly diverse and distinct answers.We have now come to a point where we no longer need to ask philosophically “what is the subject?” and “how is the subject’s individuality constituted?” but instead ask non-philosophically“how has philosophy produced its hypotheses, conditioned its methods and pre-determined its conclusions regarding the subject?” 20 00 Open Access Norris, Benjamin 4 03 06 10.21983/P3.0010.1.04 43 68 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Thing Called Love That Old, Substantive, Relation 1 A01 Beatrice Marovich Beatrice Marovich 40 04gds4h28 Drew University 01 eng 03 00 Into what, precisely, do we plum-met when we fall into love? What, exactly, is produced when we makeit? When we are hungry for love, what stomach is nourished by that strange food? Colloquialisms are littered with a lan-guage that objectifies love, that turns it into a thing—not just something we can feel, but something we can touch, some-thing that hits us, changes us, throws us, consumes us, drives us. Popular parlance makes the love relation into something almost tangible, concrete, autonomous: love is some thing we fall into, love is a master key, love is a war, love is a bite of heaven, love is a virus. Such language begins to suggest that the “love object” is not, exactly, the person for whom you pine. Instead, it begins to look as though the “love object” is the relation, itself. Love takes on thing-like contours, becomes its own sort of creature. It does its own little cosmic dance. 30 00 Into what, precisely, do we plum-met when we fall into love? What, exactly, is produced when we makeit? When we are hungry for love, what stomach is nourished by that strange food? Colloquialisms are littered with a lan-guage that objectifies love, that turns it into a thing—not just something we can feel, but something we can touch, some-thing that hits us, changes us, throws us, consumes us, drives us. Popular parlance makes the love relation into something almost tangible, concrete, autonomous: love is some thing we fall into, love is a master key, love is a war, love is a bite of heaven, love is a virus. Such language begins to suggest that the “love object” is not, exactly, the person for whom you pine. Instead, it begins to look as though the “love object” is the relation, itself. Love takes on thing-like contours, becomes its own sort of creature. It does its own little cosmic dance. 20 00 Open Access Marovich, Beatrice 5 03 06 10.21983/P3.0010.1.05 69 98 30 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Other Face of God Lacan, Theological Structure, and the Accursed Remainder 1 A01 Levi R. Bryant Levi R. Bryant 40 05t5ek106 Collin College 01 eng 03 00 Reading the work of Christo-pher Hitchens, Richard Dawkins, and Daniel Dennett, one gets the impression that questions of religion and theology revolve around whether or not these beliefs are accurate represen-tations of the world. However, as Levi-Strauss shows in The Savage Mind, the difference between mythological thought and scientific thought is not to be understood in terms of whether it is an accurate representation of the world, but rather both are variations of a common structural order. As Levi-Strauss understands it, both myth and scientific thought are characterized by identical mental operations, but are merely applied to different materials. While not wishing to follow Levi-Strauss all the way in arguing that structures are ahistorical invariants of the human mind, in this paper I do wish to argue—drawing heavily on Lacanian psychoanalytic theory—that religion is a particular structure of thought and human social formations. From this I will draw some struc-tural or systemic consequences that follow from this structural organization. In particular, I wish to identify some structural features characteristic of a particular type of religious thought and social organization pertaining to monotheism in terms of the subject’s precarious relationship to language, masculine sexuation, and the role that objet a plays in our economy of desire. I will argue that these features are not accidental by-products of unique historical conditions, but rather properties of a particular structural organization. While these structures might themselves be products of particular socio-historical conditions, these features will be seen to be part and parcel of these particular forms of structural organization, such that where these structural organizations are present, these features will be present as well in much the same way that the hypotenuse of a right-triangle is a ratio of its relation to the other two sides. 30 00 Reading the work of Christo-pher Hitchens, Richard Dawkins, and Daniel Dennett, one gets the impression that questions of religion and theology revolve around whether or not these beliefs are accurate represen-tations of the world. However, as Levi-Strauss shows in The Savage Mind, the difference between mythological thought and scientific thought is not to be understood in terms of whether it is an accurate representation of the world, but rather both are variations of a common structural order. As Levi-Strauss understands it, both myth and scientific thought are characterized by identical mental operations, but are merely applied to different materials. While not wishing to follow Levi-Strauss all the way in arguing that structures are ahistorical invariants of the human mind, in this paper I do wish to argue—drawing heavily on Lacanian psychoanalytic theory—that religion is a particular structure of thought and human social formations. From this I will draw some struc-tural or systemic consequences that follow from this structural organization. In particular, I wish to identify some structural features characteristic of a particular type of religious thought and social organization pertaining to monotheism in terms of the subject’s precarious relationship to language, masculine sexuation, and the role that objet a plays in our economy of desire. I will argue that these features are not accidental by-products of unique historical conditions, but rather properties of a particular structural organization. While these structures might themselves be products of particular socio-historical conditions, these features will be seen to be part and parcel of these particular forms of structural organization, such that where these structural organizations are present, these features will be present as well in much the same way that the hypotenuse of a right-triangle is a ratio of its relation to the other two sides. 20 00 Open Access Bryant, Levi R. 6 03 06 10.21983/P3.0010.1.06 99 134 36 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Improper Names for God Religious Language and the "Spinoza-Effect" 1 A01 Daniel Whistler Daniel Whistler 40 04xs57h96 University of Liverpool 01 eng 03 00 This paper practises a Naturphi-losophie of language. I treat texts as rocks to examine the linguistic forces that constitute them. In other words, this paper is born out of a hyper-realist attitude to sense that asserts: what goes on in texts should be subject to a “linguistic physics.”2 In order to bring out this linguistic physics as fully as possible, what follows is devoted to the logic of sense (or, even better, the physics of sense3) in monist philosophies. As I shall argue, monism forces the philosopher to treat words as one more class of body colliding on a surface. This is because the mo-nist assertion that there is ultimately one thing in existence ultimately leads to the materialisation of language (at the same time as the linguistification of matter). A lacuna from the opening to Badiou’s Logic of Worlds clarifies this point: Today, natural belief [or democratic materialism] is condensed in a single statement: There are only bodies and languages. This statement is the axiom of contemporary conviction...It is then legitimate to counter [it] with a materialist dialectic, if by “materialist dialectic” we understand the following statement...There are only bodies and languages, except that there are truths.4There is of course a third option: “there are only bodies.”5According to such “monist materialism,” the linguistic is reduced to the corporeal; yet, this is a radical materialism that Badiou seems loath to mention. In this paper, however, I explore the implications of such a corporeal reduction of language by focusing on two monisms—Spinoza’s Ethics and Schelling’s Identitätsphilosophie. 30 00 This paper practises a Naturphi-losophie of language. I treat texts as rocks to examine the linguistic forces that constitute them. In other words, this paper is born out of a hyper-realist attitude to sense that asserts: what goes on in texts should be subject to a “linguistic physics.”2 In order to bring out this linguistic physics as fully as possible, what follows is devoted to the logic of sense (or, even better, the physics of sense3) in monist philosophies. As I shall argue, monism forces the philosopher to treat words as one more class of body colliding on a surface. This is because the mo-nist assertion that there is ultimately one thing in existence ultimately leads to the materialisation of language (at the same time as the linguistification of matter). A lacuna from the opening to Badiou’s Logic of Worlds clarifies this point: Today, natural belief [or democratic materialism] is condensed in a single statement: There are only bodies and languages. This statement is the axiom of contemporary conviction...It is then legitimate to counter [it] with a materialist dialectic, if by “materialist dialectic” we understand the following statement...There are only bodies and languages, except that there are truths.4There is of course a third option: “there are only bodies.”5According to such “monist materialism,” the linguistic is reduced to the corporeal; yet, this is a radical materialism that Badiou seems loath to mention. In this paper, however, I explore the implications of such a corporeal reduction of language by focusing on two monisms—Spinoza’s Ethics and Schelling’s Identitätsphilosophie. 20 00 Open Access Whistler, Daniel 7 03 06 10.21983/P3.0010.1.07 135 149 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Namelessness and the Speculative Turn A Response to Whistler 1 A01 Daniel Colucciello Barber Daniel Colucciello Barber 40 00py81415 Duke University 40 047p7y759 Pace University 01 eng 03 00 I appreciate the engagement of my work that Daniel Whistler has provided. I do not think his read-ing is ultimately accurate, but that is to the side, because its point of approach allows me to develop a number of ideas that are central not only to the interpretation of Spinoza and the problematic of religious language (or the naming of the divine), but also—even moreso—to the future of thought in general after the speculative turn. In what follows I will argue, first, that Whistler fails to appreciate the way the concept of namelessness functions in my theoretical construction of Spinzoa’s thought. I will then address the various difficulties raised by Whistler’s own account of identity, before proceeding to consider how my disagreement with Whistler runs right to the heart of arguments about the nature of the speculative turn. Indeed, my contention is that namelessness, as I articulate its immanent relation with the act of naming, is resonant with an essential tendency in the work of philosophers such as Eugene Thacker and Ray Brassier. Finally, I will look at how the concept of namelessness serves to indicate and oppose a still-effective Christian hegemony over philosophy. 30 00 I appreciate the engagement of my work that Daniel Whistler has provided. I do not think his read-ing is ultimately accurate, but that is to the side, because its point of approach allows me to develop a number of ideas that are central not only to the interpretation of Spinoza and the problematic of religious language (or the naming of the divine), but also—even moreso—to the future of thought in general after the speculative turn. In what follows I will argue, first, that Whistler fails to appreciate the way the concept of namelessness functions in my theoretical construction of Spinzoa’s thought. I will then address the various difficulties raised by Whistler’s own account of identity, before proceeding to consider how my disagreement with Whistler runs right to the heart of arguments about the nature of the speculative turn. Indeed, my contention is that namelessness, as I articulate its immanent relation with the act of naming, is resonant with an essential tendency in the work of philosophers such as Eugene Thacker and Ray Brassier. Finally, I will look at how the concept of namelessness serves to indicate and oppose a still-effective Christian hegemony over philosophy. 20 00 Open Access Barber, Daniel Colucciello 8 03 06 10.21983/P3.0010.1.08 150 188 39 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Diagonals Truth-Procedures in Derrida and Badiou 1 A01 Christopher Norris Christopher Norris 40 03kk7td41 Cardiff University 01 eng 03 00 Badiou’s relationship to Derrida is complex, ambivalent, at times distinctly fraught, and often—despite an impeccable politeness of phrasing—somewhat impatient in tone. All the same it doesn’t exhibit anything like the pattern of routine inter-generational conflict that has characterised so many episodes of post-war French in-tellectual history. Thus it bears no resemblance to those acts of barely concealed parricidal intent by which Sartre ousted the dominant currencies of pre-war (whether rationalist or Bergson-influenced) thought, or the structuralism of Lévi-Strauss, Althusser and company purported to consign Sartrean existentialism to the dustbin of outworn humanist ideas, or structuralism in turn gave way to the combined assaults of post-structuralists, postmodernists and other such reactive movements. Indeed there is something decidedly majestic about the way that Badiou rises above such manifestations of the short-term Zeitgeist or sad displays of the odium scholasticumthat all too often substitutes for serious debate. His attitude toward Derrida—as evidenced by the brief but revealing encomium collected in the volume Pocket Pantheon—is one of admiration mixed with a certain ironic reserve and some shrewdly aimed though far from hostile remarks about the lack of any direct activist involvement on Derrida’s part in the events of May 1968. Even here Badiou is keen to make allowance for the highly mediated character of “deconstruc-tive politics” or the need to approach that topic with a due regard for Derrida’s immensely patient, meticulous and painstaking way with texts, among them (if belatedly) the texts of Marx. More than that: he puts the case for Derrida as a political thinker of the first importance, just so long as we read his work with the kind of extreme attentiveness and rigour that he brings to the work of others. 30 00 Badiou’s relationship to Derrida is complex, ambivalent, at times distinctly fraught, and often—despite an impeccable politeness of phrasing—somewhat impatient in tone. All the same it doesn’t exhibit anything like the pattern of routine inter-generational conflict that has characterised so many episodes of post-war French in-tellectual history. Thus it bears no resemblance to those acts of barely concealed parricidal intent by which Sartre ousted the dominant currencies of pre-war (whether rationalist or Bergson-influenced) thought, or the structuralism of Lévi-Strauss, Althusser and company purported to consign Sartrean existentialism to the dustbin of outworn humanist ideas, or structuralism in turn gave way to the combined assaults of post-structuralists, postmodernists and other such reactive movements. Indeed there is something decidedly majestic about the way that Badiou rises above such manifestations of the short-term Zeitgeist or sad displays of the odium scholasticumthat all too often substitutes for serious debate. His attitude toward Derrida—as evidenced by the brief but revealing encomium collected in the volume Pocket Pantheon—is one of admiration mixed with a certain ironic reserve and some shrewdly aimed though far from hostile remarks about the lack of any direct activist involvement on Derrida’s part in the events of May 1968. Even here Badiou is keen to make allowance for the highly mediated character of “deconstruc-tive politics” or the need to approach that topic with a due regard for Derrida’s immensely patient, meticulous and painstaking way with texts, among them (if belatedly) the texts of Marx. More than that: he puts the case for Derrida as a political thinker of the first importance, just so long as we read his work with the kind of extreme attentiveness and rigour that he brings to the work of others. 20 00 Open Access Norris, Christopher 9 03 06 10.21983/P3.0010.1.09 189 209 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Synchronicity and Correlationism Carl Jung as Speculative Realist 1 A01 Michael Haworth Michael Haworth 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 The name of Carl Gustav Jung tends not to be associated with a concern for philosophical realism, seen, as he is, as one of the worst apologists for obscurantism, mysticism and spiritualism of the modern age. Yet the thesis I try to defend here is that Jung’s work can be read as an elaborate attempt to escape the “correlationist circle” and the impasse of finitude every bit as rigorous and compelling as that undertaken by Quentin Meillassoux in After Finitude. I propose to advance this argument via a read-ing of that work of his which is considered perhaps the leastdefensible in terms of philosophical or scientific realism, namely the short treatise entitled Synchronicity: An Acausal Connecting Principle. It is here that the monist or “psychoid” ontology underpinning all of Jung’s psychological work on the archetypes of the collective unconscious is given its most extensive treatment. This, I will argue, rather than being a pre-critical metaphysical curio is a remarkably sophisticated philosophical concept, consistent with Kant’s transcendental conditions while transgressing them from within in order to undermine the gap of finitude between thought and being. In the letter to Marcus Herz of February 1772, in which he famously announces his readiness to embark on the critical project, Kant interrogates the correspondence between the object of our representation and the representation itself. What, he asks, guarantees the reference of the internal sense-image to the external object? If the former is merely the result of the subject’s being affected by the latter then it can be explained as of cause to effect, otherwise:if that in us which is called representation was active with regard to the object, i.e., if the object were produced by the representation itself [my italics] (as one thinks of divine cognitions as the archetypes of things) then the conformity of the representations with the objects would also be understood. And so one can at least understand the possibility of both an archetypal intellect, upon whose intuition the things themselves are grounded, as well as an ectypal intellect, which attains the data of its logical activity from the sensuous intuition of things. 30 00 The name of Carl Gustav Jung tends not to be associated with a concern for philosophical realism, seen, as he is, as one of the worst apologists for obscurantism, mysticism and spiritualism of the modern age. Yet the thesis I try to defend here is that Jung’s work can be read as an elaborate attempt to escape the “correlationist circle” and the impasse of finitude every bit as rigorous and compelling as that undertaken by Quentin Meillassoux in After Finitude. I propose to advance this argument via a read-ing of that work of his which is considered perhaps the leastdefensible in terms of philosophical or scientific realism, namely the short treatise entitled Synchronicity: An Acausal Connecting Principle. It is here that the monist or “psychoid” ontology underpinning all of Jung’s psychological work on the archetypes of the collective unconscious is given its most extensive treatment. This, I will argue, rather than being a pre-critical metaphysical curio is a remarkably sophisticated philosophical concept, consistent with Kant’s transcendental conditions while transgressing them from within in order to undermine the gap of finitude between thought and being. In the letter to Marcus Herz of February 1772, in which he famously announces his readiness to embark on the critical project, Kant interrogates the correspondence between the object of our representation and the representation itself. What, he asks, guarantees the reference of the internal sense-image to the external object? If the former is merely the result of the subject’s being affected by the latter then it can be explained as of cause to effect, otherwise:if that in us which is called representation was active with regard to the object, i.e., if the object were produced by the representation itself [my italics] (as one thinks of divine cognitions as the archetypes of things) then the conformity of the representations with the objects would also be understood. And so one can at least understand the possibility of both an archetypal intellect, upon whose intuition the things themselves are grounded, as well as an ectypal intellect, which attains the data of its logical activity from the sensuous intuition of things. 20 00 Open Access Haworth, Michael 10 03 06 10.21983/P3.0010.1.10 210 240 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Über stellvertretende Verursachung 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 2 B06 Sergey Sistiaga Sergey Sistiaga 02 eng 01 ger 03 00 trotzderaNhalteNdeN uNbeliebtheitder Metaphysik, sowie des Realis-mus innerhalb der kontinentalen Tradition, entwirft dieser Artikel den Umriss einer realistischen Metaphysik. Anstelle eines trüben Materialismus geistloser Atome und Billardkugeln, der üblicherweise heraufbeschworen wird, um den Spaß in der Philosophie zu verderben, werde ich einen selt-samen Realismus verteidigen. Dieses Modell beinhaltet eine Welt, vollgepackt mit gespenstigen, realen Objekten, die sich gegenseitig aus unerforschlicher Tiefe Signale senden und unfähig sind sich einander ganz zu berühren. Hier besteht eine offenkundige Bezie-hung zur Tradition, die als Okkasionalismus bekannt ist und die als Erste nahelegte, dass eine direkte Wechselwirkung zwischen Entitäten unmöglich sei. Eine andere klare Verbindung besteht zur verwandten skeptischen Tradition, die Objekte als nebenein-anderliegend und ohne direkte Verbindung betrachtet, obwohl die betreffenden Objekte hier eher menschliche Wahrnehmungen, denn reale unabhängige Objekte sind. Dennoch wird dieser Artikel die Lösung des Problems durch eine einsame, magische Superentität, die verantwortlich für jede Relation ist (sei es Gott für Malebranche und seine irakischen Vorläufer oder der menschliche Geist für Skep-tiker, Empiristen und Idealisten), zugunsten einer stellvertretenden Verursachung verwerfen, welche lokal über jeden Teil des Kosmos verteilt ist. Obwohl ihre Seltsamkeit eher zu Verwunderung als zu Widerstand führen mag, ist stellvertretende Verursachung nicht irgendein autistischer Mondstrahl, der durch das Fenster eines Asyls eindringt. Stattdessen ist sie die Startrampe für eine rigoros post-heideggerianische Philosophie einerseits, wie die angemes-sene Rückkehr zum ehrwürdigen Problem der Kommunikation zwischen Substanzen andererseits. 30 00 trotzderaNhalteNdeN uNbeliebtheitder Metaphysik, sowie des Realis-mus innerhalb der kontinentalen Tradition, entwirft dieser Artikel den Umriss einer realistischen Metaphysik. Anstelle eines trüben Materialismus geistloser Atome und Billardkugeln, der üblicherweise heraufbeschworen wird, um den Spaß in der Philosophie zu verderben, werde ich einen selt-samen Realismus verteidigen. Dieses Modell beinhaltet eine Welt, vollgepackt mit gespenstigen, realen Objekten, die sich gegenseitig aus unerforschlicher Tiefe Signale senden und unfähig sind sich einander ganz zu berühren. Hier besteht eine offenkundige Bezie-hung zur Tradition, die als Okkasionalismus bekannt ist und die als Erste nahelegte, dass eine direkte Wechselwirkung zwischen Entitäten unmöglich sei. Eine andere klare Verbindung besteht zur verwandten skeptischen Tradition, die Objekte als nebenein-anderliegend und ohne direkte Verbindung betrachtet, obwohl die betreffenden Objekte hier eher menschliche Wahrnehmungen, denn reale unabhängige Objekte sind. Dennoch wird dieser Artikel die Lösung des Problems durch eine einsame, magische Superentität, die verantwortlich für jede Relation ist (sei es Gott für Malebranche und seine irakischen Vorläufer oder der menschliche Geist für Skep-tiker, Empiristen und Idealisten), zugunsten einer stellvertretenden Verursachung verwerfen, welche lokal über jeden Teil des Kosmos verteilt ist. Obwohl ihre Seltsamkeit eher zu Verwunderung als zu Widerstand führen mag, ist stellvertretende Verursachung nicht irgendein autistischer Mondstrahl, der durch das Fenster eines Asyls eindringt. Stattdessen ist sie die Startrampe für eine rigoros post-heideggerianische Philosophie einerseits, wie die angemes-sene Rückkehr zum ehrwürdigen Problem der Kommunikation zwischen Substanzen andererseits. 20 00 Open Access Harman, Graham 11 03 06 10.21983/P3.0010.1.11 241 272 32 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Realism After finitude, and beyond? 1 A01 Louis Morelle Louis Morelle 40 002t25c44 Pantheon-Sorbonne University 2 B06 Leah Orth Leah Orth 01 eng 02 fre 03 00 Presented as the first signifi-cant movement in continental philosophy since structuralism, speculative realism (SR) vociferously announces the end of correlationism and anthropocentrism in philosophy in favor of a “speculative turn.” By accommodating things, matter, sci-ence, and the real qua objects as important as (if not more so than) language, thought, the phenomenal, and the social, SR has garnered attention and criticism from all sides these past few years. “Speculative Realism” was originally the title of a conference in 2007 that brought together four lesser-known but promising philosophers, and then it subsequently spread like wildfire via the Internet through blogs and open-access publishers, in addition to the traditional journal articles, books, colloquia, conferences and other official channels of academia. It has now become a “legitimate” subject of scholarship, taught in certain departments of contemporary philosophy and aesthetics and acquiring a section on the website Phil-papers. And yet, what is SR? For SR seems to have become, in Anglo-Saxon “continental” circles, a buzzword, one of these fashionable terms whose meaning is obscured the more it spreads. Originally naming a philosophically diverse core of young philosophers seeking to emphasize themes that have become relatively marginal in continental philosophy such as metaphysical speculation, the inorganic, or the absolute, and united by a common refusal to attend solely to textual objects or phenomenal experience, this vague designation has sparked a diffuse desire among continental intellectuals to break with some presuppositions inherited from previous generations. Crystallizing a Zeitgeist, the term has lost its specificity, becoming the generic name for all those among the philosophical “young guard” who are laying claim to a “new metaphysics.” 30 00 Presented as the first signifi-cant movement in continental philosophy since structuralism, speculative realism (SR) vociferously announces the end of correlationism and anthropocentrism in philosophy in favor of a “speculative turn.” By accommodating things, matter, sci-ence, and the real qua objects as important as (if not more so than) language, thought, the phenomenal, and the social, SR has garnered attention and criticism from all sides these past few years. “Speculative Realism” was originally the title of a conference in 2007 that brought together four lesser-known but promising philosophers, and then it subsequently spread like wildfire via the Internet through blogs and open-access publishers, in addition to the traditional journal articles, books, colloquia, conferences and other official channels of academia. It has now become a “legitimate” subject of scholarship, taught in certain departments of contemporary philosophy and aesthetics and acquiring a section on the website Phil-papers. And yet, what is SR? For SR seems to have become, in Anglo-Saxon “continental” circles, a buzzword, one of these fashionable terms whose meaning is obscured the more it spreads. Originally naming a philosophically diverse core of young philosophers seeking to emphasize themes that have become relatively marginal in continental philosophy such as metaphysical speculation, the inorganic, or the absolute, and united by a common refusal to attend solely to textual objects or phenomenal experience, this vague designation has sparked a diffuse desire among continental intellectuals to break with some presuppositions inherited from previous generations. Crystallizing a Zeitgeist, the term has lost its specificity, becoming the generic name for all those among the philosophical “young guard” who are laying claim to a “new metaphysics.” 20 00 Open Access Morelle, Louis 12 03 06 10.21983/P3.0010.1.12 273 289 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Outward Bound On Quentin Meillassoux's After Finitude 1 A01 Christian Thorne Christian Thorne 40 04avkmd49 Williams College 01 eng 03 00 ilN’yapasdehors-texte. If post-structuralism has had a motto—a proverb and quotable provocation—then surely it is this, from Derrida’s Of Grammatology.1Text has no outside. There is nothing outside the text. It is tempting to put a conventionally Kantian construction on these words—to see them, I mean, as bumping up against an old epistemo-logical barrier: Our thinking is intrinsically verbal—in that sense, textual—and it is therefore impossible for our minds to get past themselves, to leave themselves behind, to shed words and in that shedding to encounter objects as they really are, in their own skins, even when we’re not thinking them, plastering them with language, generating little mind-texts about them. But this is not, in fact, what the sentence says. Derrida’s claim would seem to be rather stronger than that: not There are unknowable objects outside of text, but There are outside of text no objects for us to know. So we reach for another gloss—There is only text...ain’t nothing but text—except the sentence isn’t really saying that either, since to say that there is nothing outside text points to the possibility that there is, in a manner yet to be explained, something inside text, and this something would not itself have to be text, any more than caramels in a carrying bag have to be made out of cellophane. 30 00 ilN’yapasdehors-texte. If post-structuralism has had a motto—a proverb and quotable provocation—then surely it is this, from Derrida’s Of Grammatology.1Text has no outside. There is nothing outside the text. It is tempting to put a conventionally Kantian construction on these words—to see them, I mean, as bumping up against an old epistemo-logical barrier: Our thinking is intrinsically verbal—in that sense, textual—and it is therefore impossible for our minds to get past themselves, to leave themselves behind, to shed words and in that shedding to encounter objects as they really are, in their own skins, even when we’re not thinking them, plastering them with language, generating little mind-texts about them. But this is not, in fact, what the sentence says. Derrida’s claim would seem to be rather stronger than that: not There are unknowable objects outside of text, but There are outside of text no objects for us to know. So we reach for another gloss—There is only text...ain’t nothing but text—except the sentence isn’t really saying that either, since to say that there is nothing outside text points to the possibility that there is, in a manner yet to be explained, something inside text, and this something would not itself have to be text, any more than caramels in a carrying bag have to be made out of cellophane. 20 00 Open Access Thorne, Christian 13 03 06 10.21983/P3.0010.1.13 290 366 77 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Noumenon's New Clothes (Part 1) 1 A01 Peter Wolfendale Peter Wolfendale 40 01kj2bm70 Newcastle University 01 eng 03 00 A spectre is haunting conti-nental philosophy—the spectre of Object-Oriented Ontology(OOO). All the disciplines and groupings that have traditionally allied themselves with continental theory in the anglophone world are poised to greet its manifestation: aesthetic theory and artistic practice, political philosophy and heterodox ge-ography, Francophile post-post-structuralists and Germanist neo-romantics. Who among them has not heard the siren song of OOO’s litanies of inhuman objects (menageries of stock markets and stock cubes, quarks and clerks, etc.)? Who among them has not begun to shrug off the oppressive, anthropocentric legacy of Post-Kantian philosophy, bravely railing against the tyrannical correlationists of the continental academy, the dreary technicians of the analytic mainstream, and even the scientistic fury of its Neo-Kantian heirs? 30 00 A spectre is haunting conti-nental philosophy—the spectre of Object-Oriented Ontology(OOO). All the disciplines and groupings that have traditionally allied themselves with continental theory in the anglophone world are poised to greet its manifestation: aesthetic theory and artistic practice, political philosophy and heterodox ge-ography, Francophile post-post-structuralists and Germanist neo-romantics. Who among them has not heard the siren song of OOO’s litanies of inhuman objects (menageries of stock markets and stock cubes, quarks and clerks, etc.)? Who among them has not begun to shrug off the oppressive, anthropocentric legacy of Post-Kantian philosophy, bravely railing against the tyrannical correlationists of the continental academy, the dreary technicians of the analytic mainstream, and even the scientistic fury of its Neo-Kantian heirs? 20 00 Open Access Wolfendale, Peter 14 03 06 10.21983/P3.0010.1.14 367 425 59 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Of Realist Turns A Conversation with Stathis Psillos 1 A01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 03 00 Stathis Psillos is Professor of Philosophy of Science and Meta-physics in the Department of Phi-losophy and History of Science in the University of Athens, former president of the European Philosophy of Science Association and editor of the review journal Metascience. Psillos is one of the most prominent defenders of scientific realism in contemporary philosophy of science, and he for-mulated his arguments in defense of realism in two impor-tant monographs: Scientific Realism: How Science Tracks Truth(1999) and Knowing the Structure of Nature: Essays on Realism and Explanation (2009). Psillos’ investigation begins with the identification of three core theses of scientific realism: The Metaphysical Thesis: the world has a definite and mind-independent natural-kind structure; The Semantic Thesis: scientific theories should be taken at face-value, being truth-conditioned descriptions of their intended domain, both observable and unobservable; The Epistemic Thesis: mature and predictively successful scientific theories are to be considered well-confirmed and approximately true descriptions of the world. 30 00 Stathis Psillos is Professor of Philosophy of Science and Meta-physics in the Department of Phi-losophy and History of Science in the University of Athens, former president of the European Philosophy of Science Association and editor of the review journal Metascience. Psillos is one of the most prominent defenders of scientific realism in contemporary philosophy of science, and he for-mulated his arguments in defense of realism in two impor-tant monographs: Scientific Realism: How Science Tracks Truth(1999) and Knowing the Structure of Nature: Essays on Realism and Explanation (2009). Psillos’ investigation begins with the identification of three core theses of scientific realism: The Metaphysical Thesis: the world has a definite and mind-independent natural-kind structure; The Semantic Thesis: scientific theories should be taken at face-value, being truth-conditioned descriptions of their intended domain, both observable and unobservable; The Epistemic Thesis: mature and predictively successful scientific theories are to be considered well-confirmed and approximately true descriptions of the world. 20 00 Open Access Gironi, Fabio 15 03 06 10.21983/P3.0010.1.15 426 472 47 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 In Defense of Unfashionable Causes 1 A01 Daniel Sacilotto Daniel Sacilotto 40 046rm7j60 University of California, Los Angeles 01 eng 03 00 the democracyof objects is Levi Bryant’s first full-blown mono-graph since enlisting in the ranks of the recent philosophical movement known as Object Oriented Philosophy (oop). It offers an outline of what is a broadly novel metaphysical system which, following the work of Graham Harman, describes a reality composed of objects all throughout, and nothing besides. Seeking to displace the primacy of the relation between the human and the world, oop follows the basic intuitions of Quentin Meillassoux’s work in proposing an alternative to idealist and correlationist philosophies, in the arduous process of stepping out of the post-Kantian shadow of critique, wherein Continental theory and thought is said to have circularly roamed, imprisoned, for the past few centuries.1 However, unlike some of its fel-low Continental realists, oop’s approach for overcoming the putative force of the “circle of correlation” is to adopt a de-flationary strategy, in which the question about how humans access the world is construed as being just one more relation between objects in a metaphysical account. In that regard oop is not entirely new, in that it remains continuous with the trivialization of epistemology sought by many Continental thinkers during the 20th Century, promoting rather the restitution of the primacy of ontological questioning, i.e. the kind of radicalization of the critique of metaphysics of which Heidegger, Deleuze, and more recently Badiou, are perhaps the tradition’s most emblematic figures. However, rather than exacerbating the epistemological question of access to the point where strict epistemology becomes displaced in favor of an examination of its linguistic, historical, or socio-cultural conditions, oop proposes to dislodge philosophy from its human cohort altogether, the better to rehabilitate an exploration of “the great outdoors” philosophy had sown shut in favor of critique, making the world relative to our own faculties in some form or other. 30 00 the democracyof objects is Levi Bryant’s first full-blown mono-graph since enlisting in the ranks of the recent philosophical movement known as Object Oriented Philosophy (oop). It offers an outline of what is a broadly novel metaphysical system which, following the work of Graham Harman, describes a reality composed of objects all throughout, and nothing besides. Seeking to displace the primacy of the relation between the human and the world, oop follows the basic intuitions of Quentin Meillassoux’s work in proposing an alternative to idealist and correlationist philosophies, in the arduous process of stepping out of the post-Kantian shadow of critique, wherein Continental theory and thought is said to have circularly roamed, imprisoned, for the past few centuries.1 However, unlike some of its fel-low Continental realists, oop’s approach for overcoming the putative force of the “circle of correlation” is to adopt a de-flationary strategy, in which the question about how humans access the world is construed as being just one more relation between objects in a metaphysical account. In that regard oop is not entirely new, in that it remains continuous with the trivialization of epistemology sought by many Continental thinkers during the 20th Century, promoting rather the restitution of the primacy of ontological questioning, i.e. the kind of radicalization of the critique of metaphysics of which Heidegger, Deleuze, and more recently Badiou, are perhaps the tradition’s most emblematic figures. However, rather than exacerbating the epistemological question of access to the point where strict epistemology becomes displaced in favor of an examination of its linguistic, historical, or socio-cultural conditions, oop proposes to dislodge philosophy from its human cohort altogether, the better to rehabilitate an exploration of “the great outdoors” philosophy had sown shut in favor of critique, making the world relative to our own faculties in some form or other. 20 00 Open Access Sacilotto, Daniel 16 03 06 10.21983/P3.0010.1.16 473 490 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Assessing the French Atheistic Turn 1 A01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 03 00 In under a decade we have witnessed a proliferation of texts on “atheism,” so much so that the term “New Atheism”1 has become a widely employed label to describe the discourse of this intellectual current, and books propounding or opposing it compete on the shelves of bookstores. Mostly, unfortunately, the tone of this discourse ranges from the patronisingly sarcastic to the irresponsibly uninformed (in the case of atheism-friendly authors) and from the wisely condescending to the virulently obscurantist (in the case of religious apologists). Most commonly associ-ated with this movement are the naturalising reductions of religion by Daniel Dennett, the militant, neo-positivist Dar-winism of Richard Dawkins, the pedantically cultured work of Christopher Hitchens and the populist, mouth-foaming Islamophobia and self-righteous outbursts of Sam Harris (these four authors are often grouped together as the “Four Horsemen” of atheism) and—to quote at least one author from the other side of the intellectual barricade—the natural theology redux of Alister McGrath. With the exception of the best moments of Dennett’s work these publications usually suffer from a deficit of philosophically informed argumenta-tion and (even in Dennett’s work) of actual engagement with the historico-theological heritage that is part and parcel of our conceptual toolbox. 30 00 In under a decade we have witnessed a proliferation of texts on “atheism,” so much so that the term “New Atheism”1 has become a widely employed label to describe the discourse of this intellectual current, and books propounding or opposing it compete on the shelves of bookstores. Mostly, unfortunately, the tone of this discourse ranges from the patronisingly sarcastic to the irresponsibly uninformed (in the case of atheism-friendly authors) and from the wisely condescending to the virulently obscurantist (in the case of religious apologists). Most commonly associ-ated with this movement are the naturalising reductions of religion by Daniel Dennett, the militant, neo-positivist Dar-winism of Richard Dawkins, the pedantically cultured work of Christopher Hitchens and the populist, mouth-foaming Islamophobia and self-righteous outbursts of Sam Harris (these four authors are often grouped together as the “Four Horsemen” of atheism) and—to quote at least one author from the other side of the intellectual barricade—the natural theology redux of Alister McGrath. With the exception of the best moments of Dennett’s work these publications usually suffer from a deficit of philosophically informed argumenta-tion and (even in Dennett’s work) of actual engagement with the historico-theological heritage that is part and parcel of our conceptual toolbox. 20 00 Open Access Gironi, Fabio 17 03 06 10.21983/P3.0010.1.17 491 498 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fight and Flight 1 A01 Dave Mesing Dave Mesing 40 02g7kd627 Villanova University 01 eng 03 00 “Together, we might be able to do dangerous subversive things, mischievous things.”1 Such is Andy Merrifield’s opening promise in his recent book Magi-cal Marxism: Subversive Politics and the Imagination. Merrifield situates the work between two poles of people: those who are more or less orthodox Marxists and those who are Marxists but don’t know it. Thus, despite the fact that Merrifield toys with central Marxist tenets, he avoids any notion of third-way rhetoric; Merrifield’s arguments are unapologetically Marxist, and his attempt to shake the tradition from within requires some working knowledge of Marx’s texts. This is not because Merrifield’s arguments are obscure. On the contrary, he is to be commended for how deftly he has condensed a wide range of difficult source material. Magical Marxism is a joy for the reader, and Merrifield’s broad attempt to inject some affirmation into the critical negativity of Marxism is reflected in his prose. 30 00 “Together, we might be able to do dangerous subversive things, mischievous things.”1 Such is Andy Merrifield’s opening promise in his recent book Magi-cal Marxism: Subversive Politics and the Imagination. Merrifield situates the work between two poles of people: those who are more or less orthodox Marxists and those who are Marxists but don’t know it. Thus, despite the fact that Merrifield toys with central Marxist tenets, he avoids any notion of third-way rhetoric; Merrifield’s arguments are unapologetically Marxist, and his attempt to shake the tradition from within requires some working knowledge of Marx’s texts. This is not because Merrifield’s arguments are obscure. On the contrary, he is to be commended for how deftly he has condensed a wide range of difficult source material. Magical Marxism is a joy for the reader, and Merrifield’s broad attempt to inject some affirmation into the critical negativity of Marxism is reflected in his prose. 20 00 Open Access Mesing, Dave 18 03 06 10.21983/P3.0010.1.18 499 506 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Circus Philosophicus 1 A01 Maxwell Kennel Maxwell Kennel 40 01aff2v68 University of Waterloo 01 eng 03 00 After four vivid pages spent describing “the myth of the ferris wheel” Graham Harman sets into what some have called the most accessible introduction to Object Oriented Ontology to date. At around 25,000 words in length Circus Philosophicus reads nicely in one extended sitting, and very readily yields rewards to both the specialist and non-specialist reader. Situated within Harman’s expand-ing oeuvre Circus Philosophicus is not readily comparable with any of his other work work, with the possible exception of the forthcoming Treatise on Objects (Open Humanities Press), which Harman describes as having a similar sort of prose. 1The incomparable genre of Circus Philosophicus seems to have been the goal from the beginning, a fact made evident by the rear cover blurb which describes the goal to “restore myth to its central place in the discipline.” The following review will give a brief summary of the first half of Circus Philosophicus highlighting some pertinent details, while of-fering some closing comments on the interesting placement of the work within both the genre and the discourse of Object Oriented Ontology. 30 00 After four vivid pages spent describing “the myth of the ferris wheel” Graham Harman sets into what some have called the most accessible introduction to Object Oriented Ontology to date. At around 25,000 words in length Circus Philosophicus reads nicely in one extended sitting, and very readily yields rewards to both the specialist and non-specialist reader. Situated within Harman’s expand-ing oeuvre Circus Philosophicus is not readily comparable with any of his other work work, with the possible exception of the forthcoming Treatise on Objects (Open Humanities Press), which Harman describes as having a similar sort of prose. 1The incomparable genre of Circus Philosophicus seems to have been the goal from the beginning, a fact made evident by the rear cover blurb which describes the goal to “restore myth to its central place in the discipline.” The following review will give a brief summary of the first half of Circus Philosophicus highlighting some pertinent details, while of-fering some closing comments on the interesting placement of the work within both the genre and the discourse of Object Oriented Ontology. 20 00 Open Access Kennel, Maxwell 19 03 06 10.21983/P3.0010.1.19 507 510 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Joseph Nechvatal's nOise anusmOs Installation 1 A01 Yuting Zou Yuting Zou 01 eng 03 00 Black is the “color” of undivided nothingness and simplicity that has yet been penetrated by light. Black is immanent to itself. Entering the Galerie Richard, black was arguably my instant impression of Joseph Nechvatal’s nOise anusmOs installation, for most of this new series of paintings are unified by a black background. Against the black backdrop are complicated webs of alternating red and white, they suggest many ambiguous and provocative images of corporeal surfaces. Here, sfumato plays a role in slightly reducing the contrast of colors by adding a smoky and subtle layer to the otherwise pixelated images. The entire room is filled with immersive noise, from the visual noise (digital virus) inside the pictorial frame to its audial extension into the ambient space through the “viral symphony.” Bathed in a continuity of noise, it appeared to me that the overall composition of this body of work was more sparse and plural than before, and more speculative. 30 00 Black is the “color” of undivided nothingness and simplicity that has yet been penetrated by light. Black is immanent to itself. Entering the Galerie Richard, black was arguably my instant impression of Joseph Nechvatal’s nOise anusmOs installation, for most of this new series of paintings are unified by a black background. Against the black backdrop are complicated webs of alternating red and white, they suggest many ambiguous and provocative images of corporeal surfaces. Here, sfumato plays a role in slightly reducing the contrast of colors by adding a smoky and subtle layer to the otherwise pixelated images. The entire room is filled with immersive noise, from the visual noise (digital virus) inside the pictorial frame to its audial extension into the ambient space through the “viral symphony.” Bathed in a continuity of noise, it appeared to me that the overall composition of this body of work was more sparse and plural than before, and more speculative. 20 00 Open Access Zou, Yuting 20 03 06 10.21983/P3.0010.1.20 511 511 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 3 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-iii/ Brooklyn, NY 04 01 20120903 Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product http://amzn.to/2geybUd 20 08 20120903 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speculations-3 20 08 20120903 02 25.00 USD WORLD urn:uuid:60250600-4d9e-4463-8f66-2a84c55c6b4f 03 01 01 thoth-work-id urn:uuid:c00d9a0c-320d-4dfb-ba0c-d1adbdb491ef 01 thoth-publication-id urn:uuid:60250600-4d9e-4463-8f66-2a84c55c6b4f 06 10.21983/P3.0010.1.00 01 internal-reference 0010 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculations 3 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 3 B01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 00 510 03 12 HPCF 10 PHI013000 B2 Philosophy 20 philosophy; speculative realism; object-oriented ontology 01 06 02 00 03 00 In this third volume of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of topics are covered, from the philosophy of religion to psychoanalysis to the philosophy of science to gender studies, and in a wide variety of formats (articles, interviews, position pieces, translations, and review essays). 30 00 In this third volume of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of topics are covered, from the philosophy of religion to psychoanalysis to the philosophy of science to gender studies, and in a wide variety of formats (articles, interviews, position pieces, translations, and review essays). 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0010.1.00_frontcover.jpg 1 03 06 10.21983/P3.0010.1.01 i v 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 3 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 2 03 06 10.21983/P3.0010.1.02 5 6 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Editorial Introduction 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 3 B01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 03 00 We are proud to say that this third volume of Specula-tions needs very little support from our editorial introduction. We have done our best to collect, in the pages that follow, outstanding contributions covering a wide range of topics (from the philosophy of religion to psychoanalysis, from the philosophy of science to gender studies), formats (articles, interviews, position pieces, translations and review essays) and authors (from well-published authors to the best among a new generation of philosophers).We would like to thank all the contributors and the peer reviewers for their patient collaboration during the editorial phase. We are also very grateful to the Atelier de métaphy-sique et d’ontologie contemporaines at the École Normale Supérieure, and their group of English translators (Mark Ohm, Leah Orth, Jon Cogburn and Emily Beck) for allowing us to publish the translation of one of their publications. 30 00 We are proud to say that this third volume of Specula-tions needs very little support from our editorial introduction. We have done our best to collect, in the pages that follow, outstanding contributions covering a wide range of topics (from the philosophy of religion to psychoanalysis, from the philosophy of science to gender studies), formats (articles, interviews, position pieces, translations and review essays) and authors (from well-published authors to the best among a new generation of philosophers).We would like to thank all the contributors and the peer reviewers for their patient collaboration during the editorial phase. We are also very grateful to the Atelier de métaphy-sique et d’ontologie contemporaines at the École Normale Supérieure, and their group of English translators (Mark Ohm, Leah Orth, Jon Cogburn and Emily Beck) for allowing us to publish the translation of one of their publications. 20 00 Open Access Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 3 03 06 10.21983/P3.0010.1.03 7 42 36 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Re-asking the Question of the Gendered Subject after Non-Philosophy 1 A01 Benjamin Norris Benjamin Norris 40 02tvcev59 New School 01 eng 03 00 Is a science of (non-)gender Identity constitution possible? What would be the object and proper method of this science? And, most importantly, what new spaces of (non-)philosophical investigation can be opened in light of such an analysis? At some point in time during its perpetual production and proliferation of problems, philosophy stumbled across a problem it called “the subject.” As time passed and philosophy roared on, the question of the subject has taken many differ-ent forms, been approached with many different methods and has yielded incredibly diverse and distinct answers.We have now come to a point where we no longer need to ask philosophically “what is the subject?” and “how is the subject’s individuality constituted?” but instead ask non-philosophically“how has philosophy produced its hypotheses, conditioned its methods and pre-determined its conclusions regarding the subject?” 30 00 Is a science of (non-)gender Identity constitution possible? What would be the object and proper method of this science? And, most importantly, what new spaces of (non-)philosophical investigation can be opened in light of such an analysis? At some point in time during its perpetual production and proliferation of problems, philosophy stumbled across a problem it called “the subject.” As time passed and philosophy roared on, the question of the subject has taken many differ-ent forms, been approached with many different methods and has yielded incredibly diverse and distinct answers.We have now come to a point where we no longer need to ask philosophically “what is the subject?” and “how is the subject’s individuality constituted?” but instead ask non-philosophically“how has philosophy produced its hypotheses, conditioned its methods and pre-determined its conclusions regarding the subject?” 20 00 Open Access Norris, Benjamin 4 03 06 10.21983/P3.0010.1.04 43 68 26 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Thing Called Love That Old, Substantive, Relation 1 A01 Beatrice Marovich Beatrice Marovich 40 04gds4h28 Drew University 01 eng 03 00 Into what, precisely, do we plum-met when we fall into love? What, exactly, is produced when we makeit? When we are hungry for love, what stomach is nourished by that strange food? Colloquialisms are littered with a lan-guage that objectifies love, that turns it into a thing—not just something we can feel, but something we can touch, some-thing that hits us, changes us, throws us, consumes us, drives us. Popular parlance makes the love relation into something almost tangible, concrete, autonomous: love is some thing we fall into, love is a master key, love is a war, love is a bite of heaven, love is a virus. Such language begins to suggest that the “love object” is not, exactly, the person for whom you pine. Instead, it begins to look as though the “love object” is the relation, itself. Love takes on thing-like contours, becomes its own sort of creature. It does its own little cosmic dance. 30 00 Into what, precisely, do we plum-met when we fall into love? What, exactly, is produced when we makeit? When we are hungry for love, what stomach is nourished by that strange food? Colloquialisms are littered with a lan-guage that objectifies love, that turns it into a thing—not just something we can feel, but something we can touch, some-thing that hits us, changes us, throws us, consumes us, drives us. Popular parlance makes the love relation into something almost tangible, concrete, autonomous: love is some thing we fall into, love is a master key, love is a war, love is a bite of heaven, love is a virus. Such language begins to suggest that the “love object” is not, exactly, the person for whom you pine. Instead, it begins to look as though the “love object” is the relation, itself. Love takes on thing-like contours, becomes its own sort of creature. It does its own little cosmic dance. 20 00 Open Access Marovich, Beatrice 5 03 06 10.21983/P3.0010.1.05 69 98 30 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Other Face of God Lacan, Theological Structure, and the Accursed Remainder 1 A01 Levi R. Bryant Levi R. Bryant 40 05t5ek106 Collin College 01 eng 03 00 Reading the work of Christo-pher Hitchens, Richard Dawkins, and Daniel Dennett, one gets the impression that questions of religion and theology revolve around whether or not these beliefs are accurate represen-tations of the world. However, as Levi-Strauss shows in The Savage Mind, the difference between mythological thought and scientific thought is not to be understood in terms of whether it is an accurate representation of the world, but rather both are variations of a common structural order. As Levi-Strauss understands it, both myth and scientific thought are characterized by identical mental operations, but are merely applied to different materials. While not wishing to follow Levi-Strauss all the way in arguing that structures are ahistorical invariants of the human mind, in this paper I do wish to argue—drawing heavily on Lacanian psychoanalytic theory—that religion is a particular structure of thought and human social formations. From this I will draw some struc-tural or systemic consequences that follow from this structural organization. In particular, I wish to identify some structural features characteristic of a particular type of religious thought and social organization pertaining to monotheism in terms of the subject’s precarious relationship to language, masculine sexuation, and the role that objet a plays in our economy of desire. I will argue that these features are not accidental by-products of unique historical conditions, but rather properties of a particular structural organization. While these structures might themselves be products of particular socio-historical conditions, these features will be seen to be part and parcel of these particular forms of structural organization, such that where these structural organizations are present, these features will be present as well in much the same way that the hypotenuse of a right-triangle is a ratio of its relation to the other two sides. 30 00 Reading the work of Christo-pher Hitchens, Richard Dawkins, and Daniel Dennett, one gets the impression that questions of religion and theology revolve around whether or not these beliefs are accurate represen-tations of the world. However, as Levi-Strauss shows in The Savage Mind, the difference between mythological thought and scientific thought is not to be understood in terms of whether it is an accurate representation of the world, but rather both are variations of a common structural order. As Levi-Strauss understands it, both myth and scientific thought are characterized by identical mental operations, but are merely applied to different materials. While not wishing to follow Levi-Strauss all the way in arguing that structures are ahistorical invariants of the human mind, in this paper I do wish to argue—drawing heavily on Lacanian psychoanalytic theory—that religion is a particular structure of thought and human social formations. From this I will draw some struc-tural or systemic consequences that follow from this structural organization. In particular, I wish to identify some structural features characteristic of a particular type of religious thought and social organization pertaining to monotheism in terms of the subject’s precarious relationship to language, masculine sexuation, and the role that objet a plays in our economy of desire. I will argue that these features are not accidental by-products of unique historical conditions, but rather properties of a particular structural organization. While these structures might themselves be products of particular socio-historical conditions, these features will be seen to be part and parcel of these particular forms of structural organization, such that where these structural organizations are present, these features will be present as well in much the same way that the hypotenuse of a right-triangle is a ratio of its relation to the other two sides. 20 00 Open Access Bryant, Levi R. 6 03 06 10.21983/P3.0010.1.06 99 134 36 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Improper Names for God Religious Language and the "Spinoza-Effect" 1 A01 Daniel Whistler Daniel Whistler 40 04xs57h96 University of Liverpool 01 eng 03 00 This paper practises a Naturphi-losophie of language. I treat texts as rocks to examine the linguistic forces that constitute them. In other words, this paper is born out of a hyper-realist attitude to sense that asserts: what goes on in texts should be subject to a “linguistic physics.”2 In order to bring out this linguistic physics as fully as possible, what follows is devoted to the logic of sense (or, even better, the physics of sense3) in monist philosophies. As I shall argue, monism forces the philosopher to treat words as one more class of body colliding on a surface. This is because the mo-nist assertion that there is ultimately one thing in existence ultimately leads to the materialisation of language (at the same time as the linguistification of matter). A lacuna from the opening to Badiou’s Logic of Worlds clarifies this point: Today, natural belief [or democratic materialism] is condensed in a single statement: There are only bodies and languages. This statement is the axiom of contemporary conviction...It is then legitimate to counter [it] with a materialist dialectic, if by “materialist dialectic” we understand the following statement...There are only bodies and languages, except that there are truths.4There is of course a third option: “there are only bodies.”5According to such “monist materialism,” the linguistic is reduced to the corporeal; yet, this is a radical materialism that Badiou seems loath to mention. In this paper, however, I explore the implications of such a corporeal reduction of language by focusing on two monisms—Spinoza’s Ethics and Schelling’s Identitätsphilosophie. 30 00 This paper practises a Naturphi-losophie of language. I treat texts as rocks to examine the linguistic forces that constitute them. In other words, this paper is born out of a hyper-realist attitude to sense that asserts: what goes on in texts should be subject to a “linguistic physics.”2 In order to bring out this linguistic physics as fully as possible, what follows is devoted to the logic of sense (or, even better, the physics of sense3) in monist philosophies. As I shall argue, monism forces the philosopher to treat words as one more class of body colliding on a surface. This is because the mo-nist assertion that there is ultimately one thing in existence ultimately leads to the materialisation of language (at the same time as the linguistification of matter). A lacuna from the opening to Badiou’s Logic of Worlds clarifies this point: Today, natural belief [or democratic materialism] is condensed in a single statement: There are only bodies and languages. This statement is the axiom of contemporary conviction...It is then legitimate to counter [it] with a materialist dialectic, if by “materialist dialectic” we understand the following statement...There are only bodies and languages, except that there are truths.4There is of course a third option: “there are only bodies.”5According to such “monist materialism,” the linguistic is reduced to the corporeal; yet, this is a radical materialism that Badiou seems loath to mention. In this paper, however, I explore the implications of such a corporeal reduction of language by focusing on two monisms—Spinoza’s Ethics and Schelling’s Identitätsphilosophie. 20 00 Open Access Whistler, Daniel 7 03 06 10.21983/P3.0010.1.07 135 149 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Namelessness and the Speculative Turn A Response to Whistler 1 A01 Daniel Colucciello Barber Daniel Colucciello Barber 40 00py81415 Duke University 40 047p7y759 Pace University 01 eng 03 00 I appreciate the engagement of my work that Daniel Whistler has provided. I do not think his read-ing is ultimately accurate, but that is to the side, because its point of approach allows me to develop a number of ideas that are central not only to the interpretation of Spinoza and the problematic of religious language (or the naming of the divine), but also—even moreso—to the future of thought in general after the speculative turn. In what follows I will argue, first, that Whistler fails to appreciate the way the concept of namelessness functions in my theoretical construction of Spinzoa’s thought. I will then address the various difficulties raised by Whistler’s own account of identity, before proceeding to consider how my disagreement with Whistler runs right to the heart of arguments about the nature of the speculative turn. Indeed, my contention is that namelessness, as I articulate its immanent relation with the act of naming, is resonant with an essential tendency in the work of philosophers such as Eugene Thacker and Ray Brassier. Finally, I will look at how the concept of namelessness serves to indicate and oppose a still-effective Christian hegemony over philosophy. 30 00 I appreciate the engagement of my work that Daniel Whistler has provided. I do not think his read-ing is ultimately accurate, but that is to the side, because its point of approach allows me to develop a number of ideas that are central not only to the interpretation of Spinoza and the problematic of religious language (or the naming of the divine), but also—even moreso—to the future of thought in general after the speculative turn. In what follows I will argue, first, that Whistler fails to appreciate the way the concept of namelessness functions in my theoretical construction of Spinzoa’s thought. I will then address the various difficulties raised by Whistler’s own account of identity, before proceeding to consider how my disagreement with Whistler runs right to the heart of arguments about the nature of the speculative turn. Indeed, my contention is that namelessness, as I articulate its immanent relation with the act of naming, is resonant with an essential tendency in the work of philosophers such as Eugene Thacker and Ray Brassier. Finally, I will look at how the concept of namelessness serves to indicate and oppose a still-effective Christian hegemony over philosophy. 20 00 Open Access Barber, Daniel Colucciello 8 03 06 10.21983/P3.0010.1.08 150 188 39 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Diagonals Truth-Procedures in Derrida and Badiou 1 A01 Christopher Norris Christopher Norris 40 03kk7td41 Cardiff University 01 eng 03 00 Badiou’s relationship to Derrida is complex, ambivalent, at times distinctly fraught, and often—despite an impeccable politeness of phrasing—somewhat impatient in tone. All the same it doesn’t exhibit anything like the pattern of routine inter-generational conflict that has characterised so many episodes of post-war French in-tellectual history. Thus it bears no resemblance to those acts of barely concealed parricidal intent by which Sartre ousted the dominant currencies of pre-war (whether rationalist or Bergson-influenced) thought, or the structuralism of Lévi-Strauss, Althusser and company purported to consign Sartrean existentialism to the dustbin of outworn humanist ideas, or structuralism in turn gave way to the combined assaults of post-structuralists, postmodernists and other such reactive movements. Indeed there is something decidedly majestic about the way that Badiou rises above such manifestations of the short-term Zeitgeist or sad displays of the odium scholasticumthat all too often substitutes for serious debate. His attitude toward Derrida—as evidenced by the brief but revealing encomium collected in the volume Pocket Pantheon—is one of admiration mixed with a certain ironic reserve and some shrewdly aimed though far from hostile remarks about the lack of any direct activist involvement on Derrida’s part in the events of May 1968. Even here Badiou is keen to make allowance for the highly mediated character of “deconstruc-tive politics” or the need to approach that topic with a due regard for Derrida’s immensely patient, meticulous and painstaking way with texts, among them (if belatedly) the texts of Marx. More than that: he puts the case for Derrida as a political thinker of the first importance, just so long as we read his work with the kind of extreme attentiveness and rigour that he brings to the work of others. 30 00 Badiou’s relationship to Derrida is complex, ambivalent, at times distinctly fraught, and often—despite an impeccable politeness of phrasing—somewhat impatient in tone. All the same it doesn’t exhibit anything like the pattern of routine inter-generational conflict that has characterised so many episodes of post-war French in-tellectual history. Thus it bears no resemblance to those acts of barely concealed parricidal intent by which Sartre ousted the dominant currencies of pre-war (whether rationalist or Bergson-influenced) thought, or the structuralism of Lévi-Strauss, Althusser and company purported to consign Sartrean existentialism to the dustbin of outworn humanist ideas, or structuralism in turn gave way to the combined assaults of post-structuralists, postmodernists and other such reactive movements. Indeed there is something decidedly majestic about the way that Badiou rises above such manifestations of the short-term Zeitgeist or sad displays of the odium scholasticumthat all too often substitutes for serious debate. His attitude toward Derrida—as evidenced by the brief but revealing encomium collected in the volume Pocket Pantheon—is one of admiration mixed with a certain ironic reserve and some shrewdly aimed though far from hostile remarks about the lack of any direct activist involvement on Derrida’s part in the events of May 1968. Even here Badiou is keen to make allowance for the highly mediated character of “deconstruc-tive politics” or the need to approach that topic with a due regard for Derrida’s immensely patient, meticulous and painstaking way with texts, among them (if belatedly) the texts of Marx. More than that: he puts the case for Derrida as a political thinker of the first importance, just so long as we read his work with the kind of extreme attentiveness and rigour that he brings to the work of others. 20 00 Open Access Norris, Christopher 9 03 06 10.21983/P3.0010.1.09 189 209 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Synchronicity and Correlationism Carl Jung as Speculative Realist 1 A01 Michael Haworth Michael Haworth 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 The name of Carl Gustav Jung tends not to be associated with a concern for philosophical realism, seen, as he is, as one of the worst apologists for obscurantism, mysticism and spiritualism of the modern age. Yet the thesis I try to defend here is that Jung’s work can be read as an elaborate attempt to escape the “correlationist circle” and the impasse of finitude every bit as rigorous and compelling as that undertaken by Quentin Meillassoux in After Finitude. I propose to advance this argument via a read-ing of that work of his which is considered perhaps the leastdefensible in terms of philosophical or scientific realism, namely the short treatise entitled Synchronicity: An Acausal Connecting Principle. It is here that the monist or “psychoid” ontology underpinning all of Jung’s psychological work on the archetypes of the collective unconscious is given its most extensive treatment. This, I will argue, rather than being a pre-critical metaphysical curio is a remarkably sophisticated philosophical concept, consistent with Kant’s transcendental conditions while transgressing them from within in order to undermine the gap of finitude between thought and being. In the letter to Marcus Herz of February 1772, in which he famously announces his readiness to embark on the critical project, Kant interrogates the correspondence between the object of our representation and the representation itself. What, he asks, guarantees the reference of the internal sense-image to the external object? If the former is merely the result of the subject’s being affected by the latter then it can be explained as of cause to effect, otherwise:if that in us which is called representation was active with regard to the object, i.e., if the object were produced by the representation itself [my italics] (as one thinks of divine cognitions as the archetypes of things) then the conformity of the representations with the objects would also be understood. And so one can at least understand the possibility of both an archetypal intellect, upon whose intuition the things themselves are grounded, as well as an ectypal intellect, which attains the data of its logical activity from the sensuous intuition of things. 30 00 The name of Carl Gustav Jung tends not to be associated with a concern for philosophical realism, seen, as he is, as one of the worst apologists for obscurantism, mysticism and spiritualism of the modern age. Yet the thesis I try to defend here is that Jung’s work can be read as an elaborate attempt to escape the “correlationist circle” and the impasse of finitude every bit as rigorous and compelling as that undertaken by Quentin Meillassoux in After Finitude. I propose to advance this argument via a read-ing of that work of his which is considered perhaps the leastdefensible in terms of philosophical or scientific realism, namely the short treatise entitled Synchronicity: An Acausal Connecting Principle. It is here that the monist or “psychoid” ontology underpinning all of Jung’s psychological work on the archetypes of the collective unconscious is given its most extensive treatment. This, I will argue, rather than being a pre-critical metaphysical curio is a remarkably sophisticated philosophical concept, consistent with Kant’s transcendental conditions while transgressing them from within in order to undermine the gap of finitude between thought and being. In the letter to Marcus Herz of February 1772, in which he famously announces his readiness to embark on the critical project, Kant interrogates the correspondence between the object of our representation and the representation itself. What, he asks, guarantees the reference of the internal sense-image to the external object? If the former is merely the result of the subject’s being affected by the latter then it can be explained as of cause to effect, otherwise:if that in us which is called representation was active with regard to the object, i.e., if the object were produced by the representation itself [my italics] (as one thinks of divine cognitions as the archetypes of things) then the conformity of the representations with the objects would also be understood. And so one can at least understand the possibility of both an archetypal intellect, upon whose intuition the things themselves are grounded, as well as an ectypal intellect, which attains the data of its logical activity from the sensuous intuition of things. 20 00 Open Access Haworth, Michael 10 03 06 10.21983/P3.0010.1.10 210 240 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Über stellvertretende Verursachung 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 2 B06 Sergey Sistiaga Sergey Sistiaga 02 eng 01 ger 03 00 trotzderaNhalteNdeN uNbeliebtheitder Metaphysik, sowie des Realis-mus innerhalb der kontinentalen Tradition, entwirft dieser Artikel den Umriss einer realistischen Metaphysik. Anstelle eines trüben Materialismus geistloser Atome und Billardkugeln, der üblicherweise heraufbeschworen wird, um den Spaß in der Philosophie zu verderben, werde ich einen selt-samen Realismus verteidigen. Dieses Modell beinhaltet eine Welt, vollgepackt mit gespenstigen, realen Objekten, die sich gegenseitig aus unerforschlicher Tiefe Signale senden und unfähig sind sich einander ganz zu berühren. Hier besteht eine offenkundige Bezie-hung zur Tradition, die als Okkasionalismus bekannt ist und die als Erste nahelegte, dass eine direkte Wechselwirkung zwischen Entitäten unmöglich sei. Eine andere klare Verbindung besteht zur verwandten skeptischen Tradition, die Objekte als nebenein-anderliegend und ohne direkte Verbindung betrachtet, obwohl die betreffenden Objekte hier eher menschliche Wahrnehmungen, denn reale unabhängige Objekte sind. Dennoch wird dieser Artikel die Lösung des Problems durch eine einsame, magische Superentität, die verantwortlich für jede Relation ist (sei es Gott für Malebranche und seine irakischen Vorläufer oder der menschliche Geist für Skep-tiker, Empiristen und Idealisten), zugunsten einer stellvertretenden Verursachung verwerfen, welche lokal über jeden Teil des Kosmos verteilt ist. Obwohl ihre Seltsamkeit eher zu Verwunderung als zu Widerstand führen mag, ist stellvertretende Verursachung nicht irgendein autistischer Mondstrahl, der durch das Fenster eines Asyls eindringt. Stattdessen ist sie die Startrampe für eine rigoros post-heideggerianische Philosophie einerseits, wie die angemes-sene Rückkehr zum ehrwürdigen Problem der Kommunikation zwischen Substanzen andererseits. 30 00 trotzderaNhalteNdeN uNbeliebtheitder Metaphysik, sowie des Realis-mus innerhalb der kontinentalen Tradition, entwirft dieser Artikel den Umriss einer realistischen Metaphysik. Anstelle eines trüben Materialismus geistloser Atome und Billardkugeln, der üblicherweise heraufbeschworen wird, um den Spaß in der Philosophie zu verderben, werde ich einen selt-samen Realismus verteidigen. Dieses Modell beinhaltet eine Welt, vollgepackt mit gespenstigen, realen Objekten, die sich gegenseitig aus unerforschlicher Tiefe Signale senden und unfähig sind sich einander ganz zu berühren. Hier besteht eine offenkundige Bezie-hung zur Tradition, die als Okkasionalismus bekannt ist und die als Erste nahelegte, dass eine direkte Wechselwirkung zwischen Entitäten unmöglich sei. Eine andere klare Verbindung besteht zur verwandten skeptischen Tradition, die Objekte als nebenein-anderliegend und ohne direkte Verbindung betrachtet, obwohl die betreffenden Objekte hier eher menschliche Wahrnehmungen, denn reale unabhängige Objekte sind. Dennoch wird dieser Artikel die Lösung des Problems durch eine einsame, magische Superentität, die verantwortlich für jede Relation ist (sei es Gott für Malebranche und seine irakischen Vorläufer oder der menschliche Geist für Skep-tiker, Empiristen und Idealisten), zugunsten einer stellvertretenden Verursachung verwerfen, welche lokal über jeden Teil des Kosmos verteilt ist. Obwohl ihre Seltsamkeit eher zu Verwunderung als zu Widerstand führen mag, ist stellvertretende Verursachung nicht irgendein autistischer Mondstrahl, der durch das Fenster eines Asyls eindringt. Stattdessen ist sie die Startrampe für eine rigoros post-heideggerianische Philosophie einerseits, wie die angemes-sene Rückkehr zum ehrwürdigen Problem der Kommunikation zwischen Substanzen andererseits. 20 00 Open Access Harman, Graham 11 03 06 10.21983/P3.0010.1.11 241 272 32 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Realism After finitude, and beyond? 1 A01 Louis Morelle Louis Morelle 40 002t25c44 Pantheon-Sorbonne University 2 B06 Leah Orth Leah Orth 01 eng 02 fre 03 00 Presented as the first signifi-cant movement in continental philosophy since structuralism, speculative realism (SR) vociferously announces the end of correlationism and anthropocentrism in philosophy in favor of a “speculative turn.” By accommodating things, matter, sci-ence, and the real qua objects as important as (if not more so than) language, thought, the phenomenal, and the social, SR has garnered attention and criticism from all sides these past few years. “Speculative Realism” was originally the title of a conference in 2007 that brought together four lesser-known but promising philosophers, and then it subsequently spread like wildfire via the Internet through blogs and open-access publishers, in addition to the traditional journal articles, books, colloquia, conferences and other official channels of academia. It has now become a “legitimate” subject of scholarship, taught in certain departments of contemporary philosophy and aesthetics and acquiring a section on the website Phil-papers. And yet, what is SR? For SR seems to have become, in Anglo-Saxon “continental” circles, a buzzword, one of these fashionable terms whose meaning is obscured the more it spreads. Originally naming a philosophically diverse core of young philosophers seeking to emphasize themes that have become relatively marginal in continental philosophy such as metaphysical speculation, the inorganic, or the absolute, and united by a common refusal to attend solely to textual objects or phenomenal experience, this vague designation has sparked a diffuse desire among continental intellectuals to break with some presuppositions inherited from previous generations. Crystallizing a Zeitgeist, the term has lost its specificity, becoming the generic name for all those among the philosophical “young guard” who are laying claim to a “new metaphysics.” 30 00 Presented as the first signifi-cant movement in continental philosophy since structuralism, speculative realism (SR) vociferously announces the end of correlationism and anthropocentrism in philosophy in favor of a “speculative turn.” By accommodating things, matter, sci-ence, and the real qua objects as important as (if not more so than) language, thought, the phenomenal, and the social, SR has garnered attention and criticism from all sides these past few years. “Speculative Realism” was originally the title of a conference in 2007 that brought together four lesser-known but promising philosophers, and then it subsequently spread like wildfire via the Internet through blogs and open-access publishers, in addition to the traditional journal articles, books, colloquia, conferences and other official channels of academia. It has now become a “legitimate” subject of scholarship, taught in certain departments of contemporary philosophy and aesthetics and acquiring a section on the website Phil-papers. And yet, what is SR? For SR seems to have become, in Anglo-Saxon “continental” circles, a buzzword, one of these fashionable terms whose meaning is obscured the more it spreads. Originally naming a philosophically diverse core of young philosophers seeking to emphasize themes that have become relatively marginal in continental philosophy such as metaphysical speculation, the inorganic, or the absolute, and united by a common refusal to attend solely to textual objects or phenomenal experience, this vague designation has sparked a diffuse desire among continental intellectuals to break with some presuppositions inherited from previous generations. Crystallizing a Zeitgeist, the term has lost its specificity, becoming the generic name for all those among the philosophical “young guard” who are laying claim to a “new metaphysics.” 20 00 Open Access Morelle, Louis 12 03 06 10.21983/P3.0010.1.12 273 289 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Outward Bound On Quentin Meillassoux's After Finitude 1 A01 Christian Thorne Christian Thorne 40 04avkmd49 Williams College 01 eng 03 00 ilN’yapasdehors-texte. If post-structuralism has had a motto—a proverb and quotable provocation—then surely it is this, from Derrida’s Of Grammatology.1Text has no outside. There is nothing outside the text. It is tempting to put a conventionally Kantian construction on these words—to see them, I mean, as bumping up against an old epistemo-logical barrier: Our thinking is intrinsically verbal—in that sense, textual—and it is therefore impossible for our minds to get past themselves, to leave themselves behind, to shed words and in that shedding to encounter objects as they really are, in their own skins, even when we’re not thinking them, plastering them with language, generating little mind-texts about them. But this is not, in fact, what the sentence says. Derrida’s claim would seem to be rather stronger than that: not There are unknowable objects outside of text, but There are outside of text no objects for us to know. So we reach for another gloss—There is only text...ain’t nothing but text—except the sentence isn’t really saying that either, since to say that there is nothing outside text points to the possibility that there is, in a manner yet to be explained, something inside text, and this something would not itself have to be text, any more than caramels in a carrying bag have to be made out of cellophane. 30 00 ilN’yapasdehors-texte. If post-structuralism has had a motto—a proverb and quotable provocation—then surely it is this, from Derrida’s Of Grammatology.1Text has no outside. There is nothing outside the text. It is tempting to put a conventionally Kantian construction on these words—to see them, I mean, as bumping up against an old epistemo-logical barrier: Our thinking is intrinsically verbal—in that sense, textual—and it is therefore impossible for our minds to get past themselves, to leave themselves behind, to shed words and in that shedding to encounter objects as they really are, in their own skins, even when we’re not thinking them, plastering them with language, generating little mind-texts about them. But this is not, in fact, what the sentence says. Derrida’s claim would seem to be rather stronger than that: not There are unknowable objects outside of text, but There are outside of text no objects for us to know. So we reach for another gloss—There is only text...ain’t nothing but text—except the sentence isn’t really saying that either, since to say that there is nothing outside text points to the possibility that there is, in a manner yet to be explained, something inside text, and this something would not itself have to be text, any more than caramels in a carrying bag have to be made out of cellophane. 20 00 Open Access Thorne, Christian 13 03 06 10.21983/P3.0010.1.13 290 366 77 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Noumenon's New Clothes (Part 1) 1 A01 Peter Wolfendale Peter Wolfendale 40 01kj2bm70 Newcastle University 01 eng 03 00 A spectre is haunting conti-nental philosophy—the spectre of Object-Oriented Ontology(OOO). All the disciplines and groupings that have traditionally allied themselves with continental theory in the anglophone world are poised to greet its manifestation: aesthetic theory and artistic practice, political philosophy and heterodox ge-ography, Francophile post-post-structuralists and Germanist neo-romantics. Who among them has not heard the siren song of OOO’s litanies of inhuman objects (menageries of stock markets and stock cubes, quarks and clerks, etc.)? Who among them has not begun to shrug off the oppressive, anthropocentric legacy of Post-Kantian philosophy, bravely railing against the tyrannical correlationists of the continental academy, the dreary technicians of the analytic mainstream, and even the scientistic fury of its Neo-Kantian heirs? 30 00 A spectre is haunting conti-nental philosophy—the spectre of Object-Oriented Ontology(OOO). All the disciplines and groupings that have traditionally allied themselves with continental theory in the anglophone world are poised to greet its manifestation: aesthetic theory and artistic practice, political philosophy and heterodox ge-ography, Francophile post-post-structuralists and Germanist neo-romantics. Who among them has not heard the siren song of OOO’s litanies of inhuman objects (menageries of stock markets and stock cubes, quarks and clerks, etc.)? Who among them has not begun to shrug off the oppressive, anthropocentric legacy of Post-Kantian philosophy, bravely railing against the tyrannical correlationists of the continental academy, the dreary technicians of the analytic mainstream, and even the scientistic fury of its Neo-Kantian heirs? 20 00 Open Access Wolfendale, Peter 14 03 06 10.21983/P3.0010.1.14 367 425 59 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Of Realist Turns A Conversation with Stathis Psillos 1 A01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 03 00 Stathis Psillos is Professor of Philosophy of Science and Meta-physics in the Department of Phi-losophy and History of Science in the University of Athens, former president of the European Philosophy of Science Association and editor of the review journal Metascience. Psillos is one of the most prominent defenders of scientific realism in contemporary philosophy of science, and he for-mulated his arguments in defense of realism in two impor-tant monographs: Scientific Realism: How Science Tracks Truth(1999) and Knowing the Structure of Nature: Essays on Realism and Explanation (2009). Psillos’ investigation begins with the identification of three core theses of scientific realism: The Metaphysical Thesis: the world has a definite and mind-independent natural-kind structure; The Semantic Thesis: scientific theories should be taken at face-value, being truth-conditioned descriptions of their intended domain, both observable and unobservable; The Epistemic Thesis: mature and predictively successful scientific theories are to be considered well-confirmed and approximately true descriptions of the world. 30 00 Stathis Psillos is Professor of Philosophy of Science and Meta-physics in the Department of Phi-losophy and History of Science in the University of Athens, former president of the European Philosophy of Science Association and editor of the review journal Metascience. Psillos is one of the most prominent defenders of scientific realism in contemporary philosophy of science, and he for-mulated his arguments in defense of realism in two impor-tant monographs: Scientific Realism: How Science Tracks Truth(1999) and Knowing the Structure of Nature: Essays on Realism and Explanation (2009). Psillos’ investigation begins with the identification of three core theses of scientific realism: The Metaphysical Thesis: the world has a definite and mind-independent natural-kind structure; The Semantic Thesis: scientific theories should be taken at face-value, being truth-conditioned descriptions of their intended domain, both observable and unobservable; The Epistemic Thesis: mature and predictively successful scientific theories are to be considered well-confirmed and approximately true descriptions of the world. 20 00 Open Access Gironi, Fabio 15 03 06 10.21983/P3.0010.1.15 426 472 47 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 In Defense of Unfashionable Causes 1 A01 Daniel Sacilotto Daniel Sacilotto 40 046rm7j60 University of California, Los Angeles 01 eng 03 00 the democracyof objects is Levi Bryant’s first full-blown mono-graph since enlisting in the ranks of the recent philosophical movement known as Object Oriented Philosophy (oop). It offers an outline of what is a broadly novel metaphysical system which, following the work of Graham Harman, describes a reality composed of objects all throughout, and nothing besides. Seeking to displace the primacy of the relation between the human and the world, oop follows the basic intuitions of Quentin Meillassoux’s work in proposing an alternative to idealist and correlationist philosophies, in the arduous process of stepping out of the post-Kantian shadow of critique, wherein Continental theory and thought is said to have circularly roamed, imprisoned, for the past few centuries.1 However, unlike some of its fel-low Continental realists, oop’s approach for overcoming the putative force of the “circle of correlation” is to adopt a de-flationary strategy, in which the question about how humans access the world is construed as being just one more relation between objects in a metaphysical account. In that regard oop is not entirely new, in that it remains continuous with the trivialization of epistemology sought by many Continental thinkers during the 20th Century, promoting rather the restitution of the primacy of ontological questioning, i.e. the kind of radicalization of the critique of metaphysics of which Heidegger, Deleuze, and more recently Badiou, are perhaps the tradition’s most emblematic figures. However, rather than exacerbating the epistemological question of access to the point where strict epistemology becomes displaced in favor of an examination of its linguistic, historical, or socio-cultural conditions, oop proposes to dislodge philosophy from its human cohort altogether, the better to rehabilitate an exploration of “the great outdoors” philosophy had sown shut in favor of critique, making the world relative to our own faculties in some form or other. 30 00 the democracyof objects is Levi Bryant’s first full-blown mono-graph since enlisting in the ranks of the recent philosophical movement known as Object Oriented Philosophy (oop). It offers an outline of what is a broadly novel metaphysical system which, following the work of Graham Harman, describes a reality composed of objects all throughout, and nothing besides. Seeking to displace the primacy of the relation between the human and the world, oop follows the basic intuitions of Quentin Meillassoux’s work in proposing an alternative to idealist and correlationist philosophies, in the arduous process of stepping out of the post-Kantian shadow of critique, wherein Continental theory and thought is said to have circularly roamed, imprisoned, for the past few centuries.1 However, unlike some of its fel-low Continental realists, oop’s approach for overcoming the putative force of the “circle of correlation” is to adopt a de-flationary strategy, in which the question about how humans access the world is construed as being just one more relation between objects in a metaphysical account. In that regard oop is not entirely new, in that it remains continuous with the trivialization of epistemology sought by many Continental thinkers during the 20th Century, promoting rather the restitution of the primacy of ontological questioning, i.e. the kind of radicalization of the critique of metaphysics of which Heidegger, Deleuze, and more recently Badiou, are perhaps the tradition’s most emblematic figures. However, rather than exacerbating the epistemological question of access to the point where strict epistemology becomes displaced in favor of an examination of its linguistic, historical, or socio-cultural conditions, oop proposes to dislodge philosophy from its human cohort altogether, the better to rehabilitate an exploration of “the great outdoors” philosophy had sown shut in favor of critique, making the world relative to our own faculties in some form or other. 20 00 Open Access Sacilotto, Daniel 16 03 06 10.21983/P3.0010.1.16 473 490 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Assessing the French Atheistic Turn 1 A01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 03 00 In under a decade we have witnessed a proliferation of texts on “atheism,” so much so that the term “New Atheism”1 has become a widely employed label to describe the discourse of this intellectual current, and books propounding or opposing it compete on the shelves of bookstores. Mostly, unfortunately, the tone of this discourse ranges from the patronisingly sarcastic to the irresponsibly uninformed (in the case of atheism-friendly authors) and from the wisely condescending to the virulently obscurantist (in the case of religious apologists). Most commonly associ-ated with this movement are the naturalising reductions of religion by Daniel Dennett, the militant, neo-positivist Dar-winism of Richard Dawkins, the pedantically cultured work of Christopher Hitchens and the populist, mouth-foaming Islamophobia and self-righteous outbursts of Sam Harris (these four authors are often grouped together as the “Four Horsemen” of atheism) and—to quote at least one author from the other side of the intellectual barricade—the natural theology redux of Alister McGrath. With the exception of the best moments of Dennett’s work these publications usually suffer from a deficit of philosophically informed argumenta-tion and (even in Dennett’s work) of actual engagement with the historico-theological heritage that is part and parcel of our conceptual toolbox. 30 00 In under a decade we have witnessed a proliferation of texts on “atheism,” so much so that the term “New Atheism”1 has become a widely employed label to describe the discourse of this intellectual current, and books propounding or opposing it compete on the shelves of bookstores. Mostly, unfortunately, the tone of this discourse ranges from the patronisingly sarcastic to the irresponsibly uninformed (in the case of atheism-friendly authors) and from the wisely condescending to the virulently obscurantist (in the case of religious apologists). Most commonly associ-ated with this movement are the naturalising reductions of religion by Daniel Dennett, the militant, neo-positivist Dar-winism of Richard Dawkins, the pedantically cultured work of Christopher Hitchens and the populist, mouth-foaming Islamophobia and self-righteous outbursts of Sam Harris (these four authors are often grouped together as the “Four Horsemen” of atheism) and—to quote at least one author from the other side of the intellectual barricade—the natural theology redux of Alister McGrath. With the exception of the best moments of Dennett’s work these publications usually suffer from a deficit of philosophically informed argumenta-tion and (even in Dennett’s work) of actual engagement with the historico-theological heritage that is part and parcel of our conceptual toolbox. 20 00 Open Access Gironi, Fabio 17 03 06 10.21983/P3.0010.1.17 491 498 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fight and Flight 1 A01 Dave Mesing Dave Mesing 40 02g7kd627 Villanova University 01 eng 03 00 “Together, we might be able to do dangerous subversive things, mischievous things.”1 Such is Andy Merrifield’s opening promise in his recent book Magi-cal Marxism: Subversive Politics and the Imagination. Merrifield situates the work between two poles of people: those who are more or less orthodox Marxists and those who are Marxists but don’t know it. Thus, despite the fact that Merrifield toys with central Marxist tenets, he avoids any notion of third-way rhetoric; Merrifield’s arguments are unapologetically Marxist, and his attempt to shake the tradition from within requires some working knowledge of Marx’s texts. This is not because Merrifield’s arguments are obscure. On the contrary, he is to be commended for how deftly he has condensed a wide range of difficult source material. Magical Marxism is a joy for the reader, and Merrifield’s broad attempt to inject some affirmation into the critical negativity of Marxism is reflected in his prose. 30 00 “Together, we might be able to do dangerous subversive things, mischievous things.”1 Such is Andy Merrifield’s opening promise in his recent book Magi-cal Marxism: Subversive Politics and the Imagination. Merrifield situates the work between two poles of people: those who are more or less orthodox Marxists and those who are Marxists but don’t know it. Thus, despite the fact that Merrifield toys with central Marxist tenets, he avoids any notion of third-way rhetoric; Merrifield’s arguments are unapologetically Marxist, and his attempt to shake the tradition from within requires some working knowledge of Marx’s texts. This is not because Merrifield’s arguments are obscure. On the contrary, he is to be commended for how deftly he has condensed a wide range of difficult source material. Magical Marxism is a joy for the reader, and Merrifield’s broad attempt to inject some affirmation into the critical negativity of Marxism is reflected in his prose. 20 00 Open Access Mesing, Dave 18 03 06 10.21983/P3.0010.1.18 499 506 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Circus Philosophicus 1 A01 Maxwell Kennel Maxwell Kennel 40 01aff2v68 University of Waterloo 01 eng 03 00 After four vivid pages spent describing “the myth of the ferris wheel” Graham Harman sets into what some have called the most accessible introduction to Object Oriented Ontology to date. At around 25,000 words in length Circus Philosophicus reads nicely in one extended sitting, and very readily yields rewards to both the specialist and non-specialist reader. Situated within Harman’s expand-ing oeuvre Circus Philosophicus is not readily comparable with any of his other work work, with the possible exception of the forthcoming Treatise on Objects (Open Humanities Press), which Harman describes as having a similar sort of prose. 1The incomparable genre of Circus Philosophicus seems to have been the goal from the beginning, a fact made evident by the rear cover blurb which describes the goal to “restore myth to its central place in the discipline.” The following review will give a brief summary of the first half of Circus Philosophicus highlighting some pertinent details, while of-fering some closing comments on the interesting placement of the work within both the genre and the discourse of Object Oriented Ontology. 30 00 After four vivid pages spent describing “the myth of the ferris wheel” Graham Harman sets into what some have called the most accessible introduction to Object Oriented Ontology to date. At around 25,000 words in length Circus Philosophicus reads nicely in one extended sitting, and very readily yields rewards to both the specialist and non-specialist reader. Situated within Harman’s expand-ing oeuvre Circus Philosophicus is not readily comparable with any of his other work work, with the possible exception of the forthcoming Treatise on Objects (Open Humanities Press), which Harman describes as having a similar sort of prose. 1The incomparable genre of Circus Philosophicus seems to have been the goal from the beginning, a fact made evident by the rear cover blurb which describes the goal to “restore myth to its central place in the discipline.” The following review will give a brief summary of the first half of Circus Philosophicus highlighting some pertinent details, while of-fering some closing comments on the interesting placement of the work within both the genre and the discourse of Object Oriented Ontology. 20 00 Open Access Kennel, Maxwell 19 03 06 10.21983/P3.0010.1.19 507 510 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Joseph Nechvatal's nOise anusmOs Installation 1 A01 Yuting Zou Yuting Zou 01 eng 03 00 Black is the “color” of undivided nothingness and simplicity that has yet been penetrated by light. Black is immanent to itself. Entering the Galerie Richard, black was arguably my instant impression of Joseph Nechvatal’s nOise anusmOs installation, for most of this new series of paintings are unified by a black background. Against the black backdrop are complicated webs of alternating red and white, they suggest many ambiguous and provocative images of corporeal surfaces. Here, sfumato plays a role in slightly reducing the contrast of colors by adding a smoky and subtle layer to the otherwise pixelated images. The entire room is filled with immersive noise, from the visual noise (digital virus) inside the pictorial frame to its audial extension into the ambient space through the “viral symphony.” Bathed in a continuity of noise, it appeared to me that the overall composition of this body of work was more sparse and plural than before, and more speculative. 30 00 Black is the “color” of undivided nothingness and simplicity that has yet been penetrated by light. Black is immanent to itself. Entering the Galerie Richard, black was arguably my instant impression of Joseph Nechvatal’s nOise anusmOs installation, for most of this new series of paintings are unified by a black background. Against the black backdrop are complicated webs of alternating red and white, they suggest many ambiguous and provocative images of corporeal surfaces. Here, sfumato plays a role in slightly reducing the contrast of colors by adding a smoky and subtle layer to the otherwise pixelated images. The entire room is filled with immersive noise, from the visual noise (digital virus) inside the pictorial frame to its audial extension into the ambient space through the “viral symphony.” Bathed in a continuity of noise, it appeared to me that the overall composition of this body of work was more sparse and plural than before, and more speculative. 20 00 Open Access Zou, Yuting 20 03 06 10.21983/P3.0010.1.20 511 511 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 3 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-iii/ Brooklyn, NY 04 01 20120903 Austin, Michael Gironi, Fabio Jackson, Robert Ennis, Paul J. Gokey, Thomas 02 WORLD 06 15 9780988234017 03 9780988234017 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25605 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25605/1004490.pdf?sequence=1&isAllowed=y 20 08 20120903 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29707 20 08 20120903 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353810 20 08 20120903 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/389 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0fff0ba4-aee1-494a-9d04-6a667005945e/download 20 08 20120903 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c00d9a0c-320d-4dfb-ba0c-d1adbdb491ef 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c00d9a0c-320d-4dfb-ba0c-d1adbdb491ef/c00d9a0c-320d-4dfb-ba0c-d1adbdb491ef.pdf 20 08 20120903 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693197 29 ZENODO: download the title https://zenodo.org/records/19693197/files/c00d9a0c-320d-4dfb-ba0c-d1adbdb491ef_book.pdf 20 08 20120903 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculations-iii/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0010.1.00.pdf 20 08 20120903 01 urn:uuid:2d4d36fb-132b-4a93-805e-f04644147da0 03 01 01 thoth-work-id urn:uuid:2c71d808-d1a7-4918-afbb-2dfc121e7768 01 thoth-publication-id urn:uuid:2d4d36fb-132b-4a93-805e-f04644147da0 15 9781953035028 03 9781953035028 06 10.21983/P3.344.1.00 01 internal-reference 0344 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speculations II 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 00 354 03 12 HPCF 10 PHI013000 B2 Philosophy 20 philosophy; speculative realism; object-oriented ontology 01 06 02 00 03 00 From the Editorial Introduction: "If the first volume of Speculations was enough of an explicit wager, a willing blind leap in the terra incognita of the publishing world, then this volume forces us to stop and evaluate the reasons for the journal’s protracted existence. This is all the more important when we consider how the range of meanings of the term ‘speculative realism’ seems to be growing—with increasing numbers of thinkers situating themselves in its trail, or holding a somewhat cautious interest in it—while its e ective reference seems nowhere to be found. …" 30 00 From the Editorial Introduction: "If the first volume of Speculations was enough of an explicit wager, a willing blind leap in the terra incognita of the publishing world, then this volume forces us to stop and evaluate the reasons for the journal’s protracted existence. This is all the more important when we consider how the range of meanings of the term ‘speculative realism’ seems to be growing—with increasing numbers of thinkers situating themselves in its trail, or holding a somewhat cautious interest in it—while its e ective reference seems nowhere to be found. …" 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.344.1.00_frontcover.jpg 1 03 06 10.53288/0344.1.01 1 4 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access 2 03 06 10.53288/0344.1.02 5 6 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Editorial Introduction 1 A01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 A01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 A01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Michael Austin Paul J. Ennis Thomas Gokey 3 03 06 10.53288/0344.1.03 7 48 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tractatus Mathematico-Politicus On Alain Badiou’s "Being and Event" 1 A01 Christopher Norris Christopher Norris 40 03kk7td41 Cardiff University 01 eng 20 00 Open Access Christopher Norris 4 03 06 10.53288/0344.1.04 49 85 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Philosopher, the Sophist, the Undercurrent and Alain Badiou 1 A01 21 0000000273049249 Marianna Papastephanou Marianna Papastephanou 40 02qjrjx09 University of Cyprus 01 eng 20 00 Open Access Marianna Papastephanou 5 03 06 10.53288/0344.1.05 86 103 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 On the Reality and Construction of Hyperobjects with Reference to Class 1 A01 Levi R. Bryant Levi R. Bryant 40 05t5ek106 Collin College 01 eng 20 00 Open Access Levi R. Bryant 6 03 06 10.53288/0344.1.06 104 134 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Structure, Sense and Territory 1 A01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 01 eng 20 00 Open Access Michael Austin 7 03 06 10.53288/0344.1.07 135 168 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Anxiousness of Objects and Artworks Michael Fried, Object Oriented Ontology and Aesthetic Absorption 1 A01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 20 00 Open Access Robert Jackson 8 03 06 10.53288/0344.1.08 169 186 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Cubist Object Black Boxes, Überrealism and the Metaphysics of Perspectives 1 A01 21 0000000166869751 Hilan Bensusan Hilan Bensusan 40 02xfp8v59 University of Brasília 40 01ee9ar58 University of Nottingham 01 eng 20 00 Open Access Hilan Bensusan 9 03 06 10.53288/0344.1.09 187 206 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Correlationism Reconsidered 1 A01 Josef Moshe Josef Moshe 01 eng 20 00 Open Access Josef Moshe 10 03 06 10.53288/0344.1.10 207 227 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sublime Objects 1 A01 Timothy Morton Timothy Morton 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Timothy Morton 11 03 06 10.53288/0344.1.11 228 244 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unknowing Animals 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 20 00 Open Access Nicola Masciandaro 12 03 06 10.53288/0344.1.12 245 274 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Networkologies A Manifesto, Section II 1 A01 Christopher Vitale Christopher Vitale 40 007m3p006 Pratt Institute 01 eng 20 00 Open Access Christopher Vitale 13 03 06 10.53288/0344.1.13 275 312 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ‘Girls Welcome!!!’ 1 A01 Michael O'Rourke Michael O'Rourke 20 00 Open Access Michael O'Rourke 14 03 06 10.53288/0344.1.14 313 333 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Science and Philosophy A Conversation with Sean Carroll 1 A01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 20 00 Open Access Fabio Gironi 15 03 06 10.53288/0344.1.15 334 339 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of "After Life" by Eugene Thacker 1 A01 Anthony Paul Smith Anthony Paul Smith 40 01ee9ar58 University of Nottingham 40 04xftk194 De La Salle University 01 eng 20 00 Open Access Anthony Paul Smith 16 03 06 10.53288/0344.1.16 340 345 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of "Insect Media: An Archeology of Animals and Technology" by Jussi Parikka 1 A01 Beatrice Marovich Beatrice Marovich 40 04gds4h28 Drew University 01 eng 20 00 Open Access Beatrice Marovich 17 03 06 10.53288/0344.1.17 346 351 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of "Towards Speculative Realism" by Graham Harman 1 A01 Fintan Neylan Fintan Neylan 40 05m7pjf47 University College Dublin 01 eng 20 00 Open Access Fintan Neylan 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-ii/ Earth, Milky Way 04 01 20200730 Austin, Michael Ennis, Paul J. Gokey, Thomas 02 WORLD WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77437 20 08 20200730 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/40041 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/40041/0344.1.00 20 08 20200730 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26176 20 08 20200730 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354004 20 08 20200730 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/746 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1d754adc-0cd9-4ea3-89e6-cbde5621fced/download 20 08 20200730 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2c71d808-d1a7-4918-afbb-2dfc121e7768 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2c71d808-d1a7-4918-afbb-2dfc121e7768/2c71d808-d1a7-4918-afbb-2dfc121e7768.pdf 20 08 20200730 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848376 29 ZENODO: download the title https://zenodo.org/records/19848376/files/2c71d808-d1a7-4918-afbb-2dfc121e7768_book.pdf 20 08 20200730 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculations-ii/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.344.1.00.pdf 20 08 20200730 01 urn:uuid:e738ffd1-6fa2-4e25-92ad-65ca4084e250 03 01 01 thoth-work-id urn:uuid:ee2cb855-4c94-4176-b62c-3114985dd84e 01 thoth-publication-id urn:uuid:e738ffd1-6fa2-4e25-92ad-65ca4084e250 15 9780615797861 03 9780615797861 06 10.21983/P3.0032.1.00 01 internal-reference 0032 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 203 mm 02 20.3 cm 02 8 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculations IV Speculative Realism 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 3 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 00 122 03 12 HPCF 10 PHI013000 B2 Philosophy 20 philosophy; weird realism; speculative realism; object-oriented ontology 01 06 02 00 03 00 With this special volume of Speculations, the editors wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intellectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.” If this is the case, to deny that a shift of grounds has indeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask.Whatever the intrinsic value in the name, the contributors to this volume have all engaged, more or less directly, with a critical analysis of the vices and virtues of “speculative realism”: from the extent to which its adversarial stance towards previous philosophical stances is justified to whether it succeeds (or fails) to address satisfactorily the concerns that ostensibly motivate it, through to an assessment of the methods of dissemination of its core ideas. The contributions are divided in two sections, titled “Reflections” and “Proposals,” describing, with some inevitable overlap, two kinds of approach to the question of speculative realism: one geared towards its retrospective and its critical appraisal, and the other concerned with the positive proposition of alternative or parallel approaches to it. It is believed that the final result, in its heterogeneity, will be of better service to the philosophical community than a dubiously univocal descriptive recapitulation of “speculative realist tenets.” 30 00 With this special volume of Speculations, the editors wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intellectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.” If this is the case, to deny that a shift of grounds has indeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask.Whatever the intrinsic value in the name, the contributors to this volume have all engaged, more or less directly, with a critical analysis of the vices and virtues of “speculative realism”: from the extent to which its adversarial stance towards previous philosophical stances is justified to whether it succeeds (or fails) to address satisfactorily the concerns that ostensibly motivate it, through to an assessment of the methods of dissemination of its core ideas. The contributions are divided in two sections, titled “Reflections” and “Proposals,” describing, with some inevitable overlap, two kinds of approach to the question of speculative realism: one geared towards its retrospective and its critical appraisal, and the other concerned with the positive proposition of alternative or parallel approaches to it. It is believed that the final result, in its heterogeneity, will be of better service to the philosophical community than a dubiously univocal descriptive recapitulation of “speculative realist tenets.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0032.1.00_frontcover.jpg 1 03 06 10.21983/P3.0032.1.01 1 4 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 4 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 5 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 20 00 Open Access Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 2 03 06 10.21983/P3.0032.1.02 5 5 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Editorial Introduction 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 4 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 5 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 03 00 With this special issue of Speculations we wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intel-lectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.”1If this is the case, to deny that a shift of grounds hasindeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask. 30 00 With this special issue of Speculations we wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intel-lectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.”1If this is the case, to deny that a shift of grounds hasindeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask. 20 00 Open Access Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 3 03 06 10.21983/P3.0032.1.03 9 14 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Not Settling the Issue of Realism 1 A01 21 0000000228959382 Lee Braver Lee Braver 40 032db5x82 University of South Florida 01 eng 03 00 Philosophy is a means of escape. Our presence in this world is an accident, in both senses of the word, an unfortunate fate that has befallen us as we have fallen into it. This is a world of shadows and reflections, of illusions and elisions, of waste and death. It is a reality in decay that has, paradoxically, always been in decay, a ruins that was never whole.We are in this world, but we do not belong here. We yearn for a reality that is real, and a truth that is true. Since these are not to be found among the detritus of everyday life, we must seek it in a world beyond or behind this one, a realm that truly exists because it has no whiff of non-existence about it—no destruction, no imperfections, no suffering, no death. Our duty in this life is to escape this life, to withdraw physically, emotionally, intellectually, spiritually from these shadows, to slip the bonds that hold us—to escape. And philosophy is what shows us our goal and guides us to it. 30 00 Philosophy is a means of escape. Our presence in this world is an accident, in both senses of the word, an unfortunate fate that has befallen us as we have fallen into it. This is a world of shadows and reflections, of illusions and elisions, of waste and death. It is a reality in decay that has, paradoxically, always been in decay, a ruins that was never whole.We are in this world, but we do not belong here. We yearn for a reality that is real, and a truth that is true. Since these are not to be found among the detritus of everyday life, we must seek it in a world beyond or behind this one, a realm that truly exists because it has no whiff of non-existence about it—no destruction, no imperfections, no suffering, no death. Our duty in this life is to escape this life, to withdraw physically, emotionally, intellectually, spiritually from these shadows, to slip the bonds that hold us—to escape. And philosophy is what shows us our goal and guides us to it. 20 00 Open Access Braver, Lee 4 03 06 10.21983/P3.0032.1.04 15 21 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Politics and Speculative Realism 1 A01 Levi R. Bryant Levi R. Bryant 40 05t5ek106 Collin College 01 eng 03 00 Since its birth in 2007, speculative realism (SR) has generated a great deal of controversy in journals, the theory blogosphere, and at conferences. One would search in vain for a unified “speculative realist” position or doctrine. The four original speculative realists who coined the term—Ray Brassier, Gra-ham Harman, Iain Hamilton Grant, and Quentin Meillassoux—argue for very different ontologies and epistemologies, opposed to one another in a number of respects. If there is anything that unites their positions, it is 1) a defense of some variant of realism or materialism, and 2) a critique of correla-tionism. First coined by Meillassoux, correlationism is the thesis that we can only ever speak of being as a correlate of the subject and never the world and subject apart from one another.2 Beyond that, the sort of realism (or materialism) each of these think-ers defends and how they critique correlationism diverges quite substantially. 30 00 Since its birth in 2007, speculative realism (SR) has generated a great deal of controversy in journals, the theory blogosphere, and at conferences. One would search in vain for a unified “speculative realist” position or doctrine. The four original speculative realists who coined the term—Ray Brassier, Gra-ham Harman, Iain Hamilton Grant, and Quentin Meillassoux—argue for very different ontologies and epistemologies, opposed to one another in a number of respects. If there is anything that unites their positions, it is 1) a defense of some variant of realism or materialism, and 2) a critique of correla-tionism. First coined by Meillassoux, correlationism is the thesis that we can only ever speak of being as a correlate of the subject and never the world and subject apart from one another.2 Beyond that, the sort of realism (or materialism) each of these think-ers defends and how they critique correlationism diverges quite substantially. 20 00 Open Access Bryant, Levi R. 5 03 06 10.21983/P3.0032.1.05 22 28 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Current State of Speculative Realism 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 Elsewhere I have told the history of Speculative Realism, and will not repeat it here.1 Though some prefer the lower-case phrase “speculative realism,” I deliberately use capital letters, since Speculative Realism is a proper name. It originally referred to an assembly of four philosophers for an April 2007 workshop in London: Ray Brassier, Iain Hamilton Grant, Quentin Meillassoux, and the author of this article. So much for the history of the movement.Any discussion of Speculative Realism needs to begin by avoiding the intermittent and pointless debate over whether Speculative Realism “really exists.” This question comes five years too late to be meaningful, and generally takes the form of a put-down rather than a bona fide question. Speculative Realism is now the topic of a thriving book series at a major university press, and the subject of at least one forthcoming monograph.2 It is embedded in the editorial policy of several philosophy journals. It has become a terme d’art in architecture, archae-ology, geography, the visual arts, and even history. It has crossed national boundaries with ease, and is surely the central theme of discussion in the growing continental philosophy blogosphere. Speculative Re-alism is the topic of several postdoctoral fellowships offered in the United States this year. It has been the subject of semester-long classes at universities as well as graduate theses in Paris. Though there are still tough tests ahead concerning the breadth and durability of Speculative Realism, it has long since passed the “existence” test to a far greater degree than most of its critics. 30 00 Elsewhere I have told the history of Speculative Realism, and will not repeat it here.1 Though some prefer the lower-case phrase “speculative realism,” I deliberately use capital letters, since Speculative Realism is a proper name. It originally referred to an assembly of four philosophers for an April 2007 workshop in London: Ray Brassier, Iain Hamilton Grant, Quentin Meillassoux, and the author of this article. So much for the history of the movement.Any discussion of Speculative Realism needs to begin by avoiding the intermittent and pointless debate over whether Speculative Realism “really exists.” This question comes five years too late to be meaningful, and generally takes the form of a put-down rather than a bona fide question. Speculative Realism is now the topic of a thriving book series at a major university press, and the subject of at least one forthcoming monograph.2 It is embedded in the editorial policy of several philosophy journals. It has become a terme d’art in architecture, archae-ology, geography, the visual arts, and even history. It has crossed national boundaries with ease, and is surely the central theme of discussion in the growing continental philosophy blogosphere. Speculative Re-alism is the topic of several postdoctoral fellowships offered in the United States this year. It has been the subject of semester-long classes at universities as well as graduate theses in Paris. Though there are still tough tests ahead concerning the breadth and durability of Speculative Realism, it has long since passed the “existence” test to a far greater degree than most of its critics. 20 00 Open Access Harman, Graham 6 03 06 10.21983/P3.0032.1.06 28 34 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Weird Reading 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 It may seem strange to open an essay on the possi-bilities of Speculative Realist (SR) literary reading modes with a quotation from Derrida, whose sta-tus as one of the architects of the “linguistic turn” within the humanities supposedly makes him an enemy (or at least, an often convenient whipping post) of the new realists. Such is the odd flavor of this essay, which, situated outside of philosophy proper, seeks a more anti-disciplinary and even autistic relational field—that is to say, an amod-al, synaesthetic, fluid, and diffusely intentional model for discerning relations among thinkers and objects.2 Unlike Graham Harman (although very much influenced by him), who opened his essay “Vicarious Causation” by saying his theory of causation “is not some autistic moonbeam entering the window of an asylum,” but rather a “launching pad for a rigorous post-Heideggerian philosophy,”3I am hoping to follow just such moonbeams into many-chambered asylums. My thinking is hopefully rigorous, but also unreasonable. 30 00 It may seem strange to open an essay on the possi-bilities of Speculative Realist (SR) literary reading modes with a quotation from Derrida, whose sta-tus as one of the architects of the “linguistic turn” within the humanities supposedly makes him an enemy (or at least, an often convenient whipping post) of the new realists. Such is the odd flavor of this essay, which, situated outside of philosophy proper, seeks a more anti-disciplinary and even autistic relational field—that is to say, an amod-al, synaesthetic, fluid, and diffusely intentional model for discerning relations among thinkers and objects.2 Unlike Graham Harman (although very much influenced by him), who opened his essay “Vicarious Causation” by saying his theory of causation “is not some autistic moonbeam entering the window of an asylum,” but rather a “launching pad for a rigorous post-Heideggerian philosophy,”3I am hoping to follow just such moonbeams into many-chambered asylums. My thinking is hopefully rigorous, but also unreasonable. 20 00 Open Access Joy, Eileen A. 7 03 06 10.21983/P3.0032.1.07 35 37 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Dangerous Supplement Speculative Realism, Academic Blogging, and the Future of Philosophy 1 A01 Adam Kotsko Adam Kotsko 40 02ehan050 North Central College 01 eng 03 00 In many ways, the rise of Speculative Realism has been one of the most promising developments in contemporary continental philosophy. It has brought to the fore many concerns—above all the philosophy of science—that have been neglected by Anglophone continentalists, and it has introduced the English-speaking world to a range of new or previously neglected thinkers (such as Quentin Meillassoux and François Laruelle, respectively). In a field that has always had a tendency toward commentary, the movement has also emboldened Anglophone continentalists to begin writing “primary sources,” developing their own concepts and systems. The excitement surrounding these new developments has been so great that John D. Caputo, a dyed-in-the-wool Derridean, went so far as to devote his final graduate seminar to thinkers associated with this new push toward realism. 30 00 In many ways, the rise of Speculative Realism has been one of the most promising developments in contemporary continental philosophy. It has brought to the fore many concerns—above all the philosophy of science—that have been neglected by Anglophone continentalists, and it has introduced the English-speaking world to a range of new or previously neglected thinkers (such as Quentin Meillassoux and François Laruelle, respectively). In a field that has always had a tendency toward commentary, the movement has also emboldened Anglophone continentalists to begin writing “primary sources,” developing their own concepts and systems. The excitement surrounding these new developments has been so great that John D. Caputo, a dyed-in-the-wool Derridean, went so far as to devote his final graduate seminar to thinkers associated with this new push toward realism. 20 00 Open Access Kotsko, Adam 8 03 06 10.21983/P3.0032.1.08 38 47 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Realism Interim with Just a Few Caveats 1 A01 Christopher Norris Christopher Norris 40 03kk7td41 Cardiff University 01 eng 03 00 Like a good many others I was greatly impressed when I first read Quentin Meillassoux’s After Fin-itude—at any rate its opening section—and even more so to witness its extraordinary impact among the livelier sections of the continental philosophy community over the next few years.1 What the book clearly marked was a full-scale retreat (for which, read “advance”) from the kinds of far-out anti-re-alist, constructivist, or socio-linguistic-relativist position that had captured the high ground across large swathes of the post-1970 continentally influ-enced humanities, philosophy included. In its place there now emerged a hard-line objectivist realism which defined itself squarely against that whole theoretical-cultural mindset. Moreover it did so with primary reference to just those disputed zones, like epistemology and philosophy of science, where anti-realism had pressed its case with maximum vehemence and rhetorical if not argumentative force. 30 00 Like a good many others I was greatly impressed when I first read Quentin Meillassoux’s After Fin-itude—at any rate its opening section—and even more so to witness its extraordinary impact among the livelier sections of the continental philosophy community over the next few years.1 What the book clearly marked was a full-scale retreat (for which, read “advance”) from the kinds of far-out anti-re-alist, constructivist, or socio-linguistic-relativist position that had captured the high ground across large swathes of the post-1970 continentally influ-enced humanities, philosophy included. In its place there now emerged a hard-line objectivist realism which defined itself squarely against that whole theoretical-cultural mindset. Moreover it did so with primary reference to just those disputed zones, like epistemology and philosophy of science, where anti-realism had pressed its case with maximum vehemence and rhetorical if not argumentative force. 20 00 Open Access Norris, Christopher 9 03 06 10.21983/P3.0032.1.09 48 52 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Future of an Illusion 1 A01 Jon Roffe Jon Roffe 40 02czsnj07 Deakin University 01 eng 03 00 “Frank Auerbach’s career says little about the ‘art world,’ except that it may not matter much to a real artist’s growth.” So begins what is likely Robert Hughes’ best book on the work of a single artist, with the possible exception of the brilliant if patchy Goya. The sentiment, it seems to me, is equally applicable to the Frankenstein’s monster called speculative realism. Insofar as the various acts of this genre are philosophical, they remain within Plato’s ambit, and must be considered on the same grounds. This means, first (a first patently obvious claim), that whatever the novel new content of philosophy, its form is what it has always been. In other words, to paraphrase a famous sentiment about music, there are still only two types of philosophy: good and bad. That someone nominates themselves as a Platonist, an empiricist, or as engaged in object oriented phi-losophy is of absolutely zero philosophical import. What matters is the philosophical work that they engage in, what they manage to construct and support in this effort. Philosophy is not a game of proper names, despite the profoundly boring role played in the contemporary culture of thought. Patronymy is to philosophy a facsimile of Zarathustra’s ape. Here is one of the key differences between philosophy and psychoanalysis: in the former, the proper name, despite its ubiquity, has no essential significance. Or, to be more precise, the proper name does not function patronymically, but rather to index a problem or problematic conceptual nexus. That beautiful figment in the Foucauldian imaginarium, the “year without a name,”1 is—or at least, should be—the rule for philosophy, an irreducible com-ponent of the philosophical gambit. Philosophy is anonymous a priori, and the proper name operates within it as a mask. 30 00 “Frank Auerbach’s career says little about the ‘art world,’ except that it may not matter much to a real artist’s growth.” So begins what is likely Robert Hughes’ best book on the work of a single artist, with the possible exception of the brilliant if patchy Goya. The sentiment, it seems to me, is equally applicable to the Frankenstein’s monster called speculative realism. Insofar as the various acts of this genre are philosophical, they remain within Plato’s ambit, and must be considered on the same grounds. This means, first (a first patently obvious claim), that whatever the novel new content of philosophy, its form is what it has always been. In other words, to paraphrase a famous sentiment about music, there are still only two types of philosophy: good and bad. That someone nominates themselves as a Platonist, an empiricist, or as engaged in object oriented phi-losophy is of absolutely zero philosophical import. What matters is the philosophical work that they engage in, what they manage to construct and support in this effort. Philosophy is not a game of proper names, despite the profoundly boring role played in the contemporary culture of thought. Patronymy is to philosophy a facsimile of Zarathustra’s ape. Here is one of the key differences between philosophy and psychoanalysis: in the former, the proper name, despite its ubiquity, has no essential significance. Or, to be more precise, the proper name does not function patronymically, but rather to index a problem or problematic conceptual nexus. That beautiful figment in the Foucauldian imaginarium, the “year without a name,”1 is—or at least, should be—the rule for philosophy, an irreducible com-ponent of the philosophical gambit. Philosophy is anonymous a priori, and the proper name operates within it as a mask. 20 00 Open Access Roffe, Jon 10 03 06 10.21983/P3.0032.1.10 53 62 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Realism And Representation On the Ontological Turn 1 A01 Daniel Sacilotto Daniel Sacilotto 40 024e4df17 California Institute of the Arts 01 eng 03 00 The views associated with the title “speculative realism” are often coordinated with a so-called “ontological turn” that is said to have taken place in recent Continental philosophy.1 Yet it is rather unclear what exactly such a turn is supposed to entail. If, as Meillassoux argues, it is Kant’s name that sets the horizon for the anti-realist denouement that presumably characterizes both correlationism and idealism, then something like the overcoming of the critical turn in philosophy would seem to be centrally at stake.2 The turn towards ontology pro-posed by the new realists would then be the obverse of a turning away from Kantian epistemology and its implications. And, yet again, there are at least two historical vectors which we can intuitively link to an “ontological turn,” conceived as the overcoming of the critical paradigm. 30 00 The views associated with the title “speculative realism” are often coordinated with a so-called “ontological turn” that is said to have taken place in recent Continental philosophy.1 Yet it is rather unclear what exactly such a turn is supposed to entail. If, as Meillassoux argues, it is Kant’s name that sets the horizon for the anti-realist denouement that presumably characterizes both correlationism and idealism, then something like the overcoming of the critical turn in philosophy would seem to be centrally at stake.2 The turn towards ontology pro-posed by the new realists would then be the obverse of a turning away from Kantian epistemology and its implications. And, yet again, there are at least two historical vectors which we can intuitively link to an “ontological turn,” conceived as the overcoming of the critical paradigm. 20 00 Open Access Sacilotto, Daniel 11 03 06 10.21983/P3.0032.1.11 65 70 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "The World is an Egg" Realism, Mathematics, and the Thresholds of Difference 1 A01 Jeffrey A. Bell Jeffrey A. Bell 40 0531xck41 Southeastern Louisiana University 01 eng 03 00 To most people, the question or problem of realism—realism taken here to mean that there is a reality independent of our awareness or consciousness of this reality—is neither a question nor a problem; it is simply taken for granted. It is one of the unques-tioned assumptions of daily life. When I leave the house, there is no question my laptop remains where I left it and will be there upon my return; there is no question that there were many things in existence before my birth and that there will continue to be many things after my death; and finally, there is no question that there was a wealth of things in existence—stars, planets, dinosaurs, etc.—before the emergence of conscious, inquiring human beings. In our daily lives, therefore, to be a realist is a matter of common sense.1 When we begin to ask what it is that is real, however, or when we seek to determine whether our judgments regarding the nature of reality are correct or not, we begin to enter a quagmire of difficulties that have beset philosophers since the beginning of philosophy itself. 30 00 To most people, the question or problem of realism—realism taken here to mean that there is a reality independent of our awareness or consciousness of this reality—is neither a question nor a problem; it is simply taken for granted. It is one of the unques-tioned assumptions of daily life. When I leave the house, there is no question my laptop remains where I left it and will be there upon my return; there is no question that there were many things in existence before my birth and that there will continue to be many things after my death; and finally, there is no question that there was a wealth of things in existence—stars, planets, dinosaurs, etc.—before the emergence of conscious, inquiring human beings. In our daily lives, therefore, to be a realist is a matter of common sense.1 When we begin to ask what it is that is real, however, or when we seek to determine whether our judgments regarding the nature of reality are correct or not, we begin to enter a quagmire of difficulties that have beset philosophers since the beginning of philosophy itself. 20 00 Open Access Bell, Jeffery A. 12 03 06 10.21983/P3.0032.1.12 71 73 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ontological Commitments 1 A01 Manuel DeLanda Manuel DeLanda 40 00b30xv10 University of Pennsylvania 01 eng 03 00 Any philosophy commits itself, explicitly or implicitly, to assert the existence of the entities that it intends to describe or explain. Philosophers who deny the truth of this statement—affirming for example that specifying what kinds of entities populate their world constrains their ability to think—usually assume an implicit ontology which is, for the same reason, uncritically accepted and poorly analyzed. Hence, declaring one’s ontological commitments from the start should be standard procedure in philosophy. Although ontologies vary widely, and it is unwise to try to fit them into a rigid taxonomy, for the purposes of this brief essay they can be classified into three categories: idealist, empiricist, and realist. For the idealist philosopher there are no entities that exist independently of the human mind; for the empiricist entities that can be directly observed can be said to be mind-independent, but everything else (electrons, viruses, causal capacities etc.) is a mere theoretical construct that is helpful in making sense of that which can be directly ob-served; for the realist, finally, there are many types of entities that exist autonomously even if they are not directly given to our senses. 30 00 Any philosophy commits itself, explicitly or implicitly, to assert the existence of the entities that it intends to describe or explain. Philosophers who deny the truth of this statement—affirming for example that specifying what kinds of entities populate their world constrains their ability to think—usually assume an implicit ontology which is, for the same reason, uncritically accepted and poorly analyzed. Hence, declaring one’s ontological commitments from the start should be standard procedure in philosophy. Although ontologies vary widely, and it is unwise to try to fit them into a rigid taxonomy, for the purposes of this brief essay they can be classified into three categories: idealist, empiricist, and realist. For the idealist philosopher there are no entities that exist independently of the human mind; for the empiricist entities that can be directly observed can be said to be mind-independent, but everything else (electrons, viruses, causal capacities etc.) is a mere theoretical construct that is helpful in making sense of that which can be directly ob-served; for the realist, finally, there are many types of entities that exist autonomously even if they are not directly given to our senses. 20 00 Open Access DeLanda, Manuel 13 03 06 10.21983/P3.0032.1.13 74 83 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Meaning of "Existence" and the Contingency of Sense 1 A01 Markus Gabriel Markus Gabriel 40 041nas322 University of Bonn 01 eng 03 00 In Western philosophy, the last century was dom-inated by the view that metaphysics and ontology were hopelessly doomed to failure. Many reasons have been given for different versions of this claim, most of them inspired by broadly Kantian epistemo-logical considerations. Kant famously claimed, “the proud name of ontology, which presumes to offer synthetic a priori cognitions of things in general [...] must give way to the more modest title of a transcendental analytic.”2 However, in my view his criticism is only directed against a particular form of ontology and not against ontology as such. What he attacks is the idea of ontology as a synthetic a priori insight into how things generally are, that is, in all possible ways of accessing them. According to his analysis, the range of our judgments is always limited according to certain contingent forms of understanding and sensibility and this finitude cannot be transcended. 30 00 In Western philosophy, the last century was dom-inated by the view that metaphysics and ontology were hopelessly doomed to failure. Many reasons have been given for different versions of this claim, most of them inspired by broadly Kantian epistemo-logical considerations. Kant famously claimed, “the proud name of ontology, which presumes to offer synthetic a priori cognitions of things in general [...] must give way to the more modest title of a transcendental analytic.”2 However, in my view his criticism is only directed against a particular form of ontology and not against ontology as such. What he attacks is the idea of ontology as a synthetic a priori insight into how things generally are, that is, in all possible ways of accessing them. According to his analysis, the range of our judgments is always limited according to certain contingent forms of understanding and sensibility and this finitude cannot be transcended. 20 00 Open Access Gabriel, Markus 14 03 06 10.21983/P3.0032.1.14 84 90 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Post-Deconstructive Realism It's About Time 1 A01 Peter Gratton Peter Gratton 40 0531xck41 Southeastern Louisiana University 01 eng 03 00 Speculative realism began in part as a reaction for-mation against structuralist and post-structuralist approaches in Continental philosophy. Foucaultian archaeologies, Derridean deconstruction, and Iri-garay’s decentering of patriarchal discourses, for example, are said to focus so thoroughly on texts as to have given up on the real altogether. As Gra-ham Harman puts it, “Derrida and Foucault would rather die than call themselves realists.”1 Locked in the prison house of language, Derrida’s work in particular—Foucault and Irigaray at least could be said to investigate very real regimes of power—was said to be a “textual idealism” that could see nothing beyond any given text. Thus, Harman and Quentin Meillassoux seek means of driving straight past the “linguistic turn” that had side-tracked, they believe, a previous era of philosophers.2 As such, for them, to discuss a “deconstructive” or a “post-deconstruc-tive realism” would be, for them, an oxymoron, or worse, a rear-guard action defending Derrida et al. as realists avant la lettre.3 But my argument is that this is a dodge: at the heart of this speculative work is a pre-modern (not even just pre-Critical) consid-eration of time, where time is epiphenomenal when thought against the eternal (for Meillassoux, the mathematics of set theory; for Harman the objects in themselves “forever in the present”). And until a certain realism of time opens onto their thought, their interventions will be anything but timely. 30 00 Speculative realism began in part as a reaction for-mation against structuralist and post-structuralist approaches in Continental philosophy. Foucaultian archaeologies, Derridean deconstruction, and Iri-garay’s decentering of patriarchal discourses, for example, are said to focus so thoroughly on texts as to have given up on the real altogether. As Gra-ham Harman puts it, “Derrida and Foucault would rather die than call themselves realists.”1 Locked in the prison house of language, Derrida’s work in particular—Foucault and Irigaray at least could be said to investigate very real regimes of power—was said to be a “textual idealism” that could see nothing beyond any given text. Thus, Harman and Quentin Meillassoux seek means of driving straight past the “linguistic turn” that had side-tracked, they believe, a previous era of philosophers.2 As such, for them, to discuss a “deconstructive” or a “post-deconstruc-tive realism” would be, for them, an oxymoron, or worse, a rear-guard action defending Derrida et al. as realists avant la lettre.3 But my argument is that this is a dodge: at the heart of this speculative work is a pre-modern (not even just pre-Critical) consid-eration of time, where time is epiphenomenal when thought against the eternal (for Meillassoux, the mathematics of set theory; for Harman the objects in themselves “forever in the present”). And until a certain realism of time opens onto their thought, their interventions will be anything but timely. 20 00 Open Access Gratton, Peter 15 03 06 10.21983/P3.0032.1.15 91 98 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Points of Forced Freedom Eleven (More) Theses on Materialism 1 A01 Adrian Johnston Adrian Johnston 40 05fs6jp91 University of New Mexico 01 eng 03 00 Any materialism worthy of the name must involve elements of both naturalism and empiricism. However, it need not be straightforwardly and entirely naturalist or empiricist in the traditional (particularly pre-Kantian) senses of these labels (and, in the case of materialisms in the wake of German idealism, including transcendental mate-rialism, ought not to be). Following from this, any anti-naturalist rationalism, in whatever guise, can-not qualify as being simultaneously a materialism too. Although an anti-naturalist rationalism can be made consistent with (metaphysical) realism, this by no means renders it compatible with materialism strictly speaking. In still other words, there is no such thing as a purely formalist materialism; with reference to the birth of modern science, there is no Galileo without Bacon too. Both aversion to the experimental natural sciences of modernity as well as rejection of tying knowledge primarily to empirical routes of acquisition prompts thinking down paths leading to anachronistic Pythagorian-isms, ontological dualisms, spiritualist idealisms, religious mysticisms, and a unruly, proliferating swarm of confabulations, delusions, imaginings, fantasies, and ravings passing themselves off as rigorous, responsible philosophizing. Furthermore, insofar as an empirically informed, quasi-naturalist materialism is not in the least synonymous with and equivalent to rigid, mechanical determinism, an attuned materialist sensitivity to the natural sciences is not to be feared as the opening up to the immediate closing down of space for autonomous subjectivity and everything it brings with it. 30 00 Any materialism worthy of the name must involve elements of both naturalism and empiricism. However, it need not be straightforwardly and entirely naturalist or empiricist in the traditional (particularly pre-Kantian) senses of these labels (and, in the case of materialisms in the wake of German idealism, including transcendental mate-rialism, ought not to be). Following from this, any anti-naturalist rationalism, in whatever guise, can-not qualify as being simultaneously a materialism too. Although an anti-naturalist rationalism can be made consistent with (metaphysical) realism, this by no means renders it compatible with materialism strictly speaking. In still other words, there is no such thing as a purely formalist materialism; with reference to the birth of modern science, there is no Galileo without Bacon too. Both aversion to the experimental natural sciences of modernity as well as rejection of tying knowledge primarily to empirical routes of acquisition prompts thinking down paths leading to anachronistic Pythagorian-isms, ontological dualisms, spiritualist idealisms, religious mysticisms, and a unruly, proliferating swarm of confabulations, delusions, imaginings, fantasies, and ravings passing themselves off as rigorous, responsible philosophizing. Furthermore, insofar as an empirically informed, quasi-naturalist materialism is not in the least synonymous with and equivalent to rigid, mechanical determinism, an attuned materialist sensitivity to the natural sciences is not to be feared as the opening up to the immediate closing down of space for autonomous subjectivity and everything it brings with it. 20 00 Open Access Johnston, Adrian 16 03 06 10.21983/P3.0032.1.16 99 107 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Realism and the Infinite 1 A01 Paul M. Livingston Paul M. Livingston 40 05fs6jp91 University of New Mexico 01 eng 03 00 In his 1951 Gibbs lecture, drawing out some of the “philosophical consequences” of his two in-completeness theorems and related results, Kurt Gödel outlines a disjunctive alternative which, as I shall try to show, captures in a precise way the contemporary situation of reflective thought in its ongoing consideration of the relationship of formalism to the real:Either mathematics is incompletable in [the] sense that its evident axioms can never be comprised in a finite rule, i.e. to say the human mind (even within the realm of pure mathematics) infinitely surpass-es the powers of any finite machine, or else there exist absolutely unsolvable Diophantine problems of the type specified...2A consequence of this aporeatic situation of con-temporary thought, as I shall try to show, is that the longstanding philosophical debate over the relative priority of thought and being that finds expres-sion in discussions of “realism” and “anti-realism” (whether of idealist, positivist, or conventionalist forms) can only be assayed from the position of a metaformal reflection on the relationship of the forms of thought to the real of being. Moreover, if Gödel’s argument is correct and can be generalized beyond the epistemology of mathematics itself, it is also not neutral on this question of relative priority, but rather suggests a new kind of realism—what I shall call “metaformal” realism—that differs markedly both from “metaphysical realism” and from the newer varieties of “speculative realism” on offer today. 30 00 In his 1951 Gibbs lecture, drawing out some of the “philosophical consequences” of his two in-completeness theorems and related results, Kurt Gödel outlines a disjunctive alternative which, as I shall try to show, captures in a precise way the contemporary situation of reflective thought in its ongoing consideration of the relationship of formalism to the real:Either mathematics is incompletable in [the] sense that its evident axioms can never be comprised in a finite rule, i.e. to say the human mind (even within the realm of pure mathematics) infinitely surpass-es the powers of any finite machine, or else there exist absolutely unsolvable Diophantine problems of the type specified...2A consequence of this aporeatic situation of con-temporary thought, as I shall try to show, is that the longstanding philosophical debate over the relative priority of thought and being that finds expres-sion in discussions of “realism” and “anti-realism” (whether of idealist, positivist, or conventionalist forms) can only be assayed from the position of a metaformal reflection on the relationship of the forms of thought to the real of being. Moreover, if Gödel’s argument is correct and can be generalized beyond the epistemology of mathematics itself, it is also not neutral on this question of relative priority, but rather suggests a new kind of realism—what I shall call “metaformal” realism—that differs markedly both from “metaphysical realism” and from the newer varieties of “speculative realism” on offer today. 20 00 Open Access Livingston, Paul M. 17 03 06 10.21983/P3.0032.1.17 108 113 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 How to Behave Like a Non-Philosopher Or, Speculative Versus Revisionary Metaphysics 1 A01 21 0000000227829674 John Mullarkey John Mullarkey 40 0517ce304 Kingston University, London 01 eng 03 00 François Laruelle’s message for philosophy is, prima facie, simple: not everything is “philosophisable.”3As soon as we gloss this message a little further, however, things become somewhat more com-plicated: not everything is reducible to “standardphilosophy.” Or, even further, what counts as phi-losophy must mutate in order for some things to be philosophisable at all. The mutation, here, is of both the so-called subject (standard philosophy) and its object (purportedly non-philosophical materials), being both “object-oriented” and “subject-ori-ented” at once within a mutation that re-orients thought-as-an-orientation. As we will see, for Laruelle, this mutation is also a re-direction: thought that was directed from philosophy to the Real reversesto being directed from the Real to philosophy. This short essay will concern itself with the meaning of this re-direction, both in terms of its significance for speculative thought as well as its connection to a type of philosophical behavior (though without any consequent behaviourism—the philosophy that reduces behaviour to one or two over-determined variables, such as “conditioning” or “disposition”). To précis our two opening epigraphs from Laruelle: in thought, there are only lines, vectors, and, perhaps, re-orientations. 30 00 François Laruelle’s message for philosophy is, prima facie, simple: not everything is “philosophisable.”3As soon as we gloss this message a little further, however, things become somewhat more com-plicated: not everything is reducible to “standardphilosophy.” Or, even further, what counts as phi-losophy must mutate in order for some things to be philosophisable at all. The mutation, here, is of both the so-called subject (standard philosophy) and its object (purportedly non-philosophical materials), being both “object-oriented” and “subject-ori-ented” at once within a mutation that re-orients thought-as-an-orientation. As we will see, for Laruelle, this mutation is also a re-direction: thought that was directed from philosophy to the Real reversesto being directed from the Real to philosophy. This short essay will concern itself with the meaning of this re-direction, both in terms of its significance for speculative thought as well as its connection to a type of philosophical behavior (though without any consequent behaviourism—the philosophy that reduces behaviour to one or two over-determined variables, such as “conditioning” or “disposition”). To précis our two opening epigraphs from Laruelle: in thought, there are only lines, vectors, and, perhaps, re-orientations. 20 00 Open Access Mullarkey, John 18 03 06 10.21983/P3.0032.1.18 113 121 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "The Horror of Darkness" Toward an Unhuman Phenomenology 1 A01 Dylan Trigg Dylan Trigg 40 05m7pjf47 University College Dublin 01 eng 03 00 “Life,” so Gaston Bachelard writes in The Poetics of Space on a note of steadfast optimism, “begins well, it begins enclosed, protected, all warm in the bosom of the house.”1 To the critic, Bachelard’s remarks might be seen as emblematic of a kind of failure in phenomenology to think outside an anthropomor-phised cosmos, in which the endless void of dark space is nothing less than the warm enclosure of the primal breast. To this end, the critic would have a point. After all, it is hard not to agree that much of phenomenology has indeed failed to move beyond the human realm and instead has emphasized the validity of lived experience as the guarantor of truth. We see this tendency of aligning “being” and “world” time and again in phenomenology. Indeed, the focus on the inescapability of the human rela-tion to the world is evident in the very formulation that phenomenology advances as its groundwork: being-in-the-world. With this innocuous phrase, inherited in large from Heidegger by way of Bren-tano, phenomenology commits itself to a view of the subject as being constituted by the world and the world being constituted by the subject. Neither idealism nor realism, phenomenology merges the two via the concept of perceptual intentionality, where we—living subjects—are at all times in a relationship with the world. 30 00 “Life,” so Gaston Bachelard writes in The Poetics of Space on a note of steadfast optimism, “begins well, it begins enclosed, protected, all warm in the bosom of the house.”1 To the critic, Bachelard’s remarks might be seen as emblematic of a kind of failure in phenomenology to think outside an anthropomor-phised cosmos, in which the endless void of dark space is nothing less than the warm enclosure of the primal breast. To this end, the critic would have a point. After all, it is hard not to agree that much of phenomenology has indeed failed to move beyond the human realm and instead has emphasized the validity of lived experience as the guarantor of truth. We see this tendency of aligning “being” and “world” time and again in phenomenology. Indeed, the focus on the inescapability of the human rela-tion to the world is evident in the very formulation that phenomenology advances as its groundwork: being-in-the-world. With this innocuous phrase, inherited in large from Heidegger by way of Bren-tano, phenomenology commits itself to a view of the subject as being constituted by the world and the world being constituted by the subject. Neither idealism nor realism, phenomenology merges the two via the concept of perceptual intentionality, where we—living subjects—are at all times in a relationship with the world. 20 00 Open Access Trigg, Dylan 19 03 06 10.21983/P3.0032.1.19 122 122 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 4 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 5 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 20 00 Open Access Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-4-speculative-realism/ Brooklyn, NY 04 01 20130605 Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615797865 20 08 20130605 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speculations-iv-speculative-realism 20 08 20130605 02 22.00 USD WORLD urn:uuid:c0eb2ea3-f0e3-4207-9435-adb085e5d4a5 03 01 01 thoth-work-id urn:uuid:ee2cb855-4c94-4176-b62c-3114985dd84e 01 thoth-publication-id urn:uuid:c0eb2ea3-f0e3-4207-9435-adb085e5d4a5 06 10.21983/P3.0032.1.00 01 internal-reference 0032 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculations IV Speculative Realism 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 3 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 4 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 5 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 00 122 03 12 HPCF 10 PHI013000 B2 Philosophy 20 philosophy; weird realism; speculative realism; object-oriented ontology 01 06 02 00 03 00 With this special volume of Speculations, the editors wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intellectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.” If this is the case, to deny that a shift of grounds has indeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask.Whatever the intrinsic value in the name, the contributors to this volume have all engaged, more or less directly, with a critical analysis of the vices and virtues of “speculative realism”: from the extent to which its adversarial stance towards previous philosophical stances is justified to whether it succeeds (or fails) to address satisfactorily the concerns that ostensibly motivate it, through to an assessment of the methods of dissemination of its core ideas. The contributions are divided in two sections, titled “Reflections” and “Proposals,” describing, with some inevitable overlap, two kinds of approach to the question of speculative realism: one geared towards its retrospective and its critical appraisal, and the other concerned with the positive proposition of alternative or parallel approaches to it. It is believed that the final result, in its heterogeneity, will be of better service to the philosophical community than a dubiously univocal descriptive recapitulation of “speculative realist tenets.” 30 00 With this special volume of Speculations, the editors wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intellectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.” If this is the case, to deny that a shift of grounds has indeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask.Whatever the intrinsic value in the name, the contributors to this volume have all engaged, more or less directly, with a critical analysis of the vices and virtues of “speculative realism”: from the extent to which its adversarial stance towards previous philosophical stances is justified to whether it succeeds (or fails) to address satisfactorily the concerns that ostensibly motivate it, through to an assessment of the methods of dissemination of its core ideas. The contributions are divided in two sections, titled “Reflections” and “Proposals,” describing, with some inevitable overlap, two kinds of approach to the question of speculative realism: one geared towards its retrospective and its critical appraisal, and the other concerned with the positive proposition of alternative or parallel approaches to it. It is believed that the final result, in its heterogeneity, will be of better service to the philosophical community than a dubiously univocal descriptive recapitulation of “speculative realist tenets.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0032.1.00_frontcover.jpg 1 03 06 10.21983/P3.0032.1.01 1 4 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 4 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 5 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 20 00 Open Access Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 2 03 06 10.21983/P3.0032.1.02 5 5 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Editorial Introduction 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 4 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 5 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 03 00 With this special issue of Speculations we wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intel-lectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.”1If this is the case, to deny that a shift of grounds hasindeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask. 30 00 With this special issue of Speculations we wanted to challenge the contested term “speculative realism,” offering scholars who have some involvement with it a space to voice their opinions of the network of ideas commonly associated with the name. Whilst undoubtedly born under speculative realist auspices, Speculations has never tried to be the gospel of a dogmatic speculative realist church, but rather instead to cultivate the best theoretical lines sprouting from the resurgence, in the last few years, of those speculative and realist concerns attempting to break free from some of the most stringent constraints of critique. Sociologist Randall Collins observed that, unlike other fields of intel-lectual inquiry, “[p]hilosophy has the peculiarity of periodically shifting its own grounds, but always in the direction of claiming or at least seeking the standpoint of greatest generality and importance.”1If this is the case, to deny that a shift of grounds hasindeed become manifest in these early decades of the twenty-first century would be, at best, a sign of a severe lack of philosophical sensitivity. On the other hand, whether or not this shift has been towards greater importance (and in respect to what?) is not only a legitimate but a necessary question to ask. 20 00 Open Access Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 3 03 06 10.21983/P3.0032.1.03 9 14 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Not Settling the Issue of Realism 1 A01 21 0000000228959382 Lee Braver Lee Braver 40 032db5x82 University of South Florida 01 eng 03 00 Philosophy is a means of escape. Our presence in this world is an accident, in both senses of the word, an unfortunate fate that has befallen us as we have fallen into it. This is a world of shadows and reflections, of illusions and elisions, of waste and death. It is a reality in decay that has, paradoxically, always been in decay, a ruins that was never whole.We are in this world, but we do not belong here. We yearn for a reality that is real, and a truth that is true. Since these are not to be found among the detritus of everyday life, we must seek it in a world beyond or behind this one, a realm that truly exists because it has no whiff of non-existence about it—no destruction, no imperfections, no suffering, no death. Our duty in this life is to escape this life, to withdraw physically, emotionally, intellectually, spiritually from these shadows, to slip the bonds that hold us—to escape. And philosophy is what shows us our goal and guides us to it. 30 00 Philosophy is a means of escape. Our presence in this world is an accident, in both senses of the word, an unfortunate fate that has befallen us as we have fallen into it. This is a world of shadows and reflections, of illusions and elisions, of waste and death. It is a reality in decay that has, paradoxically, always been in decay, a ruins that was never whole.We are in this world, but we do not belong here. We yearn for a reality that is real, and a truth that is true. Since these are not to be found among the detritus of everyday life, we must seek it in a world beyond or behind this one, a realm that truly exists because it has no whiff of non-existence about it—no destruction, no imperfections, no suffering, no death. Our duty in this life is to escape this life, to withdraw physically, emotionally, intellectually, spiritually from these shadows, to slip the bonds that hold us—to escape. And philosophy is what shows us our goal and guides us to it. 20 00 Open Access Braver, Lee 4 03 06 10.21983/P3.0032.1.04 15 21 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Politics and Speculative Realism 1 A01 Levi R. Bryant Levi R. Bryant 40 05t5ek106 Collin College 01 eng 03 00 Since its birth in 2007, speculative realism (SR) has generated a great deal of controversy in journals, the theory blogosphere, and at conferences. One would search in vain for a unified “speculative realist” position or doctrine. The four original speculative realists who coined the term—Ray Brassier, Gra-ham Harman, Iain Hamilton Grant, and Quentin Meillassoux—argue for very different ontologies and epistemologies, opposed to one another in a number of respects. If there is anything that unites their positions, it is 1) a defense of some variant of realism or materialism, and 2) a critique of correla-tionism. First coined by Meillassoux, correlationism is the thesis that we can only ever speak of being as a correlate of the subject and never the world and subject apart from one another.2 Beyond that, the sort of realism (or materialism) each of these think-ers defends and how they critique correlationism diverges quite substantially. 30 00 Since its birth in 2007, speculative realism (SR) has generated a great deal of controversy in journals, the theory blogosphere, and at conferences. One would search in vain for a unified “speculative realist” position or doctrine. The four original speculative realists who coined the term—Ray Brassier, Gra-ham Harman, Iain Hamilton Grant, and Quentin Meillassoux—argue for very different ontologies and epistemologies, opposed to one another in a number of respects. If there is anything that unites their positions, it is 1) a defense of some variant of realism or materialism, and 2) a critique of correla-tionism. First coined by Meillassoux, correlationism is the thesis that we can only ever speak of being as a correlate of the subject and never the world and subject apart from one another.2 Beyond that, the sort of realism (or materialism) each of these think-ers defends and how they critique correlationism diverges quite substantially. 20 00 Open Access Bryant, Levi R. 5 03 06 10.21983/P3.0032.1.05 22 28 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Current State of Speculative Realism 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 Elsewhere I have told the history of Speculative Realism, and will not repeat it here.1 Though some prefer the lower-case phrase “speculative realism,” I deliberately use capital letters, since Speculative Realism is a proper name. It originally referred to an assembly of four philosophers for an April 2007 workshop in London: Ray Brassier, Iain Hamilton Grant, Quentin Meillassoux, and the author of this article. So much for the history of the movement.Any discussion of Speculative Realism needs to begin by avoiding the intermittent and pointless debate over whether Speculative Realism “really exists.” This question comes five years too late to be meaningful, and generally takes the form of a put-down rather than a bona fide question. Speculative Realism is now the topic of a thriving book series at a major university press, and the subject of at least one forthcoming monograph.2 It is embedded in the editorial policy of several philosophy journals. It has become a terme d’art in architecture, archae-ology, geography, the visual arts, and even history. It has crossed national boundaries with ease, and is surely the central theme of discussion in the growing continental philosophy blogosphere. Speculative Re-alism is the topic of several postdoctoral fellowships offered in the United States this year. It has been the subject of semester-long classes at universities as well as graduate theses in Paris. Though there are still tough tests ahead concerning the breadth and durability of Speculative Realism, it has long since passed the “existence” test to a far greater degree than most of its critics. 30 00 Elsewhere I have told the history of Speculative Realism, and will not repeat it here.1 Though some prefer the lower-case phrase “speculative realism,” I deliberately use capital letters, since Speculative Realism is a proper name. It originally referred to an assembly of four philosophers for an April 2007 workshop in London: Ray Brassier, Iain Hamilton Grant, Quentin Meillassoux, and the author of this article. So much for the history of the movement.Any discussion of Speculative Realism needs to begin by avoiding the intermittent and pointless debate over whether Speculative Realism “really exists.” This question comes five years too late to be meaningful, and generally takes the form of a put-down rather than a bona fide question. Speculative Realism is now the topic of a thriving book series at a major university press, and the subject of at least one forthcoming monograph.2 It is embedded in the editorial policy of several philosophy journals. It has become a terme d’art in architecture, archae-ology, geography, the visual arts, and even history. It has crossed national boundaries with ease, and is surely the central theme of discussion in the growing continental philosophy blogosphere. Speculative Re-alism is the topic of several postdoctoral fellowships offered in the United States this year. It has been the subject of semester-long classes at universities as well as graduate theses in Paris. Though there are still tough tests ahead concerning the breadth and durability of Speculative Realism, it has long since passed the “existence” test to a far greater degree than most of its critics. 20 00 Open Access Harman, Graham 6 03 06 10.21983/P3.0032.1.06 28 34 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Weird Reading 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 It may seem strange to open an essay on the possi-bilities of Speculative Realist (SR) literary reading modes with a quotation from Derrida, whose sta-tus as one of the architects of the “linguistic turn” within the humanities supposedly makes him an enemy (or at least, an often convenient whipping post) of the new realists. Such is the odd flavor of this essay, which, situated outside of philosophy proper, seeks a more anti-disciplinary and even autistic relational field—that is to say, an amod-al, synaesthetic, fluid, and diffusely intentional model for discerning relations among thinkers and objects.2 Unlike Graham Harman (although very much influenced by him), who opened his essay “Vicarious Causation” by saying his theory of causation “is not some autistic moonbeam entering the window of an asylum,” but rather a “launching pad for a rigorous post-Heideggerian philosophy,”3I am hoping to follow just such moonbeams into many-chambered asylums. My thinking is hopefully rigorous, but also unreasonable. 30 00 It may seem strange to open an essay on the possi-bilities of Speculative Realist (SR) literary reading modes with a quotation from Derrida, whose sta-tus as one of the architects of the “linguistic turn” within the humanities supposedly makes him an enemy (or at least, an often convenient whipping post) of the new realists. Such is the odd flavor of this essay, which, situated outside of philosophy proper, seeks a more anti-disciplinary and even autistic relational field—that is to say, an amod-al, synaesthetic, fluid, and diffusely intentional model for discerning relations among thinkers and objects.2 Unlike Graham Harman (although very much influenced by him), who opened his essay “Vicarious Causation” by saying his theory of causation “is not some autistic moonbeam entering the window of an asylum,” but rather a “launching pad for a rigorous post-Heideggerian philosophy,”3I am hoping to follow just such moonbeams into many-chambered asylums. My thinking is hopefully rigorous, but also unreasonable. 20 00 Open Access Joy, Eileen A. 7 03 06 10.21983/P3.0032.1.07 35 37 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Dangerous Supplement Speculative Realism, Academic Blogging, and the Future of Philosophy 1 A01 Adam Kotsko Adam Kotsko 40 02ehan050 North Central College 01 eng 03 00 In many ways, the rise of Speculative Realism has been one of the most promising developments in contemporary continental philosophy. It has brought to the fore many concerns—above all the philosophy of science—that have been neglected by Anglophone continentalists, and it has introduced the English-speaking world to a range of new or previously neglected thinkers (such as Quentin Meillassoux and François Laruelle, respectively). In a field that has always had a tendency toward commentary, the movement has also emboldened Anglophone continentalists to begin writing “primary sources,” developing their own concepts and systems. The excitement surrounding these new developments has been so great that John D. Caputo, a dyed-in-the-wool Derridean, went so far as to devote his final graduate seminar to thinkers associated with this new push toward realism. 30 00 In many ways, the rise of Speculative Realism has been one of the most promising developments in contemporary continental philosophy. It has brought to the fore many concerns—above all the philosophy of science—that have been neglected by Anglophone continentalists, and it has introduced the English-speaking world to a range of new or previously neglected thinkers (such as Quentin Meillassoux and François Laruelle, respectively). In a field that has always had a tendency toward commentary, the movement has also emboldened Anglophone continentalists to begin writing “primary sources,” developing their own concepts and systems. The excitement surrounding these new developments has been so great that John D. Caputo, a dyed-in-the-wool Derridean, went so far as to devote his final graduate seminar to thinkers associated with this new push toward realism. 20 00 Open Access Kotsko, Adam 8 03 06 10.21983/P3.0032.1.08 38 47 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Realism Interim with Just a Few Caveats 1 A01 Christopher Norris Christopher Norris 40 03kk7td41 Cardiff University 01 eng 03 00 Like a good many others I was greatly impressed when I first read Quentin Meillassoux’s After Fin-itude—at any rate its opening section—and even more so to witness its extraordinary impact among the livelier sections of the continental philosophy community over the next few years.1 What the book clearly marked was a full-scale retreat (for which, read “advance”) from the kinds of far-out anti-re-alist, constructivist, or socio-linguistic-relativist position that had captured the high ground across large swathes of the post-1970 continentally influ-enced humanities, philosophy included. In its place there now emerged a hard-line objectivist realism which defined itself squarely against that whole theoretical-cultural mindset. Moreover it did so with primary reference to just those disputed zones, like epistemology and philosophy of science, where anti-realism had pressed its case with maximum vehemence and rhetorical if not argumentative force. 30 00 Like a good many others I was greatly impressed when I first read Quentin Meillassoux’s After Fin-itude—at any rate its opening section—and even more so to witness its extraordinary impact among the livelier sections of the continental philosophy community over the next few years.1 What the book clearly marked was a full-scale retreat (for which, read “advance”) from the kinds of far-out anti-re-alist, constructivist, or socio-linguistic-relativist position that had captured the high ground across large swathes of the post-1970 continentally influ-enced humanities, philosophy included. In its place there now emerged a hard-line objectivist realism which defined itself squarely against that whole theoretical-cultural mindset. Moreover it did so with primary reference to just those disputed zones, like epistemology and philosophy of science, where anti-realism had pressed its case with maximum vehemence and rhetorical if not argumentative force. 20 00 Open Access Norris, Christopher 9 03 06 10.21983/P3.0032.1.09 48 52 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Future of an Illusion 1 A01 Jon Roffe Jon Roffe 40 02czsnj07 Deakin University 01 eng 03 00 “Frank Auerbach’s career says little about the ‘art world,’ except that it may not matter much to a real artist’s growth.” So begins what is likely Robert Hughes’ best book on the work of a single artist, with the possible exception of the brilliant if patchy Goya. The sentiment, it seems to me, is equally applicable to the Frankenstein’s monster called speculative realism. Insofar as the various acts of this genre are philosophical, they remain within Plato’s ambit, and must be considered on the same grounds. This means, first (a first patently obvious claim), that whatever the novel new content of philosophy, its form is what it has always been. In other words, to paraphrase a famous sentiment about music, there are still only two types of philosophy: good and bad. That someone nominates themselves as a Platonist, an empiricist, or as engaged in object oriented phi-losophy is of absolutely zero philosophical import. What matters is the philosophical work that they engage in, what they manage to construct and support in this effort. Philosophy is not a game of proper names, despite the profoundly boring role played in the contemporary culture of thought. Patronymy is to philosophy a facsimile of Zarathustra’s ape. Here is one of the key differences between philosophy and psychoanalysis: in the former, the proper name, despite its ubiquity, has no essential significance. Or, to be more precise, the proper name does not function patronymically, but rather to index a problem or problematic conceptual nexus. That beautiful figment in the Foucauldian imaginarium, the “year without a name,”1 is—or at least, should be—the rule for philosophy, an irreducible com-ponent of the philosophical gambit. Philosophy is anonymous a priori, and the proper name operates within it as a mask. 30 00 “Frank Auerbach’s career says little about the ‘art world,’ except that it may not matter much to a real artist’s growth.” So begins what is likely Robert Hughes’ best book on the work of a single artist, with the possible exception of the brilliant if patchy Goya. The sentiment, it seems to me, is equally applicable to the Frankenstein’s monster called speculative realism. Insofar as the various acts of this genre are philosophical, they remain within Plato’s ambit, and must be considered on the same grounds. This means, first (a first patently obvious claim), that whatever the novel new content of philosophy, its form is what it has always been. In other words, to paraphrase a famous sentiment about music, there are still only two types of philosophy: good and bad. That someone nominates themselves as a Platonist, an empiricist, or as engaged in object oriented phi-losophy is of absolutely zero philosophical import. What matters is the philosophical work that they engage in, what they manage to construct and support in this effort. Philosophy is not a game of proper names, despite the profoundly boring role played in the contemporary culture of thought. Patronymy is to philosophy a facsimile of Zarathustra’s ape. Here is one of the key differences between philosophy and psychoanalysis: in the former, the proper name, despite its ubiquity, has no essential significance. Or, to be more precise, the proper name does not function patronymically, but rather to index a problem or problematic conceptual nexus. That beautiful figment in the Foucauldian imaginarium, the “year without a name,”1 is—or at least, should be—the rule for philosophy, an irreducible com-ponent of the philosophical gambit. Philosophy is anonymous a priori, and the proper name operates within it as a mask. 20 00 Open Access Roffe, Jon 10 03 06 10.21983/P3.0032.1.10 53 62 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Realism And Representation On the Ontological Turn 1 A01 Daniel Sacilotto Daniel Sacilotto 40 024e4df17 California Institute of the Arts 01 eng 03 00 The views associated with the title “speculative realism” are often coordinated with a so-called “ontological turn” that is said to have taken place in recent Continental philosophy.1 Yet it is rather unclear what exactly such a turn is supposed to entail. If, as Meillassoux argues, it is Kant’s name that sets the horizon for the anti-realist denouement that presumably characterizes both correlationism and idealism, then something like the overcoming of the critical turn in philosophy would seem to be centrally at stake.2 The turn towards ontology pro-posed by the new realists would then be the obverse of a turning away from Kantian epistemology and its implications. And, yet again, there are at least two historical vectors which we can intuitively link to an “ontological turn,” conceived as the overcoming of the critical paradigm. 30 00 The views associated with the title “speculative realism” are often coordinated with a so-called “ontological turn” that is said to have taken place in recent Continental philosophy.1 Yet it is rather unclear what exactly such a turn is supposed to entail. If, as Meillassoux argues, it is Kant’s name that sets the horizon for the anti-realist denouement that presumably characterizes both correlationism and idealism, then something like the overcoming of the critical turn in philosophy would seem to be centrally at stake.2 The turn towards ontology pro-posed by the new realists would then be the obverse of a turning away from Kantian epistemology and its implications. And, yet again, there are at least two historical vectors which we can intuitively link to an “ontological turn,” conceived as the overcoming of the critical paradigm. 20 00 Open Access Sacilotto, Daniel 11 03 06 10.21983/P3.0032.1.11 65 70 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "The World is an Egg" Realism, Mathematics, and the Thresholds of Difference 1 A01 Jeffrey A. Bell Jeffrey A. Bell 40 0531xck41 Southeastern Louisiana University 01 eng 03 00 To most people, the question or problem of realism—realism taken here to mean that there is a reality independent of our awareness or consciousness of this reality—is neither a question nor a problem; it is simply taken for granted. It is one of the unques-tioned assumptions of daily life. When I leave the house, there is no question my laptop remains where I left it and will be there upon my return; there is no question that there were many things in existence before my birth and that there will continue to be many things after my death; and finally, there is no question that there was a wealth of things in existence—stars, planets, dinosaurs, etc.—before the emergence of conscious, inquiring human beings. In our daily lives, therefore, to be a realist is a matter of common sense.1 When we begin to ask what it is that is real, however, or when we seek to determine whether our judgments regarding the nature of reality are correct or not, we begin to enter a quagmire of difficulties that have beset philosophers since the beginning of philosophy itself. 30 00 To most people, the question or problem of realism—realism taken here to mean that there is a reality independent of our awareness or consciousness of this reality—is neither a question nor a problem; it is simply taken for granted. It is one of the unques-tioned assumptions of daily life. When I leave the house, there is no question my laptop remains where I left it and will be there upon my return; there is no question that there were many things in existence before my birth and that there will continue to be many things after my death; and finally, there is no question that there was a wealth of things in existence—stars, planets, dinosaurs, etc.—before the emergence of conscious, inquiring human beings. In our daily lives, therefore, to be a realist is a matter of common sense.1 When we begin to ask what it is that is real, however, or when we seek to determine whether our judgments regarding the nature of reality are correct or not, we begin to enter a quagmire of difficulties that have beset philosophers since the beginning of philosophy itself. 20 00 Open Access Bell, Jeffery A. 12 03 06 10.21983/P3.0032.1.12 71 73 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ontological Commitments 1 A01 Manuel DeLanda Manuel DeLanda 40 00b30xv10 University of Pennsylvania 01 eng 03 00 Any philosophy commits itself, explicitly or implicitly, to assert the existence of the entities that it intends to describe or explain. Philosophers who deny the truth of this statement—affirming for example that specifying what kinds of entities populate their world constrains their ability to think—usually assume an implicit ontology which is, for the same reason, uncritically accepted and poorly analyzed. Hence, declaring one’s ontological commitments from the start should be standard procedure in philosophy. Although ontologies vary widely, and it is unwise to try to fit them into a rigid taxonomy, for the purposes of this brief essay they can be classified into three categories: idealist, empiricist, and realist. For the idealist philosopher there are no entities that exist independently of the human mind; for the empiricist entities that can be directly observed can be said to be mind-independent, but everything else (electrons, viruses, causal capacities etc.) is a mere theoretical construct that is helpful in making sense of that which can be directly ob-served; for the realist, finally, there are many types of entities that exist autonomously even if they are not directly given to our senses. 30 00 Any philosophy commits itself, explicitly or implicitly, to assert the existence of the entities that it intends to describe or explain. Philosophers who deny the truth of this statement—affirming for example that specifying what kinds of entities populate their world constrains their ability to think—usually assume an implicit ontology which is, for the same reason, uncritically accepted and poorly analyzed. Hence, declaring one’s ontological commitments from the start should be standard procedure in philosophy. Although ontologies vary widely, and it is unwise to try to fit them into a rigid taxonomy, for the purposes of this brief essay they can be classified into three categories: idealist, empiricist, and realist. For the idealist philosopher there are no entities that exist independently of the human mind; for the empiricist entities that can be directly observed can be said to be mind-independent, but everything else (electrons, viruses, causal capacities etc.) is a mere theoretical construct that is helpful in making sense of that which can be directly ob-served; for the realist, finally, there are many types of entities that exist autonomously even if they are not directly given to our senses. 20 00 Open Access DeLanda, Manuel 13 03 06 10.21983/P3.0032.1.13 74 83 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Meaning of "Existence" and the Contingency of Sense 1 A01 Markus Gabriel Markus Gabriel 40 041nas322 University of Bonn 01 eng 03 00 In Western philosophy, the last century was dom-inated by the view that metaphysics and ontology were hopelessly doomed to failure. Many reasons have been given for different versions of this claim, most of them inspired by broadly Kantian epistemo-logical considerations. Kant famously claimed, “the proud name of ontology, which presumes to offer synthetic a priori cognitions of things in general [...] must give way to the more modest title of a transcendental analytic.”2 However, in my view his criticism is only directed against a particular form of ontology and not against ontology as such. What he attacks is the idea of ontology as a synthetic a priori insight into how things generally are, that is, in all possible ways of accessing them. According to his analysis, the range of our judgments is always limited according to certain contingent forms of understanding and sensibility and this finitude cannot be transcended. 30 00 In Western philosophy, the last century was dom-inated by the view that metaphysics and ontology were hopelessly doomed to failure. Many reasons have been given for different versions of this claim, most of them inspired by broadly Kantian epistemo-logical considerations. Kant famously claimed, “the proud name of ontology, which presumes to offer synthetic a priori cognitions of things in general [...] must give way to the more modest title of a transcendental analytic.”2 However, in my view his criticism is only directed against a particular form of ontology and not against ontology as such. What he attacks is the idea of ontology as a synthetic a priori insight into how things generally are, that is, in all possible ways of accessing them. According to his analysis, the range of our judgments is always limited according to certain contingent forms of understanding and sensibility and this finitude cannot be transcended. 20 00 Open Access Gabriel, Markus 14 03 06 10.21983/P3.0032.1.14 84 90 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Post-Deconstructive Realism It's About Time 1 A01 Peter Gratton Peter Gratton 40 0531xck41 Southeastern Louisiana University 01 eng 03 00 Speculative realism began in part as a reaction for-mation against structuralist and post-structuralist approaches in Continental philosophy. Foucaultian archaeologies, Derridean deconstruction, and Iri-garay’s decentering of patriarchal discourses, for example, are said to focus so thoroughly on texts as to have given up on the real altogether. As Gra-ham Harman puts it, “Derrida and Foucault would rather die than call themselves realists.”1 Locked in the prison house of language, Derrida’s work in particular—Foucault and Irigaray at least could be said to investigate very real regimes of power—was said to be a “textual idealism” that could see nothing beyond any given text. Thus, Harman and Quentin Meillassoux seek means of driving straight past the “linguistic turn” that had side-tracked, they believe, a previous era of philosophers.2 As such, for them, to discuss a “deconstructive” or a “post-deconstruc-tive realism” would be, for them, an oxymoron, or worse, a rear-guard action defending Derrida et al. as realists avant la lettre.3 But my argument is that this is a dodge: at the heart of this speculative work is a pre-modern (not even just pre-Critical) consid-eration of time, where time is epiphenomenal when thought against the eternal (for Meillassoux, the mathematics of set theory; for Harman the objects in themselves “forever in the present”). And until a certain realism of time opens onto their thought, their interventions will be anything but timely. 30 00 Speculative realism began in part as a reaction for-mation against structuralist and post-structuralist approaches in Continental philosophy. Foucaultian archaeologies, Derridean deconstruction, and Iri-garay’s decentering of patriarchal discourses, for example, are said to focus so thoroughly on texts as to have given up on the real altogether. As Gra-ham Harman puts it, “Derrida and Foucault would rather die than call themselves realists.”1 Locked in the prison house of language, Derrida’s work in particular—Foucault and Irigaray at least could be said to investigate very real regimes of power—was said to be a “textual idealism” that could see nothing beyond any given text. Thus, Harman and Quentin Meillassoux seek means of driving straight past the “linguistic turn” that had side-tracked, they believe, a previous era of philosophers.2 As such, for them, to discuss a “deconstructive” or a “post-deconstruc-tive realism” would be, for them, an oxymoron, or worse, a rear-guard action defending Derrida et al. as realists avant la lettre.3 But my argument is that this is a dodge: at the heart of this speculative work is a pre-modern (not even just pre-Critical) consid-eration of time, where time is epiphenomenal when thought against the eternal (for Meillassoux, the mathematics of set theory; for Harman the objects in themselves “forever in the present”). And until a certain realism of time opens onto their thought, their interventions will be anything but timely. 20 00 Open Access Gratton, Peter 15 03 06 10.21983/P3.0032.1.15 91 98 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Points of Forced Freedom Eleven (More) Theses on Materialism 1 A01 Adrian Johnston Adrian Johnston 40 05fs6jp91 University of New Mexico 01 eng 03 00 Any materialism worthy of the name must involve elements of both naturalism and empiricism. However, it need not be straightforwardly and entirely naturalist or empiricist in the traditional (particularly pre-Kantian) senses of these labels (and, in the case of materialisms in the wake of German idealism, including transcendental mate-rialism, ought not to be). Following from this, any anti-naturalist rationalism, in whatever guise, can-not qualify as being simultaneously a materialism too. Although an anti-naturalist rationalism can be made consistent with (metaphysical) realism, this by no means renders it compatible with materialism strictly speaking. In still other words, there is no such thing as a purely formalist materialism; with reference to the birth of modern science, there is no Galileo without Bacon too. Both aversion to the experimental natural sciences of modernity as well as rejection of tying knowledge primarily to empirical routes of acquisition prompts thinking down paths leading to anachronistic Pythagorian-isms, ontological dualisms, spiritualist idealisms, religious mysticisms, and a unruly, proliferating swarm of confabulations, delusions, imaginings, fantasies, and ravings passing themselves off as rigorous, responsible philosophizing. Furthermore, insofar as an empirically informed, quasi-naturalist materialism is not in the least synonymous with and equivalent to rigid, mechanical determinism, an attuned materialist sensitivity to the natural sciences is not to be feared as the opening up to the immediate closing down of space for autonomous subjectivity and everything it brings with it. 30 00 Any materialism worthy of the name must involve elements of both naturalism and empiricism. However, it need not be straightforwardly and entirely naturalist or empiricist in the traditional (particularly pre-Kantian) senses of these labels (and, in the case of materialisms in the wake of German idealism, including transcendental mate-rialism, ought not to be). Following from this, any anti-naturalist rationalism, in whatever guise, can-not qualify as being simultaneously a materialism too. Although an anti-naturalist rationalism can be made consistent with (metaphysical) realism, this by no means renders it compatible with materialism strictly speaking. In still other words, there is no such thing as a purely formalist materialism; with reference to the birth of modern science, there is no Galileo without Bacon too. Both aversion to the experimental natural sciences of modernity as well as rejection of tying knowledge primarily to empirical routes of acquisition prompts thinking down paths leading to anachronistic Pythagorian-isms, ontological dualisms, spiritualist idealisms, religious mysticisms, and a unruly, proliferating swarm of confabulations, delusions, imaginings, fantasies, and ravings passing themselves off as rigorous, responsible philosophizing. Furthermore, insofar as an empirically informed, quasi-naturalist materialism is not in the least synonymous with and equivalent to rigid, mechanical determinism, an attuned materialist sensitivity to the natural sciences is not to be feared as the opening up to the immediate closing down of space for autonomous subjectivity and everything it brings with it. 20 00 Open Access Johnston, Adrian 16 03 06 10.21983/P3.0032.1.16 99 107 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Realism and the Infinite 1 A01 Paul M. Livingston Paul M. Livingston 40 05fs6jp91 University of New Mexico 01 eng 03 00 In his 1951 Gibbs lecture, drawing out some of the “philosophical consequences” of his two in-completeness theorems and related results, Kurt Gödel outlines a disjunctive alternative which, as I shall try to show, captures in a precise way the contemporary situation of reflective thought in its ongoing consideration of the relationship of formalism to the real:Either mathematics is incompletable in [the] sense that its evident axioms can never be comprised in a finite rule, i.e. to say the human mind (even within the realm of pure mathematics) infinitely surpass-es the powers of any finite machine, or else there exist absolutely unsolvable Diophantine problems of the type specified...2A consequence of this aporeatic situation of con-temporary thought, as I shall try to show, is that the longstanding philosophical debate over the relative priority of thought and being that finds expres-sion in discussions of “realism” and “anti-realism” (whether of idealist, positivist, or conventionalist forms) can only be assayed from the position of a metaformal reflection on the relationship of the forms of thought to the real of being. Moreover, if Gödel’s argument is correct and can be generalized beyond the epistemology of mathematics itself, it is also not neutral on this question of relative priority, but rather suggests a new kind of realism—what I shall call “metaformal” realism—that differs markedly both from “metaphysical realism” and from the newer varieties of “speculative realism” on offer today. 30 00 In his 1951 Gibbs lecture, drawing out some of the “philosophical consequences” of his two in-completeness theorems and related results, Kurt Gödel outlines a disjunctive alternative which, as I shall try to show, captures in a precise way the contemporary situation of reflective thought in its ongoing consideration of the relationship of formalism to the real:Either mathematics is incompletable in [the] sense that its evident axioms can never be comprised in a finite rule, i.e. to say the human mind (even within the realm of pure mathematics) infinitely surpass-es the powers of any finite machine, or else there exist absolutely unsolvable Diophantine problems of the type specified...2A consequence of this aporeatic situation of con-temporary thought, as I shall try to show, is that the longstanding philosophical debate over the relative priority of thought and being that finds expres-sion in discussions of “realism” and “anti-realism” (whether of idealist, positivist, or conventionalist forms) can only be assayed from the position of a metaformal reflection on the relationship of the forms of thought to the real of being. Moreover, if Gödel’s argument is correct and can be generalized beyond the epistemology of mathematics itself, it is also not neutral on this question of relative priority, but rather suggests a new kind of realism—what I shall call “metaformal” realism—that differs markedly both from “metaphysical realism” and from the newer varieties of “speculative realism” on offer today. 20 00 Open Access Livingston, Paul M. 17 03 06 10.21983/P3.0032.1.17 108 113 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 How to Behave Like a Non-Philosopher Or, Speculative Versus Revisionary Metaphysics 1 A01 21 0000000227829674 John Mullarkey John Mullarkey 40 0517ce304 Kingston University, London 01 eng 03 00 François Laruelle’s message for philosophy is, prima facie, simple: not everything is “philosophisable.”3As soon as we gloss this message a little further, however, things become somewhat more com-plicated: not everything is reducible to “standardphilosophy.” Or, even further, what counts as phi-losophy must mutate in order for some things to be philosophisable at all. The mutation, here, is of both the so-called subject (standard philosophy) and its object (purportedly non-philosophical materials), being both “object-oriented” and “subject-ori-ented” at once within a mutation that re-orients thought-as-an-orientation. As we will see, for Laruelle, this mutation is also a re-direction: thought that was directed from philosophy to the Real reversesto being directed from the Real to philosophy. This short essay will concern itself with the meaning of this re-direction, both in terms of its significance for speculative thought as well as its connection to a type of philosophical behavior (though without any consequent behaviourism—the philosophy that reduces behaviour to one or two over-determined variables, such as “conditioning” or “disposition”). To précis our two opening epigraphs from Laruelle: in thought, there are only lines, vectors, and, perhaps, re-orientations. 30 00 François Laruelle’s message for philosophy is, prima facie, simple: not everything is “philosophisable.”3As soon as we gloss this message a little further, however, things become somewhat more com-plicated: not everything is reducible to “standardphilosophy.” Or, even further, what counts as phi-losophy must mutate in order for some things to be philosophisable at all. The mutation, here, is of both the so-called subject (standard philosophy) and its object (purportedly non-philosophical materials), being both “object-oriented” and “subject-ori-ented” at once within a mutation that re-orients thought-as-an-orientation. As we will see, for Laruelle, this mutation is also a re-direction: thought that was directed from philosophy to the Real reversesto being directed from the Real to philosophy. This short essay will concern itself with the meaning of this re-direction, both in terms of its significance for speculative thought as well as its connection to a type of philosophical behavior (though without any consequent behaviourism—the philosophy that reduces behaviour to one or two over-determined variables, such as “conditioning” or “disposition”). To précis our two opening epigraphs from Laruelle: in thought, there are only lines, vectors, and, perhaps, re-orientations. 20 00 Open Access Mullarkey, John 18 03 06 10.21983/P3.0032.1.18 113 121 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "The Horror of Darkness" Toward an Unhuman Phenomenology 1 A01 Dylan Trigg Dylan Trigg 40 05m7pjf47 University College Dublin 01 eng 03 00 “Life,” so Gaston Bachelard writes in The Poetics of Space on a note of steadfast optimism, “begins well, it begins enclosed, protected, all warm in the bosom of the house.”1 To the critic, Bachelard’s remarks might be seen as emblematic of a kind of failure in phenomenology to think outside an anthropomor-phised cosmos, in which the endless void of dark space is nothing less than the warm enclosure of the primal breast. To this end, the critic would have a point. After all, it is hard not to agree that much of phenomenology has indeed failed to move beyond the human realm and instead has emphasized the validity of lived experience as the guarantor of truth. We see this tendency of aligning “being” and “world” time and again in phenomenology. Indeed, the focus on the inescapability of the human rela-tion to the world is evident in the very formulation that phenomenology advances as its groundwork: being-in-the-world. With this innocuous phrase, inherited in large from Heidegger by way of Bren-tano, phenomenology commits itself to a view of the subject as being constituted by the world and the world being constituted by the subject. Neither idealism nor realism, phenomenology merges the two via the concept of perceptual intentionality, where we—living subjects—are at all times in a relationship with the world. 30 00 “Life,” so Gaston Bachelard writes in The Poetics of Space on a note of steadfast optimism, “begins well, it begins enclosed, protected, all warm in the bosom of the house.”1 To the critic, Bachelard’s remarks might be seen as emblematic of a kind of failure in phenomenology to think outside an anthropomor-phised cosmos, in which the endless void of dark space is nothing less than the warm enclosure of the primal breast. To this end, the critic would have a point. After all, it is hard not to agree that much of phenomenology has indeed failed to move beyond the human realm and instead has emphasized the validity of lived experience as the guarantor of truth. We see this tendency of aligning “being” and “world” time and again in phenomenology. Indeed, the focus on the inescapability of the human rela-tion to the world is evident in the very formulation that phenomenology advances as its groundwork: being-in-the-world. With this innocuous phrase, inherited in large from Heidegger by way of Bren-tano, phenomenology commits itself to a view of the subject as being constituted by the world and the world being constituted by the subject. Neither idealism nor realism, phenomenology merges the two via the concept of perceptual intentionality, where we—living subjects—are at all times in a relationship with the world. 20 00 Open Access Trigg, Dylan 19 03 06 10.21983/P3.0032.1.19 122 122 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Fabio Gironi Fabio Gironi 40 04cw6st05 University of London 4 B01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 5 B01 Robert Jackson Robert Jackson 40 008n7pv89 University of Plymouth 01 eng 20 00 Open Access Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-4-speculative-realism/ Brooklyn, NY 04 01 20130605 Austin, Michael Ennis, Paul J. Gironi, Fabio Gokey, Thomas Jackson, Robert 02 WORLD 06 15 9780615797861 03 9780615797861 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25584 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25584/1004511.pdf?sequence=1&isAllowed=y 20 08 20130605 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37921 20 08 20130605 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353969 20 08 20130605 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/412 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/29c37d1d-8f32-46f1-9f23-704b65923758/download 20 08 20130605 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ee2cb855-4c94-4176-b62c-3114985dd84e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ee2cb855-4c94-4176-b62c-3114985dd84e/ee2cb855-4c94-4176-b62c-3114985dd84e.pdf 20 08 20130605 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845738 29 ZENODO: download the title https://zenodo.org/records/19845738/files/ee2cb855-4c94-4176-b62c-3114985dd84e_book.pdf 20 08 20130605 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculations-4-speculative-realism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0032.1.00.pdf 20 08 20130605 01 urn:uuid:a392bcd8-19e7-4ce7-a43f-70cbb65951d9 03 01 01 thoth-work-id urn:uuid:efd22fcf-1ed6-420d-ad0b-144db9fa642d 01 thoth-publication-id urn:uuid:a392bcd8-19e7-4ce7-a43f-70cbb65951d9 15 9780692203163 03 9780692203163 06 10.21983/P3.0068.1.00 01 internal-reference 0068 00 BC 10 01 210 mm 01 21 cm 01 8.27 in 02 148 mm 02 14.8 cm 02 5.83 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculations V Aesthetics in the 21st Century 1 B01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Andreas Hägler Andreas Hägler 40 02s6k3f65 University of Basel 4 B01 Philipp Schweighauser Philipp Schweighauser 40 02s6k3f65 University of Basel 01 eng 00 474 03 B2 Art+Aesthetics 12 HPCF 10 PHI013000 B2 Philosophy 20 speculative realism; philosophy; aesthetics; metaphysics; art 01 06 02 00 03 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 30 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0068.1.00_frontcover.png 1 03 06 10.53288/0068.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 2 B01 Andreas Hägler Andreas Hägler 40 02s6k3f65 University of Basel 3 B01 Philipp Schweighauser Philipp Schweighauser 40 02s6k3f65 University of Basel 01 eng 20 00 Open Access 2 03 06 10.53288/0068.1.02 6 38 33 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction Aesthetics after the Speculative Turn 1 A01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 2 A01 Andreas Hägler Andreas Hägler 40 02s6k3f65 University of Basel 3 A01 Philipp Schweighauser Philipp Schweighauser 40 02s6k3f65 University of Basel 01 eng 20 00 Open Access Ridvan Askin, Andreas Hägler, and Philipp Schweighauser 3 03 06 10.53288/0068.1.03 40 56 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Non-Phenomenological Thought 1 A01 Steven Shaviro Steven Shaviro 40 01070mq45 Wayne State University 01 eng 20 00 Open Access Steven Shaviro 4 03 06 10.53288/0068.1.04 57 91 35 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Beauty, the Will to Power, and Life as Artwork Aesthetico-Speculative Realism in Nietzsche and Whitehead 1 A01 Theodor Leiber Theodor Leiber 40 03p14d497 Universität Augsburg 2 A01 Kirsten Voigt Kirsten Voigt 40 04t3en479 Karlsruhe Institute of Technology 01 eng 20 00 Open Access Theodor Leiber and Kirsten Voigt 5 03 06 10.53288/0068.1.05 92 126 35 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sellars Contra Deleuze on Intuitive Knowledge 1 A01 Matija Jelača Matija Jelača 40 006ks2460 Juraj Dobrila University of Pula 01 eng 20 00 Open Access Matija Jelača 6 03 06 10.53288/0068.1.06 127 157 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Not Kant, Not Now Another Sublime 1 A01 21 0000000234870974 Claire Colebrook Claire Colebrook 40 04p491231 Pennsylvania State University 01 eng 20 00 Open Access Claire Colebrook 7 03 06 10.53288/0068.1.07 158 179 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Aesthetics and Object-Oriented Inquiry (OOI) 1 A01 N. Katherine Hayles N. Katherine Hayles 40 046rm7j60 University of California, Los Angeles 40 00py81415 Duke University 01 eng 20 00 Open Access N. Katherine Hayles 8 03 06 10.53288/0068.1.08 180 224 45 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Actual Qualities of Imaginative Things Notes towards an Object-Oriented Literary Theory 1 A01 21 0000000186436726 Jon Cogburn Jon Cogburn 40 05ect4e57 Louisiana State University 2 A01 Mark Allan Ohm Mark Allan Ohm 40 05ect4e57 Louisiana State University 01 eng 20 00 Open Access Jon Cogburn and Mark Allan Ohm 9 03 06 10.53288/0068.1.09 225 247 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Experiments What if Simondon and Harman Individuate Together? 1 A01 Miguel Penas López Miguel Penas López 40 052g8jq94 Autonomous University of Barcelona 40 04ezk3x31 University of Toulouse-Jean Jaurès 01 eng 20 00 Open Access Miguel Penas López 10 03 06 10.53288/0068.1.10 251 274 24 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Greenberg, Duchamp, and the Next Avant-Garde 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 20 00 Open Access Graham Harman 11 03 06 10.53288/0068.1.11 275 286 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Not Objects so Much As Images A Response to Graham Harman’s ‘Greenberg, Duchamp, and the Next Avant-Garde’ 1 A01 Bettina Funcke Bettina Funcke 40 0437v2m88 School of Visual Arts 01 eng 20 00 Open Access Bettina Funcke 12 03 06 10.53288/0068.1.12 287 310 24 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Strategic Invisibility The Zero Point of Modernism and the Avant-Garde 1 A01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Thomas Gokey 13 03 06 10.53288/0068.1.13 311 358 48 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Anxiousness of Objects and Artworks 2 (Iso)Morphism, Anti-Literalism and Presentness 1 A01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 20 00 Open Access Robert Jackson 14 03 06 10.53288/0068.1.14 359 381 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Alien Aesthetic of Speculative Realism, or, How Interpretation Lost the Battle to Materiality and How Comfortable this Is to Humans 1 A01 Roberto Simanowski Roberto Simanowski 40 03q8dnn23 City University of Hong Kong 01 eng 20 00 Open Access Roberto Simanowski 15 03 06 10.53288/0068.1.15 382 410 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Art and Guerrilla Metaphysics Graham Harman and Aesthetics as First Philosophy 1 A01 Francis Halsall Francis Halsall National College of Art and Design 01 eng 20 00 Open Access Francis Halsall 16 03 06 10.53288/0068.1.16 411 433 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Images I Cannot See 1 A01 Magdalena Wisniowska Magdalena Wisniowska 40 02vxq2c49 Royal Academy of Arts 01 eng 20 00 Open Access Magdalena Wisniowska 17 03 06 10.53288/0068.1.17 434 473 40 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Disegno A Speculative Constructivist Interpretation 1 A01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 20 00 Open Access Sjoerd van Tuinen 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-v/ Brooklyn, NY 04 01 20140515 Askin, Ridvan Ennis, Paul J. Hägler, Andreas Schweighauser, Philipp 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692203168 20 08 20140515 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speculations-v-aesthetics-in-the-21st-century 20 08 20140515 02 29.00 USD WORLD urn:uuid:0d01a942-e6c8-4607-9975-f8e5692d7673 03 01 01 thoth-work-id urn:uuid:efd22fcf-1ed6-420d-ad0b-144db9fa642d 01 thoth-publication-id urn:uuid:0d01a942-e6c8-4607-9975-f8e5692d7673 06 10.21983/P3.0068.1.00 01 internal-reference 0068 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculations V Aesthetics in the 21st Century 1 B01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 2 B01 21 0000000298826534 Paul J. Ennis Paul J. Ennis 40 05m7pjf47 University College Dublin 3 B01 Andreas Hägler Andreas Hägler 40 02s6k3f65 University of Basel 4 B01 Philipp Schweighauser Philipp Schweighauser 40 02s6k3f65 University of Basel 01 eng 00 474 03 B2 Art+Aesthetics 12 HPCF 10 PHI013000 B2 Philosophy 20 speculative realism; philosophy; aesthetics; metaphysics; art 01 06 02 00 03 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 30 00 Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as “first philosophy” and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is “for us.”This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0068.1.00_frontcover.png 1 03 06 10.53288/0068.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 2 B01 Andreas Hägler Andreas Hägler 40 02s6k3f65 University of Basel 3 B01 Philipp Schweighauser Philipp Schweighauser 40 02s6k3f65 University of Basel 01 eng 20 00 Open Access 2 03 06 10.53288/0068.1.02 6 38 33 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction Aesthetics after the Speculative Turn 1 A01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 2 A01 Andreas Hägler Andreas Hägler 40 02s6k3f65 University of Basel 3 A01 Philipp Schweighauser Philipp Schweighauser 40 02s6k3f65 University of Basel 01 eng 20 00 Open Access Ridvan Askin, Andreas Hägler, and Philipp Schweighauser 3 03 06 10.53288/0068.1.03 40 56 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Non-Phenomenological Thought 1 A01 Steven Shaviro Steven Shaviro 40 01070mq45 Wayne State University 01 eng 20 00 Open Access Steven Shaviro 4 03 06 10.53288/0068.1.04 57 91 35 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Beauty, the Will to Power, and Life as Artwork Aesthetico-Speculative Realism in Nietzsche and Whitehead 1 A01 Theodor Leiber Theodor Leiber 40 03p14d497 Universität Augsburg 2 A01 Kirsten Voigt Kirsten Voigt 40 04t3en479 Karlsruhe Institute of Technology 01 eng 20 00 Open Access Theodor Leiber and Kirsten Voigt 5 03 06 10.53288/0068.1.05 92 126 35 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sellars Contra Deleuze on Intuitive Knowledge 1 A01 Matija Jelača Matija Jelača 40 006ks2460 Juraj Dobrila University of Pula 01 eng 20 00 Open Access Matija Jelača 6 03 06 10.53288/0068.1.06 127 157 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Not Kant, Not Now Another Sublime 1 A01 21 0000000234870974 Claire Colebrook Claire Colebrook 40 04p491231 Pennsylvania State University 01 eng 20 00 Open Access Claire Colebrook 7 03 06 10.53288/0068.1.07 158 179 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Aesthetics and Object-Oriented Inquiry (OOI) 1 A01 N. Katherine Hayles N. Katherine Hayles 40 046rm7j60 University of California, Los Angeles 40 00py81415 Duke University 01 eng 20 00 Open Access N. Katherine Hayles 8 03 06 10.53288/0068.1.08 180 224 45 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Actual Qualities of Imaginative Things Notes towards an Object-Oriented Literary Theory 1 A01 21 0000000186436726 Jon Cogburn Jon Cogburn 40 05ect4e57 Louisiana State University 2 A01 Mark Allan Ohm Mark Allan Ohm 40 05ect4e57 Louisiana State University 01 eng 20 00 Open Access Jon Cogburn and Mark Allan Ohm 9 03 06 10.53288/0068.1.09 225 247 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Experiments What if Simondon and Harman Individuate Together? 1 A01 Miguel Penas López Miguel Penas López 40 052g8jq94 Autonomous University of Barcelona 40 04ezk3x31 University of Toulouse-Jean Jaurès 01 eng 20 00 Open Access Miguel Penas López 10 03 06 10.53288/0068.1.10 251 274 24 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Greenberg, Duchamp, and the Next Avant-Garde 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 20 00 Open Access Graham Harman 11 03 06 10.53288/0068.1.11 275 286 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Not Objects so Much As Images A Response to Graham Harman’s ‘Greenberg, Duchamp, and the Next Avant-Garde’ 1 A01 Bettina Funcke Bettina Funcke 40 0437v2m88 School of Visual Arts 01 eng 20 00 Open Access Bettina Funcke 12 03 06 10.53288/0068.1.12 287 310 24 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Strategic Invisibility The Zero Point of Modernism and the Avant-Garde 1 A01 Thomas Gokey Thomas Gokey 40 025r5qe02 Syracuse University 01 eng 20 00 Open Access Thomas Gokey 13 03 06 10.53288/0068.1.13 311 358 48 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Anxiousness of Objects and Artworks 2 (Iso)Morphism, Anti-Literalism and Presentness 1 A01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 20 00 Open Access Robert Jackson 14 03 06 10.53288/0068.1.14 359 381 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Alien Aesthetic of Speculative Realism, or, How Interpretation Lost the Battle to Materiality and How Comfortable this Is to Humans 1 A01 Roberto Simanowski Roberto Simanowski 40 03q8dnn23 City University of Hong Kong 01 eng 20 00 Open Access Roberto Simanowski 15 03 06 10.53288/0068.1.15 382 410 29 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Art and Guerrilla Metaphysics Graham Harman and Aesthetics as First Philosophy 1 A01 Francis Halsall Francis Halsall National College of Art and Design 01 eng 20 00 Open Access Francis Halsall 16 03 06 10.53288/0068.1.16 411 433 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Images I Cannot See 1 A01 Magdalena Wisniowska Magdalena Wisniowska 40 02vxq2c49 Royal Academy of Arts 01 eng 20 00 Open Access Magdalena Wisniowska 17 03 06 10.53288/0068.1.17 434 473 40 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Disegno A Speculative Constructivist Interpretation 1 A01 21 000000021383259X Sjoerd van Tuinen Sjoerd van Tuinen 40 057w15z03 Erasmus University Rotterdam 01 eng 20 00 Open Access Sjoerd van Tuinen 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-v/ Brooklyn, NY 04 01 20140515 Askin, Ridvan Ennis, Paul J. Hägler, Andreas Schweighauser, Philipp 02 WORLD 06 15 9780692203163 03 9780692203163 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25550 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25550/1004545.pdf?sequence=1&isAllowed=y 20 08 20140515 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36235 20 08 20140515 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353877 20 08 20140515 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/452 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/40a866bb-bdc5-479c-b6d4-fed5f388863a/download 20 08 20140515 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/efd22fcf-1ed6-420d-ad0b-144db9fa642d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/efd22fcf-1ed6-420d-ad0b-144db9fa642d/efd22fcf-1ed6-420d-ad0b-144db9fa642d.pdf 20 08 20140515 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845962 29 ZENODO: download the title https://zenodo.org/records/19845962/files/efd22fcf-1ed6-420d-ad0b-144db9fa642d_book.pdf 20 08 20140515 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculations-v/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0068.1.00.pdf 20 08 20140515 01 urn:uuid:529c541e-b66b-40a2-9b96-e98ad8f522fe 03 01 01 thoth-work-id urn:uuid:435a1db3-1bbb-44b2-9368-7b2fd8a4e63e 01 thoth-publication-id urn:uuid:529c541e-b66b-40a2-9b96-e98ad8f522fe 15 9780692593974 03 9780692593974 06 10.21983/P3.0122.1.00 01 internal-reference 0122 00 BC 10 01 210 mm 01 21 cm 01 8.27 in 02 148 mm 02 14.8 cm 02 5.83 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speculations VI 1 B01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 2 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 3 B01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 00 332 03 12 HPCF 10 PHI013000 B2 Philosophy 20 speculative realism; synthetic philosophy; continental realism; new realism 01 06 02 00 03 00 In this sixth issue of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of contemporary philosophical issues pertaining to the contemporary philosophical scene is touched upon, from the continental realism of Tristan Garcia, Graham Harman and Quentin Meillassoux to the ‘new realism’ of Maurizio Ferraris, from Lacanian and Laurellian speculations to the synthetic philosophy of Fernando Zalamea’s mathematics 30 00 In this sixth issue of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of contemporary philosophical issues pertaining to the contemporary philosophical scene is touched upon, from the continental realism of Tristan Garcia, Graham Harman and Quentin Meillassoux to the ‘new realism’ of Maurizio Ferraris, from Lacanian and Laurellian speculations to the synthetic philosophy of Fernando Zalamea’s mathematics 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0122.1.00_frontcover.png 1 03 06 10.21983/P3.0122.1.01 i v 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Fabio Gironi Fabio Gironi 2 B01 Michael Austin Michael Austin 3 B01 Robert Jackson Robert Jackson 01 eng 20 00 Open Access Gironi, Fabio Austin, Michael Jackson, Robert 2 03 06 10.21983/P3.0122.1.02 3 17 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Garcia's Paradox 1 A01 Mark Allan Ohm Mark Allan Ohm 40 05ect4e57 Louisiana State University 2 A01 21 0000000186436726 Jon Cogburn Jon Cogburn 40 05ect4e57 Louisiana State University 01 eng 03 00 The most important concept in Book I of Tristan Garcia’s Forme et objet: Un traité des choses is per-haps without importance, “n’importe quoi” (“anything”).1 In an ordinary, exclamative sense, the expression “c’est n’importe quoi!” may translate as “that’s bullshit!” or “that’s rubbish!” and so on. In this sense, “n’importe quoi” is close to “nothing.” But when I say “that’s bullshit!” something characterized as “n’importe quoi” is not absolutely nothing since having the property of bullshit is at least something, however much disapprobation we might bring to bear. Like Heidegger’s in-famous discussion of “das Nichts” (“the Nothing”) Garcia’s usage both deviates substantially from colloquial French and cleverly combines the quantificational sense of the phrase (“for all x”) and something more denotational and name-like. 30 00 The most important concept in Book I of Tristan Garcia’s Forme et objet: Un traité des choses is per-haps without importance, “n’importe quoi” (“anything”).1 In an ordinary, exclamative sense, the expression “c’est n’importe quoi!” may translate as “that’s bullshit!” or “that’s rubbish!” and so on. In this sense, “n’importe quoi” is close to “nothing.” But when I say “that’s bullshit!” something characterized as “n’importe quoi” is not absolutely nothing since having the property of bullshit is at least something, however much disapprobation we might bring to bear. Like Heidegger’s in-famous discussion of “das Nichts” (“the Nothing”) Garcia’s usage both deviates substantially from colloquial French and cleverly combines the quantificational sense of the phrase (“for all x”) and something more denotational and name-like. 20 00 Open Access Ohm, Mark Cogburn, Jon 3 03 06 10.21983/P3.0122.1.03 19 60 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lacking Causes Privative Causality from Locke and Kant to Lacan and Deacon 1 A01 Adrian Johnston Adrian Johnston 40 05fs6jp91 University of New Mexico 01 eng 03 00 From Alexandre Koyré in the middle of the twentieth century to Quentin Meillassoux today, much of French epistemol-ogy and philosophy of science has relied upon a one-sided neo-rationalist appropriation of the Galilean distinction between primary and secondary qualities1 (a neo-rationalism indefensibly ignoring Baconian empiricism, with the latter’s emphasis on methodical observation and experimentation as essential to scientificity in the modern sense). The very phrasing of this distinction legible in Galileo Galilei’s 1623 text “The Assayer” is to be found in another canonical work of the early modern period: British empiricist John Locke’s hulking 1690 tome An Essay Concerning Human Understand-ing. Locke takes up the matter of primary and secondary qualities in “Chapter Eight” (“Some Further Considerations Concerning Our Simple Ideas of Sensation”) of “Book Two” (“Of Ideas”). 30 00 From Alexandre Koyré in the middle of the twentieth century to Quentin Meillassoux today, much of French epistemol-ogy and philosophy of science has relied upon a one-sided neo-rationalist appropriation of the Galilean distinction between primary and secondary qualities1 (a neo-rationalism indefensibly ignoring Baconian empiricism, with the latter’s emphasis on methodical observation and experimentation as essential to scientificity in the modern sense). The very phrasing of this distinction legible in Galileo Galilei’s 1623 text “The Assayer” is to be found in another canonical work of the early modern period: British empiricist John Locke’s hulking 1690 tome An Essay Concerning Human Understand-ing. Locke takes up the matter of primary and secondary qualities in “Chapter Eight” (“Some Further Considerations Concerning Our Simple Ideas of Sensation”) of “Book Two” (“Of Ideas”). 20 00 Open Access Johnston, Adrian 4 03 06 10.21983/P3.0122.1.04 63 76 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Non-philosophy, the "No" Button, and a Brief Philo-fiction 1 A01 Randall Johnson Randall Johnson 01 eng 03 00 Non-philosophy—and espe-cially that associated with the name François Laruelle—has in the last few years surged forward in those circles of radically-minded philosophers who seem to view themselves at some liminality of thought that is singularly new. Non-philosophy admits few, if any, philo-friends, and from those few named in-person it seems predominantly to separate itself. There is no doubt a certain pleasure in negation, a certain jouis-sance in the partitioning of the shared. I was reminded of such whole body joy of “no” by what could be argued was an inappropriate Christmas gift: a “no” button. 30 00 Non-philosophy—and espe-cially that associated with the name François Laruelle—has in the last few years surged forward in those circles of radically-minded philosophers who seem to view themselves at some liminality of thought that is singularly new. Non-philosophy admits few, if any, philo-friends, and from those few named in-person it seems predominantly to separate itself. There is no doubt a certain pleasure in negation, a certain jouis-sance in the partitioning of the shared. I was reminded of such whole body joy of “no” by what could be argued was an inappropriate Christmas gift: a “no” button. 20 00 Open Access Johnson, Randall 5 03 06 10.21983/P3.0122.1.05 79 119 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Speculating on the Absolute 1 A01 Bart Zantwoort Bart Zantwoort 40 05m7pjf47 University College Dublin 01 eng 03 00 “To reconcile thought and absolute” - this is the enjoinder with which Meillassoux closes After Finitude.2 The Hegelian tenor of this statement is impossible to miss, as is Meillassoux’s reference to the most famous speculative philosopher of the absolute in his own use of these terms. Is Meillassoux being ironic? Is Hegel not the ‘correlationist’ philosopher pur sang? 30 00 “To reconcile thought and absolute” - this is the enjoinder with which Meillassoux closes After Finitude.2 The Hegelian tenor of this statement is impossible to miss, as is Meillassoux’s reference to the most famous speculative philosopher of the absolute in his own use of these terms. Is Meillassoux being ironic? Is Hegel not the ‘correlationist’ philosopher pur sang? 20 00 Open Access Zantwoort, Bart 6 03 06 10.21983/P3.0122.1.06 121 138 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Not Nothing? Meillassoux's Second Figure of Faciality and Metaphysical Nihilism 1 A01 James T. Hill James T. Hill 40 024d6js02 Charles University 01 eng 03 00 According to Quentin Meil-lassoux, the principle of sufficient reason (‘PSR’) is a philosophi-cal fifth postulate. His project is to carry out an “adventure” analogous to that of non-Euclidean geometry, this time within philosophy.1 But whereas Lobachevsky developed his hyper-bolic geometry without first trying to demonstrate that the fifth postulate was false (i.e. without trying to demonstrate the consistency of Euclidean geometry sans the fifth postulate, with its negation), Meillassoux believes he can demonstrate that the PSR is (absolutely) false.2 Indeed, it is his view that this proof involves a species of certainty – or at any rate fun-damentality – not available in mathematics. 30 00 According to Quentin Meil-lassoux, the principle of sufficient reason (‘PSR’) is a philosophi-cal fifth postulate. His project is to carry out an “adventure” analogous to that of non-Euclidean geometry, this time within philosophy.1 But whereas Lobachevsky developed his hyper-bolic geometry without first trying to demonstrate that the fifth postulate was false (i.e. without trying to demonstrate the consistency of Euclidean geometry sans the fifth postulate, with its negation), Meillassoux believes he can demonstrate that the PSR is (absolutely) false.2 Indeed, it is his view that this proof involves a species of certainty – or at any rate fun-damentality – not available in mathematics. 20 00 Open Access Hill, James T. 7 03 06 10.21983/P3.0122.1.07 141 164 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 New Realism A Short Introduction 1 A01 Maurizio Ferraris Maurizio Ferraris 40 048tbm396 University of Turin 01 eng 03 00 New realism is perhaps the only philosophical movement of which one may indicate the exact date of birth: it was June 23, 2011 at 13.30 at the restaurant “Al Vinacciolo” in Via Gennaro Serra 29, Naples. I can be so accurate because I was there, with Markus Ga-briel and his Italian collaborator Simone Maestrone, after a seminar at the Italian Institute for Philosophical Studies. Markus was founding an international centre of philosophy in Bonn and wanted to inaugurate it with a big conference. I told him that the right title would have been “New Realism”, since it captured what in my opinion was the fundamental character of contemporary philosophy: a certain weariness of postmodernism and the belief that everything is constructed, by language, conceptual schemes and the media. Well, it is not like that: something, or rather, much more than we are willing to admit, is not constructed – and this is a wonderful thing, otherwise we could not distinguish dreams from reality. I announced the conference a few weeks later, in an article published in “La Repubblica” on August 8, 2011, and since then the debate has never ceased, both in Italy and abroad2, with contributions that include many of my writings on the subject,3 the book by Markus Gabriel4 and that by Mauricio Beuchot and José Luis Jerez. 30 00 New realism is perhaps the only philosophical movement of which one may indicate the exact date of birth: it was June 23, 2011 at 13.30 at the restaurant “Al Vinacciolo” in Via Gennaro Serra 29, Naples. I can be so accurate because I was there, with Markus Ga-briel and his Italian collaborator Simone Maestrone, after a seminar at the Italian Institute for Philosophical Studies. Markus was founding an international centre of philosophy in Bonn and wanted to inaugurate it with a big conference. I told him that the right title would have been “New Realism”, since it captured what in my opinion was the fundamental character of contemporary philosophy: a certain weariness of postmodernism and the belief that everything is constructed, by language, conceptual schemes and the media. Well, it is not like that: something, or rather, much more than we are willing to admit, is not constructed – and this is a wonderful thing, otherwise we could not distinguish dreams from reality. I announced the conference a few weeks later, in an article published in “La Repubblica” on August 8, 2011, and since then the debate has never ceased, both in Italy and abroad2, with contributions that include many of my writings on the subject,3 the book by Markus Gabriel4 and that by Mauricio Beuchot and José Luis Jerez. 20 00 Open Access Ferraris, Maurizio 8 03 06 10.21983/P3.0122.1.08 167 203 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Dialogue between Graham Harman and Tristan Garcia 1 A01 Rik Peters Rik Peters 2 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 3 A01 Tristan Garcia Tristan Garcia 01 eng 03 00 We are very pleased to welcome two special guests who will be having a special dialogue. For the next hour and fifteen minutes, we will talk about things.Things and objects - as Noortje Marres has just shown1 - are traditionally only half of what philosophy is about; half of the duo of the subject and the object; the human and the thing. In Graham Harman’s words, philosophy traditionally had a ‘human-world duopoly’2, a dual monarchy of human and world, a ‘Habsburg metaphysics’3 forever incapable of considering humans as ‘just one kind of entity among trillions of others’,4 and equally incapable of considering what things do when there’s no humans around. Objects are pushed from the centre stage to the periphery of philosophy, as human consciousness lays a claim to total power. 30 00 We are very pleased to welcome two special guests who will be having a special dialogue. For the next hour and fifteen minutes, we will talk about things.Things and objects - as Noortje Marres has just shown1 - are traditionally only half of what philosophy is about; half of the duo of the subject and the object; the human and the thing. In Graham Harman’s words, philosophy traditionally had a ‘human-world duopoly’2, a dual monarchy of human and world, a ‘Habsburg metaphysics’3 forever incapable of considering humans as ‘just one kind of entity among trillions of others’,4 and equally incapable of considering what things do when there’s no humans around. Objects are pushed from the centre stage to the periphery of philosophy, as human consciousness lays a claim to total power. 20 00 Open Access Rik Peters, Graham Harman, Tristan Garcia 9 03 06 10.21983/P3.0122.1.09 207 267 61 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review Essay on Fernando Zalamea's Synthetic Philosophy of Contemporary Mathematics 1 A01 Giuseppe Longo Giuseppe Longo 40 02feahw73 French National Centre for Scientific Research 40 05wvpxv85 Tufts University 2 B06 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 02 fre 03 00 Zalamea’s book is as original as it is belated. It is indeed sur-prising, if we give it a moment’s thought, just how greatly behind schedule philosophical reflection on contemporary mathematics lags, especially considering the momentous changes that took place in the second half of the twentieth century. Zalamea compares this situation with that of the philosophy of physics: he mentions D’Espagnat’s work on quantum mechanics, but we could add several others who, in the last few decades, have elaborated an extremely timely philosophy of contemporary physics (see for example Bitbol 2000; Bitbol et al. 2009). As was the case in biology, philosophy – since Kant’s crucial observations in the Critique of Judgment, at least – has often “run ahead” of life sciences, exploring and opening up a space for reflections that are not derived from or integrated with its contemporary scientific practice. Some of these reflections are still very much auspicious today. And indeed, some philosophers today are saying something truly new about biology. 30 00 Zalamea’s book is as original as it is belated. It is indeed sur-prising, if we give it a moment’s thought, just how greatly behind schedule philosophical reflection on contemporary mathematics lags, especially considering the momentous changes that took place in the second half of the twentieth century. Zalamea compares this situation with that of the philosophy of physics: he mentions D’Espagnat’s work on quantum mechanics, but we could add several others who, in the last few decades, have elaborated an extremely timely philosophy of contemporary physics (see for example Bitbol 2000; Bitbol et al. 2009). As was the case in biology, philosophy – since Kant’s crucial observations in the Critique of Judgment, at least – has often “run ahead” of life sciences, exploring and opening up a space for reflections that are not derived from or integrated with its contemporary scientific practice. Some of these reflections are still very much auspicious today. And indeed, some philosophers today are saying something truly new about biology. 20 00 Open Access Longo, Giuseppe 10 03 06 10.21983/P3.0122.1.10 269 279 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Answer to Giuseppe Longo 1 A01 Fernando Zalamea Fernando Zalamea 40 059yx9a68 Universidad Nacional de Colombia 2 B06 Daniel Sacilotto Daniel Sacilotto 40 024e4df17 California Institute of the Arts 01 eng 02 spa 03 00 To begin with, I must thank Longo for his unusual generosity. It is extremely rare for someone to write such a lengthy commentary, while correctly highlighting a monograph’s central ideas and, on top of that, to place them within a myriad of alternative mathematical considerations. And if that wasn’t enough, Longo’s subtle, critical and ana-lytic scrutiny of what concerns my text Synthetic Philosophy of Contemporary Mathematics extends to the scope of a synthetic vision that encompasses the mathematics of biology. In many senses, Longo’s remarks deserve to be understood then really as an appendix to my book which opens it, densely and broadly, to both the natural and mathematical worlds. 30 00 To begin with, I must thank Longo for his unusual generosity. It is extremely rare for someone to write such a lengthy commentary, while correctly highlighting a monograph’s central ideas and, on top of that, to place them within a myriad of alternative mathematical considerations. And if that wasn’t enough, Longo’s subtle, critical and ana-lytic scrutiny of what concerns my text Synthetic Philosophy of Contemporary Mathematics extends to the scope of a synthetic vision that encompasses the mathematics of biology. In many senses, Longo’s remarks deserve to be understood then really as an appendix to my book which opens it, densely and broadly, to both the natural and mathematical worlds. 20 00 Open Access Zalamea, Fernando 11 03 06 10.21983/P3.0122.1.11 283 303 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Christopher Norris, Derrida, Badiou and the Formal Imperative 1 A01 Paul Livingston Paul Livingston 40 05fs6jp91 University of New Mexico 01 eng 03 00 Do “we” need, today, a rap-prochement between analytic and “continental” philosophy? If so, from what philosophical and critical imperatives does such a need arise, and to what kinds of actual problems, political and social as well as theoretical, should it respond? Might giving a critical response to contemporary social and political problems require remapping familiar division lines between the analytic and continental traditions, sometimes in ways that will initially appear surprising and unfamiliar to those convinced of the legitimacy of the old traditional boundaries? To what extent might this require a creative rethinking of the boundaries and structural implications of formalism and of the kind of formalizing project so char-acteristic of one strand of the analytic tradition? And who might be the “we” (mentioned in the first question) that could emerge from such a critical remapping of methodological and thematic territories, as inheritors of the legacy of both traditions in twentieth century philosophy and practitioners of a new kind of philosophy drawing on the best resources of both? These are some of the questions raised by Christopher Norris’s useful and potentially important book, Derrida, Badiou and the Formal Imperative. In particular, Norris makes the heterodox but ultimately convincing argument that the work of two of the most important contemporary and recent “continental” philosophers, Jacques Derrida and Alain Badiou, responds in both cases to a “formal” imperative by developing the implications of classical formal and logical structures to the “breaking point” of structurally inherent aporias and paradoxes. It is at this structural breaking point that the possibility of transformative structural and politi-cal change opens up, and its identification and location in strict and rigorous accordance with the canons of traditional bivalent logic and with an unflinchingly realist ontology is therefore a cardinal task for contemporary philosophy in a critical mode. 30 00 Do “we” need, today, a rap-prochement between analytic and “continental” philosophy? If so, from what philosophical and critical imperatives does such a need arise, and to what kinds of actual problems, political and social as well as theoretical, should it respond? Might giving a critical response to contemporary social and political problems require remapping familiar division lines between the analytic and continental traditions, sometimes in ways that will initially appear surprising and unfamiliar to those convinced of the legitimacy of the old traditional boundaries? To what extent might this require a creative rethinking of the boundaries and structural implications of formalism and of the kind of formalizing project so char-acteristic of one strand of the analytic tradition? And who might be the “we” (mentioned in the first question) that could emerge from such a critical remapping of methodological and thematic territories, as inheritors of the legacy of both traditions in twentieth century philosophy and practitioners of a new kind of philosophy drawing on the best resources of both? These are some of the questions raised by Christopher Norris’s useful and potentially important book, Derrida, Badiou and the Formal Imperative. In particular, Norris makes the heterodox but ultimately convincing argument that the work of two of the most important contemporary and recent “continental” philosophers, Jacques Derrida and Alain Badiou, responds in both cases to a “formal” imperative by developing the implications of classical formal and logical structures to the “breaking point” of structurally inherent aporias and paradoxes. It is at this structural breaking point that the possibility of transformative structural and politi-cal change opens up, and its identification and location in strict and rigorous accordance with the canons of traditional bivalent logic and with an unflinchingly realist ontology is therefore a cardinal task for contemporary philosophy in a critical mode. 20 00 Open Access Livingston, Paul 12 03 06 10.21983/P3.0122.1.12 305 310 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Simon O'Sullivan On the Production of Subjectivity 1 A01 Jeffrey A. Bell Jeffrey A. Bell 40 0531xck41 Southeastern Louisiana University 01 eng 03 00 Simon O’Sullivan’s excellent book sets out to do two important things. First, O’Sullivan swims upstream against a dominant current in contemporary continental thought by allowing for a key role for subjectiv-ity. With the shift away from the phenomenological subject in recent decades, along with more recent developments in speculative realism where the effort is to move beyond correlationism and thus the relationship between reality as it is in itself and as given to a subject, the result has been a general turn away from the subject. O’Sullivan agrees with most of the concerns that one finds expressed regarding the phenomenological subject, and his interests also bears strong affinities with the work of the speculative realists (O’Sullivan’s conclusion compares his project to the work of the leading speculative realists); however, and this is the second impor-tant thing O’Sullivan sets out to do, what is often missing in discussions of subjectivity is processual nature of the subject as a finite-infinite relation. 30 00 Simon O’Sullivan’s excellent book sets out to do two important things. First, O’Sullivan swims upstream against a dominant current in contemporary continental thought by allowing for a key role for subjectiv-ity. With the shift away from the phenomenological subject in recent decades, along with more recent developments in speculative realism where the effort is to move beyond correlationism and thus the relationship between reality as it is in itself and as given to a subject, the result has been a general turn away from the subject. O’Sullivan agrees with most of the concerns that one finds expressed regarding the phenomenological subject, and his interests also bears strong affinities with the work of the speculative realists (O’Sullivan’s conclusion compares his project to the work of the leading speculative realists); however, and this is the second impor-tant thing O’Sullivan sets out to do, what is often missing in discussions of subjectivity is processual nature of the subject as a finite-infinite relation. 20 00 Open Access Bell, Jeff 13 03 06 10.21983/P3.0122.1.13 313 318 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Graham Harman, Weird Realism Lovecraft and Philosophy 1 A01 Sebastian Normandin Sebastian Normandin 40 02j1xr113 Ashoka University 01 eng 03 00 Lovecraftian. A term used to describe a story evocative of, or inspired by, the works of horror writer H.P. Lovecraft. Given his widening influence in genre fiction, it is also a term increasingly in vogue. But what do we mean when we say that a short story or novel (or even a poem) is Lovecraftian? In his creative, original take on the possible philosophical implications of Lovecraft’s fiction, Graham Harman gives us some clues as to what is meant and implied by the term. 30 00 Lovecraftian. A term used to describe a story evocative of, or inspired by, the works of horror writer H.P. Lovecraft. Given his widening influence in genre fiction, it is also a term increasingly in vogue. But what do we mean when we say that a short story or novel (or even a poem) is Lovecraftian? In his creative, original take on the possible philosophical implications of Lovecraft’s fiction, Graham Harman gives us some clues as to what is meant and implied by the term. 20 00 Open Access Normandin, Sebastian 14 03 06 10.21983/P3.0122.1.14 321 327 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Patricia MacCormack, Posthuman Ethics Embodiment and Cultural Theory 1 A01 James Stanescu James Stanescu 40 00y4zzh67 George Washington University 01 eng 03 00 Early in Patricia MacCormack’s Posthuman Ethics: Embodiment and Cultural Theory, she explains “Posthuman Ethics could have been called Posthuman Bodies” (1). This switch, from ethics to bodies, is important. It lets the reader know that the book is not going to be concerned with a normative understanding of ethics. Instead, ethics here is a Spinozian ethics, in other words a moral physics, a relation-ship of bodies to each other and how they affect one another. If that is the ethics, the posthuman should be understood in two senses. First, it means a position that exists, as Cary Wolfe has put it, “both before and after humanism.”1 In this sense, MacCormack’s work should be read as part of a long line of posthumanist theory, including Donna Haraway’s “Cyborg Manifesto” and When Species Meet, N. Katharine Hayles How We Became Posthuman, Cary Wolfe’s What is Posthumanism?, and Rosi Braidotti’s The Posthuman. However, posthuman should also be understood as the ways that all sorts of bod-ies, including non-human ones, end up entangled in and with each other. In this sense, we can see Posthuman Ethics as being part of a continuation that includes Mel Chen’s Anima-cies, Beatriz Preciado’s Testo Junkie, and Jasbir Puar’s Terrorist Assemblages. MacCormack forces us into the vortex of what Felix Guattari has referred to as “affective contamination,” which is the process by which other beings “start to exist in you, in spite of you.”2 Thus, we are treated to examinations of our entanglements with art and inhuman ecstasy, tattoos and the skin, nonhuman animals, marvelous monsters, mystic queers, and the nation of the dead. So far, so good. But also, I am sure you are asking, how is this book new? Is this just another book of posthuman theory combined with the au-thor’s preferred more-than-human objects of inquiry? This is where things get interesting, because despite MacCormack’s protests, there is still a normative ethical argument that is slowly developed throughout the present work. MacCormack is concerned with how “regimes of signification” create and produce domination (94). What emerges, then, is an ethics that cuts to the very core of what it means to do philosophy and theory. 30 00 Early in Patricia MacCormack’s Posthuman Ethics: Embodiment and Cultural Theory, she explains “Posthuman Ethics could have been called Posthuman Bodies” (1). This switch, from ethics to bodies, is important. It lets the reader know that the book is not going to be concerned with a normative understanding of ethics. Instead, ethics here is a Spinozian ethics, in other words a moral physics, a relation-ship of bodies to each other and how they affect one another. If that is the ethics, the posthuman should be understood in two senses. First, it means a position that exists, as Cary Wolfe has put it, “both before and after humanism.”1 In this sense, MacCormack’s work should be read as part of a long line of posthumanist theory, including Donna Haraway’s “Cyborg Manifesto” and When Species Meet, N. Katharine Hayles How We Became Posthuman, Cary Wolfe’s What is Posthumanism?, and Rosi Braidotti’s The Posthuman. However, posthuman should also be understood as the ways that all sorts of bod-ies, including non-human ones, end up entangled in and with each other. In this sense, we can see Posthuman Ethics as being part of a continuation that includes Mel Chen’s Anima-cies, Beatriz Preciado’s Testo Junkie, and Jasbir Puar’s Terrorist Assemblages. MacCormack forces us into the vortex of what Felix Guattari has referred to as “affective contamination,” which is the process by which other beings “start to exist in you, in spite of you.”2 Thus, we are treated to examinations of our entanglements with art and inhuman ecstasy, tattoos and the skin, nonhuman animals, marvelous monsters, mystic queers, and the nation of the dead. So far, so good. But also, I am sure you are asking, how is this book new? Is this just another book of posthuman theory combined with the au-thor’s preferred more-than-human objects of inquiry? This is where things get interesting, because despite MacCormack’s protests, there is still a normative ethical argument that is slowly developed throughout the present work. MacCormack is concerned with how “regimes of signification” create and produce domination (94). What emerges, then, is an ethics that cuts to the very core of what it means to do philosophy and theory. 20 00 Open Access Stanescu, James 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-vi/ Brooklyn, NY 04 01 20151212 Gironi, Fabio Austin, Michael Jackson, Robert 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692593977 20 08 20151212 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speculations-vi 20 08 20151212 02 26.00 USD WORLD urn:uuid:62d1a2f7-8b68-4408-949b-641778a500c3 03 01 01 thoth-work-id urn:uuid:435a1db3-1bbb-44b2-9368-7b2fd8a4e63e 01 thoth-publication-id urn:uuid:62d1a2f7-8b68-4408-949b-641778a500c3 06 10.21983/P3.0122.1.00 01 internal-reference 0122 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speculations VI 1 B01 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 2 B01 Michael Austin Michael Austin 40 04haebc03 Memorial University of Newfoundland 3 B01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 00 332 03 12 HPCF 10 PHI013000 B2 Philosophy 20 speculative realism; synthetic philosophy; continental realism; new realism 01 06 02 00 03 00 In this sixth issue of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of contemporary philosophical issues pertaining to the contemporary philosophical scene is touched upon, from the continental realism of Tristan Garcia, Graham Harman and Quentin Meillassoux to the ‘new realism’ of Maurizio Ferraris, from Lacanian and Laurellian speculations to the synthetic philosophy of Fernando Zalamea’s mathematics 30 00 In this sixth issue of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of contemporary philosophical issues pertaining to the contemporary philosophical scene is touched upon, from the continental realism of Tristan Garcia, Graham Harman and Quentin Meillassoux to the ‘new realism’ of Maurizio Ferraris, from Lacanian and Laurellian speculations to the synthetic philosophy of Fernando Zalamea’s mathematics 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0122.1.00_frontcover.png 1 03 06 10.21983/P3.0122.1.01 i v 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Fabio Gironi Fabio Gironi 2 B01 Michael Austin Michael Austin 3 B01 Robert Jackson Robert Jackson 01 eng 20 00 Open Access Gironi, Fabio Austin, Michael Jackson, Robert 2 03 06 10.21983/P3.0122.1.02 3 17 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Garcia's Paradox 1 A01 Mark Allan Ohm Mark Allan Ohm 40 05ect4e57 Louisiana State University 2 A01 21 0000000186436726 Jon Cogburn Jon Cogburn 40 05ect4e57 Louisiana State University 01 eng 03 00 The most important concept in Book I of Tristan Garcia’s Forme et objet: Un traité des choses is per-haps without importance, “n’importe quoi” (“anything”).1 In an ordinary, exclamative sense, the expression “c’est n’importe quoi!” may translate as “that’s bullshit!” or “that’s rubbish!” and so on. In this sense, “n’importe quoi” is close to “nothing.” But when I say “that’s bullshit!” something characterized as “n’importe quoi” is not absolutely nothing since having the property of bullshit is at least something, however much disapprobation we might bring to bear. Like Heidegger’s in-famous discussion of “das Nichts” (“the Nothing”) Garcia’s usage both deviates substantially from colloquial French and cleverly combines the quantificational sense of the phrase (“for all x”) and something more denotational and name-like. 30 00 The most important concept in Book I of Tristan Garcia’s Forme et objet: Un traité des choses is per-haps without importance, “n’importe quoi” (“anything”).1 In an ordinary, exclamative sense, the expression “c’est n’importe quoi!” may translate as “that’s bullshit!” or “that’s rubbish!” and so on. In this sense, “n’importe quoi” is close to “nothing.” But when I say “that’s bullshit!” something characterized as “n’importe quoi” is not absolutely nothing since having the property of bullshit is at least something, however much disapprobation we might bring to bear. Like Heidegger’s in-famous discussion of “das Nichts” (“the Nothing”) Garcia’s usage both deviates substantially from colloquial French and cleverly combines the quantificational sense of the phrase (“for all x”) and something more denotational and name-like. 20 00 Open Access Ohm, Mark Cogburn, Jon 3 03 06 10.21983/P3.0122.1.03 19 60 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lacking Causes Privative Causality from Locke and Kant to Lacan and Deacon 1 A01 Adrian Johnston Adrian Johnston 40 05fs6jp91 University of New Mexico 01 eng 03 00 From Alexandre Koyré in the middle of the twentieth century to Quentin Meillassoux today, much of French epistemol-ogy and philosophy of science has relied upon a one-sided neo-rationalist appropriation of the Galilean distinction between primary and secondary qualities1 (a neo-rationalism indefensibly ignoring Baconian empiricism, with the latter’s emphasis on methodical observation and experimentation as essential to scientificity in the modern sense). The very phrasing of this distinction legible in Galileo Galilei’s 1623 text “The Assayer” is to be found in another canonical work of the early modern period: British empiricist John Locke’s hulking 1690 tome An Essay Concerning Human Understand-ing. Locke takes up the matter of primary and secondary qualities in “Chapter Eight” (“Some Further Considerations Concerning Our Simple Ideas of Sensation”) of “Book Two” (“Of Ideas”). 30 00 From Alexandre Koyré in the middle of the twentieth century to Quentin Meillassoux today, much of French epistemol-ogy and philosophy of science has relied upon a one-sided neo-rationalist appropriation of the Galilean distinction between primary and secondary qualities1 (a neo-rationalism indefensibly ignoring Baconian empiricism, with the latter’s emphasis on methodical observation and experimentation as essential to scientificity in the modern sense). The very phrasing of this distinction legible in Galileo Galilei’s 1623 text “The Assayer” is to be found in another canonical work of the early modern period: British empiricist John Locke’s hulking 1690 tome An Essay Concerning Human Understand-ing. Locke takes up the matter of primary and secondary qualities in “Chapter Eight” (“Some Further Considerations Concerning Our Simple Ideas of Sensation”) of “Book Two” (“Of Ideas”). 20 00 Open Access Johnston, Adrian 4 03 06 10.21983/P3.0122.1.04 63 76 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Non-philosophy, the "No" Button, and a Brief Philo-fiction 1 A01 Randall Johnson Randall Johnson 01 eng 03 00 Non-philosophy—and espe-cially that associated with the name François Laruelle—has in the last few years surged forward in those circles of radically-minded philosophers who seem to view themselves at some liminality of thought that is singularly new. Non-philosophy admits few, if any, philo-friends, and from those few named in-person it seems predominantly to separate itself. There is no doubt a certain pleasure in negation, a certain jouis-sance in the partitioning of the shared. I was reminded of such whole body joy of “no” by what could be argued was an inappropriate Christmas gift: a “no” button. 30 00 Non-philosophy—and espe-cially that associated with the name François Laruelle—has in the last few years surged forward in those circles of radically-minded philosophers who seem to view themselves at some liminality of thought that is singularly new. Non-philosophy admits few, if any, philo-friends, and from those few named in-person it seems predominantly to separate itself. There is no doubt a certain pleasure in negation, a certain jouis-sance in the partitioning of the shared. I was reminded of such whole body joy of “no” by what could be argued was an inappropriate Christmas gift: a “no” button. 20 00 Open Access Johnson, Randall 5 03 06 10.21983/P3.0122.1.05 79 119 41 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Speculating on the Absolute 1 A01 Bart Zantwoort Bart Zantwoort 40 05m7pjf47 University College Dublin 01 eng 03 00 “To reconcile thought and absolute” - this is the enjoinder with which Meillassoux closes After Finitude.2 The Hegelian tenor of this statement is impossible to miss, as is Meillassoux’s reference to the most famous speculative philosopher of the absolute in his own use of these terms. Is Meillassoux being ironic? Is Hegel not the ‘correlationist’ philosopher pur sang? 30 00 “To reconcile thought and absolute” - this is the enjoinder with which Meillassoux closes After Finitude.2 The Hegelian tenor of this statement is impossible to miss, as is Meillassoux’s reference to the most famous speculative philosopher of the absolute in his own use of these terms. Is Meillassoux being ironic? Is Hegel not the ‘correlationist’ philosopher pur sang? 20 00 Open Access Zantwoort, Bart 6 03 06 10.21983/P3.0122.1.06 121 138 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Not Nothing? Meillassoux's Second Figure of Faciality and Metaphysical Nihilism 1 A01 James T. Hill James T. Hill 40 024d6js02 Charles University 01 eng 03 00 According to Quentin Meil-lassoux, the principle of sufficient reason (‘PSR’) is a philosophi-cal fifth postulate. His project is to carry out an “adventure” analogous to that of non-Euclidean geometry, this time within philosophy.1 But whereas Lobachevsky developed his hyper-bolic geometry without first trying to demonstrate that the fifth postulate was false (i.e. without trying to demonstrate the consistency of Euclidean geometry sans the fifth postulate, with its negation), Meillassoux believes he can demonstrate that the PSR is (absolutely) false.2 Indeed, it is his view that this proof involves a species of certainty – or at any rate fun-damentality – not available in mathematics. 30 00 According to Quentin Meil-lassoux, the principle of sufficient reason (‘PSR’) is a philosophi-cal fifth postulate. His project is to carry out an “adventure” analogous to that of non-Euclidean geometry, this time within philosophy.1 But whereas Lobachevsky developed his hyper-bolic geometry without first trying to demonstrate that the fifth postulate was false (i.e. without trying to demonstrate the consistency of Euclidean geometry sans the fifth postulate, with its negation), Meillassoux believes he can demonstrate that the PSR is (absolutely) false.2 Indeed, it is his view that this proof involves a species of certainty – or at any rate fun-damentality – not available in mathematics. 20 00 Open Access Hill, James T. 7 03 06 10.21983/P3.0122.1.07 141 164 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 New Realism A Short Introduction 1 A01 Maurizio Ferraris Maurizio Ferraris 40 048tbm396 University of Turin 01 eng 03 00 New realism is perhaps the only philosophical movement of which one may indicate the exact date of birth: it was June 23, 2011 at 13.30 at the restaurant “Al Vinacciolo” in Via Gennaro Serra 29, Naples. I can be so accurate because I was there, with Markus Ga-briel and his Italian collaborator Simone Maestrone, after a seminar at the Italian Institute for Philosophical Studies. Markus was founding an international centre of philosophy in Bonn and wanted to inaugurate it with a big conference. I told him that the right title would have been “New Realism”, since it captured what in my opinion was the fundamental character of contemporary philosophy: a certain weariness of postmodernism and the belief that everything is constructed, by language, conceptual schemes and the media. Well, it is not like that: something, or rather, much more than we are willing to admit, is not constructed – and this is a wonderful thing, otherwise we could not distinguish dreams from reality. I announced the conference a few weeks later, in an article published in “La Repubblica” on August 8, 2011, and since then the debate has never ceased, both in Italy and abroad2, with contributions that include many of my writings on the subject,3 the book by Markus Gabriel4 and that by Mauricio Beuchot and José Luis Jerez. 30 00 New realism is perhaps the only philosophical movement of which one may indicate the exact date of birth: it was June 23, 2011 at 13.30 at the restaurant “Al Vinacciolo” in Via Gennaro Serra 29, Naples. I can be so accurate because I was there, with Markus Ga-briel and his Italian collaborator Simone Maestrone, after a seminar at the Italian Institute for Philosophical Studies. Markus was founding an international centre of philosophy in Bonn and wanted to inaugurate it with a big conference. I told him that the right title would have been “New Realism”, since it captured what in my opinion was the fundamental character of contemporary philosophy: a certain weariness of postmodernism and the belief that everything is constructed, by language, conceptual schemes and the media. Well, it is not like that: something, or rather, much more than we are willing to admit, is not constructed – and this is a wonderful thing, otherwise we could not distinguish dreams from reality. I announced the conference a few weeks later, in an article published in “La Repubblica” on August 8, 2011, and since then the debate has never ceased, both in Italy and abroad2, with contributions that include many of my writings on the subject,3 the book by Markus Gabriel4 and that by Mauricio Beuchot and José Luis Jerez. 20 00 Open Access Ferraris, Maurizio 8 03 06 10.21983/P3.0122.1.08 167 203 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Dialogue between Graham Harman and Tristan Garcia 1 A01 Rik Peters Rik Peters 2 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 3 A01 Tristan Garcia Tristan Garcia 01 eng 03 00 We are very pleased to welcome two special guests who will be having a special dialogue. For the next hour and fifteen minutes, we will talk about things.Things and objects - as Noortje Marres has just shown1 - are traditionally only half of what philosophy is about; half of the duo of the subject and the object; the human and the thing. In Graham Harman’s words, philosophy traditionally had a ‘human-world duopoly’2, a dual monarchy of human and world, a ‘Habsburg metaphysics’3 forever incapable of considering humans as ‘just one kind of entity among trillions of others’,4 and equally incapable of considering what things do when there’s no humans around. Objects are pushed from the centre stage to the periphery of philosophy, as human consciousness lays a claim to total power. 30 00 We are very pleased to welcome two special guests who will be having a special dialogue. For the next hour and fifteen minutes, we will talk about things.Things and objects - as Noortje Marres has just shown1 - are traditionally only half of what philosophy is about; half of the duo of the subject and the object; the human and the thing. In Graham Harman’s words, philosophy traditionally had a ‘human-world duopoly’2, a dual monarchy of human and world, a ‘Habsburg metaphysics’3 forever incapable of considering humans as ‘just one kind of entity among trillions of others’,4 and equally incapable of considering what things do when there’s no humans around. Objects are pushed from the centre stage to the periphery of philosophy, as human consciousness lays a claim to total power. 20 00 Open Access Rik Peters, Graham Harman, Tristan Garcia 9 03 06 10.21983/P3.0122.1.09 207 267 61 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review Essay on Fernando Zalamea's Synthetic Philosophy of Contemporary Mathematics 1 A01 Giuseppe Longo Giuseppe Longo 40 02feahw73 French National Centre for Scientific Research 40 05wvpxv85 Tufts University 2 B06 Fabio Gironi Fabio Gironi 40 03kk7td41 Cardiff University 01 eng 02 fre 03 00 Zalamea’s book is as original as it is belated. It is indeed sur-prising, if we give it a moment’s thought, just how greatly behind schedule philosophical reflection on contemporary mathematics lags, especially considering the momentous changes that took place in the second half of the twentieth century. Zalamea compares this situation with that of the philosophy of physics: he mentions D’Espagnat’s work on quantum mechanics, but we could add several others who, in the last few decades, have elaborated an extremely timely philosophy of contemporary physics (see for example Bitbol 2000; Bitbol et al. 2009). As was the case in biology, philosophy – since Kant’s crucial observations in the Critique of Judgment, at least – has often “run ahead” of life sciences, exploring and opening up a space for reflections that are not derived from or integrated with its contemporary scientific practice. Some of these reflections are still very much auspicious today. And indeed, some philosophers today are saying something truly new about biology. 30 00 Zalamea’s book is as original as it is belated. It is indeed sur-prising, if we give it a moment’s thought, just how greatly behind schedule philosophical reflection on contemporary mathematics lags, especially considering the momentous changes that took place in the second half of the twentieth century. Zalamea compares this situation with that of the philosophy of physics: he mentions D’Espagnat’s work on quantum mechanics, but we could add several others who, in the last few decades, have elaborated an extremely timely philosophy of contemporary physics (see for example Bitbol 2000; Bitbol et al. 2009). As was the case in biology, philosophy – since Kant’s crucial observations in the Critique of Judgment, at least – has often “run ahead” of life sciences, exploring and opening up a space for reflections that are not derived from or integrated with its contemporary scientific practice. Some of these reflections are still very much auspicious today. And indeed, some philosophers today are saying something truly new about biology. 20 00 Open Access Longo, Giuseppe 10 03 06 10.21983/P3.0122.1.10 269 279 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Answer to Giuseppe Longo 1 A01 Fernando Zalamea Fernando Zalamea 40 059yx9a68 Universidad Nacional de Colombia 2 B06 Daniel Sacilotto Daniel Sacilotto 40 024e4df17 California Institute of the Arts 01 eng 02 spa 03 00 To begin with, I must thank Longo for his unusual generosity. It is extremely rare for someone to write such a lengthy commentary, while correctly highlighting a monograph’s central ideas and, on top of that, to place them within a myriad of alternative mathematical considerations. And if that wasn’t enough, Longo’s subtle, critical and ana-lytic scrutiny of what concerns my text Synthetic Philosophy of Contemporary Mathematics extends to the scope of a synthetic vision that encompasses the mathematics of biology. In many senses, Longo’s remarks deserve to be understood then really as an appendix to my book which opens it, densely and broadly, to both the natural and mathematical worlds. 30 00 To begin with, I must thank Longo for his unusual generosity. It is extremely rare for someone to write such a lengthy commentary, while correctly highlighting a monograph’s central ideas and, on top of that, to place them within a myriad of alternative mathematical considerations. And if that wasn’t enough, Longo’s subtle, critical and ana-lytic scrutiny of what concerns my text Synthetic Philosophy of Contemporary Mathematics extends to the scope of a synthetic vision that encompasses the mathematics of biology. In many senses, Longo’s remarks deserve to be understood then really as an appendix to my book which opens it, densely and broadly, to both the natural and mathematical worlds. 20 00 Open Access Zalamea, Fernando 11 03 06 10.21983/P3.0122.1.11 283 303 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Christopher Norris, Derrida, Badiou and the Formal Imperative 1 A01 Paul Livingston Paul Livingston 40 05fs6jp91 University of New Mexico 01 eng 03 00 Do “we” need, today, a rap-prochement between analytic and “continental” philosophy? If so, from what philosophical and critical imperatives does such a need arise, and to what kinds of actual problems, political and social as well as theoretical, should it respond? Might giving a critical response to contemporary social and political problems require remapping familiar division lines between the analytic and continental traditions, sometimes in ways that will initially appear surprising and unfamiliar to those convinced of the legitimacy of the old traditional boundaries? To what extent might this require a creative rethinking of the boundaries and structural implications of formalism and of the kind of formalizing project so char-acteristic of one strand of the analytic tradition? And who might be the “we” (mentioned in the first question) that could emerge from such a critical remapping of methodological and thematic territories, as inheritors of the legacy of both traditions in twentieth century philosophy and practitioners of a new kind of philosophy drawing on the best resources of both? These are some of the questions raised by Christopher Norris’s useful and potentially important book, Derrida, Badiou and the Formal Imperative. In particular, Norris makes the heterodox but ultimately convincing argument that the work of two of the most important contemporary and recent “continental” philosophers, Jacques Derrida and Alain Badiou, responds in both cases to a “formal” imperative by developing the implications of classical formal and logical structures to the “breaking point” of structurally inherent aporias and paradoxes. It is at this structural breaking point that the possibility of transformative structural and politi-cal change opens up, and its identification and location in strict and rigorous accordance with the canons of traditional bivalent logic and with an unflinchingly realist ontology is therefore a cardinal task for contemporary philosophy in a critical mode. 30 00 Do “we” need, today, a rap-prochement between analytic and “continental” philosophy? If so, from what philosophical and critical imperatives does such a need arise, and to what kinds of actual problems, political and social as well as theoretical, should it respond? Might giving a critical response to contemporary social and political problems require remapping familiar division lines between the analytic and continental traditions, sometimes in ways that will initially appear surprising and unfamiliar to those convinced of the legitimacy of the old traditional boundaries? To what extent might this require a creative rethinking of the boundaries and structural implications of formalism and of the kind of formalizing project so char-acteristic of one strand of the analytic tradition? And who might be the “we” (mentioned in the first question) that could emerge from such a critical remapping of methodological and thematic territories, as inheritors of the legacy of both traditions in twentieth century philosophy and practitioners of a new kind of philosophy drawing on the best resources of both? These are some of the questions raised by Christopher Norris’s useful and potentially important book, Derrida, Badiou and the Formal Imperative. In particular, Norris makes the heterodox but ultimately convincing argument that the work of two of the most important contemporary and recent “continental” philosophers, Jacques Derrida and Alain Badiou, responds in both cases to a “formal” imperative by developing the implications of classical formal and logical structures to the “breaking point” of structurally inherent aporias and paradoxes. It is at this structural breaking point that the possibility of transformative structural and politi-cal change opens up, and its identification and location in strict and rigorous accordance with the canons of traditional bivalent logic and with an unflinchingly realist ontology is therefore a cardinal task for contemporary philosophy in a critical mode. 20 00 Open Access Livingston, Paul 12 03 06 10.21983/P3.0122.1.12 305 310 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Simon O'Sullivan On the Production of Subjectivity 1 A01 Jeffrey A. Bell Jeffrey A. Bell 40 0531xck41 Southeastern Louisiana University 01 eng 03 00 Simon O’Sullivan’s excellent book sets out to do two important things. First, O’Sullivan swims upstream against a dominant current in contemporary continental thought by allowing for a key role for subjectiv-ity. With the shift away from the phenomenological subject in recent decades, along with more recent developments in speculative realism where the effort is to move beyond correlationism and thus the relationship between reality as it is in itself and as given to a subject, the result has been a general turn away from the subject. O’Sullivan agrees with most of the concerns that one finds expressed regarding the phenomenological subject, and his interests also bears strong affinities with the work of the speculative realists (O’Sullivan’s conclusion compares his project to the work of the leading speculative realists); however, and this is the second impor-tant thing O’Sullivan sets out to do, what is often missing in discussions of subjectivity is processual nature of the subject as a finite-infinite relation. 30 00 Simon O’Sullivan’s excellent book sets out to do two important things. First, O’Sullivan swims upstream against a dominant current in contemporary continental thought by allowing for a key role for subjectiv-ity. With the shift away from the phenomenological subject in recent decades, along with more recent developments in speculative realism where the effort is to move beyond correlationism and thus the relationship between reality as it is in itself and as given to a subject, the result has been a general turn away from the subject. O’Sullivan agrees with most of the concerns that one finds expressed regarding the phenomenological subject, and his interests also bears strong affinities with the work of the speculative realists (O’Sullivan’s conclusion compares his project to the work of the leading speculative realists); however, and this is the second impor-tant thing O’Sullivan sets out to do, what is often missing in discussions of subjectivity is processual nature of the subject as a finite-infinite relation. 20 00 Open Access Bell, Jeff 13 03 06 10.21983/P3.0122.1.13 313 318 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Graham Harman, Weird Realism Lovecraft and Philosophy 1 A01 Sebastian Normandin Sebastian Normandin 40 02j1xr113 Ashoka University 01 eng 03 00 Lovecraftian. A term used to describe a story evocative of, or inspired by, the works of horror writer H.P. Lovecraft. Given his widening influence in genre fiction, it is also a term increasingly in vogue. But what do we mean when we say that a short story or novel (or even a poem) is Lovecraftian? In his creative, original take on the possible philosophical implications of Lovecraft’s fiction, Graham Harman gives us some clues as to what is meant and implied by the term. 30 00 Lovecraftian. A term used to describe a story evocative of, or inspired by, the works of horror writer H.P. Lovecraft. Given his widening influence in genre fiction, it is also a term increasingly in vogue. But what do we mean when we say that a short story or novel (or even a poem) is Lovecraftian? In his creative, original take on the possible philosophical implications of Lovecraft’s fiction, Graham Harman gives us some clues as to what is meant and implied by the term. 20 00 Open Access Normandin, Sebastian 14 03 06 10.21983/P3.0122.1.14 321 327 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Review of Patricia MacCormack, Posthuman Ethics Embodiment and Cultural Theory 1 A01 James Stanescu James Stanescu 40 00y4zzh67 George Washington University 01 eng 03 00 Early in Patricia MacCormack’s Posthuman Ethics: Embodiment and Cultural Theory, she explains “Posthuman Ethics could have been called Posthuman Bodies” (1). This switch, from ethics to bodies, is important. It lets the reader know that the book is not going to be concerned with a normative understanding of ethics. Instead, ethics here is a Spinozian ethics, in other words a moral physics, a relation-ship of bodies to each other and how they affect one another. If that is the ethics, the posthuman should be understood in two senses. First, it means a position that exists, as Cary Wolfe has put it, “both before and after humanism.”1 In this sense, MacCormack’s work should be read as part of a long line of posthumanist theory, including Donna Haraway’s “Cyborg Manifesto” and When Species Meet, N. Katharine Hayles How We Became Posthuman, Cary Wolfe’s What is Posthumanism?, and Rosi Braidotti’s The Posthuman. However, posthuman should also be understood as the ways that all sorts of bod-ies, including non-human ones, end up entangled in and with each other. In this sense, we can see Posthuman Ethics as being part of a continuation that includes Mel Chen’s Anima-cies, Beatriz Preciado’s Testo Junkie, and Jasbir Puar’s Terrorist Assemblages. MacCormack forces us into the vortex of what Felix Guattari has referred to as “affective contamination,” which is the process by which other beings “start to exist in you, in spite of you.”2 Thus, we are treated to examinations of our entanglements with art and inhuman ecstasy, tattoos and the skin, nonhuman animals, marvelous monsters, mystic queers, and the nation of the dead. So far, so good. But also, I am sure you are asking, how is this book new? Is this just another book of posthuman theory combined with the au-thor’s preferred more-than-human objects of inquiry? This is where things get interesting, because despite MacCormack’s protests, there is still a normative ethical argument that is slowly developed throughout the present work. MacCormack is concerned with how “regimes of signification” create and produce domination (94). What emerges, then, is an ethics that cuts to the very core of what it means to do philosophy and theory. 30 00 Early in Patricia MacCormack’s Posthuman Ethics: Embodiment and Cultural Theory, she explains “Posthuman Ethics could have been called Posthuman Bodies” (1). This switch, from ethics to bodies, is important. It lets the reader know that the book is not going to be concerned with a normative understanding of ethics. Instead, ethics here is a Spinozian ethics, in other words a moral physics, a relation-ship of bodies to each other and how they affect one another. If that is the ethics, the posthuman should be understood in two senses. First, it means a position that exists, as Cary Wolfe has put it, “both before and after humanism.”1 In this sense, MacCormack’s work should be read as part of a long line of posthumanist theory, including Donna Haraway’s “Cyborg Manifesto” and When Species Meet, N. Katharine Hayles How We Became Posthuman, Cary Wolfe’s What is Posthumanism?, and Rosi Braidotti’s The Posthuman. However, posthuman should also be understood as the ways that all sorts of bod-ies, including non-human ones, end up entangled in and with each other. In this sense, we can see Posthuman Ethics as being part of a continuation that includes Mel Chen’s Anima-cies, Beatriz Preciado’s Testo Junkie, and Jasbir Puar’s Terrorist Assemblages. MacCormack forces us into the vortex of what Felix Guattari has referred to as “affective contamination,” which is the process by which other beings “start to exist in you, in spite of you.”2 Thus, we are treated to examinations of our entanglements with art and inhuman ecstasy, tattoos and the skin, nonhuman animals, marvelous monsters, mystic queers, and the nation of the dead. So far, so good. But also, I am sure you are asking, how is this book new? Is this just another book of posthuman theory combined with the au-thor’s preferred more-than-human objects of inquiry? This is where things get interesting, because despite MacCormack’s protests, there is still a normative ethical argument that is slowly developed throughout the present work. MacCormack is concerned with how “regimes of signification” create and produce domination (94). What emerges, then, is an ethics that cuts to the very core of what it means to do philosophy and theory. 20 00 Open Access Stanescu, James 01 URL https://punctumbooks.com/imprints/speculations/ Speculations 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculations-vi/ Brooklyn, NY 04 01 20151212 Gironi, Fabio Austin, Michael Jackson, Robert 02 WORLD 06 15 9780692593974 03 9780692593974 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25502 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25502/1004593.pdf?sequence=1&isAllowed=y 20 08 20151212 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26724 20 08 20151212 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354025 20 08 20151212 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/504 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6c723be9-608e-411f-914e-18eb5291300c/download 20 08 20151212 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Speculations_VI/DgSVEAAAQBAJ 20 08 20151212 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/435a1db3-1bbb-44b2-9368-7b2fd8a4e63e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/435a1db3-1bbb-44b2-9368-7b2fd8a4e63e/435a1db3-1bbb-44b2-9368-7b2fd8a4e63e.pdf 20 08 20151212 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824907 29 ZENODO: download the title https://zenodo.org/records/19824907/files/435a1db3-1bbb-44b2-9368-7b2fd8a4e63e_book.pdf 20 08 20151212 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculations-vi/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0122.1.00.pdf 20 08 20151212 01 urn:uuid:bdbd60fa-f378-4c26-bec9-f206b28ec04e 03 01 01 thoth-work-id urn:uuid:60c43792-7509-4d10-bd72-5f7be5fc610a 01 thoth-publication-id urn:uuid:bdbd60fa-f378-4c26-bec9-f206b28ec04e 15 9780615749532 03 9780615749532 06 10.21983/P3.0021.1.00 01 internal-reference 0021 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculative Medievalisms Discography 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 4 B01 Michael O'Rourke Michael O'Rourke Independent Colleges Dublin 5 B01 The Petropunk Collective The Petropunk Collective 6 A13 Öykü Tekten Öykü Tekten 01 eng 00 316 03 B2 Cultural Studies+Critical Theory 93 DSA 12 DSBB 10 PHI044000 93 DSBB 10 HIS037010 B2 Literary Studies B2 Premodern 93 QDHR7 20 medieval studies; speculative philosophy; speculative realism; object-oriented philosophy 01 06 02 00 03 00 Proceedings from the two Speculative Medievalisms symposia, held at King’s College London (Jan. 2011) and The Graduate Center, City University of New York (Sep. 2011), and organized by The Petropunk Collective (Eileen Joy, Anna Klosowska, Nicola Masciandaro, and Michael O’Rourke). These interdisciplinary events were dedicated to dialogue and cross-contamination between traditional concepts of speculatio, present-minded premodern studies, and contemporary speculative realist and object-oriented philosophies. In its medieval formulation, speculatio signifies the essentially reflective and imaginative operations of the intellect. Here the world, books, and mind itself are all conceived as specula (mirrors) through which the hermeneutic gaze can gain access to what lies beyond it. “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination” (Giorgio Agamben, Stanzas). Correlatively, speculative realism, as the term suggests, is characterized by the self-contradictory intensity of a desire for thought that can think beyond itself — a desire that proceeds, like all philosophy, in a twisted and productive relation to the phantasm of the word.Aiming to rise above and tunnel below the thought-being or self-world correlation, speculative realism “depart[s] from the text-centered hermeneutic models of the past and engage[s] in daring speculations about the nature of reality itself” (The Speculative Turn). Speculative Medievalisms, like some weird friar-alchemist in an inexistent romance, plays the erotic go-between for these text-centered and text-eccentric intellectual domains by trying to transmute the space between past and present modes of speculation from shared blindness to love at first sight. Possibly succeeding, the volume brings together the work of a motley crew of philosophers and premodernists into prismatic relation. 30 00 Proceedings from the two Speculative Medievalisms symposia, held at King’s College London (Jan. 2011) and The Graduate Center, City University of New York (Sep. 2011), and organized by The Petropunk Collective (Eileen Joy, Anna Klosowska, Nicola Masciandaro, and Michael O’Rourke). These interdisciplinary events were dedicated to dialogue and cross-contamination between traditional concepts of speculatio, present-minded premodern studies, and contemporary speculative realist and object-oriented philosophies. In its medieval formulation, speculatio signifies the essentially reflective and imaginative operations of the intellect. Here the world, books, and mind itself are all conceived as specula (mirrors) through which the hermeneutic gaze can gain access to what lies beyond it. “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination” (Giorgio Agamben, Stanzas). Correlatively, speculative realism, as the term suggests, is characterized by the self-contradictory intensity of a desire for thought that can think beyond itself — a desire that proceeds, like all philosophy, in a twisted and productive relation to the phantasm of the word.Aiming to rise above and tunnel below the thought-being or self-world correlation, speculative realism “depart[s] from the text-centered hermeneutic models of the past and engage[s] in daring speculations about the nature of reality itself” (The Speculative Turn). Speculative Medievalisms, like some weird friar-alchemist in an inexistent romance, plays the erotic go-between for these text-centered and text-eccentric intellectual domains by trying to transmute the space between past and present modes of speculation from shared blindness to love at first sight. Possibly succeeding, the volume brings together the work of a motley crew of philosophers and premodernists into prismatic relation. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0021.1.00_frontcover.png 1 03 06 10.21983/P3.0021.1.01 i xvi 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 The Petropunk Collective The Petropunk Collective 01 eng 20 00 Open Access The Petropunk Collective 2 03 06 10.21983/P3.0021.1.02 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Medievalism A Précis 1 A01 The Petropunk Collective The Petropunk Collective 01 eng 03 00 Speculative Medievalisms is a collaborative and interdiscipli-nary research project focusing on the theorization and practical development of the speculative dimensions of medi-eval studies. The term “speculative” is intended to resonate with the full range of its medieval and modern meanings. First, speculativeechoes the broad array of specifically medie-val senses of speculatio as the essentially reflective and imaginative operations of the intellect. According to this conception, the world, books, and mind itself were all conceived as specula (mirrors) through which the hermeneutic gaze could gain access to what lies beyond them. As Giorgio Agamben explains, “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination.”2 This sense of speculative, which also gestures toward the humanistic principle of identity between world-knowledge and self-knowledge, becomes crucial for the development and institution of medieval studies as a disci-pline oriented to the past as both mirror and inscrutable site of origin. Like Narcissus, who at the fount falls in love with himself as another, modern Western culture gazes at the Mid-dle Ages as a self-image that impossibly blurs the distinction between identity and alterity. The speculative principle is ac-cordingly written into the title of the medieval studies journal, Speculum, published by the Medieval Academy since 1926. Speculum’s first editor E. K. Rand explained the aim of the journal via this principle in the inaugural issue as follows: 30 00 Speculative Medievalisms is a collaborative and interdiscipli-nary research project focusing on the theorization and practical development of the speculative dimensions of medi-eval studies. The term “speculative” is intended to resonate with the full range of its medieval and modern meanings. First, speculativeechoes the broad array of specifically medie-val senses of speculatio as the essentially reflective and imaginative operations of the intellect. According to this conception, the world, books, and mind itself were all conceived as specula (mirrors) through which the hermeneutic gaze could gain access to what lies beyond them. As Giorgio Agamben explains, “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination.”2 This sense of speculative, which also gestures toward the humanistic principle of identity between world-knowledge and self-knowledge, becomes crucial for the development and institution of medieval studies as a disci-pline oriented to the past as both mirror and inscrutable site of origin. Like Narcissus, who at the fount falls in love with himself as another, modern Western culture gazes at the Mid-dle Ages as a self-image that impossibly blurs the distinction between identity and alterity. The speculative principle is ac-cordingly written into the title of the medieval studies journal, Speculum, published by the Medieval Academy since 1926. Speculum’s first editor E. K. Rand explained the aim of the journal via this principle in the inaugural issue as follows: 20 00 Open Access The Petropunk Collective 3 03 06 10.21983/P3.0021.1.03 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Toy: Stories: Vita Nuda Then and Now? 1 A01 Kathleen Biddick Kathleen Biddick 40 00kx1jb78 Temple University 01 eng 03 00 In his important study Bíos: Biopolitics and Philosophy, Rob-erto Esposito asks the following question: “How can modern man (sic) tear himself from the theological matrix?”1 This morning I want to show how such a question discloses the unthought medievalisms of contemporary theory and ac-counts for the traumatic reinscription of the flesh as incarna-tional and eschatological among contemporary theorists.2How can the flesh of history and a history of the flesh rethink such aporia of contemporary theory? My brief comments this morning are a Morse-Code version of a long chapter devoted to the medievalisms of biopolitics taken from my forthcoming book, Entangled Sovereignty: Studies in Premodern Political Theology. Eileen Joy and Anna Kłosowska’s response is this volume is based on that book chapter. 30 00 In his important study Bíos: Biopolitics and Philosophy, Rob-erto Esposito asks the following question: “How can modern man (sic) tear himself from the theological matrix?”1 This morning I want to show how such a question discloses the unthought medievalisms of contemporary theory and ac-counts for the traumatic reinscription of the flesh as incarna-tional and eschatological among contemporary theorists.2How can the flesh of history and a history of the flesh rethink such aporia of contemporary theory? My brief comments this morning are a Morse-Code version of a long chapter devoted to the medievalisms of biopolitics taken from my forthcoming book, Entangled Sovereignty: Studies in Premodern Political Theology. Eileen Joy and Anna Kłosowska’s response is this volume is based on that book chapter. 20 00 Open Access Biddick, Kathleen 4 03 06 10.21983/P3.0021.1.04 15 26 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cryptomnesia Response to Kathleen Biddick 1 A01 21 0000000253093189 Eileen Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 A01 Anna Klosowska Anna Klosowska 40 05nbqxr67 Miami University 01 eng 03 00 In Kathleen Biddick’s longer (as yet unpublished) essay, from which her contribution to this volume is “ Morse-Coded,” she writes:[E]ntrapped by his periodization, Foucault puzzled over a historical aporia: ‘How can the power of death, the function of death, be exercised in a political system centered upon biopower?’ Nazism, with its untimely unleashing of the ‘old sovereign power to take life’ concomitant with the most intense forms of biopower . . . presented Foucault with an anguishing temporal paradox.1Given the incoherence between Foucault’s narrative of how sovereignty (“the power to take life or let live”) was supersed-ed by biopolitics (“to foster life or to disallow it”), and actual modern history ( the merger of biopolitics and sovereignty in Nazism, for example), Foucault acknowledged something that we all struggle against as we use his concepts—the narratives of where and how modernity emerges into sight occlude as much as they explain. 30 00 In Kathleen Biddick’s longer (as yet unpublished) essay, from which her contribution to this volume is “ Morse-Coded,” she writes:[E]ntrapped by his periodization, Foucault puzzled over a historical aporia: ‘How can the power of death, the function of death, be exercised in a political system centered upon biopower?’ Nazism, with its untimely unleashing of the ‘old sovereign power to take life’ concomitant with the most intense forms of biopower . . . presented Foucault with an anguishing temporal paradox.1Given the incoherence between Foucault’s narrative of how sovereignty (“the power to take life or let live”) was supersed-ed by biopolitics (“to foster life or to disallow it”), and actual modern history ( the merger of biopolitics and sovereignty in Nazism, for example), Foucault acknowledged something that we all struggle against as we use his concepts—the narratives of where and how modernity emerges into sight occlude as much as they explain. 20 00 Open Access Joy, Eileen Klosowska, Anna 5 03 06 10.21983/P3.0021.1.05 27 38 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Divine Darkness 1 A01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 03 00 Nearly everyone can relate, I suspect, to the feeling of being “scared of the dark.” It is no doubt for this reason that dark-ness saturates the horror genre, from the earliest examples of gothic novels and graveyard poetry, to the most recent films, comics, and video games. We do not know what it is that dwells in the darkness, only that our not-knowing is a source of fear. Darkness seems to steadily creep forth, submerging everything in an anonymous, pitch blackness. Our fear of the dark seems as ambiguous as darkness itself. This ambiguity is at once horrific, and yet, because of its ambiguity, it also ob-tains the quality of the mystical. Georges Bataille, writing about religious art, highlights this ambiguity: “What I sudden-ly saw, and what imprisoned me in anguish—but which at the same time delivered me from it—was the identity of these perfect contraries, divine ecstasy and its opposite, extreme horror.” The concept of darkness evokes this combination of religion and horror; it is the shift from the horror of something inthe dark, to the horror of darkness itself. Put simply, the concept of darkness invites us to think about this basic metaphys-ical dilemma of a nothing that is a something . . . 30 00 Nearly everyone can relate, I suspect, to the feeling of being “scared of the dark.” It is no doubt for this reason that dark-ness saturates the horror genre, from the earliest examples of gothic novels and graveyard poetry, to the most recent films, comics, and video games. We do not know what it is that dwells in the darkness, only that our not-knowing is a source of fear. Darkness seems to steadily creep forth, submerging everything in an anonymous, pitch blackness. Our fear of the dark seems as ambiguous as darkness itself. This ambiguity is at once horrific, and yet, because of its ambiguity, it also ob-tains the quality of the mystical. Georges Bataille, writing about religious art, highlights this ambiguity: “What I sudden-ly saw, and what imprisoned me in anguish—but which at the same time delivered me from it—was the identity of these perfect contraries, divine ecstasy and its opposite, extreme horror.” The concept of darkness evokes this combination of religion and horror; it is the shift from the horror of something inthe dark, to the horror of darkness itself. Put simply, the concept of darkness invites us to think about this basic metaphys-ical dilemma of a nothing that is a something . . . 20 00 Open Access Thacker, Eugene 6 03 06 10.21983/P3.0021.1.06 39 44 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Per Speculum in Aenigmate Response to Eugene Thacker 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 Introductory comments: I will address divine darkness by fo-cusing on the distinction between thought and experience, a distinction which parallels the distinctions between thatand what, and between soul (or life) and body. I am interested here in darkness as an occluded relation or blind spot between thought and experience. At the same time I would like to ground the concept of divine darkness in the traditional aim or purpose of mystical contemplation, which is to become God, to achieve union with God. This is a desire which is legi-ble, but also refused in Bataille’s work, in which we see a kind of reification of the limit of experience and with it, necessarily, a mystification of mysticism. An important figure for my re-sponse is the figure of the cephalophore, the head-bearing saint. Of course Dionysius the Areopagite, identified as St. Denis, was a cephalophore. I will try to suggest that the ceph-alophore should be reinvented by speculative medievalists as a human ideal proper to congested humanity, the anthropo-cene, the so-called age of man—the global dead which Eugene ended with. I should also note that there is an intimate rela-tion between the mirror and beheading. When we look into a mirror or speculate, we are non-violently beheaded. 30 00 Introductory comments: I will address divine darkness by fo-cusing on the distinction between thought and experience, a distinction which parallels the distinctions between thatand what, and between soul (or life) and body. I am interested here in darkness as an occluded relation or blind spot between thought and experience. At the same time I would like to ground the concept of divine darkness in the traditional aim or purpose of mystical contemplation, which is to become God, to achieve union with God. This is a desire which is legi-ble, but also refused in Bataille’s work, in which we see a kind of reification of the limit of experience and with it, necessarily, a mystification of mysticism. An important figure for my re-sponse is the figure of the cephalophore, the head-bearing saint. Of course Dionysius the Areopagite, identified as St. Denis, was a cephalophore. I will try to suggest that the ceph-alophore should be reinvented by speculative medievalists as a human ideal proper to congested humanity, the anthropo-cene, the so-called age of man—the global dead which Eugene ended with. I should also note that there is an intimate rela-tion between the mirror and beheading. When we look into a mirror or speculate, we are non-violently beheaded. 20 00 Open Access Masciandaro, Nicola 7 03 06 10.21983/P3.0021.1.07 45 64 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Speculative Angel 1 A01 Anthony Paul Smith Anthony Paul Smith 40 02beve479 La Salle University 01 eng 03 00 “Let the angel come.” This is how Guy Lardreau and Christian Jambet preface their heretical, perhaps misguided and certain-ly maligned, but utterly fascinating fusion of Lacan, Mao, and political theology in their L’Ange of 1976. They are more pleading later in the book, writing: “The angel must come.” But what does any of this mean? Why, when considering speculative medievalisms, have I chosen to write about angels, those beings that seem the least contemporary and perhaps most reactionary of medieval theory? And why have I chosen to do so largely via a virtually unknown or forgotten text by two Maoists whose work has largely been ruined for us by its placement as one species of the cynical, often racist and impe-rialistic, neo-liberal and anti-communist New Philosophers? What does this ostensibly political text, one that the authors declare is nothing but a Maoist philosophy (contrary to the idea that they are fellow-travellers with the Sarkozist ex-Maoists like Glucksmann or Bernard-Henri Lévy), have to say about speculation today? And in what way is it grounded in the premodern condition? The answer is, in part, because I want to understand what speculation may have to do with revolt, with struggle, and it is in the figure of the Angel that such questions come together, both historically and within wildly speculative ultra-left French theory. For the Angel is both a negative name for something that is not Worldly and the Angel is a field of battle where one either becomes a do-mesticated, pacified bureaucrat of the way things are or where one separates and divides what is from what could be. 30 00 “Let the angel come.” This is how Guy Lardreau and Christian Jambet preface their heretical, perhaps misguided and certain-ly maligned, but utterly fascinating fusion of Lacan, Mao, and political theology in their L’Ange of 1976. They are more pleading later in the book, writing: “The angel must come.” But what does any of this mean? Why, when considering speculative medievalisms, have I chosen to write about angels, those beings that seem the least contemporary and perhaps most reactionary of medieval theory? And why have I chosen to do so largely via a virtually unknown or forgotten text by two Maoists whose work has largely been ruined for us by its placement as one species of the cynical, often racist and impe-rialistic, neo-liberal and anti-communist New Philosophers? What does this ostensibly political text, one that the authors declare is nothing but a Maoist philosophy (contrary to the idea that they are fellow-travellers with the Sarkozist ex-Maoists like Glucksmann or Bernard-Henri Lévy), have to say about speculation today? And in what way is it grounded in the premodern condition? The answer is, in part, because I want to understand what speculation may have to do with revolt, with struggle, and it is in the figure of the Angel that such questions come together, both historically and within wildly speculative ultra-left French theory. For the Angel is both a negative name for something that is not Worldly and the Angel is a field of battle where one either becomes a do-mesticated, pacified bureaucrat of the way things are or where one separates and divides what is from what could be. 20 00 Open Access Smith, Anthony Paul 8 03 06 10.21983/P3.0021.1.08 65 71 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lapidary Demons Response to Anthony Paul Smith 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 Given the problem of localizing the power of speculation in the pre-modern assisted by the impertinent form of the angel, I wish to approach the irruption of workable forms, of the non-ideological message, through Naturephilosophie, through somewhat weird (and hopefully medieval) means, with the construction of Lapidary Demons as a diagonal response. Stone appears as the recapitulation of immanence, of mat-ter seemingly foreclosed and foreclosing, the material of in-ternment and memorial. The stone, the movement of the in-organic, indexes deep time and the failure of the category of the inorganic itself in Naturephilosophie, since we find stone participating in the partial dominion of life on matter, in DeLanda's well known narrative of mineralization in homo sapiens endoskeletons.1 Similarly, dwelling or the carving of knowledge on stone redirects the torpid trajectory of its re-shapings, albeit only slightly. 30 00 Given the problem of localizing the power of speculation in the pre-modern assisted by the impertinent form of the angel, I wish to approach the irruption of workable forms, of the non-ideological message, through Naturephilosophie, through somewhat weird (and hopefully medieval) means, with the construction of Lapidary Demons as a diagonal response. Stone appears as the recapitulation of immanence, of mat-ter seemingly foreclosed and foreclosing, the material of in-ternment and memorial. The stone, the movement of the in-organic, indexes deep time and the failure of the category of the inorganic itself in Naturephilosophie, since we find stone participating in the partial dominion of life on matter, in DeLanda's well known narrative of mineralization in homo sapiens endoskeletons.1 Similarly, dwelling or the carving of knowledge on stone redirects the torpid trajectory of its re-shapings, albeit only slightly. 20 00 Open Access Woodard, Ben 9 03 06 10.21983/P3.0021.1.09 73 91 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Abstraction and Value The Medieval Origins of Financial Quantification 1 A01 21 0000000195811620 Nick Srnicek Nick Srnicek London School of Economics and Political Science (LSE) 40 0220mzb33 King's College London 01 eng 03 00 We live in an era plagued by the debilitating fallout of finan-cial implosion. By now credit default swaps, collateralized debt obligations, options, futures, and other “financial weap-ons of mass destruction” have all entered into the common lexicon. While the economically speculative nature of finance is abundantly clear, the philosophically speculative nature of finance is less well recognized. Perhaps surprisingly, it is in finance that we find the purest attempt at the quantification of all available material, to an extent conceivably greater than even modern natural science. Empirical and non-empirical, actual and possible, order and chaos—all are available for measurement and calculation within the algorithms of mod-ern financial models. 30 00 We live in an era plagued by the debilitating fallout of finan-cial implosion. By now credit default swaps, collateralized debt obligations, options, futures, and other “financial weap-ons of mass destruction” have all entered into the common lexicon. While the economically speculative nature of finance is abundantly clear, the philosophically speculative nature of finance is less well recognized. Perhaps surprisingly, it is in finance that we find the purest attempt at the quantification of all available material, to an extent conceivably greater than even modern natural science. Empirical and non-empirical, actual and possible, order and chaos—all are available for measurement and calculation within the algorithms of mod-ern financial models. 20 00 Open Access Srnicek, Nick 10 03 06 10.21983/P3.0021.1.10 93 101 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Srnicek's Risk Response to Nick Srnicek 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 In an August 2009 interview with Paul Ennis at Another Heidegger Blog Nick Srnicek, speculative heretic that he is, quite rightly asserts that, “Speculative Realism doesn’t label a single set of positions” because “the four main contributors [Graham Harman, Quentin Meillassoux, Iain Hamilton Grant, Ray Brassier] to it are all vastly different, and there really is no common ground.” However, I want to suggest that Srnicek’s work, at least in his contribution to our laboratory-atelier, “Abstraction and Value: The Medieval Origins of Financial Quantification,” is closest to the critically speculative position of Meillassoux in After Finitude, a book which, in the same interview, Srnicek claims is “the best diagnosis of the problems with contemporary philosophy, and argued with a clarity that proves logic, surprise and wonder don’t need to be mutually exclusive.” Srnicek himself, at least in this interview, places his work within a post-Marxist faction of Speculative Realism which is broadly interested in and united by a common aim to reassess “agency in the light of neuroscience, eliminativism, and non-philosophy” as well as a focus on the concrete technical and material aspects of political economy.” “Abstraction and Value,” however, seems to be less obviously Latourian, or Laruellian or to have anything particularly to do with the eliminativist or non-philosophical positions we can discern in his other writing (or on his blog The Accursed Share). Rather, Srnicek’s basic post-Marxist thesis, the one advanced here, that the world political system is moving toward a more medieval type of political system depends—among other things—on a speculatively financial reading of Elie Ayache's reading of Meillassoux’s After Finitude3 in The Blank Swan: The End of Probability to try to articulate what this different economic system will do to a medival political system. What we have here is a sort of critically speculative, post-Marxist understanding of the economy. This is his risk. And Ayache describes for us what this kind of creative political work might look like, might doin The Blank Swan 30 00 In an August 2009 interview with Paul Ennis at Another Heidegger Blog Nick Srnicek, speculative heretic that he is, quite rightly asserts that, “Speculative Realism doesn’t label a single set of positions” because “the four main contributors [Graham Harman, Quentin Meillassoux, Iain Hamilton Grant, Ray Brassier] to it are all vastly different, and there really is no common ground.” However, I want to suggest that Srnicek’s work, at least in his contribution to our laboratory-atelier, “Abstraction and Value: The Medieval Origins of Financial Quantification,” is closest to the critically speculative position of Meillassoux in After Finitude, a book which, in the same interview, Srnicek claims is “the best diagnosis of the problems with contemporary philosophy, and argued with a clarity that proves logic, surprise and wonder don’t need to be mutually exclusive.” Srnicek himself, at least in this interview, places his work within a post-Marxist faction of Speculative Realism which is broadly interested in and united by a common aim to reassess “agency in the light of neuroscience, eliminativism, and non-philosophy” as well as a focus on the concrete technical and material aspects of political economy.” “Abstraction and Value,” however, seems to be less obviously Latourian, or Laruellian or to have anything particularly to do with the eliminativist or non-philosophical positions we can discern in his other writing (or on his blog The Accursed Share). Rather, Srnicek’s basic post-Marxist thesis, the one advanced here, that the world political system is moving toward a more medieval type of political system depends—among other things—on a speculatively financial reading of Elie Ayache's reading of Meillassoux’s After Finitude3 in The Blank Swan: The End of Probability to try to articulate what this different economic system will do to a medival political system. What we have here is a sort of critically speculative, post-Marxist understanding of the economy. This is his risk. And Ayache describes for us what this kind of creative political work might look like, might doin The Blank Swan 20 00 Open Access O'Rourke, Michael 11 03 06 10.21983/P3.0021.1.11 103 120 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Neroplatonism 1 A01 Scott Wilson Scott Wilson 40 0517ce304 Kingston University, London 01 eng 03 00 In a 2008 Times Literary Supplement review of Quentin Meil-lassoux’s After Finitude, the founding text of Speculative Ma-terialism, Simon Critchley takes Georges Bataille as an example of the worst excesses of “correlationism.” Critchley mentions a notorious late night conversation between Bataille and A.J. Ayer at which Merleau-Ponty and Giorgio Am-brosini, the physicist who influenced Bataille’s The Accursed Share, were also present. This conversation, which went on until 3 am, involved an argument as to whether or not you could say that the “sun existed before man.” Commenting on “the abyss that separates French and English philosophy,” Critchley writes: The thesis under discussion was very simple: did the sun exist before the appearance of humans? Ayer saw no reason to doubt that it did, whereas Bataille thought the whole proposition meaningless. For a philosopher committed to scientific realism, like Ayer, it makes ev-ident sense to utter ancestral statements such as “The sun existed prior to the appearance of humans,” whereas, for a correlationist like Bataille, more versed in Hegel and phenomenology, physical objects must be perceived by an observer in order to be said to exist. 30 00 In a 2008 Times Literary Supplement review of Quentin Meil-lassoux’s After Finitude, the founding text of Speculative Ma-terialism, Simon Critchley takes Georges Bataille as an example of the worst excesses of “correlationism.” Critchley mentions a notorious late night conversation between Bataille and A.J. Ayer at which Merleau-Ponty and Giorgio Am-brosini, the physicist who influenced Bataille’s The Accursed Share, were also present. This conversation, which went on until 3 am, involved an argument as to whether or not you could say that the “sun existed before man.” Commenting on “the abyss that separates French and English philosophy,” Critchley writes: The thesis under discussion was very simple: did the sun exist before the appearance of humans? Ayer saw no reason to doubt that it did, whereas Bataille thought the whole proposition meaningless. For a philosopher committed to scientific realism, like Ayer, it makes ev-ident sense to utter ancestral statements such as “The sun existed prior to the appearance of humans,” whereas, for a correlationist like Bataille, more versed in Hegel and phenomenology, physical objects must be perceived by an observer in order to be said to exist. 20 00 Open Access Wilson, Scott 12 03 06 10.21983/P3.0021.1.12 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Portfolio Photographs 1 A01 Öykü Tekten Öykü Tekten 01 eng 20 00 Open Access The Petropunk Collective 13 03 06 10.21983/P3.0021.1.13 121 141 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Transmission by Sponge Aristotle's Poetics 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 03 00 The history of transmission of Aristotle in the West is surpris-ingly complex, and it attaches (but what doesn’t?) to period distinctions between medieval and modern. For instance, the propagation of Aristotle’s Physics is contemporary with the rise of instrumentaria, that is, making things to measure other things, but also production of musical instruments. The first graduated thermometers appear throughout Europe around the turn of the sixteenth century, roughly the same time when the writing of poetry and playing musical instruments become both more popular and more specialized. In that period, lutes become more widespread as middle class possessions, leading historians to catalogue lutes as a means to establish the rise of early modern middle class in Paris. This is the period of spe-cialization when teaching, writing and publishing music is decoupled from writing poetry. That transformative time for Physics is also when some intellectuals move away from the traditional Averroes’s commentary on Aristotle’s Poetics and in creasingly rely on direct translations from the Greek. 30 00 The history of transmission of Aristotle in the West is surpris-ingly complex, and it attaches (but what doesn’t?) to period distinctions between medieval and modern. For instance, the propagation of Aristotle’s Physics is contemporary with the rise of instrumentaria, that is, making things to measure other things, but also production of musical instruments. The first graduated thermometers appear throughout Europe around the turn of the sixteenth century, roughly the same time when the writing of poetry and playing musical instruments become both more popular and more specialized. In that period, lutes become more widespread as middle class possessions, leading historians to catalogue lutes as a means to establish the rise of early modern middle class in Paris. This is the period of spe-cialization when teaching, writing and publishing music is decoupled from writing poetry. That transformative time for Physics is also when some intellectuals move away from the traditional Averroes’s commentary on Aristotle’s Poetics and in creasingly rely on direct translations from the Greek. 20 00 Open Access Klosowska, Anna 14 03 06 10.21983/P3.0021.1.14 143 157 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cosmic Eggs, or Events Before Anything 1 A01 J. Allan Mitchell J. Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 If it is a question of where to begin, medieval embryology and cosmogony answer speculatively, starting at the very begin-ning: they return the human to the site of so many primordial, intestinal involvements in the world—or rather, the very con-ception of worlds from “mere seeds and hopes,” as Ovid puts it in the Metamorphoses.1 At one end of the spectrum, embry-ological narratives effectively reverse engineer the organism, tracing back through time a fluid and concatenating series of molecular events, topological movements, and intensities that may be missed only because they result in such solid-seeming entities. In the fourteenth century, Nicole Oresme marvels at the contingencies involved in the process, expressing surprise that a human being comes about at all, since “error can hap-pen from many causes but only in one way can it complete all things successfully—and for this one way many things are required.” Even when things pan out, the wrenching epigenet-ic change undergone by the embryo is extreme: “between [Socrates] at his birth and at his maturity . . . there is surely a greater difference, if you consider it well, than there is be-tween a pig and a dog at birth, or between an ass and a horse or mule, or a crow and an eagle, or between a wolf and a dog, all of which are of different species.”2 It is as if the human were originally constituted as some kind of menagerie, espe-cially in light of the Aristotelian thesis that the embryo moves through successive stages of micro-speciation (vegetal, ani-mal, human). At the other end of the spectrum, medieval cosmogony regularly describes a cosmic birth that is equally fraught: an account of everything originally abandoned to chaotic flux before being resolved into the developed Ptolema-ism that we all associate with the Middle Ages. The methodo-logical challenge of beginning is the same, tarrying with semi-nal, gestational moments anterior to being. It is to speculate about what is not yet, rather than what is 30 00 If it is a question of where to begin, medieval embryology and cosmogony answer speculatively, starting at the very begin-ning: they return the human to the site of so many primordial, intestinal involvements in the world—or rather, the very con-ception of worlds from “mere seeds and hopes,” as Ovid puts it in the Metamorphoses.1 At one end of the spectrum, embry-ological narratives effectively reverse engineer the organism, tracing back through time a fluid and concatenating series of molecular events, topological movements, and intensities that may be missed only because they result in such solid-seeming entities. In the fourteenth century, Nicole Oresme marvels at the contingencies involved in the process, expressing surprise that a human being comes about at all, since “error can hap-pen from many causes but only in one way can it complete all things successfully—and for this one way many things are required.” Even when things pan out, the wrenching epigenet-ic change undergone by the embryo is extreme: “between [Socrates] at his birth and at his maturity . . . there is surely a greater difference, if you consider it well, than there is be-tween a pig and a dog at birth, or between an ass and a horse or mule, or a crow and an eagle, or between a wolf and a dog, all of which are of different species.”2 It is as if the human were originally constituted as some kind of menagerie, espe-cially in light of the Aristotelian thesis that the embryo moves through successive stages of micro-speciation (vegetal, ani-mal, human). At the other end of the spectrum, medieval cosmogony regularly describes a cosmic birth that is equally fraught: an account of everything originally abandoned to chaotic flux before being resolved into the developed Ptolema-ism that we all associate with the Middle Ages. The methodo-logical challenge of beginning is the same, tarrying with semi-nal, gestational moments anterior to being. It is to speculate about what is not yet, rather than what is 20 00 Open Access Mitchell, J. Allan 15 03 06 10.21983/P3.0021.1.15 159 172 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Abusing Aristotle 1 A01 21 0000000187126383 Kellie Robertson Kellie Robertson 40 047s2c258 University of Maryland, College Park 01 eng 03 00 ‘Speculative’ in contemporary usage often denotes something that is not grounded in fact, not based in the “actual world.” This is a term of suspicion for some (as in the phrase “merely speculative”) and of approval for others (as in the introduc-tion to Towards Speculative Realism, where the philosopher Graham Harman asserts that “speculative” serves as a kind of homeopathic inoculation of realism, ensuring that realism is not equated with an interest in “a dull commonsense realism of genuine trees and billiard balls existing outside the mind, but a darker form of ‘weird realism’ bearing little resemblance to the presuppositions of everyday life”).1 Yet in medieval scholastic usage, this term was frequently used to denote the very material science of physics, a science whose goal was to describe and analyze everyday experience, the “dull com-monsense realism” of things. Ockham, in the prologue to his commentary on Aristotle’s Physics, describes the overlap be-tween physics and metaphysics, asserting that physics is also “primarily speculative.”2 Thus, for Ockham and his contem-poraries, looking at a rock was just as speculative an endeavor as imagining how that rock was transformed by your looking into a mental or intentional object. What I find useful about the recent turn to speculative realism is that it reminds us of the speculative nature of both the physical sciences and moral philosophy. This paper is in part a meditation on how the “specters of Aristotle” (pace Derrida) haunt the modern intel-lectual divide that seeks to partition off the “dull” physical world from our metaphysical engagement with it. 30 00 ‘Speculative’ in contemporary usage often denotes something that is not grounded in fact, not based in the “actual world.” This is a term of suspicion for some (as in the phrase “merely speculative”) and of approval for others (as in the introduc-tion to Towards Speculative Realism, where the philosopher Graham Harman asserts that “speculative” serves as a kind of homeopathic inoculation of realism, ensuring that realism is not equated with an interest in “a dull commonsense realism of genuine trees and billiard balls existing outside the mind, but a darker form of ‘weird realism’ bearing little resemblance to the presuppositions of everyday life”).1 Yet in medieval scholastic usage, this term was frequently used to denote the very material science of physics, a science whose goal was to describe and analyze everyday experience, the “dull com-monsense realism” of things. Ockham, in the prologue to his commentary on Aristotle’s Physics, describes the overlap be-tween physics and metaphysics, asserting that physics is also “primarily speculative.”2 Thus, for Ockham and his contem-poraries, looking at a rock was just as speculative an endeavor as imagining how that rock was transformed by your looking into a mental or intentional object. What I find useful about the recent turn to speculative realism is that it reminds us of the speculative nature of both the physical sciences and moral philosophy. This paper is in part a meditation on how the “specters of Aristotle” (pace Derrida) haunt the modern intel-lectual divide that seeks to partition off the “dull” physical world from our metaphysical engagement with it. 20 00 Open Access Robertson, Kellie 16 03 06 10.21983/P3.0021.1.16 173 178 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lynx-Eyed Aristotle Response to Kellie Robertson 1 A01 Drew Daniel Drew Daniel 40 00za53h95 Johns Hopkins University 01 eng 03 00 And now for some catty remarks. In the Prologue to the Expo-sitio super viii (octo) libros Physicorum, William of Ockham pounces upon a particularly jarring image with which to praise Aristotle’s exceptional status among the philosophers:The most accomplished man to have appeared among them is Aristotle, outstanding as a man of no slight or insignificant learning. With the eyes of a lynx, as it were, he explored the deep secrets of nature and re-vealed to posterity the hidden truths of natural philos-ophy.1I’m placing this image of the lynx-eyed Aristotle beside Kellie Robertson’s learned and capacious essay because Ockham’s queer construction of a nocturnal, feline Aristotle further supplements her archive of medieval Aristotles: the infidel, the physicist, the S&M bottom engaged in a brisk session of pony-play with a rampant Phyllis, but more importantly, the thinker of a hylomorphic metaphysics whose enduring alterity might help to pry us out of present predicaments. Joining this company, scenting the air with paws extended and pupils di-lated wide, Ockham’s lynx-eyed Aristotle stands poised to forage for what lies hidden within the dark world of physical nature that Graham Harman’s project has plumbed so fierce-ly. Since Kellie’s paper is both historical in its exposition of the past archive of these medieval Aristotles and proleptic in its sense of how that history might reinforce and prepare the way for Graham’s own paper today, I want to cut left and simply flag some key, portable points in Kellie’s paper that I found most generative. These points—hers not mine—potentially help to anchor a particularly life-saving rope bridge that we might throw across some wide gaps in philosophical history. 30 00 And now for some catty remarks. In the Prologue to the Expo-sitio super viii (octo) libros Physicorum, William of Ockham pounces upon a particularly jarring image with which to praise Aristotle’s exceptional status among the philosophers:The most accomplished man to have appeared among them is Aristotle, outstanding as a man of no slight or insignificant learning. With the eyes of a lynx, as it were, he explored the deep secrets of nature and re-vealed to posterity the hidden truths of natural philos-ophy.1I’m placing this image of the lynx-eyed Aristotle beside Kellie Robertson’s learned and capacious essay because Ockham’s queer construction of a nocturnal, feline Aristotle further supplements her archive of medieval Aristotles: the infidel, the physicist, the S&M bottom engaged in a brisk session of pony-play with a rampant Phyllis, but more importantly, the thinker of a hylomorphic metaphysics whose enduring alterity might help to pry us out of present predicaments. Joining this company, scenting the air with paws extended and pupils di-lated wide, Ockham’s lynx-eyed Aristotle stands poised to forage for what lies hidden within the dark world of physical nature that Graham Harman’s project has plumbed so fierce-ly. Since Kellie’s paper is both historical in its exposition of the past archive of these medieval Aristotles and proleptic in its sense of how that history might reinforce and prepare the way for Graham’s own paper today, I want to cut left and simply flag some key, portable points in Kellie’s paper that I found most generative. These points—hers not mine—potentially help to anchor a particularly life-saving rope bridge that we might throw across some wide gaps in philosophical history. 20 00 Open Access Daniel, Drew 17 03 06 10.21983/P3.0021.1.17 179 200 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Shakespeare's Kitchen Archives 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 These words you are reading, some of which I read aloud once upon a speculatively medieval afternoon in New York City—and which I find myself compelled now to rewrite—what arethey? What were they? And what have they become by their translation and so transformation from paper to essay, from colloquium to whichever media now hosts them? Perhaps, by their end, they will have the flavor of a manifesto. But if so, it will not be in the arch/modern sense that Bruno Latour sets to one side even as he attempts his own “Compositionist Mani-festo.” There will be no “war cries intended to speed up the movement, ridicule the Philistines, castigate the reactionar-ies.”1 Like his, the words I wrote and now rewrite “have some-thing in common” with such rallying calls, “namely the search for the Common.” “The thirst for the Common World is what there is of communism in compositionism,” he observes, “with this small but crucial difference: that it has to be slowly composed.” The compositionist has to entertain competing and divergent, wandering agencies. Her manifestos remain therefore subject to failure, deformation, and transformation by the “discontinuous pieces” they attempt to host, by the overflow of entities and agencies they register. What then do they produce? To what do they amount? “Prospects,” merely, boasts Latour—projections, speculative possibilities. Compos-ing “carries with it the pungent but ecologically correct smell of ‘compost’,” a scene of slow cooking, of fermentation, perco-lation,” the active ‘de-composition’ of many invisible actors.” 30 00 These words you are reading, some of which I read aloud once upon a speculatively medieval afternoon in New York City—and which I find myself compelled now to rewrite—what arethey? What were they? And what have they become by their translation and so transformation from paper to essay, from colloquium to whichever media now hosts them? Perhaps, by their end, they will have the flavor of a manifesto. But if so, it will not be in the arch/modern sense that Bruno Latour sets to one side even as he attempts his own “Compositionist Mani-festo.” There will be no “war cries intended to speed up the movement, ridicule the Philistines, castigate the reactionar-ies.”1 Like his, the words I wrote and now rewrite “have some-thing in common” with such rallying calls, “namely the search for the Common.” “The thirst for the Common World is what there is of communism in compositionism,” he observes, “with this small but crucial difference: that it has to be slowly composed.” The compositionist has to entertain competing and divergent, wandering agencies. Her manifestos remain therefore subject to failure, deformation, and transformation by the “discontinuous pieces” they attempt to host, by the overflow of entities and agencies they register. What then do they produce? To what do they amount? “Prospects,” merely, boasts Latour—projections, speculative possibilities. Compos-ing “carries with it the pungent but ecologically correct smell of ‘compost’,” a scene of slow cooking, of fermentation, perco-lation,” the active ‘de-composition’ of many invisible actors.” 20 00 Open Access Yates, Julian 18 03 06 10.21983/P3.0021.1.18 201 205 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Recipe for Disaster: Practical Metaphysics: Response to Julian Yates 1 A01 21 0000000314815617 Liza Blake Liza Blake 40 0190ak572 New York University 40 03dbr7087 University of Toronto 01 eng 03 00 There are two ways of approaching the topic of Speculative Medievalisms. On the one hand, one might consider the role of the medieval or medievalism within speculation or the speculative. Allan Mitchell offers a version of this approach in his piece in this volume, “Cosmic Eggs, or Events Before Eve-rything,” when he reflects on how the medieval is already to be found in the speculative, whether consciously or uncon-sciously. Another way of approaching the topic would be to consider how the theses, ideas or propositions found in specu-lative realism translate to a medieval—or in Yates’s case, an early modern—literary critical practice. This second approach serves as the focus of Yates’s essay, and so it will be the subject of my response. In this response I will re-compose Yates’sessay, schematically restructuring it so as to draw out the im-plications for speculative medieval critical practice.Harman’s technique in his book Prince of Networks is a complicated one, but one whose mechanisms are worth study-ing.1 Harman takes as his starting point Bruno Latour’s critical practice for, and as, sociology, science studies, and actor network theory (among others). From Latour’s practice, Harman then extrapolates its underlying, more or less explicit metaphysics. In Part II of the Prince of Networks, Harman tweaks this metaphysics slightly to present a new or slightly modified version of Latourian metaphysics, and this tweaked Latourian metaphysics becomes Object Oriented Ontology. The end of the book leaves readers with one critical practice (Latourian practice, as embodied in his work) and two meta-physics (the Latourian metaphysics Harman describes and the metaphysics he himself elaborates). The third section of Har-man’s book—the section of the book where he works back from Part II’s metaphysics to a critical practice—has not been written yet. If Latourian critical practice can produce or imply a metaphysics, then what are the contours of the critical prac-tice that might correspond to the metaphysics of Part II? What is a Harmanian or speculative realist critical practice? 30 00 There are two ways of approaching the topic of Speculative Medievalisms. On the one hand, one might consider the role of the medieval or medievalism within speculation or the speculative. Allan Mitchell offers a version of this approach in his piece in this volume, “Cosmic Eggs, or Events Before Eve-rything,” when he reflects on how the medieval is already to be found in the speculative, whether consciously or uncon-sciously. Another way of approaching the topic would be to consider how the theses, ideas or propositions found in specu-lative realism translate to a medieval—or in Yates’s case, an early modern—literary critical practice. This second approach serves as the focus of Yates’s essay, and so it will be the subject of my response. In this response I will re-compose Yates’sessay, schematically restructuring it so as to draw out the im-plications for speculative medieval critical practice.Harman’s technique in his book Prince of Networks is a complicated one, but one whose mechanisms are worth study-ing.1 Harman takes as his starting point Bruno Latour’s critical practice for, and as, sociology, science studies, and actor network theory (among others). From Latour’s practice, Harman then extrapolates its underlying, more or less explicit metaphysics. In Part II of the Prince of Networks, Harman tweaks this metaphysics slightly to present a new or slightly modified version of Latourian metaphysics, and this tweaked Latourian metaphysics becomes Object Oriented Ontology. The end of the book leaves readers with one critical practice (Latourian practice, as embodied in his work) and two meta-physics (the Latourian metaphysics Harman describes and the metaphysics he himself elaborates). The third section of Har-man’s book—the section of the book where he works back from Part II’s metaphysics to a critical practice—has not been written yet. If Latourian critical practice can produce or imply a metaphysics, then what are the contours of the critical prac-tice that might correspond to the metaphysics of Part II? What is a Harmanian or speculative realist critical practice? 20 00 Open Access Blake, Liza 19 03 06 10.21983/P3.0021.1.19 207 218 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sublunary 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 “Between the moon and the earth there live spirits whom we call incubus-demons.”1 So declares Maugantius, summoned before the king to explain how a boy named Merlin could have been born without a father. Inter lunam et terram, be-tween a celestial globe in ceaseless circulation and the dull earth: in this intermedial space dwell creaturesat once human and angelic. Incubus-demons can assume mortal forms and descend to visit earthly women. “Many people have been born this way,” Maugantius asserts. Among the progeny of such intercourse is Merlin, destined to become our iconic wizard. This genesis narrative marks Merlin’s advent into the literary tradition. The story yields no evidence of his future as a be-spectacled and senescent figure, cloaked in robes and wielding a wand. Dumbledore is a diminished and modern avatar. The primordial Merlin is much more difficult to emplace. Between moon and earth is a gap that opens because the two realms cannot touch. Merlin arrives from a kind of heavenly lacuna, a suspended and disjunctive space created because two bodies that are two worlds endlessly withdrawn from each other. Aerial and moonlit, this middle realm is knowable only at se cond hand. Maugantius makes clear that his knowledge of what dwells between lunar possibility and the cold earth’s heft ar rives vicariously, through books of history and philosophy. 30 00 “Between the moon and the earth there live spirits whom we call incubus-demons.”1 So declares Maugantius, summoned before the king to explain how a boy named Merlin could have been born without a father. Inter lunam et terram, be-tween a celestial globe in ceaseless circulation and the dull earth: in this intermedial space dwell creaturesat once human and angelic. Incubus-demons can assume mortal forms and descend to visit earthly women. “Many people have been born this way,” Maugantius asserts. Among the progeny of such intercourse is Merlin, destined to become our iconic wizard. This genesis narrative marks Merlin’s advent into the literary tradition. The story yields no evidence of his future as a be-spectacled and senescent figure, cloaked in robes and wielding a wand. Dumbledore is a diminished and modern avatar. The primordial Merlin is much more difficult to emplace. Between moon and earth is a gap that opens because the two realms cannot touch. Merlin arrives from a kind of heavenly lacuna, a suspended and disjunctive space created because two bodies that are two worlds endlessly withdrawn from each other. Aerial and moonlit, this middle realm is knowable only at se cond hand. Maugantius makes clear that his knowledge of what dwells between lunar possibility and the cold earth’s heft ar rives vicariously, through books of history and philosophy. 20 00 Open Access Cohen, Jeffrey Jerome 20 03 06 10.21983/P3.0021.1.20 219 226 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Casting Speculation Response to Jeffrey Jerome Cohen 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 In Alan Moore’s The Killing Joke, after the Joker has been ap-prehended for doing all sorts of awful things to Barbara Gor-don, he tells Batman the following joke: See, there were these two guys in a lunatic asylum . . . and one night, one night they decide they don’t like liv-ing in an asylum any more. They decide they’re going to escape! So, like, they get up onto the roof, and there, just across this narrow gap, they see the rooftops of the town, stretching away in the moonlight . . . stretching away to freedom. Now, the first guy, he jumps right across with no problem. But his friend, his friend didn’t dare make the leap. Y’see . . . Y’see, he’s afraid of falling. So then, the first guy has an idea . . . He says ‘Hey! I have my flashlight with me! I’ll shine it across the gap between the buildings. You can walk along the beam and join me!’ B-but the second guy just shakes his head. He suh-says . . . He says ‘Wh-what do you think I am? Crazy? You’d turn it off when I was half way across! I will try and bring this kind of lunacy to Speculative Real-ism and develop a parallel kind of path to Jeffrey’s paper. I will do this through weird fiction. In addition to his massive col-lection of works the weird author Clark Ashton Smith wrote several synopses of tales he never produced. There are at least two of these tales which are of a lunar nature and which I will read in full. 30 00 In Alan Moore’s The Killing Joke, after the Joker has been ap-prehended for doing all sorts of awful things to Barbara Gor-don, he tells Batman the following joke: See, there were these two guys in a lunatic asylum . . . and one night, one night they decide they don’t like liv-ing in an asylum any more. They decide they’re going to escape! So, like, they get up onto the roof, and there, just across this narrow gap, they see the rooftops of the town, stretching away in the moonlight . . . stretching away to freedom. Now, the first guy, he jumps right across with no problem. But his friend, his friend didn’t dare make the leap. Y’see . . . Y’see, he’s afraid of falling. So then, the first guy has an idea . . . He says ‘Hey! I have my flashlight with me! I’ll shine it across the gap between the buildings. You can walk along the beam and join me!’ B-but the second guy just shakes his head. He suh-says . . . He says ‘Wh-what do you think I am? Crazy? You’d turn it off when I was half way across! I will try and bring this kind of lunacy to Speculative Real-ism and develop a parallel kind of path to Jeffrey’s paper. I will do this through weird fiction. In addition to his massive col-lection of works the weird author Clark Ashton Smith wrote several synopses of tales he never produced. There are at least two of these tales which are of a lunar nature and which I will read in full. 20 00 Open Access Woodard, Ben 21 03 06 10.21983/P3.0021.1.21 227 253 27 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Aristotle with a Twist 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 In several publications, I have made the case for objects as the central theme of philosophy.1 It might seem paradoxical that Heidegger is cited as a key inspiration for this proposal, since “object” is almost never a positive term in Heidegger’s philos-ophy, where it refers to the one-sided objectification of things, reduced to presence-at-hand for consciousness or manipula-ble stockpiles of material for the enframing work of technolo-gy. In the later Heidegger we find the word “thing,” a more positive term for the individual entity as it mirrors the four-fold play of earth, sky, gods, and mortals.2 Additional alter-nate terms might be considered: Bruno Latour prefers to speak of “actors” or “actants.”3 Ian Bogost employs the term “units,”4 with a Latin etymology whose Greek equivalent “monads” in Leibniz is another candidate term.5 There is also the more traditional word “substance,” which I have some-times used myself, less for shock value than to show the classi-cal roots of the theme of object-oriented philosophy. Though all terminology is somewhat arbitrary, it should not be chosen carelessly. While it is tempting to coin neologisms in order to avoid being confused for someone else, it is often possible to retain traditional terms while cleanly removing their now ir-relevant connotations. The reason I prefer the term “object” is simply because of its roots in the tradition of phenomenology. Husserl tells us openly in the Logical Investigations that expe-rience is made of “object-giving acts,” and Heidegger’s “thing” is an attempt to modify and amplify the famous Husserlian battle cry “to the things themselves.”6 When speaking of “ob-jects” in what follows I refer notonlyto objects as something objectified in consciousness (though these certainly exist, and must be accounted for), but also to objects as described in Heidegger’s tool-analysis, incommensurable with any form of presence before the mind. 30 00 In several publications, I have made the case for objects as the central theme of philosophy.1 It might seem paradoxical that Heidegger is cited as a key inspiration for this proposal, since “object” is almost never a positive term in Heidegger’s philos-ophy, where it refers to the one-sided objectification of things, reduced to presence-at-hand for consciousness or manipula-ble stockpiles of material for the enframing work of technolo-gy. In the later Heidegger we find the word “thing,” a more positive term for the individual entity as it mirrors the four-fold play of earth, sky, gods, and mortals.2 Additional alter-nate terms might be considered: Bruno Latour prefers to speak of “actors” or “actants.”3 Ian Bogost employs the term “units,”4 with a Latin etymology whose Greek equivalent “monads” in Leibniz is another candidate term.5 There is also the more traditional word “substance,” which I have some-times used myself, less for shock value than to show the classi-cal roots of the theme of object-oriented philosophy. Though all terminology is somewhat arbitrary, it should not be chosen carelessly. While it is tempting to coin neologisms in order to avoid being confused for someone else, it is often possible to retain traditional terms while cleanly removing their now ir-relevant connotations. The reason I prefer the term “object” is simply because of its roots in the tradition of phenomenology. Husserl tells us openly in the Logical Investigations that expe-rience is made of “object-giving acts,” and Heidegger’s “thing” is an attempt to modify and amplify the famous Husserlian battle cry “to the things themselves.”6 When speaking of “ob-jects” in what follows I refer notonlyto objects as something objectified in consciousness (though these certainly exist, and must be accounted for), but also to objects as described in Heidegger’s tool-analysis, incommensurable with any form of presence before the mind. 20 00 Open Access Harman, Graham 22 03 06 10.21983/P3.0021.1.22 255 260 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Three Notes, Three Questions Response to Graham Harman 1 A01 Patricia Ticineto Clough Patricia Ticineto Clough 40 00awd9g61 The Graduate Center, CUNY 40 03v8adn41 Queens College, CUNY 01 eng 03 00 When I was invited to respond to a talk to be given by Gra-ham Harman at a conference on Speculative Medievalisms, my first thoughts were not about Aristotle. My first thoughts were about Harman’s work on Bruno Latour, who has fa-mously claimed that we have never been modern. So perhaps we are becoming medieval, I thought: circuiting back through the Enlightenment and the Renaissance to a future age where darkness is to be revalued, with speculative realism, the meas-ure. Although I first read Latour in the late 1980s when some few sociologists studying science and technology were doing so, Harman’s reading of Latour was pleasantly surprising on two counts. His positioning of Latour as a philosophical thinker who is essential to the current ontological turn was resonant with my own early situating of Latour not only in science and technology studies but also as part of the philo-sophical debates of the late 1980s and 1990s around post-structuralism. However, Harman’s Latour offered another pleasant surprise in that it re-oriented my thoughts about phi-losophy and sociality, giving them a new direction beyond social construction, discursive construction, psychic or unconscious construction, and finally deconstruction. Harman’s Latour instead points to a rethinking of sociality that necessi-tates an ontological re-booting that aims to restore the won-der of objects, conceive of a causality of allure, and offer a take on aesthetics. In all this a refreshing aporia is inserted between ontology and epistemology, such that objects are allowed to be re gardless of our consciousness of them. 30 00 When I was invited to respond to a talk to be given by Gra-ham Harman at a conference on Speculative Medievalisms, my first thoughts were not about Aristotle. My first thoughts were about Harman’s work on Bruno Latour, who has fa-mously claimed that we have never been modern. So perhaps we are becoming medieval, I thought: circuiting back through the Enlightenment and the Renaissance to a future age where darkness is to be revalued, with speculative realism, the meas-ure. Although I first read Latour in the late 1980s when some few sociologists studying science and technology were doing so, Harman’s reading of Latour was pleasantly surprising on two counts. His positioning of Latour as a philosophical thinker who is essential to the current ontological turn was resonant with my own early situating of Latour not only in science and technology studies but also as part of the philo-sophical debates of the late 1980s and 1990s around post-structuralism. However, Harman’s Latour offered another pleasant surprise in that it re-oriented my thoughts about phi-losophy and sociality, giving them a new direction beyond social construction, discursive construction, psychic or unconscious construction, and finally deconstruction. Harman’s Latour instead points to a rethinking of sociality that necessi-tates an ontological re-booting that aims to restore the won-der of objects, conceive of a causality of allure, and offer a take on aesthetics. In all this a refreshing aporia is inserted between ontology and epistemology, such that objects are allowed to be re gardless of our consciousness of them. 20 00 Open Access Clough, Patricia Ticineto 23 03 06 10.21983/P3.0021.1.23 261 270 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Obiectum Closing Remarks 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 I see an elision or lacuna in these proceedings, possibly signif-icant: the lack of discussion, in a conference rather inspired to speculate objects in the mirror of medieval works, of the me-dieval origins of the concept and word object. Is this an over-sight, a structural failure of vision to bump into what it ought to see? Or is it a purer kind of non-event, the causeless not-happening of something? Sometimes I get the feeling that what does not h appen is inexplicably powerful, an abyssically negative spontaneity ruling and seducing all existent things from its universal invisible domain. The issue might provide an interesting playground for thinking the objecthood of the inexistent, of what is not there. This is a good limit-problem for any philosophy wanting to relate to reality as constituted by how things are. It is also a question that the medieval, as a zone where a saint recommends preaching to non-existent creatures, philosophers theorize divine alteration of the past, and mystics see nonbeing as an excess of being, is already an-swering.But I prefer not to go there, wishing that I could instead move (or realize that I am only ever moving) like the guild navigator in David Lynch’s Dune: “I did not say this. I am not here.” Instead I will close the event by trying to open it into some avenues of understanding along which the medieval origination of object might lead the way. To find the start of these avenues, imagine a generic medieval intellectual, that is, someone infused with ‘the love of learning and the desire for God,’ encountering contemporary object-orientedness. First the bad news: there is no absolute knowledge, no arriving at the omnipresent center. Then the good news: we really have figured out what everything is: objects. Bad news: objects in-commensurably withdraw, remain irreducible to relation, are never knowable in themselves, so no theosis, henosis, subject-object union, incarnation, soul-body suppositum, eternal in-dividuals, or anything like that. Good news: it is because of the above that anything is happening at all . . . and so forth. May-be the fellow would find relief, like a good bloodletting, in the demotion of his desire from the desire to be everything to a desire to be with things. Perhaps he would despair. Perhaps he would think he was in paradise, intoxicated with the idea that these objects are God. Or perhaps he would object, discover-ing new truth through his own understanding of the word object 30 00 I see an elision or lacuna in these proceedings, possibly signif-icant: the lack of discussion, in a conference rather inspired to speculate objects in the mirror of medieval works, of the me-dieval origins of the concept and word object. Is this an over-sight, a structural failure of vision to bump into what it ought to see? Or is it a purer kind of non-event, the causeless not-happening of something? Sometimes I get the feeling that what does not h appen is inexplicably powerful, an abyssically negative spontaneity ruling and seducing all existent things from its universal invisible domain. The issue might provide an interesting playground for thinking the objecthood of the inexistent, of what is not there. This is a good limit-problem for any philosophy wanting to relate to reality as constituted by how things are. It is also a question that the medieval, as a zone where a saint recommends preaching to non-existent creatures, philosophers theorize divine alteration of the past, and mystics see nonbeing as an excess of being, is already an-swering.But I prefer not to go there, wishing that I could instead move (or realize that I am only ever moving) like the guild navigator in David Lynch’s Dune: “I did not say this. I am not here.” Instead I will close the event by trying to open it into some avenues of understanding along which the medieval origination of object might lead the way. To find the start of these avenues, imagine a generic medieval intellectual, that is, someone infused with ‘the love of learning and the desire for God,’ encountering contemporary object-orientedness. First the bad news: there is no absolute knowledge, no arriving at the omnipresent center. Then the good news: we really have figured out what everything is: objects. Bad news: objects in-commensurably withdraw, remain irreducible to relation, are never knowable in themselves, so no theosis, henosis, subject-object union, incarnation, soul-body suppositum, eternal in-dividuals, or anything like that. Good news: it is because of the above that anything is happening at all . . . and so forth. May-be the fellow would find relief, like a good bloodletting, in the demotion of his desire from the desire to be everything to a desire to be with things. Perhaps he would despair. Perhaps he would think he was in paradise, intoxicated with the idea that these objects are God. Or perhaps he would object, discover-ing new truth through his own understanding of the word object 20 00 Open Access Masciandaro, Nicola 24 03 06 10.21983/P3.0021.1.24 271 271 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 The Petropunk Collective The Petropunk Collective 01 eng 20 00 Open Access The Petropunk Collective 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculative-medievalisms/ Brooklyn, NY 04 01 20130117 Joy, Eileen A. Kłosowska, Anna Masciandaro, Nicola O’Rourke, Michael The Petropunk Collective 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615749534 20 08 20130117 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speculative-medievalisms-discography 20 08 20130117 02 25.00 USD WORLD urn:uuid:04f1a3cf-f796-4adf-8eb0-2a22ab33b633 03 01 01 thoth-work-id urn:uuid:60c43792-7509-4d10-bd72-5f7be5fc610a 01 thoth-publication-id urn:uuid:04f1a3cf-f796-4adf-8eb0-2a22ab33b633 06 10.21983/P3.0021.1.00 01 internal-reference 0021 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Speculative Medievalisms Discography 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 3 B01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 4 B01 Michael O'Rourke Michael O'Rourke Independent Colleges Dublin 5 B01 The Petropunk Collective The Petropunk Collective 6 A13 Öykü Tekten Öykü Tekten 01 eng 00 316 03 B2 Cultural Studies+Critical Theory 93 DSA 12 DSBB 10 PHI044000 93 DSBB 10 HIS037010 B2 Literary Studies B2 Premodern 93 QDHR7 20 medieval studies; speculative philosophy; speculative realism; object-oriented philosophy 01 06 02 00 03 00 Proceedings from the two Speculative Medievalisms symposia, held at King’s College London (Jan. 2011) and The Graduate Center, City University of New York (Sep. 2011), and organized by The Petropunk Collective (Eileen Joy, Anna Klosowska, Nicola Masciandaro, and Michael O’Rourke). These interdisciplinary events were dedicated to dialogue and cross-contamination between traditional concepts of speculatio, present-minded premodern studies, and contemporary speculative realist and object-oriented philosophies. In its medieval formulation, speculatio signifies the essentially reflective and imaginative operations of the intellect. Here the world, books, and mind itself are all conceived as specula (mirrors) through which the hermeneutic gaze can gain access to what lies beyond it. “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination” (Giorgio Agamben, Stanzas). Correlatively, speculative realism, as the term suggests, is characterized by the self-contradictory intensity of a desire for thought that can think beyond itself — a desire that proceeds, like all philosophy, in a twisted and productive relation to the phantasm of the word.Aiming to rise above and tunnel below the thought-being or self-world correlation, speculative realism “depart[s] from the text-centered hermeneutic models of the past and engage[s] in daring speculations about the nature of reality itself” (The Speculative Turn). Speculative Medievalisms, like some weird friar-alchemist in an inexistent romance, plays the erotic go-between for these text-centered and text-eccentric intellectual domains by trying to transmute the space between past and present modes of speculation from shared blindness to love at first sight. Possibly succeeding, the volume brings together the work of a motley crew of philosophers and premodernists into prismatic relation. 30 00 Proceedings from the two Speculative Medievalisms symposia, held at King’s College London (Jan. 2011) and The Graduate Center, City University of New York (Sep. 2011), and organized by The Petropunk Collective (Eileen Joy, Anna Klosowska, Nicola Masciandaro, and Michael O’Rourke). These interdisciplinary events were dedicated to dialogue and cross-contamination between traditional concepts of speculatio, present-minded premodern studies, and contemporary speculative realist and object-oriented philosophies. In its medieval formulation, speculatio signifies the essentially reflective and imaginative operations of the intellect. Here the world, books, and mind itself are all conceived as specula (mirrors) through which the hermeneutic gaze can gain access to what lies beyond it. “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination” (Giorgio Agamben, Stanzas). Correlatively, speculative realism, as the term suggests, is characterized by the self-contradictory intensity of a desire for thought that can think beyond itself — a desire that proceeds, like all philosophy, in a twisted and productive relation to the phantasm of the word.Aiming to rise above and tunnel below the thought-being or self-world correlation, speculative realism “depart[s] from the text-centered hermeneutic models of the past and engage[s] in daring speculations about the nature of reality itself” (The Speculative Turn). Speculative Medievalisms, like some weird friar-alchemist in an inexistent romance, plays the erotic go-between for these text-centered and text-eccentric intellectual domains by trying to transmute the space between past and present modes of speculation from shared blindness to love at first sight. Possibly succeeding, the volume brings together the work of a motley crew of philosophers and premodernists into prismatic relation. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0021.1.00_frontcover.png 1 03 06 10.21983/P3.0021.1.01 i xvi 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 The Petropunk Collective The Petropunk Collective 01 eng 20 00 Open Access The Petropunk Collective 2 03 06 10.21983/P3.0021.1.02 i xi 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Medievalism A Précis 1 A01 The Petropunk Collective The Petropunk Collective 01 eng 03 00 Speculative Medievalisms is a collaborative and interdiscipli-nary research project focusing on the theorization and practical development of the speculative dimensions of medi-eval studies. The term “speculative” is intended to resonate with the full range of its medieval and modern meanings. First, speculativeechoes the broad array of specifically medie-val senses of speculatio as the essentially reflective and imaginative operations of the intellect. According to this conception, the world, books, and mind itself were all conceived as specula (mirrors) through which the hermeneutic gaze could gain access to what lies beyond them. As Giorgio Agamben explains, “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination.”2 This sense of speculative, which also gestures toward the humanistic principle of identity between world-knowledge and self-knowledge, becomes crucial for the development and institution of medieval studies as a disci-pline oriented to the past as both mirror and inscrutable site of origin. Like Narcissus, who at the fount falls in love with himself as another, modern Western culture gazes at the Mid-dle Ages as a self-image that impossibly blurs the distinction between identity and alterity. The speculative principle is ac-cordingly written into the title of the medieval studies journal, Speculum, published by the Medieval Academy since 1926. Speculum’s first editor E. K. Rand explained the aim of the journal via this principle in the inaugural issue as follows: 30 00 Speculative Medievalisms is a collaborative and interdiscipli-nary research project focusing on the theorization and practical development of the speculative dimensions of medi-eval studies. The term “speculative” is intended to resonate with the full range of its medieval and modern meanings. First, speculativeechoes the broad array of specifically medie-val senses of speculatio as the essentially reflective and imaginative operations of the intellect. According to this conception, the world, books, and mind itself were all conceived as specula (mirrors) through which the hermeneutic gaze could gain access to what lies beyond them. As Giorgio Agamben explains, “To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination.”2 This sense of speculative, which also gestures toward the humanistic principle of identity between world-knowledge and self-knowledge, becomes crucial for the development and institution of medieval studies as a disci-pline oriented to the past as both mirror and inscrutable site of origin. Like Narcissus, who at the fount falls in love with himself as another, modern Western culture gazes at the Mid-dle Ages as a self-image that impossibly blurs the distinction between identity and alterity. The speculative principle is ac-cordingly written into the title of the medieval studies journal, Speculum, published by the Medieval Academy since 1926. Speculum’s first editor E. K. Rand explained the aim of the journal via this principle in the inaugural issue as follows: 20 00 Open Access The Petropunk Collective 3 03 06 10.21983/P3.0021.1.03 1 13 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Toy: Stories: Vita Nuda Then and Now? 1 A01 Kathleen Biddick Kathleen Biddick 40 00kx1jb78 Temple University 01 eng 03 00 In his important study Bíos: Biopolitics and Philosophy, Rob-erto Esposito asks the following question: “How can modern man (sic) tear himself from the theological matrix?”1 This morning I want to show how such a question discloses the unthought medievalisms of contemporary theory and ac-counts for the traumatic reinscription of the flesh as incarna-tional and eschatological among contemporary theorists.2How can the flesh of history and a history of the flesh rethink such aporia of contemporary theory? My brief comments this morning are a Morse-Code version of a long chapter devoted to the medievalisms of biopolitics taken from my forthcoming book, Entangled Sovereignty: Studies in Premodern Political Theology. Eileen Joy and Anna Kłosowska’s response is this volume is based on that book chapter. 30 00 In his important study Bíos: Biopolitics and Philosophy, Rob-erto Esposito asks the following question: “How can modern man (sic) tear himself from the theological matrix?”1 This morning I want to show how such a question discloses the unthought medievalisms of contemporary theory and ac-counts for the traumatic reinscription of the flesh as incarna-tional and eschatological among contemporary theorists.2How can the flesh of history and a history of the flesh rethink such aporia of contemporary theory? My brief comments this morning are a Morse-Code version of a long chapter devoted to the medievalisms of biopolitics taken from my forthcoming book, Entangled Sovereignty: Studies in Premodern Political Theology. Eileen Joy and Anna Kłosowska’s response is this volume is based on that book chapter. 20 00 Open Access Biddick, Kathleen 4 03 06 10.21983/P3.0021.1.04 15 26 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cryptomnesia Response to Kathleen Biddick 1 A01 21 0000000253093189 Eileen Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 2 A01 Anna Klosowska Anna Klosowska 40 05nbqxr67 Miami University 01 eng 03 00 In Kathleen Biddick’s longer (as yet unpublished) essay, from which her contribution to this volume is “ Morse-Coded,” she writes:[E]ntrapped by his periodization, Foucault puzzled over a historical aporia: ‘How can the power of death, the function of death, be exercised in a political system centered upon biopower?’ Nazism, with its untimely unleashing of the ‘old sovereign power to take life’ concomitant with the most intense forms of biopower . . . presented Foucault with an anguishing temporal paradox.1Given the incoherence between Foucault’s narrative of how sovereignty (“the power to take life or let live”) was supersed-ed by biopolitics (“to foster life or to disallow it”), and actual modern history ( the merger of biopolitics and sovereignty in Nazism, for example), Foucault acknowledged something that we all struggle against as we use his concepts—the narratives of where and how modernity emerges into sight occlude as much as they explain. 30 00 In Kathleen Biddick’s longer (as yet unpublished) essay, from which her contribution to this volume is “ Morse-Coded,” she writes:[E]ntrapped by his periodization, Foucault puzzled over a historical aporia: ‘How can the power of death, the function of death, be exercised in a political system centered upon biopower?’ Nazism, with its untimely unleashing of the ‘old sovereign power to take life’ concomitant with the most intense forms of biopower . . . presented Foucault with an anguishing temporal paradox.1Given the incoherence between Foucault’s narrative of how sovereignty (“the power to take life or let live”) was supersed-ed by biopolitics (“to foster life or to disallow it”), and actual modern history ( the merger of biopolitics and sovereignty in Nazism, for example), Foucault acknowledged something that we all struggle against as we use his concepts—the narratives of where and how modernity emerges into sight occlude as much as they explain. 20 00 Open Access Joy, Eileen Klosowska, Anna 5 03 06 10.21983/P3.0021.1.05 27 38 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Divine Darkness 1 A01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 03 00 Nearly everyone can relate, I suspect, to the feeling of being “scared of the dark.” It is no doubt for this reason that dark-ness saturates the horror genre, from the earliest examples of gothic novels and graveyard poetry, to the most recent films, comics, and video games. We do not know what it is that dwells in the darkness, only that our not-knowing is a source of fear. Darkness seems to steadily creep forth, submerging everything in an anonymous, pitch blackness. Our fear of the dark seems as ambiguous as darkness itself. This ambiguity is at once horrific, and yet, because of its ambiguity, it also ob-tains the quality of the mystical. Georges Bataille, writing about religious art, highlights this ambiguity: “What I sudden-ly saw, and what imprisoned me in anguish—but which at the same time delivered me from it—was the identity of these perfect contraries, divine ecstasy and its opposite, extreme horror.” The concept of darkness evokes this combination of religion and horror; it is the shift from the horror of something inthe dark, to the horror of darkness itself. Put simply, the concept of darkness invites us to think about this basic metaphys-ical dilemma of a nothing that is a something . . . 30 00 Nearly everyone can relate, I suspect, to the feeling of being “scared of the dark.” It is no doubt for this reason that dark-ness saturates the horror genre, from the earliest examples of gothic novels and graveyard poetry, to the most recent films, comics, and video games. We do not know what it is that dwells in the darkness, only that our not-knowing is a source of fear. Darkness seems to steadily creep forth, submerging everything in an anonymous, pitch blackness. Our fear of the dark seems as ambiguous as darkness itself. This ambiguity is at once horrific, and yet, because of its ambiguity, it also ob-tains the quality of the mystical. Georges Bataille, writing about religious art, highlights this ambiguity: “What I sudden-ly saw, and what imprisoned me in anguish—but which at the same time delivered me from it—was the identity of these perfect contraries, divine ecstasy and its opposite, extreme horror.” The concept of darkness evokes this combination of religion and horror; it is the shift from the horror of something inthe dark, to the horror of darkness itself. Put simply, the concept of darkness invites us to think about this basic metaphys-ical dilemma of a nothing that is a something . . . 20 00 Open Access Thacker, Eugene 6 03 06 10.21983/P3.0021.1.06 39 44 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Per Speculum in Aenigmate Response to Eugene Thacker 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 Introductory comments: I will address divine darkness by fo-cusing on the distinction between thought and experience, a distinction which parallels the distinctions between thatand what, and between soul (or life) and body. I am interested here in darkness as an occluded relation or blind spot between thought and experience. At the same time I would like to ground the concept of divine darkness in the traditional aim or purpose of mystical contemplation, which is to become God, to achieve union with God. This is a desire which is legi-ble, but also refused in Bataille’s work, in which we see a kind of reification of the limit of experience and with it, necessarily, a mystification of mysticism. An important figure for my re-sponse is the figure of the cephalophore, the head-bearing saint. Of course Dionysius the Areopagite, identified as St. Denis, was a cephalophore. I will try to suggest that the ceph-alophore should be reinvented by speculative medievalists as a human ideal proper to congested humanity, the anthropo-cene, the so-called age of man—the global dead which Eugene ended with. I should also note that there is an intimate rela-tion between the mirror and beheading. When we look into a mirror or speculate, we are non-violently beheaded. 30 00 Introductory comments: I will address divine darkness by fo-cusing on the distinction between thought and experience, a distinction which parallels the distinctions between thatand what, and between soul (or life) and body. I am interested here in darkness as an occluded relation or blind spot between thought and experience. At the same time I would like to ground the concept of divine darkness in the traditional aim or purpose of mystical contemplation, which is to become God, to achieve union with God. This is a desire which is legi-ble, but also refused in Bataille’s work, in which we see a kind of reification of the limit of experience and with it, necessarily, a mystification of mysticism. An important figure for my re-sponse is the figure of the cephalophore, the head-bearing saint. Of course Dionysius the Areopagite, identified as St. Denis, was a cephalophore. I will try to suggest that the ceph-alophore should be reinvented by speculative medievalists as a human ideal proper to congested humanity, the anthropo-cene, the so-called age of man—the global dead which Eugene ended with. I should also note that there is an intimate rela-tion between the mirror and beheading. When we look into a mirror or speculate, we are non-violently beheaded. 20 00 Open Access Masciandaro, Nicola 7 03 06 10.21983/P3.0021.1.07 45 64 20 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Speculative Angel 1 A01 Anthony Paul Smith Anthony Paul Smith 40 02beve479 La Salle University 01 eng 03 00 “Let the angel come.” This is how Guy Lardreau and Christian Jambet preface their heretical, perhaps misguided and certain-ly maligned, but utterly fascinating fusion of Lacan, Mao, and political theology in their L’Ange of 1976. They are more pleading later in the book, writing: “The angel must come.” But what does any of this mean? Why, when considering speculative medievalisms, have I chosen to write about angels, those beings that seem the least contemporary and perhaps most reactionary of medieval theory? And why have I chosen to do so largely via a virtually unknown or forgotten text by two Maoists whose work has largely been ruined for us by its placement as one species of the cynical, often racist and impe-rialistic, neo-liberal and anti-communist New Philosophers? What does this ostensibly political text, one that the authors declare is nothing but a Maoist philosophy (contrary to the idea that they are fellow-travellers with the Sarkozist ex-Maoists like Glucksmann or Bernard-Henri Lévy), have to say about speculation today? And in what way is it grounded in the premodern condition? The answer is, in part, because I want to understand what speculation may have to do with revolt, with struggle, and it is in the figure of the Angel that such questions come together, both historically and within wildly speculative ultra-left French theory. For the Angel is both a negative name for something that is not Worldly and the Angel is a field of battle where one either becomes a do-mesticated, pacified bureaucrat of the way things are or where one separates and divides what is from what could be. 30 00 “Let the angel come.” This is how Guy Lardreau and Christian Jambet preface their heretical, perhaps misguided and certain-ly maligned, but utterly fascinating fusion of Lacan, Mao, and political theology in their L’Ange of 1976. They are more pleading later in the book, writing: “The angel must come.” But what does any of this mean? Why, when considering speculative medievalisms, have I chosen to write about angels, those beings that seem the least contemporary and perhaps most reactionary of medieval theory? And why have I chosen to do so largely via a virtually unknown or forgotten text by two Maoists whose work has largely been ruined for us by its placement as one species of the cynical, often racist and impe-rialistic, neo-liberal and anti-communist New Philosophers? What does this ostensibly political text, one that the authors declare is nothing but a Maoist philosophy (contrary to the idea that they are fellow-travellers with the Sarkozist ex-Maoists like Glucksmann or Bernard-Henri Lévy), have to say about speculation today? And in what way is it grounded in the premodern condition? The answer is, in part, because I want to understand what speculation may have to do with revolt, with struggle, and it is in the figure of the Angel that such questions come together, both historically and within wildly speculative ultra-left French theory. For the Angel is both a negative name for something that is not Worldly and the Angel is a field of battle where one either becomes a do-mesticated, pacified bureaucrat of the way things are or where one separates and divides what is from what could be. 20 00 Open Access Smith, Anthony Paul 8 03 06 10.21983/P3.0021.1.08 65 71 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lapidary Demons Response to Anthony Paul Smith 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 Given the problem of localizing the power of speculation in the pre-modern assisted by the impertinent form of the angel, I wish to approach the irruption of workable forms, of the non-ideological message, through Naturephilosophie, through somewhat weird (and hopefully medieval) means, with the construction of Lapidary Demons as a diagonal response. Stone appears as the recapitulation of immanence, of mat-ter seemingly foreclosed and foreclosing, the material of in-ternment and memorial. The stone, the movement of the in-organic, indexes deep time and the failure of the category of the inorganic itself in Naturephilosophie, since we find stone participating in the partial dominion of life on matter, in DeLanda's well known narrative of mineralization in homo sapiens endoskeletons.1 Similarly, dwelling or the carving of knowledge on stone redirects the torpid trajectory of its re-shapings, albeit only slightly. 30 00 Given the problem of localizing the power of speculation in the pre-modern assisted by the impertinent form of the angel, I wish to approach the irruption of workable forms, of the non-ideological message, through Naturephilosophie, through somewhat weird (and hopefully medieval) means, with the construction of Lapidary Demons as a diagonal response. Stone appears as the recapitulation of immanence, of mat-ter seemingly foreclosed and foreclosing, the material of in-ternment and memorial. The stone, the movement of the in-organic, indexes deep time and the failure of the category of the inorganic itself in Naturephilosophie, since we find stone participating in the partial dominion of life on matter, in DeLanda's well known narrative of mineralization in homo sapiens endoskeletons.1 Similarly, dwelling or the carving of knowledge on stone redirects the torpid trajectory of its re-shapings, albeit only slightly. 20 00 Open Access Woodard, Ben 9 03 06 10.21983/P3.0021.1.09 73 91 19 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Abstraction and Value The Medieval Origins of Financial Quantification 1 A01 21 0000000195811620 Nick Srnicek Nick Srnicek London School of Economics and Political Science (LSE) 40 0220mzb33 King's College London 01 eng 03 00 We live in an era plagued by the debilitating fallout of finan-cial implosion. By now credit default swaps, collateralized debt obligations, options, futures, and other “financial weap-ons of mass destruction” have all entered into the common lexicon. While the economically speculative nature of finance is abundantly clear, the philosophically speculative nature of finance is less well recognized. Perhaps surprisingly, it is in finance that we find the purest attempt at the quantification of all available material, to an extent conceivably greater than even modern natural science. Empirical and non-empirical, actual and possible, order and chaos—all are available for measurement and calculation within the algorithms of mod-ern financial models. 30 00 We live in an era plagued by the debilitating fallout of finan-cial implosion. By now credit default swaps, collateralized debt obligations, options, futures, and other “financial weap-ons of mass destruction” have all entered into the common lexicon. While the economically speculative nature of finance is abundantly clear, the philosophically speculative nature of finance is less well recognized. Perhaps surprisingly, it is in finance that we find the purest attempt at the quantification of all available material, to an extent conceivably greater than even modern natural science. Empirical and non-empirical, actual and possible, order and chaos—all are available for measurement and calculation within the algorithms of mod-ern financial models. 20 00 Open Access Srnicek, Nick 10 03 06 10.21983/P3.0021.1.10 93 101 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Srnicek's Risk Response to Nick Srnicek 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 In an August 2009 interview with Paul Ennis at Another Heidegger Blog Nick Srnicek, speculative heretic that he is, quite rightly asserts that, “Speculative Realism doesn’t label a single set of positions” because “the four main contributors [Graham Harman, Quentin Meillassoux, Iain Hamilton Grant, Ray Brassier] to it are all vastly different, and there really is no common ground.” However, I want to suggest that Srnicek’s work, at least in his contribution to our laboratory-atelier, “Abstraction and Value: The Medieval Origins of Financial Quantification,” is closest to the critically speculative position of Meillassoux in After Finitude, a book which, in the same interview, Srnicek claims is “the best diagnosis of the problems with contemporary philosophy, and argued with a clarity that proves logic, surprise and wonder don’t need to be mutually exclusive.” Srnicek himself, at least in this interview, places his work within a post-Marxist faction of Speculative Realism which is broadly interested in and united by a common aim to reassess “agency in the light of neuroscience, eliminativism, and non-philosophy” as well as a focus on the concrete technical and material aspects of political economy.” “Abstraction and Value,” however, seems to be less obviously Latourian, or Laruellian or to have anything particularly to do with the eliminativist or non-philosophical positions we can discern in his other writing (or on his blog The Accursed Share). Rather, Srnicek’s basic post-Marxist thesis, the one advanced here, that the world political system is moving toward a more medieval type of political system depends—among other things—on a speculatively financial reading of Elie Ayache's reading of Meillassoux’s After Finitude3 in The Blank Swan: The End of Probability to try to articulate what this different economic system will do to a medival political system. What we have here is a sort of critically speculative, post-Marxist understanding of the economy. This is his risk. And Ayache describes for us what this kind of creative political work might look like, might doin The Blank Swan 30 00 In an August 2009 interview with Paul Ennis at Another Heidegger Blog Nick Srnicek, speculative heretic that he is, quite rightly asserts that, “Speculative Realism doesn’t label a single set of positions” because “the four main contributors [Graham Harman, Quentin Meillassoux, Iain Hamilton Grant, Ray Brassier] to it are all vastly different, and there really is no common ground.” However, I want to suggest that Srnicek’s work, at least in his contribution to our laboratory-atelier, “Abstraction and Value: The Medieval Origins of Financial Quantification,” is closest to the critically speculative position of Meillassoux in After Finitude, a book which, in the same interview, Srnicek claims is “the best diagnosis of the problems with contemporary philosophy, and argued with a clarity that proves logic, surprise and wonder don’t need to be mutually exclusive.” Srnicek himself, at least in this interview, places his work within a post-Marxist faction of Speculative Realism which is broadly interested in and united by a common aim to reassess “agency in the light of neuroscience, eliminativism, and non-philosophy” as well as a focus on the concrete technical and material aspects of political economy.” “Abstraction and Value,” however, seems to be less obviously Latourian, or Laruellian or to have anything particularly to do with the eliminativist or non-philosophical positions we can discern in his other writing (or on his blog The Accursed Share). Rather, Srnicek’s basic post-Marxist thesis, the one advanced here, that the world political system is moving toward a more medieval type of political system depends—among other things—on a speculatively financial reading of Elie Ayache's reading of Meillassoux’s After Finitude3 in The Blank Swan: The End of Probability to try to articulate what this different economic system will do to a medival political system. What we have here is a sort of critically speculative, post-Marxist understanding of the economy. This is his risk. And Ayache describes for us what this kind of creative political work might look like, might doin The Blank Swan 20 00 Open Access O'Rourke, Michael 11 03 06 10.21983/P3.0021.1.11 103 120 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Neroplatonism 1 A01 Scott Wilson Scott Wilson 40 0517ce304 Kingston University, London 01 eng 03 00 In a 2008 Times Literary Supplement review of Quentin Meil-lassoux’s After Finitude, the founding text of Speculative Ma-terialism, Simon Critchley takes Georges Bataille as an example of the worst excesses of “correlationism.” Critchley mentions a notorious late night conversation between Bataille and A.J. Ayer at which Merleau-Ponty and Giorgio Am-brosini, the physicist who influenced Bataille’s The Accursed Share, were also present. This conversation, which went on until 3 am, involved an argument as to whether or not you could say that the “sun existed before man.” Commenting on “the abyss that separates French and English philosophy,” Critchley writes: The thesis under discussion was very simple: did the sun exist before the appearance of humans? Ayer saw no reason to doubt that it did, whereas Bataille thought the whole proposition meaningless. For a philosopher committed to scientific realism, like Ayer, it makes ev-ident sense to utter ancestral statements such as “The sun existed prior to the appearance of humans,” whereas, for a correlationist like Bataille, more versed in Hegel and phenomenology, physical objects must be perceived by an observer in order to be said to exist. 30 00 In a 2008 Times Literary Supplement review of Quentin Meil-lassoux’s After Finitude, the founding text of Speculative Ma-terialism, Simon Critchley takes Georges Bataille as an example of the worst excesses of “correlationism.” Critchley mentions a notorious late night conversation between Bataille and A.J. Ayer at which Merleau-Ponty and Giorgio Am-brosini, the physicist who influenced Bataille’s The Accursed Share, were also present. This conversation, which went on until 3 am, involved an argument as to whether or not you could say that the “sun existed before man.” Commenting on “the abyss that separates French and English philosophy,” Critchley writes: The thesis under discussion was very simple: did the sun exist before the appearance of humans? Ayer saw no reason to doubt that it did, whereas Bataille thought the whole proposition meaningless. For a philosopher committed to scientific realism, like Ayer, it makes ev-ident sense to utter ancestral statements such as “The sun existed prior to the appearance of humans,” whereas, for a correlationist like Bataille, more versed in Hegel and phenomenology, physical objects must be perceived by an observer in order to be said to exist. 20 00 Open Access Wilson, Scott 12 03 06 10.21983/P3.0021.1.12 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Speculative Portfolio Photographs 1 A01 Öykü Tekten Öykü Tekten 01 eng 20 00 Open Access The Petropunk Collective 13 03 06 10.21983/P3.0021.1.13 121 141 21 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Transmission by Sponge Aristotle's Poetics 1 A01 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 03 00 The history of transmission of Aristotle in the West is surpris-ingly complex, and it attaches (but what doesn’t?) to period distinctions between medieval and modern. For instance, the propagation of Aristotle’s Physics is contemporary with the rise of instrumentaria, that is, making things to measure other things, but also production of musical instruments. The first graduated thermometers appear throughout Europe around the turn of the sixteenth century, roughly the same time when the writing of poetry and playing musical instruments become both more popular and more specialized. In that period, lutes become more widespread as middle class possessions, leading historians to catalogue lutes as a means to establish the rise of early modern middle class in Paris. This is the period of spe-cialization when teaching, writing and publishing music is decoupled from writing poetry. That transformative time for Physics is also when some intellectuals move away from the traditional Averroes’s commentary on Aristotle’s Poetics and in creasingly rely on direct translations from the Greek. 30 00 The history of transmission of Aristotle in the West is surpris-ingly complex, and it attaches (but what doesn’t?) to period distinctions between medieval and modern. For instance, the propagation of Aristotle’s Physics is contemporary with the rise of instrumentaria, that is, making things to measure other things, but also production of musical instruments. The first graduated thermometers appear throughout Europe around the turn of the sixteenth century, roughly the same time when the writing of poetry and playing musical instruments become both more popular and more specialized. In that period, lutes become more widespread as middle class possessions, leading historians to catalogue lutes as a means to establish the rise of early modern middle class in Paris. This is the period of spe-cialization when teaching, writing and publishing music is decoupled from writing poetry. That transformative time for Physics is also when some intellectuals move away from the traditional Averroes’s commentary on Aristotle’s Poetics and in creasingly rely on direct translations from the Greek. 20 00 Open Access Klosowska, Anna 14 03 06 10.21983/P3.0021.1.14 143 157 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cosmic Eggs, or Events Before Anything 1 A01 J. Allan Mitchell J. Allan Mitchell 40 04s5mat29 University of Victoria 01 eng 03 00 If it is a question of where to begin, medieval embryology and cosmogony answer speculatively, starting at the very begin-ning: they return the human to the site of so many primordial, intestinal involvements in the world—or rather, the very con-ception of worlds from “mere seeds and hopes,” as Ovid puts it in the Metamorphoses.1 At one end of the spectrum, embry-ological narratives effectively reverse engineer the organism, tracing back through time a fluid and concatenating series of molecular events, topological movements, and intensities that may be missed only because they result in such solid-seeming entities. In the fourteenth century, Nicole Oresme marvels at the contingencies involved in the process, expressing surprise that a human being comes about at all, since “error can hap-pen from many causes but only in one way can it complete all things successfully—and for this one way many things are required.” Even when things pan out, the wrenching epigenet-ic change undergone by the embryo is extreme: “between [Socrates] at his birth and at his maturity . . . there is surely a greater difference, if you consider it well, than there is be-tween a pig and a dog at birth, or between an ass and a horse or mule, or a crow and an eagle, or between a wolf and a dog, all of which are of different species.”2 It is as if the human were originally constituted as some kind of menagerie, espe-cially in light of the Aristotelian thesis that the embryo moves through successive stages of micro-speciation (vegetal, ani-mal, human). At the other end of the spectrum, medieval cosmogony regularly describes a cosmic birth that is equally fraught: an account of everything originally abandoned to chaotic flux before being resolved into the developed Ptolema-ism that we all associate with the Middle Ages. The methodo-logical challenge of beginning is the same, tarrying with semi-nal, gestational moments anterior to being. It is to speculate about what is not yet, rather than what is 30 00 If it is a question of where to begin, medieval embryology and cosmogony answer speculatively, starting at the very begin-ning: they return the human to the site of so many primordial, intestinal involvements in the world—or rather, the very con-ception of worlds from “mere seeds and hopes,” as Ovid puts it in the Metamorphoses.1 At one end of the spectrum, embry-ological narratives effectively reverse engineer the organism, tracing back through time a fluid and concatenating series of molecular events, topological movements, and intensities that may be missed only because they result in such solid-seeming entities. In the fourteenth century, Nicole Oresme marvels at the contingencies involved in the process, expressing surprise that a human being comes about at all, since “error can hap-pen from many causes but only in one way can it complete all things successfully—and for this one way many things are required.” Even when things pan out, the wrenching epigenet-ic change undergone by the embryo is extreme: “between [Socrates] at his birth and at his maturity . . . there is surely a greater difference, if you consider it well, than there is be-tween a pig and a dog at birth, or between an ass and a horse or mule, or a crow and an eagle, or between a wolf and a dog, all of which are of different species.”2 It is as if the human were originally constituted as some kind of menagerie, espe-cially in light of the Aristotelian thesis that the embryo moves through successive stages of micro-speciation (vegetal, ani-mal, human). At the other end of the spectrum, medieval cosmogony regularly describes a cosmic birth that is equally fraught: an account of everything originally abandoned to chaotic flux before being resolved into the developed Ptolema-ism that we all associate with the Middle Ages. The methodo-logical challenge of beginning is the same, tarrying with semi-nal, gestational moments anterior to being. It is to speculate about what is not yet, rather than what is 20 00 Open Access Mitchell, J. Allan 15 03 06 10.21983/P3.0021.1.15 159 172 14 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Abusing Aristotle 1 A01 21 0000000187126383 Kellie Robertson Kellie Robertson 40 047s2c258 University of Maryland, College Park 01 eng 03 00 ‘Speculative’ in contemporary usage often denotes something that is not grounded in fact, not based in the “actual world.” This is a term of suspicion for some (as in the phrase “merely speculative”) and of approval for others (as in the introduc-tion to Towards Speculative Realism, where the philosopher Graham Harman asserts that “speculative” serves as a kind of homeopathic inoculation of realism, ensuring that realism is not equated with an interest in “a dull commonsense realism of genuine trees and billiard balls existing outside the mind, but a darker form of ‘weird realism’ bearing little resemblance to the presuppositions of everyday life”).1 Yet in medieval scholastic usage, this term was frequently used to denote the very material science of physics, a science whose goal was to describe and analyze everyday experience, the “dull com-monsense realism” of things. Ockham, in the prologue to his commentary on Aristotle’s Physics, describes the overlap be-tween physics and metaphysics, asserting that physics is also “primarily speculative.”2 Thus, for Ockham and his contem-poraries, looking at a rock was just as speculative an endeavor as imagining how that rock was transformed by your looking into a mental or intentional object. What I find useful about the recent turn to speculative realism is that it reminds us of the speculative nature of both the physical sciences and moral philosophy. This paper is in part a meditation on how the “specters of Aristotle” (pace Derrida) haunt the modern intel-lectual divide that seeks to partition off the “dull” physical world from our metaphysical engagement with it. 30 00 ‘Speculative’ in contemporary usage often denotes something that is not grounded in fact, not based in the “actual world.” This is a term of suspicion for some (as in the phrase “merely speculative”) and of approval for others (as in the introduc-tion to Towards Speculative Realism, where the philosopher Graham Harman asserts that “speculative” serves as a kind of homeopathic inoculation of realism, ensuring that realism is not equated with an interest in “a dull commonsense realism of genuine trees and billiard balls existing outside the mind, but a darker form of ‘weird realism’ bearing little resemblance to the presuppositions of everyday life”).1 Yet in medieval scholastic usage, this term was frequently used to denote the very material science of physics, a science whose goal was to describe and analyze everyday experience, the “dull com-monsense realism” of things. Ockham, in the prologue to his commentary on Aristotle’s Physics, describes the overlap be-tween physics and metaphysics, asserting that physics is also “primarily speculative.”2 Thus, for Ockham and his contem-poraries, looking at a rock was just as speculative an endeavor as imagining how that rock was transformed by your looking into a mental or intentional object. What I find useful about the recent turn to speculative realism is that it reminds us of the speculative nature of both the physical sciences and moral philosophy. This paper is in part a meditation on how the “specters of Aristotle” (pace Derrida) haunt the modern intel-lectual divide that seeks to partition off the “dull” physical world from our metaphysical engagement with it. 20 00 Open Access Robertson, Kellie 16 03 06 10.21983/P3.0021.1.16 173 178 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lynx-Eyed Aristotle Response to Kellie Robertson 1 A01 Drew Daniel Drew Daniel 40 00za53h95 Johns Hopkins University 01 eng 03 00 And now for some catty remarks. In the Prologue to the Expo-sitio super viii (octo) libros Physicorum, William of Ockham pounces upon a particularly jarring image with which to praise Aristotle’s exceptional status among the philosophers:The most accomplished man to have appeared among them is Aristotle, outstanding as a man of no slight or insignificant learning. With the eyes of a lynx, as it were, he explored the deep secrets of nature and re-vealed to posterity the hidden truths of natural philos-ophy.1I’m placing this image of the lynx-eyed Aristotle beside Kellie Robertson’s learned and capacious essay because Ockham’s queer construction of a nocturnal, feline Aristotle further supplements her archive of medieval Aristotles: the infidel, the physicist, the S&M bottom engaged in a brisk session of pony-play with a rampant Phyllis, but more importantly, the thinker of a hylomorphic metaphysics whose enduring alterity might help to pry us out of present predicaments. Joining this company, scenting the air with paws extended and pupils di-lated wide, Ockham’s lynx-eyed Aristotle stands poised to forage for what lies hidden within the dark world of physical nature that Graham Harman’s project has plumbed so fierce-ly. Since Kellie’s paper is both historical in its exposition of the past archive of these medieval Aristotles and proleptic in its sense of how that history might reinforce and prepare the way for Graham’s own paper today, I want to cut left and simply flag some key, portable points in Kellie’s paper that I found most generative. These points—hers not mine—potentially help to anchor a particularly life-saving rope bridge that we might throw across some wide gaps in philosophical history. 30 00 And now for some catty remarks. In the Prologue to the Expo-sitio super viii (octo) libros Physicorum, William of Ockham pounces upon a particularly jarring image with which to praise Aristotle’s exceptional status among the philosophers:The most accomplished man to have appeared among them is Aristotle, outstanding as a man of no slight or insignificant learning. With the eyes of a lynx, as it were, he explored the deep secrets of nature and re-vealed to posterity the hidden truths of natural philos-ophy.1I’m placing this image of the lynx-eyed Aristotle beside Kellie Robertson’s learned and capacious essay because Ockham’s queer construction of a nocturnal, feline Aristotle further supplements her archive of medieval Aristotles: the infidel, the physicist, the S&M bottom engaged in a brisk session of pony-play with a rampant Phyllis, but more importantly, the thinker of a hylomorphic metaphysics whose enduring alterity might help to pry us out of present predicaments. Joining this company, scenting the air with paws extended and pupils di-lated wide, Ockham’s lynx-eyed Aristotle stands poised to forage for what lies hidden within the dark world of physical nature that Graham Harman’s project has plumbed so fierce-ly. Since Kellie’s paper is both historical in its exposition of the past archive of these medieval Aristotles and proleptic in its sense of how that history might reinforce and prepare the way for Graham’s own paper today, I want to cut left and simply flag some key, portable points in Kellie’s paper that I found most generative. These points—hers not mine—potentially help to anchor a particularly life-saving rope bridge that we might throw across some wide gaps in philosophical history. 20 00 Open Access Daniel, Drew 17 03 06 10.21983/P3.0021.1.17 179 200 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Shakespeare's Kitchen Archives 1 A01 Julian Yates Julian Yates 40 01sbq1a82 University of Delaware 01 eng 03 00 These words you are reading, some of which I read aloud once upon a speculatively medieval afternoon in New York City—and which I find myself compelled now to rewrite—what arethey? What were they? And what have they become by their translation and so transformation from paper to essay, from colloquium to whichever media now hosts them? Perhaps, by their end, they will have the flavor of a manifesto. But if so, it will not be in the arch/modern sense that Bruno Latour sets to one side even as he attempts his own “Compositionist Mani-festo.” There will be no “war cries intended to speed up the movement, ridicule the Philistines, castigate the reactionar-ies.”1 Like his, the words I wrote and now rewrite “have some-thing in common” with such rallying calls, “namely the search for the Common.” “The thirst for the Common World is what there is of communism in compositionism,” he observes, “with this small but crucial difference: that it has to be slowly composed.” The compositionist has to entertain competing and divergent, wandering agencies. Her manifestos remain therefore subject to failure, deformation, and transformation by the “discontinuous pieces” they attempt to host, by the overflow of entities and agencies they register. What then do they produce? To what do they amount? “Prospects,” merely, boasts Latour—projections, speculative possibilities. Compos-ing “carries with it the pungent but ecologically correct smell of ‘compost’,” a scene of slow cooking, of fermentation, perco-lation,” the active ‘de-composition’ of many invisible actors.” 30 00 These words you are reading, some of which I read aloud once upon a speculatively medieval afternoon in New York City—and which I find myself compelled now to rewrite—what arethey? What were they? And what have they become by their translation and so transformation from paper to essay, from colloquium to whichever media now hosts them? Perhaps, by their end, they will have the flavor of a manifesto. But if so, it will not be in the arch/modern sense that Bruno Latour sets to one side even as he attempts his own “Compositionist Mani-festo.” There will be no “war cries intended to speed up the movement, ridicule the Philistines, castigate the reactionar-ies.”1 Like his, the words I wrote and now rewrite “have some-thing in common” with such rallying calls, “namely the search for the Common.” “The thirst for the Common World is what there is of communism in compositionism,” he observes, “with this small but crucial difference: that it has to be slowly composed.” The compositionist has to entertain competing and divergent, wandering agencies. Her manifestos remain therefore subject to failure, deformation, and transformation by the “discontinuous pieces” they attempt to host, by the overflow of entities and agencies they register. What then do they produce? To what do they amount? “Prospects,” merely, boasts Latour—projections, speculative possibilities. Compos-ing “carries with it the pungent but ecologically correct smell of ‘compost’,” a scene of slow cooking, of fermentation, perco-lation,” the active ‘de-composition’ of many invisible actors.” 20 00 Open Access Yates, Julian 18 03 06 10.21983/P3.0021.1.18 201 205 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Recipe for Disaster: Practical Metaphysics: Response to Julian Yates 1 A01 21 0000000314815617 Liza Blake Liza Blake 40 0190ak572 New York University 40 03dbr7087 University of Toronto 01 eng 03 00 There are two ways of approaching the topic of Speculative Medievalisms. On the one hand, one might consider the role of the medieval or medievalism within speculation or the speculative. Allan Mitchell offers a version of this approach in his piece in this volume, “Cosmic Eggs, or Events Before Eve-rything,” when he reflects on how the medieval is already to be found in the speculative, whether consciously or uncon-sciously. Another way of approaching the topic would be to consider how the theses, ideas or propositions found in specu-lative realism translate to a medieval—or in Yates’s case, an early modern—literary critical practice. This second approach serves as the focus of Yates’s essay, and so it will be the subject of my response. In this response I will re-compose Yates’sessay, schematically restructuring it so as to draw out the im-plications for speculative medieval critical practice.Harman’s technique in his book Prince of Networks is a complicated one, but one whose mechanisms are worth study-ing.1 Harman takes as his starting point Bruno Latour’s critical practice for, and as, sociology, science studies, and actor network theory (among others). From Latour’s practice, Harman then extrapolates its underlying, more or less explicit metaphysics. In Part II of the Prince of Networks, Harman tweaks this metaphysics slightly to present a new or slightly modified version of Latourian metaphysics, and this tweaked Latourian metaphysics becomes Object Oriented Ontology. The end of the book leaves readers with one critical practice (Latourian practice, as embodied in his work) and two meta-physics (the Latourian metaphysics Harman describes and the metaphysics he himself elaborates). The third section of Har-man’s book—the section of the book where he works back from Part II’s metaphysics to a critical practice—has not been written yet. If Latourian critical practice can produce or imply a metaphysics, then what are the contours of the critical prac-tice that might correspond to the metaphysics of Part II? What is a Harmanian or speculative realist critical practice? 30 00 There are two ways of approaching the topic of Speculative Medievalisms. On the one hand, one might consider the role of the medieval or medievalism within speculation or the speculative. Allan Mitchell offers a version of this approach in his piece in this volume, “Cosmic Eggs, or Events Before Eve-rything,” when he reflects on how the medieval is already to be found in the speculative, whether consciously or uncon-sciously. Another way of approaching the topic would be to consider how the theses, ideas or propositions found in specu-lative realism translate to a medieval—or in Yates’s case, an early modern—literary critical practice. This second approach serves as the focus of Yates’s essay, and so it will be the subject of my response. In this response I will re-compose Yates’sessay, schematically restructuring it so as to draw out the im-plications for speculative medieval critical practice.Harman’s technique in his book Prince of Networks is a complicated one, but one whose mechanisms are worth study-ing.1 Harman takes as his starting point Bruno Latour’s critical practice for, and as, sociology, science studies, and actor network theory (among others). From Latour’s practice, Harman then extrapolates its underlying, more or less explicit metaphysics. In Part II of the Prince of Networks, Harman tweaks this metaphysics slightly to present a new or slightly modified version of Latourian metaphysics, and this tweaked Latourian metaphysics becomes Object Oriented Ontology. The end of the book leaves readers with one critical practice (Latourian practice, as embodied in his work) and two meta-physics (the Latourian metaphysics Harman describes and the metaphysics he himself elaborates). The third section of Har-man’s book—the section of the book where he works back from Part II’s metaphysics to a critical practice—has not been written yet. If Latourian critical practice can produce or imply a metaphysics, then what are the contours of the critical prac-tice that might correspond to the metaphysics of Part II? What is a Harmanian or speculative realist critical practice? 20 00 Open Access Blake, Liza 19 03 06 10.21983/P3.0021.1.19 207 218 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sublunary 1 A01 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 40 03efmqc40 Arizona State University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 “Between the moon and the earth there live spirits whom we call incubus-demons.”1 So declares Maugantius, summoned before the king to explain how a boy named Merlin could have been born without a father. Inter lunam et terram, be-tween a celestial globe in ceaseless circulation and the dull earth: in this intermedial space dwell creaturesat once human and angelic. Incubus-demons can assume mortal forms and descend to visit earthly women. “Many people have been born this way,” Maugantius asserts. Among the progeny of such intercourse is Merlin, destined to become our iconic wizard. This genesis narrative marks Merlin’s advent into the literary tradition. The story yields no evidence of his future as a be-spectacled and senescent figure, cloaked in robes and wielding a wand. Dumbledore is a diminished and modern avatar. The primordial Merlin is much more difficult to emplace. Between moon and earth is a gap that opens because the two realms cannot touch. Merlin arrives from a kind of heavenly lacuna, a suspended and disjunctive space created because two bodies that are two worlds endlessly withdrawn from each other. Aerial and moonlit, this middle realm is knowable only at se cond hand. Maugantius makes clear that his knowledge of what dwells between lunar possibility and the cold earth’s heft ar rives vicariously, through books of history and philosophy. 30 00 “Between the moon and the earth there live spirits whom we call incubus-demons.”1 So declares Maugantius, summoned before the king to explain how a boy named Merlin could have been born without a father. Inter lunam et terram, be-tween a celestial globe in ceaseless circulation and the dull earth: in this intermedial space dwell creaturesat once human and angelic. Incubus-demons can assume mortal forms and descend to visit earthly women. “Many people have been born this way,” Maugantius asserts. Among the progeny of such intercourse is Merlin, destined to become our iconic wizard. This genesis narrative marks Merlin’s advent into the literary tradition. The story yields no evidence of his future as a be-spectacled and senescent figure, cloaked in robes and wielding a wand. Dumbledore is a diminished and modern avatar. The primordial Merlin is much more difficult to emplace. Between moon and earth is a gap that opens because the two realms cannot touch. Merlin arrives from a kind of heavenly lacuna, a suspended and disjunctive space created because two bodies that are two worlds endlessly withdrawn from each other. Aerial and moonlit, this middle realm is knowable only at se cond hand. Maugantius makes clear that his knowledge of what dwells between lunar possibility and the cold earth’s heft ar rives vicariously, through books of history and philosophy. 20 00 Open Access Cohen, Jeffrey Jerome 20 03 06 10.21983/P3.0021.1.20 219 226 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Casting Speculation Response to Jeffrey Jerome Cohen 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 In Alan Moore’s The Killing Joke, after the Joker has been ap-prehended for doing all sorts of awful things to Barbara Gor-don, he tells Batman the following joke: See, there were these two guys in a lunatic asylum . . . and one night, one night they decide they don’t like liv-ing in an asylum any more. They decide they’re going to escape! So, like, they get up onto the roof, and there, just across this narrow gap, they see the rooftops of the town, stretching away in the moonlight . . . stretching away to freedom. Now, the first guy, he jumps right across with no problem. But his friend, his friend didn’t dare make the leap. Y’see . . . Y’see, he’s afraid of falling. So then, the first guy has an idea . . . He says ‘Hey! I have my flashlight with me! I’ll shine it across the gap between the buildings. You can walk along the beam and join me!’ B-but the second guy just shakes his head. He suh-says . . . He says ‘Wh-what do you think I am? Crazy? You’d turn it off when I was half way across! I will try and bring this kind of lunacy to Speculative Real-ism and develop a parallel kind of path to Jeffrey’s paper. I will do this through weird fiction. In addition to his massive col-lection of works the weird author Clark Ashton Smith wrote several synopses of tales he never produced. There are at least two of these tales which are of a lunar nature and which I will read in full. 30 00 In Alan Moore’s The Killing Joke, after the Joker has been ap-prehended for doing all sorts of awful things to Barbara Gor-don, he tells Batman the following joke: See, there were these two guys in a lunatic asylum . . . and one night, one night they decide they don’t like liv-ing in an asylum any more. They decide they’re going to escape! So, like, they get up onto the roof, and there, just across this narrow gap, they see the rooftops of the town, stretching away in the moonlight . . . stretching away to freedom. Now, the first guy, he jumps right across with no problem. But his friend, his friend didn’t dare make the leap. Y’see . . . Y’see, he’s afraid of falling. So then, the first guy has an idea . . . He says ‘Hey! I have my flashlight with me! I’ll shine it across the gap between the buildings. You can walk along the beam and join me!’ B-but the second guy just shakes his head. He suh-says . . . He says ‘Wh-what do you think I am? Crazy? You’d turn it off when I was half way across! I will try and bring this kind of lunacy to Speculative Real-ism and develop a parallel kind of path to Jeffrey’s paper. I will do this through weird fiction. In addition to his massive col-lection of works the weird author Clark Ashton Smith wrote several synopses of tales he never produced. There are at least two of these tales which are of a lunar nature and which I will read in full. 20 00 Open Access Woodard, Ben 21 03 06 10.21983/P3.0021.1.21 227 253 27 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Aristotle with a Twist 1 A01 21 000000032566309X Graham Harman Graham Harman 40 0176yqn58 American University in Cairo 40 02xsn7259 Southern California Institute of Architecture 01 eng 03 00 In several publications, I have made the case for objects as the central theme of philosophy.1 It might seem paradoxical that Heidegger is cited as a key inspiration for this proposal, since “object” is almost never a positive term in Heidegger’s philos-ophy, where it refers to the one-sided objectification of things, reduced to presence-at-hand for consciousness or manipula-ble stockpiles of material for the enframing work of technolo-gy. In the later Heidegger we find the word “thing,” a more positive term for the individual entity as it mirrors the four-fold play of earth, sky, gods, and mortals.2 Additional alter-nate terms might be considered: Bruno Latour prefers to speak of “actors” or “actants.”3 Ian Bogost employs the term “units,”4 with a Latin etymology whose Greek equivalent “monads” in Leibniz is another candidate term.5 There is also the more traditional word “substance,” which I have some-times used myself, less for shock value than to show the classi-cal roots of the theme of object-oriented philosophy. Though all terminology is somewhat arbitrary, it should not be chosen carelessly. While it is tempting to coin neologisms in order to avoid being confused for someone else, it is often possible to retain traditional terms while cleanly removing their now ir-relevant connotations. The reason I prefer the term “object” is simply because of its roots in the tradition of phenomenology. Husserl tells us openly in the Logical Investigations that expe-rience is made of “object-giving acts,” and Heidegger’s “thing” is an attempt to modify and amplify the famous Husserlian battle cry “to the things themselves.”6 When speaking of “ob-jects” in what follows I refer notonlyto objects as something objectified in consciousness (though these certainly exist, and must be accounted for), but also to objects as described in Heidegger’s tool-analysis, incommensurable with any form of presence before the mind. 30 00 In several publications, I have made the case for objects as the central theme of philosophy.1 It might seem paradoxical that Heidegger is cited as a key inspiration for this proposal, since “object” is almost never a positive term in Heidegger’s philos-ophy, where it refers to the one-sided objectification of things, reduced to presence-at-hand for consciousness or manipula-ble stockpiles of material for the enframing work of technolo-gy. In the later Heidegger we find the word “thing,” a more positive term for the individual entity as it mirrors the four-fold play of earth, sky, gods, and mortals.2 Additional alter-nate terms might be considered: Bruno Latour prefers to speak of “actors” or “actants.”3 Ian Bogost employs the term “units,”4 with a Latin etymology whose Greek equivalent “monads” in Leibniz is another candidate term.5 There is also the more traditional word “substance,” which I have some-times used myself, less for shock value than to show the classi-cal roots of the theme of object-oriented philosophy. Though all terminology is somewhat arbitrary, it should not be chosen carelessly. While it is tempting to coin neologisms in order to avoid being confused for someone else, it is often possible to retain traditional terms while cleanly removing their now ir-relevant connotations. The reason I prefer the term “object” is simply because of its roots in the tradition of phenomenology. Husserl tells us openly in the Logical Investigations that expe-rience is made of “object-giving acts,” and Heidegger’s “thing” is an attempt to modify and amplify the famous Husserlian battle cry “to the things themselves.”6 When speaking of “ob-jects” in what follows I refer notonlyto objects as something objectified in consciousness (though these certainly exist, and must be accounted for), but also to objects as described in Heidegger’s tool-analysis, incommensurable with any form of presence before the mind. 20 00 Open Access Harman, Graham 22 03 06 10.21983/P3.0021.1.22 255 260 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Three Notes, Three Questions Response to Graham Harman 1 A01 Patricia Ticineto Clough Patricia Ticineto Clough 40 00awd9g61 The Graduate Center, CUNY 40 03v8adn41 Queens College, CUNY 01 eng 03 00 When I was invited to respond to a talk to be given by Gra-ham Harman at a conference on Speculative Medievalisms, my first thoughts were not about Aristotle. My first thoughts were about Harman’s work on Bruno Latour, who has fa-mously claimed that we have never been modern. So perhaps we are becoming medieval, I thought: circuiting back through the Enlightenment and the Renaissance to a future age where darkness is to be revalued, with speculative realism, the meas-ure. Although I first read Latour in the late 1980s when some few sociologists studying science and technology were doing so, Harman’s reading of Latour was pleasantly surprising on two counts. His positioning of Latour as a philosophical thinker who is essential to the current ontological turn was resonant with my own early situating of Latour not only in science and technology studies but also as part of the philo-sophical debates of the late 1980s and 1990s around post-structuralism. However, Harman’s Latour offered another pleasant surprise in that it re-oriented my thoughts about phi-losophy and sociality, giving them a new direction beyond social construction, discursive construction, psychic or unconscious construction, and finally deconstruction. Harman’s Latour instead points to a rethinking of sociality that necessi-tates an ontological re-booting that aims to restore the won-der of objects, conceive of a causality of allure, and offer a take on aesthetics. In all this a refreshing aporia is inserted between ontology and epistemology, such that objects are allowed to be re gardless of our consciousness of them. 30 00 When I was invited to respond to a talk to be given by Gra-ham Harman at a conference on Speculative Medievalisms, my first thoughts were not about Aristotle. My first thoughts were about Harman’s work on Bruno Latour, who has fa-mously claimed that we have never been modern. So perhaps we are becoming medieval, I thought: circuiting back through the Enlightenment and the Renaissance to a future age where darkness is to be revalued, with speculative realism, the meas-ure. Although I first read Latour in the late 1980s when some few sociologists studying science and technology were doing so, Harman’s reading of Latour was pleasantly surprising on two counts. His positioning of Latour as a philosophical thinker who is essential to the current ontological turn was resonant with my own early situating of Latour not only in science and technology studies but also as part of the philo-sophical debates of the late 1980s and 1990s around post-structuralism. However, Harman’s Latour offered another pleasant surprise in that it re-oriented my thoughts about phi-losophy and sociality, giving them a new direction beyond social construction, discursive construction, psychic or unconscious construction, and finally deconstruction. Harman’s Latour instead points to a rethinking of sociality that necessi-tates an ontological re-booting that aims to restore the won-der of objects, conceive of a causality of allure, and offer a take on aesthetics. In all this a refreshing aporia is inserted between ontology and epistemology, such that objects are allowed to be re gardless of our consciousness of them. 20 00 Open Access Clough, Patricia Ticineto 23 03 06 10.21983/P3.0021.1.23 261 270 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Obiectum Closing Remarks 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 I see an elision or lacuna in these proceedings, possibly signif-icant: the lack of discussion, in a conference rather inspired to speculate objects in the mirror of medieval works, of the me-dieval origins of the concept and word object. Is this an over-sight, a structural failure of vision to bump into what it ought to see? Or is it a purer kind of non-event, the causeless not-happening of something? Sometimes I get the feeling that what does not h appen is inexplicably powerful, an abyssically negative spontaneity ruling and seducing all existent things from its universal invisible domain. The issue might provide an interesting playground for thinking the objecthood of the inexistent, of what is not there. This is a good limit-problem for any philosophy wanting to relate to reality as constituted by how things are. It is also a question that the medieval, as a zone where a saint recommends preaching to non-existent creatures, philosophers theorize divine alteration of the past, and mystics see nonbeing as an excess of being, is already an-swering.But I prefer not to go there, wishing that I could instead move (or realize that I am only ever moving) like the guild navigator in David Lynch’s Dune: “I did not say this. I am not here.” Instead I will close the event by trying to open it into some avenues of understanding along which the medieval origination of object might lead the way. To find the start of these avenues, imagine a generic medieval intellectual, that is, someone infused with ‘the love of learning and the desire for God,’ encountering contemporary object-orientedness. First the bad news: there is no absolute knowledge, no arriving at the omnipresent center. Then the good news: we really have figured out what everything is: objects. Bad news: objects in-commensurably withdraw, remain irreducible to relation, are never knowable in themselves, so no theosis, henosis, subject-object union, incarnation, soul-body suppositum, eternal in-dividuals, or anything like that. Good news: it is because of the above that anything is happening at all . . . and so forth. May-be the fellow would find relief, like a good bloodletting, in the demotion of his desire from the desire to be everything to a desire to be with things. Perhaps he would despair. Perhaps he would think he was in paradise, intoxicated with the idea that these objects are God. Or perhaps he would object, discover-ing new truth through his own understanding of the word object 30 00 I see an elision or lacuna in these proceedings, possibly signif-icant: the lack of discussion, in a conference rather inspired to speculate objects in the mirror of medieval works, of the me-dieval origins of the concept and word object. Is this an over-sight, a structural failure of vision to bump into what it ought to see? Or is it a purer kind of non-event, the causeless not-happening of something? Sometimes I get the feeling that what does not h appen is inexplicably powerful, an abyssically negative spontaneity ruling and seducing all existent things from its universal invisible domain. The issue might provide an interesting playground for thinking the objecthood of the inexistent, of what is not there. This is a good limit-problem for any philosophy wanting to relate to reality as constituted by how things are. It is also a question that the medieval, as a zone where a saint recommends preaching to non-existent creatures, philosophers theorize divine alteration of the past, and mystics see nonbeing as an excess of being, is already an-swering.But I prefer not to go there, wishing that I could instead move (or realize that I am only ever moving) like the guild navigator in David Lynch’s Dune: “I did not say this. I am not here.” Instead I will close the event by trying to open it into some avenues of understanding along which the medieval origination of object might lead the way. To find the start of these avenues, imagine a generic medieval intellectual, that is, someone infused with ‘the love of learning and the desire for God,’ encountering contemporary object-orientedness. First the bad news: there is no absolute knowledge, no arriving at the omnipresent center. Then the good news: we really have figured out what everything is: objects. Bad news: objects in-commensurably withdraw, remain irreducible to relation, are never knowable in themselves, so no theosis, henosis, subject-object union, incarnation, soul-body suppositum, eternal in-dividuals, or anything like that. Good news: it is because of the above that anything is happening at all . . . and so forth. May-be the fellow would find relief, like a good bloodletting, in the demotion of his desire from the desire to be everything to a desire to be with things. Perhaps he would despair. Perhaps he would think he was in paradise, intoxicated with the idea that these objects are God. Or perhaps he would object, discover-ing new truth through his own understanding of the word object 20 00 Open Access Masciandaro, Nicola 24 03 06 10.21983/P3.0021.1.24 271 271 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 The Petropunk Collective The Petropunk Collective 01 eng 20 00 Open Access The Petropunk Collective 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speculative-medievalisms/ Brooklyn, NY 04 01 20130117 Joy, Eileen A. Kłosowska, Anna Masciandaro, Nicola O’Rourke, Michael The Petropunk Collective 02 WORLD 06 15 9780615749532 03 9780615749532 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76434 20 08 20130117 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25594 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25594/1004501.pdf?sequence=1&isAllowed=y 20 08 20130117 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33344 20 08 20130117 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv19cwdrc 20 08 20130117 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/400 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2662e26e-7cda-40f8-a630-3f41f88feb96/download 20 08 20130117 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/60c43792-7509-4d10-bd72-5f7be5fc610a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/60c43792-7509-4d10-bd72-5f7be5fc610a/60c43792-7509-4d10-bd72-5f7be5fc610a.pdf 20 08 20130117 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693181 29 ZENODO: download the title https://zenodo.org/records/19693181/files/60c43792-7509-4d10-bd72-5f7be5fc610a_book.pdf 20 08 20130117 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speculative-medievalisms/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0021.1.00.pdf 20 08 20130117 01 urn:uuid:d7548218-10ad-491e-8430-375f6d93077b 03 01 01 thoth-work-id urn:uuid:66af728c-958b-4575-9e5e-25209343cd66 01 thoth-publication-id urn:uuid:d7548218-10ad-491e-8430-375f6d93077b 15 9781950192496 03 9781950192496 06 10.21983/P3.0267.1.00 13 2019951804 01 internal-reference 0267 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speechsong The Gould/Schoenberg Dialogues 1 A01 Richard Cavell Richard Cavell 40 03rmrcq20 University of British Columbia 01 eng 00 154 03 93 AVA 12 AVGC6 10 MUS055000 B2 Sound+Noise 93 AVN 93 AVX 20 Glenn Gould; Arnold Schoenberg; music composition; radio; twentieth-century music; recording techniques; Sprechstimme 01 06 02 00 03 00 Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould’s last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg’s works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg’s travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg’s operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg’s response to Richard Wagner’s diatribes about synagogue noise. For Gould, Schoenberg’s is a formalist revolution; Schoenberg’s life, however, suggests that it was a search for personal and political freedom.The second half of Speechsong is a critical essay in twelve “moments” that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould’s turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg’s exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould’s soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet. 30 00 Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould’s last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg’s works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg’s travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg’s operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg’s response to Richard Wagner’s diatribes about synagogue noise. For Gould, Schoenberg’s is a formalist revolution; Schoenberg’s life, however, suggests that it was a search for personal and political freedom.The second half of Speechsong is a critical essay in twelve “moments” that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould’s turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg’s exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould’s soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0267.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speechsong-the-gould-schoenberg-dialogues/ 16 40 03rmrcq20 32 10.13039/501100005247 University of British Columbia Earth, Milky Way 04 01 20200211 Cavell, Richard 02 WORLD 06 15 9781950192502 03 9781950192502 34 06 10.1525/jams.2001.54.3.585 34 06 10.1525/ncm.2005.29.1.64 34 06 10.1017/S0954586700004134 34 06 10.1093/ml/gcw066 34 06 10.1525/jams.2017.70.1.221 34 06 10.1093/oq/kbn036 34 06 10.2307/4149092 34 06 10.1017/S0364009410000656 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192490/ 20 08 20200211 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/speechsong-the-gouldschoenberg-dialogues 20 08 20200211 02 22.00 USD WORLD urn:uuid:e0e21eb4-dd93-4575-b6f8-a5597747b391 03 01 01 thoth-work-id urn:uuid:66af728c-958b-4575-9e5e-25209343cd66 01 thoth-publication-id urn:uuid:e0e21eb4-dd93-4575-b6f8-a5597747b391 15 9781950192502 03 9781950192502 06 10.21983/P3.0267.1.00 13 2019951804 01 internal-reference 0267 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Speechsong The Gould/Schoenberg Dialogues 1 A01 Richard Cavell Richard Cavell 40 03rmrcq20 University of British Columbia 01 eng 00 154 03 93 AVA 12 AVGC6 10 MUS055000 B2 Sound+Noise 93 AVN 93 AVX 20 Glenn Gould; Arnold Schoenberg; music composition; radio; twentieth-century music; recording techniques; Sprechstimme 01 06 02 00 03 00 Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould’s last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg’s works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg’s travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg’s operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg’s response to Richard Wagner’s diatribes about synagogue noise. For Gould, Schoenberg’s is a formalist revolution; Schoenberg’s life, however, suggests that it was a search for personal and political freedom.The second half of Speechsong is a critical essay in twelve “moments” that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould’s turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg’s exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould’s soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet. 30 00 Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould’s last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg’s works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg’s travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg’s operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg’s response to Richard Wagner’s diatribes about synagogue noise. For Gould, Schoenberg’s is a formalist revolution; Schoenberg’s life, however, suggests that it was a search for personal and political freedom.The second half of Speechsong is a critical essay in twelve “moments” that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould’s turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg’s exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould’s soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0267.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/speechsong-the-gould-schoenberg-dialogues/ 16 40 03rmrcq20 32 10.13039/501100005247 University of British Columbia Earth, Milky Way 04 01 20200211 Cavell, Richard 02 WORLD 06 15 9781950192496 03 9781950192496 34 06 10.1525/jams.2001.54.3.585 34 06 10.1525/ncm.2005.29.1.64 34 06 10.1017/S0954586700004134 34 06 10.1093/ml/gcw066 34 06 10.1525/jams.2017.70.1.221 34 06 10.1093/oq/kbn036 34 06 10.2307/4149092 34 06 10.1017/S0364009410000656 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/22809 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/22809/0267.1.00.pdf?sequence=1&isAllowed=y 20 08 20200211 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36421 20 08 20200211 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354031 20 08 20200211 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/627 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/438b202c-8f1c-40a2-97db-53efde874841/download 20 08 20200211 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Speechsong/wgSVEAAAQBAJ 20 08 20200211 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/66af728c-958b-4575-9e5e-25209343cd66 29 INTERNET_ARCHIVE: download the title https://archive.org/download/66af728c-958b-4575-9e5e-25209343cd66/66af728c-958b-4575-9e5e-25209343cd66.pdf 20 08 20200211 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848135 29 ZENODO: download the title https://zenodo.org/records/19848135/files/66af728c-958b-4575-9e5e-25209343cd66_book.pdf 20 08 20200211 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/speechsong-the-gould-schoenberg-dialogues/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0267.1.00.pdf 20 08 20200211 01 urn:uuid:c1820f24-4e25-4d36-9981-ff6f3a6e3ee9 03 01 01 thoth-work-id urn:uuid:2594554e-02ef-4015-b619-2645020b0ac1 01 thoth-publication-id urn:uuid:c1820f24-4e25-4d36-9981-ff6f3a6e3ee9 15 9781685710965 03 9781685710965 06 10.53288/0411.1.00 13 2022949162 01 internal-reference 0411 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Static Palace 1 A01 21 0000000165109363 Leora Fridman Leora Fridman 40 00hj8s172 Columbia University 40 01hvh9s85 Jewish Museum of Maryland Leora Fridman is a Mexican American Jewish writer and educator born in Massachusetts on lands of the Pawtucket and Massachusett people, and currently living in Brooklyn, NY on lands of the Canarsie and Munsee Lenape people. She is author of My Fault, selected by Eileen Myles for the Cleveland State University Press First Book Prize and Make An Effort from Essay Press, in addition to other books of prose, poetry, and translation. Her work appears in The Believer, The New York Times, Open Space, and the Rumpus, among other magazines, art spaces, and gatherings. She holds degrees with honors from the University of Massachusetts Amherst MFA Program for Poets and Writers and Brown University. She is a recipient of support from various organizations, including the Fulbright Foundation, Creative Capital / Andy Warhol Foundation, Caldera, Vermont Studio Center, and the Santa Fe Art Institute. She has led classes and workshops in universities, homes and retreat centers, and collaborates widely with artists, writers, and community groups. She is currently Curator in Residence at the Jewish Museum of Maryland and Faculty Associate in the Narrative Medicine program at Columbia University. 01 eng 00 178 03 B2 Autotheory 10 BIO017000 12 BM 93 DNC B2 Cultural Studies+Critical Theory 93 JBFN 10 SOC010000 12 VFJB 12 JFFH B2 Thought Experiments 93 VFJD 12 VFJD 20 illness; disability; autotheory; endometriosis; body; apocalypse; gender studies; feminism 01 06 02 00 03 00 In the face of unimaginably violent systems, our most vulnerable bodies — sick, disabled, unable to rise from bed — offer the resistance of imperative vulnerability. What can we learn from the body that cannot help but fail? How can porosity perform treachery within entrenched opressions? What kind of reading and relationship to text can enrich relationship instead of inscribing boundaries between us? What does it mean to accept the unacceptable, and what kind of power becomes available when we submit to forces larger than ourselves? How might we take refuge in discomfort, and in the process refuse the stale comforts offered by hyper-capitalist economics and white supremacy?Static Palace, a collection of linked essays, weaves the writer’s experiences of chronic illness and activism under Trump rule to explore the possibility that arises from circumstances we often perceive as ruin: hopeless political systems, disabled bodies, narratives that stutter and do not complete themselves, the devastation of climate change. Spurred by the writer’s diagnosis with endometriosis and accompanying chronic conditions — which occurred immediately following the 2016 US Presidential Election — Static Palace is especially relevant in the context of rising fascism, pandemics, and the decay of social services and support networks.A direct engagement with the patchwork, fragmented brain of digital life and sick brain, Static Palace is part lyric essay and part cultural criticism: it pulls from current events, including Black-led resistance movements and disability justice activism, and cites contemporary thinkers on gender, feminism, care, critical race, and disability studies towards an artful treatment of crisis and community. Its concerns move toward connection and inter-being. By threading a wide variety of theories and politics through the personal, Fridman seeks a fertile integrity through — and with — subjectivity. We witness a mind making, culling, and attempting to stave off isolation through intertextual and interpersonal conversation. This work complicates the meaning of belonging, family and tribe, challenges our impulses toward narrative resolution, and offers a nuanced understanding of interdependent being and thought. 30 00 In the face of unimaginably violent systems, our most vulnerable bodies — sick, disabled, unable to rise from bed — offer the resistance of imperative vulnerability. What can we learn from the body that cannot help but fail? How can porosity perform treachery within entrenched opressions? What kind of reading and relationship to text can enrich relationship instead of inscribing boundaries between us? What does it mean to accept the unacceptable, and what kind of power becomes available when we submit to forces larger than ourselves? How might we take refuge in discomfort, and in the process refuse the stale comforts offered by hyper-capitalist economics and white supremacy?Static Palace, a collection of linked essays, weaves the writer’s experiences of chronic illness and activism under Trump rule to explore the possibility that arises from circumstances we often perceive as ruin: hopeless political systems, disabled bodies, narratives that stutter and do not complete themselves, the devastation of climate change. Spurred by the writer’s diagnosis with endometriosis and accompanying chronic conditions — which occurred immediately following the 2016 US Presidential Election — Static Palace is especially relevant in the context of rising fascism, pandemics, and the decay of social services and support networks.A direct engagement with the patchwork, fragmented brain of digital life and sick brain, Static Palace is part lyric essay and part cultural criticism: it pulls from current events, including Black-led resistance movements and disability justice activism, and cites contemporary thinkers on gender, feminism, care, critical race, and disability studies towards an artful treatment of crisis and community. Its concerns move toward connection and inter-being. By threading a wide variety of theories and politics through the personal, Fridman seeks a fertile integrity through — and with — subjectivity. We witness a mind making, culling, and attempting to stave off isolation through intertextual and interpersonal conversation. This work complicates the meaning of belonging, family and tribe, challenges our impulses toward narrative resolution, and offers a nuanced understanding of interdependent being and thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0411.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/static-palace/ Earth, Milky Way 04 01 20221201 Leora Fridman 02 WORLD 06 15 9781685710972 03 9781685710972 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710964 20 08 20221201 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/static-palace 20 08 20221201 02 23.00 USD WORLD urn:uuid:99baca72-0b85-4e27-ad89-5ad2f077bb71 03 01 01 thoth-work-id urn:uuid:2594554e-02ef-4015-b619-2645020b0ac1 01 thoth-publication-id urn:uuid:99baca72-0b85-4e27-ad89-5ad2f077bb71 15 9781685710972 03 9781685710972 06 10.53288/0411.1.00 13 2022949162 01 internal-reference 0411 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Static Palace 1 A01 21 0000000165109363 Leora Fridman Leora Fridman 40 00hj8s172 Columbia University 40 01hvh9s85 Jewish Museum of Maryland Leora Fridman is a Mexican American Jewish writer and educator born in Massachusetts on lands of the Pawtucket and Massachusett people, and currently living in Brooklyn, NY on lands of the Canarsie and Munsee Lenape people. She is author of My Fault, selected by Eileen Myles for the Cleveland State University Press First Book Prize and Make An Effort from Essay Press, in addition to other books of prose, poetry, and translation. Her work appears in The Believer, The New York Times, Open Space, and the Rumpus, among other magazines, art spaces, and gatherings. She holds degrees with honors from the University of Massachusetts Amherst MFA Program for Poets and Writers and Brown University. She is a recipient of support from various organizations, including the Fulbright Foundation, Creative Capital / Andy Warhol Foundation, Caldera, Vermont Studio Center, and the Santa Fe Art Institute. She has led classes and workshops in universities, homes and retreat centers, and collaborates widely with artists, writers, and community groups. She is currently Curator in Residence at the Jewish Museum of Maryland and Faculty Associate in the Narrative Medicine program at Columbia University. 01 eng 00 178 03 B2 Autotheory 10 BIO017000 12 BM 93 DNC B2 Cultural Studies+Critical Theory 93 JBFN 10 SOC010000 12 VFJB 12 JFFH B2 Thought Experiments 93 VFJD 12 VFJD 20 illness; disability; autotheory; endometriosis; body; apocalypse; gender studies; feminism 01 06 02 00 03 00 In the face of unimaginably violent systems, our most vulnerable bodies — sick, disabled, unable to rise from bed — offer the resistance of imperative vulnerability. What can we learn from the body that cannot help but fail? How can porosity perform treachery within entrenched opressions? What kind of reading and relationship to text can enrich relationship instead of inscribing boundaries between us? What does it mean to accept the unacceptable, and what kind of power becomes available when we submit to forces larger than ourselves? How might we take refuge in discomfort, and in the process refuse the stale comforts offered by hyper-capitalist economics and white supremacy?Static Palace, a collection of linked essays, weaves the writer’s experiences of chronic illness and activism under Trump rule to explore the possibility that arises from circumstances we often perceive as ruin: hopeless political systems, disabled bodies, narratives that stutter and do not complete themselves, the devastation of climate change. Spurred by the writer’s diagnosis with endometriosis and accompanying chronic conditions — which occurred immediately following the 2016 US Presidential Election — Static Palace is especially relevant in the context of rising fascism, pandemics, and the decay of social services and support networks.A direct engagement with the patchwork, fragmented brain of digital life and sick brain, Static Palace is part lyric essay and part cultural criticism: it pulls from current events, including Black-led resistance movements and disability justice activism, and cites contemporary thinkers on gender, feminism, care, critical race, and disability studies towards an artful treatment of crisis and community. Its concerns move toward connection and inter-being. By threading a wide variety of theories and politics through the personal, Fridman seeks a fertile integrity through — and with — subjectivity. We witness a mind making, culling, and attempting to stave off isolation through intertextual and interpersonal conversation. This work complicates the meaning of belonging, family and tribe, challenges our impulses toward narrative resolution, and offers a nuanced understanding of interdependent being and thought. 30 00 In the face of unimaginably violent systems, our most vulnerable bodies — sick, disabled, unable to rise from bed — offer the resistance of imperative vulnerability. What can we learn from the body that cannot help but fail? How can porosity perform treachery within entrenched opressions? What kind of reading and relationship to text can enrich relationship instead of inscribing boundaries between us? What does it mean to accept the unacceptable, and what kind of power becomes available when we submit to forces larger than ourselves? How might we take refuge in discomfort, and in the process refuse the stale comforts offered by hyper-capitalist economics and white supremacy?Static Palace, a collection of linked essays, weaves the writer’s experiences of chronic illness and activism under Trump rule to explore the possibility that arises from circumstances we often perceive as ruin: hopeless political systems, disabled bodies, narratives that stutter and do not complete themselves, the devastation of climate change. Spurred by the writer’s diagnosis with endometriosis and accompanying chronic conditions — which occurred immediately following the 2016 US Presidential Election — Static Palace is especially relevant in the context of rising fascism, pandemics, and the decay of social services and support networks.A direct engagement with the patchwork, fragmented brain of digital life and sick brain, Static Palace is part lyric essay and part cultural criticism: it pulls from current events, including Black-led resistance movements and disability justice activism, and cites contemporary thinkers on gender, feminism, care, critical race, and disability studies towards an artful treatment of crisis and community. Its concerns move toward connection and inter-being. By threading a wide variety of theories and politics through the personal, Fridman seeks a fertile integrity through — and with — subjectivity. We witness a mind making, culling, and attempting to stave off isolation through intertextual and interpersonal conversation. This work complicates the meaning of belonging, family and tribe, challenges our impulses toward narrative resolution, and offers a nuanced understanding of interdependent being and thought. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0411.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/static-palace/ Earth, Milky Way 04 01 20221201 Leora Fridman 02 WORLD 06 15 9781685710965 03 9781685710965 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/59783 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/59783/0411.1.00.pdf?sequence=1&isAllowed=y 20 08 20221201 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/94346 20 08 20221201 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv34j7mdf 20 08 20221201 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/372 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8e87c723-0881-4766-a9e8-aecf29735f84/download 20 08 20221201 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2594554e-02ef-4015-b619-2645020b0ac1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2594554e-02ef-4015-b619-2645020b0ac1/2594554e-02ef-4015-b619-2645020b0ac1.pdf 20 08 20221201 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849615 29 ZENODO: download the title https://zenodo.org/records/19849615/files/2594554e-02ef-4015-b619-2645020b0ac1_book.pdf 20 08 20221201 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/static-palace/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0411.1.00.pdf 20 08 20221201 01 urn:uuid:11118926-5a39-4752-bc95-9d8fc89490b3 03 01 01 thoth-work-id urn:uuid:0ea7574d-2d74-4d69-8dd3-ce39f34cd9ce 01 thoth-publication-id urn:uuid:11118926-5a39-4752-bc95-9d8fc89490b3 15 9780615906508 03 9780615906508 06 10.21983/P3.0052.1.00 01 internal-reference 0052 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Staying Alive A Survival Manual for the Liberal Arts 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 3 A15 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 4 A32 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 5 A32 Daniel C. Remein Daniel C. Remein 40 0190ak572 New York University 6 A32 Ruth Evans Ruth Evans 40 01p7jjy08 Saint Louis University 7 A32 Donna-Beth Ellard Donna-Beth Ellard 40 04w7skc03 University of Denver 8 A32 Michael D. Snediker Michael D. Snediker 40 048sx0r50 University of Houston 01 eng 00 372 03 B2 Humanities+University 93 JNA 12 JNA 10 PSY026000 93 JMAF1 B2 Manifesto! B2 Pedagogies 20 university studies; higher education; EDU040000; public education; arts & humanities 01 06 02 00 03 00 Staying Alive: A Survival Manual for the Liberal Arts fiercely defends the liberal arts in and from an age of neoliberal capital and techno-corporatization run amok, arguing that the public university’s purpose is not vocational training, but rather the cultivation of what Fradenburg calls “artfulness,” including the art of making knowledge. In addition to sustained critical and creative thinking, the humanities develop the mind’s capacities for real-time improvisational communication and interpretation, without which we can neither thrive nor survive. Humanist pedagogy and research use play, experimentation and intersubjective exchange to foster forms of artfulness critical to the future of our species. From perception to reality-testing to concept-formation and logic, the arts and humanities teach us to see, hear and respond more keenly, and to imagine, or “model,” new futures and possibilities. Innovation of all kinds, technological or artistic, depends on the enhancement of the skills proper to staying alive 30 00 Staying Alive: A Survival Manual for the Liberal Arts fiercely defends the liberal arts in and from an age of neoliberal capital and techno-corporatization run amok, arguing that the public university’s purpose is not vocational training, but rather the cultivation of what Fradenburg calls “artfulness,” including the art of making knowledge. In addition to sustained critical and creative thinking, the humanities develop the mind’s capacities for real-time improvisational communication and interpretation, without which we can neither thrive nor survive. Humanist pedagogy and research use play, experimentation and intersubjective exchange to foster forms of artfulness critical to the future of our species. From perception to reality-testing to concept-formation and logic, the arts and humanities teach us to see, hear and respond more keenly, and to imagine, or “model,” new futures and possibilities. Innovation of all kinds, technological or artistic, depends on the enhancement of the skills proper to staying alive 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0052.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/staying-alive/ Brooklyn, NY 04 01 20131021 Fradenburg, L.O. Aranye Joy, Eileen A. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615906508 20 08 20131021 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/staying-alive-a-survival-manual-for-the-liberal-arts-contributions-byjulieorlemanskijulie-orlemanskifalseuniversity-of-chicago1013039100007234024mw5h28usa 20 08 20131021 02 26.00 USD WORLD urn:uuid:99c51644-708c-4b83-ac29-84d1c5bd781f 03 01 01 thoth-work-id urn:uuid:0ea7574d-2d74-4d69-8dd3-ce39f34cd9ce 01 thoth-publication-id urn:uuid:99c51644-708c-4b83-ac29-84d1c5bd781f 06 10.21983/P3.0052.1.00 01 internal-reference 0052 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Staying Alive A Survival Manual for the Liberal Arts 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 2 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 3 A15 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 4 A32 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 5 A32 Daniel C. Remein Daniel C. Remein 40 0190ak572 New York University 6 A32 Ruth Evans Ruth Evans 40 01p7jjy08 Saint Louis University 7 A32 Donna-Beth Ellard Donna-Beth Ellard 40 04w7skc03 University of Denver 8 A32 Michael D. Snediker Michael D. Snediker 40 048sx0r50 University of Houston 01 eng 00 372 03 B2 Humanities+University 93 JNA 12 JNA 10 PSY026000 93 JMAF1 B2 Manifesto! B2 Pedagogies 20 university studies; higher education; EDU040000; public education; arts & humanities 01 06 02 00 03 00 Staying Alive: A Survival Manual for the Liberal Arts fiercely defends the liberal arts in and from an age of neoliberal capital and techno-corporatization run amok, arguing that the public university’s purpose is not vocational training, but rather the cultivation of what Fradenburg calls “artfulness,” including the art of making knowledge. In addition to sustained critical and creative thinking, the humanities develop the mind’s capacities for real-time improvisational communication and interpretation, without which we can neither thrive nor survive. Humanist pedagogy and research use play, experimentation and intersubjective exchange to foster forms of artfulness critical to the future of our species. From perception to reality-testing to concept-formation and logic, the arts and humanities teach us to see, hear and respond more keenly, and to imagine, or “model,” new futures and possibilities. Innovation of all kinds, technological or artistic, depends on the enhancement of the skills proper to staying alive 30 00 Staying Alive: A Survival Manual for the Liberal Arts fiercely defends the liberal arts in and from an age of neoliberal capital and techno-corporatization run amok, arguing that the public university’s purpose is not vocational training, but rather the cultivation of what Fradenburg calls “artfulness,” including the art of making knowledge. In addition to sustained critical and creative thinking, the humanities develop the mind’s capacities for real-time improvisational communication and interpretation, without which we can neither thrive nor survive. Humanist pedagogy and research use play, experimentation and intersubjective exchange to foster forms of artfulness critical to the future of our species. From perception to reality-testing to concept-formation and logic, the arts and humanities teach us to see, hear and respond more keenly, and to imagine, or “model,” new futures and possibilities. Innovation of all kinds, technological or artistic, depends on the enhancement of the skills proper to staying alive 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0052.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/staying-alive/ Brooklyn, NY 04 01 20131021 Fradenburg, L.O. Aranye Joy, Eileen A. 02 WORLD 06 15 9780615906508 03 9780615906508 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76455 20 08 20131021 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25565 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25565/1004530.pdf?sequence=1&isAllowed=y 20 08 20131021 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29380 20 08 20131021 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353921 20 08 20131021 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/434 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/39c298d3-65db-400a-8c75-9fcf5b97d297/download 20 08 20131021 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0ea7574d-2d74-4d69-8dd3-ce39f34cd9ce 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0ea7574d-2d74-4d69-8dd3-ce39f34cd9ce/0ea7574d-2d74-4d69-8dd3-ce39f34cd9ce.pdf 20 08 20131021 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845835 29 ZENODO: download the title https://zenodo.org/records/19845835/files/0ea7574d-2d74-4d69-8dd3-ce39f34cd9ce_book.pdf 20 08 20131021 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/staying-alive/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0052.1.00.pdf 20 08 20131021 01 urn:uuid:d2dee38b-a7c4-44c4-a306-d5197856ea2f 03 01 01 thoth-work-id urn:uuid:427eb4d3-482d-48d7-9094-823526880304 01 thoth-publication-id urn:uuid:d2dee38b-a7c4-44c4-a306-d5197856ea2f 15 9781950192373 03 9781950192373 06 10.21983/P3.0261.1.00 13 2019945942 01 internal-reference 0261 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Steal This Classroom Teaching and Learning Unbound 1 A01 Jody Cohen Jody Cohen 40 05sjwtp51 Bryn Mawr College 2 A01 Anne Dalke Anne Dalke 40 05sjwtp51 Bryn Mawr College 01 eng 00 446 03 10 EDU040000 12 JNA 93 JNA B2 Pedagogies 12 JNF 93 JNS 93 JNAM 12 JNH 12 JNS 12 JNAM 20 inclusive education; pedagogy; prison system; unlearning; cognitive studies; philosophy of education; sustainability 01 06 02 00 03 00 Jody Cohen and Anne Dalke construe “classrooms” as testing grounds, paradoxically boxed-in spaces that cannot keep their promise to enclose, categorize, or name. Exploring what is usually left out can create conditions ripe for breaking through, where real and abstract reverse and melt, the distinction between them disappearing. These are ecotones, transitional spaces that are testing grounds, places of danger and opportunity.In college classrooms, an urban high school, a public library, a playground, and a women’s prison, Anne and Jody share scenes where teaching and learning take them by surprise; these are moments of uncertainty, sometimes constructed as failure. Digging into and exploding such moments reveals that they might be results of institutional pressures, socioeconomic and other diversities not acknowledged but operating and entangling individuals and ideas. Classrooms are sometimes “stolen” by the complex systems surrounding and permeating the activities that take place there; Jody and Anne explore ways to steal them back. Examining what is hidden but present in such moments can turn them into breakthroughs, powerful learning for educators and students—revealing how failure itself might not be what it seems.Moving back and forth between micro and macro in a continual interplay across individuals, groups, and institutions, and organizing their experiences and philosophies of teaching under the rubrics of Playing, Haunting, Silencing, Unbecoming, Leaking, Befriending, Slipping, and Reassembling, Anne and Jody try out alternative tales, exploring a pedagogical orientation that is ecological in the largest sense, engaging teachers and students in re-thinking learning and teaching in classrooms, and in their larger lives, as complex, enmeshed, volatile eco-systems. 30 00 Jody Cohen and Anne Dalke construe “classrooms” as testing grounds, paradoxically boxed-in spaces that cannot keep their promise to enclose, categorize, or name. Exploring what is usually left out can create conditions ripe for breaking through, where real and abstract reverse and melt, the distinction between them disappearing. These are ecotones, transitional spaces that are testing grounds, places of danger and opportunity.In college classrooms, an urban high school, a public library, a playground, and a women’s prison, Anne and Jody share scenes where teaching and learning take them by surprise; these are moments of uncertainty, sometimes constructed as failure. Digging into and exploding such moments reveals that they might be results of institutional pressures, socioeconomic and other diversities not acknowledged but operating and entangling individuals and ideas. Classrooms are sometimes “stolen” by the complex systems surrounding and permeating the activities that take place there; Jody and Anne explore ways to steal them back. Examining what is hidden but present in such moments can turn them into breakthroughs, powerful learning for educators and students—revealing how failure itself might not be what it seems.Moving back and forth between micro and macro in a continual interplay across individuals, groups, and institutions, and organizing their experiences and philosophies of teaching under the rubrics of Playing, Haunting, Silencing, Unbecoming, Leaking, Befriending, Slipping, and Reassembling, Anne and Jody try out alternative tales, exploring a pedagogical orientation that is ecological in the largest sense, engaging teachers and students in re-thinking learning and teaching in classrooms, and in their larger lives, as complex, enmeshed, volatile eco-systems. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0261.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/steal-this-classroom-teaching-and-learning-unbound/ 16 40 05sjwtp51 Bryn Mawr College Earth, Milky Way 04 01 20191128 Cohen, Jody Dalke, Anne 02 WORLD 06 15 9781950192380 03 9781950192380 34 06 10.17763/haer.81.2.6l42343qqw360j03 34 06 10.1177/002205748016200106 34 06 10.1215/9780822388128 34 06 10.1086/448884 34 06 10.18061/dsq.v35i2.4652 34 06 10.1215/9780822395447 34 06 10.2307/1354255 34 06 10.1080/15505170.2011.571176 34 06 10.2307/358724 34 06 10.17763/haer.58.3.c43481778r528qw4 34 06 10.18061/dsq.v35i2.4632 34 06 10.17763/haer.79.2.nu3436017730384w 34 06 10.4324/9780203020920 34 06 10.1080/10665684.2014.959285 34 06 10.1111/j.1548-7466.2009.01037.x 34 06 10.7551/mitpress/7678.001.0001 34 06 10.1111/j.1527-2001.2011.01206.x 34 06 10.1057/9780230358393 34 06 10.1002/cc.20145 34 06 10.18061/dsq.v36i1.4281 34 06 10.17763/haer.79.2.n43005263015v775 34 06 10.1111/j.1471-6402.2005.00180.x 34 06 10.1068/d2706wsh 34 06 10.2307/2269475 34 06 10.1046/j.1523-1739.1996.10020328.x 34 06 10.1080/10894160.2015.970975 34 06 10.1093/acprof:oso/9780199732449.001.0001 34 06 10.1080/10665684.2014.958970 34 06 10.17763/haer.58.3.d171833kp7v732j1 34 06 10.1353/hcr.0.0159 34 06 10.2307/358442 34 06 10.1177/0021140013484429 34 06 10.22439/fs.v0i7.2634 34 06 10.4324/9780203451311 34 06 10.1086/421123 34 06 10.2307/4140717 34 06 10.1111/j.1527-2001.1987.tb01062.x 34 06 10.1002/cc.20146 34 06 10.1111/j.1467-873X.2008.01438.x 34 06 10.1525/aeq.1995.26.3.05x0936z 34 06 10.1057/9780230358393_13 34 06 10.3138/topia.10.53 34 06 10.5406/radicalteacher.95.0022 34 06 10.1215/9780822384786-006 34 06 10.3998/mpub.309723 34 06 10.2307/1585906 34 06 10.1215/15314200-2348911 34 06 10.18061/dsq.v31i4.1705 34 06 10.1215/9780822390404 34 06 10.2307/3594233 34 06 10.5149/9780807898352_sweeney 34 06 10.1080/10282580.2013.769308 34 06 10.1057/9780230105669_2 34 06 10.1177/1077800413502934 34 06 10.7208/chicago/9780226135083.001.0001 34 06 10.1353/cal.1999.0131 34 06 10.7591/9781501723995-002 34 06 10.1525/california/9780520276109.001.0001 34 06 10.1353/jowh.2006.0018 34 06 10.1007/s10755-009-9122-3 34 06 10.17763/haer.79.3.n0016675661t3n15 34 06 10.17763/haer.82.2.v1jx34n441532242 34 06 10.1353/pmc.2005.0032 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192377 20 08 20191128 02 32.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/steal-this-classroom-teaching-and-learning-unbound 20 08 20191128 02 32.00 USD WORLD urn:uuid:f7663f23-cfe0-482a-b7fd-a94e4412e028 03 01 01 thoth-work-id urn:uuid:427eb4d3-482d-48d7-9094-823526880304 01 thoth-publication-id urn:uuid:f7663f23-cfe0-482a-b7fd-a94e4412e028 15 9781950192380 03 9781950192380 06 10.21983/P3.0261.1.00 13 2019945942 01 internal-reference 0261 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Steal This Classroom Teaching and Learning Unbound 1 A01 Jody Cohen Jody Cohen 40 05sjwtp51 Bryn Mawr College 2 A01 Anne Dalke Anne Dalke 40 05sjwtp51 Bryn Mawr College 01 eng 00 446 03 10 EDU040000 12 JNA 93 JNA B2 Pedagogies 12 JNF 93 JNS 93 JNAM 12 JNH 12 JNS 12 JNAM 20 inclusive education; pedagogy; prison system; unlearning; cognitive studies; philosophy of education; sustainability 01 06 02 00 03 00 Jody Cohen and Anne Dalke construe “classrooms” as testing grounds, paradoxically boxed-in spaces that cannot keep their promise to enclose, categorize, or name. Exploring what is usually left out can create conditions ripe for breaking through, where real and abstract reverse and melt, the distinction between them disappearing. These are ecotones, transitional spaces that are testing grounds, places of danger and opportunity.In college classrooms, an urban high school, a public library, a playground, and a women’s prison, Anne and Jody share scenes where teaching and learning take them by surprise; these are moments of uncertainty, sometimes constructed as failure. Digging into and exploding such moments reveals that they might be results of institutional pressures, socioeconomic and other diversities not acknowledged but operating and entangling individuals and ideas. Classrooms are sometimes “stolen” by the complex systems surrounding and permeating the activities that take place there; Jody and Anne explore ways to steal them back. Examining what is hidden but present in such moments can turn them into breakthroughs, powerful learning for educators and students—revealing how failure itself might not be what it seems.Moving back and forth between micro and macro in a continual interplay across individuals, groups, and institutions, and organizing their experiences and philosophies of teaching under the rubrics of Playing, Haunting, Silencing, Unbecoming, Leaking, Befriending, Slipping, and Reassembling, Anne and Jody try out alternative tales, exploring a pedagogical orientation that is ecological in the largest sense, engaging teachers and students in re-thinking learning and teaching in classrooms, and in their larger lives, as complex, enmeshed, volatile eco-systems. 30 00 Jody Cohen and Anne Dalke construe “classrooms” as testing grounds, paradoxically boxed-in spaces that cannot keep their promise to enclose, categorize, or name. Exploring what is usually left out can create conditions ripe for breaking through, where real and abstract reverse and melt, the distinction between them disappearing. These are ecotones, transitional spaces that are testing grounds, places of danger and opportunity.In college classrooms, an urban high school, a public library, a playground, and a women’s prison, Anne and Jody share scenes where teaching and learning take them by surprise; these are moments of uncertainty, sometimes constructed as failure. Digging into and exploding such moments reveals that they might be results of institutional pressures, socioeconomic and other diversities not acknowledged but operating and entangling individuals and ideas. Classrooms are sometimes “stolen” by the complex systems surrounding and permeating the activities that take place there; Jody and Anne explore ways to steal them back. Examining what is hidden but present in such moments can turn them into breakthroughs, powerful learning for educators and students—revealing how failure itself might not be what it seems.Moving back and forth between micro and macro in a continual interplay across individuals, groups, and institutions, and organizing their experiences and philosophies of teaching under the rubrics of Playing, Haunting, Silencing, Unbecoming, Leaking, Befriending, Slipping, and Reassembling, Anne and Jody try out alternative tales, exploring a pedagogical orientation that is ecological in the largest sense, engaging teachers and students in re-thinking learning and teaching in classrooms, and in their larger lives, as complex, enmeshed, volatile eco-systems. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0261.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/steal-this-classroom-teaching-and-learning-unbound/ 16 40 05sjwtp51 Bryn Mawr College Earth, Milky Way 04 01 20191128 Cohen, Jody Dalke, Anne 02 WORLD 06 15 9781950192373 03 9781950192373 34 06 10.17763/haer.81.2.6l42343qqw360j03 34 06 10.1177/002205748016200106 34 06 10.1215/9780822388128 34 06 10.1086/448884 34 06 10.18061/dsq.v35i2.4652 34 06 10.1215/9780822395447 34 06 10.2307/1354255 34 06 10.1080/15505170.2011.571176 34 06 10.2307/358724 34 06 10.17763/haer.58.3.c43481778r528qw4 34 06 10.18061/dsq.v35i2.4632 34 06 10.17763/haer.79.2.nu3436017730384w 34 06 10.4324/9780203020920 34 06 10.1080/10665684.2014.959285 34 06 10.1111/j.1548-7466.2009.01037.x 34 06 10.7551/mitpress/7678.001.0001 34 06 10.1111/j.1527-2001.2011.01206.x 34 06 10.1057/9780230358393 34 06 10.1002/cc.20145 34 06 10.18061/dsq.v36i1.4281 34 06 10.17763/haer.79.2.n43005263015v775 34 06 10.1111/j.1471-6402.2005.00180.x 34 06 10.1068/d2706wsh 34 06 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06 10.1353/cal.1999.0131 34 06 10.7591/9781501723995-002 34 06 10.1525/california/9780520276109.001.0001 34 06 10.1353/jowh.2006.0018 34 06 10.1007/s10755-009-9122-3 34 06 10.17763/haer.79.3.n0016675661t3n15 34 06 10.17763/haer.82.2.v1jx34n441532242 34 06 10.1353/pmc.2005.0032 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23658 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23658/0261.1.00.pdf?sequence=1&isAllowed=y 20 08 20191128 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26973 20 08 20191128 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353837 20 08 20191128 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/620 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d2df8b7f-7cf0-4bea-8c86-4975ea55a5b0/download 20 08 20191128 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/427eb4d3-482d-48d7-9094-823526880304 29 INTERNET_ARCHIVE: download the title https://archive.org/download/427eb4d3-482d-48d7-9094-823526880304/427eb4d3-482d-48d7-9094-823526880304.pdf 20 08 20191128 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847986 29 ZENODO: download the title https://zenodo.org/records/19847986/files/427eb4d3-482d-48d7-9094-823526880304_book.pdf 20 08 20191128 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/steal-this-classroom-teaching-and-learning-unbound/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0261.1.00.pdf 20 08 20191128 01 urn:uuid:c555b8bf-bd82-4d73-b6be-821afef45c2f 03 01 01 thoth-work-id urn:uuid:8cd5ce6c-d604-46ac-b4f7-1f871589d96a 01 thoth-publication-id urn:uuid:c555b8bf-bd82-4d73-b6be-821afef45c2f 15 9781953035684 03 9781953035684 06 10.53288/0326.1.00 13 2021941494 01 internal-reference 0326 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Still Life Notes on Barbara Loden's "Wanda" (1970) 1 A01 21 0000000349097221 Anna Backman Rogers Anna Backman Rogers 40 01tm6cn81 University of Gothenburg 01 eng 00 154 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 93 JBSF11 12 JFFK 10 SOC010000 20 1970s cinema; US independent cinema; Barbara Loden; feminist studies; film studies; Wanda (film) 01 06 02 00 03 00 There is indeed a "miracle" in the 1970 film Wanda. This film has survived, despite decades of neglect, to emerge into the fuliginous light of an era that may just be ready to strain at grasping its harsh and brutal truths -- truths that reveal the imbrication of the psychic in the social and the experiential in political structures. Barbara Loden's film dares to suggest that the social and ethical functions of art should not necessarily be redemptive – that salvation is a cheap and spurious form of consolation that few can afford in this world. This film, made by a woman who knew all too well what it means to be defined through and by her material circumstances (and her relationships to men), and that is so relentlessly ferocious in its refusal to assuage and comfort the viewer, has always been a form of future feminism. Wanda does not brook the comforts of positivity, of aspiration, or even the luxury of selfhood.This film, Still Life contends, is so radical in its feminist-anti-capitalist politics of refusal that we are still struggling to keep up with it. It delineates precisely how the personal is political and why this matters now more than ever. Wanda, a film about a woman who refuses to be saved or to save herself, who lacks the means and energy to alter anything in her life, who lives in a permanent state of blockage, impasse and failure is, as this publication suggests, the film of our contemporary moment. 30 00 There is indeed a "miracle" in the 1970 film Wanda. This film has survived, despite decades of neglect, to emerge into the fuliginous light of an era that may just be ready to strain at grasping its harsh and brutal truths -- truths that reveal the imbrication of the psychic in the social and the experiential in political structures. Barbara Loden's film dares to suggest that the social and ethical functions of art should not necessarily be redemptive – that salvation is a cheap and spurious form of consolation that few can afford in this world. This film, made by a woman who knew all too well what it means to be defined through and by her material circumstances (and her relationships to men), and that is so relentlessly ferocious in its refusal to assuage and comfort the viewer, has always been a form of future feminism. Wanda does not brook the comforts of positivity, of aspiration, or even the luxury of selfhood.This film, Still Life contends, is so radical in its feminist-anti-capitalist politics of refusal that we are still struggling to keep up with it. It delineates precisely how the personal is political and why this matters now more than ever. Wanda, a film about a woman who refuses to be saved or to save herself, who lacks the means and energy to alter anything in her life, who lives in a permanent state of blockage, impasse and failure is, as this publication suggests, the film of our contemporary moment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0326.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/still-life-notes-on-barbara-lodens-wanda-1970/ Earth, Milky Way 04 01 20210729 Backman Rogers, Anna (0000-0003-4909-7221) 02 WORLD 06 15 9781953035691 03 9781953035691 34 06 10.1525/fq.2018.72.2.81 34 06 10.2307/2930194 34 06 10.2307/1211469 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195303568X 20 08 20210729 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/still-life-notes-on-barbara-lodens-wanda-1970 20 08 20210729 02 22.00 USD WORLD urn:uuid:49ef93f4-d7dd-41eb-9f57-11e879519b69 03 01 01 thoth-work-id urn:uuid:8cd5ce6c-d604-46ac-b4f7-1f871589d96a 01 thoth-publication-id urn:uuid:49ef93f4-d7dd-41eb-9f57-11e879519b69 15 9781953035691 03 9781953035691 06 10.53288/0326.1.00 13 2021941494 01 internal-reference 0326 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Still Life Notes on Barbara Loden's "Wanda" (1970) 1 A01 21 0000000349097221 Anna Backman Rogers Anna Backman Rogers 40 01tm6cn81 University of Gothenburg 01 eng 00 154 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 93 JBSF11 12 JFFK 10 SOC010000 20 1970s cinema; US independent cinema; Barbara Loden; feminist studies; film studies; Wanda (film) 01 06 02 00 03 00 There is indeed a "miracle" in the 1970 film Wanda. This film has survived, despite decades of neglect, to emerge into the fuliginous light of an era that may just be ready to strain at grasping its harsh and brutal truths -- truths that reveal the imbrication of the psychic in the social and the experiential in political structures. Barbara Loden's film dares to suggest that the social and ethical functions of art should not necessarily be redemptive – that salvation is a cheap and spurious form of consolation that few can afford in this world. This film, made by a woman who knew all too well what it means to be defined through and by her material circumstances (and her relationships to men), and that is so relentlessly ferocious in its refusal to assuage and comfort the viewer, has always been a form of future feminism. Wanda does not brook the comforts of positivity, of aspiration, or even the luxury of selfhood.This film, Still Life contends, is so radical in its feminist-anti-capitalist politics of refusal that we are still struggling to keep up with it. It delineates precisely how the personal is political and why this matters now more than ever. Wanda, a film about a woman who refuses to be saved or to save herself, who lacks the means and energy to alter anything in her life, who lives in a permanent state of blockage, impasse and failure is, as this publication suggests, the film of our contemporary moment. 30 00 There is indeed a "miracle" in the 1970 film Wanda. This film has survived, despite decades of neglect, to emerge into the fuliginous light of an era that may just be ready to strain at grasping its harsh and brutal truths -- truths that reveal the imbrication of the psychic in the social and the experiential in political structures. Barbara Loden's film dares to suggest that the social and ethical functions of art should not necessarily be redemptive – that salvation is a cheap and spurious form of consolation that few can afford in this world. This film, made by a woman who knew all too well what it means to be defined through and by her material circumstances (and her relationships to men), and that is so relentlessly ferocious in its refusal to assuage and comfort the viewer, has always been a form of future feminism. Wanda does not brook the comforts of positivity, of aspiration, or even the luxury of selfhood.This film, Still Life contends, is so radical in its feminist-anti-capitalist politics of refusal that we are still struggling to keep up with it. It delineates precisely how the personal is political and why this matters now more than ever. Wanda, a film about a woman who refuses to be saved or to save herself, who lacks the means and energy to alter anything in her life, who lives in a permanent state of blockage, impasse and failure is, as this publication suggests, the film of our contemporary moment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0326.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/still-life-notes-on-barbara-lodens-wanda-1970/ Earth, Milky Way 04 01 20210729 Backman Rogers, Anna (0000-0003-4909-7221) 02 WORLD 06 15 9781953035684 03 9781953035684 34 06 10.1525/fq.2018.72.2.81 34 06 10.2307/2930194 34 06 10.2307/1211469 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50125 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50125/0326.1.00.pdf?sequence=1&isAllowed=y 20 08 20210729 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71380 20 08 20210729 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/j.ctv1wvncr0 20 08 20210729 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/672 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3bb3dafb-778d-41ad-ae8f-905f13d16690/download 20 08 20210729 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8cd5ce6c-d604-46ac-b4f7-1f871589d96a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8cd5ce6c-d604-46ac-b4f7-1f871589d96a/8cd5ce6c-d604-46ac-b4f7-1f871589d96a.pdf 20 08 20210729 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848960 29 ZENODO: download the title https://zenodo.org/records/19848960/files/8cd5ce6c-d604-46ac-b4f7-1f871589d96a_book.pdf 20 08 20210729 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/still-life-notes-on-barbara-lodens-wanda-1970/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0326.1.00.pdf 20 08 20210729 01 urn:uuid:1b7a9a0e-258b-43d4-8ba2-c323201d58ff 03 01 01 thoth-work-id urn:uuid:1547aa4b-7629-4a21-8b2b-621223c73ec9 01 thoth-publication-id urn:uuid:1b7a9a0e-258b-43d4-8ba2-c323201d58ff 15 9780988234031 03 9780988234031 06 10.21983/P3.0099.1.00 01 internal-reference 0099 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Still Thriving On the Importance of Aranye Fradenburg 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 00 88 03 12 DSBB B2 Humanities+University 93 JMAF1 10 LIT011000 93 DSBB B2 Literary Studies 93 3KLWQ B2 Premodern 20 medieval studies; literature; humanities; well-being; Aranye Fradenburg 01 06 02 00 03 00 The work of L.O. Aranye Fradenburg, especially her psychoanalytic criticism of Chaucer, and her formulations of discontinuist historical approaches to the Middle Ages, has been extremely influential within medieval studies for the past 20 or so years. More recently she has been focusing on more broad defenses of the humanities, especially with regard to the valuable role of literary studies relative to the arts of everyday living, eudaimonia [flourishing], ethical community, and well-being, and also on psychoanalysis itself as a “liberal art.” Relationality, intersubjectivity, aliveness, resilience, care of the self and also of others, adaptive flexibility, playfulness, shared attention, companionship, healing, and thriving seem, increasingly, to be the key watchwords and concerns of Fradenburg’s work, and at the same time, the so-called “literary” mode is still central to these concerns, such that, as Fradenburg has written, “Interpretation and relationality depend on one another because all relationships are unending processes of interpretation and expression, listening and signifying. In turn, sentience assists relationality: we can’t thrive and probably can’t survive without minds open to possibility, capable of sensing and interpreting the tiniest shifts in, e.g., pitch and tone.”This small volume features short essays and personal reflections on the importance of Fradenburg’s career, as teacher and scholar, and also on the valuable role(s) that her work, and medieval studies more generally, has played and might still play in the defense of the humanities as essential to living and thriving. 30 00 The work of L.O. Aranye Fradenburg, especially her psychoanalytic criticism of Chaucer, and her formulations of discontinuist historical approaches to the Middle Ages, has been extremely influential within medieval studies for the past 20 or so years. More recently she has been focusing on more broad defenses of the humanities, especially with regard to the valuable role of literary studies relative to the arts of everyday living, eudaimonia [flourishing], ethical community, and well-being, and also on psychoanalysis itself as a “liberal art.” Relationality, intersubjectivity, aliveness, resilience, care of the self and also of others, adaptive flexibility, playfulness, shared attention, companionship, healing, and thriving seem, increasingly, to be the key watchwords and concerns of Fradenburg’s work, and at the same time, the so-called “literary” mode is still central to these concerns, such that, as Fradenburg has written, “Interpretation and relationality depend on one another because all relationships are unending processes of interpretation and expression, listening and signifying. In turn, sentience assists relationality: we can’t thrive and probably can’t survive without minds open to possibility, capable of sensing and interpreting the tiniest shifts in, e.g., pitch and tone.”This small volume features short essays and personal reflections on the importance of Fradenburg’s career, as teacher and scholar, and also on the valuable role(s) that her work, and medieval studies more generally, has played and might still play in the defense of the humanities as essential to living and thriving. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0099.1.00_frontcover.png 1 03 06 10.21983/P3.0099.1.01 i vii 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access Joy, Eileen A. 2 03 06 10.21983/P3.0099.1.02 i xx 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Like a Radio Left On / on the Outskirts of Identical Cities: Living (with) Fradenburg 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 20 00 Open Access Joy, Eileen A. 3 03 06 10.21983/P3.0099.1.03 1 6 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 More Blue Doors 1 A01 Patricia Clare Ingham Patricia Clare Ingham 40 01kg8sb98 Indiana University 01 eng 20 00 Open Access Patricia Clare Ingham 4 03 06 10.21983/P3.0099.1.04 7 15 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Come Flourish with Me Critically Mixing Pleasure and Politics 1 A01 Randy P. Schiff Randy P. Schiff 40 01y64my43 University at Buffalo, State University of New York 01 eng 20 00 Open Access Randy P. Schiff 5 03 06 10.21983/P3.0099.1.05 17 24 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Provision and Provisionality 1 A01 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 01 eng 20 00 Open Access Julie Orlemanski 6 03 06 10.21983/P3.0099.1.06 25 31 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Critical Thriving Chaucer, the Nun's Priest Tale, and the MLA 1 A01 Kathy Lavezzo Kathy Lavezzo 40 036jqmy94 University of Iowa 01 eng 20 00 Open Access Kathy Lavezzo 7 03 06 10.21983/P3.0099.1.07 33 39 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sacrificial Enjoyment 1 A01 21 0000000217265203 Paul Megna Paul Megna 40 057trrr89 Purchase College 01 eng 20 00 Open Access Paul Megna 8 03 06 10.21983/P3.0099.1.08 41 49 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 living / riddle 1 A01 Daniel C. Remein Daniel C. Remein 40 04ydmy275 University of Massachusetts Boston 01 eng 20 00 Open Access Daniel C. Remein 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/still-thriving/ Brooklyn, NY 04 01 20150409 Joy, Eileen A. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0988234033 20 08 20150409 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/still-thriving-on-the-importance-of-aranye-fradenburg 20 08 20150409 02 21.00 USD WORLD urn:uuid:9afb9475-b399-49ed-8669-942029f2f843 03 01 01 thoth-work-id urn:uuid:1547aa4b-7629-4a21-8b2b-621223c73ec9 01 thoth-publication-id urn:uuid:9afb9475-b399-49ed-8669-942029f2f843 06 10.21983/P3.0099.1.00 01 internal-reference 0099 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Still Thriving On the Importance of Aranye Fradenburg 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 00 88 03 12 DSBB B2 Humanities+University 93 JMAF1 10 LIT011000 93 DSBB B2 Literary Studies 93 3KLWQ B2 Premodern 20 medieval studies; literature; humanities; well-being; Aranye Fradenburg 01 06 02 00 03 00 The work of L.O. Aranye Fradenburg, especially her psychoanalytic criticism of Chaucer, and her formulations of discontinuist historical approaches to the Middle Ages, has been extremely influential within medieval studies for the past 20 or so years. More recently she has been focusing on more broad defenses of the humanities, especially with regard to the valuable role of literary studies relative to the arts of everyday living, eudaimonia [flourishing], ethical community, and well-being, and also on psychoanalysis itself as a “liberal art.” Relationality, intersubjectivity, aliveness, resilience, care of the self and also of others, adaptive flexibility, playfulness, shared attention, companionship, healing, and thriving seem, increasingly, to be the key watchwords and concerns of Fradenburg’s work, and at the same time, the so-called “literary” mode is still central to these concerns, such that, as Fradenburg has written, “Interpretation and relationality depend on one another because all relationships are unending processes of interpretation and expression, listening and signifying. In turn, sentience assists relationality: we can’t thrive and probably can’t survive without minds open to possibility, capable of sensing and interpreting the tiniest shifts in, e.g., pitch and tone.”This small volume features short essays and personal reflections on the importance of Fradenburg’s career, as teacher and scholar, and also on the valuable role(s) that her work, and medieval studies more generally, has played and might still play in the defense of the humanities as essential to living and thriving. 30 00 The work of L.O. Aranye Fradenburg, especially her psychoanalytic criticism of Chaucer, and her formulations of discontinuist historical approaches to the Middle Ages, has been extremely influential within medieval studies for the past 20 or so years. More recently she has been focusing on more broad defenses of the humanities, especially with regard to the valuable role of literary studies relative to the arts of everyday living, eudaimonia [flourishing], ethical community, and well-being, and also on psychoanalysis itself as a “liberal art.” Relationality, intersubjectivity, aliveness, resilience, care of the self and also of others, adaptive flexibility, playfulness, shared attention, companionship, healing, and thriving seem, increasingly, to be the key watchwords and concerns of Fradenburg’s work, and at the same time, the so-called “literary” mode is still central to these concerns, such that, as Fradenburg has written, “Interpretation and relationality depend on one another because all relationships are unending processes of interpretation and expression, listening and signifying. In turn, sentience assists relationality: we can’t thrive and probably can’t survive without minds open to possibility, capable of sensing and interpreting the tiniest shifts in, e.g., pitch and tone.”This small volume features short essays and personal reflections on the importance of Fradenburg’s career, as teacher and scholar, and also on the valuable role(s) that her work, and medieval studies more generally, has played and might still play in the defense of the humanities as essential to living and thriving. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0099.1.00_frontcover.png 1 03 06 10.21983/P3.0099.1.01 i vii 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 01 eng 20 00 Open Access Joy, Eileen A. 2 03 06 10.21983/P3.0099.1.02 i xx 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Like a Radio Left On / on the Outskirts of Identical Cities: Living (with) Fradenburg 1 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 20 00 Open Access Joy, Eileen A. 3 03 06 10.21983/P3.0099.1.03 1 6 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 More Blue Doors 1 A01 Patricia Clare Ingham Patricia Clare Ingham 40 01kg8sb98 Indiana University 01 eng 20 00 Open Access Patricia Clare Ingham 4 03 06 10.21983/P3.0099.1.04 7 15 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Come Flourish with Me Critically Mixing Pleasure and Politics 1 A01 Randy P. Schiff Randy P. Schiff 40 01y64my43 University at Buffalo, State University of New York 01 eng 20 00 Open Access Randy P. Schiff 5 03 06 10.21983/P3.0099.1.05 17 24 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Provision and Provisionality 1 A01 Julie Orlemanski Julie Orlemanski 40 024mw5h28 University of Chicago 01 eng 20 00 Open Access Julie Orlemanski 6 03 06 10.21983/P3.0099.1.06 25 31 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Critical Thriving Chaucer, the Nun's Priest Tale, and the MLA 1 A01 Kathy Lavezzo Kathy Lavezzo 40 036jqmy94 University of Iowa 01 eng 20 00 Open Access Kathy Lavezzo 7 03 06 10.21983/P3.0099.1.07 33 39 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sacrificial Enjoyment 1 A01 21 0000000217265203 Paul Megna Paul Megna 40 057trrr89 Purchase College 01 eng 20 00 Open Access Paul Megna 8 03 06 10.21983/P3.0099.1.08 41 49 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 living / riddle 1 A01 Daniel C. Remein Daniel C. Remein 40 04ydmy275 University of Massachusetts Boston 01 eng 20 00 Open Access Daniel C. Remein 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/still-thriving/ Brooklyn, NY 04 01 20150409 Joy, Eileen A. 02 WORLD 06 15 9780988234031 03 9780988234031 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76510 20 08 20150409 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25522 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25522/1004573.pdf?sequence=1&isAllowed=y 20 08 20150409 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36488 20 08 20150409 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354009 20 08 20150409 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/481 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4ef7e34f-b9a5-4191-b481-e598e2ec4fef/download 20 08 20150409 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1547aa4b-7629-4a21-8b2b-621223c73ec9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1547aa4b-7629-4a21-8b2b-621223c73ec9/1547aa4b-7629-4a21-8b2b-621223c73ec9.pdf 20 08 20150409 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846188 29 ZENODO: download the title https://zenodo.org/records/19846188/files/1547aa4b-7629-4a21-8b2b-621223c73ec9_book.pdf 20 08 20150409 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/still-thriving/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0099.1.00.pdf 20 08 20150409 01 urn:uuid:8ebfdab1-3e54-4210-9231-5af71570a37a 03 01 01 thoth-work-id urn:uuid:afeac3d3-5370-4f40-8a7d-53df8aa62899 01 thoth-publication-id urn:uuid:8ebfdab1-3e54-4210-9231-5af71570a37a 15 9781685710668 03 9781685710668 06 10.53288/0387.1.00 13 2022944964 01 internal-reference 0387 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Styling Sagaciousness Oh Great No! 1 A01 Joseph Nechvatal Joseph Nechvatal Joseph Nechvatal is an American transcultural and transdisciplinary artist currently living in Paris. His post-conceptual art practice engages in the fragile wedding of image production and image resistance. Through his version of an art-of-noise, he brings a subversive reading of society through his use of custom a-life computational viruses. Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology at the University of Wales, Newport in 1999. From 1999 to 2014 he taught in the mfa graduate department at the School of Visual Arts in New York City. His book of essays Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality (1993-2006) was published by Edgewise Press in 2009. In 2011 his book Immersion Into Noise was published by the University of Michigan in conjunction with the Open Humanities Press and went into an Open Humanities Press second edition in 2022. Nechvatal has also already published two books with punctum press: Minóy (ed.) (2014) and Destroyer of Naivetés (2015). In 2021 a cassette of his Selected Sound Works (1981-2021) was published by the Pentiments experimental music and sound art label and in 2022 Pentiments released his double vinyl LP The Viral Tempest. In the Fall of 2022, Nechvatal is exhibiting new virus-modelled a-life paintings in an exhibition called Turning the Viral Tempest at Galerie Richard in Paris. 01 eng 00 146 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 10 POE014000 B2 Sex 93 FP 20 apophasis; eros; thanatos; mythopoetry 01 06 02 00 03 00 During the Paris pandemic confinement period of 2020, with the dread of viral death in the air, artist Joseph Nechvatal finished his second book of poetry, titled Styling Sagaciousness: Oh Great No!The mythopoeic mélange of Styling Sagaciousness is intended as a complicated forensic fairy-tale, suitable for Nô theater, which keeps slipping in and out of idiosyncratic narration, a ghostly appearance-disappearance act that turns on the nub of our narcissism concerning our death – that strange, incurable, and deeply irrational affliction we all share. Putting identity aside, Nechvatal's poetry tests the limits of form and stretches the bounds of meaning by recasting our experiences of encountering our self as the sumptuous physicality of total negation. As such, Styling Sagaciousness delivers an airy irrational punch of needed nonsensical negation by tying together insouciant informality with a visceral camp irony: at turns hip and flamboyant and morally outrageous.This seven-part death farce epic poem follows up Nechvatal's sex farce epic poem Destroyer of Naivetés. Nechvatal intends these two books (with complementary cover images of his painting penelOpe in agOny) to be the sum total of his mature poetic output; addressing first Eros, and then, with Styling Sagaciousness, Thanatos. 30 00 During the Paris pandemic confinement period of 2020, with the dread of viral death in the air, artist Joseph Nechvatal finished his second book of poetry, titled Styling Sagaciousness: Oh Great No!The mythopoeic mélange of Styling Sagaciousness is intended as a complicated forensic fairy-tale, suitable for Nô theater, which keeps slipping in and out of idiosyncratic narration, a ghostly appearance-disappearance act that turns on the nub of our narcissism concerning our death – that strange, incurable, and deeply irrational affliction we all share. Putting identity aside, Nechvatal's poetry tests the limits of form and stretches the bounds of meaning by recasting our experiences of encountering our self as the sumptuous physicality of total negation. As such, Styling Sagaciousness delivers an airy irrational punch of needed nonsensical negation by tying together insouciant informality with a visceral camp irony: at turns hip and flamboyant and morally outrageous.This seven-part death farce epic poem follows up Nechvatal's sex farce epic poem Destroyer of Naivetés. Nechvatal intends these two books (with complementary cover images of his painting penelOpe in agOny) to be the sum total of his mature poetic output; addressing first Eros, and then, with Styling Sagaciousness, Thanatos. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0387.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/styling-sagaciousness-oh-great-no/ Earth, Milky Way 04 01 20220901 Joseph Nechvatal 02 WORLD 06 15 9781685710675 03 9781685710675 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710662 20 08 20220901 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/styling-sagaciousness-oh-great-no 20 08 20220901 02 22.00 USD WORLD urn:uuid:2e745664-03e2-488f-a042-22da250eb520 03 01 01 thoth-work-id urn:uuid:afeac3d3-5370-4f40-8a7d-53df8aa62899 01 thoth-publication-id urn:uuid:2e745664-03e2-488f-a042-22da250eb520 15 9781685710675 03 9781685710675 06 10.53288/0387.1.00 13 2022944964 01 internal-reference 0387 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Styling Sagaciousness Oh Great No! 1 A01 Joseph Nechvatal Joseph Nechvatal Joseph Nechvatal is an American transcultural and transdisciplinary artist currently living in Paris. His post-conceptual art practice engages in the fragile wedding of image production and image resistance. Through his version of an art-of-noise, he brings a subversive reading of society through his use of custom a-life computational viruses. Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology at the University of Wales, Newport in 1999. From 1999 to 2014 he taught in the mfa graduate department at the School of Visual Arts in New York City. His book of essays Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality (1993-2006) was published by Edgewise Press in 2009. In 2011 his book Immersion Into Noise was published by the University of Michigan in conjunction with the Open Humanities Press and went into an Open Humanities Press second edition in 2022. Nechvatal has also already published two books with punctum press: Minóy (ed.) (2014) and Destroyer of Naivetés (2015). In 2021 a cassette of his Selected Sound Works (1981-2021) was published by the Pentiments experimental music and sound art label and in 2022 Pentiments released his double vinyl LP The Viral Tempest. In the Fall of 2022, Nechvatal is exhibiting new virus-modelled a-life paintings in an exhibition called Turning the Viral Tempest at Galerie Richard in Paris. 01 eng 00 146 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 DCC 10 POE014000 B2 Sex 93 FP 20 apophasis; eros; thanatos; mythopoetry 01 06 02 00 03 00 During the Paris pandemic confinement period of 2020, with the dread of viral death in the air, artist Joseph Nechvatal finished his second book of poetry, titled Styling Sagaciousness: Oh Great No!The mythopoeic mélange of Styling Sagaciousness is intended as a complicated forensic fairy-tale, suitable for Nô theater, which keeps slipping in and out of idiosyncratic narration, a ghostly appearance-disappearance act that turns on the nub of our narcissism concerning our death – that strange, incurable, and deeply irrational affliction we all share. Putting identity aside, Nechvatal's poetry tests the limits of form and stretches the bounds of meaning by recasting our experiences of encountering our self as the sumptuous physicality of total negation. As such, Styling Sagaciousness delivers an airy irrational punch of needed nonsensical negation by tying together insouciant informality with a visceral camp irony: at turns hip and flamboyant and morally outrageous.This seven-part death farce epic poem follows up Nechvatal's sex farce epic poem Destroyer of Naivetés. Nechvatal intends these two books (with complementary cover images of his painting penelOpe in agOny) to be the sum total of his mature poetic output; addressing first Eros, and then, with Styling Sagaciousness, Thanatos. 30 00 During the Paris pandemic confinement period of 2020, with the dread of viral death in the air, artist Joseph Nechvatal finished his second book of poetry, titled Styling Sagaciousness: Oh Great No!The mythopoeic mélange of Styling Sagaciousness is intended as a complicated forensic fairy-tale, suitable for Nô theater, which keeps slipping in and out of idiosyncratic narration, a ghostly appearance-disappearance act that turns on the nub of our narcissism concerning our death – that strange, incurable, and deeply irrational affliction we all share. Putting identity aside, Nechvatal's poetry tests the limits of form and stretches the bounds of meaning by recasting our experiences of encountering our self as the sumptuous physicality of total negation. As such, Styling Sagaciousness delivers an airy irrational punch of needed nonsensical negation by tying together insouciant informality with a visceral camp irony: at turns hip and flamboyant and morally outrageous.This seven-part death farce epic poem follows up Nechvatal's sex farce epic poem Destroyer of Naivetés. Nechvatal intends these two books (with complementary cover images of his painting penelOpe in agOny) to be the sum total of his mature poetic output; addressing first Eros, and then, with Styling Sagaciousness, Thanatos. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0387.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/styling-sagaciousness-oh-great-no/ Earth, Milky Way 04 01 20220901 Joseph Nechvatal 02 WORLD 06 15 9781685710668 03 9781685710668 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/58061 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/58061/0387.1.00.pdf?sequence=1&isAllowed=y 20 08 20220901 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/91579 20 08 20220901 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2vm39jt 20 08 20220901 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/374 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/560de93f-b5e8-4bce-8d04-df25c5023e6f/download 20 08 20220901 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Styling_Sagaciousness/gASVEAAAQBAJ 20 08 20220901 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/afeac3d3-5370-4f40-8a7d-53df8aa62899 29 INTERNET_ARCHIVE: download the title https://archive.org/download/afeac3d3-5370-4f40-8a7d-53df8aa62899/afeac3d3-5370-4f40-8a7d-53df8aa62899.pdf 20 08 20220901 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849482 29 ZENODO: download the title https://zenodo.org/records/19849482/files/afeac3d3-5370-4f40-8a7d-53df8aa62899_book.pdf 20 08 20220901 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/styling-sagaciousness-oh-great-no/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0387.1.00.pdf 20 08 20220901 01 urn:uuid:1d15a46a-3443-4330-922d-d4d7c3d70ecb 03 01 01 thoth-work-id urn:uuid:08543bd7-e603-43ae-bb0f-1d4c1c96030b 01 thoth-publication-id urn:uuid:1d15a46a-3443-4330-922d-d4d7c3d70ecb 15 9780615747101 03 9780615747101 06 10.21983/P3.0020.1.00 01 internal-reference 0020 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Suite on "Spiritus Silvestre" For Symphony 1 A01 Denzil Ford Denzil Ford 40 03rmrcq20 University of British Columbia 01 eng 00 44 03 93 AVA 12 AVA B2 Biosphere 10 SCI043000 B2 Cultural Studies+Critical Theory 93 RNA B2 Sound+Noise 20 Charles D. Keeling; climate science; oceanography; music 01 06 02 00 03 00 Carbon dioxide. This small book aims to open a door. It is an experiment in thinking about an object made extremely familiar to many people across the world in recent years through science, the news, governments, and public discourses. One of the first names given to carbon dioxide was spiritus silvestre or wild spirit, a moniker that has fallen out of favor. This experiment is a chance to hold what we think we know about this object in our hand and ponder our own knowledge for a while by looking at it in one particular historical context long after more modern names became familiar.Music. The reader is asked to create a space of visualization where the potential for new understandings arise when seemingly unrelated things and practices are taken seriously next to one another and where previous conceptions of wildness may have continued to emit sound even after formal names changed. In the 20th century, Charles Keeling was one of the major scientists interested in the wild spirit -- he was also a musician.Illumination. Denzil Ford highlights relationships between the musician and the scientist and further considers conceptualizing an object of scientific inquiry through the framework of a piece of music. Her narrative approach does not spell out every point but uses text and image together; this is a work of experimental thought written in experimental form. She joins other scholars looking at the multiple meanings of carbon dioxide across time and space, and her historical and philosophical approach allows the reader a moment to remember some of the social layers of scientific research that have led to our understanding of climate change, one of the greatest environmental problems of the 21st century. 30 00 Carbon dioxide. This small book aims to open a door. It is an experiment in thinking about an object made extremely familiar to many people across the world in recent years through science, the news, governments, and public discourses. One of the first names given to carbon dioxide was spiritus silvestre or wild spirit, a moniker that has fallen out of favor. This experiment is a chance to hold what we think we know about this object in our hand and ponder our own knowledge for a while by looking at it in one particular historical context long after more modern names became familiar.Music. The reader is asked to create a space of visualization where the potential for new understandings arise when seemingly unrelated things and practices are taken seriously next to one another and where previous conceptions of wildness may have continued to emit sound even after formal names changed. In the 20th century, Charles Keeling was one of the major scientists interested in the wild spirit -- he was also a musician.Illumination. Denzil Ford highlights relationships between the musician and the scientist and further considers conceptualizing an object of scientific inquiry through the framework of a piece of music. Her narrative approach does not spell out every point but uses text and image together; this is a work of experimental thought written in experimental form. She joins other scholars looking at the multiple meanings of carbon dioxide across time and space, and her historical and philosophical approach allows the reader a moment to remember some of the social layers of scientific research that have led to our understanding of climate change, one of the greatest environmental problems of the 21st century. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0020.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/suite-on-spiritus-silvestre/ Brooklyn, NY 04 01 20121225 Ford, Denzil 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615747108 20 08 20121225 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/suite-on-spiritus-silvestre-for-symphony 20 08 20121225 02 21.00 USD WORLD urn:uuid:299e440e-b615-4552-950a-12b00cb1d94a 03 01 01 thoth-work-id urn:uuid:08543bd7-e603-43ae-bb0f-1d4c1c96030b 01 thoth-publication-id urn:uuid:299e440e-b615-4552-950a-12b00cb1d94a 06 10.21983/P3.0020.1.00 01 internal-reference 0020 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Suite on "Spiritus Silvestre" For Symphony 1 A01 Denzil Ford Denzil Ford 40 03rmrcq20 University of British Columbia 01 eng 00 44 03 93 AVA 12 AVA B2 Biosphere 10 SCI043000 B2 Cultural Studies+Critical Theory 93 RNA B2 Sound+Noise 20 Charles D. Keeling; climate science; oceanography; music 01 06 02 00 03 00 Carbon dioxide. This small book aims to open a door. It is an experiment in thinking about an object made extremely familiar to many people across the world in recent years through science, the news, governments, and public discourses. One of the first names given to carbon dioxide was spiritus silvestre or wild spirit, a moniker that has fallen out of favor. This experiment is a chance to hold what we think we know about this object in our hand and ponder our own knowledge for a while by looking at it in one particular historical context long after more modern names became familiar.Music. The reader is asked to create a space of visualization where the potential for new understandings arise when seemingly unrelated things and practices are taken seriously next to one another and where previous conceptions of wildness may have continued to emit sound even after formal names changed. In the 20th century, Charles Keeling was one of the major scientists interested in the wild spirit -- he was also a musician.Illumination. Denzil Ford highlights relationships between the musician and the scientist and further considers conceptualizing an object of scientific inquiry through the framework of a piece of music. Her narrative approach does not spell out every point but uses text and image together; this is a work of experimental thought written in experimental form. She joins other scholars looking at the multiple meanings of carbon dioxide across time and space, and her historical and philosophical approach allows the reader a moment to remember some of the social layers of scientific research that have led to our understanding of climate change, one of the greatest environmental problems of the 21st century. 30 00 Carbon dioxide. This small book aims to open a door. It is an experiment in thinking about an object made extremely familiar to many people across the world in recent years through science, the news, governments, and public discourses. One of the first names given to carbon dioxide was spiritus silvestre or wild spirit, a moniker that has fallen out of favor. This experiment is a chance to hold what we think we know about this object in our hand and ponder our own knowledge for a while by looking at it in one particular historical context long after more modern names became familiar.Music. The reader is asked to create a space of visualization where the potential for new understandings arise when seemingly unrelated things and practices are taken seriously next to one another and where previous conceptions of wildness may have continued to emit sound even after formal names changed. In the 20th century, Charles Keeling was one of the major scientists interested in the wild spirit -- he was also a musician.Illumination. Denzil Ford highlights relationships between the musician and the scientist and further considers conceptualizing an object of scientific inquiry through the framework of a piece of music. Her narrative approach does not spell out every point but uses text and image together; this is a work of experimental thought written in experimental form. She joins other scholars looking at the multiple meanings of carbon dioxide across time and space, and her historical and philosophical approach allows the reader a moment to remember some of the social layers of scientific research that have led to our understanding of climate change, one of the greatest environmental problems of the 21st century. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0020.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/suite-on-spiritus-silvestre/ Brooklyn, NY 04 01 20121225 Ford, Denzil 02 WORLD 06 15 9780615747101 03 9780615747101 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76433 20 08 20121225 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25595 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25595/1004500.pdf?sequence=1&isAllowed=y 20 08 20121225 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38760 20 08 20121225 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354005 20 08 20121225 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/399 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/325a5f33-b417-4ed9-bf8b-d87b7afb2302/download 20 08 20121225 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Suite_on_Spiritus_Silvestre/6gOVEAAAQBAJ 20 08 20121225 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/08543bd7-e603-43ae-bb0f-1d4c1c96030b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/08543bd7-e603-43ae-bb0f-1d4c1c96030b/08543bd7-e603-43ae-bb0f-1d4c1c96030b.pdf 20 08 20121225 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693219 29 ZENODO: download the title https://zenodo.org/records/19693219/files/08543bd7-e603-43ae-bb0f-1d4c1c96030b_book.pdf 20 08 20121225 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/suite-on-spiritus-silvestre/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0020.1.00.pdf 20 08 20121225 01 urn:uuid:aeb226ac-5aff-4655-9442-6d713b7c1ab5 03 01 01 thoth-work-id urn:uuid:11eb327c-40fa-496d-9af5-3be8bdb95e93 01 thoth-publication-id urn:uuid:aeb226ac-5aff-4655-9442-6d713b7c1ab5 15 9781685710149 03 9781685710149 06 10.53288/0357.1.00 13 2021949833 01 internal-reference 0357 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Suture Trauma and Trans Becoming 1 A01 21 0000000261331431 KJ Cerankowski KJ Cerankowski 40 05ac26z88 Oberlin College 01 eng 00 250 03 B2 Autotheory 93 JBSF3 12 JFSK 10 SOC064020 10 BIO031000 12 BM B2 Cultural Studies+Critical Theory 93 JBSJ 93 DNC B2 TransQueer 93 5PT 93 VFJQ3 20 queer studies; transgender studies; asexuality; BDSM; trauma; gender studies; identity 01 06 02 00 03 00 The landscape of trauma is scattered with ghosts. Wolves hunkering in the shadows. Memory’s spectral persistence and evasion. Leaky bodies and selves gathered up in the storm of pain. Genders imposed and genders made. History’s cruel excisions, scars, the spillage of wounds. A landscape in which we are nevertheless called to build home. Here, “storytelling is a kind of suturing.”Combining memoir, lyrical essay, and cultural criticism, KJ Cerankowski's Suture: Trauma and Trans Becoming stitches together an embodied history of trauma and its ongoing impacts on the lived realities of trans, queer, and other marginalized subjects. Suture is a conjuration, a patchwork knitting of ghost stories attending to the wound as its own archive. It is a journey through many “transitions”: of gender; through illness and chronic pain; from childhood to adulthood and back again; of psyche and form in the wake of abuse and through the work of healing; and of the self, becoming in and through the ongoingness of settler colonial violence and its attendant subjugations of diverse forms of life.Refusing a traditional binary-based gender transition narrative, as well as dominant psychoanalytic narratives of trauma that center an individual process of symptom, diagnosis, and cure, Suture explores the refractive nature of trauma’s dispersed roots and lingering effects. If the wounds of trauma are disquiet apparitions—repetitions within the cut—these stories tend the seams through which the simultaneous loneliness of mourning and togetherness of queer intersubjective relations converge. Across these essays, healing, and indeed living, is a state of perpetual becoming, surviving, and loving, in the nonlinearities of trauma time, body-time, and queer time. 30 00 The landscape of trauma is scattered with ghosts. Wolves hunkering in the shadows. Memory’s spectral persistence and evasion. Leaky bodies and selves gathered up in the storm of pain. Genders imposed and genders made. History’s cruel excisions, scars, the spillage of wounds. A landscape in which we are nevertheless called to build home. Here, “storytelling is a kind of suturing.”Combining memoir, lyrical essay, and cultural criticism, KJ Cerankowski's Suture: Trauma and Trans Becoming stitches together an embodied history of trauma and its ongoing impacts on the lived realities of trans, queer, and other marginalized subjects. Suture is a conjuration, a patchwork knitting of ghost stories attending to the wound as its own archive. It is a journey through many “transitions”: of gender; through illness and chronic pain; from childhood to adulthood and back again; of psyche and form in the wake of abuse and through the work of healing; and of the self, becoming in and through the ongoingness of settler colonial violence and its attendant subjugations of diverse forms of life.Refusing a traditional binary-based gender transition narrative, as well as dominant psychoanalytic narratives of trauma that center an individual process of symptom, diagnosis, and cure, Suture explores the refractive nature of trauma’s dispersed roots and lingering effects. If the wounds of trauma are disquiet apparitions—repetitions within the cut—these stories tend the seams through which the simultaneous loneliness of mourning and togetherness of queer intersubjective relations converge. Across these essays, healing, and indeed living, is a state of perpetual becoming, surviving, and loving, in the nonlinearities of trauma time, body-time, and queer time. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0357.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/suture-trauma-and-trans-becoming/ 16 40 05ac26z88 32 10.13039/100019859 Oberlin College Earth, Milky Way 04 01 20211111 Cerankowski, KJ 02 WORLD 06 15 9781685710156 03 9781685710156 34 06 10.1057/fr.2015.24 34 06 10.1111/cros.12339 34 06 10.5210/fm.v20i4.5895 34 06 10.1080/09546634.2017.1364693 34 06 10.3366/drt.2010.0206 34 06 10.1215/23289252-3815069 34 06 10.1002/anie.201107385 34 06 10.2307/3181682 34 06 10.1007/s10912-013-9214-z 34 06 10.1215/23289252-2685660 34 06 10.1353/bio.2012.0011 34 06 10.1353/wsq.0.0099 34 06 10.1353/pmc.2011.0009 34 06 10.1016/j.jdcr.2015.11.002 34 06 10.1080/0969725X.2017.1322836 34 06 10.1111/hypa.12446 34 06 10.1177/1357034X09337785 34 06 10.3828/jlcds.2014.16 34 06 10.1124/mol.114.096941 34 06 10.16995/sim.256/ 34 06 10.1111/j.1365-2230.1983.tb01746.x 34 06 10.3928/00485713-20050501-06 34 06 10.3366/soma.2013.0099 34 06 10.1001/archderm.1954.01540230026003 34 06 10.1001/jamadermatol.2017.5175 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571014X 20 08 20211111 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/suture-trauma-and-trans-becoming 20 08 20211111 02 24.00 USD WORLD urn:uuid:e6d4ccfd-0a72-4c24-b8c0-ca5ce2c62003 03 01 01 thoth-work-id urn:uuid:11eb327c-40fa-496d-9af5-3be8bdb95e93 01 thoth-publication-id urn:uuid:e6d4ccfd-0a72-4c24-b8c0-ca5ce2c62003 15 9781685710156 03 9781685710156 06 10.53288/0357.1.00 13 2021949833 01 internal-reference 0357 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Suture Trauma and Trans Becoming 1 A01 21 0000000261331431 KJ Cerankowski KJ Cerankowski 40 05ac26z88 Oberlin College 01 eng 00 250 03 B2 Autotheory 93 JBSF3 12 JFSK 10 SOC064020 10 BIO031000 12 BM B2 Cultural Studies+Critical Theory 93 JBSJ 93 DNC B2 TransQueer 93 5PT 93 VFJQ3 20 queer studies; transgender studies; asexuality; BDSM; trauma; gender studies; identity 01 06 02 00 03 00 The landscape of trauma is scattered with ghosts. Wolves hunkering in the shadows. Memory’s spectral persistence and evasion. Leaky bodies and selves gathered up in the storm of pain. Genders imposed and genders made. History’s cruel excisions, scars, the spillage of wounds. A landscape in which we are nevertheless called to build home. Here, “storytelling is a kind of suturing.”Combining memoir, lyrical essay, and cultural criticism, KJ Cerankowski's Suture: Trauma and Trans Becoming stitches together an embodied history of trauma and its ongoing impacts on the lived realities of trans, queer, and other marginalized subjects. Suture is a conjuration, a patchwork knitting of ghost stories attending to the wound as its own archive. It is a journey through many “transitions”: of gender; through illness and chronic pain; from childhood to adulthood and back again; of psyche and form in the wake of abuse and through the work of healing; and of the self, becoming in and through the ongoingness of settler colonial violence and its attendant subjugations of diverse forms of life.Refusing a traditional binary-based gender transition narrative, as well as dominant psychoanalytic narratives of trauma that center an individual process of symptom, diagnosis, and cure, Suture explores the refractive nature of trauma’s dispersed roots and lingering effects. If the wounds of trauma are disquiet apparitions—repetitions within the cut—these stories tend the seams through which the simultaneous loneliness of mourning and togetherness of queer intersubjective relations converge. Across these essays, healing, and indeed living, is a state of perpetual becoming, surviving, and loving, in the nonlinearities of trauma time, body-time, and queer time. 30 00 The landscape of trauma is scattered with ghosts. Wolves hunkering in the shadows. Memory’s spectral persistence and evasion. Leaky bodies and selves gathered up in the storm of pain. Genders imposed and genders made. History’s cruel excisions, scars, the spillage of wounds. A landscape in which we are nevertheless called to build home. Here, “storytelling is a kind of suturing.”Combining memoir, lyrical essay, and cultural criticism, KJ Cerankowski's Suture: Trauma and Trans Becoming stitches together an embodied history of trauma and its ongoing impacts on the lived realities of trans, queer, and other marginalized subjects. Suture is a conjuration, a patchwork knitting of ghost stories attending to the wound as its own archive. It is a journey through many “transitions”: of gender; through illness and chronic pain; from childhood to adulthood and back again; of psyche and form in the wake of abuse and through the work of healing; and of the self, becoming in and through the ongoingness of settler colonial violence and its attendant subjugations of diverse forms of life.Refusing a traditional binary-based gender transition narrative, as well as dominant psychoanalytic narratives of trauma that center an individual process of symptom, diagnosis, and cure, Suture explores the refractive nature of trauma’s dispersed roots and lingering effects. If the wounds of trauma are disquiet apparitions—repetitions within the cut—these stories tend the seams through which the simultaneous loneliness of mourning and togetherness of queer intersubjective relations converge. Across these essays, healing, and indeed living, is a state of perpetual becoming, surviving, and loving, in the nonlinearities of trauma time, body-time, and queer time. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0357.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/suture-trauma-and-trans-becoming/ 16 40 05ac26z88 32 10.13039/100019859 Oberlin College Earth, Milky Way 04 01 20211111 Cerankowski, KJ 02 WORLD 06 15 9781685710149 03 9781685710149 34 06 10.1057/fr.2015.24 34 06 10.1111/cros.12339 34 06 10.5210/fm.v20i4.5895 34 06 10.1080/09546634.2017.1364693 34 06 10.3366/drt.2010.0206 34 06 10.1215/23289252-3815069 34 06 10.1002/anie.201107385 34 06 10.2307/3181682 34 06 10.1007/s10912-013-9214-z 34 06 10.1215/23289252-2685660 34 06 10.1353/bio.2012.0011 34 06 10.1353/wsq.0.0099 34 06 10.1353/pmc.2011.0009 34 06 10.1016/j.jdcr.2015.11.002 34 06 10.1080/0969725X.2017.1322836 34 06 10.1111/hypa.12446 34 06 10.1177/1357034X09337785 34 06 10.3828/jlcds.2014.16 34 06 10.1124/mol.114.096941 34 06 10.16995/sim.256/ 34 06 10.1111/j.1365-2230.1983.tb01746.x 34 06 10.3928/00485713-20050501-06 34 06 10.3366/soma.2013.0099 34 06 10.1001/archderm.1954.01540230026003 34 06 10.1001/jamadermatol.2017.5175 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/51403 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/51403/0357.1.00.pdf?sequence=1&isAllowed=y 20 08 20211111 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72748 20 08 20211111 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2321jb7 20 08 20211111 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/692 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e9181df4-b8e8-4dac-b1ae-4a9b52d2655a/download 20 08 20211111 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/11eb327c-40fa-496d-9af5-3be8bdb95e93 29 INTERNET_ARCHIVE: download the title https://archive.org/download/11eb327c-40fa-496d-9af5-3be8bdb95e93/11eb327c-40fa-496d-9af5-3be8bdb95e93.pdf 20 08 20211111 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849093 29 ZENODO: download the title https://zenodo.org/records/19849093/files/11eb327c-40fa-496d-9af5-3be8bdb95e93_book.pdf 20 08 20211111 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/suture-trauma-and-trans-becoming/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0357.1.00.pdf 20 08 20211111 01 urn:uuid:7c7e3354-f78a-458e-80e3-8d76b78ea72e 03 01 01 thoth-work-id urn:uuid:ffa5c5dd-ab4b-4739-8281-275d8c1fb504 01 thoth-publication-id urn:uuid:7c7e3354-f78a-458e-80e3-8d76b78ea72e 15 9781685710101 03 9781685710101 06 10.53288/0340.1.00 13 2021948743 01 internal-reference 0340 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sweet Spots Writing the Connective Tissue of Relation 1 A01 21 0000000300063645 Mattie-Martha Sempert Mattie-Martha Sempert 40 04ttjf776 RMIT University 01 eng 00 264 03 10 MED001000 B2 Neurodiverse+Crip 93 VXHA 12 VXHT1 12 HRKN5 10 PHI003000 93 QRRL5 B2 Thought Experiments 12 HPCF 93 QDHR 20 acupuncture; process philosophy; taoism; relational thought; Chinese traditional medicine; more-than-human; Alfred North Whitehead; Baruch Spinoza; Gilles Deleuze and Félix Guattari 01 06 02 00 03 00 Sweet Spots thinks transversally across language and body, and between text and tissue. This assemblage of essays collectively proposes that words—that is, language that lands as written text—are more-than-human material. And, these materials, composed of forces and flows and tendencies, are capable of generating text-flesh that grows into a thinking in the making. The practice of acupuncture—and its relational thinking—often makes its presence felt to twirl the text-tissue of the bodying essays. Ficto-critical thinking is threaded throughout to activate concepts from process philosophy and use the work of other thinkers (William James, Félix Guattari and Gilles Deleuze, Baruch Spinoza, and Virginia Woolf, to name a few) to forge imaginative connections.Entangled in the text-tissue are an assortment of entities, such as bickering body parts, quivering jellyfish, heart pacemaker cells, a narwhal tooth, Taoist parables, always with ubiquitous, stretchy connective tissue — from gooey interstitial fluid to thick planes of fascia — ever present to ensure that the essaying bodies become, what Alfred North Whitehead calls the one-which-includes-the-many-includes-the-one.The essaying bodies orient towards the sweetest sweet spot which is found, not in the center, but slightly askew, felt in the reverbing more-than that carries their potential. Crucially, this produces a shift in perspective away from self-enclosed bodies and experts toward a care for the connective tissue of relation. 30 00 Sweet Spots thinks transversally across language and body, and between text and tissue. This assemblage of essays collectively proposes that words—that is, language that lands as written text—are more-than-human material. And, these materials, composed of forces and flows and tendencies, are capable of generating text-flesh that grows into a thinking in the making. The practice of acupuncture—and its relational thinking—often makes its presence felt to twirl the text-tissue of the bodying essays. Ficto-critical thinking is threaded throughout to activate concepts from process philosophy and use the work of other thinkers (William James, Félix Guattari and Gilles Deleuze, Baruch Spinoza, and Virginia Woolf, to name a few) to forge imaginative connections.Entangled in the text-tissue are an assortment of entities, such as bickering body parts, quivering jellyfish, heart pacemaker cells, a narwhal tooth, Taoist parables, always with ubiquitous, stretchy connective tissue — from gooey interstitial fluid to thick planes of fascia — ever present to ensure that the essaying bodies become, what Alfred North Whitehead calls the one-which-includes-the-many-includes-the-one.The essaying bodies orient towards the sweetest sweet spot which is found, not in the center, but slightly askew, felt in the reverbing more-than that carries their potential. Crucially, this produces a shift in perspective away from self-enclosed bodies and experts toward a care for the connective tissue of relation. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0340.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sweet-spots-writing-the-connective-tissue-of-relation/ Earth, Milky Way 04 01 20211230 Sempert, Mattie-Martha 02 WORLD 06 15 9781685710118 03 9781685710118 34 06 10.1038/s41598-018-23062-6 34 06 10.1177/1357034x97003003004 34 06 10.1119/1.1634965 34 06 10.1080/13534640500058434 34 06 10.1016/j.cub.2013.12.037 34 06 10.1353/fge.2011.0028 34 06 10.1109/memb.2005.1411347 34 06 10.1089/acm.2007.6351 34 06 10.1088/1475-7516/2017/06/049 34 06 10.1177/0090591715625877 34 06 10.1177/1357034x14546357 34 06 10.1002/jcp.20623 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710107 20 08 20211230 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/sweet-spots-writing-the-connective-tissue-of-relation 20 08 20211230 02 24.00 USD WORLD urn:uuid:0cb1ba9e-a0b5-48e2-9325-fe7ca883b5f9 03 01 01 thoth-work-id urn:uuid:ffa5c5dd-ab4b-4739-8281-275d8c1fb504 01 thoth-publication-id urn:uuid:0cb1ba9e-a0b5-48e2-9325-fe7ca883b5f9 15 9781685710118 03 9781685710118 06 10.53288/0340.1.00 13 2021948743 01 internal-reference 0340 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Sweet Spots Writing the Connective Tissue of Relation 1 A01 21 0000000300063645 Mattie-Martha Sempert Mattie-Martha Sempert 40 04ttjf776 RMIT University 01 eng 00 264 03 10 MED001000 B2 Neurodiverse+Crip 93 VXHA 12 VXHT1 12 HRKN5 10 PHI003000 93 QRRL5 B2 Thought Experiments 12 HPCF 93 QDHR 20 acupuncture; process philosophy; taoism; relational thought; Chinese traditional medicine; more-than-human; Alfred North Whitehead; Baruch Spinoza; Gilles Deleuze and Félix Guattari 01 06 02 00 03 00 Sweet Spots thinks transversally across language and body, and between text and tissue. This assemblage of essays collectively proposes that words—that is, language that lands as written text—are more-than-human material. And, these materials, composed of forces and flows and tendencies, are capable of generating text-flesh that grows into a thinking in the making. The practice of acupuncture—and its relational thinking—often makes its presence felt to twirl the text-tissue of the bodying essays. Ficto-critical thinking is threaded throughout to activate concepts from process philosophy and use the work of other thinkers (William James, Félix Guattari and Gilles Deleuze, Baruch Spinoza, and Virginia Woolf, to name a few) to forge imaginative connections.Entangled in the text-tissue are an assortment of entities, such as bickering body parts, quivering jellyfish, heart pacemaker cells, a narwhal tooth, Taoist parables, always with ubiquitous, stretchy connective tissue — from gooey interstitial fluid to thick planes of fascia — ever present to ensure that the essaying bodies become, what Alfred North Whitehead calls the one-which-includes-the-many-includes-the-one.The essaying bodies orient towards the sweetest sweet spot which is found, not in the center, but slightly askew, felt in the reverbing more-than that carries their potential. Crucially, this produces a shift in perspective away from self-enclosed bodies and experts toward a care for the connective tissue of relation. 30 00 Sweet Spots thinks transversally across language and body, and between text and tissue. This assemblage of essays collectively proposes that words—that is, language that lands as written text—are more-than-human material. And, these materials, composed of forces and flows and tendencies, are capable of generating text-flesh that grows into a thinking in the making. The practice of acupuncture—and its relational thinking—often makes its presence felt to twirl the text-tissue of the bodying essays. Ficto-critical thinking is threaded throughout to activate concepts from process philosophy and use the work of other thinkers (William James, Félix Guattari and Gilles Deleuze, Baruch Spinoza, and Virginia Woolf, to name a few) to forge imaginative connections.Entangled in the text-tissue are an assortment of entities, such as bickering body parts, quivering jellyfish, heart pacemaker cells, a narwhal tooth, Taoist parables, always with ubiquitous, stretchy connective tissue — from gooey interstitial fluid to thick planes of fascia — ever present to ensure that the essaying bodies become, what Alfred North Whitehead calls the one-which-includes-the-many-includes-the-one.The essaying bodies orient towards the sweetest sweet spot which is found, not in the center, but slightly askew, felt in the reverbing more-than that carries their potential. Crucially, this produces a shift in perspective away from self-enclosed bodies and experts toward a care for the connective tissue of relation. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0340.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/sweet-spots-writing-the-connective-tissue-of-relation/ Earth, Milky Way 04 01 20211230 Sempert, Mattie-Martha 02 WORLD 06 15 9781685710101 03 9781685710101 34 06 10.1038/s41598-018-23062-6 34 06 10.1177/1357034x97003003004 34 06 10.1119/1.1634965 34 06 10.1080/13534640500058434 34 06 10.1016/j.cub.2013.12.037 34 06 10.1353/fge.2011.0028 34 06 10.1109/memb.2005.1411347 34 06 10.1089/acm.2007.6351 34 06 10.1088/1475-7516/2017/06/049 34 06 10.1177/0090591715625877 34 06 10.1177/1357034x14546357 34 06 10.1002/jcp.20623 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/52173 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/52173/0340.1.00.pdf?sequence=1&isAllowed=y 20 08 20211230 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/75119 20 08 20211230 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv26qjjp4 20 08 20211230 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/714 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/412313ed-893b-450e-8c3e-d4bad1611586/download 20 08 20211230 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Sweet_Spots/ogWVEAAAQBAJ 20 08 20211230 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ffa5c5dd-ab4b-4739-8281-275d8c1fb504 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ffa5c5dd-ab4b-4739-8281-275d8c1fb504/ffa5c5dd-ab4b-4739-8281-275d8c1fb504.pdf 20 08 20211230 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849185 29 ZENODO: download the title https://zenodo.org/records/19849185/files/ffa5c5dd-ab4b-4739-8281-275d8c1fb504_book.pdf 20 08 20211230 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/sweet-spots-writing-the-connective-tissue-of-relation/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0340.1.00.pdf 20 08 20211230 01 urn:uuid:ac416635-ec44-40a8-906d-a1b187be71b2 03 01 01 thoth-work-id urn:uuid:0d707430-18c2-4828-aa4c-a9055204166e 01 thoth-publication-id urn:uuid:ac416635-ec44-40a8-906d-a1b187be71b2 15 9781950192816 03 9781950192816 06 10.21983/P3.0290.1.00 13 2020936284 01 internal-reference 0290 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Take Her, She's Yours 1 A01 Eva-Lynn Jagoe Eva-Lynn Jagoe 40 03dbr7087 University of Toronto 01 eng 00 216 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC B2 Cultural Studies+Critical Theory 93 MKMT1 12 MMJT 10 PSY026000 12 DSB 93 DSB B2 Thought Experiments 20 auto-ethnography; psychoanalysis; therapy; feminism; memoir; identity; relationships 01 06 02 00 03 00 We say, you belong to me, or I belong to you. But is it possible to be possessed by others? And can we ever possess ourselves? In this raw and intimate account, Eva-Lynn Jagoe merges memoir with critical theory as she recounts the unraveling of everything she thought she knew about selfhood, relationships, and desire. Through the story of an upbringing in a patriarchal Spanish and American household, a dissociative and painful relationship towards men and power, and a chaotic marriage and divorce, she interrogates the destructive fantasy of possessive individualism that permeates our psyches and our cultural expectations. Woven through this narrative is an account of the unique relationship that Jagoe has with her psychoanalyst, in which she works through her tendency to give herself away to others, and learns to navigate the many contradictory selves that we all hold within us. This journey leads her to an enriched understanding of self-possession. Jagoe’s account of an examined life is inseparable from her commitment to the psychoanalytic, feminist, and queer theories that sustain and nourish her in her search for an expanded definition of self.Jagoe’s unique blend of musings and reflections on literature, fairy tale, and culture; her willingness to delve into abjection and contradictory desires; and her honest portrayal of the realities of psychoanalysis allow for a timely exploration of gender, sex, and power. Take Her, She’s Yours belongs in the company of Eve Kosofsky Sedgwick’s A Dialogue on Love and the memoirs of Maggie Nelson, Rachel Cusk, and Lidia Yuknavitch. It engrossingly conveys the lived urgency of critical thinking and the pleasures and perils of embodied selfhood. Take Her, She’s Yours is a story about loss and letting go, but also about the intimacy that emerges through an expanded definition of selfhood. 30 00 We say, you belong to me, or I belong to you. But is it possible to be possessed by others? And can we ever possess ourselves? In this raw and intimate account, Eva-Lynn Jagoe merges memoir with critical theory as she recounts the unraveling of everything she thought she knew about selfhood, relationships, and desire. Through the story of an upbringing in a patriarchal Spanish and American household, a dissociative and painful relationship towards men and power, and a chaotic marriage and divorce, she interrogates the destructive fantasy of possessive individualism that permeates our psyches and our cultural expectations. Woven through this narrative is an account of the unique relationship that Jagoe has with her psychoanalyst, in which she works through her tendency to give herself away to others, and learns to navigate the many contradictory selves that we all hold within us. This journey leads her to an enriched understanding of self-possession. Jagoe’s account of an examined life is inseparable from her commitment to the psychoanalytic, feminist, and queer theories that sustain and nourish her in her search for an expanded definition of self.Jagoe’s unique blend of musings and reflections on literature, fairy tale, and culture; her willingness to delve into abjection and contradictory desires; and her honest portrayal of the realities of psychoanalysis allow for a timely exploration of gender, sex, and power. Take Her, She’s Yours belongs in the company of Eve Kosofsky Sedgwick’s A Dialogue on Love and the memoirs of Maggie Nelson, Rachel Cusk, and Lidia Yuknavitch. It engrossingly conveys the lived urgency of critical thinking and the pleasures and perils of embodied selfhood. Take Her, She’s Yours is a story about loss and letting go, but also about the intimacy that emerges through an expanded definition of selfhood. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0290.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/take-her-shes-yours/ 16 40 03dbr7087 32 10.13039/501100003579 University of Toronto Earth, Milky Way 04 01 20200430 Jagoe, Eva-Lynn 02 WORLD 06 15 9781950192823 03 9781950192823 34 06 10.1177/1350506807072318 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192814 20 08 20200430 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/take-her-shes-yours 20 08 20200430 02 23.00 USD WORLD urn:uuid:62206e45-abdc-4f7c-a2a9-de69056be3c0 03 01 01 thoth-work-id urn:uuid:0d707430-18c2-4828-aa4c-a9055204166e 01 thoth-publication-id urn:uuid:62206e45-abdc-4f7c-a2a9-de69056be3c0 15 9781950192823 03 9781950192823 06 10.21983/P3.0290.1.00 13 2020936284 01 internal-reference 0290 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Take Her, She's Yours 1 A01 Eva-Lynn Jagoe Eva-Lynn Jagoe 40 03dbr7087 University of Toronto 01 eng 00 216 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC B2 Cultural Studies+Critical Theory 93 MKMT1 12 MMJT 10 PSY026000 12 DSB 93 DSB B2 Thought Experiments 20 auto-ethnography; psychoanalysis; therapy; feminism; memoir; identity; relationships 01 06 02 00 03 00 We say, you belong to me, or I belong to you. But is it possible to be possessed by others? And can we ever possess ourselves? In this raw and intimate account, Eva-Lynn Jagoe merges memoir with critical theory as she recounts the unraveling of everything she thought she knew about selfhood, relationships, and desire. Through the story of an upbringing in a patriarchal Spanish and American household, a dissociative and painful relationship towards men and power, and a chaotic marriage and divorce, she interrogates the destructive fantasy of possessive individualism that permeates our psyches and our cultural expectations. Woven through this narrative is an account of the unique relationship that Jagoe has with her psychoanalyst, in which she works through her tendency to give herself away to others, and learns to navigate the many contradictory selves that we all hold within us. This journey leads her to an enriched understanding of self-possession. Jagoe’s account of an examined life is inseparable from her commitment to the psychoanalytic, feminist, and queer theories that sustain and nourish her in her search for an expanded definition of self.Jagoe’s unique blend of musings and reflections on literature, fairy tale, and culture; her willingness to delve into abjection and contradictory desires; and her honest portrayal of the realities of psychoanalysis allow for a timely exploration of gender, sex, and power. Take Her, She’s Yours belongs in the company of Eve Kosofsky Sedgwick’s A Dialogue on Love and the memoirs of Maggie Nelson, Rachel Cusk, and Lidia Yuknavitch. It engrossingly conveys the lived urgency of critical thinking and the pleasures and perils of embodied selfhood. Take Her, She’s Yours is a story about loss and letting go, but also about the intimacy that emerges through an expanded definition of selfhood. 30 00 We say, you belong to me, or I belong to you. But is it possible to be possessed by others? And can we ever possess ourselves? In this raw and intimate account, Eva-Lynn Jagoe merges memoir with critical theory as she recounts the unraveling of everything she thought she knew about selfhood, relationships, and desire. Through the story of an upbringing in a patriarchal Spanish and American household, a dissociative and painful relationship towards men and power, and a chaotic marriage and divorce, she interrogates the destructive fantasy of possessive individualism that permeates our psyches and our cultural expectations. Woven through this narrative is an account of the unique relationship that Jagoe has with her psychoanalyst, in which she works through her tendency to give herself away to others, and learns to navigate the many contradictory selves that we all hold within us. This journey leads her to an enriched understanding of self-possession. Jagoe’s account of an examined life is inseparable from her commitment to the psychoanalytic, feminist, and queer theories that sustain and nourish her in her search for an expanded definition of self.Jagoe’s unique blend of musings and reflections on literature, fairy tale, and culture; her willingness to delve into abjection and contradictory desires; and her honest portrayal of the realities of psychoanalysis allow for a timely exploration of gender, sex, and power. Take Her, She’s Yours belongs in the company of Eve Kosofsky Sedgwick’s A Dialogue on Love and the memoirs of Maggie Nelson, Rachel Cusk, and Lidia Yuknavitch. It engrossingly conveys the lived urgency of critical thinking and the pleasures and perils of embodied selfhood. Take Her, She’s Yours is a story about loss and letting go, but also about the intimacy that emerges through an expanded definition of selfhood. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0290.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/take-her-shes-yours/ 16 40 03dbr7087 32 10.13039/501100003579 University of Toronto Earth, Milky Way 04 01 20200430 Jagoe, Eva-Lynn 02 WORLD 06 15 9781950192816 03 9781950192816 34 06 10.1177/1350506807072318 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/37374 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/37374/0290.1.00.pdf 20 08 20200430 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27530 20 08 20200430 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353818 20 08 20200430 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/633 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/50762a08-3440-4d60-ab4f-57a06b3f6cbd/download 20 08 20200430 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0d707430-18c2-4828-aa4c-a9055204166e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0d707430-18c2-4828-aa4c-a9055204166e/0d707430-18c2-4828-aa4c-a9055204166e.pdf 20 08 20200430 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848217 29 ZENODO: download the title https://zenodo.org/records/19848217/files/0d707430-18c2-4828-aa4c-a9055204166e_book.pdf 20 08 20200430 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/take-her-shes-yours/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0290.1.00.pdf 20 08 20200430 01 urn:uuid:7693e295-18fe-48ea-bf5b-87632057d7b1 03 01 01 thoth-work-id urn:uuid:34f68e0d-fafc-4ae6-9ced-2706aad79ea5 01 thoth-publication-id urn:uuid:7693e295-18fe-48ea-bf5b-87632057d7b1 15 9781685711665 03 9781685711665 06 10.53288/0508.1.00 13 2023941948 01 internal-reference 0508 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Tall, Slim & Erect Portraits of the Presidents 1 A01 Alex Forman Alex Forman Alex Forman is a.k.a. Alexandra Joy Forman. She has discovered many heroes, but none greater than her young adult daughter. They live in Rio de Janeiro, Brazil, where Alex is the co-founding director of a non-profit organization, The Urca Institute, which records life stories for human rights and environmental justice. She is also a literary translator. 2 A24 Ben Ehrenreich Ben Ehrenreich Ben Ehrenreich is the author of the novels Ether and Suitors, and more recently, The Way to the Spring: Life and Death in Palestine and Desert Notebooks: A Road Map for the End of Time. 3 A19 Patric Verrone Patric Verrone Patric Verrone was president of the writer's guild from 2005-2009. 01 eng 00 146 03 93 DNBH B2 Fabulations 10 POL040010 10 BIO011000 93 DCF B2 History 93 5PDMJ 10 ART050040 B2 Thought Experiments 20 US History; US Presidents; Marx toys; photography; biography 01 06 02 00 03 00 After stumbling upon a wooden box containing a complete set of miniature wax mold figurines of US presidents at a flea market, artist Alex Forman began photographing each little man, minus their pedestals. Presented for the first time in book format, Forman's elegant black and white portraits are accompanied by brief biographies composed entirely of appropriated texts cleverly cut and reassembled by the author. What emerges in Tall, Slim & Erect: Portraits of the Presidents is not the tired tale of legendary men and their mythical quest for democracy, but rather, a gossip's dream: Jefferson could not ride a horse for months due to boils on his backside; Hayes felt a crazed and tender devotion to his sister Fanny; Wilson remained a virgin until twenty-eight. While playfully shedding light on these powerful men, their quirks, bodily functions, and stained sheets, Tall, Slim & Erect ultimately asks the reader to question how history is written and built on hearsay, conjecture, rumor, and repetition. 30 00 After stumbling upon a wooden box containing a complete set of miniature wax mold figurines of US presidents at a flea market, artist Alex Forman began photographing each little man, minus their pedestals. Presented for the first time in book format, Forman's elegant black and white portraits are accompanied by brief biographies composed entirely of appropriated texts cleverly cut and reassembled by the author. What emerges in Tall, Slim & Erect: Portraits of the Presidents is not the tired tale of legendary men and their mythical quest for democracy, but rather, a gossip's dream: Jefferson could not ride a horse for months due to boils on his backside; Hayes felt a crazed and tender devotion to his sister Fanny; Wilson remained a virgin until twenty-eight. While playfully shedding light on these powerful men, their quirks, bodily functions, and stained sheets, Tall, Slim & Erect ultimately asks the reader to question how history is written and built on hearsay, conjecture, rumor, and repetition. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0508.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/tall-slim-erect-portraits-of-the-presidents/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230803 Alexandra Joy Forman 02 WORLD 06 15 9781685711672 03 9781685711672 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711669 20 08 20230803 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/tall-slim-erect-portraits-of-the-presidents 20 08 20230803 02 15.00 USD WORLD urn:uuid:0ea0cb7b-8c91-41a8-b08d-73d238aa37ae 03 01 01 thoth-work-id urn:uuid:34f68e0d-fafc-4ae6-9ced-2706aad79ea5 01 thoth-publication-id urn:uuid:0ea0cb7b-8c91-41a8-b08d-73d238aa37ae 15 9781685711672 03 9781685711672 06 10.53288/0508.1.00 13 2023941948 01 internal-reference 0508 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Tall, Slim & Erect Portraits of the Presidents 1 A01 Alex Forman Alex Forman Alex Forman is a.k.a. Alexandra Joy Forman. She has discovered many heroes, but none greater than her young adult daughter. They live in Rio de Janeiro, Brazil, where Alex is the co-founding director of a non-profit organization, The Urca Institute, which records life stories for human rights and environmental justice. She is also a literary translator. 2 A24 Ben Ehrenreich Ben Ehrenreich Ben Ehrenreich is the author of the novels Ether and Suitors, and more recently, The Way to the Spring: Life and Death in Palestine and Desert Notebooks: A Road Map for the End of Time. 3 A19 Patric Verrone Patric Verrone Patric Verrone was president of the writer's guild from 2005-2009. 01 eng 00 146 03 93 DNBH B2 Fabulations 10 POL040010 10 BIO011000 93 DCF B2 History 93 5PDMJ 10 ART050040 B2 Thought Experiments 20 US History; US Presidents; Marx toys; photography; biography 01 06 02 00 03 00 After stumbling upon a wooden box containing a complete set of miniature wax mold figurines of US presidents at a flea market, artist Alex Forman began photographing each little man, minus their pedestals. Presented for the first time in book format, Forman's elegant black and white portraits are accompanied by brief biographies composed entirely of appropriated texts cleverly cut and reassembled by the author. What emerges in Tall, Slim & Erect: Portraits of the Presidents is not the tired tale of legendary men and their mythical quest for democracy, but rather, a gossip's dream: Jefferson could not ride a horse for months due to boils on his backside; Hayes felt a crazed and tender devotion to his sister Fanny; Wilson remained a virgin until twenty-eight. While playfully shedding light on these powerful men, their quirks, bodily functions, and stained sheets, Tall, Slim & Erect ultimately asks the reader to question how history is written and built on hearsay, conjecture, rumor, and repetition. 30 00 After stumbling upon a wooden box containing a complete set of miniature wax mold figurines of US presidents at a flea market, artist Alex Forman began photographing each little man, minus their pedestals. Presented for the first time in book format, Forman's elegant black and white portraits are accompanied by brief biographies composed entirely of appropriated texts cleverly cut and reassembled by the author. What emerges in Tall, Slim & Erect: Portraits of the Presidents is not the tired tale of legendary men and their mythical quest for democracy, but rather, a gossip's dream: Jefferson could not ride a horse for months due to boils on his backside; Hayes felt a crazed and tender devotion to his sister Fanny; Wilson remained a virgin until twenty-eight. While playfully shedding light on these powerful men, their quirks, bodily functions, and stained sheets, Tall, Slim & Erect ultimately asks the reader to question how history is written and built on hearsay, conjecture, rumor, and repetition. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0508.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/tall-slim-erect-portraits-of-the-presidents/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20230803 Alexandra Joy Forman 02 WORLD 06 15 9781685711665 03 9781685711665 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/74700 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/74700/0508.1.00.pdf?sequence=1&isAllowed=y 20 08 20230803 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/112087 20 08 20230803 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.7471124 20 08 20230803 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/353 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ef0dafdb-b533-4a8c-a358-958d0c0452d8/download 20 08 20230803 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/34f68e0d-fafc-4ae6-9ced-2706aad79ea5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/34f68e0d-fafc-4ae6-9ced-2706aad79ea5/34f68e0d-fafc-4ae6-9ced-2706aad79ea5.pdf 20 08 20230803 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849951 29 ZENODO: download the title https://zenodo.org/records/19849951/files/34f68e0d-fafc-4ae6-9ced-2706aad79ea5_book.pdf 20 08 20230803 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/tall-slim-erect-portraits-of-the-presidents/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0508.1.00.pdf 20 08 20230803 01 urn:uuid:9a38cdb7-0b14-4aa2-aedb-3f55532e7ca6 03 01 01 thoth-work-id urn:uuid:9839926e-56ea-4d71-a3de-44cabd1d2893 01 thoth-publication-id urn:uuid:9a38cdb7-0b14-4aa2-aedb-3f55532e7ca6 15 9781947447509 03 9781947447509 06 10.21983/P3.0196.1.00 13 2018932399 01 internal-reference 0196 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Tar for Mortar "The Library of Babel" and the Dream of Totality 1 A01 Jonathan Basile Jonathan Basile 40 03czfpz43 Emory University 01 eng 00 106 03 93 DSBH 12 DSBH 10 LIT004100 B2 Literary Studies 93 1KLSA B2 Media+Technology 20 Library of Babel; Jorge Luis Borges; technology; librarianship; digital humanities; literary studies 01 06 02 00 03 00 Tar for Mortar offers an in-depth exploration of one of literature’s greatest tricksters, Jorge Luis Borges. His short story “The Library of Babel” is a signature examplar of this playfulness, though not merely for the inverted world it imagines, where a library thought to contain all possible permutations of all letters and words and books is plumbed by pious librarians looking for divinely pre-fabricated truths. One must grapple as well with the irony of Borges’s narration, which undermines at every turn its narrator’s claims of the library’s universality, including the very possibility of exhausting meaning through combinatory processing.Borges directed readers to his non-fiction to discover the true author of the idea of the universal library. But his supposedly historical essays are notoriously riddled with false references and self-contradictions. Whether in truth or in fiction, Borges never reaches a stable conclusion about the atomic premises of the universal library — is it possible to find a character set capable of expressing all possible meaning, or do these letters, like his stories and essays, divide from themselves in a restless incompletion?While many readers of Borges see him as presaging our digital technologies, they often give too much credit to our inventions in doing so. Those who elide the necessary incompletion of the Library of Babel compare it to the Internet on the assumption that both are total archives of all possible thought and expression. Though Borges’s imaginings lend themselves to digital creativity (libraryofbabel.info is certainly evidence of this), they do so by showing the necessary incompleteness of every totalizing project, no matter how technologically refined. Ultimately, Basile nudges readers toward the idea that a fictional/imaginary exposition can hold a certain power over technology 30 00 Tar for Mortar offers an in-depth exploration of one of literature’s greatest tricksters, Jorge Luis Borges. His short story “The Library of Babel” is a signature examplar of this playfulness, though not merely for the inverted world it imagines, where a library thought to contain all possible permutations of all letters and words and books is plumbed by pious librarians looking for divinely pre-fabricated truths. One must grapple as well with the irony of Borges’s narration, which undermines at every turn its narrator’s claims of the library’s universality, including the very possibility of exhausting meaning through combinatory processing.Borges directed readers to his non-fiction to discover the true author of the idea of the universal library. But his supposedly historical essays are notoriously riddled with false references and self-contradictions. Whether in truth or in fiction, Borges never reaches a stable conclusion about the atomic premises of the universal library — is it possible to find a character set capable of expressing all possible meaning, or do these letters, like his stories and essays, divide from themselves in a restless incompletion?While many readers of Borges see him as presaging our digital technologies, they often give too much credit to our inventions in doing so. Those who elide the necessary incompletion of the Library of Babel compare it to the Internet on the assumption that both are total archives of all possible thought and expression. Though Borges’s imaginings lend themselves to digital creativity (libraryofbabel.info is certainly evidence of this), they do so by showing the necessary incompleteness of every totalizing project, no matter how technologically refined. Ultimately, Basile nudges readers toward the idea that a fictional/imaginary exposition can hold a certain power over technology 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0196.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/tar-for-mortar/ 16 40 03czfpz43 32 10.13039/100006939 Emory University Earth, Milky Way 04 01 20180315 Basile, Jonathan 02 WORLD 49 06 10.21983/P3.0264.1.00 06 15 9781947447516 03 9781947447516 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447505 20 08 20180315 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/tar-for-mortar-the-library-of-babel-and-the-dream-of-totality 20 08 20180315 02 21.00 USD WORLD urn:uuid:97cc61af-c4a9-446e-9b93-366f0b573f99 03 01 01 thoth-work-id urn:uuid:9839926e-56ea-4d71-a3de-44cabd1d2893 01 thoth-publication-id urn:uuid:97cc61af-c4a9-446e-9b93-366f0b573f99 15 9781947447516 03 9781947447516 06 10.21983/P3.0196.1.00 13 2018932399 01 internal-reference 0196 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Tar for Mortar "The Library of Babel" and the Dream of Totality 1 A01 Jonathan Basile Jonathan Basile 40 03czfpz43 Emory University 01 eng 00 106 03 93 DSBH 12 DSBH 10 LIT004100 B2 Literary Studies 93 1KLSA B2 Media+Technology 20 Library of Babel; Jorge Luis Borges; technology; librarianship; digital humanities; literary studies 01 06 02 00 03 00 Tar for Mortar offers an in-depth exploration of one of literature’s greatest tricksters, Jorge Luis Borges. His short story “The Library of Babel” is a signature examplar of this playfulness, though not merely for the inverted world it imagines, where a library thought to contain all possible permutations of all letters and words and books is plumbed by pious librarians looking for divinely pre-fabricated truths. One must grapple as well with the irony of Borges’s narration, which undermines at every turn its narrator’s claims of the library’s universality, including the very possibility of exhausting meaning through combinatory processing.Borges directed readers to his non-fiction to discover the true author of the idea of the universal library. But his supposedly historical essays are notoriously riddled with false references and self-contradictions. Whether in truth or in fiction, Borges never reaches a stable conclusion about the atomic premises of the universal library — is it possible to find a character set capable of expressing all possible meaning, or do these letters, like his stories and essays, divide from themselves in a restless incompletion?While many readers of Borges see him as presaging our digital technologies, they often give too much credit to our inventions in doing so. Those who elide the necessary incompletion of the Library of Babel compare it to the Internet on the assumption that both are total archives of all possible thought and expression. Though Borges’s imaginings lend themselves to digital creativity (libraryofbabel.info is certainly evidence of this), they do so by showing the necessary incompleteness of every totalizing project, no matter how technologically refined. Ultimately, Basile nudges readers toward the idea that a fictional/imaginary exposition can hold a certain power over technology 30 00 Tar for Mortar offers an in-depth exploration of one of literature’s greatest tricksters, Jorge Luis Borges. His short story “The Library of Babel” is a signature examplar of this playfulness, though not merely for the inverted world it imagines, where a library thought to contain all possible permutations of all letters and words and books is plumbed by pious librarians looking for divinely pre-fabricated truths. One must grapple as well with the irony of Borges’s narration, which undermines at every turn its narrator’s claims of the library’s universality, including the very possibility of exhausting meaning through combinatory processing.Borges directed readers to his non-fiction to discover the true author of the idea of the universal library. But his supposedly historical essays are notoriously riddled with false references and self-contradictions. Whether in truth or in fiction, Borges never reaches a stable conclusion about the atomic premises of the universal library — is it possible to find a character set capable of expressing all possible meaning, or do these letters, like his stories and essays, divide from themselves in a restless incompletion?While many readers of Borges see him as presaging our digital technologies, they often give too much credit to our inventions in doing so. Those who elide the necessary incompletion of the Library of Babel compare it to the Internet on the assumption that both are total archives of all possible thought and expression. Though Borges’s imaginings lend themselves to digital creativity (libraryofbabel.info is certainly evidence of this), they do so by showing the necessary incompleteness of every totalizing project, no matter how technologically refined. Ultimately, Basile nudges readers toward the idea that a fictional/imaginary exposition can hold a certain power over technology 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0196.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/tar-for-mortar/ 16 40 03czfpz43 32 10.13039/100006939 Emory University Earth, Milky Way 04 01 20180315 Basile, Jonathan 02 WORLD 49 06 10.21983/P3.0264.1.00 06 15 9781947447509 03 9781947447509 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66803 20 08 20180315 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25433 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25433/1004662.pdf?sequence=1&isAllowed=y 20 08 20180315 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38922 20 08 20180315 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353990 20 08 20180315 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/578 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/97bddf36-e788-49d7-9ba9-3d042cc74670/download 20 08 20180315 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/9839926e-56ea-4d71-a3de-44cabd1d2893 29 INTERNET_ARCHIVE: download the title https://archive.org/download/9839926e-56ea-4d71-a3de-44cabd1d2893/9839926e-56ea-4d71-a3de-44cabd1d2893.pdf 20 08 20180315 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847225 29 ZENODO: download the title https://zenodo.org/records/19847225/files/9839926e-56ea-4d71-a3de-44cabd1d2893_book.pdf 20 08 20180315 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/tar-for-mortar/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0196.1.00.pdf 20 08 20180315 01 urn:uuid:c4d7d064-e60e-464d-a9ec-c5764122c323 03 01 01 thoth-work-id urn:uuid:f6de421b-4eac-4a59-8138-e8716509f557 01 thoth-publication-id urn:uuid:c4d7d064-e60e-464d-a9ec-c5764122c323 15 9781685711108 03 9781685711108 06 10.53288/0449.1.00 13 2024931555 01 internal-reference 0449 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 15 mm 03 1.5 cm 03 0.58 in 08 346 gr 08 12.2 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Taunting the Useful 1 A01 21 0000000185455319 Loumille Métros Louis Emile Fromet de Rosnay 40 04s5mat29 University of Victoria Loumille Métros (contraction of Louis Emile Fromet de Rosnay) practices research-creation as well as undertaking traditional research in fields as broad as comparative modernist poetics, postcolonial fiction, critical and experimental theory, posthumanism and biopolitics. He has lived and taught in Victoria, Canada since 2007. 01 eng 00 228 03 12 JNA 93 JNA 10 PHI014000 B2 Thought Experiments 10 EDU040000 12 JNM 93 JNM 20 philosophy; humanities; university; uselessness; error; 'pataphysics 01 06 02 00 03 00 In an epoch driven by hyper-consumption and marvelously destructive futility, and in the context of a hegemonic utilitarianism where one goes to university to work rather than to “develop a meaningful philosophy of life,” the concept of the useful is perhaps one most in need of interrogation. Taunting the Useful seeks to unsettle notions of usefulness and uselessness, not merely by deconstructing these terms, but by sidetracking them. It doesn’t reverse things by saying that what is useless is useful. Rather, taunting is teasing, heckling, tickling, scratching the useful.By elaborating a notion of the “virtual useless,” Taunting the Useful seeks to tease the dimensions of wonder, use, and play, through modalities, contingencies, and potentialities of the useless-useful. An experimental book, it (un)does what it tells, and is as much an object taunting and taunted as it is a description of taunting the useful. Includes bonus chapters! 30 00 In an epoch driven by hyper-consumption and marvelously destructive futility, and in the context of a hegemonic utilitarianism where one goes to university to work rather than to “develop a meaningful philosophy of life,” the concept of the useful is perhaps one most in need of interrogation. Taunting the Useful seeks to unsettle notions of usefulness and uselessness, not merely by deconstructing these terms, but by sidetracking them. It doesn’t reverse things by saying that what is useless is useful. Rather, taunting is teasing, heckling, tickling, scratching the useful.By elaborating a notion of the “virtual useless,” Taunting the Useful seeks to tease the dimensions of wonder, use, and play, through modalities, contingencies, and potentialities of the useless-useful. An experimental book, it (un)does what it tells, and is as much an object taunting and taunted as it is a description of taunting the useful. Includes bonus chapters! 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0449.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/taunting-the-useful/ 16 40 04s5mat29 32 10.13039/100008997 University of Victoria 01 programname Book & creative works subvention fund Earth, Milky Way 04 01 20240806 Emile Fromet de Rosnay 02 WORLD 06 15 9781685711115 03 9781685711115 34 06 10.4159/DLCL.marcus_tullius_cicero-rhetorica_ad_herennium.1954 34 06 10.1093/screen/15.2.28 34 06 10.1038/28089 34 06 10.3917/criti.785.0831 34 06 10.21083/synergies.v0i4.1689 34 06 10.3828/AJFS.2014.19 34 06 10.1086/421123 34 06 10.1215/03335372-21-1-1.217 34 06 10.1093/pq/pqaa003 34 06 10.5840/techne201711977 34 06 10.1086/421126.221 34 06 10.3917/trans.134.0115 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711103 20 08 20240806 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/taunting-the-useful 20 08 20240806 02 24.00 USD WORLD urn:uuid:9934f9c3-b8f8-4979-aaca-fbd7c42adf16 03 01 01 thoth-work-id urn:uuid:f6de421b-4eac-4a59-8138-e8716509f557 01 thoth-publication-id urn:uuid:9934f9c3-b8f8-4979-aaca-fbd7c42adf16 15 9781685711115 03 9781685711115 06 10.53288/0449.1.00 13 2024931555 01 internal-reference 0449 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Taunting the Useful 1 A01 21 0000000185455319 Loumille Métros Louis Emile Fromet de Rosnay 40 04s5mat29 University of Victoria Loumille Métros (contraction of Louis Emile Fromet de Rosnay) practices research-creation as well as undertaking traditional research in fields as broad as comparative modernist poetics, postcolonial fiction, critical and experimental theory, posthumanism and biopolitics. He has lived and taught in Victoria, Canada since 2007. 01 eng 00 228 03 12 JNA 93 JNA 10 PHI014000 B2 Thought Experiments 10 EDU040000 12 JNM 93 JNM 20 philosophy; humanities; university; uselessness; error; 'pataphysics 01 06 02 00 03 00 In an epoch driven by hyper-consumption and marvelously destructive futility, and in the context of a hegemonic utilitarianism where one goes to university to work rather than to “develop a meaningful philosophy of life,” the concept of the useful is perhaps one most in need of interrogation. Taunting the Useful seeks to unsettle notions of usefulness and uselessness, not merely by deconstructing these terms, but by sidetracking them. It doesn’t reverse things by saying that what is useless is useful. Rather, taunting is teasing, heckling, tickling, scratching the useful.By elaborating a notion of the “virtual useless,” Taunting the Useful seeks to tease the dimensions of wonder, use, and play, through modalities, contingencies, and potentialities of the useless-useful. An experimental book, it (un)does what it tells, and is as much an object taunting and taunted as it is a description of taunting the useful. Includes bonus chapters! 30 00 In an epoch driven by hyper-consumption and marvelously destructive futility, and in the context of a hegemonic utilitarianism where one goes to university to work rather than to “develop a meaningful philosophy of life,” the concept of the useful is perhaps one most in need of interrogation. Taunting the Useful seeks to unsettle notions of usefulness and uselessness, not merely by deconstructing these terms, but by sidetracking them. It doesn’t reverse things by saying that what is useless is useful. Rather, taunting is teasing, heckling, tickling, scratching the useful.By elaborating a notion of the “virtual useless,” Taunting the Useful seeks to tease the dimensions of wonder, use, and play, through modalities, contingencies, and potentialities of the useless-useful. An experimental book, it (un)does what it tells, and is as much an object taunting and taunted as it is a description of taunting the useful. Includes bonus chapters! 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0449.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/taunting-the-useful/ 16 40 04s5mat29 32 10.13039/100008997 University of Victoria 01 programname Book & creative works subvention fund Earth, Milky Way 04 01 20240806 Emile Fromet de Rosnay 02 WORLD 06 15 9781685711108 03 9781685711108 34 06 10.4159/DLCL.marcus_tullius_cicero-rhetorica_ad_herennium.1954 34 06 10.1093/screen/15.2.28 34 06 10.1038/28089 34 06 10.3917/criti.785.0831 34 06 10.21083/synergies.v0i4.1689 34 06 10.3828/AJFS.2014.19 34 06 10.1086/421123 34 06 10.1215/03335372-21-1-1.217 34 06 10.1093/pq/pqaa003 34 06 10.5840/techne201711977 34 06 10.1086/421126.221 34 06 10.3917/trans.134.0115 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/92580 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/92580/0449.1.00.pdf?sequence=1&isAllowed=y 20 08 20240806 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/142764 20 08 20240806 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526494 20 08 20240806 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=519b1e14-3e7b-3665-a455-124ec39b9360 20 08 20240806 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/795 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/014a38e9-1a69-422f-8659-418e3162ea04/download 20 08 20240806 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Taunting_the_Useful/SZwhEQAAQBAJ 20 08 20240806 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f6de421b-4eac-4a59-8138-e8716509f557 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f6de421b-4eac-4a59-8138-e8716509f557/f6de421b-4eac-4a59-8138-e8716509f557.pdf 20 08 20240806 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850498 29 ZENODO: download the title https://zenodo.org/records/19850498/files/f6de421b-4eac-4a59-8138-e8716509f557_book.pdf 20 08 20240806 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/taunting-the-useful/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0449.1.00.pdf 20 08 20240806 01 urn:uuid:bd01bcc4-be7d-4859-a318-e9ae29e5619e 03 01 01 thoth-work-id urn:uuid:757ff294-0fca-40f5-9f33-39a2d3fd5c8a 01 thoth-publication-id urn:uuid:bd01bcc4-be7d-4859-a318-e9ae29e5619e 15 9781953035325 03 9781953035325 06 10.21983/P3.0303.1.00 13 2021931806 01 internal-reference 0303 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Teaching Myself To See 1 A01 Tito Mukhopadhyay Tito Mukhopadhyay 01 eng 00 136 03 B2 Autotheory 10 BIO017000 12 MJNA 93 VFJR1 93 MKJA B2 Neurodiverse+Crip 12 VFJB B2 Thought Experiments 20 autism; vision; neurodiversity; auto-anthropology; BIO033000 01 06 02 00 03 00 Teaching Myself to See deals with Tito’s struggles to participate in a world full of visual details. As a person with autism, Tito is visually selective, processing the myriad of details seeping in through the eye rather than the whole. Tracing Tito’s experiences to learn to see in his own, “hyper-visual” way, through art, through magazines, through everyday life, Teaching Myself to See is a work of auto-anthropology, capturing in words, sentences, paragraphs, poems, a way of seeing that might seem so bewildering that doctors and psychologists told his mother he wouldn’t be able to think. This book proves otherwise. By teaching us to look through his eyes, Tito shows us the miracle and immense complexity of sight, of neuro-atypicals and neuro-typicals alike. 30 00 Teaching Myself to See deals with Tito’s struggles to participate in a world full of visual details. As a person with autism, Tito is visually selective, processing the myriad of details seeping in through the eye rather than the whole. Tracing Tito’s experiences to learn to see in his own, “hyper-visual” way, through art, through magazines, through everyday life, Teaching Myself to See is a work of auto-anthropology, capturing in words, sentences, paragraphs, poems, a way of seeing that might seem so bewildering that doctors and psychologists told his mother he wouldn’t be able to think. This book proves otherwise. By teaching us to look through his eyes, Tito shows us the miracle and immense complexity of sight, of neuro-atypicals and neuro-typicals alike. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0303.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/teaching-myself-to-see/ Earth, Milky Way 04 01 20210211 Mukhopadhyay, Tito 02 WORLD 06 15 9781953035332 03 9781953035332 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035329 20 08 20210211 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/teaching-myself-to-see 20 08 20210211 02 22.00 USD WORLD urn:uuid:58c2de7a-1234-49a0-8aa1-70ee60caaafe 03 01 01 thoth-work-id urn:uuid:757ff294-0fca-40f5-9f33-39a2d3fd5c8a 01 thoth-publication-id urn:uuid:58c2de7a-1234-49a0-8aa1-70ee60caaafe 15 9781953035332 03 9781953035332 06 10.21983/P3.0303.1.00 13 2021931806 01 internal-reference 0303 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Teaching Myself To See 1 A01 Tito Mukhopadhyay Tito Mukhopadhyay 01 eng 00 136 03 B2 Autotheory 10 BIO017000 12 MJNA 93 VFJR1 93 MKJA B2 Neurodiverse+Crip 12 VFJB B2 Thought Experiments 20 autism; vision; neurodiversity; auto-anthropology; BIO033000 01 06 02 00 03 00 Teaching Myself to See deals with Tito’s struggles to participate in a world full of visual details. As a person with autism, Tito is visually selective, processing the myriad of details seeping in through the eye rather than the whole. Tracing Tito’s experiences to learn to see in his own, “hyper-visual” way, through art, through magazines, through everyday life, Teaching Myself to See is a work of auto-anthropology, capturing in words, sentences, paragraphs, poems, a way of seeing that might seem so bewildering that doctors and psychologists told his mother he wouldn’t be able to think. This book proves otherwise. By teaching us to look through his eyes, Tito shows us the miracle and immense complexity of sight, of neuro-atypicals and neuro-typicals alike. 30 00 Teaching Myself to See deals with Tito’s struggles to participate in a world full of visual details. As a person with autism, Tito is visually selective, processing the myriad of details seeping in through the eye rather than the whole. Tracing Tito’s experiences to learn to see in his own, “hyper-visual” way, through art, through magazines, through everyday life, Teaching Myself to See is a work of auto-anthropology, capturing in words, sentences, paragraphs, poems, a way of seeing that might seem so bewildering that doctors and psychologists told his mother he wouldn’t be able to think. This book proves otherwise. By teaching us to look through his eyes, Tito shows us the miracle and immense complexity of sight, of neuro-atypicals and neuro-typicals alike. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0303.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/teaching-myself-to-see/ Earth, Milky Way 04 01 20210211 Mukhopadhyay, Tito 02 WORLD 06 15 9781953035325 03 9781953035325 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/46603 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/46603/0303.1.00.pdf 20 08 20210211 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33115 20 08 20210211 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353788 20 08 20210211 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/655 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4f7836c6-27d8-4b27-a261-4450a959f193/download 20 08 20210211 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/757ff294-0fca-40f5-9f33-39a2d3fd5c8a 29 INTERNET_ARCHIVE: download the title https://archive.org/download/757ff294-0fca-40f5-9f33-39a2d3fd5c8a/757ff294-0fca-40f5-9f33-39a2d3fd5c8a.pdf 20 08 20210211 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848682 29 ZENODO: download the title https://zenodo.org/records/19848682/files/757ff294-0fca-40f5-9f33-39a2d3fd5c8a_book.pdf 20 08 20210211 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/teaching-myself-to-see/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0303.1.00.pdf 20 08 20210211 01 urn:uuid:39202e31-0395-47f4-a0a7-7100c6ec544a 03 01 01 thoth-work-id urn:uuid:ff1fa956-ac18-4220-ab97-fc6624fc3dae 01 thoth-publication-id urn:uuid:39202e31-0395-47f4-a0a7-7100c6ec544a 15 9781950192410 03 9781950192410 06 10.21983/P3.0263.1.00 13 2019947001 01 internal-reference 0263 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Television Scales 1 A01 Nick Salvato Nick Salvato 40 05bnh6r87 Cornell University 01 eng 00 148 03 12 APT 93 ATJ B2 Cultural Studies+Critical Theory 10 SOC052000 93 ATJD 12 JFC B2 Media+Technology 93 JBCC B2 Moving Image 01 06 02 00 03 00 How to reckon with the staggering volume of television materials, past and present? And how to comprehend all the potential, complex scales at which to grapple with television, from its tiniest units of audiovisual content to its most massive industrial coordinates and beyond? In Television Scales, Nick Salvato demonstrates how the problem of scale in the field of television may be turned into a resource and a method for a television studies that would pay better attention to messy medial complexities, peripatetic critical practices, and vulgar psychogeographies.Modeling his investigative practice on the meta-critical writing of social anthropologist Marilyn Strathern in Partial Connections and elsewhere, Salvato composes surprising, partial constellations of television’s elements. In the process, his consideration ranges from classic television sitcoms like I Love Lucy to contemporary reality series such as The Biggest Loser, Iron Chef, and House Hunters International. He simultaneously pores over a number of key television phenomena, including technological mystification, performers’ charismatic displays, binge viewing, and devoted fandom.An experiment in style and form, Television Scales maps, weighs, and rules television, while also undoing these very strategies for evaluating the medium. 30 00 How to reckon with the staggering volume of television materials, past and present? And how to comprehend all the potential, complex scales at which to grapple with television, from its tiniest units of audiovisual content to its most massive industrial coordinates and beyond? In Television Scales, Nick Salvato demonstrates how the problem of scale in the field of television may be turned into a resource and a method for a television studies that would pay better attention to messy medial complexities, peripatetic critical practices, and vulgar psychogeographies.Modeling his investigative practice on the meta-critical writing of social anthropologist Marilyn Strathern in Partial Connections and elsewhere, Salvato composes surprising, partial constellations of television’s elements. In the process, his consideration ranges from classic television sitcoms like I Love Lucy to contemporary reality series such as The Biggest Loser, Iron Chef, and House Hunters International. He simultaneously pores over a number of key television phenomena, including technological mystification, performers’ charismatic displays, binge viewing, and devoted fandom.An experiment in style and form, Television Scales maps, weighs, and rules television, while also undoing these very strategies for evaluating the medium. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0263.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/television-scales/ Earth, Milky Way 04 01 20191002 Salvato, Nick 02 WORLD 06 15 9781950192427 03 9781950192427 34 06 10.1215/01642472-3467978 34 06 10.1215/10407391-14-3-89 34 06 10.1215/02705346-2885453 34 06 10.1177/1463499609360117 34 06 10.1080/10462930128119 34 06 10.1080/0966369X.2017.1339022 34 06 10.1215/02705346-6923142 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192415 20 08 20191002 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/television-scales 20 08 20191002 02 22.00 USD WORLD urn:uuid:87a41477-a913-4c1b-96fe-0181d4f60c8f 03 01 01 thoth-work-id urn:uuid:ff1fa956-ac18-4220-ab97-fc6624fc3dae 01 thoth-publication-id urn:uuid:87a41477-a913-4c1b-96fe-0181d4f60c8f 15 9781950192427 03 9781950192427 06 10.21983/P3.0263.1.00 13 2019947001 01 internal-reference 0263 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Television Scales 1 A01 Nick Salvato Nick Salvato 40 05bnh6r87 Cornell University 01 eng 00 148 03 12 APT 93 ATJ B2 Cultural Studies+Critical Theory 10 SOC052000 93 ATJD 12 JFC B2 Media+Technology 93 JBCC B2 Moving Image 01 06 02 00 03 00 How to reckon with the staggering volume of television materials, past and present? And how to comprehend all the potential, complex scales at which to grapple with television, from its tiniest units of audiovisual content to its most massive industrial coordinates and beyond? In Television Scales, Nick Salvato demonstrates how the problem of scale in the field of television may be turned into a resource and a method for a television studies that would pay better attention to messy medial complexities, peripatetic critical practices, and vulgar psychogeographies.Modeling his investigative practice on the meta-critical writing of social anthropologist Marilyn Strathern in Partial Connections and elsewhere, Salvato composes surprising, partial constellations of television’s elements. In the process, his consideration ranges from classic television sitcoms like I Love Lucy to contemporary reality series such as The Biggest Loser, Iron Chef, and House Hunters International. He simultaneously pores over a number of key television phenomena, including technological mystification, performers’ charismatic displays, binge viewing, and devoted fandom.An experiment in style and form, Television Scales maps, weighs, and rules television, while also undoing these very strategies for evaluating the medium. 30 00 How to reckon with the staggering volume of television materials, past and present? And how to comprehend all the potential, complex scales at which to grapple with television, from its tiniest units of audiovisual content to its most massive industrial coordinates and beyond? In Television Scales, Nick Salvato demonstrates how the problem of scale in the field of television may be turned into a resource and a method for a television studies that would pay better attention to messy medial complexities, peripatetic critical practices, and vulgar psychogeographies.Modeling his investigative practice on the meta-critical writing of social anthropologist Marilyn Strathern in Partial Connections and elsewhere, Salvato composes surprising, partial constellations of television’s elements. In the process, his consideration ranges from classic television sitcoms like I Love Lucy to contemporary reality series such as The Biggest Loser, Iron Chef, and House Hunters International. He simultaneously pores over a number of key television phenomena, including technological mystification, performers’ charismatic displays, binge viewing, and devoted fandom.An experiment in style and form, Television Scales maps, weighs, and rules television, while also undoing these very strategies for evaluating the medium. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0263.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/television-scales/ Earth, Milky Way 04 01 20191002 Salvato, Nick 02 WORLD 06 15 9781950192410 03 9781950192410 34 06 10.1215/01642472-3467978 34 06 10.1215/10407391-14-3-89 34 06 10.1215/02705346-2885453 34 06 10.1177/1463499609360117 34 06 10.1080/10462930128119 34 06 10.1080/0966369X.2017.1339022 34 06 10.1215/02705346-6923142 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75671 20 08 20191002 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/24697 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/24697/1005416.pdf?sequence=1&isAllowed=y 20 08 20191002 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34041 20 08 20191002 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353791 20 08 20191002 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/616 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/78c9d794-6de6-4d74-a31e-01bbf7963ec5/download 20 08 20191002 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ff1fa956-ac18-4220-ab97-fc6624fc3dae 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ff1fa956-ac18-4220-ab97-fc6624fc3dae/ff1fa956-ac18-4220-ab97-fc6624fc3dae.pdf 20 08 20191002 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847934 29 ZENODO: download the title https://zenodo.org/records/19847934/files/ff1fa956-ac18-4220-ab97-fc6624fc3dae_book.pdf 20 08 20191002 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/television-scales/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0263.1.00.pdf 20 08 20191002 01 urn:uuid:dd0064e1-c8c9-47b2-948f-0f49f6988a70 03 01 01 thoth-work-id urn:uuid:2beff5ba-a543-407e-ae7a-f0ed1788f297 01 thoth-publication-id urn:uuid:dd0064e1-c8c9-47b2-948f-0f49f6988a70 15 9781953035455 03 9781953035455 06 10.21983/P3.0307.1.00 13 2021935070 01 internal-reference 0307 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Testing Knowledge Toward an Ecology of Diagnosis, Preceded by the Dingdingdong Manifesto 1 A01 21 0000000306173095 Katrin Solhdju Katrin Solhdju 40 02qnnz951 University of Mons 2 A01 Alice Rivières Alice Rivières 3 A19 Isabelle Stengers Isabelle Stengers 4 B06 Damien Bright Damien Bright 40 024mw5h28 University of Chicago 01 eng 01 fre 00 194 03 B2 Manifesto! 12 MBDP 93 MBDP 10 MED056000 10 MED074000 12 MJN B2 Neurodiverse+Crip 93 VFJR 20 Huntington's disease; medicine; medical ecology; epistemology; patient empowerment 01 06 02 00 03 00 This volume presents the collective adventure of Dingdingdong, the Institute for the Co-production of Knowledge about Huntington’s Disease, founded in 2012 between Paris and Brussels.Katrin Solhdju’s Testing Knowledge: Toward an Ecology of Diagnosis pursues the question of taming the violence of the new species of medical foreknowledge represented by genetic testing. Adopting historical and epistemological perspectives on diagnostic situations, including observations from anthropological field research, speculative storytelling, and ancient oracles, Testing Knowledge proposes a new ecology of predictive diagnostic gestures, which potentially concern us all.Testing Knowledge is preceded by the Dingdingdong collective’s Manifesto (2013), which tells the story of the young Alice Rivières, who in 2006 took the presymptomatic, genetic test, foretelling her that she will eventually develop Huntington’s. Her first-person account of the revelation of her test results, which she experienced as an act of poisoning or cursing, pulls the reader into the manifold ethical, psychological, and existential issues inherent to medical predictions.Testing Knowledge is also preceded by a foreword from Alice Wexler, author of Mapping Fate: A Memoir of Family, Risk, and Genetic Research, and is followed by an afterword by philosopher Isabelle Stengers. 30 00 This volume presents the collective adventure of Dingdingdong, the Institute for the Co-production of Knowledge about Huntington’s Disease, founded in 2012 between Paris and Brussels.Katrin Solhdju’s Testing Knowledge: Toward an Ecology of Diagnosis pursues the question of taming the violence of the new species of medical foreknowledge represented by genetic testing. Adopting historical and epistemological perspectives on diagnostic situations, including observations from anthropological field research, speculative storytelling, and ancient oracles, Testing Knowledge proposes a new ecology of predictive diagnostic gestures, which potentially concern us all.Testing Knowledge is preceded by the Dingdingdong collective’s Manifesto (2013), which tells the story of the young Alice Rivières, who in 2006 took the presymptomatic, genetic test, foretelling her that she will eventually develop Huntington’s. Her first-person account of the revelation of her test results, which she experienced as an act of poisoning or cursing, pulls the reader into the manifold ethical, psychological, and existential issues inherent to medical predictions.Testing Knowledge is also preceded by a foreword from Alice Wexler, author of Mapping Fate: A Memoir of Family, Risk, and Genetic Research, and is followed by an afterword by philosopher Isabelle Stengers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0307.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/testing-knowledge-toward-an-ecology-of-diagnosis-preceded-by-the-dingdingdong-manifesto/ 16 40 001t02e86 32 10.13039/100013326 Fondation Universitaire de Belgique Earth, Milky Way 04 01 20210415 Solhdju, Katrin (0000-0003-0617-3095) Rivières, Alice 02 WORLD 06 15 9781953035462 03 9781953035462 34 06 10.1136/jmg.27.1.34 34 06 10.1086/302374 34 06 10.1016/0022-510X(89)90243-8 34 06 10.2307/3561533 34 06 10.1016/j.socscimed.2012.09.010 34 06 10.1136/jmg.31.7.555 34 06 10.2307/3560596 34 06 10.3917/sss.333.0065 34 06 10.1016/j.socscimed.2010.06.039 34 06 10.1176/jnp.15.1.109 34 06 10.1086/421123 34 06 10.1111/j.1399-0004.2012.01900.x 34 06 10.1080/03085140050174750 34 06 10.1136/bmj.284.6326.1383 34 06 10.1353/pbm.1982.0064 34 06 10.1096/fasebj.6.10.1386047 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035450 20 08 20210415 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/testing-knowledge-toward-an-ecology-of-diagnosis-preceded-by-the-dingdingdong-manifesto-translatordamienbrightdamien-brightfalseuniversity-of-chicago1013039100007234024mw5h28usa-translatordamienbrightdamien-brightfalseuniversity-of-chicago1013039100007234024mw5h28usa 20 08 20210415 02 23.00 USD WORLD urn:uuid:dc55c546-c442-4523-ac47-8726e50b8fd3 03 01 01 thoth-work-id urn:uuid:2beff5ba-a543-407e-ae7a-f0ed1788f297 01 thoth-publication-id urn:uuid:dc55c546-c442-4523-ac47-8726e50b8fd3 15 9781953035462 03 9781953035462 06 10.21983/P3.0307.1.00 13 2021935070 01 internal-reference 0307 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Testing Knowledge Toward an Ecology of Diagnosis, Preceded by the Dingdingdong Manifesto 1 A01 21 0000000306173095 Katrin Solhdju Katrin Solhdju 40 02qnnz951 University of Mons 2 A01 Alice Rivières Alice Rivières 3 A19 Isabelle Stengers Isabelle Stengers 4 B06 Damien Bright Damien Bright 40 024mw5h28 University of Chicago 01 eng 01 fre 00 194 03 B2 Manifesto! 12 MBDP 93 MBDP 10 MED056000 10 MED074000 12 MJN B2 Neurodiverse+Crip 93 VFJR 20 Huntington's disease; medicine; medical ecology; epistemology; patient empowerment 01 06 02 00 03 00 This volume presents the collective adventure of Dingdingdong, the Institute for the Co-production of Knowledge about Huntington’s Disease, founded in 2012 between Paris and Brussels.Katrin Solhdju’s Testing Knowledge: Toward an Ecology of Diagnosis pursues the question of taming the violence of the new species of medical foreknowledge represented by genetic testing. Adopting historical and epistemological perspectives on diagnostic situations, including observations from anthropological field research, speculative storytelling, and ancient oracles, Testing Knowledge proposes a new ecology of predictive diagnostic gestures, which potentially concern us all.Testing Knowledge is preceded by the Dingdingdong collective’s Manifesto (2013), which tells the story of the young Alice Rivières, who in 2006 took the presymptomatic, genetic test, foretelling her that she will eventually develop Huntington’s. Her first-person account of the revelation of her test results, which she experienced as an act of poisoning or cursing, pulls the reader into the manifold ethical, psychological, and existential issues inherent to medical predictions.Testing Knowledge is also preceded by a foreword from Alice Wexler, author of Mapping Fate: A Memoir of Family, Risk, and Genetic Research, and is followed by an afterword by philosopher Isabelle Stengers. 30 00 This volume presents the collective adventure of Dingdingdong, the Institute for the Co-production of Knowledge about Huntington’s Disease, founded in 2012 between Paris and Brussels.Katrin Solhdju’s Testing Knowledge: Toward an Ecology of Diagnosis pursues the question of taming the violence of the new species of medical foreknowledge represented by genetic testing. Adopting historical and epistemological perspectives on diagnostic situations, including observations from anthropological field research, speculative storytelling, and ancient oracles, Testing Knowledge proposes a new ecology of predictive diagnostic gestures, which potentially concern us all.Testing Knowledge is preceded by the Dingdingdong collective’s Manifesto (2013), which tells the story of the young Alice Rivières, who in 2006 took the presymptomatic, genetic test, foretelling her that she will eventually develop Huntington’s. Her first-person account of the revelation of her test results, which she experienced as an act of poisoning or cursing, pulls the reader into the manifold ethical, psychological, and existential issues inherent to medical predictions.Testing Knowledge is also preceded by a foreword from Alice Wexler, author of Mapping Fate: A Memoir of Family, Risk, and Genetic Research, and is followed by an afterword by philosopher Isabelle Stengers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0307.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/testing-knowledge-toward-an-ecology-of-diagnosis-preceded-by-the-dingdingdong-manifesto/ 16 40 001t02e86 32 10.13039/100013326 Fondation Universitaire de Belgique Earth, Milky Way 04 01 20210415 Solhdju, Katrin (0000-0003-0617-3095) Rivières, Alice 02 WORLD 06 15 9781953035455 03 9781953035455 34 06 10.1136/jmg.27.1.34 34 06 10.1086/302374 34 06 10.1016/0022-510X(89)90243-8 34 06 10.2307/3561533 34 06 10.1016/j.socscimed.2012.09.010 34 06 10.1136/jmg.31.7.555 34 06 10.2307/3560596 34 06 10.3917/sss.333.0065 34 06 10.1016/j.socscimed.2010.06.039 34 06 10.1176/jnp.15.1.109 34 06 10.1086/421123 34 06 10.1111/j.1399-0004.2012.01900.x 34 06 10.1080/03085140050174750 34 06 10.1136/bmj.284.6326.1383 34 06 10.1353/pbm.1982.0064 34 06 10.1096/fasebj.6.10.1386047 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/47819 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/47819/0307.1.00.pdf?sequence=9&isAllowed=y 20 08 20210415 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/64597 20 08 20210415 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1m0khcz 20 08 20210415 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/661 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8518a91e-d7b6-4803-a5b9-0d17fd50d8c0/download 20 08 20210415 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Testing_Knowledge/DAaVEAAAQBAJ 20 08 20210415 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2beff5ba-a543-407e-ae7a-f0ed1788f297 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2beff5ba-a543-407e-ae7a-f0ed1788f297/2beff5ba-a543-407e-ae7a-f0ed1788f297.pdf 20 08 20210415 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848774 29 ZENODO: download the title https://zenodo.org/records/19848774/files/2beff5ba-a543-407e-ae7a-f0ed1788f297_book.pdf 20 08 20210415 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/testing-knowledge-toward-an-ecology-of-diagnosis-preceded-by-the-dingdingdong-manifesto/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0307.1.00.pdf 20 08 20210415 01 urn:uuid:901ae814-ffb7-481a-aa5d-0a54e94e3a9c 03 01 01 thoth-work-id urn:uuid:58aadfa5-abc6-4c44-9768-f8ff41502867 01 thoth-publication-id urn:uuid:901ae814-ffb7-481a-aa5d-0a54e94e3a9c 15 9780615955742 03 9780615955742 06 10.21983/P3.0061.1.00 01 internal-reference 0061 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Afterlife of Genre Remnants of the Trauerspiel in Buffy the Vampire Slayer 1 A01 Anthony Curtis Adler Anthony Curtis Adler 40 01wjejq96 Yonsei University 01 eng 00 76 03 93 ATJ 12 JFD B2 Literary Studies 10 SOC052000 93 1KBB-US-WPC B2 Moving Image 93 ATD B2 Cultural Studies+Critical Theory 93 6BA 20 California; television; media studies; Buffy the Vampire Slayer; Trauerspiel; vampires; German Studies 01 06 02 00 03 00 Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience — a pure surface that will never get caught in the ditch of time — they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay (“If you’re going to San Francisco…,” “two girls for every guy”), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really “takes us back.” 30 00 Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience — a pure surface that will never get caught in the ditch of time — they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay (“If you’re going to San Francisco…,” “two girls for every guy”), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really “takes us back.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0061.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/afterlife-genre/ Brooklyn, NY 04 01 20140221 Adler, Anthony Curtis 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615955746 20 08 20140221 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-afterlife-of-genre-remnants-of-the-trauerspiel-in-buffy-the-vampire-slayer 20 08 20140221 02 21.00 USD WORLD urn:uuid:0d75e1f4-20e2-4d6c-a823-9af8ed7f65a6 03 01 01 thoth-work-id urn:uuid:58aadfa5-abc6-4c44-9768-f8ff41502867 01 thoth-publication-id urn:uuid:0d75e1f4-20e2-4d6c-a823-9af8ed7f65a6 06 10.21983/P3.0061.1.00 01 internal-reference 0061 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Afterlife of Genre Remnants of the Trauerspiel in Buffy the Vampire Slayer 1 A01 Anthony Curtis Adler Anthony Curtis Adler 40 01wjejq96 Yonsei University 01 eng 00 76 03 93 ATJ 12 JFD B2 Literary Studies 10 SOC052000 93 1KBB-US-WPC B2 Moving Image 93 ATD B2 Cultural Studies+Critical Theory 93 6BA 20 California; television; media studies; Buffy the Vampire Slayer; Trauerspiel; vampires; German Studies 01 06 02 00 03 00 Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience — a pure surface that will never get caught in the ditch of time — they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay (“If you’re going to San Francisco…,” “two girls for every guy”), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really “takes us back.” 30 00 Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience — a pure surface that will never get caught in the ditch of time — they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay (“If you’re going to San Francisco…,” “two girls for every guy”), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really “takes us back.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0061.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/afterlife-genre/ Brooklyn, NY 04 01 20140221 Adler, Anthony Curtis 02 WORLD 06 15 9780615955742 03 9780615955742 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76459 20 08 20140221 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25557 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25557/1004538.pdf?sequence=1&isAllowed=y 20 08 20140221 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35492 20 08 20140221 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353840 20 08 20140221 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/675 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1cc95fdf-b0b9-4c0c-821a-a82bf88f254d/download 20 08 20140221 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/58aadfa5-abc6-4c44-9768-f8ff41502867 29 INTERNET_ARCHIVE: download the title https://archive.org/download/58aadfa5-abc6-4c44-9768-f8ff41502867/58aadfa5-abc6-4c44-9768-f8ff41502867.pdf 20 08 20140221 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845931 29 ZENODO: download the title https://zenodo.org/records/19845931/files/58aadfa5-abc6-4c44-9768-f8ff41502867_book.pdf 20 08 20140221 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/afterlife-genre/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0061.1.00.pdf 20 08 20140221 01 urn:uuid:6ab51700-876d-4fa3-bacc-3ca5135b8b91 03 01 01 thoth-work-id urn:uuid:0a419ac2-6c33-48cc-a9f7-32977e3b4d08 01 thoth-publication-id urn:uuid:6ab51700-876d-4fa3-bacc-3ca5135b8b91 15 9781685710507 03 9781685710507 06 10.53288/0388.1.00 13 2022951504 01 internal-reference 0388 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Angels Won't Help You 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 01y64my43 University at Buffalo, State University of New York M.H. Bowker is Clinical Assistant Professor in the Social Sciences Interdisciplinary Program at SUNY, University at Buffalo. He is the author of fourteen books and numerous papers for peer-reviewed journals and edited volumes. Bowker’s research interests are critical psychosocial theory, literary criticism, and political philosophy. His latest books are The Anguished and the Enchanted: "The Little Prince" Revisited (punctum books) and The Destroyed World and the Guilty Self: A Psychoanalytic Study of Culture and Politics (with D. Levine, Phoenix Publishers). 01 eng 00 198 03 B2 Cultural Studies+Critical Theory 12 JMAF 93 JMAF 10 PSY026000 12 HPQ B2 Literary Studies 10 PSY017000 93 QDTQ 20 help; care; psychoanalysis; relationships; philosophy; hikikomori; cultural studies 01 06 02 00 03 00 The Angels Won’t Help You is a book about the uniqueness and primacy of help, particularly in relation to care, love, and caritas. It relies heavily on psychoanalytic and philosophical accounts of help and care and finds that help requires the establishment of a real relationship between persons, where help is given and received in a transitional space that is collapsed by care, unity, or love, which are mental constellations that, while profound, remain within the individuals involved. It contains reflections, memoir, and prose poetry, with an emphasis on psycho-philosophical examinations of help.In trying to understand help, especially in the ways that it is not a synonym for care, Bowker turns to diverse sources and topics, including treatments of children in a helpless world, as featured in the literature of Kathy Acker and Jerzy Kosiński, a first-person account of help in psychiatric hospitals, an analysis of the phenomenon of Japanese hikikomori (“shutting oneself in”), anxiety and helplessness, an exploration of the nature of help and helplessness in Wilfred Bion’s “Attacks on Linking,” a rethinking of trauma in light of the circuital structure of the self, and more.<italic>*</italic>Put differently, The Angels Won’t Help You is a cruel helpless hopeless book raised in Texas roped ridden waddled clowned it developed catastrophic methods of coping. Angels’ mama split her tongue and hissed her words like silent / soldier / crisis in the torment of her sunken trailer in the summer where Angels practiced lighting cigarettes with her eyes fetching fireflies making tinctures of dead tissue becoming extraordinarily promiscuous. Angels’ nature was to hide in dark places to ride with abandon to sink in the spurs to gnash silver teeth to kick up tipped boots ruining every square dance. Angels, you make me need like a choke rope dream of being sick from head to foot. You are the petaled froth on every steep lapel. You are original and dilapidated depilatory and inflationary ovulary and delusional. O Angels, the scholars will say I failed to know you address you presage you protect you protest you, but we know the truth. 30 00 The Angels Won’t Help You is a book about the uniqueness and primacy of help, particularly in relation to care, love, and caritas. It relies heavily on psychoanalytic and philosophical accounts of help and care and finds that help requires the establishment of a real relationship between persons, where help is given and received in a transitional space that is collapsed by care, unity, or love, which are mental constellations that, while profound, remain within the individuals involved. It contains reflections, memoir, and prose poetry, with an emphasis on psycho-philosophical examinations of help.In trying to understand help, especially in the ways that it is not a synonym for care, Bowker turns to diverse sources and topics, including treatments of children in a helpless world, as featured in the literature of Kathy Acker and Jerzy Kosiński, a first-person account of help in psychiatric hospitals, an analysis of the phenomenon of Japanese hikikomori (“shutting oneself in”), anxiety and helplessness, an exploration of the nature of help and helplessness in Wilfred Bion’s “Attacks on Linking,” a rethinking of trauma in light of the circuital structure of the self, and more.<italic>*</italic>Put differently, The Angels Won’t Help You is a cruel helpless hopeless book raised in Texas roped ridden waddled clowned it developed catastrophic methods of coping. Angels’ mama split her tongue and hissed her words like silent / soldier / crisis in the torment of her sunken trailer in the summer where Angels practiced lighting cigarettes with her eyes fetching fireflies making tinctures of dead tissue becoming extraordinarily promiscuous. Angels’ nature was to hide in dark places to ride with abandon to sink in the spurs to gnash silver teeth to kick up tipped boots ruining every square dance. Angels, you make me need like a choke rope dream of being sick from head to foot. You are the petaled froth on every steep lapel. You are original and dilapidated depilatory and inflationary ovulary and delusional. O Angels, the scholars will say I failed to know you address you presage you protect you protest you, but we know the truth. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0388.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-angels-wont-help-you/ Earth, Milky Way 04 01 20221222 M.H. Bowker 02 WORLD 06 15 9781685710514 03 9781685710514 34 06 10.1300/J189v04n03_01 34 06 10.1002/j.2167-4086.2013.00029.x 34 06 10.1080/00221325.2019.1633618 34 06 10.1234/fa.v0i71.194 34 06 10.1057/s41282-019-00119-7 34 06 10.1163/9789004419247_016 34 06 10.1037/0022-3514.92.6.1087 34 06 10.4324/9781315787299-11 34 06 10.1037/0022-3514.38.4.579 34 06 10.2307/41510970 34 06 10.1016/j.jad.2011.06.030 34 06 10.1146/annurev-psych-010213-115054 34 06 10.1177/0020764011423611 34 06 10.4324/9780429476884-4 34 06 10.1177/014616702237586 34 06 10.1177/0020764011423184 34 06 10.2304/ciec.2001.2.1.8 34 06 10.2190/7WEQ-216D-TVNH-PQJ1 34 06 10.1037/0022-3514.57.4.641 34 06 10.1186/1471-244X-12-169 34 06 10.1177/0020764012437128 34 06 10.1177/1368430209342258 34 06 10.1016/s0140-6736(02)08186-2 34 06 10.4324/9780203760222-5 34 06 10.1007/s00127-011-0411-7 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710506 20 08 20221222 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-angels-wont-help-you 20 08 20221222 02 23.00 USD WORLD urn:uuid:ac8eaf6f-e6d3-4a06-bf08-30ece3829500 03 01 01 thoth-work-id urn:uuid:0a419ac2-6c33-48cc-a9f7-32977e3b4d08 01 thoth-publication-id urn:uuid:ac8eaf6f-e6d3-4a06-bf08-30ece3829500 15 9781685710514 03 9781685710514 06 10.53288/0388.1.00 13 2022951504 01 internal-reference 0388 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Angels Won't Help You 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 01y64my43 University at Buffalo, State University of New York M.H. Bowker is Clinical Assistant Professor in the Social Sciences Interdisciplinary Program at SUNY, University at Buffalo. He is the author of fourteen books and numerous papers for peer-reviewed journals and edited volumes. Bowker’s research interests are critical psychosocial theory, literary criticism, and political philosophy. His latest books are The Anguished and the Enchanted: "The Little Prince" Revisited (punctum books) and The Destroyed World and the Guilty Self: A Psychoanalytic Study of Culture and Politics (with D. Levine, Phoenix Publishers). 01 eng 00 198 03 B2 Cultural Studies+Critical Theory 12 JMAF 93 JMAF 10 PSY026000 12 HPQ B2 Literary Studies 10 PSY017000 93 QDTQ 20 help; care; psychoanalysis; relationships; philosophy; hikikomori; cultural studies 01 06 02 00 03 00 The Angels Won’t Help You is a book about the uniqueness and primacy of help, particularly in relation to care, love, and caritas. It relies heavily on psychoanalytic and philosophical accounts of help and care and finds that help requires the establishment of a real relationship between persons, where help is given and received in a transitional space that is collapsed by care, unity, or love, which are mental constellations that, while profound, remain within the individuals involved. It contains reflections, memoir, and prose poetry, with an emphasis on psycho-philosophical examinations of help.In trying to understand help, especially in the ways that it is not a synonym for care, Bowker turns to diverse sources and topics, including treatments of children in a helpless world, as featured in the literature of Kathy Acker and Jerzy Kosiński, a first-person account of help in psychiatric hospitals, an analysis of the phenomenon of Japanese hikikomori (“shutting oneself in”), anxiety and helplessness, an exploration of the nature of help and helplessness in Wilfred Bion’s “Attacks on Linking,” a rethinking of trauma in light of the circuital structure of the self, and more.<italic>*</italic>Put differently, The Angels Won’t Help You is a cruel helpless hopeless book raised in Texas roped ridden waddled clowned it developed catastrophic methods of coping. Angels’ mama split her tongue and hissed her words like silent / soldier / crisis in the torment of her sunken trailer in the summer where Angels practiced lighting cigarettes with her eyes fetching fireflies making tinctures of dead tissue becoming extraordinarily promiscuous. Angels’ nature was to hide in dark places to ride with abandon to sink in the spurs to gnash silver teeth to kick up tipped boots ruining every square dance. Angels, you make me need like a choke rope dream of being sick from head to foot. You are the petaled froth on every steep lapel. You are original and dilapidated depilatory and inflationary ovulary and delusional. O Angels, the scholars will say I failed to know you address you presage you protect you protest you, but we know the truth. 30 00 The Angels Won’t Help You is a book about the uniqueness and primacy of help, particularly in relation to care, love, and caritas. It relies heavily on psychoanalytic and philosophical accounts of help and care and finds that help requires the establishment of a real relationship between persons, where help is given and received in a transitional space that is collapsed by care, unity, or love, which are mental constellations that, while profound, remain within the individuals involved. It contains reflections, memoir, and prose poetry, with an emphasis on psycho-philosophical examinations of help.In trying to understand help, especially in the ways that it is not a synonym for care, Bowker turns to diverse sources and topics, including treatments of children in a helpless world, as featured in the literature of Kathy Acker and Jerzy Kosiński, a first-person account of help in psychiatric hospitals, an analysis of the phenomenon of Japanese hikikomori (“shutting oneself in”), anxiety and helplessness, an exploration of the nature of help and helplessness in Wilfred Bion’s “Attacks on Linking,” a rethinking of trauma in light of the circuital structure of the self, and more.<italic>*</italic>Put differently, The Angels Won’t Help You is a cruel helpless hopeless book raised in Texas roped ridden waddled clowned it developed catastrophic methods of coping. Angels’ mama split her tongue and hissed her words like silent / soldier / crisis in the torment of her sunken trailer in the summer where Angels practiced lighting cigarettes with her eyes fetching fireflies making tinctures of dead tissue becoming extraordinarily promiscuous. Angels’ nature was to hide in dark places to ride with abandon to sink in the spurs to gnash silver teeth to kick up tipped boots ruining every square dance. Angels, you make me need like a choke rope dream of being sick from head to foot. You are the petaled froth on every steep lapel. You are original and dilapidated depilatory and inflationary ovulary and delusional. O Angels, the scholars will say I failed to know you address you presage you protect you protest you, but we know the truth. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0388.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-angels-wont-help-you/ Earth, Milky Way 04 01 20221222 M.H. Bowker 02 WORLD 06 15 9781685710507 03 9781685710507 34 06 10.1300/J189v04n03_01 34 06 10.1002/j.2167-4086.2013.00029.x 34 06 10.1080/00221325.2019.1633618 34 06 10.1234/fa.v0i71.194 34 06 10.1057/s41282-019-00119-7 34 06 10.1163/9789004419247_016 34 06 10.1037/0022-3514.92.6.1087 34 06 10.4324/9781315787299-11 34 06 10.1037/0022-3514.38.4.579 34 06 10.2307/41510970 34 06 10.1016/j.jad.2011.06.030 34 06 10.1146/annurev-psych-010213-115054 34 06 10.1177/0020764011423611 34 06 10.4324/9780429476884-4 34 06 10.1177/014616702237586 34 06 10.1177/0020764011423184 34 06 10.2304/ciec.2001.2.1.8 34 06 10.2190/7WEQ-216D-TVNH-PQJ1 34 06 10.1037/0022-3514.57.4.641 34 06 10.1186/1471-244X-12-169 34 06 10.1177/0020764012437128 34 06 10.1177/1368430209342258 34 06 10.1016/s0140-6736(02)08186-2 34 06 10.4324/9780203760222-5 34 06 10.1007/s00127-011-0411-7 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/60309 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/60309/0388.1.00.pdf?sequence=1&isAllowed=y 20 08 20221222 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/95486 20 08 20221222 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv34j7mgg 20 08 20221222 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/371 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8e1a09a7-4f17-4ee3-ad9b-16979daff096/download 20 08 20221222 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0a419ac2-6c33-48cc-a9f7-32977e3b4d08 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0a419ac2-6c33-48cc-a9f7-32977e3b4d08/0a419ac2-6c33-48cc-a9f7-32977e3b4d08.pdf 20 08 20221222 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849688 29 ZENODO: download the title https://zenodo.org/records/19849688/files/0a419ac2-6c33-48cc-a9f7-32977e3b4d08_book.pdf 20 08 20221222 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-angels-wont-help-you/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0388.1.00.pdf 20 08 20221222 01 urn:uuid:79b82a68-fb32-4405-ab1c-670fb33148e4 03 01 01 thoth-work-id urn:uuid:229ac088-257d-48f3-9fdf-033fade595b7 01 thoth-publication-id urn:uuid:79b82a68-fb32-4405-ab1c-670fb33148e4 15 9781953035554 03 9781953035554 06 10.21983/P3.0311.1.00 13 2021937026 01 internal-reference 0311 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Anguished and the Enchanted "The Little Prince," Revisited 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 01y64my43 University at Buffalo, State University of New York 01 eng 02 fin 00 120 03 B2 Fabulations 10 FIC010000 12 JMC 93 JMC 10 PSY004000 93 YFH 12 YFH 20 Antoine de Saint-Exupéry; literary criticism; hatred of development; Little Prince; psychoanalysis; regression 01 06 02 00 03 00 In The Anguished and the Enchanted, M.H. Bowker offers a lengthy critical essay and richly annotated English translation of a lost Finnish translation of Antoine de Saint-Exupéry’s The Little Prince. Featuring a substantial Translator’s Preface, M.H. Bowker develops a psychoanalytic lens through which to regard Saint-Exupéry’s classic work, offering a more nuanced and less "fable-esque" text than any translation and interpretation to date.On Bowker’s reading, dark and primitive unconscious forces — including neglect and abuse at home, the hatred of maturation and development, the projection of feelings of worthlessness onto others, the creation of an absurd and futile world, and more — infest the story, not unlike the Baobab trees dreaded by the little prince.Those already familiar with The Little Prince will find in The Anguished and the Enchanted a new way of regarding what has perhaps become a favorite or even a beloved book. Those unfamiliar with the original work will discover a sometimes tragic, sometimes sympathetic, sometimes harrowing account of the lengths to which persons will go in their struggle to find — or to escape from — meaningful places for themselves in the world of adults. 30 00 In The Anguished and the Enchanted, M.H. Bowker offers a lengthy critical essay and richly annotated English translation of a lost Finnish translation of Antoine de Saint-Exupéry’s The Little Prince. Featuring a substantial Translator’s Preface, M.H. Bowker develops a psychoanalytic lens through which to regard Saint-Exupéry’s classic work, offering a more nuanced and less "fable-esque" text than any translation and interpretation to date.On Bowker’s reading, dark and primitive unconscious forces — including neglect and abuse at home, the hatred of maturation and development, the projection of feelings of worthlessness onto others, the creation of an absurd and futile world, and more — infest the story, not unlike the Baobab trees dreaded by the little prince.Those already familiar with The Little Prince will find in The Anguished and the Enchanted a new way of regarding what has perhaps become a favorite or even a beloved book. Those unfamiliar with the original work will discover a sometimes tragic, sometimes sympathetic, sometimes harrowing account of the lengths to which persons will go in their struggle to find — or to escape from — meaningful places for themselves in the world of adults. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0311.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-anguished-and-the-enchanted-the-little-prince-revisited/ Earth, Milky Way 04 01 20210527 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD 06 15 9781953035561 03 9781953035561 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035558 20 08 20210527 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-anguished-and-the-enchanted-the-little-prince-revisited 20 08 20210527 02 22.00 USD WORLD urn:uuid:f6a1c015-3d73-4bf6-be77-dd6cc74b9c8a 03 01 01 thoth-work-id urn:uuid:229ac088-257d-48f3-9fdf-033fade595b7 01 thoth-publication-id urn:uuid:f6a1c015-3d73-4bf6-be77-dd6cc74b9c8a 15 9781953035561 03 9781953035561 06 10.21983/P3.0311.1.00 13 2021937026 01 internal-reference 0311 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Anguished and the Enchanted "The Little Prince," Revisited 1 A01 21 0000000155395589 M.H. Bowker M.H. Bowker 40 01y64my43 University at Buffalo, State University of New York 01 eng 02 fin 00 120 03 B2 Fabulations 10 FIC010000 12 JMC 93 JMC 10 PSY004000 93 YFH 12 YFH 20 Antoine de Saint-Exupéry; literary criticism; hatred of development; Little Prince; psychoanalysis; regression 01 06 02 00 03 00 In The Anguished and the Enchanted, M.H. Bowker offers a lengthy critical essay and richly annotated English translation of a lost Finnish translation of Antoine de Saint-Exupéry’s The Little Prince. Featuring a substantial Translator’s Preface, M.H. Bowker develops a psychoanalytic lens through which to regard Saint-Exupéry’s classic work, offering a more nuanced and less "fable-esque" text than any translation and interpretation to date.On Bowker’s reading, dark and primitive unconscious forces — including neglect and abuse at home, the hatred of maturation and development, the projection of feelings of worthlessness onto others, the creation of an absurd and futile world, and more — infest the story, not unlike the Baobab trees dreaded by the little prince.Those already familiar with The Little Prince will find in The Anguished and the Enchanted a new way of regarding what has perhaps become a favorite or even a beloved book. Those unfamiliar with the original work will discover a sometimes tragic, sometimes sympathetic, sometimes harrowing account of the lengths to which persons will go in their struggle to find — or to escape from — meaningful places for themselves in the world of adults. 30 00 In The Anguished and the Enchanted, M.H. Bowker offers a lengthy critical essay and richly annotated English translation of a lost Finnish translation of Antoine de Saint-Exupéry’s The Little Prince. Featuring a substantial Translator’s Preface, M.H. Bowker develops a psychoanalytic lens through which to regard Saint-Exupéry’s classic work, offering a more nuanced and less "fable-esque" text than any translation and interpretation to date.On Bowker’s reading, dark and primitive unconscious forces — including neglect and abuse at home, the hatred of maturation and development, the projection of feelings of worthlessness onto others, the creation of an absurd and futile world, and more — infest the story, not unlike the Baobab trees dreaded by the little prince.Those already familiar with The Little Prince will find in The Anguished and the Enchanted a new way of regarding what has perhaps become a favorite or even a beloved book. Those unfamiliar with the original work will discover a sometimes tragic, sometimes sympathetic, sometimes harrowing account of the lengths to which persons will go in their struggle to find — or to escape from — meaningful places for themselves in the world of adults. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0311.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-anguished-and-the-enchanted-the-little-prince-revisited/ Earth, Milky Way 04 01 20210527 Bowker, M.H. (0000-0001-5539-5589) 02 WORLD 06 15 9781953035554 03 9781953035554 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/48762 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/48762/0311.1.00.pdf 20 08 20210527 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/69930 20 08 20210527 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353865 20 08 20210527 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/665 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5960afc5-1fec-4eee-984a-b10747a5b594/download 20 08 20210527 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Anguished_and_the_Enchanted/FgaVEAAAQBAJ 20 08 20210527 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/229ac088-257d-48f3-9fdf-033fade595b7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/229ac088-257d-48f3-9fdf-033fade595b7/229ac088-257d-48f3-9fdf-033fade595b7.pdf 20 08 20210527 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848852 29 ZENODO: download the title https://zenodo.org/records/19848852/files/229ac088-257d-48f3-9fdf-033fade595b7_book.pdf 20 08 20210527 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-anguished-and-the-enchanted-the-little-prince-revisited/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0311.1.00.pdf 20 08 20210527 01 urn:uuid:b3b82f34-c1d1-497d-a814-82dc3a69e960 03 01 01 thoth-work-id urn:uuid:1d30497f-4340-43ab-b328-9fd2fed3106e 01 thoth-publication-id urn:uuid:b3b82f34-c1d1-497d-a814-82dc3a69e960 15 9781950192472 03 9781950192472 06 10.21983/P3.0254.1.00 13 2019951803 01 internal-reference 0254 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Anthology of Babel 1 B01 Ed Simon Ed Simon 01 eng 00 398 03 12 DNF 93 DNL 10 LIT007000 B2 Literary Studies 20 imaginary literature; Jorge Luis Borges; literary studies; literary criticism; philosophy; labyrinths; Babel 01 06 02 00 03 00 Why should there only be literary scholarship about authors who actually lived, and texts which exist? Where are the articles on Enoch Campion, Linus Withold, Redondo Panza, Darshan Singh, or Heidi B. Morton? That none of these are real authors should be no impediment to interpreting their invented writings. In the first collection of its kind, The Anthology of Babel publishes academic articles by scholars on authors, books, and movements that are completely invented. Blurring the lines between scholarship and creative writing, The Anthology of Babel inaugurates a completely new literary genre perfectly attuned to the era we live in, a project evocative of Jorge Luis Borges, Umberto Eco, and Italo Calvino. 30 00 Why should there only be literary scholarship about authors who actually lived, and texts which exist? Where are the articles on Enoch Campion, Linus Withold, Redondo Panza, Darshan Singh, or Heidi B. Morton? That none of these are real authors should be no impediment to interpreting their invented writings. In the first collection of its kind, The Anthology of Babel publishes academic articles by scholars on authors, books, and movements that are completely invented. Blurring the lines between scholarship and creative writing, The Anthology of Babel inaugurates a completely new literary genre perfectly attuned to the era we live in, a project evocative of Jorge Luis Borges, Umberto Eco, and Italo Calvino. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0254.1.00_frontcover.png 1 03 06 10.21983/P3.0254.1.01 1 10 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Ed Simon Ed Simon 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0254.1.02 15 25 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Labyrinths of Imagined Literature 1 A01 Ed Simon Ed Simon 01 eng 20 00 Open Access Ed Simon 3 03 06 10.21983/P3.0254.1.03 27 48 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Body-Loving Philosophers 1 A01 Stephen David Engel Stephen David Engel 40 03s65by71 University of California, Santa Cruz 01 eng 20 00 Open Access Stephen David Engel 4 03 06 10.21983/P3.0254.1.04 49 72 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Encounters with the Unknown and Manifestations of Fear Discerning the Purpose of the "Great Darkness Text" 1 A01 21 0000000231796959 Seth Ligo Seth Ligo 40 00py81415 Duke University 01 eng 20 00 Open Access Seth Ligo 5 03 06 10.21983/P3.0254.1.05 73 89 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Romance of the Minotaur" Revisited 1 A01 Katherine McLoone Katherine McLoone 40 0080fxk18 California State University, Long Beach 01 eng 20 00 Open Access Katherine McLoone 6 03 06 10.21983/P3.0254.1.06 91 100 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “The Very Globe Came Undone” Ontological Negation in Enoch Campion’s "The Tragedy of Dracule" 1 A01 Ed Simon Ed Simon 01 eng 20 00 Open Access Ed Simon 7 03 06 10.21983/P3.0254.1.07 101 118 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “All My Heroines Must Like Him” Circumscribing the Spouse in Jane Austen’s "Plan of a Husband" 1 A01 Tom Zille Tom Zille 40 013meh722 University of Cambridge 01 eng 20 00 Open Access Tom Zille 8 03 06 10.21983/P3.0254.1.08 119 137 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Linus Withold and the Birth of the Rhizomatic Text 1 A01 Eric D. Lehman Eric D. Lehman 40 01rf3yp57 University of Bridgeport 01 eng 20 00 Open Access 9 03 06 10.21983/P3.0254.1.09 139 Austin Sarfan 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eighth Draft of “First-Order Variables & Repression: Oedipal Relations in ‘The Sandwich’ by Rubiard Whimp” by James Lichtenstein 1 A01 Austin Sarfan Austin Sarfan 40 00py81415 Duke University 01 eng 20 00 Open Access Austin Sarfan 10 03 06 10.21983/P3.0254.1.10 157 171 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Under Imaginary Skies Scholarly Variations on "The Rainberg Variations" 1 A01 Reed Johnson Reed Johnson 40 03gh96r95 Bowdoin College 01 eng 20 00 Open Access Reed Johnson 11 03 06 10.21983/P3.0254.1.11 173 195 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pedro Somar, traductor de Ramned, autor del Quijote 1 A01 David Ben-Merre David Ben-Merre 40 05ms04m92 Buffalo State College 2 A01 Raul Neira Raul Neira 40 05ms04m92 Buffalo State College 01 eng 20 00 Open Access David Ben-Merre, Raul Neira 12 03 06 10.21983/P3.0254.1.12 197 213 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "El fin del mundo" Uncharted Territory of Ernest Hemingway’s Fiction 1 A01 Maria-Josee Mendez Maria-Josee Mendez 40 02b6qw903 University of South Carolina 01 eng 20 00 Open Access Maria-Josee Mendez 13 03 06 10.21983/P3.0254.1.13 215 234 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Unfinished and Lost Texts of Richard A. Conlan An Examination of an Obsession, by Mark Conlan, Ph.D. 1 A01 James Speese James Speese 40 029eaeb35 Albright College 01 eng 20 00 Open Access James Speese 14 03 06 10.21983/P3.0254.1.14 235 249 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stirring the Sentient Dust Marie-Rose Souci’s "The Grey Moth" 1 A01 Claire Daigle Claire Daigle 40 036qcm975 San Francisco Art Institute 01 eng 20 00 Open Access Claire Daigle 15 03 06 10.21983/P3.0254.1.15 251 260 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Traduttore, Traditore Authorial Inconsistencies in the Works of Redondo Panza 1 A01 Julia Coursey Julia Coursey 40 03dakdm13 St. John's College 01 eng 20 00 Open Access Julia Coursey 16 03 06 10.21983/P3.0254.1.16 261 278 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Purists Cooperative Fundamentalism and Aesthetic Dogmatics 1 A01 21 0000000320212054 Matthew Newcomb Matthew Newcomb 40 03j3dv688 State University of New York at New Paltz 01 eng 20 00 Open Access Matthew Newcomb 17 03 06 10.21983/P3.0254.1.17 279 303 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Paratext to Text, Scholar to Ragpicker Inverted Criticism and the “Heidi B. Morton Papers and Library" 1 A01 Ryan Marnane Ryan Marnane 40 01gk44f56 Bryant University 01 eng 20 00 Open Access Ryan Marnane 18 03 06 10.21983/P3.0254.1.18 305 321 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “What Else Was There To Do?” Fat Futurity and the Limits of Narrative Imagination in Desolation 1 A01 Em K. Falk Em K. Falk 01 eng 20 00 Open Access Em K. Falk 19 03 06 10.21983/P3.0254.1.19 323 344 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “All My Life My Writing Is” "The Auto-Bio-Graph of Smalloysius F.: Being Told by Itself" 1 A01 Stephen Hock Stephen Hock 40 03ken7w58 Virginia Wesleyan College 01 eng 20 00 Open Access Stephen Hock 20 03 06 10.21983/P3.0254.1.20 345 363 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Gravity of the Situation 1 A01 21 0000000182499500 Bruce Krajewski Bruce Krajewski 40 019kgqr73 The University of Texas at Arlington 01 eng 20 00 Open Access Bruce Krajewski 21 03 06 10.21983/P3.0254.1.21 365 387 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Darkness Made Visible Eamonn Peters on Imagined Literature 1 A01 Ed Simon Ed Simon 01 eng 20 00 Open Access Ed Simon 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-anthology-of-babel/ Earth, Milky Way 04 01 20200124 Simon, Ed 02 WORLD 06 15 9781950192489 03 9781950192489 34 06 10.2307/2851220 34 06 10.2307/469399 34 06 10.2307/462782 34 06 10.2307/2852135 34 06 10.1353/hem.2000.0007 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192474 20 08 20200124 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-anthology-of-babel 20 08 20200124 02 27.00 USD WORLD urn:uuid:35e95056-fbde-4711-8370-c269d7ca0bd4 03 01 01 thoth-work-id urn:uuid:1d30497f-4340-43ab-b328-9fd2fed3106e 01 thoth-publication-id urn:uuid:35e95056-fbde-4711-8370-c269d7ca0bd4 15 9781950192489 03 9781950192489 06 10.21983/P3.0254.1.00 13 2019951803 01 internal-reference 0254 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Anthology of Babel 1 B01 Ed Simon Ed Simon 01 eng 00 398 03 12 DNF 93 DNL 10 LIT007000 B2 Literary Studies 20 imaginary literature; Jorge Luis Borges; literary studies; literary criticism; philosophy; labyrinths; Babel 01 06 02 00 03 00 Why should there only be literary scholarship about authors who actually lived, and texts which exist? Where are the articles on Enoch Campion, Linus Withold, Redondo Panza, Darshan Singh, or Heidi B. Morton? That none of these are real authors should be no impediment to interpreting their invented writings. In the first collection of its kind, The Anthology of Babel publishes academic articles by scholars on authors, books, and movements that are completely invented. Blurring the lines between scholarship and creative writing, The Anthology of Babel inaugurates a completely new literary genre perfectly attuned to the era we live in, a project evocative of Jorge Luis Borges, Umberto Eco, and Italo Calvino. 30 00 Why should there only be literary scholarship about authors who actually lived, and texts which exist? Where are the articles on Enoch Campion, Linus Withold, Redondo Panza, Darshan Singh, or Heidi B. Morton? That none of these are real authors should be no impediment to interpreting their invented writings. In the first collection of its kind, The Anthology of Babel publishes academic articles by scholars on authors, books, and movements that are completely invented. Blurring the lines between scholarship and creative writing, The Anthology of Babel inaugurates a completely new literary genre perfectly attuned to the era we live in, a project evocative of Jorge Luis Borges, Umberto Eco, and Italo Calvino. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0254.1.00_frontcover.png 1 03 06 10.21983/P3.0254.1.01 1 10 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Ed Simon Ed Simon 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0254.1.02 15 25 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Labyrinths of Imagined Literature 1 A01 Ed Simon Ed Simon 01 eng 20 00 Open Access Ed Simon 3 03 06 10.21983/P3.0254.1.03 27 48 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Body-Loving Philosophers 1 A01 Stephen David Engel Stephen David Engel 40 03s65by71 University of California, Santa Cruz 01 eng 20 00 Open Access Stephen David Engel 4 03 06 10.21983/P3.0254.1.04 49 72 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Encounters with the Unknown and Manifestations of Fear Discerning the Purpose of the "Great Darkness Text" 1 A01 21 0000000231796959 Seth Ligo Seth Ligo 40 00py81415 Duke University 01 eng 20 00 Open Access Seth Ligo 5 03 06 10.21983/P3.0254.1.05 73 89 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The "Romance of the Minotaur" Revisited 1 A01 Katherine McLoone Katherine McLoone 40 0080fxk18 California State University, Long Beach 01 eng 20 00 Open Access Katherine McLoone 6 03 06 10.21983/P3.0254.1.06 91 100 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “The Very Globe Came Undone” Ontological Negation in Enoch Campion’s "The Tragedy of Dracule" 1 A01 Ed Simon Ed Simon 01 eng 20 00 Open Access Ed Simon 7 03 06 10.21983/P3.0254.1.07 101 118 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “All My Heroines Must Like Him” Circumscribing the Spouse in Jane Austen’s "Plan of a Husband" 1 A01 Tom Zille Tom Zille 40 013meh722 University of Cambridge 01 eng 20 00 Open Access Tom Zille 8 03 06 10.21983/P3.0254.1.08 119 137 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Linus Withold and the Birth of the Rhizomatic Text 1 A01 Eric D. Lehman Eric D. Lehman 40 01rf3yp57 University of Bridgeport 01 eng 20 00 Open Access 9 03 06 10.21983/P3.0254.1.09 139 Austin Sarfan 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Eighth Draft of “First-Order Variables & Repression: Oedipal Relations in ‘The Sandwich’ by Rubiard Whimp” by James Lichtenstein 1 A01 Austin Sarfan Austin Sarfan 40 00py81415 Duke University 01 eng 20 00 Open Access Austin Sarfan 10 03 06 10.21983/P3.0254.1.10 157 171 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Under Imaginary Skies Scholarly Variations on "The Rainberg Variations" 1 A01 Reed Johnson Reed Johnson 40 03gh96r95 Bowdoin College 01 eng 20 00 Open Access Reed Johnson 11 03 06 10.21983/P3.0254.1.11 173 195 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pedro Somar, traductor de Ramned, autor del Quijote 1 A01 David Ben-Merre David Ben-Merre 40 05ms04m92 Buffalo State College 2 A01 Raul Neira Raul Neira 40 05ms04m92 Buffalo State College 01 eng 20 00 Open Access David Ben-Merre, Raul Neira 12 03 06 10.21983/P3.0254.1.12 197 213 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "El fin del mundo" Uncharted Territory of Ernest Hemingway’s Fiction 1 A01 Maria-Josee Mendez Maria-Josee Mendez 40 02b6qw903 University of South Carolina 01 eng 20 00 Open Access Maria-Josee Mendez 13 03 06 10.21983/P3.0254.1.13 215 234 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Unfinished and Lost Texts of Richard A. Conlan An Examination of an Obsession, by Mark Conlan, Ph.D. 1 A01 James Speese James Speese 40 029eaeb35 Albright College 01 eng 20 00 Open Access James Speese 14 03 06 10.21983/P3.0254.1.14 235 249 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stirring the Sentient Dust Marie-Rose Souci’s "The Grey Moth" 1 A01 Claire Daigle Claire Daigle 40 036qcm975 San Francisco Art Institute 01 eng 20 00 Open Access Claire Daigle 15 03 06 10.21983/P3.0254.1.15 251 260 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Traduttore, Traditore Authorial Inconsistencies in the Works of Redondo Panza 1 A01 Julia Coursey Julia Coursey 40 03dakdm13 St. John's College 01 eng 20 00 Open Access Julia Coursey 16 03 06 10.21983/P3.0254.1.16 261 278 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Purists Cooperative Fundamentalism and Aesthetic Dogmatics 1 A01 21 0000000320212054 Matthew Newcomb Matthew Newcomb 40 03j3dv688 State University of New York at New Paltz 01 eng 20 00 Open Access Matthew Newcomb 17 03 06 10.21983/P3.0254.1.17 279 303 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Paratext to Text, Scholar to Ragpicker Inverted Criticism and the “Heidi B. Morton Papers and Library" 1 A01 Ryan Marnane Ryan Marnane 40 01gk44f56 Bryant University 01 eng 20 00 Open Access Ryan Marnane 18 03 06 10.21983/P3.0254.1.18 305 321 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “What Else Was There To Do?” Fat Futurity and the Limits of Narrative Imagination in Desolation 1 A01 Em K. Falk Em K. Falk 01 eng 20 00 Open Access Em K. Falk 19 03 06 10.21983/P3.0254.1.19 323 344 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “All My Life My Writing Is” "The Auto-Bio-Graph of Smalloysius F.: Being Told by Itself" 1 A01 Stephen Hock Stephen Hock 40 03ken7w58 Virginia Wesleyan College 01 eng 20 00 Open Access Stephen Hock 20 03 06 10.21983/P3.0254.1.20 345 363 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Gravity of the Situation 1 A01 21 0000000182499500 Bruce Krajewski Bruce Krajewski 40 019kgqr73 The University of Texas at Arlington 01 eng 20 00 Open Access Bruce Krajewski 21 03 06 10.21983/P3.0254.1.21 365 387 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Darkness Made Visible Eamonn Peters on Imagined Literature 1 A01 Ed Simon Ed Simon 01 eng 20 00 Open Access Ed Simon 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-anthology-of-babel/ Earth, Milky Way 04 01 20200124 Simon, Ed 02 WORLD 06 15 9781950192472 03 9781950192472 34 06 10.2307/2851220 34 06 10.2307/469399 34 06 10.2307/462782 34 06 10.2307/2852135 34 06 10.1353/hem.2000.0007 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/23356 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/23356/0254.1.00.pdf?sequence=1&isAllowed=y 20 08 20200124 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26044 20 08 20200124 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353922 20 08 20200124 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/626 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a739d4e4-bd72-4bda-b31d-3813d8907d89/download 20 08 20200124 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Anthology_of_Babel/4ASVEAAAQBAJ 20 08 20200124 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1d30497f-4340-43ab-b328-9fd2fed3106e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1d30497f-4340-43ab-b328-9fd2fed3106e/1d30497f-4340-43ab-b328-9fd2fed3106e.pdf 20 08 20200124 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848065 29 ZENODO: download the title https://zenodo.org/records/19848065/files/1d30497f-4340-43ab-b328-9fd2fed3106e_book.pdf 20 08 20200124 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-anthology-of-babel/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0254.1.00.pdf 20 08 20200124 01 urn:uuid:5024fd7d-c7b1-4586-a10a-3b5278109d49 03 01 01 thoth-work-id urn:uuid:aa638faf-680a-4423-ad14-a52bf6d4d94d 01 thoth-publication-id urn:uuid:5024fd7d-c7b1-4586-a10a-3b5278109d49 15 9781685712723 03 9781685712723 06 10.53288/0552.1.00 13 2025942155 01 internal-reference 0552 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in 03 8 mm 03 0.8 cm 03 0.3 in 08 227 gr 08 8 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Ants 1 A01 Sawako Nakayasu Sawako Nakayasu 40 05gq02987 Brown University Sawako Nakayasu is an artist working with language, performance, and translation, separately and combined. Recent books include Pink Waves (Omnidawn, 2023), a finalist for the PEN/Voelcker award, Some Girls Walk Into The Country They Are From (Wave Books, 2020), and the pamphlet, Say Translation Is Art (Ugly Duckling Presse, 2020). Translations include The Collected Poems of Chika Sagawa (Modern Library, 2020), as well as Mouth: Eats Color – Sagawa Chika Translations, Anti-translations, & Originals (Rogue Factorial, 2011), a multilingual work of both original and translated poetry. Settle Her, which was written on the #1 bus line in Providence on Thanksgiving Day of 2017, on the occasion of Sawako cutting ties with normative Thanksgiving celebrations, is forthcoming from Solid Objects. She teaches poetry, translation, and interdisciplinary art in the Literary Arts department at Brown University. 06 Own website https://www.sawakonakayasu.net/ 01 eng 01 jpn 00 132 03 93 DCF B2 Fabulations 10 POE005060 93 DCC 10 FIC054000 93 5PB-US-D 20 insects; poetry 01 06 02 00 03 00 The Ants is a study not of, but through, ants. In a dashing sequence of prose pieces, Sawako Nakayasu takes the human to the level of the ant, and the ant to the level of the human. Prima facie, The Ants is a catalogue of insect observations and observations of insects. But the exposé of insect life humbles and disrupts the myopia that is human life, where experience is seen in its most raw and animal form and human “nouveau-ambitious” and “free-thinking” lifestyles become estranged, uncovered, and humbled. Found in dumpling soups and remembered in childhood vignettes, these ants trail through what Nakayasu describes as the “industry of survival,” exploring interfaces of love, ambition, and strategy. The danger is not in sentiment, but rather, in a gash, a wall, an argument, an intention. Is it more lonely to be crushed into the core of a non-mechanical pencil, to be isolated in the safety of home, or to “find” “it” “all” at the very very last moment? The Ants is the distance, the break, and the tenuous wilderness between exoskeleton and endoskeleton, and Nakayasu puts her finger on it, and it, and it.This title is a new and expanded edition released as part of punctum’s Special Collections project, containing additionally seventeen bilingual English–Japanese poems from the chapbook Insect Country E: Bilingual Insects. 30 00 The Ants is a study not of, but through, ants. In a dashing sequence of prose pieces, Sawako Nakayasu takes the human to the level of the ant, and the ant to the level of the human. Prima facie, The Ants is a catalogue of insect observations and observations of insects. But the exposé of insect life humbles and disrupts the myopia that is human life, where experience is seen in its most raw and animal form and human “nouveau-ambitious” and “free-thinking” lifestyles become estranged, uncovered, and humbled. Found in dumpling soups and remembered in childhood vignettes, these ants trail through what Nakayasu describes as the “industry of survival,” exploring interfaces of love, ambition, and strategy. The danger is not in sentiment, but rather, in a gash, a wall, an argument, an intention. Is it more lonely to be crushed into the core of a non-mechanical pencil, to be isolated in the safety of home, or to “find” “it” “all” at the very very last moment? The Ants is the distance, the break, and the tenuous wilderness between exoskeleton and endoskeleton, and Nakayasu puts her finger on it, and it, and it.This title is a new and expanded edition released as part of punctum’s Special Collections project, containing additionally seventeen bilingual English–Japanese poems from the chapbook Insect Country E: Bilingual Insects. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0.552.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-ants/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20250822 Sawako Nagayasu 02 WORLD 06 15 9781685712730 03 9781685712730 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571272X 20 08 20250822 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-ants-sawako-nakayasu 20 08 20250822 02 17.00 USD WORLD urn:uuid:894cc319-488a-4484-8c7c-d4000aa97133 03 01 01 thoth-work-id urn:uuid:aa638faf-680a-4423-ad14-a52bf6d4d94d 01 thoth-publication-id urn:uuid:894cc319-488a-4484-8c7c-d4000aa97133 15 9781685712730 03 9781685712730 06 10.53288/0552.1.00 13 2025942155 01 internal-reference 0552 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Ants 1 A01 Sawako Nakayasu Sawako Nakayasu 40 05gq02987 Brown University Sawako Nakayasu is an artist working with language, performance, and translation, separately and combined. Recent books include Pink Waves (Omnidawn, 2023), a finalist for the PEN/Voelcker award, Some Girls Walk Into The Country They Are From (Wave Books, 2020), and the pamphlet, Say Translation Is Art (Ugly Duckling Presse, 2020). Translations include The Collected Poems of Chika Sagawa (Modern Library, 2020), as well as Mouth: Eats Color – Sagawa Chika Translations, Anti-translations, & Originals (Rogue Factorial, 2011), a multilingual work of both original and translated poetry. Settle Her, which was written on the #1 bus line in Providence on Thanksgiving Day of 2017, on the occasion of Sawako cutting ties with normative Thanksgiving celebrations, is forthcoming from Solid Objects. She teaches poetry, translation, and interdisciplinary art in the Literary Arts department at Brown University. 06 Own website https://www.sawakonakayasu.net/ 01 eng 01 jpn 00 132 03 93 DCF B2 Fabulations 10 POE005060 93 DCC 10 FIC054000 93 5PB-US-D 20 insects; poetry 01 06 02 00 03 00 The Ants is a study not of, but through, ants. In a dashing sequence of prose pieces, Sawako Nakayasu takes the human to the level of the ant, and the ant to the level of the human. Prima facie, The Ants is a catalogue of insect observations and observations of insects. But the exposé of insect life humbles and disrupts the myopia that is human life, where experience is seen in its most raw and animal form and human “nouveau-ambitious” and “free-thinking” lifestyles become estranged, uncovered, and humbled. Found in dumpling soups and remembered in childhood vignettes, these ants trail through what Nakayasu describes as the “industry of survival,” exploring interfaces of love, ambition, and strategy. The danger is not in sentiment, but rather, in a gash, a wall, an argument, an intention. Is it more lonely to be crushed into the core of a non-mechanical pencil, to be isolated in the safety of home, or to “find” “it” “all” at the very very last moment? The Ants is the distance, the break, and the tenuous wilderness between exoskeleton and endoskeleton, and Nakayasu puts her finger on it, and it, and it.This title is a new and expanded edition released as part of punctum’s Special Collections project, containing additionally seventeen bilingual English–Japanese poems from the chapbook Insect Country E: Bilingual Insects. 30 00 The Ants is a study not of, but through, ants. In a dashing sequence of prose pieces, Sawako Nakayasu takes the human to the level of the ant, and the ant to the level of the human. Prima facie, The Ants is a catalogue of insect observations and observations of insects. But the exposé of insect life humbles and disrupts the myopia that is human life, where experience is seen in its most raw and animal form and human “nouveau-ambitious” and “free-thinking” lifestyles become estranged, uncovered, and humbled. Found in dumpling soups and remembered in childhood vignettes, these ants trail through what Nakayasu describes as the “industry of survival,” exploring interfaces of love, ambition, and strategy. The danger is not in sentiment, but rather, in a gash, a wall, an argument, an intention. Is it more lonely to be crushed into the core of a non-mechanical pencil, to be isolated in the safety of home, or to “find” “it” “all” at the very very last moment? The Ants is the distance, the break, and the tenuous wilderness between exoskeleton and endoskeleton, and Nakayasu puts her finger on it, and it, and it.This title is a new and expanded edition released as part of punctum’s Special Collections project, containing additionally seventeen bilingual English–Japanese poems from the chapbook Insect Country E: Bilingual Insects. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0.552.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-ants/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20250822 Sawako Nagayasu 02 WORLD 06 15 9781685712723 03 9781685712723 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/105868 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/105868/9781685712730.pdf?sequence=1&isAllowed=y 20 08 20250822 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/902 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/49288be2-ea53-4f8e-83d7-d681a144313f/download 20 08 20250822 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/aa638faf-680a-4423-ad14-a52bf6d4d94d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/aa638faf-680a-4423-ad14-a52bf6d4d94d/aa638faf-680a-4423-ad14-a52bf6d4d94d.pdf 20 08 20250822 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851265 29 ZENODO: download the title https://zenodo.org/records/19851265/files/aa638faf-680a-4423-ad14-a52bf6d4d94d_book.pdf 20 08 20250822 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-ants/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0552.1.00.pdf 20 08 20250822 01 urn:uuid:a1c1976c-7461-4e0a-979d-2902ca37b449 03 01 01 thoth-work-id urn:uuid:200b11a8-57d6-4f81-b089-ddd4ee7fe2f2 01 thoth-publication-id urn:uuid:a1c1976c-7461-4e0a-979d-2902ca37b449 15 9780615792484 03 9780615792484 06 10.21983/P3.0030.1.00 01 internal-reference 0030 00 BC 10 01 279 mm 01 27.9 cm 01 11 in 02 146 mm 02 14.6 cm 02 5.75 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Apartment of Tragic Appliances Poems 1 A01 Michael D. Snediker Michael D. Snediker 40 02y72wh86 Queen's University 40 048sx0r50 University of Houston 01 eng 00 82 03 12 DCF 93 DCF B2 Fabulations 10 POE021000 93 5PSG B2 TransQueer 20 poetry; gay life; prose poems; love 01 06 02 00 03 00 The Apartment of Tragic Appliances, named as a finalist for a 2013 Lambda Literary Award, is a literal place in which a hapless, portable dishwasher “heats residue only to reimagine cleanliness as an art project,” a recalcitrant microwave neglects to heat, and a refrigerator dies an inconvenient, bulky death. It is also that psychic space in which we consider our loneliness, our wandering hearts, our unpacked boxes, our vulgar desires.In Queer Optimism: Lyric Personhood and Other Felicitous Persuasions (Minnesota, 2007), Michael Snediker worked “in the interests of felicity” to undermine the ways in which queer theory customarily privileges shame and melancholy. Here, in his first full-length collection of poetry, he undertakes a similar upending of expectation, acknowledging “gay sadness” but refusing to fall fully under its sway. The demi-tragedies of daily life are recounted by a voice that is variously wistful, giddy, bawdy, silly, and tart.Along the way, Michael Snediker sets off an impressive pyrotechnic display of literary allusion, drawing on the superstars of the Western canon (think: Virgil, Racine, Proust, James, Wharton, Tennessee Williams) and of popular culture (Lucille Ball, John Travolta, Alex Trebek).Buyer beware: In these pages you will not find advice on how to feng shui your duplex or tame a Cuisinart run amok. Instead, you will find something far rarer: a book of poetic sustenance. As Daniel Tiffany observes, “We have been missing poems like these for a long time.” 30 00 The Apartment of Tragic Appliances, named as a finalist for a 2013 Lambda Literary Award, is a literal place in which a hapless, portable dishwasher “heats residue only to reimagine cleanliness as an art project,” a recalcitrant microwave neglects to heat, and a refrigerator dies an inconvenient, bulky death. It is also that psychic space in which we consider our loneliness, our wandering hearts, our unpacked boxes, our vulgar desires.In Queer Optimism: Lyric Personhood and Other Felicitous Persuasions (Minnesota, 2007), Michael Snediker worked “in the interests of felicity” to undermine the ways in which queer theory customarily privileges shame and melancholy. Here, in his first full-length collection of poetry, he undertakes a similar upending of expectation, acknowledging “gay sadness” but refusing to fall fully under its sway. The demi-tragedies of daily life are recounted by a voice that is variously wistful, giddy, bawdy, silly, and tart.Along the way, Michael Snediker sets off an impressive pyrotechnic display of literary allusion, drawing on the superstars of the Western canon (think: Virgil, Racine, Proust, James, Wharton, Tennessee Williams) and of popular culture (Lucille Ball, John Travolta, Alex Trebek).Buyer beware: In these pages you will not find advice on how to feng shui your duplex or tame a Cuisinart run amok. Instead, you will find something far rarer: a book of poetic sustenance. As Daniel Tiffany observes, “We have been missing poems like these for a long time.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0030.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-apartment-of-tragic-appliances/ Brooklyn, NY 04 01 20130526 Snediker, Michael D. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615792480 20 08 20130526 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-apartment-of-tragic-appliances-poems 20 08 20130526 02 22.00 USD WORLD urn:uuid:8e19e7a3-55b7-4bd8-a98c-8329f8418615 03 01 01 thoth-work-id urn:uuid:200b11a8-57d6-4f81-b089-ddd4ee7fe2f2 01 thoth-publication-id urn:uuid:8e19e7a3-55b7-4bd8-a98c-8329f8418615 06 10.21983/P3.0030.1.00 01 internal-reference 0030 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Apartment of Tragic Appliances Poems 1 A01 Michael D. Snediker Michael D. Snediker 40 02y72wh86 Queen's University 40 048sx0r50 University of Houston 01 eng 00 82 03 12 DCF 93 DCF B2 Fabulations 10 POE021000 93 5PSG B2 TransQueer 20 poetry; gay life; prose poems; love 01 06 02 00 03 00 The Apartment of Tragic Appliances, named as a finalist for a 2013 Lambda Literary Award, is a literal place in which a hapless, portable dishwasher “heats residue only to reimagine cleanliness as an art project,” a recalcitrant microwave neglects to heat, and a refrigerator dies an inconvenient, bulky death. It is also that psychic space in which we consider our loneliness, our wandering hearts, our unpacked boxes, our vulgar desires.In Queer Optimism: Lyric Personhood and Other Felicitous Persuasions (Minnesota, 2007), Michael Snediker worked “in the interests of felicity” to undermine the ways in which queer theory customarily privileges shame and melancholy. Here, in his first full-length collection of poetry, he undertakes a similar upending of expectation, acknowledging “gay sadness” but refusing to fall fully under its sway. The demi-tragedies of daily life are recounted by a voice that is variously wistful, giddy, bawdy, silly, and tart.Along the way, Michael Snediker sets off an impressive pyrotechnic display of literary allusion, drawing on the superstars of the Western canon (think: Virgil, Racine, Proust, James, Wharton, Tennessee Williams) and of popular culture (Lucille Ball, John Travolta, Alex Trebek).Buyer beware: In these pages you will not find advice on how to feng shui your duplex or tame a Cuisinart run amok. Instead, you will find something far rarer: a book of poetic sustenance. As Daniel Tiffany observes, “We have been missing poems like these for a long time.” 30 00 The Apartment of Tragic Appliances, named as a finalist for a 2013 Lambda Literary Award, is a literal place in which a hapless, portable dishwasher “heats residue only to reimagine cleanliness as an art project,” a recalcitrant microwave neglects to heat, and a refrigerator dies an inconvenient, bulky death. It is also that psychic space in which we consider our loneliness, our wandering hearts, our unpacked boxes, our vulgar desires.In Queer Optimism: Lyric Personhood and Other Felicitous Persuasions (Minnesota, 2007), Michael Snediker worked “in the interests of felicity” to undermine the ways in which queer theory customarily privileges shame and melancholy. Here, in his first full-length collection of poetry, he undertakes a similar upending of expectation, acknowledging “gay sadness” but refusing to fall fully under its sway. The demi-tragedies of daily life are recounted by a voice that is variously wistful, giddy, bawdy, silly, and tart.Along the way, Michael Snediker sets off an impressive pyrotechnic display of literary allusion, drawing on the superstars of the Western canon (think: Virgil, Racine, Proust, James, Wharton, Tennessee Williams) and of popular culture (Lucille Ball, John Travolta, Alex Trebek).Buyer beware: In these pages you will not find advice on how to feng shui your duplex or tame a Cuisinart run amok. Instead, you will find something far rarer: a book of poetic sustenance. As Daniel Tiffany observes, “We have been missing poems like these for a long time.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0030.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-apartment-of-tragic-appliances/ Brooklyn, NY 04 01 20130526 Snediker, Michael D. 02 WORLD 06 15 9780615792484 03 9780615792484 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25586 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25586/1004509.pdf?sequence=1&isAllowed=y 20 08 20130526 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39121 20 08 20130526 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353792 20 08 20130526 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/410 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ce1d6064-3251-4fae-a735-95051901f419/download 20 08 20130526 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/200b11a8-57d6-4f81-b089-ddd4ee7fe2f2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/200b11a8-57d6-4f81-b089-ddd4ee7fe2f2/200b11a8-57d6-4f81-b089-ddd4ee7fe2f2.pdf 20 08 20130526 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845733 29 ZENODO: download the title https://zenodo.org/records/19845733/files/200b11a8-57d6-4f81-b089-ddd4ee7fe2f2_book.pdf 20 08 20130526 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-apartment-of-tragic-appliances/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0030.1.00.pdf 20 08 20130526 01 urn:uuid:ab9f9bb6-203c-4407-85fa-269675531d5d 03 01 01 thoth-work-id urn:uuid:5629d4a6-95ab-4561-8de6-21a674eff06d 01 thoth-publication-id urn:uuid:ab9f9bb6-203c-4407-85fa-269675531d5d 15 9781685711580 03 9781685711580 06 10.53288/0494.1.00 13 2024945178 01 internal-reference 0494 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 26 mm 03 2.6 cm 03 1.03 in 08 576 gr 08 20.32 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Art of Compilation Manuscripts and Networks in the Early Medieval Latin West 1 B01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva Lecturer in Digital Paleography 40 01y9bpm73 University of Göttingen Anna Dorofeeva is Lecturer in Digital Paleography at the University of Göttingen Institute for Digital Humanities. She has held research fellowships at the University of Frankfurt, University College Dublin, the University of Durham, and the Free University of Berlin. She is the author of Reading Nature in the Early Middle Ages: Writing, Language, and Creation in the Latin Physiologus, ca. 700–1000 (Arc Humanities Press, 2023). Her research interests center on early medieval book history, especially digital paleography and codicology. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is a historian and Fulbright scholar working at the intersection of the abstract and the real, past and history. At Binghamton University (SUNY), he lectures on history, theology, and blockchain studies and runs a lab attempting to “math the past.” Kelly is the co-editor of the Visigothic Symposia and Gracchi Books, and his publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom (Brill, 2021) and the volume Theories of History: History Read Across the Humanities (Bloomsbury, 2018). He is currently writing a monograph on the concepts of “human nature” and “value” in Visigothic Hispania. 01 eng 00 454 03 12 HBLC1 10 HIS037010 B2 Humanities+University 93 NHDJ 12 AKH 93 AKHM B2 History 10 LIT007000 93 1DD B2 Premodern 20 compilation; miscellanies; manuscripts; (early) medieval; codicology; scribes; Latin West 01 06 02 00 03 00 The Art of Compilation: Manuscripts and Networks in the Early Medieval Latin West interrogates the medieval manuscript book as a dynamic, constantly changing object entangled in intellectual and cultural networks, constructed and deconstructed by different people, and transmuting in form and meaning over time. Medieval manuscripts are not static, permanently bound, and delimited, but rather serve as evidence for the layered relationships between texts and their material supports, and when we realize that, we gain a clearer view of medieval manuscript culture as driven by the agency and intellectual exchange of the people behind it. This volume of essays investigates early medieval Western European manuscript culture as a field of entangled objects, focusing on the connections between knowledge selection, material representation, and scribal agency.The complex road of compiling selected texts into manuscripts (compilatio) in the early Middle Ages is still not well understood, yet it is the key to the historical context surrounding medieval manuscript culture. The practice of knowledge selection consisted of three key stages: the intellectual selection of the textual content of manuscript collections; the pragmatic action of arranging the textual content in a draft form by authors or editors; and the material representation and aesthetic exposition of texts in manuscripts. These stages were part of a linear development, but also exercised reciprocal influence upon one another. By tracing this process in surviving manuscript collections, we can better understand in what practical ways knowledge was encoded and how these often innovative and experimental practices contributed to the emergence and consolidation of intellectual and scribal traditions. This has important implications for how we understand education, reform, and the exercise of power in the early Middle Ages. 30 00 The Art of Compilation: Manuscripts and Networks in the Early Medieval Latin West interrogates the medieval manuscript book as a dynamic, constantly changing object entangled in intellectual and cultural networks, constructed and deconstructed by different people, and transmuting in form and meaning over time. Medieval manuscripts are not static, permanently bound, and delimited, but rather serve as evidence for the layered relationships between texts and their material supports, and when we realize that, we gain a clearer view of medieval manuscript culture as driven by the agency and intellectual exchange of the people behind it. This volume of essays investigates early medieval Western European manuscript culture as a field of entangled objects, focusing on the connections between knowledge selection, material representation, and scribal agency.The complex road of compiling selected texts into manuscripts (compilatio) in the early Middle Ages is still not well understood, yet it is the key to the historical context surrounding medieval manuscript culture. The practice of knowledge selection consisted of three key stages: the intellectual selection of the textual content of manuscript collections; the pragmatic action of arranging the textual content in a draft form by authors or editors; and the material representation and aesthetic exposition of texts in manuscripts. These stages were part of a linear development, but also exercised reciprocal influence upon one another. By tracing this process in surviving manuscript collections, we can better understand in what practical ways knowledge was encoded and how these often innovative and experimental practices contributed to the emergence and consolidation of intellectual and scribal traditions. This has important implications for how we understand education, reform, and the exercise of power in the early Middle Ages. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0494.1.00_frontcover.jpg 1 03 06 10.53288/0494.1.01 1 18 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva 2 B01 Michael J. Kelly Michael J. Kelly 01 eng 20 00 Open Access 2 03 06 10.53288/0494.1.02 19 27 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Medieval Manuscript as Antihistorical Object? 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is a historian and Fulbright scholar working at the intersection of the abstract and the real, past and history. At Binghamton University (SUNY), he lectures on history, theology, and blockchain studies and runs a lab attempting to “math the past.” Kelly is the co-editor of the Visigothic Symposia and Gracchi Books, and his publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom (Brill, 2021) and the volume Theories of History: History Read Across the Humanities (Bloomsbury, 2018). He is currently writing a monograph on the concepts of “human nature” and “value” in Visigothic Hispania. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0494.1.03 29 44 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva Lecturer in Digital Paleography 40 01y9bpm73 University of Göttingen Anna Dorofeeva is Lecturer in Digital Paleography at the University of Göttingen Institute for Digital Humanities. She has held research fellowships at the University of Frankfurt, University College Dublin, the University of Durham, and the Free University of Berlin. She is the author of Reading Nature in the Early Middle Ages: Writing, Language, and Creation in the Latin Physiologus, ca. 700–1000 (Arc Humanities Press, 2023). Her research interests center on early medieval book history, especially digital paleography and codicology. 01 eng 20 00 Open Access Anna Dorofeeva 4 03 06 10.53288/0494.1.04 45 80 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Historische Ordnung" or Just a Mess? Tracking Dossiers in Early Medieval Canon Law Collections 1 A01 21 0000000346713666 Michael Eber Michael Eber post-doctoral researcher 40 00rcxh774 University of Cologne Michael Eber is a post-doctoral researcher at Universität zu Köln. His PhD dissertation, written at Freie Universität Berlin and published in 2023, analyzed the reception of the Three Chapters Controversy in Merovingian Gaul through the lens of canon law manuscripts. He has also worked on Late Antique definitions of heresy, Merovingian saints’ lives, and Carolingian canonesses. 01 eng 20 00 Open Access Michael Eber 5 03 06 10.53288/0494.1.05 81 118 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carolingian Collections of Gregory the Great’s Letters and the So-Called "Collectio Pauli" 1 A01 Lucia Castaldi Lucia Castaldi Professor of Medieval and Renaissance Latin Literature 40 05ht0mh31 University of Udine Lucia Castaldi is Professor of Medieval and Renaissance Latin Literature at the University of Udine. She researches philology, manuscript transmission, and Pope Gregory the Great and his hagiographies (principally the one written by John the Deacon in the ninth century). She is director of the research project Mediaeval Latin Texts and Their Transmission (Te.Tra) and member of the scientific committee of the Edizione Nazionale dei Testi Mediolatini d’Italia (ENTMI). 2 A01 21 0000000253641392 Laura Pani Laura Pani Professor of Latin Paleography 40 05ht0mh31 University of Udine Laura Pani is Professor of Latin Paleography at the University of Udine. Her research is focused on the history of Latin handwriting in the Middle Ages and on manuscript traditions, particularly involving Paul the Deacon’s Historia Langobardorum but also Carolingian manuscripts and writing centers. She also works on late medieval cursive handwriting and the edition of documentary sources. She is editor-in-chief of Scrineum Rivista. 01 eng 20 00 Open Access Lucia Castaldi Laura Pani 6 03 06 10.53288/0494.1.06 119 155 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Creating the Past in the Carolingian Book of Virgil 1 A01 Sinéad O’Sullivan Sinéad O’Sullivan Sinéad O’Sullivan specializes in the reception of classical, biblical, and late antique texts in the early Middle Ages. Her main focus is on early medieval glosses and their reception. Currently she is investigating glosses for insight into crafting knowledge in the Carolingian age, focusing on annotations on Virgil and the Psalms. 01 eng 20 00 Open Access Sinéad O’Sullivan 7 03 06 10.53288/0494.1.07 157 208 52 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Materiality of Innovation Formats and Dimensions of the "Etymologiae" of Isidore of Seville in the Early Middle Ages 1 A01 21 0000000194284013 Evina Stein Evina Stein Evina Stein is an independent manuscript researcher based in Beirut, Lebanon. She is a trained Latin philologist and manuscript specialist working with early medieval manuscripts. She was a VENI postdoctoral researcher at the Huygens Institute for the History of the Netherlands, an institute of the Dutch Royal Academy of Arts and Sciences in Amsterdam, from 2018 to 2021. Her recent work includes a monograph on the use of annotation symbols in Late Antiquity and the early Middle Ages, a database of manuscripts of the Etymologies of Isidore of Seville, and a digital edition of glosses to this work. 01 eng 20 00 Open Access Evina Stein 8 03 06 10.53288/0494.1.08 209 250 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Commented Editions of the Bible in Carolingian Europe Otfrid’s Approach to the Book of Isaiah 1 A01 21 0000000205606031 Cinzia Grifoni Cinzia Grifoni senior postdoctoral researcher 40 03anc3s24 Austrian Academy of Sciences Cinzia Grifoni is a senior postdoctoral researcher at the Institute for Medieval Research of the Austrian Academy of Sciences in Vienna. She is currently leading the project “Margins at the Centre” in the framework of the Elise Richter Excellence Programme (FWF project number V811-G). Her research focuses on the study of the Trivium and the Bible, intellectual networks, and knowledge exchange and annotation practices in Carolingian Europe. A classical philologist by training, she specialized in medieval Latin for her doctoral thesis. 01 eng 20 00 Open Access Cinzia Grifoni 9 03 06 10.53288/0494.1.09 251 293 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Rechtsblöcke," Scribes, and Layout Strategies in a Ninth-Century Legal Collection Modena, Biblioteca Capitolare MS O. I. 2 1 A01 21 0000000285880187 Thom Gobbitt Thom Gobbitt Thom Gobbitt is a medievalist whose research stands at the overlap of the history of the book, the history of early medieval law from the late sixth to early thirteenth centuries, medievalism, narratology, and ludology. He has been a postdoctoral researcher at the Austrian Academy of the Sciences, Vienna on various projects since 2012, and is currently the historian for the European Research Council’s PresentDead project. His own research to date focuses on the production and use of law-books containing the Lombard laws and related collections of Frankish and Saxon capitularies, and he is currently preparing an edited volume focusing on the representation of the medieval past in tabletop games. 01 eng 20 00 Open Access Thom Gobbitt 10 03 06 10.53288/0494.1.10 295 342 48 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Sammelhandschriften" and the "Breuiarium librorum" in Sankt Gallen 728 1 A01 Mark Stansbury Mark Stansbury lecturer emeritus 40 03bea9k73 University of Galway Mark Stansbury is lecturer emeritus at the University of Galway. His research focuses on paleography and he is the co-director of the Earlier Latin Manuscripts project (https://elmss.nuigalway.ie). 01 eng 20 00 Open Access Mark Stansbury 11 03 06 10.53288/0494.1.11 343 368 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sharing Alphabets Early Medieval Grammatical Miscellanies and Their Networks 1 A01 Elizabeth P. Archibald Elizabeth P. Archibald Teaching Associate Professor of History and Director of the Medieval and Renaissance Studies Program 40 01an3r305 University of Pittsburgh Elizabeth P. Archibald is Teaching Associate Professor of History and Director of the Medieval and Renaissance Studies Program at the University of Pittsburgh. She is a specialist in the cultural and intellectual history of medieval Europe and the author of the book Ask the Past: Pertinent and Impertinent Advice from Yesteryear (Hachette Books, 2015). 20 00 Open Access Elizabeth P. Archibald 12 03 06 10.53288/0494.1.12 369 426 58 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Is a Vademecum? The Social Logic of Early Medieval Compilatio 1 A01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva Lecturer in Digital Paleography 40 01y9bpm73 University of Göttingen Anna Dorofeeva is Lecturer in Digital Paleography at the University of Göttingen Institute for Digital Humanities. She has held research fellowships at the University of Frankfurt, University College Dublin, the University of Durham, and the Free University of Berlin. She is the author of Reading Nature in the Early Middle Ages: Writing, Language, and Creation in the Latin Physiologus, ca. 700–1000 (Arc Humanities Press, 2023). Her research interests center on early medieval book history, especially digital paleography and codicology. 01 eng 20 00 Open Access Anna Dorofeeva 13 03 06 10.53288/0494.1.13 427 443 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Manuscripts as Layered and Entangled Objects New Ways to Explore the Manuscript Book 1 A01 Mariken Teeuwen Mariken Teeuwen senior researcher 40 043c0p156 Royal Netherlands Academy of Arts and Sciences Mariken Teeuwen is senior researcher at Huygens Institute for the History of the Netherlands, Royal Netherlands Academy of Arts and Sciences in Amsterdam. She specializes in manuscript studies and practices of learning in the Middle Ages, especially practices of annotating texts. She is also involved in several digital humanities projects, such as the appliance of AI to Latin paleography and the building of a virtual library for manuscripts in Dutch collections. 01 eng 20 00 Open Access Mariken Teeuwen 14 03 06 10.53288/0494.1.14 445 448 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva 2 B01 Michael J. Kelly Michael J. Kelly 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-art-of-compilation-manuscripts-and-networks-in-the-early-medieval-latin-west/ Earth, Milky Way 04 01 20250304 Anna Dorofeeva & Michael J. 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10.1484/M.USML-EB.5.115016 34 06 10.1484/M.CELAMA-EB.4.3002 34 06 10.3406/mefr.2001.11106 34 06 10.1017/CBO9781139171236 34 06 10.1163/ej.9789004166691.i-394 34 06 10.3917/ahdlm.083.0007 34 06 10.1017/CHOL9780521362924.030 34 06 10.1017/CHOL9780521362924.032 34 06 10.3406/galim.2012.2018 34 06 10.1017/S0009838800019273 34 06 10.3406/rht.1978.1167 34 06 10.5281/zenodo.3462500 34 06 10.1017/CBO9780511496332.002 34 06 10.5422/fordham/9780823256877.001.0001 34 06 10.5422/fordham/9780823256877.001.0001 34 06 10.3917/ahdlm.076.0007 34 06 10.1017/S0261127900001133 34 06 10.3406/scrip.1959.2997 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711588 20 08 20250304 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-art-of-compilation-manuscripts-and-networks-in-the-early-medieval-latin-west 20 08 20250304 02 28.00 USD WORLD urn:uuid:2237aa6a-53b6-4340-9514-700bc2f408e0 03 01 01 thoth-work-id urn:uuid:5629d4a6-95ab-4561-8de6-21a674eff06d 01 thoth-publication-id urn:uuid:2237aa6a-53b6-4340-9514-700bc2f408e0 15 9781685711597 03 9781685711597 06 10.53288/0494.1.00 13 2024945178 01 internal-reference 0494 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Art of Compilation Manuscripts and Networks in the Early Medieval Latin West 1 B01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva Lecturer in Digital Paleography 40 01y9bpm73 University of Göttingen Anna Dorofeeva is Lecturer in Digital Paleography at the University of Göttingen Institute for Digital Humanities. She has held research fellowships at the University of Frankfurt, University College Dublin, the University of Durham, and the Free University of Berlin. She is the author of Reading Nature in the Early Middle Ages: Writing, Language, and Creation in the Latin Physiologus, ca. 700–1000 (Arc Humanities Press, 2023). Her research interests center on early medieval book history, especially digital paleography and codicology. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is a historian and Fulbright scholar working at the intersection of the abstract and the real, past and history. At Binghamton University (SUNY), he lectures on history, theology, and blockchain studies and runs a lab attempting to “math the past.” Kelly is the co-editor of the Visigothic Symposia and Gracchi Books, and his publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom (Brill, 2021) and the volume Theories of History: History Read Across the Humanities (Bloomsbury, 2018). He is currently writing a monograph on the concepts of “human nature” and “value” in Visigothic Hispania. 01 eng 00 454 03 12 HBLC1 10 HIS037010 B2 Humanities+University 93 NHDJ 12 AKH 93 AKHM B2 History 10 LIT007000 93 1DD B2 Premodern 20 compilation; miscellanies; manuscripts; (early) medieval; codicology; scribes; Latin West 01 06 02 00 03 00 The Art of Compilation: Manuscripts and Networks in the Early Medieval Latin West interrogates the medieval manuscript book as a dynamic, constantly changing object entangled in intellectual and cultural networks, constructed and deconstructed by different people, and transmuting in form and meaning over time. Medieval manuscripts are not static, permanently bound, and delimited, but rather serve as evidence for the layered relationships between texts and their material supports, and when we realize that, we gain a clearer view of medieval manuscript culture as driven by the agency and intellectual exchange of the people behind it. This volume of essays investigates early medieval Western European manuscript culture as a field of entangled objects, focusing on the connections between knowledge selection, material representation, and scribal agency.The complex road of compiling selected texts into manuscripts (compilatio) in the early Middle Ages is still not well understood, yet it is the key to the historical context surrounding medieval manuscript culture. The practice of knowledge selection consisted of three key stages: the intellectual selection of the textual content of manuscript collections; the pragmatic action of arranging the textual content in a draft form by authors or editors; and the material representation and aesthetic exposition of texts in manuscripts. These stages were part of a linear development, but also exercised reciprocal influence upon one another. By tracing this process in surviving manuscript collections, we can better understand in what practical ways knowledge was encoded and how these often innovative and experimental practices contributed to the emergence and consolidation of intellectual and scribal traditions. This has important implications for how we understand education, reform, and the exercise of power in the early Middle Ages. 30 00 The Art of Compilation: Manuscripts and Networks in the Early Medieval Latin West interrogates the medieval manuscript book as a dynamic, constantly changing object entangled in intellectual and cultural networks, constructed and deconstructed by different people, and transmuting in form and meaning over time. Medieval manuscripts are not static, permanently bound, and delimited, but rather serve as evidence for the layered relationships between texts and their material supports, and when we realize that, we gain a clearer view of medieval manuscript culture as driven by the agency and intellectual exchange of the people behind it. This volume of essays investigates early medieval Western European manuscript culture as a field of entangled objects, focusing on the connections between knowledge selection, material representation, and scribal agency.The complex road of compiling selected texts into manuscripts (compilatio) in the early Middle Ages is still not well understood, yet it is the key to the historical context surrounding medieval manuscript culture. The practice of knowledge selection consisted of three key stages: the intellectual selection of the textual content of manuscript collections; the pragmatic action of arranging the textual content in a draft form by authors or editors; and the material representation and aesthetic exposition of texts in manuscripts. These stages were part of a linear development, but also exercised reciprocal influence upon one another. By tracing this process in surviving manuscript collections, we can better understand in what practical ways knowledge was encoded and how these often innovative and experimental practices contributed to the emergence and consolidation of intellectual and scribal traditions. This has important implications for how we understand education, reform, and the exercise of power in the early Middle Ages. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0494.1.00_frontcover.jpg 1 03 06 10.53288/0494.1.01 1 18 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva 2 B01 Michael J. Kelly Michael J. Kelly 01 eng 20 00 Open Access 2 03 06 10.53288/0494.1.02 19 27 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Medieval Manuscript as Antihistorical Object? 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is a historian and Fulbright scholar working at the intersection of the abstract and the real, past and history. At Binghamton University (SUNY), he lectures on history, theology, and blockchain studies and runs a lab attempting to “math the past.” Kelly is the co-editor of the Visigothic Symposia and Gracchi Books, and his publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom (Brill, 2021) and the volume Theories of History: History Read Across the Humanities (Bloomsbury, 2018). He is currently writing a monograph on the concepts of “human nature” and “value” in Visigothic Hispania. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0494.1.03 29 44 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva Lecturer in Digital Paleography 40 01y9bpm73 University of Göttingen Anna Dorofeeva is Lecturer in Digital Paleography at the University of Göttingen Institute for Digital Humanities. She has held research fellowships at the University of Frankfurt, University College Dublin, the University of Durham, and the Free University of Berlin. She is the author of Reading Nature in the Early Middle Ages: Writing, Language, and Creation in the Latin Physiologus, ca. 700–1000 (Arc Humanities Press, 2023). Her research interests center on early medieval book history, especially digital paleography and codicology. 01 eng 20 00 Open Access Anna Dorofeeva 4 03 06 10.53288/0494.1.04 45 80 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Historische Ordnung" or Just a Mess? Tracking Dossiers in Early Medieval Canon Law Collections 1 A01 21 0000000346713666 Michael Eber Michael Eber post-doctoral researcher 40 00rcxh774 University of Cologne Michael Eber is a post-doctoral researcher at Universität zu Köln. His PhD dissertation, written at Freie Universität Berlin and published in 2023, analyzed the reception of the Three Chapters Controversy in Merovingian Gaul through the lens of canon law manuscripts. He has also worked on Late Antique definitions of heresy, Merovingian saints’ lives, and Carolingian canonesses. 01 eng 20 00 Open Access Michael Eber 5 03 06 10.53288/0494.1.05 81 118 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Carolingian Collections of Gregory the Great’s Letters and the So-Called "Collectio Pauli" 1 A01 Lucia Castaldi Lucia Castaldi Professor of Medieval and Renaissance Latin Literature 40 05ht0mh31 University of Udine Lucia Castaldi is Professor of Medieval and Renaissance Latin Literature at the University of Udine. She researches philology, manuscript transmission, and Pope Gregory the Great and his hagiographies (principally the one written by John the Deacon in the ninth century). She is director of the research project Mediaeval Latin Texts and Their Transmission (Te.Tra) and member of the scientific committee of the Edizione Nazionale dei Testi Mediolatini d’Italia (ENTMI). 2 A01 21 0000000253641392 Laura Pani Laura Pani Professor of Latin Paleography 40 05ht0mh31 University of Udine Laura Pani is Professor of Latin Paleography at the University of Udine. Her research is focused on the history of Latin handwriting in the Middle Ages and on manuscript traditions, particularly involving Paul the Deacon’s Historia Langobardorum but also Carolingian manuscripts and writing centers. She also works on late medieval cursive handwriting and the edition of documentary sources. She is editor-in-chief of Scrineum Rivista. 01 eng 20 00 Open Access Lucia Castaldi Laura Pani 6 03 06 10.53288/0494.1.06 119 155 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Creating the Past in the Carolingian Book of Virgil 1 A01 Sinéad O’Sullivan Sinéad O’Sullivan Sinéad O’Sullivan specializes in the reception of classical, biblical, and late antique texts in the early Middle Ages. Her main focus is on early medieval glosses and their reception. Currently she is investigating glosses for insight into crafting knowledge in the Carolingian age, focusing on annotations on Virgil and the Psalms. 01 eng 20 00 Open Access Sinéad O’Sullivan 7 03 06 10.53288/0494.1.07 157 208 52 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Materiality of Innovation Formats and Dimensions of the "Etymologiae" of Isidore of Seville in the Early Middle Ages 1 A01 21 0000000194284013 Evina Stein Evina Stein Evina Stein is an independent manuscript researcher based in Beirut, Lebanon. She is a trained Latin philologist and manuscript specialist working with early medieval manuscripts. She was a VENI postdoctoral researcher at the Huygens Institute for the History of the Netherlands, an institute of the Dutch Royal Academy of Arts and Sciences in Amsterdam, from 2018 to 2021. Her recent work includes a monograph on the use of annotation symbols in Late Antiquity and the early Middle Ages, a database of manuscripts of the Etymologies of Isidore of Seville, and a digital edition of glosses to this work. 01 eng 20 00 Open Access Evina Stein 8 03 06 10.53288/0494.1.08 209 250 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Commented Editions of the Bible in Carolingian Europe Otfrid’s Approach to the Book of Isaiah 1 A01 21 0000000205606031 Cinzia Grifoni Cinzia Grifoni senior postdoctoral researcher 40 03anc3s24 Austrian Academy of Sciences Cinzia Grifoni is a senior postdoctoral researcher at the Institute for Medieval Research of the Austrian Academy of Sciences in Vienna. She is currently leading the project “Margins at the Centre” in the framework of the Elise Richter Excellence Programme (FWF project number V811-G). Her research focuses on the study of the Trivium and the Bible, intellectual networks, and knowledge exchange and annotation practices in Carolingian Europe. A classical philologist by training, she specialized in medieval Latin for her doctoral thesis. 01 eng 20 00 Open Access Cinzia Grifoni 9 03 06 10.53288/0494.1.09 251 293 43 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Rechtsblöcke," Scribes, and Layout Strategies in a Ninth-Century Legal Collection Modena, Biblioteca Capitolare MS O. I. 2 1 A01 21 0000000285880187 Thom Gobbitt Thom Gobbitt Thom Gobbitt is a medievalist whose research stands at the overlap of the history of the book, the history of early medieval law from the late sixth to early thirteenth centuries, medievalism, narratology, and ludology. He has been a postdoctoral researcher at the Austrian Academy of the Sciences, Vienna on various projects since 2012, and is currently the historian for the European Research Council’s PresentDead project. His own research to date focuses on the production and use of law-books containing the Lombard laws and related collections of Frankish and Saxon capitularies, and he is currently preparing an edited volume focusing on the representation of the medieval past in tabletop games. 01 eng 20 00 Open Access Thom Gobbitt 10 03 06 10.53288/0494.1.10 295 342 48 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Sammelhandschriften" and the "Breuiarium librorum" in Sankt Gallen 728 1 A01 Mark Stansbury Mark Stansbury lecturer emeritus 40 03bea9k73 University of Galway Mark Stansbury is lecturer emeritus at the University of Galway. His research focuses on paleography and he is the co-director of the Earlier Latin Manuscripts project (https://elmss.nuigalway.ie). 01 eng 20 00 Open Access Mark Stansbury 11 03 06 10.53288/0494.1.11 343 368 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sharing Alphabets Early Medieval Grammatical Miscellanies and Their Networks 1 A01 Elizabeth P. Archibald Elizabeth P. Archibald Teaching Associate Professor of History and Director of the Medieval and Renaissance Studies Program 40 01an3r305 University of Pittsburgh Elizabeth P. Archibald is Teaching Associate Professor of History and Director of the Medieval and Renaissance Studies Program at the University of Pittsburgh. She is a specialist in the cultural and intellectual history of medieval Europe and the author of the book Ask the Past: Pertinent and Impertinent Advice from Yesteryear (Hachette Books, 2015). 20 00 Open Access Elizabeth P. Archibald 12 03 06 10.53288/0494.1.12 369 426 58 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Is a Vademecum? The Social Logic of Early Medieval Compilatio 1 A01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva Lecturer in Digital Paleography 40 01y9bpm73 University of Göttingen Anna Dorofeeva is Lecturer in Digital Paleography at the University of Göttingen Institute for Digital Humanities. She has held research fellowships at the University of Frankfurt, University College Dublin, the University of Durham, and the Free University of Berlin. She is the author of Reading Nature in the Early Middle Ages: Writing, Language, and Creation in the Latin Physiologus, ca. 700–1000 (Arc Humanities Press, 2023). Her research interests center on early medieval book history, especially digital paleography and codicology. 01 eng 20 00 Open Access Anna Dorofeeva 13 03 06 10.53288/0494.1.13 427 443 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Manuscripts as Layered and Entangled Objects New Ways to Explore the Manuscript Book 1 A01 Mariken Teeuwen Mariken Teeuwen senior researcher 40 043c0p156 Royal Netherlands Academy of Arts and Sciences Mariken Teeuwen is senior researcher at Huygens Institute for the History of the Netherlands, Royal Netherlands Academy of Arts and Sciences in Amsterdam. She specializes in manuscript studies and practices of learning in the Middle Ages, especially practices of annotating texts. She is also involved in several digital humanities projects, such as the appliance of AI to Latin paleography and the building of a virtual library for manuscripts in Dutch collections. 01 eng 20 00 Open Access Mariken Teeuwen 14 03 06 10.53288/0494.1.14 445 448 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000154318514 Anna Dorofeeva Anna Dorofeeva 2 B01 Michael J. Kelly Michael J. Kelly 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-art-of-compilation-manuscripts-and-networks-in-the-early-medieval-latin-west/ Earth, Milky Way 04 01 20250304 Anna Dorofeeva & Michael J. 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10.1484/M.USML-EB.5.115016 34 06 10.1484/M.CELAMA-EB.4.3002 34 06 10.3406/mefr.2001.11106 34 06 10.1017/CBO9781139171236 34 06 10.1163/ej.9789004166691.i-394 34 06 10.3917/ahdlm.083.0007 34 06 10.1017/CHOL9780521362924.030 34 06 10.1017/CHOL9780521362924.032 34 06 10.3406/galim.2012.2018 34 06 10.1017/S0009838800019273 34 06 10.3406/rht.1978.1167 34 06 10.5281/zenodo.3462500 34 06 10.1017/CBO9780511496332.002 34 06 10.5422/fordham/9780823256877.001.0001 34 06 10.5422/fordham/9780823256877.001.0001 34 06 10.3917/ahdlm.076.0007 34 06 10.1017/S0261127900001133 34 06 10.3406/scrip.1959.2997 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/99330 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/99330/0494.1.00.pdf?sequence=1&isAllowed=y 20 08 20250304 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/156992 20 08 20250304 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526483 20 08 20250304 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/865 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fb0e2527-b1a5-4683-a4d7-1ee09dfa4fd2/download 20 08 20250304 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Art_of_Compilation/7GxMEQAAQBAJ 20 08 20250304 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5629d4a6-95ab-4561-8de6-21a674eff06d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5629d4a6-95ab-4561-8de6-21a674eff06d/5629d4a6-95ab-4561-8de6-21a674eff06d.pdf 20 08 20250304 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824943 29 ZENODO: download the title https://zenodo.org/records/19824943/files/5629d4a6-95ab-4561-8de6-21a674eff06d_book.pdf 20 08 20250304 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-art-of-compilation-manuscripts-and-networks-in-the-early-medieval-latin-west/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0494.1.00.pdf 20 08 20250304 01 urn:uuid:b0c5436e-8b89-48b1-af83-f9974a70db0d 03 01 01 thoth-work-id urn:uuid:0fa87d43-ad8f-4bde-b70e-af249e3a2537 01 thoth-publication-id urn:uuid:b0c5436e-8b89-48b1-af83-f9974a70db0d 15 9781947447547 03 9781947447547 06 10.21983/P3.0205.1.00 13 2018940292 01 internal-reference 0205 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Ballad of the Lone Medievalist 1 B01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 2 B01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 00 388 03 10 BIO019000 12 DSBB 93 DSBB B2 Humanities+University 93 NHDJ B2 Pedagogies 93 JNM B2 Premodern 20 intellectual life; medieval studies; marginality; university studies; pedagogy 01 06 02 00 03 00 Are you a Lone Medievalist?Working medievalists are often the only scholar of the Middle Ages in a department, a university, or a hundred-mile radius. While working to build a body of focused scholarly work, the lone medievalist is expected to be a generalist in the classroom and a contributing member of a campus community that rarely offers disciplinary community in return. As a result, overtasked and single medievalists often find it challenging to advocate for their work and field.As other responsibilities and expectations crowd in, we come to feel disconnected from the projects and subjects that sustain our intellectual passion. An insidious isolation even from one another creeps in, and soon, even attending a conference of fellow medievalists can become a lonely experience. Surrounded by scholars with greater institutional support, lower teaching loads, or more robust research agendas, we may feel alienated from our work — the work to which we’ve dedicated our careers. 30 00 Are you a Lone Medievalist?Working medievalists are often the only scholar of the Middle Ages in a department, a university, or a hundred-mile radius. While working to build a body of focused scholarly work, the lone medievalist is expected to be a generalist in the classroom and a contributing member of a campus community that rarely offers disciplinary community in return. As a result, overtasked and single medievalists often find it challenging to advocate for their work and field.As other responsibilities and expectations crowd in, we come to feel disconnected from the projects and subjects that sustain our intellectual passion. An insidious isolation even from one another creeps in, and soon, even attending a conference of fellow medievalists can become a lonely experience. Surrounded by scholars with greater institutional support, lower teaching loads, or more robust research agendas, we may feel alienated from our work — the work to which we’ve dedicated our careers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0205.1.00_frontcover.png 1 03 06 10.21983/P3.0205.1.01 i xiii 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 2 B01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 20 00 Open Access Tracy, Kisha G. Sexton, John P. 2 03 06 10.21983/P3.0205.1.02 13 16 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Who Was That Masked Monk? 1 A01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 2 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 01 eng 03 00 Hi. Are you a Lone Medievalist?This volume is a sequel, of sorts, to an ongoing series of round tables at the International Congress on Medieval Stud-ies held at Western Michigan University, beginning in 2015. The impetus for those sessions, and for this book, is the sense of isolation many medieval scholars feel in their professional lives. Often the only scholar of the period in their departments, their universities, or their surrounding area, medievalists can find it challenging to advocate for their work and field. The problem is only more pronounced for the medievalist in an adjunct teach-ing position or without an institutional position at all. When we work alone among colleagues, teach mostly (or entirely) outside our specializations, and compete with “more easily” understood or well-funded research, it is easy to feel disconnected from the larger discipline of medieval studies. Our scholarly production slows or ceases. Our language skills atrophy. Our knowledge os-sifies. Soon, even attending a conference of fellow medievalists can feel isolating. Surrounded by scholars with greater institu-tional support, lower teaching loads, or more robust research agendas, we may feel alienated from the field we love — the work to which we’ve dedicated our careers. 30 00 Hi. Are you a Lone Medievalist?This volume is a sequel, of sorts, to an ongoing series of round tables at the International Congress on Medieval Stud-ies held at Western Michigan University, beginning in 2015. The impetus for those sessions, and for this book, is the sense of isolation many medieval scholars feel in their professional lives. Often the only scholar of the period in their departments, their universities, or their surrounding area, medievalists can find it challenging to advocate for their work and field. The problem is only more pronounced for the medievalist in an adjunct teach-ing position or without an institutional position at all. When we work alone among colleagues, teach mostly (or entirely) outside our specializations, and compete with “more easily” understood or well-funded research, it is easy to feel disconnected from the larger discipline of medieval studies. Our scholarly production slows or ceases. Our language skills atrophy. Our knowledge os-sifies. Soon, even attending a conference of fellow medievalists can feel isolating. Surrounded by scholars with greater institu-tional support, lower teaching loads, or more robust research agendas, we may feel alienated from the field we love — the work to which we’ve dedicated our careers. 20 00 Open Access Sexton, John P. Tracy, Kisha G. 3 03 06 10.21983/P3.0205.1.03 17 28 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Lone Medievalist Casting the Net 1 A01 Sarah Barott Sarah Barott 40 031tt0491 Fitchburg State University 2 A01 Rachel Munson Rachel Munson 40 01yjyvb35 Bemidji State University 01 eng 03 00 When we first attended the International Congress for Medi-eval Studies in 2013, we had just begun to dip our toes into the expansive world of Medieval Studies. When we returned home we were so inspired that we both began extensively studying the Middle Ages and founded the Bemidji State University Medi-eval Club. Within months we had a solid community of medi-evalists and we felt at home. In 2015 at the 50th Annual Interna-tional Congress for Medieval Studies, we attended the “Ballad of the Lone Medievalist” panel hosted by Dr. Kisha Tracy of Fitchburg State University and Dr. John Sexton of Bridgewater State University. We were astonished by how many medievalists felt alone at their universities. Didn’t everyone have a colleague who studied medieval scholarship on their campus? The sur-prising answer was no. It was our understanding that the Lone Medievalist project, founded by Dr. Tracy and Dr. Sexton, began with the intent of creating a series of panels and publications to connect medievalists from around the world. We recognized the Lone Medievalist project’s need for a more substantial commu-nity outside of the short amount of time allotted them at con-ferences. We thought a good basis would be to create a virtual community that emulated what we felt on our home campus. Sarah then suggested an online hub which would allow medi-eval scholars to join together, share in discussion, trade syllabi, and connect for conferences. The next thing we knew we were having lunch with Dr. Tracy and Dr. Sexton and were exploring the idea further. We left our meeting with the go-ahead to get a website up and running for The Lone Medievalist. 30 00 When we first attended the International Congress for Medi-eval Studies in 2013, we had just begun to dip our toes into the expansive world of Medieval Studies. When we returned home we were so inspired that we both began extensively studying the Middle Ages and founded the Bemidji State University Medi-eval Club. Within months we had a solid community of medi-evalists and we felt at home. In 2015 at the 50th Annual Interna-tional Congress for Medieval Studies, we attended the “Ballad of the Lone Medievalist” panel hosted by Dr. Kisha Tracy of Fitchburg State University and Dr. John Sexton of Bridgewater State University. We were astonished by how many medievalists felt alone at their universities. Didn’t everyone have a colleague who studied medieval scholarship on their campus? The sur-prising answer was no. It was our understanding that the Lone Medievalist project, founded by Dr. Tracy and Dr. Sexton, began with the intent of creating a series of panels and publications to connect medievalists from around the world. We recognized the Lone Medievalist project’s need for a more substantial commu-nity outside of the short amount of time allotted them at con-ferences. We thought a good basis would be to create a virtual community that emulated what we felt on our home campus. Sarah then suggested an online hub which would allow medi-eval scholars to join together, share in discussion, trade syllabi, and connect for conferences. The next thing we knew we were having lunch with Dr. Tracy and Dr. Sexton and were exploring the idea further. We left our meeting with the go-ahead to get a website up and running for The Lone Medievalist. 20 00 Open Access Barott, Sarah Munson, Rachel 4 03 06 10.21983/P3.0205.1.04 31 49 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Not so Lonesome Anymore Bridging the Disciplines through Pedagogy 1 A01 Peter Burkholder Peter Burkholder 40 04wkzvc75 Fairleigh Dickinson University 01 eng 03 00 It’s perhaps inevitable for medievalists to feel a bit isolated. The very terms “medieval” and “Middle Ages” hardly conjure up positive images among the general public and even our non-brethren academics, resulting in such negative stereotypes towards the field that meaningful discourse can end before it even begins. When not surrounded by kindred specialists, it’s tempting to empathize with pre-millennial Irish monks sailing out bravely into the North Atlantic, pretending the professional solitude is precisely what we seek, even if it isn’t. Those who study the Middle Ages could be forgiven for feel-ing that their situation is unique, that no one else could possibly understand the seclusion which comes with studying societies long ago and far away, with trying to appreciate mindsets and worldviews of people who often thought in fundamentally dif-ferent, even perplexing ways. What else to do but don our emo-tional armor and carry on as academic outliers? 30 00 It’s perhaps inevitable for medievalists to feel a bit isolated. The very terms “medieval” and “Middle Ages” hardly conjure up positive images among the general public and even our non-brethren academics, resulting in such negative stereotypes towards the field that meaningful discourse can end before it even begins. When not surrounded by kindred specialists, it’s tempting to empathize with pre-millennial Irish monks sailing out bravely into the North Atlantic, pretending the professional solitude is precisely what we seek, even if it isn’t. Those who study the Middle Ages could be forgiven for feel-ing that their situation is unique, that no one else could possibly understand the seclusion which comes with studying societies long ago and far away, with trying to appreciate mindsets and worldviews of people who often thought in fundamentally dif-ferent, even perplexing ways. What else to do but don our emo-tional armor and carry on as academic outliers? 20 00 Open Access Burkholder, Peter 5 03 06 10.21983/P3.0205.1.05 51 64 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Keeping It Old-School on the New Faculty Majority 1 A01 Geoffrey B. Elliott Geoffrey B. Elliott 01 eng 03 00 I have the good fortune to teach in an English department at a Big 12 school. While it is not as well-funded as, say, the me-chanical engineering department or any of the departments in the business school, it does have a fair bit of resources avail-able. Tenured and tenure-track faculty members are eligible for travel support, research grants, sabbaticals, and college- and university-wide awards that carry substantial stipends. Training programs and continuing education opportunities are widely available, as well, and the building in which the department is housed is one of the oldest on campus, constructed in a fine style and solid enough to withstand tornadoes and earthquakes.Adding my voice to the Ballad may be a bit of an oddity, as I am not the only medievalist in the department. There is one other, a tenured associate professor who specializes in Old Eng-lish. I am the only member of the department who specializes in Middle English, however, and the only one among the many contingent faculty in the department who specializes in me-dieval literature of any sort. While I am privileged among the academic precariat — I have office space in which to meet with students, a desk and computer with which to do at least some of the work involved in my position, an annual contract that lends itself to renewal, and some health care benefits — I am nonethe-less in a position that typically has me teach so-called service courses. In my time in my current position, I have only once been assigned to teach a class that explicitly includes my area of expertise: a sophomore-level survey of British literature, span-ning its beginnings through 1800. In such a course, I could give no more than a few weeks to my general area of expertise and even less to my specialty of Malory and his transmission. 30 00 I have the good fortune to teach in an English department at a Big 12 school. While it is not as well-funded as, say, the me-chanical engineering department or any of the departments in the business school, it does have a fair bit of resources avail-able. Tenured and tenure-track faculty members are eligible for travel support, research grants, sabbaticals, and college- and university-wide awards that carry substantial stipends. Training programs and continuing education opportunities are widely available, as well, and the building in which the department is housed is one of the oldest on campus, constructed in a fine style and solid enough to withstand tornadoes and earthquakes.Adding my voice to the Ballad may be a bit of an oddity, as I am not the only medievalist in the department. There is one other, a tenured associate professor who specializes in Old Eng-lish. I am the only member of the department who specializes in Middle English, however, and the only one among the many contingent faculty in the department who specializes in me-dieval literature of any sort. While I am privileged among the academic precariat — I have office space in which to meet with students, a desk and computer with which to do at least some of the work involved in my position, an annual contract that lends itself to renewal, and some health care benefits — I am nonethe-less in a position that typically has me teach so-called service courses. In my time in my current position, I have only once been assigned to teach a class that explicitly includes my area of expertise: a sophomore-level survey of British literature, span-ning its beginnings through 1800. In such a course, I could give no more than a few weeks to my general area of expertise and even less to my specialty of Malory and his transmission. 20 00 Open Access Elliott, Geoffrey B. 6 03 06 10.21983/P3.0205.1.06 65 70 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interdisciplinary/Team Teaching and the Lone Medievalist 1 A01 Natalie Grinnell Natalie Grinnell 40 04dzs7b08 Wofford College 01 eng 03 00 Being the only medievalist on one’s campus can be lonely, not because one’s colleagues are unwelcoming or uncollegial, but because the language of our intellectual passion is missing from campus. It’s not merely that those around us are not reading the same journals or attending the same conferences that we enjoy, but that their very definition of medieval is likely to be far re-moved from what we actually study, given medievalism’s power-ful influence on the portrayal of the Middle Ages in contempo-rary literature, film, and pop culture. Moreover, when it comes to the humanities, current political forces, with their emphases on the practicality of a college degree, are far more likely to pro-mote the study of modern languages, politics, and religion than their medieval cousins, reaching across cultures geographically, but less often temporally. As a result, the lone medievalist may come to feel isolated, and even unappreciated, regardless of his or her actual rank or relationships with fellow faculty. 30 00 Being the only medievalist on one’s campus can be lonely, not because one’s colleagues are unwelcoming or uncollegial, but because the language of our intellectual passion is missing from campus. It’s not merely that those around us are not reading the same journals or attending the same conferences that we enjoy, but that their very definition of medieval is likely to be far re-moved from what we actually study, given medievalism’s power-ful influence on the portrayal of the Middle Ages in contempo-rary literature, film, and pop culture. Moreover, when it comes to the humanities, current political forces, with their emphases on the practicality of a college degree, are far more likely to pro-mote the study of modern languages, politics, and religion than their medieval cousins, reaching across cultures geographically, but less often temporally. As a result, the lone medievalist may come to feel isolated, and even unappreciated, regardless of his or her actual rank or relationships with fellow faculty. 20 00 Open Access Grinnell, Natalie 7 03 06 10.21983/P3.0205.1.07 71 78 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 And Gladly Wolde He Teche The Medievalist and the History of the English Language Course 1 A01 Robert Kellerman Robert Kellerman 40 041gqhg24 University of Maine at Augusta 01 eng 03 00 When I was hired on the tenure track by University of Maine at Augusta, a small branch of Maine’s public university system, there were no courses in medieval or Renaissance literature at all other than the ubiquitous Shakespeare course that was taught by the British literature specialist. The job advertisement for my position simply stated that the English program sought a candidate to teach “composition and literature,” with no par-ticular specialization attached to the position. On being hired, I was thus in the enviable position of proposing and creating the courses in my field that I then taught; in essence, I filled a posi-tion that I subsequently designed to my own specifications. I am extremely grateful that my colleagues were enthusiastic about having the curriculum augmented with courses in early English literature. 30 00 When I was hired on the tenure track by University of Maine at Augusta, a small branch of Maine’s public university system, there were no courses in medieval or Renaissance literature at all other than the ubiquitous Shakespeare course that was taught by the British literature specialist. The job advertisement for my position simply stated that the English program sought a candidate to teach “composition and literature,” with no par-ticular specialization attached to the position. On being hired, I was thus in the enviable position of proposing and creating the courses in my field that I then taught; in essence, I filled a posi-tion that I subsequently designed to my own specifications. I am extremely grateful that my colleagues were enthusiastic about having the curriculum augmented with courses in early English literature. 20 00 Open Access Kellerman, Robert 8 03 06 10.21983/P3.0205.1.08 79 93 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 I Know! Let's Put on a Show! 1 A01 Robert Stauffer Robert Stauffer 40 01qww1p93 Dominican University 01 eng 03 00 Perhaps one of the earliest narrative tropes I encountered was the one where a group of kids try to save the orphanage, or their parents’ homes, or the school by putting on a show. I still have a clear image of a five- or six-year-old Spanky, dressed as a Ro-man soldier, reciting Mark Antony’s speech from Shakespeare’s Julius Caesar, while trying to dodge spitballs from his friends and the domineering of his overprotective mother. By bringing down the house (quite literally, of course) he was able to win the prize so the young girl with stage fright could buy a new dress.1The trope was made famous in Rodgers and Hart’s musical com-edy, Babes in Arms, starring Mickey Rooney and Judy Garland, and the two actors made quite a few movies featuring this plot device. I guess having had this story line run through my head so many times as a kid, it sank in and resurfaces every now and again as something I would like to try. So when I encountered trouble getting students and colleagues interested in the work featured in my dissertation, the old trope naturally sprang to mind. 30 00 Perhaps one of the earliest narrative tropes I encountered was the one where a group of kids try to save the orphanage, or their parents’ homes, or the school by putting on a show. I still have a clear image of a five- or six-year-old Spanky, dressed as a Ro-man soldier, reciting Mark Antony’s speech from Shakespeare’s Julius Caesar, while trying to dodge spitballs from his friends and the domineering of his overprotective mother. By bringing down the house (quite literally, of course) he was able to win the prize so the young girl with stage fright could buy a new dress.1The trope was made famous in Rodgers and Hart’s musical com-edy, Babes in Arms, starring Mickey Rooney and Judy Garland, and the two actors made quite a few movies featuring this plot device. I guess having had this story line run through my head so many times as a kid, it sank in and resurfaces every now and again as something I would like to try. So when I encountered trouble getting students and colleagues interested in the work featured in my dissertation, the old trope naturally sprang to mind. 20 00 Open Access Stauffer, Robert 9 03 06 10.21983/P3.0205.1.09 95 108 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Perpetual Invention and Performance-Based Research The Case of The Ballad of Robin Hood and the Potter 1 A01 Carolyn Coulson Carolyn Coulson 40 05w0p9h92 Shenandoah University 01 eng 03 00 When I was in graduate school, I had a secret, albeit not a very well-kept one. Before I moved across the country to study the Middle Ages, I was an actor and director, working consistently in California’s regional theaters. I had always been torn between my creative instincts and my intellectual pursuits, and, when I entered my MA program, I thought that intellect had prevailed and I had left theater behind for good. I remember that, when my peers in the English department would lament the state of the academic job market, I would shrug and think, “I was an actor. The job market doesn’t get worse than that.” I am not sure if I ever said it out loud after the first month because my experi-ence as a theater practitioner was alien to most of my peers and professors. It was not academic. It was not literary. It was not historical. Even to me, it seemed to have little relevance to my new field, except for lending me some comfort in front of a class of undergraduates. My past, therefore, was essentially erased, and I reinvented myself as an academic. 30 00 When I was in graduate school, I had a secret, albeit not a very well-kept one. Before I moved across the country to study the Middle Ages, I was an actor and director, working consistently in California’s regional theaters. I had always been torn between my creative instincts and my intellectual pursuits, and, when I entered my MA program, I thought that intellect had prevailed and I had left theater behind for good. I remember that, when my peers in the English department would lament the state of the academic job market, I would shrug and think, “I was an actor. The job market doesn’t get worse than that.” I am not sure if I ever said it out loud after the first month because my experi-ence as a theater practitioner was alien to most of my peers and professors. It was not academic. It was not literary. It was not historical. Even to me, it seemed to have little relevance to my new field, except for lending me some comfort in front of a class of undergraduates. My past, therefore, was essentially erased, and I reinvented myself as an academic. 20 00 Open Access Coulson, Carolyn 10 03 06 10.21983/P3.0205.1.10 109 117 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What's the Message? Building Community through Tolkien's Beowulf 1 A01 Holly M. Wendt Holly M. Wendt 40 05py5qd41 Lebanon Valley College 01 eng 03 00 When I was asked to participate in a series of summer book talks, I had a number of decisions to make. The first — to participate at all — was easy. As a faculty member finishing up the first year on the tenure track at a new campus, I jumped at the chance to take part in a long-running partnership between my institution and an active, engaged local community. The second decision — the book — was far more difficult. The series’ scope ranged wide; the other texts on the schedule leaned heavily toward history, biography, and accessible social and natural science. As some-one whose academic interests and teaching responsibilities lay evenly split between creative writing and medieval literature, I was, like Chaucer’s Troilus, in kankedort.1 But I found resolu-tion in J.R.R. Tolkien’s translation of Beowulf. Tolkien’s Beowulfstruck the right balance of intellectually interesting and more broadly appealing; if Beowulf itself didn’t draw people in, per-haps Tolkien’s name might. The Hobbit film franchise, after all, had just drawn to a close, and the bulk of the book talk attendees would be seniors. If they had children, those children would have been of an age to discover Tolkien’s creative works in their youth. This audience, too, might have better memory of Peter Jackson’s screen adaptation of the Lord of the Rings trilogy than my current sophomores, who were only four years old when the first movie came out. 30 00 When I was asked to participate in a series of summer book talks, I had a number of decisions to make. The first — to participate at all — was easy. As a faculty member finishing up the first year on the tenure track at a new campus, I jumped at the chance to take part in a long-running partnership between my institution and an active, engaged local community. The second decision — the book — was far more difficult. The series’ scope ranged wide; the other texts on the schedule leaned heavily toward history, biography, and accessible social and natural science. As some-one whose academic interests and teaching responsibilities lay evenly split between creative writing and medieval literature, I was, like Chaucer’s Troilus, in kankedort.1 But I found resolu-tion in J.R.R. Tolkien’s translation of Beowulf. Tolkien’s Beowulfstruck the right balance of intellectually interesting and more broadly appealing; if Beowulf itself didn’t draw people in, per-haps Tolkien’s name might. The Hobbit film franchise, after all, had just drawn to a close, and the bulk of the book talk attendees would be seniors. If they had children, those children would have been of an age to discover Tolkien’s creative works in their youth. This audience, too, might have better memory of Peter Jackson’s screen adaptation of the Lord of the Rings trilogy than my current sophomores, who were only four years old when the first movie came out. 20 00 Open Access Wendt, Holly M. 11 03 06 10.21983/P3.0205.1.11 119 135 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Read That? Selling the Middle Ages 1 A01 Diane Cady Diane Cady 40 01ynb8e46 Mills College 01 eng 03 00 As medievalists, we often do our training in graduate programs with several medievalists on staff, only to find ourselves teach-ing in places where we are the lone medievalists. As a conse-quence, we may find ourselves fielding questions from students, colleagues, and administrators about the value — cultural, aes-thetic and economic — of studying the Middle Ages. I remem-ber one such question early in my career, during my first se-mester at Mills College, a small liberal arts college in Oakland, California, with a woman-identified, undergraduate popula-tion. How, a student asked, could I love Chaucer? Initially, her question surprised me: I not only love Chaucer, but also often wonder how anyone could not love Chaucer. Yet, I also under-stood the source of her question. We had just finished reading “The Reeve’s Tale,” a short and troubling story that, like many of the Canterbury Tales, presents women’s bodies as the terrain on which male rivalry is fought. Does teaching such stories per-petuate the idea that sexual violence is inevitable? Does it repro-duce misogyny and gender bias, she pressed? What value, if any, do texts like these hold for us as readers today? 30 00 As medievalists, we often do our training in graduate programs with several medievalists on staff, only to find ourselves teach-ing in places where we are the lone medievalists. As a conse-quence, we may find ourselves fielding questions from students, colleagues, and administrators about the value — cultural, aes-thetic and economic — of studying the Middle Ages. I remem-ber one such question early in my career, during my first se-mester at Mills College, a small liberal arts college in Oakland, California, with a woman-identified, undergraduate popula-tion. How, a student asked, could I love Chaucer? Initially, her question surprised me: I not only love Chaucer, but also often wonder how anyone could not love Chaucer. Yet, I also under-stood the source of her question. We had just finished reading “The Reeve’s Tale,” a short and troubling story that, like many of the Canterbury Tales, presents women’s bodies as the terrain on which male rivalry is fought. Does teaching such stories per-petuate the idea that sexual violence is inevitable? Does it repro-duce misogyny and gender bias, she pressed? What value, if any, do texts like these hold for us as readers today? 20 00 Open Access Cady, Diane 12 03 06 10.21983/P3.0205.1.12 137 142 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Trip to England Discovering the Ties between Medievalism and Pop Culture 1 A01 Danielle Girard Danielle Girard 40 031tt0491 Fitchburg State University 2 A01 Sarah Huff Sarah Huff 40 031tt0491 Fitchburg State University 3 A01 Justine Marsella Justine Marsella 40 031tt0491 Fitchburg State University 4 A01 Alicia Protze Alicia Protze 40 031tt0491 Fitchburg State University 5 A01 Abbie Rosen Abbie Rosen 40 031tt0491 Fitchburg State University 6 A01 Jacki Teague Jacki Teague 40 031tt0491 Fitchburg State University 01 eng 03 00 In early March of 2014, a group of eager undergraduate stu-dents sat huddled in a classroom at Fitchburg State University discussing with ill-disguised excitement the trivial fact that The Hobbit: The Desolation of Smaug might be a screening option on the plane to England. Our Lone Medievalist — our study abroad course instructor — listened with an amused expression. The following night we boarded said plane to embark on our adventure to walk in the footsteps of medieval England. As we moved through the country it became clear that there was an indisputable link between the medieval sites we visited and the fan culture that we so thoroughly immersed ourselves in daily. Not a single day passed during which we failed to find a link between the medieval past and contemporary “nerd-dom.” In a trip that lasted the duration of nine days, we learned that, while the world of academia may marginalize medieval scholars in favor of contemporary scholars, the world of popular culture embraces and profits from the fascinating and diverse stores of medieval culture. 30 00 In early March of 2014, a group of eager undergraduate stu-dents sat huddled in a classroom at Fitchburg State University discussing with ill-disguised excitement the trivial fact that The Hobbit: The Desolation of Smaug might be a screening option on the plane to England. Our Lone Medievalist — our study abroad course instructor — listened with an amused expression. The following night we boarded said plane to embark on our adventure to walk in the footsteps of medieval England. As we moved through the country it became clear that there was an indisputable link between the medieval sites we visited and the fan culture that we so thoroughly immersed ourselves in daily. Not a single day passed during which we failed to find a link between the medieval past and contemporary “nerd-dom.” In a trip that lasted the duration of nine days, we learned that, while the world of academia may marginalize medieval scholars in favor of contemporary scholars, the world of popular culture embraces and profits from the fascinating and diverse stores of medieval culture. 20 00 Open Access Girard, Danielle Huff, Sarah Marsella, Justine Protze, Alicia Rosen, Abbie Teague, Jacki 13 03 06 10.21983/P3.0205.1.13 145 159 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From the Monk's Cell to the Professor's Office 1 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 01 eng 03 00 Despite the title of this essay, I am not going to spend much time in the monk’s cell — this regardless of the common hab-it of equating academics with monks, generally with negative connotations. This image was evoked by Nicholas Kristof in his much-discussed (by academics at least) New York Times article, “Professors, We Need You!,” advocating for public engagement by academics in less arcane language. He ends with the cry, “So, professors, don’t cloister yourselves like medieval monks — we need you!”1 Earlier, he defines what this “cloistering” means: “A basic challenge is that Ph.D. programs have fostered a culture that glorifies arcane unintelligibility while disdaining impact and audience. This culture of exclusivity is then transmitted to the next generation through the publish-or-perish tenure pro-cess. Rebels are too often crushed or driven away.” Essentially, he is denigrating, if not the lone medievalist by name, then certainly the lone academic. With due respect to Mr. Kristof, he clearly has not been a student of medieval studies. Peter Buchanan offers a reply to Kristof ’s article on his blog Phenomenal Anglo-Saxons that cannot fail to make a medievalist smile — if not smirk. He writes, “And since my PhD is in medieval studies, it’s not clear that he would want me [...] although I could at the very least let him know that medieval monks were often active figures in their world, preserving and transmitting knowledge, producing art and literature, and serving as public intellectuals shaping the course of local and international political affairs.”2Of course, such a discussion would necessarily get into eremitic vs. cenobitic monastic traditions, the various rules of orders, and the determination of the effects monks had on public life. Nonetheless, Buchanan’s response is well-aimed. 30 00 Despite the title of this essay, I am not going to spend much time in the monk’s cell — this regardless of the common hab-it of equating academics with monks, generally with negative connotations. This image was evoked by Nicholas Kristof in his much-discussed (by academics at least) New York Times article, “Professors, We Need You!,” advocating for public engagement by academics in less arcane language. He ends with the cry, “So, professors, don’t cloister yourselves like medieval monks — we need you!”1 Earlier, he defines what this “cloistering” means: “A basic challenge is that Ph.D. programs have fostered a culture that glorifies arcane unintelligibility while disdaining impact and audience. This culture of exclusivity is then transmitted to the next generation through the publish-or-perish tenure pro-cess. Rebels are too often crushed or driven away.” Essentially, he is denigrating, if not the lone medievalist by name, then certainly the lone academic. With due respect to Mr. Kristof, he clearly has not been a student of medieval studies. Peter Buchanan offers a reply to Kristof ’s article on his blog Phenomenal Anglo-Saxons that cannot fail to make a medievalist smile — if not smirk. He writes, “And since my PhD is in medieval studies, it’s not clear that he would want me [...] although I could at the very least let him know that medieval monks were often active figures in their world, preserving and transmitting knowledge, producing art and literature, and serving as public intellectuals shaping the course of local and international political affairs.”2Of course, such a discussion would necessarily get into eremitic vs. cenobitic monastic traditions, the various rules of orders, and the determination of the effects monks had on public life. Nonetheless, Buchanan’s response is well-aimed. 20 00 Open Access Tracy, Kisha G. 14 03 06 10.21983/P3.0205.1.14 161 168 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Embracing the Medievalist Margin 1 A01 Alicia Spencer-Hall Alicia Spencer-Hall 40 026zzn846 Queen Mary, University of London 01 eng 03 00 LondonWhat a loaded phrase it is, “the Middle Ages.” What does it de-note, exactly? Medievalists have long critiqued the terminology as an empty — and intellectually partisan — marker of other-ness.1 Certainly, the term is useful for historicists, classicists, and modernists as a delimiter of the end of the age of Antiquity and the beginning of the Renaissance. Yet, the phrase is tainted for researchers in the medieval trenches, actively working to demonstrate the fecundity and importance of the period to intel-lectual and cultural history. The formulation itself, “the Middle Ages,” deflect us from the temporal period supposedly under study: what are those ages in the “middle” of ? The Middle Ages, paradoxically, take center-stage in their function as the margins of other more exciting periods of study. Without the essential instrument of “the Middle Ages,” modernists and Classicists would struggle to frame their own work. Even the adjectival form, “medieval,” offers us few benefits. As Margreta de Grazia notes, the term “medieval” “works less as a historical marker than a massive value judgement, determining what matters and what does not”.2 To research the Middle Ages, to be a medieval-ist, is to be irrevocably tied to “a millennium of middleness,” and to exist “in the [marginalized] middle” in our professional academic lives. 30 00 LondonWhat a loaded phrase it is, “the Middle Ages.” What does it de-note, exactly? Medievalists have long critiqued the terminology as an empty — and intellectually partisan — marker of other-ness.1 Certainly, the term is useful for historicists, classicists, and modernists as a delimiter of the end of the age of Antiquity and the beginning of the Renaissance. Yet, the phrase is tainted for researchers in the medieval trenches, actively working to demonstrate the fecundity and importance of the period to intel-lectual and cultural history. The formulation itself, “the Middle Ages,” deflect us from the temporal period supposedly under study: what are those ages in the “middle” of ? The Middle Ages, paradoxically, take center-stage in their function as the margins of other more exciting periods of study. Without the essential instrument of “the Middle Ages,” modernists and Classicists would struggle to frame their own work. Even the adjectival form, “medieval,” offers us few benefits. As Margreta de Grazia notes, the term “medieval” “works less as a historical marker than a massive value judgement, determining what matters and what does not”.2 To research the Middle Ages, to be a medieval-ist, is to be irrevocably tied to “a millennium of middleness,” and to exist “in the [marginalized] middle” in our professional academic lives. 20 00 Open Access Spencer-Hall, Alicia 15 03 06 10.21983/P3.0205.1.15 169 175 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Medievalist's Soliloquy Struggles and Advice for Lone Medievalists 1 A01 Tiffany A. Ziegler Tiffany A. Ziegler 40 00t30ch44 Midwestern State University 01 eng 03 00 Many scholars of medieval studies enter their first job after leav-ing supportive graduate programs where other graduate stu-dents understood their woes. Once teaching at an institution where scholarly studies may not be a priority, many quickly dis-cover that they do not have much time, especially for research and writing. Moreover, they lack the supportive community that they once had.1 As a lone medievalist, the struggle to produce scholarship and writing is difficult and complicated. Creating classes, curriculum planning, committee work, etc., all eventu-ally become routine. Sadly, the same cannot be said of research. From lack of library resources, to the reliance on oneself as an audience, the research process proves to be difficult. Despite these obstacles there are a number of ways to better facilitate re-searching and writing while still performing one’s teaching duties as the lone medievalist. The solutions and advice2 — focus-ing on the categories of research and collegiality — draw from The Rule of Saint Augustine. The solitary medieval monk serves as a surprising parallel to modern lone medievalist. 30 00 Many scholars of medieval studies enter their first job after leav-ing supportive graduate programs where other graduate stu-dents understood their woes. Once teaching at an institution where scholarly studies may not be a priority, many quickly dis-cover that they do not have much time, especially for research and writing. Moreover, they lack the supportive community that they once had.1 As a lone medievalist, the struggle to produce scholarship and writing is difficult and complicated. Creating classes, curriculum planning, committee work, etc., all eventu-ally become routine. Sadly, the same cannot be said of research. From lack of library resources, to the reliance on oneself as an audience, the research process proves to be difficult. Despite these obstacles there are a number of ways to better facilitate re-searching and writing while still performing one’s teaching duties as the lone medievalist. The solutions and advice2 — focus-ing on the categories of research and collegiality — draw from The Rule of Saint Augustine. The solitary medieval monk serves as a surprising parallel to modern lone medievalist. 20 00 Open Access Ziegler, Tiffany A. 16 03 06 10.21983/P3.0205.1.16 177 188 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reflections of an Embarrassed Medievalist 1 A01 Michael David Elam Michael Elam 40 00jhyq802 Regent University 01 eng 03 00 While many medievalists find themselves alone in their depart-ments, ranging from History to English, etc., many medieval-ists often find themselves just as alone, lonelier in some cases, among other medievalists, especially in professional contexts in which shared specialization ought to help them feel they be-long. Lone medievalists in their academic departments, though they may feel a sense of isolation, may find that acclimation to teaching, service, and other responsibilities has its own separat-ing effect, an effect that makes the lone medievalist feel doubly alone among other medievalists, especially at conferences, at which the expectation to make significant, independent, mean-ingful contributions to further medieval studies can be stifling. Such an expectation, frankly, may not be entirely reasonable. This may seem shocking, but many, if not most, medievalists do not have the personal resources to offer the kind of discipline-changing studies tacitly expected from them (from any scholar, really). At least it is shocking to say it out loud. The custom among academics is to refrain from saying what most are think-ing and experiencing in the hopes that somehow one will stum-ble into something that peers will claim is brilliant; it has been my custom, anyway, and I know from candid conversations with others that I am not alone. 30 00 While many medievalists find themselves alone in their depart-ments, ranging from History to English, etc., many medieval-ists often find themselves just as alone, lonelier in some cases, among other medievalists, especially in professional contexts in which shared specialization ought to help them feel they be-long. Lone medievalists in their academic departments, though they may feel a sense of isolation, may find that acclimation to teaching, service, and other responsibilities has its own separat-ing effect, an effect that makes the lone medievalist feel doubly alone among other medievalists, especially at conferences, at which the expectation to make significant, independent, mean-ingful contributions to further medieval studies can be stifling. Such an expectation, frankly, may not be entirely reasonable. This may seem shocking, but many, if not most, medievalists do not have the personal resources to offer the kind of discipline-changing studies tacitly expected from them (from any scholar, really). At least it is shocking to say it out loud. The custom among academics is to refrain from saying what most are think-ing and experiencing in the hopes that somehow one will stum-ble into something that peers will claim is brilliant; it has been my custom, anyway, and I know from candid conversations with others that I am not alone. 20 00 Open Access Elam, Michael 17 03 06 10.21983/P3.0205.1.17 189 197 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Unicorn Learns Accountability 1 A01 Misty Urban Misty Urban 40 0186tjy74 Muscatine Community College 01 eng 03 00 In the spring of my first year at Lewis-Clark State College in Lewiston, Idaho, I stood before a standing-room-only crowd in the on-campus coffee shop, prepared to give an informal talk as part of the Humanities Division’s ongoing colloquium series. Other professors had run small but intellectually substantial discussions about, for example, tigers in Romantic poetry. I was here to talk about monstrous women, Middle English romance, and the fairy Melusine. I had a set of PowerPoint slides. I had a packed audience, composed not just of my colleagues and seminar students but, I suspected, other students earning extra credit. Giving this talk on my research felt like a good way to introduce myself as the new assistant professor of English. It felt like a good way to give students a small taste of medieval litera-ture that might lure them into further study. It felt like one of the many ways I was still attempting to prove, to the division and to myself, that, though the hiring process was long complete, I was indeed the right person for this job. 30 00 In the spring of my first year at Lewis-Clark State College in Lewiston, Idaho, I stood before a standing-room-only crowd in the on-campus coffee shop, prepared to give an informal talk as part of the Humanities Division’s ongoing colloquium series. Other professors had run small but intellectually substantial discussions about, for example, tigers in Romantic poetry. I was here to talk about monstrous women, Middle English romance, and the fairy Melusine. I had a set of PowerPoint slides. I had a packed audience, composed not just of my colleagues and seminar students but, I suspected, other students earning extra credit. Giving this talk on my research felt like a good way to introduce myself as the new assistant professor of English. It felt like a good way to give students a small taste of medieval litera-ture that might lure them into further study. It felt like one of the many ways I was still attempting to prove, to the division and to myself, that, though the hiring process was long complete, I was indeed the right person for this job. 20 00 Open Access Urban, Misty 18 03 06 10.21983/P3.0205.1.18 199 204 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Stop Being a Lonely Medievalist 1 A01 M. Wendy Hennequin M. Wendy Hennequin 40 01fpczx89 Tennessee State University 01 eng 03 00 If you are reading this essay, chances are you are a Lone Medi-evalist. So am I. I am the only medievalist in my department (Language, Literature, and Philosophy, comprising the disci-plines of English, foreign languages, literature, linguistics, and philosophy). I teach at a historically black college, where me-dieval studies doesn’t even register on the academic radar. My historically-minded students are generally more interested in American or African history. Many students, and indeed many of my colleagues, see the Middle Ages as irrelevant to our stud-ies and disciplines.Yet my purpose here isn’t to enumerate the challenges of be-ing a Lone Medievalist. We all know what they are, and other essays in this volume examine our situation and its inherent is-sues and frustrations in detail. Instead, I intend to discuss the problem of a Lone Medievalist’s loneliness and suggest some concrete ways to deal with it. 30 00 If you are reading this essay, chances are you are a Lone Medi-evalist. So am I. I am the only medievalist in my department (Language, Literature, and Philosophy, comprising the disci-plines of English, foreign languages, literature, linguistics, and philosophy). I teach at a historically black college, where me-dieval studies doesn’t even register on the academic radar. My historically-minded students are generally more interested in American or African history. Many students, and indeed many of my colleagues, see the Middle Ages as irrelevant to our stud-ies and disciplines.Yet my purpose here isn’t to enumerate the challenges of be-ing a Lone Medievalist. We all know what they are, and other essays in this volume examine our situation and its inherent is-sues and frustrations in detail. Instead, I intend to discuss the problem of a Lone Medievalist’s loneliness and suggest some concrete ways to deal with it. 20 00 Open Access Hennequin, M. Wendy 19 03 06 10.21983/P3.0205.1.19 205 220 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Blended Medievalist Careers Staying Optimistic While Balancing Passion and Job Market Realities 1 A01 Timothy R.W. Jordan Timothy R.W. Jordan 40 01jr3y717 Ohio University 40 01j9bf827 Zane State College 2 A01 Aubri Anne McVey Aubri Anne McVey 40 00p11pk44 Wabash College 01 eng 03 00 University teaching is by nature an optimistic profession. To invest in the time and energy for graduate-level training and then go on to work with our own students is to invest in the belief that despite the ills of war, political corruption, social conflict, and natural disasters, there is hope that human beings can overcome the obstacles that we face. This hope springs not just from a vague sense that “everything will be okay” but also from seeing our own liberal arts educations help us solve “real world” problems. 30 00 University teaching is by nature an optimistic profession. To invest in the time and energy for graduate-level training and then go on to work with our own students is to invest in the belief that despite the ills of war, political corruption, social conflict, and natural disasters, there is hope that human beings can overcome the obstacles that we face. This hope springs not just from a vague sense that “everything will be okay” but also from seeing our own liberal arts educations help us solve “real world” problems. 20 00 Open Access Jordan, Timothy R.W. McVey, Aubri Anne 20 03 06 10.21983/P3.0205.1.20 221 225 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Study of the Unexpected The Advantages of Being the "Lone Medievalist" 1 A01 Nikolas O. Hoel Nikolas O. Hoel 40 04edns687 Northeastern Illinois University 01 eng 03 00 The challenges facing the academy are great and have in many ways been well documented in recent times. As a general trend, enrollments are slipping at many institutions and state legisla-tures are cutting funds to state universities in the name of re-duced spending. Individual academics face mounting issues as well. Teaching loads continue to grow, while funding for re-search is dropping, not to mention the decrease in hiring. Par-ticularly hard hit are the humanities, which are seen by many as unnecessary in a climate in which preparation for the job mar-ket is hailed as the paramount concern. The atmosphere is so hostile in many sectors that some writers have seen the need to present a “defense” of a liberal arts education.1 While vocational training is an important tool for many, the liberal arts remain a cornerstone of the American educational system. 30 00 The challenges facing the academy are great and have in many ways been well documented in recent times. As a general trend, enrollments are slipping at many institutions and state legisla-tures are cutting funds to state universities in the name of re-duced spending. Individual academics face mounting issues as well. Teaching loads continue to grow, while funding for re-search is dropping, not to mention the decrease in hiring. Par-ticularly hard hit are the humanities, which are seen by many as unnecessary in a climate in which preparation for the job mar-ket is hailed as the paramount concern. The atmosphere is so hostile in many sectors that some writers have seen the need to present a “defense” of a liberal arts education.1 While vocational training is an important tool for many, the liberal arts remain a cornerstone of the American educational system. 20 00 Open Access Hoel, Nikolas O. 21 03 06 10.21983/P3.0205.1.21 227 246 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Saga Thing and the Benefits of Podcasting the Medieval 1 A01 Andrew M. Pfrenger Andrew M. Pfrenger 40 016e0xz09 Kent State University at Salem 01 eng 03 00 For over a decade now, podcasting has become an increasingly popular form of entertainment and information sharing. An es-timated 57 million Americans currently listen to one or more podcasts on a regular basis according to Edison Research’s “The Infinite Dial 2016.” It’s a safe bet that many of our students al-ready embrace this technology on a daily basis, using their phones to download or stream podcasts on a diverse range of subjects, from comedy to current events, from self-help to his-tory. Though the medium is dominated by traditional broad-casters and entertainers, the podcast market is flooded with shows crafted by do-it-yourself hosts from nearly every walk of life speaking about their interests and opinions. 30 00 For over a decade now, podcasting has become an increasingly popular form of entertainment and information sharing. An es-timated 57 million Americans currently listen to one or more podcasts on a regular basis according to Edison Research’s “The Infinite Dial 2016.” It’s a safe bet that many of our students al-ready embrace this technology on a daily basis, using their phones to download or stream podcasts on a diverse range of subjects, from comedy to current events, from self-help to his-tory. Though the medium is dominated by traditional broad-casters and entertainers, the podcast market is flooded with shows crafted by do-it-yourself hosts from nearly every walk of life speaking about their interests and opinions. 20 00 Open Access Pfrenger, Andrew M. 22 03 06 10.21983/P3.0205.1.22 249 258 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building Your Own Villa 1 A01 Jane Chance Jane Chance 40 008zs3103 Rice University 01 eng 03 00 The way I found to ease the many negatives of being both the lone medievalist and the first tenure-track woman in the English Department at a small private university (as Rice was at the time I arrived in 1973, with 2,300 undergraduates and 1,000 gradu-ate students) was to learn to build on connections with others, whether students or colleagues. After finishing my Ph.D. at the University of Illinois in 1971, I had taught for two years at the snow-laden University of Saskatchewan-Saskatoon. Longing to return to an urban environment, I came to sunny Houston as a very young assistant professor, girded with a book contract in hand for a revised dissertation and boundless optimism. Two medievalists had taught in the department prior to my advent, but I was hired specifically to replace the Anglo-Saxonist. 30 00 The way I found to ease the many negatives of being both the lone medievalist and the first tenure-track woman in the English Department at a small private university (as Rice was at the time I arrived in 1973, with 2,300 undergraduates and 1,000 gradu-ate students) was to learn to build on connections with others, whether students or colleagues. After finishing my Ph.D. at the University of Illinois in 1971, I had taught for two years at the snow-laden University of Saskatchewan-Saskatoon. Longing to return to an urban environment, I came to sunny Houston as a very young assistant professor, girded with a book contract in hand for a revised dissertation and boundless optimism. Two medievalists had taught in the department prior to my advent, but I was hired specifically to replace the Anglo-Saxonist. 20 00 Open Access Chance, Jane 23 03 06 10.21983/P3.0205.1.23 259 265 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twice Marginal and Twice Invisible On Being the Lone Medievalist Twice in One State 1 A01 Michelle M. Sauer Michelle M. Sauer 40 04a5szx83 University of North Dakota 01 eng 03 00 In the classic Jacqueline Murray article, “Twice Marginal and Twice Invisible: Lesbians in the Middle Ages,”1 she argues that lesbians are challenging to reclaim in history by virtue of being doubly excluded. I’m not exactly comparing myself to a medi-eval lesbian, although a good deal of my scholarship has focused on female same-sex desire in the Middle Ages; however, there have been several instances of intertwined marginalization like this in my career. I was, for example, the only medieval PhD student at my institution. That brought both good and bad, since I got plum teaching assignments (no composition), but lost out on a student community. As a woman of color, I am also sometimes on the outskirts of medieval studies (although that is changing in today’s academic world), but have also been called a “race traitor” by other South Asians since I study “the whitest period in history” (a view also being challenged in today’s academic world). So I guess one could say that I pretty much began my career as a Lone Medievalist in my PhD program, and have continued as such to this very day. 30 00 In the classic Jacqueline Murray article, “Twice Marginal and Twice Invisible: Lesbians in the Middle Ages,”1 she argues that lesbians are challenging to reclaim in history by virtue of being doubly excluded. I’m not exactly comparing myself to a medi-eval lesbian, although a good deal of my scholarship has focused on female same-sex desire in the Middle Ages; however, there have been several instances of intertwined marginalization like this in my career. I was, for example, the only medieval PhD student at my institution. That brought both good and bad, since I got plum teaching assignments (no composition), but lost out on a student community. As a woman of color, I am also sometimes on the outskirts of medieval studies (although that is changing in today’s academic world), but have also been called a “race traitor” by other South Asians since I study “the whitest period in history” (a view also being challenged in today’s academic world). So I guess one could say that I pretty much began my career as a Lone Medievalist in my PhD program, and have continued as such to this very day. 20 00 Open Access Sauer, Michelle M. 24 03 06 10.21983/P3.0205.1.24 267 279 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pushing Boundaries Making the Medieval Relevant through Public History and Engagement On and Off Campus 1 A01 21 0000000258503853 Amber Handy Amber Handy 40 01hs43g67 Mississippi University for Women 01 eng 03 00 When I arrived on the campus of this small regional public university fresh out of graduate school, I felt like I had won the lottery. Not only had I secured a tenure-track job in a ter-rible market, but I had done so at an institution with small class sizes, a liberal-arts based teaching mission, and a long history of supporting women’s education, which was precisely the type of university at which I had always wanted to teach. I soon discovered that leaving behind a well-supported medi-eval community comprised of a diverse and thriving scholarly body, phenomenal library, and financial support for teaching and research had its challenges. While my new university val-ued my teaching skills, its library resources were far more lim-ited than I had anticipated, and the student body, comprised largely of first-generation college students, did not immediately understand the relevance of medieval history to their course of study or future career goals. Despite the warm welcome I received from my new colleagues, I soon began to wonder if some of them harbored similar questions about the wisdom of using one of their few tenure-track lines on a premodernist. As the lone medievalist in a department of only four histori-ans, and one of only two medievalists on the entire campus, I have found that the best way to ensure that medieval history is taken seriously by my colleagues is by actively seeking ways to professionally engage both with my departmental colleagues outside of the medieval period and as a medievalist across and beyond campus. In my experience, the following six areas have been key in demonstrating how my training in medieval his-tory can be an asset in program and curricular development, undergraduate education in core history skills, student recruit-ment, and public outreach. 30 00 When I arrived on the campus of this small regional public university fresh out of graduate school, I felt like I had won the lottery. Not only had I secured a tenure-track job in a ter-rible market, but I had done so at an institution with small class sizes, a liberal-arts based teaching mission, and a long history of supporting women’s education, which was precisely the type of university at which I had always wanted to teach. I soon discovered that leaving behind a well-supported medi-eval community comprised of a diverse and thriving scholarly body, phenomenal library, and financial support for teaching and research had its challenges. While my new university val-ued my teaching skills, its library resources were far more lim-ited than I had anticipated, and the student body, comprised largely of first-generation college students, did not immediately understand the relevance of medieval history to their course of study or future career goals. Despite the warm welcome I received from my new colleagues, I soon began to wonder if some of them harbored similar questions about the wisdom of using one of their few tenure-track lines on a premodernist. As the lone medievalist in a department of only four histori-ans, and one of only two medievalists on the entire campus, I have found that the best way to ensure that medieval history is taken seriously by my colleagues is by actively seeking ways to professionally engage both with my departmental colleagues outside of the medieval period and as a medievalist across and beyond campus. In my experience, the following six areas have been key in demonstrating how my training in medieval his-tory can be an asset in program and curricular development, undergraduate education in core history skills, student recruit-ment, and public outreach. 20 00 Open Access Handy, Amber 25 03 06 10.21983/P3.0205.1.25 281 288 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brought to You by Your Friendly Campus Medievalist 1 A01 Lee Templeton Lee Templeton 40 05x8hy709 North Carolina Wesleyan College 01 eng 03 00 I have been a lone medievalist for eight years — longer than some, but not nearly as long as many in our profession. Some-times, when I am introducing myself to new faculty members or participating in one of the countless academic rituals that require an introduction and declaration of specialty, I am tempted to ac-knowledge my lone medievalist status after stating my name. As a way of giving an account of myself, I think this would be highly effective. Not only does it provide the necessary identifying in-formation, but its similarity to the ritualized language of some twelve-step programs would alert my colleagues to the nature of my situation. “Ah,” they would whisper to each other. “That ex-plains quite a bit. At least he can admit he needs help.” Of course, being a lone medievalist is not a condition for which one needs to seek treatment, despite what our colleagues may sometimes think. Yet, many of us who are lone medievalists have, at one time in our career or another, felt as if we are suffering from some sort of affliction that isolates us from the rest of our col-leagues and causes us to be misunderstood by those with whom we share our academic lives. Such was certainly my experience as I began my tenure-track position at a small, private, liberal arts college, and, I must say, it initially threw me for quite a loop. 30 00 I have been a lone medievalist for eight years — longer than some, but not nearly as long as many in our profession. Some-times, when I am introducing myself to new faculty members or participating in one of the countless academic rituals that require an introduction and declaration of specialty, I am tempted to ac-knowledge my lone medievalist status after stating my name. As a way of giving an account of myself, I think this would be highly effective. Not only does it provide the necessary identifying in-formation, but its similarity to the ritualized language of some twelve-step programs would alert my colleagues to the nature of my situation. “Ah,” they would whisper to each other. “That ex-plains quite a bit. At least he can admit he needs help.” Of course, being a lone medievalist is not a condition for which one needs to seek treatment, despite what our colleagues may sometimes think. Yet, many of us who are lone medievalists have, at one time in our career or another, felt as if we are suffering from some sort of affliction that isolates us from the rest of our col-leagues and causes us to be misunderstood by those with whom we share our academic lives. Such was certainly my experience as I began my tenure-track position at a small, private, liberal arts college, and, I must say, it initially threw me for quite a loop. 20 00 Open Access Templeton, Lee 26 03 06 10.21983/P3.0205.1.26 289 304 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Down with Dante and Chaucer? Navigating a Great Books Curriculum as a Medievalist 1 A01 21 0000000167025016 Sarah Harlan-Haughey Sarah Harlan-Haughey 40 01adr0w49 University of Maine 01 eng 03 00 When I accepted my job as a joint hire between an English de-partment and an Honors College that used a fairly conventional Great Books curriculum, I was excited to have a job and to be teaching the classics as well as my own research interests. But I quickly learned that there are some dangers and stressors in be-ing the only person who works on anything remotely premod-ern in a four-semester curriculum that dwells a year on ancient Roman and Greek classics, hurtles over the Middle Ages after two or three short weeks with Dante and Chaucer, and comes to rest heavily in the Renaissance and the Enlightenment. I quickly found myself saying things that surprised and even scared my colleagues as we discussed our curriculum and book lists every year with hopes of improving or innovating the hundred years’ culture war that is a Great Books curriculum.1 “Why not teach a saga instead of Dante?” I might say. Or: “Can we replace Chaucer with Sir Gawain and the Green Knight, or even Piers Plowman?” “No, I do not feel comfortable lecturing on the political climate that led to the creation of Virgil’s Aeneid — that’s why we need a classicist.” “Can’t we add another medieval text and remove The Golden Ass? Marie de France can cover a lot of the same ground.” And so on. My colleagues have come to look upon my perpetual war for a non-standardized view of the Middle Ages, for readings from saints, weirdos, and outliers with exasperated good humor and a quick vote to maintain the status quo: a week of the Inferno, a week of Chaucer’s greatest hits. Done, and done. I never thought I’d argue the things I have in this job as strongly as I have argued them. 30 00 When I accepted my job as a joint hire between an English de-partment and an Honors College that used a fairly conventional Great Books curriculum, I was excited to have a job and to be teaching the classics as well as my own research interests. But I quickly learned that there are some dangers and stressors in be-ing the only person who works on anything remotely premod-ern in a four-semester curriculum that dwells a year on ancient Roman and Greek classics, hurtles over the Middle Ages after two or three short weeks with Dante and Chaucer, and comes to rest heavily in the Renaissance and the Enlightenment. I quickly found myself saying things that surprised and even scared my colleagues as we discussed our curriculum and book lists every year with hopes of improving or innovating the hundred years’ culture war that is a Great Books curriculum.1 “Why not teach a saga instead of Dante?” I might say. Or: “Can we replace Chaucer with Sir Gawain and the Green Knight, or even Piers Plowman?” “No, I do not feel comfortable lecturing on the political climate that led to the creation of Virgil’s Aeneid — that’s why we need a classicist.” “Can’t we add another medieval text and remove The Golden Ass? Marie de France can cover a lot of the same ground.” And so on. My colleagues have come to look upon my perpetual war for a non-standardized view of the Middle Ages, for readings from saints, weirdos, and outliers with exasperated good humor and a quick vote to maintain the status quo: a week of the Inferno, a week of Chaucer’s greatest hits. Done, and done. I never thought I’d argue the things I have in this job as strongly as I have argued them. 20 00 Open Access Harlan-Haughey, Sarah 27 03 06 10.21983/P3.0205.1.27 305 310 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Of sondry folk What I Learned After My First Year as the Lone Medievalist on Campus 1 A01 Ann M. Martinez Ann M. Martinez 40 00gxmhc57 Kent State University at Stark 01 eng 03 00 My first month as an assistant professor was a whirlwind. There were new people everywhere. Faculty, staff, administrators... everyone was very welcoming, and they all wanted to get to know me, so they asked: “What do you work on?” And my I-just-finished-my-dissertation-and-still-have-a-lot-to-say-about-it brain kicked in. I responded: “With a formalist methodology regarding textual analysis, a historicist approach to literature’s and to society’s attitudes about nature, and an ecocritical lens, I examine the periodization that sets the Middle Ages against other eras. This allows me to trace the extent to which attitudes toward land use, landscape beautification, and woodland de-lineation developed within Middle English literature. These me-dieval perspectives are a crucially important pre-history to our modern views regarding the use, exploitation, and sustainability of the environment.” 30 00 My first month as an assistant professor was a whirlwind. There were new people everywhere. Faculty, staff, administrators... everyone was very welcoming, and they all wanted to get to know me, so they asked: “What do you work on?” And my I-just-finished-my-dissertation-and-still-have-a-lot-to-say-about-it brain kicked in. I responded: “With a formalist methodology regarding textual analysis, a historicist approach to literature’s and to society’s attitudes about nature, and an ecocritical lens, I examine the periodization that sets the Middle Ages against other eras. This allows me to trace the extent to which attitudes toward land use, landscape beautification, and woodland de-lineation developed within Middle English literature. These me-dieval perspectives are a crucially important pre-history to our modern views regarding the use, exploitation, and sustainability of the environment.” 20 00 Open Access Martinez, Ann M. 28 03 06 10.21983/P3.0205.1.28 311 318 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Collaborative Medievalist 1 A01 Courtney Rydel Courtney Rydel 40 02vk0qj37 Washington College 01 eng 03 00 My colleagues who work in theatre have taught me my new favorite word: collaboration. Being the lone medievalist in my field at a small liberal arts college, I’ve learned to work on active collaborations with friends in fields outside medieval studies. We can meld our approaches into a process that works for both of us, since collaboration primarily requires working together closely to create a finished product. Starting from the same background knowledge does not matter. Coming together over shared materials — while appreciating my colleagues’ distinct approaches and methodologies — has reinvigorated my teach-ing and research, making possible different class projects, better class discussions, new research initiatives, and new classes and co-curricular opportunities. 30 00 My colleagues who work in theatre have taught me my new favorite word: collaboration. Being the lone medievalist in my field at a small liberal arts college, I’ve learned to work on active collaborations with friends in fields outside medieval studies. We can meld our approaches into a process that works for both of us, since collaboration primarily requires working together closely to create a finished product. Starting from the same background knowledge does not matter. Coming together over shared materials — while appreciating my colleagues’ distinct approaches and methodologies — has reinvigorated my teach-ing and research, making possible different class projects, better class discussions, new research initiatives, and new classes and co-curricular opportunities. 20 00 Open Access Rydel, Courtney 29 03 06 10.21983/P3.0205.1.29 319 337 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Make Yourself at Home 1 A01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 03 00 When I landed my job in the Department of English at Bridge-water State University, I was undeniably a bit of a naïf. This wasn’t the fault of my graduate program, my dissertation direc-tors, or the many other people who tried to help me find my way to professional readiness. And yet, when I received the all-important call from the then-Dean of Humanities offering me a position, I responded (as I’d been trained to do) by saying firmly, “Thank you so much for the offer. I’ll need to talk it over with my wife, of course...” and then continued, “Then I can call you back tomorrow to accept the offer.” I was, to put it mildly, not in a dominant bargaining position when I called back. 30 00 When I landed my job in the Department of English at Bridge-water State University, I was undeniably a bit of a naïf. This wasn’t the fault of my graduate program, my dissertation direc-tors, or the many other people who tried to help me find my way to professional readiness. And yet, when I received the all-important call from the then-Dean of Humanities offering me a position, I responded (as I’d been trained to do) by saying firmly, “Thank you so much for the offer. I’ll need to talk it over with my wife, of course...” and then continued, “Then I can call you back tomorrow to accept the offer.” I was, to put it mildly, not in a dominant bargaining position when I called back. 20 00 Open Access Sexton, John P. 30 03 06 10.21983/P3.0205.1.30 341 354 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Notes from the North 1 A01 21 0000000289985250 Laura Saetveit Miles Laura Saetveit Miles 40 03zga2b32 University of Bergen 01 eng 03 00 We have arrived in Norway. On the trip I began Mary Woll-stonecraft’s 1796 Letters Written during a Short Residence in Swe-den, Norway, and Denmark (Broadwell, excellent edition) and have been inspired to write you real letters on real paper about our big adventure moving abroad and my new (first, real, per-manent) job. I am now officially associate (!!!) professor or the much more delicious title “førsteamanuensis” of English litera-ture in the Institute for Foreign Languages at the University of Bergen, Norway. The other languages in our department include French, Spanish, German, Arabic, Chinese, Japanese, Russian... both literature and linguistic sides. I have five other colleagues in English literature: total three for British, three for American (picture a buoy right in the middle of the Atlantic, demarcating the fields). No one has mentioned if medieval English literature was ever taught here before. Either it never was — or the institu-tional memory has been lost — or they want to forget — or they haven’t thought to mention whose shoes I am stepping into. Well, they are mine now. 30 00 We have arrived in Norway. On the trip I began Mary Woll-stonecraft’s 1796 Letters Written during a Short Residence in Swe-den, Norway, and Denmark (Broadwell, excellent edition) and have been inspired to write you real letters on real paper about our big adventure moving abroad and my new (first, real, per-manent) job. I am now officially associate (!!!) professor or the much more delicious title “førsteamanuensis” of English litera-ture in the Institute for Foreign Languages at the University of Bergen, Norway. The other languages in our department include French, Spanish, German, Arabic, Chinese, Japanese, Russian... both literature and linguistic sides. I have five other colleagues in English literature: total three for British, three for American (picture a buoy right in the middle of the Atlantic, demarcating the fields). No one has mentioned if medieval English literature was ever taught here before. Either it never was — or the institu-tional memory has been lost — or they want to forget — or they haven’t thought to mention whose shoes I am stepping into. Well, they are mine now. 20 00 Open Access Miles, Laura Saetveit 31 03 06 10.21983/P3.0205.1.31 355 360 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Being a Medievalist in an A-medieval Country and in Region Overcrowded with Medievality Two Stories from Brasil and Western Balkans 1 A01 21 0000000200620379 Ardian Muhaj Ardian Muhaj 40 03npphx08 Akademia e Studimeve Albanologjike 01 eng 03 00 Being a medievalist in the Western Balkans, a place overcrowd-ed with medieval documents and monuments (and competing modern explanations of such documents and monuments), can lead a scholar to feel trapped in the midst of plenty. The feeling of isolation this causes is somewhat like the social isolation and loneliness many people experience in modern cities. The feeling is only heightened by the political determinism and interference that medievalists experience in places like the Western Balkans, where almost every site and monument of medieval signifi-cance is reclaimed from different countries. The medievalist of-ten faces a politically imposed isolation or alienation, wherein even historians of neighboring countries try to avoid coopera-tion. How does this politically-imposed isolation compare to the geographically imposed isolation of a place like Brasil? In other words, how does a socio-politically created “lone” medievalist compare to the experience of a medievalist in a place far removed from the historical context she studies? 30 00 Being a medievalist in the Western Balkans, a place overcrowd-ed with medieval documents and monuments (and competing modern explanations of such documents and monuments), can lead a scholar to feel trapped in the midst of plenty. The feeling of isolation this causes is somewhat like the social isolation and loneliness many people experience in modern cities. The feeling is only heightened by the political determinism and interference that medievalists experience in places like the Western Balkans, where almost every site and monument of medieval signifi-cance is reclaimed from different countries. The medievalist of-ten faces a politically imposed isolation or alienation, wherein even historians of neighboring countries try to avoid coopera-tion. How does this politically-imposed isolation compare to the geographically imposed isolation of a place like Brasil? In other words, how does a socio-politically created “lone” medievalist compare to the experience of a medievalist in a place far removed from the historical context she studies? 20 00 Open Access Muhaj, Ardian 32 03 06 10.21983/P3.0205.1.32 361 364 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Is the Academic Medievalist Alone? 1 A01 Kouky J. Fianu Kouky J. Fianu 40 03c4mmv16 University of Ottawa 01 eng 03 00 The trend towards a “shrinking past”1 is undoubtedly a reality that those of us working in American and Canadian universi-ties have known for many years now. Humanities disciplines, devoted more than others to the study of the past, have suffered inordinately from this situation. The result, one that we as me-dievalists know all too well, is that we end up being the sole departmental expert on the entire pre-1700 (mostly European) world. The reasons for this historiographical downsizing are complex: administrative proclamations of declining interest in the humanities in general are but one piece of the historical puz-zle. There is no need to enter into this debate here, though; what matters is the result. Where there used to be two, three or more medievalists, there is now barely one: a single soul who is often asked to also teach outside the period on more “relevant” issues. So, one it is. But does that make this sole specialist a lonely re-searcher? And is this a novelty? 30 00 The trend towards a “shrinking past”1 is undoubtedly a reality that those of us working in American and Canadian universi-ties have known for many years now. Humanities disciplines, devoted more than others to the study of the past, have suffered inordinately from this situation. The result, one that we as me-dievalists know all too well, is that we end up being the sole departmental expert on the entire pre-1700 (mostly European) world. The reasons for this historiographical downsizing are complex: administrative proclamations of declining interest in the humanities in general are but one piece of the historical puz-zle. There is no need to enter into this debate here, though; what matters is the result. Where there used to be two, three or more medievalists, there is now barely one: a single soul who is often asked to also teach outside the period on more “relevant” issues. So, one it is. But does that make this sole specialist a lonely re-searcher? And is this a novelty? 20 00 Open Access Fianu, Kouky J. 33 03 06 10.21983/P3.0205.1.33 365 368 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Philosopher's Approach to Being a Lone Medievalist 1 A01 Pilar Herráiz Oliva Pilar Herráiz Oliva 40 03p3aeb86 University of Murcia 01 eng 03 00 First of all, I should say that I am a philosopher. If medieval-ists have a bad reputation anywhere, that is in philosophy. At least, that is how I felt in the beginning. That is how I have been feeling up to this point. The problem lies mostly with people’s conceptions regarding the Middle Ages: a sort of dark, historical parentheses whose content remains mostly unknown. No sur-prises here. Anyway, my intention here is not to complain about other people’s thoughts, but most importantly to share my own. Thus, I will start by what it was or what it is to be a medievalist within my academic environment, that is, in my experience, but I will also try to briefly provide our field with some constructive ideas in order to face the “I am a lone medievalist” issue. 30 00 First of all, I should say that I am a philosopher. If medieval-ists have a bad reputation anywhere, that is in philosophy. At least, that is how I felt in the beginning. That is how I have been feeling up to this point. The problem lies mostly with people’s conceptions regarding the Middle Ages: a sort of dark, historical parentheses whose content remains mostly unknown. No sur-prises here. Anyway, my intention here is not to complain about other people’s thoughts, but most importantly to share my own. Thus, I will start by what it was or what it is to be a medievalist within my academic environment, that is, in my experience, but I will also try to briefly provide our field with some constructive ideas in order to face the “I am a lone medievalist” issue. 20 00 Open Access Oliva, Pilar Herráiz 34 03 06 10.21983/P3.0205.1.34 369 372 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Lone Medievalist on the Island 1 A01 Christine E. Kozikowski Christine E. Kozikowski 40 01c8qhb70 College of The Bahamas 01 eng 03 00 Discovering a medieval French cloister in the Bahamas was one of the most surprising moments of my first semester of working at The College of the Bahamas (COB), where I thought I cor-nered the market on the Middle Ages. This fourteenth-centu-ry re-formed cloister and the talk given by William Whobrey from Yale was a reminder that the medievalist world is not so small. This closeness was also reminder of my scholarly iden-tity in the midst of the complete and utter difference of my new situation at a college where I am the first and only medievalist. Transitioning from a large R1 university with active medieval programs in history, literature, Spanish, and French to a college whose programs focus on postcolonial Caribbean development was, while not unexpected, still a bit of a shock to my senses. My employment at COB has provided not only a number of unique experiences as faculty but it has also given me a new perspec-tive on teaching medieval literature, as well as opportunities for research and development that would have never arisen if I weren’t a lone medievalist. 30 00 Discovering a medieval French cloister in the Bahamas was one of the most surprising moments of my first semester of working at The College of the Bahamas (COB), where I thought I cor-nered the market on the Middle Ages. This fourteenth-centu-ry re-formed cloister and the talk given by William Whobrey from Yale was a reminder that the medievalist world is not so small. This closeness was also reminder of my scholarly iden-tity in the midst of the complete and utter difference of my new situation at a college where I am the first and only medievalist. Transitioning from a large R1 university with active medieval programs in history, literature, Spanish, and French to a college whose programs focus on postcolonial Caribbean development was, while not unexpected, still a bit of a shock to my senses. My employment at COB has provided not only a number of unique experiences as faculty but it has also given me a new perspec-tive on teaching medieval literature, as well as opportunities for research and development that would have never arisen if I weren’t a lone medievalist. 20 00 Open Access Kozikowski, Christine E. 35 03 06 10.21983/P3.0205.1.35 373 380 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 2 B01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 20 00 Open Access Tracy, Kisha G. Sexton, John P. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-ballad-of-the-lone-medievalist/ Earth, Milky Way 04 01 20180823 Tracy, Kisha G. Sexton, John P. 02 WORLD 06 15 9781947447554 03 9781947447554 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447548 20 08 20180823 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-ballad-of-the-lone-medievalist 20 08 20180823 02 27.00 USD WORLD urn:uuid:b70d5b5e-40ed-4a38-bfb4-0be6cbd466f3 03 01 01 thoth-work-id urn:uuid:0fa87d43-ad8f-4bde-b70e-af249e3a2537 01 thoth-publication-id urn:uuid:b70d5b5e-40ed-4a38-bfb4-0be6cbd466f3 15 9781947447554 03 9781947447554 06 10.21983/P3.0205.1.00 13 2018940292 01 internal-reference 0205 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Ballad of the Lone Medievalist 1 B01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 2 B01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 00 388 03 10 BIO019000 12 DSBB 93 DSBB B2 Humanities+University 93 NHDJ B2 Pedagogies 93 JNM B2 Premodern 20 intellectual life; medieval studies; marginality; university studies; pedagogy 01 06 02 00 03 00 Are you a Lone Medievalist?Working medievalists are often the only scholar of the Middle Ages in a department, a university, or a hundred-mile radius. While working to build a body of focused scholarly work, the lone medievalist is expected to be a generalist in the classroom and a contributing member of a campus community that rarely offers disciplinary community in return. As a result, overtasked and single medievalists often find it challenging to advocate for their work and field.As other responsibilities and expectations crowd in, we come to feel disconnected from the projects and subjects that sustain our intellectual passion. An insidious isolation even from one another creeps in, and soon, even attending a conference of fellow medievalists can become a lonely experience. Surrounded by scholars with greater institutional support, lower teaching loads, or more robust research agendas, we may feel alienated from our work — the work to which we’ve dedicated our careers. 30 00 Are you a Lone Medievalist?Working medievalists are often the only scholar of the Middle Ages in a department, a university, or a hundred-mile radius. While working to build a body of focused scholarly work, the lone medievalist is expected to be a generalist in the classroom and a contributing member of a campus community that rarely offers disciplinary community in return. As a result, overtasked and single medievalists often find it challenging to advocate for their work and field.As other responsibilities and expectations crowd in, we come to feel disconnected from the projects and subjects that sustain our intellectual passion. An insidious isolation even from one another creeps in, and soon, even attending a conference of fellow medievalists can become a lonely experience. Surrounded by scholars with greater institutional support, lower teaching loads, or more robust research agendas, we may feel alienated from our work — the work to which we’ve dedicated our careers. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0205.1.00_frontcover.png 1 03 06 10.21983/P3.0205.1.01 i xiii 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 2 B01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 20 00 Open Access Tracy, Kisha G. Sexton, John P. 2 03 06 10.21983/P3.0205.1.02 13 16 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Who Was That Masked Monk? 1 A01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 2 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 01 eng 03 00 Hi. Are you a Lone Medievalist?This volume is a sequel, of sorts, to an ongoing series of round tables at the International Congress on Medieval Stud-ies held at Western Michigan University, beginning in 2015. The impetus for those sessions, and for this book, is the sense of isolation many medieval scholars feel in their professional lives. Often the only scholar of the period in their departments, their universities, or their surrounding area, medievalists can find it challenging to advocate for their work and field. The problem is only more pronounced for the medievalist in an adjunct teach-ing position or without an institutional position at all. When we work alone among colleagues, teach mostly (or entirely) outside our specializations, and compete with “more easily” understood or well-funded research, it is easy to feel disconnected from the larger discipline of medieval studies. Our scholarly production slows or ceases. Our language skills atrophy. Our knowledge os-sifies. Soon, even attending a conference of fellow medievalists can feel isolating. Surrounded by scholars with greater institu-tional support, lower teaching loads, or more robust research agendas, we may feel alienated from the field we love — the work to which we’ve dedicated our careers. 30 00 Hi. Are you a Lone Medievalist?This volume is a sequel, of sorts, to an ongoing series of round tables at the International Congress on Medieval Stud-ies held at Western Michigan University, beginning in 2015. The impetus for those sessions, and for this book, is the sense of isolation many medieval scholars feel in their professional lives. Often the only scholar of the period in their departments, their universities, or their surrounding area, medievalists can find it challenging to advocate for their work and field. The problem is only more pronounced for the medievalist in an adjunct teach-ing position or without an institutional position at all. When we work alone among colleagues, teach mostly (or entirely) outside our specializations, and compete with “more easily” understood or well-funded research, it is easy to feel disconnected from the larger discipline of medieval studies. Our scholarly production slows or ceases. Our language skills atrophy. Our knowledge os-sifies. Soon, even attending a conference of fellow medievalists can feel isolating. Surrounded by scholars with greater institu-tional support, lower teaching loads, or more robust research agendas, we may feel alienated from the field we love — the work to which we’ve dedicated our careers. 20 00 Open Access Sexton, John P. Tracy, Kisha G. 3 03 06 10.21983/P3.0205.1.03 17 28 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Lone Medievalist Casting the Net 1 A01 Sarah Barott Sarah Barott 40 031tt0491 Fitchburg State University 2 A01 Rachel Munson Rachel Munson 40 01yjyvb35 Bemidji State University 01 eng 03 00 When we first attended the International Congress for Medi-eval Studies in 2013, we had just begun to dip our toes into the expansive world of Medieval Studies. When we returned home we were so inspired that we both began extensively studying the Middle Ages and founded the Bemidji State University Medi-eval Club. Within months we had a solid community of medi-evalists and we felt at home. In 2015 at the 50th Annual Interna-tional Congress for Medieval Studies, we attended the “Ballad of the Lone Medievalist” panel hosted by Dr. Kisha Tracy of Fitchburg State University and Dr. John Sexton of Bridgewater State University. We were astonished by how many medievalists felt alone at their universities. Didn’t everyone have a colleague who studied medieval scholarship on their campus? The sur-prising answer was no. It was our understanding that the Lone Medievalist project, founded by Dr. Tracy and Dr. Sexton, began with the intent of creating a series of panels and publications to connect medievalists from around the world. We recognized the Lone Medievalist project’s need for a more substantial commu-nity outside of the short amount of time allotted them at con-ferences. We thought a good basis would be to create a virtual community that emulated what we felt on our home campus. Sarah then suggested an online hub which would allow medi-eval scholars to join together, share in discussion, trade syllabi, and connect for conferences. The next thing we knew we were having lunch with Dr. Tracy and Dr. Sexton and were exploring the idea further. We left our meeting with the go-ahead to get a website up and running for The Lone Medievalist. 30 00 When we first attended the International Congress for Medi-eval Studies in 2013, we had just begun to dip our toes into the expansive world of Medieval Studies. When we returned home we were so inspired that we both began extensively studying the Middle Ages and founded the Bemidji State University Medi-eval Club. Within months we had a solid community of medi-evalists and we felt at home. In 2015 at the 50th Annual Interna-tional Congress for Medieval Studies, we attended the “Ballad of the Lone Medievalist” panel hosted by Dr. Kisha Tracy of Fitchburg State University and Dr. John Sexton of Bridgewater State University. We were astonished by how many medievalists felt alone at their universities. Didn’t everyone have a colleague who studied medieval scholarship on their campus? The sur-prising answer was no. It was our understanding that the Lone Medievalist project, founded by Dr. Tracy and Dr. Sexton, began with the intent of creating a series of panels and publications to connect medievalists from around the world. We recognized the Lone Medievalist project’s need for a more substantial commu-nity outside of the short amount of time allotted them at con-ferences. We thought a good basis would be to create a virtual community that emulated what we felt on our home campus. Sarah then suggested an online hub which would allow medi-eval scholars to join together, share in discussion, trade syllabi, and connect for conferences. The next thing we knew we were having lunch with Dr. Tracy and Dr. Sexton and were exploring the idea further. We left our meeting with the go-ahead to get a website up and running for The Lone Medievalist. 20 00 Open Access Barott, Sarah Munson, Rachel 4 03 06 10.21983/P3.0205.1.04 31 49 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Not so Lonesome Anymore Bridging the Disciplines through Pedagogy 1 A01 Peter Burkholder Peter Burkholder 40 04wkzvc75 Fairleigh Dickinson University 01 eng 03 00 It’s perhaps inevitable for medievalists to feel a bit isolated. The very terms “medieval” and “Middle Ages” hardly conjure up positive images among the general public and even our non-brethren academics, resulting in such negative stereotypes towards the field that meaningful discourse can end before it even begins. When not surrounded by kindred specialists, it’s tempting to empathize with pre-millennial Irish monks sailing out bravely into the North Atlantic, pretending the professional solitude is precisely what we seek, even if it isn’t. Those who study the Middle Ages could be forgiven for feel-ing that their situation is unique, that no one else could possibly understand the seclusion which comes with studying societies long ago and far away, with trying to appreciate mindsets and worldviews of people who often thought in fundamentally dif-ferent, even perplexing ways. What else to do but don our emo-tional armor and carry on as academic outliers? 30 00 It’s perhaps inevitable for medievalists to feel a bit isolated. The very terms “medieval” and “Middle Ages” hardly conjure up positive images among the general public and even our non-brethren academics, resulting in such negative stereotypes towards the field that meaningful discourse can end before it even begins. When not surrounded by kindred specialists, it’s tempting to empathize with pre-millennial Irish monks sailing out bravely into the North Atlantic, pretending the professional solitude is precisely what we seek, even if it isn’t. Those who study the Middle Ages could be forgiven for feel-ing that their situation is unique, that no one else could possibly understand the seclusion which comes with studying societies long ago and far away, with trying to appreciate mindsets and worldviews of people who often thought in fundamentally dif-ferent, even perplexing ways. What else to do but don our emo-tional armor and carry on as academic outliers? 20 00 Open Access Burkholder, Peter 5 03 06 10.21983/P3.0205.1.05 51 64 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Keeping It Old-School on the New Faculty Majority 1 A01 Geoffrey B. Elliott Geoffrey B. Elliott 01 eng 03 00 I have the good fortune to teach in an English department at a Big 12 school. While it is not as well-funded as, say, the me-chanical engineering department or any of the departments in the business school, it does have a fair bit of resources avail-able. Tenured and tenure-track faculty members are eligible for travel support, research grants, sabbaticals, and college- and university-wide awards that carry substantial stipends. Training programs and continuing education opportunities are widely available, as well, and the building in which the department is housed is one of the oldest on campus, constructed in a fine style and solid enough to withstand tornadoes and earthquakes.Adding my voice to the Ballad may be a bit of an oddity, as I am not the only medievalist in the department. There is one other, a tenured associate professor who specializes in Old Eng-lish. I am the only member of the department who specializes in Middle English, however, and the only one among the many contingent faculty in the department who specializes in me-dieval literature of any sort. While I am privileged among the academic precariat — I have office space in which to meet with students, a desk and computer with which to do at least some of the work involved in my position, an annual contract that lends itself to renewal, and some health care benefits — I am nonethe-less in a position that typically has me teach so-called service courses. In my time in my current position, I have only once been assigned to teach a class that explicitly includes my area of expertise: a sophomore-level survey of British literature, span-ning its beginnings through 1800. In such a course, I could give no more than a few weeks to my general area of expertise and even less to my specialty of Malory and his transmission. 30 00 I have the good fortune to teach in an English department at a Big 12 school. While it is not as well-funded as, say, the me-chanical engineering department or any of the departments in the business school, it does have a fair bit of resources avail-able. Tenured and tenure-track faculty members are eligible for travel support, research grants, sabbaticals, and college- and university-wide awards that carry substantial stipends. Training programs and continuing education opportunities are widely available, as well, and the building in which the department is housed is one of the oldest on campus, constructed in a fine style and solid enough to withstand tornadoes and earthquakes.Adding my voice to the Ballad may be a bit of an oddity, as I am not the only medievalist in the department. There is one other, a tenured associate professor who specializes in Old Eng-lish. I am the only member of the department who specializes in Middle English, however, and the only one among the many contingent faculty in the department who specializes in me-dieval literature of any sort. While I am privileged among the academic precariat — I have office space in which to meet with students, a desk and computer with which to do at least some of the work involved in my position, an annual contract that lends itself to renewal, and some health care benefits — I am nonethe-less in a position that typically has me teach so-called service courses. In my time in my current position, I have only once been assigned to teach a class that explicitly includes my area of expertise: a sophomore-level survey of British literature, span-ning its beginnings through 1800. In such a course, I could give no more than a few weeks to my general area of expertise and even less to my specialty of Malory and his transmission. 20 00 Open Access Elliott, Geoffrey B. 6 03 06 10.21983/P3.0205.1.06 65 70 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interdisciplinary/Team Teaching and the Lone Medievalist 1 A01 Natalie Grinnell Natalie Grinnell 40 04dzs7b08 Wofford College 01 eng 03 00 Being the only medievalist on one’s campus can be lonely, not because one’s colleagues are unwelcoming or uncollegial, but because the language of our intellectual passion is missing from campus. It’s not merely that those around us are not reading the same journals or attending the same conferences that we enjoy, but that their very definition of medieval is likely to be far re-moved from what we actually study, given medievalism’s power-ful influence on the portrayal of the Middle Ages in contempo-rary literature, film, and pop culture. Moreover, when it comes to the humanities, current political forces, with their emphases on the practicality of a college degree, are far more likely to pro-mote the study of modern languages, politics, and religion than their medieval cousins, reaching across cultures geographically, but less often temporally. As a result, the lone medievalist may come to feel isolated, and even unappreciated, regardless of his or her actual rank or relationships with fellow faculty. 30 00 Being the only medievalist on one’s campus can be lonely, not because one’s colleagues are unwelcoming or uncollegial, but because the language of our intellectual passion is missing from campus. It’s not merely that those around us are not reading the same journals or attending the same conferences that we enjoy, but that their very definition of medieval is likely to be far re-moved from what we actually study, given medievalism’s power-ful influence on the portrayal of the Middle Ages in contempo-rary literature, film, and pop culture. Moreover, when it comes to the humanities, current political forces, with their emphases on the practicality of a college degree, are far more likely to pro-mote the study of modern languages, politics, and religion than their medieval cousins, reaching across cultures geographically, but less often temporally. As a result, the lone medievalist may come to feel isolated, and even unappreciated, regardless of his or her actual rank or relationships with fellow faculty. 20 00 Open Access Grinnell, Natalie 7 03 06 10.21983/P3.0205.1.07 71 78 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 And Gladly Wolde He Teche The Medievalist and the History of the English Language Course 1 A01 Robert Kellerman Robert Kellerman 40 041gqhg24 University of Maine at Augusta 01 eng 03 00 When I was hired on the tenure track by University of Maine at Augusta, a small branch of Maine’s public university system, there were no courses in medieval or Renaissance literature at all other than the ubiquitous Shakespeare course that was taught by the British literature specialist. The job advertisement for my position simply stated that the English program sought a candidate to teach “composition and literature,” with no par-ticular specialization attached to the position. On being hired, I was thus in the enviable position of proposing and creating the courses in my field that I then taught; in essence, I filled a posi-tion that I subsequently designed to my own specifications. I am extremely grateful that my colleagues were enthusiastic about having the curriculum augmented with courses in early English literature. 30 00 When I was hired on the tenure track by University of Maine at Augusta, a small branch of Maine’s public university system, there were no courses in medieval or Renaissance literature at all other than the ubiquitous Shakespeare course that was taught by the British literature specialist. The job advertisement for my position simply stated that the English program sought a candidate to teach “composition and literature,” with no par-ticular specialization attached to the position. On being hired, I was thus in the enviable position of proposing and creating the courses in my field that I then taught; in essence, I filled a posi-tion that I subsequently designed to my own specifications. I am extremely grateful that my colleagues were enthusiastic about having the curriculum augmented with courses in early English literature. 20 00 Open Access Kellerman, Robert 8 03 06 10.21983/P3.0205.1.08 79 93 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 I Know! Let's Put on a Show! 1 A01 Robert Stauffer Robert Stauffer 40 01qww1p93 Dominican University 01 eng 03 00 Perhaps one of the earliest narrative tropes I encountered was the one where a group of kids try to save the orphanage, or their parents’ homes, or the school by putting on a show. I still have a clear image of a five- or six-year-old Spanky, dressed as a Ro-man soldier, reciting Mark Antony’s speech from Shakespeare’s Julius Caesar, while trying to dodge spitballs from his friends and the domineering of his overprotective mother. By bringing down the house (quite literally, of course) he was able to win the prize so the young girl with stage fright could buy a new dress.1The trope was made famous in Rodgers and Hart’s musical com-edy, Babes in Arms, starring Mickey Rooney and Judy Garland, and the two actors made quite a few movies featuring this plot device. I guess having had this story line run through my head so many times as a kid, it sank in and resurfaces every now and again as something I would like to try. So when I encountered trouble getting students and colleagues interested in the work featured in my dissertation, the old trope naturally sprang to mind. 30 00 Perhaps one of the earliest narrative tropes I encountered was the one where a group of kids try to save the orphanage, or their parents’ homes, or the school by putting on a show. I still have a clear image of a five- or six-year-old Spanky, dressed as a Ro-man soldier, reciting Mark Antony’s speech from Shakespeare’s Julius Caesar, while trying to dodge spitballs from his friends and the domineering of his overprotective mother. By bringing down the house (quite literally, of course) he was able to win the prize so the young girl with stage fright could buy a new dress.1The trope was made famous in Rodgers and Hart’s musical com-edy, Babes in Arms, starring Mickey Rooney and Judy Garland, and the two actors made quite a few movies featuring this plot device. I guess having had this story line run through my head so many times as a kid, it sank in and resurfaces every now and again as something I would like to try. So when I encountered trouble getting students and colleagues interested in the work featured in my dissertation, the old trope naturally sprang to mind. 20 00 Open Access Stauffer, Robert 9 03 06 10.21983/P3.0205.1.09 95 108 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Perpetual Invention and Performance-Based Research The Case of The Ballad of Robin Hood and the Potter 1 A01 Carolyn Coulson Carolyn Coulson 40 05w0p9h92 Shenandoah University 01 eng 03 00 When I was in graduate school, I had a secret, albeit not a very well-kept one. Before I moved across the country to study the Middle Ages, I was an actor and director, working consistently in California’s regional theaters. I had always been torn between my creative instincts and my intellectual pursuits, and, when I entered my MA program, I thought that intellect had prevailed and I had left theater behind for good. I remember that, when my peers in the English department would lament the state of the academic job market, I would shrug and think, “I was an actor. The job market doesn’t get worse than that.” I am not sure if I ever said it out loud after the first month because my experi-ence as a theater practitioner was alien to most of my peers and professors. It was not academic. It was not literary. It was not historical. Even to me, it seemed to have little relevance to my new field, except for lending me some comfort in front of a class of undergraduates. My past, therefore, was essentially erased, and I reinvented myself as an academic. 30 00 When I was in graduate school, I had a secret, albeit not a very well-kept one. Before I moved across the country to study the Middle Ages, I was an actor and director, working consistently in California’s regional theaters. I had always been torn between my creative instincts and my intellectual pursuits, and, when I entered my MA program, I thought that intellect had prevailed and I had left theater behind for good. I remember that, when my peers in the English department would lament the state of the academic job market, I would shrug and think, “I was an actor. The job market doesn’t get worse than that.” I am not sure if I ever said it out loud after the first month because my experi-ence as a theater practitioner was alien to most of my peers and professors. It was not academic. It was not literary. It was not historical. Even to me, it seemed to have little relevance to my new field, except for lending me some comfort in front of a class of undergraduates. My past, therefore, was essentially erased, and I reinvented myself as an academic. 20 00 Open Access Coulson, Carolyn 10 03 06 10.21983/P3.0205.1.10 109 117 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What's the Message? Building Community through Tolkien's Beowulf 1 A01 Holly M. Wendt Holly M. Wendt 40 05py5qd41 Lebanon Valley College 01 eng 03 00 When I was asked to participate in a series of summer book talks, I had a number of decisions to make. The first — to participate at all — was easy. As a faculty member finishing up the first year on the tenure track at a new campus, I jumped at the chance to take part in a long-running partnership between my institution and an active, engaged local community. The second decision — the book — was far more difficult. The series’ scope ranged wide; the other texts on the schedule leaned heavily toward history, biography, and accessible social and natural science. As some-one whose academic interests and teaching responsibilities lay evenly split between creative writing and medieval literature, I was, like Chaucer’s Troilus, in kankedort.1 But I found resolu-tion in J.R.R. Tolkien’s translation of Beowulf. Tolkien’s Beowulfstruck the right balance of intellectually interesting and more broadly appealing; if Beowulf itself didn’t draw people in, per-haps Tolkien’s name might. The Hobbit film franchise, after all, had just drawn to a close, and the bulk of the book talk attendees would be seniors. If they had children, those children would have been of an age to discover Tolkien’s creative works in their youth. This audience, too, might have better memory of Peter Jackson’s screen adaptation of the Lord of the Rings trilogy than my current sophomores, who were only four years old when the first movie came out. 30 00 When I was asked to participate in a series of summer book talks, I had a number of decisions to make. The first — to participate at all — was easy. As a faculty member finishing up the first year on the tenure track at a new campus, I jumped at the chance to take part in a long-running partnership between my institution and an active, engaged local community. The second decision — the book — was far more difficult. The series’ scope ranged wide; the other texts on the schedule leaned heavily toward history, biography, and accessible social and natural science. As some-one whose academic interests and teaching responsibilities lay evenly split between creative writing and medieval literature, I was, like Chaucer’s Troilus, in kankedort.1 But I found resolu-tion in J.R.R. Tolkien’s translation of Beowulf. Tolkien’s Beowulfstruck the right balance of intellectually interesting and more broadly appealing; if Beowulf itself didn’t draw people in, per-haps Tolkien’s name might. The Hobbit film franchise, after all, had just drawn to a close, and the bulk of the book talk attendees would be seniors. If they had children, those children would have been of an age to discover Tolkien’s creative works in their youth. This audience, too, might have better memory of Peter Jackson’s screen adaptation of the Lord of the Rings trilogy than my current sophomores, who were only four years old when the first movie came out. 20 00 Open Access Wendt, Holly M. 11 03 06 10.21983/P3.0205.1.11 119 135 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Why Read That? Selling the Middle Ages 1 A01 Diane Cady Diane Cady 40 01ynb8e46 Mills College 01 eng 03 00 As medievalists, we often do our training in graduate programs with several medievalists on staff, only to find ourselves teach-ing in places where we are the lone medievalists. As a conse-quence, we may find ourselves fielding questions from students, colleagues, and administrators about the value — cultural, aes-thetic and economic — of studying the Middle Ages. I remem-ber one such question early in my career, during my first se-mester at Mills College, a small liberal arts college in Oakland, California, with a woman-identified, undergraduate popula-tion. How, a student asked, could I love Chaucer? Initially, her question surprised me: I not only love Chaucer, but also often wonder how anyone could not love Chaucer. Yet, I also under-stood the source of her question. We had just finished reading “The Reeve’s Tale,” a short and troubling story that, like many of the Canterbury Tales, presents women’s bodies as the terrain on which male rivalry is fought. Does teaching such stories per-petuate the idea that sexual violence is inevitable? Does it repro-duce misogyny and gender bias, she pressed? What value, if any, do texts like these hold for us as readers today? 30 00 As medievalists, we often do our training in graduate programs with several medievalists on staff, only to find ourselves teach-ing in places where we are the lone medievalists. As a conse-quence, we may find ourselves fielding questions from students, colleagues, and administrators about the value — cultural, aes-thetic and economic — of studying the Middle Ages. I remem-ber one such question early in my career, during my first se-mester at Mills College, a small liberal arts college in Oakland, California, with a woman-identified, undergraduate popula-tion. How, a student asked, could I love Chaucer? Initially, her question surprised me: I not only love Chaucer, but also often wonder how anyone could not love Chaucer. Yet, I also under-stood the source of her question. We had just finished reading “The Reeve’s Tale,” a short and troubling story that, like many of the Canterbury Tales, presents women’s bodies as the terrain on which male rivalry is fought. Does teaching such stories per-petuate the idea that sexual violence is inevitable? Does it repro-duce misogyny and gender bias, she pressed? What value, if any, do texts like these hold for us as readers today? 20 00 Open Access Cady, Diane 12 03 06 10.21983/P3.0205.1.12 137 142 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Trip to England Discovering the Ties between Medievalism and Pop Culture 1 A01 Danielle Girard Danielle Girard 40 031tt0491 Fitchburg State University 2 A01 Sarah Huff Sarah Huff 40 031tt0491 Fitchburg State University 3 A01 Justine Marsella Justine Marsella 40 031tt0491 Fitchburg State University 4 A01 Alicia Protze Alicia Protze 40 031tt0491 Fitchburg State University 5 A01 Abbie Rosen Abbie Rosen 40 031tt0491 Fitchburg State University 6 A01 Jacki Teague Jacki Teague 40 031tt0491 Fitchburg State University 01 eng 03 00 In early March of 2014, a group of eager undergraduate stu-dents sat huddled in a classroom at Fitchburg State University discussing with ill-disguised excitement the trivial fact that The Hobbit: The Desolation of Smaug might be a screening option on the plane to England. Our Lone Medievalist — our study abroad course instructor — listened with an amused expression. The following night we boarded said plane to embark on our adventure to walk in the footsteps of medieval England. As we moved through the country it became clear that there was an indisputable link between the medieval sites we visited and the fan culture that we so thoroughly immersed ourselves in daily. Not a single day passed during which we failed to find a link between the medieval past and contemporary “nerd-dom.” In a trip that lasted the duration of nine days, we learned that, while the world of academia may marginalize medieval scholars in favor of contemporary scholars, the world of popular culture embraces and profits from the fascinating and diverse stores of medieval culture. 30 00 In early March of 2014, a group of eager undergraduate stu-dents sat huddled in a classroom at Fitchburg State University discussing with ill-disguised excitement the trivial fact that The Hobbit: The Desolation of Smaug might be a screening option on the plane to England. Our Lone Medievalist — our study abroad course instructor — listened with an amused expression. The following night we boarded said plane to embark on our adventure to walk in the footsteps of medieval England. As we moved through the country it became clear that there was an indisputable link between the medieval sites we visited and the fan culture that we so thoroughly immersed ourselves in daily. Not a single day passed during which we failed to find a link between the medieval past and contemporary “nerd-dom.” In a trip that lasted the duration of nine days, we learned that, while the world of academia may marginalize medieval scholars in favor of contemporary scholars, the world of popular culture embraces and profits from the fascinating and diverse stores of medieval culture. 20 00 Open Access Girard, Danielle Huff, Sarah Marsella, Justine Protze, Alicia Rosen, Abbie Teague, Jacki 13 03 06 10.21983/P3.0205.1.13 145 159 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From the Monk's Cell to the Professor's Office 1 A01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 01 eng 03 00 Despite the title of this essay, I am not going to spend much time in the monk’s cell — this regardless of the common hab-it of equating academics with monks, generally with negative connotations. This image was evoked by Nicholas Kristof in his much-discussed (by academics at least) New York Times article, “Professors, We Need You!,” advocating for public engagement by academics in less arcane language. He ends with the cry, “So, professors, don’t cloister yourselves like medieval monks — we need you!”1 Earlier, he defines what this “cloistering” means: “A basic challenge is that Ph.D. programs have fostered a culture that glorifies arcane unintelligibility while disdaining impact and audience. This culture of exclusivity is then transmitted to the next generation through the publish-or-perish tenure pro-cess. Rebels are too often crushed or driven away.” Essentially, he is denigrating, if not the lone medievalist by name, then certainly the lone academic. With due respect to Mr. Kristof, he clearly has not been a student of medieval studies. Peter Buchanan offers a reply to Kristof ’s article on his blog Phenomenal Anglo-Saxons that cannot fail to make a medievalist smile — if not smirk. He writes, “And since my PhD is in medieval studies, it’s not clear that he would want me [...] although I could at the very least let him know that medieval monks were often active figures in their world, preserving and transmitting knowledge, producing art and literature, and serving as public intellectuals shaping the course of local and international political affairs.”2Of course, such a discussion would necessarily get into eremitic vs. cenobitic monastic traditions, the various rules of orders, and the determination of the effects monks had on public life. Nonetheless, Buchanan’s response is well-aimed. 30 00 Despite the title of this essay, I am not going to spend much time in the monk’s cell — this regardless of the common hab-it of equating academics with monks, generally with negative connotations. This image was evoked by Nicholas Kristof in his much-discussed (by academics at least) New York Times article, “Professors, We Need You!,” advocating for public engagement by academics in less arcane language. He ends with the cry, “So, professors, don’t cloister yourselves like medieval monks — we need you!”1 Earlier, he defines what this “cloistering” means: “A basic challenge is that Ph.D. programs have fostered a culture that glorifies arcane unintelligibility while disdaining impact and audience. This culture of exclusivity is then transmitted to the next generation through the publish-or-perish tenure pro-cess. Rebels are too often crushed or driven away.” Essentially, he is denigrating, if not the lone medievalist by name, then certainly the lone academic. With due respect to Mr. Kristof, he clearly has not been a student of medieval studies. Peter Buchanan offers a reply to Kristof ’s article on his blog Phenomenal Anglo-Saxons that cannot fail to make a medievalist smile — if not smirk. He writes, “And since my PhD is in medieval studies, it’s not clear that he would want me [...] although I could at the very least let him know that medieval monks were often active figures in their world, preserving and transmitting knowledge, producing art and literature, and serving as public intellectuals shaping the course of local and international political affairs.”2Of course, such a discussion would necessarily get into eremitic vs. cenobitic monastic traditions, the various rules of orders, and the determination of the effects monks had on public life. Nonetheless, Buchanan’s response is well-aimed. 20 00 Open Access Tracy, Kisha G. 14 03 06 10.21983/P3.0205.1.14 161 168 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Embracing the Medievalist Margin 1 A01 Alicia Spencer-Hall Alicia Spencer-Hall 40 026zzn846 Queen Mary, University of London 01 eng 03 00 LondonWhat a loaded phrase it is, “the Middle Ages.” What does it de-note, exactly? Medievalists have long critiqued the terminology as an empty — and intellectually partisan — marker of other-ness.1 Certainly, the term is useful for historicists, classicists, and modernists as a delimiter of the end of the age of Antiquity and the beginning of the Renaissance. Yet, the phrase is tainted for researchers in the medieval trenches, actively working to demonstrate the fecundity and importance of the period to intel-lectual and cultural history. The formulation itself, “the Middle Ages,” deflect us from the temporal period supposedly under study: what are those ages in the “middle” of ? The Middle Ages, paradoxically, take center-stage in their function as the margins of other more exciting periods of study. Without the essential instrument of “the Middle Ages,” modernists and Classicists would struggle to frame their own work. Even the adjectival form, “medieval,” offers us few benefits. As Margreta de Grazia notes, the term “medieval” “works less as a historical marker than a massive value judgement, determining what matters and what does not”.2 To research the Middle Ages, to be a medieval-ist, is to be irrevocably tied to “a millennium of middleness,” and to exist “in the [marginalized] middle” in our professional academic lives. 30 00 LondonWhat a loaded phrase it is, “the Middle Ages.” What does it de-note, exactly? Medievalists have long critiqued the terminology as an empty — and intellectually partisan — marker of other-ness.1 Certainly, the term is useful for historicists, classicists, and modernists as a delimiter of the end of the age of Antiquity and the beginning of the Renaissance. Yet, the phrase is tainted for researchers in the medieval trenches, actively working to demonstrate the fecundity and importance of the period to intel-lectual and cultural history. The formulation itself, “the Middle Ages,” deflect us from the temporal period supposedly under study: what are those ages in the “middle” of ? The Middle Ages, paradoxically, take center-stage in their function as the margins of other more exciting periods of study. Without the essential instrument of “the Middle Ages,” modernists and Classicists would struggle to frame their own work. Even the adjectival form, “medieval,” offers us few benefits. As Margreta de Grazia notes, the term “medieval” “works less as a historical marker than a massive value judgement, determining what matters and what does not”.2 To research the Middle Ages, to be a medieval-ist, is to be irrevocably tied to “a millennium of middleness,” and to exist “in the [marginalized] middle” in our professional academic lives. 20 00 Open Access Spencer-Hall, Alicia 15 03 06 10.21983/P3.0205.1.15 169 175 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Medievalist's Soliloquy Struggles and Advice for Lone Medievalists 1 A01 Tiffany A. Ziegler Tiffany A. Ziegler 40 00t30ch44 Midwestern State University 01 eng 03 00 Many scholars of medieval studies enter their first job after leav-ing supportive graduate programs where other graduate stu-dents understood their woes. Once teaching at an institution where scholarly studies may not be a priority, many quickly dis-cover that they do not have much time, especially for research and writing. Moreover, they lack the supportive community that they once had.1 As a lone medievalist, the struggle to produce scholarship and writing is difficult and complicated. Creating classes, curriculum planning, committee work, etc., all eventu-ally become routine. Sadly, the same cannot be said of research. From lack of library resources, to the reliance on oneself as an audience, the research process proves to be difficult. Despite these obstacles there are a number of ways to better facilitate re-searching and writing while still performing one’s teaching duties as the lone medievalist. The solutions and advice2 — focus-ing on the categories of research and collegiality — draw from The Rule of Saint Augustine. The solitary medieval monk serves as a surprising parallel to modern lone medievalist. 30 00 Many scholars of medieval studies enter their first job after leav-ing supportive graduate programs where other graduate stu-dents understood their woes. Once teaching at an institution where scholarly studies may not be a priority, many quickly dis-cover that they do not have much time, especially for research and writing. Moreover, they lack the supportive community that they once had.1 As a lone medievalist, the struggle to produce scholarship and writing is difficult and complicated. Creating classes, curriculum planning, committee work, etc., all eventu-ally become routine. Sadly, the same cannot be said of research. From lack of library resources, to the reliance on oneself as an audience, the research process proves to be difficult. Despite these obstacles there are a number of ways to better facilitate re-searching and writing while still performing one’s teaching duties as the lone medievalist. The solutions and advice2 — focus-ing on the categories of research and collegiality — draw from The Rule of Saint Augustine. The solitary medieval monk serves as a surprising parallel to modern lone medievalist. 20 00 Open Access Ziegler, Tiffany A. 16 03 06 10.21983/P3.0205.1.16 177 188 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reflections of an Embarrassed Medievalist 1 A01 Michael David Elam Michael Elam 40 00jhyq802 Regent University 01 eng 03 00 While many medievalists find themselves alone in their depart-ments, ranging from History to English, etc., many medieval-ists often find themselves just as alone, lonelier in some cases, among other medievalists, especially in professional contexts in which shared specialization ought to help them feel they be-long. Lone medievalists in their academic departments, though they may feel a sense of isolation, may find that acclimation to teaching, service, and other responsibilities has its own separat-ing effect, an effect that makes the lone medievalist feel doubly alone among other medievalists, especially at conferences, at which the expectation to make significant, independent, mean-ingful contributions to further medieval studies can be stifling. Such an expectation, frankly, may not be entirely reasonable. This may seem shocking, but many, if not most, medievalists do not have the personal resources to offer the kind of discipline-changing studies tacitly expected from them (from any scholar, really). At least it is shocking to say it out loud. The custom among academics is to refrain from saying what most are think-ing and experiencing in the hopes that somehow one will stum-ble into something that peers will claim is brilliant; it has been my custom, anyway, and I know from candid conversations with others that I am not alone. 30 00 While many medievalists find themselves alone in their depart-ments, ranging from History to English, etc., many medieval-ists often find themselves just as alone, lonelier in some cases, among other medievalists, especially in professional contexts in which shared specialization ought to help them feel they be-long. Lone medievalists in their academic departments, though they may feel a sense of isolation, may find that acclimation to teaching, service, and other responsibilities has its own separat-ing effect, an effect that makes the lone medievalist feel doubly alone among other medievalists, especially at conferences, at which the expectation to make significant, independent, mean-ingful contributions to further medieval studies can be stifling. Such an expectation, frankly, may not be entirely reasonable. This may seem shocking, but many, if not most, medievalists do not have the personal resources to offer the kind of discipline-changing studies tacitly expected from them (from any scholar, really). At least it is shocking to say it out loud. The custom among academics is to refrain from saying what most are think-ing and experiencing in the hopes that somehow one will stum-ble into something that peers will claim is brilliant; it has been my custom, anyway, and I know from candid conversations with others that I am not alone. 20 00 Open Access Elam, Michael 17 03 06 10.21983/P3.0205.1.17 189 197 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Unicorn Learns Accountability 1 A01 Misty Urban Misty Urban 40 0186tjy74 Muscatine Community College 01 eng 03 00 In the spring of my first year at Lewis-Clark State College in Lewiston, Idaho, I stood before a standing-room-only crowd in the on-campus coffee shop, prepared to give an informal talk as part of the Humanities Division’s ongoing colloquium series. Other professors had run small but intellectually substantial discussions about, for example, tigers in Romantic poetry. I was here to talk about monstrous women, Middle English romance, and the fairy Melusine. I had a set of PowerPoint slides. I had a packed audience, composed not just of my colleagues and seminar students but, I suspected, other students earning extra credit. Giving this talk on my research felt like a good way to introduce myself as the new assistant professor of English. It felt like a good way to give students a small taste of medieval litera-ture that might lure them into further study. It felt like one of the many ways I was still attempting to prove, to the division and to myself, that, though the hiring process was long complete, I was indeed the right person for this job. 30 00 In the spring of my first year at Lewis-Clark State College in Lewiston, Idaho, I stood before a standing-room-only crowd in the on-campus coffee shop, prepared to give an informal talk as part of the Humanities Division’s ongoing colloquium series. Other professors had run small but intellectually substantial discussions about, for example, tigers in Romantic poetry. I was here to talk about monstrous women, Middle English romance, and the fairy Melusine. I had a set of PowerPoint slides. I had a packed audience, composed not just of my colleagues and seminar students but, I suspected, other students earning extra credit. Giving this talk on my research felt like a good way to introduce myself as the new assistant professor of English. It felt like a good way to give students a small taste of medieval litera-ture that might lure them into further study. It felt like one of the many ways I was still attempting to prove, to the division and to myself, that, though the hiring process was long complete, I was indeed the right person for this job. 20 00 Open Access Urban, Misty 18 03 06 10.21983/P3.0205.1.18 199 204 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How to Stop Being a Lonely Medievalist 1 A01 M. Wendy Hennequin M. Wendy Hennequin 40 01fpczx89 Tennessee State University 01 eng 03 00 If you are reading this essay, chances are you are a Lone Medi-evalist. So am I. I am the only medievalist in my department (Language, Literature, and Philosophy, comprising the disci-plines of English, foreign languages, literature, linguistics, and philosophy). I teach at a historically black college, where me-dieval studies doesn’t even register on the academic radar. My historically-minded students are generally more interested in American or African history. Many students, and indeed many of my colleagues, see the Middle Ages as irrelevant to our stud-ies and disciplines.Yet my purpose here isn’t to enumerate the challenges of be-ing a Lone Medievalist. We all know what they are, and other essays in this volume examine our situation and its inherent is-sues and frustrations in detail. Instead, I intend to discuss the problem of a Lone Medievalist’s loneliness and suggest some concrete ways to deal with it. 30 00 If you are reading this essay, chances are you are a Lone Medi-evalist. So am I. I am the only medievalist in my department (Language, Literature, and Philosophy, comprising the disci-plines of English, foreign languages, literature, linguistics, and philosophy). I teach at a historically black college, where me-dieval studies doesn’t even register on the academic radar. My historically-minded students are generally more interested in American or African history. Many students, and indeed many of my colleagues, see the Middle Ages as irrelevant to our stud-ies and disciplines.Yet my purpose here isn’t to enumerate the challenges of be-ing a Lone Medievalist. We all know what they are, and other essays in this volume examine our situation and its inherent is-sues and frustrations in detail. Instead, I intend to discuss the problem of a Lone Medievalist’s loneliness and suggest some concrete ways to deal with it. 20 00 Open Access Hennequin, M. Wendy 19 03 06 10.21983/P3.0205.1.19 205 220 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Blended Medievalist Careers Staying Optimistic While Balancing Passion and Job Market Realities 1 A01 Timothy R.W. Jordan Timothy R.W. Jordan 40 01jr3y717 Ohio University 40 01j9bf827 Zane State College 2 A01 Aubri Anne McVey Aubri Anne McVey 40 00p11pk44 Wabash College 01 eng 03 00 University teaching is by nature an optimistic profession. To invest in the time and energy for graduate-level training and then go on to work with our own students is to invest in the belief that despite the ills of war, political corruption, social conflict, and natural disasters, there is hope that human beings can overcome the obstacles that we face. This hope springs not just from a vague sense that “everything will be okay” but also from seeing our own liberal arts educations help us solve “real world” problems. 30 00 University teaching is by nature an optimistic profession. To invest in the time and energy for graduate-level training and then go on to work with our own students is to invest in the belief that despite the ills of war, political corruption, social conflict, and natural disasters, there is hope that human beings can overcome the obstacles that we face. This hope springs not just from a vague sense that “everything will be okay” but also from seeing our own liberal arts educations help us solve “real world” problems. 20 00 Open Access Jordan, Timothy R.W. McVey, Aubri Anne 20 03 06 10.21983/P3.0205.1.20 221 225 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Study of the Unexpected The Advantages of Being the "Lone Medievalist" 1 A01 Nikolas O. Hoel Nikolas O. Hoel 40 04edns687 Northeastern Illinois University 01 eng 03 00 The challenges facing the academy are great and have in many ways been well documented in recent times. As a general trend, enrollments are slipping at many institutions and state legisla-tures are cutting funds to state universities in the name of re-duced spending. Individual academics face mounting issues as well. Teaching loads continue to grow, while funding for re-search is dropping, not to mention the decrease in hiring. Par-ticularly hard hit are the humanities, which are seen by many as unnecessary in a climate in which preparation for the job mar-ket is hailed as the paramount concern. The atmosphere is so hostile in many sectors that some writers have seen the need to present a “defense” of a liberal arts education.1 While vocational training is an important tool for many, the liberal arts remain a cornerstone of the American educational system. 30 00 The challenges facing the academy are great and have in many ways been well documented in recent times. As a general trend, enrollments are slipping at many institutions and state legisla-tures are cutting funds to state universities in the name of re-duced spending. Individual academics face mounting issues as well. Teaching loads continue to grow, while funding for re-search is dropping, not to mention the decrease in hiring. Par-ticularly hard hit are the humanities, which are seen by many as unnecessary in a climate in which preparation for the job mar-ket is hailed as the paramount concern. The atmosphere is so hostile in many sectors that some writers have seen the need to present a “defense” of a liberal arts education.1 While vocational training is an important tool for many, the liberal arts remain a cornerstone of the American educational system. 20 00 Open Access Hoel, Nikolas O. 21 03 06 10.21983/P3.0205.1.21 227 246 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Saga Thing and the Benefits of Podcasting the Medieval 1 A01 Andrew M. Pfrenger Andrew M. Pfrenger 40 016e0xz09 Kent State University at Salem 01 eng 03 00 For over a decade now, podcasting has become an increasingly popular form of entertainment and information sharing. An es-timated 57 million Americans currently listen to one or more podcasts on a regular basis according to Edison Research’s “The Infinite Dial 2016.” It’s a safe bet that many of our students al-ready embrace this technology on a daily basis, using their phones to download or stream podcasts on a diverse range of subjects, from comedy to current events, from self-help to his-tory. Though the medium is dominated by traditional broad-casters and entertainers, the podcast market is flooded with shows crafted by do-it-yourself hosts from nearly every walk of life speaking about their interests and opinions. 30 00 For over a decade now, podcasting has become an increasingly popular form of entertainment and information sharing. An es-timated 57 million Americans currently listen to one or more podcasts on a regular basis according to Edison Research’s “The Infinite Dial 2016.” It’s a safe bet that many of our students al-ready embrace this technology on a daily basis, using their phones to download or stream podcasts on a diverse range of subjects, from comedy to current events, from self-help to his-tory. Though the medium is dominated by traditional broad-casters and entertainers, the podcast market is flooded with shows crafted by do-it-yourself hosts from nearly every walk of life speaking about their interests and opinions. 20 00 Open Access Pfrenger, Andrew M. 22 03 06 10.21983/P3.0205.1.22 249 258 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building Your Own Villa 1 A01 Jane Chance Jane Chance 40 008zs3103 Rice University 01 eng 03 00 The way I found to ease the many negatives of being both the lone medievalist and the first tenure-track woman in the English Department at a small private university (as Rice was at the time I arrived in 1973, with 2,300 undergraduates and 1,000 gradu-ate students) was to learn to build on connections with others, whether students or colleagues. After finishing my Ph.D. at the University of Illinois in 1971, I had taught for two years at the snow-laden University of Saskatchewan-Saskatoon. Longing to return to an urban environment, I came to sunny Houston as a very young assistant professor, girded with a book contract in hand for a revised dissertation and boundless optimism. Two medievalists had taught in the department prior to my advent, but I was hired specifically to replace the Anglo-Saxonist. 30 00 The way I found to ease the many negatives of being both the lone medievalist and the first tenure-track woman in the English Department at a small private university (as Rice was at the time I arrived in 1973, with 2,300 undergraduates and 1,000 gradu-ate students) was to learn to build on connections with others, whether students or colleagues. After finishing my Ph.D. at the University of Illinois in 1971, I had taught for two years at the snow-laden University of Saskatchewan-Saskatoon. Longing to return to an urban environment, I came to sunny Houston as a very young assistant professor, girded with a book contract in hand for a revised dissertation and boundless optimism. Two medievalists had taught in the department prior to my advent, but I was hired specifically to replace the Anglo-Saxonist. 20 00 Open Access Chance, Jane 23 03 06 10.21983/P3.0205.1.23 259 265 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twice Marginal and Twice Invisible On Being the Lone Medievalist Twice in One State 1 A01 Michelle M. Sauer Michelle M. Sauer 40 04a5szx83 University of North Dakota 01 eng 03 00 In the classic Jacqueline Murray article, “Twice Marginal and Twice Invisible: Lesbians in the Middle Ages,”1 she argues that lesbians are challenging to reclaim in history by virtue of being doubly excluded. I’m not exactly comparing myself to a medi-eval lesbian, although a good deal of my scholarship has focused on female same-sex desire in the Middle Ages; however, there have been several instances of intertwined marginalization like this in my career. I was, for example, the only medieval PhD student at my institution. That brought both good and bad, since I got plum teaching assignments (no composition), but lost out on a student community. As a woman of color, I am also sometimes on the outskirts of medieval studies (although that is changing in today’s academic world), but have also been called a “race traitor” by other South Asians since I study “the whitest period in history” (a view also being challenged in today’s academic world). So I guess one could say that I pretty much began my career as a Lone Medievalist in my PhD program, and have continued as such to this very day. 30 00 In the classic Jacqueline Murray article, “Twice Marginal and Twice Invisible: Lesbians in the Middle Ages,”1 she argues that lesbians are challenging to reclaim in history by virtue of being doubly excluded. I’m not exactly comparing myself to a medi-eval lesbian, although a good deal of my scholarship has focused on female same-sex desire in the Middle Ages; however, there have been several instances of intertwined marginalization like this in my career. I was, for example, the only medieval PhD student at my institution. That brought both good and bad, since I got plum teaching assignments (no composition), but lost out on a student community. As a woman of color, I am also sometimes on the outskirts of medieval studies (although that is changing in today’s academic world), but have also been called a “race traitor” by other South Asians since I study “the whitest period in history” (a view also being challenged in today’s academic world). So I guess one could say that I pretty much began my career as a Lone Medievalist in my PhD program, and have continued as such to this very day. 20 00 Open Access Sauer, Michelle M. 24 03 06 10.21983/P3.0205.1.24 267 279 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pushing Boundaries Making the Medieval Relevant through Public History and Engagement On and Off Campus 1 A01 21 0000000258503853 Amber Handy Amber Handy 40 01hs43g67 Mississippi University for Women 01 eng 03 00 When I arrived on the campus of this small regional public university fresh out of graduate school, I felt like I had won the lottery. Not only had I secured a tenure-track job in a ter-rible market, but I had done so at an institution with small class sizes, a liberal-arts based teaching mission, and a long history of supporting women’s education, which was precisely the type of university at which I had always wanted to teach. I soon discovered that leaving behind a well-supported medi-eval community comprised of a diverse and thriving scholarly body, phenomenal library, and financial support for teaching and research had its challenges. While my new university val-ued my teaching skills, its library resources were far more lim-ited than I had anticipated, and the student body, comprised largely of first-generation college students, did not immediately understand the relevance of medieval history to their course of study or future career goals. Despite the warm welcome I received from my new colleagues, I soon began to wonder if some of them harbored similar questions about the wisdom of using one of their few tenure-track lines on a premodernist. As the lone medievalist in a department of only four histori-ans, and one of only two medievalists on the entire campus, I have found that the best way to ensure that medieval history is taken seriously by my colleagues is by actively seeking ways to professionally engage both with my departmental colleagues outside of the medieval period and as a medievalist across and beyond campus. In my experience, the following six areas have been key in demonstrating how my training in medieval his-tory can be an asset in program and curricular development, undergraduate education in core history skills, student recruit-ment, and public outreach. 30 00 When I arrived on the campus of this small regional public university fresh out of graduate school, I felt like I had won the lottery. Not only had I secured a tenure-track job in a ter-rible market, but I had done so at an institution with small class sizes, a liberal-arts based teaching mission, and a long history of supporting women’s education, which was precisely the type of university at which I had always wanted to teach. I soon discovered that leaving behind a well-supported medi-eval community comprised of a diverse and thriving scholarly body, phenomenal library, and financial support for teaching and research had its challenges. While my new university val-ued my teaching skills, its library resources were far more lim-ited than I had anticipated, and the student body, comprised largely of first-generation college students, did not immediately understand the relevance of medieval history to their course of study or future career goals. Despite the warm welcome I received from my new colleagues, I soon began to wonder if some of them harbored similar questions about the wisdom of using one of their few tenure-track lines on a premodernist. As the lone medievalist in a department of only four histori-ans, and one of only two medievalists on the entire campus, I have found that the best way to ensure that medieval history is taken seriously by my colleagues is by actively seeking ways to professionally engage both with my departmental colleagues outside of the medieval period and as a medievalist across and beyond campus. In my experience, the following six areas have been key in demonstrating how my training in medieval his-tory can be an asset in program and curricular development, undergraduate education in core history skills, student recruit-ment, and public outreach. 20 00 Open Access Handy, Amber 25 03 06 10.21983/P3.0205.1.25 281 288 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brought to You by Your Friendly Campus Medievalist 1 A01 Lee Templeton Lee Templeton 40 05x8hy709 North Carolina Wesleyan College 01 eng 03 00 I have been a lone medievalist for eight years — longer than some, but not nearly as long as many in our profession. Some-times, when I am introducing myself to new faculty members or participating in one of the countless academic rituals that require an introduction and declaration of specialty, I am tempted to ac-knowledge my lone medievalist status after stating my name. As a way of giving an account of myself, I think this would be highly effective. Not only does it provide the necessary identifying in-formation, but its similarity to the ritualized language of some twelve-step programs would alert my colleagues to the nature of my situation. “Ah,” they would whisper to each other. “That ex-plains quite a bit. At least he can admit he needs help.” Of course, being a lone medievalist is not a condition for which one needs to seek treatment, despite what our colleagues may sometimes think. Yet, many of us who are lone medievalists have, at one time in our career or another, felt as if we are suffering from some sort of affliction that isolates us from the rest of our col-leagues and causes us to be misunderstood by those with whom we share our academic lives. Such was certainly my experience as I began my tenure-track position at a small, private, liberal arts college, and, I must say, it initially threw me for quite a loop. 30 00 I have been a lone medievalist for eight years — longer than some, but not nearly as long as many in our profession. Some-times, when I am introducing myself to new faculty members or participating in one of the countless academic rituals that require an introduction and declaration of specialty, I am tempted to ac-knowledge my lone medievalist status after stating my name. As a way of giving an account of myself, I think this would be highly effective. Not only does it provide the necessary identifying in-formation, but its similarity to the ritualized language of some twelve-step programs would alert my colleagues to the nature of my situation. “Ah,” they would whisper to each other. “That ex-plains quite a bit. At least he can admit he needs help.” Of course, being a lone medievalist is not a condition for which one needs to seek treatment, despite what our colleagues may sometimes think. Yet, many of us who are lone medievalists have, at one time in our career or another, felt as if we are suffering from some sort of affliction that isolates us from the rest of our col-leagues and causes us to be misunderstood by those with whom we share our academic lives. Such was certainly my experience as I began my tenure-track position at a small, private, liberal arts college, and, I must say, it initially threw me for quite a loop. 20 00 Open Access Templeton, Lee 26 03 06 10.21983/P3.0205.1.26 289 304 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Down with Dante and Chaucer? Navigating a Great Books Curriculum as a Medievalist 1 A01 21 0000000167025016 Sarah Harlan-Haughey Sarah Harlan-Haughey 40 01adr0w49 University of Maine 01 eng 03 00 When I accepted my job as a joint hire between an English de-partment and an Honors College that used a fairly conventional Great Books curriculum, I was excited to have a job and to be teaching the classics as well as my own research interests. But I quickly learned that there are some dangers and stressors in be-ing the only person who works on anything remotely premod-ern in a four-semester curriculum that dwells a year on ancient Roman and Greek classics, hurtles over the Middle Ages after two or three short weeks with Dante and Chaucer, and comes to rest heavily in the Renaissance and the Enlightenment. I quickly found myself saying things that surprised and even scared my colleagues as we discussed our curriculum and book lists every year with hopes of improving or innovating the hundred years’ culture war that is a Great Books curriculum.1 “Why not teach a saga instead of Dante?” I might say. Or: “Can we replace Chaucer with Sir Gawain and the Green Knight, or even Piers Plowman?” “No, I do not feel comfortable lecturing on the political climate that led to the creation of Virgil’s Aeneid — that’s why we need a classicist.” “Can’t we add another medieval text and remove The Golden Ass? Marie de France can cover a lot of the same ground.” And so on. My colleagues have come to look upon my perpetual war for a non-standardized view of the Middle Ages, for readings from saints, weirdos, and outliers with exasperated good humor and a quick vote to maintain the status quo: a week of the Inferno, a week of Chaucer’s greatest hits. Done, and done. I never thought I’d argue the things I have in this job as strongly as I have argued them. 30 00 When I accepted my job as a joint hire between an English de-partment and an Honors College that used a fairly conventional Great Books curriculum, I was excited to have a job and to be teaching the classics as well as my own research interests. But I quickly learned that there are some dangers and stressors in be-ing the only person who works on anything remotely premod-ern in a four-semester curriculum that dwells a year on ancient Roman and Greek classics, hurtles over the Middle Ages after two or three short weeks with Dante and Chaucer, and comes to rest heavily in the Renaissance and the Enlightenment. I quickly found myself saying things that surprised and even scared my colleagues as we discussed our curriculum and book lists every year with hopes of improving or innovating the hundred years’ culture war that is a Great Books curriculum.1 “Why not teach a saga instead of Dante?” I might say. Or: “Can we replace Chaucer with Sir Gawain and the Green Knight, or even Piers Plowman?” “No, I do not feel comfortable lecturing on the political climate that led to the creation of Virgil’s Aeneid — that’s why we need a classicist.” “Can’t we add another medieval text and remove The Golden Ass? Marie de France can cover a lot of the same ground.” And so on. My colleagues have come to look upon my perpetual war for a non-standardized view of the Middle Ages, for readings from saints, weirdos, and outliers with exasperated good humor and a quick vote to maintain the status quo: a week of the Inferno, a week of Chaucer’s greatest hits. Done, and done. I never thought I’d argue the things I have in this job as strongly as I have argued them. 20 00 Open Access Harlan-Haughey, Sarah 27 03 06 10.21983/P3.0205.1.27 305 310 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Of sondry folk What I Learned After My First Year as the Lone Medievalist on Campus 1 A01 Ann M. Martinez Ann M. Martinez 40 00gxmhc57 Kent State University at Stark 01 eng 03 00 My first month as an assistant professor was a whirlwind. There were new people everywhere. Faculty, staff, administrators... everyone was very welcoming, and they all wanted to get to know me, so they asked: “What do you work on?” And my I-just-finished-my-dissertation-and-still-have-a-lot-to-say-about-it brain kicked in. I responded: “With a formalist methodology regarding textual analysis, a historicist approach to literature’s and to society’s attitudes about nature, and an ecocritical lens, I examine the periodization that sets the Middle Ages against other eras. This allows me to trace the extent to which attitudes toward land use, landscape beautification, and woodland de-lineation developed within Middle English literature. These me-dieval perspectives are a crucially important pre-history to our modern views regarding the use, exploitation, and sustainability of the environment.” 30 00 My first month as an assistant professor was a whirlwind. There were new people everywhere. Faculty, staff, administrators... everyone was very welcoming, and they all wanted to get to know me, so they asked: “What do you work on?” And my I-just-finished-my-dissertation-and-still-have-a-lot-to-say-about-it brain kicked in. I responded: “With a formalist methodology regarding textual analysis, a historicist approach to literature’s and to society’s attitudes about nature, and an ecocritical lens, I examine the periodization that sets the Middle Ages against other eras. This allows me to trace the extent to which attitudes toward land use, landscape beautification, and woodland de-lineation developed within Middle English literature. These me-dieval perspectives are a crucially important pre-history to our modern views regarding the use, exploitation, and sustainability of the environment.” 20 00 Open Access Martinez, Ann M. 28 03 06 10.21983/P3.0205.1.28 311 318 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Collaborative Medievalist 1 A01 Courtney Rydel Courtney Rydel 40 02vk0qj37 Washington College 01 eng 03 00 My colleagues who work in theatre have taught me my new favorite word: collaboration. Being the lone medievalist in my field at a small liberal arts college, I’ve learned to work on active collaborations with friends in fields outside medieval studies. We can meld our approaches into a process that works for both of us, since collaboration primarily requires working together closely to create a finished product. Starting from the same background knowledge does not matter. Coming together over shared materials — while appreciating my colleagues’ distinct approaches and methodologies — has reinvigorated my teach-ing and research, making possible different class projects, better class discussions, new research initiatives, and new classes and co-curricular opportunities. 30 00 My colleagues who work in theatre have taught me my new favorite word: collaboration. Being the lone medievalist in my field at a small liberal arts college, I’ve learned to work on active collaborations with friends in fields outside medieval studies. We can meld our approaches into a process that works for both of us, since collaboration primarily requires working together closely to create a finished product. Starting from the same background knowledge does not matter. Coming together over shared materials — while appreciating my colleagues’ distinct approaches and methodologies — has reinvigorated my teach-ing and research, making possible different class projects, better class discussions, new research initiatives, and new classes and co-curricular opportunities. 20 00 Open Access Rydel, Courtney 29 03 06 10.21983/P3.0205.1.29 319 337 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Make Yourself at Home 1 A01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 03 00 When I landed my job in the Department of English at Bridge-water State University, I was undeniably a bit of a naïf. This wasn’t the fault of my graduate program, my dissertation direc-tors, or the many other people who tried to help me find my way to professional readiness. And yet, when I received the all-important call from the then-Dean of Humanities offering me a position, I responded (as I’d been trained to do) by saying firmly, “Thank you so much for the offer. I’ll need to talk it over with my wife, of course...” and then continued, “Then I can call you back tomorrow to accept the offer.” I was, to put it mildly, not in a dominant bargaining position when I called back. 30 00 When I landed my job in the Department of English at Bridge-water State University, I was undeniably a bit of a naïf. This wasn’t the fault of my graduate program, my dissertation direc-tors, or the many other people who tried to help me find my way to professional readiness. And yet, when I received the all-important call from the then-Dean of Humanities offering me a position, I responded (as I’d been trained to do) by saying firmly, “Thank you so much for the offer. I’ll need to talk it over with my wife, of course...” and then continued, “Then I can call you back tomorrow to accept the offer.” I was, to put it mildly, not in a dominant bargaining position when I called back. 20 00 Open Access Sexton, John P. 30 03 06 10.21983/P3.0205.1.30 341 354 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Notes from the North 1 A01 21 0000000289985250 Laura Saetveit Miles Laura Saetveit Miles 40 03zga2b32 University of Bergen 01 eng 03 00 We have arrived in Norway. On the trip I began Mary Woll-stonecraft’s 1796 Letters Written during a Short Residence in Swe-den, Norway, and Denmark (Broadwell, excellent edition) and have been inspired to write you real letters on real paper about our big adventure moving abroad and my new (first, real, per-manent) job. I am now officially associate (!!!) professor or the much more delicious title “førsteamanuensis” of English litera-ture in the Institute for Foreign Languages at the University of Bergen, Norway. The other languages in our department include French, Spanish, German, Arabic, Chinese, Japanese, Russian... both literature and linguistic sides. I have five other colleagues in English literature: total three for British, three for American (picture a buoy right in the middle of the Atlantic, demarcating the fields). No one has mentioned if medieval English literature was ever taught here before. Either it never was — or the institu-tional memory has been lost — or they want to forget — or they haven’t thought to mention whose shoes I am stepping into. Well, they are mine now. 30 00 We have arrived in Norway. On the trip I began Mary Woll-stonecraft’s 1796 Letters Written during a Short Residence in Swe-den, Norway, and Denmark (Broadwell, excellent edition) and have been inspired to write you real letters on real paper about our big adventure moving abroad and my new (first, real, per-manent) job. I am now officially associate (!!!) professor or the much more delicious title “førsteamanuensis” of English litera-ture in the Institute for Foreign Languages at the University of Bergen, Norway. The other languages in our department include French, Spanish, German, Arabic, Chinese, Japanese, Russian... both literature and linguistic sides. I have five other colleagues in English literature: total three for British, three for American (picture a buoy right in the middle of the Atlantic, demarcating the fields). No one has mentioned if medieval English literature was ever taught here before. Either it never was — or the institu-tional memory has been lost — or they want to forget — or they haven’t thought to mention whose shoes I am stepping into. Well, they are mine now. 20 00 Open Access Miles, Laura Saetveit 31 03 06 10.21983/P3.0205.1.31 355 360 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Being a Medievalist in an A-medieval Country and in Region Overcrowded with Medievality Two Stories from Brasil and Western Balkans 1 A01 21 0000000200620379 Ardian Muhaj Ardian Muhaj 40 03npphx08 Akademia e Studimeve Albanologjike 01 eng 03 00 Being a medievalist in the Western Balkans, a place overcrowd-ed with medieval documents and monuments (and competing modern explanations of such documents and monuments), can lead a scholar to feel trapped in the midst of plenty. The feeling of isolation this causes is somewhat like the social isolation and loneliness many people experience in modern cities. The feeling is only heightened by the political determinism and interference that medievalists experience in places like the Western Balkans, where almost every site and monument of medieval signifi-cance is reclaimed from different countries. The medievalist of-ten faces a politically imposed isolation or alienation, wherein even historians of neighboring countries try to avoid coopera-tion. How does this politically-imposed isolation compare to the geographically imposed isolation of a place like Brasil? In other words, how does a socio-politically created “lone” medievalist compare to the experience of a medievalist in a place far removed from the historical context she studies? 30 00 Being a medievalist in the Western Balkans, a place overcrowd-ed with medieval documents and monuments (and competing modern explanations of such documents and monuments), can lead a scholar to feel trapped in the midst of plenty. The feeling of isolation this causes is somewhat like the social isolation and loneliness many people experience in modern cities. The feeling is only heightened by the political determinism and interference that medievalists experience in places like the Western Balkans, where almost every site and monument of medieval signifi-cance is reclaimed from different countries. The medievalist of-ten faces a politically imposed isolation or alienation, wherein even historians of neighboring countries try to avoid coopera-tion. How does this politically-imposed isolation compare to the geographically imposed isolation of a place like Brasil? In other words, how does a socio-politically created “lone” medievalist compare to the experience of a medievalist in a place far removed from the historical context she studies? 20 00 Open Access Muhaj, Ardian 32 03 06 10.21983/P3.0205.1.32 361 364 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Is the Academic Medievalist Alone? 1 A01 Kouky J. Fianu Kouky J. Fianu 40 03c4mmv16 University of Ottawa 01 eng 03 00 The trend towards a “shrinking past”1 is undoubtedly a reality that those of us working in American and Canadian universi-ties have known for many years now. Humanities disciplines, devoted more than others to the study of the past, have suffered inordinately from this situation. The result, one that we as me-dievalists know all too well, is that we end up being the sole departmental expert on the entire pre-1700 (mostly European) world. The reasons for this historiographical downsizing are complex: administrative proclamations of declining interest in the humanities in general are but one piece of the historical puz-zle. There is no need to enter into this debate here, though; what matters is the result. Where there used to be two, three or more medievalists, there is now barely one: a single soul who is often asked to also teach outside the period on more “relevant” issues. So, one it is. But does that make this sole specialist a lonely re-searcher? And is this a novelty? 30 00 The trend towards a “shrinking past”1 is undoubtedly a reality that those of us working in American and Canadian universi-ties have known for many years now. Humanities disciplines, devoted more than others to the study of the past, have suffered inordinately from this situation. The result, one that we as me-dievalists know all too well, is that we end up being the sole departmental expert on the entire pre-1700 (mostly European) world. The reasons for this historiographical downsizing are complex: administrative proclamations of declining interest in the humanities in general are but one piece of the historical puz-zle. There is no need to enter into this debate here, though; what matters is the result. Where there used to be two, three or more medievalists, there is now barely one: a single soul who is often asked to also teach outside the period on more “relevant” issues. So, one it is. But does that make this sole specialist a lonely re-searcher? And is this a novelty? 20 00 Open Access Fianu, Kouky J. 33 03 06 10.21983/P3.0205.1.33 365 368 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Philosopher's Approach to Being a Lone Medievalist 1 A01 Pilar Herráiz Oliva Pilar Herráiz Oliva 40 03p3aeb86 University of Murcia 01 eng 03 00 First of all, I should say that I am a philosopher. If medieval-ists have a bad reputation anywhere, that is in philosophy. At least, that is how I felt in the beginning. That is how I have been feeling up to this point. The problem lies mostly with people’s conceptions regarding the Middle Ages: a sort of dark, historical parentheses whose content remains mostly unknown. No sur-prises here. Anyway, my intention here is not to complain about other people’s thoughts, but most importantly to share my own. Thus, I will start by what it was or what it is to be a medievalist within my academic environment, that is, in my experience, but I will also try to briefly provide our field with some constructive ideas in order to face the “I am a lone medievalist” issue. 30 00 First of all, I should say that I am a philosopher. If medieval-ists have a bad reputation anywhere, that is in philosophy. At least, that is how I felt in the beginning. That is how I have been feeling up to this point. The problem lies mostly with people’s conceptions regarding the Middle Ages: a sort of dark, historical parentheses whose content remains mostly unknown. No sur-prises here. Anyway, my intention here is not to complain about other people’s thoughts, but most importantly to share my own. Thus, I will start by what it was or what it is to be a medievalist within my academic environment, that is, in my experience, but I will also try to briefly provide our field with some constructive ideas in order to face the “I am a lone medievalist” issue. 20 00 Open Access Oliva, Pilar Herráiz 34 03 06 10.21983/P3.0205.1.34 369 372 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Lone Medievalist on the Island 1 A01 Christine E. Kozikowski Christine E. Kozikowski 40 01c8qhb70 College of The Bahamas 01 eng 03 00 Discovering a medieval French cloister in the Bahamas was one of the most surprising moments of my first semester of working at The College of the Bahamas (COB), where I thought I cor-nered the market on the Middle Ages. This fourteenth-centu-ry re-formed cloister and the talk given by William Whobrey from Yale was a reminder that the medievalist world is not so small. This closeness was also reminder of my scholarly iden-tity in the midst of the complete and utter difference of my new situation at a college where I am the first and only medievalist. Transitioning from a large R1 university with active medieval programs in history, literature, Spanish, and French to a college whose programs focus on postcolonial Caribbean development was, while not unexpected, still a bit of a shock to my senses. My employment at COB has provided not only a number of unique experiences as faculty but it has also given me a new perspec-tive on teaching medieval literature, as well as opportunities for research and development that would have never arisen if I weren’t a lone medievalist. 30 00 Discovering a medieval French cloister in the Bahamas was one of the most surprising moments of my first semester of working at The College of the Bahamas (COB), where I thought I cor-nered the market on the Middle Ages. This fourteenth-centu-ry re-formed cloister and the talk given by William Whobrey from Yale was a reminder that the medievalist world is not so small. This closeness was also reminder of my scholarly iden-tity in the midst of the complete and utter difference of my new situation at a college where I am the first and only medievalist. Transitioning from a large R1 university with active medieval programs in history, literature, Spanish, and French to a college whose programs focus on postcolonial Caribbean development was, while not unexpected, still a bit of a shock to my senses. My employment at COB has provided not only a number of unique experiences as faculty but it has also given me a new perspec-tive on teaching medieval literature, as well as opportunities for research and development that would have never arisen if I weren’t a lone medievalist. 20 00 Open Access Kozikowski, Christine E. 35 03 06 10.21983/P3.0205.1.35 373 380 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Kisha G. Tracy Kisha G. Tracy 40 031tt0491 Fitchburg State University 2 B01 John P. Sexton John P. Sexton 40 02x3skf39 Bridgewater State University 01 eng 20 00 Open Access Tracy, Kisha G. Sexton, John P. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-ballad-of-the-lone-medievalist/ Earth, Milky Way 04 01 20180823 Tracy, Kisha G. Sexton, John P. 02 WORLD 06 15 9781947447547 03 9781947447547 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66807 20 08 20180823 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25424 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25424/1004671.pdf?sequence=1&isAllowed=y 20 08 20180823 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33979 20 08 20180823 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353867 20 08 20180823 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/584 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/81af7ffe-cf5e-4ea2-b9bf-83597e11843a/download 20 08 20180823 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Ballad_of_the_Lone_Medievalist/Mm6oEAAAQBAJ 20 08 20180823 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0fa87d43-ad8f-4bde-b70e-af249e3a2537 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0fa87d43-ad8f-4bde-b70e-af249e3a2537/0fa87d43-ad8f-4bde-b70e-af249e3a2537.pdf 20 08 20180823 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847400 29 ZENODO: download the title https://zenodo.org/records/19847400/files/0fa87d43-ad8f-4bde-b70e-af249e3a2537_book.pdf 20 08 20180823 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-ballad-of-the-lone-medievalist/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0205.1.00.pdf 20 08 20180823 01 urn:uuid:1f44b5ba-5895-4f90-b279-a7ebda2cc11f 03 01 01 thoth-work-id urn:uuid:6244a086-636e-4756-bf5e-f803a78ffbc4 01 thoth-publication-id urn:uuid:1f44b5ba-5895-4f90-b279-a7ebda2cc11f 15 9781685711986 03 9781685711986 06 10.53288/0446.1.00 13 2024945618 01 internal-reference 0446 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 22 mm 03 2.2 cm 03 0.86 in 08 490 gr 08 17.28 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Before and the After Critical Asynchrony Now 1 B01 Sean Gurd Sean Gurd professor in the Department of Classics 40 00hj54h04 The University of Texas at Austin Sean Gurd is a professor in the Department of Classics at the University of Texas at Austin. He has written four monographs: Iphigenias at Aulis: Textual Multiplicity, Radical Philology (2006); Work in Progress: Literary Revision as Social Performance in Ancient Rome (2012); Dissonance: Auditory Aesthetics in Ancient Greece (2016); and The Origins of Music Theory in the Age of Plato (2019). He also edited Philology and Its Histories (2010), and co-edited ’Pataphilology, an Irreader (2018) with Vincent W.J. van Gerven Oei. With Pauline LeVen he edited the Bloomsbury Cultural History of Western Music in Antiquity (2023). He is an editor of Tangent, an imprint of punctum books dedicated to publishing innovative books and projects that touch on classical antiquity and director of the Ancient Music and Performance Lab at the University of Texas at Austin. 2 B01 21 0000000198221984 Mario Telò Mario Telò Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies 40 01an7q238 University of California, Berkeley Mario Telò is Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics and the Canon (2016); Archive Feelings: A Theory of Greek Tragedy (2020); Greek Tragedy in a Global Crisis: Reading through Pandemic Times (2023); Resistant Form: Aristophanes and the Comedy of Crisis (2023); Judith Butler and the Ethics of Greek Tragedy (2024), and the forthcoming Roman Comedy against the Subject and Edward Said and the Late Animal: The Queer Politics of Greco-Roman Style. He is also the co-editor of Greek Comedy and the Discourse of Genres (2013); The Materialities of Greek Tragedy (2018); Queer Euripides (2022); Radical Formalisms (2023); and Niobes: Antiquity, Modernity, Critical Theory (2024) 01 eng 00 380 03 10 PHI027000 B2 Philosophy 93 QDHR7 93 DBSG 10 LIT004190 B2 Literary Studies 93 DSA 10 LIT006000 B2 Premodern 20 anachronism; Jacques Derrida; lateness; late style; classics; futurology; archives 01 06 02 00 03 00 Between 2020 and 2021, in the depths of the Covid-19 pandemic, the thirteen authors included in The Before and the After: Critical Asynchrony Now turned to reflections on the late work of Jacques Derrida in an attempt to think through the temporal disjunctions imposed by the global emergency. They found themselves thinking through ideas and philosophical tropes that had been in vogue more than twenty years earlier — as though a deep theoretical nostalgia could somehow rescue them from the moment that beset them.As a belated turn to Derrida’s late work, The Before and the After provides a series of visions of what we might become, in our engagements with the past — both the contemporary and ancient past — in our occupation of every fractured “now.” This book is a document of a moment now largely (hopefully) behind us and an attempt to imagine what remains to come. 30 00 Between 2020 and 2021, in the depths of the Covid-19 pandemic, the thirteen authors included in The Before and the After: Critical Asynchrony Now turned to reflections on the late work of Jacques Derrida in an attempt to think through the temporal disjunctions imposed by the global emergency. They found themselves thinking through ideas and philosophical tropes that had been in vogue more than twenty years earlier — as though a deep theoretical nostalgia could somehow rescue them from the moment that beset them.As a belated turn to Derrida’s late work, The Before and the After provides a series of visions of what we might become, in our engagements with the past — both the contemporary and ancient past — in our occupation of every fractured “now.” This book is a document of a moment now largely (hopefully) behind us and an attempt to imagine what remains to come. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0446.1.00_frontcover.jpg 1 03 06 10.53288/0446.1.01 1 11 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Sean Gurd Sean Gurd 2 B01 21 0000000198221984 Mario Telò Mario Telò 01 eng 20 00 Open Access Sean Gurd, Mario Telò 2 03 06 10.53288/0446.1.02 13 30 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Before 1 A01 21 0000000198221984 Mario Telò Mario Telò Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies 40 01an7q238 University of California, Berkeley Mario Telò is Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics and the Canon (2016); Archive Feelings: A Theory of Greek Tragedy (2020); Greek Tragedy in a Global Crisis: Reading through Pandemic Times (2023); Resistant Form: Aristophanes and the Comedy of Crisis (2023); Judith Butler and the Ethics of Greek Tragedy (2024), and the forthcoming Roman Comedy against the Subject and Edward Said and the Late Animal: The Queer Politics of Greco-Roman Style. He is also the co-editor of Greek Comedy and the Discourse of Genres (2013); The Materialities of Greek Tragedy (2018); Queer Euripides (2022); Radical Formalisms (2023); and Niobes: Antiquity, Modernity, Critical Theory (2024) 01 eng 03 00 An introduction to the agenda of the volume focusing on the entanglements of temporalities—uncanny achronies and synchronies— that emerge in the practices of writing about classics and the classical tradition in pandemic and pan-endemic times. 30 00 An introduction to the agenda of the volume focusing on the entanglements of temporalities—uncanny achronies and synchronies— that emerge in the practices of writing about classics and the classical tradition in pandemic and pan-endemic times. 20 00 Open Access Mario Telò 3 03 06 10.53288/0446.1.03 31 49 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Irony, Philosophy, and Revolution In the Beginning Was the Concept (Socrates and Derrida) 1 A01 Paul Allen Miller Paul Allen Miller Carolina Distinguished Professor 40 02b6qw903 University of South Carolina Paul Allen Miller is Carolina Distinguished Professor at the University of South Carolina. He is the former editor of Transactions of the American Philological Association. He is the author of Lyric Texts and Lyric Consciousness (1994), Latin Erotic Elegy (2002), Subjecting Verses (2004), Latin Verse Satire (2005), Postmodern Spiritual Practices (2007), Plato’s Apology of Socrates (2010, with Charles Platter), A Tibullus Reader (2013), Diotima at the Barricades: French Feminists Read Plato (2015), Horace (2019), and Foucault’s Seminars on Antiquity: Learning to Speak the Truth (2021). He has edited fifteen volumes of essays on literary theory, gender studies, and topics in classics as well as published more than 90 articles on Latin, Greek, French, and English literature, theory, and philosophy. He is currently at work on Truth and Enjoyment: Cicero Beyond the Pleasure Principle. 01 eng 03 00 If we “do justice” to Socrates—not as the Athenian people did, which Hegel considered just and necessary—but if we let him roam free, if we set no limit to the testing he does of us and our fellow citizens, then the Socratic impulse is both profoundly ironic and ultimately revolutionary: for this moment of irony is that in which new thought and new concepts can emerge, and this moment is a necessary, if not sufficient, cause of fundamental social change. To make this case for the revolutionary potential of irony and the movement of the concept, I enlist the help of Jacques Derrida. In particular, I will make use of his notion of “hauntology” as elaborated in Spectres of Marx and related works from the eighties and nineties. 30 00 If we “do justice” to Socrates—not as the Athenian people did, which Hegel considered just and necessary—but if we let him roam free, if we set no limit to the testing he does of us and our fellow citizens, then the Socratic impulse is both profoundly ironic and ultimately revolutionary: for this moment of irony is that in which new thought and new concepts can emerge, and this moment is a necessary, if not sufficient, cause of fundamental social change. To make this case for the revolutionary potential of irony and the movement of the concept, I enlist the help of Jacques Derrida. In particular, I will make use of his notion of “hauntology” as elaborated in Spectres of Marx and related works from the eighties and nineties. 20 00 Open Access Paul Allen Miller 4 03 06 10.53288/0446.1.04 51 67 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Late-Roman Post-Futures The Spectral Planets of Derrida and Gene Wolfe 1 A01 Ben Radcliffe Ben Radcliffe lecturer in Classics 40 00xhj8c72 Loyola Marymount University Ben Radcliffe is a lecturer in Classics at Loyola Marymount University. His research and teaching focus on Homer, ancient Greek literature, ancient and modern political thought, utopianism, and aesthetic theory. His work has recently appeared in the American Journal of Philology, Ramus, and Classical Antiquity, and he co-organized a seminar on paranoia in Greek and Roman literature at the 2022 American Comparative Literature Association conference. He is currently working on a project about the aesthetics of surplus in archaic Greek poetry. 01 eng 03 00 This chapter examines Gene Wolfe’s science-fiction tetralogy, The Book of the New Sun, alongside other literary and philosophical texts from the waning of the Cold War, including Jameson’s The Geopolitical Aesthetic and Derrida’s Specters of Marx. Wolfe repurposes classical imagery and tropes of late Roman decadence to construct a fictional world in which the archaic, the modern, and the futuristic coexist in a single picture. I interpret Wolfe’s anachronic classicism in light of other late 20th-century authors who diagnosed the temporal disorientation of capitalist globalization and the “end of history.” Wolfe and his contemporaries explore the ethical and political affordances of “world-pictures,” totalizing depictions of an interconnected planetary reality that might orient the subjects of globalization within its intractable crises. In Wolfe’s novels, the untimeliness of Greco-Roman antiquity serves as a productive resource for constructing such pictures. I conclude by considering the dilemmas that Wolfe’s sci-fi speculations raise regarding the temporality of classical receptions. 30 00 This chapter examines Gene Wolfe’s science-fiction tetralogy, The Book of the New Sun, alongside other literary and philosophical texts from the waning of the Cold War, including Jameson’s The Geopolitical Aesthetic and Derrida’s Specters of Marx. Wolfe repurposes classical imagery and tropes of late Roman decadence to construct a fictional world in which the archaic, the modern, and the futuristic coexist in a single picture. I interpret Wolfe’s anachronic classicism in light of other late 20th-century authors who diagnosed the temporal disorientation of capitalist globalization and the “end of history.” Wolfe and his contemporaries explore the ethical and political affordances of “world-pictures,” totalizing depictions of an interconnected planetary reality that might orient the subjects of globalization within its intractable crises. In Wolfe’s novels, the untimeliness of Greco-Roman antiquity serves as a productive resource for constructing such pictures. I conclude by considering the dilemmas that Wolfe’s sci-fi speculations raise regarding the temporality of classical receptions. 20 00 Open Access Ben Radcliffe 5 03 06 10.53288/0446.1.05 69 89 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Spectral Life of Friends Derrida, Cicero, Atticus 1 A01 Francesca Martelli Francesca Martelli Associate Professor of Classics 40 046rm7j60 University of California, Los Angeles Francesca Martelli is Associate Professor of Classics at University of California, Los Angeles. She is the author of two books on Ovid: Ovid’s Revisions: The Editor as Author (2013) and Ovid: Brill Research Perspectives on Ancient Poetry (2020), and co-editor (along with Giulia Sissa) of a volume of essays on Ovid’s Metamorphoses as a seminal work of ecocritique (2023). Her most recent publication is a book on Cicero’s letters, Souvenirs of Cicero: Shaping Memory in the Epistulae ad Familiares (2024), which maintains a persistent interest in placing Latin texts in dialogue with the work and thought of Jacques Derrida. 01 eng 03 00 This paper digs into Derrida's critical engagement in The Politics of Friendship with Cicero's idealised portrait of friendship in On Friendship. It argues that the issue Derrida takes with Cicero's narcissistic model of friendship as a relationship of similitude, as exemplified by the historic friendship between Scipio and Laelius, is in fact belied by the friendship that hovers around the margins of this text: that between Cicero and Atticus, the dedicatee of On Friendship, whose unequal status with Cicero is a precondition for the alterity at the heart of their friendship, along thoroughly Derridean lines. The paper then seeks to show how Cicero's Letters to Atticus further exemplifies Derrida's fundamental insight about another aspect of the friend's alterity -- namely, the fact that one friend dies before the other, leaving the latter to commemorate and mourn the one who dies first. Cicero's posthumously published collection of Letters to Atticus displays this asynchronicity in its very structure, as the letters in the opening book are shown to have been chosen for their resonance with moments from the very end of Cicero's life, which Atticus outlived. Cicero's Letters to Atticus, structured as it is by the anticipation of death, mourning and survival that provide the key to Derrida's formulation of friendship, is shown to anticipate Derrida's treatise by some millennia. 30 00 This paper digs into Derrida's critical engagement in The Politics of Friendship with Cicero's idealised portrait of friendship in On Friendship. It argues that the issue Derrida takes with Cicero's narcissistic model of friendship as a relationship of similitude, as exemplified by the historic friendship between Scipio and Laelius, is in fact belied by the friendship that hovers around the margins of this text: that between Cicero and Atticus, the dedicatee of On Friendship, whose unequal status with Cicero is a precondition for the alterity at the heart of their friendship, along thoroughly Derridean lines. The paper then seeks to show how Cicero's Letters to Atticus further exemplifies Derrida's fundamental insight about another aspect of the friend's alterity -- namely, the fact that one friend dies before the other, leaving the latter to commemorate and mourn the one who dies first. Cicero's posthumously published collection of Letters to Atticus displays this asynchronicity in its very structure, as the letters in the opening book are shown to have been chosen for their resonance with moments from the very end of Cicero's life, which Atticus outlived. Cicero's Letters to Atticus, structured as it is by the anticipation of death, mourning and survival that provide the key to Derrida's formulation of friendship, is shown to anticipate Derrida's treatise by some millennia. 20 00 Open Access Francesca Martelli 6 03 06 10.53288/0446.1.06 91 112 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thelyology Apuleius’s Morphologies of Damage 1 A01 David Youd David Youd PhD candidate in classics and critical theory 40 01an7q238 University of California, Berkeley David Youd is a PhD candidate in classics and critical theory at University of California, Berkeley. His published work includes articles and essays on Euripides, Plautus, and Terence. His dissertation, “The Queer Art of Terence,” offers a rereading of Terence’s comedies through the lens of psychoanalysis and queer theory. 01 eng 03 00 Proposing a new interpretative approach to Apuleius’s Metamorphoses, I attempt to shift the locus of deconstructive reading from the novel’s larger narratological structures to its smaller morphologies of bodies, words, and syntax. First, I retrace Derrida’s account in Archive Fever of the integral role of technical form to ontological possibility. As he reminds us, the signifier (the means of recording) reveals by repressing, producing lack even as it engenders the illusion of unitary wholeness. Against this semblance of completion, Derrida conjures the specter of radical alterity and irrecoverable loss that bedevil any archival endeavor. Archive Fever interfaces here with theorizations of late style: the tendency of the artist to turn away from resolution and closure as life’s close reveals its basic fragmentation rather than any essential unity. In both intellectual projects, the supplement meant to redeem the whole is twisted into a revelation of irreparable damage, and this logic of the perverted supplement can be said to condition Apuleius’s novelistic technique. Turning to Thelyphron’s autobiographical tale at the end of book two, I advance a mode of very close reading or “interpretive microscopy” focused on the intricacies of aesthetic form and style. At every turn, as my readings seek to show, Thelyphron transforms his narrative prostheses from archontic technologies of the self into the means of its undoing. 30 00 Proposing a new interpretative approach to Apuleius’s Metamorphoses, I attempt to shift the locus of deconstructive reading from the novel’s larger narratological structures to its smaller morphologies of bodies, words, and syntax. First, I retrace Derrida’s account in Archive Fever of the integral role of technical form to ontological possibility. As he reminds us, the signifier (the means of recording) reveals by repressing, producing lack even as it engenders the illusion of unitary wholeness. Against this semblance of completion, Derrida conjures the specter of radical alterity and irrecoverable loss that bedevil any archival endeavor. Archive Fever interfaces here with theorizations of late style: the tendency of the artist to turn away from resolution and closure as life’s close reveals its basic fragmentation rather than any essential unity. In both intellectual projects, the supplement meant to redeem the whole is twisted into a revelation of irreparable damage, and this logic of the perverted supplement can be said to condition Apuleius’s novelistic technique. Turning to Thelyphron’s autobiographical tale at the end of book two, I advance a mode of very close reading or “interpretive microscopy” focused on the intricacies of aesthetic form and style. At every turn, as my readings seek to show, Thelyphron transforms his narrative prostheses from archontic technologies of the self into the means of its undoing. 20 00 Open Access David Youd 7 03 06 10.53288/0446.1.07 113 133 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “A Lie about Origin” Plato’s Archive Fever 1 A01 Karen Bassi Karen Bassi Research Professor Emerita of Classics and Literature 40 03s65by71 University of California, Santa Cruz Karen Bassi is Research Professor Emerita of Classics and Literature at the University of California, Santa Cruz. She is the author of Acting Like Men, Drama and Nostalgia in Ancient Greece (1998) and Traces of the Past: Classics between History and Archaeology (2016). She co-edited When Worlds Elide: Classics, Politics, Culture with Peter Euben (2010). She is now working on a book titled Imitating the Dead: Facing Death in Ancient Greek Tragedy and Philosophy. 01 eng 03 00 In Book 3 of Plato’s Republic, Socrates argues for what he calls "a lie about origin" (γενναῖον ψεῦδος, 414b-d). According to this lie, classes of citizens in Kallipolis were originally fashioned under the earth and differentiated by a hierarchy of metals (gold, silver, iron and brass, 414e-415c). In this paper, I read Socrates’ “lie about origin” in light of Derrida’s reading of Freud in Archive Fever, focused on the intersection of archaeology, epistemology and eschatology. Anticipating the archê of archaeology by anachronism, the myth of the metallic men questions first of all the predictive capability of origin stories. Subject to hesitation but repeated from generation to generation, Socrates’ “lie about origin” also reflects on the recent global crisis. In a pandemic whose beginning and end are unknowable and unpredictable, when the passing of time is measured in death’s approach (à venir), and when we are living in a so-called “post-truth” world, the “lie about origin” examines the conditions under which the past justifies a future (l’avenir). In Derrida’s phrase, it tests the “truth of delusion” (AF 86). 30 00 In Book 3 of Plato’s Republic, Socrates argues for what he calls "a lie about origin" (γενναῖον ψεῦδος, 414b-d). According to this lie, classes of citizens in Kallipolis were originally fashioned under the earth and differentiated by a hierarchy of metals (gold, silver, iron and brass, 414e-415c). In this paper, I read Socrates’ “lie about origin” in light of Derrida’s reading of Freud in Archive Fever, focused on the intersection of archaeology, epistemology and eschatology. Anticipating the archê of archaeology by anachronism, the myth of the metallic men questions first of all the predictive capability of origin stories. Subject to hesitation but repeated from generation to generation, Socrates’ “lie about origin” also reflects on the recent global crisis. In a pandemic whose beginning and end are unknowable and unpredictable, when the passing of time is measured in death’s approach (à venir), and when we are living in a so-called “post-truth” world, the “lie about origin” examines the conditions under which the past justifies a future (l’avenir). In Derrida’s phrase, it tests the “truth of delusion” (AF 86). 20 00 Open Access Karen Bassi 8 03 06 10.53288/0446.1.08 135 161 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Feral Futures, or The Animal That Therefore I Am Not (Less to Follow) 1 A01 Andres Matlock Andres Matlock assistant professor in Classics 40 00te3t702 University of Georgia Andres Matlock is an assistant professor in Classics at the University of Georgia, Athens. His research ranges widely over ancient philosophy, Roman literature and culture, and critical theory, with a special focus on ideas of time, nature, and change. 01 eng 03 00 Taking its cue from Derrida’s “The Animal That Therefore I Am (More to Follow),” this chapter considers the dynamic origins and ends of plants. By reading ancient arguments for natural teleology in Cicero and Theophrastus alongside contemporary ecological accounts of feral activity, I outline a critical history of the entanglement between human and non-human agency. From the perspective of the feral future, the human ability to shape the growth of plant life only works from within the vegetal forces that transform us in turn. 30 00 Taking its cue from Derrida’s “The Animal That Therefore I Am (More to Follow),” this chapter considers the dynamic origins and ends of plants. By reading ancient arguments for natural teleology in Cicero and Theophrastus alongside contemporary ecological accounts of feral activity, I outline a critical history of the entanglement between human and non-human agency. From the perspective of the feral future, the human ability to shape the growth of plant life only works from within the vegetal forces that transform us in turn. 20 00 Open Access Andres Matlock 9 03 06 10.53288/0446.1.09 163 194 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “The Sun Is New Every Day” (Heraclitus D-K frg. B6) Greek Ephemerality and Biopolitical Modernity 1 A01 Bruce Rosenstock Bruce Rosenstock Professor of Religion and Hebrew Studies 40 047426m28 University of Illinois Urbana-Champaign Bruce Rosenstock was Professor of Religion and Hebrew Studies, at the University of Illinois, Urbana-Champaign. He is the author of Philosophy and the Jewish Question: Mendelssohn, Rosenzweig, and Beyond (2010) and Transfinite Life: Oskar Goldberg and the Vitalist Imagination (2017). 01 eng 03 00 Through an implicit dialogue between Arendt and Derrida, this essay considers the Greek reflection on ephemerality in order to respond to the crisis in what Tim Ingold calls “humanifying,” a crisis that has acquired the unique power to upset the life-sustaining balance of earth and sun. By unpacking the significance of ephemerality in Greek poetic and philosophical sources we gain an insight into the challenge to the future of the species that we have faced with growing urgency since the technological-industrial revolution inaugurated by the invention of the coal-run steam engine. The essay ends with a discussion of Hortense Spillers’s reflections on the Black mother in light of Heraclitus. The conclusion, drawn from a Spillerian reading of Heraclitus, and a Heraclitean reading of Spillers, is that only the powers of natality can “break in upon” the bioengineering imagination of a patriarchal order that has never ceased to hope for a birthday like that of the sun, when a man can spring to life in ever-renewable glory, in “the beautiful homogeneity of the Same.” Death does not have the power to free us from this blinding hope to overcome ephemerality, for death is what drives this hope forward. Only birth can save us. 30 00 Through an implicit dialogue between Arendt and Derrida, this essay considers the Greek reflection on ephemerality in order to respond to the crisis in what Tim Ingold calls “humanifying,” a crisis that has acquired the unique power to upset the life-sustaining balance of earth and sun. By unpacking the significance of ephemerality in Greek poetic and philosophical sources we gain an insight into the challenge to the future of the species that we have faced with growing urgency since the technological-industrial revolution inaugurated by the invention of the coal-run steam engine. The essay ends with a discussion of Hortense Spillers’s reflections on the Black mother in light of Heraclitus. The conclusion, drawn from a Spillerian reading of Heraclitus, and a Heraclitean reading of Spillers, is that only the powers of natality can “break in upon” the bioengineering imagination of a patriarchal order that has never ceased to hope for a birthday like that of the sun, when a man can spring to life in ever-renewable glory, in “the beautiful homogeneity of the Same.” Death does not have the power to free us from this blinding hope to overcome ephemerality, for death is what drives this hope forward. Only birth can save us. 20 00 Open Access Bruce Rosenstock 10 03 06 10.53288/0446.1.10 195 214 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mourning Mourning Sophocles, Derrida, and Delay 1 A01 Sarah Nooter Sarah Nooter Edward Olson Professor of Classics and Theater and Performance Studies 40 024mw5h28 University of Chicago Sarah Nooter is the Edward Olson Professor of Classics and Theater and Performance Studies at the University of Chicago. She is the author of When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy (2012), The Mortal Voice in the Tragedies of Aeschylus (2017), and Greek Poetry in the Age of Ephemerality (2023). She is co-editor with Shane Butler of Sound and the Ancient Senses (2018) and co-editor with Mario Telò of Radical Formalisms: Reading, Theory, and the Boundaries of the Classical (2023). She is the editor and translator of How to Be Queer: An Ancient Guide to Sexuality (2024). 01 eng 03 00 In this chapter, I examine Jacques Derrida’s take on Sophocles’ portrait of Oedipus’s death in Oedipus at Colonus, and also attempt to answer some of the anxieties presented by Derrida in Of Hospitality and Archive Fever about technology and media, particularly as it all relates to long-lasting present tense of the COVID-19 pandemic. Ultimately, I address questions about how—through what rituals and tricks of time—we mediate delay, disruption, and loss. I close with an examination these themes in a performance of Bill T. Jones called “The Process of Becoming Infinite” and a look at mourning in Sophocles’ Ajax. 30 00 In this chapter, I examine Jacques Derrida’s take on Sophocles’ portrait of Oedipus’s death in Oedipus at Colonus, and also attempt to answer some of the anxieties presented by Derrida in Of Hospitality and Archive Fever about technology and media, particularly as it all relates to long-lasting present tense of the COVID-19 pandemic. Ultimately, I address questions about how—through what rituals and tricks of time—we mediate delay, disruption, and loss. I close with an examination these themes in a performance of Bill T. Jones called “The Process of Becoming Infinite” and a look at mourning in Sophocles’ Ajax. 20 00 Open Access Sarah Nooter 11 03 06 10.53288/0446.1.11 215 237 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Steps in Time Derrida’s Impossible Hospitality and the Apocalyptic Future of Cormac McCarthy’s The Road 1 A01 Carol Dougherty Carol Dougherty Professor of Classical Studies and Director of Comparative Literary Studies 40 01srpnj69 Wellesley College Carol Dougherty is Professor of Classical Studies and Director of Comparative Literary Studies at Wellesley College. She is the author of several books and articles on the literature, politics, and history of mobility and settlement in archaic and classical Greece, including The Raft of Odysseus: The Ethnographic Imagination of Homer’s Odyssey (2011) and, most recently, Travel and Home in Homer and Contemporary Literature (2019). Her current research approaches Greek tragedy within the discourse of hospitality, exploring the political and ethical issues raised by narratives about welcoming the foreigner on the Athenian stage. 01 eng 03 00 This paper argues that the aporia at the heart of Derrida’s essay on hospitality — its absence, its transgressions, its digressions – perfectly describes the narrative landscape of Cormac McCarthy’s 2006 novel, The Road. Following Derrida along McCarthy’s post-apocalyptic road allows the reader to explore the impossible hospitality of a world in which a man and his son must travel without the comforts of home or the safety of houses. It also suggests the opposite – revealing the experience of homelessness as the pre-condition, both ethical and imaginative, for defining hospitality, our ways of relating to others, as others. The novel’s aporetic conclusion reduces the novel’s protracted engagement with hospitality and its absence to the simple gesture of accepting what comes (à venir), a gesture that will, in the end, provide a future (l’avenir). Derrida’s meditations on hospitality repeatedly invoke the mythic figure of Oedipus, and this essay concludes by suggesting that reading Oedipus’ death as a final, transgressive act of hospitality might spark new insights into the man’s death in The Road as well as how a Derridean reading of the impossible poetics of hospitality in The Road prompts a similarly productive engagement with time in Sophocles’ Oedipus at Colonus. 30 00 This paper argues that the aporia at the heart of Derrida’s essay on hospitality — its absence, its transgressions, its digressions – perfectly describes the narrative landscape of Cormac McCarthy’s 2006 novel, The Road. Following Derrida along McCarthy’s post-apocalyptic road allows the reader to explore the impossible hospitality of a world in which a man and his son must travel without the comforts of home or the safety of houses. It also suggests the opposite – revealing the experience of homelessness as the pre-condition, both ethical and imaginative, for defining hospitality, our ways of relating to others, as others. The novel’s aporetic conclusion reduces the novel’s protracted engagement with hospitality and its absence to the simple gesture of accepting what comes (à venir), a gesture that will, in the end, provide a future (l’avenir). Derrida’s meditations on hospitality repeatedly invoke the mythic figure of Oedipus, and this essay concludes by suggesting that reading Oedipus’ death as a final, transgressive act of hospitality might spark new insights into the man’s death in The Road as well as how a Derridean reading of the impossible poetics of hospitality in The Road prompts a similarly productive engagement with time in Sophocles’ Oedipus at Colonus. 20 00 Open Access Carol Dougherty 12 03 06 10.53288/0446.1.12 239 260 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Blanchot, Derrida, and the Gimmick Writing Disaster in Euripides’s Bacchae 1 A01 21 0000000198221984 Mario Telò Mario Telò Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies 40 01an7q238 University of California, Berkeley Mario Telò is Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics and the Canon (2016); Archive Feelings: A Theory of Greek Tragedy (2020); Greek Tragedy in a Global Crisis: Reading through Pandemic Times (2023); Resistant Form: Aristophanes and the Comedy of Crisis (2023); Judith Butler and the Ethics of Greek Tragedy (2024), and the forthcoming Roman Comedy against the Subject and Edward Said and the Late Animal: The Queer Politics of Greco-Roman Style. He is also the co-editor of Greek Comedy and the Discourse of Genres (2013); The Materialities of Greek Tragedy (2018); Queer Euripides (2022); Radical Formalisms (2023); and Niobes: Antiquity, Modernity, Critical Theory (2024) 01 eng 03 00 According to Blanchot, “disaster is its imminence…what escapes the very possibility of experience.” This notion of disaster confounds the Derridean a-venir, since it concerns “what one cannot welcome except as the immanence that gratifies.” In this chapter, I use Blanchot’s engagement with Derrida as well as Derrida’s discussion of him in Demeure to reconsider the sense of disaster in Euripides’ Bacchae. Instead of focusing on the Maenads’ vitalistic rage, I linger on an apparently problematic scene: the enactment of Dionysian transgender rituals by two old men, Tiresias and Cadmus. Their jouissance lies in a gratifying passivity before the imminence that, for Blanchot, is dis-aster. In this scene, a prolonged present provoked by a not-yet-materialized catastrophic present evokes the temporality of the “gimmick,” which, for Sianne Ngai, confronts us with “a mode of bad contemporaneity akin to an elongated present.” I dwell on the temporality of hesitation as an alternative that Bacchae offers to the manic claims of decision-making and the future. While waiting is at once an unwelcome intrusion in the Covid era and the perennial condition of the migrants and refugees denied coevalness, in the context of the play the “arrival” (venir) of a “lack” (a-) constituted by the act of waiting and the in-decision of the present’s immobility has the potential to forestall the deceptively liberating future of ecstatic Dionysian time, replacing it with an extended (differently) Dionysian chronicity. 30 00 According to Blanchot, “disaster is its imminence…what escapes the very possibility of experience.” This notion of disaster confounds the Derridean a-venir, since it concerns “what one cannot welcome except as the immanence that gratifies.” In this chapter, I use Blanchot’s engagement with Derrida as well as Derrida’s discussion of him in Demeure to reconsider the sense of disaster in Euripides’ Bacchae. Instead of focusing on the Maenads’ vitalistic rage, I linger on an apparently problematic scene: the enactment of Dionysian transgender rituals by two old men, Tiresias and Cadmus. Their jouissance lies in a gratifying passivity before the imminence that, for Blanchot, is dis-aster. In this scene, a prolonged present provoked by a not-yet-materialized catastrophic present evokes the temporality of the “gimmick,” which, for Sianne Ngai, confronts us with “a mode of bad contemporaneity akin to an elongated present.” I dwell on the temporality of hesitation as an alternative that Bacchae offers to the manic claims of decision-making and the future. While waiting is at once an unwelcome intrusion in the Covid era and the perennial condition of the migrants and refugees denied coevalness, in the context of the play the “arrival” (venir) of a “lack” (a-) constituted by the act of waiting and the in-decision of the present’s immobility has the potential to forestall the deceptively liberating future of ecstatic Dionysian time, replacing it with an extended (differently) Dionysian chronicity. 20 00 Open Access Mario Telò 13 03 06 10.53288/0446.1.13 261 284 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Future of the Past Pericles, History, and Athenian Democracy 1 A01 21 0000000304501286 Ahuvia Kahane Ahuvia Kahane Regius Professor of Greek and A.G. Leventis Professor of Greek Culture 40 02tyrky19 Trinity College Dublin Ahuvia Kahane is a Fellow of Trinity College Dublin, where he is Regius Professor of Greek and A.G. Leventis Professor of Greek Culture. His forthcoming book is titled Epic, Novel, and the Progress of Antiquity and Orality and the Formula: A Political Rethinking. The co-edited collection Walking Cities: Layer, Trace, Zone, Vector came out in 2024. Together with colleagues from the Royal College of Art and the Ruskin School of Art, he is writing a book, provisionally entitled The Panoramico, on the politics of geometry. 01 eng 03 00 This paper considers the temporality and ethics of democracy, specifically within the context of Pericles’ funeral oration in Thucydides’ History of the Peloponnesian War. Drawing on J. Derrida’s notions of the future-to-come and democracy, reading the oration through the work of Gomm, opposing conservative Anglo-American readings and invoking the political thought of J. Rancière as well as insights from E. Schrödinger, K. Barad and the sciences, the paper argues that democracy, and indeed Pericles’ Athenian democracy is a practice that is the unity of the “one too many” and “the ‘more, always more’ of unsatisfied desire”, a regime that, as Rancière puts it, is “governed by the judicious use of its own un-governability.” 30 00 This paper considers the temporality and ethics of democracy, specifically within the context of Pericles’ funeral oration in Thucydides’ History of the Peloponnesian War. Drawing on J. Derrida’s notions of the future-to-come and democracy, reading the oration through the work of Gomm, opposing conservative Anglo-American readings and invoking the political thought of J. Rancière as well as insights from E. Schrödinger, K. Barad and the sciences, the paper argues that democracy, and indeed Pericles’ Athenian democracy is a practice that is the unity of the “one too many” and “the ‘more, always more’ of unsatisfied desire”, a regime that, as Rancière puts it, is “governed by the judicious use of its own un-governability.” 20 00 Open Access Ahuvia Kahane 14 03 06 10.53288/0446.1.14 285 316 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Before and after Greece and Egypt in the Eighteenth Century 1 A01 21 0000000284282767 Daniel Orrells Daniel Orrells Professor of Classics 40 0220mzb33 King's College London Daniel Orrells is Professor of Classics at King’s College London. He is author of the monographs Classical Culture and Modern Masculinity (2011), Sex: Antiquity and Its Legacy (2015), and Antiquity in Print: Visualizing Greece in the Eighteenth Century (2024). 01 eng 03 00 This chapter examines the question of the historical relationship—the before and the after—of ancient Greece and Egypt in the eighteenth century, to complicate our narratives about the rise of philhellenism during the Enlightenment. While the eighteenth-century antiquarian turn to material culture has indeed been seen as foundational—the “before”—for the development and institutionalization of the discipline of classics, we will see that the emerging narrative about Europe’s ancient Greek origins was constructed in dialogue with eighteenth-century debates about the Egyptian hieroglyph, the history of writing, and the relationship between image and text. This chapter explores these issues by focussing on an exemplary set of Enlightenment intellectuals and antiquarians: Giambattista Vico, Winckelmann, and d'Hancarville. This chapter shows that the reception of ancient Egypt in the Enlightenment was fundamental to the emergence of the European narrative about its Hellenic origins. 30 00 This chapter examines the question of the historical relationship—the before and the after—of ancient Greece and Egypt in the eighteenth century, to complicate our narratives about the rise of philhellenism during the Enlightenment. While the eighteenth-century antiquarian turn to material culture has indeed been seen as foundational—the “before”—for the development and institutionalization of the discipline of classics, we will see that the emerging narrative about Europe’s ancient Greek origins was constructed in dialogue with eighteenth-century debates about the Egyptian hieroglyph, the history of writing, and the relationship between image and text. This chapter explores these issues by focussing on an exemplary set of Enlightenment intellectuals and antiquarians: Giambattista Vico, Winckelmann, and d'Hancarville. This chapter shows that the reception of ancient Egypt in the Enlightenment was fundamental to the emergence of the European narrative about its Hellenic origins. 20 00 Open Access Daniel Orrells 15 03 06 10.53288/0446.1.15 317 323 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After (News That Stays News) 1 A01 Sean Gurd Sean Gurd professor in the Department of Classics 40 00hj54h04 The University of Texas at Austin Sean Gurd is a professor in the Department of Classics at the University of Texas at Austin. He has written four monographs: Iphigenias at Aulis: Textual Multiplicity, Radical Philology (2006); Work in Progress: Literary Revision as Social Performance in Ancient Rome (2012); Dissonance: Auditory Aesthetics in Ancient Greece (2016); and The Origins of Music Theory in the Age of Plato (2019). He also edited Philology and Its Histories (2010), and co-edited ’Pataphilology, an Irreader (2018) with Vincent W.J. van Gerven Oei. With Pauline LeVen he edited the Bloomsbury Cultural History of Western Music in Antiquity (2023). He is an editor of Tangent, an imprint of punctum books dedicated to publishing innovative books and projects that touch on classical antiquity and director of the Ancient Music and Performance Lab at the University of Texas at Austin. 01 eng 03 00 A reflection on general asynchrony as the condition of possibility of experience, with explicit reflections on Proust and Robert Kroetsch. 30 00 A reflection on general asynchrony as the condition of possibility of experience, with explicit reflections on Proust and Robert Kroetsch. 20 00 Open Access Sean Gurd 16 03 06 10.53288/0446.1.16 325 376 52 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Sean Gurd Sean Gurd 2 B01 21 0000000198221984 Mario Telò Mario Telò 01 eng 20 00 Open Access Sean Gurd, Mario Telò 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-before-and-the-after-critical-asynchrony-now/ Earth, Milky Way 04 01 20250129 Mario Telò and Sean Gurd 02 WORLD 06 15 9781685711993 03 9781685711993 34 06 10.53288/0446.1.00 34 06 10.1353/jlt.2016.0025 34 06 10.1353/aim.2005.0020 34 06 10.1140/epjh/e2012-30009-7 34 06 10.3366/DRT.2010.0206 34 06 10.1007/BF00374436 34 06 10.1525/rep.2005.90.1.1 34 06 10.1086/521568 34 06 10.1215/23289252-3815069 34 06 10.1080/17450100701381581 34 06 10.1103/PhysRev.48.696.328 34 06 10.1163/156916408X336765 34 06 10.1007/s11007-005-3925-4 34 06 10.3366/drt.2020.0229.331 34 06 10.2307/4238745 34 06 10.1215/23289252-7914472 34 06 10.1215/01642472-2419540 34 06 10.1163/156852808X307061 34 06 10.2307/1088916 34 06 10.2307/468341 34 06 10.2307/2929975 34 06 10.2307/464756 34 06 10.2307/465144 34 06 10.1080/09697250020034706 34 06 10.1353/shq.2011.0015 34 06 10.1215/10407391-3821724 34 06 10.1103/PhysRev.47.777 34 06 10.5325/cormmccaj.16.2.0133 34 06 10.2307/4497729 34 06 10.2307/283450 34 06 10.3366/DRT.2020.0230 34 06 10.7202/008394ar 34 06 10.1016/j.tree.2019.07.018 34 06 10.1080/14797585.2017.1338600 34 06 10.1353/arn.2020.0010 34 06 10.1017/S0017383516000206 34 06 10.1080/17409292.2012.739442 34 06 10.2307/25011122 34 06 10.1215/22011919-3615934 34 06 10.1017/S000983880004307X 34 06 10.21983/P3.0172.1.00 34 06 10.2307/25010992 34 06 10.21983/P3.0172.1.00 34 06 10.3366/para.2020.0331 34 06 10.3390/genealogy4020038 34 06 10.1525/ca.2022.41.2.34 34 06 10.1130/GSAT151A.1.345 34 06 10.1163/15691640-12341449 34 06 10.2307/464649 34 06 10.1163/24688487-00201003 34 06 10.3366/drt.2020.0234 34 06 10.1093/applin/18.2.141 34 06 10.2307/4351452 34 06 10.2307/2709582 34 06 10.1093/jhc/9.2.275 34 06 10.1353/clw.2021.0011 34 06 10.1086/711432.350 34 06 10.1017/S0066477400004469 34 06 10.1215/10407391-4151785.352 34 06 10.2307/311019 34 06 10.1525/ca.2022.41.2.25 34 06 10.1215/22011919-3609949 34 06 10.1088/0034-4885/77/6/065901 34 06 10.2307/3185211 34 06 10.1093/crj/clr005 34 06 10.1093/crj/clz022 34 06 10.1086/361134 34 06 10.1177/0308275X19840417 34 06 10.1177/0003065114559835 34 06 10.2307/300484 34 06 10.1215/00382876-8915937 34 06 10.4000/ejas.12296 34 06 10.1007/BF01491891 34 06 10.1080/0969725X.2019.1568739 34 06 10.1080/14797585.2011.525099 34 06 10.2307/3595634 34 06 10.2307/464747 34 06 10.1215/10642684-1-3-237 34 06 10.1215/10642684-2843323 34 06 10.1086/711438 34 06 10.2307/2935927 34 06 10.1353/sym.2022.0025 34 06 10.53288/0445.1.00 34 06 10.2307/284171 34 06 10.1400/165276 34 06 10.1163/1569206X-12342804 34 06 10.1093/crj/clz021 34 06 10.1353/lan.0.0220 34 06 10.2307/3685794 34 06 10.1093/cdj/bsaa026 34 06 10.1103/PhysRevLett.70.1928 34 06 10.1068/d11512 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711987 20 08 20250129 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-before-and-the-after-critical-asynchrony-now 20 08 20250129 02 27.00 USD WORLD urn:uuid:4881d456-3fa7-46e3-a82f-0c0b760a1cdd 03 01 01 thoth-work-id urn:uuid:6244a086-636e-4756-bf5e-f803a78ffbc4 01 thoth-publication-id urn:uuid:4881d456-3fa7-46e3-a82f-0c0b760a1cdd 15 9781685711993 03 9781685711993 06 10.53288/0446.1.00 13 2024945618 01 internal-reference 0446 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Before and the After Critical Asynchrony Now 1 B01 Sean Gurd Sean Gurd professor in the Department of Classics 40 00hj54h04 The University of Texas at Austin Sean Gurd is a professor in the Department of Classics at the University of Texas at Austin. He has written four monographs: Iphigenias at Aulis: Textual Multiplicity, Radical Philology (2006); Work in Progress: Literary Revision as Social Performance in Ancient Rome (2012); Dissonance: Auditory Aesthetics in Ancient Greece (2016); and The Origins of Music Theory in the Age of Plato (2019). He also edited Philology and Its Histories (2010), and co-edited ’Pataphilology, an Irreader (2018) with Vincent W.J. van Gerven Oei. With Pauline LeVen he edited the Bloomsbury Cultural History of Western Music in Antiquity (2023). He is an editor of Tangent, an imprint of punctum books dedicated to publishing innovative books and projects that touch on classical antiquity and director of the Ancient Music and Performance Lab at the University of Texas at Austin. 2 B01 21 0000000198221984 Mario Telò Mario Telò Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies 40 01an7q238 University of California, Berkeley Mario Telò is Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics and the Canon (2016); Archive Feelings: A Theory of Greek Tragedy (2020); Greek Tragedy in a Global Crisis: Reading through Pandemic Times (2023); Resistant Form: Aristophanes and the Comedy of Crisis (2023); Judith Butler and the Ethics of Greek Tragedy (2024), and the forthcoming Roman Comedy against the Subject and Edward Said and the Late Animal: The Queer Politics of Greco-Roman Style. He is also the co-editor of Greek Comedy and the Discourse of Genres (2013); The Materialities of Greek Tragedy (2018); Queer Euripides (2022); Radical Formalisms (2023); and Niobes: Antiquity, Modernity, Critical Theory (2024) 01 eng 00 380 03 10 PHI027000 B2 Philosophy 93 QDHR7 93 DBSG 10 LIT004190 B2 Literary Studies 93 DSA 10 LIT006000 B2 Premodern 20 anachronism; Jacques Derrida; lateness; late style; classics; futurology; archives 01 06 02 00 03 00 Between 2020 and 2021, in the depths of the Covid-19 pandemic, the thirteen authors included in The Before and the After: Critical Asynchrony Now turned to reflections on the late work of Jacques Derrida in an attempt to think through the temporal disjunctions imposed by the global emergency. They found themselves thinking through ideas and philosophical tropes that had been in vogue more than twenty years earlier — as though a deep theoretical nostalgia could somehow rescue them from the moment that beset them.As a belated turn to Derrida’s late work, The Before and the After provides a series of visions of what we might become, in our engagements with the past — both the contemporary and ancient past — in our occupation of every fractured “now.” This book is a document of a moment now largely (hopefully) behind us and an attempt to imagine what remains to come. 30 00 Between 2020 and 2021, in the depths of the Covid-19 pandemic, the thirteen authors included in The Before and the After: Critical Asynchrony Now turned to reflections on the late work of Jacques Derrida in an attempt to think through the temporal disjunctions imposed by the global emergency. They found themselves thinking through ideas and philosophical tropes that had been in vogue more than twenty years earlier — as though a deep theoretical nostalgia could somehow rescue them from the moment that beset them.As a belated turn to Derrida’s late work, The Before and the After provides a series of visions of what we might become, in our engagements with the past — both the contemporary and ancient past — in our occupation of every fractured “now.” This book is a document of a moment now largely (hopefully) behind us and an attempt to imagine what remains to come. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0446.1.00_frontcover.jpg 1 03 06 10.53288/0446.1.01 1 11 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Sean Gurd Sean Gurd 2 B01 21 0000000198221984 Mario Telò Mario Telò 01 eng 20 00 Open Access Sean Gurd, Mario Telò 2 03 06 10.53288/0446.1.02 13 30 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Before 1 A01 21 0000000198221984 Mario Telò Mario Telò Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies 40 01an7q238 University of California, Berkeley Mario Telò is Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics and the Canon (2016); Archive Feelings: A Theory of Greek Tragedy (2020); Greek Tragedy in a Global Crisis: Reading through Pandemic Times (2023); Resistant Form: Aristophanes and the Comedy of Crisis (2023); Judith Butler and the Ethics of Greek Tragedy (2024), and the forthcoming Roman Comedy against the Subject and Edward Said and the Late Animal: The Queer Politics of Greco-Roman Style. He is also the co-editor of Greek Comedy and the Discourse of Genres (2013); The Materialities of Greek Tragedy (2018); Queer Euripides (2022); Radical Formalisms (2023); and Niobes: Antiquity, Modernity, Critical Theory (2024) 01 eng 03 00 An introduction to the agenda of the volume focusing on the entanglements of temporalities—uncanny achronies and synchronies— that emerge in the practices of writing about classics and the classical tradition in pandemic and pan-endemic times. 30 00 An introduction to the agenda of the volume focusing on the entanglements of temporalities—uncanny achronies and synchronies— that emerge in the practices of writing about classics and the classical tradition in pandemic and pan-endemic times. 20 00 Open Access Mario Telò 3 03 06 10.53288/0446.1.03 31 49 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Irony, Philosophy, and Revolution In the Beginning Was the Concept (Socrates and Derrida) 1 A01 Paul Allen Miller Paul Allen Miller Carolina Distinguished Professor 40 02b6qw903 University of South Carolina Paul Allen Miller is Carolina Distinguished Professor at the University of South Carolina. He is the former editor of Transactions of the American Philological Association. He is the author of Lyric Texts and Lyric Consciousness (1994), Latin Erotic Elegy (2002), Subjecting Verses (2004), Latin Verse Satire (2005), Postmodern Spiritual Practices (2007), Plato’s Apology of Socrates (2010, with Charles Platter), A Tibullus Reader (2013), Diotima at the Barricades: French Feminists Read Plato (2015), Horace (2019), and Foucault’s Seminars on Antiquity: Learning to Speak the Truth (2021). He has edited fifteen volumes of essays on literary theory, gender studies, and topics in classics as well as published more than 90 articles on Latin, Greek, French, and English literature, theory, and philosophy. He is currently at work on Truth and Enjoyment: Cicero Beyond the Pleasure Principle. 01 eng 03 00 If we “do justice” to Socrates—not as the Athenian people did, which Hegel considered just and necessary—but if we let him roam free, if we set no limit to the testing he does of us and our fellow citizens, then the Socratic impulse is both profoundly ironic and ultimately revolutionary: for this moment of irony is that in which new thought and new concepts can emerge, and this moment is a necessary, if not sufficient, cause of fundamental social change. To make this case for the revolutionary potential of irony and the movement of the concept, I enlist the help of Jacques Derrida. In particular, I will make use of his notion of “hauntology” as elaborated in Spectres of Marx and related works from the eighties and nineties. 30 00 If we “do justice” to Socrates—not as the Athenian people did, which Hegel considered just and necessary—but if we let him roam free, if we set no limit to the testing he does of us and our fellow citizens, then the Socratic impulse is both profoundly ironic and ultimately revolutionary: for this moment of irony is that in which new thought and new concepts can emerge, and this moment is a necessary, if not sufficient, cause of fundamental social change. To make this case for the revolutionary potential of irony and the movement of the concept, I enlist the help of Jacques Derrida. In particular, I will make use of his notion of “hauntology” as elaborated in Spectres of Marx and related works from the eighties and nineties. 20 00 Open Access Paul Allen Miller 4 03 06 10.53288/0446.1.04 51 67 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Late-Roman Post-Futures The Spectral Planets of Derrida and Gene Wolfe 1 A01 Ben Radcliffe Ben Radcliffe lecturer in Classics 40 00xhj8c72 Loyola Marymount University Ben Radcliffe is a lecturer in Classics at Loyola Marymount University. His research and teaching focus on Homer, ancient Greek literature, ancient and modern political thought, utopianism, and aesthetic theory. His work has recently appeared in the American Journal of Philology, Ramus, and Classical Antiquity, and he co-organized a seminar on paranoia in Greek and Roman literature at the 2022 American Comparative Literature Association conference. He is currently working on a project about the aesthetics of surplus in archaic Greek poetry. 01 eng 03 00 This chapter examines Gene Wolfe’s science-fiction tetralogy, The Book of the New Sun, alongside other literary and philosophical texts from the waning of the Cold War, including Jameson’s The Geopolitical Aesthetic and Derrida’s Specters of Marx. Wolfe repurposes classical imagery and tropes of late Roman decadence to construct a fictional world in which the archaic, the modern, and the futuristic coexist in a single picture. I interpret Wolfe’s anachronic classicism in light of other late 20th-century authors who diagnosed the temporal disorientation of capitalist globalization and the “end of history.” Wolfe and his contemporaries explore the ethical and political affordances of “world-pictures,” totalizing depictions of an interconnected planetary reality that might orient the subjects of globalization within its intractable crises. In Wolfe’s novels, the untimeliness of Greco-Roman antiquity serves as a productive resource for constructing such pictures. I conclude by considering the dilemmas that Wolfe’s sci-fi speculations raise regarding the temporality of classical receptions. 30 00 This chapter examines Gene Wolfe’s science-fiction tetralogy, The Book of the New Sun, alongside other literary and philosophical texts from the waning of the Cold War, including Jameson’s The Geopolitical Aesthetic and Derrida’s Specters of Marx. Wolfe repurposes classical imagery and tropes of late Roman decadence to construct a fictional world in which the archaic, the modern, and the futuristic coexist in a single picture. I interpret Wolfe’s anachronic classicism in light of other late 20th-century authors who diagnosed the temporal disorientation of capitalist globalization and the “end of history.” Wolfe and his contemporaries explore the ethical and political affordances of “world-pictures,” totalizing depictions of an interconnected planetary reality that might orient the subjects of globalization within its intractable crises. In Wolfe’s novels, the untimeliness of Greco-Roman antiquity serves as a productive resource for constructing such pictures. I conclude by considering the dilemmas that Wolfe’s sci-fi speculations raise regarding the temporality of classical receptions. 20 00 Open Access Ben Radcliffe 5 03 06 10.53288/0446.1.05 69 89 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Spectral Life of Friends Derrida, Cicero, Atticus 1 A01 Francesca Martelli Francesca Martelli Associate Professor of Classics 40 046rm7j60 University of California, Los Angeles Francesca Martelli is Associate Professor of Classics at University of California, Los Angeles. She is the author of two books on Ovid: Ovid’s Revisions: The Editor as Author (2013) and Ovid: Brill Research Perspectives on Ancient Poetry (2020), and co-editor (along with Giulia Sissa) of a volume of essays on Ovid’s Metamorphoses as a seminal work of ecocritique (2023). Her most recent publication is a book on Cicero’s letters, Souvenirs of Cicero: Shaping Memory in the Epistulae ad Familiares (2024), which maintains a persistent interest in placing Latin texts in dialogue with the work and thought of Jacques Derrida. 01 eng 03 00 This paper digs into Derrida's critical engagement in The Politics of Friendship with Cicero's idealised portrait of friendship in On Friendship. It argues that the issue Derrida takes with Cicero's narcissistic model of friendship as a relationship of similitude, as exemplified by the historic friendship between Scipio and Laelius, is in fact belied by the friendship that hovers around the margins of this text: that between Cicero and Atticus, the dedicatee of On Friendship, whose unequal status with Cicero is a precondition for the alterity at the heart of their friendship, along thoroughly Derridean lines. The paper then seeks to show how Cicero's Letters to Atticus further exemplifies Derrida's fundamental insight about another aspect of the friend's alterity -- namely, the fact that one friend dies before the other, leaving the latter to commemorate and mourn the one who dies first. Cicero's posthumously published collection of Letters to Atticus displays this asynchronicity in its very structure, as the letters in the opening book are shown to have been chosen for their resonance with moments from the very end of Cicero's life, which Atticus outlived. Cicero's Letters to Atticus, structured as it is by the anticipation of death, mourning and survival that provide the key to Derrida's formulation of friendship, is shown to anticipate Derrida's treatise by some millennia. 30 00 This paper digs into Derrida's critical engagement in The Politics of Friendship with Cicero's idealised portrait of friendship in On Friendship. It argues that the issue Derrida takes with Cicero's narcissistic model of friendship as a relationship of similitude, as exemplified by the historic friendship between Scipio and Laelius, is in fact belied by the friendship that hovers around the margins of this text: that between Cicero and Atticus, the dedicatee of On Friendship, whose unequal status with Cicero is a precondition for the alterity at the heart of their friendship, along thoroughly Derridean lines. The paper then seeks to show how Cicero's Letters to Atticus further exemplifies Derrida's fundamental insight about another aspect of the friend's alterity -- namely, the fact that one friend dies before the other, leaving the latter to commemorate and mourn the one who dies first. Cicero's posthumously published collection of Letters to Atticus displays this asynchronicity in its very structure, as the letters in the opening book are shown to have been chosen for their resonance with moments from the very end of Cicero's life, which Atticus outlived. Cicero's Letters to Atticus, structured as it is by the anticipation of death, mourning and survival that provide the key to Derrida's formulation of friendship, is shown to anticipate Derrida's treatise by some millennia. 20 00 Open Access Francesca Martelli 6 03 06 10.53288/0446.1.06 91 112 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thelyology Apuleius’s Morphologies of Damage 1 A01 David Youd David Youd PhD candidate in classics and critical theory 40 01an7q238 University of California, Berkeley David Youd is a PhD candidate in classics and critical theory at University of California, Berkeley. His published work includes articles and essays on Euripides, Plautus, and Terence. His dissertation, “The Queer Art of Terence,” offers a rereading of Terence’s comedies through the lens of psychoanalysis and queer theory. 01 eng 03 00 Proposing a new interpretative approach to Apuleius’s Metamorphoses, I attempt to shift the locus of deconstructive reading from the novel’s larger narratological structures to its smaller morphologies of bodies, words, and syntax. First, I retrace Derrida’s account in Archive Fever of the integral role of technical form to ontological possibility. As he reminds us, the signifier (the means of recording) reveals by repressing, producing lack even as it engenders the illusion of unitary wholeness. Against this semblance of completion, Derrida conjures the specter of radical alterity and irrecoverable loss that bedevil any archival endeavor. Archive Fever interfaces here with theorizations of late style: the tendency of the artist to turn away from resolution and closure as life’s close reveals its basic fragmentation rather than any essential unity. In both intellectual projects, the supplement meant to redeem the whole is twisted into a revelation of irreparable damage, and this logic of the perverted supplement can be said to condition Apuleius’s novelistic technique. Turning to Thelyphron’s autobiographical tale at the end of book two, I advance a mode of very close reading or “interpretive microscopy” focused on the intricacies of aesthetic form and style. At every turn, as my readings seek to show, Thelyphron transforms his narrative prostheses from archontic technologies of the self into the means of its undoing. 30 00 Proposing a new interpretative approach to Apuleius’s Metamorphoses, I attempt to shift the locus of deconstructive reading from the novel’s larger narratological structures to its smaller morphologies of bodies, words, and syntax. First, I retrace Derrida’s account in Archive Fever of the integral role of technical form to ontological possibility. As he reminds us, the signifier (the means of recording) reveals by repressing, producing lack even as it engenders the illusion of unitary wholeness. Against this semblance of completion, Derrida conjures the specter of radical alterity and irrecoverable loss that bedevil any archival endeavor. Archive Fever interfaces here with theorizations of late style: the tendency of the artist to turn away from resolution and closure as life’s close reveals its basic fragmentation rather than any essential unity. In both intellectual projects, the supplement meant to redeem the whole is twisted into a revelation of irreparable damage, and this logic of the perverted supplement can be said to condition Apuleius’s novelistic technique. Turning to Thelyphron’s autobiographical tale at the end of book two, I advance a mode of very close reading or “interpretive microscopy” focused on the intricacies of aesthetic form and style. At every turn, as my readings seek to show, Thelyphron transforms his narrative prostheses from archontic technologies of the self into the means of its undoing. 20 00 Open Access David Youd 7 03 06 10.53288/0446.1.07 113 133 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “A Lie about Origin” Plato’s Archive Fever 1 A01 Karen Bassi Karen Bassi Research Professor Emerita of Classics and Literature 40 03s65by71 University of California, Santa Cruz Karen Bassi is Research Professor Emerita of Classics and Literature at the University of California, Santa Cruz. She is the author of Acting Like Men, Drama and Nostalgia in Ancient Greece (1998) and Traces of the Past: Classics between History and Archaeology (2016). She co-edited When Worlds Elide: Classics, Politics, Culture with Peter Euben (2010). She is now working on a book titled Imitating the Dead: Facing Death in Ancient Greek Tragedy and Philosophy. 01 eng 03 00 In Book 3 of Plato’s Republic, Socrates argues for what he calls "a lie about origin" (γενναῖον ψεῦδος, 414b-d). According to this lie, classes of citizens in Kallipolis were originally fashioned under the earth and differentiated by a hierarchy of metals (gold, silver, iron and brass, 414e-415c). In this paper, I read Socrates’ “lie about origin” in light of Derrida’s reading of Freud in Archive Fever, focused on the intersection of archaeology, epistemology and eschatology. Anticipating the archê of archaeology by anachronism, the myth of the metallic men questions first of all the predictive capability of origin stories. Subject to hesitation but repeated from generation to generation, Socrates’ “lie about origin” also reflects on the recent global crisis. In a pandemic whose beginning and end are unknowable and unpredictable, when the passing of time is measured in death’s approach (à venir), and when we are living in a so-called “post-truth” world, the “lie about origin” examines the conditions under which the past justifies a future (l’avenir). In Derrida’s phrase, it tests the “truth of delusion” (AF 86). 30 00 In Book 3 of Plato’s Republic, Socrates argues for what he calls "a lie about origin" (γενναῖον ψεῦδος, 414b-d). According to this lie, classes of citizens in Kallipolis were originally fashioned under the earth and differentiated by a hierarchy of metals (gold, silver, iron and brass, 414e-415c). In this paper, I read Socrates’ “lie about origin” in light of Derrida’s reading of Freud in Archive Fever, focused on the intersection of archaeology, epistemology and eschatology. Anticipating the archê of archaeology by anachronism, the myth of the metallic men questions first of all the predictive capability of origin stories. Subject to hesitation but repeated from generation to generation, Socrates’ “lie about origin” also reflects on the recent global crisis. In a pandemic whose beginning and end are unknowable and unpredictable, when the passing of time is measured in death’s approach (à venir), and when we are living in a so-called “post-truth” world, the “lie about origin” examines the conditions under which the past justifies a future (l’avenir). In Derrida’s phrase, it tests the “truth of delusion” (AF 86). 20 00 Open Access Karen Bassi 8 03 06 10.53288/0446.1.08 135 161 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Feral Futures, or The Animal That Therefore I Am Not (Less to Follow) 1 A01 Andres Matlock Andres Matlock assistant professor in Classics 40 00te3t702 University of Georgia Andres Matlock is an assistant professor in Classics at the University of Georgia, Athens. His research ranges widely over ancient philosophy, Roman literature and culture, and critical theory, with a special focus on ideas of time, nature, and change. 01 eng 03 00 Taking its cue from Derrida’s “The Animal That Therefore I Am (More to Follow),” this chapter considers the dynamic origins and ends of plants. By reading ancient arguments for natural teleology in Cicero and Theophrastus alongside contemporary ecological accounts of feral activity, I outline a critical history of the entanglement between human and non-human agency. From the perspective of the feral future, the human ability to shape the growth of plant life only works from within the vegetal forces that transform us in turn. 30 00 Taking its cue from Derrida’s “The Animal That Therefore I Am (More to Follow),” this chapter considers the dynamic origins and ends of plants. By reading ancient arguments for natural teleology in Cicero and Theophrastus alongside contemporary ecological accounts of feral activity, I outline a critical history of the entanglement between human and non-human agency. From the perspective of the feral future, the human ability to shape the growth of plant life only works from within the vegetal forces that transform us in turn. 20 00 Open Access Andres Matlock 9 03 06 10.53288/0446.1.09 163 194 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “The Sun Is New Every Day” (Heraclitus D-K frg. B6) Greek Ephemerality and Biopolitical Modernity 1 A01 Bruce Rosenstock Bruce Rosenstock Professor of Religion and Hebrew Studies 40 047426m28 University of Illinois Urbana-Champaign Bruce Rosenstock was Professor of Religion and Hebrew Studies, at the University of Illinois, Urbana-Champaign. He is the author of Philosophy and the Jewish Question: Mendelssohn, Rosenzweig, and Beyond (2010) and Transfinite Life: Oskar Goldberg and the Vitalist Imagination (2017). 01 eng 03 00 Through an implicit dialogue between Arendt and Derrida, this essay considers the Greek reflection on ephemerality in order to respond to the crisis in what Tim Ingold calls “humanifying,” a crisis that has acquired the unique power to upset the life-sustaining balance of earth and sun. By unpacking the significance of ephemerality in Greek poetic and philosophical sources we gain an insight into the challenge to the future of the species that we have faced with growing urgency since the technological-industrial revolution inaugurated by the invention of the coal-run steam engine. The essay ends with a discussion of Hortense Spillers’s reflections on the Black mother in light of Heraclitus. The conclusion, drawn from a Spillerian reading of Heraclitus, and a Heraclitean reading of Spillers, is that only the powers of natality can “break in upon” the bioengineering imagination of a patriarchal order that has never ceased to hope for a birthday like that of the sun, when a man can spring to life in ever-renewable glory, in “the beautiful homogeneity of the Same.” Death does not have the power to free us from this blinding hope to overcome ephemerality, for death is what drives this hope forward. Only birth can save us. 30 00 Through an implicit dialogue between Arendt and Derrida, this essay considers the Greek reflection on ephemerality in order to respond to the crisis in what Tim Ingold calls “humanifying,” a crisis that has acquired the unique power to upset the life-sustaining balance of earth and sun. By unpacking the significance of ephemerality in Greek poetic and philosophical sources we gain an insight into the challenge to the future of the species that we have faced with growing urgency since the technological-industrial revolution inaugurated by the invention of the coal-run steam engine. The essay ends with a discussion of Hortense Spillers’s reflections on the Black mother in light of Heraclitus. The conclusion, drawn from a Spillerian reading of Heraclitus, and a Heraclitean reading of Spillers, is that only the powers of natality can “break in upon” the bioengineering imagination of a patriarchal order that has never ceased to hope for a birthday like that of the sun, when a man can spring to life in ever-renewable glory, in “the beautiful homogeneity of the Same.” Death does not have the power to free us from this blinding hope to overcome ephemerality, for death is what drives this hope forward. Only birth can save us. 20 00 Open Access Bruce Rosenstock 10 03 06 10.53288/0446.1.10 195 214 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mourning Mourning Sophocles, Derrida, and Delay 1 A01 Sarah Nooter Sarah Nooter Edward Olson Professor of Classics and Theater and Performance Studies 40 024mw5h28 University of Chicago Sarah Nooter is the Edward Olson Professor of Classics and Theater and Performance Studies at the University of Chicago. She is the author of When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy (2012), The Mortal Voice in the Tragedies of Aeschylus (2017), and Greek Poetry in the Age of Ephemerality (2023). She is co-editor with Shane Butler of Sound and the Ancient Senses (2018) and co-editor with Mario Telò of Radical Formalisms: Reading, Theory, and the Boundaries of the Classical (2023). She is the editor and translator of How to Be Queer: An Ancient Guide to Sexuality (2024). 01 eng 03 00 In this chapter, I examine Jacques Derrida’s take on Sophocles’ portrait of Oedipus’s death in Oedipus at Colonus, and also attempt to answer some of the anxieties presented by Derrida in Of Hospitality and Archive Fever about technology and media, particularly as it all relates to long-lasting present tense of the COVID-19 pandemic. Ultimately, I address questions about how—through what rituals and tricks of time—we mediate delay, disruption, and loss. I close with an examination these themes in a performance of Bill T. Jones called “The Process of Becoming Infinite” and a look at mourning in Sophocles’ Ajax. 30 00 In this chapter, I examine Jacques Derrida’s take on Sophocles’ portrait of Oedipus’s death in Oedipus at Colonus, and also attempt to answer some of the anxieties presented by Derrida in Of Hospitality and Archive Fever about technology and media, particularly as it all relates to long-lasting present tense of the COVID-19 pandemic. Ultimately, I address questions about how—through what rituals and tricks of time—we mediate delay, disruption, and loss. I close with an examination these themes in a performance of Bill T. Jones called “The Process of Becoming Infinite” and a look at mourning in Sophocles’ Ajax. 20 00 Open Access Sarah Nooter 11 03 06 10.53288/0446.1.11 215 237 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Steps in Time Derrida’s Impossible Hospitality and the Apocalyptic Future of Cormac McCarthy’s The Road 1 A01 Carol Dougherty Carol Dougherty Professor of Classical Studies and Director of Comparative Literary Studies 40 01srpnj69 Wellesley College Carol Dougherty is Professor of Classical Studies and Director of Comparative Literary Studies at Wellesley College. She is the author of several books and articles on the literature, politics, and history of mobility and settlement in archaic and classical Greece, including The Raft of Odysseus: The Ethnographic Imagination of Homer’s Odyssey (2011) and, most recently, Travel and Home in Homer and Contemporary Literature (2019). Her current research approaches Greek tragedy within the discourse of hospitality, exploring the political and ethical issues raised by narratives about welcoming the foreigner on the Athenian stage. 01 eng 03 00 This paper argues that the aporia at the heart of Derrida’s essay on hospitality — its absence, its transgressions, its digressions – perfectly describes the narrative landscape of Cormac McCarthy’s 2006 novel, The Road. Following Derrida along McCarthy’s post-apocalyptic road allows the reader to explore the impossible hospitality of a world in which a man and his son must travel without the comforts of home or the safety of houses. It also suggests the opposite – revealing the experience of homelessness as the pre-condition, both ethical and imaginative, for defining hospitality, our ways of relating to others, as others. The novel’s aporetic conclusion reduces the novel’s protracted engagement with hospitality and its absence to the simple gesture of accepting what comes (à venir), a gesture that will, in the end, provide a future (l’avenir). Derrida’s meditations on hospitality repeatedly invoke the mythic figure of Oedipus, and this essay concludes by suggesting that reading Oedipus’ death as a final, transgressive act of hospitality might spark new insights into the man’s death in The Road as well as how a Derridean reading of the impossible poetics of hospitality in The Road prompts a similarly productive engagement with time in Sophocles’ Oedipus at Colonus. 30 00 This paper argues that the aporia at the heart of Derrida’s essay on hospitality — its absence, its transgressions, its digressions – perfectly describes the narrative landscape of Cormac McCarthy’s 2006 novel, The Road. Following Derrida along McCarthy’s post-apocalyptic road allows the reader to explore the impossible hospitality of a world in which a man and his son must travel without the comforts of home or the safety of houses. It also suggests the opposite – revealing the experience of homelessness as the pre-condition, both ethical and imaginative, for defining hospitality, our ways of relating to others, as others. The novel’s aporetic conclusion reduces the novel’s protracted engagement with hospitality and its absence to the simple gesture of accepting what comes (à venir), a gesture that will, in the end, provide a future (l’avenir). Derrida’s meditations on hospitality repeatedly invoke the mythic figure of Oedipus, and this essay concludes by suggesting that reading Oedipus’ death as a final, transgressive act of hospitality might spark new insights into the man’s death in The Road as well as how a Derridean reading of the impossible poetics of hospitality in The Road prompts a similarly productive engagement with time in Sophocles’ Oedipus at Colonus. 20 00 Open Access Carol Dougherty 12 03 06 10.53288/0446.1.12 239 260 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Blanchot, Derrida, and the Gimmick Writing Disaster in Euripides’s Bacchae 1 A01 21 0000000198221984 Mario Telò Mario Telò Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies 40 01an7q238 University of California, Berkeley Mario Telò is Professor of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at University of California, Berkeley. He is the author of Aristophanes and the Cloak of Comedy: Affect, Aesthetics and the Canon (2016); Archive Feelings: A Theory of Greek Tragedy (2020); Greek Tragedy in a Global Crisis: Reading through Pandemic Times (2023); Resistant Form: Aristophanes and the Comedy of Crisis (2023); Judith Butler and the Ethics of Greek Tragedy (2024), and the forthcoming Roman Comedy against the Subject and Edward Said and the Late Animal: The Queer Politics of Greco-Roman Style. He is also the co-editor of Greek Comedy and the Discourse of Genres (2013); The Materialities of Greek Tragedy (2018); Queer Euripides (2022); Radical Formalisms (2023); and Niobes: Antiquity, Modernity, Critical Theory (2024) 01 eng 03 00 According to Blanchot, “disaster is its imminence…what escapes the very possibility of experience.” This notion of disaster confounds the Derridean a-venir, since it concerns “what one cannot welcome except as the immanence that gratifies.” In this chapter, I use Blanchot’s engagement with Derrida as well as Derrida’s discussion of him in Demeure to reconsider the sense of disaster in Euripides’ Bacchae. Instead of focusing on the Maenads’ vitalistic rage, I linger on an apparently problematic scene: the enactment of Dionysian transgender rituals by two old men, Tiresias and Cadmus. Their jouissance lies in a gratifying passivity before the imminence that, for Blanchot, is dis-aster. In this scene, a prolonged present provoked by a not-yet-materialized catastrophic present evokes the temporality of the “gimmick,” which, for Sianne Ngai, confronts us with “a mode of bad contemporaneity akin to an elongated present.” I dwell on the temporality of hesitation as an alternative that Bacchae offers to the manic claims of decision-making and the future. While waiting is at once an unwelcome intrusion in the Covid era and the perennial condition of the migrants and refugees denied coevalness, in the context of the play the “arrival” (venir) of a “lack” (a-) constituted by the act of waiting and the in-decision of the present’s immobility has the potential to forestall the deceptively liberating future of ecstatic Dionysian time, replacing it with an extended (differently) Dionysian chronicity. 30 00 According to Blanchot, “disaster is its imminence…what escapes the very possibility of experience.” This notion of disaster confounds the Derridean a-venir, since it concerns “what one cannot welcome except as the immanence that gratifies.” In this chapter, I use Blanchot’s engagement with Derrida as well as Derrida’s discussion of him in Demeure to reconsider the sense of disaster in Euripides’ Bacchae. Instead of focusing on the Maenads’ vitalistic rage, I linger on an apparently problematic scene: the enactment of Dionysian transgender rituals by two old men, Tiresias and Cadmus. Their jouissance lies in a gratifying passivity before the imminence that, for Blanchot, is dis-aster. In this scene, a prolonged present provoked by a not-yet-materialized catastrophic present evokes the temporality of the “gimmick,” which, for Sianne Ngai, confronts us with “a mode of bad contemporaneity akin to an elongated present.” I dwell on the temporality of hesitation as an alternative that Bacchae offers to the manic claims of decision-making and the future. While waiting is at once an unwelcome intrusion in the Covid era and the perennial condition of the migrants and refugees denied coevalness, in the context of the play the “arrival” (venir) of a “lack” (a-) constituted by the act of waiting and the in-decision of the present’s immobility has the potential to forestall the deceptively liberating future of ecstatic Dionysian time, replacing it with an extended (differently) Dionysian chronicity. 20 00 Open Access Mario Telò 13 03 06 10.53288/0446.1.13 261 284 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Future of the Past Pericles, History, and Athenian Democracy 1 A01 21 0000000304501286 Ahuvia Kahane Ahuvia Kahane Regius Professor of Greek and A.G. Leventis Professor of Greek Culture 40 02tyrky19 Trinity College Dublin Ahuvia Kahane is a Fellow of Trinity College Dublin, where he is Regius Professor of Greek and A.G. Leventis Professor of Greek Culture. His forthcoming book is titled Epic, Novel, and the Progress of Antiquity and Orality and the Formula: A Political Rethinking. The co-edited collection Walking Cities: Layer, Trace, Zone, Vector came out in 2024. Together with colleagues from the Royal College of Art and the Ruskin School of Art, he is writing a book, provisionally entitled The Panoramico, on the politics of geometry. 01 eng 03 00 This paper considers the temporality and ethics of democracy, specifically within the context of Pericles’ funeral oration in Thucydides’ History of the Peloponnesian War. Drawing on J. Derrida’s notions of the future-to-come and democracy, reading the oration through the work of Gomm, opposing conservative Anglo-American readings and invoking the political thought of J. Rancière as well as insights from E. Schrödinger, K. Barad and the sciences, the paper argues that democracy, and indeed Pericles’ Athenian democracy is a practice that is the unity of the “one too many” and “the ‘more, always more’ of unsatisfied desire”, a regime that, as Rancière puts it, is “governed by the judicious use of its own un-governability.” 30 00 This paper considers the temporality and ethics of democracy, specifically within the context of Pericles’ funeral oration in Thucydides’ History of the Peloponnesian War. Drawing on J. Derrida’s notions of the future-to-come and democracy, reading the oration through the work of Gomm, opposing conservative Anglo-American readings and invoking the political thought of J. Rancière as well as insights from E. Schrödinger, K. Barad and the sciences, the paper argues that democracy, and indeed Pericles’ Athenian democracy is a practice that is the unity of the “one too many” and “the ‘more, always more’ of unsatisfied desire”, a regime that, as Rancière puts it, is “governed by the judicious use of its own un-governability.” 20 00 Open Access Ahuvia Kahane 14 03 06 10.53288/0446.1.14 285 316 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Before and after Greece and Egypt in the Eighteenth Century 1 A01 21 0000000284282767 Daniel Orrells Daniel Orrells Professor of Classics 40 0220mzb33 King's College London Daniel Orrells is Professor of Classics at King’s College London. He is author of the monographs Classical Culture and Modern Masculinity (2011), Sex: Antiquity and Its Legacy (2015), and Antiquity in Print: Visualizing Greece in the Eighteenth Century (2024). 01 eng 03 00 This chapter examines the question of the historical relationship—the before and the after—of ancient Greece and Egypt in the eighteenth century, to complicate our narratives about the rise of philhellenism during the Enlightenment. While the eighteenth-century antiquarian turn to material culture has indeed been seen as foundational—the “before”—for the development and institutionalization of the discipline of classics, we will see that the emerging narrative about Europe’s ancient Greek origins was constructed in dialogue with eighteenth-century debates about the Egyptian hieroglyph, the history of writing, and the relationship between image and text. This chapter explores these issues by focussing on an exemplary set of Enlightenment intellectuals and antiquarians: Giambattista Vico, Winckelmann, and d'Hancarville. This chapter shows that the reception of ancient Egypt in the Enlightenment was fundamental to the emergence of the European narrative about its Hellenic origins. 30 00 This chapter examines the question of the historical relationship—the before and the after—of ancient Greece and Egypt in the eighteenth century, to complicate our narratives about the rise of philhellenism during the Enlightenment. While the eighteenth-century antiquarian turn to material culture has indeed been seen as foundational—the “before”—for the development and institutionalization of the discipline of classics, we will see that the emerging narrative about Europe’s ancient Greek origins was constructed in dialogue with eighteenth-century debates about the Egyptian hieroglyph, the history of writing, and the relationship between image and text. This chapter explores these issues by focussing on an exemplary set of Enlightenment intellectuals and antiquarians: Giambattista Vico, Winckelmann, and d'Hancarville. This chapter shows that the reception of ancient Egypt in the Enlightenment was fundamental to the emergence of the European narrative about its Hellenic origins. 20 00 Open Access Daniel Orrells 15 03 06 10.53288/0446.1.15 317 323 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After (News That Stays News) 1 A01 Sean Gurd Sean Gurd professor in the Department of Classics 40 00hj54h04 The University of Texas at Austin Sean Gurd is a professor in the Department of Classics at the University of Texas at Austin. He has written four monographs: Iphigenias at Aulis: Textual Multiplicity, Radical Philology (2006); Work in Progress: Literary Revision as Social Performance in Ancient Rome (2012); Dissonance: Auditory Aesthetics in Ancient Greece (2016); and The Origins of Music Theory in the Age of Plato (2019). He also edited Philology and Its Histories (2010), and co-edited ’Pataphilology, an Irreader (2018) with Vincent W.J. van Gerven Oei. With Pauline LeVen he edited the Bloomsbury Cultural History of Western Music in Antiquity (2023). He is an editor of Tangent, an imprint of punctum books dedicated to publishing innovative books and projects that touch on classical antiquity and director of the Ancient Music and Performance Lab at the University of Texas at Austin. 01 eng 03 00 A reflection on general asynchrony as the condition of possibility of experience, with explicit reflections on Proust and Robert Kroetsch. 30 00 A reflection on general asynchrony as the condition of possibility of experience, with explicit reflections on Proust and Robert Kroetsch. 20 00 Open Access Sean Gurd 16 03 06 10.53288/0446.1.16 325 376 52 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Sean Gurd Sean Gurd 2 B01 21 0000000198221984 Mario Telò Mario Telò 01 eng 20 00 Open Access Sean Gurd, Mario Telò 01 URL https://punctumbooks.com/imprints/tangent/ Tangent 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-before-and-the-after-critical-asynchrony-now/ Earth, Milky Way 04 01 20250129 Mario Telò and Sean Gurd 02 WORLD 06 15 9781685711986 03 9781685711986 34 06 10.53288/0446.1.00 34 06 10.1353/jlt.2016.0025 34 06 10.1353/aim.2005.0020 34 06 10.1140/epjh/e2012-30009-7 34 06 10.3366/DRT.2010.0206 34 06 10.1007/BF00374436 34 06 10.1525/rep.2005.90.1.1 34 06 10.1086/521568 34 06 10.1215/23289252-3815069 34 06 10.1080/17450100701381581 34 06 10.1103/PhysRev.48.696.328 34 06 10.1163/156916408X336765 34 06 10.1007/s11007-005-3925-4 34 06 10.3366/drt.2020.0229.331 34 06 10.2307/4238745 34 06 10.1215/23289252-7914472 34 06 10.1215/01642472-2419540 34 06 10.1163/156852808X307061 34 06 10.2307/1088916 34 06 10.2307/468341 34 06 10.2307/2929975 34 06 10.2307/464756 34 06 10.2307/465144 34 06 10.1080/09697250020034706 34 06 10.1353/shq.2011.0015 34 06 10.1215/10407391-3821724 34 06 10.1103/PhysRev.47.777 34 06 10.5325/cormmccaj.16.2.0133 34 06 10.2307/4497729 34 06 10.2307/283450 34 06 10.3366/DRT.2020.0230 34 06 10.7202/008394ar 34 06 10.1016/j.tree.2019.07.018 34 06 10.1080/14797585.2017.1338600 34 06 10.1353/arn.2020.0010 34 06 10.1017/S0017383516000206 34 06 10.1080/17409292.2012.739442 34 06 10.2307/25011122 34 06 10.1215/22011919-3615934 34 06 10.1017/S000983880004307X 34 06 10.21983/P3.0172.1.00 34 06 10.2307/25010992 34 06 10.21983/P3.0172.1.00 34 06 10.3366/para.2020.0331 34 06 10.3390/genealogy4020038 34 06 10.1525/ca.2022.41.2.34 34 06 10.1130/GSAT151A.1.345 34 06 10.1163/15691640-12341449 34 06 10.2307/464649 34 06 10.1163/24688487-00201003 34 06 10.3366/drt.2020.0234 34 06 10.1093/applin/18.2.141 34 06 10.2307/4351452 34 06 10.2307/2709582 34 06 10.1093/jhc/9.2.275 34 06 10.1353/clw.2021.0011 34 06 10.1086/711432.350 34 06 10.1017/S0066477400004469 34 06 10.1215/10407391-4151785.352 34 06 10.2307/311019 34 06 10.1525/ca.2022.41.2.25 34 06 10.1215/22011919-3609949 34 06 10.1088/0034-4885/77/6/065901 34 06 10.2307/3185211 34 06 10.1093/crj/clr005 34 06 10.1093/crj/clz022 34 06 10.1086/361134 34 06 10.1177/0308275X19840417 34 06 10.1177/0003065114559835 34 06 10.2307/300484 34 06 10.1215/00382876-8915937 34 06 10.4000/ejas.12296 34 06 10.1007/BF01491891 34 06 10.1080/0969725X.2019.1568739 34 06 10.1080/14797585.2011.525099 34 06 10.2307/3595634 34 06 10.2307/464747 34 06 10.1215/10642684-1-3-237 34 06 10.1215/10642684-2843323 34 06 10.1086/711438 34 06 10.2307/2935927 34 06 10.1353/sym.2022.0025 34 06 10.53288/0445.1.00 34 06 10.2307/284171 34 06 10.1400/165276 34 06 10.1163/1569206X-12342804 34 06 10.1093/crj/clz021 34 06 10.1353/lan.0.0220 34 06 10.2307/3685794 34 06 10.1093/cdj/bsaa026 34 06 10.1103/PhysRevLett.70.1928 34 06 10.1068/d11512 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/98107 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/98107/0446.1.00.pdf?sequence=1&isAllowed=y 20 08 20250129 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/151949 20 08 20250129 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526484 20 08 20250129 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/835 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d18f7351-ff93-430d-83eb-ce19785747aa/download 20 08 20250129 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6244a086-636e-4756-bf5e-f803a78ffbc4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6244a086-636e-4756-bf5e-f803a78ffbc4/6244a086-636e-4756-bf5e-f803a78ffbc4.pdf 20 08 20250129 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850820 29 ZENODO: download the title https://zenodo.org/records/19850820/files/6244a086-636e-4756-bf5e-f803a78ffbc4_book.pdf 20 08 20250129 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-before-and-the-after-critical-asynchrony-now/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0446.1.00.pdf 20 08 20250129 01 urn:uuid:312465d4-2610-4966-bfb6-819cd596305b 03 01 01 thoth-work-id urn:uuid:26d522d4-fb46-47bf-a344-fe6af86688d3 01 thoth-publication-id urn:uuid:312465d4-2610-4966-bfb6-819cd596305b 15 9781947447677 03 9781947447677 06 10.21983/P3.0212.1.00 13 2018946359 01 internal-reference 0212 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Bodies That Remain 1 B01 Emmy Beber Emmy Beber 40 01egahc47 Royal College of Art 01 eng 00 306 03 12 DNF 93 DSK 10 LIT000000 B2 Literary Studies 93 DSC 93 FXL 20 embodiment; mourning; posthumous literature; mortality; metempsychosis 01 06 02 00 03 00 The Bodies That Remain is a collection of bodies and absences.Through biography, experimental essay, interview, fictional manifestation, and poetic extraction, The Bodies That Remain is a collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.The essays in The Bodies That Remain look back at how the identities of these bodies were shaped by the spaces around them, through the retelling of memory, through stories told by others, of how their work, processed by their body, made it possible for others to experience sensations – mourning, desire, or a nostalgia that could not belong to another, to another’s body – and in capturing this ability, their work confirms the body’s urgency.Amongst others, The Bodies That Remain tells the story of Emily Dickinson’s decay, the missing grave of Valeska Gert, the voice and sound of the body of Judee Sill, and the derailed body (and work) of Jane Bowles. It questions the absent body but broken organs of JT Leroy as they find themselves scattered across texts, and also interrogates the loss of distinction of illness for Jules de Goncourt as syphilis riddled his nervous system. It retrieves the illusory body of Kathy Acker through dream and through horror, sees the morphing body of Michael Jackson in becoming all of the bodies he was asked to be, and looks toward Sylvia Plath and the language of her own body.Where ‘body’ as a verb makes material something abstract, The Bodies That Remain, as a collection, became bodily. 30 00 The Bodies That Remain is a collection of bodies and absences.Through biography, experimental essay, interview, fictional manifestation, and poetic extraction, The Bodies That Remain is a collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.The essays in The Bodies That Remain look back at how the identities of these bodies were shaped by the spaces around them, through the retelling of memory, through stories told by others, of how their work, processed by their body, made it possible for others to experience sensations – mourning, desire, or a nostalgia that could not belong to another, to another’s body – and in capturing this ability, their work confirms the body’s urgency.Amongst others, The Bodies That Remain tells the story of Emily Dickinson’s decay, the missing grave of Valeska Gert, the voice and sound of the body of Judee Sill, and the derailed body (and work) of Jane Bowles. It questions the absent body but broken organs of JT Leroy as they find themselves scattered across texts, and also interrogates the loss of distinction of illness for Jules de Goncourt as syphilis riddled his nervous system. It retrieves the illusory body of Kathy Acker through dream and through horror, sees the morphing body of Michael Jackson in becoming all of the bodies he was asked to be, and looks toward Sylvia Plath and the language of her own body.Where ‘body’ as a verb makes material something abstract, The Bodies That Remain, as a collection, became bodily. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0212.1.00_frontcover.png 1 03 06 10.21983/P3.0212.1.01 i xvi 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Emmy Beber Emmy Beber 01 eng 20 00 Open Access Beber, Emmy 2 03 06 10.21983/P3.0212.1.02 17 21 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Emmy Beber Emmy Beber 01 eng 03 00 The Bodies That Remain arrived on its own terms. I spent the next two years gathering examples. Throughout the process people would ask me periodically if I understood the book as a ‘body of work’. It was a collection, so this was a possibility. But somehow this felt too complete. The only physical body I had ever known truly was chaotic, anxious, constantly moving. At the beginning, the book felt like this too; it was unpredict-able. The writing within shifted form, changed tone, pace, even subject; as though scattered parts, the texts arrived in my inbox from studios in New York, Philadelphia, Chicago; from hillsides in Yorkshire and the silent landscapes of the French country-side; from London back rooms, Belfast laboratories and even from aboard ship, in the middle of the ocean. It was a peculiar experience coming to care viscerally about the words of others as though it were their bodies I was working with; caring for the bodies being spoken about—the fictions, truths, pain, the shar-ing of bodies and their absences; learning how to allow a body to appear in writing without becoming the body. 30 00 The Bodies That Remain arrived on its own terms. I spent the next two years gathering examples. Throughout the process people would ask me periodically if I understood the book as a ‘body of work’. It was a collection, so this was a possibility. But somehow this felt too complete. The only physical body I had ever known truly was chaotic, anxious, constantly moving. At the beginning, the book felt like this too; it was unpredict-able. The writing within shifted form, changed tone, pace, even subject; as though scattered parts, the texts arrived in my inbox from studios in New York, Philadelphia, Chicago; from hillsides in Yorkshire and the silent landscapes of the French country-side; from London back rooms, Belfast laboratories and even from aboard ship, in the middle of the ocean. It was a peculiar experience coming to care viscerally about the words of others as though it were their bodies I was working with; caring for the bodies being spoken about—the fictions, truths, pain, the shar-ing of bodies and their absences; learning how to allow a body to appear in writing without becoming the body. 20 00 Open Access Beber, Emmy 3 03 06 10.21983/P3.0212.1.03 23 30 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Life and Deaths of Jane Bowles (or, Reputation) 1 A01 Lynne Tillman Lynne Tillman 40 012zs8222 University at Albany, State University of New York 01 eng 03 00 Jane Bowles was born on February 22, 1917, a short, usually harsh month—it seems right for her. Bowles’s unique writing and life were cut short, derailed by neuroses, alcoholism, physical ill-ness. Her friends remember her sharp wit, agile mind, gaiety, humor, outrageousness. While she lived, stories about wild Jane Bowles circulated in Tangier where she resided from 1948. Back then she was a living legend, but the flux of reputation—here today, gone tomorrow—sends her body of work into and out of print (OP). Among certain contemporary writers, including Lydia Davis, Deborah Eisenberg, Michael Cunningham, Jane Bowles is cel-ebrated and revered for her work, notably her sole, singular novel Two Serious Ladies (1943).1 It has also been praised exuberantly by Tennessee Williams, Truman Capote, and John Ashbery. Bowles finished six stories, and a play, In The Summer House, which ran on Broadway in 1954, with incidental music by Paul Bowles. 30 00 Jane Bowles was born on February 22, 1917, a short, usually harsh month—it seems right for her. Bowles’s unique writing and life were cut short, derailed by neuroses, alcoholism, physical ill-ness. Her friends remember her sharp wit, agile mind, gaiety, humor, outrageousness. While she lived, stories about wild Jane Bowles circulated in Tangier where she resided from 1948. Back then she was a living legend, but the flux of reputation—here today, gone tomorrow—sends her body of work into and out of print (OP). Among certain contemporary writers, including Lydia Davis, Deborah Eisenberg, Michael Cunningham, Jane Bowles is cel-ebrated and revered for her work, notably her sole, singular novel Two Serious Ladies (1943).1 It has also been praised exuberantly by Tennessee Williams, Truman Capote, and John Ashbery. Bowles finished six stories, and a play, In The Summer House, which ran on Broadway in 1954, with incidental music by Paul Bowles. 20 00 Open Access Tillman, Lynne 4 03 06 10.21983/P3.0212.1.04 32 36 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Be Michael Jackson 1 A01 David Rule David Rule 01 eng 03 00 Be Michael Jackson. Keep singing, but shrug your shoulders and smile and be lots of different faces and then be Tyra Banks. John Landis yells: ‘Cut! That was perfect! How’d you do that???’Be molten gold. Be the dream of molten gold, all sparkles. Turn into Michael Jackson and seduce the supermodel Iman. Be sand to escape her palace guards.Be water. Rise up in front of waterfalls and dance. Dance with the shoulders. Turn into Lisa ‘Left Eye’ Lopes and rap about the problems of the 1990s. Rap ‘believe in yourself, the rest is up to me and you.’Stay water but be a tentacle with a face on it for James Cameron. Learn about tongues. Be the T-1000, be liquid metal again, walk through fire, be disguised as a floor. 30 00 Be Michael Jackson. Keep singing, but shrug your shoulders and smile and be lots of different faces and then be Tyra Banks. John Landis yells: ‘Cut! That was perfect! How’d you do that???’Be molten gold. Be the dream of molten gold, all sparkles. Turn into Michael Jackson and seduce the supermodel Iman. Be sand to escape her palace guards.Be water. Rise up in front of waterfalls and dance. Dance with the shoulders. Turn into Lisa ‘Left Eye’ Lopes and rap about the problems of the 1990s. Rap ‘believe in yourself, the rest is up to me and you.’Stay water but be a tentacle with a face on it for James Cameron. Learn about tongues. Be the T-1000, be liquid metal again, walk through fire, be disguised as a floor. 20 00 Open Access Rule, David 5 03 06 10.21983/P3.0212.1.05 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Judee Sill 1 A01 Mairead Case Mairead Case 40 02ttsq026 University of Colorado Boulder 01 eng 03 00 Bodies are private, performative meatshells. They hold cancers and desire, and pain and joy, and sometimes other bodies too. I realized I had one when I felt sex pleasure, at three, one of my first memories, and also when my mom’s shape changed before my little sister was born. I don’t know anything about your body unless you tell me. Even if you don’t use words, and even though I’ll give you water, food, and aspirin anyway, if you have a head-ache. If some bodies remain, others must not. I feed myself. I believe in ghosts. Another thing I know is how to hear Judee Sill’s voice. Ed gave me two of her albums and right now I listen to them on my way to work. Outside the windows I see mountains, sky, metal-and-wood stands selling fruit and plants. Usually I am drinking lots of coffee very quickly. Crumbling toast in my lap. Judee’s voice needed her body to be. Her body isn’t here anymore, but its sounds are, somehow, because I can press a button and my ears fill with them. In Judee’s absence—in the absence of someone I never met—I feel more myself. I am trying to be as clear as possible here. I don’t think any of this is obvious. 30 00 Bodies are private, performative meatshells. They hold cancers and desire, and pain and joy, and sometimes other bodies too. I realized I had one when I felt sex pleasure, at three, one of my first memories, and also when my mom’s shape changed before my little sister was born. I don’t know anything about your body unless you tell me. Even if you don’t use words, and even though I’ll give you water, food, and aspirin anyway, if you have a head-ache. If some bodies remain, others must not. I feed myself. I believe in ghosts. Another thing I know is how to hear Judee Sill’s voice. Ed gave me two of her albums and right now I listen to them on my way to work. Outside the windows I see mountains, sky, metal-and-wood stands selling fruit and plants. Usually I am drinking lots of coffee very quickly. Crumbling toast in my lap. Judee’s voice needed her body to be. Her body isn’t here anymore, but its sounds are, somehow, because I can press a button and my ears fill with them. In Judee’s absence—in the absence of someone I never met—I feel more myself. I am trying to be as clear as possible here. I don’t think any of this is obvious. 20 00 Open Access Case, Mairead 6 03 06 10.21983/P3.0212.1.06 43 52 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lads of Aran 1 A01 Claire Potter Claire Potter 40 02tvcev59 New School 01 eng 20 00 Open Access Potter, Claire 7 03 06 10.21983/P3.0212.1.07 53 61 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Emily Dickinson 1 A01 Jeremy Millar Jeremy Millar 40 01egahc47 Royal College of Art 01 eng 03 00 About her eyes, and her face, we know the most. It is what we look upon first, look upon most, when we meet someone, it is true, yet such a meeting is for us forever, already, denied. Too late we have come, too early she has left. About her face I know more than almost anyone else’s. At the age of sixteen the length of her mouth crease was 8.5mm; the distance from the edge of her iris to her lower lid was 0.2mm. Is this what we mean by ‘know’? Fragments of things, gathered. The distance from her lateral lid crease to upper lid margin was 0.7mm at 3.8mm, in her right eye, and 0.8mm at 3.7mm in her left. Atoms, falling, yet never diminishing that from which they came. The length from her caruncle to lateral canthus? In her right eye, 5.1mm, 4.5mm in her left. Scraps. ‘Excuse/ Emily and/ her Atoms/ The North/ Star is/ of small/ fabric but it/ implies/ much/ presides/ yet.’ How much is implied by, how much authority sits upon, those slant lines of skin? We now know much, and it is always too little. 30 00 About her eyes, and her face, we know the most. It is what we look upon first, look upon most, when we meet someone, it is true, yet such a meeting is for us forever, already, denied. Too late we have come, too early she has left. About her face I know more than almost anyone else’s. At the age of sixteen the length of her mouth crease was 8.5mm; the distance from the edge of her iris to her lower lid was 0.2mm. Is this what we mean by ‘know’? Fragments of things, gathered. The distance from her lateral lid crease to upper lid margin was 0.7mm at 3.8mm, in her right eye, and 0.8mm at 3.7mm in her left. Atoms, falling, yet never diminishing that from which they came. The length from her caruncle to lateral canthus? In her right eye, 5.1mm, 4.5mm in her left. Scraps. ‘Excuse/ Emily and/ her Atoms/ The North/ Star is/ of small/ fabric but it/ implies/ much/ presides/ yet.’ How much is implied by, how much authority sits upon, those slant lines of skin? We now know much, and it is always too little. 20 00 Open Access Millar, Jeremy 8 03 06 10.21983/P3.0212.1.08 62 75 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pause Between Pauses 1 A01 Chloé Griffin Chloé Griffin 01 eng 03 00 There and untenable. Tiny things. Little creepings. Little sounds. Shifting between pauses of dark. Bodies of shadow. Dark light with movement. A night.Night sounds are like signals reaching outside time. Outside what is tangible. From bodies disappeared into airflows con-verging again to repeat conversations, dialogues undone, redo-ing, meeting again. 30 00 There and untenable. Tiny things. Little creepings. Little sounds. Shifting between pauses of dark. Bodies of shadow. Dark light with movement. A night.Night sounds are like signals reaching outside time. Outside what is tangible. From bodies disappeared into airflows con-verging again to repeat conversations, dialogues undone, redo-ing, meeting again. 20 00 Open Access Griffin, Chloé 9 03 06 10.21983/P3.0212.1.09 77 88 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brigid Brophy 1 A01 Phoebe Blatton Phoebe Blatton 01 eng 03 00 In talking about death, numbers matter immensely. Dates mat-ter; the date illness was first recorded, dates marking the decline, the date of departure, the date that will come round again as the years roll on, reiterating the shock of death however well it was expected or not. Age matters, supposedly to a greater of lesser extent depending on the age at the time of death. The time of death, that point at which our mattering is blown apart, scat-tered to the soil of a time beyond us where it’ll either bury down into this-or-that subjective or objective meaning or simply evaporate, is recorded, to keep hold of things, to make things ‘sensical’; an adjective that doesn’t officially exist because ‘sense’ has multiple meanings, unlike its ‘nonsensical’ antonym. But language doesn’t abide, it writhes against logic, through logic, creates its own. Language can describe death, but only from the outside. Numbers don’t explain, but they delineate death, and they continue where we don’t. 30 00 In talking about death, numbers matter immensely. Dates mat-ter; the date illness was first recorded, dates marking the decline, the date of departure, the date that will come round again as the years roll on, reiterating the shock of death however well it was expected or not. Age matters, supposedly to a greater of lesser extent depending on the age at the time of death. The time of death, that point at which our mattering is blown apart, scat-tered to the soil of a time beyond us where it’ll either bury down into this-or-that subjective or objective meaning or simply evaporate, is recorded, to keep hold of things, to make things ‘sensical’; an adjective that doesn’t officially exist because ‘sense’ has multiple meanings, unlike its ‘nonsensical’ antonym. But language doesn’t abide, it writhes against logic, through logic, creates its own. Language can describe death, but only from the outside. Numbers don’t explain, but they delineate death, and they continue where we don’t. 20 00 Open Access Blatton, Phoebe 10 03 06 10.21983/P3.0212.1.10 90 94 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Body. Beat. 1 A01 Susanna Davies-Crook Susanna Davies-Crook 01 eng 03 00 Dull thud of endings. Nerve sparks Can’t think Imaging you A forward motion. A swirl and stomach clench sick fall face first. Fucked. Calm is for lives. Windows blind, curtains overlooking allotments veil touched in night breeze Dinner table afar 4 legs. ‘Can you pass the salt?’ The walls. 4 of them. Beating the bounds thudding hours Upright limbs pin pricked neck to a gasp To a sucking air in. 30 00 Dull thud of endings. Nerve sparks Can’t think Imaging you A forward motion. A swirl and stomach clench sick fall face first. Fucked. Calm is for lives. Windows blind, curtains overlooking allotments veil touched in night breeze Dinner table afar 4 legs. ‘Can you pass the salt?’ The walls. 4 of them. Beating the bounds thudding hours Upright limbs pin pricked neck to a gasp To a sucking air in. 20 00 Open Access Davies-Crook, Susanna 11 03 06 10.21983/P3.0212.1.11 95 108 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 the Language of the Toilet 1 A01 Travis Jeppesen Travis Jeppesen 01 eng 03 00 Gary Sullivan, American poet, experiences the death of his grandfather, an amateur poet. Shortly before the grandfather passes away, lying on his death bed, he telephones his grand-son to boast that he has won an important poetry contest. The ‘contest’ turns out to be one initiated by poetry.com, one of countless cynical scam sites/vanity publishers that prey on would-be poets. Every poet who submits a poem wins—and each is celebrated via inclusion in a trophy anthology alongside other ‘winners’, all of whom are implicitly expected to buy sev-eral copies. 30 00 Gary Sullivan, American poet, experiences the death of his grandfather, an amateur poet. Shortly before the grandfather passes away, lying on his death bed, he telephones his grand-son to boast that he has won an important poetry contest. The ‘contest’ turns out to be one initiated by poetry.com, one of countless cynical scam sites/vanity publishers that prey on would-be poets. Every poet who submits a poem wins—and each is celebrated via inclusion in a trophy anthology alongside other ‘winners’, all of whom are implicitly expected to buy sev-eral copies. 20 00 Open Access Jeppesen, Travis 12 03 06 10.21983/P3.0212.1.12 110 112 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mary Butts 1 A01 Karen Di Franco Karen Di Franco 40 01s033b11 Glasgow School of Art 01 eng 03 00 The tomb of Mary Butts lies in the windswept graveyard of Sennen Church, its entrance barely visible from the A30 that connects Sennen Cove to the rest of the Penwith peninsula and onward towards Land’s End. Butts moved to Cornwall in 1932 and purchased a small bungalow, the unimaginatively named 1 Marine View. Renaming her home Te b e l Vo s (House of Mag-ic), this location would be the site of a prolific period in Butts’ published writing career, with the novel The Death of Felicity Tavener coming out in the same year, closely followed byThe Macedonian[1933] and Scenes from the Life of Cleopatra (1935). At the time of her death on 5 March 1937 at the West Cornwall Hospital in Penzance from a perforated duodenal ulcer and diabetes, Butts was working on a study of emperor Julian the Apostate and had recently completed her autobiography, The Crystal Cabinet. Published posthumously, the frontispiece of the book was a copy of a portrait made of Butts by her friend, the artist and filmmaker, Jean Cocteau. Her tombstone carries two epitaphs, an example, perhaps, of the contradictory nature of her life. The first, still clearly legible states ‘Mary Butts, wife of Gabriel Aitkin’. The second, is now almost illegible, the carv-ing eroded by salt, wind and the encroachment of lichen, but the words ‘I strove to seize the inmost form’, can just about be read, under closer scrutiny. This second epitaph, a quote from the poem ‘The Crystal Cabinet’ by William Blake, was placed by her daughter Camilla acknowledges the influence of this writer — whose life was entwined with Butts and her extended family. Butts’ grandfather was a patron and supporter of Blake, and his collection was installed in the Butts family home of Salt-erns in Poole, Dorset. The decision to sell this collection in 1906 preoccupied Butts for the remainder of her life, and her personal sense of loss and a dislocation of birthright foregrounds much of her writing. It would perhaps satisfy her to know that in 1939 the purchaser Graham Robertson bequeathed the Blakes to the Tate where it forms a substantial part of the national collection. The Crystal Cabinet was published by Methuen in June 1937. 30 00 The tomb of Mary Butts lies in the windswept graveyard of Sennen Church, its entrance barely visible from the A30 that connects Sennen Cove to the rest of the Penwith peninsula and onward towards Land’s End. Butts moved to Cornwall in 1932 and purchased a small bungalow, the unimaginatively named 1 Marine View. Renaming her home Te b e l Vo s (House of Mag-ic), this location would be the site of a prolific period in Butts’ published writing career, with the novel The Death of Felicity Tavener coming out in the same year, closely followed byThe Macedonian[1933] and Scenes from the Life of Cleopatra (1935). At the time of her death on 5 March 1937 at the West Cornwall Hospital in Penzance from a perforated duodenal ulcer and diabetes, Butts was working on a study of emperor Julian the Apostate and had recently completed her autobiography, The Crystal Cabinet. Published posthumously, the frontispiece of the book was a copy of a portrait made of Butts by her friend, the artist and filmmaker, Jean Cocteau. Her tombstone carries two epitaphs, an example, perhaps, of the contradictory nature of her life. The first, still clearly legible states ‘Mary Butts, wife of Gabriel Aitkin’. The second, is now almost illegible, the carv-ing eroded by salt, wind and the encroachment of lichen, but the words ‘I strove to seize the inmost form’, can just about be read, under closer scrutiny. This second epitaph, a quote from the poem ‘The Crystal Cabinet’ by William Blake, was placed by her daughter Camilla acknowledges the influence of this writer — whose life was entwined with Butts and her extended family. Butts’ grandfather was a patron and supporter of Blake, and his collection was installed in the Butts family home of Salt-erns in Poole, Dorset. The decision to sell this collection in 1906 preoccupied Butts for the remainder of her life, and her personal sense of loss and a dislocation of birthright foregrounds much of her writing. It would perhaps satisfy her to know that in 1939 the purchaser Graham Robertson bequeathed the Blakes to the Tate where it forms a substantial part of the national collection. The Crystal Cabinet was published by Methuen in June 1937. 20 00 Open Access Di Franco, Karen 13 03 06 10.21983/P3.0212.1.13 113 124 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mnemesoid 1 A01 Tai Shani Tai Shani 40 01egahc47 Royal College of Art 01 eng 03 00 The following chapter from Dark Continent is told through Mnemesoid, an open source software programme named after Mnemosyne, mother of the 9 muses and the symbolic embodiment of memory in Greek mythology, the software was created as an interface for ‘The Eternal Cortex Project’, an aggregated, almost infinite database of experience stored on the server farm HDS Ze-nobia Pink Data Center on the edge of the hologram. Through a frequent integration, bio-algorithm Mnemesoid renders the input of language, image and fiction into high fidelity, sensory informa-tion that can be experienced from the POV of self, other, animal or object. In this chapter Mnemesoid is at the point of the ‘Heat Death of the Universe’ or maximum entropy, a popular 20th century cos-mological hypothesis about the ultimate fate of the universe, this serves as a construct to conceptualise the end of time or a strange circularity where the end touches the beginning in a singularity. This is also an aid to imagine the paradox of the immaterial soft-ware within the collapse of matter. With no input, Mnemesoid replays moments on the limit of experience that have defied its capacity to produce a satisfactory sensory dimension, moments of intense touch, love, erotic and spiritual and self-consciousness. 30 00 The following chapter from Dark Continent is told through Mnemesoid, an open source software programme named after Mnemosyne, mother of the 9 muses and the symbolic embodiment of memory in Greek mythology, the software was created as an interface for ‘The Eternal Cortex Project’, an aggregated, almost infinite database of experience stored on the server farm HDS Ze-nobia Pink Data Center on the edge of the hologram. Through a frequent integration, bio-algorithm Mnemesoid renders the input of language, image and fiction into high fidelity, sensory informa-tion that can be experienced from the POV of self, other, animal or object. In this chapter Mnemesoid is at the point of the ‘Heat Death of the Universe’ or maximum entropy, a popular 20th century cos-mological hypothesis about the ultimate fate of the universe, this serves as a construct to conceptualise the end of time or a strange circularity where the end touches the beginning in a singularity. This is also an aid to imagine the paradox of the immaterial soft-ware within the collapse of matter. With no input, Mnemesoid replays moments on the limit of experience that have defied its capacity to produce a satisfactory sensory dimension, moments of intense touch, love, erotic and spiritual and self-consciousness. 20 00 Open Access Shani, Tai 14 03 06 10.21983/P3.0212.1.14 125 133 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 He Dives Too Deep 1 A01 Philip Hoare Philip Hoare 40 01ryk1543 University of Southampton 01 eng 03 00 On 7 June 1935, eighteen-year-old Denton Welch, a slight, be-spectacled, curly-haired young man who was studying art at the Goldsmith School of Art in New Cross, decided to cycle from his lodgings at 34 Croom’s Hill, a neat Georgian house in Greenwich, to spend the weekend with his aunt and uncle in Leigh, Surrey. Setting off on his trip that bright Sunday morning, Welch packed his bag. Like everything else in his life, it was assembled with a certain precision, if not fussiness. ‘I took very little with me, only pyjamas, tooth-brush, shaving things, and the creamy-white ivory comb which I had bought with my grandfather’s present to me. I was very fond of this comb, so I wrapped it carefully in the pyjamas and stowed it with the other things in the shiny black bag that was fastened on the back of the seat’. 30 00 On 7 June 1935, eighteen-year-old Denton Welch, a slight, be-spectacled, curly-haired young man who was studying art at the Goldsmith School of Art in New Cross, decided to cycle from his lodgings at 34 Croom’s Hill, a neat Georgian house in Greenwich, to spend the weekend with his aunt and uncle in Leigh, Surrey. Setting off on his trip that bright Sunday morning, Welch packed his bag. Like everything else in his life, it was assembled with a certain precision, if not fussiness. ‘I took very little with me, only pyjamas, tooth-brush, shaving things, and the creamy-white ivory comb which I had bought with my grandfather’s present to me. I was very fond of this comb, so I wrapped it carefully in the pyjamas and stowed it with the other things in the shiny black bag that was fastened on the back of the seat’. 20 00 Open Access Hoare, Philip 15 03 06 10.21983/P3.0212.1.15 135 213 79 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 more flinching 1 A01 Heather Phillipson Heather Phillipson 01 eng 03 00 it came because I came through stacks of airport terminals railway arches security checkpoints tunnels a revolving door into the hotel lobby’s free wifi HOTSPOT with Chopin in the backcloth making everything personal on tickertape & CNN’s mouths permanently overhead leeching terror into the common cerebrum where chips get lodged and served with a side of forcible emotion because I already came from interspaced days and nights of recurring feelings of my dead dog and grandmother spreading into all stories in newspapers of exploding torsos exploding dogs replacement dogs women griefs close-up eye-witnesses and already in my body getting bigger and taking over until passivity was an absurdity and wasn’t it always and will be 30 00 it came because I came through stacks of airport terminals railway arches security checkpoints tunnels a revolving door into the hotel lobby’s free wifi HOTSPOT with Chopin in the backcloth making everything personal on tickertape & CNN’s mouths permanently overhead leeching terror into the common cerebrum where chips get lodged and served with a side of forcible emotion because I already came from interspaced days and nights of recurring feelings of my dead dog and grandmother spreading into all stories in newspapers of exploding torsos exploding dogs replacement dogs women griefs close-up eye-witnesses and already in my body getting bigger and taking over until passivity was an absurdity and wasn’t it always and will be 20 00 Open Access Phillipson, Heather 16 03 06 10.21983/P3.0212.1.16 215 223 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Remaining Body of a Gage Fanfic 1 A01 Uma Breakdown Uma Breakdown 01 eng 03 00 Sunnydale High, High summer. A line of sand on the horizon, slowly bowing in the centre with clumps of grass and small insects.A figure walks along this line, walking north along the coast, the sun setting on their left and eyes watching from under that sun and from under the water. Back to the start. There’s nothing for a long time. Before this Gage didn’t exist and then Buffy Summers arrived and suddenly Gage exists, and they’re a ‘he’ and that ‘he’ is part of the swim team at the highschool and on his first day in existence things are already pretty melancholy because his friend is dead, and their skin is all in a steaming pile on the beach, cut off shirt and Lollapalooza tattoo and there is a heinous stench and some screaming. Total bummer. This was meant to be a party, beach fires and night surf and keg stands and sexy waterboarding celebrating the only good sports team in Sunnydale History having a chance at a state championship of some sort. 30 00 Sunnydale High, High summer. A line of sand on the horizon, slowly bowing in the centre with clumps of grass and small insects.A figure walks along this line, walking north along the coast, the sun setting on their left and eyes watching from under that sun and from under the water. Back to the start. There’s nothing for a long time. Before this Gage didn’t exist and then Buffy Summers arrived and suddenly Gage exists, and they’re a ‘he’ and that ‘he’ is part of the swim team at the highschool and on his first day in existence things are already pretty melancholy because his friend is dead, and their skin is all in a steaming pile on the beach, cut off shirt and Lollapalooza tattoo and there is a heinous stench and some screaming. Total bummer. This was meant to be a party, beach fires and night surf and keg stands and sexy waterboarding celebrating the only good sports team in Sunnydale History having a chance at a state championship of some sort. 20 00 Open Access Breakdown, Uma 17 03 06 10.21983/P3.0212.1.17 225 228 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kathy's Body 1 A01 Linda Stupard Linda Stupard 01 eng 03 00 Kathy Acker’s body is small, but also very strong. Kathy Acker’s hair is cut short in a signature buzzcut. Kathy Acker’s hair has grown long down to her shoulders and that makes her almost unrecognisable. Kathy Acker has perfectly symmetrical ears, which stick out slightly and which point in a neat diagonal downwards. Kathy Acker’s face is the kind of face you could draw diagrams on to demonstrate how to draw faces correctly and in proportion. Kathy Acker’s lips are perfect red and Kathy Acker’s eyebrows are in a perfect rounded arch as if they are the edges of a fingernail but drawn with goose down. I’m sorry to be such a lesbian about it, but Kathy Acker’s fingers are perfectly long and tapered towards the end and her wrists are so delicate it is as if they could break at any moment if you touched them. Kathy Acker’s body is dominated by mastectomy scars worn under a leather biker jacket. Kathy Acker’s chest is flat and pale like a teenage boy’s and there is a large tattoo on her shoulder. Kathy Acker’s breasts are pert even under an oversized loose-knit jersey. Kathy Acker’s breasts are in her hands and she is biting on their nipples 30 00 Kathy Acker’s body is small, but also very strong. Kathy Acker’s hair is cut short in a signature buzzcut. Kathy Acker’s hair has grown long down to her shoulders and that makes her almost unrecognisable. Kathy Acker has perfectly symmetrical ears, which stick out slightly and which point in a neat diagonal downwards. Kathy Acker’s face is the kind of face you could draw diagrams on to demonstrate how to draw faces correctly and in proportion. Kathy Acker’s lips are perfect red and Kathy Acker’s eyebrows are in a perfect rounded arch as if they are the edges of a fingernail but drawn with goose down. I’m sorry to be such a lesbian about it, but Kathy Acker’s fingers are perfectly long and tapered towards the end and her wrists are so delicate it is as if they could break at any moment if you touched them. Kathy Acker’s body is dominated by mastectomy scars worn under a leather biker jacket. Kathy Acker’s chest is flat and pale like a teenage boy’s and there is a large tattoo on her shoulder. Kathy Acker’s breasts are pert even under an oversized loose-knit jersey. Kathy Acker’s breasts are in her hands and she is biting on their nipples 20 00 Open Access Stupard, Linda 18 03 06 10.21983/P3.0212.1.18 230 242 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Envois 1 A01 Sharon Kivland Sharon Kivland 40 019wt1929 Sheffield Hallam University 01 eng 03 00 I refuse any system. I uncover a thought in motion. I call it the dialectic. My task is to reintroduce the register of meaning. I do my dissecting with concepts, not with a knife. The man speaking to you is a man like any other—I make use of the wrong lan-guage. I allow the other to bring his language in line with mine. I think of what goes through his head when I speak to him. My ideal is not the absence of passion. 30 00 I refuse any system. I uncover a thought in motion. I call it the dialectic. My task is to reintroduce the register of meaning. I do my dissecting with concepts, not with a knife. The man speaking to you is a man like any other—I make use of the wrong lan-guage. I allow the other to bring his language in line with mine. I think of what goes through his head when I speak to him. My ideal is not the absence of passion. 20 00 Open Access Kivland, Sharon 19 03 06 10.21983/P3.0212.1.19 243 250 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wilhelm Reich 1 A01 Harman Bains Harman Bains 01 eng 03 00 Wilhelm Reich (1897–1957), the famed Austrian psychoanalyst, was renowned for developing methods to harness the power of pleasure. Intent on researching the power of pleasure for the advancement and well-being of the human body, Reich found himself preoccupied with the functionality of sexual satisfac-tion. Pain as a condition of sexual pleasure is a well-documented phenomena; bodies carousing in limitations opposed by facets of inhibition no longer impart fear into the conventional. Sexual pleasure as a cure for pain is a relatively unknown condition. Often considered as a short-lived chemical experience pleasure derived from sexual interaction to oneself or another promotes a sense of a calm and well-being through an instant but soon diminishing release of oxytocin. 30 00 Wilhelm Reich (1897–1957), the famed Austrian psychoanalyst, was renowned for developing methods to harness the power of pleasure. Intent on researching the power of pleasure for the advancement and well-being of the human body, Reich found himself preoccupied with the functionality of sexual satisfac-tion. Pain as a condition of sexual pleasure is a well-documented phenomena; bodies carousing in limitations opposed by facets of inhibition no longer impart fear into the conventional. Sexual pleasure as a cure for pain is a relatively unknown condition. Often considered as a short-lived chemical experience pleasure derived from sexual interaction to oneself or another promotes a sense of a calm and well-being through an instant but soon diminishing release of oxytocin. 20 00 Open Access Bains, Harman 20 03 06 10.21983/P3.0212.1.20 251 262 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Missing Body of JT Leroy 1 A01 Pil and Galia Kollectiv Pil and Galia Kollectiv 01 eng 03 00 Not much remains of the body of JT Leroy. To start with, it is a body first and foremost made of words. Over the course of debut novel Sarah, short story collection The Heart Is Deceitful Above All Things and the novella Howard’s End, this body is portrayed as highly attuned to the sensual qualities of the mostly grim world it inhabits. It endures extremes of physical torture, from a disciplinarian grandfather’s whipping to sexual abuse from mother Sarah’s boyfriends. It registers the ultra-specific smells that pervade its low-rent environment, from the Naugahyde up-holstery of car seats to the overwhelming, eye-searing odour of freshly cut ramps, a kind of wild onion native to West Virginia. The reader’s ability to empathise with this damaged body—to vicariously feel the impact of the drugs, sex and violence that it is subjected to—is at the heart of the entire project. And yet for all the power of these descriptions to conjure the intensity of lived experience, the actual existence of this body has only ever been fragmentary at best, dispersed across telephone calls, emails, stand-ins and other evasive manoeuvres. 30 00 Not much remains of the body of JT Leroy. To start with, it is a body first and foremost made of words. Over the course of debut novel Sarah, short story collection The Heart Is Deceitful Above All Things and the novella Howard’s End, this body is portrayed as highly attuned to the sensual qualities of the mostly grim world it inhabits. It endures extremes of physical torture, from a disciplinarian grandfather’s whipping to sexual abuse from mother Sarah’s boyfriends. It registers the ultra-specific smells that pervade its low-rent environment, from the Naugahyde up-holstery of car seats to the overwhelming, eye-searing odour of freshly cut ramps, a kind of wild onion native to West Virginia. The reader’s ability to empathise with this damaged body—to vicariously feel the impact of the drugs, sex and violence that it is subjected to—is at the heart of the entire project. And yet for all the power of these descriptions to conjure the intensity of lived experience, the actual existence of this body has only ever been fragmentary at best, dispersed across telephone calls, emails, stand-ins and other evasive manoeuvres. 20 00 Open Access Kollectiv, Pil and Galia 21 03 06 10.21983/P3.0212.1.21 263 268 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 more or less matter 1 A01 Kevin Breathnach Kevin Breathnach 01 eng 03 00 Not long after their arrival in Rome at the start of April 1867, the brothers Edmond and Jules de Goncourt noted, in a jour-nal entry anticipating the style if not the sensibility of Thomas Bernhard, that everything that is beautiful here is beautiful in a course, material way. The pair would stay for six weeks, touring the city’s galleries with an eye that seemed in no way softened by the languors of travel: Raphael’s Transfiguration is reported to give the impression of wallpaper, while his Resurrection is judged purely academic. This, a supernatural event, a divine leg-end? I know no canvas which depicts it in a commoner prose, a more vulgar beauty. And it’s true: for a recently resurrected body, Raphael’s Christ does seem kind of jaded, but I’m less interested in the value or the vehemence of the brothers’ judgement here, than in the way the Journal slides, as it often does elsewhere, so casually and without warning, from the first-person plural to the first-person singular. After their mother’s death in 1848, the brothers were apart for more than twenty-four hours only twice. While working together on their novels, plays, art criticism and journal entries, Jules would hold the pen while Edmond—eight years the elder — stood behind him, pacing back and forth, leaning over his shoulder with suggestions. It is impossible to at-tribute any entry to one or the other, their translator notes. Theirs is an I containing more than itself. It is a singular pronoun of multitudes. It is a crowd, a site of excess. 30 00 Not long after their arrival in Rome at the start of April 1867, the brothers Edmond and Jules de Goncourt noted, in a jour-nal entry anticipating the style if not the sensibility of Thomas Bernhard, that everything that is beautiful here is beautiful in a course, material way. The pair would stay for six weeks, touring the city’s galleries with an eye that seemed in no way softened by the languors of travel: Raphael’s Transfiguration is reported to give the impression of wallpaper, while his Resurrection is judged purely academic. This, a supernatural event, a divine leg-end? I know no canvas which depicts it in a commoner prose, a more vulgar beauty. And it’s true: for a recently resurrected body, Raphael’s Christ does seem kind of jaded, but I’m less interested in the value or the vehemence of the brothers’ judgement here, than in the way the Journal slides, as it often does elsewhere, so casually and without warning, from the first-person plural to the first-person singular. After their mother’s death in 1848, the brothers were apart for more than twenty-four hours only twice. While working together on their novels, plays, art criticism and journal entries, Jules would hold the pen while Edmond—eight years the elder — stood behind him, pacing back and forth, leaning over his shoulder with suggestions. It is impossible to at-tribute any entry to one or the other, their translator notes. Theirs is an I containing more than itself. It is a singular pronoun of multitudes. It is a crowd, a site of excess. 20 00 Open Access Breathnach, Kevin 22 03 06 10.21983/P3.0212.1.22 269 297 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sylvia Plath 1 A01 Emily LaBarge Emily LaBarge 40 01egahc47 Royal College of Art 01 eng 03 00 Face in obscurity, she blows out three white candles that burn at different lengths, fixed to a saucer sitting atop a desk crowded with papers. Streams of smoke rise into the air; thin white lines twist and coil, undulating against the darkness of the surround-ing room. From behind, we see her walk up a short flight of stairs into the kitchen. Backlit with early morning glow, she emerges in silhou-ette—tall, slender, modest housecoat tied at the waist, long hair hanging down her back—as she moves in a deliberate, efficient manner. She opens and closes cupboards, prepares a tray of tea for one, pauses to look out the large window from where she can see the milkman begin his daily rounds. 30 00 Face in obscurity, she blows out three white candles that burn at different lengths, fixed to a saucer sitting atop a desk crowded with papers. Streams of smoke rise into the air; thin white lines twist and coil, undulating against the darkness of the surround-ing room. From behind, we see her walk up a short flight of stairs into the kitchen. Backlit with early morning glow, she emerges in silhou-ette—tall, slender, modest housecoat tied at the waist, long hair hanging down her back—as she moves in a deliberate, efficient manner. She opens and closes cupboards, prepares a tray of tea for one, pauses to look out the large window from where she can see the milkman begin his daily rounds. 20 00 Open Access LaBarge, Emily 23 03 06 10.21983/P3.0212.1.23 299 305 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Emmy Beber Emmy Beber 01 eng 20 00 Open Access Beber, Emmy 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-bodies-that-remain/ Earth, Milky Way 04 01 20181016 Beber, Emmy 02 WORLD 06 15 9781947447684 03 9781947447684 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/194744767X 20 08 20181016 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-bodies-that-remain 20 08 20181016 02 25.00 USD WORLD urn:uuid:047395a9-1dc8-4858-8b6c-04df454b5d5c 03 01 01 thoth-work-id urn:uuid:26d522d4-fb46-47bf-a344-fe6af86688d3 01 thoth-publication-id urn:uuid:047395a9-1dc8-4858-8b6c-04df454b5d5c 15 9781947447684 03 9781947447684 06 10.21983/P3.0212.1.00 13 2018946359 01 internal-reference 0212 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Bodies That Remain 1 B01 Emmy Beber Emmy Beber 40 01egahc47 Royal College of Art 01 eng 00 306 03 12 DNF 93 DSK 10 LIT000000 B2 Literary Studies 93 DSC 93 FXL 20 embodiment; mourning; posthumous literature; mortality; metempsychosis 01 06 02 00 03 00 The Bodies That Remain is a collection of bodies and absences.Through biography, experimental essay, interview, fictional manifestation, and poetic extraction, The Bodies That Remain is a collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.The essays in The Bodies That Remain look back at how the identities of these bodies were shaped by the spaces around them, through the retelling of memory, through stories told by others, of how their work, processed by their body, made it possible for others to experience sensations – mourning, desire, or a nostalgia that could not belong to another, to another’s body – and in capturing this ability, their work confirms the body’s urgency.Amongst others, The Bodies That Remain tells the story of Emily Dickinson’s decay, the missing grave of Valeska Gert, the voice and sound of the body of Judee Sill, and the derailed body (and work) of Jane Bowles. It questions the absent body but broken organs of JT Leroy as they find themselves scattered across texts, and also interrogates the loss of distinction of illness for Jules de Goncourt as syphilis riddled his nervous system. It retrieves the illusory body of Kathy Acker through dream and through horror, sees the morphing body of Michael Jackson in becoming all of the bodies he was asked to be, and looks toward Sylvia Plath and the language of her own body.Where ‘body’ as a verb makes material something abstract, The Bodies That Remain, as a collection, became bodily. 30 00 The Bodies That Remain is a collection of bodies and absences.Through biography, experimental essay, interview, fictional manifestation, and poetic extraction, The Bodies That Remain is a collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.The essays in The Bodies That Remain look back at how the identities of these bodies were shaped by the spaces around them, through the retelling of memory, through stories told by others, of how their work, processed by their body, made it possible for others to experience sensations – mourning, desire, or a nostalgia that could not belong to another, to another’s body – and in capturing this ability, their work confirms the body’s urgency.Amongst others, The Bodies That Remain tells the story of Emily Dickinson’s decay, the missing grave of Valeska Gert, the voice and sound of the body of Judee Sill, and the derailed body (and work) of Jane Bowles. It questions the absent body but broken organs of JT Leroy as they find themselves scattered across texts, and also interrogates the loss of distinction of illness for Jules de Goncourt as syphilis riddled his nervous system. It retrieves the illusory body of Kathy Acker through dream and through horror, sees the morphing body of Michael Jackson in becoming all of the bodies he was asked to be, and looks toward Sylvia Plath and the language of her own body.Where ‘body’ as a verb makes material something abstract, The Bodies That Remain, as a collection, became bodily. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0212.1.00_frontcover.png 1 03 06 10.21983/P3.0212.1.01 i xvi 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Emmy Beber Emmy Beber 01 eng 20 00 Open Access Beber, Emmy 2 03 06 10.21983/P3.0212.1.02 17 21 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Emmy Beber Emmy Beber 01 eng 03 00 The Bodies That Remain arrived on its own terms. I spent the next two years gathering examples. Throughout the process people would ask me periodically if I understood the book as a ‘body of work’. It was a collection, so this was a possibility. But somehow this felt too complete. The only physical body I had ever known truly was chaotic, anxious, constantly moving. At the beginning, the book felt like this too; it was unpredict-able. The writing within shifted form, changed tone, pace, even subject; as though scattered parts, the texts arrived in my inbox from studios in New York, Philadelphia, Chicago; from hillsides in Yorkshire and the silent landscapes of the French country-side; from London back rooms, Belfast laboratories and even from aboard ship, in the middle of the ocean. It was a peculiar experience coming to care viscerally about the words of others as though it were their bodies I was working with; caring for the bodies being spoken about—the fictions, truths, pain, the shar-ing of bodies and their absences; learning how to allow a body to appear in writing without becoming the body. 30 00 The Bodies That Remain arrived on its own terms. I spent the next two years gathering examples. Throughout the process people would ask me periodically if I understood the book as a ‘body of work’. It was a collection, so this was a possibility. But somehow this felt too complete. The only physical body I had ever known truly was chaotic, anxious, constantly moving. At the beginning, the book felt like this too; it was unpredict-able. The writing within shifted form, changed tone, pace, even subject; as though scattered parts, the texts arrived in my inbox from studios in New York, Philadelphia, Chicago; from hillsides in Yorkshire and the silent landscapes of the French country-side; from London back rooms, Belfast laboratories and even from aboard ship, in the middle of the ocean. It was a peculiar experience coming to care viscerally about the words of others as though it were their bodies I was working with; caring for the bodies being spoken about—the fictions, truths, pain, the shar-ing of bodies and their absences; learning how to allow a body to appear in writing without becoming the body. 20 00 Open Access Beber, Emmy 3 03 06 10.21983/P3.0212.1.03 23 30 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Life and Deaths of Jane Bowles (or, Reputation) 1 A01 Lynne Tillman Lynne Tillman 40 012zs8222 University at Albany, State University of New York 01 eng 03 00 Jane Bowles was born on February 22, 1917, a short, usually harsh month—it seems right for her. Bowles’s unique writing and life were cut short, derailed by neuroses, alcoholism, physical ill-ness. Her friends remember her sharp wit, agile mind, gaiety, humor, outrageousness. While she lived, stories about wild Jane Bowles circulated in Tangier where she resided from 1948. Back then she was a living legend, but the flux of reputation—here today, gone tomorrow—sends her body of work into and out of print (OP). Among certain contemporary writers, including Lydia Davis, Deborah Eisenberg, Michael Cunningham, Jane Bowles is cel-ebrated and revered for her work, notably her sole, singular novel Two Serious Ladies (1943).1 It has also been praised exuberantly by Tennessee Williams, Truman Capote, and John Ashbery. Bowles finished six stories, and a play, In The Summer House, which ran on Broadway in 1954, with incidental music by Paul Bowles. 30 00 Jane Bowles was born on February 22, 1917, a short, usually harsh month—it seems right for her. Bowles’s unique writing and life were cut short, derailed by neuroses, alcoholism, physical ill-ness. Her friends remember her sharp wit, agile mind, gaiety, humor, outrageousness. While she lived, stories about wild Jane Bowles circulated in Tangier where she resided from 1948. Back then she was a living legend, but the flux of reputation—here today, gone tomorrow—sends her body of work into and out of print (OP). Among certain contemporary writers, including Lydia Davis, Deborah Eisenberg, Michael Cunningham, Jane Bowles is cel-ebrated and revered for her work, notably her sole, singular novel Two Serious Ladies (1943).1 It has also been praised exuberantly by Tennessee Williams, Truman Capote, and John Ashbery. Bowles finished six stories, and a play, In The Summer House, which ran on Broadway in 1954, with incidental music by Paul Bowles. 20 00 Open Access Tillman, Lynne 4 03 06 10.21983/P3.0212.1.04 32 36 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Be Michael Jackson 1 A01 David Rule David Rule 01 eng 03 00 Be Michael Jackson. Keep singing, but shrug your shoulders and smile and be lots of different faces and then be Tyra Banks. John Landis yells: ‘Cut! That was perfect! How’d you do that???’Be molten gold. Be the dream of molten gold, all sparkles. Turn into Michael Jackson and seduce the supermodel Iman. Be sand to escape her palace guards.Be water. Rise up in front of waterfalls and dance. Dance with the shoulders. Turn into Lisa ‘Left Eye’ Lopes and rap about the problems of the 1990s. Rap ‘believe in yourself, the rest is up to me and you.’Stay water but be a tentacle with a face on it for James Cameron. Learn about tongues. Be the T-1000, be liquid metal again, walk through fire, be disguised as a floor. 30 00 Be Michael Jackson. Keep singing, but shrug your shoulders and smile and be lots of different faces and then be Tyra Banks. John Landis yells: ‘Cut! That was perfect! How’d you do that???’Be molten gold. Be the dream of molten gold, all sparkles. Turn into Michael Jackson and seduce the supermodel Iman. Be sand to escape her palace guards.Be water. Rise up in front of waterfalls and dance. Dance with the shoulders. Turn into Lisa ‘Left Eye’ Lopes and rap about the problems of the 1990s. Rap ‘believe in yourself, the rest is up to me and you.’Stay water but be a tentacle with a face on it for James Cameron. Learn about tongues. Be the T-1000, be liquid metal again, walk through fire, be disguised as a floor. 20 00 Open Access Rule, David 5 03 06 10.21983/P3.0212.1.05 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Judee Sill 1 A01 Mairead Case Mairead Case 40 02ttsq026 University of Colorado Boulder 01 eng 03 00 Bodies are private, performative meatshells. They hold cancers and desire, and pain and joy, and sometimes other bodies too. I realized I had one when I felt sex pleasure, at three, one of my first memories, and also when my mom’s shape changed before my little sister was born. I don’t know anything about your body unless you tell me. Even if you don’t use words, and even though I’ll give you water, food, and aspirin anyway, if you have a head-ache. If some bodies remain, others must not. I feed myself. I believe in ghosts. Another thing I know is how to hear Judee Sill’s voice. Ed gave me two of her albums and right now I listen to them on my way to work. Outside the windows I see mountains, sky, metal-and-wood stands selling fruit and plants. Usually I am drinking lots of coffee very quickly. Crumbling toast in my lap. Judee’s voice needed her body to be. Her body isn’t here anymore, but its sounds are, somehow, because I can press a button and my ears fill with them. In Judee’s absence—in the absence of someone I never met—I feel more myself. I am trying to be as clear as possible here. I don’t think any of this is obvious. 30 00 Bodies are private, performative meatshells. They hold cancers and desire, and pain and joy, and sometimes other bodies too. I realized I had one when I felt sex pleasure, at three, one of my first memories, and also when my mom’s shape changed before my little sister was born. I don’t know anything about your body unless you tell me. Even if you don’t use words, and even though I’ll give you water, food, and aspirin anyway, if you have a head-ache. If some bodies remain, others must not. I feed myself. I believe in ghosts. Another thing I know is how to hear Judee Sill’s voice. Ed gave me two of her albums and right now I listen to them on my way to work. Outside the windows I see mountains, sky, metal-and-wood stands selling fruit and plants. Usually I am drinking lots of coffee very quickly. Crumbling toast in my lap. Judee’s voice needed her body to be. Her body isn’t here anymore, but its sounds are, somehow, because I can press a button and my ears fill with them. In Judee’s absence—in the absence of someone I never met—I feel more myself. I am trying to be as clear as possible here. I don’t think any of this is obvious. 20 00 Open Access Case, Mairead 6 03 06 10.21983/P3.0212.1.06 43 52 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Lads of Aran 1 A01 Claire Potter Claire Potter 40 02tvcev59 New School 01 eng 20 00 Open Access Potter, Claire 7 03 06 10.21983/P3.0212.1.07 53 61 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Emily Dickinson 1 A01 Jeremy Millar Jeremy Millar 40 01egahc47 Royal College of Art 01 eng 03 00 About her eyes, and her face, we know the most. It is what we look upon first, look upon most, when we meet someone, it is true, yet such a meeting is for us forever, already, denied. Too late we have come, too early she has left. About her face I know more than almost anyone else’s. At the age of sixteen the length of her mouth crease was 8.5mm; the distance from the edge of her iris to her lower lid was 0.2mm. Is this what we mean by ‘know’? Fragments of things, gathered. The distance from her lateral lid crease to upper lid margin was 0.7mm at 3.8mm, in her right eye, and 0.8mm at 3.7mm in her left. Atoms, falling, yet never diminishing that from which they came. The length from her caruncle to lateral canthus? In her right eye, 5.1mm, 4.5mm in her left. Scraps. ‘Excuse/ Emily and/ her Atoms/ The North/ Star is/ of small/ fabric but it/ implies/ much/ presides/ yet.’ How much is implied by, how much authority sits upon, those slant lines of skin? We now know much, and it is always too little. 30 00 About her eyes, and her face, we know the most. It is what we look upon first, look upon most, when we meet someone, it is true, yet such a meeting is for us forever, already, denied. Too late we have come, too early she has left. About her face I know more than almost anyone else’s. At the age of sixteen the length of her mouth crease was 8.5mm; the distance from the edge of her iris to her lower lid was 0.2mm. Is this what we mean by ‘know’? Fragments of things, gathered. The distance from her lateral lid crease to upper lid margin was 0.7mm at 3.8mm, in her right eye, and 0.8mm at 3.7mm in her left. Atoms, falling, yet never diminishing that from which they came. The length from her caruncle to lateral canthus? In her right eye, 5.1mm, 4.5mm in her left. Scraps. ‘Excuse/ Emily and/ her Atoms/ The North/ Star is/ of small/ fabric but it/ implies/ much/ presides/ yet.’ How much is implied by, how much authority sits upon, those slant lines of skin? We now know much, and it is always too little. 20 00 Open Access Millar, Jeremy 8 03 06 10.21983/P3.0212.1.08 62 75 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pause Between Pauses 1 A01 Chloé Griffin Chloé Griffin 01 eng 03 00 There and untenable. Tiny things. Little creepings. Little sounds. Shifting between pauses of dark. Bodies of shadow. Dark light with movement. A night.Night sounds are like signals reaching outside time. Outside what is tangible. From bodies disappeared into airflows con-verging again to repeat conversations, dialogues undone, redo-ing, meeting again. 30 00 There and untenable. Tiny things. Little creepings. Little sounds. Shifting between pauses of dark. Bodies of shadow. Dark light with movement. A night.Night sounds are like signals reaching outside time. Outside what is tangible. From bodies disappeared into airflows con-verging again to repeat conversations, dialogues undone, redo-ing, meeting again. 20 00 Open Access Griffin, Chloé 9 03 06 10.21983/P3.0212.1.09 77 88 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brigid Brophy 1 A01 Phoebe Blatton Phoebe Blatton 01 eng 03 00 In talking about death, numbers matter immensely. Dates mat-ter; the date illness was first recorded, dates marking the decline, the date of departure, the date that will come round again as the years roll on, reiterating the shock of death however well it was expected or not. Age matters, supposedly to a greater of lesser extent depending on the age at the time of death. The time of death, that point at which our mattering is blown apart, scat-tered to the soil of a time beyond us where it’ll either bury down into this-or-that subjective or objective meaning or simply evaporate, is recorded, to keep hold of things, to make things ‘sensical’; an adjective that doesn’t officially exist because ‘sense’ has multiple meanings, unlike its ‘nonsensical’ antonym. But language doesn’t abide, it writhes against logic, through logic, creates its own. Language can describe death, but only from the outside. Numbers don’t explain, but they delineate death, and they continue where we don’t. 30 00 In talking about death, numbers matter immensely. Dates mat-ter; the date illness was first recorded, dates marking the decline, the date of departure, the date that will come round again as the years roll on, reiterating the shock of death however well it was expected or not. Age matters, supposedly to a greater of lesser extent depending on the age at the time of death. The time of death, that point at which our mattering is blown apart, scat-tered to the soil of a time beyond us where it’ll either bury down into this-or-that subjective or objective meaning or simply evaporate, is recorded, to keep hold of things, to make things ‘sensical’; an adjective that doesn’t officially exist because ‘sense’ has multiple meanings, unlike its ‘nonsensical’ antonym. But language doesn’t abide, it writhes against logic, through logic, creates its own. Language can describe death, but only from the outside. Numbers don’t explain, but they delineate death, and they continue where we don’t. 20 00 Open Access Blatton, Phoebe 10 03 06 10.21983/P3.0212.1.10 90 94 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Body. Beat. 1 A01 Susanna Davies-Crook Susanna Davies-Crook 01 eng 03 00 Dull thud of endings. Nerve sparks Can’t think Imaging you A forward motion. A swirl and stomach clench sick fall face first. Fucked. Calm is for lives. Windows blind, curtains overlooking allotments veil touched in night breeze Dinner table afar 4 legs. ‘Can you pass the salt?’ The walls. 4 of them. Beating the bounds thudding hours Upright limbs pin pricked neck to a gasp To a sucking air in. 30 00 Dull thud of endings. Nerve sparks Can’t think Imaging you A forward motion. A swirl and stomach clench sick fall face first. Fucked. Calm is for lives. Windows blind, curtains overlooking allotments veil touched in night breeze Dinner table afar 4 legs. ‘Can you pass the salt?’ The walls. 4 of them. Beating the bounds thudding hours Upright limbs pin pricked neck to a gasp To a sucking air in. 20 00 Open Access Davies-Crook, Susanna 11 03 06 10.21983/P3.0212.1.11 95 108 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 the Language of the Toilet 1 A01 Travis Jeppesen Travis Jeppesen 01 eng 03 00 Gary Sullivan, American poet, experiences the death of his grandfather, an amateur poet. Shortly before the grandfather passes away, lying on his death bed, he telephones his grand-son to boast that he has won an important poetry contest. The ‘contest’ turns out to be one initiated by poetry.com, one of countless cynical scam sites/vanity publishers that prey on would-be poets. Every poet who submits a poem wins—and each is celebrated via inclusion in a trophy anthology alongside other ‘winners’, all of whom are implicitly expected to buy sev-eral copies. 30 00 Gary Sullivan, American poet, experiences the death of his grandfather, an amateur poet. Shortly before the grandfather passes away, lying on his death bed, he telephones his grand-son to boast that he has won an important poetry contest. The ‘contest’ turns out to be one initiated by poetry.com, one of countless cynical scam sites/vanity publishers that prey on would-be poets. Every poet who submits a poem wins—and each is celebrated via inclusion in a trophy anthology alongside other ‘winners’, all of whom are implicitly expected to buy sev-eral copies. 20 00 Open Access Jeppesen, Travis 12 03 06 10.21983/P3.0212.1.12 110 112 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mary Butts 1 A01 Karen Di Franco Karen Di Franco 40 01s033b11 Glasgow School of Art 01 eng 03 00 The tomb of Mary Butts lies in the windswept graveyard of Sennen Church, its entrance barely visible from the A30 that connects Sennen Cove to the rest of the Penwith peninsula and onward towards Land’s End. Butts moved to Cornwall in 1932 and purchased a small bungalow, the unimaginatively named 1 Marine View. Renaming her home Te b e l Vo s (House of Mag-ic), this location would be the site of a prolific period in Butts’ published writing career, with the novel The Death of Felicity Tavener coming out in the same year, closely followed byThe Macedonian[1933] and Scenes from the Life of Cleopatra (1935). At the time of her death on 5 March 1937 at the West Cornwall Hospital in Penzance from a perforated duodenal ulcer and diabetes, Butts was working on a study of emperor Julian the Apostate and had recently completed her autobiography, The Crystal Cabinet. Published posthumously, the frontispiece of the book was a copy of a portrait made of Butts by her friend, the artist and filmmaker, Jean Cocteau. Her tombstone carries two epitaphs, an example, perhaps, of the contradictory nature of her life. The first, still clearly legible states ‘Mary Butts, wife of Gabriel Aitkin’. The second, is now almost illegible, the carv-ing eroded by salt, wind and the encroachment of lichen, but the words ‘I strove to seize the inmost form’, can just about be read, under closer scrutiny. This second epitaph, a quote from the poem ‘The Crystal Cabinet’ by William Blake, was placed by her daughter Camilla acknowledges the influence of this writer — whose life was entwined with Butts and her extended family. Butts’ grandfather was a patron and supporter of Blake, and his collection was installed in the Butts family home of Salt-erns in Poole, Dorset. The decision to sell this collection in 1906 preoccupied Butts for the remainder of her life, and her personal sense of loss and a dislocation of birthright foregrounds much of her writing. It would perhaps satisfy her to know that in 1939 the purchaser Graham Robertson bequeathed the Blakes to the Tate where it forms a substantial part of the national collection. The Crystal Cabinet was published by Methuen in June 1937. 30 00 The tomb of Mary Butts lies in the windswept graveyard of Sennen Church, its entrance barely visible from the A30 that connects Sennen Cove to the rest of the Penwith peninsula and onward towards Land’s End. Butts moved to Cornwall in 1932 and purchased a small bungalow, the unimaginatively named 1 Marine View. Renaming her home Te b e l Vo s (House of Mag-ic), this location would be the site of a prolific period in Butts’ published writing career, with the novel The Death of Felicity Tavener coming out in the same year, closely followed byThe Macedonian[1933] and Scenes from the Life of Cleopatra (1935). At the time of her death on 5 March 1937 at the West Cornwall Hospital in Penzance from a perforated duodenal ulcer and diabetes, Butts was working on a study of emperor Julian the Apostate and had recently completed her autobiography, The Crystal Cabinet. Published posthumously, the frontispiece of the book was a copy of a portrait made of Butts by her friend, the artist and filmmaker, Jean Cocteau. Her tombstone carries two epitaphs, an example, perhaps, of the contradictory nature of her life. The first, still clearly legible states ‘Mary Butts, wife of Gabriel Aitkin’. The second, is now almost illegible, the carv-ing eroded by salt, wind and the encroachment of lichen, but the words ‘I strove to seize the inmost form’, can just about be read, under closer scrutiny. This second epitaph, a quote from the poem ‘The Crystal Cabinet’ by William Blake, was placed by her daughter Camilla acknowledges the influence of this writer — whose life was entwined with Butts and her extended family. Butts’ grandfather was a patron and supporter of Blake, and his collection was installed in the Butts family home of Salt-erns in Poole, Dorset. The decision to sell this collection in 1906 preoccupied Butts for the remainder of her life, and her personal sense of loss and a dislocation of birthright foregrounds much of her writing. It would perhaps satisfy her to know that in 1939 the purchaser Graham Robertson bequeathed the Blakes to the Tate where it forms a substantial part of the national collection. The Crystal Cabinet was published by Methuen in June 1937. 20 00 Open Access Di Franco, Karen 13 03 06 10.21983/P3.0212.1.13 113 124 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mnemesoid 1 A01 Tai Shani Tai Shani 40 01egahc47 Royal College of Art 01 eng 03 00 The following chapter from Dark Continent is told through Mnemesoid, an open source software programme named after Mnemosyne, mother of the 9 muses and the symbolic embodiment of memory in Greek mythology, the software was created as an interface for ‘The Eternal Cortex Project’, an aggregated, almost infinite database of experience stored on the server farm HDS Ze-nobia Pink Data Center on the edge of the hologram. Through a frequent integration, bio-algorithm Mnemesoid renders the input of language, image and fiction into high fidelity, sensory informa-tion that can be experienced from the POV of self, other, animal or object. In this chapter Mnemesoid is at the point of the ‘Heat Death of the Universe’ or maximum entropy, a popular 20th century cos-mological hypothesis about the ultimate fate of the universe, this serves as a construct to conceptualise the end of time or a strange circularity where the end touches the beginning in a singularity. This is also an aid to imagine the paradox of the immaterial soft-ware within the collapse of matter. With no input, Mnemesoid replays moments on the limit of experience that have defied its capacity to produce a satisfactory sensory dimension, moments of intense touch, love, erotic and spiritual and self-consciousness. 30 00 The following chapter from Dark Continent is told through Mnemesoid, an open source software programme named after Mnemosyne, mother of the 9 muses and the symbolic embodiment of memory in Greek mythology, the software was created as an interface for ‘The Eternal Cortex Project’, an aggregated, almost infinite database of experience stored on the server farm HDS Ze-nobia Pink Data Center on the edge of the hologram. Through a frequent integration, bio-algorithm Mnemesoid renders the input of language, image and fiction into high fidelity, sensory informa-tion that can be experienced from the POV of self, other, animal or object. In this chapter Mnemesoid is at the point of the ‘Heat Death of the Universe’ or maximum entropy, a popular 20th century cos-mological hypothesis about the ultimate fate of the universe, this serves as a construct to conceptualise the end of time or a strange circularity where the end touches the beginning in a singularity. This is also an aid to imagine the paradox of the immaterial soft-ware within the collapse of matter. With no input, Mnemesoid replays moments on the limit of experience that have defied its capacity to produce a satisfactory sensory dimension, moments of intense touch, love, erotic and spiritual and self-consciousness. 20 00 Open Access Shani, Tai 14 03 06 10.21983/P3.0212.1.14 125 133 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 He Dives Too Deep 1 A01 Philip Hoare Philip Hoare 40 01ryk1543 University of Southampton 01 eng 03 00 On 7 June 1935, eighteen-year-old Denton Welch, a slight, be-spectacled, curly-haired young man who was studying art at the Goldsmith School of Art in New Cross, decided to cycle from his lodgings at 34 Croom’s Hill, a neat Georgian house in Greenwich, to spend the weekend with his aunt and uncle in Leigh, Surrey. Setting off on his trip that bright Sunday morning, Welch packed his bag. Like everything else in his life, it was assembled with a certain precision, if not fussiness. ‘I took very little with me, only pyjamas, tooth-brush, shaving things, and the creamy-white ivory comb which I had bought with my grandfather’s present to me. I was very fond of this comb, so I wrapped it carefully in the pyjamas and stowed it with the other things in the shiny black bag that was fastened on the back of the seat’. 30 00 On 7 June 1935, eighteen-year-old Denton Welch, a slight, be-spectacled, curly-haired young man who was studying art at the Goldsmith School of Art in New Cross, decided to cycle from his lodgings at 34 Croom’s Hill, a neat Georgian house in Greenwich, to spend the weekend with his aunt and uncle in Leigh, Surrey. Setting off on his trip that bright Sunday morning, Welch packed his bag. Like everything else in his life, it was assembled with a certain precision, if not fussiness. ‘I took very little with me, only pyjamas, tooth-brush, shaving things, and the creamy-white ivory comb which I had bought with my grandfather’s present to me. I was very fond of this comb, so I wrapped it carefully in the pyjamas and stowed it with the other things in the shiny black bag that was fastened on the back of the seat’. 20 00 Open Access Hoare, Philip 15 03 06 10.21983/P3.0212.1.15 135 213 79 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 more flinching 1 A01 Heather Phillipson Heather Phillipson 01 eng 03 00 it came because I came through stacks of airport terminals railway arches security checkpoints tunnels a revolving door into the hotel lobby’s free wifi HOTSPOT with Chopin in the backcloth making everything personal on tickertape & CNN’s mouths permanently overhead leeching terror into the common cerebrum where chips get lodged and served with a side of forcible emotion because I already came from interspaced days and nights of recurring feelings of my dead dog and grandmother spreading into all stories in newspapers of exploding torsos exploding dogs replacement dogs women griefs close-up eye-witnesses and already in my body getting bigger and taking over until passivity was an absurdity and wasn’t it always and will be 30 00 it came because I came through stacks of airport terminals railway arches security checkpoints tunnels a revolving door into the hotel lobby’s free wifi HOTSPOT with Chopin in the backcloth making everything personal on tickertape & CNN’s mouths permanently overhead leeching terror into the common cerebrum where chips get lodged and served with a side of forcible emotion because I already came from interspaced days and nights of recurring feelings of my dead dog and grandmother spreading into all stories in newspapers of exploding torsos exploding dogs replacement dogs women griefs close-up eye-witnesses and already in my body getting bigger and taking over until passivity was an absurdity and wasn’t it always and will be 20 00 Open Access Phillipson, Heather 16 03 06 10.21983/P3.0212.1.16 215 223 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Remaining Body of a Gage Fanfic 1 A01 Uma Breakdown Uma Breakdown 01 eng 03 00 Sunnydale High, High summer. A line of sand on the horizon, slowly bowing in the centre with clumps of grass and small insects.A figure walks along this line, walking north along the coast, the sun setting on their left and eyes watching from under that sun and from under the water. Back to the start. There’s nothing for a long time. Before this Gage didn’t exist and then Buffy Summers arrived and suddenly Gage exists, and they’re a ‘he’ and that ‘he’ is part of the swim team at the highschool and on his first day in existence things are already pretty melancholy because his friend is dead, and their skin is all in a steaming pile on the beach, cut off shirt and Lollapalooza tattoo and there is a heinous stench and some screaming. Total bummer. This was meant to be a party, beach fires and night surf and keg stands and sexy waterboarding celebrating the only good sports team in Sunnydale History having a chance at a state championship of some sort. 30 00 Sunnydale High, High summer. A line of sand on the horizon, slowly bowing in the centre with clumps of grass and small insects.A figure walks along this line, walking north along the coast, the sun setting on their left and eyes watching from under that sun and from under the water. Back to the start. There’s nothing for a long time. Before this Gage didn’t exist and then Buffy Summers arrived and suddenly Gage exists, and they’re a ‘he’ and that ‘he’ is part of the swim team at the highschool and on his first day in existence things are already pretty melancholy because his friend is dead, and their skin is all in a steaming pile on the beach, cut off shirt and Lollapalooza tattoo and there is a heinous stench and some screaming. Total bummer. This was meant to be a party, beach fires and night surf and keg stands and sexy waterboarding celebrating the only good sports team in Sunnydale History having a chance at a state championship of some sort. 20 00 Open Access Breakdown, Uma 17 03 06 10.21983/P3.0212.1.17 225 228 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kathy's Body 1 A01 Linda Stupard Linda Stupard 01 eng 03 00 Kathy Acker’s body is small, but also very strong. Kathy Acker’s hair is cut short in a signature buzzcut. Kathy Acker’s hair has grown long down to her shoulders and that makes her almost unrecognisable. Kathy Acker has perfectly symmetrical ears, which stick out slightly and which point in a neat diagonal downwards. Kathy Acker’s face is the kind of face you could draw diagrams on to demonstrate how to draw faces correctly and in proportion. Kathy Acker’s lips are perfect red and Kathy Acker’s eyebrows are in a perfect rounded arch as if they are the edges of a fingernail but drawn with goose down. I’m sorry to be such a lesbian about it, but Kathy Acker’s fingers are perfectly long and tapered towards the end and her wrists are so delicate it is as if they could break at any moment if you touched them. Kathy Acker’s body is dominated by mastectomy scars worn under a leather biker jacket. Kathy Acker’s chest is flat and pale like a teenage boy’s and there is a large tattoo on her shoulder. Kathy Acker’s breasts are pert even under an oversized loose-knit jersey. Kathy Acker’s breasts are in her hands and she is biting on their nipples 30 00 Kathy Acker’s body is small, but also very strong. Kathy Acker’s hair is cut short in a signature buzzcut. Kathy Acker’s hair has grown long down to her shoulders and that makes her almost unrecognisable. Kathy Acker has perfectly symmetrical ears, which stick out slightly and which point in a neat diagonal downwards. Kathy Acker’s face is the kind of face you could draw diagrams on to demonstrate how to draw faces correctly and in proportion. Kathy Acker’s lips are perfect red and Kathy Acker’s eyebrows are in a perfect rounded arch as if they are the edges of a fingernail but drawn with goose down. I’m sorry to be such a lesbian about it, but Kathy Acker’s fingers are perfectly long and tapered towards the end and her wrists are so delicate it is as if they could break at any moment if you touched them. Kathy Acker’s body is dominated by mastectomy scars worn under a leather biker jacket. Kathy Acker’s chest is flat and pale like a teenage boy’s and there is a large tattoo on her shoulder. Kathy Acker’s breasts are pert even under an oversized loose-knit jersey. Kathy Acker’s breasts are in her hands and she is biting on their nipples 20 00 Open Access Stupard, Linda 18 03 06 10.21983/P3.0212.1.18 230 242 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Envois 1 A01 Sharon Kivland Sharon Kivland 40 019wt1929 Sheffield Hallam University 01 eng 03 00 I refuse any system. I uncover a thought in motion. I call it the dialectic. My task is to reintroduce the register of meaning. I do my dissecting with concepts, not with a knife. The man speaking to you is a man like any other—I make use of the wrong lan-guage. I allow the other to bring his language in line with mine. I think of what goes through his head when I speak to him. My ideal is not the absence of passion. 30 00 I refuse any system. I uncover a thought in motion. I call it the dialectic. My task is to reintroduce the register of meaning. I do my dissecting with concepts, not with a knife. The man speaking to you is a man like any other—I make use of the wrong lan-guage. I allow the other to bring his language in line with mine. I think of what goes through his head when I speak to him. My ideal is not the absence of passion. 20 00 Open Access Kivland, Sharon 19 03 06 10.21983/P3.0212.1.19 243 250 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wilhelm Reich 1 A01 Harman Bains Harman Bains 01 eng 03 00 Wilhelm Reich (1897–1957), the famed Austrian psychoanalyst, was renowned for developing methods to harness the power of pleasure. Intent on researching the power of pleasure for the advancement and well-being of the human body, Reich found himself preoccupied with the functionality of sexual satisfac-tion. Pain as a condition of sexual pleasure is a well-documented phenomena; bodies carousing in limitations opposed by facets of inhibition no longer impart fear into the conventional. Sexual pleasure as a cure for pain is a relatively unknown condition. Often considered as a short-lived chemical experience pleasure derived from sexual interaction to oneself or another promotes a sense of a calm and well-being through an instant but soon diminishing release of oxytocin. 30 00 Wilhelm Reich (1897–1957), the famed Austrian psychoanalyst, was renowned for developing methods to harness the power of pleasure. Intent on researching the power of pleasure for the advancement and well-being of the human body, Reich found himself preoccupied with the functionality of sexual satisfac-tion. Pain as a condition of sexual pleasure is a well-documented phenomena; bodies carousing in limitations opposed by facets of inhibition no longer impart fear into the conventional. Sexual pleasure as a cure for pain is a relatively unknown condition. Often considered as a short-lived chemical experience pleasure derived from sexual interaction to oneself or another promotes a sense of a calm and well-being through an instant but soon diminishing release of oxytocin. 20 00 Open Access Bains, Harman 20 03 06 10.21983/P3.0212.1.20 251 262 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Missing Body of JT Leroy 1 A01 Pil and Galia Kollectiv Pil and Galia Kollectiv 01 eng 03 00 Not much remains of the body of JT Leroy. To start with, it is a body first and foremost made of words. Over the course of debut novel Sarah, short story collection The Heart Is Deceitful Above All Things and the novella Howard’s End, this body is portrayed as highly attuned to the sensual qualities of the mostly grim world it inhabits. It endures extremes of physical torture, from a disciplinarian grandfather’s whipping to sexual abuse from mother Sarah’s boyfriends. It registers the ultra-specific smells that pervade its low-rent environment, from the Naugahyde up-holstery of car seats to the overwhelming, eye-searing odour of freshly cut ramps, a kind of wild onion native to West Virginia. The reader’s ability to empathise with this damaged body—to vicariously feel the impact of the drugs, sex and violence that it is subjected to—is at the heart of the entire project. And yet for all the power of these descriptions to conjure the intensity of lived experience, the actual existence of this body has only ever been fragmentary at best, dispersed across telephone calls, emails, stand-ins and other evasive manoeuvres. 30 00 Not much remains of the body of JT Leroy. To start with, it is a body first and foremost made of words. Over the course of debut novel Sarah, short story collection The Heart Is Deceitful Above All Things and the novella Howard’s End, this body is portrayed as highly attuned to the sensual qualities of the mostly grim world it inhabits. It endures extremes of physical torture, from a disciplinarian grandfather’s whipping to sexual abuse from mother Sarah’s boyfriends. It registers the ultra-specific smells that pervade its low-rent environment, from the Naugahyde up-holstery of car seats to the overwhelming, eye-searing odour of freshly cut ramps, a kind of wild onion native to West Virginia. The reader’s ability to empathise with this damaged body—to vicariously feel the impact of the drugs, sex and violence that it is subjected to—is at the heart of the entire project. And yet for all the power of these descriptions to conjure the intensity of lived experience, the actual existence of this body has only ever been fragmentary at best, dispersed across telephone calls, emails, stand-ins and other evasive manoeuvres. 20 00 Open Access Kollectiv, Pil and Galia 21 03 06 10.21983/P3.0212.1.21 263 268 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 more or less matter 1 A01 Kevin Breathnach Kevin Breathnach 01 eng 03 00 Not long after their arrival in Rome at the start of April 1867, the brothers Edmond and Jules de Goncourt noted, in a jour-nal entry anticipating the style if not the sensibility of Thomas Bernhard, that everything that is beautiful here is beautiful in a course, material way. The pair would stay for six weeks, touring the city’s galleries with an eye that seemed in no way softened by the languors of travel: Raphael’s Transfiguration is reported to give the impression of wallpaper, while his Resurrection is judged purely academic. This, a supernatural event, a divine leg-end? I know no canvas which depicts it in a commoner prose, a more vulgar beauty. And it’s true: for a recently resurrected body, Raphael’s Christ does seem kind of jaded, but I’m less interested in the value or the vehemence of the brothers’ judgement here, than in the way the Journal slides, as it often does elsewhere, so casually and without warning, from the first-person plural to the first-person singular. After their mother’s death in 1848, the brothers were apart for more than twenty-four hours only twice. While working together on their novels, plays, art criticism and journal entries, Jules would hold the pen while Edmond—eight years the elder — stood behind him, pacing back and forth, leaning over his shoulder with suggestions. It is impossible to at-tribute any entry to one or the other, their translator notes. Theirs is an I containing more than itself. It is a singular pronoun of multitudes. It is a crowd, a site of excess. 30 00 Not long after their arrival in Rome at the start of April 1867, the brothers Edmond and Jules de Goncourt noted, in a jour-nal entry anticipating the style if not the sensibility of Thomas Bernhard, that everything that is beautiful here is beautiful in a course, material way. The pair would stay for six weeks, touring the city’s galleries with an eye that seemed in no way softened by the languors of travel: Raphael’s Transfiguration is reported to give the impression of wallpaper, while his Resurrection is judged purely academic. This, a supernatural event, a divine leg-end? I know no canvas which depicts it in a commoner prose, a more vulgar beauty. And it’s true: for a recently resurrected body, Raphael’s Christ does seem kind of jaded, but I’m less interested in the value or the vehemence of the brothers’ judgement here, than in the way the Journal slides, as it often does elsewhere, so casually and without warning, from the first-person plural to the first-person singular. After their mother’s death in 1848, the brothers were apart for more than twenty-four hours only twice. While working together on their novels, plays, art criticism and journal entries, Jules would hold the pen while Edmond—eight years the elder — stood behind him, pacing back and forth, leaning over his shoulder with suggestions. It is impossible to at-tribute any entry to one or the other, their translator notes. Theirs is an I containing more than itself. It is a singular pronoun of multitudes. It is a crowd, a site of excess. 20 00 Open Access Breathnach, Kevin 22 03 06 10.21983/P3.0212.1.22 269 297 29 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sylvia Plath 1 A01 Emily LaBarge Emily LaBarge 40 01egahc47 Royal College of Art 01 eng 03 00 Face in obscurity, she blows out three white candles that burn at different lengths, fixed to a saucer sitting atop a desk crowded with papers. Streams of smoke rise into the air; thin white lines twist and coil, undulating against the darkness of the surround-ing room. From behind, we see her walk up a short flight of stairs into the kitchen. Backlit with early morning glow, she emerges in silhou-ette—tall, slender, modest housecoat tied at the waist, long hair hanging down her back—as she moves in a deliberate, efficient manner. She opens and closes cupboards, prepares a tray of tea for one, pauses to look out the large window from where she can see the milkman begin his daily rounds. 30 00 Face in obscurity, she blows out three white candles that burn at different lengths, fixed to a saucer sitting atop a desk crowded with papers. Streams of smoke rise into the air; thin white lines twist and coil, undulating against the darkness of the surround-ing room. From behind, we see her walk up a short flight of stairs into the kitchen. Backlit with early morning glow, she emerges in silhou-ette—tall, slender, modest housecoat tied at the waist, long hair hanging down her back—as she moves in a deliberate, efficient manner. She opens and closes cupboards, prepares a tray of tea for one, pauses to look out the large window from where she can see the milkman begin his daily rounds. 20 00 Open Access LaBarge, Emily 23 03 06 10.21983/P3.0212.1.23 299 305 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Emmy Beber Emmy Beber 01 eng 20 00 Open Access Beber, Emmy 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-bodies-that-remain/ Earth, Milky Way 04 01 20181016 Beber, Emmy 02 WORLD 06 15 9781947447677 03 9781947447677 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66812 20 08 20181016 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25417 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25417/1004678.pdf?sequence=1&isAllowed=y 20 08 20181016 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26891 20 08 20181016 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353847 20 08 20181016 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/591 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f449f4ce-67c9-4ede-8657-13416b1b9504/download 20 08 20181016 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/26d522d4-fb46-47bf-a344-fe6af86688d3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/26d522d4-fb46-47bf-a344-fe6af86688d3/26d522d4-fb46-47bf-a344-fe6af86688d3.pdf 20 08 20181016 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847490 29 ZENODO: download the title https://zenodo.org/records/19847490/files/26d522d4-fb46-47bf-a344-fe6af86688d3_book.pdf 20 08 20181016 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-bodies-that-remain/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0212.1.00.pdf 20 08 20181016 01 urn:uuid:5682d9cd-6d8c-4df6-9bfb-df74e4d85cf3 03 01 01 thoth-work-id urn:uuid:2c57948e-d33b-4717-b1ef-1603c2c011bb 01 thoth-publication-id urn:uuid:5682d9cd-6d8c-4df6-9bfb-df74e4d85cf3 15 9781953035516 03 9781953035516 06 10.21983/P3.0308.1.00 13 2021936384 01 internal-reference 0308 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Book / Or / The Woods 1 A01 Jeff T. Johnson Jeff T. Johnson 40 00b30xv10 University of Pennsylvania 01 eng 00 310 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 20 epic; serial; poetry; hybrid work 01 06 02 00 03 00 Here is The Book / Or / The Woods, an epic song cycle that devours itself on repeat, taking cover in its own flames. We think epic in the sense of bpNichol writing Martyrology, Jabès with his books of books, Rosmarie Waldrop’s Curves to the Apple, Keith Waldrop’s Transcendental Studies, Harryette Mullen’s Recyclopedia, Craig Santos Perez’s from unincorporated territory, Nathaniel Mackey’s long song(s), & others. We think epic with these ongoing & collected meta-serial works rather than the traditional notion of the epic as heroic nation building story, though we borrow epic tropes from Dante’s supernal underworld forest (& infernal forested underworld), sing with Sappho’s lyre, are haunted by the spirit of Homer’s katabasis, & are formed by the Popol Vuh’s wordly cosmos, which influenced us before we read it.Y the monster is alone in the woods, enclosed by a highway : a preserve. The woods are made of paper; the paper forest burns & burns. Woods & monster are endangered, pressed into service, a hazard. So is the book pressed into service, danger & endangered. The forest is deforested & reforested, dance of shadow & flame, a fantasia of ecological return, the forest (enchanted) by itself. The haunted woods. The ghosts the ghosts of what. This is the world without us. & we are here as well. Here in the forest of language. 30 00 Here is The Book / Or / The Woods, an epic song cycle that devours itself on repeat, taking cover in its own flames. We think epic in the sense of bpNichol writing Martyrology, Jabès with his books of books, Rosmarie Waldrop’s Curves to the Apple, Keith Waldrop’s Transcendental Studies, Harryette Mullen’s Recyclopedia, Craig Santos Perez’s from unincorporated territory, Nathaniel Mackey’s long song(s), & others. We think epic with these ongoing & collected meta-serial works rather than the traditional notion of the epic as heroic nation building story, though we borrow epic tropes from Dante’s supernal underworld forest (& infernal forested underworld), sing with Sappho’s lyre, are haunted by the spirit of Homer’s katabasis, & are formed by the Popol Vuh’s wordly cosmos, which influenced us before we read it.Y the monster is alone in the woods, enclosed by a highway : a preserve. The woods are made of paper; the paper forest burns & burns. Woods & monster are endangered, pressed into service, a hazard. So is the book pressed into service, danger & endangered. The forest is deforested & reforested, dance of shadow & flame, a fantasia of ecological return, the forest (enchanted) by itself. The haunted woods. The ghosts the ghosts of what. This is the world without us. & we are here as well. Here in the forest of language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0308.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-book-or-the-woods/ Earth, Milky Way 04 01 20210520 Johnson, Jeff T. 02 WORLD 06 15 9781953035523 03 9781953035523 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035515 20 08 20210520 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-book-or-the-woods 20 08 20210520 02 25.00 USD WORLD urn:uuid:e23c4c5e-5b4f-4482-989f-f610709fd9d7 03 01 01 thoth-work-id urn:uuid:2c57948e-d33b-4717-b1ef-1603c2c011bb 01 thoth-publication-id urn:uuid:e23c4c5e-5b4f-4482-989f-f610709fd9d7 15 9781953035523 03 9781953035523 06 10.21983/P3.0308.1.00 13 2021936384 01 internal-reference 0308 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Book / Or / The Woods 1 A01 Jeff T. Johnson Jeff T. Johnson 40 00b30xv10 University of Pennsylvania 01 eng 00 310 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 20 epic; serial; poetry; hybrid work 01 06 02 00 03 00 Here is The Book / Or / The Woods, an epic song cycle that devours itself on repeat, taking cover in its own flames. We think epic in the sense of bpNichol writing Martyrology, Jabès with his books of books, Rosmarie Waldrop’s Curves to the Apple, Keith Waldrop’s Transcendental Studies, Harryette Mullen’s Recyclopedia, Craig Santos Perez’s from unincorporated territory, Nathaniel Mackey’s long song(s), & others. We think epic with these ongoing & collected meta-serial works rather than the traditional notion of the epic as heroic nation building story, though we borrow epic tropes from Dante’s supernal underworld forest (& infernal forested underworld), sing with Sappho’s lyre, are haunted by the spirit of Homer’s katabasis, & are formed by the Popol Vuh’s wordly cosmos, which influenced us before we read it.Y the monster is alone in the woods, enclosed by a highway : a preserve. The woods are made of paper; the paper forest burns & burns. Woods & monster are endangered, pressed into service, a hazard. So is the book pressed into service, danger & endangered. The forest is deforested & reforested, dance of shadow & flame, a fantasia of ecological return, the forest (enchanted) by itself. The haunted woods. The ghosts the ghosts of what. This is the world without us. & we are here as well. Here in the forest of language. 30 00 Here is The Book / Or / The Woods, an epic song cycle that devours itself on repeat, taking cover in its own flames. We think epic in the sense of bpNichol writing Martyrology, Jabès with his books of books, Rosmarie Waldrop’s Curves to the Apple, Keith Waldrop’s Transcendental Studies, Harryette Mullen’s Recyclopedia, Craig Santos Perez’s from unincorporated territory, Nathaniel Mackey’s long song(s), & others. We think epic with these ongoing & collected meta-serial works rather than the traditional notion of the epic as heroic nation building story, though we borrow epic tropes from Dante’s supernal underworld forest (& infernal forested underworld), sing with Sappho’s lyre, are haunted by the spirit of Homer’s katabasis, & are formed by the Popol Vuh’s wordly cosmos, which influenced us before we read it.Y the monster is alone in the woods, enclosed by a highway : a preserve. The woods are made of paper; the paper forest burns & burns. Woods & monster are endangered, pressed into service, a hazard. So is the book pressed into service, danger & endangered. The forest is deforested & reforested, dance of shadow & flame, a fantasia of ecological return, the forest (enchanted) by itself. The haunted woods. The ghosts the ghosts of what. This is the world without us. & we are here as well. Here in the forest of language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0308.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-book-or-the-woods/ Earth, Milky Way 04 01 20210520 Johnson, Jeff T. 02 WORLD 06 15 9781953035516 03 9781953035516 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/48669 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/48669/0308.1.00.pdf?sequence=1&isAllowed=y 20 08 20210520 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/69771 20 08 20210520 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353841 20 08 20210520 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/664 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a9941538-a2da-4a20-a1e7-2008632aa725/download 20 08 20210520 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2c57948e-d33b-4717-b1ef-1603c2c011bb 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2c57948e-d33b-4717-b1ef-1603c2c011bb/2c57948e-d33b-4717-b1ef-1603c2c011bb.pdf 20 08 20210520 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848836 29 ZENODO: download the title https://zenodo.org/records/19848836/files/2c57948e-d33b-4717-b1ef-1603c2c011bb_book.pdf 20 08 20210520 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-book-or-the-woods/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0308.1.00.pdf 20 08 20210520 01 urn:uuid:4f3eb30b-0345-4dcf-8cb5-d5e21a0b71ae 03 01 01 thoth-work-id urn:uuid:e19c3268-06d5-49e9-a43e-2d34121e7702 01 thoth-publication-id urn:uuid:4f3eb30b-0345-4dcf-8cb5-d5e21a0b71ae 15 9781685712921 03 9781685712921 06 10.53288/0577.1.00 13 2025948281 01 internal-reference 0577 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 24 mm 03 2.4 cm 03 0.95 in 08 414 gr 08 14.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Case of California 1 A01 Laurence A. Rickels Laurence A. Rickels Sigmund Freud Chair 40 04g3mbv81 European Graduate School After thirty years teaching at the University of California, Santa Barbara, Laurence A. Rickels accepted a professorship in art and theory at the Staatliche Akademie der Bildenden Künste, Karlsruhe and taught there until 2017. During 2018 Rickels was Eberhard Berent Visiting Professor and Distinguished Writer at New York University, and he continues to offer seminars in media and philosophy at the European Graduate School where he holds the Sigmund Freud Chair. Rickels is the author of Aberrations of Mourning (Minnesota, 1988), The Vampire Lectures (Minnesota, 1999), Nazi Psychoanalysis (3 vols., Minnesota, 2002), The Devil Notebooks (Minnesota, 2008), Ulrike Ottinger: The Autobiography of Art Cinema (Minnesota, 2008), I Think I Am: Philip K. Dick (Minnesota, 2010), SPECTRE (Anti-Oedipus, 2013), Germany: A Science Fiction (Anti-Oedipus, 2014), The Psycho Records (Columbia, 2016), and The Critique of Fantasy (3 vols., punctum books, 2020–2021). 2 01 eng 00 416 03 B2 Cultural Studies+Critical Theory 93 JMAF 10 SOC069000 93 1KBB-US-WPC 10 PSY026000 93 JBC 93 1DFG 20 psychoanalysis; California; Walt Disney; cultural theory; Mickey Mouse; German modernism; Thomas Mann 01 06 02 00 03 00 Focusing on the changing image of the West Coast through such varied social and cultural artifacts as bodybuilding, group therapy, suicide cults, Marilyn Monroe, milk-carton images of missing children, orgies, Mickey Mouse, zombies, teenage slang, shock therapy, and surf music, The Case of California offers a dizzying psycho-history of the twentieth century as crystallized in the symbolic configuration and “case” of California, which case is articulated in relation to German modernism, National Socialism, and Freudian psychoanalysis. As Laurence Rickels writes, “on the personalizable level or label, California is a death cult; on the social, outward, happy-face level, it distributes pleasure via sadomasochism, the adolescent group, or friendship.”Ultimately, The Case of California excavates the places “California” occupies as concept or placeholder within Freudian psychoanalysis and such systems as the Frankfurt School, East Coast psychoanalysis, and deconstruction. To excavate the full range of “California,” one must apply pressure to a series of adjacent (and often equally marginal or missing) concepts, including group and adolescent psychology, female sexuality, the haunting of music and of mass media at large, the charge of child abuse, and a certain convergence of religious and hysterical conversion. 30 00 Focusing on the changing image of the West Coast through such varied social and cultural artifacts as bodybuilding, group therapy, suicide cults, Marilyn Monroe, milk-carton images of missing children, orgies, Mickey Mouse, zombies, teenage slang, shock therapy, and surf music, The Case of California offers a dizzying psycho-history of the twentieth century as crystallized in the symbolic configuration and “case” of California, which case is articulated in relation to German modernism, National Socialism, and Freudian psychoanalysis. As Laurence Rickels writes, “on the personalizable level or label, California is a death cult; on the social, outward, happy-face level, it distributes pleasure via sadomasochism, the adolescent group, or friendship.”Ultimately, The Case of California excavates the places “California” occupies as concept or placeholder within Freudian psychoanalysis and such systems as the Frankfurt School, East Coast psychoanalysis, and deconstruction. To excavate the full range of “California,” one must apply pressure to a series of adjacent (and often equally marginal or missing) concepts, including group and adolescent psychology, female sexuality, the haunting of music and of mass media at large, the charge of child abuse, and a certain convergence of religious and hysterical conversion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0577.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-case-of-california-new-edition/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20260120 Laurence A. Rickels 02 WORLD 06 15 9781685712938 03 9781685712938 06 15 9781685712945 03 9781685712945 34 06 10.1080/21674086.1939.11925383 34 06 10.1080/21674086.1974.11926662 34 06 10.1080/21674086.1971.11926575 34 06 10.1080/21674086.1937.11925326 34 06 10.1080/21674086.1973.11926639 34 06 10.1111/j.0022-3840.1982.1504_93.x 34 06 10.1080/00797308.1977.11822344 34 06 10.1080/00797308.1945.11823142 34 06 10.1080/21674086.1956.11926008 34 06 10.2307/3684846 34 06 10.1080/01956051.1988.9943392 34 06 10.1080/21674086.1973.11926638 34 06 10.1080/21674086.1976.11926765 34 06 10.1080/21674086.1955.11925999 34 06 10.1080/00797308.1978.11822989 34 06 10.1080/21674086.1955.11925972 34 06 10.1080/21674086.1974.11926661 34 06 10.5840/ajs198753/46 34 06 10.1080/21674086.1955.11925992 34 06 10.1080/21674086.1962.11926233 34 06 10.1080/21674086.1959.11926140 34 06 10.1080/21674086.1958.11926101 34 06 10.1080/21674086.1973.11926628 34 06 10.1080/21674086.1964.11926310 34 06 10.1080/10509208409361211 34 06 10.2307/487786 34 06 10.1080/21674086.1952.11925873 34 06 10.1080/21674086.1954.11925935 34 06 10.1080/21674086.1980.11926904 34 06 10.1080/21674086.1980.11926907 34 06 10.1215/02705346-6-2_17-112 34 06 10.2307/3684845 34 06 10.1080/21674086.1950.11925787 34 06 10.2307/2930434 34 06 10.2307/778337 34 06 10.1080/00797308.1978.11822982 34 06 10.1111/j.0022-3840.1986.2002_65.x 34 06 10.1080/21674086.1955.11925980 34 06 10.1080/21674086.1971.11926549 34 06 10.1080/21674086.1952.11925883 34 06 10.1080/21674086.1954.11925962 34 06 10.1080/21674086.1946.11925652 34 06 10.1080/21674086.1970.11926517 34 06 10.1080/21674086.1971.11926576 34 06 10.1080/00797308.1980.11823109 34 06 10.1080/21674086.1978.11926859 34 06 10.1080/21674086.1956.11926007 34 06 10.1080/21674086.1933.11925185 34 06 10.1080/21674086.1973.11926619 34 06 10.1080/21674086.1985.11927092 34 06 10.1215/02705346-6-1_16-9 34 06 10.1080/21674086.1939.11925376 34 06 10.2307/1410942 34 06 10.1080/21674086.1971.11926558 34 06 10.1080/21674086.1940.11925410 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-case-of-california-laurence-a-rickels 20 08 20260120 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712924 20 08 20260120 02 27.00 USD WORLD urn:uuid:e4c23dbe-33d9-4ca0-8bc3-7a611ad259da 03 01 01 thoth-work-id urn:uuid:e19c3268-06d5-49e9-a43e-2d34121e7702 01 thoth-publication-id urn:uuid:e4c23dbe-33d9-4ca0-8bc3-7a611ad259da 15 9781685712938 03 9781685712938 06 10.53288/0577.1.00 13 2025948281 01 internal-reference 0577 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Case of California 1 A01 Laurence A. Rickels Laurence A. Rickels Sigmund Freud Chair 40 04g3mbv81 European Graduate School After thirty years teaching at the University of California, Santa Barbara, Laurence A. Rickels accepted a professorship in art and theory at the Staatliche Akademie der Bildenden Künste, Karlsruhe and taught there until 2017. During 2018 Rickels was Eberhard Berent Visiting Professor and Distinguished Writer at New York University, and he continues to offer seminars in media and philosophy at the European Graduate School where he holds the Sigmund Freud Chair. Rickels is the author of Aberrations of Mourning (Minnesota, 1988), The Vampire Lectures (Minnesota, 1999), Nazi Psychoanalysis (3 vols., Minnesota, 2002), The Devil Notebooks (Minnesota, 2008), Ulrike Ottinger: The Autobiography of Art Cinema (Minnesota, 2008), I Think I Am: Philip K. Dick (Minnesota, 2010), SPECTRE (Anti-Oedipus, 2013), Germany: A Science Fiction (Anti-Oedipus, 2014), The Psycho Records (Columbia, 2016), and The Critique of Fantasy (3 vols., punctum books, 2020–2021). 2 01 eng 00 416 03 B2 Cultural Studies+Critical Theory 93 JMAF 10 SOC069000 93 1KBB-US-WPC 10 PSY026000 93 JBC 93 1DFG 20 psychoanalysis; California; Walt Disney; cultural theory; Mickey Mouse; German modernism; Thomas Mann 01 06 02 00 03 00 Focusing on the changing image of the West Coast through such varied social and cultural artifacts as bodybuilding, group therapy, suicide cults, Marilyn Monroe, milk-carton images of missing children, orgies, Mickey Mouse, zombies, teenage slang, shock therapy, and surf music, The Case of California offers a dizzying psycho-history of the twentieth century as crystallized in the symbolic configuration and “case” of California, which case is articulated in relation to German modernism, National Socialism, and Freudian psychoanalysis. As Laurence Rickels writes, “on the personalizable level or label, California is a death cult; on the social, outward, happy-face level, it distributes pleasure via sadomasochism, the adolescent group, or friendship.”Ultimately, The Case of California excavates the places “California” occupies as concept or placeholder within Freudian psychoanalysis and such systems as the Frankfurt School, East Coast psychoanalysis, and deconstruction. To excavate the full range of “California,” one must apply pressure to a series of adjacent (and often equally marginal or missing) concepts, including group and adolescent psychology, female sexuality, the haunting of music and of mass media at large, the charge of child abuse, and a certain convergence of religious and hysterical conversion. 30 00 Focusing on the changing image of the West Coast through such varied social and cultural artifacts as bodybuilding, group therapy, suicide cults, Marilyn Monroe, milk-carton images of missing children, orgies, Mickey Mouse, zombies, teenage slang, shock therapy, and surf music, The Case of California offers a dizzying psycho-history of the twentieth century as crystallized in the symbolic configuration and “case” of California, which case is articulated in relation to German modernism, National Socialism, and Freudian psychoanalysis. As Laurence Rickels writes, “on the personalizable level or label, California is a death cult; on the social, outward, happy-face level, it distributes pleasure via sadomasochism, the adolescent group, or friendship.”Ultimately, The Case of California excavates the places “California” occupies as concept or placeholder within Freudian psychoanalysis and such systems as the Frankfurt School, East Coast psychoanalysis, and deconstruction. To excavate the full range of “California,” one must apply pressure to a series of adjacent (and often equally marginal or missing) concepts, including group and adolescent psychology, female sexuality, the haunting of music and of mass media at large, the charge of child abuse, and a certain convergence of religious and hysterical conversion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0577.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-case-of-california-new-edition/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20260120 Laurence A. Rickels 02 WORLD 06 15 9781685712921 03 9781685712921 06 15 9781685712945 03 9781685712945 34 06 10.1080/21674086.1939.11925383 34 06 10.1080/21674086.1974.11926662 34 06 10.1080/21674086.1971.11926575 34 06 10.1080/21674086.1937.11925326 34 06 10.1080/21674086.1973.11926639 34 06 10.1111/j.0022-3840.1982.1504_93.x 34 06 10.1080/00797308.1977.11822344 34 06 10.1080/00797308.1945.11823142 34 06 10.1080/21674086.1956.11926008 34 06 10.2307/3684846 34 06 10.1080/01956051.1988.9943392 34 06 10.1080/21674086.1973.11926638 34 06 10.1080/21674086.1976.11926765 34 06 10.1080/21674086.1955.11925999 34 06 10.1080/00797308.1978.11822989 34 06 10.1080/21674086.1955.11925972 34 06 10.1080/21674086.1974.11926661 34 06 10.5840/ajs198753/46 34 06 10.1080/21674086.1955.11925992 34 06 10.1080/21674086.1962.11926233 34 06 10.1080/21674086.1959.11926140 34 06 10.1080/21674086.1958.11926101 34 06 10.1080/21674086.1973.11926628 34 06 10.1080/21674086.1964.11926310 34 06 10.1080/10509208409361211 34 06 10.2307/487786 34 06 10.1080/21674086.1952.11925873 34 06 10.1080/21674086.1954.11925935 34 06 10.1080/21674086.1980.11926904 34 06 10.1080/21674086.1980.11926907 34 06 10.1215/02705346-6-2_17-112 34 06 10.2307/3684845 34 06 10.1080/21674086.1950.11925787 34 06 10.2307/2930434 34 06 10.2307/778337 34 06 10.1080/00797308.1978.11822982 34 06 10.1111/j.0022-3840.1986.2002_65.x 34 06 10.1080/21674086.1955.11925980 34 06 10.1080/21674086.1971.11926549 34 06 10.1080/21674086.1952.11925883 34 06 10.1080/21674086.1954.11925962 34 06 10.1080/21674086.1946.11925652 34 06 10.1080/21674086.1970.11926517 34 06 10.1080/21674086.1971.11926576 34 06 10.1080/00797308.1980.11823109 34 06 10.1080/21674086.1978.11926859 34 06 10.1080/21674086.1956.11926007 34 06 10.1080/21674086.1933.11925185 34 06 10.1080/21674086.1973.11926619 34 06 10.1080/21674086.1985.11927092 34 06 10.1215/02705346-6-1_16-9 34 06 10.1080/21674086.1939.11925376 34 06 10.2307/1410942 34 06 10.1080/21674086.1971.11926558 34 06 10.1080/21674086.1940.11925410 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/110836 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/110836/9781685712938.pdf?sequence=1&isAllowed=y 20 08 20260120 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/173175 20 08 20260120 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/936 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1cb1b3c7-5f69-4ace-9bd5-1fbbf77f93c2/download 20 08 20260120 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e19c3268-06d5-49e9-a43e-2d34121e7702 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e19c3268-06d5-49e9-a43e-2d34121e7702/e19c3268-06d5-49e9-a43e-2d34121e7702.pdf 20 08 20260120 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851554 29 ZENODO: download the title https://zenodo.org/records/19851554/files/e19c3268-06d5-49e9-a43e-2d34121e7702_book.pdf 20 08 20260120 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-case-of-california-new-edition/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0577.1.00.pdf 20 08 20260120 01 urn:uuid:b7040ec2-f72b-4d3b-91cb-7a7043798099 03 01 01 thoth-work-id urn:uuid:e19c3268-06d5-49e9-a43e-2d34121e7702 01 thoth-publication-id urn:uuid:b7040ec2-f72b-4d3b-91cb-7a7043798099 15 9781685712945 03 9781685712945 06 10.53288/0577.1.00 13 2025948281 01 internal-reference 0577 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Case of California 1 A01 Laurence A. Rickels Laurence A. Rickels Sigmund Freud Chair 40 04g3mbv81 European Graduate School After thirty years teaching at the University of California, Santa Barbara, Laurence A. Rickels accepted a professorship in art and theory at the Staatliche Akademie der Bildenden Künste, Karlsruhe and taught there until 2017. During 2018 Rickels was Eberhard Berent Visiting Professor and Distinguished Writer at New York University, and he continues to offer seminars in media and philosophy at the European Graduate School where he holds the Sigmund Freud Chair. Rickels is the author of Aberrations of Mourning (Minnesota, 1988), The Vampire Lectures (Minnesota, 1999), Nazi Psychoanalysis (3 vols., Minnesota, 2002), The Devil Notebooks (Minnesota, 2008), Ulrike Ottinger: The Autobiography of Art Cinema (Minnesota, 2008), I Think I Am: Philip K. Dick (Minnesota, 2010), SPECTRE (Anti-Oedipus, 2013), Germany: A Science Fiction (Anti-Oedipus, 2014), The Psycho Records (Columbia, 2016), and The Critique of Fantasy (3 vols., punctum books, 2020–2021). 2 01 eng 00 416 03 B2 Cultural Studies+Critical Theory 93 JMAF 10 SOC069000 93 1KBB-US-WPC 10 PSY026000 93 JBC 93 1DFG 20 psychoanalysis; California; Walt Disney; cultural theory; Mickey Mouse; German modernism; Thomas Mann 01 06 02 00 03 00 Focusing on the changing image of the West Coast through such varied social and cultural artifacts as bodybuilding, group therapy, suicide cults, Marilyn Monroe, milk-carton images of missing children, orgies, Mickey Mouse, zombies, teenage slang, shock therapy, and surf music, The Case of California offers a dizzying psycho-history of the twentieth century as crystallized in the symbolic configuration and “case” of California, which case is articulated in relation to German modernism, National Socialism, and Freudian psychoanalysis. As Laurence Rickels writes, “on the personalizable level or label, California is a death cult; on the social, outward, happy-face level, it distributes pleasure via sadomasochism, the adolescent group, or friendship.”Ultimately, The Case of California excavates the places “California” occupies as concept or placeholder within Freudian psychoanalysis and such systems as the Frankfurt School, East Coast psychoanalysis, and deconstruction. To excavate the full range of “California,” one must apply pressure to a series of adjacent (and often equally marginal or missing) concepts, including group and adolescent psychology, female sexuality, the haunting of music and of mass media at large, the charge of child abuse, and a certain convergence of religious and hysterical conversion. 30 00 Focusing on the changing image of the West Coast through such varied social and cultural artifacts as bodybuilding, group therapy, suicide cults, Marilyn Monroe, milk-carton images of missing children, orgies, Mickey Mouse, zombies, teenage slang, shock therapy, and surf music, The Case of California offers a dizzying psycho-history of the twentieth century as crystallized in the symbolic configuration and “case” of California, which case is articulated in relation to German modernism, National Socialism, and Freudian psychoanalysis. As Laurence Rickels writes, “on the personalizable level or label, California is a death cult; on the social, outward, happy-face level, it distributes pleasure via sadomasochism, the adolescent group, or friendship.”Ultimately, The Case of California excavates the places “California” occupies as concept or placeholder within Freudian psychoanalysis and such systems as the Frankfurt School, East Coast psychoanalysis, and deconstruction. To excavate the full range of “California,” one must apply pressure to a series of adjacent (and often equally marginal or missing) concepts, including group and adolescent psychology, female sexuality, the haunting of music and of mass media at large, the charge of child abuse, and a certain convergence of religious and hysterical conversion. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0577.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-case-of-california-new-edition/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20260120 Laurence A. Rickels 02 WORLD 06 15 9781685712921 03 9781685712921 06 15 9781685712938 03 9781685712938 34 06 10.1080/21674086.1939.11925383 34 06 10.1080/21674086.1974.11926662 34 06 10.1080/21674086.1971.11926575 34 06 10.1080/21674086.1937.11925326 34 06 10.1080/21674086.1973.11926639 34 06 10.1111/j.0022-3840.1982.1504_93.x 34 06 10.1080/00797308.1977.11822344 34 06 10.1080/00797308.1945.11823142 34 06 10.1080/21674086.1956.11926008 34 06 10.2307/3684846 34 06 10.1080/01956051.1988.9943392 34 06 10.1080/21674086.1973.11926638 34 06 10.1080/21674086.1976.11926765 34 06 10.1080/21674086.1955.11925999 34 06 10.1080/00797308.1978.11822989 34 06 10.1080/21674086.1955.11925972 34 06 10.1080/21674086.1974.11926661 34 06 10.5840/ajs198753/46 34 06 10.1080/21674086.1955.11925992 34 06 10.1080/21674086.1962.11926233 34 06 10.1080/21674086.1959.11926140 34 06 10.1080/21674086.1958.11926101 34 06 10.1080/21674086.1973.11926628 34 06 10.1080/21674086.1964.11926310 34 06 10.1080/10509208409361211 34 06 10.2307/487786 34 06 10.1080/21674086.1952.11925873 34 06 10.1080/21674086.1954.11925935 34 06 10.1080/21674086.1980.11926904 34 06 10.1080/21674086.1980.11926907 34 06 10.1215/02705346-6-2_17-112 34 06 10.2307/3684845 34 06 10.1080/21674086.1950.11925787 34 06 10.2307/2930434 34 06 10.2307/778337 34 06 10.1080/00797308.1978.11822982 34 06 10.1111/j.0022-3840.1986.2002_65.x 34 06 10.1080/21674086.1955.11925980 34 06 10.1080/21674086.1971.11926549 34 06 10.1080/21674086.1952.11925883 34 06 10.1080/21674086.1954.11925962 34 06 10.1080/21674086.1946.11925652 34 06 10.1080/21674086.1970.11926517 34 06 10.1080/21674086.1971.11926576 34 06 10.1080/00797308.1980.11823109 34 06 10.1080/21674086.1978.11926859 34 06 10.1080/21674086.1956.11926007 34 06 10.1080/21674086.1933.11925185 34 06 10.1080/21674086.1973.11926619 34 06 10.1080/21674086.1985.11927092 34 06 10.1215/02705346-6-1_16-9 34 06 10.1080/21674086.1939.11925376 34 06 10.2307/1410942 34 06 10.1080/21674086.1971.11926558 34 06 10.1080/21674086.1940.11925410 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-case-of-california-new-edition/ 20 08 20260120 01 urn:uuid:322410a1-f4e8-42a2-9329-f75180f3d479 03 01 01 thoth-work-id urn:uuid:6813bf17-373c-49ce-b9e3-1d7ab98f2977 01 thoth-publication-id urn:uuid:322410a1-f4e8-42a2-9329-f75180f3d479 15 9781685710262 03 9781685710262 06 10.53288/0371.1.00 13 2022930897 01 internal-reference 0371 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Christian Economy of the Early Medieval West Towards a Temple Society 1 A01 Ian Wood Ian Wood 40 024mrxd33 University of Leeds Ian Wood is Emeritus Professor of Early Medieval History at the University of Leeds, where he taught from 1976 to 2015. He is the author of several books, including The Merovingian Kingdoms, 450–751 (1994), The Missionary Life: Saints and the eEangelisation of Europe 400–1050 (2001), The Modern Origins of the Early Middle Ages (2013), and The Transformation of the Roman West (2018). He is the co-author of Avitus of Vienne, Letters and Selected Prose (2002), with Danuta Shanzer, Fragments of History: Rethinking the Ruthwell and Bewcastle Monuments (2007), with Fred Orton and Clare Lees, Abbots of Wearmouth and Jarrow (2014), with Chris Grocock, and Jonas of Bobbio, Life of Columbanus, Life of John of Réomé, and Life of Vedast (2017), with Alexander O'Hara. He has also written numerous articles. He was a co-ordinator of the European Science Foundation project on The Transformation of the Roman World (1989–92, 1992–80). He was elected to the British Academy in 2019. 01 eng 00 240 03 93 3KH-ES-A 12 3KH-ES-A B2 History 10 REL108020 10 HIS037010 12 HRCV B2 Premodern 93 QRM 12 HRCC2 93 KCZ 12 KCZ 12 NHTB 12 JBSR 20 early middle ages; late antiquity; Church history; Temple Society; Mediterranean; economic history; religion and power 01 06 02 00 03 00 The establishment of Christianity in the late- and post-Roman world caused an economic as well as a religious revolution, but, while a great deal of attention has been paid to the religious developments of the period, the impact of the establishment of the Church on the economy has attracted remarkably little attention. The Christian Economy of the Early Medieval West: Towards a Temple Society examines the chronology of the Church’s acquisition of wealth, and particularly of landed property, as well as the distribution of its income, in the period between the conversion of Constantine and the eighth century.In this book, the society that emerged as a result of the Church’s acquisition of land is interpreted in the light of the anthropological model of the “Temple Society,” a concept developed from Karl Marx’s so-called “Asiatic Mode of Production.” The emergence of a socio-economic system dominated by the Church is presented as a crucial development in the history of western Europe. 30 00 The establishment of Christianity in the late- and post-Roman world caused an economic as well as a religious revolution, but, while a great deal of attention has been paid to the religious developments of the period, the impact of the establishment of the Church on the economy has attracted remarkably little attention. The Christian Economy of the Early Medieval West: Towards a Temple Society examines the chronology of the Church’s acquisition of wealth, and particularly of landed property, as well as the distribution of its income, in the period between the conversion of Constantine and the eighth century.In this book, the society that emerged as a result of the Church’s acquisition of land is interpreted in the light of the anthropological model of the “Temple Society,” a concept developed from Karl Marx’s so-called “Asiatic Mode of Production.” The emergence of a socio-economic system dominated by the Church is presented as a crucial development in the history of western Europe. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0371.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-christian-economy-of-the-early-medieval-west-towards-a-temple-society/ Earth, Milky Way 04 01 20220217 Ian Wood 02 WORLD 06 15 9781685710279 03 9781685710279 34 06 10.1017/S0068246200009582 34 06 10.1111/emed.12392 34 06 10.1163/9789004254824 34 06 10.1177/006996677601000201 34 06 10.3406/rhef.1976.1572 34 06 10.1484/J.RB.4.01919 34 06 10.1484/J.RB.4.04783 34 06 10.2307/j.ctv1c5c-s6z.6 34 06 10.1515/9781400849895-005 34 06 10.1093/ehr/XCIV.CCCLXX.1 34 06 10.1080/00681288.1969.11894883 34 06 10.1093/past/45.1.3 34 06 10.1484/M.HAMA-EB.5.114497 34 06 10.1353/earl.2006.0048 34 06 10.3406/mefr.1975.5461 34 06 10.1484/J.AT.2.302417 34 06 10.1111/j.0963-9462.2004.00127.x 34 06 10.3989/hs.2012.001 34 06 10.5871/bacad/9780197266588.003.0009 34 06 10.1007/s11407-018-9231-7 34 06 10.1515/9783110260779.91 34 06 10.1017/CBO9780511583582 34 06 10.3406/mefr.1903.6292 34 06 10.3406/anami.1979.1762 34 06 10.1111/emed.12500 34 06 10.1111/emed.12497 34 06 10.1353/jla.2016.0022 34 06 10.1484/J.AT.2.302430 34 06 10.2307/3210988 34 06 10.2307/1865689 34 06 10.2307/3631906 34 06 10.7765/9781526113993 34 06 10.1017/CBO9780511628665.005 34 06 10.1111/emed.12409 34 06 10.1093/past/127.1.3 34 06 10.1017/CBO9780511628665.003 34 06 10.1163/ej.9789004153585.i-549 34 06 10.3406/bsnaf.1991.9480 34 06 10.3406/crai.1989.14734 34 06 10.1093/acprof:oso/9780199213139.001.0001 34 06 10.1163/9789004257726 34 06 10.1484/J.AT.2.302420 34 06 10.1017/CBO9780511582318 34 06 10.1163/9789004263703_008 34 06 10.1179/byz.1994.18.1.116 34 06 10.7591/9781501739323 34 06 10.2307/2849846 34 06 10.1017/CBO9780511482731.009 34 06 10.1353/earl.2011.0033 34 06 10.2307/3170872 34 06 10.1093/jts/XI.1.84 34 06 10.1524/hzhz.1995.260.jg.673 34 06 10.1163/156852092X00084 34 06 10.2307/j.ctv1c5cs6z.17 34 06 10.3828/978-0-85323-368-8 34 06 10.2307/300659 34 06 10.1080/13507480903368061 34 06 10.1017/S0009640712000613 34 06 10.1002/9781118255483.ch34 34 06 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08 20220217 02 24.00 USD WORLD urn:uuid:18891acf-5d34-4b99-a56d-5e7ee68b4feb 03 01 01 thoth-work-id urn:uuid:6813bf17-373c-49ce-b9e3-1d7ab98f2977 01 thoth-publication-id urn:uuid:18891acf-5d34-4b99-a56d-5e7ee68b4feb 15 9781685710279 03 9781685710279 06 10.53288/0371.1.00 13 2022930897 01 internal-reference 0371 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Christian Economy of the Early Medieval West Towards a Temple Society 1 A01 Ian Wood Ian Wood 40 024mrxd33 University of Leeds Ian Wood is Emeritus Professor of Early Medieval History at the University of Leeds, where he taught from 1976 to 2015. He is the author of several books, including The Merovingian Kingdoms, 450–751 (1994), The Missionary Life: Saints and the eEangelisation of Europe 400–1050 (2001), The Modern Origins of the Early Middle Ages (2013), and The Transformation of the Roman West (2018). He is the co-author of Avitus of Vienne, Letters and Selected Prose (2002), with Danuta Shanzer, Fragments of History: Rethinking the Ruthwell and Bewcastle Monuments (2007), with Fred Orton and Clare Lees, Abbots of Wearmouth and Jarrow (2014), with Chris Grocock, and Jonas of Bobbio, Life of Columbanus, Life of John of Réomé, and Life of Vedast (2017), with Alexander O'Hara. He has also written numerous articles. He was a co-ordinator of the European Science Foundation project on The Transformation of the Roman World (1989–92, 1992–80). He was elected to the British Academy in 2019. 01 eng 00 240 03 93 3KH-ES-A 12 3KH-ES-A B2 History 10 REL108020 10 HIS037010 12 HRCV B2 Premodern 93 QRM 12 HRCC2 93 KCZ 12 KCZ 12 NHTB 12 JBSR 20 early middle ages; late antiquity; Church history; Temple Society; Mediterranean; economic history; religion and power 01 06 02 00 03 00 The establishment of Christianity in the late- and post-Roman world caused an economic as well as a religious revolution, but, while a great deal of attention has been paid to the religious developments of the period, the impact of the establishment of the Church on the economy has attracted remarkably little attention. The Christian Economy of the Early Medieval West: Towards a Temple Society examines the chronology of the Church’s acquisition of wealth, and particularly of landed property, as well as the distribution of its income, in the period between the conversion of Constantine and the eighth century.In this book, the society that emerged as a result of the Church’s acquisition of land is interpreted in the light of the anthropological model of the “Temple Society,” a concept developed from Karl Marx’s so-called “Asiatic Mode of Production.” The emergence of a socio-economic system dominated by the Church is presented as a crucial development in the history of western Europe. 30 00 The establishment of Christianity in the late- and post-Roman world caused an economic as well as a religious revolution, but, while a great deal of attention has been paid to the religious developments of the period, the impact of the establishment of the Church on the economy has attracted remarkably little attention. The Christian Economy of the Early Medieval West: Towards a Temple Society examines the chronology of the Church’s acquisition of wealth, and particularly of landed property, as well as the distribution of its income, in the period between the conversion of Constantine and the eighth century.In this book, the society that emerged as a result of the Church’s acquisition of land is interpreted in the light of the anthropological model of the “Temple Society,” a concept developed from Karl Marx’s so-called “Asiatic Mode of Production.” The emergence of a socio-economic system dominated by the Church is presented as a crucial development in the history of western Europe. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0371.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-christian-economy-of-the-early-medieval-west-towards-a-temple-society/ Earth, Milky Way 04 01 20220217 Ian Wood 02 WORLD 06 15 9781685710262 03 9781685710262 34 06 10.1017/S0068246200009582 34 06 10.1111/emed.12392 34 06 10.1163/9789004254824 34 06 10.1177/006996677601000201 34 06 10.3406/rhef.1976.1572 34 06 10.1484/J.RB.4.01919 34 06 10.1484/J.RB.4.04783 34 06 10.2307/j.ctv1c5c-s6z.6 34 06 10.1515/9781400849895-005 34 06 10.1093/ehr/XCIV.CCCLXX.1 34 06 10.1080/00681288.1969.11894883 34 06 10.1093/past/45.1.3 34 06 10.1484/M.HAMA-EB.5.114497 34 06 10.1353/earl.2006.0048 34 06 10.3406/mefr.1975.5461 34 06 10.1484/J.AT.2.302417 34 06 10.1111/j.0963-9462.2004.00127.x 34 06 10.3989/hs.2012.001 34 06 10.5871/bacad/9780197266588.003.0009 34 06 10.1007/s11407-018-9231-7 34 06 10.1515/9783110260779.91 34 06 10.1017/CBO9780511583582 34 06 10.3406/mefr.1903.6292 34 06 10.3406/anami.1979.1762 34 06 10.1111/emed.12500 34 06 10.1111/emed.12497 34 06 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https://directory.doabooks.org/handle/20.500.12854/78298 20 08 20220217 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2gjx0p9 20 08 20220217 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/712 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e00c55c8-6030-4799-81c1-39924473711f/download 20 08 20220217 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Christian_Economy_of_the_Early_Medie/rgWVEAAAQBAJ 20 08 20220217 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6813bf17-373c-49ce-b9e3-1d7ab98f2977 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6813bf17-373c-49ce-b9e3-1d7ab98f2977/6813bf17-373c-49ce-b9e3-1d7ab98f2977.pdf 20 08 20220217 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849221 29 ZENODO: download the title https://zenodo.org/records/19849221/files/6813bf17-373c-49ce-b9e3-1d7ab98f2977_book.pdf 20 08 20220217 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-christian-economy-of-the-early-medieval-west-towards-a-temple-society/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0371.1.00.pdf 20 08 20220217 01 urn:uuid:3224621c-49a1-464d-9934-c904bb885ccb 03 01 01 thoth-work-id urn:uuid:a065ad95-716a-4005-b436-a46d9dbd64df 01 thoth-publication-id urn:uuid:3224621c-49a1-464d-9934-c904bb885ccb 15 9780615986968 03 9780615986968 06 10.21983/P3.0059.1.00 01 internal-reference 0059 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Communism of Thought 1 A01 Michael Munro Michael Munro 01 eng 00 90 03 93 DNL 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 20 philosophy; correspondence; friendship; commentary; Gilles Deleuze 01 06 02 00 03 00 The Communism of Thought takes as its point of departure a passage in a letter from Dionys Mascolo to Gilles Deleuze: “I have called this communism of thought in the past. And I placed it under the auspices of Hölderlin, who may have only fled thought because he was unable to live it: ‘The life of the spirit between friends, the thoughts that form in the exchange of words, by writing or in person, are necessary to those who seek. Without that, we are by our own hands outside thought.’”What, in light of that imperative, is a correspondence? What is given to be understood by the word, let alone the phenomenon? What constitutes a correspondence? What occasions it? On what terms and according to what conditions may one enter into that exchange “necessary,” in Hölderlin’s words, “to those who seek”? Pursuant to what vicissitudes may it be conducted? And what end(s) might a correspondence come to have beyond the ostensible end that, to all appearances, it (inevitably) will be said to have had? 30 00 The Communism of Thought takes as its point of departure a passage in a letter from Dionys Mascolo to Gilles Deleuze: “I have called this communism of thought in the past. And I placed it under the auspices of Hölderlin, who may have only fled thought because he was unable to live it: ‘The life of the spirit between friends, the thoughts that form in the exchange of words, by writing or in person, are necessary to those who seek. Without that, we are by our own hands outside thought.’”What, in light of that imperative, is a correspondence? What is given to be understood by the word, let alone the phenomenon? What constitutes a correspondence? What occasions it? On what terms and according to what conditions may one enter into that exchange “necessary,” in Hölderlin’s words, “to those who seek”? Pursuant to what vicissitudes may it be conducted? And what end(s) might a correspondence come to have beyond the ostensible end that, to all appearances, it (inevitably) will be said to have had? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0059.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/communism-thought/ Brooklyn, NY 04 01 20140101 Munro, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/061598696X 20 08 20140101 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-communism-of-thought 20 08 20140101 02 21.00 USD WORLD urn:uuid:bb01a6f7-4b04-444f-9e3c-14dc8781acf4 03 01 01 thoth-work-id urn:uuid:a065ad95-716a-4005-b436-a46d9dbd64df 01 thoth-publication-id urn:uuid:bb01a6f7-4b04-444f-9e3c-14dc8781acf4 06 10.21983/P3.0059.1.00 01 internal-reference 0059 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Communism of Thought 1 A01 Michael Munro Michael Munro 01 eng 00 90 03 93 DNL 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 20 philosophy; correspondence; friendship; commentary; Gilles Deleuze 01 06 02 00 03 00 The Communism of Thought takes as its point of departure a passage in a letter from Dionys Mascolo to Gilles Deleuze: “I have called this communism of thought in the past. And I placed it under the auspices of Hölderlin, who may have only fled thought because he was unable to live it: ‘The life of the spirit between friends, the thoughts that form in the exchange of words, by writing or in person, are necessary to those who seek. Without that, we are by our own hands outside thought.’”What, in light of that imperative, is a correspondence? What is given to be understood by the word, let alone the phenomenon? What constitutes a correspondence? What occasions it? On what terms and according to what conditions may one enter into that exchange “necessary,” in Hölderlin’s words, “to those who seek”? Pursuant to what vicissitudes may it be conducted? And what end(s) might a correspondence come to have beyond the ostensible end that, to all appearances, it (inevitably) will be said to have had? 30 00 The Communism of Thought takes as its point of departure a passage in a letter from Dionys Mascolo to Gilles Deleuze: “I have called this communism of thought in the past. And I placed it under the auspices of Hölderlin, who may have only fled thought because he was unable to live it: ‘The life of the spirit between friends, the thoughts that form in the exchange of words, by writing or in person, are necessary to those who seek. Without that, we are by our own hands outside thought.’”What, in light of that imperative, is a correspondence? What is given to be understood by the word, let alone the phenomenon? What constitutes a correspondence? What occasions it? On what terms and according to what conditions may one enter into that exchange “necessary,” in Hölderlin’s words, “to those who seek”? Pursuant to what vicissitudes may it be conducted? And what end(s) might a correspondence come to have beyond the ostensible end that, to all appearances, it (inevitably) will be said to have had? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0059.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/communism-thought/ Brooklyn, NY 04 01 20140101 Munro, Michael 02 WORLD 06 15 9780615986968 03 9780615986968 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76462 20 08 20140101 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25558 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25558/1004537.pdf?sequence=1&isAllowed=y 20 08 20140101 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31864 20 08 20140101 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353815 20 08 20140101 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/441 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9d7daa4d-9623-40d1-bebf-a7d00b86aba5/download 20 08 20140101 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a065ad95-716a-4005-b436-a46d9dbd64df 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a065ad95-716a-4005-b436-a46d9dbd64df/a065ad95-716a-4005-b436-a46d9dbd64df.pdf 20 08 20140101 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845889 29 ZENODO: download the title https://zenodo.org/records/19845889/files/a065ad95-716a-4005-b436-a46d9dbd64df_book.pdf 20 08 20140101 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/communism-thought/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0059.1.00.pdf 20 08 20140101 01 urn:uuid:00b4957c-ac33-4ff5-a319-dbf6f4db4060 03 01 01 thoth-work-id urn:uuid:078ba632-782a-44ef-a75c-af87218a1908 01 thoth-publication-id urn:uuid:00b4957c-ac33-4ff5-a319-dbf6f4db4060 15 9780692598443 03 9780692598443 06 10.21983/P3.0125.1.00 01 internal-reference 0125 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Critique of Digital Capitalism An Analysis of the Political Economy of Digital Culture and Technology 1 A01 Michael Betancourt Michael Betancourt 01 eng 00 262 03 10 BUS029000 B2 Capital+Lucre 12 KCP 93 KCP B2 Media+Technology 10 POL023000 93 UBJ B2 New Left Thought 20 economics; digital capitalism; networks; media; technology 01 06 02 00 03 00 Anything that can be automated, will be. The “magic” that digital technology has brought us — self-driving cars, Bitcoin, high frequency trading, internet of things, social networking, mass surveillance, the 2009 housing bubble — has not been considered ideologically. The Critique of Digital Capitalism identifies how digital technology has captured contemporary society in a reification of capitalist priorities. The theory proposed in this book is the description of how digital capitalism as an ideologically “invisible” framework is realized in technology. Written as a series of articles between 2003 and 2015, it provides a broad critical scope for understanding the inherent demands of capitalist protocols for expansion without constraint (regardless of social, legal or ethical limits) that are increasingly being realized as autonomous systems no longer dependent on human labor or oversight and implemented without social discussion of their impacts. The digital illusion of infinite resources, infinite production, and no costs appears as an “end to scarcity,” whereby digital production supposedly eliminates costs and makes everything equally available to everyone. This fantasy of production without consumption hides the physical costs and real-world impacts of these technologies. 30 00 Anything that can be automated, will be. The “magic” that digital technology has brought us — self-driving cars, Bitcoin, high frequency trading, internet of things, social networking, mass surveillance, the 2009 housing bubble — has not been considered ideologically. The Critique of Digital Capitalism identifies how digital technology has captured contemporary society in a reification of capitalist priorities. The theory proposed in this book is the description of how digital capitalism as an ideologically “invisible” framework is realized in technology. Written as a series of articles between 2003 and 2015, it provides a broad critical scope for understanding the inherent demands of capitalist protocols for expansion without constraint (regardless of social, legal or ethical limits) that are increasingly being realized as autonomous systems no longer dependent on human labor or oversight and implemented without social discussion of their impacts. The digital illusion of infinite resources, infinite production, and no costs appears as an “end to scarcity,” whereby digital production supposedly eliminates costs and makes everything equally available to everyone. This fantasy of production without consumption hides the physical costs and real-world impacts of these technologies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0125.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-critique-of-digital-capitalism/ Brooklyn, NY 04 01 20160107 Betancourt, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692598448 20 08 20160107 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-critique-of-digital-capitalism-an-analysis-of-the-political-economy-of-digital-culture-and-technology 20 08 20160107 02 24.00 USD WORLD urn:uuid:f7f7bbb8-bb60-401b-af50-efd43de8b6dd 03 01 01 thoth-work-id urn:uuid:078ba632-782a-44ef-a75c-af87218a1908 01 thoth-publication-id urn:uuid:f7f7bbb8-bb60-401b-af50-efd43de8b6dd 06 10.21983/P3.0125.1.00 01 internal-reference 0125 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Critique of Digital Capitalism An Analysis of the Political Economy of Digital Culture and Technology 1 A01 Michael Betancourt Michael Betancourt 01 eng 00 262 03 10 BUS029000 B2 Capital+Lucre 12 KCP 93 KCP B2 Media+Technology 10 POL023000 93 UBJ B2 New Left Thought 20 economics; digital capitalism; networks; media; technology 01 06 02 00 03 00 Anything that can be automated, will be. The “magic” that digital technology has brought us — self-driving cars, Bitcoin, high frequency trading, internet of things, social networking, mass surveillance, the 2009 housing bubble — has not been considered ideologically. The Critique of Digital Capitalism identifies how digital technology has captured contemporary society in a reification of capitalist priorities. The theory proposed in this book is the description of how digital capitalism as an ideologically “invisible” framework is realized in technology. Written as a series of articles between 2003 and 2015, it provides a broad critical scope for understanding the inherent demands of capitalist protocols for expansion without constraint (regardless of social, legal or ethical limits) that are increasingly being realized as autonomous systems no longer dependent on human labor or oversight and implemented without social discussion of their impacts. The digital illusion of infinite resources, infinite production, and no costs appears as an “end to scarcity,” whereby digital production supposedly eliminates costs and makes everything equally available to everyone. This fantasy of production without consumption hides the physical costs and real-world impacts of these technologies. 30 00 Anything that can be automated, will be. The “magic” that digital technology has brought us — self-driving cars, Bitcoin, high frequency trading, internet of things, social networking, mass surveillance, the 2009 housing bubble — has not been considered ideologically. The Critique of Digital Capitalism identifies how digital technology has captured contemporary society in a reification of capitalist priorities. The theory proposed in this book is the description of how digital capitalism as an ideologically “invisible” framework is realized in technology. Written as a series of articles between 2003 and 2015, it provides a broad critical scope for understanding the inherent demands of capitalist protocols for expansion without constraint (regardless of social, legal or ethical limits) that are increasingly being realized as autonomous systems no longer dependent on human labor or oversight and implemented without social discussion of their impacts. The digital illusion of infinite resources, infinite production, and no costs appears as an “end to scarcity,” whereby digital production supposedly eliminates costs and makes everything equally available to everyone. This fantasy of production without consumption hides the physical costs and real-world impacts of these technologies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0125.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-critique-of-digital-capitalism/ Brooklyn, NY 04 01 20160107 Betancourt, Michael 02 WORLD 06 15 9780692598443 03 9780692598443 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76495 20 08 20160107 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25499 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25499/1004596.pdf?sequence=1&isAllowed=y 20 08 20160107 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36780 20 08 20160107 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1r7876w 20 08 20160107 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/507 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/669a906a-f782-4b6b-b455-66292f537fa5/download 20 08 20160107 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Critique_of_Digital_Capitalism/ 20 08 20160107 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/078ba632-782a-44ef-a75c-af87218a1908 29 INTERNET_ARCHIVE: download the title https://archive.org/download/078ba632-782a-44ef-a75c-af87218a1908/078ba632-782a-44ef-a75c-af87218a1908.pdf 20 08 20160107 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846396 29 ZENODO: download the title https://zenodo.org/records/19846396/files/078ba632-782a-44ef-a75c-af87218a1908_book.pdf 20 08 20160107 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-critique-of-digital-capitalism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0125.1.00.pdf 20 08 20160107 01 urn:uuid:5da8f81f-aa46-4e45-a3e0-bf7bad4f1d45 03 01 01 thoth-work-id urn:uuid:a86b8055-acbf-4e8f-a93e-cb517de68160 01 thoth-publication-id urn:uuid:5da8f81f-aa46-4e45-a3e0-bf7bad4f1d45 15 9781685710705 03 9781685710705 06 10.53288/0381.1.00 13 2022946161 01 internal-reference 0381 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Dark Posthuman Dehumanization, Technology, and the Atlantic World 1 A01 21 0000000320630838 Stephanie Polsky Stephanie Polsky 40 04t5xt781 Northeastern University 01 eng 00 432 03 B2 History 93 JBFV5 12 JFMG 10 POL042020 12 PDR B2 Posthumanism 10 SOC054000 93 UBJ 93 PDR 20 posthumanism; race; ecology; capitalism; liberalism; technology; colonialism 01 06 02 00 03 00 The Dark Posthuman: Dehumanization, Technology, and the Atlantic World explores how liberal humanism first enlivened, racialized, and gendered global cartographies, and how memory, ancestry, expression, and other aspects of social identity founded in its theories and practices made for the advent of the category of the posthuman through the dimensions of cultural, geographic, political, social, and scientific classification.The posthuman is very much the product of world-building narratives that have their beginnings in the commercial franchise and are fundamentally rooted in science, governance, and economics around the hegemonic appropriation of environments and commodification of bodies that initially fuelled white settler life worlds and continue to be operational in the way we conceive of these worlds as continuous ontological formations. The want has always been for ownership of any of these dimensions of being without regard to condition, to not remain stranded as the subsidiary of another’s being, to another’s claim to humanity, and finally, to escape the suffocating confines of an instrumental ontology that suggests a subcategory of humanity without rights onto itself.The Dark Posthuman distinguishes the posthuman’s place within both the liberal and neoliberal imaginary and reveals how its appearance first entrenched itself through the avarice of English settler colonialism, and subsequently, through the paranoia of American slavery. This same figure of the posthuman played a crucial role in the functional adaptation of Cold War behavioural cybernetics, and thereafter, in the fetishization of technology within the era of global financialization. The shadowing of this arrangement during and beyond the long duration of humanity’s domination of this world becomes the structural web work of this book. 30 00 The Dark Posthuman: Dehumanization, Technology, and the Atlantic World explores how liberal humanism first enlivened, racialized, and gendered global cartographies, and how memory, ancestry, expression, and other aspects of social identity founded in its theories and practices made for the advent of the category of the posthuman through the dimensions of cultural, geographic, political, social, and scientific classification.The posthuman is very much the product of world-building narratives that have their beginnings in the commercial franchise and are fundamentally rooted in science, governance, and economics around the hegemonic appropriation of environments and commodification of bodies that initially fuelled white settler life worlds and continue to be operational in the way we conceive of these worlds as continuous ontological formations. The want has always been for ownership of any of these dimensions of being without regard to condition, to not remain stranded as the subsidiary of another’s being, to another’s claim to humanity, and finally, to escape the suffocating confines of an instrumental ontology that suggests a subcategory of humanity without rights onto itself.The Dark Posthuman distinguishes the posthuman’s place within both the liberal and neoliberal imaginary and reveals how its appearance first entrenched itself through the avarice of English settler colonialism, and subsequently, through the paranoia of American slavery. This same figure of the posthuman played a crucial role in the functional adaptation of Cold War behavioural cybernetics, and thereafter, in the fetishization of technology within the era of global financialization. The shadowing of this arrangement during and beyond the long duration of humanity’s domination of this world becomes the structural web work of this book. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0381.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-dark-posthuman-dehumanization-technology-and-the-atlantic-world/ Earth, Milky Way 04 01 20220922 Stephanie Polsky 02 WORLD 06 15 9781685710712 03 9781685710712 34 06 10.5325/jpoststud.2.1.0106 34 06 10.1353/aq.2017.0023 34 06 10.1177/0725513619863852 34 06 10.1177/0263775820904485 34 06 10.1353/arq.2019.0001 34 06 10.1080/104277102200004758 34 06 10.36366/frontiers.v2i1.25 34 06 10.1177/0263775818805102 34 06 10.3366/olr.2019.0264 34 06 10.1353/jer.2020.0064 34 06 10.1145/2851581.2892572 34 06 10.1177/1354066119858388 34 06 10.3898/136266215814890558 34 06 10.3898/136266215816772205 34 06 10.1353/aq.2019.0047 34 06 10.5621/sciefictstud.44.3.0506 34 06 10.1080/07350198.2018.1395268 34 06 10.1215/23289252-2685660.408 34 06 10.7916/D8Q23ZBF 34 06 10.1177/0308275X06061484 34 06 10.1080/13534645.2019.1685782 34 06 10.1086/592542 34 06 10.1215/22011919-3615934 34 06 10.28968/cftt.v2i2.28803 34 06 10.1353/eam.2017.0014 34 06 10.1080/07491409.2020.1824501 34 06 10.1086/673910 34 06 10.1177/0184767819837738 34 06 10.5149/9780807899809_jefferson 34 06 10.1093/ct/qtz019 34 06 10.16995/olh.613.412 34 06 10.1215/01903659-27-3-45 34 06 10.1080/10455752.2016.1257037 34 06 10.1017/S0261143001001544 34 06 10.1177/0265691405054218 34 06 10.1177/1474474014555659 34 06 10.1086/711437 34 06 10.34619/n8w6-r547 34 06 10.1080/01596306.2019.1569876 34 06 10.1093/alh/ajj017 34 06 10.1007/s00146-020-01095-8.415 34 06 10.1080/03066150.2016.1272587 34 06 10.1215/10642684-2843323 34 06 10.1590/1806-93472015v35n69008 34 06 10.3390/arts9040122 34 06 10.1111/ajph.12485 34 06 10.1215/01642472-3125698 34 06 10.1177/030639689303400403 34 06 10.1007/s10624-017-9476-3 34 06 10.1179/2161944114Z.00000000014 34 06 10.1177/0021934718760769 34 06 10.1215/10642684-3603126 34 06 10.4013/sdrj.2018.112.04 34 06 10.1163/22116176-01801004 34 06 10.17863/CAM.48589 34 06 10.1080/13563467.2020.1841140 34 06 10.1080/14623528.2017.1313518 34 06 10.1080/13534645.2019.1685775 34 06 10.2307/464747 34 06 10.1080/09528822.2019.1625638 34 06 10.7146/aprja.v8i1.115416 34 06 10.1080/13613324.2017.1365055 34 06 10.1093/mind/LIX.236.433 34 06 10.1080/13621020903466357 34 06 10.3138/topia.39.00 34 06 10.1080/02773945.2019.1634830 34 06 10.1086/652023 34 06 10.1080/13688790701348540 34 06 10.1080/24694452.2019.1664890 34 06 10.1386/jptv.5.2.135_1 34 06 10.1111/gec3.12438 34 06 10.1353/eal.2019.0006 34 06 10.28968/cftt.v2i2.28802 34 06 10.2458/v27i1.23748 34 06 10.1080/13534645.2019.1685782 34 06 10.6094/behemoth.2016.9.2.917 34 06 10.1136/medhum-2016-011072 34 06 10.26806/modafr.v8i1.278 34 06 10.5749/jcritethnstud.3.2.0031 34 06 10.1080/13534645.2019.1685775 34 06 10.1093/envhis/ems154 34 06 10.13110/criticism.62.3.0313 34 06 10.1017/S0021875819000045 34 06 10.1353/ncr.2004.0015 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710700 20 08 20220922 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-dark-posthuman-dehumanization-technology-and-the-atlantic-world 20 08 20220922 02 27.00 USD WORLD urn:uuid:0692defe-3de6-4535-bc7a-296486683c3c 03 01 01 thoth-work-id urn:uuid:a86b8055-acbf-4e8f-a93e-cb517de68160 01 thoth-publication-id urn:uuid:0692defe-3de6-4535-bc7a-296486683c3c 15 9781685710712 03 9781685710712 06 10.53288/0381.1.00 13 2022946161 01 internal-reference 0381 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Dark Posthuman Dehumanization, Technology, and the Atlantic World 1 A01 21 0000000320630838 Stephanie Polsky Stephanie Polsky 40 04t5xt781 Northeastern University 01 eng 00 432 03 B2 History 93 JBFV5 12 JFMG 10 POL042020 12 PDR B2 Posthumanism 10 SOC054000 93 UBJ 93 PDR 20 posthumanism; race; ecology; capitalism; liberalism; technology; colonialism 01 06 02 00 03 00 The Dark Posthuman: Dehumanization, Technology, and the Atlantic World explores how liberal humanism first enlivened, racialized, and gendered global cartographies, and how memory, ancestry, expression, and other aspects of social identity founded in its theories and practices made for the advent of the category of the posthuman through the dimensions of cultural, geographic, political, social, and scientific classification.The posthuman is very much the product of world-building narratives that have their beginnings in the commercial franchise and are fundamentally rooted in science, governance, and economics around the hegemonic appropriation of environments and commodification of bodies that initially fuelled white settler life worlds and continue to be operational in the way we conceive of these worlds as continuous ontological formations. The want has always been for ownership of any of these dimensions of being without regard to condition, to not remain stranded as the subsidiary of another’s being, to another’s claim to humanity, and finally, to escape the suffocating confines of an instrumental ontology that suggests a subcategory of humanity without rights onto itself.The Dark Posthuman distinguishes the posthuman’s place within both the liberal and neoliberal imaginary and reveals how its appearance first entrenched itself through the avarice of English settler colonialism, and subsequently, through the paranoia of American slavery. This same figure of the posthuman played a crucial role in the functional adaptation of Cold War behavioural cybernetics, and thereafter, in the fetishization of technology within the era of global financialization. The shadowing of this arrangement during and beyond the long duration of humanity’s domination of this world becomes the structural web work of this book. 30 00 The Dark Posthuman: Dehumanization, Technology, and the Atlantic World explores how liberal humanism first enlivened, racialized, and gendered global cartographies, and how memory, ancestry, expression, and other aspects of social identity founded in its theories and practices made for the advent of the category of the posthuman through the dimensions of cultural, geographic, political, social, and scientific classification.The posthuman is very much the product of world-building narratives that have their beginnings in the commercial franchise and are fundamentally rooted in science, governance, and economics around the hegemonic appropriation of environments and commodification of bodies that initially fuelled white settler life worlds and continue to be operational in the way we conceive of these worlds as continuous ontological formations. The want has always been for ownership of any of these dimensions of being without regard to condition, to not remain stranded as the subsidiary of another’s being, to another’s claim to humanity, and finally, to escape the suffocating confines of an instrumental ontology that suggests a subcategory of humanity without rights onto itself.The Dark Posthuman distinguishes the posthuman’s place within both the liberal and neoliberal imaginary and reveals how its appearance first entrenched itself through the avarice of English settler colonialism, and subsequently, through the paranoia of American slavery. This same figure of the posthuman played a crucial role in the functional adaptation of Cold War behavioural cybernetics, and thereafter, in the fetishization of technology within the era of global financialization. The shadowing of this arrangement during and beyond the long duration of humanity’s domination of this world becomes the structural web work of this book. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0381.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-dark-posthuman-dehumanization-technology-and-the-atlantic-world/ Earth, Milky Way 04 01 20220922 Stephanie Polsky 02 WORLD 06 15 9781685710705 03 9781685710705 34 06 10.5325/jpoststud.2.1.0106 34 06 10.1353/aq.2017.0023 34 06 10.1177/0725513619863852 34 06 10.1177/0263775820904485 34 06 10.1353/arq.2019.0001 34 06 10.1080/104277102200004758 34 06 10.36366/frontiers.v2i1.25 34 06 10.1177/0263775818805102 34 06 10.3366/olr.2019.0264 34 06 10.1353/jer.2020.0064 34 06 10.1145/2851581.2892572 34 06 10.1177/1354066119858388 34 06 10.3898/136266215814890558 34 06 10.3898/136266215816772205 34 06 10.1353/aq.2019.0047 34 06 10.5621/sciefictstud.44.3.0506 34 06 10.1080/07350198.2018.1395268 34 06 10.1215/23289252-2685660.408 34 06 10.7916/D8Q23ZBF 34 06 10.1177/0308275X06061484 34 06 10.1080/13534645.2019.1685782 34 06 10.1086/592542 34 06 10.1215/22011919-3615934 34 06 10.28968/cftt.v2i2.28803 34 06 10.1353/eam.2017.0014 34 06 10.1080/07491409.2020.1824501 34 06 10.1086/673910 34 06 10.1177/0184767819837738 34 06 10.5149/9780807899809_jefferson 34 06 10.1093/ct/qtz019 34 06 10.16995/olh.613.412 34 06 10.1215/01903659-27-3-45 34 06 10.1080/10455752.2016.1257037 34 06 10.1017/S0261143001001544 34 06 10.1177/0265691405054218 34 06 10.1177/1474474014555659 34 06 10.1086/711437 34 06 10.34619/n8w6-r547 34 06 10.1080/01596306.2019.1569876 34 06 10.1093/alh/ajj017 34 06 10.1007/s00146-020-01095-8.415 34 06 10.1080/03066150.2016.1272587 34 06 10.1215/10642684-2843323 34 06 10.1590/1806-93472015v35n69008 34 06 10.3390/arts9040122 34 06 10.1111/ajph.12485 34 06 10.1215/01642472-3125698 34 06 10.1177/030639689303400403 34 06 10.1007/s10624-017-9476-3 34 06 10.1179/2161944114Z.00000000014 34 06 10.1177/0021934718760769 34 06 10.1215/10642684-3603126 34 06 10.4013/sdrj.2018.112.04 34 06 10.1163/22116176-01801004 34 06 10.17863/CAM.48589 34 06 10.1080/13563467.2020.1841140 34 06 10.1080/14623528.2017.1313518 34 06 10.1080/13534645.2019.1685775 34 06 10.2307/464747 34 06 10.1080/09528822.2019.1625638 34 06 10.7146/aprja.v8i1.115416 34 06 10.1080/13613324.2017.1365055 34 06 10.1093/mind/LIX.236.433 34 06 10.1080/13621020903466357 34 06 10.3138/topia.39.00 34 06 10.1080/02773945.2019.1634830 34 06 10.1086/652023 34 06 10.1080/13688790701348540 34 06 10.1080/24694452.2019.1664890 34 06 10.1386/jptv.5.2.135_1 34 06 10.1111/gec3.12438 34 06 10.1353/eal.2019.0006 34 06 10.28968/cftt.v2i2.28802 34 06 10.2458/v27i1.23748 34 06 10.1080/13534645.2019.1685782 34 06 10.6094/behemoth.2016.9.2.917 34 06 10.1136/medhum-2016-011072 34 06 10.26806/modafr.v8i1.278 34 06 10.5749/jcritethnstud.3.2.0031 34 06 10.1080/13534645.2019.1685775 34 06 10.1093/envhis/ems154 34 06 10.13110/criticism.62.3.0313 34 06 10.1017/S0021875819000045 34 06 10.1353/ncr.2004.0015 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/58464 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/58464/0381.1.00.pdf?sequence=1&isAllowed=y 20 08 20220922 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/92437 20 08 20220922 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2x4kpwj 20 08 20220922 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/695 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/6bc0f96a-3bb9-42c9-ab6e-7cead2cb883e/download 20 08 20220922 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a86b8055-acbf-4e8f-a93e-cb517de68160 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a86b8055-acbf-4e8f-a93e-cb517de68160/a86b8055-acbf-4e8f-a93e-cb517de68160.pdf 20 08 20220922 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849510 29 ZENODO: download the title https://zenodo.org/records/19849510/files/a86b8055-acbf-4e8f-a93e-cb517de68160_book.pdf 20 08 20220922 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-dark-posthuman-dehumanization-technology-and-the-atlantic-world/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0381.1.00.pdf 20 08 20220922 01 urn:uuid:c6c7e39f-eb56-4573-b7bb-1840cf77da49 03 01 01 thoth-work-id urn:uuid:6c51c8fa-947b-4a12-a2e9-5306ee81d117 01 thoth-publication-id urn:uuid:c6c7e39f-eb56-4573-b7bb-1840cf77da49 15 9780615600307 03 9780615600307 06 10.21983/P3.0008.1.00 01 internal-reference 0008 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Death of Conrad Unger Some Conjectures Regarding Parasitosis and Associated Suicide Behavior 1 A01 Gary L. Shipley Gary L. Shipley 01 eng 00 35 03 12 DNF 93 DSBJ B2 Literary Studies 10 PSY049000 93 FXL 20 suicide; David Foster Wallace; entomology; Nerval; Virginia Woolf 01 06 02 00 03 00 The death by suicide of Gary J. Shipley’s close friend, Conrad Unger (writer, theorist and amateur entomologist), has prompted him to confront not only the cold machinery of self-erasure, but also its connections to the literary life and notions surrounding psychological bewitchment, to revaluate in both fictional and entomological terms just what it is that drives writers like Unger to take their own lives as a matter of course, as if that end had been there all along, knowing, waiting. Like Gérard de Nerval, David Foster Wallace, Ann Quin and Virginia Woolf before him, Unger was not merely a writer who chose to end his life, but a writer whose work appeared forged from the knowledge of that event’s temporary postponement. And while to the uninitiated these literary suicides would most likely appear completely unrelated to the suicide behaviors of insects parasitized by entomopathogenic fungi or nematomorpha, within the pages of this short study we are frequently presented with details that allow us to see the parallels between their terminal choreographies. He investigates what he believes are the essentially binary and contradictory motivations of his suicide case studies: where their self-dispatch becomes an instance of necro-autonomy (death as solution to an external thraldom, or the zombification of everyday life as something requiring the most extreme form of emancipation), while in addition being an instance of necro-equipoise (death as solution to an internal thraldom, or the anguish of no longer being able to slip back comfortably inside that very everydayness). The deadening claustrophobia of human life and achieving a stance outside of it: both barbs on the lines that can only ever detail the sickness, never cure it. Through extracts and synopses of Unger’s books, marginalia and underscorings selected from his extensive library, and a brief itinerary of his movements in that last month of exile, a picture of the writer’s suicidal obsession begins to form, and it forms at the expense of the man, the idea eating through his brain like a fungal parasite, disinterring the waking corpse to flesh its words. 30 00 The death by suicide of Gary J. Shipley’s close friend, Conrad Unger (writer, theorist and amateur entomologist), has prompted him to confront not only the cold machinery of self-erasure, but also its connections to the literary life and notions surrounding psychological bewitchment, to revaluate in both fictional and entomological terms just what it is that drives writers like Unger to take their own lives as a matter of course, as if that end had been there all along, knowing, waiting. Like Gérard de Nerval, David Foster Wallace, Ann Quin and Virginia Woolf before him, Unger was not merely a writer who chose to end his life, but a writer whose work appeared forged from the knowledge of that event’s temporary postponement. And while to the uninitiated these literary suicides would most likely appear completely unrelated to the suicide behaviors of insects parasitized by entomopathogenic fungi or nematomorpha, within the pages of this short study we are frequently presented with details that allow us to see the parallels between their terminal choreographies. He investigates what he believes are the essentially binary and contradictory motivations of his suicide case studies: where their self-dispatch becomes an instance of necro-autonomy (death as solution to an external thraldom, or the zombification of everyday life as something requiring the most extreme form of emancipation), while in addition being an instance of necro-equipoise (death as solution to an internal thraldom, or the anguish of no longer being able to slip back comfortably inside that very everydayness). The deadening claustrophobia of human life and achieving a stance outside of it: both barbs on the lines that can only ever detail the sickness, never cure it. Through extracts and synopses of Unger’s books, marginalia and underscorings selected from his extensive library, and a brief itinerary of his movements in that last month of exile, a picture of the writer’s suicidal obsession begins to form, and it forms at the expense of the man, the idea eating through his brain like a fungal parasite, disinterring the waking corpse to flesh its words. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0008.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-death-of-conrad-unger-some-conjectures-regarding-parasitosis-and-associated-suicide-behavior/ Brooklyn, NY 04 01 20120813 Shipley, Gary L. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615600301 20 08 20120813 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-death-of-conrad-unger-some-conjectures-regarding-parasitosis-and-associated-suicide-behavior 20 08 20120813 02 21.00 USD WORLD urn:uuid:d51bb6c7-ef5e-4e37-b346-afa65881a4a0 03 01 01 thoth-work-id urn:uuid:6c51c8fa-947b-4a12-a2e9-5306ee81d117 01 thoth-publication-id urn:uuid:d51bb6c7-ef5e-4e37-b346-afa65881a4a0 06 10.21983/P3.0008.1.00 01 internal-reference 0008 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Death of Conrad Unger Some Conjectures Regarding Parasitosis and Associated Suicide Behavior 1 A01 Gary L. Shipley Gary L. Shipley 01 eng 00 35 03 12 DNF 93 DSBJ B2 Literary Studies 10 PSY049000 93 FXL 20 suicide; David Foster Wallace; entomology; Nerval; Virginia Woolf 01 06 02 00 03 00 The death by suicide of Gary J. Shipley’s close friend, Conrad Unger (writer, theorist and amateur entomologist), has prompted him to confront not only the cold machinery of self-erasure, but also its connections to the literary life and notions surrounding psychological bewitchment, to revaluate in both fictional and entomological terms just what it is that drives writers like Unger to take their own lives as a matter of course, as if that end had been there all along, knowing, waiting. Like Gérard de Nerval, David Foster Wallace, Ann Quin and Virginia Woolf before him, Unger was not merely a writer who chose to end his life, but a writer whose work appeared forged from the knowledge of that event’s temporary postponement. And while to the uninitiated these literary suicides would most likely appear completely unrelated to the suicide behaviors of insects parasitized by entomopathogenic fungi or nematomorpha, within the pages of this short study we are frequently presented with details that allow us to see the parallels between their terminal choreographies. He investigates what he believes are the essentially binary and contradictory motivations of his suicide case studies: where their self-dispatch becomes an instance of necro-autonomy (death as solution to an external thraldom, or the zombification of everyday life as something requiring the most extreme form of emancipation), while in addition being an instance of necro-equipoise (death as solution to an internal thraldom, or the anguish of no longer being able to slip back comfortably inside that very everydayness). The deadening claustrophobia of human life and achieving a stance outside of it: both barbs on the lines that can only ever detail the sickness, never cure it. Through extracts and synopses of Unger’s books, marginalia and underscorings selected from his extensive library, and a brief itinerary of his movements in that last month of exile, a picture of the writer’s suicidal obsession begins to form, and it forms at the expense of the man, the idea eating through his brain like a fungal parasite, disinterring the waking corpse to flesh its words. 30 00 The death by suicide of Gary J. Shipley’s close friend, Conrad Unger (writer, theorist and amateur entomologist), has prompted him to confront not only the cold machinery of self-erasure, but also its connections to the literary life and notions surrounding psychological bewitchment, to revaluate in both fictional and entomological terms just what it is that drives writers like Unger to take their own lives as a matter of course, as if that end had been there all along, knowing, waiting. Like Gérard de Nerval, David Foster Wallace, Ann Quin and Virginia Woolf before him, Unger was not merely a writer who chose to end his life, but a writer whose work appeared forged from the knowledge of that event’s temporary postponement. And while to the uninitiated these literary suicides would most likely appear completely unrelated to the suicide behaviors of insects parasitized by entomopathogenic fungi or nematomorpha, within the pages of this short study we are frequently presented with details that allow us to see the parallels between their terminal choreographies. He investigates what he believes are the essentially binary and contradictory motivations of his suicide case studies: where their self-dispatch becomes an instance of necro-autonomy (death as solution to an external thraldom, or the zombification of everyday life as something requiring the most extreme form of emancipation), while in addition being an instance of necro-equipoise (death as solution to an internal thraldom, or the anguish of no longer being able to slip back comfortably inside that very everydayness). The deadening claustrophobia of human life and achieving a stance outside of it: both barbs on the lines that can only ever detail the sickness, never cure it. Through extracts and synopses of Unger’s books, marginalia and underscorings selected from his extensive library, and a brief itinerary of his movements in that last month of exile, a picture of the writer’s suicidal obsession begins to form, and it forms at the expense of the man, the idea eating through his brain like a fungal parasite, disinterring the waking corpse to flesh its words. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0008.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-death-of-conrad-unger-some-conjectures-regarding-parasitosis-and-associated-suicide-behavior/ Brooklyn, NY 04 01 20120813 Shipley, Gary L. 02 WORLD 06 15 9780615600307 03 9780615600307 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76423 20 08 20120813 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25607 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25607/1004488.pdf?sequence=1&isAllowed=y 20 08 20120813 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35494 20 08 20120813 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354030 20 08 20120813 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/385 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3a3437a3-de46-4f37-a845-47370faa3fd8/download 20 08 20120813 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6c51c8fa-947b-4a12-a2e9-5306ee81d117 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6c51c8fa-947b-4a12-a2e9-5306ee81d117/6c51c8fa-947b-4a12-a2e9-5306ee81d117.pdf 20 08 20120813 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693090 29 ZENODO: download the title https://zenodo.org/records/19693090/files/6c51c8fa-947b-4a12-a2e9-5306ee81d117_book.pdf 20 08 20120813 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-death-of-conrad-unger-some-conjectures-regarding-parasitosis-and-associated-suicide-behavior/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0008.1.00.pdf 20 08 20120813 01 urn:uuid:434d4ad7-8ed7-45c1-9c39-99c93e034a75 03 01 01 thoth-work-id urn:uuid:d9766275-a9ba-4276-9188-0005fd7086af 01 thoth-publication-id urn:uuid:434d4ad7-8ed7-45c1-9c39-99c93e034a75 15 9781685712389 03 9781685712389 06 10.53288/0467.1.00 13 2024945607 01 internal-reference 0467 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 11 mm 03 1.1 cm 03 0.44 in 08 272 gr 08 9.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Diary of Anna Comnena, or The Very Political Adventures of a Transgender Byzantine Princess in African Elevators 1 A01 21 0000000330270629 Tis Kaoru Zamler-Carhart Tis Kaoru Zamler-Carhart Tis Kaoru Zamler-Carhart (they/them) is a designer, writer, singer, and music composer and, in a duo with Vitaly Zamler, a visual artist and archeologist. Tis’s literary and visual work revolves around objects and materials, speculative worlds, Africa and its futurisms, linguistics, the European Middle Ages, and the fragile boundaries of seriousness. Their musical work as a composer and singer ranges from opera and theater to solo vocal music and has been performed in numerous countries. As a research duo in contemporary archeology, Tis and Vitaly’s work focuses on fragile household spaces. Their most recent projects investigate remodeling strategies in rural Rwanda from the angle of design theory, and the interiors of abandoned apartments in Poland from the perspective of the archeology of political oppression. As an artist duo, Tis and Vitaly’s work sits at the intersection of photography and material design. Their art has been exhibited in museums, galleries, and at international art fairs, and is held in private collections in various countries. Tis has taught transdisciplinary design at Parsons School of Design, medieval literature at Lang College, as well as medieval music and Latin at the Royal Conservatoire The Hague. 06 Own website https://www.tisandvitaly.com/ 01 eng 00 194 03 B2 Fabulations 93 FDK 10 FIC073000 93 1QBCB 10 FIC040000 B2 Premodern 93 KCP B2 TransQueer 93 5PT 93 1HFD 20 Anna Comnena; Byzantine Empire; transgender; political economy; fiction; West Africa; historiography; Alexiad 01 06 02 00 03 00 In The Diary of Anna Comnena, or The Very Political Adventures of a Transgender Byzantine Princess in African Elevators, Zamler-Carhart impersonates the 12th-century Byzantine princess and historian Anna Comnena as she comes out as trans and tries to write her father’s imperial biography, The Alexiad, while in exile in contemporary West Africa.Outside the Empire, categories become fluid and elevators stop on strange floors. Prose slips into graphic poetry, medieval Christianity into mystical Sahelian Islam, Byzantine chronicles into erotic gore anime. Anna’s first-person diary careens down a series of sinister African elevators and intersectional magic spaces. She is an outcast of the Empire but also a product of it, exploring the dynamics of contemporary African textile production, vernacular theater, animal husbandry, jihad, urban design, television, and coin metallurgy from the perspective of a 12th-century trans Byzantine engineer.The Diary of Anna Comnena initially adopts the same Empire-centric perspective as the historical Alexiad, but the dystopian confrontation with African reality forces Anna to reflect on what it means for her to be specifically in Africa, and not just in a generic outside space. Together with the author’s previous work, The Diary of Anna Comnena forms a gelatinous ongoing treatise where seriousness is an emerging property, and the distinction between speculative fiction, design theory, and political philosophy is probably just matter of scale. 30 00 In The Diary of Anna Comnena, or The Very Political Adventures of a Transgender Byzantine Princess in African Elevators, Zamler-Carhart impersonates the 12th-century Byzantine princess and historian Anna Comnena as she comes out as trans and tries to write her father’s imperial biography, The Alexiad, while in exile in contemporary West Africa.Outside the Empire, categories become fluid and elevators stop on strange floors. Prose slips into graphic poetry, medieval Christianity into mystical Sahelian Islam, Byzantine chronicles into erotic gore anime. Anna’s first-person diary careens down a series of sinister African elevators and intersectional magic spaces. She is an outcast of the Empire but also a product of it, exploring the dynamics of contemporary African textile production, vernacular theater, animal husbandry, jihad, urban design, television, and coin metallurgy from the perspective of a 12th-century trans Byzantine engineer.The Diary of Anna Comnena initially adopts the same Empire-centric perspective as the historical Alexiad, but the dystopian confrontation with African reality forces Anna to reflect on what it means for her to be specifically in Africa, and not just in a generic outside space. Together with the author’s previous work, The Diary of Anna Comnena forms a gelatinous ongoing treatise where seriousness is an emerging property, and the distinction between speculative fiction, design theory, and political philosophy is probably just matter of scale. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0467.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-diary-of-anna-comnena-or-the-very-political-adventures-of-a-transgender-byzantine-princess-in-african-elevators/ Earth, Milky Way 04 01 20240906 Tis Kaoru Zamler-Carhart 02 WORLD 06 15 9781685712396 03 9781685712396 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571238X 20 08 20240906 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-diary-of-anna-comnena-or-the-very-political-adventures-of-a-transgender-byzantine-princess-in-african-elevators-tis-kaoru-zamler-carhart 20 08 20240906 02 23.00 USD WORLD urn:uuid:fa401aa4-3528-4e08-8a53-e5e80ba4abb9 03 01 01 thoth-work-id urn:uuid:d9766275-a9ba-4276-9188-0005fd7086af 01 thoth-publication-id urn:uuid:fa401aa4-3528-4e08-8a53-e5e80ba4abb9 15 9781685712396 03 9781685712396 06 10.53288/0467.1.00 13 2024945607 01 internal-reference 0467 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Diary of Anna Comnena, or The Very Political Adventures of a Transgender Byzantine Princess in African Elevators 1 A01 21 0000000330270629 Tis Kaoru Zamler-Carhart Tis Kaoru Zamler-Carhart Tis Kaoru Zamler-Carhart (they/them) is a designer, writer, singer, and music composer and, in a duo with Vitaly Zamler, a visual artist and archeologist. Tis’s literary and visual work revolves around objects and materials, speculative worlds, Africa and its futurisms, linguistics, the European Middle Ages, and the fragile boundaries of seriousness. Their musical work as a composer and singer ranges from opera and theater to solo vocal music and has been performed in numerous countries. As a research duo in contemporary archeology, Tis and Vitaly’s work focuses on fragile household spaces. Their most recent projects investigate remodeling strategies in rural Rwanda from the angle of design theory, and the interiors of abandoned apartments in Poland from the perspective of the archeology of political oppression. As an artist duo, Tis and Vitaly’s work sits at the intersection of photography and material design. Their art has been exhibited in museums, galleries, and at international art fairs, and is held in private collections in various countries. Tis has taught transdisciplinary design at Parsons School of Design, medieval literature at Lang College, as well as medieval music and Latin at the Royal Conservatoire The Hague. 06 Own website https://www.tisandvitaly.com/ 01 eng 00 194 03 B2 Fabulations 93 FDK 10 FIC073000 93 1QBCB 10 FIC040000 B2 Premodern 93 KCP B2 TransQueer 93 5PT 93 1HFD 20 Anna Comnena; Byzantine Empire; transgender; political economy; fiction; West Africa; historiography; Alexiad 01 06 02 00 03 00 In The Diary of Anna Comnena, or The Very Political Adventures of a Transgender Byzantine Princess in African Elevators, Zamler-Carhart impersonates the 12th-century Byzantine princess and historian Anna Comnena as she comes out as trans and tries to write her father’s imperial biography, The Alexiad, while in exile in contemporary West Africa.Outside the Empire, categories become fluid and elevators stop on strange floors. Prose slips into graphic poetry, medieval Christianity into mystical Sahelian Islam, Byzantine chronicles into erotic gore anime. Anna’s first-person diary careens down a series of sinister African elevators and intersectional magic spaces. She is an outcast of the Empire but also a product of it, exploring the dynamics of contemporary African textile production, vernacular theater, animal husbandry, jihad, urban design, television, and coin metallurgy from the perspective of a 12th-century trans Byzantine engineer.The Diary of Anna Comnena initially adopts the same Empire-centric perspective as the historical Alexiad, but the dystopian confrontation with African reality forces Anna to reflect on what it means for her to be specifically in Africa, and not just in a generic outside space. Together with the author’s previous work, The Diary of Anna Comnena forms a gelatinous ongoing treatise where seriousness is an emerging property, and the distinction between speculative fiction, design theory, and political philosophy is probably just matter of scale. 30 00 In The Diary of Anna Comnena, or The Very Political Adventures of a Transgender Byzantine Princess in African Elevators, Zamler-Carhart impersonates the 12th-century Byzantine princess and historian Anna Comnena as she comes out as trans and tries to write her father’s imperial biography, The Alexiad, while in exile in contemporary West Africa.Outside the Empire, categories become fluid and elevators stop on strange floors. Prose slips into graphic poetry, medieval Christianity into mystical Sahelian Islam, Byzantine chronicles into erotic gore anime. Anna’s first-person diary careens down a series of sinister African elevators and intersectional magic spaces. She is an outcast of the Empire but also a product of it, exploring the dynamics of contemporary African textile production, vernacular theater, animal husbandry, jihad, urban design, television, and coin metallurgy from the perspective of a 12th-century trans Byzantine engineer.The Diary of Anna Comnena initially adopts the same Empire-centric perspective as the historical Alexiad, but the dystopian confrontation with African reality forces Anna to reflect on what it means for her to be specifically in Africa, and not just in a generic outside space. Together with the author’s previous work, The Diary of Anna Comnena forms a gelatinous ongoing treatise where seriousness is an emerging property, and the distinction between speculative fiction, design theory, and political philosophy is probably just matter of scale. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0467.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-diary-of-anna-comnena-or-the-very-political-adventures-of-a-transgender-byzantine-princess-in-african-elevators/ Earth, Milky Way 04 01 20240906 Tis Kaoru Zamler-Carhart 02 WORLD 06 15 9781685712389 03 9781685712389 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/93047 29 OAPEN: download the title 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product https://archive.org/details/d9766275-a9ba-4276-9188-0005fd7086af 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d9766275-a9ba-4276-9188-0005fd7086af/d9766275-a9ba-4276-9188-0005fd7086af.pdf 20 08 20240906 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850536 29 ZENODO: download the title https://zenodo.org/records/19850536/files/d9766275-a9ba-4276-9188-0005fd7086af_book.pdf 20 08 20240906 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-diary-of-anna-comnena-or-the-very-political-adventures-of-a-transgender-byzantine-princess-in-african-elevators/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0467.1.00.pdf 20 08 20240906 01 urn:uuid:33d99a15-ccbe-4a61-8498-2098e83048ba 03 01 01 thoth-work-id urn:uuid:9a32b0aa-0b2d-470c-ac62-58c9789853dc 01 thoth-publication-id urn:uuid:33d99a15-ccbe-4a61-8498-2098e83048ba 15 9781685710064 03 9781685710064 06 10.53288/0289.1.00 01 internal-reference 0289 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Digital Agent versus Human Agency The Political Economy of Alienation and Agnotology in Digital Capitalism 1 A01 Michael Betancourt Michael Betancourt 01 eng 01 06 02 00 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-digital-agent-versus-human-agency/ Earth, Milky Way 02 Betancourt, Michael 02 WORLD 06 15 9781685710071 03 9781685710071 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-digital-agent-versus-human-agency/ 10 01 urn:uuid:eb7c06f3-c7b0-4314-b698-2966e6168646 03 01 01 thoth-work-id urn:uuid:9a32b0aa-0b2d-470c-ac62-58c9789853dc 01 thoth-publication-id urn:uuid:eb7c06f3-c7b0-4314-b698-2966e6168646 15 9781685710071 03 9781685710071 06 10.53288/0289.1.00 01 internal-reference 0289 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Digital Agent versus Human Agency The Political Economy of Alienation and Agnotology in Digital Capitalism 1 A01 Michael Betancourt Michael Betancourt 01 eng 01 06 02 00 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-digital-agent-versus-human-agency/ Earth, Milky Way 02 Betancourt, Michael 02 WORLD 06 15 9781685710064 03 9781685710064 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-digital-agent-versus-human-agency/ 10 01 urn:uuid:09cf16d0-5291-4cef-86f5-d7cc4f3627eb 03 01 01 thoth-work-id urn:uuid:47cd079b-03f3-4a5b-b5e4-36cec4db7fab 01 thoth-publication-id urn:uuid:09cf16d0-5291-4cef-86f5-d7cc4f3627eb 15 9780692270790 03 9780692270790 06 10.21983/P3.0149.1.00 01 internal-reference 0149 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Digital Dionysus Nietzsche and the Network-Centric Condition 1 B01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 B01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 00 286 03 B2 Cultural Studies+Critical Theory 93 JBCT 12 JFD 10 SOC052000 B2 Media+Technology 93 UXA 93 QDHR 20 media studies; cybernetics; networks; philosophy; technology 01 06 02 00 03 00 Can Nietzsche be considered a thinker of media and mediation, as the German media theorist Friedrich Kittler declared in his influential book Gramophone, Film, Typewriter?Nietzsche was a truly transdisciplinary thinker, one who never fit into his own nineteenth-century surroundings and who recognized himself as a “herald and precursor” of the future, of our globally-reticulated digital present. Perhaps not since Kittler has there been a study — let alone an anthology — that re-assesses and re-evaluates Nietzsche’s thought in light of the technically mediated and machinic conditions of the human in the age of digital networks. 30 00 Can Nietzsche be considered a thinker of media and mediation, as the German media theorist Friedrich Kittler declared in his influential book Gramophone, Film, Typewriter?Nietzsche was a truly transdisciplinary thinker, one who never fit into his own nineteenth-century surroundings and who recognized himself as a “herald and precursor” of the future, of our globally-reticulated digital present. Perhaps not since Kittler has there been a study — let alone an anthology — that re-assesses and re-evaluates Nietzsche’s thought in light of the technically mediated and machinic conditions of the human in the age of digital networks. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0149.1.00_frontcover.png 1 03 06 10.21983/P3.0149.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 B01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 20 00 Open Access Mellamphy, Dan Biswas Mellamphy, Nandita 2 03 06 10.21983/P3.0149.1.02 10 30 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nietzsche and Networks, Nietzschean Networks The Digital Dionysus 1 A01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 The inspiration for this volume of essays, drawn from the pro-ceedings of the Nietz sche Workshop @ Western (held at West-ern University, London on, and the Center for Transformative Media at The New School, New York ny),1 comes from the hy-pothesis that Nietz sche’s thinking is pertinent to a phenomenon which can be described as the planetary propensity toward the digitization and networking of information. Moreover, “Nietz-sche-Thought” — to lift a phrase from philosopher François Laruelle2 — provides unique insights about the complexities of our contemporary network-centric condition, especially in relation to the all-important notion of “information,” which has been conceptualized primarily in terms that are protoco-logical and computational, hence almost exclusively Apollonian(or as Gilles Deleuze and Félix Guattari would say, “striated”), rather than Dionysian (or as Deleuze and Guattari would say, “smooth”) terms. As Manav Guha argues in his contribution to this volume, the current military understanding of net-centric-ity is “a project of extreme striation involving the harnessing of Dionysian energies of the yet-to-be-processed with the Apollon-ian reigns of the processor.” 30 00 The inspiration for this volume of essays, drawn from the pro-ceedings of the Nietz sche Workshop @ Western (held at West-ern University, London on, and the Center for Transformative Media at The New School, New York ny),1 comes from the hy-pothesis that Nietz sche’s thinking is pertinent to a phenomenon which can be described as the planetary propensity toward the digitization and networking of information. Moreover, “Nietz-sche-Thought” — to lift a phrase from philosopher François Laruelle2 — provides unique insights about the complexities of our contemporary network-centric condition, especially in relation to the all-important notion of “information,” which has been conceptualized primarily in terms that are protoco-logical and computational, hence almost exclusively Apollonian(or as Gilles Deleuze and Félix Guattari would say, “striated”), rather than Dionysian (or as Deleuze and Guattari would say, “smooth”) terms. As Manav Guha argues in his contribution to this volume, the current military understanding of net-centric-ity is “a project of extreme striation involving the harnessing of Dionysian energies of the yet-to-be-processed with the Apollon-ian reigns of the processor.” 20 00 Open Access Mellamphy, Dan Mellamphy, Nandita Biswas 3 03 06 10.21983/P3.0149.1.03 32 48 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Digital Alexandrians Greek as Musical Code for Nietzsche and Kittler 1 A01 Babette Babich Babette Babich 40 03qnxaf80 Fordham University 01 eng 03 00 The Cyborg-Nietz sche appeals to us — indeed the pastiche-in-general appeals to us — like the bookplate-image from Alfred Soder’s Nietz sche in the High Mountains, discretely placed not on the front of the dust-jacket but the back of Steven E. Ascheim’s Nietz sche Legacy.2 Nietz sche-On-Demand can be found at the click of a button: the Hitler-Nietz sche? ... got that; the Ayn-Rand-Nietz sche? ... got that; the Naturalist- or Brian-Leiter-Nietz sche? ... alsogot that. The Analytic-Nietz sche we have from John Richardson to Aaron Ridley, the “New”-Nietz-sche still with David Allison and the shining feathers of Al-phonso Lingis. And with Friedrich Kittler — as Nandita Biswas Mellamphy has already acknowledged,3 along with a host of typewriter-and-keyboard networking enthusiasts, including a certain Arthur Kroker — we already have a Media-Nietz sche, tracked from several angles, several perspectives. As Nietz sche himself has told us, “There are myriad eyes. Even the sphinx had eyes. And consequently there are myriad truths, and con-sequently there is no truth.”4 Thus we suppose a multiplicity of trans- and over-humans (are we not all already post-human?) if only to overcome the last humans, as we imagine the trans-human phantasm in our own image. 30 00 The Cyborg-Nietz sche appeals to us — indeed the pastiche-in-general appeals to us — like the bookplate-image from Alfred Soder’s Nietz sche in the High Mountains, discretely placed not on the front of the dust-jacket but the back of Steven E. Ascheim’s Nietz sche Legacy.2 Nietz sche-On-Demand can be found at the click of a button: the Hitler-Nietz sche? ... got that; the Ayn-Rand-Nietz sche? ... got that; the Naturalist- or Brian-Leiter-Nietz sche? ... alsogot that. The Analytic-Nietz sche we have from John Richardson to Aaron Ridley, the “New”-Nietz-sche still with David Allison and the shining feathers of Al-phonso Lingis. And with Friedrich Kittler — as Nandita Biswas Mellamphy has already acknowledged,3 along with a host of typewriter-and-keyboard networking enthusiasts, including a certain Arthur Kroker — we already have a Media-Nietz sche, tracked from several angles, several perspectives. As Nietz sche himself has told us, “There are myriad eyes. Even the sphinx had eyes. And consequently there are myriad truths, and con-sequently there is no truth.”4 Thus we suppose a multiplicity of trans- and over-humans (are we not all already post-human?) if only to overcome the last humans, as we imagine the trans-human phantasm in our own image. 20 00 Open Access Babich, Babette 4 03 06 10.21983/P3.0149.1.04 50 61 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Internet as a Development from Descartes' Res Cogitans How to Render It Dionysian 1 A01 Horst Hutter Horst Hutter 40 0420zvk78 Concordia University 01 eng 03 00 The vision of the human condition that emerges from both an-cient Greek tragedy and pre-Christian philosophy involves the fundamental duality of Apollo and Dionysus, among other di-vinities, naturally. Accordingly, life is defined and ordered by the influence of both of these divinities. As such it involves defi-nite form, growth and change through time, as well as finitude and the dissolution of every form into chaos and death. Apollo and Dionysus both always win and ultimately always also lose. Nothing lasts, except the constant regeneration of new forms of growth and movements toward the future that transit brief presents, before becoming memories of the past. From this per-spective we are indeed all goats that sing and dance for a while before vanishing into the nihilating nothing.2 Or, in another image, we are all donkeys that celebrate for a while, welcom-ing new donkeys to the celebration before singing our songs of goodbye.3 Yet the fact that every singing donkey or goat stands under the influence of two divinities has also given birth to much hope and longing for eternity and the promise of escap-ing from the depredations of time. Some of these structures of hope have been based on vehement attempts to defeat Dionysus altogether and enthrone a permanent Apollo. 30 00 The vision of the human condition that emerges from both an-cient Greek tragedy and pre-Christian philosophy involves the fundamental duality of Apollo and Dionysus, among other di-vinities, naturally. Accordingly, life is defined and ordered by the influence of both of these divinities. As such it involves defi-nite form, growth and change through time, as well as finitude and the dissolution of every form into chaos and death. Apollo and Dionysus both always win and ultimately always also lose. Nothing lasts, except the constant regeneration of new forms of growth and movements toward the future that transit brief presents, before becoming memories of the past. From this per-spective we are indeed all goats that sing and dance for a while before vanishing into the nihilating nothing.2 Or, in another image, we are all donkeys that celebrate for a while, welcom-ing new donkeys to the celebration before singing our songs of goodbye.3 Yet the fact that every singing donkey or goat stands under the influence of two divinities has also given birth to much hope and longing for eternity and the promise of escap-ing from the depredations of time. Some of these structures of hope have been based on vehement attempts to defeat Dionysus altogether and enthrone a permanent Apollo. 20 00 Open Access Hutter, Horst 5 03 06 10.21983/P3.0149.1.05 62 81 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Networked Nightmares On Our Dionysian Post-Military Condition 1 A01 Manabrata Guha Manabrata Guha 40 03r8z3t63 University of New South Wales 01 eng 03 00 While the world made fun of Donald Rumsfeld for his obser-vations regarding the “unknown unknowns” gaffe, hidden in the rhetoric a quiet revolution in military affairs was underway.1More precisely, it was a subtle but significant revolution in mili-tary concepts. Mass and firepower — the traditional metrics of military capability — were not (as is most often argued) undermined; rather, they were being augmented (and recontextual-ized) with a terminological turn that reflects, if nothing else, the significance of the impact of the Age of Information on military affairs. At the very least, the conduct of war was being recon-sidered in a network-centric sense. 30 00 While the world made fun of Donald Rumsfeld for his obser-vations regarding the “unknown unknowns” gaffe, hidden in the rhetoric a quiet revolution in military affairs was underway.1More precisely, it was a subtle but significant revolution in mili-tary concepts. Mass and firepower — the traditional metrics of military capability — were not (as is most often argued) undermined; rather, they were being augmented (and recontextual-ized) with a terminological turn that reflects, if nothing else, the significance of the impact of the Age of Information on military affairs. At the very least, the conduct of war was being recon-sidered in a network-centric sense. 20 00 Open Access Guha, Manabrata 6 03 06 10.21983/P3.0149.1.06 82 94 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Philosophy of the Antichrist in the Time of the Anthropocenic Multitude Preliminary Lexicon for the Conceptual Network 1 A01 Gary Shapiro Gary Shapiro 40 03y71xh61 University of Richmond 01 eng 03 00 Antichrist. Nietz sche’s not just being scary and shocking. He speaks of a “philosophy of the Antichrist” in one of the more explicitly political sections of Beyond Good and Evil,1 in fact in a long concluding aphorism in §8, “Peoples and Fatherlands.” He reviews the mixed accomplishments of figures who helped to teach the nineteenth-century concept of “the higher human (Mensch),” including such diverse men as Napoleon, Wagner, Stendhal, and Heine. While all invented various forms of cul-tural hybridity (cf.übernational), escaping the limits of nation-alism, still all reverted to religion, and none “would have been capable of a philosophy of the Antichrist.” In the late preface to The Birth of Tragedy Nietz sche ventures to reveal the Anti-christ’s true name: Dionysus. The book The Antichrist, com-pleted by Nietz sche and published laterin distorted form by his sister Elisabeth, was first described as the initial one of four in The Transvaluation of Values, and later as the work’s whole. In choosing the name and figure of Antichrist is Nietz sche simply aiming at ultimate blasphemy, a poke in the eye for Chris-tianity? 30 00 Antichrist. Nietz sche’s not just being scary and shocking. He speaks of a “philosophy of the Antichrist” in one of the more explicitly political sections of Beyond Good and Evil,1 in fact in a long concluding aphorism in §8, “Peoples and Fatherlands.” He reviews the mixed accomplishments of figures who helped to teach the nineteenth-century concept of “the higher human (Mensch),” including such diverse men as Napoleon, Wagner, Stendhal, and Heine. While all invented various forms of cul-tural hybridity (cf.übernational), escaping the limits of nation-alism, still all reverted to religion, and none “would have been capable of a philosophy of the Antichrist.” In the late preface to The Birth of Tragedy Nietz sche ventures to reveal the Anti-christ’s true name: Dionysus. The book The Antichrist, com-pleted by Nietz sche and published laterin distorted form by his sister Elisabeth, was first described as the initial one of four in The Transvaluation of Values, and later as the work’s whole. In choosing the name and figure of Antichrist is Nietz sche simply aiming at ultimate blasphemy, a poke in the eye for Chris-tianity? 20 00 Open Access Shapiro, Gary 7 03 06 10.21983/P3.0149.1.07 96 106 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Occupying God's Shadow Nietzsche’s Eirōneia 1 A01 Julian Reid Julian Reid 40 05jzt8766 University of Lapland 01 eng 03 00 It is a truism, after Schmitt, to say that all modern political con-cepts are secularized theological ones. Politically speaking we have yet to emancipate ourselves from the tyranny of theologi-cal reason. Never less so than in this current era in which we remain subjected to what Schmitt called “liberal metaphysics.”1And so it is the case that the struggle with neoliberalism must be a struggle against the continuities of its theology. Contrary to Nietz sche, God is far from dead: we haven’t quite finished the job of killing him — nor perhaps could we, were we up to the task. In actual fact, to be true to Nietz sche, his proclama-tion that “God is dead” was followed directly by a claim as to the “shadow” that God continues to cast over us in spite of his “death” and a warning that, in spite of his death, “we still have to vanquish his shadow.”2 That “God is dead” merely means that he continues to live in a different way, as a shadow of himself. The problem Nietz sche posed for us has subsequently been understood as that of how to vanquish that shadow; how to secure the demise of God such that we might escape the many ways in which that shadow continues to be thrown over us, preventing us from realizing our emancipation from religion. How, in other words, to sever the relation of religion to the modern, ridding us of the scourge of religion that continues to afflict our thinking and practices. 30 00 It is a truism, after Schmitt, to say that all modern political con-cepts are secularized theological ones. Politically speaking we have yet to emancipate ourselves from the tyranny of theologi-cal reason. Never less so than in this current era in which we remain subjected to what Schmitt called “liberal metaphysics.”1And so it is the case that the struggle with neoliberalism must be a struggle against the continuities of its theology. Contrary to Nietz sche, God is far from dead: we haven’t quite finished the job of killing him — nor perhaps could we, were we up to the task. In actual fact, to be true to Nietz sche, his proclama-tion that “God is dead” was followed directly by a claim as to the “shadow” that God continues to cast over us in spite of his “death” and a warning that, in spite of his death, “we still have to vanquish his shadow.”2 That “God is dead” merely means that he continues to live in a different way, as a shadow of himself. The problem Nietz sche posed for us has subsequently been understood as that of how to vanquish that shadow; how to secure the demise of God such that we might escape the many ways in which that shadow continues to be thrown over us, preventing us from realizing our emancipation from religion. How, in other words, to sever the relation of religion to the modern, ridding us of the scourge of religion that continues to afflict our thinking and practices. 20 00 Open Access Reid, Julian 8 03 06 10.21983/P3.0149.1.08 108 130 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reading Nietzsche in the Wake of the 2008-9 War on Gaza 1 A01 C. Heike Schotten C. Heike Schotten 40 04ydmy275 University of Massachusetts Boston 01 eng 03 00 In late January 2009, I sat down to re-read Nietz sche’s Geneal-ogy of Morals. I remember this otherwise uneventful event so distinctly because at that moment the first of Israel’s series of twenty-first-century wars on Gaza was brutally and unremit-tingly underway. During that three-week-long military attack, Israel killed over 1,400 Palestinians, most of whom were civil-ians and approximately 400 of whom were children. Israel, in fact, deliberately targeted civilians — including children and humanitarian aid workers — assaulting Palestinians simulta-neously by air, land, and sea, and deploying white phosphorus against them, a chemical intended to operate as a smokescreen for troop movements but when used as a weapon burns people’s flesh down to the bone.1 The brutality of Israel’s war was all the more agonizing due to the fact that the people of Gaza were not allowed to leave there, Gaza itself being among the most dense-ly populated areas on the earth. This unrelenting, intentional, and indiscriminate massacre, conducted by one of the largest military powers in the world against a largely unarmed, civil-ian, refugee, and subject population, resulted in mass murder, rampant homelessness, devastation of Gaza’s infrastructure, and destruction of the major institutions and workings of Palestin-ian daily life, including schools, universities, mosques, hospi-tals, and roads. 30 00 In late January 2009, I sat down to re-read Nietz sche’s Geneal-ogy of Morals. I remember this otherwise uneventful event so distinctly because at that moment the first of Israel’s series of twenty-first-century wars on Gaza was brutally and unremit-tingly underway. During that three-week-long military attack, Israel killed over 1,400 Palestinians, most of whom were civil-ians and approximately 400 of whom were children. Israel, in fact, deliberately targeted civilians — including children and humanitarian aid workers — assaulting Palestinians simulta-neously by air, land, and sea, and deploying white phosphorus against them, a chemical intended to operate as a smokescreen for troop movements but when used as a weapon burns people’s flesh down to the bone.1 The brutality of Israel’s war was all the more agonizing due to the fact that the people of Gaza were not allowed to leave there, Gaza itself being among the most dense-ly populated areas on the earth. This unrelenting, intentional, and indiscriminate massacre, conducted by one of the largest military powers in the world against a largely unarmed, civil-ian, refugee, and subject population, resulted in mass murder, rampant homelessness, devastation of Gaza’s infrastructure, and destruction of the major institutions and workings of Palestin-ian daily life, including schools, universities, mosques, hospi-tals, and roads. 20 00 Open Access Schotten, C. Heike 9 03 06 10.21983/P3.0149.1.09 132 143 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nietzsche’s Amor Fati Wishing and Willing in a Cybernetic Circuit 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 This paper is commentary on The Gay Science §276 in light of the cybernetic.3 The natural connection between the cybernetic and Nietz sche’s amor fati is evident in their intersection within the principle of interface as the site of steering or helmsmanship (kubernēsis). Nietz sche names this love under the double sign of Januarius — at once the two-faced god of beginnings/doorways/gates and the saint whose annually liquefying blood signals the miracle of spiritual renewal — and installs it as a navigational protocol in the form of a new year’s resolution: “Let that be my love from now on!” Amor fati, I will affirm, is the protocol for navigating interface itself, a pure cybernetic law that steers steer-ing per se around the radically immanent negative interfacial pole of looking away: “Let looking away be my only negation!” Love of fate, the positive formulation of not worrying, is a pros-thetic intrinsically necessary for manipulating the inoperability of interface, its being “a medium that does not mediate.”4 Far from representing an immaterial or merely subjective affect, amor fati enjoys a terrifying invisible positive traction and in-escapable occult influence upon all interfaces. 30 00 This paper is commentary on The Gay Science §276 in light of the cybernetic.3 The natural connection between the cybernetic and Nietz sche’s amor fati is evident in their intersection within the principle of interface as the site of steering or helmsmanship (kubernēsis). Nietz sche names this love under the double sign of Januarius — at once the two-faced god of beginnings/doorways/gates and the saint whose annually liquefying blood signals the miracle of spiritual renewal — and installs it as a navigational protocol in the form of a new year’s resolution: “Let that be my love from now on!” Amor fati, I will affirm, is the protocol for navigating interface itself, a pure cybernetic law that steers steer-ing per se around the radically immanent negative interfacial pole of looking away: “Let looking away be my only negation!” Love of fate, the positive formulation of not worrying, is a pros-thetic intrinsically necessary for manipulating the inoperability of interface, its being “a medium that does not mediate.”4 Far from representing an immaterial or merely subjective affect, amor fati enjoys a terrifying invisible positive traction and in-escapable occult influence upon all interfaces. 20 00 Open Access Masciandaro, Nicola 10 03 06 10.21983/P3.0149.1.10 144 160 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outing the "It" that Thinks On the Collapse of an Intellectual Ecosystem 1 A01 R.Scott Bakker R.Scott Bakker 01 eng 03 00 Who kills Hector in The Illiad? The easy answer is: Achilles. After all, he was the one who drove his spear through Hector’s neck, who gloried over his dying form, then proceeded to des-ecrate his corpse. But if you read Homer carefully, you see that the death of Hector is in fact a corporate enterprise. We are told shortly after the duel that death and fate seized him and dragged him down. And, even more curiously, we learn that Hector was “struck down at Achilles’ hands by blazing-eyed Athena.” 30 00 Who kills Hector in The Illiad? The easy answer is: Achilles. After all, he was the one who drove his spear through Hector’s neck, who gloried over his dying form, then proceeded to des-ecrate his corpse. But if you read Homer carefully, you see that the death of Hector is in fact a corporate enterprise. We are told shortly after the duel that death and fate seized him and dragged him down. And, even more curiously, we learn that Hector was “struck down at Achilles’ hands by blazing-eyed Athena.” 20 00 Open Access Bakker, R.Scott 11 03 06 10.21983/P3.0149.1.11 162 170 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 All for Naught 1 A01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 03 00 In the 1830s, fleeing a cholera epidemic in Berlin, Schopenhauer writes the following in his notebook: When I was seventeen, without any proper schooling, I was affected by the misery and wretchedness of life, as was the Buddha when in his youth he caught sight of sickness, old age, pain and death [...] the result for me was that this world could not be the work of an all-bountiful, infinitely good being, but rather of a demon who had summoned into existence creatures in order to gloat over the sight of their anguish and agony.1Now, Schopenhauer was no Buddha, but the passage reveals something at the core of his thinking, and that is the dual ori-gin of pessimism. On the one hand, pessimism is conditional, it stems from observation and experience, but also from inclina-tion and predilection — maybe you’re stressed out, maybe you’re feeling under the weather, maybe something somewhere hurts. This conditional pessimism can be found in Pascal, Lichtenberg, the French moralists, and it surfaces in Schopenhauer’s many grumblings concerning humanity, caught as it is in the pedantic, existential metronome of boredom and striving. 30 00 In the 1830s, fleeing a cholera epidemic in Berlin, Schopenhauer writes the following in his notebook: When I was seventeen, without any proper schooling, I was affected by the misery and wretchedness of life, as was the Buddha when in his youth he caught sight of sickness, old age, pain and death [...] the result for me was that this world could not be the work of an all-bountiful, infinitely good being, but rather of a demon who had summoned into existence creatures in order to gloat over the sight of their anguish and agony.1Now, Schopenhauer was no Buddha, but the passage reveals something at the core of his thinking, and that is the dual ori-gin of pessimism. On the one hand, pessimism is conditional, it stems from observation and experience, but also from inclina-tion and predilection — maybe you’re stressed out, maybe you’re feeling under the weather, maybe something somewhere hurts. This conditional pessimism can be found in Pascal, Lichtenberg, the French moralists, and it surfaces in Schopenhauer’s many grumblings concerning humanity, caught as it is in the pedantic, existential metronome of boredom and striving. 20 00 Open Access Thacker, Eugene 12 03 06 10.21983/P3.0149.1.12 172 183 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Horse Is Being Beaten On Nietzsche’s “Equinimity” 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 03 00 These are the introductory titles at the beginning of Béla Tarr’s film, which picks up the narrative immediately after these events. The film is a meticulous, monotonous, mesmerizing depiction of the life of the driver of the cart — not actually a hansom cab, in fact — his daughter, and (to a lesser degree) the horse (fig. 1). We can only speculate what it was that triggered this event (and of course the debate continues concerning the extent to which it really happened or is purely apocryphal). In any case, this story has become such a primal scene for Western philoso-phy because it rests on a fatal or poetic irony: Nietz sche, the great Zarathustrian warrior of the right and mighty, is undone by a tsunami of pity inspired by a single beast. (Had not the same man, in a book called Genealogy of Morals, warned against such tender sympathies as a Trojan Horse, bearing yet more moralistic slaves into the city?2) How to read this anomolous moment of empathy and compassion in the light of his un-Sa-maritan perspective on ethics? 30 00 These are the introductory titles at the beginning of Béla Tarr’s film, which picks up the narrative immediately after these events. The film is a meticulous, monotonous, mesmerizing depiction of the life of the driver of the cart — not actually a hansom cab, in fact — his daughter, and (to a lesser degree) the horse (fig. 1). We can only speculate what it was that triggered this event (and of course the debate continues concerning the extent to which it really happened or is purely apocryphal). In any case, this story has become such a primal scene for Western philoso-phy because it rests on a fatal or poetic irony: Nietz sche, the great Zarathustrian warrior of the right and mighty, is undone by a tsunami of pity inspired by a single beast. (Had not the same man, in a book called Genealogy of Morals, warned against such tender sympathies as a Trojan Horse, bearing yet more moralistic slaves into the city?2) How to read this anomolous moment of empathy and compassion in the light of his un-Sa-maritan perspective on ethics? 20 00 Open Access Pettman, Dominic 13 03 06 10.21983/P3.0149.1.13 184 195 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rope-Dancer’s Fall “Going Under” as Undergoing Nietzscheo-Simondonian Transindividuation 1 A01 Sarah Choukah Sarah Choukah 40 05fq50484 York University 01 eng 03 00 I initially marveled at Simondon’s exemplification of transindi-viduation through Zarathustra’s experience of the rope-dancer’s death in Also Sprach Zarathustra. Transindividuation — a being’s passage from psychic to collective existence — operates through affects and emotions that express a lack, a void, a gap in the fabric of its interrelation with others. A prior state of things having seemingly little to do with the end result is necessary for collective modes of existence to emerge. The perspective is so-bering, especially in comparison with an overoptimistic but all too common view of the formation of networked collectivities. Such contemporary ideologies of the good tell us innate proper-ties of contemporary information networks improve knowledge production and sharing, communication, and, by implication, human culture. 30 00 I initially marveled at Simondon’s exemplification of transindi-viduation through Zarathustra’s experience of the rope-dancer’s death in Also Sprach Zarathustra. Transindividuation — a being’s passage from psychic to collective existence — operates through affects and emotions that express a lack, a void, a gap in the fabric of its interrelation with others. A prior state of things having seemingly little to do with the end result is necessary for collective modes of existence to emerge. The perspective is so-bering, especially in comparison with an overoptimistic but all too common view of the formation of networked collectivities. Such contemporary ideologies of the good tell us innate proper-ties of contemporary information networks improve knowledge production and sharing, communication, and, by implication, human culture. 20 00 Open Access Choukah, Sarah 14 03 06 10.21983/P3.0149.1.14 196 206 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Will to Obsolescence Nietzsche, Code, and the Digital Present 1 A01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 01 eng 03 00 This small love-poem written by Nietz sche in 1882 celebrates his acquisition of the Malling-Hansen Writing-Ball, a machine that would — for a time at least — offer prosthetic assistance for Nietz sche’s failing vision (fig. 1). In various letters, he expresses his delight with a device for writing that is “guided only by a sense of touch” and which no longer requires “the eyes to do their work.”2 Fried rich Kittler juxtaposes Nietz sche’s sentiments on the definitively tactile power of the Writing-Ball with fragments from Heidegger’s essay on “The Hand and Typewriter” to write 30 00 This small love-poem written by Nietz sche in 1882 celebrates his acquisition of the Malling-Hansen Writing-Ball, a machine that would — for a time at least — offer prosthetic assistance for Nietz sche’s failing vision (fig. 1). In various letters, he expresses his delight with a device for writing that is “guided only by a sense of touch” and which no longer requires “the eyes to do their work.”2 Fried rich Kittler juxtaposes Nietz sche’s sentiments on the definitively tactile power of the Writing-Ball with fragments from Heidegger’s essay on “The Hand and Typewriter” to write 20 00 Open Access Boyle, Jen 15 03 06 10.21983/P3.0149.1.15 208 217 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Farmville, Eternal Recurrence, and the Will-to-Power-Ups 1 A01 Dylan Wittkower Dylan Wittkower 40 04zjtrb98 Old Dominion University 01 eng 20 00 Open Access Wittkower, Dylan 16 03 06 10.21983/P3.0149.1.16 218 235 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Aesthetic States of Frenzy Nietzsche’s Aesthetic Palimpsest 1 A01 Joseph Nechvatal Joseph Nechvatal 01 eng 20 00 Open Access Nechvatal, Joseph 17 03 06 10.21983/P3.0149.1.17 236 248 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Philosophizing With a Scalpel” From Nietzsche to Nina Arsenault 1 A01 Shannon Bell Shannon Bell 40 05fq50484 York University 01 eng 20 00 Open Access Bell, Shannon 18 03 06 10.21983/P3.0149.1.18 250 282 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Nietzsche in Drag” Thinking Technology through the Theater of Judith Butler 1 A01 Arthur Kroker Arthur Kroker 40 04s5mat29 University of Victoria 01 eng 03 00 Was heißt Gamification? That is: what is called gamifica-tion? — but also, what calls upon us to gamify? What is it, in our age, that is such that gamification should emerge within it, should be called forth by it?I hope, most centrally, to ask the last of these questions, but the way we build in our questioning cannot but pass through the other questions as well. Still, since this last concern is my focus, we will begin with Heidegger’s use of Nietz sche in his attempt to understand our technological age, in which we are called upon to gamify. 30 00 Was heißt Gamification? That is: what is called gamifica-tion? — but also, what calls upon us to gamify? What is it, in our age, that is such that gamification should emerge within it, should be called forth by it?I hope, most centrally, to ask the last of these questions, but the way we build in our questioning cannot but pass through the other questions as well. Still, since this last concern is my focus, we will begin with Heidegger’s use of Nietz sche in his attempt to understand our technological age, in which we are called upon to gamify. 20 00 Open Access Kroker, Arthur 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/digital-dionysus/ Earth, Milky Way 04 01 20160912 Mellamphy, Dan Biswas Mellamphy, Nandita 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692270795 20 08 20160912 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-digital-dionysus-nietzsche-and-the-network-centric-condition 20 08 20160912 02 25.00 USD WORLD urn:uuid:6c2e3a6e-3e08-4f08-ab8c-e6e1ae80d7a7 03 01 01 thoth-work-id urn:uuid:47cd079b-03f3-4a5b-b5e4-36cec4db7fab 01 thoth-publication-id urn:uuid:6c2e3a6e-3e08-4f08-ab8c-e6e1ae80d7a7 06 10.21983/P3.0149.1.00 01 internal-reference 0149 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Digital Dionysus Nietzsche and the Network-Centric Condition 1 B01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 B01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 00 286 03 B2 Cultural Studies+Critical Theory 93 JBCT 12 JFD 10 SOC052000 B2 Media+Technology 93 UXA 93 QDHR 20 media studies; cybernetics; networks; philosophy; technology 01 06 02 00 03 00 Can Nietzsche be considered a thinker of media and mediation, as the German media theorist Friedrich Kittler declared in his influential book Gramophone, Film, Typewriter?Nietzsche was a truly transdisciplinary thinker, one who never fit into his own nineteenth-century surroundings and who recognized himself as a “herald and precursor” of the future, of our globally-reticulated digital present. Perhaps not since Kittler has there been a study — let alone an anthology — that re-assesses and re-evaluates Nietzsche’s thought in light of the technically mediated and machinic conditions of the human in the age of digital networks. 30 00 Can Nietzsche be considered a thinker of media and mediation, as the German media theorist Friedrich Kittler declared in his influential book Gramophone, Film, Typewriter?Nietzsche was a truly transdisciplinary thinker, one who never fit into his own nineteenth-century surroundings and who recognized himself as a “herald and precursor” of the future, of our globally-reticulated digital present. Perhaps not since Kittler has there been a study — let alone an anthology — that re-assesses and re-evaluates Nietzsche’s thought in light of the technically mediated and machinic conditions of the human in the age of digital networks. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0149.1.00_frontcover.png 1 03 06 10.21983/P3.0149.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 B01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 20 00 Open Access Mellamphy, Dan Biswas Mellamphy, Nandita 2 03 06 10.21983/P3.0149.1.02 10 30 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nietzsche and Networks, Nietzschean Networks The Digital Dionysus 1 A01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 2 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 The inspiration for this volume of essays, drawn from the pro-ceedings of the Nietz sche Workshop @ Western (held at West-ern University, London on, and the Center for Transformative Media at The New School, New York ny),1 comes from the hy-pothesis that Nietz sche’s thinking is pertinent to a phenomenon which can be described as the planetary propensity toward the digitization and networking of information. Moreover, “Nietz-sche-Thought” — to lift a phrase from philosopher François Laruelle2 — provides unique insights about the complexities of our contemporary network-centric condition, especially in relation to the all-important notion of “information,” which has been conceptualized primarily in terms that are protoco-logical and computational, hence almost exclusively Apollonian(or as Gilles Deleuze and Félix Guattari would say, “striated”), rather than Dionysian (or as Deleuze and Guattari would say, “smooth”) terms. As Manav Guha argues in his contribution to this volume, the current military understanding of net-centric-ity is “a project of extreme striation involving the harnessing of Dionysian energies of the yet-to-be-processed with the Apollon-ian reigns of the processor.” 30 00 The inspiration for this volume of essays, drawn from the pro-ceedings of the Nietz sche Workshop @ Western (held at West-ern University, London on, and the Center for Transformative Media at The New School, New York ny),1 comes from the hy-pothesis that Nietz sche’s thinking is pertinent to a phenomenon which can be described as the planetary propensity toward the digitization and networking of information. Moreover, “Nietz-sche-Thought” — to lift a phrase from philosopher François Laruelle2 — provides unique insights about the complexities of our contemporary network-centric condition, especially in relation to the all-important notion of “information,” which has been conceptualized primarily in terms that are protoco-logical and computational, hence almost exclusively Apollonian(or as Gilles Deleuze and Félix Guattari would say, “striated”), rather than Dionysian (or as Deleuze and Guattari would say, “smooth”) terms. As Manav Guha argues in his contribution to this volume, the current military understanding of net-centric-ity is “a project of extreme striation involving the harnessing of Dionysian energies of the yet-to-be-processed with the Apollon-ian reigns of the processor.” 20 00 Open Access Mellamphy, Dan Mellamphy, Nandita Biswas 3 03 06 10.21983/P3.0149.1.03 32 48 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Digital Alexandrians Greek as Musical Code for Nietzsche and Kittler 1 A01 Babette Babich Babette Babich 40 03qnxaf80 Fordham University 01 eng 03 00 The Cyborg-Nietz sche appeals to us — indeed the pastiche-in-general appeals to us — like the bookplate-image from Alfred Soder’s Nietz sche in the High Mountains, discretely placed not on the front of the dust-jacket but the back of Steven E. Ascheim’s Nietz sche Legacy.2 Nietz sche-On-Demand can be found at the click of a button: the Hitler-Nietz sche? ... got that; the Ayn-Rand-Nietz sche? ... got that; the Naturalist- or Brian-Leiter-Nietz sche? ... alsogot that. The Analytic-Nietz sche we have from John Richardson to Aaron Ridley, the “New”-Nietz-sche still with David Allison and the shining feathers of Al-phonso Lingis. And with Friedrich Kittler — as Nandita Biswas Mellamphy has already acknowledged,3 along with a host of typewriter-and-keyboard networking enthusiasts, including a certain Arthur Kroker — we already have a Media-Nietz sche, tracked from several angles, several perspectives. As Nietz sche himself has told us, “There are myriad eyes. Even the sphinx had eyes. And consequently there are myriad truths, and con-sequently there is no truth.”4 Thus we suppose a multiplicity of trans- and over-humans (are we not all already post-human?) if only to overcome the last humans, as we imagine the trans-human phantasm in our own image. 30 00 The Cyborg-Nietz sche appeals to us — indeed the pastiche-in-general appeals to us — like the bookplate-image from Alfred Soder’s Nietz sche in the High Mountains, discretely placed not on the front of the dust-jacket but the back of Steven E. Ascheim’s Nietz sche Legacy.2 Nietz sche-On-Demand can be found at the click of a button: the Hitler-Nietz sche? ... got that; the Ayn-Rand-Nietz sche? ... got that; the Naturalist- or Brian-Leiter-Nietz sche? ... alsogot that. The Analytic-Nietz sche we have from John Richardson to Aaron Ridley, the “New”-Nietz-sche still with David Allison and the shining feathers of Al-phonso Lingis. And with Friedrich Kittler — as Nandita Biswas Mellamphy has already acknowledged,3 along with a host of typewriter-and-keyboard networking enthusiasts, including a certain Arthur Kroker — we already have a Media-Nietz sche, tracked from several angles, several perspectives. As Nietz sche himself has told us, “There are myriad eyes. Even the sphinx had eyes. And consequently there are myriad truths, and con-sequently there is no truth.”4 Thus we suppose a multiplicity of trans- and over-humans (are we not all already post-human?) if only to overcome the last humans, as we imagine the trans-human phantasm in our own image. 20 00 Open Access Babich, Babette 4 03 06 10.21983/P3.0149.1.04 50 61 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Internet as a Development from Descartes' Res Cogitans How to Render It Dionysian 1 A01 Horst Hutter Horst Hutter 40 0420zvk78 Concordia University 01 eng 03 00 The vision of the human condition that emerges from both an-cient Greek tragedy and pre-Christian philosophy involves the fundamental duality of Apollo and Dionysus, among other di-vinities, naturally. Accordingly, life is defined and ordered by the influence of both of these divinities. As such it involves defi-nite form, growth and change through time, as well as finitude and the dissolution of every form into chaos and death. Apollo and Dionysus both always win and ultimately always also lose. Nothing lasts, except the constant regeneration of new forms of growth and movements toward the future that transit brief presents, before becoming memories of the past. From this per-spective we are indeed all goats that sing and dance for a while before vanishing into the nihilating nothing.2 Or, in another image, we are all donkeys that celebrate for a while, welcom-ing new donkeys to the celebration before singing our songs of goodbye.3 Yet the fact that every singing donkey or goat stands under the influence of two divinities has also given birth to much hope and longing for eternity and the promise of escap-ing from the depredations of time. Some of these structures of hope have been based on vehement attempts to defeat Dionysus altogether and enthrone a permanent Apollo. 30 00 The vision of the human condition that emerges from both an-cient Greek tragedy and pre-Christian philosophy involves the fundamental duality of Apollo and Dionysus, among other di-vinities, naturally. Accordingly, life is defined and ordered by the influence of both of these divinities. As such it involves defi-nite form, growth and change through time, as well as finitude and the dissolution of every form into chaos and death. Apollo and Dionysus both always win and ultimately always also lose. Nothing lasts, except the constant regeneration of new forms of growth and movements toward the future that transit brief presents, before becoming memories of the past. From this per-spective we are indeed all goats that sing and dance for a while before vanishing into the nihilating nothing.2 Or, in another image, we are all donkeys that celebrate for a while, welcom-ing new donkeys to the celebration before singing our songs of goodbye.3 Yet the fact that every singing donkey or goat stands under the influence of two divinities has also given birth to much hope and longing for eternity and the promise of escap-ing from the depredations of time. Some of these structures of hope have been based on vehement attempts to defeat Dionysus altogether and enthrone a permanent Apollo. 20 00 Open Access Hutter, Horst 5 03 06 10.21983/P3.0149.1.05 62 81 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Networked Nightmares On Our Dionysian Post-Military Condition 1 A01 Manabrata Guha Manabrata Guha 40 03r8z3t63 University of New South Wales 01 eng 03 00 While the world made fun of Donald Rumsfeld for his obser-vations regarding the “unknown unknowns” gaffe, hidden in the rhetoric a quiet revolution in military affairs was underway.1More precisely, it was a subtle but significant revolution in mili-tary concepts. Mass and firepower — the traditional metrics of military capability — were not (as is most often argued) undermined; rather, they were being augmented (and recontextual-ized) with a terminological turn that reflects, if nothing else, the significance of the impact of the Age of Information on military affairs. At the very least, the conduct of war was being recon-sidered in a network-centric sense. 30 00 While the world made fun of Donald Rumsfeld for his obser-vations regarding the “unknown unknowns” gaffe, hidden in the rhetoric a quiet revolution in military affairs was underway.1More precisely, it was a subtle but significant revolution in mili-tary concepts. Mass and firepower — the traditional metrics of military capability — were not (as is most often argued) undermined; rather, they were being augmented (and recontextual-ized) with a terminological turn that reflects, if nothing else, the significance of the impact of the Age of Information on military affairs. At the very least, the conduct of war was being recon-sidered in a network-centric sense. 20 00 Open Access Guha, Manabrata 6 03 06 10.21983/P3.0149.1.06 82 94 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Philosophy of the Antichrist in the Time of the Anthropocenic Multitude Preliminary Lexicon for the Conceptual Network 1 A01 Gary Shapiro Gary Shapiro 40 03y71xh61 University of Richmond 01 eng 03 00 Antichrist. Nietz sche’s not just being scary and shocking. He speaks of a “philosophy of the Antichrist” in one of the more explicitly political sections of Beyond Good and Evil,1 in fact in a long concluding aphorism in §8, “Peoples and Fatherlands.” He reviews the mixed accomplishments of figures who helped to teach the nineteenth-century concept of “the higher human (Mensch),” including such diverse men as Napoleon, Wagner, Stendhal, and Heine. While all invented various forms of cul-tural hybridity (cf.übernational), escaping the limits of nation-alism, still all reverted to religion, and none “would have been capable of a philosophy of the Antichrist.” In the late preface to The Birth of Tragedy Nietz sche ventures to reveal the Anti-christ’s true name: Dionysus. The book The Antichrist, com-pleted by Nietz sche and published laterin distorted form by his sister Elisabeth, was first described as the initial one of four in The Transvaluation of Values, and later as the work’s whole. In choosing the name and figure of Antichrist is Nietz sche simply aiming at ultimate blasphemy, a poke in the eye for Chris-tianity? 30 00 Antichrist. Nietz sche’s not just being scary and shocking. He speaks of a “philosophy of the Antichrist” in one of the more explicitly political sections of Beyond Good and Evil,1 in fact in a long concluding aphorism in §8, “Peoples and Fatherlands.” He reviews the mixed accomplishments of figures who helped to teach the nineteenth-century concept of “the higher human (Mensch),” including such diverse men as Napoleon, Wagner, Stendhal, and Heine. While all invented various forms of cul-tural hybridity (cf.übernational), escaping the limits of nation-alism, still all reverted to religion, and none “would have been capable of a philosophy of the Antichrist.” In the late preface to The Birth of Tragedy Nietz sche ventures to reveal the Anti-christ’s true name: Dionysus. The book The Antichrist, com-pleted by Nietz sche and published laterin distorted form by his sister Elisabeth, was first described as the initial one of four in The Transvaluation of Values, and later as the work’s whole. In choosing the name and figure of Antichrist is Nietz sche simply aiming at ultimate blasphemy, a poke in the eye for Chris-tianity? 20 00 Open Access Shapiro, Gary 7 03 06 10.21983/P3.0149.1.07 96 106 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Occupying God's Shadow Nietzsche’s Eirōneia 1 A01 Julian Reid Julian Reid 40 05jzt8766 University of Lapland 01 eng 03 00 It is a truism, after Schmitt, to say that all modern political con-cepts are secularized theological ones. Politically speaking we have yet to emancipate ourselves from the tyranny of theologi-cal reason. Never less so than in this current era in which we remain subjected to what Schmitt called “liberal metaphysics.”1And so it is the case that the struggle with neoliberalism must be a struggle against the continuities of its theology. Contrary to Nietz sche, God is far from dead: we haven’t quite finished the job of killing him — nor perhaps could we, were we up to the task. In actual fact, to be true to Nietz sche, his proclama-tion that “God is dead” was followed directly by a claim as to the “shadow” that God continues to cast over us in spite of his “death” and a warning that, in spite of his death, “we still have to vanquish his shadow.”2 That “God is dead” merely means that he continues to live in a different way, as a shadow of himself. The problem Nietz sche posed for us has subsequently been understood as that of how to vanquish that shadow; how to secure the demise of God such that we might escape the many ways in which that shadow continues to be thrown over us, preventing us from realizing our emancipation from religion. How, in other words, to sever the relation of religion to the modern, ridding us of the scourge of religion that continues to afflict our thinking and practices. 30 00 It is a truism, after Schmitt, to say that all modern political con-cepts are secularized theological ones. Politically speaking we have yet to emancipate ourselves from the tyranny of theologi-cal reason. Never less so than in this current era in which we remain subjected to what Schmitt called “liberal metaphysics.”1And so it is the case that the struggle with neoliberalism must be a struggle against the continuities of its theology. Contrary to Nietz sche, God is far from dead: we haven’t quite finished the job of killing him — nor perhaps could we, were we up to the task. In actual fact, to be true to Nietz sche, his proclama-tion that “God is dead” was followed directly by a claim as to the “shadow” that God continues to cast over us in spite of his “death” and a warning that, in spite of his death, “we still have to vanquish his shadow.”2 That “God is dead” merely means that he continues to live in a different way, as a shadow of himself. The problem Nietz sche posed for us has subsequently been understood as that of how to vanquish that shadow; how to secure the demise of God such that we might escape the many ways in which that shadow continues to be thrown over us, preventing us from realizing our emancipation from religion. How, in other words, to sever the relation of religion to the modern, ridding us of the scourge of religion that continues to afflict our thinking and practices. 20 00 Open Access Reid, Julian 8 03 06 10.21983/P3.0149.1.08 108 130 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reading Nietzsche in the Wake of the 2008-9 War on Gaza 1 A01 C. Heike Schotten C. Heike Schotten 40 04ydmy275 University of Massachusetts Boston 01 eng 03 00 In late January 2009, I sat down to re-read Nietz sche’s Geneal-ogy of Morals. I remember this otherwise uneventful event so distinctly because at that moment the first of Israel’s series of twenty-first-century wars on Gaza was brutally and unremit-tingly underway. During that three-week-long military attack, Israel killed over 1,400 Palestinians, most of whom were civil-ians and approximately 400 of whom were children. Israel, in fact, deliberately targeted civilians — including children and humanitarian aid workers — assaulting Palestinians simulta-neously by air, land, and sea, and deploying white phosphorus against them, a chemical intended to operate as a smokescreen for troop movements but when used as a weapon burns people’s flesh down to the bone.1 The brutality of Israel’s war was all the more agonizing due to the fact that the people of Gaza were not allowed to leave there, Gaza itself being among the most dense-ly populated areas on the earth. This unrelenting, intentional, and indiscriminate massacre, conducted by one of the largest military powers in the world against a largely unarmed, civil-ian, refugee, and subject population, resulted in mass murder, rampant homelessness, devastation of Gaza’s infrastructure, and destruction of the major institutions and workings of Palestin-ian daily life, including schools, universities, mosques, hospi-tals, and roads. 30 00 In late January 2009, I sat down to re-read Nietz sche’s Geneal-ogy of Morals. I remember this otherwise uneventful event so distinctly because at that moment the first of Israel’s series of twenty-first-century wars on Gaza was brutally and unremit-tingly underway. During that three-week-long military attack, Israel killed over 1,400 Palestinians, most of whom were civil-ians and approximately 400 of whom were children. Israel, in fact, deliberately targeted civilians — including children and humanitarian aid workers — assaulting Palestinians simulta-neously by air, land, and sea, and deploying white phosphorus against them, a chemical intended to operate as a smokescreen for troop movements but when used as a weapon burns people’s flesh down to the bone.1 The brutality of Israel’s war was all the more agonizing due to the fact that the people of Gaza were not allowed to leave there, Gaza itself being among the most dense-ly populated areas on the earth. This unrelenting, intentional, and indiscriminate massacre, conducted by one of the largest military powers in the world against a largely unarmed, civil-ian, refugee, and subject population, resulted in mass murder, rampant homelessness, devastation of Gaza’s infrastructure, and destruction of the major institutions and workings of Palestin-ian daily life, including schools, universities, mosques, hospi-tals, and roads. 20 00 Open Access Schotten, C. Heike 9 03 06 10.21983/P3.0149.1.09 132 143 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nietzsche’s Amor Fati Wishing and Willing in a Cybernetic Circuit 1 A01 Nicola Masciandaro Nicola Masciandaro 40 019k4jq75 Brooklyn College 01 eng 03 00 This paper is commentary on The Gay Science §276 in light of the cybernetic.3 The natural connection between the cybernetic and Nietz sche’s amor fati is evident in their intersection within the principle of interface as the site of steering or helmsmanship (kubernēsis). Nietz sche names this love under the double sign of Januarius — at once the two-faced god of beginnings/doorways/gates and the saint whose annually liquefying blood signals the miracle of spiritual renewal — and installs it as a navigational protocol in the form of a new year’s resolution: “Let that be my love from now on!” Amor fati, I will affirm, is the protocol for navigating interface itself, a pure cybernetic law that steers steer-ing per se around the radically immanent negative interfacial pole of looking away: “Let looking away be my only negation!” Love of fate, the positive formulation of not worrying, is a pros-thetic intrinsically necessary for manipulating the inoperability of interface, its being “a medium that does not mediate.”4 Far from representing an immaterial or merely subjective affect, amor fati enjoys a terrifying invisible positive traction and in-escapable occult influence upon all interfaces. 30 00 This paper is commentary on The Gay Science §276 in light of the cybernetic.3 The natural connection between the cybernetic and Nietz sche’s amor fati is evident in their intersection within the principle of interface as the site of steering or helmsmanship (kubernēsis). Nietz sche names this love under the double sign of Januarius — at once the two-faced god of beginnings/doorways/gates and the saint whose annually liquefying blood signals the miracle of spiritual renewal — and installs it as a navigational protocol in the form of a new year’s resolution: “Let that be my love from now on!” Amor fati, I will affirm, is the protocol for navigating interface itself, a pure cybernetic law that steers steer-ing per se around the radically immanent negative interfacial pole of looking away: “Let looking away be my only negation!” Love of fate, the positive formulation of not worrying, is a pros-thetic intrinsically necessary for manipulating the inoperability of interface, its being “a medium that does not mediate.”4 Far from representing an immaterial or merely subjective affect, amor fati enjoys a terrifying invisible positive traction and in-escapable occult influence upon all interfaces. 20 00 Open Access Masciandaro, Nicola 10 03 06 10.21983/P3.0149.1.10 144 160 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Outing the "It" that Thinks On the Collapse of an Intellectual Ecosystem 1 A01 R.Scott Bakker R.Scott Bakker 01 eng 03 00 Who kills Hector in The Illiad? The easy answer is: Achilles. After all, he was the one who drove his spear through Hector’s neck, who gloried over his dying form, then proceeded to des-ecrate his corpse. But if you read Homer carefully, you see that the death of Hector is in fact a corporate enterprise. We are told shortly after the duel that death and fate seized him and dragged him down. And, even more curiously, we learn that Hector was “struck down at Achilles’ hands by blazing-eyed Athena.” 30 00 Who kills Hector in The Illiad? The easy answer is: Achilles. After all, he was the one who drove his spear through Hector’s neck, who gloried over his dying form, then proceeded to des-ecrate his corpse. But if you read Homer carefully, you see that the death of Hector is in fact a corporate enterprise. We are told shortly after the duel that death and fate seized him and dragged him down. And, even more curiously, we learn that Hector was “struck down at Achilles’ hands by blazing-eyed Athena.” 20 00 Open Access Bakker, R.Scott 11 03 06 10.21983/P3.0149.1.11 162 170 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 All for Naught 1 A01 Eugene Thacker Eugene Thacker 40 02tvcev59 New School 01 eng 03 00 In the 1830s, fleeing a cholera epidemic in Berlin, Schopenhauer writes the following in his notebook: When I was seventeen, without any proper schooling, I was affected by the misery and wretchedness of life, as was the Buddha when in his youth he caught sight of sickness, old age, pain and death [...] the result for me was that this world could not be the work of an all-bountiful, infinitely good being, but rather of a demon who had summoned into existence creatures in order to gloat over the sight of their anguish and agony.1Now, Schopenhauer was no Buddha, but the passage reveals something at the core of his thinking, and that is the dual ori-gin of pessimism. On the one hand, pessimism is conditional, it stems from observation and experience, but also from inclina-tion and predilection — maybe you’re stressed out, maybe you’re feeling under the weather, maybe something somewhere hurts. This conditional pessimism can be found in Pascal, Lichtenberg, the French moralists, and it surfaces in Schopenhauer’s many grumblings concerning humanity, caught as it is in the pedantic, existential metronome of boredom and striving. 30 00 In the 1830s, fleeing a cholera epidemic in Berlin, Schopenhauer writes the following in his notebook: When I was seventeen, without any proper schooling, I was affected by the misery and wretchedness of life, as was the Buddha when in his youth he caught sight of sickness, old age, pain and death [...] the result for me was that this world could not be the work of an all-bountiful, infinitely good being, but rather of a demon who had summoned into existence creatures in order to gloat over the sight of their anguish and agony.1Now, Schopenhauer was no Buddha, but the passage reveals something at the core of his thinking, and that is the dual ori-gin of pessimism. On the one hand, pessimism is conditional, it stems from observation and experience, but also from inclina-tion and predilection — maybe you’re stressed out, maybe you’re feeling under the weather, maybe something somewhere hurts. This conditional pessimism can be found in Pascal, Lichtenberg, the French moralists, and it surfaces in Schopenhauer’s many grumblings concerning humanity, caught as it is in the pedantic, existential metronome of boredom and striving. 20 00 Open Access Thacker, Eugene 12 03 06 10.21983/P3.0149.1.12 172 183 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Horse Is Being Beaten On Nietzsche’s “Equinimity” 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 03 00 These are the introductory titles at the beginning of Béla Tarr’s film, which picks up the narrative immediately after these events. The film is a meticulous, monotonous, mesmerizing depiction of the life of the driver of the cart — not actually a hansom cab, in fact — his daughter, and (to a lesser degree) the horse (fig. 1). We can only speculate what it was that triggered this event (and of course the debate continues concerning the extent to which it really happened or is purely apocryphal). In any case, this story has become such a primal scene for Western philoso-phy because it rests on a fatal or poetic irony: Nietz sche, the great Zarathustrian warrior of the right and mighty, is undone by a tsunami of pity inspired by a single beast. (Had not the same man, in a book called Genealogy of Morals, warned against such tender sympathies as a Trojan Horse, bearing yet more moralistic slaves into the city?2) How to read this anomolous moment of empathy and compassion in the light of his un-Sa-maritan perspective on ethics? 30 00 These are the introductory titles at the beginning of Béla Tarr’s film, which picks up the narrative immediately after these events. The film is a meticulous, monotonous, mesmerizing depiction of the life of the driver of the cart — not actually a hansom cab, in fact — his daughter, and (to a lesser degree) the horse (fig. 1). We can only speculate what it was that triggered this event (and of course the debate continues concerning the extent to which it really happened or is purely apocryphal). In any case, this story has become such a primal scene for Western philoso-phy because it rests on a fatal or poetic irony: Nietz sche, the great Zarathustrian warrior of the right and mighty, is undone by a tsunami of pity inspired by a single beast. (Had not the same man, in a book called Genealogy of Morals, warned against such tender sympathies as a Trojan Horse, bearing yet more moralistic slaves into the city?2) How to read this anomolous moment of empathy and compassion in the light of his un-Sa-maritan perspective on ethics? 20 00 Open Access Pettman, Dominic 13 03 06 10.21983/P3.0149.1.13 184 195 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rope-Dancer’s Fall “Going Under” as Undergoing Nietzscheo-Simondonian Transindividuation 1 A01 Sarah Choukah Sarah Choukah 40 05fq50484 York University 01 eng 03 00 I initially marveled at Simondon’s exemplification of transindi-viduation through Zarathustra’s experience of the rope-dancer’s death in Also Sprach Zarathustra. Transindividuation — a being’s passage from psychic to collective existence — operates through affects and emotions that express a lack, a void, a gap in the fabric of its interrelation with others. A prior state of things having seemingly little to do with the end result is necessary for collective modes of existence to emerge. The perspective is so-bering, especially in comparison with an overoptimistic but all too common view of the formation of networked collectivities. Such contemporary ideologies of the good tell us innate proper-ties of contemporary information networks improve knowledge production and sharing, communication, and, by implication, human culture. 30 00 I initially marveled at Simondon’s exemplification of transindi-viduation through Zarathustra’s experience of the rope-dancer’s death in Also Sprach Zarathustra. Transindividuation — a being’s passage from psychic to collective existence — operates through affects and emotions that express a lack, a void, a gap in the fabric of its interrelation with others. A prior state of things having seemingly little to do with the end result is necessary for collective modes of existence to emerge. The perspective is so-bering, especially in comparison with an overoptimistic but all too common view of the formation of networked collectivities. Such contemporary ideologies of the good tell us innate proper-ties of contemporary information networks improve knowledge production and sharing, communication, and, by implication, human culture. 20 00 Open Access Choukah, Sarah 14 03 06 10.21983/P3.0149.1.14 196 206 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Will to Obsolescence Nietzsche, Code, and the Digital Present 1 A01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 01 eng 03 00 This small love-poem written by Nietz sche in 1882 celebrates his acquisition of the Malling-Hansen Writing-Ball, a machine that would — for a time at least — offer prosthetic assistance for Nietz sche’s failing vision (fig. 1). In various letters, he expresses his delight with a device for writing that is “guided only by a sense of touch” and which no longer requires “the eyes to do their work.”2 Fried rich Kittler juxtaposes Nietz sche’s sentiments on the definitively tactile power of the Writing-Ball with fragments from Heidegger’s essay on “The Hand and Typewriter” to write 30 00 This small love-poem written by Nietz sche in 1882 celebrates his acquisition of the Malling-Hansen Writing-Ball, a machine that would — for a time at least — offer prosthetic assistance for Nietz sche’s failing vision (fig. 1). In various letters, he expresses his delight with a device for writing that is “guided only by a sense of touch” and which no longer requires “the eyes to do their work.”2 Fried rich Kittler juxtaposes Nietz sche’s sentiments on the definitively tactile power of the Writing-Ball with fragments from Heidegger’s essay on “The Hand and Typewriter” to write 20 00 Open Access Boyle, Jen 15 03 06 10.21983/P3.0149.1.15 208 217 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Farmville, Eternal Recurrence, and the Will-to-Power-Ups 1 A01 Dylan Wittkower Dylan Wittkower 40 04zjtrb98 Old Dominion University 01 eng 20 00 Open Access Wittkower, Dylan 16 03 06 10.21983/P3.0149.1.16 218 235 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Aesthetic States of Frenzy Nietzsche’s Aesthetic Palimpsest 1 A01 Joseph Nechvatal Joseph Nechvatal 01 eng 20 00 Open Access Nechvatal, Joseph 17 03 06 10.21983/P3.0149.1.17 236 248 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Philosophizing With a Scalpel” From Nietzsche to Nina Arsenault 1 A01 Shannon Bell Shannon Bell 40 05fq50484 York University 01 eng 20 00 Open Access Bell, Shannon 18 03 06 10.21983/P3.0149.1.18 250 282 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Nietzsche in Drag” Thinking Technology through the Theater of Judith Butler 1 A01 Arthur Kroker Arthur Kroker 40 04s5mat29 University of Victoria 01 eng 03 00 Was heißt Gamification? That is: what is called gamifica-tion? — but also, what calls upon us to gamify? What is it, in our age, that is such that gamification should emerge within it, should be called forth by it?I hope, most centrally, to ask the last of these questions, but the way we build in our questioning cannot but pass through the other questions as well. Still, since this last concern is my focus, we will begin with Heidegger’s use of Nietz sche in his attempt to understand our technological age, in which we are called upon to gamify. 30 00 Was heißt Gamification? That is: what is called gamifica-tion? — but also, what calls upon us to gamify? What is it, in our age, that is such that gamification should emerge within it, should be called forth by it?I hope, most centrally, to ask the last of these questions, but the way we build in our questioning cannot but pass through the other questions as well. Still, since this last concern is my focus, we will begin with Heidegger’s use of Nietz sche in his attempt to understand our technological age, in which we are called upon to gamify. 20 00 Open Access Kroker, Arthur 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/digital-dionysus/ Earth, Milky Way 04 01 20160912 Mellamphy, Dan Biswas Mellamphy, Nandita 02 WORLD 06 15 9780692270790 03 9780692270790 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76469 20 08 20160912 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25477 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25477/1004618.pdf?sequence=1&isAllowed=y 20 08 20160912 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27907 20 08 20160912 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353959 20 08 20160912 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/534 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/df7e3c52-ebcd-47f9-bacc-58115179fce6/download 20 08 20160912 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/47cd079b-03f3-4a5b-b5e4-36cec4db7fab 29 INTERNET_ARCHIVE: download the title https://archive.org/download/47cd079b-03f3-4a5b-b5e4-36cec4db7fab/47cd079b-03f3-4a5b-b5e4-36cec4db7fab.pdf 20 08 20160912 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846695 29 ZENODO: download the title https://zenodo.org/records/19846695/files/47cd079b-03f3-4a5b-b5e4-36cec4db7fab_book.pdf 20 08 20160912 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/digital-dionysus/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0149.1.00.pdf 20 08 20160912 01 urn:uuid:11ed49ac-de99-47ff-83d3-3c88f7ceb8e1 03 01 01 thoth-work-id urn:uuid:a23f9c80-72b4-4ccc-a6c7-22a261691da5 01 thoth-publication-id urn:uuid:11ed49ac-de99-47ff-83d3-3c88f7ceb8e1 15 9780692580448 03 9780692580448 06 10.21983/P3.0120.1.00 01 internal-reference 0120 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Digital Humanist A Critical Inquiry 1 A01 21 0000000341221160 Domenico Fiormonte Domenico Fiormonte 40 05vf0dg29 Roma Tre University 2 A01 Teresa Numerico Teresa Numerico 40 05vf0dg29 Roma Tre University 3 A01 Francesca Tomasi Francesca Tomasi 40 01111rn36 Università di Bologna 4 B06 Desmond Schmidt Desmond Schmidt 5 B06 Christopher Ferguson Christopher Ferguson 6 A15 21 0000000174304742 Geoffrey Rockwell Geoffrey Rockwell 40 0160cpw27 University of Alberta 06 Own website https://apps.ualberta.ca/directory/person/grockwel 01 eng 00 262 03 B2 Humanities+University 10 SOC071000 93 UBJ 12 UYZ B2 Languages+Translations 10 SOC052000 93 UXA B2 Media+Technology 20 digital humanities; computing; networks; technology 01 06 02 00 03 00 This book offers a critical introduction to the core technologies underlying the Internet from a humanistic perspective. It provides a cultural critique of computing technologies, by exploring the history of computing and examining issues related to writing, representing, archiving and searching. The book raises awareness of, and calls for, the digital humanities to address the challenges posed by the linguistic and cultural divides in computing, the clash between communication and control, and the biases inherent in networked technologies.A common problem with publications in the Digital Humanities is the dominance of the Anglo-American perspective. While seeking to take a broader view, the book attempts to show how cultural bias can become an obstacle to innovation both in the methodology and practice of the Digital Humanities. Its central point is that no technological instrument is culturally unbiased, and that all too often the geography that underlies technology coincides with the social and economic interests of its producers. The alternative proposed in the book is one of a world in which variation, contamination and decentralization are essential instruments for the production and transmission of digital knowledge. It is thus necessary not only to have spaces where DH scholars can interact (such as international conferences, THATCamps, forums and mailing lists), but also a genuine sharing of technological know-how and experience. 30 00 This book offers a critical introduction to the core technologies underlying the Internet from a humanistic perspective. It provides a cultural critique of computing technologies, by exploring the history of computing and examining issues related to writing, representing, archiving and searching. The book raises awareness of, and calls for, the digital humanities to address the challenges posed by the linguistic and cultural divides in computing, the clash between communication and control, and the biases inherent in networked technologies.A common problem with publications in the Digital Humanities is the dominance of the Anglo-American perspective. While seeking to take a broader view, the book attempts to show how cultural bias can become an obstacle to innovation both in the methodology and practice of the Digital Humanities. Its central point is that no technological instrument is culturally unbiased, and that all too often the geography that underlies technology coincides with the social and economic interests of its producers. The alternative proposed in the book is one of a world in which variation, contamination and decentralization are essential instruments for the production and transmission of digital knowledge. It is thus necessary not only to have spaces where DH scholars can interact (such as international conferences, THATCamps, forums and mailing lists), but also a genuine sharing of technological know-how and experience. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0120.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-digital-humanist/ Brooklyn, NY 04 01 20151207 Fiormonte, Domenico Numerico, Teresa Tomasi, Francesca 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692580441 20 08 20151207 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-digital-humanist-a-critical-inquiry 20 08 20151207 02 27.00 USD WORLD urn:uuid:2fe805bb-f65d-43af-b01c-9b08ff8b5c3f 03 01 01 thoth-work-id urn:uuid:a23f9c80-72b4-4ccc-a6c7-22a261691da5 01 thoth-publication-id urn:uuid:2fe805bb-f65d-43af-b01c-9b08ff8b5c3f 06 10.21983/P3.0120.1.00 01 internal-reference 0120 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Digital Humanist A Critical Inquiry 1 A01 21 0000000341221160 Domenico Fiormonte Domenico Fiormonte 40 05vf0dg29 Roma Tre University 2 A01 Teresa Numerico Teresa Numerico 40 05vf0dg29 Roma Tre University 3 A01 Francesca Tomasi Francesca Tomasi 40 01111rn36 Università di Bologna 4 B06 Desmond Schmidt Desmond Schmidt 5 B06 Christopher Ferguson Christopher Ferguson 6 A15 21 0000000174304742 Geoffrey Rockwell Geoffrey Rockwell 40 0160cpw27 University of Alberta 06 Own website https://apps.ualberta.ca/directory/person/grockwel 01 eng 00 262 03 B2 Humanities+University 10 SOC071000 93 UBJ 12 UYZ B2 Languages+Translations 10 SOC052000 93 UXA B2 Media+Technology 20 digital humanities; computing; networks; technology 01 06 02 00 03 00 This book offers a critical introduction to the core technologies underlying the Internet from a humanistic perspective. It provides a cultural critique of computing technologies, by exploring the history of computing and examining issues related to writing, representing, archiving and searching. The book raises awareness of, and calls for, the digital humanities to address the challenges posed by the linguistic and cultural divides in computing, the clash between communication and control, and the biases inherent in networked technologies.A common problem with publications in the Digital Humanities is the dominance of the Anglo-American perspective. While seeking to take a broader view, the book attempts to show how cultural bias can become an obstacle to innovation both in the methodology and practice of the Digital Humanities. Its central point is that no technological instrument is culturally unbiased, and that all too often the geography that underlies technology coincides with the social and economic interests of its producers. The alternative proposed in the book is one of a world in which variation, contamination and decentralization are essential instruments for the production and transmission of digital knowledge. It is thus necessary not only to have spaces where DH scholars can interact (such as international conferences, THATCamps, forums and mailing lists), but also a genuine sharing of technological know-how and experience. 30 00 This book offers a critical introduction to the core technologies underlying the Internet from a humanistic perspective. It provides a cultural critique of computing technologies, by exploring the history of computing and examining issues related to writing, representing, archiving and searching. The book raises awareness of, and calls for, the digital humanities to address the challenges posed by the linguistic and cultural divides in computing, the clash between communication and control, and the biases inherent in networked technologies.A common problem with publications in the Digital Humanities is the dominance of the Anglo-American perspective. While seeking to take a broader view, the book attempts to show how cultural bias can become an obstacle to innovation both in the methodology and practice of the Digital Humanities. Its central point is that no technological instrument is culturally unbiased, and that all too often the geography that underlies technology coincides with the social and economic interests of its producers. The alternative proposed in the book is one of a world in which variation, contamination and decentralization are essential instruments for the production and transmission of digital knowledge. It is thus necessary not only to have spaces where DH scholars can interact (such as international conferences, THATCamps, forums and mailing lists), but also a genuine sharing of technological know-how and experience. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0120.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-digital-humanist/ Brooklyn, NY 04 01 20151207 Fiormonte, Domenico Numerico, Teresa Tomasi, Francesca 02 WORLD 06 15 9780692580448 03 9780692580448 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76493 20 08 20151207 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25504 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25504/1004591.pdf?sequence=1&isAllowed=y 20 08 20151207 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28917 20 08 20151207 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1bd4hbj 20 08 20151207 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/502 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/04707e68-d471-47f7-90d9-15d1273365d9/download 20 08 20151207 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Digital_Humanist/MASVEAAAQBAJ 20 08 20151207 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a23f9c80-72b4-4ccc-a6c7-22a261691da5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a23f9c80-72b4-4ccc-a6c7-22a261691da5/a23f9c80-72b4-4ccc-a6c7-22a261691da5.pdf 20 08 20151207 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846377 29 ZENODO: download the title https://zenodo.org/records/19846377/files/a23f9c80-72b4-4ccc-a6c7-22a261691da5_book.pdf 20 08 20151207 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-digital-humanist/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0120.1.00.pdf 20 08 20151207 01 urn:uuid:bef04d88-0300-4204-af1a-4400ddf9c689 03 01 01 thoth-work-id urn:uuid:612a3506-2ec0-4ae3-baef-3f4f4c9d7772 01 thoth-publication-id urn:uuid:bef04d88-0300-4204-af1a-4400ddf9c689 15 9781685712327 03 9781685712327 06 10.53288/0399.1.00 13 2024942494 01 internal-reference 0399 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 22 mm 03 2.2 cm 03 0.85 in 08 371 gr 08 13.1 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Dream-Slaves 1 A01 Darieck Scott Darieck Scott professor of African American Studies 40 01an7q238 University of California, Berkeley Darieck Scott is a professor of African American Studies at the University of California, Berkeley. Scott is the author of Keeping It Unreal: Black Queer Fantasy and Superhero Comics (NYU Press, 2022), which won the 2023 Lambda Literary Award for LGBTQ+ Studies, and was also a Finalist for the 2023 Locus Award for Nonfiction, and for the Association for the Study of the Arts of the Present Book Prize. His previous book, Extravagant Abjection: Blackness, Power, and Sexuality in the African American Literary Imagination (NYU Press 2010), was the winner of the 2011 Alan Bray Memorial Prize for Queer Studies of the Modern Language Association. Scott is also the author of the novels Hex (2007) and Traitor to the Race (1995), and the editor of Best Black Gay Erotica (2004). His fiction has appeared in the anthologies Freedom in This Village (2005), Black Like Us (2002), Giant Steps (2000), Shade (1996), and Ancestral House (1995), as well as in the erotica collections Flesh and the Word 4 (1997) and Inside Him (2006). A fantasy-genre novel, The Dream-Slaves, is forthcoming from punctum books. He has published essays in Callaloo, GLQ, The Americas Review, and American Literary History, and is co-editor with Ramzi Fawaz of the American Literature special issue “Queer About Comics,” winner of the 2018 Best Special Issue from the Council of Editors of Learned Journals. 01 eng 00 374 03 B2 Fabulations 10 FIC068000 93 FMB 93 1KLSB 10 FIC028010 B2 Posthumanism 93 5PS B2 TransQueer 93 5PB-US-C 20 speculative fiction; queer people of color; fantasy; alternate history; Brazil; slavery; magic 01 06 02 00 03 00 To fight the gods—you must first become a slave.Our universe is dead. All that’s left are memories. But the powers indigenous to the new world are fighting back.Alexander, a handsome immigrant fleeing trouble in his poor native land, doesn’t even have a claim to his own name in the magic-rich city of Norio, where they call him Aleixo. But his name may be the least of what the sorcerers of Norio take from him, when a seemingly random invitation to cater-waiter at a party of the wealthy and famous sweeps Aleixo up into a maelstrom of imperial politics and a millennia-long war between humans and gods. The empire of Norio rules the world because of its monopoly on magical high-tech devices called dream-slaves—and now the head of imperial intelligence has proof that Aleixo isn’t human at all, but a dream-slave assassin, smuggled into Norio by the empire’s enemies.Rescued by a cabal of sorcerers from a foiled attempt to kill him by a renegade sorcerer, Salvador, and his mysterious other-human ally Ydris, Aleixo finds his identity and humanity stripped from him in harrowing psychedelic adventures that transform his memories and bind him to a history of conflict, activating fabulous abilities he never dreamed he had. The world Aleixo lives in isn’t what he’s always believed it was: the forces that rule his destiny are not just economic class, race, gender, sexuality, body, nationality—they are much more sinister, and much more powerful. The greatest powers have secretly colonized his planet, and made its history strangely similar to our own. Aleixo discovers he may be the last line of defense against the dystopian present and future of Earth. He leads the struggle for emancipation as he grapples with who and what he is: is he human, or just a dream? 30 00 To fight the gods—you must first become a slave.Our universe is dead. All that’s left are memories. But the powers indigenous to the new world are fighting back.Alexander, a handsome immigrant fleeing trouble in his poor native land, doesn’t even have a claim to his own name in the magic-rich city of Norio, where they call him Aleixo. But his name may be the least of what the sorcerers of Norio take from him, when a seemingly random invitation to cater-waiter at a party of the wealthy and famous sweeps Aleixo up into a maelstrom of imperial politics and a millennia-long war between humans and gods. The empire of Norio rules the world because of its monopoly on magical high-tech devices called dream-slaves—and now the head of imperial intelligence has proof that Aleixo isn’t human at all, but a dream-slave assassin, smuggled into Norio by the empire’s enemies.Rescued by a cabal of sorcerers from a foiled attempt to kill him by a renegade sorcerer, Salvador, and his mysterious other-human ally Ydris, Aleixo finds his identity and humanity stripped from him in harrowing psychedelic adventures that transform his memories and bind him to a history of conflict, activating fabulous abilities he never dreamed he had. The world Aleixo lives in isn’t what he’s always believed it was: the forces that rule his destiny are not just economic class, race, gender, sexuality, body, nationality—they are much more sinister, and much more powerful. The greatest powers have secretly colonized his planet, and made its history strangely similar to our own. Aleixo discovers he may be the last line of defense against the dystopian present and future of Earth. He leads the struggle for emancipation as he grapples with who and what he is: is he human, or just a dream? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0399.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-dream-slaves/ Earth, Milky Way 04 01 20240928 Darieck Scott 02 WORLD 06 15 9781685712334 03 9781685712334 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712320 20 08 20240928 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-dream-slaves 20 08 20240928 02 27.00 USD WORLD urn:uuid:69ab472b-db50-4815-af4f-f9e0cd2b51fe 03 01 01 thoth-work-id urn:uuid:612a3506-2ec0-4ae3-baef-3f4f4c9d7772 01 thoth-publication-id urn:uuid:69ab472b-db50-4815-af4f-f9e0cd2b51fe 15 9781685712334 03 9781685712334 06 10.53288/0399.1.00 13 2024942494 01 internal-reference 0399 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Dream-Slaves 1 A01 Darieck Scott Darieck Scott professor of African American Studies 40 01an7q238 University of California, Berkeley Darieck Scott is a professor of African American Studies at the University of California, Berkeley. Scott is the author of Keeping It Unreal: Black Queer Fantasy and Superhero Comics (NYU Press, 2022), which won the 2023 Lambda Literary Award for LGBTQ+ Studies, and was also a Finalist for the 2023 Locus Award for Nonfiction, and for the Association for the Study of the Arts of the Present Book Prize. His previous book, Extravagant Abjection: Blackness, Power, and Sexuality in the African American Literary Imagination (NYU Press 2010), was the winner of the 2011 Alan Bray Memorial Prize for Queer Studies of the Modern Language Association. Scott is also the author of the novels Hex (2007) and Traitor to the Race (1995), and the editor of Best Black Gay Erotica (2004). His fiction has appeared in the anthologies Freedom in This Village (2005), Black Like Us (2002), Giant Steps (2000), Shade (1996), and Ancestral House (1995), as well as in the erotica collections Flesh and the Word 4 (1997) and Inside Him (2006). A fantasy-genre novel, The Dream-Slaves, is forthcoming from punctum books. He has published essays in Callaloo, GLQ, The Americas Review, and American Literary History, and is co-editor with Ramzi Fawaz of the American Literature special issue “Queer About Comics,” winner of the 2018 Best Special Issue from the Council of Editors of Learned Journals. 01 eng 00 374 03 B2 Fabulations 10 FIC068000 93 FMB 93 1KLSB 10 FIC028010 B2 Posthumanism 93 5PS B2 TransQueer 93 5PB-US-C 20 speculative fiction; queer people of color; fantasy; alternate history; Brazil; slavery; magic 01 06 02 00 03 00 To fight the gods—you must first become a slave.Our universe is dead. All that’s left are memories. But the powers indigenous to the new world are fighting back.Alexander, a handsome immigrant fleeing trouble in his poor native land, doesn’t even have a claim to his own name in the magic-rich city of Norio, where they call him Aleixo. But his name may be the least of what the sorcerers of Norio take from him, when a seemingly random invitation to cater-waiter at a party of the wealthy and famous sweeps Aleixo up into a maelstrom of imperial politics and a millennia-long war between humans and gods. The empire of Norio rules the world because of its monopoly on magical high-tech devices called dream-slaves—and now the head of imperial intelligence has proof that Aleixo isn’t human at all, but a dream-slave assassin, smuggled into Norio by the empire’s enemies.Rescued by a cabal of sorcerers from a foiled attempt to kill him by a renegade sorcerer, Salvador, and his mysterious other-human ally Ydris, Aleixo finds his identity and humanity stripped from him in harrowing psychedelic adventures that transform his memories and bind him to a history of conflict, activating fabulous abilities he never dreamed he had. The world Aleixo lives in isn’t what he’s always believed it was: the forces that rule his destiny are not just economic class, race, gender, sexuality, body, nationality—they are much more sinister, and much more powerful. The greatest powers have secretly colonized his planet, and made its history strangely similar to our own. Aleixo discovers he may be the last line of defense against the dystopian present and future of Earth. He leads the struggle for emancipation as he grapples with who and what he is: is he human, or just a dream? 30 00 To fight the gods—you must first become a slave.Our universe is dead. All that’s left are memories. But the powers indigenous to the new world are fighting back.Alexander, a handsome immigrant fleeing trouble in his poor native land, doesn’t even have a claim to his own name in the magic-rich city of Norio, where they call him Aleixo. But his name may be the least of what the sorcerers of Norio take from him, when a seemingly random invitation to cater-waiter at a party of the wealthy and famous sweeps Aleixo up into a maelstrom of imperial politics and a millennia-long war between humans and gods. The empire of Norio rules the world because of its monopoly on magical high-tech devices called dream-slaves—and now the head of imperial intelligence has proof that Aleixo isn’t human at all, but a dream-slave assassin, smuggled into Norio by the empire’s enemies.Rescued by a cabal of sorcerers from a foiled attempt to kill him by a renegade sorcerer, Salvador, and his mysterious other-human ally Ydris, Aleixo finds his identity and humanity stripped from him in harrowing psychedelic adventures that transform his memories and bind him to a history of conflict, activating fabulous abilities he never dreamed he had. The world Aleixo lives in isn’t what he’s always believed it was: the forces that rule his destiny are not just economic class, race, gender, sexuality, body, nationality—they are much more sinister, and much more powerful. The greatest powers have secretly colonized his planet, and made its history strangely similar to our own. Aleixo discovers he may be the last line of defense against the dystopian present and future of Earth. He leads the struggle for emancipation as he grapples with who and what he is: is he human, or just a dream? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0399.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-dream-slaves/ Earth, Milky Way 04 01 20240928 Darieck Scott 02 WORLD 06 15 9781685712327 03 9781685712327 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/93649 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/93649/9781685712334.pdf?sequence=1&isAllowed=y 20 08 20240928 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/146042 20 08 20240928 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526487 20 08 20240928 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/804 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/78d81acd-a774-4961-a268-20d67828bb08/download 20 08 20240928 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Dream_Slaves/woZJEQAAQBAJ 20 08 20240928 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/612a3506-2ec0-4ae3-baef-3f4f4c9d7772 29 INTERNET_ARCHIVE: download the title https://archive.org/download/612a3506-2ec0-4ae3-baef-3f4f4c9d7772/612a3506-2ec0-4ae3-baef-3f4f4c9d7772.pdf 20 08 20240928 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850609 29 ZENODO: download the title https://zenodo.org/records/19850609/files/612a3506-2ec0-4ae3-baef-3f4f4c9d7772_book.pdf 20 08 20240928 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-dream-slaves/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0399.1.00.pdf 20 08 20240928 01 urn:uuid:7c902b8d-6185-44dd-b0ac-04d93120b31c 03 01 01 thoth-work-id urn:uuid:2b166028-700d-4c4b-bb43-b8fdfd6ba7e6 01 thoth-publication-id urn:uuid:7c902b8d-6185-44dd-b0ac-04d93120b31c 15 9780615766782 03 9780615766782 06 10.21983/P3.0024.1.00 01 internal-reference 0024 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The End of Man 1 A01 Jean-Paul Martinon Jean-Paul Martinon 40 01khx4a30 Goldsmiths University of London 01 eng 00 129 03 93 JBSF2 12 JFSK B2 Philosophy 10 SOC032000 B2 Sex B2 TransQueer 20 masculinity; sexuality; gender; biography; queer studies 01 06 02 00 03 00 Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms (masculine-feminine, male-female, man-woman) nor in performative terms (for which the opposition remains always secretly in play), but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn’t aim to establish yet another theory within the field of masculism or men’s studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity. 30 00 Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms (masculine-feminine, male-female, man-woman) nor in performative terms (for which the opposition remains always secretly in play), but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn’t aim to establish yet another theory within the field of masculism or men’s studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0024.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-end-of-man/ Brooklyn, NY 04 01 20130311 Martinon, Jean-Paul 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615766781 20 08 20130311 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-end-of-man 20 08 20130311 02 22.00 USD WORLD urn:uuid:500f918c-9607-4f94-889a-b535e8eadbae 03 01 01 thoth-work-id urn:uuid:2b166028-700d-4c4b-bb43-b8fdfd6ba7e6 01 thoth-publication-id urn:uuid:500f918c-9607-4f94-889a-b535e8eadbae 06 10.21983/P3.0024.1.00 01 internal-reference 0024 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The End of Man 1 A01 Jean-Paul Martinon Jean-Paul Martinon 40 01khx4a30 Goldsmiths University of London 01 eng 00 129 03 93 JBSF2 12 JFSK B2 Philosophy 10 SOC032000 B2 Sex B2 TransQueer 20 masculinity; sexuality; gender; biography; queer studies 01 06 02 00 03 00 Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms (masculine-feminine, male-female, man-woman) nor in performative terms (for which the opposition remains always secretly in play), but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn’t aim to establish yet another theory within the field of masculism or men’s studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity. 30 00 Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms (masculine-feminine, male-female, man-woman) nor in performative terms (for which the opposition remains always secretly in play), but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn’t aim to establish yet another theory within the field of masculism or men’s studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0024.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-end-of-man/ Brooklyn, NY 04 01 20130311 Martinon, Jean-Paul 02 WORLD 06 15 9780615766782 03 9780615766782 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76437 20 08 20130311 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25591 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25591/1004504.pdf?sequence=1&isAllowed=y 20 08 20130311 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27114 20 08 20130311 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353963 20 08 20130311 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/403 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ad42d8cf-3094-449f-bd95-1148c0038699/download 20 08 20130311 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2b166028-700d-4c4b-bb43-b8fdfd6ba7e6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2b166028-700d-4c4b-bb43-b8fdfd6ba7e6/2b166028-700d-4c4b-bb43-b8fdfd6ba7e6.pdf 20 08 20130311 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693088 29 ZENODO: download the title https://zenodo.org/records/19693088/files/2b166028-700d-4c4b-bb43-b8fdfd6ba7e6_book.pdf 20 08 20130311 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-end-of-man/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0024.1.00.pdf 20 08 20130311 01 urn:uuid:65575a51-fc41-4d26-8d50-c3fd45671403 03 01 01 thoth-work-id urn:uuid:b6c3d0ad-493e-4aec-8bc3-56f4db4d9346 01 thoth-publication-id urn:uuid:65575a51-fc41-4d26-8d50-c3fd45671403 15 9781953035363 03 9781953035363 06 10.21983/P3.0275.1.00 01 internal-reference 0275 00 BC 10 01 286 mm 01 28.6 cm 01 11.25 in 02 234 mm 02 23.4 cm 02 9.2 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Event of Art 1 A01 Marc Lafia Marc Lafia 2 A15 Mathieu Borysevicz Mathieu Borysevicz 3 A15 Daniel Coffeen Daniel Coffeen 01 eng 00 797 03 12 AGC 93 AGC 10 ART006000 B2 Art+Aesthetics B2 Media+Technology B2 Moving Image 20 Photography; Contemporary Art; Public Art; Performance. Film Theory; Installation Art; Archives; Algorithms; Social Media; Cinema; Visual Arts; Artificial Intelligence; Media Studies; Image; Processing; Feminist Theory; Information Systems; Cultural Histories; Computer Networks; Identity (Culture); Cultural Studies; Media Studies; Self and Identity; Social Media 01 06 02 00 03 00 The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming.The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia’s interest in recording as it becomes digital and computational where "recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations.” The other introductory essay is by critic Daniel Coffeen, who writes, "while Lafia may not have a traditional medium – there is no such thing anymore – he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia’s medium is the discourse of art – what it is, how it comes to be, how we experience it.”The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one’s self, but the world becoming. 30 00 The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming.The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia’s interest in recording as it becomes digital and computational where "recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations.” The other introductory essay is by critic Daniel Coffeen, who writes, "while Lafia may not have a traditional medium – there is no such thing anymore – he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia’s medium is the discourse of art – what it is, how it comes to be, how we experience it.”The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one’s self, but the world becoming. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0275.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-event-of-art/ Earth, Milky Way 04 01 20200903 Lafia, Marc 02 WORLD 06 15 9781950192984 03 9781950192984 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://mixam.com/print-on-demand/publisher/683f07d046a9524587904db3/series/685c124c313e6528cd3b8971 20 08 20200903 01 urn:uuid:398e1483-8e44-4120-84aa-ce0019888e47 03 01 01 thoth-work-id urn:uuid:b6c3d0ad-493e-4aec-8bc3-56f4db4d9346 01 thoth-publication-id urn:uuid:398e1483-8e44-4120-84aa-ce0019888e47 15 9781950192984 03 9781950192984 06 10.21983/P3.0275.1.00 01 internal-reference 0275 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Event of Art 1 A01 Marc Lafia Marc Lafia 2 A15 Mathieu Borysevicz Mathieu Borysevicz 3 A15 Daniel Coffeen Daniel Coffeen 01 eng 00 797 03 12 AGC 93 AGC 10 ART006000 B2 Art+Aesthetics B2 Media+Technology B2 Moving Image 20 Photography; Contemporary Art; Public Art; Performance. Film Theory; Installation Art; Archives; Algorithms; Social Media; Cinema; Visual Arts; Artificial Intelligence; Media Studies; Image; Processing; Feminist Theory; Information Systems; Cultural Histories; Computer Networks; Identity (Culture); Cultural Studies; Media Studies; Self and Identity; Social Media 01 06 02 00 03 00 The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming.The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia’s interest in recording as it becomes digital and computational where "recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations.” The other introductory essay is by critic Daniel Coffeen, who writes, "while Lafia may not have a traditional medium – there is no such thing anymore – he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia’s medium is the discourse of art – what it is, how it comes to be, how we experience it.”The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one’s self, but the world becoming. 30 00 The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming.The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia’s interest in recording as it becomes digital and computational where "recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations.” The other introductory essay is by critic Daniel Coffeen, who writes, "while Lafia may not have a traditional medium – there is no such thing anymore – he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia’s medium is the discourse of art – what it is, how it comes to be, how we experience it.”The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one’s self, but the world becoming. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0275.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-event-of-art/ Earth, Milky Way 04 01 20200903 Lafia, Marc 02 WORLD 06 15 9781953035363 03 9781953035363 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41555 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41555/0275.1.00%20%281%29.pdf?sequence=7&isAllowed=y 20 08 20200903 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29247 20 08 20200903 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353928 20 08 20200903 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/753 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/92225ff7-d9a4-43d8-8260-3f1a6a40ce1a/download 20 08 20200903 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Event_of_Art/4AWVEAAAQBAJ 20 08 20200903 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b6c3d0ad-493e-4aec-8bc3-56f4db4d9346 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b6c3d0ad-493e-4aec-8bc3-56f4db4d9346/b6c3d0ad-493e-4aec-8bc3-56f4db4d9346.pdf 20 08 20200903 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848424 29 ZENODO: download the title https://zenodo.org/records/19848424/files/b6c3d0ad-493e-4aec-8bc3-56f4db4d9346_book.pdf 20 08 20200903 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-event-of-art/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0275.1.00.pdf 20 08 20200903 01 urn:uuid:fd34a6e4-c8c8-47a5-9ac2-e1a459e4270f 03 01 01 thoth-work-id urn:uuid:d8b26c64-3054-4f6a-a632-1225fa769dc8 01 thoth-publication-id urn:uuid:fd34a6e4-c8c8-47a5-9ac2-e1a459e4270f 15 9781685712648 03 9781685712648 06 10.53288/0496.1.00 13 2025930836 01 internal-reference 0496 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 14 mm 03 1.4 cm 03 0.54 in 08 326 gr 08 11.5 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Fight for Black Liberation Breaking the Political Strings in the Trump Era 1 A01 21 0000000340830167 William T. Hoston William T. Hoston Full Professor of Political Science 40 0449kf092 Prairie View A&M University William T. Hoston is an award-winning scholar and author who hails from New Orleans, Louisiana. He is Full Professor of political science at Prairie View A&M University and he holds a PhD (with distinction) from the University of New Orleans. His research interests include the areas of minority voting behavior, the political behavior of Black politicians, race and minority group behavior, Black masculinity, sexualities and gender, race and crime, and the theories and dynamics of racism and oppression. Dr. Hoston’s work traverses multiple genres, including editorials, essays, fiction, and poetry. He is the author or editor of more than twenty books, most recently: The Crucial Conversation: Educating Through an Anti-Racist Lens (Kendall Hunt, 2022) and Contemporary Debates in Social Justice: An Interdisciplinary Approach to Exploring the Lives of Black and Brown Americans (Kendall Hunt, 2021). His book Toxic Silence: Race, Black Gender Identity, and Addressing the Violence against Black Transgender Women in Houston (Peter Lang, 2018), which examined the deaths of Black trans women, won the Lambda Literary Award for LGBTQ+ Studies in 2019. 06 Own website https://www.williamhoston.com/ 01 eng 00 238 03 93 JPL B2 Manifesto! 10 POL030000 93 1KBB B2 New Left Thought 10 POL004000 93 5PB-US-C 10 SOC001000 93 JPW 93 3MRB 20 Black Liberation movement; Black power; Black consciousness; Black voting bloc; Black resistance; Black solidarity; Black people; US politics; systemic racism; Civil Rights movement; Fight the Power; FDT; Race relations; Righteousness; Donald J. Trump 01 06 02 00 03 00 The first presidency of Donald J. Trump further unveiled the calamity of white America’s determination to maintain societal order during a period of landmark racial upheaval. From the restrictive voting measures led by Republicans and conservatives following the 2020 election, to the death of George P. Floyd Jr. and the subsequent Black Lives Matter protests in the summer of 2020, to the January 6, 2021 insurrection, each racial marker continues to show the endurance and even strengthening of white America’s racist traditions alongside its avowed and always unfulfilled commitments to equality for all.The Fight for Black Liberation: Breaking the Political Strings in the Trump Era presents a political critique of the state of Black America in the Trump era, especially when so many Democratic presidents (including Clinton, Obama and Biden) have done so little for Black Americans even while relying on their votes. The book argues that amid continued structural, institutional, and systemic barriers, Black people in America must establish political independence and demand a Black political agenda to chart a path toward a Black Liberation movement. What has hindered the process of reaching a Black Liberation movement has been the assimilationist loyalty of Black Americans to the false constructs of partisanship and ideology, and this book encourages Black eligible voters, of whatever party or other affiliation, to abstain from the two-party system and become an independent voting bloc only willing to give the Black vote to a chosen party in a free partisan market that best represents Black interests. Otherwise, the Black electorate remain frozen in a two-party system that has been built to serve white interests only, even when claiming otherwise, and no amount of assimilation will make a difference. 30 00 The first presidency of Donald J. Trump further unveiled the calamity of white America’s determination to maintain societal order during a period of landmark racial upheaval. From the restrictive voting measures led by Republicans and conservatives following the 2020 election, to the death of George P. Floyd Jr. and the subsequent Black Lives Matter protests in the summer of 2020, to the January 6, 2021 insurrection, each racial marker continues to show the endurance and even strengthening of white America’s racist traditions alongside its avowed and always unfulfilled commitments to equality for all.The Fight for Black Liberation: Breaking the Political Strings in the Trump Era presents a political critique of the state of Black America in the Trump era, especially when so many Democratic presidents (including Clinton, Obama and Biden) have done so little for Black Americans even while relying on their votes. The book argues that amid continued structural, institutional, and systemic barriers, Black people in America must establish political independence and demand a Black political agenda to chart a path toward a Black Liberation movement. What has hindered the process of reaching a Black Liberation movement has been the assimilationist loyalty of Black Americans to the false constructs of partisanship and ideology, and this book encourages Black eligible voters, of whatever party or other affiliation, to abstain from the two-party system and become an independent voting bloc only willing to give the Black vote to a chosen party in a free partisan market that best represents Black interests. Otherwise, the Black electorate remain frozen in a two-party system that has been built to serve white interests only, even when claiming otherwise, and no amount of assimilation will make a difference. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0496.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-fight-for-black-liberation-breaking-the-political-strings-in-the-trump-era/ Earth, Milky Way 04 01 20250211 William T. Hoston 02 WORLD 06 15 9781685712655 03 9781685712655 34 06 10.1177/19485506211056493 34 06 10.1007/s11109-021-09688-9 34 06 10.1037/pspi0000166 34 06 10.26300/9419-nw68 34 06 10.3102/00346543221105549 34 06 10.1177/0021934707299642 34 06 10.1080/03637758009376037 34 06 10.2307/2647821 34 06 10.1146/annurev.polisci.10.072805.102452 34 06 10.1177/0021934717753730 34 06 10.1080/07418825.2019.1675747 34 06 10.1177/1065912916648011 34 06 10.1001/jamanetworkopen.2021.44470 34 06 10.2307/1962160 34 06 10.1080/00064246.1969.11430658 34 06 10.2307/1963940 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-fight-for-black-liberation-breaking-the-political-strings-in-the-trump-era-william-t-hoston 20 08 20250211 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712649 20 08 20250211 02 24.00 USD WORLD urn:uuid:9e546123-cfb4-4eab-8c64-3bc78b139d69 03 01 01 thoth-work-id urn:uuid:d8b26c64-3054-4f6a-a632-1225fa769dc8 01 thoth-publication-id urn:uuid:9e546123-cfb4-4eab-8c64-3bc78b139d69 15 9781685712655 03 9781685712655 06 10.53288/0496.1.00 13 2025930836 01 internal-reference 0496 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Fight for Black Liberation Breaking the Political Strings in the Trump Era 1 A01 21 0000000340830167 William T. Hoston William T. Hoston Full Professor of Political Science 40 0449kf092 Prairie View A&M University William T. Hoston is an award-winning scholar and author who hails from New Orleans, Louisiana. He is Full Professor of political science at Prairie View A&M University and he holds a PhD (with distinction) from the University of New Orleans. His research interests include the areas of minority voting behavior, the political behavior of Black politicians, race and minority group behavior, Black masculinity, sexualities and gender, race and crime, and the theories and dynamics of racism and oppression. Dr. Hoston’s work traverses multiple genres, including editorials, essays, fiction, and poetry. He is the author or editor of more than twenty books, most recently: The Crucial Conversation: Educating Through an Anti-Racist Lens (Kendall Hunt, 2022) and Contemporary Debates in Social Justice: An Interdisciplinary Approach to Exploring the Lives of Black and Brown Americans (Kendall Hunt, 2021). His book Toxic Silence: Race, Black Gender Identity, and Addressing the Violence against Black Transgender Women in Houston (Peter Lang, 2018), which examined the deaths of Black trans women, won the Lambda Literary Award for LGBTQ+ Studies in 2019. 06 Own website https://www.williamhoston.com/ 01 eng 00 238 03 93 JPL B2 Manifesto! 10 POL030000 93 1KBB B2 New Left Thought 10 POL004000 93 5PB-US-C 10 SOC001000 93 JPW 93 3MRB 20 Black Liberation movement; Black power; Black consciousness; Black voting bloc; Black resistance; Black solidarity; Black people; US politics; systemic racism; Civil Rights movement; Fight the Power; FDT; Race relations; Righteousness; Donald J. Trump 01 06 02 00 03 00 The first presidency of Donald J. Trump further unveiled the calamity of white America’s determination to maintain societal order during a period of landmark racial upheaval. From the restrictive voting measures led by Republicans and conservatives following the 2020 election, to the death of George P. Floyd Jr. and the subsequent Black Lives Matter protests in the summer of 2020, to the January 6, 2021 insurrection, each racial marker continues to show the endurance and even strengthening of white America’s racist traditions alongside its avowed and always unfulfilled commitments to equality for all.The Fight for Black Liberation: Breaking the Political Strings in the Trump Era presents a political critique of the state of Black America in the Trump era, especially when so many Democratic presidents (including Clinton, Obama and Biden) have done so little for Black Americans even while relying on their votes. The book argues that amid continued structural, institutional, and systemic barriers, Black people in America must establish political independence and demand a Black political agenda to chart a path toward a Black Liberation movement. What has hindered the process of reaching a Black Liberation movement has been the assimilationist loyalty of Black Americans to the false constructs of partisanship and ideology, and this book encourages Black eligible voters, of whatever party or other affiliation, to abstain from the two-party system and become an independent voting bloc only willing to give the Black vote to a chosen party in a free partisan market that best represents Black interests. Otherwise, the Black electorate remain frozen in a two-party system that has been built to serve white interests only, even when claiming otherwise, and no amount of assimilation will make a difference. 30 00 The first presidency of Donald J. Trump further unveiled the calamity of white America’s determination to maintain societal order during a period of landmark racial upheaval. From the restrictive voting measures led by Republicans and conservatives following the 2020 election, to the death of George P. Floyd Jr. and the subsequent Black Lives Matter protests in the summer of 2020, to the January 6, 2021 insurrection, each racial marker continues to show the endurance and even strengthening of white America’s racist traditions alongside its avowed and always unfulfilled commitments to equality for all.The Fight for Black Liberation: Breaking the Political Strings in the Trump Era presents a political critique of the state of Black America in the Trump era, especially when so many Democratic presidents (including Clinton, Obama and Biden) have done so little for Black Americans even while relying on their votes. The book argues that amid continued structural, institutional, and systemic barriers, Black people in America must establish political independence and demand a Black political agenda to chart a path toward a Black Liberation movement. What has hindered the process of reaching a Black Liberation movement has been the assimilationist loyalty of Black Americans to the false constructs of partisanship and ideology, and this book encourages Black eligible voters, of whatever party or other affiliation, to abstain from the two-party system and become an independent voting bloc only willing to give the Black vote to a chosen party in a free partisan market that best represents Black interests. Otherwise, the Black electorate remain frozen in a two-party system that has been built to serve white interests only, even when claiming otherwise, and no amount of assimilation will make a difference. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0496.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-fight-for-black-liberation-breaking-the-political-strings-in-the-trump-era/ Earth, Milky Way 04 01 20250211 William T. Hoston 02 WORLD 06 15 9781685712648 03 9781685712648 34 06 10.1177/19485506211056493 34 06 10.1007/s11109-021-09688-9 34 06 10.1037/pspi0000166 34 06 10.26300/9419-nw68 34 06 10.3102/00346543221105549 34 06 10.1177/0021934707299642 34 06 10.1080/03637758009376037 34 06 10.2307/2647821 34 06 10.1146/annurev.polisci.10.072805.102452 34 06 10.1177/0021934717753730 34 06 10.1080/07418825.2019.1675747 34 06 10.1177/1065912916648011 34 06 10.1001/jamanetworkopen.2021.44470 34 06 10.2307/1962160 34 06 10.1080/00064246.1969.11430658 34 06 10.2307/1963940 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/98338 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/98338/0496.1.00.pdf?sequence=1&isAllowed=y 20 08 20250211 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/151418 20 08 20250211 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526485 20 08 20250211 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/853 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/da10e6a8-621e-483e-b848-4080f0b0f6dc/download 20 08 20250211 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d8b26c64-3054-4f6a-a632-1225fa769dc8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d8b26c64-3054-4f6a-a632-1225fa769dc8/d8b26c64-3054-4f6a-a632-1225fa769dc8.pdf 20 08 20250211 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850878 29 ZENODO: download the title https://zenodo.org/records/19850878/files/d8b26c64-3054-4f6a-a632-1225fa769dc8_book.pdf 20 08 20250211 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-fight-for-black-liberation-breaking-the-political-strings-in-the-trump-era/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0496.1.00.pdf 20 08 20250211 01 urn:uuid:dfbbaa39-ce76-4a58-be23-e5b798796a99 03 01 01 thoth-work-id urn:uuid:1950e4ba-651c-4ec9-83f6-df46b777b10f 01 thoth-publication-id urn:uuid:dfbbaa39-ce76-4a58-be23-e5b798796a99 15 9780692274835 03 9780692274835 06 10.21983/P3.0075.1.00 01 internal-reference 0075 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 10 Literature 1 B01 Léopold Lambert Léopold Lambert 2 A32 Sofia Krimizi Sofia Krimizi 40 05bnh6r87 Cornell University 40 05pbkcd34 Cooper Union 3 A32 Carla Leitão Carla Leitão 40 01rtyzb94 Rensselaer Polytechnic Institute 4 A32 Martin Byrne Martin Byrne 01 eng 00 112 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 DSBH B2 Literary Studies 20 architecture; design; literature; Jorge Luis Borges; narrative 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.Volume 10 is devoted to the topic of Literature, with entries by Lambert and other authors. The idea that architecture can be created through narrative is popular in some academic circles. It seems a fruitful approach to the discipline as it unfolds an important imaginative field. It also envisions a resistance to forms of architectural teleology, since fiction is usually based on the disfunction of the environment in which it is set. For this reason, we could go as far as to affirm that fiction operates in contradiction to the traditional design method. The word “literature,” however, is not often pronounced by the people who seem to promote this creative method. The following texts intend to think of literature as a powerful field of ideas that translates to other creative disciplines. This translation should never be literal, and for this reason, some fictions that evoke architecture — Franz Kafka’s and Jorge Luis Borges’s labyrinths, for example — might be paradoxically more difficult to properly translate than less immediately spatial novels. The following texts do not propose any translation of their own but rather offer a humble toolbox in order to do so. This volume also constitutes an opportunity to archive the four texts written for the first event of Archipelagos (Brooklyn, November 2011), an non-institutionalized gathering of people conversing around a given topic. The first event was dedicated to literature and four architects were invited to talk about four authors they chose (Kerouac, Artaud, Dostoevsky and Pessoa) in the first half of the event, while the second half consisted of an open conversation generated by the presentations. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.Volume 10 is devoted to the topic of Literature, with entries by Lambert and other authors. The idea that architecture can be created through narrative is popular in some academic circles. It seems a fruitful approach to the discipline as it unfolds an important imaginative field. It also envisions a resistance to forms of architectural teleology, since fiction is usually based on the disfunction of the environment in which it is set. For this reason, we could go as far as to affirm that fiction operates in contradiction to the traditional design method. The word “literature,” however, is not often pronounced by the people who seem to promote this creative method. The following texts intend to think of literature as a powerful field of ideas that translates to other creative disciplines. This translation should never be literal, and for this reason, some fictions that evoke architecture — Franz Kafka’s and Jorge Luis Borges’s labyrinths, for example — might be paradoxically more difficult to properly translate than less immediately spatial novels. The following texts do not propose any translation of their own but rather offer a humble toolbox in order to do so. This volume also constitutes an opportunity to archive the four texts written for the first event of Archipelagos (Brooklyn, November 2011), an non-institutionalized gathering of people conversing around a given topic. The first event was dedicated to literature and four architects were invited to talk about four authors they chose (Kerouac, Artaud, Dostoevsky and Pessoa) in the first half of the event, while the second half consisted of an open conversation generated by the presentations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0075.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-10-literature/ Brooklyn, NY 04 01 20140814 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692274839 20 08 20140814 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-10-literature 20 08 20140814 02 21.00 USD WORLD urn:uuid:5f2959bd-fe3e-472b-a6fb-6f7c16eeea14 03 01 01 thoth-work-id urn:uuid:1950e4ba-651c-4ec9-83f6-df46b777b10f 01 thoth-publication-id urn:uuid:5f2959bd-fe3e-472b-a6fb-6f7c16eeea14 06 10.21983/P3.0075.1.00 01 internal-reference 0075 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 10 Literature 1 B01 Léopold Lambert Léopold Lambert 2 A32 Sofia Krimizi Sofia Krimizi 40 05bnh6r87 Cornell University 40 05pbkcd34 Cooper Union 3 A32 Carla Leitão Carla Leitão 40 01rtyzb94 Rensselaer Polytechnic Institute 4 A32 Martin Byrne Martin Byrne 01 eng 00 112 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 DSBH B2 Literary Studies 20 architecture; design; literature; Jorge Luis Borges; narrative 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.Volume 10 is devoted to the topic of Literature, with entries by Lambert and other authors. The idea that architecture can be created through narrative is popular in some academic circles. It seems a fruitful approach to the discipline as it unfolds an important imaginative field. It also envisions a resistance to forms of architectural teleology, since fiction is usually based on the disfunction of the environment in which it is set. For this reason, we could go as far as to affirm that fiction operates in contradiction to the traditional design method. The word “literature,” however, is not often pronounced by the people who seem to promote this creative method. The following texts intend to think of literature as a powerful field of ideas that translates to other creative disciplines. This translation should never be literal, and for this reason, some fictions that evoke architecture — Franz Kafka’s and Jorge Luis Borges’s labyrinths, for example — might be paradoxically more difficult to properly translate than less immediately spatial novels. The following texts do not propose any translation of their own but rather offer a humble toolbox in order to do so. This volume also constitutes an opportunity to archive the four texts written for the first event of Archipelagos (Brooklyn, November 2011), an non-institutionalized gathering of people conversing around a given topic. The first event was dedicated to literature and four architects were invited to talk about four authors they chose (Kerouac, Artaud, Dostoevsky and Pessoa) in the first half of the event, while the second half consisted of an open conversation generated by the presentations. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.Volume 10 is devoted to the topic of Literature, with entries by Lambert and other authors. The idea that architecture can be created through narrative is popular in some academic circles. It seems a fruitful approach to the discipline as it unfolds an important imaginative field. It also envisions a resistance to forms of architectural teleology, since fiction is usually based on the disfunction of the environment in which it is set. For this reason, we could go as far as to affirm that fiction operates in contradiction to the traditional design method. The word “literature,” however, is not often pronounced by the people who seem to promote this creative method. The following texts intend to think of literature as a powerful field of ideas that translates to other creative disciplines. This translation should never be literal, and for this reason, some fictions that evoke architecture — Franz Kafka’s and Jorge Luis Borges’s labyrinths, for example — might be paradoxically more difficult to properly translate than less immediately spatial novels. The following texts do not propose any translation of their own but rather offer a humble toolbox in order to do so. This volume also constitutes an opportunity to archive the four texts written for the first event of Archipelagos (Brooklyn, November 2011), an non-institutionalized gathering of people conversing around a given topic. The first event was dedicated to literature and four architects were invited to talk about four authors they chose (Kerouac, Artaud, Dostoevsky and Pessoa) in the first half of the event, while the second half consisted of an open conversation generated by the presentations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0075.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-10-literature/ Brooklyn, NY 04 01 20140814 Lambert, Léopold 02 WORLD 06 15 9780692274835 03 9780692274835 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25545 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25545/1004550.pdf?sequence=1&isAllowed=y 20 08 20140814 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29755 20 08 20140814 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2516306 20 08 20140814 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/459 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8c98cfb5-1729-4ec7-bac9-0961fa2f82f9/download 20 08 20140814 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1950e4ba-651c-4ec9-83f6-df46b777b10f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1950e4ba-651c-4ec9-83f6-df46b777b10f/1950e4ba-651c-4ec9-83f6-df46b777b10f.pdf 20 08 20140814 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846006 29 ZENODO: download the title https://zenodo.org/records/19846006/files/1950e4ba-651c-4ec9-83f6-df46b777b10f_book.pdf 20 08 20140814 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-pamphlets-10-literature/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0075.1.00.pdf 20 08 20140814 01 urn:uuid:5c7953c2-f279-4d31-8a8b-5da2846cb52d 03 01 01 thoth-work-id urn:uuid:bdfc263a-7ace-43f3-9c80-140c6fb32ec7 01 thoth-publication-id urn:uuid:5c7953c2-f279-4d31-8a8b-5da2846cb52d 15 9780692390269 03 9780692390269 06 10.21983/P3.0095.1.00 01 internal-reference 0095 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 11 Cinema 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 110 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 architecture; cinema; design; cultural studies 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 11 is devoted to the topic of Cinema: Spike Lee, Béla Tarr, Michelangelo Antonioni and the many other filmmakers named in this volume do not seem to have much in common at first sight; nevertheless, considered through the interpretation of a Spinozist materialist philosophy, their films might have something to say to one another. Take the mud of Red Desert (Antonioni), the volcanic slopes of The Bad Sleep Well (Kurosawa) and the soil of Pina Bausch’s Rite of Spring magnified in Pina (Wenders), for example. What these material manifestations have in common is that they are all in relation with bodies, themselves assemblages of moving matter. Similarly, consider Spike Lee’s dolly shot, Orson Welles’s labyrinth, Béla Tarr’s entropy, and Peter Watkins’s democratic improvisations: they all manifest the power of immanence and its inexorability. These films involve no deus ex machina; everything in them comes ‘from the ground’ in a continuous refusal of a celestial or other form of transcendence. Developing this kind of reading of these films allows us to avoid a traditional chronological reading of history of cinema in favor of another, one more dedicated to the philosophical vision of the world that cinema triggers 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 11 is devoted to the topic of Cinema: Spike Lee, Béla Tarr, Michelangelo Antonioni and the many other filmmakers named in this volume do not seem to have much in common at first sight; nevertheless, considered through the interpretation of a Spinozist materialist philosophy, their films might have something to say to one another. Take the mud of Red Desert (Antonioni), the volcanic slopes of The Bad Sleep Well (Kurosawa) and the soil of Pina Bausch’s Rite of Spring magnified in Pina (Wenders), for example. What these material manifestations have in common is that they are all in relation with bodies, themselves assemblages of moving matter. Similarly, consider Spike Lee’s dolly shot, Orson Welles’s labyrinth, Béla Tarr’s entropy, and Peter Watkins’s democratic improvisations: they all manifest the power of immanence and its inexorability. These films involve no deus ex machina; everything in them comes ‘from the ground’ in a continuous refusal of a celestial or other form of transcendence. Developing this kind of reading of these films allows us to avoid a traditional chronological reading of history of cinema in favor of another, one more dedicated to the philosophical vision of the world that cinema triggers 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0095.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-11-cinema/ Brooklyn, NY 04 01 20150220 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-11-cinema 20 08 20150220 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/069239026X 20 08 20150220 02 21.00 USD WORLD urn:uuid:eb3aa353-2005-4f27-b94c-b5cac6a00a10 03 01 01 thoth-work-id urn:uuid:bdfc263a-7ace-43f3-9c80-140c6fb32ec7 01 thoth-publication-id urn:uuid:eb3aa353-2005-4f27-b94c-b5cac6a00a10 06 10.21983/P3.0095.1.00 01 internal-reference 0095 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 11 Cinema 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 110 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 architecture; cinema; design; cultural studies 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 11 is devoted to the topic of Cinema: Spike Lee, Béla Tarr, Michelangelo Antonioni and the many other filmmakers named in this volume do not seem to have much in common at first sight; nevertheless, considered through the interpretation of a Spinozist materialist philosophy, their films might have something to say to one another. Take the mud of Red Desert (Antonioni), the volcanic slopes of The Bad Sleep Well (Kurosawa) and the soil of Pina Bausch’s Rite of Spring magnified in Pina (Wenders), for example. What these material manifestations have in common is that they are all in relation with bodies, themselves assemblages of moving matter. Similarly, consider Spike Lee’s dolly shot, Orson Welles’s labyrinth, Béla Tarr’s entropy, and Peter Watkins’s democratic improvisations: they all manifest the power of immanence and its inexorability. These films involve no deus ex machina; everything in them comes ‘from the ground’ in a continuous refusal of a celestial or other form of transcendence. Developing this kind of reading of these films allows us to avoid a traditional chronological reading of history of cinema in favor of another, one more dedicated to the philosophical vision of the world that cinema triggers 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 11 is devoted to the topic of Cinema: Spike Lee, Béla Tarr, Michelangelo Antonioni and the many other filmmakers named in this volume do not seem to have much in common at first sight; nevertheless, considered through the interpretation of a Spinozist materialist philosophy, their films might have something to say to one another. Take the mud of Red Desert (Antonioni), the volcanic slopes of The Bad Sleep Well (Kurosawa) and the soil of Pina Bausch’s Rite of Spring magnified in Pina (Wenders), for example. What these material manifestations have in common is that they are all in relation with bodies, themselves assemblages of moving matter. Similarly, consider Spike Lee’s dolly shot, Orson Welles’s labyrinth, Béla Tarr’s entropy, and Peter Watkins’s democratic improvisations: they all manifest the power of immanence and its inexorability. These films involve no deus ex machina; everything in them comes ‘from the ground’ in a continuous refusal of a celestial or other form of transcendence. Developing this kind of reading of these films allows us to avoid a traditional chronological reading of history of cinema in favor of another, one more dedicated to the philosophical vision of the world that cinema triggers 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0095.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-11-cinema/ Brooklyn, NY 04 01 20150220 Lambert, Léopold 02 WORLD 06 15 9780692390269 03 9780692390269 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76482 20 08 20150220 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25526 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25526/1004569.pdf?sequence=1&isAllowed=y 20 08 20150220 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33985 20 08 20150220 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353907 20 08 20150220 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/478 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/ccb7f04a-f610-41f3-b04b-f90eda9c7b9a/download 20 08 20150220 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Funambulist_Pamphlets/UgOVEAAAQBAJ 20 08 20150220 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bdfc263a-7ace-43f3-9c80-140c6fb32ec7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bdfc263a-7ace-43f3-9c80-140c6fb32ec7/bdfc263a-7ace-43f3-9c80-140c6fb32ec7.pdf 20 08 20150220 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846174 29 ZENODO: download the title https://zenodo.org/records/19846174/files/bdfc263a-7ace-43f3-9c80-140c6fb32ec7_book.pdf 20 08 20150220 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-pamphlets-11-cinema/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0095.1.00.pdf 20 08 20150220 01 urn:uuid:fbaa95e4-2188-41d2-9aea-3c700e84bd80 03 01 01 thoth-work-id urn:uuid:f5fb8a0e-ea1d-471f-b76a-a000edae5956 01 thoth-publication-id urn:uuid:fbaa95e4-2188-41d2-9aea-3c700e84bd80 15 9780615823157 03 9780615823157 06 10.21983/P3.0033.1.00 01 internal-reference 0033 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 1 Spinoza 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 102 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 QDTJ B2 Philosophy 20 architecture; cinema; Baruch Spinoza; Gilles Deleuze; Karl Marx 01 06 02 00 03 00 The blog The Funambulist: Architectural Narratives, a daily architectural platform written and edited by Léopold Lambert, finds its name in the consideration for architecture’s representative medium, the line, and its philosophical and political power when it materializes and subjectivizes bodies. If the white page represents a given milieu — a desert for example — and one comes to trace a line on it, (s)he will virtually split this same milieu into two distinct impermeable parts through its embodiment, the wall. The Funambulist, also known as a tightrope walker, is the character who, somehow, subverts this power by walking on the line.The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The blog The Funambulist: Architectural Narratives, a daily architectural platform written and edited by Léopold Lambert, finds its name in the consideration for architecture’s representative medium, the line, and its philosophical and political power when it materializes and subjectivizes bodies. If the white page represents a given milieu — a desert for example — and one comes to trace a line on it, (s)he will virtually split this same milieu into two distinct impermeable parts through its embodiment, the wall. The Funambulist, also known as a tightrope walker, is the character who, somehow, subverts this power by walking on the line.The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0033.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-1-spinoza/ Brooklyn, NY 04 01 20130613 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615823157 20 08 20130613 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-1-spinoza 20 08 20130613 02 21.00 USD WORLD urn:uuid:8636a0ef-df9e-4f15-8c2a-ca87d15a747b 03 01 01 thoth-work-id urn:uuid:f5fb8a0e-ea1d-471f-b76a-a000edae5956 01 thoth-publication-id urn:uuid:8636a0ef-df9e-4f15-8c2a-ca87d15a747b 06 10.21983/P3.0033.1.00 01 internal-reference 0033 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 1 Spinoza 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 102 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 QDTJ B2 Philosophy 20 architecture; cinema; Baruch Spinoza; Gilles Deleuze; Karl Marx 01 06 02 00 03 00 The blog The Funambulist: Architectural Narratives, a daily architectural platform written and edited by Léopold Lambert, finds its name in the consideration for architecture’s representative medium, the line, and its philosophical and political power when it materializes and subjectivizes bodies. If the white page represents a given milieu — a desert for example — and one comes to trace a line on it, (s)he will virtually split this same milieu into two distinct impermeable parts through its embodiment, the wall. The Funambulist, also known as a tightrope walker, is the character who, somehow, subverts this power by walking on the line.The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The blog The Funambulist: Architectural Narratives, a daily architectural platform written and edited by Léopold Lambert, finds its name in the consideration for architecture’s representative medium, the line, and its philosophical and political power when it materializes and subjectivizes bodies. If the white page represents a given milieu — a desert for example — and one comes to trace a line on it, (s)he will virtually split this same milieu into two distinct impermeable parts through its embodiment, the wall. The Funambulist, also known as a tightrope walker, is the character who, somehow, subverts this power by walking on the line.The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0033.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-1-spinoza/ Brooklyn, NY 04 01 20130613 Lambert, Léopold 02 WORLD 06 15 9780615823157 03 9780615823157 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25583 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25583/1004512.pdf?sequence=1&isAllowed=y 20 08 20130613 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37539 20 08 20130613 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353882 20 08 20130613 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/413 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0ad21f9d-f25c-4840-8d29-388a65dcfed3/download 20 08 20130613 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f5fb8a0e-ea1d-471f-b76a-a000edae5956 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f5fb8a0e-ea1d-471f-b76a-a000edae5956/f5fb8a0e-ea1d-471f-b76a-a000edae5956.pdf 20 08 20130613 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845742 29 ZENODO: download the title https://zenodo.org/records/19845742/files/f5fb8a0e-ea1d-471f-b76a-a000edae5956_book.pdf 20 08 20130613 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/funambulist-pamphlets-1-spinoza/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0033.1.00.pdf 20 08 20130613 01 urn:uuid:ae552aaf-22ae-490d-91b5-86ba8328c53d 03 01 01 thoth-work-id urn:uuid:911de470-77e1-4816-b437-545122a7bf26 01 thoth-publication-id urn:uuid:ae552aaf-22ae-490d-91b5-86ba8328c53d 15 9780615832999 03 9780615832999 06 10.21983/P3.0034.1.00 01 internal-reference 0034 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 2 Foucault 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 102 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 QDHR7 B2 Philosophy 20 architecture; surveillance; Michel Foucault; biopolitics; utopia 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0034.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-2-foucault/ Brooklyn, NY 04 01 20130617 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615832997 20 08 20130617 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-2-foucault 20 08 20130617 02 21.00 USD WORLD urn:uuid:f58618e0-fe44-4446-9ce3-8da2ce37190a 03 01 01 thoth-work-id urn:uuid:911de470-77e1-4816-b437-545122a7bf26 01 thoth-publication-id urn:uuid:f58618e0-fe44-4446-9ce3-8da2ce37190a 06 10.21983/P3.0034.1.00 01 internal-reference 0034 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 2 Foucault 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 102 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 QDHR7 B2 Philosophy 20 architecture; surveillance; Michel Foucault; biopolitics; utopia 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0034.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-2-foucault/ Brooklyn, NY 04 01 20130617 Lambert, Léopold 02 WORLD 06 15 9780615832999 03 9780615832999 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25582 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25582/1004513.pdf?sequence=1&isAllowed=y 20 08 20130617 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39041 20 08 20130617 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353919 20 08 20130617 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/414 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/24cf940c-1be6-4774-bba9-785dea44d6a7/download 20 08 20130617 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/911de470-77e1-4816-b437-545122a7bf26 29 INTERNET_ARCHIVE: download the title https://archive.org/download/911de470-77e1-4816-b437-545122a7bf26/911de470-77e1-4816-b437-545122a7bf26.pdf 20 08 20130617 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845744 29 ZENODO: download the title https://zenodo.org/records/19845744/files/911de470-77e1-4816-b437-545122a7bf26_book.pdf 20 08 20130617 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-pamphlets-2-foucault/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0034.1.00.pdf 20 08 20130617 01 urn:uuid:ab18b539-3393-4535-8cbb-21fbb78ef32c 03 01 01 thoth-work-id urn:uuid:61da662d-c720-4d22-957c-4d96071ee5f2 01 thoth-publication-id urn:uuid:ab18b539-3393-4535-8cbb-21fbb78ef32c 15 9780615844558 03 9780615844558 06 10.21983/P3.0038.1.00 01 internal-reference 0038 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 3 Deleuze 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 104 03 93 AMA 12 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 QDHR7 B2 Philosophy 20 architecture; Gilles Deleuze; Baruch Spinoza; Michel Foucault 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0038.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-3-deleuze/ Brooklyn, NY 04 01 20130704 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615844553 20 08 20130704 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-3-deleuze 20 08 20130704 02 21.00 USD WORLD urn:uuid:4037867e-e958-46d3-87c1-150a428d8ae7 03 01 01 thoth-work-id urn:uuid:61da662d-c720-4d22-957c-4d96071ee5f2 01 thoth-publication-id urn:uuid:4037867e-e958-46d3-87c1-150a428d8ae7 06 10.21983/P3.0038.1.00 01 internal-reference 0038 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 3 Deleuze 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 104 03 93 AMA 12 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 QDHR7 B2 Philosophy 20 architecture; Gilles Deleuze; Baruch Spinoza; Michel Foucault 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0038.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-3-deleuze/ Brooklyn, NY 04 01 20130704 Lambert, Léopold 02 WORLD 06 15 9780615844558 03 9780615844558 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25579 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25579/1004516.pdf?sequence=1&isAllowed=y 20 08 20130704 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27680 20 08 20130704 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353919 20 08 20130704 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/418 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9f9f3b0d-34ab-4e1a-8c21-1674bec3d83a/download 20 08 20130704 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/61da662d-c720-4d22-957c-4d96071ee5f2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/61da662d-c720-4d22-957c-4d96071ee5f2/61da662d-c720-4d22-957c-4d96071ee5f2.pdf 20 08 20130704 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845753 29 ZENODO: download the title https://zenodo.org/records/19845753/files/61da662d-c720-4d22-957c-4d96071ee5f2_book.pdf 20 08 20130704 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-pamphlets-3-deleuze/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0038.1.00.pdf 20 08 20130704 01 urn:uuid:cf575245-e7c9-47c2-b212-0d7cb6428201 03 01 01 thoth-work-id urn:uuid:419e17ed-3bcc-430c-a67e-3121537e4702 01 thoth-publication-id urn:uuid:cf575245-e7c9-47c2-b212-0d7cb6428201 15 9780615868905 03 9780615868905 06 10.21983/P3.0042.1.00 01 internal-reference 0042 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 4 Legal Theory 1 B01 Léopold Lambert Léopold Lambert 2 A32 21 0000000309510376 Lucy Finchett-Madock Lucy Finchett-Madock 40 00ayhx656 University of Sussex 01 eng 00 104 03 93 AMA 12 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 LAB 20 architecture; legal theory; urban design; Middle East; political geography 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0042.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-4-legal-theory/ Brooklyn, NY 04 01 20130815 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615868908 20 08 20130815 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-4-legal-theory 20 08 20130815 02 21.00 USD WORLD urn:uuid:15b1a59b-dc4e-40cf-9c26-47422a7d162f 03 01 01 thoth-work-id urn:uuid:419e17ed-3bcc-430c-a67e-3121537e4702 01 thoth-publication-id urn:uuid:15b1a59b-dc4e-40cf-9c26-47422a7d162f 06 10.21983/P3.0042.1.00 01 internal-reference 0042 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 4 Legal Theory 1 B01 Léopold Lambert Léopold Lambert 2 A32 21 0000000309510376 Lucy Finchett-Madock Lucy Finchett-Madock 40 00ayhx656 University of Sussex 01 eng 00 104 03 93 AMA 12 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 LAB 20 architecture; legal theory; urban design; Middle East; political geography 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0042.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-4-legal-theory/ Brooklyn, NY 04 01 20130815 Lambert, Léopold 02 WORLD 06 15 9780615868905 03 9780615868905 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25575 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25575/1004520.pdf?sequence=1&isAllowed=y 20 08 20130815 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29463 20 08 20130815 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353993 20 08 20130815 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/422 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/574db7e2-a48a-437b-92a0-f4f1c56807d3/download 20 08 20130815 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/419e17ed-3bcc-430c-a67e-3121537e4702 29 INTERNET_ARCHIVE: download the title https://archive.org/download/419e17ed-3bcc-430c-a67e-3121537e4702/419e17ed-3bcc-430c-a67e-3121537e4702.pdf 20 08 20130815 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845771 29 ZENODO: download the title https://zenodo.org/records/19845771/files/419e17ed-3bcc-430c-a67e-3121537e4702_book.pdf 20 08 20130815 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-pamphlets-4-legal-theory/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0042.1.00.pdf 20 08 20130815 01 urn:uuid:cabe0248-30d6-484f-bf14-9cd59c68aae2 03 01 01 thoth-work-id urn:uuid:fe8ddfb7-0e5b-4604-811c-78cf4db7528b 01 thoth-publication-id urn:uuid:cabe0248-30d6-484f-bf14-9cd59c68aae2 15 9780615883533 03 9780615883533 06 10.21983/P3.0046.1.00 01 internal-reference 0046 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 5 Occupy Wall Street 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 118 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Capital+Lucre 93 JPWG 93 3MRBA B2 Cultural Studies+Critical Theory 20 architecture; design; social protest; Occupy Wall Street; politics 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0046.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-5-occupy-wall-street/ Brooklyn, NY 04 01 20130908 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615883532 20 08 20130908 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-5-occupy-wall-street 20 08 20130908 02 21.00 USD WORLD urn:uuid:0c8e896d-4244-4c00-b63c-a6a4f2c80ade 03 01 01 thoth-work-id urn:uuid:fe8ddfb7-0e5b-4604-811c-78cf4db7528b 01 thoth-publication-id urn:uuid:0c8e896d-4244-4c00-b63c-a6a4f2c80ade 06 10.21983/P3.0046.1.00 01 internal-reference 0046 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 5 Occupy Wall Street 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 118 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Capital+Lucre 93 JPWG 93 3MRBA B2 Cultural Studies+Critical Theory 20 architecture; design; social protest; Occupy Wall Street; politics 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0046.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-5-occupy-wall-street/ Brooklyn, NY 04 01 20130908 Lambert, Léopold 02 WORLD 06 15 9780615883533 03 9780615883533 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25571 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25571/1004524.pdf?sequence=1&isAllowed=y 20 08 20130908 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31506 20 08 20130908 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353826 20 08 20130908 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/427 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1a5d2db5-2a68-4795-9b9d-9628108c0f80/download 20 08 20130908 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/fe8ddfb7-0e5b-4604-811c-78cf4db7528b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/fe8ddfb7-0e5b-4604-811c-78cf4db7528b/fe8ddfb7-0e5b-4604-811c-78cf4db7528b.pdf 20 08 20130908 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845787 29 ZENODO: download the title https://zenodo.org/records/19845787/files/fe8ddfb7-0e5b-4604-811c-78cf4db7528b_book.pdf 20 08 20130908 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/funambulist-pamphlets-5-occupy-wall-street/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0046.1.00.pdf 20 08 20130908 01 urn:uuid:96678090-175e-4cc5-9b43-6e5dea52fb6d 03 01 01 thoth-work-id urn:uuid:13390641-86f6-4351-923d-8c456f175bff 01 thoth-publication-id urn:uuid:96678090-175e-4cc5-9b43-6e5dea52fb6d 15 9780615920184 03 9780615920184 06 10.21983/P3.0054.1.00 01 internal-reference 0054 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 6 Palestine 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 108 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments 93 1FBP 20 Palestine; Israel; architecture; geopolitics; occupation 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0054.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-6-palestine/ Brooklyn, NY 04 01 20131113 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615920187 20 08 20131113 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-6-palestine 20 08 20131113 02 21.00 USD WORLD urn:uuid:ccae815c-c101-4566-879f-cbdb2286132d 03 01 01 thoth-work-id urn:uuid:13390641-86f6-4351-923d-8c456f175bff 01 thoth-publication-id urn:uuid:ccae815c-c101-4566-879f-cbdb2286132d 06 10.21983/P3.0054.1.00 01 internal-reference 0054 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 6 Palestine 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 108 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments 93 1FBP 20 Palestine; Israel; architecture; geopolitics; occupation 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0054.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-6-palestine/ Brooklyn, NY 04 01 20131113 Lambert, Léopold 02 WORLD 06 15 9780615920184 03 9780615920184 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25563 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25563/1004532.pdf?sequence=1&isAllowed=y 20 08 20131113 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27887 20 08 20131113 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354038 20 08 20131113 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/436 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/514e6b3b-b1c6-4d40-b1e8-19475807bbe2/download 20 08 20131113 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/13390641-86f6-4351-923d-8c456f175bff 29 INTERNET_ARCHIVE: download the title https://archive.org/download/13390641-86f6-4351-923d-8c456f175bff/13390641-86f6-4351-923d-8c456f175bff.pdf 20 08 20131113 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845848 29 ZENODO: download the title https://zenodo.org/records/19845848/files/13390641-86f6-4351-923d-8c456f175bff_book.pdf 20 08 20131113 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/funambulist-pamphlets-6-palestine/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0054.1.00.pdf 20 08 20131113 01 urn:uuid:de4f9f10-1814-4e86-a668-03ce03c3ac1b 03 01 01 thoth-work-id urn:uuid:448c3581-9167-491e-86f7-08d5a6c953a9 01 thoth-publication-id urn:uuid:de4f9f10-1814-4e86-a668-03ce03c3ac1b 15 9780615942605 03 9780615942605 06 10.21983/P3.0057.1.00 01 internal-reference 0057 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 7 Cruel Designs 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 106 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 20 architecture; design; violence; cultural theory; torture 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0057.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-7-cruel-designs/ Brooklyn, NY 04 01 20131221 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615942601 20 08 20131221 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-7-cruel-designs 20 08 20131221 02 24.00 USD WORLD urn:uuid:b5f0e720-0f6b-4242-a062-2914cdba1f22 03 01 01 thoth-work-id urn:uuid:448c3581-9167-491e-86f7-08d5a6c953a9 01 thoth-publication-id urn:uuid:b5f0e720-0f6b-4242-a062-2914cdba1f22 06 10.21983/P3.0057.1.00 01 internal-reference 0057 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 7 Cruel Designs 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 106 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 20 architecture; design; violence; cultural theory; torture 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. 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These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 8 is dedicated to The Reversible Destiny Foundation created by Arakawa and Madeline Gins. The Foundation is much more than an architectural practice. It articulates art, philosophy, poetry, architecture and, to some extent, science in a dialogue that benefits each of these disciplines and ultimately serves one of the most radical ideas that apply to architecture: the action of non-dying. Guest authors include Shingo Tsuji, Stanley Shostak, Russell Hughes, and Jean-François Lyotard 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0064.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-8-arakawa-madeline-gins/ Brooklyn, NY 04 01 20140312 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615987834 20 08 20140312 02 31.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-8-arakawa-madeline-gins 20 08 20140312 02 31.00 USD WORLD urn:uuid:99a69715-f22e-45f9-b74c-15b91bd1f656 03 01 01 thoth-work-id urn:uuid:d3cbb60f-537f-4bd7-96cb-d8aba595a947 01 thoth-publication-id urn:uuid:99a69715-f22e-45f9-b74c-15b91bd1f656 06 10.21983/P3.0064.1.00 01 internal-reference 0064 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 8 Arakawa + Madeline Gins 1 B01 Léopold Lambert Léopold Lambert 2 A32 Russel Hughes Russel Hughes 40 00rqy9422 University of Queensland 01 eng 00 106 03 93 AMA 12 AMA 10 ARC013000 B2 Art+Aesthetics B2 Built Environments B2 Cultural Studies+Critical Theory 20 Madeline Gins; Arakawa; architecture; design; mortality 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 8 is dedicated to The Reversible Destiny Foundation created by Arakawa and Madeline Gins. The Foundation is much more than an architectural practice. It articulates art, philosophy, poetry, architecture and, to some extent, science in a dialogue that benefits each of these disciplines and ultimately serves one of the most radical ideas that apply to architecture: the action of non-dying. Guest authors include Shingo Tsuji, Stanley Shostak, Russell Hughes, and Jean-François Lyotard 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 8 is dedicated to The Reversible Destiny Foundation created by Arakawa and Madeline Gins. The Foundation is much more than an architectural practice. It articulates art, philosophy, poetry, architecture and, to some extent, science in a dialogue that benefits each of these disciplines and ultimately serves one of the most radical ideas that apply to architecture: the action of non-dying. Guest authors include Shingo Tsuji, Stanley Shostak, Russell Hughes, and Jean-François Lyotard 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0064.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/funambulist-pamphlets-8-arakawa-madeline-gins/ Brooklyn, NY 04 01 20140312 Lambert, Léopold 02 WORLD 06 15 9780615987835 03 9780615987835 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25554 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25554/1004541.pdf?sequence=1&isAllowed=y 20 08 20140312 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34981 20 08 20140312 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353945 20 08 20140312 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/447 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b477787b-ef97-4c4b-b3bd-df3ae1aa37d9/download 20 08 20140312 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d3cbb60f-537f-4bd7-96cb-d8aba595a947 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d3cbb60f-537f-4bd7-96cb-d8aba595a947/d3cbb60f-537f-4bd7-96cb-d8aba595a947.pdf 20 08 20140312 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845941 29 ZENODO: download the title https://zenodo.org/records/19845941/files/d3cbb60f-537f-4bd7-96cb-d8aba595a947_book.pdf 20 08 20140312 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/funambulist-pamphlets-8-arakawa-madeline-gins/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0064.1.00.pdf 20 08 20140312 01 urn:uuid:4bc9329b-03a8-43d4-89ee-2be27514a11b 03 01 01 thoth-work-id urn:uuid:6fab7c76-7567-4b57-8ad7-90a5536d87af 01 thoth-publication-id urn:uuid:4bc9329b-03a8-43d4-89ee-2be27514a11b 15 9780692226803 03 9780692226803 06 10.21983/P3.0069.1.00 01 internal-reference 0069 00 BC 10 01 175 mm 01 17.5 cm 01 6.88 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 9 Science Fiction 1 B01 Léopold Lambert Léopold Lambert 2 A32 Martin Byrne Martin Byrne 01 eng 00 108 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 DSK B2 Literary Studies 20 architecture; design; J.G. Ballard; Philip K. Dick; science fiction 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0069.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-9-science-fiction/ Brooklyn, NY 04 01 20140528 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/069222680X 20 08 20140528 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-pamphlets-9-science-fiction 20 08 20140528 02 21.00 USD WORLD urn:uuid:463b5ae6-3660-4c68-ac42-de9aeabaad7f 03 01 01 thoth-work-id urn:uuid:6fab7c76-7567-4b57-8ad7-90a5536d87af 01 thoth-publication-id urn:uuid:463b5ae6-3660-4c68-ac42-de9aeabaad7f 06 10.21983/P3.0069.1.00 01 internal-reference 0069 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Pamphlets 9 Science Fiction 1 B01 Léopold Lambert Léopold Lambert 2 A32 Martin Byrne Martin Byrne 01 eng 00 108 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 DSK B2 Literary Studies 20 architecture; design; J.G. Ballard; Philip K. Dick; science fiction 01 06 02 00 03 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 30 00 The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0069.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-pamphlets-9-science-fiction/ Brooklyn, NY 04 01 20140528 Lambert, Léopold 02 WORLD 06 15 9780692226803 03 9780692226803 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25549 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25549/1004546.pdf?sequence=1&isAllowed=y 20 08 20140528 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26346 20 08 20140528 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353975 20 08 20140528 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/453 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/97e2073c-884b-4c01-9279-50adc11ed024/download 20 08 20140528 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6fab7c76-7567-4b57-8ad7-90a5536d87af 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6fab7c76-7567-4b57-8ad7-90a5536d87af/6fab7c76-7567-4b57-8ad7-90a5536d87af.pdf 20 08 20140528 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845974 29 ZENODO: download the title https://zenodo.org/records/19845974/files/6fab7c76-7567-4b57-8ad7-90a5536d87af_book.pdf 20 08 20140528 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-pamphlets-9-science-fiction/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0069.1.00.pdf 20 08 20140528 01 urn:uuid:8e8cfa26-d551-4e7b-b605-1bf6c131a1cc 03 01 01 thoth-work-id urn:uuid:84bbf59f-1dbb-445e-8f65-f26574f609b6 01 thoth-publication-id urn:uuid:8e8cfa26-d551-4e7b-b605-1bf6c131a1cc 15 9780615897189 03 9780615897189 06 10.21983/P3.0053.1.00 01 internal-reference 0053 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Papers, Volume 1 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 210 03 12 AMA 10 ARC001000 B2 Built Environments 93 DNL 93 AMA B2 Cultural Studies+Critical Theory 20 architecture; design; theory; cultural studies; geopolitics 01 06 02 00 03 00 This book is a collection of thirty-five texts from the first series of guest writers’ essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert’s own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog’s editorial line. Overall, two ‘families’ of texts emerged, collected in two distinct parts in this volume.The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog’s editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect’s syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise. 30 00 This book is a collection of thirty-five texts from the first series of guest writers’ essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert’s own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog’s editorial line. Overall, two ‘families’ of texts emerged, collected in two distinct parts in this volume.The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog’s editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect’s syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0053.1.00_frontcover.png 1 03 06 10.21983/P3.0053.1.01 i vi 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0053.1.02 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Walking on a Tight Rope Introduction 1 A01 Léopold Lambert Léopold Lambert 01 eng 03 00 Since 2007, the blog The Funambulist tells stories about lines. The line is architecture’s representative medium; it creates diagrams of power that use architecture’s intrinsic violence on the bodies to organize them in space. If the white page represents a given milieu — a desert, for example — when an architect traces a line on it, (s)he virtually splits this milieu into two distinct impermeable parts, and actualizes it through the line’s embodiment, the wall. The Funambulist, also known as a tight rope walker, is the character who, somehow, subverts this power by walking on the line. She is the frail figure moving along the lines between the two towers in 1974. She is the person doing the ‘V’ with her fingers while standing on the edge of the Wall in November, 1989. And, if she happens to fall, she will find a tall Nietzschean char-acter to say that she can die peacefully because she would die from the danger she dedicated her life to. 30 00 Since 2007, the blog The Funambulist tells stories about lines. The line is architecture’s representative medium; it creates diagrams of power that use architecture’s intrinsic violence on the bodies to organize them in space. If the white page represents a given milieu — a desert, for example — when an architect traces a line on it, (s)he virtually splits this milieu into two distinct impermeable parts, and actualizes it through the line’s embodiment, the wall. The Funambulist, also known as a tight rope walker, is the character who, somehow, subverts this power by walking on the line. She is the frail figure moving along the lines between the two towers in 1974. She is the person doing the ‘V’ with her fingers while standing on the edge of the Wall in November, 1989. And, if she happens to fall, she will find a tall Nietzschean char-acter to say that she can die peacefully because she would die from the danger she dedicated her life to. 20 00 Open Access Lambert, Léopald 3 03 06 10.21983/P3.0053.1.03 11 13 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Entropy, Law, and Funambulism 1 A01 21 0000000309510376 Lucy Finchett-Madock Lucy Finchett-Madock 40 00ayhx656 University of Sussex 01 eng 03 00 This piece is more reminiscent of a stream of consciousness than a discussion on entropy, analogising the intriguing applicability of thermodynamism in relation to understandings of law, lines, and ex-tant resistances. To speak of exerted energy, that which is wasted in the machinations of a seemingly closed system, is prescient in a time of disruption and apoplexia. Beyond the aesthetic nerve that enticed the writing of this piece on entropy, there are legal and politi-cal analogies and extant anxieties that lend an overwhelming famil-iarity to this encounter with thermodynamic processes. Entropy is a measurement, a method of quantifying energy that is available for unuseful work within a thermodynamic process. Without involving the reader entirely with the science or statistical mechanics of en-tropy (and within the bounds of what this non-scientific author knows of the phenomenon), entropy is an accumulated inefficient resource that gathers as a machine or engine has reached its ‘theoretical maximum efficiency,’ the energy thus having to be exorcised, or ‘dis-sipated’ in the form of waste heat. 30 00 This piece is more reminiscent of a stream of consciousness than a discussion on entropy, analogising the intriguing applicability of thermodynamism in relation to understandings of law, lines, and ex-tant resistances. To speak of exerted energy, that which is wasted in the machinations of a seemingly closed system, is prescient in a time of disruption and apoplexia. Beyond the aesthetic nerve that enticed the writing of this piece on entropy, there are legal and politi-cal analogies and extant anxieties that lend an overwhelming famil-iarity to this encounter with thermodynamic processes. Entropy is a measurement, a method of quantifying energy that is available for unuseful work within a thermodynamic process. Without involving the reader entirely with the science or statistical mechanics of en-tropy (and within the bounds of what this non-scientific author knows of the phenomenon), entropy is an accumulated inefficient resource that gathers as a machine or engine has reached its ‘theoretical maximum efficiency,’ the energy thus having to be exorcised, or ‘dis-sipated’ in the form of waste heat. 20 00 Open Access Finchet-Madock, Lucy 4 03 06 10.21983/P3.0053.1.04 14 18 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Clear-Blurry Line 1 A01 Daniel Fernández Pascual Daniel Fernández Pascual 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 Harvesting energy from the centre of the Earth, squeezing drinking water from maritime fogs, grabbing atmospheric pollution or discov-ering treasures from sunken ships could soon become sources of wealth for today’s nation-states. But to whom do all these resources lawfully belong to? The physical boundaries of a country extend far beyond a two-dimensional geographical border. Surrounding the ground surface, three areas of sovereignty - waters, airspace and underground – together with their three dynamic limits articulate these clear-blurry lines. Where does the sovereignty of a nation-state actually end? How is that line drawn? Their demarcation is tightly linked to circulation of capital and economic resources. Regulations struggle to define clear lines that reality blurs. We are uncertain how to locate them accurtely. How to demarcate spatial rights on the sea, the clouds and the magma? The logic of modern sovereignty over natural resources of a territory is being inverted. The notion of col-lective natural resources supersedes and reshapes current system of sovereignty. We experience more and more a shift from the flat nation-state towards four-dimensional complexities. How does criti-cal spatial practice operate within this frame? 30 00 Harvesting energy from the centre of the Earth, squeezing drinking water from maritime fogs, grabbing atmospheric pollution or discov-ering treasures from sunken ships could soon become sources of wealth for today’s nation-states. But to whom do all these resources lawfully belong to? The physical boundaries of a country extend far beyond a two-dimensional geographical border. Surrounding the ground surface, three areas of sovereignty - waters, airspace and underground – together with their three dynamic limits articulate these clear-blurry lines. Where does the sovereignty of a nation-state actually end? How is that line drawn? Their demarcation is tightly linked to circulation of capital and economic resources. Regulations struggle to define clear lines that reality blurs. We are uncertain how to locate them accurtely. How to demarcate spatial rights on the sea, the clouds and the magma? The logic of modern sovereignty over natural resources of a territory is being inverted. The notion of col-lective natural resources supersedes and reshapes current system of sovereignty. We experience more and more a shift from the flat nation-state towards four-dimensional complexities. How does criti-cal spatial practice operate within this frame? 20 00 Open Access Pascual, Daniel Fernández 5 03 06 10.21983/P3.0053.1.05 19 22 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Post-Political Attitudes on Immigration, Utopias and the Space Between Us 1 A01 Ethel Baraona Pohl Ethel Baraona Pohl 2 A01 Cesar Reyes Cesar Reyes 01 eng 03 00 Geopolitical space has always been a conflicted and fragile topic. Borders and frontiers are changing so fast that sometimes one’s sociopolitical status can change from “citizen” to “immigrant” or re-main “immigrant” much of your life. We are getting used to words like refugee, enclave, war, borders, limits. This critical condition is not a minor problem. The International Migration Report 2006 states that in 2005, there were nearly 191 million international migrants world-wide, about three percent of the world population, a rise of 26 million since 1990. This is one of the biggest political problems we face. In this context, we can see how the political implications of some architects had led them to design what we may call “critical utopias.” The concept of dystopia is a critic and utopia is an evocation of a new world to come. This duality was the basis of some radical proj-ects of the 1960s and 1970s, such as Superstudio’s Twelve Ideal Cities, their satirical vision of humanity’s search for an ideal world, or Archizoom’s No-Stop City. 30 00 Geopolitical space has always been a conflicted and fragile topic. Borders and frontiers are changing so fast that sometimes one’s sociopolitical status can change from “citizen” to “immigrant” or re-main “immigrant” much of your life. We are getting used to words like refugee, enclave, war, borders, limits. This critical condition is not a minor problem. The International Migration Report 2006 states that in 2005, there were nearly 191 million international migrants world-wide, about three percent of the world population, a rise of 26 million since 1990. This is one of the biggest political problems we face. In this context, we can see how the political implications of some architects had led them to design what we may call “critical utopias.” The concept of dystopia is a critic and utopia is an evocation of a new world to come. This duality was the basis of some radical proj-ects of the 1960s and 1970s, such as Superstudio’s Twelve Ideal Cities, their satirical vision of humanity’s search for an ideal world, or Archizoom’s No-Stop City. 20 00 Open Access Pohl, Ethel Baraona Reyes, Cesar 6 03 06 10.21983/P3.0053.1.06 23 26 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Mosque Religion, Politics and Architecture in the 21st Century 1 A01 Michael Badu Michael Badu 40 0517ce304 Kingston University, London 01 eng 03 00 The act of prostration is a ‘part’ of the Islamic formal prayer service which is known as Salaat. It is curious that the Islamic house of wor-ship is not generally known as Bait us Salaat or Bait ul Ibaadah (re-spectively, house of formal prayer or house of worship) and that the more utilitarian term masjid, derived from the Muslim holy book, the Quran, became current. This would seem to suggest a more ‘humble’ architectural characterisation of this building type than that to which we have become accustomed, a suggestion that history seems to bear out. The first masjid built under the supervision of the prophet Muham-mad at Medina shortly after his flight from Mecca, was a rudimentary enclosure of earth and rock walls, built around a small grove of date palm trees and roofed by their canopies. When it rained heavily, this tree canopy roof leaked profusely, literally turning the earth floor of the mosque into a ‘mud bath.’ 30 00 The act of prostration is a ‘part’ of the Islamic formal prayer service which is known as Salaat. It is curious that the Islamic house of wor-ship is not generally known as Bait us Salaat or Bait ul Ibaadah (re-spectively, house of formal prayer or house of worship) and that the more utilitarian term masjid, derived from the Muslim holy book, the Quran, became current. This would seem to suggest a more ‘humble’ architectural characterisation of this building type than that to which we have become accustomed, a suggestion that history seems to bear out. The first masjid built under the supervision of the prophet Muham-mad at Medina shortly after his flight from Mecca, was a rudimentary enclosure of earth and rock walls, built around a small grove of date palm trees and roofed by their canopies. When it rained heavily, this tree canopy roof leaked profusely, literally turning the earth floor of the mosque into a ‘mud bath.’ 20 00 Open Access Badu, Michael 7 03 06 10.21983/P3.0053.1.07 27 31 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Nothing to Hide 1 A01 Mariabruna Fabrizi Mariabruna Fabrizi 2 A01 Fosco Lucarelli Fosco Lucarelli 01 eng 03 00 Some years ago an eye-catching tv commercial for Elave, a skincare products company, provoked a rather discernible YouTube backlash. The ad showed completely naked laboratory staff technicians wan-dering, talking and studying in an ethereal-white open work environ-ment, apparently unaware of their nakedness. The literal message was that Elave had no worrying chemicals in its formulations and there-fore “Nothing to hide,” as asserted through the campaign’s tagline.1Curiously enough, in order to promote the safety of the work done in the house, the campaign choose a rather NSFW attitude. Yet it would be misleading, if not puritanical to target the stunt as the usual “sex sells” example: not only is it hard to detect any sex appeal in the per-fectly shaved humankind appearing in the spot, but digging deeper could reveal the subliminal and perverse way public institutions and private corporations are hiding work exploitation and new means for profit under pseudo ethical calls for transparency and openness. 30 00 Some years ago an eye-catching tv commercial for Elave, a skincare products company, provoked a rather discernible YouTube backlash. The ad showed completely naked laboratory staff technicians wan-dering, talking and studying in an ethereal-white open work environ-ment, apparently unaware of their nakedness. The literal message was that Elave had no worrying chemicals in its formulations and there-fore “Nothing to hide,” as asserted through the campaign’s tagline.1Curiously enough, in order to promote the safety of the work done in the house, the campaign choose a rather NSFW attitude. Yet it would be misleading, if not puritanical to target the stunt as the usual “sex sells” example: not only is it hard to detect any sex appeal in the per-fectly shaved humankind appearing in the spot, but digging deeper could reveal the subliminal and perverse way public institutions and private corporations are hiding work exploitation and new means for profit under pseudo ethical calls for transparency and openness. 20 00 Open Access Fabrizi, Mariabruna Lucarelli, Fosco 8 03 06 10.21983/P3.0053.1.08 32 36 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Briefly on Walking 1 A01 Caroline Filice Smith Caroline Filice Smith 40 03vek6s52 Harvard University 01 eng 03 00 As a genderqueer woman and a practicing architect, the realities of how architecture manifests and reinforces dominant social and po-litical power structures [on my body] is inescapable. And while it is fairly easy to find communities of people who would like to speak about the relationships between capitalism/colonialism/imperialism and architecture, the dialog becomes sparse when the subjects of gender, class, and race are introduced. Issues conveniently consid-ered ‘special interests’ despite the fact that they affect a majority of the population... though because of the social/educational ‘cost’ of becoming an architect, not much of the population actively designing buildings. And so it is inevitable that these ‘interests’ will be regarded as secondary and possibly selfish, when compared to the ‘larger’ demons like unregulated ‘capitalist development.’ 30 00 As a genderqueer woman and a practicing architect, the realities of how architecture manifests and reinforces dominant social and po-litical power structures [on my body] is inescapable. And while it is fairly easy to find communities of people who would like to speak about the relationships between capitalism/colonialism/imperialism and architecture, the dialog becomes sparse when the subjects of gender, class, and race are introduced. Issues conveniently consid-ered ‘special interests’ despite the fact that they affect a majority of the population... though because of the social/educational ‘cost’ of becoming an architect, not much of the population actively designing buildings. And so it is inevitable that these ‘interests’ will be regarded as secondary and possibly selfish, when compared to the ‘larger’ demons like unregulated ‘capitalist development.’ 20 00 Open Access Smith, Caroline Filice 9 03 06 10.21983/P3.0053.1.09 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Femicide Machine/ Backyard 1 A01 Greg Barton Greg Barton 40 00hj8s172 Columbia University 01 eng 03 00 So reads the sobering introductory paragraph of Sergio González Ro-dríguez’s provocative The Femicide Machine, a recent installment in Semiotext(e)’s Intervention series. The compact primer distills the his-torical trajectory of entanglement among Mexico, the United States, global economy, and organized crime, delineating the femicide ma-chine’s genesis and current stranglehold. The author’s journalistic credentials prove invaluable as the text slips in and out of straight reportage. In 2009 there were 164 female homicides in Ciudad Juárez -- 306 the following year -- many by strangulation, stabbing, and gun-shots, often involving sexual violence. More than 30,000 have died since the beginning of the war on drug trafficking in 2006, almost a quarter of those deaths occurring in Ciudad Juárez. Often repeti-tive, urgent, and devastating, The Femicide Machine tells a story of extreme capitalism reshaping territory and a processual state-form fostering utterly inhumane machines 30 00 So reads the sobering introductory paragraph of Sergio González Ro-dríguez’s provocative The Femicide Machine, a recent installment in Semiotext(e)’s Intervention series. The compact primer distills the his-torical trajectory of entanglement among Mexico, the United States, global economy, and organized crime, delineating the femicide ma-chine’s genesis and current stranglehold. The author’s journalistic credentials prove invaluable as the text slips in and out of straight reportage. In 2009 there were 164 female homicides in Ciudad Juárez -- 306 the following year -- many by strangulation, stabbing, and gun-shots, often involving sexual violence. More than 30,000 have died since the beginning of the war on drug trafficking in 2006, almost a quarter of those deaths occurring in Ciudad Juárez. Often repeti-tive, urgent, and devastating, The Femicide Machine tells a story of extreme capitalism reshaping territory and a processual state-form fostering utterly inhumane machines 20 00 Open Access Barton, Greg 10 03 06 10.21983/P3.0053.1.10 43 50 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Becoming Fugitive Carceral Space and Rancierian Politics 1 A01 Maryam Monalisa Gharavi Maryam Monalisa Gharavi 40 04t5xt781 Northeastern University 01 eng 03 00 The police regime is endowed with the power of ordering space. This text stands at the crossroads of space, policing, and visual percep-tion, as I articulate a Rancierean aesthetic dimension of the political and political dimension of the aesthetic. Jacques Rancière is a useful and rich source for this tripartite investigation because in his writ-ings, aesthetics is not only about art, and politics is not only about the state. Politics, as laid out in Disagreement, is that which always takes a stage and takes a theatrical formation, putting ‘two worlds in one world.’ This staging often overturns sense-making at the level of language alone, relying also on microlevels of sensation and sense-making (we inherited the word ‘aesthetic’ from the Greek aistheta‘perceptible things’). In Dissensus, Rancière mentions to art works that focus on matters of space, territories, borders, wastelands, and other transient spaces, matters ‘that are crucial to today’s issues of power and community.’ To provide a framework to the concern with visibility and emancipatory politics, my bifocal reading takes into ac-count (1) the work of the police, seen in near vision, and (2) the work of politics, seen in distant vision 30 00 The police regime is endowed with the power of ordering space. This text stands at the crossroads of space, policing, and visual percep-tion, as I articulate a Rancierean aesthetic dimension of the political and political dimension of the aesthetic. Jacques Rancière is a useful and rich source for this tripartite investigation because in his writ-ings, aesthetics is not only about art, and politics is not only about the state. Politics, as laid out in Disagreement, is that which always takes a stage and takes a theatrical formation, putting ‘two worlds in one world.’ This staging often overturns sense-making at the level of language alone, relying also on microlevels of sensation and sense-making (we inherited the word ‘aesthetic’ from the Greek aistheta‘perceptible things’). In Dissensus, Rancière mentions to art works that focus on matters of space, territories, borders, wastelands, and other transient spaces, matters ‘that are crucial to today’s issues of power and community.’ To provide a framework to the concern with visibility and emancipatory politics, my bifocal reading takes into ac-count (1) the work of the police, seen in near vision, and (2) the work of politics, seen in distant vision 20 00 Open Access Gharavi, Maryam Monalisa 11 03 06 10.21983/P3.0053.1.11 51 54 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 My Dear Francis...What Kind of Phoenix Will Arise From These Ashes? 1 A01 Nikolas Patsopoulos Nikolas Patsopoulos 01 eng 03 00 The recent developments in Tahrir Square in Egypt and the Indigna-dos in Spain followed by the London riots and the Syntagma Square uprising in Athens have forced me to revisit this quote. Albeit it is not mud anymore, in this fully “developed” corner of the world, but yel-lowish tear gas dust, just as the holes in the clothes have converted to rips from excessive police violence. Someone might ask, why is it any different now? Protests and demonstrations have been occur-ring non-stop, well after the “end of history” had been declared in the beginning of the 90’s. Many of them are even more violent and oppressive than the ones I listed. 30 00 The recent developments in Tahrir Square in Egypt and the Indigna-dos in Spain followed by the London riots and the Syntagma Square uprising in Athens have forced me to revisit this quote. Albeit it is not mud anymore, in this fully “developed” corner of the world, but yel-lowish tear gas dust, just as the holes in the clothes have converted to rips from excessive police violence. Someone might ask, why is it any different now? Protests and demonstrations have been occur-ring non-stop, well after the “end of history” had been declared in the beginning of the 90’s. Many of them are even more violent and oppressive than the ones I listed. 20 00 Open Access Patsopoulos, Nikolas 12 03 06 10.21983/P3.0053.1.12 55 58 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Movement and Solidarity 1 A01 Zayd Sifri Zayd Sifri 01 eng 03 00 Momentous changes in the organization of society only occur infre-quently. From memorable instances of thorough upheaval, social movements reap the fruit of the past and cultivate their own tradi-tions. In the recent past the comparison between Israel-Palestine and Apartheid South Africa has become a convenient gambit for many solidarity activists in the United States and elsewhere. There are countless reasons for the popularity of this specific example and of course it is not the only material activists rely upon. The South Afri-can struggle, however, has been underscored as a successful model for international solidarity with the ongoing anti-colonial battle in the Eastern Mediterranean. For evidence of this, we can look at how the term apartheid has almost seamlessly permeated the progressive vocabulary for describing Israeli regime’s treatment of Palestinians in the West Bank and Gaza. Looking at Israel-Palestine solidarity through a South African prism offers insight into the actors, values, and politics involved in building a movement on an international play-ing field. Fundamental to an effective conceptualization of a global solidarity model is the inevitably complex relationship between lo-cal, Palestinian and Arab actors, and activists based primarily in the United States 30 00 Momentous changes in the organization of society only occur infre-quently. From memorable instances of thorough upheaval, social movements reap the fruit of the past and cultivate their own tradi-tions. In the recent past the comparison between Israel-Palestine and Apartheid South Africa has become a convenient gambit for many solidarity activists in the United States and elsewhere. There are countless reasons for the popularity of this specific example and of course it is not the only material activists rely upon. The South Afri-can struggle, however, has been underscored as a successful model for international solidarity with the ongoing anti-colonial battle in the Eastern Mediterranean. For evidence of this, we can look at how the term apartheid has almost seamlessly permeated the progressive vocabulary for describing Israeli regime’s treatment of Palestinians in the West Bank and Gaza. Looking at Israel-Palestine solidarity through a South African prism offers insight into the actors, values, and politics involved in building a movement on an international play-ing field. Fundamental to an effective conceptualization of a global solidarity model is the inevitably complex relationship between lo-cal, Palestinian and Arab actors, and activists based primarily in the United States 20 00 Open Access Sifri, Zayd 13 03 06 10.21983/P3.0053.1.13 59 61 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Open Stacks 1 A01 Liduam Pong Liduam Pong 01 eng 03 00 The banned book was carefully wrapped in Canson gray paper, which had a subtle relief of horizontal lines. Because it was surrounded by a few decoy books published in the DDR, and tucked away in a small shelf in my parents’ room, itself tucked away in the mezzanine level of a minuscule apartment in Havana, it was easy to miss it entirely, unless you were a twelve-year-old with literary ambitions. I knew there was something special about this particular book because it was not downstairs with the others, because it looked and smelled foreign, and because my mother had told me I was not allowed to read it. All I knew about it was its mysterious title: 1984. I liked to imagine that in its forbidden pages one could find ancient prophecies for our city for that year, which had just passed not that long ago, or maybe for the entire island, perhaps the universe. One morning, when I had finally mustered the courage to steal it from its spot, I was disappointed to discover that it had disappeared. From that moment on, whenever we would visit anyone’s house, I made a habit of inspecting their personal libraries looking for these mysterious annuals — secretly hoping for 2000, and a glimpse into the distant future — but I never found any such books. 30 00 The banned book was carefully wrapped in Canson gray paper, which had a subtle relief of horizontal lines. Because it was surrounded by a few decoy books published in the DDR, and tucked away in a small shelf in my parents’ room, itself tucked away in the mezzanine level of a minuscule apartment in Havana, it was easy to miss it entirely, unless you were a twelve-year-old with literary ambitions. I knew there was something special about this particular book because it was not downstairs with the others, because it looked and smelled foreign, and because my mother had told me I was not allowed to read it. All I knew about it was its mysterious title: 1984. I liked to imagine that in its forbidden pages one could find ancient prophecies for our city for that year, which had just passed not that long ago, or maybe for the entire island, perhaps the universe. One morning, when I had finally mustered the courage to steal it from its spot, I was disappointed to discover that it had disappeared. From that moment on, whenever we would visit anyone’s house, I made a habit of inspecting their personal libraries looking for these mysterious annuals — secretly hoping for 2000, and a glimpse into the distant future — but I never found any such books. 20 00 Open Access Pong, Liduam 14 03 06 10.21983/P3.0053.1.14 62 65 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Visit to the Old City of Hebron 1 A01 Raja Shehadeh Raja Shehadeh 01 eng 03 00 In the 1980s when I was still involved in defending land expropriation cases before Israeli courts, I used to make weekly trips to Hebron. I would leave Ramallah at eight in the morning and be in Hebron by nine. Now it is a different story. Only Israelis can get from Jerusa-lem to Hebron in fifteen minutes driving through two tunnels dug in the hill underneath the Palestinian city of Beit Jalla. Palestinians are barred from these. They have to circle around expanded Jerusalem going through Wadi Al Nar (the wadi of Fire) where they have to wait for hours at one of the notorious army barriers, called the Container Checkpoint. 30 00 In the 1980s when I was still involved in defending land expropriation cases before Israeli courts, I used to make weekly trips to Hebron. I would leave Ramallah at eight in the morning and be in Hebron by nine. Now it is a different story. Only Israelis can get from Jerusa-lem to Hebron in fifteen minutes driving through two tunnels dug in the hill underneath the Palestinian city of Beit Jalla. Palestinians are barred from these. They have to circle around expanded Jerusalem going through Wadi Al Nar (the wadi of Fire) where they have to wait for hours at one of the notorious army barriers, called the Container Checkpoint. 20 00 Open Access Shehadeh, Raja 15 03 06 10.21983/P3.0053.1.15 66 76 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lahore's Architecture Of In/ Security 1 A01 Sadia Shirazi Sadia Shirazi 40 05bnh6r87 Cornell University 01 eng 03 00 Lahore today looks like a city at war. One of the greatest unacknowl-edged casualties of the United States’ “war on terror” has been the cities — and citizenry — of Pakistan. The US invaded Afghanistan in 2001 to oust the Taliban from power in response to the terrorist attacks on the World Trade Center.1 In 1985, sixteen years prior, President Ronald Reagan equated the Taliban mujahideen who had defeated the Soviet’s in Afghanistan with “the moral equivalent of America’s founding fathers.”2 This presidential stance has obviously changed since. In 2008 the US committed another surge of troops to Afghanistan due to the continued presence of the Taliban in the region. Pakistani military operations were waged in parallel in the Northwest regions of the country bordering Afghanistan. Since then, Pakistan has seen a particularly stark backlash within its borders as a response to its continued collaboration with its close ally.3 Militants within Pakistan have retaliated by targeting police and security sites in cities throughout the country. Lahore is just one unsung casualty of 67the war that links Lahore and New York City across disparate geog-raphies, through the legacy of US policy and Pakistani collaboration during the Cold War.4 As Eqbal Ahmed presciently said: “These are the chickens of the Afghanistan war coming home to roost.” 30 00 Lahore today looks like a city at war. One of the greatest unacknowl-edged casualties of the United States’ “war on terror” has been the cities — and citizenry — of Pakistan. The US invaded Afghanistan in 2001 to oust the Taliban from power in response to the terrorist attacks on the World Trade Center.1 In 1985, sixteen years prior, President Ronald Reagan equated the Taliban mujahideen who had defeated the Soviet’s in Afghanistan with “the moral equivalent of America’s founding fathers.”2 This presidential stance has obviously changed since. In 2008 the US committed another surge of troops to Afghanistan due to the continued presence of the Taliban in the region. Pakistani military operations were waged in parallel in the Northwest regions of the country bordering Afghanistan. Since then, Pakistan has seen a particularly stark backlash within its borders as a response to its continued collaboration with its close ally.3 Militants within Pakistan have retaliated by targeting police and security sites in cities throughout the country. Lahore is just one unsung casualty of 67the war that links Lahore and New York City across disparate geog-raphies, through the legacy of US policy and Pakistani collaboration during the Cold War.4 As Eqbal Ahmed presciently said: “These are the chickens of the Afghanistan war coming home to roost.” 20 00 Open Access Shirazi, Sadia 16 03 06 10.21983/P3.0053.1.16 77 81 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ruin Machine 1 A01 Bryan Finoki Bryan Finoki 01 eng 03 00 The contemporary ruin today — in all its incarnations (from the aban-doned auto factories in Michigan to the World Trade Centers’ foot-print in NYC, Saddam Hussein’s elegant compounds in Baghdad that have since been converted into temporary barracks for the U.S. military — or from the vacant half-constructed towers in Dubai to the one billion squatters around the world who live in a different kind of recycled ruin, just to name a few) — hints at a spectrum of different spatial configurations of power that offer a kind of forensic evidence of not only neoliberalization’s false claim of flattening the playing field of economic opportunity around the world, but of the ongoing fail-ures in our social and political institutions themselves ,which have taken to a strategy of secrecy and deception in order to wage not just a War on Crime, Poverty, Drugs, Illegal Immigration, or Terror-ism, but what I see as a War on Space itself — ruin on a brand new, unprecedented scale 30 00 The contemporary ruin today — in all its incarnations (from the aban-doned auto factories in Michigan to the World Trade Centers’ foot-print in NYC, Saddam Hussein’s elegant compounds in Baghdad that have since been converted into temporary barracks for the U.S. military — or from the vacant half-constructed towers in Dubai to the one billion squatters around the world who live in a different kind of recycled ruin, just to name a few) — hints at a spectrum of different spatial configurations of power that offer a kind of forensic evidence of not only neoliberalization’s false claim of flattening the playing field of economic opportunity around the world, but of the ongoing fail-ures in our social and political institutions themselves ,which have taken to a strategy of secrecy and deception in order to wage not just a War on Crime, Poverty, Drugs, Illegal Immigration, or Terror-ism, but what I see as a War on Space itself — ruin on a brand new, unprecedented scale 20 00 Open Access Finoki, Bryan 17 03 06 10.21983/P3.0053.1.17 82 91 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Textual-Sonic Landscape of Jacques Perret's Des Fortifications Et Ertifices 1 A01 Morgan Ng Morgan Ng 40 03vek6s52 Harvard University 01 eng 03 00 It’s exciting to contribute to the dialogue here because, despite our divergent historical interests, I feel a strong intellectual kinship with the editor of this blog. Rendered in striking graphic form and rife with modernist literary references, the editor’s recent design research on architecture in the West Bank explores the full range of oppressive and emancipatory potentials in an aesthetics of militarization. We must of course heed the warning (pace Baudrillard) that an aestheti-cization of war runs the risk of dulling the senses to the reality of vio-lence. Yet it’s equally disempowering, especially for the disempow-ered, to reduce this violence to the mechanics of technical reason. War from the beginning is aesthetic: for the complicit it’s mediated by political propaganda; for the traumatized victim, it’s fought on a psychological, as well as a physical, battlefield. If our poetic relation to war forms our escapist habits, I believe it also bears the potential to catalyze emancipatory action. 30 00 It’s exciting to contribute to the dialogue here because, despite our divergent historical interests, I feel a strong intellectual kinship with the editor of this blog. Rendered in striking graphic form and rife with modernist literary references, the editor’s recent design research on architecture in the West Bank explores the full range of oppressive and emancipatory potentials in an aesthetics of militarization. We must of course heed the warning (pace Baudrillard) that an aestheti-cization of war runs the risk of dulling the senses to the reality of vio-lence. Yet it’s equally disempowering, especially for the disempow-ered, to reduce this violence to the mechanics of technical reason. War from the beginning is aesthetic: for the complicit it’s mediated by political propaganda; for the traumatized victim, it’s fought on a psychological, as well as a physical, battlefield. If our poetic relation to war forms our escapist habits, I believe it also bears the potential to catalyze emancipatory action. 20 00 Open Access Ng, Morgan 18 03 06 10.21983/P3.0053.1.18 92 104 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mapping Intervals Towards an Emancipated Cartography 1 A01 Nora Akawi Nora Akawi 40 00hj8s172 Columbia University 01 eng 03 00 The map as a tool for domination is the visual inscription of a seam-less story for a specific group of people sharing specific character-istics. It represents their history, knowledge and claims for control within a territory with specific borders.So what is a map as a tool for liberation?That would be a visual representation of and by a multiplicity of publics. It would represent their history, experience, knowledge and imaginaries of and within a shared space. Multiplicity entails rup-tures. Within those ruptures lies the possibility for democratic spatial representation and organization. This tool is not to be confused with tools for negotiations. This is a public platform for the collective for-mation, aggregation and dissemination of public opinions. Nor is this a practice of counter-mapping, as it doesn’t consist of building upon an initial map for developing its counter-product. 30 00 The map as a tool for domination is the visual inscription of a seam-less story for a specific group of people sharing specific character-istics. It represents their history, knowledge and claims for control within a territory with specific borders.So what is a map as a tool for liberation?That would be a visual representation of and by a multiplicity of publics. It would represent their history, experience, knowledge and imaginaries of and within a shared space. Multiplicity entails rup-tures. Within those ruptures lies the possibility for democratic spatial representation and organization. This tool is not to be confused with tools for negotiations. This is a public platform for the collective for-mation, aggregation and dissemination of public opinions. Nor is this a practice of counter-mapping, as it doesn’t consist of building upon an initial map for developing its counter-product. 20 00 Open Access Akawi, Nora 19 03 06 10.21983/P3.0053.1.19 108 111 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Funambulist Atmosphere 1 A01 21 0000000285039208 Andreas Philippopoulos-Mihalopoulos Andreas Philippopoulos-Mihalopoulos 40 04ycpbx82 University of Westminster 01 eng 03 00 Funambulist bodies move about, careful not to fall into each other, mindful of the drop below, pulsating along the tension of the ropes beneath. Bodies construct atmosphere on the arch of their move-ment. Atmosphere constructs bodies between its folds. On one hand are atmospheres of tension or rest, engineered or emergent, prom-ised or promising. On the other hand are bodies of flesh as well as discourse, materialities that keep on fluctuating between the abstract and the concrete, bodies of human tissue, of technology, of animal-ity, vegetable bodies whose roots extend to my feet. Where am I? The installations of Tomas Saraceno can help as a visual aid for what I mean by atmosphere. Constellations of tension, bubbles that burst with an excess of lines, water, vegetation, animality, humanity, and air space are defined by the ethereal claustrophobia of openness, trammeled by lines on which the funambulists of the world circulate. How to get away from the lines, if not on other lines? And then, small deaths along the way: like the realization that the line is one, and however far you walk, you cannot escape it. 30 00 Funambulist bodies move about, careful not to fall into each other, mindful of the drop below, pulsating along the tension of the ropes beneath. Bodies construct atmosphere on the arch of their move-ment. Atmosphere constructs bodies between its folds. On one hand are atmospheres of tension or rest, engineered or emergent, prom-ised or promising. On the other hand are bodies of flesh as well as discourse, materialities that keep on fluctuating between the abstract and the concrete, bodies of human tissue, of technology, of animal-ity, vegetable bodies whose roots extend to my feet. Where am I? The installations of Tomas Saraceno can help as a visual aid for what I mean by atmosphere. Constellations of tension, bubbles that burst with an excess of lines, water, vegetation, animality, humanity, and air space are defined by the ethereal claustrophobia of openness, trammeled by lines on which the funambulists of the world circulate. How to get away from the lines, if not on other lines? And then, small deaths along the way: like the realization that the line is one, and however far you walk, you cannot escape it. 20 00 Open Access Philippopoulos-Mihalopoulos, Andreas 20 03 06 10.21983/P3.0053.1.20 112 117 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Apian Semantics 1 A01 Matthew Clements Matthew Clements 01 eng 03 00 Late in the second part of Samuel Beckett’s novel, Jacques Moran’s thoughts turn to his bees. Having given up his pursuit of Molloy and on the verge of returning home, Moran confesses:I often thought of my bees [...] And I thought above all of their dance, for my bees danced oh not as men dance, to amuse themselves, but in a different way. I alone of all mankind knew this, to the best of my belief. I had investigated this phenom-enon very fully. The dance was best to be observed among the bees returning to the hive, laden more or less with nectar, and it involved a great variety of figures and rhythms. These evolu-tions I finally interpreted as a system of signals by means of which incoming bees, satisfied or dissatisfied with their plunder, informed the outgoing bees in what direction to go, and in what not to go. But the outgoing bees danced too. It was no doubt their way of saying I understand, or, Don’t worry about me. But away from the hive, and busily at work, the bees did not dance. Here their watchword seemed to be, Every man for himself, as-suming bees to be capable of such notions 30 00 Late in the second part of Samuel Beckett’s novel, Jacques Moran’s thoughts turn to his bees. Having given up his pursuit of Molloy and on the verge of returning home, Moran confesses:I often thought of my bees [...] And I thought above all of their dance, for my bees danced oh not as men dance, to amuse themselves, but in a different way. I alone of all mankind knew this, to the best of my belief. I had investigated this phenom-enon very fully. The dance was best to be observed among the bees returning to the hive, laden more or less with nectar, and it involved a great variety of figures and rhythms. These evolu-tions I finally interpreted as a system of signals by means of which incoming bees, satisfied or dissatisfied with their plunder, informed the outgoing bees in what direction to go, and in what not to go. But the outgoing bees danced too. It was no doubt their way of saying I understand, or, Don’t worry about me. But away from the hive, and busily at work, the bees did not dance. Here their watchword seemed to be, Every man for himself, as-suming bees to be capable of such notions 20 00 Open Access Clements, Matthew 21 03 06 10.21983/P3.0053.1.21 118 120 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dissolving Minds and Bodies 1 A01 Hiroko Nakatani Hiroko Nakatani 01 eng 03 00 In this short essay, I willconnect scientists from five fields through Spinoza’s concept of mind and body in order to reveal the impor-tance of the body, especially in relation to spatial design. Spinoza’s philosophy states that body and mind exist in parallel with each oth-er. Spinoza says that without perception through the body there is no mind, and that this limited mind contained in a body, with skin as its boundary, is part of the infinite intellect. In turn, the infinite intel-lect allows individuals to explore thinking what one experiences with one’s body. Biochemist, Rudolph Schoenheimer (1889-1942) focused on the es-sential role of the body in providing input for the mind, what he called “dynamic state of body constituents.” His experiment consisted in feeding amino acid-marked food to adult mice. After three days, he found that the mice’s excretions were almost entirely non-marked materials. The marked materials were found inside the body. What it says is that, very quickly, food became part of mice’s body and also that some part of the body became waste. 98% of our body’s matter changes in one year. Materially, we are the same as the food we had today, as dynamic as water that travels from the body to the river, to an other animal’s body and so on. Our body is continuously changing, dissolving and taking part in the material world. Although there are different scales of time in its process, the principle of con-tinuous flow is the same in the entire living/non-living world, whether at a peak in the desert or in the chair where you are sitting right now. To see it from Spinoza’s view, perception through body is an exten-sion of mind. What if we take into account that the mind now keeps changing its components, as an infinite cycle of material recompos-es into the infinite intellect? 30 00 In this short essay, I willconnect scientists from five fields through Spinoza’s concept of mind and body in order to reveal the impor-tance of the body, especially in relation to spatial design. Spinoza’s philosophy states that body and mind exist in parallel with each oth-er. Spinoza says that without perception through the body there is no mind, and that this limited mind contained in a body, with skin as its boundary, is part of the infinite intellect. In turn, the infinite intel-lect allows individuals to explore thinking what one experiences with one’s body. Biochemist, Rudolph Schoenheimer (1889-1942) focused on the es-sential role of the body in providing input for the mind, what he called “dynamic state of body constituents.” His experiment consisted in feeding amino acid-marked food to adult mice. After three days, he found that the mice’s excretions were almost entirely non-marked materials. The marked materials were found inside the body. What it says is that, very quickly, food became part of mice’s body and also that some part of the body became waste. 98% of our body’s matter changes in one year. Materially, we are the same as the food we had today, as dynamic as water that travels from the body to the river, to an other animal’s body and so on. Our body is continuously changing, dissolving and taking part in the material world. Although there are different scales of time in its process, the principle of con-tinuous flow is the same in the entire living/non-living world, whether at a peak in the desert or in the chair where you are sitting right now. To see it from Spinoza’s view, perception through body is an exten-sion of mind. What if we take into account that the mind now keeps changing its components, as an infinite cycle of material recompos-es into the infinite intellect? 20 00 Open Access Nakatani, Hiroko 22 03 06 10.21983/P3.0053.1.22 121 124 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Thoughts on Meta-Virtual Solipsism 1 A01 Fredrik Hellberg Fredrik Hellberg 01 eng 03 00 INT. LIFE EXTENSION OFFICE - DAYDavid Aames and McCabe sit and wait in a warm wood-pan-eled office, proposals in hand. A glimpse shows words like ‘re-evolve’ and ‘re-experience’, peppered with colorful photos of simple, life-affirming portraits of everyday life. It’s a well-ap-pointed, well-marketed organization.McCabe regards David as the victim of a lunatic’s scam.Injustice fuels McCabe.DEARBORNThe DNA codes of the human body have been broken. Soon, heart ailments, cancer and so much more will be a thing of the past. Very simply: your anguish, your discontent... even your death is no longer necessary in a traditional sense. Whatever malady hides behind that mask is temporary.She looks directly at David and it stirs him. McCabe studies her and the operation. He thirsts for clues. David flips through the folder—toward the back, a panel of photos of storage tanks. Lavishly and warmly photographed, just like next year’s cars in a magazine 30 00 INT. LIFE EXTENSION OFFICE - DAYDavid Aames and McCabe sit and wait in a warm wood-pan-eled office, proposals in hand. A glimpse shows words like ‘re-evolve’ and ‘re-experience’, peppered with colorful photos of simple, life-affirming portraits of everyday life. It’s a well-ap-pointed, well-marketed organization.McCabe regards David as the victim of a lunatic’s scam.Injustice fuels McCabe.DEARBORNThe DNA codes of the human body have been broken. Soon, heart ailments, cancer and so much more will be a thing of the past. Very simply: your anguish, your discontent... even your death is no longer necessary in a traditional sense. Whatever malady hides behind that mask is temporary.She looks directly at David and it stirs him. McCabe studies her and the operation. He thirsts for clues. David flips through the folder—toward the back, a panel of photos of storage tanks. Lavishly and warmly photographed, just like next year’s cars in a magazine 20 00 Open Access Hellberg, Fredrik 23 03 06 10.21983/P3.0053.1.23 125 128 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Old Media's Ressurection 1 A01 Linnéa Hussein Linnéa Hussein 40 01hpqfm28 Connecticut College 40 0190ak572 New York University 01 eng 03 00 In October 2011 The New York Times published an article on the re-vival of the VHS tape in the horror film genre.1 What makes these so-called neo-VHS tapes different from their outdated VHS companions is the fact that their role transformed from technical to aesthetic. En-tire magazines, such as Lunchmeat and Fangoria, are devoted to the subject of VHS now. For these horror fans, neo-VHS is not preferred for functional reasons, but because the grainy picture quality — the signs of usage that caused DVD and BluRay to replace VHS in the first place — became an indispensable trope for the bad horror film genre. Laura U. Marks (Simon Fraser University) talks about a similar notion of old media recycling when writing about The Color of Love:It seems that the real erotic activity...is not between the actors but in the game with death taking place on the surface of the film...the film’s emulsion flowers and evaporates, giving itself up to bliss and death 30 00 In October 2011 The New York Times published an article on the re-vival of the VHS tape in the horror film genre.1 What makes these so-called neo-VHS tapes different from their outdated VHS companions is the fact that their role transformed from technical to aesthetic. En-tire magazines, such as Lunchmeat and Fangoria, are devoted to the subject of VHS now. For these horror fans, neo-VHS is not preferred for functional reasons, but because the grainy picture quality — the signs of usage that caused DVD and BluRay to replace VHS in the first place — became an indispensable trope for the bad horror film genre. Laura U. Marks (Simon Fraser University) talks about a similar notion of old media recycling when writing about The Color of Love:It seems that the real erotic activity...is not between the actors but in the game with death taking place on the surface of the film...the film’s emulsion flowers and evaporates, giving itself up to bliss and death 20 00 Open Access Hussein, Linnéa 24 03 06 10.21983/P3.0053.1.24 129 132 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cinematic Catalysts Contempt + Casa Malaparte 1 A01 Danielle Willems Danielle Willems 40 00hj8s172 Columbia University 40 00b30xv10 University of Pennsylvania 01 eng 03 00 There is no question that at this point in time we view the world through the cinematic lens. The way we move and perceive space, time and the landscape is most certainly through this lens. How can this method be harnessed to become a methodology that is gen-erative rather than just representational? Can this method be de-veloped through a narrative feeding back onto the form expanding and creating space and time around the sequence of events? This case study of Casa Malaparte has its own interesting story as well as the many events and narratives that weave themselves through and around this space. The film Le Mépris (Contempt) produced in 1963 is certainly one of Godard’s most seductive productions. The main event or catalyzing moment between the two characters in the film is solidified through the formal performance of the architecture of Casa Malaparte. This catalyzing moment will become the focus of this essay, and will attempt to investigate the series of memories surrounding and forming this exceptional house. 30 00 There is no question that at this point in time we view the world through the cinematic lens. The way we move and perceive space, time and the landscape is most certainly through this lens. How can this method be harnessed to become a methodology that is gen-erative rather than just representational? Can this method be de-veloped through a narrative feeding back onto the form expanding and creating space and time around the sequence of events? This case study of Casa Malaparte has its own interesting story as well as the many events and narratives that weave themselves through and around this space. The film Le Mépris (Contempt) produced in 1963 is certainly one of Godard’s most seductive productions. The main event or catalyzing moment between the two characters in the film is solidified through the formal performance of the architecture of Casa Malaparte. This catalyzing moment will become the focus of this essay, and will attempt to investigate the series of memories surrounding and forming this exceptional house. 20 00 Open Access Willems, Danielle 25 03 06 10.21983/P3.0053.1.25 133 137 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Off the Grid Left Out and Over 1 A01 Carl Douglas Carl Douglas 40 01zvqw119 Auckland University of Technology 01 eng 03 00 In James Graham Ballard’s novella Concrete Island, architect Robert Maitland crashes his Jaguar over a motorway embankment onto a traffic island, a thin triangle of waste ground two hundred meters long.1 Here, in a parody of Robinson Crusoe, he finds himself ma-rooned: His jacket and trousers were stained with sweat, mud and en-gine grease. Few drivers, even if they did notice him, would be eager to give him a lift. Besides, it would be almost impossible to slow down here and stop. The pressure of the following traf-fic, free at last from the long tail-backs that always blocked the Westway interchange during the rush hour, forced them on relentlessly. The fast-flowing arms of the motorway continue to operate perfectly, ensuring the rapid movement of bodies and objects; but their opera-tion is inaccessible to Maitland. Immobilized by the infrastructure of mobility, he has not simply exited urban life, he has slipped off the grid while remaining firmly within its network of effects. 30 00 In James Graham Ballard’s novella Concrete Island, architect Robert Maitland crashes his Jaguar over a motorway embankment onto a traffic island, a thin triangle of waste ground two hundred meters long.1 Here, in a parody of Robinson Crusoe, he finds himself ma-rooned: His jacket and trousers were stained with sweat, mud and en-gine grease. Few drivers, even if they did notice him, would be eager to give him a lift. Besides, it would be almost impossible to slow down here and stop. The pressure of the following traf-fic, free at last from the long tail-backs that always blocked the Westway interchange during the rush hour, forced them on relentlessly. The fast-flowing arms of the motorway continue to operate perfectly, ensuring the rapid movement of bodies and objects; but their opera-tion is inaccessible to Maitland. Immobilized by the infrastructure of mobility, he has not simply exited urban life, he has slipped off the grid while remaining firmly within its network of effects. 20 00 Open Access Douglas, Carl 26 03 06 10.21983/P3.0053.1.26 138 141 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Transcendent Delusion Or; The Dangerous Free Spaces of Phillip K. Dick 1 A01 Martin Byrne Martin Byrne 01 eng 03 00 You find yourself walking through a long dusty corridor in a dank building sometime in the late afternoon. The doors to nearly every room have long since fallen in, letting pale shafts of light mingle with dust and paper; assorted debris whirls about in lazy semi-circles as you pass quietly by. There are no lights apart from the fading sun; there is no sound except for the slow pacing of your own feet and the idle mixed thoughts that bounce from left to right in your head. The further you walk down the corridor, the more overwhelm-ing your sense of isolation becomes. Through each doorway you see rooms that have been long forgotten — weeds sprouting from moldy ephemera in the foreground and a long view out of the bro-ken floor-to-ceiling windows beyond. Each frame you pass in steady syncopation offers a glimpse of what seems to be an encroaching desert. Shifting piles of dust cover in fits and starts the remains of a world that you never found entirely familiar to begin with. 30 00 You find yourself walking through a long dusty corridor in a dank building sometime in the late afternoon. The doors to nearly every room have long since fallen in, letting pale shafts of light mingle with dust and paper; assorted debris whirls about in lazy semi-circles as you pass quietly by. There are no lights apart from the fading sun; there is no sound except for the slow pacing of your own feet and the idle mixed thoughts that bounce from left to right in your head. The further you walk down the corridor, the more overwhelm-ing your sense of isolation becomes. Through each doorway you see rooms that have been long forgotten — weeds sprouting from moldy ephemera in the foreground and a long view out of the bro-ken floor-to-ceiling windows beyond. Each frame you pass in steady syncopation offers a glimpse of what seems to be an encroaching desert. Shifting piles of dust cover in fits and starts the remains of a world that you never found entirely familiar to begin with. 20 00 Open Access Byrne, Martin 27 03 06 10.21983/P3.0053.1.27 142 146 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Possible World of Architecture 1 A01 Claire Jamieson Claire Jamieson 40 00ae33288 London Metropolitan University 01 eng 03 00 We are natural storytellers. It is highly likely that our storytelling abilities evolved with language and human culture, and that there is something in our very nature that compels us to communicate using stories.2 Some have even gone so far as to suggest that language evolved as a response to the need to tell stories.3 The justification for this lies in the notion that a story or narrative is, in essence, a construction of the mind, and thus requires the complex qualities of language to communicate it — being that it is not sensory. But what constitutes a story, and what gives language primacy over oth-er modes of representation, such as the visual, in communicating them? 30 00 We are natural storytellers. It is highly likely that our storytelling abilities evolved with language and human culture, and that there is something in our very nature that compels us to communicate using stories.2 Some have even gone so far as to suggest that language evolved as a response to the need to tell stories.3 The justification for this lies in the notion that a story or narrative is, in essence, a construction of the mind, and thus requires the complex qualities of language to communicate it — being that it is not sensory. But what constitutes a story, and what gives language primacy over oth-er modes of representation, such as the visual, in communicating them? 20 00 Open Access Jamieson, Claire 28 03 06 10.21983/P3.0053.1.28 147 155 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pet Architecture Human's Best Friend 1 A01 Carla Leitão Carla Leitão 40 01rtyzb94 Rensselaer Polytechnic Institute 01 eng 03 00 Characters like Animal from the Muppet show (a creation by Jim Hen-son) are often illustrations through which we can talk about the quali-ties of the wild, the feral and the natural, in contrast to that which is artificial or built, the man-made. This article, however, would like to focus on the chain.‘Animal,’ the character, offers the comic emerging out of the usual play between sophistication and calling, which can define the figure of the invited wild. The sophistication of the chained animal (who is a great musician) plays with the figure of drummers and their often cli-ched position in a band—there are jokes in the music world that refer to the drummer as that member who can have less ‘musical educa-tion’ than the other players (unfair, surely). Obsession with playing often puts Animal in trances that ultimately reveal all dimensions at once, including narratives that are confusing about their actual spe-cies—quite often that Animal’s solos end up with two mental health nurses catching him with a butterfly net to take him off stage, and suggestively, to some kind of ‘other place.’ Animal, however, is glad to be in his chain and this way be able to play the drums in the com-panion of the other ‘more human’ animals. The unused chain, surely, contains a wilder Animal than his behavior can ever become. 30 00 Characters like Animal from the Muppet show (a creation by Jim Hen-son) are often illustrations through which we can talk about the quali-ties of the wild, the feral and the natural, in contrast to that which is artificial or built, the man-made. This article, however, would like to focus on the chain.‘Animal,’ the character, offers the comic emerging out of the usual play between sophistication and calling, which can define the figure of the invited wild. The sophistication of the chained animal (who is a great musician) plays with the figure of drummers and their often cli-ched position in a band—there are jokes in the music world that refer to the drummer as that member who can have less ‘musical educa-tion’ than the other players (unfair, surely). Obsession with playing often puts Animal in trances that ultimately reveal all dimensions at once, including narratives that are confusing about their actual spe-cies—quite often that Animal’s solos end up with two mental health nurses catching him with a butterfly net to take him off stage, and suggestively, to some kind of ‘other place.’ Animal, however, is glad to be in his chain and this way be able to play the drums in the com-panion of the other ‘more human’ animals. The unused chain, surely, contains a wilder Animal than his behavior can ever become. 20 00 Open Access Leitão, Carla 29 03 06 10.21983/P3.0053.1.29 156 159 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Bread and CIrcus Agorae Vs Arenas 1 A01 Eduardo McIntosh Eduardo McIntosh 40 00hj8s172 Columbia University 40 00t67pt25 Birmingham City University 01 eng 03 00 The aim of any piece of writing is almost always to be read by as many people as possible, to be an instrument to spread an idea. Nevertheless, since the times we live in influence us to disregard anything that doesn’t offer a good rate of effort/reward form the on-set, I will start this piece by telling a little bit of academic related gos-sip, as sometimes it seems like the trivial is for some of us the most significant. 30 00 The aim of any piece of writing is almost always to be read by as many people as possible, to be an instrument to spread an idea. Nevertheless, since the times we live in influence us to disregard anything that doesn’t offer a good rate of effort/reward form the on-set, I will start this piece by telling a little bit of academic related gos-sip, as sometimes it seems like the trivial is for some of us the most significant. 20 00 Open Access McIntosh, Eduardo 30 03 06 10.21983/P3.0053.1.30 160 163 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Motion Architecture 1 A01 Oliviu Lugojan-Ghenciu Oliviu Lugojan-Ghenciu 01 eng 03 00 Analyzing Eadweard Muybridge’s work and Vladimir Veličković’s painted motion studies would offer a too-easy way to find a relation-ship between the still objects of architecture and the dynamics of motion. Jean-Luc Godard is also waiting to be taken apart from this perspective, just as is Bruno Zevi’s idea of archiving space through cinematographic methods. Rem Koolhaas is known for his transition from film to architecture. Why is there such a brotherhood between film and architecture? Maybe it is because they share the common idea of assembling building blocks in order to build something that is more than just the sum of its elements. The concept to be proposed has little to do with these remarkable people and their studies, but builds upon their experience. What I am interested in is not the cinematographic expression, but a fourth dimension added by motion in graphics and how movement can further an architectural product. 30 00 Analyzing Eadweard Muybridge’s work and Vladimir Veličković’s painted motion studies would offer a too-easy way to find a relation-ship between the still objects of architecture and the dynamics of motion. Jean-Luc Godard is also waiting to be taken apart from this perspective, just as is Bruno Zevi’s idea of archiving space through cinematographic methods. Rem Koolhaas is known for his transition from film to architecture. Why is there such a brotherhood between film and architecture? Maybe it is because they share the common idea of assembling building blocks in order to build something that is more than just the sum of its elements. The concept to be proposed has little to do with these remarkable people and their studies, but builds upon their experience. What I am interested in is not the cinematographic expression, but a fourth dimension added by motion in graphics and how movement can further an architectural product. 20 00 Open Access Lugojan-Ghenciu, Oliviu 31 03 06 10.21983/P3.0053.1.31 164 167 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fibrous Assemblages and Behavioral Composites 1 A01 Roland Snooks Roland Snooks 40 04ttjf776 RMIT University 01 eng 03 00 The emergence of complexity theory has shifted the conceptualiza-tion of form from the macro scale to a concern for the operation of the complex systems that underlie formation. It is from the micro-scale local interactions of complex systems that behavioral strategies for the generation of composite materials have emerged, strategies where architectural form, structure and ornament emerge from the design of material behavior, specifically the design of behavior within composite materials.The inherently organizational understanding of form offered by com-plexity theory has been the basis for Kokkugia’s development of behavioral design methodologies. This behavioral approach draws from the logic of swarm intelligence and operates through the self-or-ganization of multi-agent systems. These methodologies operate by encoding simple architectural decisions within a distributed system of autonomous computational agents. It is the interaction of these local decisions that self-organizes design intention, giving rise to a form of collective intelligence and emergent behavior at the global scale. Behavioral design methodologies represent a shift from ‘form being imposed upon matter’ to ‘form emerging from the interaction of localized entities within a complex system.’ 30 00 The emergence of complexity theory has shifted the conceptualiza-tion of form from the macro scale to a concern for the operation of the complex systems that underlie formation. It is from the micro-scale local interactions of complex systems that behavioral strategies for the generation of composite materials have emerged, strategies where architectural form, structure and ornament emerge from the design of material behavior, specifically the design of behavior within composite materials.The inherently organizational understanding of form offered by com-plexity theory has been the basis for Kokkugia’s development of behavioral design methodologies. This behavioral approach draws from the logic of swarm intelligence and operates through the self-or-ganization of multi-agent systems. These methodologies operate by encoding simple architectural decisions within a distributed system of autonomous computational agents. It is the interaction of these local decisions that self-organizes design intention, giving rise to a form of collective intelligence and emergent behavior at the global scale. Behavioral design methodologies represent a shift from ‘form being imposed upon matter’ to ‘form emerging from the interaction of localized entities within a complex system.’ 20 00 Open Access Snooks, Roland 32 03 06 10.21983/P3.0053.1.32 168 172 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Unfolding Azadi Tower Reading Persian Folds Through Deleuze 1 A01 Biayna Bogosian Biayna Bogosian 40 02gz6gg07 Florida International University 40 03efmqc40 Arizona State University 01 eng 03 00 The Azadi Tower (Freedom Tower) is the gateway to Tehran. This 50-m tall tower is located in the heart of the 15,000-sqm Azadi Square (Freedom Square) and has been the center of many cultural and po-litical revolutions since its completion in 1971. The architecture of the tower is influenced by both pre-Islamic Persian architecture of materiality and Islamic architecture of geometry. The significance of the Azadi tower is not only in its sociopolitical presence, but also in the fact that it is one of the world’s first structures that incorporated computation in the design, analysis, and materialization processes. From 1966-1971 the monument was constructed with 25,000 unique white marble pieces. The customized geometry of each marble unit was computed using a structural analysis program and carved using a combination of manual and automated techniques. 30 00 The Azadi Tower (Freedom Tower) is the gateway to Tehran. This 50-m tall tower is located in the heart of the 15,000-sqm Azadi Square (Freedom Square) and has been the center of many cultural and po-litical revolutions since its completion in 1971. The architecture of the tower is influenced by both pre-Islamic Persian architecture of materiality and Islamic architecture of geometry. The significance of the Azadi tower is not only in its sociopolitical presence, but also in the fact that it is one of the world’s first structures that incorporated computation in the design, analysis, and materialization processes. From 1966-1971 the monument was constructed with 25,000 unique white marble pieces. The customized geometry of each marble unit was computed using a structural analysis program and carved using a combination of manual and automated techniques. 20 00 Open Access Bogosian, Biayna 33 03 06 10.21983/P3.0053.1.33 173 177 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Twin (Technology/Art Induced) Architectural Daydreams 1 A01 Esther Sze-Wing Cheung Esther Sze-Wing Cheung 01 eng 03 00 On a sunny September afternoon, I found myself fighting through crowds of metropolitan art-goers, hipster-technologists and pro-longed-adolescent-adults, grazing amusedly in a tall, open, window-less room at the MOMA’s Talk to Me exhibition, amidst an assortment of flat screen monitors, tastefully-colored infographics, blinking LEDs and beeping.1 Halfway through my procession through this spec-tacle, I circled back to the room center and found myself curiously face-to-face with a seemingly unremarkable floor lamp, except for an unusual spongy beige section on the lamp-neck. A parody on the classic British Anglepoise Lamp, this piece humorously titled Stran-gle Poise Lamp, was designed to be strangled to death. To turn off the lamp, one must wrap their hands around the spongy beige neck and squeeze out its metaphorical life, slowly dimming the light until both object and human are literally in the dark. Designed by James Chambers, the Strangle Poise Lamp is part of a line of aggression-absorbing products intended to provide safe ways to live out fanta-sies planted into our minds by violent films. 30 00 On a sunny September afternoon, I found myself fighting through crowds of metropolitan art-goers, hipster-technologists and pro-longed-adolescent-adults, grazing amusedly in a tall, open, window-less room at the MOMA’s Talk to Me exhibition, amidst an assortment of flat screen monitors, tastefully-colored infographics, blinking LEDs and beeping.1 Halfway through my procession through this spec-tacle, I circled back to the room center and found myself curiously face-to-face with a seemingly unremarkable floor lamp, except for an unusual spongy beige section on the lamp-neck. A parody on the classic British Anglepoise Lamp, this piece humorously titled Stran-gle Poise Lamp, was designed to be strangled to death. To turn off the lamp, one must wrap their hands around the spongy beige neck and squeeze out its metaphorical life, slowly dimming the light until both object and human are literally in the dark. Designed by James Chambers, the Strangle Poise Lamp is part of a line of aggression-absorbing products intended to provide safe ways to live out fanta-sies planted into our minds by violent films. 20 00 Open Access Cheung, Esther Sze-Wing 34 03 06 10.21983/P3.0053.1.34 178 182 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 DIY: Biopolitics: The Deregulated Self 1 A01 Russel Hughes Russel Hughes 40 00rqy9422 University of Queensland 01 eng 03 00 Shuzaku Arakawa’s early paintings (1961-73) (many of which were produced with Madeline Gins, though she took no authorial credit for them) represent what appear to be semi-finished sketches that sometimes look like technical drawings against backgrounds of white and varying shades of brown. The purpose of these two-dimensional representations is to signify ‘blankness’ as a “neutral positing”, in the sense that blank is a ‘holding open’ of the compulsion toward the standard artistic practice of conceptual and cognitive coloniza-tion toward a predetermined end.1 As they state: “it is what is there but undifferentiated, so it is nothing ... It is what fills emptiness.”2Another way of understanding blank is through the French blanc, meaning white, which is, of course, the congealing of all the colors in the spectrum (as opposed to black, the absence of color). In this sense, blank (or blanc) is overabundance, the reservoir of potential-ity from which anything can come forth. The concept of blank draws our attention to the multiple points of interpretation contained within open-endedness, as opposed to the definitive teleological fixity for which strives much (not all) creative practice. The visual argument in these artworks is that painting as an activity abstracts from nature, narrowing down and essentializing experience. Abstract thought is the frame that apprehends the open-endedness of meaning, defin-ing and positioning a text in exclusive, unequivocal terms. In this respect, much of Arakawa’s early work remains untitled (acting as the actual title of the work), which itself is an act of resistance to the etymological determinism that comes with labels that posit in explicit terms what it is we are meant to understand and experience from artistic productions 30 00 Shuzaku Arakawa’s early paintings (1961-73) (many of which were produced with Madeline Gins, though she took no authorial credit for them) represent what appear to be semi-finished sketches that sometimes look like technical drawings against backgrounds of white and varying shades of brown. The purpose of these two-dimensional representations is to signify ‘blankness’ as a “neutral positing”, in the sense that blank is a ‘holding open’ of the compulsion toward the standard artistic practice of conceptual and cognitive coloniza-tion toward a predetermined end.1 As they state: “it is what is there but undifferentiated, so it is nothing ... It is what fills emptiness.”2Another way of understanding blank is through the French blanc, meaning white, which is, of course, the congealing of all the colors in the spectrum (as opposed to black, the absence of color). In this sense, blank (or blanc) is overabundance, the reservoir of potential-ity from which anything can come forth. The concept of blank draws our attention to the multiple points of interpretation contained within open-endedness, as opposed to the definitive teleological fixity for which strives much (not all) creative practice. The visual argument in these artworks is that painting as an activity abstracts from nature, narrowing down and essentializing experience. Abstract thought is the frame that apprehends the open-endedness of meaning, defin-ing and positioning a text in exclusive, unequivocal terms. In this respect, much of Arakawa’s early work remains untitled (acting as the actual title of the work), which itself is an act of resistance to the etymological determinism that comes with labels that posit in explicit terms what it is we are meant to understand and experience from artistic productions 20 00 Open Access Hughes, Russel 35 03 06 10.21983/P3.0053.1.35 183 187 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Two Questions for Seher Shah 1 A01 Alexis Bhagat Alexis Bhagat 40 01rtyzb94 Rensselaer Polytechnic Institute 40 012zs8222 University at Albany, State University of New York 01 eng 03 00 In her drawings, artist Seher Shah explores the forms of Modernist ab-stract architecture with a sensibility that is both nostalgic and critical. She employs basic elements of architectural drawing—the column, the grid, the wall—to fantastically render the ruins of imposition.In her 2011 exhibition, Object Anxiety, Shah stripped Le Corbusier’s Unité d’Habitation of height, weight and mass, turning it on its side to create a plane. Her new series of drawings, presented in the ex-hibition Brute Ornament, zooms in on this plane and manipulates its form in a series of further deconstructions of Unité d’Habitation. 30 00 In her drawings, artist Seher Shah explores the forms of Modernist ab-stract architecture with a sensibility that is both nostalgic and critical. She employs basic elements of architectural drawing—the column, the grid, the wall—to fantastically render the ruins of imposition.In her 2011 exhibition, Object Anxiety, Shah stripped Le Corbusier’s Unité d’Habitation of height, weight and mass, turning it on its side to create a plane. Her new series of drawings, presented in the ex-hibition Brute Ornament, zooms in on this plane and manipulates its form in a series of further deconstructions of Unité d’Habitation. 20 00 Open Access Bhagat, Alexis 36 03 06 10.21983/P3.0053.1.36 188 194 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Groundbraking Clarity of Ryan and Trevor Oakes 1 A01 Eve Bailey Eve Bailey 01 eng 03 00 Identical twins Ryan and Trevor Oakes have created an innovative method of depicting the world before us that constitutes a key ad-vancement in the representation of visual reality. Their discovery is the synthesis of reciprocal intuitions, observations and experiments generated by their ongoing dialog about perception — about “see-ing with two eyes.” They have been reexamining the knowledge that our experience of the world is binocular and as if we were at the center of a giant perceptual sphere. They came to realize it would be more appropriate to draw on a spherical surface rather than a flat sheet of paper, and found a way of tracing the world directly onto the curved paper without digital intervention, mathematical calculations or drafting tools. The result is the visual and physical experience of a seamless and organic rendering, with no beginning and no end, that does not fail to remind me of Frederick Kiesler’s original concepts in his project of the Endless House, “endless like the human body.” The fascinating part of Ryan and Trevor’s pioneering system is, as art historian Jonathan Crary articulates it, “that they have reintroduced the corporal features of human vision in perspective techniques that had been edited out of our conventional monocular models of repre-sentation where the world is presented as if all parts of it were seen with a uniform clarity when in fact the illusion we have of a clear world is obtained by our eyes darting around producing a synthetic image of an overall clarity." 30 00 Identical twins Ryan and Trevor Oakes have created an innovative method of depicting the world before us that constitutes a key ad-vancement in the representation of visual reality. Their discovery is the synthesis of reciprocal intuitions, observations and experiments generated by their ongoing dialog about perception — about “see-ing with two eyes.” They have been reexamining the knowledge that our experience of the world is binocular and as if we were at the center of a giant perceptual sphere. They came to realize it would be more appropriate to draw on a spherical surface rather than a flat sheet of paper, and found a way of tracing the world directly onto the curved paper without digital intervention, mathematical calculations or drafting tools. The result is the visual and physical experience of a seamless and organic rendering, with no beginning and no end, that does not fail to remind me of Frederick Kiesler’s original concepts in his project of the Endless House, “endless like the human body.” The fascinating part of Ryan and Trevor’s pioneering system is, as art historian Jonathan Crary articulates it, “that they have reintroduced the corporal features of human vision in perspective techniques that had been edited out of our conventional monocular models of repre-sentation where the world is presented as if all parts of it were seen with a uniform clarity when in fact the illusion we have of a clear world is obtained by our eyes darting around producing a synthetic image of an overall clarity." 20 00 Open Access Bailey, Eve 37 03 06 10.21983/P3.0053.1.37 195 201 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Would Have Been...An Inventory 1 A01 Camille Lacadée Camille Lacadée 01 eng 03 00 a dark laterite monolith near a library thirty days / twenty-nine people of diverse nationalities and age still to be confirmedan old man collecting booksa library counting exactly seventy thousand books in thirty-six different languages / some unknown languagestwenty-nine return tickets forty chairs and twenty tables poorly made of recycled pine wood a twenty-one point one megapixels full frame complementary metal-oxide-semiconductor digital single-lens reflex camera body with two flash cards of thirty-two gigabits and two batteries / a lens with bel-lows mechanism specially customized for this body / a good tripod with film head a light-emitting diode camera yellow to white light / a cheap tripod for the lighta five in one foldable elliptic white and silver reflector a short shotgun condenser microphone with cable and a smaller ste-reo condenser microphone / a twenty-four bits uncompressed and built-in stereo microphones sound recorder with four different wave-form audio file format modes an acoustically transparent synthetic fur material with soft long hairs 30 00 a dark laterite monolith near a library thirty days / twenty-nine people of diverse nationalities and age still to be confirmedan old man collecting booksa library counting exactly seventy thousand books in thirty-six different languages / some unknown languagestwenty-nine return tickets forty chairs and twenty tables poorly made of recycled pine wood a twenty-one point one megapixels full frame complementary metal-oxide-semiconductor digital single-lens reflex camera body with two flash cards of thirty-two gigabits and two batteries / a lens with bel-lows mechanism specially customized for this body / a good tripod with film head a light-emitting diode camera yellow to white light / a cheap tripod for the lighta five in one foldable elliptic white and silver reflector a short shotgun condenser microphone with cable and a smaller ste-reo condenser microphone / a twenty-four bits uncompressed and built-in stereo microphones sound recorder with four different wave-form audio file format modes an acoustically transparent synthetic fur material with soft long hairs 20 00 Open Access Lacadée, Camille 38 03 06 10.21983/P3.0053.1.38 203 210 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-papers-vol-1/ Brooklyn, NY 04 01 20131023 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615897185 20 08 20131023 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-papers-volume-1 20 08 20131023 02 23.00 USD WORLD urn:uuid:48776447-2af5-457d-a6fe-b00de9fa971a 03 01 01 thoth-work-id urn:uuid:84bbf59f-1dbb-445e-8f65-f26574f609b6 01 thoth-publication-id urn:uuid:48776447-2af5-457d-a6fe-b00de9fa971a 06 10.21983/P3.0053.1.00 01 internal-reference 0053 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Funambulist Papers, Volume 1 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 210 03 12 AMA 10 ARC001000 B2 Built Environments 93 DNL 93 AMA B2 Cultural Studies+Critical Theory 20 architecture; design; theory; cultural studies; geopolitics 01 06 02 00 03 00 This book is a collection of thirty-five texts from the first series of guest writers’ essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert’s own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog’s editorial line. Overall, two ‘families’ of texts emerged, collected in two distinct parts in this volume.The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog’s editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect’s syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise. 30 00 This book is a collection of thirty-five texts from the first series of guest writers’ essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert’s own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog’s editorial line. Overall, two ‘families’ of texts emerged, collected in two distinct parts in this volume.The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog’s editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect’s syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0053.1.00_frontcover.png 1 03 06 10.21983/P3.0053.1.01 i vi 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0053.1.02 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Walking on a Tight Rope Introduction 1 A01 Léopold Lambert Léopold Lambert 01 eng 03 00 Since 2007, the blog The Funambulist tells stories about lines. The line is architecture’s representative medium; it creates diagrams of power that use architecture’s intrinsic violence on the bodies to organize them in space. If the white page represents a given milieu — a desert, for example — when an architect traces a line on it, (s)he virtually splits this milieu into two distinct impermeable parts, and actualizes it through the line’s embodiment, the wall. The Funambulist, also known as a tight rope walker, is the character who, somehow, subverts this power by walking on the line. She is the frail figure moving along the lines between the two towers in 1974. She is the person doing the ‘V’ with her fingers while standing on the edge of the Wall in November, 1989. And, if she happens to fall, she will find a tall Nietzschean char-acter to say that she can die peacefully because she would die from the danger she dedicated her life to. 30 00 Since 2007, the blog The Funambulist tells stories about lines. The line is architecture’s representative medium; it creates diagrams of power that use architecture’s intrinsic violence on the bodies to organize them in space. If the white page represents a given milieu — a desert, for example — when an architect traces a line on it, (s)he virtually splits this milieu into two distinct impermeable parts, and actualizes it through the line’s embodiment, the wall. The Funambulist, also known as a tight rope walker, is the character who, somehow, subverts this power by walking on the line. She is the frail figure moving along the lines between the two towers in 1974. She is the person doing the ‘V’ with her fingers while standing on the edge of the Wall in November, 1989. And, if she happens to fall, she will find a tall Nietzschean char-acter to say that she can die peacefully because she would die from the danger she dedicated her life to. 20 00 Open Access Lambert, Léopald 3 03 06 10.21983/P3.0053.1.03 11 13 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Entropy, Law, and Funambulism 1 A01 21 0000000309510376 Lucy Finchett-Madock Lucy Finchett-Madock 40 00ayhx656 University of Sussex 01 eng 03 00 This piece is more reminiscent of a stream of consciousness than a discussion on entropy, analogising the intriguing applicability of thermodynamism in relation to understandings of law, lines, and ex-tant resistances. To speak of exerted energy, that which is wasted in the machinations of a seemingly closed system, is prescient in a time of disruption and apoplexia. Beyond the aesthetic nerve that enticed the writing of this piece on entropy, there are legal and politi-cal analogies and extant anxieties that lend an overwhelming famil-iarity to this encounter with thermodynamic processes. Entropy is a measurement, a method of quantifying energy that is available for unuseful work within a thermodynamic process. Without involving the reader entirely with the science or statistical mechanics of en-tropy (and within the bounds of what this non-scientific author knows of the phenomenon), entropy is an accumulated inefficient resource that gathers as a machine or engine has reached its ‘theoretical maximum efficiency,’ the energy thus having to be exorcised, or ‘dis-sipated’ in the form of waste heat. 30 00 This piece is more reminiscent of a stream of consciousness than a discussion on entropy, analogising the intriguing applicability of thermodynamism in relation to understandings of law, lines, and ex-tant resistances. To speak of exerted energy, that which is wasted in the machinations of a seemingly closed system, is prescient in a time of disruption and apoplexia. Beyond the aesthetic nerve that enticed the writing of this piece on entropy, there are legal and politi-cal analogies and extant anxieties that lend an overwhelming famil-iarity to this encounter with thermodynamic processes. Entropy is a measurement, a method of quantifying energy that is available for unuseful work within a thermodynamic process. Without involving the reader entirely with the science or statistical mechanics of en-tropy (and within the bounds of what this non-scientific author knows of the phenomenon), entropy is an accumulated inefficient resource that gathers as a machine or engine has reached its ‘theoretical maximum efficiency,’ the energy thus having to be exorcised, or ‘dis-sipated’ in the form of waste heat. 20 00 Open Access Finchet-Madock, Lucy 4 03 06 10.21983/P3.0053.1.04 14 18 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Clear-Blurry Line 1 A01 Daniel Fernández Pascual Daniel Fernández Pascual 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 Harvesting energy from the centre of the Earth, squeezing drinking water from maritime fogs, grabbing atmospheric pollution or discov-ering treasures from sunken ships could soon become sources of wealth for today’s nation-states. But to whom do all these resources lawfully belong to? The physical boundaries of a country extend far beyond a two-dimensional geographical border. Surrounding the ground surface, three areas of sovereignty - waters, airspace and underground – together with their three dynamic limits articulate these clear-blurry lines. Where does the sovereignty of a nation-state actually end? How is that line drawn? Their demarcation is tightly linked to circulation of capital and economic resources. Regulations struggle to define clear lines that reality blurs. We are uncertain how to locate them accurtely. How to demarcate spatial rights on the sea, the clouds and the magma? The logic of modern sovereignty over natural resources of a territory is being inverted. The notion of col-lective natural resources supersedes and reshapes current system of sovereignty. We experience more and more a shift from the flat nation-state towards four-dimensional complexities. How does criti-cal spatial practice operate within this frame? 30 00 Harvesting energy from the centre of the Earth, squeezing drinking water from maritime fogs, grabbing atmospheric pollution or discov-ering treasures from sunken ships could soon become sources of wealth for today’s nation-states. But to whom do all these resources lawfully belong to? The physical boundaries of a country extend far beyond a two-dimensional geographical border. Surrounding the ground surface, three areas of sovereignty - waters, airspace and underground – together with their three dynamic limits articulate these clear-blurry lines. Where does the sovereignty of a nation-state actually end? How is that line drawn? Their demarcation is tightly linked to circulation of capital and economic resources. Regulations struggle to define clear lines that reality blurs. We are uncertain how to locate them accurtely. How to demarcate spatial rights on the sea, the clouds and the magma? The logic of modern sovereignty over natural resources of a territory is being inverted. The notion of col-lective natural resources supersedes and reshapes current system of sovereignty. We experience more and more a shift from the flat nation-state towards four-dimensional complexities. How does criti-cal spatial practice operate within this frame? 20 00 Open Access Pascual, Daniel Fernández 5 03 06 10.21983/P3.0053.1.05 19 22 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Post-Political Attitudes on Immigration, Utopias and the Space Between Us 1 A01 Ethel Baraona Pohl Ethel Baraona Pohl 2 A01 Cesar Reyes Cesar Reyes 01 eng 03 00 Geopolitical space has always been a conflicted and fragile topic. Borders and frontiers are changing so fast that sometimes one’s sociopolitical status can change from “citizen” to “immigrant” or re-main “immigrant” much of your life. We are getting used to words like refugee, enclave, war, borders, limits. This critical condition is not a minor problem. The International Migration Report 2006 states that in 2005, there were nearly 191 million international migrants world-wide, about three percent of the world population, a rise of 26 million since 1990. This is one of the biggest political problems we face. In this context, we can see how the political implications of some architects had led them to design what we may call “critical utopias.” The concept of dystopia is a critic and utopia is an evocation of a new world to come. This duality was the basis of some radical proj-ects of the 1960s and 1970s, such as Superstudio’s Twelve Ideal Cities, their satirical vision of humanity’s search for an ideal world, or Archizoom’s No-Stop City. 30 00 Geopolitical space has always been a conflicted and fragile topic. Borders and frontiers are changing so fast that sometimes one’s sociopolitical status can change from “citizen” to “immigrant” or re-main “immigrant” much of your life. We are getting used to words like refugee, enclave, war, borders, limits. This critical condition is not a minor problem. The International Migration Report 2006 states that in 2005, there were nearly 191 million international migrants world-wide, about three percent of the world population, a rise of 26 million since 1990. This is one of the biggest political problems we face. In this context, we can see how the political implications of some architects had led them to design what we may call “critical utopias.” The concept of dystopia is a critic and utopia is an evocation of a new world to come. This duality was the basis of some radical proj-ects of the 1960s and 1970s, such as Superstudio’s Twelve Ideal Cities, their satirical vision of humanity’s search for an ideal world, or Archizoom’s No-Stop City. 20 00 Open Access Pohl, Ethel Baraona Reyes, Cesar 6 03 06 10.21983/P3.0053.1.06 23 26 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Mosque Religion, Politics and Architecture in the 21st Century 1 A01 Michael Badu Michael Badu 40 0517ce304 Kingston University, London 01 eng 03 00 The act of prostration is a ‘part’ of the Islamic formal prayer service which is known as Salaat. It is curious that the Islamic house of wor-ship is not generally known as Bait us Salaat or Bait ul Ibaadah (re-spectively, house of formal prayer or house of worship) and that the more utilitarian term masjid, derived from the Muslim holy book, the Quran, became current. This would seem to suggest a more ‘humble’ architectural characterisation of this building type than that to which we have become accustomed, a suggestion that history seems to bear out. The first masjid built under the supervision of the prophet Muham-mad at Medina shortly after his flight from Mecca, was a rudimentary enclosure of earth and rock walls, built around a small grove of date palm trees and roofed by their canopies. When it rained heavily, this tree canopy roof leaked profusely, literally turning the earth floor of the mosque into a ‘mud bath.’ 30 00 The act of prostration is a ‘part’ of the Islamic formal prayer service which is known as Salaat. It is curious that the Islamic house of wor-ship is not generally known as Bait us Salaat or Bait ul Ibaadah (re-spectively, house of formal prayer or house of worship) and that the more utilitarian term masjid, derived from the Muslim holy book, the Quran, became current. This would seem to suggest a more ‘humble’ architectural characterisation of this building type than that to which we have become accustomed, a suggestion that history seems to bear out. The first masjid built under the supervision of the prophet Muham-mad at Medina shortly after his flight from Mecca, was a rudimentary enclosure of earth and rock walls, built around a small grove of date palm trees and roofed by their canopies. When it rained heavily, this tree canopy roof leaked profusely, literally turning the earth floor of the mosque into a ‘mud bath.’ 20 00 Open Access Badu, Michael 7 03 06 10.21983/P3.0053.1.07 27 31 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Nothing to Hide 1 A01 Mariabruna Fabrizi Mariabruna Fabrizi 2 A01 Fosco Lucarelli Fosco Lucarelli 01 eng 03 00 Some years ago an eye-catching tv commercial for Elave, a skincare products company, provoked a rather discernible YouTube backlash. The ad showed completely naked laboratory staff technicians wan-dering, talking and studying in an ethereal-white open work environ-ment, apparently unaware of their nakedness. The literal message was that Elave had no worrying chemicals in its formulations and there-fore “Nothing to hide,” as asserted through the campaign’s tagline.1Curiously enough, in order to promote the safety of the work done in the house, the campaign choose a rather NSFW attitude. Yet it would be misleading, if not puritanical to target the stunt as the usual “sex sells” example: not only is it hard to detect any sex appeal in the per-fectly shaved humankind appearing in the spot, but digging deeper could reveal the subliminal and perverse way public institutions and private corporations are hiding work exploitation and new means for profit under pseudo ethical calls for transparency and openness. 30 00 Some years ago an eye-catching tv commercial for Elave, a skincare products company, provoked a rather discernible YouTube backlash. The ad showed completely naked laboratory staff technicians wan-dering, talking and studying in an ethereal-white open work environ-ment, apparently unaware of their nakedness. The literal message was that Elave had no worrying chemicals in its formulations and there-fore “Nothing to hide,” as asserted through the campaign’s tagline.1Curiously enough, in order to promote the safety of the work done in the house, the campaign choose a rather NSFW attitude. Yet it would be misleading, if not puritanical to target the stunt as the usual “sex sells” example: not only is it hard to detect any sex appeal in the per-fectly shaved humankind appearing in the spot, but digging deeper could reveal the subliminal and perverse way public institutions and private corporations are hiding work exploitation and new means for profit under pseudo ethical calls for transparency and openness. 20 00 Open Access Fabrizi, Mariabruna Lucarelli, Fosco 8 03 06 10.21983/P3.0053.1.08 32 36 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Briefly on Walking 1 A01 Caroline Filice Smith Caroline Filice Smith 40 03vek6s52 Harvard University 01 eng 03 00 As a genderqueer woman and a practicing architect, the realities of how architecture manifests and reinforces dominant social and po-litical power structures [on my body] is inescapable. And while it is fairly easy to find communities of people who would like to speak about the relationships between capitalism/colonialism/imperialism and architecture, the dialog becomes sparse when the subjects of gender, class, and race are introduced. Issues conveniently consid-ered ‘special interests’ despite the fact that they affect a majority of the population... though because of the social/educational ‘cost’ of becoming an architect, not much of the population actively designing buildings. And so it is inevitable that these ‘interests’ will be regarded as secondary and possibly selfish, when compared to the ‘larger’ demons like unregulated ‘capitalist development.’ 30 00 As a genderqueer woman and a practicing architect, the realities of how architecture manifests and reinforces dominant social and po-litical power structures [on my body] is inescapable. And while it is fairly easy to find communities of people who would like to speak about the relationships between capitalism/colonialism/imperialism and architecture, the dialog becomes sparse when the subjects of gender, class, and race are introduced. Issues conveniently consid-ered ‘special interests’ despite the fact that they affect a majority of the population... though because of the social/educational ‘cost’ of becoming an architect, not much of the population actively designing buildings. And so it is inevitable that these ‘interests’ will be regarded as secondary and possibly selfish, when compared to the ‘larger’ demons like unregulated ‘capitalist development.’ 20 00 Open Access Smith, Caroline Filice 9 03 06 10.21983/P3.0053.1.09 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Femicide Machine/ Backyard 1 A01 Greg Barton Greg Barton 40 00hj8s172 Columbia University 01 eng 03 00 So reads the sobering introductory paragraph of Sergio González Ro-dríguez’s provocative The Femicide Machine, a recent installment in Semiotext(e)’s Intervention series. The compact primer distills the his-torical trajectory of entanglement among Mexico, the United States, global economy, and organized crime, delineating the femicide ma-chine’s genesis and current stranglehold. The author’s journalistic credentials prove invaluable as the text slips in and out of straight reportage. In 2009 there were 164 female homicides in Ciudad Juárez -- 306 the following year -- many by strangulation, stabbing, and gun-shots, often involving sexual violence. More than 30,000 have died since the beginning of the war on drug trafficking in 2006, almost a quarter of those deaths occurring in Ciudad Juárez. Often repeti-tive, urgent, and devastating, The Femicide Machine tells a story of extreme capitalism reshaping territory and a processual state-form fostering utterly inhumane machines 30 00 So reads the sobering introductory paragraph of Sergio González Ro-dríguez’s provocative The Femicide Machine, a recent installment in Semiotext(e)’s Intervention series. The compact primer distills the his-torical trajectory of entanglement among Mexico, the United States, global economy, and organized crime, delineating the femicide ma-chine’s genesis and current stranglehold. The author’s journalistic credentials prove invaluable as the text slips in and out of straight reportage. In 2009 there were 164 female homicides in Ciudad Juárez -- 306 the following year -- many by strangulation, stabbing, and gun-shots, often involving sexual violence. More than 30,000 have died since the beginning of the war on drug trafficking in 2006, almost a quarter of those deaths occurring in Ciudad Juárez. Often repeti-tive, urgent, and devastating, The Femicide Machine tells a story of extreme capitalism reshaping territory and a processual state-form fostering utterly inhumane machines 20 00 Open Access Barton, Greg 10 03 06 10.21983/P3.0053.1.10 43 50 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Becoming Fugitive Carceral Space and Rancierian Politics 1 A01 Maryam Monalisa Gharavi Maryam Monalisa Gharavi 40 04t5xt781 Northeastern University 01 eng 03 00 The police regime is endowed with the power of ordering space. This text stands at the crossroads of space, policing, and visual percep-tion, as I articulate a Rancierean aesthetic dimension of the political and political dimension of the aesthetic. Jacques Rancière is a useful and rich source for this tripartite investigation because in his writ-ings, aesthetics is not only about art, and politics is not only about the state. Politics, as laid out in Disagreement, is that which always takes a stage and takes a theatrical formation, putting ‘two worlds in one world.’ This staging often overturns sense-making at the level of language alone, relying also on microlevels of sensation and sense-making (we inherited the word ‘aesthetic’ from the Greek aistheta‘perceptible things’). In Dissensus, Rancière mentions to art works that focus on matters of space, territories, borders, wastelands, and other transient spaces, matters ‘that are crucial to today’s issues of power and community.’ To provide a framework to the concern with visibility and emancipatory politics, my bifocal reading takes into ac-count (1) the work of the police, seen in near vision, and (2) the work of politics, seen in distant vision 30 00 The police regime is endowed with the power of ordering space. This text stands at the crossroads of space, policing, and visual percep-tion, as I articulate a Rancierean aesthetic dimension of the political and political dimension of the aesthetic. Jacques Rancière is a useful and rich source for this tripartite investigation because in his writ-ings, aesthetics is not only about art, and politics is not only about the state. Politics, as laid out in Disagreement, is that which always takes a stage and takes a theatrical formation, putting ‘two worlds in one world.’ This staging often overturns sense-making at the level of language alone, relying also on microlevels of sensation and sense-making (we inherited the word ‘aesthetic’ from the Greek aistheta‘perceptible things’). In Dissensus, Rancière mentions to art works that focus on matters of space, territories, borders, wastelands, and other transient spaces, matters ‘that are crucial to today’s issues of power and community.’ To provide a framework to the concern with visibility and emancipatory politics, my bifocal reading takes into ac-count (1) the work of the police, seen in near vision, and (2) the work of politics, seen in distant vision 20 00 Open Access Gharavi, Maryam Monalisa 11 03 06 10.21983/P3.0053.1.11 51 54 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 My Dear Francis...What Kind of Phoenix Will Arise From These Ashes? 1 A01 Nikolas Patsopoulos Nikolas Patsopoulos 01 eng 03 00 The recent developments in Tahrir Square in Egypt and the Indigna-dos in Spain followed by the London riots and the Syntagma Square uprising in Athens have forced me to revisit this quote. Albeit it is not mud anymore, in this fully “developed” corner of the world, but yel-lowish tear gas dust, just as the holes in the clothes have converted to rips from excessive police violence. Someone might ask, why is it any different now? Protests and demonstrations have been occur-ring non-stop, well after the “end of history” had been declared in the beginning of the 90’s. Many of them are even more violent and oppressive than the ones I listed. 30 00 The recent developments in Tahrir Square in Egypt and the Indigna-dos in Spain followed by the London riots and the Syntagma Square uprising in Athens have forced me to revisit this quote. Albeit it is not mud anymore, in this fully “developed” corner of the world, but yel-lowish tear gas dust, just as the holes in the clothes have converted to rips from excessive police violence. Someone might ask, why is it any different now? Protests and demonstrations have been occur-ring non-stop, well after the “end of history” had been declared in the beginning of the 90’s. Many of them are even more violent and oppressive than the ones I listed. 20 00 Open Access Patsopoulos, Nikolas 12 03 06 10.21983/P3.0053.1.12 55 58 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Movement and Solidarity 1 A01 Zayd Sifri Zayd Sifri 01 eng 03 00 Momentous changes in the organization of society only occur infre-quently. From memorable instances of thorough upheaval, social movements reap the fruit of the past and cultivate their own tradi-tions. In the recent past the comparison between Israel-Palestine and Apartheid South Africa has become a convenient gambit for many solidarity activists in the United States and elsewhere. There are countless reasons for the popularity of this specific example and of course it is not the only material activists rely upon. The South Afri-can struggle, however, has been underscored as a successful model for international solidarity with the ongoing anti-colonial battle in the Eastern Mediterranean. For evidence of this, we can look at how the term apartheid has almost seamlessly permeated the progressive vocabulary for describing Israeli regime’s treatment of Palestinians in the West Bank and Gaza. Looking at Israel-Palestine solidarity through a South African prism offers insight into the actors, values, and politics involved in building a movement on an international play-ing field. Fundamental to an effective conceptualization of a global solidarity model is the inevitably complex relationship between lo-cal, Palestinian and Arab actors, and activists based primarily in the United States 30 00 Momentous changes in the organization of society only occur infre-quently. From memorable instances of thorough upheaval, social movements reap the fruit of the past and cultivate their own tradi-tions. In the recent past the comparison between Israel-Palestine and Apartheid South Africa has become a convenient gambit for many solidarity activists in the United States and elsewhere. There are countless reasons for the popularity of this specific example and of course it is not the only material activists rely upon. The South Afri-can struggle, however, has been underscored as a successful model for international solidarity with the ongoing anti-colonial battle in the Eastern Mediterranean. For evidence of this, we can look at how the term apartheid has almost seamlessly permeated the progressive vocabulary for describing Israeli regime’s treatment of Palestinians in the West Bank and Gaza. Looking at Israel-Palestine solidarity through a South African prism offers insight into the actors, values, and politics involved in building a movement on an international play-ing field. Fundamental to an effective conceptualization of a global solidarity model is the inevitably complex relationship between lo-cal, Palestinian and Arab actors, and activists based primarily in the United States 20 00 Open Access Sifri, Zayd 13 03 06 10.21983/P3.0053.1.13 59 61 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Open Stacks 1 A01 Liduam Pong Liduam Pong 01 eng 03 00 The banned book was carefully wrapped in Canson gray paper, which had a subtle relief of horizontal lines. Because it was surrounded by a few decoy books published in the DDR, and tucked away in a small shelf in my parents’ room, itself tucked away in the mezzanine level of a minuscule apartment in Havana, it was easy to miss it entirely, unless you were a twelve-year-old with literary ambitions. I knew there was something special about this particular book because it was not downstairs with the others, because it looked and smelled foreign, and because my mother had told me I was not allowed to read it. All I knew about it was its mysterious title: 1984. I liked to imagine that in its forbidden pages one could find ancient prophecies for our city for that year, which had just passed not that long ago, or maybe for the entire island, perhaps the universe. One morning, when I had finally mustered the courage to steal it from its spot, I was disappointed to discover that it had disappeared. From that moment on, whenever we would visit anyone’s house, I made a habit of inspecting their personal libraries looking for these mysterious annuals — secretly hoping for 2000, and a glimpse into the distant future — but I never found any such books. 30 00 The banned book was carefully wrapped in Canson gray paper, which had a subtle relief of horizontal lines. Because it was surrounded by a few decoy books published in the DDR, and tucked away in a small shelf in my parents’ room, itself tucked away in the mezzanine level of a minuscule apartment in Havana, it was easy to miss it entirely, unless you were a twelve-year-old with literary ambitions. I knew there was something special about this particular book because it was not downstairs with the others, because it looked and smelled foreign, and because my mother had told me I was not allowed to read it. All I knew about it was its mysterious title: 1984. I liked to imagine that in its forbidden pages one could find ancient prophecies for our city for that year, which had just passed not that long ago, or maybe for the entire island, perhaps the universe. One morning, when I had finally mustered the courage to steal it from its spot, I was disappointed to discover that it had disappeared. From that moment on, whenever we would visit anyone’s house, I made a habit of inspecting their personal libraries looking for these mysterious annuals — secretly hoping for 2000, and a glimpse into the distant future — but I never found any such books. 20 00 Open Access Pong, Liduam 14 03 06 10.21983/P3.0053.1.14 62 65 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Visit to the Old City of Hebron 1 A01 Raja Shehadeh Raja Shehadeh 01 eng 03 00 In the 1980s when I was still involved in defending land expropriation cases before Israeli courts, I used to make weekly trips to Hebron. I would leave Ramallah at eight in the morning and be in Hebron by nine. Now it is a different story. Only Israelis can get from Jerusa-lem to Hebron in fifteen minutes driving through two tunnels dug in the hill underneath the Palestinian city of Beit Jalla. Palestinians are barred from these. They have to circle around expanded Jerusalem going through Wadi Al Nar (the wadi of Fire) where they have to wait for hours at one of the notorious army barriers, called the Container Checkpoint. 30 00 In the 1980s when I was still involved in defending land expropriation cases before Israeli courts, I used to make weekly trips to Hebron. I would leave Ramallah at eight in the morning and be in Hebron by nine. Now it is a different story. Only Israelis can get from Jerusa-lem to Hebron in fifteen minutes driving through two tunnels dug in the hill underneath the Palestinian city of Beit Jalla. Palestinians are barred from these. They have to circle around expanded Jerusalem going through Wadi Al Nar (the wadi of Fire) where they have to wait for hours at one of the notorious army barriers, called the Container Checkpoint. 20 00 Open Access Shehadeh, Raja 15 03 06 10.21983/P3.0053.1.15 66 76 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Lahore's Architecture Of In/ Security 1 A01 Sadia Shirazi Sadia Shirazi 40 05bnh6r87 Cornell University 01 eng 03 00 Lahore today looks like a city at war. One of the greatest unacknowl-edged casualties of the United States’ “war on terror” has been the cities — and citizenry — of Pakistan. The US invaded Afghanistan in 2001 to oust the Taliban from power in response to the terrorist attacks on the World Trade Center.1 In 1985, sixteen years prior, President Ronald Reagan equated the Taliban mujahideen who had defeated the Soviet’s in Afghanistan with “the moral equivalent of America’s founding fathers.”2 This presidential stance has obviously changed since. In 2008 the US committed another surge of troops to Afghanistan due to the continued presence of the Taliban in the region. Pakistani military operations were waged in parallel in the Northwest regions of the country bordering Afghanistan. Since then, Pakistan has seen a particularly stark backlash within its borders as a response to its continued collaboration with its close ally.3 Militants within Pakistan have retaliated by targeting police and security sites in cities throughout the country. Lahore is just one unsung casualty of 67the war that links Lahore and New York City across disparate geog-raphies, through the legacy of US policy and Pakistani collaboration during the Cold War.4 As Eqbal Ahmed presciently said: “These are the chickens of the Afghanistan war coming home to roost.” 30 00 Lahore today looks like a city at war. One of the greatest unacknowl-edged casualties of the United States’ “war on terror” has been the cities — and citizenry — of Pakistan. The US invaded Afghanistan in 2001 to oust the Taliban from power in response to the terrorist attacks on the World Trade Center.1 In 1985, sixteen years prior, President Ronald Reagan equated the Taliban mujahideen who had defeated the Soviet’s in Afghanistan with “the moral equivalent of America’s founding fathers.”2 This presidential stance has obviously changed since. In 2008 the US committed another surge of troops to Afghanistan due to the continued presence of the Taliban in the region. Pakistani military operations were waged in parallel in the Northwest regions of the country bordering Afghanistan. Since then, Pakistan has seen a particularly stark backlash within its borders as a response to its continued collaboration with its close ally.3 Militants within Pakistan have retaliated by targeting police and security sites in cities throughout the country. Lahore is just one unsung casualty of 67the war that links Lahore and New York City across disparate geog-raphies, through the legacy of US policy and Pakistani collaboration during the Cold War.4 As Eqbal Ahmed presciently said: “These are the chickens of the Afghanistan war coming home to roost.” 20 00 Open Access Shirazi, Sadia 16 03 06 10.21983/P3.0053.1.16 77 81 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ruin Machine 1 A01 Bryan Finoki Bryan Finoki 01 eng 03 00 The contemporary ruin today — in all its incarnations (from the aban-doned auto factories in Michigan to the World Trade Centers’ foot-print in NYC, Saddam Hussein’s elegant compounds in Baghdad that have since been converted into temporary barracks for the U.S. military — or from the vacant half-constructed towers in Dubai to the one billion squatters around the world who live in a different kind of recycled ruin, just to name a few) — hints at a spectrum of different spatial configurations of power that offer a kind of forensic evidence of not only neoliberalization’s false claim of flattening the playing field of economic opportunity around the world, but of the ongoing fail-ures in our social and political institutions themselves ,which have taken to a strategy of secrecy and deception in order to wage not just a War on Crime, Poverty, Drugs, Illegal Immigration, or Terror-ism, but what I see as a War on Space itself — ruin on a brand new, unprecedented scale 30 00 The contemporary ruin today — in all its incarnations (from the aban-doned auto factories in Michigan to the World Trade Centers’ foot-print in NYC, Saddam Hussein’s elegant compounds in Baghdad that have since been converted into temporary barracks for the U.S. military — or from the vacant half-constructed towers in Dubai to the one billion squatters around the world who live in a different kind of recycled ruin, just to name a few) — hints at a spectrum of different spatial configurations of power that offer a kind of forensic evidence of not only neoliberalization’s false claim of flattening the playing field of economic opportunity around the world, but of the ongoing fail-ures in our social and political institutions themselves ,which have taken to a strategy of secrecy and deception in order to wage not just a War on Crime, Poverty, Drugs, Illegal Immigration, or Terror-ism, but what I see as a War on Space itself — ruin on a brand new, unprecedented scale 20 00 Open Access Finoki, Bryan 17 03 06 10.21983/P3.0053.1.17 82 91 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Textual-Sonic Landscape of Jacques Perret's Des Fortifications Et Ertifices 1 A01 Morgan Ng Morgan Ng 40 03vek6s52 Harvard University 01 eng 03 00 It’s exciting to contribute to the dialogue here because, despite our divergent historical interests, I feel a strong intellectual kinship with the editor of this blog. Rendered in striking graphic form and rife with modernist literary references, the editor’s recent design research on architecture in the West Bank explores the full range of oppressive and emancipatory potentials in an aesthetics of militarization. We must of course heed the warning (pace Baudrillard) that an aestheti-cization of war runs the risk of dulling the senses to the reality of vio-lence. Yet it’s equally disempowering, especially for the disempow-ered, to reduce this violence to the mechanics of technical reason. War from the beginning is aesthetic: for the complicit it’s mediated by political propaganda; for the traumatized victim, it’s fought on a psychological, as well as a physical, battlefield. If our poetic relation to war forms our escapist habits, I believe it also bears the potential to catalyze emancipatory action. 30 00 It’s exciting to contribute to the dialogue here because, despite our divergent historical interests, I feel a strong intellectual kinship with the editor of this blog. Rendered in striking graphic form and rife with modernist literary references, the editor’s recent design research on architecture in the West Bank explores the full range of oppressive and emancipatory potentials in an aesthetics of militarization. We must of course heed the warning (pace Baudrillard) that an aestheti-cization of war runs the risk of dulling the senses to the reality of vio-lence. Yet it’s equally disempowering, especially for the disempow-ered, to reduce this violence to the mechanics of technical reason. War from the beginning is aesthetic: for the complicit it’s mediated by political propaganda; for the traumatized victim, it’s fought on a psychological, as well as a physical, battlefield. If our poetic relation to war forms our escapist habits, I believe it also bears the potential to catalyze emancipatory action. 20 00 Open Access Ng, Morgan 18 03 06 10.21983/P3.0053.1.18 92 104 13 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mapping Intervals Towards an Emancipated Cartography 1 A01 Nora Akawi Nora Akawi 40 00hj8s172 Columbia University 01 eng 03 00 The map as a tool for domination is the visual inscription of a seam-less story for a specific group of people sharing specific character-istics. It represents their history, knowledge and claims for control within a territory with specific borders.So what is a map as a tool for liberation?That would be a visual representation of and by a multiplicity of publics. It would represent their history, experience, knowledge and imaginaries of and within a shared space. Multiplicity entails rup-tures. Within those ruptures lies the possibility for democratic spatial representation and organization. This tool is not to be confused with tools for negotiations. This is a public platform for the collective for-mation, aggregation and dissemination of public opinions. Nor is this a practice of counter-mapping, as it doesn’t consist of building upon an initial map for developing its counter-product. 30 00 The map as a tool for domination is the visual inscription of a seam-less story for a specific group of people sharing specific character-istics. It represents their history, knowledge and claims for control within a territory with specific borders.So what is a map as a tool for liberation?That would be a visual representation of and by a multiplicity of publics. It would represent their history, experience, knowledge and imaginaries of and within a shared space. Multiplicity entails rup-tures. Within those ruptures lies the possibility for democratic spatial representation and organization. This tool is not to be confused with tools for negotiations. This is a public platform for the collective for-mation, aggregation and dissemination of public opinions. Nor is this a practice of counter-mapping, as it doesn’t consist of building upon an initial map for developing its counter-product. 20 00 Open Access Akawi, Nora 19 03 06 10.21983/P3.0053.1.19 108 111 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Funambulist Atmosphere 1 A01 21 0000000285039208 Andreas Philippopoulos-Mihalopoulos Andreas Philippopoulos-Mihalopoulos 40 04ycpbx82 University of Westminster 01 eng 03 00 Funambulist bodies move about, careful not to fall into each other, mindful of the drop below, pulsating along the tension of the ropes beneath. Bodies construct atmosphere on the arch of their move-ment. Atmosphere constructs bodies between its folds. On one hand are atmospheres of tension or rest, engineered or emergent, prom-ised or promising. On the other hand are bodies of flesh as well as discourse, materialities that keep on fluctuating between the abstract and the concrete, bodies of human tissue, of technology, of animal-ity, vegetable bodies whose roots extend to my feet. Where am I? The installations of Tomas Saraceno can help as a visual aid for what I mean by atmosphere. Constellations of tension, bubbles that burst with an excess of lines, water, vegetation, animality, humanity, and air space are defined by the ethereal claustrophobia of openness, trammeled by lines on which the funambulists of the world circulate. How to get away from the lines, if not on other lines? And then, small deaths along the way: like the realization that the line is one, and however far you walk, you cannot escape it. 30 00 Funambulist bodies move about, careful not to fall into each other, mindful of the drop below, pulsating along the tension of the ropes beneath. Bodies construct atmosphere on the arch of their move-ment. Atmosphere constructs bodies between its folds. On one hand are atmospheres of tension or rest, engineered or emergent, prom-ised or promising. On the other hand are bodies of flesh as well as discourse, materialities that keep on fluctuating between the abstract and the concrete, bodies of human tissue, of technology, of animal-ity, vegetable bodies whose roots extend to my feet. Where am I? The installations of Tomas Saraceno can help as a visual aid for what I mean by atmosphere. Constellations of tension, bubbles that burst with an excess of lines, water, vegetation, animality, humanity, and air space are defined by the ethereal claustrophobia of openness, trammeled by lines on which the funambulists of the world circulate. How to get away from the lines, if not on other lines? And then, small deaths along the way: like the realization that the line is one, and however far you walk, you cannot escape it. 20 00 Open Access Philippopoulos-Mihalopoulos, Andreas 20 03 06 10.21983/P3.0053.1.20 112 117 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Apian Semantics 1 A01 Matthew Clements Matthew Clements 01 eng 03 00 Late in the second part of Samuel Beckett’s novel, Jacques Moran’s thoughts turn to his bees. Having given up his pursuit of Molloy and on the verge of returning home, Moran confesses:I often thought of my bees [...] And I thought above all of their dance, for my bees danced oh not as men dance, to amuse themselves, but in a different way. I alone of all mankind knew this, to the best of my belief. I had investigated this phenom-enon very fully. The dance was best to be observed among the bees returning to the hive, laden more or less with nectar, and it involved a great variety of figures and rhythms. These evolu-tions I finally interpreted as a system of signals by means of which incoming bees, satisfied or dissatisfied with their plunder, informed the outgoing bees in what direction to go, and in what not to go. But the outgoing bees danced too. It was no doubt their way of saying I understand, or, Don’t worry about me. But away from the hive, and busily at work, the bees did not dance. Here their watchword seemed to be, Every man for himself, as-suming bees to be capable of such notions 30 00 Late in the second part of Samuel Beckett’s novel, Jacques Moran’s thoughts turn to his bees. Having given up his pursuit of Molloy and on the verge of returning home, Moran confesses:I often thought of my bees [...] And I thought above all of their dance, for my bees danced oh not as men dance, to amuse themselves, but in a different way. I alone of all mankind knew this, to the best of my belief. I had investigated this phenom-enon very fully. The dance was best to be observed among the bees returning to the hive, laden more or less with nectar, and it involved a great variety of figures and rhythms. These evolu-tions I finally interpreted as a system of signals by means of which incoming bees, satisfied or dissatisfied with their plunder, informed the outgoing bees in what direction to go, and in what not to go. But the outgoing bees danced too. It was no doubt their way of saying I understand, or, Don’t worry about me. But away from the hive, and busily at work, the bees did not dance. Here their watchword seemed to be, Every man for himself, as-suming bees to be capable of such notions 20 00 Open Access Clements, Matthew 21 03 06 10.21983/P3.0053.1.21 118 120 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Dissolving Minds and Bodies 1 A01 Hiroko Nakatani Hiroko Nakatani 01 eng 03 00 In this short essay, I willconnect scientists from five fields through Spinoza’s concept of mind and body in order to reveal the impor-tance of the body, especially in relation to spatial design. Spinoza’s philosophy states that body and mind exist in parallel with each oth-er. Spinoza says that without perception through the body there is no mind, and that this limited mind contained in a body, with skin as its boundary, is part of the infinite intellect. In turn, the infinite intel-lect allows individuals to explore thinking what one experiences with one’s body. Biochemist, Rudolph Schoenheimer (1889-1942) focused on the es-sential role of the body in providing input for the mind, what he called “dynamic state of body constituents.” His experiment consisted in feeding amino acid-marked food to adult mice. After three days, he found that the mice’s excretions were almost entirely non-marked materials. The marked materials were found inside the body. What it says is that, very quickly, food became part of mice’s body and also that some part of the body became waste. 98% of our body’s matter changes in one year. Materially, we are the same as the food we had today, as dynamic as water that travels from the body to the river, to an other animal’s body and so on. Our body is continuously changing, dissolving and taking part in the material world. Although there are different scales of time in its process, the principle of con-tinuous flow is the same in the entire living/non-living world, whether at a peak in the desert or in the chair where you are sitting right now. To see it from Spinoza’s view, perception through body is an exten-sion of mind. What if we take into account that the mind now keeps changing its components, as an infinite cycle of material recompos-es into the infinite intellect? 30 00 In this short essay, I willconnect scientists from five fields through Spinoza’s concept of mind and body in order to reveal the impor-tance of the body, especially in relation to spatial design. Spinoza’s philosophy states that body and mind exist in parallel with each oth-er. Spinoza says that without perception through the body there is no mind, and that this limited mind contained in a body, with skin as its boundary, is part of the infinite intellect. In turn, the infinite intel-lect allows individuals to explore thinking what one experiences with one’s body. Biochemist, Rudolph Schoenheimer (1889-1942) focused on the es-sential role of the body in providing input for the mind, what he called “dynamic state of body constituents.” His experiment consisted in feeding amino acid-marked food to adult mice. After three days, he found that the mice’s excretions were almost entirely non-marked materials. The marked materials were found inside the body. What it says is that, very quickly, food became part of mice’s body and also that some part of the body became waste. 98% of our body’s matter changes in one year. Materially, we are the same as the food we had today, as dynamic as water that travels from the body to the river, to an other animal’s body and so on. Our body is continuously changing, dissolving and taking part in the material world. Although there are different scales of time in its process, the principle of con-tinuous flow is the same in the entire living/non-living world, whether at a peak in the desert or in the chair where you are sitting right now. To see it from Spinoza’s view, perception through body is an exten-sion of mind. What if we take into account that the mind now keeps changing its components, as an infinite cycle of material recompos-es into the infinite intellect? 20 00 Open Access Nakatani, Hiroko 22 03 06 10.21983/P3.0053.1.22 121 124 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Thoughts on Meta-Virtual Solipsism 1 A01 Fredrik Hellberg Fredrik Hellberg 01 eng 03 00 INT. LIFE EXTENSION OFFICE - DAYDavid Aames and McCabe sit and wait in a warm wood-pan-eled office, proposals in hand. A glimpse shows words like ‘re-evolve’ and ‘re-experience’, peppered with colorful photos of simple, life-affirming portraits of everyday life. It’s a well-ap-pointed, well-marketed organization.McCabe regards David as the victim of a lunatic’s scam.Injustice fuels McCabe.DEARBORNThe DNA codes of the human body have been broken. Soon, heart ailments, cancer and so much more will be a thing of the past. Very simply: your anguish, your discontent... even your death is no longer necessary in a traditional sense. Whatever malady hides behind that mask is temporary.She looks directly at David and it stirs him. McCabe studies her and the operation. He thirsts for clues. David flips through the folder—toward the back, a panel of photos of storage tanks. Lavishly and warmly photographed, just like next year’s cars in a magazine 30 00 INT. LIFE EXTENSION OFFICE - DAYDavid Aames and McCabe sit and wait in a warm wood-pan-eled office, proposals in hand. A glimpse shows words like ‘re-evolve’ and ‘re-experience’, peppered with colorful photos of simple, life-affirming portraits of everyday life. It’s a well-ap-pointed, well-marketed organization.McCabe regards David as the victim of a lunatic’s scam.Injustice fuels McCabe.DEARBORNThe DNA codes of the human body have been broken. Soon, heart ailments, cancer and so much more will be a thing of the past. Very simply: your anguish, your discontent... even your death is no longer necessary in a traditional sense. Whatever malady hides behind that mask is temporary.She looks directly at David and it stirs him. McCabe studies her and the operation. He thirsts for clues. David flips through the folder—toward the back, a panel of photos of storage tanks. Lavishly and warmly photographed, just like next year’s cars in a magazine 20 00 Open Access Hellberg, Fredrik 23 03 06 10.21983/P3.0053.1.23 125 128 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Old Media's Ressurection 1 A01 Linnéa Hussein Linnéa Hussein 40 01hpqfm28 Connecticut College 40 0190ak572 New York University 01 eng 03 00 In October 2011 The New York Times published an article on the re-vival of the VHS tape in the horror film genre.1 What makes these so-called neo-VHS tapes different from their outdated VHS companions is the fact that their role transformed from technical to aesthetic. En-tire magazines, such as Lunchmeat and Fangoria, are devoted to the subject of VHS now. For these horror fans, neo-VHS is not preferred for functional reasons, but because the grainy picture quality — the signs of usage that caused DVD and BluRay to replace VHS in the first place — became an indispensable trope for the bad horror film genre. Laura U. Marks (Simon Fraser University) talks about a similar notion of old media recycling when writing about The Color of Love:It seems that the real erotic activity...is not between the actors but in the game with death taking place on the surface of the film...the film’s emulsion flowers and evaporates, giving itself up to bliss and death 30 00 In October 2011 The New York Times published an article on the re-vival of the VHS tape in the horror film genre.1 What makes these so-called neo-VHS tapes different from their outdated VHS companions is the fact that their role transformed from technical to aesthetic. En-tire magazines, such as Lunchmeat and Fangoria, are devoted to the subject of VHS now. For these horror fans, neo-VHS is not preferred for functional reasons, but because the grainy picture quality — the signs of usage that caused DVD and BluRay to replace VHS in the first place — became an indispensable trope for the bad horror film genre. Laura U. Marks (Simon Fraser University) talks about a similar notion of old media recycling when writing about The Color of Love:It seems that the real erotic activity...is not between the actors but in the game with death taking place on the surface of the film...the film’s emulsion flowers and evaporates, giving itself up to bliss and death 20 00 Open Access Hussein, Linnéa 24 03 06 10.21983/P3.0053.1.24 129 132 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Cinematic Catalysts Contempt + Casa Malaparte 1 A01 Danielle Willems Danielle Willems 40 00hj8s172 Columbia University 40 00b30xv10 University of Pennsylvania 01 eng 03 00 There is no question that at this point in time we view the world through the cinematic lens. The way we move and perceive space, time and the landscape is most certainly through this lens. How can this method be harnessed to become a methodology that is gen-erative rather than just representational? Can this method be de-veloped through a narrative feeding back onto the form expanding and creating space and time around the sequence of events? This case study of Casa Malaparte has its own interesting story as well as the many events and narratives that weave themselves through and around this space. The film Le Mépris (Contempt) produced in 1963 is certainly one of Godard’s most seductive productions. The main event or catalyzing moment between the two characters in the film is solidified through the formal performance of the architecture of Casa Malaparte. This catalyzing moment will become the focus of this essay, and will attempt to investigate the series of memories surrounding and forming this exceptional house. 30 00 There is no question that at this point in time we view the world through the cinematic lens. The way we move and perceive space, time and the landscape is most certainly through this lens. How can this method be harnessed to become a methodology that is gen-erative rather than just representational? Can this method be de-veloped through a narrative feeding back onto the form expanding and creating space and time around the sequence of events? This case study of Casa Malaparte has its own interesting story as well as the many events and narratives that weave themselves through and around this space. The film Le Mépris (Contempt) produced in 1963 is certainly one of Godard’s most seductive productions. The main event or catalyzing moment between the two characters in the film is solidified through the formal performance of the architecture of Casa Malaparte. This catalyzing moment will become the focus of this essay, and will attempt to investigate the series of memories surrounding and forming this exceptional house. 20 00 Open Access Willems, Danielle 25 03 06 10.21983/P3.0053.1.25 133 137 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Off the Grid Left Out and Over 1 A01 Carl Douglas Carl Douglas 40 01zvqw119 Auckland University of Technology 01 eng 03 00 In James Graham Ballard’s novella Concrete Island, architect Robert Maitland crashes his Jaguar over a motorway embankment onto a traffic island, a thin triangle of waste ground two hundred meters long.1 Here, in a parody of Robinson Crusoe, he finds himself ma-rooned: His jacket and trousers were stained with sweat, mud and en-gine grease. Few drivers, even if they did notice him, would be eager to give him a lift. Besides, it would be almost impossible to slow down here and stop. The pressure of the following traf-fic, free at last from the long tail-backs that always blocked the Westway interchange during the rush hour, forced them on relentlessly. The fast-flowing arms of the motorway continue to operate perfectly, ensuring the rapid movement of bodies and objects; but their opera-tion is inaccessible to Maitland. Immobilized by the infrastructure of mobility, he has not simply exited urban life, he has slipped off the grid while remaining firmly within its network of effects. 30 00 In James Graham Ballard’s novella Concrete Island, architect Robert Maitland crashes his Jaguar over a motorway embankment onto a traffic island, a thin triangle of waste ground two hundred meters long.1 Here, in a parody of Robinson Crusoe, he finds himself ma-rooned: His jacket and trousers were stained with sweat, mud and en-gine grease. Few drivers, even if they did notice him, would be eager to give him a lift. Besides, it would be almost impossible to slow down here and stop. The pressure of the following traf-fic, free at last from the long tail-backs that always blocked the Westway interchange during the rush hour, forced them on relentlessly. The fast-flowing arms of the motorway continue to operate perfectly, ensuring the rapid movement of bodies and objects; but their opera-tion is inaccessible to Maitland. Immobilized by the infrastructure of mobility, he has not simply exited urban life, he has slipped off the grid while remaining firmly within its network of effects. 20 00 Open Access Douglas, Carl 26 03 06 10.21983/P3.0053.1.26 138 141 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Transcendent Delusion Or; The Dangerous Free Spaces of Phillip K. Dick 1 A01 Martin Byrne Martin Byrne 01 eng 03 00 You find yourself walking through a long dusty corridor in a dank building sometime in the late afternoon. The doors to nearly every room have long since fallen in, letting pale shafts of light mingle with dust and paper; assorted debris whirls about in lazy semi-circles as you pass quietly by. There are no lights apart from the fading sun; there is no sound except for the slow pacing of your own feet and the idle mixed thoughts that bounce from left to right in your head. The further you walk down the corridor, the more overwhelm-ing your sense of isolation becomes. Through each doorway you see rooms that have been long forgotten — weeds sprouting from moldy ephemera in the foreground and a long view out of the bro-ken floor-to-ceiling windows beyond. Each frame you pass in steady syncopation offers a glimpse of what seems to be an encroaching desert. Shifting piles of dust cover in fits and starts the remains of a world that you never found entirely familiar to begin with. 30 00 You find yourself walking through a long dusty corridor in a dank building sometime in the late afternoon. The doors to nearly every room have long since fallen in, letting pale shafts of light mingle with dust and paper; assorted debris whirls about in lazy semi-circles as you pass quietly by. There are no lights apart from the fading sun; there is no sound except for the slow pacing of your own feet and the idle mixed thoughts that bounce from left to right in your head. The further you walk down the corridor, the more overwhelm-ing your sense of isolation becomes. Through each doorway you see rooms that have been long forgotten — weeds sprouting from moldy ephemera in the foreground and a long view out of the bro-ken floor-to-ceiling windows beyond. Each frame you pass in steady syncopation offers a glimpse of what seems to be an encroaching desert. Shifting piles of dust cover in fits and starts the remains of a world that you never found entirely familiar to begin with. 20 00 Open Access Byrne, Martin 27 03 06 10.21983/P3.0053.1.27 142 146 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Possible World of Architecture 1 A01 Claire Jamieson Claire Jamieson 40 00ae33288 London Metropolitan University 01 eng 03 00 We are natural storytellers. It is highly likely that our storytelling abilities evolved with language and human culture, and that there is something in our very nature that compels us to communicate using stories.2 Some have even gone so far as to suggest that language evolved as a response to the need to tell stories.3 The justification for this lies in the notion that a story or narrative is, in essence, a construction of the mind, and thus requires the complex qualities of language to communicate it — being that it is not sensory. But what constitutes a story, and what gives language primacy over oth-er modes of representation, such as the visual, in communicating them? 30 00 We are natural storytellers. It is highly likely that our storytelling abilities evolved with language and human culture, and that there is something in our very nature that compels us to communicate using stories.2 Some have even gone so far as to suggest that language evolved as a response to the need to tell stories.3 The justification for this lies in the notion that a story or narrative is, in essence, a construction of the mind, and thus requires the complex qualities of language to communicate it — being that it is not sensory. But what constitutes a story, and what gives language primacy over oth-er modes of representation, such as the visual, in communicating them? 20 00 Open Access Jamieson, Claire 28 03 06 10.21983/P3.0053.1.28 147 155 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pet Architecture Human's Best Friend 1 A01 Carla Leitão Carla Leitão 40 01rtyzb94 Rensselaer Polytechnic Institute 01 eng 03 00 Characters like Animal from the Muppet show (a creation by Jim Hen-son) are often illustrations through which we can talk about the quali-ties of the wild, the feral and the natural, in contrast to that which is artificial or built, the man-made. This article, however, would like to focus on the chain.‘Animal,’ the character, offers the comic emerging out of the usual play between sophistication and calling, which can define the figure of the invited wild. The sophistication of the chained animal (who is a great musician) plays with the figure of drummers and their often cli-ched position in a band—there are jokes in the music world that refer to the drummer as that member who can have less ‘musical educa-tion’ than the other players (unfair, surely). Obsession with playing often puts Animal in trances that ultimately reveal all dimensions at once, including narratives that are confusing about their actual spe-cies—quite often that Animal’s solos end up with two mental health nurses catching him with a butterfly net to take him off stage, and suggestively, to some kind of ‘other place.’ Animal, however, is glad to be in his chain and this way be able to play the drums in the com-panion of the other ‘more human’ animals. The unused chain, surely, contains a wilder Animal than his behavior can ever become. 30 00 Characters like Animal from the Muppet show (a creation by Jim Hen-son) are often illustrations through which we can talk about the quali-ties of the wild, the feral and the natural, in contrast to that which is artificial or built, the man-made. This article, however, would like to focus on the chain.‘Animal,’ the character, offers the comic emerging out of the usual play between sophistication and calling, which can define the figure of the invited wild. The sophistication of the chained animal (who is a great musician) plays with the figure of drummers and their often cli-ched position in a band—there are jokes in the music world that refer to the drummer as that member who can have less ‘musical educa-tion’ than the other players (unfair, surely). Obsession with playing often puts Animal in trances that ultimately reveal all dimensions at once, including narratives that are confusing about their actual spe-cies—quite often that Animal’s solos end up with two mental health nurses catching him with a butterfly net to take him off stage, and suggestively, to some kind of ‘other place.’ Animal, however, is glad to be in his chain and this way be able to play the drums in the com-panion of the other ‘more human’ animals. The unused chain, surely, contains a wilder Animal than his behavior can ever become. 20 00 Open Access Leitão, Carla 29 03 06 10.21983/P3.0053.1.29 156 159 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Bread and CIrcus Agorae Vs Arenas 1 A01 Eduardo McIntosh Eduardo McIntosh 40 00hj8s172 Columbia University 40 00t67pt25 Birmingham City University 01 eng 03 00 The aim of any piece of writing is almost always to be read by as many people as possible, to be an instrument to spread an idea. Nevertheless, since the times we live in influence us to disregard anything that doesn’t offer a good rate of effort/reward form the on-set, I will start this piece by telling a little bit of academic related gos-sip, as sometimes it seems like the trivial is for some of us the most significant. 30 00 The aim of any piece of writing is almost always to be read by as many people as possible, to be an instrument to spread an idea. Nevertheless, since the times we live in influence us to disregard anything that doesn’t offer a good rate of effort/reward form the on-set, I will start this piece by telling a little bit of academic related gos-sip, as sometimes it seems like the trivial is for some of us the most significant. 20 00 Open Access McIntosh, Eduardo 30 03 06 10.21983/P3.0053.1.30 160 163 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Motion Architecture 1 A01 Oliviu Lugojan-Ghenciu Oliviu Lugojan-Ghenciu 01 eng 03 00 Analyzing Eadweard Muybridge’s work and Vladimir Veličković’s painted motion studies would offer a too-easy way to find a relation-ship between the still objects of architecture and the dynamics of motion. Jean-Luc Godard is also waiting to be taken apart from this perspective, just as is Bruno Zevi’s idea of archiving space through cinematographic methods. Rem Koolhaas is known for his transition from film to architecture. Why is there such a brotherhood between film and architecture? Maybe it is because they share the common idea of assembling building blocks in order to build something that is more than just the sum of its elements. The concept to be proposed has little to do with these remarkable people and their studies, but builds upon their experience. What I am interested in is not the cinematographic expression, but a fourth dimension added by motion in graphics and how movement can further an architectural product. 30 00 Analyzing Eadweard Muybridge’s work and Vladimir Veličković’s painted motion studies would offer a too-easy way to find a relation-ship between the still objects of architecture and the dynamics of motion. Jean-Luc Godard is also waiting to be taken apart from this perspective, just as is Bruno Zevi’s idea of archiving space through cinematographic methods. Rem Koolhaas is known for his transition from film to architecture. Why is there such a brotherhood between film and architecture? Maybe it is because they share the common idea of assembling building blocks in order to build something that is more than just the sum of its elements. The concept to be proposed has little to do with these remarkable people and their studies, but builds upon their experience. What I am interested in is not the cinematographic expression, but a fourth dimension added by motion in graphics and how movement can further an architectural product. 20 00 Open Access Lugojan-Ghenciu, Oliviu 31 03 06 10.21983/P3.0053.1.31 164 167 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fibrous Assemblages and Behavioral Composites 1 A01 Roland Snooks Roland Snooks 40 04ttjf776 RMIT University 01 eng 03 00 The emergence of complexity theory has shifted the conceptualiza-tion of form from the macro scale to a concern for the operation of the complex systems that underlie formation. It is from the micro-scale local interactions of complex systems that behavioral strategies for the generation of composite materials have emerged, strategies where architectural form, structure and ornament emerge from the design of material behavior, specifically the design of behavior within composite materials.The inherently organizational understanding of form offered by com-plexity theory has been the basis for Kokkugia’s development of behavioral design methodologies. This behavioral approach draws from the logic of swarm intelligence and operates through the self-or-ganization of multi-agent systems. These methodologies operate by encoding simple architectural decisions within a distributed system of autonomous computational agents. It is the interaction of these local decisions that self-organizes design intention, giving rise to a form of collective intelligence and emergent behavior at the global scale. Behavioral design methodologies represent a shift from ‘form being imposed upon matter’ to ‘form emerging from the interaction of localized entities within a complex system.’ 30 00 The emergence of complexity theory has shifted the conceptualiza-tion of form from the macro scale to a concern for the operation of the complex systems that underlie formation. It is from the micro-scale local interactions of complex systems that behavioral strategies for the generation of composite materials have emerged, strategies where architectural form, structure and ornament emerge from the design of material behavior, specifically the design of behavior within composite materials.The inherently organizational understanding of form offered by com-plexity theory has been the basis for Kokkugia’s development of behavioral design methodologies. This behavioral approach draws from the logic of swarm intelligence and operates through the self-or-ganization of multi-agent systems. These methodologies operate by encoding simple architectural decisions within a distributed system of autonomous computational agents. It is the interaction of these local decisions that self-organizes design intention, giving rise to a form of collective intelligence and emergent behavior at the global scale. Behavioral design methodologies represent a shift from ‘form being imposed upon matter’ to ‘form emerging from the interaction of localized entities within a complex system.’ 20 00 Open Access Snooks, Roland 32 03 06 10.21983/P3.0053.1.32 168 172 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Unfolding Azadi Tower Reading Persian Folds Through Deleuze 1 A01 Biayna Bogosian Biayna Bogosian 40 02gz6gg07 Florida International University 40 03efmqc40 Arizona State University 01 eng 03 00 The Azadi Tower (Freedom Tower) is the gateway to Tehran. This 50-m tall tower is located in the heart of the 15,000-sqm Azadi Square (Freedom Square) and has been the center of many cultural and po-litical revolutions since its completion in 1971. The architecture of the tower is influenced by both pre-Islamic Persian architecture of materiality and Islamic architecture of geometry. The significance of the Azadi tower is not only in its sociopolitical presence, but also in the fact that it is one of the world’s first structures that incorporated computation in the design, analysis, and materialization processes. From 1966-1971 the monument was constructed with 25,000 unique white marble pieces. The customized geometry of each marble unit was computed using a structural analysis program and carved using a combination of manual and automated techniques. 30 00 The Azadi Tower (Freedom Tower) is the gateway to Tehran. This 50-m tall tower is located in the heart of the 15,000-sqm Azadi Square (Freedom Square) and has been the center of many cultural and po-litical revolutions since its completion in 1971. The architecture of the tower is influenced by both pre-Islamic Persian architecture of materiality and Islamic architecture of geometry. The significance of the Azadi tower is not only in its sociopolitical presence, but also in the fact that it is one of the world’s first structures that incorporated computation in the design, analysis, and materialization processes. From 1966-1971 the monument was constructed with 25,000 unique white marble pieces. The customized geometry of each marble unit was computed using a structural analysis program and carved using a combination of manual and automated techniques. 20 00 Open Access Bogosian, Biayna 33 03 06 10.21983/P3.0053.1.33 173 177 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Twin (Technology/Art Induced) Architectural Daydreams 1 A01 Esther Sze-Wing Cheung Esther Sze-Wing Cheung 01 eng 03 00 On a sunny September afternoon, I found myself fighting through crowds of metropolitan art-goers, hipster-technologists and pro-longed-adolescent-adults, grazing amusedly in a tall, open, window-less room at the MOMA’s Talk to Me exhibition, amidst an assortment of flat screen monitors, tastefully-colored infographics, blinking LEDs and beeping.1 Halfway through my procession through this spec-tacle, I circled back to the room center and found myself curiously face-to-face with a seemingly unremarkable floor lamp, except for an unusual spongy beige section on the lamp-neck. A parody on the classic British Anglepoise Lamp, this piece humorously titled Stran-gle Poise Lamp, was designed to be strangled to death. To turn off the lamp, one must wrap their hands around the spongy beige neck and squeeze out its metaphorical life, slowly dimming the light until both object and human are literally in the dark. Designed by James Chambers, the Strangle Poise Lamp is part of a line of aggression-absorbing products intended to provide safe ways to live out fanta-sies planted into our minds by violent films. 30 00 On a sunny September afternoon, I found myself fighting through crowds of metropolitan art-goers, hipster-technologists and pro-longed-adolescent-adults, grazing amusedly in a tall, open, window-less room at the MOMA’s Talk to Me exhibition, amidst an assortment of flat screen monitors, tastefully-colored infographics, blinking LEDs and beeping.1 Halfway through my procession through this spec-tacle, I circled back to the room center and found myself curiously face-to-face with a seemingly unremarkable floor lamp, except for an unusual spongy beige section on the lamp-neck. A parody on the classic British Anglepoise Lamp, this piece humorously titled Stran-gle Poise Lamp, was designed to be strangled to death. To turn off the lamp, one must wrap their hands around the spongy beige neck and squeeze out its metaphorical life, slowly dimming the light until both object and human are literally in the dark. Designed by James Chambers, the Strangle Poise Lamp is part of a line of aggression-absorbing products intended to provide safe ways to live out fanta-sies planted into our minds by violent films. 20 00 Open Access Cheung, Esther Sze-Wing 34 03 06 10.21983/P3.0053.1.34 178 182 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 DIY: Biopolitics: The Deregulated Self 1 A01 Russel Hughes Russel Hughes 40 00rqy9422 University of Queensland 01 eng 03 00 Shuzaku Arakawa’s early paintings (1961-73) (many of which were produced with Madeline Gins, though she took no authorial credit for them) represent what appear to be semi-finished sketches that sometimes look like technical drawings against backgrounds of white and varying shades of brown. The purpose of these two-dimensional representations is to signify ‘blankness’ as a “neutral positing”, in the sense that blank is a ‘holding open’ of the compulsion toward the standard artistic practice of conceptual and cognitive coloniza-tion toward a predetermined end.1 As they state: “it is what is there but undifferentiated, so it is nothing ... It is what fills emptiness.”2Another way of understanding blank is through the French blanc, meaning white, which is, of course, the congealing of all the colors in the spectrum (as opposed to black, the absence of color). In this sense, blank (or blanc) is overabundance, the reservoir of potential-ity from which anything can come forth. The concept of blank draws our attention to the multiple points of interpretation contained within open-endedness, as opposed to the definitive teleological fixity for which strives much (not all) creative practice. The visual argument in these artworks is that painting as an activity abstracts from nature, narrowing down and essentializing experience. Abstract thought is the frame that apprehends the open-endedness of meaning, defin-ing and positioning a text in exclusive, unequivocal terms. In this respect, much of Arakawa’s early work remains untitled (acting as the actual title of the work), which itself is an act of resistance to the etymological determinism that comes with labels that posit in explicit terms what it is we are meant to understand and experience from artistic productions 30 00 Shuzaku Arakawa’s early paintings (1961-73) (many of which were produced with Madeline Gins, though she took no authorial credit for them) represent what appear to be semi-finished sketches that sometimes look like technical drawings against backgrounds of white and varying shades of brown. The purpose of these two-dimensional representations is to signify ‘blankness’ as a “neutral positing”, in the sense that blank is a ‘holding open’ of the compulsion toward the standard artistic practice of conceptual and cognitive coloniza-tion toward a predetermined end.1 As they state: “it is what is there but undifferentiated, so it is nothing ... It is what fills emptiness.”2Another way of understanding blank is through the French blanc, meaning white, which is, of course, the congealing of all the colors in the spectrum (as opposed to black, the absence of color). In this sense, blank (or blanc) is overabundance, the reservoir of potential-ity from which anything can come forth. The concept of blank draws our attention to the multiple points of interpretation contained within open-endedness, as opposed to the definitive teleological fixity for which strives much (not all) creative practice. The visual argument in these artworks is that painting as an activity abstracts from nature, narrowing down and essentializing experience. Abstract thought is the frame that apprehends the open-endedness of meaning, defin-ing and positioning a text in exclusive, unequivocal terms. In this respect, much of Arakawa’s early work remains untitled (acting as the actual title of the work), which itself is an act of resistance to the etymological determinism that comes with labels that posit in explicit terms what it is we are meant to understand and experience from artistic productions 20 00 Open Access Hughes, Russel 35 03 06 10.21983/P3.0053.1.35 183 187 5 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Two Questions for Seher Shah 1 A01 Alexis Bhagat Alexis Bhagat 40 01rtyzb94 Rensselaer Polytechnic Institute 40 012zs8222 University at Albany, State University of New York 01 eng 03 00 In her drawings, artist Seher Shah explores the forms of Modernist ab-stract architecture with a sensibility that is both nostalgic and critical. She employs basic elements of architectural drawing—the column, the grid, the wall—to fantastically render the ruins of imposition.In her 2011 exhibition, Object Anxiety, Shah stripped Le Corbusier’s Unité d’Habitation of height, weight and mass, turning it on its side to create a plane. Her new series of drawings, presented in the ex-hibition Brute Ornament, zooms in on this plane and manipulates its form in a series of further deconstructions of Unité d’Habitation. 30 00 In her drawings, artist Seher Shah explores the forms of Modernist ab-stract architecture with a sensibility that is both nostalgic and critical. She employs basic elements of architectural drawing—the column, the grid, the wall—to fantastically render the ruins of imposition.In her 2011 exhibition, Object Anxiety, Shah stripped Le Corbusier’s Unité d’Habitation of height, weight and mass, turning it on its side to create a plane. Her new series of drawings, presented in the ex-hibition Brute Ornament, zooms in on this plane and manipulates its form in a series of further deconstructions of Unité d’Habitation. 20 00 Open Access Bhagat, Alexis 36 03 06 10.21983/P3.0053.1.36 188 194 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Groundbraking Clarity of Ryan and Trevor Oakes 1 A01 Eve Bailey Eve Bailey 01 eng 03 00 Identical twins Ryan and Trevor Oakes have created an innovative method of depicting the world before us that constitutes a key ad-vancement in the representation of visual reality. Their discovery is the synthesis of reciprocal intuitions, observations and experiments generated by their ongoing dialog about perception — about “see-ing with two eyes.” They have been reexamining the knowledge that our experience of the world is binocular and as if we were at the center of a giant perceptual sphere. They came to realize it would be more appropriate to draw on a spherical surface rather than a flat sheet of paper, and found a way of tracing the world directly onto the curved paper without digital intervention, mathematical calculations or drafting tools. The result is the visual and physical experience of a seamless and organic rendering, with no beginning and no end, that does not fail to remind me of Frederick Kiesler’s original concepts in his project of the Endless House, “endless like the human body.” The fascinating part of Ryan and Trevor’s pioneering system is, as art historian Jonathan Crary articulates it, “that they have reintroduced the corporal features of human vision in perspective techniques that had been edited out of our conventional monocular models of repre-sentation where the world is presented as if all parts of it were seen with a uniform clarity when in fact the illusion we have of a clear world is obtained by our eyes darting around producing a synthetic image of an overall clarity." 30 00 Identical twins Ryan and Trevor Oakes have created an innovative method of depicting the world before us that constitutes a key ad-vancement in the representation of visual reality. Their discovery is the synthesis of reciprocal intuitions, observations and experiments generated by their ongoing dialog about perception — about “see-ing with two eyes.” They have been reexamining the knowledge that our experience of the world is binocular and as if we were at the center of a giant perceptual sphere. They came to realize it would be more appropriate to draw on a spherical surface rather than a flat sheet of paper, and found a way of tracing the world directly onto the curved paper without digital intervention, mathematical calculations or drafting tools. The result is the visual and physical experience of a seamless and organic rendering, with no beginning and no end, that does not fail to remind me of Frederick Kiesler’s original concepts in his project of the Endless House, “endless like the human body.” The fascinating part of Ryan and Trevor’s pioneering system is, as art historian Jonathan Crary articulates it, “that they have reintroduced the corporal features of human vision in perspective techniques that had been edited out of our conventional monocular models of repre-sentation where the world is presented as if all parts of it were seen with a uniform clarity when in fact the illusion we have of a clear world is obtained by our eyes darting around producing a synthetic image of an overall clarity." 20 00 Open Access Bailey, Eve 37 03 06 10.21983/P3.0053.1.37 195 201 7 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Would Have Been...An Inventory 1 A01 Camille Lacadée Camille Lacadée 01 eng 03 00 a dark laterite monolith near a library thirty days / twenty-nine people of diverse nationalities and age still to be confirmedan old man collecting booksa library counting exactly seventy thousand books in thirty-six different languages / some unknown languagestwenty-nine return tickets forty chairs and twenty tables poorly made of recycled pine wood a twenty-one point one megapixels full frame complementary metal-oxide-semiconductor digital single-lens reflex camera body with two flash cards of thirty-two gigabits and two batteries / a lens with bel-lows mechanism specially customized for this body / a good tripod with film head a light-emitting diode camera yellow to white light / a cheap tripod for the lighta five in one foldable elliptic white and silver reflector a short shotgun condenser microphone with cable and a smaller ste-reo condenser microphone / a twenty-four bits uncompressed and built-in stereo microphones sound recorder with four different wave-form audio file format modes an acoustically transparent synthetic fur material with soft long hairs 30 00 a dark laterite monolith near a library thirty days / twenty-nine people of diverse nationalities and age still to be confirmedan old man collecting booksa library counting exactly seventy thousand books in thirty-six different languages / some unknown languagestwenty-nine return tickets forty chairs and twenty tables poorly made of recycled pine wood a twenty-one point one megapixels full frame complementary metal-oxide-semiconductor digital single-lens reflex camera body with two flash cards of thirty-two gigabits and two batteries / a lens with bel-lows mechanism specially customized for this body / a good tripod with film head a light-emitting diode camera yellow to white light / a cheap tripod for the lighta five in one foldable elliptic white and silver reflector a short shotgun condenser microphone with cable and a smaller ste-reo condenser microphone / a twenty-four bits uncompressed and built-in stereo microphones sound recorder with four different wave-form audio file format modes an acoustically transparent synthetic fur material with soft long hairs 20 00 Open Access Lacadée, Camille 38 03 06 10.21983/P3.0053.1.38 203 210 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-papers-vol-1/ Brooklyn, NY 04 01 20131023 Lambert, Léopold 02 WORLD 06 15 9780615897189 03 9780615897189 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76454 20 08 20131023 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25564 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25564/1004531.pdf?sequence=1&isAllowed=y 20 08 20131023 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37445 20 08 20131023 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353910 20 08 20131023 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/435 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/01bf848a-4768-4653-89f8-931c869dc28f/download 20 08 20131023 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Funambulist_Papers/agWVEAAAQBAJ 20 08 20131023 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/84bbf59f-1dbb-445e-8f65-f26574f609b6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/84bbf59f-1dbb-445e-8f65-f26574f609b6/84bbf59f-1dbb-445e-8f65-f26574f609b6.pdf 20 08 20131023 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824289 29 ZENODO: download the title https://zenodo.org/records/19824289/files/84bbf59f-1dbb-445e-8f65-f26574f609b6_book.pdf 20 08 20131023 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-papers-vol-1/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0053.1.00.pdf 20 08 20131023 01 urn:uuid:e2209dd7-e528-4217-90fa-a457149efe4d 03 01 01 thoth-work-id urn:uuid:3b41b8de-b9bb-4ebd-a002-52052a9e39a9 01 thoth-publication-id urn:uuid:e2209dd7-e528-4217-90fa-a457149efe4d 15 9780692423240 03 9780692423240 06 10.21983/P3.0098.1.00 01 internal-reference 0098 00 BC 10 01 210 mm 01 21 cm 01 8.27 in 02 148 mm 02 14.8 cm 02 5.83 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Funambulist Papers, Volume 2 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 246 03 12 AMA 10 ARC001000 B2 Built Environments 93 DNL 93 AMA B2 Cultural Studies+Critical Theory 20 architecture; design; politics; bodies 01 06 02 00 03 00 This book is the second volume of texts curated specifically for The Funambulist since 2011. The editorial line of this second series of twenty-six essays is dedicated to philosophical and political questions about bodies. This choice is informed by Léopold Lambert’s own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, buildings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the solution to racism, because that body is always already an abstraction, an effect of law and its violence.” Although the readers won’t find indications about the disciplinary background of the contributors — the “witty” self-descriptions at the end of the book being preferred to academic resumés — the content of the texts will certainly attest to the broad imaginaries at work throughout this volume. Dialogues between dancers and geographers, between artists and biohackers, between architects and philosophers, and so forth, provide the richness of this volume through difference rather than similarity.The Funambulist Papers are published by the CTM Documents Initiative imprint, Center for Transformative Media, Parsons School of Design, The New School. CTM is a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 This book is the second volume of texts curated specifically for The Funambulist since 2011. The editorial line of this second series of twenty-six essays is dedicated to philosophical and political questions about bodies. This choice is informed by Léopold Lambert’s own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, buildings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the solution to racism, because that body is always already an abstraction, an effect of law and its violence.” Although the readers won’t find indications about the disciplinary background of the contributors — the “witty” self-descriptions at the end of the book being preferred to academic resumés — the content of the texts will certainly attest to the broad imaginaries at work throughout this volume. Dialogues between dancers and geographers, between artists and biohackers, between architects and philosophers, and so forth, provide the richness of this volume through difference rather than similarity.The Funambulist Papers are published by the CTM Documents Initiative imprint, Center for Transformative Media, Parsons School of Design, The New School. CTM is a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0098.1.00_frontcover.png 1 03 06 10.21983/P3.0098.1.01 i vi 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Léopold Lambert Léopold Lambert 01 eng 20 00 Open Access Lambert, Léopold 2 03 06 10.21983/P3.0098.1.02 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Corporeal Politics 1 A01 Léopold Lambert Léopold Lambert 01 eng 03 00 This book is the second volume of texts curated specifically for The Funambulist since 2011.1The editorial line of this second series of twenty-six essays is dedicated to philosophical and political ques-tions about bodies. This choice is informed by my own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, build-ings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environ-ment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the so-lution to racism, because that body is always already an abstraction, an effect of law and its violence. 30 00 This book is the second volume of texts curated specifically for The Funambulist since 2011.1The editorial line of this second series of twenty-six essays is dedicated to philosophical and political ques-tions about bodies. This choice is informed by my own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, build-ings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environ-ment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the so-lution to racism, because that body is always already an abstraction, an effect of law and its violence. 20 00 Open Access Lambert, Léopold 3 03 06 10.21983/P3.0098.1.03 8 13 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Profiling Surfaces 1 A01 Mimi Thi Nguyen Mimi Thi Nguyen 40 047426m28 University of Illinois Urbana-Champaign 01 eng 03 00 In June 2010, the New York Times published a feature provocatively titled, “The War is Fake, the Clothing Real,” about David Tabbert, a fashion-conscious costumer for a company that clothes play-acting Afghan or Iraqi insurgents and civilians in war games staged for the United States armed forces.1 “Though Mr. Tabbert, 28, person-ally prefers G-star denim and concert tees, he was on the hunt for 150 dishdashas, the ankle-length garments worn by men in Iraq and elsewhere in the Arab world. In July, actors will wear them in a simu-lated Iraqi village, posing as townspeople, clerics and insurgents at a National Guard training ground in the Midwest.” Of his initial hesita-tion to accept the job, Tabbert notes that while he was not pro-war, “I looked at what we were doing as a positive way to train the soldiers, in light of the fact that they are being deployed anyway.” In educat-ing his eye to create usable profiles, Tabbert studies images on the Internet — “to determine, for example, the exact embroidery on the epaulet of an opposition leader’s military uniform” — and trains oth-ers to do the same, thereby teaching soldiers to distinguish between “bad” and “good” Afghans or Iraqis (or et cetera) by their cover. 30 00 In June 2010, the New York Times published a feature provocatively titled, “The War is Fake, the Clothing Real,” about David Tabbert, a fashion-conscious costumer for a company that clothes play-acting Afghan or Iraqi insurgents and civilians in war games staged for the United States armed forces.1 “Though Mr. Tabbert, 28, person-ally prefers G-star denim and concert tees, he was on the hunt for 150 dishdashas, the ankle-length garments worn by men in Iraq and elsewhere in the Arab world. In July, actors will wear them in a simu-lated Iraqi village, posing as townspeople, clerics and insurgents at a National Guard training ground in the Midwest.” Of his initial hesita-tion to accept the job, Tabbert notes that while he was not pro-war, “I looked at what we were doing as a positive way to train the soldiers, in light of the fact that they are being deployed anyway.” In educat-ing his eye to create usable profiles, Tabbert studies images on the Internet — “to determine, for example, the exact embroidery on the epaulet of an opposition leader’s military uniform” — and trains oth-ers to do the same, thereby teaching soldiers to distinguish between “bad” and “good” Afghans or Iraqis (or et cetera) by their cover. 20 00 Open Access Nguyen, Mimi Thi 4 03 06 10.21983/P3.0098.1.04 14 23 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Caught in the Cloud The Biopolitics of Teargas Warfare 1 A01 Philippe Theophanidis Philippe Theophanidis 40 05fq50484 York University 01 eng 03 00 On June 12, 2013, a two-and-a-half minute amateur recording titled “Taksim’de Gaz saldırısının içinde kalan Kadının acı çığlıkları” was up-loaded on YouTube. It shows what appears to be a sudden as well as massive tear gas assault being conducted against a large crowd gathered somewhere in the vicinity of Istanbul’s Taksim square, where people have been protesting against the planed demolition of Taksim Gezi Park since May.This video, however, is striking in a number of ways. The speed at which the gas completely fills the whole area where the large crowd is assembled is astonishing. Forty seconds after the impact of the first cartridges, the sky is not visible anymore: a yellowish and dense smoke fills the entire frame of the image. Then, the camera turns its attention to a young woman nearby.1 Like the author of the video, she finds herself caught in the chemical cloud, on top of an immo-bilized bus, apparently unable to flee. The rudimentary respiratory mask she’s wearing over her mouth is clearly unable to protect her adequately in this situation. The incapacitating effects of the gas are dramatically illustrated by the acute distress she quickly finds herself in: the video shows her as she falls on her knees, screaming. The ex-perience must be terrifying. In her precarious position, the only thing she could do to avoid breathing the gas would be not to breathe at all which, in turn, would mean death. As Sloterdijk once observed, her body is coerced into collaborating to its own demise. It has no choice but to interface with the chemical agent filling the atmosphere 30 00 On June 12, 2013, a two-and-a-half minute amateur recording titled “Taksim’de Gaz saldırısının içinde kalan Kadının acı çığlıkları” was up-loaded on YouTube. It shows what appears to be a sudden as well as massive tear gas assault being conducted against a large crowd gathered somewhere in the vicinity of Istanbul’s Taksim square, where people have been protesting against the planed demolition of Taksim Gezi Park since May.This video, however, is striking in a number of ways. The speed at which the gas completely fills the whole area where the large crowd is assembled is astonishing. Forty seconds after the impact of the first cartridges, the sky is not visible anymore: a yellowish and dense smoke fills the entire frame of the image. Then, the camera turns its attention to a young woman nearby.1 Like the author of the video, she finds herself caught in the chemical cloud, on top of an immo-bilized bus, apparently unable to flee. The rudimentary respiratory mask she’s wearing over her mouth is clearly unable to protect her adequately in this situation. The incapacitating effects of the gas are dramatically illustrated by the acute distress she quickly finds herself in: the video shows her as she falls on her knees, screaming. The ex-perience must be terrifying. In her precarious position, the only thing she could do to avoid breathing the gas would be not to breathe at all which, in turn, would mean death. As Sloterdijk once observed, her body is coerced into collaborating to its own demise. It has no choice but to interface with the chemical agent filling the atmosphere 20 00 Open Access Theophanidis, Philippe 5 03 06 10.21983/P3.0098.1.05 24 30 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies on the Line Somatic Risk and Psychogeographies in Urban Exploration and Palestinian 'Infiltration' 1 A01 Hanna Baumann Hanna Baumann 40 02jx3x895 University College London 01 eng 03 00 Balbuk, an aboriginal woman in Stephen Muecke’s fictocritical trav-elogue No Road (Bitumen all the Way), is a trespasser, a destroyer of private property. She is also merely maintaining her routine, do-ing what she has always done and asserting her relationship with the land irrespective of changing ownership rights and newly-built obstacles. In a similar manner, the two types of infiltrators I discuss here also defy access restrictions in order to claim a space that has been taken away from them. Taking as my starting point the 2013 documentary Infiltrators by Palestinian artist Khaled Jarrar, I juxta-pose practices and discourses of Palestinians who enter Jerusalem without a permit with those of Urban Exploration (Urb-Ex). Urb-Ex, engaged in predominantly by elites in the cities of the global North, involves the recreational physical exploration of derelict and aban-doned locations in the city, but also of exclusive securitised spaces. The practice has become highly visible due to spectacular actions that generated numerous media reports, but also thanks to self-pro-motional films and blogs. (Incidentally, a low-budget action film also titled Infiltrators about urban explorers was released in 2014). While the physical acts involved in these two types of infiltration are similar, the meanings attached to them differ in many, albeit not all, areas. This is an attempt, then, to link descriptions of somatic experience involved in ‘infiltration’ with the psychogeographies they produce, which are in turn also produced by them 30 00 Balbuk, an aboriginal woman in Stephen Muecke’s fictocritical trav-elogue No Road (Bitumen all the Way), is a trespasser, a destroyer of private property. She is also merely maintaining her routine, do-ing what she has always done and asserting her relationship with the land irrespective of changing ownership rights and newly-built obstacles. In a similar manner, the two types of infiltrators I discuss here also defy access restrictions in order to claim a space that has been taken away from them. Taking as my starting point the 2013 documentary Infiltrators by Palestinian artist Khaled Jarrar, I juxta-pose practices and discourses of Palestinians who enter Jerusalem without a permit with those of Urban Exploration (Urb-Ex). Urb-Ex, engaged in predominantly by elites in the cities of the global North, involves the recreational physical exploration of derelict and aban-doned locations in the city, but also of exclusive securitised spaces. The practice has become highly visible due to spectacular actions that generated numerous media reports, but also thanks to self-pro-motional films and blogs. (Incidentally, a low-budget action film also titled Infiltrators about urban explorers was released in 2014). While the physical acts involved in these two types of infiltration are similar, the meanings attached to them differ in many, albeit not all, areas. This is an attempt, then, to link descriptions of somatic experience involved in ‘infiltration’ with the psychogeographies they produce, which are in turn also produced by them 20 00 Open Access Baumann, Hanna 6 03 06 10.21983/P3.0098.1.06 31 35 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Palestine Made Flesh 1 A01 Sophia Azeb Sophia Azeb 40 024mw5h28 University of Chicago 01 eng 03 00 In a 1998 opinion piece for Egyptian weekly Al Ahram, Edward Said memorably skewered Yasser Arafat’s intention to issue his second declaration of Palestinian statehood within a year. Said wrote, “I say [statehood] with some irony because, at first glance, the notion of declaring a state for a second time (Algiers, November 1998 was the first) must strike the untutored spectator as inherently funny, since in both instances, except for about 60 per cent of Gaza, there is very little land for this state.”1 Indeed, Arafat’s poorly thought out decrees for statehood never succeeded, resulting instead in the expected Is-raeli backlash against Palestinians living under occupation and within the Israeli state. But as Said went on to criticise the most obvious flaws of the illusive ‘statehood’ Arafat strove for, he made quite a pro-found assertion: “If by declaring that what, in effect, is a theoretical abridgement of true statehood is the first step towards the realization of actual statehood, then one might as well hope to extract sunlight from a cucumber on the basis of the sun having entered the cucum-ber in the first place. This is an example not of serious, but of magical thought, something we have no need of now.”2 Lover of poetry and music though he was, Edward Said seriously devalues the radical potential of imagination in his article. Specifically, he slights the role that imagination plays in creating and sustaining a truly autonomous Palestinian nation. A nation with no land but also no borders; a na-tion with no military but also no war, and a nation with no recognition based on the destructive logics of empire. This is all to say, a nation that is lived without restrictions through the innovative and agile prac-tice of imagining otherwise. This brief essay’s exploration of imagin-ing an ‘other’ way to recognize Palestine pays its respects to Edward Said’s dogged pursuit of liberation, but remembers that Edward Said, like millions of other Palestinians, lived, and died, elsewhere. 30 00 In a 1998 opinion piece for Egyptian weekly Al Ahram, Edward Said memorably skewered Yasser Arafat’s intention to issue his second declaration of Palestinian statehood within a year. Said wrote, “I say [statehood] with some irony because, at first glance, the notion of declaring a state for a second time (Algiers, November 1998 was the first) must strike the untutored spectator as inherently funny, since in both instances, except for about 60 per cent of Gaza, there is very little land for this state.”1 Indeed, Arafat’s poorly thought out decrees for statehood never succeeded, resulting instead in the expected Is-raeli backlash against Palestinians living under occupation and within the Israeli state. But as Said went on to criticise the most obvious flaws of the illusive ‘statehood’ Arafat strove for, he made quite a pro-found assertion: “If by declaring that what, in effect, is a theoretical abridgement of true statehood is the first step towards the realization of actual statehood, then one might as well hope to extract sunlight from a cucumber on the basis of the sun having entered the cucum-ber in the first place. This is an example not of serious, but of magical thought, something we have no need of now.”2 Lover of poetry and music though he was, Edward Said seriously devalues the radical potential of imagination in his article. Specifically, he slights the role that imagination plays in creating and sustaining a truly autonomous Palestinian nation. A nation with no land but also no borders; a na-tion with no military but also no war, and a nation with no recognition based on the destructive logics of empire. This is all to say, a nation that is lived without restrictions through the innovative and agile prac-tice of imagining otherwise. This brief essay’s exploration of imagin-ing an ‘other’ way to recognize Palestine pays its respects to Edward Said’s dogged pursuit of liberation, but remembers that Edward Said, like millions of other Palestinians, lived, and died, elsewhere. 20 00 Open Access Azeb, Sophia 7 03 06 10.21983/P3.0098.1.07 36 45 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Corpographies Making Sense of Modern War 1 A01 Derek Gregory Derek Gregory 40 03rmrcq20 University of British Columbia 01 eng 03 00 In his seminal account of the production of space Henri Lefebvre argued that the triumph of abstract space involved a relentless privi-leging of visualization, an aggressive inscription of “phallic brutal-ity,” and a repression, even a “crushing” of the human body. For Lefebvre, significantly, this “space of calculations” first emerged in the years surrounding the First World War, and although he did not address it in any detail, modern war clearly exemplifies these trans-formations: an intensifying reliance on an optical-cartographic imagi-nary, an excessive capacity for spectacular, masculinized violence, and an exorbitant violation of the human body.2 But if we take Neil Smith’s injunctions about the (co-)production of nature seriously, the dialectic of modern war reveals a second narrative, in which what Lefebvre called “the practico-sensory realm,” comes to the fore. For in order to survive ground troops had to invest in modes of appre-hension that extended far beyond the visual; they remained not only vectors of military violence but also among its victims; and their bod-ies have to be comprehended as intensely physiological and affec-tive organisms. 30 00 In his seminal account of the production of space Henri Lefebvre argued that the triumph of abstract space involved a relentless privi-leging of visualization, an aggressive inscription of “phallic brutal-ity,” and a repression, even a “crushing” of the human body. For Lefebvre, significantly, this “space of calculations” first emerged in the years surrounding the First World War, and although he did not address it in any detail, modern war clearly exemplifies these trans-formations: an intensifying reliance on an optical-cartographic imagi-nary, an excessive capacity for spectacular, masculinized violence, and an exorbitant violation of the human body.2 But if we take Neil Smith’s injunctions about the (co-)production of nature seriously, the dialectic of modern war reveals a second narrative, in which what Lefebvre called “the practico-sensory realm,” comes to the fore. For in order to survive ground troops had to invest in modes of appre-hension that extended far beyond the visual; they remained not only vectors of military violence but also among its victims; and their bod-ies have to be comprehended as intensely physiological and affec-tive organisms. 20 00 Open Access Gregory, Derek 8 03 06 10.21983/P3.0098.1.08 46 53 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chamayou's Manhunts From Territory to Space? 1 A01 21 0000000278852444 Stuart Elden Stuart Elden 40 01a77tt86 University of Warwick 40 02bfwt286 Monash University 01 eng 03 00 This brief article discusses Grégoire Chamayou’s Manhunts, a pow-erful account of human inhumanity, the tracking down and killing of other humans. As he says in his second paragraph:To write the history of manhunts is to write one fragment of a long his-tory of violence on the part of the dominant. It is also to write a history of the technologies of predation indispensable for the establishment and reproduction of relationships of domination.1Chamayou is insistent that his focus is not on a metaphor, but on “concrete historical phenomena in which human beings were tracked down, captured, or killed in accord with the forms of the hunt.”2The main problem has to do with the fact that the hunter and the hunted do not belong to different species. Since the distinction be-tween the predator and his prey is not inscribed in nature, the hunt-ing relationship is always susceptible to a reversal of positions. Prey sometimes band together to become hunters in their turn. The his-tory of a power is also the history of the struggles to overthrow it.3His examples are wide-ranging, from Ancient Greece to the Bible, from exile to slavery to colonialism, and to zombies. The book is strikingly illustrated and has plenty of powerful examples. It pro-ceeds in a non-systematic manner, and is suggestive rather than comprehensive in its cases and references. Nonetheless it is a strik-ing and original analysis. 30 00 This brief article discusses Grégoire Chamayou’s Manhunts, a pow-erful account of human inhumanity, the tracking down and killing of other humans. As he says in his second paragraph:To write the history of manhunts is to write one fragment of a long his-tory of violence on the part of the dominant. It is also to write a history of the technologies of predation indispensable for the establishment and reproduction of relationships of domination.1Chamayou is insistent that his focus is not on a metaphor, but on “concrete historical phenomena in which human beings were tracked down, captured, or killed in accord with the forms of the hunt.”2The main problem has to do with the fact that the hunter and the hunted do not belong to different species. Since the distinction be-tween the predator and his prey is not inscribed in nature, the hunt-ing relationship is always susceptible to a reversal of positions. Prey sometimes band together to become hunters in their turn. The his-tory of a power is also the history of the struggles to overthrow it.3His examples are wide-ranging, from Ancient Greece to the Bible, from exile to slavery to colonialism, and to zombies. The book is strikingly illustrated and has plenty of powerful examples. It pro-ceeds in a non-systematic manner, and is suggestive rather than comprehensive in its cases and references. Nonetheless it is a strik-ing and original analysis. 20 00 Open Access Elden, Stuart 9 03 06 10.21983/P3.0098.1.09 54 63 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nazi Architecture as Affective Weapon 1 A01 Gastón Gordillo Gastón Gordillo 40 03rmrcq20 University of British Columbia 01 eng 03 00 One of Adolf Hitler’s most cherished dreams was to build the largest monument ever created. With the guidance of “the chief architect of the Reich,” Albert Speer, he planned to remake Berlin around what he saw as the future core of the Germanic empire: the People’s Hall (Volkshalle), a dome that was to be 290 meters (950 feet) high and able to accommodate 180,000 people. Hitler was so “obsessed” with his gigantic dome, Speer wrote, that he was “deeply irked” when he learned that the Soviet Union had begun constructing an even larger building in Moscow: the Palace of the Soviets. This palace was to be 495 meters (1,624 feet) high and was to be crowned with a huge statue of Lenin. Hitler was furious, for he felt “cheated of the glory of building the tallest monumental structure in the world.” When Hitler ordered the invasion of the Soviet Union in 1941, Speer realized that “Moscow’s rival building” had preyed on Hitler’s mind “more than he had been willing to admit.” As the German armies advanced toward Moscow, Hitler said: “Now this will be the end of their building once and for all." 30 00 One of Adolf Hitler’s most cherished dreams was to build the largest monument ever created. With the guidance of “the chief architect of the Reich,” Albert Speer, he planned to remake Berlin around what he saw as the future core of the Germanic empire: the People’s Hall (Volkshalle), a dome that was to be 290 meters (950 feet) high and able to accommodate 180,000 people. Hitler was so “obsessed” with his gigantic dome, Speer wrote, that he was “deeply irked” when he learned that the Soviet Union had begun constructing an even larger building in Moscow: the Palace of the Soviets. This palace was to be 495 meters (1,624 feet) high and was to be crowned with a huge statue of Lenin. Hitler was furious, for he felt “cheated of the glory of building the tallest monumental structure in the world.” When Hitler ordered the invasion of the Soviet Union in 1941, Speer realized that “Moscow’s rival building” had preyed on Hitler’s mind “more than he had been willing to admit.” As the German armies advanced toward Moscow, Hitler said: “Now this will be the end of their building once and for all." 20 00 Open Access Gordillo, Gastón 10 03 06 10.21983/P3.0098.1.10 64 70 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies at Scene Architecture as Friction 1 A01 Pedro Hernández Martínez Pedro Hernández Martínez 40 05t8bcz72 University of Alicante 01 eng 03 00 One of the ways to understand architecture, usually the first about which we hear when we begin to study at the university, is to see it as a displayed object. This definition leads to an architecture that is equivalent to a habitable sculpture rather than one which aims to re-alize certain requirements. Le Corbusier’s quote in which he defined architecture as “volumes brought together in light” help to clarify and exemplify this issue. In this essay, I am not interested in focusing on this idea, but instead, I will explain several different ways to dissolve the conception of architecture as an object.One way to overcome this primary condition is to understand archi-tecture as a second skin or an element that establishes relationships between the body and the habitat. Architecture is an apparatus to look and build connections with the outside. Therefore, firstly, architecture is used to maximize certain links while refusing others. In this case, the design acquires a presence over the body of the inhabitant. Architec-ture surrounds it, limits it and restricts its connection with the environ-ment; exposing the inseparability of architecture and its violence over the body. 30 00 One of the ways to understand architecture, usually the first about which we hear when we begin to study at the university, is to see it as a displayed object. This definition leads to an architecture that is equivalent to a habitable sculpture rather than one which aims to re-alize certain requirements. Le Corbusier’s quote in which he defined architecture as “volumes brought together in light” help to clarify and exemplify this issue. In this essay, I am not interested in focusing on this idea, but instead, I will explain several different ways to dissolve the conception of architecture as an object.One way to overcome this primary condition is to understand archi-tecture as a second skin or an element that establishes relationships between the body and the habitat. Architecture is an apparatus to look and build connections with the outside. Therefore, firstly, architecture is used to maximize certain links while refusing others. In this case, the design acquires a presence over the body of the inhabitant. Architec-ture surrounds it, limits it and restricts its connection with the environ-ment; exposing the inseparability of architecture and its violence over the body. 20 00 Open Access Martínez, Pedro Hernández 11 03 06 10.21983/P3.0098.1.11 71 76 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Racialized Geographies and the Fear of Ships 1 A01 Tings Chak Tings Chak 01 eng 03 00 It was during rush hour when two hundred white-identified individu-als in a forty-foot wood-framed boat descended onto the streets of Toronto. The people were dressed in white t-shirts and the boat was wrapped in canvas painted red and blue. Together they crossed Queen Street West and occupied four lanes of traffic in one of the busiest commercial districts of the city. The ship ‘docked’ outside of the flagship store of the Hudson Bay Company — a former fur-trading corporation that was once the de facto colonial ruler of the region.1Unlike any other mass action I had been to, the crowd seemed to take over the intersection effortlessly. During the fifteen minutes that they held the site, there was no police intimidation, no harassment from onlookers, and only mild frustration from the ebbing crowds. 30 00 It was during rush hour when two hundred white-identified individu-als in a forty-foot wood-framed boat descended onto the streets of Toronto. The people were dressed in white t-shirts and the boat was wrapped in canvas painted red and blue. Together they crossed Queen Street West and occupied four lanes of traffic in one of the busiest commercial districts of the city. The ship ‘docked’ outside of the flagship store of the Hudson Bay Company — a former fur-trading corporation that was once the de facto colonial ruler of the region.1Unlike any other mass action I had been to, the crowd seemed to take over the intersection effortlessly. During the fifteen minutes that they held the site, there was no police intimidation, no harassment from onlookers, and only mild frustration from the ebbing crowds. 20 00 Open Access Chak, Tings 12 03 06 10.21983/P3.0098.1.12 77 85 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Urban Space and the Production of Gender in Modern Iran 1 A01 Alex Shams Alex Shams 40 024mw5h28 University of Chicago 01 eng 03 00 What does an Islamic urban space look like? This question has dogged intellectuals and authorities in Muslim-majority lands for centuries, but in recent decades has acquired a renewed sense of urgency amid the emergence of modernizing Islamist political move-ments. These groups have not only articulated new visions of the pub-lic sphere, mass politics, and economy, they have also increasingly found themselves in positions of authority to shape the cities, regions, and lands in which they work. As these groups have found themselves in control, the revolutionary mandate (and widespread protest slogan) to imagine a politics “neither East nor West, but Islamic” has taken on new meanings, forcing leaders long focused narrowly on legal or constitutional change to recognize the more diffuse and institutional nature of power, and how much the production of space is a part of it. 30 00 What does an Islamic urban space look like? This question has dogged intellectuals and authorities in Muslim-majority lands for centuries, but in recent decades has acquired a renewed sense of urgency amid the emergence of modernizing Islamist political move-ments. These groups have not only articulated new visions of the pub-lic sphere, mass politics, and economy, they have also increasingly found themselves in positions of authority to shape the cities, regions, and lands in which they work. As these groups have found themselves in control, the revolutionary mandate (and widespread protest slogan) to imagine a politics “neither East nor West, but Islamic” has taken on new meanings, forcing leaders long focused narrowly on legal or constitutional change to recognize the more diffuse and institutional nature of power, and how much the production of space is a part of it. 20 00 Open Access Shams, Alex 13 03 06 10.21983/P3.0098.1.13 86 97 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Norm, Measure of all Things 1 A01 Sofia Lemos Sofia Lemos 01 eng 03 00 Architectural practice and theoretical discourse has considered Ernst Neufert’s canonical Architects’ Data (1936) as a product of the search for an optimal built environment based on accounts of a single normative body. In light of the increasing pervasiveness of bespoke biometric solutions and its applications in architecture and design, this essay seeks to offer a different genealogy of the en-tanglement between architecture standards and statistical methods of measuring the social body. This essay draws a speculative history from the point when modern architecture ceases to account for, to become accountable for normalizing that body.Norms, have long inhabited the architect’s toolset. Pertaining to the carpenter’s square or rule norma is first codified in the early nine-teenth century as ‘standard, pattern, model’ as evidence of its com-mon usage. Whereas the vernacular use of the noun ‘norm’ had to do with geometry, with ‘right angles’ and perpendicular lines, its ad-jectival derivation ‘normal’ is defined in 1828 in the Oxford English Dictionary as ‘constituting, conforming to, not deviating or differ from, the common type or standard.’ The emergence of the adjectival form of the noun is the first historical clue that suggests a symbolic shift that happened throughout the eighteenth century from the language of geometry to that of biological matter. 30 00 Architectural practice and theoretical discourse has considered Ernst Neufert’s canonical Architects’ Data (1936) as a product of the search for an optimal built environment based on accounts of a single normative body. In light of the increasing pervasiveness of bespoke biometric solutions and its applications in architecture and design, this essay seeks to offer a different genealogy of the en-tanglement between architecture standards and statistical methods of measuring the social body. This essay draws a speculative history from the point when modern architecture ceases to account for, to become accountable for normalizing that body.Norms, have long inhabited the architect’s toolset. Pertaining to the carpenter’s square or rule norma is first codified in the early nine-teenth century as ‘standard, pattern, model’ as evidence of its com-mon usage. Whereas the vernacular use of the noun ‘norm’ had to do with geometry, with ‘right angles’ and perpendicular lines, its ad-jectival derivation ‘normal’ is defined in 1828 in the Oxford English Dictionary as ‘constituting, conforming to, not deviating or differ from, the common type or standard.’ The emergence of the adjectival form of the noun is the first historical clue that suggests a symbolic shift that happened throughout the eighteenth century from the language of geometry to that of biological matter. 20 00 Open Access Lemos, Sofia 14 03 06 10.21983/P3.0098.1.14 98 116 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Patterns of Life A Very Short History of Schematic Bodies 1 A01 Grégoire Chamayou Grégoire Chamayou 40 02feahw73 French National Centre for Scientific Research 01 eng 03 00 In his 1956’s Theory of the Dérive, Guy Debord described a Paris map drawn up by an urban sociologist depicting “all the movements made in the space of one year by a student living in the 16th Ar-rondissement”. “Her itinerary,” he remarked, “forms a small triangle with no significant deviations, the three apexes of which are the School of Political Sciences, her residence and that of her piano teacher. The cartographic objectivation of a life form was taken as a starting point for a poetical and political critique of daily life. This was a cri-tique of its narrowness, of its routines, of the reduction of the lifeworld these routine articulate. Debord concluded: “Such data — examples of a modern poetry capable of provoking sharp emotional reactions (in this particular case, outrage at the fact that anyone’s life can be so pathetically limited) [...] will undoubtedly prove useful in developing dérives (drifts)." 30 00 In his 1956’s Theory of the Dérive, Guy Debord described a Paris map drawn up by an urban sociologist depicting “all the movements made in the space of one year by a student living in the 16th Ar-rondissement”. “Her itinerary,” he remarked, “forms a small triangle with no significant deviations, the three apexes of which are the School of Political Sciences, her residence and that of her piano teacher. The cartographic objectivation of a life form was taken as a starting point for a poetical and political critique of daily life. This was a cri-tique of its narrowness, of its routines, of the reduction of the lifeworld these routine articulate. Debord concluded: “Such data — examples of a modern poetry capable of provoking sharp emotional reactions (in this particular case, outrage at the fact that anyone’s life can be so pathetically limited) [...] will undoubtedly prove useful in developing dérives (drifts)." 20 00 Open Access Chamayou, Grégoire 15 03 06 10.21983/P3.0098.1.15 117 126 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bee Workers and the Expanding Edges of Capitalism 1 A01 Renisa Mawani Renisa Mawani 40 03rmrcq20 University of British Columbia 01 eng 03 00 In the past year, newspapers in the United Kingdom have reported new exigencies emerging from commercial and public responses to the global decline in honeybees. To offset the devastating effects of colony collapse disorder (CCD), many British residents have turned to beekeeping as a national, global, and environmental responsibility. Despite good intentions, the “boom in bee keeping,” writes the Daily Mail, “may be doing our countryside more harm than good.” A “surge in the number of bumblebee hives means thousands of colonies are being imported” from elsewhere in Europe, and “many of these are riddled with parasites that pose a threat to native species.”1 A study of 48 colonies brought to the UK from European suppliers has revealed high rates of contamination: 77% were infected by parasites harmful to indigenous bee species in the region. Given recent warnings of the long-term effects of CCD, particularly on agriculture and global food production, the government has been listening attentively. Effective January 1, 2015, non-native bee species will only be used “as an emergency measure if native beces cannot be found.”2 In the coming year, “foreign worker bees will be banned from getting jobs pollinat-ing crops when there are millions of redundant British workers.”3 This law is the most recent addition to a series of UK security regulations — including specified “Border Inspection Points” and required health certificates — aimed at restricting the entry of foreign bees. 30 00 In the past year, newspapers in the United Kingdom have reported new exigencies emerging from commercial and public responses to the global decline in honeybees. To offset the devastating effects of colony collapse disorder (CCD), many British residents have turned to beekeeping as a national, global, and environmental responsibility. Despite good intentions, the “boom in bee keeping,” writes the Daily Mail, “may be doing our countryside more harm than good.” A “surge in the number of bumblebee hives means thousands of colonies are being imported” from elsewhere in Europe, and “many of these are riddled with parasites that pose a threat to native species.”1 A study of 48 colonies brought to the UK from European suppliers has revealed high rates of contamination: 77% were infected by parasites harmful to indigenous bee species in the region. Given recent warnings of the long-term effects of CCD, particularly on agriculture and global food production, the government has been listening attentively. Effective January 1, 2015, non-native bee species will only be used “as an emergency measure if native beces cannot be found.”2 In the coming year, “foreign worker bees will be banned from getting jobs pollinat-ing crops when there are millions of redundant British workers.”3 This law is the most recent addition to a series of UK security regulations — including specified “Border Inspection Points” and required health certificates — aimed at restricting the entry of foreign bees. 20 00 Open Access Mawani, Renisa 16 03 06 10.21983/P3.0098.1.16 127 133 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Is the Problem? 1 A01 Nick Axel Nick Axel 40 053jpjd80 Gerrit Rietveld Academy 01 eng 03 00 The philosophical discourse of biopolitics has led to a rediscovery of political agency inherent to the practice of architecture and the production of built form within an urban context. Its assimilation within contemporary architectural thought has largely been through its em-ployment as a critical approach to ideology, colonization or war, rang-ing from Michel Foucault’s disciplinary institutions to Eyal Weizman’s states of control. Most famously polemicized in the first lines of Walter Benjamin’s 1921 seminal essay “Critique of Violence,” an ethics of life is posited as the dialectical opposite from the violence of power. 30 00 The philosophical discourse of biopolitics has led to a rediscovery of political agency inherent to the practice of architecture and the production of built form within an urban context. Its assimilation within contemporary architectural thought has largely been through its em-ployment as a critical approach to ideology, colonization or war, rang-ing from Michel Foucault’s disciplinary institutions to Eyal Weizman’s states of control. Most famously polemicized in the first lines of Walter Benjamin’s 1921 seminal essay “Critique of Violence,” an ethics of life is posited as the dialectical opposite from the violence of power. 20 00 Open Access Axel, Nick 17 03 06 10.21983/P3.0098.1.17 134 141 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Of Associated Milieus 1 A01 Sarah Choukah Sarah Choukah 40 0161xgx34 Université de Montréal 01 eng 03 00 Recently as I was strolling through my neighborhood in Montreal, I came across a toy I saw that kids played with in the 1980s: the Cozy Coupe car with a bright yellow body and a red foot-powered chas-sis, a popular toy around that time. I remembered how the car’s cockpit allowed interfacing with familiar surroundings while giving a first sense of leg-powered, seated motility outside the house.In a contemporary videogame, by contrast, motility is delegated through the interface to avatars. One would be quick to think that the issue of delegation or that of the materiality of the interaction through the interface has gone from physical, bodily affect (rep-resented by the 1980s Cozy Coupe, among other toys) to that of an increasingly dematerialized network of programmed bodies in games. But the transition can’t be so easily reduced to this. For example, Ingmar Riedel-Kruse and his team at Stanford University have designed a new set of videogames, this time involving the use of living microorganisms instead of electronically programmed sprites or avatars. 30 00 Recently as I was strolling through my neighborhood in Montreal, I came across a toy I saw that kids played with in the 1980s: the Cozy Coupe car with a bright yellow body and a red foot-powered chas-sis, a popular toy around that time. I remembered how the car’s cockpit allowed interfacing with familiar surroundings while giving a first sense of leg-powered, seated motility outside the house.In a contemporary videogame, by contrast, motility is delegated through the interface to avatars. One would be quick to think that the issue of delegation or that of the materiality of the interaction through the interface has gone from physical, bodily affect (rep-resented by the 1980s Cozy Coupe, among other toys) to that of an increasingly dematerialized network of programmed bodies in games. But the transition can’t be so easily reduced to this. For example, Ingmar Riedel-Kruse and his team at Stanford University have designed a new set of videogames, this time involving the use of living microorganisms instead of electronically programmed sprites or avatars. 20 00 Open Access Choukah, Sarah 18 03 06 10.21983/P3.0098.1.18 142 147 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ~~FJORD~~ AND //DESERT// BODIES~~LEAKING~~ AND //CONTAINED// BODIES 1 A01 21 0000000285039208 Andreas Philippopoulos-Mihalopoulos Andreas Philippopoulos-Mihalopoulos 40 04ycpbx82 University of Westminster 01 eng 03 00 My fascination with Norway begun early on, before I ever visited the country. Admittedly, it had little to do with the country itself, and its focus was exclusively cartographic. I spent hours musing over the map with a concentration frissoning through my very body and mak-ing my skin tingle. The reason? To my eyes, Norway looked like a human arm that was being slowly, painfully but pleasurably gnawed by the incoming fjords. Its coast emerges like a moth-eaten lace, with its play of blue and yellow that defies the usual clean-cut depiction of cartographic boundaries. I would then compare Norway’s coast to the line that separates Algeria from Mauritania and Mali, a straight, brutal, metallic line cutting the desert in two arbitrary sides. There, my feeling would be one of cleanliness and purity but also incomprehen-sion, suspicion even at how straight it was. And I would return to the intricacy of the coast. I was 6 years old. 30 00 My fascination with Norway begun early on, before I ever visited the country. Admittedly, it had little to do with the country itself, and its focus was exclusively cartographic. I spent hours musing over the map with a concentration frissoning through my very body and mak-ing my skin tingle. The reason? To my eyes, Norway looked like a human arm that was being slowly, painfully but pleasurably gnawed by the incoming fjords. Its coast emerges like a moth-eaten lace, with its play of blue and yellow that defies the usual clean-cut depiction of cartographic boundaries. I would then compare Norway’s coast to the line that separates Algeria from Mauritania and Mali, a straight, brutal, metallic line cutting the desert in two arbitrary sides. There, my feeling would be one of cleanliness and purity but also incomprehen-sion, suspicion even at how straight it was. And I would return to the intricacy of the coast. I was 6 years old. 20 00 Open Access Philippopoulos-Mihalopoulos, Andreas 19 03 06 10.21983/P3.0098.1.19 148 172 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dress Becomes Body Fashioning the Force of Form 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 03 00 “Cut to invent anew,” proposes Rei Kawakubo, owner and designer of the fashion label Comme des Garçons. “Make an abstract image.” “Break the idea of clothes.”“Break the idea of clothes,” has been Kawakubo’s call for over 40 years, a call that has motivated the creation of some of the most intriguing clothing of the late 20th and early 21st centuries, opening up the field of fashion to an architectural potential perhaps unprecedented. With Kawakubo’s insistence that clothes are not a predetermined category, but a proposition according to which a body is invited to continuously reinvent itself, she has led the way toward a textile-based architecting of experience. In this regard, Kawakubo has pushed and continues to push the Spinozist mantra “we know not what a body can do” to its limit, recasting not only the realm of fashion but the way fashion situ-ates itself in relation to other practices, especially that of architecture. 30 00 “Cut to invent anew,” proposes Rei Kawakubo, owner and designer of the fashion label Comme des Garçons. “Make an abstract image.” “Break the idea of clothes.”“Break the idea of clothes,” has been Kawakubo’s call for over 40 years, a call that has motivated the creation of some of the most intriguing clothing of the late 20th and early 21st centuries, opening up the field of fashion to an architectural potential perhaps unprecedented. With Kawakubo’s insistence that clothes are not a predetermined category, but a proposition according to which a body is invited to continuously reinvent itself, she has led the way toward a textile-based architecting of experience. In this regard, Kawakubo has pushed and continues to push the Spinozist mantra “we know not what a body can do” to its limit, recasting not only the realm of fashion but the way fashion situ-ates itself in relation to other practices, especially that of architecture. 20 00 Open Access Manning, Erin 20 03 06 10.21983/P3.0098.1.20 173 176 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Sensing Body - A Networked Mind 1 A01 Adrienne Hart Adrienne Hart 01 eng 03 00 An inbuilt desire to stray from the path, across the grass in a city park, is one example of how the learned or ‘schooled’ body misbehaves. I’m interested in the tension between our body’s social contract and hard-wired collective behaviour. I’m also interested in what happens when the mind no longer requires a body to communicate. When we sit at a desk computer or peer into a smartphone, our minds log in and our sense of embodied self rapidly decreases. The networked mind locks into a network stream and sends itself to locations far from the host body’s reach. How relevant is the body in an age that allows minds to roam free? Should we fight for the notion of body or are we already floating around in corpses, our vessels proving only to serve some kind of nod or nostalgic reflection to the past? 30 00 An inbuilt desire to stray from the path, across the grass in a city park, is one example of how the learned or ‘schooled’ body misbehaves. I’m interested in the tension between our body’s social contract and hard-wired collective behaviour. I’m also interested in what happens when the mind no longer requires a body to communicate. When we sit at a desk computer or peer into a smartphone, our minds log in and our sense of embodied self rapidly decreases. The networked mind locks into a network stream and sends itself to locations far from the host body’s reach. How relevant is the body in an age that allows minds to roam free? Should we fight for the notion of body or are we already floating around in corpses, our vessels proving only to serve some kind of nod or nostalgic reflection to the past? 20 00 Open Access Hart, Adrienne 21 03 06 10.21983/P3.0098.1.21 177 183 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dream of Flying - Flying Bodies 1 A01 Elena Loizidou Elena Loizidou 40 02mb95055 Birkbeck, University of London 01 eng 03 00 Is it possible to provide a meaningful relation between dreams of flight, a common variation amongst the form of dreams, and the body? And even if we are capable of doing so, even if we assume that we agree as to how we conceive the body, what kind of path-ways such a relation opens up for us? Would we be able to sense ourselves being moved towards different political, ethical, or aes-thetic directions than the ones that we have been given and taught to obey? Even if we are able through the dream of flying, to see how we can break the mould of formality, would we want to shape the break into a new mould, or would we prefer to remain suspended in air, de-fying gravity? And then again, to desire or want to remould the break provides us with an encounter with an agentic self — a self that can direct its future in this or that way, that perhaps, most probably it can’t exert such agency. Indeed, perhaps the most we can learn from this encounter with the dream of flying is precisely to let go of the chimera of remolding — turning into some form or blue print for the future the sense that such a dream may open up to us. 30 00 Is it possible to provide a meaningful relation between dreams of flight, a common variation amongst the form of dreams, and the body? And even if we are capable of doing so, even if we assume that we agree as to how we conceive the body, what kind of path-ways such a relation opens up for us? Would we be able to sense ourselves being moved towards different political, ethical, or aes-thetic directions than the ones that we have been given and taught to obey? Even if we are able through the dream of flying, to see how we can break the mould of formality, would we want to shape the break into a new mould, or would we prefer to remain suspended in air, de-fying gravity? And then again, to desire or want to remould the break provides us with an encounter with an agentic self — a self that can direct its future in this or that way, that perhaps, most probably it can’t exert such agency. Indeed, perhaps the most we can learn from this encounter with the dream of flying is precisely to let go of the chimera of remolding — turning into some form or blue print for the future the sense that such a dream may open up to us. 20 00 Open Access Loizidou, Elena 22 03 06 10.21983/P3.0098.1.22 184 190 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Act of Waiting 1 A01 Joanne Pouzenc Joanne Pouzenc 40 019xp4858 École Nationale Supérieure d'Architecture de Toulouse 01 eng 03 00 In a society obsessed with speed and efficiency, there are not so many situations where a body accepts waiting. Most of the times, when waiting is necessary, waiting spaces try to provide the mini-mum comfort for a body to cope with the context: seats, magazines and smart phones provide the mind the mental escape the body needs to stay uncomplainingly inactive while maintaining a distance from the other waiting bodies.In fact, if the space allocated for waiting doesn’t show the specific characteristics of a waiting area — queuing lines poles, peripheral chairs and benches, red digital numbers and their stressful call — the act of waiting becomes less acceptable: the minds seem to be programmed to react to signals they can clearly identify in order to accept a given situation. Logically, the occupied time feels shorter than the unoccupied time or in other terms, time is running faster when it’s not dedicated to waiting. And the number of distractions needed to occupy the minds keeps diversifying: we are seeing now-adays the multiplication of visual displays in waiting places being oc-cupied by moving advertisements aiming to replace boredom with consumerist desires. 30 00 In a society obsessed with speed and efficiency, there are not so many situations where a body accepts waiting. Most of the times, when waiting is necessary, waiting spaces try to provide the mini-mum comfort for a body to cope with the context: seats, magazines and smart phones provide the mind the mental escape the body needs to stay uncomplainingly inactive while maintaining a distance from the other waiting bodies.In fact, if the space allocated for waiting doesn’t show the specific characteristics of a waiting area — queuing lines poles, peripheral chairs and benches, red digital numbers and their stressful call — the act of waiting becomes less acceptable: the minds seem to be programmed to react to signals they can clearly identify in order to accept a given situation. Logically, the occupied time feels shorter than the unoccupied time or in other terms, time is running faster when it’s not dedicated to waiting. And the number of distractions needed to occupy the minds keeps diversifying: we are seeing now-adays the multiplication of visual displays in waiting places being oc-cupied by moving advertisements aiming to replace boredom with consumerist desires. 20 00 Open Access Pouzenc, Joanne 23 03 06 10.21983/P3.0098.1.23 191 197 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies in Sympathy for Just One Night 1 A01 Chrysanthi Nigianni Chrysanthi Nigianni 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 I felt wrapped in its atmosphere, folded in its mood. Toute une nuit (1982) is a film about what happens between two. Happening as repetition. Repetition as stylisation. A stylisation of affect. Affect as image. Sentimentality as aesthetics. Chantal Akerman’s film feels like a choreography of twos, a dance of portraits of intimacy, a diagram of love. 55 dramatic encounters, embraces and separations involving 75 nameless characters, usually couples, lasting anywhere from 30 seconds to five minutes, all arranged in Toute une nuit: all night long, all in a single night.1If we could find a plot or a subject in this film it would be as Catherine Fowler (2003) comments “love, loneliness, eroticism and insomnia,” and throughout its 90-minute duration the film seems to be asking, acting and re-enacting persistently the same question: what is a rela-tion? A question that acquires a heightened tension by being repeat-ed in time, in just this time, in the whole of one night, Toute une nuit. 30 00 I felt wrapped in its atmosphere, folded in its mood. Toute une nuit (1982) is a film about what happens between two. Happening as repetition. Repetition as stylisation. A stylisation of affect. Affect as image. Sentimentality as aesthetics. Chantal Akerman’s film feels like a choreography of twos, a dance of portraits of intimacy, a diagram of love. 55 dramatic encounters, embraces and separations involving 75 nameless characters, usually couples, lasting anywhere from 30 seconds to five minutes, all arranged in Toute une nuit: all night long, all in a single night.1If we could find a plot or a subject in this film it would be as Catherine Fowler (2003) comments “love, loneliness, eroticism and insomnia,” and throughout its 90-minute duration the film seems to be asking, acting and re-enacting persistently the same question: what is a rela-tion? A question that acquires a heightened tension by being repeat-ed in time, in just this time, in the whole of one night, Toute une nuit. 20 00 Open Access Nigianni, Chrysanthi 24 03 06 10.21983/P3.0098.1.24 198 203 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Framing the Weird Body in Contemporary European Cinema 1 A01 Ina Karkani Ina Karkani 40 05f0yaq80 Stockholm University 01 eng 03 00 New filmmaking practices within contemporary arthouse cinema are responding to current socio-political realities with new cinematic im-ages of the human body. They center around grotesque characters embedded within plots of comic absurdity. Particularly, since 2009, a Greek film trend has attracted international attention with the film fes-tival premiere of Giorgos Lanthimos’s social thriller Dogtooth (2009) and its follow-ups Alps (2011) and Attenberg (2010) by Athina Rachel Tsangaris. The films have been produced in the midst of, and as a response to, the current Greek social crisis, which involves an eco-nomic turmoil of rapid transformation and neo-liberalization in a time of ongoing bankruptcy. 30 00 New filmmaking practices within contemporary arthouse cinema are responding to current socio-political realities with new cinematic im-ages of the human body. They center around grotesque characters embedded within plots of comic absurdity. Particularly, since 2009, a Greek film trend has attracted international attention with the film fes-tival premiere of Giorgos Lanthimos’s social thriller Dogtooth (2009) and its follow-ups Alps (2011) and Attenberg (2010) by Athina Rachel Tsangaris. The films have been produced in the midst of, and as a response to, the current Greek social crisis, which involves an eco-nomic turmoil of rapid transformation and neo-liberalization in a time of ongoing bankruptcy. 20 00 Open Access Karkani, Ina 25 03 06 10.21983/P3.0098.1.25 204 211 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building Body Two Brief Treatments on Landing Site Theory 1 A01 Alan Prohm Alan Prohm 40 010nsgg66 Technical University of Braunschweig 01 eng 03 00 The variable that in the end prevents happening, defined as the swarm on-rush of events through presence, from collapsing totally into automaticity, destiny, is landing, the surface and voluming of it, and the voluming full of tentativity and potential that flowers in its wake, imaging along. The degree and mode of awareness (reflexiv-ity, imaging) on the landing as it happens, or you/we have it happen as. And world becomes:- Perceptual landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Imaging landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Dimensionalizing landing site: perceptual to imaging, imaging to imaging. 30 00 The variable that in the end prevents happening, defined as the swarm on-rush of events through presence, from collapsing totally into automaticity, destiny, is landing, the surface and voluming of it, and the voluming full of tentativity and potential that flowers in its wake, imaging along. The degree and mode of awareness (reflexiv-ity, imaging) on the landing as it happens, or you/we have it happen as. And world becomes:- Perceptual landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Imaging landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Dimensionalizing landing site: perceptual to imaging, imaging to imaging. 20 00 Open Access Prohm, Alan 26 03 06 10.21983/P3.0098.1.26 212 223 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A.V. (Anthropocosmogonic Vastupurushamanism) 1 A01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 01 eng 03 00 “The first volume of The Funambulist Papers is almost published, and I was coming back to you to know if your text for the second one will still be ready to be published around December as we originally talked about,” wrote Léopold Lambert in an October 2013 E-mail. “Taking the risk of being a bit redundant,” he continued, “I’d like to in-sist on the importance of addressing the question of the body, [...] as the essays will come from very different people and it would therefore be great to have [one] object of investigation with so many different approaches.3” Also sprach der Seiltänzer: thus spoke the tightrope-walker, and in this way — ambulatorily, via agchibasien — was the funis (‘thread’) furnished for the present foray (this very brief essay). 30 00 “The first volume of The Funambulist Papers is almost published, and I was coming back to you to know if your text for the second one will still be ready to be published around December as we originally talked about,” wrote Léopold Lambert in an October 2013 E-mail. “Taking the risk of being a bit redundant,” he continued, “I’d like to in-sist on the importance of addressing the question of the body, [...] as the essays will come from very different people and it would therefore be great to have [one] object of investigation with so many different approaches.3” Also sprach der Seiltänzer: thus spoke the tightrope-walker, and in this way — ambulatorily, via agchibasien — was the funis (‘thread’) furnished for the present foray (this very brief essay). 20 00 Open Access Mellamphy, Dan 27 03 06 10.21983/P3.0098.1.27 224 235 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ghost in the Shell-Game On the Mètic Mode of Existence, Inception and Innocence 1 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 I begin, then, properly, in and with the proper voice (that of Pierre Ménard).1 To begin, then, anew: The purpose of this study is to create an awareness of the significance of technical objects. Culture has become a system of defense against technics; now, this defense appears as a defense of man based on the assumption that technical objects contain no human reality. We should like to show that culture fails to take into account that there is a human reality in technical reality and that, if it is to fully play its role, culture must come to incorporate technical entities into its body of knowledge and its sense of values. Recognition of the modes of existence of technical objects should be the result of philosophical thought, which in this respect has to achieve what is analogous to the role it played in the abolition of slavery and in the affirmation of the val-ue of the human person. The opposition established between culture and technology, between man and machine, is false and is not well-founded; what underlies it is mere ignorance or resentment. Behind the mask of a facile humanism it hides a reality that is rich in human efforts and natural forces, a reality that constitutes the world of techni-cal objects, mediators between nature and man.2 In Mamoru Oshii’s Inosensu (a.k.a. Ghost in the Shell 2),3 the inextricability of human and technical realities suggests that the established opposition between culture and nature, human and machine, is not only easily subverted, but ultimately so falsifiable that it can be technically manipulated so as to shed light on a dimension that remains indiscernible to human-ism: that it is by way of technical objects and technical existence that human beings most authentically relate to their living milieu and to living processes. Humans play with dolls/automata/avatars and wear masks (faces, façades) as part of their everyday lives, but they are ultimately blind to the technical connectors that animate them: “Life and death come and go like marionettes dancing on a table. Once their strings are cut, they easily crumble.” 30 00 I begin, then, properly, in and with the proper voice (that of Pierre Ménard).1 To begin, then, anew: The purpose of this study is to create an awareness of the significance of technical objects. Culture has become a system of defense against technics; now, this defense appears as a defense of man based on the assumption that technical objects contain no human reality. We should like to show that culture fails to take into account that there is a human reality in technical reality and that, if it is to fully play its role, culture must come to incorporate technical entities into its body of knowledge and its sense of values. Recognition of the modes of existence of technical objects should be the result of philosophical thought, which in this respect has to achieve what is analogous to the role it played in the abolition of slavery and in the affirmation of the val-ue of the human person. The opposition established between culture and technology, between man and machine, is false and is not well-founded; what underlies it is mere ignorance or resentment. Behind the mask of a facile humanism it hides a reality that is rich in human efforts and natural forces, a reality that constitutes the world of techni-cal objects, mediators between nature and man.2 In Mamoru Oshii’s Inosensu (a.k.a. Ghost in the Shell 2),3 the inextricability of human and technical realities suggests that the established opposition between culture and nature, human and machine, is not only easily subverted, but ultimately so falsifiable that it can be technically manipulated so as to shed light on a dimension that remains indiscernible to human-ism: that it is by way of technical objects and technical existence that human beings most authentically relate to their living milieu and to living processes. Humans play with dolls/automata/avatars and wear masks (faces, façades) as part of their everyday lives, but they are ultimately blind to the technical connectors that animate them: “Life and death come and go like marionettes dancing on a table. Once their strings are cut, they easily crumble.” 20 00 Open Access Mellamphy, Nandita Biswas 28 03 06 10.21983/P3.0098.1.28 236 240 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Portfolio Body Weight 1 A01 Seher Shah Seher Shah 40 04mxsc976 Rhode Island School of Design 01 eng 20 00 Open Access Shah, Seher 29 03 06 10.21983/P3.0098.1.29 241 245 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Léopold Lambert Léopold Lambert 01 eng 20 00 Open Access Lambert, Léopold 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-papers-vol-2/ Brooklyn, NY 04 01 20150409 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692423249 20 08 20150409 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-funambulist-papers-volume-2 20 08 20150409 02 24.00 USD WORLD urn:uuid:3970a847-7e13-4219-9f50-b74a12385b11 03 01 01 thoth-work-id urn:uuid:3b41b8de-b9bb-4ebd-a002-52052a9e39a9 01 thoth-publication-id urn:uuid:3970a847-7e13-4219-9f50-b74a12385b11 06 10.21983/P3.0098.1.00 01 internal-reference 0098 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Funambulist Papers, Volume 2 1 B01 Léopold Lambert Léopold Lambert 01 eng 00 246 03 12 AMA 10 ARC001000 B2 Built Environments 93 DNL 93 AMA B2 Cultural Studies+Critical Theory 20 architecture; design; politics; bodies 01 06 02 00 03 00 This book is the second volume of texts curated specifically for The Funambulist since 2011. The editorial line of this second series of twenty-six essays is dedicated to philosophical and political questions about bodies. This choice is informed by Léopold Lambert’s own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, buildings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the solution to racism, because that body is always already an abstraction, an effect of law and its violence.” Although the readers won’t find indications about the disciplinary background of the contributors — the “witty” self-descriptions at the end of the book being preferred to academic resumés — the content of the texts will certainly attest to the broad imaginaries at work throughout this volume. Dialogues between dancers and geographers, between artists and biohackers, between architects and philosophers, and so forth, provide the richness of this volume through difference rather than similarity.The Funambulist Papers are published by the CTM Documents Initiative imprint, Center for Transformative Media, Parsons School of Design, The New School. CTM is a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 30 00 This book is the second volume of texts curated specifically for The Funambulist since 2011. The editorial line of this second series of twenty-six essays is dedicated to philosophical and political questions about bodies. This choice is informed by Léopold Lambert’s own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, buildings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the solution to racism, because that body is always already an abstraction, an effect of law and its violence.” Although the readers won’t find indications about the disciplinary background of the contributors — the “witty” self-descriptions at the end of the book being preferred to academic resumés — the content of the texts will certainly attest to the broad imaginaries at work throughout this volume. Dialogues between dancers and geographers, between artists and biohackers, between architects and philosophers, and so forth, provide the richness of this volume through difference rather than similarity.The Funambulist Papers are published by the CTM Documents Initiative imprint, Center for Transformative Media, Parsons School of Design, The New School. CTM is a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0098.1.00_frontcover.png 1 03 06 10.21983/P3.0098.1.01 i vi 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Léopold Lambert Léopold Lambert 01 eng 20 00 Open Access Lambert, Léopold 2 03 06 10.21983/P3.0098.1.02 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Corporeal Politics 1 A01 Léopold Lambert Léopold Lambert 01 eng 03 00 This book is the second volume of texts curated specifically for The Funambulist since 2011.1The editorial line of this second series of twenty-six essays is dedicated to philosophical and political ques-tions about bodies. This choice is informed by my own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, build-ings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environ-ment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the so-lution to racism, because that body is always already an abstraction, an effect of law and its violence. 30 00 This book is the second volume of texts curated specifically for The Funambulist since 2011.1The editorial line of this second series of twenty-six essays is dedicated to philosophical and political ques-tions about bodies. This choice is informed by my own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, build-ings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environ-ment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the so-lution to racism, because that body is always already an abstraction, an effect of law and its violence. 20 00 Open Access Lambert, Léopold 3 03 06 10.21983/P3.0098.1.03 8 13 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Profiling Surfaces 1 A01 Mimi Thi Nguyen Mimi Thi Nguyen 40 047426m28 University of Illinois Urbana-Champaign 01 eng 03 00 In June 2010, the New York Times published a feature provocatively titled, “The War is Fake, the Clothing Real,” about David Tabbert, a fashion-conscious costumer for a company that clothes play-acting Afghan or Iraqi insurgents and civilians in war games staged for the United States armed forces.1 “Though Mr. Tabbert, 28, person-ally prefers G-star denim and concert tees, he was on the hunt for 150 dishdashas, the ankle-length garments worn by men in Iraq and elsewhere in the Arab world. In July, actors will wear them in a simu-lated Iraqi village, posing as townspeople, clerics and insurgents at a National Guard training ground in the Midwest.” Of his initial hesita-tion to accept the job, Tabbert notes that while he was not pro-war, “I looked at what we were doing as a positive way to train the soldiers, in light of the fact that they are being deployed anyway.” In educat-ing his eye to create usable profiles, Tabbert studies images on the Internet — “to determine, for example, the exact embroidery on the epaulet of an opposition leader’s military uniform” — and trains oth-ers to do the same, thereby teaching soldiers to distinguish between “bad” and “good” Afghans or Iraqis (or et cetera) by their cover. 30 00 In June 2010, the New York Times published a feature provocatively titled, “The War is Fake, the Clothing Real,” about David Tabbert, a fashion-conscious costumer for a company that clothes play-acting Afghan or Iraqi insurgents and civilians in war games staged for the United States armed forces.1 “Though Mr. Tabbert, 28, person-ally prefers G-star denim and concert tees, he was on the hunt for 150 dishdashas, the ankle-length garments worn by men in Iraq and elsewhere in the Arab world. In July, actors will wear them in a simu-lated Iraqi village, posing as townspeople, clerics and insurgents at a National Guard training ground in the Midwest.” Of his initial hesita-tion to accept the job, Tabbert notes that while he was not pro-war, “I looked at what we were doing as a positive way to train the soldiers, in light of the fact that they are being deployed anyway.” In educat-ing his eye to create usable profiles, Tabbert studies images on the Internet — “to determine, for example, the exact embroidery on the epaulet of an opposition leader’s military uniform” — and trains oth-ers to do the same, thereby teaching soldiers to distinguish between “bad” and “good” Afghans or Iraqis (or et cetera) by their cover. 20 00 Open Access Nguyen, Mimi Thi 4 03 06 10.21983/P3.0098.1.04 14 23 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Caught in the Cloud The Biopolitics of Teargas Warfare 1 A01 Philippe Theophanidis Philippe Theophanidis 40 05fq50484 York University 01 eng 03 00 On June 12, 2013, a two-and-a-half minute amateur recording titled “Taksim’de Gaz saldırısının içinde kalan Kadının acı çığlıkları” was up-loaded on YouTube. It shows what appears to be a sudden as well as massive tear gas assault being conducted against a large crowd gathered somewhere in the vicinity of Istanbul’s Taksim square, where people have been protesting against the planed demolition of Taksim Gezi Park since May.This video, however, is striking in a number of ways. The speed at which the gas completely fills the whole area where the large crowd is assembled is astonishing. Forty seconds after the impact of the first cartridges, the sky is not visible anymore: a yellowish and dense smoke fills the entire frame of the image. Then, the camera turns its attention to a young woman nearby.1 Like the author of the video, she finds herself caught in the chemical cloud, on top of an immo-bilized bus, apparently unable to flee. The rudimentary respiratory mask she’s wearing over her mouth is clearly unable to protect her adequately in this situation. The incapacitating effects of the gas are dramatically illustrated by the acute distress she quickly finds herself in: the video shows her as she falls on her knees, screaming. The ex-perience must be terrifying. In her precarious position, the only thing she could do to avoid breathing the gas would be not to breathe at all which, in turn, would mean death. As Sloterdijk once observed, her body is coerced into collaborating to its own demise. It has no choice but to interface with the chemical agent filling the atmosphere 30 00 On June 12, 2013, a two-and-a-half minute amateur recording titled “Taksim’de Gaz saldırısının içinde kalan Kadının acı çığlıkları” was up-loaded on YouTube. It shows what appears to be a sudden as well as massive tear gas assault being conducted against a large crowd gathered somewhere in the vicinity of Istanbul’s Taksim square, where people have been protesting against the planed demolition of Taksim Gezi Park since May.This video, however, is striking in a number of ways. The speed at which the gas completely fills the whole area where the large crowd is assembled is astonishing. Forty seconds after the impact of the first cartridges, the sky is not visible anymore: a yellowish and dense smoke fills the entire frame of the image. Then, the camera turns its attention to a young woman nearby.1 Like the author of the video, she finds herself caught in the chemical cloud, on top of an immo-bilized bus, apparently unable to flee. The rudimentary respiratory mask she’s wearing over her mouth is clearly unable to protect her adequately in this situation. The incapacitating effects of the gas are dramatically illustrated by the acute distress she quickly finds herself in: the video shows her as she falls on her knees, screaming. The ex-perience must be terrifying. In her precarious position, the only thing she could do to avoid breathing the gas would be not to breathe at all which, in turn, would mean death. As Sloterdijk once observed, her body is coerced into collaborating to its own demise. It has no choice but to interface with the chemical agent filling the atmosphere 20 00 Open Access Theophanidis, Philippe 5 03 06 10.21983/P3.0098.1.05 24 30 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies on the Line Somatic Risk and Psychogeographies in Urban Exploration and Palestinian 'Infiltration' 1 A01 Hanna Baumann Hanna Baumann 40 02jx3x895 University College London 01 eng 03 00 Balbuk, an aboriginal woman in Stephen Muecke’s fictocritical trav-elogue No Road (Bitumen all the Way), is a trespasser, a destroyer of private property. She is also merely maintaining her routine, do-ing what she has always done and asserting her relationship with the land irrespective of changing ownership rights and newly-built obstacles. In a similar manner, the two types of infiltrators I discuss here also defy access restrictions in order to claim a space that has been taken away from them. Taking as my starting point the 2013 documentary Infiltrators by Palestinian artist Khaled Jarrar, I juxta-pose practices and discourses of Palestinians who enter Jerusalem without a permit with those of Urban Exploration (Urb-Ex). Urb-Ex, engaged in predominantly by elites in the cities of the global North, involves the recreational physical exploration of derelict and aban-doned locations in the city, but also of exclusive securitised spaces. The practice has become highly visible due to spectacular actions that generated numerous media reports, but also thanks to self-pro-motional films and blogs. (Incidentally, a low-budget action film also titled Infiltrators about urban explorers was released in 2014). While the physical acts involved in these two types of infiltration are similar, the meanings attached to them differ in many, albeit not all, areas. This is an attempt, then, to link descriptions of somatic experience involved in ‘infiltration’ with the psychogeographies they produce, which are in turn also produced by them 30 00 Balbuk, an aboriginal woman in Stephen Muecke’s fictocritical trav-elogue No Road (Bitumen all the Way), is a trespasser, a destroyer of private property. She is also merely maintaining her routine, do-ing what she has always done and asserting her relationship with the land irrespective of changing ownership rights and newly-built obstacles. In a similar manner, the two types of infiltrators I discuss here also defy access restrictions in order to claim a space that has been taken away from them. Taking as my starting point the 2013 documentary Infiltrators by Palestinian artist Khaled Jarrar, I juxta-pose practices and discourses of Palestinians who enter Jerusalem without a permit with those of Urban Exploration (Urb-Ex). Urb-Ex, engaged in predominantly by elites in the cities of the global North, involves the recreational physical exploration of derelict and aban-doned locations in the city, but also of exclusive securitised spaces. The practice has become highly visible due to spectacular actions that generated numerous media reports, but also thanks to self-pro-motional films and blogs. (Incidentally, a low-budget action film also titled Infiltrators about urban explorers was released in 2014). While the physical acts involved in these two types of infiltration are similar, the meanings attached to them differ in many, albeit not all, areas. This is an attempt, then, to link descriptions of somatic experience involved in ‘infiltration’ with the psychogeographies they produce, which are in turn also produced by them 20 00 Open Access Baumann, Hanna 6 03 06 10.21983/P3.0098.1.06 31 35 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Palestine Made Flesh 1 A01 Sophia Azeb Sophia Azeb 40 024mw5h28 University of Chicago 01 eng 03 00 In a 1998 opinion piece for Egyptian weekly Al Ahram, Edward Said memorably skewered Yasser Arafat’s intention to issue his second declaration of Palestinian statehood within a year. Said wrote, “I say [statehood] with some irony because, at first glance, the notion of declaring a state for a second time (Algiers, November 1998 was the first) must strike the untutored spectator as inherently funny, since in both instances, except for about 60 per cent of Gaza, there is very little land for this state.”1 Indeed, Arafat’s poorly thought out decrees for statehood never succeeded, resulting instead in the expected Is-raeli backlash against Palestinians living under occupation and within the Israeli state. But as Said went on to criticise the most obvious flaws of the illusive ‘statehood’ Arafat strove for, he made quite a pro-found assertion: “If by declaring that what, in effect, is a theoretical abridgement of true statehood is the first step towards the realization of actual statehood, then one might as well hope to extract sunlight from a cucumber on the basis of the sun having entered the cucum-ber in the first place. This is an example not of serious, but of magical thought, something we have no need of now.”2 Lover of poetry and music though he was, Edward Said seriously devalues the radical potential of imagination in his article. Specifically, he slights the role that imagination plays in creating and sustaining a truly autonomous Palestinian nation. A nation with no land but also no borders; a na-tion with no military but also no war, and a nation with no recognition based on the destructive logics of empire. This is all to say, a nation that is lived without restrictions through the innovative and agile prac-tice of imagining otherwise. This brief essay’s exploration of imagin-ing an ‘other’ way to recognize Palestine pays its respects to Edward Said’s dogged pursuit of liberation, but remembers that Edward Said, like millions of other Palestinians, lived, and died, elsewhere. 30 00 In a 1998 opinion piece for Egyptian weekly Al Ahram, Edward Said memorably skewered Yasser Arafat’s intention to issue his second declaration of Palestinian statehood within a year. Said wrote, “I say [statehood] with some irony because, at first glance, the notion of declaring a state for a second time (Algiers, November 1998 was the first) must strike the untutored spectator as inherently funny, since in both instances, except for about 60 per cent of Gaza, there is very little land for this state.”1 Indeed, Arafat’s poorly thought out decrees for statehood never succeeded, resulting instead in the expected Is-raeli backlash against Palestinians living under occupation and within the Israeli state. But as Said went on to criticise the most obvious flaws of the illusive ‘statehood’ Arafat strove for, he made quite a pro-found assertion: “If by declaring that what, in effect, is a theoretical abridgement of true statehood is the first step towards the realization of actual statehood, then one might as well hope to extract sunlight from a cucumber on the basis of the sun having entered the cucum-ber in the first place. This is an example not of serious, but of magical thought, something we have no need of now.”2 Lover of poetry and music though he was, Edward Said seriously devalues the radical potential of imagination in his article. Specifically, he slights the role that imagination plays in creating and sustaining a truly autonomous Palestinian nation. A nation with no land but also no borders; a na-tion with no military but also no war, and a nation with no recognition based on the destructive logics of empire. This is all to say, a nation that is lived without restrictions through the innovative and agile prac-tice of imagining otherwise. This brief essay’s exploration of imagin-ing an ‘other’ way to recognize Palestine pays its respects to Edward Said’s dogged pursuit of liberation, but remembers that Edward Said, like millions of other Palestinians, lived, and died, elsewhere. 20 00 Open Access Azeb, Sophia 7 03 06 10.21983/P3.0098.1.07 36 45 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Corpographies Making Sense of Modern War 1 A01 Derek Gregory Derek Gregory 40 03rmrcq20 University of British Columbia 01 eng 03 00 In his seminal account of the production of space Henri Lefebvre argued that the triumph of abstract space involved a relentless privi-leging of visualization, an aggressive inscription of “phallic brutal-ity,” and a repression, even a “crushing” of the human body. For Lefebvre, significantly, this “space of calculations” first emerged in the years surrounding the First World War, and although he did not address it in any detail, modern war clearly exemplifies these trans-formations: an intensifying reliance on an optical-cartographic imagi-nary, an excessive capacity for spectacular, masculinized violence, and an exorbitant violation of the human body.2 But if we take Neil Smith’s injunctions about the (co-)production of nature seriously, the dialectic of modern war reveals a second narrative, in which what Lefebvre called “the practico-sensory realm,” comes to the fore. For in order to survive ground troops had to invest in modes of appre-hension that extended far beyond the visual; they remained not only vectors of military violence but also among its victims; and their bod-ies have to be comprehended as intensely physiological and affec-tive organisms. 30 00 In his seminal account of the production of space Henri Lefebvre argued that the triumph of abstract space involved a relentless privi-leging of visualization, an aggressive inscription of “phallic brutal-ity,” and a repression, even a “crushing” of the human body. For Lefebvre, significantly, this “space of calculations” first emerged in the years surrounding the First World War, and although he did not address it in any detail, modern war clearly exemplifies these trans-formations: an intensifying reliance on an optical-cartographic imagi-nary, an excessive capacity for spectacular, masculinized violence, and an exorbitant violation of the human body.2 But if we take Neil Smith’s injunctions about the (co-)production of nature seriously, the dialectic of modern war reveals a second narrative, in which what Lefebvre called “the practico-sensory realm,” comes to the fore. For in order to survive ground troops had to invest in modes of appre-hension that extended far beyond the visual; they remained not only vectors of military violence but also among its victims; and their bod-ies have to be comprehended as intensely physiological and affec-tive organisms. 20 00 Open Access Gregory, Derek 8 03 06 10.21983/P3.0098.1.08 46 53 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chamayou's Manhunts From Territory to Space? 1 A01 21 0000000278852444 Stuart Elden Stuart Elden 40 01a77tt86 University of Warwick 40 02bfwt286 Monash University 01 eng 03 00 This brief article discusses Grégoire Chamayou’s Manhunts, a pow-erful account of human inhumanity, the tracking down and killing of other humans. As he says in his second paragraph:To write the history of manhunts is to write one fragment of a long his-tory of violence on the part of the dominant. It is also to write a history of the technologies of predation indispensable for the establishment and reproduction of relationships of domination.1Chamayou is insistent that his focus is not on a metaphor, but on “concrete historical phenomena in which human beings were tracked down, captured, or killed in accord with the forms of the hunt.”2The main problem has to do with the fact that the hunter and the hunted do not belong to different species. Since the distinction be-tween the predator and his prey is not inscribed in nature, the hunt-ing relationship is always susceptible to a reversal of positions. Prey sometimes band together to become hunters in their turn. The his-tory of a power is also the history of the struggles to overthrow it.3His examples are wide-ranging, from Ancient Greece to the Bible, from exile to slavery to colonialism, and to zombies. The book is strikingly illustrated and has plenty of powerful examples. It pro-ceeds in a non-systematic manner, and is suggestive rather than comprehensive in its cases and references. Nonetheless it is a strik-ing and original analysis. 30 00 This brief article discusses Grégoire Chamayou’s Manhunts, a pow-erful account of human inhumanity, the tracking down and killing of other humans. As he says in his second paragraph:To write the history of manhunts is to write one fragment of a long his-tory of violence on the part of the dominant. It is also to write a history of the technologies of predation indispensable for the establishment and reproduction of relationships of domination.1Chamayou is insistent that his focus is not on a metaphor, but on “concrete historical phenomena in which human beings were tracked down, captured, or killed in accord with the forms of the hunt.”2The main problem has to do with the fact that the hunter and the hunted do not belong to different species. Since the distinction be-tween the predator and his prey is not inscribed in nature, the hunt-ing relationship is always susceptible to a reversal of positions. Prey sometimes band together to become hunters in their turn. The his-tory of a power is also the history of the struggles to overthrow it.3His examples are wide-ranging, from Ancient Greece to the Bible, from exile to slavery to colonialism, and to zombies. The book is strikingly illustrated and has plenty of powerful examples. It pro-ceeds in a non-systematic manner, and is suggestive rather than comprehensive in its cases and references. Nonetheless it is a strik-ing and original analysis. 20 00 Open Access Elden, Stuart 9 03 06 10.21983/P3.0098.1.09 54 63 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Nazi Architecture as Affective Weapon 1 A01 Gastón Gordillo Gastón Gordillo 40 03rmrcq20 University of British Columbia 01 eng 03 00 One of Adolf Hitler’s most cherished dreams was to build the largest monument ever created. With the guidance of “the chief architect of the Reich,” Albert Speer, he planned to remake Berlin around what he saw as the future core of the Germanic empire: the People’s Hall (Volkshalle), a dome that was to be 290 meters (950 feet) high and able to accommodate 180,000 people. Hitler was so “obsessed” with his gigantic dome, Speer wrote, that he was “deeply irked” when he learned that the Soviet Union had begun constructing an even larger building in Moscow: the Palace of the Soviets. This palace was to be 495 meters (1,624 feet) high and was to be crowned with a huge statue of Lenin. Hitler was furious, for he felt “cheated of the glory of building the tallest monumental structure in the world.” When Hitler ordered the invasion of the Soviet Union in 1941, Speer realized that “Moscow’s rival building” had preyed on Hitler’s mind “more than he had been willing to admit.” As the German armies advanced toward Moscow, Hitler said: “Now this will be the end of their building once and for all." 30 00 One of Adolf Hitler’s most cherished dreams was to build the largest monument ever created. With the guidance of “the chief architect of the Reich,” Albert Speer, he planned to remake Berlin around what he saw as the future core of the Germanic empire: the People’s Hall (Volkshalle), a dome that was to be 290 meters (950 feet) high and able to accommodate 180,000 people. Hitler was so “obsessed” with his gigantic dome, Speer wrote, that he was “deeply irked” when he learned that the Soviet Union had begun constructing an even larger building in Moscow: the Palace of the Soviets. This palace was to be 495 meters (1,624 feet) high and was to be crowned with a huge statue of Lenin. Hitler was furious, for he felt “cheated of the glory of building the tallest monumental structure in the world.” When Hitler ordered the invasion of the Soviet Union in 1941, Speer realized that “Moscow’s rival building” had preyed on Hitler’s mind “more than he had been willing to admit.” As the German armies advanced toward Moscow, Hitler said: “Now this will be the end of their building once and for all." 20 00 Open Access Gordillo, Gastón 10 03 06 10.21983/P3.0098.1.10 64 70 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies at Scene Architecture as Friction 1 A01 Pedro Hernández Martínez Pedro Hernández Martínez 40 05t8bcz72 University of Alicante 01 eng 03 00 One of the ways to understand architecture, usually the first about which we hear when we begin to study at the university, is to see it as a displayed object. This definition leads to an architecture that is equivalent to a habitable sculpture rather than one which aims to re-alize certain requirements. Le Corbusier’s quote in which he defined architecture as “volumes brought together in light” help to clarify and exemplify this issue. In this essay, I am not interested in focusing on this idea, but instead, I will explain several different ways to dissolve the conception of architecture as an object.One way to overcome this primary condition is to understand archi-tecture as a second skin or an element that establishes relationships between the body and the habitat. Architecture is an apparatus to look and build connections with the outside. Therefore, firstly, architecture is used to maximize certain links while refusing others. In this case, the design acquires a presence over the body of the inhabitant. Architec-ture surrounds it, limits it and restricts its connection with the environ-ment; exposing the inseparability of architecture and its violence over the body. 30 00 One of the ways to understand architecture, usually the first about which we hear when we begin to study at the university, is to see it as a displayed object. This definition leads to an architecture that is equivalent to a habitable sculpture rather than one which aims to re-alize certain requirements. Le Corbusier’s quote in which he defined architecture as “volumes brought together in light” help to clarify and exemplify this issue. In this essay, I am not interested in focusing on this idea, but instead, I will explain several different ways to dissolve the conception of architecture as an object.One way to overcome this primary condition is to understand archi-tecture as a second skin or an element that establishes relationships between the body and the habitat. Architecture is an apparatus to look and build connections with the outside. Therefore, firstly, architecture is used to maximize certain links while refusing others. In this case, the design acquires a presence over the body of the inhabitant. Architec-ture surrounds it, limits it and restricts its connection with the environ-ment; exposing the inseparability of architecture and its violence over the body. 20 00 Open Access Martínez, Pedro Hernández 11 03 06 10.21983/P3.0098.1.11 71 76 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Racialized Geographies and the Fear of Ships 1 A01 Tings Chak Tings Chak 01 eng 03 00 It was during rush hour when two hundred white-identified individu-als in a forty-foot wood-framed boat descended onto the streets of Toronto. The people were dressed in white t-shirts and the boat was wrapped in canvas painted red and blue. Together they crossed Queen Street West and occupied four lanes of traffic in one of the busiest commercial districts of the city. The ship ‘docked’ outside of the flagship store of the Hudson Bay Company — a former fur-trading corporation that was once the de facto colonial ruler of the region.1Unlike any other mass action I had been to, the crowd seemed to take over the intersection effortlessly. During the fifteen minutes that they held the site, there was no police intimidation, no harassment from onlookers, and only mild frustration from the ebbing crowds. 30 00 It was during rush hour when two hundred white-identified individu-als in a forty-foot wood-framed boat descended onto the streets of Toronto. The people were dressed in white t-shirts and the boat was wrapped in canvas painted red and blue. Together they crossed Queen Street West and occupied four lanes of traffic in one of the busiest commercial districts of the city. The ship ‘docked’ outside of the flagship store of the Hudson Bay Company — a former fur-trading corporation that was once the de facto colonial ruler of the region.1Unlike any other mass action I had been to, the crowd seemed to take over the intersection effortlessly. During the fifteen minutes that they held the site, there was no police intimidation, no harassment from onlookers, and only mild frustration from the ebbing crowds. 20 00 Open Access Chak, Tings 12 03 06 10.21983/P3.0098.1.12 77 85 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Urban Space and the Production of Gender in Modern Iran 1 A01 Alex Shams Alex Shams 40 024mw5h28 University of Chicago 01 eng 03 00 What does an Islamic urban space look like? This question has dogged intellectuals and authorities in Muslim-majority lands for centuries, but in recent decades has acquired a renewed sense of urgency amid the emergence of modernizing Islamist political move-ments. These groups have not only articulated new visions of the pub-lic sphere, mass politics, and economy, they have also increasingly found themselves in positions of authority to shape the cities, regions, and lands in which they work. As these groups have found themselves in control, the revolutionary mandate (and widespread protest slogan) to imagine a politics “neither East nor West, but Islamic” has taken on new meanings, forcing leaders long focused narrowly on legal or constitutional change to recognize the more diffuse and institutional nature of power, and how much the production of space is a part of it. 30 00 What does an Islamic urban space look like? This question has dogged intellectuals and authorities in Muslim-majority lands for centuries, but in recent decades has acquired a renewed sense of urgency amid the emergence of modernizing Islamist political move-ments. These groups have not only articulated new visions of the pub-lic sphere, mass politics, and economy, they have also increasingly found themselves in positions of authority to shape the cities, regions, and lands in which they work. As these groups have found themselves in control, the revolutionary mandate (and widespread protest slogan) to imagine a politics “neither East nor West, but Islamic” has taken on new meanings, forcing leaders long focused narrowly on legal or constitutional change to recognize the more diffuse and institutional nature of power, and how much the production of space is a part of it. 20 00 Open Access Shams, Alex 13 03 06 10.21983/P3.0098.1.13 86 97 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Norm, Measure of all Things 1 A01 Sofia Lemos Sofia Lemos 01 eng 03 00 Architectural practice and theoretical discourse has considered Ernst Neufert’s canonical Architects’ Data (1936) as a product of the search for an optimal built environment based on accounts of a single normative body. In light of the increasing pervasiveness of bespoke biometric solutions and its applications in architecture and design, this essay seeks to offer a different genealogy of the en-tanglement between architecture standards and statistical methods of measuring the social body. This essay draws a speculative history from the point when modern architecture ceases to account for, to become accountable for normalizing that body.Norms, have long inhabited the architect’s toolset. Pertaining to the carpenter’s square or rule norma is first codified in the early nine-teenth century as ‘standard, pattern, model’ as evidence of its com-mon usage. Whereas the vernacular use of the noun ‘norm’ had to do with geometry, with ‘right angles’ and perpendicular lines, its ad-jectival derivation ‘normal’ is defined in 1828 in the Oxford English Dictionary as ‘constituting, conforming to, not deviating or differ from, the common type or standard.’ The emergence of the adjectival form of the noun is the first historical clue that suggests a symbolic shift that happened throughout the eighteenth century from the language of geometry to that of biological matter. 30 00 Architectural practice and theoretical discourse has considered Ernst Neufert’s canonical Architects’ Data (1936) as a product of the search for an optimal built environment based on accounts of a single normative body. In light of the increasing pervasiveness of bespoke biometric solutions and its applications in architecture and design, this essay seeks to offer a different genealogy of the en-tanglement between architecture standards and statistical methods of measuring the social body. This essay draws a speculative history from the point when modern architecture ceases to account for, to become accountable for normalizing that body.Norms, have long inhabited the architect’s toolset. Pertaining to the carpenter’s square or rule norma is first codified in the early nine-teenth century as ‘standard, pattern, model’ as evidence of its com-mon usage. Whereas the vernacular use of the noun ‘norm’ had to do with geometry, with ‘right angles’ and perpendicular lines, its ad-jectival derivation ‘normal’ is defined in 1828 in the Oxford English Dictionary as ‘constituting, conforming to, not deviating or differ from, the common type or standard.’ The emergence of the adjectival form of the noun is the first historical clue that suggests a symbolic shift that happened throughout the eighteenth century from the language of geometry to that of biological matter. 20 00 Open Access Lemos, Sofia 14 03 06 10.21983/P3.0098.1.14 98 116 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Patterns of Life A Very Short History of Schematic Bodies 1 A01 Grégoire Chamayou Grégoire Chamayou 40 02feahw73 French National Centre for Scientific Research 01 eng 03 00 In his 1956’s Theory of the Dérive, Guy Debord described a Paris map drawn up by an urban sociologist depicting “all the movements made in the space of one year by a student living in the 16th Ar-rondissement”. “Her itinerary,” he remarked, “forms a small triangle with no significant deviations, the three apexes of which are the School of Political Sciences, her residence and that of her piano teacher. The cartographic objectivation of a life form was taken as a starting point for a poetical and political critique of daily life. This was a cri-tique of its narrowness, of its routines, of the reduction of the lifeworld these routine articulate. Debord concluded: “Such data — examples of a modern poetry capable of provoking sharp emotional reactions (in this particular case, outrage at the fact that anyone’s life can be so pathetically limited) [...] will undoubtedly prove useful in developing dérives (drifts)." 30 00 In his 1956’s Theory of the Dérive, Guy Debord described a Paris map drawn up by an urban sociologist depicting “all the movements made in the space of one year by a student living in the 16th Ar-rondissement”. “Her itinerary,” he remarked, “forms a small triangle with no significant deviations, the three apexes of which are the School of Political Sciences, her residence and that of her piano teacher. The cartographic objectivation of a life form was taken as a starting point for a poetical and political critique of daily life. This was a cri-tique of its narrowness, of its routines, of the reduction of the lifeworld these routine articulate. Debord concluded: “Such data — examples of a modern poetry capable of provoking sharp emotional reactions (in this particular case, outrage at the fact that anyone’s life can be so pathetically limited) [...] will undoubtedly prove useful in developing dérives (drifts)." 20 00 Open Access Chamayou, Grégoire 15 03 06 10.21983/P3.0098.1.15 117 126 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bee Workers and the Expanding Edges of Capitalism 1 A01 Renisa Mawani Renisa Mawani 40 03rmrcq20 University of British Columbia 01 eng 03 00 In the past year, newspapers in the United Kingdom have reported new exigencies emerging from commercial and public responses to the global decline in honeybees. To offset the devastating effects of colony collapse disorder (CCD), many British residents have turned to beekeeping as a national, global, and environmental responsibility. Despite good intentions, the “boom in bee keeping,” writes the Daily Mail, “may be doing our countryside more harm than good.” A “surge in the number of bumblebee hives means thousands of colonies are being imported” from elsewhere in Europe, and “many of these are riddled with parasites that pose a threat to native species.”1 A study of 48 colonies brought to the UK from European suppliers has revealed high rates of contamination: 77% were infected by parasites harmful to indigenous bee species in the region. Given recent warnings of the long-term effects of CCD, particularly on agriculture and global food production, the government has been listening attentively. Effective January 1, 2015, non-native bee species will only be used “as an emergency measure if native beces cannot be found.”2 In the coming year, “foreign worker bees will be banned from getting jobs pollinat-ing crops when there are millions of redundant British workers.”3 This law is the most recent addition to a series of UK security regulations — including specified “Border Inspection Points” and required health certificates — aimed at restricting the entry of foreign bees. 30 00 In the past year, newspapers in the United Kingdom have reported new exigencies emerging from commercial and public responses to the global decline in honeybees. To offset the devastating effects of colony collapse disorder (CCD), many British residents have turned to beekeeping as a national, global, and environmental responsibility. Despite good intentions, the “boom in bee keeping,” writes the Daily Mail, “may be doing our countryside more harm than good.” A “surge in the number of bumblebee hives means thousands of colonies are being imported” from elsewhere in Europe, and “many of these are riddled with parasites that pose a threat to native species.”1 A study of 48 colonies brought to the UK from European suppliers has revealed high rates of contamination: 77% were infected by parasites harmful to indigenous bee species in the region. Given recent warnings of the long-term effects of CCD, particularly on agriculture and global food production, the government has been listening attentively. Effective January 1, 2015, non-native bee species will only be used “as an emergency measure if native beces cannot be found.”2 In the coming year, “foreign worker bees will be banned from getting jobs pollinat-ing crops when there are millions of redundant British workers.”3 This law is the most recent addition to a series of UK security regulations — including specified “Border Inspection Points” and required health certificates — aimed at restricting the entry of foreign bees. 20 00 Open Access Mawani, Renisa 16 03 06 10.21983/P3.0098.1.16 127 133 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What Is the Problem? 1 A01 Nick Axel Nick Axel 40 053jpjd80 Gerrit Rietveld Academy 01 eng 03 00 The philosophical discourse of biopolitics has led to a rediscovery of political agency inherent to the practice of architecture and the production of built form within an urban context. Its assimilation within contemporary architectural thought has largely been through its em-ployment as a critical approach to ideology, colonization or war, rang-ing from Michel Foucault’s disciplinary institutions to Eyal Weizman’s states of control. Most famously polemicized in the first lines of Walter Benjamin’s 1921 seminal essay “Critique of Violence,” an ethics of life is posited as the dialectical opposite from the violence of power. 30 00 The philosophical discourse of biopolitics has led to a rediscovery of political agency inherent to the practice of architecture and the production of built form within an urban context. Its assimilation within contemporary architectural thought has largely been through its em-ployment as a critical approach to ideology, colonization or war, rang-ing from Michel Foucault’s disciplinary institutions to Eyal Weizman’s states of control. Most famously polemicized in the first lines of Walter Benjamin’s 1921 seminal essay “Critique of Violence,” an ethics of life is posited as the dialectical opposite from the violence of power. 20 00 Open Access Axel, Nick 17 03 06 10.21983/P3.0098.1.17 134 141 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Of Associated Milieus 1 A01 Sarah Choukah Sarah Choukah 40 0161xgx34 Université de Montréal 01 eng 03 00 Recently as I was strolling through my neighborhood in Montreal, I came across a toy I saw that kids played with in the 1980s: the Cozy Coupe car with a bright yellow body and a red foot-powered chas-sis, a popular toy around that time. I remembered how the car’s cockpit allowed interfacing with familiar surroundings while giving a first sense of leg-powered, seated motility outside the house.In a contemporary videogame, by contrast, motility is delegated through the interface to avatars. One would be quick to think that the issue of delegation or that of the materiality of the interaction through the interface has gone from physical, bodily affect (rep-resented by the 1980s Cozy Coupe, among other toys) to that of an increasingly dematerialized network of programmed bodies in games. But the transition can’t be so easily reduced to this. For example, Ingmar Riedel-Kruse and his team at Stanford University have designed a new set of videogames, this time involving the use of living microorganisms instead of electronically programmed sprites or avatars. 30 00 Recently as I was strolling through my neighborhood in Montreal, I came across a toy I saw that kids played with in the 1980s: the Cozy Coupe car with a bright yellow body and a red foot-powered chas-sis, a popular toy around that time. I remembered how the car’s cockpit allowed interfacing with familiar surroundings while giving a first sense of leg-powered, seated motility outside the house.In a contemporary videogame, by contrast, motility is delegated through the interface to avatars. One would be quick to think that the issue of delegation or that of the materiality of the interaction through the interface has gone from physical, bodily affect (rep-resented by the 1980s Cozy Coupe, among other toys) to that of an increasingly dematerialized network of programmed bodies in games. But the transition can’t be so easily reduced to this. For example, Ingmar Riedel-Kruse and his team at Stanford University have designed a new set of videogames, this time involving the use of living microorganisms instead of electronically programmed sprites or avatars. 20 00 Open Access Choukah, Sarah 18 03 06 10.21983/P3.0098.1.18 142 147 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ~~FJORD~~ AND //DESERT// BODIES~~LEAKING~~ AND //CONTAINED// BODIES 1 A01 21 0000000285039208 Andreas Philippopoulos-Mihalopoulos Andreas Philippopoulos-Mihalopoulos 40 04ycpbx82 University of Westminster 01 eng 03 00 My fascination with Norway begun early on, before I ever visited the country. Admittedly, it had little to do with the country itself, and its focus was exclusively cartographic. I spent hours musing over the map with a concentration frissoning through my very body and mak-ing my skin tingle. The reason? To my eyes, Norway looked like a human arm that was being slowly, painfully but pleasurably gnawed by the incoming fjords. Its coast emerges like a moth-eaten lace, with its play of blue and yellow that defies the usual clean-cut depiction of cartographic boundaries. I would then compare Norway’s coast to the line that separates Algeria from Mauritania and Mali, a straight, brutal, metallic line cutting the desert in two arbitrary sides. There, my feeling would be one of cleanliness and purity but also incomprehen-sion, suspicion even at how straight it was. And I would return to the intricacy of the coast. I was 6 years old. 30 00 My fascination with Norway begun early on, before I ever visited the country. Admittedly, it had little to do with the country itself, and its focus was exclusively cartographic. I spent hours musing over the map with a concentration frissoning through my very body and mak-ing my skin tingle. The reason? To my eyes, Norway looked like a human arm that was being slowly, painfully but pleasurably gnawed by the incoming fjords. Its coast emerges like a moth-eaten lace, with its play of blue and yellow that defies the usual clean-cut depiction of cartographic boundaries. I would then compare Norway’s coast to the line that separates Algeria from Mauritania and Mali, a straight, brutal, metallic line cutting the desert in two arbitrary sides. There, my feeling would be one of cleanliness and purity but also incomprehen-sion, suspicion even at how straight it was. And I would return to the intricacy of the coast. I was 6 years old. 20 00 Open Access Philippopoulos-Mihalopoulos, Andreas 19 03 06 10.21983/P3.0098.1.19 148 172 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dress Becomes Body Fashioning the Force of Form 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 03 00 “Cut to invent anew,” proposes Rei Kawakubo, owner and designer of the fashion label Comme des Garçons. “Make an abstract image.” “Break the idea of clothes.”“Break the idea of clothes,” has been Kawakubo’s call for over 40 years, a call that has motivated the creation of some of the most intriguing clothing of the late 20th and early 21st centuries, opening up the field of fashion to an architectural potential perhaps unprecedented. With Kawakubo’s insistence that clothes are not a predetermined category, but a proposition according to which a body is invited to continuously reinvent itself, she has led the way toward a textile-based architecting of experience. In this regard, Kawakubo has pushed and continues to push the Spinozist mantra “we know not what a body can do” to its limit, recasting not only the realm of fashion but the way fashion situ-ates itself in relation to other practices, especially that of architecture. 30 00 “Cut to invent anew,” proposes Rei Kawakubo, owner and designer of the fashion label Comme des Garçons. “Make an abstract image.” “Break the idea of clothes.”“Break the idea of clothes,” has been Kawakubo’s call for over 40 years, a call that has motivated the creation of some of the most intriguing clothing of the late 20th and early 21st centuries, opening up the field of fashion to an architectural potential perhaps unprecedented. With Kawakubo’s insistence that clothes are not a predetermined category, but a proposition according to which a body is invited to continuously reinvent itself, she has led the way toward a textile-based architecting of experience. In this regard, Kawakubo has pushed and continues to push the Spinozist mantra “we know not what a body can do” to its limit, recasting not only the realm of fashion but the way fashion situ-ates itself in relation to other practices, especially that of architecture. 20 00 Open Access Manning, Erin 20 03 06 10.21983/P3.0098.1.20 173 176 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Sensing Body - A Networked Mind 1 A01 Adrienne Hart Adrienne Hart 01 eng 03 00 An inbuilt desire to stray from the path, across the grass in a city park, is one example of how the learned or ‘schooled’ body misbehaves. I’m interested in the tension between our body’s social contract and hard-wired collective behaviour. I’m also interested in what happens when the mind no longer requires a body to communicate. When we sit at a desk computer or peer into a smartphone, our minds log in and our sense of embodied self rapidly decreases. The networked mind locks into a network stream and sends itself to locations far from the host body’s reach. How relevant is the body in an age that allows minds to roam free? Should we fight for the notion of body or are we already floating around in corpses, our vessels proving only to serve some kind of nod or nostalgic reflection to the past? 30 00 An inbuilt desire to stray from the path, across the grass in a city park, is one example of how the learned or ‘schooled’ body misbehaves. I’m interested in the tension between our body’s social contract and hard-wired collective behaviour. I’m also interested in what happens when the mind no longer requires a body to communicate. When we sit at a desk computer or peer into a smartphone, our minds log in and our sense of embodied self rapidly decreases. The networked mind locks into a network stream and sends itself to locations far from the host body’s reach. How relevant is the body in an age that allows minds to roam free? Should we fight for the notion of body or are we already floating around in corpses, our vessels proving only to serve some kind of nod or nostalgic reflection to the past? 20 00 Open Access Hart, Adrienne 21 03 06 10.21983/P3.0098.1.21 177 183 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Dream of Flying - Flying Bodies 1 A01 Elena Loizidou Elena Loizidou 40 02mb95055 Birkbeck, University of London 01 eng 03 00 Is it possible to provide a meaningful relation between dreams of flight, a common variation amongst the form of dreams, and the body? And even if we are capable of doing so, even if we assume that we agree as to how we conceive the body, what kind of path-ways such a relation opens up for us? Would we be able to sense ourselves being moved towards different political, ethical, or aes-thetic directions than the ones that we have been given and taught to obey? Even if we are able through the dream of flying, to see how we can break the mould of formality, would we want to shape the break into a new mould, or would we prefer to remain suspended in air, de-fying gravity? And then again, to desire or want to remould the break provides us with an encounter with an agentic self — a self that can direct its future in this or that way, that perhaps, most probably it can’t exert such agency. Indeed, perhaps the most we can learn from this encounter with the dream of flying is precisely to let go of the chimera of remolding — turning into some form or blue print for the future the sense that such a dream may open up to us. 30 00 Is it possible to provide a meaningful relation between dreams of flight, a common variation amongst the form of dreams, and the body? And even if we are capable of doing so, even if we assume that we agree as to how we conceive the body, what kind of path-ways such a relation opens up for us? Would we be able to sense ourselves being moved towards different political, ethical, or aes-thetic directions than the ones that we have been given and taught to obey? Even if we are able through the dream of flying, to see how we can break the mould of formality, would we want to shape the break into a new mould, or would we prefer to remain suspended in air, de-fying gravity? And then again, to desire or want to remould the break provides us with an encounter with an agentic self — a self that can direct its future in this or that way, that perhaps, most probably it can’t exert such agency. Indeed, perhaps the most we can learn from this encounter with the dream of flying is precisely to let go of the chimera of remolding — turning into some form or blue print for the future the sense that such a dream may open up to us. 20 00 Open Access Loizidou, Elena 22 03 06 10.21983/P3.0098.1.22 184 190 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Act of Waiting 1 A01 Joanne Pouzenc Joanne Pouzenc 40 019xp4858 École Nationale Supérieure d'Architecture de Toulouse 01 eng 03 00 In a society obsessed with speed and efficiency, there are not so many situations where a body accepts waiting. Most of the times, when waiting is necessary, waiting spaces try to provide the mini-mum comfort for a body to cope with the context: seats, magazines and smart phones provide the mind the mental escape the body needs to stay uncomplainingly inactive while maintaining a distance from the other waiting bodies.In fact, if the space allocated for waiting doesn’t show the specific characteristics of a waiting area — queuing lines poles, peripheral chairs and benches, red digital numbers and their stressful call — the act of waiting becomes less acceptable: the minds seem to be programmed to react to signals they can clearly identify in order to accept a given situation. Logically, the occupied time feels shorter than the unoccupied time or in other terms, time is running faster when it’s not dedicated to waiting. And the number of distractions needed to occupy the minds keeps diversifying: we are seeing now-adays the multiplication of visual displays in waiting places being oc-cupied by moving advertisements aiming to replace boredom with consumerist desires. 30 00 In a society obsessed with speed and efficiency, there are not so many situations where a body accepts waiting. Most of the times, when waiting is necessary, waiting spaces try to provide the mini-mum comfort for a body to cope with the context: seats, magazines and smart phones provide the mind the mental escape the body needs to stay uncomplainingly inactive while maintaining a distance from the other waiting bodies.In fact, if the space allocated for waiting doesn’t show the specific characteristics of a waiting area — queuing lines poles, peripheral chairs and benches, red digital numbers and their stressful call — the act of waiting becomes less acceptable: the minds seem to be programmed to react to signals they can clearly identify in order to accept a given situation. Logically, the occupied time feels shorter than the unoccupied time or in other terms, time is running faster when it’s not dedicated to waiting. And the number of distractions needed to occupy the minds keeps diversifying: we are seeing now-adays the multiplication of visual displays in waiting places being oc-cupied by moving advertisements aiming to replace boredom with consumerist desires. 20 00 Open Access Pouzenc, Joanne 23 03 06 10.21983/P3.0098.1.23 191 197 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies in Sympathy for Just One Night 1 A01 Chrysanthi Nigianni Chrysanthi Nigianni 40 01khx4a30 Goldsmiths University of London 01 eng 03 00 I felt wrapped in its atmosphere, folded in its mood. Toute une nuit (1982) is a film about what happens between two. Happening as repetition. Repetition as stylisation. A stylisation of affect. Affect as image. Sentimentality as aesthetics. Chantal Akerman’s film feels like a choreography of twos, a dance of portraits of intimacy, a diagram of love. 55 dramatic encounters, embraces and separations involving 75 nameless characters, usually couples, lasting anywhere from 30 seconds to five minutes, all arranged in Toute une nuit: all night long, all in a single night.1If we could find a plot or a subject in this film it would be as Catherine Fowler (2003) comments “love, loneliness, eroticism and insomnia,” and throughout its 90-minute duration the film seems to be asking, acting and re-enacting persistently the same question: what is a rela-tion? A question that acquires a heightened tension by being repeat-ed in time, in just this time, in the whole of one night, Toute une nuit. 30 00 I felt wrapped in its atmosphere, folded in its mood. Toute une nuit (1982) is a film about what happens between two. Happening as repetition. Repetition as stylisation. A stylisation of affect. Affect as image. Sentimentality as aesthetics. Chantal Akerman’s film feels like a choreography of twos, a dance of portraits of intimacy, a diagram of love. 55 dramatic encounters, embraces and separations involving 75 nameless characters, usually couples, lasting anywhere from 30 seconds to five minutes, all arranged in Toute une nuit: all night long, all in a single night.1If we could find a plot or a subject in this film it would be as Catherine Fowler (2003) comments “love, loneliness, eroticism and insomnia,” and throughout its 90-minute duration the film seems to be asking, acting and re-enacting persistently the same question: what is a rela-tion? A question that acquires a heightened tension by being repeat-ed in time, in just this time, in the whole of one night, Toute une nuit. 20 00 Open Access Nigianni, Chrysanthi 24 03 06 10.21983/P3.0098.1.24 198 203 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Framing the Weird Body in Contemporary European Cinema 1 A01 Ina Karkani Ina Karkani 40 05f0yaq80 Stockholm University 01 eng 03 00 New filmmaking practices within contemporary arthouse cinema are responding to current socio-political realities with new cinematic im-ages of the human body. They center around grotesque characters embedded within plots of comic absurdity. Particularly, since 2009, a Greek film trend has attracted international attention with the film fes-tival premiere of Giorgos Lanthimos’s social thriller Dogtooth (2009) and its follow-ups Alps (2011) and Attenberg (2010) by Athina Rachel Tsangaris. The films have been produced in the midst of, and as a response to, the current Greek social crisis, which involves an eco-nomic turmoil of rapid transformation and neo-liberalization in a time of ongoing bankruptcy. 30 00 New filmmaking practices within contemporary arthouse cinema are responding to current socio-political realities with new cinematic im-ages of the human body. They center around grotesque characters embedded within plots of comic absurdity. Particularly, since 2009, a Greek film trend has attracted international attention with the film fes-tival premiere of Giorgos Lanthimos’s social thriller Dogtooth (2009) and its follow-ups Alps (2011) and Attenberg (2010) by Athina Rachel Tsangaris. The films have been produced in the midst of, and as a response to, the current Greek social crisis, which involves an eco-nomic turmoil of rapid transformation and neo-liberalization in a time of ongoing bankruptcy. 20 00 Open Access Karkani, Ina 25 03 06 10.21983/P3.0098.1.25 204 211 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building Body Two Brief Treatments on Landing Site Theory 1 A01 Alan Prohm Alan Prohm 40 010nsgg66 Technical University of Braunschweig 01 eng 03 00 The variable that in the end prevents happening, defined as the swarm on-rush of events through presence, from collapsing totally into automaticity, destiny, is landing, the surface and voluming of it, and the voluming full of tentativity and potential that flowers in its wake, imaging along. The degree and mode of awareness (reflexiv-ity, imaging) on the landing as it happens, or you/we have it happen as. And world becomes:- Perceptual landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Imaging landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Dimensionalizing landing site: perceptual to imaging, imaging to imaging. 30 00 The variable that in the end prevents happening, defined as the swarm on-rush of events through presence, from collapsing totally into automaticity, destiny, is landing, the surface and voluming of it, and the voluming full of tentativity and potential that flowers in its wake, imaging along. The degree and mode of awareness (reflexiv-ity, imaging) on the landing as it happens, or you/we have it happen as. And world becomes:- Perceptual landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Imaging landing site: visual, tactile, kinaesthetic, auditory, gustatory, olfactory.- Dimensionalizing landing site: perceptual to imaging, imaging to imaging. 20 00 Open Access Prohm, Alan 26 03 06 10.21983/P3.0098.1.26 212 223 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A.V. (Anthropocosmogonic Vastupurushamanism) 1 A01 Dan Mellamphy Dan Mellamphy 40 02grkyz14 Western University 01 eng 03 00 “The first volume of The Funambulist Papers is almost published, and I was coming back to you to know if your text for the second one will still be ready to be published around December as we originally talked about,” wrote Léopold Lambert in an October 2013 E-mail. “Taking the risk of being a bit redundant,” he continued, “I’d like to in-sist on the importance of addressing the question of the body, [...] as the essays will come from very different people and it would therefore be great to have [one] object of investigation with so many different approaches.3” Also sprach der Seiltänzer: thus spoke the tightrope-walker, and in this way — ambulatorily, via agchibasien — was the funis (‘thread’) furnished for the present foray (this very brief essay). 30 00 “The first volume of The Funambulist Papers is almost published, and I was coming back to you to know if your text for the second one will still be ready to be published around December as we originally talked about,” wrote Léopold Lambert in an October 2013 E-mail. “Taking the risk of being a bit redundant,” he continued, “I’d like to in-sist on the importance of addressing the question of the body, [...] as the essays will come from very different people and it would therefore be great to have [one] object of investigation with so many different approaches.3” Also sprach der Seiltänzer: thus spoke the tightrope-walker, and in this way — ambulatorily, via agchibasien — was the funis (‘thread’) furnished for the present foray (this very brief essay). 20 00 Open Access Mellamphy, Dan 27 03 06 10.21983/P3.0098.1.27 224 235 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ghost in the Shell-Game On the Mètic Mode of Existence, Inception and Innocence 1 A01 21 0000000235761841 Nandita Biswas Mellamphy Nandita Biswas Mellamphy 40 02grkyz14 Western University 01 eng 03 00 I begin, then, properly, in and with the proper voice (that of Pierre Ménard).1 To begin, then, anew: The purpose of this study is to create an awareness of the significance of technical objects. Culture has become a system of defense against technics; now, this defense appears as a defense of man based on the assumption that technical objects contain no human reality. We should like to show that culture fails to take into account that there is a human reality in technical reality and that, if it is to fully play its role, culture must come to incorporate technical entities into its body of knowledge and its sense of values. Recognition of the modes of existence of technical objects should be the result of philosophical thought, which in this respect has to achieve what is analogous to the role it played in the abolition of slavery and in the affirmation of the val-ue of the human person. The opposition established between culture and technology, between man and machine, is false and is not well-founded; what underlies it is mere ignorance or resentment. Behind the mask of a facile humanism it hides a reality that is rich in human efforts and natural forces, a reality that constitutes the world of techni-cal objects, mediators between nature and man.2 In Mamoru Oshii’s Inosensu (a.k.a. Ghost in the Shell 2),3 the inextricability of human and technical realities suggests that the established opposition between culture and nature, human and machine, is not only easily subverted, but ultimately so falsifiable that it can be technically manipulated so as to shed light on a dimension that remains indiscernible to human-ism: that it is by way of technical objects and technical existence that human beings most authentically relate to their living milieu and to living processes. Humans play with dolls/automata/avatars and wear masks (faces, façades) as part of their everyday lives, but they are ultimately blind to the technical connectors that animate them: “Life and death come and go like marionettes dancing on a table. Once their strings are cut, they easily crumble.” 30 00 I begin, then, properly, in and with the proper voice (that of Pierre Ménard).1 To begin, then, anew: The purpose of this study is to create an awareness of the significance of technical objects. Culture has become a system of defense against technics; now, this defense appears as a defense of man based on the assumption that technical objects contain no human reality. We should like to show that culture fails to take into account that there is a human reality in technical reality and that, if it is to fully play its role, culture must come to incorporate technical entities into its body of knowledge and its sense of values. Recognition of the modes of existence of technical objects should be the result of philosophical thought, which in this respect has to achieve what is analogous to the role it played in the abolition of slavery and in the affirmation of the val-ue of the human person. The opposition established between culture and technology, between man and machine, is false and is not well-founded; what underlies it is mere ignorance or resentment. Behind the mask of a facile humanism it hides a reality that is rich in human efforts and natural forces, a reality that constitutes the world of techni-cal objects, mediators between nature and man.2 In Mamoru Oshii’s Inosensu (a.k.a. Ghost in the Shell 2),3 the inextricability of human and technical realities suggests that the established opposition between culture and nature, human and machine, is not only easily subverted, but ultimately so falsifiable that it can be technically manipulated so as to shed light on a dimension that remains indiscernible to human-ism: that it is by way of technical objects and technical existence that human beings most authentically relate to their living milieu and to living processes. Humans play with dolls/automata/avatars and wear masks (faces, façades) as part of their everyday lives, but they are ultimately blind to the technical connectors that animate them: “Life and death come and go like marionettes dancing on a table. Once their strings are cut, they easily crumble.” 20 00 Open Access Mellamphy, Nandita Biswas 28 03 06 10.21983/P3.0098.1.28 236 240 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Portfolio Body Weight 1 A01 Seher Shah Seher Shah 40 04mxsc976 Rhode Island School of Design 01 eng 20 00 Open Access Shah, Seher 29 03 06 10.21983/P3.0098.1.29 241 245 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Léopold Lambert Léopold Lambert 01 eng 20 00 Open Access Lambert, Léopold 01 URL https://punctumbooks.com/imprints/ctm-documents-initiative/ CTM Documents Initiative 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-funambulist-papers-vol-2/ Brooklyn, NY 04 01 20150409 Lambert, Léopold 02 WORLD 06 15 9780692423240 03 9780692423240 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76485 20 08 20150409 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25523 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25523/1004572.pdf?sequence=1&isAllowed=y 20 08 20150409 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28889 20 08 20150409 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353973 20 08 20150409 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/482 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e995383f-6f7f-4ea4-8e5f-1fcc43081f3c/download 20 08 20150409 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3b41b8de-b9bb-4ebd-a002-52052a9e39a9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3b41b8de-b9bb-4ebd-a002-52052a9e39a9/3b41b8de-b9bb-4ebd-a002-52052a9e39a9.pdf 20 08 20150409 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846195 29 ZENODO: download the title https://zenodo.org/records/19846195/files/3b41b8de-b9bb-4ebd-a002-52052a9e39a9_book.pdf 20 08 20150409 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-funambulist-papers-vol-2/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0098.1.00.pdf 20 08 20150409 01 urn:uuid:13ca88e2-a8f4-4bdc-9f8c-9c3c8582ad55 03 01 01 thoth-work-id urn:uuid:381b2f4f-0b6a-45cd-89ef-da7fd6e7b662 01 thoth-publication-id urn:uuid:13ca88e2-a8f4-4bdc-9f8c-9c3c8582ad55 15 9780998237565 03 9780998237565 06 10.21983/P3.0155.1.00 01 internal-reference 0155 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Republic of Cthulhu Lovecraft, the Weird Tale, and Conspiracy Theory 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University 01 eng 00 186 03 B2 Cultural Studies+Critical Theory 12 JPWJ 93 JPZ 10 SOC004000 93 JBGX B2 New Left Thought 93 DSBH 20 H.P. Lovecraft; parapolitics; radical criminology; horror; conspiracy theory 01 06 02 00 03 00 If parapolitics, a branch of radical criminology that studies the interactions between public entities and clandestine agencies, is to develop as an academic discipline, then it must develop a coherent theory of aesthetics in order to successfully perform its primary function: to render perceptible extra-judicial phenomena that have hitherto resisted formal classification.Wilson offers the work of H.P. Lovecraft (1890–1937) as an example of the relevance of subversive literature—in this case, cosmic horror and the weird tale—to the parapolitical criminologist. Cosmic horror is a form of writing that relies heavily upon the epistemological assumption of a radical and irreconcilable disjunction between appearance and reality, perception and truth. In many ways, the well-constructed weird tale strongly resembles the hard-boiled detective story or the noir thriller in that the resolution of the narrative hinges upon a dramatically shattering confrontation with an unspeakable reality. Apart from its obvious utilization of conspiracy theory, the primary attraction of the Lovecraftian text lies with its remarkably sophisticated utilization of two central tropes of classical aesthetic theory—the sublime and the grotesque. Not only does Lovecraft’s oeuvre represent a remarkable use of both of these motifs, but the raw literary power of the Lovecraftian weird tale serves as an outstanding exemplar for the parapolitical scholar to emulate in formulating an alternative mode of discourse, or poetics. 30 00 If parapolitics, a branch of radical criminology that studies the interactions between public entities and clandestine agencies, is to develop as an academic discipline, then it must develop a coherent theory of aesthetics in order to successfully perform its primary function: to render perceptible extra-judicial phenomena that have hitherto resisted formal classification.Wilson offers the work of H.P. Lovecraft (1890–1937) as an example of the relevance of subversive literature—in this case, cosmic horror and the weird tale—to the parapolitical criminologist. Cosmic horror is a form of writing that relies heavily upon the epistemological assumption of a radical and irreconcilable disjunction between appearance and reality, perception and truth. In many ways, the well-constructed weird tale strongly resembles the hard-boiled detective story or the noir thriller in that the resolution of the narrative hinges upon a dramatically shattering confrontation with an unspeakable reality. Apart from its obvious utilization of conspiracy theory, the primary attraction of the Lovecraftian text lies with its remarkably sophisticated utilization of two central tropes of classical aesthetic theory—the sublime and the grotesque. Not only does Lovecraft’s oeuvre represent a remarkable use of both of these motifs, but the raw literary power of the Lovecraftian weird tale serves as an outstanding exemplar for the parapolitical scholar to emulate in formulating an alternative mode of discourse, or poetics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0155.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-republic-of-cthulhu/ Earth, Milky Way 04 01 20161107 Wilson, Eric 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237566 20 08 20161107 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-republic-of-cthulhu-lovecraft-the-weird-tale-and-conspiracy-theory 20 08 20161107 02 23.00 USD WORLD urn:uuid:dd242f30-01d9-4cef-8a09-bc98f1bb031b 03 01 01 thoth-work-id urn:uuid:381b2f4f-0b6a-45cd-89ef-da7fd6e7b662 01 thoth-publication-id urn:uuid:dd242f30-01d9-4cef-8a09-bc98f1bb031b 06 10.21983/P3.0155.1.00 01 internal-reference 0155 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Republic of Cthulhu Lovecraft, the Weird Tale, and Conspiracy Theory 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University 01 eng 00 186 03 B2 Cultural Studies+Critical Theory 12 JPWJ 93 JPZ 10 SOC004000 93 JBGX B2 New Left Thought 93 DSBH 20 H.P. Lovecraft; parapolitics; radical criminology; horror; conspiracy theory 01 06 02 00 03 00 If parapolitics, a branch of radical criminology that studies the interactions between public entities and clandestine agencies, is to develop as an academic discipline, then it must develop a coherent theory of aesthetics in order to successfully perform its primary function: to render perceptible extra-judicial phenomena that have hitherto resisted formal classification.Wilson offers the work of H.P. Lovecraft (1890–1937) as an example of the relevance of subversive literature—in this case, cosmic horror and the weird tale—to the parapolitical criminologist. Cosmic horror is a form of writing that relies heavily upon the epistemological assumption of a radical and irreconcilable disjunction between appearance and reality, perception and truth. In many ways, the well-constructed weird tale strongly resembles the hard-boiled detective story or the noir thriller in that the resolution of the narrative hinges upon a dramatically shattering confrontation with an unspeakable reality. Apart from its obvious utilization of conspiracy theory, the primary attraction of the Lovecraftian text lies with its remarkably sophisticated utilization of two central tropes of classical aesthetic theory—the sublime and the grotesque. Not only does Lovecraft’s oeuvre represent a remarkable use of both of these motifs, but the raw literary power of the Lovecraftian weird tale serves as an outstanding exemplar for the parapolitical scholar to emulate in formulating an alternative mode of discourse, or poetics. 30 00 If parapolitics, a branch of radical criminology that studies the interactions between public entities and clandestine agencies, is to develop as an academic discipline, then it must develop a coherent theory of aesthetics in order to successfully perform its primary function: to render perceptible extra-judicial phenomena that have hitherto resisted formal classification.Wilson offers the work of H.P. Lovecraft (1890–1937) as an example of the relevance of subversive literature—in this case, cosmic horror and the weird tale—to the parapolitical criminologist. Cosmic horror is a form of writing that relies heavily upon the epistemological assumption of a radical and irreconcilable disjunction between appearance and reality, perception and truth. In many ways, the well-constructed weird tale strongly resembles the hard-boiled detective story or the noir thriller in that the resolution of the narrative hinges upon a dramatically shattering confrontation with an unspeakable reality. Apart from its obvious utilization of conspiracy theory, the primary attraction of the Lovecraftian text lies with its remarkably sophisticated utilization of two central tropes of classical aesthetic theory—the sublime and the grotesque. Not only does Lovecraft’s oeuvre represent a remarkable use of both of these motifs, but the raw literary power of the Lovecraftian weird tale serves as an outstanding exemplar for the parapolitical scholar to emulate in formulating an alternative mode of discourse, or poetics. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0155.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-republic-of-cthulhu/ Earth, Milky Way 04 01 20161107 Wilson, Eric 02 WORLD 06 15 9780998237565 03 9780998237565 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25471 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25471/1004624.pdf?sequence=1&isAllowed=y 20 08 20161107 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29930 20 08 20161107 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353856 20 08 20161107 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/540 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/825235f3-952b-4ee0-a6f5-788965a852a0/download 20 08 20161107 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/381b2f4f-0b6a-45cd-89ef-da7fd6e7b662 29 INTERNET_ARCHIVE: download the title https://archive.org/download/381b2f4f-0b6a-45cd-89ef-da7fd6e7b662/381b2f4f-0b6a-45cd-89ef-da7fd6e7b662.pdf 20 08 20161107 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846756 29 ZENODO: download the title https://zenodo.org/records/19846756/files/381b2f4f-0b6a-45cd-89ef-da7fd6e7b662_book.pdf 20 08 20161107 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-republic-of-cthulhu/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0155.1.00.pdf 20 08 20161107 01 urn:uuid:91b94664-d04d-458d-885d-e94e7eb15b42 03 01 01 thoth-work-id urn:uuid:a6e8459d-9451-44bd-ad5e-d3962c652ea0 01 thoth-publication-id urn:uuid:91b94664-d04d-458d-885d-e94e7eb15b42 15 9781947447899 03 9781947447899 06 10.21983/P3.0236.1.00 13 2018959825 01 internal-reference 0236 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 There's No Such Thing as "The Economy" Essays on Capitalist Value 1 A01 Samuel A. Chambers Samuel A. Chambers 40 00za53h95 Johns Hopkins University 01 eng 00 166 03 10 BUS029000 B2 Capital+Lucre 93 KCA 12 KCP 93 KCSA B2 New Left Thought 93 KCX 20 economics; financial crisis; capitalism; Wells Fargo; ethics; Marxism; political economy 01 06 02 00 03 00 Every Economics textbook today teaches that questions of values and morality lie outside of, are in fact excluded from, the field of Economics and its proper domain of study, “the economy.” Yet the dominant cultural and media narrative in response to major economic crisis is almost always one of moral outrage. How do we reconcile this tension or explain this paradox by which Economics seems to have both everything and nothing to do with values?The discipline of modern economics hypostatizes and continually reifies a domain it calls “the economy”; only this epistemic practice makes it possible to falsely separate the question of value from the broader inquiry into the economic. And only if we have first eliminated value from the domain of economics can we then transform stories of financial crisis or massive corporate corruption into simple tales of ethics.But if economic forces establish, transform, and maintain relations of value then it proves impossible to separate economics from questions of value, because value relations only come to be in the world by way of economic logics. This means that the “positive economics” spoken of so fondly in the textbooks is nothing more than a contradiction in terms, and as this book demonstrates, there’s no such thing as “the economy.” To grasp the basic logic of capital is to bring into view the unbreakable link between economics and value. 30 00 Every Economics textbook today teaches that questions of values and morality lie outside of, are in fact excluded from, the field of Economics and its proper domain of study, “the economy.” Yet the dominant cultural and media narrative in response to major economic crisis is almost always one of moral outrage. How do we reconcile this tension or explain this paradox by which Economics seems to have both everything and nothing to do with values?The discipline of modern economics hypostatizes and continually reifies a domain it calls “the economy”; only this epistemic practice makes it possible to falsely separate the question of value from the broader inquiry into the economic. And only if we have first eliminated value from the domain of economics can we then transform stories of financial crisis or massive corporate corruption into simple tales of ethics.But if economic forces establish, transform, and maintain relations of value then it proves impossible to separate economics from questions of value, because value relations only come to be in the world by way of economic logics. This means that the “positive economics” spoken of so fondly in the textbooks is nothing more than a contradiction in terms, and as this book demonstrates, there’s no such thing as “the economy.” To grasp the basic logic of capital is to bring into view the unbreakable link between economics and value. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0236.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/theres-no-such-thing-as-the-economy-essays-on-capitalist-value/ Earth, Milky Way 04 01 20181024 Chambers, Samuel A. 02 WORLD 06 15 9781947447905 03 9781947447905 34 06 10.1017/9781108241540 34 06 10.1177/072551368000100108 34 06 10.1080/03017600903454413 34 06 10.1080/09697250120087978 34 06 10.1108/S0198-871920170000032004 34 06 10.1177/030981688101300103 34 06 10.1177/072551368000100106 34 06 10.1080/10455752.2016.1271817 34 06 10.1017/S1053837200005290 34 06 10.1017/S1053837200000985 34 06 10.1163/156920610X550640 34 06 10.1163/156920600100414551 34 06 10.1163/156920600100414650 34 06 10.1163/156920600100414669 34 06 10.1017/S0010417508000297 34 06 10.2307/1883770 34 06 10.1177/030981687800400110 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447890 20 08 20181024 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/theres-no-such-thing-as-the-economy-essays-on-capitalist-value 20 08 20181024 02 22.00 USD WORLD urn:uuid:df16dfba-ced1-42c4-9bf7-611c6ccec364 03 01 01 thoth-work-id urn:uuid:a6e8459d-9451-44bd-ad5e-d3962c652ea0 01 thoth-publication-id urn:uuid:df16dfba-ced1-42c4-9bf7-611c6ccec364 15 9781947447905 03 9781947447905 06 10.21983/P3.0236.1.00 13 2018959825 01 internal-reference 0236 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 There's No Such Thing as "The Economy" Essays on Capitalist Value 1 A01 Samuel A. Chambers Samuel A. Chambers 40 00za53h95 Johns Hopkins University 01 eng 00 166 03 10 BUS029000 B2 Capital+Lucre 93 KCA 12 KCP 93 KCSA B2 New Left Thought 93 KCX 20 economics; financial crisis; capitalism; Wells Fargo; ethics; Marxism; political economy 01 06 02 00 03 00 Every Economics textbook today teaches that questions of values and morality lie outside of, are in fact excluded from, the field of Economics and its proper domain of study, “the economy.” Yet the dominant cultural and media narrative in response to major economic crisis is almost always one of moral outrage. How do we reconcile this tension or explain this paradox by which Economics seems to have both everything and nothing to do with values?The discipline of modern economics hypostatizes and continually reifies a domain it calls “the economy”; only this epistemic practice makes it possible to falsely separate the question of value from the broader inquiry into the economic. And only if we have first eliminated value from the domain of economics can we then transform stories of financial crisis or massive corporate corruption into simple tales of ethics.But if economic forces establish, transform, and maintain relations of value then it proves impossible to separate economics from questions of value, because value relations only come to be in the world by way of economic logics. This means that the “positive economics” spoken of so fondly in the textbooks is nothing more than a contradiction in terms, and as this book demonstrates, there’s no such thing as “the economy.” To grasp the basic logic of capital is to bring into view the unbreakable link between economics and value. 30 00 Every Economics textbook today teaches that questions of values and morality lie outside of, are in fact excluded from, the field of Economics and its proper domain of study, “the economy.” Yet the dominant cultural and media narrative in response to major economic crisis is almost always one of moral outrage. How do we reconcile this tension or explain this paradox by which Economics seems to have both everything and nothing to do with values?The discipline of modern economics hypostatizes and continually reifies a domain it calls “the economy”; only this epistemic practice makes it possible to falsely separate the question of value from the broader inquiry into the economic. And only if we have first eliminated value from the domain of economics can we then transform stories of financial crisis or massive corporate corruption into simple tales of ethics.But if economic forces establish, transform, and maintain relations of value then it proves impossible to separate economics from questions of value, because value relations only come to be in the world by way of economic logics. This means that the “positive economics” spoken of so fondly in the textbooks is nothing more than a contradiction in terms, and as this book demonstrates, there’s no such thing as “the economy.” To grasp the basic logic of capital is to bring into view the unbreakable link between economics and value. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0236.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/theres-no-such-thing-as-the-economy-essays-on-capitalist-value/ Earth, Milky Way 04 01 20181024 Chambers, Samuel A. 02 WORLD 06 15 9781947447899 03 9781947447899 34 06 10.1017/9781108241540 34 06 10.1177/072551368000100108 34 06 10.1080/03017600903454413 34 06 10.1080/09697250120087978 34 06 10.1108/S0198-871920170000032004 34 06 10.1177/030981688101300103 34 06 10.1177/072551368000100106 34 06 10.1080/10455752.2016.1271817 34 06 10.1017/S1053837200005290 34 06 10.1017/S1053837200000985 34 06 10.1163/156920610X550640 34 06 10.1163/156920600100414551 34 06 10.1163/156920600100414650 34 06 10.1163/156920600100414669 34 06 10.1017/S0010417508000297 34 06 10.2307/1883770 34 06 10.1177/030981687800400110 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25394 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25394/1004701.pdf?sequence=1&isAllowed=y 20 08 20181024 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30696 20 08 20181024 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353812 20 08 20181024 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/592 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fe99e6bf-7feb-42fb-b961-55ded0c052c1/download 20 08 20181024 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/There_s_No_Such_Thing_as_The_Economy/NZ-oEAAAQBAJ 20 08 20181024 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a6e8459d-9451-44bd-ad5e-d3962c652ea0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a6e8459d-9451-44bd-ad5e-d3962c652ea0/a6e8459d-9451-44bd-ad5e-d3962c652ea0.pdf 20 08 20181024 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847495 29 ZENODO: download the title https://zenodo.org/records/19847495/files/a6e8459d-9451-44bd-ad5e-d3962c652ea0_book.pdf 20 08 20181024 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/theres-no-such-thing-as-the-economy-essays-on-capitalist-value/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0236.1.00.pdf 20 08 20181024 01 urn:uuid:70df0055-e1dd-4618-8b5d-304a58b630a4 03 01 01 thoth-work-id urn:uuid:a3f50086-75c6-4f69-aace-7e498e21beb6 01 thoth-publication-id urn:uuid:70df0055-e1dd-4618-8b5d-304a58b630a4 15 9781947447288 03 9781947447288 06 10.21983/P3.0188.1.00 13 2017957439 01 internal-reference 0188 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Retro-Futurism of Cuteness 1 B01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 2 B01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 00 268 03 B2 Art+Aesthetics 12 DSBD 93 JBCC 10 SOC022000 B2 Cultural Studies+Critical Theory 93 DSB 10 SOC002010 93 JBCT B2 Premodern 20 cuteness; William Shakespeare; Renaissance literature; Bollywood; Second Life; cultural studies 01 06 02 00 03 00 Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to “cute” in the sense of “attractive, pretty, charming” to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around “big” aesthetics of formal symmetries, high affects, and resemblances?The Retrofuturism of Cuteness seeks to undo the temporal strictures surrounding aesthetic and affective categories, to displace a strict focus on commodification and cuteness, and to interrogate how cuteness as a minor aesthetics can refocus our perceptions and readings of both premodern and modern media, literature, and culture. Taking seriously the retro and the futuristic temporalities of cuteness, this volume puts in conversation projects that have unearthed remnants of a “cult of cute”—positioned historically and critically in between transitions into secularization, capitalist frameworks of commodification, and the enchantment of objects—and those that have investigated the uncanny haunting of earlier aesthetics in future-oriented modes of cuteness. 30 00 Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to “cute” in the sense of “attractive, pretty, charming” to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around “big” aesthetics of formal symmetries, high affects, and resemblances?The Retrofuturism of Cuteness seeks to undo the temporal strictures surrounding aesthetic and affective categories, to displace a strict focus on commodification and cuteness, and to interrogate how cuteness as a minor aesthetics can refocus our perceptions and readings of both premodern and modern media, literature, and culture. Taking seriously the retro and the futuristic temporalities of cuteness, this volume puts in conversation projects that have unearthed remnants of a “cult of cute”—positioned historically and critically in between transitions into secularization, capitalist frameworks of commodification, and the enchantment of objects—and those that have investigated the uncanny haunting of earlier aesthetics in future-oriented modes of cuteness. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0188.1.00_frontcover.png 1 03 06 10.21983/P3.0188.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 2 B01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 20 00 Open Access Boyle, Jen Kao, Wan-Chuan 2 03 06 10.21983/P3.0188.1.02 13 28 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction The Time of the Child 1 A01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 2 A01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 01 eng 03 00 The Pokémon Go craze went global in the summer of 2016. Gamers, through their smartphone screens and cameras, could see an “augmented reality” — one animated by adorable poké-mon that they had to find, catch, and collect — superimposed on the world around them. Playing the game inside the Victoria and Albert Museum in London, we found ourselves mesmer-ized by the eerie entanglement of the embodied works of art all around us and the disembodied figures of cuteness overrunning the place. A strange temporal nexus had transformed and over-taken the museum. There, behind a Greek statue, lurked Pika-chu. Inside one of the major aesthetic archives in the world, we witnessed not only the backward mapping of the postmodern cute onto old artifacts but also the forward projection of cute potential from the same relics of art. Moving through a space of clashing aesthetic modalities, we were children once more. 30 00 The Pokémon Go craze went global in the summer of 2016. Gamers, through their smartphone screens and cameras, could see an “augmented reality” — one animated by adorable poké-mon that they had to find, catch, and collect — superimposed on the world around them. Playing the game inside the Victoria and Albert Museum in London, we found ourselves mesmer-ized by the eerie entanglement of the embodied works of art all around us and the disembodied figures of cuteness overrunning the place. A strange temporal nexus had transformed and over-taken the museum. There, behind a Greek statue, lurked Pika-chu. Inside one of the major aesthetic archives in the world, we witnessed not only the backward mapping of the postmodern cute onto old artifacts but also the forward projection of cute potential from the same relics of art. Moving through a space of clashing aesthetic modalities, we were children once more. 20 00 Open Access Kao, Wan-Chuan Boyle, Jen 3 03 06 10.21983/P3.0188.1.03 29 52 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Torturer-Cute 1 A01 Andrea Denny-Brown Andrea Denny-Brown 40 03nawhv43 University of California, Riverside 01 eng 03 00 The stylistic qualities of the late medieval English play cycle known as the Towneley cycle have long intrigued literary schol-ars, with no aspect demonstrating this more clearly than the con-cept of the “Wakefield Master,” the name given to an anonymous playwright deemed to have written the most distinctive sections of the cycle.1 Known for his remarkably inventive uses of poetic form, rhyme words, colloquial expression, and verbal play, the Wakefield Master’s verbal intensity in the cycle has been read in different ways, including as a demonstration of “the abuses of language” and the moral complicity of poetry (Stevens); as a re-flection of humanity and “the variety of the world” (Meredith); as evidence of anticlericalism (Dillon); and as critical com-mentary on the forms of more urban, civic-minded play cycles (Nisse).2 This chapter will focus on what the Wakefield Master’s style says about the affective pursuits of style itself, examining a single play from the cycle — the Play of the Dice, which comes directly after the Crucifixion play — that seems designed to pose questions not only about modes of verbal expression and the judgments that accompany them, but also about the extent to which aesthetic experience can be generated by stylized expres-sion across different, often simultaneous media (verbal, visual, auditory, kinetic). If the Towneley cycle as a whole might be said to be characterized, via the ostensible talents of the Wakefield Master, by pockets of radical ingenuity, then the Play of the Dice should rightfully be understood as the play in the cycle that is most compulsively preoccupied with innovation as a site of both thematic and formal inquiry. 30 00 The stylistic qualities of the late medieval English play cycle known as the Towneley cycle have long intrigued literary schol-ars, with no aspect demonstrating this more clearly than the con-cept of the “Wakefield Master,” the name given to an anonymous playwright deemed to have written the most distinctive sections of the cycle.1 Known for his remarkably inventive uses of poetic form, rhyme words, colloquial expression, and verbal play, the Wakefield Master’s verbal intensity in the cycle has been read in different ways, including as a demonstration of “the abuses of language” and the moral complicity of poetry (Stevens); as a re-flection of humanity and “the variety of the world” (Meredith); as evidence of anticlericalism (Dillon); and as critical com-mentary on the forms of more urban, civic-minded play cycles (Nisse).2 This chapter will focus on what the Wakefield Master’s style says about the affective pursuits of style itself, examining a single play from the cycle — the Play of the Dice, which comes directly after the Crucifixion play — that seems designed to pose questions not only about modes of verbal expression and the judgments that accompany them, but also about the extent to which aesthetic experience can be generated by stylized expres-sion across different, often simultaneous media (verbal, visual, auditory, kinetic). If the Towneley cycle as a whole might be said to be characterized, via the ostensible talents of the Wakefield Master, by pockets of radical ingenuity, then the Play of the Dice should rightfully be understood as the play in the cycle that is most compulsively preoccupied with innovation as a site of both thematic and formal inquiry. 20 00 Open Access Denny-Brown, Andrea 4 03 06 10.21983/P3.0188.1.04 53 66 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Indulgence and Refusal Cuteness, Asceticism, and the Aestheticization of Desire 1 A01 Elizabeth Howie Elizabeth Howie 40 01621q256 Coastal Carolina University 01 eng 03 00 Centuries before the late nineteenth-century advent of the cute, not to mention its twentieth-century flowering in consumer-ism, ascetic medieval Christians resisted temptation in a way that served to inflame desire, to make it more acute, with the ultimate goal of eradicating it to achieve greater holiness. Early twenty-first-century scholars, such as Sianne Ngai and Daniel Harris, resist and refuse the restrictions of traditional scholar-ship to explore critically the so-called minor aesthetic category of cuteness, finding it a form that, like asceticism, also arouses desires and embraces seemingly incongruous qualities. While asceticism calls attention to desire by denying its fulfillment, cuteness conceals the power of the commodity’s insidious desir-ability behind a masquerade of innocent powerlessness. 30 00 Centuries before the late nineteenth-century advent of the cute, not to mention its twentieth-century flowering in consumer-ism, ascetic medieval Christians resisted temptation in a way that served to inflame desire, to make it more acute, with the ultimate goal of eradicating it to achieve greater holiness. Early twenty-first-century scholars, such as Sianne Ngai and Daniel Harris, resist and refuse the restrictions of traditional scholar-ship to explore critically the so-called minor aesthetic category of cuteness, finding it a form that, like asceticism, also arouses desires and embraces seemingly incongruous qualities. While asceticism calls attention to desire by denying its fulfillment, cuteness conceals the power of the commodity’s insidious desir-ability behind a masquerade of innocent powerlessness. 20 00 Open Access Howie, Elizabeth 5 03 06 10.21983/P3.0188.1.05 67 86 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From "Awe" to "Awww" Cuteness and the Idea of the Holy in Christian Commodity Culture 1 A01 Claire Maria Chambers Claire Maria Chambers 40 056tn4839 Sogang University 01 eng 03 00 Can God, the divine, the absolute, or the holy be cute? A quick foray into contemporary commodity cultures associated with several world religions yields “cute” objects and images that play mediating roles in the faith lives of practitioners. In South Korean Buddhist temples, small, chubby, plaster monks bought for a few thousand won adorn shrines and altars, accompanying the prayers and intentions of the purchasers. Buddha himself may be depicted on posters and lamp covers for his birthday celebration in May as a cutified, childlike being, while at temples devotees ritually bathe a statue of the Buddha as a small boy (figs. 1–4). Contemporary Hindus wanting to teach their chil-dren about the complex pantheon need look no further than Sanjay Patel’s The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow. Each bright spread of the book fea-tures a god, goddess, demon, warrior, or diva as a cute cartoon character with round, exaggerated eyes. The Bala Krishna, or Krishna the divine child, may set some precedent for cute depic-tions of Hindu gods, with his exploits—especially the tale of his butter thievery — captured in popular devotional images that picture him as a soft, round toddler shaded in sky blue. 30 00 Can God, the divine, the absolute, or the holy be cute? A quick foray into contemporary commodity cultures associated with several world religions yields “cute” objects and images that play mediating roles in the faith lives of practitioners. In South Korean Buddhist temples, small, chubby, plaster monks bought for a few thousand won adorn shrines and altars, accompanying the prayers and intentions of the purchasers. Buddha himself may be depicted on posters and lamp covers for his birthday celebration in May as a cutified, childlike being, while at temples devotees ritually bathe a statue of the Buddha as a small boy (figs. 1–4). Contemporary Hindus wanting to teach their chil-dren about the complex pantheon need look no further than Sanjay Patel’s The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow. Each bright spread of the book fea-tures a god, goddess, demon, warrior, or diva as a cute cartoon character with round, exaggerated eyes. The Bala Krishna, or Krishna the divine child, may set some precedent for cute depic-tions of Hindu gods, with his exploits—especially the tale of his butter thievery — captured in popular devotional images that picture him as a soft, round toddler shaded in sky blue. 20 00 Open Access Chambers, Claire Maria 6 03 06 10.21983/P3.0188.1.06 87 110 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "All the Pretty Little Ponies" Bronies, Desire, and Cuteness 1 A01 Justin Mullis Justin Mullis 40 04dawnj30 University of North Carolina at Charlotte 01 eng 03 00 Bronies are adult male fans of the hit animated TV series My Little Pony: Friendship Is Magic (2010–present). It is the latest incarnation of the 1980s My Little Pony franchise, a toy line of cute plastic pony figures created by Hasbro with an accompany-ing animated series. According to Patrick Edwards and Marsha Redden — the nation’s “premiere bronyologists” (Orsini) — self-identified bronies have a medium age of twenty-one and are predominately male, heterosexual, and college educated.1 What makes bronies truly remarkable is the sustained media coverage they have received over the past seven years from a number of diverse outlets.2 Such widespread coverage has thrust brony fan-dom into the public eye, transforming bronies into “figures of fascination and derision in equal measures” (Manuel). The most popular assertion, made by both supporters and detractors of brony fandom, is that the adult male fans’ affection for Friend-ship Is Magic— a show made for and sold initially to elemen-tary-school girls — indicates a shift toward more egalitarian attitudes among North American young men with regards to the gendering of pop media. This egalitarianism has become the key premise of many brony studies, both lay and academic. Edwards and Redden, for example, compare bronies to the hippies of the 1960s and their message of peace, love, and understanding in the wake of the Vietnam War. Brony fandom thereby emerges as an oppositional response to 9/11 and the ongoing American War on Terror (Stohs-Krause). 30 00 Bronies are adult male fans of the hit animated TV series My Little Pony: Friendship Is Magic (2010–present). It is the latest incarnation of the 1980s My Little Pony franchise, a toy line of cute plastic pony figures created by Hasbro with an accompany-ing animated series. According to Patrick Edwards and Marsha Redden — the nation’s “premiere bronyologists” (Orsini) — self-identified bronies have a medium age of twenty-one and are predominately male, heterosexual, and college educated.1 What makes bronies truly remarkable is the sustained media coverage they have received over the past seven years from a number of diverse outlets.2 Such widespread coverage has thrust brony fan-dom into the public eye, transforming bronies into “figures of fascination and derision in equal measures” (Manuel). The most popular assertion, made by both supporters and detractors of brony fandom, is that the adult male fans’ affection for Friend-ship Is Magic— a show made for and sold initially to elemen-tary-school girls — indicates a shift toward more egalitarian attitudes among North American young men with regards to the gendering of pop media. This egalitarianism has become the key premise of many brony studies, both lay and academic. Edwards and Redden, for example, compare bronies to the hippies of the 1960s and their message of peace, love, and understanding in the wake of the Vietnam War. Brony fandom thereby emerges as an oppositional response to 9/11 and the ongoing American War on Terror (Stohs-Krause). 20 00 Open Access Mullis, Justin 7 03 06 10.21983/P3.0188.1.07 111 135 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Consuming Celebrity Commodities and Cuteness in the Circulation of Master William Henry West Betty 1 A01 Marlis Schweitzer Marlis Schweitzer 40 05fq50484 York University 01 eng 03 00 In a shelf in the vaults of the Folger Shakespeare Library sit several snuffboxes bearing the image of Master William Henry West Betty, the child actor who dominated the British stage be-tween 1803 and 1806 (figs. 1 and 2). Small, pretty, and delicate, these snuffboxes are undeniably “cute,” in keeping with the as-sociation of cuteness with fragility, empathy, and desire (Merish 187). Like other cute objects, they invite human touch despite their vulnerable materiality, as if to say, “Hold me carefully or I will break.” The tiny portraits painted onto the ivory lids en-hance the boxes’ cuteness by depicting the “Young Roscius” in his most famous roles, from Shakespeare’s Romeo to the charac-ter of Norval in John Home’s Douglas. In turn, the skillful min-iaturization of Betty’s image amplifies the cuteness of the boy himself, whom audiences admired as much, if not more, for his physical charms as for his convincing stage impersonations. 30 00 In a shelf in the vaults of the Folger Shakespeare Library sit several snuffboxes bearing the image of Master William Henry West Betty, the child actor who dominated the British stage be-tween 1803 and 1806 (figs. 1 and 2). Small, pretty, and delicate, these snuffboxes are undeniably “cute,” in keeping with the as-sociation of cuteness with fragility, empathy, and desire (Merish 187). Like other cute objects, they invite human touch despite their vulnerable materiality, as if to say, “Hold me carefully or I will break.” The tiny portraits painted onto the ivory lids en-hance the boxes’ cuteness by depicting the “Young Roscius” in his most famous roles, from Shakespeare’s Romeo to the charac-ter of Norval in John Home’s Douglas. In turn, the skillful min-iaturization of Betty’s image amplifies the cuteness of the boy himself, whom audiences admired as much, if not more, for his physical charms as for his convincing stage impersonations. 20 00 Open Access Schweitzer, Marlis 8 03 06 10.21983/P3.0188.1.08 137 153 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Embracing the Gremlin Judas Iscariot and the (Anti-)Cuteness of Despair 1 A01 Mariah Junglan Min Mariah Junglan Min 40 00b30xv10 University of Pennsylvania 01 eng 03 00 Nakamura Hikaru’s manga Saint Young Men (SYM; 聖☆おにいさん) is a slice-of-life comedy that has just entered its eleventh year of serialization. Word is that there are no future plans for an official English translation, due to the volatile religious climate in the US (Thompson); this is sad news for anyone who might enjoy seeing the Apostles Peter and Andrew show up at Jesus’s door for an annual Easter prank, wearing bald caps and kasayarobes and informing him that they’ve decided to convert to Bud-dhism (Nakamura 5:101). The previous sentence might sound at first like a bewildering combination of words, but the situation makes reasonable sense within the context of the series, which takes as its premise that Jesus and Buddha are roommates on a long-overdue vacation in modern-day Japan. A rotating cast of characters from both religions (as well as from the Greco-Roman and Norse pantheons) makes guest appearances in their daily low-key adventures, and Judas Iscariot formally joins the list as well in the same Easter prank chapter. 30 00 Nakamura Hikaru’s manga Saint Young Men (SYM; 聖☆おにいさん) is a slice-of-life comedy that has just entered its eleventh year of serialization. Word is that there are no future plans for an official English translation, due to the volatile religious climate in the US (Thompson); this is sad news for anyone who might enjoy seeing the Apostles Peter and Andrew show up at Jesus’s door for an annual Easter prank, wearing bald caps and kasayarobes and informing him that they’ve decided to convert to Bud-dhism (Nakamura 5:101). The previous sentence might sound at first like a bewildering combination of words, but the situation makes reasonable sense within the context of the series, which takes as its premise that Jesus and Buddha are roommates on a long-overdue vacation in modern-day Japan. A rotating cast of characters from both religions (as well as from the Greco-Roman and Norse pantheons) makes guest appearances in their daily low-key adventures, and Judas Iscariot formally joins the list as well in the same Easter prank chapter. 20 00 Open Access Min, Mariah Junglan 9 03 06 10.21983/P3.0188.1.09 155 173 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cute, Charming, Dangerous Child Avatars in Second Life 1 A01 Alicia Corts Alicia Corts 40 02p804s75 Saint Leo University 01 eng 03 00 What should a society do when a child’s performance isn’t that of a child? In the physical world, society rarely faces that question, needing only to reconcile the difference between performance and appearance when faced with a situation such as a celebrity who has undergone plastic surgery or a child who suffers from progeria. A person’s appearance quickly establishes their age be-cause the image of the body acts as a symbol of temporal status in the presentation of self, allowing others to define appropriate-ness in future interactions (Goffman 4–5). The child’s biological body signals others to interact with him or her in ways that are appropriate to his or her developmental level. As the child grows taller and more mature with time, the temporal signs he or she displays change and signal to society that the child is ready for different levels of interaction. Society, in other words, uses the symbol of the temporal body as a way of binding a child to a specific set of acceptable performances. The focus of this chap-ter is a world in which the body is no longer held by the tem-porality of biology, making what appears to be a child’s perfor-mance unstable. Virtual worlds mask the biological body of the user behind the digital body of the avatar. While an avatar might look like a child, the user behind the screen is a verified adult, creating temporal dissonance. Using Brian Massumi’s notion of the positional grid and Pierre Bourdieu’s definition of habitus, I want to investigate how this temporal dissonance played out in the early days of one particular virtual world, Second Life, and how that particular virtual society utilized cuteness to regulate performance. 30 00 What should a society do when a child’s performance isn’t that of a child? In the physical world, society rarely faces that question, needing only to reconcile the difference between performance and appearance when faced with a situation such as a celebrity who has undergone plastic surgery or a child who suffers from progeria. A person’s appearance quickly establishes their age be-cause the image of the body acts as a symbol of temporal status in the presentation of self, allowing others to define appropriate-ness in future interactions (Goffman 4–5). The child’s biological body signals others to interact with him or her in ways that are appropriate to his or her developmental level. As the child grows taller and more mature with time, the temporal signs he or she displays change and signal to society that the child is ready for different levels of interaction. Society, in other words, uses the symbol of the temporal body as a way of binding a child to a specific set of acceptable performances. The focus of this chap-ter is a world in which the body is no longer held by the tem-porality of biology, making what appears to be a child’s perfor-mance unstable. Virtual worlds mask the biological body of the user behind the digital body of the avatar. While an avatar might look like a child, the user behind the screen is a verified adult, creating temporal dissonance. Using Brian Massumi’s notion of the positional grid and Pierre Bourdieu’s definition of habitus, I want to investigate how this temporal dissonance played out in the early days of one particular virtual world, Second Life, and how that particular virtual society utilized cuteness to regulate performance. 20 00 Open Access Corts, Alicia 10 03 06 10.21983/P3.0188.1.10 175 194 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What's Cute Got To Do With It? Early Modern Proto-Cuteness in King Lear 1 A01 James M. Cochran James M. Cochran 40 005781934 Baylor University 01 eng 03 00 In the past twenty years, the field of cute studies has grown ex-tensively.1 Cuteness, as we conceive of it, has its origins in the nineteenth century. According to the Oxford English Dictionary, cute, defined as “attractive, pretty, charming,” comes from “U.S. colloquial and Schoolboy slang,” with its earliest recorded usage in 1834. Despite the origins of cuteness in the nineteenth cen-tury, this chapter searches for earlier traces of cuteness — an early modern protocuteness — asking if earlier structures, systems, and concepts anticipate our contemporary definition of cuteness. Do Shakespeare’s works, particularly King Lear, offer insight into a seventeenth-century ancestor of cuteness? Can Shakespeare speak to our contemporary cute age? Is Shakespeare ever cute? Drawing largely from Daniel Harris’s 2000 book on aesthetics and consumerism, this chapter seeks to answer these questions by offering a critical investigation of the intersection between early modern culture and contemporary aesthetics. 30 00 In the past twenty years, the field of cute studies has grown ex-tensively.1 Cuteness, as we conceive of it, has its origins in the nineteenth century. According to the Oxford English Dictionary, cute, defined as “attractive, pretty, charming,” comes from “U.S. colloquial and Schoolboy slang,” with its earliest recorded usage in 1834. Despite the origins of cuteness in the nineteenth cen-tury, this chapter searches for earlier traces of cuteness — an early modern protocuteness — asking if earlier structures, systems, and concepts anticipate our contemporary definition of cuteness. Do Shakespeare’s works, particularly King Lear, offer insight into a seventeenth-century ancestor of cuteness? Can Shakespeare speak to our contemporary cute age? Is Shakespeare ever cute? Drawing largely from Daniel Harris’s 2000 book on aesthetics and consumerism, this chapter seeks to answer these questions by offering a critical investigation of the intersection between early modern culture and contemporary aesthetics. 20 00 Open Access Cochran, James M. 11 03 06 10.21983/P3.0188.1.11 195 218 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hamlet, Hesperides, and the Discursivity of Cuteness 1 A01 Kara Watts Kara Watts 40 013ckk937 University of Rhode Island 01 eng 03 00 Using aesthetics alongside affect theory and queer philology, this chapter interrogates the ability of Shakespeare’s Hamlet(1604) and Robert Herrick’s Hesperides (1648) to endure and broaden the scope of what Sianne Ngai, Lori Merish, Dan-iel Harris, and others have theorized as the cute. Ngai, in Our Aesthetic Categories: Zany, Cute, Interesting (2012), explains the cute as a contemporary and commodity-driven category, an aes-thetic that discloses a “surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor toward ostensively subordinate and unthreatening commodities” (1). To consider the cute, then, is to consider our documented fascina-tion with the private, the relations of subjects and objects, and the power dynamics between the appreciator and the appreci-ated, adorer and adored. Even so, I suggest we think otherwise. What if we think about the cute less as an aesthetic response to commodity, per se, than a discursivity? Cuteness is an aesthetic category that relies on a spectrum of appreciation, from disin-terested nonreaction (think, for example, of the inundation of “cute” things to respond to on websites like Buzzfeed or Reddit) to a heightened affective experience of an object or artwork, one more closely related to classic Kantian or Burkean experiences of beauty. But aesthetic experience demands a commodity-driven, consumptive closeness that Theodor W. Adorno finds goes beyond object relations to fuel our relationships to texts. 30 00 Using aesthetics alongside affect theory and queer philology, this chapter interrogates the ability of Shakespeare’s Hamlet(1604) and Robert Herrick’s Hesperides (1648) to endure and broaden the scope of what Sianne Ngai, Lori Merish, Dan-iel Harris, and others have theorized as the cute. Ngai, in Our Aesthetic Categories: Zany, Cute, Interesting (2012), explains the cute as a contemporary and commodity-driven category, an aes-thetic that discloses a “surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor toward ostensively subordinate and unthreatening commodities” (1). To consider the cute, then, is to consider our documented fascina-tion with the private, the relations of subjects and objects, and the power dynamics between the appreciator and the appreci-ated, adorer and adored. Even so, I suggest we think otherwise. What if we think about the cute less as an aesthetic response to commodity, per se, than a discursivity? Cuteness is an aesthetic category that relies on a spectrum of appreciation, from disin-terested nonreaction (think, for example, of the inundation of “cute” things to respond to on websites like Buzzfeed or Reddit) to a heightened affective experience of an object or artwork, one more closely related to classic Kantian or Burkean experiences of beauty. But aesthetic experience demands a commodity-driven, consumptive closeness that Theodor W. Adorno finds goes beyond object relations to fuel our relationships to texts. 20 00 Open Access Watts, Kara 12 03 06 10.21983/P3.0188.1.12 219 242 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cute Lacerations in Doctor Faustus and Omkara 1 A01 Tripthi Pillai Tripthi Pillai 40 01621q256 Coastal Carolina University 01 eng 03 00 Bollywood’s sexy “item songs” and Christopher Marlowe’s scenes of bodily, erotic exchange are violently cute for simi-lar reasons. They each “create or facilitate kinds of ‘between-ness’ — relays, conduits, associations — that in turn facilitate the circulation of texts, objects, and signs” (Ngai 115). Bubbling confluences of cuteness and violence, the songs and scenes com-plicate narratives of futurity by dismantling them from their core purpose and position of power, positing nothing concrete in their place — neither in terms of narrative directionality nor in the sense of purposefulness. So often associated with futil-ity and fragility, cuteness erupts as a violent instrument of or-ganizational breakdown in Marlowe’s play Doctor Faustus and Vishal Bhardwaj’s film Omkara (2006). In this chapter I attempt to make explicit the lacerating action within these texts that ren-ders dangerous the invasive potentiality of cute substance. Spe-cifically, I offer readings of two instances of cute laceration — a scene from Doctor Faustus and a song from Omkara — to high-light the affective irreverence and aggression of cuteness when it collides with normative narratives of biological, reproductive futurity. While Marlowe’s text focuses on the development of cuteness as surreptitious manipulation of normative reproduc-tion, Bhardwaj’s film bursts with “sinthomosexual” cuteness as the usurpation of symbolic meaning in narratives of futurity. In each instance, cuteness “item”-izes itself as violence in scenes and gestures that, while seemingly insubstantial in their small-ness, lacerate the central narrative’s spatial and temporal thesis. 30 00 Bollywood’s sexy “item songs” and Christopher Marlowe’s scenes of bodily, erotic exchange are violently cute for simi-lar reasons. They each “create or facilitate kinds of ‘between-ness’ — relays, conduits, associations — that in turn facilitate the circulation of texts, objects, and signs” (Ngai 115). Bubbling confluences of cuteness and violence, the songs and scenes com-plicate narratives of futurity by dismantling them from their core purpose and position of power, positing nothing concrete in their place — neither in terms of narrative directionality nor in the sense of purposefulness. So often associated with futil-ity and fragility, cuteness erupts as a violent instrument of or-ganizational breakdown in Marlowe’s play Doctor Faustus and Vishal Bhardwaj’s film Omkara (2006). In this chapter I attempt to make explicit the lacerating action within these texts that ren-ders dangerous the invasive potentiality of cute substance. Spe-cifically, I offer readings of two instances of cute laceration — a scene from Doctor Faustus and a song from Omkara — to high-light the affective irreverence and aggression of cuteness when it collides with normative narratives of biological, reproductive futurity. While Marlowe’s text focuses on the development of cuteness as surreptitious manipulation of normative reproduc-tion, Bhardwaj’s film bursts with “sinthomosexual” cuteness as the usurpation of symbolic meaning in narratives of futurity. In each instance, cuteness “item”-izes itself as violence in scenes and gestures that, while seemingly insubstantial in their small-ness, lacerate the central narrative’s spatial and temporal thesis. 20 00 Open Access Pillai, Tripthi 13 03 06 10.21983/P3.0188.1.13 243 260 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Katie Sokoler, Your Construction Paper Tears Can't Hide Your Yayoi Kusama-Neurotic Underbelly 1 A01 Kelly Lloyd Kelly Lloyd Baltimore School for the Arts 01 eng 03 00 A power struggle is inherent to cuteness, to the extent that this struggle, if unacknowledged and undirected, will manifest it-self at the cute object’s expense. I examine this phenomenon through a close analysis of Katie Sokoler’s 2012 Tampax Radi-ant tampon print advertisement and television commercial, and through a comparison of Sokoler to the works of Yayoi Kusama. I work from the colloquial definition of cuteness as “applied to people as well as things, with the sense ‘attractive, pretty, charm-ing’; also, ‘attractive in a mannered way’” (“Cute”). Identified by infantile physical characteristics and behavior, associated with the feminine and deemed powerless, cuteness is an aesthetic, an affect, and a strategy. My understanding of cuteness comes from personal experience and is influenced by the work of Sianne Ngai, who argues that[t]here is no judgment or experience of an object as cute thatdoes not call up one’s sense of power over it as somethingless powerful. But the fact that the cute object seems capableof making demands on us regardless, as Lori Merish under-scores—a demand for care that women in particular often feel addressed or interpellated by — suggests that “cute’” des-ignates not just the site of a static power differential but also the site of a surprisingly complex power struggle. 30 00 A power struggle is inherent to cuteness, to the extent that this struggle, if unacknowledged and undirected, will manifest it-self at the cute object’s expense. I examine this phenomenon through a close analysis of Katie Sokoler’s 2012 Tampax Radi-ant tampon print advertisement and television commercial, and through a comparison of Sokoler to the works of Yayoi Kusama. I work from the colloquial definition of cuteness as “applied to people as well as things, with the sense ‘attractive, pretty, charm-ing’; also, ‘attractive in a mannered way’” (“Cute”). Identified by infantile physical characteristics and behavior, associated with the feminine and deemed powerless, cuteness is an aesthetic, an affect, and a strategy. My understanding of cuteness comes from personal experience and is influenced by the work of Sianne Ngai, who argues that[t]here is no judgment or experience of an object as cute thatdoes not call up one’s sense of power over it as somethingless powerful. But the fact that the cute object seems capableof making demands on us regardless, as Lori Merish under-scores—a demand for care that women in particular often feel addressed or interpellated by — suggests that “cute’” des-ignates not just the site of a static power differential but also the site of a surprisingly complex power struggle. 20 00 Open Access Lloyd, Kelly 14 03 06 10.21983/P3.0188.1.14 261 264 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 2 B01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 20 00 Open Access Boyle, Jen Kao, Wan-Chuan 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-retrofuturism-of-cuteness/ Earth, Milky Way 04 01 20171104 Boyle, Jen Kao, Wan-Chuan 02 WORLD 06 15 9781947447295 03 9781947447295 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447289 20 08 20171104 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-retro-futurism-of-cuteness 20 08 20171104 02 25.00 USD WORLD urn:uuid:1dc48fae-0678-4fe8-a2b2-c5832228ffeb 03 01 01 thoth-work-id urn:uuid:a3f50086-75c6-4f69-aace-7e498e21beb6 01 thoth-publication-id urn:uuid:1dc48fae-0678-4fe8-a2b2-c5832228ffeb 15 9781947447295 03 9781947447295 06 10.21983/P3.0188.1.00 13 2017957439 01 internal-reference 0188 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Retro-Futurism of Cuteness 1 B01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 2 B01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 00 268 03 B2 Art+Aesthetics 12 DSBD 93 JBCC 10 SOC022000 B2 Cultural Studies+Critical Theory 93 DSB 10 SOC002010 93 JBCT B2 Premodern 20 cuteness; William Shakespeare; Renaissance literature; Bollywood; Second Life; cultural studies 01 06 02 00 03 00 Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to “cute” in the sense of “attractive, pretty, charming” to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around “big” aesthetics of formal symmetries, high affects, and resemblances?The Retrofuturism of Cuteness seeks to undo the temporal strictures surrounding aesthetic and affective categories, to displace a strict focus on commodification and cuteness, and to interrogate how cuteness as a minor aesthetics can refocus our perceptions and readings of both premodern and modern media, literature, and culture. Taking seriously the retro and the futuristic temporalities of cuteness, this volume puts in conversation projects that have unearthed remnants of a “cult of cute”—positioned historically and critically in between transitions into secularization, capitalist frameworks of commodification, and the enchantment of objects—and those that have investigated the uncanny haunting of earlier aesthetics in future-oriented modes of cuteness. 30 00 Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to “cute” in the sense of “attractive, pretty, charming” to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around “big” aesthetics of formal symmetries, high affects, and resemblances?The Retrofuturism of Cuteness seeks to undo the temporal strictures surrounding aesthetic and affective categories, to displace a strict focus on commodification and cuteness, and to interrogate how cuteness as a minor aesthetics can refocus our perceptions and readings of both premodern and modern media, literature, and culture. Taking seriously the retro and the futuristic temporalities of cuteness, this volume puts in conversation projects that have unearthed remnants of a “cult of cute”—positioned historically and critically in between transitions into secularization, capitalist frameworks of commodification, and the enchantment of objects—and those that have investigated the uncanny haunting of earlier aesthetics in future-oriented modes of cuteness. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0188.1.00_frontcover.png 1 03 06 10.21983/P3.0188.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 2 B01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 20 00 Open Access Boyle, Jen Kao, Wan-Chuan 2 03 06 10.21983/P3.0188.1.02 13 28 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction The Time of the Child 1 A01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 2 A01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 01 eng 03 00 The Pokémon Go craze went global in the summer of 2016. Gamers, through their smartphone screens and cameras, could see an “augmented reality” — one animated by adorable poké-mon that they had to find, catch, and collect — superimposed on the world around them. Playing the game inside the Victoria and Albert Museum in London, we found ourselves mesmer-ized by the eerie entanglement of the embodied works of art all around us and the disembodied figures of cuteness overrunning the place. A strange temporal nexus had transformed and over-taken the museum. There, behind a Greek statue, lurked Pika-chu. Inside one of the major aesthetic archives in the world, we witnessed not only the backward mapping of the postmodern cute onto old artifacts but also the forward projection of cute potential from the same relics of art. Moving through a space of clashing aesthetic modalities, we were children once more. 30 00 The Pokémon Go craze went global in the summer of 2016. Gamers, through their smartphone screens and cameras, could see an “augmented reality” — one animated by adorable poké-mon that they had to find, catch, and collect — superimposed on the world around them. Playing the game inside the Victoria and Albert Museum in London, we found ourselves mesmer-ized by the eerie entanglement of the embodied works of art all around us and the disembodied figures of cuteness overrunning the place. A strange temporal nexus had transformed and over-taken the museum. There, behind a Greek statue, lurked Pika-chu. Inside one of the major aesthetic archives in the world, we witnessed not only the backward mapping of the postmodern cute onto old artifacts but also the forward projection of cute potential from the same relics of art. Moving through a space of clashing aesthetic modalities, we were children once more. 20 00 Open Access Kao, Wan-Chuan Boyle, Jen 3 03 06 10.21983/P3.0188.1.03 29 52 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Torturer-Cute 1 A01 Andrea Denny-Brown Andrea Denny-Brown 40 03nawhv43 University of California, Riverside 01 eng 03 00 The stylistic qualities of the late medieval English play cycle known as the Towneley cycle have long intrigued literary schol-ars, with no aspect demonstrating this more clearly than the con-cept of the “Wakefield Master,” the name given to an anonymous playwright deemed to have written the most distinctive sections of the cycle.1 Known for his remarkably inventive uses of poetic form, rhyme words, colloquial expression, and verbal play, the Wakefield Master’s verbal intensity in the cycle has been read in different ways, including as a demonstration of “the abuses of language” and the moral complicity of poetry (Stevens); as a re-flection of humanity and “the variety of the world” (Meredith); as evidence of anticlericalism (Dillon); and as critical com-mentary on the forms of more urban, civic-minded play cycles (Nisse).2 This chapter will focus on what the Wakefield Master’s style says about the affective pursuits of style itself, examining a single play from the cycle — the Play of the Dice, which comes directly after the Crucifixion play — that seems designed to pose questions not only about modes of verbal expression and the judgments that accompany them, but also about the extent to which aesthetic experience can be generated by stylized expres-sion across different, often simultaneous media (verbal, visual, auditory, kinetic). If the Towneley cycle as a whole might be said to be characterized, via the ostensible talents of the Wakefield Master, by pockets of radical ingenuity, then the Play of the Dice should rightfully be understood as the play in the cycle that is most compulsively preoccupied with innovation as a site of both thematic and formal inquiry. 30 00 The stylistic qualities of the late medieval English play cycle known as the Towneley cycle have long intrigued literary schol-ars, with no aspect demonstrating this more clearly than the con-cept of the “Wakefield Master,” the name given to an anonymous playwright deemed to have written the most distinctive sections of the cycle.1 Known for his remarkably inventive uses of poetic form, rhyme words, colloquial expression, and verbal play, the Wakefield Master’s verbal intensity in the cycle has been read in different ways, including as a demonstration of “the abuses of language” and the moral complicity of poetry (Stevens); as a re-flection of humanity and “the variety of the world” (Meredith); as evidence of anticlericalism (Dillon); and as critical com-mentary on the forms of more urban, civic-minded play cycles (Nisse).2 This chapter will focus on what the Wakefield Master’s style says about the affective pursuits of style itself, examining a single play from the cycle — the Play of the Dice, which comes directly after the Crucifixion play — that seems designed to pose questions not only about modes of verbal expression and the judgments that accompany them, but also about the extent to which aesthetic experience can be generated by stylized expres-sion across different, often simultaneous media (verbal, visual, auditory, kinetic). If the Towneley cycle as a whole might be said to be characterized, via the ostensible talents of the Wakefield Master, by pockets of radical ingenuity, then the Play of the Dice should rightfully be understood as the play in the cycle that is most compulsively preoccupied with innovation as a site of both thematic and formal inquiry. 20 00 Open Access Denny-Brown, Andrea 4 03 06 10.21983/P3.0188.1.04 53 66 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Indulgence and Refusal Cuteness, Asceticism, and the Aestheticization of Desire 1 A01 Elizabeth Howie Elizabeth Howie 40 01621q256 Coastal Carolina University 01 eng 03 00 Centuries before the late nineteenth-century advent of the cute, not to mention its twentieth-century flowering in consumer-ism, ascetic medieval Christians resisted temptation in a way that served to inflame desire, to make it more acute, with the ultimate goal of eradicating it to achieve greater holiness. Early twenty-first-century scholars, such as Sianne Ngai and Daniel Harris, resist and refuse the restrictions of traditional scholar-ship to explore critically the so-called minor aesthetic category of cuteness, finding it a form that, like asceticism, also arouses desires and embraces seemingly incongruous qualities. While asceticism calls attention to desire by denying its fulfillment, cuteness conceals the power of the commodity’s insidious desir-ability behind a masquerade of innocent powerlessness. 30 00 Centuries before the late nineteenth-century advent of the cute, not to mention its twentieth-century flowering in consumer-ism, ascetic medieval Christians resisted temptation in a way that served to inflame desire, to make it more acute, with the ultimate goal of eradicating it to achieve greater holiness. Early twenty-first-century scholars, such as Sianne Ngai and Daniel Harris, resist and refuse the restrictions of traditional scholar-ship to explore critically the so-called minor aesthetic category of cuteness, finding it a form that, like asceticism, also arouses desires and embraces seemingly incongruous qualities. While asceticism calls attention to desire by denying its fulfillment, cuteness conceals the power of the commodity’s insidious desir-ability behind a masquerade of innocent powerlessness. 20 00 Open Access Howie, Elizabeth 5 03 06 10.21983/P3.0188.1.05 67 86 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From "Awe" to "Awww" Cuteness and the Idea of the Holy in Christian Commodity Culture 1 A01 Claire Maria Chambers Claire Maria Chambers 40 056tn4839 Sogang University 01 eng 03 00 Can God, the divine, the absolute, or the holy be cute? A quick foray into contemporary commodity cultures associated with several world religions yields “cute” objects and images that play mediating roles in the faith lives of practitioners. In South Korean Buddhist temples, small, chubby, plaster monks bought for a few thousand won adorn shrines and altars, accompanying the prayers and intentions of the purchasers. Buddha himself may be depicted on posters and lamp covers for his birthday celebration in May as a cutified, childlike being, while at temples devotees ritually bathe a statue of the Buddha as a small boy (figs. 1–4). Contemporary Hindus wanting to teach their chil-dren about the complex pantheon need look no further than Sanjay Patel’s The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow. Each bright spread of the book fea-tures a god, goddess, demon, warrior, or diva as a cute cartoon character with round, exaggerated eyes. The Bala Krishna, or Krishna the divine child, may set some precedent for cute depic-tions of Hindu gods, with his exploits—especially the tale of his butter thievery — captured in popular devotional images that picture him as a soft, round toddler shaded in sky blue. 30 00 Can God, the divine, the absolute, or the holy be cute? A quick foray into contemporary commodity cultures associated with several world religions yields “cute” objects and images that play mediating roles in the faith lives of practitioners. In South Korean Buddhist temples, small, chubby, plaster monks bought for a few thousand won adorn shrines and altars, accompanying the prayers and intentions of the purchasers. Buddha himself may be depicted on posters and lamp covers for his birthday celebration in May as a cutified, childlike being, while at temples devotees ritually bathe a statue of the Buddha as a small boy (figs. 1–4). Contemporary Hindus wanting to teach their chil-dren about the complex pantheon need look no further than Sanjay Patel’s The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow. Each bright spread of the book fea-tures a god, goddess, demon, warrior, or diva as a cute cartoon character with round, exaggerated eyes. The Bala Krishna, or Krishna the divine child, may set some precedent for cute depic-tions of Hindu gods, with his exploits—especially the tale of his butter thievery — captured in popular devotional images that picture him as a soft, round toddler shaded in sky blue. 20 00 Open Access Chambers, Claire Maria 6 03 06 10.21983/P3.0188.1.06 87 110 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "All the Pretty Little Ponies" Bronies, Desire, and Cuteness 1 A01 Justin Mullis Justin Mullis 40 04dawnj30 University of North Carolina at Charlotte 01 eng 03 00 Bronies are adult male fans of the hit animated TV series My Little Pony: Friendship Is Magic (2010–present). It is the latest incarnation of the 1980s My Little Pony franchise, a toy line of cute plastic pony figures created by Hasbro with an accompany-ing animated series. According to Patrick Edwards and Marsha Redden — the nation’s “premiere bronyologists” (Orsini) — self-identified bronies have a medium age of twenty-one and are predominately male, heterosexual, and college educated.1 What makes bronies truly remarkable is the sustained media coverage they have received over the past seven years from a number of diverse outlets.2 Such widespread coverage has thrust brony fan-dom into the public eye, transforming bronies into “figures of fascination and derision in equal measures” (Manuel). The most popular assertion, made by both supporters and detractors of brony fandom, is that the adult male fans’ affection for Friend-ship Is Magic— a show made for and sold initially to elemen-tary-school girls — indicates a shift toward more egalitarian attitudes among North American young men with regards to the gendering of pop media. This egalitarianism has become the key premise of many brony studies, both lay and academic. Edwards and Redden, for example, compare bronies to the hippies of the 1960s and their message of peace, love, and understanding in the wake of the Vietnam War. Brony fandom thereby emerges as an oppositional response to 9/11 and the ongoing American War on Terror (Stohs-Krause). 30 00 Bronies are adult male fans of the hit animated TV series My Little Pony: Friendship Is Magic (2010–present). It is the latest incarnation of the 1980s My Little Pony franchise, a toy line of cute plastic pony figures created by Hasbro with an accompany-ing animated series. According to Patrick Edwards and Marsha Redden — the nation’s “premiere bronyologists” (Orsini) — self-identified bronies have a medium age of twenty-one and are predominately male, heterosexual, and college educated.1 What makes bronies truly remarkable is the sustained media coverage they have received over the past seven years from a number of diverse outlets.2 Such widespread coverage has thrust brony fan-dom into the public eye, transforming bronies into “figures of fascination and derision in equal measures” (Manuel). The most popular assertion, made by both supporters and detractors of brony fandom, is that the adult male fans’ affection for Friend-ship Is Magic— a show made for and sold initially to elemen-tary-school girls — indicates a shift toward more egalitarian attitudes among North American young men with regards to the gendering of pop media. This egalitarianism has become the key premise of many brony studies, both lay and academic. Edwards and Redden, for example, compare bronies to the hippies of the 1960s and their message of peace, love, and understanding in the wake of the Vietnam War. Brony fandom thereby emerges as an oppositional response to 9/11 and the ongoing American War on Terror (Stohs-Krause). 20 00 Open Access Mullis, Justin 7 03 06 10.21983/P3.0188.1.07 111 135 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Consuming Celebrity Commodities and Cuteness in the Circulation of Master William Henry West Betty 1 A01 Marlis Schweitzer Marlis Schweitzer 40 05fq50484 York University 01 eng 03 00 In a shelf in the vaults of the Folger Shakespeare Library sit several snuffboxes bearing the image of Master William Henry West Betty, the child actor who dominated the British stage be-tween 1803 and 1806 (figs. 1 and 2). Small, pretty, and delicate, these snuffboxes are undeniably “cute,” in keeping with the as-sociation of cuteness with fragility, empathy, and desire (Merish 187). Like other cute objects, they invite human touch despite their vulnerable materiality, as if to say, “Hold me carefully or I will break.” The tiny portraits painted onto the ivory lids en-hance the boxes’ cuteness by depicting the “Young Roscius” in his most famous roles, from Shakespeare’s Romeo to the charac-ter of Norval in John Home’s Douglas. In turn, the skillful min-iaturization of Betty’s image amplifies the cuteness of the boy himself, whom audiences admired as much, if not more, for his physical charms as for his convincing stage impersonations. 30 00 In a shelf in the vaults of the Folger Shakespeare Library sit several snuffboxes bearing the image of Master William Henry West Betty, the child actor who dominated the British stage be-tween 1803 and 1806 (figs. 1 and 2). Small, pretty, and delicate, these snuffboxes are undeniably “cute,” in keeping with the as-sociation of cuteness with fragility, empathy, and desire (Merish 187). Like other cute objects, they invite human touch despite their vulnerable materiality, as if to say, “Hold me carefully or I will break.” The tiny portraits painted onto the ivory lids en-hance the boxes’ cuteness by depicting the “Young Roscius” in his most famous roles, from Shakespeare’s Romeo to the charac-ter of Norval in John Home’s Douglas. In turn, the skillful min-iaturization of Betty’s image amplifies the cuteness of the boy himself, whom audiences admired as much, if not more, for his physical charms as for his convincing stage impersonations. 20 00 Open Access Schweitzer, Marlis 8 03 06 10.21983/P3.0188.1.08 137 153 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Embracing the Gremlin Judas Iscariot and the (Anti-)Cuteness of Despair 1 A01 Mariah Junglan Min Mariah Junglan Min 40 00b30xv10 University of Pennsylvania 01 eng 03 00 Nakamura Hikaru’s manga Saint Young Men (SYM; 聖☆おにいさん) is a slice-of-life comedy that has just entered its eleventh year of serialization. Word is that there are no future plans for an official English translation, due to the volatile religious climate in the US (Thompson); this is sad news for anyone who might enjoy seeing the Apostles Peter and Andrew show up at Jesus’s door for an annual Easter prank, wearing bald caps and kasayarobes and informing him that they’ve decided to convert to Bud-dhism (Nakamura 5:101). The previous sentence might sound at first like a bewildering combination of words, but the situation makes reasonable sense within the context of the series, which takes as its premise that Jesus and Buddha are roommates on a long-overdue vacation in modern-day Japan. A rotating cast of characters from both religions (as well as from the Greco-Roman and Norse pantheons) makes guest appearances in their daily low-key adventures, and Judas Iscariot formally joins the list as well in the same Easter prank chapter. 30 00 Nakamura Hikaru’s manga Saint Young Men (SYM; 聖☆おにいさん) is a slice-of-life comedy that has just entered its eleventh year of serialization. Word is that there are no future plans for an official English translation, due to the volatile religious climate in the US (Thompson); this is sad news for anyone who might enjoy seeing the Apostles Peter and Andrew show up at Jesus’s door for an annual Easter prank, wearing bald caps and kasayarobes and informing him that they’ve decided to convert to Bud-dhism (Nakamura 5:101). The previous sentence might sound at first like a bewildering combination of words, but the situation makes reasonable sense within the context of the series, which takes as its premise that Jesus and Buddha are roommates on a long-overdue vacation in modern-day Japan. A rotating cast of characters from both religions (as well as from the Greco-Roman and Norse pantheons) makes guest appearances in their daily low-key adventures, and Judas Iscariot formally joins the list as well in the same Easter prank chapter. 20 00 Open Access Min, Mariah Junglan 9 03 06 10.21983/P3.0188.1.09 155 173 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cute, Charming, Dangerous Child Avatars in Second Life 1 A01 Alicia Corts Alicia Corts 40 02p804s75 Saint Leo University 01 eng 03 00 What should a society do when a child’s performance isn’t that of a child? In the physical world, society rarely faces that question, needing only to reconcile the difference between performance and appearance when faced with a situation such as a celebrity who has undergone plastic surgery or a child who suffers from progeria. A person’s appearance quickly establishes their age be-cause the image of the body acts as a symbol of temporal status in the presentation of self, allowing others to define appropriate-ness in future interactions (Goffman 4–5). The child’s biological body signals others to interact with him or her in ways that are appropriate to his or her developmental level. As the child grows taller and more mature with time, the temporal signs he or she displays change and signal to society that the child is ready for different levels of interaction. Society, in other words, uses the symbol of the temporal body as a way of binding a child to a specific set of acceptable performances. The focus of this chap-ter is a world in which the body is no longer held by the tem-porality of biology, making what appears to be a child’s perfor-mance unstable. Virtual worlds mask the biological body of the user behind the digital body of the avatar. While an avatar might look like a child, the user behind the screen is a verified adult, creating temporal dissonance. Using Brian Massumi’s notion of the positional grid and Pierre Bourdieu’s definition of habitus, I want to investigate how this temporal dissonance played out in the early days of one particular virtual world, Second Life, and how that particular virtual society utilized cuteness to regulate performance. 30 00 What should a society do when a child’s performance isn’t that of a child? In the physical world, society rarely faces that question, needing only to reconcile the difference between performance and appearance when faced with a situation such as a celebrity who has undergone plastic surgery or a child who suffers from progeria. A person’s appearance quickly establishes their age be-cause the image of the body acts as a symbol of temporal status in the presentation of self, allowing others to define appropriate-ness in future interactions (Goffman 4–5). The child’s biological body signals others to interact with him or her in ways that are appropriate to his or her developmental level. As the child grows taller and more mature with time, the temporal signs he or she displays change and signal to society that the child is ready for different levels of interaction. Society, in other words, uses the symbol of the temporal body as a way of binding a child to a specific set of acceptable performances. The focus of this chap-ter is a world in which the body is no longer held by the tem-porality of biology, making what appears to be a child’s perfor-mance unstable. Virtual worlds mask the biological body of the user behind the digital body of the avatar. While an avatar might look like a child, the user behind the screen is a verified adult, creating temporal dissonance. Using Brian Massumi’s notion of the positional grid and Pierre Bourdieu’s definition of habitus, I want to investigate how this temporal dissonance played out in the early days of one particular virtual world, Second Life, and how that particular virtual society utilized cuteness to regulate performance. 20 00 Open Access Corts, Alicia 10 03 06 10.21983/P3.0188.1.10 175 194 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 What's Cute Got To Do With It? Early Modern Proto-Cuteness in King Lear 1 A01 James M. Cochran James M. Cochran 40 005781934 Baylor University 01 eng 03 00 In the past twenty years, the field of cute studies has grown ex-tensively.1 Cuteness, as we conceive of it, has its origins in the nineteenth century. According to the Oxford English Dictionary, cute, defined as “attractive, pretty, charming,” comes from “U.S. colloquial and Schoolboy slang,” with its earliest recorded usage in 1834. Despite the origins of cuteness in the nineteenth cen-tury, this chapter searches for earlier traces of cuteness — an early modern protocuteness — asking if earlier structures, systems, and concepts anticipate our contemporary definition of cuteness. Do Shakespeare’s works, particularly King Lear, offer insight into a seventeenth-century ancestor of cuteness? Can Shakespeare speak to our contemporary cute age? Is Shakespeare ever cute? Drawing largely from Daniel Harris’s 2000 book on aesthetics and consumerism, this chapter seeks to answer these questions by offering a critical investigation of the intersection between early modern culture and contemporary aesthetics. 30 00 In the past twenty years, the field of cute studies has grown ex-tensively.1 Cuteness, as we conceive of it, has its origins in the nineteenth century. According to the Oxford English Dictionary, cute, defined as “attractive, pretty, charming,” comes from “U.S. colloquial and Schoolboy slang,” with its earliest recorded usage in 1834. Despite the origins of cuteness in the nineteenth cen-tury, this chapter searches for earlier traces of cuteness — an early modern protocuteness — asking if earlier structures, systems, and concepts anticipate our contemporary definition of cuteness. Do Shakespeare’s works, particularly King Lear, offer insight into a seventeenth-century ancestor of cuteness? Can Shakespeare speak to our contemporary cute age? Is Shakespeare ever cute? Drawing largely from Daniel Harris’s 2000 book on aesthetics and consumerism, this chapter seeks to answer these questions by offering a critical investigation of the intersection between early modern culture and contemporary aesthetics. 20 00 Open Access Cochran, James M. 11 03 06 10.21983/P3.0188.1.11 195 218 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hamlet, Hesperides, and the Discursivity of Cuteness 1 A01 Kara Watts Kara Watts 40 013ckk937 University of Rhode Island 01 eng 03 00 Using aesthetics alongside affect theory and queer philology, this chapter interrogates the ability of Shakespeare’s Hamlet(1604) and Robert Herrick’s Hesperides (1648) to endure and broaden the scope of what Sianne Ngai, Lori Merish, Dan-iel Harris, and others have theorized as the cute. Ngai, in Our Aesthetic Categories: Zany, Cute, Interesting (2012), explains the cute as a contemporary and commodity-driven category, an aes-thetic that discloses a “surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor toward ostensively subordinate and unthreatening commodities” (1). To consider the cute, then, is to consider our documented fascina-tion with the private, the relations of subjects and objects, and the power dynamics between the appreciator and the appreci-ated, adorer and adored. Even so, I suggest we think otherwise. What if we think about the cute less as an aesthetic response to commodity, per se, than a discursivity? Cuteness is an aesthetic category that relies on a spectrum of appreciation, from disin-terested nonreaction (think, for example, of the inundation of “cute” things to respond to on websites like Buzzfeed or Reddit) to a heightened affective experience of an object or artwork, one more closely related to classic Kantian or Burkean experiences of beauty. But aesthetic experience demands a commodity-driven, consumptive closeness that Theodor W. Adorno finds goes beyond object relations to fuel our relationships to texts. 30 00 Using aesthetics alongside affect theory and queer philology, this chapter interrogates the ability of Shakespeare’s Hamlet(1604) and Robert Herrick’s Hesperides (1648) to endure and broaden the scope of what Sianne Ngai, Lori Merish, Dan-iel Harris, and others have theorized as the cute. Ngai, in Our Aesthetic Categories: Zany, Cute, Interesting (2012), explains the cute as a contemporary and commodity-driven category, an aes-thetic that discloses a “surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor toward ostensively subordinate and unthreatening commodities” (1). To consider the cute, then, is to consider our documented fascina-tion with the private, the relations of subjects and objects, and the power dynamics between the appreciator and the appreci-ated, adorer and adored. Even so, I suggest we think otherwise. What if we think about the cute less as an aesthetic response to commodity, per se, than a discursivity? Cuteness is an aesthetic category that relies on a spectrum of appreciation, from disin-terested nonreaction (think, for example, of the inundation of “cute” things to respond to on websites like Buzzfeed or Reddit) to a heightened affective experience of an object or artwork, one more closely related to classic Kantian or Burkean experiences of beauty. But aesthetic experience demands a commodity-driven, consumptive closeness that Theodor W. Adorno finds goes beyond object relations to fuel our relationships to texts. 20 00 Open Access Watts, Kara 12 03 06 10.21983/P3.0188.1.12 219 242 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cute Lacerations in Doctor Faustus and Omkara 1 A01 Tripthi Pillai Tripthi Pillai 40 01621q256 Coastal Carolina University 01 eng 03 00 Bollywood’s sexy “item songs” and Christopher Marlowe’s scenes of bodily, erotic exchange are violently cute for simi-lar reasons. They each “create or facilitate kinds of ‘between-ness’ — relays, conduits, associations — that in turn facilitate the circulation of texts, objects, and signs” (Ngai 115). Bubbling confluences of cuteness and violence, the songs and scenes com-plicate narratives of futurity by dismantling them from their core purpose and position of power, positing nothing concrete in their place — neither in terms of narrative directionality nor in the sense of purposefulness. So often associated with futil-ity and fragility, cuteness erupts as a violent instrument of or-ganizational breakdown in Marlowe’s play Doctor Faustus and Vishal Bhardwaj’s film Omkara (2006). In this chapter I attempt to make explicit the lacerating action within these texts that ren-ders dangerous the invasive potentiality of cute substance. Spe-cifically, I offer readings of two instances of cute laceration — a scene from Doctor Faustus and a song from Omkara — to high-light the affective irreverence and aggression of cuteness when it collides with normative narratives of biological, reproductive futurity. While Marlowe’s text focuses on the development of cuteness as surreptitious manipulation of normative reproduc-tion, Bhardwaj’s film bursts with “sinthomosexual” cuteness as the usurpation of symbolic meaning in narratives of futurity. In each instance, cuteness “item”-izes itself as violence in scenes and gestures that, while seemingly insubstantial in their small-ness, lacerate the central narrative’s spatial and temporal thesis. 30 00 Bollywood’s sexy “item songs” and Christopher Marlowe’s scenes of bodily, erotic exchange are violently cute for simi-lar reasons. They each “create or facilitate kinds of ‘between-ness’ — relays, conduits, associations — that in turn facilitate the circulation of texts, objects, and signs” (Ngai 115). Bubbling confluences of cuteness and violence, the songs and scenes com-plicate narratives of futurity by dismantling them from their core purpose and position of power, positing nothing concrete in their place — neither in terms of narrative directionality nor in the sense of purposefulness. So often associated with futil-ity and fragility, cuteness erupts as a violent instrument of or-ganizational breakdown in Marlowe’s play Doctor Faustus and Vishal Bhardwaj’s film Omkara (2006). In this chapter I attempt to make explicit the lacerating action within these texts that ren-ders dangerous the invasive potentiality of cute substance. Spe-cifically, I offer readings of two instances of cute laceration — a scene from Doctor Faustus and a song from Omkara — to high-light the affective irreverence and aggression of cuteness when it collides with normative narratives of biological, reproductive futurity. While Marlowe’s text focuses on the development of cuteness as surreptitious manipulation of normative reproduc-tion, Bhardwaj’s film bursts with “sinthomosexual” cuteness as the usurpation of symbolic meaning in narratives of futurity. In each instance, cuteness “item”-izes itself as violence in scenes and gestures that, while seemingly insubstantial in their small-ness, lacerate the central narrative’s spatial and temporal thesis. 20 00 Open Access Pillai, Tripthi 13 03 06 10.21983/P3.0188.1.13 243 260 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Katie Sokoler, Your Construction Paper Tears Can't Hide Your Yayoi Kusama-Neurotic Underbelly 1 A01 Kelly Lloyd Kelly Lloyd Baltimore School for the Arts 01 eng 03 00 A power struggle is inherent to cuteness, to the extent that this struggle, if unacknowledged and undirected, will manifest it-self at the cute object’s expense. I examine this phenomenon through a close analysis of Katie Sokoler’s 2012 Tampax Radi-ant tampon print advertisement and television commercial, and through a comparison of Sokoler to the works of Yayoi Kusama. I work from the colloquial definition of cuteness as “applied to people as well as things, with the sense ‘attractive, pretty, charm-ing’; also, ‘attractive in a mannered way’” (“Cute”). Identified by infantile physical characteristics and behavior, associated with the feminine and deemed powerless, cuteness is an aesthetic, an affect, and a strategy. My understanding of cuteness comes from personal experience and is influenced by the work of Sianne Ngai, who argues that[t]here is no judgment or experience of an object as cute thatdoes not call up one’s sense of power over it as somethingless powerful. But the fact that the cute object seems capableof making demands on us regardless, as Lori Merish under-scores—a demand for care that women in particular often feel addressed or interpellated by — suggests that “cute’” des-ignates not just the site of a static power differential but also the site of a surprisingly complex power struggle. 30 00 A power struggle is inherent to cuteness, to the extent that this struggle, if unacknowledged and undirected, will manifest it-self at the cute object’s expense. I examine this phenomenon through a close analysis of Katie Sokoler’s 2012 Tampax Radi-ant tampon print advertisement and television commercial, and through a comparison of Sokoler to the works of Yayoi Kusama. I work from the colloquial definition of cuteness as “applied to people as well as things, with the sense ‘attractive, pretty, charm-ing’; also, ‘attractive in a mannered way’” (“Cute”). Identified by infantile physical characteristics and behavior, associated with the feminine and deemed powerless, cuteness is an aesthetic, an affect, and a strategy. My understanding of cuteness comes from personal experience and is influenced by the work of Sianne Ngai, who argues that[t]here is no judgment or experience of an object as cute thatdoes not call up one’s sense of power over it as somethingless powerful. But the fact that the cute object seems capableof making demands on us regardless, as Lori Merish under-scores—a demand for care that women in particular often feel addressed or interpellated by — suggests that “cute’” des-ignates not just the site of a static power differential but also the site of a surprisingly complex power struggle. 20 00 Open Access Lloyd, Kelly 14 03 06 10.21983/P3.0188.1.14 261 264 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Jen Boyle Jen Boyle 40 01621q256 Coastal Carolina University 2 B01 Wan-Chuan Kao Wan-Chuan Kao 40 05r9xgf14 Washington and Lee University 01 eng 20 00 Open Access Boyle, Jen Kao, Wan-Chuan 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-retrofuturism-of-cuteness/ Earth, Milky Way 04 01 20171104 Boyle, Jen Kao, Wan-Chuan 02 WORLD 06 15 9781947447288 03 9781947447288 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66796 20 08 20171104 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25441 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25441/1004654.pdf?sequence=1&isAllowed=y 20 08 20171104 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34354 20 08 20171104 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2rsfd2f 20 08 20171104 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/570 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a5e62ef5-2a12-48bb-9e61-845267c9beaf/download 20 08 20171104 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a3f50086-75c6-4f69-aace-7e498e21beb6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a3f50086-75c6-4f69-aace-7e498e21beb6/a3f50086-75c6-4f69-aace-7e498e21beb6.pdf 20 08 20171104 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847096 29 ZENODO: download the title https://zenodo.org/records/19847096/files/a3f50086-75c6-4f69-aace-7e498e21beb6_book.pdf 20 08 20171104 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-retrofuturism-of-cuteness/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0188.1.00.pdf 20 08 20171104 01 urn:uuid:32563a0f-e1d0-423d-be1b-eab0f1b7eb7a 03 01 01 thoth-work-id urn:uuid:5bd6eb77-5c19-40cd-8f46-dc631d726358 01 thoth-publication-id urn:uuid:32563a0f-e1d0-423d-be1b-eab0f1b7eb7a 15 9781685710385 03 9781685710385 06 10.53288/0355.1.00 13 2022934727 01 internal-reference 0355 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Romanian Sentiment of Being 1 A01 Constantin Noica Constantin Noica 2 B06 21 0000000324772542 Octavian Gabor Octavian Gabor 40 03fa2nf38 Methodist University 3 B06 21 000000030780301X Elena Gabor Elena Gabor 40 04kmeaw70 Bradley University 01 eng 02 rum 00 238 03 12 HPJ B2 Languages+Translations 10 PHI013000 93 QDTJ 12 CFA 93 CFA 10 PHI038000 B2 Philosophy 12 1DVWR 93 1DXR 93 3MPQ-DE-J 20 metaphysics; philosophy of language; Mihai Eminescu; Romanian Studies; Romance languages 01 06 02 00 03 00 The link between language and thought formed a major new exploration of twentieth-century philosophy. Languages nuance our ideas and perceptions. Though from various angles, Heidegger, Derrida, Wittgenstein forged new ways of understanding the relationship between our views of the external world and our culturally and linguistically pre-determined modes of expression.Another giant in this field of exploration is the Romanian philosopher Constantin Noica (1909–1987), who has so far remained generally unknown to the Western World because of the Iron Curtain. The Romanian Sentiment of Being (Sentimentul românesc al ființei), first published in Romanian in 1978, is a philosophical work at the intersection of metaphysics and philosophy of language. The title of this book may be deceptive. “Romanian” does not mean ethnically circumscribed; it does not limit ontology to nationality but rather reflects on how language can carry ontological thought.The Romanian Sentiment of Being invites the readers to meditate on the fundamental theme of being and how it is expressed in a culture in time. This being in time marks the tension between moment and eternity, captured in the fairytale "Ageless Youth and Deathless Life" ("Tinerețe fără batrânețe și viață fără de moarte"), which Noica interprets in detail. The translation of the story will be found in the appendix. Noica also analyzes one of the most famous poems in Romanian, Mihai Eminescu’s "The Evening Star" ("Luceafărul"), and readers will find its translation in the appendix.- 30 00 The link between language and thought formed a major new exploration of twentieth-century philosophy. Languages nuance our ideas and perceptions. Though from various angles, Heidegger, Derrida, Wittgenstein forged new ways of understanding the relationship between our views of the external world and our culturally and linguistically pre-determined modes of expression.Another giant in this field of exploration is the Romanian philosopher Constantin Noica (1909–1987), who has so far remained generally unknown to the Western World because of the Iron Curtain. The Romanian Sentiment of Being (Sentimentul românesc al ființei), first published in Romanian in 1978, is a philosophical work at the intersection of metaphysics and philosophy of language. The title of this book may be deceptive. “Romanian” does not mean ethnically circumscribed; it does not limit ontology to nationality but rather reflects on how language can carry ontological thought.The Romanian Sentiment of Being invites the readers to meditate on the fundamental theme of being and how it is expressed in a culture in time. This being in time marks the tension between moment and eternity, captured in the fairytale "Ageless Youth and Deathless Life" ("Tinerețe fără batrânețe și viață fără de moarte"), which Noica interprets in detail. The translation of the story will be found in the appendix. Noica also analyzes one of the most famous poems in Romanian, Mihai Eminescu’s "The Evening Star" ("Luceafărul"), and readers will find its translation in the appendix.- 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0355.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-romanian-sentiment-of-being/ Earth, Milky Way 04 01 20220317 Noica, Constantin Gabor, Octavian Gabor, Elena 02 WORLD 06 15 9781685710392 03 9781685710392 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710387 20 08 20220317 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-romanian-sentiment-of-being 20 08 20220317 02 24.00 USD WORLD urn:uuid:f181ae0f-cc56-4d41-8520-8f980b2528d4 03 01 01 thoth-work-id urn:uuid:5bd6eb77-5c19-40cd-8f46-dc631d726358 01 thoth-publication-id urn:uuid:f181ae0f-cc56-4d41-8520-8f980b2528d4 15 9781685710392 03 9781685710392 06 10.53288/0355.1.00 13 2022934727 01 internal-reference 0355 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Romanian Sentiment of Being 1 A01 Constantin Noica Constantin Noica 2 B06 21 0000000324772542 Octavian Gabor Octavian Gabor 40 03fa2nf38 Methodist University 3 B06 21 000000030780301X Elena Gabor Elena Gabor 40 04kmeaw70 Bradley University 01 eng 02 rum 00 238 03 12 HPJ B2 Languages+Translations 10 PHI013000 93 QDTJ 12 CFA 93 CFA 10 PHI038000 B2 Philosophy 12 1DVWR 93 1DXR 93 3MPQ-DE-J 20 metaphysics; philosophy of language; Mihai Eminescu; Romanian Studies; Romance languages 01 06 02 00 03 00 The link between language and thought formed a major new exploration of twentieth-century philosophy. Languages nuance our ideas and perceptions. Though from various angles, Heidegger, Derrida, Wittgenstein forged new ways of understanding the relationship between our views of the external world and our culturally and linguistically pre-determined modes of expression.Another giant in this field of exploration is the Romanian philosopher Constantin Noica (1909–1987), who has so far remained generally unknown to the Western World because of the Iron Curtain. The Romanian Sentiment of Being (Sentimentul românesc al ființei), first published in Romanian in 1978, is a philosophical work at the intersection of metaphysics and philosophy of language. The title of this book may be deceptive. “Romanian” does not mean ethnically circumscribed; it does not limit ontology to nationality but rather reflects on how language can carry ontological thought.The Romanian Sentiment of Being invites the readers to meditate on the fundamental theme of being and how it is expressed in a culture in time. This being in time marks the tension between moment and eternity, captured in the fairytale "Ageless Youth and Deathless Life" ("Tinerețe fără batrânețe și viață fără de moarte"), which Noica interprets in detail. The translation of the story will be found in the appendix. Noica also analyzes one of the most famous poems in Romanian, Mihai Eminescu’s "The Evening Star" ("Luceafărul"), and readers will find its translation in the appendix.- 30 00 The link between language and thought formed a major new exploration of twentieth-century philosophy. Languages nuance our ideas and perceptions. Though from various angles, Heidegger, Derrida, Wittgenstein forged new ways of understanding the relationship between our views of the external world and our culturally and linguistically pre-determined modes of expression.Another giant in this field of exploration is the Romanian philosopher Constantin Noica (1909–1987), who has so far remained generally unknown to the Western World because of the Iron Curtain. The Romanian Sentiment of Being (Sentimentul românesc al ființei), first published in Romanian in 1978, is a philosophical work at the intersection of metaphysics and philosophy of language. The title of this book may be deceptive. “Romanian” does not mean ethnically circumscribed; it does not limit ontology to nationality but rather reflects on how language can carry ontological thought.The Romanian Sentiment of Being invites the readers to meditate on the fundamental theme of being and how it is expressed in a culture in time. This being in time marks the tension between moment and eternity, captured in the fairytale "Ageless Youth and Deathless Life" ("Tinerețe fără batrânețe și viață fără de moarte"), which Noica interprets in detail. The translation of the story will be found in the appendix. Noica also analyzes one of the most famous poems in Romanian, Mihai Eminescu’s "The Evening Star" ("Luceafărul"), and readers will find its translation in the appendix.- 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0355.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-romanian-sentiment-of-being/ Earth, Milky Way 04 01 20220317 Noica, Constantin Gabor, Octavian Gabor, Elena 02 WORLD 06 15 9781685710385 03 9781685710385 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/53389 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/53389/0355.1.00.pdf?sequence=1&isAllowed=y 20 08 20220317 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/79402 20 08 20220317 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2drhcmx 20 08 20220317 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/711 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fc61ebb6-d8ec-4eca-84c6-5878eabeb045/download 20 08 20220317 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Romanian_Sentiment_of_Being/WgSVEAAAQBAJ 20 08 20220317 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5bd6eb77-5c19-40cd-8f46-dc631d726358 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5bd6eb77-5c19-40cd-8f46-dc631d726358/5bd6eb77-5c19-40cd-8f46-dc631d726358.pdf 20 08 20220317 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849272 29 ZENODO: download the title https://zenodo.org/records/19849272/files/5bd6eb77-5c19-40cd-8f46-dc631d726358_book.pdf 20 08 20220317 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-romanian-sentiment-of-being/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0355.1.00.pdf 20 08 20220317 01 urn:uuid:41bb8f74-be9b-4b9e-b9ad-b79dcdc12358 03 01 01 thoth-work-id urn:uuid:ec0cc90a-1765-4ef2-8829-9f2342c9c922 01 thoth-publication-id urn:uuid:41bb8f74-be9b-4b9e-b9ad-b79dcdc12358 15 9781685711788 03 9781685711788 06 10.53288/0473.1.00 13 2024946042 01 internal-reference 0473 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 6 mm 03 0.6 cm 03 0.22 in 08 159 gr 08 5.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Ruins of Solitude Maternity at the Limits of Academic Discourse 1 A01 21 0000000159061383 Lette Bragg Lette Bragg 40 012dg8a96 Swarthmore College Lette Bragg received her Ph.D. in English Language and Literature from Cornell University in 2018, with a Graduate Minor concentration in Feminist, Gender, and Sexuality Studies. Her research interests span continental philosophy, feminist theory, and postcolonial literature, and she has published articles in Cultural Studies Review, The Journal of French and Francophone Philosophy, and Feminist Theory. Her work experiments with form and genre in an effort to stay with what is often effaced or smoothed over in academic discourse. 01 eng 00 96 03 B2 Autotheory 93 JBSF11 10 SOC010000 10 FAM032000 B2 Humanities+University 93 VFXB B2 Philosophy 93 QDHR5 20 maternity; solitude; feminist studies; intersubjectivity; embodiment; becoming; philosophy; D.W. Winnicott 01 06 02 00 03 00 What happens when love unravels one’s knowledge structures? In The Ruins of Solitude, after the birth of a child, Bragg embraces the event of love and examines the resulting disintegration of her supposed authorial subjectivity. Against the pressure to produce and organize knowledge—the pressure of writing a dissertation, for example—Bragg contemplates the poetic modes of thinking and ethics that emerge from her experience of reading continental philosophy while caring for her infant child. Dwelling on what she would have once excluded from her intellectual work—her maternity, the mole on her chest, her palm against another body, her exhaustion at the work of deconstruction—Bragg details a shift in her orientation and method that leads to creative theoretical thought, allowing her to illuminate and interrogate what she names “solitude,” a condition of academic discourse that limits our critical-liberatory projects of transformation.Ultimately, The Ruins of Solitude lets go of authority and mastery, and engages in a poetic and fractured writing style that lets in the relationality of thought. Bragg offers a philosophy of bodies beyond solitude and an intimacy of love and writing that fractures solitude, bringing forward the possibility of selfhood and authorship uncontained by the isolationist, tangible time of the present. Bragg's book also unravels familiar narratives of childcare, considering the parallels between poststructuralist theory and the embodied materiality of relation. 30 00 What happens when love unravels one’s knowledge structures? In The Ruins of Solitude, after the birth of a child, Bragg embraces the event of love and examines the resulting disintegration of her supposed authorial subjectivity. Against the pressure to produce and organize knowledge—the pressure of writing a dissertation, for example—Bragg contemplates the poetic modes of thinking and ethics that emerge from her experience of reading continental philosophy while caring for her infant child. Dwelling on what she would have once excluded from her intellectual work—her maternity, the mole on her chest, her palm against another body, her exhaustion at the work of deconstruction—Bragg details a shift in her orientation and method that leads to creative theoretical thought, allowing her to illuminate and interrogate what she names “solitude,” a condition of academic discourse that limits our critical-liberatory projects of transformation.Ultimately, The Ruins of Solitude lets go of authority and mastery, and engages in a poetic and fractured writing style that lets in the relationality of thought. Bragg offers a philosophy of bodies beyond solitude and an intimacy of love and writing that fractures solitude, bringing forward the possibility of selfhood and authorship uncontained by the isolationist, tangible time of the present. Bragg's book also unravels familiar narratives of childcare, considering the parallels between poststructuralist theory and the embodied materiality of relation. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0473.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-ruins-of-solitude/ Earth, Milky Way 04 01 20241016 Nicolette Bragg 02 WORLD 06 15 9781685711795 03 9781685711795 34 06 10.1177/1464700119853339 34 06 10.1177/026327640602300247 34 06 10.1086/658637 34 06 10.31608/PJCP.v1i1.2 34 06 10.1353/ncr.2002.0052 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711782 20 08 20241016 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-ruins-of-solitude-maternity-at-the-limits-of-academic-discourse 20 08 20241016 02 21.00 USD WORLD urn:uuid:7f817a67-a4ee-463f-935c-60b22cfd77a7 03 01 01 thoth-work-id urn:uuid:ec0cc90a-1765-4ef2-8829-9f2342c9c922 01 thoth-publication-id urn:uuid:7f817a67-a4ee-463f-935c-60b22cfd77a7 15 9781685711795 03 9781685711795 06 10.53288/0473.1.00 13 2024946042 01 internal-reference 0473 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Ruins of Solitude Maternity at the Limits of Academic Discourse 1 A01 21 0000000159061383 Lette Bragg Lette Bragg 40 012dg8a96 Swarthmore College Lette Bragg received her Ph.D. in English Language and Literature from Cornell University in 2018, with a Graduate Minor concentration in Feminist, Gender, and Sexuality Studies. Her research interests span continental philosophy, feminist theory, and postcolonial literature, and she has published articles in Cultural Studies Review, The Journal of French and Francophone Philosophy, and Feminist Theory. Her work experiments with form and genre in an effort to stay with what is often effaced or smoothed over in academic discourse. 01 eng 00 96 03 B2 Autotheory 93 JBSF11 10 SOC010000 10 FAM032000 B2 Humanities+University 93 VFXB B2 Philosophy 93 QDHR5 20 maternity; solitude; feminist studies; intersubjectivity; embodiment; becoming; philosophy; D.W. Winnicott 01 06 02 00 03 00 What happens when love unravels one’s knowledge structures? In The Ruins of Solitude, after the birth of a child, Bragg embraces the event of love and examines the resulting disintegration of her supposed authorial subjectivity. Against the pressure to produce and organize knowledge—the pressure of writing a dissertation, for example—Bragg contemplates the poetic modes of thinking and ethics that emerge from her experience of reading continental philosophy while caring for her infant child. Dwelling on what she would have once excluded from her intellectual work—her maternity, the mole on her chest, her palm against another body, her exhaustion at the work of deconstruction—Bragg details a shift in her orientation and method that leads to creative theoretical thought, allowing her to illuminate and interrogate what she names “solitude,” a condition of academic discourse that limits our critical-liberatory projects of transformation.Ultimately, The Ruins of Solitude lets go of authority and mastery, and engages in a poetic and fractured writing style that lets in the relationality of thought. Bragg offers a philosophy of bodies beyond solitude and an intimacy of love and writing that fractures solitude, bringing forward the possibility of selfhood and authorship uncontained by the isolationist, tangible time of the present. Bragg's book also unravels familiar narratives of childcare, considering the parallels between poststructuralist theory and the embodied materiality of relation. 30 00 What happens when love unravels one’s knowledge structures? In The Ruins of Solitude, after the birth of a child, Bragg embraces the event of love and examines the resulting disintegration of her supposed authorial subjectivity. Against the pressure to produce and organize knowledge—the pressure of writing a dissertation, for example—Bragg contemplates the poetic modes of thinking and ethics that emerge from her experience of reading continental philosophy while caring for her infant child. Dwelling on what she would have once excluded from her intellectual work—her maternity, the mole on her chest, her palm against another body, her exhaustion at the work of deconstruction—Bragg details a shift in her orientation and method that leads to creative theoretical thought, allowing her to illuminate and interrogate what she names “solitude,” a condition of academic discourse that limits our critical-liberatory projects of transformation.Ultimately, The Ruins of Solitude lets go of authority and mastery, and engages in a poetic and fractured writing style that lets in the relationality of thought. Bragg offers a philosophy of bodies beyond solitude and an intimacy of love and writing that fractures solitude, bringing forward the possibility of selfhood and authorship uncontained by the isolationist, tangible time of the present. Bragg's book also unravels familiar narratives of childcare, considering the parallels between poststructuralist theory and the embodied materiality of relation. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0473.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-ruins-of-solitude/ Earth, Milky Way 04 01 20241016 Nicolette Bragg 02 WORLD 06 15 9781685711788 03 9781685711788 34 06 10.1177/1464700119853339 34 06 10.1177/026327640602300247 34 06 10.1086/658637 34 06 10.31608/PJCP.v1i1.2 34 06 10.1353/ncr.2002.0052 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/94160 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/94160/0473.1.00.pdf?sequence=1&isAllowed=y 20 08 20241016 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/147423 20 08 20241016 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526489 20 08 20241016 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/811 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/2797a508-d771-482e-b495-d1a85ae2f2d4/download 20 08 20241016 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ec0cc90a-1765-4ef2-8829-9f2342c9c922 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ec0cc90a-1765-4ef2-8829-9f2342c9c922/ec0cc90a-1765-4ef2-8829-9f2342c9c922.pdf 20 08 20241016 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850684 29 ZENODO: download the title https://zenodo.org/records/19850684/files/ec0cc90a-1765-4ef2-8829-9f2342c9c922_book.pdf 20 08 20241016 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-ruins-of-solitude/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0473.1.00.pdf 20 08 20241016 01 urn:uuid:dac7a754-85d7-4661-ad51-919abcbe3dec 03 01 01 thoth-work-id urn:uuid:3f5061bc-fc92-40eb-835c-0d0452e68c67 01 thoth-publication-id urn:uuid:dac7a754-85d7-4661-ad51-919abcbe3dec 15 9781953035264 03 9781953035264 06 10.21983/P3.0309.1.00 13 2020951025 01 internal-reference 0309 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Saga of Þórður kakali The Icelandic Text, with an English Translation by D.M. White 1 B06 D.M. White D.M. White 40 02jx3x895 University College London D.M. White (b. 1994) received his BA and MA from the University of Birmingham before starting his PhD in the Department of Scandinavian Studies at University College London in 2017. His PhD thesis is on the origins of The Saga of Þórður kakali, and is the first attempt to provide a comprehensive picture of this thirteenth-century Icelandic saga’s beginnings. He has previously published an English translation of The Tale of Geirmundur heljarskinn, another text – like The Saga of Þórður kakali – from the fourteenth-century compilation The Saga of the Sturlungar. 01 eng 01 ice 00 322 03 93 DBSN 10 FIC008000 12 FT B2 Languages+Translations 93 1DNC B2 Literary Studies B2 Premodern 20 Icelandic literature; saga; Nordic civil wars; Thirteenth-century Iceland; The Age of the Sturlungar; Þórður kakali Sighvatsson 01 06 02 00 03 00 The Old Icelandic text The Saga of Þórður kakali survives today as part of the fourteenth-century compilation The Saga of the Sturlungar. In extant form, The Saga of Þórður kakali is a biography of Þórður kakali Sighvatsson (c.1210–56) – chieftain, royal retainer, and sheriff – and covers the periods 1242–50 and 1254–56, providing an interesting view of power politics and political culture from the periphery of medieval Europe, challenging dominant historiographical narratives derived from the sources produced at the center.Hitherto, only one English translation of The Saga of the Sturlungar (and thus The Saga of Þórður kakali) has ever been produced. This translation was carried out by Julia McGrew and R. George Thomas (published in two volumes, 1970–74). Nevertheless, even with the invaluable assistance of the eminent Icelandic scholar Sigurður Nordal – who provided English translations of the trickier passages of text – McGrew and Thomas’s translation turned out to be “defective and unreliable” (in the words of Oren Falk).Published translations are cultural levelers insofar as they open up texts to broader audiences – members of the interested wider public – who may not have the means or time to learn the original language merely to study a single primary source or read a lone literary classic. While McGrew and Thomas’s translation of The Saga of Þórður kakali is more or less serviceable if used with extreme caution (i.e., by native English speakers with fluency in Icelandic), the importance of competent translations should not be forgotten, especially for the reader without Icelandic language skills: poor translations can offend, confuse, and mislead users of the target language.The present edition of The Saga of Þórður kakali offers a new and accessible translation of the text by D.M. White, produced directly from the Icelandic with which it is printed side by side. 30 00 The Old Icelandic text The Saga of Þórður kakali survives today as part of the fourteenth-century compilation The Saga of the Sturlungar. In extant form, The Saga of Þórður kakali is a biography of Þórður kakali Sighvatsson (c.1210–56) – chieftain, royal retainer, and sheriff – and covers the periods 1242–50 and 1254–56, providing an interesting view of power politics and political culture from the periphery of medieval Europe, challenging dominant historiographical narratives derived from the sources produced at the center.Hitherto, only one English translation of The Saga of the Sturlungar (and thus The Saga of Þórður kakali) has ever been produced. This translation was carried out by Julia McGrew and R. George Thomas (published in two volumes, 1970–74). Nevertheless, even with the invaluable assistance of the eminent Icelandic scholar Sigurður Nordal – who provided English translations of the trickier passages of text – McGrew and Thomas’s translation turned out to be “defective and unreliable” (in the words of Oren Falk).Published translations are cultural levelers insofar as they open up texts to broader audiences – members of the interested wider public – who may not have the means or time to learn the original language merely to study a single primary source or read a lone literary classic. While McGrew and Thomas’s translation of The Saga of Þórður kakali is more or less serviceable if used with extreme caution (i.e., by native English speakers with fluency in Icelandic), the importance of competent translations should not be forgotten, especially for the reader without Icelandic language skills: poor translations can offend, confuse, and mislead users of the target language.The present edition of The Saga of Þórður kakali offers a new and accessible translation of the text by D.M. White, produced directly from the Icelandic with which it is printed side by side. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0309.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-saga-of-thordur-kakali-the-icelandic-text-with-and-english-translation-by-d-m-white/ Earth, Milky Way 04 01 20201217 White, D.M. 02 WORLD 06 15 9781953035271 03 9781953035271 34 06 10.4000/tabularia.2285 34 06 10.4000/medievales.1339 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035264 20 08 20201217 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-saga-of-azaraur-kakali-the-icelandic-text-with-an-english-translation-by-dm-white 20 08 20201217 02 26.00 USD WORLD urn:uuid:b2a7d1f4-adac-497b-b8f3-d12ed98ef46f 03 01 01 thoth-work-id urn:uuid:3f5061bc-fc92-40eb-835c-0d0452e68c67 01 thoth-publication-id urn:uuid:b2a7d1f4-adac-497b-b8f3-d12ed98ef46f 15 9781953035271 03 9781953035271 06 10.21983/P3.0309.1.00 13 2020951025 01 internal-reference 0309 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Saga of Þórður kakali The Icelandic Text, with an English Translation by D.M. White 1 B06 D.M. White D.M. White 40 02jx3x895 University College London D.M. White (b. 1994) received his BA and MA from the University of Birmingham before starting his PhD in the Department of Scandinavian Studies at University College London in 2017. His PhD thesis is on the origins of The Saga of Þórður kakali, and is the first attempt to provide a comprehensive picture of this thirteenth-century Icelandic saga’s beginnings. He has previously published an English translation of The Tale of Geirmundur heljarskinn, another text – like The Saga of Þórður kakali – from the fourteenth-century compilation The Saga of the Sturlungar. 01 eng 01 ice 00 322 03 93 DBSN 10 FIC008000 12 FT B2 Languages+Translations 93 1DNC B2 Literary Studies B2 Premodern 20 Icelandic literature; saga; Nordic civil wars; Thirteenth-century Iceland; The Age of the Sturlungar; Þórður kakali Sighvatsson 01 06 02 00 03 00 The Old Icelandic text The Saga of Þórður kakali survives today as part of the fourteenth-century compilation The Saga of the Sturlungar. In extant form, The Saga of Þórður kakali is a biography of Þórður kakali Sighvatsson (c.1210–56) – chieftain, royal retainer, and sheriff – and covers the periods 1242–50 and 1254–56, providing an interesting view of power politics and political culture from the periphery of medieval Europe, challenging dominant historiographical narratives derived from the sources produced at the center.Hitherto, only one English translation of The Saga of the Sturlungar (and thus The Saga of Þórður kakali) has ever been produced. This translation was carried out by Julia McGrew and R. George Thomas (published in two volumes, 1970–74). Nevertheless, even with the invaluable assistance of the eminent Icelandic scholar Sigurður Nordal – who provided English translations of the trickier passages of text – McGrew and Thomas’s translation turned out to be “defective and unreliable” (in the words of Oren Falk).Published translations are cultural levelers insofar as they open up texts to broader audiences – members of the interested wider public – who may not have the means or time to learn the original language merely to study a single primary source or read a lone literary classic. While McGrew and Thomas’s translation of The Saga of Þórður kakali is more or less serviceable if used with extreme caution (i.e., by native English speakers with fluency in Icelandic), the importance of competent translations should not be forgotten, especially for the reader without Icelandic language skills: poor translations can offend, confuse, and mislead users of the target language.The present edition of The Saga of Þórður kakali offers a new and accessible translation of the text by D.M. White, produced directly from the Icelandic with which it is printed side by side. 30 00 The Old Icelandic text The Saga of Þórður kakali survives today as part of the fourteenth-century compilation The Saga of the Sturlungar. In extant form, The Saga of Þórður kakali is a biography of Þórður kakali Sighvatsson (c.1210–56) – chieftain, royal retainer, and sheriff – and covers the periods 1242–50 and 1254–56, providing an interesting view of power politics and political culture from the periphery of medieval Europe, challenging dominant historiographical narratives derived from the sources produced at the center.Hitherto, only one English translation of The Saga of the Sturlungar (and thus The Saga of Þórður kakali) has ever been produced. This translation was carried out by Julia McGrew and R. George Thomas (published in two volumes, 1970–74). Nevertheless, even with the invaluable assistance of the eminent Icelandic scholar Sigurður Nordal – who provided English translations of the trickier passages of text – McGrew and Thomas’s translation turned out to be “defective and unreliable” (in the words of Oren Falk).Published translations are cultural levelers insofar as they open up texts to broader audiences – members of the interested wider public – who may not have the means or time to learn the original language merely to study a single primary source or read a lone literary classic. While McGrew and Thomas’s translation of The Saga of Þórður kakali is more or less serviceable if used with extreme caution (i.e., by native English speakers with fluency in Icelandic), the importance of competent translations should not be forgotten, especially for the reader without Icelandic language skills: poor translations can offend, confuse, and mislead users of the target language.The present edition of The Saga of Þórður kakali offers a new and accessible translation of the text by D.M. White, produced directly from the Icelandic with which it is printed side by side. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0309.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-saga-of-thordur-kakali-the-icelandic-text-with-and-english-translation-by-d-m-white/ Earth, Milky Way 04 01 20201217 White, D.M. 02 WORLD 06 15 9781953035264 03 9781953035264 34 06 10.4000/tabularia.2285 34 06 10.4000/medievales.1339 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/43307 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/43307/0309.1.00.pdf?sequence=1&isAllowed=y 20 08 20201217 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33976 20 08 20201217 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353957 20 08 20201217 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/652 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/bea10810-fef3-493b-9539-8af6eaba38cd/download 20 08 20201217 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Saga_of_%C3%9E%C3%B3r%C3%B0ur_kakali/6gWVEAAAQBAJ 20 08 20201217 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3f5061bc-fc92-40eb-835c-0d0452e68c67 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3f5061bc-fc92-40eb-835c-0d0452e68c67/3f5061bc-fc92-40eb-835c-0d0452e68c67.pdf 20 08 20201217 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848591 29 ZENODO: download the title https://zenodo.org/records/19848591/files/3f5061bc-fc92-40eb-835c-0d0452e68c67_book.pdf 20 08 20201217 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-saga-of-thordur-kakali-the-icelandic-text-with-and-english-translation-by-d-m-white/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0309.1.00.pdf 20 08 20201217 01 urn:uuid:94118e1d-9f35-4659-b5f6-912661ed9242 03 01 01 thoth-work-id urn:uuid:27d92775-adba-41a5-bd1d-488b606cab5c 01 thoth-publication-id urn:uuid:94118e1d-9f35-4659-b5f6-912661ed9242 15 9781685712709 03 9781685712709 06 10.53288/0529.1.00 13 2025936447 01 internal-reference 0529 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 15 mm 03 1.5 cm 03 0.6 in 08 357 gr 08 12.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Singing Detainee and the Librarian with One Book Essays on Exile 1 A01 Michael Beltran Michael Beltran Michael Beltran is an activist and journalist whose articles have appeared in many publications in the Asia-Pacific, including Al Jazeera and South China Morning Post. Covering human rights, the shrinking democratic space in the Philippines, and forced migration, eviction, and displacement. He also volunteers for Pinoy Weekly. 2 A23 Larissa Mae Suarez Larissa Mae Suarez 01 eng 00 266 03 12 1FMP 93 1FMP 10 BIO010000 B2 History 93 JPFC 12 JPFC B2 New Left Thought 10 POL005000 10 HIS048000 93 JBFG 12 JFFD 93 FXQ 20 Communist Party of the Philippines; New People's Army; Philippines; exile; Jose Marian Sison; Julieta de Lima; political refugee 01 06 02 00 03 00 In late 2019, journalist Michael Beltran found himself in the city of Utrecht, the Netherlands, deep in conversation with Filipino revolutionary leaders Jose Maria Sison and Julie de Lima. What was planned to be a feature article ended up as a collection of observations on what it means to live in exile. Sison and de Lima are maligned by governments and revered by activists worldwide, all while spending most of their time tucked away in a small Dutch neighborhood. What Beltran realized was that it was impossible to speak of their exile without understanding the history and community surrounding it.The Singing Detainee and the Librarian with One Book shares lesser known tales about two of the most well-known revolutionary exiles and their comrades. It speaks of a community and history behind the ordeal, weaving it into the Filipino diaspora. Sison passed away in December 2022, making this book a record of one of the last and arguably lengthiest interviews he ever gave. The essays track the couple’s prolonged stay as refugees, how the Philippine liberation movement found a home in Europe, and how migrants and activists alike gravitated toward each other while adrift from their homeland. “Exile,” Beltran says, “is imprisonment by displacement […] when people are condemned to leave their lands dressed in invisible chains.” 30 00 In late 2019, journalist Michael Beltran found himself in the city of Utrecht, the Netherlands, deep in conversation with Filipino revolutionary leaders Jose Maria Sison and Julie de Lima. What was planned to be a feature article ended up as a collection of observations on what it means to live in exile. Sison and de Lima are maligned by governments and revered by activists worldwide, all while spending most of their time tucked away in a small Dutch neighborhood. What Beltran realized was that it was impossible to speak of their exile without understanding the history and community surrounding it.The Singing Detainee and the Librarian with One Book shares lesser known tales about two of the most well-known revolutionary exiles and their comrades. It speaks of a community and history behind the ordeal, weaving it into the Filipino diaspora. Sison passed away in December 2022, making this book a record of one of the last and arguably lengthiest interviews he ever gave. The essays track the couple’s prolonged stay as refugees, how the Philippine liberation movement found a home in Europe, and how migrants and activists alike gravitated toward each other while adrift from their homeland. “Exile,” Beltran says, “is imprisonment by displacement […] when people are condemned to leave their lands dressed in invisible chains.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0529.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-singing-detainee-and-the-librarian-with-one-book-essays-on-exile/ Earth, Milky Way 04 01 20250516 Michael Beltran 02 WORLD 06 15 9781685712716 03 9781685712716 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712703 20 08 20250516 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-singing-detainee-and-the-librarian-with-one-book-essays-on-exile-michael-beltran 20 08 20250516 02 25.00 USD WORLD urn:uuid:1941d5b4-e060-4a5d-89a1-8a9dc2ca0941 03 01 01 thoth-work-id urn:uuid:27d92775-adba-41a5-bd1d-488b606cab5c 01 thoth-publication-id urn:uuid:1941d5b4-e060-4a5d-89a1-8a9dc2ca0941 15 9781685712716 03 9781685712716 06 10.53288/0529.1.00 13 2025936447 01 internal-reference 0529 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Singing Detainee and the Librarian with One Book Essays on Exile 1 A01 Michael Beltran Michael Beltran Michael Beltran is an activist and journalist whose articles have appeared in many publications in the Asia-Pacific, including Al Jazeera and South China Morning Post. Covering human rights, the shrinking democratic space in the Philippines, and forced migration, eviction, and displacement. He also volunteers for Pinoy Weekly. 2 A23 Larissa Mae Suarez Larissa Mae Suarez 01 eng 00 266 03 12 1FMP 93 1FMP 10 BIO010000 B2 History 93 JPFC 12 JPFC B2 New Left Thought 10 POL005000 10 HIS048000 93 JBFG 12 JFFD 93 FXQ 20 Communist Party of the Philippines; New People's Army; Philippines; exile; Jose Marian Sison; Julieta de Lima; political refugee 01 06 02 00 03 00 In late 2019, journalist Michael Beltran found himself in the city of Utrecht, the Netherlands, deep in conversation with Filipino revolutionary leaders Jose Maria Sison and Julie de Lima. What was planned to be a feature article ended up as a collection of observations on what it means to live in exile. Sison and de Lima are maligned by governments and revered by activists worldwide, all while spending most of their time tucked away in a small Dutch neighborhood. What Beltran realized was that it was impossible to speak of their exile without understanding the history and community surrounding it.The Singing Detainee and the Librarian with One Book shares lesser known tales about two of the most well-known revolutionary exiles and their comrades. It speaks of a community and history behind the ordeal, weaving it into the Filipino diaspora. Sison passed away in December 2022, making this book a record of one of the last and arguably lengthiest interviews he ever gave. The essays track the couple’s prolonged stay as refugees, how the Philippine liberation movement found a home in Europe, and how migrants and activists alike gravitated toward each other while adrift from their homeland. “Exile,” Beltran says, “is imprisonment by displacement […] when people are condemned to leave their lands dressed in invisible chains.” 30 00 In late 2019, journalist Michael Beltran found himself in the city of Utrecht, the Netherlands, deep in conversation with Filipino revolutionary leaders Jose Maria Sison and Julie de Lima. What was planned to be a feature article ended up as a collection of observations on what it means to live in exile. Sison and de Lima are maligned by governments and revered by activists worldwide, all while spending most of their time tucked away in a small Dutch neighborhood. What Beltran realized was that it was impossible to speak of their exile without understanding the history and community surrounding it.The Singing Detainee and the Librarian with One Book shares lesser known tales about two of the most well-known revolutionary exiles and their comrades. It speaks of a community and history behind the ordeal, weaving it into the Filipino diaspora. Sison passed away in December 2022, making this book a record of one of the last and arguably lengthiest interviews he ever gave. The essays track the couple’s prolonged stay as refugees, how the Philippine liberation movement found a home in Europe, and how migrants and activists alike gravitated toward each other while adrift from their homeland. “Exile,” Beltran says, “is imprisonment by displacement […] when people are condemned to leave their lands dressed in invisible chains.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0529.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-singing-detainee-and-the-librarian-with-one-book-essays-on-exile/ Earth, Milky Way 04 01 20250516 Michael Beltran 02 WORLD 06 15 9781685712709 03 9781685712709 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/102190 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/102190/0529.1.00.pdf?sequence=1&isAllowed=y 20 08 20250516 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/885 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0466b54f-6f3a-4f53-a513-4c17774e84d6/download 20 08 20250516 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/27d92775-adba-41a5-bd1d-488b606cab5c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/27d92775-adba-41a5-bd1d-488b606cab5c/27d92775-adba-41a5-bd1d-488b606cab5c.pdf 20 08 20250516 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825089 29 ZENODO: download the title https://zenodo.org/records/19825089/files/27d92775-adba-41a5-bd1d-488b606cab5c_book.pdf 20 08 20250516 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-singing-detainee-and-the-librarian-with-one-book-essays-on-exile/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0529.1.00.pdf 20 08 20250516 01 urn:uuid:fc5f6aca-a2e3-44e6-b19f-c312c7c6c5c5 03 01 01 thoth-work-id urn:uuid:54625e6f-ac14-4a63-8941-7e63dad14670 01 thoth-publication-id urn:uuid:fc5f6aca-a2e3-44e6-b19f-c312c7c6c5c5 15 9781685712488 03 9781685712488 06 10.53288/0405.1.00 13 2025931525 01 internal-reference 0405 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 27 mm 03 2.7 cm 03 1.08 in 08 603 gr 08 21.28 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Social Properties of Concrete 1 B01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 B01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 00 478 03 93 1FKA B2 Anthropocene 10 SOC002010 93 1FMB 10 ARC009000 B2 Built Environments 93 1FMT B2 Cultural Studies+Critical Theory 93 1FML 93 JHMC 93 AMCM 93 AMCM 93 KNJC 20 concrete; cement; built environments; new materialism; environmental change; militarism; politics; architecture; infrastructure 01 06 02 00 03 00 Concrete is a ubiquitous part of our world. It composes our dwellings and shapes our infrastructures. It unites and divides urban space and is used to wage both war and peace. Concrete is simultaneously an indicator of freedom and development and is an essential part of the carceral apparatus. The Social Properties of Concrete begins from the premise that concrete is as richly social as it is densely material. Just as concrete’s materiality permeates our everyday life, our political projects, social practices, religious concepts, environmental transformations, and ethical questions suffuse concrete structures.Like concrete itself, The Social Properties of Concrete is an aggregate: it draws together essays by social scientists, historians, architects, artists, and urban planners who each blend social theory, material science, and empirical analysis to explore the ways in which social life is embedded within concrete and to inquire about how concrete shapes social life. Across forty globally situated chapters, these essays open new conversations around our relationships with anthropogenic stone and serve as a teachable introduction to the social and political lives of materials. By taking this approach, this volume develops a conceptual language and methodological approach that should inform new understandings of material politics and our built environment.The social properties of concrete are neither metaphors nor are they simple reflections of the social. Instead, they are modes of materially enacting social, economic, and political life itself. 30 00 Concrete is a ubiquitous part of our world. It composes our dwellings and shapes our infrastructures. It unites and divides urban space and is used to wage both war and peace. Concrete is simultaneously an indicator of freedom and development and is an essential part of the carceral apparatus. The Social Properties of Concrete begins from the premise that concrete is as richly social as it is densely material. Just as concrete’s materiality permeates our everyday life, our political projects, social practices, religious concepts, environmental transformations, and ethical questions suffuse concrete structures.Like concrete itself, The Social Properties of Concrete is an aggregate: it draws together essays by social scientists, historians, architects, artists, and urban planners who each blend social theory, material science, and empirical analysis to explore the ways in which social life is embedded within concrete and to inquire about how concrete shapes social life. Across forty globally situated chapters, these essays open new conversations around our relationships with anthropogenic stone and serve as a teachable introduction to the social and political lives of materials. By taking this approach, this volume develops a conceptual language and methodological approach that should inform new understandings of material politics and our built environment.The social properties of concrete are neither metaphors nor are they simple reflections of the social. Instead, they are modes of materially enacting social, economic, and political life itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0405.1.00_frontcover.jpg 1 03 06 10.53288/0405.1.01 1 14 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 B01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Eli Elinoff and Kali Rubaii 2 03 06 10.53288/0405.1.02 15 59 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction The Social Properties of Concrete 1 A01 21 0000000153565003 Eli Elinoff Eli Elinoff 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 A01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Eli Elinoff and Kali Rubaii 3 03 06 10.53288/0405.1.03 61 76 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Aggregate 1 A01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 01 eng 20 00 Open Access Eli Elinoff 4 03 06 10.53288/0405.1.04 77 84 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Becoming 1 A01 Penny Harvey Penny Harvey professor of Anthropology 40 027m9bs27 University of Manchester Penny Harvey is a professor of Anthropology at the University of Manchester. She works on infrastructures, materiality, and state practice, and is currently writing on “Nuclear Life” in the UK. 2 A01 21 0000000263974414 Constance Smith Constance Smith Senior Lecturer in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Senior Lecturer in Social Anthropology at the University of Manchester. She researches the afterlives of architecture and planning in the UK and East Africa, and how these endurances act on the future. 01 eng 20 00 Open Access Penny Harvey and Constance Smith 5 03 06 10.53288/0405.1.05 85 93 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Belonging 1 A01 21 0000000151481260 Claudia Gastrow Claudia Gastrow assistant professor in the Department of Sociology and Anthropology 40 04tj63d06 North Carolina State University Claudia Gastrow is an assistant professor in the Department of Sociology and Anthropology at North Carolina State University. Her research focuses on processes of city making in central, southern, and eastern Africa. Her book, The Aesthetics of Belonging: Indigenous Urbanism and City Building in Oil-Boom Luanda, was published by the University of North Carolina Press in 2024. 01 eng 20 00 Open Access Claudia Gastrow 6 03 06 10.53288/0405.1.06 95 104 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Churning 1 A01 21 0000000257449648 Malini Sur Malini Sur Senior Lecturer in Anthropology and a Senior Research Fellow at the Institute for Culture and Society 40 03t52dk35 Western Sydney University Malini Sur is a Senior Lecturer in Anthropology and a Senior Research Fellow at the Institute for Culture and Society, Western Sydney University. She is the author of Jungle Passports: Fences, Mobility, and Citizenship at the Northeast India-Bangladesh Border (University of Pennsylvania Press, 2021). 01 eng 20 00 Open Access Malini Sur 7 03 06 10.53288/0405.1.07 105 115 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Connections 1 A01 21 0000000236943719 Austin Zeiderman Austin Zeiderman Associate Professor in the Department of Geography and Environment London School of Economics Austin Zeiderman is Associate Professor in the Department of Geography and Environment at the London School of Economics. He is an interdisciplinary scholar who specializes in the social and political dimensions of urbanization and the environment in Latin America and the Caribbean, with a specific focus on Colombia. His books include Endangered City: The Politics of Security and Risk in Bogotá and Artery: Racial Ecologies on Colombia’s Magdalena River, both published by Duke University Press. 01 eng 20 00 Open Access Austin Zeiderman 8 03 06 10.53288/0405.1.08 117 128 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contracting 1 A01 Pinai Sirikiatikul Pinai Sirikiatikul assistant professor 40 02d0tyt78 Silpakorn University Pinai Sirikiatikul is an assistant professor at Silpakorn University, Bangkok, focusing on Thailand’s construction history from the late-eighteenth to twentieth centuries. His recent work, Unpacking the Archives: Amorn Srivongse (The Association of Siamese Architects under Royal Patronage, 2020), sheds light on the often-overlooked contributions of architect Amorn Srivongse to Thai modern architecture, offering new perspectives on the country’s architectural development. 01 eng 20 00 Open Access Pinai Sirikiatikul 9 03 06 10.53288/0405.1.09 129 141 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Corruption 1 A01 21 0000000254594719 Cassandra Hartblay Cassandra Hartblay Associate Professor in the Department of Health and Society 40 03dbr7087 University of Toronto Associate Professor in the Department of Anthropology and the Centre for European and Eurasian Studies 40 03dbr7087 University of Toronto Cassandra Hartblay is Associate Professor in the Department of Health and Society at the University of Toronto, Scarborough, and in the Department of Anthropology and the Centre for European and Eurasian Studies at the University of Toronto. Their book, I Was Never Alone or Oporniki: An Ethnographic Play on Disability in Russia, was published by the University of Toronto Press in 2020. A second monograph will be published with Cornell University Press in 2025. 01 eng 20 00 Open Access Cassandra Hartblay 10 03 06 10.53288/0405.1.10 143 154 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curing 1 A01 Rachel Cypher Rachel Cypher PhD Candidate in the Department of Anthropology 40 03s65by71 University of California, Santa Cruz Rachel Cypher is a PhD Candidate in the Department of Anthropology at the University of California, Santa Cruz. Her research examines life in agro-industrial landscapes, specifically soy plantations in Argentina. 01 eng 20 00 Open Access Rachel Cypher 11 03 06 10.53288/0405.1.11 155 164 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Demolition 1 A01 Tim Oakes Tim Oakes professor of geography 40 02ttsq026 University of Colorado Boulder Tim Oakes is a professor of geography at the University of Colorado, Boulder. From 2018 to 2023 he was Project Director for China Made, an international research collective exploring the sociotechnical dimensions of China’s infrastructural model of development. He has held recent visiting faculty positions at the University of Oslo, the University of Hong Kong, and the National University of Singapore. His forthcoming book is Living in Nuclear Asia: Sociotechnical Perspectives on Nuclear Power Development, Risk, and Vulnerability (University of Toronto Press, 2026). 01 eng 20 00 Open Access Tim Oakes 12 03 06 10.53288/0405.1.12 165 172 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Depth 1 A01 21 0000000293750753 Matt Edgeworth Matt Edgeworth Honorary Visiting Research Fellow 40 04h699437 University of Leicester Matt Edgeworth is a field archaeologist working mainly on large infrastructure projects in the UK. He is also an Honorary Visiting Research Fellow at the University of Leicester. 01 eng 20 00 Open Access Matt Edgeworth 13 03 06 10.53288/0405.1.13 173 181 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Edgework 1 A01 21 0000000184230011 Lukas Ley Lukas Ley environmental anthropologist 40 02mavc002 Max Planck Institute for Social Anthropology Lukas Ley is an environmental anthropologist at the Max Planck Institute for Social Anthropology in Halle, Germany, where he leads the DFG-funded Emmy Noether research group on the infrastructural lives of sand in port cities of the Afrasian Sea. His research is concerned with urban marginalization, temporality, and material environments. Ley’s first book, Building on Borrowed Time: Rising Seas and Failing Infrastructure in Semarang, was published by University of Minnesota Press in 2021 and was awarded the Social Science Prize by the European Association for Southeast Asian Studies. 01 eng 20 00 Open Access Lukas Ley 14 03 06 10.53288/0405.1.14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Entombment 1 A01 21 0000000159294005 Greg Dvorak Greg Dvorak professor in the Graduate School of International Culture and Communication Studies 40 00ntfnx83 Waseda University Greg Dvorak is a professor in the Graduate School of International Culture and Communication Studies at Waseda University. His book Coral and Concrete: Remembering the Kwajalein Atoll between Japan, America, and the Marshall Islands was published by the University of Hawai‘i Press in 2018. 01 eng 20 00 Open Access 15 03 06 10.53288/0405.1.15 195 203 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Erasure 1 A01 Nasser Abourahme Nasser Abourahme Assistant Professor of Middle Eastern and North African Studies 40 03gh96r95 Bowdoin College Nasser Abourahme is a writer and teacher, and currently Assistant Professor of Middle Eastern and North African Studies at Bowdoin College. He’s the author of The Time beneath the Concrete: Palestine between Camp and Colony (Duke University Press, 2025). 01 eng 20 00 Open Access Nasser Abourahme 16 03 06 10.53288/0405.1.16 205 212 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exoskeleton 1 A01 21 0000000197998572 Denis Byrne Denis Byrne professor at the Institute for Culture and Society 40 03t52dk35 Western Sydney University Denis Byrne is a professor at the Institute for Culture and Society, Western Sydney University. With a focus on Asia and Australia, he works across the fields of archaeology, critical heritage studies, and the environmental humanities, currently with a particular interest in coastal reclamations as technofossils of the Anthropocene 01 eng 20 00 Open Access Denis Byrne 17 03 06 10.53288/0405.1.17 213 220 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraction 1 A01 21 0000000317176777 Vanessa Lamb Vanessa Lamb associate professor in the Department of Social Science 40 05fq50484 York University Senior Research Fellow (Honorary) in the School of Geography, Earth and Atmospheric Sciences 40 01ej9dk98 University of Melbourne Vanessa Lamb is an associate professor in the Department of Social Science at York University and a Senior Research Fellow (Honorary) in the School of Geography, Earth and Atmospheric Sciences at The University of Melbourne. As a geographer, she studies social, political, and environmental change with a longstanding focus on rivers and water governance in the fields of political ecology and political geography. Dr. Lamb completed her dissertation, Ecologies of Rule and Resistance, in 2014, and in 2019 co-edited with Carl Middleton, Knowing the Salween River: Resource Politics of a Contested Transboundary River (Springer, 2019). 01 eng 20 00 Open Access Vanessa Lamb 18 03 06 10.53288/0405.1.18 221 228 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fear 1 A01 21 0000000254439954 Mona Chettri Mona Chettri Mona Chettri is the co-founder of Reading Himalaya, a research and policy consultancy focusing on the eastern Himalayas. She is the author of Constructing Democracy: Ethnicity and Democracy in the Eastern Himalayan Borderland (Amsterdam University Press, 2017), and the co-editor of Development Zones in Asian Borderlands (Amsterdam University Press, 2021). Her current research focuses on Himalayan urbanisation, gender, and migration. 01 eng 20 00 Open Access Mona Chettri 19 03 06 10.53288/0405.1.19 229 240 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foundation 1 A01 21 0000000179409690 Rebecca Bowers Rebecca Bowers LSE Fellow at the Department of Anthropology London School of Economics Rebecca Bowers is an LSE Fellow at the Department of Anthropology, London School of Economics. Her research focuses on gendered and inter-generational experiences of inequality, globalization, labor informality, and the present socioeconomic effects of pandemic-related policy. 01 eng 20 00 Open Access Rebecca Bowers 20 03 06 10.53288/0405.1.20 241 249 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Grayscale 1 A01 Erik Harms Erik Harms professor of anthropology and Southeast Asian studies 40 03v76x132 Yale University Erik Harms is a professor of anthropology and Southeast Asian studies at Yale University. His book, Luxury and Rubble: Civility and Dispossession in the New Saigon, was published by the University of California Press in 2016. 01 eng 20 00 Open Access Erik Harms 21 03 06 10.53288/0405.1.21 251 256 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Impermeability 1 A01 21 000000034509076X Rosalie Stolz Rosalie Stolz postdoctoral researcher 40 00rcxh774 University of Cologne Rosalie Stolz is a postdoctoral researcher at the University of Cologne where she leads the project Construction Pioneers: Building Innovation in Upland Northern Laos. In her research, she focuses on house transformations in mainland Southeast Asia and beyond. She is the author of the book Living Kinship, Fearing Spirits (NIAS Press, 2o21) and co-editor of the volume Houses Transformed (Berghahn, 2024). 01 eng 20 00 Open Access Rosalie Stolz 22 03 06 10.53288/0405.1.22 257 266 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Improvisation 1 A01 21 0000000181442713 Rowan McCormick Rowan McCormick PhD candidate in cultural anthropology 40 0040r6f76 Victoria University of Wellington Rowan McCormick is a builder and PhD candidate in cultural anthropology at Te Herenga Waka – Victoria University of Wellington. He is presently researching in the field of auto-construction of alternative housing in Aotearoa New Zealand. 01 eng 20 00 Open Access Rowan McCormick 23 03 06 10.53288/0405.1.23 267 275 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Incompleteness 1 A01 21 000000023853218X Siddharth Menon Siddharth Menon PhD Candidate in the Department of Geography 40 01y2jtd41 University of Wisconsin-Madison Siddharth Menon is a PhD Candidate in the Department of Geography at the University of Wisconsin, Madison. His research interests lie at the intersection of economic and urban geography, political ecology, critical development studies, and science and technology studies (STS). His doctoral dissertation project examines how the rapidly transforming built environment of cities in India intersect with wider circuits of transnational migration, capital investment, and resource extraction in the era of global climate change. 01 eng 20 00 Open Access Siddharth Menon 24 03 06 10.53288/0405.1.24 277 283 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kinship 1 A01 21 000000033013052X Heid Jerstad Heid Jerstad Heid Jerstad is a social researcher working on transport in the public sector in Scotland. She founded the Weather Matters website and supports PhD students and others looking to build research careers outside academia. 01 eng 20 00 Open Access Heid Jerstad 25 03 06 10.53288/0405.1.25 285 293 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Magic 1 A01 21 0000000169097574 Naomi Haynes Naomi Haynes Senior Lecturer and Chancellor’s Fellow in Social Anthropology 40 01nrxwf90 University of Edinburgh Naomi Haynes is a Senior Lecturer and Chancellor’s Fellow in Social Anthropology at the University of Edinburgh. Her research examines the intersection of religion and political economy. Her first book, Moving by the Spirit: Pentecostal Social Life on the Zambian Copperbelt, was published by the University of California Press in 2017. 01 eng 20 00 Open Access Naomi Haynes 26 03 06 10.53288/0405.1.26 295 303 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Microbiome 1 A01 Matthew Gandy Matthew Gandy professor of Geography 40 013meh722 University of Cambridge Matthew Gandy is a professor of Geography at the University of Cambridge and an award-winning documentary filmmaker. His most recent book is Natura Urbana: Ecological Constellations in Urban Space (MIT Press, 2022). 01 eng 20 00 Open Access Matthew Gandy 27 03 06 10.53288/0405.1.27 305 314 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plasticity 1 A01 Elihu Rubin Elihu Rubin Henry Hart Rice associate professor of Architecture and Urban Studies 40 03v76x132 Yale University Elihu Rubin is the Henry Hart Rice associate professor of Architecture and Urban Studies at the Yale School of Architecture. His book Insuring the City: The Prudential Center and the Postwar Urban Landscape was published by Yale University Press in 2012. He directs the Yale Urban Media Project, a place-based public scholarship initiative in New Haven.. 01 eng 20 00 Open Access Elihu Rubin 28 03 06 10.53288/0405.1.28 315 322 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Progress 1 A01 21 0000000312166801 Julie Soleil Archambault Julie Soleil Archambault Associate Professor of Anthropology 40 0420zvk78 Concordia University Julie Soleil Archambault is an associate professor of Anthropology at Concordia University. Cutting across much of her research is an interest in how materiality and temporality intersect in the crafting of lives worth living. Her book, Mobile Secrets: Youth, Intimacy, and the Politics of Pretense in Mozambique was published by the University of Chicago Press in 2017. 01 eng 20 00 Open Access Julie Soleil Archambault 29 03 06 10.53288/0405.1.29 323 338 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Progressivism 1 A01 Gabriel Lee Gabriel Lee Gabriel Lee is a history teacher at The Putney School in Putney, Vermont. He has a PhD in US History from Stanford University. His current research examines the environmental history of Portland cement in the United States in the first half of the twentieth century. 01 eng 20 00 Open Access Gabriel Lee 30 03 06 10.53288/0405.1.30 339 344 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Resonance 1 A01 21 0000000152065162 Marina Peterson Marina Peterson professor of Anthropology 40 00hj54h04 The University of Texas at Austin Marina Peterson is a professor of Anthropology at the University of Texas, Austin. Her most recent book, Atmospheric Noise: The Indefinite Urbanism of Los Angeles, was published by Duke University Press in 2021. She is also the author of Sound, Space, and the City: Civic Performance in Downtown Los Angeles (University of Pennsylvania Press, 2012), and co-editor of Global Downtowns, Anthropology of the Arts: A Reader (Routledge, 2016), and Between Matter and Method: Encounters in Anthropology and Art (Routledge, 2017). 01 eng 20 00 Open Access Marina Peterson 31 03 06 10.53288/0405.1.31 345 352 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Risk 1 A01 Tyson Vaughan Tyson Vaughan Tyson Vaughan is a civil works and water resources policy analyst and a scholar of the social dimensions of disaster recovery. He has conducted research on participatory recovery planning in post-disaster Japan and “citizen-science” in his hometown of New Orleans. As a Sociologist at the Institute for Water Resources, US Army Corps of Engineers, he works to improve federal policy, engage the public, and enhance the resilience of American communities facing environmental risks. With Eli Elinoff, he co-edited Disastrous Times: Beyond Environmental Crisis in Urbanizing Asia (University of Pennsylvania Press, 2020). He holds a PhD in Science & Technology Studies from Cornell University. 01 eng 20 00 Open Access Tyson Vaughan 32 03 06 10.53288/0405.1.32 353 361 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Speculation 1 A01 21 0000000165516321 Tong Lam Tong Lam associate professor of history 40 03dbr7087 University of Toronto Tong Lam is an associate professor of history at the University of Toronto, with research projects on infrastructure and the politics of information. His most recent project focuses especially on Cold War mobilizations in China and elsewhere, and their environmental consequences, as well as China’s postsocialist transition. 06 Own website http://tonglam.com 01 eng 20 00 Open Access Tong Lam 33 03 06 10.53288/0405.1.33 363 371 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Scarcity 1 A01 21 0000000185398270 Emily Brownell Emily Brownell senior lecturer in Environmental History 40 01nrxwf90 University of Edinburgh Emily Brownell is a senior lecturer in Environmental History at the University of Edinburgh. Her book, Gone to Ground: A History of Environment and Infrastructure in Dar es Salaam, was published by the University of Pittsburgh Press in 2020. 01 eng 20 00 Open Access Emily Brownell 34 03 06 10.53288/0405.1.34 373 381 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Settler Colonialism 1 A01 21 0009000179369200 Lila Sharif Lila Sharif Assistant Professor at the School of Social Transformation 40 03efmqc40 Arizona State University Lila Sharif is a creative writer, educator, and researcher based in the Phoenix area. She is Assistant Professor at the School of Social Transformation at Arizona State University. She is a co-founding member of the Critical Refugee Studies Collective as well as the Palestinian Feminist Collective. 06 Own website https://www.lilasharif.com/ 01 eng 20 00 Open Access Lila Sharif 35 03 06 10.53288/0405.1.35 383 393 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shredding 1 A01 21 0000000159993850 Duncan McDuie-Ra Duncan McDuie-Ra professor and head of School of Arts and Social Sciences 40 00yncr324 Monash University Malaysia Duncan McDuie-Ra is a professor and head of School of Arts and Social Sciences at Monash University Malaysia. Recent books include: Insurgent Play: Social Worlds of Urban Disruption (Anthem, 2025); Skateboard Video: Archiving the City from Below (Springer, 2021); Skateboarding and Urban Landscapes in Asia (Amsterdam University Press, 2021); and with Dolly Kikon Ceasefire City: Militarism, Capitalism and Urbanism in Dimapur (Oxford University Press, 2021). 01 eng 20 00 Open Access Duncan McDuie-Ra 36 03 06 10.53288/0405.1.36 395 404 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stability 1 A01 Diana Martinez Diana Martinez assistant professor and Director of Architectural Studies in the Department of History of Art and Architecture 40 05wvpxv85 Tufts University Diana Martinez is an assistant professor and Director of Architectural Studies in the Department of History of Art and Architecture at Tufts University, where she holds a secondary appointment in the Department for the Study of Race, Colonialism, and Diaspora. Her book manuscript, Concrete Colonialism: Architecture, Infrastructure, Racial Capitalism and the American Colonial Project in the Philippines, is under contract with Duke University Press. Her work is published in The Avery Review; Comparative Studies of South Asia, Africa and the Middle East (CSSAAME); Architectural Theory Review; and in Architecture in Development (Routledge, 2021). 01 eng 20 00 Open Access Diana Martinez 37 03 06 10.53288/0405.1.37 405 414 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Standardization 1 A01 Christina Schwenkel Christina Schwenkel professor of anthropology 40 03nawhv43 University of California, Riverside Christina Schwenkel is professor of anthropology at the University of California, Riverside and author of The American War in Contemporary Vietnam: Transnational Remembrance and Representation (Indiana University Press, 2009) and, most recently, Building Socialism: The Aftermath of East German Architecture in Urban Vietnam (Duke University Press, 2020). She has published widely on architectures of memory and the material politics of infrastructure decay and destruction during and after the Cold War. 01 eng 20 00 Open Access Christina Schwenkel 38 03 06 10.53288/0405.1.38 415 422 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Time 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is Associate Professor in Anthropology at the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time and has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene, particularly concrete. 01 eng 20 00 Open Access Cristián Simonetti 39 03 06 10.53288/0405.1.39 423 435 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Uncertainties 1 A01 Jerome Whitington Jerome Whitington clinical assistant professor 40 0190ak572 New York University Jerome Whitington is a clinical assistant professor at New York University, where he teaches anthropology and environmental studies. His book Anthropogenic Rivers: The Production of Uncertainty in Lao Hydropower (Cornell University Press, 2019) offered a new materialist reading of late industrial ecologies in Laos. He has also published on climate change and related issues in journals such as Public Culture, American Anthropologist, and Environmental Humanities. He is currently working on a book manuscript titled Experimental Earth: A Speculative Anthropology of Climate Change. 01 eng 20 00 Open Access Jerome Whitington 40 03 06 10.53288/0405.1.40 437 449 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Uniformity 1 A01 21 0000000186318121 Mo H. Zareei Mo H. Zareei senior lecturer in Sonic Arts 40 0040r6f76 Victoria University of Wellington Mo H. Zareei is an Iranian sound artist and researcher based in New Zealand. Drawing inspiration from scientific, physical, and architectural principles, his artistic practice ranges from electronic music composition to kinetic installations. He is a senior lecturer in Sonic Arts at Victoria University of Wellington and publishes his music through Room 40 (AU), Important Records (US), LINE imprint (US), and leerraum (CH). 01 eng 20 00 Open Access Mo H. Zareei 41 03 06 10.53288/0405.1.41 451 461 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Warscaping 1 A01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Kali Rubaii 42 03 06 10.53288/0405.1.42 463 471 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 B01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Eli Elinoff & Kali Rubaii 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-social-properties-of-concrete/ 16 40 0040r6f76 32 10.13039/501100001538 Victoria University of Wellington 01 programname Research Trust Earth, Milky Way 04 01 20250509 Eli Elinoff and Kali Rubaii 02 WORLD 06 15 9781685712495 03 9781685712495 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1111/1467-9655.12912 34 06 10.1146/annurev-anthro-041422-031946 34 06 10.1111/1468-2427.12155 34 06 10.5194/essd-11-1675-2019 34 06 10.1177/0090591703260853 34 06 10.15173/glj.v10i1.3406 34 06 10.1002/ad.2077 34 06 10.1080/13604813.2015.1014712 34 06 10.1080/13604813.2017.1374775 34 06 10.1177/0096144214533082 34 06 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webpage for this product https://asterismbooks.com/product/the-social-properties-of-concrete 20 08 20250509 02 29.00 USD WORLD urn:uuid:1bf553f2-506c-4eeb-a7bf-133386ceba71 03 01 01 thoth-work-id urn:uuid:54625e6f-ac14-4a63-8941-7e63dad14670 01 thoth-publication-id urn:uuid:1bf553f2-506c-4eeb-a7bf-133386ceba71 15 9781685712495 03 9781685712495 06 10.53288/0405.1.00 13 2025931525 01 internal-reference 0405 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Social Properties of Concrete 1 B01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 B01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 00 478 03 93 1FKA B2 Anthropocene 10 SOC002010 93 1FMB 10 ARC009000 B2 Built Environments 93 1FMT B2 Cultural Studies+Critical Theory 93 1FML 93 JHMC 93 AMCM 93 AMCM 93 KNJC 20 concrete; cement; built environments; new materialism; environmental change; militarism; politics; architecture; infrastructure 01 06 02 00 03 00 Concrete is a ubiquitous part of our world. It composes our dwellings and shapes our infrastructures. It unites and divides urban space and is used to wage both war and peace. Concrete is simultaneously an indicator of freedom and development and is an essential part of the carceral apparatus. The Social Properties of Concrete begins from the premise that concrete is as richly social as it is densely material. Just as concrete’s materiality permeates our everyday life, our political projects, social practices, religious concepts, environmental transformations, and ethical questions suffuse concrete structures.Like concrete itself, The Social Properties of Concrete is an aggregate: it draws together essays by social scientists, historians, architects, artists, and urban planners who each blend social theory, material science, and empirical analysis to explore the ways in which social life is embedded within concrete and to inquire about how concrete shapes social life. Across forty globally situated chapters, these essays open new conversations around our relationships with anthropogenic stone and serve as a teachable introduction to the social and political lives of materials. By taking this approach, this volume develops a conceptual language and methodological approach that should inform new understandings of material politics and our built environment.The social properties of concrete are neither metaphors nor are they simple reflections of the social. Instead, they are modes of materially enacting social, economic, and political life itself. 30 00 Concrete is a ubiquitous part of our world. It composes our dwellings and shapes our infrastructures. It unites and divides urban space and is used to wage both war and peace. Concrete is simultaneously an indicator of freedom and development and is an essential part of the carceral apparatus. The Social Properties of Concrete begins from the premise that concrete is as richly social as it is densely material. Just as concrete’s materiality permeates our everyday life, our political projects, social practices, religious concepts, environmental transformations, and ethical questions suffuse concrete structures.Like concrete itself, The Social Properties of Concrete is an aggregate: it draws together essays by social scientists, historians, architects, artists, and urban planners who each blend social theory, material science, and empirical analysis to explore the ways in which social life is embedded within concrete and to inquire about how concrete shapes social life. Across forty globally situated chapters, these essays open new conversations around our relationships with anthropogenic stone and serve as a teachable introduction to the social and political lives of materials. By taking this approach, this volume develops a conceptual language and methodological approach that should inform new understandings of material politics and our built environment.The social properties of concrete are neither metaphors nor are they simple reflections of the social. Instead, they are modes of materially enacting social, economic, and political life itself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0405.1.00_frontcover.jpg 1 03 06 10.53288/0405.1.01 1 14 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 B01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Eli Elinoff and Kali Rubaii 2 03 06 10.53288/0405.1.02 15 59 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction The Social Properties of Concrete 1 A01 21 0000000153565003 Eli Elinoff Eli Elinoff 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 A01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Eli Elinoff and Kali Rubaii 3 03 06 10.53288/0405.1.03 61 76 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Aggregate 1 A01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 01 eng 20 00 Open Access Eli Elinoff 4 03 06 10.53288/0405.1.04 77 84 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Becoming 1 A01 Penny Harvey Penny Harvey professor of Anthropology 40 027m9bs27 University of Manchester Penny Harvey is a professor of Anthropology at the University of Manchester. She works on infrastructures, materiality, and state practice, and is currently writing on “Nuclear Life” in the UK. 2 A01 21 0000000263974414 Constance Smith Constance Smith Senior Lecturer in Social Anthropology 40 027m9bs27 University of Manchester Constance Smith is Senior Lecturer in Social Anthropology at the University of Manchester. She researches the afterlives of architecture and planning in the UK and East Africa, and how these endurances act on the future. 01 eng 20 00 Open Access Penny Harvey and Constance Smith 5 03 06 10.53288/0405.1.05 85 93 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Belonging 1 A01 21 0000000151481260 Claudia Gastrow Claudia Gastrow assistant professor in the Department of Sociology and Anthropology 40 04tj63d06 North Carolina State University Claudia Gastrow is an assistant professor in the Department of Sociology and Anthropology at North Carolina State University. Her research focuses on processes of city making in central, southern, and eastern Africa. Her book, The Aesthetics of Belonging: Indigenous Urbanism and City Building in Oil-Boom Luanda, was published by the University of North Carolina Press in 2024. 01 eng 20 00 Open Access Claudia Gastrow 6 03 06 10.53288/0405.1.06 95 104 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Churning 1 A01 21 0000000257449648 Malini Sur Malini Sur Senior Lecturer in Anthropology and a Senior Research Fellow at the Institute for Culture and Society 40 03t52dk35 Western Sydney University Malini Sur is a Senior Lecturer in Anthropology and a Senior Research Fellow at the Institute for Culture and Society, Western Sydney University. She is the author of Jungle Passports: Fences, Mobility, and Citizenship at the Northeast India-Bangladesh Border (University of Pennsylvania Press, 2021). 01 eng 20 00 Open Access Malini Sur 7 03 06 10.53288/0405.1.07 105 115 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Connections 1 A01 21 0000000236943719 Austin Zeiderman Austin Zeiderman Associate Professor in the Department of Geography and Environment London School of Economics Austin Zeiderman is Associate Professor in the Department of Geography and Environment at the London School of Economics. He is an interdisciplinary scholar who specializes in the social and political dimensions of urbanization and the environment in Latin America and the Caribbean, with a specific focus on Colombia. His books include Endangered City: The Politics of Security and Risk in Bogotá and Artery: Racial Ecologies on Colombia’s Magdalena River, both published by Duke University Press. 01 eng 20 00 Open Access Austin Zeiderman 8 03 06 10.53288/0405.1.08 117 128 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contracting 1 A01 Pinai Sirikiatikul Pinai Sirikiatikul assistant professor 40 02d0tyt78 Silpakorn University Pinai Sirikiatikul is an assistant professor at Silpakorn University, Bangkok, focusing on Thailand’s construction history from the late-eighteenth to twentieth centuries. His recent work, Unpacking the Archives: Amorn Srivongse (The Association of Siamese Architects under Royal Patronage, 2020), sheds light on the often-overlooked contributions of architect Amorn Srivongse to Thai modern architecture, offering new perspectives on the country’s architectural development. 01 eng 20 00 Open Access Pinai Sirikiatikul 9 03 06 10.53288/0405.1.09 129 141 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Corruption 1 A01 21 0000000254594719 Cassandra Hartblay Cassandra Hartblay Associate Professor in the Department of Health and Society 40 03dbr7087 University of Toronto Associate Professor in the Department of Anthropology and the Centre for European and Eurasian Studies 40 03dbr7087 University of Toronto Cassandra Hartblay is Associate Professor in the Department of Health and Society at the University of Toronto, Scarborough, and in the Department of Anthropology and the Centre for European and Eurasian Studies at the University of Toronto. Their book, I Was Never Alone or Oporniki: An Ethnographic Play on Disability in Russia, was published by the University of Toronto Press in 2020. A second monograph will be published with Cornell University Press in 2025. 01 eng 20 00 Open Access Cassandra Hartblay 10 03 06 10.53288/0405.1.10 143 154 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curing 1 A01 Rachel Cypher Rachel Cypher PhD Candidate in the Department of Anthropology 40 03s65by71 University of California, Santa Cruz Rachel Cypher is a PhD Candidate in the Department of Anthropology at the University of California, Santa Cruz. Her research examines life in agro-industrial landscapes, specifically soy plantations in Argentina. 01 eng 20 00 Open Access Rachel Cypher 11 03 06 10.53288/0405.1.11 155 164 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Demolition 1 A01 Tim Oakes Tim Oakes professor of geography 40 02ttsq026 University of Colorado Boulder Tim Oakes is a professor of geography at the University of Colorado, Boulder. From 2018 to 2023 he was Project Director for China Made, an international research collective exploring the sociotechnical dimensions of China’s infrastructural model of development. He has held recent visiting faculty positions at the University of Oslo, the University of Hong Kong, and the National University of Singapore. His forthcoming book is Living in Nuclear Asia: Sociotechnical Perspectives on Nuclear Power Development, Risk, and Vulnerability (University of Toronto Press, 2026). 01 eng 20 00 Open Access Tim Oakes 12 03 06 10.53288/0405.1.12 165 172 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Depth 1 A01 21 0000000293750753 Matt Edgeworth Matt Edgeworth Honorary Visiting Research Fellow 40 04h699437 University of Leicester Matt Edgeworth is a field archaeologist working mainly on large infrastructure projects in the UK. He is also an Honorary Visiting Research Fellow at the University of Leicester. 01 eng 20 00 Open Access Matt Edgeworth 13 03 06 10.53288/0405.1.13 173 181 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Edgework 1 A01 21 0000000184230011 Lukas Ley Lukas Ley environmental anthropologist 40 02mavc002 Max Planck Institute for Social Anthropology Lukas Ley is an environmental anthropologist at the Max Planck Institute for Social Anthropology in Halle, Germany, where he leads the DFG-funded Emmy Noether research group on the infrastructural lives of sand in port cities of the Afrasian Sea. His research is concerned with urban marginalization, temporality, and material environments. Ley’s first book, Building on Borrowed Time: Rising Seas and Failing Infrastructure in Semarang, was published by University of Minnesota Press in 2021 and was awarded the Social Science Prize by the European Association for Southeast Asian Studies. 01 eng 20 00 Open Access Lukas Ley 14 03 06 10.53288/0405.1.14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Entombment 1 A01 21 0000000159294005 Greg Dvorak Greg Dvorak professor in the Graduate School of International Culture and Communication Studies 40 00ntfnx83 Waseda University Greg Dvorak is a professor in the Graduate School of International Culture and Communication Studies at Waseda University. His book Coral and Concrete: Remembering the Kwajalein Atoll between Japan, America, and the Marshall Islands was published by the University of Hawai‘i Press in 2018. 01 eng 20 00 Open Access 15 03 06 10.53288/0405.1.15 195 203 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Erasure 1 A01 Nasser Abourahme Nasser Abourahme Assistant Professor of Middle Eastern and North African Studies 40 03gh96r95 Bowdoin College Nasser Abourahme is a writer and teacher, and currently Assistant Professor of Middle Eastern and North African Studies at Bowdoin College. He’s the author of The Time beneath the Concrete: Palestine between Camp and Colony (Duke University Press, 2025). 01 eng 20 00 Open Access Nasser Abourahme 16 03 06 10.53288/0405.1.16 205 212 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Exoskeleton 1 A01 21 0000000197998572 Denis Byrne Denis Byrne professor at the Institute for Culture and Society 40 03t52dk35 Western Sydney University Denis Byrne is a professor at the Institute for Culture and Society, Western Sydney University. With a focus on Asia and Australia, he works across the fields of archaeology, critical heritage studies, and the environmental humanities, currently with a particular interest in coastal reclamations as technofossils of the Anthropocene 01 eng 20 00 Open Access Denis Byrne 17 03 06 10.53288/0405.1.17 213 220 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Extraction 1 A01 21 0000000317176777 Vanessa Lamb Vanessa Lamb associate professor in the Department of Social Science 40 05fq50484 York University Senior Research Fellow (Honorary) in the School of Geography, Earth and Atmospheric Sciences 40 01ej9dk98 University of Melbourne Vanessa Lamb is an associate professor in the Department of Social Science at York University and a Senior Research Fellow (Honorary) in the School of Geography, Earth and Atmospheric Sciences at The University of Melbourne. As a geographer, she studies social, political, and environmental change with a longstanding focus on rivers and water governance in the fields of political ecology and political geography. Dr. Lamb completed her dissertation, Ecologies of Rule and Resistance, in 2014, and in 2019 co-edited with Carl Middleton, Knowing the Salween River: Resource Politics of a Contested Transboundary River (Springer, 2019). 01 eng 20 00 Open Access Vanessa Lamb 18 03 06 10.53288/0405.1.18 221 228 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Fear 1 A01 21 0000000254439954 Mona Chettri Mona Chettri Mona Chettri is the co-founder of Reading Himalaya, a research and policy consultancy focusing on the eastern Himalayas. She is the author of Constructing Democracy: Ethnicity and Democracy in the Eastern Himalayan Borderland (Amsterdam University Press, 2017), and the co-editor of Development Zones in Asian Borderlands (Amsterdam University Press, 2021). Her current research focuses on Himalayan urbanisation, gender, and migration. 01 eng 20 00 Open Access Mona Chettri 19 03 06 10.53288/0405.1.19 229 240 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foundation 1 A01 21 0000000179409690 Rebecca Bowers Rebecca Bowers LSE Fellow at the Department of Anthropology London School of Economics Rebecca Bowers is an LSE Fellow at the Department of Anthropology, London School of Economics. Her research focuses on gendered and inter-generational experiences of inequality, globalization, labor informality, and the present socioeconomic effects of pandemic-related policy. 01 eng 20 00 Open Access Rebecca Bowers 20 03 06 10.53288/0405.1.20 241 249 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Grayscale 1 A01 Erik Harms Erik Harms professor of anthropology and Southeast Asian studies 40 03v76x132 Yale University Erik Harms is a professor of anthropology and Southeast Asian studies at Yale University. His book, Luxury and Rubble: Civility and Dispossession in the New Saigon, was published by the University of California Press in 2016. 01 eng 20 00 Open Access Erik Harms 21 03 06 10.53288/0405.1.21 251 256 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Impermeability 1 A01 21 000000034509076X Rosalie Stolz Rosalie Stolz postdoctoral researcher 40 00rcxh774 University of Cologne Rosalie Stolz is a postdoctoral researcher at the University of Cologne where she leads the project Construction Pioneers: Building Innovation in Upland Northern Laos. In her research, she focuses on house transformations in mainland Southeast Asia and beyond. She is the author of the book Living Kinship, Fearing Spirits (NIAS Press, 2o21) and co-editor of the volume Houses Transformed (Berghahn, 2024). 01 eng 20 00 Open Access Rosalie Stolz 22 03 06 10.53288/0405.1.22 257 266 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Improvisation 1 A01 21 0000000181442713 Rowan McCormick Rowan McCormick PhD candidate in cultural anthropology 40 0040r6f76 Victoria University of Wellington Rowan McCormick is a builder and PhD candidate in cultural anthropology at Te Herenga Waka – Victoria University of Wellington. He is presently researching in the field of auto-construction of alternative housing in Aotearoa New Zealand. 01 eng 20 00 Open Access Rowan McCormick 23 03 06 10.53288/0405.1.23 267 275 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Incompleteness 1 A01 21 000000023853218X Siddharth Menon Siddharth Menon PhD Candidate in the Department of Geography 40 01y2jtd41 University of Wisconsin-Madison Siddharth Menon is a PhD Candidate in the Department of Geography at the University of Wisconsin, Madison. His research interests lie at the intersection of economic and urban geography, political ecology, critical development studies, and science and technology studies (STS). His doctoral dissertation project examines how the rapidly transforming built environment of cities in India intersect with wider circuits of transnational migration, capital investment, and resource extraction in the era of global climate change. 01 eng 20 00 Open Access Siddharth Menon 24 03 06 10.53288/0405.1.24 277 283 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Kinship 1 A01 21 000000033013052X Heid Jerstad Heid Jerstad Heid Jerstad is a social researcher working on transport in the public sector in Scotland. She founded the Weather Matters website and supports PhD students and others looking to build research careers outside academia. 01 eng 20 00 Open Access Heid Jerstad 25 03 06 10.53288/0405.1.25 285 293 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Magic 1 A01 21 0000000169097574 Naomi Haynes Naomi Haynes Senior Lecturer and Chancellor’s Fellow in Social Anthropology 40 01nrxwf90 University of Edinburgh Naomi Haynes is a Senior Lecturer and Chancellor’s Fellow in Social Anthropology at the University of Edinburgh. Her research examines the intersection of religion and political economy. Her first book, Moving by the Spirit: Pentecostal Social Life on the Zambian Copperbelt, was published by the University of California Press in 2017. 01 eng 20 00 Open Access Naomi Haynes 26 03 06 10.53288/0405.1.26 295 303 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Microbiome 1 A01 Matthew Gandy Matthew Gandy professor of Geography 40 013meh722 University of Cambridge Matthew Gandy is a professor of Geography at the University of Cambridge and an award-winning documentary filmmaker. His most recent book is Natura Urbana: Ecological Constellations in Urban Space (MIT Press, 2022). 01 eng 20 00 Open Access Matthew Gandy 27 03 06 10.53288/0405.1.27 305 314 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Plasticity 1 A01 Elihu Rubin Elihu Rubin Henry Hart Rice associate professor of Architecture and Urban Studies 40 03v76x132 Yale University Elihu Rubin is the Henry Hart Rice associate professor of Architecture and Urban Studies at the Yale School of Architecture. His book Insuring the City: The Prudential Center and the Postwar Urban Landscape was published by Yale University Press in 2012. He directs the Yale Urban Media Project, a place-based public scholarship initiative in New Haven.. 01 eng 20 00 Open Access Elihu Rubin 28 03 06 10.53288/0405.1.28 315 322 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Progress 1 A01 21 0000000312166801 Julie Soleil Archambault Julie Soleil Archambault Associate Professor of Anthropology 40 0420zvk78 Concordia University Julie Soleil Archambault is an associate professor of Anthropology at Concordia University. Cutting across much of her research is an interest in how materiality and temporality intersect in the crafting of lives worth living. Her book, Mobile Secrets: Youth, Intimacy, and the Politics of Pretense in Mozambique was published by the University of Chicago Press in 2017. 01 eng 20 00 Open Access Julie Soleil Archambault 29 03 06 10.53288/0405.1.29 323 338 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Progressivism 1 A01 Gabriel Lee Gabriel Lee Gabriel Lee is a history teacher at The Putney School in Putney, Vermont. He has a PhD in US History from Stanford University. His current research examines the environmental history of Portland cement in the United States in the first half of the twentieth century. 01 eng 20 00 Open Access Gabriel Lee 30 03 06 10.53288/0405.1.30 339 344 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Resonance 1 A01 21 0000000152065162 Marina Peterson Marina Peterson professor of Anthropology 40 00hj54h04 The University of Texas at Austin Marina Peterson is a professor of Anthropology at the University of Texas, Austin. Her most recent book, Atmospheric Noise: The Indefinite Urbanism of Los Angeles, was published by Duke University Press in 2021. She is also the author of Sound, Space, and the City: Civic Performance in Downtown Los Angeles (University of Pennsylvania Press, 2012), and co-editor of Global Downtowns, Anthropology of the Arts: A Reader (Routledge, 2016), and Between Matter and Method: Encounters in Anthropology and Art (Routledge, 2017). 01 eng 20 00 Open Access Marina Peterson 31 03 06 10.53288/0405.1.31 345 352 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Risk 1 A01 Tyson Vaughan Tyson Vaughan Tyson Vaughan is a civil works and water resources policy analyst and a scholar of the social dimensions of disaster recovery. He has conducted research on participatory recovery planning in post-disaster Japan and “citizen-science” in his hometown of New Orleans. As a Sociologist at the Institute for Water Resources, US Army Corps of Engineers, he works to improve federal policy, engage the public, and enhance the resilience of American communities facing environmental risks. With Eli Elinoff, he co-edited Disastrous Times: Beyond Environmental Crisis in Urbanizing Asia (University of Pennsylvania Press, 2020). He holds a PhD in Science & Technology Studies from Cornell University. 01 eng 20 00 Open Access Tyson Vaughan 32 03 06 10.53288/0405.1.32 353 361 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Speculation 1 A01 21 0000000165516321 Tong Lam Tong Lam associate professor of history 40 03dbr7087 University of Toronto Tong Lam is an associate professor of history at the University of Toronto, with research projects on infrastructure and the politics of information. His most recent project focuses especially on Cold War mobilizations in China and elsewhere, and their environmental consequences, as well as China’s postsocialist transition. 06 Own website http://tonglam.com 01 eng 20 00 Open Access Tong Lam 33 03 06 10.53288/0405.1.33 363 371 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Scarcity 1 A01 21 0000000185398270 Emily Brownell Emily Brownell senior lecturer in Environmental History 40 01nrxwf90 University of Edinburgh Emily Brownell is a senior lecturer in Environmental History at the University of Edinburgh. Her book, Gone to Ground: A History of Environment and Infrastructure in Dar es Salaam, was published by the University of Pittsburgh Press in 2020. 01 eng 20 00 Open Access Emily Brownell 34 03 06 10.53288/0405.1.34 373 381 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Settler Colonialism 1 A01 21 0009000179369200 Lila Sharif Lila Sharif Assistant Professor at the School of Social Transformation 40 03efmqc40 Arizona State University Lila Sharif is a creative writer, educator, and researcher based in the Phoenix area. She is Assistant Professor at the School of Social Transformation at Arizona State University. She is a co-founding member of the Critical Refugee Studies Collective as well as the Palestinian Feminist Collective. 06 Own website https://www.lilasharif.com/ 01 eng 20 00 Open Access Lila Sharif 35 03 06 10.53288/0405.1.35 383 393 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Shredding 1 A01 21 0000000159993850 Duncan McDuie-Ra Duncan McDuie-Ra professor and head of School of Arts and Social Sciences 40 00yncr324 Monash University Malaysia Duncan McDuie-Ra is a professor and head of School of Arts and Social Sciences at Monash University Malaysia. Recent books include: Insurgent Play: Social Worlds of Urban Disruption (Anthem, 2025); Skateboard Video: Archiving the City from Below (Springer, 2021); Skateboarding and Urban Landscapes in Asia (Amsterdam University Press, 2021); and with Dolly Kikon Ceasefire City: Militarism, Capitalism and Urbanism in Dimapur (Oxford University Press, 2021). 01 eng 20 00 Open Access Duncan McDuie-Ra 36 03 06 10.53288/0405.1.36 395 404 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stability 1 A01 Diana Martinez Diana Martinez assistant professor and Director of Architectural Studies in the Department of History of Art and Architecture 40 05wvpxv85 Tufts University Diana Martinez is an assistant professor and Director of Architectural Studies in the Department of History of Art and Architecture at Tufts University, where she holds a secondary appointment in the Department for the Study of Race, Colonialism, and Diaspora. Her book manuscript, Concrete Colonialism: Architecture, Infrastructure, Racial Capitalism and the American Colonial Project in the Philippines, is under contract with Duke University Press. Her work is published in The Avery Review; Comparative Studies of South Asia, Africa and the Middle East (CSSAAME); Architectural Theory Review; and in Architecture in Development (Routledge, 2021). 01 eng 20 00 Open Access Diana Martinez 37 03 06 10.53288/0405.1.37 405 414 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Standardization 1 A01 Christina Schwenkel Christina Schwenkel professor of anthropology 40 03nawhv43 University of California, Riverside Christina Schwenkel is professor of anthropology at the University of California, Riverside and author of The American War in Contemporary Vietnam: Transnational Remembrance and Representation (Indiana University Press, 2009) and, most recently, Building Socialism: The Aftermath of East German Architecture in Urban Vietnam (Duke University Press, 2020). She has published widely on architectures of memory and the material politics of infrastructure decay and destruction during and after the Cold War. 01 eng 20 00 Open Access Christina Schwenkel 38 03 06 10.53288/0405.1.38 415 422 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Time 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is Associate Professor in Anthropology at the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time and has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene, particularly concrete. 01 eng 20 00 Open Access Cristián Simonetti 39 03 06 10.53288/0405.1.39 423 435 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Uncertainties 1 A01 Jerome Whitington Jerome Whitington clinical assistant professor 40 0190ak572 New York University Jerome Whitington is a clinical assistant professor at New York University, where he teaches anthropology and environmental studies. His book Anthropogenic Rivers: The Production of Uncertainty in Lao Hydropower (Cornell University Press, 2019) offered a new materialist reading of late industrial ecologies in Laos. He has also published on climate change and related issues in journals such as Public Culture, American Anthropologist, and Environmental Humanities. He is currently working on a book manuscript titled Experimental Earth: A Speculative Anthropology of Climate Change. 01 eng 20 00 Open Access Jerome Whitington 40 03 06 10.53288/0405.1.40 437 449 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Uniformity 1 A01 21 0000000186318121 Mo H. Zareei Mo H. Zareei senior lecturer in Sonic Arts 40 0040r6f76 Victoria University of Wellington Mo H. Zareei is an Iranian sound artist and researcher based in New Zealand. Drawing inspiration from scientific, physical, and architectural principles, his artistic practice ranges from electronic music composition to kinetic installations. He is a senior lecturer in Sonic Arts at Victoria University of Wellington and publishes his music through Room 40 (AU), Important Records (US), LINE imprint (US), and leerraum (CH). 01 eng 20 00 Open Access Mo H. Zareei 41 03 06 10.53288/0405.1.41 451 461 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Warscaping 1 A01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Kali Rubaii 42 03 06 10.53288/0405.1.42 463 471 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000153565003 Eli Elinoff Eli Elinoff Senior Lecturer of Cultural Anthropology 40 0040r6f76 Victoria University of Wellington Eli Elinoff is a Senior Lecturer of Cultural Anthropology at Victoria University of Wellington. His research explores the intersection between politics, urbanization, and environmental transformation in Southeast Asia. His book, Citizen Designs: City-Making and Democracy in Northeastern Thailand, was published by the University of Hawai‘i Press in 2021. 2 B01 21 0000000330168544 Kali Rubaii Kali Rubaii assistant professor of anthropology 40 05p8z3f47 Purdue University System Kali Rubaii is an assistant professor of anthropology at Purdue University. Her research explores the environmental and health impacts of militarism in Iraq, and along the supply chain of war. 01 eng 20 00 Open Access Eli Elinoff & Kali Rubaii 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-social-properties-of-concrete/ 16 40 0040r6f76 32 10.13039/501100001538 Victoria University of Wellington 01 programname Research Trust Earth, Milky Way 04 01 20250509 Eli Elinoff and Kali Rubaii 02 WORLD 06 15 9781685712488 03 9781685712488 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1111/1467-9655.12912 34 06 10.1146/annurev-anthro-041422-031946 34 06 10.1111/1468-2427.12155 34 06 10.5194/essd-11-1675-2019 34 06 10.1177/0090591703260853 34 06 10.15173/glj.v10i1.3406 34 06 10.1002/ad.2077 34 06 10.1080/13604813.2015.1014712 34 06 10.1080/13604813.2017.1374775 34 06 10.1177/0096144214533082 34 06 10.14288/acme.v16i4.1539 34 06 10.1215/01636545-1416196 34 06 10.1080/02773945.2020.1714704 34 06 10.1038/s41586-020-3010-5 34 06 10.1080/13604813.2017.1374778 34 06 10.1080/13604813.2017.1374777 34 06 10.26034/roadsides-202401102 34 06 10.1080/13621025.2017.1279795 34 06 10.1111/AN.1041 34 06 10.1179/tns.1961.003 34 06 10.1080/13534645.2015.1058885 34 06 10.3167/sa.2010.540203 34 06 10.1177/1463499618812324 34 06 10.1093/cje/bep042 34 06 10.1111/gec3.12560 34 06 10.1111/1468-2427.12951 34 06 10.1177/23996544211003097 34 06 10.1080/24694452.2018.1541401 34 06 10.26034/roadsides-202401105 34 06 10.3167/sa.2020.640102 34 06 10.1525/ciso.1997.9.1.53 34 06 10.3828/idpr.2019.7 34 06 10.1016/j.polgeo.2019.102089 34 06 10.1111/anti.12898 34 06 10.1080/24694452.2021.1914539 34 06 10.1080/13604813.2017.1375725 34 06 10.14506/ca36.2.01 34 06 10.1177/09562478231214140 34 06 10.1017/S0020743822000435 34 06 10.1179/tns.1962.008 34 06 10.1080/08949468.2015.973326 34 06 10.1080/00141844.2019.1696864 34 06 10.1080/00472336.2013.842260 34 06 10.1080/00472336.2022.2051062 34 06 10.1080/13534645.2015.1058885 34 06 10.1111/j.1467-9493.1987.tb00190.x 34 06 10.5509/2015883623 34 06 10.1111/j.1475-4959.2007.00255.x 34 06 10.1080/09505431.2015.1081502 34 06 10.20495/tak.39.2_157 34 06 10.1080/00045608.2011.560064 34 06 10.1017/trn.2017.19 34 06 10.2113/gseegeosci.7.1.104 34 06 10.1111/1467-9655.12912 34 06 10.1177/2455747116678739 34 06 10.1177/0042098019851949 34 06 10.3167/cja.2020.380209 34 06 10.1080/13621025.2017.1279795 34 06 10.1111/1468-2427.12854 34 06 10.1111/1745-5871.12056 34 06 10.4227/11/504818F1CB536 34 06 10.2307/779006 34 06 10.3167/sa.2010.540203 34 06 10.1080/13604813.2017.1374778 34 06 10.1177/1466138105055663 34 06 10.1111/amet.12422 34 06 10.1146/annurev-anthro-102215-100224 34 06 10.1016/S0925-8574(98)00089-5 34 06 10.1111/amet.12080 34 06 10.3316/informit.019763914941268 34 06 10.1111/j.1467-8322.2012.00884.x 34 06 10.1111/1468-2427.12119 34 06 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https://library.oapen.org/bitstream/handle/20.500.12657/101486/0405.1.00.pdf?sequence=1&isAllowed=y 20 08 20250509 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/880 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/9aae66b0-9037-427c-a68c-8f6194163904/download 20 08 20250509 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/54625e6f-ac14-4a63-8941-7e63dad14670 29 INTERNET_ARCHIVE: download the title https://archive.org/download/54625e6f-ac14-4a63-8941-7e63dad14670/54625e6f-ac14-4a63-8941-7e63dad14670.pdf 20 08 20250509 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851091 29 ZENODO: download the title https://zenodo.org/records/19851091/files/54625e6f-ac14-4a63-8941-7e63dad14670_book.pdf 20 08 20250509 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-social-properties-of-concrete/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0405.1.00.pdf 20 08 20250509 01 urn:uuid:5a8d4ec0-68be-4ed2-a23e-f9a5e7a17588 03 01 01 thoth-work-id urn:uuid:e6962291-bc96-4f3f-906e-0e1e1e317f58 01 thoth-publication-id urn:uuid:5a8d4ec0-68be-4ed2-a23e-f9a5e7a17588 15 9780692346563 03 9780692346563 06 10.21983/P3.0085.1.00 01 internal-reference 0085 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The South Station Hoard Imagining, Creating and Empowering Violent Remains 1 B01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 00 172 03 93 AGC 12 AGK 10 ART006010 B2 Art+Aesthetics B2 Cultural Studies+Critical Theory B2 Premodern 20 futurist archeology; hoards; gender studies; cultural theory; tween culture 01 06 02 00 03 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. The collaborators constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, this artbook, or work of futurist archaeology, addresses contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 30 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. The collaborators constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, this artbook, or work of futurist archaeology, addresses contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0085.1.00_frontcover.png 1 03 06 10.21983/P3.0085.1.01 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 20 00 Open Access Bradbury, Carlee A 2 03 06 10.21983/P3.0085.1.02 9 17 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Hoards Project Introduction 1 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. We constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, we address contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 30 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. We constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, we address contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 20 00 Open Access Bradbury, Carlee A. 3 03 06 10.21983/P3.0085.1.03 19 41 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Visual Prologue 1 A01 Karie Edwards Karie Edwards 01 eng 20 00 Open Access Edwards, Karie 4 03 06 10.21983/P3.0085.1.04 43 53 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fictional Narratives, Archeologist's Notes, Primary Sources Found in the Future 1 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 Big day! N’s team has been working at the old South Station site for months. The citywide destruction from the summer 2012 reactor blast at MIT has been mostly excavated but we’ve just now reached the lower levels of the station. So much work has continuously yielded nothing, but not today!!Bank of lockers found in a sealed off bathroom on one of the lower concourses. Just now looking at the pictures N just e-mailed .... He called earlier, breathless “You won’t believe it! Phones, jewelry, luxe objects from circa 2000! All mint, just dusty from all the debris! Book your ticket NOW!” I’m set to fly to Boston tomorrow but I can’t stop studying the preliminary images from the site – it’s a locker filled with glittering objects. Never seen so many shades of pink, all twinkling despite the dust. One by one the objects emerge from the locker – looks like at least a couple of communication devices, hard to make out the rest, looks like lots of beads and perhaps some dolls? Can’t tell, need to get my hands on this stuff. Will have to miss J’s birthday party tomorrow, but this should be worth it! 30 00 Big day! N’s team has been working at the old South Station site for months. The citywide destruction from the summer 2012 reactor blast at MIT has been mostly excavated but we’ve just now reached the lower levels of the station. So much work has continuously yielded nothing, but not today!!Bank of lockers found in a sealed off bathroom on one of the lower concourses. Just now looking at the pictures N just e-mailed .... He called earlier, breathless “You won’t believe it! Phones, jewelry, luxe objects from circa 2000! All mint, just dusty from all the debris! Book your ticket NOW!” I’m set to fly to Boston tomorrow but I can’t stop studying the preliminary images from the site – it’s a locker filled with glittering objects. Never seen so many shades of pink, all twinkling despite the dust. One by one the objects emerge from the locker – looks like at least a couple of communication devices, hard to make out the rest, looks like lots of beads and perhaps some dolls? Can’t tell, need to get my hands on this stuff. Will have to miss J’s birthday party tomorrow, but this should be worth it! 20 00 Open Access Bradbury, Carlee A. 5 03 06 10.21983/P3.0085.1.05 55 85 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Warrior Heroes or Warrior Bullies? 1 A01 Debra Lustig Debra Lustig 40 04647g470 Radford University 2 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 Ritual consistency of conflict during the early Middle Ages forced young men to conform to an image of heroism based almost entirely on deeds performed in battle. In this chapter, we will broadly outline and discuss key, and often conflicting, elements of the medieval warrior hero’s identity and the visual culture it required and inspired. Our primary role model is Beowulf. This will lead to a discussion of key pieces from the Staffordshire Hoard and how they (and their mutilations) make these ideas of warriorness manifest. Ultimately, we see the warrior hero as a potential monster figure, just as a young girl can devolve into a bully in our own contemporary culture. Physical violence often defined manhood for early medieval warriors who sought to assert themselves by defeating powerful foes, elevating themselves as leaders, and acquiring resources to gain prestige. Opportunities for self-aggrandizement in battle proved powerful tools for increasing social status. But as the political atmosphere of the period changed and small, local chiefdoms consolidated into larger, regional seats of power, the nature of war changed as well, demanding new skills from warriors across the board, changing the definition of manhood. 30 00 Ritual consistency of conflict during the early Middle Ages forced young men to conform to an image of heroism based almost entirely on deeds performed in battle. In this chapter, we will broadly outline and discuss key, and often conflicting, elements of the medieval warrior hero’s identity and the visual culture it required and inspired. Our primary role model is Beowulf. This will lead to a discussion of key pieces from the Staffordshire Hoard and how they (and their mutilations) make these ideas of warriorness manifest. Ultimately, we see the warrior hero as a potential monster figure, just as a young girl can devolve into a bully in our own contemporary culture. Physical violence often defined manhood for early medieval warriors who sought to assert themselves by defeating powerful foes, elevating themselves as leaders, and acquiring resources to gain prestige. Opportunities for self-aggrandizement in battle proved powerful tools for increasing social status. But as the political atmosphere of the period changed and small, local chiefdoms consolidated into larger, regional seats of power, the nature of war changed as well, demanding new skills from warriors across the board, changing the definition of manhood. 20 00 Open Access Lustig, Debra Bradbury, Carlee A. 6 03 06 10.21983/P3.0085.1.06 87 95 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Making South Station Processes for Visualization and Construction 1 A01 Karie Edwards Karie Edwards 01 eng 03 00 Photography encompasses much more than just a click of the shutter. It involves physical work constructing, collecting, scrounging, and staging items. Though my medium is photography, process is my passion. All of my art includes periods of conception, collection, and creation. For me, conception is a mental construction of what the work will be aesthetically, emotionally, and physically. The collecting aspect is where I derive the most pleasure. During the hunt for specific elements of the work, I constantly adapt or change my concept to work with the objects I am finding. When I finally find those prefect items, it is a feeling of puzzle pieces falling into place. I gather objects that become my treasures and the visualized piece of work begins to come to life. Putting all my pieces together and creating my vision is the most exciting aspect. This is complete satisfaction and enjoyment—literally, making what I find work in the art I am making. My role in this project was to visualize and construct a subterranean archaeological site. I compiled a hoard of objects that tween girls would want to own, to covet and to steal. The items needed to be a variety of objects that held religious meaning, were shinny and “blingy,” evoke a feeling of power and value, and most importantly show social status. I also included items that emphasized theinternal struggle tweens experience during adolescence,giving up the childish items and progress to becoming young women. 30 00 Photography encompasses much more than just a click of the shutter. It involves physical work constructing, collecting, scrounging, and staging items. Though my medium is photography, process is my passion. All of my art includes periods of conception, collection, and creation. For me, conception is a mental construction of what the work will be aesthetically, emotionally, and physically. The collecting aspect is where I derive the most pleasure. During the hunt for specific elements of the work, I constantly adapt or change my concept to work with the objects I am finding. When I finally find those prefect items, it is a feeling of puzzle pieces falling into place. I gather objects that become my treasures and the visualized piece of work begins to come to life. Putting all my pieces together and creating my vision is the most exciting aspect. This is complete satisfaction and enjoyment—literally, making what I find work in the art I am making. My role in this project was to visualize and construct a subterranean archaeological site. I compiled a hoard of objects that tween girls would want to own, to covet and to steal. The items needed to be a variety of objects that held religious meaning, were shinny and “blingy,” evoke a feeling of power and value, and most importantly show social status. I also included items that emphasized theinternal struggle tweens experience during adolescence,giving up the childish items and progress to becoming young women. 20 00 Open Access Edwards, Karie 7 03 06 10.21983/P3.0085.1.07 97 105 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Opening the Locker Constructing the Design Identity 1 A01 Katie Sickman Katie Sickman 01 eng 03 00 Graphic design is a powerful yet often overlooked medium to enhance, strengthen, and amplify communication. Given the varied and unique content of this book, I knew my part would be a tricky but vitally important component. When I was brought in on this project it was well beyond the conceptual stage and near full maturity and completion. As such my creative connection had to be created rather than naturally developed alongside the structural framework guiding the work. I read through the available material and listened to the project collaborators’ descriptions with attentive interest in order to gain a creative foothold. Slowly, the artistic and visual organization began to materialize.The first draft was, admittedly, somewhat plain and derived from a traditional outlook on book design and layout. Some of this was simply trying to arrange larger details—typefaces, leading, margins, etc.—before approaching the more intimate details for each chapter. Some of this was also an uncertainty of the collaborators’ expectations and already formed visions of the final product. The first draft was met with helpful critique and more insight into the aesthetic. Sometimes, when a client is unable to express their envisioned visual outcome, it helps to show them what they don’t want so as to reveal what they do want. Armed with new creative direction I continued development. 30 00 Graphic design is a powerful yet often overlooked medium to enhance, strengthen, and amplify communication. Given the varied and unique content of this book, I knew my part would be a tricky but vitally important component. When I was brought in on this project it was well beyond the conceptual stage and near full maturity and completion. As such my creative connection had to be created rather than naturally developed alongside the structural framework guiding the work. I read through the available material and listened to the project collaborators’ descriptions with attentive interest in order to gain a creative foothold. Slowly, the artistic and visual organization began to materialize.The first draft was, admittedly, somewhat plain and derived from a traditional outlook on book design and layout. Some of this was simply trying to arrange larger details—typefaces, leading, margins, etc.—before approaching the more intimate details for each chapter. Some of this was also an uncertainty of the collaborators’ expectations and already formed visions of the final product. The first draft was met with helpful critique and more insight into the aesthetic. Sometimes, when a client is unable to express their envisioned visual outcome, it helps to show them what they don’t want so as to reveal what they do want. Armed with new creative direction I continued development. 20 00 Open Access Sickman, Katie 8 03 06 10.21983/P3.0085.1.08 107 143 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Gendering the Hoard The Visual Culture of Tween Girls 1 A01 Courtney L. Weida Courtney L. Weida 40 025n13r50 Adelphi University 01 eng 03 00 Art and art education projects can be cross disciplinary, experimental, and provocative. In teaching and researching within the field of art education, my collaborations with art historians and studio artists enrich my sense of documentation and analysis of visual cultures. For this reason, I was intrigued when my colleague mentioned her exciting project idea inspired by the Staffordshire Hoard, a magnificent collection of gold jewelry and weapons discovered in the summer of 2009. Leahy and Bland note the Staffordshire Hoard collection was conspicuously missing “feminine objects, such as dress fitting, pendants, and broaches.”1 This lack of female visual culture in the treasury puzzled and inspired us. My colleague (an art historian) was not simply studying the historic hoard, but imagining and creating female tween treasures with a photographer in order to juxtapose contemporary girlhood culture with that of medieval warriors. Working together, we hoped to theorize hoards and hoarding of young women productively through our varied artistic lenses 30 00 Art and art education projects can be cross disciplinary, experimental, and provocative. In teaching and researching within the field of art education, my collaborations with art historians and studio artists enrich my sense of documentation and analysis of visual cultures. For this reason, I was intrigued when my colleague mentioned her exciting project idea inspired by the Staffordshire Hoard, a magnificent collection of gold jewelry and weapons discovered in the summer of 2009. Leahy and Bland note the Staffordshire Hoard collection was conspicuously missing “feminine objects, such as dress fitting, pendants, and broaches.”1 This lack of female visual culture in the treasury puzzled and inspired us. My colleague (an art historian) was not simply studying the historic hoard, but imagining and creating female tween treasures with a photographer in order to juxtapose contemporary girlhood culture with that of medieval warriors. Working together, we hoped to theorize hoards and hoarding of young women productively through our varied artistic lenses 20 00 Open Access Weida, Courtney L. 9 03 06 10.21983/P3.0085.1.09 145 148 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Closing the Book, Leaving the Locker Open 1 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 In creating and studying the South Station Hoard, we set out to examine perceptions and memories of the frequently violent act of treasure taking. Comparing tween girls and their nuanced tactics of surveillance and bullying to those same skills of medieval warriors allowed us to create an intimate circular relationship between precious objects and both their owners and their takers. This relationship is important but so were our own processes of research, object interrogation, visualization and writing. Ultimately, while studying the past and speculating about the future, we found our own voices. Scholarly. Creative. Brave. 30 00 In creating and studying the South Station Hoard, we set out to examine perceptions and memories of the frequently violent act of treasure taking. Comparing tween girls and their nuanced tactics of surveillance and bullying to those same skills of medieval warriors allowed us to create an intimate circular relationship between precious objects and both their owners and their takers. This relationship is important but so were our own processes of research, object interrogation, visualization and writing. Ultimately, while studying the past and speculating about the future, we found our own voices. Scholarly. Creative. Brave. 20 00 Open Access Bradbury, Carlee A. 10 03 06 10.21983/P3.0085.1.10 151 159 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Appendix 1 Lesson Plan 1 A01 Courtney L. Weida Courtney L. Weida 40 025n13r50 Adelphi University 01 eng 03 00 Before I started elementary school, I remember being obsessed with the idea of treasure. I loved tales of pirates and jewels, and relished movies including secret compartments and magical amulets. An older sibling bought me beloved kitschy treasure chests from pet store aquarium sections. I also used to dig in the backyard, scour the basement, and sift through my mother’s jewelry in hopes to find some ancient, forgotten, secret objects. Treasure, with its preciousness and stories are interesting to children with good reason. The acts of discovering, discussing, defining, and creating treasure are inherently and usefully artistic, for we must decide what qualities of color, shape, luster, history, myth and meaning might render an object to become treasured. 30 00 Before I started elementary school, I remember being obsessed with the idea of treasure. I loved tales of pirates and jewels, and relished movies including secret compartments and magical amulets. An older sibling bought me beloved kitschy treasure chests from pet store aquarium sections. I also used to dig in the backyard, scour the basement, and sift through my mother’s jewelry in hopes to find some ancient, forgotten, secret objects. Treasure, with its preciousness and stories are interesting to children with good reason. The acts of discovering, discussing, defining, and creating treasure are inherently and usefully artistic, for we must decide what qualities of color, shape, luster, history, myth and meaning might render an object to become treasured. 20 00 Open Access Weida, Courtney L. 11 03 06 10.21983/P3.0085.1.11 161 171 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 20 00 Open Access Bradbury, Carlee A 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-south-station-hoard/ Brooklyn, NY 04 01 20141227 Bradbury, Carlee A. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692346562 20 08 20141227 02 38.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-south-station-hoard-imagining-creating-and-empowering-violent-remains 20 08 20141227 02 38.00 USD WORLD urn:uuid:fbf87194-d26b-4e21-a1f6-2b3c8980e25a 03 01 01 thoth-work-id urn:uuid:e6962291-bc96-4f3f-906e-0e1e1e317f58 01 thoth-publication-id urn:uuid:fbf87194-d26b-4e21-a1f6-2b3c8980e25a 06 10.21983/P3.0085.1.00 01 internal-reference 0085 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The South Station Hoard Imagining, Creating and Empowering Violent Remains 1 B01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 00 172 03 93 AGC 12 AGK 10 ART006010 B2 Art+Aesthetics B2 Cultural Studies+Critical Theory B2 Premodern 20 futurist archeology; hoards; gender studies; cultural theory; tween culture 01 06 02 00 03 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. The collaborators constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, this artbook, or work of futurist archaeology, addresses contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 30 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. The collaborators constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, this artbook, or work of futurist archaeology, addresses contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0085.1.00_frontcover.png 1 03 06 10.21983/P3.0085.1.01 1 8 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 20 00 Open Access Bradbury, Carlee A 2 03 06 10.21983/P3.0085.1.02 9 17 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 On Hoards Project Introduction 1 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. We constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, we address contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 30 00 This collaborative arts research project compares the landmark discovery of the Staffordshire Hoard, the largest hoard of Anglo-Saxon gold and silver metalwork discovered in 2009, with an imagined hoard from present day pre-adolescent girls. We constructed a subterranean installation, generated speculative historical documents, collected and embellished social networking “artifacts,” and photographed the entire process. In addition to dealing with the notion of a medieval hoard as a signifier of a medieval warrior as both hero and anti-hero, we address contemporary issues relating to gender, youth culture, bullying, adolescent development, iconicity, status symbols, and additional contemporary tween issues. 20 00 Open Access Bradbury, Carlee A. 3 03 06 10.21983/P3.0085.1.03 19 41 23 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Visual Prologue 1 A01 Karie Edwards Karie Edwards 01 eng 20 00 Open Access Edwards, Karie 4 03 06 10.21983/P3.0085.1.04 43 53 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Fictional Narratives, Archeologist's Notes, Primary Sources Found in the Future 1 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 Big day! N’s team has been working at the old South Station site for months. The citywide destruction from the summer 2012 reactor blast at MIT has been mostly excavated but we’ve just now reached the lower levels of the station. So much work has continuously yielded nothing, but not today!!Bank of lockers found in a sealed off bathroom on one of the lower concourses. Just now looking at the pictures N just e-mailed .... He called earlier, breathless “You won’t believe it! Phones, jewelry, luxe objects from circa 2000! All mint, just dusty from all the debris! Book your ticket NOW!” I’m set to fly to Boston tomorrow but I can’t stop studying the preliminary images from the site – it’s a locker filled with glittering objects. Never seen so many shades of pink, all twinkling despite the dust. One by one the objects emerge from the locker – looks like at least a couple of communication devices, hard to make out the rest, looks like lots of beads and perhaps some dolls? Can’t tell, need to get my hands on this stuff. Will have to miss J’s birthday party tomorrow, but this should be worth it! 30 00 Big day! N’s team has been working at the old South Station site for months. The citywide destruction from the summer 2012 reactor blast at MIT has been mostly excavated but we’ve just now reached the lower levels of the station. So much work has continuously yielded nothing, but not today!!Bank of lockers found in a sealed off bathroom on one of the lower concourses. Just now looking at the pictures N just e-mailed .... He called earlier, breathless “You won’t believe it! Phones, jewelry, luxe objects from circa 2000! All mint, just dusty from all the debris! Book your ticket NOW!” I’m set to fly to Boston tomorrow but I can’t stop studying the preliminary images from the site – it’s a locker filled with glittering objects. Never seen so many shades of pink, all twinkling despite the dust. One by one the objects emerge from the locker – looks like at least a couple of communication devices, hard to make out the rest, looks like lots of beads and perhaps some dolls? Can’t tell, need to get my hands on this stuff. Will have to miss J’s birthday party tomorrow, but this should be worth it! 20 00 Open Access Bradbury, Carlee A. 5 03 06 10.21983/P3.0085.1.05 55 85 31 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Warrior Heroes or Warrior Bullies? 1 A01 Debra Lustig Debra Lustig 40 04647g470 Radford University 2 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 Ritual consistency of conflict during the early Middle Ages forced young men to conform to an image of heroism based almost entirely on deeds performed in battle. In this chapter, we will broadly outline and discuss key, and often conflicting, elements of the medieval warrior hero’s identity and the visual culture it required and inspired. Our primary role model is Beowulf. This will lead to a discussion of key pieces from the Staffordshire Hoard and how they (and their mutilations) make these ideas of warriorness manifest. Ultimately, we see the warrior hero as a potential monster figure, just as a young girl can devolve into a bully in our own contemporary culture. Physical violence often defined manhood for early medieval warriors who sought to assert themselves by defeating powerful foes, elevating themselves as leaders, and acquiring resources to gain prestige. Opportunities for self-aggrandizement in battle proved powerful tools for increasing social status. But as the political atmosphere of the period changed and small, local chiefdoms consolidated into larger, regional seats of power, the nature of war changed as well, demanding new skills from warriors across the board, changing the definition of manhood. 30 00 Ritual consistency of conflict during the early Middle Ages forced young men to conform to an image of heroism based almost entirely on deeds performed in battle. In this chapter, we will broadly outline and discuss key, and often conflicting, elements of the medieval warrior hero’s identity and the visual culture it required and inspired. Our primary role model is Beowulf. This will lead to a discussion of key pieces from the Staffordshire Hoard and how they (and their mutilations) make these ideas of warriorness manifest. Ultimately, we see the warrior hero as a potential monster figure, just as a young girl can devolve into a bully in our own contemporary culture. Physical violence often defined manhood for early medieval warriors who sought to assert themselves by defeating powerful foes, elevating themselves as leaders, and acquiring resources to gain prestige. Opportunities for self-aggrandizement in battle proved powerful tools for increasing social status. But as the political atmosphere of the period changed and small, local chiefdoms consolidated into larger, regional seats of power, the nature of war changed as well, demanding new skills from warriors across the board, changing the definition of manhood. 20 00 Open Access Lustig, Debra Bradbury, Carlee A. 6 03 06 10.21983/P3.0085.1.06 87 95 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Making South Station Processes for Visualization and Construction 1 A01 Karie Edwards Karie Edwards 01 eng 03 00 Photography encompasses much more than just a click of the shutter. It involves physical work constructing, collecting, scrounging, and staging items. Though my medium is photography, process is my passion. All of my art includes periods of conception, collection, and creation. For me, conception is a mental construction of what the work will be aesthetically, emotionally, and physically. The collecting aspect is where I derive the most pleasure. During the hunt for specific elements of the work, I constantly adapt or change my concept to work with the objects I am finding. When I finally find those prefect items, it is a feeling of puzzle pieces falling into place. I gather objects that become my treasures and the visualized piece of work begins to come to life. Putting all my pieces together and creating my vision is the most exciting aspect. This is complete satisfaction and enjoyment—literally, making what I find work in the art I am making. My role in this project was to visualize and construct a subterranean archaeological site. I compiled a hoard of objects that tween girls would want to own, to covet and to steal. The items needed to be a variety of objects that held religious meaning, were shinny and “blingy,” evoke a feeling of power and value, and most importantly show social status. I also included items that emphasized theinternal struggle tweens experience during adolescence,giving up the childish items and progress to becoming young women. 30 00 Photography encompasses much more than just a click of the shutter. It involves physical work constructing, collecting, scrounging, and staging items. Though my medium is photography, process is my passion. All of my art includes periods of conception, collection, and creation. For me, conception is a mental construction of what the work will be aesthetically, emotionally, and physically. The collecting aspect is where I derive the most pleasure. During the hunt for specific elements of the work, I constantly adapt or change my concept to work with the objects I am finding. When I finally find those prefect items, it is a feeling of puzzle pieces falling into place. I gather objects that become my treasures and the visualized piece of work begins to come to life. Putting all my pieces together and creating my vision is the most exciting aspect. This is complete satisfaction and enjoyment—literally, making what I find work in the art I am making. My role in this project was to visualize and construct a subterranean archaeological site. I compiled a hoard of objects that tween girls would want to own, to covet and to steal. The items needed to be a variety of objects that held religious meaning, were shinny and “blingy,” evoke a feeling of power and value, and most importantly show social status. I also included items that emphasized theinternal struggle tweens experience during adolescence,giving up the childish items and progress to becoming young women. 20 00 Open Access Edwards, Karie 7 03 06 10.21983/P3.0085.1.07 97 105 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Opening the Locker Constructing the Design Identity 1 A01 Katie Sickman Katie Sickman 01 eng 03 00 Graphic design is a powerful yet often overlooked medium to enhance, strengthen, and amplify communication. Given the varied and unique content of this book, I knew my part would be a tricky but vitally important component. When I was brought in on this project it was well beyond the conceptual stage and near full maturity and completion. As such my creative connection had to be created rather than naturally developed alongside the structural framework guiding the work. I read through the available material and listened to the project collaborators’ descriptions with attentive interest in order to gain a creative foothold. Slowly, the artistic and visual organization began to materialize.The first draft was, admittedly, somewhat plain and derived from a traditional outlook on book design and layout. Some of this was simply trying to arrange larger details—typefaces, leading, margins, etc.—before approaching the more intimate details for each chapter. Some of this was also an uncertainty of the collaborators’ expectations and already formed visions of the final product. The first draft was met with helpful critique and more insight into the aesthetic. Sometimes, when a client is unable to express their envisioned visual outcome, it helps to show them what they don’t want so as to reveal what they do want. Armed with new creative direction I continued development. 30 00 Graphic design is a powerful yet often overlooked medium to enhance, strengthen, and amplify communication. Given the varied and unique content of this book, I knew my part would be a tricky but vitally important component. When I was brought in on this project it was well beyond the conceptual stage and near full maturity and completion. As such my creative connection had to be created rather than naturally developed alongside the structural framework guiding the work. I read through the available material and listened to the project collaborators’ descriptions with attentive interest in order to gain a creative foothold. Slowly, the artistic and visual organization began to materialize.The first draft was, admittedly, somewhat plain and derived from a traditional outlook on book design and layout. Some of this was simply trying to arrange larger details—typefaces, leading, margins, etc.—before approaching the more intimate details for each chapter. Some of this was also an uncertainty of the collaborators’ expectations and already formed visions of the final product. The first draft was met with helpful critique and more insight into the aesthetic. Sometimes, when a client is unable to express their envisioned visual outcome, it helps to show them what they don’t want so as to reveal what they do want. Armed with new creative direction I continued development. 20 00 Open Access Sickman, Katie 8 03 06 10.21983/P3.0085.1.08 107 143 37 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Gendering the Hoard The Visual Culture of Tween Girls 1 A01 Courtney L. Weida Courtney L. Weida 40 025n13r50 Adelphi University 01 eng 03 00 Art and art education projects can be cross disciplinary, experimental, and provocative. In teaching and researching within the field of art education, my collaborations with art historians and studio artists enrich my sense of documentation and analysis of visual cultures. For this reason, I was intrigued when my colleague mentioned her exciting project idea inspired by the Staffordshire Hoard, a magnificent collection of gold jewelry and weapons discovered in the summer of 2009. Leahy and Bland note the Staffordshire Hoard collection was conspicuously missing “feminine objects, such as dress fitting, pendants, and broaches.”1 This lack of female visual culture in the treasury puzzled and inspired us. My colleague (an art historian) was not simply studying the historic hoard, but imagining and creating female tween treasures with a photographer in order to juxtapose contemporary girlhood culture with that of medieval warriors. Working together, we hoped to theorize hoards and hoarding of young women productively through our varied artistic lenses 30 00 Art and art education projects can be cross disciplinary, experimental, and provocative. In teaching and researching within the field of art education, my collaborations with art historians and studio artists enrich my sense of documentation and analysis of visual cultures. For this reason, I was intrigued when my colleague mentioned her exciting project idea inspired by the Staffordshire Hoard, a magnificent collection of gold jewelry and weapons discovered in the summer of 2009. Leahy and Bland note the Staffordshire Hoard collection was conspicuously missing “feminine objects, such as dress fitting, pendants, and broaches.”1 This lack of female visual culture in the treasury puzzled and inspired us. My colleague (an art historian) was not simply studying the historic hoard, but imagining and creating female tween treasures with a photographer in order to juxtapose contemporary girlhood culture with that of medieval warriors. Working together, we hoped to theorize hoards and hoarding of young women productively through our varied artistic lenses 20 00 Open Access Weida, Courtney L. 9 03 06 10.21983/P3.0085.1.09 145 148 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Closing the Book, Leaving the Locker Open 1 A01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 03 00 In creating and studying the South Station Hoard, we set out to examine perceptions and memories of the frequently violent act of treasure taking. Comparing tween girls and their nuanced tactics of surveillance and bullying to those same skills of medieval warriors allowed us to create an intimate circular relationship between precious objects and both their owners and their takers. This relationship is important but so were our own processes of research, object interrogation, visualization and writing. Ultimately, while studying the past and speculating about the future, we found our own voices. Scholarly. Creative. Brave. 30 00 In creating and studying the South Station Hoard, we set out to examine perceptions and memories of the frequently violent act of treasure taking. Comparing tween girls and their nuanced tactics of surveillance and bullying to those same skills of medieval warriors allowed us to create an intimate circular relationship between precious objects and both their owners and their takers. This relationship is important but so were our own processes of research, object interrogation, visualization and writing. Ultimately, while studying the past and speculating about the future, we found our own voices. Scholarly. Creative. Brave. 20 00 Open Access Bradbury, Carlee A. 10 03 06 10.21983/P3.0085.1.10 151 159 9 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Appendix 1 Lesson Plan 1 A01 Courtney L. Weida Courtney L. Weida 40 025n13r50 Adelphi University 01 eng 03 00 Before I started elementary school, I remember being obsessed with the idea of treasure. I loved tales of pirates and jewels, and relished movies including secret compartments and magical amulets. An older sibling bought me beloved kitschy treasure chests from pet store aquarium sections. I also used to dig in the backyard, scour the basement, and sift through my mother’s jewelry in hopes to find some ancient, forgotten, secret objects. Treasure, with its preciousness and stories are interesting to children with good reason. The acts of discovering, discussing, defining, and creating treasure are inherently and usefully artistic, for we must decide what qualities of color, shape, luster, history, myth and meaning might render an object to become treasured. 30 00 Before I started elementary school, I remember being obsessed with the idea of treasure. I loved tales of pirates and jewels, and relished movies including secret compartments and magical amulets. An older sibling bought me beloved kitschy treasure chests from pet store aquarium sections. I also used to dig in the backyard, scour the basement, and sift through my mother’s jewelry in hopes to find some ancient, forgotten, secret objects. Treasure, with its preciousness and stories are interesting to children with good reason. The acts of discovering, discussing, defining, and creating treasure are inherently and usefully artistic, for we must decide what qualities of color, shape, luster, history, myth and meaning might render an object to become treasured. 20 00 Open Access Weida, Courtney L. 11 03 06 10.21983/P3.0085.1.11 161 171 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Carlee A. Bradbury Carlee A. Bradbury 40 04647g470 Radford University 01 eng 20 00 Open Access Bradbury, Carlee A 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-south-station-hoard/ Brooklyn, NY 04 01 20141227 Bradbury, Carlee A. 02 WORLD 06 15 9780692346563 03 9780692346563 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76477 20 08 20141227 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25536 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25536/1004559.pdf?sequence=1&isAllowed=y 20 08 20141227 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30032 20 08 20141227 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353843 20 08 20141227 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/469 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/969dee80-10f8-4171-9f19-58281f06c965/download 20 08 20141227 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_South_Station_Hoard/gAWVEAAAQBAJ 20 08 20141227 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e6962291-bc96-4f3f-906e-0e1e1e317f58 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e6962291-bc96-4f3f-906e-0e1e1e317f58/e6962291-bc96-4f3f-906e-0e1e1e317f58.pdf 20 08 20141227 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846118 29 ZENODO: download the title https://zenodo.org/records/19846118/files/e6962291-bc96-4f3f-906e-0e1e1e317f58_book.pdf 20 08 20141227 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-south-station-hoard/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0085.1.00.pdf 20 08 20141227 01 urn:uuid:b0a90a2a-1361-4496-bbf0-a7af5e17e970 03 01 01 thoth-work-id urn:uuid:5a1cd53e-640b-46e7-82a6-d95bc4907e36 01 thoth-publication-id urn:uuid:b0a90a2a-1361-4496-bbf0-a7af5e17e970 15 9780988234055 03 9780988234055 06 10.21983/P3.0347.1.00 01 internal-reference 0347 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 The Spectacle of the False Flag Parapolitics from JFK to Watergate 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University 2 A23 Guido Giacomo Preparata Guido Giacomo Preparata 40 00cvxb145 University of Washington 3 A15 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 348 03 B2 Cultural Studies+Critical Theory 12 JKV 93 JKV 10 SOC004000 93 JPZ B2 New Left Thought 20 criminology; US politics; conspiracy; social theory 01 06 02 00 03 00 Eric Wilson’s work poses crucial challenges to social theory, unsettling our understanding of the nature of the liberal democratic state. In The Spectacle of the False Flag, he urges the reader to examine the, often unconsidered, deep state practices that confound conventional notions of the state as monolithic or uniform. This compelling volume traces deep state conflicts and convergences through central cases in the development of American political economic power — JFK/Dallas, LBJ/Gulf of Tonkin, and Nixon/Watergate.Rigorously documented and unflinchingly analyzed, “The Spectacle of the False Flag” provides a stunning example of a new criminological practice—one that takes the state seriously, making the inner workings of the state rather than its effects the primary object of study. Drawing upon a wealth of historical records and developing the theoretical insights of Guy Debord’s writings on spectacular society, Wilson offers a glimpse into a necessary criminology to come. 30 00 Eric Wilson’s work poses crucial challenges to social theory, unsettling our understanding of the nature of the liberal democratic state. In The Spectacle of the False Flag, he urges the reader to examine the, often unconsidered, deep state practices that confound conventional notions of the state as monolithic or uniform. This compelling volume traces deep state conflicts and convergences through central cases in the development of American political economic power — JFK/Dallas, LBJ/Gulf of Tonkin, and Nixon/Watergate.Rigorously documented and unflinchingly analyzed, “The Spectacle of the False Flag” provides a stunning example of a new criminological practice—one that takes the state seriously, making the inner workings of the state rather than its effects the primary object of study. Drawing upon a wealth of historical records and developing the theoretical insights of Guy Debord’s writings on spectacular society, Wilson offers a glimpse into a necessary criminology to come. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0347.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-spectacle-of-the-false-flag-parapolitics-from-jfk-to-watergate/ Brooklyn, NY 04 01 20140301 Wilson, Eric 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/098823405X 20 08 20140301 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-spectacle-of-the-false-flag-parapolitics-from-jfk-to-watergate 20 08 20140301 02 26.00 USD WORLD urn:uuid:d9424b9b-e0be-4858-8549-1daa1a282a92 03 01 01 thoth-work-id urn:uuid:5a1cd53e-640b-46e7-82a6-d95bc4907e36 01 thoth-publication-id urn:uuid:d9424b9b-e0be-4858-8549-1daa1a282a92 06 10.21983/P3.0347.1.00 01 internal-reference 0347 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 The Spectacle of the False Flag Parapolitics from JFK to Watergate 1 A01 Eric Wilson Eric Wilson 40 02bfwt286 Monash University 2 A23 Guido Giacomo Preparata Guido Giacomo Preparata 40 00cvxb145 University of Washington 3 A15 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 348 03 B2 Cultural Studies+Critical Theory 12 JKV 93 JKV 10 SOC004000 93 JPZ B2 New Left Thought 20 criminology; US politics; conspiracy; social theory 01 06 02 00 03 00 Eric Wilson’s work poses crucial challenges to social theory, unsettling our understanding of the nature of the liberal democratic state. In The Spectacle of the False Flag, he urges the reader to examine the, often unconsidered, deep state practices that confound conventional notions of the state as monolithic or uniform. This compelling volume traces deep state conflicts and convergences through central cases in the development of American political economic power — JFK/Dallas, LBJ/Gulf of Tonkin, and Nixon/Watergate.Rigorously documented and unflinchingly analyzed, “The Spectacle of the False Flag” provides a stunning example of a new criminological practice—one that takes the state seriously, making the inner workings of the state rather than its effects the primary object of study. Drawing upon a wealth of historical records and developing the theoretical insights of Guy Debord’s writings on spectacular society, Wilson offers a glimpse into a necessary criminology to come. 30 00 Eric Wilson’s work poses crucial challenges to social theory, unsettling our understanding of the nature of the liberal democratic state. In The Spectacle of the False Flag, he urges the reader to examine the, often unconsidered, deep state practices that confound conventional notions of the state as monolithic or uniform. This compelling volume traces deep state conflicts and convergences through central cases in the development of American political economic power — JFK/Dallas, LBJ/Gulf of Tonkin, and Nixon/Watergate.Rigorously documented and unflinchingly analyzed, “The Spectacle of the False Flag” provides a stunning example of a new criminological practice—one that takes the state seriously, making the inner workings of the state rather than its effects the primary object of study. Drawing upon a wealth of historical records and developing the theoretical insights of Guy Debord’s writings on spectacular society, Wilson offers a glimpse into a necessary criminology to come. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0347.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-spectacle-of-the-false-flag-parapolitics-from-jfk-to-watergate/ Brooklyn, NY 04 01 20140301 Wilson, Eric 02 WORLD 06 15 9780988234055 03 9780988234055 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41252 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41252/0347.1.00.pdf 20 08 20140301 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27634 20 08 20140301 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353980 20 08 20140301 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/446 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f9323d67-1648-4eb6-bb02-eecc048c11b2/download 20 08 20140301 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5a1cd53e-640b-46e7-82a6-d95bc4907e36 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5a1cd53e-640b-46e7-82a6-d95bc4907e36/5a1cd53e-640b-46e7-82a6-d95bc4907e36.pdf 20 08 20140301 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845939 29 ZENODO: download the title https://zenodo.org/records/19845939/files/5a1cd53e-640b-46e7-82a6-d95bc4907e36_book.pdf 20 08 20140301 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-spectacle-of-the-false-flag-parapolitics-from-jfk-to-watergate/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0347.1.00.pdf 20 08 20140301 01 urn:uuid:312082df-9f03-40c7-9dde-e0a2f50a8e4d 03 01 01 thoth-work-id urn:uuid:1628a7f6-38e8-443f-8849-acbb2268b4e8 01 thoth-publication-id urn:uuid:312082df-9f03-40c7-9dde-e0a2f50a8e4d 15 9781685710903 03 9781685710903 06 10.53288/0507.1.00 13 2023941409 01 internal-reference 0507 00 BC 10 01 191 mm 01 19.1 cm 01 7.5 in 02 121 mm 02 12.1 cm 02 4.75 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Tales 1 A01 Jessica Bozek Jessica Bozek 40 05qwgg493 Boston University Jessica Bozek is the author of The Tales and The Bodyfeel Lexicon, as well as several chapbooks, including How to See the Wind. She teaches classes on poetry, race, and activism through the arts at Boston University. She lives and runs in Cambridge, MA. 2 A24 Sina Queyras Sina Queyras 2 01 eng 00 92 03 B2 Fabulations 93 FLQ 10 POE005010 10 FIC028070 20 apocalypse; dystopia; disaster 01 06 02 00 03 00 Stitching together a post-apocalyptic history from the scraps of fairy tales, war memorials, hunting songs, and disparate scholarship, Jessica Bozek's The Tales traces the violence that humans inflict upon one another. As the central narrative of the Lone Survivor becomes revealed through the mouths of various perspectives, Bozek investigates the language that victims and perpetrators alike use to make sense of (and attempt to forget) the aftermath of violence. From ordinary objects—family photographs, sweaters that unravel, old batteries, and lightbulbs—to the remnants of destroyed art and architecture, an annihilated nation is brought into reality, and the Lone Survivor's story is simultaneously documented and invalidated, becoming "a memorial that will disintegrate over time, gray and fray as most of the dead did not have a chance to." 30 00 Stitching together a post-apocalyptic history from the scraps of fairy tales, war memorials, hunting songs, and disparate scholarship, Jessica Bozek's The Tales traces the violence that humans inflict upon one another. As the central narrative of the Lone Survivor becomes revealed through the mouths of various perspectives, Bozek investigates the language that victims and perpetrators alike use to make sense of (and attempt to forget) the aftermath of violence. From ordinary objects—family photographs, sweaters that unravel, old batteries, and lightbulbs—to the remnants of destroyed art and architecture, an annihilated nation is brought into reality, and the Lone Survivor's story is simultaneously documented and invalidated, becoming "a memorial that will disintegrate over time, gray and fray as most of the dead did not have a chance to." 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0507.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-tales/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milke Way 04 01 20230720 Jessica Bozek 02 WORLD 06 15 9781685710910 03 9781685710910 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710905 20 08 20230720 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-tales 20 08 20230720 02 15.00 USD WORLD urn:uuid:338393f7-8349-420d-8818-671af66dc42c 03 01 01 thoth-work-id urn:uuid:1628a7f6-38e8-443f-8849-acbb2268b4e8 01 thoth-publication-id urn:uuid:338393f7-8349-420d-8818-671af66dc42c 15 9781685710910 03 9781685710910 06 10.53288/0507.1.00 13 2023941409 01 internal-reference 0507 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Tales 1 A01 Jessica Bozek Jessica Bozek 40 05qwgg493 Boston University Jessica Bozek is the author of The Tales and The Bodyfeel Lexicon, as well as several chapbooks, including How to See the Wind. She teaches classes on poetry, race, and activism through the arts at Boston University. She lives and runs in Cambridge, MA. 2 A24 Sina Queyras Sina Queyras 2 01 eng 00 92 03 B2 Fabulations 93 FLQ 10 POE005010 10 FIC028070 20 apocalypse; dystopia; disaster 01 06 02 00 03 00 Stitching together a post-apocalyptic history from the scraps of fairy tales, war memorials, hunting songs, and disparate scholarship, Jessica Bozek's The Tales traces the violence that humans inflict upon one another. As the central narrative of the Lone Survivor becomes revealed through the mouths of various perspectives, Bozek investigates the language that victims and perpetrators alike use to make sense of (and attempt to forget) the aftermath of violence. From ordinary objects—family photographs, sweaters that unravel, old batteries, and lightbulbs—to the remnants of destroyed art and architecture, an annihilated nation is brought into reality, and the Lone Survivor's story is simultaneously documented and invalidated, becoming "a memorial that will disintegrate over time, gray and fray as most of the dead did not have a chance to." 30 00 Stitching together a post-apocalyptic history from the scraps of fairy tales, war memorials, hunting songs, and disparate scholarship, Jessica Bozek's The Tales traces the violence that humans inflict upon one another. As the central narrative of the Lone Survivor becomes revealed through the mouths of various perspectives, Bozek investigates the language that victims and perpetrators alike use to make sense of (and attempt to forget) the aftermath of violence. From ordinary objects—family photographs, sweaters that unravel, old batteries, and lightbulbs—to the remnants of destroyed art and architecture, an annihilated nation is brought into reality, and the Lone Survivor's story is simultaneously documented and invalidated, becoming "a memorial that will disintegrate over time, gray and fray as most of the dead did not have a chance to." 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0507.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-tales/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milke Way 04 01 20230720 Jessica Bozek 02 WORLD 06 15 9781685710903 03 9781685710903 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/63993 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/63993/0507.1.00.pdf?sequence=1&isAllowed=y 20 08 20230720 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/112308 20 08 20230720 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.5938925 20 08 20230720 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/355 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/48bedbfb-23c3-41d7-9b71-67f833a211d8/download 20 08 20230720 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Tales/ECTREAAAQBAJ 20 08 20230720 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1628a7f6-38e8-443f-8849-acbb2268b4e8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1628a7f6-38e8-443f-8849-acbb2268b4e8/1628a7f6-38e8-443f-8849-acbb2268b4e8.pdf 20 08 20230720 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849940 29 ZENODO: download the title https://zenodo.org/records/19849940/files/1628a7f6-38e8-443f-8849-acbb2268b4e8_book.pdf 20 08 20230720 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-tales/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0507.1.00.pdf 20 08 20230720 01 urn:uuid:fc3fe260-bb95-40a2-a41c-b579547dffa7 03 01 01 thoth-work-id urn:uuid:5a78355d-4b21-40a3-a379-8fefe1ecff9f 01 thoth-publication-id urn:uuid:fc3fe260-bb95-40a2-a41c-b579547dffa7 15 9781947447004 03 9781947447004 06 10.21983/P3.0175.1.00 13 2017945423 01 internal-reference 0175 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Troll Inside You Paranormal Activity in the Medieval North 1 A01 Ármann Jakobsson Ármann Jakobsson 40 01db6h964 University of Iceland 01 eng 00 244 03 12 HRKP5 10 LIT004250 B2 Literary Studies 93 QRSW 93 DBSN B2 Posthumanism B2 Premodern 20 medieval mythology; Iceland; monster theory; trolls; Norse mythology 01 06 02 00 03 00 What do medieval Icelanders mean when they say “troll”? What did they see when they saw a troll? What did the troll signify to them? And why did they see them?The principal subject of this book is the Norse idea of the troll, which the author uses to engage with the larger topic of paranormal experiences in the medieval North. The texts under study are from 13th-, 14th-, and 15th-century Iceland. The focus of the book is on the ways in which paranormal experiences are related and defined in these texts and how those definitions have framed and continue to frame scholarly interpretations of the paranormal.The book is partitioned into numerous brief chapters, each with its own theme. In each case the author is not the least concerned with how the paranormal functions within medieval society and in the minds of the individuals who encounter and experience it and go on to narrate these experiences through intermediaries. The author connects the paranormal encounter closely with fears and these fears are intertwined with various aspects of the human experience, including gender, family ties, and death.The Troll Inside You hovers over the boundaries of scholarship and literature. Its aim is to prick and provoke but above all to challenge its audience to reconsider some of their preconceived ideas about the medieval past. 30 00 What do medieval Icelanders mean when they say “troll”? What did they see when they saw a troll? What did the troll signify to them? And why did they see them?The principal subject of this book is the Norse idea of the troll, which the author uses to engage with the larger topic of paranormal experiences in the medieval North. The texts under study are from 13th-, 14th-, and 15th-century Iceland. The focus of the book is on the ways in which paranormal experiences are related and defined in these texts and how those definitions have framed and continue to frame scholarly interpretations of the paranormal.The book is partitioned into numerous brief chapters, each with its own theme. In each case the author is not the least concerned with how the paranormal functions within medieval society and in the minds of the individuals who encounter and experience it and go on to narrate these experiences through intermediaries. The author connects the paranormal encounter closely with fears and these fears are intertwined with various aspects of the human experience, including gender, family ties, and death.The Troll Inside You hovers over the boundaries of scholarship and literature. Its aim is to prick and provoke but above all to challenge its audience to reconsider some of their preconceived ideas about the medieval past. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0175.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-troll-inside-you-paranormal-activity-in-the-medieval-north/ 16 40 01db6h964 32 10.13039/501100005415 University of Iceland Earth, Milky Way 04 01 20170719 Jakobsson, Ármann 02 WORLD 06 15 9781947447011 03 9781947447011 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447009 20 08 20170719 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-troll-inside-you-paranormal-activity-in-the-medieval-north 20 08 20170719 02 24.00 USD WORLD urn:uuid:acc6a112-9a29-44ec-805a-a0f255b1833d 03 01 01 thoth-work-id urn:uuid:5a78355d-4b21-40a3-a379-8fefe1ecff9f 01 thoth-publication-id urn:uuid:acc6a112-9a29-44ec-805a-a0f255b1833d 15 9781947447011 03 9781947447011 06 10.21983/P3.0175.1.00 13 2017945423 01 internal-reference 0175 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Troll Inside You Paranormal Activity in the Medieval North 1 A01 Ármann Jakobsson Ármann Jakobsson 40 01db6h964 University of Iceland 01 eng 00 244 03 12 HRKP5 10 LIT004250 B2 Literary Studies 93 QRSW 93 DBSN B2 Posthumanism B2 Premodern 20 medieval mythology; Iceland; monster theory; trolls; Norse mythology 01 06 02 00 03 00 What do medieval Icelanders mean when they say “troll”? What did they see when they saw a troll? What did the troll signify to them? And why did they see them?The principal subject of this book is the Norse idea of the troll, which the author uses to engage with the larger topic of paranormal experiences in the medieval North. The texts under study are from 13th-, 14th-, and 15th-century Iceland. The focus of the book is on the ways in which paranormal experiences are related and defined in these texts and how those definitions have framed and continue to frame scholarly interpretations of the paranormal.The book is partitioned into numerous brief chapters, each with its own theme. In each case the author is not the least concerned with how the paranormal functions within medieval society and in the minds of the individuals who encounter and experience it and go on to narrate these experiences through intermediaries. The author connects the paranormal encounter closely with fears and these fears are intertwined with various aspects of the human experience, including gender, family ties, and death.The Troll Inside You hovers over the boundaries of scholarship and literature. Its aim is to prick and provoke but above all to challenge its audience to reconsider some of their preconceived ideas about the medieval past. 30 00 What do medieval Icelanders mean when they say “troll”? What did they see when they saw a troll? What did the troll signify to them? And why did they see them?The principal subject of this book is the Norse idea of the troll, which the author uses to engage with the larger topic of paranormal experiences in the medieval North. The texts under study are from 13th-, 14th-, and 15th-century Iceland. The focus of the book is on the ways in which paranormal experiences are related and defined in these texts and how those definitions have framed and continue to frame scholarly interpretations of the paranormal.The book is partitioned into numerous brief chapters, each with its own theme. In each case the author is not the least concerned with how the paranormal functions within medieval society and in the minds of the individuals who encounter and experience it and go on to narrate these experiences through intermediaries. The author connects the paranormal encounter closely with fears and these fears are intertwined with various aspects of the human experience, including gender, family ties, and death.The Troll Inside You hovers over the boundaries of scholarship and literature. Its aim is to prick and provoke but above all to challenge its audience to reconsider some of their preconceived ideas about the medieval past. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0175.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-troll-inside-you-paranormal-activity-in-the-medieval-north/ 16 40 01db6h964 32 10.13039/501100005415 University of Iceland Earth, Milky Way 04 01 20170719 Jakobsson, Ármann 02 WORLD 06 15 9781947447004 03 9781947447004 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66790 20 08 20170719 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25453 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25453/1004642.pdf?sequence=1&isAllowed=y 20 08 20170719 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27562 20 08 20170719 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354003 20 08 20170719 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/559 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5d8cb870-3325-47df-b3a5-1468762f7414/download 20 08 20170719 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5a78355d-4b21-40a3-a379-8fefe1ecff9f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5a78355d-4b21-40a3-a379-8fefe1ecff9f/5a78355d-4b21-40a3-a379-8fefe1ecff9f.pdf 20 08 20170719 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846982 29 ZENODO: download the title https://zenodo.org/records/19846982/files/5a78355d-4b21-40a3-a379-8fefe1ecff9f_book.pdf 20 08 20170719 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-troll-inside-you-paranormal-activity-in-the-medieval-north/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0175.1.00.pdf 20 08 20170719 01 urn:uuid:85f16275-b6e2-4018-8f49-7c6b63b8274b 03 01 01 thoth-work-id urn:uuid:a4cfb06e-a5a6-48cc-b7e5-c38228c132a8 01 thoth-publication-id urn:uuid:85f16275-b6e2-4018-8f49-7c6b63b8274b 15 9781953035127 03 9781953035127 06 10.21983/P3.0299.1.00 13 2020945733 01 internal-reference 0299 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Unnaming of Aliass 1 A01 21 0000000229432427 Karin Bolender Karin Bolender 01 eng 00 354 03 12 AGN 93 AGNA 10 ART016010 B2 Autotheory 12 AFKP 93 AFKP B2 Posthumanism B2 Thought Experiments 20 artistic research; companion species; multispecies narrative; Equus asinus; husbandry; US South 01 06 02 00 03 00 The Unnaming of Aliass performs a paradoxical quest for wildly “untold” stories in the company of one special donkey companion, a femammal of the species Equus asinus and, significantly, a registered “American Spotted Ass.” Beast of burden that she is, this inscrutable companion helped carry a ridiculous load of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002 -- all the while carrying her own onerous and unreckoned burdens and histories. Over two decades, the original journey evolved -- from the cracking-open of a quasi-Western novel-that-never-was by an implosive pun, into an ongoing philosophical and assthetic adventure: a hybrid roadside- and barnyard-based living-art practice, wherein “Aliass” un/names something much harder to grasp than the body of a lovely little ass: protagonist, setting, and traditional Western narratives turn inside-out around this “name-that-ain’t.” Through a deeply dug-in questioning of its own authorial assumptions, The Unnaming of Aliass makes space for untold autobiographies and bright dusty lacunae, tracing ineffable tales through the tangled shapes and shadows that interweave in any environment. 30 00 The Unnaming of Aliass performs a paradoxical quest for wildly “untold” stories in the company of one special donkey companion, a femammal of the species Equus asinus and, significantly, a registered “American Spotted Ass.” Beast of burden that she is, this inscrutable companion helped carry a ridiculous load of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002 -- all the while carrying her own onerous and unreckoned burdens and histories. Over two decades, the original journey evolved -- from the cracking-open of a quasi-Western novel-that-never-was by an implosive pun, into an ongoing philosophical and assthetic adventure: a hybrid roadside- and barnyard-based living-art practice, wherein “Aliass” un/names something much harder to grasp than the body of a lovely little ass: protagonist, setting, and traditional Western narratives turn inside-out around this “name-that-ain’t.” Through a deeply dug-in questioning of its own authorial assumptions, The Unnaming of Aliass makes space for untold autobiographies and bright dusty lacunae, tracing ineffable tales through the tangled shapes and shadows that interweave in any environment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0299.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-unnaming-of-aliass/ Earth, Milky Way 04 01 20201001 Bolender, Karin 02 WORLD 06 15 9781953035134 03 9781953035134 34 06 10.1215/22011919-3527695 34 06 10.1215/10407391-1892943 34 06 10.1086/345321 34 06 10.1080/13528165.2017.1383779 34 06 10.14506/ca33.4.08 34 06 10.1177/0263276413496852 34 06 10.1177/1357034X04042938 34 06 10.1215/22011919-3527704 34 06 10.14506/ca29.2.09 34 06 10.1126/science.1230251 34 06 10.1353/scu.2006.0005 34 06 10.1093/isle/9.1.149 34 06 10.1215/22011919-3615934 34 06 10.1177/1474474014525114 34 06 10.1215/10407391-1892907 34 06 10.1215/22011919-3527713 34 06 10.1111/j.1548-1360.2010.01069.x 34 06 10.1080/0969725X.2014.976062 34 06 10.1016/j.ijpddr.2014.10.003 34 06 10.1215/22011919-3615523 34 06 10.5840/envirophil2008528 34 06 10.1177/0306312715603249 34 06 10.5840/enviroethics200931330 34 06 10.1215/22011919-3527731 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035124 20 08 20201001 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-unnaming-of-aliass 20 08 20201001 02 26.00 USD WORLD urn:uuid:9cf8cb9e-2080-41ba-9ffd-885557d4afbc 03 01 01 thoth-work-id urn:uuid:a4cfb06e-a5a6-48cc-b7e5-c38228c132a8 01 thoth-publication-id urn:uuid:9cf8cb9e-2080-41ba-9ffd-885557d4afbc 15 9781953035134 03 9781953035134 06 10.21983/P3.0299.1.00 13 2020945733 01 internal-reference 0299 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Unnaming of Aliass 1 A01 21 0000000229432427 Karin Bolender Karin Bolender 01 eng 00 354 03 12 AGN 93 AGNA 10 ART016010 B2 Autotheory 12 AFKP 93 AFKP B2 Posthumanism B2 Thought Experiments 20 artistic research; companion species; multispecies narrative; Equus asinus; husbandry; US South 01 06 02 00 03 00 The Unnaming of Aliass performs a paradoxical quest for wildly “untold” stories in the company of one special donkey companion, a femammal of the species Equus asinus and, significantly, a registered “American Spotted Ass.” Beast of burden that she is, this inscrutable companion helped carry a ridiculous load of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002 -- all the while carrying her own onerous and unreckoned burdens and histories. Over two decades, the original journey evolved -- from the cracking-open of a quasi-Western novel-that-never-was by an implosive pun, into an ongoing philosophical and assthetic adventure: a hybrid roadside- and barnyard-based living-art practice, wherein “Aliass” un/names something much harder to grasp than the body of a lovely little ass: protagonist, setting, and traditional Western narratives turn inside-out around this “name-that-ain’t.” Through a deeply dug-in questioning of its own authorial assumptions, The Unnaming of Aliass makes space for untold autobiographies and bright dusty lacunae, tracing ineffable tales through the tangled shapes and shadows that interweave in any environment. 30 00 The Unnaming of Aliass performs a paradoxical quest for wildly “untold” stories in the company of one special donkey companion, a femammal of the species Equus asinus and, significantly, a registered “American Spotted Ass.” Beast of burden that she is, this inscrutable companion helped carry a ridiculous load of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002 -- all the while carrying her own onerous and unreckoned burdens and histories. Over two decades, the original journey evolved -- from the cracking-open of a quasi-Western novel-that-never-was by an implosive pun, into an ongoing philosophical and assthetic adventure: a hybrid roadside- and barnyard-based living-art practice, wherein “Aliass” un/names something much harder to grasp than the body of a lovely little ass: protagonist, setting, and traditional Western narratives turn inside-out around this “name-that-ain’t.” Through a deeply dug-in questioning of its own authorial assumptions, The Unnaming of Aliass makes space for untold autobiographies and bright dusty lacunae, tracing ineffable tales through the tangled shapes and shadows that interweave in any environment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0299.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-unnaming-of-aliass/ Earth, Milky Way 04 01 20201001 Bolender, Karin 02 WORLD 06 15 9781953035127 03 9781953035127 34 06 10.1215/22011919-3527695 34 06 10.1215/10407391-1892943 34 06 10.1086/345321 34 06 10.1080/13528165.2017.1383779 34 06 10.14506/ca33.4.08 34 06 10.1177/0263276413496852 34 06 10.1177/1357034X04042938 34 06 10.1215/22011919-3527704 34 06 10.14506/ca29.2.09 34 06 10.1126/science.1230251 34 06 10.1353/scu.2006.0005 34 06 10.1093/isle/9.1.149 34 06 10.1215/22011919-3615934 34 06 10.1177/1474474014525114 34 06 10.1215/10407391-1892907 34 06 10.1215/22011919-3527713 34 06 10.1111/j.1548-1360.2010.01069.x 34 06 10.1080/0969725X.2014.976062 34 06 10.1016/j.ijpddr.2014.10.003 34 06 10.1215/22011919-3615523 34 06 10.5840/envirophil2008528 34 06 10.1177/0306312715603249 34 06 10.5840/enviroethics200931330 34 06 10.1215/22011919-3527731 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/42093 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/42093/0299.1.00.pdf 20 08 20201001 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35935 20 08 20201001 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354022 20 08 20201001 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/644 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e24c2c4f-62e8-401d-bf18-4e2bdc013ffe/download 20 08 20201001 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Unnaming_of_Aliass/3gWVEAAAQBAJ 20 08 20201001 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a4cfb06e-a5a6-48cc-b7e5-c38228c132a8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a4cfb06e-a5a6-48cc-b7e5-c38228c132a8/a4cfb06e-a5a6-48cc-b7e5-c38228c132a8.pdf 20 08 20201001 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848534 29 ZENODO: download the title https://zenodo.org/records/19848534/files/a4cfb06e-a5a6-48cc-b7e5-c38228c132a8_book.pdf 20 08 20201001 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-unnaming-of-aliass/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0299.1.00.pdf 20 08 20201001 01 urn:uuid:9acb264c-e1d3-4473-ba3c-cb9ed3af47d9 03 01 01 thoth-work-id urn:uuid:d312911b-9bee-4fff-97fb-ffa509c1fd5c 01 thoth-publication-id urn:uuid:9acb264c-e1d3-4473-ba3c-cb9ed3af47d9 15 9781950192861 03 9781950192861 06 10.21983/P3.0292.1.00 13 2020938074 01 internal-reference 0292 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Viscous Slime, Stickiness, Fondling, Mixtures 1 A01 Freddie Mason Freddie Mason 01 eng 00 274 03 12 AFKP 93 AFKP B2 Cultural Studies+Critical Theory 10 TEC021000 12 HPCF3 10 PHI018000 B2 Philosophy 93 QDHR5 10 ART017000 12 KNBP 93 KNBP 20 viscosity; phenomenology; new materialism; oil industry; lubricantion; ecology; fluid dynamics; material studies 01 06 02 00 03 00 Slime, goo, gunge, gloop, gels, sols, globules, jellies, emulsions, greases, soaps, syrups, glues, lubricants, liquid crystals, moulds, plasmas, and protoplasms – the viscous is not one thing, but rather a quality of resistance and flow, of stickiness and slipperiness. It is a state of matter that oozes into the gaps of our everyday existence, across age groups, between cultures and disciplines.Since the large-scale extraction of petroleum in the 19th century, the viscous has witnessed a proliferation in the variety of its forms. Mechanized industry required lubricants and oil distillation produced waste products that were refined to form Vaseline. From this age, new viscous forms and technologies emerged: products from plastic (and plastic explosives) to cosmetics, glycerine, asphalt, sexual lubrication, hydro- and aero-gels, and even anti-climb paint.Based on unique and wide-ranging research, The Viscous is the first major investigation of encounters with and possibilities of the viscous over the course of the last century, not simply as a material state, but also as an imaginative event. We enter into a story of matter at its most wayward, deviant, hesitant, and resistant.From asphalt lakes to industrial molasses tanks, from liquid crystals squirming in our screens to milk fetishes, The Viscous discloses gooeyness as a peculiarly modern phase of matter. "Everything oozes," as Beckett’s Estragon famously proclaims in Waiting for Godot. Viscous dynamics are exposed as not only hugely various in a post-industrial age, but particularly useful ways of thinking, feeling, writing, and making in a time of ecological anxiety. 30 00 Slime, goo, gunge, gloop, gels, sols, globules, jellies, emulsions, greases, soaps, syrups, glues, lubricants, liquid crystals, moulds, plasmas, and protoplasms – the viscous is not one thing, but rather a quality of resistance and flow, of stickiness and slipperiness. It is a state of matter that oozes into the gaps of our everyday existence, across age groups, between cultures and disciplines.Since the large-scale extraction of petroleum in the 19th century, the viscous has witnessed a proliferation in the variety of its forms. Mechanized industry required lubricants and oil distillation produced waste products that were refined to form Vaseline. From this age, new viscous forms and technologies emerged: products from plastic (and plastic explosives) to cosmetics, glycerine, asphalt, sexual lubrication, hydro- and aero-gels, and even anti-climb paint.Based on unique and wide-ranging research, The Viscous is the first major investigation of encounters with and possibilities of the viscous over the course of the last century, not simply as a material state, but also as an imaginative event. We enter into a story of matter at its most wayward, deviant, hesitant, and resistant.From asphalt lakes to industrial molasses tanks, from liquid crystals squirming in our screens to milk fetishes, The Viscous discloses gooeyness as a peculiarly modern phase of matter. "Everything oozes," as Beckett’s Estragon famously proclaims in Waiting for Godot. Viscous dynamics are exposed as not only hugely various in a post-industrial age, but particularly useful ways of thinking, feeling, writing, and making in a time of ecological anxiety. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0292.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-viscous-slime-stickiness-fondling-mixtures/ Earth, Milky Way 04 01 20200521 Mason, Freddie 02 WORLD 06 15 9781950192878 03 9781950192878 34 06 10.1093/mnras/sty1582 34 06 10.7717/peerj.851 34 06 10.1038/srep30371 34 06 10.1086/449030 34 06 10.2307/778354 34 06 10.1093/mnras/ 34 06 10.2307/3684882 34 06 10.1353/dia.0.0038 34 06 10.2307/311053 34 06 10.1080/00043249.2003.10792168 34 06 10.1086/660912 34 06 10.1103/PhysRevLett.100.018101 34 06 10.1016/j.biosystems.2011.05.001 34 06 10.1353/pbm.2013.0022 34 06 10.1073/pnas.1215037109 34 06 10.1103/RevModPhys.89.031001 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192865/ 20 08 20200521 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-viscous-slime-stickiness-fondling-mixtures 20 08 20200521 02 25.00 USD WORLD urn:uuid:9e8f7e32-02d6-4def-ac14-b485eadf6138 03 01 01 thoth-work-id urn:uuid:d312911b-9bee-4fff-97fb-ffa509c1fd5c 01 thoth-publication-id urn:uuid:9e8f7e32-02d6-4def-ac14-b485eadf6138 15 9781950192878 03 9781950192878 06 10.21983/P3.0292.1.00 13 2020938074 01 internal-reference 0292 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Viscous Slime, Stickiness, Fondling, Mixtures 1 A01 Freddie Mason Freddie Mason 01 eng 00 274 03 12 AFKP 93 AFKP B2 Cultural Studies+Critical Theory 10 TEC021000 12 HPCF3 10 PHI018000 B2 Philosophy 93 QDHR5 10 ART017000 12 KNBP 93 KNBP 20 viscosity; phenomenology; new materialism; oil industry; lubricantion; ecology; fluid dynamics; material studies 01 06 02 00 03 00 Slime, goo, gunge, gloop, gels, sols, globules, jellies, emulsions, greases, soaps, syrups, glues, lubricants, liquid crystals, moulds, plasmas, and protoplasms – the viscous is not one thing, but rather a quality of resistance and flow, of stickiness and slipperiness. It is a state of matter that oozes into the gaps of our everyday existence, across age groups, between cultures and disciplines.Since the large-scale extraction of petroleum in the 19th century, the viscous has witnessed a proliferation in the variety of its forms. Mechanized industry required lubricants and oil distillation produced waste products that were refined to form Vaseline. From this age, new viscous forms and technologies emerged: products from plastic (and plastic explosives) to cosmetics, glycerine, asphalt, sexual lubrication, hydro- and aero-gels, and even anti-climb paint.Based on unique and wide-ranging research, The Viscous is the first major investigation of encounters with and possibilities of the viscous over the course of the last century, not simply as a material state, but also as an imaginative event. We enter into a story of matter at its most wayward, deviant, hesitant, and resistant.From asphalt lakes to industrial molasses tanks, from liquid crystals squirming in our screens to milk fetishes, The Viscous discloses gooeyness as a peculiarly modern phase of matter. "Everything oozes," as Beckett’s Estragon famously proclaims in Waiting for Godot. Viscous dynamics are exposed as not only hugely various in a post-industrial age, but particularly useful ways of thinking, feeling, writing, and making in a time of ecological anxiety. 30 00 Slime, goo, gunge, gloop, gels, sols, globules, jellies, emulsions, greases, soaps, syrups, glues, lubricants, liquid crystals, moulds, plasmas, and protoplasms – the viscous is not one thing, but rather a quality of resistance and flow, of stickiness and slipperiness. It is a state of matter that oozes into the gaps of our everyday existence, across age groups, between cultures and disciplines.Since the large-scale extraction of petroleum in the 19th century, the viscous has witnessed a proliferation in the variety of its forms. Mechanized industry required lubricants and oil distillation produced waste products that were refined to form Vaseline. From this age, new viscous forms and technologies emerged: products from plastic (and plastic explosives) to cosmetics, glycerine, asphalt, sexual lubrication, hydro- and aero-gels, and even anti-climb paint.Based on unique and wide-ranging research, The Viscous is the first major investigation of encounters with and possibilities of the viscous over the course of the last century, not simply as a material state, but also as an imaginative event. We enter into a story of matter at its most wayward, deviant, hesitant, and resistant.From asphalt lakes to industrial molasses tanks, from liquid crystals squirming in our screens to milk fetishes, The Viscous discloses gooeyness as a peculiarly modern phase of matter. "Everything oozes," as Beckett’s Estragon famously proclaims in Waiting for Godot. Viscous dynamics are exposed as not only hugely various in a post-industrial age, but particularly useful ways of thinking, feeling, writing, and making in a time of ecological anxiety. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0292.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-viscous-slime-stickiness-fondling-mixtures/ Earth, Milky Way 04 01 20200521 Mason, Freddie 02 WORLD 06 15 9781950192861 03 9781950192861 34 06 10.1093/mnras/sty1582 34 06 10.7717/peerj.851 34 06 10.1038/srep30371 34 06 10.1086/449030 34 06 10.2307/778354 34 06 10.1093/mnras/ 34 06 10.2307/3684882 34 06 10.1353/dia.0.0038 34 06 10.2307/311053 34 06 10.1080/00043249.2003.10792168 34 06 10.1086/660912 34 06 10.1103/PhysRevLett.100.018101 34 06 10.1016/j.biosystems.2011.05.001 34 06 10.1353/pbm.2013.0022 34 06 10.1073/pnas.1215037109 34 06 10.1103/RevModPhys.89.031001 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/38242 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/38242/0292.1.00.pdf 20 08 20200521 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/31342 20 08 20200521 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353861 20 08 20200521 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/635 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/4bd10786-d8dc-4fa6-a845-c010fd2e03b9/download 20 08 20200521 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Viscous/xgWVEAAAQBAJ 20 08 20200521 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d312911b-9bee-4fff-97fb-ffa509c1fd5c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d312911b-9bee-4fff-97fb-ffa509c1fd5c/d312911b-9bee-4fff-97fb-ffa509c1fd5c.pdf 20 08 20200521 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848283 29 ZENODO: download the title https://zenodo.org/records/19848283/files/d312911b-9bee-4fff-97fb-ffa509c1fd5c_book.pdf 20 08 20200521 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-viscous-slime-stickiness-fondling-mixtures/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0292.1.00.pdf 20 08 20200521 01 urn:uuid:1bcca4d0-2648-42f7-8fdf-833a6152b08d 03 01 01 thoth-work-id urn:uuid:242cdb6d-1d99-41ac-b9d9-4dfdb403cc2b 01 thoth-publication-id urn:uuid:1bcca4d0-2648-42f7-8fdf-833a6152b08d 15 9781685711184 03 9781685711184 06 10.53288/0400.1.00 13 2023944167 01 internal-reference 0400 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Way Things Go 1 A01 21 0000000194647945 Louis Bury Louis Bury 40 002fqp272 Hostos Community College Louis Bury is an art critic, author of Exercises in Criticism (Dalkey Archive Press, 2015), and Associate Professor of English at Hostos Community College, CUNY. He contributes regularly to Hyperallergic, BOMB, and Art in America. 01 eng 00 300 03 B2 Anthropocene 12 DCF 93 DCF 10 POE023010 93 FXE 10 POE005010 12 RNPG B2 Thought Experiments 93 6NP 10 SCI092000 20 climate change; addiction; experimental writing; art criticism; eco art; Oulipo; constraint-based writing; Sixth Mass Extinction 01 06 02 00 03 00 The Way Things Go contains a mix of poetry, art writing, and life writing about anticipatory grief, or mourning someone or something before it’s gone. Each successive chapter in the book decreases in length by exactly one sentence, from a 71-sentence-long opening chapter, to a 70-sentence-long second chapter, to 69 sentences, 68 sentences, and so on down to 1 (a book-length Oulipian “melting snowball”). This shrinking form enacts the book’s concerns with loss, climate change, and the passage of time.At the level of its content, however, The Way Things Go is not fatalistic. Its title comes from a cult classic 1987 Fischli and Weiss film, in which objects such as bags of trash, car tires, and oil drums knock into one another in a Rube Goldberg-esque chain reaction. Moving through both personal history (his sister’s lupus and heroin addiction, his grandmother’s experience as a Holocaust survivor) and more global concerns (the Sixth Mass Extinction, COVID-19, the war in Ukraine), Bury considers the disruptions that occur as “things go,” as well as the continuity that remains. The book suggests that recent negotiations between optimism and pessimism with respect to the future reflect people’s feelings of vulnerability, particularly people who are used to taking their life’s stability for granted, in a world that seems increasingly precarious. 30 00 The Way Things Go contains a mix of poetry, art writing, and life writing about anticipatory grief, or mourning someone or something before it’s gone. Each successive chapter in the book decreases in length by exactly one sentence, from a 71-sentence-long opening chapter, to a 70-sentence-long second chapter, to 69 sentences, 68 sentences, and so on down to 1 (a book-length Oulipian “melting snowball”). This shrinking form enacts the book’s concerns with loss, climate change, and the passage of time.At the level of its content, however, The Way Things Go is not fatalistic. Its title comes from a cult classic 1987 Fischli and Weiss film, in which objects such as bags of trash, car tires, and oil drums knock into one another in a Rube Goldberg-esque chain reaction. Moving through both personal history (his sister’s lupus and heroin addiction, his grandmother’s experience as a Holocaust survivor) and more global concerns (the Sixth Mass Extinction, COVID-19, the war in Ukraine), Bury considers the disruptions that occur as “things go,” as well as the continuity that remains. The book suggests that recent negotiations between optimism and pessimism with respect to the future reflect people’s feelings of vulnerability, particularly people who are used to taking their life’s stability for granted, in a world that seems increasingly precarious. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0400.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-way-things-go/ 16 40 050dp5763 Professional Staff Congress Earth, Milky Way 04 01 20230912 Louis Bury 02 WORLD 06 15 9781685711191 03 9781685711191 34 06 10.1093/rheumatology/kex260 34 06 10.1080/23748834.2020.1807704 34 06 10.2307/3685761 34 06 10.1038/371065a0 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/B0CHL9MZH1 20 08 20230912 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-way-things-go 20 08 20230912 02 25.00 USD WORLD urn:uuid:d2da6e5f-3d9e-4abf-b82a-a78228f3d4a6 03 01 01 thoth-work-id urn:uuid:242cdb6d-1d99-41ac-b9d9-4dfdb403cc2b 01 thoth-publication-id urn:uuid:d2da6e5f-3d9e-4abf-b82a-a78228f3d4a6 15 9781685711191 03 9781685711191 06 10.53288/0400.1.00 13 2023944167 01 internal-reference 0400 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Way Things Go 1 A01 21 0000000194647945 Louis Bury Louis Bury 40 002fqp272 Hostos Community College Louis Bury is an art critic, author of Exercises in Criticism (Dalkey Archive Press, 2015), and Associate Professor of English at Hostos Community College, CUNY. He contributes regularly to Hyperallergic, BOMB, and Art in America. 01 eng 00 300 03 B2 Anthropocene 12 DCF 93 DCF 10 POE023010 93 FXE 10 POE005010 12 RNPG B2 Thought Experiments 93 6NP 10 SCI092000 20 climate change; addiction; experimental writing; art criticism; eco art; Oulipo; constraint-based writing; Sixth Mass Extinction 01 06 02 00 03 00 The Way Things Go contains a mix of poetry, art writing, and life writing about anticipatory grief, or mourning someone or something before it’s gone. Each successive chapter in the book decreases in length by exactly one sentence, from a 71-sentence-long opening chapter, to a 70-sentence-long second chapter, to 69 sentences, 68 sentences, and so on down to 1 (a book-length Oulipian “melting snowball”). This shrinking form enacts the book’s concerns with loss, climate change, and the passage of time.At the level of its content, however, The Way Things Go is not fatalistic. Its title comes from a cult classic 1987 Fischli and Weiss film, in which objects such as bags of trash, car tires, and oil drums knock into one another in a Rube Goldberg-esque chain reaction. Moving through both personal history (his sister’s lupus and heroin addiction, his grandmother’s experience as a Holocaust survivor) and more global concerns (the Sixth Mass Extinction, COVID-19, the war in Ukraine), Bury considers the disruptions that occur as “things go,” as well as the continuity that remains. The book suggests that recent negotiations between optimism and pessimism with respect to the future reflect people’s feelings of vulnerability, particularly people who are used to taking their life’s stability for granted, in a world that seems increasingly precarious. 30 00 The Way Things Go contains a mix of poetry, art writing, and life writing about anticipatory grief, or mourning someone or something before it’s gone. Each successive chapter in the book decreases in length by exactly one sentence, from a 71-sentence-long opening chapter, to a 70-sentence-long second chapter, to 69 sentences, 68 sentences, and so on down to 1 (a book-length Oulipian “melting snowball”). This shrinking form enacts the book’s concerns with loss, climate change, and the passage of time.At the level of its content, however, The Way Things Go is not fatalistic. Its title comes from a cult classic 1987 Fischli and Weiss film, in which objects such as bags of trash, car tires, and oil drums knock into one another in a Rube Goldberg-esque chain reaction. Moving through both personal history (his sister’s lupus and heroin addiction, his grandmother’s experience as a Holocaust survivor) and more global concerns (the Sixth Mass Extinction, COVID-19, the war in Ukraine), Bury considers the disruptions that occur as “things go,” as well as the continuity that remains. The book suggests that recent negotiations between optimism and pessimism with respect to the future reflect people’s feelings of vulnerability, particularly people who are used to taking their life’s stability for granted, in a world that seems increasingly precarious. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0400.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-way-things-go/ 16 40 050dp5763 Professional Staff Congress Earth, Milky Way 04 01 20230912 Louis Bury 02 WORLD 06 15 9781685711184 03 9781685711184 34 06 10.1093/rheumatology/kex260 34 06 10.1080/23748834.2020.1807704 34 06 10.2307/3685761 34 06 10.1038/371065a0 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/76169 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/76169/0400.1.00.pdf?sequence=1&isAllowed=y 20 08 20230912 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/121429 20 08 20230912 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.7471126 20 08 20230912 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/349 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c15e35b9-7243-43d9-8121-24409cd108dc/download 20 08 20230912 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/242cdb6d-1d99-41ac-b9d9-4dfdb403cc2b 29 INTERNET_ARCHIVE: download the title https://archive.org/download/242cdb6d-1d99-41ac-b9d9-4dfdb403cc2b/242cdb6d-1d99-41ac-b9d9-4dfdb403cc2b.pdf 20 08 20230912 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850014 29 ZENODO: download the title https://zenodo.org/records/19850014/files/242cdb6d-1d99-41ac-b9d9-4dfdb403cc2b_book.pdf 20 08 20230912 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-way-things-go/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0400.1.00.pdf 20 08 20230912 01 urn:uuid:f45a99d8-9489-4683-8e1b-70917fe2d712 03 01 01 thoth-work-id urn:uuid:ea367445-3c67-499c-84f9-0b611766f2cb 01 thoth-publication-id urn:uuid:f45a99d8-9489-4683-8e1b-70917fe2d712 15 9781947447950 03 9781947447950 06 10.21983/P3.0237.1.00 13 2018963429 01 internal-reference 0237 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Wind ~ An Unruly Living 1 A01 Jeremy Bendik-Keymer Jeremy Bendik-Keymer 40 051fd9666 Case Western Reserve University 01 eng 00 176 03 B2 Anthropocene 12 BM 10 PHI049000 93 QDHR B2 Philosophy 93 RNA B2 Thought Experiments 20 eco-philosophy; ethics; ecology; elemental thinking; subjectivity; wind studies; environmental philosophy 01 06 02 00 03 00 A process begun in Pisa, Italy in April of 2016 during a workshop on political theory in the Anthropocene, The Wind ~ An Unruly Living is a philosophical exercise (askêsis, translated, following Ignatius of Loyola, as “spiritual exercise”). In his exercise, Bendik-Keymer throws to the void: the ideology of self-ownership from a society of possession. By using the Stoic kanôn, the rule of living by phûsis, he follows an element. Unhappily for the Stoic and happily for us, the wind is unruly. A swerve of currents through a social fabric, it’s full of holes, all holely. Stretch and stitch as you want, it might settle more shapely tattered into light, but it will never become whole. The wind’s only holesome. 30 00 A process begun in Pisa, Italy in April of 2016 during a workshop on political theory in the Anthropocene, The Wind ~ An Unruly Living is a philosophical exercise (askêsis, translated, following Ignatius of Loyola, as “spiritual exercise”). In his exercise, Bendik-Keymer throws to the void: the ideology of self-ownership from a society of possession. By using the Stoic kanôn, the rule of living by phûsis, he follows an element. Unhappily for the Stoic and happily for us, the wind is unruly. A swerve of currents through a social fabric, it’s full of holes, all holely. Stretch and stitch as you want, it might settle more shapely tattered into light, but it will never become whole. The wind’s only holesome. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0237.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-wind-an-unruly-living/ 16 40 051fd9666 32 10.13039/100008136 Case Western Reserve University Earth, Milky Way 04 01 20181214 Bendik-Keymer, Jeremy 02 WORLD 06 15 9781947447967 03 9781947447967 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-wind-an-unruly-living 20 08 20181214 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447955 20 08 20181214 02 23.00 USD WORLD urn:uuid:79ba9d81-83c7-4f12-a118-58fcac76b349 03 01 01 thoth-work-id urn:uuid:ea367445-3c67-499c-84f9-0b611766f2cb 01 thoth-publication-id urn:uuid:79ba9d81-83c7-4f12-a118-58fcac76b349 15 9781947447967 03 9781947447967 06 10.21983/P3.0237.1.00 13 2018963429 01 internal-reference 0237 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Wind ~ An Unruly Living 1 A01 Jeremy Bendik-Keymer Jeremy Bendik-Keymer 40 051fd9666 Case Western Reserve University 01 eng 00 176 03 B2 Anthropocene 12 BM 10 PHI049000 93 QDHR B2 Philosophy 93 RNA B2 Thought Experiments 20 eco-philosophy; ethics; ecology; elemental thinking; subjectivity; wind studies; environmental philosophy 01 06 02 00 03 00 A process begun in Pisa, Italy in April of 2016 during a workshop on political theory in the Anthropocene, The Wind ~ An Unruly Living is a philosophical exercise (askêsis, translated, following Ignatius of Loyola, as “spiritual exercise”). In his exercise, Bendik-Keymer throws to the void: the ideology of self-ownership from a society of possession. By using the Stoic kanôn, the rule of living by phûsis, he follows an element. Unhappily for the Stoic and happily for us, the wind is unruly. A swerve of currents through a social fabric, it’s full of holes, all holely. Stretch and stitch as you want, it might settle more shapely tattered into light, but it will never become whole. The wind’s only holesome. 30 00 A process begun in Pisa, Italy in April of 2016 during a workshop on political theory in the Anthropocene, The Wind ~ An Unruly Living is a philosophical exercise (askêsis, translated, following Ignatius of Loyola, as “spiritual exercise”). In his exercise, Bendik-Keymer throws to the void: the ideology of self-ownership from a society of possession. By using the Stoic kanôn, the rule of living by phûsis, he follows an element. Unhappily for the Stoic and happily for us, the wind is unruly. A swerve of currents through a social fabric, it’s full of holes, all holely. Stretch and stitch as you want, it might settle more shapely tattered into light, but it will never become whole. The wind’s only holesome. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0237.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-wind-an-unruly-living/ 16 40 051fd9666 32 10.13039/100008136 Case Western Reserve University Earth, Milky Way 04 01 20181214 Bendik-Keymer, Jeremy 02 WORLD 06 15 9781947447950 03 9781947447950 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25393 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25393/0237.1.00.pdf?sequence=1&isAllowed=y 20 08 20181214 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29048 20 08 20181214 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353785 20 08 20181214 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/599 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e6eb6244-a5d2-473b-b961-3bf2477ea4f9/download 20 08 20181214 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Wind/TG6oEAAAQBAJ 20 08 20181214 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ea367445-3c67-499c-84f9-0b611766f2cb 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ea367445-3c67-499c-84f9-0b611766f2cb/ea367445-3c67-499c-84f9-0b611766f2cb.pdf 20 08 20181214 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847598 29 ZENODO: download the title https://zenodo.org/records/19847598/files/ea367445-3c67-499c-84f9-0b611766f2cb_book.pdf 20 08 20181214 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-wind-an-unruly-living/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0237.1.00.pdf 20 08 20181214 01 urn:uuid:1a69f76c-4417-4fc1-8018-80aba2e69a66 03 01 01 thoth-work-id urn:uuid:119e45d6-63ab-4cc4-aabf-06ecba1fb055 01 thoth-publication-id urn:uuid:1a69f76c-4417-4fc1-8018-80aba2e69a66 15 9780692230152 03 9780692230152 06 10.21983/P3.0074.1.00 01 internal-reference 0074 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Witch and the Hysteric The Monstrous Medieval in Benjamin Christensen's Häxan 1 A01 Alexander Doty Alexander Doty 40 01kg8sb98 Indiana University 2 A01 Patricia Clare Ingham Patricia Clare Ingham 40 01kg8sb98 Indiana University 01 eng 00 84 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 93 1DND B2 Premodern 93 1DNS 93 3MPBGH 20 film; medieval studies; horror; cultural studies; witchcraft 01 06 02 00 03 00 Benjamin Christensen’s 1922 Swedish/Danish film Häxan (known under its English title as Witchcraft Through the Ages) has entranced, entertained, shocked, and puzzled audiences for nearly a century. The film mixes documentary with fantasy, history with theatrics, religion and science, the medieval past and modern culture. This uncanny content is compounded by the film’s formal strangeness, a mixture of quasi-documentary with fictional episodes, illustrated lectures alongside docudrama recreations and dreamscapes. Is this a documentary, a horror flick, or both? In this chapbook, authors Doty and Ingham argue that the puzzle of Christensen’s Häxan might be unraveled by attending to the film’s provocative and paradoxical medievalism, its fantasmatic rendering of the witch as a medieval monster. Such monstrous medievalism, moreover, sheds considerable light on the politics of gender and culture once the witch is rendered a female figure in a time out-of-joint. 30 00 Benjamin Christensen’s 1922 Swedish/Danish film Häxan (known under its English title as Witchcraft Through the Ages) has entranced, entertained, shocked, and puzzled audiences for nearly a century. The film mixes documentary with fantasy, history with theatrics, religion and science, the medieval past and modern culture. This uncanny content is compounded by the film’s formal strangeness, a mixture of quasi-documentary with fictional episodes, illustrated lectures alongside docudrama recreations and dreamscapes. Is this a documentary, a horror flick, or both? In this chapbook, authors Doty and Ingham argue that the puzzle of Christensen’s Häxan might be unraveled by attending to the film’s provocative and paradoxical medievalism, its fantasmatic rendering of the witch as a medieval monster. Such monstrous medievalism, moreover, sheds considerable light on the politics of gender and culture once the witch is rendered a female figure in a time out-of-joint. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0074.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/witch-hysteric/ Brooklyn, NY 04 01 20140808 Doty, Alexander Ingham, Patricia Clare 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692230157 20 08 20140808 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-witch-and-the-hysteric-the-monstrous-medieval-in-benjamin-christensens-haxan 20 08 20140808 02 21.00 USD WORLD urn:uuid:b63f0a2c-4833-42f9-990e-5d5d70b73b49 03 01 01 thoth-work-id urn:uuid:119e45d6-63ab-4cc4-aabf-06ecba1fb055 01 thoth-publication-id urn:uuid:b63f0a2c-4833-42f9-990e-5d5d70b73b49 06 10.21983/P3.0074.1.00 01 internal-reference 0074 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Witch and the Hysteric The Monstrous Medieval in Benjamin Christensen's Häxan 1 A01 Alexander Doty Alexander Doty 40 01kg8sb98 Indiana University 2 A01 Patricia Clare Ingham Patricia Clare Ingham 40 01kg8sb98 Indiana University 01 eng 00 84 03 12 APFA 10 ART057000 93 ATFA B2 Moving Image 93 1DND B2 Premodern 93 1DNS 93 3MPBGH 20 film; medieval studies; horror; cultural studies; witchcraft 01 06 02 00 03 00 Benjamin Christensen’s 1922 Swedish/Danish film Häxan (known under its English title as Witchcraft Through the Ages) has entranced, entertained, shocked, and puzzled audiences for nearly a century. The film mixes documentary with fantasy, history with theatrics, religion and science, the medieval past and modern culture. This uncanny content is compounded by the film’s formal strangeness, a mixture of quasi-documentary with fictional episodes, illustrated lectures alongside docudrama recreations and dreamscapes. Is this a documentary, a horror flick, or both? In this chapbook, authors Doty and Ingham argue that the puzzle of Christensen’s Häxan might be unraveled by attending to the film’s provocative and paradoxical medievalism, its fantasmatic rendering of the witch as a medieval monster. Such monstrous medievalism, moreover, sheds considerable light on the politics of gender and culture once the witch is rendered a female figure in a time out-of-joint. 30 00 Benjamin Christensen’s 1922 Swedish/Danish film Häxan (known under its English title as Witchcraft Through the Ages) has entranced, entertained, shocked, and puzzled audiences for nearly a century. The film mixes documentary with fantasy, history with theatrics, religion and science, the medieval past and modern culture. This uncanny content is compounded by the film’s formal strangeness, a mixture of quasi-documentary with fictional episodes, illustrated lectures alongside docudrama recreations and dreamscapes. Is this a documentary, a horror flick, or both? In this chapbook, authors Doty and Ingham argue that the puzzle of Christensen’s Häxan might be unraveled by attending to the film’s provocative and paradoxical medievalism, its fantasmatic rendering of the witch as a medieval monster. Such monstrous medievalism, moreover, sheds considerable light on the politics of gender and culture once the witch is rendered a female figure in a time out-of-joint. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0074.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/witch-hysteric/ Brooklyn, NY 04 01 20140808 Doty, Alexander Ingham, Patricia Clare 02 WORLD 06 15 9780692230152 03 9780692230152 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76467 20 08 20140808 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25546 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25546/1004549.pdf?sequence=1&isAllowed=y 20 08 20140808 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39345 20 08 20140808 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353901 20 08 20140808 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/458 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fe3a488d-aa75-471f-8934-66f6b2121ad9/download 20 08 20140808 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/119e45d6-63ab-4cc4-aabf-06ecba1fb055 29 INTERNET_ARCHIVE: download the title https://archive.org/download/119e45d6-63ab-4cc4-aabf-06ecba1fb055/119e45d6-63ab-4cc4-aabf-06ecba1fb055.pdf 20 08 20140808 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846004 29 ZENODO: download the title https://zenodo.org/records/19846004/files/119e45d6-63ab-4cc4-aabf-06ecba1fb055_book.pdf 20 08 20140808 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/witch-hysteric/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0074.1.00.pdf 20 08 20140808 01 urn:uuid:6d4dcb23-8f06-4a98-8089-8fd3d29ab43d 03 01 01 thoth-work-id urn:uuid:a17ee594-7fe8-49fe-96cf-7a464f9c5c13 01 thoth-publication-id urn:uuid:6d4dcb23-8f06-4a98-8089-8fd3d29ab43d 15 9781685710866 03 9781685710866 06 10.53288/0385.1.00 13 2023937499 01 internal-reference 0385 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The(y)ology Mythopoetics for Queer/Trans Liberation 1 A01 Max Yeshaye Brumberg-Kraus Max Yeshaye Brumberg-Kraus 40 05p0z2z51 Goddard College Max Yeshaye Brumberg-Kraus is a poet, playwright, drag artist, and independent scholar living in Saint Paul, Minnesota. They are the co-founder of the House of Larva Drag Co-operative, performing as drag ogress Çicada L’Amour, producing one acts, full-length shows, and cabarets since 2014. In and out of drag, Max has performed at the Guthrie Theatre, Pangea World Theatre, 20% Theatre, In the Heart of the Beast Puppet and Mask Theatre, Rimon (The Minnesota Jewish Arts Council), the Rochester Arts Center, and have also directed a full length show (Circe: Twilight of a Goddess) with Siren Island in Point San Pablo, California. After majoring in classics and theatre at Beloit College, they received their MA in Theology and the Arts from United Theological Seminary of the Twin Cities. Max is former fellow and facilitator with Arts | Religion | Culture (ARC), and a member of the Green Sabbath Project. They are currently pursuing their MFA in Interdisciplinary Arts at Goddard College, with a focus on queerness and the medieval imagination. 01 eng 00 258 03 12 HRCM B2 Manifesto! 93 QRVG 10 REL040090 12 JFSK 93 QRVP7 B2 Sex 10 SOC064000 93 JBSJ B2 TransQueer 93 5PT 20 cosmology; drag; feminism; mythopoeisis; performance art; queer studies; theology 01 06 02 00 03 00 Every body contains multitudes, but no body is immune to the ideology of oneness: one true self, one sexuality, one gender, one vision of the world, one true God. For many who identify (or who have been named by others) as transgender, queer, and nonbinary, the refusal to fit within the illusion of one set of sex and gender expectations has been met with violence and suppression. While the myth of oneness is a powerful story that shapes the contours of our societies and our selves, it is not the only myth. Performances, fictions, rituals, and theologies can transform current realities.The(y)ology: Mythopoetics for Queer/Trans Liberation is a manifesto for artists, teachers, theologians, clergy, and activists looking for ways to resist rigid paradigms of gender, sexuality, self, and the sacred. In these pages, we are called to tell new stories about who we are and how we relate to each other within our ecosystems. The myths discussed wrestle with and transform the complex mytho-histories that have birthed and, often, harmed us. No story comes from nothing, and, more radically, perhaps no story is fully irredeemable.In The(y)ology, feminist philosophies join with trans poetics, literary theory with liberation theologies, drag performance with kabbalah, ecologies with pornographies, and ancient theater with queer autobiographies. However ambitious its scope might be, The(y)ology is fundamentally about encouraging us all to think playfully and to play thoughtfully with the mythologies that define our lives. 30 00 Every body contains multitudes, but no body is immune to the ideology of oneness: one true self, one sexuality, one gender, one vision of the world, one true God. For many who identify (or who have been named by others) as transgender, queer, and nonbinary, the refusal to fit within the illusion of one set of sex and gender expectations has been met with violence and suppression. While the myth of oneness is a powerful story that shapes the contours of our societies and our selves, it is not the only myth. Performances, fictions, rituals, and theologies can transform current realities.The(y)ology: Mythopoetics for Queer/Trans Liberation is a manifesto for artists, teachers, theologians, clergy, and activists looking for ways to resist rigid paradigms of gender, sexuality, self, and the sacred. In these pages, we are called to tell new stories about who we are and how we relate to each other within our ecosystems. The myths discussed wrestle with and transform the complex mytho-histories that have birthed and, often, harmed us. No story comes from nothing, and, more radically, perhaps no story is fully irredeemable.In The(y)ology, feminist philosophies join with trans poetics, literary theory with liberation theologies, drag performance with kabbalah, ecologies with pornographies, and ancient theater with queer autobiographies. However ambitious its scope might be, The(y)ology is fundamentally about encouraging us all to think playfully and to play thoughtfully with the mythologies that define our lives. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0385.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/theyology-mythopoetics-for-queer-trans-liberation/ Earth, Milky Way 04 01 20230601 Max Yeshaye Brumberg-Kraus 02 WORLD 06 15 9781685710873 03 9781685710873 34 06 10.1215/23289252-2685606 34 06 10.2307/464648 34 06 10.1215/23289252-2398540 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710867 20 08 20230601 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/theyology-mythopoetics-for-queertrans-liberation 20 08 20230601 02 24.00 USD WORLD urn:uuid:795f62a9-7dec-4575-bf8f-6295e34cba4c 03 01 01 thoth-work-id urn:uuid:a17ee594-7fe8-49fe-96cf-7a464f9c5c13 01 thoth-publication-id urn:uuid:795f62a9-7dec-4575-bf8f-6295e34cba4c 15 9781685710873 03 9781685710873 06 10.53288/0385.1.00 13 2023937499 01 internal-reference 0385 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The(y)ology Mythopoetics for Queer/Trans Liberation 1 A01 Max Yeshaye Brumberg-Kraus Max Yeshaye Brumberg-Kraus 40 05p0z2z51 Goddard College Max Yeshaye Brumberg-Kraus is a poet, playwright, drag artist, and independent scholar living in Saint Paul, Minnesota. They are the co-founder of the House of Larva Drag Co-operative, performing as drag ogress Çicada L’Amour, producing one acts, full-length shows, and cabarets since 2014. In and out of drag, Max has performed at the Guthrie Theatre, Pangea World Theatre, 20% Theatre, In the Heart of the Beast Puppet and Mask Theatre, Rimon (The Minnesota Jewish Arts Council), the Rochester Arts Center, and have also directed a full length show (Circe: Twilight of a Goddess) with Siren Island in Point San Pablo, California. After majoring in classics and theatre at Beloit College, they received their MA in Theology and the Arts from United Theological Seminary of the Twin Cities. Max is former fellow and facilitator with Arts | Religion | Culture (ARC), and a member of the Green Sabbath Project. They are currently pursuing their MFA in Interdisciplinary Arts at Goddard College, with a focus on queerness and the medieval imagination. 01 eng 00 258 03 12 HRCM B2 Manifesto! 93 QRVG 10 REL040090 12 JFSK 93 QRVP7 B2 Sex 10 SOC064000 93 JBSJ B2 TransQueer 93 5PT 20 cosmology; drag; feminism; mythopoeisis; performance art; queer studies; theology 01 06 02 00 03 00 Every body contains multitudes, but no body is immune to the ideology of oneness: one true self, one sexuality, one gender, one vision of the world, one true God. For many who identify (or who have been named by others) as transgender, queer, and nonbinary, the refusal to fit within the illusion of one set of sex and gender expectations has been met with violence and suppression. While the myth of oneness is a powerful story that shapes the contours of our societies and our selves, it is not the only myth. Performances, fictions, rituals, and theologies can transform current realities.The(y)ology: Mythopoetics for Queer/Trans Liberation is a manifesto for artists, teachers, theologians, clergy, and activists looking for ways to resist rigid paradigms of gender, sexuality, self, and the sacred. In these pages, we are called to tell new stories about who we are and how we relate to each other within our ecosystems. The myths discussed wrestle with and transform the complex mytho-histories that have birthed and, often, harmed us. No story comes from nothing, and, more radically, perhaps no story is fully irredeemable.In The(y)ology, feminist philosophies join with trans poetics, literary theory with liberation theologies, drag performance with kabbalah, ecologies with pornographies, and ancient theater with queer autobiographies. However ambitious its scope might be, The(y)ology is fundamentally about encouraging us all to think playfully and to play thoughtfully with the mythologies that define our lives. 30 00 Every body contains multitudes, but no body is immune to the ideology of oneness: one true self, one sexuality, one gender, one vision of the world, one true God. For many who identify (or who have been named by others) as transgender, queer, and nonbinary, the refusal to fit within the illusion of one set of sex and gender expectations has been met with violence and suppression. While the myth of oneness is a powerful story that shapes the contours of our societies and our selves, it is not the only myth. Performances, fictions, rituals, and theologies can transform current realities.The(y)ology: Mythopoetics for Queer/Trans Liberation is a manifesto for artists, teachers, theologians, clergy, and activists looking for ways to resist rigid paradigms of gender, sexuality, self, and the sacred. In these pages, we are called to tell new stories about who we are and how we relate to each other within our ecosystems. The myths discussed wrestle with and transform the complex mytho-histories that have birthed and, often, harmed us. No story comes from nothing, and, more radically, perhaps no story is fully irredeemable.In The(y)ology, feminist philosophies join with trans poetics, literary theory with liberation theologies, drag performance with kabbalah, ecologies with pornographies, and ancient theater with queer autobiographies. However ambitious its scope might be, The(y)ology is fundamentally about encouraging us all to think playfully and to play thoughtfully with the mythologies that define our lives. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0385.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/theyology-mythopoetics-for-queer-trans-liberation/ Earth, Milky Way 04 01 20230601 Max Yeshaye Brumberg-Kraus 02 WORLD 06 15 9781685710866 03 9781685710866 34 06 10.1215/23289252-2685606 34 06 10.2307/464648 34 06 10.1215/23289252-2398540 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/63208 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/63208/0385.1.00.pdf?sequence=1&isAllowed=y 20 08 20230601 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/118621 20 08 20230601 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.6852975 20 08 20230601 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/359 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/89689e75-863d-442d-8d7e-217e94b63f08/download 20 08 20230601 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a17ee594-7fe8-49fe-96cf-7a464f9c5c13 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a17ee594-7fe8-49fe-96cf-7a464f9c5c13/a17ee594-7fe8-49fe-96cf-7a464f9c5c13.pdf 20 08 20230601 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849861 29 ZENODO: download the title https://zenodo.org/records/19849861/files/a17ee594-7fe8-49fe-96cf-7a464f9c5c13_book.pdf 20 08 20230601 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/theyology-mythopoetics-for-queer-trans-liberation/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0385.1.00.pdf 20 08 20230601 01 urn:uuid:02fd05bc-a817-4e92-a7d0-14024f2ba9a2 03 01 01 thoth-work-id urn:uuid:cc194166-c595-48aa-99f8-b5109fa2c2d0 01 thoth-publication-id urn:uuid:02fd05bc-a817-4e92-a7d0-14024f2ba9a2 15 9780615890258 03 9780615890258 06 10.21983/P3.0051.1.00 01 internal-reference 0051 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 thN Lng Folk 2go Investigating Future Premoderns™ 1 A01 Norman Hogg Norman Hogg 40 0420zvk78 Concordia University 2 A01 21 0000000162733697 Neil Mulholland Neil Mulholland 40 01nrxwf90 University of Edinburgh 3 A15 Simon O'Sullivan Simon O'Sullivan 40 01khx4a30 Goldsmiths University of London 01 eng 00 242 03 12 HBLC1 93 JBCC 10 LIT011000 B2 Premodern 93 3KH-GB-B B2 Thought Experiments 93 FUP 20 speculative fiction; medievalism; theory-fiction; geopolitics 01 06 02 00 03 00 Neomedievalisms are cultural practices that breathe a bouquet of premoderns as permanent rehearsals of coming events. Where medievalists may be prone to police the post-medieval weald for inauthentic medievalisms, neomedievalists embrace the articulation and mobilisation of metahistorical anachronisms. To the medievalist, medievalisms provide powerful indexes that reveal how post-medieval societies have variously imagined ‘little middle ages’ to suit modern agendas. To the neomedievalist, medievalisms are theory-fictions that facilitate ludic speculation on non-modern futurities.While neomedievalist theories have emerged in a variety of fields since the early 1970s — notably in cultural studies of medievalisms, international relations and literary theory — there are few applications that synthesise and put the methodologies of these diverse fields into practice. thN Lng folk 2go applies this extant scholarship as an extradisciplinary practice, dramatising the neomedieval turn in (quasi)objects, persons, work, education, travel, food, ethnicity, media, art, hypereconomics and technology. This speculative journey is ghost authored by a trinity of neomedievalist narrators — Journeyman, Anchorite and Host — each relic-ing their own curious neomedieval futurities 30 00 Neomedievalisms are cultural practices that breathe a bouquet of premoderns as permanent rehearsals of coming events. Where medievalists may be prone to police the post-medieval weald for inauthentic medievalisms, neomedievalists embrace the articulation and mobilisation of metahistorical anachronisms. To the medievalist, medievalisms provide powerful indexes that reveal how post-medieval societies have variously imagined ‘little middle ages’ to suit modern agendas. To the neomedievalist, medievalisms are theory-fictions that facilitate ludic speculation on non-modern futurities.While neomedievalist theories have emerged in a variety of fields since the early 1970s — notably in cultural studies of medievalisms, international relations and literary theory — there are few applications that synthesise and put the methodologies of these diverse fields into practice. thN Lng folk 2go applies this extant scholarship as an extradisciplinary practice, dramatising the neomedieval turn in (quasi)objects, persons, work, education, travel, food, ethnicity, media, art, hypereconomics and technology. This speculative journey is ghost authored by a trinity of neomedievalist narrators — Journeyman, Anchorite and Host — each relic-ing their own curious neomedieval futurities 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0051.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/thn-lng-folk-2go/ Brooklyn, NY 04 01 20131013 The Confraternity of Neoflagellants 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615890253 20 08 20131013 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/thn-lng-folk-2go-investigating-future-premodernsa 20 08 20131013 02 24.00 USD WORLD urn:uuid:aa2b01ac-c108-4c05-8d14-2c75f7c4417c 03 01 01 thoth-work-id urn:uuid:cc194166-c595-48aa-99f8-b5109fa2c2d0 01 thoth-publication-id urn:uuid:aa2b01ac-c108-4c05-8d14-2c75f7c4417c 06 10.21983/P3.0051.1.00 01 internal-reference 0051 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 thN Lng Folk 2go Investigating Future Premoderns™ 1 A01 Norman Hogg Norman Hogg 40 0420zvk78 Concordia University 2 A01 21 0000000162733697 Neil Mulholland Neil Mulholland 40 01nrxwf90 University of Edinburgh 3 A15 Simon O'Sullivan Simon O'Sullivan 40 01khx4a30 Goldsmiths University of London 01 eng 00 242 03 12 HBLC1 93 JBCC 10 LIT011000 B2 Premodern 93 3KH-GB-B B2 Thought Experiments 93 FUP 20 speculative fiction; medievalism; theory-fiction; geopolitics 01 06 02 00 03 00 Neomedievalisms are cultural practices that breathe a bouquet of premoderns as permanent rehearsals of coming events. Where medievalists may be prone to police the post-medieval weald for inauthentic medievalisms, neomedievalists embrace the articulation and mobilisation of metahistorical anachronisms. To the medievalist, medievalisms provide powerful indexes that reveal how post-medieval societies have variously imagined ‘little middle ages’ to suit modern agendas. To the neomedievalist, medievalisms are theory-fictions that facilitate ludic speculation on non-modern futurities.While neomedievalist theories have emerged in a variety of fields since the early 1970s — notably in cultural studies of medievalisms, international relations and literary theory — there are few applications that synthesise and put the methodologies of these diverse fields into practice. thN Lng folk 2go applies this extant scholarship as an extradisciplinary practice, dramatising the neomedieval turn in (quasi)objects, persons, work, education, travel, food, ethnicity, media, art, hypereconomics and technology. This speculative journey is ghost authored by a trinity of neomedievalist narrators — Journeyman, Anchorite and Host — each relic-ing their own curious neomedieval futurities 30 00 Neomedievalisms are cultural practices that breathe a bouquet of premoderns as permanent rehearsals of coming events. Where medievalists may be prone to police the post-medieval weald for inauthentic medievalisms, neomedievalists embrace the articulation and mobilisation of metahistorical anachronisms. To the medievalist, medievalisms provide powerful indexes that reveal how post-medieval societies have variously imagined ‘little middle ages’ to suit modern agendas. To the neomedievalist, medievalisms are theory-fictions that facilitate ludic speculation on non-modern futurities.While neomedievalist theories have emerged in a variety of fields since the early 1970s — notably in cultural studies of medievalisms, international relations and literary theory — there are few applications that synthesise and put the methodologies of these diverse fields into practice. thN Lng folk 2go applies this extant scholarship as an extradisciplinary practice, dramatising the neomedieval turn in (quasi)objects, persons, work, education, travel, food, ethnicity, media, art, hypereconomics and technology. This speculative journey is ghost authored by a trinity of neomedievalist narrators — Journeyman, Anchorite and Host — each relic-ing their own curious neomedieval futurities 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0051.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/thn-lng-folk-2go/ Brooklyn, NY 04 01 20131013 The Confraternity of Neoflagellants 02 WORLD 06 15 9780615890258 03 9780615890258 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76453 20 08 20131013 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25566 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25566/1004529.pdf?sequence=1&isAllowed=y 20 08 20131013 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33459 20 08 20131013 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354002 20 08 20131013 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/433 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/293c2a17-2a90-4f53-b20c-4e86d471006a/download 20 08 20131013 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cc194166-c595-48aa-99f8-b5109fa2c2d0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cc194166-c595-48aa-99f8-b5109fa2c2d0/cc194166-c595-48aa-99f8-b5109fa2c2d0.pdf 20 08 20131013 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845831 29 ZENODO: download the title https://zenodo.org/records/19845831/files/cc194166-c595-48aa-99f8-b5109fa2c2d0_book.pdf 20 08 20131013 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/thn-lng-folk-2go/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0051.1.00.pdf 20 08 20131013 01 urn:uuid:099c125c-fb9b-4205-bcd8-696a7db2c86d 03 01 01 thoth-work-id urn:uuid:860d205d-1953-4524-b1a7-70c59c42bd0e 01 thoth-publication-id urn:uuid:099c125c-fb9b-4205-bcd8-696a7db2c86d 15 9780692686911 03 9780692686911 06 10.21983/P3.0138.1.00 01 internal-reference 0138 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Thoughtrave An Interdimensional Conversation with Lady Gaga 1 A01 Robert Craig Baum Robert Craig Baum 40 04g3mbv81 European Graduate School 2 A24 George Elerick George Elerick 01 eng 00 206 03 12 AVGP 93 AVLP B2 Cultural Studies+Critical Theory 10 MUS050000 93 6PB B2 Sound+Noise 93 DNPB B2 Thought Experiments 93 AVP 20 Lady Gaga; philosophy; music industry; fan theory; pop music 01 06 02 00 03 00 Thoughtrave is the immediate and most detailed archive of Lady Gaga’s emotional, intellectual, philosophical, and spiritual evolution, a reclaiming of her art (and humanity) from within the center of her celebrity during one of the most difficult transitions of her career: Summer 2013–Fall 2014.I don’t like being used to make money. I feel sad when I am overworked and that I just become a money making machine and that my passion and my creativity take a backseat. That makes me unhappy. So, what did I do? I started to say no. Not doing that. I don’t want to do that. I’m not taking that picture. Not going to that event. Not standing by that because that’s not what I stand for.Thoughtrave marks perhaps the most important (and unconditional, unpublished, unencumbered) insights into the music industry, as well as into the personal battles that accompanied her transition from Stefani to Gaga. “It’s one of those rare moments in life when you ask a question of someone you’ve admired for many years and receive the most honest of answers leading both people into a relationship that was and remains one of the most important of my life,” says Baum, a professor, producer, composer, writer, editor, and activist for adjunct professors. As Baum explains to Stefani in one of the many interviews published here for the first time,It’s uncanny for me to look back at 2008–2011 — when I was intensely meditating on the problem “Why is there any being at all?” — to find evidence of your intervention here with me…to find you, back then…before I knew you. It was almost as if I was playing the Bruce Willis character in Twelve Monkeys, overshooting my mark in time/space, aiming for this particular conversation but speaking through Ereignis (life gives) to a moment I (and many others) call “headphones on.” 30 00 Thoughtrave is the immediate and most detailed archive of Lady Gaga’s emotional, intellectual, philosophical, and spiritual evolution, a reclaiming of her art (and humanity) from within the center of her celebrity during one of the most difficult transitions of her career: Summer 2013–Fall 2014.I don’t like being used to make money. I feel sad when I am overworked and that I just become a money making machine and that my passion and my creativity take a backseat. That makes me unhappy. So, what did I do? I started to say no. Not doing that. I don’t want to do that. I’m not taking that picture. Not going to that event. Not standing by that because that’s not what I stand for.Thoughtrave marks perhaps the most important (and unconditional, unpublished, unencumbered) insights into the music industry, as well as into the personal battles that accompanied her transition from Stefani to Gaga. “It’s one of those rare moments in life when you ask a question of someone you’ve admired for many years and receive the most honest of answers leading both people into a relationship that was and remains one of the most important of my life,” says Baum, a professor, producer, composer, writer, editor, and activist for adjunct professors. As Baum explains to Stefani in one of the many interviews published here for the first time,It’s uncanny for me to look back at 2008–2011 — when I was intensely meditating on the problem “Why is there any being at all?” — to find evidence of your intervention here with me…to find you, back then…before I knew you. It was almost as if I was playing the Bruce Willis character in Twelve Monkeys, overshooting my mark in time/space, aiming for this particular conversation but speaking through Ereignis (life gives) to a moment I (and many others) call “headphones on.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0138.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/thoughtrave-an-interdimensional-conversation-with-lady-gaga/ Earth, Milky Way 04 01 20160407 Baum, Robert Craig 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692686916 20 08 20160407 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/thoughtrave-an-interdimensional-conversation-with-lady-gaga 20 08 20160407 02 23.00 USD WORLD urn:uuid:5743827c-dfa2-4af1-a177-a1460e3a9020 03 01 01 thoth-work-id urn:uuid:860d205d-1953-4524-b1a7-70c59c42bd0e 01 thoth-publication-id urn:uuid:5743827c-dfa2-4af1-a177-a1460e3a9020 06 10.21983/P3.0138.1.00 01 internal-reference 0138 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Thoughtrave An Interdimensional Conversation with Lady Gaga 1 A01 Robert Craig Baum Robert Craig Baum 40 04g3mbv81 European Graduate School 2 A24 George Elerick George Elerick 01 eng 00 206 03 12 AVGP 93 AVLP B2 Cultural Studies+Critical Theory 10 MUS050000 93 6PB B2 Sound+Noise 93 DNPB B2 Thought Experiments 93 AVP 20 Lady Gaga; philosophy; music industry; fan theory; pop music 01 06 02 00 03 00 Thoughtrave is the immediate and most detailed archive of Lady Gaga’s emotional, intellectual, philosophical, and spiritual evolution, a reclaiming of her art (and humanity) from within the center of her celebrity during one of the most difficult transitions of her career: Summer 2013–Fall 2014.I don’t like being used to make money. I feel sad when I am overworked and that I just become a money making machine and that my passion and my creativity take a backseat. That makes me unhappy. So, what did I do? I started to say no. Not doing that. I don’t want to do that. I’m not taking that picture. Not going to that event. Not standing by that because that’s not what I stand for.Thoughtrave marks perhaps the most important (and unconditional, unpublished, unencumbered) insights into the music industry, as well as into the personal battles that accompanied her transition from Stefani to Gaga. “It’s one of those rare moments in life when you ask a question of someone you’ve admired for many years and receive the most honest of answers leading both people into a relationship that was and remains one of the most important of my life,” says Baum, a professor, producer, composer, writer, editor, and activist for adjunct professors. As Baum explains to Stefani in one of the many interviews published here for the first time,It’s uncanny for me to look back at 2008–2011 — when I was intensely meditating on the problem “Why is there any being at all?” — to find evidence of your intervention here with me…to find you, back then…before I knew you. It was almost as if I was playing the Bruce Willis character in Twelve Monkeys, overshooting my mark in time/space, aiming for this particular conversation but speaking through Ereignis (life gives) to a moment I (and many others) call “headphones on.” 30 00 Thoughtrave is the immediate and most detailed archive of Lady Gaga’s emotional, intellectual, philosophical, and spiritual evolution, a reclaiming of her art (and humanity) from within the center of her celebrity during one of the most difficult transitions of her career: Summer 2013–Fall 2014.I don’t like being used to make money. I feel sad when I am overworked and that I just become a money making machine and that my passion and my creativity take a backseat. That makes me unhappy. So, what did I do? I started to say no. Not doing that. I don’t want to do that. I’m not taking that picture. Not going to that event. Not standing by that because that’s not what I stand for.Thoughtrave marks perhaps the most important (and unconditional, unpublished, unencumbered) insights into the music industry, as well as into the personal battles that accompanied her transition from Stefani to Gaga. “It’s one of those rare moments in life when you ask a question of someone you’ve admired for many years and receive the most honest of answers leading both people into a relationship that was and remains one of the most important of my life,” says Baum, a professor, producer, composer, writer, editor, and activist for adjunct professors. As Baum explains to Stefani in one of the many interviews published here for the first time,It’s uncanny for me to look back at 2008–2011 — when I was intensely meditating on the problem “Why is there any being at all?” — to find evidence of your intervention here with me…to find you, back then…before I knew you. It was almost as if I was playing the Bruce Willis character in Twelve Monkeys, overshooting my mark in time/space, aiming for this particular conversation but speaking through Ereignis (life gives) to a moment I (and many others) call “headphones on.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0138.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/thoughtrave-an-interdimensional-conversation-with-lady-gaga/ Earth, Milky Way 04 01 20160407 Baum, Robert Craig 02 WORLD 06 15 9780692686911 03 9780692686911 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25487 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25487/1004608.pdf?sequence=1&isAllowed=y 20 08 20160407 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30034 20 08 20160407 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353905 20 08 20160407 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/520 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/201f799f-197c-4e86-9c27-7960fb8b2763/download 20 08 20160407 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Thoughtrave_An_Interdimensional_Conversa/EASVEAAAQBAJ 20 08 20160407 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/860d205d-1953-4524-b1a7-70c59c42bd0e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/860d205d-1953-4524-b1a7-70c59c42bd0e/860d205d-1953-4524-b1a7-70c59c42bd0e.pdf 20 08 20160407 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846531 29 ZENODO: download the title https://zenodo.org/records/19846531/files/860d205d-1953-4524-b1a7-70c59c42bd0e_book.pdf 20 08 20160407 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/thoughtrave-an-interdimensional-conversation-with-lady-gaga/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0138.1.00.pdf 20 08 20160407 01 urn:uuid:4e730704-e812-4a42-bf33-95896bd909c3 03 01 01 thoth-work-id urn:uuid:55093a36-0a44-4f73-b61a-d0fcd9ac75be 01 thoth-publication-id urn:uuid:4e730704-e812-4a42-bf33-95896bd909c3 15 9781685712341 03 9781685712341 06 10.53288/0497.1.00 13 2025939341 01 internal-reference 0497 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Gentrified City of God Queer & Medieval New York, from 9/11 to COVID-19 1 A01 A.W. Strouse A.W. Strouse A.W. Strouse is the author of many books and essays, including Form and Foreskin: Medieval Narratives of Circumcision (Fordham University Press, 2021), Transfer Queen (punctum books, 2018), and Gender Trouble Couplets, Vol. 1 (punctum books, 2019). 01 eng 00 424 03 B2 Built Environments 93 QRMB1 10 REL010000 93 1KBB-US-NAKC B2 Premodern 10 SOC012000 10 BIO026000 93 JBSJ B2 TransQueer 93 JBSD 93 DNC 20 AIDS; New York; Catholicism; gentrification; Middle Ages; queer anarchism; theology; Saint Augustine; memoir 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0497.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-gentrified-city-of-god-queer-medieval-new-york-from-9-11-to-covid-19/ Earth, Milky Way 02 01 20260901 A.W. Strouse 02 WORLD 06 15 9781685712358 03 9781685712358 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-gentrified-city-of-god-queer-medieval-new-york-from-9-11-to-covid-19/ 10 08 20260901 02 27.00 USD WORLD urn:uuid:9beb432e-02da-43a5-9f2c-d7a5f0fd52e9 03 01 01 thoth-work-id urn:uuid:55093a36-0a44-4f73-b61a-d0fcd9ac75be 01 thoth-publication-id urn:uuid:9beb432e-02da-43a5-9f2c-d7a5f0fd52e9 15 9781685712358 03 9781685712358 06 10.53288/0497.1.00 13 2025939341 01 internal-reference 0497 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Gentrified City of God Queer & Medieval New York, from 9/11 to COVID-19 1 A01 A.W. Strouse A.W. Strouse A.W. Strouse is the author of many books and essays, including Form and Foreskin: Medieval Narratives of Circumcision (Fordham University Press, 2021), Transfer Queen (punctum books, 2018), and Gender Trouble Couplets, Vol. 1 (punctum books, 2019). 01 eng 00 424 03 B2 Built Environments 93 QRMB1 10 REL010000 93 1KBB-US-NAKC B2 Premodern 10 SOC012000 10 BIO026000 93 JBSJ B2 TransQueer 93 JBSD 93 DNC 20 AIDS; New York; Catholicism; gentrification; Middle Ages; queer anarchism; theology; Saint Augustine; memoir 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0497.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-gentrified-city-of-god-queer-medieval-new-york-from-9-11-to-covid-19/ Earth, Milky Way 02 01 20260901 A.W. Strouse 02 WORLD 06 15 9781685712341 03 9781685712341 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-gentrified-city-of-god-queer-medieval-new-york-from-9-11-to-covid-19/ 10 08 20260901 01 urn:uuid:99ba9e79-b764-4846-9084-f6fa07c1a0fe 03 01 01 thoth-work-id urn:uuid:aa6c36bf-0d86-4768-8575-f4c630efdfa1 01 thoth-publication-id urn:uuid:99ba9e79-b764-4846-9084-f6fa07c1a0fe 15 9781685711962 03 9781685711962 06 10.53288/0534.1.00 13 2024931233 01 internal-reference 0534 00 BC 10 01 229 mm 01 22.9 cm 01 9 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Getty Fiend 1 A01 Ken White Ken White Assistant Professor of Screenwriting at the Writer's Workshop 40 04yrkc140 University of Nebraska at Omaha Ken White is a poet and screenwriter. He co-wrote and co-produced the feature film Winter in the Blood, co-directed and co-wrote the short film Universal VIP, as well as directed and co-wrote the short film The Conservationist. He has written or co-written more than a dozen feature scripts, including Blight, The Wereman, The Sorrows, and Cullen’s Hound, as well as new scripts, The Orpheum Circuit, The Jennet Device, and a television pilot, LIT, with James Meetze, and most recently the psychological horror feature Wed the Dark, which he directed. White is the author of three books of poetry: Eidolon, The Getty Fiend, and Middlemost Constantine. His work has appeared in The Boston Review, Columbia: A Journal of Literature and Art, Omniverse, Manor House Quarterly, Versal, Spork, Horsethief, EuropeNow, Poets.org, and BOMB Magazine, among others. White is an Assistant Professor of Screenwriting at the Writer's Workshop at the University of Nebraska, Omaha. 2 A24 Michael du Plessis Michael du Plessis 01 eng 00 126 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 1KBB-US-WPCA 10 POE023040 93 VXQM 93 DCC 93 FYM 20 werewolves; Bisclavret; Getty Museum; Los Angeles; mash-up; medieval literature; post-medievalism 01 06 02 00 03 00 The Getty Fiend, a contemporary medieval melodrama set in Los Angeles’s Getty Museum, takes the reader on a tour filled with rock stars and warrior-kings, werewolves and archivists, sartorial Huns and libertine saints, all seen through the keenly dramatic flair of a collector’s eye. A cinematic and labyrinthine take on pulp horror, Ken White’s screenplay-in-verse is a monster mash-up of forms and languages, facades and carnal catastrophes, archaic languages and misplaced rhetorics—a campy, fantastical gender-bending transformation into the inadvertently divine. 30 00 The Getty Fiend, a contemporary medieval melodrama set in Los Angeles’s Getty Museum, takes the reader on a tour filled with rock stars and warrior-kings, werewolves and archivists, sartorial Huns and libertine saints, all seen through the keenly dramatic flair of a collector’s eye. A cinematic and labyrinthine take on pulp horror, Ken White’s screenplay-in-verse is a monster mash-up of forms and languages, facades and carnal catastrophes, archaic languages and misplaced rhetorics—a campy, fantastical gender-bending transformation into the inadvertently divine. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0534.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-getty-fiend/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240129 Kenneth White 02 WORLD 06 15 9781685711979 03 9781685711979 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711960 20 08 20240129 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-getty-fiend 20 08 20240129 02 17.00 USD WORLD urn:uuid:e05af317-eeba-4440-ae24-f84f76a44153 03 01 01 thoth-work-id urn:uuid:aa6c36bf-0d86-4768-8575-f4c630efdfa1 01 thoth-publication-id urn:uuid:e05af317-eeba-4440-ae24-f84f76a44153 15 9781685711979 03 9781685711979 06 10.53288/0534.1.00 13 2024931233 01 internal-reference 0534 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Getty Fiend 1 A01 Ken White Ken White Assistant Professor of Screenwriting at the Writer's Workshop 40 04yrkc140 University of Nebraska at Omaha Ken White is a poet and screenwriter. He co-wrote and co-produced the feature film Winter in the Blood, co-directed and co-wrote the short film Universal VIP, as well as directed and co-wrote the short film The Conservationist. He has written or co-written more than a dozen feature scripts, including Blight, The Wereman, The Sorrows, and Cullen’s Hound, as well as new scripts, The Orpheum Circuit, The Jennet Device, and a television pilot, LIT, with James Meetze, and most recently the psychological horror feature Wed the Dark, which he directed. White is the author of three books of poetry: Eidolon, The Getty Fiend, and Middlemost Constantine. His work has appeared in The Boston Review, Columbia: A Journal of Literature and Art, Omniverse, Manor House Quarterly, Versal, Spork, Horsethief, EuropeNow, Poets.org, and BOMB Magazine, among others. White is an Assistant Professor of Screenwriting at the Writer's Workshop at the University of Nebraska, Omaha. 2 A24 Michael du Plessis Michael du Plessis 01 eng 00 126 03 12 DCF 93 DCF B2 Fabulations 10 POE005010 93 1KBB-US-WPCA 10 POE023040 93 VXQM 93 DCC 93 FYM 20 werewolves; Bisclavret; Getty Museum; Los Angeles; mash-up; medieval literature; post-medievalism 01 06 02 00 03 00 The Getty Fiend, a contemporary medieval melodrama set in Los Angeles’s Getty Museum, takes the reader on a tour filled with rock stars and warrior-kings, werewolves and archivists, sartorial Huns and libertine saints, all seen through the keenly dramatic flair of a collector’s eye. A cinematic and labyrinthine take on pulp horror, Ken White’s screenplay-in-verse is a monster mash-up of forms and languages, facades and carnal catastrophes, archaic languages and misplaced rhetorics—a campy, fantastical gender-bending transformation into the inadvertently divine. 30 00 The Getty Fiend, a contemporary medieval melodrama set in Los Angeles’s Getty Museum, takes the reader on a tour filled with rock stars and warrior-kings, werewolves and archivists, sartorial Huns and libertine saints, all seen through the keenly dramatic flair of a collector’s eye. A cinematic and labyrinthine take on pulp horror, Ken White’s screenplay-in-verse is a monster mash-up of forms and languages, facades and carnal catastrophes, archaic languages and misplaced rhetorics—a campy, fantastical gender-bending transformation into the inadvertently divine. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0534.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-getty-fiend/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240129 Kenneth White 02 WORLD 06 15 9781685711962 03 9781685711962 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/87344 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/87344/0534.1.00.pdf?sequence=1&isAllowed=y 20 08 20240129 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/133746 20 08 20240129 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626762 20 08 20240129 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=d3a8b91c-6f3b-3afc-aa4a-d18d510e11cf 20 08 20240129 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/338 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e68f58d9-775e-4f9b-9ad6-c4b8bcd243e7/download 20 08 20240129 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/aa6c36bf-0d86-4768-8575-f4c630efdfa1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/aa6c36bf-0d86-4768-8575-f4c630efdfa1/aa6c36bf-0d86-4768-8575-f4c630efdfa1.pdf 20 08 20240129 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850181 29 ZENODO: download the title https://zenodo.org/records/19850181/files/aa6c36bf-0d86-4768-8575-f4c630efdfa1_book.pdf 20 08 20240129 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-getty-fiend/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0534.1.00.pdf 20 08 20240129 01 urn:uuid:76fe2b5c-e4f7-4c50-bbc2-48173fab37e4 03 01 01 thoth-work-id urn:uuid:5bc52c24-cb4c-4625-a883-53af8d40ed0f 01 thoth-publication-id urn:uuid:76fe2b5c-e4f7-4c50-bbc2-48173fab37e4 15 9781950192960 03 9781950192960 06 10.21983/P3.0312.1.00 13 2020941006 01 internal-reference 0312 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Goths & Other Stories 1 A01 21 0000000330270629 Sasha Kaoru Zamler-Carhart Sasha Kaoru Zamler-Carhart 40 02tvcev59 New School 40 02cmz8k74 Parsons School of Design 06 Own website https://www.tisandvitaly.com/ 01 eng 00 254 03 B2 Fabulations 93 FDK 10 FIC040000 12 FQ B2 Premodern 20 fiction; poetry; history; philosophy; design 01 06 02 00 03 00 In the winter of 476 A.D. the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator as a matter of tax planning.In The Goths & Other Stories, sexual desire, food, space, and anger are distorted; prose fiction, experimental poetry, philosophy, and design theory intersect and breed. The poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book. The smell of seafood and speculative urban planning merge into a 1990s computer game, Abidjan has 12,756 streets with no way to go from one to another, an apocalypse of tax law and classical mythology descends upon suburbia and reveals a medieval theology of design, theater, and light.The book’s six stories are set in different times and places – sometimes within the same narrative – but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design – one whose medium is easier to reveal than to define. 30 00 In the winter of 476 A.D. the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator as a matter of tax planning.In The Goths & Other Stories, sexual desire, food, space, and anger are distorted; prose fiction, experimental poetry, philosophy, and design theory intersect and breed. The poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book. The smell of seafood and speculative urban planning merge into a 1990s computer game, Abidjan has 12,756 streets with no way to go from one to another, an apocalypse of tax law and classical mythology descends upon suburbia and reveals a medieval theology of design, theater, and light.The book’s six stories are set in different times and places – sometimes within the same narrative – but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design – one whose medium is easier to reveal than to define. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0312.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-goths-other-stories/ Earth, Milky Way 08 01 20200707 13 20230225 Zamler-Carhart, Sasha Kaoru (0000-0003-3027-0629) 02 WORLD 05 06 10.53288/0492.1.00 06 15 9781950192977 03 9781950192977 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192962 41 08 20200707 02 21.00 USD WORLD urn:uuid:4a88a38d-7414-4629-bdd8-c8fdfab046a7 03 01 01 thoth-work-id urn:uuid:5bc52c24-cb4c-4625-a883-53af8d40ed0f 01 thoth-publication-id urn:uuid:4a88a38d-7414-4629-bdd8-c8fdfab046a7 15 9781950192977 03 9781950192977 06 10.21983/P3.0312.1.00 13 2020941006 01 internal-reference 0312 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Goths & Other Stories 1 A01 21 0000000330270629 Sasha Kaoru Zamler-Carhart Sasha Kaoru Zamler-Carhart 40 02tvcev59 New School 40 02cmz8k74 Parsons School of Design 06 Own website https://www.tisandvitaly.com/ 01 eng 00 254 03 B2 Fabulations 93 FDK 10 FIC040000 12 FQ B2 Premodern 20 fiction; poetry; history; philosophy; design 01 06 02 00 03 00 In the winter of 476 A.D. the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator as a matter of tax planning.In The Goths & Other Stories, sexual desire, food, space, and anger are distorted; prose fiction, experimental poetry, philosophy, and design theory intersect and breed. The poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book. The smell of seafood and speculative urban planning merge into a 1990s computer game, Abidjan has 12,756 streets with no way to go from one to another, an apocalypse of tax law and classical mythology descends upon suburbia and reveals a medieval theology of design, theater, and light.The book’s six stories are set in different times and places – sometimes within the same narrative – but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design – one whose medium is easier to reveal than to define. 30 00 In the winter of 476 A.D. the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator as a matter of tax planning.In The Goths & Other Stories, sexual desire, food, space, and anger are distorted; prose fiction, experimental poetry, philosophy, and design theory intersect and breed. The poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book. The smell of seafood and speculative urban planning merge into a 1990s computer game, Abidjan has 12,756 streets with no way to go from one to another, an apocalypse of tax law and classical mythology descends upon suburbia and reveals a medieval theology of design, theater, and light.The book’s six stories are set in different times and places – sometimes within the same narrative – but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design – one whose medium is easier to reveal than to define. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0312.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-goths-other-stories/ Earth, Milky Way 08 01 20200707 13 20230225 Zamler-Carhart, Sasha Kaoru (0000-0003-3027-0629) 02 WORLD 05 06 10.53288/0492.1.00 06 15 9781950192960 03 9781950192960 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77422 41 08 20200707 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/39935 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/39935/0312.1.00.pdf?sequence=1&isAllowed=y 41 08 20200707 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5bc52c24-cb4c-4625-a883-53af8d40ed0f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5bc52c24-cb4c-4625-a883-53af8d40ed0f/5bc52c24-cb4c-4625-a883-53af8d40ed0f.pdf 41 08 20200707 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-goths-other-stories/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0312.1.00.pdf 41 08 20200707 01 urn:uuid:47675819-41ec-4ec9-b873-aa25d86a3be9 03 01 01 thoth-work-id urn:uuid:7c2700ae-b3ba-4771-8c2d-991309577ca6 01 thoth-publication-id urn:uuid:47675819-41ec-4ec9-b873-aa25d86a3be9 15 9781685711320 03 9781685711320 06 10.53288/0492.1.00 13 2023932851 01 internal-reference 0492 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Goths & Other Stories 1 A01 21 0000000330270629 Tis Kaoru Zamler-Carhart Tis Kaoru Zamler-Carhart 40 02tvcev59 New School 40 02cmz8k74 Parsons School of Design Tis Kaoru Zamler-Carhart (they/them) is a designer, photographer, writer, singer, and music composer. Tis’s literary and photographic work revolves around objects, surfaces, and materials, speculative worlds, Africa and its futurisms, linguistics, the European Middle Ages, and the fragile boundaries of seriousness. Their musical work, as both composer and singer, encompasses opera and theater music, chamber music, and solo vocal music. Tis teaches transdisciplinary design at Parsons School of Design in New York. Tis formerly taught medieval music and Latin at the Royal Conservatoire The Hague, The Netherlands, and was the artistic director of the vocal group Ascoli Ensemble, and the lead singer of the band Zamler-Carhart/Rauh/Greenberg. 06 Own website https://www.tisandvitaly.com/ 2 01 eng 00 254 03 B2 Fabulations 93 FDK 10 FIC040000 12 FQ B2 Premodern 20 fiction; poetry; philosophy; history; design 01 06 02 00 03 00 In the winter of 476 AD, the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator, Abidjan has 12,756 streets with no way to go from one to another, and the poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book, as an apocalypse of tax law and classical mythology quietly descends upon their living room and reveals a medieval theology of design, theater, and light.The Goths & Other Stories is a collection of short works at the intersection of prose fiction, experimental poetry, philosophy, and design theory. The book’s six stories are set in different times and places—sometimes within the same narrative—but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design—one whose medium is easier to reveal than to define. 30 00 In the winter of 476 AD, the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator, Abidjan has 12,756 streets with no way to go from one to another, and the poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book, as an apocalypse of tax law and classical mythology quietly descends upon their living room and reveals a medieval theology of design, theater, and light.The Goths & Other Stories is a collection of short works at the intersection of prose fiction, experimental poetry, philosophy, and design theory. The book’s six stories are set in different times and places—sometimes within the same narrative—but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design—one whose medium is easier to reveal than to define. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0492.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-goths-other-stories-2nd-edn/ Earth, Milky Way 04 01 20230228 Zamler-Carhart, Tis Kaoru 02 WORLD 03 06 10.21983/P3.0312.1.00 06 15 9781685711337 03 9781685711337 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711324 20 08 20230228 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-goths-other-stories 20 08 20230228 02 24.00 USD WORLD urn:uuid:9fb3ade8-36cb-4ce2-8f67-05a01aff38d8 03 01 01 thoth-work-id urn:uuid:7c2700ae-b3ba-4771-8c2d-991309577ca6 01 thoth-publication-id urn:uuid:9fb3ade8-36cb-4ce2-8f67-05a01aff38d8 15 9781685711337 03 9781685711337 06 10.53288/0492.1.00 13 2023932851 01 internal-reference 0492 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Goths & Other Stories 1 A01 21 0000000330270629 Tis Kaoru Zamler-Carhart Tis Kaoru Zamler-Carhart 40 02tvcev59 New School 40 02cmz8k74 Parsons School of Design Tis Kaoru Zamler-Carhart (they/them) is a designer, photographer, writer, singer, and music composer. Tis’s literary and photographic work revolves around objects, surfaces, and materials, speculative worlds, Africa and its futurisms, linguistics, the European Middle Ages, and the fragile boundaries of seriousness. Their musical work, as both composer and singer, encompasses opera and theater music, chamber music, and solo vocal music. Tis teaches transdisciplinary design at Parsons School of Design in New York. Tis formerly taught medieval music and Latin at the Royal Conservatoire The Hague, The Netherlands, and was the artistic director of the vocal group Ascoli Ensemble, and the lead singer of the band Zamler-Carhart/Rauh/Greenberg. 06 Own website https://www.tisandvitaly.com/ 2 01 eng 00 254 03 B2 Fabulations 93 FDK 10 FIC040000 12 FQ B2 Premodern 20 fiction; poetry; philosophy; history; design 01 06 02 00 03 00 In the winter of 476 AD, the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator, Abidjan has 12,756 streets with no way to go from one to another, and the poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book, as an apocalypse of tax law and classical mythology quietly descends upon their living room and reveals a medieval theology of design, theater, and light.The Goths & Other Stories is a collection of short works at the intersection of prose fiction, experimental poetry, philosophy, and design theory. The book’s six stories are set in different times and places—sometimes within the same narrative—but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design—one whose medium is easier to reveal than to define. 30 00 In the winter of 476 AD, the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator, Abidjan has 12,756 streets with no way to go from one to another, and the poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book, as an apocalypse of tax law and classical mythology quietly descends upon their living room and reveals a medieval theology of design, theater, and light.The Goths & Other Stories is a collection of short works at the intersection of prose fiction, experimental poetry, philosophy, and design theory. The book’s six stories are set in different times and places—sometimes within the same narrative—but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design—one whose medium is easier to reveal than to define. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0492.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-goths-other-stories-2nd-edn/ Earth, Milky Way 04 01 20230228 Zamler-Carhart, Tis Kaoru 02 WORLD 03 06 10.21983/P3.0312.1.00 06 15 9781685711320 03 9781685711320 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/61469 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/61469/0492.1.00.pdf?sequence=1&isAllowed=y 20 08 20230228 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/97766 20 08 20230228 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.1380398 20 08 20230228 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/369 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5a1f51c1-0feb-4cf5-95be-05dcf3ca9f55/download 20 08 20230228 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7c2700ae-b3ba-4771-8c2d-991309577ca6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7c2700ae-b3ba-4771-8c2d-991309577ca6/7c2700ae-b3ba-4771-8c2d-991309577ca6.pdf 20 08 20230228 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849742 29 ZENODO: download the title https://zenodo.org/records/19849742/files/7c2700ae-b3ba-4771-8c2d-991309577ca6_book.pdf 20 08 20230228 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-goths-other-stories-2nd-edn/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0492.1.00.pdf 20 08 20230228 01 urn:uuid:1a86864e-4530-4df0-9c4c-768ee050d4a1 03 01 01 thoth-work-id urn:uuid:f58100fb-f99d-4b1e-9f4f-f851e34fe06f 01 thoth-publication-id urn:uuid:1a86864e-4530-4df0-9c4c-768ee050d4a1 15 9781953035080 03 9781953035080 06 10.21983/P3.0285.1.00 13 2020945724 01 internal-reference 0285 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Great Awakening New Modes of Life amidst Capitalist Ruins 1 B01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 B01 21 0000000239133930 David (0002-3913-3930) Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 00 404 03 B2 Capital+Lucre 10 POL005000 12 RNA 93 RNA B2 Cultural Studies+Critical Theory 93 KCP 12 KCP B2 New Left Thought 20 market economics; capitalism; liberalism; nation-state; commons; digital innovation; ontology 01 06 02 00 03 00 As we enter a time of climate catastrophe, worsening inequality, and collapsing market/state systems, can human societies transcend the old, dysfunctional paradigms and build the world anew? There are many signs of hope.In The Great Awakening, twelve cutting-edge activists, scholars, and change-makers probe the deep roots of our current predicament while reflecting on the social DNA for a post-capitalist future. We learn about seed-sharing in agriculture, blockchain technologies for networked collaboration, cosmolocal peer production of houses and vehicles, creative hacks on law, and new ways of thinking and enacting a rich, collaborative future. This surge of creativity is propelled by the social practices of commoning new modes of life for creating and sharing wealth in fair-minded, ecologically respectful ways.It is clear that the multiple, entangled crises produced by neoliberal capitalism cannot be resolved by existing political and legal institutions, which are imploding under the weight of their own contradictions. Present and future needs can be met by systems that go beyond the market and state. With experiments and struggle, a growing pluriverse of commoners from Europe and the US to the Global South and cyberspace are demonstrating some fundamentally new ways of thinking, being and acting. This ontological shift of perspective is making new worlds possible. 30 00 As we enter a time of climate catastrophe, worsening inequality, and collapsing market/state systems, can human societies transcend the old, dysfunctional paradigms and build the world anew? There are many signs of hope.In The Great Awakening, twelve cutting-edge activists, scholars, and change-makers probe the deep roots of our current predicament while reflecting on the social DNA for a post-capitalist future. We learn about seed-sharing in agriculture, blockchain technologies for networked collaboration, cosmolocal peer production of houses and vehicles, creative hacks on law, and new ways of thinking and enacting a rich, collaborative future. This surge of creativity is propelled by the social practices of commoning new modes of life for creating and sharing wealth in fair-minded, ecologically respectful ways.It is clear that the multiple, entangled crises produced by neoliberal capitalism cannot be resolved by existing political and legal institutions, which are imploding under the weight of their own contradictions. Present and future needs can be met by systems that go beyond the market and state. With experiments and struggle, a growing pluriverse of commoners from Europe and the US to the Global South and cyberspace are demonstrating some fundamentally new ways of thinking, being and acting. This ontological shift of perspective is making new worlds possible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0285.1.00_frontcover.jpg 1 03 06 10.53288/0285.1.01 1 12 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 B01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 2 03 06 10.53288/0285.1.02 13 22 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 A01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 3 03 06 10.53288/0285.1.03 23 55 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modernity, Anthropocene, Capitalocene, and the Climate Crisis 1 A01 21 0000000228966996 Sam Adelman Sam Adelman 40 01a77tt86 University of Warwick 40 03r1jm528 Nelson Mandela University Sam Adelman teaches law at the University of Warwick and is a Research Associate at Nelson Mandela University in South Africa. His main areas of research are climate change, international environmental law, development and human rights. He has degrees from Warwick, the University of the Witwatersrand in South Africa—and Harvard University. His recent publications cover geoengineering, climate justice, human rights and climate change, and epistemologies of mastery. 01 eng 20 00 Open Access Sam Adelman 4 03 06 10.53288/0285.1.04 57 78 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twilight of the Nation-State (at a Time of Resurgent Nationalism)? 1 A01 Richard Falk Richard Falk 40 00hx57361 Princeton University 40 02t274463 University of California, Santa Barbara Richard Falk is Albert G. Milbank Professor of International Law, Emeritus, Princeton University, and Distinguished Research Fellow, Orfalea Center, University of California, Santa Barbara. His most recent books are Waiting for Rainbows: Poems (2015), Power Shift: On the New Global Order (2016), Revisiting the Vietnam War (2018). He was UN Special Rapporteur for Occupied Palestine (2008-14). Since 2009 he has been annually nominated for the Nobel Peace Prize. His main work-in-progress is a political/personal memoir that may never be completed. 01 eng 20 00 Open Access Richard Falk 5 03 06 10.53288/0285.1.05 79 110 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Decline of Liberal Politics 1 A01 21 0000000183629207 Andreas Karitzis Andreas Karitzis Andreas Karitzis is co-founder of Komvos (hub) for Social Economy, Empowerment and Innovation. He participates in international networks as policy-advisor for digital transformation strategies and expert on distributed leadership models and organizational methodologies informed by digital technologies. He participates in initiatives regarding digital commons, climate change, circular and sustainable economy in Greece, and is the co-founder of REIDDL Technologies (a hybrid company/network providing Artificial Intelligence services across various industries and institutions) and of MOAB Agency, (providing policy-making and digital communications services for private and public entities). Andreas served on the Political Secretariat of SYRIZA and its Program Committee until April 2014—and on the SYRIZA Central Committee for 11 years, until August 2015. He was also a member of the Managing Board of the Nicos Poulantzas Institute. His publications include: Logic and Method of a Left Government and The European Left in Times of Crises: Lessons from Greece. 01 eng 20 00 Open Access Andreas Karitzis 6 03 06 10.53288/0285.1.06 111 148 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Awakening to an Ecology of the Commons 1 A01 21 0000000192455907 Michel Bauwens Michel Bauwens Michel Bauwens is the founder and director of the P2P Foundation and works in collaboration with a global group of researchers in the exploration of peer production, governance, and property. He travels extensively, giving workshops and lectures on P2P and the Commons as emergent paradigms and the opportunities they present to move towards a post-capitalist world. He is a founding member of the Commons Strategies Group, with Silke Helfrich and David Bollier. His most recent book is Save the World—Towards a Post Capitalist Society with P2P. He currently lives in Chiang Mai, Thailand. 2 A01 Jose Maria Ramos Jose Maria Ramos Jose Maria Ramos has a great passion for exploring who we are as planetary beings, which includes his ethnographic study of alternative globalizations, writings on planetary stigmergy/collaboration, and research on cosmo-localization. He is Senior Consulting Editor for the Journal of Futures Studies, runs the boutique foresight consultancy Action Foresight, and has over 50 publications in journals, magazines and books spanning economic, cultural and political change. He has co-founded numerous civil society organizations, a social forum, a maker lab, an advocacy group for commons governance, and a peer-to-peer leadership development group for mutant futurists. 01 eng 20 00 Open Access Michel Bauwens Jose Maria Ramos 7 03 06 10.53288/0285.1.07 149 183 35 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beating the Bounds Inside the Struggle to Make Open Source Seed 1 A01 21 0000000289755316 Maywa Montenegro de Wit Maywa Montenegro de Wit 40 05rrcem69 University of California, Davis Maywa Montenegro de Wit, a UC President’s Postdoctoral Fellow at the University of California-Davis, draws on political ecology, science and technology studies, and rural sociology to address issues of seed diversity and access to it. Her research spans the development of gene editing technologies to the emergence of social movement-scientist partnerships advancing agroecology, food and seed sovereignty, and alternatives to intellectual property. She holds a BA from Williams College, an MS from M.I.T., and a PhD from UC Berkeley. 01 eng 20 00 Open Access Maywa Montenegro de Wit 8 03 06 10.53288/0285.1.08 185 222 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Blockchain Technology Toward a Decentralized Governance of Digital Platforms? 1 A01 21 0000000252727856 Primavera De Filippi Primavera De Filippi 40 02feahw73 French National Centre for Scientific Research Primavera De Filippi is a Researcher at the National Center of Scientific Research in Paris, and Faculty Associate at the Berkman-Klein Center for Internet and Society at Harvard. She is member of the Global Future Council on Blockchain Technologies at the World Economic Forum, and founder of the Internet Governance Forum’s dynamic coalitions on Blockchain Technology (COALA). Her book, Blockchain and the Law, was published in 2018 by Harvard University Press, and is co-authored with Aaron Wright. 2 A01 21 0000000168429303 Xavier Lavayssière Xavier Lavayssière Xavier Lavayssière has a background in Computer Science and Business Public Law and works on the use of blockchain protocols as a regulatory instrument with the research team Blockchain Perspectives. He cofounded ECAN, a development and training agency on blockchain protocols, legalico.io a website on crypto-assets regulation and Les Bricodeurs a civic tech non-profit. In 2018, he co authored “Smart Contracts : Case Studies and Legal remarks” and France Stratégie report on legal aspect of blockchain technologies. 01 eng 20 00 Open Access Primavera De Filippi Xavier Lavayssière 9 03 06 10.53288/0285.1.09 223 246 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hacking the Law to Open Up Zones for Commoning 1 A01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access David Bollier 10 03 06 10.53288/0285.1.10 247 276 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking Law, Ecology, and the Commons 1 A01 21 0000000280990029 Vito De Lucia Vito De Lucia 40 00wge5k78 UiT The Arctic University of Norway Vito De Lucia is a postdoctoral fellow at the K.G. Jebsen Centre for the Law of the Sea (JCLOS), UiT The Arctic University of Norway. His most immediate research interests are located at the intersection of critical theory, law and ecology. His current research agenda focuses on the concept of commons in international law and on the commons as a critical legal horizon. He is author of The Ecosystem Approach in International Environmental Law: Genealogy and Biopolitics (Abingdon: Routledge, 2019). 01 eng 20 00 Open Access Vito De Lucia 11 03 06 10.53288/0285.1.11 277 315 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 CommonsWealth The Difference Engine: Complexity and Generativity — New Ontological Foundations 1 A01 Paul B. Harzog Paul B. Harzog 40 00jmfr291 University of Michigan–Ann Arbor Paul B Harzog, one of the coiners of the word “panarchy,” is an independent scholar and hacker, and has taught at the University of Michigan’s School of Information. Recipient of an NSF IGERT to study complex systems, he has a Masters in Globalization and Environmental Politics from the University of Utah, and a Masters in Political Theory from the University of Michigan. His work on panarchy hybridizes political philosophy/economy, network culture, complex systems, and critical social theory. 01 eng 20 00 Open Access Paul B. Harzog 12 03 06 10.53288/0285.1.12 317 355 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Resisting Anthropocene Neoliberalism Towards New Materialist Commoning? 1 A01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 01 eng 20 00 Open Access Anna Grear 13 03 06 10.53288/0285.1.13 357 400 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reference Bibliography 1 B01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 B01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-great-awakening-new-modes-of-life-amidst-capitalist-ruins/ Earth, Milky Way 04 01 20201008 Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 02 WORLD 06 15 9781953035097 03 9781953035097 34 06 10.1126/science.177.4047.393 34 06 10.4337/jhre.2017.01.06 34 06 10.2139/ssrn.2709713 34 06 10.1080/23269995.2018.1461442 34 06 10.1177/0263276409358729 34 06 10.1177/0011392114559951 34 06 10.1111/j.1745 34 06 10.1080/1369118X.2010.542825 34 06 10.1126/science.1187512 34 06 10.1086/596640 34 06 10.1145/52324.52336 34 06 10.1126/science.365.6452.422 34 06 10.1080/03066150.2012.664138 34 06 10.1038/415023a 34 06 10.1073/pnas.1219791110 34 06 10.2139/ssrn.2811995 34 06 10.1163/1569206041551609 34 06 10.14763/2014.2.286 34 06 10.14763/2016.3.427 34 06 10.1111/reel-12227 34 06 10.4337/jhre.2017.02.01 34 06 10.1093/jel/equ031 34 06 10.1017/cjlj.2019.2 34 06 10.1515/pol-2018-0022 34 06 10.1093/jel/eqt025 34 06 10.4103/0972-4923.73806 34 06 10.1080/13645579.2014.921458 34 06 10.1177/002234337100800201 34 06 10.1016/j.respol.2010.01.022 34 06 10.1017/S1537592714001595 34 06 10.4337/jhre.2011.01.02 34 06 10.1007/s10978-015-9161-0 34 06 10.1177/20530119616634741 34 06 10.1177/0263276406069228 34 06 10.1126/science.162.3859.1243 34 06 10.2307/2548786 34 06 10.1287/orsc.14.1.209.14992 34 06 10.1177/0020715209105141 34 06 10.2135/cropsci2014.09.1669 34 06 10.3390/su1041266 34 06 10.1080/13698010601173783 34 06 10.1111/ajes.12145 34 06 10.1108/14636680810855991 34 06 10.1162/152638004773730220 34 06 10.1080/1600910X.2013.870083 34 06 10.1080/03066150.2013.875897 34 06 10.1016/j.futures.2015.09.001 34 06 10.1093/icon/mow039 34 06 10.1007/s10997-007-9022-9 34 06 10.1191/0309132504ph515oa 34 06 10.1215/22011919-3616416 34 06 10.1057/palgrave.ejis.3000373 34 06 10.3390/su8050479 34 06 10.2135/cropsci2014.10.0708 34 06 10.1177/20530196113516291 34 06 10.1016/j.ecolecon.2015.11.027 34 06 10.1080/08985620210142011 34 06 10.1080/1045575052000335348 34 06 10.1007/s12571-015-0528-8 34 06 10.2139/ssrn.3014782 34 06 10.1145/567793.567795 34 06 10.1080/03066150.2016.1235036 34 06 10.1080/03066150.2017.1383395 34 06 10.1080/03066150.2016.1168405 34 06 10.1007/s10686-014-9379-0 34 06 10.1126/science.284.5412.278 34 06 10.1016/j.techfore.2017.05.025 34 06 10.4476/38032 34 06 10.1177/1357034X0401759 34 06 10.1038/nclimate3352 34 06 10.6531/JFS.2017.21(4).A65 34 06 10.22439/fs.v0i0.2465 34 06 10.2139/ssrn.3340056 34 06 10.1016/j.frl.2020.101427 34 06 10.1016/j.biocon.2019.01.020 34 06 10.1093/cjres/ 34 06 10.1111/newe.12023 34 06 10.1177/2053019614564785 34 06 10.1111/j.1540- 34 06 10.1080/10848770.2014.898959 34 06 10.1023/A:1008926819 34 06 10.1098/rstb.2016.0135 34 06 10.1111/j.1758-6210.2011.02530.x 34 06 10.1017/S0043887100016415 34 06 10.1177/135406610394001 34 06 10.1080/096922997347742 34 06 10.3390/h7030078 34 06 10.3898/NEWF.69.01.2010 34 06 10.4337/jhre/2016.02.01 34 06 10.5840/enviroethics20042643 34 06 10.1093/jel/eqy016 34 06 10.4337/jhre/2013.02.03 34 06 10.1353/nlh.2010.0022 34 06 10.4337/jhre.2012.03.05 34 06 10.1007/s12130-999-1026-0 34 06 10.1093/cjres/rsw047 34 06 10.4337/jhre.2017.02.02 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035086 20 08 20201008 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-great-awakening-new-modes-of-life-amidst-capitalist-ruins 20 08 20201008 02 27.00 USD WORLD urn:uuid:91569c2b-f3a0-4163-9404-8c5ae8b49419 03 01 01 thoth-work-id urn:uuid:f58100fb-f99d-4b1e-9f4f-f851e34fe06f 01 thoth-publication-id urn:uuid:91569c2b-f3a0-4163-9404-8c5ae8b49419 15 9781953035097 03 9781953035097 06 10.21983/P3.0285.1.00 13 2020945724 01 internal-reference 0285 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Great Awakening New Modes of Life amidst Capitalist Ruins 1 B01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 B01 21 0000000239133930 David (0002-3913-3930) Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 00 404 03 B2 Capital+Lucre 10 POL005000 12 RNA 93 RNA B2 Cultural Studies+Critical Theory 93 KCP 12 KCP B2 New Left Thought 20 market economics; capitalism; liberalism; nation-state; commons; digital innovation; ontology 01 06 02 00 03 00 As we enter a time of climate catastrophe, worsening inequality, and collapsing market/state systems, can human societies transcend the old, dysfunctional paradigms and build the world anew? There are many signs of hope.In The Great Awakening, twelve cutting-edge activists, scholars, and change-makers probe the deep roots of our current predicament while reflecting on the social DNA for a post-capitalist future. We learn about seed-sharing in agriculture, blockchain technologies for networked collaboration, cosmolocal peer production of houses and vehicles, creative hacks on law, and new ways of thinking and enacting a rich, collaborative future. This surge of creativity is propelled by the social practices of commoning new modes of life for creating and sharing wealth in fair-minded, ecologically respectful ways.It is clear that the multiple, entangled crises produced by neoliberal capitalism cannot be resolved by existing political and legal institutions, which are imploding under the weight of their own contradictions. Present and future needs can be met by systems that go beyond the market and state. With experiments and struggle, a growing pluriverse of commoners from Europe and the US to the Global South and cyberspace are demonstrating some fundamentally new ways of thinking, being and acting. This ontological shift of perspective is making new worlds possible. 30 00 As we enter a time of climate catastrophe, worsening inequality, and collapsing market/state systems, can human societies transcend the old, dysfunctional paradigms and build the world anew? There are many signs of hope.In The Great Awakening, twelve cutting-edge activists, scholars, and change-makers probe the deep roots of our current predicament while reflecting on the social DNA for a post-capitalist future. We learn about seed-sharing in agriculture, blockchain technologies for networked collaboration, cosmolocal peer production of houses and vehicles, creative hacks on law, and new ways of thinking and enacting a rich, collaborative future. This surge of creativity is propelled by the social practices of commoning new modes of life for creating and sharing wealth in fair-minded, ecologically respectful ways.It is clear that the multiple, entangled crises produced by neoliberal capitalism cannot be resolved by existing political and legal institutions, which are imploding under the weight of their own contradictions. Present and future needs can be met by systems that go beyond the market and state. With experiments and struggle, a growing pluriverse of commoners from Europe and the US to the Global South and cyberspace are demonstrating some fundamentally new ways of thinking, being and acting. This ontological shift of perspective is making new worlds possible. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0285.1.00_frontcover.jpg 1 03 06 10.53288/0285.1.01 1 12 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 B01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 2 03 06 10.53288/0285.1.02 13 22 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 A01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 3 03 06 10.53288/0285.1.03 23 55 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Modernity, Anthropocene, Capitalocene, and the Climate Crisis 1 A01 21 0000000228966996 Sam Adelman Sam Adelman 40 01a77tt86 University of Warwick 40 03r1jm528 Nelson Mandela University Sam Adelman teaches law at the University of Warwick and is a Research Associate at Nelson Mandela University in South Africa. His main areas of research are climate change, international environmental law, development and human rights. He has degrees from Warwick, the University of the Witwatersrand in South Africa—and Harvard University. His recent publications cover geoengineering, climate justice, human rights and climate change, and epistemologies of mastery. 01 eng 20 00 Open Access Sam Adelman 4 03 06 10.53288/0285.1.04 57 78 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Twilight of the Nation-State (at a Time of Resurgent Nationalism)? 1 A01 Richard Falk Richard Falk 40 00hx57361 Princeton University 40 02t274463 University of California, Santa Barbara Richard Falk is Albert G. Milbank Professor of International Law, Emeritus, Princeton University, and Distinguished Research Fellow, Orfalea Center, University of California, Santa Barbara. His most recent books are Waiting for Rainbows: Poems (2015), Power Shift: On the New Global Order (2016), Revisiting the Vietnam War (2018). He was UN Special Rapporteur for Occupied Palestine (2008-14). Since 2009 he has been annually nominated for the Nobel Peace Prize. His main work-in-progress is a political/personal memoir that may never be completed. 01 eng 20 00 Open Access Richard Falk 5 03 06 10.53288/0285.1.05 79 110 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Decline of Liberal Politics 1 A01 21 0000000183629207 Andreas Karitzis Andreas Karitzis Andreas Karitzis is co-founder of Komvos (hub) for Social Economy, Empowerment and Innovation. He participates in international networks as policy-advisor for digital transformation strategies and expert on distributed leadership models and organizational methodologies informed by digital technologies. He participates in initiatives regarding digital commons, climate change, circular and sustainable economy in Greece, and is the co-founder of REIDDL Technologies (a hybrid company/network providing Artificial Intelligence services across various industries and institutions) and of MOAB Agency, (providing policy-making and digital communications services for private and public entities). Andreas served on the Political Secretariat of SYRIZA and its Program Committee until April 2014—and on the SYRIZA Central Committee for 11 years, until August 2015. He was also a member of the Managing Board of the Nicos Poulantzas Institute. His publications include: Logic and Method of a Left Government and The European Left in Times of Crises: Lessons from Greece. 01 eng 20 00 Open Access Andreas Karitzis 6 03 06 10.53288/0285.1.06 111 148 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Awakening to an Ecology of the Commons 1 A01 21 0000000192455907 Michel Bauwens Michel Bauwens Michel Bauwens is the founder and director of the P2P Foundation and works in collaboration with a global group of researchers in the exploration of peer production, governance, and property. He travels extensively, giving workshops and lectures on P2P and the Commons as emergent paradigms and the opportunities they present to move towards a post-capitalist world. He is a founding member of the Commons Strategies Group, with Silke Helfrich and David Bollier. His most recent book is Save the World—Towards a Post Capitalist Society with P2P. He currently lives in Chiang Mai, Thailand. 2 A01 Jose Maria Ramos Jose Maria Ramos Jose Maria Ramos has a great passion for exploring who we are as planetary beings, which includes his ethnographic study of alternative globalizations, writings on planetary stigmergy/collaboration, and research on cosmo-localization. He is Senior Consulting Editor for the Journal of Futures Studies, runs the boutique foresight consultancy Action Foresight, and has over 50 publications in journals, magazines and books spanning economic, cultural and political change. He has co-founded numerous civil society organizations, a social forum, a maker lab, an advocacy group for commons governance, and a peer-to-peer leadership development group for mutant futurists. 01 eng 20 00 Open Access Michel Bauwens Jose Maria Ramos 7 03 06 10.53288/0285.1.07 149 183 35 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beating the Bounds Inside the Struggle to Make Open Source Seed 1 A01 21 0000000289755316 Maywa Montenegro de Wit Maywa Montenegro de Wit 40 05rrcem69 University of California, Davis Maywa Montenegro de Wit, a UC President’s Postdoctoral Fellow at the University of California-Davis, draws on political ecology, science and technology studies, and rural sociology to address issues of seed diversity and access to it. Her research spans the development of gene editing technologies to the emergence of social movement-scientist partnerships advancing agroecology, food and seed sovereignty, and alternatives to intellectual property. She holds a BA from Williams College, an MS from M.I.T., and a PhD from UC Berkeley. 01 eng 20 00 Open Access Maywa Montenegro de Wit 8 03 06 10.53288/0285.1.08 185 222 38 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Blockchain Technology Toward a Decentralized Governance of Digital Platforms? 1 A01 21 0000000252727856 Primavera De Filippi Primavera De Filippi 40 02feahw73 French National Centre for Scientific Research Primavera De Filippi is a Researcher at the National Center of Scientific Research in Paris, and Faculty Associate at the Berkman-Klein Center for Internet and Society at Harvard. She is member of the Global Future Council on Blockchain Technologies at the World Economic Forum, and founder of the Internet Governance Forum’s dynamic coalitions on Blockchain Technology (COALA). Her book, Blockchain and the Law, was published in 2018 by Harvard University Press, and is co-authored with Aaron Wright. 2 A01 21 0000000168429303 Xavier Lavayssière Xavier Lavayssière Xavier Lavayssière has a background in Computer Science and Business Public Law and works on the use of blockchain protocols as a regulatory instrument with the research team Blockchain Perspectives. He cofounded ECAN, a development and training agency on blockchain protocols, legalico.io a website on crypto-assets regulation and Les Bricodeurs a civic tech non-profit. In 2018, he co authored “Smart Contracts : Case Studies and Legal remarks” and France Stratégie report on legal aspect of blockchain technologies. 01 eng 20 00 Open Access Primavera De Filippi Xavier Lavayssière 9 03 06 10.53288/0285.1.09 223 246 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Hacking the Law to Open Up Zones for Commoning 1 A01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access David Bollier 10 03 06 10.53288/0285.1.10 247 276 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Thinking Law, Ecology, and the Commons 1 A01 21 0000000280990029 Vito De Lucia Vito De Lucia 40 00wge5k78 UiT The Arctic University of Norway Vito De Lucia is a postdoctoral fellow at the K.G. Jebsen Centre for the Law of the Sea (JCLOS), UiT The Arctic University of Norway. His most immediate research interests are located at the intersection of critical theory, law and ecology. His current research agenda focuses on the concept of commons in international law and on the commons as a critical legal horizon. He is author of The Ecosystem Approach in International Environmental Law: Genealogy and Biopolitics (Abingdon: Routledge, 2019). 01 eng 20 00 Open Access Vito De Lucia 11 03 06 10.53288/0285.1.11 277 315 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 CommonsWealth The Difference Engine: Complexity and Generativity — New Ontological Foundations 1 A01 Paul B. Harzog Paul B. Harzog 40 00jmfr291 University of Michigan–Ann Arbor Paul B Harzog, one of the coiners of the word “panarchy,” is an independent scholar and hacker, and has taught at the University of Michigan’s School of Information. Recipient of an NSF IGERT to study complex systems, he has a Masters in Globalization and Environmental Politics from the University of Utah, and a Masters in Political Theory from the University of Michigan. His work on panarchy hybridizes political philosophy/economy, network culture, complex systems, and critical social theory. 01 eng 20 00 Open Access Paul B. Harzog 12 03 06 10.53288/0285.1.12 317 355 39 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Resisting Anthropocene Neoliberalism Towards New Materialist Commoning? 1 A01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 01 eng 20 00 Open Access Anna Grear 13 03 06 10.53288/0285.1.13 357 400 44 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reference Bibliography 1 B01 21 0000000329931370 Anna Grear Anna Grear 40 03kk7td41 Cardiff University Anna Grear is Professor of Law and Theory at Cardiff University, UK. She has authored a range of books and articles addressing law’s construction of the world, and offering a sustained critical engagement with law’s underlying philosophical and political assumptions. Anna is Founder and Editor in Chief of the Journal of Human Rights and the Environment. She is also an Associate Fellow of the New Economy Law Centre, Vermont University, USA; Adjunct Professor of Law at the University of Waikato, New Zealand; and a member of the United Nations Sustainable Development Solutions Network. 2 B01 21 0000000239133930 David Bollier David Bollier David Bollier is an activist, scholar, and blogger focused on the commons as a new/old paradigm for re-imagining economics, politics, and culture. He pursues this work as Director of the Reinventing the Commons Program at the Schumacher Center for a New Economics (US), and as cofounder of the Commons Strategies Group, an international advocacy project. Bollier is the author of Think Like a Commoner: A Short Introduction to the Life of the Commons; co-editor of Patterns of Commoning and The Wealth of the Commons; and co-author of Green Governance. He blogs at Bollier.org and lives in Amherst, Massachusetts. 01 eng 20 00 Open Access Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-great-awakening-new-modes-of-life-amidst-capitalist-ruins/ Earth, Milky Way 04 01 20201008 Grear, Anna (0000-0003-2993-1370) Bollier, David (0002-3913-3930) 02 WORLD 06 15 9781953035080 03 9781953035080 34 06 10.1126/science.177.4047.393 34 06 10.4337/jhre.2017.01.06 34 06 10.2139/ssrn.2709713 34 06 10.1080/23269995.2018.1461442 34 06 10.1177/0263276409358729 34 06 10.1177/0011392114559951 34 06 10.1111/j.1745 34 06 10.1080/1369118X.2010.542825 34 06 10.1126/science.1187512 34 06 10.1086/596640 34 06 10.1145/52324.52336 34 06 10.1126/science.365.6452.422 34 06 10.1080/03066150.2012.664138 34 06 10.1038/415023a 34 06 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10.1093/icon/mow039 34 06 10.1007/s10997-007-9022-9 34 06 10.1191/0309132504ph515oa 34 06 10.1215/22011919-3616416 34 06 10.1057/palgrave.ejis.3000373 34 06 10.3390/su8050479 34 06 10.2135/cropsci2014.10.0708 34 06 10.1177/20530196113516291 34 06 10.1016/j.ecolecon.2015.11.027 34 06 10.1080/08985620210142011 34 06 10.1080/1045575052000335348 34 06 10.1007/s12571-015-0528-8 34 06 10.2139/ssrn.3014782 34 06 10.1145/567793.567795 34 06 10.1080/03066150.2016.1235036 34 06 10.1080/03066150.2017.1383395 34 06 10.1080/03066150.2016.1168405 34 06 10.1007/s10686-014-9379-0 34 06 10.1126/science.284.5412.278 34 06 10.1016/j.techfore.2017.05.025 34 06 10.4476/38032 34 06 10.1177/1357034X0401759 34 06 10.1038/nclimate3352 34 06 10.6531/JFS.2017.21(4).A65 34 06 10.22439/fs.v0i0.2465 34 06 10.2139/ssrn.3340056 34 06 10.1016/j.frl.2020.101427 34 06 10.1016/j.biocon.2019.01.020 34 06 10.1093/cjres/ 34 06 10.1111/newe.12023 34 06 10.1177/2053019614564785 34 06 10.1111/j.1540- 34 06 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36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/645 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/93c5fbed-c742-4c08-aa11-561260fef111/download 20 08 20201008 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Great_Awakening/2AWVEAAAQBAJ 20 08 20201008 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f58100fb-f99d-4b1e-9f4f-f851e34fe06f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f58100fb-f99d-4b1e-9f4f-f851e34fe06f/f58100fb-f99d-4b1e-9f4f-f851e34fe06f.pdf 20 08 20201008 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848536 29 ZENODO: download the title https://zenodo.org/records/19848536/files/f58100fb-f99d-4b1e-9f4f-f851e34fe06f_book.pdf 20 08 20201008 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-great-awakening-new-modes-of-life-amidst-capitalist-ruins/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0285.1.00.pdf 20 08 20201008 01 urn:uuid:be3b8850-e0df-4a3b-aebd-7cf6a3627a7a 03 01 01 thoth-work-id urn:uuid:bc283f71-9f37-47c4-b30b-8ed9f3be9f9c 01 thoth-publication-id urn:uuid:be3b8850-e0df-4a3b-aebd-7cf6a3627a7a 15 9789081709187 03 9789081709187 06 10.21983/P3.0221.1.00 01 internal-reference 0221 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 The Guerrilla Is Like a Poet – Ang Gerilya Ay Tulad ng Makata 1 A01 Jose Maria Sison Jose Maria Sison 2 A23 21 0000000234096034 Jonas Staal Jonas Staal 06 Own website https://www.jonasstaal.nl/ 01 eng 01 fil 00 296 03 12 DCF 93 DCF B2 Fabulations 10 POL005000 93 JPFC B2 Languages+Translations 10 POE009000 93 1FMP B2 Manifesto! 20 poetry; revolution; Philippines; political imprisonment 01 06 02 00 03 00 This book is titled after the world-renowned poem of Jose Maria Sison, “The Guerrilla Is Like a Poet,” which celebrates with natural imagery and in a lyrical way the Filipino people’s revolutionary struggle for national liberation and democracy against foreign and feudal oppression and exploitation. The book contains poems from Sison’s Prison and Beyond, which won the Southeast Asia WRITE Award, as well as new poems that further develop the theme of struggle for national and social liberation as well as exile. It also carries articles of creative writers on the significance and relevance of his poetry. Sison is a Filipino revolutionary with extensive guerrilla experience and has been a recognized poet since his student days at the University of the Philippines. The publication of this book has been sparked by the effort of the Academy for Cultural Activism of the New World Summit to present the people’s culture in the national democratic struggle in the Philippines. 30 00 This book is titled after the world-renowned poem of Jose Maria Sison, “The Guerrilla Is Like a Poet,” which celebrates with natural imagery and in a lyrical way the Filipino people’s revolutionary struggle for national liberation and democracy against foreign and feudal oppression and exploitation. The book contains poems from Sison’s Prison and Beyond, which won the Southeast Asia WRITE Award, as well as new poems that further develop the theme of struggle for national and social liberation as well as exile. It also carries articles of creative writers on the significance and relevance of his poetry. Sison is a Filipino revolutionary with extensive guerrilla experience and has been a recognized poet since his student days at the University of the Philippines. The publication of this book has been sparked by the effort of the Academy for Cultural Activism of the New World Summit to present the people’s culture in the national democratic struggle in the Philippines. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0221.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-guerrilla-is-like-a-poet-ang-gerilya-ay-tulad-ng-makata/ The Hague/Tirana 04 01 20130927 Sison, Jose Maria 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2NTpCLU 20 08 20130927 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-guerrilla-is-like-a-poet-a-ang-gerilya-ay-tulad-ng-makata 20 08 20130927 02 27.00 USD WORLD urn:uuid:80720467-cef0-43b0-a9fa-1daef99961cd 03 01 01 thoth-work-id urn:uuid:bc283f71-9f37-47c4-b30b-8ed9f3be9f9c 01 thoth-publication-id urn:uuid:80720467-cef0-43b0-a9fa-1daef99961cd 06 10.21983/P3.0221.1.00 01 internal-reference 0221 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 The Guerrilla Is Like a Poet – Ang Gerilya Ay Tulad ng Makata 1 A01 Jose Maria Sison Jose Maria Sison 2 A23 21 0000000234096034 Jonas Staal Jonas Staal 06 Own website https://www.jonasstaal.nl/ 01 eng 01 fil 00 296 03 12 DCF 93 DCF B2 Fabulations 10 POL005000 93 JPFC B2 Languages+Translations 10 POE009000 93 1FMP B2 Manifesto! 20 poetry; revolution; Philippines; political imprisonment 01 06 02 00 03 00 This book is titled after the world-renowned poem of Jose Maria Sison, “The Guerrilla Is Like a Poet,” which celebrates with natural imagery and in a lyrical way the Filipino people’s revolutionary struggle for national liberation and democracy against foreign and feudal oppression and exploitation. The book contains poems from Sison’s Prison and Beyond, which won the Southeast Asia WRITE Award, as well as new poems that further develop the theme of struggle for national and social liberation as well as exile. It also carries articles of creative writers on the significance and relevance of his poetry. Sison is a Filipino revolutionary with extensive guerrilla experience and has been a recognized poet since his student days at the University of the Philippines. The publication of this book has been sparked by the effort of the Academy for Cultural Activism of the New World Summit to present the people’s culture in the national democratic struggle in the Philippines. 30 00 This book is titled after the world-renowned poem of Jose Maria Sison, “The Guerrilla Is Like a Poet,” which celebrates with natural imagery and in a lyrical way the Filipino people’s revolutionary struggle for national liberation and democracy against foreign and feudal oppression and exploitation. The book contains poems from Sison’s Prison and Beyond, which won the Southeast Asia WRITE Award, as well as new poems that further develop the theme of struggle for national and social liberation as well as exile. It also carries articles of creative writers on the significance and relevance of his poetry. Sison is a Filipino revolutionary with extensive guerrilla experience and has been a recognized poet since his student days at the University of the Philippines. The publication of this book has been sparked by the effort of the Academy for Cultural Activism of the New World Summit to present the people’s culture in the national democratic struggle in the Philippines. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0221.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-guerrilla-is-like-a-poet-ang-gerilya-ay-tulad-ng-makata/ The Hague/Tirana 04 01 20130927 Sison, Jose Maria 02 WORLD 06 15 9789081709187 03 9789081709187 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25409 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25409/1004686.pdf?sequence=1&isAllowed=y 20 08 20130927 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34426 20 08 20130927 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2sbm7n2 20 08 20130927 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/430 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d57819fe-e637-46ca-82d2-0e96397741c5/download 20 08 20130927 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bc283f71-9f37-47c4-b30b-8ed9f3be9f9c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bc283f71-9f37-47c4-b30b-8ed9f3be9f9c/bc283f71-9f37-47c4-b30b-8ed9f3be9f9c.pdf 20 08 20130927 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845797 29 ZENODO: download the title https://zenodo.org/records/19845797/files/bc283f71-9f37-47c4-b30b-8ed9f3be9f9c_book.pdf 20 08 20130927 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-guerrilla-is-like-a-poet-ang-gerilya-ay-tulad-ng-makata/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0221.1.00.pdf 20 08 20130927 01 urn:uuid:8394dec4-4fdd-4429-8d42-fdef0c5eb842 03 01 01 thoth-work-id urn:uuid:18d3d876-bcaf-4e1c-a67a-05537f808a99 01 thoth-publication-id urn:uuid:8394dec4-4fdd-4429-8d42-fdef0c5eb842 15 9781947447165 03 9781947447165 06 10.21983/P3.0180.1.00 13 2017952337 01 internal-reference 0180 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Hegemony of Psychopathy 1 A01 21 0000000208905678 Lajos Brons Lajos Brons 40 03294c124 Lakeland University Japan 06 Own website http://www.lajosbrons.net/ 01 eng 00 120 03 B2 Cultural Studies+Critical Theory 93 JBCC 12 JMH 10 PHI019000 B2 Philosophy 93 QRVS2 20 Holocaust; psychology; compassion; massmedia; ethics 01 06 02 00 03 00 Any social and political arrangement depends on acceptance. If a substantial part of a people does not accept the authority of its rulers, then those can only remain in power by means of force, and even that use of force needs to be accepted to be effective. Gramsci called this acceptance of the socio-political status quo “hegemony.” Every stable state relies primarily on hegemony as a source of control. Hegemony works through the dissemination of values and beliefs that create acceptance and that serve the interests of the state and/or the ruling elite (the “hegemones”). Hegemony is most efficient if it remains invisible. A key hegemonic belief is the idea that there is no alternative to the current socio-political status quo or that the way things are is “natural.” The current hegemony – that is, the set of values and beliefs that bolster the current socio-political status quo – is a hegemony of psychopathy: it promotes “cultural psychopathy” and destroys empathy and compassion, thus threatening everything that makes us human.The hegemony of psychopathy is responsible for massive human suffering. It must be fought and replaced with a counter-hegemonic set of values and beliefs that promote compassion and care. Fighting hegemony requires fighting the “pillars” that support it. Most important among these are the mass media and culture industry, and mainstream economics. The former is responsible for a continuous stream of hegemonic propaganda; the latter – among others – for providing a pseudo-scientific justification for the false belief that there is no alternative. The Hegemony of Psychopathy concludes with some considerations on tactics and strategy in the struggle against the hegemony of psychopathy, but does not – and cannot – offer any concrete advice. 30 00 Any social and political arrangement depends on acceptance. If a substantial part of a people does not accept the authority of its rulers, then those can only remain in power by means of force, and even that use of force needs to be accepted to be effective. Gramsci called this acceptance of the socio-political status quo “hegemony.” Every stable state relies primarily on hegemony as a source of control. Hegemony works through the dissemination of values and beliefs that create acceptance and that serve the interests of the state and/or the ruling elite (the “hegemones”). Hegemony is most efficient if it remains invisible. A key hegemonic belief is the idea that there is no alternative to the current socio-political status quo or that the way things are is “natural.” The current hegemony – that is, the set of values and beliefs that bolster the current socio-political status quo – is a hegemony of psychopathy: it promotes “cultural psychopathy” and destroys empathy and compassion, thus threatening everything that makes us human.The hegemony of psychopathy is responsible for massive human suffering. It must be fought and replaced with a counter-hegemonic set of values and beliefs that promote compassion and care. Fighting hegemony requires fighting the “pillars” that support it. Most important among these are the mass media and culture industry, and mainstream economics. The former is responsible for a continuous stream of hegemonic propaganda; the latter – among others – for providing a pseudo-scientific justification for the false belief that there is no alternative. The Hegemony of Psychopathy concludes with some considerations on tactics and strategy in the struggle against the hegemony of psychopathy, but does not – and cannot – offer any concrete advice. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0180.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-hegemony-of-psychopathy/ Earth, Milky Way 04 01 20170919 Brons, Lajos 02 WORLD 06 15 9781947447172 03 9781947447172 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447165 20 08 20170919 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-hegemony-of-psychopathy 20 08 20170919 02 22.00 USD WORLD urn:uuid:49ba4bbe-8c6e-4163-b908-0e31eba88112 03 01 01 thoth-work-id urn:uuid:18d3d876-bcaf-4e1c-a67a-05537f808a99 01 thoth-publication-id urn:uuid:49ba4bbe-8c6e-4163-b908-0e31eba88112 15 9781947447172 03 9781947447172 06 10.21983/P3.0180.1.00 13 2017952337 01 internal-reference 0180 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Hegemony of Psychopathy 1 A01 21 0000000208905678 Lajos Brons Lajos Brons 40 03294c124 Lakeland University Japan 06 Own website http://www.lajosbrons.net/ 01 eng 00 120 03 B2 Cultural Studies+Critical Theory 93 JBCC 12 JMH 10 PHI019000 B2 Philosophy 93 QRVS2 20 Holocaust; psychology; compassion; massmedia; ethics 01 06 02 00 03 00 Any social and political arrangement depends on acceptance. If a substantial part of a people does not accept the authority of its rulers, then those can only remain in power by means of force, and even that use of force needs to be accepted to be effective. Gramsci called this acceptance of the socio-political status quo “hegemony.” Every stable state relies primarily on hegemony as a source of control. Hegemony works through the dissemination of values and beliefs that create acceptance and that serve the interests of the state and/or the ruling elite (the “hegemones”). Hegemony is most efficient if it remains invisible. A key hegemonic belief is the idea that there is no alternative to the current socio-political status quo or that the way things are is “natural.” The current hegemony – that is, the set of values and beliefs that bolster the current socio-political status quo – is a hegemony of psychopathy: it promotes “cultural psychopathy” and destroys empathy and compassion, thus threatening everything that makes us human.The hegemony of psychopathy is responsible for massive human suffering. It must be fought and replaced with a counter-hegemonic set of values and beliefs that promote compassion and care. Fighting hegemony requires fighting the “pillars” that support it. Most important among these are the mass media and culture industry, and mainstream economics. The former is responsible for a continuous stream of hegemonic propaganda; the latter – among others – for providing a pseudo-scientific justification for the false belief that there is no alternative. The Hegemony of Psychopathy concludes with some considerations on tactics and strategy in the struggle against the hegemony of psychopathy, but does not – and cannot – offer any concrete advice. 30 00 Any social and political arrangement depends on acceptance. If a substantial part of a people does not accept the authority of its rulers, then those can only remain in power by means of force, and even that use of force needs to be accepted to be effective. Gramsci called this acceptance of the socio-political status quo “hegemony.” Every stable state relies primarily on hegemony as a source of control. Hegemony works through the dissemination of values and beliefs that create acceptance and that serve the interests of the state and/or the ruling elite (the “hegemones”). Hegemony is most efficient if it remains invisible. A key hegemonic belief is the idea that there is no alternative to the current socio-political status quo or that the way things are is “natural.” The current hegemony – that is, the set of values and beliefs that bolster the current socio-political status quo – is a hegemony of psychopathy: it promotes “cultural psychopathy” and destroys empathy and compassion, thus threatening everything that makes us human.The hegemony of psychopathy is responsible for massive human suffering. It must be fought and replaced with a counter-hegemonic set of values and beliefs that promote compassion and care. Fighting hegemony requires fighting the “pillars” that support it. Most important among these are the mass media and culture industry, and mainstream economics. The former is responsible for a continuous stream of hegemonic propaganda; the latter – among others – for providing a pseudo-scientific justification for the false belief that there is no alternative. The Hegemony of Psychopathy concludes with some considerations on tactics and strategy in the struggle against the hegemony of psychopathy, but does not – and cannot – offer any concrete advice. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0180.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-hegemony-of-psychopathy/ Earth, Milky Way 04 01 20170919 Brons, Lajos 02 WORLD 06 15 9781947447165 03 9781947447165 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66794 20 08 20170919 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25448 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25448/1004647.pdf?sequence=1&isAllowed=y 20 08 20170919 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26556 20 08 20170919 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354026 20 08 20170919 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/563 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/392a7536-87e8-469f-9dbb-ea30850570a1/download 20 08 20170919 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Hegemony_of_Psychopathy/8G2oEAAAQBAJ 20 08 20170919 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/18d3d876-bcaf-4e1c-a67a-05537f808a99 29 INTERNET_ARCHIVE: download the title https://archive.org/download/18d3d876-bcaf-4e1c-a67a-05537f808a99/18d3d876-bcaf-4e1c-a67a-05537f808a99.pdf 20 08 20170919 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847017 29 ZENODO: download the title https://zenodo.org/records/19847017/files/18d3d876-bcaf-4e1c-a67a-05537f808a99_book.pdf 20 08 20170919 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-hegemony-of-psychopathy/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0180.1.00.pdf 20 08 20170919 01 urn:uuid:592857f1-498c-47d5-927b-dea6a8300714 03 01 01 thoth-work-id urn:uuid:0f26068a-b9fe-480b-9502-eb984cd6e21e 01 thoth-publication-id urn:uuid:592857f1-498c-47d5-927b-dea6a8300714 15 9781950192717 03 9781950192717 06 10.21983/P3.0284.1.00 13 2020930972 01 internal-reference 0284 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Humid Condition (More) Overheated Observations 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 194 03 12 DNF 93 DNL 10 FIC016000 B2 Thought Experiments 93 GBCQ 20 cultural studies; humor; aphorism 01 06 02 00 03 00 The Humid Condition: (More) Overheated Observations continues on the clicking heels of Dominic Pettman’s Humid, All Too Humid (2016), providing a companion volume of pithy and witty observations for our overheated age. Covering topics from pop culture to academia to romance to politics to human mortality to everything in between, this collection of pointed musings aims to amuse, edify, instruct, provoke, tease, caution, and inspire. As with the first installment, the spirit of this book represents a fusion of Montaigne and Wilde; a mashup of Adorno and Yogi Berra; a parallel channeling of Marx and Marx (both Karl and Groucho). No doubt, Hannah Arendt would be appalled at the irreverence on display within these pages. Then again, “Heidegger has left the bildung.” And as the author himself notes: “I have nothing new to say. And I’m saying it!” 30 00 The Humid Condition: (More) Overheated Observations continues on the clicking heels of Dominic Pettman’s Humid, All Too Humid (2016), providing a companion volume of pithy and witty observations for our overheated age. Covering topics from pop culture to academia to romance to politics to human mortality to everything in between, this collection of pointed musings aims to amuse, edify, instruct, provoke, tease, caution, and inspire. As with the first installment, the spirit of this book represents a fusion of Montaigne and Wilde; a mashup of Adorno and Yogi Berra; a parallel channeling of Marx and Marx (both Karl and Groucho). No doubt, Hannah Arendt would be appalled at the irreverence on display within these pages. Then again, “Heidegger has left the bildung.” And as the author himself notes: “I have nothing new to say. And I’m saying it!” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0284.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-humid-condition/ Earth, Milky Way 04 01 20200305 Pettman, Dominic 02 WORLD 06 15 9781950192724 03 9781950192724 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192717/ 20 08 20200305 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-humid-condition-more-overheated-observations 20 08 20200305 02 23.00 USD WORLD urn:uuid:30ecb7f2-76c4-4633-b7ff-d244c59379e6 03 01 01 thoth-work-id urn:uuid:0f26068a-b9fe-480b-9502-eb984cd6e21e 01 thoth-publication-id urn:uuid:30ecb7f2-76c4-4633-b7ff-d244c59379e6 15 9781950192724 03 9781950192724 06 10.21983/P3.0284.1.00 13 2020930972 01 internal-reference 0284 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Humid Condition (More) Overheated Observations 1 A01 Dominic Pettman Dominic Pettman 40 02tvcev59 New School 01 eng 00 194 03 12 DNF 93 DNL 10 FIC016000 B2 Thought Experiments 93 GBCQ 20 cultural studies; humor; aphorism 01 06 02 00 03 00 The Humid Condition: (More) Overheated Observations continues on the clicking heels of Dominic Pettman’s Humid, All Too Humid (2016), providing a companion volume of pithy and witty observations for our overheated age. Covering topics from pop culture to academia to romance to politics to human mortality to everything in between, this collection of pointed musings aims to amuse, edify, instruct, provoke, tease, caution, and inspire. As with the first installment, the spirit of this book represents a fusion of Montaigne and Wilde; a mashup of Adorno and Yogi Berra; a parallel channeling of Marx and Marx (both Karl and Groucho). No doubt, Hannah Arendt would be appalled at the irreverence on display within these pages. Then again, “Heidegger has left the bildung.” And as the author himself notes: “I have nothing new to say. And I’m saying it!” 30 00 The Humid Condition: (More) Overheated Observations continues on the clicking heels of Dominic Pettman’s Humid, All Too Humid (2016), providing a companion volume of pithy and witty observations for our overheated age. Covering topics from pop culture to academia to romance to politics to human mortality to everything in between, this collection of pointed musings aims to amuse, edify, instruct, provoke, tease, caution, and inspire. As with the first installment, the spirit of this book represents a fusion of Montaigne and Wilde; a mashup of Adorno and Yogi Berra; a parallel channeling of Marx and Marx (both Karl and Groucho). No doubt, Hannah Arendt would be appalled at the irreverence on display within these pages. Then again, “Heidegger has left the bildung.” And as the author himself notes: “I have nothing new to say. And I’m saying it!” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0284.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-humid-condition/ Earth, Milky Way 04 01 20200305 Pettman, Dominic 02 WORLD 06 15 9781950192717 03 9781950192717 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/22379 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/22379/0284.1.00.pdf?sequence=1&isAllowed=y 20 08 20200305 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26999 20 08 20200305 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353851 20 08 20200305 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/628 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/477744fc-cc34-4881-9729-6e01fe6b41cd/download 20 08 20200305 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Humid_Condition/wAWVEAAAQBAJ 20 08 20200305 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0f26068a-b9fe-480b-9502-eb984cd6e21e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0f26068a-b9fe-480b-9502-eb984cd6e21e/0f26068a-b9fe-480b-9502-eb984cd6e21e.pdf 20 08 20200305 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848155 29 ZENODO: download the title https://zenodo.org/records/19848155/files/0f26068a-b9fe-480b-9502-eb984cd6e21e_book.pdf 20 08 20200305 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-humid-condition/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0284.1.00.pdf 20 08 20200305 01 urn:uuid:11de4918-1014-4b74-bfa2-ea53e307157e 03 01 01 thoth-work-id urn:uuid:dc622348-8ef4-48a3-9ab0-cf401d7afc2c 01 thoth-publication-id urn:uuid:11de4918-1014-4b74-bfa2-ea53e307157e 15 9781950192199 03 9781950192199 06 10.21983/P3.0248.1.00 13 2019937173 01 internal-reference 0248 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Imagery of Interior Spaces 1 B01 Dominique Bauer Dominique Bauer 40 05f950310 KU Leuven 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University 01 eng 00 244 03 B2 Built Environments 93 DSA 12 DSA 10 LIT024000 93 DSBH B2 Literary Studies 93 AMR 20 literary studies; interior design; architecture; cultural studies; spatiality 01 06 02 00 03 00 On the unstable boundaries between “interior” and “exterior,” “private” and “public,” and always in some way relating to a “beyond,” the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature — from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth — reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels.This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola. 30 00 On the unstable boundaries between “interior” and “exterior,” “private” and “public,” and always in some way relating to a “beyond,” the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature — from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth — reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels.This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0248.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-imagery-of-interior-spaces/ Earth, Milky Way 04 01 20190329 Bauer, Dominique Kelly, Michael J. 02 WORLD 06 15 9781950192205 03 9781950192205 34 06 10.2307/3194377 34 06 10.2307/3042882 34 06 10.1093/oxartj/7.1.49 34 06 10.1080/17460650600793557.93 34 06 10.2307/3072757 34 06 10.1179/174581511X12899934053202 34 06 10.1080/13602360412331296125 34 06 10.2307/3685048 34 06 10.2307/479190 34 06 10.2307/2861533 34 06 10.2307/3730532 34 06 10.1353/sdn.2011.0011 34 06 10.1353/hjr.2010.0145 34 06 10.2307/464648 34 06 10.1111/lic3.12143 34 06 10.2307/463391 34 06 10.1353/sdn.2011.0053 34 06 10.1086/448450 34 06 10.1057/ajcs.2013.16 34 06 10.1007/s12108-015-9264-y 34 06 10.1093/pastj/gtp044 34 06 10.1353/een.2002.0005 34 06 10.20613/hikaku.40.0_188 34 06 10.1353/mod.2005.0043 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192199 20 08 20190329 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-imagery-of-interior-spaces 20 08 20190329 02 24.00 USD WORLD urn:uuid:04f8a192-5c82-415e-b420-03d8359dfb74 03 01 01 thoth-work-id urn:uuid:dc622348-8ef4-48a3-9ab0-cf401d7afc2c 01 thoth-publication-id urn:uuid:04f8a192-5c82-415e-b420-03d8359dfb74 15 9781950192205 03 9781950192205 06 10.21983/P3.0248.1.00 13 2019937173 01 internal-reference 0248 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Imagery of Interior Spaces 1 B01 Dominique Bauer Dominique Bauer 40 05f950310 KU Leuven 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University 01 eng 00 244 03 B2 Built Environments 93 DSA 12 DSA 10 LIT024000 93 DSBH B2 Literary Studies 93 AMR 20 literary studies; interior design; architecture; cultural studies; spatiality 01 06 02 00 03 00 On the unstable boundaries between “interior” and “exterior,” “private” and “public,” and always in some way relating to a “beyond,” the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature — from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth — reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels.This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola. 30 00 On the unstable boundaries between “interior” and “exterior,” “private” and “public,” and always in some way relating to a “beyond,” the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature — from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth — reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels.This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0248.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-imagery-of-interior-spaces/ Earth, Milky Way 04 01 20190329 Bauer, Dominique Kelly, Michael J. 02 WORLD 06 15 9781950192199 03 9781950192199 34 06 10.2307/3194377 34 06 10.2307/3042882 34 06 10.1093/oxartj/7.1.49 34 06 10.1080/17460650600793557.93 34 06 10.2307/3072757 34 06 10.1179/174581511X12899934053202 34 06 10.1080/13602360412331296125 34 06 10.2307/3685048 34 06 10.2307/479190 34 06 10.2307/2861533 34 06 10.2307/3730532 34 06 10.1353/sdn.2011.0011 34 06 10.1353/hjr.2010.0145 34 06 10.2307/464648 34 06 10.1111/lic3.12143 34 06 10.2307/463391 34 06 10.1353/sdn.2011.0053 34 06 10.1086/448450 34 06 10.1057/ajcs.2013.16 34 06 10.1007/s12108-015-9264-y 34 06 10.1093/pastj/gtp044 34 06 10.1353/een.2002.0005 34 06 10.20613/hikaku.40.0_188 34 06 10.1353/mod.2005.0043 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66824 20 08 20190329 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25269 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25269/1004825.pdf?sequence=1&isAllowed=y 20 08 20190329 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/26991 20 08 20190329 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv19cwdj8 20 08 20190329 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/607 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e2d4d21b-f145-421d-82a3-e2a92640cfc1/download 20 08 20190329 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/dc622348-8ef4-48a3-9ab0-cf401d7afc2c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/dc622348-8ef4-48a3-9ab0-cf401d7afc2c/dc622348-8ef4-48a3-9ab0-cf401d7afc2c.pdf 20 08 20190329 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847705 29 ZENODO: download the title https://zenodo.org/records/19847705/files/dc622348-8ef4-48a3-9ab0-cf401d7afc2c_book.pdf 20 08 20190329 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-imagery-of-interior-spaces/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0248.1.00.pdf 20 08 20190329 01 urn:uuid:7d63314b-11ef-43c9-b77c-bd3f2fea402b 03 01 01 thoth-work-id urn:uuid:f6b4d156-1be6-41f0-b641-66bf50016b24 01 thoth-publication-id urn:uuid:7d63314b-11ef-43c9-b77c-bd3f2fea402b 15 9780692620625 03 9780692620625 06 10.21983/P3.0129.1.00 01 internal-reference 0129 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Jews 1 A01 Nachoem M. Wijnberg Nachoem M. Wijnberg 40 04dkp9463 University of Amsterdam 2 B06 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 00 178 03 12 FA B2 Fabulations 93 FD 10 FIC112000 93 5PGJ B2 History B2 Languages+Translations 20 fiction; holocaust; Martin Heidegger; Jewish studies; Walter Benjamin 01 06 02 00 03 00 The Jews is an anti-historical thriller in the form of a Talmudic tragicomedy, taking place sometime during the Second World War. Stalin and his Minister of Security Beria are worried about the political developments in Germany, where Martin Heidegger has replaced Adolf Hitler as Chancellor of the Third Reich. Suspecting that the Frankfurt School, headed by Vice-Chancellor Walter Benjamin, has masterminded this takeover, he dispatches two Jewish actors, Salomon Maimon and Natalia Goncharova, to investigate the situation in the hope of uncovering the extent of the Jewish conspiracy.Upon arrival in Berlin, Maimon and Goncharova are received by Benjamin, who introduces them to Heidegger. The latter has stopped speaking to anyone except his mother since his rise to power, and Benjamin holds long speeches on the history of theater, the law, God, the royal gods and the old goddesses. Eventually, prodded by his mother, Heidegger marries Goncharova, surrounded by a merry audience.The novel ends on a plain somewhere between Moscow and Berlin, where the final battle for Jerusalem is being waged. In front of the entrance of a camp, Maimon and Benjamin are joined by a group of old Jews arriving by train, bringing the news of Stalin’s death by circumcision. They reenact scenes from the Old Testament while Jerusalem is burning. Did the world to come finally arrive? 30 00 The Jews is an anti-historical thriller in the form of a Talmudic tragicomedy, taking place sometime during the Second World War. Stalin and his Minister of Security Beria are worried about the political developments in Germany, where Martin Heidegger has replaced Adolf Hitler as Chancellor of the Third Reich. Suspecting that the Frankfurt School, headed by Vice-Chancellor Walter Benjamin, has masterminded this takeover, he dispatches two Jewish actors, Salomon Maimon and Natalia Goncharova, to investigate the situation in the hope of uncovering the extent of the Jewish conspiracy.Upon arrival in Berlin, Maimon and Goncharova are received by Benjamin, who introduces them to Heidegger. The latter has stopped speaking to anyone except his mother since his rise to power, and Benjamin holds long speeches on the history of theater, the law, God, the royal gods and the old goddesses. Eventually, prodded by his mother, Heidegger marries Goncharova, surrounded by a merry audience.The novel ends on a plain somewhere between Moscow and Berlin, where the final battle for Jerusalem is being waged. In front of the entrance of a camp, Maimon and Benjamin are joined by a group of old Jews arriving by train, bringing the news of Stalin’s death by circumcision. They reenact scenes from the Old Testament while Jerusalem is burning. Did the world to come finally arrive? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0129.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-jews/ Earth, Milky Way 04 01 20160212 Wijnberg, Nachoem M. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692620621 20 08 20160212 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-jews 20 08 20160212 02 23.00 USD WORLD urn:uuid:5624fd53-be04-4370-8a67-da2064f7423a 03 01 01 thoth-work-id urn:uuid:f6b4d156-1be6-41f0-b641-66bf50016b24 01 thoth-publication-id urn:uuid:5624fd53-be04-4370-8a67-da2064f7423a 06 10.21983/P3.0129.1.00 01 internal-reference 0129 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Jews 1 A01 Nachoem M. Wijnberg Nachoem M. Wijnberg 40 04dkp9463 University of Amsterdam 2 B06 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 00 178 03 12 FA B2 Fabulations 93 FD 10 FIC112000 93 5PGJ B2 History B2 Languages+Translations 20 fiction; holocaust; Martin Heidegger; Jewish studies; Walter Benjamin 01 06 02 00 03 00 The Jews is an anti-historical thriller in the form of a Talmudic tragicomedy, taking place sometime during the Second World War. Stalin and his Minister of Security Beria are worried about the political developments in Germany, where Martin Heidegger has replaced Adolf Hitler as Chancellor of the Third Reich. Suspecting that the Frankfurt School, headed by Vice-Chancellor Walter Benjamin, has masterminded this takeover, he dispatches two Jewish actors, Salomon Maimon and Natalia Goncharova, to investigate the situation in the hope of uncovering the extent of the Jewish conspiracy.Upon arrival in Berlin, Maimon and Goncharova are received by Benjamin, who introduces them to Heidegger. The latter has stopped speaking to anyone except his mother since his rise to power, and Benjamin holds long speeches on the history of theater, the law, God, the royal gods and the old goddesses. Eventually, prodded by his mother, Heidegger marries Goncharova, surrounded by a merry audience.The novel ends on a plain somewhere between Moscow and Berlin, where the final battle for Jerusalem is being waged. In front of the entrance of a camp, Maimon and Benjamin are joined by a group of old Jews arriving by train, bringing the news of Stalin’s death by circumcision. They reenact scenes from the Old Testament while Jerusalem is burning. Did the world to come finally arrive? 30 00 The Jews is an anti-historical thriller in the form of a Talmudic tragicomedy, taking place sometime during the Second World War. Stalin and his Minister of Security Beria are worried about the political developments in Germany, where Martin Heidegger has replaced Adolf Hitler as Chancellor of the Third Reich. Suspecting that the Frankfurt School, headed by Vice-Chancellor Walter Benjamin, has masterminded this takeover, he dispatches two Jewish actors, Salomon Maimon and Natalia Goncharova, to investigate the situation in the hope of uncovering the extent of the Jewish conspiracy.Upon arrival in Berlin, Maimon and Goncharova are received by Benjamin, who introduces them to Heidegger. The latter has stopped speaking to anyone except his mother since his rise to power, and Benjamin holds long speeches on the history of theater, the law, God, the royal gods and the old goddesses. Eventually, prodded by his mother, Heidegger marries Goncharova, surrounded by a merry audience.The novel ends on a plain somewhere between Moscow and Berlin, where the final battle for Jerusalem is being waged. In front of the entrance of a camp, Maimon and Benjamin are joined by a group of old Jews arriving by train, bringing the news of Stalin’s death by circumcision. They reenact scenes from the Old Testament while Jerusalem is burning. Did the world to come finally arrive? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0129.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-jews/ Earth, Milky Way 04 01 20160212 Wijnberg, Nachoem M. 02 WORLD 06 15 9780692620625 03 9780692620625 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25496 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25496/1004599.pdf?sequence=1&isAllowed=y 20 08 20160212 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30645 20 08 20160212 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353961 20 08 20160212 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/511 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/04e76b73-de0d-43eb-871a-f97de28ddc85/download 20 08 20160212 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Jews/0m2oEAAAQBAJ 20 08 20160212 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f6b4d156-1be6-41f0-b641-66bf50016b24 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f6b4d156-1be6-41f0-b641-66bf50016b24/f6b4d156-1be6-41f0-b641-66bf50016b24.pdf 20 08 20160212 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846455 29 ZENODO: download the title https://zenodo.org/records/19846455/files/f6b4d156-1be6-41f0-b641-66bf50016b24_book.pdf 20 08 20160212 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-jews/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0129.1.00.pdf 20 08 20160212 01 urn:uuid:3d16121e-534e-4ecf-8e1e-02d272e672f0 03 01 01 thoth-work-id urn:uuid:a4ff976a-ac8a-49b8-a89c-f52f3030ccaa 01 thoth-publication-id urn:uuid:3d16121e-534e-4ecf-8e1e-02d272e672f0 15 9781953035783 03 9781953035783 06 10.53288/0319.1.00 13 2021943710 01 internal-reference 0319 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Map and the Territory 1 A01 Michael Munro Michael Munro 01 eng 00 72 03 12 HPCF 10 PHI004000 B2 Philosophy 93 QDTJ 93 DNL 10 PHI035000 20 Jorge Luis Borges; philosophy; mapping; territory 01 06 02 00 03 00 “I didn’t even know that was a question I could ask.” That remark from a student in an introductory philosophy course points to the primary body of knowledge philosophy produces: a detailed record of what we do not know. When we come to view a philosophical question as well-formed and worthwhile, it is a way of providing as specific a description as we can of something we do not know. The creation or discovery of such questions is like noting a landmark in a territory we’re exploring. When we identify reasonable, if conflicting, answers to this question, we are noting routes to and away from that landmark. And since proposed answers to philosophical questions often contain implied answers to other philosophical questions, those routes connect different landmarks.The result is a kind of map: a map of the unknown.Yet when it comes to the unknown, and all the more so to its cartography, might it not make sense to take our orientation from Borges: What’s in question here, with respect to philosophical questions, is an incipient, unlocalizable threshold—a terrain neither subjective, nor entirely objective, one neither of representation, nor finally of simple immediacy—there where the map perceptibly fails to diverge from the territory. Amid Inclemencies of weather and fringed, as per Borges, with ruin and singular figures—with Animals and Beggars—what’s enclosed is an attempt to chart the contours of this curious immanence. 30 00 “I didn’t even know that was a question I could ask.” That remark from a student in an introductory philosophy course points to the primary body of knowledge philosophy produces: a detailed record of what we do not know. When we come to view a philosophical question as well-formed and worthwhile, it is a way of providing as specific a description as we can of something we do not know. The creation or discovery of such questions is like noting a landmark in a territory we’re exploring. When we identify reasonable, if conflicting, answers to this question, we are noting routes to and away from that landmark. And since proposed answers to philosophical questions often contain implied answers to other philosophical questions, those routes connect different landmarks.The result is a kind of map: a map of the unknown.Yet when it comes to the unknown, and all the more so to its cartography, might it not make sense to take our orientation from Borges: What’s in question here, with respect to philosophical questions, is an incipient, unlocalizable threshold—a terrain neither subjective, nor entirely objective, one neither of representation, nor finally of simple immediacy—there where the map perceptibly fails to diverge from the territory. Amid Inclemencies of weather and fringed, as per Borges, with ruin and singular figures—with Animals and Beggars—what’s enclosed is an attempt to chart the contours of this curious immanence. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0319.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-map-and-the-territory/ Earth, Milky Way 04 01 20210819 Munro, Michael 02 WORLD 06 15 9781953035790 03 9781953035790 34 06 10.1007/s11098-011-9704-7 34 06 10.2307/2929747 34 06 10.5840/owl20023328 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035787 20 08 20210819 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-map-and-the-territory 20 08 20210819 02 21.00 USD WORLD urn:uuid:299165d2-a76f-4c79-ba9a-52be3df0afe8 03 01 01 thoth-work-id urn:uuid:a4ff976a-ac8a-49b8-a89c-f52f3030ccaa 01 thoth-publication-id urn:uuid:299165d2-a76f-4c79-ba9a-52be3df0afe8 15 9781953035790 03 9781953035790 06 10.53288/0319.1.00 13 2021943710 01 internal-reference 0319 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Map and the Territory 1 A01 Michael Munro Michael Munro 01 eng 00 72 03 12 HPCF 10 PHI004000 B2 Philosophy 93 QDTJ 93 DNL 10 PHI035000 20 Jorge Luis Borges; philosophy; mapping; territory 01 06 02 00 03 00 “I didn’t even know that was a question I could ask.” That remark from a student in an introductory philosophy course points to the primary body of knowledge philosophy produces: a detailed record of what we do not know. When we come to view a philosophical question as well-formed and worthwhile, it is a way of providing as specific a description as we can of something we do not know. The creation or discovery of such questions is like noting a landmark in a territory we’re exploring. When we identify reasonable, if conflicting, answers to this question, we are noting routes to and away from that landmark. And since proposed answers to philosophical questions often contain implied answers to other philosophical questions, those routes connect different landmarks.The result is a kind of map: a map of the unknown.Yet when it comes to the unknown, and all the more so to its cartography, might it not make sense to take our orientation from Borges: What’s in question here, with respect to philosophical questions, is an incipient, unlocalizable threshold—a terrain neither subjective, nor entirely objective, one neither of representation, nor finally of simple immediacy—there where the map perceptibly fails to diverge from the territory. Amid Inclemencies of weather and fringed, as per Borges, with ruin and singular figures—with Animals and Beggars—what’s enclosed is an attempt to chart the contours of this curious immanence. 30 00 “I didn’t even know that was a question I could ask.” That remark from a student in an introductory philosophy course points to the primary body of knowledge philosophy produces: a detailed record of what we do not know. When we come to view a philosophical question as well-formed and worthwhile, it is a way of providing as specific a description as we can of something we do not know. The creation or discovery of such questions is like noting a landmark in a territory we’re exploring. When we identify reasonable, if conflicting, answers to this question, we are noting routes to and away from that landmark. And since proposed answers to philosophical questions often contain implied answers to other philosophical questions, those routes connect different landmarks.The result is a kind of map: a map of the unknown.Yet when it comes to the unknown, and all the more so to its cartography, might it not make sense to take our orientation from Borges: What’s in question here, with respect to philosophical questions, is an incipient, unlocalizable threshold—a terrain neither subjective, nor entirely objective, one neither of representation, nor finally of simple immediacy—there where the map perceptibly fails to diverge from the territory. Amid Inclemencies of weather and fringed, as per Borges, with ruin and singular figures—with Animals and Beggars—what’s enclosed is an attempt to chart the contours of this curious immanence. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0319.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-map-and-the-territory/ Earth, Milky Way 04 01 20210819 Munro, Michael 02 WORLD 06 15 9781953035783 03 9781953035783 34 06 10.1007/s11098-011-9704-7 34 06 10.2307/2929747 34 06 10.5840/owl20023328 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50338 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50338/0319.1.00.pdf?sequence=1&isAllowed=y 20 08 20210819 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/71622 20 08 20210819 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1wvncvj 20 08 20210819 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/683 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/78c617e1-28a5-4282-90a8-b468e3437aff/download 20 08 20210819 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Map_and_the_Territory/X5-oEAAAQBAJ 20 08 20210819 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a4ff976a-ac8a-49b8-a89c-f52f3030ccaa 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a4ff976a-ac8a-49b8-a89c-f52f3030ccaa/a4ff976a-ac8a-49b8-a89c-f52f3030ccaa.pdf 20 08 20210819 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848973 29 ZENODO: download the title https://zenodo.org/records/19848973/files/a4ff976a-ac8a-49b8-a89c-f52f3030ccaa_book.pdf 20 08 20210819 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-map-and-the-territory/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0319.1.00.pdf 20 08 20210819 01 urn:uuid:0efbfa77-f2a3-4fe0-81c2-24f314f41ff4 03 01 01 thoth-work-id urn:uuid:905d9c5e-cc3b-43a1-9dc5-ef69cf790509 01 thoth-publication-id urn:uuid:0efbfa77-f2a3-4fe0-81c2-24f314f41ff4 15 9781685712280 03 9781685712280 06 10.53288/0539.1.00 13 2025942821 01 internal-reference 0539 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 12 mm 03 1.2 cm 03 0.49 in 08 301 gr 08 10.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Mediterranean Question 1 A01 21 000000031429054X Iain Chambers Iain Chambers Iain Chambers is an independent researcher and writer. Born in the UK and educated at the Centre for Contemporary Cultural Studies in Birmingham, he moved to Naples, Italy in the 1970s. There, he taught Cultural, Postcolonial, and Mediterranean studies at the University of Naples, Orientale, for many decades. Among his publications are Migrancy, Culture, Identity (Routledge, 1993), Mediterranean Crossings (Duke, 2008), and Postcolonial Interruptions, Unauthorised Modernities (Rowman & Littlefield, 2017). In 2022, he participated in documenta 15 as a member of the artist collective Jimmie Durham & A Stick in the Forest by the Side of the Road. He is a regular contributor to the Italian daily il Manifesto. 06 Own website https://mediterranean-blues.blog/ 2 A01 21 0000000303072037 Marta Cariello Marta Cariello Associate Professor in English Literature and Cultural Studies 40 02kqnpp86 University of Campania "Luigi Vanvitelli" Marta Cariello is an Associate Professor in English Literature and Cultural Studies at Università della Campania “Luigi Vanvitelli” in Naples, Italy. She has published on postcolonial literature with a specific focus on Anglophone Arab women writers, on the Mediterranean as a critical space of modernity, and more broadly on cultural studies. Among her recent publications is the Italian translation of Nathalie Handal’s The Lives of Rain (Iacobelli, 2018). She is co-founder and co-director of the academic journal de genere: Journal of Literary, Postcolonial and Gender Studies. Her current research focuses on the intersection of narratives of waste, nationhood, and citizenship. 01 eng 02 ita 00 216 03 93 1QSM B2 Cultural Studies+Critical Theory 10 SOC074000 10 HIS039000 B2 History 93 NHTB 93 JBCC7 B2 Literary Studies 93 NHTQ 93 NHTR1 20 Mediterranean Sea; cultural studies; migration; modern history; Arab women poets; music; visual arts 01 06 02 00 03 00 Whose Mediterranean are we talking about? What languages are most appropriate to its reception and understanding? With two-thirds constituted by the histories and cultures of its African and Asian shorelines and hinterlands, and its principal spoken language – in all its variants and dialects – being Arabic, then the Mediterranean clearly exceeds the Western frame of explanation. Without pretending to speak for or in the name of these ignored and repressed dimensions, The Mediterranean Question explores the gap between the Mediterranean reduced to a European and Western mirror by listening and attending to some of those other histories, cultures, and lives.How to puncture prevalent European understandings of the Mediterranean? The colonizing impulse inscribed in Western historiography cannot be undone simply by adding previously repressed and unacknowledged histories. Instead, a re-examination of the premises and procedures that produced such exclusions leads to a valuable change in coordinates. An order of knowledge that creates subaltern objects of study to reconfirm European centrality and subjectivity is interrogated. Insisting on a politics of registration and listening, further critical incentives drawn from the trans-local dissemination of literature, music, cinema, and the visual arts can be deployed to query existing representations.In this more ragged and open series of maps, there lies no complete picture but rather a challenge to the violence of existing explanations. Insisting that present-day knowledge is sustained in asymmetrical relations of power, The Mediterranean Question promotes a reconfiguration of historical archives and cultural ties, casting a critical light on the deeper histories that have made the Mediterranean, Europe, and Western modernity. Proposing a series of intersecting analyses that underline the colonial constitution of the present and its mobile and creolized formation, Chambers and Cariello seek to establish new coordinates for thinking and practicing the possibilities of another Mediterranean. 30 00 Whose Mediterranean are we talking about? What languages are most appropriate to its reception and understanding? With two-thirds constituted by the histories and cultures of its African and Asian shorelines and hinterlands, and its principal spoken language – in all its variants and dialects – being Arabic, then the Mediterranean clearly exceeds the Western frame of explanation. Without pretending to speak for or in the name of these ignored and repressed dimensions, The Mediterranean Question explores the gap between the Mediterranean reduced to a European and Western mirror by listening and attending to some of those other histories, cultures, and lives.How to puncture prevalent European understandings of the Mediterranean? The colonizing impulse inscribed in Western historiography cannot be undone simply by adding previously repressed and unacknowledged histories. Instead, a re-examination of the premises and procedures that produced such exclusions leads to a valuable change in coordinates. An order of knowledge that creates subaltern objects of study to reconfirm European centrality and subjectivity is interrogated. Insisting on a politics of registration and listening, further critical incentives drawn from the trans-local dissemination of literature, music, cinema, and the visual arts can be deployed to query existing representations.In this more ragged and open series of maps, there lies no complete picture but rather a challenge to the violence of existing explanations. Insisting that present-day knowledge is sustained in asymmetrical relations of power, The Mediterranean Question promotes a reconfiguration of historical archives and cultural ties, casting a critical light on the deeper histories that have made the Mediterranean, Europe, and Western modernity. Proposing a series of intersecting analyses that underline the colonial constitution of the present and its mobile and creolized formation, Chambers and Cariello seek to establish new coordinates for thinking and practicing the possibilities of another Mediterranean. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0539.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-mediterranean-question/ Earth, Milky Way 04 01 20250904 Iain Chamber, Marta Cariello 02 WORLD 06 15 9781685712297 03 9781685712297 34 06 10.1632/pmla.2010.125.3.678 34 06 10.21983/P3.0314.1.00 34 06 10.1177/0141778920931878 34 06 10.1215/21599785-8221398 34 06 10.6093/2279-7629/3978 34 06 10.1080/13688790.2023.2267773 34 06 10.70064/mt.v8i2.1120 34 06 10.3898/NEWF:106.01.2022 34 06 10.2307/216093 34 06 10.1057/palgrave.fr.940036 34 06 10.1080/01419870.2016.1161808 34 06 10.1080/00064246.2014.11413690 34 06 10.1017/ahsse.2019.1 34 06 10.1400/223434 34 06 10.1111/j.1931-0846.2012.00153.x 34 06 10.1177/036319908801300103 34 06 10.1146/annurev-anthro-081309-145732 34 06 10.1007/978-3-319-71764-7_11 34 06 10.1163/187754610x494969 34 06 10.2307/302139 34 06 10.1080/13688790.2016.1264250 34 06 10.1080/01436597.2016.1206454 34 06 10.1080/19436149.2016.1148859 34 06 10.1086/495449 34 06 10.1111/j.0141-6790.2003.02602011.x 34 06 10.1080/03085140120042271 34 06 10.1007/s11217-009-9163-1 34 06 10.1215/08992363-12-3-721 34 06 10.1093/acprof:oso/9780199595006.003.0001 34 06 10.2307/3772796 34 06 10.1215/26410478-10235943 34 06 10.2307/464747 34 06 10.2307/1479343 34 06 10.14648/88228 34 06 10.1080/14623520601056240 34 06 10.1017/S2151348100002998 34 06 10.2979/transition.132.1.03 34 06 10.2979/RAC.2007.1.1.61 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712282 20 08 20250904 02 23.00 USD WORLD urn:uuid:c9c9b8c3-2a31-4055-bcd5-d02ca7bcd572 03 01 01 thoth-work-id urn:uuid:905d9c5e-cc3b-43a1-9dc5-ef69cf790509 01 thoth-publication-id urn:uuid:c9c9b8c3-2a31-4055-bcd5-d02ca7bcd572 15 9781685712297 03 9781685712297 06 10.53288/0539.1.00 13 2025942821 01 internal-reference 0539 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Mediterranean Question 1 A01 21 000000031429054X Iain Chambers Iain Chambers Iain Chambers is an independent researcher and writer. Born in the UK and educated at the Centre for Contemporary Cultural Studies in Birmingham, he moved to Naples, Italy in the 1970s. There, he taught Cultural, Postcolonial, and Mediterranean studies at the University of Naples, Orientale, for many decades. Among his publications are Migrancy, Culture, Identity (Routledge, 1993), Mediterranean Crossings (Duke, 2008), and Postcolonial Interruptions, Unauthorised Modernities (Rowman & Littlefield, 2017). In 2022, he participated in documenta 15 as a member of the artist collective Jimmie Durham & A Stick in the Forest by the Side of the Road. He is a regular contributor to the Italian daily il Manifesto. 06 Own website https://mediterranean-blues.blog/ 2 A01 21 0000000303072037 Marta Cariello Marta Cariello Associate Professor in English Literature and Cultural Studies 40 02kqnpp86 University of Campania "Luigi Vanvitelli" Marta Cariello is an Associate Professor in English Literature and Cultural Studies at Università della Campania “Luigi Vanvitelli” in Naples, Italy. She has published on postcolonial literature with a specific focus on Anglophone Arab women writers, on the Mediterranean as a critical space of modernity, and more broadly on cultural studies. Among her recent publications is the Italian translation of Nathalie Handal’s The Lives of Rain (Iacobelli, 2018). She is co-founder and co-director of the academic journal de genere: Journal of Literary, Postcolonial and Gender Studies. Her current research focuses on the intersection of narratives of waste, nationhood, and citizenship. 01 eng 02 ita 00 216 03 93 1QSM B2 Cultural Studies+Critical Theory 10 SOC074000 10 HIS039000 B2 History 93 NHTB 93 JBCC7 B2 Literary Studies 93 NHTQ 93 NHTR1 20 Mediterranean Sea; cultural studies; migration; modern history; Arab women poets; music; visual arts 01 06 02 00 03 00 Whose Mediterranean are we talking about? What languages are most appropriate to its reception and understanding? With two-thirds constituted by the histories and cultures of its African and Asian shorelines and hinterlands, and its principal spoken language – in all its variants and dialects – being Arabic, then the Mediterranean clearly exceeds the Western frame of explanation. Without pretending to speak for or in the name of these ignored and repressed dimensions, The Mediterranean Question explores the gap between the Mediterranean reduced to a European and Western mirror by listening and attending to some of those other histories, cultures, and lives.How to puncture prevalent European understandings of the Mediterranean? The colonizing impulse inscribed in Western historiography cannot be undone simply by adding previously repressed and unacknowledged histories. Instead, a re-examination of the premises and procedures that produced such exclusions leads to a valuable change in coordinates. An order of knowledge that creates subaltern objects of study to reconfirm European centrality and subjectivity is interrogated. Insisting on a politics of registration and listening, further critical incentives drawn from the trans-local dissemination of literature, music, cinema, and the visual arts can be deployed to query existing representations.In this more ragged and open series of maps, there lies no complete picture but rather a challenge to the violence of existing explanations. Insisting that present-day knowledge is sustained in asymmetrical relations of power, The Mediterranean Question promotes a reconfiguration of historical archives and cultural ties, casting a critical light on the deeper histories that have made the Mediterranean, Europe, and Western modernity. Proposing a series of intersecting analyses that underline the colonial constitution of the present and its mobile and creolized formation, Chambers and Cariello seek to establish new coordinates for thinking and practicing the possibilities of another Mediterranean. 30 00 Whose Mediterranean are we talking about? What languages are most appropriate to its reception and understanding? With two-thirds constituted by the histories and cultures of its African and Asian shorelines and hinterlands, and its principal spoken language – in all its variants and dialects – being Arabic, then the Mediterranean clearly exceeds the Western frame of explanation. Without pretending to speak for or in the name of these ignored and repressed dimensions, The Mediterranean Question explores the gap between the Mediterranean reduced to a European and Western mirror by listening and attending to some of those other histories, cultures, and lives.How to puncture prevalent European understandings of the Mediterranean? The colonizing impulse inscribed in Western historiography cannot be undone simply by adding previously repressed and unacknowledged histories. Instead, a re-examination of the premises and procedures that produced such exclusions leads to a valuable change in coordinates. An order of knowledge that creates subaltern objects of study to reconfirm European centrality and subjectivity is interrogated. Insisting on a politics of registration and listening, further critical incentives drawn from the trans-local dissemination of literature, music, cinema, and the visual arts can be deployed to query existing representations.In this more ragged and open series of maps, there lies no complete picture but rather a challenge to the violence of existing explanations. Insisting that present-day knowledge is sustained in asymmetrical relations of power, The Mediterranean Question promotes a reconfiguration of historical archives and cultural ties, casting a critical light on the deeper histories that have made the Mediterranean, Europe, and Western modernity. Proposing a series of intersecting analyses that underline the colonial constitution of the present and its mobile and creolized formation, Chambers and Cariello seek to establish new coordinates for thinking and practicing the possibilities of another Mediterranean. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0539.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-mediterranean-question/ Earth, Milky Way 04 01 20250904 Iain Chamber, Marta Cariello 02 WORLD 06 15 9781685712280 03 9781685712280 34 06 10.1632/pmla.2010.125.3.678 34 06 10.21983/P3.0314.1.00 34 06 10.1177/0141778920931878 34 06 10.1215/21599785-8221398 34 06 10.6093/2279-7629/3978 34 06 10.1080/13688790.2023.2267773 34 06 10.70064/mt.v8i2.1120 34 06 10.3898/NEWF:106.01.2022 34 06 10.2307/216093 34 06 10.1057/palgrave.fr.940036 34 06 10.1080/01419870.2016.1161808 34 06 10.1080/00064246.2014.11413690 34 06 10.1017/ahsse.2019.1 34 06 10.1400/223434 34 06 10.1111/j.1931-0846.2012.00153.x 34 06 10.1177/036319908801300103 34 06 10.1146/annurev-anthro-081309-145732 34 06 10.1007/978-3-319-71764-7_11 34 06 10.1163/187754610x494969 34 06 10.2307/302139 34 06 10.1080/13688790.2016.1264250 34 06 10.1080/01436597.2016.1206454 34 06 10.1080/19436149.2016.1148859 34 06 10.1086/495449 34 06 10.1111/j.0141-6790.2003.02602011.x 34 06 10.1080/03085140120042271 34 06 10.1007/s11217-009-9163-1 34 06 10.1215/08992363-12-3-721 34 06 10.1093/acprof:oso/9780199595006.003.0001 34 06 10.2307/3772796 34 06 10.1215/26410478-10235943 34 06 10.2307/464747 34 06 10.2307/1479343 34 06 10.14648/88228 34 06 10.1080/14623520601056240 34 06 10.1017/S2151348100002998 34 06 10.2979/transition.132.1.03 34 06 10.2979/RAC.2007.1.1.61 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/106030 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/106030/9781685712297.pdf?sequence=1&isAllowed=y 20 08 20250904 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/166614 20 08 20250904 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/909 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/46be3051-07fa-4bcc-92bc-86bb296ccbb5/download 20 08 20250904 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/905d9c5e-cc3b-43a1-9dc5-ef69cf790509 29 INTERNET_ARCHIVE: download the title https://archive.org/download/905d9c5e-cc3b-43a1-9dc5-ef69cf790509/905d9c5e-cc3b-43a1-9dc5-ef69cf790509.pdf 20 08 20250904 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851283 29 ZENODO: download the title https://zenodo.org/records/19851283/files/905d9c5e-cc3b-43a1-9dc5-ef69cf790509_book.pdf 20 08 20250904 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-mediterranean-question/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0539.1.00.pdf 20 08 20250904 01 urn:uuid:5755e6fa-fc8b-4e02-bbf3-8163bc4d9429 03 01 01 thoth-work-id urn:uuid:439b03f8-2491-4dc9-a378-e96eb90fc4f4 01 thoth-publication-id urn:uuid:5755e6fa-fc8b-4e02-bbf3-8163bc4d9429 15 9781685710163 03 9781685710163 06 10.21983/P3.0368.1.00 01 internal-reference 0368 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Messy Psychology of Fascism A Micropolitics of the Far Right Today 1 A01 Steve Shantz Steve Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 antifa; antifascism; fascism; micropolitics; psychology; theory; Donald J. Trump; Trumpism 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0368.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-messy-psychology-of-fascism/ Earth, Milky Way 01 Shantz, Steve 02 WORLD 06 15 9781685710170 03 9781685710170 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-messy-psychology-of-fascism/ 01 01 urn:uuid:28c90947-4a46-44e3-9648-6fa6db1090a0 03 01 01 thoth-work-id urn:uuid:439b03f8-2491-4dc9-a378-e96eb90fc4f4 01 thoth-publication-id urn:uuid:28c90947-4a46-44e3-9648-6fa6db1090a0 15 9781685710170 03 9781685710170 06 10.21983/P3.0368.1.00 01 internal-reference 0368 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Messy Psychology of Fascism A Micropolitics of the Far Right Today 1 A01 Steve Shantz Steve Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 20 antifa; antifascism; fascism; micropolitics; psychology; theory; Donald J. Trump; Trumpism 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0368.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-messy-psychology-of-fascism/ Earth, Milky Way 01 Shantz, Steve 02 WORLD 06 15 9781685710163 03 9781685710163 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-messy-psychology-of-fascism/ 01 01 urn:uuid:54536a0f-d986-4fa5-9643-d86c01899ed0 03 01 01 thoth-work-id urn:uuid:7be9aa8c-b8af-4b2f-96ff-16e4532f2b83 01 thoth-publication-id urn:uuid:54536a0f-d986-4fa5-9643-d86c01899ed0 15 9789081709132 03 9789081709132 06 10.21983/P3.0216.1.00 01 internal-reference 0216 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 The Miracle of Saint Mina – Gis Miinan Nokkor 1 B01 El-Shafie El-Guzuuli El-Shafie El-Guzuuli 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 01d3tej48 University of New York Tirana 06 Own website http://www.vangervenoei.com/ 01 eng 01 nub 00 162 03 12 2HNR B2 Fabulations 10 FIC111020 93 FYT 93 1QBHN B2 Languages+Translations 93 3KL 20 Old Nubian; miracle story; Christianity; Dongolawi 01 06 02 00 03 00 The Miracle of Saint Mina is one of the core texts in the small corpus of texts written in Old Nubian, a Nilo-Saharan language spoken between the third and fourth cataract of the Nile river until about the fifteenth century, and written in an adaptation of the Coptic script. It is one of the oldest written indigenous African languages. The Miracle of Saint Mina, most probably written around 1000 A.D., is a classical miracle story featuring one of the most well-known Egyptian saints. This publication features a translation of the text into one of the remaining modern Nubian languages, Dongolawi-Andaandi, by El-Shafie El-Guzuuli, thus establishing for the first time a link between the Old Nubian literary heritage and the contemporary colloquial language. The Old Nubian is also accompanied by a revised translation to English and a grammatical analysis. 30 00 The Miracle of Saint Mina is one of the core texts in the small corpus of texts written in Old Nubian, a Nilo-Saharan language spoken between the third and fourth cataract of the Nile river until about the fifteenth century, and written in an adaptation of the Coptic script. It is one of the oldest written indigenous African languages. The Miracle of Saint Mina, most probably written around 1000 A.D., is a classical miracle story featuring one of the most well-known Egyptian saints. This publication features a translation of the text into one of the remaining modern Nubian languages, Dongolawi-Andaandi, by El-Shafie El-Guzuuli, thus establishing for the first time a link between the Old Nubian literary heritage and the contemporary colloquial language. The Old Nubian is also accompanied by a revised translation to English and a grammatical analysis. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0216.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-miracle-of-saint-mina-gis-miinan-nokkor/ The Hague/Tirana 04 01 20120105 El-Guzuuli, El-Shafie van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2PRiAJC 20 08 20120105 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-miracle-of-saint-mina-a-gis-miinan-nokkor 20 08 20120105 02 22.00 USD WORLD urn:uuid:c464c6e9-5fd2-4a3f-afad-7abd6d176569 03 01 01 thoth-work-id urn:uuid:7be9aa8c-b8af-4b2f-96ff-16e4532f2b83 01 thoth-publication-id urn:uuid:c464c6e9-5fd2-4a3f-afad-7abd6d176569 06 10.21983/P3.0216.1.00 01 internal-reference 0216 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 The Miracle of Saint Mina – Gis Miinan Nokkor 1 B01 El-Shafie El-Guzuuli El-Shafie El-Guzuuli 2 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 01d3tej48 University of New York Tirana 06 Own website http://www.vangervenoei.com/ 01 eng 01 nub 00 162 03 12 2HNR B2 Fabulations 10 FIC111020 93 FYT 93 1QBHN B2 Languages+Translations 93 3KL 20 Old Nubian; miracle story; Christianity; Dongolawi 01 06 02 00 03 00 The Miracle of Saint Mina is one of the core texts in the small corpus of texts written in Old Nubian, a Nilo-Saharan language spoken between the third and fourth cataract of the Nile river until about the fifteenth century, and written in an adaptation of the Coptic script. It is one of the oldest written indigenous African languages. The Miracle of Saint Mina, most probably written around 1000 A.D., is a classical miracle story featuring one of the most well-known Egyptian saints. This publication features a translation of the text into one of the remaining modern Nubian languages, Dongolawi-Andaandi, by El-Shafie El-Guzuuli, thus establishing for the first time a link between the Old Nubian literary heritage and the contemporary colloquial language. The Old Nubian is also accompanied by a revised translation to English and a grammatical analysis. 30 00 The Miracle of Saint Mina is one of the core texts in the small corpus of texts written in Old Nubian, a Nilo-Saharan language spoken between the third and fourth cataract of the Nile river until about the fifteenth century, and written in an adaptation of the Coptic script. It is one of the oldest written indigenous African languages. The Miracle of Saint Mina, most probably written around 1000 A.D., is a classical miracle story featuring one of the most well-known Egyptian saints. This publication features a translation of the text into one of the remaining modern Nubian languages, Dongolawi-Andaandi, by El-Shafie El-Guzuuli, thus establishing for the first time a link between the Old Nubian literary heritage and the contemporary colloquial language. The Old Nubian is also accompanied by a revised translation to English and a grammatical analysis. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0216.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-miracle-of-saint-mina-gis-miinan-nokkor/ The Hague/Tirana 04 01 20120105 El-Guzuuli, El-Shafie van Gerven Oei, Vincent W.J. 02 WORLD 06 15 9789081709132 03 9789081709132 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25413 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25413/1004682.pdf?sequence=1&isAllowed=y 20 08 20120105 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36568 20 08 20120105 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353912 20 08 20120105 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/378 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/424b487e-82e4-4983-bb40-8047206a0ca7/download 20 08 20120105 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Miracle_of_Saint_Mina_Gis_Miinan_Nok/O3mnEAAAQBAJ 20 08 20120105 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/7be9aa8c-b8af-4b2f-96ff-16e4532f2b83 29 INTERNET_ARCHIVE: download the title https://archive.org/download/7be9aa8c-b8af-4b2f-96ff-16e4532f2b83/7be9aa8c-b8af-4b2f-96ff-16e4532f2b83.pdf 20 08 20120105 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693177 29 ZENODO: download the title https://zenodo.org/records/19693177/files/7be9aa8c-b8af-4b2f-96ff-16e4532f2b83_book.pdf 20 08 20120105 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-miracle-of-saint-mina-gis-miinan-nokkor/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0216.1.00.pdf 20 08 20120105 01 urn:uuid:7514abea-9dd8-4b91-b3e5-8ad34c9bad71 03 01 01 thoth-work-id urn:uuid:e3514bb8-e22b-431a-8d0c-bd4d34967ce3 01 thoth-publication-id urn:uuid:7514abea-9dd8-4b91-b3e5-8ad34c9bad71 15 9781685712846 03 9781685712846 06 10.53288/0513.1.00 13 2025944188 01 internal-reference 0513 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 23 mm 03 2.3 cm 03 0.91 in 08 513 gr 08 18.08 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Negated Institution Report from a Psychiatric Hospital 1 B01 Franco Basaglia Franco Basaglia 2 B06 John Foot John Foot 40 0524sp257 University of Bristol 02 eng 02 ita 00 400 03 B2 Languages+Translations 10 MED105000 93 MKLD 93 5PM B2 Neurodiverse+Crip 10 PSY007000 93 MBP B2 New Left Thought 93 1DST 93 3MPQS-DE-K 20 antipsychiatry; Italy; mental healthcare; asylum; psychiatric hospitals; mental health reform 01 06 02 00 03 00 The Negated Institution: Report from a Psychiatric Hospital was first published in 1968 in Italian and caused an immediate sensation. It was an instant bestseller and was translated into numerous languages, but never into English. Edited by the Venetian psychiatrist Franco Basaglia, the book is a collection of writings, interviews, and debates which tell the story of the transformation of the Psychiatric Hospital in Gorizia, on the northeast border of Italy, into an open and “negated” institution. This story of an historically unique process of de-institutionalization—with the elimination of walls and barriers, the humanization of the hospital, the introduction of debates and meetings, the unlocking of wards, and the questioning of the very basis of all psychiatric hospitals—struck a nerve with the student and worker movements of 1968. It also gave a voice to the patients themselves, telling their stories of violence but also of liberation.The Negated Institution was highly sensitive to the contradictions of this project of opening up and negation, and called for the abolition of the entire system of psychiatric asylums, as well as new ways of understanding and contextualising mental illness and mental health. It led to debates in many countries within and outside of psychiatry and played a part in the 1978 “Basaglia law,” which eventually closed down the entire psychiatric hospital system in Italy—the first example of such total closure in the world, which endures to our contemporary moment.This is the first translation into English of this seminal text. The translator, John Foot, is an expert in the life and work of Franco Basaglia and has added notes and a critical introduction. 30 00 The Negated Institution: Report from a Psychiatric Hospital was first published in 1968 in Italian and caused an immediate sensation. It was an instant bestseller and was translated into numerous languages, but never into English. Edited by the Venetian psychiatrist Franco Basaglia, the book is a collection of writings, interviews, and debates which tell the story of the transformation of the Psychiatric Hospital in Gorizia, on the northeast border of Italy, into an open and “negated” institution. This story of an historically unique process of de-institutionalization—with the elimination of walls and barriers, the humanization of the hospital, the introduction of debates and meetings, the unlocking of wards, and the questioning of the very basis of all psychiatric hospitals—struck a nerve with the student and worker movements of 1968. It also gave a voice to the patients themselves, telling their stories of violence but also of liberation.The Negated Institution was highly sensitive to the contradictions of this project of opening up and negation, and called for the abolition of the entire system of psychiatric asylums, as well as new ways of understanding and contextualising mental illness and mental health. It led to debates in many countries within and outside of psychiatry and played a part in the 1978 “Basaglia law,” which eventually closed down the entire psychiatric hospital system in Italy—the first example of such total closure in the world, which endures to our contemporary moment.This is the first translation into English of this seminal text. The translator, John Foot, is an expert in the life and work of Franco Basaglia and has added notes and a critical introduction. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0513.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-negated-institution-report-from-a-psychiatric-hospital/ Earth, Milky Way 04 01 20251031 Baldini+Castoldi Editore, John Foot 02 WORLD 06 15 9781685712853 03 9781685712853 06 15 9781685712952 03 9781685712952 34 06 10.1001/archpsyc.1962.01710220049006 34 06 10.1177/002076406601200410 34 06 10.1080/00207411.1985.11448987 34 06 10.1016/S0140-6736(55)92551-4 34 06 10.1192/bjp.109.459.178 34 06 10.1192/bjp.111.479.947 34 06 10.1177/001872676201500203 34 06 10.1177/002076406601200202 34 06 10.1080/0803706X.2023.2252215 34 06 10.1332/204986014X14002292074708 34 06 10.1001/archpsyc.1962.01720040025002 34 06 10.1176/appi.psychotherapy.1961.15.1.6 34 06 10.1177/003591576706000139 34 06 10.1192/bjp.148.2.144 34 06 10.1192/bjp.112.491.1007 34 06 10.1086/222005 34 06 10.1080/00207284.1966.11642944 34 06 10.1080/00332747.1967.11023488 34 06 10.1177/002076406300900107 34 06 10.1016/s0140-6736(55)92918-4 34 06 10.1192/bjp.109.459.267 34 06 10.1176/ps.11.1.16 34 06 10.1037/h0048881 34 06 10.1177/014107688607901117 34 06 10.1177/002076406601200409 34 06 10.1111/j.2044-8260.1962.tb00680.x 34 06 10.1192/bjp.113.503.1083 34 06 10.1017/S0003055419000558 34 06 10.1192/bjp.112.485.383 34 06 10.1192/bjp.146.4.341 34 06 10.1176/ajp.112.8.647 34 06 10.1176/ajp.122.11.1275 34 06 10.1192/bjp.113.502.959 34 06 10.1136/bmj.297.6655.1042-d 34 06 10.1192/bjp.147.2.208 34 06 10.3917/ltm.668.0055 34 06 10.1192/bjp.147.4.450 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712843 20 08 20251031 02 27.00 USD WORLD urn:uuid:fa47d2b6-3d02-4a36-9993-6216c3c2027a 03 01 01 thoth-work-id urn:uuid:e3514bb8-e22b-431a-8d0c-bd4d34967ce3 01 thoth-publication-id urn:uuid:fa47d2b6-3d02-4a36-9993-6216c3c2027a 15 9781685712853 03 9781685712853 06 10.53288/0513.1.00 13 2025944188 01 internal-reference 0513 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Negated Institution Report from a Psychiatric Hospital 1 B01 Franco Basaglia Franco Basaglia 2 B06 John Foot John Foot 40 0524sp257 University of Bristol 02 eng 02 ita 00 400 03 B2 Languages+Translations 10 MED105000 93 MKLD 93 5PM B2 Neurodiverse+Crip 10 PSY007000 93 MBP B2 New Left Thought 93 1DST 93 3MPQS-DE-K 20 antipsychiatry; Italy; mental healthcare; asylum; psychiatric hospitals; mental health reform 01 06 02 00 03 00 The Negated Institution: Report from a Psychiatric Hospital was first published in 1968 in Italian and caused an immediate sensation. It was an instant bestseller and was translated into numerous languages, but never into English. Edited by the Venetian psychiatrist Franco Basaglia, the book is a collection of writings, interviews, and debates which tell the story of the transformation of the Psychiatric Hospital in Gorizia, on the northeast border of Italy, into an open and “negated” institution. This story of an historically unique process of de-institutionalization—with the elimination of walls and barriers, the humanization of the hospital, the introduction of debates and meetings, the unlocking of wards, and the questioning of the very basis of all psychiatric hospitals—struck a nerve with the student and worker movements of 1968. It also gave a voice to the patients themselves, telling their stories of violence but also of liberation.The Negated Institution was highly sensitive to the contradictions of this project of opening up and negation, and called for the abolition of the entire system of psychiatric asylums, as well as new ways of understanding and contextualising mental illness and mental health. It led to debates in many countries within and outside of psychiatry and played a part in the 1978 “Basaglia law,” which eventually closed down the entire psychiatric hospital system in Italy—the first example of such total closure in the world, which endures to our contemporary moment.This is the first translation into English of this seminal text. The translator, John Foot, is an expert in the life and work of Franco Basaglia and has added notes and a critical introduction. 30 00 The Negated Institution: Report from a Psychiatric Hospital was first published in 1968 in Italian and caused an immediate sensation. It was an instant bestseller and was translated into numerous languages, but never into English. Edited by the Venetian psychiatrist Franco Basaglia, the book is a collection of writings, interviews, and debates which tell the story of the transformation of the Psychiatric Hospital in Gorizia, on the northeast border of Italy, into an open and “negated” institution. This story of an historically unique process of de-institutionalization—with the elimination of walls and barriers, the humanization of the hospital, the introduction of debates and meetings, the unlocking of wards, and the questioning of the very basis of all psychiatric hospitals—struck a nerve with the student and worker movements of 1968. It also gave a voice to the patients themselves, telling their stories of violence but also of liberation.The Negated Institution was highly sensitive to the contradictions of this project of opening up and negation, and called for the abolition of the entire system of psychiatric asylums, as well as new ways of understanding and contextualising mental illness and mental health. It led to debates in many countries within and outside of psychiatry and played a part in the 1978 “Basaglia law,” which eventually closed down the entire psychiatric hospital system in Italy—the first example of such total closure in the world, which endures to our contemporary moment.This is the first translation into English of this seminal text. The translator, John Foot, is an expert in the life and work of Franco Basaglia and has added notes and a critical introduction. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0513.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-negated-institution-report-from-a-psychiatric-hospital/ Earth, Milky Way 04 01 20251031 Baldini+Castoldi Editore, John Foot 02 WORLD 06 15 9781685712846 03 9781685712846 06 15 9781685712952 03 9781685712952 34 06 10.1001/archpsyc.1962.01710220049006 34 06 10.1177/002076406601200410 34 06 10.1080/00207411.1985.11448987 34 06 10.1016/S0140-6736(55)92551-4 34 06 10.1192/bjp.109.459.178 34 06 10.1192/bjp.111.479.947 34 06 10.1177/001872676201500203 34 06 10.1177/002076406601200202 34 06 10.1080/0803706X.2023.2252215 34 06 10.1332/204986014X14002292074708 34 06 10.1001/archpsyc.1962.01720040025002 34 06 10.1176/appi.psychotherapy.1961.15.1.6 34 06 10.1177/003591576706000139 34 06 10.1192/bjp.148.2.144 34 06 10.1192/bjp.112.491.1007 34 06 10.1086/222005 34 06 10.1080/00207284.1966.11642944 34 06 10.1080/00332747.1967.11023488 34 06 10.1177/002076406300900107 34 06 10.1016/s0140-6736(55)92918-4 34 06 10.1192/bjp.109.459.267 34 06 10.1176/ps.11.1.16 34 06 10.1037/h0048881 34 06 10.1177/014107688607901117 34 06 10.1177/002076406601200409 34 06 10.1111/j.2044-8260.1962.tb00680.x 34 06 10.1192/bjp.113.503.1083 34 06 10.1017/S0003055419000558 34 06 10.1192/bjp.112.485.383 34 06 10.1192/bjp.146.4.341 34 06 10.1176/ajp.112.8.647 34 06 10.1176/ajp.122.11.1275 34 06 10.1192/bjp.113.502.959 34 06 10.1136/bmj.297.6655.1042-d 34 06 10.1192/bjp.147.2.208 34 06 10.3917/ltm.668.0055 34 06 10.1192/bjp.147.4.450 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/108103 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/108103/9781685712853.pdf?sequence=1&isAllowed=y 20 08 20251031 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/915 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/aa794962-9f3b-4927-a5e8-9f8a9b8abe2e/download 20 08 20251031 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e3514bb8-e22b-431a-8d0c-bd4d34967ce3 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e3514bb8-e22b-431a-8d0c-bd4d34967ce3/e3514bb8-e22b-431a-8d0c-bd4d34967ce3.pdf 20 08 20251031 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851419 29 ZENODO: download the title https://zenodo.org/records/19851419/files/e3514bb8-e22b-431a-8d0c-bd4d34967ce3_book.pdf 20 08 20251031 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-negated-institution-report-from-a-psychiatric-hospital/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0513.1.00.pdf 20 08 20251031 01 urn:uuid:7eb1dd22-c363-404e-92a5-e0d36ec63f1b 03 01 01 thoth-work-id urn:uuid:e3514bb8-e22b-431a-8d0c-bd4d34967ce3 01 thoth-publication-id urn:uuid:7eb1dd22-c363-404e-92a5-e0d36ec63f1b 15 9781685712952 03 9781685712952 06 10.53288/0513.1.00 13 2025944188 01 internal-reference 0513 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Negated Institution Report from a Psychiatric Hospital 1 B01 Franco Basaglia Franco Basaglia 2 B06 John Foot John Foot 40 0524sp257 University of Bristol 02 eng 02 ita 00 400 03 B2 Languages+Translations 10 MED105000 93 MKLD 93 5PM B2 Neurodiverse+Crip 10 PSY007000 93 MBP B2 New Left Thought 93 1DST 93 3MPQS-DE-K 20 antipsychiatry; Italy; mental healthcare; asylum; psychiatric hospitals; mental health reform 01 06 02 00 03 00 The Negated Institution: Report from a Psychiatric Hospital was first published in 1968 in Italian and caused an immediate sensation. It was an instant bestseller and was translated into numerous languages, but never into English. Edited by the Venetian psychiatrist Franco Basaglia, the book is a collection of writings, interviews, and debates which tell the story of the transformation of the Psychiatric Hospital in Gorizia, on the northeast border of Italy, into an open and “negated” institution. This story of an historically unique process of de-institutionalization—with the elimination of walls and barriers, the humanization of the hospital, the introduction of debates and meetings, the unlocking of wards, and the questioning of the very basis of all psychiatric hospitals—struck a nerve with the student and worker movements of 1968. It also gave a voice to the patients themselves, telling their stories of violence but also of liberation.The Negated Institution was highly sensitive to the contradictions of this project of opening up and negation, and called for the abolition of the entire system of psychiatric asylums, as well as new ways of understanding and contextualising mental illness and mental health. It led to debates in many countries within and outside of psychiatry and played a part in the 1978 “Basaglia law,” which eventually closed down the entire psychiatric hospital system in Italy—the first example of such total closure in the world, which endures to our contemporary moment.This is the first translation into English of this seminal text. The translator, John Foot, is an expert in the life and work of Franco Basaglia and has added notes and a critical introduction. 30 00 The Negated Institution: Report from a Psychiatric Hospital was first published in 1968 in Italian and caused an immediate sensation. It was an instant bestseller and was translated into numerous languages, but never into English. Edited by the Venetian psychiatrist Franco Basaglia, the book is a collection of writings, interviews, and debates which tell the story of the transformation of the Psychiatric Hospital in Gorizia, on the northeast border of Italy, into an open and “negated” institution. This story of an historically unique process of de-institutionalization—with the elimination of walls and barriers, the humanization of the hospital, the introduction of debates and meetings, the unlocking of wards, and the questioning of the very basis of all psychiatric hospitals—struck a nerve with the student and worker movements of 1968. It also gave a voice to the patients themselves, telling their stories of violence but also of liberation.The Negated Institution was highly sensitive to the contradictions of this project of opening up and negation, and called for the abolition of the entire system of psychiatric asylums, as well as new ways of understanding and contextualising mental illness and mental health. It led to debates in many countries within and outside of psychiatry and played a part in the 1978 “Basaglia law,” which eventually closed down the entire psychiatric hospital system in Italy—the first example of such total closure in the world, which endures to our contemporary moment.This is the first translation into English of this seminal text. The translator, John Foot, is an expert in the life and work of Franco Basaglia and has added notes and a critical introduction. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0513.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-negated-institution-report-from-a-psychiatric-hospital/ Earth, Milky Way 04 01 20251031 Baldini+Castoldi Editore, John Foot 02 WORLD 06 15 9781685712846 03 9781685712846 06 15 9781685712853 03 9781685712853 34 06 10.1001/archpsyc.1962.01710220049006 34 06 10.1177/002076406601200410 34 06 10.1080/00207411.1985.11448987 34 06 10.1016/S0140-6736(55)92551-4 34 06 10.1192/bjp.109.459.178 34 06 10.1192/bjp.111.479.947 34 06 10.1177/001872676201500203 34 06 10.1177/002076406601200202 34 06 10.1080/0803706X.2023.2252215 34 06 10.1332/204986014X14002292074708 34 06 10.1001/archpsyc.1962.01720040025002 34 06 10.1176/appi.psychotherapy.1961.15.1.6 34 06 10.1177/003591576706000139 34 06 10.1192/bjp.148.2.144 34 06 10.1192/bjp.112.491.1007 34 06 10.1086/222005 34 06 10.1080/00207284.1966.11642944 34 06 10.1080/00332747.1967.11023488 34 06 10.1177/002076406300900107 34 06 10.1016/s0140-6736(55)92918-4 34 06 10.1192/bjp.109.459.267 34 06 10.1176/ps.11.1.16 34 06 10.1037/h0048881 34 06 10.1177/014107688607901117 34 06 10.1177/002076406601200409 34 06 10.1111/j.2044-8260.1962.tb00680.x 34 06 10.1192/bjp.113.503.1083 34 06 10.1017/S0003055419000558 34 06 10.1192/bjp.112.485.383 34 06 10.1192/bjp.146.4.341 34 06 10.1176/ajp.112.8.647 34 06 10.1176/ajp.122.11.1275 34 06 10.1192/bjp.113.502.959 34 06 10.1136/bmj.297.6655.1042-d 34 06 10.1192/bjp.147.2.208 34 06 10.3917/ltm.668.0055 34 06 10.1192/bjp.147.4.450 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851419 29 ZENODO: download the title https://zenodo.org/records/19851419/files/e3514bb8-e22b-431a-8d0c-bd4d34967ce3_book.epub 20 08 20251031 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-negated-institution-report-from-a-psychiatric-hospital/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0513.2.00.epub 20 08 20251031 01 urn:uuid:18bff588-8e51-4cc1-9fd7-1868f97c1a4c 03 01 01 thoth-work-id urn:uuid:33917b8f-775f-4ee2-a43a-6b5285579f84 01 thoth-publication-id urn:uuid:18bff588-8e51-4cc1-9fd7-1868f97c1a4c 15 9780615945446 03 9780615945446 06 10.21983/P3.0065.1.00 01 internal-reference 0065 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Non-Library 1 A01 Trevor Owen Jones Trevor Owen Jones 01 eng 00 104 03 93 GLK 12 HPCF 10 PHI004000 B2 Philosophy 93 QDTK B2 Thought Experiments 20 philosophy; libraries; Jorge Luis Borges; theory; archives 01 06 02 00 03 00 The Non-Library is a non-standard expression for life that is lived without mediation from words, images, or even ideas. While a thing called “the Library” continues to terrorize humanity even as it enters its last stages as a consequence of cataclysmic climate change and late capitalism, the Non-Library is a strictly performative, ahistorical immanence that suspends the Library’s insistent calls to categorization, representation, and reification. Of course, to describe or circumscribe such ineffability has its limits, but it also has its thresholds to cross: with commentary on Derrida’s Archive Fever, a deconstruction of Fichte, a para-biographical meditation on librarianship, and a vamping on the possible “Non-Virgil,” The Non-Library gently proposes a negative capability in liminal spaces in order to best escape and resist the Library’s stranglehold on human knowledge and its requisite social imaginations.Building on the non-standard thought of Francois Laruelle’s non-philosophy, while not beholden to it, The Non-Library attempts to leave the discourse of the university behind and uses its citations of Badiou, Borges, Bataille, and Dante instead to construct a philo-fiction more akin to the immanence of music and its many expressions rather than Philosophy’s demand that all questions be eventually answered, that the Real is ultimately thinkable, or that all of Life might possibly be contained in the Library. 30 00 The Non-Library is a non-standard expression for life that is lived without mediation from words, images, or even ideas. While a thing called “the Library” continues to terrorize humanity even as it enters its last stages as a consequence of cataclysmic climate change and late capitalism, the Non-Library is a strictly performative, ahistorical immanence that suspends the Library’s insistent calls to categorization, representation, and reification. Of course, to describe or circumscribe such ineffability has its limits, but it also has its thresholds to cross: with commentary on Derrida’s Archive Fever, a deconstruction of Fichte, a para-biographical meditation on librarianship, and a vamping on the possible “Non-Virgil,” The Non-Library gently proposes a negative capability in liminal spaces in order to best escape and resist the Library’s stranglehold on human knowledge and its requisite social imaginations.Building on the non-standard thought of Francois Laruelle’s non-philosophy, while not beholden to it, The Non-Library attempts to leave the discourse of the university behind and uses its citations of Badiou, Borges, Bataille, and Dante instead to construct a philo-fiction more akin to the immanence of music and its many expressions rather than Philosophy’s demand that all questions be eventually answered, that the Real is ultimately thinkable, or that all of Life might possibly be contained in the Library. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0065.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-non-library/ Brooklyn, NY 04 01 20140313 Jones, Trevor Owen 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615945449 20 08 20140313 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-non-library 20 08 20140313 02 21.00 USD WORLD urn:uuid:2a515c8c-c4c4-4d50-aae0-250add4c9499 03 01 01 thoth-work-id urn:uuid:33917b8f-775f-4ee2-a43a-6b5285579f84 01 thoth-publication-id urn:uuid:2a515c8c-c4c4-4d50-aae0-250add4c9499 06 10.21983/P3.0065.1.00 01 internal-reference 0065 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Non-Library 1 A01 Trevor Owen Jones Trevor Owen Jones 01 eng 00 104 03 93 GLK 12 HPCF 10 PHI004000 B2 Philosophy 93 QDTK B2 Thought Experiments 20 philosophy; libraries; Jorge Luis Borges; theory; archives 01 06 02 00 03 00 The Non-Library is a non-standard expression for life that is lived without mediation from words, images, or even ideas. While a thing called “the Library” continues to terrorize humanity even as it enters its last stages as a consequence of cataclysmic climate change and late capitalism, the Non-Library is a strictly performative, ahistorical immanence that suspends the Library’s insistent calls to categorization, representation, and reification. Of course, to describe or circumscribe such ineffability has its limits, but it also has its thresholds to cross: with commentary on Derrida’s Archive Fever, a deconstruction of Fichte, a para-biographical meditation on librarianship, and a vamping on the possible “Non-Virgil,” The Non-Library gently proposes a negative capability in liminal spaces in order to best escape and resist the Library’s stranglehold on human knowledge and its requisite social imaginations.Building on the non-standard thought of Francois Laruelle’s non-philosophy, while not beholden to it, The Non-Library attempts to leave the discourse of the university behind and uses its citations of Badiou, Borges, Bataille, and Dante instead to construct a philo-fiction more akin to the immanence of music and its many expressions rather than Philosophy’s demand that all questions be eventually answered, that the Real is ultimately thinkable, or that all of Life might possibly be contained in the Library. 30 00 The Non-Library is a non-standard expression for life that is lived without mediation from words, images, or even ideas. While a thing called “the Library” continues to terrorize humanity even as it enters its last stages as a consequence of cataclysmic climate change and late capitalism, the Non-Library is a strictly performative, ahistorical immanence that suspends the Library’s insistent calls to categorization, representation, and reification. Of course, to describe or circumscribe such ineffability has its limits, but it also has its thresholds to cross: with commentary on Derrida’s Archive Fever, a deconstruction of Fichte, a para-biographical meditation on librarianship, and a vamping on the possible “Non-Virgil,” The Non-Library gently proposes a negative capability in liminal spaces in order to best escape and resist the Library’s stranglehold on human knowledge and its requisite social imaginations.Building on the non-standard thought of Francois Laruelle’s non-philosophy, while not beholden to it, The Non-Library attempts to leave the discourse of the university behind and uses its citations of Badiou, Borges, Bataille, and Dante instead to construct a philo-fiction more akin to the immanence of music and its many expressions rather than Philosophy’s demand that all questions be eventually answered, that the Real is ultimately thinkable, or that all of Life might possibly be contained in the Library. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0065.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-non-library/ Brooklyn, NY 04 01 20140313 Jones, Trevor Owen 02 WORLD 06 15 9780615945446 03 9780615945446 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76457 20 08 20140313 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25553 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25553/1004542.pdf?sequence=1&isAllowed=y 20 08 20140313 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29327 20 08 20140313 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353940 20 08 20140313 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/448 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/331fc543-e5f5-46ef-ba54-ee39573b2556/download 20 08 20140313 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/33917b8f-775f-4ee2-a43a-6b5285579f84 29 INTERNET_ARCHIVE: download the title https://archive.org/download/33917b8f-775f-4ee2-a43a-6b5285579f84/33917b8f-775f-4ee2-a43a-6b5285579f84.pdf 20 08 20140313 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845947 29 ZENODO: download the title https://zenodo.org/records/19845947/files/33917b8f-775f-4ee2-a43a-6b5285579f84_book.pdf 20 08 20140313 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-non-library/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0065.1.00.pdf 20 08 20140313 01 urn:uuid:bbcd2c50-144b-4a80-ac73-8128cb1d1581 03 01 01 thoth-work-id urn:uuid:a8e6722a-1858-4f38-995d-bde0b120fe8c 01 thoth-publication-id urn:uuid:bbcd2c50-144b-4a80-ac73-8128cb1d1581 15 9781947447189 03 9781947447189 06 10.21983/P3.0179.1.00 13 2017952350 01 internal-reference 0179 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Old Nubian Language 1 A01 Eugenia Smagina Eugenia Smagina 40 05qrfxd25 Russian Academy of Sciences 2 B06 José Andrés Alonso de la Fuente José Andrés Alonso de la Fuente 01 eng 00 82 03 12 2HNR 93 CBG 10 LAN006000 B2 Languages+Translations 93 2HNR B2 Premodern 20 Old Nubian; grammar; linguistics; philology 01 06 02 00 03 00 Eugenia Smagina (Евгeния Б. Смaгина) first published her grammar of the Old Nubian language in 1986 in Russian. For more than thirty years the work has remained untranslated, even though the late Gerald M. Browne affirmed that “this lucid, well-argued presentation should be available to all Nubiologists and ought therefore be translated into a western language.”Slavicist José Andrés Alonso de la Fuente has prepared a first English translation of this concise but indispensable work, which forms a necessary counterpart to Browne’s classic Old Nubian Grammar. The grammar is divided into sections on script, lexicon, morphology, and syntax, and is followed by the analysis of a sample text, known as The Miracle of St. Mēnas.Smagina’s The Old Nubian Language provides an excellent first introduction into the grammar of this medieval Nilo-Saharan language. 30 00 Eugenia Smagina (Евгeния Б. Смaгина) first published her grammar of the Old Nubian language in 1986 in Russian. For more than thirty years the work has remained untranslated, even though the late Gerald M. Browne affirmed that “this lucid, well-argued presentation should be available to all Nubiologists and ought therefore be translated into a western language.”Slavicist José Andrés Alonso de la Fuente has prepared a first English translation of this concise but indispensable work, which forms a necessary counterpart to Browne’s classic Old Nubian Grammar. The grammar is divided into sections on script, lexicon, morphology, and syntax, and is followed by the analysis of a sample text, known as The Miracle of St. Mēnas.Smagina’s The Old Nubian Language provides an excellent first introduction into the grammar of this medieval Nilo-Saharan language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0179.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-old-nubian-language/ Earth, Milky Way 04 01 20170911 Smagina, Eugenia 02 WORLD 06 15 9781947447196 03 9781947447196 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447181 20 08 20170911 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-old-nubian-language 20 08 20170911 02 22.00 USD WORLD urn:uuid:1cfaff26-1d2c-47b5-a52c-e9ddeb82e2c4 03 01 01 thoth-work-id urn:uuid:a8e6722a-1858-4f38-995d-bde0b120fe8c 01 thoth-publication-id urn:uuid:1cfaff26-1d2c-47b5-a52c-e9ddeb82e2c4 15 9781947447196 03 9781947447196 06 10.21983/P3.0179.1.00 13 2017952350 01 internal-reference 0179 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Old Nubian Language 1 A01 Eugenia Smagina Eugenia Smagina 40 05qrfxd25 Russian Academy of Sciences 2 B06 José Andrés Alonso de la Fuente José Andrés Alonso de la Fuente 01 eng 00 82 03 12 2HNR 93 CBG 10 LAN006000 B2 Languages+Translations 93 2HNR B2 Premodern 20 Old Nubian; grammar; linguistics; philology 01 06 02 00 03 00 Eugenia Smagina (Евгeния Б. Смaгина) first published her grammar of the Old Nubian language in 1986 in Russian. For more than thirty years the work has remained untranslated, even though the late Gerald M. Browne affirmed that “this lucid, well-argued presentation should be available to all Nubiologists and ought therefore be translated into a western language.”Slavicist José Andrés Alonso de la Fuente has prepared a first English translation of this concise but indispensable work, which forms a necessary counterpart to Browne’s classic Old Nubian Grammar. The grammar is divided into sections on script, lexicon, morphology, and syntax, and is followed by the analysis of a sample text, known as The Miracle of St. Mēnas.Smagina’s The Old Nubian Language provides an excellent first introduction into the grammar of this medieval Nilo-Saharan language. 30 00 Eugenia Smagina (Евгeния Б. Смaгина) first published her grammar of the Old Nubian language in 1986 in Russian. For more than thirty years the work has remained untranslated, even though the late Gerald M. Browne affirmed that “this lucid, well-argued presentation should be available to all Nubiologists and ought therefore be translated into a western language.”Slavicist José Andrés Alonso de la Fuente has prepared a first English translation of this concise but indispensable work, which forms a necessary counterpart to Browne’s classic Old Nubian Grammar. The grammar is divided into sections on script, lexicon, morphology, and syntax, and is followed by the analysis of a sample text, known as The Miracle of St. Mēnas.Smagina’s The Old Nubian Language provides an excellent first introduction into the grammar of this medieval Nilo-Saharan language. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0179.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-old-nubian-language/ Earth, Milky Way 04 01 20170911 Smagina, Eugenia 02 WORLD 06 15 9781947447189 03 9781947447189 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25449 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25449/1004646.pdf?sequence=1&isAllowed=y 20 08 20170911 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33618 20 08 20170911 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354037 20 08 20170911 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/562 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/565bf3df-9458-4cb6-8518-9c90a231ae59/download 20 08 20170911 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/a8e6722a-1858-4f38-995d-bde0b120fe8c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/a8e6722a-1858-4f38-995d-bde0b120fe8c/a8e6722a-1858-4f38-995d-bde0b120fe8c.pdf 20 08 20170911 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847015 29 ZENODO: download the title https://zenodo.org/records/19847015/files/a8e6722a-1858-4f38-995d-bde0b120fe8c_book.pdf 20 08 20170911 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-old-nubian-language/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0179.1.00.pdf 20 08 20170911 01 urn:uuid:b09d422e-229d-4bb4-a0b9-1e66bd9aaaf4 03 01 01 thoth-work-id urn:uuid:0cd80cd2-1733-4bde-b48f-a03fc01acfbf 01 thoth-publication-id urn:uuid:b09d422e-229d-4bb4-a0b9-1e66bd9aaaf4 15 9780998237572 03 9780998237572 06 10.21983/P3.0156.1.00 01 internal-reference 0156 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Old Nubian Texts from Attiri 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B01 Vincent Pierre-Michel Laisney Vincent Pierre-Michel Laisney 40 00j0emq76 Pontifical Biblical Institute 3 B01 Giovanni Ruffini Giovanni Ruffini 40 04z49n283 Fairfield University 4 B01 Alexandros Tsakos Alexandros Tsakos 40 03zga2b32 University of Bergen 5 B01 Kerstin Weber-Thum Kerstin Weber-Thum 40 01hcx6992 Humboldt-Universität zu Berlin 6 B01 Petra Weschenfelder Petra Weschenfelder 40 03prydq77 University of Vienna 01 eng 00 104 03 12 2HNR 93 CFL B2 Languages+Translations 10 LCO017000 93 NKD B2 Premodern 93 1QBHN 93 3KL 20 Attiri; Sudan; epigraphy; Nubian Studies; archaeology 01 06 02 00 03 00 The Old Nubian Texts from Attiri is the first publication in the Dotawo: Monographs series. It presents heretofore unpublished material: an edition of a series of manuscripts discovered during the Aswan High Dam campaign at the site of Attiri, a rocky island in the Batn el-Hajjar region in Sudan, and does so in an innovative way, through an intensive collaboration of the editors under the name of the Attiri Collaborative. By bringing together their diverse backgrounds in linguistics, archeology, Bible studies, history, anthropology, and philology, the editors hope to have provided an example of a new model of collective manuscript editing and the results such collaboration can attain.The collection consists of 15 manuscript fragments that were all written in Old Nubian. Among these manuscripts special mention should be made of two parchment leaves from a codex dedicated to works on the Archangel Michael, a lectionary containing fragments from the Gospel of Matthew and the Second Letter to the Corinthians, as well as a rare letter written on a leather sheet. 30 00 The Old Nubian Texts from Attiri is the first publication in the Dotawo: Monographs series. It presents heretofore unpublished material: an edition of a series of manuscripts discovered during the Aswan High Dam campaign at the site of Attiri, a rocky island in the Batn el-Hajjar region in Sudan, and does so in an innovative way, through an intensive collaboration of the editors under the name of the Attiri Collaborative. By bringing together their diverse backgrounds in linguistics, archeology, Bible studies, history, anthropology, and philology, the editors hope to have provided an example of a new model of collective manuscript editing and the results such collaboration can attain.The collection consists of 15 manuscript fragments that were all written in Old Nubian. Among these manuscripts special mention should be made of two parchment leaves from a codex dedicated to works on the Archangel Michael, a lectionary containing fragments from the Gospel of Matthew and the Second Letter to the Corinthians, as well as a rare letter written on a leather sheet. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0156.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-old-nubian-texts-from-attiri/ Earth, Milky Way 04 01 20161122 van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Laisney, Vincent Pierre-Michel Ruffini, Giovanni Tsakos, Alexandros Weber-Thum, Kerstin Weschenfelder, Petra 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0998237574 20 08 20161122 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-old-nubian-texts-from-attiri 20 08 20161122 02 23.00 USD WORLD urn:uuid:52f98aac-11fe-43a0-aea5-950dd22df25c 03 01 01 thoth-work-id urn:uuid:0cd80cd2-1733-4bde-b48f-a03fc01acfbf 01 thoth-publication-id urn:uuid:52f98aac-11fe-43a0-aea5-950dd22df25c 06 10.21983/P3.0156.1.00 01 internal-reference 0156 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Old Nubian Texts from Attiri 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B01 Vincent Pierre-Michel Laisney Vincent Pierre-Michel Laisney 40 00j0emq76 Pontifical Biblical Institute 3 B01 Giovanni Ruffini Giovanni Ruffini 40 04z49n283 Fairfield University 4 B01 Alexandros Tsakos Alexandros Tsakos 40 03zga2b32 University of Bergen 5 B01 Kerstin Weber-Thum Kerstin Weber-Thum 40 01hcx6992 Humboldt-Universität zu Berlin 6 B01 Petra Weschenfelder Petra Weschenfelder 40 03prydq77 University of Vienna 01 eng 00 104 03 12 2HNR 93 CFL B2 Languages+Translations 10 LCO017000 93 NKD B2 Premodern 93 1QBHN 93 3KL 20 Attiri; Sudan; epigraphy; Nubian Studies; archaeology 01 06 02 00 03 00 The Old Nubian Texts from Attiri is the first publication in the Dotawo: Monographs series. It presents heretofore unpublished material: an edition of a series of manuscripts discovered during the Aswan High Dam campaign at the site of Attiri, a rocky island in the Batn el-Hajjar region in Sudan, and does so in an innovative way, through an intensive collaboration of the editors under the name of the Attiri Collaborative. By bringing together their diverse backgrounds in linguistics, archeology, Bible studies, history, anthropology, and philology, the editors hope to have provided an example of a new model of collective manuscript editing and the results such collaboration can attain.The collection consists of 15 manuscript fragments that were all written in Old Nubian. Among these manuscripts special mention should be made of two parchment leaves from a codex dedicated to works on the Archangel Michael, a lectionary containing fragments from the Gospel of Matthew and the Second Letter to the Corinthians, as well as a rare letter written on a leather sheet. 30 00 The Old Nubian Texts from Attiri is the first publication in the Dotawo: Monographs series. It presents heretofore unpublished material: an edition of a series of manuscripts discovered during the Aswan High Dam campaign at the site of Attiri, a rocky island in the Batn el-Hajjar region in Sudan, and does so in an innovative way, through an intensive collaboration of the editors under the name of the Attiri Collaborative. By bringing together their diverse backgrounds in linguistics, archeology, Bible studies, history, anthropology, and philology, the editors hope to have provided an example of a new model of collective manuscript editing and the results such collaboration can attain.The collection consists of 15 manuscript fragments that were all written in Old Nubian. Among these manuscripts special mention should be made of two parchment leaves from a codex dedicated to works on the Archangel Michael, a lectionary containing fragments from the Gospel of Matthew and the Second Letter to the Corinthians, as well as a rare letter written on a leather sheet. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0156.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-old-nubian-texts-from-attiri/ Earth, Milky Way 04 01 20161122 van Gerven Oei, Vincent W.J. (0000-0003-1637-4261) Laisney, Vincent Pierre-Michel Ruffini, Giovanni Tsakos, Alexandros Weber-Thum, Kerstin Weschenfelder, Petra 02 WORLD 06 15 9780998237572 03 9780998237572 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76622 20 08 20161122 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25470 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25470/1004625.pdf?sequence=1&isAllowed=y 20 08 20161122 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/38955 20 08 20161122 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354010 20 08 20161122 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/541 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/0e5e88bc-9daf-4577-bc34-bf13b734b02e/download 20 08 20161122 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Old_Nubian_Texts_from_Attiri/jAWVEAAAQBAJ 20 08 20161122 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/0cd80cd2-1733-4bde-b48f-a03fc01acfbf 29 INTERNET_ARCHIVE: download the title https://archive.org/download/0cd80cd2-1733-4bde-b48f-a03fc01acfbf/0cd80cd2-1733-4bde-b48f-a03fc01acfbf.pdf 20 08 20161122 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825015 29 ZENODO: download the title https://zenodo.org/records/19825015/files/0cd80cd2-1733-4bde-b48f-a03fc01acfbf_book.pdf 20 08 20161122 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-old-nubian-texts-from-attiri/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0156.1.00.pdf 20 08 20161122 01 urn:uuid:2dbf2fc6-bcaa-40de-9707-d746f8b4a858 03 01 01 thoth-work-id urn:uuid:60813d93-663f-4974-8789-1a2ee83cd042 01 thoth-publication-id urn:uuid:2dbf2fc6-bcaa-40de-9707-d746f8b4a858 15 9780692493908 03 9780692493908 06 10.21983/P3.0108.1.00 01 internal-reference 0108 00 BC 10 01 184 mm 01 18.4 cm 01 7.25 in 02 114 mm 02 11.4 cm 02 4.5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Theory Is Like a Surging Sea 1 A01 Michael Munro Michael Munro 01 eng 00 104 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; critical theory; aesthetics; poetics 01 06 02 00 03 00 In a 1917 letter to Gershom Scholem, Walter Benjamin writes, “Theory is like a surging sea.” This small book takes more than its title from that line—it takes that line as a point of departure in Erich Auerbach’s sense, an Ansatzpunkt, as a compositional principle so that what follows can be read in its entirety as a gloss on the remainder of Benjamin’s sentence: “Theory is like a surging sea, but the only thing that matters to the wave […] is to surrender itself to its motion in such a way that it crests and breaks.” That motion, in the pages to follow, takes up in its sweep two threads: it folds an episodic meditation on the negative and the problematic into a series of singular interrogations exemplary of the positive being of the problematic, the objective being of problems and questions, in a movement of implication and explication between poetry and philosophy in the tradition of what’s come to be known as theory. Theory is like a surging sea because it’s as part of a revolutionary tradition that it crests and breaks. 30 00 In a 1917 letter to Gershom Scholem, Walter Benjamin writes, “Theory is like a surging sea.” This small book takes more than its title from that line—it takes that line as a point of departure in Erich Auerbach’s sense, an Ansatzpunkt, as a compositional principle so that what follows can be read in its entirety as a gloss on the remainder of Benjamin’s sentence: “Theory is like a surging sea, but the only thing that matters to the wave […] is to surrender itself to its motion in such a way that it crests and breaks.” That motion, in the pages to follow, takes up in its sweep two threads: it folds an episodic meditation on the negative and the problematic into a series of singular interrogations exemplary of the positive being of the problematic, the objective being of problems and questions, in a movement of implication and explication between poetry and philosophy in the tradition of what’s come to be known as theory. Theory is like a surging sea because it’s as part of a revolutionary tradition that it crests and breaks. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0108.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/theory-is-like-a-surging-sea/ Brooklyn, NY 04 01 20150802 Munro, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692493905 20 08 20150802 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/theory-is-like-a-surging-sea 20 08 20150802 02 21.00 USD WORLD urn:uuid:8e40c0c0-ad19-426b-9eca-7209cb2cf710 03 01 01 thoth-work-id urn:uuid:60813d93-663f-4974-8789-1a2ee83cd042 01 thoth-publication-id urn:uuid:8e40c0c0-ad19-426b-9eca-7209cb2cf710 06 10.21983/P3.0108.1.00 01 internal-reference 0108 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Theory Is Like a Surging Sea 1 A01 Michael Munro Michael Munro 01 eng 00 104 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; critical theory; aesthetics; poetics 01 06 02 00 03 00 In a 1917 letter to Gershom Scholem, Walter Benjamin writes, “Theory is like a surging sea.” This small book takes more than its title from that line—it takes that line as a point of departure in Erich Auerbach’s sense, an Ansatzpunkt, as a compositional principle so that what follows can be read in its entirety as a gloss on the remainder of Benjamin’s sentence: “Theory is like a surging sea, but the only thing that matters to the wave […] is to surrender itself to its motion in such a way that it crests and breaks.” That motion, in the pages to follow, takes up in its sweep two threads: it folds an episodic meditation on the negative and the problematic into a series of singular interrogations exemplary of the positive being of the problematic, the objective being of problems and questions, in a movement of implication and explication between poetry and philosophy in the tradition of what’s come to be known as theory. Theory is like a surging sea because it’s as part of a revolutionary tradition that it crests and breaks. 30 00 In a 1917 letter to Gershom Scholem, Walter Benjamin writes, “Theory is like a surging sea.” This small book takes more than its title from that line—it takes that line as a point of departure in Erich Auerbach’s sense, an Ansatzpunkt, as a compositional principle so that what follows can be read in its entirety as a gloss on the remainder of Benjamin’s sentence: “Theory is like a surging sea, but the only thing that matters to the wave […] is to surrender itself to its motion in such a way that it crests and breaks.” That motion, in the pages to follow, takes up in its sweep two threads: it folds an episodic meditation on the negative and the problematic into a series of singular interrogations exemplary of the positive being of the problematic, the objective being of problems and questions, in a movement of implication and explication between poetry and philosophy in the tradition of what’s come to be known as theory. Theory is like a surging sea because it’s as part of a revolutionary tradition that it crests and breaks. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0108.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/theory-is-like-a-surging-sea/ Brooklyn, NY 04 01 20150802 Munro, Michael 02 WORLD 06 15 9780692493908 03 9780692493908 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76486 20 08 20150802 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25515 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25515/1004580.pdf?sequence=1&isAllowed=y 20 08 20150802 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34477 20 08 20150802 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353805 20 08 20150802 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/492 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b2e32864-9616-49ad-b4db-dc07fca231bc/download 20 08 20150802 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Theory_is_Like_a_Surging_Sea/_gOVEAAAQBAJ 20 08 20150802 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/60813d93-663f-4974-8789-1a2ee83cd042 29 INTERNET_ARCHIVE: download the title https://archive.org/download/60813d93-663f-4974-8789-1a2ee83cd042/60813d93-663f-4974-8789-1a2ee83cd042.pdf 20 08 20150802 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19825025 29 ZENODO: download the title https://zenodo.org/records/19825025/files/60813d93-663f-4974-8789-1a2ee83cd042_book.pdf 20 08 20150802 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/theory-is-like-a-surging-sea/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0108.1.00.pdf 20 08 20150802 01 urn:uuid:2a6dc9df-e9ec-4ce6-8279-a9a2b507624a 03 01 01 thoth-work-id urn:uuid:3b817d8c-864e-4050-90e2-371c64a3e22e 01 thoth-publication-id urn:uuid:2a6dc9df-e9ec-4ce6-8279-a9a2b507624a 15 9781685711245 03 9781685711245 06 10.53288/0448.1.00 13 2023946988 01 internal-reference 0448 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Pandemic Visual Regime Visuality and Performativity in the Covid-19 Crisis 1 B01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 B01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 00 268 03 B2 Art+Aesthetics 12 JFFC 10 MED022090 93 MJCJ4 B2 Cultural Studies+Critical Theory 93 JBFF 12 MJCJ 10 SOC052000 93 JBCC 12 JFD 20 COVID-19; visual studies; performance; speculative design; film studies; digital culture; social movements; animal studies; dystopia 01 06 02 00 03 00 The Covid-19 pandemic has been expressed in various ways through visuality and performance, and some of its more nuanced cultural implications have taken place in a realm that goes beyond words. Through the exploration of the visual culture produced during and in response to the Covid-19 pandemic, The Pandemic Visual Regime: Visuality and Performativity in the Covid-19 Crisis highlights the key role played by images in shaping our understanding of the epochal transformations our society is undergoing.This book argues that visuality and its relationships with the performative have played such a significant role in the Covid-19 pandemic that we can even speak of the emergence of a “pandemic visual regime,” a new way of seeing and representing the world under this global emergency.Through an interdisciplinary framework, The Pandemic Visual Regime aims to answer an array of questions: In which ways have the effects of the pandemic been racialized, thereby reinforcing white supremacy? How are our responses to Covid-19 shaped by the Hollywood “outbreak narrative” of films such as Contagion? How has design responded to our new pandemic needs? How have infographics affected our perception? In which new ways have we come to inhabit private, public, and virtual space? Regarding the latter, what changes have there been in the forms of digital surveillance? On the other side of the spectrum, what forms has mutual aid taken and what have been our forms of relating with nature, both during lockdown and after lockdown was over? All these questions open the field to rethinking the visuality of our post-pandemic zeitgeist. 30 00 The Covid-19 pandemic has been expressed in various ways through visuality and performance, and some of its more nuanced cultural implications have taken place in a realm that goes beyond words. Through the exploration of the visual culture produced during and in response to the Covid-19 pandemic, The Pandemic Visual Regime: Visuality and Performativity in the Covid-19 Crisis highlights the key role played by images in shaping our understanding of the epochal transformations our society is undergoing.This book argues that visuality and its relationships with the performative have played such a significant role in the Covid-19 pandemic that we can even speak of the emergence of a “pandemic visual regime,” a new way of seeing and representing the world under this global emergency.Through an interdisciplinary framework, The Pandemic Visual Regime aims to answer an array of questions: In which ways have the effects of the pandemic been racialized, thereby reinforcing white supremacy? How are our responses to Covid-19 shaped by the Hollywood “outbreak narrative” of films such as Contagion? How has design responded to our new pandemic needs? How have infographics affected our perception? In which new ways have we come to inhabit private, public, and virtual space? Regarding the latter, what changes have there been in the forms of digital surveillance? On the other side of the spectrum, what forms has mutual aid taken and what have been our forms of relating with nature, both during lockdown and after lockdown was over? All these questions open the field to rethinking the visuality of our post-pandemic zeitgeist. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0448.1.00_frontcover.jpg 1 03 06 10.53288/0448.1.01 1 10 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 B01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 20 00 Open Access 2 03 06 10.53288/0448.1.02 11 23 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction The Invisible Made Visible 1 A01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 A01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 20 00 Open Access Julia Ramírez-Blanco & Francesco Spampinato 3 03 06 10.53288/0448.1.03 25 61 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pandemic Visuality Immunopolitics, White Seeing-Space, and the Police 1 A01 21 0000000269896402 Nicholas Mirzoeff Nicholas Mirzoeff professor of media, culture, and communication 40 0190ak572 New York University Nicholas Mirzoeff is a professor of media, culture, and communication at New York University. A visual activist, working at the intersection of politics and global/digital visual culture, since the late 1990s he has authored and edited various foundational books on visual culture, including The Visual Culture Reader (Routledge, 1998), An Introduction to Visual Culture (Routledge, 1999), The Right to Look: A Counterhistory of Visuality (Duke University Press, 2011), and How to See the World (Pelican, 2015). The last has been translated into ten languages and was a New Scientist Top Ten Book of the Year for 2015. His most recent publications include The Appearance of Black Lives Matter ([NAME] Publications, 2017) and White Sight: Visual Politics and Practices of Whiteness (MIT Press, 2023). A frequent blogger and writer, his work has also appeared on countless journals and magazine, including e-flux journal, Frieze, The Guardian, Hyperallergic, The Nation, The New Republic, The New York Times, and Time. 01 eng 03 00 This piece addresses the politics of immunity, in terms of both immunity from state action and immunity to viruses in the general crisis of 2020. Paying particular attention to the connections between white supremacy and these immunopolitics, biopolitics and necropolitics, the essay examines a series of specific moments in the psychodrama of US life across 2020. 30 00 This piece addresses the politics of immunity, in terms of both immunity from state action and immunity to viruses in the general crisis of 2020. Paying particular attention to the connections between white supremacy and these immunopolitics, biopolitics and necropolitics, the essay examines a series of specific moments in the psychodrama of US life across 2020. 20 00 Open Access Nicholas Mirzoeff 4 03 06 10.53288/0448.1.04 63 89 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From "Contagion" to Covid How Hollywood Turns Viral Fear into Viral Profits 1 A01 21 0000000238745898 Dahlia Schweitzer Dahlia Schweitzer associate professor and chair of the Film and Media Department 40 03jwrn541 Fashion Institute of Technology Dahlia Schweitzer is an associate professor and chair of the Film and Media Department at the Fashion Institute of Technology, New York. Her latest book, Haunted Homes (Rutgers up, 2021), explores the ways haunted homes have become a prime stage for dramatizing anxieties about family, gender, race, and economic collapse. Her previous books include L.A. Private Eyes (Rutgers up, 2019), Going Viral: Zombies, Viruses, and the End of the World (Rutgers up, 2018), and Cindy Sherman’s Office Killer: Another Kind of Monster (Intellect, 2014). Dahlia has published articles in various academic journals, including Cinema Journal, Journal of Popular Film and Television, Jump Cut, Quarterly Review of Film and Video, and Journal of Popular Culture. 01 eng 03 00 Proliferating for the last twenty-five years, outbreak narratives have now reached epidemic proportions. From 28 Days Later to The Walking Dead, Outbreak to Contagion, films and television shows are filled with zombie viruses, bioengineered plagues, and disease-ravaged survivors. Not only have outbreak narratives infected public discourse and affected the way we view the world, but they have, especially right now, impacted global responses to COVID-19. The way infectious viruses are appropriated by Hollywood provides insight into the viruses themselves and the world we live in. After all, few things reflect social trends and anxieties like film and television. Alarmingly, outbreak narratives are even used as “how-to manuals” of sorts. For instance, as COVID-19 took hold, journalist Mike Stuchbery tweeted that crisis response teams were reading World War Z by Max Brooks (a fictional account of a zombie plague) as a study in the effects of epidemics. My chapter examines film and television outbreak narratives, studying how the repetition of characters, images, and story lines has produced a formulaic narrative that reflects and shapes new paradigms of disease and fear, connecting those to real-life events that have unfolded worldwide over the course of 2020. 30 00 Proliferating for the last twenty-five years, outbreak narratives have now reached epidemic proportions. From 28 Days Later to The Walking Dead, Outbreak to Contagion, films and television shows are filled with zombie viruses, bioengineered plagues, and disease-ravaged survivors. Not only have outbreak narratives infected public discourse and affected the way we view the world, but they have, especially right now, impacted global responses to COVID-19. The way infectious viruses are appropriated by Hollywood provides insight into the viruses themselves and the world we live in. After all, few things reflect social trends and anxieties like film and television. Alarmingly, outbreak narratives are even used as “how-to manuals” of sorts. For instance, as COVID-19 took hold, journalist Mike Stuchbery tweeted that crisis response teams were reading World War Z by Max Brooks (a fictional account of a zombie plague) as a study in the effects of epidemics. My chapter examines film and television outbreak narratives, studying how the repetition of characters, images, and story lines has produced a formulaic narrative that reflects and shapes new paradigms of disease and fear, connecting those to real-life events that have unfolded worldwide over the course of 2020. 20 00 Open Access Dahlia Schweitzer 5 03 06 10.53288/0448.1.05 91 116 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wearable Virus Shields From Futuristic Dystopias to Actual Dread 1 A01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 03 00 Several dystopian design projects aimed at protecting and/or isolating users have been developed during the COVID-19 pandemic, including masks, visors, body bubbles, and other types of shields that allow avoiding actual contact with the surrounding space and with other people who could be possible carriers of the virus. The essay explores the uncanny analogies between speculative design ideas based on futuristic scenarios on one side, and practical design solutions, both self-made and mass-marketed, developed to cope with actual risks of contamination. After a brief history of wearable protections against “contagions”—with references to the evolution of cloth face masks in medicine, the paraphernalia related with the Cold War, and 1960s radical design projects—an overview of inventive masks and face shields of the COVID era will be outlined. Ranging from humoristic to fashionable to functional, these wearable inventions to prevent airborne respiration droplets from touching the user’s face have become a symbol of our time. The essay will take into consideration issues related to dread, dystopia, and the impact of media technologies on our imagination of a future in which we’ll live alienated, interacting with each other from behind screens. 30 00 Several dystopian design projects aimed at protecting and/or isolating users have been developed during the COVID-19 pandemic, including masks, visors, body bubbles, and other types of shields that allow avoiding actual contact with the surrounding space and with other people who could be possible carriers of the virus. The essay explores the uncanny analogies between speculative design ideas based on futuristic scenarios on one side, and practical design solutions, both self-made and mass-marketed, developed to cope with actual risks of contamination. After a brief history of wearable protections against “contagions”—with references to the evolution of cloth face masks in medicine, the paraphernalia related with the Cold War, and 1960s radical design projects—an overview of inventive masks and face shields of the COVID era will be outlined. Ranging from humoristic to fashionable to functional, these wearable inventions to prevent airborne respiration droplets from touching the user’s face have become a symbol of our time. The essay will take into consideration issues related to dread, dystopia, and the impact of media technologies on our imagination of a future in which we’ll live alienated, interacting with each other from behind screens. 20 00 Open Access Francesco Spampinato 6 03 06 10.53288/0448.1.06 117 148 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Covid-19 Comics and the Data Visualization of Everyday Life 1 A01 21 0000000314482971 Anna Feigenbaum Anna Feigenbaum professor in digital storytelling 40 05wwcw481 Bournemouth University Anna Feigenbaum is a professor in digital storytelling at Bournemouth University where she codirects the Centre for Science, Health and Data Communication Research. She is coauthor of The Data Storytelling Workbook (Routledge, 2020) and Protest Camps (Zed, 2013), and author of Tear Gas (Verso, 2017). Her next monograph looks at human decision-making, data, and technology in the in/fertility marketplace. From digging into dusty archives to data visualizing absent deaths, as a scholar she is drawn to difficult, messy, and ethically challenging questions that exist around how we tell stories with data. As a consultant and trainer, Feigenbaum collaborates with charities, NGOs, health organizations, journalists, and other researchers to explore ways to tell humanizing data stories. In addition to author of peer-reviewed journal articles and book chapters, she is a dedicated science communicator, contributing to newspapers, podcasts, television, and radio programs around the world. 2 A01 21 0000000257953908 Alexandra Alberda Alexandra Alberda curator of indigenous perspectives at Manchester Museum 40 027m9bs27 University of Manchester Alexandra Alberda is the first ever curator of indigenous perspectives at Manchester Museum. Before assuming her current role, she was a doctoral researcher and research illustrator at Bournemouth University. Her PhD dissertation, “Graphic Medicine Exhibited: Public Engagement with Comics in Curatorial Practice and Visitor Experience since 2010” (2021), explores the intersections of the comics medium, health, and exhibition to understand potential activist and community-based methodological approaches and sociocultural values of these experiences. Her collaborative projects have explored such topics as public health, health exhibitions, data storytelling and visualization, comics, and creative-led knowledge exchange. As a research illustrator, she has worked on a number of projects, including two Covid-19 webcomics, The Data Storytelling Workbook (Routledge, 2020), and an AHRC-funded Covid Comics research project led by Anna Feigenbaum (Bournemouth University). 01 eng 03 00 During the COVID-19 pandemic our lives became deeply entwined with data visualizations. Alongside authorial graphics produced by the world’s biggest health organisations and newspapers, citizens and artists also leveraged data visualization conventions to express the turbulent, strange experience of everyday life under the virus. In this chapter we introduce the rise of ‘COVID-19 data comics’ by bringing together emergent thinking in the areas of Graphic Medicine and data feminism. We situate these data comics in relation to recent calls for data to be more humanised (Kennedy and Hill 2017, Lupi 2017, D’Ignazio and Klein 2020, Alamalhodaei et al 2020). Drawing on case study examples gathered as part of our broader UKRI/AHRC Covid Comics research project, we argue that integrating data and comics in ways that humanise health experiences can be a powerful tool for public health communications, data literacy and health equity. The examples of best practice we share show how innovating public health messages around an ethos of empathy can help foster what Lulu Pinney (2020) calls “data know-how” -- a way of doing ‘data literacy’ out in the everyday world. 30 00 During the COVID-19 pandemic our lives became deeply entwined with data visualizations. Alongside authorial graphics produced by the world’s biggest health organisations and newspapers, citizens and artists also leveraged data visualization conventions to express the turbulent, strange experience of everyday life under the virus. In this chapter we introduce the rise of ‘COVID-19 data comics’ by bringing together emergent thinking in the areas of Graphic Medicine and data feminism. We situate these data comics in relation to recent calls for data to be more humanised (Kennedy and Hill 2017, Lupi 2017, D’Ignazio and Klein 2020, Alamalhodaei et al 2020). Drawing on case study examples gathered as part of our broader UKRI/AHRC Covid Comics research project, we argue that integrating data and comics in ways that humanise health experiences can be a powerful tool for public health communications, data literacy and health equity. The examples of best practice we share show how innovating public health messages around an ethos of empathy can help foster what Lulu Pinney (2020) calls “data know-how” -- a way of doing ‘data literacy’ out in the everyday world. 20 00 Open Access Anna Feigenbaum, Alexandra Alberda 7 03 06 10.53288/0448.1.07 149 193 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Going Viral Survival Design 1 A01 Manuel Olveira Manuel Olveira Manuel Olveira has been director of Hangar (Barcelona), CGAC (Santiago de Compostela), Centro Ágora (A Coruña), and MUSAC (León). He has curated several exhibitions and especially long-term and research-based projects, such as Lost in Sound (CGAC, 1999–2000), Open Processes (Hangar, 2004–2005), Publishing-Project (CGAC, 2006–2009), and Lecture-Performance (MUSAC, 2013–2014). Many of these were projects in progress and often generated archival documentation, such as the Covid-19 Archive. Olveira has organized courses, film screenings, and performance series on contemporary art with a critical perspective. He is author of essays on such artists as Luis Camnitzer (MUSAC, 2019) and Hessie (MUSAC, 2020). He has also created the web publishing project Complot (Hangar, 2004), the interview book Entre-vista (CGAC, 2008), and the essay collections Conferencia performativa (This Side Up, 2014) and Cómo vivir con la memoria (Puente editores, 2018). He has also published the novel Todo el tiempo del mundo (Libros de Rocamadour, 2014) and the book of poems Muero todos los días 2013–2021 (Eolas ediciones, 2021). His latest book is Habla del cuerpo social: Pandemia y politización del espacio público (Brumaria, 2022). 01 eng 03 00 The alteration in daily life resulting from the pandemic stimulates symptomatic presentations of the unconscious in the lives of people for whom reality has become a strange experience derived from the protocols, objects, and messages of the so-called new normal. The sixth chapter titled Going Viral: Survival Design explores those protocols, objects and messages that have become central to life during the pandemic. Face masks, cleaning products, banners, or other things have functioned as markers and symptoms of the situation. Some of them have been inventions with a strong DIY element, such as the hats created to enforce social distancing in Chinese schools. The chapter explores issues of functionality and objecthood in relation to everyday life, and domesticity, dealing with creativity within these realms; but also it explores the implications for the public space, especially those derived from the messages placed everywhere. An explosion of communication filled windows, doors and even the streets once we were allowed to escape confinement. This can be understood as if the social body affected by the pandemic were talking about fragility, urgency and survival produced by the ineffective neoliberal paradigm. In the social body’s many voices we can find references and tools to interpret the imperative viral reality that requires a search for new keys and paradigms. 30 00 The alteration in daily life resulting from the pandemic stimulates symptomatic presentations of the unconscious in the lives of people for whom reality has become a strange experience derived from the protocols, objects, and messages of the so-called new normal. The sixth chapter titled Going Viral: Survival Design explores those protocols, objects and messages that have become central to life during the pandemic. Face masks, cleaning products, banners, or other things have functioned as markers and symptoms of the situation. Some of them have been inventions with a strong DIY element, such as the hats created to enforce social distancing in Chinese schools. The chapter explores issues of functionality and objecthood in relation to everyday life, and domesticity, dealing with creativity within these realms; but also it explores the implications for the public space, especially those derived from the messages placed everywhere. An explosion of communication filled windows, doors and even the streets once we were allowed to escape confinement. This can be understood as if the social body affected by the pandemic were talking about fragility, urgency and survival produced by the ineffective neoliberal paradigm. In the social body’s many voices we can find references and tools to interpret the imperative viral reality that requires a search for new keys and paradigms. 20 00 Open Access Manuel Olveira 8 03 06 10.53288/0448.1.08 195 216 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rise of Digital Governmentality in the Era of Covid-19 1 A01 Ramón Reichert Ramón Reichert visiting professor for philosophy of science and methods of social research 40 02xdzy536 Baden-Wuerttemberg Cooperative State University senior researcher 40 05yjy4360 University of Applied Arts Vienna program director of MSc data studies 40 03ef4a036 Danube University Krems Ramón Reichert is a visiting professor for philosophy of science and methods of social research at the Cooperative State University, Mosbach, Germany; a senior researcher at the University of Applied Arts, Vienna, and the program director of MSc data studies at Danube University in Krems, Austria. He previously held teaching and research positions in Basel, Berlin, Fribourg, Helsinki, Lancaster, St. Gallen, Stockholm, and Zurich and was a long-time EU project coordinator. His research interests include the historiography of media and technology, the influence of new media and communication technologies (internet, social media, visual culture), and identity politics. He is the coeditor of the refereed, international journal Digital Culture & Society, in which he has published various articles, including “Rethinking AI: Neural Networks, Biometrics and the New Artificial Intelligence” (2018), “The Politics of Metadata” (2020), and “Networked Images in Surveillance Capitalism” (2022). Reichert is also the editor of Big Data (2014), coauthor of Social Machine Facebook (2019), and author of Selfies: Self-thematization in digital image culture (2023). 01 eng 03 00 A decisive effect of the worldwide spread of the corona virus is the transformation of digital lifestyle media into state-used recording, storage and distribution media. With the pandemic spread of the virus, the tectonics of digital power may have shifted the way forward. The global threat posed by the corona virus is transforming mobile media and their software applications into state-organized surveillance technologies. Mobility tracking is regarded by health authorities and government officials as a reliable data basis for enforcing political decisions as legitimate. Seen in this way, digital media take over the empirical basis of political action. The disciplinary techniques of state surveillance and punishment are migrating into all areas of digital communication and affect mobile media (geo-tracking), stop corona apps (monitoring), social media (blaming) and selfies (self-evidence). In a global comparison, this paper will compare different national strategies and also include non-western countries. In this context, this investigation is investigating the biosurveillance in China, Singapore and Hong Kong (SenseTime, TikTok etc.), the secret service control in Israel and the use of robotics in Tunisia. 30 00 A decisive effect of the worldwide spread of the corona virus is the transformation of digital lifestyle media into state-used recording, storage and distribution media. With the pandemic spread of the virus, the tectonics of digital power may have shifted the way forward. The global threat posed by the corona virus is transforming mobile media and their software applications into state-organized surveillance technologies. Mobility tracking is regarded by health authorities and government officials as a reliable data basis for enforcing political decisions as legitimate. Seen in this way, digital media take over the empirical basis of political action. The disciplinary techniques of state surveillance and punishment are migrating into all areas of digital communication and affect mobile media (geo-tracking), stop corona apps (monitoring), social media (blaming) and selfies (self-evidence). In a global comparison, this paper will compare different national strategies and also include non-western countries. In this context, this investigation is investigating the biosurveillance in China, Singapore and Hong Kong (SenseTime, TikTok etc.), the secret service control in Israel and the use of robotics in Tunisia. 20 00 Open Access Ramón Reichert 9 03 06 10.53288/0448.1.09 217 236 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Societies in Movement Pandemic Crisis and Prefigurative Responses 1 A01 Marina Sitrin Marina Sitrin associate professor of sociology 40 008rmbt77 Binghamton University Marina Sitrin is an associate professor of sociology at Binghamton University. She writes about, and is participant in, societies in movement. Her work specifically looks at new forms of social organization, such as autogestión, horizontalidad, prefigurative politics, and new affective social relationships. She grounds much of her work in ethnography, oral history, and sociological narrative. She is the coeditor with Colectiva Sembrar of Pandemic Solidarity: Mutual Aid During the COVID 19 Crisis (Pluto Press, 2020); author of Horizontalism: Voices of Popular Power in Argentina (AK Press, 2006), and Everyday Revolutions: Horizontalism and Autonomy in Argentina (Bloomsbury Publishing, 2012); coauthor of They Can’t Represent US! Reinventing Democracy from Greece to Occupy (Verso, 2014); and author of the forthcoming The New Revolutions from Social Movements to Societies in Movement. 01 eng 03 00 This chapter explores the new networks of mutual aid, solidarity and care that have emerged around the world in response to the COVID-19 Pandemic, and through describing them, often using the voices of those organizing on the ground, argues that within these day-to-day relationships of care we see not so much social movements as traditionally understood, but rather societies in movement, within which are the seeds of a new society. This phenomenon is linked to the past twenty years of horizontal, autonomous, and affective (care and trust based) forms of organizing, which has been striving to prefigure a new society in the shell of the old. As with many prefigurative movements, as will be described so as to better locate this global rise in mutual aid, they generally do not come from people organizing with a plan to change society or even people who have been involved in political organizing, but arise from necessity, and in that need find that the most useful—and most empowering and enjoyable—way of organizing is horizontally, sharing power and creating space for equal participation and mutual care. 30 00 This chapter explores the new networks of mutual aid, solidarity and care that have emerged around the world in response to the COVID-19 Pandemic, and through describing them, often using the voices of those organizing on the ground, argues that within these day-to-day relationships of care we see not so much social movements as traditionally understood, but rather societies in movement, within which are the seeds of a new society. This phenomenon is linked to the past twenty years of horizontal, autonomous, and affective (care and trust based) forms of organizing, which has been striving to prefigure a new society in the shell of the old. As with many prefigurative movements, as will be described so as to better locate this global rise in mutual aid, they generally do not come from people organizing with a plan to change society or even people who have been involved in political organizing, but arise from necessity, and in that need find that the most useful—and most empowering and enjoyable—way of organizing is horizontally, sharing power and creating space for equal participation and mutual care. 20 00 Open Access Marina Sitrin 10 03 06 10.53288/0448.1.10 237 258 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pandemic Pastoral 1 A01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 01 eng 03 00 Ramírez-Blanco reads the complex representations of the “natural” realm that have taken place during those times in which people felt further than ever from other forms of life, human or non-human. Confinement in many cities gave rise to empty streets, and vacant buildings, creating images of uncanny beauty that can be perceived as a kind of “pandemic sublime”. However, many people trapped at home became ever more nostalgic for an idealized nature, perceived through their computers and phones, and which mediated in different fictionalized or direct ways with the non-human realm. Through videos, phone calls with non-human animals, or even a “back to the land” movement after confinement, this chapter traces how the “pandemic sublime” has lead to the construction of what can be termed a “pandemic pastoral”. The author makes clear how, in its sentimental and non-ideological dimensions, this imaginary needs to be politicized if we want to respond to the next global emergency: that of present climate change and environmental destruction which led to the pandemic in the first place. 30 00 Ramírez-Blanco reads the complex representations of the “natural” realm that have taken place during those times in which people felt further than ever from other forms of life, human or non-human. Confinement in many cities gave rise to empty streets, and vacant buildings, creating images of uncanny beauty that can be perceived as a kind of “pandemic sublime”. However, many people trapped at home became ever more nostalgic for an idealized nature, perceived through their computers and phones, and which mediated in different fictionalized or direct ways with the non-human realm. Through videos, phone calls with non-human animals, or even a “back to the land” movement after confinement, this chapter traces how the “pandemic sublime” has lead to the construction of what can be termed a “pandemic pastoral”. The author makes clear how, in its sentimental and non-ideological dimensions, this imaginary needs to be politicized if we want to respond to the next global emergency: that of present climate change and environmental destruction which led to the pandemic in the first place. 20 00 Open Access Julia Ramírez-Blanco 11 03 06 10.53288/0448.1.11 259 263 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 B01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-pandemic-visual-regime-visuality-and-performativity-in-the-covid-19-crisis/ 16 40 05r0vyz12 32 10.13039/501100004837 Ministerio de Ciencia e Inovación 01 programname Grant Ramón y Cajal 01 grantnumber RYC2021-033703-I 16 40 019w4f821 European Union 01 programname NextGenerationEU/PRTR 16 40 05r0vyz12 32 10.13039/501100004837 Ministerio de Ciencia e Inovación 01 projectname ERDF A Way of Making Europe and HUMENERGE (PID2020-113272RA-100), 2021-2024 01 grantnumber MCIN/AEI/10.13039/501100011033 16 Agencia Statal de Investigación 01 projectname Histopia (PID2021-123465NB-I00), 2022–2025 01 grantnumber AEI/10.13039/501100011033 Earth, Milky Way 04 01 20231109 Julia Ramírez-Blanco & Francesco Spampinato 02 WORLD 06 15 9781685711252 03 9781685711252 34 06 10.1016/j.biocon.2021.108953 34 06 10.1177/1357034X14556155 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1215/17432197-8797473 34 06 10.2307/j.ctvmd84n8 34 06 10.1057/palgrave.ajp.3350013 34 06 10.3201/eid0504.990402 34 06 10.2307/488013 34 06 10.2307/j.ctvzgb8c7.27 34 06 10.1016/j.jacr.2016.09.015 34 06 10.1001/journalofethics.2018.20.2.ecas1-1802 34 06 10.1109/MCG.2017.33 34 06 10.1177/1360780419857734 34 06 10.1177/2053951714539277 34 06 10.16995/cg.74 34 06 10.1136/bmj.c863 34 06 10.1016/j.pec.2008.07.023 34 06 10.1108/JAOC-08-2020-0099 34 06 10.1080/17453054.2020.1761248 34 06 10.1177/0038038516674675 34 06 10.4135/9781526421036832018 34 06 10.1111/j.1540-594X.2007.00270.x 34 06 10.1056/NEJMp2008017 34 06 10.1177/1090198120922942 34 06 10.16995/cg.101 34 06 10.1109/TVCG.2010.179 34 06 10.1007/s10912-008-9057-1 34 06 10.21659/rupkatha.v8n3.23 34 06 10.16995/cg.119.148 34 06 10.1007/s42438-020-00170-z 34 06 10.1515/ijamh-2020-0111/html.23 34 06 10.24908/ss.v19i1.14545 34 06 10.1177/1527476414541552 34 06 10.2196/26392 34 06 10.1515/ijamh-2020-0111/html 34 06 10.1136/bmj.m1373 34 06 10.1177/0263276419867752 34 06 10.1177/2043820620934267 34 06 10.1007/s11673-020-10036-5 34 06 10.3167/dt.2020.070207 34 06 10.1080/02513625.2020.1794120 34 06 10.2196/21463 34 06 10.1093/jlb/lsaa023 34 06 10.1080/15387216.2020.1768423 34 06 10.1007/s10308-020-00576-1 34 06 10.3390/ai1020009.216 34 06 10.1080/14742837.2011.545223 34 06 10.5281/zenodo.4147317 34 06 10.1098/rspb.2020.2513 34 06 10.1098/rspb.2020.2513 34 06 10.14453/asj.v10i1.1 34 06 10.1093/qjmed/hcaa110 34 06 10.1097/MD.0000000000001077 34 06 10.35241/emeraldopenres.13550.1 34 06 10.1136/jech-2020-214720 34 06 10.16995/lefou.49 34 06 10.24908/ss.v18i1.13985 34 06 10.24908/ss.v2i2/3.3373 34 06 10.1001/jama.2020.7239 34 06 10.1386/jem_00027_1 34 06 10.1016/j.biocon.2021.108953 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711243 20 08 20231109 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-pandemic-visual-regime-visuality-and-performativity-in-the-covid-19-crisis 20 08 20231109 02 25.00 USD WORLD urn:uuid:605c8bf9-5448-4c07-a5c4-060a5b6436de 03 01 01 thoth-work-id urn:uuid:3b817d8c-864e-4050-90e2-371c64a3e22e 01 thoth-publication-id urn:uuid:605c8bf9-5448-4c07-a5c4-060a5b6436de 15 9781685711252 03 9781685711252 06 10.53288/0448.1.00 13 2023946988 01 internal-reference 0448 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Pandemic Visual Regime Visuality and Performativity in the Covid-19 Crisis 1 B01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 B01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 00 268 03 B2 Art+Aesthetics 12 JFFC 10 MED022090 93 MJCJ4 B2 Cultural Studies+Critical Theory 93 JBFF 12 MJCJ 10 SOC052000 93 JBCC 12 JFD 20 COVID-19; visual studies; performance; speculative design; film studies; digital culture; social movements; animal studies; dystopia 01 06 02 00 03 00 The Covid-19 pandemic has been expressed in various ways through visuality and performance, and some of its more nuanced cultural implications have taken place in a realm that goes beyond words. Through the exploration of the visual culture produced during and in response to the Covid-19 pandemic, The Pandemic Visual Regime: Visuality and Performativity in the Covid-19 Crisis highlights the key role played by images in shaping our understanding of the epochal transformations our society is undergoing.This book argues that visuality and its relationships with the performative have played such a significant role in the Covid-19 pandemic that we can even speak of the emergence of a “pandemic visual regime,” a new way of seeing and representing the world under this global emergency.Through an interdisciplinary framework, The Pandemic Visual Regime aims to answer an array of questions: In which ways have the effects of the pandemic been racialized, thereby reinforcing white supremacy? How are our responses to Covid-19 shaped by the Hollywood “outbreak narrative” of films such as Contagion? How has design responded to our new pandemic needs? How have infographics affected our perception? In which new ways have we come to inhabit private, public, and virtual space? Regarding the latter, what changes have there been in the forms of digital surveillance? On the other side of the spectrum, what forms has mutual aid taken and what have been our forms of relating with nature, both during lockdown and after lockdown was over? All these questions open the field to rethinking the visuality of our post-pandemic zeitgeist. 30 00 The Covid-19 pandemic has been expressed in various ways through visuality and performance, and some of its more nuanced cultural implications have taken place in a realm that goes beyond words. Through the exploration of the visual culture produced during and in response to the Covid-19 pandemic, The Pandemic Visual Regime: Visuality and Performativity in the Covid-19 Crisis highlights the key role played by images in shaping our understanding of the epochal transformations our society is undergoing.This book argues that visuality and its relationships with the performative have played such a significant role in the Covid-19 pandemic that we can even speak of the emergence of a “pandemic visual regime,” a new way of seeing and representing the world under this global emergency.Through an interdisciplinary framework, The Pandemic Visual Regime aims to answer an array of questions: In which ways have the effects of the pandemic been racialized, thereby reinforcing white supremacy? How are our responses to Covid-19 shaped by the Hollywood “outbreak narrative” of films such as Contagion? How has design responded to our new pandemic needs? How have infographics affected our perception? In which new ways have we come to inhabit private, public, and virtual space? Regarding the latter, what changes have there been in the forms of digital surveillance? On the other side of the spectrum, what forms has mutual aid taken and what have been our forms of relating with nature, both during lockdown and after lockdown was over? All these questions open the field to rethinking the visuality of our post-pandemic zeitgeist. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0448.1.00_frontcover.jpg 1 03 06 10.53288/0448.1.01 1 10 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 B01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 20 00 Open Access 2 03 06 10.53288/0448.1.02 11 23 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction The Invisible Made Visible 1 A01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 A01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 20 00 Open Access Julia Ramírez-Blanco & Francesco Spampinato 3 03 06 10.53288/0448.1.03 25 61 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pandemic Visuality Immunopolitics, White Seeing-Space, and the Police 1 A01 21 0000000269896402 Nicholas Mirzoeff Nicholas Mirzoeff professor of media, culture, and communication 40 0190ak572 New York University Nicholas Mirzoeff is a professor of media, culture, and communication at New York University. A visual activist, working at the intersection of politics and global/digital visual culture, since the late 1990s he has authored and edited various foundational books on visual culture, including The Visual Culture Reader (Routledge, 1998), An Introduction to Visual Culture (Routledge, 1999), The Right to Look: A Counterhistory of Visuality (Duke University Press, 2011), and How to See the World (Pelican, 2015). The last has been translated into ten languages and was a New Scientist Top Ten Book of the Year for 2015. His most recent publications include The Appearance of Black Lives Matter ([NAME] Publications, 2017) and White Sight: Visual Politics and Practices of Whiteness (MIT Press, 2023). A frequent blogger and writer, his work has also appeared on countless journals and magazine, including e-flux journal, Frieze, The Guardian, Hyperallergic, The Nation, The New Republic, The New York Times, and Time. 01 eng 03 00 This piece addresses the politics of immunity, in terms of both immunity from state action and immunity to viruses in the general crisis of 2020. Paying particular attention to the connections between white supremacy and these immunopolitics, biopolitics and necropolitics, the essay examines a series of specific moments in the psychodrama of US life across 2020. 30 00 This piece addresses the politics of immunity, in terms of both immunity from state action and immunity to viruses in the general crisis of 2020. Paying particular attention to the connections between white supremacy and these immunopolitics, biopolitics and necropolitics, the essay examines a series of specific moments in the psychodrama of US life across 2020. 20 00 Open Access Nicholas Mirzoeff 4 03 06 10.53288/0448.1.04 63 89 27 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From "Contagion" to Covid How Hollywood Turns Viral Fear into Viral Profits 1 A01 21 0000000238745898 Dahlia Schweitzer Dahlia Schweitzer associate professor and chair of the Film and Media Department 40 03jwrn541 Fashion Institute of Technology Dahlia Schweitzer is an associate professor and chair of the Film and Media Department at the Fashion Institute of Technology, New York. Her latest book, Haunted Homes (Rutgers up, 2021), explores the ways haunted homes have become a prime stage for dramatizing anxieties about family, gender, race, and economic collapse. Her previous books include L.A. Private Eyes (Rutgers up, 2019), Going Viral: Zombies, Viruses, and the End of the World (Rutgers up, 2018), and Cindy Sherman’s Office Killer: Another Kind of Monster (Intellect, 2014). Dahlia has published articles in various academic journals, including Cinema Journal, Journal of Popular Film and Television, Jump Cut, Quarterly Review of Film and Video, and Journal of Popular Culture. 01 eng 03 00 Proliferating for the last twenty-five years, outbreak narratives have now reached epidemic proportions. From 28 Days Later to The Walking Dead, Outbreak to Contagion, films and television shows are filled with zombie viruses, bioengineered plagues, and disease-ravaged survivors. Not only have outbreak narratives infected public discourse and affected the way we view the world, but they have, especially right now, impacted global responses to COVID-19. The way infectious viruses are appropriated by Hollywood provides insight into the viruses themselves and the world we live in. After all, few things reflect social trends and anxieties like film and television. Alarmingly, outbreak narratives are even used as “how-to manuals” of sorts. For instance, as COVID-19 took hold, journalist Mike Stuchbery tweeted that crisis response teams were reading World War Z by Max Brooks (a fictional account of a zombie plague) as a study in the effects of epidemics. My chapter examines film and television outbreak narratives, studying how the repetition of characters, images, and story lines has produced a formulaic narrative that reflects and shapes new paradigms of disease and fear, connecting those to real-life events that have unfolded worldwide over the course of 2020. 30 00 Proliferating for the last twenty-five years, outbreak narratives have now reached epidemic proportions. From 28 Days Later to The Walking Dead, Outbreak to Contagion, films and television shows are filled with zombie viruses, bioengineered plagues, and disease-ravaged survivors. Not only have outbreak narratives infected public discourse and affected the way we view the world, but they have, especially right now, impacted global responses to COVID-19. The way infectious viruses are appropriated by Hollywood provides insight into the viruses themselves and the world we live in. After all, few things reflect social trends and anxieties like film and television. Alarmingly, outbreak narratives are even used as “how-to manuals” of sorts. For instance, as COVID-19 took hold, journalist Mike Stuchbery tweeted that crisis response teams were reading World War Z by Max Brooks (a fictional account of a zombie plague) as a study in the effects of epidemics. My chapter examines film and television outbreak narratives, studying how the repetition of characters, images, and story lines has produced a formulaic narrative that reflects and shapes new paradigms of disease and fear, connecting those to real-life events that have unfolded worldwide over the course of 2020. 20 00 Open Access Dahlia Schweitzer 5 03 06 10.53288/0448.1.05 91 116 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Wearable Virus Shields From Futuristic Dystopias to Actual Dread 1 A01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 01 eng 03 00 Several dystopian design projects aimed at protecting and/or isolating users have been developed during the COVID-19 pandemic, including masks, visors, body bubbles, and other types of shields that allow avoiding actual contact with the surrounding space and with other people who could be possible carriers of the virus. The essay explores the uncanny analogies between speculative design ideas based on futuristic scenarios on one side, and practical design solutions, both self-made and mass-marketed, developed to cope with actual risks of contamination. After a brief history of wearable protections against “contagions”—with references to the evolution of cloth face masks in medicine, the paraphernalia related with the Cold War, and 1960s radical design projects—an overview of inventive masks and face shields of the COVID era will be outlined. Ranging from humoristic to fashionable to functional, these wearable inventions to prevent airborne respiration droplets from touching the user’s face have become a symbol of our time. The essay will take into consideration issues related to dread, dystopia, and the impact of media technologies on our imagination of a future in which we’ll live alienated, interacting with each other from behind screens. 30 00 Several dystopian design projects aimed at protecting and/or isolating users have been developed during the COVID-19 pandemic, including masks, visors, body bubbles, and other types of shields that allow avoiding actual contact with the surrounding space and with other people who could be possible carriers of the virus. The essay explores the uncanny analogies between speculative design ideas based on futuristic scenarios on one side, and practical design solutions, both self-made and mass-marketed, developed to cope with actual risks of contamination. After a brief history of wearable protections against “contagions”—with references to the evolution of cloth face masks in medicine, the paraphernalia related with the Cold War, and 1960s radical design projects—an overview of inventive masks and face shields of the COVID era will be outlined. Ranging from humoristic to fashionable to functional, these wearable inventions to prevent airborne respiration droplets from touching the user’s face have become a symbol of our time. The essay will take into consideration issues related to dread, dystopia, and the impact of media technologies on our imagination of a future in which we’ll live alienated, interacting with each other from behind screens. 20 00 Open Access Francesco Spampinato 6 03 06 10.53288/0448.1.06 117 148 32 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Covid-19 Comics and the Data Visualization of Everyday Life 1 A01 21 0000000314482971 Anna Feigenbaum Anna Feigenbaum professor in digital storytelling 40 05wwcw481 Bournemouth University Anna Feigenbaum is a professor in digital storytelling at Bournemouth University where she codirects the Centre for Science, Health and Data Communication Research. She is coauthor of The Data Storytelling Workbook (Routledge, 2020) and Protest Camps (Zed, 2013), and author of Tear Gas (Verso, 2017). Her next monograph looks at human decision-making, data, and technology in the in/fertility marketplace. From digging into dusty archives to data visualizing absent deaths, as a scholar she is drawn to difficult, messy, and ethically challenging questions that exist around how we tell stories with data. As a consultant and trainer, Feigenbaum collaborates with charities, NGOs, health organizations, journalists, and other researchers to explore ways to tell humanizing data stories. In addition to author of peer-reviewed journal articles and book chapters, she is a dedicated science communicator, contributing to newspapers, podcasts, television, and radio programs around the world. 2 A01 21 0000000257953908 Alexandra Alberda Alexandra Alberda curator of indigenous perspectives at Manchester Museum 40 027m9bs27 University of Manchester Alexandra Alberda is the first ever curator of indigenous perspectives at Manchester Museum. Before assuming her current role, she was a doctoral researcher and research illustrator at Bournemouth University. Her PhD dissertation, “Graphic Medicine Exhibited: Public Engagement with Comics in Curatorial Practice and Visitor Experience since 2010” (2021), explores the intersections of the comics medium, health, and exhibition to understand potential activist and community-based methodological approaches and sociocultural values of these experiences. Her collaborative projects have explored such topics as public health, health exhibitions, data storytelling and visualization, comics, and creative-led knowledge exchange. As a research illustrator, she has worked on a number of projects, including two Covid-19 webcomics, The Data Storytelling Workbook (Routledge, 2020), and an AHRC-funded Covid Comics research project led by Anna Feigenbaum (Bournemouth University). 01 eng 03 00 During the COVID-19 pandemic our lives became deeply entwined with data visualizations. Alongside authorial graphics produced by the world’s biggest health organisations and newspapers, citizens and artists also leveraged data visualization conventions to express the turbulent, strange experience of everyday life under the virus. In this chapter we introduce the rise of ‘COVID-19 data comics’ by bringing together emergent thinking in the areas of Graphic Medicine and data feminism. We situate these data comics in relation to recent calls for data to be more humanised (Kennedy and Hill 2017, Lupi 2017, D’Ignazio and Klein 2020, Alamalhodaei et al 2020). Drawing on case study examples gathered as part of our broader UKRI/AHRC Covid Comics research project, we argue that integrating data and comics in ways that humanise health experiences can be a powerful tool for public health communications, data literacy and health equity. The examples of best practice we share show how innovating public health messages around an ethos of empathy can help foster what Lulu Pinney (2020) calls “data know-how” -- a way of doing ‘data literacy’ out in the everyday world. 30 00 During the COVID-19 pandemic our lives became deeply entwined with data visualizations. Alongside authorial graphics produced by the world’s biggest health organisations and newspapers, citizens and artists also leveraged data visualization conventions to express the turbulent, strange experience of everyday life under the virus. In this chapter we introduce the rise of ‘COVID-19 data comics’ by bringing together emergent thinking in the areas of Graphic Medicine and data feminism. We situate these data comics in relation to recent calls for data to be more humanised (Kennedy and Hill 2017, Lupi 2017, D’Ignazio and Klein 2020, Alamalhodaei et al 2020). Drawing on case study examples gathered as part of our broader UKRI/AHRC Covid Comics research project, we argue that integrating data and comics in ways that humanise health experiences can be a powerful tool for public health communications, data literacy and health equity. The examples of best practice we share show how innovating public health messages around an ethos of empathy can help foster what Lulu Pinney (2020) calls “data know-how” -- a way of doing ‘data literacy’ out in the everyday world. 20 00 Open Access Anna Feigenbaum, Alexandra Alberda 7 03 06 10.53288/0448.1.07 149 193 45 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Going Viral Survival Design 1 A01 Manuel Olveira Manuel Olveira Manuel Olveira has been director of Hangar (Barcelona), CGAC (Santiago de Compostela), Centro Ágora (A Coruña), and MUSAC (León). He has curated several exhibitions and especially long-term and research-based projects, such as Lost in Sound (CGAC, 1999–2000), Open Processes (Hangar, 2004–2005), Publishing-Project (CGAC, 2006–2009), and Lecture-Performance (MUSAC, 2013–2014). Many of these were projects in progress and often generated archival documentation, such as the Covid-19 Archive. Olveira has organized courses, film screenings, and performance series on contemporary art with a critical perspective. He is author of essays on such artists as Luis Camnitzer (MUSAC, 2019) and Hessie (MUSAC, 2020). He has also created the web publishing project Complot (Hangar, 2004), the interview book Entre-vista (CGAC, 2008), and the essay collections Conferencia performativa (This Side Up, 2014) and Cómo vivir con la memoria (Puente editores, 2018). He has also published the novel Todo el tiempo del mundo (Libros de Rocamadour, 2014) and the book of poems Muero todos los días 2013–2021 (Eolas ediciones, 2021). His latest book is Habla del cuerpo social: Pandemia y politización del espacio público (Brumaria, 2022). 01 eng 03 00 The alteration in daily life resulting from the pandemic stimulates symptomatic presentations of the unconscious in the lives of people for whom reality has become a strange experience derived from the protocols, objects, and messages of the so-called new normal. The sixth chapter titled Going Viral: Survival Design explores those protocols, objects and messages that have become central to life during the pandemic. Face masks, cleaning products, banners, or other things have functioned as markers and symptoms of the situation. Some of them have been inventions with a strong DIY element, such as the hats created to enforce social distancing in Chinese schools. The chapter explores issues of functionality and objecthood in relation to everyday life, and domesticity, dealing with creativity within these realms; but also it explores the implications for the public space, especially those derived from the messages placed everywhere. An explosion of communication filled windows, doors and even the streets once we were allowed to escape confinement. This can be understood as if the social body affected by the pandemic were talking about fragility, urgency and survival produced by the ineffective neoliberal paradigm. In the social body’s many voices we can find references and tools to interpret the imperative viral reality that requires a search for new keys and paradigms. 30 00 The alteration in daily life resulting from the pandemic stimulates symptomatic presentations of the unconscious in the lives of people for whom reality has become a strange experience derived from the protocols, objects, and messages of the so-called new normal. The sixth chapter titled Going Viral: Survival Design explores those protocols, objects and messages that have become central to life during the pandemic. Face masks, cleaning products, banners, or other things have functioned as markers and symptoms of the situation. Some of them have been inventions with a strong DIY element, such as the hats created to enforce social distancing in Chinese schools. The chapter explores issues of functionality and objecthood in relation to everyday life, and domesticity, dealing with creativity within these realms; but also it explores the implications for the public space, especially those derived from the messages placed everywhere. An explosion of communication filled windows, doors and even the streets once we were allowed to escape confinement. This can be understood as if the social body affected by the pandemic were talking about fragility, urgency and survival produced by the ineffective neoliberal paradigm. In the social body’s many voices we can find references and tools to interpret the imperative viral reality that requires a search for new keys and paradigms. 20 00 Open Access Manuel Olveira 8 03 06 10.53288/0448.1.08 195 216 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Rise of Digital Governmentality in the Era of Covid-19 1 A01 Ramón Reichert Ramón Reichert visiting professor for philosophy of science and methods of social research 40 02xdzy536 Baden-Wuerttemberg Cooperative State University senior researcher 40 05yjy4360 University of Applied Arts Vienna program director of MSc data studies 40 03ef4a036 Danube University Krems Ramón Reichert is a visiting professor for philosophy of science and methods of social research at the Cooperative State University, Mosbach, Germany; a senior researcher at the University of Applied Arts, Vienna, and the program director of MSc data studies at Danube University in Krems, Austria. He previously held teaching and research positions in Basel, Berlin, Fribourg, Helsinki, Lancaster, St. Gallen, Stockholm, and Zurich and was a long-time EU project coordinator. His research interests include the historiography of media and technology, the influence of new media and communication technologies (internet, social media, visual culture), and identity politics. He is the coeditor of the refereed, international journal Digital Culture & Society, in which he has published various articles, including “Rethinking AI: Neural Networks, Biometrics and the New Artificial Intelligence” (2018), “The Politics of Metadata” (2020), and “Networked Images in Surveillance Capitalism” (2022). Reichert is also the editor of Big Data (2014), coauthor of Social Machine Facebook (2019), and author of Selfies: Self-thematization in digital image culture (2023). 01 eng 03 00 A decisive effect of the worldwide spread of the corona virus is the transformation of digital lifestyle media into state-used recording, storage and distribution media. With the pandemic spread of the virus, the tectonics of digital power may have shifted the way forward. The global threat posed by the corona virus is transforming mobile media and their software applications into state-organized surveillance technologies. Mobility tracking is regarded by health authorities and government officials as a reliable data basis for enforcing political decisions as legitimate. Seen in this way, digital media take over the empirical basis of political action. The disciplinary techniques of state surveillance and punishment are migrating into all areas of digital communication and affect mobile media (geo-tracking), stop corona apps (monitoring), social media (blaming) and selfies (self-evidence). In a global comparison, this paper will compare different national strategies and also include non-western countries. In this context, this investigation is investigating the biosurveillance in China, Singapore and Hong Kong (SenseTime, TikTok etc.), the secret service control in Israel and the use of robotics in Tunisia. 30 00 A decisive effect of the worldwide spread of the corona virus is the transformation of digital lifestyle media into state-used recording, storage and distribution media. With the pandemic spread of the virus, the tectonics of digital power may have shifted the way forward. The global threat posed by the corona virus is transforming mobile media and their software applications into state-organized surveillance technologies. Mobility tracking is regarded by health authorities and government officials as a reliable data basis for enforcing political decisions as legitimate. Seen in this way, digital media take over the empirical basis of political action. The disciplinary techniques of state surveillance and punishment are migrating into all areas of digital communication and affect mobile media (geo-tracking), stop corona apps (monitoring), social media (blaming) and selfies (self-evidence). In a global comparison, this paper will compare different national strategies and also include non-western countries. In this context, this investigation is investigating the biosurveillance in China, Singapore and Hong Kong (SenseTime, TikTok etc.), the secret service control in Israel and the use of robotics in Tunisia. 20 00 Open Access Ramón Reichert 9 03 06 10.53288/0448.1.09 217 236 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Societies in Movement Pandemic Crisis and Prefigurative Responses 1 A01 Marina Sitrin Marina Sitrin associate professor of sociology 40 008rmbt77 Binghamton University Marina Sitrin is an associate professor of sociology at Binghamton University. She writes about, and is participant in, societies in movement. Her work specifically looks at new forms of social organization, such as autogestión, horizontalidad, prefigurative politics, and new affective social relationships. She grounds much of her work in ethnography, oral history, and sociological narrative. She is the coeditor with Colectiva Sembrar of Pandemic Solidarity: Mutual Aid During the COVID 19 Crisis (Pluto Press, 2020); author of Horizontalism: Voices of Popular Power in Argentina (AK Press, 2006), and Everyday Revolutions: Horizontalism and Autonomy in Argentina (Bloomsbury Publishing, 2012); coauthor of They Can’t Represent US! Reinventing Democracy from Greece to Occupy (Verso, 2014); and author of the forthcoming The New Revolutions from Social Movements to Societies in Movement. 01 eng 03 00 This chapter explores the new networks of mutual aid, solidarity and care that have emerged around the world in response to the COVID-19 Pandemic, and through describing them, often using the voices of those organizing on the ground, argues that within these day-to-day relationships of care we see not so much social movements as traditionally understood, but rather societies in movement, within which are the seeds of a new society. This phenomenon is linked to the past twenty years of horizontal, autonomous, and affective (care and trust based) forms of organizing, which has been striving to prefigure a new society in the shell of the old. As with many prefigurative movements, as will be described so as to better locate this global rise in mutual aid, they generally do not come from people organizing with a plan to change society or even people who have been involved in political organizing, but arise from necessity, and in that need find that the most useful—and most empowering and enjoyable—way of organizing is horizontally, sharing power and creating space for equal participation and mutual care. 30 00 This chapter explores the new networks of mutual aid, solidarity and care that have emerged around the world in response to the COVID-19 Pandemic, and through describing them, often using the voices of those organizing on the ground, argues that within these day-to-day relationships of care we see not so much social movements as traditionally understood, but rather societies in movement, within which are the seeds of a new society. This phenomenon is linked to the past twenty years of horizontal, autonomous, and affective (care and trust based) forms of organizing, which has been striving to prefigure a new society in the shell of the old. As with many prefigurative movements, as will be described so as to better locate this global rise in mutual aid, they generally do not come from people organizing with a plan to change society or even people who have been involved in political organizing, but arise from necessity, and in that need find that the most useful—and most empowering and enjoyable—way of organizing is horizontally, sharing power and creating space for equal participation and mutual care. 20 00 Open Access Marina Sitrin 10 03 06 10.53288/0448.1.10 237 258 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Pandemic Pastoral 1 A01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 01 eng 03 00 Ramírez-Blanco reads the complex representations of the “natural” realm that have taken place during those times in which people felt further than ever from other forms of life, human or non-human. Confinement in many cities gave rise to empty streets, and vacant buildings, creating images of uncanny beauty that can be perceived as a kind of “pandemic sublime”. However, many people trapped at home became ever more nostalgic for an idealized nature, perceived through their computers and phones, and which mediated in different fictionalized or direct ways with the non-human realm. Through videos, phone calls with non-human animals, or even a “back to the land” movement after confinement, this chapter traces how the “pandemic sublime” has lead to the construction of what can be termed a “pandemic pastoral”. The author makes clear how, in its sentimental and non-ideological dimensions, this imaginary needs to be politicized if we want to respond to the next global emergency: that of present climate change and environmental destruction which led to the pandemic in the first place. 30 00 Ramírez-Blanco reads the complex representations of the “natural” realm that have taken place during those times in which people felt further than ever from other forms of life, human or non-human. Confinement in many cities gave rise to empty streets, and vacant buildings, creating images of uncanny beauty that can be perceived as a kind of “pandemic sublime”. However, many people trapped at home became ever more nostalgic for an idealized nature, perceived through their computers and phones, and which mediated in different fictionalized or direct ways with the non-human realm. Through videos, phone calls with non-human animals, or even a “back to the land” movement after confinement, this chapter traces how the “pandemic sublime” has lead to the construction of what can be termed a “pandemic pastoral”. The author makes clear how, in its sentimental and non-ideological dimensions, this imaginary needs to be politicized if we want to respond to the next global emergency: that of present climate change and environmental destruction which led to the pandemic in the first place. 20 00 Open Access Julia Ramírez-Blanco 11 03 06 10.53288/0448.1.11 259 263 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 21 0000000150684613 Julia Ramírez-Blanco Julia Ramírez-Blanco Ramón y Cajal Researcher 40 02p0gd045 Universidad Complutense de Madrid Julia Ramírez-Blanco is a Ramón y Cajal Researcher at Complutense University, Madrid. Her work connects art history, utopian studies, and activism. She is author of Artistic Utopias of Revolt (Palgrave, 2018); 15M: El tiempo de las plazas (Alianza, 2021); Amigos, disfraces y comunas (Cátedra, 2022); La ciudad del Sol: Le mouvement 15M entre formes et performances (Éditions Lorelei, 2023). Member of the Research Collective of the C4AA, she also has co-led the research and exhibition project Grande Révolution Domèstique-Guise on feminist utopias. She has amply collaborated with the Museum of Contemporary Art of Barcelona (MACBA) and has curated the 15M materials for the recent reorganization of the permanent collection of the Reina Sofia Museum in Madrid. In Reina Sofía, she is part of the core group of “Tejidos Conjuntivos,” the Museum’s Study Programme in Critical Museology, Artistic Research Practices, and Cultural Studies. 2 B01 21 0000000280982838 Francesco Spampinato Francesco Spampinato associate professor in the Department of the Arts 40 01111rn36 Università di Bologna Francesco Spampinato is an associate professor in the Department of the Arts at the University of Bologna. His research in the fields of contemporary art history and visual studies is focused on the relationships between contemporary art, media, and technology, with particular attention to topics such as postmodernism, collective practices, media experimentations, and the effect of personal computers and the internet on visual culture. His latest publications include Art vs. TV: A Brief History of Contemporary Artists’ Responses to Television (Bloomsbury Academic, 2022); the edited monographs GMM—Giovanotti Mondani Meccanici: Computer Comics 1984–1987 (NERO, 2021), and Ran Slavin: Shapeshifter (Mousse Publishing, 2022); and monographic essays for either academic journals or exhibition catalogues on Public Movement (PAJ, 2018), Lizzie Fitch and Ryan Trecartin (Fondazione Prada, 2019), USCO (Visual Culture Studies, 2020), Studio Alchimia (Palinsesti, 2021), Susan Kare (Imago, 2022), and Kraftwerk (NeoClassica, 2023). 20 00 Open Access 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-pandemic-visual-regime-visuality-and-performativity-in-the-covid-19-crisis/ 16 40 05r0vyz12 32 10.13039/501100004837 Ministerio de Ciencia e Inovación 01 programname Grant Ramón y Cajal 01 grantnumber RYC2021-033703-I 16 40 019w4f821 European Union 01 programname NextGenerationEU/PRTR 16 40 05r0vyz12 32 10.13039/501100004837 Ministerio de Ciencia e Inovación 01 projectname ERDF A Way of Making Europe and HUMENERGE (PID2020-113272RA-100), 2021-2024 01 grantnumber MCIN/AEI/10.13039/501100011033 16 Agencia Statal de Investigación 01 projectname Histopia (PID2021-123465NB-I00), 2022–2025 01 grantnumber AEI/10.13039/501100011033 Earth, Milky Way 04 01 20231109 Julia Ramírez-Blanco & Francesco Spampinato 02 WORLD 06 15 9781685711245 03 9781685711245 34 06 10.1016/j.biocon.2021.108953 34 06 10.1177/1357034X14556155 34 06 10.1146/annurev-anthro-092412-155522 34 06 10.1215/17432197-8797473 34 06 10.2307/j.ctvmd84n8 34 06 10.1057/palgrave.ajp.3350013 34 06 10.3201/eid0504.990402 34 06 10.2307/488013 34 06 10.2307/j.ctvzgb8c7.27 34 06 10.1016/j.jacr.2016.09.015 34 06 10.1001/journalofethics.2018.20.2.ecas1-1802 34 06 10.1109/MCG.2017.33 34 06 10.1177/1360780419857734 34 06 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10.1080/14742837.2011.545223 34 06 10.5281/zenodo.4147317 34 06 10.1098/rspb.2020.2513 34 06 10.1098/rspb.2020.2513 34 06 10.14453/asj.v10i1.1 34 06 10.1093/qjmed/hcaa110 34 06 10.1097/MD.0000000000001077 34 06 10.35241/emeraldopenres.13550.1 34 06 10.1136/jech-2020-214720 34 06 10.16995/lefou.49 34 06 10.24908/ss.v18i1.13985 34 06 10.24908/ss.v2i2/3.3373 34 06 10.1001/jama.2020.7239 34 06 10.1386/jem_00027_1 34 06 10.1016/j.biocon.2021.108953 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/79409 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/79409/0448.1.00.pdf?sequence=1&isAllowed=y 20 08 20231109 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/121242 20 08 20231109 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.10782317 20 08 20231109 01 11 Unknown 36 Unspecified hosting platform: webpage for this product 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https://punctumbooks.com/titles/the-pandemic-visual-regime-visuality-and-performativity-in-the-covid-19-crisis/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0448.1.00.pdf 20 08 20231109 01 urn:uuid:574c7109-ec7f-4144-99be-1a524ec934d9 03 01 01 thoth-work-id urn:uuid:b605be50-a3bb-4d1f-a341-95dd486c63a9 01 thoth-publication-id urn:uuid:574c7109-ec7f-4144-99be-1a524ec934d9 15 9781947447363 03 9781947447363 06 10.21983/P3.0190.1.00 13 2017960536 01 internal-reference 0190 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Passenger Medieval Texts and Transits 1 B01 James L. Smith James L. Smith 40 04m01e293 University of York 01 eng 00 136 03 93 DSBB 12 DSBB 10 LIT011000 B2 Literary Studies B2 Premodern 20 literary studies; medieval literature; Chaucer; network theory; sociology 01 06 02 00 03 00 What strange transactions take place in the mobile spaces between loci? How does the flow of forces between fixed points enliven texts, suggest new connections, and map out the dizzying motion of myriad interactions? The essays in this volume were first presented at the 2014 New Chaucer Society Congress in Reykjavik, Iceland where a meeting of minds in a shared intermediate space initiated dialogue from diverse perspectives and wended its way through the invisible spaces between concrete categories, objects, and entities.The resulting volume asks a core question: what can we learn by tarrying at the nexus points and hubs through which things move in and out of texts, attempting to trace not the things themselves or their supposedly stable significations, but rather their forms of emergence and retreat, of disorder and disequilibrium? The answer is complex and intermediate, for we ourselves are emerging and retreating within our own systems of transit and experiencing our own disequilibrium. Scholarship, like transit, is never complete and yet never congeals into inertia. 30 00 What strange transactions take place in the mobile spaces between loci? How does the flow of forces between fixed points enliven texts, suggest new connections, and map out the dizzying motion of myriad interactions? The essays in this volume were first presented at the 2014 New Chaucer Society Congress in Reykjavik, Iceland where a meeting of minds in a shared intermediate space initiated dialogue from diverse perspectives and wended its way through the invisible spaces between concrete categories, objects, and entities.The resulting volume asks a core question: what can we learn by tarrying at the nexus points and hubs through which things move in and out of texts, attempting to trace not the things themselves or their supposedly stable significations, but rather their forms of emergence and retreat, of disorder and disequilibrium? The answer is complex and intermediate, for we ourselves are emerging and retreating within our own systems of transit and experiencing our own disequilibrium. Scholarship, like transit, is never complete and yet never congeals into inertia. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0190.1.00_frontcover.jpg 1 03 06 10.21983/P3.0190.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 James L. Smith James L. Smith 40 02tyrky19 Trinity College Dublin 01 eng 20 00 Open Access Smith, James L. 2 03 06 10.21983/P3.0190.1.02 13 17 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: Transport, Scape, Flow: Medieval Transport Systems 1 A01 James L. Smith James L. Smith 40 04m01e293 University of York 01 eng 03 00 This volume was born in airports, those strange, seemingly-artificial islands of commerce and activity located in remote in-dustrial fringe zones away from the pulsing hubs of our cities. Filled with a contrived form of vitality by thousands of retail staff, businesses, support industries and engineering facilities, these sprawling complexes warp the social spaces that sur-round them — displacing, yet creating. Within the gleaming halls of these shrines to our peregrinations, the passenger is neither here nor there, but in a strange state of intermediacy. Airports are a reconfiguration of space and time familiar to all air travellers — particularly to the academic — and yet redolent of phenomena that exist within intriguing corners of literature and history. It is the analogues of these strange twenty-first cen-tury experiences, their transits, transports, scapes, and flows, that inspired this collection. These essays follow twisting paths through literature that offer a liminal vantage point on ideas in progress. Like all experiences of being in transit, there is beauty and meaning when conventional movement recedes. 30 00 This volume was born in airports, those strange, seemingly-artificial islands of commerce and activity located in remote in-dustrial fringe zones away from the pulsing hubs of our cities. Filled with a contrived form of vitality by thousands of retail staff, businesses, support industries and engineering facilities, these sprawling complexes warp the social spaces that sur-round them — displacing, yet creating. Within the gleaming halls of these shrines to our peregrinations, the passenger is neither here nor there, but in a strange state of intermediacy. Airports are a reconfiguration of space and time familiar to all air travellers — particularly to the academic — and yet redolent of phenomena that exist within intriguing corners of literature and history. It is the analogues of these strange twenty-first cen-tury experiences, their transits, transports, scapes, and flows, that inspired this collection. These essays follow twisting paths through literature that offer a liminal vantage point on ideas in progress. Like all experiences of being in transit, there is beauty and meaning when conventional movement recedes. 20 00 Open Access Smith, James L. 3 03 06 10.21983/P3.0190.1.03 19 33 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bios in the Prik of Conscience The Apophatic Body and Sensuous Soul 1 A01 Christopher Roman Christopher Roman 40 049pfb863 Kent State University 01 eng 03 00 In his 1981–82 lectures entitled The Hermeneutics of the Subject, Michel Foucault formulates that in the process of the self com-ing to truth in spirituality, the subject must be “changed, trans-formed, shifted, and, become, to some extent and up to a certain point, other than himself.”1 This paper thinks with the Prik of Conscience (c. 1400)2 as it presents the reader and penitent with the problem of the self as it becomes “other than” itself. This pro-cess of becoming other than oneself is reflected in the idea of the penitent as a pilgrim passing through worlds. On the one hand, the unknown author of the Prik of Conscience is concerned with exploring “the more world,” or the macrocosm, and its connec-tion with “the less world,” the microcosm. On the other hand, the Conscience-author is concerned with a kind of life, what the Greeks referred to as bios, linked with self-examination in the process of penitence.3 The penitential self-examination is linked to the relationship between macrocosm and microcosm. The penitent must find a way to unsay the self in order to become connected with these two iterations of cosmos. 30 00 In his 1981–82 lectures entitled The Hermeneutics of the Subject, Michel Foucault formulates that in the process of the self com-ing to truth in spirituality, the subject must be “changed, trans-formed, shifted, and, become, to some extent and up to a certain point, other than himself.”1 This paper thinks with the Prik of Conscience (c. 1400)2 as it presents the reader and penitent with the problem of the self as it becomes “other than” itself. This pro-cess of becoming other than oneself is reflected in the idea of the penitent as a pilgrim passing through worlds. On the one hand, the unknown author of the Prik of Conscience is concerned with exploring “the more world,” or the macrocosm, and its connec-tion with “the less world,” the microcosm. On the other hand, the Conscience-author is concerned with a kind of life, what the Greeks referred to as bios, linked with self-examination in the process of penitence.3 The penitential self-examination is linked to the relationship between macrocosm and microcosm. The penitent must find a way to unsay the self in order to become connected with these two iterations of cosmos. 20 00 Open Access Roman, Christopher 4 03 06 10.21983/P3.0190.1.04 35 52 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Concordia Discors The Traveling Heart as Foreign Objects in Chaucer's Troilus and Criseyde 1 A01 Jennie Friedrich Jennie Friedrich 40 03nawhv43 University of California, Riverside 01 eng 03 00 The quote from Horace’s Epistles in my epigraph succinctly ar-ticulates the complexity of the heart’s physical movements and characteristics in Chaucer’s Troilus and Criseyde: what I will dis-cuss in this essay as a process of concordia discors, or harmoni-ous discord. Hearts in this poem are sometimes just symbols, particularly in the frequent references to Troilus’s heartache.2In other instances, hearts are profoundly material, and even objectified in very specific and consistent ways throughout the narrative. This essay focuses on the removal and exchange of disembodied and objectified hearts, their profound effects on notions of identity and ontological integrity in the poem. The interactions between hearts and bodies in Troilus and Criseydealso create a complex interplay of transits, transports, scapes,3and flows. Bodies move, but they are also at times transport-ed against their will. Hearts are sometimes part of the internal landscapes of bodies, but at other times they are transported out of bodies. While the degree to which physical dynamics governing movement and physical integrity in works of fan-tasy remains a subject of critical debate, I argue that Chaucer’s insistence on materiality — that the hearts function in material ways that align them with their cultural function — grants the traveling hearts some degree of scientific gravitas within their historical context.4 The dual function of the heart, as both a ves-sel and a thing to be placed inside a vessel, makes it the ideal representation for the cultural conflicts of the Trojan War as represented in Chaucer’s poem. Themes of invasion, mobility, and displacement are pivotal to the plot, and encapsulated by the material forms and movements of the eagle’s heart and the heart-shaped ruby brooch in the poem. For this reason, I will focus on the ways in which the forms of cognitive estrangement present in this poem — alienation of the reader from his or her physical reality through cognitive organization of an alternate reality — engage with the physical environment of the body, its interior, and the organization thereof. 30 00 The quote from Horace’s Epistles in my epigraph succinctly ar-ticulates the complexity of the heart’s physical movements and characteristics in Chaucer’s Troilus and Criseyde: what I will dis-cuss in this essay as a process of concordia discors, or harmoni-ous discord. Hearts in this poem are sometimes just symbols, particularly in the frequent references to Troilus’s heartache.2In other instances, hearts are profoundly material, and even objectified in very specific and consistent ways throughout the narrative. This essay focuses on the removal and exchange of disembodied and objectified hearts, their profound effects on notions of identity and ontological integrity in the poem. The interactions between hearts and bodies in Troilus and Criseydealso create a complex interplay of transits, transports, scapes,3and flows. Bodies move, but they are also at times transport-ed against their will. Hearts are sometimes part of the internal landscapes of bodies, but at other times they are transported out of bodies. While the degree to which physical dynamics governing movement and physical integrity in works of fan-tasy remains a subject of critical debate, I argue that Chaucer’s insistence on materiality — that the hearts function in material ways that align them with their cultural function — grants the traveling hearts some degree of scientific gravitas within their historical context.4 The dual function of the heart, as both a ves-sel and a thing to be placed inside a vessel, makes it the ideal representation for the cultural conflicts of the Trojan War as represented in Chaucer’s poem. Themes of invasion, mobility, and displacement are pivotal to the plot, and encapsulated by the material forms and movements of the eagle’s heart and the heart-shaped ruby brooch in the poem. For this reason, I will focus on the ways in which the forms of cognitive estrangement present in this poem — alienation of the reader from his or her physical reality through cognitive organization of an alternate reality — engage with the physical environment of the body, its interior, and the organization thereof. 20 00 Open Access Friedrich, Jennie 5 03 06 10.21983/P3.0190.1.05 53 69 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Whan I schal passyn hens Moving With/In The Book of Margery Kempe 1 A01 Robert Stanton Robert Stanton 40 02n2fzt79 Boston College 01 eng 03 00 The Book of Margery Kempe, dating from the late 1430s, bris-tles with concurrent transits, passages, and thoroughfares in all sorts of modes, scales, and palettes. Most obviously, the book’s shifting, shifty generic status incessantly confronts the reader’s expectations, demands, and avenues of understanding. Unequal parts autobiography, confessional, saintly résumé, pilgrimage narrative, devotional program, and psychodrama, the text con-tinuously provokes its medieval and modern users to ask what it is and what it is for. 30 00 The Book of Margery Kempe, dating from the late 1430s, bris-tles with concurrent transits, passages, and thoroughfares in all sorts of modes, scales, and palettes. Most obviously, the book’s shifting, shifty generic status incessantly confronts the reader’s expectations, demands, and avenues of understanding. Unequal parts autobiography, confessional, saintly résumé, pilgrimage narrative, devotional program, and psychodrama, the text con-tinuously provokes its medieval and modern users to ask what it is and what it is for. 20 00 Open Access Stanton, Robert 6 03 06 10.21983/P3.0190.1.06 71 92 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Animal Vehicles Mobility beyond Metaphor 1 A01 Carolynn Van Dyke Carolynn Van Dyke 40 036n0x007 Lafayette College 01 eng 03 00 In the book that inspired this one, John Urry redefines not just social structures but also the social agent. “[O]f course,” he writes, “agents are not just humans but will be a variety of human and non-human actants that constitute the typical mo-bile, roaming hybrids.”1 Out of context, “non-human actants” would probably mean nonhuman animals; “roaming hybrids” might be peripatetic centaurs or cyborgs. In fact, however, the nonhuman actants that Urry discusses are principally objects, and his “hybrids” are “assemblages of humans, machines, and technologies.”2 Animals play only a passive role in his “mobile sociology,” as the potential recipients of rights and “citizenship.” 30 00 In the book that inspired this one, John Urry redefines not just social structures but also the social agent. “[O]f course,” he writes, “agents are not just humans but will be a variety of human and non-human actants that constitute the typical mo-bile, roaming hybrids.”1 Out of context, “non-human actants” would probably mean nonhuman animals; “roaming hybrids” might be peripatetic centaurs or cyborgs. In fact, however, the nonhuman actants that Urry discusses are principally objects, and his “hybrids” are “assemblages of humans, machines, and technologies.”2 Animals play only a passive role in his “mobile sociology,” as the potential recipients of rights and “citizenship.” 20 00 Open Access Van Dyke, Carolynn 7 03 06 10.21983/P3.0190.1.07 93 114 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building Bridges to Canterbury 1 A01 Sarah Breckenridge Wright Sarah Breckenridge Wright 40 02336z538 Duquesne University 01 eng 03 00 In 2015, the word listicle was added to OxfordDictionaries.com, defined as “an article on the Internet presented in the form of a numbered or bullet-pointed list.”1 By consulting a listicle, one can learn “16 Snapchats Only Hipsters Would Send” (all deeply ironic) and “25 Things You Should Learn To Do Before Turning 25” (including “say no sometimes” and “invert the color on your phone for reading at night”).2 While the listicle is a relatively new phenomenon, it belies humankind’s longstanding desire to classify and categorize the world around it. The hipsters, steam-punks, and rockabillies of the twenty-first century were born of the same categorizing impulse that generated the beasts, birds, and serpents of the medieval bestiary. While this impulse os-tensibly helps us understand the world, it too often leads to di-chotomies that fail to capture the dynamism of humankind and the world we inhabit. 30 00 In 2015, the word listicle was added to OxfordDictionaries.com, defined as “an article on the Internet presented in the form of a numbered or bullet-pointed list.”1 By consulting a listicle, one can learn “16 Snapchats Only Hipsters Would Send” (all deeply ironic) and “25 Things You Should Learn To Do Before Turning 25” (including “say no sometimes” and “invert the color on your phone for reading at night”).2 While the listicle is a relatively new phenomenon, it belies humankind’s longstanding desire to classify and categorize the world around it. The hipsters, steam-punks, and rockabillies of the twenty-first century were born of the same categorizing impulse that generated the beasts, birds, and serpents of the medieval bestiary. While this impulse os-tensibly helps us understand the world, it too often leads to di-chotomies that fail to capture the dynamism of humankind and the world we inhabit. 20 00 Open Access Wright, Sarah Breckenridge 8 03 06 10.21983/P3.0190.1.08 115 129 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chaucer's Physics Motion in The House of Fame 1 A01 Thomas R. Schneider Thomas R. Schneider 40 04yj19304 California Baptist University 01 eng 03 00 Geoffrey Chaucer’s House of Fame is preoccupied with multiple vectors of chaotic, incessant movement. It is a poem of constant spatial motion, but three moments in particular are strikingly unusual and deserving of unpacking in relation to Chaucer’s engagement with the concept of movement. The first is, un-surprisingly, the description of the cage-like wooden structure, sixty miles in diameter, in the valley beyond the House of Fame: perhaps his most potent and strange image of motion. This laby-rinthine, multicolored structure is in constant circular motion: And ever mo, as swifte as thoughte, This queynte hous aboute wente, That never mo hyt stille stent. 30 00 Geoffrey Chaucer’s House of Fame is preoccupied with multiple vectors of chaotic, incessant movement. It is a poem of constant spatial motion, but three moments in particular are strikingly unusual and deserving of unpacking in relation to Chaucer’s engagement with the concept of movement. The first is, un-surprisingly, the description of the cage-like wooden structure, sixty miles in diameter, in the valley beyond the House of Fame: perhaps his most potent and strange image of motion. This laby-rinthine, multicolored structure is in constant circular motion: And ever mo, as swifte as thoughte, This queynte hous aboute wente, That never mo hyt stille stent. 20 00 Open Access Schneider, Thomas R. 9 03 06 10.21983/P3.0190.1.09 131 133 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 James L. Smith James L. Smith 01 eng 20 00 Open Access Smith, James L. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-passenger-medieval-texts-and-transits/ Earth, Milky Way 04 01 20171208 Smith, James L. 02 WORLD 06 15 9781947447370 03 9781947447370 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/194744736X 20 08 20171208 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-passenger-medieval-texts-and-transits 20 08 20171208 02 22.00 USD WORLD urn:uuid:f209678a-3ce5-4c6a-98e5-f0adafeb5b90 03 01 01 thoth-work-id urn:uuid:b605be50-a3bb-4d1f-a341-95dd486c63a9 01 thoth-publication-id urn:uuid:f209678a-3ce5-4c6a-98e5-f0adafeb5b90 15 9781947447370 03 9781947447370 06 10.21983/P3.0190.1.00 13 2017960536 01 internal-reference 0190 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Passenger Medieval Texts and Transits 1 B01 James L. Smith James L. Smith 40 04m01e293 University of York 01 eng 00 136 03 93 DSBB 12 DSBB 10 LIT011000 B2 Literary Studies B2 Premodern 20 literary studies; medieval literature; Chaucer; network theory; sociology 01 06 02 00 03 00 What strange transactions take place in the mobile spaces between loci? How does the flow of forces between fixed points enliven texts, suggest new connections, and map out the dizzying motion of myriad interactions? The essays in this volume were first presented at the 2014 New Chaucer Society Congress in Reykjavik, Iceland where a meeting of minds in a shared intermediate space initiated dialogue from diverse perspectives and wended its way through the invisible spaces between concrete categories, objects, and entities.The resulting volume asks a core question: what can we learn by tarrying at the nexus points and hubs through which things move in and out of texts, attempting to trace not the things themselves or their supposedly stable significations, but rather their forms of emergence and retreat, of disorder and disequilibrium? The answer is complex and intermediate, for we ourselves are emerging and retreating within our own systems of transit and experiencing our own disequilibrium. Scholarship, like transit, is never complete and yet never congeals into inertia. 30 00 What strange transactions take place in the mobile spaces between loci? How does the flow of forces between fixed points enliven texts, suggest new connections, and map out the dizzying motion of myriad interactions? The essays in this volume were first presented at the 2014 New Chaucer Society Congress in Reykjavik, Iceland where a meeting of minds in a shared intermediate space initiated dialogue from diverse perspectives and wended its way through the invisible spaces between concrete categories, objects, and entities.The resulting volume asks a core question: what can we learn by tarrying at the nexus points and hubs through which things move in and out of texts, attempting to trace not the things themselves or their supposedly stable significations, but rather their forms of emergence and retreat, of disorder and disequilibrium? The answer is complex and intermediate, for we ourselves are emerging and retreating within our own systems of transit and experiencing our own disequilibrium. Scholarship, like transit, is never complete and yet never congeals into inertia. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0190.1.00_frontcover.jpg 1 03 06 10.21983/P3.0190.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 James L. Smith James L. Smith 40 02tyrky19 Trinity College Dublin 01 eng 20 00 Open Access Smith, James L. 2 03 06 10.21983/P3.0190.1.02 13 17 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction: Transport, Scape, Flow: Medieval Transport Systems 1 A01 James L. Smith James L. Smith 40 04m01e293 University of York 01 eng 03 00 This volume was born in airports, those strange, seemingly-artificial islands of commerce and activity located in remote in-dustrial fringe zones away from the pulsing hubs of our cities. Filled with a contrived form of vitality by thousands of retail staff, businesses, support industries and engineering facilities, these sprawling complexes warp the social spaces that sur-round them — displacing, yet creating. Within the gleaming halls of these shrines to our peregrinations, the passenger is neither here nor there, but in a strange state of intermediacy. Airports are a reconfiguration of space and time familiar to all air travellers — particularly to the academic — and yet redolent of phenomena that exist within intriguing corners of literature and history. It is the analogues of these strange twenty-first cen-tury experiences, their transits, transports, scapes, and flows, that inspired this collection. These essays follow twisting paths through literature that offer a liminal vantage point on ideas in progress. Like all experiences of being in transit, there is beauty and meaning when conventional movement recedes. 30 00 This volume was born in airports, those strange, seemingly-artificial islands of commerce and activity located in remote in-dustrial fringe zones away from the pulsing hubs of our cities. Filled with a contrived form of vitality by thousands of retail staff, businesses, support industries and engineering facilities, these sprawling complexes warp the social spaces that sur-round them — displacing, yet creating. Within the gleaming halls of these shrines to our peregrinations, the passenger is neither here nor there, but in a strange state of intermediacy. Airports are a reconfiguration of space and time familiar to all air travellers — particularly to the academic — and yet redolent of phenomena that exist within intriguing corners of literature and history. It is the analogues of these strange twenty-first cen-tury experiences, their transits, transports, scapes, and flows, that inspired this collection. These essays follow twisting paths through literature that offer a liminal vantage point on ideas in progress. Like all experiences of being in transit, there is beauty and meaning when conventional movement recedes. 20 00 Open Access Smith, James L. 3 03 06 10.21983/P3.0190.1.03 19 33 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bios in the Prik of Conscience The Apophatic Body and Sensuous Soul 1 A01 Christopher Roman Christopher Roman 40 049pfb863 Kent State University 01 eng 03 00 In his 1981–82 lectures entitled The Hermeneutics of the Subject, Michel Foucault formulates that in the process of the self com-ing to truth in spirituality, the subject must be “changed, trans-formed, shifted, and, become, to some extent and up to a certain point, other than himself.”1 This paper thinks with the Prik of Conscience (c. 1400)2 as it presents the reader and penitent with the problem of the self as it becomes “other than” itself. This pro-cess of becoming other than oneself is reflected in the idea of the penitent as a pilgrim passing through worlds. On the one hand, the unknown author of the Prik of Conscience is concerned with exploring “the more world,” or the macrocosm, and its connec-tion with “the less world,” the microcosm. On the other hand, the Conscience-author is concerned with a kind of life, what the Greeks referred to as bios, linked with self-examination in the process of penitence.3 The penitential self-examination is linked to the relationship between macrocosm and microcosm. The penitent must find a way to unsay the self in order to become connected with these two iterations of cosmos. 30 00 In his 1981–82 lectures entitled The Hermeneutics of the Subject, Michel Foucault formulates that in the process of the self com-ing to truth in spirituality, the subject must be “changed, trans-formed, shifted, and, become, to some extent and up to a certain point, other than himself.”1 This paper thinks with the Prik of Conscience (c. 1400)2 as it presents the reader and penitent with the problem of the self as it becomes “other than” itself. This pro-cess of becoming other than oneself is reflected in the idea of the penitent as a pilgrim passing through worlds. On the one hand, the unknown author of the Prik of Conscience is concerned with exploring “the more world,” or the macrocosm, and its connec-tion with “the less world,” the microcosm. On the other hand, the Conscience-author is concerned with a kind of life, what the Greeks referred to as bios, linked with self-examination in the process of penitence.3 The penitential self-examination is linked to the relationship between macrocosm and microcosm. The penitent must find a way to unsay the self in order to become connected with these two iterations of cosmos. 20 00 Open Access Roman, Christopher 4 03 06 10.21983/P3.0190.1.04 35 52 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Concordia Discors The Traveling Heart as Foreign Objects in Chaucer's Troilus and Criseyde 1 A01 Jennie Friedrich Jennie Friedrich 40 03nawhv43 University of California, Riverside 01 eng 03 00 The quote from Horace’s Epistles in my epigraph succinctly ar-ticulates the complexity of the heart’s physical movements and characteristics in Chaucer’s Troilus and Criseyde: what I will dis-cuss in this essay as a process of concordia discors, or harmoni-ous discord. Hearts in this poem are sometimes just symbols, particularly in the frequent references to Troilus’s heartache.2In other instances, hearts are profoundly material, and even objectified in very specific and consistent ways throughout the narrative. This essay focuses on the removal and exchange of disembodied and objectified hearts, their profound effects on notions of identity and ontological integrity in the poem. The interactions between hearts and bodies in Troilus and Criseydealso create a complex interplay of transits, transports, scapes,3and flows. Bodies move, but they are also at times transport-ed against their will. Hearts are sometimes part of the internal landscapes of bodies, but at other times they are transported out of bodies. While the degree to which physical dynamics governing movement and physical integrity in works of fan-tasy remains a subject of critical debate, I argue that Chaucer’s insistence on materiality — that the hearts function in material ways that align them with their cultural function — grants the traveling hearts some degree of scientific gravitas within their historical context.4 The dual function of the heart, as both a ves-sel and a thing to be placed inside a vessel, makes it the ideal representation for the cultural conflicts of the Trojan War as represented in Chaucer’s poem. Themes of invasion, mobility, and displacement are pivotal to the plot, and encapsulated by the material forms and movements of the eagle’s heart and the heart-shaped ruby brooch in the poem. For this reason, I will focus on the ways in which the forms of cognitive estrangement present in this poem — alienation of the reader from his or her physical reality through cognitive organization of an alternate reality — engage with the physical environment of the body, its interior, and the organization thereof. 30 00 The quote from Horace’s Epistles in my epigraph succinctly ar-ticulates the complexity of the heart’s physical movements and characteristics in Chaucer’s Troilus and Criseyde: what I will dis-cuss in this essay as a process of concordia discors, or harmoni-ous discord. Hearts in this poem are sometimes just symbols, particularly in the frequent references to Troilus’s heartache.2In other instances, hearts are profoundly material, and even objectified in very specific and consistent ways throughout the narrative. This essay focuses on the removal and exchange of disembodied and objectified hearts, their profound effects on notions of identity and ontological integrity in the poem. The interactions between hearts and bodies in Troilus and Criseydealso create a complex interplay of transits, transports, scapes,3and flows. Bodies move, but they are also at times transport-ed against their will. Hearts are sometimes part of the internal landscapes of bodies, but at other times they are transported out of bodies. While the degree to which physical dynamics governing movement and physical integrity in works of fan-tasy remains a subject of critical debate, I argue that Chaucer’s insistence on materiality — that the hearts function in material ways that align them with their cultural function — grants the traveling hearts some degree of scientific gravitas within their historical context.4 The dual function of the heart, as both a ves-sel and a thing to be placed inside a vessel, makes it the ideal representation for the cultural conflicts of the Trojan War as represented in Chaucer’s poem. Themes of invasion, mobility, and displacement are pivotal to the plot, and encapsulated by the material forms and movements of the eagle’s heart and the heart-shaped ruby brooch in the poem. For this reason, I will focus on the ways in which the forms of cognitive estrangement present in this poem — alienation of the reader from his or her physical reality through cognitive organization of an alternate reality — engage with the physical environment of the body, its interior, and the organization thereof. 20 00 Open Access Friedrich, Jennie 5 03 06 10.21983/P3.0190.1.05 53 69 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Whan I schal passyn hens Moving With/In The Book of Margery Kempe 1 A01 Robert Stanton Robert Stanton 40 02n2fzt79 Boston College 01 eng 03 00 The Book of Margery Kempe, dating from the late 1430s, bris-tles with concurrent transits, passages, and thoroughfares in all sorts of modes, scales, and palettes. Most obviously, the book’s shifting, shifty generic status incessantly confronts the reader’s expectations, demands, and avenues of understanding. Unequal parts autobiography, confessional, saintly résumé, pilgrimage narrative, devotional program, and psychodrama, the text con-tinuously provokes its medieval and modern users to ask what it is and what it is for. 30 00 The Book of Margery Kempe, dating from the late 1430s, bris-tles with concurrent transits, passages, and thoroughfares in all sorts of modes, scales, and palettes. Most obviously, the book’s shifting, shifty generic status incessantly confronts the reader’s expectations, demands, and avenues of understanding. Unequal parts autobiography, confessional, saintly résumé, pilgrimage narrative, devotional program, and psychodrama, the text con-tinuously provokes its medieval and modern users to ask what it is and what it is for. 20 00 Open Access Stanton, Robert 6 03 06 10.21983/P3.0190.1.06 71 92 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Animal Vehicles Mobility beyond Metaphor 1 A01 Carolynn Van Dyke Carolynn Van Dyke 40 036n0x007 Lafayette College 01 eng 03 00 In the book that inspired this one, John Urry redefines not just social structures but also the social agent. “[O]f course,” he writes, “agents are not just humans but will be a variety of human and non-human actants that constitute the typical mo-bile, roaming hybrids.”1 Out of context, “non-human actants” would probably mean nonhuman animals; “roaming hybrids” might be peripatetic centaurs or cyborgs. In fact, however, the nonhuman actants that Urry discusses are principally objects, and his “hybrids” are “assemblages of humans, machines, and technologies.”2 Animals play only a passive role in his “mobile sociology,” as the potential recipients of rights and “citizenship.” 30 00 In the book that inspired this one, John Urry redefines not just social structures but also the social agent. “[O]f course,” he writes, “agents are not just humans but will be a variety of human and non-human actants that constitute the typical mo-bile, roaming hybrids.”1 Out of context, “non-human actants” would probably mean nonhuman animals; “roaming hybrids” might be peripatetic centaurs or cyborgs. In fact, however, the nonhuman actants that Urry discusses are principally objects, and his “hybrids” are “assemblages of humans, machines, and technologies.”2 Animals play only a passive role in his “mobile sociology,” as the potential recipients of rights and “citizenship.” 20 00 Open Access Van Dyke, Carolynn 7 03 06 10.21983/P3.0190.1.07 93 114 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building Bridges to Canterbury 1 A01 Sarah Breckenridge Wright Sarah Breckenridge Wright 40 02336z538 Duquesne University 01 eng 03 00 In 2015, the word listicle was added to OxfordDictionaries.com, defined as “an article on the Internet presented in the form of a numbered or bullet-pointed list.”1 By consulting a listicle, one can learn “16 Snapchats Only Hipsters Would Send” (all deeply ironic) and “25 Things You Should Learn To Do Before Turning 25” (including “say no sometimes” and “invert the color on your phone for reading at night”).2 While the listicle is a relatively new phenomenon, it belies humankind’s longstanding desire to classify and categorize the world around it. The hipsters, steam-punks, and rockabillies of the twenty-first century were born of the same categorizing impulse that generated the beasts, birds, and serpents of the medieval bestiary. While this impulse os-tensibly helps us understand the world, it too often leads to di-chotomies that fail to capture the dynamism of humankind and the world we inhabit. 30 00 In 2015, the word listicle was added to OxfordDictionaries.com, defined as “an article on the Internet presented in the form of a numbered or bullet-pointed list.”1 By consulting a listicle, one can learn “16 Snapchats Only Hipsters Would Send” (all deeply ironic) and “25 Things You Should Learn To Do Before Turning 25” (including “say no sometimes” and “invert the color on your phone for reading at night”).2 While the listicle is a relatively new phenomenon, it belies humankind’s longstanding desire to classify and categorize the world around it. The hipsters, steam-punks, and rockabillies of the twenty-first century were born of the same categorizing impulse that generated the beasts, birds, and serpents of the medieval bestiary. While this impulse os-tensibly helps us understand the world, it too often leads to di-chotomies that fail to capture the dynamism of humankind and the world we inhabit. 20 00 Open Access Wright, Sarah Breckenridge 8 03 06 10.21983/P3.0190.1.08 115 129 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Chaucer's Physics Motion in The House of Fame 1 A01 Thomas R. Schneider Thomas R. Schneider 40 04yj19304 California Baptist University 01 eng 03 00 Geoffrey Chaucer’s House of Fame is preoccupied with multiple vectors of chaotic, incessant movement. It is a poem of constant spatial motion, but three moments in particular are strikingly unusual and deserving of unpacking in relation to Chaucer’s engagement with the concept of movement. The first is, un-surprisingly, the description of the cage-like wooden structure, sixty miles in diameter, in the valley beyond the House of Fame: perhaps his most potent and strange image of motion. This laby-rinthine, multicolored structure is in constant circular motion: And ever mo, as swifte as thoughte, This queynte hous aboute wente, That never mo hyt stille stent. 30 00 Geoffrey Chaucer’s House of Fame is preoccupied with multiple vectors of chaotic, incessant movement. It is a poem of constant spatial motion, but three moments in particular are strikingly unusual and deserving of unpacking in relation to Chaucer’s engagement with the concept of movement. The first is, un-surprisingly, the description of the cage-like wooden structure, sixty miles in diameter, in the valley beyond the House of Fame: perhaps his most potent and strange image of motion. This laby-rinthine, multicolored structure is in constant circular motion: And ever mo, as swifte as thoughte, This queynte hous aboute wente, That never mo hyt stille stent. 20 00 Open Access Schneider, Thomas R. 9 03 06 10.21983/P3.0190.1.09 131 133 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 James L. Smith James L. Smith 01 eng 20 00 Open Access Smith, James L. 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-passenger-medieval-texts-and-transits/ Earth, Milky Way 04 01 20171208 Smith, James L. 02 WORLD 06 15 9781947447363 03 9781947447363 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66798 20 08 20171208 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25439 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25439/1004656.pdf?sequence=1&isAllowed=y 20 08 20171208 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37191 20 08 20171208 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353793 20 08 20171208 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/572 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5234d7ff-6100-4f50-aa4d-a7af99cac917/download 20 08 20171208 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Passenger_Medieval_Texts_and_Transit/Bm6oEAAAQBAJ 20 08 20171208 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b605be50-a3bb-4d1f-a341-95dd486c63a9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b605be50-a3bb-4d1f-a341-95dd486c63a9/b605be50-a3bb-4d1f-a341-95dd486c63a9.pdf 20 08 20171208 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847151 29 ZENODO: download the title https://zenodo.org/records/19847151/files/b605be50-a3bb-4d1f-a341-95dd486c63a9_book.pdf 20 08 20171208 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-passenger-medieval-texts-and-transits/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0190.1.00.pdf 20 08 20171208 01 urn:uuid:b8377de8-aa93-457e-8d6f-d4650a7207c2 03 01 01 thoth-work-id urn:uuid:ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4 01 thoth-publication-id urn:uuid:b8377de8-aa93-457e-8d6f-d4650a7207c2 15 9780692722343 03 9780692722343 06 10.21983/P3.0140.1.00 01 internal-reference 0140 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Pedagogics of Unlearning 1 B01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 2 B01 Aidan Seery Aidan Seery 40 02tyrky19 Trinity College Dublin 01 eng 00 194 03 10 EDU040000 B2 Humanities+University 93 JNA 12 JNA B2 Pedagogies 20 radical pedagogy; higher education; cultural theory; psychoanalysis; philosophy 01 06 02 00 03 00 What does it mean to unlearn? Once we have learned something, is it ever possible to unlearn that something? If something is said to have been unlearned, does that mean that it is simply forgotten or does some residual force of learning, some perverse force, also resonate in ways that might help us to rethink traditional approaches to teaching and learning? Might we say that education today is haunted by the spectre of unlearning?This book invites readers to reflect on the possibilities of knowing, reflecting, understanding, teaching and learning in ways that allow us to imagine the other side of education, the side which understands non-knowledge, ignorance, stupidity and wonder as potentially the most important learning experiences we can ever have. In a series of provocative essays by some of the world’s most renowned theorists in philosophy, psychoanalysis, cultural studies, politics and education, The Pedagogics of Unlearning challenges us to think again about what we mean when we talk about learning — about what it really means to learn — and whether the kinds of learning we imagine in our classrooms and daily lives are actually synonymous with the sort of learning we envision when we think and talk about the purpose and passage of education.If you think you know what education and learning are doing, what teaching strategies do, and what learning outcomes are, then this book asks you to think again, to unlearn what you have learned, to learn to unlearn 30 00 What does it mean to unlearn? Once we have learned something, is it ever possible to unlearn that something? If something is said to have been unlearned, does that mean that it is simply forgotten or does some residual force of learning, some perverse force, also resonate in ways that might help us to rethink traditional approaches to teaching and learning? Might we say that education today is haunted by the spectre of unlearning?This book invites readers to reflect on the possibilities of knowing, reflecting, understanding, teaching and learning in ways that allow us to imagine the other side of education, the side which understands non-knowledge, ignorance, stupidity and wonder as potentially the most important learning experiences we can ever have. In a series of provocative essays by some of the world’s most renowned theorists in philosophy, psychoanalysis, cultural studies, politics and education, The Pedagogics of Unlearning challenges us to think again about what we mean when we talk about learning — about what it really means to learn — and whether the kinds of learning we imagine in our classrooms and daily lives are actually synonymous with the sort of learning we envision when we think and talk about the purpose and passage of education.If you think you know what education and learning are doing, what teaching strategies do, and what learning outcomes are, then this book asks you to think again, to unlearn what you have learned, to learn to unlearn 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0140.1.00_frontcover.png 1 03 06 10.21983/P3.0140.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 2 B01 Aidan Seery Aidan Seery 40 02tyrky19 Trinity College Dublin 01 eng 20 00 Open Access Dunne, Éamonn Seery, Aidan 2 03 06 10.21983/P3.0140.1.02 13 24 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning to Unlearn 1 A01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 01 eng 03 00 Since this is a book concerning a certain “pedagogics of un-learning,” there is no real reason why I should approach my task of introducing a collection of essays on that topic in anything like a conventional manner. If I was to be really responsible to the call of this question — the question of what unlearning es-sentially means — I would also have to be (however impossibly) wholly irresponsible. I would have to invent it anew. I would have to invent a concept of unlearning that holds true for each of the following essays. This is impossible, since each essay ap-proaches this question singularly, uniquely, and with its own eye towards the range and scope of education. 30 00 Since this is a book concerning a certain “pedagogics of un-learning,” there is no real reason why I should approach my task of introducing a collection of essays on that topic in anything like a conventional manner. If I was to be really responsible to the call of this question — the question of what unlearning es-sentially means — I would also have to be (however impossibly) wholly irresponsible. I would have to invent it anew. I would have to invent a concept of unlearning that holds true for each of the following essays. This is impossible, since each essay ap-proaches this question singularly, uniquely, and with its own eye towards the range and scope of education. 20 00 Open Access Dunne, Éamonn 3 03 06 10.21983/P3.0140.1.03 25 46 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Un-What? 1 A01 Jacques Rancière Jacques Rancière 40 04g3mbv81 European Graduate School 40 04wez5e68 Paris 8 University 01 eng 03 00 Pedagogics of Unlearning: the title of this conference obviously echoes a notion and a figure that I had set up in my own way when I published a book entitled The Ignorant Schoolmaster with the subtitle Five Lessons in Intellectual Emancipation (Ran-cière 1991). Both titles entail the idea of a specific form of learn-ing, which is a negative one: learning how to unlearn, teaching as an ignorant, learning the emancipatory virtue of ignorance. This idea raises two interrelated problems: firstly, how are we to understand the type of negativity at work in this “unlearning” or this “ignorance”? Secondly, what is the exact target of this nega-tive action? What is the positivity that is under attack? In other terms, what is at stake in matters of learning? 30 00 Pedagogics of Unlearning: the title of this conference obviously echoes a notion and a figure that I had set up in my own way when I published a book entitled The Ignorant Schoolmaster with the subtitle Five Lessons in Intellectual Emancipation (Ran-cière 1991). Both titles entail the idea of a specific form of learn-ing, which is a negative one: learning how to unlearn, teaching as an ignorant, learning the emancipatory virtue of ignorance. This idea raises two interrelated problems: firstly, how are we to understand the type of negativity at work in this “unlearning” or this “ignorance”? Secondly, what is the exact target of this nega-tive action? What is the positivity that is under attack? In other terms, what is at stake in matters of learning? 20 00 Open Access Rancière, Jacques 4 03 06 10.21983/P3.0140.1.04 47 71 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Phantasies of the Writing Block A Psychoanalytic Contribution to Pernicious Unlearning 1 A01 Deborah Britzman Deborah Britzman 40 05fq50484 York University 01 eng 03 00 By way of background, the notion of “unlearning” has a strong history of critique in the field of public education, first tied to Kantian Enlightenment with the overturning of self-induced forms of immaturity, and then the failure of Enlightenment. The movement here has been from the desire for knowledge to not wanting knowledge at all. Contemporary discussions on the complex of unlearning emerge from post-war thought: for example, within Adorno’s essay “Education after Auschwitz,” and within the postcolonial theory of Fanon’s Black Skin, White Masks and Freire’s Pedagogy of the Oppressed, and also femi-nist pedagogy’s consciousness-raising procedures and queer pedagogy’s deconstruction of normalcy. By the early 1970s, “un-learning racism, sexism, and homophobia” became a structural feature of curriculum in university classrooms. With critical pedagogy, the turn was to ideological critique and knowledge of the mechanisms of social inequality, thereby inciting a pro-liferation of pedagogical orientations for liberation. Problems ensued, however, with the question of pedagogy and, with the emphasis on reading and writing, literary theorists such as Shoshanna Felman, Barbara Johnson, and Eve Kosofsky Sedg-wick rewrote the question of learning with Lacanian, Kleinian, and Freudian theories that considered the status of the uncon-scious and symptoms of learning and not learning. It is here that knowledge and ignorance became a fraught couple. I considered many of these uneven developments — the foremost is with the mismatch between teaching and learning — in my earlier book, Novel Education: Psychoanalytic Studies of Learning and not Learning (New York: Peter Lang Press, 2006). 30 00 By way of background, the notion of “unlearning” has a strong history of critique in the field of public education, first tied to Kantian Enlightenment with the overturning of self-induced forms of immaturity, and then the failure of Enlightenment. The movement here has been from the desire for knowledge to not wanting knowledge at all. Contemporary discussions on the complex of unlearning emerge from post-war thought: for example, within Adorno’s essay “Education after Auschwitz,” and within the postcolonial theory of Fanon’s Black Skin, White Masks and Freire’s Pedagogy of the Oppressed, and also femi-nist pedagogy’s consciousness-raising procedures and queer pedagogy’s deconstruction of normalcy. By the early 1970s, “un-learning racism, sexism, and homophobia” became a structural feature of curriculum in university classrooms. With critical pedagogy, the turn was to ideological critique and knowledge of the mechanisms of social inequality, thereby inciting a pro-liferation of pedagogical orientations for liberation. Problems ensued, however, with the question of pedagogy and, with the emphasis on reading and writing, literary theorists such as Shoshanna Felman, Barbara Johnson, and Eve Kosofsky Sedg-wick rewrote the question of learning with Lacanian, Kleinian, and Freudian theories that considered the status of the uncon-scious and symptoms of learning and not learning. It is here that knowledge and ignorance became a fraught couple. I considered many of these uneven developments — the foremost is with the mismatch between teaching and learning — in my earlier book, Novel Education: Psychoanalytic Studies of Learning and not Learning (New York: Peter Lang Press, 2006). 20 00 Open Access Britzman, Deborah 5 03 06 10.21983/P3.0140.1.05 73 109 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning How to Be Capitalist From Neoliberal Pedagogy to the Mystery of Learning 1 B01 Samuel A. Chambers Samuel A. Chambers 40 00za53h95 Johns Hopkins University 01 eng 03 00 Are we all capitalists? To claim that we are does not require any presumptions about personal belief systems or commitments to particular theories of political economy. We might say that we are all capitalists because we all live in social formations bound up with, connected to, and structured by the logic of capitalism (Chambers 2014). We have no choice, then, but to be capitalists; our choice is only to be bad capitalists or good capitalists. Marx suggested this idea indirectly and (in)famously when he de-scribed individuals within a capitalist social formation as play-ing certain roles, as bearers or supports (Träger) for the larger structures that made the logic of capitalism possible (Marx 1977, 1628).1 The fictional character of Omar Little probably made the point more persuasively with his frequent references to the game: “the game is out there, and it’s either play or get played” (The Wire 1.8; see Kamola 2015, 66). But if the game is the game, if we have no choice but to play it, then how do we learn to play? How do we learn to be capitalists? 30 00 Are we all capitalists? To claim that we are does not require any presumptions about personal belief systems or commitments to particular theories of political economy. We might say that we are all capitalists because we all live in social formations bound up with, connected to, and structured by the logic of capitalism (Chambers 2014). We have no choice, then, but to be capitalists; our choice is only to be bad capitalists or good capitalists. Marx suggested this idea indirectly and (in)famously when he de-scribed individuals within a capitalist social formation as play-ing certain roles, as bearers or supports (Träger) for the larger structures that made the logic of capitalism possible (Marx 1977, 1628).1 The fictional character of Omar Little probably made the point more persuasively with his frequent references to the game: “the game is out there, and it’s either play or get played” (The Wire 1.8; see Kamola 2015, 66). But if the game is the game, if we have no choice but to play it, then how do we learn to play? How do we learn to be capitalists? 20 00 Open Access Dunne, Éamonn Seery, Aidan 6 03 06 10.21983/P3.0140.1.06 111 130 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Teaching the Event Deconstruction, Hauntology, and the Scene of Pedagogy 1 A01 John D. Caputo John D. Caputo 40 025r5qe02 Syracuse University 01 eng 03 00 Education is an event. More precisely, it is haunted by the event. All the aporias of education, all its desires and frustrations, ev-erything we love about education and everything that drives us mad, has its ground without ground not in an ontology or a methodology or a psychology of education but a hauntology. Only as a hauntology is the philosophy of education possible. That will be my hypothesis today. 30 00 Education is an event. More precisely, it is haunted by the event. All the aporias of education, all its desires and frustrations, ev-erything we love about education and everything that drives us mad, has its ground without ground not in an ontology or a methodology or a psychology of education but a hauntology. Only as a hauntology is the philosophy of education possible. That will be my hypothesis today. 20 00 Open Access Caputo, John D. 7 03 06 10.21983/P3.0140.1.07 131 155 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Intimate Schoolmaster and the Ignorant Sifu Poststructuralism, Bruce Lee, and the Ignorance of Everyday Radical Pedagogy 1 A01 21 0000000193112391 Paul Bowman Paul Bowman 40 03kk7td41 Cardiff University 01 eng 03 00 The Pedagogics of Unlearning is an unusual and awkward phrase, for an unusual or awkward formulation. To make my own sense of it I have had to translate it, expand it, and unpack it, in my own way. Inevitably, there are other ways and other transla-tions. But to me, the phrase or formulation “the pedagogics of unlearning” (as the title of this conference) seems to be asking to be translated as something like: “This conference seeks to be about how to emancipate ourselves from everything we ever thought we knew about the logics of teaching and learning.” Or, to unpack this more fully: “This conference seeks to be about (a good thing called) how to emancipate ourselves from (a deluded condition vis-à-vis) everything we ever thought we knew about (an implicitly bad or at least suspect thing or group of things, at least to the extent that we need to unlearn it or them, called) the logics of teaching and learning.” 30 00 The Pedagogics of Unlearning is an unusual and awkward phrase, for an unusual or awkward formulation. To make my own sense of it I have had to translate it, expand it, and unpack it, in my own way. Inevitably, there are other ways and other transla-tions. But to me, the phrase or formulation “the pedagogics of unlearning” (as the title of this conference) seems to be asking to be translated as something like: “This conference seeks to be about how to emancipate ourselves from everything we ever thought we knew about the logics of teaching and learning.” Or, to unpack this more fully: “This conference seeks to be about (a good thing called) how to emancipate ourselves from (a deluded condition vis-à-vis) everything we ever thought we knew about (an implicitly bad or at least suspect thing or group of things, at least to the extent that we need to unlearn it or them, called) the logics of teaching and learning.” 20 00 Open Access Bowman, Paul 8 03 06 10.21983/P3.0140.1.08 157 187 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unlearning A Duologue 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 2 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 Probably most of us would agree that, however expert we might become in this or that specialty, we are not richly educated until we have experience of a wide range of disciplines and method-ologies — a range that includes critique and creativity, analysis and immersion, learning and unlearning. To our sorrow, this conception of education is rapidly losing favor with the citizen-ry. There are, of course, pushbacks. San Francisco took to the courts to defend the nature of its City College’s (CCSF) course offerings from the so-called “student success” movement, which preaches efficiency and “progress to the degree.” The Accredit-ing Commission for Community and Junior Colleges (a private concern) has tried to shut City College down, and the SF Dis-trict Attorney has successfully sued to protect it (City Attorney of San Francisco, 2016). Prior to the attack by the ACCJC, CCSF actually maintained graduation rates better than those of most community colleges in the country; the real target of the Ac-creditation Commission appears to have been the wide range of services CCSF provides for San Franciscans that do not target progress-to-the-degree as such, like the Queer Resource Center, the Women’s Resource Center and Library, English classes for recent immigrants, parenting classes for new parents, technical and clerical training, music, painting, and sound engineering. Colleges like CCSF are points of crossover between the academy and the rest of the world. They treat culture shock, give the el-derly new leases on life, and resist the ongoing enserfment of the citizenry and those who aspire to it. The “student success” movement means to impoverish sentience, not to enrich it; it’s a Thatcherite attempt to discipline and punish, and capitalists love it. But why do so many other people fall for it? 30 00 Probably most of us would agree that, however expert we might become in this or that specialty, we are not richly educated until we have experience of a wide range of disciplines and method-ologies — a range that includes critique and creativity, analysis and immersion, learning and unlearning. To our sorrow, this conception of education is rapidly losing favor with the citizen-ry. There are, of course, pushbacks. San Francisco took to the courts to defend the nature of its City College’s (CCSF) course offerings from the so-called “student success” movement, which preaches efficiency and “progress to the degree.” The Accredit-ing Commission for Community and Junior Colleges (a private concern) has tried to shut City College down, and the SF Dis-trict Attorney has successfully sued to protect it (City Attorney of San Francisco, 2016). Prior to the attack by the ACCJC, CCSF actually maintained graduation rates better than those of most community colleges in the country; the real target of the Ac-creditation Commission appears to have been the wide range of services CCSF provides for San Franciscans that do not target progress-to-the-degree as such, like the Queer Resource Center, the Women’s Resource Center and Library, English classes for recent immigrants, parenting classes for new parents, technical and clerical training, music, painting, and sound engineering. Colleges like CCSF are points of crossover between the academy and the rest of the world. They treat culture shock, give the el-derly new leases on life, and resist the ongoing enserfment of the citizenry and those who aspire to it. The “student success” movement means to impoverish sentience, not to enrich it; it’s a Thatcherite attempt to discipline and punish, and capitalists love it. But why do so many other people fall for it? 20 00 Open Access Fradenburg, L.O. Aranye Joy, Eileen A. 9 03 06 10.21983/P3.0140.1.09 189 194 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After-word(s) 1 A01 Aidan Seery Aidan Seery 40 02tyrky19 Trinity College Dublin 01 eng 03 00 The gentle but firm respect due to words eloquently spoken re-quires, I think, that we consider other forms of human activ-ity in response to the essays in this book, rather than adding too many more words. Afterwords can often take the form of weighing-up, critiquing, evaluating, comparing and contrasting what has gone before, but here this is left to others to do so, as they hopefully will, in reviews, in further citing analyses, and in conversation. 30 00 The gentle but firm respect due to words eloquently spoken re-quires, I think, that we consider other forms of human activ-ity in response to the essays in this book, rather than adding too many more words. Afterwords can often take the form of weighing-up, critiquing, evaluating, comparing and contrasting what has gone before, but here this is left to others to do so, as they hopefully will, in reviews, in further citing analyses, and in conversation. 20 00 Open Access Seery, Aidan 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-pedagogics-of-unlearning/ Earth, Milky Way 04 01 20160523 Dunne, Éamonn Seery, Aidan 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692722343 20 08 20160523 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-pedagogics-of-unlearning 20 08 20160523 02 23.00 USD WORLD urn:uuid:828e0bb2-b9c8-4d4a-960a-a25e3a519702 03 01 01 thoth-work-id urn:uuid:ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4 01 thoth-publication-id urn:uuid:828e0bb2-b9c8-4d4a-960a-a25e3a519702 06 10.21983/P3.0140.1.00 01 internal-reference 0140 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Pedagogics of Unlearning 1 B01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 2 B01 Aidan Seery Aidan Seery 40 02tyrky19 Trinity College Dublin 01 eng 00 194 03 10 EDU040000 B2 Humanities+University 93 JNA 12 JNA B2 Pedagogies 20 radical pedagogy; higher education; cultural theory; psychoanalysis; philosophy 01 06 02 00 03 00 What does it mean to unlearn? Once we have learned something, is it ever possible to unlearn that something? If something is said to have been unlearned, does that mean that it is simply forgotten or does some residual force of learning, some perverse force, also resonate in ways that might help us to rethink traditional approaches to teaching and learning? Might we say that education today is haunted by the spectre of unlearning?This book invites readers to reflect on the possibilities of knowing, reflecting, understanding, teaching and learning in ways that allow us to imagine the other side of education, the side which understands non-knowledge, ignorance, stupidity and wonder as potentially the most important learning experiences we can ever have. In a series of provocative essays by some of the world’s most renowned theorists in philosophy, psychoanalysis, cultural studies, politics and education, The Pedagogics of Unlearning challenges us to think again about what we mean when we talk about learning — about what it really means to learn — and whether the kinds of learning we imagine in our classrooms and daily lives are actually synonymous with the sort of learning we envision when we think and talk about the purpose and passage of education.If you think you know what education and learning are doing, what teaching strategies do, and what learning outcomes are, then this book asks you to think again, to unlearn what you have learned, to learn to unlearn 30 00 What does it mean to unlearn? Once we have learned something, is it ever possible to unlearn that something? If something is said to have been unlearned, does that mean that it is simply forgotten or does some residual force of learning, some perverse force, also resonate in ways that might help us to rethink traditional approaches to teaching and learning? Might we say that education today is haunted by the spectre of unlearning?This book invites readers to reflect on the possibilities of knowing, reflecting, understanding, teaching and learning in ways that allow us to imagine the other side of education, the side which understands non-knowledge, ignorance, stupidity and wonder as potentially the most important learning experiences we can ever have. In a series of provocative essays by some of the world’s most renowned theorists in philosophy, psychoanalysis, cultural studies, politics and education, The Pedagogics of Unlearning challenges us to think again about what we mean when we talk about learning — about what it really means to learn — and whether the kinds of learning we imagine in our classrooms and daily lives are actually synonymous with the sort of learning we envision when we think and talk about the purpose and passage of education.If you think you know what education and learning are doing, what teaching strategies do, and what learning outcomes are, then this book asks you to think again, to unlearn what you have learned, to learn to unlearn 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0140.1.00_frontcover.png 1 03 06 10.21983/P3.0140.1.01 i xii 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 2 B01 Aidan Seery Aidan Seery 40 02tyrky19 Trinity College Dublin 01 eng 20 00 Open Access Dunne, Éamonn Seery, Aidan 2 03 06 10.21983/P3.0140.1.02 13 24 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning to Unlearn 1 A01 Éamonn Dunne Éamonn Dunne 40 02tyrky19 Trinity College Dublin 01 eng 03 00 Since this is a book concerning a certain “pedagogics of un-learning,” there is no real reason why I should approach my task of introducing a collection of essays on that topic in anything like a conventional manner. If I was to be really responsible to the call of this question — the question of what unlearning es-sentially means — I would also have to be (however impossibly) wholly irresponsible. I would have to invent it anew. I would have to invent a concept of unlearning that holds true for each of the following essays. This is impossible, since each essay ap-proaches this question singularly, uniquely, and with its own eye towards the range and scope of education. 30 00 Since this is a book concerning a certain “pedagogics of un-learning,” there is no real reason why I should approach my task of introducing a collection of essays on that topic in anything like a conventional manner. If I was to be really responsible to the call of this question — the question of what unlearning es-sentially means — I would also have to be (however impossibly) wholly irresponsible. I would have to invent it anew. I would have to invent a concept of unlearning that holds true for each of the following essays. This is impossible, since each essay ap-proaches this question singularly, uniquely, and with its own eye towards the range and scope of education. 20 00 Open Access Dunne, Éamonn 3 03 06 10.21983/P3.0140.1.03 25 46 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Un-What? 1 A01 Jacques Rancière Jacques Rancière 40 04g3mbv81 European Graduate School 40 04wez5e68 Paris 8 University 01 eng 03 00 Pedagogics of Unlearning: the title of this conference obviously echoes a notion and a figure that I had set up in my own way when I published a book entitled The Ignorant Schoolmaster with the subtitle Five Lessons in Intellectual Emancipation (Ran-cière 1991). Both titles entail the idea of a specific form of learn-ing, which is a negative one: learning how to unlearn, teaching as an ignorant, learning the emancipatory virtue of ignorance. This idea raises two interrelated problems: firstly, how are we to understand the type of negativity at work in this “unlearning” or this “ignorance”? Secondly, what is the exact target of this nega-tive action? What is the positivity that is under attack? In other terms, what is at stake in matters of learning? 30 00 Pedagogics of Unlearning: the title of this conference obviously echoes a notion and a figure that I had set up in my own way when I published a book entitled The Ignorant Schoolmaster with the subtitle Five Lessons in Intellectual Emancipation (Ran-cière 1991). Both titles entail the idea of a specific form of learn-ing, which is a negative one: learning how to unlearn, teaching as an ignorant, learning the emancipatory virtue of ignorance. This idea raises two interrelated problems: firstly, how are we to understand the type of negativity at work in this “unlearning” or this “ignorance”? Secondly, what is the exact target of this nega-tive action? What is the positivity that is under attack? In other terms, what is at stake in matters of learning? 20 00 Open Access Rancière, Jacques 4 03 06 10.21983/P3.0140.1.04 47 71 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Phantasies of the Writing Block A Psychoanalytic Contribution to Pernicious Unlearning 1 A01 Deborah Britzman Deborah Britzman 40 05fq50484 York University 01 eng 03 00 By way of background, the notion of “unlearning” has a strong history of critique in the field of public education, first tied to Kantian Enlightenment with the overturning of self-induced forms of immaturity, and then the failure of Enlightenment. The movement here has been from the desire for knowledge to not wanting knowledge at all. Contemporary discussions on the complex of unlearning emerge from post-war thought: for example, within Adorno’s essay “Education after Auschwitz,” and within the postcolonial theory of Fanon’s Black Skin, White Masks and Freire’s Pedagogy of the Oppressed, and also femi-nist pedagogy’s consciousness-raising procedures and queer pedagogy’s deconstruction of normalcy. By the early 1970s, “un-learning racism, sexism, and homophobia” became a structural feature of curriculum in university classrooms. With critical pedagogy, the turn was to ideological critique and knowledge of the mechanisms of social inequality, thereby inciting a pro-liferation of pedagogical orientations for liberation. Problems ensued, however, with the question of pedagogy and, with the emphasis on reading and writing, literary theorists such as Shoshanna Felman, Barbara Johnson, and Eve Kosofsky Sedg-wick rewrote the question of learning with Lacanian, Kleinian, and Freudian theories that considered the status of the uncon-scious and symptoms of learning and not learning. It is here that knowledge and ignorance became a fraught couple. I considered many of these uneven developments — the foremost is with the mismatch between teaching and learning — in my earlier book, Novel Education: Psychoanalytic Studies of Learning and not Learning (New York: Peter Lang Press, 2006). 30 00 By way of background, the notion of “unlearning” has a strong history of critique in the field of public education, first tied to Kantian Enlightenment with the overturning of self-induced forms of immaturity, and then the failure of Enlightenment. The movement here has been from the desire for knowledge to not wanting knowledge at all. Contemporary discussions on the complex of unlearning emerge from post-war thought: for example, within Adorno’s essay “Education after Auschwitz,” and within the postcolonial theory of Fanon’s Black Skin, White Masks and Freire’s Pedagogy of the Oppressed, and also femi-nist pedagogy’s consciousness-raising procedures and queer pedagogy’s deconstruction of normalcy. By the early 1970s, “un-learning racism, sexism, and homophobia” became a structural feature of curriculum in university classrooms. With critical pedagogy, the turn was to ideological critique and knowledge of the mechanisms of social inequality, thereby inciting a pro-liferation of pedagogical orientations for liberation. Problems ensued, however, with the question of pedagogy and, with the emphasis on reading and writing, literary theorists such as Shoshanna Felman, Barbara Johnson, and Eve Kosofsky Sedg-wick rewrote the question of learning with Lacanian, Kleinian, and Freudian theories that considered the status of the uncon-scious and symptoms of learning and not learning. It is here that knowledge and ignorance became a fraught couple. I considered many of these uneven developments — the foremost is with the mismatch between teaching and learning — in my earlier book, Novel Education: Psychoanalytic Studies of Learning and not Learning (New York: Peter Lang Press, 2006). 20 00 Open Access Britzman, Deborah 5 03 06 10.21983/P3.0140.1.05 73 109 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Learning How to Be Capitalist From Neoliberal Pedagogy to the Mystery of Learning 1 B01 Samuel A. Chambers Samuel A. Chambers 40 00za53h95 Johns Hopkins University 01 eng 03 00 Are we all capitalists? To claim that we are does not require any presumptions about personal belief systems or commitments to particular theories of political economy. We might say that we are all capitalists because we all live in social formations bound up with, connected to, and structured by the logic of capitalism (Chambers 2014). We have no choice, then, but to be capitalists; our choice is only to be bad capitalists or good capitalists. Marx suggested this idea indirectly and (in)famously when he de-scribed individuals within a capitalist social formation as play-ing certain roles, as bearers or supports (Träger) for the larger structures that made the logic of capitalism possible (Marx 1977, 1628).1 The fictional character of Omar Little probably made the point more persuasively with his frequent references to the game: “the game is out there, and it’s either play or get played” (The Wire 1.8; see Kamola 2015, 66). But if the game is the game, if we have no choice but to play it, then how do we learn to play? How do we learn to be capitalists? 30 00 Are we all capitalists? To claim that we are does not require any presumptions about personal belief systems or commitments to particular theories of political economy. We might say that we are all capitalists because we all live in social formations bound up with, connected to, and structured by the logic of capitalism (Chambers 2014). We have no choice, then, but to be capitalists; our choice is only to be bad capitalists or good capitalists. Marx suggested this idea indirectly and (in)famously when he de-scribed individuals within a capitalist social formation as play-ing certain roles, as bearers or supports (Träger) for the larger structures that made the logic of capitalism possible (Marx 1977, 1628).1 The fictional character of Omar Little probably made the point more persuasively with his frequent references to the game: “the game is out there, and it’s either play or get played” (The Wire 1.8; see Kamola 2015, 66). But if the game is the game, if we have no choice but to play it, then how do we learn to play? How do we learn to be capitalists? 20 00 Open Access Dunne, Éamonn Seery, Aidan 6 03 06 10.21983/P3.0140.1.06 111 130 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Teaching the Event Deconstruction, Hauntology, and the Scene of Pedagogy 1 A01 John D. Caputo John D. Caputo 40 025r5qe02 Syracuse University 01 eng 03 00 Education is an event. More precisely, it is haunted by the event. All the aporias of education, all its desires and frustrations, ev-erything we love about education and everything that drives us mad, has its ground without ground not in an ontology or a methodology or a psychology of education but a hauntology. Only as a hauntology is the philosophy of education possible. That will be my hypothesis today. 30 00 Education is an event. More precisely, it is haunted by the event. All the aporias of education, all its desires and frustrations, ev-erything we love about education and everything that drives us mad, has its ground without ground not in an ontology or a methodology or a psychology of education but a hauntology. Only as a hauntology is the philosophy of education possible. That will be my hypothesis today. 20 00 Open Access Caputo, John D. 7 03 06 10.21983/P3.0140.1.07 131 155 25 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Intimate Schoolmaster and the Ignorant Sifu Poststructuralism, Bruce Lee, and the Ignorance of Everyday Radical Pedagogy 1 A01 21 0000000193112391 Paul Bowman Paul Bowman 40 03kk7td41 Cardiff University 01 eng 03 00 The Pedagogics of Unlearning is an unusual and awkward phrase, for an unusual or awkward formulation. To make my own sense of it I have had to translate it, expand it, and unpack it, in my own way. Inevitably, there are other ways and other transla-tions. But to me, the phrase or formulation “the pedagogics of unlearning” (as the title of this conference) seems to be asking to be translated as something like: “This conference seeks to be about how to emancipate ourselves from everything we ever thought we knew about the logics of teaching and learning.” Or, to unpack this more fully: “This conference seeks to be about (a good thing called) how to emancipate ourselves from (a deluded condition vis-à-vis) everything we ever thought we knew about (an implicitly bad or at least suspect thing or group of things, at least to the extent that we need to unlearn it or them, called) the logics of teaching and learning.” 30 00 The Pedagogics of Unlearning is an unusual and awkward phrase, for an unusual or awkward formulation. To make my own sense of it I have had to translate it, expand it, and unpack it, in my own way. Inevitably, there are other ways and other transla-tions. But to me, the phrase or formulation “the pedagogics of unlearning” (as the title of this conference) seems to be asking to be translated as something like: “This conference seeks to be about how to emancipate ourselves from everything we ever thought we knew about the logics of teaching and learning.” Or, to unpack this more fully: “This conference seeks to be about (a good thing called) how to emancipate ourselves from (a deluded condition vis-à-vis) everything we ever thought we knew about (an implicitly bad or at least suspect thing or group of things, at least to the extent that we need to unlearn it or them, called) the logics of teaching and learning.” 20 00 Open Access Bowman, Paul 8 03 06 10.21983/P3.0140.1.08 157 187 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unlearning A Duologue 1 A01 L.O. Aranye Fradenburg L.O. Aranye Fradenburg 40 02t274463 University of California, Santa Barbara 2 A01 21 0000000253093189 Eileen A. Joy Eileen A. Joy 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 03 00 Probably most of us would agree that, however expert we might become in this or that specialty, we are not richly educated until we have experience of a wide range of disciplines and method-ologies — a range that includes critique and creativity, analysis and immersion, learning and unlearning. To our sorrow, this conception of education is rapidly losing favor with the citizen-ry. There are, of course, pushbacks. San Francisco took to the courts to defend the nature of its City College’s (CCSF) course offerings from the so-called “student success” movement, which preaches efficiency and “progress to the degree.” The Accredit-ing Commission for Community and Junior Colleges (a private concern) has tried to shut City College down, and the SF Dis-trict Attorney has successfully sued to protect it (City Attorney of San Francisco, 2016). Prior to the attack by the ACCJC, CCSF actually maintained graduation rates better than those of most community colleges in the country; the real target of the Ac-creditation Commission appears to have been the wide range of services CCSF provides for San Franciscans that do not target progress-to-the-degree as such, like the Queer Resource Center, the Women’s Resource Center and Library, English classes for recent immigrants, parenting classes for new parents, technical and clerical training, music, painting, and sound engineering. Colleges like CCSF are points of crossover between the academy and the rest of the world. They treat culture shock, give the el-derly new leases on life, and resist the ongoing enserfment of the citizenry and those who aspire to it. The “student success” movement means to impoverish sentience, not to enrich it; it’s a Thatcherite attempt to discipline and punish, and capitalists love it. But why do so many other people fall for it? 30 00 Probably most of us would agree that, however expert we might become in this or that specialty, we are not richly educated until we have experience of a wide range of disciplines and method-ologies — a range that includes critique and creativity, analysis and immersion, learning and unlearning. To our sorrow, this conception of education is rapidly losing favor with the citizen-ry. There are, of course, pushbacks. San Francisco took to the courts to defend the nature of its City College’s (CCSF) course offerings from the so-called “student success” movement, which preaches efficiency and “progress to the degree.” The Accredit-ing Commission for Community and Junior Colleges (a private concern) has tried to shut City College down, and the SF Dis-trict Attorney has successfully sued to protect it (City Attorney of San Francisco, 2016). Prior to the attack by the ACCJC, CCSF actually maintained graduation rates better than those of most community colleges in the country; the real target of the Ac-creditation Commission appears to have been the wide range of services CCSF provides for San Franciscans that do not target progress-to-the-degree as such, like the Queer Resource Center, the Women’s Resource Center and Library, English classes for recent immigrants, parenting classes for new parents, technical and clerical training, music, painting, and sound engineering. Colleges like CCSF are points of crossover between the academy and the rest of the world. They treat culture shock, give the el-derly new leases on life, and resist the ongoing enserfment of the citizenry and those who aspire to it. The “student success” movement means to impoverish sentience, not to enrich it; it’s a Thatcherite attempt to discipline and punish, and capitalists love it. But why do so many other people fall for it? 20 00 Open Access Fradenburg, L.O. Aranye Joy, Eileen A. 9 03 06 10.21983/P3.0140.1.09 189 194 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 After-word(s) 1 A01 Aidan Seery Aidan Seery 40 02tyrky19 Trinity College Dublin 01 eng 03 00 The gentle but firm respect due to words eloquently spoken re-quires, I think, that we consider other forms of human activ-ity in response to the essays in this book, rather than adding too many more words. Afterwords can often take the form of weighing-up, critiquing, evaluating, comparing and contrasting what has gone before, but here this is left to others to do so, as they hopefully will, in reviews, in further citing analyses, and in conversation. 30 00 The gentle but firm respect due to words eloquently spoken re-quires, I think, that we consider other forms of human activ-ity in response to the essays in this book, rather than adding too many more words. Afterwords can often take the form of weighing-up, critiquing, evaluating, comparing and contrasting what has gone before, but here this is left to others to do so, as they hopefully will, in reviews, in further citing analyses, and in conversation. 20 00 Open Access Seery, Aidan 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-pedagogics-of-unlearning/ Earth, Milky Way 04 01 20160523 Dunne, Éamonn Seery, Aidan 02 WORLD 06 15 9780692722343 03 9780692722343 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/75668 20 08 20160523 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25485 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25485/1004610.pdf?sequence=1&isAllowed=y 20 08 20160523 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30148 20 08 20160523 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353822 20 08 20160523 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/524 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/143fac71-202b-4dd8-87b7-ed35440ad683/download 20 08 20160523 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Pedagogics_of_Unlearning/NASVEAAAQBAJ 20 08 20160523 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4/ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4.pdf 20 08 20160523 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846571 29 ZENODO: download the title https://zenodo.org/records/19846571/files/ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4_book.pdf 20 08 20160523 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-pedagogics-of-unlearning/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0140.1.00.pdf 20 08 20160523 01 urn:uuid:08830055-959f-44c1-a2c2-33f68d3040fe 03 01 01 thoth-work-id urn:uuid:29bae81a-80ad-470d-926a-c02ceef170dc 01 thoth-publication-id urn:uuid:08830055-959f-44c1-a2c2-33f68d3040fe 15 9780615870861 03 9780615870861 06 10.21983/P3.0047.1.00 01 internal-reference 0047 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Penetrated Male 1 A01 Jonathan Kemp Jonathan Kemp 40 02mb95055 Birkbeck, University of London 01 eng 00 250 03 93 DSB 12 JFSK 10 LIT004160 B2 Literary Studies 93 JBSJ B2 Sex 93 5PSG B2 TransQueer 20 masculinity; queer theory; gender studies; sexuality; gay life 01 06 02 00 03 00 Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber’s Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies. 30 00 Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber’s Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0047.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-penetrated-male/ Brooklyn, NY 04 01 20130912 Kemp, Jonathan 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-penetrated-male 20 08 20130912 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615870864 20 08 20130912 02 24.00 USD WORLD urn:uuid:67f3c37f-83b4-41e3-b620-f89080b75607 03 01 01 thoth-work-id urn:uuid:29bae81a-80ad-470d-926a-c02ceef170dc 01 thoth-publication-id urn:uuid:67f3c37f-83b4-41e3-b620-f89080b75607 06 10.21983/P3.0047.1.00 01 internal-reference 0047 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Penetrated Male 1 A01 Jonathan Kemp Jonathan Kemp 40 02mb95055 Birkbeck, University of London 01 eng 00 250 03 93 DSB 12 JFSK 10 LIT004160 B2 Literary Studies 93 JBSJ B2 Sex 93 5PSG B2 TransQueer 20 masculinity; queer theory; gender studies; sexuality; gay life 01 06 02 00 03 00 Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber’s Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies. 30 00 Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber’s Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0047.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-penetrated-male/ Brooklyn, NY 04 01 20130912 Kemp, Jonathan 02 WORLD 06 15 9780615870861 03 9780615870861 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76451 20 08 20130912 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25570 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25570/1004525.pdf?sequence=1&isAllowed=y 20 08 20130912 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37934 20 08 20130912 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1r787cg 20 08 20130912 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/428 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a88a96b1-33db-49b7-8359-4cc95f0f80b2/download 20 08 20130912 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/29bae81a-80ad-470d-926a-c02ceef170dc 29 INTERNET_ARCHIVE: download the title https://archive.org/download/29bae81a-80ad-470d-926a-c02ceef170dc/29bae81a-80ad-470d-926a-c02ceef170dc.pdf 20 08 20130912 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845789 29 ZENODO: download the title https://zenodo.org/records/19845789/files/29bae81a-80ad-470d-926a-c02ceef170dc_book.pdf 20 08 20130912 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-penetrated-male/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0047.1.00.pdf 20 08 20130912 01 urn:uuid:0bfbb0af-629f-4843-8bd0-23f83b77f4b2 03 01 01 thoth-work-id urn:uuid:571255b8-5bf5-4fe1-a201-5bc7aded7f9d 01 thoth-publication-id urn:uuid:0bfbb0af-629f-4843-8bd0-23f83b77f4b2 15 9781950192137 03 9781950192137 06 10.21983/P3.0245.1.00 13 2019932679 01 internal-reference 0245 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Perfect Mango 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 00 156 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC B2 Thought Experiments 93 VFJQ3 20 memoir; sexual abuse; trauma; violence; embodiement; creative non-fiction; neurodiversity 01 06 02 00 03 00 In 1994, at the age of twenty-five, when the “terrible brokenness that comes with sexual assault” was folded deep within her body and thoughts of suicide were always close by, Erin Manning wrote The Perfect Mango at an almost feverish pitch: nineteen chapters in nineteen days, a sort of self-rescue operation, where writing became a form of making (and feeling) life otherwise. Throughout those nineteen days, and although not able to fully articulate it to herself at the time, Manning wrote her way into a “composition that asks how else life might be lived.” And in the rhythms of that composition, which was also a living, Manning was, and is, able to refuse the category and norm and stillness of “victim” (while still understanding the inheritances of violence) in order to follow instead the more-than-I as well as the joy of the “more-than of experience in the making.”Twenty-five years later, Manning allows these earlier writings to find their way back into the world, which is also a way of giving “voice to those moments of messy survival” while also asking us, who share in (and help to bear) those moments as readers, to consider “other ways of listening to the urgency that is living.” To (re)publish the book now is to give it a place in the world in a way that honors its force as something that is always beyond anyone’s claim to it, even Manning’s. In this sense, The Perfect Mango invites us, with Manning, to be in excess of ourselves, and also to consider, in Manning’s words, “how to create conditions for living beyond humanism’s fierce belief that we, the privileged, the neurotypicals, the as-yet-unscathed, the able-bodied, hold the key to all perspectives in the theatre of living.” Ultimately, The Perfect Mango and Manning’s reflections on its composition ask us to consider living “in the fierce celebration of a world invented by those modes of life which tear at the colonial, white, neurotypical fabric of life as we know it.” 30 00 In 1994, at the age of twenty-five, when the “terrible brokenness that comes with sexual assault” was folded deep within her body and thoughts of suicide were always close by, Erin Manning wrote The Perfect Mango at an almost feverish pitch: nineteen chapters in nineteen days, a sort of self-rescue operation, where writing became a form of making (and feeling) life otherwise. Throughout those nineteen days, and although not able to fully articulate it to herself at the time, Manning wrote her way into a “composition that asks how else life might be lived.” And in the rhythms of that composition, which was also a living, Manning was, and is, able to refuse the category and norm and stillness of “victim” (while still understanding the inheritances of violence) in order to follow instead the more-than-I as well as the joy of the “more-than of experience in the making.”Twenty-five years later, Manning allows these earlier writings to find their way back into the world, which is also a way of giving “voice to those moments of messy survival” while also asking us, who share in (and help to bear) those moments as readers, to consider “other ways of listening to the urgency that is living.” To (re)publish the book now is to give it a place in the world in a way that honors its force as something that is always beyond anyone’s claim to it, even Manning’s. In this sense, The Perfect Mango invites us, with Manning, to be in excess of ourselves, and also to consider, in Manning’s words, “how to create conditions for living beyond humanism’s fierce belief that we, the privileged, the neurotypicals, the as-yet-unscathed, the able-bodied, hold the key to all perspectives in the theatre of living.” Ultimately, The Perfect Mango and Manning’s reflections on its composition ask us to consider living “in the fierce celebration of a world invented by those modes of life which tear at the colonial, white, neurotypical fabric of life as we know it.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0245.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-perfect-mango/ Earth, Milky Way 04 01 20190220 Manning, Erin 02 WORLD 49 06 10.21983/P3.0270.1.00 06 15 9781950192144 03 9781950192144 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/195019213X 20 08 20190220 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-perfect-mango 20 08 20190220 02 22.00 USD WORLD urn:uuid:e557e532-1126-420b-8bab-6bfee3708a25 03 01 01 thoth-work-id urn:uuid:571255b8-5bf5-4fe1-a201-5bc7aded7f9d 01 thoth-publication-id urn:uuid:e557e532-1126-420b-8bab-6bfee3708a25 15 9781950192144 03 9781950192144 06 10.21983/P3.0245.1.00 13 2019932679 01 internal-reference 0245 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Perfect Mango 1 A01 Erin Manning Erin Manning 40 0420zvk78 Concordia University 01 eng 00 156 03 B2 Autotheory 10 BIO026000 12 BM 93 DNC B2 Thought Experiments 93 VFJQ3 20 memoir; sexual abuse; trauma; violence; embodiement; creative non-fiction; neurodiversity 01 06 02 00 03 00 In 1994, at the age of twenty-five, when the “terrible brokenness that comes with sexual assault” was folded deep within her body and thoughts of suicide were always close by, Erin Manning wrote The Perfect Mango at an almost feverish pitch: nineteen chapters in nineteen days, a sort of self-rescue operation, where writing became a form of making (and feeling) life otherwise. Throughout those nineteen days, and although not able to fully articulate it to herself at the time, Manning wrote her way into a “composition that asks how else life might be lived.” And in the rhythms of that composition, which was also a living, Manning was, and is, able to refuse the category and norm and stillness of “victim” (while still understanding the inheritances of violence) in order to follow instead the more-than-I as well as the joy of the “more-than of experience in the making.”Twenty-five years later, Manning allows these earlier writings to find their way back into the world, which is also a way of giving “voice to those moments of messy survival” while also asking us, who share in (and help to bear) those moments as readers, to consider “other ways of listening to the urgency that is living.” To (re)publish the book now is to give it a place in the world in a way that honors its force as something that is always beyond anyone’s claim to it, even Manning’s. In this sense, The Perfect Mango invites us, with Manning, to be in excess of ourselves, and also to consider, in Manning’s words, “how to create conditions for living beyond humanism’s fierce belief that we, the privileged, the neurotypicals, the as-yet-unscathed, the able-bodied, hold the key to all perspectives in the theatre of living.” Ultimately, The Perfect Mango and Manning’s reflections on its composition ask us to consider living “in the fierce celebration of a world invented by those modes of life which tear at the colonial, white, neurotypical fabric of life as we know it.” 30 00 In 1994, at the age of twenty-five, when the “terrible brokenness that comes with sexual assault” was folded deep within her body and thoughts of suicide were always close by, Erin Manning wrote The Perfect Mango at an almost feverish pitch: nineteen chapters in nineteen days, a sort of self-rescue operation, where writing became a form of making (and feeling) life otherwise. Throughout those nineteen days, and although not able to fully articulate it to herself at the time, Manning wrote her way into a “composition that asks how else life might be lived.” And in the rhythms of that composition, which was also a living, Manning was, and is, able to refuse the category and norm and stillness of “victim” (while still understanding the inheritances of violence) in order to follow instead the more-than-I as well as the joy of the “more-than of experience in the making.”Twenty-five years later, Manning allows these earlier writings to find their way back into the world, which is also a way of giving “voice to those moments of messy survival” while also asking us, who share in (and help to bear) those moments as readers, to consider “other ways of listening to the urgency that is living.” To (re)publish the book now is to give it a place in the world in a way that honors its force as something that is always beyond anyone’s claim to it, even Manning’s. In this sense, The Perfect Mango invites us, with Manning, to be in excess of ourselves, and also to consider, in Manning’s words, “how to create conditions for living beyond humanism’s fierce belief that we, the privileged, the neurotypicals, the as-yet-unscathed, the able-bodied, hold the key to all perspectives in the theatre of living.” Ultimately, The Perfect Mango and Manning’s reflections on its composition ask us to consider living “in the fierce celebration of a world invented by those modes of life which tear at the colonial, white, neurotypical fabric of life as we know it.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0245.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/3ecologies-books/ 3Ecologies Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-perfect-mango/ Earth, Milky Way 04 01 20190220 Manning, Erin 02 WORLD 49 06 10.21983/P3.0270.1.00 06 15 9781950192137 03 9781950192137 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25386 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25386/1004709.pdf?sequence=1&isAllowed=y 20 08 20190220 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27999 20 08 20190220 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353982 20 08 20190220 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/606 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/7a2dd7be-9954-4ded-845f-adaf3b58c21e/download 20 08 20190220 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/The_Perfect_Mango/P5-oEAAAQBAJ 20 08 20190220 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/571255b8-5bf5-4fe1-a201-5bc7aded7f9d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/571255b8-5bf5-4fe1-a201-5bc7aded7f9d/571255b8-5bf5-4fe1-a201-5bc7aded7f9d.pdf 20 08 20190220 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847647 29 ZENODO: download the title https://zenodo.org/records/19847647/files/571255b8-5bf5-4fe1-a201-5bc7aded7f9d_book.pdf 20 08 20190220 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-perfect-mango/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0245.1.00.pdf 20 08 20190220 01 urn:uuid:1e0b15b6-3435-4ba3-97c1-862abff94460 03 01 01 thoth-work-id urn:uuid:49ebcb4a-928f-4d83-9596-b296dfce0b20 01 thoth-publication-id urn:uuid:1e0b15b6-3435-4ba3-97c1-862abff94460 15 9780615965963 03 9780615965963 06 10.21983/P3.0062.1.00 01 internal-reference 0062 00 BC 10 01 297 mm 01 29.7 cm 01 11.69 in 02 152 mm 02 15.2 cm 02 5.98 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Petroleum Manga A Project by Marina Zurkow 1 B01 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 3 A12 Marina Zurkow Marina Zurkow 01 eng 00 172 03 12 AKLB B2 Anthropocene 10 CGN004050 93 XQA B2 Art+Aesthetics 93 THFP B2 Thought Experiments 20 illustration; petroleum; manga; poetry; ecology; philosophy; nature 01 06 02 00 03 00 The Petroleum Manga, first conceived of and rendered as 10-foot banners printed on Tyvek for gallery installation is now reproduced in book form.Originally, manga was used in Japanese to refer to whimsical drawings or picture books. Long before manga was a multi-billion-dollar-a-year comic book industry, there was Hokusai’s thirteen-volume manga, depicting everything from trees to demons, from squirrels to shingles. This was the work that inspired the form for Marina Zurkow’s own crazy amalgam depicting a taxonomy of products derived from petroleum. 30 00 The Petroleum Manga, first conceived of and rendered as 10-foot banners printed on Tyvek for gallery installation is now reproduced in book form.Originally, manga was used in Japanese to refer to whimsical drawings or picture books. Long before manga was a multi-billion-dollar-a-year comic book industry, there was Hokusai’s thirteen-volume manga, depicting everything from trees to demons, from squirrels to shingles. This was the work that inspired the form for Marina Zurkow’s own crazy amalgam depicting a taxonomy of products derived from petroleum. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0062.1.00_frontcover.png 1 03 06 10.21983/P3.0062.1.01 i viii 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 A12 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 2 A12 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0062.1.02 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Forward 1 A01 Duncan Murrell Duncan Murrell 40 00py81415 Duke University 01 eng 20 00 Open Access Duncan Murrell 3 03 06 10.21983/P3.0062.1.03 5 5 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Past Life with Wooly Mammoth 1 A01 Melissa Kwansy Melissa Kwansy 20 00 Open Access Melissa Kwansy 4 03 06 10.21983/P3.0062.1.04 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 My Jams 1 A01 Hali Felt Hali Felt 40 01an3r305 University of Pittsburgh 01 eng 20 00 Open Access Hali Felt 5 03 06 10.21983/P3.0062.1.05 10 10 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Half 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 6 03 06 10.21983/P3.0062.1.06 15 15 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Petroleum Troubador Machine 1 A01 Maureen N. McLane Maureen N. McLane 40 0190ak572 New York University 01 eng 20 00 Open Access Maureen N. McLane 7 03 06 10.21983/P3.0062.1.07 16 17 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Chicken Shit 1 A01 Matt Dube Matt Dube 40 05ktv1y25 William Woods University 01 eng 20 00 Open Access Matt Dube 8 03 06 10.21983/P3.0062.1.08 21 21 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Meth 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 9 03 06 10.21983/P3.0062.1.09 24 24 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Plastisphere 1 A01 Max Liboirin Max Liboirin 40 04haebc03 Memorial University of Newfoundland 01 eng 20 00 Open Access Max Liboirin 10 03 06 10.21983/P3.0062.1.10 26 27 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Three Scales of Plastic 1 A01 Derek Woods Derek Woods 40 008zs3103 Rice University 01 eng 20 00 Open Access Derek Woods 11 03 06 10.21983/P3.0062.1.11 31 31 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Rubber Chicken 1 A01 21 0000000200618201 Susan Squier Susan Squier 40 04p491231 Pennsylvania State University 06 Own website https://www.susanmerrillsquier.com/ 01 eng 20 00 Open Access Susan Squier 12 03 06 10.21983/P3.0062.1.12 32 33 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Floats 1 A01 Elizabeth Crane Elizabeth Crane 01 eng 20 00 Open Access Elizabeth Crane 13 03 06 10.21983/P3.0062.1.13 37 37 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Body 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 14 03 06 10.21983/P3.0062.1.14 38 38 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pacifier 1 A01 Lydia Millet Lydia Millet 01 eng 20 00 Open Access Lydia Millet 15 03 06 10.21983/P3.0062.1.15 40 40 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Heap 1 A01 Rachel Cantor Rachel Cantor 01 eng 20 00 Open Access Rachel Cantor 16 03 06 10.21983/P3.0062.1.16 49 49 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Freeze Box (Mama's Got A) 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 17 03 06 10.21983/P3.0062.1.17 52 53 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ghost World 1 A01 Una Chaudhuri Una Chaudhuri 40 0190ak572 New York University 01 eng 20 00 Open Access Una Chaudhuri 18 03 06 10.21983/P3.0062.1.18 56 56 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Watering Can, High Density-Polyethylene 1 A01 K.A. Hays K.A. Hays 40 00fc1qt65 Bucknell University 01 eng 20 00 Open Access K.A. Hays 19 03 06 10.21983/P3.0062.1.19 58 59 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Industry 1 A01 Melissa Kwansy Melissa Kwansy 01 eng 20 00 Open Access Melissa Kwansy 20 03 06 10.21983/P3.0062.1.20 62 63 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Wipe That Face Off Your Smile 1 A01 Elena Glasberg Elena Glasberg 40 0190ak572 New York University 01 eng 20 00 Open Access Elena Glasberg 21 03 06 10.21983/P3.0062.1.21 68 69 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Vast Field of Discernible Objects 1 A01 James Grinwis James Grinwis 01 eng 20 00 Open Access James Grinwis 22 03 06 10.21983/P3.0062.1.22 72 73 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Intimations of Immortality in a Petrochemical Harp 1 A01 21 0000000335995047 Joseph Campana Joseph Campana 40 008zs3103 Rice University 01 eng 20 00 Open Access Joseph Campana 23 03 06 10.21983/P3.0062.1.23 75 75 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Georgian Heat 1 A01 Nancy Hechinger Nancy Hechinger 40 0190ak572 New York University 01 eng 20 00 Open Access Nancy Hechinger 24 03 06 10.21983/P3.0062.1.24 78 79 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Parachute 1 A01 Christine Hume Christine Hume 40 02ehshm78 Eastern Michigan University 01 eng 20 00 Open Access Christine Hume 25 03 06 10.21983/P3.0062.1.25 81 81 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Plastic Flower 1 A01 Cecily Parks Cecily Parks 01 eng 20 00 Open Access Cecily Parks 26 03 06 10.21983/P3.0062.1.26 84 84 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sacrament 1 A01 Kellie Wells Kellie Wells 40 03xrrjk67 University of Alabama 01 eng 20 00 Open Access Kellie Wells 27 03 06 10.21983/P3.0062.1.27 89 89 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 After 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 28 03 06 10.21983/P3.0062.1.28 92 92 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sails, Hull, Jibs 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 29 03 06 10.21983/P3.0062.1.29 98 101 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Plexiglass Chair 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 20 00 Open Access Timothy Morton 30 03 06 10.21983/P3.0062.1.30 102 103 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "A Camera's Not Expression, It's Part of the Spectacle" 5 YouTube Videos 1 A01 Michael Mejia Michael Mejia 40 03r0ha626 University of Utah 01 eng 20 00 Open Access Michael Mejia 31 03 06 10.21983/P3.0062.1.31 108 109 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Fish That Was Not Just a Fish 1 A01 Doug Watson Doug Watson 01 eng 20 00 Open Access Doug Watson 32 03 06 10.21983/P3.0062.1.32 113 113 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Perpetual Pastoral 1 A01 Gabriel Fried Gabriel Fried 40 02ymw8z06 University of Missouri 01 eng 20 00 Open Access Gabriel Fried 33 03 06 10.21983/P3.0062.1.33 116 118 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Immortal 1 A01 Ruth Ozeki Ruth Ozeki 01 eng 20 00 Open Access Ruth Ozeki 34 03 06 10.21983/P3.0062.1.34 122 122 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 IV Bags 1 A01 Nicole Walker Nicole Walker 40 0272j5188 Northern Arizona University 01 eng 20 00 Open Access Nicole Walker 35 03 06 10.21983/P3.0062.1.35 128 129 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Story of Oil 1 A01 Abigail Simon Abigail Simon 01 eng 20 00 Open Access Abigail Simon 36 03 06 10.21983/P3.0062.1.36 132 132 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Violent Reactions Part I 1 A01 Oliver Kelhammer Oliver Kelhammer 01 eng 20 00 Open Access Oliver Kelhammer 37 03 06 10.21983/P3.0062.1.37 134 135 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Organic Life & Other Myths 1 A01 Seth Horowitz Seth Horowitz 40 05gq02987 Brown University 01 eng 20 00 Open Access Seth Horowitz 38 03 06 10.21983/P3.0062.1.38 138 139 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Violent Reactions Part 2 1 A01 Oliver Kelhammer Oliver Kelhammer 01 eng 20 00 Open Access Oliver Kelhammer 39 03 06 10.21983/P3.0062.1.39 142 143 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Plastics and Plasticity The Ugly, the Bad and the Pretty Good 1 A01 21 0000000166959589 David M. Johns David M. Johns 40 00yn2fy02 Portland State University 01 eng 20 00 Open Access David M. Johns 40 03 06 10.21983/P3.0062.1.40 146 147 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Potential A Questionnaire 1 A01 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 20 00 Open Access Valerie Vogrin 41 03 06 10.21983/P3.0062.1.41 148 148 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Taxidermy Forms 1 A01 James Grinwis James Grinwis 01 eng 20 00 Open Access James Grinwis 42 03 06 10.21983/P3.0062.1.42 151 151 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What Does Calm Say 1 A01 Melissa Kwansy Melissa Kwansy 01 eng 20 00 Open Access Melissa Kwansy 43 03 06 10.21983/P3.0062.1.43 152 155 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Petro Chemical Agentissimal A Synthetic PolymeRhythm 1 A01 Jamie "Skye" Bianco Jamie "Skye" Bianco 40 0190ak572 New York University 01 eng 20 00 Open Access Jamie "Skye" Bianco 44 03 06 10.21983/P3.0062.1.44 156 157 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Postscript Once Were, Now Are, Will Be 1 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 20 00 Open Access Marina Zurkow 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/petroleum-manga/ Brooklyn, NY 04 01 20140225 Zurkow, Marina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615965962 20 08 20140225 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-petroleum-manga-a-project-by-marina-zurkow 20 08 20140225 02 24.00 USD WORLD urn:uuid:ffecff9f-d608-4223-a81f-5b15a8a3052c 03 01 01 thoth-work-id urn:uuid:49ebcb4a-928f-4d83-9596-b296dfce0b20 01 thoth-publication-id urn:uuid:ffecff9f-d608-4223-a81f-5b15a8a3052c 06 10.21983/P3.0062.1.00 01 internal-reference 0062 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 The Petroleum Manga A Project by Marina Zurkow 1 B01 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 2 B01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 3 A12 Marina Zurkow Marina Zurkow 01 eng 00 172 03 12 AKLB B2 Anthropocene 10 CGN004050 93 XQA B2 Art+Aesthetics 93 THFP B2 Thought Experiments 20 illustration; petroleum; manga; poetry; ecology; philosophy; nature 01 06 02 00 03 00 The Petroleum Manga, first conceived of and rendered as 10-foot banners printed on Tyvek for gallery installation is now reproduced in book form.Originally, manga was used in Japanese to refer to whimsical drawings or picture books. Long before manga was a multi-billion-dollar-a-year comic book industry, there was Hokusai’s thirteen-volume manga, depicting everything from trees to demons, from squirrels to shingles. This was the work that inspired the form for Marina Zurkow’s own crazy amalgam depicting a taxonomy of products derived from petroleum. 30 00 The Petroleum Manga, first conceived of and rendered as 10-foot banners printed on Tyvek for gallery installation is now reproduced in book form.Originally, manga was used in Japanese to refer to whimsical drawings or picture books. Long before manga was a multi-billion-dollar-a-year comic book industry, there was Hokusai’s thirteen-volume manga, depicting everything from trees to demons, from squirrels to shingles. This was the work that inspired the form for Marina Zurkow’s own crazy amalgam depicting a taxonomy of products derived from petroleum. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0062.1.00_frontcover.png 1 03 06 10.21983/P3.0062.1.01 i viii 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 A12 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 2 A12 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0062.1.02 1 1 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Forward 1 A01 Duncan Murrell Duncan Murrell 40 00py81415 Duke University 01 eng 20 00 Open Access Duncan Murrell 3 03 06 10.21983/P3.0062.1.03 5 5 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Past Life with Wooly Mammoth 1 A01 Melissa Kwansy Melissa Kwansy 20 00 Open Access Melissa Kwansy 4 03 06 10.21983/P3.0062.1.04 6 7 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 My Jams 1 A01 Hali Felt Hali Felt 40 01an3r305 University of Pittsburgh 01 eng 20 00 Open Access Hali Felt 5 03 06 10.21983/P3.0062.1.05 10 10 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Half 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 6 03 06 10.21983/P3.0062.1.06 15 15 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Petroleum Troubador Machine 1 A01 Maureen N. McLane Maureen N. McLane 40 0190ak572 New York University 01 eng 20 00 Open Access Maureen N. McLane 7 03 06 10.21983/P3.0062.1.07 16 17 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Chicken Shit 1 A01 Matt Dube Matt Dube 40 05ktv1y25 William Woods University 01 eng 20 00 Open Access Matt Dube 8 03 06 10.21983/P3.0062.1.08 21 21 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Meth 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 9 03 06 10.21983/P3.0062.1.09 24 24 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Plastisphere 1 A01 Max Liboirin Max Liboirin 40 04haebc03 Memorial University of Newfoundland 01 eng 20 00 Open Access Max Liboirin 10 03 06 10.21983/P3.0062.1.10 26 27 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Three Scales of Plastic 1 A01 Derek Woods Derek Woods 40 008zs3103 Rice University 01 eng 20 00 Open Access Derek Woods 11 03 06 10.21983/P3.0062.1.11 31 31 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Rubber Chicken 1 A01 21 0000000200618201 Susan Squier Susan Squier 40 04p491231 Pennsylvania State University 06 Own website https://www.susanmerrillsquier.com/ 01 eng 20 00 Open Access Susan Squier 12 03 06 10.21983/P3.0062.1.12 32 33 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Floats 1 A01 Elizabeth Crane Elizabeth Crane 01 eng 20 00 Open Access Elizabeth Crane 13 03 06 10.21983/P3.0062.1.13 37 37 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Body 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 14 03 06 10.21983/P3.0062.1.14 38 38 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Pacifier 1 A01 Lydia Millet Lydia Millet 01 eng 20 00 Open Access Lydia Millet 15 03 06 10.21983/P3.0062.1.15 40 40 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Heap 1 A01 Rachel Cantor Rachel Cantor 01 eng 20 00 Open Access Rachel Cantor 16 03 06 10.21983/P3.0062.1.16 49 49 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Freeze Box (Mama's Got A) 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 17 03 06 10.21983/P3.0062.1.17 52 53 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Ghost World 1 A01 Una Chaudhuri Una Chaudhuri 40 0190ak572 New York University 01 eng 20 00 Open Access Una Chaudhuri 18 03 06 10.21983/P3.0062.1.18 56 56 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Watering Can, High Density-Polyethylene 1 A01 K.A. Hays K.A. Hays 40 00fc1qt65 Bucknell University 01 eng 20 00 Open Access K.A. Hays 19 03 06 10.21983/P3.0062.1.19 58 59 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Industry 1 A01 Melissa Kwansy Melissa Kwansy 01 eng 20 00 Open Access Melissa Kwansy 20 03 06 10.21983/P3.0062.1.20 62 63 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Wipe That Face Off Your Smile 1 A01 Elena Glasberg Elena Glasberg 40 0190ak572 New York University 01 eng 20 00 Open Access Elena Glasberg 21 03 06 10.21983/P3.0062.1.21 68 69 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Vast Field of Discernible Objects 1 A01 James Grinwis James Grinwis 01 eng 20 00 Open Access James Grinwis 22 03 06 10.21983/P3.0062.1.22 72 73 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Intimations of Immortality in a Petrochemical Harp 1 A01 21 0000000335995047 Joseph Campana Joseph Campana 40 008zs3103 Rice University 01 eng 20 00 Open Access Joseph Campana 23 03 06 10.21983/P3.0062.1.23 75 75 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Georgian Heat 1 A01 Nancy Hechinger Nancy Hechinger 40 0190ak572 New York University 01 eng 20 00 Open Access Nancy Hechinger 24 03 06 10.21983/P3.0062.1.24 78 79 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Parachute 1 A01 Christine Hume Christine Hume 40 02ehshm78 Eastern Michigan University 01 eng 20 00 Open Access Christine Hume 25 03 06 10.21983/P3.0062.1.25 81 81 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Plastic Flower 1 A01 Cecily Parks Cecily Parks 01 eng 20 00 Open Access Cecily Parks 26 03 06 10.21983/P3.0062.1.26 84 84 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sacrament 1 A01 Kellie Wells Kellie Wells 40 03xrrjk67 University of Alabama 01 eng 20 00 Open Access Kellie Wells 27 03 06 10.21983/P3.0062.1.27 89 89 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 After 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 28 03 06 10.21983/P3.0062.1.28 92 92 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sails, Hull, Jibs 1 A01 Lucy Corin Lucy Corin 40 05rrcem69 University of California, Davis 01 eng 20 00 Open Access Lucy Corin 29 03 06 10.21983/P3.0062.1.29 98 101 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Plexiglass Chair 1 A01 Timothy Morton Timothy Morton 40 008zs3103 Rice University 01 eng 20 00 Open Access Timothy Morton 30 03 06 10.21983/P3.0062.1.30 102 103 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 "A Camera's Not Expression, It's Part of the Spectacle" 5 YouTube Videos 1 A01 Michael Mejia Michael Mejia 40 03r0ha626 University of Utah 01 eng 20 00 Open Access Michael Mejia 31 03 06 10.21983/P3.0062.1.31 108 109 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Fish That Was Not Just a Fish 1 A01 Doug Watson Doug Watson 01 eng 20 00 Open Access Doug Watson 32 03 06 10.21983/P3.0062.1.32 113 113 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Perpetual Pastoral 1 A01 Gabriel Fried Gabriel Fried 40 02ymw8z06 University of Missouri 01 eng 20 00 Open Access Gabriel Fried 33 03 06 10.21983/P3.0062.1.33 116 118 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Immortal 1 A01 Ruth Ozeki Ruth Ozeki 01 eng 20 00 Open Access Ruth Ozeki 34 03 06 10.21983/P3.0062.1.34 122 122 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 IV Bags 1 A01 Nicole Walker Nicole Walker 40 0272j5188 Northern Arizona University 01 eng 20 00 Open Access Nicole Walker 35 03 06 10.21983/P3.0062.1.35 128 129 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The Story of Oil 1 A01 Abigail Simon Abigail Simon 01 eng 20 00 Open Access Abigail Simon 36 03 06 10.21983/P3.0062.1.36 132 132 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Violent Reactions Part I 1 A01 Oliver Kelhammer Oliver Kelhammer 01 eng 20 00 Open Access Oliver Kelhammer 37 03 06 10.21983/P3.0062.1.37 134 135 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Organic Life & Other Myths 1 A01 Seth Horowitz Seth Horowitz 40 05gq02987 Brown University 01 eng 20 00 Open Access Seth Horowitz 38 03 06 10.21983/P3.0062.1.38 138 139 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Violent Reactions Part 2 1 A01 Oliver Kelhammer Oliver Kelhammer 01 eng 20 00 Open Access Oliver Kelhammer 39 03 06 10.21983/P3.0062.1.39 142 143 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Plastics and Plasticity The Ugly, the Bad and the Pretty Good 1 A01 21 0000000166959589 David M. Johns David M. Johns 40 00yn2fy02 Portland State University 01 eng 20 00 Open Access David M. Johns 40 03 06 10.21983/P3.0062.1.40 146 147 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Potential A Questionnaire 1 A01 Valerie Vogrin Valerie Vogrin 40 04cqs5j56 Southern Illinois University Edwardsville 01 eng 20 00 Open Access Valerie Vogrin 41 03 06 10.21983/P3.0062.1.41 148 148 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Taxidermy Forms 1 A01 James Grinwis James Grinwis 01 eng 20 00 Open Access James Grinwis 42 03 06 10.21983/P3.0062.1.42 151 151 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 What Does Calm Say 1 A01 Melissa Kwansy Melissa Kwansy 01 eng 20 00 Open Access Melissa Kwansy 43 03 06 10.21983/P3.0062.1.43 152 155 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Petro Chemical Agentissimal A Synthetic PolymeRhythm 1 A01 Jamie "Skye" Bianco Jamie "Skye" Bianco 40 0190ak572 New York University 01 eng 20 00 Open Access Jamie "Skye" Bianco 44 03 06 10.21983/P3.0062.1.44 156 157 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Postscript Once Were, Now Are, Will Be 1 A01 Marina Zurkow Marina Zurkow 40 0190ak572 New York University 20 00 Open Access Marina Zurkow 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/petroleum-manga/ Brooklyn, NY 04 01 20140225 Zurkow, Marina 02 WORLD 06 15 9780615965963 03 9780615965963 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76461 20 08 20140225 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25556 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25556/1004539.pdf?sequence=1&isAllowed=y 20 08 20140225 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/30459 20 08 20140225 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353935 20 08 20140225 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/444 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c27daff6-e66a-4f7c-9301-5b3c0d452676/download 20 08 20140225 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/49ebcb4a-928f-4d83-9596-b296dfce0b20 29 INTERNET_ARCHIVE: download the title https://archive.org/download/49ebcb4a-928f-4d83-9596-b296dfce0b20/49ebcb4a-928f-4d83-9596-b296dfce0b20.pdf 20 08 20140225 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845935 29 ZENODO: download the title https://zenodo.org/records/19845935/files/49ebcb4a-928f-4d83-9596-b296dfce0b20_book.pdf 20 08 20140225 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/petroleum-manga/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0062.1.00.pdf 20 08 20140225 01 urn:uuid:1bded5c3-d2aa-430f-8ad3-3cd91106d595 03 01 01 thoth-work-id urn:uuid:e86dcf87-2e37-4634-84dc-64d058415568 01 thoth-publication-id urn:uuid:1bded5c3-d2aa-430f-8ad3-3cd91106d595 15 9781685713188 03 9781685713188 06 10.53288/0579.1.00 13 2026938971 01 internal-reference 0579 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Phonemes 1 A01 Frances Richard Frances Richard Frances Richard is the author of Gordon Matta-Clark: Physical Poetics (University of California Press, 2019), and co-author, with Jeffrey Kastner and Sina Najafi, of Odd Lots: Revisiting Gordon Matta-Clark’s “Fake Estates” (Cabinet Books, 2005); she is the editor of I Stand in My Place With My Own Day Here: Site-Specific Art at The New School (The New School/Duke University Press, 2019), and Joan Jonas is on our mind, a volume of essays on the artist (Wattis Institute, 2017). Her books of poems include Anarch. (Futurepoem, 2012), The Phonemes (Les Figues Press, 2012), and See Through (Four Way Books, 2003). She has been a member of the editorial teams at Fence and Cabinet, and is a senior editor at Places journal. She lives in Oakland. 2 A24 Ronaldo V. Wilson Ronaldo V. Wilson 2 01 eng 00 132 03 93 DCC B2 Fabulations 10 POE005010 93 DCF 10 POE024000 20 experimental poetry; phoneme; sound poetry; geology; typography; ecopoetics; visual score 01 06 02 00 03 00 In The Phonemes, Frances Richard investigates perceptually distinct units of experience, such as sounds, energy surges, and scraps of national and natural history, to create episodes of disruption and dissolution. Organized into sequences that move from seismic notation and wave-form typography to lyric encounters with meteors, snakes, glaciers, and the domestic sublime, the poems break language into its smallest expressive particles and reassemble them at the threshold where sense tips into noise. Richard’s formal vocabulary is at once scientific and devotional: geological terms collide with fragments of political speech, advertising copy, lullaby, and prayer, while visual scores of nested parentheses, dashes, and radical signs interrupt the page like oscillograph readings of an unstable signal. What emerges is a poetics of phonemic attention, an insistence that a syllable, weather event, or fault line all can carry a full emotional charge and that the task of the poem is to hold open the instant in which raw perception has not yet hardened into meaning. 30 00 In The Phonemes, Frances Richard investigates perceptually distinct units of experience, such as sounds, energy surges, and scraps of national and natural history, to create episodes of disruption and dissolution. Organized into sequences that move from seismic notation and wave-form typography to lyric encounters with meteors, snakes, glaciers, and the domestic sublime, the poems break language into its smallest expressive particles and reassemble them at the threshold where sense tips into noise. Richard’s formal vocabulary is at once scientific and devotional: geological terms collide with fragments of political speech, advertising copy, lullaby, and prayer, while visual scores of nested parentheses, dashes, and radical signs interrupt the page like oscillograph readings of an unstable signal. What emerges is a poetics of phonemic attention, an insistence that a syllable, weather event, or fault line all can carry a full emotional charge and that the task of the poem is to hold open the instant in which raw perception has not yet hardened into meaning. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/250520thephonemes-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-phonemes/ Earth, Milky Way 02 01 20260601 Frances Richard 02 WORLD 06 15 9781685713195 03 9781685713195 06 15 9781685713201 03 9781685713201 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-phonemes/ 10 08 20260601 02 17.00 USD WORLD urn:uuid:bf67e22e-acda-4f18-820c-7d3d3cf0537d 03 01 01 thoth-work-id urn:uuid:e86dcf87-2e37-4634-84dc-64d058415568 01 thoth-publication-id urn:uuid:bf67e22e-acda-4f18-820c-7d3d3cf0537d 15 9781685713195 03 9781685713195 06 10.53288/0579.1.00 13 2026938971 01 internal-reference 0579 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Phonemes 1 A01 Frances Richard Frances Richard Frances Richard is the author of Gordon Matta-Clark: Physical Poetics (University of California Press, 2019), and co-author, with Jeffrey Kastner and Sina Najafi, of Odd Lots: Revisiting Gordon Matta-Clark’s “Fake Estates” (Cabinet Books, 2005); she is the editor of I Stand in My Place With My Own Day Here: Site-Specific Art at The New School (The New School/Duke University Press, 2019), and Joan Jonas is on our mind, a volume of essays on the artist (Wattis Institute, 2017). Her books of poems include Anarch. (Futurepoem, 2012), The Phonemes (Les Figues Press, 2012), and See Through (Four Way Books, 2003). She has been a member of the editorial teams at Fence and Cabinet, and is a senior editor at Places journal. She lives in Oakland. 2 A24 Ronaldo V. Wilson Ronaldo V. Wilson 2 01 eng 00 132 03 93 DCC B2 Fabulations 10 POE005010 93 DCF 10 POE024000 20 experimental poetry; phoneme; sound poetry; geology; typography; ecopoetics; visual score 01 06 02 00 03 00 In The Phonemes, Frances Richard investigates perceptually distinct units of experience, such as sounds, energy surges, and scraps of national and natural history, to create episodes of disruption and dissolution. Organized into sequences that move from seismic notation and wave-form typography to lyric encounters with meteors, snakes, glaciers, and the domestic sublime, the poems break language into its smallest expressive particles and reassemble them at the threshold where sense tips into noise. Richard’s formal vocabulary is at once scientific and devotional: geological terms collide with fragments of political speech, advertising copy, lullaby, and prayer, while visual scores of nested parentheses, dashes, and radical signs interrupt the page like oscillograph readings of an unstable signal. What emerges is a poetics of phonemic attention, an insistence that a syllable, weather event, or fault line all can carry a full emotional charge and that the task of the poem is to hold open the instant in which raw perception has not yet hardened into meaning. 30 00 In The Phonemes, Frances Richard investigates perceptually distinct units of experience, such as sounds, energy surges, and scraps of national and natural history, to create episodes of disruption and dissolution. Organized into sequences that move from seismic notation and wave-form typography to lyric encounters with meteors, snakes, glaciers, and the domestic sublime, the poems break language into its smallest expressive particles and reassemble them at the threshold where sense tips into noise. Richard’s formal vocabulary is at once scientific and devotional: geological terms collide with fragments of political speech, advertising copy, lullaby, and prayer, while visual scores of nested parentheses, dashes, and radical signs interrupt the page like oscillograph readings of an unstable signal. What emerges is a poetics of phonemic attention, an insistence that a syllable, weather event, or fault line all can carry a full emotional charge and that the task of the poem is to hold open the instant in which raw perception has not yet hardened into meaning. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/250520thephonemes-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-phonemes/ Earth, Milky Way 02 01 20260601 Frances Richard 02 WORLD 06 15 9781685713188 03 9781685713188 06 15 9781685713201 03 9781685713201 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-phonemes/ 10 08 20260601 01 urn:uuid:138682e1-6260-4b67-97f0-d3337b6d33e3 03 01 01 thoth-work-id urn:uuid:e86dcf87-2e37-4634-84dc-64d058415568 01 thoth-publication-id urn:uuid:138682e1-6260-4b67-97f0-d3337b6d33e3 15 9781685713201 03 9781685713201 06 10.53288/0579.1.00 13 2026938971 01 internal-reference 0579 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Phonemes 1 A01 Frances Richard Frances Richard Frances Richard is the author of Gordon Matta-Clark: Physical Poetics (University of California Press, 2019), and co-author, with Jeffrey Kastner and Sina Najafi, of Odd Lots: Revisiting Gordon Matta-Clark’s “Fake Estates” (Cabinet Books, 2005); she is the editor of I Stand in My Place With My Own Day Here: Site-Specific Art at The New School (The New School/Duke University Press, 2019), and Joan Jonas is on our mind, a volume of essays on the artist (Wattis Institute, 2017). Her books of poems include Anarch. (Futurepoem, 2012), The Phonemes (Les Figues Press, 2012), and See Through (Four Way Books, 2003). She has been a member of the editorial teams at Fence and Cabinet, and is a senior editor at Places journal. She lives in Oakland. 2 A24 Ronaldo V. Wilson Ronaldo V. Wilson 2 01 eng 00 132 03 93 DCC B2 Fabulations 10 POE005010 93 DCF 10 POE024000 20 experimental poetry; phoneme; sound poetry; geology; typography; ecopoetics; visual score 01 06 02 00 03 00 In The Phonemes, Frances Richard investigates perceptually distinct units of experience, such as sounds, energy surges, and scraps of national and natural history, to create episodes of disruption and dissolution. Organized into sequences that move from seismic notation and wave-form typography to lyric encounters with meteors, snakes, glaciers, and the domestic sublime, the poems break language into its smallest expressive particles and reassemble them at the threshold where sense tips into noise. Richard’s formal vocabulary is at once scientific and devotional: geological terms collide with fragments of political speech, advertising copy, lullaby, and prayer, while visual scores of nested parentheses, dashes, and radical signs interrupt the page like oscillograph readings of an unstable signal. What emerges is a poetics of phonemic attention, an insistence that a syllable, weather event, or fault line all can carry a full emotional charge and that the task of the poem is to hold open the instant in which raw perception has not yet hardened into meaning. 30 00 In The Phonemes, Frances Richard investigates perceptually distinct units of experience, such as sounds, energy surges, and scraps of national and natural history, to create episodes of disruption and dissolution. Organized into sequences that move from seismic notation and wave-form typography to lyric encounters with meteors, snakes, glaciers, and the domestic sublime, the poems break language into its smallest expressive particles and reassemble them at the threshold where sense tips into noise. Richard’s formal vocabulary is at once scientific and devotional: geological terms collide with fragments of political speech, advertising copy, lullaby, and prayer, while visual scores of nested parentheses, dashes, and radical signs interrupt the page like oscillograph readings of an unstable signal. What emerges is a poetics of phonemic attention, an insistence that a syllable, weather event, or fault line all can carry a full emotional charge and that the task of the poem is to hold open the instant in which raw perception has not yet hardened into meaning. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/05/250520thephonemes-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-phonemes/ Earth, Milky Way 02 01 20260601 Frances Richard 02 WORLD 06 15 9781685713188 03 9781685713188 06 15 9781685713195 03 9781685713195 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/the-phonemes/ 10 08 20260601 01 urn:uuid:39681820-2966-4763-95dc-e67421e11e6a 03 01 01 thoth-work-id urn:uuid:3114a9e7-c798-4160-9667-4d152d8a2741 01 thoth-publication-id urn:uuid:39681820-2966-4763-95dc-e67421e11e6a 15 9781685712761 03 9781685712761 06 10.53288/0296.1.00 13 2025940850 01 internal-reference 0296 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 11 mm 03 1.1 cm 03 0.42 in 08 190 gr 08 6.7 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Poet as Experiencer Wallace Stevens and Nonhuman Intelligence 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 05j6fvn87 Singapore University of Technology and Design Adam Staley Groves is a poet, painter, academic teacher, and independent scholar permanently based in Singapore. His published research includes the theory of poetry, philosophy, and technology. Adam is the author of two volumes of poetry Poetry Vocare (2011) and Filial Arcade (2013). 01 eng 00 186 03 93 DSBH 10 LIT014000 B2 Literary Studies 93 1KBB 10 OCC025000 B2 Posthumanism 93 VXQB 93 DSC 20 Wallace Stevens; theory of poetry; UFO; nonhuman intelligence; literary studies; extraterrestrials 01 06 02 00 03 00 In The Poet as Experiencer: Wallace Stevens and Nonhuman Intelligence, Adam Staley Groves approaches Stevens, not merely as poet–thinker but rather as experiencer and theorist of what is today called “the phenomenon” (UFOs). Challenging both Stevens scholarship and our broader understanding of poetic consciousness, the book presents a radical appraisal of Stevens’s oeuvre as an extended, coded testimony of contact with nonhuman intelligence. Drawing from journals, uncollected poems, and landmark works such as Harmonium and The Necessary Angel, Groves argues that Stevens’s poetic evolution mirrors the psychological and spiritual trajectory of an experiencer grappling with anomalous phenomena long before cognitive frameworks for such were culturally available.From moths and owls to missing time and the ethics of the imagination, Groves reads Stevens’s work as a sustained effort to reckon with anomalous phenomena whose language has not yet come. Through careful textual analysis and historical correlation, Groves positions the poet within a lineage that includes Coleridge, Baudelaire, Kierkegaard, and Nietzsche, who are recast not only as theorists of the imagination but as precursors to a modern metaphysical crisis now resurfacing through the contemporary discourse on UFOs and UAPs (Unidentified Anomalous Phenomena). Integrating rigorous literary scholarship with insights from ufology, psychology, and metaphysical philosophy, Groves investigates Stevens’s use of abstraction, the ethics of poetic imagination, and the emergence of the “true subject” as a form of ontological rupture. In doing so, the book bridges the hermetic with the historical, and the poetic with the paranormal. 30 00 In The Poet as Experiencer: Wallace Stevens and Nonhuman Intelligence, Adam Staley Groves approaches Stevens, not merely as poet–thinker but rather as experiencer and theorist of what is today called “the phenomenon” (UFOs). Challenging both Stevens scholarship and our broader understanding of poetic consciousness, the book presents a radical appraisal of Stevens’s oeuvre as an extended, coded testimony of contact with nonhuman intelligence. Drawing from journals, uncollected poems, and landmark works such as Harmonium and The Necessary Angel, Groves argues that Stevens’s poetic evolution mirrors the psychological and spiritual trajectory of an experiencer grappling with anomalous phenomena long before cognitive frameworks for such were culturally available.From moths and owls to missing time and the ethics of the imagination, Groves reads Stevens’s work as a sustained effort to reckon with anomalous phenomena whose language has not yet come. Through careful textual analysis and historical correlation, Groves positions the poet within a lineage that includes Coleridge, Baudelaire, Kierkegaard, and Nietzsche, who are recast not only as theorists of the imagination but as precursors to a modern metaphysical crisis now resurfacing through the contemporary discourse on UFOs and UAPs (Unidentified Anomalous Phenomena). Integrating rigorous literary scholarship with insights from ufology, psychology, and metaphysical philosophy, Groves investigates Stevens’s use of abstraction, the ethics of poetic imagination, and the emergence of the “true subject” as a form of ontological rupture. In doing so, the book bridges the hermetic with the historical, and the poetic with the paranormal. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0296.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-poet-as-experiencer-wallace-stevens-and-nonhuman-intelligence/ Earth, Milky Way 04 01 20250813 Groves, Adam Staley 02 WORLD 06 15 9781685712778 03 9781685712778 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712762 20 08 20250813 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-poet-as-experiencer-wallace-stevens-and-nonhuman-intelligence-adam-staley-groves 20 08 20250813 02 23.00 USD WORLD urn:uuid:4ecf6e50-fad0-467f-8e86-a3da2b3d64bc 03 01 01 thoth-work-id urn:uuid:3114a9e7-c798-4160-9667-4d152d8a2741 01 thoth-publication-id urn:uuid:4ecf6e50-fad0-467f-8e86-a3da2b3d64bc 15 9781685712778 03 9781685712778 06 10.53288/0296.1.00 13 2025940850 01 internal-reference 0296 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Poet as Experiencer Wallace Stevens and Nonhuman Intelligence 1 A01 21 0000000218421327 Adam Staley Groves Adam Staley Groves 40 05j6fvn87 Singapore University of Technology and Design Adam Staley Groves is a poet, painter, academic teacher, and independent scholar permanently based in Singapore. His published research includes the theory of poetry, philosophy, and technology. Adam is the author of two volumes of poetry Poetry Vocare (2011) and Filial Arcade (2013). 01 eng 00 186 03 93 DSBH 10 LIT014000 B2 Literary Studies 93 1KBB 10 OCC025000 B2 Posthumanism 93 VXQB 93 DSC 20 Wallace Stevens; theory of poetry; UFO; nonhuman intelligence; literary studies; extraterrestrials 01 06 02 00 03 00 In The Poet as Experiencer: Wallace Stevens and Nonhuman Intelligence, Adam Staley Groves approaches Stevens, not merely as poet–thinker but rather as experiencer and theorist of what is today called “the phenomenon” (UFOs). Challenging both Stevens scholarship and our broader understanding of poetic consciousness, the book presents a radical appraisal of Stevens’s oeuvre as an extended, coded testimony of contact with nonhuman intelligence. Drawing from journals, uncollected poems, and landmark works such as Harmonium and The Necessary Angel, Groves argues that Stevens’s poetic evolution mirrors the psychological and spiritual trajectory of an experiencer grappling with anomalous phenomena long before cognitive frameworks for such were culturally available.From moths and owls to missing time and the ethics of the imagination, Groves reads Stevens’s work as a sustained effort to reckon with anomalous phenomena whose language has not yet come. Through careful textual analysis and historical correlation, Groves positions the poet within a lineage that includes Coleridge, Baudelaire, Kierkegaard, and Nietzsche, who are recast not only as theorists of the imagination but as precursors to a modern metaphysical crisis now resurfacing through the contemporary discourse on UFOs and UAPs (Unidentified Anomalous Phenomena). Integrating rigorous literary scholarship with insights from ufology, psychology, and metaphysical philosophy, Groves investigates Stevens’s use of abstraction, the ethics of poetic imagination, and the emergence of the “true subject” as a form of ontological rupture. In doing so, the book bridges the hermetic with the historical, and the poetic with the paranormal. 30 00 In The Poet as Experiencer: Wallace Stevens and Nonhuman Intelligence, Adam Staley Groves approaches Stevens, not merely as poet–thinker but rather as experiencer and theorist of what is today called “the phenomenon” (UFOs). Challenging both Stevens scholarship and our broader understanding of poetic consciousness, the book presents a radical appraisal of Stevens’s oeuvre as an extended, coded testimony of contact with nonhuman intelligence. Drawing from journals, uncollected poems, and landmark works such as Harmonium and The Necessary Angel, Groves argues that Stevens’s poetic evolution mirrors the psychological and spiritual trajectory of an experiencer grappling with anomalous phenomena long before cognitive frameworks for such were culturally available.From moths and owls to missing time and the ethics of the imagination, Groves reads Stevens’s work as a sustained effort to reckon with anomalous phenomena whose language has not yet come. Through careful textual analysis and historical correlation, Groves positions the poet within a lineage that includes Coleridge, Baudelaire, Kierkegaard, and Nietzsche, who are recast not only as theorists of the imagination but as precursors to a modern metaphysical crisis now resurfacing through the contemporary discourse on UFOs and UAPs (Unidentified Anomalous Phenomena). Integrating rigorous literary scholarship with insights from ufology, psychology, and metaphysical philosophy, Groves investigates Stevens’s use of abstraction, the ethics of poetic imagination, and the emergence of the “true subject” as a form of ontological rupture. In doing so, the book bridges the hermetic with the historical, and the poetic with the paranormal. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0296.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-poet-as-experiencer-wallace-stevens-and-nonhuman-intelligence/ Earth, Milky Way 04 01 20250813 Groves, Adam Staley 02 WORLD 06 15 9781685712761 03 9781685712761 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/105554 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/105554/0296.1.00.pdf?sequence=1&isAllowed=y 20 08 20250813 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/904 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b9f109a4-71a6-4fa7-9a12-155f4c75ae45/download 20 08 20250813 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/3114a9e7-c798-4160-9667-4d152d8a2741 29 INTERNET_ARCHIVE: download the title https://archive.org/download/3114a9e7-c798-4160-9667-4d152d8a2741/3114a9e7-c798-4160-9667-4d152d8a2741.pdf 20 08 20250813 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851236 29 ZENODO: download the title https://zenodo.org/records/19851236/files/3114a9e7-c798-4160-9667-4d152d8a2741_book.pdf 20 08 20250813 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-poet-as-experiencer-wallace-stevens-and-nonhuman-intelligence/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0296.1.00.pdf 20 08 20250813 01 urn:uuid:6f7b92c0-eb56-4645-85aa-c8ffa4dd2814 03 01 01 thoth-work-id urn:uuid:2adf5b44-a6ae-4877-9963-3286ed9428f7 01 thoth-publication-id urn:uuid:6f7b92c0-eb56-4645-85aa-c8ffa4dd2814 15 9781685711641 03 9781685711641 06 10.53288/0478.1.00 13 2024940111 01 internal-reference 0478 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Presence of Absence Meditations on the Unsayable in Writing 1 A01 21 0000000182203941 Katina L. Rogers Katina L. Rogers Katina Rogers is an independent scholar and the author of Putting the Humanities PhD to Work: Thriving in and beyond the Classroom (Duke University Press, 2020). She is among those who made radical career changes during the pandemic, and founded Inkcap Consulting in 2021 to help universities build more supportive and sustainable graduate programs. She has two young kids, significant racial and class privilege, and a deep frustration with higher education that is inextricably bound up with hope. She holds a PhD in Comparative Literature from the University of Colorado at Boulder. 01 eng 00 96 03 B2 Cultural Studies+Critical Theory 93 DSA 10 LIT020000 93 DSM 10 LIT006000 B2 Literary Studies 93 DSC 20 silence; trauma; literary theory; photography; archives; mourning; elegy; Anne Carson; Jacques Roubaud; Saidiya Hartman; Edmond Jabès 01 06 02 00 03 00 The Presence of Absence: Meditations on the Unsayable in Writing is about writers navigating the unspeakable through image, sound, and structure. Each chapter focuses on a specific text, exploring the ways that four writers look to visual and auditory materials and metaphors as passageways to understanding and expressing the ineffable qualities of relationships, identity, and grief. Through gorgeously slow and close readings, Rogers explores absence and excess, fragmentation and translation, and — above all — the push and pull between presence and absence, with absence carrying as much significance as presence (and sometimes more).The Presence of Absence crosses languages and disciplines, working in French and English across poetry, photography, history, and literary theory. Through investigations of Nox by Anne Carson, Quelque chose noir by Jacques Roubaud, Wayward Lives, Beautiful Experiments by Saidiya Hartman, and Le livre des questions by Edmond Jabès, Rogers explores various truths — about loss but also about knowledge, beauty, even higher education — that are difficult to articulate and yet resonate deeply with lived experience. 30 00 The Presence of Absence: Meditations on the Unsayable in Writing is about writers navigating the unspeakable through image, sound, and structure. Each chapter focuses on a specific text, exploring the ways that four writers look to visual and auditory materials and metaphors as passageways to understanding and expressing the ineffable qualities of relationships, identity, and grief. Through gorgeously slow and close readings, Rogers explores absence and excess, fragmentation and translation, and — above all — the push and pull between presence and absence, with absence carrying as much significance as presence (and sometimes more).The Presence of Absence crosses languages and disciplines, working in French and English across poetry, photography, history, and literary theory. Through investigations of Nox by Anne Carson, Quelque chose noir by Jacques Roubaud, Wayward Lives, Beautiful Experiments by Saidiya Hartman, and Le livre des questions by Edmond Jabès, Rogers explores various truths — about loss but also about knowledge, beauty, even higher education — that are difficult to articulate and yet resonate deeply with lived experience. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0478.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-presence-of-absence-meditations-on-the-unsayable-in-writing/ Earth, Milky Way 04 01 20240619 Katina L. Rogers 02 WORLD 06 15 9781685711658 03 9781685711658 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711642 20 08 20240619 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/the-presence-of-absence-meditations-on-the-unsayable-in-writing 20 08 20240619 02 21.00 USD WORLD urn:uuid:fe53cfa1-fbfc-41e4-a060-eb582a868a03 03 01 01 thoth-work-id urn:uuid:2adf5b44-a6ae-4877-9963-3286ed9428f7 01 thoth-publication-id urn:uuid:fe53cfa1-fbfc-41e4-a060-eb582a868a03 15 9781685711658 03 9781685711658 06 10.53288/0478.1.00 13 2024940111 01 internal-reference 0478 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 The Presence of Absence Meditations on the Unsayable in Writing 1 A01 21 0000000182203941 Katina L. Rogers Katina L. Rogers Katina Rogers is an independent scholar and the author of Putting the Humanities PhD to Work: Thriving in and beyond the Classroom (Duke University Press, 2020). She is among those who made radical career changes during the pandemic, and founded Inkcap Consulting in 2021 to help universities build more supportive and sustainable graduate programs. She has two young kids, significant racial and class privilege, and a deep frustration with higher education that is inextricably bound up with hope. She holds a PhD in Comparative Literature from the University of Colorado at Boulder. 01 eng 00 96 03 B2 Cultural Studies+Critical Theory 93 DSA 10 LIT020000 93 DSM 10 LIT006000 B2 Literary Studies 93 DSC 20 silence; trauma; literary theory; photography; archives; mourning; elegy; Anne Carson; Jacques Roubaud; Saidiya Hartman; Edmond Jabès 01 06 02 00 03 00 The Presence of Absence: Meditations on the Unsayable in Writing is about writers navigating the unspeakable through image, sound, and structure. Each chapter focuses on a specific text, exploring the ways that four writers look to visual and auditory materials and metaphors as passageways to understanding and expressing the ineffable qualities of relationships, identity, and grief. Through gorgeously slow and close readings, Rogers explores absence and excess, fragmentation and translation, and — above all — the push and pull between presence and absence, with absence carrying as much significance as presence (and sometimes more).The Presence of Absence crosses languages and disciplines, working in French and English across poetry, photography, history, and literary theory. Through investigations of Nox by Anne Carson, Quelque chose noir by Jacques Roubaud, Wayward Lives, Beautiful Experiments by Saidiya Hartman, and Le livre des questions by Edmond Jabès, Rogers explores various truths — about loss but also about knowledge, beauty, even higher education — that are difficult to articulate and yet resonate deeply with lived experience. 30 00 The Presence of Absence: Meditations on the Unsayable in Writing is about writers navigating the unspeakable through image, sound, and structure. Each chapter focuses on a specific text, exploring the ways that four writers look to visual and auditory materials and metaphors as passageways to understanding and expressing the ineffable qualities of relationships, identity, and grief. Through gorgeously slow and close readings, Rogers explores absence and excess, fragmentation and translation, and — above all — the push and pull between presence and absence, with absence carrying as much significance as presence (and sometimes more).The Presence of Absence crosses languages and disciplines, working in French and English across poetry, photography, history, and literary theory. Through investigations of Nox by Anne Carson, Quelque chose noir by Jacques Roubaud, Wayward Lives, Beautiful Experiments by Saidiya Hartman, and Le livre des questions by Edmond Jabès, Rogers explores various truths — about loss but also about knowledge, beauty, even higher education — that are difficult to articulate and yet resonate deeply with lived experience. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0478.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/the-presence-of-absence-meditations-on-the-unsayable-in-writing/ Earth, Milky Way 04 01 20240619 Katina L. Rogers 02 WORLD 06 15 9781685711641 03 9781685711641 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/91005 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/91005/0478.1.00.pdf?sequence=1&isAllowed=y 20 08 20240619 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/138973 20 08 20240619 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626759 20 08 20240619 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2adf5b44-a6ae-4877-9963-3286ed9428f7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2adf5b44-a6ae-4877-9963-3286ed9428f7/2adf5b44-a6ae-4877-9963-3286ed9428f7.pdf 20 08 20240619 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850380 29 ZENODO: download the title https://zenodo.org/records/19850380/files/2adf5b44-a6ae-4877-9963-3286ed9428f7_book.pdf 20 08 20240619 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/the-presence-of-absence-meditations-on-the-unsayable-in-writing/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0478.1.00.pdf 20 08 20240619 01 urn:uuid:da4117bb-7f71-4a4c-ac3a-180227f48d93 03 01 01 thoth-work-id urn:uuid:b55c95a7-ce6e-4cfb-8945-cab4e04001e5 01 thoth-publication-id urn:uuid:da4117bb-7f71-4a4c-ac3a-180227f48d93 15 9789491914089 03 9789491914089 06 10.21983/P3.0227.1.00 01 internal-reference 0227 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 To Be, or Not to Be Paraphrased 1 A01 Bardsley Rosenbridge Bardsley Rosenbridge 01 eng 00 150 03 12 DCF 93 DCF 10 FIC064000 B2 Thought Experiments 93 6NP B2 Languages+Translations 20 poetry; William Shakespeare; experimental writing 01 06 02 00 03 00 To Be, or Not to Be: Paraphrased is an expanding deconstruction of Hamlet’s famous existential question, achieved by putting the line through paraphrasing software 50 times. With each permutation, the quotation grows longer and its meaning is distorted, causing the question to question its own existence by acting as a faulty self-replicator, a nonsensical self-affirmation that destroys itself in the process of becoming. This controlled explosion of a sentence was performed by Bardsley Rosenbridge as part of his work with the Dark Meaning Research Institute, a group of parasemantic experimenters developing innovative ways to extract hidden meaning from the world around us. 30 00 To Be, or Not to Be: Paraphrased is an expanding deconstruction of Hamlet’s famous existential question, achieved by putting the line through paraphrasing software 50 times. With each permutation, the quotation grows longer and its meaning is distorted, causing the question to question its own existence by acting as a faulty self-replicator, a nonsensical self-affirmation that destroys itself in the process of becoming. This controlled explosion of a sentence was performed by Bardsley Rosenbridge as part of his work with the Dark Meaning Research Institute, a group of parasemantic experimenters developing innovative ways to extract hidden meaning from the world around us. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0227.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/to-be-or-not-to-be-paraphrased/ The Hague/Tirana 04 01 20160617 Rosenbridge, Bardsley 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2PGwmhL 20 08 20160617 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/to-be-or-not-to-be-paraphrased 20 08 20160617 02 22.00 USD WORLD urn:uuid:9ea4e226-4b0f-4c56-955f-8799301ddbd2 03 01 01 thoth-work-id urn:uuid:b55c95a7-ce6e-4cfb-8945-cab4e04001e5 01 thoth-publication-id urn:uuid:9ea4e226-4b0f-4c56-955f-8799301ddbd2 06 10.21983/P3.0227.1.00 01 internal-reference 0227 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 To Be, or Not to Be Paraphrased 1 A01 Bardsley Rosenbridge Bardsley Rosenbridge 01 eng 00 150 03 12 DCF 93 DCF 10 FIC064000 B2 Thought Experiments 93 6NP B2 Languages+Translations 20 poetry; William Shakespeare; experimental writing 01 06 02 00 03 00 To Be, or Not to Be: Paraphrased is an expanding deconstruction of Hamlet’s famous existential question, achieved by putting the line through paraphrasing software 50 times. With each permutation, the quotation grows longer and its meaning is distorted, causing the question to question its own existence by acting as a faulty self-replicator, a nonsensical self-affirmation that destroys itself in the process of becoming. This controlled explosion of a sentence was performed by Bardsley Rosenbridge as part of his work with the Dark Meaning Research Institute, a group of parasemantic experimenters developing innovative ways to extract hidden meaning from the world around us. 30 00 To Be, or Not to Be: Paraphrased is an expanding deconstruction of Hamlet’s famous existential question, achieved by putting the line through paraphrasing software 50 times. With each permutation, the quotation grows longer and its meaning is distorted, causing the question to question its own existence by acting as a faulty self-replicator, a nonsensical self-affirmation that destroys itself in the process of becoming. This controlled explosion of a sentence was performed by Bardsley Rosenbridge as part of his work with the Dark Meaning Research Institute, a group of parasemantic experimenters developing innovative ways to extract hidden meaning from the world around us. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0227.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/to-be-or-not-to-be-paraphrased/ The Hague/Tirana 04 01 20160617 Rosenbridge, Bardsley 02 WORLD 06 15 9789491914089 03 9789491914089 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25403 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25403/1004692.pdf?sequence=1&isAllowed=y 20 08 20160617 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32046 20 08 20160617 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353782 20 08 20160617 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/527 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e76bcf94-ac62-4233-b2a5-7100aaad3df3/download 20 08 20160617 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/To_Be_Or_Not_to_Be/am6oEAAAQBAJ 20 08 20160617 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b55c95a7-ce6e-4cfb-8945-cab4e04001e5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b55c95a7-ce6e-4cfb-8945-cab4e04001e5/b55c95a7-ce6e-4cfb-8945-cab4e04001e5.pdf 20 08 20160617 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846601 29 ZENODO: download the title https://zenodo.org/records/19846601/files/b55c95a7-ce6e-4cfb-8945-cab4e04001e5_book.pdf 20 08 20160617 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/to-be-or-not-to-be-paraphrased/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0227.1.00.pdf 20 08 20160617 01 urn:uuid:2fff99ab-0f8a-4532-abf0-18fbece634fd 03 01 01 thoth-work-id urn:uuid:f456bebb-2710-4140-a182-aa1d713460c7 01 thoth-publication-id urn:uuid:2fff99ab-0f8a-4532-abf0-18fbece634fd 15 9780692700839 03 9780692700839 06 10.21983/P3.0139.1.00 01 internal-reference 0139 00 BC 10 01 210 mm 01 21 cm 01 8.27 in 02 148 mm 02 14.8 cm 02 5.83 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Topie Impitoyable The Corporeal Politics of the Cloth, the Wall, and the Street / Les politiques corporelles du vêtement, du mur et la rue 1 A01 Léopold Lambert Léopold Lambert 2 B06 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 01 fre 00 170 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 JPA 93 JPWG 93 KCX 93 1FBP 20 architecture; design theory; global politics; fashion 01 06 02 00 03 00 Qu’est-ce qu’un corps? Ce livre s’attache d’avantage à se poser cette question qu’à y répondre. L’ouvrage propose de complexifier quelques lieux communs à diverses échelles de proximité de cet assemblage matériel qu’est le corps. Ceci permet d’intégrer pleinement les objets, atmosphères et autres corps environnant celui-ci afin de proposer une lecture politique de leurs relations volontaires et fortuites. Du sweatshirt à capuche porté par Trayvon Martin lorsqu’il se fit tuer dans la banlieue de Miami Gardens, Florida, aux rues new-yorkaises durant Occupy Wall Street, en passant par le mur d’apartheid en Palestine, ce livre progresse par une succession d’exemples illustrant l’hypothèse selon laquelle les corps et les objets de toutes tailles entretiennent nécessairement des rapports politiques entre eux.What is a body? This book is more attached to raising the question than in offering a definitive answer. Instead, Lambert proposes to make more complex certain commonplaces located at various degrees of proximity to the body’s material assemblage, allowing a better integration of the surrounding objects, atmosphere and other bodies and proposing a political reading of their relationship to the body, whether deliberate or accidental. From the hoodie that Trayvon Martin wore when he was killed in the suburbs of Miami Gardens, Florida, to the streets of New York City during Occupy Wall Street and the apartheid wall in Palestine, this book moves through a series of episodes that illustrate how bodies and objects of all sizes are enmeshed in deeply entangled political relationships. 30 00 Qu’est-ce qu’un corps? Ce livre s’attache d’avantage à se poser cette question qu’à y répondre. L’ouvrage propose de complexifier quelques lieux communs à diverses échelles de proximité de cet assemblage matériel qu’est le corps. Ceci permet d’intégrer pleinement les objets, atmosphères et autres corps environnant celui-ci afin de proposer une lecture politique de leurs relations volontaires et fortuites. Du sweatshirt à capuche porté par Trayvon Martin lorsqu’il se fit tuer dans la banlieue de Miami Gardens, Florida, aux rues new-yorkaises durant Occupy Wall Street, en passant par le mur d’apartheid en Palestine, ce livre progresse par une succession d’exemples illustrant l’hypothèse selon laquelle les corps et les objets de toutes tailles entretiennent nécessairement des rapports politiques entre eux.What is a body? This book is more attached to raising the question than in offering a definitive answer. Instead, Lambert proposes to make more complex certain commonplaces located at various degrees of proximity to the body’s material assemblage, allowing a better integration of the surrounding objects, atmosphere and other bodies and proposing a political reading of their relationship to the body, whether deliberate or accidental. From the hoodie that Trayvon Martin wore when he was killed in the suburbs of Miami Gardens, Florida, to the streets of New York City during Occupy Wall Street and the apartheid wall in Palestine, this book moves through a series of episodes that illustrate how bodies and objects of all sizes are enmeshed in deeply entangled political relationships. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0139.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/topie-impitoyable-the-corporeal-politics-of-the-cloth-the-wall-and-the-street/ Earth, Milky Way 04 01 20160425 Lambert, Léopold 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/topie-impitoyable-the-corporeal-politics-of-the-cloth-the-wall-and-the-street-les-politiques-corporelles-du-vatement-du-mur-et-la-rue 20 08 20160425 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692700838 20 08 20160425 02 23.00 USD WORLD urn:uuid:d9137350-9c45-4840-97a9-4c1b223a80f9 03 01 01 thoth-work-id urn:uuid:f456bebb-2710-4140-a182-aa1d713460c7 01 thoth-publication-id urn:uuid:d9137350-9c45-4840-97a9-4c1b223a80f9 06 10.21983/P3.0139.1.00 01 internal-reference 0139 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Topie Impitoyable The Corporeal Politics of the Cloth, the Wall, and the Street / Les politiques corporelles du vêtement, du mur et la rue 1 A01 Léopold Lambert Léopold Lambert 2 B06 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 01 eng 01 fre 00 170 03 12 AMA 93 AMA 10 ARC013000 B2 Built Environments B2 Cultural Studies+Critical Theory 93 JPA 93 JPWG 93 KCX 93 1FBP 20 architecture; design theory; global politics; fashion 01 06 02 00 03 00 Qu’est-ce qu’un corps? Ce livre s’attache d’avantage à se poser cette question qu’à y répondre. L’ouvrage propose de complexifier quelques lieux communs à diverses échelles de proximité de cet assemblage matériel qu’est le corps. Ceci permet d’intégrer pleinement les objets, atmosphères et autres corps environnant celui-ci afin de proposer une lecture politique de leurs relations volontaires et fortuites. Du sweatshirt à capuche porté par Trayvon Martin lorsqu’il se fit tuer dans la banlieue de Miami Gardens, Florida, aux rues new-yorkaises durant Occupy Wall Street, en passant par le mur d’apartheid en Palestine, ce livre progresse par une succession d’exemples illustrant l’hypothèse selon laquelle les corps et les objets de toutes tailles entretiennent nécessairement des rapports politiques entre eux.What is a body? This book is more attached to raising the question than in offering a definitive answer. Instead, Lambert proposes to make more complex certain commonplaces located at various degrees of proximity to the body’s material assemblage, allowing a better integration of the surrounding objects, atmosphere and other bodies and proposing a political reading of their relationship to the body, whether deliberate or accidental. From the hoodie that Trayvon Martin wore when he was killed in the suburbs of Miami Gardens, Florida, to the streets of New York City during Occupy Wall Street and the apartheid wall in Palestine, this book moves through a series of episodes that illustrate how bodies and objects of all sizes are enmeshed in deeply entangled political relationships. 30 00 Qu’est-ce qu’un corps? Ce livre s’attache d’avantage à se poser cette question qu’à y répondre. L’ouvrage propose de complexifier quelques lieux communs à diverses échelles de proximité de cet assemblage matériel qu’est le corps. Ceci permet d’intégrer pleinement les objets, atmosphères et autres corps environnant celui-ci afin de proposer une lecture politique de leurs relations volontaires et fortuites. Du sweatshirt à capuche porté par Trayvon Martin lorsqu’il se fit tuer dans la banlieue de Miami Gardens, Florida, aux rues new-yorkaises durant Occupy Wall Street, en passant par le mur d’apartheid en Palestine, ce livre progresse par une succession d’exemples illustrant l’hypothèse selon laquelle les corps et les objets de toutes tailles entretiennent nécessairement des rapports politiques entre eux.What is a body? This book is more attached to raising the question than in offering a definitive answer. Instead, Lambert proposes to make more complex certain commonplaces located at various degrees of proximity to the body’s material assemblage, allowing a better integration of the surrounding objects, atmosphere and other bodies and proposing a political reading of their relationship to the body, whether deliberate or accidental. From the hoodie that Trayvon Martin wore when he was killed in the suburbs of Miami Gardens, Florida, to the streets of New York City during Occupy Wall Street and the apartheid wall in Palestine, this book moves through a series of episodes that illustrate how bodies and objects of all sizes are enmeshed in deeply entangled political relationships. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0139.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/topie-impitoyable-the-corporeal-politics-of-the-cloth-the-wall-and-the-street/ Earth, Milky Way 04 01 20160425 Lambert, Léopold 02 WORLD 06 15 9780692700839 03 9780692700839 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25486 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25486/1004609.pdf?sequence=1&isAllowed=y 20 08 20160425 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32265 20 08 20160425 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353878 20 08 20160425 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/521 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b0d92062-98b1-4e38-bc19-d56b5dc356a3/download 20 08 20160425 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Topie_Impitoyable/FgSVEAAAQBAJ 20 08 20160425 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/f456bebb-2710-4140-a182-aa1d713460c7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/f456bebb-2710-4140-a182-aa1d713460c7/f456bebb-2710-4140-a182-aa1d713460c7.pdf 20 08 20160425 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846549 29 ZENODO: download the title https://zenodo.org/records/19846549/files/f456bebb-2710-4140-a182-aa1d713460c7_book.pdf 20 08 20160425 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/topie-impitoyable-the-corporeal-politics-of-the-cloth-the-wall-and-the-street/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0139.1.00.pdf 20 08 20160425 01 urn:uuid:87a5d99a-5dfd-4f5d-8c48-98a440b11869 03 01 01 thoth-work-id urn:uuid:34a24b11-f034-4cea-b754-f6e5bd065c60 01 thoth-publication-id urn:uuid:87a5d99a-5dfd-4f5d-8c48-98a440b11869 15 9780692492413 03 9780692492413 06 10.21983/P3.0109.1.00 01 internal-reference 0109 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Toward a Radical Metaphysics of Socialism Marx and Laruelle 1 A01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 01 eng 00 120 03 B2 Capital+Lucre 12 HPCF 10 PHI013000 93 QDTJ 93 DSA B2 New Left Thought 10 PHI019000 93 JPFC B2 Philosophy 20 philosophy; speculative realism; non-philosophy; Maxism; metaphysics 01 06 02 00 03 00 Departing from the conventional readings of Karl Marx’s Capital and other of his works, by way of François Laruelle’s “radicalization of concepts,” Katerina Kolozova identifies a theoretical kernel in Marx’s thought whose critical and interpretative force can be employed without reference to its subsequent interpretations in the philosophical mainstream. The latter entails a process of abstracting a philosophical legacy — or rather, of putting it in brackets — and then codifying a history of a learned interpretation established in supposed fidelity to the theoretical project of a “master.” Interpreting the master implies a mastery of doctrinal tools, which results in establishing a catechism of the Logos of the Master. And this catechism interferes, Kolozova argues, with more direct encounters with Marx’s writings.As we know, Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation 30 00 Departing from the conventional readings of Karl Marx’s Capital and other of his works, by way of François Laruelle’s “radicalization of concepts,” Katerina Kolozova identifies a theoretical kernel in Marx’s thought whose critical and interpretative force can be employed without reference to its subsequent interpretations in the philosophical mainstream. The latter entails a process of abstracting a philosophical legacy — or rather, of putting it in brackets — and then codifying a history of a learned interpretation established in supposed fidelity to the theoretical project of a “master.” Interpreting the master implies a mastery of doctrinal tools, which results in establishing a catechism of the Logos of the Master. And this catechism interferes, Kolozova argues, with more direct encounters with Marx’s writings.As we know, Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0109.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/toward-a-radical-metaphysics-of-socialism/ Brooklyn, NY 04 01 20150824 Kolozova, Katerina 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692492410 20 08 20150824 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/toward-a-radical-metaphysics-of-socialism-marx-and-laruelle 20 08 20150824 02 22.00 USD WORLD urn:uuid:4dcf1f13-2a30-4fb5-ab80-f8e367f5cdaa 03 01 01 thoth-work-id urn:uuid:34a24b11-f034-4cea-b754-f6e5bd065c60 01 thoth-publication-id urn:uuid:4dcf1f13-2a30-4fb5-ab80-f8e367f5cdaa 06 10.21983/P3.0109.1.00 01 internal-reference 0109 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Toward a Radical Metaphysics of Socialism Marx and Laruelle 1 A01 Katerina Kolozova Katerina Kolozova 40 03fktew82 Institute of Social Sciences and Humanities, Skopje 01 eng 00 120 03 B2 Capital+Lucre 12 HPCF 10 PHI013000 93 QDTJ 93 DSA B2 New Left Thought 10 PHI019000 93 JPFC B2 Philosophy 20 philosophy; speculative realism; non-philosophy; Maxism; metaphysics 01 06 02 00 03 00 Departing from the conventional readings of Karl Marx’s Capital and other of his works, by way of François Laruelle’s “radicalization of concepts,” Katerina Kolozova identifies a theoretical kernel in Marx’s thought whose critical and interpretative force can be employed without reference to its subsequent interpretations in the philosophical mainstream. The latter entails a process of abstracting a philosophical legacy — or rather, of putting it in brackets — and then codifying a history of a learned interpretation established in supposed fidelity to the theoretical project of a “master.” Interpreting the master implies a mastery of doctrinal tools, which results in establishing a catechism of the Logos of the Master. And this catechism interferes, Kolozova argues, with more direct encounters with Marx’s writings.As we know, Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation 30 00 Departing from the conventional readings of Karl Marx’s Capital and other of his works, by way of François Laruelle’s “radicalization of concepts,” Katerina Kolozova identifies a theoretical kernel in Marx’s thought whose critical and interpretative force can be employed without reference to its subsequent interpretations in the philosophical mainstream. The latter entails a process of abstracting a philosophical legacy — or rather, of putting it in brackets — and then codifying a history of a learned interpretation established in supposed fidelity to the theoretical project of a “master.” Interpreting the master implies a mastery of doctrinal tools, which results in establishing a catechism of the Logos of the Master. And this catechism interferes, Kolozova argues, with more direct encounters with Marx’s writings.As we know, Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0109.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/toward-a-radical-metaphysics-of-socialism/ Brooklyn, NY 04 01 20150824 Kolozova, Katerina 02 WORLD 06 15 9780692492413 03 9780692492413 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76494 20 08 20150824 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25514 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25514/1004581.pdf?sequence=1&isAllowed=y 20 08 20150824 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34690 20 08 20150824 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353814 20 08 20150824 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/493 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b4a62ff7-7df0-47b4-91ae-ca603787f068/download 20 08 20150824 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/34a24b11-f034-4cea-b754-f6e5bd065c60 29 INTERNET_ARCHIVE: download the title https://archive.org/download/34a24b11-f034-4cea-b754-f6e5bd065c60/34a24b11-f034-4cea-b754-f6e5bd065c60.pdf 20 08 20150824 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846290 29 ZENODO: download the title https://zenodo.org/records/19846290/files/34a24b11-f034-4cea-b754-f6e5bd065c60_book.pdf 20 08 20150824 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/toward-a-radical-metaphysics-of-socialism/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0109.1.00.pdf 20 08 20150824 01 urn:uuid:57c42225-10f8-4702-91f4-c288b1bc8f33 03 01 01 thoth-work-id urn:uuid:d6651c3c-c453-42ab-84b3-4e847d3a3324 01 thoth-publication-id urn:uuid:57c42225-10f8-4702-91f4-c288b1bc8f33 15 9780615767000 03 9780615767000 06 10.21983/P3.0023.1.00 01 internal-reference 0023 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Traffic Jams Analysing Everyday Life through the Immanent Materialism of Deleuze & Guattari 1 A01 David R. Cole David R. Cole 40 03t52dk35 Western Sydney University 01 eng 00 60 03 B2 Anthropocene 12 JFCD 10 PHI013000 93 QDHR7 93 DSA B2 Philosophy 93 KNBP 20 Gilles Deleuze; Felix Guattari; traffic; petropolitics; cultural studies; oil 01 06 02 00 03 00 This dead letter presents an exploration of the immanent materialism of Deleuze & Guattari as theorised in A Thousand Plateaus as a means to analysing everyday life. The evidence consists of art, film and objects from life that relate to and suggest the complex ways in which we are affected by traffic jams. Reciprocating substrata of everyday life build upon the unconscious, and show how the abstract turbulence of everyday life forms eddies and flows that may be followed and understood. The immanent materialism of Deleuze & Guattari is a philosophical construction that leads to the formation of ‘plateaus’ as they were executed in A Thousand Plateaus. The plateau of this dead letter is [21 October 2011: the Petro-Citizen] and is populated with traffic jams, car crashes, global environmental concerns and the psychological and sociological contingencies that accompany the petro-citizen. Connections between the strata that make up the plateau of the petro-citizen will deliberately be left as open-ended and speculative to show how the petro-citizen functions as a flagrant construct in everyday life, which includes the desire for petrol and explains the resulting panpsychic petro-political landscape. The double-articulation of the plateau depends upon the ways in which the petro-citizen and petro-politics create reciprocating realms of motivation and drive that tend towards contemporary double-articulation, paradox and contradiction with respect to the usages of oil. This double-articulation results in a multiple chequered flag or illusionary global end-game that designates the current human relationships with oil. 30 00 This dead letter presents an exploration of the immanent materialism of Deleuze & Guattari as theorised in A Thousand Plateaus as a means to analysing everyday life. The evidence consists of art, film and objects from life that relate to and suggest the complex ways in which we are affected by traffic jams. Reciprocating substrata of everyday life build upon the unconscious, and show how the abstract turbulence of everyday life forms eddies and flows that may be followed and understood. The immanent materialism of Deleuze & Guattari is a philosophical construction that leads to the formation of ‘plateaus’ as they were executed in A Thousand Plateaus. The plateau of this dead letter is [21 October 2011: the Petro-Citizen] and is populated with traffic jams, car crashes, global environmental concerns and the psychological and sociological contingencies that accompany the petro-citizen. Connections between the strata that make up the plateau of the petro-citizen will deliberately be left as open-ended and speculative to show how the petro-citizen functions as a flagrant construct in everyday life, which includes the desire for petrol and explains the resulting panpsychic petro-political landscape. The double-articulation of the plateau depends upon the ways in which the petro-citizen and petro-politics create reciprocating realms of motivation and drive that tend towards contemporary double-articulation, paradox and contradiction with respect to the usages of oil. This double-articulation results in a multiple chequered flag or illusionary global end-game that designates the current human relationships with oil. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0023.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/traffic-jams/ Brooklyn, NY 04 01 20130213 Cole, David R. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615767001 20 08 20130213 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/traffic-jams-analysing-everyday-life-through-the-immanent-materialism-of-deleuze-guattari 20 08 20130213 02 21.00 USD WORLD urn:uuid:eb6f302a-e279-44f2-9490-34ac829fcc9b 03 01 01 thoth-work-id urn:uuid:d6651c3c-c453-42ab-84b3-4e847d3a3324 01 thoth-publication-id urn:uuid:eb6f302a-e279-44f2-9490-34ac829fcc9b 06 10.21983/P3.0023.1.00 01 internal-reference 0023 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Traffic Jams Analysing Everyday Life through the Immanent Materialism of Deleuze & Guattari 1 A01 David R. Cole David R. Cole 40 03t52dk35 Western Sydney University 01 eng 00 60 03 B2 Anthropocene 12 JFCD 10 PHI013000 93 QDHR7 93 DSA B2 Philosophy 93 KNBP 20 Gilles Deleuze; Felix Guattari; traffic; petropolitics; cultural studies; oil 01 06 02 00 03 00 This dead letter presents an exploration of the immanent materialism of Deleuze & Guattari as theorised in A Thousand Plateaus as a means to analysing everyday life. The evidence consists of art, film and objects from life that relate to and suggest the complex ways in which we are affected by traffic jams. Reciprocating substrata of everyday life build upon the unconscious, and show how the abstract turbulence of everyday life forms eddies and flows that may be followed and understood. The immanent materialism of Deleuze & Guattari is a philosophical construction that leads to the formation of ‘plateaus’ as they were executed in A Thousand Plateaus. The plateau of this dead letter is [21 October 2011: the Petro-Citizen] and is populated with traffic jams, car crashes, global environmental concerns and the psychological and sociological contingencies that accompany the petro-citizen. Connections between the strata that make up the plateau of the petro-citizen will deliberately be left as open-ended and speculative to show how the petro-citizen functions as a flagrant construct in everyday life, which includes the desire for petrol and explains the resulting panpsychic petro-political landscape. The double-articulation of the plateau depends upon the ways in which the petro-citizen and petro-politics create reciprocating realms of motivation and drive that tend towards contemporary double-articulation, paradox and contradiction with respect to the usages of oil. This double-articulation results in a multiple chequered flag or illusionary global end-game that designates the current human relationships with oil. 30 00 This dead letter presents an exploration of the immanent materialism of Deleuze & Guattari as theorised in A Thousand Plateaus as a means to analysing everyday life. The evidence consists of art, film and objects from life that relate to and suggest the complex ways in which we are affected by traffic jams. Reciprocating substrata of everyday life build upon the unconscious, and show how the abstract turbulence of everyday life forms eddies and flows that may be followed and understood. The immanent materialism of Deleuze & Guattari is a philosophical construction that leads to the formation of ‘plateaus’ as they were executed in A Thousand Plateaus. The plateau of this dead letter is [21 October 2011: the Petro-Citizen] and is populated with traffic jams, car crashes, global environmental concerns and the psychological and sociological contingencies that accompany the petro-citizen. Connections between the strata that make up the plateau of the petro-citizen will deliberately be left as open-ended and speculative to show how the petro-citizen functions as a flagrant construct in everyday life, which includes the desire for petrol and explains the resulting panpsychic petro-political landscape. The double-articulation of the plateau depends upon the ways in which the petro-citizen and petro-politics create reciprocating realms of motivation and drive that tend towards contemporary double-articulation, paradox and contradiction with respect to the usages of oil. This double-articulation results in a multiple chequered flag or illusionary global end-game that designates the current human relationships with oil. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0023.1.00_frontcover.png 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/traffic-jams/ Brooklyn, NY 04 01 20130213 Cole, David R. 02 WORLD 06 15 9780615767000 03 9780615767000 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76438 20 08 20130213 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25592 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25592/1004503.pdf?sequence=1&isAllowed=y 20 08 20130213 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32437 20 08 20130213 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353842 20 08 20130213 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/402 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/dadba309-1c65-476f-852d-5157139f00d0/download 20 08 20130213 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d6651c3c-c453-42ab-84b3-4e847d3a3324 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d6651c3c-c453-42ab-84b3-4e847d3a3324/d6651c3c-c453-42ab-84b3-4e847d3a3324.pdf 20 08 20130213 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693173 29 ZENODO: download the title https://zenodo.org/records/19693173/files/d6651c3c-c453-42ab-84b3-4e847d3a3324_book.pdf 20 08 20130213 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/traffic-jams/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0023.1.00.pdf 20 08 20130213 01 urn:uuid:4dff136e-cf0f-4be7-9b85-68fc8fc2604a 03 01 01 thoth-work-id urn:uuid:1e5ea7bf-a13b-4bfa-834d-1c9209f99c19 01 thoth-publication-id urn:uuid:4dff136e-cf0f-4be7-9b85-68fc8fc2604a 15 9781947447639 03 9781947447639 06 10.21983/P3.0204.1.00 13 2018945512 01 internal-reference 0204 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Transfer Queen 1 A01 A.W. Strouse A.W. Strouse 40 00awd9g61 The Graduate Center, CUNY 40 02tvcev59 New School 2 A12 Patty Barth Patty Barth 01 eng 00 378 03 12 DCF 93 DCF B2 Fabulations 10 POE021000 93 DCC B2 Sex 93 5PSG B2 TransQueer 20 gay poetry; sexuality; transportation; New York City; erotica 01 06 02 00 03 00 Cruising the New York City subway, the Transfer Queen is on the prowl! These voyeuristic figure drawings—both poetic and visual—sketch the men of Gotham’s transportation system. A.W. Strouse and Patty Barth spy on strangers with a special kind of anonymous intimacy. Transfer Queen is ideal reading material for kinky commuters. But remember: “A crowded subway car is no excuse for unlawful sexual conduct!” 30 00 Cruising the New York City subway, the Transfer Queen is on the prowl! These voyeuristic figure drawings—both poetic and visual—sketch the men of Gotham’s transportation system. A.W. Strouse and Patty Barth spy on strangers with a special kind of anonymous intimacy. Transfer Queen is ideal reading material for kinky commuters. But remember: “A crowded subway car is no excuse for unlawful sexual conduct!” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0204.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/transfer-queen/ Earth, Milky Way 04 01 20180719 Strouse, A.W. 02 WORLD 06 15 9781947447646 03 9781947447646 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447637 20 08 20180719 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/transfer-queen 20 08 20180719 02 27.00 USD WORLD urn:uuid:f7e2bb0f-90bf-4f90-88d2-e9aef9f8cf01 03 01 01 thoth-work-id urn:uuid:1e5ea7bf-a13b-4bfa-834d-1c9209f99c19 01 thoth-publication-id urn:uuid:f7e2bb0f-90bf-4f90-88d2-e9aef9f8cf01 15 9781947447646 03 9781947447646 06 10.21983/P3.0204.1.00 13 2018945512 01 internal-reference 0204 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Transfer Queen 1 A01 A.W. Strouse A.W. Strouse 40 00awd9g61 The Graduate Center, CUNY 40 02tvcev59 New School 2 A12 Patty Barth Patty Barth 01 eng 00 378 03 12 DCF 93 DCF B2 Fabulations 10 POE021000 93 DCC B2 Sex 93 5PSG B2 TransQueer 20 gay poetry; sexuality; transportation; New York City; erotica 01 06 02 00 03 00 Cruising the New York City subway, the Transfer Queen is on the prowl! These voyeuristic figure drawings—both poetic and visual—sketch the men of Gotham’s transportation system. A.W. Strouse and Patty Barth spy on strangers with a special kind of anonymous intimacy. Transfer Queen is ideal reading material for kinky commuters. But remember: “A crowded subway car is no excuse for unlawful sexual conduct!” 30 00 Cruising the New York City subway, the Transfer Queen is on the prowl! These voyeuristic figure drawings—both poetic and visual—sketch the men of Gotham’s transportation system. A.W. Strouse and Patty Barth spy on strangers with a special kind of anonymous intimacy. Transfer Queen is ideal reading material for kinky commuters. But remember: “A crowded subway car is no excuse for unlawful sexual conduct!” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0204.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/transfer-queen/ Earth, Milky Way 04 01 20180719 Strouse, A.W. 02 WORLD 06 15 9781947447639 03 9781947447639 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25425 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25425/1004670.pdf?sequence=1&isAllowed=y 20 08 20180719 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33776 20 08 20180719 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353891 20 08 20180719 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/583 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/17ed06c5-92c1-40a5-b5d8-1fd0c87aa473/download 20 08 20180719 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Transfer_Queen/Pm6oEAAAQBAJ 20 08 20180719 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1e5ea7bf-a13b-4bfa-834d-1c9209f99c19 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1e5ea7bf-a13b-4bfa-834d-1c9209f99c19/1e5ea7bf-a13b-4bfa-834d-1c9209f99c19.pdf 20 08 20180719 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847339 29 ZENODO: download the title https://zenodo.org/records/19847339/files/1e5ea7bf-a13b-4bfa-834d-1c9209f99c19_book.pdf 20 08 20180719 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/transfer-queen/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0204.1.00.pdf 20 08 20180719 01 urn:uuid:bc138bf6-5a9e-4f26-acbc-7e6c03c15b42 03 01 01 thoth-work-id urn:uuid:b761f18e-a2b6-4343-917f-646d64b54628 01 thoth-publication-id urn:uuid:bc138bf6-5a9e-4f26-acbc-7e6c03c15b42 15 9780615790374 03 9780615790374 06 10.21983/P3.0026.1.00 01 internal-reference 0026 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Transparent Things A Cabinet 1 B01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 B01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 00 88 03 12 ACK B2 Art+Aesthetics 93 DNL 10 HIS037010 93 AGA B2 Premodern 93 3KL 20 art history; medieval architecture; objects; book history; art theory 01 06 02 00 03 00 Inspired by a passage in Vladmir Nabokov’s Transparent Things (1972), and also compiled as a future love letter to The Material Collective, the essays collected here play with the transparency of pedagogy, scholarship, and writing, as well as with objects that can be seen through, such as crystals and stained glass. As Nabokov wrote, When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!For the art and literary historians gathered together in this volume (Angela Bennett Segler, Jennifer Borland, Karen Eileen Overbey, Nancy Thompson, and Maggie M. Williams), all students of medieval material, these tensions between surface and depth, present and past, concentration and skimming are all too familiar. The inherent contradictions of medieval objects, their irreducibility to either the purely intellectual or the merely physical, are at once the delights and the dangers of the art historian’s work. This book thus offers a dialogue on the question of how our encounters with physical things spark a process and how objects might allow unique collisions between the past and the present, the human and the inanimate, the practice of history and lived experience. As works of medieval studies or art history, these essays are incomplete, awkward, and provisional. Some of them may even read like embarrassing teenage poetry. This collection is like that dusty box in the basement: it is full of raw, unedited, transparent expressions of affect, of the sort we have learned to hide. 30 00 Inspired by a passage in Vladmir Nabokov’s Transparent Things (1972), and also compiled as a future love letter to The Material Collective, the essays collected here play with the transparency of pedagogy, scholarship, and writing, as well as with objects that can be seen through, such as crystals and stained glass. As Nabokov wrote, When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!For the art and literary historians gathered together in this volume (Angela Bennett Segler, Jennifer Borland, Karen Eileen Overbey, Nancy Thompson, and Maggie M. Williams), all students of medieval material, these tensions between surface and depth, present and past, concentration and skimming are all too familiar. The inherent contradictions of medieval objects, their irreducibility to either the purely intellectual or the merely physical, are at once the delights and the dangers of the art historian’s work. This book thus offers a dialogue on the question of how our encounters with physical things spark a process and how objects might allow unique collisions between the past and the present, the human and the inanimate, the practice of history and lived experience. As works of medieval studies or art history, these essays are incomplete, awkward, and provisional. Some of them may even read like embarrassing teenage poetry. This collection is like that dusty box in the basement: it is full of raw, unedited, transparent expressions of affect, of the sort we have learned to hide. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0026.1.00_frontcover.jpg 1 03 06 10.21983/P3.0026.1.01 i xv 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 B01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0026.1.02 i iv 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction Dear Material Collective 1 A01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 20 00 Open Access Maggie M. Williams, Karen Eileen Overbey 3 03 06 10.21983/P3.0026.1.03 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Reflections on the Surface, or, Notes for a Tantric Art History 1 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 20 00 Open Access Karen Eileen Overbey 4 03 06 10.21983/P3.0026.1.04 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Encountering the Inauthentic 1 A01 21 0000000156912592 Jennifer Borland Jennifer Borland 40 01g9vbr38 Oklahoma State University 01 eng 20 00 Open Access Jennifer Borland 5 03 06 10.21983/P3.0026.1.05 39 55 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Touched for the Very First Time Losing My Manuscript Virginity 1 A01 Angie Bennett Segler Angie Bennett Segler 40 0190ak572 New York University 01 eng 20 00 Open Access Angie Bennett Segler 6 03 06 10.21983/P3.0026.1.06 57 67 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Close Encounters with Luminous Objects Reflections on Studying Stained Glass 1 A01 Nancy Thompson Nancy Thompson 40 01q7w1f47 St. Olaf College 01 eng 20 00 Open Access Nancy Thompson 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/transparent-things/ Brooklyn, NY 04 01 20130328 Williams, Maggie M. Overbey, Karen Eileen 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615790372 20 08 20130328 02 29.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/transparent-things-a-cabinet 20 08 20130328 02 29.00 USD WORLD urn:uuid:55d1e870-9ed3-43ab-aafd-e3516515a6f7 03 01 01 thoth-work-id urn:uuid:b761f18e-a2b6-4343-917f-646d64b54628 01 thoth-publication-id urn:uuid:55d1e870-9ed3-43ab-aafd-e3516515a6f7 06 10.21983/P3.0026.1.00 01 internal-reference 0026 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Transparent Things A Cabinet 1 B01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 B01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 00 88 03 12 ACK B2 Art+Aesthetics 93 DNL 10 HIS037010 93 AGA B2 Premodern 93 3KL 20 art history; medieval architecture; objects; book history; art theory 01 06 02 00 03 00 Inspired by a passage in Vladmir Nabokov’s Transparent Things (1972), and also compiled as a future love letter to The Material Collective, the essays collected here play with the transparency of pedagogy, scholarship, and writing, as well as with objects that can be seen through, such as crystals and stained glass. As Nabokov wrote, When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!For the art and literary historians gathered together in this volume (Angela Bennett Segler, Jennifer Borland, Karen Eileen Overbey, Nancy Thompson, and Maggie M. Williams), all students of medieval material, these tensions between surface and depth, present and past, concentration and skimming are all too familiar. The inherent contradictions of medieval objects, their irreducibility to either the purely intellectual or the merely physical, are at once the delights and the dangers of the art historian’s work. This book thus offers a dialogue on the question of how our encounters with physical things spark a process and how objects might allow unique collisions between the past and the present, the human and the inanimate, the practice of history and lived experience. As works of medieval studies or art history, these essays are incomplete, awkward, and provisional. Some of them may even read like embarrassing teenage poetry. This collection is like that dusty box in the basement: it is full of raw, unedited, transparent expressions of affect, of the sort we have learned to hide. 30 00 Inspired by a passage in Vladmir Nabokov’s Transparent Things (1972), and also compiled as a future love letter to The Material Collective, the essays collected here play with the transparency of pedagogy, scholarship, and writing, as well as with objects that can be seen through, such as crystals and stained glass. As Nabokov wrote, When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!For the art and literary historians gathered together in this volume (Angela Bennett Segler, Jennifer Borland, Karen Eileen Overbey, Nancy Thompson, and Maggie M. Williams), all students of medieval material, these tensions between surface and depth, present and past, concentration and skimming are all too familiar. The inherent contradictions of medieval objects, their irreducibility to either the purely intellectual or the merely physical, are at once the delights and the dangers of the art historian’s work. This book thus offers a dialogue on the question of how our encounters with physical things spark a process and how objects might allow unique collisions between the past and the present, the human and the inanimate, the practice of history and lived experience. As works of medieval studies or art history, these essays are incomplete, awkward, and provisional. Some of them may even read like embarrassing teenage poetry. This collection is like that dusty box in the basement: it is full of raw, unedited, transparent expressions of affect, of the sort we have learned to hide. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0026.1.00_frontcover.jpg 1 03 06 10.21983/P3.0026.1.01 i xv 16 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 B01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0026.1.02 i iv 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Introduction Dear Material Collective 1 A01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 20 00 Open Access Maggie M. Williams, Karen Eileen Overbey 3 03 06 10.21983/P3.0026.1.03 1 15 15 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Reflections on the Surface, or, Notes for a Tantric Art History 1 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 20 00 Open Access Karen Eileen Overbey 4 03 06 10.21983/P3.0026.1.04 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Encountering the Inauthentic 1 A01 21 0000000156912592 Jennifer Borland Jennifer Borland 40 01g9vbr38 Oklahoma State University 01 eng 20 00 Open Access Jennifer Borland 5 03 06 10.21983/P3.0026.1.05 39 55 17 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Touched for the Very First Time Losing My Manuscript Virginity 1 A01 Angie Bennett Segler Angie Bennett Segler 40 0190ak572 New York University 01 eng 20 00 Open Access Angie Bennett Segler 6 03 06 10.21983/P3.0026.1.06 57 67 11 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Close Encounters with Luminous Objects Reflections on Studying Stained Glass 1 A01 Nancy Thompson Nancy Thompson 40 01q7w1f47 St. Olaf College 01 eng 20 00 Open Access Nancy Thompson 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/transparent-things/ Brooklyn, NY 04 01 20130328 Williams, Maggie M. Overbey, Karen Eileen 02 WORLD 06 15 9780615790374 03 9780615790374 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76440 20 08 20130328 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25589 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25589/1004506.pdf?sequence=1&isAllowed=y 20 08 20130328 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39717 20 08 20130328 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353994 20 08 20130328 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/405 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b8c458df-4a7e-47d5-bfb3-b53e33716381/download 20 08 20130328 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b761f18e-a2b6-4343-917f-646d64b54628 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b761f18e-a2b6-4343-917f-646d64b54628/b761f18e-a2b6-4343-917f-646d64b54628.pdf 20 08 20130328 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693076 29 ZENODO: download the title https://zenodo.org/records/19693076/files/b761f18e-a2b6-4343-917f-646d64b54628_book.pdf 20 08 20130328 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/transparent-things/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0026.1.00.pdf 20 08 20130328 01 urn:uuid:7e411538-3688-4c8b-afbb-6f3fd78cc261 03 01 01 thoth-work-id urn:uuid:c754cfd7-a34c-4cd5-ad6b-ea28437f0741 01 thoth-publication-id urn:uuid:7e411538-3688-4c8b-afbb-6f3fd78cc261 15 9781685711948 03 9781685711948 06 10.53288/0509.1.00 13 2024934244 01 internal-reference 0509.1.00 00 BC 10 01 108 mm 01 10.8 cm 01 4.25 in 02 235 mm 02 23.5 cm 02 9.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Tribulations of a Westerner in the Western World 1 A01 Vincent Dachy Vincent Dachy Vincent Dachy was born in Belgium and lives in London where he practices Lacanian psychoanalysis, writes, and takes photographs – there are noises that cannot be written. He also takes photographs or writes when he travels out of London. 2 A24 Mary Burger Mary Burger Mary Burger is the author of Sonny (Leon Works), a narrative prose work about the Manhattan Project and the failures of ethical reason. She is co-editor of Biting the Error: Writers Explore Narrative (Coach House Books), an anthology of theoretical essays on experimental narrative writing. Since 1998 she has edited Second Story Books, a literary press featuring innovative works of narrative. An Apparent Event: A Second Story Books Anthology was published in 2006. 2 01 eng 00 226 03 B2 Fabulations 93 FBA 10 FIC019000 93 FXN 10 TRV019000 93 FXV 93 DNP 20 photography; fiction; experimental writing; travel narrative; slideshow 01 06 02 00 03 00 Someone has taken a trip and taken photographs of that trip and someone else has been invited to watch a slideshow of the trip taken. There is a road, there is an abstract painting, there is a viewer who wishes he could live in a televised loop of a sunset and another who wonders why people are fat. Tribulations of a Westerner in the Western World is a stunning first book by Vincent Dachy, a narrated slideshow of inner and outer geographies complete with 52 black and white photographs taken by the author. 30 00 Someone has taken a trip and taken photographs of that trip and someone else has been invited to watch a slideshow of the trip taken. There is a road, there is an abstract painting, there is a viewer who wishes he could live in a televised loop of a sunset and another who wonders why people are fat. Tribulations of a Westerner in the Western World is a stunning first book by Vincent Dachy, a narrated slideshow of inner and outer geographies complete with 52 black and white photographs taken by the author. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0509.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/tribulations-of-a-westerner-in-the-western-world/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240314 Vincent Dachy 02 WORLD 06 15 9781685711955 03 9781685711955 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711944 20 08 20240314 02 15.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/tribulations-of-a-westerner-in-the-western-world 20 08 20240314 02 15.00 USD WORLD urn:uuid:0293b0da-6d16-4dd7-b48d-82b1a9fc231b 03 01 01 thoth-work-id urn:uuid:c754cfd7-a34c-4cd5-ad6b-ea28437f0741 01 thoth-publication-id urn:uuid:0293b0da-6d16-4dd7-b48d-82b1a9fc231b 15 9781685711955 03 9781685711955 06 10.53288/0509.1.00 13 2024934244 01 internal-reference 0509.1.00 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Tribulations of a Westerner in the Western World 1 A01 Vincent Dachy Vincent Dachy Vincent Dachy was born in Belgium and lives in London where he practices Lacanian psychoanalysis, writes, and takes photographs – there are noises that cannot be written. He also takes photographs or writes when he travels out of London. 2 A24 Mary Burger Mary Burger Mary Burger is the author of Sonny (Leon Works), a narrative prose work about the Manhattan Project and the failures of ethical reason. She is co-editor of Biting the Error: Writers Explore Narrative (Coach House Books), an anthology of theoretical essays on experimental narrative writing. Since 1998 she has edited Second Story Books, a literary press featuring innovative works of narrative. An Apparent Event: A Second Story Books Anthology was published in 2006. 2 01 eng 00 226 03 B2 Fabulations 93 FBA 10 FIC019000 93 FXN 10 TRV019000 93 FXV 93 DNP 20 photography; fiction; experimental writing; travel narrative; slideshow 01 06 02 00 03 00 Someone has taken a trip and taken photographs of that trip and someone else has been invited to watch a slideshow of the trip taken. There is a road, there is an abstract painting, there is a viewer who wishes he could live in a televised loop of a sunset and another who wonders why people are fat. Tribulations of a Westerner in the Western World is a stunning first book by Vincent Dachy, a narrated slideshow of inner and outer geographies complete with 52 black and white photographs taken by the author. 30 00 Someone has taken a trip and taken photographs of that trip and someone else has been invited to watch a slideshow of the trip taken. There is a road, there is an abstract painting, there is a viewer who wishes he could live in a televised loop of a sunset and another who wonders why people are fat. Tribulations of a Westerner in the Western World is a stunning first book by Vincent Dachy, a narrated slideshow of inner and outer geographies complete with 52 black and white photographs taken by the author. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0509.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/tribulations-of-a-westerner-in-the-western-world/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20240314 Vincent Dachy 02 WORLD 06 15 9781685711948 03 9781685711948 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/88441 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/88441/0509.1.00.pdf?sequence=1&isAllowed=y 20 08 20240314 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/135650 20 08 20240314 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.20626758 20 08 20240314 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/334 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/75c6bf19-7d11-4801-97a8-d90e28d62cc2/download 20 08 20240314 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c754cfd7-a34c-4cd5-ad6b-ea28437f0741 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c754cfd7-a34c-4cd5-ad6b-ea28437f0741/c754cfd7-a34c-4cd5-ad6b-ea28437f0741.pdf 20 08 20240314 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850267 29 ZENODO: download the title https://zenodo.org/records/19850267/files/c754cfd7-a34c-4cd5-ad6b-ea28437f0741_book.pdf 20 08 20240314 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/tribulations-of-a-westerner-in-the-western-world/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0509.1.00.pdf 20 08 20240314 01 urn:uuid:0086910e-6d4d-4e3c-93dd-5bac993eda84 03 01 01 thoth-work-id urn:uuid:22c74596-3585-4f6a-b98b-3083bb8b11e1 01 thoth-publication-id urn:uuid:0086910e-6d4d-4e3c-93dd-5bac993eda84 15 9781953035240 03 9781953035240 06 10.21983/P3.0298.1.00 13 2020950613 01 internal-reference 0298 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Trickbox of Memory Essays on Power and Disorderly Pasts 1 B01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 2 B01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 01 eng 00 180 03 B2 Cultural Studies+Critical Theory 12 HBAH 10 HIS016000 93 NHAH B2 History 20 memory; power; generative critique; history; post-qualitative inquiry 01 06 02 00 03 00 Reach into this trickbox of memory and rummage around: you may find a tiny spaceship, or perhaps a signpost, a parade, a raised fist, an entire museum.The essays in Trickbox of Memory: Essays on Power and Disorderly Pasts draw on literary criticism, post-qualitative inquiry, new materialism, and political activism to dismember and reanimate the field of memory studies. In the trickbox, concepts rub up against each other, pieces chip off, things leak, glitter gets everywhere. Things are damaged, their edges are ragged. Some show the potential for repair in the future. The chapters in this volume respond to the observation that in today’s moment of political danger, “expected” pasts can easily be instrumentalized in the service of fascism.Trickbox of Memory interrupts the “expected” to throw history into disarray by focusing on the subtlety of how power relations are enacted and contested in reference to the past, assembling a transnational constellation of scholars and practitioners who offer new tricks for working critically with disorderly pasts. 30 00 Reach into this trickbox of memory and rummage around: you may find a tiny spaceship, or perhaps a signpost, a parade, a raised fist, an entire museum.The essays in Trickbox of Memory: Essays on Power and Disorderly Pasts draw on literary criticism, post-qualitative inquiry, new materialism, and political activism to dismember and reanimate the field of memory studies. In the trickbox, concepts rub up against each other, pieces chip off, things leak, glitter gets everywhere. Things are damaged, their edges are ragged. Some show the potential for repair in the future. The chapters in this volume respond to the observation that in today’s moment of political danger, “expected” pasts can easily be instrumentalized in the service of fascism.Trickbox of Memory interrupts the “expected” to throw history into disarray by focusing on the subtlety of how power relations are enacted and contested in reference to the past, assembling a transnational constellation of scholars and practitioners who offer new tricks for working critically with disorderly pasts. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0298.1.00_frontcover.jpg 1 03 06 10.53288/0298.1.01 1 10 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 2 B01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 01 eng 20 00 Open Access 2 03 06 10.53288/0298.1.02 11 18 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Reaching into the Trickbox of Memory 1 A01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 2 A01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 01 eng 20 00 Open Access Rosalie Metro Felicitas Macgilchrist 3 03 06 10.53288/0298.1.03 19 40 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ruins 1 A01 21 0000000162187155 Heidi Grunebaum Heidi Grunebaum 40 00h2vm590 University of the Western Cape 01 eng 20 00 Open Access Heidi Grunebaum 4 03 06 10.53288/0298.1.04 41 63 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Materiality 1 A01 21 0000000295187212 Alexandra Binnenkade Alexandra Binnenkade 40 02s6k3f65 University of Basel 2 A01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 01 eng 20 00 Open Access Alexandra Binnenkade Felicitas Macgilchrist 5 03 06 10.53288/0298.1.05 65 85 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Innocence 1 A01 21 0000000249071120 Lisa Farley Lisa Farley 40 05fq50484 York University 01 eng 20 00 Open Access Lisa Farley 6 03 06 10.53288/0298.1.06 87 105 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Responsibility 1 A01 21 0000000292138108 Matthew Howard Matthew Howard 40 04ycpbx82 University of Westminster 01 eng 20 00 Open Access Matthew Howard 7 03 06 10.53288/0298.1.07 107 128 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies 1 A01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 01 eng 20 00 Open Access Rosalie Metro 8 03 06 10.53288/0298.1.08 129 152 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 History 1 A01 Alexandra Oeser Alexandra Oeser 40 03jdg7625 Institut des Sciences Sociales du Politique 01 eng 20 00 Open Access Alexandra Oeser 9 03 06 10.53288/0298.1.09 153 171 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Questions 1 A01 21 0000000202789450 Elizabeth Anderson Worden Elizabeth Anderson Worden 40 052w4zt36 American University 01 eng 20 00 Open Access Elizabeth Anderson Worden 10 03 06 10.53288/0298.1.10 173 176 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conclusion Packing Up the Box of Tricks 1 A01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 2 A01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 01 eng 20 00 Open Access Rosalie Metro Felicitas Macgilchrist 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/trickbox-of-memory-essays-on-power-and-disorderly-pasts/ 16 40 00hvwkt50 IDS Leibniz-Institut für Deutsche Sprache Earth, Milky Way 04 01 20201208 Macgilchrist, Felicitas (0000-0002-2828-4127) Metro, Rosalie 02 WORLD 06 15 9781953035257 03 9781953035257 34 06 10.1086/ahr/102.5.1386 34 06 10.1177/1750698018771868 34 06 10.1111/j.1468-2451.2011.01796.x 34 06 10.1093/hwj/dbi012 34 06 10.1177/1750698016655394 34 06 10.1177/1750698017725622 34 06 10.25071/1920-7336.21286 34 06 10.1086/345321 34 06 10.5130/phrj.v23i0.5326 34 06 10.2307/3178066 34 06 10.1177/1532708613487877 34 06 10.5130/phrj.v23i0.5333 34 06 10.3366/dls.2012.0062 34 06 10.1177/030631289019003001 34 06 10.1177/1750698010385215 34 06 10.1111/muan.12056 34 06 10.1080/17439884.2017.1278020 34 06 10.1080/03626784.2016.1168262 34 06 10.1177/0907568218811484 34 06 10.1177/002205748616800310 34 06 10.1080/10665680902739683 34 06 10.1111/j.1467-873X.2011.00551.x 34 06 10.1353/chl.2005.0014 34 06 10.1080/14681366.2014.977808 34 06 10.1177/1363461514531317 34 06 10.1080/2201473X.2016.1199826 34 06 10.1080/1358684X.2013.876143 34 06 10.1111/j.1467-8497.2007.00469.x 34 06 10.1177/1743872113499226 34 06 10.1177/1750698016645274 34 06 10.1177/1750698016670786 34 06 10.1146/annurev-lawsocsci-102811-173900 34 06 10.1111/0735-2751.00083 34 06 10.1177/1468797611424955 34 06 10.1177/1750635215584282 34 06 10.1177/1357034X06067156 34 06 10.1111/aeq.12033 34 06 10.1177/1077800406295625.128 34 06 10.3917/gen.061.0134 34 06 10.1023/A:1007068714468 34 06 10.1086/422934 34 06 10.3406/ahess.1989.283663.150 34 06 10.3138/jcfs.42.3.385 34 06 10.4000/enquete.262 34 06 10.1177/146613801002004002 34 06 10.1080/00405849209543529 34 06 10.1146/annurev.soc.24.1.105 34 06 10.22459/AH.39.2015.08 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035248 20 08 20201208 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/trickbox-of-memory-essays-on-power-and-disorderly-pasts 20 08 20201208 02 23.00 USD WORLD urn:uuid:fabab9b4-2f84-4925-89ce-fc96045e8ecf 03 01 01 thoth-work-id urn:uuid:22c74596-3585-4f6a-b98b-3083bb8b11e1 01 thoth-publication-id urn:uuid:fabab9b4-2f84-4925-89ce-fc96045e8ecf 15 9781953035257 03 9781953035257 06 10.21983/P3.0298.1.00 13 2020950613 01 internal-reference 0298 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Trickbox of Memory Essays on Power and Disorderly Pasts 1 B01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 2 B01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 01 eng 00 180 03 B2 Cultural Studies+Critical Theory 12 HBAH 10 HIS016000 93 NHAH B2 History 20 memory; power; generative critique; history; post-qualitative inquiry 01 06 02 00 03 00 Reach into this trickbox of memory and rummage around: you may find a tiny spaceship, or perhaps a signpost, a parade, a raised fist, an entire museum.The essays in Trickbox of Memory: Essays on Power and Disorderly Pasts draw on literary criticism, post-qualitative inquiry, new materialism, and political activism to dismember and reanimate the field of memory studies. In the trickbox, concepts rub up against each other, pieces chip off, things leak, glitter gets everywhere. Things are damaged, their edges are ragged. Some show the potential for repair in the future. The chapters in this volume respond to the observation that in today’s moment of political danger, “expected” pasts can easily be instrumentalized in the service of fascism.Trickbox of Memory interrupts the “expected” to throw history into disarray by focusing on the subtlety of how power relations are enacted and contested in reference to the past, assembling a transnational constellation of scholars and practitioners who offer new tricks for working critically with disorderly pasts. 30 00 Reach into this trickbox of memory and rummage around: you may find a tiny spaceship, or perhaps a signpost, a parade, a raised fist, an entire museum.The essays in Trickbox of Memory: Essays on Power and Disorderly Pasts draw on literary criticism, post-qualitative inquiry, new materialism, and political activism to dismember and reanimate the field of memory studies. In the trickbox, concepts rub up against each other, pieces chip off, things leak, glitter gets everywhere. Things are damaged, their edges are ragged. Some show the potential for repair in the future. The chapters in this volume respond to the observation that in today’s moment of political danger, “expected” pasts can easily be instrumentalized in the service of fascism.Trickbox of Memory interrupts the “expected” to throw history into disarray by focusing on the subtlety of how power relations are enacted and contested in reference to the past, assembling a transnational constellation of scholars and practitioners who offer new tricks for working critically with disorderly pasts. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0298.1.00_frontcover.jpg 1 03 06 10.53288/0298.1.01 1 10 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 2 B01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 01 eng 20 00 Open Access 2 03 06 10.53288/0298.1.02 11 18 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Reaching into the Trickbox of Memory 1 A01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 2 A01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 01 eng 20 00 Open Access Rosalie Metro Felicitas Macgilchrist 3 03 06 10.53288/0298.1.03 19 40 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ruins 1 A01 21 0000000162187155 Heidi Grunebaum Heidi Grunebaum 40 00h2vm590 University of the Western Cape 01 eng 20 00 Open Access Heidi Grunebaum 4 03 06 10.53288/0298.1.04 41 63 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Materiality 1 A01 21 0000000295187212 Alexandra Binnenkade Alexandra Binnenkade 40 02s6k3f65 University of Basel 2 A01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 01 eng 20 00 Open Access Alexandra Binnenkade Felicitas Macgilchrist 5 03 06 10.53288/0298.1.05 65 85 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Innocence 1 A01 21 0000000249071120 Lisa Farley Lisa Farley 40 05fq50484 York University 01 eng 20 00 Open Access Lisa Farley 6 03 06 10.53288/0298.1.06 87 105 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Responsibility 1 A01 21 0000000292138108 Matthew Howard Matthew Howard 40 04ycpbx82 University of Westminster 01 eng 20 00 Open Access Matthew Howard 7 03 06 10.53288/0298.1.07 107 128 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bodies 1 A01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 01 eng 20 00 Open Access Rosalie Metro 8 03 06 10.53288/0298.1.08 129 152 24 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 History 1 A01 Alexandra Oeser Alexandra Oeser 40 03jdg7625 Institut des Sciences Sociales du Politique 01 eng 20 00 Open Access Alexandra Oeser 9 03 06 10.53288/0298.1.09 153 171 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Questions 1 A01 21 0000000202789450 Elizabeth Anderson Worden Elizabeth Anderson Worden 40 052w4zt36 American University 01 eng 20 00 Open Access Elizabeth Anderson Worden 10 03 06 10.53288/0298.1.10 173 176 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conclusion Packing Up the Box of Tricks 1 A01 Rosalie Metro Rosalie Metro 40 02ymw8z06 University of Missouri 2 A01 21 0000000228284127 Felicitas Macgilchrist Felicitas Macgilchrist 40 01hnv8x68 Georg Eckert Institute for International Textbook Research 40 033n9gh91 University of Oldenburg 01 eng 20 00 Open Access Rosalie Metro Felicitas Macgilchrist 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/trickbox-of-memory-essays-on-power-and-disorderly-pasts/ 16 40 00hvwkt50 IDS Leibniz-Institut für Deutsche Sprache Earth, Milky Way 04 01 20201208 Macgilchrist, Felicitas (0000-0002-2828-4127) Metro, Rosalie 02 WORLD 06 15 9781953035240 03 9781953035240 34 06 10.1086/ahr/102.5.1386 34 06 10.1177/1750698018771868 34 06 10.1111/j.1468-2451.2011.01796.x 34 06 10.1093/hwj/dbi012 34 06 10.1177/1750698016655394 34 06 10.1177/1750698017725622 34 06 10.25071/1920-7336.21286 34 06 10.1086/345321 34 06 10.5130/phrj.v23i0.5326 34 06 10.2307/3178066 34 06 10.1177/1532708613487877 34 06 10.5130/phrj.v23i0.5333 34 06 10.3366/dls.2012.0062 34 06 10.1177/030631289019003001 34 06 10.1177/1750698010385215 34 06 10.1111/muan.12056 34 06 10.1080/17439884.2017.1278020 34 06 10.1080/03626784.2016.1168262 34 06 10.1177/0907568218811484 34 06 10.1177/002205748616800310 34 06 10.1080/10665680902739683 34 06 10.1111/j.1467-873X.2011.00551.x 34 06 10.1353/chl.2005.0014 34 06 10.1080/14681366.2014.977808 34 06 10.1177/1363461514531317 34 06 10.1080/2201473X.2016.1199826 34 06 10.1080/1358684X.2013.876143 34 06 10.1111/j.1467-8497.2007.00469.x 34 06 10.1177/1743872113499226 34 06 10.1177/1750698016645274 34 06 10.1177/1750698016670786 34 06 10.1146/annurev-lawsocsci-102811-173900 34 06 10.1111/0735-2751.00083 34 06 10.1177/1468797611424955 34 06 10.1177/1750635215584282 34 06 10.1177/1357034X06067156 34 06 10.1111/aeq.12033 34 06 10.1177/1077800406295625.128 34 06 10.3917/gen.061.0134 34 06 10.1023/A:1007068714468 34 06 10.1086/422934 34 06 10.3406/ahess.1989.283663.150 34 06 10.3138/jcfs.42.3.385 34 06 10.4000/enquete.262 34 06 10.1177/146613801002004002 34 06 10.1080/00405849209543529 34 06 10.1146/annurev.soc.24.1.105 34 06 10.22459/AH.39.2015.08 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/43208 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/43208/0298.1.00.pdf?sequence=1&isAllowed=y 20 08 20201208 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28557 20 08 20201208 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv1jf2c49 20 08 20201208 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/651 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/1b9765d7-c6b0-4b9f-a146-75e26bef123e/download 20 08 20201208 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Trickbox_of_Memory/CgaVEAAAQBAJ 20 08 20201208 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/22c74596-3585-4f6a-b98b-3083bb8b11e1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/22c74596-3585-4f6a-b98b-3083bb8b11e1/22c74596-3585-4f6a-b98b-3083bb8b11e1.pdf 20 08 20201208 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848588 29 ZENODO: download the title https://zenodo.org/records/19848588/files/22c74596-3585-4f6a-b98b-3083bb8b11e1_book.pdf 20 08 20201208 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/trickbox-of-memory-essays-on-power-and-disorderly-pasts/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0298.1.00.pdf 20 08 20201208 01 urn:uuid:3a4bcf64-9138-4978-8faf-6684b7303bac 03 01 01 thoth-work-id urn:uuid:9bd104d3-59e6-4ac0-9ccd-96079902769e 01 thoth-publication-id urn:uuid:3a4bcf64-9138-4978-8faf-6684b7303bac 15 9781947447448 03 9781947447448 06 10.21983/P3.0197.1.00 13 2018930421 01 internal-reference 0197 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Trouble Songs A Musicological Poetics 1 A01 Jeff T. Johnson Jeff T. Johnson 40 00b30xv10 University of Pennsylvania 01 eng 00 204 03 12 AVA B2 Cultural Studies+Critical Theory 93 JBCC 10 MUS010000 93 AVA B2 Sound+Noise 93 AVLT B2 Thought Experiments 20 US musical history; musicology; poetics; bad luck; trouble 01 06 02 00 03 00 Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble. 30 00 Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0197.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/trouble-songs-a-musicological-poetics/ Earth, Milky Way 04 01 20180326 Johnson, Jeff T. 02 WORLD 06 15 9781947447455 03 9781947447455 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447440 20 08 20180326 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/trouble-songs-a-musicological-poetics 20 08 20180326 02 23.00 USD WORLD urn:uuid:c95b1336-e6ea-4dad-958d-eb55b87c053b 03 01 01 thoth-work-id urn:uuid:9bd104d3-59e6-4ac0-9ccd-96079902769e 01 thoth-publication-id urn:uuid:c95b1336-e6ea-4dad-958d-eb55b87c053b 15 9781947447455 03 9781947447455 06 10.21983/P3.0197.1.00 13 2018930421 01 internal-reference 0197 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Trouble Songs A Musicological Poetics 1 A01 Jeff T. Johnson Jeff T. Johnson 40 00b30xv10 University of Pennsylvania 01 eng 00 204 03 12 AVA B2 Cultural Studies+Critical Theory 93 JBCC 10 MUS010000 93 AVA B2 Sound+Noise 93 AVLT B2 Thought Experiments 20 US musical history; musicology; poetics; bad luck; trouble 01 06 02 00 03 00 Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble. 30 00 Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0197.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/trouble-songs-a-musicological-poetics/ Earth, Milky Way 04 01 20180326 Johnson, Jeff T. 02 WORLD 06 15 9781947447448 03 9781947447448 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66804 20 08 20180326 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25432 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25432/1004663.pdf?sequence=1&isAllowed=y 20 08 20180326 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39044 20 08 20180326 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353863 20 08 20180326 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/579 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/786b990a-e383-45a7-b7c1-a074e726e91e/download 20 08 20180326 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/9bd104d3-59e6-4ac0-9ccd-96079902769e 29 INTERNET_ARCHIVE: download the title https://archive.org/download/9bd104d3-59e6-4ac0-9ccd-96079902769e/9bd104d3-59e6-4ac0-9ccd-96079902769e.pdf 20 08 20180326 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19824312 29 ZENODO: download the title https://zenodo.org/records/19824312/files/9bd104d3-59e6-4ac0-9ccd-96079902769e_book.pdf 20 08 20180326 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/trouble-songs-a-musicological-poetics/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0197.1.00.pdf 20 08 20180326 01 urn:uuid:c41a5bcb-d946-40bd-a547-64ecc3dc164e 03 01 01 thoth-work-id urn:uuid:1399a869-9f56-4980-981d-2cc83f0a6668 01 thoth-publication-id urn:uuid:c41a5bcb-d946-40bd-a547-64ecc3dc164e 15 9780615647104 03 9780615647104 06 10.21983/P3.0007.1.00 01 internal-reference 0007 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Truth and Fiction Notes on (Exceptional) Faith in Art 1 A01 Milcho Manchevski Milcho Manchevski 40 0190ak572 New York University 2 A19 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 01 eng 00 40 03 12 APFA 10 ART057000 B2 Art+Aesthetics 93 ATFA 93 1DXD B2 Languages+Translations 93 ATFB B2 Moving Image 20 aesthetics; Macedonia; film studies; cinema vérité 01 06 02 00 03 00 Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that,“Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways.“Why?“What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?” 30 00 Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that,“Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways.“Why?“What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0007.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/truth-and-fiction-notes-on-exceptional-faith-in-art/ Brooklyn, NY 04 01 20120525 Manchevski, Milcho 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615647103 20 08 20120525 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/truth-and-fiction-notes-on-exceptional-faith-in-art 20 08 20120525 02 21.00 USD WORLD urn:uuid:83d7f6a4-6cb8-41ea-86c8-83b67db31641 03 01 01 thoth-work-id urn:uuid:1399a869-9f56-4980-981d-2cc83f0a6668 01 thoth-publication-id urn:uuid:83d7f6a4-6cb8-41ea-86c8-83b67db31641 06 10.21983/P3.0007.1.00 01 internal-reference 0007 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Truth and Fiction Notes on (Exceptional) Faith in Art 1 A01 Milcho Manchevski Milcho Manchevski 40 0190ak572 New York University 2 A19 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 01 eng 00 40 03 12 APFA 10 ART057000 B2 Art+Aesthetics 93 ATFA 93 1DXD B2 Languages+Translations 93 ATFB B2 Moving Image 20 aesthetics; Macedonia; film studies; cinema vérité 01 06 02 00 03 00 Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that,“Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways.“Why?“What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?” 30 00 Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that,“Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways.“Why?“What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0007.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/truth-and-fiction-notes-on-exceptional-faith-in-art/ Brooklyn, NY 04 01 20120525 Manchevski, Milcho 02 WORLD 06 15 9780615647104 03 9780615647104 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76425 20 08 20120525 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25608 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25608/1004487.pdf?sequence=1&isAllowed=y 20 08 20120525 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/37192 20 08 20120525 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354033 20 08 20120525 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/384 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f9bd4279-85a4-4ac9-a1db-ccb50c7b0885/download 20 08 20120525 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1399a869-9f56-4980-981d-2cc83f0a6668 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1399a869-9f56-4980-981d-2cc83f0a6668/1399a869-9f56-4980-981d-2cc83f0a6668.pdf 20 08 20120525 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693012 29 ZENODO: download the title https://zenodo.org/records/19693012/files/1399a869-9f56-4980-981d-2cc83f0a6668_book.pdf 20 08 20120525 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/truth-and-fiction-notes-on-exceptional-faith-in-art/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0007.1.00.pdf 20 08 20120525 01 urn:uuid:784e1563-7f86-41c2-9575-39775c1b8b52 03 01 01 thoth-work-id urn:uuid:8b481da1-c3ac-424f-ba50-a8354daee6b8 01 thoth-publication-id urn:uuid:784e1563-7f86-41c2-9575-39775c1b8b52 15 9781685710927 03 9781685710927 06 10.53288/0390.1.00 13 2022939164 01 internal-reference 0390 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Turkish Voices 1 A01 Murat Nemet-Nejat Murat Nemet-Nejat 01 eng 00 122 03 12 DCF 93 DCF B2 Fabulations 10 POE013000 93 1DTT 12 2FMC B2 Languages+Translations 10 POE023020 B2 Sex 20 Cemal Süreya; Turkish literature; poetry; deconstruction; translation 01 06 02 00 03 00 Turkish Voices, written during 1989/90, is initially based on the Second New Turkish poet Cemal Süreya’s first book of poetry, Üvercinka (Pigeon English), which he wrote during the 1950s, in his twenties. In this book, absolutely stunning erotic passages of uncanny psychological insight, where a nexus between pleasure and power is revealed through the lyric persona of a male seducer, are mixed with cute refrains or half-digested surrealist lines which blur the text, sentimentalizing that insight by turning the poems into general appeals for freedom, completely overlooking the victimization of the female persona, who never speaks.A work of deconstructive translation, this book offers a reworking of Uvercinka, containing fragments from different poems in the book, sometimes ending in mid-sentence, isolated, spliced together, and sometimes alterated. Fragments from other Turkish poets have been added, splitting the lyric persona, opening up its unity; finally, poems written by the author himself earlier joined the text.The result is a series of eighty-four fragments where any idea of ownership or originality or source — what poem, that is, comes from whom or where — disappears, is completely blurred. In other words, what starts with the ego and power-centered persona of the male seducer is dissolved, splintered, through a dialectic or critical confrontation with Süreya’s resistant text, into multiple points of view, often of a sufferer, a victim. What one ends up with is a multiplicity of voices, an erotic poem which becomes its own critique of power. 30 00 Turkish Voices, written during 1989/90, is initially based on the Second New Turkish poet Cemal Süreya’s first book of poetry, Üvercinka (Pigeon English), which he wrote during the 1950s, in his twenties. In this book, absolutely stunning erotic passages of uncanny psychological insight, where a nexus between pleasure and power is revealed through the lyric persona of a male seducer, are mixed with cute refrains or half-digested surrealist lines which blur the text, sentimentalizing that insight by turning the poems into general appeals for freedom, completely overlooking the victimization of the female persona, who never speaks.A work of deconstructive translation, this book offers a reworking of Uvercinka, containing fragments from different poems in the book, sometimes ending in mid-sentence, isolated, spliced together, and sometimes alterated. Fragments from other Turkish poets have been added, splitting the lyric persona, opening up its unity; finally, poems written by the author himself earlier joined the text.The result is a series of eighty-four fragments where any idea of ownership or originality or source — what poem, that is, comes from whom or where — disappears, is completely blurred. In other words, what starts with the ego and power-centered persona of the male seducer is dissolved, splintered, through a dialectic or critical confrontation with Süreya’s resistant text, into multiple points of view, often of a sufferer, a victim. What one ends up with is a multiplicity of voices, an erotic poem which becomes its own critique of power. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0390.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/turkish-voices/ Earth, Milky Way 04 01 20220623 Murat Nemet-Nejat 02 WORLD 06 15 9781685710934 03 9781685710934 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710921 20 08 20220623 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/turkish-voices 20 08 20220623 02 22.00 USD WORLD urn:uuid:343e8c23-1b29-4c1a-8ba4-d3a9be2e741d 03 01 01 thoth-work-id urn:uuid:8b481da1-c3ac-424f-ba50-a8354daee6b8 01 thoth-publication-id urn:uuid:343e8c23-1b29-4c1a-8ba4-d3a9be2e741d 15 9781685710934 03 9781685710934 06 10.53288/0390.1.00 13 2022939164 01 internal-reference 0390 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Turkish Voices 1 A01 Murat Nemet-Nejat Murat Nemet-Nejat 01 eng 00 122 03 12 DCF 93 DCF B2 Fabulations 10 POE013000 93 1DTT 12 2FMC B2 Languages+Translations 10 POE023020 B2 Sex 20 Cemal Süreya; Turkish literature; poetry; deconstruction; translation 01 06 02 00 03 00 Turkish Voices, written during 1989/90, is initially based on the Second New Turkish poet Cemal Süreya’s first book of poetry, Üvercinka (Pigeon English), which he wrote during the 1950s, in his twenties. In this book, absolutely stunning erotic passages of uncanny psychological insight, where a nexus between pleasure and power is revealed through the lyric persona of a male seducer, are mixed with cute refrains or half-digested surrealist lines which blur the text, sentimentalizing that insight by turning the poems into general appeals for freedom, completely overlooking the victimization of the female persona, who never speaks.A work of deconstructive translation, this book offers a reworking of Uvercinka, containing fragments from different poems in the book, sometimes ending in mid-sentence, isolated, spliced together, and sometimes alterated. Fragments from other Turkish poets have been added, splitting the lyric persona, opening up its unity; finally, poems written by the author himself earlier joined the text.The result is a series of eighty-four fragments where any idea of ownership or originality or source — what poem, that is, comes from whom or where — disappears, is completely blurred. In other words, what starts with the ego and power-centered persona of the male seducer is dissolved, splintered, through a dialectic or critical confrontation with Süreya’s resistant text, into multiple points of view, often of a sufferer, a victim. What one ends up with is a multiplicity of voices, an erotic poem which becomes its own critique of power. 30 00 Turkish Voices, written during 1989/90, is initially based on the Second New Turkish poet Cemal Süreya’s first book of poetry, Üvercinka (Pigeon English), which he wrote during the 1950s, in his twenties. In this book, absolutely stunning erotic passages of uncanny psychological insight, where a nexus between pleasure and power is revealed through the lyric persona of a male seducer, are mixed with cute refrains or half-digested surrealist lines which blur the text, sentimentalizing that insight by turning the poems into general appeals for freedom, completely overlooking the victimization of the female persona, who never speaks.A work of deconstructive translation, this book offers a reworking of Uvercinka, containing fragments from different poems in the book, sometimes ending in mid-sentence, isolated, spliced together, and sometimes alterated. Fragments from other Turkish poets have been added, splitting the lyric persona, opening up its unity; finally, poems written by the author himself earlier joined the text.The result is a series of eighty-four fragments where any idea of ownership or originality or source — what poem, that is, comes from whom or where — disappears, is completely blurred. In other words, what starts with the ego and power-centered persona of the male seducer is dissolved, splintered, through a dialectic or critical confrontation with Süreya’s resistant text, into multiple points of view, often of a sufferer, a victim. What one ends up with is a multiplicity of voices, an erotic poem which becomes its own critique of power. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0390.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/turkish-voices/ Earth, Milky Way 04 01 20220623 Murat Nemet-Nejat 02 WORLD 06 15 9781685710927 03 9781685710927 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/57079 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/57079/0390.1.00.pdf?sequence=1&isAllowed=y 20 08 20220623 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/84657 20 08 20220623 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2p7j6c5 20 08 20220623 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/704 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f231edbd-3566-4868-bc71-c70b79cdcdae/download 20 08 20220623 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/8b481da1-c3ac-424f-ba50-a8354daee6b8 29 INTERNET_ARCHIVE: download the title https://archive.org/download/8b481da1-c3ac-424f-ba50-a8354daee6b8/8b481da1-c3ac-424f-ba50-a8354daee6b8.pdf 20 08 20220623 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849390 29 ZENODO: download the title https://zenodo.org/records/19849390/files/8b481da1-c3ac-424f-ba50-a8354daee6b8_book.pdf 20 08 20220623 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/turkish-voices/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0390.1.00.pdf 20 08 20220623 01 urn:uuid:95da77c0-e1e2-4b9b-a984-69e79bce9065 03 01 01 thoth-work-id urn:uuid:61b6e4fb-d99e-4b6e-beca-293c990cef44 01 thoth-publication-id urn:uuid:95da77c0-e1e2-4b9b-a984-69e79bce9065 15 9780615766010 03 9780615766010 06 10.21983/P3.0022.1.00 01 internal-reference 0022 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Último día cada día Y otro escrito sobre cine y filosofía 1 A01 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 2 B06 Cristina Álvarez López Cristina Álvarez López 01 eng 01 spa 00 66 03 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 film studies; Eric Auerbach; Siegfried Kracauer; Nicole Brenez; Douglas Sirk 01 06 02 00 03 00 Where is the film analysis today? What are you doing, in the dark, the theory of cinema? This field, as it has been professionally defined (at least in the Anglo-American academic world), is currently divided between historians interested in the social context that examine the great formations of modernity, and experts in the style that They demand the return of outmoded things such as authorial vision, tone, and staging. But there are also other currents, vital and inventive, of which we are hardly hearing anything in any of the official channels. Last day each day , which for this edition has been extended with the essay “Avatars of the meeting”, shines a light on one of these new and exciting ways. 30 00 Where is the film analysis today? What are you doing, in the dark, the theory of cinema? This field, as it has been professionally defined (at least in the Anglo-American academic world), is currently divided between historians interested in the social context that examine the great formations of modernity, and experts in the style that They demand the return of outmoded things such as authorial vision, tone, and staging. But there are also other currents, vital and inventive, of which we are hardly hearing anything in any of the official channels. Last day each day , which for this edition has been extended with the essay “Avatars of the meeting”, shines a light on one of these new and exciting ways. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0022.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ultimo-dia-cada-dia/ Brooklyn, NY 04 01 20130206 Martin, Adrian 02 WORLD 29 06 10.21983/P3.0012.1.00 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615766013 20 08 20130206 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/asltimo-daa-cada-daa-y-otro-escrito-sobre-cine-y-filosofaa 20 08 20130206 02 21.00 USD WORLD urn:uuid:5bf033a1-58e1-4488-990c-a63df61c5a3b 03 01 01 thoth-work-id urn:uuid:61b6e4fb-d99e-4b6e-beca-293c990cef44 01 thoth-publication-id urn:uuid:5bf033a1-58e1-4488-990c-a63df61c5a3b 06 10.21983/P3.0022.1.00 01 internal-reference 0022 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Último día cada día Y otro escrito sobre cine y filosofía 1 A01 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 2 B06 Cristina Álvarez López Cristina Álvarez López 01 eng 01 spa 00 66 03 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 film studies; Eric Auerbach; Siegfried Kracauer; Nicole Brenez; Douglas Sirk 01 06 02 00 03 00 Where is the film analysis today? What are you doing, in the dark, the theory of cinema? This field, as it has been professionally defined (at least in the Anglo-American academic world), is currently divided between historians interested in the social context that examine the great formations of modernity, and experts in the style that They demand the return of outmoded things such as authorial vision, tone, and staging. But there are also other currents, vital and inventive, of which we are hardly hearing anything in any of the official channels. Last day each day , which for this edition has been extended with the essay “Avatars of the meeting”, shines a light on one of these new and exciting ways. 30 00 Where is the film analysis today? What are you doing, in the dark, the theory of cinema? This field, as it has been professionally defined (at least in the Anglo-American academic world), is currently divided between historians interested in the social context that examine the great formations of modernity, and experts in the style that They demand the return of outmoded things such as authorial vision, tone, and staging. But there are also other currents, vital and inventive, of which we are hardly hearing anything in any of the official channels. Last day each day , which for this edition has been extended with the essay “Avatars of the meeting”, shines a light on one of these new and exciting ways. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0022.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ultimo-dia-cada-dia/ Brooklyn, NY 04 01 20130206 Martin, Adrian 02 WORLD 29 06 10.21983/P3.0012.1.00 06 15 9780615766010 03 9780615766010 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76435 20 08 20130206 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25593 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25593/1004502.pdf?sequence=1&isAllowed=y 20 08 20130206 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32490 20 08 20130206 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353999 20 08 20130206 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/401 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/98fad2ac-7575-41be-a50a-1b6d269b920f/download 20 08 20130206 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/61b6e4fb-d99e-4b6e-beca-293c990cef44 29 INTERNET_ARCHIVE: download the title https://archive.org/download/61b6e4fb-d99e-4b6e-beca-293c990cef44/61b6e4fb-d99e-4b6e-beca-293c990cef44.pdf 20 08 20130206 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693100 29 ZENODO: download the title https://zenodo.org/records/19693100/files/61b6e4fb-d99e-4b6e-beca-293c990cef44_book.pdf 20 08 20130206 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ultimo-dia-cada-dia/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0022.1.00.pdf 20 08 20130206 01 urn:uuid:d8198250-5e09-46b8-b629-c4fef386eaa9 03 01 01 thoth-work-id urn:uuid:81dbcd46-54ce-4b6e-b5ec-2df4004947e1 01 thoth-publication-id urn:uuid:d8198250-5e09-46b8-b629-c4fef386eaa9 15 9780692402764 03 9780692402764 06 10.21983/P3.0097.1.00 01 internal-reference 0097 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Último Dia Todos os Dias E Outros Escritos sobre Cinema e Filosofia 1 A01 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 2 B06 Rita Benis Rita Benis 01 por 00 78 03 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 film studies; Eric Auerbach; Siegfried Kracauer; Nicole Brenez; Douglas Sirk 01 06 02 00 03 00 Onde se encontra a análise fílmica hoje? O que é que a teoria de cinema anda a desenvolver na obscuridade? Este campo, tal como foi definido profissionalmente (pelo menos no mundo académico anglo-saxónico), encontra-se actualmente dividido entre historiadores interessados no contexto das grandes formações da modernidade e connoisseurs que reclamam o regresso estilístico de coisas antiquadas como a visão autoral, o tom ou a mise-en-scène. Mas há também outras correntes, vitais e inventivas – na crítica, na internet, em pequenas revistas, em conferências renegadas um pouco por todo o lado –, que não estamos a conseguir escutar em nenhum dos canais oficiais. Último Dia Todos os Dias, de Adrian Martin – nesta edição acompanhado do ensaio “Avatares do Encontro” –, lança uma luz sobre estas novas e excitantes avenidas.Publicado originalmente como Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez, em 2012, por Dead Letter Office, uma série da editora punctum books. Esta edição foi produzida conjuntamente por Centro de Estudos Comparatistas | Faculdade de Letras da Universidade de Lisboa e punctum books, 2015. 30 00 Onde se encontra a análise fílmica hoje? O que é que a teoria de cinema anda a desenvolver na obscuridade? Este campo, tal como foi definido profissionalmente (pelo menos no mundo académico anglo-saxónico), encontra-se actualmente dividido entre historiadores interessados no contexto das grandes formações da modernidade e connoisseurs que reclamam o regresso estilístico de coisas antiquadas como a visão autoral, o tom ou a mise-en-scène. Mas há também outras correntes, vitais e inventivas – na crítica, na internet, em pequenas revistas, em conferências renegadas um pouco por todo o lado –, que não estamos a conseguir escutar em nenhum dos canais oficiais. Último Dia Todos os Dias, de Adrian Martin – nesta edição acompanhado do ensaio “Avatares do Encontro” –, lança uma luz sobre estas novas e excitantes avenidas.Publicado originalmente como Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez, em 2012, por Dead Letter Office, uma série da editora punctum books. Esta edição foi produzida conjuntamente por Centro de Estudos Comparatistas | Faculdade de Letras da Universidade de Lisboa e punctum books, 2015. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0097.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ultimo-dia-todos-os-dias/ Brooklyn, NY 04 01 20150322 Martin, Adrian 02 WORLD 29 06 10.21983/P3.0012.1.00 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692402764 20 08 20150322 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/asltimo-dia-todos-os-dias-e-outros-escritos-sobre-cinema-e-filosofia 20 08 20150322 02 21.00 USD WORLD urn:uuid:fecd34b1-e12b-422c-9b11-80e9f1c634c7 03 01 01 thoth-work-id urn:uuid:81dbcd46-54ce-4b6e-b5ec-2df4004947e1 01 thoth-publication-id urn:uuid:fecd34b1-e12b-422c-9b11-80e9f1c634c7 06 10.21983/P3.0097.1.00 01 internal-reference 0097 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Último Dia Todos os Dias E Outros Escritos sobre Cinema e Filosofia 1 A01 Adrian Martin Adrian Martin 40 02bfwt286 Monash University 2 B06 Rita Benis Rita Benis 01 por 00 78 03 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory B2 Moving Image 20 film studies; Eric Auerbach; Siegfried Kracauer; Nicole Brenez; Douglas Sirk 01 06 02 00 03 00 Onde se encontra a análise fílmica hoje? O que é que a teoria de cinema anda a desenvolver na obscuridade? Este campo, tal como foi definido profissionalmente (pelo menos no mundo académico anglo-saxónico), encontra-se actualmente dividido entre historiadores interessados no contexto das grandes formações da modernidade e connoisseurs que reclamam o regresso estilístico de coisas antiquadas como a visão autoral, o tom ou a mise-en-scène. Mas há também outras correntes, vitais e inventivas – na crítica, na internet, em pequenas revistas, em conferências renegadas um pouco por todo o lado –, que não estamos a conseguir escutar em nenhum dos canais oficiais. Último Dia Todos os Dias, de Adrian Martin – nesta edição acompanhado do ensaio “Avatares do Encontro” –, lança uma luz sobre estas novas e excitantes avenidas.Publicado originalmente como Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez, em 2012, por Dead Letter Office, uma série da editora punctum books. Esta edição foi produzida conjuntamente por Centro de Estudos Comparatistas | Faculdade de Letras da Universidade de Lisboa e punctum books, 2015. 30 00 Onde se encontra a análise fílmica hoje? O que é que a teoria de cinema anda a desenvolver na obscuridade? Este campo, tal como foi definido profissionalmente (pelo menos no mundo académico anglo-saxónico), encontra-se actualmente dividido entre historiadores interessados no contexto das grandes formações da modernidade e connoisseurs que reclamam o regresso estilístico de coisas antiquadas como a visão autoral, o tom ou a mise-en-scène. Mas há também outras correntes, vitais e inventivas – na crítica, na internet, em pequenas revistas, em conferências renegadas um pouco por todo o lado –, que não estamos a conseguir escutar em nenhum dos canais oficiais. Último Dia Todos os Dias, de Adrian Martin – nesta edição acompanhado do ensaio “Avatares do Encontro” –, lança uma luz sobre estas novas e excitantes avenidas.Publicado originalmente como Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez, em 2012, por Dead Letter Office, uma série da editora punctum books. Esta edição foi produzida conjuntamente por Centro de Estudos Comparatistas | Faculdade de Letras da Universidade de Lisboa e punctum books, 2015. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0097.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/ultimo-dia-todos-os-dias/ Brooklyn, NY 04 01 20150322 Martin, Adrian 02 WORLD 29 06 10.21983/P3.0012.1.00 06 15 9780692402764 03 9780692402764 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25524 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25524/1004571.pdf?sequence=1&isAllowed=y 20 08 20150322 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35300 20 08 20150322 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354040 20 08 20150322 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/480 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/c31ffd8b-6b01-4937-96f9-bfc150f11c12/download 20 08 20150322 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/81dbcd46-54ce-4b6e-b5ec-2df4004947e1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/81dbcd46-54ce-4b6e-b5ec-2df4004947e1/81dbcd46-54ce-4b6e-b5ec-2df4004947e1.pdf 20 08 20150322 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846182 29 ZENODO: download the title https://zenodo.org/records/19846182/files/81dbcd46-54ce-4b6e-b5ec-2df4004947e1_book.pdf 20 08 20150322 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/ultimo-dia-todos-os-dias/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0097.1.00.pdf 20 08 20150322 01 urn:uuid:5cbdcc62-91f1-4033-8b1e-b19e8d4ffea0 03 01 01 thoth-work-id urn:uuid:cc73eed0-a1f9-4ad4-b7d8-2394b92765f0 01 thoth-publication-id urn:uuid:5cbdcc62-91f1-4033-8b1e-b19e8d4ffea0 15 9780615983929 03 9780615983929 06 10.21983/P3.0058.1.00 01 internal-reference 0058 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Unless As Stone Is 1 A01 Sam Lohmann Sam Lohmann 01 eng 00 40 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations B2 Premodern 20 poetry; Dante; sestina; adaptation 01 06 02 00 03 00 The sestina is a form in which words repeat regularly, intricately, appearing and reappearing in new contexts with new meanings. Sam Lohmann’s Unless As Stone Is emerged from a few years of living with Dante’s sestina, “Al poco giorno e al gran cerchio d’ombra.” He allowed the text to appear in its own new — if irregularly scheduled — contexts. New translations, new scenery, new meanings; new phrases entered the poem (from García Lorca, from Sappho, from strangers and from loved ones) and found their own patterns. What resulted is a serial poem in seven movements, incorporating several strategies of reincorporation. “Quandunque i colli fanno più nera ombra” — “All our oddity operates / on changing verity.” 30 00 The sestina is a form in which words repeat regularly, intricately, appearing and reappearing in new contexts with new meanings. Sam Lohmann’s Unless As Stone Is emerged from a few years of living with Dante’s sestina, “Al poco giorno e al gran cerchio d’ombra.” He allowed the text to appear in its own new — if irregularly scheduled — contexts. New translations, new scenery, new meanings; new phrases entered the poem (from García Lorca, from Sappho, from strangers and from loved ones) and found their own patterns. What resulted is a serial poem in seven movements, incorporating several strategies of reincorporation. “Quandunque i colli fanno più nera ombra” — “All our oddity operates / on changing verity.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0058.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/unless-as-stone-is/ Brooklyn, NY 04 01 20140101 Lohmann, Sam 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615983928 20 08 20140101 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/unless-as-stone-is 20 08 20140101 02 21.00 USD WORLD urn:uuid:8290cfb2-87dc-47c7-a46a-59ea6fcf6eb3 03 01 01 thoth-work-id urn:uuid:cc73eed0-a1f9-4ad4-b7d8-2394b92765f0 01 thoth-publication-id urn:uuid:8290cfb2-87dc-47c7-a46a-59ea6fcf6eb3 06 10.21983/P3.0058.1.00 01 internal-reference 0058 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Unless As Stone Is 1 A01 Sam Lohmann Sam Lohmann 01 eng 00 40 03 93 DCF 12 DCF B2 Fabulations 10 POE005010 93 DCC B2 Languages+Translations B2 Premodern 20 poetry; Dante; sestina; adaptation 01 06 02 00 03 00 The sestina is a form in which words repeat regularly, intricately, appearing and reappearing in new contexts with new meanings. Sam Lohmann’s Unless As Stone Is emerged from a few years of living with Dante’s sestina, “Al poco giorno e al gran cerchio d’ombra.” He allowed the text to appear in its own new — if irregularly scheduled — contexts. New translations, new scenery, new meanings; new phrases entered the poem (from García Lorca, from Sappho, from strangers and from loved ones) and found their own patterns. What resulted is a serial poem in seven movements, incorporating several strategies of reincorporation. “Quandunque i colli fanno più nera ombra” — “All our oddity operates / on changing verity.” 30 00 The sestina is a form in which words repeat regularly, intricately, appearing and reappearing in new contexts with new meanings. Sam Lohmann’s Unless As Stone Is emerged from a few years of living with Dante’s sestina, “Al poco giorno e al gran cerchio d’ombra.” He allowed the text to appear in its own new — if irregularly scheduled — contexts. New translations, new scenery, new meanings; new phrases entered the poem (from García Lorca, from Sappho, from strangers and from loved ones) and found their own patterns. What resulted is a serial poem in seven movements, incorporating several strategies of reincorporation. “Quandunque i colli fanno più nera ombra” — “All our oddity operates / on changing verity.” 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0058.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/eth-press/ eth press 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/unless-as-stone-is/ Brooklyn, NY 04 01 20140101 Lohmann, Sam 02 WORLD 06 15 9780615983929 03 9780615983929 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25559 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25559/1004536.pdf?sequence=1&isAllowed=y 20 08 20140101 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/27338 20 08 20140101 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354016 20 08 20140101 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/440 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/5781ab46-1132-48b2-b70b-cdc3eaeb2a28/download 20 08 20140101 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/cc73eed0-a1f9-4ad4-b7d8-2394b92765f0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/cc73eed0-a1f9-4ad4-b7d8-2394b92765f0/cc73eed0-a1f9-4ad4-b7d8-2394b92765f0.pdf 20 08 20140101 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845899 29 ZENODO: download the title https://zenodo.org/records/19845899/files/cc73eed0-a1f9-4ad4-b7d8-2394b92765f0_book.pdf 20 08 20140101 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/unless-as-stone-is/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0058.1.00.pdf 20 08 20140101 01 urn:uuid:6cfe508a-3af8-4aa9-bd06-c857f84de99b 03 01 01 thoth-work-id urn:uuid:2f93b300-f147-48f5-95d5-afd0e0161fe6 01 thoth-publication-id urn:uuid:6cfe508a-3af8-4aa9-bd06-c857f84de99b 15 9781953035059 03 9781953035059 06 10.21983/P3.300.1.00 13 2020945542 01 internal-reference 0300 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Interactions Communication and Competition in Late Antiquity and the Early Middle Ages 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows 40 024mrxd33 University of Leeds 01 eng 00 442 03 93 1DS B2 Built Environments 12 HDDM 10 SOC003000 93 3KB 10 HIS037010 B2 History 12 KCU 93 NKD B2 Premodern 93 RGCU 20 early Middle Ages; late Antiquity; Mediterranean; Visigoths; urbanism; Vandals; commerce; Umayyads 01 06 02 00 03 00 This volume is dedicated to eliciting the interactions between localities across late antique and early medieval Europe and the wider Mediterranean. Significant research has been done in recent years to explore how late “Roman” and post-“Roman” cities, towns and other localities communicated vis-à-vis larger structural phenomena, such as provinces, empires, kingdoms, institutions and so on. This research has contributed considerably to our understanding of the place of the city in its context, but tends to portray the city as a necessarily subordinate conduit within larger structures, rather than an entity in itself, or as a hermeneutical object of enquiry. Consequently, not enough research has been committed to examining how local people and communities thought about, engaged with, and struggled against nearby or distant urban neighbors.Urban Interactions addresses this lacuna in urban history by presenting articles that apply a diverse spectrum of approaches, from archaeological investigation to critical analyses of historiographical and historical biases and developmental consideration of antagonisms between ecclesiastical centers. Through these avenues of investigation, this volume elucidates the relationship between the urban centers and their immediate hinterlands and neighboring cities with which they might vie or collaborate. This entanglement and competition, whether subterraneous or explicit across overarching political, religious or other macro categories, is evaluated through a broad geographical range of late “Roman” provinces and post-“Roman” states to maintain an expansive perspective of developmental trends within and about the city. 30 00 This volume is dedicated to eliciting the interactions between localities across late antique and early medieval Europe and the wider Mediterranean. Significant research has been done in recent years to explore how late “Roman” and post-“Roman” cities, towns and other localities communicated vis-à-vis larger structural phenomena, such as provinces, empires, kingdoms, institutions and so on. This research has contributed considerably to our understanding of the place of the city in its context, but tends to portray the city as a necessarily subordinate conduit within larger structures, rather than an entity in itself, or as a hermeneutical object of enquiry. Consequently, not enough research has been committed to examining how local people and communities thought about, engaged with, and struggled against nearby or distant urban neighbors.Urban Interactions addresses this lacuna in urban history by presenting articles that apply a diverse spectrum of approaches, from archaeological investigation to critical analyses of historiographical and historical biases and developmental consideration of antagonisms between ecclesiastical centers. Through these avenues of investigation, this volume elucidates the relationship between the urban centers and their immediate hinterlands and neighboring cities with which they might vie or collaborate. This entanglement and competition, whether subterraneous or explicit across overarching political, religious or other macro categories, is evaluated through a broad geographical range of late “Roman” provinces and post-“Roman” states to maintain an expansive perspective of developmental trends within and about the city. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.300.1.00_frontcover.jpg 1 03 06 10.53288/0300.1.01 1 11 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access 2 03 06 10.53288/0300.1.02 13 25 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Iberian Rivalries 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0300.1.03 27 44 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Ian Wood Ian Wood 40 024mrxd33 University of Leeds Ian Wood taught at the University of Leeds from 1976 to 2015, retiring as professor emeritus. His monographs include The Merovingian Kingdoms (New York: Routledge, 1994), The Missionary Life (New York: Routledge, 2001), and The Modern Origins of the Early Middle Ages (Oxford: Oxford University Press, 2013). His most recent book is The Transformation of the Roman West (Kalamazoo: Arc Humanities Press, 2018). He was elected to the British Academy in 2019. 01 eng 20 00 Open Access Ian Wood 4 03 06 10.53288/0300.1.04 45 65 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “The Innocence of the Dead Crowned You, the Glory of the Triumphant Crowned Me” The Strange Rivalry between Bethlehem and Lyon in "Eusebius Gallicanus" Sermon 11 1 A01 21 0000000290273314 Lisa Kaaren Bailey Lisa Kaaren Bailey 40 03b94tp07 University of Auckland Lisa Kaaren Bailey is a Associate Professor in History, and in Classics and Ancient History at the University of Auckland in New Zealand. She is the author of Christianity’s Quiet Success: The Eusebius Gallicanus Sermon Collection and the Power of the Church in Late Antique Gaul (Notre Dame: University of Notre Dame Press, 2010) and The Religious Worlds of the Laity in Late Antique Gaul (New York & London: Bloomsbury, 2016). 01 eng 20 00 Open Access Lisa Kaaren Bailey 5 03 06 10.53288/0300.1.05 67 108 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tours vs. Bourges The Secular and Ecclesiastical Discourse of Inter-City Relationships in the Accounts of Gregory of Tours 1 A01 Michael Burrows Michael Burrows 40 024mrxd33 University of Leeds Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access Michael Burrows 6 03 06 10.53288/0300.1.06 109 145 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Did All Roads Lead to Córdoba under the Umayyads? 1 A01 Ann Christys Ann Christys Ann Christys is an independent scholar of the Arabic and Latin historiography of Spain from the eighth to eleventh centuries. Her most recent book is Vikings in the South: Voyages to Iberia and the Mediterranean (London: Bloomsbury, 2015). 01 eng 20 00 Open Access Ann Christys 7 03 06 10.53288/0300.1.07 147 180 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Religious Conflict in Roman Nicomedia 1 A01 Dimitris J. Kyrtatas Dimitris J. Kyrtatas 40 04v4g9h31 University of Thessaly Dimitris J. Kyrtatas is Professor of Late Antiquity at the University of Thessaly. He was born in 1952 in Athens and educated in Thessaloniki and London. From 1985 until 2001 he lectured at the University of Crete and in 2002 moved to the University of Thessaly. His main field of research is the social and religious history of the Greek world in the Roman period. He has published many books, including The Social Structure of the Early Christian Communities (New York and London: Verso, 1987) and articles on related topics. 01 eng 20 00 Open Access Dimitris J. Kyrtatas 8 03 06 10.53288/0300.1.08 181 222 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reccopolitani and Other Town Dwellers in the Southern Meseta during the Visigothic Period of State Formation 1 A01 21 0000000341324135 Javier Martínez Jiménez Javier Martínez Jiménez 40 013meh722 University of Cambridge Javier Martínez Jiménez is a Postdoctoral Researcher at the Faculty of Classics at the University of Cambridge, member of the “Impact of the Ancient City” ERC-funded project, and a Postdoctoral By-Fellow at Churchill College. He received his doctorate in archaeology from Oxford University, researching on the continuity of aqueducts in Visigothic and early Islamic Spain, supervised by Bryan Ward-Perkins. He has been in charge of the survey and excavation of the aqueduct of Reccopolis in Spain and the excavation of the late antique complex at Casa Herrera (Mérida). His publications include papers on urbanism in post-Roman Spain, late antique ideas of citizenship and identity, and the continuity and role of aqueducts in the post-Roman period. 01 eng 20 00 Open Access Javier Martínez Jiménez 9 03 06 10.53288/0300.1.09 223 264 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Augusta Emerita in Late Antiquity The Transformation of Its Urban Layout During the Fourth and Fifth Centuries CE 1 A01 21 0000000179033929 Pedro Mateos Cruz Pedro Mateos Cruz Pedro Mateos Cruz is Director of the Institute of Archeology of Mérida. He is currently engaged in research exploring the world of Roman public architecture and is leading projects such as “The Monumental Ensemble of Imperial Worship of Augusta Emerita,” “The Roman theater and amphitheater of Augusta Emerita,” and “The Roman Theater of Medellín.” He also directs research projects on the arch of the Boario forum in Rome and the archaeological excavations at the Contributa Iulia site. 01 eng 20 00 Open Access Pedro Mateos Cruz 10 03 06 10.53288/0300.1.10 265 304 40 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The So-Called “Oriental Quarter” of Ostia Regions III.XVI–VII, a Neighborhood in Late Antiquity 1 A01 Michael Mulryan Michael Mulryan 40 00xkeyj56 University of Kent 40 05a0dhs15 École Normale Supérieure - PSL Michael Mulryan is an Honorary Research Fellow at the University of Kent, and is Associate Researcher at the École Normale Supérieure, Paris. He is interested in late antique Roman urbanism and has edited and contributed to volumes looking at late pagan and early Christian spaces in Rome and Constantinople, field methodology on late antique sites, and the late antique environment. His book Spatial “Christianisation” in Context: Strategic Intramural Building in Rome from the 4th–7th Century A.D. (Oxford: Archaeopress, 2014) focused on the spatial impact and pragmatic location of some early Christian buildings. He was the assistant director and archivist for the Kent section of the Late Antique Ostia field project from 2008 to 2012. 01 eng 20 00 Open Access Michael Mulryan 11 03 06 10.53288/0300.1.11 305 341 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Looking through Landscapes Ideology and Power in the Visigothic Kingdom of Toledo 1 A01 21 0000000260526480 Isabel Sánchez Ramos Isabel Sánchez Ramos 40 02jx3x895 University College London Isabel Sánchez Ramos is an archaeologist currently based at the Institute of Archaeology, University College London under a Marie Skłodowska-Curie Individual Fellowship. She is a specialist in late antiquity archaeology and the early medieval period. Her main line of research is based on understanding landscape transformations of ancient Roman cities in Western Europe from the fourth to the eighth centuries ce (from the collapse of the Roman Empire to the early medieval period). She has received several long-term Ph.D. fellowships and postdoctoral contracts in renowned institutions, such as the Spanish Research Council at Rome, the Centre Camille Jullian at Aix-en-Provence, the University of Barcelona, the Ausonius Institute, and the Institute of Advanced Studies at Paris, among others. Her professional experience spans a range of areas: archaeological heritage management, fieldwork, transferring and organizing R&D activities, public dissemination, and leadership of research projects (e.g., IdaVe Project at Idanha-a-Velha). She has been invited to participate in several congresses, meetings, and various international conferences around Europe. She has published widely in Spanish and across a range of platforms. 01 eng 20 00 Open Access Isabel Sánchez Ramos 12 03 06 10.53288/0300.1.12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Locating Carthage in the Vandal Era 1 A01 Mark Lewis Tizzoni Mark Lewis Tizzoni 40 003yn7c76 Bates College Mark Lewis Tizzoni is an Assistant Professor of Classical and Medieval Studies at Bates College. His research centers on issues of identity, cultural change, and transcultural interactions in the Late Antique and Early Medieval Mediterranean, particularly as witnessed in the Latin poetry of North Africa and Iberia. His teaching focuses on the pre-modern history of Africa and the Mediterranean. He has recently published a chapter on Isidore of Seville’s early reception in the Brill Companion to Isidore of Seville and an article on Eugenius II of Toledo in Visigothic Symposia 2 (visigothicsymposia.org). 01 eng 20 00 Open Access 13 03 06 10.53288/0300.1.13 373 427 55 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Good Neighbors and Good Walls Urban Development and Trade Networks in Late Antique South Gaul 1 A01 21 0000000261080388 Douglas Underwood Douglas Underwood 40 02wn5qz54 University of St Andrews 01 eng 20 00 Open Access Douglas Underwood 14 03 06 10.53288/0300.1.14 429 433 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access 15 03 06 10.53288/0300.1.15 435 437 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Index 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-interactions-communication-and-competition-in-late-antiquity-and-the-early-middle-ages/ Earth, Milky Way 04 01 20201015 Kelly, Michael J. Burrows, Michael 02 WORLD 06 15 9781953035066 03 9781953035066 34 06 10.1093/oso/9780199675562.001.0001 34 06 10.1484/M.HAG-EB.5.106043 34 06 10.4324/9780203037409 34 06 10.1002/9780470754610 34 06 10.1046/j.0963-9462.2002.00108.x 34 06 10.15184/aqy.2019.66 34 06 10.1353/earl.0.0292 34 06 10.2307/j.ctvpj7d4d 34 06 10.1484/m.bat-eb.1.101290 34 06 10.2307/j.ctvz937ss 34 06 10.1163/ej.9789004153585.i-549 34 06 10.1017/cbo9780511496318 34 06 10.2307/j.ctv9b2txr 34 06 10.3828/9780-85323-368-8 34 06 10.1484/M.HAMA-EB.5.114234 34 06 10.1017/cbo9780511686863 34 06 10.1515/9781942401445.44 34 06 10.4159/DLCL.eusebius-ecclesiastical_history.1926 34 06 10.1111/j.0963-9462.2003.00119.x 34 06 10.14375/NP.9782701010663 34 06 10.2307/j.ctt3fgz26 34 06 10.1353/jla.2012.0006 34 06 10.1017/S0017816003000452 34 06 10.1111/j.1467-9809.1997.tb00481.x 34 06 10.7208/chicago/9780226076386.001.0001 34 06 10.1080/00071310050131602 34 06 10.1111/j.1468-0254.2006.00179.x 34 06 10.1353/jla.0.0004 34 06 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10.3406/galia.2006.3281 34 06 10.1017/S1047759400013982 34 06 10.1484/m.bat-eb.1.101290 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035051 20 08 20201015 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/urban-interactions-communication-and-competition-in-late-antiquity-and-the-early-middle-ages 20 08 20201015 02 28.00 USD WORLD urn:uuid:504ce904-55f2-4a46-abe1-4d664572f15f 03 01 01 thoth-work-id urn:uuid:2f93b300-f147-48f5-95d5-afd0e0161fe6 01 thoth-publication-id urn:uuid:504ce904-55f2-4a46-abe1-4d664572f15f 15 9781953035066 03 9781953035066 06 10.21983/P3.300.1.00 13 2020945542 01 internal-reference 0300 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Interactions Communication and Competition in Late Antiquity and the Early Middle Ages 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows 40 024mrxd33 University of Leeds 01 eng 00 442 03 93 1DS B2 Built Environments 12 HDDM 10 SOC003000 93 3KB 10 HIS037010 B2 History 12 KCU 93 NKD B2 Premodern 93 RGCU 20 early Middle Ages; late Antiquity; Mediterranean; Visigoths; urbanism; Vandals; commerce; Umayyads 01 06 02 00 03 00 This volume is dedicated to eliciting the interactions between localities across late antique and early medieval Europe and the wider Mediterranean. Significant research has been done in recent years to explore how late “Roman” and post-“Roman” cities, towns and other localities communicated vis-à-vis larger structural phenomena, such as provinces, empires, kingdoms, institutions and so on. This research has contributed considerably to our understanding of the place of the city in its context, but tends to portray the city as a necessarily subordinate conduit within larger structures, rather than an entity in itself, or as a hermeneutical object of enquiry. Consequently, not enough research has been committed to examining how local people and communities thought about, engaged with, and struggled against nearby or distant urban neighbors.Urban Interactions addresses this lacuna in urban history by presenting articles that apply a diverse spectrum of approaches, from archaeological investigation to critical analyses of historiographical and historical biases and developmental consideration of antagonisms between ecclesiastical centers. Through these avenues of investigation, this volume elucidates the relationship between the urban centers and their immediate hinterlands and neighboring cities with which they might vie or collaborate. This entanglement and competition, whether subterraneous or explicit across overarching political, religious or other macro categories, is evaluated through a broad geographical range of late “Roman” provinces and post-“Roman” states to maintain an expansive perspective of developmental trends within and about the city. 30 00 This volume is dedicated to eliciting the interactions between localities across late antique and early medieval Europe and the wider Mediterranean. Significant research has been done in recent years to explore how late “Roman” and post-“Roman” cities, towns and other localities communicated vis-à-vis larger structural phenomena, such as provinces, empires, kingdoms, institutions and so on. This research has contributed considerably to our understanding of the place of the city in its context, but tends to portray the city as a necessarily subordinate conduit within larger structures, rather than an entity in itself, or as a hermeneutical object of enquiry. Consequently, not enough research has been committed to examining how local people and communities thought about, engaged with, and struggled against nearby or distant urban neighbors.Urban Interactions addresses this lacuna in urban history by presenting articles that apply a diverse spectrum of approaches, from archaeological investigation to critical analyses of historiographical and historical biases and developmental consideration of antagonisms between ecclesiastical centers. Through these avenues of investigation, this volume elucidates the relationship between the urban centers and their immediate hinterlands and neighboring cities with which they might vie or collaborate. This entanglement and competition, whether subterraneous or explicit across overarching political, religious or other macro categories, is evaluated through a broad geographical range of late “Roman” provinces and post-“Roman” states to maintain an expansive perspective of developmental trends within and about the city. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.300.1.00_frontcover.jpg 1 03 06 10.53288/0300.1.01 1 11 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access 2 03 06 10.53288/0300.1.02 13 25 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Iberian Rivalries 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0300.1.03 27 44 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Ian Wood Ian Wood 40 024mrxd33 University of Leeds Ian Wood taught at the University of Leeds from 1976 to 2015, retiring as professor emeritus. His monographs include The Merovingian Kingdoms (New York: Routledge, 1994), The Missionary Life (New York: Routledge, 2001), and The Modern Origins of the Early Middle Ages (Oxford: Oxford University Press, 2013). His most recent book is The Transformation of the Roman West (Kalamazoo: Arc Humanities Press, 2018). He was elected to the British Academy in 2019. 01 eng 20 00 Open Access Ian Wood 4 03 06 10.53288/0300.1.04 45 65 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “The Innocence of the Dead Crowned You, the Glory of the Triumphant Crowned Me” The Strange Rivalry between Bethlehem and Lyon in "Eusebius Gallicanus" Sermon 11 1 A01 21 0000000290273314 Lisa Kaaren Bailey Lisa Kaaren Bailey 40 03b94tp07 University of Auckland Lisa Kaaren Bailey is a Associate Professor in History, and in Classics and Ancient History at the University of Auckland in New Zealand. She is the author of Christianity’s Quiet Success: The Eusebius Gallicanus Sermon Collection and the Power of the Church in Late Antique Gaul (Notre Dame: University of Notre Dame Press, 2010) and The Religious Worlds of the Laity in Late Antique Gaul (New York & London: Bloomsbury, 2016). 01 eng 20 00 Open Access Lisa Kaaren Bailey 5 03 06 10.53288/0300.1.05 67 108 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Tours vs. Bourges The Secular and Ecclesiastical Discourse of Inter-City Relationships in the Accounts of Gregory of Tours 1 A01 Michael Burrows Michael Burrows 40 024mrxd33 University of Leeds Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access Michael Burrows 6 03 06 10.53288/0300.1.06 109 145 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Did All Roads Lead to Córdoba under the Umayyads? 1 A01 Ann Christys Ann Christys Ann Christys is an independent scholar of the Arabic and Latin historiography of Spain from the eighth to eleventh centuries. Her most recent book is Vikings in the South: Voyages to Iberia and the Mediterranean (London: Bloomsbury, 2015). 01 eng 20 00 Open Access Ann Christys 7 03 06 10.53288/0300.1.07 147 180 34 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Religious Conflict in Roman Nicomedia 1 A01 Dimitris J. Kyrtatas Dimitris J. Kyrtatas 40 04v4g9h31 University of Thessaly Dimitris J. Kyrtatas is Professor of Late Antiquity at the University of Thessaly. He was born in 1952 in Athens and educated in Thessaloniki and London. From 1985 until 2001 he lectured at the University of Crete and in 2002 moved to the University of Thessaly. His main field of research is the social and religious history of the Greek world in the Roman period. He has published many books, including The Social Structure of the Early Christian Communities (New York and London: Verso, 1987) and articles on related topics. 01 eng 20 00 Open Access Dimitris J. Kyrtatas 8 03 06 10.53288/0300.1.08 181 222 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reccopolitani and Other Town Dwellers in the Southern Meseta during the Visigothic Period of State Formation 1 A01 21 0000000341324135 Javier Martínez Jiménez Javier Martínez Jiménez 40 013meh722 University of Cambridge Javier Martínez Jiménez is a Postdoctoral Researcher at the Faculty of Classics at the University of Cambridge, member of the “Impact of the Ancient City” ERC-funded project, and a Postdoctoral By-Fellow at Churchill College. He received his doctorate in archaeology from Oxford University, researching on the continuity of aqueducts in Visigothic and early Islamic Spain, supervised by Bryan Ward-Perkins. He has been in charge of the survey and excavation of the aqueduct of Reccopolis in Spain and the excavation of the late antique complex at Casa Herrera (Mérida). His publications include papers on urbanism in post-Roman Spain, late antique ideas of citizenship and identity, and the continuity and role of aqueducts in the post-Roman period. 01 eng 20 00 Open Access Javier Martínez Jiménez 9 03 06 10.53288/0300.1.09 223 264 42 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Augusta Emerita in Late Antiquity The Transformation of Its Urban Layout During the Fourth and Fifth Centuries CE 1 A01 21 0000000179033929 Pedro Mateos Cruz Pedro Mateos Cruz Pedro Mateos Cruz is Director of the Institute of Archeology of Mérida. He is currently engaged in research exploring the world of Roman public architecture and is leading projects such as “The Monumental Ensemble of Imperial Worship of Augusta Emerita,” “The Roman theater and amphitheater of Augusta Emerita,” and “The Roman Theater of Medellín.” He also directs research projects on the arch of the Boario forum in Rome and the archaeological excavations at the Contributa Iulia site. 01 eng 20 00 Open Access Pedro Mateos Cruz 10 03 06 10.53288/0300.1.10 265 304 40 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The So-Called “Oriental Quarter” of Ostia Regions III.XVI–VII, a Neighborhood in Late Antiquity 1 A01 Michael Mulryan Michael Mulryan 40 00xkeyj56 University of Kent 40 05a0dhs15 École Normale Supérieure - PSL Michael Mulryan is an Honorary Research Fellow at the University of Kent, and is Associate Researcher at the École Normale Supérieure, Paris. He is interested in late antique Roman urbanism and has edited and contributed to volumes looking at late pagan and early Christian spaces in Rome and Constantinople, field methodology on late antique sites, and the late antique environment. His book Spatial “Christianisation” in Context: Strategic Intramural Building in Rome from the 4th–7th Century A.D. (Oxford: Archaeopress, 2014) focused on the spatial impact and pragmatic location of some early Christian buildings. He was the assistant director and archivist for the Kent section of the Late Antique Ostia field project from 2008 to 2012. 01 eng 20 00 Open Access Michael Mulryan 11 03 06 10.53288/0300.1.11 305 341 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Looking through Landscapes Ideology and Power in the Visigothic Kingdom of Toledo 1 A01 21 0000000260526480 Isabel Sánchez Ramos Isabel Sánchez Ramos 40 02jx3x895 University College London Isabel Sánchez Ramos is an archaeologist currently based at the Institute of Archaeology, University College London under a Marie Skłodowska-Curie Individual Fellowship. She is a specialist in late antiquity archaeology and the early medieval period. Her main line of research is based on understanding landscape transformations of ancient Roman cities in Western Europe from the fourth to the eighth centuries ce (from the collapse of the Roman Empire to the early medieval period). She has received several long-term Ph.D. fellowships and postdoctoral contracts in renowned institutions, such as the Spanish Research Council at Rome, the Centre Camille Jullian at Aix-en-Provence, the University of Barcelona, the Ausonius Institute, and the Institute of Advanced Studies at Paris, among others. Her professional experience spans a range of areas: archaeological heritage management, fieldwork, transferring and organizing R&D activities, public dissemination, and leadership of research projects (e.g., IdaVe Project at Idanha-a-Velha). She has been invited to participate in several congresses, meetings, and various international conferences around Europe. She has published widely in Spanish and across a range of platforms. 01 eng 20 00 Open Access Isabel Sánchez Ramos 12 03 06 10.53288/0300.1.12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Locating Carthage in the Vandal Era 1 A01 Mark Lewis Tizzoni Mark Lewis Tizzoni 40 003yn7c76 Bates College Mark Lewis Tizzoni is an Assistant Professor of Classical and Medieval Studies at Bates College. His research centers on issues of identity, cultural change, and transcultural interactions in the Late Antique and Early Medieval Mediterranean, particularly as witnessed in the Latin poetry of North Africa and Iberia. His teaching focuses on the pre-modern history of Africa and the Mediterranean. He has recently published a chapter on Isidore of Seville’s early reception in the Brill Companion to Isidore of Seville and an article on Eugenius II of Toledo in Visigothic Symposia 2 (visigothicsymposia.org). 01 eng 20 00 Open Access 13 03 06 10.53288/0300.1.13 373 427 55 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Good Neighbors and Good Walls Urban Development and Trade Networks in Late Antique South Gaul 1 A01 21 0000000261080388 Douglas Underwood Douglas Underwood 40 02wn5qz54 University of St Andrews 01 eng 20 00 Open Access Douglas Underwood 14 03 06 10.53288/0300.1.14 429 433 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access 15 03 06 10.53288/0300.1.15 435 437 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Index 1 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly is Visiting Assistant Professor in Comparative Literature and Judaic Studies at Binghamton University (SUNY) and Director of the international, open-access project Networks and Neighbours (https://networksandneighbours.org/). His teaching and research focus on the relationship between literature and history, critical theory, and the philosophy of history. His recent publications include the volumes Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018), edited with Arthur Rose, and, with Dominique Bauer, The Imagery of Interior Spaces (Earth: punctum books, 2019). He is currently adapting two novels for the stage, with their author, Ariana Harwicz. 2 B01 Michael Burrows Michael Burrows Michael Burrows completed his Ph.D. in Medieval History at the University of Leeds. His doctoral thesis is an investigation of violence in the western provinces of the Roman Empire and the successor states in late antiquity. The particular focus of the thesis is on violence as an expression of power in social relationships, and what episodes of violence can reveal about life and agency among the lower classes in late antiquity/the Early Middle Ages. He has worked closely with his peers at the University of Leeds on the Networks and Neighbours project (https://networksandneighbours.org/) and with the Texts and Identities series. He has taught undergraduate modules on late ancient and medieval Europe and the Mediterranean at the University of Leeds, and has delivered papers on a range of topics, from the Roman Principate to Merovingian Gaul. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-interactions-communication-and-competition-in-late-antiquity-and-the-early-middle-ages/ Earth, Milky Way 04 01 20201015 Kelly, Michael J. Burrows, Michael 02 WORLD 06 15 9781953035059 03 9781953035059 34 06 10.1093/oso/9780199675562.001.0001 34 06 10.1484/M.HAG-EB.5.106043 34 06 10.4324/9780203037409 34 06 10.1002/9780470754610 34 06 10.1046/j.0963-9462.2002.00108.x 34 06 10.15184/aqy.2019.66 34 06 10.1353/earl.0.0292 34 06 10.2307/j.ctvpj7d4d 34 06 10.1484/m.bat-eb.1.101290 34 06 10.2307/j.ctvz937ss 34 06 10.1163/ej.9789004153585.i-549 34 06 10.1017/cbo9780511496318 34 06 10.2307/j.ctv9b2txr 34 06 10.3828/9780-85323-368-8 34 06 10.1484/M.HAMA-EB.5.114234 34 06 10.1017/cbo9780511686863 34 06 10.1515/9781942401445.44 34 06 10.4159/DLCL.eusebius-ecclesiastical_history.1926 34 06 10.1111/j.0963-9462.2003.00119.x 34 06 10.14375/NP.9782701010663 34 06 10.2307/j.ctt3fgz26 34 06 10.1353/jla.2012.0006 34 06 10.1017/S0017816003000452 34 06 10.1111/j.1467-9809.1997.tb00481.x 34 06 10.7208/chicago/9780226076386.001.0001 34 06 10.1080/00071310050131602 34 06 10.1111/j.1468-0254.2006.00179.x 34 06 10.1353/jla.0.0004 34 06 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10.3406/galia.2006.3281 34 06 10.1017/S1047759400013982 34 06 10.1484/m.bat-eb.1.101290 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/42581 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/42581/0300.1.00.pdf 20 08 20201015 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33509 20 08 20201015 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv19cwdm9 20 08 20201015 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/646 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/524f194f-45e0-4db8-bc3d-1e3cb6b7c5be/download 20 08 20201015 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Urban_Interactions/7AWVEAAAQBAJ 20 08 20201015 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2f93b300-f147-48f5-95d5-afd0e0161fe6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2f93b300-f147-48f5-95d5-afd0e0161fe6/2f93b300-f147-48f5-95d5-afd0e0161fe6.pdf 20 08 20201015 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848546 29 ZENODO: download the title https://zenodo.org/records/19848546/files/2f93b300-f147-48f5-95d5-afd0e0161fe6_book.pdf 20 08 20201015 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/urban-interactions-communication-and-competition-in-late-antiquity-and-the-early-middle-ages/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.300.1.00.pdf 20 08 20201015 01 urn:uuid:29167c6a-7c97-4132-b6a8-f78aac949854 03 01 01 thoth-work-id urn:uuid:3dfb0d61-daba-406a-9e4a-d637de40e22d 01 thoth-publication-id urn:uuid:29167c6a-7c97-4132-b6a8-f78aac949854 15 9781685712402 03 9781685712402 06 10.53288/0532.1.00 13 2026931294 01 internal-reference 0532 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 15 mm 03 1.5 cm 03 0.61 in 08 357 gr 08 12.6 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Liquefaction Rethinking the Relationship between Land and Sea 1 B01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 B01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 B01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 00 268 03 B2 Biosphere 93 RNT 10 SOC002010 93 3ACFD B2 Built Environments 10 SOC026030 93 JHMC 93 RNPG 20 climate emergency; anthropocene; fluid politics; coastal geography; reclamation; sea level rise; wetlands 01 06 02 00 03 00 From classical times until today, cities have been conceived in the western imagination as ideally confined to the fixities of the land, a space defined in opposition to the fluxes of the sea. Whereas solid land afforded a durable platform for the establishment of property and citizenship, the fluid sea allowed markets---isolated within the secure boundaries of cities---to be connected across the globe though navigation.Urban Liquefaction: Rethinking the Relationship between Land and Sea attends to the concurrent tensions between solidity and fluidity, permanence and impermanence, and substance and change that remain at the core of the western intellectual tradition, often dividing what is perceived as social from what is perceived as natural in life. Sea level rise poses unprecedented threats to this oppositional relationship, forcing us to reconsider the tension between solidity and fluidity in the design of the built environment. Nearly ten percent of all major cities are likely to be impacted by sea level rise in the coming decades, compromising the necessary infrastructure on which urban life depends. In reality, urban landscapes have been continually in flux, which becomes dramatically visible to urban dwellers mostly in catastrophic events such as earthquakes, tsunamis, alluvions, sinkholes and, above all, soil liquefaction.Urban Liquefaction gathers contributions from scholars and practitioners working across continents and fields interested in urban life in (and after) the Anthropocene, including anthropology, archaeology, art, architecture, design, human geography, and science studies, to open up an inquiry into these categorical tensions and to speculate on alternative futures for the built environment. 30 00 From classical times until today, cities have been conceived in the western imagination as ideally confined to the fixities of the land, a space defined in opposition to the fluxes of the sea. Whereas solid land afforded a durable platform for the establishment of property and citizenship, the fluid sea allowed markets---isolated within the secure boundaries of cities---to be connected across the globe though navigation.Urban Liquefaction: Rethinking the Relationship between Land and Sea attends to the concurrent tensions between solidity and fluidity, permanence and impermanence, and substance and change that remain at the core of the western intellectual tradition, often dividing what is perceived as social from what is perceived as natural in life. Sea level rise poses unprecedented threats to this oppositional relationship, forcing us to reconsider the tension between solidity and fluidity in the design of the built environment. Nearly ten percent of all major cities are likely to be impacted by sea level rise in the coming decades, compromising the necessary infrastructure on which urban life depends. In reality, urban landscapes have been continually in flux, which becomes dramatically visible to urban dwellers mostly in catastrophic events such as earthquakes, tsunamis, alluvions, sinkholes and, above all, soil liquefaction.Urban Liquefaction gathers contributions from scholars and practitioners working across continents and fields interested in urban life in (and after) the Anthropocene, including anthropology, archaeology, art, architecture, design, human geography, and science studies, to open up an inquiry into these categorical tensions and to speculate on alternative futures for the built environment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0532.1.00_frontcover.jpg 1 03 06 10.53288/0532.1.01 1 12 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 2 03 06 10.53288/0532.1.02 13 15 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 A01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 3 03 06 10.53288/0532.1.03 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introducing More-Than-Solid Urbanity 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 A01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 4 03 06 10.53288/0532.1.04 41 45 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 1 Shifting Grounds 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 5 03 06 10.53288/0532.1.05 47 58 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 City Wetlands Unsettling Topography of Urban Liquefaction 1 A01 21 0000000249433929 Paolo Gruppuso Paolo Gruppuso 40 05591te55 Ludwig-Maximilians-Universität München Paolo Gruppuso is an anthropologist interested in nature conservation, urban ecologies, and the environmental and social history of wetlands and land reclamation. He obtained his PhD in social anthropology from the University of Aberdeen in 2016 with a dissertation on environmental contestations in the protected wetlands of Agro Pontino, Italy. Since then he has held positions at different academic institutions across Italy and Germany. He is currently conducting the project Rethinking Wetland, funded by the German Research Foundation at the Rachel Carson Center for Environment and Society (LMU) in Munich. 01 eng 20 00 Open Access Paolo Gruppuso 6 03 06 10.53288/0532.1.06 59 69 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building on Shifting Ground Liquescence in an Arctic River Delta 1 A01 21 0000000309147060 Franz Krause Franz Krause Professor of Environmental Anthropology 40 00rcxh774 University of Cologne Franz Krause is professor of environmental anthropology at the University of Cologne, interested in the role of water in society and culture. He has conducted research in northern Finland, western England, Estonia, and the Gwich’in and Inuvialuit Settlement Regions in Canada. Krause is coeditor of Delta Life (Berghahn, 2021) and Amphibious Anthropologies (Washington University Press, 2025), coauthor of Deltawelten/Delta Worlds (Reimer, 2022) and Environmental Anthropology (Universitätstaschenbuch, 2023), and author of Thinking Like a River (transcript, 2023). 01 eng 20 00 Open Access Franz Krause 7 03 06 10.53288/0532.1.07 71 82 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reclamation from Below Urban Undergrounds as Geosocial Formations 1 A01 21 0000000269537231 Germain Meulemans Germain Meulemans 40 00675rp98 Centre National de la Recherche Scientifique Germain Meulemans is an anthropologist at Centre Alexandre-Koyré (CNRS) in Paris, working at the intersection of environmental anthropology and science and technology studies. He obtained his PhD from the Universities of Aberdeen and Liège in 2017, after which he held postdoctoral research fellowships at the Ile-de-France institute for science and technology studies (IFRIS), at Sciences Po Paris, and at the University of Grenoble’s School of Urbanism His current research focuses on the significance of urban soils in the soil sciences, urban planning, and gardening activism, and on the development of experimental, collective ethnographies for addressing the politics of urban surfacing. He often works alongside artists, science historians, urbanists, and architects. Meulemans is coeditor of Back to the Ground: Knowledge, Politics and Practices of Remaking Earth Strata (2025), and of a special issue of the journal Revue d’anthropologie des connaissances titled “Soils, a New Frontier for Environmental Knowledge and Policies” (2020). 01 eng 20 00 Open Access Germain Meulemans 8 03 06 10.53288/0532.1.08 83 97 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Washed-In and Washed-Out Livelihoods Shifting Grounds in a Former Fishing Colony 1 A01 21 0000000275986949 Luciana Lang Luciana Lang Luciana Lang is an anthropologist working in the broad area of socioecological anthropology in urban contexts. Her research interests include age-friendly cities, natural and cultural heritage, and community use of green and public spaces. As a research associate at the University of Manchester with MUARG (Manchester Urban Ageing Research Group), she investigated the role of religious spaces in the age-friendly agenda in Greater Manchester. Lang’s doctoral research explored the relationship between an urban fishing community and its surrounding mangroves in Rio de Janeiro, focusing on subsequent transformations as other actors and substances entered that environment, such as plastic, raw sewage, bacteria, oil, new legislations, and institutions. This dialogue between urban communities, the environment, and policymakers informs her research today. In addition to ethnographic methods, she employs map-making techniques, oral histories, and photo-elicitation to tap into people’s perceptions of changing landscapes. 20 00 Open Access Luciana Lang 9 03 06 10.53288/0532.1.09 101 104 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 2 Life at the Shoreline 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 10 03 06 10.53288/0532.1.10 105 116 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unthinking Coastlines 1 A01 21 0000000276878325 Lindsay Bremner Lindsay Bremner Director of Research and Knowledge Exchange in the School of Architecture + Cities 40 04ycpbx82 University of Westminster Lindsay Bremner is a research architect whose current work focuses on human–nonhuman–monsoonal entanglements in oceanic worlds. Between 2016 and 2021 she led the research project Monsoon Assemblages, funded by the European Research Council (ERC). From 2022 to 2024 she led the project Reimagining the Good City from Ennore Creek, funded by British Academy, and held an ERC/UKRI Proof of Concept grant Climate Cartographics. Bremner began her academic and professional life in Johannesburg, South Africa, where she published, lectured, and exhibited widely on the transformation of Johannesburg after apartheid. She taught architecture at the University of the Witwatersrand in Johannesburg, at Temple University in Philadelphia, and at MIT as a visiting professor, before taking up her current post as professor of architecture at the University of Westminster in London, where she is director of Research and Knowledge Exchange in the School of Architecture + Cities. Bremner holds a bachelor’s in architecture from the University of Cape Town, and both a master’s and a doctorate in architecture from the University of the Witwatersrand. 20 00 Open Access Lindsay Bremner 11 03 06 10.53288/0532.1.11 117 129 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Between Anchorage and Collapse Knots, Traces, and Surfaces in a Lacustrian Village in Benin 1 A01 21 000000025672218X Riccardo Ciavolella Riccardo Ciavolella Director of the Laboratoire d’Anthropologie Politique 40 02d9dg697 School for Advanced Studies in the Social Sciences Riccardo Ciavolella (CNRS, France) is the director of the Laboratoire d’Anthropologie Politique at the School for Advanced Studies in the Social Sciences (EHESS), Paris, where he teaches political anthropology. His ethnographic work mainly focuses on the forms and meanings of politics among marginalized communities in West Africa and the relationship between their being-in-the-world and global crises and ecological, economic, and political transformations. He also writes about the place of anthropology between politics, imagination, and knowledge. He is the author of ethnographic monographs, theoretical essays, handbooks of political anthropology, exhibit catalogs, novels, and children’s books. 2 A01 21 0000000278291851 Armelle Choplin Armelle Choplin Professor of Geography and Urban Planning 40 01swzsf04 University of Geneva Armelle Choplin is professor of geography and urban planning at the University of Geneva. Grounded in long fieldwork in Africa, her research explores how cities are produced and experienced in the Global South, especially in Africa. She currently carries out research on the construction boom, the cement industry, and the political economy of concrete in Africa. She has recently published Matière Grise de l’urbain, la vie du ciment en Afrique (MétisPresses, 2020) and Concrete City, Material Flows and Urbanization in West Africa (Wiley, 2023). 01 eng 20 00 Open Access Riccardo Ciavolella and Armelle Choplin 12 03 06 10.53288/0532.1.12 131 143 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Elastic City 1 A01 21 0000000184230011 Lukas Ley Lukas Ley 40 02mavc002 Max Planck Institute for Social Anthropology Lukas Ley is an environmental and urban anthropologist working at the Max Planck Institute for Social Anthropology in Halle, Germany, where he leads an Emmy Noether research group on the infrastructural lives of sand in the Indian Ocean world, funded by DFG (Deutsche Forschungsgemeinschaft). His research is broadly concerned with marginalization, temporality, and the material environment within urban landscapes. His current research projects the social life of sand and other sediment after extraction and the management of the polluted seabed of Marseille, France. Ley’s first book, Building on Borrowed Time: Rising Seas and Failing Infrastructure in Semarang (University of Minnesota Press, 2021), was awarded the Social Science Prize by European Association for Southeast Asian Studies and received an honorable mention for the Harry J. Benda Prize of the Association for Asian Studies. 01 eng 20 00 Open Access Lukas Ley 13 03 06 10.53288/0532.1.13 145 156 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liquefying Concrete Building, Dwelling, and Thinking at the Shoreline 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 20 00 Open Access Cristián Simonetti 14 03 06 10.53288/0532.1.14 159 163 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 3 Emerging Lands 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 15 03 06 10.53288/0532.1.15 165 176 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean Urbanization and the Dissolution of the Polis 1 A01 21 0009000796420032 Isabelle Simpson Isabelle Simpson Isabelle Simpson obtained her PhD in geography from McGill University in 2022. Her research examines projects to build private cities financed by venture investors and how they take advantage of the financial and political opportunities offered by special economic zones and new technologies, such as blockchain. In addition to academic publications, Isabelle has written for Rest of World and Cabinet Magazine. She has been quoted in several media, including the Los Angeles Times, the New Republic, and NBC News. She currently works at a multinational technology company. 20 00 Open Access Isabelle Simpson 16 03 06 10.53288/0532.1.16 177 191 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Solidification and Liquefaction Accounts from the Bengal Delta 1 A01 21 0000000169418710 Martin Hříbek Martin Hříbek Assistant Professor in Bengali and Indian studies at the Institute of Asian Studies 40 024d6js02 Charles University Martin Hříbek is an assistant professor in Bengali and Indian studies at the Institute of Asian Studies, Faculty of Arts, Charles University in Prague, where he formerly studied Indian philology and ethnology. Besides his alma mater in Prague, he was previously affiliated to the Department of Sociology, Calcutta University, India (2001–2004) and to the Monash Asia Institute, Monash University, Melbourne, Australia (Fall 2014). His research interests include Bengali language and literature, anthropology and sociology of India, Indian nationalism, and the Indo-Pacific. 01 eng 20 00 Open Access Martin Hříbek 17 03 06 10.53288/0532.1.17 193 211 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Shape of Fluid Cities An Archaeologist’s Guide to Amphibious Living 1 A01 21 0000000315136958 Michael Leadbetter Michael Leadbetter 40 052gg0110 University of Oxford Michael Leadbetter is Clarendon Scholar and a doctoral student at the School of Archaeology, University of Oxford. His research focuses on the development of urbanism and settlement patterns across Southeast Asia, and on how archaeology interacts with the social sciences and natural history. Leadbetter teaches archaeology and anthropology at Oxford, and holds the Cyril and Philis Long Fellowship in Social Sciences at Queen’s College Oxford. He is co-lead of the Empowering Heritage with Data project, and a member of the SXNCH project (Sites at the Intersection of Natural and Cultural Heritage), funded by the UK Economic and Social Research Council (ESRC) and based in the School of Geography and the Environment, University of Oxford. Previously, he was head tutor of Asian studies at the University of Sydney, and held the Evans Fellowship in Social Anthropology at the University of Cambridge. 01 eng 20 00 Open Access Michael Paul Leadbetter 18 03 06 10.53288/0532.1.18 215 218 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 4 Rivers and Floods 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 19 03 06 10.53288/0532.1.19 219 230 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Material Flows and the Strata-Producing City 1 A01 21 0000000293750753 Matt Edgeworth Matt Edgeworth Honorary Visiting Research Fellow in Archaeology 40 04h699437 University of Leicester Matt Edgeworth is honorary visiting research fellow in archaeology at the University of Leicester, UK, and works as a field archaeologist in the commercial domain. He is the author of Fluid Pasts: Archaeology of Flow (Bloomsbury, 2011). His research interests include the archaeology of rivers, urban stratigraphy, waste landscapes, and the ecological effects of anthropogenic strata that now cover large parts of Earth’s land surfaces. 01 eng 20 00 Open Access Matt Edgeworth 20 03 06 10.53288/0532.1.20 231 242 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Ownership of Land to Care for Water Some Lessons from a Flooded Costa Blanca 1 A01 21 0000000206121159 Ester Gisbert Alemany Ester Gisbert Alemany Research Fellow at the Department of Graphic Expression, Theory and Design 40 05t8bcz72 University of Alicante Ester Gisbert Alemany is an architect and research fellow at the Department of Graphic Expression, Theory and Design of the University of Alicante, Spain. After obtaining a master’s of research in social anthropology from the University of Aberdeen, where she was research fellow of the research project Knowing from the Inside: Anthropology, Art, Architecture and Design, she gained her PhD in architecture (2022) with research on the forces and forms of urbanization related to tourism in the Mediterranean. She is founder and partner in the landscape architecture studio Drassana, based in Alicante. 01 eng 20 00 Open Access Ester Gisbert Alemany 21 03 06 10.53288/0532.1.21 243 253 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Recomposing Lagoons and Hills in Rio de Janeiro City Center Speculations, Alternative Pasts, and City-Making 1 A01 21 0000000154530814 Zoy Anastassakis Zoy Anastassakis Associate Researcher 40 043ft3840 Centre for Research in Anthropology Zoy Anastassakis is a designer, and holds master’s and PhD degrees in anthropology. From 2016 to 2018 she was director of the College of Industrial Design (ESDI), State University of Rio de Janeiro, Brazil (UERJ), where, since 2012, she has worked as associate professor. At ESDI, she coordinates the Laboratory of Design and Anthropology (LaDA). She is an associate researcher at the Centre for Research in Anthropology (CRIA) in Lisbon, Portugal. Together with Marco Martins, she is coauthor of Everyday Acts of Design: Learning in Times of Emergency (2022), published in Bloomsbury’s series Design in Dark Times. 2 A01 Caio Calafate Caio Calafate 40 0149j8908 Universidade Santa Úrsula Caio Calafate is an architect. He graduated from the Catholic University of Rio de Janeiro (PUC-Rio) in 2010, and holds a master’s degree in architectural design from the same institution (2015). In 2022 he gained a PhD from the Postgraduate Program in Design at the College of Industrial Design (PPD/ESDI), State University of Rio de Janeiro (UERJ). His dissertation, “Thinking Ground as an Atlas,” was jointly supervised by Zoy Anastassakis and Gabriel Schvarsberg. He is a founding partner of gru.a (group of architects), a studio based in Rio de Janeiro, which, since its formation in 2013, has developed projects and works of different scales and natures, with a special interest in the intersection between architecture and arts. Since 2015, Calafate has been teaching at Santa Ursula University, Rio de Janeiro. 3 A01 21 0009000432166846 Paula de Oliveira Camargo Paula de Oliveira Camargo Associate Researcher at the Laboratory of Design and Anthropology 40 0198v2949 Rio de Janeiro State University Paula de Oliveira Camargo graduated in architecture and urbanism at the Federal University of Rio de Janeiro (UFRJ) in 2000. She was awarded a master’s degree in history, politics, and cultural heritage from the School of Social Sciences at the Getulio Vargas Foundation (FGV) in 2011, and a PhD in design from the Postgraduate Program in Design at the College of Industrial Design (PPD/ESDI), State University of Rio de Janeiro (UERJ), in 2022. Her dissertation, “Times and Crossings: Weaving Lines from Centro Carioca de Design,” experiments with the act of writing, mingling historical, political, and discursive aspects of the Carioca Design Centre (CCD) in Rio de Janeiro, where she works, with essays and articles written over the past five years. Paula is the author of As Cidades, a Cidade: Política e Arquitetura no Rio de Janeiro, (The cities, the city: Politics and architecture in Rio de Janeiro) and coeditor of Design e/é Patrimônio (Design and/is heritage), both from 2012. She has been an associate researcher at the Laboratory of Design and Anthropology (LaDA) at ESDI/UERJ since 2017. 01 eng 20 00 Open Access Zoy Anastassakis, Caio Calafate, and Paula de Oliveira Camargo 22 03 06 10.53288/0532.1.22 255 262 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-liquefaction-rethinking-the-relationship-between-land-and-sea/ Earth, Milky Way 04 01 20260128 Cristián Simonetti, Michel Lussault, and Tim Ingold 02 WORLD 06 15 9781685712419 03 9781685712419 06 15 9781685713058 03 9781685713058 34 06 10.21983/P3.0014.1.00 34 06 10.1111/hith.12044 34 06 10.1038/415023a 34 06 10.1177/02632764211030990 34 06 10.1177/02632764211030977 34 06 10.1177/02632764211038669 34 06 10.3390/w14030416 34 06 10.14506/ca33.2.08 34 06 10.1177/02632764211030996 34 06 10.1111/amet.13051 34 06 10.1177/0263276416688946 34 06 10.6092/issn.2038-3460/17251 34 06 10.1177/02632764211030990 34 06 10.1177/0309132519863486 34 06 10.3917/commu.105.0149 34 06 10.1177/02632764211030997 34 06 10.1080/13604813.2011.595110 34 06 10.1080/00141844.2019.1604557 34 06 10.1177/2514848619880130 34 06 10.2495/DN080301 34 06 10.13133/2532-6562_3.5.14562 34 06 10.14318/hau4.3.002 34 06 10.1068/a40156 34 06 10.2752/175183510X 34 06 10.1177/0263276417730601 34 06 10.1016/j.geoforum.2009.05.006 34 06 10.1177/20438206211004857 34 06 10.1016/j.geoforum.2023.103689 34 06 10.1017/S0001972023000116 34 06 10.1111/1467-9655.13125 34 06 10.1177/02632764211030990 34 06 10.1177/2043820620950053 34 06 10.3167/saas.2023.310406 34 06 10.1177/026327642110309 34 06 10.1080/24694452.2018.1541401 34 06 10.1016/j.geoforum.2018.03.010 34 06 10.1186/s40677-022-00230-5 34 06 10.5728/indonesia.105.0191 34 06 10.1371/journal 34 06 10.1126/science.1156533 34 06 10.1177/2043820617691649 34 06 10.1111/area.12300 34 06 10.1093/envhis/emz080 34 06 10.1080/1600910X.2019.1669688 34 06 10.1007/s41208-019-0126-1 34 06 10.1093/jis/ets042 34 06 10.1177/02632764211030990 34 06 10.1177/01979183211064829 34 06 10.1080/2150704X.2021.1895446 34 06 10.1177/011719680401300404 34 06 10.1068/d14148p 34 06 10.1073/pnas.1711842115 34 06 10.1080/00438243.2021.1954990 34 06 10.2307/278892 34 06 10.1029/2020JB020648 34 06 10.1177/14696053231196887 34 06 10.1177/02632764211030976 34 06 10.1038/s41586-020-3010-5 34 06 10.1177/02632764211038669 34 06 10.1016/j.jaa.2022.101458 34 06 10.17863/CAM.79042 34 06 10.1177/02632764211030990 34 06 10.13185/2244-1638.4805 34 06 10.1484/J.JUA.5.133448 34 06 10.1007/978-94-007-3934-5_10279-1 34 06 10.1080/00438243.2021.2001367 34 06 10.1017/S1740022823000268 34 06 10.1080/13527258.2023.2284719 34 06 10.1080/13642529.2020.1831279 34 06 10.1016/j.ara.2022.100428 34 06 10.1002/gea.21619 34 06 10.1177/2053019618757252 34 06 10.18172/cig.4769 34 06 10.1590/1809-43412019v16a203 34 06 10.1558/jca.33371 34 06 10.36368/jns.v13i2.950 34 06 10.1007/s10745-017-9902-9 34 06 10.4000/cybergeo.32949 34 06 10.2752/175183510X12580391270100 34 06 10.1558/jca.33371 34 06 10.1111/tran.12065 34 06 10.1371/journal.pone.0250208 34 06 10.5944/etfvii.5.2017 34 06 10.1558/jca.33371 34 06 10.1002/app5.258 34 06 10.20958/uis.2016.1 34 06 10.1017/S0003598X0003461X 34 06 10.1017/S0003598X00097295 34 06 10.1057/sub.2008.15 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685712401 20 08 20260128 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/urban-liquefaction-rethinking-the-relationship-between-land-and-sea 20 08 20260128 02 25.00 USD WORLD urn:uuid:364d341b-494c-40a7-917f-566f7001e446 03 01 01 thoth-work-id urn:uuid:3dfb0d61-daba-406a-9e4a-d637de40e22d 01 thoth-publication-id urn:uuid:364d341b-494c-40a7-917f-566f7001e446 15 9781685712419 03 9781685712419 06 10.53288/0532.1.00 13 2026931294 01 internal-reference 0532 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Liquefaction Rethinking the Relationship between Land and Sea 1 B01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 B01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 B01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 00 268 03 B2 Biosphere 93 RNT 10 SOC002010 93 3ACFD B2 Built Environments 10 SOC026030 93 JHMC 93 RNPG 20 climate emergency; anthropocene; fluid politics; coastal geography; reclamation; sea level rise; wetlands 01 06 02 00 03 00 From classical times until today, cities have been conceived in the western imagination as ideally confined to the fixities of the land, a space defined in opposition to the fluxes of the sea. Whereas solid land afforded a durable platform for the establishment of property and citizenship, the fluid sea allowed markets---isolated within the secure boundaries of cities---to be connected across the globe though navigation.Urban Liquefaction: Rethinking the Relationship between Land and Sea attends to the concurrent tensions between solidity and fluidity, permanence and impermanence, and substance and change that remain at the core of the western intellectual tradition, often dividing what is perceived as social from what is perceived as natural in life. Sea level rise poses unprecedented threats to this oppositional relationship, forcing us to reconsider the tension between solidity and fluidity in the design of the built environment. Nearly ten percent of all major cities are likely to be impacted by sea level rise in the coming decades, compromising the necessary infrastructure on which urban life depends. In reality, urban landscapes have been continually in flux, which becomes dramatically visible to urban dwellers mostly in catastrophic events such as earthquakes, tsunamis, alluvions, sinkholes and, above all, soil liquefaction.Urban Liquefaction gathers contributions from scholars and practitioners working across continents and fields interested in urban life in (and after) the Anthropocene, including anthropology, archaeology, art, architecture, design, human geography, and science studies, to open up an inquiry into these categorical tensions and to speculate on alternative futures for the built environment. 30 00 From classical times until today, cities have been conceived in the western imagination as ideally confined to the fixities of the land, a space defined in opposition to the fluxes of the sea. Whereas solid land afforded a durable platform for the establishment of property and citizenship, the fluid sea allowed markets---isolated within the secure boundaries of cities---to be connected across the globe though navigation.Urban Liquefaction: Rethinking the Relationship between Land and Sea attends to the concurrent tensions between solidity and fluidity, permanence and impermanence, and substance and change that remain at the core of the western intellectual tradition, often dividing what is perceived as social from what is perceived as natural in life. Sea level rise poses unprecedented threats to this oppositional relationship, forcing us to reconsider the tension between solidity and fluidity in the design of the built environment. Nearly ten percent of all major cities are likely to be impacted by sea level rise in the coming decades, compromising the necessary infrastructure on which urban life depends. In reality, urban landscapes have been continually in flux, which becomes dramatically visible to urban dwellers mostly in catastrophic events such as earthquakes, tsunamis, alluvions, sinkholes and, above all, soil liquefaction.Urban Liquefaction gathers contributions from scholars and practitioners working across continents and fields interested in urban life in (and after) the Anthropocene, including anthropology, archaeology, art, architecture, design, human geography, and science studies, to open up an inquiry into these categorical tensions and to speculate on alternative futures for the built environment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0532.1.00_frontcover.jpg 1 03 06 10.53288/0532.1.01 1 12 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 2 03 06 10.53288/0532.1.02 13 15 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 A01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 3 03 06 10.53288/0532.1.03 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introducing More-Than-Solid Urbanity 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 A01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 4 03 06 10.53288/0532.1.04 41 45 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 1 Shifting Grounds 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 5 03 06 10.53288/0532.1.05 47 58 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 City Wetlands Unsettling Topography of Urban Liquefaction 1 A01 21 0000000249433929 Paolo Gruppuso Paolo Gruppuso 40 05591te55 Ludwig-Maximilians-Universität München Paolo Gruppuso is an anthropologist interested in nature conservation, urban ecologies, and the environmental and social history of wetlands and land reclamation. He obtained his PhD in social anthropology from the University of Aberdeen in 2016 with a dissertation on environmental contestations in the protected wetlands of Agro Pontino, Italy. Since then he has held positions at different academic institutions across Italy and Germany. He is currently conducting the project Rethinking Wetland, funded by the German Research Foundation at the Rachel Carson Center for Environment and Society (LMU) in Munich. 01 eng 20 00 Open Access Paolo Gruppuso 6 03 06 10.53288/0532.1.06 59 69 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building on Shifting Ground Liquescence in an Arctic River Delta 1 A01 21 0000000309147060 Franz Krause Franz Krause Professor of Environmental Anthropology 40 00rcxh774 University of Cologne Franz Krause is professor of environmental anthropology at the University of Cologne, interested in the role of water in society and culture. He has conducted research in northern Finland, western England, Estonia, and the Gwich’in and Inuvialuit Settlement Regions in Canada. Krause is coeditor of Delta Life (Berghahn, 2021) and Amphibious Anthropologies (Washington University Press, 2025), coauthor of Deltawelten/Delta Worlds (Reimer, 2022) and Environmental Anthropology (Universitätstaschenbuch, 2023), and author of Thinking Like a River (transcript, 2023). 01 eng 20 00 Open Access Franz Krause 7 03 06 10.53288/0532.1.07 71 82 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reclamation from Below Urban Undergrounds as Geosocial Formations 1 A01 21 0000000269537231 Germain Meulemans Germain Meulemans 40 00675rp98 Centre National de la Recherche Scientifique Germain Meulemans is an anthropologist at Centre Alexandre-Koyré (CNRS) in Paris, working at the intersection of environmental anthropology and science and technology studies. He obtained his PhD from the Universities of Aberdeen and Liège in 2017, after which he held postdoctoral research fellowships at the Ile-de-France institute for science and technology studies (IFRIS), at Sciences Po Paris, and at the University of Grenoble’s School of Urbanism His current research focuses on the significance of urban soils in the soil sciences, urban planning, and gardening activism, and on the development of experimental, collective ethnographies for addressing the politics of urban surfacing. He often works alongside artists, science historians, urbanists, and architects. Meulemans is coeditor of Back to the Ground: Knowledge, Politics and Practices of Remaking Earth Strata (2025), and of a special issue of the journal Revue d’anthropologie des connaissances titled “Soils, a New Frontier for Environmental Knowledge and Policies” (2020). 01 eng 20 00 Open Access Germain Meulemans 8 03 06 10.53288/0532.1.08 83 97 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Washed-In and Washed-Out Livelihoods Shifting Grounds in a Former Fishing Colony 1 A01 21 0000000275986949 Luciana Lang Luciana Lang Luciana Lang is an anthropologist working in the broad area of socioecological anthropology in urban contexts. Her research interests include age-friendly cities, natural and cultural heritage, and community use of green and public spaces. As a research associate at the University of Manchester with MUARG (Manchester Urban Ageing Research Group), she investigated the role of religious spaces in the age-friendly agenda in Greater Manchester. Lang’s doctoral research explored the relationship between an urban fishing community and its surrounding mangroves in Rio de Janeiro, focusing on subsequent transformations as other actors and substances entered that environment, such as plastic, raw sewage, bacteria, oil, new legislations, and institutions. This dialogue between urban communities, the environment, and policymakers informs her research today. In addition to ethnographic methods, she employs map-making techniques, oral histories, and photo-elicitation to tap into people’s perceptions of changing landscapes. 20 00 Open Access Luciana Lang 9 03 06 10.53288/0532.1.09 101 104 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 2 Life at the Shoreline 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 10 03 06 10.53288/0532.1.10 105 116 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unthinking Coastlines 1 A01 21 0000000276878325 Lindsay Bremner Lindsay Bremner Director of Research and Knowledge Exchange in the School of Architecture + Cities 40 04ycpbx82 University of Westminster Lindsay Bremner is a research architect whose current work focuses on human–nonhuman–monsoonal entanglements in oceanic worlds. Between 2016 and 2021 she led the research project Monsoon Assemblages, funded by the European Research Council (ERC). From 2022 to 2024 she led the project Reimagining the Good City from Ennore Creek, funded by British Academy, and held an ERC/UKRI Proof of Concept grant Climate Cartographics. Bremner began her academic and professional life in Johannesburg, South Africa, where she published, lectured, and exhibited widely on the transformation of Johannesburg after apartheid. She taught architecture at the University of the Witwatersrand in Johannesburg, at Temple University in Philadelphia, and at MIT as a visiting professor, before taking up her current post as professor of architecture at the University of Westminster in London, where she is director of Research and Knowledge Exchange in the School of Architecture + Cities. Bremner holds a bachelor’s in architecture from the University of Cape Town, and both a master’s and a doctorate in architecture from the University of the Witwatersrand. 20 00 Open Access Lindsay Bremner 11 03 06 10.53288/0532.1.11 117 129 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Between Anchorage and Collapse Knots, Traces, and Surfaces in a Lacustrian Village in Benin 1 A01 21 000000025672218X Riccardo Ciavolella Riccardo Ciavolella Director of the Laboratoire d’Anthropologie Politique 40 02d9dg697 School for Advanced Studies in the Social Sciences Riccardo Ciavolella (CNRS, France) is the director of the Laboratoire d’Anthropologie Politique at the School for Advanced Studies in the Social Sciences (EHESS), Paris, where he teaches political anthropology. His ethnographic work mainly focuses on the forms and meanings of politics among marginalized communities in West Africa and the relationship between their being-in-the-world and global crises and ecological, economic, and political transformations. He also writes about the place of anthropology between politics, imagination, and knowledge. He is the author of ethnographic monographs, theoretical essays, handbooks of political anthropology, exhibit catalogs, novels, and children’s books. 2 A01 21 0000000278291851 Armelle Choplin Armelle Choplin Professor of Geography and Urban Planning 40 01swzsf04 University of Geneva Armelle Choplin is professor of geography and urban planning at the University of Geneva. Grounded in long fieldwork in Africa, her research explores how cities are produced and experienced in the Global South, especially in Africa. She currently carries out research on the construction boom, the cement industry, and the political economy of concrete in Africa. She has recently published Matière Grise de l’urbain, la vie du ciment en Afrique (MétisPresses, 2020) and Concrete City, Material Flows and Urbanization in West Africa (Wiley, 2023). 01 eng 20 00 Open Access Riccardo Ciavolella and Armelle Choplin 12 03 06 10.53288/0532.1.12 131 143 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Elastic City 1 A01 21 0000000184230011 Lukas Ley Lukas Ley 40 02mavc002 Max Planck Institute for Social Anthropology Lukas Ley is an environmental and urban anthropologist working at the Max Planck Institute for Social Anthropology in Halle, Germany, where he leads an Emmy Noether research group on the infrastructural lives of sand in the Indian Ocean world, funded by DFG (Deutsche Forschungsgemeinschaft). His research is broadly concerned with marginalization, temporality, and the material environment within urban landscapes. His current research projects the social life of sand and other sediment after extraction and the management of the polluted seabed of Marseille, France. Ley’s first book, Building on Borrowed Time: Rising Seas and Failing Infrastructure in Semarang (University of Minnesota Press, 2021), was awarded the Social Science Prize by European Association for Southeast Asian Studies and received an honorable mention for the Harry J. Benda Prize of the Association for Asian Studies. 01 eng 20 00 Open Access Lukas Ley 13 03 06 10.53288/0532.1.13 145 156 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liquefying Concrete Building, Dwelling, and Thinking at the Shoreline 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 20 00 Open Access Cristián Simonetti 14 03 06 10.53288/0532.1.14 159 163 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 3 Emerging Lands 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 15 03 06 10.53288/0532.1.15 165 176 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean Urbanization and the Dissolution of the Polis 1 A01 21 0009000796420032 Isabelle Simpson Isabelle Simpson Isabelle Simpson obtained her PhD in geography from McGill University in 2022. Her research examines projects to build private cities financed by venture investors and how they take advantage of the financial and political opportunities offered by special economic zones and new technologies, such as blockchain. In addition to academic publications, Isabelle has written for Rest of World and Cabinet Magazine. She has been quoted in several media, including the Los Angeles Times, the New Republic, and NBC News. She currently works at a multinational technology company. 20 00 Open Access Isabelle Simpson 16 03 06 10.53288/0532.1.16 177 191 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Solidification and Liquefaction Accounts from the Bengal Delta 1 A01 21 0000000169418710 Martin Hříbek Martin Hříbek Assistant Professor in Bengali and Indian studies at the Institute of Asian Studies 40 024d6js02 Charles University Martin Hříbek is an assistant professor in Bengali and Indian studies at the Institute of Asian Studies, Faculty of Arts, Charles University in Prague, where he formerly studied Indian philology and ethnology. Besides his alma mater in Prague, he was previously affiliated to the Department of Sociology, Calcutta University, India (2001–2004) and to the Monash Asia Institute, Monash University, Melbourne, Australia (Fall 2014). His research interests include Bengali language and literature, anthropology and sociology of India, Indian nationalism, and the Indo-Pacific. 01 eng 20 00 Open Access Martin Hříbek 17 03 06 10.53288/0532.1.17 193 211 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Shape of Fluid Cities An Archaeologist’s Guide to Amphibious Living 1 A01 21 0000000315136958 Michael Leadbetter Michael Leadbetter 40 052gg0110 University of Oxford Michael Leadbetter is Clarendon Scholar and a doctoral student at the School of Archaeology, University of Oxford. His research focuses on the development of urbanism and settlement patterns across Southeast Asia, and on how archaeology interacts with the social sciences and natural history. Leadbetter teaches archaeology and anthropology at Oxford, and holds the Cyril and Philis Long Fellowship in Social Sciences at Queen’s College Oxford. He is co-lead of the Empowering Heritage with Data project, and a member of the SXNCH project (Sites at the Intersection of Natural and Cultural Heritage), funded by the UK Economic and Social Research Council (ESRC) and based in the School of Geography and the Environment, University of Oxford. Previously, he was head tutor of Asian studies at the University of Sydney, and held the Evans Fellowship in Social Anthropology at the University of Cambridge. 01 eng 20 00 Open Access Michael Paul Leadbetter 18 03 06 10.53288/0532.1.18 215 218 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 4 Rivers and Floods 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 19 03 06 10.53288/0532.1.19 219 230 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Material Flows and the Strata-Producing City 1 A01 21 0000000293750753 Matt Edgeworth Matt Edgeworth Honorary Visiting Research Fellow in Archaeology 40 04h699437 University of Leicester Matt Edgeworth is honorary visiting research fellow in archaeology at the University of Leicester, UK, and works as a field archaeologist in the commercial domain. He is the author of Fluid Pasts: Archaeology of Flow (Bloomsbury, 2011). His research interests include the archaeology of rivers, urban stratigraphy, waste landscapes, and the ecological effects of anthropogenic strata that now cover large parts of Earth’s land surfaces. 01 eng 20 00 Open Access Matt Edgeworth 20 03 06 10.53288/0532.1.20 231 242 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Ownership of Land to Care for Water Some Lessons from a Flooded Costa Blanca 1 A01 21 0000000206121159 Ester Gisbert Alemany Ester Gisbert Alemany Research Fellow at the Department of Graphic Expression, Theory and Design 40 05t8bcz72 University of Alicante Ester Gisbert Alemany is an architect and research fellow at the Department of Graphic Expression, Theory and Design of the University of Alicante, Spain. After obtaining a master’s of research in social anthropology from the University of Aberdeen, where she was research fellow of the research project Knowing from the Inside: Anthropology, Art, Architecture and Design, she gained her PhD in architecture (2022) with research on the forces and forms of urbanization related to tourism in the Mediterranean. She is founder and partner in the landscape architecture studio Drassana, based in Alicante. 01 eng 20 00 Open Access Ester Gisbert Alemany 21 03 06 10.53288/0532.1.21 243 253 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Recomposing Lagoons and Hills in Rio de Janeiro City Center Speculations, Alternative Pasts, and City-Making 1 A01 21 0000000154530814 Zoy Anastassakis Zoy Anastassakis Associate Researcher 40 043ft3840 Centre for Research in Anthropology Zoy Anastassakis is a designer, and holds master’s and PhD degrees in anthropology. From 2016 to 2018 she was director of the College of Industrial Design (ESDI), State University of Rio de Janeiro, Brazil (UERJ), where, since 2012, she has worked as associate professor. At ESDI, she coordinates the Laboratory of Design and Anthropology (LaDA). She is an associate researcher at the Centre for Research in Anthropology (CRIA) in Lisbon, Portugal. Together with Marco Martins, she is coauthor of Everyday Acts of Design: Learning in Times of Emergency (2022), published in Bloomsbury’s series Design in Dark Times. 2 A01 Caio Calafate Caio Calafate 40 0149j8908 Universidade Santa Úrsula Caio Calafate is an architect. He graduated from the Catholic University of Rio de Janeiro (PUC-Rio) in 2010, and holds a master’s degree in architectural design from the same institution (2015). In 2022 he gained a PhD from the Postgraduate Program in Design at the College of Industrial Design (PPD/ESDI), State University of Rio de Janeiro (UERJ). His dissertation, “Thinking Ground as an Atlas,” was jointly supervised by Zoy Anastassakis and Gabriel Schvarsberg. He is a founding partner of gru.a (group of architects), a studio based in Rio de Janeiro, which, since its formation in 2013, has developed projects and works of different scales and natures, with a special interest in the intersection between architecture and arts. Since 2015, Calafate has been teaching at Santa Ursula University, Rio de Janeiro. 3 A01 21 0009000432166846 Paula de Oliveira Camargo Paula de Oliveira Camargo Associate Researcher at the Laboratory of Design and Anthropology 40 0198v2949 Rio de Janeiro State University Paula de Oliveira Camargo graduated in architecture and urbanism at the Federal University of Rio de Janeiro (UFRJ) in 2000. She was awarded a master’s degree in history, politics, and cultural heritage from the School of Social Sciences at the Getulio Vargas Foundation (FGV) in 2011, and a PhD in design from the Postgraduate Program in Design at the College of Industrial Design (PPD/ESDI), State University of Rio de Janeiro (UERJ), in 2022. Her dissertation, “Times and Crossings: Weaving Lines from Centro Carioca de Design,” experiments with the act of writing, mingling historical, political, and discursive aspects of the Carioca Design Centre (CCD) in Rio de Janeiro, where she works, with essays and articles written over the past five years. Paula is the author of As Cidades, a Cidade: Política e Arquitetura no Rio de Janeiro, (The cities, the city: Politics and architecture in Rio de Janeiro) and coeditor of Design e/é Patrimônio (Design and/is heritage), both from 2012. She has been an associate researcher at the Laboratory of Design and Anthropology (LaDA) at ESDI/UERJ since 2017. 01 eng 20 00 Open Access Zoy Anastassakis, Caio Calafate, and Paula de Oliveira Camargo 22 03 06 10.53288/0532.1.22 255 262 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-liquefaction-rethinking-the-relationship-between-land-and-sea/ Earth, Milky Way 04 01 20260128 Cristián Simonetti, Michel Lussault, and Tim Ingold 02 WORLD 06 15 9781685712402 03 9781685712402 06 15 9781685713058 03 9781685713058 34 06 10.21983/P3.0014.1.00 34 06 10.1111/hith.12044 34 06 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34 06 10.1016/j.geoforum.2018.03.010 34 06 10.1186/s40677-022-00230-5 34 06 10.5728/indonesia.105.0191 34 06 10.1371/journal 34 06 10.1126/science.1156533 34 06 10.1177/2043820617691649 34 06 10.1111/area.12300 34 06 10.1093/envhis/emz080 34 06 10.1080/1600910X.2019.1669688 34 06 10.1007/s41208-019-0126-1 34 06 10.1093/jis/ets042 34 06 10.1177/02632764211030990 34 06 10.1177/01979183211064829 34 06 10.1080/2150704X.2021.1895446 34 06 10.1177/011719680401300404 34 06 10.1068/d14148p 34 06 10.1073/pnas.1711842115 34 06 10.1080/00438243.2021.1954990 34 06 10.2307/278892 34 06 10.1029/2020JB020648 34 06 10.1177/14696053231196887 34 06 10.1177/02632764211030976 34 06 10.1038/s41586-020-3010-5 34 06 10.1177/02632764211038669 34 06 10.1016/j.jaa.2022.101458 34 06 10.17863/CAM.79042 34 06 10.1177/02632764211030990 34 06 10.13185/2244-1638.4805 34 06 10.1484/J.JUA.5.133448 34 06 10.1007/978-94-007-3934-5_10279-1 34 06 10.1080/00438243.2021.2001367 34 06 10.1017/S1740022823000268 34 06 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https://books.punctumbooks.com/10.53288/0532.1.00.pdf 20 08 20260128 01 urn:uuid:173be170-a2ba-4e66-92f5-f1cb81fb9887 03 01 01 thoth-work-id urn:uuid:3dfb0d61-daba-406a-9e4a-d637de40e22d 01 thoth-publication-id urn:uuid:173be170-a2ba-4e66-92f5-f1cb81fb9887 15 9781685713058 03 9781685713058 06 10.53288/0532.1.00 13 2026931294 01 internal-reference 0532 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Liquefaction Rethinking the Relationship between Land and Sea 1 B01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 B01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 B01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 00 268 03 B2 Biosphere 93 RNT 10 SOC002010 93 3ACFD B2 Built Environments 10 SOC026030 93 JHMC 93 RNPG 20 climate emergency; anthropocene; fluid politics; coastal geography; reclamation; sea level rise; wetlands 01 06 02 00 03 00 From classical times until today, cities have been conceived in the western imagination as ideally confined to the fixities of the land, a space defined in opposition to the fluxes of the sea. Whereas solid land afforded a durable platform for the establishment of property and citizenship, the fluid sea allowed markets---isolated within the secure boundaries of cities---to be connected across the globe though navigation.Urban Liquefaction: Rethinking the Relationship between Land and Sea attends to the concurrent tensions between solidity and fluidity, permanence and impermanence, and substance and change that remain at the core of the western intellectual tradition, often dividing what is perceived as social from what is perceived as natural in life. Sea level rise poses unprecedented threats to this oppositional relationship, forcing us to reconsider the tension between solidity and fluidity in the design of the built environment. Nearly ten percent of all major cities are likely to be impacted by sea level rise in the coming decades, compromising the necessary infrastructure on which urban life depends. In reality, urban landscapes have been continually in flux, which becomes dramatically visible to urban dwellers mostly in catastrophic events such as earthquakes, tsunamis, alluvions, sinkholes and, above all, soil liquefaction.Urban Liquefaction gathers contributions from scholars and practitioners working across continents and fields interested in urban life in (and after) the Anthropocene, including anthropology, archaeology, art, architecture, design, human geography, and science studies, to open up an inquiry into these categorical tensions and to speculate on alternative futures for the built environment. 30 00 From classical times until today, cities have been conceived in the western imagination as ideally confined to the fixities of the land, a space defined in opposition to the fluxes of the sea. Whereas solid land afforded a durable platform for the establishment of property and citizenship, the fluid sea allowed markets---isolated within the secure boundaries of cities---to be connected across the globe though navigation.Urban Liquefaction: Rethinking the Relationship between Land and Sea attends to the concurrent tensions between solidity and fluidity, permanence and impermanence, and substance and change that remain at the core of the western intellectual tradition, often dividing what is perceived as social from what is perceived as natural in life. Sea level rise poses unprecedented threats to this oppositional relationship, forcing us to reconsider the tension between solidity and fluidity in the design of the built environment. Nearly ten percent of all major cities are likely to be impacted by sea level rise in the coming decades, compromising the necessary infrastructure on which urban life depends. In reality, urban landscapes have been continually in flux, which becomes dramatically visible to urban dwellers mostly in catastrophic events such as earthquakes, tsunamis, alluvions, sinkholes and, above all, soil liquefaction.Urban Liquefaction gathers contributions from scholars and practitioners working across continents and fields interested in urban life in (and after) the Anthropocene, including anthropology, archaeology, art, architecture, design, human geography, and science studies, to open up an inquiry into these categorical tensions and to speculate on alternative futures for the built environment. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0532.1.00_frontcover.jpg 1 03 06 10.53288/0532.1.01 1 12 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 2 03 06 10.53288/0532.1.02 13 15 3 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 A01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 3 03 06 10.53288/0532.1.03 17 38 22 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introducing More-Than-Solid Urbanity 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 2 A01 Michel Lussault Michel Lussault Professor of Geography and Urban Studies 40 01rk35k63 University of Lyon System Michel Lussault is full professor of geography and urban studies at the University of Lyon, France. He is the former president of the University of Tours (2003–2008) and University of Lyon (2008–2012). His research focus is on the study of global urbanization as a new milieu and on urban vulnerability in an anthropogenic world. Since 2010, his research has been addressing spatial care in the urban Anthropocene as a new perspective on global change adaptation. In 2017, he was awarded a €10 million EU grant (2017–2022) by the French National Program, called Investments for the Future, to develop a new scientific and graduation program within the University of Lyon, known as the Lyon School of Urban Anthropocene Studies. 3 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is professor emeritus of social anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and in 2022 was made Commander of the Order of the British Empire (CBE) for services to anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organization in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 4 03 06 10.53288/0532.1.04 41 45 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 1 Shifting Grounds 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 5 03 06 10.53288/0532.1.05 47 58 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 City Wetlands Unsettling Topography of Urban Liquefaction 1 A01 21 0000000249433929 Paolo Gruppuso Paolo Gruppuso 40 05591te55 Ludwig-Maximilians-Universität München Paolo Gruppuso is an anthropologist interested in nature conservation, urban ecologies, and the environmental and social history of wetlands and land reclamation. He obtained his PhD in social anthropology from the University of Aberdeen in 2016 with a dissertation on environmental contestations in the protected wetlands of Agro Pontino, Italy. Since then he has held positions at different academic institutions across Italy and Germany. He is currently conducting the project Rethinking Wetland, funded by the German Research Foundation at the Rachel Carson Center for Environment and Society (LMU) in Munich. 01 eng 20 00 Open Access Paolo Gruppuso 6 03 06 10.53288/0532.1.06 59 69 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Building on Shifting Ground Liquescence in an Arctic River Delta 1 A01 21 0000000309147060 Franz Krause Franz Krause Professor of Environmental Anthropology 40 00rcxh774 University of Cologne Franz Krause is professor of environmental anthropology at the University of Cologne, interested in the role of water in society and culture. He has conducted research in northern Finland, western England, Estonia, and the Gwich’in and Inuvialuit Settlement Regions in Canada. Krause is coeditor of Delta Life (Berghahn, 2021) and Amphibious Anthropologies (Washington University Press, 2025), coauthor of Deltawelten/Delta Worlds (Reimer, 2022) and Environmental Anthropology (Universitätstaschenbuch, 2023), and author of Thinking Like a River (transcript, 2023). 01 eng 20 00 Open Access Franz Krause 7 03 06 10.53288/0532.1.07 71 82 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reclamation from Below Urban Undergrounds as Geosocial Formations 1 A01 21 0000000269537231 Germain Meulemans Germain Meulemans 40 00675rp98 Centre National de la Recherche Scientifique Germain Meulemans is an anthropologist at Centre Alexandre-Koyré (CNRS) in Paris, working at the intersection of environmental anthropology and science and technology studies. He obtained his PhD from the Universities of Aberdeen and Liège in 2017, after which he held postdoctoral research fellowships at the Ile-de-France institute for science and technology studies (IFRIS), at Sciences Po Paris, and at the University of Grenoble’s School of Urbanism His current research focuses on the significance of urban soils in the soil sciences, urban planning, and gardening activism, and on the development of experimental, collective ethnographies for addressing the politics of urban surfacing. He often works alongside artists, science historians, urbanists, and architects. Meulemans is coeditor of Back to the Ground: Knowledge, Politics and Practices of Remaking Earth Strata (2025), and of a special issue of the journal Revue d’anthropologie des connaissances titled “Soils, a New Frontier for Environmental Knowledge and Policies” (2020). 01 eng 20 00 Open Access Germain Meulemans 8 03 06 10.53288/0532.1.08 83 97 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Washed-In and Washed-Out Livelihoods Shifting Grounds in a Former Fishing Colony 1 A01 21 0000000275986949 Luciana Lang Luciana Lang Luciana Lang is an anthropologist working in the broad area of socioecological anthropology in urban contexts. Her research interests include age-friendly cities, natural and cultural heritage, and community use of green and public spaces. As a research associate at the University of Manchester with MUARG (Manchester Urban Ageing Research Group), she investigated the role of religious spaces in the age-friendly agenda in Greater Manchester. Lang’s doctoral research explored the relationship between an urban fishing community and its surrounding mangroves in Rio de Janeiro, focusing on subsequent transformations as other actors and substances entered that environment, such as plastic, raw sewage, bacteria, oil, new legislations, and institutions. This dialogue between urban communities, the environment, and policymakers informs her research today. In addition to ethnographic methods, she employs map-making techniques, oral histories, and photo-elicitation to tap into people’s perceptions of changing landscapes. 20 00 Open Access Luciana Lang 9 03 06 10.53288/0532.1.09 101 104 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 2 Life at the Shoreline 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 10 03 06 10.53288/0532.1.10 105 116 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Unthinking Coastlines 1 A01 21 0000000276878325 Lindsay Bremner Lindsay Bremner Director of Research and Knowledge Exchange in the School of Architecture + Cities 40 04ycpbx82 University of Westminster Lindsay Bremner is a research architect whose current work focuses on human–nonhuman–monsoonal entanglements in oceanic worlds. Between 2016 and 2021 she led the research project Monsoon Assemblages, funded by the European Research Council (ERC). From 2022 to 2024 she led the project Reimagining the Good City from Ennore Creek, funded by British Academy, and held an ERC/UKRI Proof of Concept grant Climate Cartographics. Bremner began her academic and professional life in Johannesburg, South Africa, where she published, lectured, and exhibited widely on the transformation of Johannesburg after apartheid. She taught architecture at the University of the Witwatersrand in Johannesburg, at Temple University in Philadelphia, and at MIT as a visiting professor, before taking up her current post as professor of architecture at the University of Westminster in London, where she is director of Research and Knowledge Exchange in the School of Architecture + Cities. Bremner holds a bachelor’s in architecture from the University of Cape Town, and both a master’s and a doctorate in architecture from the University of the Witwatersrand. 20 00 Open Access Lindsay Bremner 11 03 06 10.53288/0532.1.11 117 129 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Between Anchorage and Collapse Knots, Traces, and Surfaces in a Lacustrian Village in Benin 1 A01 21 000000025672218X Riccardo Ciavolella Riccardo Ciavolella Director of the Laboratoire d’Anthropologie Politique 40 02d9dg697 School for Advanced Studies in the Social Sciences Riccardo Ciavolella (CNRS, France) is the director of the Laboratoire d’Anthropologie Politique at the School for Advanced Studies in the Social Sciences (EHESS), Paris, where he teaches political anthropology. His ethnographic work mainly focuses on the forms and meanings of politics among marginalized communities in West Africa and the relationship between their being-in-the-world and global crises and ecological, economic, and political transformations. He also writes about the place of anthropology between politics, imagination, and knowledge. He is the author of ethnographic monographs, theoretical essays, handbooks of political anthropology, exhibit catalogs, novels, and children’s books. 2 A01 21 0000000278291851 Armelle Choplin Armelle Choplin Professor of Geography and Urban Planning 40 01swzsf04 University of Geneva Armelle Choplin is professor of geography and urban planning at the University of Geneva. Grounded in long fieldwork in Africa, her research explores how cities are produced and experienced in the Global South, especially in Africa. She currently carries out research on the construction boom, the cement industry, and the political economy of concrete in Africa. She has recently published Matière Grise de l’urbain, la vie du ciment en Afrique (MétisPresses, 2020) and Concrete City, Material Flows and Urbanization in West Africa (Wiley, 2023). 01 eng 20 00 Open Access Riccardo Ciavolella and Armelle Choplin 12 03 06 10.53288/0532.1.12 131 143 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Elastic City 1 A01 21 0000000184230011 Lukas Ley Lukas Ley 40 02mavc002 Max Planck Institute for Social Anthropology Lukas Ley is an environmental and urban anthropologist working at the Max Planck Institute for Social Anthropology in Halle, Germany, where he leads an Emmy Noether research group on the infrastructural lives of sand in the Indian Ocean world, funded by DFG (Deutsche Forschungsgemeinschaft). His research is broadly concerned with marginalization, temporality, and the material environment within urban landscapes. His current research projects the social life of sand and other sediment after extraction and the management of the polluted seabed of Marseille, France. Ley’s first book, Building on Borrowed Time: Rising Seas and Failing Infrastructure in Semarang (University of Minnesota Press, 2021), was awarded the Social Science Prize by European Association for Southeast Asian Studies and received an honorable mention for the Harry J. Benda Prize of the Association for Asian Studies. 01 eng 20 00 Open Access Lukas Ley 13 03 06 10.53288/0532.1.13 145 156 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Liquefying Concrete Building, Dwelling, and Thinking at the Shoreline 1 A01 21 0000000207553332 Cristián Simonetti Cristián Simonetti Associate Professor in Anthropology 40 04teye511 Pontificia Universidad Católica de Chile Cristián Simonetti is associate professor in the Department of Anthropology and researcher at the Centre for Concrete Innovation of the Pontificia Universidad Católica de Chile. His work has concentrated on how bodily gestures and environmental forces relate to notions of time in science. More recently he has engaged in collaborations across the sciences, arts, and humanities to explore the environmental properties of materials relevant to the Anthropocene. He is the author of Sentient Conceptualizations: Feeling for Time in the Sciences of the Past (2018), coeditor of Surfaces: Transformations of Body, Materials and Earth (2020), and coeditor of a special issue of the journal Theory, Culture & Society titled “Solid Fluids: New Approaches to Materials and Meaning” (2022). 20 00 Open Access Cristián Simonetti 14 03 06 10.53288/0532.1.14 159 163 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 3 Emerging Lands 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 15 03 06 10.53288/0532.1.15 165 176 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ocean Urbanization and the Dissolution of the Polis 1 A01 21 0009000796420032 Isabelle Simpson Isabelle Simpson Isabelle Simpson obtained her PhD in geography from McGill University in 2022. Her research examines projects to build private cities financed by venture investors and how they take advantage of the financial and political opportunities offered by special economic zones and new technologies, such as blockchain. In addition to academic publications, Isabelle has written for Rest of World and Cabinet Magazine. She has been quoted in several media, including the Los Angeles Times, the New Republic, and NBC News. She currently works at a multinational technology company. 20 00 Open Access Isabelle Simpson 16 03 06 10.53288/0532.1.16 177 191 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Solidification and Liquefaction Accounts from the Bengal Delta 1 A01 21 0000000169418710 Martin Hříbek Martin Hříbek Assistant Professor in Bengali and Indian studies at the Institute of Asian Studies 40 024d6js02 Charles University Martin Hříbek is an assistant professor in Bengali and Indian studies at the Institute of Asian Studies, Faculty of Arts, Charles University in Prague, where he formerly studied Indian philology and ethnology. Besides his alma mater in Prague, he was previously affiliated to the Department of Sociology, Calcutta University, India (2001–2004) and to the Monash Asia Institute, Monash University, Melbourne, Australia (Fall 2014). His research interests include Bengali language and literature, anthropology and sociology of India, Indian nationalism, and the Indo-Pacific. 01 eng 20 00 Open Access Martin Hříbek 17 03 06 10.53288/0532.1.17 193 211 19 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Shape of Fluid Cities An Archaeologist’s Guide to Amphibious Living 1 A01 21 0000000315136958 Michael Leadbetter Michael Leadbetter 40 052gg0110 University of Oxford Michael Leadbetter is Clarendon Scholar and a doctoral student at the School of Archaeology, University of Oxford. His research focuses on the development of urbanism and settlement patterns across Southeast Asia, and on how archaeology interacts with the social sciences and natural history. Leadbetter teaches archaeology and anthropology at Oxford, and holds the Cyril and Philis Long Fellowship in Social Sciences at Queen’s College Oxford. He is co-lead of the Empowering Heritage with Data project, and a member of the SXNCH project (Sites at the Intersection of Natural and Cultural Heritage), funded by the UK Economic and Social Research Council (ESRC) and based in the School of Geography and the Environment, University of Oxford. Previously, he was head tutor of Asian studies at the University of Sydney, and held the Evans Fellowship in Social Anthropology at the University of Cambridge. 01 eng 20 00 Open Access Michael Paul Leadbetter 18 03 06 10.53288/0532.1.18 215 218 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction to Part 4 Rivers and Floods 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 19 03 06 10.53288/0532.1.19 219 230 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Material Flows and the Strata-Producing City 1 A01 21 0000000293750753 Matt Edgeworth Matt Edgeworth Honorary Visiting Research Fellow in Archaeology 40 04h699437 University of Leicester Matt Edgeworth is honorary visiting research fellow in archaeology at the University of Leicester, UK, and works as a field archaeologist in the commercial domain. He is the author of Fluid Pasts: Archaeology of Flow (Bloomsbury, 2011). His research interests include the archaeology of rivers, urban stratigraphy, waste landscapes, and the ecological effects of anthropogenic strata that now cover large parts of Earth’s land surfaces. 01 eng 20 00 Open Access Matt Edgeworth 20 03 06 10.53288/0532.1.20 231 242 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 From Ownership of Land to Care for Water Some Lessons from a Flooded Costa Blanca 1 A01 21 0000000206121159 Ester Gisbert Alemany Ester Gisbert Alemany Research Fellow at the Department of Graphic Expression, Theory and Design 40 05t8bcz72 University of Alicante Ester Gisbert Alemany is an architect and research fellow at the Department of Graphic Expression, Theory and Design of the University of Alicante, Spain. After obtaining a master’s of research in social anthropology from the University of Aberdeen, where she was research fellow of the research project Knowing from the Inside: Anthropology, Art, Architecture and Design, she gained her PhD in architecture (2022) with research on the forces and forms of urbanization related to tourism in the Mediterranean. She is founder and partner in the landscape architecture studio Drassana, based in Alicante. 01 eng 20 00 Open Access Ester Gisbert Alemany 21 03 06 10.53288/0532.1.21 243 253 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Recomposing Lagoons and Hills in Rio de Janeiro City Center Speculations, Alternative Pasts, and City-Making 1 A01 21 0000000154530814 Zoy Anastassakis Zoy Anastassakis Associate Researcher 40 043ft3840 Centre for Research in Anthropology Zoy Anastassakis is a designer, and holds master’s and PhD degrees in anthropology. From 2016 to 2018 she was director of the College of Industrial Design (ESDI), State University of Rio de Janeiro, Brazil (UERJ), where, since 2012, she has worked as associate professor. At ESDI, she coordinates the Laboratory of Design and Anthropology (LaDA). She is an associate researcher at the Centre for Research in Anthropology (CRIA) in Lisbon, Portugal. Together with Marco Martins, she is coauthor of Everyday Acts of Design: Learning in Times of Emergency (2022), published in Bloomsbury’s series Design in Dark Times. 2 A01 Caio Calafate Caio Calafate 40 0149j8908 Universidade Santa Úrsula Caio Calafate is an architect. He graduated from the Catholic University of Rio de Janeiro (PUC-Rio) in 2010, and holds a master’s degree in architectural design from the same institution (2015). In 2022 he gained a PhD from the Postgraduate Program in Design at the College of Industrial Design (PPD/ESDI), State University of Rio de Janeiro (UERJ). His dissertation, “Thinking Ground as an Atlas,” was jointly supervised by Zoy Anastassakis and Gabriel Schvarsberg. He is a founding partner of gru.a (group of architects), a studio based in Rio de Janeiro, which, since its formation in 2013, has developed projects and works of different scales and natures, with a special interest in the intersection between architecture and arts. Since 2015, Calafate has been teaching at Santa Ursula University, Rio de Janeiro. 3 A01 21 0009000432166846 Paula de Oliveira Camargo Paula de Oliveira Camargo Associate Researcher at the Laboratory of Design and Anthropology 40 0198v2949 Rio de Janeiro State University Paula de Oliveira Camargo graduated in architecture and urbanism at the Federal University of Rio de Janeiro (UFRJ) in 2000. She was awarded a master’s degree in history, politics, and cultural heritage from the School of Social Sciences at the Getulio Vargas Foundation (FGV) in 2011, and a PhD in design from the Postgraduate Program in Design at the College of Industrial Design (PPD/ESDI), State University of Rio de Janeiro (UERJ), in 2022. Her dissertation, “Times and Crossings: Weaving Lines from Centro Carioca de Design,” experiments with the act of writing, mingling historical, political, and discursive aspects of the Carioca Design Centre (CCD) in Rio de Janeiro, where she works, with essays and articles written over the past five years. Paula is the author of As Cidades, a Cidade: Política e Arquitetura no Rio de Janeiro, (The cities, the city: Politics and architecture in Rio de Janeiro) and coeditor of Design e/é Patrimônio (Design and/is heritage), both from 2012. She has been an associate researcher at the Laboratory of Design and Anthropology (LaDA) at ESDI/UERJ since 2017. 01 eng 20 00 Open Access Zoy Anastassakis, Caio Calafate, and Paula de Oliveira Camargo 22 03 06 10.53288/0532.1.22 255 262 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 01 eng 20 00 Open Access Cristián Simonetti, Michel Lussault, and Tim Ingold 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-liquefaction-rethinking-the-relationship-between-land-and-sea/ Earth, Milky Way 04 01 20260128 Cristián Simonetti, Michel Lussault, and Tim Ingold 02 WORLD 06 15 9781685712402 03 9781685712402 06 15 9781685712419 03 9781685712419 34 06 10.21983/P3.0014.1.00 34 06 10.1111/hith.12044 34 06 10.1038/415023a 34 06 10.1177/02632764211030990 34 06 10.1177/02632764211030977 34 06 10.1177/02632764211038669 34 06 10.3390/w14030416 34 06 10.14506/ca33.2.08 34 06 10.1177/02632764211030996 34 06 10.1111/amet.13051 34 06 10.1177/0263276416688946 34 06 10.6092/issn.2038-3460/17251 34 06 10.1177/02632764211030990 34 06 10.1177/0309132519863486 34 06 10.3917/commu.105.0149 34 06 10.1177/02632764211030997 34 06 10.1080/13604813.2011.595110 34 06 10.1080/00141844.2019.1604557 34 06 10.1177/2514848619880130 34 06 10.2495/DN080301 34 06 10.13133/2532-6562_3.5.14562 34 06 10.14318/hau4.3.002 34 06 10.1068/a40156 34 06 10.2752/175183510X 34 06 10.1177/0263276417730601 34 06 10.1016/j.geoforum.2009.05.006 34 06 10.1177/20438206211004857 34 06 10.1016/j.geoforum.2023.103689 34 06 10.1017/S0001972023000116 34 06 10.1111/1467-9655.13125 34 06 10.1177/02632764211030990 34 06 10.1177/2043820620950053 34 06 10.3167/saas.2023.310406 34 06 10.1177/026327642110309 34 06 10.1080/24694452.2018.1541401 34 06 10.1016/j.geoforum.2018.03.010 34 06 10.1186/s40677-022-00230-5 34 06 10.5728/indonesia.105.0191 34 06 10.1371/journal 34 06 10.1126/science.1156533 34 06 10.1177/2043820617691649 34 06 10.1111/area.12300 34 06 10.1093/envhis/emz080 34 06 10.1080/1600910X.2019.1669688 34 06 10.1007/s41208-019-0126-1 34 06 10.1093/jis/ets042 34 06 10.1177/02632764211030990 34 06 10.1177/01979183211064829 34 06 10.1080/2150704X.2021.1895446 34 06 10.1177/011719680401300404 34 06 10.1068/d14148p 34 06 10.1073/pnas.1711842115 34 06 10.1080/00438243.2021.1954990 34 06 10.2307/278892 34 06 10.1029/2020JB020648 34 06 10.1177/14696053231196887 34 06 10.1177/02632764211030976 34 06 10.1038/s41586-020-3010-5 34 06 10.1177/02632764211038669 34 06 10.1016/j.jaa.2022.101458 34 06 10.17863/CAM.79042 34 06 10.1177/02632764211030990 34 06 10.13185/2244-1638.4805 34 06 10.1484/J.JUA.5.133448 34 06 10.1007/978-94-007-3934-5_10279-1 34 06 10.1080/00438243.2021.2001367 34 06 10.1017/S1740022823000268 34 06 10.1080/13527258.2023.2284719 34 06 10.1080/13642529.2020.1831279 34 06 10.1016/j.ara.2022.100428 34 06 10.1002/gea.21619 34 06 10.1177/2053019618757252 34 06 10.18172/cig.4769 34 06 10.1590/1809-43412019v16a203 34 06 10.1558/jca.33371 34 06 10.36368/jns.v13i2.950 34 06 10.1007/s10745-017-9902-9 34 06 10.4000/cybergeo.32949 34 06 10.2752/175183510X12580391270100 34 06 10.1558/jca.33371 34 06 10.1111/tran.12065 34 06 10.1371/journal.pone.0250208 34 06 10.5944/etfvii.5.2017 34 06 10.1558/jca.33371 34 06 10.1002/app5.258 34 06 10.20958/uis.2016.1 34 06 10.1017/S0003598X0003461X 34 06 10.1017/S0003598X00097295 34 06 10.1057/sub.2008.15 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/urban-liquefaction-rethinking-the-relationship-between-land-and-sea/ 20 08 20260128 01 urn:uuid:8b261128-be4c-480c-ae98-2d1c0d940105 03 01 01 thoth-work-id urn:uuid:2d88c98b-7a96-4e4d-a462-bda17a91c376 01 thoth-publication-id urn:uuid:8b261128-be4c-480c-ae98-2d1c0d940105 15 9781947447028 03 9781947447028 06 10.21983/P3.0176.1.00 13 2017945435 01 internal-reference 0176 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Re-Industrialization 1 B01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 00 186 03 10 ARC010000 B2 Built Environments 93 RPC 12 RPC 93 NHTK 20 urban planning; industrialization; architecture; design theory; green economy 01 06 02 00 03 00 Urban re-industrialisation could be seen as a method of increasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialisation within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrialisation be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the 2008 financial crisis, Krzysztof Nawratek published a text in opposition to the fantasy of a ‘cappuccino city,’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0.’ Industrial City 2.0 is an attempt to see a post-socialist and post-industrial city from another perspective, a kind of negative of the modernist industrial city. If, for logistical reasons and because of a concern for the health of residents, modernism tried to separate different functions from each other (mainly industry from residential areas), Industrial City 2.0 is based on the ideas of coexistence, proximity, and synergy. The essays collected here envision the possibilities (as well as the possible perils) of such a scheme. 30 00 Urban re-industrialisation could be seen as a method of increasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialisation within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrialisation be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the 2008 financial crisis, Krzysztof Nawratek published a text in opposition to the fantasy of a ‘cappuccino city,’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0.’ Industrial City 2.0 is an attempt to see a post-socialist and post-industrial city from another perspective, a kind of negative of the modernist industrial city. If, for logistical reasons and because of a concern for the health of residents, modernism tried to separate different functions from each other (mainly industry from residential areas), Industrial City 2.0 is based on the ideas of coexistence, proximity, and synergy. The essays collected here envision the possibilities (as well as the possible perils) of such a scheme. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0176.1.00_frontcover.jpg 1 03 06 10.21983/P3.0176.1.01 1 14 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 20 00 Open Access Nawratek, Krzysztof 2 03 06 10.21983/P3.0176.1.02 15 19 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Urban Re-Industrialization As a Political Project 1 A01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 03 00 Urban re-industrialization could be seen as a method of in-creasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialization within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrializa-tion be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the financial crisis that began in 2008, Krzysztof Nawratek (leader of the Master of Architecture program at Plymouth University) published a text in opposition to the fantasy of a ‘cappuccino city’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0’. 30 00 Urban re-industrialization could be seen as a method of in-creasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialization within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrializa-tion be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the financial crisis that began in 2008, Krzysztof Nawratek (leader of the Master of Architecture program at Plymouth University) published a text in opposition to the fantasy of a ‘cappuccino city’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0’. 20 00 Open Access Nawratek, Krzysztof 3 03 06 10.21983/P3.0176.1.03 21 28 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Re-Industrialization as Progressive Urbanism Why and How? 1 A01 Michael Edwards Michael Edwards 40 02jx3x895 University College London 06 Own website http://michaeledwards.org.uk 2 A01 21 0000000328819192 Myfanwy Taylor Myfanwy Taylor 40 02jx3x895 University College London 01 eng 03 00 This book, like the conference which led to it, is part of an essen-tial and expanding discussion which criticizes the fundamental structure of contemporary economy and society and examines the scope for long-term alternatives and worthwhile immedi-ate interventions, demands and experiments.1 The context is partly a historical one. Over thousands of years, but especially since the emergence of capitalism a few centuries ago, we have moved away from forms of society where needs were almost always met locally, from local resources and with rather little division of labor or division of time between ‘production’, ‘dis-tribution’, ‘consumption’, caring, nurturing, playing and all the other things people do to the elaborate divisions of labor out-lined below. Although anthropologists, archaeologists and his-torians continue to expose and refine our understanding of the actual course of events, it is very useful to think in terms of the progressive shifts from a stylized subsistence society in which exchange was highly localized, long-distance trade limited to rare materials (gold, spices) and products of extreme skill or art (scythes, ornaments, fine utensils, weapons). 30 00 This book, like the conference which led to it, is part of an essen-tial and expanding discussion which criticizes the fundamental structure of contemporary economy and society and examines the scope for long-term alternatives and worthwhile immedi-ate interventions, demands and experiments.1 The context is partly a historical one. Over thousands of years, but especially since the emergence of capitalism a few centuries ago, we have moved away from forms of society where needs were almost always met locally, from local resources and with rather little division of labor or division of time between ‘production’, ‘dis-tribution’, ‘consumption’, caring, nurturing, playing and all the other things people do to the elaborate divisions of labor out-lined below. Although anthropologists, archaeologists and his-torians continue to expose and refine our understanding of the actual course of events, it is very useful to think in terms of the progressive shifts from a stylized subsistence society in which exchange was highly localized, long-distance trade limited to rare materials (gold, spices) and products of extreme skill or art (scythes, ornaments, fine utensils, weapons). 20 00 Open Access Edwards, Michael Taylor, Myfanwy 4 03 06 10.21983/P3.0176.1.04 29 38 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mechanisms of Loss 1 A01 21 0000000281829421 Karol Kurnicki Karol Kurnicki 40 03bqmcz70 Jagiellonian University 01 eng 03 00 Even without recalling the generalizing notion of ‘human na-ture’, it is not excessive to suggest that human activity is creation. The delimitation in human life between work, learning, leisure or play is useful in as much as it allows for the analysis of differ-ent segments of social reality. However, in spite of its conveni-ence, this delimitation is artificial and problematic because it hides relations which are based on the production of new things on the level of everyday practices. These relations engage vari-ous resources and link different levels of social life which always resist categorization and analytical simplification. Everything is — or can be — production. Everything is a social product. 30 00 Even without recalling the generalizing notion of ‘human na-ture’, it is not excessive to suggest that human activity is creation. The delimitation in human life between work, learning, leisure or play is useful in as much as it allows for the analysis of differ-ent segments of social reality. However, in spite of its conveni-ence, this delimitation is artificial and problematic because it hides relations which are based on the production of new things on the level of everyday practices. These relations engage vari-ous resources and link different levels of social life which always resist categorization and analytical simplification. Everything is — or can be — production. Everything is a social product. 20 00 Open Access Kurnicki, Karol 5 03 06 10.21983/P3.0176.1.05 39 52 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Cultural Politics of Re-Industrialization Some Remarks on Cultural Policy and Urban Policy in the European Union 1 A01 21 0000000204946536 Jonathan Vickery Jonathan Vickery 40 01a77tt86 University of Warwick 01 eng 03 00 Cultural policy and urban policy in the European Union are two quite distinct policy fields. They overlap insofar as ‘culture’ is more often than not both urban and public culture, and the greatest density of publicly-funded cultural projects in Europe take place in cities. In this chapter I discuss how both cultural policy and urban policy are changing and are contributing to the ongoing need for re-industrialization, in part through pro-viding the means to a new (or renewed) vision for the European city. Europe experienced the de-industrialization of its post-war economy in the 1970s, then emerged a partial re-industrializa-tion through a rising service economy in the liberalization of trade and property ownership in the 1980s, then to be followed by the informational, communications or so-called ‘micro-chip revolution’ of the 1990s — giving us the digitally-mediated eco-nomic world we today inhabit. And yet historical periodizations do not explain a great deal. How we conceptualize the meaning of ‘industry’ in the digital and so-called ‘knowledge economy’ of the present time remains a matter of debate, if not confusion, We currently seem to be living through an endless recessionary re-scaling of national economies within a supra-national Euro-pean economic framework that is attempting to re-negotiate its relation to the global economy at the same time as its manage-ment of the grand political settlement of European unity, deci-sively forged at Maastricht in 1993. This will no doubt play out through successive political negotiations in the next decade or more, as Europe struggles to recover from the global financial crisis that impacted it in 2007. 30 00 Cultural policy and urban policy in the European Union are two quite distinct policy fields. They overlap insofar as ‘culture’ is more often than not both urban and public culture, and the greatest density of publicly-funded cultural projects in Europe take place in cities. In this chapter I discuss how both cultural policy and urban policy are changing and are contributing to the ongoing need for re-industrialization, in part through pro-viding the means to a new (or renewed) vision for the European city. Europe experienced the de-industrialization of its post-war economy in the 1970s, then emerged a partial re-industrializa-tion through a rising service economy in the liberalization of trade and property ownership in the 1980s, then to be followed by the informational, communications or so-called ‘micro-chip revolution’ of the 1990s — giving us the digitally-mediated eco-nomic world we today inhabit. And yet historical periodizations do not explain a great deal. How we conceptualize the meaning of ‘industry’ in the digital and so-called ‘knowledge economy’ of the present time remains a matter of debate, if not confusion, We currently seem to be living through an endless recessionary re-scaling of national economies within a supra-national Euro-pean economic framework that is attempting to re-negotiate its relation to the global economy at the same time as its manage-ment of the grand political settlement of European unity, deci-sively forged at Maastricht in 1993. This will no doubt play out through successive political negotiations in the next decade or more, as Europe struggles to recover from the global financial crisis that impacted it in 2007. 20 00 Open Access Vickery, Jonathan 6 03 06 10.21983/P3.0176.1.06 53 59 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ‘Shrimps not Whales’ Building a City of Small Parts as an Alternative Vision for Post-Industrial Society 1 A01 21 0000000226513520 Alison Hulme Alison Hulme 40 03265fv13 University College Cork 01 eng 03 00 I was expecting the necessity of a protracted explanation on my part as to where exactly I wanted to go, but the taxi driver im-mediately knew, despite the fact that 798 Art District is way up in the northeast of Beijing, adjacent to a nondescript business centre in what was a German military camp enclosure. It is no longer enclosed. It no longer needs to be. The government has long ago seen the sense in accessibility and careful encourage-ment where art is concerned, as strategies to avoid secrecy and dissent by potentially counter-revolutionary artists and intellec-tuals. 30 00 I was expecting the necessity of a protracted explanation on my part as to where exactly I wanted to go, but the taxi driver im-mediately knew, despite the fact that 798 Art District is way up in the northeast of Beijing, adjacent to a nondescript business centre in what was a German military camp enclosure. It is no longer enclosed. It no longer needs to be. The government has long ago seen the sense in accessibility and careful encourage-ment where art is concerned, as strategies to avoid secrecy and dissent by potentially counter-revolutionary artists and intellec-tuals. 20 00 Open Access Hulme, Alison 7 03 06 10.21983/P3.0176.1.07 61 68 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ‘Der Arbeiter’ (Re-)Industrialization as Universalism? 1 A01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 03 00 In the first chapter of The Urban Revolution, Henri Lefebvre shows the evolution of the city — from the political city, through the mercantile and industrial city, to its final form, the true ‘ur-ban city’. For Lefebvre, industry is something that wasn’t born in the city. He asks: ‘Was industry associated with the city?’ And an-swers: ‘One would assume it to be associated with the non-city, the absence or rupture of urban reality.’1 It was the industry that came to the city, lured by the scent of money, and the sweat and blood of its inhabitants. However, Lefevbre’s attitude towards the industrial city is dialectical. The industrial city destroyed the remnants of the mercantile city and the political city, but it was a ‘creative destruction’, which, in fact, elevated the city to a high-er level of development, setting the stage for Lefebvre’s ‘critical zone’, the predicted moment in history in which urbanity be-comes a meta-narrative aligning all other stories, and therefore also includes the politics and economics of the city. 30 00 In the first chapter of The Urban Revolution, Henri Lefebvre shows the evolution of the city — from the political city, through the mercantile and industrial city, to its final form, the true ‘ur-ban city’. For Lefebvre, industry is something that wasn’t born in the city. He asks: ‘Was industry associated with the city?’ And an-swers: ‘One would assume it to be associated with the non-city, the absence or rupture of urban reality.’1 It was the industry that came to the city, lured by the scent of money, and the sweat and blood of its inhabitants. However, Lefevbre’s attitude towards the industrial city is dialectical. The industrial city destroyed the remnants of the mercantile city and the political city, but it was a ‘creative destruction’, which, in fact, elevated the city to a high-er level of development, setting the stage for Lefebvre’s ‘critical zone’, the predicted moment in history in which urbanity be-comes a meta-narrative aligning all other stories, and therefore also includes the politics and economics of the city. 20 00 Open Access Nawratek, Krzysztof 8 03 06 10.21983/P3.0176.1.08 69 80 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Whose Re-Industrialization? Greening the Pit or Taking Over the Means of Production? 1 A01 21 0000000299069184 Malcolm Miles Malcolm Miles 40 008n7pv89 University of Plymouth 01 eng 03 00 In After London, published in 1885, naturalist Richard Jeffries describes the city abandoned to nature after an unexplained catastrophe. Within a year everywhere has become overgrown: grasses are overwhelmed by docks and thistles in a pseudo-Dar-winian scenario of survival of the strongest. Brambles hide the roads, railway embankments are overgrown by trees. A lake cov-ers much of central England, and London is submerged under a swamp forty miles long into which its buildings have collapsed:There exhales from this oozy mass so fatal a vapour that no animal can endure it. The black water bears a greenish-brown floating scum, which for ever bubbles up from the putrid mud of the bottom. When the wind collects the miasma ... it becomes visible as a low cloud which hangs over the place. [...] at such times when the vapour is thickest, the very wild-fowl leave the reeds, and fly from the poison. [...] It is dead. 30 00 In After London, published in 1885, naturalist Richard Jeffries describes the city abandoned to nature after an unexplained catastrophe. Within a year everywhere has become overgrown: grasses are overwhelmed by docks and thistles in a pseudo-Dar-winian scenario of survival of the strongest. Brambles hide the roads, railway embankments are overgrown by trees. A lake cov-ers much of central England, and London is submerged under a swamp forty miles long into which its buildings have collapsed:There exhales from this oozy mass so fatal a vapour that no animal can endure it. The black water bears a greenish-brown floating scum, which for ever bubbles up from the putrid mud of the bottom. When the wind collects the miasma ... it becomes visible as a low cloud which hangs over the place. [...] at such times when the vapour is thickest, the very wild-fowl leave the reeds, and fly from the poison. [...] It is dead. 20 00 Open Access Miles, Malcolm 9 03 06 10.21983/P3.0176.1.09 81 87 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Crowdsourced Urbanism? The Maker Revolution and the Creative City 2.0 1 A01 Doreen Jakob Doreen Jakob 40 0130frc33 University of North Carolina at Chapel Hill 40 03yghzc09 University of Exeter 01 eng 03 00 Cutting the ribbon at the opening of the new Shapeway factory, New York City Mayor Michael Bloomberg proclaims that the 3-D printing company will form ‘a critical bridge between the tech and manufacturing centers [... and] help us bring the city’s industrial sector directly into the twenty-first century’.1 He an-nounces: ‘this is the future of our city’.2 According to Anderson, today’s maker movement is the newest, third industrial revolu-tion.3 Rifkin argues that ‘like every other economic revolution that preceded it, The Third Industrial [Revolution] will recast many of our assumptions about how the world works’.4 Thus what future and what city does the maker movement create? This book questions whether urban re-industrialization can be imagined as a progressive socio-political and economical pro-ject leading to an inclusive and democratic society based on cooperation and symbiosis. Many of the conference’s presenta-tions offered examples of how to envision urban re-industrial-ization. In this short chapter, however, I argue that urban re-industrialization as part of a third industrial revolution is not a distant futuristic concept but a reality in the making. Driven by the maker movement, green energy, crowdsourcing and crowd-funding, the third industrial revolution comes along dressed in the flowing robes of collaboration, participation, democratized manufacturing and ‘distributed capitalism’. 30 00 Cutting the ribbon at the opening of the new Shapeway factory, New York City Mayor Michael Bloomberg proclaims that the 3-D printing company will form ‘a critical bridge between the tech and manufacturing centers [... and] help us bring the city’s industrial sector directly into the twenty-first century’.1 He an-nounces: ‘this is the future of our city’.2 According to Anderson, today’s maker movement is the newest, third industrial revolu-tion.3 Rifkin argues that ‘like every other economic revolution that preceded it, The Third Industrial [Revolution] will recast many of our assumptions about how the world works’.4 Thus what future and what city does the maker movement create? This book questions whether urban re-industrialization can be imagined as a progressive socio-political and economical pro-ject leading to an inclusive and democratic society based on cooperation and symbiosis. Many of the conference’s presenta-tions offered examples of how to envision urban re-industrial-ization. In this short chapter, however, I argue that urban re-industrialization as part of a third industrial revolution is not a distant futuristic concept but a reality in the making. Driven by the maker movement, green energy, crowdsourcing and crowd-funding, the third industrial revolution comes along dressed in the flowing robes of collaboration, participation, democratized manufacturing and ‘distributed capitalism’. 20 00 Open Access Jakob, Doreen 10 03 06 10.21983/P3.0176.1.10 89 95 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brave New World?! 1 A01 21 0000000323720919 Tatjana Schneider Tatjana Schneider 40 05krs5044 University of Sheffield 01 eng 03 00 This chapter takes its title from Aldous Huxley’s famous novel of the same name. Set in the very distant future of the year 2540, the novel outlines a world in which every being’s rank in society is predetermined at embryo-stage. Once in the world, ranks and happiness within one’s rank are then managed by a drug with the name of soma. Highly influential on many levels, the novel raises interesting philosophical questions around concepts such as manipulation, design, free will, and liberty and (pre-)deter-mination amongst others. Given, for example, that the individu-als in Huxley’s novel have been engineered before birth, are they truly responsible for their actions or are they merely the tools of their designers at the Hatchery and Conditioning Centre? And does the manufacturing process create individuals who are, as the American philosopher Gary Watson declares, ‘incapable of effectively envisaging or seeing the significance of certain al-ternatives, of reflecting on [themselves] and on the origins of [their] motivations’? 30 00 This chapter takes its title from Aldous Huxley’s famous novel of the same name. Set in the very distant future of the year 2540, the novel outlines a world in which every being’s rank in society is predetermined at embryo-stage. Once in the world, ranks and happiness within one’s rank are then managed by a drug with the name of soma. Highly influential on many levels, the novel raises interesting philosophical questions around concepts such as manipulation, design, free will, and liberty and (pre-)deter-mination amongst others. Given, for example, that the individu-als in Huxley’s novel have been engineered before birth, are they truly responsible for their actions or are they merely the tools of their designers at the Hatchery and Conditioning Centre? And does the manufacturing process create individuals who are, as the American philosopher Gary Watson declares, ‘incapable of effectively envisaging or seeing the significance of certain al-ternatives, of reflecting on [themselves] and on the origins of [their] motivations’? 20 00 Open Access Schneider, Tatjana 11 03 06 10.21983/P3.0176.1.11 97 105 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Political Agency of Geography and the Shrinking City 1 A01 Jeffrey T. Kruth Jeffrey T. Kruth 40 049pfb863 Kent State University 01 eng 03 00 Traveling down Chester Road from downtown Cleveland, a beacon of architectural modernity can be seen reflecting light off the Norman Foster-designed medical campus, signaling that one has reached an urbanism vastly different from the one just traversed. An institutional heterotopia of sorts, the extensive campus stands in as a symbol for a coherent urban language amid a decaying landscape of vacant parcels and foreclosed homes. The region’s largest employer and primary economic driver since the 1980s, the Cleveland Clinic’s economic impact is roughly $12.6 billion, and by extension, its employees con-tribute $5.9 billion to the Ohio economy.1 World renowned for its healthcare and research contributions, the Clinic and nearby institutions of the ‘med-ed’ complex — University Hospitals and Case Western Reserve University — provide an economic stabil-ity in a city that has struggled to prove itself as resilient for more than a generation. 30 00 Traveling down Chester Road from downtown Cleveland, a beacon of architectural modernity can be seen reflecting light off the Norman Foster-designed medical campus, signaling that one has reached an urbanism vastly different from the one just traversed. An institutional heterotopia of sorts, the extensive campus stands in as a symbol for a coherent urban language amid a decaying landscape of vacant parcels and foreclosed homes. The region’s largest employer and primary economic driver since the 1980s, the Cleveland Clinic’s economic impact is roughly $12.6 billion, and by extension, its employees con-tribute $5.9 billion to the Ohio economy.1 World renowned for its healthcare and research contributions, the Clinic and nearby institutions of the ‘med-ed’ complex — University Hospitals and Case Western Reserve University — provide an economic stabil-ity in a city that has struggled to prove itself as resilient for more than a generation. 20 00 Open Access Kruth, Jeffrey T. 12 03 06 10.21983/P3.0176.1.12 107 116 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beyond the Post-Industrial City? The Third Industrial Revolution, Digital Manufacturing and the Transformation of Homes into Miniature Factories 1 A01 21 0000000264358402 John R. Bryson John R. Bryson 40 03angcq70 University of Birmingham 2 A01 21 000000017908032X Jennifer Clark Jennifer Clark 40 01zkghx44 Georgia Institute of Technology 3 A01 Rachel Mulhall Rachel Mulhall 40 03angcq70 University of Birmingham 01 eng 03 00 The late spring 2013 issue of the SkyMall shopping catalogue heralded the emergence of the next technological or industrial revolution. The SkyMall catalogue is found on nearly every US flight and provides travelers with an opportunity to consider purchasing a range of new and novel products whilst onboard the aircraft. The late spring issue contains a $1,299 3d printer. 3d printers can be traced back to 1984, when stereolithography was developed by Charles Hull. This printing process enables a tan-gible 3d object to be created from digital data. The SkyMall 3d printer is described as ‘[s]uper easy and simple to use. It works by building up plastic material in three dimensions to create a real object. It’s ideal for home, classroom and office and creates prototypes, models, toys ... the list is endless’.1 The reference to home use highlights the ability of this technology to shift some manufacturing production from the factory to the home. It is worth noting that 3d printing can also involve printing with metal powders. Nearly everything can be printed, but there are restrictions in terms of size. For example, it is a simple process to print a new cover for a mobile phone at home, but it will never be practicable to print a complete car. This re-emergence of home-based manufacturing has important implications for cities, as it enables new forms of customized manufacturing to emerge. Home-based manufacturing is not a new process, but this new industrial revolution has the potential to return manu-facturing to its roots within the home. 30 00 The late spring 2013 issue of the SkyMall shopping catalogue heralded the emergence of the next technological or industrial revolution. The SkyMall catalogue is found on nearly every US flight and provides travelers with an opportunity to consider purchasing a range of new and novel products whilst onboard the aircraft. The late spring issue contains a $1,299 3d printer. 3d printers can be traced back to 1984, when stereolithography was developed by Charles Hull. This printing process enables a tan-gible 3d object to be created from digital data. The SkyMall 3d printer is described as ‘[s]uper easy and simple to use. It works by building up plastic material in three dimensions to create a real object. It’s ideal for home, classroom and office and creates prototypes, models, toys ... the list is endless’.1 The reference to home use highlights the ability of this technology to shift some manufacturing production from the factory to the home. It is worth noting that 3d printing can also involve printing with metal powders. Nearly everything can be printed, but there are restrictions in terms of size. For example, it is a simple process to print a new cover for a mobile phone at home, but it will never be practicable to print a complete car. This re-emergence of home-based manufacturing has important implications for cities, as it enables new forms of customized manufacturing to emerge. Home-based manufacturing is not a new process, but this new industrial revolution has the potential to return manu-facturing to its roots within the home. 20 00 Open Access Bryson, John R. Clark, Jennifer Mulhall, Rachel 13 03 06 10.21983/P3.0176.1.13 117 126 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conspicuous Production Valuing the Visibility of Industry in Urban Re-Industrialisation 1 A01 Karl Baker Karl Baker 01 eng 03 00 A flurry of recent commentary calls for a renewed focus on wealthy countries ‘making things’.1 Such arguments are gener-ally framed within discourses on national economic growth and ignore the spatial implications of re-industrialization. However, treating the promotion of industrial activities as a key compo-nent of spatially-oriented urban development strategies offers promises to broaden the range of benefits delivered by a revived manufacturing sector. In realizing this potential, the built form supporting industry requires careful consideration. Shifts to-ward consolidating industry within demarcated zones of utilitarian sheds in the urban periphery,2 while converting historic inner-city industrial buildings for the service economy,3 are problematic manifestations of conventional planning for indus-try in today’s ‘post-industrial’ city. 30 00 A flurry of recent commentary calls for a renewed focus on wealthy countries ‘making things’.1 Such arguments are gener-ally framed within discourses on national economic growth and ignore the spatial implications of re-industrialization. However, treating the promotion of industrial activities as a key compo-nent of spatially-oriented urban development strategies offers promises to broaden the range of benefits delivered by a revived manufacturing sector. In realizing this potential, the built form supporting industry requires careful consideration. Shifts to-ward consolidating industry within demarcated zones of utilitarian sheds in the urban periphery,2 while converting historic inner-city industrial buildings for the service economy,3 are problematic manifestations of conventional planning for indus-try in today’s ‘post-industrial’ city. 20 00 Open Access Baker, Karl 14 03 06 10.21983/P3.0176.1.14 127 135 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Industri[us] Re/Use, Re/Work, Re/Value 1 A01 Christina Norton Christina Norton 01 eng 03 00 This chapter explores Industri[us], an initiative that was set up in early 2011 by ‘Fluid’ (architects and urban strategists) and collaborators in order to highlight the growing opportunity of upcycling1 and its uses in urban regeneration and sustainable development. To begin, I explain the concept of Industri[us], its motives and its relationship to the theme of re-industriali-zation and progressive urbanism. I also discuss and present the ‘Festival of Up-Cycling’ in Canning Town which was delivered from May to September 2012 and was a prototype and test case for how up-cycling can contribute towards sustainable develop-ment and have a role in urban regeneration. 30 00 This chapter explores Industri[us], an initiative that was set up in early 2011 by ‘Fluid’ (architects and urban strategists) and collaborators in order to highlight the growing opportunity of upcycling1 and its uses in urban regeneration and sustainable development. To begin, I explain the concept of Industri[us], its motives and its relationship to the theme of re-industriali-zation and progressive urbanism. I also discuss and present the ‘Festival of Up-Cycling’ in Canning Town which was delivered from May to September 2012 and was a prototype and test case for how up-cycling can contribute towards sustainable develop-ment and have a role in urban regeneration. 20 00 Open Access Norton, Christina 15 03 06 10.21983/P3.0176.1.15 137 148 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Working with the Neighbors Cooperative Practices Delivering Sustainable Benefits 1 A01 Kate Royston Kate Royston 40 00ks66431 University of Surrey 01 eng 03 00 In our fast-moving, goal-driven society it’s easy to be insular, but considerable benefits can be gained from talking to, and work-ing with, the neighbors. This can be particularly true across port industrial areas. Ports and their related industrial and amenity areas are critical economic and social components in their re-gion. As hubs for industry, business, leisure and logistics, they are also resource-intensive and can pose environmental and so-cial challenges. In the Netherlands, ports are vital to the national economy. Faced with increasing growth, limited space and ever-tightening environmental constraints, innovative collaborative solutions have had to be developed to support port areas’ inten-sification. One approach is industrial ecological thinking. 30 00 In our fast-moving, goal-driven society it’s easy to be insular, but considerable benefits can be gained from talking to, and work-ing with, the neighbors. This can be particularly true across port industrial areas. Ports and their related industrial and amenity areas are critical economic and social components in their re-gion. As hubs for industry, business, leisure and logistics, they are also resource-intensive and can pose environmental and so-cial challenges. In the Netherlands, ports are vital to the national economy. Faced with increasing growth, limited space and ever-tightening environmental constraints, innovative collaborative solutions have had to be developed to support port areas’ inten-sification. One approach is industrial ecological thinking. 20 00 Open Access Royston, Kate 16 03 06 10.21983/P3.0176.1.16 149 158 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Low-Carbon (Re-)Industrialization Lessons from China 1 A01 21 0000000177214726 Kevin Lo Kevin Lo 40 0145fw131 Hong Kong Baptist University 2 A01 Mark Wang Mark Wang 40 01ej9dk98 University of Melbourne 01 eng 03 00 The difference between (re-)industrialization in the past and present is that energy security and climate change now increas-ingly frame the space in which such processes take place. There-fore, there is an urgent need to rethink (re-)industrialization as part of a low-carbon future, rather than as something that perpetuates the current carbon-intensive mode of production and consumption. The aim of this chapter is to explore the con-cept of low-carbon industrialization, which has recently gained significant traction in China as part of the rethinking process. More specifically, this chapter seeks to clarify the meaning of low-carbon industrialization, supported by examples from Chi-na. The chapter also seeks to transfer lessons from China’s expe-rience with low-carbon industrialization to the context of (re-)industrialization. To anticipate the conclusion, this paper argues that both top-down and bottom-up initiatives can be important in low-carbon (re-)industrialization and that their appropriate-ness depends on the market structure and technological charac-teristics of the industry. 30 00 The difference between (re-)industrialization in the past and present is that energy security and climate change now increas-ingly frame the space in which such processes take place. There-fore, there is an urgent need to rethink (re-)industrialization as part of a low-carbon future, rather than as something that perpetuates the current carbon-intensive mode of production and consumption. The aim of this chapter is to explore the con-cept of low-carbon industrialization, which has recently gained significant traction in China as part of the rethinking process. More specifically, this chapter seeks to clarify the meaning of low-carbon industrialization, supported by examples from Chi-na. The chapter also seeks to transfer lessons from China’s expe-rience with low-carbon industrialization to the context of (re-)industrialization. To anticipate the conclusion, this paper argues that both top-down and bottom-up initiatives can be important in low-carbon (re-)industrialization and that their appropriate-ness depends on the market structure and technological charac-teristics of the industry. 20 00 Open Access Lo, Kevin Wang, Mark 17 03 06 10.21983/P3.0176.1.17 159 175 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bibliography 1 B01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 20 00 Open Access Nawratek, Krzysztof 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-re-industrialization/ Earth, Milky Way 04 01 20170725 Nawratek, Krzysztof 02 WORLD 06 15 9781947447035 03 9781947447035 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447025 20 08 20170725 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/urban-re-industrialization 20 08 20170725 02 23.00 USD WORLD urn:uuid:e6e07ca9-7074-43fe-9f8f-e1985ee2c409 03 01 01 thoth-work-id urn:uuid:2d88c98b-7a96-4e4d-a462-bda17a91c376 01 thoth-publication-id urn:uuid:e6e07ca9-7074-43fe-9f8f-e1985ee2c409 15 9781947447035 03 9781947447035 06 10.21983/P3.0176.1.00 13 2017945435 01 internal-reference 0176 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Urban Re-Industrialization 1 B01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 00 186 03 10 ARC010000 B2 Built Environments 93 RPC 12 RPC 93 NHTK 20 urban planning; industrialization; architecture; design theory; green economy 01 06 02 00 03 00 Urban re-industrialisation could be seen as a method of increasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialisation within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrialisation be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the 2008 financial crisis, Krzysztof Nawratek published a text in opposition to the fantasy of a ‘cappuccino city,’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0.’ Industrial City 2.0 is an attempt to see a post-socialist and post-industrial city from another perspective, a kind of negative of the modernist industrial city. If, for logistical reasons and because of a concern for the health of residents, modernism tried to separate different functions from each other (mainly industry from residential areas), Industrial City 2.0 is based on the ideas of coexistence, proximity, and synergy. The essays collected here envision the possibilities (as well as the possible perils) of such a scheme. 30 00 Urban re-industrialisation could be seen as a method of increasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialisation within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrialisation be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the 2008 financial crisis, Krzysztof Nawratek published a text in opposition to the fantasy of a ‘cappuccino city,’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0.’ Industrial City 2.0 is an attempt to see a post-socialist and post-industrial city from another perspective, a kind of negative of the modernist industrial city. If, for logistical reasons and because of a concern for the health of residents, modernism tried to separate different functions from each other (mainly industry from residential areas), Industrial City 2.0 is based on the ideas of coexistence, proximity, and synergy. The essays collected here envision the possibilities (as well as the possible perils) of such a scheme. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0176.1.00_frontcover.jpg 1 03 06 10.21983/P3.0176.1.01 1 14 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 20 00 Open Access Nawratek, Krzysztof 2 03 06 10.21983/P3.0176.1.02 15 19 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction Urban Re-Industrialization As a Political Project 1 A01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 03 00 Urban re-industrialization could be seen as a method of in-creasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialization within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrializa-tion be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the financial crisis that began in 2008, Krzysztof Nawratek (leader of the Master of Architecture program at Plymouth University) published a text in opposition to the fantasy of a ‘cappuccino city’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0’. 30 00 Urban re-industrialization could be seen as a method of in-creasing business effectiveness in the context of a politically stimulated ‘green economy’; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, ‘boutique manufacturing’ and crafts. These two notions place urban re-industrialization within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrializa-tion be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the financial crisis that began in 2008, Krzysztof Nawratek (leader of the Master of Architecture program at Plymouth University) published a text in opposition to the fantasy of a ‘cappuccino city’ arguing that the post-industrial city is a fiction, and that it should be replaced by ‘Industrial City 2.0’. 20 00 Open Access Nawratek, Krzysztof 3 03 06 10.21983/P3.0176.1.03 21 28 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Re-Industrialization as Progressive Urbanism Why and How? 1 A01 Michael Edwards Michael Edwards 40 02jx3x895 University College London 06 Own website http://michaeledwards.org.uk 2 A01 21 0000000328819192 Myfanwy Taylor Myfanwy Taylor 40 02jx3x895 University College London 01 eng 03 00 This book, like the conference which led to it, is part of an essen-tial and expanding discussion which criticizes the fundamental structure of contemporary economy and society and examines the scope for long-term alternatives and worthwhile immedi-ate interventions, demands and experiments.1 The context is partly a historical one. Over thousands of years, but especially since the emergence of capitalism a few centuries ago, we have moved away from forms of society where needs were almost always met locally, from local resources and with rather little division of labor or division of time between ‘production’, ‘dis-tribution’, ‘consumption’, caring, nurturing, playing and all the other things people do to the elaborate divisions of labor out-lined below. Although anthropologists, archaeologists and his-torians continue to expose and refine our understanding of the actual course of events, it is very useful to think in terms of the progressive shifts from a stylized subsistence society in which exchange was highly localized, long-distance trade limited to rare materials (gold, spices) and products of extreme skill or art (scythes, ornaments, fine utensils, weapons). 30 00 This book, like the conference which led to it, is part of an essen-tial and expanding discussion which criticizes the fundamental structure of contemporary economy and society and examines the scope for long-term alternatives and worthwhile immedi-ate interventions, demands and experiments.1 The context is partly a historical one. Over thousands of years, but especially since the emergence of capitalism a few centuries ago, we have moved away from forms of society where needs were almost always met locally, from local resources and with rather little division of labor or division of time between ‘production’, ‘dis-tribution’, ‘consumption’, caring, nurturing, playing and all the other things people do to the elaborate divisions of labor out-lined below. Although anthropologists, archaeologists and his-torians continue to expose and refine our understanding of the actual course of events, it is very useful to think in terms of the progressive shifts from a stylized subsistence society in which exchange was highly localized, long-distance trade limited to rare materials (gold, spices) and products of extreme skill or art (scythes, ornaments, fine utensils, weapons). 20 00 Open Access Edwards, Michael Taylor, Myfanwy 4 03 06 10.21983/P3.0176.1.04 29 38 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Mechanisms of Loss 1 A01 21 0000000281829421 Karol Kurnicki Karol Kurnicki 40 03bqmcz70 Jagiellonian University 01 eng 03 00 Even without recalling the generalizing notion of ‘human na-ture’, it is not excessive to suggest that human activity is creation. The delimitation in human life between work, learning, leisure or play is useful in as much as it allows for the analysis of differ-ent segments of social reality. However, in spite of its conveni-ence, this delimitation is artificial and problematic because it hides relations which are based on the production of new things on the level of everyday practices. These relations engage vari-ous resources and link different levels of social life which always resist categorization and analytical simplification. Everything is — or can be — production. Everything is a social product. 30 00 Even without recalling the generalizing notion of ‘human na-ture’, it is not excessive to suggest that human activity is creation. The delimitation in human life between work, learning, leisure or play is useful in as much as it allows for the analysis of differ-ent segments of social reality. However, in spite of its conveni-ence, this delimitation is artificial and problematic because it hides relations which are based on the production of new things on the level of everyday practices. These relations engage vari-ous resources and link different levels of social life which always resist categorization and analytical simplification. Everything is — or can be — production. Everything is a social product. 20 00 Open Access Kurnicki, Karol 5 03 06 10.21983/P3.0176.1.05 39 52 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Cultural Politics of Re-Industrialization Some Remarks on Cultural Policy and Urban Policy in the European Union 1 A01 21 0000000204946536 Jonathan Vickery Jonathan Vickery 40 01a77tt86 University of Warwick 01 eng 03 00 Cultural policy and urban policy in the European Union are two quite distinct policy fields. They overlap insofar as ‘culture’ is more often than not both urban and public culture, and the greatest density of publicly-funded cultural projects in Europe take place in cities. In this chapter I discuss how both cultural policy and urban policy are changing and are contributing to the ongoing need for re-industrialization, in part through pro-viding the means to a new (or renewed) vision for the European city. Europe experienced the de-industrialization of its post-war economy in the 1970s, then emerged a partial re-industrializa-tion through a rising service economy in the liberalization of trade and property ownership in the 1980s, then to be followed by the informational, communications or so-called ‘micro-chip revolution’ of the 1990s — giving us the digitally-mediated eco-nomic world we today inhabit. And yet historical periodizations do not explain a great deal. How we conceptualize the meaning of ‘industry’ in the digital and so-called ‘knowledge economy’ of the present time remains a matter of debate, if not confusion, We currently seem to be living through an endless recessionary re-scaling of national economies within a supra-national Euro-pean economic framework that is attempting to re-negotiate its relation to the global economy at the same time as its manage-ment of the grand political settlement of European unity, deci-sively forged at Maastricht in 1993. This will no doubt play out through successive political negotiations in the next decade or more, as Europe struggles to recover from the global financial crisis that impacted it in 2007. 30 00 Cultural policy and urban policy in the European Union are two quite distinct policy fields. They overlap insofar as ‘culture’ is more often than not both urban and public culture, and the greatest density of publicly-funded cultural projects in Europe take place in cities. In this chapter I discuss how both cultural policy and urban policy are changing and are contributing to the ongoing need for re-industrialization, in part through pro-viding the means to a new (or renewed) vision for the European city. Europe experienced the de-industrialization of its post-war economy in the 1970s, then emerged a partial re-industrializa-tion through a rising service economy in the liberalization of trade and property ownership in the 1980s, then to be followed by the informational, communications or so-called ‘micro-chip revolution’ of the 1990s — giving us the digitally-mediated eco-nomic world we today inhabit. And yet historical periodizations do not explain a great deal. How we conceptualize the meaning of ‘industry’ in the digital and so-called ‘knowledge economy’ of the present time remains a matter of debate, if not confusion, We currently seem to be living through an endless recessionary re-scaling of national economies within a supra-national Euro-pean economic framework that is attempting to re-negotiate its relation to the global economy at the same time as its manage-ment of the grand political settlement of European unity, deci-sively forged at Maastricht in 1993. This will no doubt play out through successive political negotiations in the next decade or more, as Europe struggles to recover from the global financial crisis that impacted it in 2007. 20 00 Open Access Vickery, Jonathan 6 03 06 10.21983/P3.0176.1.06 53 59 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ‘Shrimps not Whales’ Building a City of Small Parts as an Alternative Vision for Post-Industrial Society 1 A01 21 0000000226513520 Alison Hulme Alison Hulme 40 03265fv13 University College Cork 01 eng 03 00 I was expecting the necessity of a protracted explanation on my part as to where exactly I wanted to go, but the taxi driver im-mediately knew, despite the fact that 798 Art District is way up in the northeast of Beijing, adjacent to a nondescript business centre in what was a German military camp enclosure. It is no longer enclosed. It no longer needs to be. The government has long ago seen the sense in accessibility and careful encourage-ment where art is concerned, as strategies to avoid secrecy and dissent by potentially counter-revolutionary artists and intellec-tuals. 30 00 I was expecting the necessity of a protracted explanation on my part as to where exactly I wanted to go, but the taxi driver im-mediately knew, despite the fact that 798 Art District is way up in the northeast of Beijing, adjacent to a nondescript business centre in what was a German military camp enclosure. It is no longer enclosed. It no longer needs to be. The government has long ago seen the sense in accessibility and careful encourage-ment where art is concerned, as strategies to avoid secrecy and dissent by potentially counter-revolutionary artists and intellec-tuals. 20 00 Open Access Hulme, Alison 7 03 06 10.21983/P3.0176.1.07 61 68 8 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 ‘Der Arbeiter’ (Re-)Industrialization as Universalism? 1 A01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 03 00 In the first chapter of The Urban Revolution, Henri Lefebvre shows the evolution of the city — from the political city, through the mercantile and industrial city, to its final form, the true ‘ur-ban city’. For Lefebvre, industry is something that wasn’t born in the city. He asks: ‘Was industry associated with the city?’ And an-swers: ‘One would assume it to be associated with the non-city, the absence or rupture of urban reality.’1 It was the industry that came to the city, lured by the scent of money, and the sweat and blood of its inhabitants. However, Lefevbre’s attitude towards the industrial city is dialectical. The industrial city destroyed the remnants of the mercantile city and the political city, but it was a ‘creative destruction’, which, in fact, elevated the city to a high-er level of development, setting the stage for Lefebvre’s ‘critical zone’, the predicted moment in history in which urbanity be-comes a meta-narrative aligning all other stories, and therefore also includes the politics and economics of the city. 30 00 In the first chapter of The Urban Revolution, Henri Lefebvre shows the evolution of the city — from the political city, through the mercantile and industrial city, to its final form, the true ‘ur-ban city’. For Lefebvre, industry is something that wasn’t born in the city. He asks: ‘Was industry associated with the city?’ And an-swers: ‘One would assume it to be associated with the non-city, the absence or rupture of urban reality.’1 It was the industry that came to the city, lured by the scent of money, and the sweat and blood of its inhabitants. However, Lefevbre’s attitude towards the industrial city is dialectical. The industrial city destroyed the remnants of the mercantile city and the political city, but it was a ‘creative destruction’, which, in fact, elevated the city to a high-er level of development, setting the stage for Lefebvre’s ‘critical zone’, the predicted moment in history in which urbanity be-comes a meta-narrative aligning all other stories, and therefore also includes the politics and economics of the city. 20 00 Open Access Nawratek, Krzysztof 8 03 06 10.21983/P3.0176.1.08 69 80 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Whose Re-Industrialization? Greening the Pit or Taking Over the Means of Production? 1 A01 21 0000000299069184 Malcolm Miles Malcolm Miles 40 008n7pv89 University of Plymouth 01 eng 03 00 In After London, published in 1885, naturalist Richard Jeffries describes the city abandoned to nature after an unexplained catastrophe. Within a year everywhere has become overgrown: grasses are overwhelmed by docks and thistles in a pseudo-Dar-winian scenario of survival of the strongest. Brambles hide the roads, railway embankments are overgrown by trees. A lake cov-ers much of central England, and London is submerged under a swamp forty miles long into which its buildings have collapsed:There exhales from this oozy mass so fatal a vapour that no animal can endure it. The black water bears a greenish-brown floating scum, which for ever bubbles up from the putrid mud of the bottom. When the wind collects the miasma ... it becomes visible as a low cloud which hangs over the place. [...] at such times when the vapour is thickest, the very wild-fowl leave the reeds, and fly from the poison. [...] It is dead. 30 00 In After London, published in 1885, naturalist Richard Jeffries describes the city abandoned to nature after an unexplained catastrophe. Within a year everywhere has become overgrown: grasses are overwhelmed by docks and thistles in a pseudo-Dar-winian scenario of survival of the strongest. Brambles hide the roads, railway embankments are overgrown by trees. A lake cov-ers much of central England, and London is submerged under a swamp forty miles long into which its buildings have collapsed:There exhales from this oozy mass so fatal a vapour that no animal can endure it. The black water bears a greenish-brown floating scum, which for ever bubbles up from the putrid mud of the bottom. When the wind collects the miasma ... it becomes visible as a low cloud which hangs over the place. [...] at such times when the vapour is thickest, the very wild-fowl leave the reeds, and fly from the poison. [...] It is dead. 20 00 Open Access Miles, Malcolm 9 03 06 10.21983/P3.0176.1.09 81 87 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Crowdsourced Urbanism? The Maker Revolution and the Creative City 2.0 1 A01 Doreen Jakob Doreen Jakob 40 0130frc33 University of North Carolina at Chapel Hill 40 03yghzc09 University of Exeter 01 eng 03 00 Cutting the ribbon at the opening of the new Shapeway factory, New York City Mayor Michael Bloomberg proclaims that the 3-D printing company will form ‘a critical bridge between the tech and manufacturing centers [... and] help us bring the city’s industrial sector directly into the twenty-first century’.1 He an-nounces: ‘this is the future of our city’.2 According to Anderson, today’s maker movement is the newest, third industrial revolu-tion.3 Rifkin argues that ‘like every other economic revolution that preceded it, The Third Industrial [Revolution] will recast many of our assumptions about how the world works’.4 Thus what future and what city does the maker movement create? This book questions whether urban re-industrialization can be imagined as a progressive socio-political and economical pro-ject leading to an inclusive and democratic society based on cooperation and symbiosis. Many of the conference’s presenta-tions offered examples of how to envision urban re-industrial-ization. In this short chapter, however, I argue that urban re-industrialization as part of a third industrial revolution is not a distant futuristic concept but a reality in the making. Driven by the maker movement, green energy, crowdsourcing and crowd-funding, the third industrial revolution comes along dressed in the flowing robes of collaboration, participation, democratized manufacturing and ‘distributed capitalism’. 30 00 Cutting the ribbon at the opening of the new Shapeway factory, New York City Mayor Michael Bloomberg proclaims that the 3-D printing company will form ‘a critical bridge between the tech and manufacturing centers [... and] help us bring the city’s industrial sector directly into the twenty-first century’.1 He an-nounces: ‘this is the future of our city’.2 According to Anderson, today’s maker movement is the newest, third industrial revolu-tion.3 Rifkin argues that ‘like every other economic revolution that preceded it, The Third Industrial [Revolution] will recast many of our assumptions about how the world works’.4 Thus what future and what city does the maker movement create? This book questions whether urban re-industrialization can be imagined as a progressive socio-political and economical pro-ject leading to an inclusive and democratic society based on cooperation and symbiosis. Many of the conference’s presenta-tions offered examples of how to envision urban re-industrial-ization. In this short chapter, however, I argue that urban re-industrialization as part of a third industrial revolution is not a distant futuristic concept but a reality in the making. Driven by the maker movement, green energy, crowdsourcing and crowd-funding, the third industrial revolution comes along dressed in the flowing robes of collaboration, participation, democratized manufacturing and ‘distributed capitalism’. 20 00 Open Access Jakob, Doreen 10 03 06 10.21983/P3.0176.1.10 89 95 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Brave New World?! 1 A01 21 0000000323720919 Tatjana Schneider Tatjana Schneider 40 05krs5044 University of Sheffield 01 eng 03 00 This chapter takes its title from Aldous Huxley’s famous novel of the same name. Set in the very distant future of the year 2540, the novel outlines a world in which every being’s rank in society is predetermined at embryo-stage. Once in the world, ranks and happiness within one’s rank are then managed by a drug with the name of soma. Highly influential on many levels, the novel raises interesting philosophical questions around concepts such as manipulation, design, free will, and liberty and (pre-)deter-mination amongst others. Given, for example, that the individu-als in Huxley’s novel have been engineered before birth, are they truly responsible for their actions or are they merely the tools of their designers at the Hatchery and Conditioning Centre? And does the manufacturing process create individuals who are, as the American philosopher Gary Watson declares, ‘incapable of effectively envisaging or seeing the significance of certain al-ternatives, of reflecting on [themselves] and on the origins of [their] motivations’? 30 00 This chapter takes its title from Aldous Huxley’s famous novel of the same name. Set in the very distant future of the year 2540, the novel outlines a world in which every being’s rank in society is predetermined at embryo-stage. Once in the world, ranks and happiness within one’s rank are then managed by a drug with the name of soma. Highly influential on many levels, the novel raises interesting philosophical questions around concepts such as manipulation, design, free will, and liberty and (pre-)deter-mination amongst others. Given, for example, that the individu-als in Huxley’s novel have been engineered before birth, are they truly responsible for their actions or are they merely the tools of their designers at the Hatchery and Conditioning Centre? And does the manufacturing process create individuals who are, as the American philosopher Gary Watson declares, ‘incapable of effectively envisaging or seeing the significance of certain al-ternatives, of reflecting on [themselves] and on the origins of [their] motivations’? 20 00 Open Access Schneider, Tatjana 11 03 06 10.21983/P3.0176.1.11 97 105 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Political Agency of Geography and the Shrinking City 1 A01 Jeffrey T. Kruth Jeffrey T. Kruth 40 049pfb863 Kent State University 01 eng 03 00 Traveling down Chester Road from downtown Cleveland, a beacon of architectural modernity can be seen reflecting light off the Norman Foster-designed medical campus, signaling that one has reached an urbanism vastly different from the one just traversed. An institutional heterotopia of sorts, the extensive campus stands in as a symbol for a coherent urban language amid a decaying landscape of vacant parcels and foreclosed homes. The region’s largest employer and primary economic driver since the 1980s, the Cleveland Clinic’s economic impact is roughly $12.6 billion, and by extension, its employees con-tribute $5.9 billion to the Ohio economy.1 World renowned for its healthcare and research contributions, the Clinic and nearby institutions of the ‘med-ed’ complex — University Hospitals and Case Western Reserve University — provide an economic stabil-ity in a city that has struggled to prove itself as resilient for more than a generation. 30 00 Traveling down Chester Road from downtown Cleveland, a beacon of architectural modernity can be seen reflecting light off the Norman Foster-designed medical campus, signaling that one has reached an urbanism vastly different from the one just traversed. An institutional heterotopia of sorts, the extensive campus stands in as a symbol for a coherent urban language amid a decaying landscape of vacant parcels and foreclosed homes. The region’s largest employer and primary economic driver since the 1980s, the Cleveland Clinic’s economic impact is roughly $12.6 billion, and by extension, its employees con-tribute $5.9 billion to the Ohio economy.1 World renowned for its healthcare and research contributions, the Clinic and nearby institutions of the ‘med-ed’ complex — University Hospitals and Case Western Reserve University — provide an economic stabil-ity in a city that has struggled to prove itself as resilient for more than a generation. 20 00 Open Access Kruth, Jeffrey T. 12 03 06 10.21983/P3.0176.1.12 107 116 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beyond the Post-Industrial City? The Third Industrial Revolution, Digital Manufacturing and the Transformation of Homes into Miniature Factories 1 A01 21 0000000264358402 John R. Bryson John R. Bryson 40 03angcq70 University of Birmingham 2 A01 21 000000017908032X Jennifer Clark Jennifer Clark 40 01zkghx44 Georgia Institute of Technology 3 A01 Rachel Mulhall Rachel Mulhall 40 03angcq70 University of Birmingham 01 eng 03 00 The late spring 2013 issue of the SkyMall shopping catalogue heralded the emergence of the next technological or industrial revolution. The SkyMall catalogue is found on nearly every US flight and provides travelers with an opportunity to consider purchasing a range of new and novel products whilst onboard the aircraft. The late spring issue contains a $1,299 3d printer. 3d printers can be traced back to 1984, when stereolithography was developed by Charles Hull. This printing process enables a tan-gible 3d object to be created from digital data. The SkyMall 3d printer is described as ‘[s]uper easy and simple to use. It works by building up plastic material in three dimensions to create a real object. It’s ideal for home, classroom and office and creates prototypes, models, toys ... the list is endless’.1 The reference to home use highlights the ability of this technology to shift some manufacturing production from the factory to the home. It is worth noting that 3d printing can also involve printing with metal powders. Nearly everything can be printed, but there are restrictions in terms of size. For example, it is a simple process to print a new cover for a mobile phone at home, but it will never be practicable to print a complete car. This re-emergence of home-based manufacturing has important implications for cities, as it enables new forms of customized manufacturing to emerge. Home-based manufacturing is not a new process, but this new industrial revolution has the potential to return manu-facturing to its roots within the home. 30 00 The late spring 2013 issue of the SkyMall shopping catalogue heralded the emergence of the next technological or industrial revolution. The SkyMall catalogue is found on nearly every US flight and provides travelers with an opportunity to consider purchasing a range of new and novel products whilst onboard the aircraft. The late spring issue contains a $1,299 3d printer. 3d printers can be traced back to 1984, when stereolithography was developed by Charles Hull. This printing process enables a tan-gible 3d object to be created from digital data. The SkyMall 3d printer is described as ‘[s]uper easy and simple to use. It works by building up plastic material in three dimensions to create a real object. It’s ideal for home, classroom and office and creates prototypes, models, toys ... the list is endless’.1 The reference to home use highlights the ability of this technology to shift some manufacturing production from the factory to the home. It is worth noting that 3d printing can also involve printing with metal powders. Nearly everything can be printed, but there are restrictions in terms of size. For example, it is a simple process to print a new cover for a mobile phone at home, but it will never be practicable to print a complete car. This re-emergence of home-based manufacturing has important implications for cities, as it enables new forms of customized manufacturing to emerge. Home-based manufacturing is not a new process, but this new industrial revolution has the potential to return manu-facturing to its roots within the home. 20 00 Open Access Bryson, John R. Clark, Jennifer Mulhall, Rachel 13 03 06 10.21983/P3.0176.1.13 117 126 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Conspicuous Production Valuing the Visibility of Industry in Urban Re-Industrialisation 1 A01 Karl Baker Karl Baker 01 eng 03 00 A flurry of recent commentary calls for a renewed focus on wealthy countries ‘making things’.1 Such arguments are gener-ally framed within discourses on national economic growth and ignore the spatial implications of re-industrialization. However, treating the promotion of industrial activities as a key compo-nent of spatially-oriented urban development strategies offers promises to broaden the range of benefits delivered by a revived manufacturing sector. In realizing this potential, the built form supporting industry requires careful consideration. Shifts to-ward consolidating industry within demarcated zones of utilitarian sheds in the urban periphery,2 while converting historic inner-city industrial buildings for the service economy,3 are problematic manifestations of conventional planning for indus-try in today’s ‘post-industrial’ city. 30 00 A flurry of recent commentary calls for a renewed focus on wealthy countries ‘making things’.1 Such arguments are gener-ally framed within discourses on national economic growth and ignore the spatial implications of re-industrialization. However, treating the promotion of industrial activities as a key compo-nent of spatially-oriented urban development strategies offers promises to broaden the range of benefits delivered by a revived manufacturing sector. In realizing this potential, the built form supporting industry requires careful consideration. Shifts to-ward consolidating industry within demarcated zones of utilitarian sheds in the urban periphery,2 while converting historic inner-city industrial buildings for the service economy,3 are problematic manifestations of conventional planning for indus-try in today’s ‘post-industrial’ city. 20 00 Open Access Baker, Karl 14 03 06 10.21983/P3.0176.1.14 127 135 9 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Industri[us] Re/Use, Re/Work, Re/Value 1 A01 Christina Norton Christina Norton 01 eng 03 00 This chapter explores Industri[us], an initiative that was set up in early 2011 by ‘Fluid’ (architects and urban strategists) and collaborators in order to highlight the growing opportunity of upcycling1 and its uses in urban regeneration and sustainable development. To begin, I explain the concept of Industri[us], its motives and its relationship to the theme of re-industriali-zation and progressive urbanism. I also discuss and present the ‘Festival of Up-Cycling’ in Canning Town which was delivered from May to September 2012 and was a prototype and test case for how up-cycling can contribute towards sustainable develop-ment and have a role in urban regeneration. 30 00 This chapter explores Industri[us], an initiative that was set up in early 2011 by ‘Fluid’ (architects and urban strategists) and collaborators in order to highlight the growing opportunity of upcycling1 and its uses in urban regeneration and sustainable development. To begin, I explain the concept of Industri[us], its motives and its relationship to the theme of re-industriali-zation and progressive urbanism. I also discuss and present the ‘Festival of Up-Cycling’ in Canning Town which was delivered from May to September 2012 and was a prototype and test case for how up-cycling can contribute towards sustainable develop-ment and have a role in urban regeneration. 20 00 Open Access Norton, Christina 15 03 06 10.21983/P3.0176.1.15 137 148 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Working with the Neighbors Cooperative Practices Delivering Sustainable Benefits 1 A01 Kate Royston Kate Royston 40 00ks66431 University of Surrey 01 eng 03 00 In our fast-moving, goal-driven society it’s easy to be insular, but considerable benefits can be gained from talking to, and work-ing with, the neighbors. This can be particularly true across port industrial areas. Ports and their related industrial and amenity areas are critical economic and social components in their re-gion. As hubs for industry, business, leisure and logistics, they are also resource-intensive and can pose environmental and so-cial challenges. In the Netherlands, ports are vital to the national economy. Faced with increasing growth, limited space and ever-tightening environmental constraints, innovative collaborative solutions have had to be developed to support port areas’ inten-sification. One approach is industrial ecological thinking. 30 00 In our fast-moving, goal-driven society it’s easy to be insular, but considerable benefits can be gained from talking to, and work-ing with, the neighbors. This can be particularly true across port industrial areas. Ports and their related industrial and amenity areas are critical economic and social components in their re-gion. As hubs for industry, business, leisure and logistics, they are also resource-intensive and can pose environmental and so-cial challenges. In the Netherlands, ports are vital to the national economy. Faced with increasing growth, limited space and ever-tightening environmental constraints, innovative collaborative solutions have had to be developed to support port areas’ inten-sification. One approach is industrial ecological thinking. 20 00 Open Access Royston, Kate 16 03 06 10.21983/P3.0176.1.16 149 158 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Low-Carbon (Re-)Industrialization Lessons from China 1 A01 21 0000000177214726 Kevin Lo Kevin Lo 40 0145fw131 Hong Kong Baptist University 2 A01 Mark Wang Mark Wang 40 01ej9dk98 University of Melbourne 01 eng 03 00 The difference between (re-)industrialization in the past and present is that energy security and climate change now increas-ingly frame the space in which such processes take place. There-fore, there is an urgent need to rethink (re-)industrialization as part of a low-carbon future, rather than as something that perpetuates the current carbon-intensive mode of production and consumption. The aim of this chapter is to explore the con-cept of low-carbon industrialization, which has recently gained significant traction in China as part of the rethinking process. More specifically, this chapter seeks to clarify the meaning of low-carbon industrialization, supported by examples from Chi-na. The chapter also seeks to transfer lessons from China’s expe-rience with low-carbon industrialization to the context of (re-)industrialization. To anticipate the conclusion, this paper argues that both top-down and bottom-up initiatives can be important in low-carbon (re-)industrialization and that their appropriate-ness depends on the market structure and technological charac-teristics of the industry. 30 00 The difference between (re-)industrialization in the past and present is that energy security and climate change now increas-ingly frame the space in which such processes take place. There-fore, there is an urgent need to rethink (re-)industrialization as part of a low-carbon future, rather than as something that perpetuates the current carbon-intensive mode of production and consumption. The aim of this chapter is to explore the con-cept of low-carbon industrialization, which has recently gained significant traction in China as part of the rethinking process. More specifically, this chapter seeks to clarify the meaning of low-carbon industrialization, supported by examples from Chi-na. The chapter also seeks to transfer lessons from China’s expe-rience with low-carbon industrialization to the context of (re-)industrialization. To anticipate the conclusion, this paper argues that both top-down and bottom-up initiatives can be important in low-carbon (re-)industrialization and that their appropriate-ness depends on the market structure and technological charac-teristics of the industry. 20 00 Open Access Lo, Kevin Wang, Mark 17 03 06 10.21983/P3.0176.1.17 159 175 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Bibliography 1 B01 21 0000000315873042 Krzysztof Nawratek Krzysztof Nawratek 40 05krs5044 University of Sheffield 01 eng 20 00 Open Access Nawratek, Krzysztof 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/urban-re-industrialization/ Earth, Milky Way 04 01 20170725 Nawratek, Krzysztof 02 WORLD 06 15 9781947447028 03 9781947447028 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/66791 20 08 20170725 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25452 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25452/1004643.pdf?sequence=1&isAllowed=y 20 08 20170725 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35510 20 08 20170725 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353778 20 08 20170725 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/560 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f2c3a0e6-b6c0-4b1d-9e36-c8e8eca2658e/download 20 08 20170725 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Urban_Re_Industrialization/5m2oEAAAQBAJ 20 08 20170725 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2d88c98b-7a96-4e4d-a462-bda17a91c376 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2d88c98b-7a96-4e4d-a462-bda17a91c376/2d88c98b-7a96-4e4d-a462-bda17a91c376.pdf 20 08 20170725 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846989 29 ZENODO: download the title https://zenodo.org/records/19846989/files/2d88c98b-7a96-4e4d-a462-bda17a91c376_book.pdf 20 08 20170725 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/urban-re-industrialization/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0176.1.00.pdf 20 08 20170725 01 urn:uuid:54154d6e-5bae-472a-8ac6-fb1907952bbd 03 01 01 thoth-work-id urn:uuid:1b3a402c-796d-4cdf-b6c8-ce204b2d19e6 01 thoth-publication-id urn:uuid:54154d6e-5bae-472a-8ac6-fb1907952bbd 15 9781950192694 03 9781950192694 06 10.21983/P3.0272.1.00 13 2020930124 01 internal-reference 0272 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Útrásarvíkingar! The Literature of the Icelandic Financial Crisis (2008–2014) 1 A01 Alaric Hall Alaric Hall 40 024mrxd33 University of Leeds 01 eng 00 394 03 12 1DNC 93 1DNC B2 Capital+Lucre 10 LIT004250 12 DSBH 93 DSBJ B2 Literary Studies 12 KCS 93 KCX 93 3MRB 20 banking; Iceland; literature studies; post-colonialism; neomedievalism; economic crisis; capitalism 01 06 02 00 03 00 As the global banking boom of the early twenty-first century expanded towards implosion, Icelandic media began calling the country’s celebrity financiers útrásarvíkingar: “raiding vikings.” This new coinage encapsulated the macho, medievalist nationalism which underwrote Iceland’s exponential financialisation. Yet within a few days in October 2008, Iceland saw all its main banks collapse beneath debts worth nearly ten times the country’s GDP.Hall charts how Icelandic novelists and poets grappled with the Crash over the ensuing decade. As the first English-language monograph devoted to twenty-first-century Icelandic literature, it provides Anglophone readers with an introduction to one of the world’s liveliest literary scenes. It also contributes a key case study for understanding global artistic responses to the early twenty-first century crisis of runaway, unregulated capitalism, exploring the struggles of writers to adapt realist forms of art to surreal times.As Iceland’s biggest crisis since their independence from Denmark in 1944, the effect of the Crash on the national self-image was as seismic as its effects on the economy. This study analyses the centrality of whiteness and the abjection of the “developing world” in Iceland’s post-colonial identity, and shows how Crash-writing explores the collisions of Iceland’s traditional, nationalist medievalism with a dystopian, Orientalist medievalism associated with the Islamic world.The Crash in Iceland was instantly recognised as offering important economic insights. This book shows how Iceland also helps us to understand the cultural convulsions that have followed the Financial Crisis widely in the West. 30 00 As the global banking boom of the early twenty-first century expanded towards implosion, Icelandic media began calling the country’s celebrity financiers útrásarvíkingar: “raiding vikings.” This new coinage encapsulated the macho, medievalist nationalism which underwrote Iceland’s exponential financialisation. Yet within a few days in October 2008, Iceland saw all its main banks collapse beneath debts worth nearly ten times the country’s GDP.Hall charts how Icelandic novelists and poets grappled with the Crash over the ensuing decade. As the first English-language monograph devoted to twenty-first-century Icelandic literature, it provides Anglophone readers with an introduction to one of the world’s liveliest literary scenes. It also contributes a key case study for understanding global artistic responses to the early twenty-first century crisis of runaway, unregulated capitalism, exploring the struggles of writers to adapt realist forms of art to surreal times.As Iceland’s biggest crisis since their independence from Denmark in 1944, the effect of the Crash on the national self-image was as seismic as its effects on the economy. This study analyses the centrality of whiteness and the abjection of the “developing world” in Iceland’s post-colonial identity, and shows how Crash-writing explores the collisions of Iceland’s traditional, nationalist medievalism with a dystopian, Orientalist medievalism associated with the Islamic world.The Crash in Iceland was instantly recognised as offering important economic insights. This book shows how Iceland also helps us to understand the cultural convulsions that have followed the Financial Crisis widely in the West. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0272.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/utrasarvikingar-the-literature-of-the-icelandic-financial-crisis-2008-2014/ Earth, Milky Way 04 01 20200416 Hall, Alaric 02 WORLD 06 15 9781950192700 03 9781950192700 34 06 10.3828/jlcds.2012.16 34 06 10.1080/03071022.2014.942521 34 06 10.1080/01426397.2013.875987 34 06 10.5325/fscotfitzrevi.14.1.0060 34 06 10.1017/S0021875815001747 34 06 10.1179/175330709X449116 34 06 10.2307/2864557 34 06 10.1108/09513571211234240 34 06 10.1353/wam.2014.0003 34 06 10.1215/22011919-3615424 34 06 10.18452/8040 34 06 10.2478/njmr-2014-0026 34 06 10.3726/PHIL2016_275 34 06 10.1515/fabl.2000.41.1-2.87 34 06 10.1177/1463499604047921 34 06 10.1093/adaptation/apn016 34 06 10.1353/crt.2010.0053 34 06 10.1111/1468-4446.12112 34 06 10.1080/10702890902861271 34 06 10.1177/1350506811425837 34 06 10.1080/1070289X.2012.732543 34 06 10.1080/17528631.2013.858920 34 06 10.1080/14608944.2016.1095491 34 06 10.1515/njmr-2017-0012 34 06 10.1177/0308275X09345423 34 06 10.1080/0966369X.2017.1372383 34 06 10.1353/crt.2010.0046 34 06 10.1215/10829636-2007-015 34 06 10.1111/j.1475-5661.2011.00434.x 34 06 10.1353/nlh.2004.0010 34 06 10.1353/scd.2014.0027 34 06 10.1080/03468759708579357 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192695 20 08 20200416 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/astrasarvakingar-the-literature-of-the-icelandic-financial-crisis-2008a2014 20 08 20200416 02 27.00 USD WORLD urn:uuid:bc7ad1d6-8de4-457f-b71b-ec534fd17c38 03 01 01 thoth-work-id urn:uuid:1b3a402c-796d-4cdf-b6c8-ce204b2d19e6 01 thoth-publication-id urn:uuid:bc7ad1d6-8de4-457f-b71b-ec534fd17c38 15 9781950192700 03 9781950192700 06 10.21983/P3.0272.1.00 13 2020930124 01 internal-reference 0272 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Útrásarvíkingar! The Literature of the Icelandic Financial Crisis (2008–2014) 1 A01 Alaric Hall Alaric Hall 40 024mrxd33 University of Leeds 01 eng 00 394 03 12 1DNC 93 1DNC B2 Capital+Lucre 10 LIT004250 12 DSBH 93 DSBJ B2 Literary Studies 12 KCS 93 KCX 93 3MRB 20 banking; Iceland; literature studies; post-colonialism; neomedievalism; economic crisis; capitalism 01 06 02 00 03 00 As the global banking boom of the early twenty-first century expanded towards implosion, Icelandic media began calling the country’s celebrity financiers útrásarvíkingar: “raiding vikings.” This new coinage encapsulated the macho, medievalist nationalism which underwrote Iceland’s exponential financialisation. Yet within a few days in October 2008, Iceland saw all its main banks collapse beneath debts worth nearly ten times the country’s GDP.Hall charts how Icelandic novelists and poets grappled with the Crash over the ensuing decade. As the first English-language monograph devoted to twenty-first-century Icelandic literature, it provides Anglophone readers with an introduction to one of the world’s liveliest literary scenes. It also contributes a key case study for understanding global artistic responses to the early twenty-first century crisis of runaway, unregulated capitalism, exploring the struggles of writers to adapt realist forms of art to surreal times.As Iceland’s biggest crisis since their independence from Denmark in 1944, the effect of the Crash on the national self-image was as seismic as its effects on the economy. This study analyses the centrality of whiteness and the abjection of the “developing world” in Iceland’s post-colonial identity, and shows how Crash-writing explores the collisions of Iceland’s traditional, nationalist medievalism with a dystopian, Orientalist medievalism associated with the Islamic world.The Crash in Iceland was instantly recognised as offering important economic insights. This book shows how Iceland also helps us to understand the cultural convulsions that have followed the Financial Crisis widely in the West. 30 00 As the global banking boom of the early twenty-first century expanded towards implosion, Icelandic media began calling the country’s celebrity financiers útrásarvíkingar: “raiding vikings.” This new coinage encapsulated the macho, medievalist nationalism which underwrote Iceland’s exponential financialisation. Yet within a few days in October 2008, Iceland saw all its main banks collapse beneath debts worth nearly ten times the country’s GDP.Hall charts how Icelandic novelists and poets grappled with the Crash over the ensuing decade. As the first English-language monograph devoted to twenty-first-century Icelandic literature, it provides Anglophone readers with an introduction to one of the world’s liveliest literary scenes. It also contributes a key case study for understanding global artistic responses to the early twenty-first century crisis of runaway, unregulated capitalism, exploring the struggles of writers to adapt realist forms of art to surreal times.As Iceland’s biggest crisis since their independence from Denmark in 1944, the effect of the Crash on the national self-image was as seismic as its effects on the economy. This study analyses the centrality of whiteness and the abjection of the “developing world” in Iceland’s post-colonial identity, and shows how Crash-writing explores the collisions of Iceland’s traditional, nationalist medievalism with a dystopian, Orientalist medievalism associated with the Islamic world.The Crash in Iceland was instantly recognised as offering important economic insights. This book shows how Iceland also helps us to understand the cultural convulsions that have followed the Financial Crisis widely in the West. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0272.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/utrasarvikingar-the-literature-of-the-icelandic-financial-crisis-2008-2014/ Earth, Milky Way 04 01 20200416 Hall, Alaric 02 WORLD 06 15 9781950192694 03 9781950192694 34 06 10.3828/jlcds.2012.16 34 06 10.1080/03071022.2014.942521 34 06 10.1080/01426397.2013.875987 34 06 10.5325/fscotfitzrevi.14.1.0060 34 06 10.1017/S0021875815001747 34 06 10.1179/175330709X449116 34 06 10.2307/2864557 34 06 10.1108/09513571211234240 34 06 10.1353/wam.2014.0003 34 06 10.1215/22011919-3615424 34 06 10.18452/8040 34 06 10.2478/njmr-2014-0026 34 06 10.3726/PHIL2016_275 34 06 10.1515/fabl.2000.41.1-2.87 34 06 10.1177/1463499604047921 34 06 10.1093/adaptation/apn016 34 06 10.1353/crt.2010.0053 34 06 10.1111/1468-4446.12112 34 06 10.1080/10702890902861271 34 06 10.1177/1350506811425837 34 06 10.1080/1070289X.2012.732543 34 06 10.1080/17528631.2013.858920 34 06 10.1080/14608944.2016.1095491 34 06 10.1515/njmr-2017-0012 34 06 10.1177/0308275X09345423 34 06 10.1080/0966369X.2017.1372383 34 06 10.1353/crt.2010.0046 34 06 10.1215/10829636-2007-015 34 06 10.1111/j.1475-5661.2011.00434.x 34 06 10.1353/nlh.2004.0010 34 06 10.1353/scd.2014.0027 34 06 10.1080/03468759708579357 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/36881 29 OAPEN: download the title http://library.oapen.org/bitstream/handle/20.500.12657/36881/0272.1.00.pdf?sequence=1&isAllowed=y 20 08 20200416 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39582 20 08 20200416 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353784 20 08 20200416 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/631 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8eef005a-8624-4736-b0ef-e5724c70f335/download 20 08 20200416 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/%C5%AAtr%C4%81sarvikingar/ugSVEAAAQBAJ 20 08 20200416 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1b3a402c-796d-4cdf-b6c8-ce204b2d19e6 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1b3a402c-796d-4cdf-b6c8-ce204b2d19e6/1b3a402c-796d-4cdf-b6c8-ce204b2d19e6.pdf 20 08 20200416 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848193 29 ZENODO: download the title https://zenodo.org/records/19848193/files/1b3a402c-796d-4cdf-b6c8-ce204b2d19e6_book.pdf 20 08 20200416 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/utrasarvikingar-the-literature-of-the-icelandic-financial-crisis-2008-2014/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0272.1.00.pdf 20 08 20200416 01 urn:uuid:5fced32b-a5aa-402a-bfff-c3960646d646 03 01 01 thoth-work-id urn:uuid:fccabf96-0c07-4554-835f-a83d788e1b42 01 thoth-publication-id urn:uuid:5fced32b-a5aa-402a-bfff-c3960646d646 15 9780692022238 03 9780692022238 06 10.21983/P3.0076.1.00 01 internal-reference 0076 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Vampires & A Reasonable Dictionary 1 A01 Scott Abbott Scott Abbott 40 02rxpxc98 Utah Valley University 2 A01 Žarko Radaković Žarko Radaković 01 eng 02 srp 00 186 03 B2 Fabulations 10 FIC099000 12 WTL 93 WTL 93 1QBDY B2 Languages+Translations 93 DSBH 93 1DFA 20 fiction; Yugoslavia; travel narrative; Serbia; vampires 01 06 02 00 03 00 As a follow-up to their first collaboration Repetitions (published in Belgrade in 1994, and in English by punctum in 2013), in 2008 the authors published, also in Belgrade, Vampiri & Razumni recnik, published here by punctum as Vampires & A Reasonable Dictionary. Vampires is Radaković’s fictionalized account of a Serb living in Cologne, Germany while his former country disintegrates. He travels in the American West, ostensibly looking for the vampires causing chaos in his own country, and then returns to Europe, having found no vampires. It is a dark text, a story of destruction told in a narrative that refuses all the solaces narrative has traditionally afforded. A Reasonable Dictionary is Abbott’s personally troubled account of his and Radaković’s trip up the Drina River between the civil wars, a journey made with the novelist Peter Handke, a trip during which some of Abbott’s specifically American stories lost their moral structure. 30 00 As a follow-up to their first collaboration Repetitions (published in Belgrade in 1994, and in English by punctum in 2013), in 2008 the authors published, also in Belgrade, Vampiri & Razumni recnik, published here by punctum as Vampires & A Reasonable Dictionary. Vampires is Radaković’s fictionalized account of a Serb living in Cologne, Germany while his former country disintegrates. He travels in the American West, ostensibly looking for the vampires causing chaos in his own country, and then returns to Europe, having found no vampires. It is a dark text, a story of destruction told in a narrative that refuses all the solaces narrative has traditionally afforded. A Reasonable Dictionary is Abbott’s personally troubled account of his and Radaković’s trip up the Drina River between the civil wars, a journey made with the novelist Peter Handke, a trip during which some of Abbott’s specifically American stories lost their moral structure. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0076.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/vampires-a-reasonable-dictionary/ Brooklyn, NY 04 01 20140830 Abbott, Scott Radaković, Žarko 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692022236 20 08 20140830 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/vampires-a-reasonable-dictionary 20 08 20140830 02 23.00 USD WORLD urn:uuid:36bf0393-7b73-49a9-abec-86bc111f9408 03 01 01 thoth-work-id urn:uuid:fccabf96-0c07-4554-835f-a83d788e1b42 01 thoth-publication-id urn:uuid:36bf0393-7b73-49a9-abec-86bc111f9408 06 10.21983/P3.0076.1.00 01 internal-reference 0076 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Vampires & A Reasonable Dictionary 1 A01 Scott Abbott Scott Abbott 40 02rxpxc98 Utah Valley University 2 A01 Žarko Radaković Žarko Radaković 01 eng 02 srp 00 186 03 B2 Fabulations 10 FIC099000 12 WTL 93 WTL 93 1QBDY B2 Languages+Translations 93 DSBH 93 1DFA 20 fiction; Yugoslavia; travel narrative; Serbia; vampires 01 06 02 00 03 00 As a follow-up to their first collaboration Repetitions (published in Belgrade in 1994, and in English by punctum in 2013), in 2008 the authors published, also in Belgrade, Vampiri & Razumni recnik, published here by punctum as Vampires & A Reasonable Dictionary. Vampires is Radaković’s fictionalized account of a Serb living in Cologne, Germany while his former country disintegrates. He travels in the American West, ostensibly looking for the vampires causing chaos in his own country, and then returns to Europe, having found no vampires. It is a dark text, a story of destruction told in a narrative that refuses all the solaces narrative has traditionally afforded. A Reasonable Dictionary is Abbott’s personally troubled account of his and Radaković’s trip up the Drina River between the civil wars, a journey made with the novelist Peter Handke, a trip during which some of Abbott’s specifically American stories lost their moral structure. 30 00 As a follow-up to their first collaboration Repetitions (published in Belgrade in 1994, and in English by punctum in 2013), in 2008 the authors published, also in Belgrade, Vampiri & Razumni recnik, published here by punctum as Vampires & A Reasonable Dictionary. Vampires is Radaković’s fictionalized account of a Serb living in Cologne, Germany while his former country disintegrates. He travels in the American West, ostensibly looking for the vampires causing chaos in his own country, and then returns to Europe, having found no vampires. It is a dark text, a story of destruction told in a narrative that refuses all the solaces narrative has traditionally afforded. A Reasonable Dictionary is Abbott’s personally troubled account of his and Radaković’s trip up the Drina River between the civil wars, a journey made with the novelist Peter Handke, a trip during which some of Abbott’s specifically American stories lost their moral structure. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0076.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/vampires-a-reasonable-dictionary/ Brooklyn, NY 04 01 20140830 Abbott, Scott Radaković, Žarko 02 WORLD 06 15 9780692022238 03 9780692022238 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76465 20 08 20140830 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25544 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25544/1004551.pdf?sequence=1&isAllowed=y 20 08 20140830 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/32608 20 08 20140830 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353857 20 08 20140830 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/460 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8db41ba7-14f2-4ccb-baf3-9a0dcf6e8dee/download 20 08 20140830 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Vampires_A_Reasonable_Dictionary/qxCtzgEACAAJ 20 08 20140830 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/fccabf96-0c07-4554-835f-a83d788e1b42 29 INTERNET_ARCHIVE: download the title https://archive.org/download/fccabf96-0c07-4554-835f-a83d788e1b42/fccabf96-0c07-4554-835f-a83d788e1b42.pdf 20 08 20140830 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846008 29 ZENODO: download the title https://zenodo.org/records/19846008/files/fccabf96-0c07-4554-835f-a83d788e1b42_book.pdf 20 08 20140830 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/vampires-a-reasonable-dictionary/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0076.1.00.pdf 20 08 20140830 01 urn:uuid:c8b50edf-046a-4906-ae03-d24686761c01 03 01 01 thoth-work-id urn:uuid:678f4564-d01a-4ffe-8bdb-fead78f87955 01 thoth-publication-id urn:uuid:c8b50edf-046a-4906-ae03-d24686761c01 15 9781685710309 03 9781685710309 06 10.53288/0369.1.00 13 2022944329 01 internal-reference 0369 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Vera Lex Historiae? Constructions of Truth in Medieval Historical Narrative 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 00 370 03 12 HBLC1 10 HIS037010 B2 History 93 NHDJ 12 3F 93 3KH 10 HIS016000 B2 Premodern 12 1D 93 1D 20 historiography; Bede; truth; Early Middle Ages; narratives; Medieval Studies 01 06 02 00 03 00 In his Historia Ecclesiastica Gentis Anglorum (circa 731 CE), Bede says that he will write his account of the past of the English following only vera lex historiae (the true law of history). Whether explicitly or implicitly, historians narrate the past according to conceptions of what constitutes historical truth that emerge in the use of narrative strategies, formulae, and other textual forms, in establishing one’s ideological authority or that of one’s informants, and in faithfulness to a cultural, narrative, or poetic tradition. But what if we extend the scope of what we understand by history (especially in premodern settings) to include not just the writings of historians legitimated by the Latinate matrix of Christianized classical history writing, but also collective narratives, practices, rituals, oral poetry, liturgy, artistic representations, and acts of identity? In these genres of re-enacting the past as, or as representation of, the present, we find a plethora of modes of constructions of historical truth, narrative authority, and reliability.Vera Lex Historiae? comprises contributions that reveal the variety of evental strategies by which historical truth was constructed in late antiquity and the earlier Middle Ages, and the range of procedures by which such narratives were first established as being historical and then as “true” histories. This is not only a matter of narrative strategies, but also of habitus — ways of living and acting in the world that are deeply imbricated with the commemoration and re-enactment of the past by communities and by individuals. In doing this, Vera Lex Historiae? aims to recover something of the plurality of modes of preserving and reenacting the past available in late antiquity and the earlier middle ages which we often overlook because of preconceived notions of what constitutes history writing. 30 00 In his Historia Ecclesiastica Gentis Anglorum (circa 731 CE), Bede says that he will write his account of the past of the English following only vera lex historiae (the true law of history). Whether explicitly or implicitly, historians narrate the past according to conceptions of what constitutes historical truth that emerge in the use of narrative strategies, formulae, and other textual forms, in establishing one’s ideological authority or that of one’s informants, and in faithfulness to a cultural, narrative, or poetic tradition. But what if we extend the scope of what we understand by history (especially in premodern settings) to include not just the writings of historians legitimated by the Latinate matrix of Christianized classical history writing, but also collective narratives, practices, rituals, oral poetry, liturgy, artistic representations, and acts of identity? In these genres of re-enacting the past as, or as representation of, the present, we find a plethora of modes of constructions of historical truth, narrative authority, and reliability.Vera Lex Historiae? comprises contributions that reveal the variety of evental strategies by which historical truth was constructed in late antiquity and the earlier Middle Ages, and the range of procedures by which such narratives were first established as being historical and then as “true” histories. This is not only a matter of narrative strategies, but also of habitus — ways of living and acting in the world that are deeply imbricated with the commemoration and re-enactment of the past by communities and by individuals. In doing this, Vera Lex Historiae? aims to recover something of the plurality of modes of preserving and reenacting the past available in late antiquity and the earlier middle ages which we often overlook because of preconceived notions of what constitutes history writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0369.1.00_frontcover.jpg 1 03 06 10.53288/0369.1.01 1 11 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access 2 03 06 10.53288/0369.1.02 13 33 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Truth & Anti-History 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0369.1.03 35 81 47 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction "Vera Lex Historiae"? 1 A01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 A01 21 000000027753177X Ralph O’Connor Ralph O’Connor 40 016476m91 University of Aberdeen Ralph O’Connor Ralph O’Connor is Professor in the Literature and Culture of Britain, Ireland and Iceland at the University of Aberdeen, where he teaches in the departments of Celtic & Anglo-Saxon Studies, History, and English. He has published widely on fictional and factual writing about the distant past in the mediaeval and early modern Gaelic and Norse-Icelandic cultural zones and in the English-speaking world since 1800. 01 eng 20 00 Open Access Catalin Taranu Ralph O’Connor 4 03 06 10.53288/0369.1.04 83 112 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Shoemaker and the Troubadour Knight, and Other Stories Historicity and the Truth of Fiction in Medieval Castilian Literature 1 A01 21 0000000278288003 Kim Bergqvist Kim Bergqvist 40 05f0yaq80 Stockholm University Kim Bergqvist is a doctoral candidate in medieval history in the Department of History at Stockholm University. He is currently completing a dissertation on aristocratic insurrections, resistance, and political values in Castile-León and Sweden, c. 1250–1370. Bergqvist specializes in medieval political and comparative history, history writing, genre and fictionality, and the history of gender and emotions. He is the co-editor of Conflict and Collaboration in Medieval Iberia (Cambridge Scholars Publishing, 2020). Other recent publications include: “The Vindication of Sancho II in the Crónica de Castilla: Political Identity and Historiographical Reinvention in Medieval Castilian Chronicles,” The Medieval Chronicle 11 (2018); “Performing Chivalric Masculinity: Morality, Restraint, and Emotional Norms in El Libro del cavallero Zifar,” in Affective and Emotional Economies in Medieval and Early Modern Europe (NY: Palgrave Macmillan, 2018); and, “Kings and Nobles on the Fringes of Christendom: A Comparative Perspective on Monarchy and Aristocracy in the European Middle Ages,” in The Routledge History of Monarchy, ed. Elena Woodacre at al. (2019). 01 eng 20 00 Open Access Kim Bergqvist 5 03 06 10.53288/0369.1.05 113 140 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How the Barking Nuns Forgot Their Abbesses 1 A01 21 0000000264115814 Cynthia Turner Camp Cynthia Turner Camp 40 02bjhwk41 University of Georgia Cynthia Turner Camp is Associate Professor of English at the University of Georgia, publishing on hagiography, historiography, and monastic culture. She is the author of Anglo-Saxon Saints' Lives as History Writing in Late Medieval England (Cambridge: D. S. Brewer, 2015) and with Emily Kelley, co-editor of Saints as Intercessors between the Wealthy and the Divine: Art and Hagiography among the Medieval Merchant Classes (London: Routledge, 2019). 01 eng 20 00 Open Access Cynthia Turner Camp 6 03 06 10.53288/0369.1.06 141 176 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alternative Histories Phantom Truths in Stone 1 A01 Catherine Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds Catherine Karkov is Chair of Art History in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. She has written and edited numerous books and articles on early medieval English Art, including The Art of Anglo-Saxon England (Rochester: Boydell Press, 2011) and, most recently, Imagining Anglo-Saxon: Utopia, Heterotopia, Dystopia (Rochester: Boydell Press, 2020). She is currently completing a book on Form and Image in Early Medieval England. 01 eng 20 00 Open Access Catherine Karkov 7 03 06 10.53288/0369.1.07 177 212 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Narratio Probabilis" in Early Medieval Historiography A Reconsideration 1 A01 Justin Lake Justin Lake 40 01f5ytq51 Texas A&M University Justin Lake is Associate Professor of Classics at Texas A&M University. He studies Medieval Latin historiography, medieval rhetoric, and the Classical Tradition. His most recent book is Confronting Crisis in the Carolingian Empire: Paschasius Radbertus's funeral oration for Wala of Corbie, an annotated translation of Paschasius Radbertus's Epitaphium Arsenii, undertaken together with Mayke de Jong, Professor Emerita of History at the University of Utrecht. Current projects include a study of the rewriting of Aimoin of Fleury's Gesta Francorum in the Grandes Chroniques de France and the comparative study of Byzantine and Medieval Latin historical prologues. 01 eng 20 00 Open Access Justin Lake 8 03 06 10.53288/0369.1.08 213 249 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Literary Imaginary of the Past as the Truth of the Present Occasional Literature in Twelfth-Century Constantinople 1 A01 21 0000000260839428 Ingela Nilsson Ingela Nilsson 40 048a87296 Uppsala University Ingela Nilsson is Professor of Greek and Byzantine Studies at Uppsala University and Director of the Swedish Research Institute in Istanbul (2019-21). She is a specialist in Byzantine literature with a particular focus on issues of literary adaptation, often from a narratological perspective. Her most recent publications include the co-edited volumes Storytelling in Byzantium: Narratological Approaches to Byzantine Texts and Images (2018), Reading the Late Byzantine Romance: A Handbook (2019) and the monograph Writer and Occasion in Twelfth-Century Byzantium: The Authorial Voice of Constantien Manasses (2021). In 2018 Nilsson was elected a member of the Royal Swedish Academy of Letters, History and Antiquity, and in 2019 she was awarded the Thureus award from The Royal Society of Sciences at Uppsala. She is editor of the series Studia Byzantina Upsaliensia, associate editor of Brill’s Narratological Commentaries to Ancient Texts, and Byzantine Studies editor of Byzantine and Modern Greek Studies. 01 eng 20 00 Open Access Ingela Nilsson 9 03 06 10.53288/0369.1.09 251 306 56 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Romance, Legend, and the Remote Past Historical Framing in Late Medieval Icelandic Sagas 1 A01 21 000000027753177X Ralph O’Connor Ralph O’Connor 40 016476m91 University of Aberdeen Ralph O’Connor Ralph O’Connor is Professor in the Literature and Culture of Britain, Ireland and Iceland at the University of Aberdeen, where he teaches in the departments of Celtic & Anglo-Saxon Studies, History, and English. He has published widely on fictional and factual writing about the distant past in the mediaeval and early modern Gaelic and Norse-Icelandic cultural zones and in the English-speaking world since 1800. 01 eng 20 00 Open Access Ralph O’Connor 10 03 06 10.53288/0369.1.10 307 356 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Truth is the trickiest” Vernacular Theories of Truth and Strategies of Truth-making in Old English Verse 1 A01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 01 eng 20 00 Open Access Catalin Taranu 11 03 06 10.53288/0369.1.11 357 360 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access 12 03 06 10.53288/0369.1.12 361 365 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Index 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/vera-lex-historiae-constructions-of-truth-in-medieval-historical-narrative/ Earth, Milky Way 04 01 20220818 Catalin Taranu, Michael J. 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00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Vera Lex Historiae? Constructions of Truth in Medieval Historical Narrative 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 00 370 03 12 HBLC1 10 HIS037010 B2 History 93 NHDJ 12 3F 93 3KH 10 HIS016000 B2 Premodern 12 1D 93 1D 20 historiography; Bede; truth; Early Middle Ages; narratives; Medieval Studies 01 06 02 00 03 00 In his Historia Ecclesiastica Gentis Anglorum (circa 731 CE), Bede says that he will write his account of the past of the English following only vera lex historiae (the true law of history). Whether explicitly or implicitly, historians narrate the past according to conceptions of what constitutes historical truth that emerge in the use of narrative strategies, formulae, and other textual forms, in establishing one’s ideological authority or that of one’s informants, and in faithfulness to a cultural, narrative, or poetic tradition. But what if we extend the scope of what we understand by history (especially in premodern settings) to include not just the writings of historians legitimated by the Latinate matrix of Christianized classical history writing, but also collective narratives, practices, rituals, oral poetry, liturgy, artistic representations, and acts of identity? In these genres of re-enacting the past as, or as representation of, the present, we find a plethora of modes of constructions of historical truth, narrative authority, and reliability.Vera Lex Historiae? comprises contributions that reveal the variety of evental strategies by which historical truth was constructed in late antiquity and the earlier Middle Ages, and the range of procedures by which such narratives were first established as being historical and then as “true” histories. This is not only a matter of narrative strategies, but also of habitus — ways of living and acting in the world that are deeply imbricated with the commemoration and re-enactment of the past by communities and by individuals. In doing this, Vera Lex Historiae? aims to recover something of the plurality of modes of preserving and reenacting the past available in late antiquity and the earlier middle ages which we often overlook because of preconceived notions of what constitutes history writing. 30 00 In his Historia Ecclesiastica Gentis Anglorum (circa 731 CE), Bede says that he will write his account of the past of the English following only vera lex historiae (the true law of history). Whether explicitly or implicitly, historians narrate the past according to conceptions of what constitutes historical truth that emerge in the use of narrative strategies, formulae, and other textual forms, in establishing one’s ideological authority or that of one’s informants, and in faithfulness to a cultural, narrative, or poetic tradition. But what if we extend the scope of what we understand by history (especially in premodern settings) to include not just the writings of historians legitimated by the Latinate matrix of Christianized classical history writing, but also collective narratives, practices, rituals, oral poetry, liturgy, artistic representations, and acts of identity? In these genres of re-enacting the past as, or as representation of, the present, we find a plethora of modes of constructions of historical truth, narrative authority, and reliability.Vera Lex Historiae? comprises contributions that reveal the variety of evental strategies by which historical truth was constructed in late antiquity and the earlier Middle Ages, and the range of procedures by which such narratives were first established as being historical and then as “true” histories. This is not only a matter of narrative strategies, but also of habitus — ways of living and acting in the world that are deeply imbricated with the commemoration and re-enactment of the past by communities and by individuals. In doing this, Vera Lex Historiae? aims to recover something of the plurality of modes of preserving and reenacting the past available in late antiquity and the earlier middle ages which we often overlook because of preconceived notions of what constitutes history writing. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0369.1.00_frontcover.jpg 1 03 06 10.53288/0369.1.01 1 11 12 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access 2 03 06 10.53288/0369.1.02 13 33 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Preface Truth & Anti-History 1 A01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access Michael J. Kelly 3 03 06 10.53288/0369.1.03 35 81 47 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction "Vera Lex Historiae"? 1 A01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 A01 21 000000027753177X Ralph O’Connor Ralph O’Connor 40 016476m91 University of Aberdeen Ralph O’Connor Ralph O’Connor is Professor in the Literature and Culture of Britain, Ireland and Iceland at the University of Aberdeen, where he teaches in the departments of Celtic & Anglo-Saxon Studies, History, and English. He has published widely on fictional and factual writing about the distant past in the mediaeval and early modern Gaelic and Norse-Icelandic cultural zones and in the English-speaking world since 1800. 01 eng 20 00 Open Access Catalin Taranu Ralph O’Connor 4 03 06 10.53288/0369.1.04 83 112 30 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Shoemaker and the Troubadour Knight, and Other Stories Historicity and the Truth of Fiction in Medieval Castilian Literature 1 A01 21 0000000278288003 Kim Bergqvist Kim Bergqvist 40 05f0yaq80 Stockholm University Kim Bergqvist is a doctoral candidate in medieval history in the Department of History at Stockholm University. He is currently completing a dissertation on aristocratic insurrections, resistance, and political values in Castile-León and Sweden, c. 1250–1370. Bergqvist specializes in medieval political and comparative history, history writing, genre and fictionality, and the history of gender and emotions. He is the co-editor of Conflict and Collaboration in Medieval Iberia (Cambridge Scholars Publishing, 2020). Other recent publications include: “The Vindication of Sancho II in the Crónica de Castilla: Political Identity and Historiographical Reinvention in Medieval Castilian Chronicles,” The Medieval Chronicle 11 (2018); “Performing Chivalric Masculinity: Morality, Restraint, and Emotional Norms in El Libro del cavallero Zifar,” in Affective and Emotional Economies in Medieval and Early Modern Europe (NY: Palgrave Macmillan, 2018); and, “Kings and Nobles on the Fringes of Christendom: A Comparative Perspective on Monarchy and Aristocracy in the European Middle Ages,” in The Routledge History of Monarchy, ed. Elena Woodacre at al. (2019). 01 eng 20 00 Open Access Kim Bergqvist 5 03 06 10.53288/0369.1.05 113 140 28 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 How the Barking Nuns Forgot Their Abbesses 1 A01 21 0000000264115814 Cynthia Turner Camp Cynthia Turner Camp 40 02bjhwk41 University of Georgia Cynthia Turner Camp is Associate Professor of English at the University of Georgia, publishing on hagiography, historiography, and monastic culture. She is the author of Anglo-Saxon Saints' Lives as History Writing in Late Medieval England (Cambridge: D. S. Brewer, 2015) and with Emily Kelley, co-editor of Saints as Intercessors between the Wealthy and the Divine: Art and Hagiography among the Medieval Merchant Classes (London: Routledge, 2019). 01 eng 20 00 Open Access Cynthia Turner Camp 6 03 06 10.53288/0369.1.06 141 176 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Alternative Histories Phantom Truths in Stone 1 A01 Catherine Karkov Catherine E. Karkov 40 024mrxd33 University of Leeds Catherine Karkov is Chair of Art History in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. She has written and edited numerous books and articles on early medieval English Art, including The Art of Anglo-Saxon England (Rochester: Boydell Press, 2011) and, most recently, Imagining Anglo-Saxon: Utopia, Heterotopia, Dystopia (Rochester: Boydell Press, 2020). She is currently completing a book on Form and Image in Early Medieval England. 01 eng 20 00 Open Access Catherine Karkov 7 03 06 10.53288/0369.1.07 177 212 36 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 "Narratio Probabilis" in Early Medieval Historiography A Reconsideration 1 A01 Justin Lake Justin Lake 40 01f5ytq51 Texas A&M University Justin Lake is Associate Professor of Classics at Texas A&M University. He studies Medieval Latin historiography, medieval rhetoric, and the Classical Tradition. His most recent book is Confronting Crisis in the Carolingian Empire: Paschasius Radbertus's funeral oration for Wala of Corbie, an annotated translation of Paschasius Radbertus's Epitaphium Arsenii, undertaken together with Mayke de Jong, Professor Emerita of History at the University of Utrecht. Current projects include a study of the rewriting of Aimoin of Fleury's Gesta Francorum in the Grandes Chroniques de France and the comparative study of Byzantine and Medieval Latin historical prologues. 01 eng 20 00 Open Access Justin Lake 8 03 06 10.53288/0369.1.08 213 249 37 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Literary Imaginary of the Past as the Truth of the Present Occasional Literature in Twelfth-Century Constantinople 1 A01 21 0000000260839428 Ingela Nilsson Ingela Nilsson 40 048a87296 Uppsala University Ingela Nilsson is Professor of Greek and Byzantine Studies at Uppsala University and Director of the Swedish Research Institute in Istanbul (2019-21). She is a specialist in Byzantine literature with a particular focus on issues of literary adaptation, often from a narratological perspective. Her most recent publications include the co-edited volumes Storytelling in Byzantium: Narratological Approaches to Byzantine Texts and Images (2018), Reading the Late Byzantine Romance: A Handbook (2019) and the monograph Writer and Occasion in Twelfth-Century Byzantium: The Authorial Voice of Constantien Manasses (2021). In 2018 Nilsson was elected a member of the Royal Swedish Academy of Letters, History and Antiquity, and in 2019 she was awarded the Thureus award from The Royal Society of Sciences at Uppsala. She is editor of the series Studia Byzantina Upsaliensia, associate editor of Brill’s Narratological Commentaries to Ancient Texts, and Byzantine Studies editor of Byzantine and Modern Greek Studies. 01 eng 20 00 Open Access Ingela Nilsson 9 03 06 10.53288/0369.1.09 251 306 56 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Romance, Legend, and the Remote Past Historical Framing in Late Medieval Icelandic Sagas 1 A01 21 000000027753177X Ralph O’Connor Ralph O’Connor 40 016476m91 University of Aberdeen Ralph O’Connor Ralph O’Connor is Professor in the Literature and Culture of Britain, Ireland and Iceland at the University of Aberdeen, where he teaches in the departments of Celtic & Anglo-Saxon Studies, History, and English. He has published widely on fictional and factual writing about the distant past in the mediaeval and early modern Gaelic and Norse-Icelandic cultural zones and in the English-speaking world since 1800. 01 eng 20 00 Open Access Ralph O’Connor 10 03 06 10.53288/0369.1.10 307 356 50 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 “Truth is the trickiest” Vernacular Theories of Truth and Strategies of Truth-making in Old English Verse 1 A01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 01 eng 20 00 Open Access Catalin Taranu 11 03 06 10.53288/0369.1.11 357 360 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Contributors 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access 12 03 06 10.53288/0369.1.12 361 365 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Index 1 B01 21 0000000337586933 Catalin Taranu Catalin Taranu 40 02yps9f67 New Europe College Catalin Taranu is a literary-historical scholar working on the vernacular poems and cultures of early medieval England and Francia. He has taught medieval literature and Old English and has shared his research on Beowulf, medieval rhizomes of narratives, and vernacular theories of truth and history in talks and publications. Catalin is currently a postdoctoral researcher at New Europe College, Bucharest, where he studies the socio-emotional economy of shame and honor in medieval heroic poetry. His first book, titled The Bard and the Rag-Picker: Vernacular Verse Histories in Early Medieval England and Francia (London: Routledge, 2021), explores alternative modes of early medieval historical representation. 2 B01 Michael J. Kelly Michael J. Kelly 40 008rmbt77 Binghamton University Michael J. Kelly lectures history, critical theory, and the philosophy of history at Binghamton University (SUNY) and is Director of Networks and Neighbours and Gracchi Books (www.gracchibooks.org / https://punctumbooks.com/imprints/gracchi-books). His publications include Isidore of Seville and the “Liber Iudiciorum”: The Struggle for the Past in the Visigothic Kingdom, The Medieval and Early Modern Iberian World 80 (Boston and Leiden: Brill, 2021) and the volume Theories of History: History Read Across the Humanities (London: Bloomsbury, 2018). He is currently preparing a monograph on the concept of in/humanity in early medieval theology. 01 eng 20 00 Open Access 01 URL https://punctumbooks.com/imprints/gracchi-books/ Gracchi Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/vera-lex-historiae-constructions-of-truth-in-medieval-historical-narrative/ Earth, Milky Way 04 01 20220818 Catalin Taranu, Michael J. 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title https://thoth-arch.lib.cam.ac.uk/bitstreams/c9cde0a5-6a96-4743-b9f1-c5be10035953/download 20 08 20220818 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Vera_Lex_Historiae/fgSVEAAAQBAJ 20 08 20220818 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/678f4564-d01a-4ffe-8bdb-fead78f87955 29 INTERNET_ARCHIVE: download the title https://archive.org/download/678f4564-d01a-4ffe-8bdb-fead78f87955/678f4564-d01a-4ffe-8bdb-fead78f87955.pdf 20 08 20220818 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849446 29 ZENODO: download the title https://zenodo.org/records/19849446/files/678f4564-d01a-4ffe-8bdb-fead78f87955_book.pdf 20 08 20220818 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/vera-lex-historiae-constructions-of-truth-in-medieval-historical-narrative/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0369.1.00.pdf 20 08 20220818 01 urn:uuid:ff9d55b9-9640-4310-bf79-612d40b09706 03 01 01 thoth-work-id urn:uuid:5dca2af4-43f2-4cdb-a7a5-5654a722c4e0 01 thoth-publication-id urn:uuid:ff9d55b9-9640-4310-bf79-612d40b09706 15 9781947447264 03 9781947447264 06 10.21983/P3.0185.1.00 13 2017956831 01 internal-reference 0185 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Visceral Essays on Illness Not as Metaphor 1 A01 Maia Dolphin-Krute Maia Dolphin-Krute 01 eng 00 148 03 B2 Autotheory 10 BIO017000 93 DNC 12 JFFH B2 Cultural Studies+Critical Theory 93 FXK B2 Neurodiverse+Crip 93 VFJ 20 illness; psychosomatics; medical humanities; wellness studies; disability studies 01 06 02 00 03 00 Memoirs about being sick are popular and everywhere and only ever contribute to pop narratives of illness as a single event or heroic struggle or journey. Visceral: Essays on Illness as Metaphor is not that. Visceral, to the extent that it is a memoir, is a record not of illness but of the research project being sick became. While rooted firmly in critical disability and queer practices, the use of personal narratives opens these approaches up to new ways of writing the body—ultimately a body that is at once theoretical and unavoidably physical. A body where everything is visceral, so theory must be too.From the gothic networks of healthcare bureaucracy and hospital philanthropy to the proliferation of wellness media, off-label usage of drugs, and running off to live a life with, these essays move fluidly through theoretical and physical anger, curiosity and surprise. Arguing for disability rights that attend to the theoretical as much as the physical, this is Illness Not As Metaphor, Being Sick and Time, and The Body in Actual Pain as one.A sick body of text that is—and is not—in direct correspondence to an actual sick body, Visceral is an unrelenting examination of chronic illness that turns towards the theoretical only to find itself in the realms of the biological and autobiographical: because how much theory can a body take? 30 00 Memoirs about being sick are popular and everywhere and only ever contribute to pop narratives of illness as a single event or heroic struggle or journey. Visceral: Essays on Illness as Metaphor is not that. Visceral, to the extent that it is a memoir, is a record not of illness but of the research project being sick became. While rooted firmly in critical disability and queer practices, the use of personal narratives opens these approaches up to new ways of writing the body—ultimately a body that is at once theoretical and unavoidably physical. A body where everything is visceral, so theory must be too.From the gothic networks of healthcare bureaucracy and hospital philanthropy to the proliferation of wellness media, off-label usage of drugs, and running off to live a life with, these essays move fluidly through theoretical and physical anger, curiosity and surprise. Arguing for disability rights that attend to the theoretical as much as the physical, this is Illness Not As Metaphor, Being Sick and Time, and The Body in Actual Pain as one.A sick body of text that is—and is not—in direct correspondence to an actual sick body, Visceral is an unrelenting examination of chronic illness that turns towards the theoretical only to find itself in the realms of the biological and autobiographical: because how much theory can a body take? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0185.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/visceral-essays-on-illness-not-as-metaphor/ Earth, Milky Way 04 01 20171016 Dolphin-Krute, Maia 02 WORLD 06 15 9781947447271 03 9781947447271 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1947447262 20 08 20171016 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/visceral-essays-on-illness-not-as-metaphor 20 08 20171016 02 22.00 USD WORLD urn:uuid:de7e1839-808f-493a-9707-f8da9e7cada1 03 01 01 thoth-work-id urn:uuid:5dca2af4-43f2-4cdb-a7a5-5654a722c4e0 01 thoth-publication-id urn:uuid:de7e1839-808f-493a-9707-f8da9e7cada1 15 9781947447271 03 9781947447271 06 10.21983/P3.0185.1.00 13 2017956831 01 internal-reference 0185 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Visceral Essays on Illness Not as Metaphor 1 A01 Maia Dolphin-Krute Maia Dolphin-Krute 01 eng 00 148 03 B2 Autotheory 10 BIO017000 93 DNC 12 JFFH B2 Cultural Studies+Critical Theory 93 FXK B2 Neurodiverse+Crip 93 VFJ 20 illness; psychosomatics; medical humanities; wellness studies; disability studies 01 06 02 00 03 00 Memoirs about being sick are popular and everywhere and only ever contribute to pop narratives of illness as a single event or heroic struggle or journey. Visceral: Essays on Illness as Metaphor is not that. Visceral, to the extent that it is a memoir, is a record not of illness but of the research project being sick became. While rooted firmly in critical disability and queer practices, the use of personal narratives opens these approaches up to new ways of writing the body—ultimately a body that is at once theoretical and unavoidably physical. A body where everything is visceral, so theory must be too.From the gothic networks of healthcare bureaucracy and hospital philanthropy to the proliferation of wellness media, off-label usage of drugs, and running off to live a life with, these essays move fluidly through theoretical and physical anger, curiosity and surprise. Arguing for disability rights that attend to the theoretical as much as the physical, this is Illness Not As Metaphor, Being Sick and Time, and The Body in Actual Pain as one.A sick body of text that is—and is not—in direct correspondence to an actual sick body, Visceral is an unrelenting examination of chronic illness that turns towards the theoretical only to find itself in the realms of the biological and autobiographical: because how much theory can a body take? 30 00 Memoirs about being sick are popular and everywhere and only ever contribute to pop narratives of illness as a single event or heroic struggle or journey. Visceral: Essays on Illness as Metaphor is not that. Visceral, to the extent that it is a memoir, is a record not of illness but of the research project being sick became. While rooted firmly in critical disability and queer practices, the use of personal narratives opens these approaches up to new ways of writing the body—ultimately a body that is at once theoretical and unavoidably physical. A body where everything is visceral, so theory must be too.From the gothic networks of healthcare bureaucracy and hospital philanthropy to the proliferation of wellness media, off-label usage of drugs, and running off to live a life with, these essays move fluidly through theoretical and physical anger, curiosity and surprise. Arguing for disability rights that attend to the theoretical as much as the physical, this is Illness Not As Metaphor, Being Sick and Time, and The Body in Actual Pain as one.A sick body of text that is—and is not—in direct correspondence to an actual sick body, Visceral is an unrelenting examination of chronic illness that turns towards the theoretical only to find itself in the realms of the biological and autobiographical: because how much theory can a body take? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0185.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/visceral-essays-on-illness-not-as-metaphor/ Earth, Milky Way 04 01 20171016 Dolphin-Krute, Maia 02 WORLD 06 15 9781947447264 03 9781947447264 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25444 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25444/1004651.pdf?sequence=1&isAllowed=y 20 08 20171016 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33159 20 08 20171016 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354032 20 08 20171016 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/568 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/38e53857-2d49-41cb-9378-023f77ab7628/download 20 08 20171016 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Visceral/Cm6oEAAAQBAJ 20 08 20171016 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/5dca2af4-43f2-4cdb-a7a5-5654a722c4e0 29 INTERNET_ARCHIVE: download the title https://archive.org/download/5dca2af4-43f2-4cdb-a7a5-5654a722c4e0/5dca2af4-43f2-4cdb-a7a5-5654a722c4e0.pdf 20 08 20171016 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847048 29 ZENODO: download the title https://zenodo.org/records/19847048/files/5dca2af4-43f2-4cdb-a7a5-5654a722c4e0_book.pdf 20 08 20171016 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/visceral-essays-on-illness-not-as-metaphor/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0185.1.00.pdf 20 08 20171016 01 urn:uuid:79b05236-ad2e-4b59-9919-6e94282071aa 03 01 01 thoth-work-id urn:uuid:1ef505f6-6c8d-4875-8be2-c3328b6c2ce5 01 thoth-publication-id urn:uuid:79b05236-ad2e-4b59-9919-6e94282071aa 15 9781950192076 03 9781950192076 06 10.21983/P3.0240.1.00 13 2018968577 01 internal-reference 0240 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Vital Reenchantments Biophilia, Gaia, Cosmos, and the Affectively Ecological 1 A01 Lauren Greyson Lauren Greyson 01 eng 00 276 03 B2 Biosphere 12 PDA 10 PHI048000 93 RNA B2 Cultural Studies+Critical Theory 20 ecology; affect studies; science studies; philosophy of science; environmental humanities; ecophilosophy; planetary geology 01 06 02 00 03 00 Not all charms fly at the touch of cold philosophy. Vital Reenchantments examines so-called cold philosophy, or science, that does precisely the opposite — rather than mercilessly emptying out and unweaving, it operates as a philosophy that animates. More specifically, Greyson closely examines how a specific group of “poet-in-scientists” of the late 1970s and 1980s directed attention to the “wondrous” unfolding of life, at a time when the counter-culture in particular had made the institution of science synonymous with technologies of alienation and destruction.In this vein, Vital Reenchantments takes up E.O. Wilson’s Biophilia (1984), James Lovelock’s Gaia (1979), and Carl Sagan’s Cosmos (1980), in order to show how each work fleshes out scientific concepts with a unique attention to “affective wonder,” understood as the experience of and attunement to novel effects. What is so unique about these works is that they reenchant the scientific world without pandering to what Richard Dawkins will later term “cosmic sentimentality.” Carl Sagan may have said “We are made of starstuff,” but he would never insist, as Joni Mitchell did in 1969, that “we’ve got to get ourselves back to the garden.” Instead, they insist on a third way that does not rely on the idea of an ecological Eden — a vigorously vital materialism in which the affective trumps the sentimental. Further, the historical emergence of these works, all published within 5 years of each other, was no accident: each book responded to an ever deepening sense of environmental crisis, certainly, but along with it they responded to, perhaps more than marginally related, narratives of the large-scale disenchantment brought on by modernity or science, and more often than not a mixture of the two. Greyson argues that the persistence of these works and their affectively-charged scientific concepts in contemporary popular culture and ecological thought is no accident. As such, these works deserve recognition as far more than “popular science” and can be seen as essential contributions to more contemporary vital materialist thought and ecological theory.No doubt this talk of enchantment and wonder, so tied to immediate experience, can seem trivial in the face of any number of environmental crises (global warming first among these) that do not just appear ominously on the horizon, but loom as never before. The first task of this book thus to pose the same question that Jane Bennett does at the end of her own work on enchantment: “How can someone write a book about enchantment in such a world?” Does this approach really provide, as Latour phrases it, “a way to bridge the distance between the scale of the phenomena we hear about and the tiny Umwelt inside which we witness, as if it were a fish inside its bowl, an ocean of catastrophes that are supposed to unfold”? Ultimately, Vital Reenchantments argues that affective ecologies, properly attended to, point toward an open present, one that broadens the horizons of the “fish bowl” and allows us to imagine engendering futures that are neither naively hopeful nor hopelessly apocalyptic. 30 00 Not all charms fly at the touch of cold philosophy. Vital Reenchantments examines so-called cold philosophy, or science, that does precisely the opposite — rather than mercilessly emptying out and unweaving, it operates as a philosophy that animates. More specifically, Greyson closely examines how a specific group of “poet-in-scientists” of the late 1970s and 1980s directed attention to the “wondrous” unfolding of life, at a time when the counter-culture in particular had made the institution of science synonymous with technologies of alienation and destruction.In this vein, Vital Reenchantments takes up E.O. Wilson’s Biophilia (1984), James Lovelock’s Gaia (1979), and Carl Sagan’s Cosmos (1980), in order to show how each work fleshes out scientific concepts with a unique attention to “affective wonder,” understood as the experience of and attunement to novel effects. What is so unique about these works is that they reenchant the scientific world without pandering to what Richard Dawkins will later term “cosmic sentimentality.” Carl Sagan may have said “We are made of starstuff,” but he would never insist, as Joni Mitchell did in 1969, that “we’ve got to get ourselves back to the garden.” Instead, they insist on a third way that does not rely on the idea of an ecological Eden — a vigorously vital materialism in which the affective trumps the sentimental. Further, the historical emergence of these works, all published within 5 years of each other, was no accident: each book responded to an ever deepening sense of environmental crisis, certainly, but along with it they responded to, perhaps more than marginally related, narratives of the large-scale disenchantment brought on by modernity or science, and more often than not a mixture of the two. Greyson argues that the persistence of these works and their affectively-charged scientific concepts in contemporary popular culture and ecological thought is no accident. As such, these works deserve recognition as far more than “popular science” and can be seen as essential contributions to more contemporary vital materialist thought and ecological theory.No doubt this talk of enchantment and wonder, so tied to immediate experience, can seem trivial in the face of any number of environmental crises (global warming first among these) that do not just appear ominously on the horizon, but loom as never before. The first task of this book thus to pose the same question that Jane Bennett does at the end of her own work on enchantment: “How can someone write a book about enchantment in such a world?” Does this approach really provide, as Latour phrases it, “a way to bridge the distance between the scale of the phenomena we hear about and the tiny Umwelt inside which we witness, as if it were a fish inside its bowl, an ocean of catastrophes that are supposed to unfold”? Ultimately, Vital Reenchantments argues that affective ecologies, properly attended to, point toward an open present, one that broadens the horizons of the “fish bowl” and allows us to imagine engendering futures that are neither naively hopeful nor hopelessly apocalyptic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0240.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/vital-reenchantments/ Earth, Milky Way 04 01 20190116 Greyson, Lauren 02 WORLD 06 15 9781950192083 03 9781950192083 34 06 10.13135/2384-8677/1419 34 06 10.1177/1357034X12472546 34 06 10.1353/tae.0.0048 34 06 10.1086/596640 34 06 10.1038/415023a 34 06 10.1215/00029831 34 06 10.1080/07341512.2012.722789 34 06 10.1146/annurev.anthro.35.0817 34 06 10.1086/377726 34 06 10.3758/BF03212378 34 06 10.1037/1089-2680.11.4.305 34 06 10.1023/A:1014237331082 34 06 10.1086/421123 34 06 10.1080/00335638909383871 34 06 10.1080/00335638509383727 34 06 10.1215/22011919-3610003 34 06 10.1016/0019-1035(74)90150-X 34 06 10.3197/096327193776679936 34 06 10.2307/2105923 34 06 10.1007/BF02701332 34 06 10.1177/0306312702032004001 34 06 10.1177/1357034X00006003003 34 06 10.1080/01426397908705892 34 06 10.1126/science.340.6133.763 34 06 10.3197/096327111X12997574391724 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192075 20 08 20190116 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/vital-reenchantments-biophilia-gaia-cosmos-and-the-affectively-ecological 20 08 20190116 02 25.00 USD WORLD urn:uuid:0818837d-2f7f-4e38-8643-5c917e617b75 03 01 01 thoth-work-id urn:uuid:1ef505f6-6c8d-4875-8be2-c3328b6c2ce5 01 thoth-publication-id urn:uuid:0818837d-2f7f-4e38-8643-5c917e617b75 15 9781950192083 03 9781950192083 06 10.21983/P3.0240.1.00 13 2018968577 01 internal-reference 0240 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Vital Reenchantments Biophilia, Gaia, Cosmos, and the Affectively Ecological 1 A01 Lauren Greyson Lauren Greyson 01 eng 00 276 03 B2 Biosphere 12 PDA 10 PHI048000 93 RNA B2 Cultural Studies+Critical Theory 20 ecology; affect studies; science studies; philosophy of science; environmental humanities; ecophilosophy; planetary geology 01 06 02 00 03 00 Not all charms fly at the touch of cold philosophy. Vital Reenchantments examines so-called cold philosophy, or science, that does precisely the opposite — rather than mercilessly emptying out and unweaving, it operates as a philosophy that animates. More specifically, Greyson closely examines how a specific group of “poet-in-scientists” of the late 1970s and 1980s directed attention to the “wondrous” unfolding of life, at a time when the counter-culture in particular had made the institution of science synonymous with technologies of alienation and destruction.In this vein, Vital Reenchantments takes up E.O. Wilson’s Biophilia (1984), James Lovelock’s Gaia (1979), and Carl Sagan’s Cosmos (1980), in order to show how each work fleshes out scientific concepts with a unique attention to “affective wonder,” understood as the experience of and attunement to novel effects. What is so unique about these works is that they reenchant the scientific world without pandering to what Richard Dawkins will later term “cosmic sentimentality.” Carl Sagan may have said “We are made of starstuff,” but he would never insist, as Joni Mitchell did in 1969, that “we’ve got to get ourselves back to the garden.” Instead, they insist on a third way that does not rely on the idea of an ecological Eden — a vigorously vital materialism in which the affective trumps the sentimental. Further, the historical emergence of these works, all published within 5 years of each other, was no accident: each book responded to an ever deepening sense of environmental crisis, certainly, but along with it they responded to, perhaps more than marginally related, narratives of the large-scale disenchantment brought on by modernity or science, and more often than not a mixture of the two. Greyson argues that the persistence of these works and their affectively-charged scientific concepts in contemporary popular culture and ecological thought is no accident. As such, these works deserve recognition as far more than “popular science” and can be seen as essential contributions to more contemporary vital materialist thought and ecological theory.No doubt this talk of enchantment and wonder, so tied to immediate experience, can seem trivial in the face of any number of environmental crises (global warming first among these) that do not just appear ominously on the horizon, but loom as never before. The first task of this book thus to pose the same question that Jane Bennett does at the end of her own work on enchantment: “How can someone write a book about enchantment in such a world?” Does this approach really provide, as Latour phrases it, “a way to bridge the distance between the scale of the phenomena we hear about and the tiny Umwelt inside which we witness, as if it were a fish inside its bowl, an ocean of catastrophes that are supposed to unfold”? Ultimately, Vital Reenchantments argues that affective ecologies, properly attended to, point toward an open present, one that broadens the horizons of the “fish bowl” and allows us to imagine engendering futures that are neither naively hopeful nor hopelessly apocalyptic. 30 00 Not all charms fly at the touch of cold philosophy. Vital Reenchantments examines so-called cold philosophy, or science, that does precisely the opposite — rather than mercilessly emptying out and unweaving, it operates as a philosophy that animates. More specifically, Greyson closely examines how a specific group of “poet-in-scientists” of the late 1970s and 1980s directed attention to the “wondrous” unfolding of life, at a time when the counter-culture in particular had made the institution of science synonymous with technologies of alienation and destruction.In this vein, Vital Reenchantments takes up E.O. Wilson’s Biophilia (1984), James Lovelock’s Gaia (1979), and Carl Sagan’s Cosmos (1980), in order to show how each work fleshes out scientific concepts with a unique attention to “affective wonder,” understood as the experience of and attunement to novel effects. What is so unique about these works is that they reenchant the scientific world without pandering to what Richard Dawkins will later term “cosmic sentimentality.” Carl Sagan may have said “We are made of starstuff,” but he would never insist, as Joni Mitchell did in 1969, that “we’ve got to get ourselves back to the garden.” Instead, they insist on a third way that does not rely on the idea of an ecological Eden — a vigorously vital materialism in which the affective trumps the sentimental. Further, the historical emergence of these works, all published within 5 years of each other, was no accident: each book responded to an ever deepening sense of environmental crisis, certainly, but along with it they responded to, perhaps more than marginally related, narratives of the large-scale disenchantment brought on by modernity or science, and more often than not a mixture of the two. Greyson argues that the persistence of these works and their affectively-charged scientific concepts in contemporary popular culture and ecological thought is no accident. As such, these works deserve recognition as far more than “popular science” and can be seen as essential contributions to more contemporary vital materialist thought and ecological theory.No doubt this talk of enchantment and wonder, so tied to immediate experience, can seem trivial in the face of any number of environmental crises (global warming first among these) that do not just appear ominously on the horizon, but loom as never before. The first task of this book thus to pose the same question that Jane Bennett does at the end of her own work on enchantment: “How can someone write a book about enchantment in such a world?” Does this approach really provide, as Latour phrases it, “a way to bridge the distance between the scale of the phenomena we hear about and the tiny Umwelt inside which we witness, as if it were a fish inside its bowl, an ocean of catastrophes that are supposed to unfold”? Ultimately, Vital Reenchantments argues that affective ecologies, properly attended to, point toward an open present, one that broadens the horizons of the “fish bowl” and allows us to imagine engendering futures that are neither naively hopeful nor hopelessly apocalyptic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0240.1.00_frontcover.png 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/vital-reenchantments/ Earth, Milky Way 04 01 20190116 Greyson, Lauren 02 WORLD 06 15 9781950192076 03 9781950192076 34 06 10.13135/2384-8677/1419 34 06 10.1177/1357034X12472546 34 06 10.1353/tae.0.0048 34 06 10.1086/596640 34 06 10.1038/415023a 34 06 10.1215/00029831 34 06 10.1080/07341512.2012.722789 34 06 10.1146/annurev.anthro.35.0817 34 06 10.1086/377726 34 06 10.3758/BF03212378 34 06 10.1037/1089-2680.11.4.305 34 06 10.1023/A:1014237331082 34 06 10.1086/421123 34 06 10.1080/00335638909383871 34 06 10.1080/00335638509383727 34 06 10.1215/22011919-3610003 34 06 10.1016/0019-1035(74)90150-X 34 06 10.3197/096327193776679936 34 06 10.2307/2105923 34 06 10.1007/BF02701332 34 06 10.1177/0306312702032004001 34 06 10.1177/1357034X00006003003 34 06 10.1080/01426397908705892 34 06 10.1126/science.340.6133.763 34 06 10.3197/096327111X12997574391724 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25390 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25390/1004705.pdf?sequence=1&isAllowed=y 20 08 20190116 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/29943 20 08 20190116 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353889 20 08 20190116 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/602 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/07489944-c0d1-4f6e-8c35-7e0a9c6b4555/download 20 08 20190116 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Vital_Reenchantments/WG6oEAAAQBAJ 20 08 20190116 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/1ef505f6-6c8d-4875-8be2-c3328b6c2ce5 29 INTERNET_ARCHIVE: download the title https://archive.org/download/1ef505f6-6c8d-4875-8be2-c3328b6c2ce5/1ef505f6-6c8d-4875-8be2-c3328b6c2ce5.pdf 20 08 20190116 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847617 29 ZENODO: download the title https://zenodo.org/records/19847617/files/1ef505f6-6c8d-4875-8be2-c3328b6c2ce5_book.pdf 20 08 20190116 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/vital-reenchantments/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0240.1.00.pdf 20 08 20190116 01 urn:uuid:3ae9b02e-b957-4c87-a9db-9580121b3f2d 03 01 01 thoth-work-id urn:uuid:34d9a282-6232-4bb2-8b55-9ccf5a751b0f 01 thoth-publication-id urn:uuid:3ae9b02e-b957-4c87-a9db-9580121b3f2d 15 9781685711283 03 9781685711283 06 10.53288/0476.1.00 13 2024941810 01 internal-reference 0476 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 14 mm 03 1.4 cm 03 0.56 in 08 454 gr 08 16 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Voices from Nubia Critical Essays on Contemporary Nubian Literature from Egypt 1 B01 Amal Mazhar Amal Mazhar Professor Emeritus of Drama and Comparative Literature at the Department of English Language and Literature, Faculty of Arts 40 03q21mh05 Cairo University Amal Mazhar is Professor Emeritus of Drama and Comparative Literature at Cairo University. Her main interests are Egyptian, British, and Irish drama, on which she has published numerous scholarly articles. She is also interested in translation from/into English/Arabic. She has translated into English two plays: Ahmed Etman’s Cleopatra Worships Peace and Mahmoud Diyab’s Gate to Conquest (Bab El Futuh). Mazhar has also translated Amitav Gosh’s In an Antique Land and Chinua Achebe’s No Longer at Ease, as well as updated the translation of The Oxford Dictionary of the Theatre. 2 B01 Faten I. Morsy Faten I. Morsy Professor of Comparative Literature 40 00cb9w016 Ain Shams University Faten I. Morsy is Professor of Comparative Literature at Ain Shams University in Cairo. She has published extensively on medieval literatures, cultural studies, postcolonial literatures, gender studies, and contemporary Arabic Literature. She has edited The Knotted Handkerchief: Essays on the Creative and Critical Works of Radwa Ashour. She is currently writing a book on “Arabic Literature as World Literature.” She has been on the advisory board of several journals and foundations, including Thaqafat. 3 B01 Mona M. Radwan Mona M. Radwan Assistant Professor at the Department of English 40 03q21mh05 Cairo University Mona Radwan is Assistant Professor of English at Cairo University and specializes in the 20th-century novel and comparative literature, and she is the author of Aspects of War Neuroses in Pat Barker’s Regeneration Trilogy (Lambert, 2012). In 2015, she published her translation of The Revolt of the Young: Essays by Tawfiq al-Hakim with Syracuse University Press. 4 A23 Rasheed El-Enany Rasheed El-Enany Professor Emeritus 40 03yghzc09 University of Exeter 01 eng 00 246 03 93 DSBH5 10 LIT004010 B2 Literary Studies 93 1QBHN 10 LIT025060 93 3MP-AA-E 93 DSBJ 93 5PN 20 Egypt; Nubia; Nubian literature; postcolonial studies; literary studies; literary criticism; critical race studies; identity politics; ecofeminism; nationalism 01 06 02 00 03 00 The Nubians, the largest ethnic community in Egypt, saw their ancestral homelands disappear beneath the waters of the Nile from the dawn of the 20th century through to 1964. The massive displacement of this population has been the subject of numerous literary works by Nubian writers who seek to save their heritage from oblivion and to preserve their Nubian collective memory. Despite the renewal of socio-political interest in Nubia in post-2011 Egypt, the authors of Voices from Nubia, all non-Nubian Egyptians, claim that art in general and literature in particular remain the domain in which the problematics of what has been called the Nubian Question can be primarily vocalized. Only through a thorough reading and analysis of the literary output of Egyptian Nubians can the complexities of Nubia, its people, and culture can find full expression.The rich literary heritage of contemporary Nubian literature allows for a multiplicity of critiques that makes possible a reading of this literature that crosses the borderlines between literature, history, geography, politics, gender, and ethnicity. The diversity of themes and tropes in Voices from Nubia reflects a hallmark of Nubian literary output which is generally marked by a common feeling of solidarity around the Nubian cause. The array of critical studies included in the volume’s eight chapters covers a multiplicity of approaches: cultural, postcolonial, ecofeminist, and critical race theory.Voices from Nubia constitutes an attempt to go beyond the dichotomy between the activist Nubian writer who views the Nubian Question as a human rights issue and Arab-Egyptian nationalists who consider the discussion of Nubians as a distinct ethnic group or minority a threat to societal cohesion and national security. The editors conclude the book with interviews with three Egyptian Nubian writers belonging to different generations and expressing different positions with regards to the Nubian Question. It is thus hoped that this book will introduce the English-speaking reader to the rich tradition of contemporary Nubian literature from Egypt, written in Arabic. On the other hand, the book also forces the Egyptian-Arab reader to question some of the most cherished assumptions and ingrained ideas about the nature of culture, history, and identity. As such, Voices from Nubia has far-reaching implications for how we think about the diverse nature of our societies and nations. 30 00 The Nubians, the largest ethnic community in Egypt, saw their ancestral homelands disappear beneath the waters of the Nile from the dawn of the 20th century through to 1964. The massive displacement of this population has been the subject of numerous literary works by Nubian writers who seek to save their heritage from oblivion and to preserve their Nubian collective memory. Despite the renewal of socio-political interest in Nubia in post-2011 Egypt, the authors of Voices from Nubia, all non-Nubian Egyptians, claim that art in general and literature in particular remain the domain in which the problematics of what has been called the Nubian Question can be primarily vocalized. Only through a thorough reading and analysis of the literary output of Egyptian Nubians can the complexities of Nubia, its people, and culture can find full expression.The rich literary heritage of contemporary Nubian literature allows for a multiplicity of critiques that makes possible a reading of this literature that crosses the borderlines between literature, history, geography, politics, gender, and ethnicity. The diversity of themes and tropes in Voices from Nubia reflects a hallmark of Nubian literary output which is generally marked by a common feeling of solidarity around the Nubian cause. The array of critical studies included in the volume’s eight chapters covers a multiplicity of approaches: cultural, postcolonial, ecofeminist, and critical race theory.Voices from Nubia constitutes an attempt to go beyond the dichotomy between the activist Nubian writer who views the Nubian Question as a human rights issue and Arab-Egyptian nationalists who consider the discussion of Nubians as a distinct ethnic group or minority a threat to societal cohesion and national security. The editors conclude the book with interviews with three Egyptian Nubian writers belonging to different generations and expressing different positions with regards to the Nubian Question. It is thus hoped that this book will introduce the English-speaking reader to the rich tradition of contemporary Nubian literature from Egypt, written in Arabic. On the other hand, the book also forces the Egyptian-Arab reader to question some of the most cherished assumptions and ingrained ideas about the nature of culture, history, and identity. As such, Voices from Nubia has far-reaching implications for how we think about the diverse nature of our societies and nations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0476.1.00_frontcover.jpg 1 03 06 10.53288/0476.1.01 1 11 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Amal Mazhar Amal Mazhar 40 03q21mh05 Cairo University 2 B01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 3 B01 Mona M. Radwan Mona M. Radwan 40 03q21mh05 Cairo University 01 eng 20 00 Open Access 2 03 06 10.53288/0476.1.02 13 14 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Rasheed El-Enany Rasheed El-Enany Professor Emeritus 40 03yghzc09 University of Exeter 01 eng 20 00 Open Access Rasheed El-Enany 3 03 06 10.53288/0476.1.03 15 32 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Amal Mazhar Amal Mazhar 40 03q21mh05 Cairo University 2 A01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 3 A01 Mona M. Radwan Mona M. Radwan 01 eng 20 00 Open Access Amal Mazhar, Faten I. Morsy, Mona M. Radwan 4 03 06 10.53288/0476.1.04 33 55 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cry, Beloved Nubia M.K. Qassim’s "Al-Shamandūra" (The buoy) and the Emergence of the Nubian Novel 1 A01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 01 eng 03 00 It has become a commonplace to discuss Nubian Literature as a kind of literature that is deeply entrenched in struggles for recognition and furnished by tropes of belonging and land claiming. In their attempts to possess the power of definition within the national space and the ensuing anxieties of non-belonging, Nubian writers have constantly attempted to reshape and reinforce their own story of the nation. Thus, the corpus of literature by Nubian fiction writers has traditionally constituted a major act of claiming national space, in its capture of life in Nubia through the representation of the history and geography of the region. However, the voice of Nubian writers can by no means be considered monolithic and the present chapter serves to disprove any view of Nubian literature as simply a celebration of the lives of the Nubians as early as 1902 and through the 1950s and 1960s, which witnessed the notorious massive displacement of the Nubian population. Taking as a point of departure Deleuze and Guattari’s conceptualization of land appropriation through the process of what they call, “territorialization," “deterritorialization,” and “rederritorialization”, the present paper examines Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968) as an early expression of the violent dynamics of uprootedness and displacement experienced by the Nubians in southern Egypt. The chapter, however, is critical of the Deleuzo-Guattarian concept of nomadism as a strategic tool of resistance to cultural and political hegemony of the state institutions. Instead of celebrating nomadism and migration as examples of the most productive forms of cultural identity, this study highlights the material effects of landlessness and the continuing plight of the Nubian refugee problem as represented in Qassim’s novel. 30 00 It has become a commonplace to discuss Nubian Literature as a kind of literature that is deeply entrenched in struggles for recognition and furnished by tropes of belonging and land claiming. In their attempts to possess the power of definition within the national space and the ensuing anxieties of non-belonging, Nubian writers have constantly attempted to reshape and reinforce their own story of the nation. Thus, the corpus of literature by Nubian fiction writers has traditionally constituted a major act of claiming national space, in its capture of life in Nubia through the representation of the history and geography of the region. However, the voice of Nubian writers can by no means be considered monolithic and the present chapter serves to disprove any view of Nubian literature as simply a celebration of the lives of the Nubians as early as 1902 and through the 1950s and 1960s, which witnessed the notorious massive displacement of the Nubian population. Taking as a point of departure Deleuze and Guattari’s conceptualization of land appropriation through the process of what they call, “territorialization," “deterritorialization,” and “rederritorialization”, the present paper examines Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968) as an early expression of the violent dynamics of uprootedness and displacement experienced by the Nubians in southern Egypt. The chapter, however, is critical of the Deleuzo-Guattarian concept of nomadism as a strategic tool of resistance to cultural and political hegemony of the state institutions. Instead of celebrating nomadism and migration as examples of the most productive forms of cultural identity, this study highlights the material effects of landlessness and the continuing plight of the Nubian refugee problem as represented in Qassim’s novel. 20 00 Open Access Faten I. Morsy 5 03 06 10.53288/0476.1.05 57 79 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reconsidering Cultural Identity in Zeinab Alkordy’s "Zahrat al-Janūb" 1 A01 Sherine F. Mazloum Sherine F. Mazloum 40 00cb9w016 Ain Shams University 01 eng 03 00 Research on Nubia has repeatedly referred to the issue of identity, especially the tendency of some Nubian writers to essentialize Nubian identity. Recent interest in minority studies contests postmodernist rejection of identity politics but warns against the reductionism of the essentialists who emphasize an intrinsic value to ethnic identity. Hence, the need to provide alternatives to the conflicting definitions of identity provided by both the post-modernists and the essentialists alike, which in turn resulted in the rise of a post-positivist realist theory of identity, which recognizes that identities are socially significant and context specific ideological constructs that have referential relationships to the world. This theory reconsiders the links between identity and experience offering a more theoretically productive position away from the two extremes proposed by the aforementioned approaches. This study analyzes Zeinab Alkordy’s collection of short stories entitled Zahrat Al-Janūb (Flower of the south, 1988) from the perspective of a post-positivist realist theory of identity with special reference to Satya Mohanty’s epistemic status of cultural identity. This theory enables a reading of the categories of ethnicity, sex, and socio-economic status in Alkordy’s text while taking into consideration how her characters adapt to changing circumstances. Examining Alkordy’s text from the perspective of Satya Mohanty’s “epistemic status” of cultural identity reveals that Alkordy focuses on her Nubian characters’ lives in the “real” world stressing the relations among “personal experiences, social meanings and cultural identities” (Mohanty 2000). Informed by Mohanty’s argument that personal experience is constructed but still yields knowledge, this chapter foregrounds how Zeinab Alkordy weaves the epistemic status of Nubian cultural identities, showing the closely interwoven mediation of the personal and the political/public. Indeed, Alkordy’s characters are all individuals who struggle with the challenges they face in their everyday lives. In a post-positivist context, the oppressed articulate their raced, gendered, classed, and nationalized experiences, mediating their identities as both constructed and real in a way that communicates epistemic privilege. Hence, a revised reading of Nubian experiences as depicted in Alkordy’s text allows an understanding of Nubian cultural identities beyond ahistorocial essentialism or radical skepticism. 30 00 Research on Nubia has repeatedly referred to the issue of identity, especially the tendency of some Nubian writers to essentialize Nubian identity. Recent interest in minority studies contests postmodernist rejection of identity politics but warns against the reductionism of the essentialists who emphasize an intrinsic value to ethnic identity. Hence, the need to provide alternatives to the conflicting definitions of identity provided by both the post-modernists and the essentialists alike, which in turn resulted in the rise of a post-positivist realist theory of identity, which recognizes that identities are socially significant and context specific ideological constructs that have referential relationships to the world. This theory reconsiders the links between identity and experience offering a more theoretically productive position away from the two extremes proposed by the aforementioned approaches. This study analyzes Zeinab Alkordy’s collection of short stories entitled Zahrat Al-Janūb (Flower of the south, 1988) from the perspective of a post-positivist realist theory of identity with special reference to Satya Mohanty’s epistemic status of cultural identity. This theory enables a reading of the categories of ethnicity, sex, and socio-economic status in Alkordy’s text while taking into consideration how her characters adapt to changing circumstances. Examining Alkordy’s text from the perspective of Satya Mohanty’s “epistemic status” of cultural identity reveals that Alkordy focuses on her Nubian characters’ lives in the “real” world stressing the relations among “personal experiences, social meanings and cultural identities” (Mohanty 2000). Informed by Mohanty’s argument that personal experience is constructed but still yields knowledge, this chapter foregrounds how Zeinab Alkordy weaves the epistemic status of Nubian cultural identities, showing the closely interwoven mediation of the personal and the political/public. Indeed, Alkordy’s characters are all individuals who struggle with the challenges they face in their everyday lives. In a post-positivist context, the oppressed articulate their raced, gendered, classed, and nationalized experiences, mediating their identities as both constructed and real in a way that communicates epistemic privilege. Hence, a revised reading of Nubian experiences as depicted in Alkordy’s text allows an understanding of Nubian cultural identities beyond ahistorocial essentialism or radical skepticism. 20 00 Open Access Sherine F. Mazloum 6 03 06 10.53288/0476.1.06 81 104 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Haggag Oddoul’s "Tasābīḥ Nīlīya" (Hymns to the Nile) A Celebration 1 A01 Amal Aly Mazhar Amal Aly Mazhar 40 03q21mh05 Cairo University 01 eng 03 00 Nubian writer Haggag Oddoul has been a highly controversial literary figure and political activist, often connected with allegations of separatism of the ancient land of Nubia from Egypt. Oddoul’s play Tasābīḥ Nīlīya (Hymns to the Nile, 2004) is unique and interesting as he opts for a literary genre which other Nubian writers do not normally make use of, and which directly addresses the audience and hence has an instant and far-reaching impact. This chapter explores and seeks to refute allegations of separatism as Oddoul himself makes clear in his depiction of his themes and characters. Oddoul dedicates his play to the Egyptian goddess Isis, “the warm embrace of safety and security to all variations.” By “variations”, Oddoul implies all races and religions which have existed in Egypt since time immemorial. If any literary text has “a strategic agenda,” i.e., an overriding message that the writer seeks to convey, I will argue that the play asserts and highly celebrates homogeneity and plurality in Egypt, and not separatism. Oddoul deploys [ostdramatic technique to express his unique vision of a micro, nonessentialist identity as one rich mosaic in the macro Egyptian identity. 30 00 Nubian writer Haggag Oddoul has been a highly controversial literary figure and political activist, often connected with allegations of separatism of the ancient land of Nubia from Egypt. Oddoul’s play Tasābīḥ Nīlīya (Hymns to the Nile, 2004) is unique and interesting as he opts for a literary genre which other Nubian writers do not normally make use of, and which directly addresses the audience and hence has an instant and far-reaching impact. This chapter explores and seeks to refute allegations of separatism as Oddoul himself makes clear in his depiction of his themes and characters. Oddoul dedicates his play to the Egyptian goddess Isis, “the warm embrace of safety and security to all variations.” By “variations”, Oddoul implies all races and religions which have existed in Egypt since time immemorial. If any literary text has “a strategic agenda,” i.e., an overriding message that the writer seeks to convey, I will argue that the play asserts and highly celebrates homogeneity and plurality in Egypt, and not separatism. Oddoul deploys [ostdramatic technique to express his unique vision of a micro, nonessentialist identity as one rich mosaic in the macro Egyptian identity. 20 00 Open Access Amal Aly Mazhar 7 03 06 10.53288/0476.1.07 105 124 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 (In)Visible Borders in Nubian Poetry of Mohy El-Deen Saleh 1 A01 Rasha Mohamed Abboudy Rasha Mohamed Abboudy 40 03q21mh05 Cairo University 01 eng 03 00 The massive displacement of Nubians due to the construction of the High Dam in Aswan led to significant geopolitical consequences and shaped new ideological views. Those views, such as the “right to return,” had their impact on Nubian literature as well. But there is more to diaspora than isolation, despair, and political demands. Egyptian Nubians form part of the Egyptian anthropological texture and surely enhance its widely known diversity through the course of history. So it is time to regard Nubia, our border with Africa, as this “place in between,” as an interlude or even as a bridge that sustains two cultures at a time; bringing hybrid motifs together. As a contemporary example of this “border literature,” the Egyptian Nubian writer Mohy El-Deen Saleh composes poetry in Arabic and roves from traditional to modern subjects and from collective reminiscences to individual concerns. This chapter shifts the traditional scope that studies Nubian literature exclusively as a cultural product of a forgotten minority, and analyzes in depth the mutable borders of Nubian identity. 30 00 The massive displacement of Nubians due to the construction of the High Dam in Aswan led to significant geopolitical consequences and shaped new ideological views. Those views, such as the “right to return,” had their impact on Nubian literature as well. But there is more to diaspora than isolation, despair, and political demands. Egyptian Nubians form part of the Egyptian anthropological texture and surely enhance its widely known diversity through the course of history. So it is time to regard Nubia, our border with Africa, as this “place in between,” as an interlude or even as a bridge that sustains two cultures at a time; bringing hybrid motifs together. As a contemporary example of this “border literature,” the Egyptian Nubian writer Mohy El-Deen Saleh composes poetry in Arabic and roves from traditional to modern subjects and from collective reminiscences to individual concerns. This chapter shifts the traditional scope that studies Nubian literature exclusively as a cultural product of a forgotten minority, and analyzes in depth the mutable borders of Nubian identity. 20 00 Open Access Rasha Mohamed Abboudy 8 03 06 10.53288/0476.1.08 125 155 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ecological and Ecofeminist Issues in Idris Ali’s "Dongola" and "Al-Laʿib Fawqa Jibāl al-Nūba" (Playing on Nubian mountains) 1 A01 Mona Radwan Mona Radwan 40 03q21mh05 Cairo University 01 eng 03 00 This chapter analyzes two novels by Idris Ali: Dongola: A Novel of Nubia (2006) and "Al-Laʿib Fawqa Jibāl al-Nūba" (Playing on Nubian mountains, 2010 )from an eco-critical and ecofeminist perspective. Since nature was and still is of supreme importance to Nubians as their economy, agriculture, sociology, and culture depended on it, such eco-critical reading seeks to analyze the complex relation between nature and the characters in the novels, thus enabling us to come closer to the world in which Nubians live in, as well as explore the continuous negotiations taking place between nature and the culture of the Nubians. Ecofeminist issues will also be highlighted to explore the gender relations represented in the texts while the examination of the various uses of such literary tropes as metaphors and images in the Nubian imagination will also be discussed. This chapter focuses on the plight of the two major female characters Hushia and Halima in Dongola as well as Ghada in Playing on Nubian Mountains to prove that the ecological effect of the building of the Dams and their displacement have always been severely felt by the women and led to their tragic lives. 30 00 This chapter analyzes two novels by Idris Ali: Dongola: A Novel of Nubia (2006) and "Al-Laʿib Fawqa Jibāl al-Nūba" (Playing on Nubian mountains, 2010 )from an eco-critical and ecofeminist perspective. Since nature was and still is of supreme importance to Nubians as their economy, agriculture, sociology, and culture depended on it, such eco-critical reading seeks to analyze the complex relation between nature and the characters in the novels, thus enabling us to come closer to the world in which Nubians live in, as well as explore the continuous negotiations taking place between nature and the culture of the Nubians. Ecofeminist issues will also be highlighted to explore the gender relations represented in the texts while the examination of the various uses of such literary tropes as metaphors and images in the Nubian imagination will also be discussed. This chapter focuses on the plight of the two major female characters Hushia and Halima in Dongola as well as Ghada in Playing on Nubian Mountains to prove that the ecological effect of the building of the Dams and their displacement have always been severely felt by the women and led to their tragic lives. 20 00 Open Access Mona Radwan 9 03 06 10.53288/0476.1.09 157 172 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Dissolution of the Nubian Identity in Yasser Abdellatif ’s "Qānūn Al-Wirātha" (The law of inheritance) and Samar Nour’s "Maḥallak Sirr" (Stalemate) 1 A01 Hussein Hammouda Hussein Hammouda 40 03q21mh05 Cairo University 01 eng 03 00 How is the Nubian identity expressed in the works of writers of Nubian origins who were born and brought up in urban areas away from their homeland? What transformation has the Nubian identity gone through in a new urban world? And to what extent has this identity overlapped with, or become dissolved in, a larger identity? Is the world image of the ancestral Nubians still present in the world image of their descendants? Where do these images converge and where do they diverge? Answering these questions and similar ones, this chapter considers two recent novels by novelists Samar Nour and Yasser Abdul Latif, Maḥallak Sirr (Stalemate, 2013) and Qānūn Al-Wirātha (The law of inheritance, 2002) respectively. The novelists are of Nubian origin but were born and grew up in Cairo. Their texts are read as micro texts within the macro tradition of the Egyptian and the Arabic novel. In dealing with the two novels, this chapter attempts to monitor the image of the Nubian identity in the 1990s and later. It also deals with character relationships, in addition to recall and memory in the two narratives. 30 00 How is the Nubian identity expressed in the works of writers of Nubian origins who were born and brought up in urban areas away from their homeland? What transformation has the Nubian identity gone through in a new urban world? And to what extent has this identity overlapped with, or become dissolved in, a larger identity? Is the world image of the ancestral Nubians still present in the world image of their descendants? Where do these images converge and where do they diverge? Answering these questions and similar ones, this chapter considers two recent novels by novelists Samar Nour and Yasser Abdul Latif, Maḥallak Sirr (Stalemate, 2013) and Qānūn Al-Wirātha (The law of inheritance, 2002) respectively. The novelists are of Nubian origin but were born and grew up in Cairo. Their texts are read as micro texts within the macro tradition of the Egyptian and the Arabic novel. In dealing with the two novels, this chapter attempts to monitor the image of the Nubian identity in the 1990s and later. It also deals with character relationships, in addition to recall and memory in the two narratives. 20 00 Open Access Hussein Hammouda 10 03 06 10.53288/0476.1.10 173 198 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Folkloric Reading of Qassim’s "Al-Shamandūra" (The buoy) and Mokhtar’s "Jibāl al-Kuḥl" (Mountains of kohl) 1 A01 Khalid Abou el-Lail Khalid Abou el-Lail 40 03q21mh05 Cairo University 01 eng 03 00 A preliminary reading of a number of Nubian novels reveals a basic peculiarity, embodied in the close relation between these novels and the nature of the Nubian society, so much so that this genre of writing has become a mirror reflecting the traditions of this society with its habits, customs and beliefs. Contemplating Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968), the reader discerns techniques drawing inspiration from folklore with the purpose of approaching the intended social and political issues. This creates a form of intertextuality of the literary text and the actual life narrative of Nubian life, as the novel forms a narrative of the social customs related to life cycles: birth, celebrating the first week, children’s and adult’s play, marriage conventions and songs, in addition to rites concerning death and mourning. The novel registers as well the traits of the Nubian character and everyday life habits, social relations and conventional laws. Moreover, this novel involves elements of the River Nile folklore. This is also the case in Yehia Mokhtar’s Jibāl al-Kuḥl (Mountains of kohl, 2001) This special aspect of the Nubian novel, techniques of drawing inspiration from folklore, drove me to attempt a study of this type, revealing its manifestations in the two novels studied. This study is based on cultural criticism as this could be the best approach to this type of study. The domain of Cultural Studies is credited with taking interest in the neglected and marginalized, and what is popular and delightful. Through a cultural analysis of the daily lives of the Nubians, the various social and religious practices, folk traditions, marriage and birth rituals, and folkloric practices, the culturally marginalized and possibly persecuted find full expression. Through a cultural reading, the texts open up spaces for the marginalized socially, spatially, temporally, and culturally. 30 00 A preliminary reading of a number of Nubian novels reveals a basic peculiarity, embodied in the close relation between these novels and the nature of the Nubian society, so much so that this genre of writing has become a mirror reflecting the traditions of this society with its habits, customs and beliefs. Contemplating Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968), the reader discerns techniques drawing inspiration from folklore with the purpose of approaching the intended social and political issues. This creates a form of intertextuality of the literary text and the actual life narrative of Nubian life, as the novel forms a narrative of the social customs related to life cycles: birth, celebrating the first week, children’s and adult’s play, marriage conventions and songs, in addition to rites concerning death and mourning. The novel registers as well the traits of the Nubian character and everyday life habits, social relations and conventional laws. Moreover, this novel involves elements of the River Nile folklore. This is also the case in Yehia Mokhtar’s Jibāl al-Kuḥl (Mountains of kohl, 2001) This special aspect of the Nubian novel, techniques of drawing inspiration from folklore, drove me to attempt a study of this type, revealing its manifestations in the two novels studied. This study is based on cultural criticism as this could be the best approach to this type of study. The domain of Cultural Studies is credited with taking interest in the neglected and marginalized, and what is popular and delightful. Through a cultural analysis of the daily lives of the Nubians, the various social and religious practices, folk traditions, marriage and birth rituals, and folkloric practices, the culturally marginalized and possibly persecuted find full expression. Through a cultural reading, the texts open up spaces for the marginalized socially, spatially, temporally, and culturally. 20 00 Open Access Khalid Abou el-Lail 11 03 06 10.53288/0476.1.11 199 231 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Egyptian Nubian Archival Discourse Identity Politics in Yehia Mokhtar’s "Indo Mando" (Here and there) and "Giddu Kāb" 1 A01 Pervine Elrefaei Pervine Elrefaei 40 03q21mh05 Cairo University 01 eng 03 00 This chapter argues that a number of Egyptian Nubian writers and activists have adamantly endeavored to compile their own archive as an empowering strategy geared toward preserving Nubian oral history, culture, identity, and rights. The archival narrative is therefore an important cultural production that appropriates the archival discourse as a rite of passage from the margin to the center. Scrutinizing two works by the Nubian writer Yehia Mokhtar (1936–), mainly, the 2009 collection of short stories Indo Mando and the 2015 biographical novel Giddu Kāb, the study contends that Mokhtar represents the archival writer par excellence. This chapter explores Mokhtar’s discourse on identity, nationalism, and the image and cultural positionality of the Egyptian Nubian, holding him in contrast to other Egyptian Nubian writers through his Sufist perspective and journalistic national discourse. His attempt at appropriating the archival discourse as a space of intervention and empowerment in the selected archival narratives, shaped by historical and political changes, is a major objective of this study. Hence, the chapter questions the ideological perspective of his archival discourse and the credibility of the meticulously selected archive as “a politicized space” of resistance and intervention. Jacques Derrida’s concept of the archive and his spatial definition of the archive as “house” and Marco Codebo’s definition of the archival novel as a hybrid literary genre, besides a bird’s eye view on the cultural/political scene are taken as points of departure. 30 00 This chapter argues that a number of Egyptian Nubian writers and activists have adamantly endeavored to compile their own archive as an empowering strategy geared toward preserving Nubian oral history, culture, identity, and rights. The archival narrative is therefore an important cultural production that appropriates the archival discourse as a rite of passage from the margin to the center. Scrutinizing two works by the Nubian writer Yehia Mokhtar (1936–), mainly, the 2009 collection of short stories Indo Mando and the 2015 biographical novel Giddu Kāb, the study contends that Mokhtar represents the archival writer par excellence. This chapter explores Mokhtar’s discourse on identity, nationalism, and the image and cultural positionality of the Egyptian Nubian, holding him in contrast to other Egyptian Nubian writers through his Sufist perspective and journalistic national discourse. His attempt at appropriating the archival discourse as a space of intervention and empowerment in the selected archival narratives, shaped by historical and political changes, is a major objective of this study. Hence, the chapter questions the ideological perspective of his archival discourse and the credibility of the meticulously selected archive as “a politicized space” of resistance and intervention. Jacques Derrida’s concept of the archive and his spatial definition of the archive as “house” and Marco Codebo’s definition of the archival novel as a hybrid literary genre, besides a bird’s eye view on the cultural/political scene are taken as points of departure. 20 00 Open Access Pervine Elrefaei 12 03 06 10.53288/0476.1.12 233 245 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interviews with Three Nubian Writers 1 A01 Amal Mazhar Amal Mazhar 40 03q21mh05 Cairo University 2 A32 Yehia Mokhtar Yehia Mokhtar 3 A01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 4 A32 Samar Nour Samar Nour 5 A32 Haggag Oddoul Haggag Oddoul 6 B01 Mona M. Radwan Mona M. Radwan 40 03q21mh05 Cairo University 01 eng 20 00 Open Access Amal Mazhar, Faten I. Morsy, Mona M. Radwan 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/voices-from-nubia-critical-essays-on-contemporary-nubian-literature-from-egypt/ Earth, Milky Way 04 01 20240801 Amal Mazhar, Faten I. Morsy, Mona Radwan 02 WORLD 06 15 9781685711290 03 9781685711290 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711286 20 08 20240801 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/voices-from-nubia-critical-essays-on-contemporary-nubian-literature-from-egypt 20 08 20240801 02 26.00 USD WORLD urn:uuid:ccec9ac3-803b-450c-9cd7-51e635165370 03 01 01 thoth-work-id urn:uuid:34d9a282-6232-4bb2-8b55-9ccf5a751b0f 01 thoth-publication-id urn:uuid:ccec9ac3-803b-450c-9cd7-51e635165370 15 9781685711290 03 9781685711290 06 10.53288/0476.1.00 13 2024941810 01 internal-reference 0476 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Voices from Nubia Critical Essays on Contemporary Nubian Literature from Egypt 1 B01 Amal Mazhar Amal Mazhar Professor Emeritus of Drama and Comparative Literature at the Department of English Language and Literature, Faculty of Arts 40 03q21mh05 Cairo University Amal Mazhar is Professor Emeritus of Drama and Comparative Literature at Cairo University. Her main interests are Egyptian, British, and Irish drama, on which she has published numerous scholarly articles. She is also interested in translation from/into English/Arabic. She has translated into English two plays: Ahmed Etman’s Cleopatra Worships Peace and Mahmoud Diyab’s Gate to Conquest (Bab El Futuh). Mazhar has also translated Amitav Gosh’s In an Antique Land and Chinua Achebe’s No Longer at Ease, as well as updated the translation of The Oxford Dictionary of the Theatre. 2 B01 Faten I. Morsy Faten I. Morsy Professor of Comparative Literature 40 00cb9w016 Ain Shams University Faten I. Morsy is Professor of Comparative Literature at Ain Shams University in Cairo. She has published extensively on medieval literatures, cultural studies, postcolonial literatures, gender studies, and contemporary Arabic Literature. She has edited The Knotted Handkerchief: Essays on the Creative and Critical Works of Radwa Ashour. She is currently writing a book on “Arabic Literature as World Literature.” She has been on the advisory board of several journals and foundations, including Thaqafat. 3 B01 Mona M. Radwan Mona M. Radwan Assistant Professor at the Department of English 40 03q21mh05 Cairo University Mona Radwan is Assistant Professor of English at Cairo University and specializes in the 20th-century novel and comparative literature, and she is the author of Aspects of War Neuroses in Pat Barker’s Regeneration Trilogy (Lambert, 2012). In 2015, she published her translation of The Revolt of the Young: Essays by Tawfiq al-Hakim with Syracuse University Press. 4 A23 Rasheed El-Enany Rasheed El-Enany Professor Emeritus 40 03yghzc09 University of Exeter 01 eng 00 246 03 93 DSBH5 10 LIT004010 B2 Literary Studies 93 1QBHN 10 LIT025060 93 3MP-AA-E 93 DSBJ 93 5PN 20 Egypt; Nubia; Nubian literature; postcolonial studies; literary studies; literary criticism; critical race studies; identity politics; ecofeminism; nationalism 01 06 02 00 03 00 The Nubians, the largest ethnic community in Egypt, saw their ancestral homelands disappear beneath the waters of the Nile from the dawn of the 20th century through to 1964. The massive displacement of this population has been the subject of numerous literary works by Nubian writers who seek to save their heritage from oblivion and to preserve their Nubian collective memory. Despite the renewal of socio-political interest in Nubia in post-2011 Egypt, the authors of Voices from Nubia, all non-Nubian Egyptians, claim that art in general and literature in particular remain the domain in which the problematics of what has been called the Nubian Question can be primarily vocalized. Only through a thorough reading and analysis of the literary output of Egyptian Nubians can the complexities of Nubia, its people, and culture can find full expression.The rich literary heritage of contemporary Nubian literature allows for a multiplicity of critiques that makes possible a reading of this literature that crosses the borderlines between literature, history, geography, politics, gender, and ethnicity. The diversity of themes and tropes in Voices from Nubia reflects a hallmark of Nubian literary output which is generally marked by a common feeling of solidarity around the Nubian cause. The array of critical studies included in the volume’s eight chapters covers a multiplicity of approaches: cultural, postcolonial, ecofeminist, and critical race theory.Voices from Nubia constitutes an attempt to go beyond the dichotomy between the activist Nubian writer who views the Nubian Question as a human rights issue and Arab-Egyptian nationalists who consider the discussion of Nubians as a distinct ethnic group or minority a threat to societal cohesion and national security. The editors conclude the book with interviews with three Egyptian Nubian writers belonging to different generations and expressing different positions with regards to the Nubian Question. It is thus hoped that this book will introduce the English-speaking reader to the rich tradition of contemporary Nubian literature from Egypt, written in Arabic. On the other hand, the book also forces the Egyptian-Arab reader to question some of the most cherished assumptions and ingrained ideas about the nature of culture, history, and identity. As such, Voices from Nubia has far-reaching implications for how we think about the diverse nature of our societies and nations. 30 00 The Nubians, the largest ethnic community in Egypt, saw their ancestral homelands disappear beneath the waters of the Nile from the dawn of the 20th century through to 1964. The massive displacement of this population has been the subject of numerous literary works by Nubian writers who seek to save their heritage from oblivion and to preserve their Nubian collective memory. Despite the renewal of socio-political interest in Nubia in post-2011 Egypt, the authors of Voices from Nubia, all non-Nubian Egyptians, claim that art in general and literature in particular remain the domain in which the problematics of what has been called the Nubian Question can be primarily vocalized. Only through a thorough reading and analysis of the literary output of Egyptian Nubians can the complexities of Nubia, its people, and culture can find full expression.The rich literary heritage of contemporary Nubian literature allows for a multiplicity of critiques that makes possible a reading of this literature that crosses the borderlines between literature, history, geography, politics, gender, and ethnicity. The diversity of themes and tropes in Voices from Nubia reflects a hallmark of Nubian literary output which is generally marked by a common feeling of solidarity around the Nubian cause. The array of critical studies included in the volume’s eight chapters covers a multiplicity of approaches: cultural, postcolonial, ecofeminist, and critical race theory.Voices from Nubia constitutes an attempt to go beyond the dichotomy between the activist Nubian writer who views the Nubian Question as a human rights issue and Arab-Egyptian nationalists who consider the discussion of Nubians as a distinct ethnic group or minority a threat to societal cohesion and national security. The editors conclude the book with interviews with three Egyptian Nubian writers belonging to different generations and expressing different positions with regards to the Nubian Question. It is thus hoped that this book will introduce the English-speaking reader to the rich tradition of contemporary Nubian literature from Egypt, written in Arabic. On the other hand, the book also forces the Egyptian-Arab reader to question some of the most cherished assumptions and ingrained ideas about the nature of culture, history, and identity. As such, Voices from Nubia has far-reaching implications for how we think about the diverse nature of our societies and nations. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0476.1.00_frontcover.jpg 1 03 06 10.53288/0476.1.01 1 11 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Amal Mazhar Amal Mazhar 40 03q21mh05 Cairo University 2 B01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 3 B01 Mona M. Radwan Mona M. Radwan 40 03q21mh05 Cairo University 01 eng 20 00 Open Access 2 03 06 10.53288/0476.1.02 13 14 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Foreword 1 A01 Rasheed El-Enany Rasheed El-Enany Professor Emeritus 40 03yghzc09 University of Exeter 01 eng 20 00 Open Access Rasheed El-Enany 3 03 06 10.53288/0476.1.03 15 32 18 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Introduction 1 A01 Amal Mazhar Amal Mazhar 40 03q21mh05 Cairo University 2 A01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 3 A01 Mona M. Radwan Mona M. Radwan 01 eng 20 00 Open Access Amal Mazhar, Faten I. Morsy, Mona M. Radwan 4 03 06 10.53288/0476.1.04 33 55 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Cry, Beloved Nubia M.K. Qassim’s "Al-Shamandūra" (The buoy) and the Emergence of the Nubian Novel 1 A01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 01 eng 03 00 It has become a commonplace to discuss Nubian Literature as a kind of literature that is deeply entrenched in struggles for recognition and furnished by tropes of belonging and land claiming. In their attempts to possess the power of definition within the national space and the ensuing anxieties of non-belonging, Nubian writers have constantly attempted to reshape and reinforce their own story of the nation. Thus, the corpus of literature by Nubian fiction writers has traditionally constituted a major act of claiming national space, in its capture of life in Nubia through the representation of the history and geography of the region. However, the voice of Nubian writers can by no means be considered monolithic and the present chapter serves to disprove any view of Nubian literature as simply a celebration of the lives of the Nubians as early as 1902 and through the 1950s and 1960s, which witnessed the notorious massive displacement of the Nubian population. Taking as a point of departure Deleuze and Guattari’s conceptualization of land appropriation through the process of what they call, “territorialization," “deterritorialization,” and “rederritorialization”, the present paper examines Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968) as an early expression of the violent dynamics of uprootedness and displacement experienced by the Nubians in southern Egypt. The chapter, however, is critical of the Deleuzo-Guattarian concept of nomadism as a strategic tool of resistance to cultural and political hegemony of the state institutions. Instead of celebrating nomadism and migration as examples of the most productive forms of cultural identity, this study highlights the material effects of landlessness and the continuing plight of the Nubian refugee problem as represented in Qassim’s novel. 30 00 It has become a commonplace to discuss Nubian Literature as a kind of literature that is deeply entrenched in struggles for recognition and furnished by tropes of belonging and land claiming. In their attempts to possess the power of definition within the national space and the ensuing anxieties of non-belonging, Nubian writers have constantly attempted to reshape and reinforce their own story of the nation. Thus, the corpus of literature by Nubian fiction writers has traditionally constituted a major act of claiming national space, in its capture of life in Nubia through the representation of the history and geography of the region. However, the voice of Nubian writers can by no means be considered monolithic and the present chapter serves to disprove any view of Nubian literature as simply a celebration of the lives of the Nubians as early as 1902 and through the 1950s and 1960s, which witnessed the notorious massive displacement of the Nubian population. Taking as a point of departure Deleuze and Guattari’s conceptualization of land appropriation through the process of what they call, “territorialization," “deterritorialization,” and “rederritorialization”, the present paper examines Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968) as an early expression of the violent dynamics of uprootedness and displacement experienced by the Nubians in southern Egypt. The chapter, however, is critical of the Deleuzo-Guattarian concept of nomadism as a strategic tool of resistance to cultural and political hegemony of the state institutions. Instead of celebrating nomadism and migration as examples of the most productive forms of cultural identity, this study highlights the material effects of landlessness and the continuing plight of the Nubian refugee problem as represented in Qassim’s novel. 20 00 Open Access Faten I. Morsy 5 03 06 10.53288/0476.1.05 57 79 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Reconsidering Cultural Identity in Zeinab Alkordy’s "Zahrat al-Janūb" 1 A01 Sherine F. Mazloum Sherine F. Mazloum 40 00cb9w016 Ain Shams University 01 eng 03 00 Research on Nubia has repeatedly referred to the issue of identity, especially the tendency of some Nubian writers to essentialize Nubian identity. Recent interest in minority studies contests postmodernist rejection of identity politics but warns against the reductionism of the essentialists who emphasize an intrinsic value to ethnic identity. Hence, the need to provide alternatives to the conflicting definitions of identity provided by both the post-modernists and the essentialists alike, which in turn resulted in the rise of a post-positivist realist theory of identity, which recognizes that identities are socially significant and context specific ideological constructs that have referential relationships to the world. This theory reconsiders the links between identity and experience offering a more theoretically productive position away from the two extremes proposed by the aforementioned approaches. This study analyzes Zeinab Alkordy’s collection of short stories entitled Zahrat Al-Janūb (Flower of the south, 1988) from the perspective of a post-positivist realist theory of identity with special reference to Satya Mohanty’s epistemic status of cultural identity. This theory enables a reading of the categories of ethnicity, sex, and socio-economic status in Alkordy’s text while taking into consideration how her characters adapt to changing circumstances. Examining Alkordy’s text from the perspective of Satya Mohanty’s “epistemic status” of cultural identity reveals that Alkordy focuses on her Nubian characters’ lives in the “real” world stressing the relations among “personal experiences, social meanings and cultural identities” (Mohanty 2000). Informed by Mohanty’s argument that personal experience is constructed but still yields knowledge, this chapter foregrounds how Zeinab Alkordy weaves the epistemic status of Nubian cultural identities, showing the closely interwoven mediation of the personal and the political/public. Indeed, Alkordy’s characters are all individuals who struggle with the challenges they face in their everyday lives. In a post-positivist context, the oppressed articulate their raced, gendered, classed, and nationalized experiences, mediating their identities as both constructed and real in a way that communicates epistemic privilege. Hence, a revised reading of Nubian experiences as depicted in Alkordy’s text allows an understanding of Nubian cultural identities beyond ahistorocial essentialism or radical skepticism. 30 00 Research on Nubia has repeatedly referred to the issue of identity, especially the tendency of some Nubian writers to essentialize Nubian identity. Recent interest in minority studies contests postmodernist rejection of identity politics but warns against the reductionism of the essentialists who emphasize an intrinsic value to ethnic identity. Hence, the need to provide alternatives to the conflicting definitions of identity provided by both the post-modernists and the essentialists alike, which in turn resulted in the rise of a post-positivist realist theory of identity, which recognizes that identities are socially significant and context specific ideological constructs that have referential relationships to the world. This theory reconsiders the links between identity and experience offering a more theoretically productive position away from the two extremes proposed by the aforementioned approaches. This study analyzes Zeinab Alkordy’s collection of short stories entitled Zahrat Al-Janūb (Flower of the south, 1988) from the perspective of a post-positivist realist theory of identity with special reference to Satya Mohanty’s epistemic status of cultural identity. This theory enables a reading of the categories of ethnicity, sex, and socio-economic status in Alkordy’s text while taking into consideration how her characters adapt to changing circumstances. Examining Alkordy’s text from the perspective of Satya Mohanty’s “epistemic status” of cultural identity reveals that Alkordy focuses on her Nubian characters’ lives in the “real” world stressing the relations among “personal experiences, social meanings and cultural identities” (Mohanty 2000). Informed by Mohanty’s argument that personal experience is constructed but still yields knowledge, this chapter foregrounds how Zeinab Alkordy weaves the epistemic status of Nubian cultural identities, showing the closely interwoven mediation of the personal and the political/public. Indeed, Alkordy’s characters are all individuals who struggle with the challenges they face in their everyday lives. In a post-positivist context, the oppressed articulate their raced, gendered, classed, and nationalized experiences, mediating their identities as both constructed and real in a way that communicates epistemic privilege. Hence, a revised reading of Nubian experiences as depicted in Alkordy’s text allows an understanding of Nubian cultural identities beyond ahistorocial essentialism or radical skepticism. 20 00 Open Access Sherine F. Mazloum 6 03 06 10.53288/0476.1.06 81 104 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Haggag Oddoul’s "Tasābīḥ Nīlīya" (Hymns to the Nile) A Celebration 1 A01 Amal Aly Mazhar Amal Aly Mazhar 40 03q21mh05 Cairo University 01 eng 03 00 Nubian writer Haggag Oddoul has been a highly controversial literary figure and political activist, often connected with allegations of separatism of the ancient land of Nubia from Egypt. Oddoul’s play Tasābīḥ Nīlīya (Hymns to the Nile, 2004) is unique and interesting as he opts for a literary genre which other Nubian writers do not normally make use of, and which directly addresses the audience and hence has an instant and far-reaching impact. This chapter explores and seeks to refute allegations of separatism as Oddoul himself makes clear in his depiction of his themes and characters. Oddoul dedicates his play to the Egyptian goddess Isis, “the warm embrace of safety and security to all variations.” By “variations”, Oddoul implies all races and religions which have existed in Egypt since time immemorial. If any literary text has “a strategic agenda,” i.e., an overriding message that the writer seeks to convey, I will argue that the play asserts and highly celebrates homogeneity and plurality in Egypt, and not separatism. Oddoul deploys [ostdramatic technique to express his unique vision of a micro, nonessentialist identity as one rich mosaic in the macro Egyptian identity. 30 00 Nubian writer Haggag Oddoul has been a highly controversial literary figure and political activist, often connected with allegations of separatism of the ancient land of Nubia from Egypt. Oddoul’s play Tasābīḥ Nīlīya (Hymns to the Nile, 2004) is unique and interesting as he opts for a literary genre which other Nubian writers do not normally make use of, and which directly addresses the audience and hence has an instant and far-reaching impact. This chapter explores and seeks to refute allegations of separatism as Oddoul himself makes clear in his depiction of his themes and characters. Oddoul dedicates his play to the Egyptian goddess Isis, “the warm embrace of safety and security to all variations.” By “variations”, Oddoul implies all races and religions which have existed in Egypt since time immemorial. If any literary text has “a strategic agenda,” i.e., an overriding message that the writer seeks to convey, I will argue that the play asserts and highly celebrates homogeneity and plurality in Egypt, and not separatism. Oddoul deploys [ostdramatic technique to express his unique vision of a micro, nonessentialist identity as one rich mosaic in the macro Egyptian identity. 20 00 Open Access Amal Aly Mazhar 7 03 06 10.53288/0476.1.07 105 124 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 (In)Visible Borders in Nubian Poetry of Mohy El-Deen Saleh 1 A01 Rasha Mohamed Abboudy Rasha Mohamed Abboudy 40 03q21mh05 Cairo University 01 eng 03 00 The massive displacement of Nubians due to the construction of the High Dam in Aswan led to significant geopolitical consequences and shaped new ideological views. Those views, such as the “right to return,” had their impact on Nubian literature as well. But there is more to diaspora than isolation, despair, and political demands. Egyptian Nubians form part of the Egyptian anthropological texture and surely enhance its widely known diversity through the course of history. So it is time to regard Nubia, our border with Africa, as this “place in between,” as an interlude or even as a bridge that sustains two cultures at a time; bringing hybrid motifs together. As a contemporary example of this “border literature,” the Egyptian Nubian writer Mohy El-Deen Saleh composes poetry in Arabic and roves from traditional to modern subjects and from collective reminiscences to individual concerns. This chapter shifts the traditional scope that studies Nubian literature exclusively as a cultural product of a forgotten minority, and analyzes in depth the mutable borders of Nubian identity. 30 00 The massive displacement of Nubians due to the construction of the High Dam in Aswan led to significant geopolitical consequences and shaped new ideological views. Those views, such as the “right to return,” had their impact on Nubian literature as well. But there is more to diaspora than isolation, despair, and political demands. Egyptian Nubians form part of the Egyptian anthropological texture and surely enhance its widely known diversity through the course of history. So it is time to regard Nubia, our border with Africa, as this “place in between,” as an interlude or even as a bridge that sustains two cultures at a time; bringing hybrid motifs together. As a contemporary example of this “border literature,” the Egyptian Nubian writer Mohy El-Deen Saleh composes poetry in Arabic and roves from traditional to modern subjects and from collective reminiscences to individual concerns. This chapter shifts the traditional scope that studies Nubian literature exclusively as a cultural product of a forgotten minority, and analyzes in depth the mutable borders of Nubian identity. 20 00 Open Access Rasha Mohamed Abboudy 8 03 06 10.53288/0476.1.08 125 155 31 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ecological and Ecofeminist Issues in Idris Ali’s "Dongola" and "Al-Laʿib Fawqa Jibāl al-Nūba" (Playing on Nubian mountains) 1 A01 Mona Radwan Mona Radwan 40 03q21mh05 Cairo University 01 eng 03 00 This chapter analyzes two novels by Idris Ali: Dongola: A Novel of Nubia (2006) and "Al-Laʿib Fawqa Jibāl al-Nūba" (Playing on Nubian mountains, 2010 )from an eco-critical and ecofeminist perspective. Since nature was and still is of supreme importance to Nubians as their economy, agriculture, sociology, and culture depended on it, such eco-critical reading seeks to analyze the complex relation between nature and the characters in the novels, thus enabling us to come closer to the world in which Nubians live in, as well as explore the continuous negotiations taking place between nature and the culture of the Nubians. Ecofeminist issues will also be highlighted to explore the gender relations represented in the texts while the examination of the various uses of such literary tropes as metaphors and images in the Nubian imagination will also be discussed. This chapter focuses on the plight of the two major female characters Hushia and Halima in Dongola as well as Ghada in Playing on Nubian Mountains to prove that the ecological effect of the building of the Dams and their displacement have always been severely felt by the women and led to their tragic lives. 30 00 This chapter analyzes two novels by Idris Ali: Dongola: A Novel of Nubia (2006) and "Al-Laʿib Fawqa Jibāl al-Nūba" (Playing on Nubian mountains, 2010 )from an eco-critical and ecofeminist perspective. Since nature was and still is of supreme importance to Nubians as their economy, agriculture, sociology, and culture depended on it, such eco-critical reading seeks to analyze the complex relation between nature and the characters in the novels, thus enabling us to come closer to the world in which Nubians live in, as well as explore the continuous negotiations taking place between nature and the culture of the Nubians. Ecofeminist issues will also be highlighted to explore the gender relations represented in the texts while the examination of the various uses of such literary tropes as metaphors and images in the Nubian imagination will also be discussed. This chapter focuses on the plight of the two major female characters Hushia and Halima in Dongola as well as Ghada in Playing on Nubian Mountains to prove that the ecological effect of the building of the Dams and their displacement have always been severely felt by the women and led to their tragic lives. 20 00 Open Access Mona Radwan 9 03 06 10.53288/0476.1.09 157 172 16 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Dissolution of the Nubian Identity in Yasser Abdellatif ’s "Qānūn Al-Wirātha" (The law of inheritance) and Samar Nour’s "Maḥallak Sirr" (Stalemate) 1 A01 Hussein Hammouda Hussein Hammouda 40 03q21mh05 Cairo University 01 eng 03 00 How is the Nubian identity expressed in the works of writers of Nubian origins who were born and brought up in urban areas away from their homeland? What transformation has the Nubian identity gone through in a new urban world? And to what extent has this identity overlapped with, or become dissolved in, a larger identity? Is the world image of the ancestral Nubians still present in the world image of their descendants? Where do these images converge and where do they diverge? Answering these questions and similar ones, this chapter considers two recent novels by novelists Samar Nour and Yasser Abdul Latif, Maḥallak Sirr (Stalemate, 2013) and Qānūn Al-Wirātha (The law of inheritance, 2002) respectively. The novelists are of Nubian origin but were born and grew up in Cairo. Their texts are read as micro texts within the macro tradition of the Egyptian and the Arabic novel. In dealing with the two novels, this chapter attempts to monitor the image of the Nubian identity in the 1990s and later. It also deals with character relationships, in addition to recall and memory in the two narratives. 30 00 How is the Nubian identity expressed in the works of writers of Nubian origins who were born and brought up in urban areas away from their homeland? What transformation has the Nubian identity gone through in a new urban world? And to what extent has this identity overlapped with, or become dissolved in, a larger identity? Is the world image of the ancestral Nubians still present in the world image of their descendants? Where do these images converge and where do they diverge? Answering these questions and similar ones, this chapter considers two recent novels by novelists Samar Nour and Yasser Abdul Latif, Maḥallak Sirr (Stalemate, 2013) and Qānūn Al-Wirātha (The law of inheritance, 2002) respectively. The novelists are of Nubian origin but were born and grew up in Cairo. Their texts are read as micro texts within the macro tradition of the Egyptian and the Arabic novel. In dealing with the two novels, this chapter attempts to monitor the image of the Nubian identity in the 1990s and later. It also deals with character relationships, in addition to recall and memory in the two narratives. 20 00 Open Access Hussein Hammouda 10 03 06 10.53288/0476.1.10 173 198 26 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 A Folkloric Reading of Qassim’s "Al-Shamandūra" (The buoy) and Mokhtar’s "Jibāl al-Kuḥl" (Mountains of kohl) 1 A01 Khalid Abou el-Lail Khalid Abou el-Lail 40 03q21mh05 Cairo University 01 eng 03 00 A preliminary reading of a number of Nubian novels reveals a basic peculiarity, embodied in the close relation between these novels and the nature of the Nubian society, so much so that this genre of writing has become a mirror reflecting the traditions of this society with its habits, customs and beliefs. Contemplating Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968), the reader discerns techniques drawing inspiration from folklore with the purpose of approaching the intended social and political issues. This creates a form of intertextuality of the literary text and the actual life narrative of Nubian life, as the novel forms a narrative of the social customs related to life cycles: birth, celebrating the first week, children’s and adult’s play, marriage conventions and songs, in addition to rites concerning death and mourning. The novel registers as well the traits of the Nubian character and everyday life habits, social relations and conventional laws. Moreover, this novel involves elements of the River Nile folklore. This is also the case in Yehia Mokhtar’s Jibāl al-Kuḥl (Mountains of kohl, 2001) This special aspect of the Nubian novel, techniques of drawing inspiration from folklore, drove me to attempt a study of this type, revealing its manifestations in the two novels studied. This study is based on cultural criticism as this could be the best approach to this type of study. The domain of Cultural Studies is credited with taking interest in the neglected and marginalized, and what is popular and delightful. Through a cultural analysis of the daily lives of the Nubians, the various social and religious practices, folk traditions, marriage and birth rituals, and folkloric practices, the culturally marginalized and possibly persecuted find full expression. Through a cultural reading, the texts open up spaces for the marginalized socially, spatially, temporally, and culturally. 30 00 A preliminary reading of a number of Nubian novels reveals a basic peculiarity, embodied in the close relation between these novels and the nature of the Nubian society, so much so that this genre of writing has become a mirror reflecting the traditions of this society with its habits, customs and beliefs. Contemplating Muhammad Khalil Qassim’s novel, Al-Shamandūra (The buoy, 1968), the reader discerns techniques drawing inspiration from folklore with the purpose of approaching the intended social and political issues. This creates a form of intertextuality of the literary text and the actual life narrative of Nubian life, as the novel forms a narrative of the social customs related to life cycles: birth, celebrating the first week, children’s and adult’s play, marriage conventions and songs, in addition to rites concerning death and mourning. The novel registers as well the traits of the Nubian character and everyday life habits, social relations and conventional laws. Moreover, this novel involves elements of the River Nile folklore. This is also the case in Yehia Mokhtar’s Jibāl al-Kuḥl (Mountains of kohl, 2001) This special aspect of the Nubian novel, techniques of drawing inspiration from folklore, drove me to attempt a study of this type, revealing its manifestations in the two novels studied. This study is based on cultural criticism as this could be the best approach to this type of study. The domain of Cultural Studies is credited with taking interest in the neglected and marginalized, and what is popular and delightful. Through a cultural analysis of the daily lives of the Nubians, the various social and religious practices, folk traditions, marriage and birth rituals, and folkloric practices, the culturally marginalized and possibly persecuted find full expression. Through a cultural reading, the texts open up spaces for the marginalized socially, spatially, temporally, and culturally. 20 00 Open Access Khalid Abou el-Lail 11 03 06 10.53288/0476.1.11 199 231 33 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Egyptian Nubian Archival Discourse Identity Politics in Yehia Mokhtar’s "Indo Mando" (Here and there) and "Giddu Kāb" 1 A01 Pervine Elrefaei Pervine Elrefaei 40 03q21mh05 Cairo University 01 eng 03 00 This chapter argues that a number of Egyptian Nubian writers and activists have adamantly endeavored to compile their own archive as an empowering strategy geared toward preserving Nubian oral history, culture, identity, and rights. The archival narrative is therefore an important cultural production that appropriates the archival discourse as a rite of passage from the margin to the center. Scrutinizing two works by the Nubian writer Yehia Mokhtar (1936–), mainly, the 2009 collection of short stories Indo Mando and the 2015 biographical novel Giddu Kāb, the study contends that Mokhtar represents the archival writer par excellence. This chapter explores Mokhtar’s discourse on identity, nationalism, and the image and cultural positionality of the Egyptian Nubian, holding him in contrast to other Egyptian Nubian writers through his Sufist perspective and journalistic national discourse. His attempt at appropriating the archival discourse as a space of intervention and empowerment in the selected archival narratives, shaped by historical and political changes, is a major objective of this study. Hence, the chapter questions the ideological perspective of his archival discourse and the credibility of the meticulously selected archive as “a politicized space” of resistance and intervention. Jacques Derrida’s concept of the archive and his spatial definition of the archive as “house” and Marco Codebo’s definition of the archival novel as a hybrid literary genre, besides a bird’s eye view on the cultural/political scene are taken as points of departure. 30 00 This chapter argues that a number of Egyptian Nubian writers and activists have adamantly endeavored to compile their own archive as an empowering strategy geared toward preserving Nubian oral history, culture, identity, and rights. The archival narrative is therefore an important cultural production that appropriates the archival discourse as a rite of passage from the margin to the center. Scrutinizing two works by the Nubian writer Yehia Mokhtar (1936–), mainly, the 2009 collection of short stories Indo Mando and the 2015 biographical novel Giddu Kāb, the study contends that Mokhtar represents the archival writer par excellence. This chapter explores Mokhtar’s discourse on identity, nationalism, and the image and cultural positionality of the Egyptian Nubian, holding him in contrast to other Egyptian Nubian writers through his Sufist perspective and journalistic national discourse. His attempt at appropriating the archival discourse as a space of intervention and empowerment in the selected archival narratives, shaped by historical and political changes, is a major objective of this study. Hence, the chapter questions the ideological perspective of his archival discourse and the credibility of the meticulously selected archive as “a politicized space” of resistance and intervention. Jacques Derrida’s concept of the archive and his spatial definition of the archive as “house” and Marco Codebo’s definition of the archival novel as a hybrid literary genre, besides a bird’s eye view on the cultural/political scene are taken as points of departure. 20 00 Open Access Pervine Elrefaei 12 03 06 10.53288/0476.1.12 233 245 13 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Interviews with Three Nubian Writers 1 A01 Amal Mazhar Amal Mazhar 40 03q21mh05 Cairo University 2 A32 Yehia Mokhtar Yehia Mokhtar 3 A01 Faten I. Morsy Faten I. Morsy 40 00cb9w016 Ain Shams University 4 A32 Samar Nour Samar Nour 5 A32 Haggag Oddoul Haggag Oddoul 6 B01 Mona M. Radwan Mona M. Radwan 40 03q21mh05 Cairo University 01 eng 20 00 Open Access Amal Mazhar, Faten I. Morsy, Mona M. Radwan 01 URL https://punctumbooks.com/imprints/dotawo/ Dotawo 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/voices-from-nubia-critical-essays-on-contemporary-nubian-literature-from-egypt/ Earth, Milky Way 04 01 20240801 Amal Mazhar, Faten I. Morsy, Mona Radwan 02 WORLD 06 15 9781685711283 03 9781685711283 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/92544 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/92544/0476.1.00.pdf?sequence=1&isAllowed=y 20 08 20240801 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/142721 20 08 20240801 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526482 20 08 20240801 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=4c6ad744-bbf4-3030-9198-c30ffac5b501 20 08 20240801 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/799 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/3ea02027-e1af-4dd4-865e-d983722e60f4/download 20 08 20240801 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Voices_from_Nubia/O5whEQAAQBAJ 20 08 20240801 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/34d9a282-6232-4bb2-8b55-9ccf5a751b0f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/34d9a282-6232-4bb2-8b55-9ccf5a751b0f/34d9a282-6232-4bb2-8b55-9ccf5a751b0f.pdf 20 08 20240801 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850478 29 ZENODO: download the title https://zenodo.org/records/19850478/files/34d9a282-6232-4bb2-8b55-9ccf5a751b0f_book.pdf 20 08 20240801 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/voices-from-nubia-critical-essays-on-contemporary-nubian-literature-from-egypt/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0476.1.00.pdf 20 08 20240801 01 urn:uuid:8ebffa4a-3c7b-4d7f-ba00-d12a6d38798b 03 01 01 thoth-work-id urn:uuid:c5bb35b3-b697-45a9-a774-3b9fd3b2e06f 01 thoth-publication-id urn:uuid:8ebffa4a-3c7b-4d7f-ba00-d12a6d38798b 15 9781685713003 03 9781685713003 06 10.53288/0589.1.00 13 2025949035 01 internal-reference 0589 00 BC 10 01 235 mm 01 23.5 cm 01 9.25 in 02 108 mm 02 10.8 cm 02 4.25 in 03 9 mm 03 0.9 cm 03 0.37 in 08 232 gr 08 8.2 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Voix de Glace / Voice of Ice 1 A01 Alta Ifland Alta Ifland Born and raised in Communist Romania, Alta Ifland came to the US as a political refugee in 1991, where she obtained a PhD in French language and literature. Ifland’s other works include a book of prose poems, The Snail’s Song (Spuyten Duyvil, 2011), which includes her original drawings, and two books of short stories, Elegy for a Fabulous World (Ninebark Press, 2010) and Death-in-a-Box (Subito Press, 2010). Ifland’s novels, The Wife Who Wasn’t and Speaking to No. 4 were published by New Europe Books in 2021 and 2022. Her latest published work, an atypical historical novel (written entirely as a dialogue), Two Queens and a Chronicler, is forthcoming in October 2025 from Open Ends Press. Ifland’s writings have been translated into French, Romanian and Russian. After living for 30 years in the US—Florida, Arizona, and California—Ifland now lives in France. 2 A24 John Taylor John Taylor John Taylor is an American writer, poet, critic, and translator who has long lived in France. As a translator from three languages (French, Italian, and Modern Greek), he has brought the work of several European poets into English for the first time. His recent translations include books by Pascal Quignard, Philippe Jaccottet, Charline Lambert, Veroniki Dalakoura, Béatrice Douvre, and Franca Mancinelli. His own books of poetry and poetic prose include Remembrance of Water & Twenty-Five Trees, A Notebook of Clouds & A Notebook of Ridges, which is a “double book” co-authored with the Swiss poet Pierre Chappuis, and What Comes from the Night. 2 01 eng 01 fre 00 160 03 93 DCF B2 Fabulations 10 POE024000 93 FXQ B2 Languages+Translations 10 POE027000 20 exile; identity; language; Eastern Europe; prose poetry; translation 01 06 02 00 03 00 Voix de Glace/Voice of Ice is a series of prose poems about the estranged self living outside of one’s native land and away from one’s native tongue. Romanian poet Alta Ifland writes first in French, then translates her work into English, before returning to the original French for further revisions, a process of linguistic reconciliation as much as translation.Published in a bilingual, French–English edition, Ifland repeatedly turns to remembered images of her unnamed homeland to animate her unfamiliar home, creating, what poet Gary Young calls “a brilliant collection of prose poems document[ing] the quest for a coherent self, an authentic identity born out of the chaos of language and history." He continues, "Ifland's poems trace a radical process of de-creation—dismemberment of the body, dissolution of the ego, abandonment of the self—and the reinvention of a new identity, purified by the acid of tears. This new creation—tentative and rarified, “a child’s body of light”—earns a tenuous existence, but it proves to be enough to withstand the omnipresent threat of oblivion."Voix de Glace/Voice of Ice won the 2008 Prix Louis Guillaume du Poème en Prose/Louis Guillaume Prize for Prose Poetry.This title is a second revised and expanded edition, released as part of punctum’s Special Collections project. 30 00 Voix de Glace/Voice of Ice is a series of prose poems about the estranged self living outside of one’s native land and away from one’s native tongue. Romanian poet Alta Ifland writes first in French, then translates her work into English, before returning to the original French for further revisions, a process of linguistic reconciliation as much as translation.Published in a bilingual, French–English edition, Ifland repeatedly turns to remembered images of her unnamed homeland to animate her unfamiliar home, creating, what poet Gary Young calls “a brilliant collection of prose poems document[ing] the quest for a coherent self, an authentic identity born out of the chaos of language and history." He continues, "Ifland's poems trace a radical process of de-creation—dismemberment of the body, dissolution of the ego, abandonment of the self—and the reinvention of a new identity, purified by the acid of tears. This new creation—tentative and rarified, “a child’s body of light”—earns a tenuous existence, but it proves to be enough to withstand the omnipresent threat of oblivion."Voix de Glace/Voice of Ice won the 2008 Prix Louis Guillaume du Poème en Prose/Louis Guillaume Prize for Prose Poetry.This title is a second revised and expanded edition, released as part of punctum’s Special Collections project. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0589.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/voix-de-glace-voice-of-ice/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20251126 Alta Ifland 02 WORLD 06 15 9781685713010 03 9781685713010 06 15 9781685713027 03 9781685713027 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685713009 20 08 20251126 02 17.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/voix-de-glace-voice-of-ice-alta-ifland 20 08 20251126 02 17.00 USD WORLD urn:uuid:1dda62a2-0854-4876-a812-645c78f9f42d 03 01 01 thoth-work-id urn:uuid:c5bb35b3-b697-45a9-a774-3b9fd3b2e06f 01 thoth-publication-id urn:uuid:1dda62a2-0854-4876-a812-645c78f9f42d 15 9781685713010 03 9781685713010 06 10.53288/0589.1.00 13 2025949035 01 internal-reference 0589 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Voix de Glace / Voice of Ice 1 A01 Alta Ifland Alta Ifland Born and raised in Communist Romania, Alta Ifland came to the US as a political refugee in 1991, where she obtained a PhD in French language and literature. Ifland’s other works include a book of prose poems, The Snail’s Song (Spuyten Duyvil, 2011), which includes her original drawings, and two books of short stories, Elegy for a Fabulous World (Ninebark Press, 2010) and Death-in-a-Box (Subito Press, 2010). Ifland’s novels, The Wife Who Wasn’t and Speaking to No. 4 were published by New Europe Books in 2021 and 2022. Her latest published work, an atypical historical novel (written entirely as a dialogue), Two Queens and a Chronicler, is forthcoming in October 2025 from Open Ends Press. Ifland’s writings have been translated into French, Romanian and Russian. After living for 30 years in the US—Florida, Arizona, and California—Ifland now lives in France. 2 A24 John Taylor John Taylor John Taylor is an American writer, poet, critic, and translator who has long lived in France. As a translator from three languages (French, Italian, and Modern Greek), he has brought the work of several European poets into English for the first time. His recent translations include books by Pascal Quignard, Philippe Jaccottet, Charline Lambert, Veroniki Dalakoura, Béatrice Douvre, and Franca Mancinelli. His own books of poetry and poetic prose include Remembrance of Water & Twenty-Five Trees, A Notebook of Clouds & A Notebook of Ridges, which is a “double book” co-authored with the Swiss poet Pierre Chappuis, and What Comes from the Night. 2 01 eng 01 fre 00 160 03 93 DCF B2 Fabulations 10 POE024000 93 FXQ B2 Languages+Translations 10 POE027000 20 exile; identity; language; Eastern Europe; prose poetry; translation 01 06 02 00 03 00 Voix de Glace/Voice of Ice is a series of prose poems about the estranged self living outside of one’s native land and away from one’s native tongue. Romanian poet Alta Ifland writes first in French, then translates her work into English, before returning to the original French for further revisions, a process of linguistic reconciliation as much as translation.Published in a bilingual, French–English edition, Ifland repeatedly turns to remembered images of her unnamed homeland to animate her unfamiliar home, creating, what poet Gary Young calls “a brilliant collection of prose poems document[ing] the quest for a coherent self, an authentic identity born out of the chaos of language and history." He continues, "Ifland's poems trace a radical process of de-creation—dismemberment of the body, dissolution of the ego, abandonment of the self—and the reinvention of a new identity, purified by the acid of tears. This new creation—tentative and rarified, “a child’s body of light”—earns a tenuous existence, but it proves to be enough to withstand the omnipresent threat of oblivion."Voix de Glace/Voice of Ice won the 2008 Prix Louis Guillaume du Poème en Prose/Louis Guillaume Prize for Prose Poetry.This title is a second revised and expanded edition, released as part of punctum’s Special Collections project. 30 00 Voix de Glace/Voice of Ice is a series of prose poems about the estranged self living outside of one’s native land and away from one’s native tongue. Romanian poet Alta Ifland writes first in French, then translates her work into English, before returning to the original French for further revisions, a process of linguistic reconciliation as much as translation.Published in a bilingual, French–English edition, Ifland repeatedly turns to remembered images of her unnamed homeland to animate her unfamiliar home, creating, what poet Gary Young calls “a brilliant collection of prose poems document[ing] the quest for a coherent self, an authentic identity born out of the chaos of language and history." He continues, "Ifland's poems trace a radical process of de-creation—dismemberment of the body, dissolution of the ego, abandonment of the self—and the reinvention of a new identity, purified by the acid of tears. This new creation—tentative and rarified, “a child’s body of light”—earns a tenuous existence, but it proves to be enough to withstand the omnipresent threat of oblivion."Voix de Glace/Voice of Ice won the 2008 Prix Louis Guillaume du Poème en Prose/Louis Guillaume Prize for Prose Poetry.This title is a second revised and expanded edition, released as part of punctum’s Special Collections project. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0589.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/voix-de-glace-voice-of-ice/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20251126 Alta Ifland 02 WORLD 06 15 9781685713003 03 9781685713003 06 15 9781685713027 03 9781685713027 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/108868 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/108868/9781685713010.pdf?sequence=1&isAllowed=y 20 08 20251126 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/925 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/371d81e2-7121-48f8-ac27-5d9fad0333b1/download 20 08 20251126 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c5bb35b3-b697-45a9-a774-3b9fd3b2e06f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c5bb35b3-b697-45a9-a774-3b9fd3b2e06f/c5bb35b3-b697-45a9-a774-3b9fd3b2e06f.pdf 20 08 20251126 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851509 29 ZENODO: download the title https://zenodo.org/records/19851509/files/c5bb35b3-b697-45a9-a774-3b9fd3b2e06f_book.pdf 20 08 20251126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/voix-de-glace-voice-of-ice/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0589.1.00.pdf 20 08 20251126 01 urn:uuid:07c71e42-2e71-40ed-a1cc-5ccea5b1289e 03 01 01 thoth-work-id urn:uuid:c5bb35b3-b697-45a9-a774-3b9fd3b2e06f 01 thoth-publication-id urn:uuid:07c71e42-2e71-40ed-a1cc-5ccea5b1289e 15 9781685713027 03 9781685713027 06 10.53288/0589.1.00 13 2025949035 01 internal-reference 0589 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Voix de Glace / Voice of Ice 1 A01 Alta Ifland Alta Ifland Born and raised in Communist Romania, Alta Ifland came to the US as a political refugee in 1991, where she obtained a PhD in French language and literature. Ifland’s other works include a book of prose poems, The Snail’s Song (Spuyten Duyvil, 2011), which includes her original drawings, and two books of short stories, Elegy for a Fabulous World (Ninebark Press, 2010) and Death-in-a-Box (Subito Press, 2010). Ifland’s novels, The Wife Who Wasn’t and Speaking to No. 4 were published by New Europe Books in 2021 and 2022. Her latest published work, an atypical historical novel (written entirely as a dialogue), Two Queens and a Chronicler, is forthcoming in October 2025 from Open Ends Press. Ifland’s writings have been translated into French, Romanian and Russian. After living for 30 years in the US—Florida, Arizona, and California—Ifland now lives in France. 2 A24 John Taylor John Taylor John Taylor is an American writer, poet, critic, and translator who has long lived in France. As a translator from three languages (French, Italian, and Modern Greek), he has brought the work of several European poets into English for the first time. His recent translations include books by Pascal Quignard, Philippe Jaccottet, Charline Lambert, Veroniki Dalakoura, Béatrice Douvre, and Franca Mancinelli. His own books of poetry and poetic prose include Remembrance of Water & Twenty-Five Trees, A Notebook of Clouds & A Notebook of Ridges, which is a “double book” co-authored with the Swiss poet Pierre Chappuis, and What Comes from the Night. 2 01 eng 01 fre 00 160 03 93 DCF B2 Fabulations 10 POE024000 93 FXQ B2 Languages+Translations 10 POE027000 20 exile; identity; language; Eastern Europe; prose poetry; translation 01 06 02 00 03 00 Voix de Glace/Voice of Ice is a series of prose poems about the estranged self living outside of one’s native land and away from one’s native tongue. Romanian poet Alta Ifland writes first in French, then translates her work into English, before returning to the original French for further revisions, a process of linguistic reconciliation as much as translation.Published in a bilingual, French–English edition, Ifland repeatedly turns to remembered images of her unnamed homeland to animate her unfamiliar home, creating, what poet Gary Young calls “a brilliant collection of prose poems document[ing] the quest for a coherent self, an authentic identity born out of the chaos of language and history." He continues, "Ifland's poems trace a radical process of de-creation—dismemberment of the body, dissolution of the ego, abandonment of the self—and the reinvention of a new identity, purified by the acid of tears. This new creation—tentative and rarified, “a child’s body of light”—earns a tenuous existence, but it proves to be enough to withstand the omnipresent threat of oblivion."Voix de Glace/Voice of Ice won the 2008 Prix Louis Guillaume du Poème en Prose/Louis Guillaume Prize for Prose Poetry.This title is a second revised and expanded edition, released as part of punctum’s Special Collections project. 30 00 Voix de Glace/Voice of Ice is a series of prose poems about the estranged self living outside of one’s native land and away from one’s native tongue. Romanian poet Alta Ifland writes first in French, then translates her work into English, before returning to the original French for further revisions, a process of linguistic reconciliation as much as translation.Published in a bilingual, French–English edition, Ifland repeatedly turns to remembered images of her unnamed homeland to animate her unfamiliar home, creating, what poet Gary Young calls “a brilliant collection of prose poems document[ing] the quest for a coherent self, an authentic identity born out of the chaos of language and history." He continues, "Ifland's poems trace a radical process of de-creation—dismemberment of the body, dissolution of the ego, abandonment of the self—and the reinvention of a new identity, purified by the acid of tears. This new creation—tentative and rarified, “a child’s body of light”—earns a tenuous existence, but it proves to be enough to withstand the omnipresent threat of oblivion."Voix de Glace/Voice of Ice won the 2008 Prix Louis Guillaume du Poème en Prose/Louis Guillaume Prize for Prose Poetry.This title is a second revised and expanded edition, released as part of punctum’s Special Collections project. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0589.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/les-figues/ Les Figues 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/voix-de-glace-voice-of-ice/ 16 40 03s1ada23 punctum books 01 programname Special Collections Earth, Milky Way 04 01 20251126 Alta Ifland 02 WORLD 06 15 9781685713003 03 9781685713003 06 15 9781685713010 03 9781685713010 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19851509 29 ZENODO: download the title https://zenodo.org/records/19851509/files/c5bb35b3-b697-45a9-a774-3b9fd3b2e06f_book.epub 20 08 20251126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/voix-de-glace-voice-of-ice/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0589.2.00.epub 20 08 20251126 01 urn:uuid:0b8cffe6-9c41-46d1-bd57-c1729eb8ba52 03 01 01 thoth-work-id urn:uuid:6dd15dd7-ae8c-4438-a597-7c99d5be4138 01 thoth-publication-id urn:uuid:0b8cffe6-9c41-46d1-bd57-c1729eb8ba52 15 9780692707647 03 9780692707647 06 10.21983/P3.0143.1.00 01 internal-reference 0143 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Walk on the Beach Things from the Sea, Volume 1 1 B01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 B01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 3 A32 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 4 A32 Christina McPhee Christina McPhee 5 A32 21 0000000179433797 Elizabeth Currans Elizabeth Currans 40 02ehshm78 Eastern Michigan University 6 A32 Vanessa Daws Vanessa Daws 7 A32 Emily Gephart Emily Gephart 40 01ja11s84 School of the Museum of Fine Arts 8 A32 Elliott Ihm Elliott Ihm 40 02t274463 University of California, Santa Barbara 9 A32 21 000000027118798X Steve Mentz Steve Mentz 40 02jmk1h66 St. John's University of Tanzania 10 A32 Emily Russell Emily Russell 40 00y4zzh67 George Washington University 01 eng 00 60 03 12 AGC 10 ART006010 B2 Biosphere 93 DNL 93 1QS B2 Thought Experiments 20 art; beach; objects; photography; ocean 01 06 02 00 03 00 This volume brings together writing and imagery from the experimental “beachwalk” session(s) at the Third Biennial Meeting of the BABEL Working Group, On the Beach: Precariousness, Risk, Forms of Life, Affinity, and Play at the Edge of the World. We began with conversations about the sea. We meditated together on chance, discovery, agency, beauty, and material ecology. We talked about the delicate care of treading the world, the confluence of the personal and the professional, and the possibilities of storytelling. We thought about what happens when we encounter stuff, when we take it, change it, do something with it. When we display it, or sculpt it, or collect it. When we make something an object, and an object of looking.Then we met on the beach. We walked and talked about loss, home, agency, and liminality. We collected things: We picked up stones, feathers, seaweed. We pointed to stuff, gathered it, let it strike our fancy. Every shell nurtured a conversation among the artists, scientists, historians, poets, archivists, surfers, philosophers, and pirates who had joined the walk. We brought the sea-things back, manipulated them, and displayed them as works of art.Walk on the Beach is a souvenir of that project, a record of our bounty. It emerges from the process at the heart of art historical work: close looking. Thinking through objects, thinking with objects. Letting the things help us tell their stories.This is a tiny collection of looking, together 30 00 This volume brings together writing and imagery from the experimental “beachwalk” session(s) at the Third Biennial Meeting of the BABEL Working Group, On the Beach: Precariousness, Risk, Forms of Life, Affinity, and Play at the Edge of the World. We began with conversations about the sea. We meditated together on chance, discovery, agency, beauty, and material ecology. We talked about the delicate care of treading the world, the confluence of the personal and the professional, and the possibilities of storytelling. We thought about what happens when we encounter stuff, when we take it, change it, do something with it. When we display it, or sculpt it, or collect it. When we make something an object, and an object of looking.Then we met on the beach. We walked and talked about loss, home, agency, and liminality. We collected things: We picked up stones, feathers, seaweed. We pointed to stuff, gathered it, let it strike our fancy. Every shell nurtured a conversation among the artists, scientists, historians, poets, archivists, surfers, philosophers, and pirates who had joined the walk. We brought the sea-things back, manipulated them, and displayed them as works of art.Walk on the Beach is a souvenir of that project, a record of our bounty. It emerges from the process at the heart of art historical work: close looking. Thinking through objects, thinking with objects. Letting the things help us tell their stories.This is a tiny collection of looking, together 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0143.1.00_frontcover.png 1 03 06 10.21983/P3.0143.1.01 1 3 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Maggie M. Williams Maggie M. Williams 2 B01 Karen Eileen Overbey Karen Eileen Overbey 01 eng 20 00 Open Access Williams, Maggie M. Overbey, Karen Eileen 2 03 06 10.21983/P3.0143.1.02 4 5 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 This Is the First 1 A01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 03 00 This is the first of two Things from the Sea collected in October 2014 at the Third Biennial BABEL meeting, On the Beach. This first thing, Walk on the Beach, catalogues the Material Collective’s session+flash-exhibition, an experiment in collecting and curation. The next thing, Sea Monsters, will include the papers from the session “The Nature of the Beast/Beasts of Nature: Monstrous Environments.” 30 00 This is the first of two Things from the Sea collected in October 2014 at the Third Biennial BABEL meeting, On the Beach. This first thing, Walk on the Beach, catalogues the Material Collective’s session+flash-exhibition, an experiment in collecting and curation. The next thing, Sea Monsters, will include the papers from the session “The Nature of the Beast/Beasts of Nature: Monstrous Environments.” 20 00 Open Access Williams, Maggie M. Overbey, Karen 3 03 06 10.21983/P3.0143.1.03 20 40 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beachcombing 1 A32 Maura Coughlin Maura Coughlin 40 01gk44f56 Bryant University 2 A32 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 3 A32 Lora Webb Lora Webb 40 00f54p054 Stanford University 4 A32 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Maura Coughlin, Asa Simon Mittman, Lora Webb and Jeffrey Jerome Cohen traded images of objects they had found while beachcombing. Their descriptions of these items, going clockwise from the top left: “I found it in Destin, FL when I was probably 8 or 9.” (Lora)“Found on the banks of the Thames, right by the Banker’s Pub, this past summer.” (Asa)“A petric egg gleaned as I wandered the coast of southern Maine. It still tastes salty if you lick it.” (JJC) “Found in September of 1999 on a beach in Nova Scotia. A sheep’s horn (I think) with a hole drilled through it. That’s how I found it.” (Maura)Then they created the following new stories for the objects. 30 00 Maura Coughlin, Asa Simon Mittman, Lora Webb and Jeffrey Jerome Cohen traded images of objects they had found while beachcombing. Their descriptions of these items, going clockwise from the top left: “I found it in Destin, FL when I was probably 8 or 9.” (Lora)“Found on the banks of the Thames, right by the Banker’s Pub, this past summer.” (Asa)“A petric egg gleaned as I wandered the coast of southern Maine. It still tastes salty if you lick it.” (JJC) “Found in September of 1999 on a beach in Nova Scotia. A sheep’s horn (I think) with a hole drilled through it. That’s how I found it.” (Maura)Then they created the following new stories for the objects. 20 00 Open Access Williams, Maggie M. Overbey, Karen Eileen 4 03 06 10.21983/P3.0143.1.08 41 54 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beach Intentions, Adrift 1 A01 Emily Russel Emily Russel 40 00y4zzh67 George Washington University 01 eng 03 00 I intended to spend time at the beach. I imagined myself walking along the hot and stony sands of the western Michigan coastline, stopping to inspect pieces of drift-wood — my summer obsession. I desired to get swept up by the thing. The idea. The storySpurred, spurious, spurned — taken in and turned out. Washed up. What remains, relic-like, of a mighty rootingMy own rootedness pulled at me. Tugged me home. Family illness redirects. My inten-tions adrift, I reached. I imaginedOf Ymir they made the earth, those gods of old. His blood the seas. His skull the skiesDriftwood. 30 00 I intended to spend time at the beach. I imagined myself walking along the hot and stony sands of the western Michigan coastline, stopping to inspect pieces of drift-wood — my summer obsession. I desired to get swept up by the thing. The idea. The storySpurred, spurious, spurned — taken in and turned out. Washed up. What remains, relic-like, of a mighty rootingMy own rootedness pulled at me. Tugged me home. Family illness redirects. My inten-tions adrift, I reached. I imaginedOf Ymir they made the earth, those gods of old. His blood the seas. His skull the skiesDriftwood. 20 00 Open Access Russel, Emily 5 03 06 10.21983/P3.0143.1.09 55 60 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Maggie M. Williams Maggie M. Williams 2 B01 Karen Eileen Overbey Karen Eileen Overbey 01 eng 20 00 Open Access Williams, Maggie M. Overbey, Karen Eileen 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/walk-on-the-beach/ Earth, Milky Way 04 01 20160617 Williams, Maggie M. Overbey, Karen Eileen 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/walk-on-the-beach-things-from-the-sea-volume-1 20 08 20160617 02 26.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692707646 20 08 20160617 02 26.00 USD WORLD urn:uuid:76ce8a31-56de-4772-a767-565a549f01ef 03 01 01 thoth-work-id urn:uuid:6dd15dd7-ae8c-4438-a597-7c99d5be4138 01 thoth-publication-id urn:uuid:76ce8a31-56de-4772-a767-565a549f01ef 06 10.21983/P3.0143.1.00 01 internal-reference 0143 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Walk on the Beach Things from the Sea, Volume 1 1 B01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 B01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 3 A32 Anna Kłosowska Anna Kłosowska 40 05nbqxr67 Miami University 4 A32 Christina McPhee Christina McPhee 5 A32 21 0000000179433797 Elizabeth Currans Elizabeth Currans 40 02ehshm78 Eastern Michigan University 6 A32 Vanessa Daws Vanessa Daws 7 A32 Emily Gephart Emily Gephart 40 01ja11s84 School of the Museum of Fine Arts 8 A32 Elliott Ihm Elliott Ihm 40 02t274463 University of California, Santa Barbara 9 A32 21 000000027118798X Steve Mentz Steve Mentz 40 02jmk1h66 St. John's University of Tanzania 10 A32 Emily Russell Emily Russell 40 00y4zzh67 George Washington University 01 eng 00 60 03 12 AGC 10 ART006010 B2 Biosphere 93 DNL 93 1QS B2 Thought Experiments 20 art; beach; objects; photography; ocean 01 06 02 00 03 00 This volume brings together writing and imagery from the experimental “beachwalk” session(s) at the Third Biennial Meeting of the BABEL Working Group, On the Beach: Precariousness, Risk, Forms of Life, Affinity, and Play at the Edge of the World. We began with conversations about the sea. We meditated together on chance, discovery, agency, beauty, and material ecology. We talked about the delicate care of treading the world, the confluence of the personal and the professional, and the possibilities of storytelling. We thought about what happens when we encounter stuff, when we take it, change it, do something with it. When we display it, or sculpt it, or collect it. When we make something an object, and an object of looking.Then we met on the beach. We walked and talked about loss, home, agency, and liminality. We collected things: We picked up stones, feathers, seaweed. We pointed to stuff, gathered it, let it strike our fancy. Every shell nurtured a conversation among the artists, scientists, historians, poets, archivists, surfers, philosophers, and pirates who had joined the walk. We brought the sea-things back, manipulated them, and displayed them as works of art.Walk on the Beach is a souvenir of that project, a record of our bounty. It emerges from the process at the heart of art historical work: close looking. Thinking through objects, thinking with objects. Letting the things help us tell their stories.This is a tiny collection of looking, together 30 00 This volume brings together writing and imagery from the experimental “beachwalk” session(s) at the Third Biennial Meeting of the BABEL Working Group, On the Beach: Precariousness, Risk, Forms of Life, Affinity, and Play at the Edge of the World. We began with conversations about the sea. We meditated together on chance, discovery, agency, beauty, and material ecology. We talked about the delicate care of treading the world, the confluence of the personal and the professional, and the possibilities of storytelling. We thought about what happens when we encounter stuff, when we take it, change it, do something with it. When we display it, or sculpt it, or collect it. When we make something an object, and an object of looking.Then we met on the beach. We walked and talked about loss, home, agency, and liminality. We collected things: We picked up stones, feathers, seaweed. We pointed to stuff, gathered it, let it strike our fancy. Every shell nurtured a conversation among the artists, scientists, historians, poets, archivists, surfers, philosophers, and pirates who had joined the walk. We brought the sea-things back, manipulated them, and displayed them as works of art.Walk on the Beach is a souvenir of that project, a record of our bounty. It emerges from the process at the heart of art historical work: close looking. Thinking through objects, thinking with objects. Letting the things help us tell their stories.This is a tiny collection of looking, together 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0143.1.00_frontcover.png 1 03 06 10.21983/P3.0143.1.01 1 3 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 Maggie M. Williams Maggie M. Williams 2 B01 Karen Eileen Overbey Karen Eileen Overbey 01 eng 20 00 Open Access Williams, Maggie M. Overbey, Karen Eileen 2 03 06 10.21983/P3.0143.1.02 4 5 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 This Is the First 1 A01 Maggie M. Williams Maggie M. Williams 40 00k3ayt93 William Paterson University 2 A01 Karen Eileen Overbey Karen Eileen Overbey 40 05wvpxv85 Tufts University 01 eng 03 00 This is the first of two Things from the Sea collected in October 2014 at the Third Biennial BABEL meeting, On the Beach. This first thing, Walk on the Beach, catalogues the Material Collective’s session+flash-exhibition, an experiment in collecting and curation. The next thing, Sea Monsters, will include the papers from the session “The Nature of the Beast/Beasts of Nature: Monstrous Environments.” 30 00 This is the first of two Things from the Sea collected in October 2014 at the Third Biennial BABEL meeting, On the Beach. This first thing, Walk on the Beach, catalogues the Material Collective’s session+flash-exhibition, an experiment in collecting and curation. The next thing, Sea Monsters, will include the papers from the session “The Nature of the Beast/Beasts of Nature: Monstrous Environments.” 20 00 Open Access Williams, Maggie M. Overbey, Karen 3 03 06 10.21983/P3.0143.1.03 20 40 21 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beachcombing 1 A32 Maura Coughlin Maura Coughlin 40 01gk44f56 Bryant University 2 A32 Asa Simon Mittman Asa Simon Mittman 40 027bzz146 California State University, Chico 3 A32 Lora Webb Lora Webb 40 00f54p054 Stanford University 4 A32 Jeffrey Jerome Cohen Jeffrey Jerome Cohen 40 00y4zzh67 George Washington University 06 Own website https://www.jeffreyjeromecohen.com/ 01 eng 03 00 Maura Coughlin, Asa Simon Mittman, Lora Webb and Jeffrey Jerome Cohen traded images of objects they had found while beachcombing. Their descriptions of these items, going clockwise from the top left: “I found it in Destin, FL when I was probably 8 or 9.” (Lora)“Found on the banks of the Thames, right by the Banker’s Pub, this past summer.” (Asa)“A petric egg gleaned as I wandered the coast of southern Maine. It still tastes salty if you lick it.” (JJC) “Found in September of 1999 on a beach in Nova Scotia. A sheep’s horn (I think) with a hole drilled through it. That’s how I found it.” (Maura)Then they created the following new stories for the objects. 30 00 Maura Coughlin, Asa Simon Mittman, Lora Webb and Jeffrey Jerome Cohen traded images of objects they had found while beachcombing. Their descriptions of these items, going clockwise from the top left: “I found it in Destin, FL when I was probably 8 or 9.” (Lora)“Found on the banks of the Thames, right by the Banker’s Pub, this past summer.” (Asa)“A petric egg gleaned as I wandered the coast of southern Maine. It still tastes salty if you lick it.” (JJC) “Found in September of 1999 on a beach in Nova Scotia. A sheep’s horn (I think) with a hole drilled through it. That’s how I found it.” (Maura)Then they created the following new stories for the objects. 20 00 Open Access Williams, Maggie M. Overbey, Karen Eileen 4 03 06 10.21983/P3.0143.1.08 41 54 14 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Beach Intentions, Adrift 1 A01 Emily Russel Emily Russel 40 00y4zzh67 George Washington University 01 eng 03 00 I intended to spend time at the beach. I imagined myself walking along the hot and stony sands of the western Michigan coastline, stopping to inspect pieces of drift-wood — my summer obsession. I desired to get swept up by the thing. The idea. The storySpurred, spurious, spurned — taken in and turned out. Washed up. What remains, relic-like, of a mighty rootingMy own rootedness pulled at me. Tugged me home. Family illness redirects. My inten-tions adrift, I reached. I imaginedOf Ymir they made the earth, those gods of old. His blood the seas. His skull the skiesDriftwood. 30 00 I intended to spend time at the beach. I imagined myself walking along the hot and stony sands of the western Michigan coastline, stopping to inspect pieces of drift-wood — my summer obsession. I desired to get swept up by the thing. The idea. The storySpurred, spurious, spurned — taken in and turned out. Washed up. What remains, relic-like, of a mighty rootingMy own rootedness pulled at me. Tugged me home. Family illness redirects. My inten-tions adrift, I reached. I imaginedOf Ymir they made the earth, those gods of old. His blood the seas. His skull the skiesDriftwood. 20 00 Open Access Russel, Emily 5 03 06 10.21983/P3.0143.1.09 55 60 6 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Backmatter 1 B01 Maggie M. Williams Maggie M. Williams 2 B01 Karen Eileen Overbey Karen Eileen Overbey 01 eng 20 00 Open Access Williams, Maggie M. Overbey, Karen Eileen 01 URL https://punctumbooks.com/imprints/tiny-collections/ Tiny Collections 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/walk-on-the-beach/ Earth, Milky Way 04 01 20160617 Williams, Maggie M. Overbey, Karen Eileen 02 WORLD 06 15 9780692707647 03 9780692707647 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76506 20 08 20160617 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25482 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25482/1004613.pdf?sequence=1&isAllowed=y 20 08 20160617 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34105 20 08 20160617 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354045 20 08 20160617 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/528 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/90be4f12-54ee-4cb4-abfa-9a5ba2130208/download 20 08 20160617 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Walk_on_the_Beach/NgSVEAAAQBAJ 20 08 20160617 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6dd15dd7-ae8c-4438-a597-7c99d5be4138 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6dd15dd7-ae8c-4438-a597-7c99d5be4138/6dd15dd7-ae8c-4438-a597-7c99d5be4138.pdf 20 08 20160617 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846597 29 ZENODO: download the title https://zenodo.org/records/19846597/files/6dd15dd7-ae8c-4438-a597-7c99d5be4138_book.pdf 20 08 20160617 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/walk-on-the-beach/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0143.1.00.pdf 20 08 20160617 01 urn:uuid:fa376e98-b494-4ad3-8df6-5853e7c70a75 03 01 01 thoth-work-id urn:uuid:b904a8eb-9c98-4bb1-bf25-3cb9d075b157 01 thoth-publication-id urn:uuid:fa376e98-b494-4ad3-8df6-5853e7c70a75 15 9781685710361 03 9781685710361 06 10.53288/0339.1.00 13 2021951510 01 internal-reference 0339 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Warez The Infrastructure and Aesthetics of Piracy 1 A01 21 0000000255898511 Martin Paul Eve Martin Paul Eve 40 02mb95055 Birkbeck, University of London 06 Own website https://eve.gd/ 01 eng 00 444 03 10 COM060040 B2 Cultural Studies+Critical Theory 12 JKVK 93 JKVM 10 COM079010 B2 Media+Technology 93 UBJ 12 UBW 93 JBCT1 12 JFD 20 piracy; warez; computing; hacking; history; software; internet security 01 06 02 00 03 00 When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 30 00 When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0339.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/warez-the-infrastructure-and-aesthetics-of-piracy/ 16 40 012mzw131 32 10.13039/501100000275 Leverhulme Trust 01 programname Philip Leverhulme Prize Earth, Milky Way 04 01 20211215 Eve, Martin Paul 02 WORLD 06 15 9781685710378 03 9781685710378 34 06 10.5406/americanmusic.38.2.0197 34 06 10.1023/A:1013819218792 34 06 10.5281/zenodo.18796 34 06 10.2202/1944-2866.1125 34 06 10.1111/j.0022-3840.1997.3004_13.x 34 06 10.3172/JIE.15.2.82 34 06 10.1177/0196859909333697 34 06 10.1080/07421222.1997.11518142 34 06 10.1162/leon.2006.39.4.377 34 06 10.1177/0163443707081700 34 06 10.1177/1367877904046412 34 06 10.5840/monist20058817 34 06 10.1177/016344301023001004 34 06 10.1386/jjkc.3.1.65_1 34 06 10.1353/anq.2012.0043 34 06 10.1002/1944-2866.POI369 34 06 10.1177/0022427811420876 34 06 10.1093/icon/mow044 34 06 10.1111/j.1083-6101.2004.tb00293.x 34 06 10.1177/1748895808097403 34 06 10.1111/criq.12359 34 06 10.2139/ssrn.2729199 34 06 10.1177/0894439304271531 34 06 10.1108/09685221011079171 34 06 10.1007/s10551-005-4709-9 34 06 10.2139/ssrn.2523771 34 06 10.1080/13676260500063652 34 06 10.1007/s10676-007-9143-5 34 06 10.1080/13600834.2014.899770 34 06 10.1080/01972240802189468 34 06 10.1080/01639620601131065 34 06 10.1080/0966369X.2018.1462772 34 06 10.1177/136787799900200206 34 06 10.1016/j.socec.2014.11.003 34 06 10.2307/1600355 34 06 10.1080/10696679.2004.11658512 34 06 10.1109/TEM.2004.835087 34 06 10.1177/1527476412443565 34 06 10.2139/ssrn.2631314 34 06 10.1484/J.TMJ.5.119916 34 06 10.1177/0196859908325676 34 06 10.1371/journal.pone.0142200 34 06 10.1080/17440572.2011.589593 34 06 10.1086/605852 34 06 10.1037/0096-1523.34.1.237 34 06 10.2307/3317797 34 06 10.1080/13688790500153596 34 06 10.1016/j.telpol.2013.12.008 34 06 10.1016/j.socec.2003.12.027 34 06 10.1080/09502380500495734 34 06 10.1111/jpms.12078 34 06 10.1007/BF00881451 34 06 10.1177/00027649921955326 34 06 10.1080/09502389100490311 34 06 10.1353/tech.2005.0154 34 06 10.1007/s10611-007-9060-x 34 06 10.14765/ZZF.DOK-1595 34 06 10.1080/07341512.2019.1652432 34 06 10.1177/0891241605285100 34 06 10.1177/1367549412445758 34 06 10.2139/ssrn.487163 34 06 10.5325/studamerhumor.5.1.0031 34 06 10.5210/fm.v19i10.5546 34 06 10.1017/S0022050700035701 34 06 10.1017/S0261143003003040 34 06 10.1002/pra2.2016.14505301123 34 06 10.1057/palcomms.2016.105 34 06 10.1017/S0026749X02002020 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710360 20 08 20211215 02 28.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/warez-the-infrastructure-and-aesthetics-of-piracy 20 08 20211215 02 28.00 USD WORLD urn:uuid:ecc2f2ad-4be6-4847-b92b-ac0a6dce0a2b 03 01 01 thoth-work-id urn:uuid:b904a8eb-9c98-4bb1-bf25-3cb9d075b157 01 thoth-publication-id urn:uuid:ecc2f2ad-4be6-4847-b92b-ac0a6dce0a2b 15 9781685710378 03 9781685710378 06 10.53288/0339.1.00 13 2021951510 01 internal-reference 0339 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Warez The Infrastructure and Aesthetics of Piracy 1 A01 21 0000000255898511 Martin Paul Eve Martin Paul Eve 40 02mb95055 Birkbeck, University of London 06 Own website https://eve.gd/ 01 eng 00 444 03 10 COM060040 B2 Cultural Studies+Critical Theory 12 JKVK 93 JKVM 10 COM079010 B2 Media+Technology 93 UBJ 12 UBW 93 JBCT1 12 JFD 20 piracy; warez; computing; hacking; history; software; internet security 01 06 02 00 03 00 When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 30 00 When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0339.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/warez-the-infrastructure-and-aesthetics-of-piracy/ 16 40 012mzw131 32 10.13039/501100000275 Leverhulme Trust 01 programname Philip Leverhulme Prize Earth, Milky Way 04 01 20211215 Eve, Martin Paul 02 WORLD 06 15 9781685710361 03 9781685710361 34 06 10.5406/americanmusic.38.2.0197 34 06 10.1023/A:1013819218792 34 06 10.5281/zenodo.18796 34 06 10.2202/1944-2866.1125 34 06 10.1111/j.0022-3840.1997.3004_13.x 34 06 10.3172/JIE.15.2.82 34 06 10.1177/0196859909333697 34 06 10.1080/07421222.1997.11518142 34 06 10.1162/leon.2006.39.4.377 34 06 10.1177/0163443707081700 34 06 10.1177/1367877904046412 34 06 10.5840/monist20058817 34 06 10.1177/016344301023001004 34 06 10.1386/jjkc.3.1.65_1 34 06 10.1353/anq.2012.0043 34 06 10.1002/1944-2866.POI369 34 06 10.1177/0022427811420876 34 06 10.1093/icon/mow044 34 06 10.1111/j.1083-6101.2004.tb00293.x 34 06 10.1177/1748895808097403 34 06 10.1111/criq.12359 34 06 10.2139/ssrn.2729199 34 06 10.1177/0894439304271531 34 06 10.1108/09685221011079171 34 06 10.1007/s10551-005-4709-9 34 06 10.2139/ssrn.2523771 34 06 10.1080/13676260500063652 34 06 10.1007/s10676-007-9143-5 34 06 10.1080/13600834.2014.899770 34 06 10.1080/01972240802189468 34 06 10.1080/01639620601131065 34 06 10.1080/0966369X.2018.1462772 34 06 10.1177/136787799900200206 34 06 10.1016/j.socec.2014.11.003 34 06 10.2307/1600355 34 06 10.1080/10696679.2004.11658512 34 06 10.1109/TEM.2004.835087 34 06 10.1177/1527476412443565 34 06 10.2139/ssrn.2631314 34 06 10.1484/J.TMJ.5.119916 34 06 10.1177/0196859908325676 34 06 10.1371/journal.pone.0142200 34 06 10.1080/17440572.2011.589593 34 06 10.1086/605852 34 06 10.1037/0096-1523.34.1.237 34 06 10.2307/3317797 34 06 10.1080/13688790500153596 34 06 10.1016/j.telpol.2013.12.008 34 06 10.1016/j.socec.2003.12.027 34 06 10.1080/09502380500495734 34 06 10.1111/jpms.12078 34 06 10.1007/BF00881451 34 06 10.1177/00027649921955326 34 06 10.1080/09502389100490311 34 06 10.1353/tech.2005.0154 34 06 10.1007/s10611-007-9060-x 34 06 10.14765/ZZF.DOK-1595 34 06 10.1080/07341512.2019.1652432 34 06 10.1177/0891241605285100 34 06 10.1177/1367549412445758 34 06 10.2139/ssrn.487163 34 06 10.5325/studamerhumor.5.1.0031 34 06 10.5210/fm.v19i10.5546 34 06 10.1017/S0022050700035701 34 06 10.1017/S0261143003003040 34 06 10.1002/pra2.2016.14505301123 34 06 10.1057/palcomms.2016.105 34 06 10.1017/S0026749X02002020 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/52029 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/52029/0339.1.00.pdf?sequence=1&isAllowed=y 20 08 20211215 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/74978 20 08 20211215 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv25p43pp 20 08 20211215 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/716 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/46148871-b3ee-469e-b68c-0cf7c4cc146c/download 20 08 20211215 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b904a8eb-9c98-4bb1-bf25-3cb9d075b157 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b904a8eb-9c98-4bb1-bf25-3cb9d075b157/b904a8eb-9c98-4bb1-bf25-3cb9d075b157.pdf 20 08 20211215 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849177 29 ZENODO: download the title https://zenodo.org/records/19849177/files/b904a8eb-9c98-4bb1-bf25-3cb9d075b157_book.pdf 20 08 20211215 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/warez-the-infrastructure-and-aesthetics-of-piracy/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0339.1.00.pdf 20 08 20211215 01 urn:uuid:dc3f2170-3b6c-4fe1-9fed-847efcc6ddd0 03 01 01 thoth-work-id urn:uuid:b904a8eb-9c98-4bb1-bf25-3cb9d075b157 01 thoth-publication-id urn:uuid:dc3f2170-3b6c-4fe1-9fed-847efcc6ddd0 06 10.53288/0339.1.00 13 2021951510 01 internal-reference 0339 00 EB E101 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Warez The Infrastructure and Aesthetics of Piracy 1 A01 21 0000000255898511 Martin Paul Eve Martin Paul Eve 40 02mb95055 Birkbeck, University of London 06 Own website https://eve.gd/ 01 eng 00 444 03 10 COM060040 B2 Cultural Studies+Critical Theory 12 JKVK 93 JKVM 10 COM079010 B2 Media+Technology 93 UBJ 12 UBW 93 JBCT1 12 JFD 20 piracy; warez; computing; hacking; history; software; internet security 01 06 02 00 03 00 When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 30 00 When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0339.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/warez-the-infrastructure-and-aesthetics-of-piracy/ 16 40 012mzw131 32 10.13039/501100000275 Leverhulme Trust 01 programname Philip Leverhulme Prize Earth, Milky Way 04 01 20211215 Eve, Martin Paul 02 WORLD 06 15 9781685710361 03 9781685710361 06 15 9781685710378 03 9781685710378 34 06 10.5406/americanmusic.38.2.0197 34 06 10.1023/A:1013819218792 34 06 10.5281/zenodo.18796 34 06 10.2202/1944-2866.1125 34 06 10.1111/j.0022-3840.1997.3004_13.x 34 06 10.3172/JIE.15.2.82 34 06 10.1177/0196859909333697 34 06 10.1080/07421222.1997.11518142 34 06 10.1162/leon.2006.39.4.377 34 06 10.1177/0163443707081700 34 06 10.1177/1367877904046412 34 06 10.5840/monist20058817 34 06 10.1177/016344301023001004 34 06 10.1386/jjkc.3.1.65_1 34 06 10.1353/anq.2012.0043 34 06 10.1002/1944-2866.POI369 34 06 10.1177/0022427811420876 34 06 10.1093/icon/mow044 34 06 10.1111/j.1083-6101.2004.tb00293.x 34 06 10.1177/1748895808097403 34 06 10.1111/criq.12359 34 06 10.2139/ssrn.2729199 34 06 10.1177/0894439304271531 34 06 10.1108/09685221011079171 34 06 10.1007/s10551-005-4709-9 34 06 10.2139/ssrn.2523771 34 06 10.1080/13676260500063652 34 06 10.1007/s10676-007-9143-5 34 06 10.1080/13600834.2014.899770 34 06 10.1080/01972240802189468 34 06 10.1080/01639620601131065 34 06 10.1080/0966369X.2018.1462772 34 06 10.1177/136787799900200206 34 06 10.1016/j.socec.2014.11.003 34 06 10.2307/1600355 34 06 10.1080/10696679.2004.11658512 34 06 10.1109/TEM.2004.835087 34 06 10.1177/1527476412443565 34 06 10.2139/ssrn.2631314 34 06 10.1484/J.TMJ.5.119916 34 06 10.1177/0196859908325676 34 06 10.1371/journal.pone.0142200 34 06 10.1080/17440572.2011.589593 34 06 10.1086/605852 34 06 10.1037/0096-1523.34.1.237 34 06 10.2307/3317797 34 06 10.1080/13688790500153596 34 06 10.1016/j.telpol.2013.12.008 34 06 10.1016/j.socec.2003.12.027 34 06 10.1080/09502380500495734 34 06 10.1111/jpms.12078 34 06 10.1007/BF00881451 34 06 10.1177/00027649921955326 34 06 10.1080/09502389100490311 34 06 10.1353/tech.2005.0154 34 06 10.1007/s10611-007-9060-x 34 06 10.14765/ZZF.DOK-1595 34 06 10.1080/07341512.2019.1652432 34 06 10.1177/0891241605285100 34 06 10.1177/1367549412445758 34 06 10.2139/ssrn.487163 34 06 10.5325/studamerhumor.5.1.0031 34 06 10.5210/fm.v19i10.5546 34 06 10.1017/S0022050700035701 34 06 10.1017/S0261143003003040 34 06 10.1002/pra2.2016.14505301123 34 06 10.1057/palcomms.2016.105 34 06 10.1017/S0026749X02002020 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://github.com/gfscott/warez-the-infrastructure-and-aesthetics-of-piracy 29 Unspecified hosting platform: download the title https://github.com/gfscott/warez-the-infrastructure-and-aesthetics-of-piracy/releases/download/v1.0.0/warez.epub 20 08 20211215 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849177 29 ZENODO: download the title https://zenodo.org/records/19849177/files/b904a8eb-9c98-4bb1-bf25-3cb9d075b157_book.epub 20 08 20211215 01 11 THOTH 36 THOTH: webpage for this product https://github.com/gfscott/warez-the-infrastructure-and-aesthetics-of-piracy 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0339.1.00.epub 20 08 20211215 01 urn:uuid:dece31fd-79bf-4be9-a9c5-70875160111b 03 01 01 thoth-work-id urn:uuid:645a5eb6-0a06-4e3f-9fb9-f1451fb6ce4c 01 thoth-publication-id urn:uuid:dece31fd-79bf-4be9-a9c5-70875160111b 15 9781685713218 03 9781685713218 06 10.53288/0564.1.00 13 2026939754 01 internal-reference 0564 00 BC 10 01 203.2 mm 01 20.3 cm 01 8 in 02 133.35 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 War Machine 1 A01 21 0000000220242491 Richard A. Carter Richard A. Carter 40 04m01e293 University of York Richard A. Carter is a Senior Lecturer in Digital Culture at the University of York (UK). Carter’s academic practice addresses questions concerning the more-than-human dimensions of digital systems and environments, particularly their ecological underpinnings, and considers how these define different capacities of perception, action, and expression in the contemporary world. Carter focuses especially on the role of digital art and writing in telling different stories about these aspects, and in realising other potential worlds and imaginaries. Critically informed speculation, experimentation, indeterminacy, and possibility are a cornerstone of Carter’s research practice, which engages a wide range of technologies, formats, and modes—including drones and satellites, machine vision and artificial intelligence, generative algorithms, poetic text, and virtual worlds. 01 eng 00 124 03 93 DCF B2 Fabulations 10 POE023070 93 DCC B2 Media+Technology 93 WDMG 93 JWCM 20 concrete poetry; drone warfare; wargames; geopolitics; game theory; experimental poetry 01 06 02 00 03 00 War Machine is a speculative sounding of the myriad entanglements of technology, ecology, discourse, politics, and conflict shaping the contemporary environment. Taking the tools of geopolitical competition and control as its formal and conceptual basis—wargame simulations, artificial intelligence, weaponised drones, territorial enclosure, and extractivist economics—War Machine presents a series of digitally simulated conflicts over the most ecologically vulnerable areas of the Earth, using the data gathered to generate hybrid visual poems that stand in for the multitude of political, conceptual, and economic battles that are presently raging across the face of a profoundly endangered planet.A hybrid work of generative criticism and poetry, War Machine depicts the intensive complexities of the present moment through conducting an experimental textual performance, attempting to enfold and perform, rather than simply describe, challenging conjunctions of competing discourses and activities. The resulting stream of outputs and interpretive potentials preclude the ascendency of any “definitive” critical narrative, refusing any straightforward integration with existing canons of worldly diagnosis, but also illustrating opportunities for resistant play and critical-creative possibility within the uncertainty.The consciously unconventional gesture at the heart of War Machine is in attempt at modelling an adventurous, forward-facing approach, in both thought and practice, that refuses inaction when dealing with otherwise devastating scenarios. It is an approach that acknowledges head-on myriad worldly harms, seemingly insurmountable, while still contributing to the aesthetic, affective, and conceptual foundations from which alternative modes of knowing, being, and meaning are developed and justified. 30 00 War Machine is a speculative sounding of the myriad entanglements of technology, ecology, discourse, politics, and conflict shaping the contemporary environment. Taking the tools of geopolitical competition and control as its formal and conceptual basis—wargame simulations, artificial intelligence, weaponised drones, territorial enclosure, and extractivist economics—War Machine presents a series of digitally simulated conflicts over the most ecologically vulnerable areas of the Earth, using the data gathered to generate hybrid visual poems that stand in for the multitude of political, conceptual, and economic battles that are presently raging across the face of a profoundly endangered planet.A hybrid work of generative criticism and poetry, War Machine depicts the intensive complexities of the present moment through conducting an experimental textual performance, attempting to enfold and perform, rather than simply describe, challenging conjunctions of competing discourses and activities. The resulting stream of outputs and interpretive potentials preclude the ascendency of any “definitive” critical narrative, refusing any straightforward integration with existing canons of worldly diagnosis, but also illustrating opportunities for resistant play and critical-creative possibility within the uncertainty.The consciously unconventional gesture at the heart of War Machine is in attempt at modelling an adventurous, forward-facing approach, in both thought and practice, that refuses inaction when dealing with otherwise devastating scenarios. It is an approach that acknowledges head-on myriad worldly harms, seemingly insurmountable, while still contributing to the aesthetic, affective, and conceptual foundations from which alternative modes of knowing, being, and meaning are developed and justified. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/02/250225warmachine-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/war-machine/ Earth, Milky Way 02 01 20260601 Richard A. Carter 02 WORLD 06 15 9781685713225 03 9781685713225 06 15 9781685713232 03 9781685713232 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/war-machine/ 10 08 20260601 01 urn:uuid:e1c211f6-80e0-4aaa-b972-0e257a746b28 03 01 01 thoth-work-id urn:uuid:645a5eb6-0a06-4e3f-9fb9-f1451fb6ce4c 01 thoth-publication-id urn:uuid:e1c211f6-80e0-4aaa-b972-0e257a746b28 15 9781685713225 03 9781685713225 06 10.53288/0564.1.00 13 2026939754 01 internal-reference 0564 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 War Machine 1 A01 21 0000000220242491 Richard A. Carter Richard A. Carter 40 04m01e293 University of York Richard A. Carter is a Senior Lecturer in Digital Culture at the University of York (UK). Carter’s academic practice addresses questions concerning the more-than-human dimensions of digital systems and environments, particularly their ecological underpinnings, and considers how these define different capacities of perception, action, and expression in the contemporary world. Carter focuses especially on the role of digital art and writing in telling different stories about these aspects, and in realising other potential worlds and imaginaries. Critically informed speculation, experimentation, indeterminacy, and possibility are a cornerstone of Carter’s research practice, which engages a wide range of technologies, formats, and modes—including drones and satellites, machine vision and artificial intelligence, generative algorithms, poetic text, and virtual worlds. 01 eng 00 124 03 93 DCF B2 Fabulations 10 POE023070 93 DCC B2 Media+Technology 93 WDMG 93 JWCM 20 concrete poetry; drone warfare; wargames; geopolitics; game theory; experimental poetry 01 06 02 00 03 00 War Machine is a speculative sounding of the myriad entanglements of technology, ecology, discourse, politics, and conflict shaping the contemporary environment. Taking the tools of geopolitical competition and control as its formal and conceptual basis—wargame simulations, artificial intelligence, weaponised drones, territorial enclosure, and extractivist economics—War Machine presents a series of digitally simulated conflicts over the most ecologically vulnerable areas of the Earth, using the data gathered to generate hybrid visual poems that stand in for the multitude of political, conceptual, and economic battles that are presently raging across the face of a profoundly endangered planet.A hybrid work of generative criticism and poetry, War Machine depicts the intensive complexities of the present moment through conducting an experimental textual performance, attempting to enfold and perform, rather than simply describe, challenging conjunctions of competing discourses and activities. The resulting stream of outputs and interpretive potentials preclude the ascendency of any “definitive” critical narrative, refusing any straightforward integration with existing canons of worldly diagnosis, but also illustrating opportunities for resistant play and critical-creative possibility within the uncertainty.The consciously unconventional gesture at the heart of War Machine is in attempt at modelling an adventurous, forward-facing approach, in both thought and practice, that refuses inaction when dealing with otherwise devastating scenarios. It is an approach that acknowledges head-on myriad worldly harms, seemingly insurmountable, while still contributing to the aesthetic, affective, and conceptual foundations from which alternative modes of knowing, being, and meaning are developed and justified. 30 00 War Machine is a speculative sounding of the myriad entanglements of technology, ecology, discourse, politics, and conflict shaping the contemporary environment. Taking the tools of geopolitical competition and control as its formal and conceptual basis—wargame simulations, artificial intelligence, weaponised drones, territorial enclosure, and extractivist economics—War Machine presents a series of digitally simulated conflicts over the most ecologically vulnerable areas of the Earth, using the data gathered to generate hybrid visual poems that stand in for the multitude of political, conceptual, and economic battles that are presently raging across the face of a profoundly endangered planet.A hybrid work of generative criticism and poetry, War Machine depicts the intensive complexities of the present moment through conducting an experimental textual performance, attempting to enfold and perform, rather than simply describe, challenging conjunctions of competing discourses and activities. The resulting stream of outputs and interpretive potentials preclude the ascendency of any “definitive” critical narrative, refusing any straightforward integration with existing canons of worldly diagnosis, but also illustrating opportunities for resistant play and critical-creative possibility within the uncertainty.The consciously unconventional gesture at the heart of War Machine is in attempt at modelling an adventurous, forward-facing approach, in both thought and practice, that refuses inaction when dealing with otherwise devastating scenarios. It is an approach that acknowledges head-on myriad worldly harms, seemingly insurmountable, while still contributing to the aesthetic, affective, and conceptual foundations from which alternative modes of knowing, being, and meaning are developed and justified. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/02/250225warmachine-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/war-machine/ Earth, Milky Way 02 01 20260601 Richard A. Carter 02 WORLD 06 15 9781685713218 03 9781685713218 06 15 9781685713232 03 9781685713232 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/war-machine/ 10 08 20260601 01 urn:uuid:262aa037-f9e8-47d2-b993-8628ce14a4e7 03 01 01 thoth-work-id urn:uuid:645a5eb6-0a06-4e3f-9fb9-f1451fb6ce4c 01 thoth-publication-id urn:uuid:262aa037-f9e8-47d2-b993-8628ce14a4e7 15 9781685713232 03 9781685713232 06 10.53288/0564.1.00 13 2026939754 01 internal-reference 0564 00 EB E101 09 82 09 85 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 War Machine 1 A01 21 0000000220242491 Richard A. Carter Richard A. Carter 40 04m01e293 University of York Richard A. Carter is a Senior Lecturer in Digital Culture at the University of York (UK). Carter’s academic practice addresses questions concerning the more-than-human dimensions of digital systems and environments, particularly their ecological underpinnings, and considers how these define different capacities of perception, action, and expression in the contemporary world. Carter focuses especially on the role of digital art and writing in telling different stories about these aspects, and in realising other potential worlds and imaginaries. Critically informed speculation, experimentation, indeterminacy, and possibility are a cornerstone of Carter’s research practice, which engages a wide range of technologies, formats, and modes—including drones and satellites, machine vision and artificial intelligence, generative algorithms, poetic text, and virtual worlds. 01 eng 00 124 03 93 DCF B2 Fabulations 10 POE023070 93 DCC B2 Media+Technology 93 WDMG 93 JWCM 20 concrete poetry; drone warfare; wargames; geopolitics; game theory; experimental poetry 01 06 02 00 03 00 War Machine is a speculative sounding of the myriad entanglements of technology, ecology, discourse, politics, and conflict shaping the contemporary environment. Taking the tools of geopolitical competition and control as its formal and conceptual basis—wargame simulations, artificial intelligence, weaponised drones, territorial enclosure, and extractivist economics—War Machine presents a series of digitally simulated conflicts over the most ecologically vulnerable areas of the Earth, using the data gathered to generate hybrid visual poems that stand in for the multitude of political, conceptual, and economic battles that are presently raging across the face of a profoundly endangered planet.A hybrid work of generative criticism and poetry, War Machine depicts the intensive complexities of the present moment through conducting an experimental textual performance, attempting to enfold and perform, rather than simply describe, challenging conjunctions of competing discourses and activities. The resulting stream of outputs and interpretive potentials preclude the ascendency of any “definitive” critical narrative, refusing any straightforward integration with existing canons of worldly diagnosis, but also illustrating opportunities for resistant play and critical-creative possibility within the uncertainty.The consciously unconventional gesture at the heart of War Machine is in attempt at modelling an adventurous, forward-facing approach, in both thought and practice, that refuses inaction when dealing with otherwise devastating scenarios. It is an approach that acknowledges head-on myriad worldly harms, seemingly insurmountable, while still contributing to the aesthetic, affective, and conceptual foundations from which alternative modes of knowing, being, and meaning are developed and justified. 30 00 War Machine is a speculative sounding of the myriad entanglements of technology, ecology, discourse, politics, and conflict shaping the contemporary environment. Taking the tools of geopolitical competition and control as its formal and conceptual basis—wargame simulations, artificial intelligence, weaponised drones, territorial enclosure, and extractivist economics—War Machine presents a series of digitally simulated conflicts over the most ecologically vulnerable areas of the Earth, using the data gathered to generate hybrid visual poems that stand in for the multitude of political, conceptual, and economic battles that are presently raging across the face of a profoundly endangered planet.A hybrid work of generative criticism and poetry, War Machine depicts the intensive complexities of the present moment through conducting an experimental textual performance, attempting to enfold and perform, rather than simply describe, challenging conjunctions of competing discourses and activities. The resulting stream of outputs and interpretive potentials preclude the ascendency of any “definitive” critical narrative, refusing any straightforward integration with existing canons of worldly diagnosis, but also illustrating opportunities for resistant play and critical-creative possibility within the uncertainty.The consciously unconventional gesture at the heart of War Machine is in attempt at modelling an adventurous, forward-facing approach, in both thought and practice, that refuses inaction when dealing with otherwise devastating scenarios. It is an approach that acknowledges head-on myriad worldly harms, seemingly insurmountable, while still contributing to the aesthetic, affective, and conceptual foundations from which alternative modes of knowing, being, and meaning are developed and justified. 20 00 Open Access 01 00 03 02 https://punctumbooks.com/punctum/wp-content/uploads/2025/02/250225warmachine-cover-web-front.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/war-machine/ Earth, Milky Way 02 01 20260601 Richard A. Carter 02 WORLD 06 15 9781685713218 03 9781685713218 06 15 9781685713225 03 9781685713225 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/war-machine/ 10 08 20260601 01 urn:uuid:b8262bce-4f31-44c7-a2a5-6d7612c34156 03 01 01 thoth-work-id urn:uuid:b3e72102-3ae0-4fc0-ae5b-f7128afeba0d 01 thoth-publication-id urn:uuid:b8262bce-4f31-44c7-a2a5-6d7612c34156 15 9781950192885 03 9781950192885 06 10.21983/P3.0302.1.00 13 2020938428 01 internal-reference 0302 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Waste Capitalism and the Dissolution of the Human in Twentieth-Century Theater 1 A01 21 0000000150204819 Jessica Rizzo Jessica Rizzo 40 03v76x132 Yale University 01 eng 00 176 03 12 AN B2 Anthropocene 93 ATD 10 PER011020 B2 Cultural Studies+Critical Theory 93 KCP 12 KCP B2 Literary Studies 20 theater; shame; inefficiency; posthumanism; anthropocene; Elfriede Jelinek 01 06 02 00 03 00 If at its most elemental, the theater is an art form of human bodies in space, what becomes of the theater as suicide capitalism pushes our world into a posthuman age?Waste: Capitalism and the Dissolution of the Human in Twentieth-Century Theater traces the twentieth-century theater’s movement from dramaturgies of efficiency to dramaturgies of waste, beginning with the observation that the most salient feature of the human is her ability to be ashamed of herself, to experience herself as excess, the waster and the waste of the world. By examining theatrical representations of capitalism, war, climate change, and the permanent refugee crisis, Waste traces the ways in which these human-driven events signal a tendency toward prodigality that terminates with self-destruction. Defying its promise of abundance for all, capitalism poisons all relationships with competition and fear. The desire to dominate in war is revealed to be the desire to obliterate the self in collective conflagration. The refugee crisis raises the urgent question of our responsibility to the other, but the climate crisis renders the question of anthropocentric obligations moot.Waste proposes that the theater is the form best suited to confronting the human’s perverse relationship to its finitude. Everything about the theater is suffused with existential shame, with an acute awareness of its provisionality. Unlike the dominant narrative of the human, which is bound up with a fantasy of infinite growth, the theater is not deluded about its nature, origins, and destiny. At its best, the theater gathers artist and audience in one space to die together for a little while, to consciously waste, and not spend, their time. 30 00 If at its most elemental, the theater is an art form of human bodies in space, what becomes of the theater as suicide capitalism pushes our world into a posthuman age?Waste: Capitalism and the Dissolution of the Human in Twentieth-Century Theater traces the twentieth-century theater’s movement from dramaturgies of efficiency to dramaturgies of waste, beginning with the observation that the most salient feature of the human is her ability to be ashamed of herself, to experience herself as excess, the waster and the waste of the world. By examining theatrical representations of capitalism, war, climate change, and the permanent refugee crisis, Waste traces the ways in which these human-driven events signal a tendency toward prodigality that terminates with self-destruction. Defying its promise of abundance for all, capitalism poisons all relationships with competition and fear. The desire to dominate in war is revealed to be the desire to obliterate the self in collective conflagration. The refugee crisis raises the urgent question of our responsibility to the other, but the climate crisis renders the question of anthropocentric obligations moot.Waste proposes that the theater is the form best suited to confronting the human’s perverse relationship to its finitude. Everything about the theater is suffused with existential shame, with an acute awareness of its provisionality. Unlike the dominant narrative of the human, which is bound up with a fantasy of infinite growth, the theater is not deluded about its nature, origins, and destiny. At its best, the theater gathers artist and audience in one space to die together for a little while, to consciously waste, and not spend, their time. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0302.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/waste-capitalism-and-the-dissolution-of-the-human-in-twentieth-century-theater/ Earth, Milky Way 04 01 20200611 Rizzo, Jessica (0000-0001-5020-4819) 02 WORLD 06 15 9781950192892 03 9781950192892 34 06 10.1162/105420499760263570 34 06 10.1080/18902138.2014.908627 34 06 10.2307/488073 34 06 10.1215/01610775-25-1-23 34 06 10.1038/415023a 34 06 10.2307/487723 34 06 10.1353/jml.2000.0007 34 06 10.1086/448873 34 06 10.1215/01610775-2009-008 34 06 10.1215/01610775-36-2-20 34 06 10.1215/01610775-36-2-52 34 06 10.1215/01610775-2009-007 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1950192881/ 20 08 20200611 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/waste-capitalism-and-the-dissolution-of-the-human-in-twentieth-century-theater 20 08 20200611 02 23.00 USD WORLD urn:uuid:b98c5376-59ac-49ed-9210-9a8c9ce7756b 03 01 01 thoth-work-id urn:uuid:b3e72102-3ae0-4fc0-ae5b-f7128afeba0d 01 thoth-publication-id urn:uuid:b98c5376-59ac-49ed-9210-9a8c9ce7756b 15 9781950192892 03 9781950192892 06 10.21983/P3.0302.1.00 13 2020938428 01 internal-reference 0302 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Waste Capitalism and the Dissolution of the Human in Twentieth-Century Theater 1 A01 21 0000000150204819 Jessica Rizzo Jessica Rizzo 40 03v76x132 Yale University 01 eng 00 176 03 12 AN B2 Anthropocene 93 ATD 10 PER011020 B2 Cultural Studies+Critical Theory 93 KCP 12 KCP B2 Literary Studies 20 theater; shame; inefficiency; posthumanism; anthropocene; Elfriede Jelinek 01 06 02 00 03 00 If at its most elemental, the theater is an art form of human bodies in space, what becomes of the theater as suicide capitalism pushes our world into a posthuman age?Waste: Capitalism and the Dissolution of the Human in Twentieth-Century Theater traces the twentieth-century theater’s movement from dramaturgies of efficiency to dramaturgies of waste, beginning with the observation that the most salient feature of the human is her ability to be ashamed of herself, to experience herself as excess, the waster and the waste of the world. By examining theatrical representations of capitalism, war, climate change, and the permanent refugee crisis, Waste traces the ways in which these human-driven events signal a tendency toward prodigality that terminates with self-destruction. Defying its promise of abundance for all, capitalism poisons all relationships with competition and fear. The desire to dominate in war is revealed to be the desire to obliterate the self in collective conflagration. The refugee crisis raises the urgent question of our responsibility to the other, but the climate crisis renders the question of anthropocentric obligations moot.Waste proposes that the theater is the form best suited to confronting the human’s perverse relationship to its finitude. Everything about the theater is suffused with existential shame, with an acute awareness of its provisionality. Unlike the dominant narrative of the human, which is bound up with a fantasy of infinite growth, the theater is not deluded about its nature, origins, and destiny. At its best, the theater gathers artist and audience in one space to die together for a little while, to consciously waste, and not spend, their time. 30 00 If at its most elemental, the theater is an art form of human bodies in space, what becomes of the theater as suicide capitalism pushes our world into a posthuman age?Waste: Capitalism and the Dissolution of the Human in Twentieth-Century Theater traces the twentieth-century theater’s movement from dramaturgies of efficiency to dramaturgies of waste, beginning with the observation that the most salient feature of the human is her ability to be ashamed of herself, to experience herself as excess, the waster and the waste of the world. By examining theatrical representations of capitalism, war, climate change, and the permanent refugee crisis, Waste traces the ways in which these human-driven events signal a tendency toward prodigality that terminates with self-destruction. Defying its promise of abundance for all, capitalism poisons all relationships with competition and fear. The desire to dominate in war is revealed to be the desire to obliterate the self in collective conflagration. The refugee crisis raises the urgent question of our responsibility to the other, but the climate crisis renders the question of anthropocentric obligations moot.Waste proposes that the theater is the form best suited to confronting the human’s perverse relationship to its finitude. Everything about the theater is suffused with existential shame, with an acute awareness of its provisionality. Unlike the dominant narrative of the human, which is bound up with a fantasy of infinite growth, the theater is not deluded about its nature, origins, and destiny. At its best, the theater gathers artist and audience in one space to die together for a little while, to consciously waste, and not spend, their time. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0302.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/waste-capitalism-and-the-dissolution-of-the-human-in-twentieth-century-theater/ Earth, Milky Way 04 01 20200611 Rizzo, Jessica (0000-0001-5020-4819) 02 WORLD 06 15 9781950192885 03 9781950192885 34 06 10.1162/105420499760263570 34 06 10.1080/18902138.2014.908627 34 06 10.2307/488073 34 06 10.1215/01610775-25-1-23 34 06 10.1038/415023a 34 06 10.2307/487723 34 06 10.1353/jml.2000.0007 34 06 10.1086/448873 34 06 10.1215/01610775-2009-008 34 06 10.1215/01610775-36-2-20 34 06 10.1215/01610775-36-2-52 34 06 10.1215/01610775-2009-007 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/77433 20 08 20200611 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/39464 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/39464/0302.1.00.pdf?sequence=1&isAllowed=y 20 08 20200611 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/39130 20 08 20200611 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2354035 20 08 20200611 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/637 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/fe22db94-4bad-46c6-a716-24095385a566/download 20 08 20200611 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Waste/1AWVEAAAQBAJ 20 08 20200611 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/b3e72102-3ae0-4fc0-ae5b-f7128afeba0d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/b3e72102-3ae0-4fc0-ae5b-f7128afeba0d/b3e72102-3ae0-4fc0-ae5b-f7128afeba0d.pdf 20 08 20200611 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848324 29 ZENODO: download the title https://zenodo.org/records/19848324/files/b3e72102-3ae0-4fc0-ae5b-f7128afeba0d_book.pdf 20 08 20200611 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/waste-capitalism-and-the-dissolution-of-the-human-in-twentieth-century-theater/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0302.1.00.pdf 20 08 20200611 01 urn:uuid:f9aab8b2-043e-4698-9f2d-a5df5824e3f3 03 01 01 thoth-work-id urn:uuid:37536ae7-c4d2-428c-865e-bcb88b902371 01 thoth-publication-id urn:uuid:f9aab8b2-043e-4698-9f2d-a5df5824e3f3 15 9780615956664 03 9780615956664 06 10.21983/P3.0077.1.00 01 internal-reference 0077 00 BC 10 01 250 mm 01 25 cm 01 9.84 in 02 210 mm 02 21 cm 02 8.27 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Weaponising Speculation 1 B01 Caoimhe Doyle Caoimhe Doyle National College of Art and Design 01 eng 00 140 03 B2 Art+Aesthetics 93 DNL 12 HPCF 10 PHI035000 93 AGC B2 Philosophy 93 DSA 20 speculative realism; philosophy; art; cultural studies; para-academia 01 06 02 00 03 00 This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, culinary cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole. An object that both those present at the event and those who missed it would want to own — bringing something new to both sets of readers 30 00 This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, culinary cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole. An object that both those present at the event and those who missed it would want to own — bringing something new to both sets of readers 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0077.1.00_frontcover.jpg 1 03 06 10.21983/P3.0077.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Caoimhe Doyle Caoimhe Doyle 01 eng 20 00 Open Access Doyle, Caoimhe 2 03 06 10.21983/P3.0077.1.02 1 6 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Preface 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 THE Dublin Unit for Speculative Thought is an art/theory collective which was formed in late 2012 by Paul Ennis, Fintan Neylan and Michael O’Rourke. The impetus behind our coming together was a shared emphasis in our work and our thinking on speculative realism and a mutual antipathy towards and marginal position vis-à-vis the academy qua institution. Initially, we could agree that the main things we had a fidelity to were speculative realisms (broadly conceived) and para-academic modes of thinking which could be deployed in a DIY fashion outside the walls of and alongside (even parasitical on) the business as usual operations of the academy. There is very little that theoretically we three have in common. Paul did a dissertation on Heidegger but is now mostly aligned with a bleak theoretical posi-tion. Fintan also began with Heidegger but his work now focuses on the philosophy of Manuel DeLanda. Michael comes from a background in literary theory and his writing is heavily underpinned by Derridean deconstruction. While these are highly reductive accounts – for the sake of shorthand – of our three theoretical and philosophical trajectories they do serve to demonstrate that there is not some unified agenda which DUST was brought about to serve or promulgate. Quite the contrary; it illustrates that DUST is, in fact, a collective (in the truest sense) which has as its mission the ‘opening’ up of speculative realism and of philo-sophical thinking more broadly. From our para-academic (non- and even anti-institutional) position we can afford not to hitch ourselves to any particular strand of speculative realism. As the quotations above (chosen completely at random) attest, DUST interests itself in and opens itself to the widest possible spectrum of thought: continental realism, accelerationism, post-continental thought, weird fiction, Object Oriented Ontology, posthumanism, new mater-ialisms, transcendental materialism, actor network theory, non-philosophy, eliminativism, dark vitalism, assemblage theory, transcen-dental nihilism, dark or xeno-phenomenology (the list could go on...). 30 00 THE Dublin Unit for Speculative Thought is an art/theory collective which was formed in late 2012 by Paul Ennis, Fintan Neylan and Michael O’Rourke. The impetus behind our coming together was a shared emphasis in our work and our thinking on speculative realism and a mutual antipathy towards and marginal position vis-à-vis the academy qua institution. Initially, we could agree that the main things we had a fidelity to were speculative realisms (broadly conceived) and para-academic modes of thinking which could be deployed in a DIY fashion outside the walls of and alongside (even parasitical on) the business as usual operations of the academy. There is very little that theoretically we three have in common. Paul did a dissertation on Heidegger but is now mostly aligned with a bleak theoretical posi-tion. Fintan also began with Heidegger but his work now focuses on the philosophy of Manuel DeLanda. Michael comes from a background in literary theory and his writing is heavily underpinned by Derridean deconstruction. While these are highly reductive accounts – for the sake of shorthand – of our three theoretical and philosophical trajectories they do serve to demonstrate that there is not some unified agenda which DUST was brought about to serve or promulgate. Quite the contrary; it illustrates that DUST is, in fact, a collective (in the truest sense) which has as its mission the ‘opening’ up of speculative realism and of philo-sophical thinking more broadly. From our para-academic (non- and even anti-institutional) position we can afford not to hitch ourselves to any particular strand of speculative realism. As the quotations above (chosen completely at random) attest, DUST interests itself in and opens itself to the widest possible spectrum of thought: continental realism, accelerationism, post-continental thought, weird fiction, Object Oriented Ontology, posthumanism, new mater-ialisms, transcendental materialism, actor network theory, non-philosophy, eliminativism, dark vitalism, assemblage theory, transcen-dental nihilism, dark or xeno-phenomenology (the list could go on...). 20 00 Open Access O'Rourke, Michael 3 03 06 10.21983/P3.0077.1.03 9 16 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Continental Realism and Computation Turing's Propaganda 1 A01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 03 00 FIRST off, I would like the reader to examine this computer function. This is a rule called Rule 30, discovered and coined by Stephen Wolfram [1]. This is a determined simple cellular automaton rule, easily describ-able (basically, if the top set of pixels, are present, it computes the pixel below line by line and so on). It can be manipulated on a set of black and white tiles by hand without an ordinary computing machine for instance. I’ll return to this later.Although academic scholars are trained not to generalise, para-academics might afford themselves some informal naivety. So it is that continental philosophy – a term originally coined by Analytic Philosophers to describe a bunch of people who ‘don’t do what they do’ – has had extremely little to say about computer science and the possible reality of computation. 30 00 FIRST off, I would like the reader to examine this computer function. This is a rule called Rule 30, discovered and coined by Stephen Wolfram [1]. This is a determined simple cellular automaton rule, easily describ-able (basically, if the top set of pixels, are present, it computes the pixel below line by line and so on). It can be manipulated on a set of black and white tiles by hand without an ordinary computing machine for instance. I’ll return to this later.Although academic scholars are trained not to generalise, para-academics might afford themselves some informal naivety. So it is that continental philosophy – a term originally coined by Analytic Philosophers to describe a bunch of people who ‘don’t do what they do’ – has had extremely little to say about computer science and the possible reality of computation. 20 00 Open Access Jackson, Robert 4 03 06 10.21983/P3.0077.1.04 17 20 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Seductive Union Speculative Realism and Contemporary Art 1 A01 Rebecca O'Dwyer Rebecca O'Dwyer 01 eng 03 00 AS someone who engages and writes about art on a consistent basis, the challenge to approach research, or even a text, in the absence of an object is always a challenge: there is nothing to fall back upon or anchor the work around. And yet, there is often, too, an over-reliance on the object, as though description alone can redeem the translation of aesthetic experience into language. When writing an account of a work or body of works, whether that be in a review, an artists’ text or academic treatment, the sure sign of ‘bad’ work is to be able only to describe it: the text stops short at an engagement with form. So too the one that relies overly on description, whether by laziness or disinterest: it can never be a good text, or speak to the heart of what it describes. Thus, any effective text must diverge from the object it describes – creating a new object – and at the same time avoid engagement with works that appear to invite only description. A two-fold negotiation of the object, then, is what is needed: objects as not only things to get at, but also things to emphati-cally restrain oneself from. For me this is the whole problem of writing about art: to adhere but also to rebel from the object of study. 30 00 AS someone who engages and writes about art on a consistent basis, the challenge to approach research, or even a text, in the absence of an object is always a challenge: there is nothing to fall back upon or anchor the work around. And yet, there is often, too, an over-reliance on the object, as though description alone can redeem the translation of aesthetic experience into language. When writing an account of a work or body of works, whether that be in a review, an artists’ text or academic treatment, the sure sign of ‘bad’ work is to be able only to describe it: the text stops short at an engagement with form. So too the one that relies overly on description, whether by laziness or disinterest: it can never be a good text, or speak to the heart of what it describes. Thus, any effective text must diverge from the object it describes – creating a new object – and at the same time avoid engagement with works that appear to invite only description. A two-fold negotiation of the object, then, is what is needed: objects as not only things to get at, but also things to emphati-cally restrain oneself from. For me this is the whole problem of writing about art: to adhere but also to rebel from the object of study. 20 00 Open Access O'Dwyer, Rebecca 5 03 06 10.21983/P3.0077.1.05 21 32 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Object, Actors and Sites of Contingency 1 A01 Alice Rekab Alice Rekab 01 eng 03 00 This project began in 2009 as a bold investigation into synthesis and collaboration that successfully brought together the projects of Badiou and Negri – alongside Bergson – in a written theorisation of what I called the loving aggregate, but which in fact involved nothing less than rethinking the ontology – and temporality – of a radical politics of community today. This project attempted to articulate the common or collaborative identity of community not simply as a nominated socio-political entity but as an affetive moment of unity established through a recognition of difference 30 00 This project began in 2009 as a bold investigation into synthesis and collaboration that successfully brought together the projects of Badiou and Negri – alongside Bergson – in a written theorisation of what I called the loving aggregate, but which in fact involved nothing less than rethinking the ontology – and temporality – of a radical politics of community today. This project attempted to articulate the common or collaborative identity of community not simply as a nominated socio-political entity but as an affetive moment of unity established through a recognition of difference 20 00 Open Access Rekab, Alice 6 03 06 10.21983/P3.0077.1.06 33 36 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Taken from/put in Oscars bin 1 A01 Sam Keogh Sam Keogh 01 eng 03 00 Oscar GIVE HIM THE GOODS or he will burn him alive in his bin. He will slash his eyes and force himself to eat a ripped in half coke can and kick his face. No actually give it up or he will hug him. He will love himself and caress himself and spoon him. He will make him watch episodes of glee with him in bed on his own laptop on a wet Sunday afternoon eating Monster Munch and Percy Pigs and taking breaks between episodes to have lazy sex.— His eyes are large white balls with a large black pupil in the centre never moves. Probably polystyrene or plastic or something which will outlast the rest of his body in the future when he is disposed of and curls into his degradation decay and communion with rubbish. They are framed by a furry brown unibrow the same texture but a different colour to the rest of his body. 30 00 Oscar GIVE HIM THE GOODS or he will burn him alive in his bin. He will slash his eyes and force himself to eat a ripped in half coke can and kick his face. No actually give it up or he will hug him. He will love himself and caress himself and spoon him. He will make him watch episodes of glee with him in bed on his own laptop on a wet Sunday afternoon eating Monster Munch and Percy Pigs and taking breaks between episodes to have lazy sex.— His eyes are large white balls with a large black pupil in the centre never moves. Probably polystyrene or plastic or something which will outlast the rest of his body in the future when he is disposed of and curls into his degradation decay and communion with rubbish. They are framed by a furry brown unibrow the same texture but a different colour to the rest of his body. 20 00 Open Access Keogh, Sam 7 03 06 10.21983/P3.0077.1.07 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 How to make space-time and influence people 1 A01 Isabel Nolan Isabel Nolan 01 eng 03 00 ADRIENNE Rich in 1977 wrote that women students speaking in public often ‘throw their words away’ unconsciously advertising that they think they ‘do not deserve to take up time and space’[1]. Reading this recently I couldn’t help but think that this is the opposite of what artworks do – they not only act as if they deserve to take up space and time, they actually produce it. As a maker and viewer of artworks what follows from this, is an inference that I’m still endeav-oring to find a way to articulate, which is, that artworks somehow make reality.The idea that art works produce space time is not new – but I believe the most compelling artworks do this, not out of some necessity, or in the service of some formula, but perversely and stubbornly, they can do it abjectly or with great self importance, but chiefly they do it in ways that are not constructive, utilitarian or purposive. This art is complex, it is not reasonable, good for us or useful, it does not establish facts or speak to definitive conclusions. The artwork is not an agent and yet it performs a speculation 30 00 ADRIENNE Rich in 1977 wrote that women students speaking in public often ‘throw their words away’ unconsciously advertising that they think they ‘do not deserve to take up time and space’[1]. Reading this recently I couldn’t help but think that this is the opposite of what artworks do – they not only act as if they deserve to take up space and time, they actually produce it. As a maker and viewer of artworks what follows from this, is an inference that I’m still endeav-oring to find a way to articulate, which is, that artworks somehow make reality.The idea that art works produce space time is not new – but I believe the most compelling artworks do this, not out of some necessity, or in the service of some formula, but perversely and stubbornly, they can do it abjectly or with great self importance, but chiefly they do it in ways that are not constructive, utilitarian or purposive. This art is complex, it is not reasonable, good for us or useful, it does not establish facts or speak to definitive conclusions. The artwork is not an agent and yet it performs a speculation 20 00 Open Access Nolan, Isabel 8 03 06 10.21983/P3.0077.1.08 43 60 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 ‘[os mentis] mouth to mouth’ with Nicola Masciandaro 1 A01 Edia Connole Edia Connole National College of Art and Design 2 A01 Scott Wilson Scott Wilson 40 0517ce304 Kingston University, London 01 eng 03 00 THE British playwright and wit Noel Coward once quipped that having to read a footnote was like having to go down stairs to answer the door while having sex; in fact, he didn’t say ‘having sex,’ he said ‘making love’ [i]. As if to further cement this distinction, in expressing his own trepidation at tackling the subject of ‘notes,’ in his work Paratext, the literary theorist Gerard Ginette described them as the ‘mediocre attached to the beautiful’ [ii]. ‘[O]ften so closely connected to a given detail of a given text,’ for Ginette, notes are ‘crumbly, not to say dust-like’ objects, with no autonomous significance; ‘hence,’ he suggests, ‘our uneasi-ness in taking hold of them’ [iii]. And yet ‘there is,’ for some, ‘no line of narration more concrete than a stream of dust particles,’ ‘each... with it[s] unique vision of matter, movement, collectivity, interaction, affect, differentiation, composition and infinite darkness’; the annotations of a text, in this respect, form ‘a crystallised data-base or a plot ready to combine and react, to be narrated on and through something’ [iv]. 30 00 THE British playwright and wit Noel Coward once quipped that having to read a footnote was like having to go down stairs to answer the door while having sex; in fact, he didn’t say ‘having sex,’ he said ‘making love’ [i]. As if to further cement this distinction, in expressing his own trepidation at tackling the subject of ‘notes,’ in his work Paratext, the literary theorist Gerard Ginette described them as the ‘mediocre attached to the beautiful’ [ii]. ‘[O]ften so closely connected to a given detail of a given text,’ for Ginette, notes are ‘crumbly, not to say dust-like’ objects, with no autonomous significance; ‘hence,’ he suggests, ‘our uneasi-ness in taking hold of them’ [iii]. And yet ‘there is,’ for some, ‘no line of narration more concrete than a stream of dust particles,’ ‘each... with it[s] unique vision of matter, movement, collectivity, interaction, affect, differentiation, composition and infinite darkness’; the annotations of a text, in this respect, form ‘a crystallised data-base or a plot ready to combine and react, to be narrated on and through something’ [iv]. 20 00 Open Access MOUTH 9 03 06 10.21983/P3.0077.1.09 61 68 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sweet Dreams Are Made of This Speculation 1 A01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 01 eng 03 00 THE aim of this paper is to bring together literary narration and philosophical speculation in an attempt to show how these seemingly divergent fields in fact mutually inform one another[1]. In order to do so, I will use Ana Castillo’s 1986 novel The Mixquiahuala Letters as my tutor text [2].The Mixquiahuala Letters recounts its protagonists Teresa and Alicia’s travels to and adventures in Mexico and is usually read in terms of a quest for Chicana identity and independence [3]. Against this estab-lished consensus view I hold that identity is merely the starting point of the narrative which in fact embarks on a journey of disintegration, differentiation and dissolution both in terms of content and form. This disintegration and dissolution constitutes the novel’s speculative explo-ration of its very own constitution as narrative. This exploration is most prominently expressed in the novel’s monologic epistolarity (it consists of 40 letters), its hypertextual form (it presents three distinct possibilities of actualisation of its story matter) and in the structural and thematic importance of sleeping and dreaming. For the present essay, I will confine myself to this third characteristic and show how the novel casts dreams as acts of speculation while simultaneously presenting itself precisely as such an act of speculative dreaming [4]. Since it does this by means of narrative this leads me to postulate the correla-tion of speculation and narration. 30 00 THE aim of this paper is to bring together literary narration and philosophical speculation in an attempt to show how these seemingly divergent fields in fact mutually inform one another[1]. In order to do so, I will use Ana Castillo’s 1986 novel The Mixquiahuala Letters as my tutor text [2].The Mixquiahuala Letters recounts its protagonists Teresa and Alicia’s travels to and adventures in Mexico and is usually read in terms of a quest for Chicana identity and independence [3]. Against this estab-lished consensus view I hold that identity is merely the starting point of the narrative which in fact embarks on a journey of disintegration, differentiation and dissolution both in terms of content and form. This disintegration and dissolution constitutes the novel’s speculative explo-ration of its very own constitution as narrative. This exploration is most prominently expressed in the novel’s monologic epistolarity (it consists of 40 letters), its hypertextual form (it presents three distinct possibilities of actualisation of its story matter) and in the structural and thematic importance of sleeping and dreaming. For the present essay, I will confine myself to this third characteristic and show how the novel casts dreams as acts of speculation while simultaneously presenting itself precisely as such an act of speculative dreaming [4]. Since it does this by means of narrative this leads me to postulate the correla-tion of speculation and narration. 20 00 Open Access Askin, Ridvan 10 03 06 10.21983/P3.0077.1.10 69 74 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 All that is liquid melts into solid 1 A01 John Ryan John Ryan 01 eng 03 00 THIS paper is a compilation of notes and thoughts in response to the brief of Weaponising Speculation. It is a paper that is written in the way that I write best, erratically, with fluctuating styles – I am not a writer, I’m an artist.I make objects that are large lumps of vibrant matter made from the mate-rial oil paint. I am often referred to as a painter, although I don’t believe I fit into this category. In the term painter, there is a suggestion that the subject is tied to a strict, and perhaps conservative tradition. Materially I am tied to this tradition, as I invest in well developed tools that are made for very specific tasks. But my methodology is thought driven. I have no interest in imagery, or the abstract that has no base in reality. Because of a very specific logic that I apply to art making I seem to have stumbled into this Speculative Realist and Object Oriented bracket, happening through no intentions of my own. I have only been aware of continental and analytic philosophy for about a year and a half now. I have spent a lot of my time since then trying to catch up on things which are seemingly relevant, and it seems that there are a lot of parallels, and a lot of similar questions, problems and ideas are being posed. Historically, it seems that art often mimics, or at least is influenced by, current thought at the time of its production. Since Marcel Duchamp, and his value of thought over aesthetic which transformed art into something of value not only to the eyes but also to the mind, it was only a matter of time before art and philosophy started to crossover. Perhaps one day, academically, they could amalgamate into one system of ideas, but at the moment I feel there are problems with this. There are definite rules at play in engaging with art that just don’t translate into theory, and vice versa I presume. An artist can have all the theory to back there argument up, but for some reason their art is weak. I can’t delve into this theoretically, because I’m not a theorist, but I do look at a lot of art and generally speaking, can didactically explain why an art isn’t working. 30 00 THIS paper is a compilation of notes and thoughts in response to the brief of Weaponising Speculation. It is a paper that is written in the way that I write best, erratically, with fluctuating styles – I am not a writer, I’m an artist.I make objects that are large lumps of vibrant matter made from the mate-rial oil paint. I am often referred to as a painter, although I don’t believe I fit into this category. In the term painter, there is a suggestion that the subject is tied to a strict, and perhaps conservative tradition. Materially I am tied to this tradition, as I invest in well developed tools that are made for very specific tasks. But my methodology is thought driven. I have no interest in imagery, or the abstract that has no base in reality. Because of a very specific logic that I apply to art making I seem to have stumbled into this Speculative Realist and Object Oriented bracket, happening through no intentions of my own. I have only been aware of continental and analytic philosophy for about a year and a half now. I have spent a lot of my time since then trying to catch up on things which are seemingly relevant, and it seems that there are a lot of parallels, and a lot of similar questions, problems and ideas are being posed. Historically, it seems that art often mimics, or at least is influenced by, current thought at the time of its production. Since Marcel Duchamp, and his value of thought over aesthetic which transformed art into something of value not only to the eyes but also to the mind, it was only a matter of time before art and philosophy started to crossover. Perhaps one day, academically, they could amalgamate into one system of ideas, but at the moment I feel there are problems with this. There are definite rules at play in engaging with art that just don’t translate into theory, and vice versa I presume. An artist can have all the theory to back there argument up, but for some reason their art is weak. I can’t delve into this theoretically, because I’m not a theorist, but I do look at a lot of art and generally speaking, can didactically explain why an art isn’t working. 20 00 Open Access Ryan, John 11 03 06 10.21983/P3.0077.1.11 75 84 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mutant - Infiltration of the Hallucinated Mountain 1 A01 Rob Murphy Rob Murphy 01 eng 03 00 A mutant subsists within contemporary continental theory. It endures on ridicule, horror, skepticism, comedy, excess, and groundless specula-tion. Conspiracy and contingency are at once its detraction and tactic. This mutant tricks unconditionally as an interpreter and paradoxical maker of meaning. It is what I call here: Optimistic Absurdity.Absurdist philosophy has been haunted by its ancestral considerations as nihilist, meaningless, and devastatingly regressive. My responsibility and intention here is not to deny any of those potent conditions – it is rather to reveal how it can operate as a form of metaphysical infiltra-tion when contemplated under object orientated ontology, continental realism, post-secular occasionalism, and aesthetics. This is what Ray Brassier may define as a ‘speculative opportunity’. 30 00 A mutant subsists within contemporary continental theory. It endures on ridicule, horror, skepticism, comedy, excess, and groundless specula-tion. Conspiracy and contingency are at once its detraction and tactic. This mutant tricks unconditionally as an interpreter and paradoxical maker of meaning. It is what I call here: Optimistic Absurdity.Absurdist philosophy has been haunted by its ancestral considerations as nihilist, meaningless, and devastatingly regressive. My responsibility and intention here is not to deny any of those potent conditions – it is rather to reveal how it can operate as a form of metaphysical infiltra-tion when contemplated under object orientated ontology, continental realism, post-secular occasionalism, and aesthetics. This is what Ray Brassier may define as a ‘speculative opportunity’. 20 00 Open Access Murphy, Rob 12 03 06 10.21983/P3.0077.1.12 85 90 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The fossils of Sensation 1 A01 Alan Boardman Alan Boardman National College of Art and Design 01 eng 03 00 THIS essay proposes a relation between contemporary painting and Manuel DeLanda’s Deleuzian inspired materialist ontology. However, my approach does not negotiate direct relations with contemporary painting, instead seeks to investigate structure-generating processes that are common to both non-human geological expressivity and human mediums of expressivity. Through a speculative use of the concept of mineralisation, the relation between the materiality of fossilisation and the immateriality of sensation will be configured through temporalities of emergence. 30 00 THIS essay proposes a relation between contemporary painting and Manuel DeLanda’s Deleuzian inspired materialist ontology. However, my approach does not negotiate direct relations with contemporary painting, instead seeks to investigate structure-generating processes that are common to both non-human geological expressivity and human mediums of expressivity. Through a speculative use of the concept of mineralisation, the relation between the materiality of fossilisation and the immateriality of sensation will be configured through temporalities of emergence. 20 00 Open Access Boardman, Alan 13 03 06 10.21983/P3.0077.1.13 91 92 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 restless tongues expending into rest 1 A01 Teresa Gillespie Teresa Gillespie 01 eng 20 00 Open Access Gillespie, Teresa 14 03 06 10.21983/P3.0077.1.14 93 98 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 House of Sheaves The Asymptotic Horror of Nested Nature 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 BRACKETING the taxonomic controversies surrounding Speculative Realism (is it a species of thought, how many subclasses are there, does it cohere at all?) one can assert that the rhetorical if not argumenta-tive core of Quentin Meillassoux’s reopening of the ‘great outdoors’ has been, and continues to be, a pervasive trajectory in contemporary thinking. This wilderness is differently carved according to varying rubrics: the proliferation of entities (Harman), the unbinding of the tran-scendental power of thought (Brassier), the absolutisation of facticity (Meillassoux), and the precedence of being-as-nature prior to thinking (Grant). I wish to argue, unsurprisingly, for the importance of Grant’s model for speculatively navigating the spaces of nature. Grant’s position is fortified, I would argue, by the utilisation of Peirce’s continuum and the numerous thinkers of the geometric-cognitive (geo-cog) turn who cast alliances, however obliquely at times, with Schelling and the project of Naturphilosophie. 30 00 BRACKETING the taxonomic controversies surrounding Speculative Realism (is it a species of thought, how many subclasses are there, does it cohere at all?) one can assert that the rhetorical if not argumenta-tive core of Quentin Meillassoux’s reopening of the ‘great outdoors’ has been, and continues to be, a pervasive trajectory in contemporary thinking. This wilderness is differently carved according to varying rubrics: the proliferation of entities (Harman), the unbinding of the tran-scendental power of thought (Brassier), the absolutisation of facticity (Meillassoux), and the precedence of being-as-nature prior to thinking (Grant). I wish to argue, unsurprisingly, for the importance of Grant’s model for speculatively navigating the spaces of nature. Grant’s position is fortified, I would argue, by the utilisation of Peirce’s continuum and the numerous thinkers of the geometric-cognitive (geo-cog) turn who cast alliances, however obliquely at times, with Schelling and the project of Naturphilosophie. 20 00 Open Access Woodard, Ben 15 03 06 10.21983/P3.0077.1.15 99 106 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Spider Universe Weaponising Phobia in Bataille, Nietzsche, Spinoza and Deleuze 1 A01 Scott Wilson Scott Wilson 40 0517ce304 Kingston University, London 01 eng 03 00 THE image is from Lars von Trier’s film Antichrist [1] – indeed it pro-vided the basis for the promotional poster. I’m not going to talk about the famously phobic director today, but wish simply to indicate how the image and indeed the film ‘weaponises’ phobia, which is to say turns it into an offensive rather than defensive weapon. Initially it would seem that phobia is defensive in that it crystallises in an object an indefinite fear or anxiety, a crystallisation that supports the process of individua-tion which senses mortal danger from the very universe that has given rise to it. As Freud suggested in his case study on Little Hans, phobia is an effect of the question that being raises for the subject ‘from where he was before the subject came into the world’ [2]. Anxiety occurs the moment discontinuity apprehends the vulnerability of its existence in the presence of a voracious outside, an order, momentarily, of exteriority that would return existence to the infinite continuity of intimate violence (there are plenty of mothers who eat their offspring). 30 00 THE image is from Lars von Trier’s film Antichrist [1] – indeed it pro-vided the basis for the promotional poster. I’m not going to talk about the famously phobic director today, but wish simply to indicate how the image and indeed the film ‘weaponises’ phobia, which is to say turns it into an offensive rather than defensive weapon. Initially it would seem that phobia is defensive in that it crystallises in an object an indefinite fear or anxiety, a crystallisation that supports the process of individua-tion which senses mortal danger from the very universe that has given rise to it. As Freud suggested in his case study on Little Hans, phobia is an effect of the question that being raises for the subject ‘from where he was before the subject came into the world’ [2]. Anxiety occurs the moment discontinuity apprehends the vulnerability of its existence in the presence of a voracious outside, an order, momentarily, of exteriority that would return existence to the infinite continuity of intimate violence (there are plenty of mothers who eat their offspring). 20 00 Open Access Wilson, Scott 16 03 06 10.21983/P3.0077.1.16 107 131 25 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Caoimhe Doyle Caoimhe Doyle 01 eng 20 00 Open Access Doyle, Caoimhe 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/weaponising-speculation/ Brooklyn, NY 04 01 20140922 Doyle, Caoimhe 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615956661 20 08 20140922 02 38.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/weaponising-speculation 20 08 20140922 02 38.00 USD WORLD urn:uuid:93972959-7ac7-4159-928d-5241da83bca8 03 01 01 thoth-work-id urn:uuid:37536ae7-c4d2-428c-865e-bcb88b902371 01 thoth-publication-id urn:uuid:93972959-7ac7-4159-928d-5241da83bca8 06 10.21983/P3.0077.1.00 01 internal-reference 0077 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 Weaponising Speculation 1 B01 Caoimhe Doyle Caoimhe Doyle National College of Art and Design 01 eng 00 140 03 B2 Art+Aesthetics 93 DNL 12 HPCF 10 PHI035000 93 AGC B2 Philosophy 93 DSA 20 speculative realism; philosophy; art; cultural studies; para-academia 01 06 02 00 03 00 This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, culinary cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole. An object that both those present at the event and those who missed it would want to own — bringing something new to both sets of readers 30 00 This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, culinary cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole. An object that both those present at the event and those who missed it would want to own — bringing something new to both sets of readers 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0077.1.00_frontcover.jpg 1 03 06 10.21983/P3.0077.1.01 i x 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Frontmatter 1 B01 Caoimhe Doyle Caoimhe Doyle 01 eng 20 00 Open Access Doyle, Caoimhe 2 03 06 10.21983/P3.0077.1.02 1 6 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Preface 1 A01 Michael O'Rourke Michael O'Rourke 01 eng 03 00 THE Dublin Unit for Speculative Thought is an art/theory collective which was formed in late 2012 by Paul Ennis, Fintan Neylan and Michael O’Rourke. The impetus behind our coming together was a shared emphasis in our work and our thinking on speculative realism and a mutual antipathy towards and marginal position vis-à-vis the academy qua institution. Initially, we could agree that the main things we had a fidelity to were speculative realisms (broadly conceived) and para-academic modes of thinking which could be deployed in a DIY fashion outside the walls of and alongside (even parasitical on) the business as usual operations of the academy. There is very little that theoretically we three have in common. Paul did a dissertation on Heidegger but is now mostly aligned with a bleak theoretical posi-tion. Fintan also began with Heidegger but his work now focuses on the philosophy of Manuel DeLanda. Michael comes from a background in literary theory and his writing is heavily underpinned by Derridean deconstruction. While these are highly reductive accounts – for the sake of shorthand – of our three theoretical and philosophical trajectories they do serve to demonstrate that there is not some unified agenda which DUST was brought about to serve or promulgate. Quite the contrary; it illustrates that DUST is, in fact, a collective (in the truest sense) which has as its mission the ‘opening’ up of speculative realism and of philo-sophical thinking more broadly. From our para-academic (non- and even anti-institutional) position we can afford not to hitch ourselves to any particular strand of speculative realism. As the quotations above (chosen completely at random) attest, DUST interests itself in and opens itself to the widest possible spectrum of thought: continental realism, accelerationism, post-continental thought, weird fiction, Object Oriented Ontology, posthumanism, new mater-ialisms, transcendental materialism, actor network theory, non-philosophy, eliminativism, dark vitalism, assemblage theory, transcen-dental nihilism, dark or xeno-phenomenology (the list could go on...). 30 00 THE Dublin Unit for Speculative Thought is an art/theory collective which was formed in late 2012 by Paul Ennis, Fintan Neylan and Michael O’Rourke. The impetus behind our coming together was a shared emphasis in our work and our thinking on speculative realism and a mutual antipathy towards and marginal position vis-à-vis the academy qua institution. Initially, we could agree that the main things we had a fidelity to were speculative realisms (broadly conceived) and para-academic modes of thinking which could be deployed in a DIY fashion outside the walls of and alongside (even parasitical on) the business as usual operations of the academy. There is very little that theoretically we three have in common. Paul did a dissertation on Heidegger but is now mostly aligned with a bleak theoretical posi-tion. Fintan also began with Heidegger but his work now focuses on the philosophy of Manuel DeLanda. Michael comes from a background in literary theory and his writing is heavily underpinned by Derridean deconstruction. While these are highly reductive accounts – for the sake of shorthand – of our three theoretical and philosophical trajectories they do serve to demonstrate that there is not some unified agenda which DUST was brought about to serve or promulgate. Quite the contrary; it illustrates that DUST is, in fact, a collective (in the truest sense) which has as its mission the ‘opening’ up of speculative realism and of philo-sophical thinking more broadly. From our para-academic (non- and even anti-institutional) position we can afford not to hitch ourselves to any particular strand of speculative realism. As the quotations above (chosen completely at random) attest, DUST interests itself in and opens itself to the widest possible spectrum of thought: continental realism, accelerationism, post-continental thought, weird fiction, Object Oriented Ontology, posthumanism, new mater-ialisms, transcendental materialism, actor network theory, non-philosophy, eliminativism, dark vitalism, assemblage theory, transcen-dental nihilism, dark or xeno-phenomenology (the list could go on...). 20 00 Open Access O'Rourke, Michael 3 03 06 10.21983/P3.0077.1.03 9 16 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Continental Realism and Computation Turing's Propaganda 1 A01 Robert Jackson Robert Jackson 40 04f2nsd36 Lancaster University 01 eng 03 00 FIRST off, I would like the reader to examine this computer function. This is a rule called Rule 30, discovered and coined by Stephen Wolfram [1]. This is a determined simple cellular automaton rule, easily describ-able (basically, if the top set of pixels, are present, it computes the pixel below line by line and so on). It can be manipulated on a set of black and white tiles by hand without an ordinary computing machine for instance. I’ll return to this later.Although academic scholars are trained not to generalise, para-academics might afford themselves some informal naivety. So it is that continental philosophy – a term originally coined by Analytic Philosophers to describe a bunch of people who ‘don’t do what they do’ – has had extremely little to say about computer science and the possible reality of computation. 30 00 FIRST off, I would like the reader to examine this computer function. This is a rule called Rule 30, discovered and coined by Stephen Wolfram [1]. This is a determined simple cellular automaton rule, easily describ-able (basically, if the top set of pixels, are present, it computes the pixel below line by line and so on). It can be manipulated on a set of black and white tiles by hand without an ordinary computing machine for instance. I’ll return to this later.Although academic scholars are trained not to generalise, para-academics might afford themselves some informal naivety. So it is that continental philosophy – a term originally coined by Analytic Philosophers to describe a bunch of people who ‘don’t do what they do’ – has had extremely little to say about computer science and the possible reality of computation. 20 00 Open Access Jackson, Robert 4 03 06 10.21983/P3.0077.1.04 17 20 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 A Seductive Union Speculative Realism and Contemporary Art 1 A01 Rebecca O'Dwyer Rebecca O'Dwyer 01 eng 03 00 AS someone who engages and writes about art on a consistent basis, the challenge to approach research, or even a text, in the absence of an object is always a challenge: there is nothing to fall back upon or anchor the work around. And yet, there is often, too, an over-reliance on the object, as though description alone can redeem the translation of aesthetic experience into language. When writing an account of a work or body of works, whether that be in a review, an artists’ text or academic treatment, the sure sign of ‘bad’ work is to be able only to describe it: the text stops short at an engagement with form. So too the one that relies overly on description, whether by laziness or disinterest: it can never be a good text, or speak to the heart of what it describes. Thus, any effective text must diverge from the object it describes – creating a new object – and at the same time avoid engagement with works that appear to invite only description. A two-fold negotiation of the object, then, is what is needed: objects as not only things to get at, but also things to emphati-cally restrain oneself from. For me this is the whole problem of writing about art: to adhere but also to rebel from the object of study. 30 00 AS someone who engages and writes about art on a consistent basis, the challenge to approach research, or even a text, in the absence of an object is always a challenge: there is nothing to fall back upon or anchor the work around. And yet, there is often, too, an over-reliance on the object, as though description alone can redeem the translation of aesthetic experience into language. When writing an account of a work or body of works, whether that be in a review, an artists’ text or academic treatment, the sure sign of ‘bad’ work is to be able only to describe it: the text stops short at an engagement with form. So too the one that relies overly on description, whether by laziness or disinterest: it can never be a good text, or speak to the heart of what it describes. Thus, any effective text must diverge from the object it describes – creating a new object – and at the same time avoid engagement with works that appear to invite only description. A two-fold negotiation of the object, then, is what is needed: objects as not only things to get at, but also things to emphati-cally restrain oneself from. For me this is the whole problem of writing about art: to adhere but also to rebel from the object of study. 20 00 Open Access O'Dwyer, Rebecca 5 03 06 10.21983/P3.0077.1.05 21 32 12 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Object, Actors and Sites of Contingency 1 A01 Alice Rekab Alice Rekab 01 eng 03 00 This project began in 2009 as a bold investigation into synthesis and collaboration that successfully brought together the projects of Badiou and Negri – alongside Bergson – in a written theorisation of what I called the loving aggregate, but which in fact involved nothing less than rethinking the ontology – and temporality – of a radical politics of community today. This project attempted to articulate the common or collaborative identity of community not simply as a nominated socio-political entity but as an affetive moment of unity established through a recognition of difference 30 00 This project began in 2009 as a bold investigation into synthesis and collaboration that successfully brought together the projects of Badiou and Negri – alongside Bergson – in a written theorisation of what I called the loving aggregate, but which in fact involved nothing less than rethinking the ontology – and temporality – of a radical politics of community today. This project attempted to articulate the common or collaborative identity of community not simply as a nominated socio-political entity but as an affetive moment of unity established through a recognition of difference 20 00 Open Access Rekab, Alice 6 03 06 10.21983/P3.0077.1.06 33 36 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Taken from/put in Oscars bin 1 A01 Sam Keogh Sam Keogh 01 eng 03 00 Oscar GIVE HIM THE GOODS or he will burn him alive in his bin. He will slash his eyes and force himself to eat a ripped in half coke can and kick his face. No actually give it up or he will hug him. He will love himself and caress himself and spoon him. He will make him watch episodes of glee with him in bed on his own laptop on a wet Sunday afternoon eating Monster Munch and Percy Pigs and taking breaks between episodes to have lazy sex.— His eyes are large white balls with a large black pupil in the centre never moves. Probably polystyrene or plastic or something which will outlast the rest of his body in the future when he is disposed of and curls into his degradation decay and communion with rubbish. They are framed by a furry brown unibrow the same texture but a different colour to the rest of his body. 30 00 Oscar GIVE HIM THE GOODS or he will burn him alive in his bin. He will slash his eyes and force himself to eat a ripped in half coke can and kick his face. No actually give it up or he will hug him. He will love himself and caress himself and spoon him. He will make him watch episodes of glee with him in bed on his own laptop on a wet Sunday afternoon eating Monster Munch and Percy Pigs and taking breaks between episodes to have lazy sex.— His eyes are large white balls with a large black pupil in the centre never moves. Probably polystyrene or plastic or something which will outlast the rest of his body in the future when he is disposed of and curls into his degradation decay and communion with rubbish. They are framed by a furry brown unibrow the same texture but a different colour to the rest of his body. 20 00 Open Access Keogh, Sam 7 03 06 10.21983/P3.0077.1.07 37 42 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 How to make space-time and influence people 1 A01 Isabel Nolan Isabel Nolan 01 eng 03 00 ADRIENNE Rich in 1977 wrote that women students speaking in public often ‘throw their words away’ unconsciously advertising that they think they ‘do not deserve to take up time and space’[1]. Reading this recently I couldn’t help but think that this is the opposite of what artworks do – they not only act as if they deserve to take up space and time, they actually produce it. As a maker and viewer of artworks what follows from this, is an inference that I’m still endeav-oring to find a way to articulate, which is, that artworks somehow make reality.The idea that art works produce space time is not new – but I believe the most compelling artworks do this, not out of some necessity, or in the service of some formula, but perversely and stubbornly, they can do it abjectly or with great self importance, but chiefly they do it in ways that are not constructive, utilitarian or purposive. This art is complex, it is not reasonable, good for us or useful, it does not establish facts or speak to definitive conclusions. The artwork is not an agent and yet it performs a speculation 30 00 ADRIENNE Rich in 1977 wrote that women students speaking in public often ‘throw their words away’ unconsciously advertising that they think they ‘do not deserve to take up time and space’[1]. Reading this recently I couldn’t help but think that this is the opposite of what artworks do – they not only act as if they deserve to take up space and time, they actually produce it. As a maker and viewer of artworks what follows from this, is an inference that I’m still endeav-oring to find a way to articulate, which is, that artworks somehow make reality.The idea that art works produce space time is not new – but I believe the most compelling artworks do this, not out of some necessity, or in the service of some formula, but perversely and stubbornly, they can do it abjectly or with great self importance, but chiefly they do it in ways that are not constructive, utilitarian or purposive. This art is complex, it is not reasonable, good for us or useful, it does not establish facts or speak to definitive conclusions. The artwork is not an agent and yet it performs a speculation 20 00 Open Access Nolan, Isabel 8 03 06 10.21983/P3.0077.1.08 43 60 18 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 ‘[os mentis] mouth to mouth’ with Nicola Masciandaro 1 A01 Edia Connole Edia Connole National College of Art and Design 2 A01 Scott Wilson Scott Wilson 40 0517ce304 Kingston University, London 01 eng 03 00 THE British playwright and wit Noel Coward once quipped that having to read a footnote was like having to go down stairs to answer the door while having sex; in fact, he didn’t say ‘having sex,’ he said ‘making love’ [i]. As if to further cement this distinction, in expressing his own trepidation at tackling the subject of ‘notes,’ in his work Paratext, the literary theorist Gerard Ginette described them as the ‘mediocre attached to the beautiful’ [ii]. ‘[O]ften so closely connected to a given detail of a given text,’ for Ginette, notes are ‘crumbly, not to say dust-like’ objects, with no autonomous significance; ‘hence,’ he suggests, ‘our uneasi-ness in taking hold of them’ [iii]. And yet ‘there is,’ for some, ‘no line of narration more concrete than a stream of dust particles,’ ‘each... with it[s] unique vision of matter, movement, collectivity, interaction, affect, differentiation, composition and infinite darkness’; the annotations of a text, in this respect, form ‘a crystallised data-base or a plot ready to combine and react, to be narrated on and through something’ [iv]. 30 00 THE British playwright and wit Noel Coward once quipped that having to read a footnote was like having to go down stairs to answer the door while having sex; in fact, he didn’t say ‘having sex,’ he said ‘making love’ [i]. As if to further cement this distinction, in expressing his own trepidation at tackling the subject of ‘notes,’ in his work Paratext, the literary theorist Gerard Ginette described them as the ‘mediocre attached to the beautiful’ [ii]. ‘[O]ften so closely connected to a given detail of a given text,’ for Ginette, notes are ‘crumbly, not to say dust-like’ objects, with no autonomous significance; ‘hence,’ he suggests, ‘our uneasi-ness in taking hold of them’ [iii]. And yet ‘there is,’ for some, ‘no line of narration more concrete than a stream of dust particles,’ ‘each... with it[s] unique vision of matter, movement, collectivity, interaction, affect, differentiation, composition and infinite darkness’; the annotations of a text, in this respect, form ‘a crystallised data-base or a plot ready to combine and react, to be narrated on and through something’ [iv]. 20 00 Open Access MOUTH 9 03 06 10.21983/P3.0077.1.09 61 68 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Sweet Dreams Are Made of This Speculation 1 A01 21 0000000183684660 Ridvan Askin Ridvan Askin 40 02s6k3f65 University of Basel 01 eng 03 00 THE aim of this paper is to bring together literary narration and philosophical speculation in an attempt to show how these seemingly divergent fields in fact mutually inform one another[1]. In order to do so, I will use Ana Castillo’s 1986 novel The Mixquiahuala Letters as my tutor text [2].The Mixquiahuala Letters recounts its protagonists Teresa and Alicia’s travels to and adventures in Mexico and is usually read in terms of a quest for Chicana identity and independence [3]. Against this estab-lished consensus view I hold that identity is merely the starting point of the narrative which in fact embarks on a journey of disintegration, differentiation and dissolution both in terms of content and form. This disintegration and dissolution constitutes the novel’s speculative explo-ration of its very own constitution as narrative. This exploration is most prominently expressed in the novel’s monologic epistolarity (it consists of 40 letters), its hypertextual form (it presents three distinct possibilities of actualisation of its story matter) and in the structural and thematic importance of sleeping and dreaming. For the present essay, I will confine myself to this third characteristic and show how the novel casts dreams as acts of speculation while simultaneously presenting itself precisely as such an act of speculative dreaming [4]. Since it does this by means of narrative this leads me to postulate the correla-tion of speculation and narration. 30 00 THE aim of this paper is to bring together literary narration and philosophical speculation in an attempt to show how these seemingly divergent fields in fact mutually inform one another[1]. In order to do so, I will use Ana Castillo’s 1986 novel The Mixquiahuala Letters as my tutor text [2].The Mixquiahuala Letters recounts its protagonists Teresa and Alicia’s travels to and adventures in Mexico and is usually read in terms of a quest for Chicana identity and independence [3]. Against this estab-lished consensus view I hold that identity is merely the starting point of the narrative which in fact embarks on a journey of disintegration, differentiation and dissolution both in terms of content and form. This disintegration and dissolution constitutes the novel’s speculative explo-ration of its very own constitution as narrative. This exploration is most prominently expressed in the novel’s monologic epistolarity (it consists of 40 letters), its hypertextual form (it presents three distinct possibilities of actualisation of its story matter) and in the structural and thematic importance of sleeping and dreaming. For the present essay, I will confine myself to this third characteristic and show how the novel casts dreams as acts of speculation while simultaneously presenting itself precisely as such an act of speculative dreaming [4]. Since it does this by means of narrative this leads me to postulate the correla-tion of speculation and narration. 20 00 Open Access Askin, Ridvan 10 03 06 10.21983/P3.0077.1.10 69 74 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 All that is liquid melts into solid 1 A01 John Ryan John Ryan 01 eng 03 00 THIS paper is a compilation of notes and thoughts in response to the brief of Weaponising Speculation. It is a paper that is written in the way that I write best, erratically, with fluctuating styles – I am not a writer, I’m an artist.I make objects that are large lumps of vibrant matter made from the mate-rial oil paint. I am often referred to as a painter, although I don’t believe I fit into this category. In the term painter, there is a suggestion that the subject is tied to a strict, and perhaps conservative tradition. Materially I am tied to this tradition, as I invest in well developed tools that are made for very specific tasks. But my methodology is thought driven. I have no interest in imagery, or the abstract that has no base in reality. Because of a very specific logic that I apply to art making I seem to have stumbled into this Speculative Realist and Object Oriented bracket, happening through no intentions of my own. I have only been aware of continental and analytic philosophy for about a year and a half now. I have spent a lot of my time since then trying to catch up on things which are seemingly relevant, and it seems that there are a lot of parallels, and a lot of similar questions, problems and ideas are being posed. Historically, it seems that art often mimics, or at least is influenced by, current thought at the time of its production. Since Marcel Duchamp, and his value of thought over aesthetic which transformed art into something of value not only to the eyes but also to the mind, it was only a matter of time before art and philosophy started to crossover. Perhaps one day, academically, they could amalgamate into one system of ideas, but at the moment I feel there are problems with this. There are definite rules at play in engaging with art that just don’t translate into theory, and vice versa I presume. An artist can have all the theory to back there argument up, but for some reason their art is weak. I can’t delve into this theoretically, because I’m not a theorist, but I do look at a lot of art and generally speaking, can didactically explain why an art isn’t working. 30 00 THIS paper is a compilation of notes and thoughts in response to the brief of Weaponising Speculation. It is a paper that is written in the way that I write best, erratically, with fluctuating styles – I am not a writer, I’m an artist.I make objects that are large lumps of vibrant matter made from the mate-rial oil paint. I am often referred to as a painter, although I don’t believe I fit into this category. In the term painter, there is a suggestion that the subject is tied to a strict, and perhaps conservative tradition. Materially I am tied to this tradition, as I invest in well developed tools that are made for very specific tasks. But my methodology is thought driven. I have no interest in imagery, or the abstract that has no base in reality. Because of a very specific logic that I apply to art making I seem to have stumbled into this Speculative Realist and Object Oriented bracket, happening through no intentions of my own. I have only been aware of continental and analytic philosophy for about a year and a half now. I have spent a lot of my time since then trying to catch up on things which are seemingly relevant, and it seems that there are a lot of parallels, and a lot of similar questions, problems and ideas are being posed. Historically, it seems that art often mimics, or at least is influenced by, current thought at the time of its production. Since Marcel Duchamp, and his value of thought over aesthetic which transformed art into something of value not only to the eyes but also to the mind, it was only a matter of time before art and philosophy started to crossover. Perhaps one day, academically, they could amalgamate into one system of ideas, but at the moment I feel there are problems with this. There are definite rules at play in engaging with art that just don’t translate into theory, and vice versa I presume. An artist can have all the theory to back there argument up, but for some reason their art is weak. I can’t delve into this theoretically, because I’m not a theorist, but I do look at a lot of art and generally speaking, can didactically explain why an art isn’t working. 20 00 Open Access Ryan, John 11 03 06 10.21983/P3.0077.1.11 75 84 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Mutant - Infiltration of the Hallucinated Mountain 1 A01 Rob Murphy Rob Murphy 01 eng 03 00 A mutant subsists within contemporary continental theory. It endures on ridicule, horror, skepticism, comedy, excess, and groundless specula-tion. Conspiracy and contingency are at once its detraction and tactic. This mutant tricks unconditionally as an interpreter and paradoxical maker of meaning. It is what I call here: Optimistic Absurdity.Absurdist philosophy has been haunted by its ancestral considerations as nihilist, meaningless, and devastatingly regressive. My responsibility and intention here is not to deny any of those potent conditions – it is rather to reveal how it can operate as a form of metaphysical infiltra-tion when contemplated under object orientated ontology, continental realism, post-secular occasionalism, and aesthetics. This is what Ray Brassier may define as a ‘speculative opportunity’. 30 00 A mutant subsists within contemporary continental theory. It endures on ridicule, horror, skepticism, comedy, excess, and groundless specula-tion. Conspiracy and contingency are at once its detraction and tactic. This mutant tricks unconditionally as an interpreter and paradoxical maker of meaning. It is what I call here: Optimistic Absurdity.Absurdist philosophy has been haunted by its ancestral considerations as nihilist, meaningless, and devastatingly regressive. My responsibility and intention here is not to deny any of those potent conditions – it is rather to reveal how it can operate as a form of metaphysical infiltra-tion when contemplated under object orientated ontology, continental realism, post-secular occasionalism, and aesthetics. This is what Ray Brassier may define as a ‘speculative opportunity’. 20 00 Open Access Murphy, Rob 12 03 06 10.21983/P3.0077.1.12 85 90 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 The fossils of Sensation 1 A01 Alan Boardman Alan Boardman National College of Art and Design 01 eng 03 00 THIS essay proposes a relation between contemporary painting and Manuel DeLanda’s Deleuzian inspired materialist ontology. However, my approach does not negotiate direct relations with contemporary painting, instead seeks to investigate structure-generating processes that are common to both non-human geological expressivity and human mediums of expressivity. Through a speculative use of the concept of mineralisation, the relation between the materiality of fossilisation and the immateriality of sensation will be configured through temporalities of emergence. 30 00 THIS essay proposes a relation between contemporary painting and Manuel DeLanda’s Deleuzian inspired materialist ontology. However, my approach does not negotiate direct relations with contemporary painting, instead seeks to investigate structure-generating processes that are common to both non-human geological expressivity and human mediums of expressivity. Through a speculative use of the concept of mineralisation, the relation between the materiality of fossilisation and the immateriality of sensation will be configured through temporalities of emergence. 20 00 Open Access Boardman, Alan 13 03 06 10.21983/P3.0077.1.13 91 92 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 restless tongues expending into rest 1 A01 Teresa Gillespie Teresa Gillespie 01 eng 20 00 Open Access Gillespie, Teresa 14 03 06 10.21983/P3.0077.1.14 93 98 6 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 House of Sheaves The Asymptotic Horror of Nested Nature 1 A01 21 0000000160175193 Ben Woodard Ben Woodard 40 02grkyz14 Western University 40 01fcbp662 Institute for Cultural Inquiry 06 Own website https://naughtthought.wordpress.com/ 01 eng 03 00 BRACKETING the taxonomic controversies surrounding Speculative Realism (is it a species of thought, how many subclasses are there, does it cohere at all?) one can assert that the rhetorical if not argumenta-tive core of Quentin Meillassoux’s reopening of the ‘great outdoors’ has been, and continues to be, a pervasive trajectory in contemporary thinking. This wilderness is differently carved according to varying rubrics: the proliferation of entities (Harman), the unbinding of the tran-scendental power of thought (Brassier), the absolutisation of facticity (Meillassoux), and the precedence of being-as-nature prior to thinking (Grant). I wish to argue, unsurprisingly, for the importance of Grant’s model for speculatively navigating the spaces of nature. Grant’s position is fortified, I would argue, by the utilisation of Peirce’s continuum and the numerous thinkers of the geometric-cognitive (geo-cog) turn who cast alliances, however obliquely at times, with Schelling and the project of Naturphilosophie. 30 00 BRACKETING the taxonomic controversies surrounding Speculative Realism (is it a species of thought, how many subclasses are there, does it cohere at all?) one can assert that the rhetorical if not argumenta-tive core of Quentin Meillassoux’s reopening of the ‘great outdoors’ has been, and continues to be, a pervasive trajectory in contemporary thinking. This wilderness is differently carved according to varying rubrics: the proliferation of entities (Harman), the unbinding of the tran-scendental power of thought (Brassier), the absolutisation of facticity (Meillassoux), and the precedence of being-as-nature prior to thinking (Grant). I wish to argue, unsurprisingly, for the importance of Grant’s model for speculatively navigating the spaces of nature. Grant’s position is fortified, I would argue, by the utilisation of Peirce’s continuum and the numerous thinkers of the geometric-cognitive (geo-cog) turn who cast alliances, however obliquely at times, with Schelling and the project of Naturphilosophie. 20 00 Open Access Woodard, Ben 15 03 06 10.21983/P3.0077.1.15 99 106 8 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Spider Universe Weaponising Phobia in Bataille, Nietzsche, Spinoza and Deleuze 1 A01 Scott Wilson Scott Wilson 40 0517ce304 Kingston University, London 01 eng 03 00 THE image is from Lars von Trier’s film Antichrist [1] – indeed it pro-vided the basis for the promotional poster. I’m not going to talk about the famously phobic director today, but wish simply to indicate how the image and indeed the film ‘weaponises’ phobia, which is to say turns it into an offensive rather than defensive weapon. Initially it would seem that phobia is defensive in that it crystallises in an object an indefinite fear or anxiety, a crystallisation that supports the process of individua-tion which senses mortal danger from the very universe that has given rise to it. As Freud suggested in his case study on Little Hans, phobia is an effect of the question that being raises for the subject ‘from where he was before the subject came into the world’ [2]. Anxiety occurs the moment discontinuity apprehends the vulnerability of its existence in the presence of a voracious outside, an order, momentarily, of exteriority that would return existence to the infinite continuity of intimate violence (there are plenty of mothers who eat their offspring). 30 00 THE image is from Lars von Trier’s film Antichrist [1] – indeed it pro-vided the basis for the promotional poster. I’m not going to talk about the famously phobic director today, but wish simply to indicate how the image and indeed the film ‘weaponises’ phobia, which is to say turns it into an offensive rather than defensive weapon. Initially it would seem that phobia is defensive in that it crystallises in an object an indefinite fear or anxiety, a crystallisation that supports the process of individua-tion which senses mortal danger from the very universe that has given rise to it. As Freud suggested in his case study on Little Hans, phobia is an effect of the question that being raises for the subject ‘from where he was before the subject came into the world’ [2]. Anxiety occurs the moment discontinuity apprehends the vulnerability of its existence in the presence of a voracious outside, an order, momentarily, of exteriority that would return existence to the infinite continuity of intimate violence (there are plenty of mothers who eat their offspring). 20 00 Open Access Wilson, Scott 16 03 06 10.21983/P3.0077.1.16 107 131 25 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ Chapter 01 01 Backmatter 1 B01 Caoimhe Doyle Caoimhe Doyle 01 eng 20 00 Open Access Doyle, Caoimhe 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/weaponising-speculation/ Brooklyn, NY 04 01 20140922 Doyle, Caoimhe 02 WORLD 06 15 9780615956664 03 9780615956664 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76460 20 08 20140922 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25543 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25543/1004552.pdf?sequence=1&isAllowed=y 20 08 20140922 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33640 20 08 20140922 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.2353876 20 08 20140922 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/461 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/05813803-3e36-49f1-83cc-2d6144666eee/download 20 08 20140922 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Weaponising_Speculation/9AOVEAAAQBAJ 20 08 20140922 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/37536ae7-c4d2-428c-865e-bcb88b902371 29 INTERNET_ARCHIVE: download the title https://archive.org/download/37536ae7-c4d2-428c-865e-bcb88b902371/37536ae7-c4d2-428c-865e-bcb88b902371.pdf 20 08 20140922 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846020 29 ZENODO: download the title https://zenodo.org/records/19846020/files/37536ae7-c4d2-428c-865e-bcb88b902371_book.pdf 20 08 20140922 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/weaponising-speculation/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0077.1.00.pdf 20 08 20140922 01 urn:uuid:5bb9ec98-ef5a-4ae1-8962-79bc0f7b3108 03 01 01 thoth-work-id urn:uuid:77e1fa52-1938-47dd-b8a5-2a57bfbc91d1 01 thoth-publication-id urn:uuid:5bb9ec98-ef5a-4ae1-8962-79bc0f7b3108 15 9780615685137 03 9780615685137 06 10.21983/P3.0011.1.00 01 internal-reference 0011 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 What Is Philosophy? 1 A01 Michael Munro Michael Munro 01 eng 00 72 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; Giorgio Agamben; Baruch Spinoza; Martin Heidegger; Gilles Deleuze; Felix Guattari 01 06 02 00 03 00 “Every written work,” Giorgio Agamben opens the preface to Infancy and History, “can be regarded as the prologue (or rather, the broken cast) of a work never penned, and destined to remain so.” Although that observation applies to any work of writing, the exemplary case is that of a work of philosophy. While every written work is put to work in its nonexistent successor, a work of philosophy is bereft of even that recourse: philosophy is written in the breakdown of destiny, so that every work of philosophy must first and foremost confront the absolute abandonment of its writing. At work in each and every work of philosophy is the question, “What is a work of philosophy?”More concretely, although well-formed and rigorously structured, What is Philosophy? abstains from work. On even a quick reading that fact must be palpable. A seminar paper? An article, or book chapter? Not in the least. Nor, essentially, may the individual pieces that compose it be so developed. Fragments unrecognizable as at one time a cast, inconceivable at a future time as anything else, the position of each piece with respect to the others thwarts development in order to preserve, in its place, the tension of its absence.As such, the articulations internal to each of the three divisions, and between them, are essential. The first division — What is Philosophy? — takes seriously Deleuze and Guattari’s contention in their book of the same title that “The nonphilosophical is perhaps closer to the heart of philosophy than philosophy itself, and this means that philosophy cannot be content to be understood only philosophically or conceptually, but is essentially addressed to nonphilosophers as well” — including the nonphilosopher in every philosopher. The second division — On Argument — interrogates the status and value of evidence, and self-evidence. The third division — On Not Knowing — generalizes a parenthetical observation of Agamben’s on Heidegger, “If we may attempt to identify something like the characteristic Stimmung of every thinker, perhaps it is precisely this being delivered over to something that refuses itself that defines the specific emotional tonality of Heidegger’s thought”: Might not philosophy be defined, the phil of sophia, precisely, as what it is to be delivered over to something that refuses itself? 30 00 “Every written work,” Giorgio Agamben opens the preface to Infancy and History, “can be regarded as the prologue (or rather, the broken cast) of a work never penned, and destined to remain so.” Although that observation applies to any work of writing, the exemplary case is that of a work of philosophy. While every written work is put to work in its nonexistent successor, a work of philosophy is bereft of even that recourse: philosophy is written in the breakdown of destiny, so that every work of philosophy must first and foremost confront the absolute abandonment of its writing. At work in each and every work of philosophy is the question, “What is a work of philosophy?”More concretely, although well-formed and rigorously structured, What is Philosophy? abstains from work. On even a quick reading that fact must be palpable. A seminar paper? An article, or book chapter? Not in the least. Nor, essentially, may the individual pieces that compose it be so developed. Fragments unrecognizable as at one time a cast, inconceivable at a future time as anything else, the position of each piece with respect to the others thwarts development in order to preserve, in its place, the tension of its absence.As such, the articulations internal to each of the three divisions, and between them, are essential. The first division — What is Philosophy? — takes seriously Deleuze and Guattari’s contention in their book of the same title that “The nonphilosophical is perhaps closer to the heart of philosophy than philosophy itself, and this means that philosophy cannot be content to be understood only philosophically or conceptually, but is essentially addressed to nonphilosophers as well” — including the nonphilosopher in every philosopher. The second division — On Argument — interrogates the status and value of evidence, and self-evidence. The third division — On Not Knowing — generalizes a parenthetical observation of Agamben’s on Heidegger, “If we may attempt to identify something like the characteristic Stimmung of every thinker, perhaps it is precisely this being delivered over to something that refuses itself that defines the specific emotional tonality of Heidegger’s thought”: Might not philosophy be defined, the phil of sophia, precisely, as what it is to be delivered over to something that refuses itself? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/0011.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/what-is-philosophy/ Brooklyn, NY 04 01 20121009 Munro, Michael 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615685137 20 08 20121009 02 21.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/what-is-philosophy 20 08 20121009 02 21.00 USD WORLD urn:uuid:e2192d06-7a2d-4ebd-9785-d127972b89c3 03 01 01 thoth-work-id urn:uuid:77e1fa52-1938-47dd-b8a5-2a57bfbc91d1 01 thoth-publication-id urn:uuid:e2192d06-7a2d-4ebd-9785-d127972b89c3 15 9780615685137 03 9780615685137 06 10.21983/P3.0011.1.00 01 internal-reference 0011 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 02 https://creativecommons.org/licenses/by-nc-sa/3.0/ 01 01 What Is Philosophy? 1 A01 Michael Munro Michael Munro 01 eng 00 72 03 12 HPCF 10 PHI013000 B2 Philosophy 93 QDTJ 93 DNL 20 philosophy; Giorgio Agamben; Baruch Spinoza; Martin Heidegger; Gilles Deleuze; Felix Guattari 01 06 02 00 03 00 “Every written work,” Giorgio Agamben opens the preface to Infancy and History, “can be regarded as the prologue (or rather, the broken cast) of a work never penned, and destined to remain so.” Although that observation applies to any work of writing, the exemplary case is that of a work of philosophy. While every written work is put to work in its nonexistent successor, a work of philosophy is bereft of even that recourse: philosophy is written in the breakdown of destiny, so that every work of philosophy must first and foremost confront the absolute abandonment of its writing. At work in each and every work of philosophy is the question, “What is a work of philosophy?”More concretely, although well-formed and rigorously structured, What is Philosophy? abstains from work. On even a quick reading that fact must be palpable. A seminar paper? An article, or book chapter? Not in the least. Nor, essentially, may the individual pieces that compose it be so developed. Fragments unrecognizable as at one time a cast, inconceivable at a future time as anything else, the position of each piece with respect to the others thwarts development in order to preserve, in its place, the tension of its absence.As such, the articulations internal to each of the three divisions, and between them, are essential. The first division — What is Philosophy? — takes seriously Deleuze and Guattari’s contention in their book of the same title that “The nonphilosophical is perhaps closer to the heart of philosophy than philosophy itself, and this means that philosophy cannot be content to be understood only philosophically or conceptually, but is essentially addressed to nonphilosophers as well” — including the nonphilosopher in every philosopher. The second division — On Argument — interrogates the status and value of evidence, and self-evidence. The third division — On Not Knowing — generalizes a parenthetical observation of Agamben’s on Heidegger, “If we may attempt to identify something like the characteristic Stimmung of every thinker, perhaps it is precisely this being delivered over to something that refuses itself that defines the specific emotional tonality of Heidegger’s thought”: Might not philosophy be defined, the phil of sophia, precisely, as what it is to be delivered over to something that refuses itself? 30 00 “Every written work,” Giorgio Agamben opens the preface to Infancy and History, “can be regarded as the prologue (or rather, the broken cast) of a work never penned, and destined to remain so.” Although that observation applies to any work of writing, the exemplary case is that of a work of philosophy. While every written work is put to work in its nonexistent successor, a work of philosophy is bereft of even that recourse: philosophy is written in the breakdown of destiny, so that every work of philosophy must first and foremost confront the absolute abandonment of its writing. At work in each and every work of philosophy is the question, “What is a work of philosophy?”More concretely, although well-formed and rigorously structured, What is Philosophy? abstains from work. On even a quick reading that fact must be palpable. A seminar paper? An article, or book chapter? Not in the least. Nor, essentially, may the individual pieces that compose it be so developed. Fragments unrecognizable as at one time a cast, inconceivable at a future time as anything else, the position of each piece with respect to the others thwarts development in order to preserve, in its place, the tension of its absence.As such, the articulations internal to each of the three divisions, and between them, are essential. The first division — What is Philosophy? — takes seriously Deleuze and Guattari’s contention in their book of the same title that “The nonphilosophical is perhaps closer to the heart of philosophy than philosophy itself, and this means that philosophy cannot be content to be understood only philosophically or conceptually, but is essentially addressed to nonphilosophers as well” — including the nonphilosopher in every philosopher. The second division — On Argument — interrogates the status and value of evidence, and self-evidence. The third division — On Not Knowing — generalizes a parenthetical observation of Agamben’s on Heidegger, “If we may attempt to identify something like the characteristic Stimmung of every thinker, perhaps it is precisely this being delivered over to something that refuses itself that defines the specific emotional tonality of Heidegger’s thought”: Might not philosophy be defined, the phil of sophia, precisely, as what it is to be delivered over to something that refuses itself? 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/0011.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/what-is-philosophy/ Brooklyn, NY 04 01 20121009 Munro, Michael 02 WORLD WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/76426 20 08 20121009 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25604 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25604/1004491.pdf?sequence=1&isAllowed=y 20 08 20121009 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/34844 20 08 20121009 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/390 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/60df3b9d-eb83-4e55-bf71-b66634b707f6/download 20 08 20121009 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/77e1fa52-1938-47dd-b8a5-2a57bfbc91d1 29 INTERNET_ARCHIVE: download the title https://archive.org/download/77e1fa52-1938-47dd-b8a5-2a57bfbc91d1/77e1fa52-1938-47dd-b8a5-2a57bfbc91d1.pdf 20 08 20121009 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693227 29 ZENODO: download the title https://zenodo.org/records/19693227/files/77e1fa52-1938-47dd-b8a5-2a57bfbc91d1_book.pdf 20 08 20121009 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/what-is-philosophy/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0011.1.00.pdf 20 08 20121009 01 urn:uuid:6daa69c5-5576-4ba3-a3e5-697c95d836c4 03 01 01 thoth-work-id urn:uuid:2a360648-3157-4a1b-9ba7-a61895a8a10c 01 thoth-publication-id urn:uuid:6daa69c5-5576-4ba3-a3e5-697c95d836c4 15 9781947447226 03 9781947447226 06 10.21983/P3.0181.1.00 13 2017954625 01 internal-reference 0181 00 BC 10 01 152 mm 01 15.2 cm 01 6 in 02 152 mm 02 15.2 cm 02 6 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Where the Tiny Things Are Feathered Essays 1 A01 Nicole Walker Nicole Walker 40 0272j5188 Northern Arizona University 01 eng 00 220 03 12 DNF 93 DNL 10 SCI080000 B2 Thought Experiments 20 literary essays; microcosmology; tiny things; creative non-fiction 01 06 02 00 03 00 In this collection of longer essays nested within brief, lyrical meditations, each piece focuses on some micro aspect of everyday life as a means of exploring complex macro systems—families, dinner parties, vineyards, deserts, nations. For example, Walker’s own experience as the mother of a micropreemie (a baby born weighing less than one pound, twelve ounces, or before twenty-six weeks gestation), “the smallest thing in the world,” spurs an exploration of, among other things, the economics of health care, the causes of premature births, and the ethics of extreme interventions. Where the Tiny Things Are is a book of ideas and an exploration of science. It is of the world and of the heart – both intensely personal and expansively empathetic. 30 00 In this collection of longer essays nested within brief, lyrical meditations, each piece focuses on some micro aspect of everyday life as a means of exploring complex macro systems—families, dinner parties, vineyards, deserts, nations. For example, Walker’s own experience as the mother of a micropreemie (a baby born weighing less than one pound, twelve ounces, or before twenty-six weeks gestation), “the smallest thing in the world,” spurs an exploration of, among other things, the economics of health care, the causes of premature births, and the ethics of extreme interventions. Where the Tiny Things Are is a book of ideas and an exploration of science. It is of the world and of the heart – both intensely personal and expansively empathetic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0181.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/where-the-tiny-things-are-feathered-essays/ Earth, Milky Way 04 01 20170926 Walker, Nicole 02 WORLD 06 15 9781947447233 03 9781947447233 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/194744722X 20 08 20170926 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/where-the-tiny-things-are-feathered-essays 20 08 20170926 02 25.00 USD WORLD urn:uuid:579b1286-c816-40be-92de-15215d360269 03 01 01 thoth-work-id urn:uuid:2a360648-3157-4a1b-9ba7-a61895a8a10c 01 thoth-publication-id urn:uuid:579b1286-c816-40be-92de-15215d360269 15 9781947447233 03 9781947447233 06 10.21983/P3.0181.1.00 13 2017954625 01 internal-reference 0181 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Where the Tiny Things Are Feathered Essays 1 A01 Nicole Walker Nicole Walker 40 0272j5188 Northern Arizona University 01 eng 00 220 03 12 DNF 93 DNL 10 SCI080000 B2 Thought Experiments 20 literary essays; microcosmology; tiny things; creative non-fiction 01 06 02 00 03 00 In this collection of longer essays nested within brief, lyrical meditations, each piece focuses on some micro aspect of everyday life as a means of exploring complex macro systems—families, dinner parties, vineyards, deserts, nations. For example, Walker’s own experience as the mother of a micropreemie (a baby born weighing less than one pound, twelve ounces, or before twenty-six weeks gestation), “the smallest thing in the world,” spurs an exploration of, among other things, the economics of health care, the causes of premature births, and the ethics of extreme interventions. Where the Tiny Things Are is a book of ideas and an exploration of science. It is of the world and of the heart – both intensely personal and expansively empathetic. 30 00 In this collection of longer essays nested within brief, lyrical meditations, each piece focuses on some micro aspect of everyday life as a means of exploring complex macro systems—families, dinner parties, vineyards, deserts, nations. For example, Walker’s own experience as the mother of a micropreemie (a baby born weighing less than one pound, twelve ounces, or before twenty-six weeks gestation), “the smallest thing in the world,” spurs an exploration of, among other things, the economics of health care, the causes of premature births, and the ethics of extreme interventions. Where the Tiny Things Are is a book of ideas and an exploration of science. It is of the world and of the heart – both intensely personal and expansively empathetic. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0181.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/peanut-books/ Peanut Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/where-the-tiny-things-are-feathered-essays/ Earth, Milky Way 04 01 20170926 Walker, Nicole 02 WORLD 06 15 9781947447226 03 9781947447226 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25447 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25447/1004648.pdf?sequence=1&isAllowed=y 20 08 20170926 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36818 20 08 20170926 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/564 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e8037a7d-95ed-47c7-b6ad-421785ce2400/download 20 08 20170926 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2a360648-3157-4a1b-9ba7-a61895a8a10c 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2a360648-3157-4a1b-9ba7-a61895a8a10c/2a360648-3157-4a1b-9ba7-a61895a8a10c.pdf 20 08 20170926 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19847019 29 ZENODO: download the title https://zenodo.org/records/19847019/files/2a360648-3157-4a1b-9ba7-a61895a8a10c_book.pdf 20 08 20170926 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/where-the-tiny-things-are-feathered-essays/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0181.1.00.pdf 20 08 20170926 01 urn:uuid:456db461-28f3-4e08-b781-14535d6e99dc 03 01 01 thoth-work-id urn:uuid:c8245465-2937-40fd-9c3e-7bd33deef477 01 thoth-publication-id urn:uuid:456db461-28f3-4e08-b781-14535d6e99dc 15 9780615990934 03 9780615990934 06 10.21983/P3.0348.1.00 01 internal-reference 0348 00 BC 10 01 216 mm 01 21.6 cm 01 8.5 in 02 140 mm 02 14 cm 02 5.5 in Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Who Killed the Berkeley School? Struggles over Radical Criminology 1 A01 Herman Schwendinger Herman Schwendinger 40 03j3dv688 State University of New York at New Paltz 2 A01 Julia Schwendinger Julia Schwendinger 40 03j3dv688 State University of New York at New Paltz 3 A23 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 234 03 B2 Cultural Studies+Critical Theory 12 JKV 93 JKV 10 SOC004000 93 LAR 12 LAR B2 New Left Thought 20 criminology; military-industrial complex; neoliberalism; social struggle; radical politics 01 06 02 00 03 00 The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School? by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis, of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it. 30 00 The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School? by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis, of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0348.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/who-killed-the-berkeley-school-struggles-over-radical-criminology/ Brooklyn, NY 04 01 20140421 Schwendinger, Herman Schwendinger, Julia 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0615990932 20 08 20140421 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/who-killed-the-berkeley-school-struggles-over-radical-criminology 20 08 20140421 02 24.00 USD WORLD urn:uuid:6c45e861-4298-4088-8af7-ff3e49e6db8d 03 01 01 thoth-work-id urn:uuid:c8245465-2937-40fd-9c3e-7bd33deef477 01 thoth-publication-id urn:uuid:6c45e861-4298-4088-8af7-ff3e49e6db8d 15 9780615990934 03 9780615990934 06 10.21983/P3.0348.1.00 01 internal-reference 0348 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Who Killed the Berkeley School? Struggles over Radical Criminology 1 A01 Herman Schwendinger Herman Schwendinger 40 03j3dv688 State University of New York at New Paltz 2 A01 Julia Schwendinger Julia Schwendinger 40 03j3dv688 State University of New York at New Paltz 3 A23 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 234 03 B2 Cultural Studies+Critical Theory 12 JKV 93 JKV 10 SOC004000 93 LAR 12 LAR B2 New Left Thought 20 criminology; military-industrial complex; neoliberalism; social struggle; radical politics 01 06 02 00 03 00 The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School? by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis, of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it. 30 00 The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School? by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis, of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0348.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/who-killed-the-berkeley-school-struggles-over-radical-criminology/ Brooklyn, NY 04 01 20140421 Schwendinger, Herman Schwendinger, Julia 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/41253 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/41253/0348.1.00.pdf 20 08 20140421 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/33054 20 08 20140421 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/449 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/e00f7d3c-a12c-4f28-b033-3142e159b60a/download 20 08 20140421 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c8245465-2937-40fd-9c3e-7bd33deef477 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c8245465-2937-40fd-9c3e-7bd33deef477/c8245465-2937-40fd-9c3e-7bd33deef477.pdf 20 08 20140421 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845951 29 ZENODO: download the title https://zenodo.org/records/19845951/files/c8245465-2937-40fd-9c3e-7bd33deef477_book.pdf 20 08 20140421 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/who-killed-the-berkeley-school-struggles-over-radical-criminology/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0348.1.00.pdf 20 08 20140421 01 urn:uuid:ada50523-b8be-48f8-b1f5-69fbdc18b419 03 01 01 thoth-work-id urn:uuid:c8245465-2937-40fd-9c3e-7bd33deef477 01 thoth-publication-id urn:uuid:ada50523-b8be-48f8-b1f5-69fbdc18b419 06 10.21983/P3.0348.1.00 01 internal-reference 0348 00 EB E101 10 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). 02 https://creativecommons.org/licenses/by-nc-nd/4.0/ 01 01 Who Killed the Berkeley School? Struggles over Radical Criminology 1 A01 Herman Schwendinger Herman Schwendinger 40 03j3dv688 State University of New York at New Paltz 2 A01 Julia Schwendinger Julia Schwendinger 40 03j3dv688 State University of New York at New Paltz 3 A23 Jeff Shantz Jeff Shantz 40 04raxj885 Kwantlen Polytechnic University 01 eng 00 234 03 B2 Cultural Studies+Critical Theory 12 JKV 93 JKV 10 SOC004000 93 LAR 12 LAR B2 New Left Thought 20 criminology; military-industrial complex; neoliberalism; social struggle; radical politics 01 06 02 00 03 00 The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School? by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis, of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it. 30 00 The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School? by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis, of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0348.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/thought-crimes/ Thought | Crimes 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/who-killed-the-berkeley-school-struggles-over-radical-criminology/ Brooklyn, NY 04 01 20140421 Schwendinger, Herman Schwendinger, Julia 02 WORLD 06 15 9780615990934 03 9780615990934 06 15 9780615990934 03 9780615990934 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19845951 29 ZENODO: download the title https://zenodo.org/records/19845951/files/c8245465-2937-40fd-9c3e-7bd33deef477_book.epub 20 08 20140421 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/who-killed-the-berkeley-school-struggles-over-radical-criminology/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0348.1.00.epub 20 08 20140421 01 urn:uuid:5aea8b34-7a42-4f82-9eb2-b9cb9dc4e014 03 01 01 thoth-work-id urn:uuid:ffb69824-12b3-4900-8aee-53d024151137 01 thoth-publication-id urn:uuid:5aea8b34-7a42-4f82-9eb2-b9cb9dc4e014 15 9780692725474 03 9780692725474 06 10.21983/P3.0142.1.00 01 internal-reference 0142 00 BC 10 01 210 mm 01 21 cm 01 8.27 in 02 148 mm 02 14.8 cm 02 5.83 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Why the Center Can't Hold A Diagnosis of Puritanized America 1 A01 Tom O’Neill Tom O’Neill 01 eng 00 364 03 12 HPS 93 JPA B2 New Left Thought 10 POL040000 93 1KBB 20 political theory; puritanism; centrism; US politics 01 06 02 00 03 00 “Things fall apart; the centre cannot hold.” These words from Yeats’s poem “The Second Coming” provide Why the Center Can’t Hold with its organizing theme. And although Yeats was describing the grim atmosphere of post-World War I Europe, O’Neill regards the poem’s pronouncements as eerily predictive of the state of the world as we are currently observing it. O’Neill takes them as predictive of the agency in particular of the United States—the “Center”—in bringing about in the world the more general chaos we are now observing (relative to various refugee and migrant crises, the emergence of sophisticated and even postmodern forms of militant and cyber terrorism, banking and other monetary crises, environmental catastrophes under the aegis of climate change, the defunding of public higher education, the persistence of virulent forms of racism and other types of intolerance, the concentration of wealth in fewer and fewer hands, the marginalisation and even outright elimination of human labor forces, etc.). O’Neill provides historical analyses that illuminate why this is the case, and he also asks what changes in the United States — in its politics, in its socio-cultural formations, and in its beliefs and (supposedly common) values — might help us to avoid the inevitable (and lamentable) destruction that seems ahead 30 00 “Things fall apart; the centre cannot hold.” These words from Yeats’s poem “The Second Coming” provide Why the Center Can’t Hold with its organizing theme. And although Yeats was describing the grim atmosphere of post-World War I Europe, O’Neill regards the poem’s pronouncements as eerily predictive of the state of the world as we are currently observing it. O’Neill takes them as predictive of the agency in particular of the United States—the “Center”—in bringing about in the world the more general chaos we are now observing (relative to various refugee and migrant crises, the emergence of sophisticated and even postmodern forms of militant and cyber terrorism, banking and other monetary crises, environmental catastrophes under the aegis of climate change, the defunding of public higher education, the persistence of virulent forms of racism and other types of intolerance, the concentration of wealth in fewer and fewer hands, the marginalisation and even outright elimination of human labor forces, etc.). O’Neill provides historical analyses that illuminate why this is the case, and he also asks what changes in the United States — in its politics, in its socio-cultural formations, and in its beliefs and (supposedly common) values — might help us to avoid the inevitable (and lamentable) destruction that seems ahead 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0142.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/why-the-center-cant-hold/ Earth, Milky Way 04 01 20160530 O’Neill, Tom 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692725474 20 08 20160530 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/why-the-center-cant-hold-a-diagnosis-of-puritanized-america 20 08 20160530 02 27.00 USD WORLD urn:uuid:463a9d2d-2a19-491c-b809-e5ddc79b953b 03 01 01 thoth-work-id urn:uuid:ffb69824-12b3-4900-8aee-53d024151137 01 thoth-publication-id urn:uuid:463a9d2d-2a19-491c-b809-e5ddc79b953b 15 9780692725474 03 9780692725474 06 10.21983/P3.0142.1.00 01 internal-reference 0142 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Why the Center Can't Hold A Diagnosis of Puritanized America 1 A01 Tom O’Neill Tom O’Neill 01 eng 00 364 03 12 HPS 93 JPA B2 New Left Thought 10 POL040000 93 1KBB 20 political theory; puritanism; centrism; US politics 01 06 02 00 03 00 “Things fall apart; the centre cannot hold.” These words from Yeats’s poem “The Second Coming” provide Why the Center Can’t Hold with its organizing theme. And although Yeats was describing the grim atmosphere of post-World War I Europe, O’Neill regards the poem’s pronouncements as eerily predictive of the state of the world as we are currently observing it. O’Neill takes them as predictive of the agency in particular of the United States—the “Center”—in bringing about in the world the more general chaos we are now observing (relative to various refugee and migrant crises, the emergence of sophisticated and even postmodern forms of militant and cyber terrorism, banking and other monetary crises, environmental catastrophes under the aegis of climate change, the defunding of public higher education, the persistence of virulent forms of racism and other types of intolerance, the concentration of wealth in fewer and fewer hands, the marginalisation and even outright elimination of human labor forces, etc.). O’Neill provides historical analyses that illuminate why this is the case, and he also asks what changes in the United States — in its politics, in its socio-cultural formations, and in its beliefs and (supposedly common) values — might help us to avoid the inevitable (and lamentable) destruction that seems ahead 30 00 “Things fall apart; the centre cannot hold.” These words from Yeats’s poem “The Second Coming” provide Why the Center Can’t Hold with its organizing theme. And although Yeats was describing the grim atmosphere of post-World War I Europe, O’Neill regards the poem’s pronouncements as eerily predictive of the state of the world as we are currently observing it. O’Neill takes them as predictive of the agency in particular of the United States—the “Center”—in bringing about in the world the more general chaos we are now observing (relative to various refugee and migrant crises, the emergence of sophisticated and even postmodern forms of militant and cyber terrorism, banking and other monetary crises, environmental catastrophes under the aegis of climate change, the defunding of public higher education, the persistence of virulent forms of racism and other types of intolerance, the concentration of wealth in fewer and fewer hands, the marginalisation and even outright elimination of human labor forces, etc.). O’Neill provides historical analyses that illuminate why this is the case, and he also asks what changes in the United States — in its politics, in its socio-cultural formations, and in its beliefs and (supposedly common) values — might help us to avoid the inevitable (and lamentable) destruction that seems ahead 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0142.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/why-the-center-cant-hold/ Earth, Milky Way 04 01 20160530 O’Neill, Tom 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25483 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25483/1004612.pdf?sequence=1&isAllowed=y 20 08 20160530 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36315 20 08 20160530 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/526 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b5673caf-e1e8-4c3f-8018-e10e4b7cfa14/download 20 08 20160530 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/ffb69824-12b3-4900-8aee-53d024151137 29 INTERNET_ARCHIVE: download the title https://archive.org/download/ffb69824-12b3-4900-8aee-53d024151137/ffb69824-12b3-4900-8aee-53d024151137.pdf 20 08 20160530 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846587 29 ZENODO: download the title https://zenodo.org/records/19846587/files/ffb69824-12b3-4900-8aee-53d024151137_book.pdf 20 08 20160530 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/why-the-center-cant-hold/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0142.1.00.pdf 20 08 20160530 01 urn:uuid:8fc2452f-0de9-4021-ae87-e494a071a108 03 01 01 thoth-work-id urn:uuid:c7f76fbe-f90e-4663-ae9c-108921027ac7 01 thoth-publication-id urn:uuid:8fc2452f-0de9-4021-ae87-e494a071a108 15 9781685711061 03 9781685711061 06 10.53288/0442.1.00 13 2023947414 01 internal-reference 0442 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Widening Scripts Cultivating Feminist Care in Academic Labor 1 A01 21 0000000255662613 Mariana Prandini Assis Mariana Prandini Assis 40 0039d5757 Universidade Federal de Goiás Mariana Prandini Assis (she/her/hers) is an Assistant Professor of Political Science at the Federal University of Goiás, Brazil 2 A01 Michelle Forrest Michelle Forrest 40 03g3p3b82 Mount Saint Vincent University Michelle Forrest (she/her/hers) is Professor of Education at Mount Saint Vincent University, Halifax, Nova Scotia. 3 A01 Angela Henderson Angela Henderson 40 03sscxa41 NSCAD University Angela Henderson (she/her/hers) is a visual artist and faculty member at the Nova Scotia College of Art and Design in Halifax, Nova Scotia 4 A01 21 0000000310162700 Lindsey MacCallum Lindsey MacCallum 40 03g3p3b82 Mount Saint Vincent University Lindsey MacCallum (she/her) is the Scholarly Publishing Librarian at Mount Saint Vincent University in Halifax, Nova Sco 5 A01 21 0000000189854333 Ian Reilly Ian Reilly 40 03g3p3b82 Mount Saint Vincent University Ian Reilly (he/him) is an Associate Professor in Communication Studies at Mount Saint Vincent University in Halifax, Nova Scotia 6 A01 21 0000000176539078 Ellen Shaffner Ellen Shaffner 40 03g3p3b82 Mount Saint Vincent University Ellen Shaffner (she/her) is an Assistant Professor in Communication Studies at Mount Saint Vincent University in Halifax, Nova Scotia; 7 A01 Scott Stoneman Scott Stoneman 40 03g3p3b82 Mount Saint Vincent University Scott Stoneman (he/him) is a podcaster and part-time faculty member who teaches Communication Studies at Mount Saint Vincent Universit 01 eng 00 148 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 10 EDU040000 B2 Humanities+University 93 JNA 12 JNA 20 care networks; academic labor; feminist survival; ecology; artistic research; experimental; critical dialogue; feminist theory; collective reading; epistemology 01 06 02 00 03 00 Widening Scripts: Cultivating Feminist Care in Academic Labor is addressed to scholars, educators, and students devoted to the struggle against precarity, atomization, and the commodification of knowledge. Through shared reading, discussion, and reflection, and gathered around a shared interest in feminist theory and politics, the authors discovered a model of care within academia that helped them to sustain their opposition to dominant academic practices that are diminishing, competitive, and exploitative.In this book, the authors narrate that discovery and the realization of a desire to share in the assembling of a collective feminist survival kit. In Living a Feminist Life, Sara Ahmed offers a wide-ranging killjoy survival kit that includes books, things, tools, time, life, permission notes, other killjoys, humor, feelings, and bodies. As a response to the stress, strain, and profound grief produced by the COVID-19 pandemic, with its viral acceleration of crises already endemic to neoliberal capitalism, the authors mined an evolving cluster of decolonial feminist texts in an attempt to find meaning, encounter moving premonitions, and engage with radical instigations to thought. By co-creating a survival kit through sustained collaboration during the pandemic, they develop a sense of the value of experimentation and risk-taking and learn how to cultivate an inclusive space that allows them to express their views, reclaim accountability, and learn confidently from each other.Widening Scripts combines collaborative feminist theory, acts of care, and critical dialogue in an effort to open up decelerated, altruistic, and connected ways of doing academic work together. 30 00 Widening Scripts: Cultivating Feminist Care in Academic Labor is addressed to scholars, educators, and students devoted to the struggle against precarity, atomization, and the commodification of knowledge. Through shared reading, discussion, and reflection, and gathered around a shared interest in feminist theory and politics, the authors discovered a model of care within academia that helped them to sustain their opposition to dominant academic practices that are diminishing, competitive, and exploitative.In this book, the authors narrate that discovery and the realization of a desire to share in the assembling of a collective feminist survival kit. In Living a Feminist Life, Sara Ahmed offers a wide-ranging killjoy survival kit that includes books, things, tools, time, life, permission notes, other killjoys, humor, feelings, and bodies. As a response to the stress, strain, and profound grief produced by the COVID-19 pandemic, with its viral acceleration of crises already endemic to neoliberal capitalism, the authors mined an evolving cluster of decolonial feminist texts in an attempt to find meaning, encounter moving premonitions, and engage with radical instigations to thought. By co-creating a survival kit through sustained collaboration during the pandemic, they develop a sense of the value of experimentation and risk-taking and learn how to cultivate an inclusive space that allows them to express their views, reclaim accountability, and learn confidently from each other.Widening Scripts combines collaborative feminist theory, acts of care, and critical dialogue in an effort to open up decelerated, altruistic, and connected ways of doing academic work together. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0442.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/widening-scripts-cultivating-feminist-care-in-academic-labor/ 16 40 03g3p3b82 32 10.13039/100011796 Mount Saint Vincent University 01 programname Aid to Scholarly Publications and Communications Grant 16 40 04j5jqy92 32 10.13039/501100000155 The Social Sciences and Humanities Research Council of Canada 01 programname Explore Grant (2020–21) Earth, Milky Way 04 01 20231019 Lindsey MacCallum, Michelle Forrest, Angela Henderson, Mariana Prandini Assis, Ian Reilly, Ellen Shaffner, Scott Stoneman 02 WORLD 06 15 9781685711078 03 9781685711078 34 06 10.1093/oxfordhb/9780195324907.013.0001 34 06 10.1080/14649365.2016.1240224 34 06 10.1086/689666 34 06 10.1007/978-94-6351-179-7_11 34 06 10.1086/430970 34 06 10.1080/17425964.2013.771394 34 06 10.1177/0305829818775817 34 06 10.1177/104973299129122153 34 06 10.2972/hesperia.87.1.0177 34 06 10.1007/s10767-017-9263-9 34 06 10.1111/j.1467-9752.2008.00632.x 34 06 10.1215/01642472-7971067 34 06 10.3138/topia.38.187 34 06 10.1111/area.12703 34 06 10.1177/23996544211014198 34 06 10.2307/1919050.139 34 06 10.1111/j.1467-8330.2008.00665.x 34 06 10.26522/ssj.v9i2.1138 34 06 10.1177/15327086211029365 34 06 10.1080/03323315.2020.1734045 34 06 10.21627/2020fa WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711065 20 08 20231019 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/widening-scripts-cultivating-feminist-care-in-academic-labor 20 08 20231019 02 22.00 USD WORLD urn:uuid:417ef019-bb96-45be-b3d7-64d773e0fde5 03 01 01 thoth-work-id urn:uuid:c7f76fbe-f90e-4663-ae9c-108921027ac7 01 thoth-publication-id urn:uuid:417ef019-bb96-45be-b3d7-64d773e0fde5 15 9781685711078 03 9781685711078 06 10.53288/0442.1.00 13 2023947414 01 internal-reference 0442 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Widening Scripts Cultivating Feminist Care in Academic Labor 1 A01 21 0000000255662613 Mariana Prandini Assis Mariana Prandini Assis 40 0039d5757 Universidade Federal de Goiás Mariana Prandini Assis (she/her/hers) is an Assistant Professor of Political Science at the Federal University of Goiás, Brazil 2 A01 Michelle Forrest Michelle Forrest 40 03g3p3b82 Mount Saint Vincent University Michelle Forrest (she/her/hers) is Professor of Education at Mount Saint Vincent University, Halifax, Nova Scotia. 3 A01 Angela Henderson Angela Henderson 40 03sscxa41 NSCAD University Angela Henderson (she/her/hers) is a visual artist and faculty member at the Nova Scotia College of Art and Design in Halifax, Nova Scotia 4 A01 21 0000000310162700 Lindsey MacCallum Lindsey MacCallum 40 03g3p3b82 Mount Saint Vincent University Lindsey MacCallum (she/her) is the Scholarly Publishing Librarian at Mount Saint Vincent University in Halifax, Nova Sco 5 A01 21 0000000189854333 Ian Reilly Ian Reilly 40 03g3p3b82 Mount Saint Vincent University Ian Reilly (he/him) is an Associate Professor in Communication Studies at Mount Saint Vincent University in Halifax, Nova Scotia 6 A01 21 0000000176539078 Ellen Shaffner Ellen Shaffner 40 03g3p3b82 Mount Saint Vincent University Ellen Shaffner (she/her) is an Assistant Professor in Communication Studies at Mount Saint Vincent University in Halifax, Nova Scotia; 7 A01 Scott Stoneman Scott Stoneman 40 03g3p3b82 Mount Saint Vincent University Scott Stoneman (he/him) is a podcaster and part-time faculty member who teaches Communication Studies at Mount Saint Vincent Universit 01 eng 00 148 03 B2 Cultural Studies+Critical Theory 93 JBSF11 12 JFFK 10 SOC010000 10 EDU040000 B2 Humanities+University 93 JNA 12 JNA 20 care networks; academic labor; feminist survival; ecology; artistic research; experimental; critical dialogue; feminist theory; collective reading; epistemology 01 06 02 00 03 00 Widening Scripts: Cultivating Feminist Care in Academic Labor is addressed to scholars, educators, and students devoted to the struggle against precarity, atomization, and the commodification of knowledge. Through shared reading, discussion, and reflection, and gathered around a shared interest in feminist theory and politics, the authors discovered a model of care within academia that helped them to sustain their opposition to dominant academic practices that are diminishing, competitive, and exploitative.In this book, the authors narrate that discovery and the realization of a desire to share in the assembling of a collective feminist survival kit. In Living a Feminist Life, Sara Ahmed offers a wide-ranging killjoy survival kit that includes books, things, tools, time, life, permission notes, other killjoys, humor, feelings, and bodies. As a response to the stress, strain, and profound grief produced by the COVID-19 pandemic, with its viral acceleration of crises already endemic to neoliberal capitalism, the authors mined an evolving cluster of decolonial feminist texts in an attempt to find meaning, encounter moving premonitions, and engage with radical instigations to thought. By co-creating a survival kit through sustained collaboration during the pandemic, they develop a sense of the value of experimentation and risk-taking and learn how to cultivate an inclusive space that allows them to express their views, reclaim accountability, and learn confidently from each other.Widening Scripts combines collaborative feminist theory, acts of care, and critical dialogue in an effort to open up decelerated, altruistic, and connected ways of doing academic work together. 30 00 Widening Scripts: Cultivating Feminist Care in Academic Labor is addressed to scholars, educators, and students devoted to the struggle against precarity, atomization, and the commodification of knowledge. Through shared reading, discussion, and reflection, and gathered around a shared interest in feminist theory and politics, the authors discovered a model of care within academia that helped them to sustain their opposition to dominant academic practices that are diminishing, competitive, and exploitative.In this book, the authors narrate that discovery and the realization of a desire to share in the assembling of a collective feminist survival kit. In Living a Feminist Life, Sara Ahmed offers a wide-ranging killjoy survival kit that includes books, things, tools, time, life, permission notes, other killjoys, humor, feelings, and bodies. As a response to the stress, strain, and profound grief produced by the COVID-19 pandemic, with its viral acceleration of crises already endemic to neoliberal capitalism, the authors mined an evolving cluster of decolonial feminist texts in an attempt to find meaning, encounter moving premonitions, and engage with radical instigations to thought. By co-creating a survival kit through sustained collaboration during the pandemic, they develop a sense of the value of experimentation and risk-taking and learn how to cultivate an inclusive space that allows them to express their views, reclaim accountability, and learn confidently from each other.Widening Scripts combines collaborative feminist theory, acts of care, and critical dialogue in an effort to open up decelerated, altruistic, and connected ways of doing academic work together. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0442.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/widening-scripts-cultivating-feminist-care-in-academic-labor/ 16 40 03g3p3b82 32 10.13039/100011796 Mount Saint Vincent University 01 programname Aid to Scholarly Publications and Communications Grant 16 40 04j5jqy92 32 10.13039/501100000155 The Social Sciences and Humanities Research Council of Canada 01 programname Explore Grant (2020–21) Earth, Milky Way 04 01 20231019 Lindsey MacCallum, Michelle Forrest, Angela Henderson, Mariana Prandini Assis, Ian Reilly, Ellen Shaffner, Scott Stoneman 02 WORLD 06 15 9781685711061 03 9781685711061 34 06 10.1093/oxfordhb/9780195324907.013.0001 34 06 10.1080/14649365.2016.1240224 34 06 10.1086/689666 34 06 10.1007/978-94-6351-179-7_11 34 06 10.1086/430970 34 06 10.1080/17425964.2013.771394 34 06 10.1177/0305829818775817 34 06 10.1177/104973299129122153 34 06 10.2972/hesperia.87.1.0177 34 06 10.1007/s10767-017-9263-9 34 06 10.1111/j.1467-9752.2008.00632.x 34 06 10.1215/01642472-7971067 34 06 10.3138/topia.38.187 34 06 10.1111/area.12703 34 06 10.1177/23996544211014198 34 06 10.2307/1919050.139 34 06 10.1111/j.1467-8330.2008.00665.x 34 06 10.26522/ssj.v9i2.1138 34 06 10.1177/15327086211029365 34 06 10.1080/03323315.2020.1734045 34 06 10.21627/2020fa WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/76860 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/76860/0442.1.00.pdf?sequence=1&isAllowed=y 20 08 20231019 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/121535 20 08 20231019 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/jj.9446855 20 08 20231019 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/346 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a88427f6-1c82-424d-8a88-adaf254f044c/download 20 08 20231019 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c7f76fbe-f90e-4663-ae9c-108921027ac7 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c7f76fbe-f90e-4663-ae9c-108921027ac7/c7f76fbe-f90e-4663-ae9c-108921027ac7.pdf 20 08 20231019 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850077 29 ZENODO: download the title https://zenodo.org/records/19850077/files/c7f76fbe-f90e-4663-ae9c-108921027ac7_book.pdf 20 08 20231019 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/widening-scripts-cultivating-feminist-care-in-academic-labor/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0442.1.00.pdf 20 08 20231019 01 urn:uuid:389a19d5-9df7-4f8c-b359-873b0d890e83 03 01 01 thoth-work-id urn:uuid:e8d8f5d7-3348-4f25-8716-5807c0350899 01 thoth-publication-id urn:uuid:389a19d5-9df7-4f8c-b359-873b0d890e83 15 9781685711849 03 9781685711849 06 10.53288/0452.1.00 13 2024940951 01 internal-reference 0452 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Wilhelm Reich versus the Flying Saucers An American Tragedy 1 A01 James Reich James Reich James Reich is a novelist, essayist, and journalist. He is the author of The Moth for the Star (7.13 Books), The Song My Enemies Sing, Soft Invasions, Mistah Kurtz! A Prelude to Heart of Darkness (Anti-Oedipus Press), I, Judas, and Bombshell (Counterpoint/Soft Skull). His account of innovations in British science fiction is published by Bloomsbury in its "Decades" series, The 1960s. His nonfiction has also appeared in Salon, SPIN Magazine, The Huffington Post, International Times, and other literary and cultural publications. James was born in Stroud, Gloucestershire in the West of England, and has been a resident of Santa Fe, New Mexico, since 2009. He was greatly influenced by early exposure to the poetry of Dylan Thomas, and by a small book on dadaism, and later by Andy Warhol, the Beats, science fiction, psychoanalysis, punk rock, and the films of Ken Russell and Nic Roeg. Norman Mailer, Sylvia Plath, J.G. Ballard, Anne Sexton, Paul Bowles, D.H. Lawrence, and Lars von Trier are also vital constellations in his work. He has a Master’s degree in Ecopsychology from Naropa University. 01 eng 00 216 03 B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 10 OCC025000 93 VXQB 93 JBCC 20 Wilhelm Reich; UFO; orgonomy; orgone; introjection; psychoanalysis; cloudbusting 01 06 02 00 03 00 The convenient myth of Wilhelm Reich is that he “lost his mind” in the early 1950s, if not before, and that the last seven years of his life and work — the orgone and radiation experiments, the cloudbuster, and flying saucer intrigues — present an embarrassment. Even the counterculture that embraced Reich, not least William S. Burroughs, Norman Mailer, and filmmaker Dušan Makavejev, tended to distort his theory. The psychosis attached to Reich by his detractors was the culmination of decades of scapegoating by psychoanalysts, Nazis, communists, and conservatives. But Reich’s environmental and Cold War preoccupations and his slow-burning fascination with UFO phenomena were not signs of a madness incipient since his break with Sigmund Freud. They anticipated and reflected much in the American psyche.Defining the presence of a “cinematic self” in the misunderstood analyst once considered an heir to Freud, Wilhelm Reich versus the Flying Saucers rejects orthodox portrayals of Reich’s final years as merely pathological. Combining original analysis and evidence from the Wilhelm Reich Archive, James Reich uncovers the fatal moments in the psychologist’s uncanny identification with the “spaceman,” and the myth of a scientist lost to his own grandiosity and paranoia. Taking seriously the influence of The Day the Earth Stood Still, Bad Day at Black Rock, and other pop cultural narratives on Reich, this “psychoanalytic detective story” concerns existential traps, conscious and unconscious collaborations and betrayals by disciples, and unidentified flying object-relations. Reich’s is an atomic-age passion narrative. Vitally, Reich’s story could be ours. The author is not related to his subject. 30 00 The convenient myth of Wilhelm Reich is that he “lost his mind” in the early 1950s, if not before, and that the last seven years of his life and work — the orgone and radiation experiments, the cloudbuster, and flying saucer intrigues — present an embarrassment. Even the counterculture that embraced Reich, not least William S. Burroughs, Norman Mailer, and filmmaker Dušan Makavejev, tended to distort his theory. The psychosis attached to Reich by his detractors was the culmination of decades of scapegoating by psychoanalysts, Nazis, communists, and conservatives. But Reich’s environmental and Cold War preoccupations and his slow-burning fascination with UFO phenomena were not signs of a madness incipient since his break with Sigmund Freud. They anticipated and reflected much in the American psyche.Defining the presence of a “cinematic self” in the misunderstood analyst once considered an heir to Freud, Wilhelm Reich versus the Flying Saucers rejects orthodox portrayals of Reich’s final years as merely pathological. Combining original analysis and evidence from the Wilhelm Reich Archive, James Reich uncovers the fatal moments in the psychologist’s uncanny identification with the “spaceman,” and the myth of a scientist lost to his own grandiosity and paranoia. Taking seriously the influence of The Day the Earth Stood Still, Bad Day at Black Rock, and other pop cultural narratives on Reich, this “psychoanalytic detective story” concerns existential traps, conscious and unconscious collaborations and betrayals by disciples, and unidentified flying object-relations. Reich’s is an atomic-age passion narrative. Vitally, Reich’s story could be ours. The author is not related to his subject. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0452.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/wilhelm-reich-versus-the-flying-saucers-an-american-tragedy/ Earth, Milky Way 04 01 20240627 James Reich 02 WORLD 06 15 9781685711856 03 9781685711856 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711847 20 08 20240627 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/wilhelm-reich-versus-the-flying-saucers-an-american-tragedy 20 08 20240627 02 23.00 USD WORLD urn:uuid:346a5161-a6fb-42c9-8851-158b4040c2ae 03 01 01 thoth-work-id urn:uuid:e8d8f5d7-3348-4f25-8716-5807c0350899 01 thoth-publication-id urn:uuid:346a5161-a6fb-42c9-8851-158b4040c2ae 15 9781685711856 03 9781685711856 06 10.53288/0452.1.00 13 2024940951 01 internal-reference 0452 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Wilhelm Reich versus the Flying Saucers An American Tragedy 1 A01 James Reich James Reich James Reich is a novelist, essayist, and journalist. He is the author of The Moth for the Star (7.13 Books), The Song My Enemies Sing, Soft Invasions, Mistah Kurtz! A Prelude to Heart of Darkness (Anti-Oedipus Press), I, Judas, and Bombshell (Counterpoint/Soft Skull). His account of innovations in British science fiction is published by Bloomsbury in its "Decades" series, The 1960s. His nonfiction has also appeared in Salon, SPIN Magazine, The Huffington Post, International Times, and other literary and cultural publications. James was born in Stroud, Gloucestershire in the West of England, and has been a resident of Santa Fe, New Mexico, since 2009. He was greatly influenced by early exposure to the poetry of Dylan Thomas, and by a small book on dadaism, and later by Andy Warhol, the Beats, science fiction, psychoanalysis, punk rock, and the films of Ken Russell and Nic Roeg. Norman Mailer, Sylvia Plath, J.G. Ballard, Anne Sexton, Paul Bowles, D.H. Lawrence, and Lars von Trier are also vital constellations in his work. He has a Master’s degree in Ecopsychology from Naropa University. 01 eng 00 216 03 B2 Cultural Studies+Critical Theory 93 JMAF 10 PSY026000 10 OCC025000 93 VXQB 93 JBCC 20 Wilhelm Reich; UFO; orgonomy; orgone; introjection; psychoanalysis; cloudbusting 01 06 02 00 03 00 The convenient myth of Wilhelm Reich is that he “lost his mind” in the early 1950s, if not before, and that the last seven years of his life and work — the orgone and radiation experiments, the cloudbuster, and flying saucer intrigues — present an embarrassment. Even the counterculture that embraced Reich, not least William S. Burroughs, Norman Mailer, and filmmaker Dušan Makavejev, tended to distort his theory. The psychosis attached to Reich by his detractors was the culmination of decades of scapegoating by psychoanalysts, Nazis, communists, and conservatives. But Reich’s environmental and Cold War preoccupations and his slow-burning fascination with UFO phenomena were not signs of a madness incipient since his break with Sigmund Freud. They anticipated and reflected much in the American psyche.Defining the presence of a “cinematic self” in the misunderstood analyst once considered an heir to Freud, Wilhelm Reich versus the Flying Saucers rejects orthodox portrayals of Reich’s final years as merely pathological. Combining original analysis and evidence from the Wilhelm Reich Archive, James Reich uncovers the fatal moments in the psychologist’s uncanny identification with the “spaceman,” and the myth of a scientist lost to his own grandiosity and paranoia. Taking seriously the influence of The Day the Earth Stood Still, Bad Day at Black Rock, and other pop cultural narratives on Reich, this “psychoanalytic detective story” concerns existential traps, conscious and unconscious collaborations and betrayals by disciples, and unidentified flying object-relations. Reich’s is an atomic-age passion narrative. Vitally, Reich’s story could be ours. The author is not related to his subject. 30 00 The convenient myth of Wilhelm Reich is that he “lost his mind” in the early 1950s, if not before, and that the last seven years of his life and work — the orgone and radiation experiments, the cloudbuster, and flying saucer intrigues — present an embarrassment. Even the counterculture that embraced Reich, not least William S. Burroughs, Norman Mailer, and filmmaker Dušan Makavejev, tended to distort his theory. The psychosis attached to Reich by his detractors was the culmination of decades of scapegoating by psychoanalysts, Nazis, communists, and conservatives. But Reich’s environmental and Cold War preoccupations and his slow-burning fascination with UFO phenomena were not signs of a madness incipient since his break with Sigmund Freud. They anticipated and reflected much in the American psyche.Defining the presence of a “cinematic self” in the misunderstood analyst once considered an heir to Freud, Wilhelm Reich versus the Flying Saucers rejects orthodox portrayals of Reich’s final years as merely pathological. Combining original analysis and evidence from the Wilhelm Reich Archive, James Reich uncovers the fatal moments in the psychologist’s uncanny identification with the “spaceman,” and the myth of a scientist lost to his own grandiosity and paranoia. Taking seriously the influence of The Day the Earth Stood Still, Bad Day at Black Rock, and other pop cultural narratives on Reich, this “psychoanalytic detective story” concerns existential traps, conscious and unconscious collaborations and betrayals by disciples, and unidentified flying object-relations. Reich’s is an atomic-age passion narrative. Vitally, Reich’s story could be ours. The author is not related to his subject. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0452.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/brainstorm-books/ Brainstorm Books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/wilhelm-reich-versus-the-flying-saucers-an-american-tragedy/ Earth, Milky Way 04 01 20240627 James Reich 02 WORLD 06 15 9781685711849 03 9781685711849 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/91105 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/91105/0452.1.00.pdf?sequence=1&isAllowed=y 20 08 20240627 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/139076 20 08 20240627 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526496 20 08 20240627 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=8a4a80a4-59da-3b03-9718-cfae8c2028c0 20 08 20240627 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/719 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/12087345-384b-446a-ab78-25953c5a28cc/download 20 08 20240627 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Wilhelm_Reich_versus_the_Flying_Saucers/3ZkhEQAAQBAJ 20 08 20240627 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e8d8f5d7-3348-4f25-8716-5807c0350899 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e8d8f5d7-3348-4f25-8716-5807c0350899/e8d8f5d7-3348-4f25-8716-5807c0350899.pdf 20 08 20240627 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850413 29 ZENODO: download the title https://zenodo.org/records/19850413/files/e8d8f5d7-3348-4f25-8716-5807c0350899_book.pdf 20 08 20240627 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/wilhelm-reich-versus-the-flying-saucers-an-american-tragedy/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0452.1.00.pdf 20 08 20240627 01 urn:uuid:912ce92b-095e-4b5d-a668-68f038ca4e54 03 01 01 thoth-work-id urn:uuid:29a54313-4659-4a83-825c-fa01b3284a21 01 thoth-publication-id urn:uuid:912ce92b-095e-4b5d-a668-68f038ca4e54 15 9781685712242 03 9781685712242 06 10.53288/0533.1.00 13 2025933116 01 internal-reference 0533 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 11 mm 03 1.1 cm 03 0.45 in 08 278 gr 08 9.8 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Winter Light On Late Life's Radiance 1 A01 21 0009000302938035 Douglas J. Penick Douglas J. Penick Douglas Penick’s work has appeared in Tricycle, Descant, New England Review, Parabola, Chicago Quarterly, Agni, Kyoto Journal, Berfrois, Lit Hub, The Utne Reader, Consequences, and Cahiers de l’Herne, among other outlets. He has written texts for operas (Munich Biennale, Santa Fe Opera), and thanks to a grant from the Witter Bynner Foundation, three separate episodes from the Gesar of Ling epic. Other publications include the novel Journey of The North Star (Publerati, 2012), a translation (with Charles Ré) of Pascal Quignard’s A Terrace in Rome (Wakefield, 2016), The Age of Waiting (Arrowsmith, 2021), exploring the sensibility of aging amid ecological collapse, and The Oceans of Cruelty (New York Review of Books, 2024), a retelling of an ancient Indian story cycle. 06 Own website https://www.douglaspenick.com 01 eng 00 196 03 B2 Art+Aesthetics 93 JBSP4 10 MUS020000 10 ART015000 B2 Cultural Studies+Critical Theory 93 MFKH3 93 AVM 10 HEA049000 B2 Sound+Noise 93 AGA 93 5LKS 20 old age; mature period; dying; memory; loss; unknown; Andrea Palladio; discovery; Igor Stravinsky; Jean Rhys; Leoš Janáček; Ludwig van Beethoven; Michelangelo; Titian; Paul Cézanne; Rabindranath Tagore 01 06 02 00 03 00 In the contemporary West, the elderly are regarded as somehow “other,” no longer who they used to be, no longer full members of the worlds they once inhabited. Being old is seen as a medical management issue. But old age is not a defective version of what preceded it; it is — like childhood, adolescence, and middle age — its own time of life with its own challenges and gifts. It is an unexpected experience and largely unknown terrain. Winter Light: On Late Life’s Radiance is an exploration of old age as a time when sudden and uncontrollable losses reveal and clarify patterns of existence formerly obscured. In this context, Penick tells of the lives of artists, musicians, and others who, in old age, changed radically through visionary modes of experience that otherwise would not have been possible.Near the end of their lives, Titian, Michelangelo, Beethoven, Rabindranath Tagore, Jean Rhys, Andrea Palladio, Paul Cézanne, Leoš Janáček, Igor Stravinsky, and others found unforeseen paths and articulated subtleties and beauties never before encountered. Their visions are now woven into our culture and the stories of their lives are signposts for us. As Thoreau once said: “Not ’til we are lost… not ’til we have lost the world, do we begin to find ourselves and realize where we are and the infinite extent of our relations.”In five essays, concerned respectively with body, connection, pattern, loss, and vision, Winter Light explores irretrievable losses and dawning possibilities. Penick gives voice to aspects of the inner life that in old age unfold with unanticipated depth, breadth, strangeness, and light. 30 00 In the contemporary West, the elderly are regarded as somehow “other,” no longer who they used to be, no longer full members of the worlds they once inhabited. Being old is seen as a medical management issue. But old age is not a defective version of what preceded it; it is — like childhood, adolescence, and middle age — its own time of life with its own challenges and gifts. It is an unexpected experience and largely unknown terrain. Winter Light: On Late Life’s Radiance is an exploration of old age as a time when sudden and uncontrollable losses reveal and clarify patterns of existence formerly obscured. In this context, Penick tells of the lives of artists, musicians, and others who, in old age, changed radically through visionary modes of experience that otherwise would not have been possible.Near the end of their lives, Titian, Michelangelo, Beethoven, Rabindranath Tagore, Jean Rhys, Andrea Palladio, Paul Cézanne, Leoš Janáček, Igor Stravinsky, and others found unforeseen paths and articulated subtleties and beauties never before encountered. Their visions are now woven into our culture and the stories of their lives are signposts for us. As Thoreau once said: “Not ’til we are lost… not ’til we have lost the world, do we begin to find ourselves and realize where we are and the infinite extent of our relations.”In five essays, concerned respectively with body, connection, pattern, loss, and vision, Winter Light explores irretrievable losses and dawning possibilities. Penick gives voice to aspects of the inner life that in old age unfold with unanticipated depth, breadth, strangeness, and light. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0533.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/winter-light/ Earth, Milky Way 04 01 20250228 Douglas J. Penick 02 WORLD 06 15 9781685712259 03 9781685712259 34 06 10.1002/alz.12068 34 06 10.1093/oso/9780192843777.003.0004 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/winter-light-on-late-lifes-radiance-douglas-j-penick 20 08 20250228 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571224X 20 08 20250228 02 23.00 USD WORLD urn:uuid:e216c907-ff26-45aa-acf8-b22efca69fe3 03 01 01 thoth-work-id urn:uuid:29a54313-4659-4a83-825c-fa01b3284a21 01 thoth-publication-id urn:uuid:e216c907-ff26-45aa-acf8-b22efca69fe3 15 9781685712259 03 9781685712259 06 10.53288/0533.1.00 13 2025933116 01 internal-reference 0533 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Winter Light On Late Life's Radiance 1 A01 21 0009000302938035 Douglas J. Penick Douglas J. Penick Douglas Penick’s work has appeared in Tricycle, Descant, New England Review, Parabola, Chicago Quarterly, Agni, Kyoto Journal, Berfrois, Lit Hub, The Utne Reader, Consequences, and Cahiers de l’Herne, among other outlets. He has written texts for operas (Munich Biennale, Santa Fe Opera), and thanks to a grant from the Witter Bynner Foundation, three separate episodes from the Gesar of Ling epic. Other publications include the novel Journey of The North Star (Publerati, 2012), a translation (with Charles Ré) of Pascal Quignard’s A Terrace in Rome (Wakefield, 2016), The Age of Waiting (Arrowsmith, 2021), exploring the sensibility of aging amid ecological collapse, and The Oceans of Cruelty (New York Review of Books, 2024), a retelling of an ancient Indian story cycle. 06 Own website https://www.douglaspenick.com 01 eng 00 196 03 B2 Art+Aesthetics 93 JBSP4 10 MUS020000 10 ART015000 B2 Cultural Studies+Critical Theory 93 MFKH3 93 AVM 10 HEA049000 B2 Sound+Noise 93 AGA 93 5LKS 20 old age; mature period; dying; memory; loss; unknown; Andrea Palladio; discovery; Igor Stravinsky; Jean Rhys; Leoš Janáček; Ludwig van Beethoven; Michelangelo; Titian; Paul Cézanne; Rabindranath Tagore 01 06 02 00 03 00 In the contemporary West, the elderly are regarded as somehow “other,” no longer who they used to be, no longer full members of the worlds they once inhabited. Being old is seen as a medical management issue. But old age is not a defective version of what preceded it; it is — like childhood, adolescence, and middle age — its own time of life with its own challenges and gifts. It is an unexpected experience and largely unknown terrain. Winter Light: On Late Life’s Radiance is an exploration of old age as a time when sudden and uncontrollable losses reveal and clarify patterns of existence formerly obscured. In this context, Penick tells of the lives of artists, musicians, and others who, in old age, changed radically through visionary modes of experience that otherwise would not have been possible.Near the end of their lives, Titian, Michelangelo, Beethoven, Rabindranath Tagore, Jean Rhys, Andrea Palladio, Paul Cézanne, Leoš Janáček, Igor Stravinsky, and others found unforeseen paths and articulated subtleties and beauties never before encountered. Their visions are now woven into our culture and the stories of their lives are signposts for us. As Thoreau once said: “Not ’til we are lost… not ’til we have lost the world, do we begin to find ourselves and realize where we are and the infinite extent of our relations.”In five essays, concerned respectively with body, connection, pattern, loss, and vision, Winter Light explores irretrievable losses and dawning possibilities. Penick gives voice to aspects of the inner life that in old age unfold with unanticipated depth, breadth, strangeness, and light. 30 00 In the contemporary West, the elderly are regarded as somehow “other,” no longer who they used to be, no longer full members of the worlds they once inhabited. Being old is seen as a medical management issue. But old age is not a defective version of what preceded it; it is — like childhood, adolescence, and middle age — its own time of life with its own challenges and gifts. It is an unexpected experience and largely unknown terrain. Winter Light: On Late Life’s Radiance is an exploration of old age as a time when sudden and uncontrollable losses reveal and clarify patterns of existence formerly obscured. In this context, Penick tells of the lives of artists, musicians, and others who, in old age, changed radically through visionary modes of experience that otherwise would not have been possible.Near the end of their lives, Titian, Michelangelo, Beethoven, Rabindranath Tagore, Jean Rhys, Andrea Palladio, Paul Cézanne, Leoš Janáček, Igor Stravinsky, and others found unforeseen paths and articulated subtleties and beauties never before encountered. Their visions are now woven into our culture and the stories of their lives are signposts for us. As Thoreau once said: “Not ’til we are lost… not ’til we have lost the world, do we begin to find ourselves and realize where we are and the infinite extent of our relations.”In five essays, concerned respectively with body, connection, pattern, loss, and vision, Winter Light explores irretrievable losses and dawning possibilities. Penick gives voice to aspects of the inner life that in old age unfold with unanticipated depth, breadth, strangeness, and light. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0533.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/winter-light/ Earth, Milky Way 04 01 20250228 Douglas J. Penick 02 WORLD 06 15 9781685712242 03 9781685712242 34 06 10.1002/alz.12068 34 06 10.1093/oso/9780192843777.003.0004 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/99161 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/99161/0533.1.00.pdf?sequence=1&isAllowed=y 20 08 20250228 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/153532 20 08 20250228 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/jj.28526478 20 08 20250228 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/857 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/98e29ee1-7a41-4957-a75a-2cde46afd892/download 20 08 20250228 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/29a54313-4659-4a83-825c-fa01b3284a21 29 INTERNET_ARCHIVE: download the title https://archive.org/download/29a54313-4659-4a83-825c-fa01b3284a21/29a54313-4659-4a83-825c-fa01b3284a21.pdf 20 08 20250228 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19850909 29 ZENODO: download the title https://zenodo.org/records/19850909/files/29a54313-4659-4a83-825c-fa01b3284a21_book.pdf 20 08 20250228 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/winter-light/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0533.1.00.pdf 20 08 20250228 01 urn:uuid:378c19c6-03bc-4374-b49d-7052334322d2 03 01 01 thoth-work-id urn:uuid:27602ce3-fbd6-4044-8b44-b8421670edae 01 thoth-publication-id urn:uuid:378c19c6-03bc-4374-b49d-7052334322d2 15 9781685710088 03 9781685710088 06 10.53288/0359.1.00 13 2021951217 01 internal-reference 0359 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Wonder, Horror, Mystery Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski 1 A01 21 000000021886366X J.M. Tyree J.M. Tyree 40 02nkdxk79 Virginia Commonwealth University 2 A01 Morgan Meis Morgan Meis 01 eng 00 370 03 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory 12 HRAM B2 Moving Image 93 QRAM 10 REL067000 12 HRCM 93 QRVG 93 DND 20 film studies; theology; agnosticism; religion; Lars von Trier; Krzysztof Kieślowski; Terence Malick 01 06 02 00 03 00 Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God.The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride. 30 00 Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God.The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0359.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/wonder-horror-mystery/ Earth, Milky Way 04 01 20211222 Meis, Morgan Tyree, J.M. 02 WORLD 06 15 9781685710095 03 9781685710095 34 06 10.1093/screen/16.3.6 34 06 10.1057/pmed.2011.20 34 06 10.1353/ner.2018.0042 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710085 20 08 20211222 02 27.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/wonder-horror-mystery-letters-on-cinema-and-religion-in-malick-von-trier-and-kiealowski 20 08 20211222 02 27.00 USD WORLD urn:uuid:761757e0-fcc7-4adb-ad56-983a88603786 03 01 01 thoth-work-id urn:uuid:27602ce3-fbd6-4044-8b44-b8421670edae 01 thoth-publication-id urn:uuid:761757e0-fcc7-4adb-ad56-983a88603786 15 9781685710095 03 9781685710095 06 10.53288/0359.1.00 13 2021951217 01 internal-reference 0359 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Wonder, Horror, Mystery Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski 1 A01 21 000000021886366X J.M. Tyree J.M. Tyree 40 02nkdxk79 Virginia Commonwealth University 2 A01 Morgan Meis Morgan Meis 01 eng 00 370 03 12 APFA 10 ART057000 93 ATFA B2 Cultural Studies+Critical Theory 12 HRAM B2 Moving Image 93 QRAM 10 REL067000 12 HRCM 93 QRVG 93 DND 20 film studies; theology; agnosticism; religion; Lars von Trier; Krzysztof Kieślowski; Terence Malick 01 06 02 00 03 00 Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God.The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride. 30 00 Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God.The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0359.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/dead-letter-office/ Dead Letter Office 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/wonder-horror-mystery/ Earth, Milky Way 04 01 20211222 Meis, Morgan Tyree, J.M. 02 WORLD 06 15 9781685710088 03 9781685710088 34 06 10.1093/screen/16.3.6 34 06 10.1057/pmed.2011.20 34 06 10.1353/ner.2018.0042 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/52163 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/52163/0359.1.00.pdf?sequence=8&isAllowed=y 20 08 20211222 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/75096 20 08 20211222 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv26qjjqn 20 08 20211222 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/715 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/b9b7e286-f767-4e88-ae93-1be6c4eb358d/download 20 08 20211222 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Wonder_Horror_Mystery/ngWVEAAAQBAJ 20 08 20211222 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/27602ce3-fbd6-4044-8b44-b8421670edae 29 INTERNET_ARCHIVE: download the title https://archive.org/download/27602ce3-fbd6-4044-8b44-b8421670edae/27602ce3-fbd6-4044-8b44-b8421670edae.pdf 20 08 20211222 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849183 29 ZENODO: download the title https://zenodo.org/records/19849183/files/27602ce3-fbd6-4044-8b44-b8421670edae_book.pdf 20 08 20211222 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/wonder-horror-mystery/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0359.1.00.pdf 20 08 20211222 01 urn:uuid:d8dca007-0541-4475-aa16-21a77691271a 03 01 01 thoth-work-id urn:uuid:c21f4155-1d84-4590-9c08-f67ac39f3d97 01 thoth-publication-id urn:uuid:d8dca007-0541-4475-aa16-21a77691271a 15 9780692480410 03 9780692480410 06 10.21983/P3.0115.1.00 01 internal-reference 0115 00 BC 10 01 254 mm 01 25.4 cm 01 10 in 02 178 mm 02 17.8 cm 02 7 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Workers Leaving the Studio Looking Away from Socialist Realism 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 3 B06 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 4 B06 Genti Gjikola Genti Gjikola 5 A32 Santiago Sierra Santiago Sierra 06 Own website http://www.santiago-sierra.com/ 6 A32 21 0000000234096034 Jonas Staal Jonas Staal 06 Own website https://www.jonasstaal.nl/ 7 A32 Ciprian Mureșan Ciprian Mureșan 8 A32 Irwin Irwin 06 Own website http://irwin-nsk.org/ 9 A32 Sarah Vanagt Sarah Vanagt 06 Own website https://www.balthasar.be/ 10 A32 Armando Lulaj Armando Lulaj 11 A13 Marco Mazzi Marco Mazzi 01 alb 01 eng 00 210 03 93 AGC 12 AGC 10 ART006010 B2 Art+Aesthetics 93 1DXA B2 New Left Thought 93 6SL 93 3MPQ-DE-J 20 Albania; art theory; socialist realism; cultural studies 01 06 02 00 03 00 Workers Leaving the Studio. Looking Away from Socialist Realism. catalogs the exhibition “Workers leaving the studio. Looking away from socialist realism.,” curated by Mihnea Mircan in the National Gallery of Arts in Tirana, Albania in 2015. According to Mircan, “The […] exhibition reflects on another projection machine, whose history and consequences, unlike cinema, are circumscribed by national boundaries, specific histories, and ideological configurations. The regime of production and representation of socialist realism radicalizes the violence that the creation of a new image does to its subject: it intensifies the fraught relation between refashioned representation and that which is represented. Its insistence on a particular, projective notion of reality is commensurate with the coercion of daily — cultural, social, emotional — life into a grid whose perspective lines and vanishing points carry heavy ideological charges. It enforces what it represents onto that which it represents, so that representation would replace reality.”Apart from a full documentation of the exhibition by photographer Marco Mazzi, the catalogue also features theoretical and art-historical contributions, both in English and in Albanian, on socialist realist art as developed in Albania under the communist regime, as well as texts highlighting contemporary attempts to display political realities through progressive artistic practices. Artists include: Santiago Sierra, Jonas Staal, Ciprian Mureşan, Irwin, Sarah Vanagt, and Armando Lulaj, with scholarly contributions by 30 00 Workers Leaving the Studio. Looking Away from Socialist Realism. catalogs the exhibition “Workers leaving the studio. Looking away from socialist realism.,” curated by Mihnea Mircan in the National Gallery of Arts in Tirana, Albania in 2015. According to Mircan, “The […] exhibition reflects on another projection machine, whose history and consequences, unlike cinema, are circumscribed by national boundaries, specific histories, and ideological configurations. The regime of production and representation of socialist realism radicalizes the violence that the creation of a new image does to its subject: it intensifies the fraught relation between refashioned representation and that which is represented. Its insistence on a particular, projective notion of reality is commensurate with the coercion of daily — cultural, social, emotional — life into a grid whose perspective lines and vanishing points carry heavy ideological charges. It enforces what it represents onto that which it represents, so that representation would replace reality.”Apart from a full documentation of the exhibition by photographer Marco Mazzi, the catalogue also features theoretical and art-historical contributions, both in English and in Albanian, on socialist realist art as developed in Albania under the communist regime, as well as texts highlighting contemporary attempts to display political realities through progressive artistic practices. Artists include: Santiago Sierra, Jonas Staal, Ciprian Mureşan, Irwin, Sarah Vanagt, and Armando Lulaj, with scholarly contributions by 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0115.1.00_frontcover.jpg 1 03 06 10.21983/P3.0115.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0115.1.02 7 8 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Parathënie 1 A01 Artan Shabani Artan Shabani 01 alb 20 00 Open Access Artan Shabani 3 03 06 10.21983/P3.0115.1.03 9 12 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curatorial Note 1 A01 Mihnea Mircan Mihnea Mircan 01 alb 01 eng 20 00 Open Access Mihnea Mircan 4 03 06 10.21983/P3.0115.1.04 25 39 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sali Shijaku’s "Zëri i Masës" and the Metaphysics of Representation in Albanian Socialist Realist Painting 1 A01 Raino Isto Raino Isto 40 047s2c258 University of Maryland, College Park 01 eng 20 00 Open Access Raino Isto 5 03 06 10.21983/P3.0115.1.05 58 80 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stateless Democracy 1 A01 21 0000000234096034 Jonas Staal Jonas Staal 06 Own website https://www.jonasstaal.nl/ 01 eng 20 00 Open Access Jonas Staal 6 03 06 10.21983/P3.0115.1.06 103 109 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Një kohë e shkuar në themel të kohës sonë 1 A01 Suzana Varvarica Kuka Suzana Varvarica Kuka 01 alb 20 00 Open Access Suzana Varvarica Kuka 7 03 06 10.21983/P3.0115.1.07 118 128 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Nigerian Connection On NSK Passports as Escape and Entry Vehicles 1 A01 Inke Arns Inke Arns 06 Own website http://www.inkearns.de/ 01 eng 20 00 Open Access Inke Arns 8 03 06 10.21983/P3.0115.1.08 141 160 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disturbed Earth 1 A01 Sarah Vanagt Sarah Vanagt 06 Own website https://www.balthasar.be/ 2 A01 Tobias Hering Tobias Hering 01 eng 20 00 Open Access Sarah Vanagt & Tobias Hering 9 03 06 10.21983/P3.0115.1.09 161 175 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ilustrimi i instruksioneve ose Gjigandi dhe Shkurtabiqi 1 A01 Alban Hajdinaj Alban Hajdinaj 01 alb 20 00 Open Access 10 03 06 10.21983/P3.0115.1.10 191 207 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Production of "Hrönir" Albanian Socialist Realism and After 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Vincent W.J. van Gerven Oei 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/workers-leaving-the-studio/ Brooklyn, NY 04 01 20151001 van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/0692480412 20 08 20151001 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/workers-leaving-the-studio-looking-away-from-socialist-realism 20 08 20151001 02 25.00 USD WORLD urn:uuid:84b6b3e1-2811-4b6e-864a-ddb866ea1cf0 03 01 01 thoth-work-id urn:uuid:c21f4155-1d84-4590-9c08-f67ac39f3d97 01 thoth-publication-id urn:uuid:84b6b3e1-2811-4b6e-864a-ddb866ea1cf0 15 9780692480410 03 9780692480410 06 10.21983/P3.0115.1.00 01 internal-reference 0115 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Workers Leaving the Studio Looking Away from Socialist Realism 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 2 B06 Jonida Gashi Jonida Gashi 3 B06 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 4 B06 Genti Gjikola Genti Gjikola 5 A32 Santiago Sierra Santiago Sierra 06 Own website http://www.santiago-sierra.com/ 6 A32 21 0000000234096034 Jonas Staal Jonas Staal 06 Own website https://www.jonasstaal.nl/ 7 A32 Ciprian Mureșan Ciprian Mureșan 8 A32 Irwin Irwin 06 Own website http://irwin-nsk.org/ 9 A32 Sarah Vanagt Sarah Vanagt 06 Own website https://www.balthasar.be/ 10 A32 Armando Lulaj Armando Lulaj 11 A13 Marco Mazzi Marco Mazzi 01 alb 01 eng 00 210 03 93 AGC 12 AGC 10 ART006010 B2 Art+Aesthetics 93 1DXA B2 New Left Thought 93 6SL 93 3MPQ-DE-J 20 Albania; art theory; socialist realism; cultural studies 01 06 02 00 03 00 Workers Leaving the Studio. Looking Away from Socialist Realism. catalogs the exhibition “Workers leaving the studio. Looking away from socialist realism.,” curated by Mihnea Mircan in the National Gallery of Arts in Tirana, Albania in 2015. According to Mircan, “The […] exhibition reflects on another projection machine, whose history and consequences, unlike cinema, are circumscribed by national boundaries, specific histories, and ideological configurations. The regime of production and representation of socialist realism radicalizes the violence that the creation of a new image does to its subject: it intensifies the fraught relation between refashioned representation and that which is represented. Its insistence on a particular, projective notion of reality is commensurate with the coercion of daily — cultural, social, emotional — life into a grid whose perspective lines and vanishing points carry heavy ideological charges. It enforces what it represents onto that which it represents, so that representation would replace reality.”Apart from a full documentation of the exhibition by photographer Marco Mazzi, the catalogue also features theoretical and art-historical contributions, both in English and in Albanian, on socialist realist art as developed in Albania under the communist regime, as well as texts highlighting contemporary attempts to display political realities through progressive artistic practices. Artists include: Santiago Sierra, Jonas Staal, Ciprian Mureşan, Irwin, Sarah Vanagt, and Armando Lulaj, with scholarly contributions by 30 00 Workers Leaving the Studio. Looking Away from Socialist Realism. catalogs the exhibition “Workers leaving the studio. Looking away from socialist realism.,” curated by Mihnea Mircan in the National Gallery of Arts in Tirana, Albania in 2015. According to Mircan, “The […] exhibition reflects on another projection machine, whose history and consequences, unlike cinema, are circumscribed by national boundaries, specific histories, and ideological configurations. The regime of production and representation of socialist realism radicalizes the violence that the creation of a new image does to its subject: it intensifies the fraught relation between refashioned representation and that which is represented. Its insistence on a particular, projective notion of reality is commensurate with the coercion of daily — cultural, social, emotional — life into a grid whose perspective lines and vanishing points carry heavy ideological charges. It enforces what it represents onto that which it represents, so that representation would replace reality.”Apart from a full documentation of the exhibition by photographer Marco Mazzi, the catalogue also features theoretical and art-historical contributions, both in English and in Albanian, on socialist realist art as developed in Albania under the communist regime, as well as texts highlighting contemporary attempts to display political realities through progressive artistic practices. Artists include: Santiago Sierra, Jonas Staal, Ciprian Mureşan, Irwin, Sarah Vanagt, and Armando Lulaj, with scholarly contributions by 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0115.1.00_frontcover.jpg 1 03 06 10.21983/P3.0115.1.01 1 5 5 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Frontmatter 1 B01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 06 Own website http://www.vangervenoei.com/ 01 alb 01 eng 20 00 Open Access 2 03 06 10.21983/P3.0115.1.02 7 8 2 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Parathënie 1 A01 Artan Shabani Artan Shabani 01 alb 20 00 Open Access Artan Shabani 3 03 06 10.21983/P3.0115.1.03 9 12 4 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Curatorial Note 1 A01 Mihnea Mircan Mihnea Mircan 01 alb 01 eng 20 00 Open Access Mihnea Mircan 4 03 06 10.21983/P3.0115.1.04 25 39 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Sali Shijaku’s "Zëri i Masës" and the Metaphysics of Representation in Albanian Socialist Realist Painting 1 A01 Raino Isto Raino Isto 40 047s2c258 University of Maryland, College Park 01 eng 20 00 Open Access Raino Isto 5 03 06 10.21983/P3.0115.1.05 58 80 23 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Stateless Democracy 1 A01 21 0000000234096034 Jonas Staal Jonas Staal 06 Own website https://www.jonasstaal.nl/ 01 eng 20 00 Open Access Jonas Staal 6 03 06 10.21983/P3.0115.1.06 103 109 7 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Një kohë e shkuar në themel të kohës sonë 1 A01 Suzana Varvarica Kuka Suzana Varvarica Kuka 01 alb 20 00 Open Access Suzana Varvarica Kuka 7 03 06 10.21983/P3.0115.1.07 118 128 11 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Nigerian Connection On NSK Passports as Escape and Entry Vehicles 1 A01 Inke Arns Inke Arns 06 Own website http://www.inkearns.de/ 01 eng 20 00 Open Access Inke Arns 8 03 06 10.21983/P3.0115.1.08 141 160 20 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Disturbed Earth 1 A01 Sarah Vanagt Sarah Vanagt 06 Own website https://www.balthasar.be/ 2 A01 Tobias Hering Tobias Hering 01 eng 20 00 Open Access Sarah Vanagt & Tobias Hering 9 03 06 10.21983/P3.0115.1.09 161 175 15 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 Ilustrimi i instruksioneve ose Gjigandi dhe Shkurtabiqi 1 A01 Alban Hajdinaj Alban Hajdinaj 01 alb 20 00 Open Access 10 03 06 10.21983/P3.0115.1.10 191 207 17 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ Chapter 01 01 The Production of "Hrönir" Albanian Socialist Realism and After 1 A01 21 0000000316374261 Vincent W.J. van Gerven Oei Vincent W.J. van Gerven Oei 40 016476m91 University of Aberdeen 06 Own website http://www.vangervenoei.com/ 01 eng 20 00 Open Access Vincent W.J. van Gerven Oei 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/workers-leaving-the-studio/ Brooklyn, NY 04 01 20151001 van Gerven Oei, Vincent W.J. 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25509 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25509/1004586.pdf?sequence=1&isAllowed=y 20 08 20151001 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/35776 20 08 20151001 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/738 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/dbb2bdde-ab86-4118-aff8-3dabb8346a39/download 20 08 20151001 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/c21f4155-1d84-4590-9c08-f67ac39f3d97 29 INTERNET_ARCHIVE: download the title https://archive.org/download/c21f4155-1d84-4590-9c08-f67ac39f3d97/c21f4155-1d84-4590-9c08-f67ac39f3d97.pdf 20 08 20151001 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846329 29 ZENODO: download the title https://zenodo.org/records/19846329/files/c21f4155-1d84-4590-9c08-f67ac39f3d97_book.pdf 20 08 20151001 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/workers-leaving-the-studio/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0115.1.00.pdf 20 08 20151001 01 urn:uuid:af17a39d-eb89-484a-b103-2443f6a1248b 03 01 01 thoth-work-id urn:uuid:833eb820-8a1d-4ef1-b277-76d3a7cc877f 01 thoth-publication-id urn:uuid:af17a39d-eb89-484a-b103-2443f6a1248b 15 9781685710323 03 9781685710323 06 10.53288/0375.1.00 13 2022942793 01 internal-reference 0375 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Works for Works, Book 1 Useless Beauty 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney Gavin Keeney completed a research doctorate in Architecture at Deakin University, Australia, in 2014, on the subject of “Visual Agency in Art and Architecture,” inclusive of the monograph, Dossier Chris Marker: The Suffering Image (Cambridge Scholars Publishing, 2012). Recent publications include Knowledge, Spirit, Law: Book 1, Radical Scholarship (punctum, 2015), and Knowledge, Spirit, Law: Book 2, The Anti-capitalist Sublime (punctum, 2017). He has taught and lectured in the US, England, Slovenia, Australia, and India. Current research, inclusive of a second PhD project via the Postgraduate School, ZRC-SAZU, Ljubljana, Slovenia, concerns the moral rights of authors in the age of cognitive capitalism, forms of scholarship that are also works of art, and editioning strategies for nominally useless works in the Arts and Humanities. 01 eng 00 274 03 B2 Capital+Lucre 12 KCP 93 KCP 10 POL023000 B2 Humanities+University 10 LAW050010 93 LNR 12 LNR 12 ABQ 93 ABQ 20 intellectual property; moral rights; academic freedom; preposterous presentism; political economy; copyright; legal studies 01 06 02 00 03 00 Works for Works, Book 1: Useless Beauty tackles “legacy” issues of intellectual property rights (IPR) in artistic production and academic scholarship and proposes a category or class of works that has no relation to IPR nor to proprietary regimes of copyright and academic privilege. Keeney’s book is a structuralist argument for establishing new forms of artistic scholarship that operate in direct opposition to established norms in both the art world and neoliberal academia, and is also rigorously contextualized within past and present-day arguments for and against patrimonial and paternalistic, avant-garde and normative, forms of censure and conformity across cultural production.Works for Works, Book 1: Useless Beauty privileges an iterative, generative, and aleatory methodology for artistic scholarship, with transmedia proposed as a “tutelary form” of editioning works against the dictates of the art-academic complex. This focus on generativity also invokes the dialectical operations historically associated with past avant-gardes as they have negotiated an elective nihilism as an avenue for exiting established and authorized forms of conceptual and intellectual inquiry in the Arts and Humanities. 30 00 Works for Works, Book 1: Useless Beauty tackles “legacy” issues of intellectual property rights (IPR) in artistic production and academic scholarship and proposes a category or class of works that has no relation to IPR nor to proprietary regimes of copyright and academic privilege. Keeney’s book is a structuralist argument for establishing new forms of artistic scholarship that operate in direct opposition to established norms in both the art world and neoliberal academia, and is also rigorously contextualized within past and present-day arguments for and against patrimonial and paternalistic, avant-garde and normative, forms of censure and conformity across cultural production.Works for Works, Book 1: Useless Beauty privileges an iterative, generative, and aleatory methodology for artistic scholarship, with transmedia proposed as a “tutelary form” of editioning works against the dictates of the art-academic complex. This focus on generativity also invokes the dialectical operations historically associated with past avant-gardes as they have negotiated an elective nihilism as an avenue for exiting established and authorized forms of conceptual and intellectual inquiry in the Arts and Humanities. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0375.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/works-for-works-book-1-useless-beauty/ Earth, Milky Way 04 01 20220728 Gavin Keeney 02 WORLD 06 15 9781685710330 03 9781685710330 34 06 10.31269/triplec.v18i1.1144 34 06 10.1080/09502386.2011.619886 34 06 10.2307/2928448 34 06 10.1080/02691728.2019.1638986 34 06 10.2307/1144768 34 06 10.1093/oxartj/8.2.52 34 06 10.1080/10464883.1986.11102649 34 06 10.1111/1469-8676.12697 34 06 10.1080/09697259908572073 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685710328 20 08 20220728 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/vera-lex-historiae-constructions-of-truth-in-medieval-historical-narrative 20 08 20220728 02 25.00 USD WORLD urn:uuid:596334ad-a797-48b8-ba14-96a1b476f10c 03 01 01 thoth-work-id urn:uuid:833eb820-8a1d-4ef1-b277-76d3a7cc877f 01 thoth-publication-id urn:uuid:596334ad-a797-48b8-ba14-96a1b476f10c 15 9781685710330 03 9781685710330 06 10.53288/0375.1.00 13 2022942793 01 internal-reference 0375 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Works for Works, Book 1 Useless Beauty 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney Gavin Keeney completed a research doctorate in Architecture at Deakin University, Australia, in 2014, on the subject of “Visual Agency in Art and Architecture,” inclusive of the monograph, Dossier Chris Marker: The Suffering Image (Cambridge Scholars Publishing, 2012). Recent publications include Knowledge, Spirit, Law: Book 1, Radical Scholarship (punctum, 2015), and Knowledge, Spirit, Law: Book 2, The Anti-capitalist Sublime (punctum, 2017). He has taught and lectured in the US, England, Slovenia, Australia, and India. Current research, inclusive of a second PhD project via the Postgraduate School, ZRC-SAZU, Ljubljana, Slovenia, concerns the moral rights of authors in the age of cognitive capitalism, forms of scholarship that are also works of art, and editioning strategies for nominally useless works in the Arts and Humanities. 01 eng 00 274 03 B2 Capital+Lucre 12 KCP 93 KCP 10 POL023000 B2 Humanities+University 10 LAW050010 93 LNR 12 LNR 12 ABQ 93 ABQ 20 intellectual property; moral rights; academic freedom; preposterous presentism; political economy; copyright; legal studies 01 06 02 00 03 00 Works for Works, Book 1: Useless Beauty tackles “legacy” issues of intellectual property rights (IPR) in artistic production and academic scholarship and proposes a category or class of works that has no relation to IPR nor to proprietary regimes of copyright and academic privilege. Keeney’s book is a structuralist argument for establishing new forms of artistic scholarship that operate in direct opposition to established norms in both the art world and neoliberal academia, and is also rigorously contextualized within past and present-day arguments for and against patrimonial and paternalistic, avant-garde and normative, forms of censure and conformity across cultural production.Works for Works, Book 1: Useless Beauty privileges an iterative, generative, and aleatory methodology for artistic scholarship, with transmedia proposed as a “tutelary form” of editioning works against the dictates of the art-academic complex. This focus on generativity also invokes the dialectical operations historically associated with past avant-gardes as they have negotiated an elective nihilism as an avenue for exiting established and authorized forms of conceptual and intellectual inquiry in the Arts and Humanities. 30 00 Works for Works, Book 1: Useless Beauty tackles “legacy” issues of intellectual property rights (IPR) in artistic production and academic scholarship and proposes a category or class of works that has no relation to IPR nor to proprietary regimes of copyright and academic privilege. Keeney’s book is a structuralist argument for establishing new forms of artistic scholarship that operate in direct opposition to established norms in both the art world and neoliberal academia, and is also rigorously contextualized within past and present-day arguments for and against patrimonial and paternalistic, avant-garde and normative, forms of censure and conformity across cultural production.Works for Works, Book 1: Useless Beauty privileges an iterative, generative, and aleatory methodology for artistic scholarship, with transmedia proposed as a “tutelary form” of editioning works against the dictates of the art-academic complex. This focus on generativity also invokes the dialectical operations historically associated with past avant-gardes as they have negotiated an elective nihilism as an avenue for exiting established and authorized forms of conceptual and intellectual inquiry in the Arts and Humanities. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0375.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/works-for-works-book-1-useless-beauty/ Earth, Milky Way 04 01 20220728 Gavin Keeney 02 WORLD 06 15 9781685710323 03 9781685710323 34 06 10.31269/triplec.v18i1.1144 34 06 10.1080/09502386.2011.619886 34 06 10.2307/2928448 34 06 10.1080/02691728.2019.1638986 34 06 10.2307/1144768 34 06 10.1093/oxartj/8.2.52 34 06 10.1080/10464883.1986.11102649 34 06 10.1111/1469-8676.12697 34 06 10.1080/09697259908572073 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/57642 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/57642/0375.1.00.pdf?sequence=1&isAllowed=y 20 08 20220728 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/90473 20 08 20220728 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv2svjrcg 20 08 20220728 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/699 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/804e0212-c4c9-4bc8-97bd-879c1d786cb8/download 20 08 20220728 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Works_for_Works_Book_1/YgSVEAAAQBAJ 20 08 20220728 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/833eb820-8a1d-4ef1-b277-76d3a7cc877f 29 INTERNET_ARCHIVE: download the title https://archive.org/download/833eb820-8a1d-4ef1-b277-76d3a7cc877f/833eb820-8a1d-4ef1-b277-76d3a7cc877f.pdf 20 08 20220728 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/works-for-works-book-1-useless-beauty/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0375.1.00.pdf 20 08 20220728 01 urn:uuid:046ba088-9d57-481e-be92-4865edd75f63 03 01 01 thoth-work-id urn:uuid:95d8caf0-7e55-4cd9-ac52-0b9c88ec791d 01 thoth-publication-id urn:uuid:046ba088-9d57-481e-be92-4865edd75f63 15 9781685711801 03 9781685711801 06 10.53288/0512.1.00 13 2026934018 01 internal-reference 0512 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in 03 16 mm 03 1.6 cm 03 0.64 in 08 377 gr 08 13.3 oz Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Works for Works, Book 2 "No Rights" 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 40 04zvj8c18 Research Centre of the Slovenian Academy of Sciences and Arts Gavin Keeney completed a research doctorate in Architecture at Deakin University, Australia in 2014 on the subject of “Visual Agency in Art and Architecture,” inclusive of the monographs, Dossier Chris Marker: The Suffering Image (Cambridge Scholars, 2012), and Not-I/Thou: The Other Subject of Art and Architecture (Cambridge Scholars, 2014). Post-doctoral publications include Knowledge, Spirit, Law, Book 1: Radical Scholarship (punctum, 2015), Knowledge, Spirit, Law, Book 2: The Anti-capitalist Sublime (punctum, 2017), and Works for Works, Book 1: Useless Beauty (punctum, 2022). He has taught and lectured in the US, England, Germany, Slovenia, Australia, and India. Research for Works for Works, Book 2: “No Rights” was carried out under the auspices of a PhD in Philosophy at the Postgraduate School, ZRC SAZU, Ljubljana, Slovenia, 2021–2023, with research on why El Greco is considered a Franciscan artist conducted in Venice, Italy, through a co-funded research fellowship sponsored by the American Philosophical Association’s Berry Fund for Public Philosophy and the Giorgio Cini Foundation’s Centre for Comparative Studies of Civilisations and Spiritualities. 01 eng 00 284 03 B2 Capital+Lucre 93 LNR 10 POL023000 B2 Humanities+University 93 KCP 10 LAW050000 93 ABA 10 PHI001000 20 intellectual property; moral rights; cognitive capitalism; knowledge commons; anti-capitalism; political economy; philosophy of art 01 06 02 00 03 00 Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry.Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias. 30 00 Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry.Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0512.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/works-for-works-book-2-no-rights/ Earth, Milky Way 04 01 20260325 Gavin Keeney 02 WORLD 06 15 9781685711818 03 9781685711818 06 15 9781685713096 03 9781685713096 34 06 10.1086/710910 34 06 10.2307/2022937 34 06 10.11647/OBP.0007 34 06 10.1086/719895 34 06 10.2307/3047634 34 06 10.1086/711138 34 06 10.2307/4603660 34 06 10.21983/P3.0123.1.00 34 06 10.21983/P3.0191.1.00 34 06 10.53288/0375.1.00 34 06 10.1007/s41020-022-00164-x 34 06 10.1007/s11196-022-09930-5 34 06 10.1007/s10978-021-09314-x 34 06 10.1111/1467-8675.12592 34 06 10.1086/718619 34 06 10.1086/717304 34 06 10.1086/721168 34 06 10.2307/432196 34 06 10.1086/719836 34 06 10.1086/715986 34 06 10.1080/10848770.2015.1006926 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/works-for-works-book-2-no-rights 20 08 20260325 02 25.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1685711804 20 08 20260325 02 25.00 USD WORLD urn:uuid:81bce146-a9ea-4def-94d6-a71d6aec1272 03 01 01 thoth-work-id urn:uuid:95d8caf0-7e55-4cd9-ac52-0b9c88ec791d 01 thoth-publication-id urn:uuid:81bce146-a9ea-4def-94d6-a71d6aec1272 15 9781685711818 03 9781685711818 06 10.53288/0512.1.00 13 2026934018 01 internal-reference 0512 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Works for Works, Book 2 "No Rights" 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 40 04zvj8c18 Research Centre of the Slovenian Academy of Sciences and Arts Gavin Keeney completed a research doctorate in Architecture at Deakin University, Australia in 2014 on the subject of “Visual Agency in Art and Architecture,” inclusive of the monographs, Dossier Chris Marker: The Suffering Image (Cambridge Scholars, 2012), and Not-I/Thou: The Other Subject of Art and Architecture (Cambridge Scholars, 2014). Post-doctoral publications include Knowledge, Spirit, Law, Book 1: Radical Scholarship (punctum, 2015), Knowledge, Spirit, Law, Book 2: The Anti-capitalist Sublime (punctum, 2017), and Works for Works, Book 1: Useless Beauty (punctum, 2022). He has taught and lectured in the US, England, Germany, Slovenia, Australia, and India. Research for Works for Works, Book 2: “No Rights” was carried out under the auspices of a PhD in Philosophy at the Postgraduate School, ZRC SAZU, Ljubljana, Slovenia, 2021–2023, with research on why El Greco is considered a Franciscan artist conducted in Venice, Italy, through a co-funded research fellowship sponsored by the American Philosophical Association’s Berry Fund for Public Philosophy and the Giorgio Cini Foundation’s Centre for Comparative Studies of Civilisations and Spiritualities. 01 eng 00 284 03 B2 Capital+Lucre 93 LNR 10 POL023000 B2 Humanities+University 93 KCP 10 LAW050000 93 ABA 10 PHI001000 20 intellectual property; moral rights; cognitive capitalism; knowledge commons; anti-capitalism; political economy; philosophy of art 01 06 02 00 03 00 Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry.Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias. 30 00 Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry.Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0512.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/works-for-works-book-2-no-rights/ Earth, Milky Way 04 01 20260325 Gavin Keeney 02 WORLD 06 15 9781685711801 03 9781685711801 06 15 9781685713096 03 9781685713096 34 06 10.1086/710910 34 06 10.2307/2022937 34 06 10.11647/OBP.0007 34 06 10.1086/719895 34 06 10.2307/3047634 34 06 10.1086/711138 34 06 10.2307/4603660 34 06 10.21983/P3.0123.1.00 34 06 10.21983/P3.0191.1.00 34 06 10.53288/0375.1.00 34 06 10.1007/s41020-022-00164-x 34 06 10.1007/s11196-022-09930-5 34 06 10.1007/s10978-021-09314-x 34 06 10.1111/1467-8675.12592 34 06 10.1086/718619 34 06 10.1086/717304 34 06 10.1086/721168 34 06 10.2307/432196 34 06 10.1086/719836 34 06 10.1086/715986 34 06 10.1080/10848770.2015.1006926 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/112476 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/112476/9781685711818.pdf?sequence=1&isAllowed=y 20 08 20260325 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/175720 20 08 20260325 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/950 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/a30a7d7f-0c47-4989-bd53-1df3310e67e9/download 20 08 20260325 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/95d8caf0-7e55-4cd9-ac52-0b9c88ec791d 29 INTERNET_ARCHIVE: download the title https://archive.org/download/95d8caf0-7e55-4cd9-ac52-0b9c88ec791d/95d8caf0-7e55-4cd9-ac52-0b9c88ec791d.pdf 20 08 20260325 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19632246 29 ZENODO: download the title https://zenodo.org/records/19632246/files/95d8caf0-7e55-4cd9-ac52-0b9c88ec791d_book.pdf 20 08 20260325 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/works-for-works-book-2-no-rights/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0512.1.00.pdf 20 08 20260325 01 urn:uuid:aa09b6b2-956f-4e70-b6e4-9f253e6e0187 03 01 01 thoth-work-id urn:uuid:95d8caf0-7e55-4cd9-ac52-0b9c88ec791d 01 thoth-publication-id urn:uuid:aa09b6b2-956f-4e70-b6e4-9f253e6e0187 15 9781685713096 03 9781685713096 06 10.53288/0512.1.00 13 2026934018 01 internal-reference 0512 00 EB E101 09 82 09 85 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Works for Works, Book 2 "No Rights" 1 A01 21 0000000311878989 Gavin Keeney Gavin Keeney 40 04zvj8c18 Research Centre of the Slovenian Academy of Sciences and Arts Gavin Keeney completed a research doctorate in Architecture at Deakin University, Australia in 2014 on the subject of “Visual Agency in Art and Architecture,” inclusive of the monographs, Dossier Chris Marker: The Suffering Image (Cambridge Scholars, 2012), and Not-I/Thou: The Other Subject of Art and Architecture (Cambridge Scholars, 2014). Post-doctoral publications include Knowledge, Spirit, Law, Book 1: Radical Scholarship (punctum, 2015), Knowledge, Spirit, Law, Book 2: The Anti-capitalist Sublime (punctum, 2017), and Works for Works, Book 1: Useless Beauty (punctum, 2022). He has taught and lectured in the US, England, Germany, Slovenia, Australia, and India. Research for Works for Works, Book 2: “No Rights” was carried out under the auspices of a PhD in Philosophy at the Postgraduate School, ZRC SAZU, Ljubljana, Slovenia, 2021–2023, with research on why El Greco is considered a Franciscan artist conducted in Venice, Italy, through a co-funded research fellowship sponsored by the American Philosophical Association’s Berry Fund for Public Philosophy and the Giorgio Cini Foundation’s Centre for Comparative Studies of Civilisations and Spiritualities. 01 eng 00 284 03 B2 Capital+Lucre 93 LNR 10 POL023000 B2 Humanities+University 93 KCP 10 LAW050000 93 ABA 10 PHI001000 20 intellectual property; moral rights; cognitive capitalism; knowledge commons; anti-capitalism; political economy; philosophy of art 01 06 02 00 03 00 Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry.Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias. 30 00 Works for Works, Book 2: “No Rights,” privileges works-based agency (praxis) in literary-artistic scholarship. The principal focus of the Franciscan-inspired embrace of a “no rights” status for works of literary-artistic scholarship is toward freeing both author and works from forms of technocratic determinism and neo-utilitarianism associated with regimes of intellectual property rights law and platform cultures. Engaging, and then dispensing with, the concept of “the artistic exception,” a holdover from modernist justifications for art in/for itself, Works for Works nonetheless restores the primacy of the work itself through disconnecting author and work toward a transfiguration of both author and work and the substantiation of a new ecosystem for radical works of artistic-critical inquiry.Works for Works, Book 2: “No Rights,” follows upon Works for Works, Book 1: Useless Beauty (2022), a structuralist-inspired survey and exposé of the immanentist paradox artist-scholars inhabit in the post-contemporary transition from modernist and post-modernist reflexivity to forms of cultural production that favor no singular raison d’être or socio-cultural, socio-economic, or socio-political bias. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0512.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/works-for-works-book-2-no-rights/ Earth, Milky Way 04 01 20260325 Gavin Keeney 02 WORLD 06 15 9781685711801 03 9781685711801 06 15 9781685711818 03 9781685711818 34 06 10.1086/710910 34 06 10.2307/2022937 34 06 10.11647/OBP.0007 34 06 10.1086/719895 34 06 10.2307/3047634 34 06 10.1086/711138 34 06 10.2307/4603660 34 06 10.21983/P3.0123.1.00 34 06 10.21983/P3.0191.1.00 34 06 10.53288/0375.1.00 34 06 10.1007/s41020-022-00164-x 34 06 10.1007/s11196-022-09930-5 34 06 10.1007/s10978-021-09314-x 34 06 10.1111/1467-8675.12592 34 06 10.1086/718619 34 06 10.1086/717304 34 06 10.1086/721168 34 06 10.2307/432196 34 06 10.1086/719836 34 06 10.1086/715986 34 06 10.1080/10848770.2015.1006926 WORLD 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19632246 29 ZENODO: download the title https://zenodo.org/records/19632246/files/95d8caf0-7e55-4cd9-ac52-0b9c88ec791d_book.epub 20 08 20260325 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/works-for-works-book-2-no-rights/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0512.1.00.epub 20 08 20260325 01 urn:uuid:380f78be-8c4c-45b2-8961-6de13eed25b7 03 01 01 thoth-work-id urn:uuid:e106fb4d-743a-4cf8-96ff-4bae8d3319e2 01 thoth-publication-id urn:uuid:380f78be-8c4c-45b2-8961-6de13eed25b7 15 9781685710002 03 9781685710002 06 10.53288/0332.1.00 13 2021947625 01 internal-reference 0332 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Wound Building Dispatches from the Latest Disasters in UK Poetry 1 A01 Danny Hayward Danny Hayward 01 eng 00 218 03 93 DCC 12 DSC 10 LIT004120 B2 Literary Studies 12 1DBK 93 DSBJ 10 LIT014000 B2 New Left Thought 93 1DDU 93 3MRB 93 KCX 20 poetry; Marxism; aesthetics; class; literary history; Frances Kruk; Verity Spott; Lucy Beynon; Lisa Jeschke; Xu Lizhi; Nat Raha; Keston Sutherland; Porpentine Charity Heartscape; Lotte L.S.; Sean Bonney 01 06 02 00 03 00 Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a “worthy” narrative when a fucked up collage will do. Rather than a cohesive “account” of a “school” of poets, or a “contribution” to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its “theoretical” preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing “march of events.” The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.The book’s title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do. 30 00 Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a “worthy” narrative when a fucked up collage will do. Rather than a cohesive “account” of a “school” of poets, or a “contribution” to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its “theoretical” preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing “march of events.” The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.The book’s title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0332.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/wound-building-dispatches-from-the-latest-disasters-in-uk-poetry/ Earth, Milky Way 04 01 20210930 Hayward, Danny 02 WORLD 06 15 9781685710019 03 9781685710019 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/168571000X 20 08 20210930 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/wound-building-dispatches-from-the-latest-disasters-in-uk-poetry 20 08 20210930 02 24.00 USD WORLD urn:uuid:19850119-ec2f-4761-8abc-6fb4127d6dec 03 01 01 thoth-work-id urn:uuid:e106fb4d-743a-4cf8-96ff-4bae8d3319e2 01 thoth-publication-id urn:uuid:19850119-ec2f-4761-8abc-6fb4127d6dec 15 9781685710019 03 9781685710019 06 10.53288/0332.1.00 13 2021947625 01 internal-reference 0332 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Wound Building Dispatches from the Latest Disasters in UK Poetry 1 A01 Danny Hayward Danny Hayward 01 eng 00 218 03 93 DCC 12 DSC 10 LIT004120 B2 Literary Studies 12 1DBK 93 DSBJ 10 LIT014000 B2 New Left Thought 93 1DDU 93 3MRB 93 KCX 20 poetry; Marxism; aesthetics; class; literary history; Frances Kruk; Verity Spott; Lucy Beynon; Lisa Jeschke; Xu Lizhi; Nat Raha; Keston Sutherland; Porpentine Charity Heartscape; Lotte L.S.; Sean Bonney 01 06 02 00 03 00 Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a “worthy” narrative when a fucked up collage will do. Rather than a cohesive “account” of a “school” of poets, or a “contribution” to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its “theoretical” preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing “march of events.” The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.The book’s title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do. 30 00 Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a “worthy” narrative when a fucked up collage will do. Rather than a cohesive “account” of a “school” of poets, or a “contribution” to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its “theoretical” preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing “march of events.” The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.The book’s title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0332.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/wound-building-dispatches-from-the-latest-disasters-in-uk-poetry/ Earth, Milky Way 04 01 20210930 Hayward, Danny 02 WORLD 06 15 9781685710002 03 9781685710002 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/50915 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/50915/0332.1.00.pdf?sequence=1&isAllowed=y 20 08 20210930 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/72257 20 08 20210930 01 11 JSTOR 36 JSTOR: webpage for this product https://www.jstor.org/stable/10.2307/j.ctv21fqj8z 20 08 20210930 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/687 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/8374732e-a608-4892-8633-f1a45acfd471/download 20 08 20210930 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Wound_Building/LZ-oEAAAQBAJ 20 08 20210930 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/e106fb4d-743a-4cf8-96ff-4bae8d3319e2 29 INTERNET_ARCHIVE: download the title https://archive.org/download/e106fb4d-743a-4cf8-96ff-4bae8d3319e2/e106fb4d-743a-4cf8-96ff-4bae8d3319e2.pdf 20 08 20210930 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19849016 29 ZENODO: download the title https://zenodo.org/records/19849016/files/e106fb4d-743a-4cf8-96ff-4bae8d3319e2_book.pdf 20 08 20210930 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/wound-building-dispatches-from-the-latest-disasters-in-uk-poetry/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0332.1.00.pdf 20 08 20210930 01 urn:uuid:30c24473-06fd-4c86-b8be-8a1d78ad9570 03 01 01 thoth-work-id urn:uuid:367397db-bcb4-4f0e-9185-4be74c119c19 01 thoth-publication-id urn:uuid:30c24473-06fd-4c86-b8be-8a1d78ad9570 15 9789491914058 03 9789491914058 06 10.21983/P3.0228.1.00 01 internal-reference 0228 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Writing Art 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 2 A24 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 008x57b05 University of Antwerp 01 eng 01 ita 00 124 03 12 ABA B2 Art+Aesthetics 93 DSA 10 PHI001000 93 DNL 20 literary theory 01 06 02 00 03 00 Writing Art is an attempt to respond to the possibilities of art, the potentialities in art, to the possible event that art is. Keeping in mind that events are always already potentially beyond us, are quite possibly unknown, unknowable. In this book, Jeremy Fernando meditates on art through a response to specifics works, to the specificity of the craft, tekhnē, of each work; offering a reading of specific works of photography (Photovoice sg), poetry (Tammy Ho Lai-Ming), installation art (Charles Lim), film (Tan Chui Mui), conceptual art (ZXEROKOOL), and charcoal drawings (Yanyun Chen).Through writing.For, to write is always also to scribble, to scratch, tear, quite possibly open — and perhaps more importantly, to open the possibility of a relation with another, to the unknowability that is the other. At the risk that this writing causes one to writhe, to be torn, to cry out; even if the very one is himself. 30 00 Writing Art is an attempt to respond to the possibilities of art, the potentialities in art, to the possible event that art is. Keeping in mind that events are always already potentially beyond us, are quite possibly unknown, unknowable. In this book, Jeremy Fernando meditates on art through a response to specifics works, to the specificity of the craft, tekhnē, of each work; offering a reading of specific works of photography (Photovoice sg), poetry (Tammy Ho Lai-Ming), installation art (Charles Lim), film (Tan Chui Mui), conceptual art (ZXEROKOOL), and charcoal drawings (Yanyun Chen).Through writing.For, to write is always also to scribble, to scratch, tear, quite possibly open — and perhaps more importantly, to open the possibility of a relation with another, to the unknowability that is the other. At the risk that this writing causes one to writhe, to be torn, to cry out; even if the very one is himself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0228.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/writing-art/ The Hague/Tirana 04 01 20151126 Fernando, Jeremy 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2ys60cZ 20 08 20151126 02 24.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/writing-art 20 08 20151126 02 24.00 USD WORLD urn:uuid:544f5d58-fe7f-4647-b7af-42511a19d6b0 03 01 01 thoth-work-id urn:uuid:367397db-bcb4-4f0e-9185-4be74c119c19 01 thoth-publication-id urn:uuid:544f5d58-fe7f-4647-b7af-42511a19d6b0 15 9789491914058 03 9789491914058 06 10.21983/P3.0228.1.00 01 internal-reference 0228 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Writing Art 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 01tgyzw49 National University of Singapore 2 A24 21 0000000316223682 Alessandro De Francesco Alessandro De Francesco 40 008x57b05 University of Antwerp 01 eng 01 ita 00 124 03 12 ABA B2 Art+Aesthetics 93 DSA 10 PHI001000 93 DNL 20 literary theory 01 06 02 00 03 00 Writing Art is an attempt to respond to the possibilities of art, the potentialities in art, to the possible event that art is. Keeping in mind that events are always already potentially beyond us, are quite possibly unknown, unknowable. In this book, Jeremy Fernando meditates on art through a response to specifics works, to the specificity of the craft, tekhnē, of each work; offering a reading of specific works of photography (Photovoice sg), poetry (Tammy Ho Lai-Ming), installation art (Charles Lim), film (Tan Chui Mui), conceptual art (ZXEROKOOL), and charcoal drawings (Yanyun Chen).Through writing.For, to write is always also to scribble, to scratch, tear, quite possibly open — and perhaps more importantly, to open the possibility of a relation with another, to the unknowability that is the other. At the risk that this writing causes one to writhe, to be torn, to cry out; even if the very one is himself. 30 00 Writing Art is an attempt to respond to the possibilities of art, the potentialities in art, to the possible event that art is. Keeping in mind that events are always already potentially beyond us, are quite possibly unknown, unknowable. In this book, Jeremy Fernando meditates on art through a response to specifics works, to the specificity of the craft, tekhnē, of each work; offering a reading of specific works of photography (Photovoice sg), poetry (Tammy Ho Lai-Ming), installation art (Charles Lim), film (Tan Chui Mui), conceptual art (ZXEROKOOL), and charcoal drawings (Yanyun Chen).Through writing.For, to write is always also to scribble, to scratch, tear, quite possibly open — and perhaps more importantly, to open the possibility of a relation with another, to the unknowability that is the other. At the risk that this writing causes one to writhe, to be torn, to cry out; even if the very one is himself. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0228.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/writing-art/ The Hague/Tirana 04 01 20151126 Fernando, Jeremy 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25402 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25402/1004693.pdf?sequence=1&isAllowed=y 20 08 20151126 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/28881 20 08 20151126 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/501 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/eaa8b78b-abb9-4bc6-bbac-ee6e7ca394b4/download 20 08 20151126 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/367397db-bcb4-4f0e-9185-4be74c119c19 29 INTERNET_ARCHIVE: download the title https://archive.org/download/367397db-bcb4-4f0e-9185-4be74c119c19/367397db-bcb4-4f0e-9185-4be74c119c19.pdf 20 08 20151126 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19846365 29 ZENODO: download the title https://zenodo.org/records/19846365/files/367397db-bcb4-4f0e-9185-4be74c119c19_book.pdf 20 08 20151126 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/writing-art/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0228.1.00.pdf 20 08 20151126 01 urn:uuid:e284d07f-2c2d-410f-a250-2fb8c38ed942 03 01 01 thoth-work-id urn:uuid:6a109b6a-55e9-4dd5-b670-61926c10e611 01 thoth-publication-id urn:uuid:e284d07f-2c2d-410f-a250-2fb8c38ed942 15 9789081709101 03 9789081709101 06 10.21983/P3.0214.1.00 01 internal-reference 0214 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 133 mm 02 13.3 cm 02 5.25 in Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Writing Death 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore Jeremy Fernando is the Jean Baudrillard Fellow at the European Graduate School, where he is also a Reader in Contemporary Literature & Thought. He works in the intersections of literature, philosophy, and the media; and has written twelve books — including Reading Blindly, Living with Art, and Writing Death. His work has been featured in magazines and journals such as Berfrois, CTheory, TimeOut, and VICE, amongst others; and he has been translated into Spanish and Slovenian. Exploring other media has led him to film, music, and art; and his work has been exhibited in Seoul, Vienna, Hong Kong, and Singapore. He is the general editor of both Delere Pressand the thematic magazine One Imperative; and a Fellow of Tembusu College at the National University of Singapore. 2 A23 Avital Ronell Avital Ronell 40 0190ak572 New York University 01 eng 00 114 03 12 DNF 93 DNL 10 PHI013000 B2 Philosophy 93 DSA B2 Thought Experiments 93 FXL 20 literary theory 01 06 02 00 03 00 Writing Death opens a meditation on the possibility of mourning; of whether there is a subject, or even object, that one mourns—of whether one is mourning, can only mourn, the very impossibility of mourning itself. The manuscript is framed by two attempts at mourning—Avital Ronell’s “The Tactlessness of an Unending Fadeout” and Jeremy Fernando’s “adieu.” In-between—for this is where both pieces posit the possibility of attending to the passing, the memory, the fading of the person—is an attempt to think this impossibility. The text is continually haunted by the question of whether one is mourning the person as such, or a particular version of the person, a reading of the person. And in reading another, in attempting to respond to the other, one can never have the metaphysical comfort that one is reading accurately, correctly; in fact, one may always already be re-writing the person. Thus, all one can do is attempt to mourn the name of that person, whilst never being certain of whether her name even refers to her any longer.All one can do is write death. 30 00 Writing Death opens a meditation on the possibility of mourning; of whether there is a subject, or even object, that one mourns—of whether one is mourning, can only mourn, the very impossibility of mourning itself. The manuscript is framed by two attempts at mourning—Avital Ronell’s “The Tactlessness of an Unending Fadeout” and Jeremy Fernando’s “adieu.” In-between—for this is where both pieces posit the possibility of attending to the passing, the memory, the fading of the person—is an attempt to think this impossibility. The text is continually haunted by the question of whether one is mourning the person as such, or a particular version of the person, a reading of the person. And in reading another, in attempting to respond to the other, one can never have the metaphysical comfort that one is reading accurately, correctly; in fact, one may always already be re-writing the person. Thus, all one can do is attempt to mourn the name of that person, whilst never being certain of whether her name even refers to her any longer.All one can do is write death. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0214.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/writing-death/ The Hague/Tirana 04 01 20110606 Fernando, Jeremy 02 WORLD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://amzn.to/2D5UOa1 20 08 20110606 02 22.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/writing-death 20 08 20110606 02 22.00 USD WORLD urn:uuid:6adc7376-2940-40ff-acb5-88da787e08b4 03 01 01 thoth-work-id urn:uuid:6a109b6a-55e9-4dd5-b670-61926c10e611 01 thoth-publication-id urn:uuid:6adc7376-2940-40ff-acb5-88da787e08b4 15 9789081709101 03 9789081709101 06 10.21983/P3.0214.1.00 01 internal-reference 0214 00 EB E107 10 Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). 02 https://creativecommons.org/licenses/by-nc-nd/3.0/ 01 01 Writing Death 1 A01 21 0000000176034117 Jeremy Fernando Jeremy Fernando 40 04g3mbv81 European Graduate School 40 01tgyzw49 National University of Singapore Jeremy Fernando is the Jean Baudrillard Fellow at the European Graduate School, where he is also a Reader in Contemporary Literature & Thought. He works in the intersections of literature, philosophy, and the media; and has written twelve books — including Reading Blindly, Living with Art, and Writing Death. His work has been featured in magazines and journals such as Berfrois, CTheory, TimeOut, and VICE, amongst others; and he has been translated into Spanish and Slovenian. Exploring other media has led him to film, music, and art; and his work has been exhibited in Seoul, Vienna, Hong Kong, and Singapore. He is the general editor of both Delere Pressand the thematic magazine One Imperative; and a Fellow of Tembusu College at the National University of Singapore. 2 A23 Avital Ronell Avital Ronell 40 0190ak572 New York University 01 eng 00 114 03 12 DNF 93 DNL 10 PHI013000 B2 Philosophy 93 DSA B2 Thought Experiments 93 FXL 20 literary theory 01 06 02 00 03 00 Writing Death opens a meditation on the possibility of mourning; of whether there is a subject, or even object, that one mourns—of whether one is mourning, can only mourn, the very impossibility of mourning itself. The manuscript is framed by two attempts at mourning—Avital Ronell’s “The Tactlessness of an Unending Fadeout” and Jeremy Fernando’s “adieu.” In-between—for this is where both pieces posit the possibility of attending to the passing, the memory, the fading of the person—is an attempt to think this impossibility. The text is continually haunted by the question of whether one is mourning the person as such, or a particular version of the person, a reading of the person. And in reading another, in attempting to respond to the other, one can never have the metaphysical comfort that one is reading accurately, correctly; in fact, one may always already be re-writing the person. Thus, all one can do is attempt to mourn the name of that person, whilst never being certain of whether her name even refers to her any longer.All one can do is write death. 30 00 Writing Death opens a meditation on the possibility of mourning; of whether there is a subject, or even object, that one mourns—of whether one is mourning, can only mourn, the very impossibility of mourning itself. The manuscript is framed by two attempts at mourning—Avital Ronell’s “The Tactlessness of an Unending Fadeout” and Jeremy Fernando’s “adieu.” In-between—for this is where both pieces posit the possibility of attending to the passing, the memory, the fading of the person—is an attempt to think this impossibility. The text is continually haunted by the question of whether one is mourning the person as such, or a particular version of the person, a reading of the person. And in reading another, in attempting to respond to the other, one can never have the metaphysical comfort that one is reading accurately, correctly; in fact, one may always already be re-writing the person. Thus, all one can do is attempt to mourn the name of that person, whilst never being certain of whether her name even refers to her any longer.All one can do is write death. 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.21983/P3.0214.1.00_frontcover.jpg 01 URL https://punctumbooks.com/imprints/uitgeverij/ Uitgeverij 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/writing-death/ The Hague/Tirana 04 01 20110606 Fernando, Jeremy 02 WORLD WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/25415 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/25415/1004680.pdf?sequence=1&isAllowed=y 20 08 20110606 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/36879 20 08 20110606 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/376 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/f7183564-2bb7-443c-b8c1-f6d6044e00a0/download 20 08 20110606 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/Writing_Death/PXmnEAAAQBAJ 20 08 20110606 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/6a109b6a-55e9-4dd5-b670-61926c10e611 29 INTERNET_ARCHIVE: download the title https://archive.org/download/6a109b6a-55e9-4dd5-b670-61926c10e611/6a109b6a-55e9-4dd5-b670-61926c10e611.pdf 20 08 20110606 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19693034 29 ZENODO: download the title https://zenodo.org/records/19693034/files/6a109b6a-55e9-4dd5-b670-61926c10e611_book.pdf 20 08 20110606 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/writing-death/ 29 THOTH: download the title https://books.punctumbooks.com/10.21983/P3.0214.1.00.pdf 20 08 20110606 01 urn:uuid:55a602f7-e368-4ce9-80bb-3760d07df3b7 03 01 01 thoth-work-id urn:uuid:703c12d4-128b-4f2c-a461-bfdc56cb6e24 01 thoth-publication-id urn:uuid:55a602f7-e368-4ce9-80bb-3760d07df3b7 15 9781685712082 03 9781685712082 06 10.53288/0474.1.00 01 internal-reference 0474 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Xenoflesh Vegan Poetics and Capitalocene Meat 1 A01 21 000000020316871X Simon Ryle Simon Ryle 40 00m31ft63 University of Split 01 eng B2 Anthropocene 93 JBFU 12 JFFZ 10 LIT020000 B2 Biosphere 93 DSB 12 DSB 10 POL023000 B2 Cultural Studies+Critical Theory 12 KCP 93 KCP 20 literary theory; literary criticism; veganism; capitalocene; poetics; animal studies; posthumanism; ecocriticism; ecofeminism; animal liberation 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0474.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/xenoflesh-vegan-poetics-and-capitalocene-meat/ Earth, Milky Way 02 01 20260601 Simon Ryle 02 WORLD 06 15 9781685712099 03 9781685712099 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/xenoflesh-vegan-poetics-and-capitalocene-meat/ 10 08 20260601 01 urn:uuid:ab14ef21-7470-4a7b-8068-1ffaa376e008 03 01 01 thoth-work-id urn:uuid:703c12d4-128b-4f2c-a461-bfdc56cb6e24 01 thoth-publication-id urn:uuid:ab14ef21-7470-4a7b-8068-1ffaa376e008 15 9781685712099 03 9781685712099 06 10.53288/0474.1.00 01 internal-reference 0474 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 Xenoflesh Vegan Poetics and Capitalocene Meat 1 A01 21 000000020316871X Simon Ryle Simon Ryle 40 00m31ft63 University of Split 01 eng B2 Anthropocene 93 JBFU 12 JFFZ 10 LIT020000 B2 Biosphere 93 DSB 12 DSB 10 POL023000 B2 Cultural Studies+Critical Theory 12 KCP 93 KCP 20 literary theory; literary criticism; veganism; capitalocene; poetics; animal studies; posthumanism; ecocriticism; ecofeminism; animal liberation 01 06 02 00 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0474.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/xenoflesh-vegan-poetics-and-capitalocene-meat/ Earth, Milky Way 02 01 20260601 Simon Ryle 02 WORLD 06 15 9781685712082 03 9781685712082 WORLD 09 punctum books 02 Publisher's website: webpage for this product https://punctumbooks.com/titles/xenoflesh-vegan-poetics-and-capitalocene-meat/ 10 08 20260601 01 urn:uuid:5a7cfea8-6912-49f4-9f10-6b5903cb6fd9 03 01 01 thoth-work-id urn:uuid:2ab1260f-3a24-4793-94a2-f05669a9fcd9 01 thoth-publication-id urn:uuid:5a7cfea8-6912-49f4-9f10-6b5903cb6fd9 15 9781953035608 03 9781953035608 06 10.53288/0304.1.00 13 2021938603 01 internal-reference 0304 00 BC 10 01 203 mm 01 20.3 cm 01 8 in 02 127 mm 02 12.7 cm 02 5 in Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 ρan-ρan 1 A01 Norman Hogg Norman Hogg 40 0420zvk78 Concordia University 2 A01 21 0000000162733697 Neil Mulholland Neil Mulholland 40 01nrxwf90 University of Edinburgh 3 A23 Simon O'Sullivan Simon O'Sullivan 40 01khx4a30 Goldsmiths University of London 01 eng 00 208 03 12 DSBB 93 DSBB B2 Fabulations 10 LIT011000 10 FIC052000 93 JBFZ 12 JFFR B2 Premodern 93 FUP 93 3KH-GB-B 20 medieval studies; nonmodern future studies; panarchism; LARP; hypereconomy; heretics; clickbait 01 06 02 00 03 00 With the peristaltic gurglings of this gastēr-investigative procedural – a soooo welcomed addition to the ballooning corpus of slot-versatile bad eggs The Confraternity of Neoflagellants (CoN) – [users] and #influencers everywhere will be belly-joyed to hold hands with neomedieval mutter-matter that literally sticks and branches, available from punctum in both frictionless and grip-gettable boke-shaped formats.A game-changer in Brownian temp-controlled phoneme capture, ρan-ρan’s writhing paginations are completely oxygen-soaked, overwriting the flavour profiles of 2013’s thN Lng folk 2go with no-holds-barred argumentations on all voice-like and lung-adjacent functions. Rumoured by experts to be dead to the World™, CoN has clearly turned its ear canal arrays towards the jabbering OMFG feedback signals from their scores of naive listeners, scrapping all lenticular exegesis and content profiles to construct taped-together vernacular dwellings housing ‘shrooming atmospheric awarenesses and pan-dimensional cross-talkers, making this anticipatory sequel a serious competitor across ambient markets, and a crowded kitchen in its own right.An utterly mondegreen-infested deep end may deter would-be study buddies from taking the plunge, but feet-wetted Dog Heads eager to sniff around for temporal folds and whiff past the stank of hastily proscribed future fogs ought to ©k no further than the roll-upable-rim of ρan-ρan’s bleeeeeding premodern lagoon. Arrange yerself cannonball-wise or lead with the #gut and you’ll be kersplashing in no times.- 30 00 With the peristaltic gurglings of this gastēr-investigative procedural – a soooo welcomed addition to the ballooning corpus of slot-versatile bad eggs The Confraternity of Neoflagellants (CoN) – [users] and #influencers everywhere will be belly-joyed to hold hands with neomedieval mutter-matter that literally sticks and branches, available from punctum in both frictionless and grip-gettable boke-shaped formats.A game-changer in Brownian temp-controlled phoneme capture, ρan-ρan’s writhing paginations are completely oxygen-soaked, overwriting the flavour profiles of 2013’s thN Lng folk 2go with no-holds-barred argumentations on all voice-like and lung-adjacent functions. Rumoured by experts to be dead to the World™, CoN has clearly turned its ear canal arrays towards the jabbering OMFG feedback signals from their scores of naive listeners, scrapping all lenticular exegesis and content profiles to construct taped-together vernacular dwellings housing ‘shrooming atmospheric awarenesses and pan-dimensional cross-talkers, making this anticipatory sequel a serious competitor across ambient markets, and a crowded kitchen in its own right.An utterly mondegreen-infested deep end may deter would-be study buddies from taking the plunge, but feet-wetted Dog Heads eager to sniff around for temporal folds and whiff past the stank of hastily proscribed future fogs ought to ©k no further than the roll-upable-rim of ρan-ρan’s bleeeeeding premodern lagoon. Arrange yerself cannonball-wise or lead with the #gut and you’ll be kersplashing in no times.- 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0304.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pan-pan/ Earth, Milky Way 04 01 20210701 Norman Hogg, Neil Mulholland 02 WORLD 06 15 9781953035615 03 9781953035615 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://www.amazon.com/dp/1953035604 20 08 20210701 02 23.00 USD WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://asterismbooks.com/product/ian-ian 20 08 20210701 02 23.00 USD WORLD urn:uuid:cefdf7cc-e8f3-4ba2-9e59-9885b066a8e5 03 01 01 thoth-work-id urn:uuid:2ab1260f-3a24-4793-94a2-f05669a9fcd9 01 thoth-publication-id urn:uuid:cefdf7cc-e8f3-4ba2-9e59-9885b066a8e5 15 9781953035615 03 9781953035615 06 10.53288/0304.1.00 13 2021938603 01 internal-reference 0304 00 EB E107 10 Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). 02 https://creativecommons.org/licenses/by-nc-sa/4.0/ 01 01 ρan-ρan 1 A01 Norman Hogg Norman Hogg 40 0420zvk78 Concordia University 2 A01 21 0000000162733697 Neil Mulholland Neil Mulholland 40 01nrxwf90 University of Edinburgh 3 A23 Simon O'Sullivan Simon O'Sullivan 40 01khx4a30 Goldsmiths University of London 01 eng 00 208 03 12 DSBB 93 DSBB B2 Fabulations 10 LIT011000 10 FIC052000 93 JBFZ 12 JFFR B2 Premodern 93 FUP 93 3KH-GB-B 20 medieval studies; nonmodern future studies; panarchism; LARP; hypereconomy; heretics; clickbait 01 06 02 00 03 00 With the peristaltic gurglings of this gastēr-investigative procedural – a soooo welcomed addition to the ballooning corpus of slot-versatile bad eggs The Confraternity of Neoflagellants (CoN) – [users] and #influencers everywhere will be belly-joyed to hold hands with neomedieval mutter-matter that literally sticks and branches, available from punctum in both frictionless and grip-gettable boke-shaped formats.A game-changer in Brownian temp-controlled phoneme capture, ρan-ρan’s writhing paginations are completely oxygen-soaked, overwriting the flavour profiles of 2013’s thN Lng folk 2go with no-holds-barred argumentations on all voice-like and lung-adjacent functions. Rumoured by experts to be dead to the World™, CoN has clearly turned its ear canal arrays towards the jabbering OMFG feedback signals from their scores of naive listeners, scrapping all lenticular exegesis and content profiles to construct taped-together vernacular dwellings housing ‘shrooming atmospheric awarenesses and pan-dimensional cross-talkers, making this anticipatory sequel a serious competitor across ambient markets, and a crowded kitchen in its own right.An utterly mondegreen-infested deep end may deter would-be study buddies from taking the plunge, but feet-wetted Dog Heads eager to sniff around for temporal folds and whiff past the stank of hastily proscribed future fogs ought to ©k no further than the roll-upable-rim of ρan-ρan’s bleeeeeding premodern lagoon. Arrange yerself cannonball-wise or lead with the #gut and you’ll be kersplashing in no times.- 30 00 With the peristaltic gurglings of this gastēr-investigative procedural – a soooo welcomed addition to the ballooning corpus of slot-versatile bad eggs The Confraternity of Neoflagellants (CoN) – [users] and #influencers everywhere will be belly-joyed to hold hands with neomedieval mutter-matter that literally sticks and branches, available from punctum in both frictionless and grip-gettable boke-shaped formats.A game-changer in Brownian temp-controlled phoneme capture, ρan-ρan’s writhing paginations are completely oxygen-soaked, overwriting the flavour profiles of 2013’s thN Lng folk 2go with no-holds-barred argumentations on all voice-like and lung-adjacent functions. Rumoured by experts to be dead to the World™, CoN has clearly turned its ear canal arrays towards the jabbering OMFG feedback signals from their scores of naive listeners, scrapping all lenticular exegesis and content profiles to construct taped-together vernacular dwellings housing ‘shrooming atmospheric awarenesses and pan-dimensional cross-talkers, making this anticipatory sequel a serious competitor across ambient markets, and a crowded kitchen in its own right.An utterly mondegreen-infested deep end may deter would-be study buddies from taking the plunge, but feet-wetted Dog Heads eager to sniff around for temporal folds and whiff past the stank of hastily proscribed future fogs ought to ©k no further than the roll-upable-rim of ρan-ρan’s bleeeeeding premodern lagoon. Arrange yerself cannonball-wise or lead with the #gut and you’ll be kersplashing in no times.- 20 00 Open Access 01 00 03 02 https://books.punctumbooks.com/10.53288/0304.1.00_frontcover.jpg 01 URL https://punctumbooks.com/ punctum books 01 punctum books 01 Publisher's website: home page https://punctumbooks.com/ 02 Publisher's website: webpage for this title https://punctumbooks.com/titles/pan-pan/ Earth, Milky Way 04 01 20210701 Norman Hogg, Neil Mulholland 02 WORLD 06 15 9781953035608 03 9781953035608 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/49718 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/49718/0304.1.00.pdf?sequence=1&isAllowed=y 20 08 20210701 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/70985 20 08 20210701 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/669 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/303488dc-2778-4be1-a81a-0aff39bad836/download 20 08 20210701 01 11 GOOGLE_BOOKS 36 GOOGLE_BOOKS: webpage for this product https://www.google.com/books/edition/%CE%A1an_%CF%81an/T5-oEAAAQBAJ 20 08 20210701 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/2ab1260f-3a24-4793-94a2-f05669a9fcd9 29 INTERNET_ARCHIVE: download the title https://archive.org/download/2ab1260f-3a24-4793-94a2-f05669a9fcd9/2ab1260f-3a24-4793-94a2-f05669a9fcd9.pdf 20 08 20210701 01 11 ZENODO 36 ZENODO: webpage for this product https://zenodo.org/records/19848917 29 ZENODO: download the title https://zenodo.org/records/19848917/files/2ab1260f-3a24-4793-94a2-f05669a9fcd9_book.pdf 20 08 20210701 01 11 THOTH 36 THOTH: webpage for this product https://punctumbooks.com/titles/pan-pan/ 29 THOTH: download the title https://books.punctumbooks.com/10.53288/0304.1.00.pdf 20 08 20210701 01